It’s easy to wax sentimental about or carefully deconstruct twee pop. In fact, someone’s already analyzed and examined the twee pop movement, and it comes from a surprising source: Pitchfork. “Twee as Fuck” is a historical account and a manifesto all in one. Nitsuh Abebe on the future of twee pop:

Today’s indie world looks to be shaping up for the same kind of split that makes twee essential. Today’s “indie” world is remarkably professional; its notable acts, like the Arcade Fire, are the sort that would once have released their records on major labels. At the same time, we’ve seen the rise of something analogous to the hardcore bands of the 80s. It’s the underground world of post-hardcore noise where things are really happening, and along with that has come an old schism—between the tough punks and the drama geeks—with Pitchfork’s own Tom Breihan worrying about the Decemberists being “indie bedwetter dweebs” in his Village Voice blog.

(…)

If you’re young and starry-eyed, here’s your chance to get in ahead of the game: Grab a cheap guitar or a cheap keyboard, a four-track or a boombox, and make what you can. Someone, somewhere, will love you for it.

A House Full of Friends, a two-disc compilation from Portland’s Magic Marker Records, is that same manifesto in compact disc format. Culling from the back catalogues and demo tapes of the many bands that have played house shows at 4306 SE 34th Avenue, aka the Magic Marker House, A House Full of Friends is like a piece of late-90s indie nostalgia of the Pacific Northwest kind, when people still listened to indiepopradio.com and excited festivalgoers would write online journal entries about seeing Pearl Jam’s Eddie Vedder hanging out with C Average before a show. It was a time when Le Tigre was just a sketchy idea in the head of Julie Ruin, a time when Sleater-Kinney still played shows with the likes of Calvin Johnson. It was a time when labels like Up and K and Yoyo and Kill Rock Stars were like the twelve constellations, forming an entire universe of indie pop.

The album is fantastic from beginning to end, featuring contributions from the Lucksmiths, the Shins and the Decemberists. But the real gems are from bands you only vaguely remember, or bands you’ve never heard of: the Tiger Trap redux of All Girl Summer Fun Band’s “Grizzly Bear”; the almost-too-clever lyrics of My Little Brother’s “My Little Brother” (”My Little Brother brings my best friends together”); the childish breakdown of Eux Autres’ “Le Project Citron” (”They make a fashion, they make a champagne… I like champagne!”); the lush trumpets of the Salteens’ “Time You Have Been Wasting”; the archetypal indie pop sound of the Galactic Heroes’ “4306 SE 34th Ave.” And then there’s the stuff that isn’t on the CDs. The accompanying liner notes feature photos of the compilation’s bands, taken while they played shows in the tiny living room and basement of the Magic Marker house. There’s also a center spread entitled “How to Throw a House Show” that throws out a bunch of helpful tips on how to get the neighbours on side, how to promote your show, and what kind of sound system you’ll need. It’s a wonderful DIY touch to the whole package, and was actually the reason why I bought the album, I’m sorry to say—sorry because I honestly didn’t realize how awesome the music itself would be.

A lot of people won’t like this album. It’s too cute and it’s too amateurish; it’s not cool and it’s not current (for the most part). But if none of those things scare you, then you owe it to yourself to hit up Magic Marker and get them to send you a small piece of indie pop history.