Friday, 28 May 2021





 

For Regan




Summer rain makes the night beautiful, and the city is ready, eager, skipping in line to start the festival. We walk, cloaked, through crowds and past restaurants, we pause to cross the street, our conversation casual, our hard heels clicking on concrete and heads turning, eyes glancing as we pass. At our destination, we are ushered in to a private room, where we pause only a moment in preparation; everything feels frictionless, fluid, nothing goes wrong, cash on arrival, everyone polite, the staff well informed and calm...


But the crowd, the crowd were not calm.


They were cheering from the moment you entered the room, nearly on their feet, whooping and crying out with delight. They understood what they were seeing, and what they gave back was the unfiltered energy of celebration. I don't even know what they were celebrating, I was only told this was a Greek party. It seemed like there were multiple guests of honour, as you were drawn into the crowd with this gentleman, or that lady, to share the simple wonder of a coloured shawl, and a shaking hip.


I felt almost invisible; honoured to be asked to drum for you again, I watch the brightening faces of the crowd follow you as you dance from shadow into light, between tables and back again to the dance floor. They wriggle in their seats, they love to clap and to shout, and they are really good at it. They listen, they feel, they let the music run through them, I can see it all from where I sit on the edge of your light.


On the edge of your light.


Tuesday, 30 March 2021





Arcadia: Wonderland


I am crying a little as I leave the festival. The grief and love I feel raining down inside me is only the first of many great waves of emotion that surge through me as the day passes. If I use the word connection, it is perhaps too mechanical a term to describe the union of natural forces combining inside me. If I prefer to speak of union, this reaches closer to the sense of brotherhood that I have experienced - to be in this place, at this time, with my brothers and sisters of the earth, means more to me than I could ever have expected.


A friend asked me if the festival exceeded my expectations. I replied that my expectations were shattered from the moment I arrived. The reality of Arcadia is far more than one can possibly conceive of without having experienced it firsthand. If I speak of community, one might be deceived by the common term to assume a common kind of experience, when the truth is, that experiences like these are so rare as to be nigh impossible to explain to an outsider. Yet, we who were there experienced in the sharing of common ground, a connection, union and community that does not exist outside of the festival.


I open my mouth wide and try to drink in the sky. I swallow the moonlight and never reach satiety. I find in myself the courage to risk my life in the quest for inner liberty, emotional honesty, psychological illumination, and, surrounded as I have been by such a community of experienced and sapient travellers, artists, dancers and musicians, I am held by them in the sanctity and safety of this temporary desert temple. I took the medicine. I was unsaddled completely by the power of the liquid sacrament. I fell. I threw up almost to the point of unconsciousness, heaving up more than a decade of unexpressed tension. Yet, lying there upon the dust, I called out for help, and it was given immediately, without judgement. I was watched over by the temple medic, I felt totally safe as I went through the immense transformation required in order to harmonise with the medicine.


In order to harmonise with myself, having spent so long in dissonance.


One cannot avoid looking deep into the ugly truth of oneself, and having made the choice to be open to this experience, I had only one choice. I had to open myself to the sky, to the sun, to the truth of my feelings, to the difficult and uncomfortable admission of guilt concerning my own failings, my own cowardice, aggression, ignorance and fear. Only then, having accepted the truth, was I able to release the accumulated bile of stress, anxiety and fear that have burdened me for years.


Then, the party could start.


I began by helping my fellow campers secure their tents as a strong afternoon breeze whipped tent pegs from the ground and loosened poles from their fixtures. I found my way forward through service, through humility, as I saw my own tent required similar attentions. I asked for help, and it was given, freely, enthusiastically. The remainder of the afternoon was weird for me, as I crested waves of intense revelations concerning my life and the place I have made for myself as a man with a family. These private ruminations, magnified intensely by the medicine, took on mythical proportions, and, having come to this festival alone, I found myself feeling intensely lonely as the sun began to set.


Then Dook arrived.


A lot can happen between friends over twenty years, and seated at the great dining table with Dook, Gabriel, Joel and Kate, I felt the power of our shared experiences fill my heart and soul and I cried out to them that I loved them all, that I was so grateful to be here with them, to feel the connection, the union, the community of our shared passions and we all raised our glasses in salute. In love with this moment, in love with one another, knowing that this fleeting moment will last forever.


I played games of Penta with Apoorva and Tricksy. I lost every single game, each defeat unique, each strategy finding a new way past my defences. Dook played chess with Apoorva, and we gathered around to watch, all of us thrilled, excited to witness the meeting of two great minds. Then Gabe returned, having adventured somewhere, and we played the longest, strangest game of Penta in all our years. I won, having rushed, swords flashing through bamboo groves, having smashed through doorways, thrust, parried, cut and run across the board until the footprints of our duel were muddy and confused and neither of us could read the story of our entanglement.


The conversations glow in my memory. Arcadia was a symposium, in the purest, most beautiful meaning of the word.


The wind whispered with the distant echo of Elusis.


How many days and nights we were there, I cannot guess. A whole season? It seems possible. I ate fruit, I read a book with my morning coffee, I breakfasted with my neighbours, took lunch at the great table, dined with all the denizens of Wonderland at the Mad Hatter's great table, then dressed for the evening in my best and brightest robes, masks, cloaks and coats. The festivities were an ever boiling pot of commotion, as fluidly we played the games of our lives, and saw the sun rise on a new day.


And on the last day, getting to play my music at Arcadia : what can I say?


We sat together at the centre of the universe.


If I speak of community, you know what I feel.

If I speak of connection

If I speak of union


We gave all this to each other. We danced to each other's music, we listened to each other's stories, we shared food and drink and medicine and the miracle of this Arcadian revelry was not lost on us.


My thanks go to you all.


Tuesday, 16 February 2021


 

Review of Help!


I don’t like to throw phrases like ‘Punk Genius’ around for no reason, but this album, written and recorded all in one single evening, seems to deserve the label.


It’s like, a bowl of whipped cream and BBQ Shapes for breakfast,

or a 4am fire alarm that starts a party,

it’s like that weird, hot night when you went walking at sunset and didn’t stop until it rained, when you kicked the puddles and came home covered in mud and filled to the brim with the glow of your own, personal, real, sincere weirdness…


This album is weird, and really noisy, and fast, and there’s this killer riff that’s kinda like, y'know, fat and heavy but it’s been cut up and mutated and then there’s the one slow track that’s just as distorted and noisy as everything else, and then at the end when a harmonica player showed up at the bedroom studio uninvited and played a solo - holy shit it sets the song on fire.


The album is about 20 minutes long.


And that’s all it needs to be.


Grab the album on bandcamp.

Help! | Help! (bandcamp.com)


Check him out on Facebook

Help! on Facebook



His other project: Lardzard

Music | Lardzard (bandcamp.com)


One of his other bands: The Poets of Slam Society

Speed Child | The Poets Of Slam Society (bandcamp.com)


Friday, 8 January 2021

Review of Matt Stonehouse's album: 'Rosie's Point of View'


Review of Matt Stonehouse's album: 'Rosie's Point of View'

(This review first published in Australian Belly Dance Magazine)




It is summer, and as I sit on my front porch, gazing out over the golden brown hills of my farm, I am listening to Matt's new album. I close my eyes and in the music I can see a landscape that is both familiar and fantastic as I wade through the haze of my imagination. I don't know who Rosie is, but if this is what she see's, then her eyes must be beautiful. But we aren't really talking about Rosie, (whoever she might be...), we're talking about Matt, and this orchestra of magnificent melodies, this soundtrack to an Australian wandering pilgrimage is an expression of both musical mastery and elegant subtlety.


At first listen this music was so smooth, so sublime in its consummate arrangement that it felt over before it had begun. By the tenth listen I began to understand, I began to see through his eyes, to hear through his ears. This music began before I heard it, and played on long after the last note faded into silence. It is said that a sculptor removes the parts of the stone that are unnecessary in order to reveal the shape that has for millennia lain within, a shape put there by the forces that created the universe. This music has lain in wait since the birth of the world, these melodies are built from the wind and the trees themselves. Since this album is really, "Matt's Point of view", it is safe to say that he has looked deep inside himself, has looked out past the horizon of time and culture, and carved from the silence a music that has waited for his hand, waited for his ear, waited for his heart and soul to finally reveal itself to us.


The exultant crescendo, the tidal push and pull of overlapping waves of sound, the ever deepening layers of subtle notes, songs laid upon songs, melodies upon melodies, rhythms unheard upon rhythms made audible, stirring powerful images in the imagination...the rattle of trucks over cattle grids on lonely dirt roads, the chirping of insects at dusk by a creek marked on no map and remembered only in the songlines of the old ones whose country we have inherited. But is is by virtue of this country's diverse history of immigration that this album is made possible, with its blending of cultural influences too diverse to be easily traced. This album is to me, a quintessentially Australian album, made possible at this time in the history of the world through the hands of this utterly irreplaceable musician.


It was only by the time I had listened to this album twenty times that I was able to begin writing this review. How is it possible to put into words the colossal effort that must have gone into the making of this music? It seems a kind of cruel joke that someone could try to condense, to abridge such an opus into a page of writing, no matter how poetic the author of such a review. To convey the beauty of this timeless music into a soundless, brittle text frozen in time seems disrespectful...but what is poetry if not the futile attempt to describe the indescribable?


It is high summer as I sit listening to this album over and over, and it is Matt's point of view that I am being immersed in. I can feel his respect, his devotion, his dedication to making something that will last in our hearts and minds. I can hear his love of this country, and of all countries.


This music, with its inarticulate descriptions of indescribable beauties is a gift to this nation, and to the world, and we who have the opportunity to listen to it, can only now bear silent witness to magic of Matt Stonehouse's soul.


The album can be purchased digitally, or as a limited edition vinyl.

https://mattstonehouse.bandcamp.com/album/rosies-point-of-view

 

And his drum teaching website is here:

https://fingersoffury.com.au/

 

Tuesday, 22 December 2020

Review of the new EP from Omados

 


There is something rather unhelpful about genre terms like Traditional and Folk, words that seem to imply a certain sleepy old fashioned style, as if people from the olden days didn't know how to have a good time, or to dance like wild anarchists between the boundaries of social conventions. Scratch the surface of traditional folk music, however, and you will find bands like Omados, who from the opening notes of their new EP, seem to shout from the rooftops the truth that the wild old ways are still alive and dancing. Omados is much more that a folk band, comprised as they are of individual performers of such high calibre that their coming together seems a gift from the muses, their music elevates the listener, educates, illuminates...I go so far as to say that they, with their decades of study and passion, illustrate the timeless magic of ancient traditions, made new through the lively spirits of young love. Love of dance, love of singing, love of life.


Joseph Tsombanopoulos, George Athanasakos, Katerina Stevens and Paddy Montgomery are all worthy of long biographies of their own, and fans of the band will no doubt know of their individual efforts. In the band's own words, they play regional Greek music from Thrace, Macedonia, Epirus, the Peloponnese, Crete and Ikaria.


For those of you who are not versed in ancient Greek history; Thrace was once home to some of the most fearsome barbarian tribes who fought in the Peloponnesian War, with male and female warriors, covered in tattoos and wielding brutal curved swords. The historian Thucidides makes particular mention of them. Macedonia was the home of Alexander the Great, conqueror of the Achaemenid Persian Empire. Macedonia is a mountainous and rocky region, and like Thrace, was known for its hardy warriors. The Peloponnese, famous in the ancient world for their warrior class who were considered the best trained and most fanatical warriors of all the ancient world – the Spartans.


I do not know for certain how similar the music of Omados is to the music of the ancient world, but, as we like to say in the study of history, everything is connected. As a student of oriental music myself, I recognise some of the rhythms, and I ask, how ancient is the Chiftatelli? Or the Ayub? How far back do these folk traditions reach, and how far forward, and how deep into our flesh are these rhythms, and the melodies they support? Omados are living representatives, diplomats from another era, time travellers from a never forgotten past that continues living through us, the listeners, the dancers, the writers and the musicians.


These Hellenic cultures who have such proud heritage, and such well documented histories, fascinate me for the passion they display in both military and civil cultural achievements. Folk music, and the continued upkeep of traditional forms, while being a development of ancient roots, still contains the seeds of their ancient passions. Omados are the modern battle cry of an ancient and ongoing cultural experience that represents and contains all of the same complications – love, regret, excitement and loss – that we continue to experience in the modern world.


So while terms like traditional folk music might be misleading, or even unhelpful, if you dig a little deeper, you will find that everything old is new again, in the hands and hearts of those who keep the spirit alive. If you want to dance – listen to Omados. If you want to swoon, or to sway with your sweetheart – listen to Omados. See their live shows (in person or online). Discover the individual musicians and their other music. Omados might be traditional, but tradition does not remain static, painted upon crumbling stone walls, or kept in museums. Tradition is something that we dance with, sing with, and run shouting through the streets, electrified and excited by. Tradition paints a picture of the past, with colours mixed in the present, but always pointing the way forward to the future.

 

Their album can be downloaded from Bandcamp:

 https://omados.bandcamp.com/album/omados-2

Monday, 16 November 2020

Review of 'Rain in My Heart', the new album from Andrew Mcnicol

 


I had a dream...

I have a dream...

...I'm living in a dream where the borders of nations are fluid and cultures swim like schools of fish between vast oceans of experience, sharing, always sharing, taking part in the forever-festival of integration, inter-communication and involved feeling that makes every moment of ordinary life a magical, musical, acrobatic association of inter-connected experiences.


Australia is a weird and wonderful experiment in immigration. A nation with a 40,000 year old native culture that hums drone-like underneath everything we see, hear, think and feel. The Yidaki, sacred instrument of the ancients breathes beneath all our skipping dances and mixed up melodies. Australia, the modern nation, made up of people from nearly every other nation on the planet, home to a vast community of active multi-cultural artists who all strive to make a fusion of the past and the present in order to fashion a future that shines brighter than all our separate histories ever were.


Andrew McNicol is such an artist.


Defining himself as a dancer first, and a musician second, his music is thus informed by the silent vocabulary of the body, which owes allegiance to the human experience, and speaks a truth that carries across all national borders and language barriers. This album, a fusion of African and Aboriginal instruments, is in essence, a grand expression of the truth of modern Australian culture. It is of course, a deeply personal expression of the artist himself, speaking without words of any kind, the story of his long life. Andrew is a white haired gentleman, blessed with the eternal youth and beauty of a man who knows himself, and is a peace with the chaos of the world. The music of this album is representative of that fact.


This album is peaceful, but not sleepy. Its complex poly-rhythmic melodies are intricate and perfectly woven, like spider webs, sharing in that quality of strength and flexibility. This music is beautiful and lovely but does not lack in sadness or gravitas, in fact, it feels like an honest expression of joy; honest in that is does not dwell upon the surface of happy melodies, but dives deep beneath the skin of the world and draws it's beauty from an interior darkness. A darkness filled with many colours. There is rain in his heart, a heart that must swell with pride at the grand and sublime music that it has created. Though Andrew's inventive and clever fingers skip with an inspiring precision and delicacy across the many strings of these African instruments, and though his breath drives the aeon's deep drone of the Yidaki, it is his heart that is the author of this music.


Step inside. Breathe deep.

Dream a dream.



The album, Rain in my Heart can be listened to and downloaded from Bandcamp.


https://andrewmcnicol.bandcamp.com/album/rain-in-my-heart


More information about this diverse artist can also be found here:


https://www.arts-excentrix.com/andrew-mcnicol


Friday, 4 September 2020

Review of Django Rowe Quartet Live at the Grace Emily Hotel, Adelaide. September 2nd, 2020





I remember now, what the fuss was all about. Live Music. To walk into a bar with no plans past drinking beer with an old friend, and to find oneself suddenly among the grand company of old acquaintances, people of many nations, and then, just as the conversations are really starting to warm up and laughter punctuates every sentence, the Jazz Band walk on stage under the green and orange lights, instruments in hand.


There is magic in the world.


The Django Rowe Quartet are soaked in it.


They come out swinging, they take the crowd with them straight into the night where every knee is tappin', every finger snappin', every head bobbin'. I look into dark corners and see romance, couples breathing into one another's ears as their conversations become public in their intimacy. Near the stage a group of young bloods, serious jazz heads, sit with heads tilted upwards and their eyes transfixed. There is a cool religiosity in their expressions, reverential without being worshipful, they are studying the music, taken, as I am taken by the masterful playing; and there is a thing about masterful playing – it looks groovy, it moves easy, and each corner of this quartet are dancing to this shared hallucination that is JAZZ.


I am drawn into a conversation with a man named John, who when I asked him if he was reading anything at the moment, answered Bertrand Russel's History of Philosophy, and I knew that I had found an instant friend. I told him about Cicero, he told me he was reading the pre-Socratics, we touched on Zen Buddhism and Marcus Aurelius and Alain De Botton and Jazz was the soundtrack to our electrified conversation. As one musician took their solo the room would shift direction, like a change in the wind turns the heads of tall grass. As the next stepped up and took the lead, the world would tilt again, all our conversations underscored by the philosophy of Jazz, the sharing space, the listening attentiveness, the room for solos, for monologues, and the space to scat, or whisper, or to stay silent and just listen.


I am spell-bound by the forms the musicians take, coiled around their instruments. The saxophone player sways and shimmy's and plays a squall of sounds, melodies yet made sweet by the siren song of his instrument's voice, and by the lover's heart that beats inside his chest. The downright unassuming groove of the bass player; only someone who really knows themselves, who lives in their music can move and play with the confidence she displayed. The drummer who, so far from keeping time, seems to make time, make space, occupy empty pockets, tickle the tiny hairs of my ear and sway with a swung groove that has the whole room sizzling. The guitar player, unbuttoned shirt, unbrushed hair, and an untroubled virtuosity that sets the room alight, that sets the setting sun blazing upon his serene face.


For me, Jazz is both deeply intellectual, and hip-shaking visceral. There is a humour and a hubris in the extended solos, but simultaneously, a good solo makes use of the soap-box to say something really good and worth the time it takes to say it. I laugh and I smile and my beer is ice cold and the crowd are perfect; they cheer every solo, they nod their heads and take pleasure in every subtle shift of melody and rhythm.


I remember what the fuss was all about. Live Music. 

 Tonight is day one of Zero Active Covid Cases in South Australia. September 2nd, 2020. Wednesday night at the Grace Emily Hotel, Adelaide.

The Quartet are:

Gio Clemente - Saxophone

Steve Neville - Drums

Dylan Paul - Bass 

Django Rowe - Guitar

(For the show I was at, Tasha Stevens was on Bass)



Here is some live footage from last month, at the Grace Emily: July 1st, 2020

https://youtu.be/znNPwjsO9GM