In terms of sheer quality, March has been one hell of a month. Edwyn Collins released the masterful Badbea, Mekons did the wild and beautiful Deserted, Beth Gibbons performed Gorecki's unimpeachable Third Symphony with the Polish National Orchestra. Excellent records all around. To me, however, this was all about Inferno.
The parallels between this album and Danger In The Past, Robert Forster's solo debut from 1990, are obvious and just a little unnerving. First of all, nine songs. As every Go-Betweens/Forster fan knows, this number is wrong. Secondly, Inferno was recorded in Berlin and produced by Victor Van Vugt. And finally, there is this question of Irish literature. Only whereas Danger In The Past clearly alluded to James Joyce with its cover picture, Inferno has Forster write music to W.B. Yeats's poem. I say 'unnerving' because it brings things full circle and I hate full circles like that.
The poem in question is "Crazy Day On The Day Of Judgment" (this is Yeats's spelling of the last word, Robert adds the very British 'e' to it), and Forster weaves a beautiful melody into it. It's an untypical, sparse melody but it holds your attention all the way through, and seduces you with its elegant arrangement and Karin Bäumler's timely backup vocals. Apparently, Mike Scott is not the only songwriter who can put Yeats to music. The faux-anthemic "No Fame" features this rare thing called Robert's falsetto, and I strongly believe that it should have been chosen as a single. Instead, it was the fine title song whose rollicking piano is a treat and whose video has Robert Forster in a suit, with a lawnmower. Side one closes with the gorgeous ballad "The Morning" with lyrics both inspiring and strikingly simple.
Side two starts with the languid and very naturally (I guess 'raw' is the word, but I mean that affectionately) vocalised "Life Has Turned A Page". The pop 'hit' "Remain" is yet another highlight, not least because of its hard-hitting lyrics referencing some of Robert's frustration with the lack of recognition that has dogged him ever since... ah well. "I'll Look After You" is a romantic little breather, the rip-roaring "I'm Gonna Tell It" is - and I hate to admit it - a relative letdown (despite the descending 'I'm gonna, I'm gonna, I'm gonna' hook), and then it all ends with the majestic "One Bird In The Sky". Well, I cried and I laughed at how good it is. Songs like that only get written a handful of times per decade, and I know the stark magnificence of those lyrics will stay with me forever. Put it this way: "One Bird In The Sky" is a top ten Robert Forster song. And I do mean of all time.
To me, a new Forster album is always an event. The man only comes up with one every five years or so, but when he does - it's something you will listen to, and grow old with, for quite some time. How does Inferno fit in with his other work? I guess it's too early to say, but while it's neither Danger In The Past and nor is it The Evangelist (Forster's best album, still), I would say it inhabits a world similar to that of Songs To Play. A classic artist with impeccable taste and songwriting chops who is playing to his strengths, and doing it with relish and great freedom. The kind of relish and freedom that only come with experience. I can't wait to see him in Bonn in early May, him and his terrific band.
