Natural One—Folk Implosion

#365Songs: March 28

There was a time when the term “alternative rock” was genuinely meaningful.

It came into common parlance at a time when rock n’ roll as we know it had been around for some 30+ years — more than enough time for it to become ossified, codified, and commercialized.

Alternative rock, in its real and meaningful sense, did exactly that — it offered an alternative. In other words, it was still recognizably rock (vocals, guitars, drums, etc.), but it was somehow different.

There were many ways alternative rock could be different — strange vocals, weird rhythms, oddball lyrics, unusual production, disparate influences, and more.

Variations had, of course, already been in play almost from the beginning. Garage, surf, and punk rock. Blues, acid, and psychedelic rock. Hard rock and heavy metal. Glam rock and folk rock. Prog rock and jazz rock.

Alternative rock, at its best, grabbed a little bit of all the above, mixed it with a bit of old instruments and new technology, and provided a breath of fresh air as the 80s evolved and eventually gave way to the 90s.

While I personally do concede that there was — at least arguably — some legit alternative rock, legit examples are oddly few and far between.

That said, there are certain songs that I believe genuinely fit the bill. Among them are:

Talking Heads — Burning Down The House
Siouxsie and the Banshees — Cities in Dust
How Soon is Now? — The Smiths
Monkey Gone to Heaven — Pixies
Running Up That Hill (A Deal With God) — Kate Bush
So. Central Rain (I’m Sorry) — REM
Dear God — XTC
Sour Times — Portishead

Each of these songs somehow turns genre on its head to deliver something note quite heard before. David Byrne’s unhinged vocals and cryptic poetics laying on top of the savvy synthesizers and percussion of “Burning Down the House.” Siouxsie Soux’s gothic hiccups and apocalyptic visions weaving through the art-funk groove of “Cities in Dust.” Johnny Marr’s iconic tremolo wrapping around Morrissey’s Byronically cynical romanticisms. The fearful religiosity and fundamental strangeness of “This Monkey’s Gone to Heaven.” The ambition of “Dear God.” The pathos of “So. Central Rain.” The beauty and truth of “Running Up That Hill.” The staggering ambition of “Dear God.” The narcotic mystery of “Sour Times.”

Those songs cover about a decade’s worth of music, and that’s about the widest bookends I’d suggest for alternative rock’s heyday.

If I had to pick one song, and one song only, that I think captured in one fell swoop the the best of what alternative rock had to offer, I’d go way left field and pick “Natural One” by The Folk Implosion.

Surprised? Me, too. Kinda.

But seriously, it’s such a killer track, and it packs in all the hallmarks. A drum loop that sounds simultaneously hi and lo-fi. A slippery blues-based bass line that is all groove, all the time. A simple and super vibey guitar line that is hooky, repetitive, and manages to evoke everything from The Ventures and Cliff Gallup to Johnny Marr and The Edge. A lyric that is opaque, mysterious, and laden with patented Gen X angst, ennui, irony, and cynicism, that somehow still manages to stand as a call for life-loving freedom. And finally, a vocal that is intimate, cool, and equal parts reserved and vulnerable.

It’s the recipe.

Folk Implosion is a band that barely existed. It was a side project for Sebadoh’s Lou Barlow, who is kind of indie rock royalty, having been a founding member of Dinosaur Jr., as well as Sebadoh and Folk Implosion.

Folk Implosion likely would have remained totally unknown had it not been for the unexpected success of the film Kids. Despite not appearing in the actual film, “Natural One” was on the soundtrack, and its release as a single propelled it to an impressive chart performance (#29 on the Billboard Hot 100, #4 on the Billboard Modern Rock Tracks chart, #20 on the Billboard Mainstream Rock Tracks chart and #45 in the UK Singles Chart).

Record label legal issues soon ensued, however, and the song remained unavailable on any streaming services until 2023.

I absolutely adored “Natural One” from the first moment I heard it, and I ultimately bought a used copy of the Kids soundtrack on CD from some obscure retailer just so I could have the track at the ready whenever I needed it.

And I’ve definitely needed it, particularly during the process of making records. There are a few songs and albums that I’ve always kept on hand to A/B against when I’m working on a record — sometimes for sonic purposes, often for emotional ones. “Natural One” is always one hand for me.

I know that anyone who reads this will disagree with my choice. I can already hear the Radiohead-heads girding up for a fight.

That’s cool. Radiohead was great. So was Jane’s Addiction, the Violent Femmes, Sinead O’ Connor, REM, Sonic Youth, PJ Harvey, and so many more.

But I’m sticking with my 10-year window, and I’m sticking with “Natural One” and Folk Implosion. I mean, cmon:

There’s no telling what we’ll do when we’re free
And you may as well crash with me

If that’s not the perfect distillation of alternative rock, I don’t know what is.

~

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