Since Belle & Sebastian swiped the Best Newcomer Brit Award from
under the button noses of Steps and 5ive ten years ago, twee has
been on the rise.
Largely, this has been no good thing. Club nights with crustless sandwiches, girls in polka dots and boys in braces are just the sickening
side effect of jangly songs about he-meets-she and wins her thanks to his until now underappreciated homemade cupcakes. Yell
Yuk! As The Pains For Being Pure At Heart have proven this year, when twee pop is fuzzed up it can be swooning with brilliance,
but, as ‘Received Pronunciation’ counters, clean guitars, joined by flat, endlesslylamenting vocals,
too often make for an indifferent listening experience. You half want this
Boston trio to grow a backbone, but, Yell
then, the samey picked out chord shapes don’t even invoke that simple sense of longing.
The aftermath of writing a faultless pop tune follows an inevitable pattern – hype, exposure, backlash.
Only these days there’s hardly enough time to catch your breath between the rush of praise and slump of polite words.
Like ‘Golden Skans’ before it, ‘Rad Pitt’ soared into sight, seduced and seemingly stayed at the party way too long.
Despite this, we’d still like to take it out for another all-dayer, because like
2008’s ‘Time To Pretend’ it could well be a pop classic of our time.
Bristling with hyperactive energy yet melancholy in the tradition of their Mancunian forefathers,
EHH’s hotbed of lush lo-fi and lifting lyrics soundtracked our Indian summer. As the Hacienda shut its doors for the final time and dusk fell on
Alexander, Nick, Alex and Louis were yet to be born and still they encapsulate the kaleidoscope of colour that graced this period,
throwing a bit of The Cure at it to keep us all grounded. Awash with provincial influence yet far-reaching and timeless, ‘Rad Pitt’ is British pop at its very best.
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