Momus - Orchestras

Where are you now, my problematic fave?
Oozing or just snoozing, snoozing in your grave
In the age of information you escaped the great palaver
Another gargoyle strangled by your slave
Oozing then snoozing in your grave

So great to hear that you became world famous in the end
No one got the memo, though, my bulbous-headed friend
Intuitively late for your blind date with Madame Fortune
These orchestras are dead

That rush for inequality, how was it ever clean?
The bowing and the scraping was so monstrously obscene
The lurch-creep of the puritan, the stink of burning bras
These orchestras are dead
These orchestras are dead

But long live the unborn! The baby yet to come
Long live the pinky paupers and the awful gits of dawn
To life all gifts are coming that we've yet to understand
These orchestras are dead
These orchestras are dead

A woe-defeating dildo to the end
Just in time for such a fine catastrophe, my friend
Seething with frustration at your third inoculation
And a green electric scooter's all they send
The green electric scooter's all they send

And no one ever pesters you for interviews today
No muscle-bulging knuckleheads to hold the crowds at bay
Just autistic incel bedroom boys who clutch their heads and say
These fingered air apostrophes mean everything today
Each courting his catastrophe in his AirBnB

But the rush for inequality was never ever clean
The bowing and the scraping that left us sick and green
The creep of the obsequious, the stink of burning bras
This orchestra is dead
This orchestra is dead

But long live the unborn! Long live the yet to come
Long live the kooky paupers and the awful gits of dawn
Delightful things come raining down, we've yet to understand
Now the awful star is dead and we are free to be the fans
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These orchestras are dead

Nicholas “Nick” Currie (born 11 February 1960), more popularly known under the artist name Momus (after the Greek god of mockery), is a Scottish songwriter, author, blogger and former journalist for Wired.
For over thirty years he has been releasing, to marginal commercial and critical success, albums on labels in the United Kingdom, the United States, and Japan.
Momus began by recording post-punk material with ex-members of Josef K in a group called The Happy Family in the early 1980s and was associated with the musicians around Postcard Records (although he never recorded for that label). His debut solo album Circus Maximus (1986, él records) explored biblical themes in dark, almost Gothic acoustic style. His debt to the influence of Gallic pop was clear from a subsequent, sardonically self-referencing cover of Jacques Brel’s “Jacky”.
In 1987, when he lived in London, he signed to Creation Records and began to record the hyper-literate, quirky pop songs for which he is best known. A trio of albums, The Poison Boyfriend, Tender Pervert and Don’t Stop The Night, blended accessible dance-pop with such heavy lyrical themes as paedophilia, necrophilia and adultery. The latter album almost yielded a hit in the UK with “The Hairstyle of the Devil” which peaked at No. 94 in the UK Singles Charts in May 1989, and was a local hit in San Francisco, reaching #32 on a year-end list from SF’s KITS Live 105 radio station. Subsequent albums on Creation included Hippopotamomus, a scatological tribute to Gainsbourg, as Momus continued to push boundaries of acceptability within accessible pop structures.
By 1994, however, when Creation signed Oasis, his music began to seem wildly out of place compared to the newer, more ‘laddish’ and commercial sounds Creation started to produce. He moved to Paris and signed to Cherry Red Records. Since then he has lived in other countries and, while less popular in Britain, has had a reasonable level of commercial success, especially in Japan, where he wrote and produced records for successful singer Kahimi Karie, including the hit single “Good Morning World”, which was originally written as for a cosmetics advert.
He has been sued twice. The first time was from Michelin UK, for the song “Michelin Man”, which compared the mascot to a blow-up doll, on Hippopotamomus (1991).
He was sued by Wendy Carlos for the song “Walter Carlos” (which postulated that the post-sexual reassignment surgery Wendy could travel back in time to marry her pre-surgery self, Walter) on The Little Red Songbook (1998). The case was settled out of court for a fee of $30,000, withdrawal of the song, agreement not to use Carlos' name for any purpose, and payment of damages and attorney’s fees to Carlos. To pay off the debt, Momus wrote 30 songs, one about each person or group who commissioned a song for $1,000, compiling Stars Forever (1999). Patrons included artist Jeff Koons and Japanese musician Cornelius. Stars Forever also features the winners of a karaoke contest started on The Little Red Songbook (1998).
He has continued to regularly release Momus albums.
In the last two decades, Momus has lived in London, Paris, Tokyo, New York and Berlin. He has made Osaka his home since 2010.
In December 1997, he contracted acanthamoeba keratitis in his right eye due to a contact lens mishap sustained whilst on holiday in Greece, causing loss of vision on that side. Although his sight subsequently improved following surgery he has suffered lingering effects from the infection since, causing him to often be photographed in an eyepatch, very dark glasses, or squinting.,