2017 Discography Challenge: PHIL COLLINS- Face Value (1981)

Review by: Alex Alex


If Phil Collins is ever to stand a metaphysical trial wherein the “audience” accuses him of whatever is now understood as “abuse” of the rotten taste of the modern “generation” then such a trial will be like those in the old Communist movies, Phil Collins (again, metaphysically, most alas) sentencing the prosecutors themselves with his whatever action in these, rotten again, times stands for “speech” but nonetheless represents the story of life.
It begins with how he passes a job interview to join some (rotten) artsy-bourgeois, already perverted and proto-virtual, band or what the hell was it – an anime? – already starting to change the “outer” world to the anime – by means of wearing unnecessary articles and adding needless “elements” to what once used to be Work– the thing Phil Collins was interested in, the real work, to obtain which he had to swim in a pool while learning the new drum patterns, a proletariat having to wear a uniform of the cyberpunk and the Matrix.

When a man refuses to watch black-and-white movies on the ground that there are the color ones he simply demands less humanity and more computerized processes. Humanity is intolerable for the kawaii – same as a muscular proletarian figure, such as Mr Collins is, never needs the Miyazaki sunflowers but demands songs instead, the personal ones, the masculine not as now the condoms are called “Masculine” (the penis being virtual) but as once the manliness was present galores in the Atlantis which (Atlantis) has collapsed into the flat screens of the purchased then rented then pirated then zipped then deleted then not found videos.

“You are no sons of mine!” this is what Phil Collins may say to the judges but this already will seem cartoonish – we must see beyond that, we must understand the times where Mr Collins actually has SAVED Genesis, Genesis being done, drowning in the virtual ocean, Mr Gabriel’s brain too weak to fight the recording studios AI – here enters Mr Collins and proudly, I mean, indeed, PROUDLY, presents the Album, Face Value by name, by hearing which you are cured and you are the man again.

For, even the yuppies, having obtained whatever the computer has, in fact, only leased to them while they whey working for Him, drums gated to the delirium and other spare parts of the tentacles now frowned upon as “dated” by the people who frantically try to conceal from themselves that they are, in fact, complain of the total inhumanity of everything – and so the act of Mr Collins sending the divorce request by the “fax machine” meets everyone’s disapproval not because of any “morality” but because such machines are not existing anymore (replace the fax by the e-mail as a mental experiment). Ah, but the same as it was before the birth of Satan, everybody is interested in the entropy which is a Story.

You, people, listen to this album – it’s an old noir movie – how fantastically it starts with the murdering scene, how the hero then recollects his life story: when Love started all that for him – but was it, really, a human feeling, a love or was it something else (gated drums sound)?

We are then slowly progressing to realize the doom, the fate, the descent as we learn that everything has, in fact, been “written in the book”, the reverberating gates of Necronomicon, the house of humanity destroyed, its roof is leaking, there are no human children anymore, no Ma and no Pa, only robots around, gating the drums as crazy.

And then one realizes that he is drowned – he, himself, now – same as he has helped to drown that other one in the first song – a lover or who, THE OTHER HUMAN as he was – and there’s no lyrics to the drowning – which is quite understandable for those who ever was drowning – and then the hero is drowning hand in hand with his love – because we are all alone or in two, drowning in the abyss of the infernal.

“I Missed Again!” exclaims the hero – but you did not miss when you were killing that man, did you? So drown, drown!

And then many, many and many more hymns to the despair and ruthlessness which, is, perhaps, why the hero decides to commit suicide in the end. Alas, in the virtual reality no such thing as suicide is possible and so he only repeats again and again, desperately and feebly, “I’m not moving. Not really”.

Honestly, listen to this album if for the gated drums only.
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Author: tomymostalas

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