But few can deny the influence they had on the local scene in the mid-noughties, both as one of the most interesting and popular acts of the era, and as one of the few bands to garner international acclaim - In Ghost Colours was named the fourth best album of 2008 by Pitchfork. Growing up as an Australian indie kid in the mid-to-late noughties meant many things: festivals, horrible alcohol from the pre-alcopop-tax era, a fortnightly tour by The Wombats, oh, and Cut Copy were the coolest band around.Ĭut Copy are still active today - they actually just released a new album, Freeze, Melt, that’s excellent. Were they all instant earworms that demanded you stop everything and dance to chant French phrases and random nonsense about fountains? Also yes. Were their songs incredibly annoying after the umpteenth play on triple j? Yes. You were never entirely sure if these bands were doing all of this ironically or not, and maybe that was the point.ĭepending on where you landed, this three-piece were either the zenith or the nadir of the scene. Or, more realistically, encased in whatever godforsaken liquors went into those teapots they sold at World Bar.Īrt vs Science are among many bands from this era that can vaguely grouped as “indie party bands”: bands whose sole purpose was to put some nonsensical lyrics over a catchy beat and throw random party supplies at everyone and anyone. Ditto Touch Sensitive, Kirin J Callinan, and studio producer Alex Burnett, who all found their starts within Aussie indie bands.īut for bands and artists who had the majority of their success between 2005 - when Franz Ferdinand topped the Hottest 100 and when the first Laneway Festival was held - and 2012 - when Spotify launched in Australia - they are now encased in amber. The likes of Tame Impala, Angus and Julia Stone, The Presets, San Cisco, and Ball Park Music, among many others, have found longer-lasting success from their humble beginnings in the indie scene. The Aussie indie band explosion had genuine, lasting effects on the Australian music scene. The 50 Best Australian Albums Of The Decade Just some people behind a keyboard, or a radio station, or a mixing desk at an indie bar, or your friend burning a CD. There was no algorithm to help you if you wanted to find new music. Spotify, TikTok, and many other innovations in music and technology were still years away from development. This era had its fair share of faults: It was nowhere near as diverse as music is today (and the list of bands that follows reflects this) and more than a couple of bands had names or lyrical content that wouldn’t dare be repeated today.īut, in a way, there was something more real about how music spread during this era. With both iTunes and Spotify in its infancy, MP3 file sharing (some of it less-than-legal) was rampant among an entire generation. The early days of social media on MySpace, LiveJournal, BlogSpot, and Tumblr, as well as the likes of Polaroids of Androids, Who The Hell, The Dwarf, Mess + Noise, and FasterLouder (the latter two being direct predecessors to Music Junkee) were the tastemakers of the era. The History Of Australian Indie Rock In 30 Essential Tracks
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