Items filtered by date: November 2013
Thursday, 14 November 2013 11:10

Premiere Thursdays Passes

Premiere Thursdays is a new event happening once a month at Palace Centro that’ll be themed towards the film being ‘premiered’.

For a special price of $15, audiences will receive the full star treatment including red carpet entrance, prizes, a photo booth with all the diva trimmings and a glass of Brown Brothers Prosecco.

This month the film is the highly anticipated music industry documentary, ‘20 Feet From Stardom’.

To win one of ten double passes to the November 21 7pm screening at Palace Centro This competition has closed.
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Terms and Conditions:

1. Winners will be drawn at random at 11am Monday 18th November at Level 2, 192-210 Brunswick Street, Fortitude Valley. [Winners drawn]
2. Winners will be notified by e-mail. [Winners notified]
3. Entrants' email address will not be used for any other purpose except the conduct of this competition.

Published in Competition
Thursday, 14 November 2013 10:50

Mullum Music Festival Three Day Double Pass

It’s beard meets bongo, banjo meets burlesque, flannelette meets flamenco and above all it's a boots ‘n’ all banquet of quality music and experiences at the Mullum Music Festival, November 21-24.

With a rep as one of the best boutique festival experiences around, the sixth annual Mullum Music Festival has a typically eclectic and colourful line-up of international, national and local acts for music lovers to enjoy in the quaint halls, pubs, clubs and streets of the funky little northern NSW town of Mullumbimby.

The bill is headlined by: Raul Midon, The Basics, The Barefoot Divas, Blue Grassy Knoll, Pieta Brown, Swamp Thing, Robert Ellis and many, many more.

To win a three-day double pass (Nov 22-24) This competition has closed.
This email address is being protected from spambots. You need JavaScript enabled to view it.

Terms and Conditions:

1. Winner will be drawn at random at 5pm Friday 15th November at Level 2, 192-210 Brunswick Street, Fortitude Valley. [Winner drawn]
2. Winner will be notified by e-mail. [Winner notified]
3. Entrants' email address will not be used for any other purpose except the conduct of this competition.

Published in Competition
Wednesday, 13 November 2013 15:10

Peace Train: The Cat Stevens Story

Mourning has broken as Darren Coggan channels legend Cat Stevens to give the fans the tour they’ve always craved in ‘Peace Train – The Cat Stevens Story’.

“I honestly believe that this show has had a huge response for several reasons. The main one is the fact that the messages of peace, tolerance and understanding still speak to today’s generation as much, if not more, than the generation that they were originally written for.

"The second reason is that he, himself, at the height of his career, literally walked away from the music industry – very discontented with the excesses of fame and fortune. He didn't perform for nearly forty years.

"So in a live context anyway, his fans haven't really had a lot of access to these songs, performed in the same spirit that he would have performed them in. So I think that fans have been hungry for anything remotely related to the man himself and to the music.

“I've tried to recreate the music as accurately as possible on stage within a seven piece band context. I've always wanted to present this show with the respect that I feel that his music, his story and his fans deserve.

"I think that they are beautiful, timeless songs that have strong messages in them.”

Despite an extensive career in musical theatre, this was the role that Darren Coggan was born to play.

“I would often perform covers of his songs in my own shows, and it was always the Cat Stevens songs that people would comment on. It's not actually something that I really tried to emulate, but there is a natural similarity in the vocal timbre of our voices.

"I started looking into his life story and found his journey of personal discovery really inspiring. With one of the most prolific catalogues of our times, I just thought – ‘this would make a great show'. So the voice you hear on stage is me singing as me, which is a little bit uncanny.”

A big fan of the artist, he counts himself lucky to have interacted with the music great.

“I actually had lunch with him in London in 2007. Whilst I didn't get to quiz him too much on his personal life, I would love to talk to him about touring in his early days.

"Music at that time was so influential on everything – on culture and on life in general. Touring with Jimi Hendrix like he did and hanging out with The Beatles, as a musician that era is something that I am fascinated about. We do tell a few of those stories, which elevated the show to what it is now.

"People come expecting to hear these great songs, but I think that they go away with a lot more than just the music.”

Playing all over Australia, including to sold-out audiences at the Sydney Opera House, his favourite Stevens song is in a constant state of flux.

“At the moment [my favourite] is a song called 'Oh Very Young' which is off an album called ‘Buddha And The Chocolate Box’. It talks about how life is precious and that we have got to make the most of every day.

"I think that as I watch my two children grow up, like any parents I guess, I hope and pray that they have a good life and find happiness, contentment and fulfilment within any avenue they choose in life.”

Darren Coggan plays 'Peace Train – The Cat Stevens Story' at the QPAC Concert Hall on November 29.

Published in Theatre
Wednesday, 13 November 2013 15:02

Jon S. Baird: Director Interview

Jon S. Baird's decision to write and direct a film based on an Irvine Welsh novel could be called a crazy brave move.

Based on the 'Trainspotting' author's book of the same name, 'Filth' tells the dark and twisted story of crooked Edinburgh cop Bruce Roberton's bid to secure promotion amid his descent into drug-ravaged, sexually-depraved madness.

“I was introduced to Irvine through a mutual friend at the book launch for 'Crime', the follow-up to 'Filth',” he says.

“We were both pretty drunk at the time and the first thing I said to him was I think 'Filth' is his best book, it was the first one I read and I'd love to do it, just as an off-hand comment. That was back in 2008.

"Someone else had the rights at the time, and I think there had been four previous attempts to do it — all of which didn't work for one reason or another.

"The first thing we said was that at its heart, it should be a very dark comedy. The book is funny, but also so dark that we needed to give the film some sort of empathy with Bruce and we started that with comedy.”

The film stars James McAvoy ('X-Men', 'Atonement') in the lead role alongside Imogen Poots, Jamie Bell and Jim Broadbent.

“It was weird because before we cast James, he was probably the last person we thought was going to be Bruce,” Baird says.

“We'd looked at his other roles and we thought he didn't seem right. Then when we met him he just blew us away, he's such a clever and edgy guy.

"Irvine has gone on record to say that of every character he has created that have been translated onto the screen, James's portrayal of Bruce is the most like what he had in his mind, and there's some pretty big company to keep there. That says it all really, if Irvine is saying that about you.”

Finding the middle ground between the literal filth of the book and that which is suitable for a film audience was an added challenge for the Scottish director.

“I didn't want to be a slave to the tapeworm, you know?” he says. “I wanted to include it, because it's such a big part of the book, but it was never a stress or anything like that.

"We decided quickly that we're going to personify the tapeworm, we're going to take the doctor from the book who is looking after Bruce's physical ailments and involve him in more of a psychological decline.

"His conscience in the book is the tapeworm, and we added that to the doctor to make a psychiatrist. Irvine gives you the best characters and dialogue in the world, but he doesn't give you the clearest of narratives, which was a challenge.

"If the book was sanitised too much I'd have been absolutely murdered, and if it was a literal translation nobody would have gone to see it.

"The litmus test was Irvine himself. He was the first person I showed it to, and thankfully he liked it, and that gave me confidence to go on.

"Obviously when you're making the film, there's a whole new challenge to bring it off the page.

“The scene that James thought the hardest to shoot was the one with the young girl in the bedroom, but I wanted to give him as much reassurance that it wasn't going to come across as harsh as it felt on the day.

"There's always an element with Bruce that the joke is on him, and that scene could have been a hell of a lot darker.

"My favourite is the scene where Bruce and Amanda are on the staircase; the part where they're arguing to-and-fro, and then they get to the bottom and there's a big explosion of emotion and insanity. We could tell on the day we shot that by the crew's reactions that this was a good scene.”

Working with Irvine Welsh has had some side benefits for a director relatively new to the business.

“Throughout the process we've became very good pals,” he says.

“In the next few days we're going off to Japan to do some of the press over there, and it doesn't feel like a work trip at all; more like a boys' holiday together. He's became such a good mentor, for want of a better word.

"He's 55 going on 15, and is such a sweet, self-effacing guy and very unlike what people think he's going to be, myself included.

"He's just a really solid human being, and I don't know where all his stuff comes from to be honest. He gave a lot of emotional support throughout the process, but wasn't massively involved – apart from writing the book obviously!”

'Filth' is in cinemas from Nov 21, and as part of BIFF 2013 — it will screen Monday November 18 at Palace Centro Cinemas.

Click here to win tickets to the BIFF screening.

Published in Film

From the company that introduced sold-out Brisbane audiences to Broadway's 'Avenue Q' in 2012, comes the cult classic, rock & roll musical, 'Little Shop Of Horrors'.

Stepping into the lead role of Audrey is Lauren Ware, an actor and dancer who is thrilled to be playing such an exciting part in this production.

Describe the show in five words?
Clever. Carnivorous. Creepy. Colourful. Captivating.

What is your role in the production?
I play the role of Audrey. The kind-hearted and ever optimistic damsel of the story who works as an assistant in Mushnik’s Flower Shop.

Best part of working on this production is...?
Playing Audrey. It’s a dream role for me. Also the six-foot-tall, carnivorous alien plant is pretty spectacular.

Fav. line in the play and why?
In Audrey’s final scene, “But I want you too Seymour”. In the context of the scene, this beautiful moment that has me in tears, also has me giggling like a school girl inside.

Fav. scene/ song in the play and why?
For me this is something that changes every day depending on my mood but at the moment after hearing our accompanying band at our rehearsal last week, my favourite song is 'Mushnik and Son', the twisted tango between Mushnik and Seymour. The band really brings the song to life and the performers have been finding some excellent moments of comedy throughout the piece. As far as my favourite scene, I have loved watching Kieran Davies (Orin) and Gary Farmer (Seymour) bring the Dentist’s scene at the end of Act One to life. They are a pair of very talented performers dealing with some excellent physical direction by Miranda Selwood.

Tell me about the team - what are the cast like? What is the production team like?
The team have been a pleasure to work with. We really are just a bunch a regular people. Most of us have day jobs which we grind away at before pouring ourselves into rehearsal of an evening. The group is really starting to shine now that costumes, lights and a stage has been added into the mix. The talent is undeniable and WELL worth the price of an theatre ticket.

What makes this version different to any others? Why should people come and see it?

Miranda Selwood’s vision for the piece has been a breath of fresh air. This show is really not your cookie-cut version from the movie or Broadway productions which I feel has allowed us more freedom as actors to put our own spin on the characters. The set has come to life in the past week transforming the humble Brisbane Arts theatre into the Rundown Florist shop on the slums of Skid Row in New York where the show is so iconically set. The show allows audiences a chance to leave their lives behind for an evening as they are transported through this bizarre story by some relatable human characters and their not-so-human counterparts.

Have you seen 'Little Shop' many times before? What do you think makes this such a longstanding work? Why is it so appealing to generation after generation?
I can’t deny I am a hardcore fan of the show. Having fallen in love with the movie as a child I have longed for the chance to be part of a production of the show on stage ever since. I feel this timeless story speaks to all ages because of its pivotal themes on love and human sacrifice that anyone who has ever loved, lost or tried to grow a plant can relate to.

What do you want the audience to say as they leave?
I want people to be commenting on the professionalism of the piece. More people need to realise how much talent is hidden away on Brisbane’s smaller stages.

Any crazy/ weird/ funny behind-the-scenes stories from the cast or crew?
What happens amongst the cast … stays among the cast : )

'Little Shop of Horrors' opens November 15 and plays until December 21 at the Brisbane Arts Theatre.

Published in Theatre
Wednesday, 13 November 2013 14:44

The Orb: In The House

Legendary ambient house godfathers The Orb are celebrating their 25th year in the business with the release of a brand new reggae-infused album and tour.

‘More Tales From The Orbservatory’ is your twelfth studio album. How does it sound compared to your previous work?
Warmer, fatter, more 23rd century and less 20th century; an Orb take on the future sounds of dub.

What was working with Lee ‘Scratch’ Perry on your last two albums like?
It was a real pleasure to work with the genius that is ‘Scratch’. The Upsetter was full of rhythm and sound. He was a constant source of vocal heaven. We completed 17 tracks in 3 days and that is a world record for The Orb. 

How did the collaboration with Perry come about?
From my DJ connection with Lee. I had played on the same line-up in various countries around the world: Mexico, Finland and the UK. 

Did you work with anybody else on the album?
We used a track from earlier sessions we had been working on in a side project called ‘Mad Orb' and placed Lee’s vocals over the top. 

How aware were you of the fact you were inventing a new genre of music when you first started making ambient house?
We needed to get a name before the press labelled us something horrible. So we invented our own name and gave it to our music so people would remember us by that title. I have to say that was the idea; we never thought it would take off as well as it did!

What are your overriding memories of the early ‘90s, when ‘U.F.Orb’ reached number one in the UK?
Glastonbury headlining on the NME stage and recording in Jamaica . 

What would it take for an album in that style to get that high in the charts today? Do you think it's possible?
No comment. No one actually buys music. Interesting thought. Will football end up free one day? 

Where did the fascination with alien and space sounds in your music come from?
As a child, I grew up as the Americans landed on the moon (I was 9). The Russian space program was also of interest with my air fix kit.

How has your approach to making music changed since The Orb first started?
It's faster, fatter, warmer, more thought out and matted out in a true Swiss/ Scottish style . 

You've worked with some big names, like David Gilmour. Who would be your ideal artist to make a track with?
Teebs or Kutmah 

What can fans expect from your upcoming world tour?
Old tracks played in a new style for the first time in ages. ‘Toxygene’ and ‘Slug Dub’ are but two.  Let it be a surprise, but I doubt it. People want to know these days what they're paying for in advance, but I promise you, this is the best sound we have ever had. So come along and be impressed. 

Has the importance of playing live shows increased or decreased in the last 20 years?
Increased twentyfold. 

The Orb Headline Rainbow Serpent, Lexton Victoria, January 24-27.

Published in Electronic
Wednesday, 13 November 2013 14:40

The Swiss: Sampling Themselves

It's hard for anybody to stand out in the thriving electro music scene.

But The Swiss certainly do, with their disco party image defined by a unique combination of modern music technology and traditional instruments.

"The best thing for us is to get a contemporary sound without using computers and doing it more in a traditional sense, although it's a big challenge for us," says drummer Tony Mitolo.

It may be challenging, but that is why The Swiss' sound is getting recognition. This more traditional approach to electro is also what makes The Swiss' live shows so much more engrossing for the audience.

"The live set up is Luke [Million] and I. Luke has a tonne of keyboards and a tonne of synths and I use a full drum kit with a trigger element and a whole lot of sequencing stuff that I play around with.

"We still use the kind of stuff you would get with a typical live show with Flume or someone like that, but everything is manipulated live."

The band toured Europe without a drum kit and used controllers and programs like Ableton to create their sound, but decided that a more traditional approach would be more engaging.

The band is adding more things into the mix with the release of their latest EP, 'Kiss To Kiss’, which features vocalists for the first time on a Swiss track.

The trio also continue to buck common electro trends by using samples of themselves as opposed to borrowing elements from other songs.

"Instead of using samples from records we would do recordings of our own stuff," Tony explains.

"We would just jam and then cut up our own stuff and use that as a new base to write a song from, which has been really cool and really different."

The band are making a mark in the lively European electro scene, having signed with French label, Kitsune.

"For us Europe has always been our strongest market in terms of touring and so to have a French label that's in that region close to the UK made a lot more sense to us."

The Swiss play the Valley Fiesta November 23.

Published in Electronic
Wednesday, 13 November 2013 14:21

Choon Goonz: Top Five Non-Human Things To Be

1. Household object. Smashka: Tough one. I do like the beanbag ‘coz it always gets to hang around doing cool stuff with peeps, but I think I'll go with the stove-top kettle; it gets plenty of love multiple times a day and to sing its heart out on a regular basis!

2. The natural world. Smashka: The wind. All colours yet no colour. Gets to go everywhere and experience everything. Connected to every living thing through breath. Loopert: Coconut — tough as a mofo, yet tender and nutritious on the inside.

3. The animal kingdom. Loopert: A bird of some sort — maybe an ancient bird like a terradactyl. Smashka: Maybe a monkey... have fun all day swinging from trees and get to eat bananas (my favourite!), but still curious enough to explore.

4. Fiction. Loopert: Gandalf. The ultimate wizard... No question there. Smashka: Hmm... maybe something lame and magical like Captain Planet.  If I could have any superpower it'd probably be the ability to dispel negativity and create love. Instant perfect situation drug. Loopert: Side note — Captain Planet is not lame. He is a legend :)

5. Music hardware. Smashka: Music keyboard with every knob and button possible for all the wackiest, bendiest, fattest sounds possible! Loopert: Turntable. The classical piece of hardware that stands the test of time, spawned the creation of a whole genre of music and is loved the world over.

Choon Goonz play the Beanstalk Birthday Bonanza at The Joynt Saturday November 23.

Published in Urban
Wednesday, 13 November 2013 14:05

The Good Ship: Sinister Sailing

You won’t just get pieces of eight… you’ll get the whole thing when The Good Ship hoists the sails on their new album, ‘The Seven Seas’.

“The way we started this band was a little bit casual really, it was a bit of a side project,” The Good Ship’s John Meyer says.

“We had these sort of dirty songs influenced by sea shanties, and it kind of just took on a life of its own.

“We didn't shy away from using bad language and singing about things that most bands usually wouldn’t. It's really weird, this latest album is actually completely clean.

"It's not clean thematically, there's a lot of death, betrayal, murder and nastiness in it, but it's actually got no swearing at all which is new for us. It might even get some ABC airtime,” he says with a laugh.

With eight scurvy music-making crew members on board The Good Ship, it’s a wonder they can work together without a mutiny.

“There's a bit of fighting for the limelight, I think that's healthy. It's like puppies fighting for the teat. We're all alpha personalities and we all think that we have the best ideas.

"It all reaches a certain point though in the creative process where that gets put aside and everyone is working towards the same goal.”

While the theatrical production is a major part of the band’s appeal, the heart of The Good Ship lies with their music.

“I think it is mostly the music driving the performance for this show, we're a band first and foremost and that's what we know how to do. We hired an actor, director and a lighting designer as well so all of those elements worked together.

"Brett, our banjo and piano player is a graphic designer as well, so he made some animations that are just amazing. We're really happy with them, which is why we are releasing them as an album — it's a bit of a concept album.”

The Good Ship play the Brisbane Powerhouse November 15. 'The Seven Seas' is available now.

Published in Rock
Wednesday, 13 November 2013 14:01

Emily Lubitz: '70s Songbird Revival

Travelling back in time to the groovy ‘70s, Tinpan Orange’s Emily Lubitz prepares to resurrect the era’s superstars with Songbirds Of The 70s.

“It was a pivotal point for music. From the ‘60s and then into the ‘70s, rock & roll into disco. Socially and politically a lot was changing, the world was in transition with civil rights and feminism and I think that that informed a lot of the music.

"I think that there was a lot of hope and idealism in the songs. Women [were] finding their voice in the scene, a really strong voice, which was really prevalent,” Emily says.

Emily is joined by fellow femme vocalists Lucie Thorne, Mama Kin, Elana Stone, Loren Kate and Miles And Simone as the special event — part of the Mullum Music Festival — weaves its way through the hypnotic era.

“We wanted to cover a lot of genres and different kinds of worlds. We've covered Janis Joplin, she actually died in 1970 so she just made it in, but we thought that she was so iconic that we had to have her.

"We've got a bit of the folky stuff,  like Joan Baez and Joni Mitchell, then a little more rock with Fleetwood Mac. Also some Gloria Gaynor, real African-American belting soul kind of stuff that is so ‘70s. We end with a bit of disco, a bit of ABBA. So we tried to cover all our bases.”

While the ‘70s may be long gone, there’s no denying its legacy lives on.

“I think a lot of musicians today hark back to the styles and influences from the ‘70s. It's hard to pinpoint because it's one long line of influence with Western music, and [it's hard to tell] where things stop and begin.

"From gospel, to country, to jazz – everyone is borrowing from everyone in some way. There is a lot of stuff that is referencing the ‘70s stuff these days.”

Tinpan Orange are also set to play at the festival, and state that alongside the release of their most recent album 'Over The Sun’, the landscape in which they create their music has shifted.

“Sonically our sound is a bit different. It's a bit lusher, a bit bigger, I guess. Lots of harmonies and string bits... so I guess it's a bit more adventurous.”

Emily Lubitz plays Mullum Music Festival, Mullumbimby High School, November 24.

Published in Rock


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