Thank You, Thank You Love

REVIEWFIRST APPEARED ON RMITCATALYST.COM 

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Tucked away on the floor above the Tuxedo Cat, we’re slurping drinks, submerged in colour and all waiting for a signal for the start of Thankyou, Thankyou Love. Lights are dim, it smells like cigarettes and somebody’s laughing about how the toilet paper in the men’s room is colour-by-numbers.

Written by Tobias Manderson-Galvin—a self-professed actor/playright/poet/dadist—the show we’re all waiting to see is apparently ruminates “dying on stage” in five short plays. The night is part of HYPRTXT, an inaugural festival of performance writing produced by MKA: Theatre of New Writing, of which Tobias is Creative Director and co-founder. But beyond this, Tobias is already a playwright known for his controversy. His play, The Economist revolved around Anders Behring Breivik, a mass murderer who killed 77 people in 2011, generating headlines around the country.

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Interview with: DRUNK MUMS

REVIEWINTERVIEWFIRST APPEARED ON THEDWARF.COM.AU 

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At a Drunk Mums gig Adam’s mullet will stab you right in the eye, wayfaring sex-dolls might graze the ear and you’ll watch the VB elbowed clear out of your hand. But you don’t care. You can’t really see anymore or know what’s going on really; everyone’s blood-alcohol level is cranked up as high as the amps.

But despite being frequently referred to as just another band that “gives no fucks”, the music of Drunk Mums transcends this stereotype. Hightailing off their venerated EP ‘Eventual Ghost’ and a debut self-titled album, these self-professed “rock n’ roll yobos” prove there’s still backyard talent churning hot and steamy in the guts of Australia.

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