yesterday #4: television

[incognito]

My last Canta article for the year!!




Television is an American rock band formed in New York during 1973. Combining elements of punk, art rock, new-wave, garage rock and post-punk, they released two albums in the 1970s before disbanding and reforming in 1992 to record another album and tour. Today they are regarded to be one of the key influences on punk (as well as a host of other genres) and name dropped/imitated by any modern band who wants to seem cool and cultured (e.g. The Strokes).

Marquee Moon, Television’s debut album, was released in 1977 to moderate commercial success. While the album reached the Top 30 in many European countries, it failed to ignite anything more than a cult following in America until years later. It’s a regular inclusion on “Best Album” lists by the music press, and was named the 2nd best debut of all time by Uncut magazine.

Marquee Moon is the most immediate and impressive display of Television’s many talents. Verlaine and Lloyd’s guitars duel across the entire album, exchanging solos that never seem overblown. The album blurs the traditional lead/rhythm guitar roles, as many songs slip into sprawling, seemingly improvised jams.

The main riff of opener “See No Evil” gives the sensation of being spun in a washing machine, but without the dizziness or other associated bad feelings. An intentionally offbeat chord in the chorus of the song “Elevation” is glorious in its shock-value, fitting perfectly with the triumphant guitar solo later on. Title track “Marquee Moon” stretches out to over ten minutes of beauty, with the interplaying guitar solos building higher and higher into a twinkling, piano-like climax. The song was amazingly recorded in just one take; drummer Billy Ficca thought the band was rehearsing at the time, yet still managed to provide some of the best drumming I’ve ever heard. The bass work of Fred Smith is inventive and lively, anchoring the guitars from soaring off into irrelevance.

Verlaine’s cryptic lyrics are often overlooked in light of the music that accompanies them, but are worth equal praise. Poetic and impressionist, Verlaine often writes to convey a mood rather than literal description. This style fits the music well, allowing space for whimsical ponderings without intrusive lyrics mediating the experience. In “Venus”, Verlaine sings “I fell right into the arms/Of Venus de Milo”, cleverly referencing the famous statue that ironically has no arms. In “Marquee Moon”, the verse “I remember/how the darkness doubled/I recall/lightning struck itself/I was listening/listening to the rain/I was hearing/hearing something else” is a good example of his surreal lyrics being alluring rather than alienating. Verlaine’s voice may lack technical proficiency, but is filled with a passion and attitude that compels his words.

Marquee Moon still sounds modern and revolutionary with its dense-yet-stripped-down style. The way the musicians play their instruments is astounding, their chemistry infectious. It’s my favourite album of the 70s; pick it up and play it loud over summer.