Kevin
Mathews:
June,
2002

How Nonsuch Saved My Life

Forgive me as I indulge in some personal reminiscing…

In the mid-eighties, I embarked on a mission to collect as many comics as humanly possible - don't ask - I still buy and read 'em, just not in such quantities. That meant financially, I was not able to keep up with my record purchases as much as I used to. This was not helped by the fact that the second half of the eighties was abysmal pop-wise.

What truly brought me back to the joys and thrill of listening to pristine pop was XTC's Oranges and Lemons and I have not looked back since. But this article isn't about Oranges and Lemons as you would probably guess from its title.

1992, whilst every rabid XTC was waiting anxiously for the new album, I lay in bed down with a bad case of bronchitis. That did not stop me from nagging my better half to pick it up at my favourite CD store. Which she kindly obliged.

So there I was for the next couple of days, a captive audience of one experiencing over and over the highs and the lows of Nonsuch. I was inspired enough to pen a thoughtful review for a local magazine, which was never published. This is what I wrote, a mere decade ago: -

"Nonsuch consists of seventeen songs and runs over an hour. It is a potpourri of sights, sounds and ideas that establishes very clearly XTC's fine credentials. Rooted in sixties' sensibilities, there is a quality in XTC's work - the ingredients of studiocraft and plain fun that has not been seen since the Beatles. Sonically, Nonsuch hearkens back to 1986's Skylarking, the group's Todd Rundgren-produced US breakthrough. Compared to their last effort, Oranges and Lemons (1989), Nonsuch is more reflective, poignant and laidback. Lyrically, the band touches base on a variety of issues - the disintegration of marriage (Dear Madam Barnum, the Disappointed); the joy of children (Holly Up On Poppy, Then She Appeared) and the mundanity of life (Wrapped Up In Grey). Social issues still play a big part in XTC's concerns. Books Are Burning details carefully the case against censorship, the Ballad of Peter Punpkinhead - an absurdist parable on messianic complexes, Wardance - a cautionary tale on the post-Gulf War euphoria and the Smartest Monkeys - a song that succinctly ridiclues the achievements of mankind by bringing it up against the glare of the plight of the homeless.

The latter two songs are part of the four tracks contributed by secondary songwriter and bassist Colin Moulding. Andy Partridge, chief creator, vocalist and guitarist has weighed in with his usual high standard of songcraft that in the current decline that the likes of Weller and Costello are in, Partridge may be the best British songwriter around.

Of course, the album has its quirky moments. From the carnival-like atmosphere of Omnibus to the torchy elements of Bungalow, that the band prove that their tongues are still firmly in their cheeks.

Throughout Nonsuch, one is struck by the strong melodies, innovative and vibrant arrangements and pristine instrumentation. The last of which is courtesy of XTC's third man, Dave Gregory.

XTC is not trendy or hip. They're ugly and pudgy-looking. They hail from boring Swindon, for Pete’s sake. Still, they refuse to follow pop conventions, ignore commercial considerations and doggedly stick to their principles and commitments in making their music. If you let them, XTC will take you on that magical mystery tour, that magic carpet ride. ALL ABOARD!"

Suffice to say, I loved the album -- strange as it sounds it made those bedridden few days bearable, even enjoyable. Thus, the album is special to me although in hindsight, it does not sound as perfect as I once believed. Nonetheless, you can never underestimate the power of great pop! (AND little did I realize that Nonsuch would be the last taste of XTC for seven long years!)

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