Mick Karn
Titles

Mick Karn was the bassist for Japan, a new wave/new romantic band from the early 80s, which managed to blend in its last (and most artistically important) three records (Quiet Life, Gentlemen Take Polaroids, Tin Drum) Central European cultural influences, ethnic music (especially of Eastern origin), and sophisticated experimental electronics. All this was mixed to create a listening experience rarely found in contemporary albums (with the exception of Brian Eno and David Byrne's foresighted and rarely known "My Life In The Bush Of Ghosts" and some moments from David Bowie's Berlin Trilogy).

Pioneer of ethnic contaminations in pop and even earlier a scientist of his instrument, Mick Karn with "Titles" (dated 1982) embarks on his first solo experience, although well-supported by some historical companions (Richard Barbieri, also a historical keyboardist of Japan, is prominent on synths, along with Steve Jansen, Japan's drummer, who also plays percussion on some tracks). The result is a good level product, absolutely interesting and not lacking in some high-quality flourishes. Each track somehow reflects Karn's "experimentalism", especially concerning typically non-European sounds (Barbieri does a good job). Besides being in the role of bassist here, Karn distributes himself across various instruments (clarinet, sax, flute, etc.) to demonstrate his excellent versatility. The album's tracklist is exactly in the order in which the songs were written. The introduction is entrusted to four impactful instrumentals, which from the first one ("Tribal Dawn") almost seem like a declaration of intent. Absolutely original ethnic-electronic blending can particularly be found in the hypnotic "Passion In Moisture" and the atmospheric yet captivating "Weather The Windmill". Not to mention an excellent melding of woodwinds and bass in "Lost Affections In A Room", a moment in which Karn's string instrument almost seems to sing in his place.

The true Mick Karn is found for the first time on the B-side of the LP, while all the instrumentals are placed on the other side. Particularly noteworthy in each track is the author's excellent technique and inventiveness (which, not by chance, I previously referred to as a "scientist of his instrument"), whose fretless bass sound, deep and incisive, dynamic and enveloping, makes this record an important purchase for all lovers of this often-underestimated instrument. The second part of the album represents a continuation "more pop-oriented" on the same levels as the previous one. A useful way to not turn a pleasant album into an exercise in style for its own sake. "Saviour, Are You With Me?" is the moment of greatest ethnic contamination, particularly gathering sounds and riffs typical of African tribal music. The best levels of pop/ethnic music/electric synthesis in my opinion can be found in "Trust Me", where Karn unleashes all his potential as an instrumentalist (and he doesn't do badly on vocals either, although his companion/rival from Japan, David Sylvian, is on quite another level) creating a kaleidoscope of overlapping colors and rhythms.

The album's "slip" (though to call it such might be a bit excessive) is represented by "Sensitive", the only single extracted from the album for promotion. It's an innocuous, very easy listening tune, extremely catchy but lacking a certain depth in arrangement. Although it aligns perfectly with the sounds and atmospheres of the album, it is the part that feels the most dated. The perfect conclusion is summarized in "Piper Blue", a track with an uncertain and irregular structure, which perpetually leaves a sense of "suspension" and "incompleteness", which in this particular case does not represent a flaw, but rather the timeless synthesis of Karn's new approach to contemporary light music, already matured in a great school such as the band Japan (which would soon disband). The conclusion, in particular, closely recalls some moments from "Tin Drum". Thus, we are left with in summary a pleasant album, not at all trivial, a synthesis of the teaching and experience that Karn received within his historic band. 35 minutes that flow smoothly without boring, also leaving some heartbeat moments behind. The androgynous bassist will have much to say in the years to follow, but it is undeniable that "Titles" is one of his most genuine works.

The remastered CD edition also contains a bonus track, "The Sound Of Waves", a highly "ambient" instrumental suspended between overlapping lead keyboards and constantly present staccato woodwinds. With a deep and prominent bass presence. Mick Karn remains still one of the best bassists around (among other things, he also devotes himself to sculpture). To be listened to on rainy days: it is enchanting.