THE FALL – DRAGNET (STEP FORWARD)
Recorded over three days in August of 1979 the second Fall album sees band still sounding resoundingly bloody minded with a snarling “grim up North” attitude that serves to further gnash at the ears of the listener.
Following up “Live At The Witch Trials” there is a definite step up on the sound here which, without losing the jagged edge of their debut, manages to bulk up with a denser element to their output. From the previous lineup only Mark E. Smith and Marc Riley remained as this served as the entry point for Craig Scanlon and Steve Hanley who would eventually remain as the longest (and most loyal) servants to the cause.
Representing something of an expansion of the ideas from their debut this is where elements/influences such as Can and Beefheart play as much a role in the band’s sound as all the punk and post punk surround at the time.
The ball doesn’t take long to start rolling and kick off as Smith loudly enquires “is there anybody there?” and “Psyckick Dancehall” opens proceedings. From here the track begins wailing as he demonstrates happiness in amplification and the sound of his own voice. In a way you sense if he wasn’t manning a microphone in a band he would equally be rocking the PA at a factory or supermarket. As the song storms forward halfway through it rides a calypso bridge, foraging an unexpected path.
Afterwards the horrific “A Figure Walks” adds a degree of horror to proceedings while the elevation of “Printhead” serves to thrill as the song hangs in the air prior to unleashing its force (via quotes extracted of reviews). “Diceman” isn’t a whole lot different either as the Luke Rhinehart inspired snarl does sound like the punk was still as relevant as it once was.
“Just take for instance a time of great depression.”
“Your Heart Out” is the money shot. There is genuine sweetness to the song even though Smith is doing his best to sound undesirable. Its all in the playing, the wonderfully light structure and upbeat tone that sticks in the mind and comes the closest to anything pop and coherent. Could it be possible to kiss to a Fall song?
From here the album manages to maintain a sense of fun with the leisurely “Flat Of Angles” and its dizzying swing. Then there is pain “Spectre Vs Rector” which appears to spend a large portion of its duration moving furniture and tuning up. This isn’t pop, its practice.
As with all early Fall records the scratchy guitars serve to bludgeon the listener. The product isn’t perfect, often sounding damaged. It’s the greatest feeling.
Two albums in, two sessions of joy.
Thesaurus moment: vexatious.
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