In his book Orthodoxy, author G.K. Chesterton explains the inevitable travails of “The Maniac”. He describes the problem of the madman that believes the whole world is involved in conspiracy against him, and that in order to live in that world, an individual has to shrink their perceptions down to an ever-tightening pattern of logical reasoning that eventually they cannot break out of. Thus we are left with a spiraling prison of logic, whereby we are left trapped, unable to escape.
On Talking Heads’ third album, Fear of Music, the band traces a similar journey as described by Chesterton. Released in 1979 on the heels of its first two records and its first charting single, Fear of Music careens with conviction into a suffocating and paranoid masterpiece. From the opening Hugo Ball-inspired chants of “I Zimbra” (featuring King Crimson’s resident guitar maestro Robert Fripp) to the closing anxiety-ridden sound-scapes of “Drugs”, the album plods into ominous and dark arenas similar to those once traveled by David Bowie on the album Low. The cover says it all: a bleak and black metallic floor laden only with quasi-industrial and pre-PC green lettering.