Bardo Pond better come to Melbz

King Khan & BBQ better come to Melbourne!!

what a terrible piece of writing on metal machine music

i know it's wrong to expect the SMH metro to be anything beyond an advertising pamphlet for the half-smart, but still.

prices/booking details here

$35 for boris, king khan, $65 for metal machine.

tuvan throat singers!

ignore nony - here's where you get tickets

Hmm...Metal Machine Trio. I might have to do this.

GAH!

King Khan is coming back! Hurrah!

Are you going, 'lips?

Boris!

When do tickets go on sale?

is it just me or is the ticketing page fucked?

I'm trying to buy tickets to Rickie Lee Jones but the page is asking for a promotion code? redlips, and ideas?

Fucked for me, too.

Maybe cause tickets aren't actually on sale yet?

Tickets on sale 9am today!

We broke it:

The Sydney Opera House website is currently unavailable
To enquire about or book performances please call the Box Office on +61 2 9250 7777.

For information on guided tours, Experience Packages or High Tea visit us at the Guided Tours Desk, located upstairs in the Box Office Foyer of Sydney Opera House, call +61 2 9250 7250 or email: tourism@sydneyoperahouse.com.

For general information call +61 2 9250 7111 or email: infodesk@sydneyoperahouse.com.

We apologise for the inconvenience. Thank you for your patience.

Call the box office. I just did, and booked.

Turned out pretty cheap... $79 for three studio shows (usually $35ea) and $20 for additional. Metal Machine Trio is $29 for under 29s... i got front row center.

So i ended up getting Boris, Bardo Pond, King Khan & BBQ Show, My Brightest Diamond and Metal Machine Trio for about $130.

Pretty excited now. Hope the second announcement brings more happiness

redlips is in a meeting and suggests calling box office

So let me get this right MEtal Machine Trio is $29 for under 29's and $75 for everyone else?

$65 for A reserve, yep.

Vivid live is looking for bloggers to write about the shows. Wonder how much they're paying.

it was a competition wasn't it, free access blah blah?

always with the money, scoops! Can't writers just write for the sheer joy?

No.

NO JOY FOR THE HUMBLE SCRIBE!

http://vividlive.sydneyoperahouse.com/bloggersignup.aspx

deets there.

addition to reviewing the listed performances, you will also be required to prepare an additional blog about Origin carbon offsetting Vivid LIVE and what this means.

Writing ad copy for free. Now there's ''sheer joy''.

''You'll also hear how Origin is helping to make Vivid LIVE a more sustainable festival.''

SICKNUTZ! SIGN ME UP, PAVLOV!

2 sides of the same coin, scoops, the yin and yang of cynicism.

Vivid Live, coming to you from Sustainability Drive.

and like that, its over, sure errr, vivid runs for another week or so, but there's not anything actually happening.

Light shows still go till next Monday, yeah?

don't the lights stay on for a few days?

then pav declares bankrupcy, and no one gets paid.

then the cure put out the boxed dvd set of their shows for christmas, to remind us how much fun it all was.

yeah, light shows on until monday, the customs house one is great.

however, they've decided to put both weeks in the official vivid program (being handed out around circ quay) the tumbleweeds whipping through the second week are sorta funny.

chris cunningham, apart from one clip, was pretty poor. should've invited robin fox over to my house and played youtube clips drunk instead.

LOL

Cyclic's review of CC:

Unfortunately, tonight’s show was more notable for what didn’t happen, rather than what did – but more on that later. From the start, all of the portents were certainly promising. Having been advised to arrive promptly for a 8.30pm start given that there was no support act, I made my way to my balcony seat to gaze down onto a stage housing Chris Cunningham’s expansive live rig of computers and video mixers, offset by a looming backdrop of three large ‘triptych’ style projection screens. I’d been a fan of Cunningham’s video work since picking up Aphex Twin’s ‘Come To Daddy’ VHS release back in 1998 and since then pretty much actively tracked down all of his stuff, so I was particularly excited to check out his live performance, apparently composed of his own live edits of his more well-known music videos, unreleased material and his own music, with the Sydney Opera House’s main room representing an ideal choice of venue. As the lights dimmed, Cunningham emerged onstage with the opening I’d half-expected given recent events, the distinctive weathered blues vocals of Gil Scott Herron reverberating through the vast hall as he kicked his set off with ‘NY Is Killing Me’, the late Herron’s visage looking down upon a drifting sea of city lights, the numerous overlapping layers merging at points into a hypnotic wash of drifting images.

It’s certainly a powerful and gripping start, particularly as Cunningham extends the ending section of the track live, leaving Herron’s face in focus beneath the drifting sea of lights for a good few minutes after his vocal performance has ended, resulting in what’s easily one of the night’s more evocative moments. Rather than performing his set as a continuous flow of imagery, Cunningham brought each separate video to a discrete fadeout close, something that started to give me the sense that I was watching a series of video clips more than anything else. From there, things soon took a way darker tone with a clip I’d never previously seen involving a Japanese child in a hospital eerily similar to the one in Squarepusher’s ‘Come On My Selector’ sleeping in a bed beneath a bulb-like apparatus in the ceiling that violently manipulated her facial features into all sorts of rhythmic contortions and deformities, perhaps the scariest bit being that she appeared to remain blissfully asleep (or perhaps drugged?) throughout the entire traumatic procedure. From there, there was a comparatively short blast through The Horrors’ ‘Sheena Is A Parasite’, Faris Badwan’s vocals being dubbed out and cut-up amidst Samantha Morton’s strobed-out attack of tentacular genitalia, before another previously unseen clip sees a naked couple suspended in a yawning dark void apparently mid-coitus before a beam of white light strikes them, stimulating them to turn on each other and attack each other violently.

It’s easily the most confronting moment of the night, as the naked man and woman literally bash each other to a bloody pulp, the physical strikes synched to a violent barrage of beats and explicit footage of sexual penetration (it’s worth mentioning at this point the signs warning audience members of ‘disturbing imagery and high sound volume’ as we walked in). While it’s stylishly done however, it doesn’t really go anywhere else from here and before you know it, we’re already on to the next thing, which proves to be Cunningham’s own ‘Rubber Johnny’ short film, easily one of his better known and more widely seen pieces of work. While it’s certainly great to finally see ‘Rubber Johnny’s furiously gory body contortion visuals (noticing a theme here?) on a huge screen, disappointingly Cunningham only really performs the most basic of edits to the original version, focusing mainly on the bit where Johnny’s unseen relative opens the door ajar to the darkened room and tells him to settle down.

And with that, just over 45 minutes into the set, the house lights came up and Cunningham waved goodbye, leaving a good portion of the audience remaining in their seats for a good few minutes afterwards hoping for an encore. But that was it. While I don’t doubt Cunnngham’s skills as a video director, tonight’s live performance proved to be a real disappointment – when you consider the material in his videography, the set just felt plain lazy and a missed opportunity. And let’s not mention the early nineties rave lasers and dry ice that made a mercifully brief appearance at one point…

Chris Dowton

i heard there was nothing ''live'' about that CC ''performance''. Smoke and mirrors.

Although one wonders what could be expected, and indeed what is the point of a video artist doing a ''performance'' anyway.

I certainly expected more than a 50 minute showreel at a $79 ticket price.

yep summed it up well.