Items filtered by date: July 2013
Wednesday, 17 July 2013 15:11

The Dead Of Winter: Live Review

Providing a unique, fun and safe environment, The Dead Of Winter crew and the Jube rolled out a showcase of multi-faceted live music with many genres represented.

Colouring the day with a visual feast, the strong underground community came out to play as the tattooed, pierced, dredded and mohawked studded stompers embraced the one-stop shop for all things punk, metal and hardcore rock. A great brand, The D.O.W. team kept the momentum up all day, the five stages ensuring no down time or room for boredom as an abundance of local and national talent played from the collective pool of passion and heart.

Brissie favs, Flangipanis blasted their high spirited and playful punk style, while accomplished Sydney three-piece Dead Love infected their bass driven grooves deep into my muscle tissue. Theatrical pirate rockers Lagerstein delivered a novel and engaging set. While I totally enjoyed Adelaide's smash punks Hightime, with Lynchmada and D9 both solid and impressive. But stealing the early evening was Melbourne‘s four man ska punks The Bennies with their non-vocalised "we are all family" vibe and great energy sending the hyperactive horde skanking and bouncing around the dancefloor. Accompanied by some really classy and sexy burlesque, professional zombie and ghoulish face art, old school moshing and the long haired swirling headband, and The Dead Of Winter was quite the party.

Well worth the ticket price, this event was a massive winner!

To view photos from the day visit Scenestr here

Published in Rock
Wednesday, 17 July 2013 15:02

B For Bandit: Top Five Influences

1. Our families. B For Bandit is deeply motivated by family, all of us having children of our own. Some of these children are grown and some are little babies, but all have helped shape and guide our lives.

2. Music. The great thing about Australian music is that it’s so diverse. While our sound is deeply rooted in reggae, the constant influence and change of Australian music, and of course its musicians, helps us to create a sound that we love and feel others will enjoy listening too also. There is nothing better than creating a song or riff for the first time and being taken away by the music.

3. Avoiding the ‘Too Cool’ status. Most times bandits keep to themselves, probably due to their criminal activities, however we try to meet and speak to the majority of people at our gigs to show our appreciation for their support. We also welcome all types of feedback; both positive and embrace the negative as we know it will only help our sound evolve. Music has so many influences in modern society and it’s always great to hear or experience the perspectives of others.

4. Our instruments. The love, care and practice of our various instruments allows us to produce a great sound. As musicians we strive to use our skills so that people can sing and dance along to our music. For us our stories are expressed through our craft and the foundation is through the instruments we use.

5. Friendship. B For Bandit started as a group of guys who found each other from Gumtree ads. Since this first ‘jam’ ten months ago we have grown into really good mates.

B For Bandit play The Zoo July 24.

Published in Reggae/ Roots
Wednesday, 17 July 2013 14:59

Karnivool: The Perfect Imbalance

Nearly four years since the release of their last record, Perth prog-metal band Karnivool return with their third studio album, ‘Asymmetry’.

After the success of their sophomore LP, ‘Sound Awake’, and extensive touring on the European festival circuit, the band took some time to reflect on their musical direction before embarking on a new album. 

“We got a chance to spend another three years thinking about where we want to go, what we want to do with music and somehow ended up with this, which wasn’t really the original plan but it’s just come together over time, as these things tend to do,” says guitarist, Mark ‘Hoss’ Hosking. “We always just let the music speak and see where it takes us over time and I think that’s what this album’s done for us.”

‘Asymmetry’ represents yet another progression for Karnivool, who pride themselves on constantly evolving stylistically and exploring new sonic territory.

“We have always said we are not going to do the same album twice, so [we’re] always trying to make it different, make it something that we’ve never done before, trying to challenge ourselves musically and challenging ourselves aesthetically I guess,” Mark says.

Karnivool worked with video artist Christopher Frey to produce the video clip for the new single, ‘We Are’, which presents a chilling vision of an apocalypse. 
“Frey’s awesome, he’s a great guy … amazing director, amazing vision of some dark aspects that we love to incorporate into our music but is always shrouded or hidden by our lights or set.”

Karnivool are touring their ‘Asymmetry’ show nationally and Mark says the band is looking forward to getting back on the road.

“We’ve got some die-hard fans out there and some people who really appreciate what we do which is awesome — it’s going to be an amazing run, there’s some really good shows in there.”

Karnivool play Eatons Hill Hotel August 7. ‘Asymmetry’ is out July 19.

Published in Rock
Wednesday, 17 July 2013 14:50

4 Walls: Brisbane's Sound

4 Walls festival is back for a fourth year, showcasing more young Brisbane acts than ever before.

“I think it’s grown a lot in terms of bands,” event organiser Gonzalo Rodrino says. “There's almost double the amount of bands this year compared to the first year. I think there's 40 bands this year so it's grown in that aspect but it's sort of become like a yearly event for the youth in Queensland. I feel like there's not many like it. There's a few, there's Valley Vibes and stuff but I think this has more of a culture and a crowd. It has the same kind of crowd and similar styles of music and it really has all the bands that are buzzing at the moment in Brisbane.

“That was one of the main ideas at the start of doing the festival. To give bands the opportunity to get festival experience and actually the chance to play with headliners so they can get a bit more credibility. ’Cause I know that a lot of the time to get to play at a festival you need festival experience and I guess that was the aim of 4 Walls to give high school bands a chance to play with big bands so once they're 18 or once they're out of high school they have that reputation.”

Not always regarded as the cultural mecca of Australia, Gonzalo can't understand why Brisbane doesn’t have a better reputation for the talent it produces.

“I think the talent we have is the best in Australia. I don't understand why we don’t have that reputation when all these great bands are coming out of Brisbane every year. Internationally, I think our music is probably more original, and I know that California has that Californian sound and they've got that west coast sound. But I think Brisbane has a sound. I don't think Sydney or Melbourne have a sound. But yeah, it’s really identifiable.”

Gonzalo wants you to come to 4 Walls even if you only know a couple acts on the bill.

“Come along! You can't really complain about it being expensive because it's not and there's a lot of young bands people don't know about but that doesn't mean people shouldn't come along and check it out anyway. That's the whole point of the festival.”

4 Walls takes place at Qld Academy of Creative Industries August 3.

Published in Rock
Wednesday, 17 July 2013 14:42

Flamenco Cuerda: A Contemporary Twist

The latest offering from Australian guitarist Gerard Mapstone is Flamenco Cuerdas, an explosion of flamenco, dance and world music with a contemporary twist.

At the tender age of seven a young Gerard heard Serranito perform at Expo 88, which inspired him to learn guitar at eight. He hasn't been able to take the guitar out of his hands since. These days he's working on Flamenco Cuerdas, a new show presented by the Queensland Music Festival which sees a collision of flamenco dance and guitar for what is a truly unique experience. He's bringing with him violinist Shenzo Gregorio, flamenco dancer and choreographer Jessica Statham and percussionist James Hauptmann.

“Shenzo's just got a really natural arranging ability and he can improvise on anything so he really brings a really interesting aspect to our style. I found Jessica Statham in Sydney; [she] is definitely one of the most knowledgeable flamenco artists in the country. I've also got a percussionist coming up from Sydney as well who works with her quite a lot so we do have someone who knows her feet, because her feet put out these amazing rhythms and it’s like another percussion instrument in a band,” Gerard explains.

So where did a Brisbane boy learn the art of flamenco guitar? After graduating from the Queensland Conservatorium of Music, a teenage Gerard received the University’s guitar prize before moving to Jerez de la Frontera in Spain in his 20s. It was there he met Jose Ignacio Franco, a local man who became his mentor.

“It was an interesting way to learn music where they don't show you notes on a page; he'll just sort of play you a phrase and you sort of have to play it back to him until you get it and then you've got to remember it. It was a really great way to get into the style.”

After learning classical guitar at university in Australia, Gerard appreciated this organic approach to learning.

“He started teaching me famous pieces but I didn't want to learn that, you know? You can buy that stuff in a book.”

Although his time in Spain may make you think otherwise, Gerard isn't confined to one genre. He prefers to describe his style as world music with flamenco at the centre.

“We've got heaps of influence from Cuban music and there's an element of Central America and South America that influences flamenco music today. I've just spent a month in Mexico and I really got into that kind of style and that affects the writing and the kind of music we do.”

With a career that has seen him collaborate with some of the top names in world music, including the Buena Vista Social Club, Tomatito and Estrella Morente, Gerard is so much more than a flamenco artist. A true musical chameleon, he's also dabbled in jazz and classical and has worked with the likes of The Camerata of St John's (Chamber Orchestra).

“Growing up I listened to rock & roll and heavy metal and just the things that really move me.  Orchestral music as well. Just a whole lot of music. I kind of went for the songs that had the biggest impact and had something really beautiful to say,” he explains.

It seems though there is something extra special about flamenco music for Gerard, and it shows when you speak to him about it.

“I suppose the journey of a musician is always a learning process. You never stop learning as a musician and flamenco always has new challenges and new directions I can take — either writing for an ensemble or writing for dance.”

What can one expect from a flamenco guitar, flamenco dancer, violin and percussion collaboration?

“I have to sit down when I play flamenco guitar because there's so much going on. The violinist is going berserk; having a dancer creates such a beautiful focus point in the music; because dance is such an artistic (discipline) you really have to put so much time into that. It’s really hard to describe.”

Flamenco Cuerdas is at the Brisbane Powerhouse as part of the Queensland Music Festival July 26.

Published in Jazz/ Fusion

Danish director Nicolas Winding Refn has built a career on gritty, morally complex films, mostly about male anti-heroes — bad men getting themselves into worse situations.

You might have seen the ‘Pusher’ trilogy, ‘Bronson’ or ‘Valhalla Rising’, but you've almost certainly seen 2011's critically lauded ‘Drive’. Its slick neo-noir style, zeitgeist-riding synth soundtrack and, of course, the troubled gaze of Ryan Gosling (complete with Scorpion jacket and toothpick) propelled it to the top of many annual Best Films lists.
Winding Refn's follow-up to the cult success of ‘Drive’ is ‘Only God Forgives’, and the fact that he's worked once more with Gosling has led many to label it a sequel-of-sorts. This couldn't be further from the truth.

While both films are incredibly tense, highly stylised and graphically ultra-violent (‘Only God Forgives’ even more so — it's not a film to see before a rare steak dinner), Winding Refn's new film about Muay Thai, murder, karaoke and the World's Worst Mother (played with relish by Kristin Scott Thomas) exists in a surreal dreamscape where the line between fantasy and reality is fluid. Is it a moral tale set in purgatory? A stylised take on classic kung fu film plots? Or an empty homage full of blood and screaming, signifying nothing?

One thing is for certain — the film has divided audiences and critics alike. When it premiered at Cannes, audiences at press screenings reportedly booed and walked out, while the Sydney Film Festival Jury awarded it the prize for best film. Blogger Jeffrey Wells called it “a shit macho fantasy — hyper-violent, ethically repulsive, sad, nonsensical, deathly dull, pretentious,” while the Guardian's Peter Bradshaw gave it five stars and said, “Winding Refn's bizarre infernal creation, an entire created world of fear, really is gripping. Every scene, every frame, is executed with pure formal brilliance.”

Masterpiece or monstrosity? You'll have to make up your own mind, but here's what Nicolas Winding Refn has to say.

After the great success of ‘Drive’, why did you decide to make a medium budget film in Thailand?
Medium budget is an understatement. It's more a very low budget film. It all started with my two-picture deal with Wild Bunch and Gaumont. ‘Only God Forgives’ was going to be our first collaboration. Then ‘Drive’ came along so I decided to make it and postpone ‘Only God Forgives’. But the film was so firmly rooted in me that I had to make it. So even while I was making ‘Drive’ I was preparing ‘Only God Forgives’.

Having revisited the American crime picture, you wanted to revisit the martial arts genre. Is this a general love of genre movies?
I've always loved martial arts films but thought it would be extremely difficult to make one, particularly since I wanted the actors to learn Muay Thai and fight for real. It takes a lifetime to learn the art of Muay Thai and I wanted the actors to learn to fight in eight weeks. Just that was a challenge in itself.

You had many offers from major studios. Why did you turn them down?
I was indeed offered some financially very interesting propositions that I seriously looked into but ‘Only God Forgives’ had haunted me for too long, I had to get it out before I could seriously consider other projects.

‘Only God Forgives’ marks the second time you've worked with Ryan Gosling. Can you describe this new collaboration? How would you describe his character?
Another actor was supposed to play Julian but pulled out close to shooting. Now I consider this a blessing because it allowed Ryan and me to continue our collaboration. Oddly, I'd written the screenplay before I made ‘Drive’ and Julian had been conceived as a very silent character. When Ryan and I started to work on the script after ‘Drive’ this language of silence came naturally, which was very useful since Julian is an extremely tortured character — he never goes towards others but withdraws into himself. With hindsight I can't imagine another actor playing this role. But again, Ryan and I are practically one.

For the part of the strange policeman you chose Vithaya Pansringarm. Can you talk about your collaboration?
Casting in Thailand was extremely complicated because actors there don't really have theatrical training. They tend to be people who have decided to become actors while holding down another job. I was very lucky that during this open casting (itself a real challenge in a city of 12 million inhabitants) Vithaya miraculously appeared at the beginning. I met him a year and a half before shooting and knew he was the one. I can't tell you why exactly because his tests weren't remarkable, but there was something in him — his kindness and his calm — yet I knew he would be unpredictable, which I always find interesting.

Kristin Scott Thomas is totally transformed and extremely Machiavellian. How did you work that?
We are so used to seeing crime and violence as being the work of male characters that the very notion of seeing a woman embody absolute evil — and a mother to boot — was great fun to write. I had Kristin in mind for the part of Julian's mother early on. We met in Paris and I thought it would be very interesting to do a combination of Lady Macbeth and Donatella Versace… and of course Kristin was delighted to be acting a part in which she could go all out playing the ultimate bitch. Yet it was very important that we made her character larger than life, she needed that to be able to play this domineering and diabolical mother.

How do you relate ‘Only God Forgives’ to your other films?
Everything I do comes from the need to challenge myself, every time. Of course there are connections with my other films and characters, but years ago I decided to stop trying to understand why I do things so I could follow my instincts — what do I want to see when I go to the movies?

‘Only God Forgives’ is in cinemas from Thursday July 18.

Published in Film
Wednesday, 17 July 2013 00:00

Noosa Jazz Festival Tickets

The first round of artists have been confirmed to perform at the 22nd 2013 Noosa Jazz Festival.

They include: The Idea Of North, Monica Trapaga, James Valentine, Gregg Arthur & Casper Tromp Quinet (pic), Rebecca Mendoza & The Joe Ruberto Trio, Feml Belling & The Joe Ruberto Trio, The Bearded Gypsy Band, The Ingrid James Quartet, The Matt Baker Trio (feat. Ingrid James), The Ant Aggs Trio and The Simontologists.

With more major names still to be announced, the 2013 Noosa Jazz Festival will be held August 29 until September 1.

To win one of five double festival season tickets (valued at $95 each) This competition has closed.
This email address is being protected from spambots. You need JavaScript enabled to view it.

Terms and Conditions:

1. Winners will be drawn at random at 4pm Friday 19th July at Level 2, 192-210 Brunswick Street, Fortitude Valley. [Winners drawn]
2. Winners will be notified by e-mail. [Winners notified]
3. Winners must arrange to collect the prize from Scene Magazine's offices at Level 2, 192-210 Brunswick Street, Fortitude Valley, during business hours.
4. Entrants' email address will not be used for any other purpose except the conduct of this competition.

Published in Competition
Wednesday, 17 July 2013 00:00

Greetings From Tim Buckley Tickets

Sixteen years after his untimely death, the music of Jeff Buckley continues to resonate with audiences around the world.

‘Greetings From Tim Buckley’ chronicles the days leading up to and including Buckley’s celebrated performance at his father’s tribute concert held in St Ann’s Church in 1991.

Through a romance with an enigmatic woman working at the concert (Imogen Poots), the young singer is able to embrace his feelings toward the father he never knew.

Penn Badgley (‘Margin Call’, TV’s ‘Gossip Girl’) gives a standout performance as the young Jeff Buckley, capturing the very essence of the man and his music.

To win one of fifty double passes to an advanced screening of ‘Greetings From Tim Buckley’ at Balmoral Cineplex Wednesday July 24 at 6.30pm
This email address is being protected from spambots. You need JavaScript enabled to view it.

Terms and Conditions:

1. Winners will be drawn at random at 12pm Friday 19th July at Level 2, 192-210 Brunswick Street, Fortitude Valley.
2. Winners will be notified by e-mail.
3. Entrants' email address will not be used for any other purpose except the conduct of this competition.

Published in Competition
Tuesday, 16 July 2013 15:34

Bombs Away Tickets

Multi-platinum artists, partyboys and all-round bad role models, Party Bass aficionados Bombs Away land at The Met this Friday, July 19.

To win one of two double passes
This email address is being protected from spambots. You need JavaScript enabled to view it.

Terms and Conditions:

1. Winners will be drawn at random at 5pm Thursday 18th July at Level 2, 192-210 Brunswick Street, Fortitude Valley.
2. Winners will be notified by e-mail.
3. Winners must arrange to collect the prize from Scene Magazine's offices at Level 2, 192-210 Brunswick Street, Fortitude Valley, during business hours.
4. Entrants' email address will not be used for any other purpose except the conduct of this competition.

Published in Competition
Tuesday, 16 July 2013 08:08

Jazz Scene

After forging a great teaching and performing career in Australia, local jazz chanteuse Lauren Lucille will be departing our shores to embark on a European career. Before she jetsets, Lauren has two final local shows at Lock N Load November 26 and December 3.

A big congratulations to Queensland's Joseph O’Connor (now based in Melbourne) for winning Australia’s most prestigious jazz competition, the National Jazz Awards. Congratulations also to Queensland's Dave Spicer who also made it into the finals. Joseph will receive $10,000, plus an ABC studio recording session, and an invitation to perform in the 2014 Stonnington Jazz Festival.  The Award has been a central feature of the Wangaratta Jazz Festival since it began in 1990. A different instrument is featured every year, and this year it was the piano.

Published in Columns


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