The Fall
A-Sides

Let me start by saying I hate compilations, and I have very few in my discography.

For purely informative purposes, I'm writing to do justice to one of the most important bands
of the '80s and beyond. A band capable of works like "Dragnet," "Hex Enduction Hour," down to "Grotesque." A band that the late John Peel described as his favorite because it managed
to confound the listener with each release. A band revered here in England (although it's a niche cult), but unknown beyond the borders of Albion.

We are talking about The Fall, the creation of the irritable, gruff, brilliant Mark E. Smith.
The same, only common member to the thousands of line-ups and ruthless and enlightened dictator, described their music as "Country & Northern," to differentiate from the myriad of "Arty" bands that populated the scene at the time, some very valid, such as "Wire," but the majority undoubtedly pathetic. The Northern connotation also aimed to indicate the group's origin, foggy Manchester, also home to Joy Division (it is said that Ian Curtis used to pass by the shop where Mark worked every day..).

Country in part, but also Rockabilly, Punk, Funk, all contaminated by a simple Electronica and
devoted to the cause of repetition, the real creed of the band. The music of The Fall was in fact obsessive, repetitive if not in style, then in cadence, creating a sort of extremely neurotic and epileptic sound labyrinth. This was also due to the band's habits, which notoriously abused amphetamines and stimulants.

"A-Sides" is excellent in presenting an incredible series of masterpieces to the unfortunately numerous uninitiated.
Without doubt, as an A-Sides, we are presented with a product that analyzes the musically
more accessible part of the band, consisting of often catchy and danceable singles, but precisely for this reason, it is more likely to be loved at first taste.

The songs are, as mentioned, all very valid; among them, it's essential to remember at least a few, including the initial "Oh Brother," a kind of sonic manifesto of the band. The leading drum creates a psychotic atmosphere along with the relentless pulsating bass, while haughty and nasal Mark E. Smith sings "Oh brother, we are in a mess!". The celestial or infernal voices, your choice, combined with an almost toy keyboard and a series of unidentified noises create the first masterpiece. "Couldn't Get Ahead," among the following, is even more repetitive, to the edge of institutionalization. The pace becomes faster, with various cacophonies and Beat choirs punctuating a bass groove seemingly created specifically for Smith's voice, who this time, exhausted, screams that he just can't carry on any longer. It follows with a Rock'n'Roll destroyed and drowned in Prozac like "Cruisers Creek," where you can either dance or simply stagger.
"Hit the North" is one of the few (commercial) successes of the group and really enjoyable; here Smith reaches such levels of irritation to rival Steve Albini in antipathy. But for the anthem, the killer-track, one can only cite the famous "Mr. Pharmacist," a true ode to amphetamine. The pharmacist is nothing more than a dealer, to whom Smith asks "Give me some energy". After this request, the rhythm becomes even more incisive and neurotic, almost simulating the substance intake. The track closes with the initial rhythm and with one last gem from Mark, this time, serene: "Mr Pharmacist, I'll be back...". Brilliant.
A Dark atmosphere but a Rockabilly cadence drive "There's A Ghost In My House," later covered by Marc Almond, one of the most danceable pieces of the lot.
"Victoria" manages to create a memorable melody, with echoes of the American frontier, and which, as usual,
the annoying rhythm and mad singing manage to save from being a sure chart-killer.
In closing, I recall the album's cut "Dead Beat Descendant," also very Rock in its vibe, but damaged by the relentless repetition of instruments, really representing an emotional state comparable to that of a madman on the verge of a lobotomy.
I emphasize that all tracks are worthy of note.

The Fall is really worth rediscovering, for Smith's truly unique lyrics, as well as his truly irritating yet fabulous way of delivering them, for quality music, uncompromising yet pleasant to listen to, at least on the surface. Indeed, it often happens to me to become much more irritable after listening to the Mancunians, and I am sure that their goal was this, to annoy.