Love songs have always felt strange to me. They can be spine tingling creepy when they want to be, and even moreso if it’s not the artist’s intention. I’ve never been too comfortable writing them because of it. I grew up a bit, discovered some soulful heart wrenchers, and wrote this about an assumed ‘great … Continue reading Abandon Me.
Walking down the Costin Street strip is always an intimidating experience. Observing the crowd that varies from young punks in denim jackets to the mature couples still vibing from the electric Springsteen tour that occurred two months before, I feel a thousand pairs of eyes scalding me as though I was late for a sermon. … Continue reading The Gaslight Anthem, Dave Hause @ The Tivoli. 10/05/2013
Thank You For The Venom
My Chemical Romance
It was the summer holidays that bridged the transition from primary school to high school. I was a jock, over achieving pre-teen who played an unhealthy amount of Tony Hawk’s Pro Skater 2* matched only by an interest in music. 2004’s top 40 was encrusted by the synthetic slick of urban, hip hop and R’n’B; Usher’s Yeah, OutKast’s Hey Ya and Obie Trice’s Got Some Teeth soundtracking school discos across Australia causing some regrettable musical tastes with regards to peer pressure. Continue reading “Thank You For The Venom”
CONNECTIVITY AND CHAMPIONING YOUR OWN SCENE
Interviewing Luke Henery of Violent Soho
Progressing through my years at QUT as a Bachelor of Music student, I have realized that my perceptions and thoughts of a musical career haven’t changed much since high school; I still want to be a renowned live performer and a touring musician. What I have come to realize is that in order for this to occur, I need to create connections with established persons within my local scene. Continue reading “Connectivity and Championing Your Own Scene.”
Creativity vs Virtuosity
In today’s modern age of the Internet and instantaneous media updates, it is possible for anybody to achieve their Andy Warhol dream of having 15 minutes of fame. This also means there is higher percentage of competition to vie for the general public’s attention. For musicians, this presents a new challenge. An artist does not have to be of virtuosic talent to conquer, captivate and hold an audience; a thriving performing artist must be able to compellingly portray their stagecraft, creativity and talents in the live arena to convert, engage and inspire a crowd. Amanda Palmer is an example of such a performing artist that has created a rapport with her admiring audience through her work with the Dresden Dolls and her own solo efforts. This essay will detail methods and techniques that Palmer initiates to charm and captivate crowds worldwide to argue that it is not a necessity to be of virtuosic skill to be engaging. The three engagement approaches of Amanda Palmer’s that are being analysed within this essay are her presentation in performance; her efforts to collaborate with fellow performance artists and the interactivity she shares with her appreciative audience.
An Academic Analysis about Washington, DC’s Fugazi
by Robert Knaggs
Queensland University of Technology.
The music and accompanying culture of the 80s left alternative scenes at a confusing crosspoint. The self-depreciative ideals of ’77 punk started to intensify both musically and in their recreations while heavy metal turned to androgyny, misogyny and glamour; with their best efforts of remaining the epitome of masculinity; consequently becoming the preferred soundtrack to shopping malls and radio stations. The former displayed their own affiliations with unconscious homoeroticism and the latter became so accessible that the parents of the generation’s youth identified with the cock-rock show bands (denizcola7, 2011). This exertion of testosterone-fuelled aggression emasculated and alienated a generation into a standpoint; what’s the alternative?