We’re only in February, and the trend in British dance/electronic music of using beats and synths to map the psycho-geography of the country’s inner city life has been established. It’s hardly a new concept, but rather one that gathered ahead of steam as dubstep’s emerged in the early noughties. The trend culminated in 2014 with records like Islands by LV and Josh Idehen and Actress’ Ghettoville. Beat Spacek (aka Steve Spacek) has now thrown his hat into the ring with Modern Streets, its title a clear indication of the intentions on the album. But the 13 tracks that make up this particular slice of London existence are at once baffling and fractured, starting in the present before stretching back in time whilst simultaneously aiming to open a slender aperture into the distant-ish future.
From the sounds that emanate from Modern Streets, Spacek has been keeping his ear to wildly varied array of musical pulses percolating through the sound systems of the UK’s diverse and multicultural capital. He clearly has his roots in the whirlwind of colliding song forms that made up the early 1980s’ synth-pop/post-punk/neo-ska/industrial scene. If it’s hard to imagine what that would sound like, well it turns out it’s essentially pop music. Of course, I don’t mean pop in the sense of Taylor Swift or Charles and Eddie or Kylie Minogue, but by distilling his various influences past and present into crisp songs, Steve Spacek has, as Beat Spacek, come up with a rather unpredictable form of pop music.
This isn’t immediately apparent, as each one of these very individualistic tracks is defined by its difference to the others. “I Wanna Know” is driven by a minimalist drum machine beat not a million miles from Martin Rev’s similar pummeller on Suicide’s “Ghost Rider”, whilst “Tonight” is introduced by a slinky High life rhythm and jerky percussive eructations. Meanwhile, “I Want You” is coldly romantic in the manner of a Cut Copy track and Spacek ladles echo and reverb on his vocal in the manner of a Jamaican dub producer on “Stand Firm”. It all must sound garishly eclectic, but somehow he manages to keep a firm grip on the reins of these disparate sounds, something even more impressive when you learn that he worked mostly with iPad and iPhone apps, something which perhaps explains the brittle nature of some of these tracks. Spacek’s voice is a particular asset in maintaining this unexpected cohesion. He mostly employs an airy falsetto that is rich in emotion, but on the futuristic hyperactive love ballad “Inflight Wave” and the stark synth-pop of “Go Back to School”, for example, he switches to a low robotic croon that is somehow both more and less human than his more overtly emphatic vocal style elsewhere.
Coincidentally, whilst I was drinking in the heady cocktail of Modern Streets I was also delving back into early Orchestral Manoeuvres in the Dark, perhaps (along with Japan and Associates) the most idiosyncratic of the UK’s synth-pop pioneers. Like Beat Spacek, OMD’s Andy McCluskey lurched between lush pop romanticism and awkward, imprecise commentary on the world around him. Of course, OMD’s palette was more restricted to post-Kraftwerk synth-worship and McCluskey was more outwardly focused than Spacek’s London-centric inward gaze, but, between the hypnotic repetitiveness of the rhythms deployed and the infectiously bright simplicity of their synth lines (analogue back in 1980, produced on a phone of all things in 2014), somehow OMD and Beat Spacek share a commonality, a refusal to let the harshness of these modern streets or global insecurity detract from forging a bloody good melody and heartfelt lyric.
For all the artificiality in how Modern Streets was made, it’s a starkly personal album, with Spacek really laying his soul to bear on certain tracks, especially “I Want You”, with it’s mantra-like chorus rivalling Dylan’s “I Want You” for persistence. Only the title track and one or two other songs overtly deal with mirroring London life, but then what is life if not personal, informed by one’s own emotions and desires? Time will tell if Steve Spacek has succeeded in anticipating the future of dance music by refracting the past through the prism of the post-dubstep world, or indeed whether Modern Streets lives up to its title. But as a portrait of a man in a city sharing his thoughts and feelings, it’s strikingly effective, all the more so for being so far-reaching.