• Reviews

• All
• Music
• DVDs
• Live
• Cinema
• TV
• Books
• Comic Books
• Video Games

Sep 16, 2024 Web Exclusive By Matthew Berlyant

Back in 2020, X released Alphabetland, their first studio album since 1993’s Hey Zeus! It was also their first with founding member and guitarist Billy Zoom since 1985’s much-maligned (but actually pretty great) Ain’t Love Grand. As such with any album made after a 35-year absence (albeit augmented by literally thousands of live shows in the time since they reunited in the late ’90s), there was an enormous amount of anticipation. In a nod to their early ’80s heyday, they even finally put “Delta 88 Nightmare” and “Cyrano DeBerger’s Back” (both dating back to the late ’70s) on a proper LP with their original lineup (they were also released as part of a pre-album 7-inch single), although the latter was released as the last track on 1987’s somewhat overlooked See How We Are, with Tony Gilykson taking Zoom’s place on guitar.

All that said, when news of a follow-up to Alphabetland started to circulate, fans were excited, hoping it would duplicate or match the generally well-received album. Well, not only does Smoke and Fiction match Alphabetland, but it completely blows out of the water, being perhaps their very best studio album since 1983’s More Fun in the New World (the last of a four-album run from 1980 to 1983 that’s universally considered their creative peak).

Returning again with producer Rob Schnapf (Elliott Smith, Beck, etc.) at the helm, the producer gives them a sound that feels more like their authentic selves instead of a band around for more than 45 years trying to make a 2020s-style album. In other words, it feels somehow modern, yet it could have come out in the early ’80s between Under the Big Black Sun and More Fun in the New World.

From the opening, self-referencing “Ruby Church” to the album’s centerpiece, the Exene Cervenka-sung, also self-referencing “Big Black X,” and up through the closer “Baby & All,” this is again some of their most inspired work as a band in many decades. Other highlights include the John Doe-sung “Sweet Til the Bitter End,” showing that he’s somehow lost none of his immaculate vocal range, but this short, 28-minute flamethrower is meant for repeat spins as a whole. It should also be noted that Exene sings better on this album than on anything she’s done in decades as well, perhaps finally feeling 100% healthy after a myriad of health issues in the 2000s and 2010s.

While the material here is memorable, it doesn’t quite match the youthful urgency of their early work (though it comes close). That said, Zoom’s rockabilly-inspired guitar roars like Chuck Berry on speed, and drummer DJ Bonebrake’s Magic Band-inspired work also shines, making the listener wonder what year this was recorded in.

It should also be noted that this is planned to be X’s last album, as they are retiring next year after a lengthy tour to promote it. Thus, the self-referential lyrics hit hard for us old fans. But if that is so and they are really done, and there’s no reason to doubt them given that Zoom is 76 and has faced health issues of his own in recent years, they’ll have gone out on a massive high note. (www.xtheband.com)

Author rating: 8/10