Latitudes is the new play from emerging Perth theatre group The Lost Boys, and marks the debut theatrical work from acclaimed screenwriter, film maker and musician Mark Walsh. Directed by Mikala Westall it is a work suffused with ideas of memory and of forgetting. An at times clever, meditative and mesmerising piece Latitudes has ensured that the new season at the Blue Room is off to a strong start.
Refugees, asylum seekers and broader immigration have long dominated headlines and political slogans from all parties within Australia, and more recently abroad in Europe and the UK. For many people it is a polarising issue, for Perth theatre group The Last Great Hunt it provided the starting point for new work All That Glitters. A work initially devised as a theatrical response to Australia’s (both its government and its citizens) reaction to asylum seekers, refugees or “boat people” heading for Australia. Director and co-devisor Gita Bezard mentioned in her programme notes that she hoped the play would “provoke a conversation” amongst other things, and I feel it certainly does that; and thanks to the fact sheets placed in the bar and in the foyer, it should at least be an informed conversation too.
Photo Credit: Rebecca Houlden
Jenny Lewis, the former front woman of indie-rock band Rilo Kiley, oozes confidence as she struts on stage. She's wearing a white suit with a rainbow motif while the twinkle in her eye suggests she’s ready to show Melbourne a good time. Lewis and band kicks things off with the Rilo Kiley song, "Silver Lining". It has distinctly pop sound that inspires the five foot tall man in front of me to eagerly bop along. This is preceded "The Moneymaker" and "The Next Messiah", the latter exploring hard hitting blues with a country rock twist to its full potential.
It’s no secret. Sydney has been extremely good to indie bands and fans of the genre in the past few years. I have no idea where it came from, but a handful of acts have created a huge ground-swell that is showing no signs of stopping. That’s what brings us to Rare Finds #1, a new indie club that launched last Friday at Enmore’s Sly Fox. Seems like a simple concept, right? Sydney loves indie, Sydney should have a dedicated indie night.
Everybody knows I have a thing for Scandinavian indie. Swedish indie exports are at an all-time high at the moment and leading the assault are quality acts like electro-pop duo Say Lou Lou. Despite spending well over 90% of their time in Stockholm, it’s also interesting to note that twin sisters Miranda and Elektra Kibley-Janssen are one-half Aussie. It’s only minimal I know, but in their latest effort Lucid Dreaming, there’s something inherently ‘Triple-J-esque’ about it all and on first listen I’d be proud as all hell to claim even 1% of it as Australian made.
If you’ve listened to Synth-pop artist Karl Kling here in Australia, like me, it’s most likely as that featured player from the RAC album Strangers. You would be forgiven for that one. Karl is not big by any means, not yet. But as usual, that’s what makes his self-titled debut album so exciting. It was released earlier this month and going off the kind of influences he’s been hanging around, I couldn’t wait to wrap my ears around it.
March Into Merivale kicked off in Sydney yesterday - a five week festival of food and drink featuring over 50 events at venues under the Merivale umbrella. At yesterday's launch festival, all Merivale restaurants had special stall featuring various dishes for people to enjoy in exchange for tokens. Needless to say, there was a LOT of amazing food - and Johnny Au was there to take it all in. Enjoy his gallery here:
Promotional material for SOHN’s current visit to Australia have mostly led with the whole London born / Vienna based thing, and it’s clear why. The talented multi-instrumentalist’s debut album Tremors was unique and brilliant, even ground-breaking in a way, in that it took that foundation of a very British sounding electronic indie and swirled it together with an inherently European influence to create something fans hadn’t quite heard before.
It had been a long time since I’d attended a show at the Hordern Pavilion, and I didn’t expect the big return to be for such an oddly mixed bill - by arena standards at least. A massive turnout at the Enmore in 2014, and one sold out show at the Hordern “forced” Manchester rockers The 1975 to extend the invitation to another Hordern-load of fans, with their friends Circa Waves tagging along for the ride.
Arriving on typically grey but strangely muggy Melbourne Sunday afternoon, Howler in Brunswick became the ideal venue for the annual Semplesize Block Party. Tucked in behind the beer garden at the entrance, the Howler band room transformed into a veritable playground of raw, local talent that seemed to catered to every music lover’s taste.