It has been thirty-one years since the break-up of the Smiths, but Johnny Marr has refused to sink into either obscurity or self-indulgence, something his third solo album, Call The Comet makes quite evident.

Broadly speaking, Call The Comet is a concept album that, in the words of Marr, is “set in the not-too-distant future and is mostly concerned with the idea of an alternative society.” Certainly, this approach is something to be welcomed within the current political climate, a climate which Marr is acutely aware of, as shown by his lyrics, which strike a balance between fierce political commentary and ambiguity. A Different Gun poignantly discusses 2016’s terror attack in Nice, and in Bug, channelling the spirit of Talking Heads, the state of the world is compared to a disease  “infecting our lives, incubatin’.”

Naturally, Marr’s distinctive jangly guitar is ever present on this album, but in a subtle, understated way. His prowess on the instrument is still evident, but he never flaunts his skills, keeping his riffs restrained in a way that suits this set of songs perfectly. That is not to say that this album is inhibited in any way. In fact, it feels a bit heavier and less fastidious than his other albums, with new-wave and punk influences running through its core.

Marr was always the king of the indie anthem, and nothing has changed in that regard. Songs such as Rise were made to be hollered by stadium crowds. However, Marr also pushes musical boundaries on this album. On Walk Into The Sea and Actor Attractor, he disposes of the verse-chorus model for something very different. Although these experimental songs may  not be his best, the attitude is refreshing and they provide a promising glimpse towards future Marr works. Call The Comet is testimony to the fact that Johnny Marr is still a force to be reckoned with, and this is not going to change any time soon.