“From the mundane to the grandiose these five men have created a writhing, seething slab of life-affirming pop which combines the current vogue for ‘music to dance to’ with a requirement to think.”
“From the mundane to the grandiose these five men have created a writhing, seething slab of life-affirming pop which combines the current vogue for ‘music to dance to’ with a requirement to think.”
Luxembourg – Front“you’ve been thriving on drivel and insinuation / now it’s time to shut your mouth and take a little dictation” If there is one positive aspect to gleam from Thatcher’s Britain it’s thus: no time before or since has produced such a startling array of fantastic, disaffected pop. From the openly politicised likes of McCarthy and Paul Weller to the bedsit blues of David Gedge and a nascent Jarvis Cocker the Eighties were a time when anger ruled the charts, musicians had something to kick against and DIY pop was the hub of all worthwhile. A decade into the New Labour project and similar cloud of seething resent is hanging over the nation. But where are the musicians to express these sentiments? Who’s the person writing literate pop songs for those fed up with fast food culture, the groups discouraged by a bland world lacking passion and ideals? Enter Luxembourg, stage left with the most refreshing album of the year. It’s hard to consider Front without referencing Pulp. Both bands tap into the rich history of pop while providing withering contemporary commentary; timeless, yes, but also of their time. Both provide an incredibly English outlook on life as well as pop music with brains and vitriol reserved for the real issues in life. But while the former glorify decaying industry and intricacies of the working class Luxembourg have worries more in tune with prevailing mood of the 21st century.
Without a distinct enemy day to day drudgery becomes the target; technological ‘progress’, apathy and repetition. Yet to write them off as little more than Daily Mail readers besotted with the country’s downhill trajectory would be unfair. Indeed there’s a distinct love of the nation throughout, albeit one tempered with a sense of resignation. As we hear on signature tune Luxembourg vs. Great Britain “It’s not about the money / It’s the hegemony / That depresses the hell out of me”. Y’see, the key fact is that 46 minutes later Luxembourg have not only deconstructed the nation but, more importantly, emerged victorious. All very admirable sentiments, I’m sure you’ll agree. But it isn’t possible to convey the power of such a message without the tunes to back them up – there’s no point in preaching to the converted. You’ve read their demands, got the manifesto and are intrigued. And then…the music kicks in and you have no choice but to believe. This is the realisation of Paul Morley’s “New Pop” concept, a highly commercial sound that is incredibly intricate with an inherently literate streak. Opening salvo Faint Praise wires Radiohead’s Just to a symphony of crashing synths before proceeding to attack the unfortunate target with wave of guitar-based fury that Thom Yorke & co could never achieve. As the drama unfolds we visit the realm of heartfelt Britpop (Gene, early Suede) via Roxy Music and the wide spectrum of eighties pop but with influences so integral that they’re hard to distinguish – this is a truly timeless, universal sound. What’s more, this one of those genuine every-song-a-single albums, each track sounding like their final statement to this world but despite all these powerful do or die statements to the world the album seems part of an overall plan, namely the inexorable rise of Luxembourg. This is their His ‘n’ Hers, a statement of intent that raises passions and expectations, something to fall in love with but still leaves you waiting for more. By the time they get around to making Different Class the world will be at their feet. It’s time to stop asking and start demanding. Don’t moan about the NME, forget about the state of ‘alternative’ music coverage and turn off MySpace. This album should be a rallying point, the key moment at which overlooked music fans come out of the woodwork, launch their coup d’etat and install Luxembourg in their rightful position on top of the charts. As they proudly boast this is a ground-up movement rather than an internet success story driven by PR. From the mundane to the grandiose these five men have created a writhing, seething slab of life-affirming pop which combines the current vogue for ‘music to dance to’ with a requirement to think. See you in the charts.
Words: James Waterson.