So little allure does contemporary music hold that I forgot the Brit Awards were taking place this year, and spent last Tuesday evening in the bowels of a club in that odd hipster-troubled enclave north of Oxford Street, watching Tim Burgess launch his autobiography. Well, we all have to pay the rent somehow.
You recall the rash of soi-disant Minor Indie Celebs which infested post-Libertines London? If you don’t, I wouldn’t blame you; they were peole like the Queens of Noize, or The Holloways. But if you do, you might also recall that a secondary feature of this period was the reemergence of several 90s indie also-rans (now there’s a tautology for you), lurking in support slots and at DJ sets, most often in the vicinity of Barat and less frequently of Doherty. Apparently the 90s are now officially back – finally! The 90s revival has been ‘impending’ for at least four years – which at least means the 80s aren’t back any longer, unless you count things like politics, economics, society and culture. But the 90s never really went away, their cultural detritus over the past decade continually bobbing to the surface like something unflushable.
Tim Burgess is harmless enough, of course, and to criticise him feels akin to cudgelling a seal-pup. The book, like the Charlatans, is probably a perfect example of its inoffensive, tolerable, un-vital type. After exacting dissections of Blair and Britpop, the 90s as the subject of memoir and history doesn’t even have the shock of the new, although a wider perspective on the music of the period does show what an odd time it was, post-Thatcher and pre-Blair, briefly and freakishly fertile before the greywash. And even afterwards: this happened at a Brit Awards ceremony in the 90s, and so did this. Privatised and atomised examples of protest, sure, but you know, if I somehow missed Adele making a Bastille-storming speech on Tuesday about the scandal of government money being siphoned off by private companies who maintain their luxurious lifestyles off the backs of the unemployed, then do correct me.
Anyway, the only point I vividly recall about Tim Burgess’s autobiography was the repeatedly-mentioned chapter entitled – and I haven’t checked the spelling here – ‘Cocainus’. ‘It’s a portmanteau word’, explained the author, with no great necessity, ‘formed from the words “cocaine” and “anus”‘. Rarely have the 90s been so succinctly summed up.