Just one more thing… (by laura)

I truly am surprised with how much I have learned over the past few weeks. As an avid supporter of all things Australian, and living with a music-mad/always-researching-new-artists flatmate I thought I had a good grip on Australia’s creative culture beyond Men at Work‘s ‘Land Down Under’. But I was wrong.

I have found a whole unseen culture of Australia that should have more recognition. But then I have to question… would it still be the same? Is it mainstream culture that makes mainstream music so MAINSTREAM?

It is a shame that there is so much great music out there, but when producers and companies fear that too great of a creative difference equals low profit margins they directly impact creativity and change already great music. “The media have to sell themselves successfully to large numbers of the population” (O’Shaughnessy & Stadler, 2005) There is a sense that conservatism needs to be employed to appeal to a greater audience.

For example, Australian alternative rock band Faker re-released their first studio recorded album in 2005 and in the same year was nominated for the J Award (won that year by Wolfmother). Despite being played on Australian radio (Triple J) since 2001 it has taken until today to be featured on the mainstream pop website Take 40.com. For their up and coming tour you can log on to the Take 40 site to follow their tour with pictures and a blog. Although this would be generating attention for Faker, it is also an example how good bands are sold off to create popularity for mainstream music corporations.

Triple J, for the last 30 years, has been the first point of call for any listener wanting to hear fresh Australian music (www.abc.net.au). It offers “an important alternative to mainstream programming and the predominantly American content offered on commercial channels.” (O’Shaughnessy & Stadler, 2005) I become infuriated me when I hear a smarmy Austereo (Australia’s main broadcaster owned by Village Roadshow) personality announce the latest when I have heard it on Triple J months / years before. Actually it kills me, because then I know it will be over played on commercial radio and the artistic value will become unappreciated by the masses who only like music if it is served to them on a silver platter which guarantees that everyone else likes it as well. And the wheel of popular culture and consumerism goes round, leaving the emerging, unknown, and alternative artists not in the gutter, but free to be discovered by people who are more likely to break from the masses to go and find their own tastes in music.

From Angus and Julia Stone to Jimmy Barnes and Cold Chisel, I had a difficult choice for my last song. So I decided to mix a bit of old with a bit of new…along with the Hip Hop trails from my last post… resulting in

The Herd – I was only nineteen…

Resources:
O’Shaughnessy, M. & Stadler, J. (2005) Media and Society – an introduction, Second Edition, Oxford University Press

Diamonds in the rough

After a wobbly start, I had the opportunity to learn a lot about Australian music and the different genres, styles and history that is has. It was great to see that regardless of what the mainstream music world tried to tell us what we should listen to, or what is good or bad music, we can look into different aspects of the music scene ourselves and discover some amazing talent, unknown facts or cultural history.

Through my own observation in the articles about jazz, modern day Australian international artists or indigenous music influencing modern day Australian artists, I have been able to discover the greatness in the vast expanse of music the media hardly covers, let alone the top 40 include! Australian music is something that has been slowly breaking into the world music scene since the 1970s and continues to do so. Today artists can be “discovered” by band competitions, myspace, television shows and so forth, expanding the degree in which artists can be recognised and promoted. Even though some of these mediums can be seen as less authentic, I think any breakthrough into international markets is fantastic and is putting Australia on the map musically.

Researching my own blogs, and reading the blogs and comments of the other bloggers has meant I have been able to see clearly the wide range of areas Australian music covers, and the wide range of Australian music that the media and music song charts don’t go near covering. It was great to see the different areas of interested everybody had, allowing everyone to become informed on different areas of the music scene, both nationally and internationally.

With our blogs we discovered that there are so many areas of music and artists or genres that are not covered in our modern age of ranking music. We also discovered that sometimes the best music is the ones you have to search a little harder for. it was wonderful to see the different areas we unearth or discovered, and hopefully this will enable us individually to continue to search for the things that sometimes lie off the beaten track, but can be the best.

Posted by Renée

Australian Music – A Final Though from Cassidy

In my “Australian Music” blogging experience, I’ve had the chance to write a number of blogs:

1 ) Australian Music Resources…Online!

2 ) America Loves You, Australia!

3 ) “Neighbours”…or Singers?

4 ) The Sydney Opera House

5 ) “The Gondoliers”

6 ) Australian vs. Non-Australian Awareness of Australian Music

7 ) Savage Garden, Darren Hayes, and “Two Beds and a Coffee Machine”

8 ) The Didgeridoo

9 ) Top Live Music Venues in Australia

10 ) A Touch of Oz in the USA

Throughout the blogs, I’ve covered a lot of ground in the world of Australian music. I’ve explored where to find information on Australian music and where to go (both in Australia and the USA) to listen to both up-and-coming and already popular Australian musicians. In addition to the rock and pop music Australia offers, I’ve discussed a personal experience with an opera at the iconic Sydney Opera House. I’ve also covered a bit about music as it relates to the Aboriginal culture in Australia with an article about the didgeridoo. I’ve discussed the lives of Australian musicians (whether it be ex-“Neighbours” stars turning to music or Darren Hayes escaping a horrible childhood with his music) and the international awareness and appreciation of Australian artists.

These topics, among many others brought forth by this class and other bloggers, are not explored nearly enough in modern journalism. Luckily, we’ve been able to fill in some of that “gap” with educational and relevant information from all facets of Australian music. With a little luck, other bloggers will pick up where we left off and help to fill the void in music journalism!

posted by Cassidy

A Touch of Oz in the USA

Did you know that there is an Australian Consulate in the USA whose aim is to provide assistance to Australians living in the states? One service they offer is providing details on Australian events and performances going on in and around New York City and Boston. I was personally not aware that there was a way to find specifically Australian shows – so I was pleasantly surprised when I stumbled upon the Australian Consulate’s website!

The Australian Consulate in New York and Australian Consulate in Boston each offer an events calendar, listing various types of events, including art exhibits, plays, film screenings, miscellaneous shows and events, and…you guessed it…Australian musicians! The events calendar provides the date, time, location, and a description of each event, along with links for anyone interested in obtaining more information on the particular event or venue.

A few of the upcoming performances from Australian musicians include Australian rock group Radio Birdman, ever popular The Cat Empire, Adelaide’s indie rock band Fruit, and a variety of other events that will be incorporating Australian music.

So if you’re ever visiting the states and want a touch of home, stop by the Australian Consulate in New York or Boston’s Australian events calendars and find out what’s going on while you’re in town!

posted by Cassidy

Adrians final thought

After an indepth look at music and culture, covering most main areas, there seems to be an underlying theme throughout. The general consenses that music has influenced culture and in turn culture influences music.

In a contemporary world, with access to the information super highway (geez im tech lingo savvy), the exponential growth of access to information, including music, is changing peoples social values and interpretation of music. From blogs i have posted, throughout ‘hidden track’ technology is proving to be the fundamental driving force behind these rapid changes.

The ability for me to be able to ‘post blogs’ and have my opinion expressed on a global stage is an obvious example of this cultural/social change.  Hidden track has allowed individuals to cover these gaps in mainstream music coverage and given them a voice, which ironically may have an affect on the people who read the bogs and in turn, even though the it may be the tiniest influence, change ones perception of music, thus shaping the culture associated.

Posted by Adrian

 

Pnaupnau

Very rarely has any sort of emerging band received the acclaim and privilege awarded to Pnau over the past years. It’s like they passed straight through the pages of the book on how things were meant to be done, and their ascent has been astounding. Pnau’s success has been as deserved as it has been anomalous, and the band members themselves as curious as they are talented. Pete Mayes and Nick Littlemore, the Enfants Terrible of the Australian Music industry, have won the respect of their peers and the loyalty of their fans by consistently producing simple, intelligent hooks, fat sounds, and awesome imagery. Their long awaited third album ‘PNAU’ is an admission of sorts; Music is bigger than any one person and connected to absolutely everything. ‘PNAU’ is a sagacious offering; the act has mastered the art of reminiscence and innovation, abducting current trends to shear the way forward with this positive and futuristic, hybrid beast of a recording. There’s a clarity and awareness in the sounds and songwriting throughout. It’s bare and celebratory and in the buoyant key of Hell-Yeah – if it had hands it would slap you on the ass. The spontaneous moments are void of flippancy and the heavy moments are uplifting. There is real knowledge at work here, real skill, no bluff, no laconic bravado or dark humours. Maturity and sophistication are two words that will be bandied around for this work, but honesty and acknowledgement seem closer to the mark for an album that is poised to become a landmark recording. Their innate understanding of the entire package of artistic expression is what earned them Australia’s top music gong in 1999, an Aria Award, in the dance category for their debut release ‘Sambanova’; an album that wasn’t even properly cleared but looked and sounded fantastic. It was a rebellious fluke from accidental shit-stirrers that was released in 4 different versions and confused the nuts off everyone. It suited the band to a T and kick starting their rock ’n’ droll lifestyle, touring with every major festival in Australia. They backed-up ‘Sambanova’ with ‘Again’, a sophomore release that shoved a dirty big told-you-so sock down the throats of the nay-sayers who adamantly believed both Pnau and electronic music were but a flash in the pan. Pnau were off on US and European tours, performing peak sets between Darren Emerson and Fatboy Slim one night, and playing to private audiences with Naomi Campbell and Ricky Bloody Martin the next. Not so much overwhelmed as chronically amused and soaking it all in, filing everything away, Pnau came to the attention of infamous producers, songwriters and performers, all buying into the intrigue of two Aussie musos patently NOT vying to be famous. It wasn’t long till they gravitated toward their own kind and submerged themselves deeply in the next phase of their artistic evolution. From LA to Sweden to the UK to Redfern, Pnau the band became a somewhat amorphous entity, existing in spirit if not completely in body. The gruelling schedule of being in a band took a seat; not a back seat, just a seat in the middle of the room. Kind of near the front, but to the left a bit. That was then. Quite obviously, this is now… (and please for the love of all that’s holy, no more rhyming puns). With the release of the self-titled album 3, the very first local release from new label etcetc, you’d be forgiven for thinking Pnau are finally fulfilling the epic destiny that we’ve all been quietly waiting for them to realise. All the skilled bits and honed pieces seem to be coming together and we suspect they’re starting to take their talent seriously. Insane, we know! But it’s like they don’t consider ‘ambition’ to be a dirty word anymore. If it takes a village to raise a child then it’s understandable that they’ve utilized their artistic community to raise this album in the Fing Fang Fong studios. On ‘PNAU’ not only will you hear Nick’s vocal talents, you’ll also hear their work with Luke Steele from The Sleepy Jackson – a match made in heaven, Pip Brown from Ladyhawke, Nik Yannikas from Lost Valentinos, and Michael DeFrancesco from Van She. Fabian ‘Mr Oizo’ Feadz of Ed Banger fame worked closely with Pnau on the first single release ‘Wild Strawberries’, and across it all Nick’s elder brothers Sam (Gwen Stefani, Black Eyed Peas, Tonite Only) has been in control of the mix, while James has exerted his seasoned creative direction over the entire project. Some links that might interest you: MySpace URL:

http://www.myspace.com/pnaupnau   ‘Baby’ Video Clip: http://myspacetv.com/index.cfm?fuseaction=vids.individual&videoid=29727247 ‘Wild Strawberries’ video clip: http://myspacetv.com/index.cfm?fuseaction=vids.individual&videoid=28324119

Posted by Kathryn King

 

aesthetics get the audience

To be honest, ive never been a fan of australian idol or any other ‘talent’ show. Its funny though, because admittedly some good musicians have been born on these shows, unfortunately usually for the wrong reasons.

It seems that as there always has been an ever present marketable ‘look’ that a musician needs to have in order to gain greater attention and visual recognition, yet the fact is, modern music is leaning this way progressivly stroger everyday.

The modern landscape of which most western and increasingly eastern, (think about china’s rapid industrial/ social growth, 33% investment return p.a. into their economy!) where us humans interact, involves  visual communication as well as audio. Are the days of simply listening to music numbered? This may begin to be the case as  even portable music devices, such as ipods generally have  video playback capabilities, giving the user the option of watching and listening to their favourite music clips, whilst on the move. In turn, this global/ technological/ social emergence is placing more emphasis on what the user views. Will this essentially rip out the fundamental basis of musical enjoyment?> the SOUND? 

We are already bombarded with images of aesthetically appealing musicians everyday, in the form of TV, Web, Magazines and the like…. What is the future of music? An aesthetically appealing, yet soulless form of entertainment, or is the majority of it already like this? 

 

Posted By Adrian

 

 

 

Australian Radio Shaping Culture

Having been on the road for some time, its always comforting to get online and tune into my favourite radio station, one that i have seen as a creative vehicle over the past 8 years or so.

I was brought up on a diverse range of what id call ‘music with depth and substance’ from a young age, then began playing instruments and have always shared a deep connection to ‘good’ music. Thus i often feel detached when i head away to work and cant find a decent station to listen too (besides my trusty mp3 player).

As far as im aware there are NO radio stations (particularly in the USA) that broadcast the same quality of and diverse range as a select few from my island home. ‘Triple J’ is the predominant station that i listen to, and have recently come across Sydney’s ‘FBI’.

“Triple J is the ABC’s Youth radio network,

targeted to 18-24 year old Australians, and

reaching over 1.5 million Australians every

week.”

“FBi ,94.5FM, is an independent, community-based radio station, delivering the best in new music and emerging culture. FBi plays 50% Australian music, with half of that from Sydney.”

These two stations deliver what i want to hear (admittedly not all the time) but as close to, by a LONG way, than the other stations. I believe it is an Australian’s naturally open minded perspective (not everyones!) but most, that is the driving force behind these creative, supportive, intelligent stations. 

 

“Since launching in August 2003, FBi’s been on a mission to deliver the best in new and emerging music, arts and culture. Bands like WOLFMOTHER and THE VINES got their breaks through FBi.“

 

“Triple J is a unique and important part of the Australian social and cultural landscape, through which young people across the country have created a distinct Triple J with its own voice reflecting their interests, stories and aspirations With a playlist containing more than 40% Australian music heard all over the country,Triple J was a key player in the transformation of Australian youth culture over the course of the last decade.”

Australian’s fortunate exposure to great music broadcast by these stations has no doubt shaped youth of today. Young Australians are renowned for their creativeness and perceptive ability on the international stage, partly due to this ‘open minded, creative approach’ encouraged by  JJJ, and now also Fbi.

As mentioned in previous posts on our amazing blog site, Australian musicians are also ever present in the international music scene, with a major part of their success stemming from promotion through these stations. 

Its funny what listening to good music inspires you to think about! 

 

info from :

http://www.abc.net.au/corp/pubs/documents/triplej.pdf

http://www.fbi.org.au/content.php/26.html

 

 

Posted By Adrian as he tunes in online to Triple J

 

 

 

Didgeridoo Take Two

Unfortunately, i wrote this article before i saw yours Cassidy, but nevertheless, i think it has a slightly different swing to it…never too much of a good thing though :O)

Does Australian music have a certain style? Is there something that makes it uniquely Australia? What does the rest of the world link Australian music too? Hopefully not just a strange video clip with a Combie and someone singing about Vegemite and Brussels…now don’t get me wrong, I love that song, but is there something more intertwined in the Australian psyche that gives it a certain flare of its own.

I think Indigenous Music has a lot to do on how Australia is portrayed, and so many songs include the Didgeridoo. I was aware of most of the origins of the didgeridoo, but here are 10 quick facts I found:

10 DIDGERIDOO FACTS
1. Possibly the world’s oldest musical instrument
2. A wind instrument originally found in Arnhem Land, Northern Australia.
3. Is made from limbs and tree trunks hollowed out by termites (insects).
4. Is cut to an average length of 1.3 metres and cleaned out with a stick. or hot coals.
5. Was used as an accompaniment to chants and songs.
6. Produces a low-pitch, resonant sound with complex rhythmic patterns.
7. In sure tribal groups only played by men but in most groups by men, women and children.
8. Traditional various forms at the didgeridoo where found in Central Australia around Alice Springs.
9. The Didgeridoo is the sound of Australia.
10.If the earth had a voice it would be the sound of the Didgeridoo.

Indigenous music, like any culture, is formed around language, rhythms of speech, different sounds in the immediate environment and aspects of life. In this way, Australian Aboriginal music may not seem distinctive, but the uniqueness of each land gives the music its own flavour.

Australian music is not just about the original cultural sounds, it also has a lot to do with the reinvention and adaptation of the original. Australia is a multi-cultural continent, and as such, many different styles and culture have influenced the modern sound of Australian artists, who have incorporated distinct Australian sounds with a unique approach. Take the opera singer Dame Nellie Melba (look at a $100 note)…yes I also never knew who this was…please tell me if you did!! Other bands that are distinctively Australian are The Seekers, Yothu Yindi, INXS, country singers Slim Dusty and Keith Urban. These artists have helped extend and refine the definition of Australian music.

There are many different genres of Australian music, I was surprised to find how many. They include Australian Classical Music, Australian bush, folk and country music, and pop and rock artists. These include John Farnham, Olivia Newton-John, Missy Higgins, Rogue Traders, Midnight Oil, INXS, Crowded House, Men at Work, Regurgitator or Youth Yindi.

So whether you realise it or not, Australian music does have a distinct style, ranging from the completely traditional to the unique pub band acoustics…and the world love and acknowledges Australia for it.

Posted by Renée

Jazz in the Vines…a closer perspective

“I think jazz is so much of a vital, contemporary, spontaneous form of music that it still has to be discovered. I’m trying to do that myself,” says Sonny Rollins, the saxophone colossus.

Jazz began to flourish in Australia in the 1920s as a new dance music phenomenon, and has continued to bring entertainment to people of all ages today. With a lot of different Jazz Festivals to cover, I think a local and very well known one should be looked at. This will be interesting to see that in comparison to the first article on The Wangaratta Festival of Jazz, which is disputably the biggest in Australia, is relatively unknown because of age group, music style, lack of media coverage or geography?

Jazz in the Vines takes place annually in October at the Tyrrell’s Vineyard in the Hunter Valley, New South Wales. Jazz in the Vines is unique in the sense that it incorporates food, wine, music and a beautiful setting into one relaxed, picnic style, amazing day.

This year the line up at the moment consists of artists such as James Morrison, Renee Geyer, John Morrison’s Swing City Big Band and Force 10 The Air Force Band.

It is encouraging to see that people can enjoy all styles of music by travelling long or short distances, each with great history, artists and entertainment.

Below is some footage of Jazz in the Vines to check out if you’ve never been to it, or an event like it and are interested in how it works

Posted by Renée