Songs Of Mass Destruction

Not only the title of Annie Lennox's new album - her fourth solo release in 15 years - reflects the Scottish singer's increasing political activism in recent years. The songs themselves bear the brand marks of recent social tragedies and her growing disillusionment with humanity: 'Sing' - on which she is accompanied by 25 female singers from Beth Orton to Madonna to Dido to the Sugababes - sends a clear political message for better prevention of mother-to-child transmission of the HIV/AIDS virus (she has also set up a website for the cause: annielennoxsing.com). Other songs seem to reflect her politics in a more subtle way. The post 9/11 fear of terrorism and the accompanying sense of social alienation find expression, for example, on 'Lost' - the best track on the album by far - where "the sound of the planes in the night", "those murderous drums" and "the marching of footsteps" resound to unsettling effect. Something menacing seems to lurk in 'Smithereens', too - the very title recalls the damage of lives blasted apart - "It seems that you / have cause to worry / It seems that you / don't wish me well."

Yet in spite of the gloomy subject matter, the mood is surprisingly defiant and strong. The paths she presents are not just dark roads or of ghosts trapped hauntingly in her machine. Already on the opening track, she announces proudly "I look at that open road / I'm gonna walk there by myself". Also, unashamed romanticism surfaces on 'Coloured Bedspread': "We make the stars collide / I touch the planets / Through your eyes". With Glen Ballard producing at the helm - of Alanis Morissette and Dave Matthews Band fame - the sound is softer and more MOR than has perhaps been the case with Lennox in the past. But he is restrained enough to let her huge voice (which is as passionate and full of throttle as always) take centre stage.

I have to say that some of the tracks, however, don't work for me. 'Sing' has very well-meaning political intentions and the African AIDS crisis certainly needs as much attention as possible, but as music the song is, for me personally, pretty unlistenable. Its clarion call to the sisterhood to unite ("C'mon my sisters now! / Sing loud and sing proud!") recycles the most clichéd banners of 1980s feminism; its approach is somehow embarrassingly outdated ("What won't kill you will make you strong, yeah!"). 'Womankind' is another example of a rather out-of-fashion sound and lyrics: "This is for the womankind / Check it out!", she sings. But one song in particular lifts itself effortlessly above the occasionally patchy material: 'Lost' is a genuine masterpiece. The personal and political are intertwined to brilliant effect on this emotionally transparent ballad. Its politics circle in the orbit of emotion and not the other way around, culminating in Lennox mournfully wailing "we're lost" in the sweeping refrain. Having portrayed the cruelty in the war-torn world and her revulsion from the direction that humanity is taking, Lennox ultimately sees the darkness streaming not only from outer causes but also from within. The cathartic power and grand emotion of 'Lost' is sure to deafen out any critical voices on this very welcome comeback.

Best tracks: 'Lost', 'Dark Road', 'Smithereens', 'Fingernail Moon', 'Through the Glass Darkly'

I'm surprised by some of the views expressed here. Maybe some reviewers listened to the album just once and gave up on it; it disappointed me, too, on first listening, but it quickly grew on me, as some of the best music does, and now I consider it one of the best albums I've ever heard. The music is rich and complex, with fantastic melodies, and I would say there's only one weak track ('Sing' - and even that has a good chorus). Lennox's voice gets better and better: the vocals on the eerily atmospheric Through The Glass Darkly (for me, the best track), Smithereens, Womankind, and Big Sky are just stupendously good.

What distinguishes this from many other artists' work is the quality of the song-writing: the chord changes are so sophisticated, and there are many layers to every song, so that you hear something new each time you listen. (Rarely true of every single track on an album.) If you like your music raw and imperfect, you might find it over-produced, but in my view the production only enhances the quality.

So would this album would appeal to you? Well, if you liked Lennox's previous solo albums, then probably it would; musically, it isn't a departure from the past. Like me, you might find it an album you're unlikely ever to tire of.

Beautiful, fantastic.I bought the album on the new single 'Dark Road', so impressed and can confirm it's the best album I've bought in a long time.

I've always found Annie's voice amazing, and the song writing has always been top notch. However (you may disagree) I was disappointed with 'Bare', it didn't consist of the come back and listen factor.

I got to 'Fingernail Moon' (last track) on 'SOMD' and wanted more, much more.

Just listen to 'Love Is Blind' continuing to 'Ghosts In The Machine', great stuff. Annie is back and better than ever (not a duff track). Got to listen to 'Through The Glass Darkly', absolutely beautiful.

Thanks Amazon for putting the whole video for the first single on-line for all of us to enjoy. She's a blessing on the vocal world, all I need now is for her to come to the Cambridge Corn Exchange (Annie I hope your reading)!

Best Annie in ages, now time to collect the Eurythmics and Annie back catalogue.

97% out of 100%