Disko Never Dies – Remembering The Fall

WORDS BY FERGAL KINNEY      POSTER BY ERIN CAINE

When Mark E Smith died in January 2018, nights playing only The Fall seemed to spring up everywhere – well, London and Hebden Bridge – but surprisingly, not Manchester. Deciding this was not on, myself and Daniel Cooke, of Let’s Make This Precious, got in touch with the Star & Garter with a view of putting on a one-off Fall club night; strictly all The Fall, all night. Onlookers praised the talents of Smith and saluted his memory, late into the night.

The evening went off without a hitch so, it felt only right to do it once more, this time on Saturday 23rd March 2019 – one year on from the previous display of memorial affection for the Fall singer. Entry is £5 per person, with the night running from 11 pm ’til 3 am. Want to know more? You can RSVP to the event right HERE.

There’s room for this to become an annual celebration. Taking a look back at his career here are some tracks that we’ll be playing on the night that speak to a unique artist that remains peerless from his generation.

Rock n Roll isn’t even music really. It’s a mistreating of instruments to get feelings over

The Fall would have happened regardless of punk – the young Mark E Smith was already chaining Captain Beefheart, The Velvet Underground, CAN etc – but the ’76 moment provided an open door for Smith to sneak through and an infrastructure on which to launch. 

Industrial Estate is probably the only point in the Fall’s history where they sound aligned with what’s going on around them. This track was recently used at the end of Ben Wheatley’s film of the Ballard book High Rise, and was perhaps the only good thing about that film. There’s a bit of a parallel with Smith and Ballard; both lived in suburbia, writing about the weird from a non-metropolitan vantage point, and were sneered at for this.

The fact that weird fiction/horror writers like HPLovecraft, Arthur Machen and MR James are widely read now is thanks in no small part to Smith championing their work at a time when those names (especially Machen) had fallen well out of favour. Pulp horror would be a huge influence on Smith’s writing (Mark Fisher wrote brilliantly on this in his essay Memorex for the Krakens), and The Fall track, Wings, is the most successful, most thrilling embodiment of that. The song’s protagonist appears to be shot during the US Civil War, which is the trigger for him hitting a cosmic timelock darts him back to 1825 and then forward to the present, via gremlins and flabby time-traveling wings. Billy Bragg this ain’t.

The fact that The Fall burned through some sixty-six members is well-documented but is also a bit of a red herring if you’re looking for clues about the man. He was a great artist, he just looked nothing at all like our expectations of great artists. 6ft with a stoop and wearing your grandad’s slacks, he dressed like a man twenty years older than his age and cultivated an image more akin to a world-weary mafia boss than an avant-garde musician. But he was an avant-garde musician, which does mean that a lot of The Fall isn’t really aimed at the dancefloor. When it is, however, the results are thrilling. Hear the birth of LCD Soundsystem on Telephone ThingJames Murphy would even directly lift the track’s “I’m tapped” hook for the 2005 single Movement.

As Let’s Make This Precious‘ co-DJ Daniel Cooke likes to remind me, The Fall were nothing if not a great cover’s band. Victoria, There’s a Ghost in My House, White Lightening – some of the group’s definitive cuts were covers. Lost In Music is my personal favourite. Released in 1992, you can hear the influence of this track’s louche WMC disco all over Pulp’s His’n’Hers, which would come out two years later. Sensibly, Mark E Smith sat out the Britpop thing. Insensibly, he used it as an opportunity to go bankrupt.

There was a view peddled in obituaries last year that Mark E Smith declined as an artist, that the booze got to him; this is a wrong view. Imperial Wax Solvent, The Unutterable, Your Future Our Clutter – just three utterly indispensable post-millennium Fall albums, and there’s plenty more where that came from. Just listen to Dedication Not Medication, the electroclash banger from The Fall’s penultimate LP. You know that awkward moment when you go to the doctors over your chronic bedwetting, but the GP is Piers Brosnan and he’s prescribing you Curly Wurly bars? More than anything, Mark E Smith was overlooked as a surrealistic, a Manchester Magritte. And, just so you know, that bassline is about to demolish your flat.

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