Kevin
Mathews: October,
2001
PoPinions: October, 2001
THE
FUTURE'S SO BRIGHT… '…the world's got enough good pop songs…'
Alan Moore, acclaimed comic book writer.
I want to reclaim the word 'pop' and remove all the negative
connotations commonly associated with it. For me 'pop' is
a time capsule that has captured for all eternity (and beyond)
the timeless music created from 1964 to 1969. That era forms
the basis for all artistic pop since. Of course, the pop music
of this epoch carried with it the rich history of decades
before, whether it was the European melodic tradition or the
American cultural contributions of jazz, hillbilly, gospel
and the blues.
The art of pop involves the mixing of colors to create fresh
palates that although draw heavily from what exists, is able
to cast distinct and different perspectives and shades on
the past. Contrary to what many modern rock journalists may
believe, nothing comes from a vacuum. After four decades of
what I would term as 'artistic pop', it has become increasingly
critical for the modern day pop artist to present pop music
in fresh colors, distinct perspectives, alternate textures
and different contexts. It is often too easy given the expanse
of material available simply to mimic the form of the past
without adding value or substance.
Current pop artists like The Flaming Lips, Grandaddy, Mercury
Rev, Lambchop, The High Llamas, Super Furry Animals, Wondermints,
Pernice Brothers, Wilco, Steve Wynn, Joe Henry and Jason Falkner
refuse to take this path of least resistance and instead choose
to ply their craft on the razor sharp cutting edge. Like their
spiritual forbears - the Beatles, Beach Boys, the Byrds, Love,
Todd Rundgren, Queen, David Bowie et al - these artists, and
many others, open their hearts and minds (and souls) to the
models of the past, utilise the same for foundations in order
to build a solid structure and throw in that extra ingredient
(sure, mixed analogies are fine) to make the pop music we
know and love so extraordinarily.
The late Albert Goldman characterized the zeitgeist-defining
late-sixties rock as acting 'like a magnet, drawing into its
field a host of heterogeneous materials that has fallen quickly
into patterns. No other cultural force in modern times has
possessed its power of synthesis'. Alas, this astute observation
no longer applies to rock, as we understand it in this modern
era. However, I would submit that the new art pop certainly
could lay claim to these traditions.
My main beef with the so-called 'new' genres of rock & pop
music, be it trip hop, rapcore or ska punk, is that they are
largely one-dimensional. Hearing one song encapsulates that
specific genre's entire experience - that is not an accusation
that you could ever level at the Beatles or the Beach Boys
- and that should be considered a severe limitation and not
an asset.
As today's mainstream rock and pop successes become increasingly
marginalised works (ironic when you consider pop's original
catholic concept) and artistically vacuous, the future development
of pop music lies not in the discovery of the latest big thing
but in the deserted highways of the pop underground wasteland.
Already in the last few years, the new art pop scene has witnessed
masterful pop albums like The Soft Bulletin, Rings Around
the World, The World Won't End, Snowbug, All is Dream, Nixon,
Here Come the Miracles and The Sophtware Slump, to name
but few. These masterpieces represent the best that the new
art pop has to offer, holding up melody and experimentation
as virtues and serving as living tributes to the classic pop
of the past.
So to Alan Moore, I say - yes, the world's got enough good
pop songs but there's always room for more GREAT ones!
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