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The oft-noted difficulty in defining the music of The Thod in genre terms is likely a consequence of the construction of the band itself: The group has variously been labeled a rock and roll band (InPress 2010), a community of practice (McDonald 2010), a group of boys committed to the future of the Eltham RSL (Diamond Valley Leader 2008) a cult (Tonedeaf 2010) and an affinity group within a wider participatory culture (Jenkins 2006). Importantly, however, the validity of such labels has recently fallen into doubt. In fact, it could be said that the bulk of recent post structuralist research is more concerned with content than categorisation (Bourdieu 1988). Within the music industry, such claims have been echoed by prominent theorists including Tweedy (2004) and probably Lennon (1970-1980). In brief, it can be said that the reactions to The Thod are positive in both online and offline modes. Online, the band holds a strong internet presence (www.thodcountry.net,