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Reviewed for The Dwarf

The Clean are seemingly the name-check band of the moment in the indie rock world. Everyone from Jay Reatard to Crystal Stilts to Stephen Malkmus and Pete & The Pirates have been referencing the New Zealand trio who are now into their 31st year. Their latest album, Mister Pop, is their 8th, not withstanding a couple of live albums and compilations (2003’s excellent Anthology is recommended) and it sees the Kilgour brothers and Robert Scott settling into a relaxed mode.

Those expecting the energy and abandon of early Clean songs like ‘Tally Ho’, ‘Getting Older’ and ‘Beatnik’ may find the going tough on Mister Pop. There is very much a laid back feel to the whole record – to the point of drifting, drowsiness in some cases. For those that like and appreciate music that finds its own space and comfort zone though, there is much to enjoy.

Opener ‘Loog’ is representative of what many contemporary dream-pop bands like Beach House are doing, though it retains the link to The Clean’s past with that lovely organ swirling in the distance. (Random fact: the organ on ‘Tally Ho’ was played by Martin Philipps of The Chills). Stereolab are also echoed in ‘Loog’ though it is hard to ascertain whether they were influenced by The Clean or vice versa.

‘In the Dreamlife You Need A Rubber Soul’ brings the album to life with David Kilgour’s lazy vocals chiming in like a familiar friend. The jangle and strum of the kiwi pop sound is augmented by some slide guitar and female vocals similar to those on Loog drift in the background. Are You Really On Drugs” continues the psych folk feel that many like Brian Jonestown Massacre try to master and often fail. It is a perfect example of how songs of The Clean drift by, without peaks and troughs, just a linear journey on a light and floating groove.

‘Back In The Day’ possesses a catchy chorus when Kilgour repeatedly sings “Puts me right back in the day”. It is a nostalgic look back at the past, referencing the southern cross that so many from the southern hemisphere have used to navigate with. The guitar twinkles and jangles over the ambling beat before the song shuffles to a faltering close.

Elsewhere, ‘Tensile’ sounds like a magical marrying of New Order and Kraftwerk while ‘Factory Man’ flips the coin and delivers another of the pretty pop moments that The Clean do so well.

One of the highlights of Mister Pop is ‘Moonjumper’, a nearly 6 minute instrumental, firmly in a krautrock style with some Middle Eastern accents thrown in. It feels like The Dirty Three jamming outdoors on a sunny afternoon as it rolls on with backward guitar and Hamish Kilgour’s insistent drumming generating a hypnotic mood that feels like it could go on forever. Live this track would be a glorious sound to behold and you sense that the full recorded version probably stretched for another 10 minutes before it was edited down.

The Clean have continued to do their legacy proud albeit in a very understated and gentle way. Mister Pop sees them exploring some of their less obvious influences in krautrock and folk and for the most part it works wonderfully well. If anything the failing of the album is that they haven’t added any contrasting songs to add some bite and energy. Next time perhaps a little more caffeine and less chamomile tea.