Bored Nothing — Some Songs
♠♣♠ Bylo by velmi snadné hroutit se kvůli tomuto albu pod tíhou existenciálního pocitu úzkosti z jeho bezmocného protagonisty. Ale Skladby jako “Ice–Cream Dreams”, přivádí pocity zpátky do světlejšího teritoria, s pozitivními bubnovými kopy a uklidňujícími rockovými riffy. Navíc jsou na albu některé velmi pěkné melodie.
♠ Influenced heavily by the guitar–led indie rock of the '90s, Australian Fergus Miller works alone crafting hooky indie rock.
♠ Fergus Miller, also known by the stage and performing name Bored Nothing, is an Australian musician who has released a self–titled album in 2012. It received some international attention and together with his band Miller has toured internationally.
Location: Melbourne, Victoria, Australia
Album release: October 24, 2014
Record Label: Spunk
Duration: 41:05
Tracks:
01 Not 2:45
02 Ice–Cream Dreams 2:58
03 The Rough 3:20
04 We Lied 3:09
05 Ultra–Lites 1:29
06 Do What You Want, Always 3:13
07 Why Were You Dancing with All Those Guys 3:53
08 Where Would I Begin 3:53
09 Come Back To 3:35
10 Song for Jedder 3:15
11 Don't Get Sentimental 3:34
12 Artificial Flower 2:01
13 Ultra–Lites II 4:00
Bored Nothing Band:
♠ Although Miller is the sole writer, recorder and producer of the band's music, "Bored Nothing Band" comprises several people Miller has acquired over the duration of his live performing acts.
♠ Lead Vocals, Rhythm Guitar — Fergus Miller
♠ Drums — Jamie King–Holden
♠ Lead Guitar — Gary Valenta
♠ Bass — Harrison Miller Carr
As well as the permanent band members, Bored Nothing also involves many auxiliary musicians.
♠ Keyboard, Backup Vocals — Megan Lutz
♠ Keyboard, Backup Vocals — Anna Davidson
♠ Auxiliary Guitar — Marcus Cellars
♠ Egg Shaker — James Eggman
Review
Meredith McLean | November 24, 2014 — 12:33pm | Score: 8.2 out of 10.
♠ Australian musician Fergus Miller aka Bored Nothing has released a sophomore album entitled Some Songs; fans might remember the first album from Bored Nothing in 2012, the self–titled LP garnering rave reviews and comparisons to greats like Elliott Smith. After two years, Bored Nothing is back again.
♠ Just as the title suggests, it’s a bare bones album that delivers nothing more and nothing less than promised. That is the trick with Bored Nothing. With 13 tracks in total, the album has moved from the dream–pop reputation Bored Nothing had previously laid down. There is a focus on acoustic guitars on this album, complimenting Miller’s vocals perfectly. The opening track “Not” gives us the tone for this album. Much as the comparison with Elliott Smith is given to his vocals, his lyrical content and overall sombre tone to his music is also appreciatively similar. “Ice Cream Dreams” would’ve made a better album opener; the pace is just a few notches up from “Not” and the title is unique and full of promise. Cheeky percussion and off beat drums strengthen the song and prepare the listener for some excellent lyrics.
♠ There are traces of Beck in the mellow and sometimes melodramatic tones of Bored Nothing too. The playful exploration of sounds and rythymn by one musician is an interesting parallel. “Artificial Flower” is like this, very groovy with a plethora of different sounds from the bass, guitars and sound manipulation. Similarly, his take on titles and words again brings an interesting image to mind much like “ice Cream Dreams” did at the beginning of the album.
♠ “Ultra — Lites” is a perfect example of the quality acoustic elements to this album mentioned earlier. It is not a stand–alone piece either. “Ultra — Lites II” closes the album. Very similar to “Ultra — Lites”, it reverts back to Bored Nothing’s shoegaze style with more dream–pop infused guitars and synths. The end of the album is a perfect balance of his style and where it is possibly headed.
♠ The album hit the shelves earlier in October this year. The wait has been long but the second album hasn’t disappointed listeners. Hopefully there is not such a significant window between Some Songs and “more songs” next time. You can get your hands on Bored Nothing’s newest album from Spunk Records. :: http://www.theaureview.com/
Review
by James Jennings | October 20th, 2014 11:08:AM EST; Score: ***½
♠ The band name and album title may basically equate to a "whatevs", but the second LP from Melbourne's Fergus Miller is far from a cynical toss–off. The sensitive indie rock songcraft displayed on 2012's self–titled debut has evolved to create a more nuanced and cohesive album that ebbs and flows with a newfound prowess. There’s still a sense Miller sometimes masks his words behind reverb, leaving a desire to hear his voice match the improved clarity of the songwriting (when it does, as on "Ultra–Lites", the results are sublime). Ultimately, the LP title perversely underplays the contents within: this is an impressive step forward and indicator of even better things to come. Fortaken: http://rollingstoneaus.com/
Also:
Emily Meller Joined: 4th March 2014; Score: 4/5
:: http://www.thebrag.com/music/bored-nothing-some-songs
Review by Tim Sendra; Score: ****
♠ Bored Nothing‘s first album was a collection of songs Fergus Miller recorded in his bedroom over a period of years, while the band’s second album, Some Songs, is an actual recorded–in–a–studio album that was conceived as such. Anyone worried that the move out of the bedroom or the album construct might wreck the ultra–slack, totally ’90s introspective indie rock thing Miller had nearly perfected will be glad to know that not only does Some Songs sound like an improved version of said approach, but it definitely works as an album. With a fair balance of hissy ballads that sound like they were recorded with Elliott Smith’s ghost perched on his shoulder and shambling pop songs that have sneaky big hooks, the album has a nice, relaxed flow and depth that represent a step forward in every way. Sure, a little bit of the rambling innocence on display on the first album has been cast aside in favor of a bit of world–weariness, but that’s to be expected as Miller grows up. To make up for this, he adds a few new twists to Bored Nothing’s sounds, like the skittering drum machines and swoony synths on the bouncy pop tune “We Lied” and some new wave dynamics on the noisy “Come Back To.” It feels like he gave a little more thought to arrangements and sound overall, taking advantage of the studio to make the songs sound bigger and more radio–ready — if radio were ready for songs as slacker–y as these. Well, maybe the laid–back charmer “Ice–Cream Dreams” might fit there; the jangling “Do What You Want, Always” too. Radio be damned, because most of the uptempo songs have sharp enough hooks and an inviting enough sound to appeal to all those who want their indie rock weird, melancholy, and rambling, but still punchy enough to stick deep in the brain. Throw in a few wrenching ballads to really get the tears flowing, and Some Songs really hits hard. Call it a strong step forward from an artist who already staked out a pretty strong claim as one of the best ’90s revampers around.
Artist Biography by Tim Sendra
♠ Working from his bedroom and recording all the parts by himself like a true '90s indie rock obsessive, Melbourne, Australia native Fergus Miller began releasing songs via Bandcamp in 2010 with the Other Things EP under the name Splintered Oar. His lo–fi, bedroom folk sound conjured up a more experimental Elliott Smith, and Miller's voice did bear an uncanny resemblance to the late singer's angelic croon. Further EPs followed under the Splintered Oar name in 2011 (Reverie 8, Beard of Bees, 7 Ribs), as did an EP of electronic songs under the name Mexico (Freedom from Occult Practices), before Miller bought an old four–track recorder and changed his project's name to Bored Nothing. Along with the new name, he adopted a guitar–heavy sound that brought to mind noise bands like Sonic Youth and power poppers like Teenage Fanclub, and mixed in some jangle pop and shoegaze influences as well. Once he switched sounds, Miller began issuing a flood of songs, both on Bandcamp and on CD–Rs that he would pass around his hometown. He also put out a homemade cassette of the first three EPs, and in mid–2012, rounded up a band to play his songs on the stage. The live band's debut took place in August of 2012. Around this time Miller hooked up with Spunk Records and in November, released Bored Nothing. The record was made up of songs taken from previous releases, plus five new songs, all recorded at home with only some guitar added by Marcus Sellars on one track and keyboard by Geoffrey Thorsen on another. The album was then released in the U.S. by Spunk and Cooperative Music in April of 2013. The next Bored Nothing album was recorded in a studio, but still managed to have a slacker–y homemade feel. Some Songs was released in late 2014. :: http://www.allmusic.com/
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♠♣♠ Bylo by velmi snadné hroutit se kvůli tomuto albu pod tíhou existenciálního pocitu úzkosti z jeho bezmocného protagonisty. Ale Skladby jako “Ice–Cream Dreams”, přivádí pocity zpátky do světlejšího teritoria, s pozitivními bubnovými kopy a uklidňujícími rockovými riffy. Navíc jsou na albu některé velmi pěkné melodie.
♠ Influenced heavily by the guitar–led indie rock of the '90s, Australian Fergus Miller works alone crafting hooky indie rock.
♠ Fergus Miller, also known by the stage and performing name Bored Nothing, is an Australian musician who has released a self–titled album in 2012. It received some international attention and together with his band Miller has toured internationally.
Location: Melbourne, Victoria, Australia
Album release: October 24, 2014
Record Label: Spunk
Duration: 41:05
Tracks:
01 Not 2:45
02 Ice–Cream Dreams 2:58
03 The Rough 3:20
04 We Lied 3:09
05 Ultra–Lites 1:29
06 Do What You Want, Always 3:13
07 Why Were You Dancing with All Those Guys 3:53
08 Where Would I Begin 3:53
09 Come Back To 3:35
10 Song for Jedder 3:15
11 Don't Get Sentimental 3:34
12 Artificial Flower 2:01
13 Ultra–Lites II 4:00
Bored Nothing Band:
♠ Although Miller is the sole writer, recorder and producer of the band's music, "Bored Nothing Band" comprises several people Miller has acquired over the duration of his live performing acts.
♠ Lead Vocals, Rhythm Guitar — Fergus Miller
♠ Drums — Jamie King–Holden
♠ Lead Guitar — Gary Valenta
♠ Bass — Harrison Miller Carr
As well as the permanent band members, Bored Nothing also involves many auxiliary musicians.
♠ Keyboard, Backup Vocals — Megan Lutz
♠ Keyboard, Backup Vocals — Anna Davidson
♠ Auxiliary Guitar — Marcus Cellars
♠ Egg Shaker — James Eggman
Review
Meredith McLean | November 24, 2014 — 12:33pm | Score: 8.2 out of 10.
♠ Australian musician Fergus Miller aka Bored Nothing has released a sophomore album entitled Some Songs; fans might remember the first album from Bored Nothing in 2012, the self–titled LP garnering rave reviews and comparisons to greats like Elliott Smith. After two years, Bored Nothing is back again.
♠ Just as the title suggests, it’s a bare bones album that delivers nothing more and nothing less than promised. That is the trick with Bored Nothing. With 13 tracks in total, the album has moved from the dream–pop reputation Bored Nothing had previously laid down. There is a focus on acoustic guitars on this album, complimenting Miller’s vocals perfectly. The opening track “Not” gives us the tone for this album. Much as the comparison with Elliott Smith is given to his vocals, his lyrical content and overall sombre tone to his music is also appreciatively similar. “Ice Cream Dreams” would’ve made a better album opener; the pace is just a few notches up from “Not” and the title is unique and full of promise. Cheeky percussion and off beat drums strengthen the song and prepare the listener for some excellent lyrics.
♠ There are traces of Beck in the mellow and sometimes melodramatic tones of Bored Nothing too. The playful exploration of sounds and rythymn by one musician is an interesting parallel. “Artificial Flower” is like this, very groovy with a plethora of different sounds from the bass, guitars and sound manipulation. Similarly, his take on titles and words again brings an interesting image to mind much like “ice Cream Dreams” did at the beginning of the album.
♠ “Ultra — Lites” is a perfect example of the quality acoustic elements to this album mentioned earlier. It is not a stand–alone piece either. “Ultra — Lites II” closes the album. Very similar to “Ultra — Lites”, it reverts back to Bored Nothing’s shoegaze style with more dream–pop infused guitars and synths. The end of the album is a perfect balance of his style and where it is possibly headed.
♠ The album hit the shelves earlier in October this year. The wait has been long but the second album hasn’t disappointed listeners. Hopefully there is not such a significant window between Some Songs and “more songs” next time. You can get your hands on Bored Nothing’s newest album from Spunk Records. :: http://www.theaureview.com/
Review
by James Jennings | October 20th, 2014 11:08:AM EST; Score: ***½
♠ The band name and album title may basically equate to a "whatevs", but the second LP from Melbourne's Fergus Miller is far from a cynical toss–off. The sensitive indie rock songcraft displayed on 2012's self–titled debut has evolved to create a more nuanced and cohesive album that ebbs and flows with a newfound prowess. There’s still a sense Miller sometimes masks his words behind reverb, leaving a desire to hear his voice match the improved clarity of the songwriting (when it does, as on "Ultra–Lites", the results are sublime). Ultimately, the LP title perversely underplays the contents within: this is an impressive step forward and indicator of even better things to come. Fortaken: http://rollingstoneaus.com/
Also:
Emily Meller Joined: 4th March 2014; Score: 4/5
:: http://www.thebrag.com/music/bored-nothing-some-songs
Review by Tim Sendra; Score: ****
♠ Bored Nothing‘s first album was a collection of songs Fergus Miller recorded in his bedroom over a period of years, while the band’s second album, Some Songs, is an actual recorded–in–a–studio album that was conceived as such. Anyone worried that the move out of the bedroom or the album construct might wreck the ultra–slack, totally ’90s introspective indie rock thing Miller had nearly perfected will be glad to know that not only does Some Songs sound like an improved version of said approach, but it definitely works as an album. With a fair balance of hissy ballads that sound like they were recorded with Elliott Smith’s ghost perched on his shoulder and shambling pop songs that have sneaky big hooks, the album has a nice, relaxed flow and depth that represent a step forward in every way. Sure, a little bit of the rambling innocence on display on the first album has been cast aside in favor of a bit of world–weariness, but that’s to be expected as Miller grows up. To make up for this, he adds a few new twists to Bored Nothing’s sounds, like the skittering drum machines and swoony synths on the bouncy pop tune “We Lied” and some new wave dynamics on the noisy “Come Back To.” It feels like he gave a little more thought to arrangements and sound overall, taking advantage of the studio to make the songs sound bigger and more radio–ready — if radio were ready for songs as slacker–y as these. Well, maybe the laid–back charmer “Ice–Cream Dreams” might fit there; the jangling “Do What You Want, Always” too. Radio be damned, because most of the uptempo songs have sharp enough hooks and an inviting enough sound to appeal to all those who want their indie rock weird, melancholy, and rambling, but still punchy enough to stick deep in the brain. Throw in a few wrenching ballads to really get the tears flowing, and Some Songs really hits hard. Call it a strong step forward from an artist who already staked out a pretty strong claim as one of the best ’90s revampers around.
Artist Biography by Tim Sendra
♠ Working from his bedroom and recording all the parts by himself like a true '90s indie rock obsessive, Melbourne, Australia native Fergus Miller began releasing songs via Bandcamp in 2010 with the Other Things EP under the name Splintered Oar. His lo–fi, bedroom folk sound conjured up a more experimental Elliott Smith, and Miller's voice did bear an uncanny resemblance to the late singer's angelic croon. Further EPs followed under the Splintered Oar name in 2011 (Reverie 8, Beard of Bees, 7 Ribs), as did an EP of electronic songs under the name Mexico (Freedom from Occult Practices), before Miller bought an old four–track recorder and changed his project's name to Bored Nothing. Along with the new name, he adopted a guitar–heavy sound that brought to mind noise bands like Sonic Youth and power poppers like Teenage Fanclub, and mixed in some jangle pop and shoegaze influences as well. Once he switched sounds, Miller began issuing a flood of songs, both on Bandcamp and on CD–Rs that he would pass around his hometown. He also put out a homemade cassette of the first three EPs, and in mid–2012, rounded up a band to play his songs on the stage. The live band's debut took place in August of 2012. Around this time Miller hooked up with Spunk Records and in November, released Bored Nothing. The record was made up of songs taken from previous releases, plus five new songs, all recorded at home with only some guitar added by Marcus Sellars on one track and keyboard by Geoffrey Thorsen on another. The album was then released in the U.S. by Spunk and Cooperative Music in April of 2013. The next Bored Nothing album was recorded in a studio, but still managed to have a slacker–y homemade feel. Some Songs was released in late 2014. :: http://www.allmusic.com/
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