Christy Malry’s Own Double Entry OST (Art Will Save The World)

“The soundtrack to Christy Malry’s Own Double Entry reflects the thoughts and actions of a lone terrorist who was inspired to take revenge against those who had crossed him – starting by scraping the paint off expensive cars and climaxing with the death of thousands of people,” reads the liner notes. So we’ll get Luke Haines in then, obviously.

Ever since his emergence as an Auteur, Haines has established himself as the cantankerous, venom-spitting spoiled brat it’s okay to like. What saves Haines is a beautifully delicate expression in melody and lyric, that make you think “If he really is this much of a shit, I bet he wishes he wasn’t”, but maybe I’m being naïve. Not an accusation you could level at Haines.

‘Discomania’ opens the show with possibly the best line ever. “They’re having sex/To ‘The Kids In America’’, whispers Haines, disgusted that not only do people who don’t deserve to (everybody) still have sex, but they do it soundtracked by Kim Wilde. ‘In The Bleak Midwinter’ sees Haines berate belief to the accompaniment of a boy soprano, before he relents, assuring us that “Art will save the world.”

‘How To Hate The Working Classes’ is an anti-protest song that sums up Haines’ philosophy in one song, but again the seductive bastard makes you feel it’s him and you against the world – “Let’s start a party of our own.”

Other targets for his ire include dance fans (‘Discomaniacs’) and the British (‘England, Scotland and Wales’), where again the devil in the detail of his meticulous observations at once amuse and apall. Do we really behave like this; believe in this?

Musically we’re dealing with a baroque guitar based sound that will be familiar to the ears of Auteurs fans, often sparse, occasionally sumptuous, but perfectly suited to the sharpness of the lyrics, perhaps the only complement on the album. Unexpected treats include a cover of Nick Lowe’s ‘I Love The Sound Of Breaking Glass’ which, by virtue of Haines vocal, is actually better, and a lot more disturbing, than Lowe’s original. Also the final track, ‘Essex Mania’ sees the professed anti-dance drone take a stab at a Hard-House number that comes off like a Leftfield single. Which pretty much sums up Haines and this album. He can slag everything and everyone because he knows he’s better. Then he proves it. Then he makes you feel better, too.