When I was at infant school we had these things called "rounds", which were basically the same melody line sung in sequence, over and over again, just with each of us starting to sing it at the start of each verse. So I'd start off, the next kid in the second verse, the kid after that in the third verse, and so on and so on. I suspect the words were "hey-nonny-no" waffle. I found them enjoyable in that unquestioningly pleasant way you only really know when you're six years old.
Apocalypso reminds me of those. The bassline repeats itself virtually endlessly throughout the song, the chiming guitars follow mechanically, and Bid's voice fits into exactly the right place, sarcasm barely disguised, but never descending into sneering. We could very easily be joining in one by one - we'd share in something pretty enticing if we did, certainly.
Why Apocalypso in particular? It isn't as good as the original three Rough Trade singles, but they're too early for this list. You don't want to throw it off in exhaustion the way you do Jet Set Junta. It has none of the slightly irritating jauntiness of Ten Don'ts For Honeymooners. And it has Bid, casting his eye over the ways of the English upper-class, judgmental with affection, closer to a condemner than a celebrator but neither outright: listen when he sings "All I want is a flat in Berkeley Square / With colour TV set, reclining chair / Big box of suchet (or is it shoeshine?) for me to devour / Antique grandfather clock chimes on the hour" and almost yawns in sardonic boredom on the last word, desperate to move onto something more interesting. It's an arrogant, distant, egotistical, super-rich way of life that you suspect Bid was attracted to on the surface but appalled by underneath, but there's no sign of any of his opinions really obstructing this record. Other Set singles may have had more substance than this, but none displayed their poise, wit and charm better.
Robin Carmody, 25th August 2000