BMA Mag 377 Aug 17 2011 by BMA Magazine

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CANBERRA’S PREMIER ENTERTAINMENT GUIDE #377AUG17

GOTYE Somebody that we kinda know

JOSH PYKE Nice beard!

“My head is a rollercoaster pinball bouncy castle and fireworks language factory warehouse.” Also online:

Fred Smith m Brothers Gri

THE BEDROOM PHILOsoPHER

stonefest

Hip Hop TV, KP Records & MTV Classic Present

We take no responsibility for unnecessary apostrophes in advertisements. # 3 7 7 A U G 1 7 Fax: 02 6257 4361 Mail: PO Box 713 Civic Square, ACT 2608 Publisher Scott Layne Allan Sko General Manager Allan Sko T: 6257 4360 E: advertising@bmamag.com Advertising Manager Paul Foley T: 6257 4360 E: sales@bmamag.com

Editor Julia Winterflood T: 02 6257 4456 E: editorial@bmamag.com Accounts Manager Yu Xie T: 02 6247 4816 E: accounts@bmamag.com Super Sub-Editor Zoya Patel Graphic Design Cole Bennetts Exhibitionist Editor Julia Winterflood E: editorial@bmamag.com Film Editor Melissa Wellham NEXT ISSUE 378 OUT AUG 31 EDITORIAL DEADLINE AUG 22 ADVERTISING DEADLINE AUG 25 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.

The first instalment of Women of Notes was a roaring success – some 200 people braved the cold, inclement climes of a Canberra winter Thursday night to witness some of the region’s finest female singer-songwriters. With Hannah Gillespie, Bec Taylor of Fun Machine, Julia and The Deep Sea Sirens and Simone Penkethman sublimely igniting the all-female vehicle, the second Women of Notes is set to further showcase the remarkable talent we have on offer. Circle Thursday September 8 in your calendar, where you’ll get the chance to see Beth Monzo, Alice Cottee, Jude Kohn and Paryce. It all plays out from 8pm at Transit Bar, and once again entry, for you my dears, is free.

Homebake Classic Edition Wowee… what a difference a year makes. When Homebake announced that they were skipping 2010 the nation groaned. After all, we know what a ‘year off’ in the festival world really means… It ain’t coming back again. Ever. It’s never felt so good to be wrong. Homebake is not only making a triumphant return to The Domain at Royal Botanic Gardens in Sydney on Saturday December 3, but they’re bringing a mighty-mighty line-up to boot, which features Grinderman, Pnau, Gotye, Gurrumul, Cut Copy, Ladyhawke, Drapht, The Triffids, Eskimo Joe, Architecture In Helsinki, The Church, The Vines, Illy, The Jezabels, Kimbra, CW Stoneking and many more. Tickets are now on sale through Ticketek and Oztix. homebake.com.au .

All Our Friends At Night Dance festival All Our Friends makes a triumphant return on Friday September 23 by lovingly stripping the best of Parklife and sexing up the bill

Live Evil benefit gig Hot off the heels of their successful Big 4 show at ANU Bar, Live Evil are headlining a benefit gig at The Basement on Saturday September 3. All proceeds are going to MND (motor neurone disease) NSW to provide support and information to people with all types of MND, their family and carers. Also on the bill are local doom metallers Futility who are poised to release their second album and are playing their first Canberra show for a long time, along with local up and comers Venom Eyes. $10 on the door.

Stonefest 2011 The Frontier Touring Company and UC Live! have teamed up again to present Stonefest 2011, taking place on Saturday October 29 at UC. This year’s line-up boasts the freshest and finest Aussie talent spread across three stages; a new

format introduced this year to give you more bang for your buck. Says Anna Wallace, Manager and Programming Director of UC Live!, “The program I put together for 2011 marks a return to ‘retro’ Stonefest. We’re using multiple venues on the UC grounds and boasting lots of little pockets of atmosphere and activity. I’m really proud of this line-up because it has something for everyone and will make for a massive party which is what a festival should be. I have ensured there is a really solid mix of genres, a spread of local and national talent, and a balance of household names and the freshest, boldest and most exciting up and comers.” Here’re just a few of the iconic Aussie names appearing on the Superstage: The Jebs, The Grates, The Vines and Josh Pyke. Over on the UC Refectory Stage Canberra duo The Aston Shuffle, Melbourne emcee Illy, Flight Facilities, Sampology, Diafrix and D’Opus and Roshambo along with many more stellar acts will light up the urban/dance focused stage. Thirdly, the Zierholz stage will host a sizeable swag of indie darlings currently making all the right noises in the Oz music scene. Ball Park Music, Owl Eyes, Big Scary and local faves Fun Machine will grace the stage of UC’s brand new bar. There are plenty more acts on the bill of course, so head to frontiertouring.com/stonefest for the full line-up, and find it on Facebook and Twitter for regular updates. Tix through Ticketek.

The Grates get serious at this year’s Stonefest

Women of Notes 2

further with the cream of the Canberra DJing crop. Voted runner-up for Best Event in 2010’s inthemix poll, the brand returns as All Our Friends At Night and features crossover disco-house-come-dubsteppop wonder Example, the big electro beats of America’s Wolfgang Gartner, the smashing dubstep of UK duo Nero and the glitchy house/breaks stomp of Canada’s MSTRKRFT, as well as locals Offtapia, Peking Duk and Cheese. First release tickets are on sale Monday August 22 from Moshtix and cost $69.95 + bf. Second release will cost $79.95 + bf.

YOU PISSED ME OFF!

FROM THE BOSSMAN Working in a street press office is a wonderful thing, although put it this way... You don’t exactly have to make a wide berth past a gushing waterfall supplied exclusively by virgin’s tears in the foyer to enter. In fact, replace ‘foyer’ with ‘entrance hole’ and you start to get the idea. On occasion, little things tend to pop up to remind you that you don’t exactly reside in The Ritz. The other day, the light over the Advertising Manager’s desk blew. But rather than plunging us into respectable and temporary darkness, the fluorescent light started blinking ominously. And nothing quite says CRACK DEN or SEEDY MOTEL like a blinking light. The man responsible for fixing such things was away for the week - enjoying a well-earned holiday - leaving us to contend with Ol’ Blinky, and its Crack Den associations, for the best part of a week (and it doesn’t exactly inspire a person to jump on the phone and bellow ‘Hi! Would you like to buy a full page ad?’ whilst Chuckles the Friendly Hobo squats in the corner asking to bum your last Durrie... So to speak). It’s all part of the charm and camaraderie that comes with close quarters, and this little blinking soul suddenly summoned an old memory. The BMA office of now is a veritable paradise compared to that of some five years ago. The magazine used to be run out of an office that would give a tissue box an ego, and was equipped with the same light fixtures. You know the type I’m talking about; a long luminescent strip with a bulky plastic shell that - despite having no conceivable entryway - manages to accumulate all manner of flies, moths and various other as-yet-undiscovered species. These airborne cretins, finally deciding they’ve had their fill of buzzing around, knocking amusingly into closed windows and pooing magnificently on all manner of human food, make their way inside, buzz in an incessant death rattle for anything from five minutes to six months before finally fluttering off this mortal coil, leaving a shiny shelled thorax behind.

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] You are such a fucking weak person, I met you two weeks ago, and thought hey, this guy is cool. Turns out, you’re just a complete and utter wanker. First, you spend a night out in Bangkok, go to ping pong shows and kiss 3 people in a row- hey, I don’t judge, each to their own, right? Until you go and tell me the next day that you have a girlfriend, and no, you don’t have an open relationship and NO she definitely wouldn’t like you sleeping with random people on your study trip to Thailand, so you’re not going to tell her (wtf?!). Are you seriously such a weak person? Better still, you procede to be a disgusting, seedy asshole and sleaze onto every female student on the course, only succeeding when the slutty teaching assistant lets you sweat all over her. And you’ve said 3 words since we started this group assignment. Stop wasting all your limited braincells on your ‘second brain’ and start paying some fucking attention to something that is neither slutty, available or female. It wouldn’t hurt to appreciate the fact that someone else is paying for you to be here! Fuck you.

2011 Fes tiv

launcal h Fri 19 a u 10.30a g link Fo m yer

Concurrent to this, some impossibly exuberant games of indoor cricket were held. I was the Editor at the time and I invited my then Advertising Manager Mark Russell to join in, but he was determined to actually bring in enough money to justify the printing of the next issue. So the mantel fell to Gig Guide Editor Peter Krbavac. Pete sent down a crafty in-swinger, which I smashed with great gusto high into the air. At least, it would have been high into the air, had a very low hanging ceiling not been there. Instead, it smashed into the plastic shell of the light fixture, successfully dislodging it, and sending it crashing on top of the poor unsuspecting and extremely hard working Mark. Who was part way through making an important sales call. The inconvenience of receiving a hard plastic shell to the head whilst in the midst of a revenue-generating call is bad enough; showering a graveyard of nasties upon him was the putrefied icing to the shit cake. Mark is one of the most fun-loving, easy-going people I know. But with the bodies of 137 odd flies now outlining his ample shoulders and smouldering head like fresh snow dotting The Brindabellas, he wasn’t happy. We were, though; uncontrollably howling with silent laughter lest the potential client hear us. Tears rivered down our cheeks; Mark made the sale. How we got that issue out I don’t know.

31 august -10 september

the courtyard studio

So you can keep your virgin-teared waterfalls. The BMA office may not be The Ritz but it’s home, dammit, and I wouldn’t swap it, or the wonderful people within its wacky walls, for anything. ALLAN SKO - allan@bmamag.com* * For the full version of this From the Bossman, jump on the website.

WHO: uniVibes Presents Opiuo WHAT: Fusion Thursdays WHEN: Thurs Aug 18 WHERE: The Clubhouse

Thursday August 18 sees the first instalment of uniVibes’ Fusion Thursdays, which will showcase uncategorised genres and fuse students from ANU School of Music with DJs and producers. Opiuo is the perfect kickstart: imagine a precisely blended concoction of tight irresistible grooves, bouncy beats, luscious brooding soundscapes, stomach-morphing bass and scrumptious glitch. A self confessed music addict with a light hearted approach to life and art, Opiuo incorporates sounds as varied as jazz, reggae, funk, rock, psychedelia, and down right chunky goodness. For presale tix email univibes@ gmail.com. They’re $10 for uniVibes members and $15 for others.

WHO: Purple Sneakers WHAT: Bel Air WHEN: Fri Aug 26 WHERE: Transit Bar

You think you’ve seen Transit Bar go off? Sure, you’ve witnessed the walls sweat and the dance floor pulsate when Purple Sneakers takes over, but according to them you ain’t seen nothin’ yet. (Baby you ain’t seen nothin’ yet). Their last Friday of the month DJ parties have been renamed, revamped and re-amped into the “ghetto fabulous” Bel Air, the launch of which will feature PhDJ who’ll keep the decks sizzling, Indian Summer who’ll be bringing the Melbourne love, along with local faves Eddie Shaggz, Princi and Celebrity Sex Tape. It all kicks off at 8 and entry is free.

WHO: Upstairs Beresford WHAT: Sydney’s newest venue WHEN: Now WHERE: The Beresford, Surry Hills, Syd

Upstairs Beresford is a new music venue that has been inspired by some of New York’s finest and designed to give both the performer and patron a first class experience with decadent décor, state of the art technology and a full suite of amenities backstage. It offers a first class space to perform in which was designed to enable the performer to connect with the audience while also boasting a large stage, tiered booths, a spacious dance floor and a state of the art sound and lighting system. If you’re a Canberra band on the hunt for somewhere quality to play in Sydney, contact Tony Gosden at tony@jammusic.com.au .

WHO: ANU School of Art WHAT: Art School Ball – Futures Past WHEN: Sat Sept 3 WHERE: ANU School of Art

The theme of this year’s Art School Ball is Futures Past, which will inspire the work of several visual artists including video and performance artists Riley Post and Danny Wild, video artist Travis H Heinrich, and sound and video artist Luke Penders. On the bill are locals Assassins 88 with TV colours, The Fighting league, Crash the Curb (pictured), Badlifers, Bacon Cakes, Mornings, Orbits, M.A, RKPK, DJ Dead Joke and Onetalk, along with a set by Melbourne Italo DJ Fabio Umberto. Tickets are available at presale prices ($10 student/$15 non student) or at the door for $15/$17.

WHO: khancoban WHAT: Arches Over The Sun tour WHEN: Sat Aug 27 WHERE: The Front

The second full length album for the Melbourne five-piece, Arches Over The Sun, is a grand, sprawling affair which sees the band effortlessly melding musical styles and genres to produce an album that is both richly textured and deeply moving. Produced by Nick Huggins (Mick Turner) and mastered by Casey Rice (Dirty Three), Arches Over The Sun is something of a departure from the style of khancoban’s previous alt-country and folk influenced releases. To celebrate the release of Arches Over The Sun, khancoban are touring throughout August and September, stopping by The Front on Saturday Aug 27.

WHO: Dream On, Dreamer WHAT: The Heartbound Tour WHEN: Wed Aug 24 WHERE: Tuggeranong Youth Centre

Post-hardcore kids Dream on, Dreamer have turned heads around the world with the release of their Downfall single and the announcement of a worldwide release of their album via powerhouse international labels UNFD (Australia), Rise Records (North America, UK, Europe) and Triple Vision (Japan). The band only recently returned from the US where they crafted a modern, impressive debut that will continue to see them rise to the top of the post-hardcore heap. Joining them on The Heartbound Tour are up and coming acts The Bride and Canberra’s own Hands Like Houses. Tix through Oztix and on the door.

A d

Justin Heazlewood, or THE BEDROOM PHILOSOPHER as he’s more affectionately known, cut his teeth as a columnist in this ‘ere rag, so it’s a joy to see him making such bold strides onto the stages of the Melbourne International Comedy Festival, Frankie and Mess + Noise. The man will soon return to the ol’ stomping ground of Canberra for a special solo show, so we took the chance to ask him about such trivial things as how that magnificent brain of his works, his tie collection, and whether he’s ever been in a biffo with an Aussie muso. (…He has).

Q an

people would write constructive emails to me saying what they didn’t like, rather that going straight onto an online forum to slander my name. Don’t get me wrong – I’m totally accepting of criticism, and I strongly believe that as an artist, if you release art into the world then your audience have every right to criticise and judge it. I just ask that any negative criticism is gone into some detail and backed up with evidence – not just ‘his bit about Aborigines was offensive.’ – tell me why it’s offensive. Basically I’ve hit 30 and become politically aware and angry about some things – and I’m trying to counteract the fact I’ve had virtually nothing We hear you’re working on some stuff about sex from a man’s to do with indigenous people in my life by writing some stand-up perspective. Tell us more about that. I suddenly realised that about it. My aim was to mostly make fun of white Australia, and there’s not a lot of legitimate representations of what sex is especially Gen-Y, and point out how overly politically correct we actually like to counter-act all the overblown raunch culture and are to the point where we just don’t want to talk about it for fear of commercial pop crap. Some days it feels like between Catholic upsetting someone (mainly ourselves). There comes a time when guilt and porn, sex has been so confused that my generation is polite silence isn’t polite anymore, it’s just rude. I tried really hard almost conservative about it. It seems a real challenge to display to write it in a well crafted and thoughtful way – with plenty of an overtly sexual side without it seeming dodgy or sleazy or actual jokes and twists of irony, etc. But if comedy is tragedy plus laughable – so – I’m taking inspiration from Serge Gainsbourg and time then for a lot of people the whole thing is too fresh to laugh Jarvis Cocker and trying to show that Gen-Y indie boys can have a about – I mean indigenous suffering is still going on right now! bit of fire in their belly. So for some people making jokes about it will be too much of a journey outside their comfort zones. And I respect that – but at the Writing anything – song, words – is basically the most laborious same time I’m really bored by the super-bleak stories in the media thing in the world. How do you do it? Do you put aside time, or and I vow that a comedians job is to go where just get really drunk and write as fast no man has gone before and find humour in as possible? I get drunk on emotion – my I cockpunched Ash any subject, even the deep reaches of the head is a rollercoaster pinball bouncy t bea he Grunwald when too hard basket. Even if you’re offended by it castle and fireworks language factory me at Yahtzee – if it gets you talking and adds something to warehouse. At any one time there’s an the conversation then it’s a good thing. octopus spinning eight plates and on those plates is a little railway system with eight trains of thought. Exactly how many ties do you have? Do you give them pet names? If I don’t write, then all my thoughts go stale like vegetables and One of our mates once made a bong out of a tie. Have you ever my head smells like a sharehouse fridge. It’s not often I consciously customised a tie in such a way? I haven’t counted them in a few dictate what I’m going to write – ie let’s sit down and write a song years because I haven’t been that sad. I would estimate that I have about icecreams, rather, I’ll go to bed and be thinking about my first 300,which is exactly 300 more ‘70s ties than any human will ever girlfriend in primary school and then it’s like being pregnant with an need. I’ve had ties customised into wrist bands, which are okay, idea – and you carry the idea around for a while like a mother and it in the same way that skateboards with wings were ok. I don’t like grows inside you, and then you need to give birth to it. Creativity is a to see ties turned into skirts or pants. While most of the ties now force of nature – it’s not something we can conveniently delay until disturb me from a fashion point of view, I’m still respectful of them we’re ready to deal with it – it might be one am and you’ve got to get as entities and believe they should survive intact. I’m thinking of up early the next day – but all of a sudden you’re in your pyjamas opening up a tie massage place where you get a rubdown while with a guitar busting out an improvisation that will eventually staring at all 300 ties laid out. It would be a psychedelic and become a complete song – and that’s a beautiful thing. You don’t sickening experience. If you’re lucky you’ll get a ‘hippy ending.’ mind being tired the next day, knowing that you have done your job as a carrier and vessel for this mysterious, cool ephemeral piece of Had any arguments with Aussie musos? I cockpunched Ash art that didn’t exist yesterday and suddenly it does and shall last Grunwald when he beat me at Yahtzee. I had a long, sexy argument until the end of time – or until all the hard drives disintegrate in the with Patience from The Grates about which flavour of Lindt great silicon meltdown of 2077. chocolate is best (dark almond) and it ended in a light wrestle. Wait, no, that was erotic fan fiction I read on Phrase’s blog. You’ve copped a bit of flack for your ‘Australia the high school’ BMA Presents The Bedroom Philosopher at Transit Bar on Sunday August segment in which you impersonate an Indigenous storyteller. 28, with CatBoy along for what will no doubt be a wild, crazy ride. Doors Apart from writing your brilliant psychological analysis of this open 6pm, with the man set to hit the stage at 8pm. Tix are a mere $15 + bf in LapTopping 83 and suspending certain places from your tours (Darwin, shame on you), how have you been dealing with it? from moshtix.com.au. The full transcript of this interview can be read on They’re pretty passive aggressive responses – I honestly wish the BMA website, bmamag.com .

HALE & PACE SHOW ONLY $55 – 8:30pm RESERVED THEATRE STYLE SEATING

Ticketing Office is open 10am – 6pm Monday to Friday at Vikings Erindale Phone 02 6121 2131 Email events@vikings.com.au All shows are 18+ unless otherwise stated

For the informations of Members and their invited guests

SATURDAY

24th SEPT

A Final Taste of Hale & Pace After 30 years of making the world laugh, the most successful UK comedy duo since Morcombe and Wise has decided to say farewell. The iconic characters The Two Rons, Billie and Johnny and Jed and Dave will put on their costumes and grace the Australian Stage for one last time. After a re-showing of their outrageous TV series last year on Foxtel’s Comedy Channel, Hale and Pace thought it would be great to say farewell in person and thank everyone for their loyalty over the many tours the pair has made to Australia. This year the boys will be supported by Australia’s best known Ventriloquist Darren Carr. Don’t miss this final taste of Hale and Pace.

ALL AGES Alternative/hardcore six-piece Dream on, Dreamer have risen to fame quickly since their formation in 2008 – in fact the Melbourne boys were recently made the support act on legendary US rock/metal band Avenged Sevenfold’s national tour. But that’s not all that the boys have been up to. Having recently recorded their debut studio album Dream on, Dreamer are ready to embark on their very own Homebound Tour. Canberra fans are anticipating the band’s visit to the Tuggeranong Youth Centre on Wednesday August 24. Sharing the stage with Dream on, Dreamer will be progressive hardcore band The Bride from Sydney and Canberra’s own Hands Like Houses with more local support acts still to be announced. Tickets cost $18.40 (pre-sale) from Oztix. This is worth booking ahead for. On Friday August 26 you can be part of Jive n’ Astrochem at the Woden Youth Centre. If you’re keen for a dance, this is the gig to attend. So get on your groovin’ shoes because this funky-fresh local line-up will feature Pleased to Jive You, Astrochem as well as pop/jazz act The Sodapops and Sydney’s Crouching 80’s Hidden Acronym (I know, what a name!) with their special brand of what they call “feel good hipcore”. You can also be witness to a live rap battle. On this night The Sodapops’ debut album will be on sale for the first time, and you also have a chance to purchase Please to Jive You’s album Cheesman Place at half price, so bring a pocket full of change with you. Tickets cost a miniscule $6 at the door. But remember, folks, this is a drug and alcohol free event. If for some absurd reason Jive and Astrochem isn’t your forte, there is a plan B for you on the night of Friday August 26. It is a night of choice. Alternative/rock quad Pyrene from Melbourne will make a stop in Canberra as part of The Diminutive tour, celebrating the successful release of their self-titled EP. Joining Pyrene for what they are calling an “All Ages Extravaganza” at the Tuggeranong Youth Centre will be an exciting line-up of local acts including Makeshift, No Longer I from Goulburn, stoner rock act Blacksquire and six-piece Perpetual End. Tickets cost just $10 at the door at 6pm. Now, remember, if you know of a gig don’t keep it to yourself! Whether you are in a band or are just a casual gig-goer, I’m eager to hear from you. If you let me know of an event in advance, I’ll be sure to include it. It will save a lot of confusion, and of course, the more I am made aware of, the more informative this column can be. My email is always at the bottom of this column, so use it. Whether it be a gig, a community event or just something all ages related that you feel deserves to be mentioned, just shoot through an email. I’m looking forward to hearing from you! NAOMI FROST allagescolumn@gmail.com

LOCALITY

On Friday July 1 I received a Facebook message from someone with the intriguing moniker of Shoulder Hawk: “A few of us are building a national website that aims to be a networking system for musos, venues and industry types… can we do coffee?” Natch. A few days later Shoulder Hawk (aka Jacq Rolfe) and I had a spirited conversation about Canberra’s music scene and the fact that many local artists and bands have difficulty taking the next step beyond backyard and small pub gigs, despite their undeniable talent and wide appeal. This is where THE SLOG comes in. I caught up with Jacq to find out how it’s kicking along. What is THE SLOG? THE SLOG is a developing website catering to musicians, venues, managers, festivals and other music industry types. The long term features are pretty extensive; we’re pouring a lot of time and effort into building a site that will be absolutely packed with features, but initially we will be networking these groups by providing an interactive board that promotes gigs. Once the initial part is up and running we’ll expand to promote people such as photographers, those with equipment (in case an amp blows up and you’re 500k from home), session musos and other services so that bands on the road, or at home, can get quick access to what they want and need as they want/need it; somewhat like an interactive Yellow Pages, but one that caters for all in the industry. Why did you establish it? At first it was to help musician friends get around more easily and to make sure more interstate bands would stop by Canberra on their way to other cities. From there ideas kept developing and after doing some research, it became apparent no one was doing these things despite the great need. What’s the background of people involved with THE SLOG and how has it helped gain an insight into the gaps in the industry? I’ve been ridiculously lucky with the people who’ve come on board. Collectively we have years of experience in gigging, managing, media, technical development, designing as well as a solid network of good, reputable characters who just want to serve the music and not themselves. How can people get involved? Well, like any small business, we’re always open to sponsors and donations. To get the standard of quality we’re going to provide it’s pretty pricey. But other than that we’d love people to ‘like’ the Facebook page and spread the word to their friends. We currently have homegrown, Canberra based, James Grim from Brothers Grim & The Blue Murders as our display pic. They’re our feature artist for this month, meaning that most of our promoting and support is focused on them for all of August. They’re playing at Transit on Thursday August 25 with The Toot Toot Toots, which will be awesome, you should definitely go. How’s that for a promo example? Aside from that we have a Twitter account @ the_slog and a Reverb Nation profile at reverbnation.com/theslog . JULIA WINTERFLOOD julia@bmamag.com

Canberra’s best pub & original live music venue.

August Gig Guide Why wait for your bus and taxi in the cold when you could miss them repeatedly in the warmth of the phoenix

wed 17 august Bad!Slam!No!Biscuit! Poetry Night With performances from special guests from around Australia! thurs 18 august Justin Grounds Karoshi

sun 28 july METAL NIGHT Red Siren Tortured +Guests!

Fighting League sun 21 august Batrider mon 22 august -

mon 29 august -

CIT presents Bootleg Sessions My Own True Love The Trilogy Project Paryce

thurs 25 august Sister Jack sat 27 august RJ Chops Army of Ignorance

sat 20 august Priory Dolls

Ivory Cocoa

tues 23 august Trivia Night something different every tuesday night from 7.30pm!

3 Dykes & a Mic presents Bootleg Sessions Jude Kohn Rachel Oak Butler Beth Monzo

BRINGING YOU THE SHOCK OF THE NEW, RAW, TALENTED & CUTTING EDGE SINCE 1993. OPEN EVERY DAY OF THE WEEK FROM LUNCH TO LATE. GUINNESS & CIDER ON TAP... COCKTAILS A BIT OF AN ASK. REDOLENT OF THINGS PAST...

MOST GIGS & EVENTS FREE ENTRY 23 East Row, Civic | Bus Interchange | Tel: 6162 1581

www.LoveThePhoenix.com

DANCE THE DROP

Dear RnB music, I’m so sorry to hear about your break up with hiphop. Your shared passion for chunky block party drum loops and catchy brass samples seemed like it would keep you in rhythmic matrimony forever, but unfortunately somewhere along the line I guess you just outgrew each other like an ill-fated high profile celebrity couple. As you wandered aimlessly through early morning music television on a forlorn quest for a suitably advantageous benefactor, you locked eyes with dance music and suddenly the commercial world as we know it was turned upside down. For the love of god, RnB (Beyonce, Jason Derulo and Chris Brown, I’m looking at you), please promise us that this is just a fling, for your tongue in cheek audio assault sees you riding the coattails of a popular genre all the way to the Bentley dealership.

Lucky for all of the self-respecting dance music spinners out there, there are a lot of amazing promoters who are willing to buck the trend of the commercial crossover and deliver some quality events for the genuine genre purist. One of the most respected local underground promotional teams is LollyGag & Effigy, who after a short winter hibernation are back with an absolute corker on Saturday August 27. The lads have facilitated the return of Scottish techno wizard Alex Smoke, who returns to Transit Bar for a mindblowing assault on your eardrums. And if his last two performances in the ACT are anything to go by, this is one intimate show that you don’t want to miss! Every few years a crisp bunch of local talent rise up through the scene to become our new clubbing elite, and Saturday nights at Academy seem to be the ultimate breeding ground for the contemporary kings of Canberra. Next up on Saturday August 20 are dapper duo Dept. Of Defiance, who are amping up to rock the main room with their orgasmic blend of party mash-up and big room sounds, followed by the sleeveless wunderkind Jared de Veer on Saturday August 27, dropping a fresh set of electronic weapons sure to get your clean sneakers shrieking. The new music just keeps coming on strong in August with a bunch of delectable dance music releases firing off to end the month in style. Swedish superstar Avicii delivers another atomic peak time monster with Levels, Bombs Away keep the quality remixes rolling in with a bouncy redux of the Stanton Warriors Turn Me Up Some, Laidback Luke returns with his huge festival bomb Natural Disaster, Dave Spoon reminds us why he is the king of the dark with 7.20 and Inpetto returns fire with a long awaited solo record in Hit Back. Support quality music, support quality DJs and keep the scene alive! TIM GALVIN tim.galvin@live.com.au

facebook.com/ trinitybarcanberra

SMOKE AND MIRRORS

CAN SHE DJ? YES SHE CAN

Tim Galvin

Clare Butterfield

If you are one of the rare breed of musical aficionados who are just as content sprawling about on a bear skin rug, clenching the stem of your evening Bordeaux and absorbing a crackling concerto from your antique gramophone as you are twirling glow sticks around a sweaty box-like room full of strangers, then dance music composer ALEX SMOKE will need no introduction.

Think the DJ profession is a strictly male one? Think again. EMI’s SheCanDJ competition is highlighting the best female DJs across Australia and New Zealand. Ten finalists have been picked, with the winner scoring the offer of a recording contract, an album release, a mix compilation release, production classes and a networking trip to Ibiza. In the running for all of this is Melbourne-based RACHEL ANDREWS. Andrews got her start right here in Canberra after pestering a local DJ to show her the ropes. “He eventually gave in and showed me the basics of beat mixing,” says Andrews, reminiscing, “I picked it up really quickly and went from there!” You have to

The Scotsman has built up a reputation as one of the most ambitious artisans in the industry, well known for exploiting his classical background to meld modern day techno with emotive dancefloor symphonies. Smoke’s latest album Lux was a genre defying masterpiece of plenary unification, warm strings embracing dark beats, sharp synths cascading through soft snares, a complex ing pos Com nearly two hours mix of future sounds comprised of many late nights in the studio. of music for a

string quintet is a lot of work, but it’s where I see my future really

“It was a bit of an experiment in some ways as I wanted to try out a lot of new techniques and ideas, so there was a lot of technical learning going on at the time,” says Smoke. “It took so long to come out though, that by the time it was released I was already two projects ahead and the album felt a bit old to me. I’m still happy with it and that’s ultimately what’s important to me once I’ve got a bit of distance from a project.” One of the new projects that Smoke is referring to is a leftfield film score for caliginous fairy tale Faust, an appropriate mantle for his famously murky electronica. “It was the culmination of over a year’s work and it was a very personal project, so having the premiere go well was very satisfying,” he says. “The main problem is working out how to get it around for people to see as it’s not a straightforward process. I’m now working it into an album so I can get the music out there without having to show the film too. The actual writing of it was massively enjoyable for me as it was a proper challenge. Composing nearly two hours of music for a string quintet is a lot of work, but it’s where I see my future really.” The Scotsman will be showcasing a hard-drive full of new exclusive material from his upcoming album when he returns to Australia this month for a series of up front live shows, which if past performances are anything to go by, always include a few welcome surprises. “Obviously things are grouped together so that I can roughly recreate existing tracks, but the best moments are invariably when things just go their own way on the spur of the moment,” he says. “The last trip was obviously dominated by the collapsed lung (which has) slowed me down a bit so I’ll probably not be too mental. But I’ll not be sitting in the corner with a sad face and a glass of orange juice either.” Effigy presents Alex Smoke at Transit on Saturday August 27. Doors open at 8pm, and tickets are $14.70 through Moshtix.

prove yourself before you can earn respect, and I did that

The idea of sharing her passion for house and dance music with people in clubs, and being able to make the night an amazing one for the crowds is what drew her to being a DJ. “I love the connection you can make with the crowd through the music you play,” Andrews says. “It got me hooked and I love every gig that I do.” Initially it was hard trying to break through in a male-dominated profession. “When I first started there was often the perception that you were getting gigs because of how you looked, not because you had any talent,” says Andrews. “Other times you wouldn’t get the gigs at all on the assumption that you didn’t know what you were doing.” The key to getting the gigs according to Andrews, was earning respect. “You have to prove yourself before you can earn respect, and I did that. Those that gave me a shot didn’t regret it, because they kept bringing me back.” Andrews gets inspiration from local and international DJs including Shapeshifters (UK), Martin Solveig (France), Dirty South (Aus) and Sarah Main (Aus/Spain). She is deeply attuned to the mixing of others – even when she’s on a night out herself. “I’m terrible actually! I can be deep in conversation with someone and stop mid-sentence to comment on the mixing. Most places I go, the DJs are excellent so I’m now listening to hear the different ways they mix and what songs they put together for inspiration for my own sets.” Starting her career in Canberra was fantastic says Andrews. “The best thing about DJing in Canberra is the long sets. I used to play sixhour sets, taking a room from open to close – which is a skill most DJs don’t learn these days. The longer sets teach you to read a room, how to build a night and how to maintain a dancefloor.” And what types of songs are best to maintain a dancefloor? Andrews says there are three key ingredients that make a great club song. “A really catchy hook, a solid bass line and a driving kick. It has to have some guts to it to really get your heart pumping.” Rachel Andrews is one of the Top 10 finalists of the ShecanDJ competition. The winner will be announced in September, but in the meantime, keep up with the comp at shecandj.com. You can also catch Rachel at Trinity on Saturday August 20.

E X H I B I T I O N I S T The show is “a conversation with an audience” says barnett. It seeks to show “similarities and disparities” between the performers’ experience and those of the audience. While questions of home and belonging – particularly when it comes to migration and refugees – are hotly debated by pundits and extremists on left and right, barnett says that the show has not been devised as a soapbox. Instead, each performer offers insight of a personal, individual nature, opening up the possibility for intimacy and connection with the audience. “Sometimes in a sea of faceless migrants the individual stories are lost,” says barnett. Destination Home seeks to place the individual experience at the heart of the show’s conversation about home and belonging.

HOMEWARD BOUND NAOMI MILTHORPE What is home? Is it a place, or a state of mind? Do you find a home, or do you make it? And what if you leave your home – can you find another? These are questions posed, but not necessarily answered, by the artists behind DESTINATION HOME, a performance-byconversation coming to the Street Theatre from August 23 to 28. Destination Home is the work of four performers known as the Threads Collective: Camilla Blunden, Liliana Bogatko, Raoul Craemer, and Noonee Doronila. Each is in their own way a migrant, yet each calls Canberra home. Blunden is originally from Cornwall, while Craemer grew up in Germany and India and lived in England before migrating to Australia. Bogatko and Doronila both fled their home countries, Poland and the Philippines, making their way to Australia as refugees. From verbatim conversations originally held two years back, Threads have devised a show that seeks to make a personal connection between the performers and the audience on issues of home, memory, and cultural difference. Through three distinct sections – revolving around first impressions, search for identity, and finding home – the performers meditate upon their own experience while connecting with the experiences of the audience. Everyone’s idea of home is different – and it’s through its focus on conversation, on connection, and on dialogue with its audience that Destination Home aims to show just how individual and personal home is. It’s the diversity of these stories that makes the show, says director barb barnett: “while all four are migrants, it’s not the be-all and end-all of their existence.” The show could not be more timely, following closely as it does the announcement of the 2011 Multicultural Policy. Destination Home offers the experiences and insight of four ‘new’ Australians on what it means to live in Australia and to be ‘Australian’. These are insights born of conversations between each one, and shaped over the course of two years as part of The Street Theatre’s Hive program, with dramaturgy from Peter Matheson and barnett’s directorial eye lending a shaping hand.

But how performative can a conversation be? And how conversational can a performance be? These are central concerns within the show, says barnett, who has sought to create an experiential totality for the audience, dismantling the traditional divide between audience and performer. Before the show the audience and actors mingle in the foyer, before being separated and guided in groups by a performer whose entry into The Street Two space is influenced by their character and experiences: some will be let in immediately, while some will have to wait. Some will get in through the outside doors, while some will be left stranded by their performer. Audience and actor will likewise share a sensory experience in the space, which is being transformed by designer Gillian Schwab. Schwab and barnett have worked together several times now, looking for ways to transform the performance space from the usual black box into a new environment. Their collaboration on 2008’s oceans all boiled into sky showed just what could be done in Street Two’s intimate studio space – for that show, the duo turned the space into a lounge-den-radio-listening-party, with cushions and sofas crowding around a post-apocalyptic radio-play set. For Destination Home – a show far removed from such baroque stylistics – Schwab has “Christo-wrapped” Street Two, says barnett, creating an installation that mimics the inside of a packing case, built of recycled card, paper, and old travel materials. The idea is one that echoes the provisional nature of recent migrant experience, Schwab suggests: “using what you’ve got […], cobbling together your environment.” Not just the stage but the walls, windows, and doors of Street Two will be covered, creating the impression of being packed inside, stashed with the actors’ memories alongside trinkets and mementos. There are also hints of transition, with lounges that call up ideas of airports and bus stations. “It’s half packing box, half arrivals-departure lounge,” says Schwab, who has conceived the set as a remaking of the idea of home that is both literal and figurative. Similarly, “intricate, suggestive” sound design by ex-Canberran Nick McCorriston supports and interweaves with the performers’ stories, foreshadowing and accentuating the experience of arriving in a foreign place and remembering a lost home. In this way Destination Home isn’t simply a play about migration, or a didactic issues-based performance, though it deals with those issues. Instead, its focus is “the stories, and the humanness” of the experience of home. It’s a conversation, which allows “spaces for exchange” about what it means to live in and belong to a community. Destination Home will perform at Street Two, The Street Theatre, from Tuesday-Sunday August 23-28. For information and bookings call 6247 1223 or head to thestreet.org.au .

in 1977. Although Williams is a figure whose work is synonymous with the arid Australian landscape, exhibition Curator Deborah Hart hopes that the retrospective will highlight “the diversity of his approach to painting”. The spectrum of the exhibition includes depictions of waterfalls and creeks as well as a number of portraits of friends and family; subjects not normally associated with the artist’s repertoire.

LUMINOUS LANDSCAPES Grace Carroll The untamed expanses of the Australian landscape have long inspired artists. A new exhibition at the National Gallery of Australia celebrates the work of one the finest landscape painters our country has produced – Fred Williams. In the first major retrospective of the abstract artist’s work in 25 years, the exhibition FRED WILLIAMS: INFINITE HORIZONS presents more than 100 of his finest paintings to a new generation of Australians. The retrospective highlights Williams’ unique aesthetic vision. This vision has been celebrated since Williams first gained national attention in the early ‘60s for his radical abstract landscapes that captured Williams’ wonder of his homeland. Interest in Williams’ art soon spread offshore, with the artist becoming the first Australian to have a solo exhibition at New York’s Museum of Modern Art

The stunning exhibition was born from Hart’s desire to celebrate the legacy of one of Australia’s finest artists. Infinite Horizons is the culmination of what the curator describes as “a long journey” that began some three years ago. Aided by the artist’s widow, Lyn Williams, Hart has selected key paintings from the large body of work Williams’ produced before his sudden death in 1982 (at the age of 55), to present a comprehensive and diverse view of his art. Although Williams is also acclaimed for his skill as a printmaker, the exhibition is limited to his oil paintings and gouaches. Hart considers this emphasis enables “an opportunity to focus on Williams’ paintings”, with the exhibition including a number of works that have never been seen before. Infinite Horizons highlights Williams’ role as an artist who changed the way the Australian landscape is viewed. Although aware of the rich tradition of Australian landscape painting, Williams’ was determined to present an original vision of Australia. He did this by adopting multiple viewpoints and employing abstract painterly techniques to emphasise his personal response to his subject matter. Infinite Horizons unquestionably affirms the success of the artist, who, as National Gallery of Australia Director Ron Radford remarks, “revitalised the venerable Australian landscape tradition.” Fred Williams: Infinite Horizons is showing at the NGA from August 12 November 6. Check out nga.gov.au for more information.

IN REVIEW

Silent Sound, 2009, made up of white fiberglass body parts that melt into the white walls of the gallery suggests that the absence of identity goes a way to understanding it. The work by Alwar Balasubramaniam has been described as being between the thresholds of two worlds, a feeling not uncommon to most people.

Beyond the Self: Contemporary Portraiture from Asia August 13 – November 6 2011 The National Portrait Gallery Beyond the Self: Contemporary Portraiture from Asia embraces the fact that confusion, conformity and confidence are transnational experiences. NPG Director Louise Doyle has congratulated the efforts of curator Christine Clark who has brought together artists from across South East Asia for the first time as a collective. Atul Bhalla’s photography distills identity as a reflection of how we care for others. In Submerged again, 2005, he thumbs the idea of water as a commodity, as wasted or polluted. Consumption and environment seem to be a hot topic in the first room. A tangle of pipes used to provide heat climb the wall to form S Teddy D’s self portrait, the medium is a metaphor for the distribution of resources and ultimately, power. Chinese-Indonesian artist FX Harsono literally tears himself apart, in the print Open your mouth, 2002. The image shows the artist’s face excluding his eye cavities, nostrils and mouth. Combined with an image of a lotus the work’s angst is balanced as the flower represents the osmosis of life, death and regeneration. Alwin Reamilo, an artist from the Philippines explores the dangers of building a national identity in Reliquary by Arnulfo Tikb-ang, 2011. The artist uses the image of José Rizal as well as a larger than life matchbox to show how the leader sparked a revolution of thought and action, while at the same time inspiring a cult of personality. Nationalism undoubtedly changes a population; the building of a national identity demands we forgo a little of our own.

A major mural of Rivera proportions by Augus Suwage from Indonesia tackles similar themes of disenfranchisement that the Mexican heavyweight addressed. Man of the year #4, 2011 is ornamented with skulls and imagery of decay, yet the central face is grinning maniacally. This is intended to highlight the lack of sincerity in the burgeoning contemporary art world, which can view creativity as disposable. Mrs. Sujatha Singh, the High Commissioner of India opened the show saying she was moved by the ability of the works to demonstrate how the body can be considered ephemeral once we come to see the soul as permanent. The individuality of South East Asia is strong in the exhibition. Many of the exhibitors use the past to make sense of themselves in the present because, as Rizal famously said, “why independence, if the slaves of today will be the tyrants of tomorrow?” Chloe Mandryk

SEASON 2011 —‘The dancers are powerful, the music is complex and evocative…’ the AUStRALIAN

((Tickets from $25 - $53))

was too young to fully comprehend what it meant. It’s one thing to say ‘yes I am an Aboriginal’, but it’s another to feel it from the inside out, rather than the outside in. And that’s something that comes with time, acceptance and maturity.”

HOME AND HERITAGE Ben Hermann Bangarra Dance Theatre has never shied away from confronting difficult questions and issues faced by Aboriginal people in Australia in the current era. The company’s latest production, BELONG,is no different, exhibiting two new works from Stephen Page and Elma Kris that seek to address the place of Aboriginal people in Australian society, and in particular what it means to be Aboriginal in the 21st century. Canberra local Daniel Riley, who made his choreographic debut for Bangarra with his work Riley from last year’s acclaimed of earth & sky has returned to perform in Belong. He explains his personal experience with retracing his bloodline and connecting with his traditional culture, the issues that Stephen Page draws out in his work ID. “One of the main reasons I wanted to join Bangarra was to connect with my heritage and learn about my culture,” he says. “I knew I had Aboriginal blood and heritage when I was younger, but I

In a similar vein, Torres Strait Islander Elma Kris, in his work About explores the stories, customs and sense of identity that are passed down through families and generations. It’s these stories and customs, Riley explains, that go a long way to explaining what it means to be Aboriginal in the 21st century. “Personally, I think it’s a sense of belonging, and connection to something much larger than yourself. I enjoy being a medium to pass on the old stories to the audience and I feel responsibility in making sure the culture and stories aren’t lost in this modern, 21st century high-tech world.” Amongst his extensive international touring with both Bangarra Dance Theatre and the Australian Ballet, Riley remembers in particular a visit to Ottawa, Canada, in 2008, where he held a workshop for local indigenous kids. “They absolutely blew me away with their passion for their culture. It was great to see them be so involved in traditional practices from their country,” he says. It’s this sense of awareness, pride, and honour, that Riley also sees as being the most important message that Belong conveys, and crucial to the building and continuation of Aboriginal history, culture and understanding in Australia. “Belong portrays that as Indigenous people, we are proud of our heritage, no matter how dark or fair our skin colour, no matter where we grew up. It’s about who you decide to be and what you decide to connect to and how you do it, not what other people label you as.” Belong will play at the Canberra Theatre on Friday September 2 and Saturday September 3. Tickets are from $39, from The Canberra Theatre Centre.

and based on what has played before, a new sequence begins,” Hanna Cormick explains. It’s an exploration, and in some cases, speculation, but it’s not about science education. Despite a shared interest, none of the performers are scientists. And unlike other tech-based hybrid performances, it’s not about technology itself. The group uses technology as a way to explore concepts, and build a lot of their own equipment to do so.

THE FUTURE PAST IS NOW Emma Gibson Imagine yourself in the future, entering a long abandoned museum exhibition about humanity’s past (and our near future). It’s an interactive exhibit, allowing you to explore parallel, potential realities. That’s the premise of the new work by Last Man to Die, best described as a hybrid arts collective, made up of actress Hanna Cormick, visual artist Benjamin Forster and musician/percussionist Charles Martin. Together with writer Peter Butz, they’ve created LAST MAN TO DIE: INSTALLED , a non-linear installation performance. If it all sounds a bit confusing, that’s okay. Last Man to Die sets out to ask the big questions in life and you’ll be thinking about it long afterwards. If it helps, think of it as a ‘Choose your own adventure’ book, where you as an audience member play an interactive role. “It’s genuinely audience controlled – there is no behind the scenes magic. When an audience member scans a ticket, the coding is read,

“Technology isn’t inherently good or bad – it’s what we do with it. And that’s what we see in the scenes as they play out,” Cormick says. The name comes from the idea that, in the scarily not-too-distant future, humans will have harnessed technology to slow down the ageing process and unlock the potential for human immortality. What then are the implications for society? Think about the last person to die a natural death – when those around them have benefited from technology. What would it be like to die, knowing that after you, death is... well, dead? This performance may be the last opportunity for the team to perform together in the same city. Forster has been studying in Perth, Martin in Sweden and Cormick will soon be moving to Paris, but thanks to technology, the project is at no risk of dying anytime soon. “It’s good that the work is so technologically based because the distance doesn’t become an issue; we can still communicate and perform together,” Cormick says. Later this year the show will tour to This Is Not Art in Newcastle without her, instead, using recordings of her performance to simulate what would happen if she was there. “So I’ll still have a direct imprint on the work even though I won’t be physically there.” Last Man to Die will be showing on Monday August 22 and Tuesday August 23 at the Street Theatre, as part of National Science Week. Tickets are free, but bookings are encouraged, and can be made through thestreet.org.au .

ARTISTPROFILE: Lucienne Rickard

What do you do? I make obsessively detailed drawings of soldiers, birds and plants. When did you get into it? I started focusing on drawing around three years ago. Prior to that I’d made very large minimal sculptures, but felt I needed to reinvent myself as an artist. Who or what influences you as an artist? I’m very influenced by writers. My current work draws on Hemingway, Cormack McCarthy and David Malouf. I also draw a lot of inspiration from my students – I teach at a high school and the School of Art in Hobart. What’s your biggest achievement/proudest moment so far? In 2005 I was awarded the Rosamond McCulloch residency at the Cite des Arts Internationale, Paris, by the University of Tasmania. I lived in Paris for six months and it was a really formative time for me as an artist. What are your plans for the future? I’d like to make increasingly elaborate and ornate drawings, and am planning to focus on the eccentric flora and fauna and dark underbelly of my surroundings in Tasmania. I’d also like to try my hand at illustrating stories. What makes you laugh? Steve Coogan, particularly as Tony Wilson in the excellent film about the Manchester music scene 24 Hour Party People. What pisses you off? Blunt pencils. What’s your opinion of the local scene? It’s only my second showing in Canberra, but so far I’ve really enjoyed the passion evident in local exhibition go-ers. What are your upcoming exhibitions? My solo show with Beaver Galleries All the Bright Company of Heaven (Thursday August 25 – Tuesday September 13), and an exhibition at the University of Tasmania Gallery in October titled Unnatural. Contact info: My website, www.luciennerickard.com, or I can be contacted through Beaver Galleries, Canberra – www. beavergalleries.com.au .

UNINHIBITED Earlier in the month I had a meeting with Canberra arts dynamo (and former scribe of this very column) Yolande Norris, to discuss some ideas for You Are Here 2012. It’s early days and nothing is confirmed, but initial rounds of ‘scoping’ are throwing up a collection of properly exciting ideas. You Are Here 2011 was thrilling. That I could wander into Civic at lunchtime and be able to see an instalment of Austin Buckett’s magnificent lunchtime concert series, or visit a pop-up gallery exhibition in an old shopfront, or watch George Rose take over a wall and claim a bit of urban space for art instead of promotional signage filled the cockles joyfully. You Are Here came together fast. Norris, alongside the mercurial David Finnigan and the rocksteady Anthony Arblaster, built a ten day celebration of activity and ‘doing’ in a super short time. Which meant that the festival had some frayed edges. And for mine, this was for the better. It wasn’t slick. It wasn’t anything close to corporate. Not all events worked. And yet, the sense of exploration and chaos served the wider festival brilliantly. It gave You Are Here an organic energy. To head into Civic (which predominantly houses places where we shop and spend) and see visual or performing arts at all hours of the day was a joy. It accidently defined what the city needs to be, in its heart. Indeed, for those outsiders who suggest Canberra lacks one, here was the answer. We’re not born to shop. We’re better at congregating, mixing, feeding off each other and building communities. Sorry to get a little metatossical, but this is the stuff that builds meaning and brings lasting pleasure. You Are Here, by luck or design or a combo of both, articulated what a city should do – it should house creative talent and give them space to show it, and it should give its citizens an option to meet in the heart of the place and observe, have a dance or a sing or a laugh. The success of the ice-skating in Civic over winter is part of the same deal. It inspires a sense of ownership in one’s city. Civic pride if you will. As You Are Here raged and roared, the Enlighten festival also happened. Apparently. I wouldn’t know, as I, like most of Canberra if we have a look at the statistics, missed it. Perhaps that was because the line-up, especially of musical artists, was a) odd, and b) said nothing about our place. I’ve nothing against Chris Isaak or Frankie Valli or even the current Frankenstinian incarnation of INXS. If you’re into it, well and good. But what do these artists say about Canberra as we turn 100? How do they contribute to a sense of civic pride? You Are Here was a local festival of the finest kind – an event that celebrated the vast range of creative talent in this place and took it to the street. For that week the city felt different. Here’s to 2012, and here’s hoping that some folk in high places take note. GLEN MARTIN glenpetermartin@gmail.com

bit PARTS WHO: National Library of Australia WHAT: In Every Home: The Australian Women’s Weekly 1933-1982 WHEN: Now until Aug 2012 WHERE: National Library of Australia Have you lost your recipe for rabbit casserole or need to know what to do with butter extender? The NLA has the answer to these questions and so much more. In Every Home: The Australian Women’s Weekly 1933-1982 display recently opened at the NLA to celebrate the digitisation of the first 50 years of the magazine. There is little TAWW didn’t cover in its first 50 years; from its first issue on June 8 1933, the magazine told Australia’s story as only it could. Along with features about how to make a festive rooster – you needed a large banana and walnuts for its beak – it challenged the traditional role of women, including a series on careers for women, a campaign for divorce law reform and a push for more women in politics. Then there were the even bigger issues: whether tertiary-educated women scared off prospective husbands, as Kathleen Pitt put it in July 1933, “because the average young man is alarmed when he learns he is dancing with a university student”. Ha!

WHO: ABC 666 WHAT: Now Hear This WHEN: Apply now WHERE: abc.net.au/canberra Do you have a story? A story you tell at the dinner table, at barbecues and parties? A story you know people will laugh, cry and be spellbound at? Or do you know someone who spins a good yarn? Now Hear This is a night of people telling just those kinds of stories; storytellers from around the region come together and tell their true tales to a packed audience at The Street Theatre. There has already been two great Now Hear This events this year. Each night has a theme; so far they’ve covered ‘I learned the hard way’ and ‘Love is a four letter word’. Register your interest to tell your story and catch some of the stories ABC 666 has recorded online at abc.net. au/canberra . WHO: CCAS Members WHAT: CCAS Members Show XXX WHEN: Opening Thurs Aug 18, 6pm. ‘Til Sun Aug 28 WHERE: CCAS Manuka This year is set to be bigger than ever with the theme of XXX. CCAS Manuka will be filled with everything from the wacky to the licentious to the downright raunchy, created by a great mix of established and emerging artists. With first prize being a juicy $500 there is sure to be some tough competition to win the title of the XXXiest work. This year’s judge is Canberra’s own Erica Seccombe, artist and Chair of Megalo Print Workshop. Not only is the show a fantastic opportunity to support CCAS and see some great new art, but also to purchase it, as all works will be available for the very reasonable price of $100. WHO: Stranger than Fiction WHAT: New Canberra based women’s fashion label WHEN: Launching new collection Fri Aug 19 WHERE: itrip iskip, Lonsdale Street

WHO: Canberra Playback Theatre WHAT: Invitation to join WHEN: Now WHERE: The Playing Field Studio (in the demountable building next to The Street Theatre) Canberra Playback Theatre is currently looking for new members and will open rehearsals in August and September to people who are interested in learning about playback and possibly joining the company. Canberra Playback is keen to get new people in the company who have a variety of skills, life experience and interests. Experience in theatre is not necessary and people with backgrounds in health and the community sector are encouraged to come along. The cost of the training is $50 to assist with hall hire costs and 80% attendance throughout the term is required if you are interested in becoming a member of the company. For more information or to register your interest contact Leigh on 0413 556 328 or letswatch@ canberraplayback. canberraplayback.org .

Canberra based women’s fashion label Stranger than Fiction (formerly known as Grazed Youth) invites you to the launch of their latest collection. The label has a new name and a new look and would love to celebrate with you. The launch will be held at the gorgeous retail premises of itrip iskip and will include a fashion parade, accessories and jewellery for sale, as well as yummy baked goods and wine. The label’s new collection is called Bundle of Nerves. Inspired by Hitchcock style movie heroines and scientific and mathematical images from their childhood, the Stranger than Fiction team have collaborated once again with Sydney based digital artist Anna Madeleine to create a collection of unique, quirky and unexpected garments. strangerthanfictionclothing.com . WHO: artsACT WHAT: Youth Start-Up Grants WHEN: Now WHERE: arts.act.gov.au The second round of Start-Up Grants, the ACT Government’s new grants program for young artists, is now open. The first round, announced earlier this year, supported 15 young ACT-based artists across a variety of projects including a dance film, a debut album and glass exhibition. Start-Up grants are designed to be responsive to the needs of young emerging artists and encourage young people to engage with the ACT Arts Fund. Canberra artists aged 18 to 25 who haven’t previously received funding from artsACT are eligible to apply. For more information visit the artsACT website at arts.act. gov.au .

gotye

Josh Brown Were he not already an extraordinarily talented musician, I’m confident there’d be a career waiting for Wally De Backer in the circus. The man otherwise known as GOTYE has displayed the traits of a seasoned all-round circus performer. With a penchant for juggling two different musical acts and recently proving he looks damn good covered head to toe in body paint, de Backer wouldn’t look out of place at a Cirque du Soleil show. Since the last time we spoke, which was way back in 2007 to discuss his breakout masterpiece Like Drawing Blood, the Victorian-based independent artist has gone on to win an ARIA Award, garner the #11 spot in triple j’s countdown of the Hottest 100 Australian Albums of All Time and, most recently, pack out a stage at Splendour in the Grass. He also somehow finds time to write and tour with his other, less well known ‘60s rock-inspired band The Basics. How on earth does he manage to squeeze talking with journalists into his busy schedule? He multi-tasks, of course. “I’m actually still at the post office,” admits De Backer, between issuing instructions to an unwitting Australia Post employee. “I’m just trying to express post proofs to the UK to get my vinyl finished on time.” The vinyl he’s referring to contains the long-awaited third Gotye album Making Mirrors, something a sizeable portion of his ever-growing fan-base has been waiting on with bated breath for the last five years. There’s the parts you’re probably already familiar with; the Winton Musical Fence-sampling dystopian lamentations of Eyes Wide Open and the beautiful new break-up single Somebody That I Used To Know, which is currently going gangbusters on radio and online (Ashton Kutcher and Lily Allen tweeted about it). But there’s also a slew of yet to be discovered gems, including upbeat and infectiously catchy soul song I Feel Better and State of The Art, a vocally warped love letter to an antique organ.

I’m like ‘dude, don’t worry, I’m fine. It’s alright, I’ve been nude in front of people before, not that often, but it’s okay’

De Backer appears to have struck a universal nerve with Somebody That I Used To Know, which sees him share vocal duties with up and coming Kiwi singer Kimbra. “It seemed to go down really well with the audience,” he says of the reception the song received at Splendour a few weeks back. “My sound guy clocked them at 115 dBA which is like ten decibels shy of a jumbo jet flying ten metres overhead.” Talk about an enthusiastic response! One of the reasons the song has soared in popularity is the stunning (and quite revealing) video that accompanies it. With a reputation for producing primarily animated clips, it comes

as somewhat a surprise when the camera pans up on what is eventually revealed to be De Backer’s bare thigh. Over the course of the video both he and Kimbra are painstakingly painted from head to foot in a kaleidoscope of colours, a feat that took two very long days of filming to achieve. “There was a bit of deep pain there,” he reveals. “I’ve got a little bit of a bad back so that doesn’t help standing straight for six hours trying not to move. I had moments where I was like ‘okay, this is such a simple thing but man, I’m ready to scream’. But on reflection it was definitely worth it; it proved to be a great clip and it wasn’t so tough in the end. I’d do it again,” he laughs. What of the fact that he had to stand almost naked in front of a group of people for prolonged periods – surely that must have been a confronting experience? “It felt more awkward for a few people around actually. I cut part of my underpants to gaffa tape them around the part of my leg that’s used in the first shot. Generally over the course of doing those shots the gaffa tape and my underpants would always be flapping open and I was just like ‘oh it’s not even worth bothering. I’m not embarrassed, you know. There’s nothing here we haven’t seen before.’ But the cinematographer would come up and give me some more tape and was like ‘you just take the time you need to be comfortable’ and I’m like ‘dude, don’t worry, I’m fine. It’s alright, I’ve been nude in front of people before, not that often, but it’s okay’,” he giggles. Try as he might, De Backer’s secondary musical project The Basics have yet to rival the success of his solo work. His steadfast commitment to long-term bandmates Tim Heath and Kris Schroeder is admirable, but likely one of the main causes of the lengthy delay between Gotye albums. But, to his defence, de Backer chips in that Gotye wasn’t completely forgotten in the interim. “I only got a chance to find a way to release Like Drawing Blood in Europe and Japan two years after it came out in Australia,” he explains. “On some level I felt like I was actually still busy with it and was doing active things for Gotye even though in Australia it would have been like I was off the scene and completely absent.” De Backer is set to make up for any perceived absence from the Australian music scene over the coming months, as he heads out on tour to delight the nation with new material. So far he’s managed to sell out multiple shows in Sydney, Melbourne and Brisbane; an impressive feat. Before we part ways I chide him into pledging that next time it won’t be as long between drinks for Gotye. “I would hope that even if this record goes crazy which, based on how things are going, it seems like it might have the chance to do, that it wouldn’t be five years before I put out another Gotye record,” he laughs. Everyone at these upcoming sold out shows is going to hold you to that, Wally. No pressure. You can see Gotye live at Foreshore Summer Music Festival, held in the Parliamentary Triangle on Saturday November 26. Third release tickets are available through Moshtix for $119.95 + bf.

No one likes a puzzle too easy to solve

SPARROW SONGS Sinead O’Connell “If the only path is the path with heart then I lucked into a good head start.” JOSH PYKE certainly did. These lyrics from Good Head Start on his new album Only Sparrows, which comes out Friday August 19, are a poignant reminder of how accurate Pyke’s musical intuition truly is. The album name is paraphrased from Clovis’ Sons, a haunting melody in itself. This perspective check becomes a recurring theme throughout Only Sparrows, reflecting Josh’s renewed enthusiasm in songwriting and life in general. His lyrical genius is inspired, creative and honest, drawing charisma from all corners of the arts.

for a few weeks, tying together the last strings of his streams of consciousness. The pace of the album is slightly slower, rendering it all the more poetic. His soulful lyricism and melancholy voice (all the more familiar with the echo of his accent) evoke a definitive shift from his previous records. Although somewhat more morbid, with symbols of ghosts and mortality, Josh reassures “it’s more in relation to the notion of legacy, and how much we have to live for. Which is so relevant to me now, becoming a father.” It was in the evolution of the album, that the collection of songs became a bit darker and which suited the enhanced tone and texture of the album. “No one likes a puzzle too easy to solve.” That may the beauty about Josh Pyke – he is a strikingly beautiful enigma continuing to grace and awe us with his enduring depth and talent. Only Sparrows is out now through Ivy League. Josh will be playing Stonefest on Saturday October 29. Pre-sale tickets are on sale now from frontiertouring.com or general on sale from Friday August 19 through Ticketek.

Akin to the likes of Elliot Smith and Nick Drake, Josh laughs, “I’m flattered to be compared with such talent! Even though both dudes topped themselves.” For him, The Shins and Augie March were significant influences in his songwriting career, as he took solace in the knowledge that “you can have interesting lyrics in the indie-pop genre!” Something that would be conventional for other bands became quite a daunting task for Josh. Normally having a “tight reign” on the music production of his works, this time he chose to relinquish some of that control. “It was a huge letting go for me, and very confronting at times.” Although a skeptic at first, Josh triumphed over adversity with his intention of “adding something unique and interesting to every track”. Songs such as Love Lies, which features a harp accompaniment, prove how Josh can navigate around words and chords as easily as he breaths and smiles behind that wise ginger beard. After his year long sabbatical Josh wrote some of the last songs when idle in New York

constantly doing. “I have this idea that every album should be like a first album,” he says. “It’s really important to me, when I make music, to really try and make new music; at least that’s what my goal has always been, anyway.”

IN LIKE FINN Stevie Easton Do you ever find yourself fighting off the creeping suspicion that everyone else is off somewhere having a great time? LIAM FINN’s favourite term for that particular brand of social paranoia is ‘fear of missing out’, which he says he most recently felt during the recording of his second solo release, FOMO. “A lot of the songs – not all of them – but a lot of them were coloured in by that kind of feeling,” Finn says, describing how he was affected by going from playing with superstars and touring around the world, to recording in the small coastal town of Piha on New Zealand’s north island, a kind of ‘spiritual home’ to the Finns and the location of his legendary father’s studio where the album was recorded. “After working on heaps of different projects and touring – heaps of touring – and just getting busier and busier all the time, it sort of felt even more isolated than it really was.” But of course you can’t really be ‘left out’ when you choose to go it alone and strike out in a new direction, which is what Finn seems to be

It’s really important to me, when I make music, to really try and make new music; at least that’s what my goal has always been, anyway

And his second solo record is, once again, something new; the latest step in the evolutionary process that has seen Finn develop from a band member (Betchadupa, BARB), to a self-confessed one-manband. “I did pretty much everything myself,” he says of his first solo project, I’ll Be Lightning. “But the difference with this album is that I worked with a producer so it was a much more collaborative process.” According to Finn, the fresh sound of FOMO owes a lot to the influence of that producer, Burke Reid (formerly of Gerling), who seized on “half-formed ideas and fragments” to bring out the personal and steer away from the planned. Also in a departure from his first solo effort, Finn sourced a small amount of outside input on FOMO, most notably Wilco drummer, Glen Kotche, who he describes as one of his favourite musicians, “like, in the world” and for whom he reserves “infinite respect”. At the time of writing, still at home in New York, Finn was keen as mustard to get started on the tour and begin allowing the songs to “take on a life of their own”, having completed the hard yards in his secluded corner of the southern hemisphere. Now, as you read this, that process is well and truly underway so he should have given the new stuff a good warm-up by the time he gets to our fair city. Liam Finn will be crooning at ANU Bar on Thursday August 25. Tickets are available through Ticketek for a mean $25.65. Doors open at 8pm.

We didn’t choose to be unique. It just kind of happened

Grant pauses, and a huge grin creeps over his face. “I am not a rock star,” he says, bursting into maniacal laughter. “I’m a try hard rock star. I’m always hitting the stage in outlandish outfits and trying to break the stage and stuff... knocking over mics and things.”

ALL SHOOK UP

On the verge of releasing their first release – a dense debut album replete with a hidden bonus track – Grant is confident that variety is the key.

palimah panichit

“I reckon if you picked it up, chances are you’d like it. I mean, chances are that there are a few moments you won’t like; it depends what you’re into.

Every now and then, new artists emerge that are impossible to describe aptly. These are the ones that should be cherished; they seemingly have far too many errant pigeons to wrestle into holes too narrow. Maybe THE SODAPOPS are like Nicholas Cage’s career – utterly confusing, but in the best possible way. Maybe their brand of self-described experimental jazz pop fusion is purely designed to make you forget what you were supposed to be doing. Or maybe it simply doesn’t matter – because of that gut feeling that tells you when something is simply incredible.

“At the very least, there’ll be something in it for every music listener.” The Sodapops will be tearing up the stage at ANU Bar on Friday September 2. Tickets are $14 at the door.

“This band is unpredictable. In both song and nature,” says Grant Rutups, The Sodapops’ guitarist and songwriter. “I just wanted us to sound like no one else… and we really do sound like no one else. I couldn’t even tell you what we sound like. We didn’t choose to be unique. It just kind of happened. I just wanted to write songs which sounded fresh to me, and when I first started writing Sodapops, I was learning a lot about jazz. I thought, like, jazz is the next level of musical quality, and I tried to incorporate a lot of that into our songs – which kind of melded into all the other stuff I was listening to at that moment. And I’ve always had a thing for a good pop chorus; I don’t really care about the pop scene these days…” One of their many strengths is in their live show, which constantly alternates between berserk technical genius and ephemeral sweetness. “The stage is where I belong. I’ve done a lot of theatre. Whenever I’ve hit a stage at any point in my life I’ve tried to make the most out of it. If you’ve ever seen a Sodapops show, you’ll know I put everything into it. I really just want to entertain people, so I guess that’s why I’m drawn to playing gigs. But I’m really critical of The Sodapops and where I am as a rock star…”

THE REALNESS So, by the time you read this, the much-anticipated collaboration between Jay Z and Kanye West, Watch The Throne, will have been released. Will it meet expectations and conquer the hype? Time will tell, I guess. (Not so, according to reviewer Liam Demamiel. Read his review on page 41 - Ed.). Def Jam has released the album that features appearances from Frank Ocean, Beyonce, Otis Redding and Mr. Hudson. The production line-up is mega super fantastical, featuring the likes of Kanye, Swizz Beatz, The Neptunes, 88-Keys, Mike Dean, RZA, S1 and more. Following on from a hot new EP from Hudson Mohawke, Warp continues its exploration of glitchy beat mayhem with the heavily anticipated full-length album from Glasgow’s Rustie. Entitled Glass Swords, the record looks set to embrace a giddy mix of bass music sounds and glorious over-the-top psychedelia. You can preview a teaser clip over at the Warp Records site. The album is out Monday October 10. Out of nowhere Royce Da 5’9 has followed up the Bad Meets Evil collaboration EP with Eminem (aww, they made up!) with a brand new album Success Is Certain. It features Kid Vishis, Nottz, Joe Budden and Eminem (yay, they’re friends again!). Production comes from DJ Premier, Streetrunner, 88-Keys, Mr. Porter and more. It’s out later this month.

Hot on the heels of the new Thundamentals record and Big Village compilation, the next in the line of Big Village affiliates, Ellesquire, has unveiled his debut album Ready. Part of the group Loose Change, who released a very dope free album last year, Ellesquire keeps his smooth over beats from P Major. You can grab the lead single (and title track) Ready for free from bigvillage.bandcamp. com and check out the full length album out now through Other Tongues distro and Big Village. The Rinse mix series keeps going from strength to strength and edition 16 looks set to be the biggest yet courtesy of Hessle Audio’s Ben UFO. Showcasing a range of sounds and styles, Ben has curated a killer mix featuring the likes of Kassem Mosse, Blawan, Pariah, Dro Carey, Boddika, Joy O, Objekt, 2562, Elgato, Actress, Pangaea, Shackleton and more. With a track-list from the gods, Rinse 16 is a sure shot. It’s out Monday September 19, so grab a copy to connect your finger to the pulse of UK bass music. Marytn’s Great Lengths was my favourite album of 2009. I still play it every other week. It’s amazing. So I pretty much did a sex wee of excitement (fucking hilarious expression that - Ed.) when I heard that his follow up album Ghost People is set for release on Monday October 10 through Flying Lotus’ Brainfeeder imprint. Set to be a less personal affair than Great Lengths, the record will continue Martyn’s explorations of house, funk and dubstep. As the man himself has reportedly said about the record, it’s ‘nothing fancy or flashy... just back to the roots’. Yesssssssssssssssssss. I want it now. To hear music from all these artists, releases and much more, tune to The Antidote, every Tuesday night from 9.30pm on 2XX 98.3FM. Stream at www.2xxfm.org.au . ROSHAMBO roshambizzle@yahoo.com.au

of Death is due out very soon. If you can’t wait to hear it, check out reverbnation.com/mortalsin for some select album teasers from Sydney’s thrash icons.

METALISE So Soundwave Revolution is off. You will read any amount of conjecture, but here at Metallise I do not write fantasy, I ring a friend who works for Soundwave and quote AJ Maddah’s twitter directly. There are two key points. Why was it cancelled? “…We needed the second band to sell enough tickets to make it possible”. My source continued that Van Halen alone was not shifting the sort of tickets required to bring the festival home. The second key point is that the second band will not be named as that will make it “difficult to work together in the future”. There will still be a huge number of shows on during this period as the festival will now fragment into smaller shows and mini-fests. Katabasis released their debut record back in June and started probably one of the more ambitious Australian tours I’ve seen with 29 dates that run through to November this year. They’re at The Basement on Thursday August 18 and they’re on with Tortured, fresh from their well received Slaughterfest appearance, and locals CHUD. Get along to that one to warm up for your weekend. Mortal Sin are coming back to town on Saturday September 17 and are hitting The Maram at Erindale with a band with almost as much history and almost as many line-up changes, the indomitable Reign Of Terror. The fine blokes at Mudd Promotions are to thank for the show and I’m not 100%, but the new Mortal Sin album Psychology

Aussies United is a non-profit association in Canberra looking to help out young musicians, and they’re looking to put on an all day concert for bands of all genre’s on Australia Day next year alongside established bands. If you’re interested in finding out more, check aussiesunited.com.au or email info@aussiesunited.com . Bastardfest is ramping up for September with the first show on in Brisbane on Saturday September 3. Brisbane is a little out of range for most Canberra folks but the Sydney show at The Sandringham on Saturday September 10 features a huge range of the best of all Aussie bands. The full line-up is Psycroptic, Blood Duster, Extortion, Dreamkillers, Ruins, Claim The Throne, Pod People, I Exist, Bane of Isildur, Ouroboros, Daemon Foetal Harvest, Anno Domini, Chaos Heist and Ignite the Ibex. The Melbourne version might interest some travellers as it includes USA’s Ringworm and Mindsnare putting in their ten cents worth. That show is Saturday September 17 at The Corner Hotel. Monster Magnet hits in Sydney on Wednesday September 14 to play The Metro Theatre on George St, playing the entire Dopes To Infinity record from start to finish. That is a Wednesday night’s fun and games well worth it and there’s a great interview to read with Mr Wyndorf about it on Metal As Fuck.net if you’re sitting on the fence about going to catch the show. They were excellent at Soundwave in the early arvo earlier this year. For Unkle K’s Band of the Week check this column online. JOSH NIXON doomtildeath@hotmail.com

DANCING WITH SUCCESS Mel Cerato James Ing from CALLING ALL CARS has had a busy day when we finally get to have a chat. In between getting ready for their nationwide tour starting this month, the Melbourne trio have been juggling rehearsals, media commitments and recent obligations coming from their newly released second album Dancing With A Dead Man snaring the honour of triple j’s feature album of the week. “It’s funny, I kept missing our songs on the radio. I’d be in the shower then get out and the radio presenter would say ‘that was Calling All Cars’!” laughs James. “They’ve been thrashing [the album] heaps, that really helps.” Despite the high risk of ‘second album syndrome’, Dancing with a Dead Man is garnering a lot of positive feedback. “Everyone was always talking about ‘second album syndrome’, [so we chose to] combat that by getting into the studio and demoing and doing lots of preproduction whenever we could pretty much, in between shows.” says James. “We pretty much started writing straight after the release of the first album, so it was kind of 40 songs going into the studio and then culled it back and just picked the ones that made it onto the album.”

You definitely take influence from your peers and the people around you; we’ve become better musicians because of it

In March, Calling All Cars got to play as the support band of American supergroup Queens of the Stone Age on their Australian tour. “We are all massive fan-boys! [I’ve] grown up listening to those guys and have always been a huge fan so it was really humbling that we got chosen for it,” James remembers. “We had to step up our game, we kept thinking ‘there is no way we can fail in front of our favourite band’! It was surreal!” It has been this can-do attitude that has taken the trio on an astounding number of tours, playing alongside some big names including Birds of Toyko, Grinspoon, The Butterfly Effect, AC/DC and Green Day. James explains, “We’ve toured with so many bands over the last two years, it’s just a matter of watching and standing back and finding out what does and doesn’t work and just seeing the way they work. You definitely take influence from your peers and the people around you, [I think] we’ve become better musicians because of it.” Hard-working doesn’t even begin to describe the work ethic of the boys. If they aren’t touring, they’re writing, or recording, or finding other things to do instead of taking a holiday. “Now that the album is finished, we are all thinking about getting back into the rehearsal room and start demoing and stuff for the next album; the more ideas the better,” says James. “You constantly need to be out there doing something in the public eye. The only way you are going to get any better is try and do as much as you possibly can. It’s kind of our lives so I think we’d get bored otherwise!” Calling All Cars will be playing Transit Bar on Thursday September 1. Tickets are $20 through Oztix.

the word

on albums

Airrace Electronic Dream [Duke]

album of the issue the panics rain on the humming wire [dew process]

The second album following their change to Dew Process has moved The Panics into a bigger world. The ex-heroes of Perth, now Melbourne based when not on their frequent sojourns across the briny sea, have delivered a collection of panoramic breadth. Rain on the Humming Wire combines brilliant musicality with the rich vocals of frontman and songwriter Jae Laffer that engulf the listener at every turn. His voice is at its most impressive on One Way Street, welling up deep and dark like hot honey. A key feature is the sheer diversity in the different characters exhibited by the tracks. You’ll quickly learn to love the orchestral timpani rumble at the start of the album opener and first single Majesty and the keyboard notes in Not Quite at Home that cascade like raindrops on a window; or rejoice in the interplay between the instrumentation in the glorious Creatures. Song stories reflect a nostalgia that arose from feelings of isolation created by long absences from home whilst touring and recording. Written in the UK but recorded in an out-of-the-way studio outside NY, this is an album of many moods against which to match your emotions. The Panics play ANU on Wednesday September 21. RORY McCARTNEY

Where does it end? 2011 will surely go down as the year when everyone who was anyone in the ‘80s – as well as a few who were complete nobodies – released a comeback album. Take Airrace for example; not quite nobodies, they still only managed an amble around the foothills of notoriety in the early ‘80s – and much of that was because they featured Jason Bonham (son of Led Zep’s John) on drums. A perennial support act, they failed to make a dent on the collective consciousness and fizzled out like the proverbial damp squib. Vocalist Keith Murrell’s day job was for many years the important role of Cliff Richard’s backing vocalist, but that sort of heady rock ‘n’ roll activity only sustains a man for so long, so maybe it should come as no surprise that Airrace reformed in 2009 for another shot at the title. The result, Back to the Start, is a pleasant enough attempt to recreate the mid ‘80s heyday of AOR via a selection of songs that sound like they were plucked from American FM radio in around 1985. Survivor, Journey, Toto, Foreigner – they’re all here in one guise or another (as well as a plethora of less celebrated names that only AOR anoraks such as myself remember). If there’s a scintilla of originality here it escaped my attention, but that’s not necessarily the point of nostalgia, is it? Pleasant enough, but ultimately disposable. SCOTT ADAMS

Calling All Cars Dancing With a Dead Man [Shock Records] Calling All Cars have long impressed with their frequent full-blooded, rock out gigs in Canberra, either in support of such worthies as The Butterfly Effect or headlining. Their sophomore effort is chock full of great lyrics, marauding guitars and dirty riffs in a celebration of all that’s best in Aussie garage rock, as witnessed by the shamelessly indulgent guitar licks at the tail end of Reptile. While still paying homage more to grunt than melody, songs such as the title track occasionally see them verging into the slightly smoother sound adopted by bands like Gyroscope. In doing so they face the clear and present danger of becoming house trained.

Fabriclive 58 Mixed By Goldie [Balance/EMI] Despite being one of the pioneers of the D&B scene and overseer of the mighty Metalheadz label, Clifford “Goldie” Price has been relatively quiet on the personal release front. But with a new album on the horizon and this, a new mix for the formidable Fabriclive series, the gold-teethed D&B baron is very much back. In June he told London’s Time Out that he wants “to move ahead, to celebrate that I don’t need to be dark, I don’t need to be light, I just wanna do something with the energy that I feel right now – and I feel good.”

There is a popular route followed by bands that started out raw and edgy and end up becoming noticeably smoother and more melodic. They’d be better off avoiding that crowded end of the marketplace where it can be hard to tell bands apart. There’s more mileage in sticking with the VB and Jim Beam consumer’s camp, in which Calling All Cars are still firmly lodged for the present. So crank up the volume and slam the kitchen wall to the crescendo of guitars in She’s Delirious, the wall of noise in Fireworks in a Hurricane or the rapier thrust of sound in the closing seconds of Autobiotics. Calling All Cars have stayed true to ‘in your face’ musical mayhem.

This philosophy radiates throughout this excellent mix, and much though I despise the term ‘journey’ (thanks largely to reality TV) that’s exactly what this is – starting with insistent strings, squelchy D&B-esque techno and earnest vocal of Rido’s Twisted; moving into pure Metalheadz territory with Lenzman and Need for Mirrors; seeing old school beats meet sinister synth with DJ Fresh and Hazard; guiding it into vocal/lighter territory with A Sides and dBridge; taking a brief detour into bass territory right at the end before ending with J Majik plus well known favourites from Commix (Be True) and the classic Timeless from the man himself. At 70 mins it’s not a moment too long and provides a wonderful exploration of what D&B has to offer – an excellent intro to the uninitiated, and a timely reminder to the veteran.

RORY McCARTNEY

ALLAN SKO

singled out

with Dave Ruby Howe

Kanye West & Jay z Watch the Throne [Roc-A-Fella/Roc Nation]

R.E.M. Lifes Rich Pageant [Capitol/IRS]

Within and Without Washed Out [Sub Pop/Weird World]

The hype surrounding Watch the Throne was understandable; two of rap, nay pop music’s biggest names conspiring to produce an LP. With Kanye West and Jay Z almost representing the gold standard of contemporary music, the possibilities were both tantalising and endless. Recorded in hotel rooms and studios all around the world with a roster of heavy weight producers and featuring appearances from the likes of Beyonce and Frank Ocean, Watch the Throne had everything going for it.

In 1986, R.E.M. were in the latter part of their first big transition phase. The soft pastoral mumblings of Murmur and Reckoning made way for a more confident and raucous band. The previous year’s Fables of the Reconstruction was the shaky start; a fine album suffering a clear lack of focus. This album is where R.E.M. Mk II really kicked in and set in motion a path that created the first true arena crossover act of the alternative era. The opening double whammy of Begin the Begin and These Days is revelatory. Never had Michael Stipe sounded so clear and defiant: “We are young despite the years we are concern/We are hope despite the times” he exhorts in the latter or “The insurgency began and you missed it” in the former. Even now, it sounds revolutionary. And never had Peter Buck swung between loose-limbed power chords and lush arpeggio prettiness so fluently. Garage rave-ups like Just a Touch rest neatly against Civil War ballads like Swan Swan H and sound perfectly simpatico.

In recent years, soothing yet complex electronically based songwriting (as exemplified by The Album Leaf, Caribou, Baths, Gold Panda, et. al.) has led to some truly beautiful pieces of music. The problem with such music is that if its makers err towards complexity their songs can lose their human element and become impersonal; if they are understated without being engaging you just have background noise. What W&W have achieved is a pathetically bland middle ground. After debut EP Life of Leisure that has been called “genre defining” more than once, this is W&W’s debut LP and its title fits like a glove.

The more I listen the more I find myself wishing it was something different. What has been proffered by Messrs. West and Z is not really that exciting. Sure the production is class, but what else should you expect? By and large the album sounds confused and like two utterly talented artists struggling for control and ownership. Where Watch the Throne really falls down is with its lyrics. The themes dealt with feel bloated, derivative and distant. At times the album seems more like a platform for the pair to sing their own praises and boast about the fact that they are who they are (notably in single Otis). The two obviously are not the most humble of superstars and don’t mind sharing this fact with paying customers. When push comes, give me Graduation or The Black Album any day. It really is nice knowing how rich you are, but it’s also nice knowing how talented you are. Liam Demamiel

This 25th anniversary remastering has lifted the record immeasurably – nonvinyl versions were wan and unrepresentative. Lifes Rich Pageant is an exciting record and easily one of the band’s greatest achievements, as well as possessing the highest ratio of fan favourites to ‘Best Of’ selections. This is a good thing. If you haven’t heard this album and think you know R.E.M. – you don’t. JUSTIN HOOK

With the exception of two tracks, Soft and Far Away, this album sounds like the comforting yet lacklustre tune that a doe-eyed set of girls (e.g. All Saints) sung over in the ‘90s. The two aforementioned tracks stand out only for the fact that elements of them poke subtly through the grey wall W&W have built, conjuring a moody softness, but neither are brilliant. Elsewhere the vocals are reminiscent of tuneful, drawn-out yawns. The beats are unimaginative, never-ending snap and clap loops. The instrumental hooks are predictable dabs on a piano shadowed by bloodlessly long synth tones. And if all that weren’t bad enough, W&W submerge every sound they used to make this album in some sort of static well. This album just sounds lazy and selfindulgent, really. It’s an exercise in forgettable tones. Boo. ASHLEY THOMSON

Christina Perri Jar Of Hearts [Warner] Euuuugh. Who likes this junk? I don’t even get it. This is music made expressly for those nauseatingly sad people that watch So You Think Can Dance for the ‘emotional journey’, have online handles that start or end in ‘xx’, know the history of the Cullens off by heart and think that the idea of Evanescence bathing in a pool of post-breakup tears and menstruation sounds appealing.

Flight Facilities Foreign Language ft. Jess [Future Classic] So what if it took them 18 months to follow up Crave You? We should be lucky that Flight Facilities didn’t chuck it in then for all the pressure that was on them. Foreign Language isn’t too concerned with being a world-beating anthem but instead it’s just about good times, heightened disco-drama and a look at how far the lads have come in between drinks, with extra bells and whistles making this one a memorable jam for sure.

Jack Vidgen Yes I Am [Sony BMG] We should be nice to our child stars. If we’re not then they’re likely going to end up wrecked and decayed, hooked on prescription painkillers and doing episodes of 20-1 for rent money. And this Jack Vidgen seems like a more than amiable member of those ranks. So let’s be kind, considerate and caring this time around and just all quietly acknowledge that this song is balls and leave it at that.

the word

on films

WITH MELISSA WELLHAM

At about the time Joe Wright was doing media for his latest film, Hanna, Zack Snyder’s Suckerpunch had just been released. Wright criticised Suckerpunch for its pseudo female empowerment, citing Hanna’s character as a much better role model for young women. And despite the fact that Hanna is an unstable, teen assassin – I have to agree. Where the action sequences in Suckerpunch seemed to be designed to allow pretty girls in schoolgirl outfits do high kicks, Hanna’s character is valued for her skills and smarts. Then again, smarts aren’t always necessary. Just look at Rise of the Planet of the Apes.

quote of the issue

“NO!” Caesar the Ape (Andy Serkis) speaks, in Rise of the Planet of the Apes

Rise of the Planet of the Apes Rise of the Planet of the Apes may be cumbersomely titled, but it’s a surprisingly enjoyable prequel. Then again, it’s surprising that the franchise could be fun at all, after the truly appalling 2001 instalment, starring Mark Wahlberg. The film shows the story behind how Earth became populated by super-smart apes. James Franco is a promising young scientist (and not completely unbelievable in this brainiac role, given that Franco has, like, three PhDs or something) working on a radical drug with the potential to cure Alzheimer’s. However, when the apes it is tested on start to display an increasing IQ, the true power of the drug becomes apparent. Caesar the ape – the young doctor’s test subject, pet, but also friend – soon becomes the leader in an ape revolution. Rupert Wyatt has given this film some stylish direction, and the computer generated chimps and gorillas are quite remarkable. Their faces are so sympathetic and moveable that you forget you aren’t looking at a living human being, let alone an unreal monkey. There’s a lot more to enjoy in RotPotA besides. The beautiful personality of Maurice the Circus Orang-utan; the subtle verbal references to other Planet of the Apes films; the hilarious visual references to Marxism. RotPotA is engaging, enjoyable, and might even make you think about animal rights. If not that, then at least you’ll be able to appreciate Franco’s good looks—ahem, I mean, performance. Melissa Wellham

The Conspirator

Hanna

Ooh, a film about the assassination of Abraham Lincoln! …The assassination is covered in the first five minutes. Ooh, a film about the unfair trial of a boarding house owner charged with conspiring against the President! Courtroom drama! …Well, kind of.

Directed by Joe Wright, Hanna is many things: a coming of age tale, an art house film, a revenge thriller. You might think that trying to work so many ideas together would result in a confused final production, but Hanna is actually a very competent film. The problem is, it could have been better.

Mary Surratt (Robin Wright) owned a boarding house that John Wilkes Booth and co. frequented – and after the assassination she is charged and tried for conspiracy. James McAvoy plays her impassioned lawyer, struggling against a nation who desperately want to see both Surratt punished and an end to the Civil War. Cue mayhem! Confederate beards! TOP HATS! The court scenes are feisty enough, but some of the performances seem a bit naff, bringing down the credibility of the whole piece. Wright’s steely Surratt is fantastic, and almost looks out of place amongst the young whippersnapper performances of a cast cut from Glee, Gilmore Girls and True Blood. Tom Wilkinson shows up with a solid performance, and McAvoy does the whole ‘downtrodden force of truth and justice’ thing with true style (but with a horrible accent). While The Conspirator has some engaging moments, it largely falls short of being outstanding. It is interesting enough and I quite enjoyed the film – but it had a lot more promise, and could have been a lot more. MEGAN McKEOUGH

Hanna (Saoirse Ronan) is a young girl who has been raised alone by her father (Eric Bana) in the snowy wilderness, trained to be an assassin. When she comes of age, she takes on a secret intelligence unit in the US, led by the ruthless Marissa (Cate Blanchett). Marissa is cool, calm, collected and completely terrifying. She makes brushing her teeth look like a scary , stressful experience. But there’s a sci-fi mystery behind Hanna’s birth, that is revealed throughout the course of the film. Joe Wright has done his best, and there are some elements of the film that should be applauded. The direction, the performances, the sound design, and soundtrack (by The Chemical Brothers) are all fantastic. Unfortunately, the script is quite poor. The dialogue is subpar – clichéd and obvious – and the light-hearted, comedic moments that have been included are jarring. It’s a testament to Wright’s power as a director that he has taken a lacking script, and still created a film that is, honestly, very good. Hanna is smart and interestingly shot – and how often can you say that about an action film? MELISSA WELLHAM

the word on dvds

Steve Coogan Live’n’Lewd/the man... [Roadshow] When Steve Coogan returned to stand-up comedy in 2008 the results were mixed. Which is to say the reviews were awful. Coogan himself appeared combative and unwilling to accept his performances were lukewarm retreads of barely updated old material, lacking energy. In his eyes, it was the media’s fault. Who could blame him? He’s been the whipping boy for the UK tabloids for nigh on 20 years; his various bedroom exploits and chemical escapades milked for every gotcha moment possible. He was even blamed for Owen Wilson’s suicide attempt. Little wonder that his articulate and impassioned attacks on News International at the height of Hackgate became a viral hit. Coogan was an incendiary live performer. These performances catch him at the height of his powers. Live’n’Lewd is bookended by Paul and Pauline Calf – thick, gobby Manc gits. Paul’s hatred of students no doubt invigorated the mainly university crowd he drew at the time. But really, they haven’t aged well. And whilst this is Coogan’s show, it is arguably stolen by John Thomson (Cold Feet) as the chain smoking, ultra-PC, reformed working man’s comic Bernard Righton. His surreal segment intros are worth price of admission alone. Alan Partridge (co-created with In The Thick Of It’s Armando Iannucci for BBC radio’s brilliant On The Hour) is Coogan’s undisputed breakout character and steals the second half of The Man. Partridge has been his albatross ever since; it’s the one character the public refuses to let die, despite its creator’s reluctance. Sadly, there is talk of a film. These shows are the balance, providing the perfect vehicle for Coogan’s brilliant mimicry skills and mangled, bitter wit. This is when Coogan could perform. This is where you should start. JUSTIN HOOK

Eastbound and Down s2 [Warner Home Video] At the end of the first season, Kenny Powers (Danny McBride) was driving full throttle from responsibility. After a careerreviving carrot as relief pitcher at Tampa Bay was dangled then cruelly withdrawn, Powers had no other option but to run. He had overreached, over promised and over borrowed. Which is why he now resides in Mexico, fashioning a truly awful set of cornrows and commanding a comically unthreatening posse of two, one of which is an overtanned angry midget. Of course. His Mexican siesta is rudely interrupted by the opportunity of redemption through the local amateur baseball league. Incapable of turning down the possibility for adulation, he accepts. Only to find out he is an even bigger washed up showboat than originally thought. Situation normal. E&D confuses many, playing it straight with few overt signs of irony. Audiences accustomed to winking irony interpret its absence as a sign of pandering to suburbia – the lower classes – or brazen mockery of hicks and bogans. In this respect Eastbound is thoroughly subversive. The protagonist is a jerk who might never mature into decency. But his shambolic life is so full of pathos and seemingly free of regret that it’s impossible to write this show off as an unfunny comedy, as many have done. These seven episodes aren’t as over-the-top, stupid-funny as the first. But it obviously wasn’t the intent. They’re darker, more sombre and more rewarding. Kenny sinks deeper, but keeps on surviving. Don Johnson’s appearance as Kenny’s father is a fantastic, outlandish highlight. Moving the entire show into unfamiliar territory, geographically and psychologically was incredibly risky. And the forthcoming third season will be its last. As always E&D is wrong footing its way to success, almost despite itself. JUSTIN HOOK

Apocalypse Now – Special Edition [Universal] Apocalypse Now was released in ‘79, a stone throw beyond America’s withdrawal from Vietnam that marked the official end of the conflict. As fate would have it, China invaded Vietnam in the same year and whilst this isn’t a history lesson it does serve to remind us that the geopolitical landscape was hardly stable or safe. So the sheer gumption of Francis Ford Coppola to herd his entire crew and family to SE Asia in this climate was brazen crazy genius. The film needs little introduction. You should know it well enough by now. Based loosely on Joseph Conrad’s Heart of Darkness – itself based on Belgium’s conquest of the Congo at the turn of the 20th century – it’s the story of one man’s (Benjamin Willard/ Martin Sheen) descent into the Cambodian jungles and its mayhem and insanity in search of another (Walter Kurtz/ Marlon Brando) who was well ahead of him; geographically and temporally. It’s easy to overlook classic films, to leave them resting in aspic and nod sagely when mentioned as talk turns to ‘best-of’ lists. But Apocalypse Now is universal and ageless, bristling with wayward mescaline-soaked intensity. Pick a military excursion in history and you’ll easily find parallels. It’s not a film about the Vietnam War. It’s a film about humanity. The part of our psyche we prefer not to acknowledge – the extremities. This stunning re-release covers everything you’d possibly want – all commercially available versions, the sharpest picture you’ll likely ever see and sound design that is compellingly transportative. The only thing that betters it is the 3-disc version containing the Heart of Darkness doco. Either way, this is one of the best releases of this or another year. JUSTIN HOOK

the word

BLACKBOX

on games

F.E.A.R. 3 Developer: Day 1 Studios Platforms: PS3, 360, PC Length: 5+hrs Rating: Worth grabbing with a mate F.E.A.R.3 is a tricksy game to review. There’s nothing that really stands out. The graphics are solid, but not brilliant. The level design is engaging, yet not breathtaking. Even the controls are slightly off; some of the button mapping feels somewhat counterintuitive. However, despite the absence of any particular brilliance, the game still manages to serve up a surprisingly enjoyable experience. There are a few key elements that make this game work so well, first and foremost being the inclusion of a split-screen co-op mode. Like all the perks I’m about to mention it’s not revolutionary stuff, but it works thanks largely to each character’s unique abilities and the way they interact. While one can slow down time and slide sweep, the other can posses enemies and play as them or just as quickly turn them into a human fireworks display. By introducing this difference, the game ends up delivering not only a shared experience, but one that’s simultaneously unique. Another satisfying benefit that this variance provides is the way it removes any potential competition between the players, given that each has their own moments to shine. As touched upon, the abilities of each character also provide a great source of enjoyment. Sprinting at a zombie, fly kicking it in the balls, shooting its head off and watching its now twice-dead corpse hurtle away provides a level of satisfaction not matched by many other games. Judging from the hearty chortling coming from my fellow player, I suspect the other character is as equally enjoyable to use (as the other player, I can attest to the enjoyment of squaring off against an enemy, only to have your partner scream in from off screen with a mighty toe-curling wap to their balls – Bossman). Another perk to speak of is the difficulty level. For the most part, you’ll be pushing through the levels at a reasonably satisfying speed, however every so often it will serve up a moment to remind you what it’s like to fail at something. There’s a particular bit that comes to mind featuring a mech. We tried numerous times without success, until eventually we pulled out some crazy teamwork shit to end its evil robotic ways. Whilst this potentially sounds like the recipe for an entirely frustrating experience, the complete opposite was true. The moment felt challenging, yet not impossible and what’s more, it actually involved some intelligence for once. Having sung it praises for roughly half a page now, I still don’t think I would put this game in the Must Buy category. It’s certainly a very enjoyable experience, particularly with a friend. However it’s not an overly memorable one. I guess in that sense this game is like a case of beer, which definitely ain’t a bad thing. TORBEN SKO

Apparently, according to incessant commercials running on all three of WIN’s digi channels, Sunday August 21 is television’s biggest night of the year because a) it hosts the final of The Block (WIN, 6.30pm) and b) the first episode of the latest Underbelly instalment, Underbelly Razor (WIN, 8.30pm). Blackbox wholeheartedly agrees with part a) because it takes the most annoying reality series of the year off the box, but is less convinced about part b). Sure the first season of Underbelly that brought Melbourne’s gangland killings to life and featured Kat Stewart’s riveting portrayal of Roberta Williams, was awesome television but the following two instalments haven’t really lived up to expectations. Also returning (with slightly less fanfare) are new seasons of Weeds (GEM, Mon, 11pm), The Big C (GEM, Mon, 10.30pm), and Hung (Prime, Tue, 10.30pm). Other new shows include On Track (ABC2, Fri Aug 26, 9.15pm) which focuses on artists recording, Suits (Prime, Mon, 9.40pm) a new legal series that’s part of the US summer roster from the people who brought you Burn Notice, Accused (ABC1, Fri Aug 26, 9.30pm), a series of six teleplays from writer Jimmy McGovern where an ordinary person winds up in the dock, Monroe (ABC1, Sat Aug 27, 8.30pm) a new James Nesbitt series, this time a medical one, and ob doco Drug Bust (Prime, Thu Aug 18, 7.20pm). Really the only question is why it took so long – much more intriguing than drink driving, parking infringements or the endless stream of drunk, drugged and prostituting bust on COPS (One Tue, Wed, 8.30pm). And if you enjoy intrigue, put Emmy Award winning Danish series The Protectors (SBS1, Thu, 10pm) on your viewing roster. Carlos (ABC2, Mon Aug 29, 8.30pm) is a three part drama from Olivier Assayas that portrays the life of notorious revolutionary and terrorist, Ilich Ramírez Sánchez aka Carlos the Jackal. Gastronomes will enjoy Jamie Oliver’s European adventures in Jamie Does (SCTEN, Sat, 6.30pm) which takes in the cuisine of Andalucia on Saturday August 20 and Stockholm (Blackbox’s fav city) on Saturday Aug 27. Coming soon to Prime – Wild Boys, a story about bushrangers, power and government corruption in the 1850s – Australian version of Deadwood? Docos to check out include The Cove (ABC1, Sun Aug 28, 8.30pm), the story of an elite team of activists, who penetrated the site of a dolphin hunt, Artscape: Stunt Love (ABC1, Tue Aug 30, 10.05pm), the life of Australian stunt director J.P ‘Jack’ McGowan in the early 20th century, and In The Shadow Of Hollywood: Race Movies And The Birth Of Black Cinema (ABC2, Sun Aug 21, 8.30pm). The pick of this fortnight’s movies are Pulp Fiction (Go!, Fri Aug 26, 9:50pm), 50 First Dates (Go!, Fri Aug 19, 7.30pm) – what Adam Sandler was doing after Happy Gilmore, Hitchcock classic North by Northwest (GEM, Sat Aug 27, 2.40pm), and Star Trek (SCTEN, Sun Aug 21, 8.30pm) the Eric Bana film not the Shatner one although Leonard Nimoy makes an appearance. Guest star of the week – Gene Simmons in Castle (Prime, Sun Aug 21, 9.30pm). TRACY HEFFERNAN tracyheffernan@bigpond.com

the word

Kaiser Chiefs / Stonefield / Papa Vs Pretty UC Refectory Wednesday August 3

on gigs

The UC Refectory has always struck me as having a strong highschool hall vibe. Walking into the place at the beginning of a smackin-the-middle-of-the-week Wednesday evening, we’re greeted with the likes of The Beatles, early Pink Floyd, Kate Bush and Cream blasted through the speakers. It’s like being sucked into a strange teen time-warp. Dashing over to stake out spots at the front of the stage, I can’t help slipping into fan-girl mode. But it seems like everyone else is doing the same. It’s rare that a band like the Kaiser Chiefs get to grace a stage in Canberra, and the rest of the line-up is pretty stellar. We’re eager to catch Melbourne all-girl band and current triple j darlings, Stonefield, who recently played mega festival Glastonbury, and have a whole lot of hype surrounding them. The four sisters (the youngest barely a teen, the eldest barely out of her teenage years) have been creating blistering rock of the classic ‘70s kind. They instantly impressed. Adorned in their already signature paisley print and headbands, the band ripped through songs off last year’s EP, Through The Clover, as well as latest offerings Black Water Rising and the fierce Yes Master. Chucking a cover into the mix and paying homage to a main influence, they nailed the Led Zeppelin classic Whole Lotta Love. While strong as a group, singer/drummer Amy swiped the spotlight, belting out electrifying vocals whilst keeping a sharp beat. Next on stage was Sydney three-piece Papa Vs Pretty, churning out indie rock in the vein of Birds Of Tokyo, Muse-esque vocals with a streak of British flavour with heavier moments reminiscent of The Cribs. Their set was tight, featuring last year’s Heavy Harm and current single One Of The Animals, which provided the first audience sing-along of the night. Although their sound didn’t catch my fancy, their songs were well received by the increasing crowd. It didn’t really hit me that the Leeds band would actually be performing that night until the slinky electro of Howlaround seeped out of the speakers. With a solid reputation for being a live band, Kaiser Chiefs lived up to expectations. Singer Ricky Wilson immediately leaped over to the side of the stage, posing proudly with hands on hip, before racing for the microphone. After smashing out a quite fast rendition of Every Day I Love You Less and Less, the band powered their way through anthems including Ruby, Never Miss A Beat, Angry Mob, Take My Temperature and I Predict A Riot. The singles-heavy set was balanced out with a healthy smattering of the new, with a handful of tracks, pumped full of spacey synth, from their latest The Future Is Medieval making a welcome appearance. New material sat comfortably among the older songs; Long Way From Celebrating was sheer Britpop-bliss, the jerky, Franz Ferdinand-esque, bittersweet ballad Starts With Nothing was atmospheric, Kinda Girl You Are could have been a Franz Ferdinand B-side, and Man On Mars featured nasally lead vocals courtesy of drummer Nick Hodgson.

photos: cole bennetts

Every lyric Wilson fed to the audience was vigorously spat back at him; with all eyes fixed on him as he whacked cowbells, kicked around tambourines, swung the microphone like a lasso, very much enjoying the role of frontman. Throughout, the parallels between them and Britpop giants Blur became obvious, from the lyrical territory of the modern-life-is-rubbish persuasion to the sheer physicality of the wired Wilson. With a flawless set list, every song swept the audience into a frenzied state. The night ended with the very fitting Oh My God and a slurred, “Goodnight Canberra, you sexy beast,” from Wilson. CHIARA GRASSIA

the word

on gigs

BMA Presents Women of Notes Transit Bar Thursday August 11 A few years ago I hosted Frock Off on 2XX, described as “a riot of grrrrls music”. When I started I remember thinking, ‘Simple. I’ll just go through my CD collection’. And then I discovered that far from a riot, I had a dearth of chick music. The Australian Independent Record Labels Association recently looked at the 2,000 most-played songs on Australian radio and over June found that only 18.3% were sung by a frontwoman. This is about on par with APRA membership, which is about 20% female. Overall though, if you look at last year’s ARIA Award winners, women are well represented, even if you discount Angus and Julia Stone. Do these stats reflect low participation, or low exposure? Either way, BMA has decided to help tip the balance and has teamed up with Transit Bar to present Women of Notes, a monthly series of female singer-songwriter nights. Its purpose is simple: to celebrate the diverse talent of our local ladies of music. Hannah Gillespie gave us a sweet, mellow start to the evening. Her music is a bit folky, a bit country and a bit like a warm summer breeze. It was a great way to ease into the night. By this stage, the crowd was already strong, and there seemed to be more gals than guys. I’m sure there’s something statistically important in that, but much more important was the genuinely supportive atmosphere. Up next was Fun Machine’s Bec Taylor with special friend Chris. Taylor’s sound is slightly jazzier without Fun Machine, full of fun, a sense of delight, and great dynamics. As a boy, Chris knew his place and was often relegated (he says promoted) to the corner of the stage where he pretended to be awkward. He wasn’t the only boy on stage that evening – Gillespie had male support too – but as he spent most of his time singing harmonic ‘ooohs’ and ‘aaahs’ and very rarely full words, he showed he was an excellent supporter of the purpose of the night – to give women singers more of a voice. Julia Johnson, lead chanteuse of The Deep Sea Sirens was joined by two of her sirens Emma Kelly and Eloise Menzies in a set that ranged from haunting and ethereal to delectable and highly danceable. Julia’s own experience as a female performer has been positive, and clearly the Canberra scene supports her. “I’ve never had trouble getting gigs, but sometimes when I got venues outside Canberra the organisers would only interact with men and overlook me, so I’d have to tell my drummer what I wanted in terms of tech. But it’s got to the point where I don’t put up with that.” Later, Simone Penkethman was joined on stage by her daughter Sophie Penkethman-Young (aka Eddie Shaggz) showcasing two generations of talent. It’s often said that a mark of a good performer can be seen in how they interpret a cover, and Penkethman’s triumphant and epic cover of David Bowie’s Heroes remains one of my favourites. “These kinds of shows are important because when they’re done well, like tonight, it reminds us of how much we really like the music of these women and how often their voices are drowned out. It also challenges the stereotype of what women’s music is and tonight we see an accomplished array of artists who are all active in their own right,” Penkethman says.

PHOTOS: Mark Turner markturnerimages@gmail.com

And what an array. From folk to jazz to classic glam rock, it was a musical journey that made me feel both grateful and proud of the Canberra music scene and our local music goddesses. Women of Notes is not about ‘us and them’. It’s not saying that male performers or lead singers don’t deserve their success. But it’s certainly an opportunity to celebrate what women do. And so, I’d like to end with a challenge. I dare you to check your own music collection. If female artists make up less than 20% then you should make amends by hitting the next show on Thursday September 8. EMMA GIBSON

GIG GUIDE Aug 17 - Aug 19 wednesday august 17

thursday august 18

Arts

CCAS - One Place, Three Exhibitions

Jacqueline Bradley’s The Outdoors Type, Andrzej Zielinski’s Prototype & Ash Keating’s Activate 2750.

CANBERRA CONTEMPORARY ART SPACE GORMAN HOUSE

Theatre - Life x 3 By Yasmina Reza A witty and acerbic play, directed by Garry Fry. From Aug 5-20, Wed-Sat, 8pm. CANBERRA REPERTORY

Exhibition – Not To Be Contained

Ceramics by Jane Crick and Jacqueline Lewis. ‘Til Aug 28. CANBERRA GLASSWORKS

BAD!SLAM!NO!BISCUIT! Shit gon get crazy. 8pm. THE PHOENIX PUB

Exhibition – Transience

Beautiful works in handmade paper and fibres. ‘Til Aug 28. CANBERRA GLASSWORKS

Live Hippo Live

Greg Stott Quartet. HIPPO LOUNGE

The Panda Band

It’s been a long time between drinks, but the Aussie quirk-poppers are back. 8pm. ANU BAR AND REFECTORY

Something Different The Great Canberra Science Scramble

A science scavenger hunt with awesome prizes. Runs from Aug 12-21. More info: sciencescramble.com.au CSIRO DISCOVERY CENTRE

Fame Trivia @ Transit

Every Wednesday, from 7.30pm TRANSIT BAR

Jacqueline Bradley’s The Outdoors Type, Andrzej Zielinski’s Prototype & Ash Keating’s Activate 2750.

CANBERRA CONTEMPORARY ART SPACE GORMAN HOUSE

CCAS Members Show

This year is set to be bigger than ever with the theme of XXX. Opening 6pm, continuing until Aug 28

CANBERRA CONTEMPORARY ARTS SPACE - MANUKA

Theatre - Life x 3 By Yasmina Reza

The Beards 100 Beards Tour

CANBERRA GLASSWORKS

ANU BAR AND REFECTORY

Beautiful works in handmade paper and fibres. ‘Til Aug 28.

In Every Home

The Australian Women’s Weekly 19331982. NATIONAL LIBRARY OF AUSTRALIA

Comedy Green Faces 11 - Dave Thornton Tickets from Canberra Ticketing 6275 2700, or greenfaces.com . CANBERRA IRISH CLUB

Dance

Fractured View – Dore Stockhausen

Imagine a precisely blended concoction of tight irresistible grooves... set to be an epic night.

BILK GALLERY

Conflict and Contemplation

A collaborative exhibition by Michael Ellis and Stephen Harrison. BELCONNEN GALLERY

Seven Sisters -The Artists of Papalunkutja

A stunning collection of paintings by the artists of Papalunkutja (Blackstone WA). CRAFT ACT

Panic

8pm, Free.

ANU ARTS CENTRE

Robert Baines : Metal

Something Different Karaoke

8.30pm till 11pm followed by DJ Kiz till 5am. CUBE NIGHTCLUB

The Great Canberra Science Scramble

A science scavenger hunt with awesome prizes. Runs from Aug 12-21. More info: sciencescramble.com.au CSIRO DISCOVERY CENTRE

friday august 19

HIPPO LOUNGE

Timber

CANBERRA REPERTORY

With Gay Paris & Super Best Friends. 8pm.

Dirtey Rascals

A witty and acerbic play, directed by Garry Fry. From Aug 5-20, Wed-Sat, 8pm.

On that Rocksteady trip now.

Arts

Opiuo

CCAS - One Place, Three Exhibitions

KNIGHTSBRIDGE PENTHOUSE

THE CLUBHOUSE

Day Play DJs in the Beer Garden

Every Thursday, from 2pm onwards. ANU BAR AND REFECTORY

Live uniJam

Young, genius musicians casually jamming with an electronic producer. Midday-2pm.

Jacqueline Bradley’s The Outdoors Type, Andrzej Zielinski’s Prototype & Ash Keating’s Activate 2750.

CANBERRA CONTEMPORARY ART SPACE GORMAN HOUSE

Theatre - Life x 3 By Yasmina Reza A witty and acerbic play, directed by Garry Fry. From Aug 5-20, Wed-Sat, 8pm. CANBERRA REPERTORY

Fractured View – Dore Stockhausen BILK GALLERY

Conflict and Contemplation

A collaborative exhibition by Michael Ellis and Stephen Harrison.

Object Gallery touring exhibition celebrating the work of esteemed metalsmith Prof. Robert Baine.

UNION COURT, ANU

Sun, beer, bands, DJs and fusion on the deck. 2pm - 7pm.

BELCONNEN GALLERY

CRAFT ACT

Exhibition – Not To Be Contained

ANU BAR AND REFECTORY

Open Mic Night

Re-Animator plus The Fly; a creepy Friday night double to celebrate National Science Week.

uniVibes: Open Thursdays

Ceramics by Jane Crick and Jacqueline Lewis. ‘Til Aug 28.

9pm, Free.

Harvest : Elaine Bradley

First solo tour for Joelistics of TZU, bringing that glorious feeling! Tix $12 + BF through Moshtix

CANBERRA GLASSWORKS

The fifth in the series highlights the work of ceramicist Elaine Bradley. Opening 6pm. CRAFT ACT

Exhibition - Abstraction

Bringing together and juxtaposing the work of ten abstractionists. ‘Til Sept 25. ANU DRILL HALL GALLERY

Exhibition – Transience

POT BELLY BAR

Joelistics

TRANSIT BAR

Justin Grounds Karoshi. 9pm.

THE PHOENIX PUB

Chicago Charles

KING O’MALLEY’S, CIVIC

Arc: Mad Scientist Double Feature

ARC CINEMA, NATIONAL FILM & SOUND ARCHIVE

Exhibition – Not To Be Contained

Ceramics by Jane Crick and Jacqueline Lewis. ‘Til Aug 28. CANBERRA GLASSWORKS

GIG GUIDE Aug 19 - Aug 24 friday august 19 Arts Exhibition - Abstraction

Bringing together and juxtaposing the work of ten abstractionists. ‘Til Sept 25. ANU DRILL HALL GALLERY

Exhibition – Transience

Beautiful works in handmade paper and fibres. ‘Til Aug 28. CANBERRA GLASSWORKS

Dance D’Opus

True party rocker

KNIGHTSBRIDGE PENTHOUSE

Cheese (‘80s/Retro)

Everybody’s favourite night of ‘80s classics, perms and happy pants. Free. TRANSIT BAR

Foreplay Fridays

9pm till 5am with DJ’s Matt & Pete. Two for one drinks & free entry until 11pm. CUBE NIGHTCLUB

Tydi Global Sound System

Get your trance on with the former inthemix no 1.

Arc: Johnny Guitar (PG)

A look at the work of the 1950s noir director. 4.30pm.

ARC CINEMA, NATIONAL FILM & SOUND ARCHIVE

2011 Ranamok Glass Prize

Come along and participate in the People’s Choice category and attend the gallery talk. 10.30am. CANBERRA GLASSWORKS

Exhibition – Not To Be Contained

Ceramics by Jane Crick and Jacqueline Lewis. ‘Til Aug 28. CANBERRA GLASSWORKS

Exhibition - Abstraction

Bringing together and juxtaposing the work of ten abstractionists. ‘Til Sept 25. ANU DRILL HALL GALLERY

Exhibition – Transience

Beautiful works in handmade paper and fibres. ‘Til Aug 28. CANBERRA GLASSWORKS

ARC - Bill Hunter - The Hit (1984, 18+)

A series of films honouring the late, great Bill Hunter.

ARC CINEMA, NATIONAL FILM & SOUND ARCHIVE

sunday august 21 Arts Conflict and Contemplation

A collaborative exhibition by Michael Ellis and Stephen Harrison. BELCONNEN GALLERY

Exhibition – Not To Be Contained

Ceramics by Jane Crick and Jacqueline Lewis. ‘Til Aug 28.

Live CIT Presents Bootleg Sessions

With My Own True Love, The Trilogy Project, Parcye & Ivory Cocoa. 7:30pm. THE PHOENIX PUB

Something Different Trivia @ King O’s

Every Monday night. 7pm, free entry, $100 bar tab first prize. KING O’MALLEY’S, CIVIC

CANBERRA GLASSWORKS

tuesday august 23

Exhibition - Abstraction

Bringing together and juxtaposing the work of ten abstractionists. ‘Til Sept 25. ANU DRILL HALL GALLERY

Exhibition – Transience

Beautiful works in handmade paper and fibres. ‘Til Aug 28. CANBERRA GLASSWORKS

Dance Hospitality Sundays

10pm ‘til late with DJ TJ. Free entry, free pool and discounted drinks. CUBE NIGHTCLUB

Arts Conflict and Contemplation

A collaborative exhibition by Michael Ellis and Stephen Harrison. BELCONNEN GALLERY

Exhibition – Not To Be Contained

Ceramics by Jane Crick and Jacqueline Lewis. ‘Til Aug 28. CANBERRA GLASSWORKS

Exhibition - Abstraction

ACADEMY NIGHTCLUB

Dance

Live

Bringing together and juxtaposing the work of ten abstractionists. ‘Til Sept 25.

Live

Nathan Frost

Freyja’s Rain

Exhibition – Transience

KNIGHTSBRIDGE PENTHOUSE

BEYOND Q BOOKS

Friday Night Acoustic Series 8pm, Free.

HARMONIE GERMAN CLUB

Stuart King Duo CASINO CANBERRA

Slow Motion Disco HIPPO LOUNGE

Mitch Canas (5pm) & Special K (10pm) KING O’MALLEY’S, CIVIC

The Brass Knuckle Brass Band A night of acoustic instruments and vocal music, support from Clever Sunday & Saxema. $10, 7.30pm.

Deep in concentration.

1-3pm, Free.

Cube Saturdays

Sunday Best

10pm ‘til 5am with DJs Matt and Pete. Two for one drinks and free entry until 11pm.

Duncan n. Sargeant, Lindsay Heffernan, Acacia Suitcase. 5-7pm, free.

Vel’vette

HIPPO LOUNGE

Playing every Tuesday and Sunday night, from 5pm.

Live

Batrider

CUBE NIGHTCLUB

Obsessions

Obsessions powerhouse show guaranteed to get you dancing!

THE FRONT CAFE AND GALLERY

P J O’REILLY’S, TUGGERANONG

Something Different

Australia’s premier beat maker brings his DJ talents to Transit for a night of spectacular hip-hop.

The Great Canberra Science Scramble

A science scavenger hunt with awesome prizes. Runs from Aug 12-21. More info: sciencescramble.com.au CSIRO DISCOVERY CENTRE

M-Phazes

TRANSIT BAR

Priory Dolls 9.30pm.

THE PHOENIX PUB

As Famous as the Moon CASINO CANBERRA

saturday august 20 Arts CCAS - One Place, Three Exhibitions

Jacqueline Bradley’s The Outdoors Type, Andrzej Zielinski’s Prototype & Ash Keating’s Activate 2750.

CANBERRA CONTEMPORARY ART SPACE GORMAN HOUSE

Theatre - Life x 3 By Yasmina Reza A witty and acerbic play, directed by Garry Fry. From Aug 5-20, Wed-Sat, 8pm. CANBERRA REPERTORY

Conflict and Contemplation

A collaborative exhibition by Michael Ellis and Stephen Harrison. BELCONNEN GALLERY

Oscar

KING O’MALLEY’S, CIVIC

Jackie Marshall & Melanie Horsnell A double bill of female singersongwriters. $20, 7.30pm.

THE FRONT CAFE AND GALLERY

Something Different The Great Canberra Science Scramble

A science scavenger hunt with awesome prizes. Runs from Aug 12-21. More info: sciencescramble.com.au CSIRO DISCOVERY CENTRE

ANU DRILL HALL GALLERY

Beautiful works in handmade paper and fibres. ‘Til Aug 28. CANBERRA GLASSWORKS

Theatre - Destination Home

Irish Jam Sessions

Personal reflections on migration. Tix $25 + bf from The Street Theatre 6247 1223. 7.30pm.

KING O’MALLEY’S, CIVIC

Comedy

A BITE TO EAT CAFE

The scuzzy guitared and snarled vocal’d trio return. 7.30pm. THE PHOENIX PUB

The Shed Sessions

2pm, entry by donation. THE ARTISTS SHED

THE STREET THEATRE

Open Mic Comedy

THE FRONT CAFE AND GALLERY

Live Open Mic Night 9pm, Free.

Something Different

POT BELLY BAR

The Great Canberra Science Scramble

Playing every Tuesday and Sunday night, from 5pm.

A science scavenger hunt with awesome prizes. Runs from Aug 12-21. More info: sciencescramble.com.au CSIRO DISCOVERY CENTRE

monday august 22 Arts Conflict and Contemplation

A collaborative exhibition by Michael Ellis and Stephen Harrison. BELCONNEN GALLERY

Exhibition – Not To Be Contained

Ceramics by Jane Crick and Jacqueline Lewis. ‘Til Aug 28. CANBERRA GLASSWORKS

Exhibition - Abstraction

Bringing together and juxtaposing the work of ten abstractionists. ‘Til Sept 25. ANU DRILL HALL GALLERY

Exhibition – Transience

Beautiful works in handmade paper and fibres. ‘Til Aug 28. CANBERRA GLASSWORKS

Irish Jam Sessions KING O’MALLEY’S, CIVIC

Something Different Trivia @ The Phoenix

Enjoy a vague sense of accomplishment. From 7.30pm, with $10 cocktails from 9pm. THE PHOENIX PUB

Karaoke Love

Every Tuesday, from 9pm. Free entry. TRANSIT BAR

wednesday august 24 Arts Conflict and Contemplation

A collaborative exhibition by Michael Ellis and Stephen Harrison. BELCONNEN GALLERY

Exhibition – Not To Be Contained

Ceramics by Jane Crick and Jacqueline Lewis. ‘Til Aug 28. CANBERRA GLASSWORKS

Win a trip to Ireland

Only at King O’Malley’s. Purchase a pint of your favourite Carlton beer or Bulmer’s Cider and go into the draw for your chance to win!

Dogbolter Dark Larger and Fat Yak first on tap at Canberra’s Best Live Entertainment Venue. Enjoy alcohol responsibly. Warm up by our open fire and enjoy a traditional hot mulled wine or hot spiced cider with a dash of Captain Morgan’s rum. Thurs 18 Aug, Chicago Charles Fri 19 Aug, Mitch Canas (5pm), plus Special K (10pm) Sat 20 Aug, Oscar Sun 21 Aug, Irish Jam Session Mon 22 Aug, Trivia (every Mon at 6.30pm) Tues 23 Aug, Irish Jam Session Thurs 25 Aug, Dos Locos Fri 26 Aug, Joel Harrison (5pm), plus Top Shelf (10pm) Sat 27 Aug, TBA Sun 28 Aug, Irish Jam Session Mon 29 Aug, Trivia (every Mon at 6.30pm)

King O’Malley’s. We’re your local pub. 2011 out and tag your photo on our Facebook page: Facebook.com/kingomalleys Don’t forget to check

2011

GIG GUIDE Aug 24 - Aug 28 wednesday august 24 Arts Exhibition - Abstraction

Bringing together and juxtaposing the work of ten abstractionists. ‘Til Sept 25. ANU DRILL HALL GALLERY

Exhibition – Transience

Beautiful works in handmade paper and fibres. ‘Til Aug 28. CANBERRA GLASSWORKS

Theatre - Destination Home

Personal reflections on migration. Tix $25 + bf from The Street Theatre 6247 1223. 7.30pm. THE STREET THEATRE

Live

Dance Alex Carder HIPPO LOUNGE

Day Play DJs in the Beer Garden

Every Thursday, from 2pm onwards. ANU BAR AND REFECTORY

Live uniJam

Young, genius musicians casually jamming with an electronic producer, midday-2pm. Sun, beer, bands, DJs and fusion on the deck. 2pm - 7pm.

HIPPO LOUNGE

Dos Locos

Brothers Grimm

Andy Butler Trio

TRANSIT BAR

Balance and Composure

KING O’MALLEY’S, CIVIC

Every Wednesday, from 7:30pm TRANSIT BAR

thursday august 25 Arts

National Campus Band Comp ACT Finale

Exhibition – Not To Be Contained

7.30pm.

THE PHOENIX PUB

Fernando Aragones

Theatre - Destination Home

Personal reflections on migration. Tix $25 + bf from The Street Theatre 6247 1223. 7:30pm. THE STREET THEATRE

Comedy Green Faces 11 - Mikey Robins Tickets from Canberra Ticketing 6275 2700, or greenfaces.com . CANBERRA IRISH CLUB

Faux Real

CUBE NIGHTCLUB

KNIGHTSBRIDGE PENTHOUSE

HIPPO LOUNGE

The Only & Oh! Snap

A big double bill of club stomping madness. Congrats to The Only’s Jeff Drake, who recently married! ACADEMY NIGHTCLUB

Live Friday Night Acoustic series

HIPPO LOUNGE

Wouldn’t buy you a cup of coffee if your life depended on it.

Cube Saturdays

10pm ‘til 5am with DJs Matt and Pete. Two for one drinks and free entry until 11pm. CUBE NIGHTCLUB

Alex Smoke (UK)

Supoprted by Darkchild and Galaktic, Gabe Gilmour, Yohann Strauss and more. Tix through Moshtix. TRANSIT BAR

HARMONIE GERMAN CLUB CASINO CANBERRA

saturday august 27

With Second Sun & Marc Robertson. Free Entry. Doors at 8pm.

Final Lies

With special guests Johnny Roadkill, Point of View, Mandala and Activate Jetpack. 8pm, $10. THE MARAM, ERINDALE CENTRE

Arts

Quartessence Trio

Liam Finn

Exhibition – Transience

Beautiful works in handmade paper and fibres. ‘Til Aug 28.

khancoban

THE FRONT CAFE AND GALLERY

Wobble4 / D’Opus

A night of art and design, soundtracked by D’Opus. KNIGHTSBRIDGE PENTHOUSE

Karaoke

8.30pm till 11pm followed by DJ Kiz ‘til 5am. CUBE NIGHTCLUB

friday august 26

Beautiful works in handmade paper and fibres. ‘Til Aug 28.

ARC CINEMA, NATIONAL FILM & SOUND ARCHIVE

Foreplay Fridays

Roots/folk/funk fusion, combining South American groove with acoustic Australian coast. $10, 7.30pm.

ANU DRILL HALL GALLERY

A series of films honouring the late, great Bill Hunter.

Alex Carder

KNIGHTSBRIDGE PENTHOUSE

POT BELLY BAR

Arts

ARC - Bill Hunter - Newsfront (1978, PG)

Beats, Riddims, and Ciphers.

KING O’MALLEY’S, CIVIC

Exhibition - Abstraction

Bringing together and juxtaposing the work of ten abstractionists. ‘Til Sept 25.

Dance

Sister Jack

CIT MUSIC INDUSTRY CENTRE

Ceramics by Jane Crick and Jacqueline Lewis. ‘Til Aug 28. CANBERRA GLASSWORKS

THE STREET THEATRE

Joel Harrison (5pm) & Top Shelf (10pm)

Something Different

BELCONNEN GALLERY

Personal reflections on migration. Tix $25 + bf from The Street Theatre 6247 1223. 7.30pm.

Pyréne Unplugged

Arc: American Graffiti

A collaborative exhibition by Michael Ellis and Stephen Harrison.

Theatre - Destination Home

Natalie Magee Duo

ANU BAR AND REFECTORY

Conflict and Contemplation

ANU DRILL HALL GALLERY

8 bands square off for ACT supremacy, before going on to represent ACT in the Nationals. 6pm, $5.

CANBERRA GLASSWORKS

ARC CINEMA, NATIONAL FILM & SOUND ARCHIVE

Bringing together and juxtaposing the work of ten abstractionists. ‘Til Sept 25.

Live

Beautiful works in handmade paper and fibres. ‘Til Aug 28. George Lucas’ rock and roll classic in a new 35mm print. 7pm.

TRANSIT BAR

Exhibition - Abstraction

8pm, Free.

The experimental/pop/folk artist pays us a visit. Tix $25.65 + bf from Ticketek. 8pm.

Exhibition – Transience

Bel Air – featuring PhDJ.

A Touch Of Soul

Hippo Live

Fame Trivia @ Transit

Purple Sneakers

uniVibes: Open Thursdays

TUGGERANONG YOUTH CENTRE

Something Different

Dance

UNION COURT, ANU

The well-oiled blues machine returns for another low-down and dirty session. $12+BF through Moshtix.

BAR 32

THE STREET THEATRE

9pm ‘til 5am with DJs Matt & Pete. Two for one drinks & free entry until 11pm.

Dream on, Dreamer

A “sonic assault melding influences such as Sunny Day Real Estate and Nirvana from Philadelphia”.

Personal reflections on migration. Tix $25 + bf from The Street Theatre 6247 1223. 7.30pm.

Jayo

ANU BAR AND REFECTORY

The Heartbound Tour. Tickets through Oztix, and on the door.

Theatre - Destination Home

Exhibition – Transience

CANBERRA GLASSWORKS

Conflict and Contemplation

A collaborative exhibition by Michael Ellis and Stephen Harrison. BELCONNEN GALLERY

Exhibition – Not To Be Contained

Ceramics by Jane Crick and Jacqueline Lewis. ‘Til Aug 28. CANBERRA GLASSWORKS

Exhibition - Abstraction

Bringing together and juxtaposing the work of ten abstractionists. ‘Til Sept 25. ANU DRILL HALL GALLERY

ACT Writers Poetry Slam From 7.30pm, free entry.

THE FRONT CAFE AND GALLERY

CANBERRA GLASSWORKS

Arc: Bigger Than Life (PG)

A look at the work of the 1950s noir director. 4.30pm.

ARC CINEMA, NATIONAL FILM & SOUND ARCHIVE

Arc: American Graffiti

George Lucas’ rock and roll classic in a new 35mm print. 7.30pm. ARC CINEMA, NATIONAL FILM & SOUND ARCHIVE

Exhibition – Not To Be Contained

Ceramics by Jane Crick and Jacqueline Lewis. ‘Til Aug 28. CANBERRA GLASSWORKS

CASINO CANBERRA

Slow burn folk ‘n’ rock, with support Matt McBeath. $6, 7.30pm. THE FRONT CAFE AND GALLERY

RJ Chops & Army of Ignorance From 7.30pm.

THE PHOENIX PUB

sunday august 28 Arts Exhibition - Abstraction

Bringing together and juxtaposing the work of ten abstractionists. ‘Til Sept 25. ANU DRILL HALL GALLERY

Exhibition – Transience

Beautiful works in handmade paper and fibres. ‘Til Aug 28. CANBERRA GLASSWORKS

GIG GUIDE Aug 28 - Sept 01 sunday august 28 Arts Arc: American Graffiti

George Lucas’ rock and roll classic in a new 35mm print. 4.30pm. ARC CINEMA, NATIONAL FILM & SOUND ARCHIVE

Exhibition – Not To Be Contained

Ceramics by Jane Crick and Jacqueline Lewis. ‘Til Aug 28. CANBERRA GLASSWORKS

Theatre - Destination Home

Personal reflections on migration. Tix $25 + bf from The Street Theatre 6247 1223. 7.30pm. THE STREET THEATRE

Live

Something Different

Comedy

Live

Trivia @ King O’s

Green Faces 11 - Peter Helliar

Calling All Cars

KING O’MALLEY’S, CIVIC

CANBERRA IRISH CLUB

Every Monday night. 7pm, free entry, $100 bar tab first prize.

tuesday august 30 Arts Exhibition - Abstraction

Bringing together and juxtaposing the work of ten abstractionists. ‘Til Sept 25. ANU DRILL HALL GALLERY

Tickets from Canberra Ticketing 6275 2700, or greenfaces.com .

TRANSIT BAR

Dance

Something Different

Ced Nada

Karaoke

KNIGHTSBRIDGE PENTHOUSE

8.30pm till 11pm followed by DJ Kiz till 5am.

Day Play DJs in the Beer Garden

Melbourne’s hard working rockers with new album Dancing With A Dead Man. $20 + bf Moshtix. 8pm.

CUBE NIGHTCLUB

Every Thursday, from 2pm onwards. ANU BAR AND REFECTORY

Live Irish Jam Sessions

Playing every Tuesday and Sunday night, from 5pm. KING O’MALLEY’S, CIVIC

Sunday Best 5-7pm, free.

A BITE TO EAT CAFE

Irish Jam Sessions

Playing every Tuesday and Sunday night, from 5pm. KING O’MALLEY’S, CIVIC

The Bedroom Philosopher

Music, comedy, and musical comedy. With special guest Catboy. Tix $15 + bf from Moshtix. Doors 6pm. TRANSIT BAR

Metal/Industrial Night

With Red Siren, Tortured & Guests. From 7pm, free. THE PHOENIX PUB

Pear and the Awkward Orchestra

Brings her charming solo act of quirky folk/pop to Canberra from Brisbane. $10, 7.30pm. THE FRONT CAFE AND GALLERY

monday august 29

Something Different Trivia @ The Phoenix

Enjoy a vague sense of accomplishment. From 7.30pm, with $10 cocktails from 9pm. THE PHOENIX PUB

Karaoke Love

Every Tuesday, from 9pm. Free entry. TRANSIT BAR

wednesday august 31 Arts Exhibition - Abstraction

Live Evil

Futility

Bringing together and juxtaposing the work of ten abstractionists. ‘Til Sept 25. ANU DRILL HALL GALLERY

Something Different Fame Trivia @ Transit

VENOM EYES

Every Wednesday, from 7.30pm TRANSIT BAR

Arts Exhibition - Abstraction

thursday september 01

Bringing together and juxtaposing the work of ten abstractionists. ‘Til Sept 25.

Arts

Live

Bringing together and juxtaposing the work of ten abstractionists. ‘Til Sept 25.

ANU DRILL HALL GALLERY

3 Dykes & A Mic Present Bootleg Sessions

With Jude Kohn, Rachel Oak Butler & Beth Monzo. From 7pm, free entry. THE PHOENIX PUB

Exhibition - Abstraction

ANU DRILL HALL GALLERY

The Basement Sat 3rd September $10 Cohen St Belconnen

All proceeds going to MND NSW (http://www.mndnsw.asn.au/) providing support and information to people with all types of motor neurone disease, their families and carers in NSW, ACT and NT

OUT AUG31

THE LIVING END BOY & BEAR GLENN RICHARDS SPARKADIA DYLAN MORAN ...AND MORE!

FIRST CONTACT

SIDE A: BMA BAND profile

Final Lies Where did your band name come from? Final Lies is the replacement for our old band name Alone With You. When our singer and line-up changed, so too did our name, and Final Lies was the winner, picked from a short list of some very average band name ideas, including ‘Live Band’, ‘Free Entry’ and ‘$2 Schooners’. Group members: Sally (vocals), Johnny (lead guitar), James (guitar), Evan (bass) an Josh (drums). Describe your sound: Josh: To put it simply, I’d describe it as melodic guitar-driven rock. Our sound is slightly more refined now than on our previous EP. Who are your influences, musical or otherwise? Sally: So, so many influences, especially when I was young. In high school I was really inspired vocally by Killing Heidi, Silverchair, and Incubus, and later on stuff like SOAD, Deftones, Sevendust, Sunk Loto and Superheist. What’s the weirdest experience you’ve had whilst performing? Evan: We once had a streaker run through the crowd at The Basement. What’s your biggest achievement/proudest moment so far? Evan: Simultaneously having three songs off our first EP in the Top 10 of the triple j Unearthed charts for a few weeks in 2009. What are your plans for the future? Evan: We’re about to record our new EP at Electric Sun studios next month. We’ve got some killer songs that will be on that one. What makes you laugh? Josh: Nothing. I was cursed last week and now have absolutely no sense of humour… Though ‘mum’ jokes and farts still slightly amuse me. What pisses you off? Sally: People. I studied psychology to try and figure out why people are so annoying. It didn’t help. What’s your opinion of the local scene? Sally: It’s fucking awesome right now. We just need some more venues to pop up, not to say the current ones aren’t good but we could use some more. What are your upcoming gigs? Saturday August 27 with Johnny Roadkill, Mandala, Point of View and Activate Jetpack. 8pm at The Maram; Thursday September 22, 8pm at The Valve (Sydney), plus more in later months. Contact info: final.lies@gmail.com, www.facebook.com/ finallies, www.myspace.com/finallies

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.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 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