With only 12 hours … Read more]]>
With only 12 hours until the end of the world, James (Nathan Phillips) is travelling to an end-of-the-world party, but opts to rescue an 11-year-old girl (Angourie Rice) and help find her father instead.
Quintessentially this is a pre-apocalyptic road-trip film. The performances are strong and stand out – Phillips and Rice work well together.
Stereotyped hoodlum characters, typical in this style of film, aid in painting a very grim picture of society as the end approaches, with haunting scenes of death, drug use, graphic violence, and sex, that may cause many to turn away.
Adversely, the film looks cheap and the screenplay is flat, lacking the edge and momentum mandatory for films in this genre. A captivating and cleverly edited trailer successfully promotes what is ultimately a somewhat uneventful and mediocre film. (MM)
** 1/2 /5]]>
Multi-instrumentalist Mark Zito plays and produces every element on the EP and … Read more]]>
Multi-instrumentalist Mark Zito plays and produces every element on the EP and creates a beautifully emotive, yet calm sound. Cadence is a prime example of this with its slow, heartbreaking melody melding seamlessly with silky bass guitar and higher, yet subtle, guitar notes.
Zito, however, isn’t confined to guitars and drums as he then introduces piano in It’s Alright to continue the tranquil mood before shifting gears with Twisted, which ups the tempo with a more pronounced drum and synth package.
A fantastic first release. (JA)
BY JAMIE APPS]]>
Husky: These four Melbournians come from different musical backgrounds to make light and airy indie-folk music that leaves audiences captivated and enchanted. The songwriting … Read more]]>
Husky: These four Melbournians come from different musical backgrounds to make light and airy indie-folk music that leaves audiences captivated and enchanted. The songwriting is storytelling at its finest, and the instruments float through each song, guided by well-trained fingers. Husky won a Triple J Unearthed competition in 2011, have since been nominated for an ARIA, played sold out shows during a solid year of touring, and have shared the stage with The Shins and Neil Young.
Thu, Jul 31st, Newtown Social Club.
Dr Goddard: This three-piece outfit haven’t been around for long but they sure have made the most of the time. They’ve scored gigs supporting The Preatures and played a sold out Oxford Art Factory gig with Hot Spoke. Their touchstones are brilliant, including The Doors with a little bit of Twin Shadow thrown in for good measure. Or as they prefer to call it: elevator music with balls.
Thu, Jul 31st, Brighton Up Bar.
Dig: This is the beginning of four months of ‘80s and ‘90s jazz-soul-funk-dub fusion. On one Thursday of each month from now until September, DIG are coming together with guest vocalists to revive the acid jazz days of old. All songs are taken from the DIG songbook, along with some new compositions to keep groovers on their toes.
Thu, Jul 31st, Foundry 616, Ultimo.
Gypsys of Pangea: These guys were born in the wrong era. They’re not to be misconstrued as a revivalist band, but their ties to the ‘60s are unmistakable. Whether it’s Hendrix or Pink Floyd belting from the guitar doesn’t matter; what matters is that they intertwine their signature reverb-heavy style around beats, grooves, and riffs to re-define what it means to be a psych band in 2014.
Fri, Aug 1st, Spectrum.
The Dandelion: This band is best described in their own words: “The Dandelion weave an old kind of magic… With a sound like seeds turning into flowers/They bring gifts for the Goddess of magical powers.” This band picks up where The Dolly Rocker Movement left off; an excuse for one guy to experiment and play all the instruments behind the scenes, but with a talented and rockin’ band for the live shows.
Fri, Aug 1st, Velvet Cave.
Moses Gunn Collective: If your favourite kind of gig is one that comprises explosive neo-psych played in a dark dive bar where torn vintage posters adorn the walls, then look no further. Moses Gunn Collective are bringing their melodic grooves and fervent guitar thrashes down from Bris-Vegas to the heart of the Sydney CBD for a night of beer, pizza, and good tunes. (AE)
Wed, Aug 6th, Frankie’s Pizza By The Slice.
BY ALEXANDRA ENGLISH]]>
Brundibár’s simple fable of children coming together to overcome a town bully became a powerful symbol of hope and resistance for many in the camp.
“It being an allegory, you could make of it what you wanted. A lot of people interpreted Brundibár as being representative of the oppressors, of the Nazis, of Hitler,” says Toltz.
In collaboration with Opera Prometheus and the Sydney Jewish Museum, Toltz will be presenting the first ever performance of Brundibár in Sydney.
With many Holocaust survivors living here, Toltz believes it is more important than ever to stage Brundibár.
“We have survivors here who can talk about their time and what it meant to them,” he says. “It will come to a point where there aren’t any survivors around.”
Most of all Toltz hopes that through Brundibár audiences will reflect on what music means to them.
“When you’re deprived of all sorts of other things, how much more powerful will that musical meaning be in your life?” (MT)
August 14, City Recital Hall, 2-12 Angel Place, Sydney, $25-60, (02) 8256 2222, cityrecitalhall.com
BY MELODY TEH]]>
The fast-paced guitars … Read more]]>
The fast-paced guitars and ’90s alternative rock-esque drumming provided by a full band arrangement are the main building blocks for the atmosphere of this record. Layered over the top is the melancholy, dramatic vocal performance of Costelloe as she bemoans constantly falling for “boys that play guitar”.
Whilst not bringing anything new in particular to the genre Big Deal are accomplished proponents of this particular sound. (JA)
BY JAMIE APPS]]>
Let’s focus on the songs here instead. Get Her Back boasts strong, plaintive vocals; You’re My Fantasy is a listenable slice of R&B meets Latin pop; Forever Love is a hopeful track backed by some pretty piano melodies; and several songs have a slight Prince flavour (though none hold a candle to the Prince of Paisley Park).
Overall this is a ‘paint by numbers’ R&B/pop release that doesn’t quite deserve the vitriol but doesn’t have that much to offer either. (PH)
Apart from notables like the Opera House, the City Recital Hall, Sydney Lyric Theatre and the all-purpose Entertainment Centre, Sydney boasts very few purpose-built … Read more]]>
Apart from notables like the Opera House, the City Recital Hall, Sydney Lyric Theatre and the all-purpose Entertainment Centre, Sydney boasts very few purpose-built concert venues – especially for a city that aspires to international status. When it comes to staging concert-style music events there’s a long history of making do with an infrastructure that was never originally designed for that purpose.
Take the ramshackle old Sydney stadium in Rushcutters Bay that began its life as a temporary open-air boxing arena, specifically built in 1908 to house a world title fight. Equipped with a roof in 1911 and with a capacity of around 12 thousand people, it became our primary concert venue in the ‘50s and ‘60s housing international acts such as Ella Fitzgerald, Johnnie Ray, The Beatles, Judy Garland, Bob Dylan, Frank Sinatra, and Louis Armstrong to name just a few. New York had Carnegie Hall, London the Royal Albert Hall, and Sydney an old tin shed with a revolving stage (aka “the revolting stage”) that frequently broke down, much to the anguish of those punters staring at a stage full of celebrity rump.
When it was finally demolished in the late ‘60s to make way for the Eastern Suburbs railway there was a collective sigh of relief but a sizeable void in facilities available to stage concert events for audiences of 1,500 or more. By the mid ‘70s television had taken its toll on the viability of many of Sydney’s grand picture palaces and concert entrepreneurs eyed them off as potential venues for live music.
The Regent in George Street soon became home to a series of musicals and international rock and pop artists as did the unrestored Capitol some years later, the stage for some truly remarkable artists like Dizzy Gillespie and Thelonious Monk. By the early ‘90s the much-loved State Theatre had joined the list of cinemas transformed into concert venues, and in 1995 the dilapidated Capitol was finally restored by the Sydney Council to its once former glory.
The Sydney Town Hall, with its cacophonic acoustics also became a popular venue with promoters in the late ‘70s, ‘80s and ‘90s, albeit one of the last choices given a general dislike by concertgoers for its echo-like sound. Artists such as Muddy Waters, Herbie Hancock and Odetta all played there during that period.
These days promoters will tell you there is still a chronic shortage of good concert space in Sydney with bookings for venues such as the Opera House and the State Theatre always highly competitive. Ironically, it’s the old-style picture palaces like the State and the Capitol that have the best acoustics, with the Concert Hall of the Opera House very much a ‘hit and miss’ proposition given the nature of the music presented and the position of your seating in the venue.
Whether we will ever get another large concert venue capable of seating around three thousand people like Manhattan’s Carnegie Hall remains to be seen. Given the current popularity of concert-style events with both local and international touring artists it would certainly seem like the demand is there. In the meantime we make do with a variety of good and not so good venues but at least the embarrassment of the ‘old tin shed’ is long gone.
As a footnote this is the 50thyear of the Beatles’ tour of Australia, during which they played several shows at the rundown Sydney Stadium, affectionately known by boxing fans as the “house of stoush”. In its pugilistic heyday the cheapest bleacher seats were surrounded with chicken wire to prevent missiles being launched at the boxing ring. Ironically, when the Beatles played there somebody launched an egg at John Lennon, hitting him on the foot. In the minor mayhem that followed he supposedly shouted “What do you think I am, a salad?”]]>
Modern Baseball’s music is reminiscent of ‘90’s bands Weezer and Dashboard Confessional. Blending soaring electric guitar, especially impressive drumming and droning nasal vocals, the band brings the 90s into the modern era.
The introspective, self-obsessed and cynical songwriting produces songs everybody should be able to relate to from some point in their life, past or present.
The record shows a maturity and emotional side that leaves endless future options available. (JA)
BY JAMIE APPS
Cue plenty of awkward situations and a script peppered with “feck”.
Full of the same ridiculous slapstick comedy with the added benefit of removing the ‘filmed live’ aspect, one would think this might streamline the gags, however the unique ‘live blunder’ style that this franchise is famous for is still included. O’Carroll plays up to the cameras and the supporting cast laugh when takes are ‘blown’. It comes across as staged.
Ultimately you either hate or love Mrs Brown’s Boys, it’s a niche market and the movie won’t have people switching camps. At least it’s guaranteed to raise a smirk one way or the other. (LL)
“It’s a … Read more]]>
“It’s a great opportunity for families and neighbours to connect or bump into each other,” says Adrian Black, events coordinator at Hunters Hill Council. “But we have more people come to the event than live here, so it has no borders. The community is everybody.”
Moocooboola is a traditional Aboriginal word meaning the ‘meeting of waters’, which any local would tell you fittingly describes the Hunters Hill peninsular where Lane Cove and Parramatta Rivers meet.
Black notes the word is a “little bit magical and has a strong history” and is keen to ensure the festival will again live up to its namesake.
There are lots for the kids to do with all-day rides, as well free family fun activities. “It can be expensive, so this year we’re really focusing on lots of free old-fashioned games,” says Black. “We’re doing an adventure sheet for kids, sort of a choose your own adventure fun.”
After kids complete a list of free activities such as racing a jumping inflatable horse, making a wish at the wishing tree (which comes alive and talks back), or trying their luck in the giant maze, they win a prize.
“You don’t have to be a kid to enjoy the activities. You use the kids to draw in the parents to let loose a bit,” says Black.
Another new addition to the festival is comedy with Daniel Oldaker aka Dandyman. He’ll take audiences on a journey of the imagination with a show of circus, acrobatics and magic that will be peculiar, crazy but always hilarious.
Or catch Paws Up, Australia’s champions in dog high-jumping. Currently holding Australia’s record in jumps of over nine feet, Paws Up will be a spectacular sight of border collies ‘flying’ in the sky.
If you feel like simply sitting back and relaxing though, there will be plenty of musical performances including many from the local community. Although, when Sydney’s premier party band Jellybean Jam takes to the stage, visitors will soon feel like dancing.
“We entertain adults all the time so it’s nice to make sure kids are out there having a bit of a dance and a bit of a boogie,” says the ‘clown’ of the band Andy Caryofyllis.
With a market bazaar, an array of street food on offer and non-stop entertainment, the Moocooboola Festival promises to be a fun day for all ages. (MT)
Aug 3, Boronia Park Ovals, Ryde Rd & Park Rd, free, moocooboola.com
BY MELODY TEH]]>