The Clean: A Journey Through the Lo-Fi DIY Spirit
The Clean, a band that emerged from the fertile grounds of Dunedin, New Zealand, in the late 1970s, has left an indelible mark on the indie music scene. Their unique blend of lo-fi DIY ethos, west coast psychedelia, and post-punk has not only influenced countless acts but also paved the way for a new era in New Zealand music. From their early days as a trio to their later explorations of new sonic textures, The Clean's journey is a testament to the power of creativity and innovation.
The Early Days: DIY Spirit and Groundbreaking Sound
The Clean's story begins with the brothers Hamish and David Kilgour and Peter Gutteridge, who formed the band in 1978. Their DIY spirit was evident from the start, as they recorded their first single, 'Tally Ho', for just NZ$50 in 1981, setting a precedent for independent music in New Zealand and internationally. This spirit was further exemplified by their first EP, 'Boodle Boodle Boodle', which was recorded in a hall and hit No 5 in the New Zealand music charts, despite receiving no commercial airplay. The EP's lead track, 'Point That Thing Somewhere Else', is a scorching example of the band's early sound, blending surf, proto-punk, and drone with Hamish Kilgour's exceptional singing-drumming skills. The song's 15-minute live recording from 1981 is a testament to the band's ability to create epic sheets of sound with just three people.
Exploring New Sounds: From Space Rock to Acoustic Delicacy
The Clean's second EP, 'Great Sounds Great, Good Sounds Good, So-so Sounds So-so, Bad Sounds Bad, Rotten Sounds Rotten', marked a slight departure from their hall-recorded predecessor. Recorded on a four-track in a cramped house, the EP's sound is more intimate and experimental. 'Slug Song' from this EP is a standout track, with its dinky cheap chimney organ riff and clattering drums building up to a hypnotic swirl. The song's lyrics, written by Hamish Kilgour, caution against the 'grip of the insipid', while the band's performance showcases their dynamic and instinctive approach to music.
Literary and Acoustic Delights: 'Franz Kafka at the Zoo' and 'Secret Place'
The Clean's third album, 'Unknown Country', recorded and mixed in two sessions when Hamish Kilgour returned to New Zealand from New York, is a more atmospheric and literary affair. 'Franz Kafka at the Zoo' is a standout track, with its beguilingly atmospheric lyrics and mesmerising layered vocals. The song's abstruse lyrics, which feature references to Franz Kafka, Hansel and Gretel, Karl Marx, and Dostoevsky, belie its wistful heart-tug. The band's second studio album, 'Modern Rock', introduced new sonic textures, incorporating hammered dulcimer, cello, viola, and mandolin. 'Secret Place' is a bittersweet organ-led song, with Robert Scott's distinctively plaintive vocals and an irresistible, bright tonal uplift.
Professional Shine and DIY Spirit: 'Diamond Shine'
The Clean's first studio album, 'Vehicle', was recorded with the professional sheen of a major label release, while still retaining the band's DIY spirit. 'Diamond Shine' is a shimmering acid-tinged gem, with David Kilgour's fast and loose chippy guitar stylings and Scott's endearingly daggy vocal interjections. The song showcases the band's ability to create a professional sound while staying true to their roots.
Live Energy and Dynamic Approach: 'Quickstep'
The Clean's live energy and dynamic approach are on full display in 'Quickstep', a non-studio nugget recorded by the Bats' Paul Kean at Christchurch's Gladstone Tavern in 1981. The song's unwavering death disco bass line and mangled, sped-up Stooges-like sound show the band's confidence and instinctive approach to music. The live clip of the band performing the song at Auckland's Rumba Bar in 1982 is a testament to their ability to engage and entertain audiences.
Pop Melodies and Dissonance: 'Getting Older'
'Getting Older' is a pop melody-driven song with a big Spector sound and dissonance. The song's intro, with its squalling guitar and bass trade-off, chaotic crashing drums, and taunting vocals, is a perfect example of the band's ability to create a dynamic and engaging sound. The song's music video, directed by artist Ronnie van Hout, is a slapstick Buster Keaton-esque masterpiece, further showcasing the band's creativity and innovation.
Absurdist Good-Time Anthem: 'Beatnik'
'Beatnik' is an absurdist, good-time anthem that recalls the garage rock classic '96 Tears' by ? and the Mysterians. The song's callout in the introduction is pure Rolling Stones or Pretty Things, and its nonsensical lyrics, such as 'she's a pebble' and 'he's a blam blam', add to its playful and lighthearted nature. The band's goofy music video, which features their friends from the music community dressed up like hippies and beatniks, is a fun and engaging addition to the song's absurdist charm.
A Song for Coming of Age: 'Anything Could Happen'
'Anything Could Happen' is a laid-back, countryfied swagger that was written as a chord reference to Dunedin punk band the Enemy's 'Pull Down the Shades'. The song's gently uplifting chorus, 'anything could happen and it could be right now, but the choice is yours to make it worthwhile', is a perfect song for a country coming of age. The song's imagery of junkyards, empty doorways, and highways, along with David Kilgour's Dylan-like vocals in the music video, add to its sense of adventure and possibility.
In conclusion, The Clean's journey through the lo-fi DIY spirit is a testament to the power of creativity and innovation. From their early days as a trio to their later explorations of new sonic textures, the band has left an indelible mark on the indie music scene. Their influence on acts such as Pavement, Yo La Tengo, and Guided By Voices is a testament to their enduring appeal and impact. The Clean's music is a reminder that, in the end, it's not the precision of the sound that matters, but the passion and creativity behind it.
