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Matt Elliott, "Failing Songs"
Matt Elliott is an expert at covering his music in melancholic dross. This approach is very fitting for Failing Songs, as the subjects explored through his lyrics are not the most uplifting. Furthermore the instruments used have piquant old world flavor, recalling a time when extended families relied on making music together as a way of escaping the dreariness of life. These songs of failure focus on humanities shortcomings and the steady downward decline of civilization. It's perfect for a time when the evidence of human failure is everywhere to be seen.
The electronic darkness Elliott embodied with demonically skewed drum and bass in the Third Eye Foundation has since been transferred into the sound of brooding folk music. Taking his cue from Gypsy and Sephardic traditions, from the music of people who have long been oppressed, his sad sounds are all the more sincere. In this sense Failing Songs manages to joyfully participate in the sorrows of the world.
People who feel comfortable accepting the status quo might feel uncomfortable when listening to this album. They would be better off taking Xanax and watching reality TV. The whining of the fiddle and multi-tracked voices of “Our Weight In Oil” starts things off on a somber note. He laments that “we lost our lives to worthless oil / and were worth less than our weight in oil / but the stockholders all had their pay / but it's we who clean their mess anyway.” The theme of corporate tyranny is fleshed out further on “Chains.” Here he sings “we’re free to do exactly what were told / we’re free to buy exactly what we’re sold / we’re nothing more than slaves.” A sea shanty filled up with a saturated overdriven guitar line, it very much calls to mind images of perilous maritime journeys, and human cargo chained up in the hull. He goes on to explore subjects of war, and the soldier pawns killed on the whims of politicians, assassination of politicians as a reasonable response, and the argumentative stalemates that so often happen in relationships. And of course, it all ends with an extended trip to the grave.
Listening to this music took me on an introspective tour down an embittered memory lane. It was like being handed a microscope with slides of faults and shortcomings, both personal and collective. His bruised political ire never lets up. Not one moment of light shines through, except the highly focused beam he points on the human predicament. Yet it is his talents as a song writer and multi-instrumentalist that allows him to take on difficult subjects and make them beautiful. The blows dealt by his unflinching look at human nature are softened by employing melodious mandolins, wheezing accordions, and the delicate tinkles of piano. In the end, all the pieces fit together to make an album that is very mournful and full of grace.
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