BMA Mag 351 07 Jul 2010 by BMA Magazine

www.bmamag.com

Tijuana Cartel

Omar Musa

#351JUL07

M U L U D N E P st e F e n o t S o t in g Swingin

# 3 5 1 J U L 0 7 Fax: 02 6257 4361 Mail: PO Box 713 Civic Square, ACT 2608 Publisher Scott Layne General Manager & Advertising Manager Allan Sko T: 6257 4360 E: advertising@bmamag.com Editor Julia Winterflood T: 02 6257 4456 E: editorial@bmamag.com Accounts Manager Ashish Doshi T: 6247 4816 E: accounts@bmamag.com Super Sub-Editor Josh Brown Graphic Design Cole Bennetts Exhibitionist Editor Naomi Milthorpe E: exhibitionist@bmamag.com Film Editor Mark Russell Principle Photographers Andrew Mayo Nick Brightman NEXT ISSUE 352 OUT JULY 21 EDITORIAL DEADLINE JULY 12 ADVERTISING DEADLINE JULY 15 Published by Radar Media Pty Ltd ABN 76 097 301 730 bma is independently owned and published. Opinions expressed in bma are not necessarily those of the editor, publisher or staff

Three local boys embarked on a journey to write and play the kind of music they love, and Fearless Movement was born. Their music feels like summer, surf trips to the coast and Sunday arvo beers in the backyard sun, and is exactly what this frigid city needs in the midst of winter’s icy grip. With a sound inspired by The Beautiful Girls and Xavier Rudd, Fearless Movement will warm your soul, leave a smile on your face and keep you humming all night long. They’re playing The Front on Thursday July 8 at 7.30pm.

behold the dragon Massive props are in order for Dragon Dreaming Festival, which celebrates music, art, nature and the freedom of self-expression in a safe, family friendly forest gathering not far from Canberra. As last year’s epic three day event successfully met the noise pollution minimisation requirements, this year’s fest has been given the go ahead to operate more freely and increase volumes. An extra day has also been added; the fest will be kicking off on Friday October 1 to allow campers to arrive early. The festival organisers are currently looking for contributors and volunteers, so if you’re a performer, artist, stallholder, or anyone who has something unique and interesting to offer, email info@ dragondreaming.net .

get inspired Love to write? She Inspires have announced the opening of the 2010 Winter Short Story Competition. They want vibrant, talented authors to submit their short stories based around the word ‘inspiration’. The three winning entries will receive cash prizes and publication on the She Inspires website. For more information on the competition and what exactly they are looking for, go to www. sheinspires.com.au/win .

GST) who may like to hold an exhibition in the space, contact gallery curator Ben Drysdale on ben.drysdale@bcsact.com.au .

simply splendid! If you’re off to Splendour at the end of the month you’re no doubt getting jittery with excitement, whereas those who find themselves ticketless will understandably twitch in pain upon hearing the word. Now, regardless of whatever side of the coin you sit on, you can still enjoy the lineup. At secret-sounds.com.au you can download a free ten track Splendour sampler, featuring songs by Mumford & Sons, Laura Marling, Jonsi, Two Door Cinema Club, Ash, We Are Scientists, Band of Skulls, Surfer Blood, Alberta Cross, The Magic Numbers and more.

flying souls On Saturday September 11 at ANU, legendary US metal band Soulfly will sink their sharp claws into our fair city. Joining them are Vancouver’s City of Fire and US band Incite. Tickets are on sale now from all the usual outlets.

belconnen gallery Calling all visual artists! Belconnen Gallery is taking expressions of interest for its 2011 program. If you would like to take advantage of their individual/group rates ($125/w inc GST) or are part of a community/non-profit organisation ($75/w inc

the magic numbers

moving without fear

If you’re a musician and want to be on the bill, email music@ dragondreaming.net by the end of July. First release tickets sold out in a flash, with second release tickets on sale now. Head to dragondreaming.net for all the info, and get in on the countdown to what is easily one of the best festivals Canberra has to offer.

FROM THE BOSSMAN Lovable attention-jockeys will know we bid a teary yet fond farewell to Justin “The Bedroom Philosopher” Heazlewood last issue. Apparently he’s just getting too “successful” with his music career these days and wants to “focus on it more”. Ridiculous. Yes, yes, so his excellent parody of indie-wank in Northcote (So Hungover) has got over 25,000 views on YouTube. Big whoop. My allanAHAawardsdisgrace clip got way over that. Geek chic? Bah! I was rocking that when it was seriously not cool. Like atomic wedgie not cool. I can entertain you little pooglets by firing rainbows of yay into your chuckle zone. I have a Bachelor of Arts. In Professional Writing, dammit! Seriously though, Godspeed Just. Be sure to check out both the fantastic video for Northcote (resplendent with muso cameos) and his ANU show on Aug 18 with band The Awkwardstra. Anyway, this column comes hurtling to you on the mojo wire aaaaaaaall the way from sunny Spain, where I’m attempting a European honeymoon whilst stoking the fires of BMA from afar. Apart from three frantic messages from the fire department and a friendly reminder from Mick the loan shark, all seems to be going swimmingly. To celebrate this fact, here are some diary notes from the Spanish sojourn thus far: - women sunbathe topless and, most surprisingly, no one gawks (well, nearly no one; I expect to see a headline in the Daily Madrid tomorrow reading “El Blanco Diablo!” or “Son of a Beach: Alabaster Pervert Strikes Again”). - do not step onto zebra crossings expecting a safe haven from vehicular oppression; the law to stop is taken more as a vague suggestion here. They might as well paint a succession of targets. - everyone here is gay. Or just remarkably well groomed. There are so many cheap and varied fashion stores, you simply have no excuse for sartorial sloppiness. As a flipflop blue flannel sporting Australian, the pressure is on. One feels the need to slip on an Armani suit simply to pop ‘round the corner to buy the milk. - I’m not kidding people, like, totally topless. You spend the entire time trying to act cool by not staring. My poor inner monologue’s working double shifts (Be cool, Sko, be cool, they’re just breasts after all, you’ve seen them hundreds of times, well, a couple of times before, play it smooth. Oops, just caught another eyeful. Stare whimsically at sea for a few minutes, that ought to balance it out). “A lot of topless women today, dear.” “Mmmm? Yes, yes I suppose there are, my dear wife. Well spotted.” - “A bird in the hand is worth two years imprisonment.” Sydney Customs - today we stumbled across a potential new location for the next series of Survivor, a little island situated off the south coast of Spain called Doñana or Mosquito Island, as it should be known. “You need be careful, there are many mosquitoes,” the tour guide proffered, in delightfully Spanish flavoured broken English. “Ha!” I thought. “You can’t scare me, peasant. I come from Australia. We breed and race the bastards in RSLs* where I come from!” Once we stepped off the boat, it was like a scene from Hitchcock’s The Birds. Despite layering repellent on thicker than molasses, me and the lady wife now resemble an advanced version of join-the-dots. - When a maaaaaaaaan loves a wooooooomun! Sorry about that last one. Had Percy Sledge stuck in my head for some reason. Stay warm, squiglets. Catch ya in The Little Chill soon

YOU PISSED ME OFF! Has someone yanked yer chain recently? Well send an email to editorial@bmamag.com and have your sweet vengeance. And for the love of God, keep it brief! [All entries contain original spellings] To the retarded chimps running the Belconnen Mall, your antics lately have been inconvenient and annoying but we lived with it because you had grand promises to make a better shopping environment. But you have finally, well and truly pissed me off. Introduction of paid parking on the weekends? You have got to be fucking kidding me. With the mall in the state of clusterfuck that it is right now, with foot traffic down a huge amount and shops closing all over the place, how dare you put more pressure on already struggling stores. It is honestly like you want people to stop coming to the mall. I hope you pay dearly for this action you inbred, mentally deficient fuckwads. To the 17 year old muppets who managed to afford Diamond class seats at the Yusuf Islam concert. You pissed us off! You sat behind us making Beavis and Butthead noises throughout the concert. I was so tempted to punch you in the throat during Peace Train. Now that would have been sweet irony. Maybe one day you will get to see a real boob. All malice intended.

ALLAN SKO *such activity may be restricted to Kambah

and

another thing…

I’m sad again. Not because of England’s ignominious, linesmanassisted exit from the World Cup (do we know how many Germans fled to Uruguay after World War II?), although that clearly would be enough for a strong man to turn himself into a blubbering, tearstained husk. No. I’m sad because Frank Sidebottom is dead. Of course Frank isn’t really dead. Frank, a papier mâché-headed comic creation, will live forever. But his creator, English musician/comedian Chris Sievey, has passed away after a short tussle with cancer. It’s hard to explain to the uninitiated just how great Frank Sidebottom is. Permanently aged 35 and still living with his mum – who at all times remained blissfully unaware of her son’s exploits – Frank released such corking records as Frank Sidebottom’s Sci-Fi EP (featuring such titles as Space is Ace and the surreal Lard Conversation which was, appropriately, Sievey and sidekick Emerson Lake – voiced by Madchester alumnus Marc Riley of The Creepers – discussing the theft of supplies of lard by insurgents from the Planet Kilvert) and Frank Sidebottom Salutes the Magic of Queen and Also Kylie Minogue. Sidebottom performed his music, usually accompanied by tinny casio organ and out of tune ukulele, very much in the style of British wartime entertainer George Formby, whether he was delivering original material or covers. His unique family appeal (you’d never hear anything stronger than ‘blimey’ uttered by Frank) meant that, for a while in the late ‘80s Sidebottom was ubiquitous, especially in his native North West of England. Equally at home on kids TV or (and I’m not making this up) appearing on serious current affairs shows, Frank had it all. Sievey – formerly frontman of cult band The Freshies – worked Frank hard, engaging in nationwide tours as well as the TV work (some of these shows took the form of a ‘Frank Sidebottom lecture,’ whilst others were straight-up performances of Frank’s extensive repertoire of songs), but by the mid ‘90s Frank seemed to have run his course. Sievey soldiered on, however, and by 2005 his career seemed to be on the upturn again, at least in terms of work. When he died earlier this month news leaked that Sievey had died in penury. Such was the size of the man’s fanbase however, that within days of the announcement of Frank Sidebottom’s death several pages had sprung up on sites such as Facebook appealing to fellow fans to give Frank/Chris a proper send off. A sum equivalent to over $20,000 was donated in less than three days. It’s a cliché, but he will be sadly missed. youtube.com/watch?v=dBYbuQOQzcA youtube.com/watch?v=a7ikwvOHpxg&feature=related

scott adams thirtyyearsofrnr@hotmail.com

with

katy hall

Who: You and your finest flannel What: Pyjama music marathon When: Saturday July 7 Where: McGregor Hall

Ah local pride! It’s a glorious thing (unlike national pride which is generally embarrassing for everyone smart enough to resist a tattooist’s attempts to ink you with a Southern Cross). In the spirit of sending McGregor Hall off into the rubble world with a bang, the Canberra Musicians Club is organising a weekend music marathon sleepover aptly titled Pyjamanalia. Julia and the Deep Sea Sirens (pictured) will be there raising funds for their latest album Family Pets (and delivering promised cupcakes), and locals Voss, Fire on the Hill and Drew Walky will also be in attendance with a bunch of others. Did someone say pillow fight?

Who: Stephan Bodzin What: Deutsche wunderkind When: Friday July 9 Where: Transit Bar

Well it’s been a little while since an international DJ came our way and blew our techno socks off; at least a month, so, in terms of the Canberra dance public time, that’s effectively a pinger’s eternity. Lollygag and Effigy are delightfully bringing Stephan Bodzin, the German wunderkid on the decks to Transit and he’s bringing his full blown visual and audio show with him. Local support from Scotty Fisher, Biggie and a marvellous bunch of others. Save your pennies for the party – tickets are $15 presale or $25 on the door.

Who: Nim, In Sepia, Encircling Seas, Hoodlum Shouts, Mornings What: Japanese rockers When: Wednesday July 7 Where: Bar 32

Some hungry young go-getter from the streets just trying to make a name for themselves in this two-bit town is bringing a swagger of bands to Bar 32 for you, me and any other interested parties willing to part with $10. Mornings and the very fine Hoodlum Shouts will be warming up for interstate acts In Sepia and Encircling Sea, who will then be warming up for Nim, coming all the way from Japan. So really, lots of warming and lots of music. Well worth 10 bucks and giving up a Wednesday evening at home.

Who: Alohas, Arrowhead and Ajinomoto What: Rubber thong rock out When: Saturday July 24 Where: Phoenix Bar

Ahhh there’s nothing like a good old fashioned road trip to warm the cockles of your heart. Well the names at left might have given it away, but for the sake of clarity, The Alohas hail from Sydney and play surf music. Arrowhead are allegedly masters of fuzz, and Ajinomoto are a Japanese duo from Newcastle that play garage punk. The three bands have teamed up for some road tripping and are bringing their Attack of the Killer As tour to Phoenix for some Saturday night rollicking sans surf.

Who: AYO What: Classical music When: Saturday July 17 Where: Llewellyn Hall

Fact: classical music is boss. If you like it you can be all ‘I can now talk to my grandparents’ and ‘I’m really cultured and yes I’ve been to New York’, and ‘Ooohh that cellist is a bit of a babe’. Australian Youth Orchestra is a collection of over achieving kids from across the nation that are starting their tour in Canberra and heading off to China and the UK after a string of nationwide dates. Catch them at Llewellyn Hall and hear the joy that is Rachmaninov, Mahler and the gang.

WHO: Ungus Ungus Ungus WITH FUN MACHINE WHAT: A rollicking and rocking good time WHEN: Wednesday July 14 WHERE: The Front Cafe and Gallery

What do you get when you cross the funkadelic, psychedelic, rockadelic tunes of Sydney’s Ungus Ungus Ungus with the pop fuelled, hypermatic, flying-off-the-handles-happiness of Canberra band Fun Machine? $10 bloody well spent I say. They’ll be packing em’ in and throwing them around the floor at The Front when Ungus Ungus Ungus stop in as part of a nationwide tour. And when it comes to showing first timers how things are done, there’s none better than the loveable lad and lass of the currently compact Fun Machine, taking one for the team this time ‘round with their bassist off gallivanting through Europe. Fun times ahead.

SWINGING SUCCESS

DANIKA NAYNA Prior to 2002, PENDULUM’s Rob Swire and Gareth McGrillen

were totally anti-rave. They were a bunch of metal loving Perth boys with a passion for surfing and skating. Now, together with DJ Paul Harding, they’re one of the world’s most loved and respected drum ‘n’ bass bands. As is the life of the travelling star, Gareth calls from Croatia at midnight. We get into some Pendulum 101, beginning with how he was diverted from his dreams of being a rock god by the fastpaced broken beat when rocking up to a rave with bandmate Rob. “We definitely weren’t down with the glowy sticks, rapper hats and baggy jeans. But when drum ‘n’ bass turned dark, there was something about the We were the heavy energy of it. It hits first kind of you in the face the same way drum ‘n’ bass metal does.” and mainstream Pendulum’s first album, Hold Your Colour, soared with crossover every type of music lover, coaxing a new generation into dnb fever. Tracks like Slam and Fasten Your Seatbelt still strike a fond chord deep within even the most fake tanned pop lover in the mainstream clubs, where before it was only our seedy underground joints where one could find such wonderful off-beats. “I think we did bring drum ‘n’ bass into the general public – in recent years anyway,” Gareth says, agreeing with my fan girl comment that their album was a ‘breakthrough masterpiece.’ “I guess we were the first kind of drum ‘n’ bass and mainstream crossover.” Then there was their second album, In Silico. Many wagged their fingers in disapproval at the introduction of more vocals and a focus on electric guitar. But despite fans freaking out about the rock influx to the previously friendly sound we were used to on Hold Your Colour, the album went platinum a month ago. Gareth says the rock influence was a huge part of their first album as well; it’s just that listeners didn’t notice. “It wasn’t completely new. On Hold Your Colour, we’ve got John and Drew from Karnivool playing. People think it’s hilarious that we suddenly did this album, In Silico, and we started putting white male vocals in there and guitars. Yet the second tune we ever made had them singing in it. That was Spiral.” Gareth’s defences soon come down as we delve a little deeper into what should have been a musical progression, but was a step backwards for Pendulum personally, and a bitter taste of what it’s like to suddenly make it big internationally and simultaneously try to keep everyone happy.

10 10

“We were feeling like we had to continue doing things the way we were. We really wanted to make an electronic album that was influenced by completely different shit. We agree that the album was a bit of a ‘propane nightmare’ to say the least but the album went platinum and Hold Your Colour hasn’t done that. But as far as we’re concerned, we got a little bit lost along the way. At least it did what we wanted it to do!” So it brought in the cash. I wonder whether they make up references to their own music in conversations with each other, because that ‘propane nightmare’ comment sounded a little too practiced. And it wasn’t the only one… “It was definitely self-inflicted second album syndrome. We call it ‘In Silicitis’ – where you have a massive identity crisis and you worry that you’re on an iceberg between two continents,” Gareth says, explaining their dislike for the album as if it’s a disease. “One of the continents is dnb and the other is rock, and you worry that your music won’t be heard by either continent because you’re too far in the middle. But it turns out that we managed to draw both closer to us. We ended up with a bigger dance audience than we had before and a rock audience that we didn’t even have before!” I kindly point out that Gareth’s accent is also stuck between two continents after seven years in the UK to which he replies, “when we do TV and radio in the UK they’re like ‘it’s good to hear you guys haven’t lost your Aussie accent,’ and whenever we come home we get called Pommy bastards!” It’s obvious Pendulum miss their sunburned land, apparent in their insanely cool remix of the ABC news theme; which you will not hear on their new album, Immersion. What you will get is an LP that’s gone number one already in the UK and NZ, and is sitting pretty here in the number three spot. “Immersion’s the best parts of our first two albums, really. We wanted to go electronic again, but we didn’t want to turn our backs on the manifestation of the rock elements as well,” says Gareth, explaining the theory of album number three. “We’ve taken to extremes in both areas. The rock elements are quite heavy and the electronic elements are back to our roots. It’s everything we really liked from our first two albums.” Pendulum are coming our way soon for our big end of uni piss up, Stonefest. They’ll be bringing their setup of five hectic band members including a new drummer called Kevin Sawker (YouTube him and be amazed) which means every one of you kittens or, as Gareth has named you, ‘future public servants’ will get to experience the euphoric energy that is Pendulum live. “It’s going to be a hell of a show. Performing with us is quite a physical thing so when we come off stage we feel like we’ve been beaten up. That’s what we’re aiming for,” Gareth says. As a dancer in front of a Pendulum show, you too can feel what it’s like to be beaten up. And it’s well worth it. Catch Pendulum when they headline Stonefest, held at UC on Saturday October 30. For details, check out www.stonefest.com.au .

ALL AGES Well, McGregor Hall will soon be gone, although they have given us a few final chances to joyously scuff up their floors before the whole place comes a-tumbling down. On Friday July 9 you have a chance to see feel good folksters Julia and the Deep Sea Sirens. The next evening, for just $17, you will find yourself mesmerised, sweaty and incapable of stopping yourself from moving and grooving along with the heart-pumping rhythms that could only be produced by Tijuana Cartel. Rest assured that with support act Good Foot Sound System you have a promising Saturday night awaiting you at the end of your tedious week. These acts will pound the life back into you. FREE GIG! Who can avert their eyes from such a sweet arrangement of letters? The Axis Youth Centre in Queanbeyan are granting us the pleasure of an event dubbed One Year Older, One Year On, celebrating the first birthday of Canberra band Final Lies. An impressive lineup of local and NSW bands including No Assumption, Lost in Verona, Friend or Enemy and Steady the Fall will come together on Saturday July 17 in support of the anniversary, and you should be there to support it too. Doors open at 2pm and tickets don’t exist! On Wednesday July 21 you can look forward to seeing rising Wollongong hardcore band Mary Jane Kelly on the Canberra leg of the Like There’s No Tomorrow tour, in support of their popular new debut full length album. Touring nationally with Mary Jane Kelly will be Canberra’s very own Dead Kings and Melbourne band Built on Secrets. They can be seen at the Tuggeranong Youth Centre at 6pm, ticketing details have not yet been specified. On Saturday September 25 we’ve got an irresistible lineup at the Royal Theatre – of course you know I’m referring to Parkway Drive, supported by The Devil Wears Prada, The Ghost Inside and 50 Lions. This has to be one of the most anticipated AA gigs of the year, and you can be a part of it for just $27 (+bf). American metalcore sensations Attack Attack! are awaiting the launch of the Take Action tour which will bring them, along with spectacular Californian post-hardcore band Pierce the Veil and Dream On Dreamer, directly to Canberra. You can see them live at the Tuggeranong Youth Centre on Tuesday September 14. Although ticket prices have not been mentioned, you should definitely stash some cash under your mattress for this one. See you there! And of course who could possibly forget about John Butler Trio? Not me, obviously! You’ll begin the evening by dancing your hearts out with roots reggae TEN-freaking-piece spectacular Blue King Brown, which means that by the time John Butler steps onstage you’ll be more than ready to kick back and do nothing but feel the good vibes run right through your veins. You can experience the unforgettable energy at The Royal Theatre on Wednesday September 15, tickets cost $70 from any Ticketek outlet and I would suggest you make your purchase soon. NAOMI FROST allagescolumn@gmail.com

LOCALITY

The ACT Greens issued this press release on June 25:

In the lead up to the demolition of McGregor Hall to make way for development, Greens spokesperson for Planning and Arts, Caroline Le Couteur, has called on the government to support Canberra’s musicians and community groups. “We have a serious lack of appropriate venues for live music and community groups in Canberra, particularly ones that are affordable to smaller groups and accessible by public transport,” said Ms Le Couteur. “McGregor Hall is one of the few affordable, centrally located, and noise-appropriate community spaces in Canberra, and the Chief Minister admitted today that the venue will be lost, with no plan for any replacement. “While there are places in Canberra for large, professional groups, we are seeing a pattern of smaller community groups being pushed out. Canberra’s Symphony Orchestra, for example, now has no affordable venue in Canberra so is having to head out to Queanbeyan. “McGregor Hall is home to community groups such as Jump Town Swing Dancers and the Canberra Musicians Club.” In Question Time today the Greens pressed the Chief Minister over the squeeze on low cost community spaces in the city precinct. “Mr Stanhope announced that the Government would not replace McGregor Hall. He also did not have an answer for what the Government was doing to solve the problems facing displaced community/music groups. “The ACT Government needs to commit to supporting these groups as they lose yet another venue. The Government also owes it to future music and community groups in Canberra who may never have the opportunity to establish themselves if there are no affordable and accessible spaces for them. The Government now needs to assist these valuable groups to find new locations in appropriate locations. Given the dearth of adequate community venues, Canberra also needs the Government to create new venues, or to actively assist the community to set up new ones,” said Ms Le Couteur. I know it isn’t much to look at, but McGregor is home to hundreds of local artists, dancers and musicians. Its demolition is symbolic of the Government’s deprioritisation of Canberra’s grassroots culture.

JULIA WINTERFLOOD julia@bmamag.com

DANCE THE DROP The abysmal winter months in our city take a lot away from the dance music scene. The outstretched arms of a familiar couch and DVD combo seem instantly more appealing than braving an arctic expedition to your local music venue. Wardrobe selections are extremely limited, with sexy mini skirts temporarily shelved in favour of less aesthetic winter denim. Although on the flipside, club cloakrooms are shelving more coins than a three breasted beggar. For those of you that do make the effort to get out of your comfort zone, local promoters are still packing the heat with some sweltering Xs for your clubbing calendar. Got techno? The lads from Lollygag and Effigy have been unloading some serious international firepower on us of late, none more immense than the legend of bleep himself Stephan Bodzin. Half man, half machine, the German maestro will be championing the very latest in audio and visual technology at his exclusive intimate show at Transit Bar on Friday July 9. The man-bot will be ably supported by Gabe Gilmour, Yohan Strauss, Tim Heaney, Pete Canell and as a massive ‘blast from the past,’ local legend Anjay. Miss this and I guarantee you will regret it for the rest of our miserable winter days. Canberra needs more nights strictly for pure music lovers, I hear you say? Well fret no more young electronic connoisseurs, for Mercury Switch has unveiled its latest project, Low Freqz. On Saturday July 10 the pimp limpin’ combination of D’Opus, Jemist, Faux Real, Ced

Nada (aka our own hip-hop don Roshambo) and guest player Escha will be dropping only the dopest in bass and beats for yo’ ass. Hippo Bar. Be there. Are you a fan of smashing it up on the white powder? I’m talking about snow of course. On Saturday July 31, the infamous Lake Jindabyne Hotel plays host to our most famous duo The Aston Shuffle for another instalment of BLIZZARD alongside Sydneysider Waxmotif and locals Chris Lawrence, Ryzer, Harrison and Wizzy. Hot Tub Time Machine eat your heart out! LL Cool J said it best when he spat out “don’t call it a comeback, I’ve been here for years” as Pang! returns like a phoenix from the flames of Lot 33 with not one, but TWO new venues for its stellar club night. North Bar and Meche will play host to Pang!’s July roster including a mouth watering array of interstate and international talent. First up is an international double header with German label Dim Mak’s latest superstar GTronic and Haezer (South Africa) set to annihilate North on Saturday July 10. Next up is an all local lineup including Hubert, Cheese, Offtapia and Dept of Defiance on Friday July 16 at Meche followed by a Canberra reunion for old sparring buddies Steve Lind (Syd) and Mikah Freeman on the Friday July 23. Stuff your best kicks on the end of your legs and show some support for the best club night in town! TIM GALVIN tim.galvin@live.com.au

myspace.com/pangnight

HOW LOW CAN YOU GO?

EUROTRIPPY

TIM GALVIN

STAKY

From the depths of the shadows in the darkest of nights, a creature stirs. For years it has laid dormant; waiting, watching and learning from us. Every one of our mistakes, a lesson. Every one of our setbacks, fuel for its insatiable hunger. Its rise signals the end of an era of capriciousness; an anaemic candle snuffed out by the first breath of a new dawn of music. The fervent eyes of our new future are opening. Welcome to the age of the Freqz.

The likes of Kid Kenobi and Dexter started out as teen bedroom bangers and began their clubbing careers at underage events. Canberra’s own BRICKSTA, real name Luke Tkalcevic, is from the latest crop of young DJs to springboard from relative obscurity into the limelight upon turning 18. After securing a sought after residency at Canberra’s biggest nightclub, Academy, Bricksta is heading overseas and it is Party By Jake who has stepped up to throw him his very own Eurotrash Vacation Send Off.

“LOW FREQZ is an open minded night of bass music for music lovers run by music lovers,” explains Rowan Thomson (aka Ced Nada). “It aims to showcase quality electronic music from around the globe to lly ica bas It’s open minded Canberra audiences, end low with a strong emphasis on sounds bass and beats – all that low for highly end frequency goodness. The evolved apes night will pioneer both new and classic music from all the sub-bass oriented genres – I’m talking dubstep, grime, UK funky, future garage, dnb, hip-hop, IDM, glitch as well as some proper wonky beats.” The muse for the aural awakening of Low Freqz was the Mercury Switch crew. They are a rag tag bunch of musical misfits better known for their ties to hip-hop in the capital, but they have also got love for other styles that go “boom,” as Rowan clarifies. “MS is a record label, a promotional company and a studio, as well as being a like-minded group of music lovers who like to share their passion for classic and future sounds,” he adds. “Basically, if you like your bass heavy and reverberating, you’ll find something to love in Low Freqz. There will be plenty of sounds that cater for both the dancefloor as well as for those trainspotting, chin-stroke, shoegazey moments.” The fervent commercialism of our new iGeneration has diluted the musical pool to the extent where it is becoming harder to cater to niches anywhere outside our major cities. The Mercury Switch crew are looking to change all that. “Contextually and conceptually, the night aims to bring to Canberra what is now already happening in numerous cities across Australia. We are striving to exemplify and introduce the thriving dubstep/funky scene. It is a real ‘movement’ at the moment and we want to ensure that Canberra is a part of this innovative musical shift.” The inaugural evening plays host to a handful of local legends like D’Opus, Jemist and Escha, foreshadowing the crew’s focus on quality Canberra artists. “There’s a bunch of other locals out there who we know play bits and pieces of bass music in their sets, so Low Freqz will provide an outlet to really move down that sub frequency path with a set that they maybe wouldn’t get a chance to play at other great local nights,” says Thomson. “Future Low Freqz extravaganzas will also play host to some special headliners too, so stay locked for that. [It’s basically] low end sounds for highly evolved apes.” Catch Low Freqz at Hippo Bar on Saturday July 10. The lineup features D’Opus, Jemist, Faux Real, Ced Nada and Escha. Tix $5 on the door.

“I’d say the Bricksta sound is rooted in funk – that’s what I grew up with and that’s what I’ve always tried to peddle,” says Bricksta of his maturing sound. “I actually started producing first in year seven, when I was 13 years old. People don’t realise that my first love was producing over DJing. It was 2006 when I got my first set of decks – I saved up all my pocket money.”

I actually started producing first in year seven, when I was 13 years old

It is hard to believe that someone so young could acquire a taste in sound that is notoriously entrenched amongst those of a legal drinking age. After being exposed to his dad’s eclectic record collection it was a chance call to a local radio station that sparked his initial interest in dance music. “I won a Junior Senior album off the radio, ‘d-d-don’t don’t stop the beat,’” says Bricksta. “Once I got that I was like ‘who else likes them?’ and I saw Fatboy Slim was playing them. Then I got into Fatboy Slim and then Big Beat and then it was The Chemical Brothers. I was like ‘who else is around there?’ and I came across Moby. Everything just sprouted out from there.” Unlike many of his jaded and ageing compatriots Bricksta has a refreshing view of Canberra’s music scene. “I feel the scene here is very healthy!” quips Bricksta. “There are a lot of people around and it is really connected.” Luke has developed his club feet in Academy’s sizeable main room on Friday and Saturday nights. Now the 18 year old is returning to Transit Bar to headline Party By Jake’s Heartbeat. “I think niche nights have been up and down and it is hard for people to get the formula right,” says Bricksta. “Heartbeat have identified a section of the market that is still very popular, which is indie dance music and that disco sound. There is a musical focus there. The biggest thing is the community around it. Obviously Duncan [Celebrity Sextape] Brown works his ass off.” Party By Jake top dog Duncan Brown is excited by the prospect of having Bricksta on board. “We’ve wanted to get him in for a while, but mainly it’ll be good to have that personality behind the decks,” says Duncan. “We’re going to give away one of his James Brown edits, which is a good party vibe, and then some completely original tracks.” Head down to Bricksta’s Eurotrash Vacation Send Off on Saturday July 24 for free entry and free giveaways.

Photo: Cole Bennetts

CARTEL BLANCHE

OMAR’S MUSINGS

naomi frost

chiara grassia

As just one adoring fan among the masses, completely pumped for their upcoming gig at McGregor Hall, boy was I twitching from excitement at the thought of an interview with Paul George – vocalist, flamenco and slide guitarist and sitar player of TIJUANA CARTEL. By that I am not referring to the relentless Mexican drug trafficking organisation, but rather the extraordinary internationally influenced musical concoction of electronics, trumpet, guitar, drums and god knows how many different instruments from various corners of the earth.

OMAR MUSA is sitting across from me, reciting favourite lines of Anne Sexton’s poetry. It’s a little surreal (in the best way possible), but his passion for language is evident in his enthusiasm. “The way I’ve always seen it is that mostly I love the English language,” he says. “It’s like it’s this big ocean of language, and it has all these different streams that lead into it, and I don’t think one is better, or more clever, or more interesting than another.”

What makes Tijuana Cartel so unique is their ability to so beautifully combine elements of so many We did a gig different musical origins into at Hippo Bar one track. “We have different and everyone backgrounds and that all was dancing gets reflected in our music.” Aside from the varied musical on tables and chairs by the end preferences of the band members, George explains that their travels also have a tremendous impact on their music. “We went to India for six months and we recorded a few musicians there that we used on the album, and we’ve been through Spain, we did some recording in France as well as China,” he says. “We sort of travel to travel but we’ve also kept the music in mind as well.” Just as was the case with timeless legends like The Beatles, it was during George’s time in India that he picked up the sitar for the first time and began to learn it. “I can’t seem to master that one, it’s a hard instrument,” he admits. “I could never quite feel it the way they felt it. They’ve got a certain way of doing it over there.” A crucial question for any good live performer: does size matter? According to Tijuana Cartel, not quite as much as you would think. “The biggest we’ve had is probably about 5,000 and that was amazing,” says George. Although to the band, apparently it is the energy of a crowd that truly matters. Those of you who were lucky enough may have had the pleasure of seeing the band last time they played Hippo – a gig that Tijuana Cartel still speak highly of to this day. “We did a gig at The Hippo Bar; that was tiny, but everyone was dancing on tables and chairs by the end of it,” he reflects. “That was a great gig and I don’t think there were more than 100 people.”

A hip-hop artist who made a name for himself in local and national poetry slams, Musa is in a peculiar limbo – bordering the literature scene and the hip-hop scene. “Someone who’s a rap artist can be equally as good a practitioner of the English A rap artist can be language as an erudite a equally as good scholar who went to uni the practitioner of and writes this lofty English language as poetry,” he explains. As he an erudite scholar lists his influences in both fields, from Sexton to Kanye West, Musa notes that, “it’s all just different approaches, and I like to draw from all those different styles.” This combination has resulted in the release of Musa’s debut album, World Goes to Pieces, recorded in Seattle with Sun Kil Moon bassist Geoff Stanfield. This time round, lyrics were penned impulsively, and this candidness flows through the album. There’s a thoughtfulness to his lyrics; an obvious intelligence and eye for observation that shines through. However, Musa is cautious when choosing when to comment, repeating that his words are selected carefully. “Because my name is Omar Bin Musa, Muslim background, MalaysianAustralian, people are clambering for me to make political comment. I’m not really that preoccupied with politics. But I think there are things that are important to talk about, but I just choose wisely when I do. After a while, people can get bored with you, and close their ears off if you just rabbit on and bang on about one thing. I’m pretty wary about that.” In relation to the album, it “…does deal with issues of racism and social justice, and things like that, and hopefully in a nuanced way. You hope for it, but you never know.”

Of course, a question that must always be asked, will there be a new album any time soon? Hell freaking yeah! Tijuana Cartel’s new album is expected to be released on Wednesday September 1 of this year. “My favourite song is Persian. That song has really pushed us in a direction that we like,” shares George. But he admits that live performances will always rule over their recorded material, in his opinion. “There’s something about live that we haven’t quite captured on recording. We don’t really approach it with a concept, we just do it.”

His flair for stringing words together has frequently caught attention from overseas, most recently in Germany, where he has been invited to support legendary wordsmith Gil Scott-Heron there in late July. “The Munich Ministry of Culture flew me in to Germany a few months ago to perform all over the city. They turned this train into a club, it was so awesome. It was jam-packed… it was moving and it would pick up a few more hundred people.” Along with a few other poets, Musa was selected to perform for “…over four hours as the train went around Munich. It was so amazing. There was a bar there, there were even carriages where they couldn’t see the performance. They were just listening to the poetry.”

See Tijuana Cartel and special guests Good Foot Sound System live at McGregor Hall on Saturday July 10. Tickets available on the door.

World Goes to Pieces will be available at Landspeed Records and available for purchase and free download at www.obmmusic.com .

COLLEGE CURSE peter rosewarne You know those moments where you’re at a party and a de facto couple reveal that they’ve had an argument and why? This is what COLLEGE FALL might be likened to onstage. Their last album Eleven Letters shared the story of a squabbling couple (meaning band members/partners Glenn Musto and Jodie Bartlett). Evidently Glenn explains that, “the type of band that we are, where we’re so honest about what we’re doing and the emotions behind our songs, we’ve found that when we play live that’s when people really connect to us.” Fret not though, o potential listener, because as College Fall openly express their experiences they ensure not to take themselves too seriously and they are far from self-indulgent. Their soon to be released effort, The Curse of Us, We’ve always felt looks behind the green curtain that it’s much more to analyse people’s addictions, w follo to t rtan impo lying, cheating, disconnecting and and our own path blaming others. As Glenn tells write the songs we it, “in the past our songs have want to write been more about the emotional moment but not really analysing them. I think Jodie and I, while writing more recently, have been asking ourselves as to why people do the things they do.” The raw honesty avoids ambiguous metaphors about catching mice and putting them in pots or whatever bands like Radiohead like to make us think/wank about. This approach has been particularly well received in Japan where College Fall’s “music went down well because it’s a very cute culture. And I think with Jodie’s voice and her take on the world and the things she sings about… she gained a lot of fans over there pretty quickly because they react to that kind of honest emotional content that’s in our songs.” It is always admirable when a band builds their reputation through live performances, rather than just via singles released on the blogosphere. Glenn continues, “for us playing live now, we’ve come out of our shells a lot. We tell a lot of stories and have a lot of fun in being ourselves, and the audience can see that.” Glenn goes on to clarify that when performing for the Danish Royal Family, however, it was not one of their usual heart-on-sleeve fares, adding that “it was very strange because we were performing by commission. We had to be a bit on our toes. We couldn’t swear on stage or share the dark stories we’ve sometimes shared before.” Ignoring the few criticisms College Fall have apparently received regarding their openness, Glenn states, “we’ve just always felt that it’s much more important to follow our own path and write the songs we want to write, tell the stories we want to tell. If that doesn’t lead to the kind of success we might’ve had from moulding songs in a different way then so be it.” College Fall are about to perform their first show in Canberra at The Front Gallery. After I describe the intimate venue, Glenn muses, “we love telling stories and the subtle intricacies come out a little more in that environment.” College Fall perform at The Front Gallery on Thursday July 22. Entry is $5 on the door.

E X H I B I T I O N I S T

Supported by the 2007 Multicultural Fringe, Boho produced the first of their interactive science-theatre performances, A Prisoner’s Dilemma. Combining interactive theatre, lo-fi electronics and live music performance from trombonist Bailey, the play – based around Game Theory and the show’s eponymous thought experiment – was impressive, compelling, engrossing. And though interactivity can be a thorny (and irritating) element in theatre, Boho seem to have made it work for them, partly because of their shared understanding of it. “We all had a very clear shared aesthetic about how interactivity onstage should work - what is and is not cool,” says Finnigan.

RHAPSODY IN TRUE NAOMI MILTHORPE It seems an age since Canberra first saw the likes of Boho Interactive. This July, almost ten years after their first forays into the theatre, they bring their latest show, TRUE LOGIC OF THE FUTURE, to the Belconnen Theatre stage before a season installed at Sydney’s Powerhouse Museum. It seems appropriate, in order to understand Boho’s Future, to take a trip into their past. Way back at the dawn of the millennium Mick Bailey, David Finnigan, Nick Johnson and Jack Lloyd, precocious youngsters fresh from the upper-middle-class high school gauntlet, launched themselves on the scene as Bohemian Productions. Touting themselves as “Canberra’s least professional theatre company”, Bohemian brought to the stage a mix of classics (Pinter’s The Dumb Waiter, Shakespeare’s Titus Andronicus) and new work by local playwrights, most often Finnigan himself. Their shows were branded with the raffish, backalley humour that fuelled their dual aims: 1. Make Plays. 2. Don’t Go Broke. Fast forward several years, skirting around degrees, jobs, funding grants and curated performance seasons, and the company has reformed with new interests and new ideas. “In 2006, when Mick and Jack and I and Muttley [David Shaw] ‘reformed’ as an ensemble after a long time working on separate projects, we each brought an element we wanted to focus on,” Finnigan relates. “I wanted us to use science as a focus, Mick wanted to produce live music, Mutt wanted to include hi/lo-fi media devices, and Jack was interested in pursuing interactivity.”

Since A Prisoner’s Dilemma, the group has performed their crossartform work at festivals, theatres, science conferences and schools around the country, from local theatres to bigger forums including the Brisbane Under The Radar Festival, the Asia-Pacific Complex Systems Conference, and the Adelaide Fringe. The nose-thumbing sensibility of the original Bohemian seems to have been absorbed into a more responsible approach to the job of theatre making (which makes the company sound like douches wearing lab coats – most definitely not the case). In 2009 they held a residency at Manning Clark House, producing the interactive installation performance Food for the Great Hungers, which used “techniques from Complex Systems science to create a simulated re-imagining of Australian history since 1901 under the audience’s control.” The show was hauntingly compelling, once again proving what can be achieved with great brains, thoughtful use of space, a healthy enjoyment of the absurd, and a clear-eyed sense of humans in the world. This year, the group - now minus Shaw – has taken that understanding of the mutability of human history explored in Food for the Great Hungers and the variety of human reactions prompted in A Prisoner’s Dilemma and, as part of National Science Week, dressed it in “nineteenth century period costume” in True Logic of the Future. The show, developed in partnership with the Powerhouse Museum and in collaboration with director barb barnett, designer Gillian Schwab, and performer Cathy Petocz, takes on the interdisciplinary ideas of nineteenth century scientist-economist-musician-logician William Stanley Jevons “without ever actually mentioning him” in order to create a political thriller that integrates science theory, strong narrative, and meaningful audience interaction, explains Bailey.

RHAPSODY IN TRUE CONTINUED Drawing upon Jevons’s experiences in Sydney, the play is set, says Bailey, in a “pseudo-Australian city state” in a not-too-distant, steampunk future. Beset by the several catastrophes of climate change and population increase – flood, drought, famine, and housing crisis – the city is, says Finnigan, “starting to give way”. Humanity has reached the point of a “last-ditch attempt” to stop the world from “going completely off the rails.” Enter three unlikely characters: ethically questionable journalist Jen Howe (Petocz), statistician Alex Moore (Lloyd) and assayer at the mint, Will Sands (Finnigan). Within the confines of a computer simulation, Sands, Howe, and Moore “must activate an array of bizarre artifacts” in order to “determine the future of their society”. These bizarre artifacts include interactive replicas of Jevons’ inventions – such as the cloud chamber and the logic piano – constructed by the Powerhouse and controlled, in the show, by the audience. “The city [in the play] is facing runaway problems […] that aren’t wildly different from the problems facing the whole world”. Informed by “modeling of global change and economic flows”, Finngian explains, the show explores the possibilities of what those problems are going to look like when they hit our shores. Like the dystopic sci-fi classics the play is inspired by – Blade Runner, Cube (and a little bit of the humour of Red Dwarf) True Logic of the Future asks difficult questions of the human world in the twenty-first century: how much would you sacrifice for the greater good? What is expendable? And, when faced with the possible collapse of the planet, are the things that Western society holds dear – personal freedom, individual rights – as important as we suppose? It seems a long journey from Bohemian’s skuzzy beginnings to the lofty themes of True Logic of the Future, but the group have, in one definitive sense, fulfilled their aims: they’ve made some splendid plays. And not, apparently, gone broke. True Logic of the Future plays at Belconnen Arts Centre from Tuesday July 13 – Saturday July 17 at 8pm & Sunday July 18 at 6pm before moving to the Powerhouse Museum, Sydney. Tickets $25 / $18. For bookings and enquiries call 6173 3300.

WRITE UP YOUR LIFE DAVID BUTLER Canberra Youth Theatre has been committed to developing young playwrights in the ACT for some years now, but never with as much scope and opportunity as in its new WRITERS UNITE! workshop for young playwrights. Aimed at developing the expertise of up and coming local playwrights, the 15-week course will feature expert tuition from the Head of Playwriting at NIDA Jane Bodie, as well as technical advice from prominent Australian playwright Angela Betzien (Hoods, Children of the Black Skirt), and script developer Peter Matheson. Artistic Director Karla Conway says that Writers Unite! is an exciting new program for Canberra Youth Theatre. “We designed this course to try and encourage new playwrights to come out of the woodwork and provide them with exceptional training, to help them craft the stories that they want to tell, and let us start to hear the voices of young playwrights more clearly,” Conway says. While Conway will be taking on much of the tutoring and mentoring throughout the semester, she’s calling in expert assistance for some of the finer points of playwriting from industry heavyweights such as Bodie, who will help the students to develop their personal experiences into an engaging play. “Jane will take the playwrights through how to mine their experiences, and explore them to come up with the idea of the play,” Conway says. “It’s dangerous for a young writer to write things that they’re going through at the time, because it’s not objective. Jane will help the writers to re-contextualize ideas so that they’re not writing purely autobiographically.” Script developer Peter Matheson will also assist students over two sessions focusing on problems of structure and form, while playwright Angela Betzien will discuss the process of working with actors and seeing a play through to production. The Writers Unite! program is run in collaboration with a wider, national program, Artists Unite. Participating youth theatre companies around the country will run similar playwriting courses, and each company will be able to choose one new play from an interstate theatre company to see through to production. If a local student’s work is chosen, Canberra Youth Theatre will pay for that student to travel to Adelaide and see their play through to production. Anyone between the age of 14 and 25 with an interest in developing a play from the basic idea stage right through to production standard should apply for Writers Unite! Enrolments for the course close on July 16. “It’s a really great opportunity,” Conway says. “Not only will we take playwrights through the writing process, but there’s a genuine potential to see their work produced, and really get up and running in establishing themselves as emerging playwrights.” For details and enrolments head to www.cytc.net or call 6248 5057.

TAI(KO) HARD WILL GLASGOW Perhaps the friendly Taro Harasaki has been told that BMA has a young, hip readership, or perhaps it’s my young, hip phone voice, or perhaps Taro’s been burned by Japanese-drumming purists in the past. Whatever the cause, Taro goes to great lengths to tell me that Drum Tao is very modern and not at all like the traditional stuff. “How can I say it? The numbers we are playing on stage are made by ourselves and the choreography. The numbers are modern rhythm. Our show is very entertained and innovate. And the costume is totally different to traditional ones. She (Maki Morifuji, the group’s designer) blends Asian style of clothes with modern pattern of clothes.” Taro is one of the thirteen drummers in the Drum Tao group, which is touring Australia in June with a new show, THE SAMURAI OF THE DRUM. The group, first established in 1993 by founder and director Ikuo Fujitaka, blend Taiko drumming with high-end choreography and production values. From what I can gather, the show is to traditional Japanese culture what Lord of the Dance was to traditional Irish culture. It’s more sexy and less boring than what you’d find in a village. “We dance, and we play drums, and bamboo flute, and Japanese flute, and trumpet from New Zealand,” say Taro. And they do it with sass and bare torsos. Or to borrow words from their press release, they “summon the spirit of the Samurai as they beat with precision, vehemence and persistency on their huge Wadaiko-Drums”. These drums are quite different from those that Westerners bang. “The sound is very natural. It doesn’t hum.” They’re also larger. “The biggest one is diameter two meters and the weight is over 400 kilograms. It’s so huge, actually. It makes a very, very loud sound. The people say the sound that this – we call it Big Mama drum – people say the sound of Big Mama drum is just like the mother’s heartbeat. We often see the babies sitting in the first row sleeping while we are drumming.” What else do you need to know about Drum Tao? I suppose you should know that one member, Natsuko Kuroyanagi, has the “vigour and force” of a “tigress”. And you should also know that drummer Ryohei Taki has “more shining muscles than should be allowed for one human being”. “He’s a hunk,” says Taro of Taki. “He’s one of the guys who has the most beautiful muscles in Tao.” Drum Tao bring their show The Samurai of the Drum to the Canberra Theatre Centre on Tuesday July 13.

“The course identifies what is a joke and how to put it together, and actually gets people up on a stage with a mic, under a hot light, and talking,” Kimball explains. As a result, there’s been a stack of fresh comedians come out of the woodwork in the last year alone, performing to regular strong crowds at Civic Pub, The Front Gallery and Café, and more recently, the Tuggeranong Arts Centre. “It’s a huge rush and we all have a great time performing,” Kimball says. “The crowds that come get involved and they love it too.”

KINGS OF COMEDY Dominic Lavers With the number of local comedians quadrupling over the past two years, three monthly comedy rooms now running, and a barrage of performers coming from interstate, Canberra’s comedy scene is finally being taken seriously. National Green Faces winner and stalwart of CANBERRA COMEDY, Jay Sullivan, says the scene is feeding off its own success as it becomes interconnected nationally. “More of our comedians are travelling to cities like Melbourne and Sydney, and our reputation is changing as a result - more comedians are coming here,” Sullivan says. Sullivan has worked hard in building the scene and runs two fourweek comedy courses a year. One star pupil is Greg Kimball, who has performed regularly around town since he first stepped under the hot light last year.

Local comedian Dayne Rathbone performed for the first time in May last year at The Front, and says the laid back atmosphere was welcoming to a first timer. Rathbone performs as a “strange and very different” character which he finds hard to explain. “I’m still trying to figure [my act] out myself,” he says. “I guess you do the things that make people laugh, and over time my material has gotten weirder and weirder.” The comedian made a hugely successful appearance at Melbourne International Comedy Festival earlier this year, and, as he steps out on the national scene, he attributes some of his success to the teeth-cutting he received at home. All three men have stories of what it was like starting out, whether it is Kimball performing to a 12-strong crowd - six of them drunk hecklers - or Rathbone freaking out that his material was rubbish and rewriting his whole show the night before a gig. But all three have lived to tell the tale, thanks in part, says Rathbone, to the local atmosphere. “Canberra’s a great place to start out,” he says. “The venues are cosy, with everyone packed in close together, which is good because laughter creates more laughter.” Monthly comedy nights are held at The Front in Lyneham, Civic Pub in Braddon, and the Tuggeranong Arts Centre. Check venues for details. To take part in one of Jay Sullivan’s comedy courses, contact the Tuggeranong Art Centre.

ARTISTPROFILE: Hanna Cormick

What do you do? Actress and founding member of cross-art group, Last Man to Die. When did you get into it? First play age 14, started working professionally in 2002, went to acting school mid 2003. Who or what influences you as an artist? The pedagogy of Jacques Lecoq, Keith Johnstone, Margaret Cameron, Italo Calvino, the RSC actors, the beautiful artists I work with – and a horrible, desperate need to perform. My current work is being heavily influenced by Aubrey de Grey and Craig Venter. I sometimes wish I was John Hurt, this week I want to be Matt Smith. What’s your proudest moment so far? Being interstate for an amazing huge production with Griffith Theatre, and getting a text that Last Man To Die had received government funding for 2010 – I did a dance around my hotel room. Going to my first feature film premiere. Being invited to sit in on an international panel of Mask practitioners at the MasQue Festival in Helsinki. Working with my partner, writer/filmmaker Pete Butz. What are your plans for the future? Last Man To Die goes transcontinental, study acting (again) in Paris. Some more screen time would be nice, too. What makes you laugh? The IT Crowd. What pisses you off? Running late. What’s your opinion of the local scene? All those who make a living from their art in Canberra have to work their ass off to get there, which has created an amazing core of dedicated, hard-working, and brilliant artists. The works made here have a really unique perspective. What are your upcoming performances? Last Man To Die on July 7 and 8, an interactive interdisciplinary art pilot showing before national touring later in the year, and The Girls, from July 28 – 31, an unadulterated cabaret co-starring Dianna Nixon, Leah Baulch and Hannah Ley. Both shows are playing at The Street Theatre. Contact info: hcormick@gmail.com

Photo: Rohan Thomson

UNINHIBITED It’s been a while – in relative terms – since Uninhibited has been flat-out stoked about a music event. We get emails and updates on gigs, festivals, whatevs, and mostly the reaction chez Uninhibited is “meh”. Don’t get us wrong. We’ll go. We just don’t get all that excited. Not so with the theatre, as you may expect, and since the surprise upswing in our financial fortunes, we’ve been able to see a few more of the blockbuster professional shows offered to Australians. As with many other things, when doling out hundreds of bucks, Uninhibited is staunchly middlebrow. Nothing but blue-ribbon reliability, you understand. So this past couple of weeks has seen us venture out from under the damp-ridden doonas of Chez Uninhibited and, in the spirit of the proverbial giggling schoolgirl, don frocks and heels for Big Ticket Theatre, first for Sir Ian’s touring show of Waiting for Godot at the Drama Theatre, Sydney Opera House; the second and most recent was Joey McKneely’s restaging of West Side Story at the Lyric Theatre in Sydney. They were wildly different shows, but both moving and highly entertaining. What can one say about Godot? Well, mostly, that matinee-going middle-aged ladies have a lot to learn about theatre etiquette, especially vis a viz the Golden Rule: One Must Not Talk In The Theatre. The crowd at this performance was particularly lively, extremely engaged (especially with McKellen) and, quite unexpectedly, alive to the gallows humour that ignites Beckett’s absurdist classic. Unfortunately for this audience member, the old biddies sitting next to us didn’t appreciate the audience’s enthusiastic response. “It’s not a comedy,” they hissed, repeatedly, whenever the crowd erupted into laughter. “Maybe they should read the play,” they growled. “It’s not Home and Away.” Their talk was so frequent, aggressive, and of such a pitch, in fact, that the girls on the opposite side – good Canberra girls, let it be known – let them have it at interval to the extent that the turtle trouts decided not to come back. Good riddance, says Uninhibited. And ladies – word to the wise? Waiting For Godot? Actually quite funny. Intentionally so. The audience at West Side Story wasn’t plagued in quite the same way with disagreements over intention. It was pretty darn obvious how we were meant to react at the end of each number – namely, with whooping, riotous applause. Golly was it good! Uninhibited regards itself as quite the West Side buff, and was joyously pleased with McKneely’s Australian production. The ensemble cast was fantastic (big props to Alinta Chidzey as Anita), the dancers (in this case crucial to the success of the show) superlative, and the young stars – Josh Piterman as Tony and Julie Goodwin as Maria – possessed the talent necessary to ensure their characters weren’t as irritating as they can be. Goodwin especially – with a voice divine and charm to spare – stole the show over and again, demonstrating just how captivating Leonard Bernstein’s score can be. The only niggling complaint was the dullness of lighting design, a damned shame in a show replete with celestial imagery to engage with. Anyway. Most of BMA is given over to music... But Uninhibited’s knickers get twisted over an entirely different species. British India? The Beautiful Girls? Nah... Give us Beckett or Bernstein any day. NAOMI MILTHORPE exhibitionist@bmamag.com

bit PARTS WHO: The Griffyn Ensemble WHAT: Tales from Heaven and Hell WHEN: Saturday July 24 WHERE: Belconnen Arts Centre The Griffyn Ensemble will explore themes of birth, love, marriage, possession and death when they perform Tales From Heaven and Hell against the backdrop of the night sky in the Belconnen Arts Centre foyer on Saturday July 24. Reimagining themselves as a New York klezmer band, the Ensemble will perform world music superstars The Klezmatics’ A Dybbuk suite adapted for clarinet, flute, horn, voice, and rhythm section. The haunting A Dybbuk, which was adapted into a film and a play, tells the story of a young bride who is possessed on the eve of her wedding. Sweet. The Ensemble will also play works inspired by C.S. Lewis, Federico Garcia Lorca, and Shakespeare. Tickets $15 - $45. To book call 6173 3300 or griffyn@live.com.au .

WHO: Women of the Ömie Mountains in Papua New Guinea WHAT: Rweromo garé niogehu mamabahe ajivé (Come and see the beauty and brightness of our barkcloths) WHEN: July 2 – July 25 WHERE: Chapman Gallery, Murray Crescent Manuka Ömie women of the Ömie Mountains in Papua New Guinea paint beautiful and layered barkcloths that are charged with the duty of passing on stories sacred to the spirit of the mountain. Made from vegetation that grows on the mountain and pounded into papyrus like sheets, they create the striking patterns from natural bush dyes. Ömie barkcloths are unique and beautiful, and their creators are justly proud of them. Chapman Gallery invites you to come and see the brightness and the beauty of the Ömie barkcloths. WHO: Alex Dimitriades and Daniel Mitchell WHAT: Rain Main WHEN: July 13 – 17 WHERE: Canberra Theatre Centre Here at Exhi, we love nothing more than a movie adaptation of a classic play – except, that is, a theatre adaptation of a classic movie! It’s the best type of art! In the latest exemplar to grace the stage, Alex Dimitriades and Daniel Mitchell take on the roles of Tom Cruise and Dustin Hoffman in this intimate adaption of the Oscar award-winning film, Rain Man. I won’t bore you with the plot details because, let’s face it, if you haven’t seen it you probably don’t care to read about it. Suffice to say, it’s an intimate exploration of the true meaning of love and the true value of excellent driving. Bless. WHO: Impro ACT WHAT: 2010 Canberra Impro Challenge WHEN: Wednesday July 21 – Sunday July 25 WHERE: The Street Theatre Impro ACT present their 2010 Canberra Impro Challenge. With four heat nights plus a grand final, there is plenty for the Impro aficionado to delight in. First up is Wednesday night’s The Director’s Mind, a directed improvisation from Cale Bain – one of the most prolific improers of them all. Then we have All Star Sink or Swim on Thursday, an elimination impro where the audience decides who stays and who goes (or sinks and or swims, rather). Over the weekend the Challenge moves into Street One with Friday’s local night The Heat Is On, which features a fully improvised musical (how?!), Saturday’s The Barbarians – the final heat for out-of-towners – and Sunday’s Grand Final. All shows play at 7.30, but ticket prices vary throughout the season. Head to The Street website at www.thestreet.org.au or call the BO on 6247 1223 for details and bookings.

WHO: CIT and local Indigenous artists WHAT: 2010 NAIDOC Exhibition from the Yurauna Centre WHEN: Until July 15 WHERE: Belconnen Gallery, corner of Swanson Crt and Chandler St To quote: “The exhibition contains the works of talented artists studying Cultural Arts Certificates at CIT’s Yurauna Centre. This exhibition underlines the importance of art in the local Indigenous community and expresses the sacred beauty of Australian plants, birds, native animals and the landscape. It is told through symbols, shapes, and figures that continue the timeless tradition of storytelling to all Australians. The artwork will be on display and for sale until Thursday July 15 2010.” Head to Belconnen Community Centre to check it out and maybe make a purchase. Word!

WHO: Artists of the School of Art Furniture/Wood Workshop WHAT: A Container of Memories WHEN: July 8 - 31 WHERE: School of Art Gallery, ANU Featuring in the School of Art Gallery is A Container of Memories, an exhibition about design, imagination, creativity, and about the evolution of the Furniture/Wood Workshop in the new millennium. Workshop head Rodney Hayward explains: “Memory is implicated in the identity of the Workshop as much as it is in that of any individual. Through the past and present student body memories have become a body of knowledge, an ethos of shared, lived experience. Meaning, learning actively happens here – constructed from images that overlap each other, aligning themselves momentarily; then shifting slightly, encouraging re-evaluation and re-interpretation. The objects in this exhibition will be from singular lives, but all originate from the commonality of experience of the practice derived from the elicitation and growth of ideas.”

THE REALNESS Readers of this column and listeners of my weekly radio show The Antidote will know that I am becoming increasingly obsessed with this little thing called ‘bass music’ and all its various (never-ending/everexpanding) incarnations. Lately, I’ve been enjoying the downtempo hip-hop adventures from labels such as Brainfeeder, Alpha Pup, Fat City et al. Of particular note is the debut album from 23 year old Lorn, a cat from the Midwest of the US. Nothing Else has just been released on none other than Flying Lotus’ Brainfeeder label and it’s very impressive indeed. Lorn is the only dude inducted into the Brainfeeder camp to not come outta LA and his sound is undeniably darker than those of his label mates. Mastered by Christopher Clark (so you know the overall sound is going to be top notch) the album is washed in melancholy atmosphere and dynamic beauty. There’s a definite modern r‘n’b style twist to his sound, but Lorn expresses in a wholly individual way to create his own sound. Highly recommended. Also on the agenda in the instrumental hip-hop field are new LPs from Alex B, Take and DJ Nobody and EPs from Tokimonsta, Darkhouse Family and Shlohmo. All great music of the downtempo variety so get digging and treat those ears. Over to the legendary Planet Mu stable now and the new LP from the renowned Ital Tek who has been getting extremely busy with a slew of quality new releases. I’m really feeling his new LP Midnight Colour which finds him expanding his musical palette to more Joker styled half-step and other 2-step meandering like label mate Kuedo. Midnight Colour is the perfect mood music, full of colour and featuring some incredibly beautiful melodies (ear worms galore!). Also on Planet Mu is the brand new LP from Philly’s Starkey. Ear Drums & Black Holes is pure sonic wizardry. Sometimes crunked out heaviness, other times blissful ambient sci-fi beauty but always essential listening. Forthcoming on the label is the debut LP from Barcelona born Oriol. Entitled Night & Day, he has created what Mu call “the perfect summer album”. Taking in influences from Herbie Hancock to Theo Parrish to create his own ‘off-world utopia,’ the snippets I’ve heard sound very promising, so looking forward to hearing the full LP. On the straight up hip-hop top, the legendary Roots crew have returned (again!) for their third outing on Def Jam. How I Got Over explores the same theme over its short running time and harkens back to the more organic live days of Illadelph Halflife to great effect. Black Thought again proves that he is the most underrated emcee in the States and the band provides mellow backgrounds for his keen social extrapolations. Featuring some inspired guests (Monsters Of Folk, Joanna Newsom) and some familiar faces (Dice Raw, Peedi Crakk), How I Got Over is another jewel in The Roots’ crown. (Check the Album of the Week review on page 32 - Ed.) You’ll be able to check out sounds from the above releases and much more at a night myself and the Mercury Switch crew are kicking off at Hippo Bar on Saturday July 10. Low Freqz will showcase quality sounds (both new and classic) of the bass variety, taking in influence from a number of genres; hip-hop, glitch, dubstep, dnb, future garage and much more. If you like your music bass heavy and forward thinking, come join us on the night. To hear music from all the above releases and more, tune to The Antidote on 2XX 98.3FM every Tuesday night from 9.30-11pm. Stream the show live at: www.2xxfm.org.au . ROSHAMBO roshambizzle@yahoo.com.au

METALISE September is not shaping up as a good month for smaller promoters to put international shows on, given Metallica has sold out four shows in Sydney and Melbourne alone and tickets are going very quickly on the fifth show at Acer and Rod Laver Arenas respectively. Recently announced were the two international supports for the shows, which sent another tonne of fans scurrying off to the interweb for tickets upon the news of Baroness and Lamb of God joining the tour. I believe at the time of this being written there are still tickets for the last Sydney show. That hasn’t stopped the promoters of all things heavy sending out the international goodness. Om’s tour here turned out to be a rumour unfortunately. You can see ‘em in Sydney at The Factory Theatre on Saturday July 17 with Blarke Bayer/Black Widow and Breathing Shrine. They’re also playing with Lichens as the headliner on Tuesday July 20 at the Red Rattler in Sydney with Blarke Bayer/Black Widow and special guests. Overkill, one of thrash metal’s most revered acts and just one of the acts likely to be unfairly overlooked by cash strapped metal fans, are hitting The Metro Theatre on Saturday September 25 to mark their 25th anniversary. Australian audiences can expect to see founders Bobby ‘Blitz’ Ellsworth and D.D. Verni, as well as newcomers Derik ‘The Skull’ Tailer, Dave Linsk and Ron Lipnicki, and of course their beloved mascot Chaly (the skeletal bat from most of their album covers). Tickets are selling fast, so do not miss this landmark tour. Mortal Sin are the supports. While on the old guard of thrash, Exodus tickets for their Saturday October 2 show at the Manning Bar in Sydney are also moving along and according to Gary Holt, “I’m not happy unless I see someone out there in the pit, bleeding and smiling!” Tickets through Moshtix and Utopia Records. Having played the first of the Utopia Records 30th anniversary gigs a couple of weeks back at the Bald Faced Stag, the show was great, but I’m sure it won’t be a patch on the celebration of everything Sydney metal on Saturday July 10 when Mortal Sin, The Amenta, Daysend, Switchblade, Killrazer, Darker Half, Anno Domini, Norse and Hellbringer take to the Manning Bar with a musical 4 x 2. Get along for all the thrashin’ fun. Macabre are at the Bald Faced Stag on Friday July 30 with Pod People, Roadside Burial and Chaotic Impurity. Tickets are 30 bucks beforehand and 35 at the door for the murder metal masters’ first Australian tour ever. www.gobookem.com has tickets if you search for the venue name ‘The Wall’ which is the name of the venue inside the Bald Faced Stag. Bastardfest is a fledgling festival being run in three states this year with a view to expand in 2011, featuring the best of Australia’s heavy acts. Melbourne, Brisbane and Perth are first on the menu with the Melbourne show featuring a stellar bill. Blood Duster, Psycroptic, Extortion, Mindsnare, Captain Cleanoff and The Kill will be hitting the Corner Hotel in Richmond on Saturday September 4. The Kill has also been included in the first announcement for next year’s Maryland Death Festival. JOSH NIXON doomtildeath@hotmail.com

READY, AIM, FIRE! zoya patel CALLING ALL CARS’ music can be best described as ‘fucking cool!,’ or at least that’s what bassist Adam Montgomery informs me. Judging by the band’s legion of fans and the success of their debut album Hold Hold Fire, his confidence is warranted! Calling All Cars produce fastpaced indie rock music that inspires foot-stamping, crazy dancing and head-banging of the most fun variety. Their new single Runaway is already a radio favourite, and has a new video clip out doing the rounds as well. Having supported AC/DC on their tour earlier in the year, and following the release of their album, Calling All Cars have been on the road for almost nine months straight and are in no rush to If you know get back to their beds and g kin wal you’re bases anytime soon. “It can full a to out get tiring, and if you party too room, it hard or every single night, definitely vibes it can wear you out,” Adam admits. “Given that we do a you up lot of touring, we know that you’ve kind of got to take it easy every odd night, otherwise you’re just fucked by the fifth show!” The band are back on the road again, touring in support of The Butterfly Effect through July. The tour is focussing more on regional locations rather than the big cities – a decision Adam is pretty keen on. “The hospitality in regional places is on another level, they kick the shit out of city places!” he gloats. The crowds are of an equally high calibre as well. “Regional crowds are definitely more mental, just way looser! You see a band in Melbourne, and it’s all arms crossed, and ‘why are you going to be better than the next band?’ sort of thing.” So where does Canberra fall on the regional/ city divide? “Canberra does have a sort of small regional vibe to it,” Adam claims, despite my protests. Sensing my outrage, Adam quickly adds, “Canberra has been really cool for us! We’re looking forward to the show.” The energy levels after nine months of touring have got to be hard to maintain, but you couldn’t tell it from the excitement in Adam’s voice. “The crowd definitely helps keep the energy going,” he explains. “If you know you’re walking out to a full room, it definitely vibes you up. But even if you’re feeling flat or hungover or whatever, the hour before you go on, you just get a weird aura or vibe, and you have a couple of shots and you’re back!” Well, with energy like that, it’s no wonder Calling All Cars have become support and tour favorites. Canberra, better get ready to show them our ‘regional’ hospitality! Catch Calling All Cars along with The Butterfly Effect at the Hellenic Club on Thursday July 8. Tickets can be purchased through Ticketek and Oztix or on the door (if still available).

the word

BLACKBOX

on games It’s that time of year again when nerds from across the world make a pilgrimage to the gaming Mecca that is E3. Unfortunately though, despite being the largest event on the gaming calendar, the major revelations were in short supply, especially if you’ve been keeping abreast of everything gaming. However, assuming you’re not a complete game nerd (which, given this is a music magazine, is probably a safe bet) here are some of the things you can look forward to in the ‘near’ future: Nintendo will be releasing a 3D version of the DS, cutely titled the 3DS. The system will use a lenticular screen, meaning it achieves the effect without the need for any annoying glasses. Sony are also pushing the 3D, but they’re focussing on the more conventional approaches. They’re also pushing their new motion system called Move, which can be best described as a Wiimote, Mark 2. Whilst one demo did go to show how awesome the tech could make a Wolverine game, it paled in comparison to Microsoft’s Kinect. Formerly known as Project Natal, the system allows the player to use their entire body to play games, using nothing more than a camera. So assuming you’re willing to part with about 200 bucks, you’ll be able to start playing games by simply miming out the required action – never before will you have looked as big a dickhead playing computer games as you will in the future! TORBEN SKO

Red Dead Redemption Developer: Rockstar San Diego & Rockstar North Publisher: Rockstar Style: 3rd Person Sandbox Platforms: X360 / PS3 Rating: Buy Reiew by: Jemist The game’s predecessor, Red Dead Revolver, famously suffered through development hell, only to emerge as a title filled with great set pieces and a fairly decent storyline. Whilst hardly a commercial success, it still managed to deliver a promising Wild West experience. Rockstar have done a stellar job of capturing a vast and sparse setting, but still ensuring a vibrant gaming environment. This proves to be a fantastic divergence from the eventually dull city environs of the Grand Theft Auto series. Red Dead Redemption, despite the core gameplay being essentially identical to the GTA series, manages to avoid feeling tired. There’s plenty of new mechanics in the game too. Fast travel is available for those who want to get through the game willing to sacrifice the plenty of sub-missions and objectives, such as hunting, gambling, random events, and ah.. flower picking. An honour system, depending if you’re feeling like playing bad guy or wholesome saviour. Rockstar deliver a somewhat satisfying multiplayer experience; get your posse from the real world running amok in Tex-Mex territory. To paraphrase Micallef on the ‘impossible steak’; sandbox games – it’s rare when it’s well done. Red Dead Redemption should definitely be on every gamer’s menu.

Last year’s surprise hit, The Gruen Transfer (ABC1, Wed, 9pm) slipped quietly back to our screens a couple of weeks back and it’s lost none of its wit. Last week’s pitch for a campaign to justify Western Australia leaving the Commonwealth was a corker. Blackbox is lobbying for the bogan-proof fence. See it here if you missed it: abc. net.au/tv/gruentransfer/thepitch . Ever noticed that a French accent seems to increase the superiority factor? So it is with much lauded designer Philippe Starck on his very own reality series Design for Life (ABC2, Wed, 8.30pm). He may be the most recognised designer in the world (and second only to architects in a sense of worth to the world), but when Starck screws up his face, shrugs at the contestants’ work and in his thick French accent says “it’s, for me…” you feel their hearts sink. Mind you, at Chez Blackbox there has been quite a bit of yelling at the stupidity of some of the contestants but without the French overtones… This week Rosso embarked on his first free to air solo vehicle since the big Merrick and Rosso split. It’s called Australia Versus (Prime, Tue, 9.30pm) and is a comedy debate between Australian comedians and the international counterparts (well Ireland, England and the US, many of whom already reside in Australia). Each show has a different topic (this week’s is music) and a number of rounds – wildest festival, hottest boy band, best karaoke song (which will no doubt feature that Aussie fave Khe Sanh). Sounds a bit indulgent but so did Thank God You’re Here… Just when you thought observational documentary couldn’t get any weirder… The Undercover Princes (ABC2, Wed Jul 21, 8.30pm) follows three bona fide princes (from India, Sri Lanka and South Africa) as they go undercover in Brighton, UK to find Ms Right (and learn how to do their own chores). The biggest treat this week is for Mighty Boosh fans – The Mighty Boosh: A Journey Through Time and Space (SBS1, Mon Jul 12, 10pm). Noel and Julian tell the story behind The Mighty Boosh, visiting important places such as the studio where the radio show was recorded, which is now an organic supermarket. Finally a documentary that goes beyond convicts and the ANZAC spirit to look at what shaped the Australia we live in. The Making of Modern Australia (ABC1, Thu Jul 22, 8.30pm) is a four part look at post-war history in Australia, from the childhoods of today’s baby boomers to the national obsession with owning a house. Narrated by William McInness and supported by interviews and archival material. Other docos to check out include Life (ABC1, Sun Jul 25, 7.30pm) which boasts stunning nature visuals narrated by David Attenborough, A Good Man (ABC1, Thu Jul 22, 9.30pm) which follows sheep farmer, carer and brothel owner Chris Rohelach, Infinite Space: The Architecture of John Lautner (ABC2, Sun Jul 11, 7.30pm), The Volcano that Stopped the World (ABC1, Thu Jul 15, 9.30pm – yes, that one) and Great Cities of the World with Griff Rhys Jones (ABC1, Tue, 8.30pm – Sydney Jul 13 and Hong Kong Jul 20). Sports fanatics should stay tuned to SBS with the FIFA World Cup Final (SBS1, Mon Jul 12, 3.30am) which, for the second time in a row, is likely to feature the team that was Australia’s undoing, and the Tour De France (SBS1, live nightly 10pm, highlights nightly 6pm, updates daily 7.30am). TRACY HEFFERNAN tracyheffernan@bigpond.com

the word

on gigs

Karnivool / MM9 ANU BAR Saturday July 3 An indication of Canberra’s fervour to see Karnivool was during their sound check, during which good-humoured technicians dutifully checked everything, and one stumbled across the tinny metronomeesque sample that heralds Sound Awake’s devastating first single Set Fire to the Hive. The crowd roared, fists pumping, schooners spilling and moshers pre-emptively taking out their prize-winning elbows (“y’know, this elbow fights in the bantamweight division… by itself”) as if to enthuse that they themselves had been recently immolated. Karnivool’s New Day tour has taken them around Australia with more sold out dates than not, the prog-metal rockers wowing audiences everywhere with their stunning songs and note for note musicianship. With Herculean displays of fret fury, inexorable, inexhaustible amounts of metre-defying drum lines and deftly sweet vocals, Karnivool’s Genghis Khan-like swoop of Australia was surely inevitable. After a tedious forty five minute delay – signs of life. It was MM9, waiting in the wings, limbering up for a show in front of a crowd at least seven hundred strong. When they took to the stage, the crowd was warm and receptive, with only a limited amount of groans, as if the last thing that they expected and would abide by was a support act. MM9 combined break-neck dance tempos, synthesised drum sounds and dirty nu-metal guitars, siren synths and a singer who stared at the crowd, theatrically livid, as if we did something to offend him personally in the days of yonder. Their consummate professionalism and highly polished set is and was to be commended, however, their act came off as highly contrived. A glaringly obvious example of which was how members of the band tended to jump in a certain way, at a certain time, into a certain light that would frame them in a certain way – a tried and true method of convincing audience members how ‘rock’ they are. By the end of their set, they had clearly won over a sizable amount of the audience, who whooped and cheered graciously, chuffed from having witnessed such a clean set delivered with no frills or spills. The noise started to settle in, set-list demands and borderline desperate anticipation for the Perth act reached a deafening peak. But lo and behold, as the prophets foretold: they arrived. Silhouetted in UFO green haze lights and smoke screens, they took their places, and vocalist Ian Kenny grinned and waved giddily at the dizzying display of support before the aforementioned tin drum sample returned with a vengeance, and they tore into the rage-riffs and soaring melodics of Set Fire to the Hive. Musical savant Andrew Goddard was breathtaking, laughing at the mere concept of gravity with his carefully considered spidery fret weaving, drummer Steve Judd was water-tight and absurdly great, and Mark Hosking and Jon Stockman were meticulous to a degree of jaw-dropping finesse. Ian Kenny: what a revelation. Commanding the audience with his super villain Spock appearance and super nerd starfish on springs impression, his ridiculous pipes were note perfect, alternating between angelic falsetto and powerful chest voice. Kenny seemed to know all of this as well, singing “Oh no / This can’t be happening” in the certified epic Deadman, with its multi-metre glory and fastidiously arpeggiated riffs.

Photography: Danielle Rodgers

Their set was chockers of incredible material, journeys through ineffable soundscapes and riffs that are responsible for many bruises. The xylophone that began Simple Boy also started a near-riot, and the outrageous Themata put yet another rung on their awesome ladder. In conclusion, a paraphrasing (profanity removal) of an actual quote from some random punter, as there is no way anyone can summarise it as eloquently: “It was like being kicked repeatedly in the crotch, but somehow really awesome!” Palimah Panichit

the word

on albums

album of the week the roots how i got over [def jam]

“Trapped. No shield. No sword. The unbeaten path got my soul so sore.” A summary of the entire record in the first instance of words. It’s one that could appear contrived in any other context, yet it is spoken with honesty. Urgency. Thematic piano strings ring out, trembling over sombre beats and under introspective verses – words merged together like searchlights that scythe through an uncertain sky. When the hook echoes on Walk Alone it’s profoundly evocative. By becoming decidedly introspective, The Roots conversely show that communication is everything on the fantastic How I Got Over, their ninth record. The songs astoundingly reach out rather than reach into themselves, which a superficial reading of the lyrics will lead to believe. Meanings become meaningless, and the feeling is strange, even evasive – but it’s there. The beats are quietly intense, favouring live instruments over the synthesizers of previous effort Rising Down. Black Thought, known for his politically conscious barbed-wire lines changes his tune on this record, spitting clever rhymes about the all-pervasive stress of the 21st Century: “Check the blue flame, lighter running out of butane.” Never have The Roots sounded so human. PALIMAH PANICHIT

Against Me! White Crosses [Sire]

karen elson the ghost who walks [third man records]

Hole Nobody’s Daughter [Universal/Island Def Jam]

White Crosses, the fifth album from Florida’s favourite punk rockers, barely misses a beat in taking up where 2007’s major label debut New Wave left off. Purist Against Me! fans will describe this as a continuation of the group’s downward spiral into bland, commercial radio rock. Others – who don’t judge every AM album against the yardstick of their infamous debut Reinventing Axl Rose – will consider White Crosses a commendable strengthening of the group’s slowly maturing pop-glazed arena rock; initially less impressive than New Wave, but ultimately a necessary reconciliation of the group’s former strident punk ethos with their new direction.

Karen Elson, most noted for being a stunning model and married to Jack White, has released her first album - and it’s damn good. Though not her first foray into music (she is a member of American cabaret group The Citizens Band, and has lent her vocals for various projects), The Ghost Who Walks proves itself to be no novelty project. Elson is in good company, having snagged members of The Dead Weather (including an obvious addition of Jack White, on drums of all things) and My Morning Jacket to be part of her collective.

Up until Nobody’s Daughter Hole had released a mere three albums and there’s ample evidence this is just another Courtney Love solo album masquerading under a less tarnished banner. That’s three albums in nearly 20 years, only one of which approaches essential status – 1994’s Live Through This. Hardly prolific, their status outweighs their reputation by a wide margin. Attention is the name of Courtney’s game. Maybe because it obscures her song writing skills, which on the evidence here are barren and outdated. Nobody’s Daughter is a throwaway throwback. Love’s throaty, cracked snarl was great in the angsty early ‘90s; nowadays it comes off like a petulant middle ager struggling to find a reason to bother, devoid of all swagger.

As with New Wave, White Crosses was produced by Butch Vig. The resulting near-flawless production value showcases the group’s steadfast confidence in their new sound without hiding behind the street cred attributed to low-fi production as they have previously done. During the standout moments of the album this confidence suggests a group quickly approaching the musical terrain currently dominated by east coast Springsteen enthusiasts such as the Hold Steady and Gaslight Anthem. At its worst, it reveals a group who can be unimaginative, repetitive, and already resorting to a shtick for sentimental nostalgia. As with their previous two albums, White Crosses is a solid effort, but is ultimately better at creating anticipation for their future work rather than excitement for their current. ben hermann

Any scepticism is tossed away by Elson’s clear vocals, feminine and ethereal, that fit well with the music - beautifully composed, intricate yet lush, delving into country, folk and early ‘60s sounds. The Ghost Who Walks treads similar territory as Nick Cave & The Bad Seed’s Murder Ballads, haunting tales. A few tracks take their cue a little too directly from Where The Wild Roses Grow, with the chorus of Stolen Roses almost a mimic of Cave’s. However, this isn’t necessarily a bad thing, as Elson’s lyrics are still intriguing and vivid, and the quality of the music ultimately lifts the album. Delicate country ballads such as Lunasa are reminiscent of Gillian Welch, and fit well in between bolder love songs. At only 12 songs, the album is a little short, but the tracks are impressive. A sophisticated album, hopefully not the last for Elson and her accomplices. chiara grassia

Sonically it’s the sounds of modern radio rock – no edges, no urgency, no meaning – and could easily pass as Celebrity Skin outtakes. Not a terminal problem until you realise it was released over a decade ago. It’s not Linda Perry’s (ex-4 Non Blondes, general gun for hire) fault, nor Billy Corgan’s – even though both contributed extensive co-writes. Samantha, one of Corgan’s efforts, is emblematic: a plodding major chord stomper, it struggles to convey any real sense of anguish and descends into a shouty, risible attention seeking chorus “People like you/Fuck people like me”. No wonder he sought an injunction against its release. JUSTIN HOOK

singled out

with Dave Ruby Howe

Menomena Mines [BARSUK] “Hamnoo?” you might ask. Yes, Menomena is the name of that Muppets song, the tune you may also recognise from the Banana Boat sunscreen ad. Conceptually the band of the same name are just as fun but don’t sound quite as dicky. If you wanted to put them on a mixed CD (Nick and Norah style [minus the convoluted Belle and Sebastian references]) you also might include Wolf Parade and The National (whom they’ve toured with). Menomena have built their reputation gradually, initially establishing themselves with a lot less pop and a little more obscurity on their debut from 2003, I Am the Fun Blame Monster. In this way the band may be likened to one of last year’s favourites, Grizzly Bear, who didn’t really gain the deserved accolades until their third release. Few experimental indie groups toy with saxophones and Menomena (on this, their third album) continue to blast it every so often just when you think the song might become too samey. Overall though, we’re talking an arrangement of beautiful pop melodies alongside angry prog rock. The whole thing is tempered by piano. More uniquely, there are also moments of gospel and lyricism which seem to mock religiosity and the stability of relationships. Mines pulls between harder yell-y songs with softly-softly crescendos and songs which boast beautiful vocal arrangements and experimental artifice that would have Yeasayer pissing themselves with sheer glee. PETER ROSEWARNE

Tarot Gravity of Light [Nuclear Blast/Riot] Finns Tarot never fail to deliver solid, classic old-school styled heavy metal; their downtuned guitars and occasional deathly vocal stylings have always been balanced with a fair helping of Jon Lord style keyboard noodling and – it has to be said – spectacular eighties pop metal choruses. So, with all this good news as a given, we really need their albums to bring something extra special to top our high expectations. Does Gravity of Light do this? Well, yes and no. It isn’t as immediate as its studio predecessor, the largely immaculate Crows Fly Black, but when it hits the spot, as it does on the frankly elephantine I Walk Forever, such worries become redundant. The song, built on a sumptuous chorus is quite simply the best heavy metal song your reviewer has heard thus far this year, and would be just about strong enough to carry the rest of the album were it to be composited entirely of duff songs. It isn’t, of course, and if you give the likes of Magic and Technology and Pilot of All Dreams time to insinuate their way into the space between your lugs then you’ll find yourself having a fine old time. There seems to have been a deliberate move away from out-and-out HM – opener Satan is Dead is really the only hell bent for leather anthem here, but if you don’t mind a bit of restraint and taste in your music, this could be for you. Nambucco ‘Traitor’ Deliria

The Cure Disintegration (Deluxe Edition) [Fiction Records/ Universal] When I was in high school and looking for something that might provide a better understanding of this strange world, the sparkling pop tunes and melancholy soundscapes of The Cure arrived at just the right moment. I was having considerable trouble making it with girls, and it somehow helped a lot that Cure vocalist Robert Smith seemed to know all about such things. I would still like to know what the Goth subculture with its cultivated existential cool - and once having a noticeable presence on the Canberra alternative scene with The Cure as a guiding light - thought about the band’s meteoric rise to the top of the charts in the late 1980s. This occurred when ninth album Disintegration was originally released in 1989 which brought all that mascara, voluminous hair and overflowing angst to stadium performances, and can be heard on the third of this generous three disc set, although The Cure live never quite matched its fully formed studio creations. The second disc comprising studio outtakes is kinda interesting, but all it really does is offer a taster for the album itself, and this is where we get to the good stuff. Disintegration has been beautifully remastered, and the richly textured sound is something wonderful to behold. This album of 12 meticulously crafted tracks is a soul enriching, at times bleak, but nevertheless utterly rewarding listening experience that confirms its place among the greats. Dan Bigna

3OH!3 - My First Kiss ft. Ke$ha [Warner] I honestly hope that anyone who has their first kiss whilst listening to this puddle of musical splooge will also be having their last kiss at the same time.

Chromeo - Don’t Turn The Lights On [Modular] Although they’ll forever be unfairly dismissed by casual listeners as a retro-novelty two piece, nothing can ever stop Chromeo from doing what they do best. Bringing the mothereffing smooth. This slow-jam is a little Oliver Cheatham, a little Lionel Richie, a little Jan Hammer and all awesome. This is what you need.

Klaxons - Echoes [uma] Already people are coming out of the woodwork to sign the death certificate of those nefarious ex-new-ravers, Klaxons. Why? This really isn’t that far removed from anything off Myths Of The Near Future, but still people are whining. I, for one, dig it. It’s still wonderfully odd but now has some added production grunt, sure to win over some heavier-leaning listeners. Haters gonna hate.

Ou Est Le Swimming Pool - Dance The Way I Feel [MOS/UMA] You’d think I’d love this. I thought I’d love it. But I really don’t. There’s nothing particularly bad about it, the synths are bubbly and the hook is totally infectious but who are these guys kidding? This feels like trend-following. It feels obvious. They’re about one guyliner stick short of being the next Bravery.

the word

on films

WITH MARK RUSSELL

With lack-lustre American box-office receipts from the major action films and adult comedies, the real money’s been in all-ages fun - as Toy Story 3 and The Karate Kid have pulled in the big business. But if you were worried this age of the family movie would mean losing out on Hollywood’s sex, blood and potty-mouth, fear not; cause it looks like M. Knight Shyamalan’s violently fucked up The Last Airbender. Initial reviews for this adaptation of the brilliant cartoon Avatar are almost as scathing as Sex and the City 2! Goddamn I hate that guy. Stay-tuned for more tirades if it’s as bad as they say.

quote of the issue

“Sunnyside is a place of ruin and despair, ruled by an evil bear who smells of strawberries.” Mr Pricklepants (Timothy Dalton) Toy Story 3

animal kingdom

the karate kid

toy story 3

Animal Kingdom is easily one of the strongest Australian films to come out of our industry in a while. Though clearly part of the ridiculously over-done bogan-gangster genre, it gives us a completely fresh look at the subject matter. The acting and cast are phenomenal, the cinematography is incredibly rich and the story itself draws us in beautifully. It also features one of the best opening scenes I’ve watched in many years.

This remake of the eighties classic has tonnes of heart: both in a Rocky, and a Forrest Gump sense. It follows Detroit 12 year old Dre (Jaden Smith) as he tries to adjust to his new home in China. The local bullies take a disliking to him, and pretty soon he’s learning all the mystical kung-fu wisdom he can from maintenance man Jackie Chan, in order to beat them.

Woody, Buzz and the rest of this batteries-included crew have taken us a long way over the last 15 years. Toy Story 3 is, as to be expected, brilliant. Yet again, Pixar Studios have hit their ridiculously high benchmark with a story that plays all the right notes. This adventure takes these now very familiar characters to day-care, after their owner Andy accidentally misplaces them while packing for college. And this is the story at hand: what happens when the kids grow up?

Josh (James Frecheville) has just lost his mum to a heroin overdose. She was the last line of defence between Josh and her family of careercriminals, whose nefarious existences are watched over by Josh’s grandmother - twisted matriarch Janine (Jackie Weaver). Janine’s boys’ activities are being watched very carefully by the armed robbery squad and when the cops take things too far, retribution is swift and violent. Animal Kingdom’s script is electric, a fascinating peek into the minds of some very intense characters. The similarities with Melbourne’s Walsh Street murders and the Pettingill family are a little disconcerting, as no mention is made of them. Weaver is superb, balancing her character’s home-spun exterior and rotten interior perfectly. Frecheville does a brilliant job of stoic fear, even if his general lack of awareness makes it a little hard to buy his effectiveness in the later scenes. Ben Mendelsohn is also chilling as unbalanced crim ‘Pope’, and Guy Pearce is great to watch as the seemingly last honest cop. MARK russell

At over two hours, 20 minutes, this film is too long: meandering through a few unnecessary sub-plots and oh-my-god-we’rein-China moments. These rarely drag however, the length being especially impressive in a family film and a real tribute to the script’s pacing. Smith is capable in the lead role, and even manages some very impressive moments, though he’s a little inconsistent overall. But it’s Jackie Chan who’s the real revelation. His turn in the dramatic tent-pole moments is genuinely heart-felt and gritty in ways completely unexpected from the kung-fu slapstick master. It was a strange decision to do almost exactly the same storyline as the original film... while shifting the martial art from karate to kung-fu... without actually changing the film’s title. Some of the sequences don’t work quite as well in the new surroundings either. But fun is the key and the tongue-in-cheek nods to the earlier films only add to this overall tone. The Karate Kid delivers brilliantly on everything it attempts. It’ll please all comers with a film that excites, emotes and entertains. Definitely worth the price of admission. MARK russell

This film is obviously a labour of love for all concerned. As the first Pixar 3D offering (and as such, a revolutionary piece of cinema), the original Toy Story gave us brilliant story-telling through cutting-edge animation. Where Shrek has used all its sequels to explore new paths circling the drain of credibility and relevance; this third instalment rounds out one of the truly great trilogies. Viewed with an overly-harshcritic’s lens, number 3 is a hair behind its forebears in terms of quality. The story has slightly less surprises, though this could be due to the very clear, strong structure behind it; and the fact each plot point flows so effortlessly into the next. It’s probably also a little scary for many ankle-biters. The climactic sequence in particular has some very intense imagery attached to it, though this is also undoubtedly the most impressive visually. But we can’t really blame them for appealing to a more adult audience. With so long between sequels, this is probably less a kids’ film, and more about the rest of us proving we’re not too old to dig in the toy box. MARK russell

the word on dvds

Fantastic Mr. Fox [20th Century Fox] Fantastic Mr. Fox is, as the title would suggest, fantastic. In this animated adaptation of Roald Dahl’s beloved children’s classic, Wes Anderson uses the same distinctive stylistic flare and deadpan deliveries seen in his quirky family drama-comedies, to make a family film. Mr. Fox (voiced by the suitably suave George Clooney) is a sly and cunning thief, who gives up a life of crime to become a columnist for the local Gazette and fox father. But even parenthood can’t tame the wild animal within this skinny suit-wearing charmer, and Mr. Fox decides to pull off one last criminal caper, stealing from the mean and lean, or bad and bulky, farmers Boggis, Bunce and Bean. Of course, the plan doesn’t go to plan, and Mr. Fox must draw on all his natural instincts to fight for the survival of his family. This film is a romance: foxy Mrs. Fox (Meryl Streep) plays beautifully against Mr. Fox. It is a bromance: Mr. Fox’s son Ash (Jason Schwartzman) must learn to live with his in every way more athletic and popular cousin Kristofferson Silverfox (Eric Chase Anderson). It also features Jarvis Cocker as an animated town troubadour! Fantastic Mr. Fox uses stop-motion puppets and a jerky style, which makes this thoroughly modern film feel charmingly retro. The puppets are made from real fur, and the warm autumnal palette adds to the organic animation. The DVD includes a behind the scenes look at how the crew accomplished the idiosyncratic animation style, and an amusing short featurette: A Beginner’s Guide to Whack-Bat, the incomprehensible ball sport played by wild creatures in the film. With offbeat humour and old-school animation, Fantastic Mr. Fox is more than a fantastic adaptation of a children’s classic; it is a classic children’s film in its own right. melissa wellham

The Rolling Stones Stones in Exile [Shock] Considering that The Rolling Stones significantly contributed to ending the counterculture dream with the Altamont festival debacle in December 1969, one might have thought that the band’s libertine rock ‘n’ roll expression would come to a crashing halt shortly afterwards. With regard to Mick Jagger on that fateful US Stones’ tour in late 1969, influential promoter Bill Graham is quoted as saying that, “every fucking gig, he made the promoter and the people bleed.” It seems that the band had become too arrogant for its own good. But the quality of the music around this time was so good that the Stones could be forgiven for just about anything. This could also be said for the release of the band’s 1972 masterpiece Exile on Main St., which was the magical outcome of the usual sex and drug debauchery, and rock-god messing about that had become expected flavours. And who wouldn’t want to hang around Keith Richards’ Nellcote mansion in the south of France indulging in a variety of sensual pleasures to the heart’s content? However, Stephen Kijak’s excellent documentary on the making of the Exile album reveals that the band had transplanted itself to France out of financial necessity rather than decadent choice, and despite the many pleasures on offer, bunkered down in the basement of Richards’ mansion and battled technical hitches, searing heat and the many temptations from upstairs to nut out the basic tracks for what would eventually become one of the great rock ‘n’ roll albums of all time. Kijak has done a superb job bringing together interviews, original footage, photographs and music to keep the story moving without scrimping on detail. The bonus features also deserve attention, particularly Keith Richards’ insightful reflections on the songwriting muse which tell us far more about his particular brand of genius than all the hype and myth. dan bigna

Herb and Dorothy [Madman] Herb and Dorothy Vogel are a pair of frail, unassuming elderly New Yorkers who live in a small apartment surrounded by clutter, turtles and cats. Stacked against the walls, piled up against tables and consuming every other inch of free space from the bathroom to the kitchen is one of most impressive collections of 20th century modern and contemporary art ever assembled. Which in and of itself is not that amazing. Until you find out Herb and Dorothy amassed their collection on the wages of a postal worker and a librarian. Starting in the mid‘50s the couple would seek out emerging artists in some of the dodgiest parts of New York in its seediest decades; Chuck Close, Christo and Jeanne-Claude and Robert Mangold are effusive in praise and it’s clear the pair are more than just clients. But theirs was a very different kind of patronage as they had only two rules: that they could afford a piece on their meagre salary and that it could fit into their apartment. The polar opposite of sycophantic art dealers and gallery trolls, they weren’t in it to make a quick buck – sitting out the numerous art booms that could have made them millionaires many times over. By the time they bequeathed the entire collection to the National Gallery of Art in Washington it was approaching 5,000 pieces. But they’re not in it for the recognition – Herb managed to keep his art obsession a secret from his colleagues for most of his working life. They collect art simply because they loved it. But Herb and Dorothy is about more than art. It’s the blissful story of two people who found their passion – and more importantly found someone else to share that passion with. It’s also the story of art appreciation. Much is made of the way Herb studies a piece, an intensity often outweighing the drama on the canvas. An extraordinary documentary about an extraordinary couple. justin hook

GIG GUIDE July 07 - July 15 wednesday july 07

Open Decks

Free entry, doors open at 6.30pm. LOT 33

Arts Rweromo garé niogehu mamabahe ajivé

Live Delta Riggs

Chapman Gallery in association with Ömie Artists presents the exibition of barkcloths. ‘Til July 25.

With local lads done good Hancock Basement. $5.

Jazz Garters

With The Delta Riggs. 8pm, $5.

CHAPMAN GALLERY

TRANSIT BAR

Hancock Basement

Too darn hot to handle! ‘Til July 10.

TRANSIT BAR

More Errol/Skid

Open Mic Night

CANBERRA CONTEMPORARY ARTS SPACE - MANUKA

POT BELLY BAR

THEATRE 3

Exhibition by James Langer. ‘Til July 11.

Errol & Skid.

by James Langer. ‘Til July 11.

CANBERRA CONTEMPORARY ARTS SPACE - MANUKA

With Jacquie Nicole, Ithica, Scaramouche, Ben Drysdale. 8pm, free. THE PHOENIX PUB

Rock Nation Unplugged 8pm, free.

THE HUSH LOUNGE, PHILLIP

Mark Skelton

THE FRONT CAFE AND GALLERY

Chicago Charlie The Bridge Between

NATIONAL PRESS CLUB, BARTON

Domus Adultus

Matt Dent, Meraki (Minh) and The Feldons. THE PHOENIX PUB

Something Different

Wednesday Lunchtime Live

CUBE NIGHTCLUB

Cash prizes, 2 for 1 basic spirits and tap beer, and free pool. DJ Peter Doree from 11pm.

A Plethora of Pianists. Works of Schumann, Grieg, Schubert, Bartok, Beethoven and more.

Nim (Japan)

With In Sepia (Bris) for a mid-ninetiesmidwest-post-hardcore (read: emo) revivalist bonanza.

Arc: Little Big Shots International Children’s Festival Films for kids 2 to 5 years old. 10am. Arc cinema, national film and sound archive

Arc: The Fox and The Child

The school holiday favourite returns. This film hovers in a magical place between wildlife doco and children’s moral fable. 2pm. Arc cinema, national film and sound archive

Dance Faux Real

KNIGHTSBRIDGE PENTHOUSE

Activate Jetpack CD Launch

With Starfish Hill, Manilla Green and Pete Akhurst. P J O’REILLY’S, TUGGERANONG

With Hoddle. 7.30pm, $17/$14/$12. THE MERRY MUSE

Rob Mac Project

HOLY GRAIL, KINGSTON

Anonymeye (Brisbane)

sunday july 11 Arts Arc: Amos Oz: The Nature of Dreams

With Cat Cat and 3ofmillions (Sydney). $15/$10 concession. 8pm. Book online at www.thestreet.org.au

2009, 86 mins. 2pm.

Synergy

dance

SUB URBAN

Cube Sunday

Julia and the Deep Sea Sirens

CUBE NIGHTCLUB

THE STREET THEATRE

9pm.

Presented by CMC, with Fire on the Hill, Voss and Drew Walky. 8pm, $15/$12/$10 (CMC members). Part of the CMC’s Pyjamanalia. Bring your jammies, a sleeping bag and pillow, and sleep over! MCGREGOR HALL

saturday july 10

Arc cinema, national film and sound archive

10pm ‘til late with DJ TJ.

Live Wil Wagner and the Smith St Band With Hoodlum Shouts. THE PHOENIX PUB

Ducks in the Mud (Melbourne)

-pirate folk anthems, post-modern Buddhist prose-poetry, musings on lost love... 7.30pm. By donation

CANBERRA CONTEMPORARY ART SPACE GORMAN HOUSE

Exhibition by Tracey Meziane Benson. ‘Til August 14.

The Dead Sea

Exhibition by The Twilight Girls. ‘Til August 14.

CANBERRA CONTEMPORARY ART SPACE GORMAN HOUSE

Arc: 3rd and 4th Generation Chinese Cinema

Farewell benefit concert. Enquiries 6232 7248. 3pm.

Woman, Demon, Human. 4.30pm.

Arc: Sounds on Sight - No Distance Left to Run

Showcasing Blur’s 2009 reunion tour also takes a raw look back at the band’s beginnings and success. 7pm. Arc cinema, national film and sound archive

Arc cinema, national film and sound archive

With Haezer. 9pm, $15.

Films for kids 4 to 10 years old. 2pm. Arc cinema, national film and sound archive

Dance Foreplay Friday

9pm ‘til 5am with DJs Matt and Pete. CUBE NIGHTCLUB

Stephan Bodzin (GER)

$15 presale from Moshtix, $20 on the door. TRANSIT BAR

Jemist

KNIGHTSBRIDGE PENTHOUSE

WESLEY MUSIC CENTRE

Arc cinema, national film and sound archive

dance

Arc: Little Big Shots International Children’s Festival

Come and have a fiddle from 5pm. KING O’MALLEY’S, CIVIC

Arc: Little Big Shots International Children’s Festival Films for kids 3 to 7 years old. 10am.

THE FRONT CAFE AND GALLERY

The Dispossessed. 2pm.

Gtronic (Belgium) NORTH BAR

monday july 12 dance Hospitality Night

TRANSIT BAR

live Bootleg Sessions

Sidney Creswick, Greg Carlin, Ungus Ungus Ungus, Glen Harvey. THE PHOENIX PUB

Candy Cube

tuesday july 13

10pm ‘til 5am with DJs Matt and Pete. CUBE NIGHTCLUB

Downtown Brown

KNIGHTSBRIDGE PENTHOUSE

4 Sound Presents Elmo Is Dead

With B-tham, Team Wing, Mikey G. $10, doors open at 10pm. LOT 33

Live Ducks in the Mud With Freja’s Rain.

Arts Rain Man

Alex Dimitriades and Daniel Mitchell take on the roles of Tom Cruise and Dustin Hoffman in this intimate adaption of the Oscar award-winning film. ‘Til July 17. Canberra theatre centre

live

THE PHOENIX PUB

Alex Anonymous

Kingfisha (Bris)

ANU BAR AND REFECTORY

With Dubba Rukki. Roots reggae. TRANSIT BAR

HOLY GRAIL, KINGSTON

Sonatas and Dances from Eastern Europe

CIVIC PUB

CANBERRA IRISH CLUB

10pm.

Arc cinema, national film and sound archive

Connecting You

CANBERRA CONTEMPORARY ART SPACE GORMAN HOUSE

Greenfaces: Corinne Grant

Groovalicious

Irish Jam Session

Not to be missed. ‘Til July 21.

Place Maps

Tickets from Canberra Ticketing or greenfaces.com .

THE FRONT CAFE AND GALLERY

Arc: Australian Cinema at the end of the ‘50s

Civic Pub Comedy Club

Arts

CUBE NIGHTCLUB

8pm, by donation.

Arts

Exhibition by Robyn Backen. ‘Til August 14.

thursday july 08

9pm ‘til 5am. DJ Matt and drag show by Chyna Dahl. Dress in theme for free entry.

Molly Contogeorge

E.L.K Debut Solo Exhibition

Something Different

Top quality interstate comedians supported by the best of Canberra’s emerging performers. 8pm, $10.

Xmas In July

With Good Foot Sound System. Live electronica, flamenco guitar, percussion and more. Tix $17/$15/$13

Arts

THE FRONT CAFE AND GALLERY

TRANSIT BAR

LOT 33

friday july 09

BAR 32

Transit Trivia / $5 Night

B-tham, Team Wing, Hartattack. $10, doors open at 11pm.

New York Public Library

Think weekend surf trips, Sunday arvo beers and sweet sweet melodies.

Karaoke

WESLEY MUSIC CENTRE

MCGREGOR HALL

Lot Fridays

Fearless Movement

From noise band Y35.3 and Rene Schaefer from The Bites, Hand Hell, and Aktion Unit. THE FRONT CAFE AND GALLERY

BAR 32

Live

KING O’MALLEY’S, CIVIC

Captain My Captain

Tijuana Cartel

Your weekly Big Night Out with DJs playing rock, indie, alternative, punk and dance 9-way late.

9pm, free.

9pm – midnight.

Live

REV

With Point of View. 8pm.

GIG GUIDE July 15 - July 21 The Far Canals

Country, blues, punk, art-space-rock. Yep, you heard right. 7.30pm, free. THE FRONT CAFE AND GALLERY

Something Different Trivia 7pm.

HOLY GRAIL, KINGSTON

TNT: Karaoke Dynamite

Heuristic

9pm – midnight.

KING O’MALLEY’S, CIVIC

Something Different Karaoke

Cash prizes, 2 for 1 basic spirits and tap beer, and free pool. DJ Peter Doree from 11pm. CUBE NIGHTCLUB

TRANSIT BAR

live

Live

Hospitality Night

TRANSIT BAR

Mother and Son

With Killing Birds and Assassins 88.

Live

Amber Cashel and Band

The Fresh Meat Fiesta

THE PHOENIX PUB

friday july 16 dance

Activate Jetpack

Pyrene (Melbourne), No Longer I (NSW), JAB v2.0ld. Entry is free, 8pm. POT BELLY BAR

Tim Galvin

Midnight from Memphis

MECHE

THE MERRY MUSE

Rock Nation Unplugged

With Dave O’Neill and Bob Rodgers. 7.30pm, $25/$22/$18.

THE HUSH LOUNGE, PHILLIP

Foreplay Friday

The Optimen

Dedicated purveyors of progressive funk rock pop psychedelia. With the always fantastic Fun Machine

CUBE NIGHTCLUB

TRANSIT BAR

Wednesday Lunchtime Live

REV

Ungus Ungus Ungus

THE FRONT CAFE AND GALLERY

Modern Romance for oboe and guitar. 12.40 – 1.20pm. WESLEY MUSIC CENTRE

Humanimals

With Old Ace. 9pm, free. THE PHOENIX PUB

Something Different Transit Trivia / $5 Night TRANSIT BAR

Bastille Day Dinner

Dance and live music. Bookings essential by July 7. administration@ afcanberra.com.au, 6247 5027. ALLIANCE FRANÇAISE

thursday july 15 Arts By Her Flickering Light

7.30pm, $10. ‘Til July 17.

TUGGERANONG ARTS CENTRE

Cheese

One Year Older, One Year On

TRANSIT BAR

Your weekly Big Night Out with DJs playing rock, indie, alternative, punk and dance 9-way late. BAR 32

Lot Fridays

B-tham, Open Decks winner and more. $10, doors open at 11pm. LOT 33

Tickets from Canberra Ticketing or greenfaces.com . CANBERRA IRISH CLUB

Arc: Little Big Shots International Children’s Festival Films for kids 5 to 15 years old. 10am.. Arc cinema, national film and sound archive

Dance Jemist

KNIGHTSBRIDGE PENTHOUSE

Open Decks

Free entry, doors open at 6.30pm. LOT 33

Live Domus Adultus

Perpetual End

With Makeshift, Pyrene (Melbourne), Second Sun, Craig Coburn (Melboune). $10, 9pm. THE BASEMENT

Identical Strangers 10pm.

HOLY GRAIL, KINGSTON

3rd Exit

10pm-2am.

KING O’MALLEY’S, CIVIC

saturday july 17 Arts Yallah! 2010 Arab Film Festival

Harragas. 2009, 18+. Richard, Nasser and Imene are one of tens of thousands of Harragas, the desperate hordes of young Africans who every year gamble their lives to try to make the crossing to Europe. 4.30pm.

Scheherazade, Tell Me a Story. 2009, 18+. Living a 21st century version of the Arabian Nights tale, Hebba and Karim are hip, young Cairo media professionals. 7pm. Arc cinema, national film and sound archive

dance

Open Mic Night

Nathan Frost

POT BELLY BAR

Something Different Trivia 7pm.

HOLY GRAIL, KINGSTON

10.30pm-2.30am.

KING O’MALLEY’S, CIVIC

TNT: Karaoke Dynamite

Open up your pipes for fame and glory. TRANSIT BAR

sunday july 18

wednesday july 21

Arts Yallah! 2010 Arab Film Festival

dance

Arc cinema, national film and sound archive

With Voss and From the South.

Found at Sea

THE PHOENIX PUB

dance

Like There’s No Tomorrow Tour Feat. Mary Jane Kelly, Built on Secrets and Dead Kings.

Cube Sunday

10pm ‘til late with DJ TJ.

TUGGERANONG YOUTH CENTRE

CUBE NIGHTCLUB

Rock Nation Unplugged

Live

8pm, free.

Rocksteady

The Bridge Between Duo

THE HUSH LOUNGE, PHILLIP

6-9pm.

Sunday roots reggae plus Jamaican BBQ from 1pm.

THE BELGIAN BEER CAFE, KINGSTON

Wednesday Lunchtime Live

TRINITY BAR

The cast from The Boy from OZ.

Irish Jam Session

WESLEY MUSIC CENTRE

Come and have a fiddle from 5pm. KING O’MALLEY’S, CIVIC

Bach Cantatas and Schumann Liederkreis Leading Canberra baritone Jeremy Tatchell in an innovative concert with ensemble. 3pm.

Something Different Transit Trivia / $5 Night TRANSIT BAR

WESLEY MUSIC CENTRE

Yallah! 2010 Arab Film Festival

Candy Cube

9pm, free.

THE PHOENIX PUB

Arc cinema, national film and sound archive

Jason Recliner, The Blue Ruins, Angels are Architects. THE PHOENIX PUB

Oscar

12 Angry Lebanese. 2pm.

Live

Exhibition by Leah Bullen. ‘Til July 25.

Greenfaces: Bob Franklin

AXIS YOUTH CENTRE, QUEANBEYAN

KNIGHTSBRIDGE PENTHOUSE

BAD!SLAM!NO!BISCUIT!

7.30pm, free.

With No Assumption, Lost In Verona, Friend Or Enemy, Final Lies and Steady The Fall. 2pm-7pm, free.

D’Opus

THE PHOENIX PUB

Arts

9pm ‘til 5am with DJs Matt and Pete. ‘80s / Retro Spectacular.

Come check out Canberra’s freshest crop of fine musicians. The Spatlings, CatDogMonkey (!?), Fearless Movement and The Flat Earth Confederacy.

tuesday july 20

With D’Opus & Roshambo. 8pm, $10.

Shutterbug

CANBERRA CONTEMPORARY ARTS SPACE - MANUKA

dance

LOT 33

With Hubert, Cheese, Offtapia, Dept of Defiance. 10pm, $10.

8pm, free.

monday july 19

With Oli Y, B-tham, Alex Cleary. $10, doors open at 10pm.

HOLY GRAIL, KINGSTON

Open up your pipes for fame and glory.

wednesday july 14

Minx

10pm ‘til 5am with DJs Matt and Pete. CUBE NIGHTCLUB

KNIGHTSBRIDGE PENTHOUSE

OUT JUL 21

bill bailey i exist maggot mouf dweezil zappa and more...

The Chris Harland Blues Band 7pm, free.

NATIONAL PRESS CLUB, BARTON

FIRST CONTACT SIDE A: BMA artist profile

KAYO MARBILUS Where did your band name come from? Back in ‘98 after watching a movie flick (Hot City) set in the ghettos of Indiana. Describe your sound: Fresh/raspy flow with lyrics to take you on that metaphorical journey. Who are your influences, musical or otherwise? Life, the good, the bad, history, the present, Canberra city. What’s the weirdest experience you’ve had whilst performing? A crackhead front and centre going off tap. What’s your biggest achievement/proudest moment so far? Having my music on national TV over the past six years and having that music artist status. What are your plans for the future? Keep reaching out to networks untouched, promote the new EP Karisma and take that next step to where I’m trying to go. What makes you laugh? My friends. What pisses you off? Negativity. What’s your opinion of the local scene? Canberra, we got next. What are your upcoming gigs? Main act for a new club opening in Sydney in July, and a few shows spreading across the major cities. Contact info: myspace.com/kayomarbilus myspace-artist-promotion.webs.com kayo_101@hotmail.com

Aaron Peacey Aaron 0410 381 306 Activate Jetpack activatejetpack@ hotmail.com Adam Hole Adam 0421 023 226 Afternoon Shift Adam 0402 055 314 After Close Scotty 0412 742 682, afterclose@hotmail.com Alcove Mark 0410 112 522 Alice 0423 100 792 Allies ACT (Oxfam Group) alliesact@hotmail.com/ myspace.com/alliesact Amphibian Sound PA Clare 0410 308 288 Amplif5’d Classic rock covers band Joy 0407 200 428, joybarac-heath@hotmail.com Annie & the Armadillos Annie 6161 1078/0422 076 313 The Ashburys Dan Craddock 0419 626 903 Aria Stone, sax & flute, singer/ songwriter (guitar) Aria 0411 803 343 Australian Songwriters Association (Keiran Roberts) 6231 0433 Arythmia: Ben 0423 408 767/ arythmiamusic@gmail.com Backbeat Drivers Steve 0422 733 974, www.backbeatdrivers.com Big Boss Groove Andrew 0404 455 834, www.bigbossgroove.com.au Birds Love Fighting Gangbusters/DIY shows - bookings@birdslovefighting.com Black Label Photography Kingsley 0438 351 007 Blister Bug Stu 0408 617 791 Bridge Between, The Rachel 0412 598 138, thebridgebetween.com.au Bruce Stage mgr/consultant 6254 9857 Caution Horses Nigel 0417 211 580 Chris Harland Blues Band 0418 490 640 chrisharlandbluesband@yahoo.com.au Clear Vision Films rehearsals/film clips/stunts - 0438 647 281 wcoulton.clearvisionfilms.com Cole Bennetts Photography 0415 982 662 /colebennetts@gmail.com Cris Clucas Cris 6262 5652 Crooked Dave 0421 508 467 Danny V Danny 6238 1673/0413 502 428 Dawn Theory Nathan 0402 845 132 D’Opus & Roshambo hifidelitystyles@yahoo.com DJs Madrid and Gordon 0417 433 971 DJ Latino Rogelio 0401 274 208 DJ Moises (RnB/Latin) 0402 497 835 or moises_lopez@hotmail DNA Vic 0408 477 020 Drumassault Kate 0414 236 323 Easy Mode Daz 0404 156 482, easymodeband@gmail.com Entity Chris 0412 027 894 Epic Flagon band@epicflagon.com Fighting Mongooses, The Adam 0402 055 314 Final Warning Brendan 0422 809 552 Fire on the Hill Aaron 0410 381 306/ Lachlan 0400 038 388 4dead Peter 0401 006 551 Freeloaders, The Steve 0412 653 597 Friend or Enemy 6238 0083, www.myspace.com/friendorenemy Funk Shui Dave 0407 974 476 Gareth Hailey DJ & Electronica 0414 215 885 GiLF Kelly 0410 588 747, gilf.mail@gmail.com Groovalicious Corporate/Weddings/ Private functions 0448 995 158 groovalicious@y7mail.com Guy The Sound Guy live & studio sound engineer, 0400 585 369, guy@ guythesoundguy.com HalfPast Chris 0412 115 594 Hancock Basement Tom 6257 5375, hancockbasement@hotmail.com Happy Hour Wendy 0406 375 096 Haunted Attics band@hauntedatticsmusic.com Hitherto Paul 0408 425 636

In The Flesh Scott 0410 475 703 Inside the Exterior Nathan 0401 072 650 Itchy Triggers Andrew 0401 588 884 Jacqui Seczawa 0428 428 722 JDY Clothing 0405 648 288/ www.jdyclothing.com Jenn Pacor singer/songwriter avail. for originals & covers, 0405 618 630 Jim Boots 0417 211 580 Johnny Roadkill Paulie 0408 287 672, paulie_mcmillan@live.com.au Karismakatz DJ Gosper 0411 065 189/ dj@karismakatz.com Kayo Marbilus myspace.com/kayomarbilus Kurt’s Metalworx (PA) 0417 025 792 Little Smoke Sam 0411 112 075 Los Chavos Andy 0401 572 150 los.chavos@yahoo.com.au Manilla Green Herms 0404 848 462, contactus@manillagreen.com, Mario Brujo Gordon world/latin/ reggae/percussionist and DJ. 0405 820 895 Martin Bailey Audio Engineer 0423 566 093 Words for You: writer/publicity/events Megan ph 6154 0927, megan@wordsforyou.com.au Mercury Switch Lab Studios mercuryswitch@internode.on.net Missing Zero Hadrian Brand 0424 721 907 hadrian.brand@live.com.au Moots aspwinch@grapevine.com.au Huck 0419 630 721 MuShu Jack 0414 292 567, mushu_band@hotmail.com MyOnus myonusmusic@hotmail.com/ www.myspace.com/myonus No Retreat Simon 0411 155 680 Ocean Moses Nigel 0417 211 580 OneWayFare Chris 0418 496 448 Painted Hearts, The Peter 6248 6027 Phathom Chris 0422 888 700 The Pigs The Colonel 0422 412 752 Polka Pigs Ian 6231 5974 Premier Audio Simon 0412 331 876, premier_audio@hotmail.com Rafe Morris 0416 322 763 Redletter Ben 0421 414 472 Redsun Rehearsal Studio Ralph 0404 178 996/6162 1527 Rhythm Party, The Ross 0416 010 680 Roger Bone Band Andy 0413 483 758 Rob Mac Project, The Melinda 0400 405 537 Rug, The Jol 0417 273 041 Samsara Samahdi 0431 083 776 Sansutra J-Ma 0403 476 350 Simone Penkethman (Simone & The Soothsayers, Singing Teacher) 6230 4828 Soundcity Rehearsal Studio Andrew 0401 588 884 Solid Gold Peter 0421 131 887/ solid.gold@live.com.au Super Best Friends Matt 0438 228 748 Surrender Jordan 0439 907 853 Switch 3 Mick 0410 698 479 System Addict Jamie 0418 398 556 The Morning After (covers band) Anthony 0402 500 843/ myspace.com/themorningaftercovers Tiger Bones & The Ferabul-Zers Danny feralbul@aapt.net.au Tim James Lucia 6282 3740, LUCIAMURDOCH@hotmail.com Top Shelf Colin 0408 631 514 Transmission Nowhere Emilie 0421 953 519/myspace.com/ transmissionnowhere Udo 0412 086 158 Undersided, The Baz 0408 468 041 Using Three Words Dan 0416 123 020, usingthreewords@hotmail.com Voodoo Doll Mark 0428 650 549 William Blakely Will 0414 910 014 Zero Degrees and Falling Louis 0423 918 793 Zwish 0411 022 907