We can’t say that we were eagerly waiting for the new Jesus and Mary Chain album. It’s been years since the Reid brothers had released a record and decades since they offered anything very interesting, re-mixing roughly the same ingredients and obtaining the same result. Less inspiration, more often than not.
We therefore welcomed the announcement of the release of Glasgow Eyes with a raised eyebrow. A hint of nostalgia too when thinking back to Jim Reid downing something like eight beers in less than an hour on stage at the Spectrum in 1990 or those happy moments spent in the mosh pit at Metropolis two years later.
The unusually experimental sound processing of jamcod, the first extract, foreshadowed something new, but not the general tone of the song. Gold, Glasgow Eyes turns out to be surprisingly surprising, especially given the use that William Reid and his false twin make of electronic violin making.
This is not a total revolution in JAMC’s sound, obviously. It’s not because the group increases the pace (Venal Joy) or title a song Nightclub let’s start dancing like we do at Dua Lipa’s house. Glasgow Eyes is neither disco, nor dance, nor electro. It always displays simple and direct rock, full of saturated guitars, over which Jim Reid sings like a bored rocker. The usual routine, that is.
This record, however, has a surprising charm. Perhaps because he accepts his reminders of the past. Second of June evokes without embarrassment Sometime Always. The sound of guitar in the background Pure Poor refers to the time of Psychocandy. The Reid brothers also do not hesitate to pay homage to their influences, notably the Velvet Underground and Lou Reed in Hey Lou Reid.
Actually, if Jesus and Mary Chain comes around, Glasgow Eyes makes you want to go see them on stage again. Far from mosh pit and with protective earplugs this time. It’s not just them who have been collecting white hair for a long time…
Extract of Venal Joy
ROCK
Glasgow Eyes
The Jesus and Mary Chain
Fuzz Club