SIX

So, this is a big fat 0 for me going in. I know NOTHING about it, (or Mansun for that matter) except discovering that there are 3 versions (at least) available? the original UK version, the very different US version, and the 21st anniversary edition which seems to be the original UK version + bonus tracks. I am listening to it using the YouTube link I provided, which says it's the 21st anniversary edition, but based on the time of the video, it is essentially the original UK version without the bonus tracks. My usual source, Apple Music, only has the US version available on this side of the pond. I'd much rather hear it as the band intended. Without further ado, here is the album review.

Part 1

Track 1 - Six

A simple piano with some synth begins the album. This leads to the band coming in with a muted guitar eighth note rhythm under the vocals. A second unison voice builds to occasional harmonies. Then a swoosh sound leads to a more distorted guitar tone and a double time drumbeat. It has almost a pop-punk feel at around 2.5 minutes in. Then we slow down to a more atmospheric sound. This is a genuinely interesting song. Maybe some slide guitar and sound effects, before going back to a heavier, pop-punk vibe. A slightly slower eighth note feel is next up after a bit of a cacophonous instrumental break. Occasional strange vocal effects are in the next section. This is different, but in a good way. Lots of different textures, tempos and dynamic changes, if not unusual meters.

Track 2 - Negative

OK, so we go directly from track 1 to 2 which is in a 6-8 time, at least so far (it's prog, anything can happen). I'm liking this so far. This gives me the impression of what My Chemical Romance would sound like if they went prog? maybe MCR meets Porcupine Tree? (and MCR DO have their proggy moments?). The 6-8 meter is staying pretty constant here. Again, lots of interesting sound effects that seem to compliment the music rather than detract from it. The end sounds like a wind-up toy winding down?.

Track 3 - Shotgun

The tracks seem to all be connected by sound effects of various sorts, so far.

Back in 4-4, kinda punky here at first, the jazzy. The feels seem to alternate. Slower tempo 6-8 section now. We are all over the place style-wise here. Now a Pearl Jam feel. (time codes are difficult since all of the songs are in one video). Alternating between 4-4 and 6-8 in different sections of the song. Pretty good vocals throughout. I like the ride-cymbal work as the song reaches its conclusion. The riff here is slightly reminiscent of Come Together by the Beatles.

Track 4 - Inverse Midas

A piano ballad feel on this one. The title makes me think the character turns things FROM gold instead of INTO gold when he touches them.

Track 5 - Anti-Everything

An odd meter abruptly enters next, signaling the next song. (Full disclosure, at first, I thought it was a different section of track 4, but then realized in looking at the track listing with song times that these two tracks are each very short. I wish the video showed when each different song began, or was a song list of the different tracks, but it'll be OK) It feels like 3-8 and 5-8 alternating (which I know adds up to 4-4, but it doesn't FEEL like 4-4).

Track 6 - Fall Out

The tune here reminds me of a cross between Dance of the Sugar Plum Fairies from the Nutcracker and the Munster's theme?I know, right?-unusual. It has a bit of a chime/bell-tone as part of the mix of instruments. It'd DEFINITELY based on Sugar Plum Fairy I realize as I listen more. Suddenly an acoustic guitar-driven chorus, before the Sugar-Plum theme returns. No Tchaikovsky writing credit, guessing it was public domain by 1998? There is a very contrasting instrumental break, based on new musical themes before it reprises verse 3.

Track 7 - Serotonin

A sixties feeling rhythm lies underneath modern textures. I like it. The drum beat at one point reminds me of Ringo's excellent Tomorrow Never Knows drumbeat. Cool song

Track 8 - Cancer

At 9.5 minutes, the longest track on the album. This is the close to Part 1. Seriously thought-provoking lyrics ("I'm emotionally raped by Jesus") Lots of different sections here. Though there are many various sound effects in the instrumental sections, it all seems cohesive. After a chaotic instrumental section, a gentle piano melody enters. The fill band comes back in with a non-traditional sounding guitar solo. The players are very good, but everything serves the song. There is no real display of virtuosity here.

Interlude:

Track 9 - Witness to a Murder (Part 2) - Featuring a Tom Baker monologue (!)

We start after the first real pause in the music with arpeggiated acoustic 12-string, joined by an operatic female voice. Then a male voice joins in harmony. The Fourth Doctor begins his part well into the song. Not sure exactly what he's getting at? perhaps the futility of life?

Part 2-

Track 10 - Television

We begin with feedback and a punky guitar lead-in takes us into a more floaty psychedelic section. Rather than an ode to TV, we are blaming it for our problems. The pre-chorus has a really odd feeling to it. An instrumental section follows. I'm getting the MCR meets PT vibe again (I know this album pre-dates the existence of MCR by a few years, but it's the best way I can describe it.) Lots of feedback gives way to TV static sounds, then the sustained electronic beeeeeep sound they used to use for the emergency alert system., then we get a little snippet of an orchestra playing "God Save the Queen" - the UK national anthem).

Tack 11 - Special/Blown It (Delete as Appropriate)

We start in a minor key, mid-tempo 4-4 bass/drum groove with effected guitar on top. Things begin gradually building with a steady with-note piano part joining the fray. A very fuzzy guitar accompanies the vocals singing the pessimistic lyrics. Texture and tempo changes abound.

Track 12 - Legacy

This one feels a bit more upbeat after the bleakness of the previous track. However, a review of the lyrics tells me otherwise. Arpeggiated clean guitars with distorted sustained electric guitars seem to form the musical foundation. Slightly folk-rock, but not exactly. The song repeats "nobody cares when you're gone" at the end.

Track 13 - Being a Girl

The opening guitar riff reminds me of a sped up "Jessie's Girl.'' It has a bit of a late 70s early 80s new wave vibe. The chorus is heavier, saying "I feel like being a girl." Maybe he's gender-fluid, or trans? Not sure what the message is here. Once again, as throughout the album, there are many tempo and feel changes to "I want to experience being a girl." I think my earlier suspicions are confirmed, maybe. Because the outro repeats "The only pureness left is preached for me by Marx." The drumming near the end reminds me a bit of Clem Burke of Blondie?.and yes, that's a compliment. A bit of feedback, in a musical way, closes the song as well as the album. Nope fooled me?there is a strange little harpsichord/ child vocal part at the very end.

OVERALL IMPRESSIONS

Prog magazine has a monthly column entitled "It's Prog, Jim, But Not as We Know It." I think that sums up my feelings here. It's definitely prog, but it bears little resemblance to 70s classic prog artists like Yes, or Rush, or Pink Floyd, etc. It's its own beast. This came out a year after our last entry, Radiohead's OK Computer. I hear some stylistic similarities, but, to my ears, Mansun pulls it off much better. I enjoyed this album, even if I was a bit confused by it at times. I'll give it a 3.75 out of 5 stars, not quite a 4, but subsequent listenings might change that.