Johnny Marr - The Age Of Everything

Spin; Beyond The Rain; It's Time; How Come; Ophelia; That Feeling; In And Out Of Love; Just Once More; Fire With Fire; All In A Life

(BMG)

Johnny Marr has spent decades proving that a great guitar part can be every bit as memorable as a great vocal, and The Age of Everything finds the former Smiths guitarist continuing to sharpen his considerable songwriting instincts.

His fifth solo album is a confident, guitar-driven collection that looks at the confusion of the modern world without losing sight of the irresistible melodies that have always been his calling card.

Opening track Spin sets the pace with chiming guitars, restless rhythms and an immediate melodic hook. It is classic Marr territory, but delivered with enough energy and fresh perspective to avoid feeling like a trip down memory lane. There is a similar sense of purpose to Beyond the Rain, a track that combines sweeping melodies with a more reflective mood, demonstrating how effectively Marr can balance emotional weight with his instinct for an uplifting chorus.

The album’s title reflects a world increasingly crowded with information technology and competing demands for our attention. Rather than simply railing against the times, Marr channels that unease into music that feels alive with movement and possibility. It’s Time brings a sharper, more confrontational edge, while How Come slows the pace, allowing the emotional undercurrent to come to the fore.

What makes Marr such a distinctive musician is the way his guitar work operates on several levels at once. His playing is rarely about showing off technical prowess; instead, the interlocking riffs, sparkling textures and subtle melodic flourishes give each song its own identity. The arrangements are expansive without becoming bloated, and there is a pleasing sense of a band working together rather than a celebrated guitarist simply taking centre stage.

In And Out Of Love adds another dimension with its sweeping, waltz-like feel, while That Feeling brings a more direct, accessible melodic appeal. Towards the end, All in a Life closes proceedings on a darker, more atmospheric note, leaving the listener with something more substantial than a collection of catchy guitar songs.

There is, inevitably, a shadow cast by Marr’s extraordinary history with The Smiths. Yet the real achievement here is that he sounds increasingly comfortable operating beyond that legacy. His solo work has developed its own personality, built around restless guitar lines, thoughtful songwriting and a refusal to stand still.