Rasta Thomas’ Rock The Ballet Preview – Her Majesty’s 3-8 July

Rock The Ballet – Australian Tour / Adelaide Details

Having performed over 1000 shows during sell out seasons across the globe since its inception in 2007, Rasta Thomas’ Rock the Ballet returns to Australia with its fusion of classic Ballet technique combined with the excitement of musical theatre, hip hop, martial arts, tap, contemporary, gymnastics and more.

Rasta Thomas’ Rock the Ballet features a stellar soundtrack including some of the biggest hits from U2, Michael Jackson, Prince, Queen, Coldplay and Lenny Kravitz. Set against a backdrop of video projected scenery, the show is exciting, fun, fleshy, raunchy, powerful and brilliantly entertaining.

The New York Times wrote:

“Rasta Thomas has enormous talent and undeniable charisma”, “Excellent dancers”, “Crowd pleasing”

Rock the Ballet commences its 2012 national tour of Australia in Melbourne from Monday, 28 May with shows following in Sydney, Brisbane, Adelaide and Perth.

“We loved Australia and we’re so excited to return. The audiences in Australia were so dynamic and responsive. We can’t wait to get back to perform our signature pop-ballet,” said Founder, Director and Principal Dancer, Rasta Thomas.

In 2007, Thomas founded Bad Boys of Dance and they debuted at Jacob’s Pillow Dance Festival in Massachusetts. In 2008 Thomas went on to create Rock the Ballet and since then has taken the world by storm.

Versatile and gutsy, these talented performers stretch the bounds of dancing with athletic jumps, endless turns and endearing individuality. Featuring the sensational talents of six Bad Boys and one Pretty Girl, this show will surely get you on your feet and smiling.

Multi award winning Director and Principal Dancer, Rasta Thomas was, in 2001, the first American to become a member of the Kirov Ballet in St. Petersburg, Russia and then in 2003 he joined Dance Theatre of Harlem. In 2005, Thomas starred on Broadway in Twyla Tharp’s hit musical, Movin’ Out. Thomas has danced some of the greatest roles ever created by Petipa, Balanchine, Robbins and more. He has been a principal dancer with over 20 professional companies including American Ballet Theater and Japan’s K-Ballet. He has performed at the Academy Awards, danced at the White House and made the film One Last Dance with Patrick Swayze.

The Rock the Ballet company includes the talents dance of New York Fringe Festival dancer, Michael Keefe, Robbie Nicholson from Broadway’s Music Man, award-winning choreographer and director, Adrienne Canterna-Thomas and So You Think You Can Dance US finalists, Karla Garcia, Jakob Karr, Kameron Bink and Kevin Mylrea.

“Rock the Ballet is a show that goes way beyond a normal dance company experience and transcends borders… We are so fortunate to share Rock the Ballet with audiences across the globe – if you like great music, great dancing and want to have a great time this show is for you!” said Rasta Thomas.

“The Bad Boys of Dance strive to free ballet from its prissy aura… The Bad Boys of dance… are proclaiming loud and clear that ballet is sexy, spectacular, and yes, very masculine”

The New Yorker

“Absolutely dazzling dancing”

Boston Globe

“The music is great… the dance gives it fresh meaning… amazing skill and passion. They are insanely good dancers.”

Sunday Herald Sun

“…their incredible skills shone through every move they did… the most fun you’ll ever have at a ballet.”

Perth Now

Rock The Ballet Website

Rock The Ballet – Video

And follow on Facebook

Rock the Ballet

National Tour

MAY – JULY 2012

TICKET PRICES

A RESERVE $98.90                           B RESERVE $89.90        CONCESSION $79.90

TOUR SCHEDULE

ADELAIDE – on sale Feb 27

Her Majesty’s Theatre

Dates: July 3, 4, 5, 6, 7, 8

Times: Tue – Fri at 8pm; Sat at 2pm & 8pm

Bookings: BASS Tel 131246 or Online www.bass.net.au

SA State Budget Review

STATE BUDGET 2012

OUR FINANCIAL FUTURE AND THE TREASURER’S & TREASURY’S CREDIBILITY DOWN THE TOILET TOGETHER AND IN EQUAL PROPORTIONS

Introduction

Much has been made in the commentary and spin in relation to last week’s State Budget about the blow out in debt due to reduced GST revenues and that investment shall triumph over cuts and credit ratings. What has been missed hitherto is the extraordinary transformation (for the worse) in the condition of this State’s financial position over just 12 months when supposedly we have a competent Treasurer and Treasury boffins solving the quadratic equations that allow us to sleep soundly at night. Let’s start with the big stuff.

Huge Debt Blowouts

Table B2 of Budget Paper 3 summarises the important numbers for the ‘General Government’ sector. This shows that from the end of this financial year (end of June) to that three years (end 2015 FY) hence, our Net State Debt will increase from $4.28b to $6.51b. Last year’s budget papers predicted the same period to decrease from $3.8b to $3.62b. So, in 12 months we are worse on Net State debt to the tune of $2.9b or a 25% blowout.

Throw in the unfunded superannuation liability and consider the whole of Government, and the State’s Net Financial Liabilities will grow from an estimated $23.0b this June 30 to $25.65b three years hence. Compare that to last year’s budget and the change expected was from $19.47b to $19.58b. So again, in 12 months, the estimate of the State’s net financial liabilities has grown from over $6b. Six billion dollars!

But how?

As we have heard repeatedly, the Treasurer says the write down of future GST and other tax revenues is $2.8b over four years. But in the period to the end of 2015, the GST portion of this is a touch over $1b. To help the financial position, all sorts of useful public works have also been cut. But at the end of the day, the situation gets worse by over $6b across all of government! By the end of 2016, the situation is $8b worse than the 2012 estimate made just 12 months ago.

One explanation for the cock-up (put nicely at this juncture) for last year is the great faith shown by the Treasurer and the boffins who advise him on State taxation. As our article before the mid-year budget review in December showed (Kryztoff Mid Year Budget Review Link), there were around $2.5b in adjustments that were required and this preceded the Federal Government reductions in future GST revenues (announced in its budget in May.)

So how clever am I? No, the adjustments made were done ‘on the back of an envelope’ applying pure common sense and a little arithmetic to what the Treasurer had stated. In essence (and as noted then), there is a strong case to be made that the budget presented last year was a work of fiction that dressed up the real situation for both short term political gain (ie the credibility of Snelling in his first budget) and for the ratings agencies. For, it seems from my discussions with one of these agencies, incredibly they take budget numbers presented to them by Governments at face value. (So, you can see how they got the GFC hopelessly wrong and nobody much takes them seriously any more.)

Is This As Bad As It Gets?

So, have we now got the ‘real numbers’, has all the bad stuff come out? Well, No again. First, there has been no discussion about both the size of the problems set out above, how they get explained away given the headline $2.8b number and how all this changed in just 12 months.

But as this Labor Government has been doing throughout its terms, forward estimates are there as spin and not for genuine reflection and use.

In the 2015 and 2016 years, this budget predicts a great fiscal rebound, supposedly due to Roxby Downs.

In the period to the end of 2014 FY (two years), State taxation is estimated to grow by 10% but in the two years following by 15%. Even though housing continues to suffer from declining values and the number of transactions, revenue from this source is estimated to go up by 8.6%. Payroll tax, incredibly is estimated to go up by 17%. Having got last year’s estimate so wrong (see Mid Year article), you would think a little conservatism might be useful – not so!

Then, there is the GST revenue. At present, SA’s share of the national pool of GST sits at 9.3% but in 2015 and 2016 it climbs to 9.9%. That may not sound a lot but in 2016 that uplift amounts to over $330m. As explanation for why this might occur, the budget papers list the following factors – ‘a declining population share and movements in South Australia’s projected relativities (which are particularly impacted by different state taxation growth rates compared to other states …)’

I have no idea what that means (at best it sounds like the share should down not up) but the combined impact of the forecast return to prosperity and this GST kicker in 2016 has the budget not in surplus in 2016 by $540m (as the Treasury states) but in (another) deficit by $1.4b.

Public Service ‘Cuts’

Another part of the fiction of the budget is the grief expressed over the size of the public service cuts announced. We have all heard for ever about the ‘1,000 public service jobs that will go (by natural attrition over the next four years) which are on top of the 4,500 cuts already announced.’ What complete piffle!

Last year, the budget predicted that at the end of June this year, there would be 79,859 FTE in the public service. This year the number is stated to be 82,214. So far from those 4,500 of previously announced cuts, the size of the public service has actually grown in 12 months by over 2,000. And so of course, the cost of the public service continues to go up and in 2012, the extra cost will be $130m and $230m next year (over last year’s predictions). (Of course, this is before the consultancy expense line that acts as a supra public service and which blows out each year.)

But what are these public servants doing? Well, it seems they are doing less and less.

The ratio of Public Sector employee expense to ‘other operating expenses’ (a proxy for services and programs delivered to the public) will rise from 2.18 to 2.49 by 2016. That’s 14%. Sir Humphrey Appleby would break open the champagne with these numbers knowing that as his public service grows its members are delivering ever fewer useful services to the community.

The True Position

So where are things really at? Well, basically the financial position of this State is out of control and it has been since the GFC. In that time, we have gone from no state debt to now $4.2b and by 2016, $8.8b, with the net financial liabilities of the State up from $9.5b to now $23b and $27.8b by 2016 – that is nearly $20b! The State Bank debacle has got nothing on this.

So, while the public service just keeps on growing, the net lending of the State each year keeps going up by over $1b a year as it has every year since 2010 and in 2016, it will increase by $2b.

But do we have great new infrastructure to show for it? (Yet) again, No.

Even the discredited Centre for Economic Studies paper justifying the Adelaide Oval redevelopment turned negative once you included interest costs on the associated state debt. The duplication of the southern expressway will never pay its way economically as the one way version we have now caters for 80% of all potential traffic. And the new RAH, only just appearing on the forward estimates now, will cost the State over $12b in years to come when a refit of the present site would have been under $1b.

Useful things like the bringing the rail system into the 1970s have been postponed (probably for forever) and all those other hospital projects (including to the Queen Elizabeth) have also gone in favour of the massive white elephant the new RAH will be and the mistaken belief about centralised medicine.

The footbridge over the Torrens? Please!

Targets Trashed

But if one needs one final piece of evidence about the chaos that now underpins the State’s finances, compare last year’s state budget objectives with this year’s.

Last year, there were eight targets, previously announced, against which the Government was prepared to measure itself. They were:

  • To achieve a net operating balance in the general government sector in every year.
  • To achieve net lending outcomes that ensure the ration of net financial liabilities to revenue contribution continues to decline towards that of other triple A rated states.
  • To ensure the state has an effective tax regime having regard to the government’s social and economic objectives
  • To provide value for money community services and economic infrastructure within available means.
  • To fully fund accruing superannuation liabilities and progressively fund past service superannuation liabilities.
  • To ensure that risks to state finances are managed prudently to maintain a triple-A rating.
  • To ensure public non-financial corporations will only be able to borrow where they can demonstrate that investment programs are consistent with commercial returns.

These were once laudable, even if only observed in the breah rather than the observance since the GFC. But with all of them now in complete tatters, the fiscal objectives of the State have been restated as:

Target 1                a net operating surplus by the end of the forward estimates.

Target 2                once surplus is achieved operating expenditure growth will be limited to trend growth in household income

Target 3                achieve a level of general government net debt that remains affordable over the forward estimates – a maximum ratio of net debt to revenue of 50.0 per cent.

Do these mean much? Our analysis is that Target 1 is only achieved four years hence by another accounting fix. Target 2 is no target unless you have a surplus – so at best five years hence. Target 3 replaces the commitment to maintaining the triple A rating and getting the unfunded state super down. But as we know, the triple A has gone (and, note, no commitment to getting it back) and unfunded state super just continues to balloon – now over $11b and an incredible $3b more than the estimates of 12 months ago.

The Bottom Line

What we have is a Labor Government that spent away the good years on nothing but public servants. Now, when the financial clouds have turned dark, they continue to ignore what is actually in the interests of the state (you and me) by continuing with show piece projects that are both massively expensive and without economic benefit.

At the Spring Labor Conference in 2010, the delegates voted for Rann and Foley to go because of the proposed cuts to the public service. Within 12 months both were indeed gone. Obviously neither Jack Snelling nor Jay Weatherill want to be on the receiving end of the same treatment and so amongst all the feigned grief and bits of bloodied cloth shown to the media, nothing is done to reign in the public service which forever grows and which delivers less and less.

Our analysis previously suggested that relative to our population in 2002 when Labor came to power, there are over 10,000 extra public servants, costing around $800-900m annually we can no longer afford. (And that is before the cost of the extra leave granted to the senior public servants in this year’s budget.)

The day of reckoning looms but unlike with the State Bank when it comes there will be nothing left to sell to pay back the indulgences. $27b of new financial liabilities by 2016 plus a further $12b for the new RAH after that.

This is Greece all over again. Sadly, we don’t have a media able to understand and explain this mess to the masses.

War Mother – Space Til 2 June – 3K

By Peter Maddern

As director, Catherine Fitzgerald, notes in her notes in the program, the topic of war (including State repression and terrorism) has been covered in a million different ways and the modern flavour of questioning the motives of our governments in subscribing to them has also been widely undertaken.

War Mother approaches the task from not only a female perspective but of that of mothers caught up in it all. This production has two main players, Eileen Darley, who recounts from Franca Rame and Dario Fo’s A Mother in unrequited shock the thoughts of the mother of a terrorist, her boy, who despite being raised so carefully is now the targeted as an enemy of the state. While Anni Lindner recounts in Marjolin Van Heemstra’s Switch the anger and dismay and ultimately attempt at revenge towards the society that sells itself out to the State under the guise of conflict.

Over them, coming from an old form reel to reel tape recorder, is Harold Pinter’s Press Conference where some Minister of Culture (spoken by Stephen Sheehan) attempts, ultimately without success, to explain why freedom of speech must necessarily stop with repressing those ideas that pose a threat to good civil order, much to the acceptance of the press gallery with whom the conference is held, they too being only too happy to be a part of the State’s game.

The female leads both give strong performances, playing out their monologues against a backdrop that looks inspired by John Olsen but which features smeared and sometimes splattered blood. Above them are two loose large globes with connecting electrical cords that create an eerie subliminal feel of the worst of the Abu Ghraib torture images.

It was good to see so many school children in attendance on the opening morning and no doubt plenty of good debate would have been aroused by the show back in class. Without being a memorable affair, War Mother is a nice vignette from the STC while the main program gets a break for the Cabaret Festival dealing with a recurring theme in a useful and politically not too opinionated way.

RAGE VALLEY EP – Available 4th June – See Details Here

RAGE VALLEY EP

AVAILABLE DIGITALLY ON MONDAY 4 JUNE 2012

The rate of Knife Party’s ascension to the forefront of a burgeoning electronic music movement is unparalleled. In less than twelve months the whirlwind project has rocketed from an unknown entity into one of the most renowned dance acts in the world. And with the release of their highly anticipated follow up EP Rage Valley, the Knife Party phenomenon is set to continue apace.

Amalgamating a wide breadth of influences into their visceral productions, what they have simply coined as ‘seizure music’ is a heady cocktail of sounds that rips apart dubstep, electro, drum and bass and moombahton and fuses them back together into ferocious club tracks. This energy and excitement is wholly evident in the four tracks that make up Rage Valley.  Check out the Rage Valley EP trailer here.

Focus track Centipede opens ominously, setting the scene around the predatory vocal sample as it snakes through the undergrowth. It pounces with a razor sharp half step drum pattern and malevolent bass line which in turn glitches and growls viciously.

With just a few releases to their name to date, the duo’s list of achievements is phenomenal. They have already racked up 500,000 downloads of their first EP 100% No Modern Talking, a Beatport number 1, close to 350,000 Facebook fans, 7 million plays of Internet Friends on YouTube alone, and appearances headlining shows and festivals to crowds of tens of thousands. Remixing Porter Robinson, Labrinth and Nero to name a few, Knife Party also collaborated with Swedish House Mafia on the phenomenal 2012 worldwide smash Antidote.

From curating their own Earstorm stage at Future Music Festival in their native Australia to playing the main stage at Ultra in Miami, opening brand new 75,000 square foot club Brooklyn Terminal Project in New York, to festival sets across Europe this Summer, the Knife Party movement is both viral and global. This will come as no surprise to anyone that has witnessed their performances or heard the music coming from their studio though!

Having spent the last twelve months taking clubs and the internet by storm, they have honed their inimitably chaotic and razor sharp productions to perfection. Now with the release of Rage Valley, Knife Party proves once again exactly why they are the subject of so much excitement with consummate ease.

RAGE VALLEY TRACK LISTING:

Rage Valley

Centipede

Bonfire

Sleaze (ft. Mistajam)

www.knifeparty.com

facebook.com/knifeparty

twitter.com/knifepartyinc

soundcloud.com/knifeparty

Martika at HQ in Oct – Tix on Sale June 14

MARTIKA

POP ICON ANNOUNCES FIRST AUSTRALIAN TOUR

The Frontier Touring Company is delighted to announce that ‘80s pop icon Martika will tour Australia for the first ever time this September.

During her decade-long reign at the top of the charts, she was responsible for the Prince-produced Australian #1 ‘Love …Thy Will Be Done’, US (and NZ) #1 ‘Toy Soldiers’ and worldwide smash ‘I Feel The Earth Move’.

Selling over five million albums throughout the late ‘80s and early ‘90s, Martika released a slew of chart hits including ‘Martika’s Kitchen’, ‘More Than You Know’ and ‘Coloured Kisses’ to name just a few.

In the years since her early ‘90s heyday, she has maintained a loyal fan base, especially through the LGBT community where she remains a regular party favourite.

In recent years, Martika was re-introduced to public consciousness through the inclusion of her ‘Toy Soldiers’ sample in Eminem’s monster single of the same name.

In late 2011, she announced that she’ll be making her long-awaited return to the touring circuit, news that was championed by Perez Hilton and sent the blogosphere into a spin. Martika’s back!

Catch this pop sensation performing her massive catalogue of hits live in Australia for the very first time!

MARTIKA

The Mirror Ball Tour

with special guest

SEPT / OCT 2012

Frontier Members pre-sale via www.frontiertouring.com/martika 2pm AEST Thu 7 June to 2pm AEST Fri 8 June

General public on sale from 9am local time, Thu 14 June

ADELAIDE GIG

Fri 5 Oct         HQ, Adelaide, SA                                          18+

1300 438 849 or Moshtix.com.au / oztix.com.au

WE BUILT ATLANTIS ‘Tidal Waves’ Tour KICKS OFF THIS WEEK!

TIDAL WAVES AUSTRALIAN TOUR

KICKS OFF THIS WEEK

WE BUILT ATLANTIS is firmly cementing themselves as one of the most exciting bands in heavy music scene.

Forming in the summer of 2011, Newcastle’s ‘WE BUILT ATLANTIS’ have wasted no time. A fiercely DIY work ethic has seen the band spend their early inception locked away in the studio honing their craft. The results are the bands debut EP ‘ Empty Cities’ a unique blend of fist pumping choruses, crushing breakdowns and techno dance creating a unique sound. A Japanese label deal, countless tours of the East Coast of Australia and offers to tour aboard all in the space of less than 12 months.

Fresh of the back of the Maitland Groovin The Moo Festival, sharing the stage with the likes of Parkway Drive and The Getaway Plan, ‘WE BUILT ATLANTIS’ will once again hit the road this May / June in support of their new single ‘ Tidal Waves’

As bassist Sy Robertson enthuses “Tidal Waves is a song about being trapped inside a relationship and losing your identity, it is easily our most sincere and our best material to date”

Tidal Waves is taken from the bands forthcoming EP slated for a mid year release.

2012 is set to be another massive year for WE BUILT ATLANTIS

WE BUILT ATLATIS, TIDAL WAVES TOUR

WITH SPECIAL GUESTS BY DESIGN

THURSDAY 31 MAY, SURFERS PARADISE – THE BEER GARDEN – 18+

Tickets available at the door

FRIDAY 1 JUNE, TOOWOOMBA – THE GRID – AA

Tickets available at the door

SATURDAY 2 JUNE, IPSWICH – CAW HALL- AA

Tickets available at the door

SUNDAY 3 JUNE, BRISBANE – THE BASEMENT – 18+

Tickets available at the door

FRIDAY 8 JUNE, MELBOURNE – KATES PARTY- 18+

Tickets available at the door

SATURDAY 9 JUNE, MELBOURNE, MUSICLAND – AA

Tickets available at the door

THURSDY 13 JUNE, WOLLONGONG (NSW), PLATFORM 3 – 18+

Tickets available at the door

SATURDAY 15 JUNE, BATEAU BAY (NSW) – ENTRANCE LEAGUES – 18+ *Supporting Silverstien (USA)

Tickets available at the www.oztix.com.au

SUNDAY 16 JUNE, PORT MACQURIE – FLYNNS BEACH SURF CLUB – 18+ With Guests

Tickets available at the door

SUNDAY 23 JUNE, NEWCASTLE – LEAGUES CLUB – AA

Tickets available at the door

SATURDAY 29 JUNE, NEWCASTLE (NSW) – THE CAMBRIDGE HOTEL – 18+

Tickets available at the door

SUNDAY 30 JUNE, SYDNEY – LIVERPOOL PCYC – AA

Tickets available at the door

Presented by Truth Agency & Blueshift entertainment

* BY DESIGN not appearing

Ed Castle Variety Nights in June

ANNOUNCING A NEW TYPE OF EVENT IN ADELAIDE

A FREE VARIETY NIGHT AT ED CASTLE

‘Wednesday Night For The Lonely Soul”

Every Wednesday in June @ Ed Castle from 9pm

Ed Castle has discovered a cure for loneliness. Lonely cries finally answered!
Never be lonely again!

From 9pm on Wednesdays in June The Edinburgh Castle Hotel will be transformed into a late night variety show!

Introducing Wednesday Night for the Lonely Soul’ a free variety show.

If variety is the spice of life this is one spicy dish. 4 to 5 local performers showcase their talents each show. All hosted by local
comedian Ross Voss!

Performances include: Stand Up Comedy, Sketch Comedy, Music, Magic, Spoken Word, Dance, Theatre, Cabaret + more!
Plus a live band to close the show!
 4 to 5 variety acts + live band each night!
 Doors open 9pm for 9:30pm Start
 The Edinburgh Castle Hotel
 Free Entry

Show 1 June 6th 9:30pm-11:30pm

Host: Ross Voss

Scott Mangnoson (Magic), Michael Pejin (Music) The Thursday Show (Comedy)

Ridiculous Files (Sketch Comedy) + Band Monsieur Swing

Show 2 June 13th 9:30pm-11:30pm

Host: Ross Voss

AJ (Juggling) Ben Zubreckyj (Poetry)Anthony Frith (Theatre) M

Golden Phung (Sketch Comedy) + Band–Folk ‘o’ Oh Noes

Show 3 June 20th 9:30pm-11:30pm

Host: Ross Voss

Aaron Nobes (Comedy) Sean Anderson (Poetry) Isaac Lomman (Hypnotist)

Mad Dog Malcolm Cummings (Musical Comedy) Lilly Sim (Dance) + Band Lumerian

Show 4 June 27th 9:30pm-11:30pm

Host: Ross Voss

Holographic Charazard (Music) Gemini Downs’ Toe Tapping Extravaganza (Tap D\ance)

Seb Carboncini (Character Comedy) Matt Vecchio & The Time Machine (Theatre) + Band

Wormwood

The Rubens – July Tour Date and New Single Video

THE RUBENS  ANNOUNCE ALBUM RELEASE + JULY TOUR DATES

Following a spate of sold-out shows across the country, Sydney four-piece THE RUBENS will play four very special shows in July in support of their new single DON’T EVER WANT TO BE FOUND. The band will perform headline shows in Melbourne and Sydney before heading to Adelaide for Spin Off Festival and Byron Bay for Splendour In The Grass. Tickets to their headline shows go on sale Friday June 1 at 9am.

We are also proud to announce that THE RUBENS’ debut album will be released this September on Ivy League Records.

DON’T EVER WANT TO BE FOUND is THE RUBENS’ brand new single and was recently recorded in New York with producer David Kahne (Paul McCartney, Regina Spektor, The Strokes). THE RUBENS’ frontman and guitarist Sam Margin’s soul drenched vocals form the backbone of the track upon which his brothers Elliott, Zaac and good friend Scott Baldwin build the band’s blues heavy sound. It’s the first new music from the band since their home-recorded track LAY IT DOWN blew minds and broke hearts when it found its way onto the airwaves last year and made it to #57 in the triple j Hottest 100.

The brand new video for DON’T EVER WANT TO BE FOUND was directed by Andrew Lancaster and shot on Super 8 film in the band’s hometown of Menangle. Watch it here: Youtube Link

Hailing from country New South Wales and forming in early 2011, THE RUBENS have fast become one of the most exciting bands in the country. Their recent national tour was a complete sell-out across the country, including four nights at Melbourne’s Northcote Social Club and three nights at Sydney’s GoodGod Small Club.

Tickets to THE RUBENSDON’T EVER WANT TO BE FOUND tour will sell FAST so don’t miss them when they go on sale on Friday June 1 at 9am.

THE RUBENS

DON’T EVER WANT TO BE FOUND TOUR

Spin Off Festival, Adelaide

Sat 21st July

Tickets $99 +BF from www.moshtix.com.au

The Temper Trap Debuts at #1

THE TEMPER TRAPDEBUT AT #1 ON ARIA ALBUM CHARTS

Australia’s The Temper Trap have received the perfect welcome home gift ahead of their sold out shows in Melbourne and Sydney this week…their first ever number one on the ARIA Album Chart.

Notably The Temper Trap are only the third Australian act to chart in the number one ARIA Album spot this year.

Topping the Australian album charts caps off a triumphant return for the band, whose previous album ‘Conditions’ debuted at number nine back in 2009.  Like ‘Conditions’, the band’s self-titled new album has been garnering considerable praise;

“The Temper Trap have added another dramatic layer to an already emotionally triumphant sound”  Rolling Stone USA

«««« “The Temper Trap have found a very delicate balance that moves their sound forward without self-sabotaging why the world fell in love with them.” Herald Sun

«««« “Trembling Hands. There will be few choruses so enormous this year.”  Guardian UK

««««  “This collection grows all over you like a vine” West Australian

The number one chart debut follows hot on the heels of news out of the United States that The Temper Trap have secured a coveted performance slot on the Late Show with David Letterman, where they will be performing their new single “Trembling Hands” on June 7.

Between June and September The Temper Trap will have performed 25 headline shows around the world to over 72,000 fans and the rest of the year will see them in key performance slots at some of the world’s biggest festivals, including Bonnaroo, T In The Park, and Lollapalooza.

This week the band will perform two sold out Forum shows in Melbourne, two sold out Sydney Opera House shows as part of the Vivid Live, before closing out the week with the headlining spot at Triple J’s massive One Night Stand in Dalby, Queensland.

Aussie fans who missed out on tickets this time around haven’t been left in the lurch though, with The Temper Trap already locking in dates with Coldplay in Melbourne, Sydney and Brisbane this November.

The Temper Trap’s self-titled album is in stores now through Liberation.

Studio clip for new single ‘Trembling Hands’ available here, Youtube Link

www.thetempertrap.com
www.facebook.com/tempertrap
www.twitter.com/thetempertrap

MIB3 – Men In Black 3 – 4K

By Lucy Campbell

For a child of the nineties, Men In Black brings memories of a time moons ago, when it was kind of cool for a film to be a not-very-serious alien action adventure that blended the relatively new CGI with the soon to be antiquated puppetry and a bunch of charm thrown in for good measure. It wasn’t all superheroes and moral berating characters, but a little oddball and weird. Men In Black 2 threw the franchise off course, with an ill cast and charmless Johnny Knoxville, but it’s a pleasure to say the third in the series is as fun and charming as the first, if not quite a classic.

The action once again centres around Agent J (Will Smith, who seems to have escaped the ageing process) and Agent K (Tommy Lee Jones, who definitely has not). J has to ‘time jump’ to 1969 to save Agent K from the perilously deranged alien Boris (Flight of the Conchords Jemaine Clement as a vaguely campy Tim Curry-esque character) who is seeking revenge. It’s all a bit silly, but the cosmic weirdness of the first film is largely utilised by director Barry Sonnenfield, who also takes advantage of clearly defined characters and allows Smith to do his thing.

The standout however, is Josh Brolin as a younger Agent K, and who actually does such a good impression of Tommy Lee Jones’ brusque Texan, without making a parody of it, that you almost forget Jones is there at all. Another standout is in the form of sweet alien boffin Griffin (Michael Stuhlberg), who pushes along the ‘suspension of reality’ plot with a fair degree of flair and wide-eyed innocence. The 3D element makes a bit of a mockery of cinematography, but by and large the recreation of the 60s has a weird retro feel that sits nicely. The Men In Black are back.

4 K