Less inspiring is the inclusion of Fat White Family on “The Legal Status of Ice”, a song about what jurisdiction the run-off of melting ice caps belong to, delivered in a monastic chant over skittering cymbal taps. It has the air of being sung in the round and feels like a song that is trying too hard and not hard enough all at once: the repeated line “Ding dong, the witch is dead” is lazy, and the song is a sort of po-faced sound project.
Though clearly expecting the worst from the future, Cale is also hoping for the best. “Story of Blood” seems ghoulish at first, but it is just the tale of life sloshing around inside you, even if that life is a bit of a slog – “Swing your soul”, he and Weyes Blood offer, a joyous image of freedom before Cale remembers there is more to this life than just one’s self: “I’m going back to get them, my friends in the morning/Bring them with me into the light.
After Cale wades through syrupy blackness for 10 songs, the fluttering “I Know You’re Happy” is a welcome relief, even if Cale is singing about the fact that you are happy when he is sad. With nods to latter-day David Bowie and a song specifically dedicated to Nico, the past is still colouring Cale’s present even if he has half an eye on the doomy future. There’s a lot of sound to dig into onand I have the sense it will reveal more of itself on future listens: and perhaps all it needed to be truly great was a robust edit.
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