![]() ![]() Critics seemed to view Los Angeles’s mid-century zenith as a fluke, and returned to treating the city as provincial, decentered, and unmappable - suitable to the production of Hollywood entertainment, but not for serious art.ĭespite the chorus of mainstream voices that had written off Los Angeles as essentially devoid of noteworthy cultural activity, the 1970s gave rise to one of the city’s most important art-historical developments of the latter half of the 20th century: a flourishing network of alternative spaces. ![]() Schjeldahl’s dismissal of Los Angeles’s cultural ascendence in the 1960s - which resulted in part from an expanding network of galleries anchored by the storied Ferus gallery (1957–1966), the relocation of Artforum magazine from San Francisco to Los Angeles in 1965, and the long-awaited opening of the Los Angeles County Museum of Art (LACMA), also in 1965 - was typical of New York-centric art media. ![]() Indeed, some people claim it has already happened, though what they have in mind, rather perversely, is just the sheer torrent of variously gaga and sinister phenomena that makes the West Coast one of the funniest and scariest places in the world,” wrote art critic Peter Schjeldahl in a 1972 New York Times review. As those who have been lucky enough to witness the ride can attest, it has been an amazing evolution for this Melbourne band and the journey is far from over.“For some years it has been fashionable in some circles to opine that California - and, in particular, Los Angeles - will eventually equal New York as a fountainhead of American art and culture. With each album they've grown stronger as songwriters, performers, experimenters, and curators. You'll still hear the Cut/Copy sound within the songs they include in their DJ sets, but they're known to include the best of underground dance music and perhaps-forgotten classics.Ĭut/Copy is constantly full of surprises. Whitford and Hoey also perform as Cut/Copy DJs, and embarked on their first DJ tour in the summer of 2015. From their famed Fabric mix, Fabriclive.29, to the release of 2014 Melbourne dance compilation Oceans Apart, Cut/Copy mixes are highly anticipated, often duplicated, and profoundly inimitable. Cut/Copy's diversity has also landed their songs into movies like 30 Minutes or Less and Savages, television shows such as Nip/Tuck and So You Think You Can Dance, video games including FIFA 12 and Madden, and ads for PlayStation, Blackberry, Levi's and Orange.ĭJing and mixes have also been a big part of Cut/Copy's identity. There is a Cut/Copy song for everyone, and their songs tend to be ageless - suitable for both teenage angst and cocktail parties.Įach of their four records have garnered great critical acclaim, and Cut/Copy's catalog has won or been nominated for such prestigious awards as the GRAMMYs and the ARIAs, in addition to underground Awards such as the Webbies or the J Awards. The result can make large groups of people gather together and explode with joy. They layer large swaths of melody, sections with dissonance, nods to many genres, and package them into coherent pop songs. They've released four critically praised albums and accumulated more than a thousand tour dates in the process, the great majority of which have been to sold out audiences.Ĭut/Copy's high-energy live show is matched only by the beautiful complexity of their songs. Touring across the world, headlining massive sold-out shows, and slated on prime slots of prestigious festivals worldwide such as Coachella, Ultra Music Festival, and Lollapalooza in the US Primavera in Spain, Pitchfork in Paris Summer Sonic in Japan and Big Day Out in Australia. In the past decade, Cut/Copy has truly become an international act. ![]() Whitford's early blend of samples and newly learned instruments has since evolved into a full-fledged band with guitarist Tim Hoey, drummer Mitchell Scott, and bass player Ben Browning, with each member handling a multitude of instruments. It's hard to believe that Cut/Copy once only existed as an idea in the Melbourne bedroom of frontman Dan Whitford, who was at the time running a very successful local design studio and immersing himself in club culture by night, both in front of and behind the decks. ![]()
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