The Null Device
The Quietus' Alex Niven writes in defence of the Stone Roses and their legacy, challenging the twin views that (a) the Stone Roses were little more than patient zero of an epidemic of thick, gormless lad-rock that subsumed British “indie” music from Britpop onwards, and (b) their reunion and forthcoming gigs are a triumph of the cynicism of late capitalism and a disproof of any idealistic construction of the cultural values of indie music, past or present:
The Roses' resurrection might actually amount to something worthwhile because it offers the prospect of a return to – or at least a reminder of – a tradition of popular radicalism in British music that was to a large extent derailed and suppressed in the nineties and noughties. This happened because, amongst other reasons, the Stone Roses pissed away their potential so regally and left a void behind for Blur and Kula Shaker to step into. This was a tragedy from which leftfield British pop has never quite recovered; revisiting it might provide some much-needed catharsis, as well as a chance to consider why we seem to have been stuck in a loop of ever increasing apathy and retrogressive inertia ever since the Roses seemed to metamorphose nightmarishly into Oasis one day in early 1994.Niven's contention was that the Stone Roses, beneath their laddish swagger, articulated a form of eloquent popular radicalism that, had things turned out differently, may have taken Britpop in a more interesting (and more culturally and politically significant) direction than the stylistically conservative, politically Blairite, Beatles-citing nostalgia industry it turned into.
Throughout their apprenticeship on the margins of the mid-eighties indie scene, the band occupied a classic romantic-radical position from which they made repeated assertions that another dimension was lying dormant, ready to burst into life with the right amount of collective belief and imagination. Magical train rides through rainy cityscapes, hallucinations of bursting into heaven, graffiti scrawled on statues, daydreams about young love, lyrics about searching for the perfect day wrapped around chiming Opal Fruit guitar lines: this was the druggy landscape of dole culture in the second Thatcher term, a place where fantasy and utopianism offered a trapdoor-escape from post-industrial depression, especially in places like the North where the social defeat had been very real. Countless bands from the Smiths to the Cocteau Twins adopted a similar tone of hermetic idealism during this period. What was remarkable about the Stone Roses though – and the reason surely why they are regarded with such quasi-spiritual reverence to this day – is that their romantic assertions about another world being possible suddenly and miraculously started to seem realistic and realisable as the end of the eighties loomed.
But the failure of the Roses in the early-nineties – which was basically an arbitrary collision of bad luck and personal fall-outs – was the kind of unfortunate collapse that has profoundly negative repercussions throughout an entire stratum of the culture. Instead of being a wild anomaly that stood at the summit of a creative apotheosis only ever partially recaptured after the mid-nineties comeback, 'Fools Gold' might have been the foundation text of an alternative Britpop: a politically engaged mainstream movement that would never have gotten into bed with Blair, a revival rather than an attenuation of the post-war New Left, guitar pop more in thrall to Bootsy Collins than the Beatles, a progressive filter for – rather than a reaction against – the most thrilling leftfield developments of the nineties from Tricky through Timbaland. As it was, the independent scene crossed over to the darkside and instantaneously lost its whole raison d’être, while the underground progressively retreated into microcosmic obscurity in an age of internet atomisation (cf. chillwave).So if the Stone Roses' reunion is not merely a spoonful of heritage-rock nostalgia for the record-fair fatsos or an affirmation of the bankruptcy of indie music as an ideology of resistance, confirming instead that everything is a commodity in the great marketplace, what is it? Niven suggests that it may be another chance, however slim, to peer through a window into the Another World that Is Possible, a sort of very British visionary socialist arcadia:
What the Camerons and the Cleggs and the Cowells and the monarchists and the Mail-readers and the Mumford & Sons minions are really deeply fucking scared of in the pits of their blackened souls is a normative radicalism, the sort of aberrant culture that does all the traditional things like making us dance and giving us songs to sing at weddings and wakes and school discos and sports occasions, at the same time as it introduces subtle formal innovations and delivers uncompromising messages of insurrection. The Stone Roses Mk. II will have a tough job managing to do anything very effective at all, once Zane Lowe and the Shockwaves NME start winding up the hyperbole machine. But if we press the mute button on our cynicism this Imperial-time-warp summer, we might just be able to hear their profoundly optimistic message resounding through a landscape ravaged by a newly virulent strain of Thatcherism: a kind of spiritualized socialism framed as a funky, communitarian song; an angry, affirmative voice promising that he won’t rest until Elizabeth II has lost her throne. Take a look around, there’s something happening. It’s the Britpop that never was. And right in the nick of time.(Though wasn't Britpop at the time that the Major government crumbled sort of like that? And can such a world survive for more than nanoseconds before market forces act on it and it becomes commodified, and if the original participants don't sell out, someone who wasn't involved cashes in instead?)