Britpop

Our obsession with the 1990s

From our UK edition

Why are we drawn ceaselessly back into the ever-more-recent past? The 1990s trend has been building for years now, with bucket hats, Carolyn Bessette-Kennedy chic, Oasis reunions and documentaries about Oasis reunions… There are clearly deep reasons to revisit that decade. Some have scores to settle (Earl Spencer), while Gen Z’s interest seems tinged with yearning – as well as prurient curiosity about how barbaric it all was. It was the twilight of the Yellow Pages, the last days of video. You were nobody without a landline, nowhere without an A-Z. It was a time of libertinism, it was a time of HIV. Of ecstasy (the drug) and agony (Gazza cried, Diana died). The 90s: Art and Fashion at Tate Britain guides us carefully into this distant land.

A criminally underrated songwriter: Matthew Sweet’s Catspaw reviewed

From our UK edition

Grade: A– The early 1990s were a lovely time for rock music: Beck, Sparklehorse, Sugar, Green on Red and Royal Trux. I wish I’d savoured it all more at the time, not realising that Damon and Noel would come along decked in Union Jacks and suffocate us with the precious (Damon) and the oafish (Noel). There was Matthew Sweet’s first album, too — Girlfriend; the missing link between Big Star and Neil Young. He is a criminally underrated songwriter, but then power pop has never found much traction over here since the fab four called it a day. Sweet is an engaging soul with a self-deprecation that occasionally teeters into self-loathing. Like Paul Westerberg, there is intelligence, humour and subtlety in his lyrics and always, always good tunes.