Bored Nothing
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Bored Nothing

Kingsbury, Victoria, Australia | INDIE

Kingsbury, Victoria, Australia | INDIE
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"Bored Nothing"

Like Yuck or The Pains of Being Pure at Heart, there’s something about Bored Nothing that sounds immediately familiar to anyone who grew up on ’90s indie: a dEUS melodic inflection here, a Wedding Present drum fill there, layered Flying Nun guitars and a grab bag of alterna influences covering everything from Sebadoh and Pavement to Superchunk and Built to Spill.
If that sounds dismissive, it’s not intended as such. There are two reasons for this. One is that Bored Nothing is a single person, a 22-year-old Melbournian named Fergus Miller who looks like Lou Barlow’s younger, nerdier brother and plays every damn thing on the album (save one guitar part and a keyboard line), as well as recording and producing the thing at home.
The second and rather more important reason is that Miller writes exceptional songs. Sounding like other acts is only a problem if the lifts are obvious or the songs are substandard, and neither is the case on this self-titled debut. This isn’t indie-by-numbers: this is an album made by a kid that loves all the same records you do.
Take the gentle opener ‘Shit for Brains’: a mid-paced strummer with bilious lyrics of self-loathing of which the ghost of Elliot Smith would approve heartily. It’s followed by some wafty shoegaze in the form of ‘Popcorn’, all major-fifth vocals and a searingly tinny fuzz-guitar break sounding like a low-budget My Bloody Valentine circa Isn’t Anything. Contrast that with ‘Just Another Maniac’, whose chorus builds to a Sparklehorse crescendo while the drifting waltz of single ‘Bliss’ ebbs and flows on a wash of guitars and close two-part harmonies.
If the late Smith is suggested by the opening track, the acoustic ‘Get Out of Here’ makes the debt explicit – from the conversational lyrics to the intimate clicks of Miller’s close-miked voice. (For any speech pathologists wanting more detail: it happens particularly on his plosives, especially d and t). Then there are the fragile, double-tracked vocals and hope-free lyrics of the lilting ‘Charlie’s Creek’. On the other hand, ‘Darcy’ and ‘Echo Room’ is what Silversun Pickups would sound like if they could just get over their Smashing Pumpkins-isms for one goddamn second, and ‘I Wish You Were Dead’ could be a lost classic by early Ride. And ‘Build A Bridge (And Then Think How About You Get The Fuck Over It)’ is worth inclusion for the title alone.
Sonically it suffers a little from being clearly the work of a budget: drum and bass sounds remain pretty much the same from song to song, with guitars poking above the surface. But for the most part the recurring effects and sounds give the album unity. It’s nothing you’ve never heard before, sure, but that’s only because Bored Nothing is the best album that Matador failed to produce in 1994. Of course, Miller would have been four back then so … better late than never. - http://messandnoise.com


"Bored Nothing"

Like Yuck or The Pains of Being Pure at Heart, there’s something about Bored Nothing that sounds immediately familiar to anyone who grew up on ’90s indie: a dEUS melodic inflection here, a Wedding Present drum fill there, layered Flying Nun guitars and a grab bag of alterna influences covering everything from Sebadoh and Pavement to Superchunk and Built to Spill.
If that sounds dismissive, it’s not intended as such. There are two reasons for this. One is that Bored Nothing is a single person, a 22-year-old Melbournian named Fergus Miller who looks like Lou Barlow’s younger, nerdier brother and plays every damn thing on the album (save one guitar part and a keyboard line), as well as recording and producing the thing at home.
The second and rather more important reason is that Miller writes exceptional songs. Sounding like other acts is only a problem if the lifts are obvious or the songs are substandard, and neither is the case on this self-titled debut. This isn’t indie-by-numbers: this is an album made by a kid that loves all the same records you do.
Take the gentle opener ‘Shit for Brains’: a mid-paced strummer with bilious lyrics of self-loathing of which the ghost of Elliot Smith would approve heartily. It’s followed by some wafty shoegaze in the form of ‘Popcorn’, all major-fifth vocals and a searingly tinny fuzz-guitar break sounding like a low-budget My Bloody Valentine circa Isn’t Anything. Contrast that with ‘Just Another Maniac’, whose chorus builds to a Sparklehorse crescendo while the drifting waltz of single ‘Bliss’ ebbs and flows on a wash of guitars and close two-part harmonies.
If the late Smith is suggested by the opening track, the acoustic ‘Get Out of Here’ makes the debt explicit – from the conversational lyrics to the intimate clicks of Miller’s close-miked voice. (For any speech pathologists wanting more detail: it happens particularly on his plosives, especially d and t). Then there are the fragile, double-tracked vocals and hope-free lyrics of the lilting ‘Charlie’s Creek’. On the other hand, ‘Darcy’ and ‘Echo Room’ is what Silversun Pickups would sound like if they could just get over their Smashing Pumpkins-isms for one goddamn second, and ‘I Wish You Were Dead’ could be a lost classic by early Ride. And ‘Build A Bridge (And Then Think How About You Get The Fuck Over It)’ is worth inclusion for the title alone.
Sonically it suffers a little from being clearly the work of a budget: drum and bass sounds remain pretty much the same from song to song, with guitars poking above the surface. But for the most part the recurring effects and sounds give the album unity. It’s nothing you’ve never heard before, sure, but that’s only because Bored Nothing is the best album that Matador failed to produce in 1994. Of course, Miller would have been four back then so … better late than never. - http://messandnoise.com


Discography

Bored Nothing (self-titled LP/CD/Digital) 2012

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Bio

Bored Nothing is certainly a strange phenomenon, mainly as it doesn’t have a hub and it only recently became a band. Backtrack a few years and teenager Fergus Miller had no fixed address, and no plans for musical successes. He just recorded homemade tapes and demos while on the road and gave them to people he met along the way. Maybe it was his personal CV, maybe it wasn’t.

He met many intriguing people on his travels: train conductors, hoteliers, record store clerks. Forward track a few years and the 20-something Fergus has a fixed address, and calls Melbourne home. He’s also made four of those tapes, and the project has moved from a talking point to a full-blown release – full blown in the sense that people can soon buy the album across a few different formats, rather just from Fergus’ famed Bandcamp page.

It’s also transformed from a solo project into something that now resembles a band. But don’t think that band is filled with pro bass-slappers and Johnny Marr-esque hired hands. Fergus has assembled a line-up of friends who he’s currently helping to master their parts.

The self-titled record has five new songs that have never appeared elsewhere: its opener, ‘Shit For Brains’, ‘Darcy’, ‘Bliss, ‘Echo Room’, ‘Build a Bridge and its closer, ‘Dragville, TN’.
The rest were from his first three EPS, which were never officially released anyway.
Fergus played all of the instruments on every track, excepting for two small collaborations with friends. Sonically, there’s mixing and matching of sounds of that same era, from shoegaze and sludge-metal to loner folk and riot girl.

The album has had some wonderful reviews and radio play. Triple J added the first single “Shit For Brains” upon release and in January made it a feature album. It also received album of the week on FBI radio in Sydney and received strong airplay on RRR, 2SER and RTR. The Age, Rolling Stone, Who Weekly and Courier Mail in particular wrote gushing reviews. The Sydney Morning Herald in it’s four star review said: “ Occasionally fuzzy of guitar and voice, very often sweet and always highly melodic, these songs are unimpeachably attractive and so very easy to get hooked on. It’s pop music, really appealing pop music”. The highly influential Mess & Noise website said “Bored Nothing is the best album that Matador (Records) failed to produce in 1994”.

A run of headline shows were booked in January (following supports to Beach House, Bleeding Knees Club, Jeff The Brotherhood and Best Coast). They were all very well attended and there’s WAY more shows coming up. The album was released in April via co-op/pias in Europe, North America & Japan. There's been some great highlights, including reviews in Uncut & Pitchfork and a Rough Trade Record stores Album Of The Week. Shows have now been booked for a European tour this October.

Band Members