For the past 40 plus years, Robyn Hitchcock has been bringing Surrealism out of its closet, letting it know that there's nothing wrong with wearing one's heart on one's sleeve, especially if it beats with croaking-frog sounds and it has a full set of teeth on the cuff.
Consistently one of England's most idiosyncratic artists, Hitchcock first broke onto the world stage in the late '70s with The Soft Boys, who snuck psychedelia in on the coattails of the New Wave movement. As a solo artist he made major waves in the college and alternative rock world in the '80s and '90s (who could forget the wistful, tender, and insanely hooky “Madonna of the Wasps”?) and as one of indie music's founding fathers, he’s released 20 albums and starred in Storefront Hitchcock, a concert film directed by Jonathan Demme. His most recent album The Man Upstairs is a bittersweet love letter to a vanishing world, produced by folk-rock Svengali Joe Boyd.
Blending his ‘paintings you can listen to’ with a wry British nihilism, Hitchcock's strange worldview is gently couched in the gorgeous melody of his three-minute pop gems—though in live performance his wandering bard stage patter gives him away. You'll find it's easy to surrender yourself to it, and when you do you'll discover that he's used Surrealism for its original and highest purpose: the re-enchantment of the everyday.