His farewell note amounts to its own kind of death joke. Whether through a sudden moment of clarity or a dejected concession to popular taste, Death Jokes II is indeed better arranged than its predecessor. McMahon went back to a failed 2021 session to recover discarded parts by keyboardist Money Mark, drummers Jim Keltner and Carla Azar, and several other Death Jokes contributors. He then collaborated with mixer Craig Silvey, one of a few kindred spirits who understood the album, on a pared-down interpretation of its songs. These are less remixes than alternate versions, with the spirit of the originals intact, even amplified. The hip-hop-inspired intros, outros, and interludes are gone, as are the overwhelming collages. The compositions themselves are leaner, with more focus on McMahon’s inimitable slurred vibrato. Now, it is only his voice that is speaking to us, directly and intimately, from behind the veil of Amen Dunes’ demise.
Revelatory Changes in Death Jokes II
The changes to Death Jokes’ songs are sometimes subtle, but together they are revelatory. “Rugby Child” was the most troublesome track for McMahon to record, as he had to wrestle his 909’s drifting clock by nudging each kick drum along manually. “Rugby Child (300 Miles Per Hour)” simply jettisons the drum machine until its final moments, allowing McMahon’s vocals to guide the song over a metronomic beat. At times, the fundamental character of a track has been altered. The trademark bass from “Boys” is notably absent, and the song’s replacement, now titled “Italy Pop Punk,” drifts instead of pummeling. Both new versions of “Ian,” which bookend II, drop the original’s samples of crowd noise and laughter to provide room for its melancholy melody. The effect is like waking up to a solution to the problem that kept you tossing and turning all night: Everything is suddenly clearer, cleaner, more coherent.
Significant Edits in Death Jokes II
The biggest edit is to the epic centerpiece of Death Jokes, “Round the World,” which loses more than a minute from its runtime and most of its layered samples. The sounds of protest ran throughout the first iteration, from street marches to Boulanger’s vehement declarations on originality. “When you compose, I prefer you to be mistaken, if you must, but to remain natural and free,” she stated in emphatic French. “Round the World (Down South)” removes these, but keeps one important sample: Woody Allen telling a joke about a run-in with the KKK. It’s an open provocation meant to inspire careful consideration about the limits of moral certitude—a provocation that McMahon particularly resents his critics for ignoring. Including it again after so much else has been stripped away is itself one last joke at the expense of those who weren’t paying attention the first time.
Reflection on Death Jokes II
Death Jokes was a concept album whose concept nearly overwhelmed the music, an exhilarating, frustrating, wonderfully flawed record. To prefer Death Jokes II is to run the risk of privileging aesthetics over politics, the easy listen over the challenging lesson. But if the original was a complicated monument to its own troubled genesis, II is proof that it was built on a solid foundation: McMahon’s gorgeous songs of love and loss, life and death, simple and unadorned. Like the best jokes, they feel effortless and true.
FAQs
Q: What changes were made in Death Jokes II compared to the original album?
A: Death Jokes II features a more streamlined arrangement with a focus on McMahon’s vocals and a removal of hip-hop-inspired elements.
Q: How did McMahon collaborate with other musicians for Death Jokes II?
A: McMahon collaborated with keyboardist Money Mark, drummers Jim Keltner and Carla Azar, and mixer Craig Silvey to create alternate versions of the songs.
Q: What is the significance of the edits made to the epic centerpiece, “Round the World”?
A: The edits to “Round the World” in Death Jokes II remove layered samples and emphasize a provocative sample from Woody Allen to inspire reflection on moral certitude.
Q: How does Death Jokes II differ from its predecessor in terms of overall impact?
A: Death Jokes II retains the spirit of the original album while offering a clearer, more coherent listening experience that focuses on McMahon’s vocals.
Credit: pitchfork.com
