“Don’t Look Back:” A Pop Revival Primer, Part III (2010)

Living in 2010 it was easy to see that things were changing. Florence and the Machine had a hit album; Mad Men was finally getting the mainstream attention it deserved. Straight storytelling was taking the place of stand-up comedy, wayfarers had replaced aviators as the sunglass of the masses, and neon was king again.

It was a victory for good taste, but at the same time America saw the debut of Ke$ha, Jersey Shore, and those weird shoes with the toes. To be a hipster meant living with the fear that every new and exciting cultural phenomenon would be quietly crushed. But they weren’t.

The term Pop Revival was coined by the Fling in May of 2010, who described their sound as sixties pop mixed with nineties technology. In faraway Australia, Dream Pop* was being born. And driven by Mad Men, the aesthetic style of the 1960s came back in a big way. Television had displaced radio as a cultural catalyst, and the success of Pop Revival owes as much to Don Draper as it does to Alex Turner, Jon Fratelli, Cassie Ramone, or Ezra Koenig.

Suddenly, everybody wanted a piece of the action.

*The term “dream pop” is thirty years old, but the original usage relates the the same naming problem that gave us the troublesome terms “post-punk,” “new wave,” and worst of all “indie.” If you are curious what the problem is, I can explain it all in the comments.

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“The Kids Don’t Stand a Chance:” A Pop Revival Primer, Part II (2008-09)

Cassie Ramone (left), Frankie Rose, Katy Goodman. Courtesy of The A.V. Club.

2008 was a strange year for music. The New Wave revivalists were on their way out, and many bands began to experiment. Among them were Pop Revival pioneers Vampire Weekend and The Last Shadow Puppets, the latter being a side project by Arctic Monkeys’ Alex Turner. But those were just one of many incipient movments that were touted as the next big thing. By December music critics were declaring 2008 a disappointment, but this is the year when Pop Revival truly began.

Vampire Weekend and The Last Shadow Puppets would never have been connected in the public consciousness of that time, the former aping Paul Simon and a few others, the latter seen more as a goof loosely attached to the more “important” work of Arctic Monkeys. But both were critically acclaimed, and anticipated the flood of new bands that began that year.

Vivian Girls, like Vampire Weekend, were from New York City, but while Vampire Weekend were Manhattan beaus, the Vivans were from Williamsburg, an ultra-hip Brooklyn neighbourhood that rose to national prominence during the screenwriters’ strike of 2007-08. When the TVs went off, Williamsburg provided America’s entertainment, and it is perhaps because of that national exposure that the Vivian Girls set the standard for what Pop Revival should sound like. As for the girls themselves, we’ll get back to them later.

If the Vivian Girls were Pop Revival’s answer to Joy Division, The Like was A Certain Ratio. They had originally been new wavers from the mid-2000s, but they are infamous today for their tour opening for Arctic Monkeys in 2009. The Like weren’t booed because of their music. Elizabeth Berg always opened one of her songs with “Do you ever find yourself in a room and think to yourself, ‘I’ve dated all of you!?'” They were still hampered by the noughties mentality that the people watching were trying to put behind them. What’s more, they were the children of music industry royalty, signed to a record label with shitty post-grunge bands, representing everything Arctic Monkeys weren’t. They had the right sound but the wrong idea.

Though it now had a sound, the term “Pop Revival” still hadn’t been coined. That would arrive with a new decade, one that would see the genre and all its attachments explode in popularity. It was also a decade when popular music’s newest challenge would actually be a very old problem.

Vampire Weekend – “M79”

When: November 2009
Where: My student apartment at SF State
Who: Possibly my roommate
Weather: Cool, clear

Vampire Weekend had loomed over me for at least a year. My first roommate, the more eclectic of the two so far, had their album, and at least one of the guys pirated it back in high school. Probably Marc Meehan.

But I was faced with the challenge of coming back into contemporary, 2009 society from a long hibernation, and thanks to a recommendation from the MacQuarrie sisters I started here. I also started listening to SF’s local rock station Live 105, which was somewhat better than KROQ down south but still in the same vein.

I was coming back from buying groceries at the Stonestown Trader Joe’s while listening to this song, and as I returned to my room the same song was playing. I smiled approvingly. I was already on my way.

Next: Was Flight of the Conchords darker, or was I?