To say that any Divine Comedy album feels calculated is somewhat pointless, given that
Neil Hannon's cheeky musical alter ego is a nostalgic figure caught in a 1930s time warp to begin with. It's all about affection, as it were. And
Victory for the Comic Muse is almost mathematical in its calculation: open with a jaunty number to get the audience excited; slow it down for four consecutive reflective ballads to suggest maturity; split the album in half with a piano instrumental like an old movie intermission; inject some life into the proceedings with four sprightly, comic selections; and close with a tearjerker. Such a structure means the album feels like two separate entities, almost like two EP collections jammed together representing two distinctly different phases of
Hannon's career. The
ELO-like opener, "To Die a Virgin," seems to be another stab at "Generation Sex" territory, right down to its Fellini-esque opening samples. The slower numbers that follow are pleasant enough, with some alternately witty and touching lyrics. The second half starts with some welcome drive, as
Hannon tackles the
Associates song "Party Fears Two" with whimsical aplomb. "Arthur C. Clarke's Mysterious World" presents the early
Hannon eye twinkle and is reminiscent of previous creations like "Bernice Bobs Her Hair." Here
Hannon suggests he needs a TV investigation just to understand his girlfriend.
Victory for the Comic Muse has funny moments, sad asides, and some of the now standard
Nyman minimalist moments, although there are stronger entries in the Divine Comedy's overall discography. [A Japanese version added two bonus tracks.]
