Australian

From their start in 1979 to their demise only five years later, Australian Crawl stood as a bizarre anomaly against the largely punk and political scene Down Under. Essentially sculpted as the Melbourne Beach Boys, the Crawl's songs ranged from odes to Errol Flynn and Resort Girls to rousing singalongs like "Hootchie Gucci Fiorucci Mama," and their mash cover of the Kingsmen's "Louie, Louie." Consisting of James Reyne (lead vocals, piano), Guy McDonough (co-lead vocals, rhythm guitar), Bill McDonough (drums, percussion), Simon Binks (lead/acoustic/slide guitar), Paul Williams (bass), and Brad Robinson (rhythm guitar), the Crawl initially appeared to be little more than hedonistic surfers – in Reyne's own words, "part of people's lives; a representation of the beach, the open air and good vibes." But their debut album, 1980's The Boys Light Up, also contained recountings of automobile accidents ("Indisposed") and vicious attacks against shallow materialists (the band's first single "Beautiful People"). Their combination of light, breezy tunes with significantly darker subtexts (not altogether unlike Brian Wilson's best material) left The Boys Light Up on the Aussie charts for no less than 104 weeks. 1981's sophomore effort, Sirocco, did not mess much with their proven formula. Alongside hits like "Lakeside," "Things Don't Seem," and "Errol," the album also produced their standard "Unpublished Critics," a Reyne rant later redone as a live track on the B-side of "Louie, Louie."

Insider Secrets for Foreigners Seeking Jobs in Australia

From director Jennifer Peedom and the Australian Chamber Orchestra comes River, a powerful collaboration created as a companion to their record-breaking production Mountain.River is extraordinary tale of nature and humans as partners and adversaries: rivers have shaped the earth and shaped the human species.We love and abuse rivers, worship and pollute them, flood them for wealth and turn to them for solace.This CD album presents the soundtrack from a cinematic experience like no other, with music by Bach, Vivaldi, Ravel, Mahler, Sibelius, Jonny Greenwood, Richard Tognetti and more, including a new collaboration with William Barton.

Reverie is a collection of twelve works that bring together themes both banal and transcendent, juxtaposing music that is by turns deeply lyrical and ecstatically ludicrous. A highlight of the album is a setting by the group’s conductor, Gordon Hamilton, of the Elegy – In memoriam Rupert Brooke, written by Australian soldier Frederick Septimus Kelly on the battlefields of Gallipoli and set here to words by Kelly’s close friend Rupert Brooke.

Four of Australia’s finest vocalists come together in a visionary performance combining heavenly vocals in a chamber setting.

‘Indie’ cross-over composers and their Polish avant-garde heroes come together in a program about musical inheritance. The "Indies & Idols" program is an excellent example of artistic director Richard Tognetti’s flair for making a unified narrative out of the apparently eclectic. In this case - a meeting of the heroes of the Polish avant-garde with some contemporary ‘indie’ cross-over artists who admire them.Tognetti thinks that the contemporary composers of "Indies & Idols" – Jonny Greenwood, Sufjan Stevens and Bryce Dessner – are the inheritors of what has been a “slow-motion response” to the upheavals of Modernism. This generation that I’m part of, and younger, have all responded to Modernism in a sort of slow dance, if you like”, he says. “It’s taken a long time.

‘Indie’ cross-over composers and their Polish avant-garde heroes come together in a program about musical inheritance. The "Indies & Idols" program is an excellent example of artistic director Richard Tognetti’s flair for making a unified narrative out of the apparently eclectic. In this case - a meeting of the heroes of the Polish avant-garde with some contemporary ‘indie’ cross-over artists who admire them.Tognetti thinks that the contemporary composers of "Indies & Idols" – Jonny Greenwood, Sufjan Stevens and Bryce Dessner – are the inheritors of what has been a “slow-motion response” to the upheavals of Modernism. This generation that I’m part of, and younger, have all responded to Modernism in a sort of slow dance, if you like”, he says. “It’s taken a long time.