Saturday, June 2, 2018

ARTY LENIN: A Life Of Ease

My review of Arty Lenin's A Life Of Ease appeared in the April 19th, 2002 issue of Goldmine.




ARTY LENIN 
A Life Of Ease Stout (no catalog number)

Guitarist Arty Lenin, a founding member of the fab power-pop group The Flashcubes (he wrote the group's first single, "Christi Girl") and a former member of The Paul Collins Band (circa that band's 1993 From Town To Town album), steps out for his first solo album, an unassuming package of wistful pop music that's unafraid to rock but isn't ashamed to weep, either. 


A few of the songs on A Life Of Ease will already be familiar to Lenin's fans, as "The Sweetest Smell," "Cherry's World" and "When We Close Our Eyes" have all been staples of The Flashcubes' live set for years (and the latter tune is likely to be recorded by The Flashcubes for their forthcoming album). But each song makes its recorded debut here, and each still shines in Lenin's solo environment. "When We Close Our Eyes," in particular stands out as a defiant expression of vulnerability, a brilliant call-to-arms for dreamers struggling to get by in a harsh, cynical world.

(Speaking of Lenin songs The Flashcubes have done live, one regrets the omission of "Nothing Really Matters When You're Young," Lenin's other masterpiece of determined-but-resigned alienation, which would have fit right in alongside "When We Close Our Eyes." Here's hoping The Flashcubes get around to recording it soon.)

Much of the album deals, in varying degrees, with themes of alienation, of balancing vulnerability with durability. The opening track, "Mr. Acarius" (misspelled as "Acarious" in the track listings), name-checks William Faulkner's short story to set the proper tone and, more important, to instantly captivate pop fans with a breezy, catchy vibe that belies its lyrical concerns. It's followed by the sprightly, lighthearted "The Sweetest Smell," providing a study in contrasts before returning to the unsatisfied longing that lurks within the country-ish "Not Much Has Changed," cowritten by Paul Collins.

The magic of Lenin's songs is that they express feelings of longing eloquently and yet never fall prey to an oh-woe-is-me capitulation. This is partially due to the unspoken (perhaps imaginary) optimism that seems to lie beneath the surface of Lenin's lyrical alienation, but mostly it's just because the songs are pretty damn catchy. Thus does "Destiny's Plaything," a ditty about predestination and inevitability, wind up as a toe-tappin' celebration rather than a mope-a-thon. Only the standard-issue boogie strut of "Little Sister" and the bar-band workout "One And One Makes Seven" fail to distinguish themselves.

The cover of A Life of Ease shows Lenin standing in front of a yellow submarine, making it clear where the album's title originates. If it seems incongruous to consider the notion of livin' a life of ease against the backdrop of Lenin's square-peg ruminations, you've forgotten the cathartic power of pure pop, you big ol' Blue Meanie. When we close our eyes, time is so forgiving. 





2018 POSTSCRIPT: In a rare example of something I wrote having impact on...anything, this review may have influenced The Flashcubes' decision to record "Nothing Really Matters When You're Young" for their 2003 album Brilliant (which did indeed also include "When We Close Our Eyes"). Power of the press, man. "Nothing Really Matters When Your Young" was reprised last year on the group's 2-CD 40th anniversary retrospective set Flashcubes Forever.  


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