Francis Juno – Tomorrow’s Nostalgia

Posted: 17 January 2016 in Albums

Hula Honeys – 17th November 2015 – hon18

James Wells

I kinda like the idea of future nostalgia. First, because there’s a certain postmodern knowingness about the oxymoronic, paradoxical nature of the concept. It shows a degree of confidence, too, however ironically it’s intended, in the implication that this work has ‘future classic’ potential – unless, of course, it means it’s somehow a soundtrack to future nostalgia, or a comment on what nostalgia may look like. Not that anyone’s looking to the future much right now: nostalgia is big business alright, with people mooning over the most mundane aspects of the past. I yearn for a future in which people reserve their outpourings of nostalgic adulation for things that are actually worthy. Getting misty-eyed over dull as ditchwater bands like Shed 7, or the time when a chocolate bar shared the dimensions of a log and you could buy crisps that tasted of hedgehog. I’m not saying things weren’t better then, but not everything was better, and a lot of the world, from art and culture to consumer goods, was plain cack.

Precisely what this album says about the nostalgia of the future is unclear. Or perhaps it says nothing, and the album’s title is simply an observation of the fact that in time, tomorrow will be nostalgia at some point in the future.

Low-key, minimalist compositions which rely heavily on wibbly, wobbly basslines are perfectly represented in the fonts used on the cover, and sound like the sound of the future 15 or 20 years ago. Juno lays down some chubby, laid-back electro grooves, underpinned by classic retro drum machine beats – whipcrack snare sounds synonymous with machines like the old Roland TR606. It’s a collision of late 70s and early 80s disco and more experimental work with the knowing retro chic and analogue worship of underground dance music the late 90s and, indeed, since the turn of the millennium.

No doubt had this been released in the 80s or 90s to a degree of cult success, people would be excavating it now and hailing it as a masterpiece. Or maybe not? Perhaps it could be interpreted as a satire of sorts. Who can really tell? And ultimately, does it really matter?

Francis Juno Online


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