San Diego Union-Tribune
August 15, 1996
Robyn Hitchcock, Moss Elixer
Had The Original Pink Floyd's Syd Barrett Not Blown His Mind And Vanished
Into The Vapor Of '60s-Rock Lore, He Might Have Evolved Into Robyn
Hitchcock
by David L. Coddon
The ex-leader of The Soft Boys and The Egyptians plays guitar better than
Barrett ever did, and he's more sardonic than psychedelic. But Hitchcock flaunts his eccentricity and flouts lyrical convention much as did Barrett (whom he sounds like on vocals, too). No wonder that Hitchcock will be the subject of an upcoming film by director Jonathan Demme, who's chronicled gadflies before (i.e. David Byrne in Stop Making Sense).
Hitchcock describes his first solo album for Warners as "something to listen to, rather than music that helps you buy clothes." Moss Elixir is an austere, at times self-conscious album, constantly quirky and rarely boring. Much of it is just Hitchcock's nimble acoustic guitar and echoing vocals -- though there are a couple of sublime contributions from violinist Deni Bonet and one tasty guitar cameo by Morris Tepper (Captain Beefheart band).
"The Devil's Radio" is a snide indictment of shock talk, and the moody "Filthy
Bird" perhaps a metaphor for the waste of war. The existential "You And Oblivion" shows Hitchcock's dreaminess, while the silly-but-fun "Alright, Yeah" would seem destined for radio playlists.
Moss Elixir, Robyn Hitchcock (Warner Bros.) **½
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