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SPOTLIGHT
ON... VIETNAM
This
ain’t the 21st Century Manson Family nightmare you imagined.
These aren’t run-of-the-mill weird beards, freak folkies,
or whatever you prefer to label the fashionable post-hippie subculture
that’s emerged in the last few years. This is the pure unadulterated
electric blues based rock’n’roll of Vietnam. They’ll
remind you less of The Band, Bob Dylan, Neil Young, and The Velvet
Underground than they will Music From Big Pink, Blood
on the Tracks, Tonight’s The Night, Loaded,
and other rare moments when distinct musical voices have delivered
very straightforward yet compelling rock’n’roll.
Thus far Vietnam
only has a single commercial release to its credit – an EP
that Vice Records released but didn’t do much to promote a
couple of years ago. So, while you’re forgiven if you haven’t
heard of them, be forewarned that Vietnam is poised to drop some
serious rock bombs on the world in coming months. Last month they
completed the mixing of their still-untitled and unmastered full-length
debut. These eleven epics of the blackest night range from rocking
to contemplative, and, production-wise, from raw to Specteresque.
There’re just enough strings, horns, and backing vocals to
broaden the horizons – but not so much that distracts from
the whole or polishes the grit. And, despite their tendency towards
high fidelity and grandiose ornamentation, the record never loses
its personal touch. I’ve had a hard time listening to anything
else since they handed me a copy.
Vietnam’s
drift towards a pure rock sound will of course confound the critics
of two years ago who said they were too derivative of Spiritualized,
Spaceman 3, Jesus and the Mary Chain, and other spatial two-chord
minimalists. While the band departed from this sound some time ago,
traces of these more monochrome influences are definitely one of
the more unique features of the band’s sound. Another element
distinguishing them from other classic rockers is their combination
of jaded New York urbanity and a raw twangy, occasionally acid-tinged,
Texas eccentricity. While it would be an oversimplification to say
that their sound merely reflects their musical geography, three-fourths
of the band are Texas-to-New York transplants, and they started
performing as Vietnam after moving back to Texas, before winding
up in New York once more. An illustration of this binary in action
is the time when asked them if they would do a cover song single
for my label and they couldn’t decide between Suicide and
Roky Erickson.
Everybody knows
that rock’n’roll is pure voodoo. All feeling. Rock’s
mythology has always championed those things that can’t be
quantified. There’s no boundary between the music and the
lifestyle. That’s why rock is obsessed with authenticity –
lifers and posers. The lifers sell their soul, but in return get
the secret rock knowledge. The poseurs are either tourists, on business
vacations, or those who want to sell their souls but just don’t
know where to go to do so. In an era saturated by the mediocre music
that’s rendered the genre all but invalid, rock doesn’t
come naturally and can’t be learned in school. It must develop
through years of living and listening experience.
Though I can’t
tell you how Vietnam obtained their secret knowledge, I can tell
you where they’ve been. Vietnam’s sound may have been
different had they achieved a certain measure of success early on.
The band’s long winding staircase has thus far been comprised
almost exclusively of little victories. But this long journey of
baby steps and setbacks has proved necessary – leading them
from their extremely stylized and somewhat derivative roots to something
completely their own. What follows are the details of the trials
and travails, or trails and travels, of this unique band across
American culture.
©
New York Night Train , 2006
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