Tag: Rock

For 2 days and nights- Addison Road Community Centre in Marrickville will host some of the biggest names in Sydney's mus...

One guitar. One voice. One drum kit - frequently bloodied- sometimes broken. The modest tools can only begin to tell the...

Alright Sydney!! In need of some Bad Medicine?It's time to grab your leather jackets and hairspray as the Hayden Orpheum...

Front End Loader- according to the internet- 'is an Australian rock band…formed in early 1991 in the Sydney suburb of Da...

Here is a unique sort of soulful and sassy package of blues and roots: Open it! -Bonnie Kay- a contemporary American sin...

Music@ StreetMarket in conjunction withA DOUBLE BILL FRI 20 NOVIan Cooper 7.30pmMoulin Roque 9.15pm a Cabaret by Susanna...

In this cult classic- sweethearts Brad (Barry Bostwick) and Janet (Susan Sarandon)- stuck with a flat tire during a stor...

Cone of Confusion is hitting the stage on November 5 at Freda's bar- Chippendale. There will be 2 separate performances with 2 different support acts.There are strictly 50 seated tickets for each show to allow for social distancing.Session 1: 7-9pm with support by BorokySession 2: 9:30-11:30pm with support by jetrioAbout Cone of ConfusionCone of Confusion is a Sydney-based group of musicians from different cultural and musical backgrounds. Gathering knowledge from personal experience and individual influences- this project blends musical curiosity through improvisation.Last year- this project culminated in a debut album (released September 2019) and a sold-out show at Venue 505. Experimental- creative- and theatrical- this music takes prog and jazz rock to another level.'Listen with deep awareness- the system has turned irreversibly corrupt. Not knowing where it is leading us to- the inevitable emancipation has begun.'Lillian Hearne: clarinet- sax- vocalsRemi Marchand: guitarJay Woo: electric double-bassJuan Carlos Negrete Lopez: drumsBoroky (Art Pop)Three years old- Boroky potters around the shallows of the collective unconscious collecting smooth stones and shells. Boroky dances with giants (which is quite messy)- battles dragons (don't we all)- and has cool mermaid friends who make Boroky a bit bashful. Some people think Boroky is getting too big to drink out of a bottle with a teat.JetrioJetrio was birthed from a communal disdain- for each member hated each other's voices. Sean hated Alex's voice- who hated Blain's voice- so the vicious cycle went. With the aid of musical instruments- they were able to eschew conversation altogether and instead make 'musics' of an 'acceptable variety'.

There's a kind of innocence and earnestness to looking up at the clouds. It's something we do as children - searching for shapes- glimpses of meaning that might suddenly give form to the expansive and changing sky. This yearning to explore and make sense of our world is lost as we grow. When we're not looking down- we look up and feel suddenly small- distant to whatever lays beyond and at the same time- completely at its mercy.It's this notion of the sublime that Jackson Farley uses as the backdrop to his work- but rather than surrendering to these systems of value at play- he peers through - poking and prodding- making fun and inserting his own narrative.His images- taken on his iPhone and blown up 17 times to scale- are riddled with Jackson's mark making- zany loose drawings overlay the forms of clouds- rock faces and flowers and he uses text to give voice to the anecdotes and narratives at the heart of each work. Whether it's 'i miss you' sprawled out over the heavens or lyrics to Taylor Swifts 'We Are Never Ever Getting Back Together' tagged onto 'Jesus' tomb'- each mark becomes a catharsis and speaks to a kind of universal history - a mourning for naivety- lost love and family departed.In Jackson's video work- which shares the exhibition's title- we see a tangible 69th edit of the Bible. The Old and New Testaments are collaged together with the artist's personal narrative to create a hypnotic world that embellishes the fantastical nature of the original text. The crucifix that Jesus died on finds its voice and 'naughty' escapades ensue in the party to end all parties- where the faithful are turned into 'techno fish' and father and son finally have that much needed talk.Using irony- afforded by combining seemingly 'pure' and 'impure' imagery and text- Jackson channels the subliminal and parodies the way in which we see ourselves and our world. With the crudeness of slapstick- schoolboy humour and sexual innuendo- this body of work speaks to the irony of religion- god and notions thereof- whilst also conversely- being just as sentimental- heart-felt and self-reflective.In many ways- TESTAMENT PT. XXXXXXVIIII plays with value: we search for identifiable shapes in the clouds- find ourselves in the lyrics of Taylor Swift songs and we cannot help but identify the number 69 with oral sex. These dualisms almost appear as compulsions- competing for primacy within the spaces of image and video- one sitting alongside the other. They speak to the pathos and hierarchy of Catholicism- whilst also pointing out its irrevocable contradictions.Covid-19 guidelinesIn light of the Covid crisis and to ensure your safety we request that all visitors register upon entry and maintain social distancing. Private viewings can be arranged call or email the gallery to book a time.