Hitchcock's Elixir Goes Down Smooth
The first thing one notices when listening to Moss Elixir, Robyn
Hitchcock's first album on Warner, and his first on any label in four
years, is that it's somehow different: from the heated, urgent
chord-run by violinist Deni Bonet on the album-opening "She Was Sinister
But She Was Happy" to the off-key tunings Hitchcock favors here on his
mostly acoustic guitar playing, Moss Elixir is a new creature in
Hitchcock's pantheon, a folk-rock album by one of pop's biggest champions.
The second thing one notices is that, exactly like every other Hitchcock
album, a handful of melodies become imprinted on your brain from the first
listen, destined to be vaguely whistled for days after. Maybe Moss
Elixir isn't such a different creature after all. Hitchcock,
best-known as leader of seminal real-pop (Brett Milano's term) bands The
Soft Boys and The Egyptians, makes a decided effort to make Moss
Elixir less cluttered, a little less exuberant, perhaps, and not as
loud. The result is a slightly softer, slightly folksier gleeQalthough
Hitchcock may be slowing things down a bit and changing instrumentation,
he's still writing endlessly quirky songs to which one can't help tapping
a foot in response. If, as Hitchcock said, he's trying to write music
that's more "grown-up," it still contains all the optimistically endless
possibilities of pop, even if it is backed by a slightly strummed acoustic
guitar and ample violin shadings (for about the past year, Bonet and
Hitchcock have been touring together as a duo, performing many of the
songs that ended up on Moss Elixir.) As Hitchcock has said (to me,
in fact), "I write consistently good songs." And indeed, Moss
Elixir is chock full of good songs: the albums first two tracks, "She
Was Sinister But She Was Happy" and "The Devil's Radio" are irresistibly
catchy, filled with classic Hitchcockisms ("Her living words were her
dying words / 'Yeah'"). The hooks might be based in minor-keys and teased
out of Bonet's violin, but these songs alone are proof that Hitchcock is
still one of the best pop-craftsmen around.
Many of the other songs are less replete with unforgettable hooks, but are
no less satisfying. "Man With A Woman's Shadow," a song which came out of
some recording Hitchcock did with Calvin Johnson in his studio in
Washington, is quietly haunting and filled with the sexual ambiguities
Hitchcock seems to find simultaneously fascinating and repellent at the
same time. (Indeed, while Hitchcock's musical approach makes a purposeful
shift on Moss Elixir, his unease in the modern world and twisted
take on the human condition remain as recognizable as ever.) Hitchcock's
mournful, echoing harmonica lines combined with understated acoustic riff
repeated over and over show what Hitchcock can do with his lyrical
sensibilities when they're not overpowered by the sheer strength of his
melodies. Quietly disconcerting, Hitchcock, for the first-time in his
career, seems to feel comfortable letting the song carry itself with a
minimal amount of baggage.
Even songs like "I Am Not Me," one of the few tunes on the album on which
Hitchcock yields an electric ax, and one in which the chorus is almost
sing-songy, is much more spacious and comfortable than Hitchcock's
attempts to turn his energy level down a notch in the past. The
horn-augmented "De Chirico Street" is another gem; but, to be fair, there
really isn't a bad track on the album.
Moss Elixir was released in conjunction with a limited number of
vinyl copies of Mossy Liquor, a collection of alternative versions
and songs that didn't make the final cut for the album. And while it's
true that most of the "official" versions are superior to those on
Mossy Liquor, there is a certain satisfaction in hearing what some
of Moss Elixir's songs would sound like if Hitchcock had stuck
closer to his pop roots - jangly, upbeat versions of "Alright, Yeah" and
"Heliotrope" may not ultimately be as good as the versions that ended up
on the album, but they're damn fun all the same, and will find a good home
in any Hitchcock lover's collection.