It’s not all Nickelbacks, Dions and Biebers up here. It’s not even all Loverboys, Triumphs and Troopers (still a lot of Rush, though). We still have the rock, sometimes you just gotta look for it. Sometimes, it wins a Grammy and people are angry because they’ve never heard of the group before. Sometimes, it comes in the form of a band that has the best name based around a bandleader since “Blues Explosion.” Joel Plaskett Emergency’s Ashtray Rock brings the quirk, the rock, the jangly indie bits, the sweater vests and a concept album with a story as old as time: two dudes start a band, fall in love with the same girl and have a falling out. “Fashionable People” sets the scene at a party where the narrator has stars in his eyes and attempts to entice a girl away from all the other wannabes.
Immediately, the words of youth – “I feel foolish/I wanna drink too much”. As the narrator drinks, he attempts to talk up this girl he’s met, decrying all the other people at the party as he tries to make himself out to be the clear the prime candidate for attention: “I bet their parents/Are ridiculously loaded/Let’s get moving/Before I’m loaded.” The narrator uses the opportunity to talk about what’s on his mind, flaunting his newly-formed band, reciting the mantra “Fashionable people/Doing questionable things” to set his partying and recklessness up as a contribution to his future lifestyle instead of just being a drunk teenager. All the while, he attempts to be sly in getting with the girl he’s having the conversation with – “I like your boyfriend too/Do you think he’d understand?” – before the booze gets to his brain and he just says what he’s really thinking: “So ditch him/He’s no good for you…Switch him/Switch him up with me/Leave him in a ditch/And you can take a ride for free”. Plaskett’s relaxed delivery perfectly suits the tale as he delivers it with all the swaggering confidence he can muster.
The thing I will always take away from this song is the absolute insane drum sound when the chorus hits and Plaskett sings “the dancers need a dancefloor!”, very much carrying on from the sound used on David Bowie’s Low, but with much more feedback. The verses are light affairs with a heavily accented rhythm of drums, bass and light synth, with the guitar buried in the middle – none of which have any effects on them . This is what makes the chorus seem that much more boisterous when it comes around. The snare simply explodes with a few carefully-measured hits with a beautiful, overdriven raucous sound, as you bang you head and are ready to petition the government for more dancefloor space when you realize that you’re also hearing the guitar unleash for the first time. Drenched in gain but still crisp enough to whiff the fumes of those high notes on the guitar, the verse/chorus dynamic is done simply but very effectively. What makes it curiouser is the almost anti-chorus that follows the melee, as things tighten right back up and a small falsetto chorus chants “fashionable/fashionable/fashionable people” in the most delicate way possible with a little shaker in the background, which is silly but a great hook in its own right – more often than not, that’s the bit I’m singing after the song’s over!
There’s no getting around a solid song with a great hook, and for that, “Fashionable People” has earned many many relistens for me. It might be that I just like singing in falsetto a lot, too, but that certainly ain’t a strike against it!