Release Date: Apr 9, 2013
Record label: Cooperative Music
Genre(s): Pop/Rock, Alternative/Indie Rock
Bored Nothing's Fergus Miller spent all of 2012 holed up in his house with a cheap four-track recorder, an electric guitar, the ghost of Elliott Smith, and the complete '90s catalog of Matador records. The result was a torrent of songs that ended up on Bandcamp, CD-Rs, and cassettes throughout the year, and then on this self-titled LP at the end of the year. Bored Nothing gathers up songs from the previous releases, plus five songs recorded specifically for the record, and in the process vaults Miller to the head of the '90s revival class.
The intentions of Melbourne resident Fergus Miller have always been modest. The 22-year-old has spoken in interviews about writing all his songs to play for two of his friends and “for something to do”, and started recording homemade tapes in 2011 as a way of forming a connection with people he meets when travelling around. This debut should take Miller’s personal approach to a wider audience.
Indie rock is a game of inches. Nebulous genre categorizations aside, if you're playing a guitar and you're kind of successful-- but not Mumford & Sons successful-- you're going to get lumped under one massive umbrella. It's alright though. It allows for nuance and pathos and explorations of ideas and lifestyles that we all generally thought were pretty well tapped.
Every few years, there seems to be a sudden draw towards looking Down Under for indie’s next decent crop – everyone can, unfortunately, remember the bandwagons behind The Vines and Jet. This has been happening again recently; from the arrival of Tame Impala to coverage of Adelaide Festival in the UK press, attention has once again been drawn towards Australia. People may initially think of Australia as being home to average indie bands plus long term UK resident Nick Cave‘s offerings, but the land of Oz has a deeply rich and inspirational indie heritage: The Go-Betweens, The Triffids, The Moodists and Laughing Clowns to name but four.
Slacker rock, a suitably vague term for that spectrum between Pavement and Modest Mouse, is characterised by lo-fi recordings, apathy, and a gentler, indie take on the core components of grunge. As with everything Nineties, it’s been having something of a revival lately, with everything from Yuck’s grungey guitars to Christopher Owens’ DIY apathy finding fairly mainstream success. But of course, though it might seem careless and ill-thought out, there’s more to successful slacker jams than meets the eye.