Music

Popstar Assassins: Moderne

Patrick Schabe

The determination and dreams of DIY bands are alluring, but indie rock will eat itself.


Popstar Assassins

Moderne

Label: Triangle Bullet Lines
US Release Date: 2005-07-18
UK Release Date: Available as import
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What's in a name? The MySpace page for Popstar Assassins lists the band as "post-punk power pop". On their official website (a personalized Comcast page, mind), bandleader Tim Thomas refers to the duo as "a couple of aging indie rockers." And while there is evident truth in both statements, neither these descriptions nor the music seem to live up to the edge and danger implied in the band's moniker.

In truth, Popstar Assassins is the project of Tim Thomas and his partner Cale Hoopes, along with a small cadre of music-minded friends, releasing some workable, indie-styled music on their independent lonesome. The band's sophomore release, Moderne finds Thomas and Hoopes delivering a disc of middle of the road, familiar and unobtrusive music, self-produced and self-marketed and fingers crossed. The only thing they're assassinating is the idea of pop stardom. Just a couple of guys, their own money, their own labor, and some networking.

How can you say no to that?

There are bands like this everywhere, and that's what makes their story both endearing and ubiquitous. If these Assassins have anything working in their favor, it's that their home base is Seattle, a town no longer flooded with music mogul money and inflated contracts, but still swimming in small DIY pop bands, and supported by a town that still bothers to pay attention to locals. Still, although it may be studio production and label promotion that separates the Death Cabs from the pedicabs, or the Postal Service from the mail men, even the basement pop star has to have the songs to compete. And while Popstar Assassins may have moments of clarity, for the most part the songs here are seldom distinguishable.

It's not for lack of some basic talent, though, but rather the fact that they constantly seem to be imitating other bands with more personal style. "Headache(s)" seems like a grab for Interpol tension, "Close My Eyes" has a loose Wrens feel, and "I Request Roses" is the requisite Smiths-influenced track. And the real killer is that they don't seem like they're deliberately imitating -- not in the way that we suddenly have a bumper crop of "angular post-punk" bands -- but there's just a lot of previously tread ground in these songs. On the other hand, that means that Popstar Assassins have familiarity working in their favor. The aforementioned "I Request Roses" has all the proper amount of jangle in all the right places, and when the song builds to a sort of shoegaze crescendo, the vocals climb in just the right spots. There's as little to complain about as there is to shout about.

Occasionally a hook does surface to catch you off guard, and those are the moments that Popstar Assassins needs to focus on in the future. They've got the melodic structures down just fine -- for instance, "Easy for You", but the song takes a weak break for a plinky solo that leaves an opening. But even the aimless piano and collapsing vocals of "Adrenachrome" work to give the song a slight edge of difference from the other tracks. Similarly, the foregrounded, drooping vocals of "For Robert Wyatt" work great against the lazy backdrop and theremin-styled space sound effects. Likewise, "Symbols/Shelter" mines the Joy Division-esque territory currently in vogue by drawing it out and stripping it down to '80s goth territory, rather than repeat the dance punk disco thing ad nauseum.

But when the album seems to find its own place in the last handful of tracks, there's no chance it's going to stick with you in the long run. For a band going it on their own, Popstar Assassins are worth supporting, but they're not going to impact your life yet. They've got the indie rock vibe down, but they need more of the power pop in their post-punk. Until they start mining for their own hooks, they'll be in perpetual opening act territory; not a bad place to be, but capable of so much more.

5

In the wake of Malcolm Young's passing, Jesse Fink, author of The Youngs: The Brothers Who Built AC/DC, offers up his top 10 AC/DC songs, each seasoned with a dash of backstory.

Editor's Note: Originally published 30 July 2014.

10. “Bedlam in Belgium”
(Flick of the Switch, 1983)

This is a massively underrated barnstormer from the boys off the much-maligned (unfairly, I think) Flick of the Switch. The album was missing Mutt Lange, but the Youngs did have his very capable engineer, Tony Platt, as co-producer in the studio at Compass Point in the Bahamas. Tony’s a real pro. I think he did a perfectly fine job on this album, which also features the slamming “Nervous Shakedown”.

But what I find most interesting about “Bedlam in Belgium” is that it’s based on a fracas that broke out on stage in Kontich, Belgium, in 1977, involving Bon Scott, the rest of the band, and the local authorities. AC/DC had violated a noise curfew and things got hairy.

Yet Brian Johnson, more than half a decade later, wrote the lyrics with such insight; almost as if he was the one getting walloped by the Belgian police: He gave me a crack in the back with his gun / Hurt me so bad I could feel the blood run. Cracking lyrics, Bon-esque. Unfortunately for Brian, he was removed from lyric-writing duties from The Razors Edge (1990) onwards. All songs up to and including 2008’s Black Ice are Young/Young compositions.

Who’ll be writing the songs on the new album AC/DC has been working on in Vancouver? AC/DC fans can’t wait to hear them. Nor can I.

 
9. “Spellbound”
(For Those About to Rock We Salute You, 1981)

"Spellbound" really stands as a lasting monument to the genius of Mutt Lange, a man whose finely tuned ear and attention to detail filed the rough edges of Vanda & Young–era AC/DC and turned this commercially underperforming band for Atlantic Records into one of the biggest in the world. On “Spellbound” AC/DC sounds truly majestic. Lange just amplifies their natural power an extra notch. It’s crisp sounding, laden with dynamics and just awesome when Angus launches into his solo.

“Spellbound” is the closer on For Those About to Rock We Salute You, the last album Lange did with AC/DC, so chronologically it’s a significant song; it marks the end of an important era. For Those About to Rock was an unhappy experience for a lot of people. There was a lot of blood being spilled behind the scenes. It went to number one in the US but commercially was a massive disappointment after the performance of Back in Black. Much of the blame lies at the feet of Atlantic Records, then under Doug Morris, who made the decision to exhume an album they’d shelved in 1976, Dirty Deeds Done Dirt Cheap, and release it in-between Back in Black and For Those About to Rock.

In the book Phil Carson, who signed AC/DC to Atlantic, calls it “one of the most crass decisions ever made by a record-company executive” and believes it undermined sales of For Those About to Rock.


 
8. “Down Payment Blues”
(Powerage, 1978)

This is one of the best songs off Powerage -- perhaps the high point of Bon Scott as a lyricist -- but also significant for its connection to “Back in Black”. There are key lines in it: Sitting in my Cadillac / Listening to my radio / Suzy baby get on in / Tell me where she wanna go / I'm living in a nightmare / She's looking like a wet dream / I got myself a Cadillac / But I can't afford the gasoline.

Bon loved writing about Cadillacs. He mentions them in “Rocker” off the Australian version of TNT and the international release of Dirty Deeds Done Dirt Cheap: Got slicked black hair / Skin tight jeans / Cadillac car and a teenage dream.

Then you get to “Back in Black”. Bon’s dead but the lyrics have this spooky connection to “Down Payment Blues”: Back in the back / Of a Cadillac / Number one with a bullet, I’m a power pack.

Why was Brian singing about riding around in Cadillacs? He’d just joined AC/DC, wasn’t earning a lot and was on his best behavior. Bon had a reason to be singing about money. He was writing all the songs and just had a breakthrough album with Highway to Hell. Which begs the question: Could Bon also have written or part written the lyrics to “Back in Black”?

Bon’s late mother Isa said in 2006: “The last time we saw him was Christmas ’79, two months before he died. [Bon] told me he was working on the Back in Black album and that that was going to be it; that he was going to be a millionaire.”

 
7. “You Shook Me All Night Long”
(Back in Black, 1980)

Everyone knows and loves this song; it’s played everywhere. Shania Twain and Celine Dion have covered it. It’s one of AC/DC’s standbys. But who wrote it?

Former Mötley Crüe manager Doug Thaler is convinced Bon Scott, who’d passed away before the album was recorded, being replaced by Brian Johnson, wrote the lyrics. In fact he told me, “You can bet your life that Bon Scott wrote the lyrics to ‘You Shook Me All Night Long’.” That’s a pretty strong statement from a guy who used to be AC/DC’s American booking agent and knew the band intimately. I look into this claim in some depth in the book and draw my own conclusions.

I’m convinced Bon wrote it. In my opinion only Bon would have written a line like “She told me to come but I was already there.” Brian never matched the verve or wit of Bon in his lyrics and it’s why I think so much of AC/DC’s mid-'80s output suffers even when the guitar work of the Youngs was as good as it ever was.

But what’s also really interesting about this song in light of the recent hullabaloo over Taurus and Led Zeppelin is how much the opening guitar riff sounds similar to Head East’s “Never Been Any Reason”. I didn’t know a hell of a lot about Head East before I started working on this book, but came across “Never Been Any Reason” in the process of doing my research and was blown away when I heard it for the first time. AC/DC opened for Head East in Milwaukee in 1977. So the two bands crossed paths.

 
6. “Rock ’N’ Roll Damnation”
(Powerage, 1978)

It’s hard to get my head around the fact Mick Wall, the British rock writer and author of AC/DC: Hell Ain’t a Bad Place to Be, called this “a two-bit piece of head-bopping guff.” Not sure what track he was listening to when he wrote that -- maybe he was having a bad day -- but for me it’s one of the last of AC/DC’s classic boogie tracks and probably the best.

Mark Evans loves it almost as much as he loves “Highway to Hell". It has everything you want in an AC/DC song plus shakers, tambourines and handclaps, a real Motown touch that George Young and Harry Vanda brought to bear on the recording. They did something similar with the John Paul Young hit “Love Is in the Air”. Percussion was an underlying feature of many early AC/DC songs. This one really grooves. I never get tired of hearing it.

“Rock ’n’ Roll Damnation” was AC/DC’s first hit in the UK charts and a lot of the credit has to go to Michael Klenfner, best known as the fat guy with the moustache who stops Jake and Elwood backstage in the final reel of The Blues Brothers and offers them a recording contract. He was senior vice-president at Atlantic at the time, and insisted the band go back and record a radio-worthy single after they delivered the first cut of Powerage to New York.

Michael was a real champion of AC/DC behind the scenes at Atlantic, and never got the recognition he was due while he was still alive (he passed away in 2009). He ended up having a falling out with Atlantic president Jerry Greenberg over the choice of producer for Highway to Hell and got fired. But it was Klenfner who arguably did more for the band than anyone else while they were at Atlantic. His story deserves to be known by the fans.

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