3.144.98.43
User Stats:
Today: 0
Yesterday: 0
This Month: 0
This Year: 0
Total Users: 117
New Members:
3.144.xx.xx
Server Time:
Contents |
History
Beginnings
Main article: Australian rock
Rock and roll in Australia got started in the late 1950s and 1960s, influenced by the sounds coming from the USA and UK. Early on, the surf rock sound dominated, though in the mid-1960s, the beat genre from the UK had become established. Numerous garage bands formed in the cities and suburbs, and a vibrant musical culture began.
Punk and post-punk
The punk movement began in the mid-1970s, and resulted in an explosion of musical activity. Numerous bands formed, as did many independent record labels, often run out of bedrooms. Soon the raw energy of punk evolved into post punk, which combined the DIY ethos of punk with rule-breaking, genre-defying artistic experimentation. The profusion of small, defiantly uncommercial and often unhesitatingly experimental bands became known as the "little band scene". Throughout the 1980s, it flourished in most Australian major cities, evolving around venues (such as Melbourne's Seaview Ballroom) and community radio stations such as 3RRR. A few bands, like The Models, crossed over to the mainstream; others, like The Birthday Party went on to achieve critical acclaim abroad.
This era can be said to have ended in the 1990s, when in the wake of the explosion of grunge, alternative music became mainstream. Major labels signed three-chord grunge/punk-style rock bands, commercial radio played them and the 'alternative' sound soon became ubiquitous, ultimately culminating in manufactured pop groups like Killing Heidi, styled to sound raucously 'alternative' and appearing on television commercials for mobile phones. In this way, this process of mainstreaming echoes what happened in the USA and UK.
1990s to the present
The mainstreaming of alternative music did not kill indie rock in Australia, though did signal a shift in its focus. The form of 'alternative' music that the major labels and commercial radio stations were interested in was predominantly three-chord rock informed by punk rock and Seattle-style grunge; loud, rebellious, and easily marketable to a generation of teenagers. Bands who did not fit this manifest were largely left behind by this process, and did attract smaller audiences (predominantly in their 20s and based in bohemian inner urban areas). In inner Melbourne, a considerable post rock scene flourished, with bands like Art of Fighting, Silver Ray and Gersey playing more subdued music using the traditional guitar/bass/drums structure; bands in this scene often played at inner-city venues such as the Punters Club and the Empress Hotel. Other bands explored alternative instrumentation, including accordions, strings and chromatic percussion. Indie pop, too, remained largely (though not entirely) out of the spotlight, with bands like Sydney's Sneeze, Melbourne's Sleepy Township and Brisbane's Clag.
Several indie labels of note have operated in Australia around this time. Chapter Music, established by Guy Blackman in Perth but later relocated to Melbourne, released recordings on both vinyl and CD by a wide range of artists, including Panel Of Judges, Sleepy Township and Origami, as well as a compilation of Australian 1970s/1980s post punk titled Can't Stop It. Sydney's Half A Cow, run by Nic Dalton, released albums by bands like Dalton's own Sneeze, Spdfgh, and Sydney shoegazers Swirl. Fitzroy-based Trifekta, run by Tom Larnach-Jones (and distributed by major label Festival Mushroom Records) also released recordings by various more established Melbourne bands, including Ninetynine. Minimum Chips, Gersey and Architecture in Helsinki, as well as local releases of international bands like Life Without Buildings. More recently, Tasmanian-cum-Melbourne label Unstable Ape Records have been releasing many recordings by independent local bands such as Love Of Diagrams, Sir and the Bird Blobs.
