Some Songs

Bored Nothing’s Fergus Miller extends himself admirably on his second album, writes KRYSTAL MAYNARD.

[Historical image is withheld pending rights review.] The art of the tease is one attempted by many and achieved by few. When it comes to constructing an album, a little teasing can have the listener on the edge of their seat in anticipation; too much and the listener loses interest quickly. The hint of satisfaction is exciting, but at some point you have to deliver.

One can only ponder whether Sydney artist Bored Nothing, a.k.a. Fergus Miller, took the idea of the tease into consideration when writing his sophomore album. It’s likely the notion never entered his mind, but nonetheless it plays an essential part in shaping Some Songs.

Opening track ‘Not’ combines melancholic acoustic guitar with doubled vocals and reverbed lead breaks. It sways and swoons in all the right places but disappears before we get the chance to really acquaint ourselves with it. Big drums then introduce ‘Ice-Cream Dreams’, the lead single for the album. It’s coyly optimistic and dreamily sweet, but under its sugar coating is a core of discontent. Lines like “I can’t squeeze your sadness out” give a sense of hopelessness, while the central refrain “I’m always stuck in ice cream dreams” recognises the human tendency to put faith in wishful thinking.

The electronic beats under the soft willowy vocals in ‘The Rough’ are not dissimilar to that of Air; the track pulsates along with purpose amidst the haze. Moody synth starts ‘We Lied’ but is soon replaced by up-tempo indie pop, built on a bed of danceable beats. The latter two tracks provide a less guitar-orientated interlude that adds another dimension to the overall sound of the album.

“Miller whips out the outro we’ve been waiting for, the dirty fuzz and sharp hooks a definite nod to Mascis.”

‘Ultra-lites’ is Miller at his most raw: guitar and vocals and little else. The earnestness of this song draws parallels to Tim Kasher’s songwriting style in The Good Life and, clocking in at just one minute and 29 seconds, it’s a shame the number is over so quickly. After the stripped-back nature of that song, ‘Do What You Want, Always’ presents as a considerably more fleshed-out musical endeavor. The ‘80s guitar tone is reminiscent of The Cure and similar luminaries. Guitars intertwine fluidly but leave nice chunks of breathing space.

‘Come Back To’ crashes in with a wash of trebly guitars paired nicely with a weighty bass line, immediately suggesting potential for a real peak in the album, and it delivers. Finally Miller whips out the outro we’ve been waiting for, the dirty fuzz and sharp hooks a definite nod to Mascis. ‘Song For Jedder’ is all reverb twang and handclaps, with Miller proving he can exercise a nice control over those high notes. ‘Ultra-lites II’ ends Some Songs, flush with wistful familiarity that you can instantly connect with.

While every song is linked by Miller’s consistent vocal style – coy and aloof yet quietly emotive – the variety lies in the song arrangement and crafting. First impressions of Some Songs display a surface air of nonchalance, but it’s merely a distraction to what is a far more considered body of work. Miller knows when to end with a hook-laden outro, when to cut a song short, when to strip it back and when to make it lush and layered. It’s these nuances that are the traits of a good songwriter. On his second album Miller has extended himself, reaching for the unexpected at times and rewarding the listener accordingly.

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‘Some Songs’ is out now on CD, vinyl and digital through Spunk (Aus/NZ) and Caroline International (UK/Europe). Launch dates below.

Fri, Jan 9 – Lansdowne Hotel, Sydney, NSW [free, w/Deep Space Supergroop + Bare Grillz]
Sat, Jan 10 – Northcote Social Club, Melbourne, VIC [w/Major Leagues + Mining Boom]