Rocknroll Is Ready to Change Again Rocknroll Is Ready to Change Again
Twenty years ago Australian guitar music exploded on the world phase in a manner that hadn't been seen since the inflow of INXS almost ii decades before.
It was exciting. It was fresh. And it was one of the last shining moments that guitar-based rock'n'roll was a defining role of mainstream popular culture – a reminder that sometimes what looks like a thrilling new dawn is actually a blazing sunset.
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At the time I was the music editor for a at present-defunct street press magazine and tin can yet recollect how invigorating it felt. Information technology all started in 2002 with two releases from bands who were the prototype of inner-city cool, despite simply having played a handful of gigs each: The Vines from Sydney, whose single 'Become Gratuitous' was two minutes of glorious string-bending post-grunge swagger, and Melbourne's Jet, whose 'Dirty Sweet' EP became the must-have record of the season as the tiny local contained label Prophylactic Records found demand wildly outstripped their supply. I should know: I tried and tried to get a copy, through fair means and foul, and failed miserably.
The timing of both bands was impeccable, equally there was something of a new millennium global renaissance happening for bratty young (almost exclusively) men with guitars and photogenic cheekbones.
The White Stripes had started the brawl rolling in 2001 with the unexpected breakthrough of 'White Claret Cells' and Swedish quintet The Hives were already declaring themselves 'Your New Favourite Band'. By the time the Vines and Jet appeared New York ultra-hipsters The Strokes had completely changed the game with 'Is This It?'.
And and so the stage was set for the Vines and Jet'due south earth domination. Information technology was the NME who start twigged to the Vines, first making their debut single 'Mill' Single of the Week in October 2001 and then doing the same with their proper debut 'Highly Evolved' the post-obit year, making them stars in the United kingdom at a time when the band were still only known in their home country within a 500 metre radius of the Annandale Hotel.
In October of 2002, the Vines were on the encompass of Rolling Stone in the US (the blaring headline: "Stone is dorsum!") and midway through an astonishing run of five NME covers in the United kingdom of great britain and northern ireland. Their 2002 debut anthology 'Highly Evolved' got to #xi on the US charts and reportedly sold 1.5million copies worldwide (that'due south just nether half the entire number of CDs sold in Australia in 2020).
Jet's numbers are even more than astonishing. Later 'Dirty Sweet' kicked the door open up they sold 4million copies of their debut album 'Get Built-in' worldwide – 1.7million in the Usa alone – and 'Are You Gonna Exist My Girl' was downloaded 1.3million times subsequently becoming the jingle for Apple's fancy new device, the iPod.
They toured with the Rolling Stones, they swept the 2004 ARIA awards (picking upwards Anthology of the Twelvemonth, All-time Group, Best Rock Anthology, Unmarried of the Year and more) and they seemed destined to have up the pall left by Oasis as stone classicists loved by young people and as well their dads.
And for a moment there, they seemed to bring a whole movement with them. The Living Terminate striking the road with The Vines and Jet in 2004 on what was billed the Aussie Invasion Tour of the US. Other older bands like Y'all Am I and Dallas Crane establish themselves unexpectedly current, while newcomer Wolfmother'due south immediate, massive success seemed to herald an entire new generation of guitar-slinging, Sabbath-loving rock'n'rollers.
Just history now shows that this was the kickoff of the cease of the rocknaissance – specially in Australia where new waves of nimble artists were starting to emerge. Betwixt 2004 and 2006 hip-hop had broken through in a huge way cheers in big part to the success of Hilltop Hoods and The Herd. Introspective vocalist-songwriters like Josh Pyke, Sarah Blasko, Clare Bowditch and Darren Hanlon were condign triple j darlings, as were hippified types like John Butler, Xavier Rudd and Angus & Julia Stone.
EDM was starting to bite too, via the Presets, Pnau and Bagraiders. Guitar music was nonetheless at that place, simply at present those kids were more interested in drop-tuned post-metallers like Cog, Karnivool and the Butterfly Outcome, bands who made Jet and the Vines sound positively lightweight in comparison.
In the confront of this extraordinary outburst of musical fertility, both bands followed up their multi-platinum debuts with efforts that sounded dated when they landed, followed by sharply diminishing returns.
The Vines' 'Winning Days' was a critical and commercial disappointment and the band all but ended their career two months subsequently in May 2004 during a disastrous show at the Annandale Hotel for radio station Triple Yard, during which Nicholls slammed the station, mocked the audience and so incensed bassist Patrick Matthews that he walked off stage, climbed into a cab, and never came back. (In a Sydney courtroom later that year for attack charges linked to that gig, Nicholls revealed that he had been diagnosed with Asperger'south Syndrome. The charges were ultimately dismissed on condition that Nicholls seek and continue handling.) Five albums followed, the most contempo in 2018, just the Vines never quite got that groove dorsum.
Jet'southward second album 'Shine On' appeared in 2006 and sold a fraction of 'Get Born''southward millions, not helped by the viral hit that was Pitchfork's notorious 0.0 review which consisted entirely of a video of a chimpanzee pissing in its ain mouth. By the time 2009'south piddling-loved 'Shaka Stone' limped out the band were running on fumes, finally calling it a twenty-four hours in 2012 earlier reuniting four years afterwards for the odd payday on the nostalgia circuit.
It wasn't that the bands had changed all that much, merely musical fashion certainly had. Rap crews, Idol winners, bedroom remixers and wispy-voiced kids with ukuleles? Commercial and often critical darlings. Sixties-influenced iv-piece bands with loud guitars and interesting haircuts? Old news.
That'due south non to say such groups stopped existing. Rock's not dead – information technology's just never over again become the dominating force in (counter)culture that it in one case was.
At least… not even so. Perhaps at that place'due south another guitar renaissance lurking around the corner, just waiting for a fourth dimension when sweaty gigs can return.
With the likes of Amyl and the Sniffers, Teen Jesus and the Jean Teasers and the Buoys turning new generations on to the sheer joy of howling into a mic over large distorted guitars, it seems likely that in some suburban Australian garage in that location are some bratty kids with skinny jeans and Superfuzz pedals, getting prepare to change the globe again.
And you know what? Listening back to those early Vines and Jet records, stripped of the fashion and expectations of the time, they still fucking kick.
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Source: https://www.nme.com/en_au/features/music-features/the-vines-jet-2022-australia-guitar-rock-3155256
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