Anti-Pop Pop Art

Perhaps the ongoing onslaught of interminable winter has coloured my thoughts, but there is something marvellously apposite in experiencing the steely grey aesthetic of The Attendant’s ‘Audit’ collection in the midst of a bleak and chilly May. From the industrial glass grey of the 10″ vinyl, through the utilitarian plastic liner (neatly, subtly embossed with the Faux-Lux label logo in one corner) to the slim A5 booklet of poetry and photographs, the whole package is a magnificent Modernist/Brutalist homage to the (sub)urban experience. Originally released on a series of lathe cut singles, the sounds assembled here are the work of Pete Astor and Ian Button, two quietly iconic monuments in the landscape whose varied works with the likes of The Loft, Weather Prophets, Thrashing Doves, Death In Vegas and Papernut Cambridge have surely populated any number of Unpopular record collections in the past three or four decades.

There is something marvellously post-industrial about the act of making and distributing essentially hand-crafted artefacts that simultaneously embrace and reject the Pop prerogative. In this respect the recent resurgent fashion for lathe cut singles is to be applauded. For me they seem to exist in the exquisite void created by digital musical distribution and consumption, a void that Pop rightly insists be filled with Product. You don’t actually PLAY lathe cut singles after all, do you? And even if you do, they pay you back with a louche grin and disintegrate before your very ears like Dorian Gray rapidly decomposing the instant his painting is unveiled. There is also something rather appealing about artists making lathe cut releases in an era when The Vinyl has returned to a position of exalted worship. So, when Major Labels muscle in on the remaining pressing plants with their absurd Anniversary Reissue demands, bullying the tiny independents into the gutter in the process, perhaps the lathe-cut is simply an act borne of necessity. Either way, they are cult collectibles, anti-Pop Pop Art sculptures and political conversation pieces in one delicious package.

‘Audit’ of course is not a lathe-cut artefact but an industrially pressed 10″ vinyl treat for those of us who were too slow and/or insufficiently hip to scoop up the ‘originals’. Those originals were born to an extent in the early semi-apocalyptic haze of the 2020 COVID lockdown, The Attendant appearing disembodied and blinking into the light of eerily emptied city streets, an excuse and a reason to assemble some of Astor’s poetry into a form perhaps more easily consumed in the realms of mediated culture we like to inhabit. Responding instinctively to the (post) Punk edict of do-it-fast and do-it-now (also, do it clean), Astor and Button reacted to their environments and impulses, crafting Astor’s words into concrete form. The end result is not unlike listening to Lou Reed with a soft English accent recounting gently surreal tales of marginal members of extended families (‘Magnificent Aunt Mary’), the hidden complexities of people we think we might know (‘Music On’) and, my own personal favourite, “The hyper-intense banality of those years when everything is achingly, mind-blowingly significant.” (‘Teenage).

‘Audit’ reminds me too of the great suburban surrealism of Animals That Swim; of Robin Hitchcock’s psychedelic urbanity with the humour dialled back to a shade above zero; of Gravenhurst daydreams rotating under a disco ball at midnight; of The Kinks slow dancing with Saint Etienne illuminated in the flickering glow of an 8mm film projector showing a James Fox screen test; of Blue Aeroplanes in sleep mode given a blood transfusion of funk and electronica; of Stephen Duffy living on a hill with Wire as house guests, taking the world apart and reassembling it beatifically off-kilter, just so. A barrage of imagery. A slow burn of reference and illusion. The sound of “Film stock oxidising below” as Astor himself might say.

There is also something neatly cyclical in the idea of ‘Audit’ collecting together collectibles into a slightly more accessible form, in that there is a mirror held up to those inexpensive early Creation compilations where we were encouraged not to scrabble around collector’s zips for 7″s and where perhaps we first heard The Loft and The Weather Prophets. It was always good advice, and I’d certainly suggest snapping up a copy of ‘Audit’ before it too attains the patina of desirable rarity.

‘Audit’ by The Attendant is released on the Faux-Lux label on July 2nd 2021 and can be ordered from Bandcamp. There will be a launch show for ‘Audit’ at The Betsey Trotwood, London, on 2nd July with further live performances to follow.

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