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    They play a sidewave together at Billboard on Monday 25 February. To celebrate the upcoming release of their album, Partly Animals, the latest musical collaboration by German wolfman Tex Napalm and fellow French brother in arms Dimi Dero, the two are heading down under for the first time.

    Expect tunes from the latest album Conjurations: Groban will be joined by an ensemble of world class musicians plus a local eight-piece orchestra when he embarks on the All That Echoes April Australian Tour, in what will be only his second Australian tour following a stellar sold-out debut tour in September He plays at the Palais on Tuesday 20 April.

    Marking their 25th anniversary, Pennywise are returning to Australia. Their postponed dates from last year have been rescheduled for this April.

    All tickets held for the August postponed Pennywise shows will be honoured at the rescheduled shows. Take advantage of all-day pass outs, a street full of quality food, and restricted capacity.

    Tickets go on sale this Friday. Birdy has invited and is pleased to welcome two support acts at all shows, year-old UK singer-songwriter Lewis Watson, and local act Lakyn Heperi, who shot into the spotlight after appearing on TV show The Voice.

    To coincide with the video release, In Hearts Wake are embarking on a string of regional dates throughout Australia and New Zealand. Now, as a budding solo artist, the frontman for The Loved Ones seems to have found his inspiration.

    See for yourself on Wednesday 15 May at the Palace. You can also get one-day tickets. To celebrate this milestone, Liz Frencham and Fred Smith will be playing a series of concerts leading up to the National Folk Festival, where the duo first performed together.

    Riding the success of their debut release Shrines, Purity Ring will bring their otherworldly rapture to Australia next month, playing headline shows as well as Golden Plains Festival.

    Joining them for all headline shows is fellow Canadian Headaches Landon Speers , who combines his fertile, close-knit upbringings with the dance floor aesthetics of his new home, New York.

    Sydney-based duo Fishing will begin proceedings. The Corner Hotel show on Friday 8 March is now sold out. Audiences can expect a varied set list of musical offerings plucked from throughout her extensive career, across a wonderfully spirited patchwork of folk, rock, jazz, soul and pop.

    Check them out at Trak Lounge on Thursday 28 February. Condensed into an hourlong delayed broadcast on Channel Ten the show attracted just , viewers.

    All in attendance had been briefed beforehand on the information about to be conveyed, but it was still a great surprise and delight.

    They were at pains to point out that for the. Our paths would cross at airports and hotel lobbies and music awards and things like that.

    We want to give it a sense of specialness. Since he has been the frontman of one of the most influential punk rock bands in the history of the world, Descendents.

    But, while Aukerman acknowledges the differences, he also explains the many similarities between his two lives. In songwriting you have these moments of whatever you want to call it — epiphany or breakthrough in a particular song that allows you to finish it or whatever — and the same thing happens in science, I have these moments of epiphany or breakthrough in science.

    But now, we can kind of make a go of it as a band and only play fifteen shows a year. I feel very, very fortunate to be able to have this balance.

    Which is to say, I have a career and I have music as a hobby, basically. When you grow up, your teenage years are indelibly marked on your memory.

    That just makes it that much easier for people to relate to. Saturday 9 February, Festival Hall. Triumphantly splashing her orchestral visions over fourth record, I Awake, she tells Tyler McLoughlan of the challenges presented, and the final one to come.

    If you get too comfortable you can see it when people do a show. Thursday 14 February, Hamer Hall. It can be hard to do that along the way but I knew that the arrangements were gonna be a really big part of it, so recording with the band was just about keeping all of that fairly simple.

    Having someone who kept reinforcing what I was doing really got me through it all. Because I recorded the song Here live with the orchestra and that was the only one I sung in Bulgaria, I found it hard to sing it at first because it was too overwhelming; it was really emotional.

    It was so surreal having written this song all that time ago and seeing it develop and then recording it with an orchestra, it was quite a mind-blowing experience.

    I felt so incredibly lucky. She just knows that she did. The result is a record of depth, courage and beauty made far greater for its marriage of two musical worlds.

    Brendan Crabb throws a hissy fit. The release of new album, and fourth overall, Temper Temper, is a few weeks away at the time of our conversation.

    Sitting in his living room, Tuck explains that their hectic schedule is already filled up to After a oneoff show in Cardiff, they officially begin worldwide touring in support of the record at Soundwave.

    It makes things easier in a way. The songs are more about that situation; anger management, temper, all that kind of shit, but keeping control of that situation.

    Almost doing it is scarier than actually doing it. We went through a bit of a sticky patch for about six months where things started to kind of implode.

    We were starting to get into bad habits of drinking and experimenting with certain fucking drugs, just doing stupid shit that everyone in bands kind of does at some point.

    It just all got to us really, because we were riding a wave of success and being busy, which is great. But at the same time we almost started to dislike it, and being away from home.

    I got that down on paper, almost as therapy, just to get it out of the system and it was nice to write about situations that actually did mean something to me personally.

    A lot of stuff on this album is real to me and the boys, so it was nice to have that edge. It was almost like a little therapy group.

    Everyone was feeling the same, so it was good to sit down and talk as friends, rather than just ignoring each other.

    It was just a simple conversation that we needed to have, which had been brewing for a long time. The last eight years have flown, so I think in that sense what was so exciting on The Poison has just become normality for us now.

    There were definitely some people in the band losing sight of that, so they needed a bit of a reality check. We made a great album, we love it.

    Friday 1 March, Soundwave, Flemington Racecourse. Vocalist Matt Caughthran talks Brendan Hitchens through the critical and touring highs, the major-label second album mistakes and a misguided Jet comparison.

    Calling from his Californian home, singer Matt Caughthran disagrees. Having four or five years between a record really let it happen naturally, to become inspired and to become excited to make this record and jump back in to the world of The Bronx.

    Now it feels like a first record all over again. Between releases from the Los Angeles punks came a sojourn into world music, with a Mexican-inspired side project in Mariachi El Bronx.

    Heralding two successful records and opening the band up to new audiences, Caughthran admits it made the band better musicians, evident, he says on the new record.

    People pretty much forgot about the band. Our heads are still in Mariachi land. I think that represents a high point for us as individuals and a group.

    Recorded in their own studio by friend and Saosin guitarist Beau Burchell, the record sees the band once more in control of their destiny.

    Frontman and creative lynchpin John McCauley explains to Steve Bell about flippantly fucking up and how most rock bands today are pussies.

    Their music has changed over time to reflect this transformation, their fourth album, Divine Providence, being ramshackle and sloppy in the best possible way, full of tales of reckless hedonism and calculated abandon.

    I think the two bands together will make for a good show. Shit like taking insane amounts of LSD and flooding our hotel room, and lighting our guitars on fire, whatever But I think seeing us live makes our records make a little bit more sense.

    Saturday 9 February, Northcote Social Club. All your travel needs under one roof: For full terms and conditions, visit www. Armed with beautiful and powerful visions of what their music should sound like, Brendan Perry and Lisa Gerrard experiment with traditional music from the Middle East, Greece and the Balkans and bring these diverse influences into uniquely modern contexts to thrilling effect.

    On the phone from her home in country Victoria, Gerrard is intense and passionate but also business-like when she talks about her work. We start by talking about life on the road with Dead Can Dance and it turns out Gerrard prefers performing live to recording in the studio.

    They have the kind of magnitude of sounding like they are being played in a cathedral. You never can completely achieve that kind of sound on record.

    I always feel like they are my worst moments. I have never been happy with any of the recordings I have done — I hate them!

    I always feel so much happier playing live. It is an extraordinary opportunity to work with the energy of live musicians.

    Then there is that wonderful energy in the room that is created uniquely by every audience. There are so many factors involved that bring light, excitement and electricity to a live performance.

    Recording in a studio is very sequenced and static. You keep doing performances over and over again that strive to be accurate and perfect in a sense, but sometimes I think [recording] lacks the magic of a live performance.

    I often think of music as a problem that you solve. You have a series of chaotic things that you put together to try to solve a kind of mathematical equation that leads you to a place with a wonderful bond of sympathy with soulful tissue, you know.

    So the thing is I met Brendan when I was seventeen, and when we started to think about music it was clear that we had such an incredible vision for what we wanted to do with the music.

    What drove us is that we formed this bond of sympathy for the work and that we have a very similar kind of excitement and passion for the music.

    We both were passionate about wanting to explore new ideas and music. Brendan had come from a post-punk world of Joy Division and all of that sort of thing.

    At that age I was more interested in quite dark things really, avant-garde music and even classical Japanese, Chinese and Turkish music, probably because I had grown up in Prahran.

    Brendan was interested in those things too but he was interested in finding a way of expressing himself by more traditional methods at that point.

    When we did actually write a piece together it was something called Frontier. It turned out to be a really magical piece and we realised that when we work together that something just happens and we are able to create something unique.

    It was the beginning and we wanted to explore this further and ended up going on to London. This is what draws me back because being separated from the pieces you have written together, well you grieve those.

    You know the potential of what you can create together has not been completely fulfilled. You also feel, as an artist, that you have to overcome those things that ego brings.

    That between us — through neuroses or anxiety about wanting to create perfection, which is completely impossible — you strive for this ideal, but there has been friction.

    You reach a point in life where you want to leave a legacy of work that is not haunted by the memory of the problems you had because of your artistic vision.

    It should be haunted by the legacy of the wonderful work and how you overcame those problems. Consequently it is hard not to wonder about their collaborative relationship and how the intricate and beautiful sounds of Anastasis were forged There are so many variables when we work together.

    There are times when we work separately and times when we bring things together. Brendan had a very clear vision on this album in terms of the exotic dimension of what he wanted to create, that it is of the Mediterranean and there were scales and rhythms that he wanted to explore for the album.

    It forces you to completely rethink the narrative you want to create. There was that side of it but Brendan also has a very strong sense of ballad.

    He always has a very literary and literal desire to communicate with pearls or kernels of wisdom from his own life experiences.

    He is not being imposing by doing that, he is being poetic. I think the wonderful thing about the combination of the two of us being together is that we both want to do the same things.

    I do it with abstract vocal expression. It makes the concerts that much more exciting because of various areas we have explored individually and together the palette becomes very broad and exciting.

    One piece leads to a completely different medium of work but ultimately or quintessentially they are linked because of the same desire to open up the pathway to the heart.

    Wednesday 6 February, Palais. Credited as the first-ever hugely successful Latino rapper, B-Real is not content with leaving behind a legacy that only includes eight studio albums, five EPs, various compilations and singles with Cypress Hill, a colourful solo career that has seen countless collaborations, numerous mixtapes, six years of production work and film and TV appearances.

    B-Real born Louise Freese has recently been putting his efforts into his innovative and interactive website: We want to expand it and grow it — just another tool for us to market all of our Cypress Hill music and videos and whatever else we have going on.

    At the same time, being able to help market and promote other artists as well, whether they are up and coming or veterans.

    Last year two US states, Washington and Colorado, decriminalised marijuana. Living in the state of California, which historically has led the way for the cause having reduced the penalty for possession to a petty offence.

    Our only setback was that we could have been the ones to set the standard and push it forward. I imagine that in the next voting cycle California will probably be the next state to do the same thing.

    It would be ridiculous for us not to. It takes staff to run these things, and it creates a lot of revenue for each city and state that allows it. California has got so many different types of revenue streams that come through here with the movie industry, and music, and art and all that stuff — same thing with New York and all the other major cities.

    We have to fight the bullshit thinking and realise that people need jobs, and this is one way to create it. We try not to antagonise them, but at the same time speak our minds and speak the truth.

    They look at it as all the same. I know that we did create a lot of awareness, and got a lot of people think a lot more open-minded as opposed to how they were thinking before our records came out.

    I think we inspired a lot of other artists to come out and talk about it and represent it. Sour Diesel and The Headband are cited as other favourites.

    We want to get it done and we want to get it knocked out, and give people a genuine, vibey-as Cypress Hill album. It was a lot of scrimping and saving, passing on pennies, et cetera.

    They were really great popsongs. Great songwriting, great guitarplaying, great band. They kind of went missing in time, being dwarfed by Deep Purple and Led Zeppelin and those other rock giants of the era.

    So, most of the new shit I listen to is really old. I put on Suicide, Frankie Teardrop. And it did, everyone cleared out really quickly.

    But I was there with my high-school rock. A bunch of year-olds, playing our first-ever support gig, literally learning to play on stage. We were supporting them during the breaks, playing as close to an Irish set as we could, trying to fill 30 minutes.

    Which meant U2 songs, obviously, and then we figured Irish folks like The Beatles so we did a couple of Beatles songs.

    We were awful, just awful. But somehow we went down really well, and I thought I was such a rockstar. But also thinking this was the greatest light show ever, watching a band hit their peak in the middle of a storm.

    The band is incredible without the light show, but with God on lights, they were amazing. It was pretty memorable. Judi Dench is smoking.

    All the olds do it for me. But back when I was a kid, I guess, to go back to what we were talking about before: Susanna Hoffs from The Bangles.

    Is this really gonna go to print? I met Burt Bacharach. He was pretty cool. Or, more so, that was really cool for me.

    I did a gig with him about five years ago, in Sydney. It was all like Idol people, but I loved him so much that I just really wanted to get my name on the bill and do a song.

    A skinny little thing. He looked like he enjoyed a bit of the solarium action. See where it all began.

    Take my camera, come back, play the video to Christians. Saturday 9 February, Yarraville Club. Eats, treats and hot summer beats.

    Headline act February 8 5. Other acts at Summer Sounds: Phoebe and the Night Creatures and more. His move there last month was fuelled by his want for a change of scenery as a result of a personal issue, he reveals.

    He tells Steve Bell about revelling in solitude and stumbling across his own individual sound. With the entirety of the instrumental Love Is The Devil being written in a few weeks in December as Hungtai dealt with his private crisis, the record takes on the gloomy feel of his state of mind.

    As his verbatim tweet back on Thursday 3 January informed: There was also the tweet the following day that continued the despair: Sunday 10 February, Tote.

    Over the course of the next two years — between My Morning Jacket tours — he played basically all of the instruments on the record as well as engineering and producing it all himself.

    In My Morning Jacket we encourage each other to get out there. This is more the side of me that loves experimenting with sounds and playing with different instruments, and just really enjoying being a musician by myself.

    He tells Warwick Goodman it was probably for the best. Imagine the great parties they must have thrown in their time. My kingdom for an Allman Family Christmas.

    Allman is coming to Australia in March with his band Royal Southern Brotherhood to play Bluesfest in Byron Bay, as well as some headline shows of their own.

    My parents split when I was an infant, and I got to have a very normal upbringing. But for two, it really did allow me to blaze my own trail in music, without.

    T being directly influenced [by my father]. Which is nice, to know that I did this all on my own. Most kids are still learning to swim at that age, but he was already collecting records.

    He laughs in his low, humble, friendly way: It was just exciting, I loved it. I was collecting records when I was a kid and around that time it hit me who he was.

    I always knew that I would meet up with him, and I did. When I was sixteen I met up with him and we got along great.

    It was strange, we instantly felt comfortable together and we developed a bond very quickly. And, you know, I really think it worked out how it was supposed to.

    It will be cool. He owes his introduction to these shores — and his Australian girlfriend and collaborateur Mirabai Peart — to Joanna Newsom. And solo guitar seemed like the simplest expression of that.

    And, so, came Parables. I was interested in that juxtaposition: But enrolling in the composition program at CalArts, he got deep into the abstract with ambient electronica.

    We made the record and it ended up getting some exposure and kind of doing okay, almost in spite of us and in spite of itself!

    A positive Pitchfork review led to a spate of remixes and a resurgence of interest in the album a year after its original release.

    And that led to Clubfeet travelling to New York. So the first ever show we played was in New York at Pianos. We ended up, I think, playing ten shows that week at CMJ.

    Some of those shows were, like, lunchtime shows to two people, but some of the shows, The Strokes were there, Danger Mouse was there.

    So it was kind of nice to be able to do all the chaos in recording, make the tracks and send them off to him. He chats with Anthony Carew about sliding towards the highbrow.

    We all have that in common, loving that era of music, the aesthetic and everything. Both Parables and Road To Palios have been compared to classic solo-folk guitarists like John Fahey and Robbie Basho — and contemporary figures like James Blackshaw — but Francesconi is, contrarily, steeped in medieval composers and Turkish folk.

    Thursday 7 February, Toff In Town. Memphis, New Orleans, Nashville… and Utah? So a bit of both — bit of work, bit of holiday.

    It was kind of magical, you know. Even then there was the odd surprise: Close runner-up for Single Of The Week. New Day is one such track, preaching living life in the present and doing your best.

    Rules is the debut album from two Australian expats who met in Barcelona and spent the next two years constructing its songs. As the title suggests, they set themselves some strict guidelines with which to write the instrumental music that would comprise their debut album, a record that thrives on energy, ebullient yet melancholic melodies and some brutal and primitive rhythms.

    In the interest of full disclosure: The fact that all this had to be looked up is probably more down to my waning interest in commercialised punk rock than anything else, but it has to be said that the lads probably lost their renewed grip on relevancy a while ago.

    The debut album from the Sir Elton John-approved Highs Highs begins with Dey, an instrumental introduction to the sounds of the Brooklyn via Sydney duo.

    The soft thud of the electronic percussion beneath a gorgeous piano track lays the path for the excellent production quality on what is a lovely-sounding album.

    Flowers Bloom, which first appeared on their self-titled EP, adds an understated bass line to the mix but follows much the same blueprint drafted on Milan.

    From the trickling piano and stumbling drum beat of the alluringly minimal verses, to the bitter and jaded resentment evident in the guitars — grainy and eerie to complement the disappointed words Gareth Liddiard spits and sighs — How To See Through Fog is as gorgeous and majestic as it is depressing.

    Instrumental albums either cast aside traditional song format and head into more obtuse territory or they let their musical ideas and playing construct the hooks that the vocals would normally provide.

    Aaron Cupples and Ben Green firmly chose the latter and as a result Rules is brimming with the types of catchy riffs and solos that lodge deep in your memory receptors.

    They also excel in a wide range of styles from Strokes-ish surf and sci-fi garage rock to M83 maximalist synth anthems. That may sound like a chaotic mess but it works because the duo anchor their songs in programmed drums that create a mechanistic cohesion to the album.

    Mayfield virtually dispenses with drums, creating a beautiful billowing guitar and bass composition that sounds positively angelic in light of the surrounding static and beats.

    Either way, we now have Tre; the final chapter in a trilogy the first two chapters obviously titled Uno and Dos released over the course of the last four months.

    The record starts promisingly enough with the Costelloesque Brutal Love, but unfortunately it dissolves pretty quickly into a collection of songs that sound like… well… Green Day.

    Which begs the question: Packaged and sold three times over? Could they have whittled them down to make one good album as opposed to a trio of average ones?

    At the end of the day the trilogy feels more like an attempt to mask a dearth of social currency with volume not quality. This makes for an attractive, well-measured 12 songs.

    But what is lacking on Open Season is diversity in sound and emotional pull. As each track brushes by the beautiful production becomes less impressive and the sound less attractive, if only because it feels so familiar.

    The back half of the album begins to drag though the song quality remains strong. On an individual level, out of the context of the album, any number of these songs could become personal favourites — especially those that add a slight twist to the formula.

    The folk-tinged Bridge is compelling through its short running time, while the more extravagant Love Is All is perhaps the pinnacle of the album.

    Did he take these lyrics from the Livejournal he had as a teen? Top notch production makes this sound like stadiumstandard, piano pop rock.

    Is this enjoyable or painful? Now, let me put this out there before we go any further: The title track proves an early highlight, as drummer Andy Hargreaves and bassist Peter Jobson provide laid back and comfortable accompaniment to a familiar Bramwell meditation on his infamous ramshackle lifestyle.

    On Mouth On Me things are bit more upbeat, though no less street worn as an apologetic Bramwell regretfully recalls lost time and no less than a few regrets.

    I Am Kloot may not have the popularity or sales figures of their Mancunian counterparts, but another solid showing here proves them to be no less consistent or charming.

    What I do know, though, is that Kris Menace is more than your standard DJ, and Features is more than your generic house album.

    Menace not his real name, FYI has for the best part of a decade been a fixture on the German electro scene, and his brand of music has unsurprisingly translated into the UK dance scene and beyond.

    On Features, as the name might suggest, Menace works with a different vocalist on each song. Julian Hamilton from The Presets offers his distinctive vocals on the slow-burner Higher Love, and Daft Punk collaborator Romanthony lends a hand on the comedown track and annoyingly-titled 2Nite4U.

    Unlike many of his contemporaries, Menace has created an album that could easily — and brilliantly — come together live on stage with a full band.

    Watching Features on the stage, showcasing the impressive line-up of vocalists alongside a sixpiece band an orchestra would be more suitable at times , would be something of an event.

    Almost six years after their last record, Tomahawk return with a re-jigged line-up and tighter focus on fourth studio album, Oddfellows.

    As a result most of the material here is pretty accessible and may even stray pretty close to Faith No More territory.

    New albums from bands you love are like the New Year: But where the version of Tomahawk differs is that FNM allowed their songs to develop and gave experimental sections time to be explored.

    But there are still some quality moments here. But the band truly gel while tearing through the big riffs on album highlight South Paw, a song given space to breathe, showing what could have been if they had done that for all these tracks.

    He takes a vocal backseat on this record, but his voice is all over it. Assuming vocal and bass duties is Henry Tremain, of obscure Norwich band Pennines.

    Collis remains as influenced by everything a Kinsella brother has ever done as ever and, as a result of his maturation as a player, the songs cover more exploratory, jivey compositional ground than before, no longer as pop-dappled or straightforward as they once were.

    There is some filler such as the excellently titled Nice Riff, Clichard , but even so, However, from a commercial stand point, and if this album was put together as a means of introducing new listeners to the genre, then it would be perfect.

    The Summer, 8pm; to Sunday 10 February Harold Night — a night of improv comedy that prescribes to a minute non-stop piece based on a single audience suggestion.

    Recent Work — a new exhibition from artist Anna Feery, who looks at animal forms and body language to explore fragility, animal instinct and family.

    Opening, Loop, 6pm, exhibiting to Saturday 2 March. Silent — a one-man show written and performed by Irishman Pat Kinevane; a touching story of homelessness and a man who once had splendid things.

    Sure to get you shaking yah thang. The Famous Spiegeltent, 11pm. The Character — the first major Australian solo exhibition from South African artist Candice Breitz, exploring to what extent our lives are scripted for us by the media we consume.

    The Famous Spiegeltent, 9pm; to Saturday 16 February. The international short film festival behemoth Flickerfest is back. And this year, Flickerfest has got a big announcement up its sleeve.

    And to put the program together that takes many, many months. Metropolis — the legendary German expressionist sciencefiction film directed by Fritz Lang, about a Utopian society in which its wealthy residents live a carefree life.

    The Astor Theatre, 1. Paradise — the launch of the fourth In Brief issue, Paradise, a free quarterly mag. The Famous Spiegeltent, 7pm; to Sunday 3 March.

    Pablo Caesar, one half of sibling acrobat duo Caesar Twins, chats candidly with Sarah Braybrooke about the struggles and triumphs that have come with the swinging high life.

    Headlining the Spiegeltent from Tuesday 12 February, circus show The Trip is a medley of acts united by their connection to German arts hub Base Berlin.

    To continue the discussion head to frontrowSPA and tweet us. It really is the cutting edge of cinema: To help process this sea of films, Kidd has a committee of over 50 peers who watch and review every single submission, and then she and two other curators spend about 18 hours a day parsing their recommendations from that into a rough top With matching bicep tattoos and heads of flowing white-blonde hair, you could be forgiven for thinking that identical acrobat act the Caesar Twins were more of a gimmick than.

    But as Pablo Caesar explains, he and his brother Pierre have earned their acrobatic chops several times over, in a double-career that has included highs and shattering lows.

    Then we did acrobatics and gymnastics, and step by step we won some big competitions. Slowly we began to think about [performing in] shows.

    He lays out the facts. After that I was in a coma for something like two weeks. It was quite hard.

    The festival has achieved such success, Kidd says, through a dedication to ever-increasing diversity.

    I want the festival to be world class, and I want the level of competition to be world class. Wednesday 13 February, Kino Cinemas After the accident he had to decide whether to try and return to his former life.

    I love what I do. I think God was the most important thing Most of the time I was fighting with myself to not give up But of course, we also have a reputation [to maintain].

    He describes the show as light, cheeky and funny, and if the press release is anything to go by, the audience can also expect a hint of the erotic as well.

    They come to us for some magic time. Tonight is both bittersweet and cringeworthy. Back at the disastrous dinner party, Shoshanna realises that Ray has moved in with her that old trick!

    End result of the evening: Jessa and Thomas-John end their marriage, and Shosh and Ray profess their love to. Seriously, what did Dennis Quaid do to deserve this?

    He seems like a nice enough fellow. Maybe that some of the sketches have been on the shelf for so long the actors are noticeably younger.

    Cassandra Fumi Screening every Monday night, 8. Guy Davis In cinemas. The Other Place was the tightest piece of writing Cringe has seen in a while.

    The near to full house is something of an anomaly, according to the latest statistical overview of arts and culture in Australia by the Australian Bureau Of Statistics.

    Only around 20 per cent of women and about 15 per cent of men had attended a theatre performance in the 12 months prior to the survey. Mind you, if we had a DeLorean and went back to , the queue at the Arts Centre would have been shorter as the average household only spent 80 cents a.

    Mordantly witty Juliana becomes convinced that those around her, including husband Ian David Whitely , are conspiring to deceive her.

    While delivering a lecture at a medical conference, with vicious eloquence she attacks. Instead, this film — both sprawling in reach and tightlycontained in intent — is ambiguous, thought-provoking and occasionally discomforting, as it explores how.

    Girl Talk Of The Week? Oh, hi there, baby-faced Chloe Moretz. Maybe the way most of these bits have one joke, no joke or an inability to follow through on their premise so they simply stop?

    The significance of the yellow bikini is revealed in a sentimental touch at the end of the play via video sequence. The Other Place, here directed by Nadia Tass, has a dated, tele-story feeling to it and, subject matter notwithstanding, it never takes the audience anywhere truly emotionally discomfiting.

    The night definitely belongs to McClements, whose performance is the true joy of the proceedings. Speaking of books and music, libraries are the standout cultural institution for Australians with 5.

    Libraries also attract more repeat visitors with 70 per cent of library goers getting amongst the stacks at least five times a year; this is higher than the 53 per cent who had been to the movies five times in the 12 months.

    Libraries also employ more than people a year, which is about on par with the number of people employed by museums and galleries across the nation.

    But while government funding for the arts sector has stagnated and donations are on the decline, pretty much every large festival or event Cringe has been to in the past year has reported a record attendance or a box office bonanza, so go figure!

    A unique subset of this gruelling world is the sole man in space scenario that has almost become a genre unto itself, a shipwrecked survivor for the 21st century.

    Or at the very least the computer has. Love Shock poses a simple question. What happens if the only human connection that man has via a radio feed with those back in mission control on earth is severed?

    The answer of course is not good things. For one the cabin fever becomes more apparent. Particularly in cinema, a form obsessed with stupendously radical character arcs in the space of two-and-a-half hours.

    Aside from a wilfully obtuse ending that exists selfconsciously somewhere between A Space Odyssey and Solaris, without the rigour and resonance of either, Love is a well-crafted tone poem, an overwhelming audio and visual feast for the senses that ponders whether a life lived alone is truly a life at all.

    The film follows a murder suspect, police, prosecutor and doctor as they attempt to locate a body in the hills of the Anatolian desert.

    As the night wears on and tempers fray, motivations cloud and strange interconnections begin to appear. Sixty Minutes Inside Adele is no joke, nor is it a mere jukebox musical.

    My colleague Adam [Brunes] and I thought it was the ideal title for the show because we are deconstructing celebrity and rumours throughout the piece — so many Adele rumours.

    I suppose for me personally her music speaks to me. Her songs have punctuated monumental moments in my life, and I can still remember where I was when I first heard them, and what was happening in my life.

    I connected with her raw emotion and her ability to so eloquently describe painful or difficult situations.

    I would say the worst things I could think of on a wide variety of topics, and if Adam cried out loud with laughter, then those were the lines that ended up in the show.

    It was such a fun creative process in that regard. We realised early on. It was then that we delved into the heart of the piece; we pored over biographies, we watched countless indepth interviews and eventually, truth-be-known, we came up with something quite depressing.

    I think the show as it stands now is a combination of the ridiculous, outlandish humour and moments of absolute poignant truth.

    That can be as a result of impacting lyrics, or a hypnotic musical riff, or shared experience. It transcends natural, rational thinking and transports us to other places or moods in an almost supernatural way.

    And then, sometimes, music is just bloody good fun. Dallas, Texas, a few decades ago, and a nine-year-old Brendon Burns has an epiphany on a family holiday.

    And he was hooked. Comedian Brendon Burns talks to Baz McAlister about embracing his two great loves — comedy and wrestling — on a stand-up tour with his hero Mick Foley.

    Over the years, as Burns pursued a career in comedy, his wrestling fandom was never far from his heart. Harley Breen knows that the life of a comedian can take you far away — although not always.

    Smallman invited Burns onto the bill. They know who you are. Mick is crazy famous. Mick is famous in the Middle East.

    He was the number three guy when wrestling was at its peak. And the funny thing is, I have to bounce for him because there are grown men wanting a cuddle off him.

    Meeting Mick is the difference between meeting Christian Bale, and meeting the actual Batman. And wrestling promos are similar to stand-up.

    Every newbie comic talks about their day job: Mick has the most bizarre day job of all time. And you find out that Bruce Dickinson wants to get into plumbing, and needs plumbing tips from you!

    Then go fuck yourself! It was disgracefully bad. By his own admission, entering the world of stand-up was something of an accident. You wrote [your material], you performed it,.

    So I had to change it to Shape Up. This show with White Walls and NuN in support, no less will go down as one of the highlights of the year. With other festivals rebranding and reorganising, Laneway has selected a line-up heavy on blog-love and therefore, in many cases, music made, mixed and reviewed in small rooms that sounds great on headphones.

    Which raises the questions: And, with festivals more a rite of summer for triple j listeners than a gathering of fans of particular bands, does it matter?

    While Twerps are on typically blazing form, at the Eat Your Own Ears stage Brooklyn-based quartet The Men take churning garage rock, remove any gaps, overlay the results with endless guitar solos and punish it through Marshall stacks.

    Their wild, semi-naked drummer could be beamed in from Sunbury suburb or festival and is a total asset. Their set ends suddenly with a guitarist looking at his watch, taking off his guitar and leaving the stage, the others immediately following suit.

    The music is intriguing and is composed and arranged rather than felt, her talent enhanced not hidden by filters and echoes.

    As the heat increases and shady spots become highly prized, the River Stage sees Perfume Genius suffer a similar fate; his music never reaching the heights it does on headphones.

    His voice is a cloudy, vaguely inert instrument, the reverb rendering his lyrics indecipherable and his. Though his backing band provide some energy, it all seems confused, and undoubtedly better in a small, dark venue.

    Real Estate benefit from bringing dispositions to match the weather, and their bright chiming riffs and breezy harmonies go down nicely.

    Recasting memories of Real Estate as a mid-paced snoozefest, Cloud Nothings pull off one of the most relentless and intense sets of the day.

    Opening with a blistering Fall In, the pace never drops. As their set plays out though, long, forceful yet indulgent instrumental sections in songs like Wasted Days and Separation eat up much of the set.

    Despite the festival selling out, moving between stages is easy; keeping a spot in the shade is less so. Back at Future Classic Stage mix-maestro Holy Other is pushing a womb-like mix of woolly bass, warm pulses, exhausted beats and snatches of vocal; if Burial has a wife and she were pregnant, this is probably what that zygote is bugging out to.

    Sounding about as Icelandic as a Big Mac, the biggest crowd pullers by some measure today play a tight, rousing set.

    They know when to pull a trumpet out to drive a melody home, when to let the crowd take over and how to. As the recyclable rubbish piles up, the queues for the toilets and phone chargers grow, and sunburns become increasingly common, crowds surge towards the Eat Your Own Ears stage.

    This set is a triumph. Sacrificing Alt-J for Jessie Ware, we are immediately rewarded with some hilarious banter, made even funnier for its incongruous setting between some sparkling neo-soul songs.

    Though the guitar spirals and smears more than chops, deceptive simplicity is still their greatest asset. Completely unhurried, he teases and taunts us, forcing our attention to the textures and surprises that epitomise his journey, only occasionally hinting at a big-beat payoff.

    Unable to stop smiling for her entire set, Natasha Khan aka Bat For Lashes seems happier than anyone. And the show was ridonculously good also.

    There is no punishment grim enough to befit this crime against the original musical masterpiece. But other than the hilair Amy Poehler one, it was grim pickings: Resplendent in a multi-coloured sparkly gypsy dress, she dances, swoons, laughs, claps and emotes her way through her rich trove of songs.

    With cello, Cocteau Twins-style guitar and busy electronic percussion and drums, Khan holds our attention almost as well as her album cover.

    Laura gets a predictably huge response, but later songs, the synth-driven dynamics of Marilyn and the closing Daniel allow her to stretch from epic longing to intimate revelations.

    Everyone has been hanging on for close to three hours for The Killers to file on stage, and when they finally do, the crowd nearly brings the balconies down.

    All dressed in black, famed lead singer Brandon Flowers is taut and charged in a leather jacket. In the flesh, he is diminutive in stature alongside his bandmates but he definitely crackles with the most energy and charisma, his face beaming with a delicious grin.

    They kick off with their most successful track, Mr Brightside, which sounds surprisingly tinny. It is a never-fail crowd pleaser, however, and not a soul seems to mind.

    Across the park, friends and families are scattered in picnicking, winesipping contentment as the Royal Jelly Dixieland Band play an energetic, accomplished set.

    However, the band quickly reconvene on stage for a much more elegant final tune — bringing an end to an enjoyable if somewhat distant set. Backed by her talented band and a fair few of the Royal Jellies, who jump back on stage to lend a hand , Bowditch works her way through a set encompassing country, indie and jazz influences.

    She exudes goodwill and the crowd love her for it. In her third verse, she nails a vocal fall of such astounding purity that it cuts through the night, searing itself into the memories of the audience and silencing even the lions.

    After some early issues with a still-sitting crowd, the band play some choice cuts from Zingers plus a few older tunes.

    It may not be too long until they play their own sell-out Tote headline show. Brooklyn four-piece Woods amble unassumingly onto stage.

    Fears of a thinly populated bandroom are unfounded as the music draws the punters away from the beer garden.

    Morby and new drummer Aaron Neveu provide a surprisingly muscular rhythm section, and an extended middle section is wrapped up perfectly as Earl cuts back into the big chorus.

    The crowd is subdued during older tracks, but comes right back up again when Is It Honest? As the set nears its end, what.

    Laser lights and dry ice are employed for the stellar Somebody Told Me and Human. While a sparkly jumpsuit, chrome mask and some helium balloons may work well at a party, these distractions from simplistic slide guitar, inaudible vocals and some basic blues widdling is not enough to make you forget this was the same shtick that he was pulling in and it was an irritating diversion then too.

    However, many in the crowd are won over by the novelty. From the outset the five-piece Alabama Shakes are incredibly tight, but the band remain defiantly in the background of frontwoman Brittany Howard.

    In fact, Bono would be defiantly in the background of Howard were he to appear on stage. Following with their contribution to the soundtrack for the film Silver Linings Playbook, Always Alright is a rip-roaring ride through the Deep South that allows her a Chuck Berry impersonation.

    Bassist Zac Cockrell in overalls, nodding trucker cap, voluminous beard and physical stoicism looks hilariously cartoonish, while other members stand stock-still as Howard absorbs attention.

    Cutting an Odetta-like figure with her semiacoustic tucked under her arm, her wildly expressive voice and nerdy glasses, she roams the stage, never letting the intensity drop.

    The joy in watching someone do what they were born to is almost overwhelming. Support act Steve Smyth, armed only with an electric guitar and a sidekick drummer, is impressive with commanding vocals and original songwriting.

    Sex On Toast are probably the greatest band on earth. Sex On Toast bring the ruckus. This is the fourth Monday of a month-long residency and each week the crowd has increased in size and fervour.

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