There is something inarguably congruous about the idea of acts like Franz Ferdinand and Yeah Yeah Yeah's attenuating their two sounds with keyboard synths,after all the groups have both built their reputations on solid post-punk foundations. However, in acquiescing to the perils of fashion, do they not lose out in the originality and respectability stakes?
We expect this kind of trend following cheapness from the likes of Madonna and the droves of capitalist pop exponents. We accept and celebrate it even, (who hasn’t gloried in the Abba-sampling ecstasy of the chorus of “Hung Up”?) but to then see our trend setters of just five years ago leaping on the synthwagon seems somewhat disappointing. These bands were leaders of their respective scenes and to see them reduced to following the crowd in this way is demoralising even/especially for their fans.
The “Tonight: Franz Ferdinand” album is probably the worst offender on this count. Listening to the synthetic interpolations one can’t escape the feeling that they’ve been hastily dubbed onto pre-existing tracks. The synths lack that assurance of recent electronc-indie sounds acts such as the outrageously good Late Of The Pier evinced on their debut last year. Similarly, Steve Mason, formerly of the now defunct indie kings The Beta Band, recently released an electronic influenced album, under the name Black Affair. The album (Pleasure Pressure Point) was less a desperate bid for relevance in the funk of a new retro scene and more a dark exploration of the grimy underbelly of electronic sound, and as a result is a multifaceted and worthwhile experience.
Acts which take on the 80’s mantle have been appearing in greater numbers since the advent of what the NME termed “new rave” -an appellation which, like most specific genre distinctions, is quite useless and only serves as a writer‘s tool for categorisation. Klaxons were among the first indeed acts to break through under this new misnomer, and we’ve seen MGMT grind out a similar track to inexplicable acclaim. This year we anticipate successful debuts by Dan Black and La Roux, both of whom can talk of nothing but Prince and 80s pop in their recent interviews.
Embracing changes in the aesthetics of what was once your scene shouldn’t end up feeling this clumsy. Yeah Yeah Yeah’s, always the more ferocious of indie bands, appear to have effected a more complete integration than their scottish counterparts. The transposition of Nick Zinner’s electrified guitar screams into roaring sawtooth synth has meant YYYs have retained that devilish noise which has always been their calling card. However much it superficially works though, there is a disingenuous and affected air hideously hovering over the whole situation.
At least YYYs achieve a higher degree of assimilation with their new affectation. The way FF meekly tack on their keyboard lines is directly opposed to YYYs attitude of hurling their naked, sweaty bodies into a haze of synthetic sound. I suppose ultimately it represents progression of a kind and, in the evolve or die world of chart music, this represents a hermit crab steal rather than an extraordinary evolutionary innovation. I just hope The Strokes aren’t next….
Has unwelcome electronica taken over the indie/rock n' roll stable? Are we in danger of becoming a natio of pill-munchers once more? Is it GOOD for new music to be moving away from scuzzy post-ponk and the camp sensibilities of Franz and their ilk??
Posted In Comment, Apr 01 2009.
Words - Richard