“A Certain Romance:” A Pop Revival Primer, Part I (2006-08)

If you look at the rock landscape of the mid-2000s, you might be confused. Sluggish post-grunge continued to be pumped out by the big record companies, but most everyone had moved on to sneering pop-punk, twee, and garage rock revival. Indie stations liked to play New Wave revivalists and Dance Punks like Franz Ferdinand, which received little airplay but were frequently heard in film and television. At this point in the decade, film and television were dictating musical tastes in a way radio no longer could. If this sounds like complete chaos, it wasn’t. The boundaries between genres–and the people listening–would never be more clear than they were then.

Pop Revival is the result; a genre blending classic pop and rock with contemporary sensibility. Pop Revival had the good fortune of sharing a common aesthetic with other cultural phenomena–Mad Men, American Apparel, Tumblr–that arrived just at the right time. But back in 2006, the future of rock wasn’t nearly as certain.

I say 2006 because to understand the genre you must understand two bands, both of which debuted that year. Arctic Monkeys began in the same vein as the “Rock is Back” bands of a few years earlier, but early on they possessed a defiantly “retro” touch that got stronger with time. Arctic Monkeys also made history as the first band to become a huge success by giving their music away for free. Not only did it number the days of Sony and their ilk, it demolished the wall between the band and the audience. Whereas bands in previous eras were untouchable Olympians in gold mansions, it would be no great surprise to turn a corner in your own town and see Alex Turner buying potatoes. Rock stars became musicians, idolatry was now admiration.

While Arctic Monkeys had more name recognition, The Fratellis were a sleeper hit. In the six years since their first album Costello Music was released, I’ve heard no fewer than six of its tracks scattered across innumerable movies and television shows. But more than success, The Fratellis had a look, an unforgettable aesthetic typified not only by Costello Music‘s content, but it’s album art:

Most of all, these two bands had heart. In the decade that gave us Apple Bottoms, The Pussycat Dolls, and Paris Hilton, The Fratellis said “no, not us,” and reminded the world that it was possible to be sexy, not slutty, even while the Arctic Monkeys bemoaned that the chavs had taken over in their epic song “A Certain Romance.”

Arctic Monkeys and the Fratellis arrived long after the other garage rockers, making them fresh voices in a declining genre which the smart set, the early hipsters, propelled to runaway success.

While Arctic Monkeys helped create Pop Revival, the transition into a new genre was not smooth. Their third album Humbug, as well as the back half of Favourite Worst Nightmare, tell the story of a band looking for direction as its contemporaries fall by the wayside (the Fratellis broke up in 2009). Luckily, other bands arrived to pick up the slack.

Next time: Neomodernism comes to New York.

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