The Null Device

Last night, Your Humble Narrator went to Bush Hall to see Pipas and The Clientele.

Pipas were lovely as usual; it was mostly a guitar-based set (with two guitars), though with a few canned backings on an iPod. They did old and new songs, including some from their Bitter Club EP. (For those who haven't seen them, they're a melodious indie-pop duo, are signed to US twee/indiepop label Matinee, have played in Scandinavia a fair bit and Lupe is going out with one of the Lucksmiths, which should give you an idea of where they're coming from.)

The Clientele played, appropriately, in a darkened room, with video projected over them (several iterations of an art film they did the music for, with lots of footage of sunlight in water, English countryside and such, as well as Chris Marker's La Jetée). They mostly did songs from their new album which has just been released; they sounded much like their previous two albums, if perhaps a bit more animated in places. And Alasdair's vocals sound every bit as floaty live as they do on record. At one stage, Lupe joined them on stage and read out a spoken-word piece about a photograph from 1982, as they played.

As one would expect, where was a good number of international-indiepop-underground coolsie types in the audience, with their bowl haircuts, black-framed glasses and button badges; in their late 20s and 30s, the audience for these sorts of gigs is half a generation older than today's post-post-ironic electro/new-new-wave/kill-the-whiteness-inside/disco-rock kids, and the milieu around this sort of scene seems, in some ways, to hearken back to an earlier age of indiepop, when one was more likely to encounter the adjective "summery" than "angular" in record reviews, understated pop songs with wet lyrics were an authentic reaction against the macho rockism of the "alternative" mainstream rather than part of the Coldplay/Keane AOR mainstream, the kids hadn't yet gotten into hip-hop, cocaine or trucker hats, and if you wanted to make music in your bedroom, you used guitars, Casio keyboards and a four-track, rather than a laptop. Or something.

That world seems to have since superseded by punk disco, ironic chav, the New Rockism, the NME garage rock revival, the Carling New Wave, spending hundreds on brand-name fashion, and relying on one's hipster knowingness as a free get-out-of-jail card, good for all crimes of unenlightenment from casual racism to meretricious consumerism. Or not quite; the mercenary mainstream was always there, and there is also always an underground; it's just easier to see yesterday's underground than today's. Partly because yesterday's underground gets recycled into, or referenced by, today's mainstream: the UK indie explosion of the 1980s gave us Britpop gave us Robbie Williams, XTC begat the Kaiser Chiefs, The Little Band scene gave us JJJ grunge gave us Killing Heidi, and such. Meanwhile, something new is always forming on the margins; and when the margins are strip-mined to death by corporate cool-hunters, something new forms off the map.

¶ fashion gigs indie kids indiepop personal pipas style the clientele 0

Recordings of 2004

• Morrissey, You Are The Quarry. Moz is back, and in fine form. His youthful alienation is turning into the crankiness of a lonely old man, but he still can write a good song (and give a good show).
• Pipas, Bitterclub. A new EP from this London electropop duo; A classy mixture of indiepop vocals, glitchy beats and guitars.
• The Radio Dept., Lesser Matters. Well-crafted indiepop with guitars, synths, Casio drum loops, good chord progressions and songwriting and just the right amount of Kevin Shields influence.
• Talkshow Boy, Watch As I Perform My Own Tracheotomy. Apparently not out yet, though I got an advance copy, and it's a cracker of an album. It's 20 tracks along the same lines as the Ice Police single; glitchy yet catchy electropop with razor-sharp stream-of-consciousness lyrics and titles like Ruff Lovin' In A Tuff Neighbourhood, Go Hard Or Go Home (I Wanna Tweak Yr Moog) and OMG I <3 Livejournal (And My Livejournal <3's Me).

And a few other mentions, honourable and otherwise. The new Stereolab album, Margerine Eclipse was good, though no track leapt out at me in quite the way that various tracks from previous releases have done. The long-awaited New Buffalo album was, to be honest, a bit disappointing; in building her home studio, Sally seems to have mislaid her analogue drum machine, and gone away from the layered glitchiness which made About Last Night (and early live versions of many of the songs) such a delight. Meanwhile, Björk's Medulla didn't grab me; making tracks entirely out of voice samples is an interesting experiment, though the result I'm not sure about. And then there were all the calculatedly commercial post-Interpol/Franz Ferdinand bands like The Killers.

There are a few recordings released in 2004 which I didn't get to check out properly before the end of the year, such as Minimum Chips' Sound Asleep, the Arcade Fire's Funeral and the new Styrofoam. Or, indeed, the new Interpol album. My excuse is that a lot of the money which would have gone on CDs was instead squandered on food and rent in one of the world's most expensive cities; I'll probably catch up on them in the first half of 2005.

Some other bands I discovered this year: GirlsAreShort (a Canadian electropop act), Remington Super 60/Nice System (a Norwegian lounge-pop/bossa-pop outfit), a wealth of British indie from the late 1980s and 1990s, including parts of the Sarah Records back-catalogue I hadn't heard (of) before (key bands being The Wake, The Bodines, and various bands from the Sound of Leamington Spa compilation series) and Azure Ray (an all-female indie duo from Nebraska). Not to mention an appreciation of Electric Six's, Fire (they're like the Scissor Sisters with balls or something; tacky but fun).

Top gigs of 2004 (in alphabetical order):

• BAM BAM in a backyard in Fitzroy in April. I was blown away by their energy and musicianship. They rock hard and look sharp, and if anyone deserves to make it big, it's them. And it looks like things are happening for them.
• Belle & Sebastian at the Palais in St Kilda. Easily the gig of the year. They tore the roof off the place. People were dancing in the aisles and all. The band bantered with the audience, did an AC/DC cover, and at one stage, a girl from the audience got up on stage, sang the vocals from Lazy Line Painter Jane with them and did a perfect job of it.
• Le Tigre at the Islington Academy (in London, natch). Half of it was prerecorded (though they did play guitars/keyboards and sing), though the visuals and stage performance were good to behold.
• The Chickfactor Mon Gala Papillons night in Shepherd's Bush (also in London). Stevie Jackson from Belle & Sebastian did a few quite nice songs, and Pipas took their act to the stage.
• The Radio Dept., at Barfly, Camden. They're as good live as on record.
• Radiohead at the Rod Laver Arena (back in Melbourne again). Gigs at arenas usually suck, because of the binoculars factor, but Radiohead put on a good show, despite Thom's voice faltering somewhat. Their use of the video screens was quite creative too.
• Schmoof, at the Water Rats in London. Slick if slightly silly tongue-in-cheek electropop with rock theatrics worthy of Spinal Tap and visuals handcoded in BASIC on a ZX Spectrum.

Not to mention multiple gigs by various excellent Melbourne bands, including The Rumours, Season and City City City, not to mention the aforementioned BAM BAM and Talkshow Boy.

¶ 2004 belle & sebastian chickfactor indiepop lists morrissey music pipas talkshow boy the radio dept. 2