There has been a lot of talk recently about “fake news” and its equally alarming cousin, “alternative facts”. Some say those alternative facts are nothing to worry about; they are just white lies, little fictions that reveal a deeper truth.
Pictures of the crowd at Donald Trump’s presidential inauguration may have shown fewer people than at Barack Obama’s but the new president is (obviously) more popular than his predecessor. News stories that suggest otherwise must be politically motivated and, clearly, constitute an attempt to stand in the way of the yellow mop-top’s urgently needed program of reforms that will make America great again. And that’s sad.
I don’t know if Elbow were thinking of those sorts of alternative facts when they chose to call their latest album Little Fictions. The lyrics of the title track suggest otherwise because they are about the prickly words exchanged across the kitchen table between the “pair of boozy bowerbirds” that live together in what we must assume is an ordinary suburban house somewhere in the North West of England.
We protect our little fictions like it’s all we are
Arguments, it seems to say, can only burn while we deceive ourselves.
It’s you who’s being intransigent, not me. But while I cling to that violet falsehood my every utterance is a muffled battle cry that ricochets back to condemn me, to flay me until all I can do is hold on tight, waiting for the original miracle – the blood red miracle of life, the rose red miracle of love – to heal the wounds and soothe away the pain.
There is an aching truth in those verses, but there is salvation, too.
Little Fictions, the album, was released on the 3rd February 2017 and one week later it stood at number 1 on the UK album chart. It opens with Magnificent (She Says), a wonderfully uplifting song destined to become an Elbow classic and the first single to be taken from the album. This one song tells you all you need to know about the whole album. Even after Richard Jupp’s departure last year Elbow remain at the peak of their astonishing creativity.
In Magnificent we have Guy Garvey’s evocative lyrics showing us how a piece of sea-worn glass can be a sapphire in a small girl’s eye and how immensely important that sense of wonder and excitement is to every one of us. The instruments dance with that little girl on the sand as she throws her arms wide to embrace the shore, the sea, the sky and the whole wide world. Yes, this song is magnificent in every way.
The lyrics of Firebrand and Angel are more difficult to interpret. It seems to be one of Guy’s love poems in which he tells of the “terror sublime” that comes from being in love with an unpredictable, headstrong woman – both firebrand and angel. More than that I can not say. Musically, though, this is another one of those songs with Elbow‘s inventive mix of rhythm and instrumentation – clapping, percussion and a stroll over the lower register of the piano lead on to the vocals and a mellifluent electric guitar before an ending with soothing backing vocals. It all adds up to a tone poem to rival anything the pop/rock world has to offer.
I’ve mentioned three of the ten tracks on Little Fictions so far. All I’m going to say about the others is that every one of them effortlessly reaches the exceptional standards of Elbow‘s other recent recordings. Individually they are a joy, collected on the album they are a treasure chest of pleasures. And, for once, the record-buying public agrees with old Crotchety Man. I hope that’s because they know the difference between alternative facts (which are bad) and Little Fictions (which is very, very good).