You all know I champion new music with a sometimes unnerving fervency, but secretly, in my heart, I've always thought that those of you saying 'it'll never be as good as music was back then' are probably right. This likely isn't a revelation, and it certainly doesn't mean that the new stuff I've said I think is wonderful isn't wonderful, but I've always retained my fourteen-year-old-discovering-Duran's-fi
I was wrong. I wondered whether I was wrong when Goldfrapp's second album came out, actually; glitter, corsets, stage presence a go-go, synthesisers and keyboards all over the place, style and substance in equal parts. Brilliant stuff. But Goldfrapp is the project of a we-were-there-at-the-time-anyway electro duo, and that's not the same as an entire band. So I'd basically decided that the days of entire bands where style and substance seduced one another on record and on stage, where keyboards took precedence over nevertheless significant guitars, where boys sang about things you only half understood but with their hearts on their sleeves no matter what, were over.
Wrong. Wrong, so very wrong. The Modern are that band. The gig last night blew my mind into space and it still isn't back. I don't know what to say about them here that won't sound like hyperbole - this band had already changed my life in a small way, and now the change feels magnified by a thousand. Several thousand. I don't know. For those of you who already knew about them, well, so did I, but if you'd already seen them, you may turn away looking smug at this point. I don't want to hear it. This is my new band moment, this is my wide-eyed oh my god, I've seen the future and it's beautiful moment. Let me have it.
And as for the band, their songs are synthpop heaven with occasional (but not everpresent, which is nice) dirty electroclash glitz. Every. song. is. bliss. Every single one. I'll try to write an actual review on kittensounds, but for now I just want you to be aware that no matter what song someone offers to play you, it will be stunning.
Speaking of stunning, the band. Oh, my god. It's like a younger sexier Alison Goldfrapp on lead vocals, and then keyboards and second vocals coming from every European New Romantic ever, all in Bryan Ferry's body with Adam Ant's makeup, and then more keyboards (more keyboards!) and backing vocals from this beautiful thing who's like all of Duran Duran rolled into the body of the boy you fell head over heels with at school and who dances like Andy Mcluskey as if he weren't already painfully adorable enough, and then effortlessly stellar guitar from Johnny Dean and Micko Westmoreland's love child, I ask you, and then a clone of bootpunk on the drums. I mean. Seriously.
But if anything's reminded me that I only really advocate 'style over content' when there isn't actually much content, it was this. Because their songs are wonderful. Their performance of them is wonderful. They give me so much hope. So much.
I've seen the future; it looks like the past, idealised. It looks like what I've been wanting all my life. It looks like four boys and a girl, with distant eyes, dancing together on the factory floor. It looks like The Modern, really.