Before the kool things of Sonic Youth kick-started the DIY indie movement of the ‘80s, well before the noise and alt rock creations of Yo La Tengo hypnotised fans and long before a fresh-faced Stephen Malkmus was pumping the scuzzy low-fi sonic storm that would be Pavement, three young musicians who as one were known as The Clean had already experimented with these elements, shaping what would become one of the most unique and influential sounds in guitar-driven music.
Born in the deep south east of New Zealand in a town called Dunedin, brothers David and Hamish Kilgour and their pal Robert Scott came together in 1978 to form unequivocally one of the most important movements to emanate from the South Pacific island, the “Dunedin Sound”.
For the less obsessed, the Dunedin Sound is a broad genre-based term for the a meld of post-punk, jangle-pop, new wave, indie pop, low-fi, psychedelic pop and garage, that was created by the hands of a few artists in Dunedin, which would then become the lifeblood of the ultimate Kiwi label, Flying Nun.
Ahead of the three-piece’s forthcoming tour of Australia next year, we spoke to legendary guitarist and vocalist David Kilgour who was only too happy to share with us the history of The Clean and how he as an artist has sustained such a potent relevancy in the ever-changing world of music in the past 30 years of his creative career.
Speaking with Kilgour, he noted that he, his brother and Robert Scott never sought out a particular sound when making music, it was if anything, a mere result of the punk revolution that was rippling from the UK and US, inspiring the band to pertain wholly to a “do it yourself” aesthetic, which saw The Clean serendipitously discover their sonic world.
“We were inspired by punk and punk showed a way to navigate thought the morass by doing it ourselves. Before punk came along the idea of picking up a guitar and singing our own songs, recording them and touring seemed like an unobtainable boyhood dream.”
“We didn’t even have a soundman as we mixed ourselves from onstage, mad but true!”On this cultural phenomenon, he explained their DIY sonic workings, “Control over our sound, the way we toured, and in our attitude. We wanted to work outside of the established music industry and what it expected from music and musicians – basically a post punk attitude.”
The DIY culture was very much ingrained in the band’s entire sound, which too translated to their live show, “We toured with our own PA, owned our own van, booked our tours, didn’t have light shows. We didn’t even have a soundman as we mixed ourselves from onstage, mad but true! We also bought a revox 2-track and started recording ourselves, most of which can be heard on Odditties. We pasted up our own posters, arranged our own promo and everything.”
Like punk itself, post-punk was not the most accepted nor palatable of sounds, “Probably when we left Dunedin and starting touring New Zealand, places like Christchurch, Wellington and Auckland were more receptive to what we were doin’.
“We weren’t an easy sell, nasty treble, out tune vocals, tough attitude etcetera, but I think the music really did speak for itself.”
Their story definitely traces similar hallmarks to that of the infinitely influential The Velvet Underground, who’s lo-fi and DIY approach lives and breathes through infamous tracks such as the noisy ‘Point That Thing.’
“Hamish and I loved the Velvets. Hamish bought home a Velvets comp in the mid ‘70s. Previous to this we had absorbed the good shit form the ‘50s and ‘60s a la Little Richard, Bo Diddley, The Stones, Dylan and we had a great love of ‘60s garage rock n roll via LPSs like Nuggets and Pebbles.”
From their own influences to those they’ve inspired, Kilgour spoke of some of The Clean’s most famed adorers, Yo La Tengo and Pavement, “We have toured with these bands solo and as The Clean, Yo La Tengo are good friends.”
“I’ve toured with Yo La Tengo as a hired hand and Ira Kaplan graciously pointed out what chords and ideas he has ‘stolen’ from me. Spiral Stairs told me that when he and Stephen heard ‘Tally Ho’ they thought maybe they could make music too, ‘If they can get away with this, maybe we can’ kinda thing.”
From here, Kilgour jibed that the resurgence of the Dunedin Sound via the likes of Mac DeMarco and Real Estate stating “I want to kill myself.” Clearly the musical virtuoso has not lost any of his laconic charm.
As cool as the rival of the Dunedin Sound may be, Kilgour is still king of the sound, best exemplified by the release of End Times Undone, a blissful psych and indie pop 10-track LP, which his third record as David Kilgour and the Heavy Eights, and is seriously one of the best things you’ve not heard in 2014.
The man’s talent to create music that feels so timeless is uncanny, detailing this he said “I don’t really hear anyone making LPs like ETU, do you? We operate within our own little musical world, just trundling along doin’ our own thing, as a band we are very comfortable with each other personally and creatively and that takes time and we have put n the time with each other as people and musicians.”
Forever humble, Kilgour refused to take sole creative credit for the record, “We all co-wrote the LP. I couldn’t have made this LP with the Eights. Even when one or more members may not have contributed musically (as in chords etc.) their presence, opinion and performance was essential. Generally speaking, I think I’m at my best when I’m collaborating, but it’s not easy finding the right people to do it with.”
Working fastidiously from the outset of his lengthy career, Kilgour surprisingly does in fact give his music away for free online because “it’s free if you want it to be, so why not?”
From here the conversation visited the hot topic of 2014, the debate of streaming service royalty payouts to artists. “It’s always been hard for musicians to survive off music going back to the very beginnings of time, and now its almost become impossible, especially if you are a youngster starting out.”
“The world and the powers that be have sat idle and watched the rights of musicians be reduced to that of a peasant living in a slum lorded over by slum lords” he continued.
In saying that, Kilgour is more than gracious in appreciation that his art is able to bring home the bacon, “or vege bacon” he quickly quipped.
Reflecting on the legacy of not only The Clean, but the entire Dunedin Sound that comprises of outfits such as The Bats, The Chills, The Verlaines to name a very short few, Kilgour paid heartfelt homage to the loss of his long time friend and collaborator, Peter Gutteridge, who passed only a few months ago.
“If I hadn’t have met Peter I sometimes think The Clean wouldn’t have happened and my life in music may never have happened. It was our meeting that spearheaded the whole idea of The Clean. Keep in mind Peter co-wrote The Clean’s ‘Point That Thing’, he also wrote some great songs while in The Great Unwashed. So yeah a very important person in my life and his passing has left a big hole.”
On this, he recommended that “Snappers first EP is a good starting place” for any those who are keen to explore Gutteridge’s music.
Gazing into the future, The Clean are prepping for a nationwide tour of Australia, which will see the three-piece perform in Perth for the first time in their career, and shockingly, their last. “I think this will be the last Clean tour as I feel its just time to stop, I’m runnin’ outa gas for it!”
Heartbreaking as this is, at least there’s one last chance to catch the innovative music magicians. Never one to give too much away, when posed with the question of whether he’d ever create new material with The Clean, he cheekily left us hanging with a proverbial wink, “Sometimes!”
Upcoming Australian Tour
Tuesday 20 January – Sydney Festival, Sydney
More details at sydneyfestival.org.au
Thursday 22 January – The Corner, Melbourne
With Lower Plenty + special guest
Tickets on sale 9am Friday 24 October from cornerhotel.com
Friday 23 January – The Rosemount – Perth
With Doctopus + Hamjam
Tickets on sale 9am Friday 24 October from oztix.com.au
Sunday 25 January – The Brightside, Brisbane
Lineup and ticket details soon to be announcedmi
