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I purposely walked from Elizabeth Bay to Paddington for my Endota facial and massage appointment because I was told that a foot spa and massage would be a part of my treatment, and I really wanted to sense the dichotomy of pain (the 30 minute walk, in brogues) versus the pleasure. I’d heard about Endota Spas before, and it’s no wonder since the brand is quite ubiquitous. Since opening their first spa in 2000, owners Belinda Fraser and Melanie Gleeson have expanded and now have spas in almost every Australian state and territory. Something must be going right.
The newest addition to the Endota family is their Paddington spa, situated in a two-storey terrace with seven spacious treatment rooms (three doubles, four singles), on the corner of Paddington Street and Jersey Road. The spa offers excellent ‘couples indulgence’ packages and even hen’s days for groups wanting a full room to themselves, getting spoilt with manicures and pedicures.
As the non-fairer of the sexes, looking at the menu, I was keen to see what the spa offered in terms of treatments for blokes. Indeed Endota has a full section devoted to men, which they dub “for guys who look after themselves... without looking up themselves”. There’s a one-hour facial that takes a man from rough to buff, using Dermalogica and Endota’s own brand of organic products. After a soothing ‘Billabong’ foot bath, the beauty therapist prepares you for a no-fuss-but-very-effective organic skin facial. In between applications of cleanser, exfoliant, toner and moisturiser, hot towels are placed over the face for full steam effect. Also in between, you’re treated to a scalp and foot massage, feel ethereal at head and toe point, and begging for the same sensation through the rest of the body.
That’s where the full body massage comes in. Endota’s muscle-melting menu includes remedial, relaxation, Hawaiian, hot stone, aromatherapy, and sports massage. You simply need to pick one and the therapist gets her hands to work.
Had I had more time, I’d have opted for the inviting ‘Hand-some Lad’ treatment which includes an invigorating hand scrub and soak, nail and cuticle maintenance and (yet another) stress-releasing massage. A good reason to come back soon, then.
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Antonino Tati |
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When M.I.A (aka: Maya Arulpragasam) notified media of the name of her new album as �/\/\ /\ Y /\� (read: MAYA), journalists figured the artist was sacrificing opportunities for search engine optimisation (try typing that into Google and see what comes up; maybe one of her video links, if you�re lucky). But methinks M.I.A, or Maya, had a smarter tactic in mind. A lack of search engine optimisation also means freeloaders are less likely to be able to find new tracks by the artist on free-to-download sites like Limewire. And to make matters more chaotic, this smarty-pants has gone and titled her tracks with all manner of incorrect spelling. Songs called �Teqkilla�, �Lovalot� and �It Iz What It Iz� are less likely to be found on such sites when some punters have a hard time getting Gaga or Madonna right (read: typos in Ga Ga and Maddona, and there�s plenty of �em).
Ironically, computer hacking and internet fraud are the main themes of the album, not only in its cut-and-paste artwork but in lyrical warnings like in opening track �The Message� (�Headphone�s connected to the iPhone�s connected to the Internet�s connected to the Google�s connected to the Government�). M.I.A even boasts on the back sleeve �WELCOME [to] hactivism @ ITS BEST�.
But don�t let the hype blind you from the utter talent. Despite the video for lead single �XXXO� receiving backlash for its depiction of a group of red-heads being shot by soldiers, and aside from M.I.A�s big-mouth bantering on some of the dodgy dealings of the music industry, listen to the songs and you�ll discover there�s method to the madness. While a couple of the tracks on �/\/\ /\ Y /\� are erratic as all hell and might have you reaching for the Panadol, some are as cunningly structured and infectious on the listener as anything in the commercial Top 40. Highlights include �IT Takes A Muscle� (two parts dub, one part soul and a cute chorus) and �Tell Me Why� (this year�s �Paper Planes� with less antagonism and more invitation to groove).
All up, �/\/\ /\ Y /\� is an impressive LP that already has listeners in the know loving it, fashion designers sure to be pilfering it for next season�s collections, and the rest of them no doubt hooked on one track or another come 12 slow months� time.
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Antonino Tati |
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2010-07-07
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Bid. Bid. BAM! That beautiful Balinese villa you were wanting to book for your next holiday is not only yours, but you’ve saved a couple of hundred quid along the way - all within 72 hours. Booking accommodation online is now even simpler and more economical with myroombid.com, an online travel website that lets visitors bid directly with a hotel and nominate the rate they want to pay. Headed up by Luke and Andrew Veron, the website is about bidding, bargaining and saving money for the consumer in the end. Myroombid.com has launched Bali as the first destination to book online accommodation, and for very good reason considering that us Aussies are the largest source of foreign tourists to Bali with approximately 165,000 of us venturing across the sea to this destination each and every year. Myroombid boasts no mystery, no last minute rush, just bidding and winning. Visit www.myroombid.com for more information.
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Latoyah Forsyth |
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2010-07-17
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I have never been so attached to a smartphone as I am to my new Samsung Galaxy S. I’m talking hooked. Addicted. Made it my new best friend and accessory. It’s so thin and lightweight, I carry it in my top pocket everywhere I go, and if I’m not using it for the usual voice calling and text messaging, I’m updating my Twitter and Facebook status on the go, or playing Mazoid (a sharp version of Pacman) in the back of a cab, or touching up images thanks to its nifty Photoshop.com Mobile app. In fact, this phone comes with so many free applications, and is impressive in its functionality and yet so compact, you’ll wonder what all the fuss of the iPhone was about (sorry Apple).
One standout feature that has everybody talking (well, texting really quickly) is SWYPE. Unlike traditional texting, you slide your finger from letter to letter and SWYPE determines what you’re wanting to write, without lifting your finger off the screen and without you having to be too accurate. You can use the new feature for SMS-ing, keying in contacts and emailing, and it sees your texting sped up by 150%.
Another key feature that comes for free is Layar – an augmented reality browser that allows you to view locations for real-time local information and maps through the Samsung Galaxy S camera, and to share this info with others. A 4-inch display screen means content viewing possibilities are enriched. So much more text can be read at once, and colours burst out of the screen, with animations delivered lively and smoothly. The screen is a handy size to read eBooks (without having to lug around something as large as the you-know-what-pad) and Samsung have even teamed up with Borders so you can download titles instantly. Currently you can download one free best-seller using the free Borders eBookstore app - choose from Christos Tsiolkas’ ‘The Slap’ or John Silvester’s ‘The Golden Mile’.
Like other trusty smartphone brands, Samsung has designed its own social networking aggregator. Social Hub manages all your social media – from texts to Facebook messages – in one streamlined user interface. You can also customise news, weather and finance feeds from around the world.
The only downfall of this device is that although the battery charges relatively quickly, it also gets used up rather fast (even in comparison to earlier models of Samsung phones). But then that could be because I just cannot stop using the beautiful thing...
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Antonino Tati |
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Elle sáppelle Emilie Simon, a French born, New York living avant-garde pop beauty who possesses the feminine and demure aesthetics of indie darling Zooey Deschanel, the musical influence of Kate Bush, the operatic quality of Kate Miller-Heidke, and a personality akin to the early years of David Bowie. Her third album 'The Big Machine' boasts epic and pertinent tracks that move and avoid monotonous repetition. Using a mixture of traditional Chinese instruments with keyboards and various other new technology devices, software and hardware, Simon is a jack of all trades, recording multiple instruments including brass and strings, vocal harmonies and modulations, to produce an adventurous soundscape complete with ballads, cabaret and absolute pop tunes that are slightly left of centre. Wanting to approach the album as “a veritable sketchbook for the sensorial overload” associated with her newfound life as an artist inhabiting the cultural hub of New York, 'The Big Machine' is literally a strident adventure for the ears.
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Latoyah Forsyth |
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2010-07-07
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With a sound that combines John Mayer and Jamie Cullum, albeit with a subtle melancholy pop sensibility, ‘The Distance Between Two Truths’ by Mark Sholtez is a soft and beautiful mellow trip of love and loss. The songs are simple, relying on acoustic and organic sounds that are matched by charming lyricism, encouraging the listener to empathise with the tales divulged in each track. The album, being Mark’s second, is mature and personal yet relatable, detailing a passage that he now feels comfortable to share. The majority of the record is crafted solely by Sholtez, cementing his musical ability as both singer, songwriter and musician.
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Latoyah Forsyth |
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2010-07-01
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With a powerful, seductive voice and exotic film starlet looks inherited from a Greek father and Welsh mother there is no doubt Marina Diamandis is a star in the making, although on principle, she’d be the last person to admit it. Calling herself Marina & The Diamonds (a little like Florence & The Machine where the Machine is rarely in sight), Marina’s main subjects in song are fame, identity and the trappings of celebrity culture. These are what make up her debut album ‘The Family Jewels’.
“I’m not famous and I don’t want to be,” claims the singer-songwriter. “I sit in my house working all the time. I don’t go out to parties; I’m not interested in them. I’ve got too much to do and achieve.” Despite such a strong work ethic, surely this gorgeous single lass gets out on weekends, at least?
“Nope, I stay indoors,” she says resolutely. “On Friday nights I’m usually in bed with a cup of cocoa,” before confessing, “but if I’m at home in London I’ll eat or try and write a bit. I read, usually it’s something on psychology or feminism. Sometimes I might make strawberry laces or I’ll cook stir fry and noodles.”
Despite a lack of craving for fame, the remarkably down-to-earth singer desires success as much as any other performer. But she wants that success to be defined entirely by her singing; measured by the recognition of her peers and not by how many paparazzi shutters click in front of her on a red carpet. “I am ambitious and I have drive, but my music questions what success really is,” she says. “I don’t feel like my goal in life is to be famous or own a big house and a big car. I want to challenge how people see the culture of celebrity. My goal is to change people’s thinking.”
The thinking Marina is determined to change is one of a society enamoured with being famous just for the sake of it. Revealed in song titles from the uplifting album opener ‘Are You Satisfied?’ and its camp follow-up ‘Shampain’ [it’s like ABBA on steroids] to ‘I Am Not A Robot’ and ‘Numb’, most of the songs reinforce her social critique while showcasing an extensive vocal range. Tongue-in-cheek lyrics like “TV taught me how to feel, now real life has no appeal” and “I’m obsessed with the mess that is America” reveal her view of a culture without substance. The reference to the “Polish girl in America, tall, tanned, blonde and hot” in the song ‘Hollywood’ came from catching an episode of reality TV.
“It was just this girl called Anya. I was watching depressing TV about girls who were looking for rich guys to latch onto and I thought how sad is that? I felt so far away from them. I like to sing about the decline of culture and of moral values in society. Not just in America but also in the UK [where she resides] and in Australia too perhaps. No-one has patience anymore and everything is too fast at the expense of quality. That goes for food to furniture and houses to cars. No-one wants to wait.”
However fervently Marina believes in the condemnation of popular culture she promises it won’t extend any further than ‘The Family Jewels’. “The theme from this album has now ended. There will be no follow-ons.”
Of course if the success of her second LP equals her first then the temptation of buying expensive cars and attending extravagant parties instead of staying in bed drinking cocoa might start to prove a little too strong. That’s just one other reason to keep your eye on Marina Diamandis. |
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Patrick Lewis |
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If we flash back to the early Noughties, Ella Hooper was the baby face of multi-platinum, ARIA award-winning, pop/punk group Killing Heidi, the Australian band that made dreadlocks, heavyset eyeliner, crop tops and piercings an impressive fashion statement. Ten years later, Ella has grown up a lot, and she wants you to know it. Along with brother, Jesse, the duo have formed The Verses - a mature, adventurous and personal music venture that marries the duo’s contemporary singer/songwriter sensibilities with a broad range of musical influences integral to their upbringing. One thing’s for sure about this revised outfit: it’s definitely a departure from the grunge-like urge of Killing Heidi.
“With Killing Heidi, I think I was rebelling against good taste,” says Ella. “I wanted it to be big and loud and brash. I was 15, and that is how you want things to be at the time. I have no regrets, absolutely no regrets, but I am so much more experienced now. I’m fundamentally the same person but I’m a lot more in touch.”
The Verses debut LP, aptly titled ‘Seasons’, is one that mixes the melancholy of Fleetwood Mac, the trippy mojo of Tom Petty, and the subtle folk-rock of The Faces, but with an injection of she’ll-be-right-mate that is unmistakably Australian. The record projects a roots-rock sound with alt-country balladry that is vulnerable and resilient, melodic and narrative-like.
“The songs are the first consideration and that’s what I think it was about with the bands we were influenced by. The songs tell a story and the lyrics mean something; it’s not just rhyming couplets, and that’s what we’d like to bring back... In my mind, there's this character, a girl who's breaking away from her past, going from the country to the city, falling in love, getting into scrapes. ‘Seasons’ is a metaphor for that cycle.”
Ella and Jesse worked on the LP with what they call the ‘Dream Team’, which consisted of producer Mitchell Froom (Crowded House, Paul McCartney) and a credible band of musicians including players from Elvis Costello’s rhythm section and Jackson Browne’s right-hand guitar man.
Ella says the album is a rediscovery and evolution of their musical selves and a vintage approach to sound recording, focusing on organics and authenticity, memorable melodies, honest songwriting and captivating lyricism. Opening track ‘Still Come Around’ is a story about carefree city nights whilst ‘Teeth’ is a tongue-in-cheek jab at the man-eater and the man-eaten which contrasts greatly to ‘Winter’, a beautiful track that Ella and Jesse insist encapsulates the soul of the entire album.
Says Ella – in poetic fashion, of course – “Musically, if Option A is the highly produced, highly slick pop music that isn’t really working for you, then we’re Option B. I truly believe pop music can be way more organic, authentic, emotional and real. That’s how I see The Verses.”
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Latoyah Forsyth |
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2010-07-01
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Megan Washington could sing ‘The Wizard Of Oz’ to you verbatim, and if life was an MGM musical, she would undoubtedly be the Judy Garland of what she calls “awkward indie pop”. Born in Papua New Guinea, Washington moved to Brisbane at age 11 and pursued jazz and vocal composition at the Queensland Conservatorium of Music, a genre she felt wasn’t entirely her cup of tea.
“I feel that, as a singer, the reason you get into music is because you like telling stories,” says Megan. “Stories in the jazz repertoire had nothing to do with me; they were all about Mississippi and the 1940s. Also I felt that, stylistically, being a jazz singer is more about imitation than innovation, having that sound that I just didn’t have. I sounded like a weird Irish Catholic librarian with a head cold.”
Once her fervour to pursue music professionally kicked in, Washington relocated to Melbourne, after exhausting almost every live music venue in Queensland from Boondall to Woolloongabba.
“Brisbane is a great and fertile town, it’s good for spawning, you know, but the minute you get arms and legs it becomes difficult because there’s nowhere to fucking play.” So she toured for 18 months with folk rock outfit, Old Man River, and learned the ins and outs of musicianship and how not to suck at touring.
“The trick is to be floaty and really malleable, you almost need to be like Dori from the film ‘Finding Nemo’. To just go with the flow. And you have to get irrationally excited about the small things, like finding double yolk egg for breakfast, because otherwise there is no joy. Touring is one of the most extreme things I have ever done; it’s either amazing or fucked.”
Washington’s debut album ‘I Believe You Liar’ is an eccentric, emotive and engaging affair, and details personal stories that revolve around her tumultuous encounters with love, heartbreak, trust, loss, lust, guilt and joy. She refers to her striking songs as ‘sonic Polaroids’ because “a lot of them are musical documents. I don’t have any politically-challenging songs about the war in Iraq; I don’t have songs about the lockout curfew in Brisbane, even though I probably should.”
Opening tracks ‘1997’, ‘Navy Blues’ and ‘Cement’ are gutsy upbeat songs with strong, catchy melodies, but it’s track four ‘Underground’ that gives way to the first wave of thought provocation, the song detailing Washington’s will.
“I’m not trying to get young people to write wills; it’s more about interrogating your own mortality. As a young person we always think we aren’t going to die; it’s that whole invincible thing.”
The album’s closing song ‘I Believe You Liar’ follows a similar path. It is the most poignant track on the LP and not only represents a personal rekindling for Washington should have listeners feeling an instant connection due to its cunning lyrics, smooth strings and sensitive and vulnerable vocals. For Washington, it is “a relinquishing of the little vile of venom and [saying] - for whatever it’s going to be - that I’m going to do this again. People have to change, people do change,” she affirms.
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Latoyah Forsyth |
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2010-07-01
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For the last decade we’ve been told the internet is the perfect medium for information dissemination, allowing people of all walks of life, locales and languages to seek the information they seriously require. Australian satirist come internet author, David Thorne, a self-confessed embellisher and technology cynic, disagrees controversially and quirkily. He sees the internet as nothing but a laugh, and his humble website 27bslash6.com is a highly comical means to which he’s managed to do everything from pay bills online with a drawing of a seven-legged spider (an illustration self-appraised at $233.95) to manipulating grown men into writing dirty phrases on their bellies as he poses as a beautiful woman in online chat. Compiled in hardcopy format is ‘The Internet Is A Playground’, a best-of collection of Thorne’s witty articles and back-and-forth emailing that leaves you in awe at just how much you can get away with in cyberspace. Published through Fontaine Press, RRP $24.95. |
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Latoyah Forsyth |
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