Until about two years ago, I must admit that my knowledge of Chinese music of any sort, be it underground or overground, was almost non-existent. What I now know of the Chinese underground is largely a result of the Tenzenmen label. While it is far from exclusively Chinese in its output, its founder, Shaun Tenzenmen, has been enthusiastically evangelistic in promoting Chinese artists in Australia. Thankfully, there’s no patronisation involved – most of the releases are at the top of their game in and between their respective genres.
Dear Eloise play 60s inspired bubblegum pop infused with small shards of broken glass. Think of, maybe, Teenage Fanclub with a bit less hi in their fi. And with girl vocals in a washed out Galaxy 500 kind of way. Grainy guitars strum below organs, piano and straight, reverbed drums. Melodies float, enmeshed in the sound. While there are similarities with other contemporary buzz-pop groups (Vivian Girls and Dum Dum Girls come to mind), what stands out is that Dear Eloise seem less concerned with current ideas of hipness and more concerned with playing around with the sounds in which they are rooted.
The 7″ format is ideal for this kind of music. It is, after all, the type of music originally created when the format was at its peak. And so it is that two short, sharp jabs of Dear Eloise go down perfectly well. The two releases (A-sides taken from the band’s 2011 album, with new B-sides) are a great pair. The music is not going to change the world just yet, but there’s a good chance the world might seem to sparkle a little more for a few 3-minute bursts.
Adrian Elmer
