Urgency.

Um…yeah.  Yesterday was funny.  I knew I had to keep up the momentum so writing another piece was critical.  It was a bit essay-y though, wasn’t it?

So. Another crack:

(All that’s a little post-modern, hmmm?  All meta… This is now like the tricky second album, but actually the fifth one.)

Right, Mr Williams, what’s on the agenda today?

This and this and this and, ok, this

That’s – TheTrendees/TheMintChicks/AdamandtheAnts/Prince

I know I’ve tread The Trendees path a lot – that’s what friends do – the fact that they are vividly entertaining and make a noise that’s thrilling is both here and there.  There is a driving force behind their creativity at the moment; a momentum of the new.  I very much enjoy the sneer and the parody and the bile and the suburbanism of many of their songs.  (oh no, he’s going to do it again) – It’s quite Baxter (James K, that is).  There is a sweet bitterness in much of the lyrics and the violence of the music embraces this eagerly.

There seems frustration that music is the way out.  These are extraordinary people living in an ordinary place and the exit, an exit, is the pursuit of acknowledgement for creativity.  How often does that happen?  On the other hand, this could just be three blokes pissing about and having some fun.  Underneath it all, you see, is the element of pop – screaming at being submerged under a deluge of distortion, discordance and inconsistent rhythm but still there. And pop is ephemeral.  There is much fun to be had listening to the band as they evolve from June 2014’s output to now.  It’s like hearing an amorphous melange of noise take shape and become meaningful.  It’s like city noise loosing its villainous malevolence and developing soul.  It’s like The Scream, beauty from insecurity, fear and confusion.  This music has urgency.

Having said all that, they’re a difficult group to pin down, The Trendees.  Their one print interview is coy.  I’ve mentioned the word parody above.  There is a delightful truthful insincerity to their words here.  The self deprecation is beautiful.  And, I suppose, it makes me question my intent in writing this piece to start with.  Do they mean it or are they pissing about?

Much like The Mint Chicks F**K The Golden Youth, Dirk Wears White Sox by Adam and the Ants or Dirty Mind by Prince, the initial surge of creativity a musician has at the start of their career is all present and correct in The Trendees’ releases.  And the low-fi-ness of the sound is all present and correct too.  The music demands attention and the musicians have a swagger and strut about themselves that is compelling (see here – scroll down and find Motorcycle (makes loud noise)).  Each of these examples capture their creators at a moment rich with achievement and potential.  These performances announce the arrival of massive talent and there is unbridled pleasure at the possibilities that exist for them.  There is a greed about these musicians.  A fierce determination to be heard and an arresting charisma about them all.  Look into their eyes.  There is urgency.

But do The Trendees mean it?  Always remember, the last popular band to end with a double “ee” in their name were The Monkees.  A contrived TV Frankenstein that escaped and wrote some songs of their own.  They didn’t mean it at first, but then they did.  And became quite sour about it, I seem to remember.  Anyhoo, The Trendees continue to mask their integrity with persona.  And I’m really enjoying it.

And I really hope Abandoned Hospital isn’t.

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