The Fall - Hex Enduction Hour (Album Review)

 

The Fall - Hex Enduction Hour

(1984)

My copy: 2016 reissue by Superior Viaduct.

The Fall’s Hex Enduction Hour: a cult record with such a lofty reputation that it’s become a mecca of sorts for fans of post-punk music. And yet, late frontman Mark E. Smith is not without controversy, especially in the eyes of modern internet-equipped crowds. Essays upon essays have been constructed examining Smith’s volatile use of the N-word in opening track “The Classical.” So what’s my take? As the Brits would say: I don’t bloody know. Now, I do believe that it shouldn't be left to white, twitter-addicted snobs to decide what music Is or isn't offensive on behalf of people whom they assume will be offended. If a person of color took issue with me listening to “The Classical,” there would be reason to reexamine the line, but that scenario hasn’t occurred. The lyric itself is most likely a snide dig at corporate commodification of minorities, but I really have no place in arguing the necessity of its inclusion. Anyways, the music is fantastic. 

The band is entirely held together by the amazing bass performances of Steve Hanley, whose rhythms ground the ferocious noise guitars on “The Classical.” Smith’s vocals are erratic and unhinged, though the song breaks into an oddly jubilant chorus with sarcastically cheerful melodies. “Jawbone And The Air Rifle” keeps up the chaotic pace, breaking for an airy chorus more akin to the sound of their contemporaries the Television Personalities. While there are charming vocal takes, Smith would never be as intentionally sweet as Dan Treacy as dissonance often deeply corrupts Fall songs. The quiet, muted saunter of “Hip Priest” does wonders to shake up the pacing before losing its cool into passages of detuned guitar bursts. 

A cheap metronome interlude introduces “Fortress / Deer Park” before a halfway danceable beat is kept weird by tremolo and odd guitar solos. The guitar tones are destructive and mostly for texture, especially on the brutal punk of “Mere Pseud Mag. Ed.” which ends suddenly. The duology of “Winter (Hotel-Maxi)” and “Winter 2” starts with an intense swagger before chirping keys start to rearrange the mood. The second half introduces the most overt guitar melody, as it intertwines with the keys. This portion of the album obviously influenced the majority of 90s underground alt bands by fusing their signature discordance with catchy/repetitive guitar licks. 

The layered vocals on “Just Stop S’Ways” take the piss out of the advertising business, with almost surf-rock riffing furthering the satirical  energy. “Who Makes The Nazis?” probably fuels the modern controversy surrounding the band, but the message is much deeper upon deeper reflection. The music is equally as nihilistic as the message, but with odd caveman grunts and kazoo. “Iceland” totally reconfigures the sound of the album with repetitive piano and almost quaint jamming with childish sound tinkering. As interesting as the track is, the repetition goes on a bit too long. “And This Day,” however, nails repetition. The ten-minute march totally embraces a villainous tone with pounding drums and sinister keyboard melodies. Smith’s sneering calls are at their peak as the track repeatedly crescendos into oblivion. 

The Fall, while controversial, were John Peel’s all time favorite band for a reason. Their crazed noise layering and shockingly sophisticated rhythm section lift them into the upper echelons of post-punk. If there were a pantheon of 80s alternative bands, Mark E. Smith would probably be lurking somewhere in the corner composing lyrics about how bogus the whole thing is. That said, Hex Enduction Hour is an all-time classic that is still shooting residual shockwaves into the world of post-punk music.