Tag Archives: Music

Escher X Nendo

Between two worlds

With the St Kilda Festival scheduled on a Sunny Sunday, I set off in the opposite direction of the beach and into town to the Art Gallery, hoping that the festival would draw crowds away from the Escher exhibition. What I wasn’t expecting was a Metro meltdown.

No buses, no trains and no trams! The 246 bus decided to by-pass my area, in an effort to avoid picking up or dropping people off to the bayside shuffle. The trains were off, due to track work and the trams had a ‘disruption’. The lone carrier was the notorious ‘Replacement Bus’ that answers to no schedule.

Boarding the bus required tactful manoeuvring as the commuters jostled for a seat and standing room, the less skilful were left behind. Just as the ‘Replacement Bus’ has no timetable it also has no set route and maundered it’s way through the inner suburban neighbourhood, like a scenic tour.

I passed places where I used to live and Cafes I once frequented and what began as a commute had become a journey, instead of taking 45 minutes to reach my destination, I arrived at the Gallery, after 2 hours. The girl at the ticket desk, attempted to talk me out of buying a ticket, as only an hour of viewing remained. My restraint was thinning.

Despite being rushed through the exhibition by enthusiastic guards saying;

“30 minutes to go and 6 more rooms!”

“20 minutes to go and 4 more rooms!”

“10 minutes to go and 2 more rooms!!”

The one prediction in my favour was that it was not crowded.

The exhibition soothed my fatigue and quickened the light of inspiration that thrives beneath the surface of mediocacy. Escher is a Master printmaker, designer, artist and architect; it is of no surprise that his father was an engineer. The exhibition weaves through the development of his style and skill, which is illustrated within landscapes and town streets, that journal his travels through Europe

The exhibition combines the Art Star with the works Nendo that compliment the show, with ambient structures and light shows. Like an Escher’s design; the art patron is led through props and floor space that dupes the eye and challenges those that are prone to vertigo. The layout of the show combines the physical and visual journey, it incorporates the optical illusion within the simple building blocks of drama. Beautiful work and a brilliantly curated.

by A. Forward

Until April 7 2019

 

EUPHORIA Total Giovanni

“Melbourne, you give me a warm fuzzy feeling… ”.

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Total Giovanni honed in on the restless feet of the patrons in the packed Croxton Bandroom on a balmy Thursday night in Melbourne. Arriving to the thumping selections of DJ Sarah and Kovacs, the room was packed wall to wall, and elevated in the bleachers, to move their bodies to Total Giovanni’s latest offering.

Euphoria, album name and apt description of the evening, proved a memorable display of dance music at it’s convergence with songwriting.

Giving the sound engineer for the evening an absolute work out. All levels were set for the hit-hat, kicks and snare drums to snap the crowd into action. The line at the bar was enough to reroute people back to the dance floor so everyone was aware of where their attention should sit.

Moving through songs in quick succession – enough time was able to land the refrain of Falling Away on the crowd. As the crowd bellowed “ You know that I did wrong”, hands were thrown in the air and shoulders made excellent vantage points to catch a glimpse of the chemistry that forged the bands presence in all directions.

The album’s translation on stage is flawless. Having only been released weeks prior – I could only imagine how much time the crowd may have given to digest the album before embracing it’s washes of psychedelia and echoing vocals in the pit of the Croxton. Melbourne’s fondness for nurturing home grown talent was met with appreciation.

Total Giovanni began their gigging careers embracing the stage as much the studio, blurring the experience you’d have in your headphones with what you would get with a night out. Letting the crowd know they used to frequent the area around Northcote and Thornbury, and the state of the Croxton from the years gone by, the marriage between music and community seemed as apparent as the bright lights in front of us.

Melbourne’s continuing appetite for the fruits of dance music production enable it to produce some of the best and widely influenced sounds on the market. The balearic melodies and soaring choruses are grounded by the tribalism of kick drums keeping everyone in time to be taken through the journey.

The band finished on the uncompromising deep house jam Akila, taking everyone through the jungle that they created over their hour holding down the bandroom – everyone receiving the signal to create the stampede under their feet. Two encores later and the familiar ringing of ears and wide smiles across faces – Total Giovanni left a considerable impression and a fine tracklist for the upcoming summer.

 

Review &  Photographs by Nakul Vohra

‘I remember when I was young and I was happy’

“We played your song to John Lee Hooker, and he liked it” Matt Taylor remembers being told.

Chain performing in Melbourne at the Sidney Myer Music Bowl in the 80’s

In 1971 Sunbury, tried to deliver a concert like Woodstock, but apart from being an outdoor concert, the two had little in common and most sources will confer that theirs was a ‘Love-in’ and ours was a ‘Drink-on’; yet for $1 you could enjoy Chain and Phil Manning blowing the breeze with cool blues and sweet guitar. Decades later they are together in Chain, playing in St Kilda at MEMO, just doing their stuff…living music.

Chain is like a Classic Harley Davidson, it doesn’t grow old but rather more impressive. I don’t doubt that the crowd on Friday night were just as alive to the music as they could ever have been. The artists ability hadn’t dimmed nor had their creativity faded, they were effortless, clean sound welded together with musical precision . They are not an old band regurgitating one hit wonders, this is a band  of genuine artists perfecting their craft.

There was a mixed crowd of those that grew up with the music and younger folk that were new to it.

“It’s not an age thing man, you love them for their music and like them because they are good at their music” Josh (20something)

Matt Taylors relaxed and inviting stage presence between songs gave the night an unexpected charm. The session closed with ‘I remember when I was young’ and it set the crowd alight.

At MEMO StKilda 2018

 

by April Forward

The Real thing

Era’s pass but genuine Artist’s don’t. Russell Morris’s Music career took off in the 70’s, a politically volatile time of change and youth culture that was spurned on by the Vietnam War. A heartfelt era funnelled through substandard audio; AM radios, record players and cassettes stuffed into dashboards of Holden station-wagons. Pub gigs offered the opportunity for audiences to hear the complete sound and this has not changed. A live gig can make or break a band and Morris hasn’t lost it, in fact he continues to perfect his craft.FullSizeRender-394

On Saturday night at the MEMO music hall, in St Kilda, that was at capacity. A great venue but beware of the nocturnal parking inspectors. Morris was backed by a very funky blues band, the Three Kings that kicked off a the show with a flawless performance that engaged the crowd.

Morris and his band performed their latest work with the Classics. Presently Morris is digging into the roots of our nation whist his earlier work transcended the earthly bonds. Both are distinctively Morris but predictively it was the Sweet, Sweet Love; Wings of an Eagle and The Real Thing that got the crowd to their feet.

Originally it was ‘The Real Thing’ that morphed Morris from Blues Man to Soul Man with the lyrics from Johnny Young and the vision of Molly Meldrum, an Aussie trilogy that blended into a huge hit and became the sound track of the 70’s.

The hit extended beyond our shores to New York and inspired a generation. Young may not have reached his potential heights, but his work soared through Morris to become a classic. Morris found his way and wrote into the hearts of his audience with the Bloodstone Album that included; ‘Wings of an Eagle’ and ‘Sweet, Sweet Love’ and led him into Australia’s ‘Hall of Fame’; archived and ready to be picked up for generations to come.

As a historical twist Russell had offered ‘Sweet , Sweet Love’ to Johnny Farnham but he knocked it back due to the chorus delay, it seems that fate had smiled on Morris and he made it his own. Hits rained on Morris, the type that can stand the test of time. Authenticity and passion distinguished the language of his art, it was unique and distinctive then and remains so today.

Save DeGraves

As developers mow down the remnant of urban culture and bring the suburbs into the urban heartland, the  locals are a tad P.O. Uprooting cottages for flats that look like offices,  speeding down narrow streets where children play and destroying a treasured a metro arcade is ultimately changing Melbourne.

 

Easing through the morning at the DeGraves underpass starts the day off on a ‘good foot’, a coffee, a bit of art and a relaxed vibe. Removing this space from the Urban Art Culture would be like removing the goal posts from the MCG.

The Art Deco architecture of Campbell Arcade embraces Melbourne in1955, the salmon pink tiles, black granite columns capture a by-gone period where few examples remain. The display cabinets along the subway wall host local artists and most often a busker, serenades the office troops, as they pass.

Every morning commuters submerge under the station through Campbell Arcade and surface into DeGraves. What a great way to start the day.

 

Early morning busker

 

 

 

Nightsongs

Life looking back is a vista, a remarkable journey, encumbered,encrusted and inspired; the good,the bad ,the ugly and the beautiful, the footprints the young look upon with indifference, unless it weeps from the tree of integrity.That nectar that inspires trust.

Natasha Moszenin has over 25 years of musical experience that mixes the palette of life and art and delivers a performance at the quaint Butterfly Club that made Friday night fatigue, a soothing recharge.

Moszenin stares unflinching at the drama and terrors of life that hide in the shadows, she has faced them all and knows them by name. With maturity, resilience and defiance, she acknowledges and creates a wonderful score about her life. Ironically the Butterfly Club’s eclectic pictures on the wall illustrate the transformative passage of hope,  love,trauma and …triumph.

The Artists Lara Vocisano, Claie Nicholis and Jai Luke present a narrative through song that washes over the audience. The beautiful voice of Nicholas is of a song-bird but not to take away from the solid vocal presence of Vocisano and Luke, as Moszenin plays the beautiful score on an old piano.

Moszenin dives into the depths and finishes off on a light comment on todays less emotional world.

Nightsongs is performing at the Butterfly Club this weekend

 

 

Review by April forward

A beautiful evening

MUSIC REVIEW

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Josh, one of our new music reviewer’s arrived to a full house at the Tote in Collingwood on the weekend, for the launch of  Ferla’s  new album Guilt Pop / Stay Posi.

‘It was packed, nearly overflowing, an Indie rock sound, a bit electronic; in the genre of Sticky Fingers. The crowd was  ‘very alive’ and tuned in; mostly hipsters. ‘

Giuliano Ferla. hit the high notes easily whist being supported by a band that infused his mood, the synthesiser player engaged the audience with a complex construct of layered chords,  one on a keyboard and synth on the other. Ocean Party, and dewy garage Girlatones. were the supporting bands and Loose Tooth DJs spun the tunes for the night.

Ferla engaged with the audience and explained the development of the lyrics with personal insights.

 “Imagine your life as if you wanted nothing at all.”

It was a great evening, showcasing a talent that has arrived after a many performances, a terrific line-up and an evening that engaged the respect of the audience.

“There was a great vibe.” Josh

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Audience Response:

“If its on spotify its definitely going in my collection.”

 

FERLA Wasted on you

FERLA GUILT POP/STAY POSI
DOUBLE EP

1. Breakups Are Hard For Everybody
2. I’m Nobody’s Baby Now
3. In The Night
4. You’re There
5. I Can’t Let You Down
6. Wasted On You
7. Children Are Our Future
8. Limited Time

Spotify | iTunes
Facebook| Instagram | Bandcamp

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2 Bob Weekend

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Ormond Rd Elwood Grocer

On a mild Winter weekend, Melbourne’s Music elite came together to honour the songs of Bob Dylan before a full house at the Memo in St Kilda. Friday night was dedicated to acoustic Bob and on Saturday night, it was electric Bob.

The ‘All-Star’ back up band,  consisting of  Benny Franz, Stephen Hadley, Ben Wiesner , and Shane O’Mara , melted seamlessly into each other, but it was guitar legend O’Mara that stole the night with his stella performance. It was a group of musicians fit for the honoured legend himself.

Who is Bob Dylan? Songwriter, Poet or Prophet; Jew or Christian? His lyrics resonated with the crowd that held resolute with dignified appreciation of the words and the artists. Loud talkers were quickly hushed.

Come gather ’round people
Wherever you roam
And admit that the waters
Around you have grown
And accept it that soon
You’ll be drenched to the bone.
If your time to you
Is worth savin’
Then you better start swimmin’
Or you’ll sink like a stone
For the times they are a-changin’.
Come writers and critics
Who prophesize with your pen
And keep your eyes wide
The chance won’t come again
And don’t speak too soon
For the wheel’s still in spin
And there’s no tellin’ who
That it’s namin’.
For the loser now
Will be later to win
For the times they are a-changin’.
Come senators, congressmen
Please heed the call
Don’t stand in the doorway
Don’t block up the hall
For he that gets hurt
Will be he who has stalled
There’s a battle outside
And it is ragin’.
It’ll soon shake your windows
And rattle your walls
For the times they are a-changin’.
Come mothers and fathers
Throughout the land
And don’t criticize
What you can’t understand
Your sons and your daughters
Are beyond your command
Your old road is
Rapidly agin’.
Please get out of the new one
If you can’t lend your hand
For the times they are a-changin’.
The line it is drawn
The curse it is cast
The slow one now
Will later be fast
As the present now
Will later be past
The order is
Rapidly fadin’.
And the first one now
Will later be last
For the times they are a-changin’.

Each vocalist made his songs their own and each captivated the audience. Liz Stringer was haunting, almost gothic as her lone figure shone in the darkness etching the words and reaching into the void. Song-bird Lisa Miller was mesmerizing and thrust the show forward,  her talent is palpable. Chris Wilson’s scratchy soul voice penetrated into the mind of the listener, like a dark cry and ‘Raised by Eagles’ duo Luke and Nick raised the tempo with a bit of  rockabilly. All of the vocalists on the night where exceptional.

A memorable evening.

Audience response.

“Shane O’Mara is a Melbourne music legend and of Liz Stringer, you need to get her last two albums.”

Review by April Forward

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Writer for Hire

Contemporary, Alive & Faster

 

The Australian Ballet presents new original work from current Choreographers that explore dance within our contemporary setting. The three acts are Faster,Squander and Glory and Infra.

 

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There are no tutu’s , all are stripped down, very physical performances with strong male leads and a sense of urgency.

” I love the story telling and its ability for anyone to create their own interpretation and take away a unique experience.” Kevin Ho

INFRA

The richness and pain of life takes place behind closed doors in our most intimate spaces. The drama of being unfolds, between the gaps of daily life. The ‘must do’s’ have no time for the intimate condition. The ‘must do’, is the daily travel to the daily toil. The other stuff is the real us.

English Choreographer Wayne Mc Gregor of the The Royal Ballet, explores the intimate in contrast to the business of life. As rich and deep as our lives are or are not, we dwell within a larger context . Those that fall out of the ‘infra’-structure, fall alone.

 

The ballet explores social and political content in dance, yet it is deeply sensual. There is a tribal call away from the world  into the instinct. The male soloist that stands in for that call, is memorable in its power.

SQUANDER AND GLORY

Both Australia and Melbourne can be glad to boast of a choreographer as creative and insightful as Tim Harbour. Like INFRA, Harbour seems to be exploring the complexity of intimacy and power. Kevin Ho’s structure appears like a sculpture but looms as much more. The dancers sway to the cult of obedience as though the monument dominates them.

“The negative spaces that surround me…an instinct to carve out those shapes” Harbour

 

Visually every aspect of the work is sculptural, even the music seems to be in the act of carving. Every muscle of the dancers bodies cuts into a cubist texture, using light and shadow to enhance the effect.

FASTER

Faster opens the triple bill, created in 2012, the year of the London Olympic Games, choreographer David Bintley recreates the drama.The Games are the ultimate statement of giving up everything to be first. To place it last rewinds us to how we got there. Faster, Greater and Better? How much  personal ambition does it take to be a winner.

 

The dancers within Bintley’s work interchange into human and non-human parts. They may  be a spinning disc or an abstraction of an ego. It explores the outer and inner world of the athlete, the frustration and self-abasement to the harmony of the work coming together within a united self.

This Triple Bill offers contemporary Ballet lovers, a physical. emotional and creative journey. They are raw and sensual Ballet’s that allow the dancers to explore new physical boundaries of space and movement.

Arts Centre Melbourne,

 

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Ballet Coaching

Jane Moore’s Ballet Academy

Full & Part-time Coaching 0457 13 13 20 http://www.janemooreballet.com.au

Photo’s and article by April Forward.

The play that created a storm

‘It’s foul weather in us all, good soul’

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Melbourne Sky

Ironically, it is a storm that opens the tale of The Tempest, but here on the banks of the Maribyrnong River it is a brewing storm that ends it. Melbourne’s fickle weather has once again cast its cold spell on an outdoor event. It has ‘undid’, subverted and prevented the ambition of this ‘goodly’ play. The stunning performance that was on Friday and Saturday was ‘naught’ on Sunday.

What could have been is; Prospero, performed by Brendon Ewing, dark with revenge and drawing his past into the currents of his macabre island home, seeking familiar company with unkindly aims, that give way to kindness sway. This tale untold, due to weather, it had to fold, so the cast did the next best thing, they sang.

 

Sly Rat Theatre Co.’s artistic directors Alan Chambers and Andy Harmsen have created a unique vision for The Tempest, inspired by science-fiction classics. The Pipework’s Natural Museum is a beautiful outdoor space, rich in atmosphere and a perfect setting for a summer picnic, weather permitting.

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“It’s a Rock and Roll version of Shakespeare, it’s very loud and very big” Director Andy Harmsen

Within the warm hub of the group, a buzz with laughter, singing and the smell of burnt sausage, it is easy to forget that the cancellation of a show could be disappointing, they are taking it so well. It’s a chance to catch up with some of the actors and chat about their role’s, the few that aren’t belting out a tune.

First up is Todd Levi

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“We like to push the boundaries but still tell a great story.. it’s Shakespeare, how he would like it done today…Its bawdy, its real and it is entertainment first and foremost. Prospero has been marooned on a magical island, betrayed by his sister and he’s been there for 12 years. He spies the evildoers sailing by and raises a tempest, a storm that shipwrecks them on the island where he prepares to take his revenge. It’s the search for redemption the final words of the play are; ‘As you from crimes would pardon’d be, let you indulgence set me free’

What made you choose this venue? MP

 “It’s a magical place, it’s a place where the community comes and we played here last year to over 2000 people … most of them had not seen live theatre before, let alone Shakespeare, and playing to an audience like that and seeing them fall in love with it”

Did you factor in the weather? MP

“You don’t expect to have nine shows of good weather every-time, hopefully this is our one and only cancellation.”

Next up is Tara Hauton 

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“Steph and I play the clowns, technically it’s the Court Jester but Andy and Alan have re-invented it to be two women who have been to the races all day long and have arrived at the play. We exist outside the world of the play and that’s where the comedy of the role happens…we are very drunk.

and Ty Holdsworth

 

It’s a play about weather, most Melbournians can relate to that.

 

 

Pipework’s Natural Museum Park on the banks of the Maribrynong River

 

 

by April Forward

 

 

 

 

 

 

 

 

Give up your Health

At the Launch of Teeth & Tongue’s new Album ‘Give up your Health’.

‘Lead singer Jess Cornelius, an urban soul vocalist in the genre of Patti Smith, has a smooth rich voice that rides through intriguing electronic arrangements.’ MP

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‘Give Up on Your Health’ had its genesis in one rogue song. ‘Turn, Turn, Turn’ that was originally recorded as an experimental track with a driving, arpeggiated synth sound, drawing on ’70s electronica. The label liked it so much they wanted a full album to go with it. So on the heels of a breakup, Cornelius retired to remote Iceland on a three-month Nes Artist Residency, which produced the heartbreaking ‘Small Towns’.

“We’ve got unavoidable contact. There’s always email and phone. I went as far away as I thought I could. You’re dying in the heat, I’m dying in the cold” – Small Towns

The rest of the album was written in Melbourne, where Cornelius brought the material to the band: guitarist Marc Regueiro-McKelvie, bassist Damian Sullivan and drummer James Harvey.

“I wanted to make an energetic dance-pop record, but with substance,the kind you’d put on when you’re driving down the highway, forgetting all the stressful stuff.” Cornelius

Alannah Woods our music reporter went to Remote Studios to review the album and interviewed the lead singer Jess Cornelius.

Your songs are quite different from each other, where do you get your inspiration? AW

“It’s usually stuff that’s going on ..a process of working out why I am feeling things”

Do you write the music? AW

“Sometimes;  I’ll bring a song to the band, just the lyrics, maybe a guitar bar, the structure and the melody, then sometimes the guys will write their own arrangements or I’ll write parts for them .. it’s a mixture. They definitely write, we just work it out.”

Who inspires you musically? AW 

“It changes so much … Lou Reed has always been a big one, songwriters like Nina Simone..”

Tell us about your albums? AW

“I’ve done 4 Albums, the first was just me but I got other people to play on it.For this one the four of us, not the keyboard player, have been together for a few years, we did the 3rd album together..it’s been a bit like adding people along the way”

So it was your original idea?

“Yeah I started out as a soloist.”

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The Verdict

‘What I love is that she takes every part of her life and turns it into a song, it doesn’t necessarily have to be depressing, there’s a genuine depth. Jess has a great sound that could be compared to jazz, very soulful ..” Alannah Woods

Tamworth Star

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Australia is a large country and each year Tamworth becomes the heartbeat of the Country Music scene. 2016 ARIA winner, Sara Storer took the Female Artist of the Year award and her composistion ‘Amazing Night’ won the ‘Best Bush Ballad’ honor at the festival.

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“Sara has a unique way of seeing and expressing her observations of love and life in the bush. So she is a songwriter that will be remembered beyond her lifetime.”

John Williamson

This is quite an acclaim, coming from one of Australia’s Country Music Giants.

Storer’s craft is spun from her personal experiences and local insights. She has a 4am routine to keep ahead of the busy demands of her large family. Her local accent, the unique twang of our region is apparent in her work as she sings about the Australian life.

‘I could sit here all night, fall asleep in this chair.The fire beside me keeps the Dingos away.And its sure nice to be with you around this burning red gum, that’s what a campfire does, it takes my worries away’ (Lyrics from Amazing Night)

At the heart of every urban dweller is the distinct belief that ‘Waltzing Matilda’ is the countries informal National Anthem and this is a paradox of the Nations identity. There is a little bit of ‘country’ in all of us.

Storer is currently on tour promoting her new album Silos.

 

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Coppelia in St Kilda

Coppelia may be as ‘pretty as a picture’ but she has no soul, to live she will need to suck the life out of Franz. Swanilda is his true love, but her passion startles the young man who would prefer his ideal. Fortunately she is persistent.

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It’s a dance off. Swanilda can out dance her peers and Franz is more talented than his, it’s a ‘match made in Heaven’ but fate has a turn. Before the two amazing movers are joined, (which could lead to a standing ovation) evil raises his ugly head in the guise of a mad magician.

It’s a three-part play, with a haunting centre. Some toys can be very intimidating, some boys can be very threatening and some girls can be very curious. It makes great drama, within a comic text. It was the ballet that saved itself.

‘ the plot reads like a modern horror movie, Saint-Leon’s production was a clever commentary on the dangers of infatuation. When the ballet finally opened in Paris in May 1870 it seemed. with its freshness and vitality, as if the art had been reborn in France.Judith Steeh

It was the ballet revival that kept the flame alight in Europe, until the Ballet Russes set it ablaze. Essentially it was designed to excel the ballerina for the delight of its male patrons (like Degas) but was modernised by Ogilvie. The male parts that were performed by ballerinas, were handed over to men and choreographed into the leaps and athleticism, that it is today. It is beautiful ballet with amazing dancing.

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Dimity Azoury as Swanilda & Jarryd Madden as Franz at Saturday Matinee

‘We are delighted to bring back this production, which has long been considered a jewel of The Australian Ballet’s repertoire,’ David McAllister ,Artistic Director

The Palais adds ambience of this period piece, it was first performed on its stage in 1962. The charm of another era resonates through the Saturday matinée, the wood paneling, marble columns, leather seats and ‘cash only’ bars and kiosks. It’s beautiful to walk out its doors and believe the world has not changed on the St Kilda Esplanade.

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Take the journey into enchantment.

 

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Sept 23- Oct 1

I did it my way

Simon Taylor does a ‘bunch of cool stuff’ at the Butterfly Club on a crisp winters night. His CV sums up the order of things.

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  • Born
  • 5 years old: Elvis impersonator    
  • 12 years old: break dancer
  • 18 years old: rapper
  • 19 years old: poet
  • 20 years old: magician
  • 21 years old: improviser
  • 22 years old: comedian
  • 27 years old: singer
  • Present: all of the above

No-one can look so sorted in a suit without a stylist to flat lay his wardrobe.

“A lot of my craft as an entertainer came from doing shows at The Butterfly Club. It’s where I learned to connect with an audience. It’s where I learned to present myself as a showman. It’s where I learned to be grateful to the people who helped make the show possible. It’s where I learned to be humble. It’s also where I discovered that I look AMAZING in a suit.”

He is a gentleman comedian who can pull ‘a’ Dove out of thin air. A warmth emanates throughout the performance, a romantic with an edge.

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What are your thoughts on the medium of comedy, is it to carry a deeper exploration of society or do you prefer the wacky? MP

“Neither. I just like to induce the chemicals in people’s brains that make them feel happy.”

This is what Simon does. In a cynical world he is not; so much.

Simon is a ‘stand-up’ that takes the audience into the intimacy of his daily life. Simon is a singer with a great voice. Simon is a very clever magician. Simon is a poet hoping to evoke. I don’t think Simon can rap or breakdance as it wasn’t in the show, but Simon said he could.

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New Albums from the new Australian Cream

METHYL ETHEL

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Oh Inhuman Spectacle

Jake Webb established Methyl Ethel in 2013 as an outlet for his adventures in reverb soaked home recording. Built from the ground up in various bedrooms, friends’ studios and quiet caverns, the exceptional EP diptych Guts and Teeth were released in quick succession. The intricate tapestries of melody, dripping with lush eccentricity, ascended through the ether and airwaves with Brooklyn Vegan, Noisey, Indie Shuffle, Happy, FBi Radio, RRR and RTRFM amongst others all taking note. This year sees the band explore and hone their sound with their debut LP Oh Inhuman Spectacle.

SASKWATCH

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 Sorry I Let It Come Between Us

‘Starting as buskers outside Flinders Street Station in Melbourne’

Shifting and sliding between guitar heavy pop, bluesy melancholy and soulful ballads, the new album offers an emotionally assertive voice matched equally in musical intricacies. The album itself was recorded over a month long period at Mt Slippery  an old silversmith warehouse, come recording studio on the outskirts of Philadelphia, America. It’s the studio of Dr Dog’s Scott McMicken and Nathan Sabatino, who together produced the album. Saskwatch have long been big fans of Dr Dog, both musically and in their work as producers, and relished at the chance to head overseas and work alongside them. The result is a raw, solemn and sparse collection of genre-jumping songs.

IMMIGRANT UNION

Anyway

ANYWAYImmigrant Union’s Anyway is a shift from previous recordings, moving away from the country end of the sound spectrum, they have approached their second album with a desire to produce a more layered, trippier sound. To achieve this elusive warmth, the band went to Brent’s hometown in Portland, Oregon and then to the bayside village of Altona.IMG_3189

Sound Engineer. Mat Robbins worked to create the magic of translation from live to album.

 Anyway had it US release in September 2014 through Musebox records and was followed up by an extensive 18-date North American tour.The album was released in Australia in late May this year.