Every artist’s career is a journey of progression. From the music that brought them their first notoriety, they will experiment with sounds and musical textures, until years later they are producing work that no one would have expected. Such is the journey of Paul Weller, The Modfather. At 62, his career has outlasted those of his contemporaries. He has an incomprehensible and awe-inspiring ability to produce music that differs from album to album; no two are the same.
His latest album, On Sunset, released by Polydor on July 3rd, is no exception to this. Marking his fifteenth solo album, On Sunset is philosophical in nature and utterly angelic in resonance. It is an album of self-reflection; of ataraxy and equanimity (both describing a state of serene calmness and composure), two lyrics which Weller uses himself on the track ‘Equanimity’. They sum up his purpose and his emotion throughout the album. His reflective state is not one of regret, but of content. His innovativeness, whilst experimental, is collected and confident.
Each song flows into the other in perfect harmony. It marks a distinctive point in Paul’s journey; gone now are the days of Sonik Kicks and Wake Up the Nation, when he tried to recapture glimpses of the New Wave/Punk genres which he was an indispensable component in creating. On Sunset makes no attempt to relive those old memories yet reflects on the past with contentment, and looks within and forward towards the future, making it prophetic and prescient.
Throughout the album, there are influences from varying points in musical history. From the track ‘Rockets’, where an allusion to David Bowie’s ‘Starman’ is made, to ‘Old Father Tyme’ and ‘Mirror Ball’, songs which contain a healthy dash of progressive electro sounds, alluding to artists like Electric Light Orchestra. However, Weller’s interpretation of this progressiveness is mellow and measured, a result of his age. Indeed, On Sunset is a clear message to his audience that the guitar, an instrument which has effectively defined Weller’s entire career, is no longer the main focus of his music. Instead, Weller is looking for new ways to create musical synthesis, therefore a greater emphasis on electronic musical components are to be expected. ‘Earth Beat’ is a perfect showcase of this. The result is a unison of sounds, giving the album a full, enriched listening. It is beautifully melodic, reflective in parts, and prophetic in others.
Lyrically, Weller never disappoints. Some are more complex than others, but generally the messages are simple, yet immensely powerful. But, as shown on the instrumental track, ‘4th Dimension’, Weller’s creativity on this album is no longer predominantly focused on the lyrics. He has shifted instead to focus on the actual music at the forefront, with the lyrics providing additional context. If anyone thought forty years ago that Weller would be making such instrumental tracks as ‘4th Dimension’, when at the time he was making such lyrically rich songs like ‘That’s Entertainment’ and ‘Down In The Tube Station At Midnight’, they would have been thought to be mad. This album therefore marks a clear turning point for Weller; a fulcrum which provides an end to the Weller he once was and alludes to the artist he is becoming.
Read more: Best of the Modfather – The Top 5 Paul Weller Lyrics
Organic in nature and with a cinematic aura, Weller looks back on his life in some songs, and then looks onwards and upwards in others. He chose to bring back the guitarist Steve Brookes, who co-founded The Jam with Weller, and Style Council contemporary and ‘organ maestro’ Mick Talbot, to help with the track ‘Baptiste’. The fact that Weller has brought back these two artists clearly shows that he is looking back on his life not just metaphorically, but also literally.
Alongside this, Weller also called upon newer artists, nurturing a new generation of musical talent. The Northern Irish composer and singer, Hannah Peel, was brought in to conduct the orchestral aspects of the album. Peel had previously worked with Weller on his 2018 album, True Meanings. So, to be asked to assist him again shows how talented an artist she is, and the amount that Weller has been impressed by her.
Also, Weller called upon the Stone Foundation to play various horn instruments on some tracks. In this sense, Weller is both reflecting and innovating simultaneously on this album, as is his nature. The result of moulding the past and future together on this album, by collaborating with old friends and new acquaintances, presents a harmonious balance which can be heard throughout the album.
Weller’s voice, aged yet golden, applies a radiant contrast to the progressive electro used throughout the album. Moreover, the extensive use of acoustic guitar, especially in the final track, ‘I’ll Think Of Something’, couples perfectly with his vocal tone. The reverb from the acoustic also gives certain tracks a distant, organic ambience.
The drums used on the album vary greatly, from complex drumbeats and simple rhythms, to no drums at all in the last track. The electric guitar riffs on the album are few and far between. As previously mentioned, this album does not centre on the guitar, and the omission of much electric guitar proves this. However, when it does appear it is perfectly timed and complements the existing melody.
There is a spiritual tone to this album, especially on such tracks as ‘Baptiste’, which accompanies the reflective aura that Weller has created on the album. The female French vocals on the track ‘More’ also add to the spiritual side of the album, by being a softer and therefore more divine voice than Weller’s own. Weller enjoys the use of French vocals, and indeed has used them before, most notably in the track ‘Down the Seine’ by the Style Council.
Equally, the use of female voices on such tracks as ‘More’, ‘Earth Beat’, and the title track ‘On Sunset’, means the album delivers a softer perspective. Indeed, it marks a change from Weller’s typically masculine-based music produced in previous years. The female voices also allude to companionship, voices who Weller can reflect and innovate with alongside.
This album is genre-bending, packed with positivity, as heard on such tracks as ‘Village’, ‘Walkin’’, and ‘Ploughman’, which contain sounds that span the musical spectrum. On this album, Weller’s philosophy is that of applying internal reflection and peacemaking to produce a work of external beauty.
On Sunset will be seen in many years as a seminal album in Paul Weller’s vast discography. In this time of great uncertainty and flux, an album like this is a wonderful relief. It provides an oasis for listeners to escape from the perils of the coronavirus crisis, and instead reflect on the past and plan for the future. And who knows what that may look like…
Words by William Cooper
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