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Mark Stewart tended to confound expectations wherever he went. Not as a result of he needed to – he simply couldn’t assist it. His innate curiosity, sense of humour and gently provocative nature, coupled along with his huge charisma and sharp thoughts, meant that whereas he devoted his life to creating intensely highly effective music, he didn’t take himself too significantly. Spend even a few minutes in his firm and he’d be ribbing you left, proper and centre, barking ten to the dozen in his wealthy Bristolese; this towering post-punk prophet, all six and a half foot of him, had a contact of Tommy Cooper about him.
Stewart died unexpectedly in April 2023 on the age of 62, a drive of nature abruptly silent, however he’d accomplished what would turn out to be The Fateful Symmetry, his eighth solo album, earlier than his demise. Wanting again at what he labored on over the past decade or so of his life – two new albums with the reformed Pop Group and variations of their basic 1979 debut Y reissued by way of Mute, plus a few industrial dub solo releases that introduced collectively the likes of Bobby Gillespie, Richard Hell, Kenneth Anger, Penny Rimbaud and Keith Levene – it’s tempting to imagine that this new file would proceed within the vein of his collaborative solo materials: jagged, whacked-out dubstep and menacing funk fusion united by Stewart’s theatrical pronouncements on an array of conspiracy theories and political subjects. In that mode, it was typically too simple to dismiss Stewart because the unusual man with the megaphone on the road nook who’d been ranting about the identical factor for 40 years, though, deep down, you realize he’s cottoned on to some important reality.
Not that The Fateful Symmetry, regardless of its eerily prescient title, is a few sort of warning from past the grave – removed from it. In reality, realizing that Stewart has gone, it comes throughout extra like a love letter to life, filled with arrestingly stunning songs by which Stewart revels within the superb absurdity of humanity. In a closing twist he’d little question relish, Stewart has produced probably the most accessible album of his profession, one which mashes collectively swooning chanson and smouldering ballads, new-wave grooves and candy-striped dub, whereas he gives a comparatively restrained efficiency, crooning by way of the likes of “Neon Woman” and “This Is The Rain” within the method of modern-day Nick Cave, a singer who as soon as claimed that Stewart in his unhinged Pop Group prime “modified all the things”.
Mute boss Daniel Miller, who started working with Stewart within the early ’80s, means that Stewart needed this album to be extra interesting in order that he may attain a wider viewers – and as soon as he’s snared them with the candy stuff, they may come to understand Stewart’s gnarlier heavyweight gear. Both means, there’s a degree of high quality management on this undertaking, overseen by Miller, that also permits Stewart to probe and provoke however this time the medium of his message is extra palatable. The noirish digital disco of opener “Reminiscence Of You”, produced with common foil Youth, is nearly deceptively straight, with Stewart singing, “I may’ve wrote a love track” whereas he pours his coronary heart out, craving a greater world.
Stewart was identified for his generosity. In Bristol, he opened doorways for the Wild Bunch and Large Assault, helped Tough file his breakthrough “Aftermath”, and championed new outfits like Ishmael Ensemble and Younger Echo. Equally, right here he brings collectively a bunch of disparate producers whose mongrel mixture of types complement one another. After the pulsing doom-step of the 23 Skidoo-produced “Crypto Faith” – “That is how I dwell now – some days are higher than others,” he mooches – comes the atmospheric post-punk of Belgian act Mugwump’s “Clean City” (“You’re not alone on this hill of bones”). On Youth’s “Neon Woman”, which options The Raincoats’ Gina Birch and descends into boozy schlager, he asks: “Is it too late, too late for me?” He sounds much more uncovered on “This Is The Rain”, a bruised piano ballad produced along with his Pop Group bandmate Gareth Sager, as he speaks stirringly of “a world the other way up and backwards – that is the rain that washes and heals in glory.”
In some methods it’s becoming that Stewart comes full circle on The Fateful Symmetry with an endearing cumbia-style dub, combined by Adrian Sherwood, of “All people’s Acquired To Be taught Someday”, initially successful in 1980 for The Korgis, who would have been contemporaries of The Pop Group, though their approaches differed, to place it mildly. “Change your coronary heart, it would astound you,” Stewart sings by way of distortion, however the message – and his enduring positivity – couldn’t be clearer.
