The Hammock Papers: The Cars

'Tis Autumn. The weekend begins now ...

"Hang care!" exclaimed he. "This is a delicious evening; the wine has a finer relish here than in the house, and the song is more exciting and melodious under the tranquil sky than in the close room, where the sound is stifled. Come, let us have a bacchanalian chant—let us, with old Sir Toby, make the welkin dance and rouse the night-owl with a catch! I am right merry. Pass the bottle, and tune your voices—a catch, a catch! The lights will be here anon."

Charles Ollier, from "The Haunted Manor-House of Paddington"

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The euphony transformed me and inundated my soul in a roguish countenance, the likes of which I had know well in younger days. Such impishness soon drove out the complaints of the day.

Umberto Limongiello

Rolling Stone on The Cars' 1980 high-toned dalliance with art theory ...

With the new album, the rift between the Cars and their critics has widened—though for different reasons. Panorama avoids most of the methodical mannerisms that befell Candy-O, but what it opts for instead is technopop: rigid, electronic rock & roll that favors machine-like exactness over heartfelt expression, and avant-garde minimalism over pop-based tunefulness.

So far, the reviews have been mostly unflattering, with Rolling Stone describing it as “an out-and-out drag.” The unkindest cut, though, came in the Cars’ own backyard. Writing in the Boston Phoenix, an alternative weekly that was one of the first publications in the country to tout the group, Deborah Frost declared: “Certainly, some of their fans will think they’re really putting their necks on the line this time. Bullshit. If they are, it’s not because the music or ideas behind it are so brainy, but because this is a slapdash job.” Elsewhere, Frost concluded, “This year’s model is a lemon….”

Yet, there’s a counterside to this wrangle. The Cars’ new music may not have the rock verve of Elvis Costello or Tom Petty, nor the experimental range of Talking Heads or Public Image Ltd., but it does, I think, represent a genuine advance for the group. On several tracks, Ocasek and crew have removed the melodic and harmonic core, paring the songs down to monorhythmic pulses and monochromatic arrangements. On cuts like “Panorama” and “Misfit Kid,” the end result can be grating and jerky, but in “You Wear Those Eyes” and “Touch and Go,” it proves tense, mordant and chilling.

The question, though, is whether any of this constitutes a bona fide incursion of avant-garde music into the mainstream, or whether it’s just an artsy exploitation of other people’s innovations. In other words, is the Cars’ music merely a high-toned dalliance with art theory or a genuine revolution in rock aesthetics?