This post is a bit of a question for the viewers. How do you listen and react to music? Do you have to sit in a darkened room with your eyes shut, do you just tap your toes and bop your head? Do you only listen to music while doing other tasks? I often have music often in the background and don’t usually just sit and listen. I usually do something else, even when I have a CD from my collection (which I will talk about the future) on for example. However, music is always on as I am obsessed! I’m always reading other music reviewers and interviews with artists etc.

Anyway, today I’m reviewing Smiths legend Johnny Marr. I just thought I’d include that opening aside as a bit of food for thought for the viewers too!

Marr released his new album, The Age of Everything in October of this year. I personally think it is his strongest since his 2013 solo debut The Messenger. That is because he is in much more of a major-key mindset this time around – most of the tracks have beautiful chord progressions starting on the major root chord. His debut album was like this, whereas his solo albums since have mostly featured minor-key riffs and chord progressions.

The record kicks off with a few minor-key tracks actually! “Spin” is nothing special to me until the glistening guitar riff after the second chorus – classic Marr. “Beyond the Rain” is another cool song, a tribute to Mani from The Stone Roses that at once feels foreboding and danceable.

So we’ve established a base with a few minor-key yet fun tracks. Then “It’s Time” starts with a nice two-chord major progression before settling into another minor yet euphoric jangling riff. The little riff at the end is particularly good and I like the driving drums. Could the major tease at the start take the album somewhere else though?

*Marr always seems to pose in front of industrial buildings in his solo pictures. It definitely emphasises that classic industrial vibe of the post-punk Manchester lineage he comes from I think.

The next song, “How Come,” features another staple Smiths-style minor riff from Marr. The chorus is Am (minor) F G Am Dm F. However, once again the last chorus goes Am F G Cmaj (major) then to F. You keep teasing me Johnny!

Then the following “Ophelia” goes from a groovy minor riff in the verse to a lovely progression starting on the major root chord for the chorus, and has a blissful psychedelic outro, with him circling around the major third of that root chord on his guitar. Next track “This Feeling” is even better, with a really uplifting chorus chord progression centred on the major root chord. It has that resolution, that feeling of going home almost that a major-key chord progression gives. It has a cool reggae vibe in the verse that is something different for Marr.

“In and Out of Love” again has a dreamy minor chorus and swaggering major verse. It has a bit of a ’50s doo wop feel, similar to some of The Smiths material. “Just One More” then brings it back to the minor world of the first two songs. Penultimate track “Fire with Fire” is another example of a major key rock n roll verse and chiming minor chorus riff in the chorus. Closer “All in a Life” follows the same formula.

Overall, The Age of Everything is one of the strongest of Marr’s solo career thus far. There is a beautiful collision of major and minor ideas across many tracks, and a slightly wider sonic palette than some of his other solo work.

It does have a definite Smiths vibe, and isn’t reinventing the wheel of music. Nonetheless, it is a highly melodic and well-crafted slice of indie rock, that proves why I think The Smiths are more of a “lemon” band than most would think, with the unpretentious Britpop/post-punk revival leanings presented on The Age of Everything. Thanks for reading.