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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.
Zak Pidd gets down to his jocks and is only saved from being arrested for public full-frontal by a quick sleight of his own hand. The crowd bays for an encore as soon as the band leave the stage but all we get is a Leslie groin thrust.
On and off the stage, the Tote soon becomes a scene of chaos, with beer swilling and crowd surfing, as he bounces about the stage more out of impulse to his music than homage to his moniker.
Sex On Toast are a hard act to follow but the wonderful Vaudeville Smash do it with panache. It makes you move. Theirs are songs about drunken cowgirls, roller discos and dirty old men.
Sex On Toast brought the sex. Vaudeville Smash bring the sax and the flute. They are masters of the catchy hook and the hands-in-the-air chorus.
It really might be the truth. Though Costello sometimes fumbles with the guitar parts and plays with lyrics in an offhand way, his wry wit and deft charm fuel the show.
At times he flirts between Lux Interior, Joey Ramone and Del Shannon-like vocal stylings, all with a reckless and soulful abandon.
Their sound, and so too their performance, is manic and unhinged, mixing the fuzzed out, abrasive bass of Big Black with early era Black Flag guitar sounds.
Nobunny is something San Francisco local Justin Champlin. Once Brendan Huntley finishes rearranging microphones, Boomgates get their set underway. Their eyes are fixed on Al Montfort who is knocking out a simple drum pattern while putting the rest of his energy into his vocals.
They seem unsure when to finish their set but East Link eventually launch into a noisy closer that fits nicely with the ethos of the night.
Justin Champlin appears on stage in his usual half-arsed rabbit attire as Nobunny. From the first burst of noise, the crowd has situated themselves in their preferred positions.
Those who are content to rock-out introspectively form a horseshoe around a frenetic pack of punters in need of urgent energy release.
Dwyer manipulates his whole body around his guitar, moving effortlessly from captivating psych licks to full-blown distorted jams.
As he drives the lightning tempos from front and centre, drummer Mike Shoun holds an expression of intense concentration, only broken to wince at the poor technique of the stage divers.
The San Fran outfit manage to demand full attention for a set that extends well over an hour. Punters react joyously as each new song is struck up, with The Dream and Lupine Dominus going down particularly well.
The track he opens with features samples of the satisfying smack of a basketball, with his own vocal lines layered in as the song progresses. The set is fun and energetic and gets the swelling crowd dancing, although Jonti perhaps relies a little too heavily on pre-recorded material to truly show his compositional strengths live on stage.
Independently, they also played in a lick of notable indie-punk rock outfits, including Be Your Own Pet, and have collaborated in recent years with Best Coast and Jack White, artists not unfamiliar to Australian shores in this period either.
Thankfully now, the duo once again bring their no bullshit, energetic musical offspring to the Corner hotel, amidst their broader Big Day Out tour.
The sold-out room has come to see Hermitude though, and Luke Dubs and El Gusto receive the warmest of welcomes when they take the stage.
They are masters of their dancefloor domain, and they get the crowd moving early with All Of You and Sloucho Darx.
Their set is heavy on tracks from their latest hit album, HyperParadise, with a smattering of hip hop and older work thrown in for good measure.
While, generally speaking, little good amounts from incestuous relationships, the siblings continue to produce not only savoury, but utterly enthralling music and live shows.
Hermitude tackle this issue by delighting in the chance to showcase their talents live — Luke Dubs drops some fiendish keyboard solos including a particularly impressive one summertime anthem, Golden , while El Gusto scratches up a few storms.
The duo keep the crowd thoroughly engaged — in fact, they only welcome one vocal guest to the stage: They round out the set with the dark swagger of The Villain before being coaxed back for an encore — the hauntingly strange Cloud City.
Before they leave the stage, they make sure the audience is dancing, sweaty, exuberant and thoroughly satisfied.
Guitarist and singer Jake moves on stage like a cobra; the ones you see in Arabian tales, lured in and out off a wicker basket, instantly and endlessly mesmerised by his own fuzz rock, with this fixation clearly contagious to the audience.
Perhaps more poignant is the musical cohesion between the musicians — perhaps just an extension of their genetic bond — but whatever it is, the set is tight and hard to fault.
They near conclusion with crowd-pleasers such as Sixpack and Whatever I Want already dished out, and the boys take a rough-and-ready approach to the encore.
They announce the serving of two or three more songs without an extended exit and a laboured return to stage.
Rather, JTB endure without pretention or indulgence. Closing finally with U Got The Look from their album Heavy Days, the song credited with bringing them global attention and repute throws the audience into exultation.
JTB have humble beginnings, their first instruments cast from paper and plastic, but rigid determination and diligence plus a tremendously musical father, Robert Ellis Orrall have allowed the boys to become masters of their genre in only their 20s.
Their Corner show is a reminder of this. The band are expected to release a video clip for the first single Teeth this week. They will launch the album at metalobsession.
But it has taken this long for the two artists to join forces officially and release something under both of their names, which makes Old Yellow Moon a very enticing proposition for any lovers of American country music.
Crowell — a Grammy-winning songwriter — contributes four songs to the song record and the rest of it is made up of reinterpretations of killer tunes from the likes of Roger Miller, Hank DeVito and Allan Reynolds.
Any new Neil Young release is a pretty exciting proposition, and this latest DVD that he is releasing next month is particularly intriguing.
Lukather has been involved in some of the biggest pop hits of all time, most notably as guitarist for Toto and on the smash hit Michael Jackson record Thriller, and this record sees him blazing away at his finest.
A huge number of Australian extreme metal acts have been confirmed to perform at Hammersonic — renowned as the biggest metal festival in South East Asia.
Epic progressive Perth metallers Chaos Divine have confirmed that they are seven tracks deep in writing their third album. Sunshine Coast extremists Portal will take their horror to Europe for the first time in July, with a number of confirmed festival appearances in Germany and Denmark already confirmed.
The five-track effort was mixed and mastered by Logan Mader Machine Head, Soulfly with a new track called Meaten available from their triple j Unearthed profile.
People complain about the direction My Disco have taken. I take exception with this. Sure, the actual DVD was released in , but it took them a few years to get it up, so to speak.
Where this is going is that the bands that have continued to create from that bunch have with the possible exception of Love Of Diagrams, who have thankfully kept their trajectory.
I point to a late-arvo Golden Plains set by My Disco a few years back as an all-time Supernatural Amphitheatre highlight.
My Disco, I salute you. And I will be doing so on Friday at the Corner. PVT followed a totally different path, but equally individualistic.
Sure, they dropped the vowels around the same time Tic Toc Tokyo who? This fella really knows his stuff and barring the odd soft kinda punk release he puts out has already gone to the trouble of sifting the region, and beyond, for the best stuff check: The Wonder Years are that type of pop-punk that, while fun, has a slight emotional edge.
Such Gold have built up a huge name for themselves in a few short years, and you need look no further than their debut album Misadventures to understand why.
Living With Lions are that band with the LP with the biblical poop imagery. Called Holy Shit the album shows a band whose music is both dynamic and melodic.
Lastly, Versus The World is a super group of sorts, made up of members of Lagwagon and The Ataris, delivering pure punk.
No excuses not to check these guys out! Rolling Stone magazine has reported that Black Flag founder Greg Ginn has reformed a version of the band for a new album and a handful of live shows.
Gigs so far include headline slots at festivals in the UK, Germany and Tennessee. The most important part, however, is that Henry Rollins is not involved.
With over 26 acts on the line-up, the two most pertinent to our interests are The Amity Affliction and The Bronx. The exhibition will be open until 4 March, running concurrently with the Soundwave Festival for in an excellent demonstration of time appropriateness.
Copies of the book will be for sale at the space throughout the duration of the exhibition so make sure you head along and check out some excellent music photography, including that of some really rad bands!
I left because I had to get away. This year, by coincidence, Glover himself appeared with a band. The Georgia native launched a career as a comedian while attending college in NYC, later writing for 30 Rock.
He has no distinct or consistent sound, swaying from modern epic boom-bap to EDM rap as typified by his hit, Bonfire. OG spotted local comic and hip hop nerd Chris Lilley, disguised in a beanie, watching Glover.
Of course, Lilley gave us the controversial S. Simmons even repped his street side with the mixtape cut Beast Mode. Aussie mega-star followed.
Mayers, who offered the single, Goldie, last year, sticks to his purple drank-laced — or opiate — rap on this debut. However, Mayers demonstrates a greater appreciation of musical experimentation.
Friends included Joni Mitchell and Tom Paxton. He had a record deal with Mercury and in he played Carnegie Hall.
He was even famous enough to be mentioned by name as an onlooker drawn to action in the Stonewall riots in a article in the Village Voice.
Van Ronk is only the latest folk singer to be plucked from history and given another spin. Of course, the genre has a seemingly never-ending list of obscure artists from which to draw, helped by the ease and style of recording at the time.
But recent months have thrown up some pearlers, Van Ronk included. Though a band accompanies Fay for swelling folk rock numbers, the best of the record is its stark moments in which Fay is joined only by a piano or strings or, in the standout song Be At Peace With Yourself, a gospel choir.
In the US film, Keep The Lights On, which played at the Melbourne International Film Festival last year and continues to find audiences around the world, the songs of American songwriter Arthur Russell add a fair heaping of heartbreak and drama to the story of a relationship damaged by drugs.
Kerser What have you been listening to for the last week? The triple j Hottest is so two weeks ago and the number one song was totally a novelty hip hop track that mentions onesies and I love it, so deal with it, folks , but with the release of the top-voted tracks from to , I just wanted to draw attention to the sheer volume of Australian hip hop that scored significant love in the countdown.
Congratulations to Tuka, Urthboy, Spit Syndicate, Pez and our favourite genrecrossers TZU for getting tracks into the portion of the countdown.
These are officially no longer niche votes — people are loving what Australian hip hop artists are putting down. The Espy will have all three stages blasting with over 15 bands throughout the evening from around 5.
YEO How did you get together? He kindly got in touch after hearing my music, saying he liked it. In turn, I had a listen to his stuff and I discovered he was a very talented kid.
Consequently, I chose him as a support act on my first tour to Melbourne, and it turned out to be his first show with his band, which also featured John [Barkley, keys].
After moving here, I played with John and Luke in different incarnations of my band over the years, and though the new material is not what they are used to playing musically, it felt natural to have them on board for it.
Have you recorded anything or do you prefer to tool around in your bedroom? I have a small studio set up in my loungeroom and very lovely neighbours, so it works well.
If you could support any band in the world, who would it be and why? They would pull off an incredible high-budget show and expose us to tons and tons of screaming girls who like to dance.
This Tuesday the Curtin presents mega harmony, alt-country quartet Strine Singers free in the front bar.
The Brisbane singersongwriter is excited to be joined by Melbourne band members, Karl Evans bass and Desmond Nazareth drums. He will be supported by Al Parkinson on the night.
Okonomiyaki is my specialty! Nihonshu — the friendliest bar staff and always something new to try on the drink menu. When and where is your next show?
They will be bringing their infectious goodtime country blues to the Retreat Hotel this Saturday from 7. The doors open at 4pm. Tickets are available via the Summer Series Facebook page.
Touring abroad for most of , Aurora Jane has creative mojo to burn and is focused on recording her new fourth studio album. Her trio will be playing shows around the country this summer on the Lazy Monday Summer Tour and will be joined by the amazing Sam Lohs this Sunday night at the Retreat Hotel from 8.
A pre-party will be held at the Karova, featuring all the international acts in a wild jam session to get you warmed up for the weekend.
Head to the Northcote Uniting Church from 7pm. Probably a pretty normal one. Free entry every week from 9pm until late.
Melbourne hardcore punks Aviar put on one hell of an explosive and energetic live show. They will be joined on stage at Revolver Upstairs this Thursday by fellow punks The Pitys and the laid back musical attack of Witness To Treason, who have both recently released debut EPs.
The doors open at 7. Harry Hookey is a musician of the alt. Catch Harry Hookey tonight Wednesday in the Retreat front bar from 8. Lone Tyger bring their explosive boogie blues rock to the Vic hotel for a Saturday night residency during February.
They will be playing two sets including never before heard songs and rocking blues covers. This week the support comes from Peter Ewing.
Entry is free with the doors open from 9pm. What is your venue famous for? Cracking Australian and international music acts in a quirky suburban garden-inspired setting.
What sets your venue apart from other venues? So far, it would have to be Fantine belting out her cover of When Doves Cry set against the spectacular Australia Day fireworks you could see from our grass roundabout.
Sum up your venue in three words: Contacts for the venue: Glacier are supports for this Tuesday. This Friday and Saturday, Warped will be playing different sets, with songs from the whole catalogue being played by past and present members.
Tickets are available through Oztix. She will be joined by Mattriks on sampler and live beatbox.
The doors open at 8. What is your venue doing to help the local music scene? Our line-ups are very Melbourne artistheavy.
If a higher power smites your house and you can only save one record from the fire, what would it be? Kazemachi Roman by Happy End.
Do you have a lucky item of clothing you wear for gigs and what is it? Not specifically for shows, but my Nintendo baseball cap is never far from being on my head.
A concert will be held on Wednesday 13 February on the lawns of Federation Mall, Parliament House to celebrate the fifth anniversary of the historic Apology to the Stolen Generations.
The free concert, held from 5. This is going to be a one Saturday night dance lesson not to be missed. Bibby and Johnson play the Vic Hotel this Sunday from 5pm.
It kicks off at 5pm with free entry. The debut EP from the project is an effort that should see her push her new artistry agenda to wider public consciousness.
All recorded in her home studio, at times it feels as if too many ideas have been forced onto the tracks — choking the hooks.
But MacRae is a proven songwriter and there are some great moments here. The muscular debut single Shoestring is the celebratory sound of an artist freed from commercial limitations.
Alien tells the familiar story of isolation in society but its slight off-centre production and delivery sees it rise above the other tracks on Oh Innocence.
On his new release, Eli Wolfe does both these things. Doors open for dinner at 6. The band have just finished recording their next big album of originals and goodtime blues.
Catch Heather Stewart in trio form this Sunday afternoon when they play the Retreat Hotel beer garden from 4pm. Backed by a full band, she will take to the stage this Sunday at the Evelyn Hotel.
Come along to enjoy an afternoon of sweet sounds as it kicks off at 1. The music starts at 8. Songs have announced that we will be returning to Melbourne for their first show in over a year.
Orpheus will be joined by Eternal Rest, who are launching their debut album Prophetic. They are renowned for their ecstatic live performances and boundarypushing records, all within a comfortable Fleetwood groove.
Lead single Sharm el-Sheikh rips through in less than two minutes and despite the energy is probably the weakest track on offer.
Final track Brutus is infectious with a backing chorus vocal that hits the sweet spot. The sheer intensity of the The Shark Attack makes for a memorable debut.
With a good vocal mix and streaks of humour running through their tunes, these guys could become cult favourites. They play Cherry Bar this Friday.
Singalong Society is all about relaxed community singing. It happens the first Wednesday of every month tonight from 7pm at the Caravan Music Club.
Doors open at 8. Head to the Caravan Music Club this Friday to catch three couples performing: He returns to the Caravan this Saturday, with special guests.
Oh, Sleeper are ready to annihilate Australian stages as they support their third full-length album Children Of Fire. The pair had a few jam sessions and not only did their two styles instantly gel together but Cooper brought a much needed electric energy to the live performance of the songs.
Recently formed, the band have had success on triple j and scored themselves accolades from across the board. El Moth play this Tuesday at the Evelyn as part of their summer residency.
Expect some guest musicians and epic jams, and of course the mood-elevating blend of reggae, funk, rock and hip hop that the lads are known for.
The night will also feature sets from Old Medicine and Matt Kelly. The music starts at 4pm. Catch the Stetsons this Saturday from 9pm at the Drunken Poet.
Iain Archibald has been likened to famous acts such as Keith Urban and Jason Aldean, bringing modern sounds of country to Australia.
He will be playing at the Retreat Hotel this Saturday night from 11pm, following some country blues rock from Lot Doors open at 10pm with free entry.
After their debut European tour, Sydney based duo Fabels bring their debut record upstairs at the Gasometer. They play psych, gaze-goth and dream pop with projections enhancing the noise and melody of their sound.
The Stillsons return with a Thursday night residency at the Retreat Hotel throughout February, with support from some of their favourite bands.
Musician, presenter, musical composer and voiceover guy, Nick Saxon is all three of these and more.
Saxon will be launching his brand new single this Friday night at the Retreat Hotel with support from Austin Busch. The music kicks off at 9.
What started off as a few friends jamming on some Afrobeat in a tiny share house soon grew into the nine-piece juggernaut, The Seven Ups.
The folk-based tunes push past their humble designs with sprawling middle sections, distinct backing vocals and a band room full of instruments.
While much of the lyrical content deals with the brighter side of life, Stern Tern and Solitary Drink provide dark centre-points to the EP.
Closer My Sleep fares best in the mix of experimentation and straight songwriting with the various sections complemented by quirky sibling harmonies.
A solid debut effort from the local duo, though the full-length album may be their ideal format. Tonight they are joined by Farrow and The Red Lights.
It features both an original mix of the title track and a trap remix that Twizt has gone and done himself. The trap mix upstages the original — the less urgent approach allowing Twizt to add some more variety into the mix.
Every now and again you walk into a bar, and there is a young player on stage doing things with their instrument that simply do not make sense.
Tash Sultana is one who has likely caused this reaction in many a stunned punter. Bands start from 8. The Zaporozhets formed in Melbourne in from a common love of Eastern European music, spaghetti western themes and a passion for writing new music inspired by these sounds.
Catch them perform two sets at the Bridge Hotel Castlemaine this Friday. The Corner Hotel will host this event over two stages on Wednesday 13 February.
Doors open at 6. Come to the Workers Club on Saturday 16 February to see them and their new limited edition live album. They will be supported by the always magnificent Whitaker.
He will be supported by Alycia Mancau. The Snakes are releasing a free digital album of live material through their bandcamp page. It will be a great opportunity to meet your peers and contemporaries from the music, interactive, film and creative content industries to exchange tips, techniques, strategies and contacts well in advance of SXSW starting.
The EP is collection of fun, summery tunes. Jules Boult will close with a Dr John-inspired set at 8. Max wrote this one ages ago but we only whipped it into shape last year for the album.
He was probably drawing on memories from his sordid past. Do you play it differently live? Will you be launching it?
For more info see: A stack of great acts are playing live on PBS every day this week between 5 and 7pm. Another venue quietly closed before Christmas.
Its glory days were long gone. But the Station Hotel in Prahran played a significant role in the Melbourne music story. To us, the closure of the Station was symbolic of the closure of a really important chapter in Australian music.
But to the untrained eye, it looked more like a place of banishment. Nevertheless, on Saturday it was transformed into a subcultural temple.
The gods of that subculture were The Dingoes. And on 13 March, , Howzat! The record company bio for their debut album told the tale: Actual audience on the night — five, including bar staff.
The Station is, of course, being turned into high-rise apartments. Like we need more of them. The legendary Jim Keays released Howzat! The record shows that when it comes to rock, Jim, 66, has lost none of his power.
But some good news — Jim posted this Facebook message last week: The stem-cell transplant procedure was extremely gruelling and has left me unable to walk or eat at the moment, but over the coming weeks this will improve.
February 12 Rod Laver Arena. February 12 Performing Arts Centre Hamilton. February 14 Ding Dong. February 27 Palace SUM Must have industry contacts, previous and current experience and be ruthless.
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In fact, straight after supporting Primal Scream on their latest Australian tour, The Delta Riggs headed into The Grove Studios to cut their self-produced debut album live.
For details and bookings, email info thegrovedstudios. He also mixed the album, the mastering handled by Tue Madsen at Antfarm Studio.
Great name for a studio this — Annoying Sound Factory. It was there, in their own studio in the town of Örebro, and in SoinaSound Recording, where they did the lead guitar parts with engineers Simon and Mike Wead, that Swedish doom metal five-piece Memory Garden recorded their new album, Doomain, the album then mixed and mastered by Dan Swanö at Unisound.
Funnily enough, Jimmy was chatting to me from a car yard checking out a possible purchase for his wife. It was a lifestyle, Jimmy wanted to avoid.
So I work really, really hard on just the music. A few years before The Voice happened, I was. I guess they know me from The Voice and it kind of makes it okay for them to pay more money.
A lot of really good singers were dismissed. I thought maybe I could just get my voice out there to the world.
I do love extreme rock singing and I have a big vocal range. When it got to around , plays, I thought this is going viral.
Now I think it is up around , I was the oldest singer on the show by six years. I hold onto the hope that someone, somewhere will hear that, who is already an established band.
Putting a band together and trying to break the market is very hard. Time will tell I guess. I probably did go on a bit of a downer after The Voice.
I walked in there and just sang and went crazy on it. Birds Of Tokyo consciously reinvented their approach to songwriting in a new Sydney studio space as well as spending time together in a remote French farmhouse.
Working on three tracks at a time over four three-day sessions at Rancom Street Studios in Botany, Sydney four-piece He She have been recording a debut album with Choirboys frontman Mark Gable producing and inhouse man, Ted Howard engineering and mixing.
YOU, the band, need to work on the magic. It takes time and effort to record and usually takes longer than you expect. Do you have any advice for young or inexperienced artists who are heading into the studio?
Write the key of each song. If you are recording five songs, you dont want to have them all in the same key and tempo.
Make sure you all know the songs and your parts. You would be surprised how many bands arrive underprepared then waste hours learning their parts.
Jimmy had been using the tried and true Shure Beta 58 microphone for most of his career but has recently changed over to a Samson.
I plug that in and do my riffs on it and use a bit of distortion. It really helps to write those riffy rock songs.
I also got a really nice guitar off Cort, a Les Paul lookalike. I got Maton to restore it for me. Cost me a grand but it was well worth it. So many good options to play this February.
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