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charts the artistic and commercial struggle behind the breakthrough of Ratcat, The Cruel Sea, Silverchair, Powderfinger, The Living End and their contemporaries, an era when getting gigs to pay the rent was replaced by the need to have hit singles, sell hundreds of thousands of albums and break the
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Patrick Donovan, who generally praised Mathieson's writing as "punchy chronological narrative that never dwells on a subject for too long." Donovan disputes Mathieson's claim that the music industry's seduction of indie rock began in 1990 – he argues for a diffuse beginning some years earlier.
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observed " is well researched, grippingly written and quite accurate in its portrayals of the events of the past ten years that shaped the indie industry as well as shot many of its artists." Tripp avers that
Australian artists of that era had considerable talent, whereas "we have a dearth of
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s other faults included " may push its thesis at times, be Sydney-centric, contain spelling mistakes and give some players credit at the expense of others." Nevertheless "it is essential and entertaining reading."
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managerial talent" with too many clowns "in positions of power at the record companies and publishers who exploit the talent."
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The Sell-in : How the Music
Business Seduced Alternative Rock
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Summary: 'Featuring a who's who of contemporary
Australian rock,
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The Sell-In: How the Music
Business Seduced Alternative Rock
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The Sell-in: How the Music
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The Sell-in: How the Music
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311:"Inside the Seduction of Australia's Indie Rock"
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405:Alternative rock mass media
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395:2000 non-fiction books
281:Australian Book Review
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373:6 November
335:6 November
212:References
325:0312-6307
289:0155-2864
175:Reception
92:Australia
69:Publisher
235:(2000),
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43:Language
316:The Age
185:The Age
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46:English
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
