Get Notorious | 34
Bow down to the Queen, bitches. It’s June, and really, what the hell else is June good for but that ONE lousy day we get off for our dear Elizabeth’s birthday? Nothing, that’s what. Yes, we are all flowers in the dustbin and yes, yes, yes we are living in a mad parade, but we must never forget why it is so. It’s for the long weekend – it’s for the one Sunday night a year that we can chuck an all-nighter and not have to worry about work or school in the morning and it’s for the delicious Monday brunch at 1000 Pound Bend. Most importantly, it’s for THE QUEEN, though! Oh Lord, god, have mercy.
Let’s not get off topic though. We have got a bunch of cool music and art shit to share with you this month, and if the queen isn’t your kinda gal, it seems as though there are other things to live for this month. Read on, and if you wish to have a chat about the queen and/or other current issues, email email@example.com or firstname.lastname@example.org.
THE VASCO ERA
The Vasco Era are like a Melbourne institution. No, wait; scratch that – an Australian institution. Who can resist the charm of the sweet O’Neil brothers and drummer Michael Fitzgerald? They have one of those perfectly unique sounds that manages to bridge all genres and appeal to everyone. To top that off, their shows are electric, abrasive and completely unabashed. The best of these shows has seen them playing for three hours straight with punters who couldn’t fit into the venue dancing in the street nearby, and the worst has seen front man Sid need his dad to get up on stage and give him the Heimlich maneuver mid-set, after almost choking on a beer bottle cap.
Sadly, fans will be getting their last chance to see the band for a while at the end of the month. The kamikaze of a band is coming to a brief halt with lead man Sid O’Neil heading over to Europe to ‘expand his mind, body and soul’, find out who he really is, become a nomadic preacher of some description, start a cult, make cult music, kill everyone in the cult, and potentially get a cute yin and yang symbol tattooed on his hip in the process.
That was a lie. Says Sid, “I am really just going to party and look at old stuff (although, there is always a chance of a tattoo.)”
The Vasco Era are known for their typically rock n’ roll behaviour as well as putting on one of the best live performances Australia has to offer. This has seen them supporting the likes of The Black Keys, Wolfmother and The Hold Steady, as well as playing a host of Australian Festivals. This rock n’ roll behaviour continues on when they are not playing though, and Sid can often be seen getting down and dirty in the crowds at these things.
Case in point: Golden Plains this year. Sid was hard to miss as he gallivanted around with a mad look in his eye and a giant blow up horse in his grip. He laughs, “Yeah, I was pretty wasted … I thought it looked like my girlfriend, and that became my friend for the festival.”
His favourite festival experience(s) have always been at Rainbow Serpent though, he continues, “I love everything about that place. Everyone is nice and nobody cares what you do (so long as you are respectful to the other people).”
Sound like the kinda guy you wanna party with? The band will be throwing one last soiree for their loyal fans at The Corner Hotel on June 22nd, which is set to be a pretty top-notch night. The intimate confines of The Corner will be made even more intimate by having friends of the band supporting (that is one Fraser A. Gorman and Luke Legs & The Midnight Specials), as well as free cuddles offered to those who are keen. Yeah, you heard that correctly – free cuddles!
“It’ll be three minutes per cuddle. You don’t need to line up.”
The question on everyone’s lips, of course, has got to be “Where does that leave our relationship with your band!? Will you guys give us anything new to listen to on repeat before you leave us cold and alone in a gutter somewhere?”
There is a slight glint of hope for fans hungry for something new. According to Sid, a couple of demos were recorded earlier in the year. Though no formal plans have been made to release these gems, anything is possible. “Mostly you’ll just be cold and alone though.” Ouch.
In the band’s absence they suggest you check out local bands Wild Dog Creek and The Bluebottles to fill the void that they will leave though.
“One is long trippy stuff with heaps of loops, and the other is surf music.”
Friday 22 June Corner Hotel (18+) MELBOURNE VIC
With special guests Fraser A. Gorman and Luke Legs & The Midnight Specials
Ticketscout – https://corner.ticketscout.com.au/gigs/541-the-vasco-era
- Ella Jackson
“And he sailed off through night and day
And in and out of weeks
And almost over a year
To where the wild things are.”
10 June 1928 – 8 May 2012
Brooklyn born Maurice Sendak pioneered the history of Children’s Literature. His work consists of over 100 children’s books, including creating over a dozen picture books he both wrote and illustrated. Largely self-taught, his only formal art training was attending night school for two years at International Art Student League of New York, having decided to become illustrator after seeing Walt Disney’s film Fantasia at age twelve.
Early in his career, he worked as a commercial illustrator and a window dresser. This lead to producing various animated television series based on his illustrations and experimenting with film. In the second half of his career he took to designing theatrical sets and creating costumes for ballets and operas (all the while continuing his career in children’s books.)
Of course, Sendak gained international acclaim for the writing and illustrating of genre-breaking and career-making Where The Wild Things Are (published by Harper & Row in 1963), which has been a fixed and essential ingredient of many a childhood with its imaginative visions and good morals.
Sendak’s depiction of these fanged monsters concerned some parents when it was first published, the characters being somewhat grotesque in their appearance. This caused controversy and censorship challenges that continued all the way through to 2009, when the film was adapted. Sendak rejected parental concerns about the movie being too scary, stating that if a child couldn’t handle it, they should “go home. Or wet [their] pants… do whatever [they] like.”
Sendak himself was desensitized to the ugliness in the world, being exposed to death and the concept of mortality at an early age. He was always very conscious of the arbitrary nature of life, having had European relatives perish in Nazi camps as well as being himself a very sickly child, constantly quarantined. He relished the miracle of having survived for so long, once stating, “I learnt early on that it was a very chancy business, being alive.”
The childhood sick bed to which he was often confined spurred the creation of Wild Things, drawing memories of a pack of middle-aged gargoyles (his aunts and uncles), who hovered about unpredictably, well intentioned, if not somewhat slightly threatening, with their snaggle-toothed grins.
Sendak drew inspiration and influence from a vast number of painters, musicians and authors. However, his earliest memorable influence was his father, dressmaker Phillip Sendak. According to Maurice his father would tell his own reinterpretations of biblical tales to him as a child, however would embellish them with racier details. Naturally, young Maurice did not realise that this was inappropriate for children, and would frequently be sent home after retelling his father’s softcore Bible tales at school.
Considered one the most important children’s book artists of the 20th century, Sendak wrenched the children’s book out of the safe, protected world of the nursery, and faithfully plunged it into the dark, terrifying and hauntingly beautiful recesses of the human psyche. Sendak’s characters are headstrong and obnoxious, and his iconically grotesque illustrations and plots fraught with an unsettling rupture. They wholly portray a beautifully illuminated world, with varying and flamboyant shades of the lovely and dreadful and wakefulness and the dreamscape.
He had always refused to simply patronise younger readers and sugarcoat his narratives. His only obligation was to create something true. “I refuse to lie to children” he said, “I refuse to cater to the bullshit of innocence”.
May Maurice Sendak’s legacy continue to roar their terrible roars and thrill many more generations of children and adults to come. RIP.
- Melissa Pineda
Melbourne teenagers and dream pop wunderkinds Snakadaktal released their first offering since 2011’s self-titled EP yesterday. New single ‘Dance Bear’ is now exclusively available to stream through I Oh You’s soundcloud, right here:
Discovered by Triple J last year while they were still in high school, this band has done nothing but rise steadily, with tracks such as ‘Chimera’ and ‘Air’ receiving wide acclaim from the general public as well as clocking up an impressive amount of airplay on local radio stations. Yep – they’re another one of those young bands like Stonefield that make you feel god awful about your own life.
The track is available to buy commercially through iTunes as of today.
It’s getting to that precious time of the year again… the leaves that litter the streets are almost all shades of orange, it is becoming increasingly more difficult to leave the house without a jacket, and all over Melbourne, musos, bartenders and music-biz types are beginning training for the much loved Community Cup.
An iconic fundraising event that needs no introduction, the Community Cup annually raises money for Reclink’s sports and art programs for underprivileged Australians. Playing host to an impressive array of musicians each year, June 24th will see Blue Ruin, Boomgates, Bunny Monroe and Drunks Mums performing while The Rockdogs and The Megahertz go at it once more.
Get Notorious’ Jim Murray had a chat with organiser Jason Evans in the lead up to the big event and here’s what he told us:
How many years have you been doing the Community Cup?
Well, the first Charity Game was in 1993, Rockdogs Vs the Tote. But the doggies have been playing since 1990, when we played Chasers a few times. We count the first Community Cup as this one in 93, as this was the first charity game for Sacred Heart Mission. So it’s been nearly two decades.
Roughly how much of your time does it take up each year?
A few meetings with the Organising Committee throughout the year are the most time consuming. The rest comes quickly. After the theme pops into my head, the biggest time component is selling it to the other stake holders and charity. A bit of time recruiting bands and footy players too.
What are some of the rewards you feel you receive out of doing it?
People being excited about the Cup and people loving the Cup always gives me joy and smiles. I love the week of the cup, lots of pumped people, lots of colours out and about. It’s the talk of the town and that is very satisfying. I’m very proud of the Cup and I can’t wait for my daughter Lily, who is 3, to enjoy the day with me, that’s her seeing me play footy.
Which is the best player you feel you have ever seen play on the teams?
Well Ross Knight, Tim Rogers and Michael Cini all spring to mind for the Rockdogs. RRR’s Chris Gill and PBS’s Ruby Koomen are stars. But the best ever is Sam Pang, dual Connolly Medalist.
Do you ever feel that it has become too popular and an insatiable beast to feed?
No I don’t think it has, what is popular anyway? I like it that all my x girlfriends can come along, they make a large percentage of the crowd. Re the beast, as long as it keeps getting fed, so be it. I’ve always said, if people don’t come, we might try something else.
Has there ever been any serious on-field biffo?
The only thing I have ever seen was off field, and that’s when RRR’s Stewie Farrell knocked over fellow broadcaster Leapin Larry L, for the last pie, in the pie cart one year.
How hard does the losing team feel the loss?
For the Rockdogs, about 5 minutes. I think the Megahertz feel it for 364 days, but that’s just a guess.
What surprises can we expect to see when the final lineups and positions are released?
Rockdogs coach Paul Kelly is giving nothing away, I’m on the Rockdogs committee and he has banned me from meetings. So I really don’t know what’s going on. I think the club has drafted well, a few kids etc. Training has been great. I don’t want to sound cagey, but I really can’t add to the line up and structures.
Has any muso or radio jock ever been recruited to the AFL after being spotted by a scout during a community cup match?
Yes Money For Rope’s Michael Cini, turned down a Carlton FC contract.
Why did you kick Jim Murray out of the Rockdogs Team last year for the Tim Hemensley Cup, and did it hurt to see his star turn as The Workers Club demolished the Tote after the cellar dwellers the Rock Dogs had the ignominy of playing the curtain raiser?
Who is Jim Murray?
As it is a fundraising event, The Community Cup needs as many volunteers as it can get in order to run smoothly and give attendees the best possible service they can. If you are interested in volunteering, head on over to this page here:
- Jim Murray
On the outskirts of Adelaide, city of churches, lives a humble yet devoted organ enthusiast that goes by the name of Barry Morgan. Day-to-day Barry sits (and sometimes stands) in his shop, World of Organs in the Sunnyside Mall and shares what he is most passionate about, selling beautiful organs to people at the best darn prices possible. It is a simple life, but one he wouldn’t trade for the world.
Barry Morgan ain’t no pencil-pushin’, slack-wearin’ square though. Besides selling organs, he is quite the virtuoso as well. He has built up a smashing rep within the Sunnyside Mall for his exciting one-finger playing technique as well as his handsome haircut, which he gets done at Ken’s Cut n’ Curls, (also in the Sunnyside Mall).
After years of living in relative obscurity, Barry Morgan has had the chance to ‘cut some sides’, and is releasing an album entitled The Touch of You, which is kind of a dedication to the Hammond Aurora Classic (the ultimate spinet organ).
The songs were composed on the organ, “just by selecting a beat then a groove on a bakelite button and letting the sound wash over me … the melodies come popping out everywhere,” says Barry, who will be playing a show in Melbourne at The Regal Ballroom later this month.
The tour will be sponsored by various shops in the Sunnyside Mall, which has become somewhat of a family to dear Barry.
“Yes Nigel and the boys at Sweet Meat’s Butchers are always forthcoming with lifting the organ onto the roof racks of my trusty Toyota Crowne Royal Saloon!” says Barry, having a chuckle about some of his ‘sunny’ friends.
His one-finger organ technique has become the talk of Sunnyside Mall, and luckily for you, he says it is not a hard technique to learn.
“As the name suggests it requires the use of only one finger – any finger will do that is entirely up to you. First get your finger up then altogether touch and release! Then follow the coloured dots on the keyboard and the coloured bars on the music and away you go – beautiful instant music in less than five minutes!”
If you would like Barry to teach you this versatile technique, you can visit him at The Sunnyside Mall where his shop is opens five days a week and he will be more than happy to give you a demonstration. Don’t be surprised if you walk out one organ richer though, as the cunning salesmen could just about sell ice to an Eskimo with his crafty sales tactics. He offers everything from free “ultimate spice racks” to bar fridges full of hot cross buns to those willing to spend big bucks at his shop.
If Adelaide is too much of a hike for you, check him out at his Regal Ballroom show though, where he would be more than happy to talk to any potential customers about the current deals he has going on. He states, “[The show will be] a great chance to pick up a signed copy of my debut CD and hear the Hammond Aurora Classic being played through Twin Leslie speakers. There is also audience participation and some giveaways.”
We here at Get Notorious are having a little giveaway of our own. If you would like to check out his show at The Regal Ballroom but are low on cash, we have a couple of double passes to give away. Email email@example.com for your chance to win!
- Ella Jackson
WHAT’S ON IN JUNE?
Eight Miles High
Dust off your winklepickers – the east coast’s annual celebration of psych, garage, shoegaze and surf is back and bigger than ever. This Saturday the 16th it’ll be making its way to Melbourne after two blow-out shows in Sydney and Brisbane. Melbourne’s psychedelic warlords The Demon Parade will be headlining with a few new additions to the band as well as a new track or two. Joining them will be Sydney’s Sister Jane, (a favourite of ours here at Get Notorious), as well as local gems Lowtide, Buried Feather and Flyying Colours.
The Lovetones are at it again, this time releasing a ‘Collected Works’ album, which will include 17 tracks as well as a live DVD. We are excited to have one of our venues hosting the release party. June 23rd will see them bring their mind-melting jams to Worker’s Club, with Brent Deboer’s Immigrant Union and newcomers Field Trip supporting.
Also at The Worker’s Club this month, rock n’ roll maestros Kingswood are headlining not one, but TWO nights. They will be combining forces with Money For Rope and Damn Terran to create a three-headed assault machine that would compel Godzilla to retreat to the depths of Tokyo Bay on both the 28th and 29th of June. Don’t miss out.
Jimmy Hawk & The Endless Party
Jimmy Hawk & The Endless Party are releasing their THIRD consecutive album in three years on June 30th. Liberty Sunset Blue was recorded at the end of last year in LA, and is said to be their first foray into ‘blue-eyed soul’. Supported by the dreamy Brave Face and Gosteleradio this’ll be an event any music lover would be kicking themselves if they missed.
In more of a DJ/dancing (or swaying, as the case may be) kind of mood? Also on June 30th is Requiem, Melbourne’s bi-monthly goth night at The Liberty Social. Host to a mix of cyber goths, punks, mod goths, hipsters and on occasion yuppies who don’t really know what’s going on, Requiem plays a mélange of gothic, post punk, industrial and wave music. The Lib decks itself out in candles and other cool things for the night and even offers $4 ‘Requiem Shots’. What’s not to dig?
REVIEWS – WE WUZ THERE
Brian Jonestown Massacre @ The Forum 19th May
It’s 7pm and doors are about to open for Brian Jonestown Massacre’s show at The Forum. Backstage, charismatic pseudo front man Joel Gion and founding member and guitarist Ricky Maymi light up a cigarette. “What is the question we get asked most frequently at these things?” says Joel, taking a puff. “Is he really crazy?” he continues on, a childlike smirk spreading across his face.
He is speaking, of course, of the esoteric Anton Newcombe. The leading man and patron saint of BJM has been called many things over the years – a creative genius, an emotional train wreck, a publicist’s nightmare and, of course, a complete tightrope-walking mad man. What is he really though? Founding member, front man, song-writing wizard, multi-instrumentalist, producer… perhaps a genius?
Anton paces around backstage, his rhythmic footsteps echoing throughout the concreted labyrinth. He tries to find a good wi-fi signal for his laptop. As well as producing his own music, Anton is a firm supporter of many other artists, hosting his own online pirate radio station. Also a believer of free music, the station, Dead TV, on occasion broadcasts their gigs live, video and all. If he can find a good wi-fi signal, that is what he plans on doing tonight.
Meanwhile in the theatre, punters, and askers of the question “Is he really crazy?” start pooling in, already securing their places as close as possible to The Forum’s epic Romanesque stage. A ubiquitous feeling of excitement winds its way around the room, making its way in and out and up and down the arena. A murmur of “No, don’t stand there, you might get kicked in the head!” can be heard, to which the band’s more adept fans give a pronounced roll of the eyes.
Smoke billows ritualistically from the depths of the concaved stage, an ethereal haze. This marks the arrival of Sharin and Sune of The Raveonettes, who stride out into the blaring stage lights like wildcats. They make their presence known, and despite the fact that there is only the two of them and a touring drummer, the stage does not look sparse.
Like a cold hand on a bare shoulder the music swaggers to a start, bringing a harsh chill with it… the drum machine releases a steady boom… boom… boom, and blues and purples ravage every sense – they are all that can be heard, all that can be seen, all that can be tasted, all that can be smelt, all that can be felt.
The band twirls its way through all the fan favourites, with Sharin and Sune taking turns singing lead vocals. ‘Love in a Trashcan’ and ‘Lust’ are obvious favourites, causing a stir in both the rampant fans of the audience and those who were hearing them for the first time on this night. The set plays out like an alternate soundtrack to Lost Highway, or perhaps Wild At Heart, fittingly finishing with the Nabokov-esque romanticism that is ‘Aly, Walk With Me’.
Whispers swell throughout the theatre – it isn’t long now until the band of the night arrives.
Newcombe’s cult-like following greet their messiah with a mass of screams and roars as the band slink onto the stage. Anton takes his usual place to the audience’s left of the stage, firmly out of the spotlight and obscured by shadows. Here, he can fade in and out of view as he wishes throughout the set, a grinning magician.
The band immediately cracks into a set that has the perfect mix of something old, something new, something borrowed and something blue. The familiar hits are there, largely found on Tepid Peppermint Wonderland. Happily, they showcase many of their new songs too, from the aptly titled Aufheben, which roughly translated into English can arbitrarily mean “to lift up”, “to abolish”, or “to sublate”.
There is something distinctly futuristic about the new album, though obviously being nostalgic in nature. Apocalyptic, this translates well in the live performance. The eastern-influenced songs evoke memories of past lives, or perhaps of our ancestors who journeyed the deserts with flowers and dusty handkerchiefs in their hands… these ancestors must have known something that we don’t though, for they have seemingly seen the stars and the moon within touching distance. They have touched eternity.
‘There’s A War Going On’ kicks into a slow burn, played slightly less frantically than in the recorded version. The misleading apprentice, Joel, becomes the actual front man for this song, providing smooth vocals over the House-of-the-Rising-Sun-esque tune. The words cut just as deep and are just as politically relevant today as when Chris Lucey AKA Bobby Jameson recorded it in 1965.
Much older tune ‘Wisdom’ is a crowd pleaser and sounds exactly like the front cover for Methodrone looks – a haze of liquidised colours and textures. For the second time of the night, blue and purple can be heard predominantly throughout the venue, throwing senses into overdrive.
Punters make bold efforts to get a rise out of Anton, heckling him from all the over the place and basically being nuisances in general. They begin putting in song requests towards the end, to which Anton keeps fairly calm, saying something to the effect of “No, I’m too old to take requests. Sorry, it’s a dignity thing.”
As the set draws to a near end, the Matt Hollywood lead tune ‘Oh Lord’ is a highlight, receiving a frantic response from the audience. They twist and turn and writhe and shout to no one in particular, “SAVE ME, SAVE ME, SAVE ME FATHER, FOR I HAVE SINNED…”
Just as everyone is getting all worked up, the set takes a turn for the surreal side. Anton makes a move to the keys, previously inhabited by Robert Bartholomew, and a few of the members leave the stage. A caldera of soundscapes washes over the room, using an effective kind of minimalism.
The sound sways backwards and forwards like a hypnotist’s pendulum, the demure Newcombe commanding the stage quietly from its outer reach, watching on with a vexing grin, as if to say,
“THOU SHALT NOT SMIGHT THEE, FOR I HAVE RISEN ONCE MORE…”
BOOM. Ende. Durch wenig aber ein Wunder, Aufheben war erzielt worden.
- Ella Jackson
The Jezabels @ Festival Hall 1st June
Only one time can this scribe remember leaving Festival Hall thinking, “What the hell just happened?” That was after sitting through an hour and a half of instrumental Slayer at the gig where Tom Araya had lost his voice. The same question was asked upon leaving the venue after The Jezabels’ show on Friday, June 1st.
The band had just dominated the stage for over an hour without taking a breath. There was only one occasion when Hayley Mary stopped between songs to address the crowd, and that was just a few simple words sometime after the fourth or fifth song. It seemed that they were trying to cram as much into their set as possible, and the general feeling most punters seemed to share on the way out was something similar to what you might feel if you got seven nuggets in a six-nugget pack.
It was easy to become quickly immersed in the experience. Hayley, though small in stature, commands the stage with the dominating presence of a natural front-woman. She leads the crowd like a crazy, but sexy, cat lady (without the cats). Nick Kaloper frames The Jezabels with the hard and tight rhythm of a marching band drummer who, like Kevin Bacon, just wants to dance. Samuel Lockwood occasionally seems to forget he has knees and rocks at the hips like he’s cemented into an oil drum. However, he maintains the captivating presence of an axe man who is completely submerged in the “here and now” of his craft. Heather Shannon traverses her keys with the tender care of a classical pianist, while extracting from her instrument emotion and intensity that seems to bring Jezabels fans to the brink of both hair pulling and mass hugging at the same time.
This reviewer’s personal highlights of the show were Endless Summer, Nobody Nowhere and the point in the encore where everyone was treated to the spectacle of seven iPhones swaying completely out of time to the music… and one Nokia.
- Aidan Hogg
Creo Nova, a collaboration between artists Benjamin Kolatis and Alex Cuffe, is sure to bring about a BANG, WHIR and a ZHIT to their audience’s art experience.
Benjamin Kolatis, a sound and sculptural artist who plays with electronics and programming, develops sound sculptures and improvised performances with a conceptual focus. These installments use a mélange of fruit, light, graphite drawings and touch-controlled sound, light and video through handmade MIDI gestural controls.
Kolatis is also one of the head curators for Handmade Music Festival, a festival organised by dedicated builders of instruments. HMF celebrates all things handmade in contemporary experimental building design, showcasing unconventional and surprising sound devices which range from circuit bent toys, handcrafted resonators, hacked television pirate transmitters and fruit controlled synthesizers.
Now meet his collaborator Alex Cuffe. A multidisciplinary artist, Cuffe works across sculpture, installation and experimental sound. He has delved into the likes of instrument building, “experimental beer building”, and even tried his hand at being a videographer.
Inspired by convoluted theories drawn from science, geometry, astrology, kinetics and acoustics, Cuffe explores the phenomenon around sound, light and image construction. He utilises the aesthetics of the “backyard inventor”, where lo-fi materials and natural matter coalesce, transforming via new media technologies.
Creo Nova featured a series of performances, installations and public sermons throughout the Next Wave Festival 2012, including the Next Wave Opening House Party performance, with Matthew Watson captaining a classic steamboat cruise named ‘Our Magic Hour’ across the Yarra River.
Creo Nova showcases immersive art at its zenith, promoting DIY culture and interactivity, simultaneously embracing the dense and multi-sensory, and the visceral and ephemeral nature of the art experience.
Creo Nova’s noteworthy installations on display throughout the Next Wave Festival were at both Dear Patti Smith and Fracture Gallery, and featured megaphone whirlwinds, singing plants and deep-sea gurglers.
‘Give Us A Look’, at Dear Patti Smith, documented the artistic experience of being in Next Wave festival, with videos by artist Monte Masi. These were played on screens littered throughout the space, and deployed humour and self-parody towards the processes and perceptions of contemporary art practices.
Venturing outside, to the balcony of DPS is ‘Genesis of Biosynthia’. This giant synthesizer controlled by plants provoked awe and wonder. The playfully radical, out-of-worldly plant invention reinvents the role of organics in a rapidly evolving mechanical world.
At Fracture Gallery, located within a slice of The Atrium at Federation Square was Pataphysical Hippocrates, which was self-described as part installation, part B-grade science fiction film set. In this installation visually stimulating and thought provoking kinetic sculptures fused with science lab experiments and sonic manipulation to tickle the audience’s aural senses.
Further curiosities were presented in the gallery with the seemingly interactive series of installations that were teasingly located behind bars and glass. This somewhat separated the audience from the art, limiting you to spectator status while yearning more for the sensory seductive experience.
Creo Nova tickled the imagination and opened portals to wild universes and dimensions, to which wholly and certainly inspired a thrilling bang, a curious whir and loud zhit.
- Melissa Pineda
Win Tix To Mirusia @ The Regal Ballroom
Arguably Australia’s top soprano, Mirusia Louwerse is making a triumphant return to our shores after 5 long years in Europe touring as Andre Rieu’s head soprano. She will be performing an exclusive east coast tour joined by Sam Moran, and in Melbourne will be hitting up one of our venues, The Regal Ballroom. We’ve got a few cheeky tickets to give away, so if you want one shoot us an email at firstname.lastname@example.org
Win Tix To Barry Morgan @ The Regal Ballroom
The almighty organ-playing-machine of Sunnyside, Adelaide is bringing his whimsical performance to Melbourne on June 30th and we have got a couple of double passes to give away! Go to see his legendary one-finger organ technique, stay for a free spice rack*. Chuck us an email at email@example.com for your chance to win!
* There might not actually be a free spice rack.
JOB OF THE MONTH – INTERN
Ever dreamed of being a big time music journalist? Meeting all your favourite bands and hopping from gig to gig, completely free of charge? Man, have we got the stepping-stone for you. We are looking for an intern. You won’t be paid. This isn’t an actual job and you are kidding yourself if you think it is. You will, however, be required to be at office whenever we want you. This will start out as one day a week, but slowly we will give you more and more work to take home, until, hey, we might as well get you in two days a week… or three! In fact, quit your lousy day job and come work for us every day of the week… because that’s essentially what you’ll be doing whether you’re at the office or not. This will still be entirely unpaid, mind you.
You will get the glamourous task of updating the website, getting coffees for your office seniors, running about the city for us when we don’t feel like doing it ourselves, and maybe, MAYBE even get your own @getnotorious.com email. But you probably won’t – that is for more important people than you. Perks include free tickets to gigs, interviews with rock stars and maybe the odd free drink. That said, with each free ticket you must write a review… and this will not only be for events you like… you’re an intern, and if we want you to review some shit gig for a publicist we want to be on the good side of, you’d better damn do it. We don’t care if it’s your grandmother’s birthday. Same goes for interviews. Don’t know who Barry Morgan is? Find out who he is.
If this sounds like the job for you, email firstname.lastname@example.org with a full resume and a list of bands you like. Did we mention this is unpaid?