Friday Sept 16
Tired Lion are one of Western Australia’s most exciting acts. Having recently released debut album Dumb Days the band took to the stage in Brisbane to kick off the tour.
Behind the lens Jarrad Aspden
Hailing from Vermont Crypitus is Heavy, Death, Thrash and Black Metal influenced band but reach out to pull from genres such as jazz, punk and even hard core. We caught up with these guitar Gods for a chat about their influences, the music scene and the release of their new EP.
Joe Minard -Bass
Peter Snee-Rhythm Guitarist
How did you come up with Crypitus as a band name and is there meaning behind it?
Pete: Doug decided on that name a long time ago in the previous iteration of Crypitus. It’s Latin for the sounds bones make when they’re broken.
Joe: Doug chose the name. It’s the sound of breaking bones!
Zach: Doug gets credit for the name, or at least a teacher he had gave the idea. Crypitus is the sound of breaking bones!
Doug: Yes, I still remember the day my high school teacher came up to me and excitedly exclaimed “Do you know what would be a sick metal band name?! Crypitus its the sound of breaking bones!” I was sold immediately.
You list jazz as an influence you use in making music. Which jazz artists have influenced you the most?
Pete: Frank Zappa has become a big influence of mine.
Joe: I remember playing jazz band in high school, no particular artist ever caught my attention but the whole experience helped me get good.
Zach: I guess you could classify some Zappa as jazz, but my influence is mostly proggy.
Doug: John Coltrane and Miles Davis are my favorite jazz artists. The way that they play so complexly yet so fluently is definitely something that’s inspired me musically.
You’ve been working hard to spread your reach across America, how is working for you?
Pete: It’s going great! We have a lot of shows coming up in New England but between day jobs and bills, we can’t go further right now. Soon, though. Crypitus is coming for ya.
Joe: Pretty good. Its been fun time. We have a bunch of shows in the upcoming months. Its going to be awesome.
Zach: So far so good. I can’t believe how many people we’ve reached out to in the past year. Especially in other countries!
Doug: It’s good! Far better than I could have imagined things going. This is my first band and my first shot at getting out there and look at me, we are talking with you from across the globe. Networking is an amazing thing.
How is work going on your demo Exhibit 1: Prelude to the Dead World going?
Pete: Recording is done, mixing is done, cover, inserts, printing is done. Pretty much ready to be dropped.
Zach: With any luck, it’ll be out in another weeks’ time. Our work on it is done.
Doug: It’s been a long time coming but I’m proud to say the release of our demo is 9/25/17 and will be available on a variety of platforms!
What kind of experience can fans expect at one of your shows?
Pete: Head banging, high energy moshing, bone-crunching riffs. If you aren’t close enough to the stage, Doug will make you get closer.
Joe: Moshing and shit.
Zach: A very fun and energetic one. Clowns, perhaps. Maybe even floating tacos, but definitely some of the sickest psychedelic thrash metal you’ve ever experienced.
Doug: A heavy interactive live experience full of riffs, head banging and circle pits.
Do you have plans to make your music more international?
Pete: All our stuff is available to any country from our website, Crypitus.com. We have a Band camp available to everyone, too
Doug: Our online release of our demo should have reach in multiple countries, on multiple download and streaming website. But to stay up to date on exactly where you can get a listen head over to Crypitus.com
Julien Baker debuts her moving new video for ‘Appointments‘, the first single from her forthcoming new album Turn Out The Lights, released on Friday 27th October via Matador Records / Remote Control Records. The haunting clip — directed by Sophia Peer (Paramore, The National, Interpol) — can now be seen below.
“Making the ‘Appointments’ video was an incredibly special experience because I got the pleasure of collaborating with artists I admire and to see them apply their creativity and talent to something I made,” says Baker. “I’ve known Christina McKinney (choreographer), as well as a few of the dancers, since I was a kid. I’ve always been fascinated with how that art form works in tandem with music; it was amazing to see the vision that Christina had for the song, how she interpreted the sounds as movement, and then to see how Sophia chose to portray and capture it all.
It felt very full circle to return to Memphis to work on this, I’m so proud of Memphis and wanted to show off the immense artistry that I see there. Not only were Christina and many of the characters in the video friends, but the crew also included many people I have known and worked with for years. All the scenes and locations are also central to Memphis, I think Sophia did such a good job of preserving the intimate feel of the video by shooting it with people/in locations that had significance to me, and I’m so thankful. The most gratifying part of making music is its ability to be shared and belong to more people than myself, and it was very meaningful to make something with and for other people, to take something as personal as this song and invite others in, allow them to contribute their ‘thing,’ whatever it may be.”
The song has been earning glowing critical praise over the past month since its release, from outlets including The New York Times, NPR Music (‘Songs We Love’), Pitchfork (‘Best New Track’), NY Magazine’s Vulture (‘7 Best New Songs of the Week’), Entertainment Weekly (‘New Music Friday: 19 Releases To Hear Now’), and Stereogum (‘The Five Best Songs of the Week’), among many others. The follow-up to Baker’s acclaimed 2015 debut album Sprained Ankle (6131 Records), Turn Out The Lights is being counted among the fall’s most anticipated releases by The New York Times, Billboard, The Atlantic, Harper’s Bazaar, Brooklyn Vegan, and Consequence Of Sound.
Recorded at the legendary Ardent Studios in Baker’s hometown of Memphis, TN, Turn Out The Lights expands upon the sound and vision of Sprained Ankle while retaining the haunting, confessional songwriting style for which she has become known. Throughout the album, she reflects on experiences of her own and those closest to her, exploring the internal conflicts that wrestle inside us all: how we deal and cope with our struggles, and how it all impacts both ourselves and our relationships of all kinds. The result is a deeply empathetic album that embraces the grays and complex truths of humanity and mental health. Turn Out The Lights was written and produced by Baker, and mixed by Craig Silvey (The National, Arcade Fire, Florence & the Machine).
Do your dusty eyeballs a favour and check it out
The video was directed by Daniel Grey and he comments: “Songs For No One is about embracing quiet passions; overcoming fear, depression and self destructive thoughts through the mindful cultivation of small things. The video speaks to those themes, and shows that any creative endeavour – even one only for yourself – is enough to keep the world turning.”
As with the band’s acclaimed album Bloom before it, In Contact sees vocalist Jim Grey and lead guitarist Sam Vallen collaborating closely on the music and lyrics. Vallen comments: “In our creative process every idea is scrutinized, deconstructed, and rebuilt in a way that one of us, alone, could never achieve. We’re one another’s harshest critic, but fortunately we’ve done this for long enough now that our inspiration draws us in a similar direction – we can finish each other’s musical sentences, so to speak. And we’re lucky that’s the case, since In Contact proved to be a much more ambitious undertaking than anything we’d conceived of in the past.”
Vocalist Jim Grey adds: “In Contact has been an enormous proposition – the stories told in this album feel deeply personal, and we’ve never been more excited to share a new work with the world. The sounds on this album are dark and adventurous – but without losing the bittersweet and joyful sounds we developed in writing Bloom.”
With a similar approach to their second album The Tide, the Thief & River’s End, the band decided to hang a concept around the entire record, taking it in a direction that would end up being the opposite of its predecessor. “We decided to create a concept album, but one that came from a more personal place: one that would facilitate our creative needs wherever the journey took us” Vallen continues. “The broader concept is based around the nature of art – of what it is that sparks creativity and inspiration, a celebration of what connects us as human beings, the shared space across our many differences.”
Written between late 2016 and May 2017, the album went through a rapid production/mixing/mastering process encompassing five weeks between May and June. The music felt fresh and the ideas were captured at the peak of their vitality. The music on ‘In Contact’ stretched all of the bands abilities, from the frantic speed and complexity of ‘Will’s Song (Let the Colours Run)’ to the immense scope and variety of the 16-minute album closer, ‘Graves’. This is Caligula’s Horse at their most ambitious and progressive.
Upbeat and irresistibly catchy, Karin Page’s latest single Still Got You is a perfect slice of folk pop, dressed up in her favourite embellishments of rootsy grooves and a dusty twang. Taken from her 2017 EP of the same name, Still Got You (produced by ARIA award winning producer Matt Fell) shows why Karin appeals to such a broad range of music lovers – seamlessly weaving several styles together – and is the perfect introduction for new fans.
After 18 months of touring Australia in a caravan with her music/life partner Adam Nyeholt, playing music wherever the road took them, singer-songwriter Karin Page finally arrived at her new home of Byron Bay in 2016. By then, her charming blend of rootsy Americana had already begun making waves around Australia – emanating from her hometown of Perth – earning Karin a slew of awards and loyal fans in every town she visited.
Karin’s nomadic lifestyle has deeply affected her music, which now bears all the character of the endless Australian road. Needless to say, this has made Karin very popular with country, blues and roots fans. Karin took out Female Artist Of The Year and Songwriter Of The Year at the 2017 WA Country Music Awards; she was nominated for a WAM Song Of The Year Award in the Blues And Roots category; she has been nominated for New Artist Of The Year at the 2017 CMC Awards; and she was crowned the 2016 Toyota Star Maker. It seems the harder Karin works, the more her accomplishments are met with recognition.
In support of Still Got You, Karin will be embarking on a slew of dates including a co-headline tour with new pal and talented folktronica artist Tobias. Karin says of the hook-up, “I met Tobias at The Tamworth Country Music Festival in January. I first discovered his music when we were both sitting in the Top 5 of the AMRAP charts. I instantly loved his style and thought our music would work well together on the road.”
Refreshing and honest, Karin’s music can be intimate and emotional, but at the end of the day still a hell of a lot of fun to get up and dance to… and that is the power of a truly gifted songwriter.
‘Still Got You’ is out now via all good digital retailers
MISH have poured the hard experiences of the last half decade into one of the most cathartic and passionate records in the Australian underground. From one epic to the next, ‘Red Fortune’ to ‘Artax’ this is a record that leaps off of the precipice of the high water mark set by their debut.
MISH are a mysterious yet beautiful beast, with music as heavy as it is emotional. Their rare yet often-talked-about live shows have seen them earn high profile supports, whilsts also painstakingly producing just two full-length albums in their 11 years of existence.
The six-year development of ‘Entheogen’ follows the 5-year gestation of their debut album ‘The Entrance’ which was released in 2011 to universal critical acclaim through the progressive and metal underground and propelled the band to cult status amongst lovers of raw and energetic progressive metal. The band played in support of international icons such as Russian Circles, Pelican and sleepmakeswaves, earned radio play on triple j and hit the Top 10 on triple j’s Unearthed metal charts for a mammoth 16 weeks with their emotionally-charged track ‘A Fire Inside.’
The 11-year partnership between frontman/guitarist Rowland Hines and drummer Mark Johnstone has fuelled one of Australia’s most memorable live bands. Although rare, their recorded output finally brings one of Sydney’s most loved heavy acts to an international audience. Produced and recorded again with Clayton Segelov of The Brain Studios, the new album’s visceral production process follows the same path tread by their debut. The production of ‘The Entrance’ memorably saw Segelov ordering Rowls to run laps of the inner city studio block until visibly exhausted (chased and pushed by the studio assistant), then running back into the vocal booth to hurl the dogged and desperate howls which rip open the record. Informed by six years of turmoil, relationships and life experiences, ‘Entheogen’ once again finds a band on the cusp of catharsis, hungry for action yet reflective.
The album’s crushing riffs and metal-influenced breakdowns are reminiscent of acts such as Isis, Rosetta and Meshuggah – yet their unique melodicism sets them apart. Technically proficient, yet with masterfully crafted songwriting, make this act a unique and compelling listen for heavy music fans.
‘Entheogen’ is out 21 April through Bird’s Robe Records.
Last year, a $6 million trial program was announced by Health Minister Cameron Dick, meaning more than 2,000 Queensland men would have access to a ground-breaking new drug—PrEP—which drastically reduces the risk of HIV transmission.
One of Brisbane’s rising independent theatre performers, Regan Lynch, is one of these 2,000 men. And his new cabaret, Regan Lynch Does It In Public, offers a cheeky glimpse into life before, and after he began taking the drug.
“PrEP, I think, gives us a chance for a new sexual revolution. Or at least the continuing of an old one. Some of us have never known life without a fear and anxiety of HIV. It’s been driven into us since we were children. Antiretrovirals give us a chance to live without that fear, and I think that’s pretty exciting.”
While airing the details of his sex life may seem risky, for Regan it offers a unique opportunity.
“Sex is hilarious and weird,” he says. “Which is why it makes a great topic for comedy. But more than that, as a queer man I am used to people being pretty obsessed with my sex life. Shows like this are a way for me to reclaim that conversation and throw it back on my own terms.”
Regan has been described by Aussie Theatre as “larger-than-life, high camp, high fidelity and even higher energy,” by AbsoluteTheatre as “exceptionally good,” and by Rip It Up as “a must see for cabaret fans.” In 2015, he was nominated for Best Male Actor in a Leading Role at Queensland’s pre-eminent Matilda Awards
Regan Lynch presents his first solo work, Regan Lynch Does It In Public, at this year’s Anywhere Festival. It’s a comedy funk and punk cabaret, a burlesque, and a raucous and sometimes alarmingly interactive hour of stupid sex clowning.
Performed with an electric guitar, a ukulele, angel wings, several layers of fetish-wear and a jar of meds, audiences will groove, laugh and be a little aroused as Regan meanders his way through sexual anecdotes and observational songs.
Regan is teaming up with local business, Betty’s Espresso and Bar, to present this work. Well-regarded for its vintage furnishings and comfortable, lush couches—as well as being the home of Naked Ostrich Burlesque—this is the perfect setting to present a sexy musical romp.
It’s time to Sashay onto the catwalk hunties, as RuPaul just announced the Season 9 air date of popular reality show RuPaul’s Drag Race.
The popular show moves from Logo Tv to VH1 in order to accommodate for its growing audience. With an Emmy in the bag RuPaul can only get more fabulous, and season 9 looks set to delight fans.
This season promises to be bigger and better than ever with Lady Gaga already announced as a special guest ( gasp).
Watch the teaser trailer below. The show airs on March 24.
Start your engines and may the best woman win!
Katie Noonan & Brodsky Quartet: With Love and Fury
World Premier, Concert Hall QPAC
The hauntingly beautiful voice of Brisbane’s Katie Noonan rings out across the concert hall, a quartet of strings to accompany her as she brings to life the poetry of Judith Wright. The composition is simple yet effective, enhancing and complimenting her voice expertly.
Dressed this evening in an elegant long black gown, Katie is trying her hardest to be poised and sweet, but she is just too down-to- earth for that and her candid stories and jokes are somewhat disarming for the seriousness of the music.
As the words of the formidable Judith Wright ring out across the auditorium the themes that Judith wrote about so passionately bought to life still ring true. The environment, love, passion, desire are topics that still resonate with audiences today. With music arranged by composers Carl Vine, Iain Grandage, Paul Dean, Katie Noonan, Andrew Ford, Elena Kats- Chernin just to name a few the music is an innovative way to bring to life the furious writings of one of Australia’s most loved poets.
After the interval the Brodsky quartet are given a chance to demonstrate a sample of classical music, however they choose to deviate from the program and play a piece aptly named ‘Strabroke’ that takes the listener on a musical journey reminiscent of walking through bush land, birds singing.
We are then treated to something a little less serious with Elvis Costello’s ‘Mood Swings’ taking the audience into the second half. It is followed by an incredible arrangement of Bjork’s ‘ Hyperballad’ and ‘ Possibly Maybe’.
Taking a leaf out of the quartets book, Noonan finishes up by singing sweet song written for her husband and its the perfect way to end the evening deviating from the program. Fittingly she wrote the song on Stradbroke Island and as she sweetly sings ‘ Love is my song for you’ it is a candid and touching way to end the evening.
A play write explores the multiplicity of self by writing of self by writing a play for all his various personalities to perform.
Split into Chapters, the first act sees his various personalities performing an audition of sorts from male and female characters which takes place inside his mind. Characters change and shift form to reveal different aspects of the personalty. Each character forcibly wanting their voice to be heard.
Chapter Two is then a mini film stretching for about 30 min or so that is entitled “Back stories” detailing what seems to be the process of hiring of the actors and rehearsals interspersed with casual conversation and snippets of every day life. Filmed in Brisbane it acts as a way of breaking up the story line and giving an insight to the overall process of writing a play.
Chapter three commences with cocoons on the floor , bodies writing within. In the back of the room a pale woman walks in the lunar landscape reciting soliloquies as the cocoons awaken slowly. As the cocoons open they begin a dance in trance like state. In the back corner of the stage an androgynous figure sits applying make up at a mirror in a muted state adorned in lingerie
At times in the performance there are lines that shine and stand out, however for the most part it is difficult to follow and ascertain what is actually happening. The characters don’t tend to interact and its almost like several miniature performances at once. This makes for some confusing viewing. The costuming is quite effective and the changing between characters during the first act is seamless. For the most part though the entire play is just a jigsaw of lines that attempt to piece together a semblance of an idea or concept of a play and not an actual play. Perhaps this is the idea, that there is an idea giving birth to an idea, however it does not make for coherent viewing.
Some interesting lines such as ” her heroines are the glittering shards of all her old injuries” and ” heavy from the mould that clings to me” are rather poetic and dramatic, however this is just not enough to make the performance really gel; comes across as the rantings of a mad man.