Modern life, as one of Pulp’s britpop contemporaries later noted, is rubbish – and the everyday drudgery and frustration of the common life is perhaps the most rubbish part of all, especially to those who have dreams or aspirations of any sort (i.e. everybody.) We started this era with Little Girl (With Blue Eyes), which for all its pop trappings was nevertheless an insightful, heartfelt slice of genuine empathy. In the following couple of years topics became more improbable and the treatment became more melodramatic – until with songs like 97 Lovers the band appeared to be verging on the histrionic.
Aborigine is, given these criteria, an unqualified return to form. What it absolutely is not, though, is a pop song. Any ambition the group had of bringing the kitchen sink into the charts now seems to have faded from view. Whether you view this as a retreat or not depends on your idea of what the band should be. It can’t be denied, however, that Aborigine is a wholly successful piece of music – dark and troubling, but lacking the depressing malaise that dogs much of Freaks.
Aborigine isn’t, of course, about Australian natives. The title (presumably a working title which was never changed) refers to the low drone introducing the piece – not a didgeridoo, but Russell slowly bowing a bass guitar. Actually everything about the track is a drone, down to Jarvis’s hypnotically dull vocals, which he intones like a man in a psychotic trance. The protagonist has indeed been driven to psychosis, first by the disappointments and tedium of adult life, and later by the wife and family he wrongly thought could comfort him. His mental state is a highly sensitised form of dulled stupidity – the insanity felt if you sit in a yellow-wallpapered room listening to your own tinnitus too long. Boredom has led to discomfort, and aggression is all he has left to grasp for. Though generalised and focused on one specific issue the lyrics paint a nevertheless vivid picture. “Stupid animal that can’t know why / Something’s wrong so someone has to die” – the words may stick in the same note, but the hypnotic trance has a rhythm – each line is measured into rhyming couplets – not exactly iambic pentameter, but finely crafted all the same. You can almost taste the bitterness of this cabin fever. The fact that these experiences were drawn from Jarvis’s imagination rather than his own failing relationship truly demonstrates his growth as a lyricist.
Elsewhere Simon Hinkler’s production is again key to the track’s success. He seems to have been the only person capable of restraining the band from their dramatic excesses. It’s been suggested that Aborigine is a rip-off of Joy Division, but while it does have a vague resemblance, it’s far too original to be called a facsimile. Behind the drone we have a steady build-up of energy and aggression, driven by a seemingly primitive motorik beat which turns out on closer analysis to be a completely un-danceable stuttering quintuple-metre. At two points (which we probably can’t call “the chorus” – but that’s where they go at least) the tension gives way to a brief but brilliant instrumental break. Jarvis forces out a short series of unconnected guitar phrases, Magnus bangs his sticks together, and somehow it’s utterly addictive, and all the better for waiting through the psychotically monotonous buildup.
At the end we have the inevitable climax, consisting of a steady increase in violence and power until Jarvis is almost screaming. Though this breaks the spell somewhat, it’s probably necessary to express the vast downwards slope of despair and destruction down which our protagonist is falling and it’s difficult to think of any other way the track could have finished. After the climax, Jarvis repeats the song’s mantra, only this time using his true voice. Odd as it may seem, this is the first time we have heard him speak without any kind of posture or affectation. Yes, it’s just a muttered coda to a b-side, but it still feels like the start of something.