A little while back I got a nice message from Rob here at Third Outing, asking if I would be up for doing a guest interview type thing with a young indie-pop group, and included a link their Bandcamp. Flattered, I was already pretty committed without knowing much about them, but checked out the link just to be sure. Before even pressing play I was greeted by two things: their banner was my old label alma-mater, Sarah Records famous farewell advertisement 'A Day For Destroying Things' and with only two demos posted, they already had more fans than all of my releases combined! Pressing play only further confirmed my suspicions. This was going to be fun and a good brag. They seemed real, and talented as heck. Over a an email exchange graciously hosted by Rob, they illustrated themselves to be great sports and with the kind of interest to both listening to and making music that should end up on more than a few 'bands to watch' lists, starting about now. With a forthcoming single on Slumberland, not a bad way to start either.
Being totally honest, I'm a little jealous. Most of Aberdeen was created in relative isolation. Usually outcasts from whatever live scene we were geographically associated with, a soft band in an era overshadowed by hard rock, like minded bands half a world away. I'd record tapes in my room, send them off for vocals, in collaboration, but a sound developed in solitude (later becoming increasingly difficult just to finish anything or fulfil commitments). We had the music, but overshadowed by ego and insecurities, lacked the support. Not that I didn't make the most of it, as being an outsider has it's creative benefits, but I've wondered what ways we would have evolved in the opposite environment... Mercury Girls are part of what looks like a ripe scene, sharing ideas, band mates, shows, support, and more importantly, a love for music. Indie music. Even better, classic Indie Pop.
"I can think of a couple other bands who gave me similar feelings upon the first few listens, and both of them are pretty famous now".
A blip of pretty feedback, chorused, shimmery guitar arpeggios, followed quickly by an energetic backbeat and a satisfying pillow of big fuzz fronted by the familiar boy-girl wall-of-sound vocals carrying an emotive and memorable tune. "I'll never love again..." Almost like rolling up a good part of the Sarah catalogue into a single. A welcome charge to the genre (with any luck, music itself).
This is the music I am sure some people would like to see me making now. But this is youth music! These are vital noises. This is 'shouting it from the rooftops'. When I pick up the guitar these days, rarely do I start with such tempos (still working out the Scott Walker phase), and I probably won't be spray-painting my shirts again any time soon. That probably would have killed me to know at one point, as I once lived for that sort of emotional, political pop expressionism, but right now I'm pretty happy just to be listening and to get this chance to introduce them to you somewhat officially.