Items filtered by date: July 2013
Thursday, 01 August 2013 09:58

4 Walls Double Pass

Youth Music Industries presents 4 Walls Festival, a showcase of Brisbane’s finest young talent, at the Queensland Academy of Creative Industries this Saturday August 3.

Cub Scouts, Jeremy Neale, Pigeon, Go Violets, Emerson Snowe, Tourism, Tundra, Stephen Smith, Wilderness, Twin Haus, The Red Lights, Wafia Al-Rikabi, Sleepy Circus, The Good Sports, Surfer Cats, Tori Lee, Sahara Beck and more will all perform on the day.

To win a double pass to the festival This competition has closed.
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Terms and Conditions:

1. Winners will be drawn at random at 11am Friday 2nd August at Level 2, 192-210 Brunswick Street, Fortitude Valley. [Winner drawn]
2. Winners 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
Thursday, 01 August 2013 09:00

The World's End Review

Everybody knows somebody like Gary King.

King, played by Simon Pegg, is the erstwhile hero of The World's End, the last film in Pegg, co-star Nick Frost and director Edgar Wright's so-called 'Three Colours Cornetto' trilogy. Pushing 40 but still dressing (and living) the way he did when he was 18, King is that guy who peaked in high school and wants to drag everyone else back there with him.

In this case, King rounds up his four best friends from high school, who have all grown into ordinary, well-adjusted gents, and convinces them to finish a pub crawl they started 20 years ago. Naturally, this being the conclusion to a trilogy that's so far revolved around zombie outbreaks and slow-motion shoot-outs, they get a lot more than they bargained for.

Unlike the loveable types he usually plays, Pegg has boldly chosen to make King as unlikable as possible — he's truly pathetic, a vicious takedown of the perpetual adolescent, and if audiences are able to relate to him, that's more of an indictment of the viewer than a credit to Pegg's charms.

The shift from Shaun Of The Dead and Hot Fuzz's supremely likeable protagonists to this cringeworthy character is indicative of the larger tonal shift that's going on here. While those earlier films were laugh riots, The World's End is a much more subdued affair — it's darker, deeper, and occasionally depressing.

That's not to say there aren't laughs to be had in The World's End — there are plenty — but they just don't come as thick and fast as they do in Wright's earlier efforts. That's clearly intentional, to a degree; a natural result of the fairly serious themes of ageing and social malaise that co-writers Wright and Pegg are kicking around here.

But part of the problem is very much not intentional. There are a lot of moments in this movie that are clearly meant to get a laugh that don't quite work; obvious jokes that fall flat and banter that doesn't sparkle. It's impossible not to compare The World's End with Shaun Of The Dead and Hot Fuzz and wish that it was, well, funnier.

That said, the script is still awfully tight. Wright is a master watchmaker, and every single part of his films connects to the others in some way — seemingly minor asides end up paying off as major plot points down the track; ostensibly insignificant details are actually layered with hidden meanings. There'll be plenty to dig into here on repeat viewings, even if it doesn't completely satisfy the first time.

Ultimately, that's where The World's End will most likely shine — at home, watched repeatedly at the tail end of a Three Colours Cornetto triple bill.

That's certainly how Gary King would choose to watch it, anyway.

3/5
The World's End is out now.
Published in Film
Wednesday, 31 July 2013 23:09

Kransky Sisters: Musical Comedy In Preview

The Kransky Sisters’ very own Mourne, aka, Annie Lee, talks articulately about toilet brushes, staying single, fudge and discothèques ahead of their tasty new musical comedy ‘A Piece Of Cake’.

Loved for their oddball antics, droll comic dialogue and hilariously-synchronised song renditions, Mourne, Eve and Dawn come armed with their instrument trolley brimming with a musical saw, tuba, 60s reed keyboard, kitchen pots and trademark toilet brush.

With performances drawn from spinsterhood, naiveté and a somewhat old-world existence, Mourne says the show will feature the sisters’ signature gothic twist on rock and pop tunes from ABBA, AC/DC, Salt and Pepper, George Michael, Rod Stewart, MC Hammer and Queen.

“We glean songs to perform by listening to our wireless radio and selling fudge outside of discothèques,” Mourne says. “People are very hungry after being in a discothèque, so we waited outside and heavens, we were almost asleep when they came out. We heard a song while we were selling the fudge, and we put it in our new show. We hope everyone enjoys it. It’s a nice one about some ladies, single, like ourselves. But we do have the wireless and that’s how we learn most of our songs and keep up with the times. The mayor of Esk is doing well. I was considering running for the mayor myself at one stage.”

On staying single, Mourne says if something needs to be done, there is always someone else’s husband to come and help. “Not everyone can find love; we stick together, though my ideal man would be Robbie Williams. The local abattoir worker, Perry Slice, did come around to take Eve out for tea, but she’s a vegetarian.”

Using the trademark toilet brush as an instrument, was the brainchild of Mourne and Eve. “Eve was in the toilet cleaning, I was in the kitchen and the wireless was playing The Bee Gees ‘Staying Alive’. I was listening to the toilet brush scraping away and Eve suddenly popped out, toilet brush in hand and we knew that we must have it in our show. So we cleaned it up and put it in our instrument trolley. Occasionally we use it for the toilet but then we just wash it up, and it’s all good.”

Mourne says her younger sisters Eve and Dawn do need a lot of looking after. “Dawn’s never spoken since our mother left with her father. Sometimes things are best left unsaid and to be quite honest I didn't want to hear about it. She stills sings of course but it’s not much fun playing I Spy in the car, let me tell you. Eve is a bit of a dreamer, she lives somewhere between yesterday’s lunch and today’s breakfast.”

Mourne describes ‘A Piece Of Cake’ as a very nice party, with a few surprises for the audience, thrown in. “They’ll hear some spicy stories of our recent travels to Europe, things we’ve discovered and have happened to us, and our latest songs we've learnt from the wireless. There are very nice people in Brisbane so it’ll be lovely. We might even put Dawn on that big wheel, she's got the stomach for it.”

The Kransky Sisters Perform ‘A Piece Of Cake’ At The Brisbane Powerhouse Aug 9 - 18.

Published in Comedy

“The poetry of finding your own voice singing a song your father wrote about you … it’s too wonderful not to put in a movie.” Daniel Algrant regards New York City from his terrace, a stone’s throw from streets where Jeff and Tim Buckley sullenly sauntered, with songs in their heads and no real idea of each other. Director Algrant reacquaints us with father and son in 'Greetings From Tim Buckley'.

Following a young Jeff Buckley ('Gossip Girl' star Penn Badgley) around 1990s NYC, 'Greetings From Tim Buckley' is a jubilant, nostalgic look at the days before the infamous 1991 tribute concert for locally-loved, late, folk legend Tim Buckley, estranged father of would-be falsetto wunderkind Jeff. Rather than delving into a textbook biopic centred around Jeff’s 1994 opus 'Grace' and his tragic drowning, Algrant saw a more focused opportunity to celebrate both Buckleys.

"I mean, I was supposed to make a film about Jeff Buckley,” he says. “I heard Jeff play, you know, recorded, and I became very intrigued with his brilliance, his talent. But I became interested in making the film when I understood the story was really going to be about Jeff and the relationship with his father, with whom he really didn't spend any time.”

Tim Buckley is often overshadowed by the Bob Dylans and Joni Mitchells of his generation (and later his own son). Algrant feels more dues should be paid to Buckley. “[‘Once I Was’] is arguably one of the more important songs from that period and people have forgotten that. I mean, ‘Once I Was’ should be our national anthem.”

Audiences become fondly reintroduced as Jeff learns his deceased father’s work. “I tried to have the film be a jukebox of Tim Buckley,” says Algrant. “In a sense, Jeff had that jukebox running through his head, all of Tim's songs … He knew every note, he knew every word and every letter.”

With a barrel-scraping budget and strapped shooting schedule, 'Greetings From Tim Buckley' leads up to one heart-hugging culmination, the legendary benefit concert at St. Ann’s Cathedral for Tim, where Jeff made his public singing debut. Algrant actually recreated the concert, shot over three days with a 300-strong audience and performed live by Badgley and several of the musicians, including ‘Grace’ and ‘Mojo Pin’ co-writer Gary Lucas, who played there the first time. “It was suicidal,” says Algrant. “I just said, fuck it. We’re going to make a movie about an indie rocker in New York who died and he’s not here, his father who died and he’s not here, and we don’t have any money. What we could have is the possibility of taking real actors and doing it live, so that they're going through essentially what [Jeff] went through.”

Life blatantly imitated art with the purely shower-singing, casually guitar-playing Badgley learning the music of Tim and Jeff Buckley without either’s advice. The parallels between both Badgley and Jeff’s discovery of Tim are rather charming, both having never played in public before the concert. “Penn Badgley was just in a perfect place to do this,” says Algrant. “He doesn’t have the same range of course as Jeff or Tim … and when he sang “Once I Was” that’s the first time he ever sang it through, ever.”

The search for a Jeff Buckley made headlines and hashtags worldwide, with everyone from James Franco to Robert Pattinson rumoured for the role. After hundreds of auditions, Algrant snuffled out 26-year-old Badgley. “This tape came in … Penn auditioning the record store scene. He was the only person who actually took that scene on. He makes tonnes of mistakes, he’s writhing around on the floor, but he sings all of it and he does this Led Zeppelin thing that was just crazy, ambitious and exquisite. And I said, that'’s the guy.”

'Greetings From Tim Buckley' opens in cinemas on Thursday August 1.

Published in Film
Wednesday, 31 July 2013 22:49

Splendour In The Grass: Live Review

We may as well get the obligatory mud mention out of the road first: wading through mire at the new Splendour site was unavoidable this year, but, as usual it was nothing even a standard pair of gumboots couldn't combat.

Day one saw Dune Rats urging all in attendance to scream 'fuck' as loud as possible, because “we're on the radio... Hey mum!” The ecstatic, beach-ball bouncing Super Top crowd were stoked on the mid-afternoon surf as Wavves took to ‘King Of The Beach’. The dude riding in the shaky, crowd supported blow-up boat was literally flying high – until the vessel capsized.

The highlight was Unknown Mortal Orchestra, whose lengthy, 'verb-laden, psych freak-outs captivated the GW McLennan tent. This was by no means a jam band; the group's dynamics were awe-inspiring; and stage manner, endearingly unassuming — even when the crowd decided to sing a chorus or two.

Day two started with Mansfield's Violent Soho sharing a few songs from their forthcoming album, new single ‘In The Aisle’ already proving a hit. Cloud Control, too, had new material to share and singer Alister Wright looked comfortably laid back, despite his guitar refusing to stay in tune.

Unsurprisingly, Empire of the Sun was a trip: choreographed dancers, outlandish outfits, neon, bass, strobe, and capped by Luke Steele dropping his guitar while walking off stage. Nobody expected less.

By day three, the sky had grown overcast and the crowd had grown haggard. A quick walk through the site revealed a man bleeding from the head, a girl crying and two crazed punters wrestling in a mud-pit. These were perfect conditions for FIDLAR. The Californian four-piece opened with ‘Cheap Beer’, which was inappropriate considering the location – a song called ‘Free Beer For Media From 4pm-5pm’ would have been far more suitable.

Everyone had heard about Frank Ocean pulling out, and although some were disappointed, a lot would relish the opportunity to head off early and catch up on that sleep they'd been deprived of for the past three glorious days.
Nash Johnston

2013 put on an absolute cracker of a Splendour. The sun beat down, the smell of camping was in the air and peeps were ready to get 'brill'. Highlights? Too many. The Presets made you glad to be dancing in the mud. Fat Freddy’s made you feel soulful. Birds Of Tokyo disrobed their commercial rock sound, in favour of a meaty, more festival ready sound that was perfect for smoking a fat one. Then it rained and everyone danced more. Quite simple, really.|
The Matchstick

Only 24 hours had elapsed since the pearly Splendour gates swung closed and disgruntled punters had already begun berating the SITG Facebook page. "Why was there so much mud?" says one. "I can't believe we had to queue to get in!" says another. Such complaints hardly seem legitimate; this is a festival renowned both for its ludicrous numbers and its ability to cover everyone (and everything) in a thin layer of gritty sediment. Most festival-goers are prepared to take such hardships in their stride — for the rest, there's always Youtube.

Friday begins badly. Only a few hours into the first day and I've already missed Brisbane stoner-kings Dune Rats' set, due mostly to my own lack of self-discipline and their horrifically-early timeslot. A silent tear for BC Michaels running down my cheek, I headed to the Mix Up tent. This would be my first encounter with Clairy Browne & The Bangin' Rackettes; the elephantine size of the group and elaborate synchronicity of their performance appearing out of place before the modest crowd assembled below. Watching Clairy take hold of the mic stand I decided not to match her swaying moves; with angles like those, my pelvis would surely break.

Eventually I'm dragged to see the Matt Corby Experience, complete with thousands upon thousands of teenage girls in feather headdresses. "You have to write about him!" my friends say. "He's so amazing! He will change your life!" To be perfectly honest, I can't see that happening unless I'm in desperate need of one of his kidneys. As long-haired guitar players go, he is one. As for the performance, the feathered girls were perhaps more interesting.

Polyphonic Spree were on relatively few people's pre-festival radars, but the Rocky Horror rendition delivered by this As-Seen-On-Scrubs outfit drew a crowd rivalling the size of the actual band itself. Yet the chanting of "Damn it, Janet" could not have contrasted more aggressively with the grit-laden, sweat-sodden set with which Flume closed out Saturday night's proceedings.

No one is quite sure how this guy has shot to such a high echelon of prominence, but the widespread acceptance that Flume's debut LP enjoys was on fierce display to those present between the mud-laden folds of the Mix Up tent. Before 'On Top' had even played no standing room remained beneath the tent, let alone in front of the stage itself.

If only James Blake had been as satisfying the following evening. After hearing Blake play the same note for twenty eternal minutes I decided I'd had enough. Clearly I'm not alternative enough to appreciate his craft. Then again, maybe his synth was just broken.
James Pearson

To see photos from Splendour visit our Sister Site Scenestr

Published in Rock
Wednesday, 31 July 2013 22:38

Freq Nasty: Super Freq

FreQ Nasty’s encyclopediac knowledge of all things dub-wise and bass heavy have made him a fixture on the global festival scene for the last decade and a half.

But in 2013, it’s the NZ-raised, US-based producer and DJ’s spiritual studies that truly excite him. “I'm reading a lot about the intersection between neuroscience and meditation,” he explains. “There are so many cutting edge areas of science that are starting to ratify the texts of Yoga and Buddhism, right down to the granular level of how the mind works and the ultimate nature of reality. I spend my time bouncing between the studio chair, meditation cushion and then push out to aeroplane, train and car seats now and again, too.  

“Making music and practising meditation are similar in that you can get some real benefits from them by doing a little bit when you can, but you have to be kind of obsessed by them to make any real progress. I'm no great master of either but I love the flow of both.”

Having developed a wealth of knowledge on the topic, FreQ Nasty now shares his meditative experiences through a series of talks with teacher Claire Thompson called ‘The Yoga Of Bass’.

“We talk about the parallels between the peak experiences that people have with music on the dance floor, and the ecstatic experiences of the meditative tradition of Yoga. People who experience these peak states in both situations come back talking about feeling fundamental oneness with everyone and everything around them, a sense of timelessness, and of being incredibly blissed out at the same time. In fact sometimes the descriptions seem almost interchangeable, so we talk about why both music and meditation can bring you to the same place, and how to have those peak experiences off the dance floor in the rest of our lives.

“The people who are interested are not really of any one kind — but mostly they LOVE music and are looking to find out why music does what it does to them, or they have some sort of spiritual practice themselves and are passionate about music and want to see how music can be brought into their spiritual practice. It also really speaks to those who have taken enough drugs to realise that there needs to be other ways of finding those highs.”

FreQ Nasty will play Rainbow Serpent Festival (and conduct 'Yoga of Bass' workshops) In Lexton, Victoria from January 24-27.

Published in Electronic
Wednesday, 31 July 2013 22:33

Kimence: Pushing Forward

No one can tell Kimence that the hip hop world is a man’s world.

“When I first started, I didn't know any females in Adelaide doing [hip hop]. I just really had to tell myself, ‘You know what, if I'm going to do it, just do it’. And I had a real passion for it and could deal with the criticism; I just hoped that it wasn't too harsh.

“About two or three weeks ago I went to a woman's hip hop event in Sydney and I had an opportunity to go over there and perform, which was amazing for me, to go to a different state and see that the female hip hop culture was a lot stronger there than it was over here [in Adelaide]. It was really good for me and it was really refreshing for me to see so many talented, dedicated women doing their thing.”

Though Kim is happy with the support she has gotten at home, not everybody is embracing female hip hop with open arms.

“You know, I've definitely known people in the past who would say, ‘Look, I'm just going to be honest with you, I just don't like female rap’. And you know, that's just one of those things that I suppose not everyone is going to be into. I just have to accept it.

“I hope that I influence people. I think that there are a lot of females out there that are like, 'I wish I could do that!' When you first just step up and do it you really need a strong backbone, as with any sport and anything that you want to commit to and do. Just be prepared for criticism in a constructive manner.”

With a great love for music and hip hop in general, Kim believes that communities can benefit from a culture of beats.

“I think that music has a positive impact on anybody’s life. I think that writing positive lyrics helps. For example I had a friend who said that one of my tracks really helped her so much, a track called ‘Fallen’. The way I was feeling when I wrote it, she interpreted it very differently. I loved that she could relate to the words regardless and interpret them to her own life. She tells me now that she still listens to that track every time that she's feeling down and when she needs to get back on track.”

Kim started to lay her poems out to beats as a teenager as an emcee because, she says, “[She] couldn't sing for shit”. Building a studio was the biggest step she took to solidifying her career as emcee.

“I just feel like since I built a studio I have learnt so many things and I just wish I had done it earlier. I am ready for the next album. I enjoy making music and it's definitely a passion. I am already thinking about where I would like to hopefully get beats from and I even started writing it before [‘One View’] was released. I'm eager.”

Kimence's debut LP ‘One View’ is out now.

Published in Urban
Wednesday, 31 July 2013 22:26

Ghostpoet: The Everyday Poet

Nominated for a Mercury prize for his first record in 2011, Ghostpoet — also known as Obaro Ejimiwe — has returned to rotation with the release of his second album ‘Some Say I So I Say Light’.

Just don’t ask him whether he views the oft-cited Roots Manuva as an influence. “I don’t really recognize that and he’s not an influence,” he says. “I don’t really think in terms of influences. Every person I’ve been compared to has made a career for themselves, I just want to do the same, really. Lyrically and musically I try to do my own thing. I listen to all types of music. It sinks into the membrane subconsciously. I’m trying to live life and everything that comes my way is an influence, that’s more of an influence than music.”

Using the everyday as a focus, from takeaway meals to unopened mail, the new album is rooted in Ghostpoet’s emotionally absorbing production and vocals. Underpinned by sparse beats and trip-hop inspired sounds, it would be nice to succinctly categorise the album’s direction, but Ejimiwe shrugs conformity for sonic ambiguity.

“I don’t think it’s hip hop, I don’t think its spoken word, it’s sound. I listen to so many different styles of music, I don’t care about genres. Genres don’t mean anything to me. The moment I decide I’m a part of a genre, I then limit my creativity, I can only create something in a particular box and a particular zone. That’s boring.”

While record labels may request the staple club banger, and success has subdued the integrity of many an artist, Ghostpoet holds no illusions regarding his relationship to the industry.

“I don’t feel pressure because I wouldn’t make music if I was told what I should make. I make what I want to make, however I want to make it, and that’s the only way I can do it. The Mercury prize helped me to create awareness in certain areas, and I’m forever grateful for that, but nothing’s changed.

“I don’t have aspirations to be rich, or try to live in a particular way. I just try to live like everyone else. I do music full time and that’s my dream, I guess. I don’t know. What is success?”

Ghostpoet plays the Brisbane Festival Spiegeltent on Sunday September 15.

Published in Urban
Wednesday, 31 July 2013 22:00

Scene Magazine Covers 101-200

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199-Coolio#199 - 17.9.1997

200-Sneaker-Pimps#200 - 24.9.1997

Published in Flipbook
Wednesday, 31 July 2013 21:48

Muse: Above The Law

I’m speaking with a “pretty good, chilled” Dominic Howard as he enjoys some touring respite at the south of France.

Last time we spoke, the Muse drummer was in the hungover nexus of the band’s Olympics-closing performance and the imminent touring cycle of new album 'The 2nd Law'. Back then, he assured us that the all-conquering UK trio would touch down in Australia towards the end of 2013. And waddaya know, they made good on their promise.


'The 2nd Law', Muse’s typically bombastic sixth studio LP, will have reached its first birthday by the time it arrives in the live setting on Australian shores, representing the measured touring approach of one of the world’s biggest bands.

“We’ve been touring, just really busy since the album came out in September,” Dominic recalls. “We did a few special shows in smaller venues, then we hit the road in October with the bigger production. We’ve been all over Europe, the States, all over Asia, now we’re just coming towards the end of the European stadium tour, which is amazing. This summer’s been awesome, we’ve been outdoors in these football stadiums playing these huge shows – 60 to 70 thousand people, that type of vibe. But we’re coming towards the end of that, then loads more touring for the rest of the year, and next year.”

The stadium-sized Australian tour is a far cry from their first visit to our land over a decade ago, where they plugged away at the entry-level echelon of relatively quaint pubs. As Dominic explains, the band still manages to fit in more diminutive-sized performances along the way.

“They’re great, really cool. Just recently we did one in Shepards Bush as a charity gig for War Child. We haven’t really played a venue like that in a while, and it was great to get in there and play a theatre without any massive production and floating pyramids. It was so great to be close to the fans. We came out of that gig thinking it would be great to do a whole lot more of that in the future, somehow. We might go for a few little special gigs next year. The band is actually going to be 20 [years old] next year, so we plan to do something special.”

Close to clocking up that 20 year mark, why is it that Muse are one of the very few to have maintained the same line-up from inception through to unimaginable success?

“Shit, I dunno,” Dominic answers. “It’s partly to do with the fact we’re schoolmates and we’ve known each other for so long. It’s partly to do with where we’ve come from as well. Teignmouth, Devon is a very small town and detached from the music scene, so we were left to our own devices. It’s not a place where anything can happen particularly quickly. I think we’ve just had this feeling like we’re a gang, we stick together, and we believe in the music. We want to take it as far as possible. That, and we are like, ‘What the bloody hell else are we going to do?’” he chuckles.

“I can’t see us being in any other bands. We’ve become institutionalised within ourselves. We’ve definitely had ups and downs as a band, but we all know that it’s this or nothing. People in other bands probably don’t think like that – [they’re probably] thinking, ‘Let’s do this for a bit, then fuck it, let’s split up, join another band, do a solo project.’ For us, it’s either this or go back to Devon and become a painter and decorator, or clean out caravans, which is what we used to do before we signed as a band. So this is it, our life is to keep Muse going. And we’re doing a pretty good job of it so far.”

Muse play the Brisbane Entertainment Centre Tuesday December 10.

Published in Rock
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