Regurgitator’s second full-length album, Unit (1997), was produced in a DIY warehouse studio at a time when this was unusual for a major label band. The album went three times Platinum in Australia and won five esteemed ARIA Awards in 1998, including Album of the Year. The album’s success is indicative of a particular point in time in popular music trends, when the world was recovering from the impact of grunge and post-grunge bands. Regurgitator’s subversive attitude toward pop music, punk aesthetic, unique lyrical narratives and an ironic view on their own creative product made their music potent in an alternative market defying the prevailing music trends. Unit and Regurgitator were the focus of divisive critical reviews, yet they continue to rank highly as a quintessentially Australian band. This volume situates the development of Unit amongst the DIY culture of a politically charged Brisbane scene, and breaks down the album through the lens of recording and songwriting processes. This book outlines the impact of Regurgitator’s music locally and globally, by discussing what made Unit a success at the peak of the alternative music genre.

The Routledge Companion to Popular Music History and Heritage examines the social, cultural, political and economic value of popular music as history and heritage. Taking a cross-disciplinary approach, the volume explores the relationship between popular music and the past, and how interpretations of the changing nature of the past in post-industrial societies play out in the field of popular music. In-depth chapters cover key themes around historiography, heritage, memory and institutions, alongside case studies from around the world, including the UK, Australia, South Africa and India, exploring popular music's connection to culture both past and present. Wide-ranging in scope, the book is an excellent introduction for students and scholars working in musicology, ethnomusicology, popular music studies, critical heritage studies, cultural studies, memory studies and other related fields.

Curating Pop speaks to the rapidly growing interest in the study of popular music exhibitions, which has occurred alongside the increasing number of popular music museums in operation across the world. Focusing on curatorial practices and processes, this book draws on interviews with museum workers and curators from twenty museums globally, including the Country Music Hall of Fame in Nashville, the Experience Music Project in Seattle and the PopMuseum in Prague. Through a consideration of the subjective experiences of curators involved in the exhibition of popular music in museums in a range of geographic locations, Curating Pop compares institutional practices internationally, illustrating the ways in which popular music history is presented to visitors in a wider sense.

The process of creating and reflection upon autobiographical memory is an everyday practice that is typical within the human experience. When music becomes integrated into personal memories, an invitation to remember is provided through both purposeful listening activities and incidental engagement with music in the everyday. The result is a metaphorical canon of music that accompanies life experiences. The Lifetime Soundtrack investigates musically motivated autobiographical memories as they relate to the lifetime soundtrack in order to provide further understanding of their occurrence, nuance, emotionality, and function for individuals. Drawing on in-depth discussions with younger and older adults, each chapter reflects on a common theme or aspect of musically motivated memory. People, places, and eras feature frequently, with memories of childhood, family, past romantic relationships, and the major and minor events occurring within them acting as prime sites for memory and music interaction. The book also considers the ways in which musically memory may manifest differently for trained musicians, for whom music represents both leisure and work. Forging a broad foundation in an overlooked area, this study brings together sociological views on the personal use of music and existing ideas on the workings of human memory. At the same time, it aims to fortify the concept of the Lifetime Soundtrack as a sociological concept with broad application in future research. In so doing, the book highlights the significance of music-enhanced reflection as a tool for the composition of meaning within everyday life.

The Routledge Companion to Popular Music History and Heritage examines the social, cultural, political and economic value of popular music as history and heritage. Taking a cross-disciplinary approach, the volume explores the relationship between popular music and the past, and how interpretations of the changing nature of the past in post-industrial societies play out in the field of popular music. In-depth chapters cover key themes around historiography, heritage, memory and institutions, alongside case studies from around the world, including the UK, Australia, South Africa and India, exploring popular music's connection to culture both past and present. Wide-ranging in scope, the book is an excellent introduction for students and scholars working in musicology, ethnomusicology, popular music studies, critical heritage studies, cultural studies, memory studies and other related fields.

Regurgitator’s second full-length album, Unit (1997), was produced in a DIY warehouse studio at a time when this was unusual for a major label band. The album went three times Platinum in Australia and won five esteemed ARIA Awards in 1998, including Album of the Year. The album’s success is indicative of a particular point in time in popular music trends, when the world was recovering from the impact of grunge and post-grunge bands. Regurgitator’s subversive attitude toward pop music, punk aesthetic, unique lyrical narratives and an ironic view on their own creative product made their music potent in an alternative market defying the prevailing music trends. Unit and Regurgitator were the focus of divisive critical reviews, yet they continue to rank highly as a quintessentially Australian band. This volume situates the development of Unit amongst the DIY culture of a politically charged Brisbane scene, and breaks down the album through the lens of recording and songwriting processes. This book outlines the impact of Regurgitator’s music locally and globally, by discussing what made Unit a success at the peak of the alternative music genre.

The process of creating and reflection upon autobiographical memory is an everyday practice that is typical within the human experience. When music becomes integrated into personal memories, an invitation to remember is provided through both purposeful listening activities and incidental engagement with music in the everyday. The result is a metaphorical canon of music that accompanies life experiences. The Lifetime Soundtrack investigates musically motivated autobiographical memories as they relate to the lifetime soundtrack in order to provide further understanding of their occurrence, nuance, emotionality, and function for individuals. Drawing on in-depth discussions with younger and older adults, each chapter reflects on a common theme or aspect of musically motivated memory. People, places, and eras feature frequently, with memories of childhood, family, past romantic relationships, and the major and minor events occurring within them acting as prime sites for memory and music interaction. The book also considers the ways in which musically memory may manifest differently for trained musicians, for whom music represents both leisure and work. Forging a broad foundation in an overlooked area, this study brings together sociological views on the personal use of music and existing ideas on the workings of human memory. At the same time, it aims to fortify the concept of the Lifetime Soundtrack as a sociological concept with broad application in future research. In so doing, the book highlights the significance of music-enhanced reflection as a tool for the composition of meaning within everyday life.

Curating Pop speaks to the rapidly growing interest in the study of popular music exhibitions, which has occurred alongside the increasing number of popular music museums in operation across the world. Focusing on curatorial practices and processes, this book draws on interviews with museum workers and curators from twenty museums globally, including the Country Music Hall of Fame in Nashville, the Experience Music Project in Seattle and the PopMuseum in Prague. Through a consideration of the subjective experiences of curators involved in the exhibition of popular music in museums in a range of geographic locations, Curating Pop compares institutional practices internationally, illustrating the ways in which popular music history is presented to visitors in a wider sense.