Maladjusted - Morrissey reviews
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| Allmusic |
 In theory, Maladjusted should have been a readjustment to standard indie rock territory for Morrissey after the prog rock detour of Southpaw Grammar, but Morrissey isn't that simple. From the opening title track, with its menacing, swirling paranoia, it's clear that Maladjusted isn't a simple return to form. That isn't to say that the album is devoid of the jangly, maudlin pop songs that are Morrissey's trademark — in fact, the lead single, "Alma Matters," is a quietly catchy tune that ranks as vintage Morrissey. Nevertheless, it's a little misleading, because Maladjusted isn't strictly by the book. Morrissey has incorporated his newfound fascination with prog rock into his trademark sound much better than he did on Southpaw Grammar, as the lumbering beat of "Papa Jack" and sawing strings of "Ambitious Outsiders" illustrate, but that fascination signals how insular Morrissey's world has become. Things are rarely more insular — or weirder — than "Sorrow Will Come in the End," a spoken word, neo-classical rant about his loss to Mike Joyce in a Smiths royalty suit (the song was pulled from the British version of the album, due to legal reasons), but "Roy's Keen," an ode to a keen window cleaner, isn't far behind. The remainder of the album — particularly the lovely "Wide to Receive," "He Cried," and "Trouble Loves Me" — may be similarly self-obsessed, yet the music is warm and welcoming, thanks to strong craftsmanship and fine performances. They're charming songs, but they're subtle charms, offering the kind of pleasures only longtime Morrissey followers will find irresistible....full text |
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| Rollingstones |
| Heaven knows Morrissey is still miserable. True to form on his sixth solo album, Maladjusted, the Mozz pens lyrics that range from laughably snide ("I don't get along with myself/And I'm not too keen on anyone else") to laughably insufferable ("I praise the day that brings you pain"). But despite his predictability, Maladjusted is Morrissey's strongest musical effort since his 1988 solo debut, Viva Hate. "Alma Matters" is the most perfect bittersweet pop confection that Morrissey has done since his days with the Smiths. Other highlights on Maladjusted are the lush piano ballad "Trouble Loves Me," the foot-stomping rock of "He Cried" and the galloping closer, "Satan Rejected My Soul," cash held together by – you guessed it – themes of reflection, longing and despair. Happiness, it was really nothing....full text |
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| Uncut |
At a recent concert, Morrissey announced that he was about to play a song from his 1995 album, Southpaw Grammar – at which point an excited whoop went up from the audience. It was a response that the singer clearly wasn’t expecting. “Really? Did anyone buy it?” he enquired. “Could you furnish me with receipts?”
These days, Morrissey is a National Treasure. His arena gigs sell out in minutes, his singles go Top 10 on both sides of the Atlantic, his half-baked opinions on immigration are earnestly debated on Question Time. Once-hostile publications slaver over his new LPs and prominent Labour and Conservative front benchers fight over his oeuvre. So it seems difficult to believe that, little more than a decade ago, he seemed all but washed up. On its release, Southpaw Grammar seemed to be the point where the Great British Public officially fell out of love with Morrissey. The casual Smiths fan had all but lost interest while even the scary Moz obsessives were a little puzzled....full text |
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