The Record Machine – 12th April 2024
Christopher Nosnibor
The latest single, ‘Forget About You’, from ‘nouveau post-punk troubadours’ Monta At Odds’ is pitched as ‘a dark-natured opus about resisting attraction, especially when the bound proves hazardous.’
The trio, consisting of Mikal on vocals, Krysztof wielding the baritone guitar, and founding member Dedric polymathing on all other sonics are aiming for a ‘danceable mixture of eras past and present to match this raw but crisp sound.’
It’s very much of the school of neo-new wave / post-punk from circa 2004-2006 – think of Editors breaking through, Interpol’s Antics, and the likes of The Organ, and The Cinematics – particularly The Cinematics, in fact – with the electro element of She Wants Revenge’s debut. It’s post-punk with that clear contemporary slant, and a heavy dose of New Order’s buoyancy and accessibility. There’s shade around ‘Forget About You’, but a lot of sunlight and vibrancy, too: the crisp, clean, vaguely brittle guitars positively jangle against a thumping disco beat, and the melancholy is cut through with eyes cast to bright blue skies and a forward-facing optimism.
It’s only while writing this that the fact 2004 was twenty years ago has begun to register. What goes around comes around, of course, but twenty years is a generation, broadly – it seems, in my ever-lengthening experience – and the time it takes for kids to start picking up their parents’ record (or CD or whatever) collections and start drawing influence and inspiration. I say ‘or whatever’ because I do worry about the future. I worry less about styles rolling round in a repetitive cycle than what music will be coming through another twenty years from now. How is it going to go when it comes to teens raiding their parents’ Spotify playlists and finding nothing but Ed Sheeran, Taylor Swift, and, er, does anyone listen to anyone else? Of course I’m dramatizing slightly, but the point is that so much of the mainstream has become focused on quite literally a handful of artists – and what will be their legacy? Does Sam Smith capture an element of the zeitgeist beyond his identity? What does Dua Lipa speak of, and who does she speak to? A part of the problem is that where we used to have shows like Top of The Pops, The Tube, The Roxy, The Chart Show (with its alternative charts and other segments) and the Top 40 on Radio 1 (followed by something rather more alternative), the charts were pretty open and it was possible for stuff that wasn’t slick major-label sonic wallpaper to chart. This meant that it was possible to encounter something different without having to go to great lengths to seek it out. Now what do you do? Where do you go? How do people source music beyond the endless pumping of algorithms?
‘Forget About You’ hits me with a sense of nostalgia I had not anticipated, and which isn’t welcome: for some, nostalgia brings golden-tinged fuzziness and a warmth, an uplifting sensation. For me, it’s more like the sand tricking down in a sand timer, a slow-sapping pull in the guts, a seeping sadness. 2004 was twenty years ago. Less ‘yay, good times’ and more ‘fuck, I’m that much closer to death and twenty years have evaporated with depressingly little to show.’
Nostalgia isn’t a defining element of ‘Forget About You’: that’s simply something I bring to the table, highlighting the way that reception and perception colour the way an individual responds to music. It’s uptempo and catchy, bouncy even, and ultimately danceable, and neatly balances darkness and pop.
AA
Aural Aggravation 