Best Coast Live Review - Time Out Sydney, January 2012

Best Coast

Wed 25 Jan , 

Alternative, 

Big Day Out, 

Book Early, 

Gigs, 

Indie, 

Music, 

Rock, 

Sideshows

Recommended

The Californian's surf pop sound brings a glimmer of sunshine on a rainy day

First published on 21 Nov 2011. Updated on 26 Jan 2012.

On the eve of Australia Day, and ahead of Big Day Out, the evening’s torrential downpour of rain is an unexpected disappointment. Thankfully, Best Coast has a permanently sunny disposition and plenty of good vibes tightly packed up inside their infectious and concise lo-fi songs.

It’s been over eighteen months since they released their self-titled debut, which was showered with praises by most, and its twelve tracks still carry plenty of weight against the multitude of West Coast sounds on offer.

The crowd is worryingly scarce shortly before the band is due on stage. Satisfyingly, the venue fills out once support act Dune Rats have finished making a racket which comes closer to ‘garage sale’ than ‘garage rock’. This makes much sense.

Bethany Cosentino and Bobb Bruno greet fans alongside their current touring band mates and somewhat quirkily kick things off with ‘The End’, one of many tracks centred on woes with boys. ‘Crazy For You’ is pulled out the band’s bag of tricks early and has the desired effect of loosening up the audience, with Cosentino’s sweet and sultry vocals romanticising her relationship confusion (“I want to hit you then I kiss you/I want to kill you but then I’d miss you”).

‘Summer Mood’ is restarted again after an amplifier malfunction to provide another fine example of bittersweet lyrics being sugar coated with syrupy melodies; as is ‘Goodbye’, which immediately follows. It isn't until the band dips into their bag of tricks once more and pull out the pop perfection of ‘Boyfriend’ that any life is truly injected into the receptive but reserved crowd. Cosentino and Bruno knocking back a ‘chip shot’ on stage – which replaces the typical salt of a tequila slammer with the licking of a Dorito – breaks the ice further.

The comparatively sombre pace of ‘Honey’ precedes the all-too-real sadness of ‘Our Deal’ (a song which has greater poignancy when listened to with its West Side Story influenced video, directed by Drew Barrymore).

Almost an hour has passed by the time they commence ‘Something In The Way’, which would’ve been a strong finish to a stretched out (their album clocks in at just over thirty minutes) but accomplished set. Sadly, it is inopportunely followed by a handful of new songs and early singles. Quite often, less is more.

When they eventually wrap things up, many people make their way to the door, and after a couple of minutes even the strongest devotees at the front of the stage have assumed it is time to leave. Then, to everyone’s surprise, Cosentino and Bruno return on their own to tease their forthcoming album with a minimalist airing of new track ‘Up At Night’, which is far longer than the rest of the material played before it.

Given their many positive attributes and their gratitude for applause, Best Coast is a band it’s difficult to become annoyed with. But whilst they unquestionably put on a good show, tonight could easily have been half as long and twice as fun.

Words by Stuart Holmes

DJ Koze Feature - Time Out Sydney, January 2012

DJ Koze interview

Clubs, 

DJs

The genre-defying German DJ makes his Australian debut for a Sydney Festival double bill

First published on 24 Jan 2012. Updated on 24 Jan 2012.

Stefan Kozalla – better known as DJ Koze – has been a prominent figure in the music industry since his mid-nineties hip hop turntable skills led him to form Fischmob. Since then Kozalla has leant his skills to numerous electronic side projects – including the critically acclaimed International Pony and the abstract Adolf Noise – all the while focusing on the record spinning that started it all.

As part of Sydney Festival’s final weekend of shenanigans, DJ Koze will be hitting the decks alongside Norway’s Prins Thomas.

Speaking from his Hamburg home, amidst preparations for his first ever trip to Australia, Kozalla is keen to venture into unknown territory. “I’m curious about Australia. It always seemed so big that I thought I couldn’t do it, but now seems like the right time,” he says.

So what can we expect from his first DJ set in the country? “I’m keen to bring some warmth, some euphoria and some deepness, but without cliché,” he says. “A good combination of rhythm, harmonies and unexpected twists – that’s what I’m always trying to do.”

For the last few years Kozalla has been busy playing clubs and festivals across the globe, producing his own music and running of his own record label, Pampa. As such, no two days are the same for the in-demand DJ. “Normally because I’m travelling so much and meeting new people I don’t have a normal day," he explains. "It’s still really exciting every time. You could say that the most boring part of my life is actually the DJing because it’s the one part that is always the same,” he jokes.

But surely the near-constant flights back and forth take their toll eventually? “Of course,” he agrees. “It’s a really nice job in which I receive a lot of wonderful energy and love, but at the same time it can be really exhausting. It’s certainly not for everybody.”

All DJs have their idols and friends on the circuit, and Kozalla has no hesitation when it comes to naming his favourite peer. “I just came back from Japan and I really enjoyed playing back-to-back with [fellow German DJ] Lawrence who is a really good friend,” he answers. “The times we’ve played together have always been magical and have taken unexpected directions. I admire him as a DJ. Playing together with him is great and we want to do it more often.”

And what about places to play? “I really like Japan because the people are so different and the country is always such an overwhelming experience," says Kozalla. "I’m always in love when I’m in Japan. I’ve had good experiences at different clubs in San Francisco too. I find the second or third biggest city in a country is sometimes more interesting. In Germany, for example, I like many cities more than Berlin”

One would think playing to such wildly varrying crowds would make it hard to plan a set-list, but Kozalla takes this in his stride: “I always have an image of what things could be like. I think about who is playing before me and after me, how big the venue is, and how many people will be in the crowd. I then make myself a little plan, which normally totally changes, and then I have to react spontaneously. I like to have an idea for the first three or four songs but this sometimes changes when I listen to the DJ before me. And while I do prefer to have an opening planned to set the mood, I’m otherwise sensitive and try to follow the vibrations in the room.”

So what, then, are Kozalla's thoughts on Sydney? “I think the most impressive tracks to get a crowd going – to create a real euphoria – are the tracks that don’t fit into every set," he explains. "In my experience, the most remembered tracks of the night are those which could also potentially damage the set. Of course, there are some 'hits' which are well produced and always work well on the dancefloor, but these only work well for about three weeks and then you can’t play them anymore. It’s much more interesting to play a couple of tracks to set the mood and then play one song which is really outlandish.”

DJ Koze will appear at the Future Classic party at Keystone Festival Bar with Prins Thomas

By Stuart Holmes

Beth Orton Live Review - Time Out Sydney, January 2012

Beth Orton

17-18 Jan , 

Around Town, 

Blues, 

Book Early, 

Folk, 

Gigs, 

Indie, 

Music, 

Rock, 

Sydney Festival

Critics' choice

First night nerves at the festival are overcome to provide a welcome comeback

First published on 31 Oct 2011. Updated on 19 Jan 2012.

As latecomers take their places in the City Recital Hall the lights fade on this, Beth Orton’s first live date in Sydney for six years, and the official mark of her return to the scene since touring her last album, 2006’s Comfort Of Strangers.

Her shy figure emerges and cautiously acknowledges the sold out crowd before commencing her performance with a choice selection from across her back catalogue, hitting her stride with the country-drawl of 'Countenance'.

“I don’t know what to say to you,” she coyly admits shortly afterwards, before playing 'Touch Me With Your Love'. And herein lays Orton’s charm.

From this point on the initial signs of nerves become increasingly evident, particularly in a venue with such sublime acoustics, but this fails to tarnish events. She is refreshingly self-deprecating whilst completing her prolonged guitar-tuning and speaking semi-audible chatter between songs. This is all part of her appeal for those who have followed her career to date.

With a new album ready for release, tonight sees Orton arrive with a collection of new material. Orton’s musical direction has thankfully not strayed too far away from her strengths, but there has been a clear shift in approach and a newly found self-believe in her song-writing. This is most probably the result of her time spent with the late Bert Jansch.

There is a scattering of these songs amongst the more familiar sounds on tonight’s setlist, and they succeed in blending into the mix without jeopardising the flow of events. Accordingly, the piano-led ballad 'Candle' links hands with the free-flowing 'Conceived' and the lullaby melodies of 'Sweetest Decline' like long lost friends.

Part-way through the show, she is joined on stage by her partner and fellow musician Sam Amidon (also on the Sydney Festival bill), who noticeably increases Orton’s confidence. They breeze through a handful of re-energised ‘oldies’ which iron out any earlier creases in the show. 'Sugar Boy' is both wistful and beautifully harrowing, with the dejected optimism of 'Shopping Trolley' providing the perfect antidote. A Celtic-influence can be heard on another new track which borrows heavily from William Blake’s ‘A Poison Tree’, and gives an extra dimension to an already beautiful piece of work. The duo concludes their time together with a faultlessly harmonised rendition of 'Concrete Sky' which provides one of many highlights.

The night draws to a close with the career-breaking 'She Cries Your Name' and the equally commendable 'Central Reservation'. Continuing with the big-hitters, a note-perfect airing of 'Stolen Car' begins the short encore (although it does begin with a rather fitting false start) and ends with a low-key and simplistic cover version of ‘Ooh Child’ by The Five Stairsteps.

Whilst this review may fall one star short of perfection, Beth Orton still shines as a musician after a long absence from the stage.

Words by Stuart Holmes

Sydney Shakespeare Festival Preview - Time Out Sydney, January 2012

Sydney Shakespeare Festival

12-15 Jan , 

Around Town, 

Fairs & Festivals, 

Families, 

Kid-friendly, 

Kids, 

Outdoors, 

Parks and Gardens, 

Performances, 

Theatre

 Critics' choice

Grab some company, a picnic basket and a glass of wine and head to Glebe for outdoor culture

First published on 3 Jan 2012. Updated on 9 Jan 2012.

Almost 400 years after his death, the works of William Shakespeare are still being celebrated and performed worldwide. And this summer is no exception. Bicentennial park has become a thespian playrground and the living set for two of the Bard's most-loved works, which are performed an alternate evenings. Raucous battle of the sexes The Taming of the Shrew is our pick for family-friendly fun, while epic tragedy Hamlet will be the go if you're after more heavy-hitting history.

The festival's talented cast will be under the direction of Julie Baz, who has been heavily involved in the event since it started five years ago, and with its spectacular views of the harbour and city skyline, the park also presents itself as an homage to the open-air Globe Theatre in Shakespeare’s hometown of Stratford-upon-Avon.

Sessions are BYO, so pack a picnic and a blanket, pour yourself a drink, and relax and be entertained.

Free for children under 12, those 65 and over, and people with disabilities.

Words by Stuart Holmes