“And the music was by – Peter Brewis,
Peter Brewis, Peter Brewis,
Peter Brewis, Peter Brewis…”
Well, I liked it.
There’s an interview with Peter Brewis in today’s Indie. It’s not the same one – this one’s a member of Field Music – but I do wonder if he’s any relation. Now, Field Music, although they’re quite young lads – this Peter Brewis would have been in nappies when the other one was doing his Dylan impression – make angular, jerkily melodic, thoughtful music, heavy on the keyboards and woodwinds. They’re so 1970s they ought to be on Caroline, in other words. They’re not alone, either. The Feeling are Pilot on a good day (or Supertramp on a bad one), and the Klaxons…
The Klaxons are a bit more complicated (not better, but more complicated). The Klaxons (or is it just Klaxons? I neither know nor care, actually) are ‘new rave’, apparently. Judging from the track “Atlantis to Interzone” (on the B-side of their single “Golden Skans”), ‘new rave’ essentially means ‘retro’; the track starts with whooping sirens and (I kid you not) a woman singing the words “Mu mu”. Then the bass kicks in. A couple of minutes later it kicks out again and the sound gets stroppy and punky, with a kind of 1979 art-school cockney vibe; my son pricked up his ears at this point and asked if it was Adam and the Ants. (He’s a fan of Adam and the Ants.) “Make it new” clearly isn’t an injunction that’s troubled the Klaxons greatly. “Golden Skans” itself takes me back to a period I’d completely forgotten: post-glam, pre-punk pop-rock. Think Graham Bonnet-era Rainbow, but without the metal cliches or the long hair, and with aspirations to make both three-minute singles and deeply meaningful albums. Think Argent earlier in the 1970s, or City Boy later on, or John Miles at a pinch. Punk cut a swathe through prog rock, but the pop-rock scene it destroyed. But it’s back in the hands of [the] Klaxons. I think they can keep it.
The Earlies, now – there’s a fine band. I’m listening to their new album The Enemy Chorus at the moment, and even though it’s only the first listen I can thoroughly recommend it. Most of the tracks have that “I’m going to like this later” itch to them, and a couple are instant synapse-flooding beauties. (Like a good strong cafe con leche, when it’s cold outside. With two sugars. Like that.)
But even their music has its 1970s and late-60s echoes. It’s stacked with them, to be honest – I’ve been reminded of Soft Machine, Robert Wyatt, Faust, Neu! and the Beatles, and several times of Family (someone in that band knows Music in a Doll’s House and Family Entertainment).
I’m not complaining about the Enemy Chorus – it’s a wonderful album. But still… it’d be nice to hear something that would pin my ears back the way punk did – and, for me personally, the way the Desperate Bicycles and Scritti Politti did. The Fugees did it; cLOUDDEAD did it (cLOUDDEAD were very punk). Since then, not so much.
I wonder what they’ll find to play at Noughties Nights.