Items filtered by date: July 2013
Wednesday, 03 July 2013 15:22

Project Rameau: Dance In Preview

Sydney Dance Company and the Australian Chamber Orchestra are bringing their successful collaboration 'Project Rameau' to Brisbane this July.
 
Inspired BY the powerful French Baroque dance music of esteemed 18th century composer Jean-Phillippe Rameau, 'Project Rameau' will explore the beguiling and complimentary relationship between Baroque music and contemporary dance. The performance will feature Brisbane-born dancer Todd Sutherland, who trained and performed with the Queensland Ballet before joining the Sydney Dance Company ensemble in 2011. According to Todd, those who attend 'Project Rameau' should leave all of their expectations at home.

“Audiences should come with an open mind — the entire show is abstract in the sense that there's no storyline, even though the music is derived from opera and ballet and stories. What we've done is come up with movement and choreography that reflects purely the sound and the music as in the structure of the music or the different dynamic that it creates. You're not coming away with a story but with a metaphorical and choreographic reflection of the music and the emotion and ambience that it creates. The great thing about that is that it can be interpreted quite freely and quite openly and people can take away different experiences from the same show.”

This is the first time that the Sydney Dance Company and the Australian Chamber Orchestra have combined their considerable talents in the name of the performing arts and Todd says this has also played a role in the overall success of the show.

“It premiered in Sydney last year in September and was received very very well with the rare nature of the two companies working together being a huge drawcard. It was quite an event and there was only a week window where the two companies could work together so we ended up doing nine shows in one week. The Brisbane show will be the first time this has been seen outside of Sydney.”

'Project Rameau' will run from July 11 – 13 at the Playhouse, QPAC.

Published in Dance
Wednesday, 03 July 2013 15:10

Live Review: Brisbestfest

I can’t vouch for what a traditional ‘80s block party would have looked and felt like in its birthplace of New York City all those years ago. But from witnessing some of the most respected names in the art field blessing the walls of a local suburb — accompanied by a stellar line-up of hip hop, soul and roots music — it appears that all the original elements were in place for a dope as hell display of street culture.

IMG 8288-EditBrisBestFest was thrown off the back of next to no budget and relied mostly on artist initiative and willingness to participate to let it thrive. The proceeds from the day went to the Brisbane Youth Service, to help disadvantaged and at-risk youth throughout the community.

I have to say, from the moment I entered, the drinks were flowing, the smell of Ironlak paint loomed and the vibe was absolutely incredible. Dave Dog was there to kick things off at 2pm, showcasing the long list of skills he has at his beck and call, just before MKO took to the stage and injected a heap of soul into the audience with her unique vocals. A noise complaint from a disgruntled local was also made around the same time Green Nose took to the stage – before being thrown to the wind as the crowd enjoyed yet another fantastic set booming through the city streets.

The phrase that had been repeatedly plastered over the Aria car park mural wall was ‘West End Best End’, and as the day progressed that saying started to become all the more true. Scoffing down some delicious food supplied by one of the various street vendors provided on-site, I milled around as West End All Stars did their thing, before DJ Butcher took to the wheels of steel to showcase his diversity and love for the culture.

After entertaining sets from Rainman and Desmond Cheese, night began to descend on the crowd but the mood didn’t go with it. The highlight for the day was undoubtedly the Bankrupt Billionaires, who would’ve raised the roof clean off had one been on. The incredible vocals of Kel Timmons – who made the entire event happen – made heads from all angles stop and pause just to hang off every word. This set had people entranced and bouncing at the same time.

The red carpet was rolled out for the last, but certainly not least talented, crew — The Optimen. The lads have been rocking for years on end, and people gathered 'round to hear exactly what they had to say. After some classics were spat (and MC DATS forgot his verse and tried his hand at some freestyle), the crowd began to dissipate, merrily venturing out into the suburb. The event reminded me of what it is hip hop is about, where it came from and who some of the most respected names are in the underground industry. Massive props.  

IMG 8196

Photos: Ben Knight

Brisbestfest was at the Loading Dock Espresso on June 29.

Click here for more photos.

Published in Urban
Wednesday, 03 July 2013 15:06

Steve Vai Tickets

Steve Vai is a virtuoso guitarist, visionary composer, and consummate producer who sculpts musical sound with infinite creativity and technical mastery.

At age 12, he started taking guitar lessons from Joe Satriani. At 18, he began his professional musical career transcribing for, and then playing with, the legendary Frank Zappa.

More than three decades, fifteen-million in album sales, and three Grammy Awards later, Vai has proven himself, in his own right, one of music’s true originals.

To win one of three double passes to his concert at QPAC’s Concert Hall Tuesday July 16 This competiton has closed.
This email address is being protected from spambots. You need JavaScript enabled to view it.

Click here to read the Steve Vai interview from this week’s issue.

Terms and Conditions:

1. Winners will be drawn at random at 4pm Wednesday 10th July 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
Wednesday, 03 July 2013 14:59

K21: Top Five Trials Beats

1. Vents - ‘Silence Means Death’. Some very nice sample chopping paired with eerie vocals, this is my favourite of the five. Taken from Vents aka John Joseph’s first LP 'Hard To Kill', a bonafide classic which burns from back to front. Nearly produced entirely by the man Mr T, still one of my favourite hip hop albums made in this country to date.

2. Drapht - ‘Sound Man’. When I was kicking around rap shows about five years ago as a young punk (and still do) The Dan and The Paul put together an incredible release called 'Brothers Grimm'. Big horns and banging drums perfectly complementing each other while being torn up by Drapht. This track is always on rotation.

3. Hilltop Hoods - ‘Now You're Gone’. From the last album the Hoods dropped, ‘Drinking From The Sun’, T-riggasaurus delivers production with some super nice keys and a scorned sounding vocal sample in the chorus. Suf and P Della go in on this with Debris smashing the cuts, standard.

4. Seth Sentry - ‘Thanks For Your Hospitality’. Triggadad James got me onto Seth Sentry's music when he was producing for his debut album, ‘This Was Tomorrow’, released late last year. This track is great, the piano break is the win. The album also featured 'Dear Science', another Trials banger.?

5. Funkoars - ‘Masterpiece’. This beat is a stupidly malodorous gem on the second Funkoars LP. Heavy sample-based funk; Trigga flipped it up and put some dumb, nice drums over it and the Oars went to work and did what they do, proper.

K21 performs at Sprung Festival at Victoria Park Saturday September 21. sprunghiphop.com.au

Published in Urban
Wednesday, 03 July 2013 14:23

Aeriae: Old School Composure

Electronic ambience and syncopated chaos meet in the middle as the quirky and warped beats of Sydney producer Aeriae come to fruition with his ‘Nurse 2 Alyssa Type’ EP.

The '80s were a big influence on many, including Aeriae aka Wade Clark, who uses computer game effects and film scores throughout his music. It's an aspect of his creations that allowed his musical project to flourish.

“Going to films that had electronic scores was probably the main thing. We were early computer adopters at home, and I had an Apple 2, but that obviously wasn't a very good music making device. I'd also try to play the old Commodore 64 console tunes on the piano. Films like John Carpenter’s 'Escape From New York' had scores I fell in love with though. It was there onwards I had a growing interest in instrumental music.”

The style of music that Wade pursues is inherently abstract, and draws on many different elements to form a complete sound. As complex as it all is, he has a clearcut idea on how he tackles every project.

“The way I do it is like an old fashioned composer of orchestral music. It's a slowish process and I'm a bit of a perfectionist, so I keep revisiting my sounds, but I just work one note at a time. I think that's an important characteristic of this type of music, to have a kind of aesthetic that is consistent.”

It's evident that film and computer generated worlds have always been something that Wade portrays through Aeriae’s musical atmosphere. But Wade says the idea of taking it into a live setting is still at the forefront of his thinking.

“I've found it quite exciting because before I did any live shows at all with Aeriae, I never saw myself as the type of person who'd ever get on a stage; completely the opposite, because in the past I had anxiety problems. Then the motivation to do it just rose. I play a higher pace, easier-to-grasp- immediately type of music. Essentially it's designed for you to listen to it a lot and get a lot more out of it.”

On the subject of his most recent EP – which was named after a character from 'Resident Evil' – Wade explains the release is a stepping stone for another body of work.

“The EP was something that came out of me being involved with Clan Analogue. We wanted to warm the ground with a release, so I guess once I finished the first record I immediately began working on tracks for ‘Victris’. The trick is, I work on a lot of different things which means the pace of them is about 20 percent. I suppose if anything, the amount of time I had to spend on them was really good, and I think it will be even better when [‘Victris’] comes out in possibly a couple of months time.”

‘Nurse 2 Alyssa Type’ is available now.

Published in Electronic
Wednesday, 03 July 2013 13:51

Barbiturates: Helium Hip Hop

Brisbane band Barbiturates will grace the stage at 4ZZZ’s Happy-Fest this weekend.

With the aim of supporting local and national talent as well as raising money for the local community radio station, the event will feature a free outdoor programme in Winn Lane. The Zoo will then host the second half of the event, with bands playing well into the night.

Amidst all of this merriment will be Barbiturates, first cabs off the rank as part of the evening line-up. Forming in 2012 as a sister band to Cobwebbs, Barbiturates boast a fluid, ever-changing line-up of members and are on the cusp of releasing their first ever 10”. Entitled 'Shades', the record will be a limited release available through Lost Race Records.

Founding member Roland Hlavka says Barbiturates' inception was a fun by-product of band practice.

“Myself and Elliot D'arcy, the drummer for Cobwebbs, just started jamming every now and again because we would do it as practise for Cobwebbs, and then we thought 'oh, this sounds pretty cool'. We started out as a two-piece but since then we've added random people into the mix and there's always changes and stuff which is really good.”

With a DIY approach to the recording process and a genre-spanning style which jumps from chill-wave to hip hop, 'Shades' will be a subdued release which Roland hopes will help to create a distinction between the group's recordings and their live show.

“I record underneath my house; I have a little home room setup and I just kind of go in there when I'm not thinking straight and just record something. I've compiled all that shit over the years and put it together and that's kind of what happened.

“The recordings that I've been putting out are quite different to when we play shows and stuff. We'll change the line-up quite a bit when we play shows so I kind of wanted to separate the recordings and the live shows so people would listen to the recordings, come in expecting something and then we would just play a completely different set. Sometimes it works.”

Barbiturates play Happy-Fest at The Zoo Saturday July 6.

Published in Rock

1. ‘The Life Aquatic’. At the end of the film when Steve Zissou finally locates the Jaguar Shark that killed his friend Esteban, Steve says “I wonder if he remembers me”. Sigur Ros’ song ‘Starálfur’ then plays; utterly heartwrenching and unexpected.

2. Real life. Instead of giving some guys an autograph, Bill Murray gives them a Slow Motion Walk, like the end of ‘Life Aquatic’. Similar incidents have occurred where Murray has sung karaoke with complete strangers and tended bar at a party at SXSW in Austin.

3. ‘Rushmore’. Murray doing a bomb into his pool at his son’s birthday party, cigarette hanging out of his mouth. There is something I find very sad about Murray's deadpan delivery in this scene. I would do almost anything to have Bill Murray perform in a music video for me.

4. ‘Coffee And Cigarettes’. Delirium with RZA and GZA from Wu-Tang Clan. Bill drinking coffee straight out of the coffee decanter. Also the sound of Bill off-camera gargling oven cleaner to get rid of his smoker’s cough as prescribed by alternative medical doctor RZA. I like this scene because Murray seems so effortlessly kooky while the Wu-Tang guys seem very scripted, uncomfortable even.

5. Rushmore. Bill smoking two cigarettes in an elevator. Once again the deadpan performance in this scene is hilarious, but somehow very poignant.

Eden Mulholland supports David Bridie at the Brisbane Powerhouse July 13. To win a double pass and a copy of each artists’ latest release (Mulholland’s ‘Feed The Beast’ and Bridie’s ‘Wake’) visit scenemagazine.com.au

Published in Rock

The innovative Live! Queensland band culture offers budding and existing musicians a chance to create, produce and promote their own music, through workshops and exhibitions.

Open to the general public, anyone can learn how to create album covers and band posters, record a song, design a music zine, or even make their own music video. Live! will also celebrates ‘the soundtrack of our state’, educating its audience through interactive installations, tours and performances.
Susan Kukucka, acting executive manager of the Learning And Participation team at the State Library, says Live! has been incredibly popular with over 10,000 people attending in just a month already.

“Live! looks at community music, its subcultures and how it’s evolved and connected throughout the years, focusing on band culture, but not just on bands. Live! is about the bands and the fans, and tapping into the audience’s own experiences, emotions and their own personal histories revolving around that.”
Live! aims to capture what was interesting and important to people about music throughout the last 150 years.

“We're collecting lots of people’s stories, with a music box on site, which is a pop-up venue with an interactive video questionnaire, where you can record your memories of your first music experiences.”

The exhibition, which has been running since May, has many exciting components remaining, like ‘Emergence’ by interdisciplinary artist Sarah-Mace Dennis, which Susan says is an immersive new media work that explores the changing state of music in Queensland. In terms of weekly highlights, there’s an ongoing program with something on every few days as well as each weekend.

“Every Sunday we are doing Sunday Sessions where local performers and bands play at the gallery stage. There is also Live Second Saturday, which opens up the whole building with performances, curators and tours throughout the library.”

Live! Queensland Band Culture will celebrate the soundtrack of our state  at The State Library Of Queensland Until Sept 15. slq.qld.gov.au

Published in Rock
Wednesday, 03 July 2013 13:28

Sleepmakeswaves: Travel Bugs

From hectic shows throughout America to the loss of equipment in Europe, Sydney post-rockers Sleepmakeswaves are ready to embrace tour life on home soil.

But guitarist Otto Wicks-Green chuckles about a tour memory the group endured in Europe.

“We didn't get a chance to do much writing, it wasn't like we were in some cushy bus with guitars that we could chill out in after a show. We were getting lost in the backstreets of some obscure town in Germany at 4am, half asleep, with a taxi driver who had to keep pulling over to be sick because he had food poisoning. It wasn't exactly a walk in the park.”

After their last record, 2011’s '...And So We Destroyed Everything', received positive feedback, the instrumental quartet are excited about touring Australia once more despite the previous conundrums they’ve faced on the road. It's also an exciting prospect for the lads to be showcasing new material, with Otto explaining some of the feelings they've devoted to their new album, which doesn’t have a release date.

“One of the things we like about having a band with no vocals is that we can try and capture something that couldn't be put into words through what we do, which is an aim for us. With this next record, I think for me, the actual experience of touring has got to be an influence on this, which is nothing like I've ever done before.”

But Otto and the rest of the Sleep crew are eager to present the best show possible using the new material.

“It took us a little while to get back into the headspace of it all, but once we hit our stride, the material has been coming thick and fast and we've got four or five new songs to play on this tour which is exciting for all of us,” he says.

“We're a little bit wiser, and a little bit more experienced now. There's a lot of new stuff, and a lot of old stuff; we're playing everything as the tour suggests.”

Sleepmakeswaves play The Tempo Hotel July 12 and The Northern (free show), Byron, July 13.

Published in Rock
Wednesday, 03 July 2013 13:12

Steve Vai: Electric Wizard

It’s one thing to learn the guitar, but it’s another to master it beyond human comprehension.
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But that's exactly what Steve Vai has achieved since he first picked up the six-stringed instrument in the early '70s – establishing a legacy which has critics and musicians universally agreeing that Vai is one of the greatest at his trade of all time.

Of course, even virtuosos have to start somewhere, and Vai revealed his humble beginnings as a guitarist and that fateful moment when lightning struck and his ambitions were realised.

“I was five years old and this kid [who] was perhaps eight came to school with an electric guitar and was strumming and playing it,” he explains. “I was stunned, had an epiphany and immediately fell madly in love with the instrument.

“I was shy and never thought I would be any good, and was perhaps afraid of being criticised or didn’t think I was good enough to even play. But then one day when I was around 12 years old I heard 'Led Zeppelin II' and that was it.”

Vai would be taught some of his most valuable lessons as a guitarist at the age of 12 by Joe Satriani – a like-minded contemporary who even back then encompassed a wealth of knowledge he was able to share with Steve.

“I was given many guitar lessons by Joe, on and off for three years. There was a tremendous amount of information and technique I learned from him. Joe was always great, even when he was 15. Perhaps the thing about Joe that left the biggest impression on me was that everything Joe played, even if it was just a scale or finger exercise, sounded like music. It was like every note was sacred.”

Despite having released eight albums since his recording career officially began in 1984, sold more than 15 million records worldwide and won three Grammy Awards, Vai says that even he is still learning more about his instrument of choice. 

“I don’t think we ever stop learning, whether it looks that way or not,” he says. “How could we? We are never the same people from one moment to the next. I’m constantly inspired to write and play music. It’s quite a life blessing.”

Vai has also collaborated and shared the stage with a smorgasbord of artists, ranging from Frank Zappa and David Lee Roth to Alice Cooper. However, Vai says his favorite musical partnership happened before he even knew how to play the guitar.

“There are things that I’ve learned and enjoyed from every artist I ever worked with but my favorite collaboration was when I was eight years old and in a band with my younger sister Lillian. It was just her and myself. I played the bongos and she actually played a little guitar with one string on it, but we banged on anything that made noise and deeply loved every minute of it.”

Perhaps jamming with his sister was most satisfying because not only was it one of his first tastes of playing music, but also because it was before Vai was introduced to the unkind beast that is the recording industry.

“It was total freedom without any worries or cares. We didn’t have to think about what was going to come out of us, it just came out and we shared that creative energy with each other unquestionably and unconditionally.

“We never fought, and were not concerned if our songs were good enough, how we were going to get them recorded, how we were going to get a record deal, if they would make enough money for us to live on, if our music was going to be accepted and if people were going to like us or not.”
With all things said and done, Vai has some simple pointers for all the budding virtuosos out there.

“If you’re interested in being a virtuoso, it’s easy. Just practice all the time and don’t think of anything else, but enjoy the process because going through it is all the fun.”

Steve Vai Plays Qpac’s Concert Hall Tuesday July 16. To win tickets to the show, click here.

Published in Rock

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