Nico
Island ILPS 9311
1974
In a previous post I mentioned my fondness for Nico's 1967 solo debut "Chelsea Girl" even though it is not representative of her personal style. I would say that "Chelsea Girl" is my favorite Nico album, but if I had to select the one that best represents her career, I would choose "The End..." which was her fourth studio album. It is gloomy, enigmatic and bleak with minimalist accompaniment provided by Nico on harmonium and a bunch of instruments played by album producer John Cale with some assistance from Phil Manzanera on guitar and Brian Eno on synthesizer. The album opens with "It Has Not Taken Long" which uses the imagery of a hunt to portray persecution and abuse I believe. Nico solemnly intones the lyrics over a swirling harmonium drone bolstered by chimes and incongruously sweet background vocals by Vicki and Annagh Wood. There is also a percussive heart beat sound that adds to the song's ominous tone. "Secret Side" evokes rape and pillage with its tied up virgins and invading ships but I have no idea what she's trying to say besides conveying menace. Nico's enthusiastic vocal sounds sinister, almost sadistic. "You Forget to Answer" is reportedly about her ex-lover Jim Morrison although the lyrics just vaguely describe a communication failure. The song has a richer palate than most of the songs on the album with Manzanera's guitar flourishes and Cale's pounding piano runs very prominent. Nico's vocal has more emotion than it normally does and I have to admit the song gives me chills. I consider it one of her most powerful songs ever. It leads into a cathartic blast of noise like a scream that links it to the drone that drives "Innocent and Vain." The song has some violent imagery but I'm baffled by it. Nico's mournful vocal sounds like it is being delivered at a funeral. The song ends as it begins with blasts of noise that I presume are Eno's work. The first side concludes "Valley of the Kings" which has more violence depicting a vengeful warrior expecting death which I interpret as a metaphor for emotional conflict in a relationship. The song continues the dolorous tone of the previous song as Nico croons like she is riding a boat into Valhalla. Side two opens with some dissonant chords and then the drone of the harmonium kicks in on "We've Got the Gold" which is another song that puzzles me. I'm sure the discussion of wealth and poverty has some poetic intent that is eluding me. Nico delivers it coldly and the random clanks and twangs of the music gives it a mechanical, almost robotic sound. It is followed by the least subtle song on the album, Nico's cover of the Doors' "The End." It was the darkest moment on the Doors' debut album, but here it sounds almost comical next to Nico's doleful poetic dirges. The Doors' version benefited from its hypnotic raga-rock soundtrack as well as Jim Morrison's charisma and over the top melodramatic delivery. Nico naturally strips all that away. The music is fragmented and dissonant. Nico sings slowly and icily. I assume she intended the song as some sort of tribute, but stripping the song of its theatrical allure just makes it sound silly. It can't sustain the heaviness she brings to it. Despite all that I find it fascinating and even fun in places, which is not an adjective one typically associates with Nico. There is even a sort of Manzanera driven rave-up near the song's conclusion. It is followed by "Das Lied der Deutschen," the German national anthem. The song is introduced with funereal organ music and then Nico grimly sings the German lyrics. Nico includes the verses that were associated with the Nazis' use of the song (the "Deutschland über alles" part) but that are omitted by modern performances. I'm guessing this is more for shock value and nihilism than any fascist ideology on Nico's part although some of her associates have claimed she had Nazi sympathies. It gives a suitably dark finish for an anguished album. I didn't hear this album until many years after its release when dark punk and goth music were common place, but even then this album shocked me a little. When I think back to the music of 1974 which I still unfortunately remember pretty well, this sounds like it came from another planet. I can't think of another pop record from that era (assuming you accept that this is a pop record) that comes close to being so bleak and miserable. I don't say that as a criticism, I do respect her commitment to her vision and I consider her to be a true artist even if I don't identify with her artistic sensibility at all. Normally I would be dismayed that the lyrics are so abstruse, but Nico's art is so negative that in this case I'm grateful that she doesn't explicitly vent her spleen. Her vagueness and poetic obscurity is part of her charm for me. Her music is generally reserved and cold, but there is no escaping where her head is at. She doesn't have to spell it out, its dismal presence is overwhelming on this album. She was arguably the mother of gothic rock, although frankly most goths sound like sunshine pop compared to her. I think this black hole of a record is a kind of masterpiece and she and John Cale created an album that approaches high art while still retaining a modicum of pop sensibility. Recommended to depressed poets, it won't cheer you up but it will definitely give you some inspiration.
