Rock and Roll


Untitled - DJ Sasha Vasilyev - Real*Underground*Live (CD)


I tried deleting and then re-copying some, and the still won't play in the Pulse playlist editor, and they sometimes freeze the game there as wellFirst make sure that the tracks are encoded in MP3 kHz Any bitrate will do. Check under the "Information" menu on the PSP to see if they are. If they still do not play, format your memory stick Make sure to back up everything on it first!

First I tried to race with all Autechre's tunes from "draft 7. I did the same thing as you blix : Although I may re-arrange it someday with some songs not from WipEout, I like it a lot right now.

Good music to listen to while fanging it out on Phantom class. Does anyone else have any similar tracks to what i have got in my custom music collection? Ministry of Sound all the way! They've plenty of good CDs out there! You've some nice tracks there on your list; but I recommend to try some of the original tracks you've only as mixes there. It fits better to the racing without the lyrics of "Walking on the Moon" imo, that is.

You should also try the "Steve Angello Vs. I do agree intrumental songs without the lyrics sound better Thats why Wipeout genre songs are always the best. Ive got Geht Noch? I think ill put in on my custom music playlist now cause in the follow up song after the transistion period Rocker -Alter Ego kicks in. Awesome listening to those songs one after the other. Listening to it right now. Good idea, aye. So let me know your future choices and I'll try them too.

I didn't think of Xpander LOL Its on mine now, too. Plus a lot of prev. WO hits. Man, I love Come On! Cheers mdhay, I think I may just have to put that in my custom soundtrack now! I need to go into audacity and jack the volume up. You've got me thinking Rapier Racer.

Those Oblivion tracks on the Wipeout Pure expansion packs where nuts. Looking for the download files on oblivionrecordings. That's like my copy of Komputer Kontroller. Gonna replace it with Come On, though, which is a shame as its a great song. You should be able to get more volume without distortion if you adjust it only a little.

Cheers, looks like we have similar tastes. I'll be looking into the tracks on your list that I haven't heard!

I should get it - good program to have around in case of stuff like this. I was thinking of putting "White Lines" in there, but it would wouldn't work, would it? Lauren Rocket -Run the show Kat Deluna feat. How can you add music to Pulse??? I know it says how in the manual but i did what it said, but it wont work:. Plz someone help me. Hey Gnesta, if you read through the first few pages of the thread it'll tell you how - what folder to put it in, filename length, stuff like that.

Offtopic, but you almost have the same name as one of my former classmates. Off by about two letters, but still. Ok thanks:D: Now it works found how to do in another tread Children Of Bodom - Are you dead yet? Children Of Bodom - Living dead beat 3. Children Of Bodom - Silent night, Bodom night 4. Soilwork - 20 More miles 5. Soilwork - Exile 6. Soilwork - Sworn to a great divine 7.

Sonic Syndicate - Jailbreak 8. Sonic Syndicate - Enhance my nightmare 9. Sonic Syndicate - Prelude to extinction Bullet For My Valentine - 4 Words to choke upon.

In Wipeout? I reckon that just might work! They work fine:D. Especially at Outpost 7, bcause they are from finland and the track is placed in finland:P Going to add a track to my list: Metallica - One.

I'm definitely using this one for some time! The track "Number 1 In Deutchland" is Perfect for eliminator mode. Joe Satriani will probably take up half of it Back to Shalla-Bal is on mine. But I won't be adding Metallica anywhere in wipeout, lately they are like Wipeout Fusion to me. Maybe, but im wondering to delete it. It takes so damn long time bfore it starts, so you nearly starts wondering whats happend:P. With Links if possible: I have quite a few tracks from previous wipeout games.

BTW, if you go wo wikipedia and search under the name of the wipeout game and then " wipeout game name soundtrack ", you can see all the songs for that game PLUS the extra songs on the album for that game. Check out the "expansion pack" info for WO: Pure too as they have info about additional tracks for various countries.

Then search for the tracks at youtube! Below are my own tunes without mentioning the "obvious" official Wipeout Tunes. Its not the same sort of stuff as XL's punk inspired debut album but its great for long parts of the game ie: Eliminator, etc.

Or else people. Not only does it thump the beat out of your speakers, but it was the main theme tune to "Transformers: Beast Machines", which seemed to take its design cues for Cybertron straight out of the "Wipeout" bible!

If only someone would make me some custom TF themed skins Not sure. Nice though. Just give it a minute to kick in and you will love any of these guy's tracks Let Pendulum's tracks kick in just before you get a boost over the edge of a plummet! Let it kick in and all will be revealed! The song takes a bit to pick up.

You will be humming this one all day long and seeing wipeout races everytime you see circles or tunnels! This tune is a bit slower than the rest, but it gets nice and loud and has a "hurry up and finish the race-almost there!

Its lovely! I'm looking for an instrumental of "Freestlyler" by the Bomfunk MC's if anyone has a copy let me know please! Gonna download that track, and then hunt down the album to add to my collection. I freakin' love Joe Satriani. I can imagine this blowing people's minds back on F1 ' I listen to and compose electronic music almost exclusively. My main genres of choice are trance and house, but I like some dnb and nu-skool breaks too.

But when I'm playing WipEout Pulse, my music of choice is blog house. I listen to blog house while racing 'cos the slower, less frantic beat and catchy chord structures help me to stop paying attention to what I am doing. I race primarily by instinct, not by making conscious decisions i.

If you haven't got it, I recommend you do. My list is incomplete. All my songs are from many eras of dance and in a couple of forms, rock. Here's my current listing.

More will be added to hit Hi guys! I'm new here. Glad to see so many people here! Check out my playlist! Hey, welcome to the Zone Seraph! Thanks dude! I like pink floyd, and I have daft punk on it too But pink floyd You've got a musical taste similar to mine I swap tracks around a lot, I'll listen and think "hmm, this would suit wipeout" bang on my memory card and do a couple of races along to it.

Psyclon Nine's Crwn Thy Frnicatr album is awesome. I've put quite a bit of it in my wipeout soundtrack. A lot of Aphex Twin's Richard D. James material, especially his older works, are very easy to listen to when in the middle of races. I grew up listening to his music.

I've been working with digital sound and stuff for a few years now. Starting when I was around 14, and I'm 18 now. If I make anything decent, I'll post it or something. Tracks from these 6 albums rotate as my 30 song playlist for Wipeout Pulse too bad the track limit isn't larger than 30; something like or unlimited would be more useful.

These sometime get rotated into the mix also. Check my homepage link if interested in hearing my songs. Great D'n'B compilation with 17 or 18 songs, most with fast-paced drum riddims and heavy-hittin basslines. Gotta plop this disc in my PS3 and have it get converted later tonight. Anything which Mile Dyson has worked on - his brand of "dirty, wrong, warped and perverted electro house" is what I listen to when playing online - some of the samples he utilises in his tracks fit in perfectly with in-game sound effects Favourite Miles Dyson track for pulse - Live In Mexico you have to play pulse to this to know what I'm talking about - it's the doggs danglies dudes!

There have been some awesome musical acts within the past year. A lot of them I find very worthy of being added to your wipeout soundtracks if you can. The band Ensoph from Italy just released a new album. I added a few songs of theirs to mine. It's really awesome stuff. A lot of their music is part of my track list as well.

Others like Xanopticon, Bong-Ra, and Xentrifuge are all really good too. Check them out!!! I like music with no drums when I play Wipeout.

Makes phantom seem less like the horrific frantic nightmare it is. Current playlist is just a couple of albums by Tabata Mitsuru he's got a MySpace if you've never heard of him on shuffle.

Oh, and a Philip Glass track:lol. Another Anime Fan? Yeah - the Initial D soundtrack is one I've always wanted anyway - but to know that it works with Puls so well Whoa - You lucky pilot. Another addition to my playlist is now a track called "Modan" by the "Yoshida Brothers" - aint hardcore, more traditional japanese type soundtrack but its awesome with pulse Oh, and a Philip Glass track:lol Is he Japanese?

Think we may feel the same about the phantom modes - less frantic beats make me race better too Which is why I like the Yoshida Bros - sounds really cool, and with minimal beats Especially when you hear things like the in-game voice giving it "contender eliminated" I just love it maaaaan! He is Japanese. He plays in loads of bands, but they're mostly noisy rock and stuff.

His solo stuff is really spaced out and minimal though, so ideal for Wipeout especially if you've been blazing it. Check out his MySpace, there's music on there. Yoshida Bros? Don't think I've heard any. I'll keep an ear out for that. Thanks Lance - I was worried peeps would think "what's ace-flo on about? I'm pretty sure you'll like the Yoshida Brothers They've actually featured on some anime movies, I think Samurai Champloo favourite anime series, then cowboy bebop and GitS Thanks for the races Smad - phantom class is just too much fun dude I remember when I saw Miles live in a club and the girls were just throwing their knickers at him I saw so many flanges that night it was just amazing And now - I have it all on my PSP for pulse!

This is just too much fun now! Artist: Miles Dyson Current favourite track: Gett off you will end up eliminating someone - or wishing you had, this track is just cutting it for me! The other is unneeded. I'm getting kinda bored of it There's a big long section in the middle that really throws the concentration off I will eat your soul.

Stop making fun of me. If you ever need a good spanking, just let me know That's all I've got right now. Keeping an ear out for 6 more tracks I'm all ears I do like the stuff Photek produces. My favourite Photek track is "Hidden Camera" one of Photek's first tracks too I liked the way he used the sample from the shutter speed noise from a camera in the track - how subliminal was that?

And that kinda use of everyday sounds in music was way ahead of its' time back then - Now well over 10 years ago. And a track of his which I've been rinsing on wipeout called "Printer Jam" - where the bulk of the track is made up of printer noises which have been sampled and manipulated to give a somewhat cheeky edged take on the track - works with wipeout, but too hectic for some Phantom challenges online lol.

As for me I am listening to tracks from previous wipeout games now e. I cant play without energy music :. Is it? I'm sure I had it right Thomas Schwartz - Jupiter Calling [] Plump DJs - Snafu [] Stonewash - Bite The Pill [] Plump DJs - Snake Eyes [] Solar Fields - Brainbow [] Hybrid - Godspeed [] Fluke - Set Back [] Chris Reece - Hallow Fame Dub [] Paul Oakenfold - Speed [] Paul Oakenfold - Dark Machine [] Deadmau5 - Vanishing Point [] Arturo Silvestre - Tektuyo Klubbheads Remix [] Fluke - V Six [] Absolute - Dream Odyssey [] Crutches protrude unexpectedly, turning movement into something alien but always dancerly.

Often, the dancers perform en pointe creating perverse shapes and exploring an inventive gestural language. Nevertheless at minutes including interval I found myself getting increasingly restless. The Biennale, like the Singapore Arts Festival, is sure to be both self aware and sophisticated, political but not didactic and to embrace the local as well as the regional and the international.

Singapore Arts Festival, Junewww. What was great about the fifties is that for one brief moment—maybe, say, six weeks—nobody understood art. These are the words of the late, great American composer Morton Feldman quoted in a recent New Yorker. Our own era, with its proliferating arts hybrids, myriad new means for delivering art and audiences happily playing co-creators, is like the 50s, although the sense of mystery is running much longer than 6 weeks.

Meanwhile conservatives backpedal into comfortable old categories. The Melbourne International Arts Festival is very much a part of this exciting evolution. It features some of the greats of the last 30 years who are still incredibly influential.

What is that faraway nearby that is here? In the 51st dream state, the black American artist Sekou Sundiata asks very rigorous questions about language, how it is essentially colonised either in the corporate sector or political speech.

What does it mean to me to be American? Imagine trying to fill out grant proposals for Ngapartji Ngapartji! So many people absolutely thought that it would be impossible for them to pull it together. Artists are typically having to function across multiple countries.

How did the Indonesians win Robert Wilson? He developed that work I La Galigo in different parts of Indonesia for many years. What is it that drives artists to seek across such huge divides? For me this is the hopeful side of globalisation. They always have very strong connections to the natural environment versus the urban hyper built environment. The work is sung and chanted in Bugis with English surtitles.

These people hardly speak that language any more. Some of them could only happen once in a location, others are more mobile. So Castellucci really grabs you by the throat and asks you to have a look at something that is horrifically tragic, unexplained and then disappeared. This is a project that is certainly not for the faint of heart. How do you see the place of Australian artists in the festival?

Untitled - DJ Sasha Vasilyev - Real*Underground*Live (CD) Murphet is collaborating with Dutch artists from DasArts in a work that takes them to northern Australia to the first point of Dutch contact in see Murphet in our education feature p2and Aphids are collaborating with Swiss artists. What about dance artists Lucy Guerin and Ros Warby who are presenting major new works?

Westgate Bridge had been so embedded with hopefulness and tremendous engineering but it collapsed due to human error. So she explores that and the tragedy of the people who died, but also the resilience of human beings that makes you dust yourself off and say, we have a job to do and you do it again and this time you succeed. And beyond that how tremendous beauty is happening alongside great trauma, How does the spirit both fly and stay grounded? What you have running through Second Home is a lament, often for the homeland but also a real celebration of it.

But even before DVD he completely anticipated the technology and the viewing behaviour where you would go home and push pods and see multiple screens and layers. As you go through a layer of the work online you download a minute of the next film. There are 92 layers, the isotope of uranium. And you become the holder of his next film.

Schallmachine 06 looks like another unique combination for Aphids who have that willingness to connect internationally and make a life for themselves beyond their home city. And the work is situated in the underworld beneath Federation Square, each performance designed for very small audience. There can be a tremendously meaningful, resonant exchange among 5 of you.

Melbourne International Arts Festival, Octwww. She guides me onto a bus and we talk in the velvetine seats—me in my shuddering Spanish and she in her interpretive English. She draws the curtains back to reveal the sugar cane fields, the sustaining industry in this city. In the extraordinary artist-run Festival de Performance, artists working in Central and South America bring their collective energy to a small city, made semi-legendary by sugar, salsa and 80s cocaine. The VI Festival de Performance in Cali runs on its own timetable, when it can raise resources through a generous network of local and international sponsors.

The festival is born of a small group of artists who create work internationally but are bound by choice or the exigencies of nationhood to live in Colombia. Helena Producciones invite a range of experienced artists and theorists to attend the festival and also place an open call throughout Colombia for proposals for live works.

The young artists who respond always yield new worlds, keeping the festival risky and playful. I arrived as a low-key ambassador for Australian works, intending to explore the possibility of exchange with this inventive artist-run group, to learn from their resourcefulness, conceptual clarity and the pleasure they generate.

I also wanted to meet the others who support the festival. Each day there were workshops, street interventions and talks held in various cultural centres, an artist-run space, plazas and disused buildings. The flavour of the festival was infused with the politics of participation, underscored by the workshop program. Forhe created an open workshop called Copilandia, a space to play with ideas of free intellectual copyright, trade, barter, hybrids, thievery and sharing.

In the background people contributed to a large mural of a steamroller, covering it with graffiti and stencils, peopling it with miniature soldiers, pineapples, texts from lovers, statistics about the distribution of wealth and an array of colour against the bald propaganda image of the green machine itself.

This work resulted in an action on the final day of the festival. The artists from Helena Producciones hired an old industrial steamroller and purchased a mountain of the most luscious Colombian fruits. At midday, with crowds gathered, the machine headed towards the mound of fruit. People laughed and yelled at the driver, looking like a toy proletarian or gringo stooge replete with paper hat. The steamroller headed mercilessly for the fruit as the people chanted and squealed for it to stop right at the edge of the cornucopia.

With a great cry and immediate chaos, the crowd in a display of pleasure, greed and necessity seized the fruit. This action had an incredible lightness and ambivalence that resonated, with people sharing pineapples and passionfruit into the evening. La Escuela de Esgrima de Los Machetes was a workshop hosted by masters in the art of machete fighting.

The old men and masters of the form, mostly in their 70s, demonstrated and taught this art of jousting to young people for 4 hours each day. Using wooden poles rather than large knives, they spoke about the history of this dance-art form, handed down from over years of black slavery to liberation in Colombia.

These men were as nimble as children and laughed as knives glistened around their heads. The technique is based on a hybrid of Spanish sword fighting from the s and cane fieldwork. As they danced to the slapping of machetes, discussions were lead by Abelardo Miranda, a criminal lawyer who talked about the current justice system a judge-only systemthe history of colonisation and living conditions in the city of Cali.

Using this loose and eloquent format, the workshop became a history lesson in a hybrid meld of cultures and performance forms. Throughout the festival a guerilla TV station, El Vicio TV, invited passers-by into a disused bazaar to perform their skills for the camera.

In this rich temporary zone people offered up everything from master cocktail juggling to examples of still life painting, creating an atlas of Cali to be screened on national television later this year.

The culmination of the festival was at La Licorera, a defunct alcohol depot comprising 3 massive warehouses located on the edge of the city. From 10am until late into the night there were consecutive performances from over 70 artists, a skating display, murals, DJs and bands. All the elements of this smart, beautiful arts event were activated by the audience.

The response to this small selection of Australian work got knotty amid the translation of language and context and caused a wave of debate. Although I offered a context for an Australian experience of colonialism as seen through some of the works, our deeply different histories of war, religion and economics means issues that Australians take seriously are not on the table in a place like Colombia. Attending this festival, I had the chance to engage with artists who grapple with ossified government and the explicit recklessness of capitalism, writ large in the pleasures and chaos of everyday life in Cali.

Over lunches at El Lugar a Dudas I tuned in with my meagre Spanish to debates about state supervision of aesthetics and the paradox of funding and control. Another fascinating organisation that came to my attention during this festival was The Triangle Arts Trust, established in London through the philanthropic support of Robert Loder.

Alessio Antoniolli is the Director of Gasworks in London and is also the key organiser for the Triangle Arts Trust, established to initiate and facilitate an international network of artist-led workshops and residencies. Alessio travels the world to meet with artist collectives who want to extend and consolidate their regional connections with other artists.

Helena Producciones: www. Andrews has realised his vision of the play for Malthouse in a superb production where the various windows between us and the world are made both literal and transformative, and always grimly revealing.

We enter the theatre viewing ourselves in a huge dark glass window the width of the stage and from behind which a ghostly face appears. Aschenbremmer, a businessman Robert Menziesdescribes a city at war.

He presses a button and envelops himself in a white cloud out of which emerge other performers. They too are behind the glass, close to it and head-miked. We hear them acutely. They can play every nuance the script offers.

They are near but far. So is the war. It seems like one in a Middle-Eastern city but is happening in the West. The characters nonetheless go about the business of relationships, art and property. Variations on this near and far dynamic are realised constantly as Andrews, his lighting designer Paul Jackson and the performers work the window. It becomes a mirror, a window onto an imagined garden, the viewpoint from a skyscraper office.

In a very funny street scene Anton Greg Stone watches lobsters in a tank through what we imagine is a shop window. Oskar Hamish Michael joins him and comically mimics the crustaceans. Eldorado commences with war and a crime. In war, opportunists can transform ruin into gold. Here a crime will turn lives to dross.

Anton has embezzled his boss, Aschenbrenner. He hides his dismissal from his newly pregnant wife, Thekla Alison Whytea disaffected concert pianist belittled by her property dealer mother, Greta Gillian Jones. Anton dooms himself, losing his wife and his sanity.

The challenges the characters face, or fail to face, are symptomatic of global phenomena, a world we are already experiencing as increasingly strange. We can feel far from these men and women, the moments of nearness are few, but we recognise the fears and vulnerabilities of Anton and Thekla in particular as purpose and connection drop away.

Aschenbrennen suicides. Anton is haunted by his ghost and soon hangs himself. Eldorado is always around the corner, no lessons have been learnt. My only complaint about the production is that the 2 hangings are too elaborately staged when compared with the excellent economies of gesture elsewhere. This is a bringing together of the near and far that can richly benefit Australian theatre. If Eldorado moves inexorably towards nightmare, Lally Katz and the Terrible Mysteries of the Volcano is a dream from the word go, dream laid over dream over dream as the fantasy worlds of Alice, Peter Pan, Sherlock Holmes and the Lion from the Wizard of Oz merge into a less than Untitled - DJ Sasha Vasilyev - Real*Underground*Live (CD) but nonethess magical theatrical whole.

Characters bleed from one layer into another with a change of name or costume, and some even bleed into each other, the detective Mr Lally Katz is played by the same actor playing Miss Lally Katz. For all that it appears to be a wonder world for children, Lally Katz… is full of alarming adult things. A big deal is done, Wendy is sacrificed, Lion is a panther inside, Canberra is blown up by a volcano, Greg whoever he is has an eternal erection he cannot relieve nothing is safe from himbut when he does, it is believed the volcano will erupt and the universe will be opened is that a good thing?

Composer Jethro Woodward on guitar creates an aptly eerie ambience and, with Kohn on drums, some fine song accompaniment. The recording has been treated so that Street is silenced from time to time.

Outram similarly appears to have a mouth full of water, gesturing as if wishing to speak, occasionally stroking her long hair as if distracted from a daunting task. The gestures are of cradling, the hands reach out, the head is bowed and the sound is textured with a soft tolling and passages of gently running water.

Simplicity and clarity of movement and a sensitive balance between voice and added sound make this an affecting performance. Not the Sound Bite! With Eldorado performed behind glass and Not the Sound Bite! June July The tiny room is a magical theatre machine, densely decked with foreign objects, arcane scientific equipment, candles, gas ring, an antique projector and Lipson himself, a consummate writer-performer who scarily brings to life Sir Francis Galton with all his prejudices and insights, trumpeting the beginnings of statistical analysis and its nasty bedfellow, eugenics.

But more of Meow later when we interview this globetrotting, post-everything chanteuse in RT The feel on the street is that these are exciting times for independent theatre and performance in Melbourne. In addition to this, festivals such as Melbourne Fringe and Next Wave are facilitating a thriving performance scene, providing vital professional support, enabling theatre makers to create the partnerships required to put their ideas to the public.

Independent artists are widely acknowledged by funding bodies and producing organisations as a vital part of the arts ecology, who need support to achieve sustainability and growth. The mainstream press, perhaps responding to the buzz, also seems to care about what is going on outside the main stages. As Alison Croggon noted on her excellent blog last month theatrenotes. The latest such company to emerge is The Black Lung.

It also has 2 co-Directors, Thomas Henning and Thomas Wright, the former an actor, the latter a writer-director. Black Lung announced its arrival on the scene with an opening night party in April. The company put on an evening of music, performance and visual art, although the density of the crowd in the small venue meant Untitled - DJ Sasha Vasilyev - Real*Underground*Live (CD) the focus was on talking, drinking and celebrating, even if no-one knew yet quite what they were celebrating.

The crowd was heterogeneous but mostly young; most were in their early to mids, and not your familiar opening night theatre crowd. This is not surprising, as Henning and Wright are themselves in their early 20s and their interests go beyond those of mainstream or independent theatre into visual and performance art. This opening blast was not a one-off. In the 3 months since this grand opening, the theatre has sold out most shows—a sign that it is clearly fulfilling a need.

Henning and Wright have managed to set up this space on very little money, lots of hard work and the goodwill of artists and the owners of the bar which hosts them, and to whom they pay no rent. They have shown great maturity in the process, consulting widely with the independent theatre and visual arts community in order to set up a space that will serve its future stakeholders.

Posted on the company website is a clearly articulated manifesto which is focussed on its key interest in creating an environment where the members of their own company and visiting artists can develop and expand new works experimental in form and deeply collaborative in nature, and present these to audiences in an affordable and supported environment.

This thoughtful, consultative approach has resulted in keen interest from the theatre-making scene. The directors have found themselves immediately in the position of enjoying a demand for their space, which outstrips their capacity to supply. According to Wright, the decision-making process has been based on personal interaction and discussion with prospective companies, keeping process and concept at the centre.

The whole ethos has been to simplify. It seats about 30 at a pinch and shows have to contend with noise transference from the DJ downstairs. This calls for a style of performance that is able to work with these immediate constraints, and the programming so far has reflected that. The first show in the space, created by the resident company, was an inspired piece of theatrical excess entitled Avast: A musical without music.

Written and directed by Henning and featuring Wright in a leading role, as a statement of purpose for the venue it was an excellent choice. What followed was barely a play about 2 half-siblings Wright and Gareth Davies arguing over an inheritance, with obscene interjections from a mysterious dark clown Dylan Young. It was insanely fast-paced, witty, artfully arhythmic, metatheatrical—a breathtaking combination of precision and chaos.

The actors created an atmosphere of immediacy and real crisis that I have rarely experienced in theatre and, with the help of the best audience-plant work I have ever seen, a palpable feeling of panic and unease.

I left feeling drunk on theatre, intoxicated on the experience of simply being. Suitcase Royale, who had met as students of theatre at Deakin University, were coming off an enormously successful first show, Felix Listens to the World, which saw them winning Fringe awards, touring North America to packed houses and presenting as part of the Melbourne Festival. Having enjoyed the inventiveness, heart and assuredness of Felix, and with the exhilarating memories of Avast fresh in my mind, I had come to the show with high hopes.

I was happy to discover that the show expanded and deepened many of the ideas explored in the previous work. The story revolves around 3 characters who populate a tiny outback town and who are known only by their trades: the Butcher, the Doctor and the Newsman.

This is theatre by accumulation and aggregation. In one moment the actors form a country folk band they are very good musiciansin another they are operating lights and sound there is no offstage operator while creating 3 distinct spaces in a very small room.

It is also, most satisfyingly, self-contained theatre. It is clear in the form that the artists who make up Suitcase Royale are all that is needed to make the work. The lack of artifice is empowering, as it demonstrates, live and in front of the audience, that the power of theatre lies in its alchemical quality, the fact that worlds can be created out of thin air, with some imagination and dedication to the work. The show will soon be touring to Sydney. Avast and Chronicles of a Sleepless Moon are 2 highly satisfying, assured pieces of work, well-suited to the tiny confines of this new theatre space.

Shows and workshops have already been programmed for most of the year. The Black Lung: www. The centrepiece of their most recent work, Chronicles of a Sleepless Moon, is an upended, tricked-up wardrobe jerry-rigged with trapdoors, lamps, cow-horned steering console and all manner of oddments.

The rest of the stage is littered with debris, each item slowly revealed as essential to the narrative though rarely employed for its original intended purpose.

B-grade horror, science fiction, outback tall tales, murder ballads, pulp mysteries and slapstick are thrown into the mix. The story, meandering and shaggy, is matched by constant switching from live action to puppetry, miniatures, animation, film and radio recordings.

It helps that the performance I attended was in a tiny theatre above a Fitzroy bar, trundling trams audible as they passed, and the occasional tipsy holler filtering up the stairs. Theatre of this kind is messy and disjointed, but The Suitcase Royale have chosen not to conceal this by attempting to offer the image of a slick, seamless product devoid of cracks.

There has been a surge of solo shows produced by Malthouse Theatre of late, and the reason for this is quite simple. On the plus side, this has allowed a number of one-handers the opportunity to reach a larger and generally appreciative audience.

Directed by long-time Lee collaborator Laurence Strangio, the work was first presented in the miniscule surrounds of the pub-cum-literary hub, the Stork Hotel in Melbourne. The audience is split in 2, divided by a raised stage upon which the only items available to Lee are an ornate chaise longue and a spot lit telephone. Of course, she is working with an immensely potent text: the narrator awaits news of the death or return of her husband in Paris just after the cessation of hostilities during World War II.

Duras creates a moving portrait of grief and the hidden casualties of war. Her central figure is a walking spectre, haunting the stage and whispering to us across half a century. We are drawn into her world, but are no more able to make sense of it than she. This change brings life, but with life comes a more keen awareness of the reality of death. Birds, hushed conversations and low rumblings underscore much of what we see, but are so unobtrusive as to appear entirely incidental.

Clarke has created a frank, almost unnervingly open portrayal of her fraught relationship with her intellectually challenged younger brother.

The piece opens with an evocation of Clarke as a child, shortly before the announcement of the birth of her brother. Director Wayne Blair the director of the award-winning film, The Djarn Djarns has coaxed from Clarke some quite remarkably candid moments of self-reflection while restraining any temptation to indulge in histrionics or self-therapy onstage.

The final sequence sees the nautical sail providing a second purpose, drawn up to act as a screen for a projected video of Clarke and her real brother. While in many ways quite a different work to La Douleur, both pieces share a commonality too.

Each demonstrates simply the ability of a powerful performer to involve an audience in a fragile human story, devoid of theatrical tricks or convention. The event drew professional overseas, interstate and local artists with disability, as well as people interested in art as recreation.

The program comprised performance, exhibitions, workshops and sometimes heated debate on key issues. The disability arts community in Melbourne is small and close-knit, though it also has many connections with the local world of mainstream and fringe arts.

It was therefore healthy to have disability arts activists from overseas present, to lob a provocative stink bomb or 2 into the debate.

Julie McNamara, performer and disability activist from the UK and Phillip Patston, comedian from NZ, obligingly took on this role during debates on the politics of disability arts.

Patston, also active in gay politics, remarked that you would never see a room full of heterosexuals in leading roles at a gay conference. Traditionally and still today, non-disabled administrators, directors, and teachers fill the majority of these roles in disability arts. This mildly radical comment caused quite a stir. There was discussion about how change from this traditional model could come about, as indeed it has in recent years in the UK.

There was a small but strong performance program. Some shows were open to the public as well as conference goers and attracted good crowds. Julie MacNamara UK performed her one-woman show, Pig Tales, the confronting story of a female child raised as a boy, brutalised by organised religion and the psychiatric system.

The sometimes grueling narrative, a miasma of chaos and cruelty, was leavened with wry, bawdy, black humour. This was quite a workout for McNamara, skilfully performed and cleverly staged.

Steering clear of didactics, the production integrated issues of gender and disability into the personal story of a likeable, confused, mistreated human being. Using traditional mime theatre, an elastic face and expressive eyes, the artist hilariously conveyed a surreal, cartoon-like vision of the mundane world of work. Deaf signing was adapted through mime artistry to become an eloquent set of signals for any audience.

Perhaps the experience of deafness has contributed to the intense physical expressiveness of this performer. His show has travelled the world with humour so light and universal it can appeal across borders.

Ramesh also lead a very successful series of workshops in physical theatre at Art of Difference. New Zealand comedian and disability activist Phillip Patston performed with Sue-Ann Post and graduates of a stand-up comedy workshop, run as part of the conference.

Patston delivered a wry, ironic take on the experience of disability with sharp insight into living daily as part of an oppressed caste that is still marginalised in many subtle and not so subtle ways.

Being downtrodden can be a rich source of humour. There was a joint work in progress from members of Restless Dance Co from Adelaide and Weave Movement Theatre from Melbourne, which gave useful insights for the many artists and arts workers attending into the genesis of dance performance involving performers with a range of disabilities. There were performances also from Louis Tillett, internationally acclaimed singer-songwriter from Sydney, and Michael Crane, a Melbourne writer who incorporates a wide range of musicians in his performance pieces.

Local music artist Akash presented a striking installation. All these artists identify as having a disability, though they do not restrict their work to a narrow preoccupation with disability issues. Other human preoccupations may often seem a more interesting source for art. The local disability visual arts scene is a thriving one, producing much impressive work. There are ongoing political debates to be had around disability arts.

Why should it be segregated from the rest of the arts? This mirrors broader social questions around disability and segregation, in general still alive and well, despite slow advances. Art of Difference has taken a step away from routine ways of looking at disability arts and has given a brief insight into the wide spectrum of artists and arts activity identified with disability.

Maybe this can shift perceptions a degree or two. From recreation to high-level creation, art functions in many ways for people with disability, as for the rest of the community. At the same time, there are still many doors to be opened to achieve full access and recognition for these artists and the work they create, work which emerges from a unique viewing platform on the theatre of humanity. Janice Florence participated in Art of Difference as a dance artist in the Weave-Restless project and as a speaker in several panel discussions.

On this damp Thursday night in winter, the fabric of the former tannery feels rather desolate. Her aspiration is not to disguise but to practise the possibility of being undisguised and, more broadly, of unmasking that which may seem self-evident. Paradoxically, she remains, somehow, inscrutable.

Insofar as it is motivated by a precise regard for efficient communication, the work might be described as an illustrated lecture. The spoken lines alternate with the execution of a drawing of the earth and other planets of the solar system, in chalk, over the extent of the concrete floor.

Casado squats to do so, pulling a small construction lamp as its electric chord allows, lighting the ground and only occasionally her face. Her approach to the drawing and its style are as deft and stark as her use of spoken words. By a methodical repetition and variation of these elements, reflections on a holiday in West African Mali open out, steadily, into reflections on subjecthood in the global context. There is an island at the centre of the room: a hollow, elongated sculpture about 20cm high made from dark chocolate, and dotted with chocolate palm trees.

Lit by a single, bare bulb, this island is implied as the sun of the solar system that Casado is sketching. Amongst the 7 Canary Islands, Fuerteventura is considered the oldest in geological terms, and its sweeping beaches are the longest. For these reasons it has been perhaps most insistently mythologised as the place in the Atlantic Ocean where sensory delight and perfect gratification are guaranteed—indefinitely.

Although the choreography of Paradise 2 telescopes to conclude at the chocolate island, Casado does not begin there. She visits it intermittently: having used a word related to economic thinking or analysis, she breaks and chews through one or more palm trees.

Thus speaking, drawing and eating, Casado treats distinctions between tourism and migration as a pattern of assumptions about money and consumption, freedom and responsibility. Together the palm trees amount to nearly grams of chocolate.

As each is taken, the sampled sound of a falling tree is set into reverberation. This eating Untitled - DJ Sasha Vasilyev - Real*Underground*Live (CD) neither private nor necessary, but nor is it powerless, or defensive: it is a highly controlled display of over-gratification.

The quantity of chocolate that passes her lips becomes abject, as does the denuded island, though Casado herself does not. Even so we must hear the tree trunks splitting relentlessly. Over the 35 minutes of the performance, these accumulate into a soundscape that suggests a collapse of any difference between the depletion of natural resources and of human dignity—and we are all complicit.

Casado works without both lacking and outside a proscenium. Yet the premise behind Paradise 2 proves highly traditional, in the sense that she undertakes to recreate an image of the world; in this case, the world as a matter of ordinary words and gestures—and desires that the capitalist marketplace makes ordinary through constant justification and fulfilment.

In this stark and disquieting solo, Adam Broinowski presents the body as the broken remainder of discourses of war and terror that seek to erase and remove it from vision. With war reduced to triumphalist rhetoric and video game images, what remains of the body?

First vision. From behind tensed crossed wires that surgically quarter the stage a dissection? I imagine tracer fire across this wrong ed animal body as he disturbingly thrusts fingers into the eye holes of the mask as if to tear off his ruined face, or as if, like Oedipus, he has been forced to see far, far too much.

In his mouth is embedded a small wireless camera, through which he looks out at us in the dark. He looks without seeing, yet records everything. De-humanised, he becomes a seeing machine, with the technological apparatus that produces an image literally hard to swallow. Second vision. The stage is drenched in red fluorescent light, a photographic darkroom for this dark time. Shorn of his fur, Broinowski re-enters dragging a bulging balloon that wobbles amusingly yet pathetically.

Third vision. Later, it becomes the reflective ground upon which he kneels, giving this warring body a long hard look at itself. This body is at war with itself, with the animal within, and with the framing discourses of terror surrounding, demeaning and erasing the human. For the first and last time, he speaks:. There is no animal as cruel as human There is no animal as bright A thousand suns, each one brighter than the last A desert full of empty shells All is gone, all is gone, all ….

The being that Adam Broinowski presents looks without seeing, and kills without either touching or caring, possessing a cruelty far beyond any other predator. In the end all we have left are images of ourselves recorded earlier, blindly, from the mouth, a reflection of the strange and frightening animal we have become: the audience. In the latest work by Perth based collective pvi, reform, audiences accompany its elite taskforce, the loyal citizens underground—self appointed vigilantes in the fight against the lewd and crude on the streets of Northbridge—on a kind of semiotic scavenger hunt.

There is an urgent tenor to our mission as we set out to take the pulse of contemporary Australia. Armed with absurdly inadequate decoys such as newspapers and champagne glasses for cover, we head out to find out just how badly we are in need of reform. James Street, Northbridge is a tough strip with a lot of emotional code strewn on the street.

What a zoo! Littering, crossing against the lights, dressing provocatively, carrying a condom, begging. Such things will not be tolerated.

Tuned into a live broadcast, we dip in and out of James Street establishments, weaving through the cruising traffic and taking in the rhythm of Northbridge with its cast of bouncers, taxi drivers, clubbers and drifters. A woman queueing at an ATM asks if we are sociologists.

As we head to the Tom Cruise Room at the back of the Pot Black snooker hall for a briefing, the prospect of audience participation is weighing on our minds. Just how far will the loyal citizens underground go? So Sensual People Gotto Move Le Sheikh Noir Wings of Santa Lucia Sensing Somekind of Presence Les Seigneurs meanwhile Look Around - Featuring Billie Godfrey Yesterday's Shadow Featuring Miss Bunty The Sign and the Seal Mist of Dreams Featuring Praful Ltd, Abigail Bailey [Original Mix] Optimistic-Bobby D'Ambrosio Feat.

After All-Orange Muse Feat. D'Empress [Original Mix] Don't Matter-Club 4 Llife Feat. Lorraine Brown [Original Club Mix] Just Friends-Hott 22 Feat. Angie Zee [Original Vocal] Celebrate-Peyton [Eric Kupper 12'' Mix] Shine-Verde [Full Vocal] Keep On Jumping-Corenell Feat.

Lisa Marie Experience [Original Mix] All Woman-Skwerl [Original Mix] Robert Owens [Original] Break 4 Love-David Untitled - DJ Sasha Vasilyev - Real*Underground*Live (CD) Vs. Keith Thompson [David Vendetta Mix] Body Language-M. Booka Shade [Tocadisco Mix] Simon Franks [Club Mix] Straylight-Baxter Baxter [Original Mix] Off Da Hook!

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Toco - Negro Beanfield Feat. Ernesto - Close To You Motorcitysoul - The Dream Madita - A Letter To You Bliss - Evening Sun Duke B - In The Lodge Karma Feat.

Michelle Amador - Are We? James Bright Feat. Rachel Lloyd - Home Luke - You Know Why Giorgio Li Calzi - Good Vibes Kennet Bager Feat. The Day After Yesterday Pt 5 Club Squisito - Fade Away Soundtrack Boi Akih - Leamata Sunset Alony - Skylight Whispers In the Moonlight - Omar Don Juan - Johannes Linstead Dream Spiral - Hilary Stagg Treasure Bay - Govi Walk In a Meadow - Bernward Koch Morning Celebration - Karunesh Stella Maris - Gypsy Heart - Govi Dazzled By the Light - Karunesh Flight Being - Bernward Koch Earth Story - Nicholas Gunn Malena Perez - Cubanita Groove [] Da Silva Feat.

Circus Remix [] Version [] Clementine Celarie - Tengo [] Gerardo Frisina - Descarga [] Roger Sanchez Feat. Gregor Salto Feat. Nando Vanin - La Diosa Misteriosa [] Blu Mar Ten - Black Water [] Blu Mar Ten - Anytime Soon [] Blu Mar Ten - Rouge [] Blu Mar Ten - Brother [] Blu Mar Ten - Dolce Vita [] Blu Mar Ten - Silk Road [] Blu Mar Ten - [] Blu Mar Ten - Ghost Trio [] Blu Mar Ten - Sunday Water [] Blu Mar Ten - The Feeling remix [] Blu Mar Ten - Turtle Beach [] Blu Mar Ten - The Conversationalist [] Blu Mar Ten - Wa'ke [] Skyline Centigrade Silver Lineform Shuffle Bits Active Ingredient Stamen Spacesuit Divide By Zero Ekoshok Shiver 2.

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Phase I Phase II Phase III Lightbulb Sun How Is Your Life Today? Shesmovedon The Rest Will Flo Hatesong Where We Would Be Russia On Ice Buying New Soul Access Denied Cure For Optimism Untitled Disappear Ambulance Chasing In Formaldehyde Even Less Parasite Heart of gold Dawn of the ancient war Hell awaits From the beginning of it all Icebound Deceiver Eye for an eye To hell and back Against the madness of time Burned down the enemy My Reign, My Fire bonus Heart Of Gold demo version A Fear Falling Under Who Would Have Thought Waking The Monster Casey Step Into The Light Sing To Me A Conversation With God Listen All You People The Only One Bombs Up In My Face Neverland Walk Away Maybe My, Myself And I Lucky Town Setting Sun Words Meds 2.

Nancy Boy 3. Every You Every Me 4. Passive Aggressive 5. The Crawl 6. Pure Morning 7. Blue American 8. The Bitter End 9. You Don't Care About Us Special K Special Needs English Summer Rain Blackest Eyes Trains Lips of Ashes The Sound of Muzak Gravity Eyelids Wedding Nails Prodigal The Creator Has a Mastertape Heartattack in a Layby Strip the Soul Collapse the Light Into Earth Drown With Me [bonus track] Deadwing Shallow Lazarus Halo Arriving Somewhere But Not Here Mellotron Scratch Open Car The Start of Something Beautiful Fear of a Blank Planet My Ashes Anesthetize Sentimental Way Out of Here Angel 2.

Pie Jesu 3. Somewhere Over the Rainbow 4. Silent Night 5. Pokarekare Ana 6. Even Though You're Gone 7. Walking in the Air 8. Morning Has Broken 9. May It Be Cantero YG feat. Diggi Di ft. Julia Kova feat. Dj dvd feat. P Project feat.

IQ - California Luv Maxi-beat - Coca cola X-Mode feat. Lomonosov feat. Dj dvd vs Maurizio ft. Quadro - Money Sitting Down Here Faces You Weren't There From This Day What If My Love Whatever It Takes Fight Against the Hours Disguise Story Sorry The Way We Are The Way I Am Life Crest of the Wave Now It's Gone Here I Go Again We Are [Spider Man Soundtrack] What You Waiting For? Rich Girl Hollaback Girl Cool Bubble Pop Electric Luxurious Harajuku Girls Crash The Real Thing Serious Danger Zone Under A Violet Moon Way To Mandalay Shadow Of Untitled - DJ Sasha Vasilyev - Real*Underground*Live (CD) Moon I Still Remember Ivory Tower Greensleves Gone With The Wind Loreley Fires At Midnight Morning Star Minstrel Hall Village On The Sand Play Minstrel Play Wrighting On The Wall Soldier Of Fortunes Home Again I Saw Three Ships Winter Basse Dance Ding Dong Merrily On High Ma-O-Tzur Good King Wenceslas We Three Kings Wish You Were Here Emmanuel Christmas Eve Now Listen Somewhere in the Night

Otaries : Jappage De Cette Troupe Cabotine. - Audio-Camera - Bruits De La Nature N° 3 : Animaux Sauv, In Rave We Trust - Scooter - Scooter Forever (Limited Deluxe Box) (CD, Album), Tschaikowski* - Capriccio Italien Op. 45 & Francesca Da Rimini Op. 32 (Vinyl, LP), La Seine - Jane Morgan - Jane Morgan At The Cocoanut Grove (Vinyl, LP, Album), Secrets, String Quartet No.2 in D flat major Op.15 - Dohnányi*, The Gabrieli String Quartet, Wolfgang Manz -, All Clare - Johnny Dankworth* Featuring Cleo Laine With The John Dankworth Orchestra And The The Jo, I Let A Song Go Out Of My Heart - Duke Ellington - The Complete Duke Ellington Vol.10 - 1937-1938 (V, Pierre - Barbara (5) - Barbara (CD), Midnight Dream (Mike Rodas Remix) - RageVision - Midnight Dream (File, MP3), Episode 15 - Henry Rollins - The Henry Rollins Show: Season One (DVD)