Category: Reviews

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ALBUM REVIEW: Birds of Tokyo’s “Brace”

Following Birds of Tokyo’s channel ten sports-montage-anthem ‘Lanterns’, to say the band had fully embraced pop-rock success would have been a fair assessment. Rarely does a band make a record like ‘March Fires’ and then emerge two years later with something entirely different. During the ‘Lanterns’ era, many would not have guessed the next Birds of Tokyo album would be hell-bent on channelling anger, disillusionment and general vitriol at the state of the modern world. Read more …

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FILM REVIEW: La La Land

Musicals, especially stage musicals, have become incredibly popular in the past few decades. Hamilton made learning history “cool” again by modernising it musically; Wicked revealed the story behind the Wizard of Oz through emotional, storytelling ballads and Spiderman the Musical…happened. The silver screen was also once honoured with the presence of wonderfully catchy and timeless musicals such as West Side Story, Singin’ in the Rain and The Sound of Music. Recent entries into this genre haven’t been necessarily awful but they haven’t been entirely original either, and although Into the Woods and Jersey Boys were fantastic, the former was once a novel and the latter was adapted from its stage counterpart. The refreshing and refined insanity of early comedy-musicals is absent from our modern movie musicals. It is clear that it is Director Damien Chazelle’s divine right to inoculate musical nonsense and magic back into film as La La Land, his third feature film, is the perfect, nostalgic template for what a musical movie should be. Read more …

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RadMon Recommends: Please Like Me

Situational Comedies, or as they are more commonly known, “Sit-Coms”, have been through interesting phases of development since I Love Lucy graced people’s tiny black and white boxes in the 1950s. In the 66 or so years that sit-coms have been popular, shows within this genre have been fake documentaries, candid peeks into “real” family lives and tales of “nerds” trying to exist in the real world. And although these shows attempted to represent “situations” between a family or a group of friends, no other modern show comes even close to being as realistically situational as Josh Thomas’ Comedy, Please Like Me. Read more …

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Funking Dam! k-Lab debuts ‘Worlds’ EP

The word funk gets thrown around as inappropriately as alcohol at a sixteenth birthday party. You think over-consumption is cool at the time, but slowly you grow up and mature, take responsibility and eventually learn to walk the walk. With “Worlds”, K-lab is definitely walking the walk.

Groove oozes all over this record. Hip Hop sythphonic out of space trip, with plenty of variety featuring drum and bass, dubstep and punchy beat stabs you’ll find on track’s like ‘Don’t lose yourself.’ Yet with all the electronic influence, reminiscent of the 80s, combined with classic, palm muted guitar licks still maintain serious soul, a core ingredient to the funk. Read more …

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ANNOUNCEMENT: Radio Monash to attend the 2016 AACTA Awards in Sydney

Radio Monash are thrilled to announce that it will be sending four presenters to attend the 2016 Australian Academy of Cinema and Television Arts Awards in Sydney next week. Covering the event live from the Red Carpet on Wednesday the 7th of December, our presenters will be face to face with some of the most iconic and celebrated personalities of the Australian Film and TV Industry. Radio Monash is the first community owned and student-run media organisation to be invited to the event in the history of awards, which is an achievement we are both incredibly humbled and excited by. Read more …

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PODCAST: RadMon Reacts – 2016 American Election

Now available on Radio Monash; “RadMon Reacts: The 2016 US Election”

Join Vivek Thilkan​, Avanti Oberoi​, Connor Johnston​, Ruari Shackleton​ and Sayu Umeda​ in one of the most passionate, analytical and engaging political podcasts of the year featuring cutdowns of RadMon’s day long coverage of Donald Trump’s victory as it happened live – followed by a feature length roundtable discussion exploring the most contentious topics of the result.

Featured below is both a highlights reel from the show and of course the entire podcast.

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GIG REVIEW: Tribute Band Night at Yah Yah’s, Fitzroy: The New Fellas and The Smokes

Ever since the Buggs and Elvis impersonators became popular, tribute bands have always been a staple in music entertainment. Tribute cover bands serve as a great way for bands who are perhaps getting too old to perform, or the more morbid side of it, for bands whose members are no longer with us, to be injected, to avoid a pun here, with more life. Unlike cheese, bands do not get riper with age but tribute bands are sort of a way to pick a rotting cheese off the shelf and repackaging it and calling it “blue cheese” and “decadent”. Many would argue the Strokes aren’t getting worse with age, despite being in the game for over a decade now, and people who’ve listened to their most recent Future, Present, Past EP would agree they are losing their touch a bit. But the Strokes are well into middle age now and have lost touch with their 2001, Is This It selves. The band no longer play dingy, and smoky, packed venues, nor do they indulge in on-stage antics with intense audience participation, tossing microphone stands like javelins. Luckily enough for us, The Smokes, pulled us into a time machine, said “where we’re going, we don’t need synthesisers!”, and took us back to a time around 2006 where The Strokes were in full swing and were filled with youth and energy.

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Why “CLASS” should be your next TV Addiction…

What formula does a television show need to be successful; and more importantly: What aspects of a series do audiences reward?

Of course there is no standard answer for these questions, however in reflection of the current trends in the television industry some common elements naturally arise. Audiences reward accessibility, originality, energy and creativity – otherwise known as four aspects that seem to be embedded into the framework of the brand new drama from the BBC, “Class”, which marathon aired its first two episodes on ABC2 last night. Read more …

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Upon Reflection: “Black Mirror”

WARNING: DISCUSSION OF PLOT POINTS! SPOILERS!

Modern Television has been dominated by countless “quality” TV shows, with ongoing stories spanning multiple seasons, with plenty of inter-season cliffhangers, and numbers of characters names to memorise to keep up with continuity. With these epic tales like Game of ThronesThe Walking Dead and Breaking Bad being centre stage on our televisions, dramatic anthology shows are dearly missed. Anthology shows (anthology meaning a different plot and cast of characters between episodes and seasons), need no memorisations of which character is which and why that character is out for revenge and so forth. Shows like The Twilight Zone and Goosebumps scared us to death, and the more revolutionary and recent entry into this genre American Horror Story, spooked us and entertained us. But a new anthology series has arrived, albeit 5 years ago but its 3rd season has just premiered on Netflix, to change the way we view horror / sci-fi anthology series, and TV stories for that matter. This show doesn’t contain haunted houses, parallel universes or cursed masks fusing to someone’s face, nor are there supernatural beings, ghouls nor spirits, Black Mirror nosedives headfirst into the most terrifying thing in human existence: inevitability, and the future.

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THEATRE REVIEW: CLOC’s Jesus Christ Superstar

Walking into a CLOC show, one always expects something fairly impressive. Be it the atmosphere and grandeur of St Kilda’s National Theatre, or simply the company’s proven track record of staging consistently extraordinary examples of musical theatre: you know from the moment you take your seat something remarkable is about to happen. However, I think it is fair to say not even the CLOC loyal were prepared for something as unique and striking as this year’s October performance of Jesus Christ Superstar; in which director Shaun Kingma brought to life a show that exists on its own level among amateur and professional shows alike.

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Photo by Britt Lucas

Tiny Little Houses release sophomore EP ‘Snow Globe’

Round up your emos, it’s time for a crying sesh. Hailing from Melbourne, Tiny Little Houses may as well be sailing around the world in nothing but an ocean of their fan’s tears from the stellar release that is Snow Globe. I say this, because the EP holds no respite from the doom and gloom that surrounds our everyday menial existence. This EP however, differentiates itself from it’s predecessor, You Tore Out My Heart (2015) significantly through it’s intense deliberations with a darker side, both lyrically and sonically. Grappling with a heavier, fuzzier sound, singer, Caleb Karvountzis, swirls and twirls his audience through the pitfalls of humanity and the consequences of taking risks in relationships or in the wider society.

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THEATRE REVIEW: Monash Shakespeare Company’s “Twelfth Night”

EDITOR’S NOTE: The editorial staff at Radio Monash would like to make it clear that the writer of this article was involved, in some capacity, with the pre-production of the musical. Though we trust that this does not influence the writers judgement, the team at Radio Monash feels as though this statement is needed for the sake of transparency and proper ethics.

William Shakespeare’s Twelfth Night is a classic tale of romance, scheming and mistaken identity. Twins Viola and Sebastian are separated in a shipwreck, both assuming the other to be dead. Viola dresses up as a boy and falls in love with Duke Orsino, who is in love with Olivia, who, thinking she is a man, falls in love with Viola.

The Monash Shakespeare Company’s production of the bard’s story was brave and creative. While it had some truly hilarious moments of physical comedy, homage to the text felt lacking at times. Although ultimately entertaining, many aspects of the performance didn’t quite “fadge.”

One may think that the story of Twelfth Night is complicated enough as is, which is possibly why the slightly misguided choice to introduce the concept of time travel into the narrative just didn’t work. Aside from making a play which is already difficult to follow at best of times more complicated, the set itself was poorly designed. The large time machine in the centre of the stage took up a lot of space, rendering a large part of the small performance area unusable. Considering the time machine was only used three times throughout the show, the restrictions its presence imposed makes it difficult to justify. Read more …