In one of the greatest ages of “sad boi” music comes Morrissey’s Viva Hate. Not only has this record helped more broken-hearted adolescents and early adults than crying into a well of tears, but the music behind the golden age of Morrissey helps heal by taking away.
Understanding true pain and bringing knowledge from separation is never easy; as the iconic and genre-defining group The Smiths began on their split paths, Morrissey never slowed down. Only releasing six months after the final album of The Smiths, a new door opened for Morrissey that has never seemed to have a rugged closing. His stylistic approach to creation while keeping a similar overall sound of his previous endeavors stayed true, this was a rebirth in the most welcoming way. With the opening moments of “Alsatian Cousin” where Andrew Paresi supports on the percussion, Stephen Street takes the bass and guitar, and Vini Reilly precedes on the keyboards and guitar behind an often distraught Morrissey.
It is the comedy of hearing a tearful display coming out of the emotional and often ill-confident Morrissey that strikes him into a box of becoming less than what he actually is. If albums were able to be displayed entirely through emotions, Viva Hate is the entire body system that functions through pain, anger, distance, happiness, and most importantly, love. The way that the chords strike on the prolific “Everyday Is Like Sunday” that can move the acoustic guitars and strings to tears. It is instantly calming; acting more as a breath of fresh air or cool water that washes upon the listener in this overarching sense. However, as the lyrics flood into frame, Morrissey is secretly wishing for a nuclear winter to obliterate the town. “This is the coastal town, that they forgot to close down. Armageddon – come Armageddon, come, Armageddon come!.. How I dearly wish I was not here in the seaside town, that they forgot to bomb, come, come, come nuclear bomb” Morrissey describes.
Another moving piece comes from “Suedehead” where Morrissey is more upbeat than previously, but displays a greater love interest that just will not leave (or stay). “Why do you come here? And why do you hang around? I’m so sorry, I’m so sorry” he describes as the cheerful production behind him clings well and in an orchestrated fashion.
Viva Hate is full of these moments that achieve a greater sense of depth. The record can accurately display the love and disdain in a relationship that comes from breaking-up from one group and tagging-along with another. A new change can be for the better and as Morrissey lives on through the new generations, his records are more important than ever while music makes its rounds and develops through trendless waters.