The The "The Comeback Special (Live at the Royal Albert Hall)" (2021)

The Comeback Special (Live at the Royal Albert Hall)

release date: Oct. 29, 2021

format: 2 cd

[album rate: 4 / 5] [4,02]

producer: Matt Johnson

label: Cinéola / Ear Music - nationality: England, UK

Live album by The The celebrating the return to live performances after a 17 years hiatus. The album is recorded live at The Royal Albert Hall, London, Jun. 5, 2018. The The consists here of Matt Johnson on vocals and guitars, Barrie Cadogan on lead guitar and backing vocals, James Eller on bass and backing vocals, DC Collard on keyboards and backing vocals, and with Earl Harvin on drums.

Long story short: Johnson basically left the limelight of the music business as a result of losing his brother Eugene in 1999, and the loss of brother Andrew (aka illustrator Andy Dog) in 2016 made him decide to return as a performer.

The album is packed with great renditions of his back catalogue - it's amazing how strong these songs are performed. Now, everyone holds their breath and hope Johnson will take up his career releasing brand new material as The The.

Great comeback - highly recommended!

[ Mojo, Uncut, Record Collector 4 / 5 stars ]

The The "Naked Self" (2000)

Naked Self
release date: Feb. 29, 2000
format: cd (LTD.)
[album rate: 3,5 / 5] [3,68]
producer: Matt Johnson & Bruce Lampcov
label: Nothing Records - nationality: England, UK

Track highlights: 1. "Boiling Point" - 2. "Shrunken Man" - 3. "The Whisperers" (live) - 5. "Global Eyes" (live) - 6. "December Sunlight" - 7. "Swine Fever" - 9. "Weather Belle" - 10. "Voidy Numbness" - 11. "Phantom Walls"

6th studio album release by The The stylised as NakedSelf follows five full years after Hanky Panky, which for many stands as a bit of the odd one out by being entirely dedicated to Hank Williams covers for which Matt Johnson selected a handful of session musicians instead of working with the established backing band.
NakedSelf is quite naturally a much awaited album and he's back with the old formula working alone, handpicking people to work with, and he's back with twelve new compositions. I purchased the album without giving it a single listen, and I must admit that I'm not certain to have made the same decision having given it an ear test first. I never played this one that many times - for many years I tried, though, but it just never caught me. Also, I've always been a bit bewildered about how to label it in terms of style and genre, which of course isn't important at all. Undoubtedly, it will go as experimental, and art rock, but pop / rock? Most evidently, no! Out of 12 tracks only 2-3 felt like worth the lot, and I soon regreted my purchase. Now, that was my thoughts back in 2000 and for the first decade or so, but after having returned to it in recent years, I really don't find it all that bad after all. My initial verdict would most likely have been 2,5 / 5, max, but nowadays, I'm sure it's 3,5 / 5, and even above that, a rather solid album. Some of the tracks have a Radiohead tone whereas others seem to belong to a different dimension, where Johnson explores his own influences but perhaps most apparently: expands his own soundscape by revisiting some of the sources to his first solo album Burning Blue Soul (1981) with its will to experiment and to explore what should become known as neo-psychedelic.
NakedSelf isn't a bad album, it may not provide us with great pop songs of the like one will find on his previous releases, although, three to four come close. At bottom line, it's much more introspective and basically an album for the keen listener.
Following this, Matt Johnson appears to have withdrawn from the public eye. People may think he left the business but he has continued to compose and write music, only more exclusively as soundtrack composer, and primarily for younger brother Gerard Johnson films, the first being the short Mug (2004), followed by full-length films: Tony (2009) and Hyena (2014) - also for the documentary Moonbug (2010) by Nichola Bruce, all of which have been released as soundtracks via the Matt Johnson founded label and podcast host Radio Cinéola. And speaking of brothers, in 2016 Matt's brother Andrew, known as Andy Dog, the artist behind several covers by The The, died from a brain tumor. Allegedly, the loss of brother Eugene in '99 was one of the reasons to why Matt Johnson felt trapped and ultimately stepped out of the music business - now it appears another brother's untimely death could be one of the reasons to why Johnson may be getting a band back together to perform the back catalogue of The The.
[ allmusic.com, Rolling Stone 3 / 5, 👍NME 3,5 / 5, 👉Pitchfork 7,1 / 10 stars ]

The The "Hanky Panky" (1995)

Hanky Panky

release date: Feb. 14, 1995

format: cd

[album rate: 3,5 / 5] [3,46]

producer: Matt Johnson & Bruce Lampcov

label: Epic Records - nationality: England, UK

Track highlights: 1. "Honky Tonkin' " - 3. "My Heart Would Know" - 5. "I'm a Long Gone Daddy" - 7. "I Saw the Light" - 9. "I Can't Get You Off of My Mind" - 11. "I Can't Escape From You"

5th studio album by The The follows two years year after Dusk and is anything but the natural follow-up but nonetheless a genuine Matt Johnson release, although, none of the songs were written or composed by Johnson. The album pays tribute to Hank Williams - only the arrangements are credited Johnson and (David) 'D. C.' Collard. After releasing two albums as an actual band, Johnson is here back as solo artist behind the project. The only recurring personnel is D.C. Collard credited treated melodica and arrangements, and co-producer Bruce Lampcov. The new backing band mostly only covers a stellar cast of American session musicians including guitarist Eric Schermerhorn (from Iggy Pop's backing band) and bassist Gail Ann Dorsey (from David Bowie's backing band), harmonica player Jim Fitting, and drummer Brian MacLeod (Chris Isaak, Wire Train, Sheryl Crow, etc.), which once again sees Johnson play with handpicked musicians instead of a steady band.

Hanky Panky is really something else, and then there's still Johnson's DNA all over despite also being original country songs. The album may contain eleven tracks but it runs for less than 34 minutes. A first glimpse of the front cover, and knowing of Johnson's sometimes biting satire in combination with the album title, which could sound like a pun hinting at the first track and / or the world of country as a genre, and you might mistake it as a bad joke of some sort. And I guess Johnson knew about people doubting his project - explaining why he has included a written statement in the inlay telling about his admiration for the genre as such and for Hank Williams in particular. So, don't be fooled, it's by no means a joke but deadly serious! Some would argue that Johnson probably recognised the loner in Williams' existence and his songwriting, and then Johnson himself faced a new beginning after relocating to the US and ending his relationship with Fiona Skinner.

The arrangements are at times with much remaining from the original songs, but mostly they are with due respect to the source but heavily re-arranged with a great deal of modern rock in mind.

My initial verdict had me (completely) reject Johnson's choice - it was simply too strange, and I guess a lot of fans felt the same, but you really have to hand it to Matt Johnson: he did what he felt like doing at the time, regardless other people's opinion - be it record label, critics, or fans.

In retrospect, the album naturally lands miles from his previous releases but it's by no means a mediocre album 'cause everything is done with respect and so much talent that it simply puts a new light on songs from a completely different genre. It's both art rock, blues rock and country rock all mixed with the essence of country, and frankly, overall, it's really a mighty fine release.

Hanky Panky wasn't exactly met like a new great album from The The by most critics, but who cares what they think, although, some have changed their initial opinion about the album over the years, which basically tell us that you only have to listen for yourself.

The album is not one of Johnson's best but it's still a recommended listen, also both as a tribute to a great songwriter as well as brilliant reinterpretations of classic country.

[ 👎allmusic.com 3 / 5, USA Today 3 / 4 stars ]

The The "Dusk" (1993)

Dusk
release date: Jan. 26, 1993
format: cd
[album rate: 4 / 5] [3,92]
producer: Bruce Lampcov, Matt Johnson
label: Epic Records - nationality: England, UK

Track highlights: 1. "True Happiness This Way Lies" - 2. "Love Is Stronger Than Death" (4,5 / 5) - 3. "Dogs of Lust" - 5. "Slow Emotion Replay" (4 / 5) (org. video) - 6. "Helpline Operator" (4 / 5) (live) - 10. "Lonely Planet" (4 / 5)

4th studio album by The The follows almost four years after Mind Bomb (Jun. 1989). Like the predecessor the album features the band in the same line-up, although things took a windy road n the studio. Dave Palmer only plays drums on four of the ten tracks, and yes two songs are completely without drums, but that alone doesn't add up anyway. All band members are depicted on the inner sleeve, and Palmer is credited as drummer; however, he was practically sacked halfway through the recording of the album - apparently, for not being able to show up for clocked sessions, and / or for not always being in a sober state. Vinnie Colaiuta (from Sting's touring band) and Bruce Smith (from the Pop Group) handles drums on two tracks each - Colaiuta on tracks #3 and #9, Bruce Smith on tracks #4 and #6
A tour following the '89 album had been interrupted and nearly completely cancelled as a consequence of the sudden death of Matt Johnson's younger brother Eugene. Johnson had taken a three months hiatus, returned to finish the remaining tour, and then relocated to New York but continuosly fought with the loss for years to come - which to some extent explains the long interval between the two albums. When Dusk was finished and a new promotion tour was in the planning, it didn't start off in the easiest manner. Firstly, it was expected that Marr would probably be unavailable for 'The Lonely Planet Tour', as he was in the midst of making music with New Order's Bernard Summer in the duo-project Electronic, and he was then replaced by guitarist Keith Joyner. Bassist James Eller had been offered a contract for a solo album, which meant he was replaced by Jared Nickerson, and official drummer Dave Palmer was invited to join the band again for the tour, which he accepted. Halfway through the tour Palmer threw the bomb that he would now leave and instead join Rod Stewart's live tour, and in his place Andy Kubiszewski took over as drummer.
Dusk follows closely in the style laid out on the '89 album, though it appears as a more experimental art pop release, and in a way, a more genuine Matt Johnson release. In some ways, it feels more in family with his great Infected album from '86, a step in the right direction, or at least so I think of it. Instead of presenting a new set of lyrics about society and politics, the songs here deal with a personal dimension, human emotions, and the true meaning of life. The album is Johnson's best faring album to date peaking at number #2 on the UK albums chart. It delivered three singles, tracks #3, #5, and #2 with the latter being written with his brother in mind. Andy Dog is back with an illustration for the front cover.
Imho, Dusk shows Johnson at the peak of his career. The band play like one organic whole and the songs function on more than one level, and production-wise you don't find that many albums better balanced.
Highly recommended.
[ allmusic.com 4 / 5 stars ]

The The "Shades of Blue" (1991) (ep)

Shades of Blue, 12'' ep

release date: Feb. 1991

format: vinyl (655796 8)

[album rate: 3,5 / 5] [3,72]

producer: Matt Johnson

label: Epic Records - nationality: England, UK

Tracklist: A) 1. "Jealous of Youth" - 2. "Another Boy Drowning" (Live) - - B) 1. "Solitude" - 2. "Dolphins"

Ep release by The The is a non-album release in between Mind Bomb (Jun. 1989) and Dusk (Jan. 1993). The B-side contains two covers: "Solitude" (originally titled "(In My) Solitude"), a 1934 jazz standard credited Duke Ellington with lyrics by Eddie DeLange and Irving Mills, and the 1966 Fred Neil folk composition "Dolphins" (originally titled "The Dolphins", included on his second album Fred Neil from Dec. 1966 and also released as a single).

The The "Mind Bomb" (1989)

Mind Bomb
release date: Jun. 13, 1989
format: cd
[album rate: 4 / 5] [3,88]
producer: Warne Livesey, Roli Mosimann, Matt Johnson
label: Epic Records - nationality: England, UK

Track highlights: 1. "Good Morning Beautiful" - 2. "Armageddon Days Are Here (Again)" - 4. "Kingdom of Rain" (feat. Sinéad O'Connor) (4 / 5) - 5. "The Beat(en) Generation" - 6. "August & September"

3rd studio album release by The The following more than 2½ years after the acclaimed Infected (Nov. 1986). Previously, Matt Johnson had been the only official member of his band as he had worked with studio musicians to record his former albums, as well as working with and hiring various members for live performances. But for this, Johnson included a fixed group of members, and fundamentally changed his project to a functional band, all depicted on the back cover. Band members here are now Matt Johnson on vocals, guitar and keyboards, Johnny Marr (The Smiths) on guitar and harmonica, James Eller (Julian Cope band) on bass, and with Dave Palmer (ABC) on drums. Eller had been hand-picked by Johnson, who had enjoyed the bass-sound on the albums Saint Julian and My Nation Underground by Julian Cope, and he had wanted to continue working with Palmer who had been the drummer on Infected. On songwriter / composer level it doesn't make a big difference since all tracks except one are written entirely by Johnson, so he hasn't given away much in the decision process. The only noticeable difference is a change to a stronger pop / rock style with less room for experiments and art pop, and the sound is very 80s in a not so positive sense with much focus on drum and bass. That said, the album still differs from contemporary releases by incorporating instrumentation and styles from a broad variety.
The album is his so far best-selling album making it to number #4 on the UK albums chart list, and the single "The Beat(en) Generation" is the best-faring single by The The peaking as number #17 on the national charts, as many may have found this release more (mainstream) digestible. The album had the working title of "Psychonaut" - together with the actual title this referred to Johnson's perception of the deceptive mind - whether the topic is religion or ideology. Both Johnson and Livesey had aimed to release "Kingdom of Rain" as promotion single, but apparently they had all 'forgotten' to have O'Connor accept this whilst her mind was set on her album I Do Not Want What I Haven't Got (1990).
Following the relase of the album, Johnson and the band prepared for Johnson's first live tour in almost a decade - he had detested and feared performing live, so he had always found ways around that - with Infected it became a film project including every song on the album directed by Tim Pope, but now with this great line-up, he admitted to his colleages that they were much better experienced with this, and they rehearsed in dept to just get to some point of acceptance that yes, they were able to do this. A complete world tour was scheduled: "The The Versus the World" it was titled. Halfway through an exceptional succesful tour, while Johnson and girlfriend Fiona Skinner were on a week-long break on Mallorca, he got a phone call that had him consider calling the tour over. His younger brother Eugene had been found dead back home from a ruptures brain aneurysm. They hurried back home to find everyone devasted - his mother never fully recovered. After awhile, Matt decided they should finish the tour - life had to win. Alledgedly, he found it more than hard to go through the rest of the tour with Eugene having taken a role helping out, selling merchandise and attending gigs. Matt kept seing his brother's face in the audience - and he had to cope with his own mind going astray when thinking how he called the album "Mind Bomb", with what that implied, thoughts on religious matters, AND a brother who died from a decease in his brain... entering his mind... a Mind Bomb! No wonder he was caught off foot. I have always been in two minds about this - I think, it's more than just good, on the other hand I somehow don't find it as interesting and unique as Infected, and then I'm not a huge fan of the production sound here, and then again: "Armageddon Days Are Here (Again", "Kingdom of Rain" with Sinéad O'Connor, and "August & September" are absolute great songs. "The Beat(en) Generation" might be one of his most familiar songs but it's also a track, I find doesn't show Johnson as the great songwriter he truly is, and according to his autobiography "Long Shadows, High Hopes" it's neither one of his personal favourites.
This is one of the few albums that doesn't have cover art by Johnson's brother Andy Dog; instead Johnson's girlfriend Fiona Skinner is credited artwork [The The logo magnified on back cover, sleeve and inner sleeves] together with stills by fashion photographer Andrew Macpherson to match the label's wish to sell the album with a photo of the main man behind the music, which should have more people fall for the cover instead of 'masturbating devils' or the like - meaning the art by Johnson's brother, Andy.
[ allmusic.com 4,5 / 5 stars ]

The The "Infected" (1986)

Infected

release date: Nov. 17, 1986

format: vinyl (EPC 26770) / cd (reissue)

[album rate: 4 / 5] [4,02]

producer: Matt Johnson with W. Livesey, R. Mosimann, G. Langan

label: Some Bizarre / Epic - nationality: England, UK

Track highlights: 1. "Infected" - 2. "Out of the Blue (Into the Fire)" - 3. "Heartland" (4 / 5) - 4. "Angels of Deception" (4,5 / 5) - 5. "Sweet Bird of Truth" (4 / 5) - 6. "Slow Train to Dawn" (feat. Neneh Cherry) (4 / 5) - 7. "Twilight of a Champion" - 8. "The Mercy Beat"

2nd studio album by The The follows three years after Soul Mining (Oct. 1983) and it's like that originally released by Some Bizzare / Epic. It's produced by Matt Johnson and Warne Livesey (4 tracks), Matt Johnson and Roli Mosimann (2 tracks), and Gary Langan (2 tracks). All compositions are credited Johnson except one (track #7, "Twilight of a Champion") co-composed by Mosimann.

Stylistically, this continues the style laid out on the predecessor, only adding more synths and more complex arrangements and by being even better produced. Where the '83 album was introspective Infected is the wry outlook on contemporary Britain where Thatcherism implies rough economic times for the working class, and the Tory politics led to years with striking miners and the Falkland War. Johnson is by no means a fan of Thatcher nor does he hide his left-wing sympathies but he does with conviction. Best examples of his more direct political songs are the title song and "Heartland". Other songs deal with personal struggles, such as "Out of the Blue (Into the Fire)", where Johnson speaks openly about male lust, and "Slow Train to Dawn", a song about the consequences of two individuals in a relationship growing each separate way. Despite dealing with personal matters, the album is a near conceptual one where different themes may be applyied to that of a society and the aspect of new-colonialism. In this way and at a first glance, Johnson deals with politics and personal matters, but he also reflects on our very existence when greed, ignorance and disrespect show the ugly sides of human nature. It's an album of relations: on a personal level between partners in a relationship, it's about the political elite versus the people of a country, and it's about the everpresent Western exploitation of developing countries.

Johnson hadn't followed album releases with live tours and had no wish in starting now, but he was also fully aware that the label would want some promotion in order to sell the album, so he and manager Stevo came up with the idea of a film about the album, and to that purpose they needed to shoot a music video for each song on the album, where Tim Pope is director on most videos. Films were shot in the UK, in New York, and most problematic, several videos were shot in the Peruvian jungle amidst a political uproar.

Infected is my all-time favourite by Matt Johnson. It doesn't contain any weak tracks, and what's so remarkable about it is Johnson's strength in both writing great lyrics, often with critical view on political and moral issues, as well as composing complex pop songs that really swing. The album is enlisted in "1001 Albums You Must Hear Before You Die".

Highly recommended.

[ allmusic.com 4,5 / 5 stars ]

The The "Soul Mining" (1983)

Soul Mining [debut]
release date: Oct. 21, 1983
format: cd (1989 reissue)
[album rate: 3,5 / 5] [3,86]
producer: Paul Hardiman and Matt Johnson
label: Some Bizzare / Epic Records - nationality: England, UK

Track highlights: 1. "I've Been Waitin' for Tomorrow (All of My Life)" - 2. "This Is the Day" (5 / 5) - 4. "Uncertain Smile" (4 / 5) (live on Jools Holland) - 5. "The Twilight Hour" - 6. "Soul Mining" (4 / 5) - 7. "GIANT" - *8. "Perfect" (Bonus track)
*included on the 1984 US release and on the '86 cd issue, but the track is left out on the 2002 remaster. The track was released as a single Feb. 1983 and is also included on the '83 cassette issue.

Actual studio album debut under the name of The The and also Matt Johnson's first with new label Some Bizzare. With this songwriter, main composer, lead vocalist and primary instrumentalist Matt Johnson has gathered up with various musicians to record music under the name of The The. The album follows two years after his solo album Burning Blue Soul (Aug. 1981 - from '93 reissued under the name of The The), and it's clear that Johnson has taken a decision to make more harmony-driven music, basically leaving behind the psychedelic style and instead produced his own sound based on new wave and art rock artists associated with post-punk. Actually, Johnson had already written what was to be the follow-up to his solo debut one year earlier, but as he was about to record the album - which came by the title of The Pornography of Despair, Johnson simply went missing on an impulsive road trip together with Some Bizzare founder Stevo Pearce, and the whole album was practically shelved and remains unreleased [some of the tracks from the unreleased album were apparently re-written / re-shaped into songs on Soul Mining].

Soul Mining is a great and highly original album sitting somewhere in between established genres and styles. Johnson alledgedly spent much time in setting up the order of tracks and deciding that "GIANT" should end the album, which was like a long journey coming to its climax [as stated in his biography "Long Shadows, High Hopes" by Neil Fraser, 2018]. According to his girlfriend Fiona Skinner, Johnson is said to have been more than just a little confused when he picked up a US cassette of the original album, which had the bonus track "Perfect" to end the album.

This was my first acquisition with The The and for a long time it remained my favourite by Matt Johnson. I do however think, his very best studio album is the successor Infected (1986) but together with this, they're both very fine albums and I often find it difficult to decide which one I've played most frequently. This is undoubtedly his cleanest pop-shaped album, and I really think the title fits very well, as it obviously has a founding pop soul element. None of his albums are record breaking chart busters but his music has always been praised by other musicians and critics.

Soul Mining is enlisted in "1001 Albums You Must Hear Before You Die". The cover art is made by 'Andy Dog', pseudonym for Andrew Johnson, Matt's older brother, who has made the front (and back) covers on most of the releases by The The. In North America, the 'spliff' smoking woman was exhanged with the 'screaming man' art work by Andy Dog.

[ Record Mirror, Smash Hits 4 / 5, Rolling Stone 3 / 5, Sounds 5 / 5 stars ]

   

Portuguese and North
American cover 1984

2002 remaster

Matt Johnson / The The "Burning Blue Soul" (1981)

1993 reissue

Burning Blue Soul [debut]
release date: Aug. 1981
format: digital (1993 reissue)
[album rate: 3 / 5] [3,16]
producer: Matt Johnson, Ivo Watts-Russell
label: 4AD Records - nationality: England, UK

Track highlights: 2. "Song Without an Ending" - 4. "Icing Up" - 6. "Out of Control" - 8. "Delirious" - 9. "The River Flows East in Spring" - 10. "Another Boy Drowning"

Studio album debut by Matt Johnson mainly produced by himself and assisted by 4AD-co-founder Watts Russell (on tracks #2, #4-8, #10), by BC [Bruce Clifford] Gilbert & G [Graham] Lewis (on tracks #3 & #9), and by Pete Maben (track #1). The album was originally released as an album by Matt Johnson - first reissued in 1983 with a different cover. The first two issues of the album bore his name whereas all later releases were issued under the moniker The The as requested by Johnson himself. In '93 it was reissued as a The The release with a new cover (artwork by Andy Dog, aka Andrew Johnson), which is the only version I'm familiar with.
The music is psychedelic, or neo-psychedelic post-punk. I guess, not many pop / rock albums with an experimental style could avoid the label post-punk in 1981, but this is definitely in the experimental end of rock.
I first became aware of the album in the late 80s and after having noticed the music by The The. This isn't close to many other contemporary releases, and it actually contains clear industrial elements without being labelled as such - I guess, the most appropriate label would be psychedelic and yet without sounding like anything from the 60s. It's not really a huge favourite of mine but it sure is more than just of keen interest, and one can clearly find some characteristic ideas, bits and pieces that should later blossom on succeeding albums.

1983 reissue		1981 original cover

The The

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The The: formed in London, UK, 1979 by Matt Johnson (born Aug. 15, 1961 in London). Over the years several members have been included in The The but Johnson is the only founder and consistent member behind the name. Band members: Matt Johnson (vocals, guitar, keyboards), Keith Laws (keyboards, 1979-81), Steve Sherlock (saxophone, 1979-81), Tom Johnston (bass, 1980), 'Triash' Peter Ashworth (drums, 1980), Simon Turner (guitar, vocals, 1981), Colin Lloyd Tucker (guitar, vocals, 1981), Johnny Marr (guitar, harmonica, 1988-94), James Eller (bass, 1988-94), Dave Palmer (drums, 1988-94), D.C. Collard (keyboards, 1991-97), Keith Joyner (guitar, backing vocals, 1993-94), Jared Nickerson (bass, 1993-94), Gail Ann 'Hollywood' Dorsey (bass, 1994-96), Eric Schermerhorn (guitar, 1995-2002), Brian MacLeod (drums, 1995-97). Most of these members are more or less handpicked musicians that Matt has worked with on different occasions. In the years from 1988-94 The The consisted of a quartet that has been the most stable band featuring Matt Johnson, Johnny Marr (of The Smiths), James Eller, and Dave Palmer. Johnson released his solo debut album Burning Blue Soul in 1981 under his own name, however, in '93 it was re-issued as a release by The The, apparently, suggested by Johnson himself, so that all his album releases could be found under the band name. His older brother Andrew (aka Andy Dog) has made the cover art for several of the releases (singles, eps, studio albums). They are easy to point out as they are all painted in a very unique way with heavy use of colors, thick strokes, and a cartoonist expressionist style. Stylistically, The The has released music which covers many styles and genres but the main styles are neo-psychedelic rock and experimental pop / rock inspired by old school art rock and psychedelic rock artists like The Velvet Underground and Syd Barrett (of Pink Floyd), and more contemporary artists like The Residents and Throbbing Gristle. From the first releases Matt Johnson / The The has progressed towards more mainstream pop / rock releases of pop soul and blues rock elements but since the successful Dusk in '93, Johnson has experimented with his music, e.g. releasing the country homage to Hank Williams Hanky Panky in '95, the experimental and neo-psychedelic art rock release NakedSelf in 2000 (his latest studio album to date). Since then, he has withdrawn from the public eye and concentrated on studio projects for art installations, soundtrack albums for feature movies and documentaries, founded his own label Cinéola [also hosting podcast series with Johnson as host], and he has expanded his musical styles with ambient and minimalism.

~ ~ ~