This Nation's Saving Grace
This Nation's Saving Grace makes the Fall sound unusually clear without making them ordinary. The guitar parts have memorable shapes, the drums hit firmly and Mark E. Smith delivers his words with complete conviction. Brix Smith’s melodic contribution and John Leckie’s production give the music a directness that works with the band’s awkward character rather than removing it.
Mansion sets up a darker, slightly psychedelic opening before Bombast brings the full force of the band forward. Steve Hanley’s bass gives that force a useful sense of movement. The music can sound combative while still leaving you something clear to follow. Its energy feels organised without becoming tidy.
Barmy and Gut Of The Quantifier give the guitars a stronger hold. Their hooks work against distorted backing and hard drums, with Smith’s voice adding its own disruptive presence. L.A. changes the emphasis through synthesizer. The album gains range by letting different instruments direct individual songs, rather than making every track a variation on the same attack.
Paintwork is another effective departure. Its semi-acoustic drift feels less settled than it first appears, with interruptions making the song’s surface uneven. I Am Damo Suzuki turns admiration for Can into a convincing arrangement of its own. The music remains recognisably the Fall while showing how much they can do with their influences.
The additional songs in the CD programme are less even. Cruiser's Creek has strong bass movement and enough energy to carry its difficult-to-catch vocal. Vixen makes a weaker impression. Smith’s delivery can also remain an obstacle if you want smooth, conventional singing. Yet the balance between hooks and disruption makes the whole record compelling. This Nation's Saving Grace lets the band’s oddness become clearer without explaining it away, and makes their confidence unusually easy to hear.
