COVER LINE INSIDE: INFO
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[CONTENTS]
[Canberra’s Entertainment Guide]
#491MAR/APR
Redesign? It was like that when we got here. Mail: PO Box 713 Civic Square, ACT 2608
MOANING LISA
Publisher Radar Media Pty Ltd.
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General Manager Allan Sko T: (02) 6257 4360 E: advertising@bmamag.com Editor Andrew Nardi E: editorial@bmamag.com Accounts Manager Ashish Doshi T: (02) 6247 4816 E: accounts@bmamag.com Sub-Editor Sarah Naughton Graphic Designer Andrew Nardi Cover photo by Jo Duck
KATE MILLERHEIDKE
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CLIENT LIAISON
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CERES
Film Editor Majella Carmody Entertainment Guide Editor Nicola Sheville Social Media Managaer Sharona Lin Columnists Cody Atkinson, Dan Bigna, Noni Doll, Leanne Duck, Eleanor Horn, Cara Lennon, Sharona Lin, Josh Nixon, Peter O’Rourke Contributors (This Issue) Scott Batum, Clare Brunsdon, Tim Butler, Jessica Conway, Karolina Firman, Hayden Fritzlaff, Morgan Hain, Sam Ingham, Pat Johnson, Rory McCartney, Jarrod McGrath, Chenoeh Miller, Zoe Pleasants, Thomas Spillane, Claudia Tilley, Samuel Townsend, Indigo Trail NEXT ISSUE #492 OUT Tuesday April 11 EDITORIAL DEADLINE Thursday March 30 ADVERTISING DEADLINE Wednesday April 5 ABN 76 097 301 730 BMA Magazine is independently owned and published. Opinions expressed in BMA Magazine are not necessarily those of the editor, publisher or staff.
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DAVE HUGHES
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LITERATURE IN REVIEW ALBUM REVIEWS FILM REVIEWS THE WORD ON GIGS ENTERTAINMENT GUIDE
RICHARD THE THIRD
BONNIE RAITT
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COLD LIGHT
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p. 42 p. 51 p. 54 p. 60 p. 62 p. 67 @bmamag
FROM THE BOSSMAN [CLIMBING] BY ALLAN SKO [ALLAN@BMAMAG.COM]
We were One. Yet, we were Two. Where the harsh bite Of an Ouroboros wedding ring Would choke into its circle For the rest We? Were free Like two light-seeking vines Snaking up the same tree Rubbing and caressing The foreign rough bark and coarse branches Knowing a place awaited us Above
EDITOR’S BLAB [JUST SAYING HELLO] WITH ANDREW NARDI [EDITORIAL@BMAMAG.COM]
Hey, mate. You busy? Nah, it’s all good. Just wanted to tell you about the new BMA Mag. It’s nothing special, really, it just looks a little bit different. I mean, you probably don’t remember what it used to look like anyway. Oh, you do? Haha. Appreciate it, mate. Thanks.
Speaking of settling in, you should head along to the film reviews and welcome our new film editor, Majella Carmody, who’s taking over for the irreplaceable Emma Robinson. Expect Majella to take a look at films that are a little more outside the mainstream choices.
But yeah, it looks good, I reckon. We were rocking that old theme since like, 2009, I think, now we’ve pulled everything into 2017. Or at least 2014. We’ll get there eventually. It’s the climb.
New to Canberra? Bit hungry? Or just looking for somewhere to grab a beer? We’ve got a new column called ‘Food Junky’, headed by the savvy Sharona Lin. She’ll give you all the deets on local eats, and bars too.
We’ll probably tinker with these new designs over the next few issues while we get settled in.
Yep. New film editor, new food column, new design. It’s the beginning of a new era.
I burst through the top; warmed by the sun’s speckled embrace Giddy with expectation And with story to share Waiting with eagerness; craving your care I wait. And I wait, darting a frantic eye Until the sun left its station For a grim crepuscular sky Soon the eagerness Turned into to dust I crave. Now with bitterness Which soon turns to lust Through liar’s teeth I say I care... No more For it is then I know As my vine wilts and slowly dies The other vine Which I once thought of as mine Had Twisted around a branch, far below Quite some time ago Leaving me Waiting For Godot After a lifetime, the sun brings with it a new day So I slowly climb back down To be with earth and clay
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YOU PISSED ME OFF! [ENTRIES CONTAIN ORIGINAL SPELLINGS] SEE YOUR HATE SPREAD TO THOUSANDS. EMAIL EDITORIAL@BMAMAG.COM.
Scenario: I was driving up on one of the ramps onto Adelaide Avenue. Usually, if there are cyclists trying to cross the ramp to continue on their cycle path, I slow down or stop, and wave them through. We exchange a friendly wave and a smile and continue on our respective ways. We both have a good start to our day. This time - and it’s already a warning sign - it was a recumbent bike, with a greybearded public servant type. I stop, politely wave, the guy stops too and aggressively waves me to continue driving. When I drive past, he gives me a finger and tells me to f... off.
Wow.. You sir pissed me off. First of all, who, with any dignity and intelligence, would ride a bike like that? It looks completely unergonomic. It’s low (hardly visible if you drive past them). It’s hard to get on and off of it, it’s a disaster of design. Riders of these contraptions could just as well have “I’m a pretentious wanker” tattooed on their forehead.The riders are always undernourished men with grey beards (perhaps a ponytail under their helmet) looking like they’re just coming from a morning tofu festival cycling to their comfy parasitic job, probably writing studies on the effect of climate change on intergender squirrels or such. PAGE 13
[TIDBITS]
UPCOMING GIGS
Bandaluzia Flamenco / Tour / Fri Mar 17 / Tuggeranong Arts Centre Experience authentic Flamenco with acclaimed ensemble Bandaluzia Flamenco. The music and dance ensemble is the brainchild of ARIA nominated guitarist Damian Wright and dancer Jessica Stratham. Their shows are highly regarded as an experience that ignites
the senses with the grace of Flamenco. Featuring guest vocalist Naike Ponce from Sanlucar de Barrameda in Spain, Naike combines the passion and energy of Flamenco with a gentle expression of the human aspects of Flamenco culture. [7pm / $35 via TryBooking]
Raices: Afro Latin Festival / Music Festival / Sat Mar 25 / Various Locations Raices is an Afro Latin Festival – a one day celebration of Afro Latin music, dance and culture. Taking place at Smith’s Alternative, Playing Field Studios and Corzaon Studios, the festival includes a free concert and street jam, plus a nighttime concert and Cuban salsa afterparty until late.
Among the festivities, there’ll also be dance and percussion workshops. Check Facebook for the full festival schedule, including set times and locations. [10am–2am / $20–$55 at TryBooking]
Irish Mythen / Tour / Wed Apr 5 / Smith’s Alternative Canadian songwriter and storyteller extraordinaire Irish Mythen has conquered the Australian folk scene over the past two years, with performances that pin you to the back wall with their honesty, wit, and emotional intelligence. Her live performances are a thing of PAGE 14
wild emotion as she pours heart and soul into every word she sings. She has a way of delivering her songs that leave you in awe of her vocal talent and remembering the show, the songs and the performer long after you’ve walked away. [7pm / $25 at smithsalternative.com.au]
Archer / Tour / Fri Mar 24 / Smith’s Alternative Archer is an old-time, sing-song man with a truly captivating voice that reaps of experience well beyond his years. He has a new single out on March 18, ‘My Little Sweet Aussie Sweetheart’, a beautiful rediscovery of Mike O’Malley’s little known original ballad from the 1950s. It’s a
sunburnt rambler and is as refreshingly humble as the man behind the voice that croons it. In true Archer style, and in honour of all the sweet Aussie sweethearts out there, he is also offering free admission to any of his shows to all women over 65. [9pm / $15 at smithsalternative.com.au]
sleepmakeswaves / Tour / Thu Mar 30 / ANU Bar Post-rockers sleepmakeswaves have announced their third album Made of Breath Only, which will be released Friday March 24. Known for the passionate energy they bring to live instrumental rock, the band will bring their epic and climactic live show to Canberra, premiering new material from the
album for the first time, as well as favourites from their previous ARIA-nominated albums. Joining the tour as special guests are Australian progressive rock heavyweights Caligula’s Horse. [8pm / $30 + bf via musicglue.com]
Bob Evans / Tour / Thu Apr 20 / The Front The ARIA winning Bob Evans is kicking off his latest tour at The Front. He’ll also be treating fans to a complementary sixtrack EP, Zeroes To Heroes, of unreleased material for all tickets purchased from his website and online outlets. Evans’ substantial body of work is characterised by
gentle, acoustic melodies that envelop classic folk storytelling with a strong emotional pull. Gracing the Australian music scene for more than two decades, Evans has written some of the country’s most beloved songs. [7:30pm / $25 + bf at bobevans.com.au] @bmamag
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LOCALITY
[THE WORD ON LOCAL MUSIC] WITH NONI DOLL [NONIJDOLL@GMAIL.COM / @NONIDOLL]
Suddenly, we’re in the middle of the month where Canberra is at its absolute best, throwing out a massive splash of sound and colour before it all splinters into frost. Let’s see what our fellow Canberrans are doing with the last bits of warm weather. Of course, March is the month of fantastic local festivals, and 2017 has some brilliant programs lined up. Art, Not Apart is on Saturday March 18 from 1pm across a range of sites, and includes local music show from Coolio Desgracias, Endrey, Anjay, GhostNoises, Illuman8, Humanizm, Laura Ingram, Raio De Sol, Michael Misa and more, with notable mentions for The Babyfreeze Fan VIP Champagne Breakfast!$!, the launch of the This Band Will Self Destruct exhibition at NFSA (seriously, the most nuts music project of 2016), and the F-ck Art, Let’s Party afterparty in Fyshwick. For all the details of who’s playing where, put artnotapart.com in your browser’s URL bar. Once you’ve recovered from that glorious weekend, you can rev up for even more glory when You Are Here runs Wed–Sun April 5–9. The full program can be found at youareherecanberra.com.au, and musically speaking, includes shows from The Norah Jones Half Hour, Ostracod, tennis themed punk improvisation from RACQUET RACKET DUEL DUAL, a daring new composition project from Reuben Ingall, Emma Kelly (Happy Axe), Paul Heslin, Chloe Hobbs and Ben Drury, as well as surprise lunchtime sets at the Milk-crate Band-stand in Garema Place. Of particular note to Canberra music lovers is Never Meant To Be, a tribute to Slush Pile, a “seminal but almostforgotten Canberra ‘80s indie pop band”. Interesting…
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On Saturday March 25, Kristabelle and the Southern Jubilee Ringers’ CD Ranch-Party Round Up will mark the launch of their debut, Get Along, full of beautiful country harmonies and cowboy songs. They’ll be riding out from 7:30pm at Smith’s Alternative, and entry is $12. This will be followed by a little bit of African rhythm for your soul when Zambezi Sounds perform at 9pm in a separate show. Tickets for that one are $15. Things are pretty jam-packed with local talent at the Phoenix as well! On Saturday March 18 from 9pm, you can catch sets from Rumblr, Wesley & the Crushers, and An Inconvenient Groove for $5 entry. March’s Bootleg Sessions include performances from Time & Weight, Moondog J, The Black Horses and Okinawa Girls on Monday March 20, and The Sticky Bandits, Betty Alto and Naked Scientist on Monday March 27, both shows free and starting at 8pm. Things might get a little tricky when The Fuelers play on Saturday April 1, and on Friday April 7 you can catch Wharves, Brother Be and Dom Lavers. Both those gigs start at 9pm and have a $10 entry charge. Finally, Waterford are launching their new single, ‘Libra II (Who Must be Obeid)’, on Saturday April 1 at Smith’s Alternative. Does this mean their next album is just around the corner? Head along from 7pm, pay your $10 entry, enjoy a set of brilliant indie rock, and then needle them about that for me, okay? Until next time, enjoy the warmth while it’s still here!
THEY MUST BE OBEYED BY CODY ATKINSON PHOTO BY MEGAN LEAHY
“The song is almost purely inspired lyrically by wondering what it would be like to be in that family unit at the time that all the stuff was going down.” Glen Martin, frontman of local guitar-pop stalwarts WATERFORD, looks around and takes a sip of his coffee, soaking in the Belconnen City Centre around him. “I was particularly inspired by Moses, who was like a cartoon idiot. He was particularly, amusingly, idiotic.” The Moses that Martin is talking about is Moses Obeid, son of imprisoned former NSW Labor minister Eddie. The reason he was doing so was that it was the inspiration for Waterford’s long awaited comeback, ‘Libra II (Who Must Be Obeid)’. “I was more intrigued by some of the grey areas of corruption, and imagining if you were in that family unit, if you were dating an Obeid as that was happening … and you knew certain things were happening, but you were intoxicated by that proximity to wealth.” Martin adds. Since the release of their 2011 album Say OK, Waterford have been slowly working towards its follow up, tentatively titled Prior Works. ‘Libra II’ sees the band stripped back, and more in the vision that the band sees in themselves. “I’ve tried to write kinda Pavement-y songs, Sonic Youth songs. I’m not good enough a musical magpie to make them sound close to that.” Martin pauses. “What ends up happening is that these songs are the ones that, for whatever
reasons, felt like they had to emerge, not trying to use a preexisting language.” The process behind Prior Works has seen an early attempt scrapped already, in the belief that the final product is something worth working towards. “The reason we are pushing on is because we have something better. I would be deeply annoyed if we didn’t have this tangible set of songs that sound like four people on the same page.” When BMA asks Martin how he would want others to see the band, he has a simple response. “I don’t care. I think we should be vicious with our culture, I think we should ask a bit more of it, I think we should disregard it if we need to. By the same token if you get it, and you like it you should be unapologetic about it. “Everything about Waterford is an acquired taste, and I’m really grateful if you’re into it. And it’s totally cool if you’re not. I totally understand it.”
Everything about Waterford is an acquired taste, and I’m really grateful if you’re into it The new material has spurred the band to do a run of shows, something Martin considers vital to being a part of a band, despite his occasional nerves. “I get hugely nervous before playing live. I’m OK with nervousness – I’ve accepted that’s what happens at that point. But I always enjoy it more than I think I would.” Catch WATERFORD at their single launch on Saturday April 1 at Smith’s Alternative, supported by Shoeb Ahmed. Doors at 7pm, tix are a tenner.
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PHOTO BY JANNICE BANKS PAGE 18
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MOANING LISA THE SWEETEST BAND IN TOWN
BY ELEANOR HORN
It’s been almost a year since local band MOANING LISA formed, and they have been my favourite Canberra act ever since. Actually, they’re probably my favourite band, Canberra-based or otherwise. They are Hayley, Ellen, Charlotte and Andy/Hayden. They’re about to release their first EP. Here is their long overdue feature. “I saw these guys in contemporary ensemble, which was part of a unit we were doing for our music degree … I saw Hayley playing a lead solo for an assessment,” says Ellen. “Yeah, and then I kicked a chair over,” Hayley added. Ellen approached Charlie with the idea of forming a band, after seeing Charlie play an acoustic cover of Wolf Alice’s ‘Moaning Lisa Smile’. “I hit Charlie up … I was like, hey, I’ve seen you around, do you want to jam?” “Hey, I saw you like Wolf Alice. I like Wolf Alice – so does my friend Andy, who happens to be a drummer. Let’s be in a band together.” Hayley didn’t join the band until the last minute, but Charlie knew she was the woman for the job. At the time, Hayley was already in a cover band. With a bunch of middle-aged white dudes. Who didn’t let her play guitar – only sing. “This chick is dope. This chick is a better guitarist than the lead guitarist in this band. What the fuck are they doing? What is she doing?” said Charlie. At the end of one of their gigs, Hayley realised she was too good for that shit, and Moaning Lisa was formed. Apart from Wolf Alice, they cite their main influences as Sleater Kinney, Sonic Youth and Mitski. “Mitski’s phrasing is just so delicious … she’s a classically trained singer. Me, not so much. But I like the sound of it, so [in] ‘New Age Boy, there’s these really
long, breathy phrases, and fuck, it took us a long time to master, but I think we’ve got it now.” Charlie says ‘New Age Boy’ is probably their most ‘queer’ song. “As a queer woman, especially as a young queer woman, you date a lot of straight girls. And they kind of treat you like a boyfriend – like
“It was interesting recording, as opposed to playing live. There was a lot more precision required…” said Ellen. “It took me half a day just to sing one line,” added Charlie. “It was weird being in a studio and having no one looking at you, singing these songs you’re so used to singing to people.” The EP will be released digitally, but with an added something special. “So, we’re not doing CDs. We figured it’s just a waste of money in this day and age. But I still really like buying a tangible object. We also really like when bands put lyrics in their CDs, so I thought, why don’t we make a lyric book?”
If being a sell-out means being successful, reaching a lot of people, and being able to live comfortably off doing what you love – I would love to be a sell-out a sensitive, enlightened guy … It plays on that manic pixie dream girl idea where the only purpose [queer women] are playing in a person’s life is to help them feel more enlightened, and to evolve in some way…” As for their sound, they describe themselves, broadly, as alternative rock. “I like to say shoegaze lite. Low-carb shoegaze. No added sugar shoegaze.” And it was this calorie-friendly version of shoegaze that won them the 2016 National Campus Band Competition. “… through that we were able to go to Melbourne and record for three days – 9-to-5 kind of deal. So we got our shit together. We decided that we only, realistically, would be able to record a four-track EP, and make it as good as we wanted to make it.”
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The EP will be available through the usual suspects; Spotify, iTunes, Bandcamp – and the lyric book will feature art from local artists Alice Worley, Augustine Bamberry and Benedicte O’Learly Rutherford. “It’s skipping the CD, but keeping the best part about a CD.” In addition to recording an EP, Moaning Lisa have recently released their first music video for their track ‘Shoe-In’. “The main thing we wanted to do was capture a vibe that was authentic to how we actually live. No one there is an actor, we’re all friends, and I thought it was really important to encapsulate that. [The song is about] growing up and being told you’re so smart, and so capable and you’re going to do such big things. When I was little I was like, ‘by 20 I’m going to be graduated, blah, blah, blah,’
and you get to those ages and you’re like, ‘well fuck, I haven’t done that’. “[But] we still have such full, amazing lives. I consider us successful, in terms of the love we have, and the friends we have. So we wanted to capture that in the video clip.” ‘Shoe-In’ is the first track on their EP, The Sweetest. “As women, as musicians, as artists – we’re all forced into this position of pleasing others, and being palatable, and this whole idea of being ‘sweet’. It’s a snub to that idea. It’s toying with the idea of femininity, what it means to be a woman.” Their music video and EP launch are just two of many projects Moaning Lisa are involved in. You may have heard them interviewed on triple j for International Women’s Day, and you will be able to see them soon in a short film from the One Woman Project. Moaning Lisa have a couple more announcements on the way – but I won’t spoil them yet. What I can say, however, is that I think this is the start of something important. “I don’t want us to just dissipate. I hate the phrase, ‘selling out’, because people [who say that] have tried to be successful themselves, and therefore resent other people for pursuing that. If being a sell-out means being successful, reaching a lot of people, and being able to live comfortably off doing what you love – I would love to be a sell-out.” MOANING LISA’s debut EP ‘The Sweetest’ releases on Friday March 24. Catch them playing their PreOrder Launch Show at Transit Bar on Thursday March 23. They’re also playing the Rad Bar in Wollongong on Friday March 24 and at The Factory Theatre in Marrickville on Saturday March 25.
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AN AUDIO AND VISUAL FEAST BY RORY MCCARTNEY The songbird with the three-octave voice, KATE MILLER-HEIDKE, is returning to Canberra. You may have heard her brilliant albums Little Eve or O Vertigo! or seen her with a rock band, but she is returning to perform with an orchestra in a format vastly different from her previous indie-pop performances. Endlessly creative, MillerHeidke is always extending her boundaries. These included writing the score for the musical The Rabbits and taking the bold, but successful, step of making a break from her record label. Relying on crowdfunding enabled her to exert more artistic independence when recording, including control over such aspects as videos, photos and artwork. Her biggest production was performing with the Tasmanian Symphony Orchestra (TSO) at the Museum of Old and New Art, Festival of Music and Art (MONA FOMA), which earned her (and the orchestra) a 2016 Helpmann Award for Best Australian Contemporary Concert. Now the show is coming to us and BMA talked with MillerHeidke to find out more. Creating a show of this dimension was no easy task, being in the works for several years with MONA FOMA and the TSO, the driving force behind the production. “It requires a lot of planning and pulling together a group of arrangers, of which we’ve ended up with some of the finest in the country, including Iain Grandage. About three years ago the TSO contacted me and we’ve been in touch since then. I didn’t want to do the standard, boring pop musician plays with PAGE 20
an orchestra thing, playing songs the regular way, but with 45 musicians behind them; I wanted arrangements to be reimagined and rebuilt from the ground
and one song features a beautiful brass choir.” The music is complemented by a special visual aspect, created by filmmaker Amy Gebhardt and woven into the performance. “She does haunting, strange and wonderful videos; some of them even feature nudity. It’s very exciting to me, though I may need to put a nude warning on my concert.” The set list will feature tracks from O Vertigo!, some lesser known songs, new material plus a selection from The Rabbits.
I wanted arrangements to be reimagined and rebuilt from the ground up, to exploit all the textures and colours up, to exploit all the textures and colours, their amazing power and dynamics you get in an orchestra.” A lot of trust was put in the arrangers and Miller-Heidke’s and Grandage’s previous collaborations on The Rabbits for Opera Australia paid off. Punters will find that some of MillerHeidke’s songs, with which they are familiar, will sound a little different. “It’s quite a dramatic concert and those storytelling moments are really powerful, done with an orchestra. There are elements which the arrangers brought out which I didn’t even know were there, or had forgotten were there.” As a singer, performing with an orchestra is quite different from going with a rock band as it increases the scope of what you can do. “You can move through so many sonic landscapes. Strings are gorgeous
This musical creation (music by Miller-Heidke and libretto by Lally Katz), The Rabbits was based on the children’s picture book by John Marsden and Shaun Tan. “It’s such a gorgeous, evocative, moving book with so much detail in the images that make it quite a musical book.” It became a cross-genre opera/contemporary music/baroque vocal work, with each character singing in their own style. “The rabbits sang in a Gilbert and Sullivanesque 19th century British style, the marsupials sang in a more naturalistic, contemporary way, and my bird character sang in an angular, otherworldly, highly decorative fashion. It’s an interesting thing about theatre, how you can express character through vocal quality.” Her training as an opera singer enables Miller-Heidke to present songs over a huge vocal range
and the show is structured to make full use of her talents, to a greater extent than any past gig she has done, especially with the inclusion of The Rabbits material. “It explores the limits of what I can do vocally, which is fun.” While very solid on most material, Miller-Heidke admitted there was one song where she sings on pitch while breathing in, and “some nights that works, other nights it doesn’t.” Of them all, Miller-Heidke loves The Rabbits songs the most. “Those orchestral arrangements, they really take off. Plus I love doing ‘Sarah’, a spooky murder ballad. There’s something about that song that really, really works with a full orchestra. It turbo charges everything.” The local show will be done in conjunction with Canberra’s own 38-piece National Pops Orchestra. They and MillerHeidke will have just a couple of days to rehearse before the show. “So the show will have a wonderful, spontaneous flavour.” Iain Grandage will also conduct the Canberra show, ensuring a high level of performance. Shows vary from venue to venue as Miller-Heidke orders the set list to take account of audience requests, received pre-show through Twitter or Facebook. It has been a couple of years since Miller-Heidke’s last Canberra appearance and this event promises to be both an audio and visual feast. KATE MILLER-HEIDKE and the National Pops Orchestra will play at Canberra Theatre at 7:30pm on Friday April 7. Tickets are $77–$87 + $4.95 BF, with full details available at canberratheatrecentre.com.au.
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RUNNING WITH THE CYCLE OF DEATH Formed in 2012 as a result of a conversation about a “Descendants, No Sleep Records” t-shirt at a backyard BBQ, Melbourne-based CERES turns out pop-rock with a dark edge and a punk/emo taint. After a highly successful tour in support of their album Drag It Down On You, the band is about to hit the road again in support of its latest single ‘91, Your House’. BMA talked to singer/guitarist/ songwriter Tom Lanyon in advance of the band’s Canberra appearance. The band name came from a random choice of the LA town Ceres (pronounced ‘series’), and the band has since learned that it shares the moniker with a dwarf planet, a Roman goddess and an urban farm near Melbourne. “We don’t know how to pronounce it half the time, but so long as people are saying it, we’re fine.” While Ceres is Lanyon’s first band, other members had a longer pedigree, as Lanyon says, “They’ve been in bands since they were kids or teenagers.” Members brought different tastes including emo, alternative, poprock, pop-punk, screamo and post-hardcore. As for Lanyon, “I really like singer-songwriter kind of guys, and the band hinges off the songs I write on an acoustic guitar, then take them in and make it a full band thing.” Lanyon enthuses about their recent album tour, in which they sold out some venues. “We were stoked. It was a month after we released the record and we played a whole lot of Drag It Down PAGE 22
On You. That’s pretty scary as you want to give people what they want and we wondered if people would like it,” he expresses. “It was crazy to hear everyone screaming back the words, really loving the record. It meant a lot to us. To get the reaction we did was a little life affirming.”
BY RORY MCCARTNEY
of it.” The recording experience was a lot easier the second time around too, with 14 days in Sing Sing studios, the producer from the debut as engineer and Tom Bromley from Los Campesinos flown in as producer. “The first time we weren’t 100 percent sure what we wanted to do. This time, we had more direction, knew what sound we wanted and knew we wanted it as dark as possible.” In some way, Lanyon’s songwriting is more of a need to express himself, than being specific about how that expression occurs, and he admits that he might have found this outlet as a novelist or poet, or even a woodworker. “I was being honest about myself, who I was and what I thought of in my downtime. The songs on the record have to be written. Trying to write great sounding music
It’s crazy to sing about something so personal and have hundreds of people sing it back There was a big switch between the sophomore LP and the debut I Don’t Want To Be Anywhere But Here. “The first record was writing stories and singing about other people, plus our shared experiences, and whinging about girls and relationships. Drag It Down On You was more introspective, trying to find out what is going on in my mind. This allowed it to get a lot darker. I love it and am extremely proud
is secondary to being sincere in what we do. It’s an accident if the music sounds OK. For me personally, it’s more about what the song says.” Themes in the new LP revolve a lot around death. Lanyon is not sure of the source, but states that death keeps popping up in his family and it is hard to shake. “This cycle of death kept coming out and I thought I’d better run
with it while it did.” The new single is particularly dark, about the death of his father from cancer. While this is a very heavy topic for a song, it succeeds in combining an upbeat melody with a dark message about illness and death. Asked if the band aims to present stark facts combined with accessible melodies, Lanyon replies, “We’ve been told we do that. It’s a super dark song, yet people jump around and dance to it.” As to how it makes him feel to play it live – sad, angry or a source of release – Lanyon says, “It’s release for sure. The first time you play it, it’s weird and gnarly. I can’t believe I wrote a song about this. The more I do it and the more people sing it back, it changes into something different – more like a celebration. It’s crazy to sing about something so personal and have hundreds of people sing it back. It’s a surreal kind of moment, and I love it.” Jess Locke and her band will play in support. “She writes amazing, beautiful, delicate songs and takes them to her band, who turn them into these great alternative songs.” CERES, supported by Jess Locke, Helena Pop and Video Breezy, play at the Phoenix Bar from 9pm onwards on Thursday March 16. Tickets are $10 on the door, with more details available at ceres.oztix.com.au.
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DANCE THE DROP
JAZZ AT THE GODS
[THE WORD ON DANCE MUSIC] WITH PETER ‘KAZUKI’ O’ROURKE [CONTACT@KAZUKI.COM.AU]
You don’t have to go to every party. Truly. And this might sound contradictory from a DJ, promoter and music writer, but I reckon it’s something important to think about. I read an interesting article on the Mixmag website the other day, which spoke about the perception that a dedicated clubber needs to go to every event. While Canberra might not have the same regular level of high profile international DJs as London, the problem can be the same – there’s an excellent party with a great headliner or concept every weekend, if not multiple amazing events over the one weekend (just look at my gig suggestions below). Sometimes you’ll try to do the thing where you make an appearance at everything, and back up multiple events. But if going out and dancing to music is starting to feel like a chore just to tick off a box – then you’ve probably missed the point in the first place. It’s actually even a little rude to just turn up for the main act, and then move on to the next event. Another aspect the article mentioned is the burnout you can get from heading out every single weekend, especially if you’re properly partying until sunrise… So I guess a bit of advice this month – pick your events, stick around and make the most of the ones you choose. It will make them so much more special, rather having a weekend out becoming the default. With that in mind, take your pick from the amazing selection of parties below! First of the rank is the grand opening of Canberra’s newest nightclub – Kyte – on Akuna Street, Thursday March 16, with LA-based house and EDM DJ Mija. Fast rising Melbourne
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trance producer and DJ Factor B will make an appearance the following night with a bunch of trance locals. Pretty exciting stuff, I’m keen to see how the new space looks! Also that Friday, triple j favourite KLP returns to Mr Wolf. Of course, the big one this weekend is the annual F-ck Art, Let’s Party following Art, Not Apart, except this time it’s in a secret warehouse location and will go until sunrise! As always, it will have the too many DJs showcase where 28 DJs will each play a six-minute set with six tracks each – madness. Plus headliners Child, Doppel and Humanizm with plenty more locals. On Sunday night is a gig that looks super interesting, with Turkish musicians Mercan Dede and Secret Tribe, who mix traditional Sufi music with electronic beats performing at The Abbey. Friday March 24 sees Sydney club brand OWT come back to Canberra with recent Motorik! techno signees, McLean & Mai, this time at Kyte. The same evening, Sydney producer Enschway comes to Academy with his mix of EDM infused trap, while Swick will spin some beats at Mr Wolf. Canberra House Social has a free day party at La De Da kicking off at 2pm on Saturday March 25, with a heap of local DJs from across the Canberra house and techno scene. Friday March 31 sees Roland Tings perform at Mr Wolf. Sydney-based producer Arona Mane brings his special blend of funk and electronic to Treehouse on Saturday April 1, while Beat Repeat is back at La De Da for some proper techno action. Get out there and enjoy the last gasp of summer before we all start complaining about how cold it is. @bmamag
IT’S ALL OVER, CANBERRA BY JESSICA CONWAY A Melbourne based duo, supporting the idea of decommissioning Canberra, a self-appointed Order of Australia member, a family worth millions, a privileged upbringing, and the last time they were here, they ended up yelling at their audience, “why do you even live here?! Canberra is too small!” It sounds like there isn’t a lot to like about CLIENT LIAISON. But, somehow there is. I had a chat with Monte Morgan, one half of the synth-pop, discorevival pair in question, and found some surprising tales to tell you. First up, the last time they played here, we left them with a pretty bad taste in their mouths. “It was one of the worst gigs of our entire lives,” Morgan said frankly of their Academy show. “There were only a few die-hard fans there, and people were treating it like a club night – so they were like ‘who are these fairies?’. I got heckled. I was even on my mic, walking through the venue, and some guy tried to push me into the corner while I was singing. Even the security guards were giving me rude gestures … so it was not the best night.” I felt like I needed to apologise on behalf of Canberrans for such shameful treatment. “Nah, it’s all good,” the affable Morgan said. “To be honest by the end of the night I had a few too many drinks and began yelling back.” Hence the round of Canberra-based insults, but really, who could blame him?! Morgan’s grandfather is Roy Morgan, founder of the market research colossus of the same name. The company has very
much been kept in the family, with (Monte) Morgan’s dad once leading the charge to simply decommission Canberra – just pull it from government service. “My father had a campaign in the early ‘90s, I think, to decommission Canberra. He said it’s a bane to the Australian taxpayer.” Well, given the number of politicians that spend time
In doing my research on the duo, I of course consulted Wikipedia where I spotted that Harvey Miller (the other half of the double act) is an AO, or Order of Australia – reserved for the most outstanding members of the community, often philanthropists, sports stars, scientists, and those who fall into the “Aussie legend” category. Members are appointed on Australia Day by the GovernorGeneral (on behalf of Her Majesty Queen Elizabeth II) at the flagship ceremony in Canberra. I had to ask, was it true? But, alas, was informed it was a self-appointed accolade. “But include it [in your article], he hopes that people will include it in enough things that it becomes a reality.” So there you have it gents, it’s in here! Also, additional proof not to trust Wikipedia.
My father had a campaign in the early ‘90s, I think, to decommission Canberra. He said it’s a bane to the Australian taxpayer here, their fat pay checks and all seemingly infinite perks, it’s hard to argue the point. “I do think Canberra is beautiful,” Morgan added, almost defensively of the Capital. “But I do like going along with that idea of just decommissioning a city. It’s just so controversial, ‘hey, all you people with all your lives and all your jobs – it’s over! We’re moving everything to Sydney! Melbourne deserves it, but Sydney is too competitive, so we’ll just give it all to them’.”
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But despite Canberra-bashing (directly to their Canberra audience), supporting the notion of axing the city and making a mockery of a significant national award, Morgan says Canberra is dear to their hearts. “The first song on the album is about Canberra (‘Canberra Won’t Be Calling Tonight’) and we have a long history with the Capital. We really like the political landscape – Harvey is really into the theatre of politics. We like the architecture … but we are yet to have a knock-out show to show
Canberra what we can really do. It’s always been pretty on the edge.” Well, the stars may be aligning as the pair bring their band and a whole new game plan – braving Academy again. “We have a whole new bag of tricks!” Morgan said excitedly. “We are taking visuals up to the next level, especially when it comes to animations.” This sounds like a perfect fit for the underground club which used to be a cinema, and I believe still uses one of the screens from the old Electric Shadows (#CBRtrivia). The Acads audience will be treated to visuals dedicated to the architecture of Parliament House, and Morgan will also be sporting an undoubtedly suave suit with embroidered cockatoos on the front and Parliament House on the back. Slick, in a distinctly Client Liaison manner. Rounding out the touring band is Harvey’s brother Geordie, an avid producer and electronic engineer in the making, and Tom Tilley of triple j Hack fame. So it seems Canberra is in for a pretty big show, but how is Morgan feeling about returning to the heart of the nation? “I think it’s growing and is really becoming something,” he muses. “I like that it’s so close to the mountains and that it’s so cold at night, and the wildlife – it’s a special place.” I don’t think I heard air-quotes down the phone line … CLIENT LIAISON bring their turn-ofthe-nineties brand of synth pop to Academy on Friday April 7 at 9pm. Support from Luke Million. Tickets are sold out.
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PROTEST THE MAN
METALISE
[THE WORD ON METAL] WITH JOSH NIXON [DOOMTILDEATH@HOTMAIL.COM]
G’day thrashers, not long now ‘til the double headed Virginia, Georgia doom tour delights of Cough and Windhand. Life Is Noise are never reluctant to support the scene, having bought Neurosis to the country last month, and it’s a matter of weeks til they play the Newtown Social Club in Sydney on Wednesday April 5 with a support TBA. Life Is Noise also announced last week that in May they will bring regular Aussie visitors, Japan’s Boris to Oz for a special tenth anniversary performance of their album Pink. That’s landing at Manning Bar on Sunday April 16.
The Black Dahlia Murder don’t mind chucking an Aussie tour in every now and again too, but the one they’ve announced for May is a banger and a bit of a package tour. Along with the headliner touring their latest album Abysmal (that’s a title, not a review), they’ve got The Faceless, Putrid Pile, Whoretopsy and Unravel along for the ride on their five-date tour, landing at the Manning Mar in Sydney on the Friday May 12 for their 18+ show. It’s not really my column’s patch, but get along to The Basement on the Friday March 24 for Frenzal Rhomb who bring the ridiculously entertaining Totally Unicorn and Glitoris to town for a night of whacky antics and punk rock sensibilities. Frenzal recorded at The Blasting Room in LA last year and the new album will be out soon – get along for a preview of some of the new material. Nick Oliveri is visiting Australia on a whirlwind eight-date run of PAGE 26
shows in late March. Bassist for three of the best bands of the ‘90s, Kyuss, The Dwarves and of course Queens Of The Stone Age, Nick has lived life on the precipice of rock and roll and has rolled these experiences and the music of those bands into a solo acoustic tour that he has taken around the world. If those bands meant something to you in the ‘90s and ‘00s, you should get along to Transit Bar on Friday March 24, get liquored up and help Nick sing your favourites. Get along early so you can catch Blue Sky Circus, Signs and Symbols and Renegade Peacock.
Dragonforce announced an Aussie tour and while they might not be able to fit the trampoline onstage at The Basement in Belconnen on Thursday June 22, I’m sure you won’t be worried as they shred faces on their Reaching Into Infinity tour. Presented by Destroy All Lines, you can get your tickets through them as I reckon it will sell out.
Perth progsters Voyager have looked to crowdfunding for their new Ghost Mile album and with a scratch under two months to go, they’re 90% of the way there. The gang bring the new tunes to The Basement on Saturday May 20, so fans should have the good news onstage regarding the release by then I reckon.
BY SCOTT BATUM Hailing from our Ontario, Canadian prog-metal legends, PROTEST THE HERO have etched their mark into the punk/metal/hardcore landscape by releasing album after genre-defying album. Their first release in 2004, a high concept LP titled Kezia, made waves throughout the world by taking mathcore musical sensibilities and merging it with operatic, soaring vocals about the conviction, execution and rebirth of the titular Kezia. Four albums later, we arrive at Pacific Myth. Eschewing standard music industry practice, Protest The Hero threw off the label chains for their 2013 album Volition, instead crowdfunding the entire creative process through the Indiegogo platform. This time around, they utilized the music subscription service Bandcamp to create a new music delivery system for the band. Over the course of six months, they released a song, accompanying artwork, lyrics, liners notes and instrumental versions each month, turning the standard album cycle on its head. “When it came to Pacific Myth, the writing was really fuckin’ strange because we had to do it so quickly. Once a month, we had to release a song – some of them weren’t even started when the new cycle began,” said Rody Walker, vocalist and lyricist. “It was fun and interesting to push ourselves and test ourselves but I wouldn’t do it again…”
previous interactions with labels in Canada left a sour taste in their mouths. “It’s the ultimate goal of the music industry itself. It’s to get a stranglehold on the artist, make them feel like shit, degrade them, keep them in their back pocket so they can pull them to make money off of them whenever they want. I don’t have the stomach for that or that kind of person,” said Walker, clearly ecstatic to be talking about the belly of the beast. “Artists are the lifeblood of the industry … However, art and commerce do not marry well. For me, I want to give all those greasy label guys a middle fuckin’ finger right in their eye, and a kick in their balls.”
I want to give all those greasy label guys a middle fuckin’ finger right in their eye It’s been a long, rocky road for the band from the great white north, but the momentum provided by their latest releases means they won’t stop any time soon. Plans have already been formulated for a fifth full length album and you can expect weirder, complex, operatic insanity to hit your ears soon. But before that, you can expect that crazy energy to blast the stages of some of Australia’s best venues. Protest the Hero? Lads, you’re my heroes! PROTEST THE HERO begin their national tour in April, hitting The Factory Theatre on Saturday April 22. Tickets through selecttouring.com.au.
The shift to independent releases was not just about giving the band a new way to write and release music. Some of their @bmamag
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IT’S KINGSWOOD COUNTRY
PUNK & DISORDERLY [THE WORD ON PUNK] WITH ELEANOR HORN [E.TRS.HORN@GMAIL.COM]
Hello my dudes, this month I have a short and very sweet column for you. First of all, there’s some new music I’d like you to hear. Grunge darlings Teen Jesus and the Jean Teasers have two (relatively) new songs on Unearthed; ‘We’re All Henry’ and ‘I Want It All’. Listen to them if you love yourself. Secondly, we are inching closer and closer to the release of Moaning Lisa’s first EP The Sweetest. All four tracks are perfection on a stick, and if you’d like a taste, you can read my review of The Sweetest in the next few pages. It’s also worth noting that Moaning Lisa have just released their first music video, ‘Shoe-In’, and it is predictably a delight.
Now, let’s get to the gigs. It is finally time for No Front Fences, the three-day mini-festival taking place at Lowbrow Gallery, MacLeay Farm, and of course, Dave’s place. This weekend (Fri– Sun March 17–19) will be filled with the finest our local music scene has to offer, including Azim Zain & His Lovely Bones, Helena Pop and The Lowlands. As if this weren’t incentive enough, tickets are just $10, or you can buy a three-day-pass for $25. Bargain and a half.
Coinciding with No Front Fences, Wandering Ghosts with Brother Be and Rebecca-Maree will be playing at 8pm on Friday March 17 at Transit. It’ll be an evening PAGE 28
filled with a conglomeration of indie/folk/rock/funk/pop, and what a lovely combination that is.
Transit will also be hosting “modern rock ‘n’ roll icon” Nick Oliveri on Friday March 24. This guy has offered his songwriting and mad bass skills to acts including Queens of the Stone Age and The Dwarves, and is known for often performing naked. So … That could be a win/ win, but I guess you’ll have to go to find out. Now, you know them, I know them – Frenzal Rhomb are returning to The Basement in all their glory on Friday March 24. Joining them will be Glitoris, Canberra punk legends, and definitely who I’d choose in one of those hypotheticals; ‘if you could have dinner with anyone alive or dead who would it be?’ One event I am particularly excited about is RocKwiz Live, and despite the fact that they won’t be in Canberra until June, tickets go on sale this month, and you don’t want to miss out. I attended (and reviewed) the show the last time it came to Canberra, and it was utterly wonderful. Even my dad enjoyed it, and my dad doesn’t enjoy anything that doesn’t involve comfortable chairs and a bar tab. Finally, I’m afraid we end on a bit of a sombre note. Powerhouse rockers Kingswood will be playing at ANU Bar on Saturday April 1, and will be one of the last acts to play this iconic venue before it’s closure. Head on down and soak up the vibes while you can.
BY THOMAS SPILLANE PHOTO BY KANE HIBBERD
KINGSWOOD have defied expectations with their second album, After Hours, Close to Dawn. In an unexpected move from the Melbourne pub rockers, they have moved away from big guitars and shredding solos to essentially making a soul record. Lead vocalist, Fergus Linacre cites a wide range of influences behind their second effort. “We were listening to a lot of Beatles and Marvin Gaye … The Beatles more so sonically and how good those records sounded,” Linacre says. “There’s a modern touch in there as well, we love the new Alabama Shakes record … and even Beyoncé’s new record came out, which is really diverse and all over the place but still sounds like a good group of songs.”
horns, backing singers and a fifth musician to help them perform the new songs. Linacre cites the new lightshow as a massive evolution from their previous tours. “We have a lot of consideration about how to get the set in the right order to flow well, because it does jump from so many different genres … and they are big jumps; we go from the heaviest song we play into the softest … and it just works.” In another surprising move, Kingswood are running a competition to take a female soprano vocalist on tour with them. Instead of trying to hire someone in the industry, the band decided to invite fans to send in videos of themselves singing.
One song I was lying down on a mattress with cinderblocks on me Upon listening to the new record, it becomes apparent that the band have put a lot into it. Linacre’s voice sounds completely different on the majority of the record as he croons over soulful organs and bluesy guitar lines. The vocalist tried many different approaches to tracking his vocals on the new record. “We set the bar a lot higher than we have in the past … for getting the right vocal takes,” Linacre comments. “For example one song I was lying down on a mattress with cinderblocks on me, feeling like I was being crushed while I was singing.” Kingswood have also stepped up their live show considerably. Moving from a powerful, but somewhat standard, rock ’n’ roll show, the band now have
The idea was to find somebody who hasn’t experienced the music business before and introduce them to the industry. “It’s been awesome, we had no idea how many people would be sending in videos … it’ll be exciting having someone fresh on the road and showing them what it’s like to tour for a while.” After Hours, Close to Dawn and the band’s ensuing tour is a new direction for Kingswood, who are proving they are not just a typical Aussie pub rock band. KINGSWOOD will be bringing their soul vibes to ANU Bar on Saturday April 1 with WAAX and Maddy Jane. Tickets are available at Moshtix for $35 + bf.
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BMA BAND
PROFILE [LOCAL ACTS TO WATCH]
NOT SO TOUGH NOW, JUST REAL POLITE
BY JARROD MCGRATH
If there is one thing FRENZAL RHOMB taught me, it is never be afraid of telling people what you think – even if it may offend them. “And you turned out alright? Most fans who say our music has been a big influence on them are meth heads.” After politely asking a question about the upcoming tour, I told Jay straight up about my teenage obsession and subsequent disappointments with the band.
me to enter and then leave the mosh). When he expressed that “it was quite emotional”, I took the opportunity to reinforce the power of nostalgia and asked if he would ever consider doing a show where they play ‘classic’ albums back-to-back (hinting at their first two of course). “The only problem with that is that none of our albums are good from start to finish.”
Discussing the new album opened up a conversation about the songwriting Most fans who say our process for the music has been a big group today. “We put a lot more influence on them are effort into the song meth heads writing now. I think In particular, I mentioned my love I wrote ‘Not So Tough Now’ out the of ‘Coughing Up a Storm’ and front of the studio with a couple ‘Not So Tough Now’ and cited the of longnecks. Now because we last time the group played The all live in different cities, we work Basement as a prompt for probing on the final product a bit more.” into how their set lists are chosen. Jay was surprisingly polite and “That last tour we put the vote out appreciative when I mentioned I to our fans, so unfortunately you had also seen his solo show and were outnumbered in your love asked if he ever keeps songs of those albums.” Jay delighted specifically for his solo career. me in advising that “the set list “I do give things to Frenzal first, won’t be impinged by democracy but there might be a few leftovers this tour.” from this album that I will keep.” As well as the opportunity to trial The group will most likely be songs from the upcoming album, trialling some of the material Jay informed me that “this they have just finished recording tour is to recover funds from a for a new album that is set to recalcitrant tour member,” but be released in May. He wasn’t wouldn’t reveal any more details able to reveal a title for the about that. He also indulged me album. “We’re keeping some in my desire to hear some older things under wraps, then there material at the gig. “Feel free to will be a huge explosion where incite violence if we don’t play everyone will be disappointed.” what you want.” He did however tell me that they just finished recording and FRENZAL RHOMB, with supports mastering the album in Colorado Totally Unicorn, play at The Basement with Bill Stevenson of The on Friday March 24. Tickets are $34.70 Descendants. Having both just through Oztix. been at The Descendants show at Enmore Theatre, we then had a quick chat about that (I didn’t tell Jay that he pushed past facebook.com/bmamagazine
BLEACH IT CLEAN Group members: Liam (drums), Gabby (vocals, bass), Blake (guitar, vocals). Where did your band name come from? That’s for you and your imagination to work out. Describe your sound. Delightfully raunchy with a side of pure bitterness. Who are your influences, musical or otherwise? Nirvana, Red Hot Chilli Peppers, The Cranberries, the Ramones, The Melvins, Marvin Gaye and many, many others. What’s the most memorable experience you’ve had whilst performing? It’s hard to pick one because every gig just keeps getting better and better. Of what are you proudest so far? How much we have improved musically in the last three years.
What are your plans for the future? To explore our future in line dancing. What makes you laugh? Donald Trump’s tiny penis. What pisses you off? Badly organised gigs. What about the local scene would you change? Letting underage people into venues to see gigs! What are your upcoming gigs? Too many to name but they are all on our social media. Contact info: facebook.com/ BleachItCleanOfficial/ triplejunearthed.com/artist/ bleach-it-clean youtube.com/channel/ UCThneBHBG_EJFvCqGZHwGbQ
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PLANET OF SOUND Planet of Sound is our column celebrating the wide history of music. In this month’s entry, Dan Bigna listens back to The Screaming Trees’ 1992 grunge classic, Sweet Oblivion. For the unrepentant music fanatic whose main purpose in life is getting hold of newly mastered editions of albums that represent the greatest heights of popular culture, the website superdeluxeedition.com is worth checking out to read about up and coming releases that have been packaged with unrepentant music fanatics in mind. The fun bit is reading the comments that include enticing wish-lists. This is something akin to Jorge Luis Borges’ eternity library or the comment made by the greatest of all music journalists Lester Bangs, who once said that the ultimate wish fulfillment would be ownership of a large storage space containing every album ever released, neatly alphabetised. The website lists some mouthwatering delicacies planned for release in the coming months including a mono version of The Doors’ still mind-blowing debut album to commemorate the 50th anniversary of its original release, and an expanded and remastered edition of the sublime Elliot Smith album Either/Or of which I will have more to say in a future column given that Smith’s songs scaled the highest peaks of alternative music. Speculation has also begun on the contents of the next David Bowie box set, which is expected to cover the late 1970s Berlin years when he had developed a fondness for German electronic music and subsequently wrote and recorded some of the greatest work of his career. I happen to be a sucker for remasters and in recent times have become an even bigger sucker for mono versions of classic 60s albums, which makes hearing about forthcoming reissues of this kind a pleasant distraction from the PAGE 30
sad monotony of everyday habit and routine.
One band that never gets mentioned in these lofty discussions is The Screaming Trees whose 1992 album Sweet Oblivion was, for me, the standout release from the ‘grunge’ era and deserves pride of place alongside Mudhoney’s Superfuzz Bigmuff EP and Alice in Chains’ harrowing album Dirt. Sweet Oblivion arrived on CD at a time when vinyl was being slowly phased out and the original mix suffered from an unfortunate thinning out. The music entered a digital compression chamber with the sound sucked dry of anything resembling analogue warmth. This has since been corrected on freshly mastered editions of such 1990s keystone albums as Soundgarden’s Superunknown, the Afghan Whigs’ emotionally intense Gentlemen and a solid portion of Sonic Youth’s back catalogue.
The Screaming Trees did, however, overcome mastering limitations through the sheer power of the songs. The band’s signature sound bypassed downtuned Sabbath inspired heaviness that had become a staple of the Seattle sound courtesy of The Melvins and early Soundgarden, instead looking to angsty ‘60s psych rock – particularly on the earlier albums – but also the cosmic Americana and delta swamp rock of the Flying Burrito Brothers and Lynryd Skynryd. Maybe this is why the Screaming Trees never got the attention they deserved from music critics fixated on interpreting grunge as a new face of punk for Gen Xers. The historical timeline was supposed to have started with mid ‘70s stadium giants Black Sabbath and Aerosmith,
would have been received as a tough rock ‘n’ roll outfit with classic leanings. Mark Lanegan’s voice was soaked in whisky and existential despair that only a delta blues musician would know, with beefy guitars and a hard-hitting rhythm section that nails it on the final Sweet Oblivion track, ‘Julie Paradise’. Here, the mid-tempo vibe of the album is replaced with a highoctane slice of rock oblivion on which Lanegan confronts the void head-on with his bandmates willing to dive headlong over the edge. This track is an explosive burst of noise with potent angst and sorrow as the ignition. Any album featuring a song capable of erasing the mundane with one well-timed power chord deserves nothing less than a lovingly assembled deluxe edition.
Any album featuring a song capable of erasing the mundane with one well-timed power chord deserves nothing less than a lovingly assembled deluxe edition somehow transmuting into the avalanche of punk rock and US hardcore that came after (and performed in much smaller venues). They wouldn’t have known what to make of a Seattle band whose emotive, rootsy rock ‘n’ oll on Sweet Oblivion nugget ‘Dollar Bill’ might have made the grade as a 1980s power ballad with Axl Rose on vocals, as everyone thought grunge had swept all that bullshit away with one scuzzy chord fed through a battered fuzzbox. If you take the ‘g’ word out of the equation and the fact that Screaming Trees had its geographical origins in the Pacific Northwest, the band
Given this year marks the 25th anniversary of Sweet Oblivion, surely the time is right for a proper reappraisal. The reissue would, of course, be expertly mastered to ripen the sound and the bonus material would be a worthy mix of previously unreleased versions and live recordings. For those of us worn down by ineffectual indie pop of the here today, gone tomorrow variety, the Screaming Trees’ Sweet Oblivion is simply the bomb – all we need is a pluggedin record company willing to take a punt. DAN BIGNA
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SHE’LL MAKE YOU LOVE HER
BY CHENOEH MILLER BONNIE RAITT is thrilled to be returning to Australia as she has done on every album cycle since 1992. Back then she was shocked to see that her music made it all the way to our shores. Indeed it did. My elder siblings were huge fans – even as a child of the late seventies growing up in a tiny town in rural Victoria, I was singing along to my sister’s rendition of Raitt’s ‘Louise’ – it wasn’t until many years later that I understood the depth and beauty of the song’s tragic story. She’s been around so long that you’d be forgiven for not knowing how well you actually know her! With songs like ‘I Can’t Make You Love Me’, ‘Gamblin’ Man’, ‘Something to Talk About’ and the list goes on. Raitt has received 10 Grammy Awards. She is listed as number 50 in Rolling Stone’s list of the 100 Greatest Singers of All Time, and number 89 on their list of the 100 Greatest Guitarists of All Time. When she was a child, Raitt recalls her own early influences with her parents exposing her to an eclectic group of musicians, including two of her favourites, Aretha Franklin and Ray Charles. At age nine, she remembers sitting around the fire with her summer camp leaders when she was introduced to the folky strains of Joan Baez. Her father was a performer on Broadway, so Rogers and Hammerstein classics formed the backdrop of her early years too. This mix of influences gives some insight into why every album of hers is such a mix of genres. Depending on what you read, you’ll see her described as country, folk, rock and roll, blues
and more. But really, she is all of those things and this is what makes her so accessible. She says that she’s been told in the past to ‘just pick one’ genre and then she’d be more successful. But Raitt admits that she would rather make the music that she wants to make than reach a ‘Beyoncé level of fame’.
memory of Australia with me, she shares this great one: “One year when I had just arrived in Australia, I was jetlagged and wandering around outside my Melbourne hotel room – admiring the beautiful flora and fauna. And there were these giant seed pods hanging in the trees – I had never seen anything like them. Suddenly I got such a fright as they all expanded and took off in to the sky! They were fruit bats! I was alone and I thought I was hallucinating!” This consummate storyteller is also an activist for the environment. I ask her what she is most passionate about at the moment. “Well like every American I know, I am absolutely aghast over the future of what we call free press – that the truth and science and the things that we count on, like the law and
I got such a fright as [these giant seed pods] all expanded and took off into the sky! They were fruit bats! … I thought I was hallucinating! Given her father’s influence, I ask her if she has any interest in writing for Broadway – as done recently by Edie Brickell and Bruce Hornsby, who she describes as a “good friend and one of the most important artists of our time”: “It’s not out of the running for me [to write for Broadway], but more likely that I would sing one of Bruce’s songs.” When I ask her to share a positive
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the constitution, are in so much trouble by the election of an unqualified person as president. I am still too much in shock on too many levels to speak articulately on it. But I am passionate about my political causes.” Bonnie is as known for her lifelong commitment to social activism as she is for her music. She has long been involved with the environmental movement,
doing protest concerts around oil, nuclear power, mining, water and forest protection since the mid ‘70s. She works with The Guacamole Fund on issues of safe and sustainable energy, environmental protection, peace and justice. I speak to Bonnie via Skype in the midst of a week of heavy rains that have resulted in flooding around her home in California. “But Mr. Trump says there’s no such thing as global warming – go figure.” Bonnie Raitt appears a down-toearth person who despite decades of success in the industry, finds great joy in the simple pleasures of her life, including the beauty that surrounds her home, and time with good people, which includes a daily yoga practice with her friend, either in person or via Skype. Bonnie speaks highly of her Australian friends including Renee Geyer and the Finn Brothers, who she enjoys time with when coming here. She also speaks highly of the new generation of musicians including The California Honey Drops, The Alabama Shakes and Sarah Siskin. And she’s really looking forward to meeting our own Liz Stringer on her Australian tour. These days Bonnie creates her Australian tours around Byron Bay Bluesfest, which she just loves. It’s been a while since she’s been in the Capital – so grab your ticket and let’s make her feel welcome! BONNIE RAITT plays at Canberra Theatre Centre on Saturday April 7 at 7pm. Tickets are available at canberratheatrecentre.com.au.
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DANCING ON DRYLAND
BY CLAUDIA TILLEY Two-time New Zealand Music Awards finalist, MEL PARSONS will be hitting the stage for the first time at the NATIONAL FOLK FESTIVAL. With three records under her belt, Parsons’s latest album Drylands contains a mixture of lustful tones, meaningful
lyrics and strong guitar chords that you can’t help but get trapped inside your head. The track ‘Get Out Alive’ is the third single from the album and definitely a standout. The song revolves around a serious accident Parsons had where the car rolled several times on the way home from a ski trip. She was lucky to be alive and not seriously injured, but despite this she found no difficultly in writing about it. The song contains gusty vocals about As time moves on, your the idea of death, songwriting develops she states, “who would wear her things? They’d be useless I suppose”. It is clear that everything in Parsons’s life inspires her music in some way. However, she goes on to say, “I don’t think consciously it was any type of healing from the accident process, it just was what it was, I was inspired by what happened and that was it, really.” Parsons has toured widely and constantly over the past years, including appearances at Woodford Folk Festival, WOMAD (NZ) and Folk Alliance (US). She mentions how frequent touring helps an artist to grow. “You are performing so often and like anything you do often, if you do it a lot then you are improving and you are sharpening up.” Although Parsons makes it clear that it’s not always as glamorous on the road as it may be perceived. She comments on the nature of long haul travel, “It is taxing on you physically.” Part of being a professional musician is coping with long stretches away from home. Parsons can be on a tour for anywhere between two weeks to a couple of months. “It’s just about finding a balance between working and living,” she says. “I go away, I enjoy what I am doing touring, then I come home and I enjoy that too.” Talking to Parsons, there is a strong sense of her ability to live in the moment and take everything as it comes. She seems to let the natural prevailing of events occur and this characteristic is clear in her music. Drylands differs from her past two solo folk albums, by containing a more alt-country tone. “As time moves on, your songwriting develops,” Parsons reveals. “It’s a natural progression – the overall sound of it.” Alongside her red-hot band, Mel Parsons will not be one to miss at this year’s folk festival. The NATIONAL FOLK FESTIVAL takes place from Thu–Mon April 13–17 at Canberra Exhibition Park. Tickets are selling at folkfestival.org.au/tickets.
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SMOKEY STORIES OF AN AUSTRALIAN BLUESMAN
BY THOMAS SPILLANE
Smokey bourbon comes to mind. Swirling around a crystal tumbler, it shoots down a lonely man’s throat before being slammed back on a bar shrouded in cigarette smog. It’s this image that constantly permeates HEATH CULLEN’s brand of alt-country blues. The Australian bluesman’s 2013 album, The Still And The Steep, presents its audience with tremolo-soaked guitar lines and laidback grooves. Part Nick Cave and part The Waifs, Cullen’s voice weaves stories of lost love and misfortune as if he is trying to fill a hole.
Cullen’s talents also extend past that of singer/songwriter to producer. Last year he tried his hand at producing a fellow Australian bluesman’s album. Michael Menager’s sophomore record, Not The Express, saw Cullen seated in the producer’s chair as well as playing guitar and the results speak for themselves. Presenting a more Johnny Cash-inspired sound than Cullen’s own records, Not I’m inspired by the The Express carries people I chose to fill my on that Australian storytelling tradition life with Cullen is so good at. “It wasn’t the first time I’ve been in the producer’s chair,” Cullen says, “but it was one of the most enjoyable projects that I’ve worked on in a long time … Michael [Menager] is one of my favourite songwriters and a great performer, a real troubadour.” HEATH CULLEN will be performing at the NATIONAL FOLK FESTIVAL at Canberra Exhibition Park from Thu–Mon April 13–17. Tickets are selling at folkfestival.org.au/tickets.
“My first heroes were folks like Woody Guthrie, Pattie Smith, Jimmy Reed, Johnny Cash,” says Cullen, “… today I think in terms of who inspires me, and I’m inspired by the people I chose to fill my life with.” Cullen comes from the bush of Southeast NSW, and it’s easy to see this could be where his knack for storytelling developed. It is apparent that mysterious tales of intrigue are the bluesman’s forte. Cullen’s most recent album, Outsiders, continues this Australian storytelling tradition but in a somewhat different way than before. Outsiders was recorded with The Imposters – Elvis Costello’s backing band. The record is more steeped in the upbeat tradition of the blues, than the folk blues ballads of Cullen’s previous effort. Pete Thomas’ drumming is more prominent, giving most tracks a swing feel for Davey Faragher’s bass to latch onto. Steve Nieve’s keyboard lines set an ambience in the background for Cullen’s tasty blues licks and smokey voice. “Recording Outsiders with Elvis Costello’s band The Imposters was a blast. They’ve always been one of my favourite bands and I’ve been lucky enough to call Pete Thomas, Steve Nieve, and Davey Faragher dear friends since we crossed paths,” Cullens says. “On their 2014 tour we found a tiny window of opportunity, and the guys managed to sneak off the tour bus and we hit the studio, and tracked the album in a couple of days.” facebook.com/bmamagazine
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YESTERDAY ONCE MORE In the lead-up to DAMI IM’s encore performance of ‘Yesterday Once More’, the unlikely pop star sat down for lunch during a whistle-stop publicity tour in Canberra, before flying to Sydney to record new material. Im, statuesque and every bit as striking in her physicality as the television may have you believe, settles at our outdoor table to chat openly about her often-grueling schedule, her dedicated fans (the Dami Army), and what the near and distant future might hold. “I’m starving”, exclaims Im as we take our seats at Silo Bakery in Kingston. Dressed immaculately, Im sports a tan colutte suit; the angular sleeves mimicking her signature blunt fringe; and a hint of pale pink lipstick. Pedestrians’ double-take and smile with recognition at the woman who took out season five of The X Factor, but Im appears oblivious to the attention and instead fixes hers to the task at hand. “Coffee fills me up and keeps me going,” exclaims Im as her latte arrives. Her lavender coated fingernails shine as she cradles her coffee and I imagine the countless cups she must have consumed to “keep going” during the astonishing year she has just had. “So much happened in a short period of time. Eurovision was such a crazy experience. It almost feels like it was in another lifetime … in another world!” Im’s representation for Australia, in the Eurovision Song Contest, placed her second in the competition, a massive accomplishment for a seasoned professional let alone a new star rising in the ranks of the pop stratosphere. Her powerhouse performance of ‘Sound of Silence’, a track Im feels much PAGE 34
pride for, wowed audiences back home and the world over, “It’s nice to have one of your songs stir a patriotic feeling in people. It’s a privilege.” Im explains the experience akin to winning the lottery, “… it’s such a rare experience one can have and I can’t believe I was there…” Excusing Im for her disbelief is no challenge in this instance. Stepping off the world stage and returning to Australia, Im set off almost immediately on a 40-date tour of the country. “It took me a while to process everything, but now I can finally reflect, ‘I went through some crazy experience’.” Crazy it may have been, but Im appears unflappable in the face of chaos and is excited to hit the road again with this beloved collection of songs, “I had so much fun touring for the first time last year … and as an artist I’m really grateful I can do this again.” ‘Yesterday Once More’ pays tribute to the classic songs of The Carpenters, a band that holds a special place in Im’s heart. “The music of the Carpenters is so beautiful and I love singing them on piano. Karen Carpenter had this uniqueness where her voice was so pure and untouched…”
BY SAMUEL TOWNSEND PHOTO BY PETER BREW-BEVAN Im pauses to consider her relationship to Karen and these songs, articulating that she doesn’t attempt to “copy” the sound, but instead tries to tap into the emotive tenderness, “I try to capture the pure emotion – the vulnerable sound she had.” This approach seems partly responsible for much of Im’s success – an ability to channel and reinterpret songs that resonate deeply with audiences. This was illustrated effortlessly with Im’s performance of ‘Purple Rain’ during The X Factor, a television moment that is forever etched into the memory of those who witnessed the high drama and theatricality of her rendition. I wonder how Im approaches the song now that Prince has passed. “It’s become an emotional experience for me and the audience and I really feel like we connect during that song the most.” As Im surprisingly reveals, that connection is relatively fresh, “When I first sang it on The X Factor, I actually didn’t know the song. I’ve lived under a rock!” she laughs. “I had to learn it in a few days!” Im jokes that she’s about “40 years behind the trend” when it comes to most things pop-culture akin, and her next project, a role in Grease: The Arena Experience, is no exception. “Someone told me to watch it and I was like, ‘what is this? It’s really weird, but interesting. Wow!’ And then I got offered the part. Everyone knows this musical, except me … but, I’ll give it a go!” I wonder if Im’s X Factor mentor, Dannii Minogue (who played Rizzo in her stage debut back in 1997) will be offering any sage advice? “She’s been so supportive to this day. She’s amazing! Most judges don’t
really do that … they don’t have to.” Im reflects on the connection they both share and quietly adds, “… It’s just nice to be friends still, and to know that it’s not all fake.” While Dami Im attempts to catch her breath after her dizzying success in 2016, her trajectory is set for onward and upward, professionally and personally. “I’m working on being a bit more accepting and easy on myself … so I can attempt things that I don’t feel as comfortable or confident in.” I suggest that Im may be a perfectionist and her response comes quickly, “I’d say so. I’m trying not to be such a perfectionist because you can’t achieve perfection … until you’re dead!” Im unravels in a fit of laughter at the absurdity of what she has just suggested before synthesising her sentiment, “Perfection really stops you from doing a lot of things that you could be doing.” As our lunch date comes to a close I ask Dami if she has anything to share with her loyal fans, or artists who may be considering the same path she has chosen. In a measured and thoughtful response Im visualises conversing with herself before this rollercoaster began, “Don’t be afraid of new experiences. When something comes up and it’s out of your comfort zone, I think it’s important that you give it your best shot and see what happens.” We, alongside the Dami Army, will be watching this space. DAMI IM’s ‘Yesterday Once More’ encore performance was on Saturday March 11 at Canberra Theatre Centre. Stay tuned for more tour dates.
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Exhibitionist | Arts in the ACT
HEAD SCREWED ON THE RIGHT WAY A television presenter, radio host, and comedian must be the small screen equivalent of a triple threat right? It seems only fair to describe DAVE HUGHES as this. The much loved and iconic Australian comedian is back with his new show Deluded, for the fifth annual CANBERRA COMEDY FESTIVAL, alongside a stack of other well-known and upcoming comics. As a stand-up comedy veteran, Dave is no stranger to the stage and Deluded is now a part of Dave’s long list of touring comedy shows. The name of the show comes from a more philosophical and deeper place than one might actually expect from a fun and comedy orientated person. “It’s a general meaning, that basically everyone is deluded, because we all go around thinking that whatever we do matters,” he states. “We all think we’re really important when really we’re all just specks of dust, floating around in the universe. But really, we should just relax and enjoy ourselves.” Dave goes on to say that although there’s a more serious meaning behind the title, that doesn’t mean it will be a lecture of sorts. “The new show is full of fun. Everyone can expect me to be in really good form, I really feel that this is the best I’ve ever been, the funniest I’ve ever been. Probably even funnier,” Dave exclaims. When most of Australia hears PAGE 36
the name Dave Hughes, everyone most likely thinks of the country larrikin who never fails to crack up an audience. But as iconic and recognisable as we may think his comedy stylings are, Dave doesn’t think of it that way. He just gets up on stage and tells jokes the only way he knows. “I wouldn’t know where to begin to try some other persona. I wouldn’t have a clue,” Dave laughs. “I’ve never really thought of what I do as a style. I’m just sort of being myself I suppose. I never really thought, ‘oh, I’m going to be something different,’ or I’m going to act a certain way, it just comes naturally.” When writing his new material, Dave takes things at a personal level. Formulating jokes from his everyday life, he says that if something interesting or unusual happens during his day, that it will be in that night’s show. With the amount of crazy
BY MORGAN HAIN
and interesting things that are happening around the world, there’s tons of topics that could get turned into jokes. But Dave makes a good point in saying that there’s only so much going on in the world, and there are heaps of comedians. If everyone is making jokes about the same topic, then the show will seem as if it’s been done before. “There are a lot of comedians who are talking about Trump, for example. I reckon you can see a lot of that, so I think it’s better to have material that’s not been heard before.” “Life is always funny. Life continues to be ridiculous, so as long as your eyes are open and you’re looking around, it’s really easy to find things to make jokes out of,” Dave exclaims. “You’ve always got to change up the jokes, absolutely, you’re always changing to get new material because life is always changing. You want to keep up with what’s happening and continually explore new things. Otherwise the jokes would get stale anyway.” Dave started his comedy career in the early nineties, a time when live comedy and late night variety shows were thriving in Australia. Now that there is no sign of a Hey Hey It’s Saturday reunion or Rove Live starting back up, you’d think it was getting tough for new, upcoming comics to make their mark in the professional comedy business, but Dave thinks otherwise. “I think live comedy in Australia is really good, I like it. You know there are new guys and girls coming through.
A lot of audiences love seeing live comedy, which is great,” he ponders. “I think that the internet is great – people can see comics on the web to get a taste of them and then they’ll go and see their shows. So I don’t think it’s really that difficult for new people.” Although we know him mainly as the great comedian he is, Dave also takes on regular roles as a host on various television shows, as well as his own radio show. Although he has been lucky to take part in a variety of roles, he mentioned that he had always wanted to do acting for a living. “I think I’d be a really good comic actor. I haven’t really had the chance. You know, just acting in scenes. I mean, maybe a bit of improv, but situational stuff I suppose would be good.” As one of Australia’s favourite comedians, his new show Deluded is sure to entertain. If you’re planning on seeing Dave’s show at the comedy festival, you can expect to have some great laughs. “It’s going to be a really good time. Especially if people are a bit on the fence to see one of my live shows, I implore them to come along and enjoy.” DAVE HUGHES’ new show ‘Deluded’ will be at Canberra Theatre Centre on Saturday March 25. Tickets are $46.90 + bf and are available via canberratheatrecentre.com.au.
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[Comedy]
of the game for a while I thought I’d make a rule to only play songs that mention cats.”
BUT WHY DO I MEOW? BY JARROD MCGRATH Like deciding which name to go by, deciding the artistic classification of THE BEDROOM PHILOSOPHER (a.k.a. Justin Hazlewood) can be a dilemma. His music is great, yet he mostly appears on comedy line-ups, like the upcoming CANBERRA COMEDY FESTIVAL. “I swear to god, no other artist has to put up with this, but I get these bizarre, snide comments online about my music being too good for comedy songs. Things like, ‘if this wasn’t comedy it would be genius’. That was like some indie snob that was confused. Or, ‘I wanna like this as
a song but I can’t handle it having satirical lyrics’ – so their brains just meltdown.” Despite his frustrations, this dichotomy is actually the drawcard. He has radio/YouTube “hits” like ‘I’m So Postmodern’ and ‘Northcote (So Hungover)’, but turns up on comedy festival line-ups more than music festivals. His upcoming show will see him dress up as a cat and perform songs about cats. “I was typing cats into my search bar on my laptop and all these word documents started popping up. I suffer from indecision and picking what songs to do for my sets, and because I’ve been out
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He’s also written a few new songs for the show: “A song from a cats’ perspective, a bit of a cat rap and an eight-and-a-half-minute ballad about a heroic mattress protector.” After my laughter ended he added, “it’s worth the price of admission alone.” We then discussed his Funemployed book and his time as a Canberran. “After Tassie, Canberra was like New York with roundabouts.” Discusisng changes to Canberra since his four years here in the early 2000s, Hazlewood explained how he became a bit disconnected after the Canberra Centre went up; “Once a place gets fancy gelato, you sort of go, ‘is this the Canberra I remember?’” I was also curious about his favourite venues – “I always do a shout out to Toast. I did so many gigs at Toast.” He then refers to his 2012 Zierholz bar show as the “closest I ever got to playing Stonefest. Part of me always wanted to play Stonefest, being a University of Canberra kid.”
After reading Funemployed, the one thing I know for sure is that Hazlewood is a true writer. His part memoir, part “industry howto guide” is a great insight for any performer. “People need to know what it’s really like to try and do this for a career. Once I started writing it down I realised it’s actually a genuinely complicated industry. The personal side of basically taking your emotions and your weirdness and that being the product, that is sort of an occupational health and safety side.” The book also deals with the financial difficulties of artistry, so I was curious about his current finances. “I’ll give you the Donald Trump version and say, ‘yep, I’m very successful, things are going well, I make a lot of money, I’m very rich right now, I’m going to give you some selective facts and tell you that I’m pretty loaded.” THE BEDROOM PHILOSOPHER’s ‘Cat Show’ is on Friday–Saturday March 24–25, 8:30pm at the Canberra Theatre Centre’s Courtyard Studio. Tickets are $25 through canberratheatrecentre.com.au.
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[Theatre]
Exhibitionist | Arts in the ACT
NOW IS THE WINTER OF OUR DISCONTENT BY INDIGO TRAIL Richard III is a Shakespearean classic; a timeless saga, steeped in truth and history, of one man’s quest for total domination, whatever the cost. So it should come as no surprise to learn that one of Australia’s foremost theatre companies, Bell Shakespeare, have chosen the play to open their 2017 season, restyled as RICHARD 3. This time, however, Richard has a twist beyond the bend in his spine and his morality: Kate Mulvany, an acclaimed Australian actor, who has worked with Bell Shakespeare several times in the past in productions such as Julius Caesar and Macbeth, will be playing Richard. Before the show opened in Sydney, I spoke to Rose Riley over the phone. Riley, who plays the dual roles of Richard’s much younger wife Lady Anne and, later in the play, the young Prince Edward, has a bright, sunny voice and is wonderfully easy to talk to. When I ask her about how she got the part, she laughs and says, “Oh, I just auditioned for it. I auditioned for Bell a couple of times and I met Peter Evans (the Artistic Director as well as the director of this production) during that process. So I went in for an audition last year, worked with Kate in the room, and that was it, really. Not a super exciting story.” But her easy enthusiasm betrays her happy passion for the craft, taking a story familiar to every actor and turning it into something exhilarating. “I was very keen to be involved because I love the play, and I was really excited about Kate PAGE 40
being Richard. So I was so excited about being cast.” Being tasked with playing two roles is particularly challenging, but she seems to revel in the charge. “I’ve got a bit of a break in between the two characters, so I don’t have to wipe away tears in one scene and then go right into another. Also, they’re both so different so that makes it easier. And I’ve got two exciting costumes for each one – I find that outer influence really helps me.” As we move to discussing both her characters, she explains what she loves about each one. “Well, Prince Edward is still sort of a character I’m playing with – he’s exciting. But I guess initially I was mostly drawn to Lady Anne – you know, that scene is so famous, and the female struggle and the female journey she goes on is so … I just understood her.” This intentional focus on femininity seems to be the
PHOTO BY PRUDENCE UPTON
crux of this particular adaptation. Riley is playing one of several female characters in the play who, often – as Richard III is one of Shakespeare’s texts that concerns itself explicitly with undeniable misogyny – are sidelined or minimised in favour of their male counterparts. Here, however, their roles have been pulled into the focus, and this is only compounded by having Mulvany play Richard. “It’s super fascinating having a female in the lead role – it highlights the misogyny of the text in some really interesting, unexpected ways. When you hear some of the things that he says coming out of Kate’s mouth it automatically, organically makes you hear it in a slightly different way. Richard is so often in the play referred to as a creature, or as unnatural, or as other awful, horrible names – it’s interesting having Kate play him because it does make him sort of ‘other’. She’s not playing him as a woman, she’s playing him as a man, but of course we all know Kate is a woman. I think it really helps make Richard into the outcast and the creature everyone calls him.” Something Riley has grappled with is coming to grips with the history and the rewards and difficulties of playing real people. “The scope of the history has been hard to get my head around. I’m still learning, because there’s the history as in the actual history, and then there’s the history of the characters within Shakespeare’s texts. Some of those characters span across three plays.” She
emphasises the three, marvelling at the scope of the content before continuing. “I always find it really hard to truly try to imagine that they were real.” Here, she quietens slightly, and her connection to her characters speaks for her. “I find it hard to understand that Lady Anne was married at 14 and then remarried at 17 to Richard. The history is so dense and fascinating. And so violent.” That sense of gravity continues as we segue to the conversation’s natural conclusion: politics. However, in spite of the seriousness, Riley chuckles when I suggest that the power hungry monster guy being at the centre of everything feels eerily relevant right now. “Yes,” she says simply. “It does. It’s sort of unavoidably topical. I mean, it is a very political play, and the politics of the era and royalty are definitely explored throughout it, through questions like ‘Who should lead?’ and ‘How do these decisions get made?’ And then it also looks at all the inner workings of Richard alongside his campaign for the crown … and the betrayals that happen, and the twisting of the truth. And the fear-mongering.” She lets out a bark of almostsarcastic laughter. “It’s all very relevant.” Another pause, slower this time. “Scarily relevant. But fascinating too.” RICHARD 3 is on at The Playhouse from Thu–Sat April 6–15. Tickets available at canberratheatrecentre.com.au.
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[Theatre]
Exhibitionist | Arts in the ACT
A CITY IN THE SPOTLIGHT BY ZOE PLEASANTS The Street’s latest production, COLD LIGHT has been a labour of love for the theatre. The play is based on the Frank Moorehouse novel of the same name and has been adapted for the stage by acclaimed playwright Alana Valentine. It stars Sonia Todd as Edith Campbell Berry, and is being directed by Caroline Stacey. The seed for this production was planted in 2012, when The Street optioned the rights to Frank Moorehouse’s Edith trilogy. Then in 2013, together with the Centenary of Canberra, The Street commissioned Valentine to write a play based on the third book. When Valentine was granted the commission she said of Edith: “Of all the iconic female characters in Australian literature, Edith Campbell Berry is surely at the forefront of those needing to have the breath of a living actress walking and talking her lines, inspiring us with her intelligence, sensuality, wit and perceptiveness.” Edith’s story starts in the 1920s when she arrives in Geneva, full of idealism, to work at the newly formed League of Nations. By the second book her idealism has taken a hit as, despite the best efforts of the League, the world is moving towards war again, and her marriage is failing. She turns to her old friend and lover, Ambrose Westwood and embraces the unconventional relationship that he offers. When this play picks up the story, Edith and Ambrose are married PAGE 42
but out of work – the League collapsed in the aftermath of the Second World War. They move to Canberra where Ambrose works at the British High Commission and Edith pursues her ambition of becoming Australia’s first female ambassador. I caught up with the effusive Kiki Skountas who plays a couple of characters in the play. For Skountas, the thing that sets this trilogy apart from others written of the same era is that it is political. “It’s really awesome to have a female protagonist in this super political world,” she says. “For any female politician or female CEO or anything, it echoes the same frustrations and the same glass ceilings that everyone keeps bashing their heads against. History – how much has changed? Not bloody much sometimes.” One of the themes of the play is the sexual fluidity of both Edith and Ambrose. “Ambrose is a crossdresser by night, British High Commission spy by day,” explains Skountas. But far from denying this side of her husband, Edith is aroused by
ARTWORK BY MARIA T REGINATO
it. And this carries over into a flirtation between Edith and one of Skountas’s characters, Janice, who is the wife of Edith’s brother and a staunch communist. Skountas also plays Amelia, the funny German neighbour who often appears bearing apple strudel. While sexual fluidity is not a modern concept, perhaps talking about it is. Skountas and I discussed the challenge of bringing an authenticity to telling stories about past taboos. “Frank and Alana have had conversations about the use of certain words,” says Skountas. “Because you never want to do something that makes the audience kind of go, ‘hang on, I was buying it up until that word’. It’s about representing history accurately, but also in a way that is comfortable for a modern audience who are coming with an idea [through which] they’re going to be looking at this play with … [such as] it’s going to be the 1950s. So, it is about going with that and surprising people, but not distracting people.” Canberra is front and centre in the play, and for Skountas it has been an opportunity to fall back in love with her home town. Skountas grew up here and lived here until she was thirty, when, sitting behind a computer at artsACT, she thought ‘I’m going to die here!’ Recognising her talent for melodrama, she quit her job, moved to Sydney and went to drama school. “It’s really
nice having a crisis in your life because it forces your hand,” laughs Skountas. In Sydney, Skountas admits she’s guilty of Canberra bashing, but because her family and many of her closest friends live here, she misses the place and looked for opportunities to find theatre work here. She says this play has been her reprimand! In the play, Edith becomes embroiled in the fight for Canberra’s lake. “The lake that I used to walk over every day to go to work … it’s such a massive part of this city,” says Skountas. “And it’s just amazing to see these juggernaut people thrashing out these massive fights about this water. It’s really amazing to hear and read about the fight that happened for this city to be the beautiful city that it is. I have just completely fallen back in love, and the bones under the skin of the city have just come alive [for me].” I don’t get the feeling that Skountas is moving back to Canberra anytime soon, but it is good to know that despite her reservations about this town, its theatre scene is strong enough to provide her with such an amazing opportunity. And by investigating Canberra’s past, Skountas has seen anew what this town offers today. COLD LIGHT is playing at The Street Theatre, Sat–Sat March 4–18. For tickets go to thestreet.org.au.
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[Burlesque]
PUSSIES OF STEEL BY SAM INGHAM After a sell-out launch in February in Melbourne, cabaret starlet SOPHIE DELIGHTFUL is coming to the nation’s capital to perform her raunchy burlesque show, POWER PUSSIES. It showcases an array of local and interstate performers dishing out their most sassy, fierce and empowering burlesque, cabaret and circus acts. BMA caught up with Sophie to discuss more. What can new patrons to your show expect, and what kinds of performances will be featured in this show? Power Pussies will feature a
bevy of burlesque, circus and cabaret performers with one thing in common – they’re all fierce, empowering and sassy as hell! As producer and host, I will be the main headliner, alongside some of Canberra’s finest in the field, and interstate guest Percy Peacock (Sydney). How will this show differ to the mainly classical burlesque scene here in Canberra? For my Canberra show I have invited more neo-classic routines, although my monthly Power Pussies night in Melbourne is quite far-reaching and sometimes includes spicier
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classic routines that use more unique performance spaces (like on top of the bar!) and showcase more fabulous costumes. I found with my show last year, the Canberra audience reacted really well to the mix of performers and with my cabaret stylings sewing it altogether, is something a little different to the standard “classical burlesque” show locals are used to. This is your second production show to come to Canberra in a year – what bought you back here and will you bring future shows to Canberra again? I was pleasantly surprised by the reaction to my Childhood Dreams & Fairytale Queens show last year – and super stoked it was a sold-out gig! I didn’t really know what to expect as it was my first time performing there, but people showed up from not only Canberra but surrounding towns as well. Once they warmed up, the audience really got into it and as interaction is a key element in all my productions, this made the show so much more enjoyable, for us performers as well as
the audience! There was a huge cross-section of people in the crowd too, from a girl celebrating her 18th birthday with her family to an elderly couple that drove to the big city from Wangaratta for a night out. I’m excited to see who Power Pussies attracts this time around, and also excited to be working with Mary Jane and the crew from Polit Bar once again. The title is suggestive of a feminist show. Can you tell us a little bit about the context and the inspiration behind the show title? I love the idea that anyone can come to my show and, even for one night, release their inner sass-pot! They might even like it so much that they stay that way forever! Coming together and celebrating the many forms of femininity, regardless of gender, and empowering people to get out there and enjoy life to the fullest – that’s what Power Pussies is about. POWER PUSSIES, presented by SOPHIE DELIGHTFUL, is on at Polit Bar on Friday March 17 at 9pm. Tickets are $24 on Eventbrite or at the door.
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Exhibitionist | Arts in the ACT
Jane Bodnaruk [ARTIST PROFILE]
What do you do? I’m an artist working with textiles – especially second hand, fibres and textile techniques. When, how and why did you get into it? Dressmaking was part of my childhood, then stretch sewing for the children when they were little, followed by a flirtation with patchwork and quilting. I joined ATASDA (Australian Textile Arts and Surface Design Association) in NSW to expand my creative options. But it was when I did a workshop with Tasmanian artist, Ruth Hadlow, that my horizons widened and I discovered the challenges and satisfactions of combining research with textiles to create art with additional meaning. I began post-graduate studies at ANU in the Textiles workshop. This has been life changing, as I now devote as much time as possible to my art. My current research revolves around women, the hidden work
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of the ordinary, and the lives of Australia’s convict women. It is extraordinary finding a way to visually and emotionally honour these women, for whom there are so very few physical mementos. Who/what influences you as an artist? I’ve been reading a lot of historical fiction by and about Australian women (A Cargo of Women by Babette Smith 2008, Mrs Cook by Marelle Day 2002, Georgiana Molloy: The Mind That Shines by Bernice Barry 2016). Often the lives of the women may only be teased apart by studying the records associated with the men around them. In 2016, I saw the Fiona Hall exhibition – Wrong Way Time – at the NGA in Canberra. Her art practice encompasses research and a knack for quirky connections with fibres and found objects. Her work ‘Tender’ (2003–2006) combines US bank notes with scientifically detailed nests of endangered and extinct birds.
Of what are you proudest so far? I love my rope, which is in the untethered ebb and flow exhibition. It developed from my first process-led research project at ANU. I made lots of samples in all sorts of techniques before settling on the process of making this heavy, chunky rope. I worked on it almost every day over the equivalent time that it took the First Fleet to sail from Portsmouth to Port Jackson. I honoured the 193 convict women for each and every one of those 258 days. The ebb and flow of my daily life became entwined with the memory of those women. It brought to mind the words of Tim Ingold (Life of Lines, 2015), “Minds and lives … are openended processes whose most outstanding characteristic is that they carry on. And in carrying on, they wrap around one another like the many strands of a rope.” What are your plans for the future? I have been enjoying art gallery visits. The White Rabbit Gallery in
Chippendale, Sydney has become a real favourite. I will continue reading about art, and of course practicing my art. I may continue my studies at ANU. What makes you laugh? My dogs and their funny little ways. What pisses you off? When my creative offspring borrow my art supplies and don’t return them. What are your upcoming exhibitions? ebb and flow: an exhibition of contemporary fibre art, Belconnen Arts Centre, Friday March 10 – Sunday April 2. Opening Hours: Tuesday – Sunday, 10:00am – 4:00pm. Contact info: untetheredfibreartists.com Instagram: untethered.fibre. artists facebook.com/untethered. exhibition.group ATASDA: atasda.org.au
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[Canberra Artists]
Katherine Kachor own experience. I particularly like figurative art as opposed to abstract art. And as I see myself as a storyteller, I am also drawn to artists whose works tell a story. Especially a personal story. Frida Kahlo is an artist I admire, although the pain in her work can be difficult to observe and absorb.
double meaning, I hope, can leave the viewer with a sense of surprise. Grayson Perry wrote that, “It is his job to notice things that other people don’t notice”. I am hoping to continue to create works based on my observations and experiences, which will resonate with the viewer and have meaning. I invite the viewer of my work to read the text, look closely at the figures and reflect on the story/message being told.
Of what are you proudest so far?
What are your upcoming exhibitions?
I very much value the support of members of Untethered Fibre Artists. We share a sense of fun and a commitment to work together, mentoring and engaging constructively with one another’s work.
‘There are Two Tides to this Story’ and a second piece of work ‘Knit One, Unravel One’ will be on display as part of ebb and flow, the Untethered Fibre Artists exhibition at Belconnen Arts Centre, Friday March 10 – Sunday April 2. The ebb and flow exhibition will then travel to Muswellbrook Regional Arts Centre, Muswellbrook from May 12 – July 2.
[ARTIST PROFILE]
What do you do? I am a mixed media textile artist. I am a member of Untethered Fibre Artists. Working with textiles with an arty leaning is in my genes. When, how and why did you get into it? I come from a background of Scottish weavers and an English grandmother who was an artist’s apprentice. My father was a self-taught artist so I have been surrounded by “home grown” art all my life. I like quirky artworks and my personal collection of works has kindly been called “eclectic”. Who/what influences you as an artist? I reflect on day-to-day events in my life and those of people around me. My most recent piece of work, ‘There are Two Tides to this Story’, was to be about a friend’s marriage breakdown but the work didn’t resonate with me until I made it about my
What are your plans for the future? My textile works are about “every day” circumstances or emotions. In the text I write, I like to play with words. Reading the text carefully, a word or words can have a double meaning. This
Contact info: kacharucci@yahoo.com.au
EXHIBITIONS AROUND TOWN
Nitty Gritty – On the Front Line A mixed media exhibition by front-line community workers. Tue–Fri March 14–31, Belconnen Arts Centre.
Elisabeth Cummings – Interior Landscapes Sumptuous paintings of studio interiors and evocations of the landscape. Until Sunday April 9, Drill Hall Gallery.
[Katherine Kachor, ‘There are two tides to this story’, photo by Janet Tavener] facebook.com/bmamagazine
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[Canberra Artists]
Exhibitionist | Arts in the ACT
Carolyn Cabena [ARTIST PROFILE]
What do you do? As a textile artist I work with synthetic dyes and silk mainly, using various dyeing and printing techniques on scarves and wearables. Developing my art practice with more contemporary art pieces is a more recent interest. The magic of Naphtol dye has always intrigued me and for the ebb and flow exhibition I have used the resist qualities of this dye in a painterly way for my contemporary work ‘As I See It’. This trilogy of panels shows the formation of Uluru over many years by the movement of water. When, how and why did you get into it? 30 years ago I followed my interest in design and textiles and studied batik with Kathleen Berney who introduced me to
the Australian Batik Association, now ATASDA. Following many workshops with ATASDA I produced a range of garments with a distinctly Australian theme featuring the outback and native flora. The Australian Craft Show provided me with an outlet in the nineties and now the Society of Arts and Crafts of NSW gallery, Craft NSW in The Rocks, Sydney. Who/what influences you as an artist? Travel in outback Australia, taking photographs, personal memories and objects from the past. Initially influences were textile tutors and in particular Susan Holmes and Ruth Hadlow, who both taught me how to look inside myself … Now I admire indigenous artists and their very personal interpretation of our landscape.
Of what are you proudest so far? I am always striving for that elusive work that appeals to others and has meaning. By being true to myself, I feel my artworks are evolving towards this end. Satisfied would be a better word than proud, as I think it is important to be confident in what you do. What are your plans for the future? Travel both in Australia and overseas for pleasure and in search of inspiration for my next project. My plans are to continue producing my wearables as well as being part of the Untethered group, which allows me to extend myself in creating contemporary work for exhibitions. Life is never boring when there is research to pursue for a new theme that includes visits to galleries and museums.
What makes you laugh? The antics of little children imitating grownups. What pisses you off? Artist Statements at exhibitions that are too small to read and badly lit. What are your upcoming exhibitions? ebb and flow: Friday March 10 – Sunday April 2 at Belconnen Arts Centre. Stitched UP: Friday June 23 – Sunday August 6 at The Lockup, 90 Hunter Street, Newcastle. Contact info: ccabena1@bigpond.com facebook.com/carolyncabena Instagram: Carolyn Cabena
[Carolyn Cabena, ‘As I see it’, photo by Janet Tavener] PAGE 46
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[Film]
Exhibitionist | Arts in the ACT
get started on an idea that you could flesh out for a longer film, and it’s a very exciting medium for storytellers. You can tell really complex stories in a brief amount of time.”
JUST GOOD, COMFY SHORTS BY KAROLINA FIRMAN FLICKERFEST is Australia’s leading Academy accredited & BAFTA recognised short film festival. We had a chance to speak to one of the contributors to the festival, filmmaker Vanessa Gazy. She is presenting her short film HIGHWAY, which was the 2014 recipient of the Screen ACT Screen Arts Fund. Vanessa is a talented and lauded short filmmaker with her previous short film, Foal, being nominated for both an Australian Director’s Guild and Australian Writer’s Guild award in 2015. Gazy’s film atmospheric
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Highway is an horror thriller.
Set and filmed in the beautiful and often dangerous Snowy Mountains, it tells the tale of Hesten Black, a troubled teen receiving mysterious foreboding phantom news from the future. About the film, Vanessa says, “It’s a ten-minute psychological thriller. It stars Odessa Young, the young star from the 2015 start The Daughter. It’s a beautiful and scary film.” Vanessa has a great love of short films, and believes that the medium has a lot of benefits. “It’s a really amazing way for filmmakers to practice and distil their art. It’s also a great way to
I asked Vanessa what her plans are for the future, and if she was planning on expanding outwards into longer films. “It is cheaper making a short film over a feature length, obviously. But I am moving towards features; I do have a few projects in the works, like Bluebell, which was the 2017 recipient of the Screen ACT Screen Arts Fund. In the end, we are screen storytellers.” Technology has changed the way that we interact with film media, and I asked Vanessa what she thinks of advancements like YouTube. “I think it really helps, it democratises the way that we see and make media. It doesn’t matter if what you’re making is [filmed] on a friend’s phone, if its good enough it can gain an audience,” she says. “It increases
the life of your production as well. With traditional screenings, there’s a timeframe and limited seating, but online it can be up indefinitely. After my films have finished the festival season, I want to put them online so more people can see them.”
[Short films are] a really amazing way for filmmakers to practice and distil their art Vanessa encourages anyone that’s interested in making films to “get out and do it, don’t worry about if the first couple of things you make aren’t good, you’ll get there. If you like it enough, then I’d recommend going and studying it formally as well; filmmaking can be very technical and it helps to learn these things formally. Also, it helps to meet the people you may be working with in the future.” HIGHWAY is showing at FLICKERFEST, which takes place at Palace Electric from Wed–Thu April 5–6. Tickets can be booked ahead at palacecinemas.com.au.
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FOOD JUNKY
[THE WORD ON LOCAL FOOD & DRINK] WITH SHARONA LIN [SHARONA@POPCULTURE-Y.COM]
Welcome to the first edition of Food Junky, a round-up of the tastiest food I can get my hands on – all for you. Since we’ve recently welcomed an influx of public service gradlings and new uni students to our fine city this past month, I thought it would be apt to kick off this column with some Canberra staples. My qualifications for this column include once eating a 1kg burrito to win a Mexican wrestling mask (worth it). That’s it. Coming from Melbourne, I’ve been yearning for a hole-inthe-wall dumpling joint, ideally with cheap Tsing-Tao and rudely efficient staff. I haven’t found any are quite rude enough for me, but CBD Dumpling House brings the cheap eats – even if they’re not open quite late enough for drunken, post-gig dumplings. Luckily, plenty of places can fill that void, and I’m not just talking the Maccas next to the bus stop. Try Sammy’s Kitchen (quick and delicious Asian food), Eightysix (try the tasting plate) and Bentspoke (mac and cheese balls – that’s all I’ll say). If you’re not looking for particularly late food, Grease Monkey is one of Canberra’s go-to burger joints. As the name suggests, they’re pretty greasy – perfect for a hangover lunch. If you’re Southside, however, try Brodburger. Brodburger used to be a food truck, but it was so popular, it upgraded and joined the stationary restaurant game. Or as some call it, the uh, restaurant game. Speaking of the non-stationary restaurant game, if you’re in Braddon, you’ll probably hit The Hamlet at some point. Known as one of the most hipster-friendly locations in Canberra, The Hamlet is food trucks galore – try everything. My personal fave is the Peruvian food truck Mr Papa,
which makes a ridiculously good pork belly chanchito (I’m a lapsed vegetarian). Speaking of Canberra icons, Patissez is famed for its Instagram-friendly freakshakes (try The King), but in my opinion, their donuts, freshly made each day, are the real winners – and just as good-looking if you’re chasing Instagram likes. Creme brulee donut. That is all. If you’re not up to leaving the house for your sweet treats, try Sugar Deli, which launched only a few weeks ago. All kinds of sugary goodness, delivered to your door – my body is ready. The Aviary Rooftop Bar is a great venue which is sadly closing down this year – get down there on a Thursday after 5pm for the Thursday Games, featuring tournaments, prizes and sangria, or for their Fridays from 5 – pretty self-explanatory. Good Food Month is March, by the way. I’m particularly looking forward to dinner Down the Rabbit Hole at White Rabbit, Thursday March 16. The main attraction is sour ales, but there will also be live music and food. $44.77 (yeah, I don’t know why they didn’t round up either) buys you four specialty White Rabbit Sours and canapes. The 10th annual Canberra Craft Beer and Cider Festival is a bit more casual: Saturday March 18, 11am–6pm. Over 80 beers and ciders to try – seven hours might not be enough. Speaking of beer, after you recover from the 80+ beer varieties, Friday March 24 brings us Laneway! Streetfood! Party!, presented by Beer the Beautiful Truth. A $50 ticket will buy you four cans of beer or cider and “substantial” street food items. That’s it for this time – if you have any tips, shoot us an email at sharona@popculture-y.com.
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POLITICALLY INCOHERENT WITH LEANNE DUCK
Politically Incoherent is our column all about parties, drugs, sex, general misconduct and counterculture. This month’s entry is Acidmath.
This will serve as a continuation from my dip in the pond of psychedelics. In the last edition, I outlined my experience with lysergic acid diethylamide. However, I didn’t have the word limit to flesh out the aftermath which is also an integral part of the tale. After having dropped the substance at 8:30 in the evening, the effects began to wear off at around four o’clock in the morning the following day. I didn’t really have the luxury of being lulled back to a coherent sense of reality at my own pace as one of my friends called me through the Messenger application attached to Facebook. As I recall, it was a Tuesday so their night was winding down after belting their pipes at karaoke. Towards the peak of my trip, I did attempt to operate my phone but as I held onto it for dear life whilst balancing precariously on my bed I couldn’t shake the sense that it was a stranger’s device and it just felt wrong. Although the mobile looked like mine, its appearance was also warped in some unexplainable way. It turns out my friend was stranded at a petrol station not far from my humble abode after having blacked out. At the time, I wasn’t able to comprehend the seriousness of the situation but nonetheless invited him to my homestead for kick on antics. I was in no state to become responsible for someone else and so I just provided company and abstract conversation to the best of my ability until he passed out on the couch in our loungeroom, which is pretty much the equivalent to a flattened loaf of bread. I refer to it as ‘well loved’, a description which is both true PAGE 50
and ambiguous. Beforehand, he tuckered himself out by staging an improvised cooking show featuring crispy bacon slathered in enough salt to crumble a cliff face, and coffee beans. It was quite the flavoursome explosion.
As I wasn’t expecting anyone, in my hazy wakefulness I figured it was merely a dream. The buzzing subsided as someone else sanctioned entry to this mysterious entity. I tried to reassure myself that whoever it was wouldn’t bother traversing all the way to the top of the complex. I was very much mistaken as I listened to them trudging heavily up the five flights of stairs. Now might be a key point to mention that one of my greatest fears is home invasion and in the vulnerable state of ‘coming down’, this was playing on my mind. Whoever it was started knocking aggressively on the front door
One of my greatest fears is home invasion and in the vulnerable state of ‘coming down’, this was playing on my mind The worst aspect of the experience was not being able to sleep for 24 hours straight. I’m not sure if that’s commonplace, or just the way my brain is wired but my circadian rhythm was clock blocked by my own body to the full extent of the law. Judge Judy and executioner sentenced me to being Sleepless in Seattle. I was a Picasso mix of Meg Ryan and Tom Hanks. Eventually I managed to put myself to bed at around 10:30 in the eve. No one was home and it was the perfect environment to drift back into the welcoming embrace of Morpheus. Although I wanted so desperately to power down, I was awoken from my slumber a mere hour after achieving unconsciousness to the sound of the apartment buzzer ringing off its hook.
staring right into my bedroom and I backed away slowly, hoping his eyes wouldn’t pick up the movement. Since we have a pretty identifiable sign on our door, which would’ve been about two centimetres in front of his eyes, he would’ve had to be truly fucked up not to comprehend it. Someone eventually coaxed him back into the building and as it turns out the woman he sought lives in the apartment below us. The Zelda to his Link. The Princess Peach to his Mario, as it would seem. I eavesdropped into their balcony conversation and this guy claimed he was on a new type of substance that was gaining popularity on the coast. He referred to it as a ‘zombie drug’ and professed it was some kind of bath salt. Anyway, the moral of the story is – listen to your parental units and don’t ever lower the drawbridge of your castle to a stranger, you might very well get your face eaten off.
and demanding for me to let them in. It was an unfamiliar male voice and unfortunately we don’t possess a peeper. After asking repeatedly through the door who it was and requesting them to leave, his name was revealed and it was confirmed I had never met the fellow in any previous lives. However, the man kept insisting that I open the door and at one point referred to me as ‘Angela’. I had to threaten to call the police before he backed off and walked begrudgingly downstairs. Eventually I could hear him hollering at random balconies clearly searching for confrontation. This was followed by making a phone call in front of our building and I peaked through the window in an attempt to identify him physically. He was @bmamag
LITERATURE IN REVIEW WITH CARA LENNON Dregs Jørn Lier Horst [Affirm Press; 2017] “Obviously I’ll do my best, but the most logical explanation is probably that, somewhere out at sea, there’s a bag of severed body parts.” Enter Police Inspector William Wisting – competent, moderate, and afflicted with ‘the menopause’ rather than a drinking problem or a tortured past. Wisting’s dry understatement and focus on procedural police work are hallmarks of Scandi noir. Scandi noir (a.k.a. Scandinavian noir or Nordic noir) is a genre that’s slowly starting to penetrate the Australian popular consciousness. Most famously with Stieg Larsson’s Millennium Trilogy, but also with television series such as Wallander and The Bridge. Characterised as much by what isn’t there as what is, Scandi noir tends to abstain from the histrionic interpersonal drama and gratuitously voyeuristic approach to gore that’s present in other crime fiction traditions. Instead of revelling in the horror of the violence depicted, it chooses to turn its magnifying glass on the society that produces the violence. While not exactly realistic, and as dependent on tropes as any other genre fiction, Scandi noir takes place in a plausible approximation of reality, winding social commentary throughout the onslaught of bodies – or in this case, dismembered feet.
simply gets on with it, pausing here and there for the odd chat about rehabilitative vs punitive approaches to justice. Or on how under-resourced the police force is, or on the police’s role in the public’s perception of their security. Horst’s mild, clinical writing style may be a hangover from his own career as a policeman; or conscious deference to the genre; or in part a result of Dregs being translated from Norwegian – translation being a process that can result in a book seeming neatly assembled rather than written. At any rate, it’s in itself a pleasingly subtle misdirect, like when a kindly doctor says you’re host to a carnivorous parasite, but he does it so nicely it seems like a whimsical mishap rather than an absurdly grotesque catastrophe. In particular, the lack of on the nose dialogue or overt cues as to whether a given situation in Dregs is dangerous, comedic or macabre has the effect of building the mood in slow waves. If your palette is more acclimatised to noir’s recent dark candy offerings, such as Jessica Jones, think of Dregs as a bowl of hi-fibre cereal – less titillating, better for you, and at the end of the day, immensely satisfying.
Dregs is no exception to the conventions of Scandi noir. At the height of the holiday season Wisting faces the prospect of a bin bag of body parts bobbing free somewhere amongst islands peopled with (literal) happy campers. And he facebook.com/bmamagazine
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[ALBUM REVIEWS]
LOCAL MUSIC
OR’S EDIT ICE CHO
AL LOC SIC MU H. 26 LETTERS
[INDEPENDENT RELEASE]
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It speaks volumes of Heti Blaazer-Grossi’s attention to detail (as both a songwriter and producer) that every repeat listen of her debut EP reveals something new and fundamental to her sound. Everything about 26 Letters, from the arrangements to the cover design, is minimal. On ‘Fading’, h. slowly introduces distant piano and percussion in tiny bursts. It’s enough to make the six-minute song feel light and effortless. “The last thing this old world needs is a middle class kid playing a thousand dollar instrument”, she sings, commenting on the struggle between sincerity and self-indulgence. h.’s groove-based guitar work on ‘Intro’ will be instantly familiar to fans of local hip-hop outfit Beneath Benetta; it’s sparse and rhythmic, touching on folk and blues. This makes the arrival of the Rhodes and saxophone in the last part of the song feel like a continuation of a previous thought. h.’s pallet on 26 Letters is beautifully restrained. This intensifies her frustrations and makes it clear that these thoughts come from somewhere genuine and very personal. Even indie folk gem ‘Passion Pop’ is limited to guitar and banjo, never straying far from the nucleus of the song. h.’s lyrics become the focus, with the unnecessary being stripped away so that the EP’s literature shines through. When the piano on ‘Fading’ decays into dissonant cluster chords, you can almost feel h. pushing her fist into the instrument, trying desperately to prove herself. And prove herself she has. If being limited to little more than guitar and voice produces something this accomplished and nuanced, this old world needs to hear what happens when h. has a full ensemble to lead. HAYDEN FRITZLAFF PAGE 54
BENJAMINDRURY SENTENCE FRAGMENT: CONSIDER REVISING [INDEPENDENT RELEASE]
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“I don’t find anything particularly worthwhile or clever about this beat,” muses Sunny Cologne on album closer ‘Snow In Paris’. It’s a sly nod to the collaborative nature of an album that plays out like a history book, documenting the transient relationships forged in a changing music scene. benjamindrury admits that his tastes and interests have evolved in the three years since he wrote and recorded Sentence Fragment: Consider Revising. References to more mainstream artists like Kanye West and Earl Sweatshirt shine through on the machine-like ‘Distable’ and the darkly cinematic ‘Revision’. So too, verses from local heroes such as Heti and SayanD MC from Beneath Benetta are snapshots of a time and place. But it’s Drury’s obsession with sound as a raw material that sets Sentence Fragment… apart. ‘Revision’ begins as a (more or less) conventional R&B tune featuring jazz vocalist Tahlia Makunde as well as a barely recognisable Kid A sample. Eventually, the track disintegrates into its constituent parts, with glitchy, beat-repeated drums and washed-out samples creating a collage of Drury’s individual inspirations. The end of ‘Intergration’ features a field recording from inside an ANU School of Music practice room. An unnamed student improvises a crooning piano ballad as the microphone picks up everything that’s happening in the room. It’s a beautiful and unscripted moment on an album of whackedout, deconstructed hip-hop. Whether intentionally or not, Drury has lovingly collected the sounds of a scene in flux. The real irony is that the beats really are tight and clever. This record isn’t just worthwhile. It’s an important statement about how the process is just as vital as the finished product.
MOANING LISA THE SWEETEST
LOC MUS AL IC
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The Sweetest is the debut EP from one of this months’ featured artists, Moaning Lisa. The four-track EP begins with ‘Shoe-In’, a song that’s unpleasantly familiar for many; making childhood plans for success, only to find out how unrealistic they were as you grow up. The pop-flavoured song isn’t pessimistic – instead, it’s the acceptance that we’re never truly in control, and the realisation that the most important facets of life can’t be measured by money or power. Track two, ‘Song 1’, is powerful, painful, fast and loud. The long, rhythmic sentences become increasingly frantic throughout the song, as Moaning Lisa showcase their punk influences, and their ability to instil raw emotion through both words and music. ‘New Age Boy’ is a song that is both soothing and disquieting. It captures the feeling of what it’s like to be a queer woman falling in love with a straight girl – being an experiment, a ‘favourite toy’. ‘Time’ is the final song. It’s dark, haunting, slow and simple – but never boring – building to a crescendo before fading out into fuzz and static. It is, for lack of a better term, the perfect ending. A motif that ties these songs together is ‘expectation’ – something we all know too well. The Sweetest is a cohesive technical and melodic gem. Beautifully paced and composed, this is an EP that will linger in your brain for a long time. Moaning Lisa are an intelligent and thoughtful band who know exactly who they are. Tongue-in-cheek and sardonic, The Sweetest is made up of juxtapositions: relatable, yet unique. Unpredictable, but perfectly tailored. It’s the one we’ve been waiting for. ELEANOR HORN
HAYDEN FRITZLAFF @bmamag
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[DEW PROCESS]
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ROBBIE MILLER CLOSER TO HOME
SOHN RENNEN
KINGSWOOD AFTER HOURS, CLOSE TO DAWN [
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Kingwood’s latest album is what you would expect from the band, and that’s not such a bad thing. After Hours, Close To Dawn is the Melbourne band’s second effort, and a big stylistic change from their debut album, Microscopic Wars. AC/DC-inspired riffs and Zeppelin howls have given way to Beatlesstyle harmonies and Marvin Gaye grooves. The former pub rockers have essentially made their take on a soul record.
SOHN’s music came as a surprise. His PR photo, with hat, said folk/country, but this producer is an electronic troubadour for this century. Under the moniker SOHN, Englishman Christopher Taylor, now based in Austria, named this LP (German for ‘run’) after his hectic lifestyle, which involved non-stop global touring. He then settled in one spot in California to write the material, before recording it in a mix of nations.
Robbie Miller came to notice with his 2015 debut EP The Faster the Blood Slows, which showcased his gentle, dreamy folk-pop. His debut placed an emphasis on acoustic and piano lines, with plenty of space inside the songs. Recorded in both the Northern Rivers Region of NSW and metropolitan Melbourne, with the assistance of Oscar Dawson (Holy Holy and Ali Barter), this release is less folky, with a move to a greater use of electronica.
There is no doubt that from the opening song, ‘Looking For Love’, the album will polarise the band’s fans. Beginning with a piano and vocalist Fergus Linacre’s almost Broadwayesque croon, After Hours, Close To Dawn is shy of guitar, focusing more on creating smooth soundscapes with organs and horns. The lack of pub rock guitar anthems will undoubtedly disappoint a few, but Kingswood prove they are capable of recording great songs without them.
Let yourself fall into the digital embrace of this musical carpet, comprising an RnB underlay with a thick electronic rug on top. Themes go from the intensely personal, due to major changes in his own life, to the more political, which announce his concerns over the turmoil that bedevils the wider world. While it follows the recipe of his 2014 debut long player Tremors, this release has a different, more coherent feel about it due to the artist’s deliberate approach to limit himself to three core musical elements to each song. There’s one element for the rhythm, one tricky hook sound to give each track its individual personality, and a third one for the enveloping cool vibe that characterises this very chill release. All this musical wizardry serves as the base for SOHN’s amazing voice, which arcs up incredibly high.
Songs in Closer to Home have followed the pattern of the ‘The Pain’, the most outstanding track from his debut. The spaces inside songs have gone and all the joints are plastered over with an electronic filler. The result, and the change in vibe from his previous release, is remarkable. This EP projects a very polished image, running as smoothly as oiled roller bearings and providing a perfect platform for Miller’s incredible voice. His delivery is so fluid, it is sometimes difficult to separate the lyrics from each other.
The record is quite diverse in style. ‘Rebel Babe’ is the track closest to Kingswood’s previous releases due to its fuzzed out guitar riff. ‘Big City’ is an acoustic country ballad that sounds like it could have been an Eagles outtake. The highlight of the record though is the slow burning ‘Belle’, its laidback groove impossibly infectious. While many will disregard After Hours, Close To Dawn as a rock band selling out, those who are not afraid of change will see it for what it is: a pub rock band proving they are something more. Kingwood have proven they can smash everybody’s expectations which begs the question, what do they have in store next time around? THOMAS SPILLANE
Besides 1s and 0s, SOHN also employs the percussive qualities of everyday domestic items. Highlight opener ‘Hard Liquor’ features the hard impact core beats, striking signature sound (in this case a rapid tattoo), swelling vocals and shimmering synths that, in one guise or another, flow through the track list. ‘Dead Wrong’ shines with its tap drip intro, pneumatic synths and a finger snapping finish, but the title track is undoubtedly the song of the album, with its haunting tune and soulful vocals.
Opener ‘Road’ emerges softly on warbling synths before a steady beat cuts in. ‘This Death’ possesses a slightly more folky texture with a prominent, pretty acoustic guitar pattern. ‘Fire’ treads firmly on spaced piano keys and it is arguable whether it or ‘So Long’, which follows, takes the cup for the highlight song in this release. The closer ‘Me and You’ plays around with echoes and curious shuffling, scraping overlay effects. Impressive as Miller’s latest move is, I have to wonder if the switch to a more producer oriented sound is a wise career move in a market saturated with clever producers and their soulful, hired gun (feat) vocalists. RORY MCCARTNEY
RORY MCCARTNEY
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[ALBUM REVIEWS]
ALBUM IN
FOCUS
RYAN ADAMS PRISONER
[BLUE NOTE / PAXAMERICANA]
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Ryan Adams proudly wears musical influences on his sleeve and this would only be a problem if the music was overly derivative for the sake of it. Everything is alright though, as this singer/songwriter follows a muse that is distinctive enough to stave off the copycat syndrome. This means it doesn’t matter when familiarity kicks in on any given album as long as the reference points are good ones. Adams’ creative sensibility has at its core an affinity with alternative country music that emerged from the modernised, achingly intimate outpourings of Gram Parsons, Guy Clark and other essential artists such as Townes Van Zandt featured on the Heartworn Highways soundtrack. His work in early band Whiskeytown was very much of the countrified post-punk variety but each subsequent solo album has looked further afield and the Grateful Dead references on such an album as Cold Roses with backing group The Cardinals expanded upon the basic template without resorting to slavish imitation. It is not often that a songwriter does his best work with 16 or so solo albums in the can but Adams’ voluminous output is becoming more compelling as time goes on. Random oddities like the full album cover of Taylor Swift’s worldwide smash 1989 aside, Adams continues to have his shit together when it comes to crafting songs that express innermost feelings. On the self-titled album from 2015 he decided to plough head first into 1980s power-pop with the grandiose likes of Foreigner and Bruce Springsteen’s Born in
the USA entering the mix. The results could have been disastrous in lesser hands, but in fact confirmed how Adams can absorb a wide range of sounds and sprinkle them into his lovelorn take on the world. This latest album continues in the same vein and is equally admirable. The Pitchfork review of Prisoner suggested tongue-in-cheek that a sticker should have been placed on each copy confirming that the major theme is Adams’ response to his marriage break-up with starlet Mandy Moore. This becomes immediately apparent on the simple, direct lyrics of the opening song ‘Do You Still Love Me?’ with Adams all vulnerable and lost in a cruel world repeating the song title in the chorus as a way of daring himself to confront what he already knows, while the music aspires to the soaring heights of stadium rock. It shouldn’t work but somehow does. Adams then gets right to the point on the title track in which he sings, “I am a prisoner for your love”. This song contrasts musically with the opening track as major key power ballad is now replaced with minor key intimate rumination that sounds suspiciously like The Smiths. Adams has a lot on his mind and wants to remind the woman he loved that she once felt the same with lines such as, “My love, you said you’d love me now until doomsday comes”. But weary resignation is never far away and the knives come out on ‘Shiver and Shake’ when he lets loose with, “Close my eyes, I see you with some guy / laughing like you never even knew I was alive.” The 12 songs on Prisoner effectively capture the hurt with redemption an unlikely outcome, but everyone should be allowed time to wallow in self-pity when relationship suffering strikes. All of Adams’ musical tics and lyric motifs are present on this album and the appeal boils down to a matter of identification – we’ve all experienced horrible heartbreak at one time or another. I know I have. DAN BIGNA
[VARIOUS ARTISTS] GIMME DANGER: THE STORY OF THE STOOGES [RHINO]
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The newly released Jim Jarmusch documentary on the Stooges should have fans salivating in anticipation, and a taster to get the juices flowing is this relatively brief, yet hard-hitting soundtrack compiled by Jarmusch and Iggy Pop. Like Memphis band Big Star, The Stooges were the world’s greatest rock ‘n’ roll band that never made the charts, and although sustained by a cult following in the early days, the Stooges were finally recognised as musical masterminds when championed by the class of ‘76 punk rockers. Opening with the original David Bowie mix on the menacing ‘Gimme Danger’, the soundtrack provides a concise, yet potent overview of the three albums recorded before the band imploded from drugs and disillusion. The music is highly charged garage rock that smacked of danger and subversion. Every one of the 14 compiled songs is a red hot classic and the hot-wired propulsion of ‘Loose’ from album masterpiece Fun House is guaranteed to put the hormones into overdrive. First rate additions include the MC5’s sizzling ‘Ramblin’ Rose’ that appropriately complements whatever wasted noise The Stooges were making in the early days. The soundtrack also features a number of nonalbum tracks including downer outtake ‘I’m Sick of You’ and Fun House outtake ‘Lost in the Future’ that comes across as slow burning blues, revealing an expressive musical range that expanded on the three chord punk of ‘I Wanna Be Your Dog’. Then you come across incendiary nugget ‘I Got A Right’ that pretty much kick-started the US hardcore scene while heading for the extremities of sleazy cock rock. The collection finishes with a free-form freakout titled ‘Asthma Attack’ that set the scene for all that uninhibited noise lurking in the murky corners of the music underground. DAN BIGNA
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L LOCAIC MUS THE UNIVERSE BY EAR THE UNIVERSE BY EAR [CZAR OF REVELATIONS]
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The Universe By Ear are a Swiss three-piece formed in 2015 “to lead rock to places no one has ever set foot before” – Universe By Ear press release. They describe themselves as a fusion of psychedelic, prog and blues. With a vocal and musical sound akin to the prog bands of the early ‘70s, there is none of the polished technical finesse of modern prog bands. Their sound is dirty and dark, with a definite blues edge, but with unusual time signatures. The album is full of rich textures and grooves, with some great guitar solos thrown in for good measure. All executed with the precision of a Swiss watch. Favourite track, ‘High on The Hynek Scale’, has a beautifully infectious guitar groove that roles through the verse into a big airy chorus. The Hynek Scale is a method for classifying UFO encounters and it definitely comes through in this track and the album as a whole. The Universe by Ear is a real slow burner; the first listen through will have you scratching your head wondering what’s going on. But after a few listens it starts to sink in as your ear cuts through all the grittiness to the musical gems inside, while at the same time you find yourself wondering what are these guys on! It’s not as chaotic as a Mars Volta album, but has more than a few similarities, so if you are a fan of them, you will probably get into The Universe By Ear. 3 and a half out of 5 green men with guitars! TIM BUTLER
PJ MICHAEL AND THE BANDITAS ALL NIGHT LONG [INDEPENDENT RELEASE]
[
Local five-piece PJ Michael and The Banditas has renewed itself with a line-up change, introducing Matt Barnes on drums, and launched a new EP. The sound, alt-country with a blues chaser, comes under the leadership of Canberran PJ Michael who fooled around with a guitar before trying his hand at original music, having been inspired by the likes of Johnny Cash, Townes Van Zandt and The Black Keys. There’s an earthy honesty in the simple guitar, bass and drums arrangement, with only a violin to sweeten the sound. PJ’s voice can flip from a gravelly drawl to a lower, darker sound reminiscent of Nick Cave. Tragic in title, opener ‘Love You and Die’ has an old-time vibe as it progresses around a virtual sheep shed dance hall in a sedate 1-2-3 beat. While melancholy in message, there’s an undeniable appeal in its foot tapping rhythm as a muddy voiced PJ and a softer toned Liz Boylan combine gracefully in the singing. The violin features strongly, giving the song a woodgrain finish. The title track picks up the tempo, lifting its chin with a more cheery demeanour. The music stops briefly as PJ chants triumphantly, “I got a girl, she’s waiting on me,” before the track winds up with a hand clapping, singalong finale. ‘King of Terrors’ squints through cigarette smoke, imparting the best blues vibe on the disk. The most complex melody mix here, it bears a catchy chorus tune and injects a little honky-tonk piano. CD highlight ‘Leave a Light On’ brings up the rear, with its elegant, sparse plucked tune. The power of the song rises as a sharp drum sound cuts into PJ’s smoky singing and the violin spurs the mood higher. RORY MCCARTNEY
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]
HOLLOW COVES WANDERLUST
[INDEPENDENT RELEASE]
[
]
Hollow Coves is the fusion of Brisbanites Matt Carins and Ryan Henderson, indie folkers who issued their debut EP Drifting in 2014. That mini release included ‘Heatwave’ with a pure acoustic guitar line, dreamy vocals and a pretty tune, plus two other tracks. Now those extra two songs are back, plus three others in the more substantial EP Wanderlust. The name was inspired by the duo’s enthusiasm for travel, which necessitated an unusual process where they created songs by communicating with each other, and their friend and producer Hayden Smith, from different parts of the planet. There is a simple, dreamy vibe to the songs, capturing in their lyrics the message that there is happiness to be found in a less complex, less competitive life, appreciating everyday pleasures and the beauty of the environment. ‘Coastline’ employs a beguiling acoustic tune and the graceful vocal harmonies of Carins and Henderson in this tale of travel, summer and romance. The clear, soft delivery breaks into a run as drums cut in and pick up the pace, before being boosted by warm brass notes. ‘We Will Run’, about the joy of moving through nature and the need to make the most of your time, comes with a wistful tune and an elegant arrangement that makes good use of well-placed pauses in the song. Chunky chords step out in a measured pace in ‘The Woods’ before well-spaced keys join the mix, while the pretty plucked tune and soft, sighing oohs of ‘These Memories’ create a soothing mood. Wanderlust carries an uncomplex, homely appeal but is rather ‘vanilla’ in its consistent sweetness. There is wisdom in its messages, but the one track, tree-hugging theme does get overplayed. RORY MCCARTNEY
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[ALBUM REVIEWS]
SINGLES IN
FOCUS WITH CODY ATKINSON
GENESIS OWUSU ‘MAMA’S BABY’ [
]
If you haven’t hopped on the Genesis Owusu bandwagon yet, now is the time to do so. One half of The Ansah Brothers, Genesis has been dropping killer track after killer track for a while now, setting the pace for the local hip hop scene. ‘Mama’s Baby’ is no different, with an idiosyncratic delivery and atmospheric production creating a sound like not much other local stuff around. This is, quite simply, good shit.
MOUNT EERIE ‘RAVENS’ [
]
To be blunt, ‘Ravens’ is about death, and an intensely personal one at that. After a couple of years off, Phil Elverum returns by writing what he experienced during that time, notably the birth of his first child and the death of his wife. ‘Ravens’ is a fragile track, with a raw-sounding acoustic guitar offsetting the raw emotions on show. One to chuck on in a quiet room, away from the world.
THE COURTNEYS ‘MINNESOTA’ [
]
Everyone likes a slice of good ‘n’ dirty garage-pop, right? The Courtneys, a three-piece out of Vancouver, have carved out a nice piece of it here on ‘Minnesota’, with the pop doused in a heavy cloak of fuzz. The result is a pretty nice balance of hook heavy rock and roll, going on about winter love.
THE CHAINSMOKERS & COLDPLAY ‘SOMETHING LIKE THIS’ [
]
You always have to admire an artist with the guts to try something different. Unfortunately for both artists contributing to ‘Something Like This’, it seems like a combination of the exact same fucking thing they always do. Take one part of Coldplay’s arena-pop lite schtick, add two parts of drop-heavy EDM fuckwittery (The Chainsmokers) and leave to ferment until my ears fucking bleed. PAGE 58
LOCAL MUSIC
ZIKA MELALEUCA
[INDEPENDENT RELEASE]
[
]
With a moniker that was around before the infamous virus grabbed all the attention, local singer-songwriter and multi-instrumentalist Zika Vuletic has released his sophomore EP. Like the debut album Solaris, it was produced by Cub Callaway (past member of The X-Men and The Saints) who also played a variety of guitars in the creation of Melaleuca. Heavy on electronica, the material involves a complex interplay between a large range of instruments, with an emphasis on the special qualities of glimmering synths to provide the necessary ambience. Zika keeps closely to the feel of the previous album, with its atmospheric vibe and free flowing construct. There’s a strong link to the natural world in song title, CD art (which incorporates the National Gallery’s outdoor sculpture Cones) and the lyrics of the title track, with an unrestricted, expansive mood that opens itself to the appreciation of nature. The EP also takes a poetic turn, drawing on ideas from the work of William Blake and Samuel Taylor Coleridge. Opener and disk highlight ‘Melaleuca’ has strong prog rock overtones, with a succession of shifting sounds and emotions. It opens with a throaty sax, succeeded by stairclimbing guitar, before sax and guitar embrace to highlight each other’s strengths. Generally contemplative in its stance, the EP mould was broken for ‘Sunlit Garden’, which carries a more insistent, driving rhythm. In the opener, Zika’s breathy vocals recall the sound of The Church frontman Steve Kilbey, while elsewhere he conjures up David Bowie in his more dreamy songs. The delivery is more veiled in the semi-hazy ‘Cyclops’ with its stumbling, syncopated percussion and distorted guitar play, while the spaced out instrumental ‘Lyrebird’ is pure driftaway material.
DUNE RATS THE KIDS WILL KNOW IT’S BULLSHIT [INDEPENDENT RELEASE]
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Dune Rats have become Australia’s premier punk rock slackers. Hailing from Brisbane, the band started as a duo, eventually becoming a three-piece. The Kids Will Know It’s Bullshit is the band’s sophomore effort and carries on the beach punk vibes of their eponymous debut. The record is fast, punchy and catchy with not a single song over four minutes long. It is with this tried and true punk formula that Dune Rats thrive. The Kids Will Know It’s Bullshit was produced by Zac Carper, of FIDLAR fame, and his influence can be heard all over. Raucous choruses are defined by infectious chants and high energy drums. Every track on the record is fun, cheeky and downright catchy. With tongue firmly in cheek, Dune Rats epitomise getting drunk, getting high and having a good time. It is almost impossible to not succumb to the infectious melodies. Vocalist Danny Beausa moves from Ramones style chants to a hardcore-influenced growl within seconds. ‘Six Pack’ is the band at their deviant best. An ode to underage drinking, the chanting of the chorus will inevitably hook you into singing along, “My brother bought us a six-pack / Bad smokes and a cask of ‘we don’t care’”. This style of contagious, delinquent energy is continued throughout the whole record. Despite the influence from FIDLAR’s Carper obvious on the record, Dune Rats have still maintained a sense of themselves. They may not be defying genre with this record, but they have shown they are the masters of Australian slacker beach punk. THOMAS SPILLANE
RORY MCCARTNEY
@bmamag
Questioning
?
Hunting & Collecting with Cody Atkinson
Recently the People for the Ethical Treatment of Animals, or PETA as most know them, asked iconic Australian band Hunters & Collectors to change their name. This issue Questioning looks at the “request”, and where Hunters & Collectors really got their name from. So … this sounds like a bad publicity stunt … Yep, that’s how it feels to me too. And you are feeding publicity machine why?
the
Because it’s a spectacularly bad publicity stunt. OK, let’s step back for a second. What did PETA want Hunters & Collectors to do, and why? PETA wanted Hunters to change their name, because they believed that it could potentially be seen as both supporting and encouraging duck hunting. Did Hunters & Collectors get their name from their love of duck hunting? Do they even love duck hunting at all? Early attempts to contact Hunters & Collectors about their passion for duck hunting have gone unanswered. But it is relatively well known that the band took their name from a song by German band Can, off their 1975 album Landed. Right, now we are getting somewhere. Who were Can, and why did a Melbourne band name themselves after one of their songs? Can were one of the most influential bands of post-war Germany, combining styles as diverse as avant-jazz, rock, funk, glam, electronic and world music into an eclectic blend. The band are considered to be some of the forbearers of Krautrock, heavily leaning on the trademark motorik beat, but their material dives far beyond just one genre or style. Other than the aforementioned Hunters & Collectors, bands such as Spoon and the Mooney Suzuki have named themselves after
songs or members of Can. Right. So, what were Can’s opinions about duck hunting? Were they firearm fiends? After some extensive research, BMA can find no links between Can, or any of their critical members, and hunting. The band are usually considered to firmly be members of the counterculture of the time, and drummer Jaki Liebezeit later suggested that the band’s name could stand for “Communism, Anarchism, Nihilism.” Not exactly the characterisation of mad hunters. The song ‘Hunters and Collectors’ itself does mention shooting, but it appears not to be in the context of hunting animals, but perhaps bad people. Most importantly, the song refers to the hunters and collectors all coming out at night, whereas duck hunting primarily occurs during the morning and afternoon flights of ducks. It is, however, an extremely dope song that everyone reading should check out. So the song ‘Hunters and Collectors’, and subsequently the name of the band, is not about duck hunting? Almost certainly correct. Short of an interview of the remaining members of Can, BMA can’t be certain about this, but it is highly unlikely. Wait, that song was from 1975? When did Hunters & Collectors pick their name? In 1981, a few years after Landed came out. So … why did PETA wait until now to make the request? I have no idea.
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I mean, the band hasn’t released anything recently, have they? Nope, no original albums since 1998. They still tour infrequently, but they really haven’t been a continuously going concern for about two decades. Since then, frontman Mark Seymour has kept himself quite busy releasing around eight studio albums in that time, none dedicated to duck hunting (at least according to BMA’s research). The timing seems a bit off … Well, it must be noted that PETA Australia didn’t even exist until 2008, a solid 33 years after Can released the song and 27 years after the Hunters picked a name. But since then the band has played at Sound Relief, the AFL Grand Final and won a Helpmann Award for Best Australian Contemporary Concert. So yeah, they probably could have picked a more appropriate time too. But asking a band who doesn’t really exist much anymore to change their name? Yeah, it’s an odd one. It’s the sort of move that alienates those sympathetic to their causes (such as vegetarians like me), and gives the impression that the PR battle is far more important than creating substantive change on the issues that they care about. By moving to the “stunt” end of things, it merely leads the public to trivialise the (in my opinion) fair causes that they fight for, and push the real message to the margins. And to call it just a cheap joke insinuates that the original call was funny, which … yeah, it wasn’t.
If it was 35 years ago and topical, and relevant to what their name was actually about, and delivered in a format other than a staid press release forwarded to just about every media outlet in the country, and written well instead of shabbily … then it might have worked. Maybe. But didn’t PETA write a column in the Adelaide Advertiser claiming it was a success? They did, but it wasn’t. PETA claimed that the campaign was never meant to work, and it was successful because it got people talking about duck hunting – although a scan of comments sections carrying the original story barely mention duck hunting at all. Indeed, most mention the “PC culture” and tone deafness of the press release. Which again takes away from the seriousness of the issue at hand, and distracts real debate about the legality and ethical quandaries around duck hunting. So the takeaways here are … PETA needs to become friends with some comedians, everyone reading this should listen to some Can. And some early Hunters & Collectors. If there’s a silver lining here, it’s that I got to write about Can, and hopefully a few more people got to hear how good they are. And Mark Seymour can write a tune or two as well. So PETA did a good thing then … Dammit, yes. But also no.
It’s both dated and doesn’t make sense, the Holy Grail of shithouse joke construction … PAGE 59
[FILM REVIEWS]
THE WORD ON
FILMS with Majella Carmody The one and only David Stratton recently graced Canberrans with his presence at Palace Electric Cinema to ‘Q&A it up’ with his new doco, David Stratton: A Cinematic Life. The film not only provides a fascinating portrait of the man himself, but also a kind of catalogue or history of Australian cinema – including commentary and interviews on the impact of Wake in Fright (1971), My Brilliant Career (1979), Evil Angels (1988), Shine (1996) and The Castle (1997). In that vein, it’s great to see that this year’s sixtime Oscar-nominee Lion has just roared into the top-ten all-time box-office takings for Australian film, as well as the recent release of Jasper Jones adding another thoughtprovoking Australian story to the canon. QUOTE OF THE ISSUE “THIS IS CORRIGAN. NO ONE WILL BELIEVE ME.” JASPER JONES (AARON L. MCGRATH), JASPER JONES
HIDDEN FIGURES [
Hidden Figures is the true story of three black female mathematicians – Katherine Johnson, Dorothy Vaughn and Mary Jackson – working at NASA in the early 1960s. A wonderful and warm film, its only fault is its heavy reliance on conventional biopic techniques. But you know what they say: if it ain’t broke, don’t overcomplicate a film about maths. That standard movie formula works for a reason: it lets its stars shine. Taraji P. Henson, Octavia Spencer and acting newcomer Janelle Monaé, infuse the film with a hypnotically watchable dynamism. Monaé is a talent to watch (she also appeared in this year’s Best Picture winner, Moonlight), but Henson is the blazing force, fluctuating between compassion and strength, dedication and exhaustion often all within a single arch of her brow. Surprisingly, the most satisfying scene in the film doesn’t belong to Henson (though in a just world her outburst about institutionalised racism would’ve garnered her another Oscar nomination). Instead, it’s a small, subtle scene that has the most staying power: Dorothy’s superior (Kirsten Dunst, doing her usual detached, aloof routine, thus continuously feeling out of place) says, upon encountering Dorothy in a newly un-segregated bathroom, “Despite what you may think, I have nothing against y’all.” Dorothy (a terrifically in-command Spencer) calmly straightens her back and, with enough sincerity to cut through to the core of two years of #OscarsSoWhite controversy in a single sentence, says: “I know. I know you probably believe that.” INDIGO TRAIL
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JASPER JONES [
]
Jasper Jones, directed by Rachel Perkins (Bran Nue Dae), and adapted from the beloved novel of the same name by Australian author, Craig Silvey, feels like a thematic cousin to 2015’s The Dressmaker, where terrible secrets are hidden beneath the squeaky-clean façade of a rural township. Bigotry, family violence, racism, alienation, cruel gossip, adultery and death – if you thought Harry Potter had to deal with some dark and sinister shit in his formative years, you should try being a kid living in the fictional town of Corrigan in 1969. Bookish thirteen-year-old Charlie Bucktin (Levi Miller) is suddenly awakened by the mysterious Jasper Jones (Aaron L. McGrath) tapping desperately at his bedroom window, begging for Charlie’s help. Charlie follows Jasper to a secluded glen and makes a horrific discovery. In the days that follow, and weighed down by his secret, Charlie tries to navigate his loyalty to Jasper, his fledgling romance with Eliza Wishart (Angourie Rice, The Nice Guys), his fraught relationship with his mother (the always excellent Toni Collette), and the reaction of the townsfolk to the sudden disappearance of Eliza’s sister, Laura. Casting kids as leads can often make or break a film, and each of the young actors rise to the occasion, dealing with some pretty heavy subject matter, while holding their own against acting royalty, Collette and Hugo Weaving (as Mad Jack Lionel). Jasper Jones is a great new Australian film well worth your support. MAJELLA CARMODY
LION [
]
I’ll admit I was pretty sceptical going into this film. I already had my ‘cringe-o-meter’ set to High, expecting a piece of blatant Oscar-bait (or at the very least, an exploitative featurelength advertisement for Google Earth). However, Australian director Garth Edwards presents a confident, sensitive and emotionally complex story of family and identity. Based on the autobiography A Long Way Home, Lion details the journey of Saroo Brierley (newcomer Sunny Pawar) who, at five years old, is separated from his older brother at a train station in India while looking for work. A lost Saroo boards a train and unwittingly ends up 1,500 kilometres from his mother and his home. Somehow surviving the terrifying streets of Kolkata, Saroo is eventually adopted by the Brierley family from Tasmania. As he enters adulthood, Saroo (Dev Patel) is determined to piece together fragments of his memory with the assistance of new technology, in search of his former life and home. Lion boasts some exceptional performances, especially from Pawar, Patel and Nicole Kidman (as Saroo’s adoptive mother, Sue Brierley). The production itself effortlessly evokes a sense of time and place, ensuring the film rarely succumbs to the stylistic perils of flashbacks. Dustin O’Halloran and Hauschka’s Oscar-nominated piano-based score emanates a palpably haunting, cyclical quality, which echoes the heaviness of Saroo’s ‘lost years’. Lion celebrates connectedness, family and pure determination. A profoundly moving film. MAJELLA CARMODY
@bmamag
SILENCE [
TONI ERDMANN
]
Stop me if you’ve heard this one before: Jesuit monks, SpiderMan and Kylo Ren travel to 17th century Japan to spread the word of Jesus and find Qui-Gon Jinn who is being tortured by a brutal Buddhist regime. Yes, well done. I am in fact talking about Martin Scorsese’s passion project Silence, starring Liam Neeson, Andrew Garfield and Adam Driver. Adapted from Shusaku Endo’s critically acclaimed 1966 novel, Silence is a meditation on the nature of faith in the face of great suffering. Throughout history, Christians (believers and nonbelievers) have been tested and forced to bear witness to terrible crimes perpetrated for or against their own kind in the name of faith. Garfield does a tremendous job to shoulder such a heavy concept throughout this film without it ever becoming a true weight on the audience’s patience, and Scorsese’s masterful direction allows us to savour Japan as it once was. Occasionally, Silence struggles to maintain momentum, and certain key scenes fail to possess the gravity they need, but these criticisms seem minor when compared to the larger scope of the story, and the way in which the plot tenderly unfurls. In a time when established major religions are treated by many with suspicion, it’s refreshing to see a film dealing with characters’ intimate and personal relationships to their faith, the effects it has on them as individuals, and the people, and world around them.
[
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There’s a tendency for us as audiences to assume that the salient features of human drama are the distinct events or plot points tying a story together. In Hollywood films, the mildmannered secretary in one scene can become a boisterous personal trainer in the next. What we sometimes forget to realise is that it isn’t plot points that make a resonant story, but the journey and development from one plot point to the next. Toni Erdmann is a film that is keenly aware of this, and draws 2 hours and 40 minutes out of what could conventionally be an hour and a half story, exploring an aging prankster father assuming a ridiculous alternate identity to reconnect with his businessminded daughter. Do not expect a Mrs. Doubtfire-style setup. Toni Erdmann is grittier, smarter and honest to a fault. Due to the running time, these characters extend beyond caricature into honest and pathos-driven portrayals, tested against many different backdrops, conversations and contexts. Most of these are interesting, but at other times it’s hard to give a damn whether a Romanian oil company is going to outsource its labour or not. Toni Erdmann is a testing film for the characters and for the audience, but is peppered with incredibly real and genuine moments, all well-deserved and occasionally, beautiful. PAT JOHNSON
PAT JOHNSON
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[THE WORD ON GIGS]
play. All eyes were straight to the screen, as many of us were in fact featured in this video. You could see hands pointing from every corner of the Phoenix, lots of “There you are! There you are!” as more and more faces came into frame. The pride that everyone was taking in this video was just immense, washing over everyone there, filling us all up with that warm, fuzzy feeling of being a part of a really loving and talented arts community. And then it was time for the real deal.
PHOTO BY ALICE WORLEY
MOANING LISA THE PHOENIX THU MAR 9
The Phoenix was graced by an unfamiliar presence: a large white screen. It’s duty was to embrace the projection of Moaning Lisa’s first music video, ‘Shoe-In’. What even needs to be said here? Does this even need a review? Look at that line-up! This was obviously awesome.
First up was Eadie & The Doodles, a talented bunch to say the least, with Eadie’s Thora-Birch-inGhost-World-like cool gluing them all together as Antiques Roadshow played silently on the screen behind them. This was followed by Azim Zain & His Lovely Bones, and how
THE LIVING END ANU BAR WED MAR 8
very lovely they all are. Each member of this band is just a huge bucket of talent and every time you see one of their sets you can’t help but fall in love. But of course, the main event. Moaning Lisa. What a band. As Azim’s crew carried their gear off stage, the video began to The Spindrift Saga provided a heavy introduction to the evening and benefited from their exposure to the sold-out crowd. It’s pleasing to see recent shows at ANU selling out, making me curious about where these shows will be hosted when the venue closes (and whether the imminent closure is contributing to ticket sales). Having The Bennies as supports for this tour probably also contributed to ticket sales. The lads have quite a following of their own and are gaining more fans with each release. This was my first time seeing them live and I had high expectations that they unfortunately didn’t quite meet. I was looking forward to their mix of guitar and keys/synth, but the sound wasn’t as hard hitting as I had hoped. This could have been the venue and I think they are definitely worth another shot. ‘Knights Forever’ was still a fun highlight of their set.
PHOTO BY RICKY LLOYD
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This band just gets more and more pro each time they play. It feels like they’ve been playing together forever (even though it’s only been about a year). Charlie and Hayley’s complementary vocals, Ellen’s phenomenal talent on her guitar, and Hayden just being the king of composed as he effortlessly kept the beat. This, my friends, was a very solid evening. ALICE WORLEY
extent that a small circle formed. Tonight wasn’t quite as hectic but still had that ‘90s punk/ grunge spirit with a fair amount of crowdsurfing. The new songs from Shift had a heavier vibe and were a bit harder to mosh to compared to the more rhythmic classics like ‘All Torn Down’ and ‘Prisoner of Society’. I don’t think Chris’ amazing guitar work got to shine as much as previous gigs but the small glimpses we got were still top notch, and of course Scott still did his famous bass climbing. Having seen the group a lot now and ranking them amongst our best live acts, maybe I’m just being a bit picky now. Still a great act to have in our final days of ANU Refectory. JARROD MCGRATH
The last time The Living End were at ANU I remember the mosh being quite fervent, to the @bmamag
Local favourite Mikelangelo provided a brief warm up act, starting off with one of his deep, dark tunes before leaping into an old rocker in true Balkan Elvis mode, with plenty of fancy footwork, high kicks and howls. Ever concerned about the famous ‘do’, he asked “Is my quiff still OK?” after his exertions. Amanda Palmer showed that, besides being a superb songwriter, singer and pianist, she is a masterful entertainer in every sense of the word, with a long show that kept the punters deeply engaged throughout. Palmer invests heavily in her fans, going over time with frequent explanations of songs and events in her career, and keeping up an ongoing banter with the audience. Making the most of the theatre space, she appeared on the first balcony, ukulele in hand, to deliver a few fun songs (including the infamous ‘Map of Tasmania’). She loved the balcony, and we got an impromptu ‘Evita’ performance before she moved to the gleaming grand piano.
PHOTO BY DAVE MCCARTHY
AMANDA PALMER THE PLAYHOUSE SAT MAR 4
Palmer is a commanding player, moving from a feather-light touch to great hammering blows at the keys. Her vocal delivery was similarly variable, from whispers to angry roars. Her lyricism shined out, whether turning everyday occurrences into songs or showing great insight into
inner conflicts as in ‘In My Mind’. The mood swung wildly from theatrical musical comedy, with every expression shift and voice inflection getting a laugh, to the tragedy of the ‘The Bed Song’. The set list included arrangements of songs, including ‘The Killing Type’, from the Theatre is Evil LP,
redone for piano only on her new Piano is Evil record. Mikelangelo reappeared in a couple of duets, including Nick Cave’s haunting ‘The Ship Song’, and Palmer closed the night with ‘Coin Operated Boy’. RORY MCCARTNEY
I arrived early at the Basement, keen to secure a position at the front of the stage for this show as I am a big INXS fan and I’ve not seen this show before. Around one hundred people in total attended to see to the six-piece tribute band performing nothing but INXS songs. They performed two sets in total, starting with the earlier albums and working their way through 32 songs with a 30-minute break between the sets. With high energy, they gave a 100% commitment to their performance along with great ‘80s styled costume changes. Their new vocalist Blair was fantastic – not only he did sound like Michael Hutchence; he danced and moved around the stage just like Michael did. Charismatic and flirtatious with the crowd, he clearly enjoyed his performances and the crowd was happily satisfied. By the fourth song in the set they were standing up and singing and dancing along. It was a pleasure to see one of
DON’T CHANGE – THE INXS STORY THE BASEMENT FRI MAR 3
PHOTO BY SAM INGHAM
the guitarists play saxophone as well. Backing tracks were used for some of the chorus vocals, but Blair sung every song himself. Chatting to Blair at the end of the show, it was hard to believe he had only learnt all the lyrics three weeks previously and had only performed in five shows. What a talent!
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The crowd sung along loudly, danced like you do when you hear an ‘80s song, and I even caught glimpses of the bar staff having a dance session behind the bar as well. It was a really good quality tribute show for INXS fans. There are three final dates of the tour for people who live in NSW,
VIC and SA, look at the ‘Don’t Change – The INXS Story’ page on Facebook for details. SAM INGHAM
PAGE 63
[THE WORD ON GIGS]
TWELVE FOOT NINJA THE BASEMENT TUE FEB 21
As a regular patron at The Basement there was a lot of buzz over many weeks when we all learnt that Twelve Foot Ninja were coming to Canberra. Three hundred people jammed into the Basement’s main room to see Wollongong’s Troldhaugen open the night with their alternative and unique style of weird. It’s hard to explain or even fit them into a genre – but their sound is the stylings of Mr Bungle with moments of Skrillex, heavy metal, looney tunes, carnival, orchestra and jazz all merged perfectly into a single song. With an old-school voice sounding like he belonged in a ‘50s big band, their singer was quirky, theatrical and highly energetic through their entire set.
PHOTO BY TIM BUTLER
Canadian Garrett Kato kicked off the evening and was a fitting addition to this singer-songwriter showcase with his acoustic guitar and storytelling. The solo performance ended there and Kasey Chambers entered the stage supported by her full band (including Dad on guitar). As I’m not really a fan and am an unenthusiastic country music supporter, I intently went in with a more open mind on the night. I was pleased that ‘Am I Not Pretty Enough’ was out of the way by the second song and I was able to be impressed by other aspects of Chambers’ performance. In particular, her slide guitar work. Kasey’s down to earth banter between songs may be enjoyed by her fans but for me it did little to increase my likelihood of pursuing an interest in her music (prompting an early exit to beat the toilet rush in intermission and be completely ready for Bernard). Despite my high expectations, I was still blown away. With that soulful voice and cool swagger, Bernard Fanning and his band gave us a superbly entertaining PAGE 64
set. We got the solo hits like ‘Wish You Well’ and ‘Songbird’ but to my delight (and others), we got not only one but two Powderfinger songs! Unfortunately, they weren’t as old school as ‘Tail’ – as one audience member requested. Instead we got ‘Sunsets’ and ‘These Days’ (introduced with a story about when Fanning saw Prince and realised the song had a familiar chord structure, which he demonstrated by splicing in ‘Purple Rain’). I loved that he announced a fake encore and how unnecessary it was for him to leave the stage and make us wait before giving us this delight. The other highlight of this “encore” was calling Kasey and her band out to join them on Leadbelly’s ‘Midnight Special’ (proving how deep his soul is).
Canberra locals Na Maza thrashed hard and fast as they always do and yet again impressed the crowd goers who had never seen them before. They debuted a brand-new song, ‘You Smell Different When You Are Awake’, which was received with a roaring cheer.
Twelve Foot Ninja kept the crowd waiting excitedly but patiently while the stage filled with smoke and their amazing lighting set-up meant photographers hungrily snapped a zillion photos over the entire show. This is the first time I’ve seen them live, and wow they put on one of the best live performances you could hope for. It’s easy to see how they won the Revolver Golden Gods award in 2014 for best new talent. Kin’s vocals are loud and strong and faultless, their entire performance was flawless and I estimate over 90% of the crowd sung along to every single song. They performed for two hours and then very patiently mingled with a stack of fans who hung around for an hour after the show just to see the band; they spent another hour signing CDs, taking photos and chatting away. It was yet another very rad night of metal. Well done to Canberra for making it a sell-out maximum capacity show on a Wednesday night! SAM INGHAM
BERNARD FANNING & KASEY CHAMBERS CANBERRA THEATRE CENTRE TUE FEB 21
JARROD MCGRATH
PHOTO BY MATT SANDFORD
@bmamag
LAGERSTEIN THE BASEMENT SUN FEB 19 There are few things more comforting than being surrounded by sweaty metalheads and serenaded by hardcore pirate metal music. This was precisely what The Basement was offering when Lagerstein and their crew of miscreant support acts dropped anchor in our humble city. With hardcore fans and newfound deckhands gathering under one roof, the night was set to be invigorating, educational and somewhat frightening. Descending into the dank but endlessly inviting venue we were greeted by energetic tunes from local Canberra band Beast Impalor. Though the crowds were small, the vibes were powerful, as the act produced a series of hardcore tunes with mind-bending guitar riffs and spine-chilling lead vocals by Adam Kluckers. This group of young face-painted ragamuffins certainly warmed attendees up nicely with their endless vigour, and as the crowds settled in with their schooners it was clear the night ahead would satisfy the saltiest of seadogs. The next band up was Keggin; a treat for anyone who ever attended university and came away with a passion for boxed wine. This three-man band joked along with the crowd as they banged out one catchy alcoholbased tune after another. Their charisma wafted throughout the dingy room with songs titled ‘Fruity Lexia Makes You Sexier’ and ‘Indiana Jones and the Temple of Goon’. Keggin perfectly took all former students on a sentimental journey through their drinking years, moving from goon to Smirnoff and finishing off with a lament dedicated to Tequila. They left everyone feeling warm, fuzzy and nostalgic. Sydney band Darker Half then took the night to the next level with their long luscious locks and sky-piercing vocals. Harking from a Hawkwind-like realm, they gave yet more delectable guitar solos and the talents of lead vocalist Vo Simpson were unmatched.
This band had no trouble holding the crowd’s attention as they introduced songs with “Are you ready to travel into space?” and “This next song will prove to you that aliens do exist”. Alternative vibes emanated around the room and perfectly prepared the crowds for what was to come. It was around 10:30pm when Lagerstein finally hit the stage, donned in elaborately embroidered coats and head scarves Jack Sparrow would be proud of. Vocalist Captain Gregarrr stood tall centre stage, poured rum from a glass duckshaped chalice into his open mouth and proceeded to shower the eager crowds with it. From here on in the night was a beautiful muddle of knee-jerking, rum drinking, wench loving and shivering of timbres. Each band member was as disrespectful and as talented as the next, with The Majestic Beast rocking on lead guitar and Mother Junkst wowing the crowds with astonishing violin solos. The evening quite rightly digressed into a drunken debacle, which included the band coming down from stage and sitting on the floor, serenading the crowd eye-to-eye. There were many competitions to be had between the “starboard” and “port” halves of the crowd, some of which developed into full-on wrestling matches. As an attendee said afterwards, “This is the most interactive gig I’ve ever been to!” For those unexposed to pirate metal, now is the time to start exploring. Though this gig may have been a little light for hardcore metalheads, it was a perfect night for fans of drunken debauchery and bloody catchy music. With an eclectic mix of genres in the support acts and a captivating crew like Lagerstein at the head of the ship, there were few things to go wrong. If this band of treasure-hunting, wench-loving swashbucklers reach our shores again, it is highly recommended you rattle your compasses into submission and steer yourself towards them with haste. CLARE BRUNSDON
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SHANANIGANS 10 THE BASEMENT FRI–SAT FEB 17–18
PHOTO BY TIM, MOWHAWK PHOTOS
For the tenth-year anniversary of Shananigans, the yearly birthday event for owner and promoter Benjamin “Shaggs” Crawford, patrons were treated to two nights of epic music from 27 bands. At just $25 a night to see some of Australia’s best metal, rock and alternative musical talent, it was two nights of performances that contained some spectacular sets. I won’t list all of the bands here; search Facebook and all the publicity will appear. Those patrons who prepurchased the two-night pass were lucky enough to be entered in a raffle to win one of two $100 bar tabs, and the first 20 people through the door each night also received a showbag full of band merchandise – a few were lucky enough to receive a $25 bar tab as well. 130 Patrons attended the Friday night, around 40 people arriving early to try and snag a showbag and catch the early sets that began at 6:30pm. Standout performances by Canberra locals included Knights of the Spatchcock, Tundrel, Namaza (who debuted a brand-new song, ‘You Smell Different When You’re Awake’) and Johnny Roadkill (who also debuted a brand new song, ‘Whiskey Shot’). The crowds were stoked to have some new music to rock out too. Other standout performances on Friday night were by Frankenbok and Kid Presentable.
Saturday saw a larger number of people come in throughout the night – around 170 attended. A phenomenal set by one-man band Leisure Suit Lenny saw a massive response from the 60+ people that were there early at 7pm. His cover of ‘Warpigs’ is one to watch when he is on the stage. Other performances that received a fantastic crowd response included sets by Hence the Testbed, Penguin, Rick Dangerous and the Silkie Bantams (OMG they were so amazing! – my favourite performance from the entire weekend) and Witchgrinder. The lines at the bar were long, the bar staff again worked themselves hard all weekend with giant smiles, and the crew assisting with stage management on both nights saw the stage times run almost perfectly on time with minimal issues. The crowds were well behaved, every seat and pool table was occupied all night, the sound system was on point and all were generally very happy. Thank you Shaggs and The Basement for a great weekend of alternative Australian metal and rock. A very tiring but great weekend was had. Shananigans’ upcoming shows include a Tool Tribute show on Friday March 17 at The Basement, and the yet to be announced Metal Fiesta 12 – save the date for Friday April 7 at The Basement. SAM INGHAM PAGE 65
[THE WORD ON GIGS]
JAMES TAYLOR ROYAL THEATRE WED FEB 15 There were a few disgruntled punters as delays at the box office caused a very long queue to snake around in the foyer, with the show delayed to give people a chance to take their seats. However, it was very well worth the wait. James Taylor slipped on stage wearing his now trademark flat cap, and launched his first song as a solo acoustic before the ten-piece backing band joined in. It was the first time he had been able to bring his whole band out to Australia. Noting he was in Canberra, he observed, “You must all be in government; we broke ours!” There were covers of Carol King songs and Buddy Holly’s ‘Everyday’. A bit of a story accompanied most songs, including how he had gone to the new Apple label to be interviewed by George Harrison and Paul McCartney about his new song ‘Carolina in My Mind’ and
was “as nervous as a puppy”. ‘Country Road’, about a spiritual connection to nature, was delivered with particular passion, but most songs were rolled out with the quiet Taylor charm, with favourites such as ‘Sweet Baby James’ drawing a rapt audience response. He switched to electric guitar for ‘Steamroller’, which he said, “takes longer to play than it did to write”. Taylor’s gentle delivery made the venue seem smaller and cozier than it actually was, and he gave time to fans during interval, signing items and posing for selfies. You would expect a song like ‘Fire and Rain’ to close the show, but Taylor had the selfassurance to end it with the new song ‘You and I Again’, about love over more than one lifetime, that was just as beautiful as anything that went before. RORY MCCARTNEY
THE SEARCHERS THE PLAYHOUSE SAT FEB 11 With a history stretching back about 55 years, and a bucket load of big hits to their name, it was always going to be a night of pure nostalgia and reliving punters’ memories of where they were (and probably how they looked), back when the songs of The Searchers first emerged on radio. With so many good songs in their repertoire, there was no support and the band’s originals, plus a raft of covers, stretched over two sets. After an intro tune that sounded eerily like the signal to the aliens from Close Encounters of the Third Kind, the band leapt straight into ‘Sweets for my Sweet’. Band founder John McNally played the 12-string electric, giving the songs The Searchers’ signature sound, and he provided the high backing vocals on the opening number too. The band delivered all the crowd favourites, the
lyrics sounding so strong with all three axe men singing, plus a few B Sides to keep band historians happy. The show turned into a celebration of the early rock period, with covers from Del Shannon, The Byrds and The Big O. The only sample came from weather effects on ‘What Have They Done to the Rain’, with the few keyboard sounds produced by the synth pickup on the guitar of Spencer James. It was not just a musical performance, but a complete act, with lots of jokes at each other’s’ expense, well-rehearsed patter and reminiscences. Most songs were meant for singalongs, and that is just what happened, with a cover of Buddy Holly’s ‘Oh Boy’ turning into a call and response exercise between band and audience. The mood was jubilant, both on stage and in the packed theatre seats. RORY MCCARTNEY
Winterbourne’s soft spot for The Front meant Canberra fans got a truly unique, intimate and engaging live show. Shortly after local Eleanor Ailie finished her set, the boys could be seen dodging around the tightly packed crowd with their instruments. We then got to peep in on their sound check and when a lull in the chatter occurred, James cheekily told us to “carry on as normal”. It was tricky working out when the sound check morphed into the show, but this somewhat became part of the anticipation and excitement. Once those familiar vocal harmonies and Jordan’s foot percussion became regular, we knew Winterbourne had begun. On completion of ‘Perfect Sundae’ James thanked “the Canberra arena and its 50,000 crowd” and the banter between him and the close-knit crowd commenced, setting the tone for the interactivity of the night. In between songs he told us, “I love hearing individual feedback after each song.” In a new song he asked, “hey Canberra, how PAGE 66
WINTERBOURNE
THE FRONT GALLERY & CAFÉ THU FEB 9 do you feel about clapping?”, before having to stop and correct us for applauding instead of clapping along. More fun came when James starting playing the chords to Oasis’ ‘Wonderwall’ and Jordan expressed his disdain for audiences’ regular enthusiastic
reaction to it. James then launched into a full verse and chorus of the song, as the audience sang along and Jordan left the stage. Their jokes about the difficulties of doing encores at The Front topped this, as they tried a new strategy of using the different exits from the building to give us an encore that included
PHOTO BY ROD HORAN
the great new song ‘Echo of Youth’ and ‘But I Do’. JARROD MCGRATH
@bmamag
[ENTERTAINMENT GUIDE] WEDNESDAY MARCH 15 ART EXHIBITIONS Interior Landscapes
BAD!SLAM!NO!BISCUIT!
VOLUMES monthly
FILM
THE PHOENIX BAR
GORMAN HOUSE ARTS CENTRE
From The Air: Prints
Poetry slam. 7:30pm.
THEATRE
By Elisabeth Cummings.
Chicago
Four Exhibitions
ERINDALE THEATRE
M16 ARTSPACE
Frank Moorhouse’s novel adapted by Alana Valentine. 7:30pm. $55 + bf via thestreet.org.au.
DRILL HALL GALLERY
Tickets at philo.org.au. 9-25 Mar.
Recent Work, Kinetic Light, Faded Crush & Time Takes Too Much Time. Until Mar 19.
Cold Light
Ebb and Flow
THE STREET THEATRE
Untethered – Australian Textile Arts & Surface Design Association. Until Apr 2. BELCONNEN ARTS CENTRE
Planetary Gardening
Free. Curated by Ashley Lumb and Laura McLean. PHOTOACCESS
Limiting Entropy
Opens 6pm Mar 1- Mar 19. A collaboration between poet Lachlan Brown and painter Tony Curran. ANCA GALLERY
Both Sides of the Fence By Robert Bleyerveen.
BELCONNEN ARTS CENTRE
Wildwood & Sparking Life Free. Until 25 Mar.
TUGGERANONG ARTS CENTRE
Other People’s Lives 6pm.
ANU SCHOOL OF ART
Sweety
By Belinda Jessup & Melanie Olde, curated by Felicity Harmey. BELCONNEN ARTS CENTRE
Bride Squad
7.30pm. $15/$12 at the door.
THE FRONT GALLERY AND CAFÉ
THURSDAY MARCH 16 LIVE MUSIC The Waifs
25th anniversary tour. $61.50 + bf via canberratheatrecentre.com.au. CANBERRA THEATRE CENTRE
BEAVER GALLERIES
Alliance Française French Film Festival
LIVE MUSIC Martha Wainwright
$69-$89. Info at canberratheatrecentre. com.au.
9pm. Free.
KING O’MALLEY’S IRISH PUB
Boccherini Night Streets 7pm. $35-$60.
UNIVERSITY HOUSE
Ceres
With Helena Pop, Video Breezy. 9pm. $10. THE PHOENIX BAR
Crazy ass games including tournaments and prizes, and all things Sangria & FUN. 5pm. Free. AVIARY ROOFTOP BAR
Vault Thursdays
Top 40 Party Tracks + Student prices. Free from 10pm. UNI PUB
Fun and Games with Tammy Paks
Salacious entertainment, laughs and prizes! 8pm. Free.
GORMAN HOUSE ARTS CENTRE
Lyn Dale and Diversity 5:30pm.
THE DICKSON TRADIES
LIVE MUSIC Rock Or Be Rocked
Classic rock and blues. 9pm. Free. More information at bandmix.com.au/ mac11943/
ON THE TOWN
WALSH’S HOTEL
Fridays From Five
10pm. Free.
DJs spinning Old Skool, Hip Hop, R&B. Free from 5pm. AVIARY ROOFTOP BAR
Teddy Cream 9pm.
The Cool
KING O’MALLEY’S IRISH PUB
CBR Big Band at The Abbey
Count Basie, Stan Kenton and Sammy Nestico with CBR’s newest big band. $20/$70 w/2 course dinner.
Cabaret, burlesque and circus. 9pm. Tix from EventBrite. POLIT BAR & LOUNGE
St Patrick’s Day 12pm. Free.
Outside the Academy SMITH’S ALTERNATIVE
Vince Jones
Presents Van Morrison’s Masterpieces. 8pm. THE PLAYHOUSE
No Front Fences 2017
CANBERRA IRISH CLUB
Capes, Helena Pop, Video Breezy + more. 8pm. $10.
THEATRE
Rumblr
Cold Light
Frank Moorhouse’s novel adapted by Alana Valentine. 7:30pm. $55 + bf via thestreet.org.au. THE STREET THEATRE
SATURDAY MARCH 18 ART EXHIBITIONS Sweety
LOBROW GALLERY & BAR
With Wesley & The Crushers and An Inconvenient Groove. 9pm. $5. THE PHOENIX BAR
ON THE TOWN Vault High Flyers
Canberra’s best DJs every Saturday. Free from 10pm. UNI PUB
SOMETHING DIFFERENT
THEATRE
BELCONNEN ARTS CENTRE
Miss Ink Canberra 2017 - Final Heat
Cold Light
Interior Landscapes
THE BASEMENT
FRIDAY MARCH 17 FILM Punks For West Papua
Info at Punks4WestPapua.com.
ANU FILM GROUP (COOMBS THEATRE)
Sons of Matthew 7pm. $14/12. ARC CINEMA
No Front Fences 2017
SOMETHING DIFFERENT
$12/$17.
PALACE ELECTRIC CINEMA
By Belinda Jessup & Melanie Olde, curated by Felicity Harmey.
ON THE TOWN
TRANSIT BAR
Krakatau
Power Pussies
LIVE MUSIC
Get over the hump with drink specials after 5pm.
LOBROW GALLERY & BAR
Dos Locos
CANBERRA THEATRE CENTRE
Hump Day
The nation’s most captivating film event, is now returning for its 28th annual season. affrenchfilmfestival.org.
A Lobrow Prince Appreciation Night. 7pm. $5.
Alliance Française French Film Festival 2017
Info at smithsalternative.com.
THE STREET THEATRE
PALACE ELECTRIC CINEMA
Raspberry Beret
SMITH’S ALTERNATIVE
SOMETHING DIFFERENT
Frank Moorhouse’s novel adapted by Alana Valentine. 7:30pm. $55 + bf via thestreet.org.au. Famed for her prowess on both sides of the camera, Emmanuelle Bercot’s directorial work will be showcased with 150 Milligrams and Standing Tall. 6:30pm. Info at affrenchfilmfestival.org.
BEAVER GALLERIES
TRANSIT BAR
The Thursday Games
By Michael Schlitz. Until 26 Mar.
By Michael Schlitz. Until 26 Mar.
Home State, High Ceilings tour. Tickets and info at jackcarty.com.
With Portly & Co, Sara Flint. 8pm. Free.
Visions from the Atomic Age From The Air: Prints
Jack Carty
THE ABBEY
ON THE TOWN
NATIONAL FILM AND SOUND ARCHIVE
$10/$15.
ACADEMY NIGHTCLUB
Cultural Pelican
FILM Tickets Tickets $14/12 at nfsa.gov.au.
MARCH 15 – MARCH 19
By Elisabeth Cummings. DRILL HALL GALLERY
Four Exhibitions
Chicago
Ebb and Flow
Frank Moorhouse’s novel adapted by Alana Valentine. 7:30pm. $55 + bf via thestreet.org.au.
M16 ARTSPACE
Untethered – Australian Textile Arts & Surface Design Association. Until Apr 2. BELCONNEN ARTS CENTRE
Planetary Gardening
Free. Curated by Ashley Lumb and Laura McLean. PHOTOACCESS
Limiting Entropy
Opens 6pm Mar 1- Mar 19. A collaboration between poet Lachlan Brown and painter Tony Curran.
Jamie Hay, Evan Buckley, Rather Be Dead + more. 8pm. $10.
Wandering Ghosts
BELCONNEN ARTS CENTRE
With Brother Be, Rebecca-Maree. 8pm. Free. TRANSIT BAR
Bandaluzia Flamenco 7pm. $35.
TUGGERANONG ARTS CENTRE
POLIT BAR & LOUNGE
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THEATRE
Recent Work, Kinetic Light, Faded Crush & Time Takes Too Much Time. Until Mar 19.
ANCA GALLERY
DAVE’S PLACE
8pm. Tickets via Moshtix.
Tickets at philo.org.au. 9-25 Mar. ERINDALE THEATRE
Cold Light
THE STREET THEATRE
SUNDAY MARCH 19 LIVE MUSIC
No Front Fences 2017
Both Sides of the Fence By Robert Bleyerveen.
Wildwood & Sparking Life Free. Until 25 Mar.
TUGGERANONG ARTS CENTRE
One city, two backyards, three days. ACT, you’re in for a treat. Azim Zain and His Lovely Bones, The Lowlands, Zzzounds + more. 8pm. $10. MACLEAY FARM
PAGE 67
[ENTERTAINMENT GUIDE] SUNDAY MARCH 19
WEDNESDAY MARCH 22
LIVE MUSIC
ART EXHIBITIONS
Canberra Blues Society Jam
Wildwood & Sparking Life
HARMONIE GERMAN CLUB
TUGGERANONG ARTS CENTRE
2pm. $5/$3.
Free. Until 25 Mar.
Irish Jam Session
Sweety
KING O’MALLEY’S IRISH PUB
BELCONNEN ARTS CENTRE
Traditional Irish musicians in the pub from late afternoon. Free.
By Belinda Jessup & Melanie Olde, curated by Felicity Harmey.
Los Chavos
Interior Landscapes
SMITH’S ALTERNATIVE
DRILL HALL GALLERY
12.30pm. Free.
Mercan Dede
By Elisabeth Cummings.
Ebb and Flow
Untethered – Australian Textile Arts & Surface Design Association. Until Apr 2. BELCONNEN ARTS CENTRE
Planetary Gardening
MARCH 19 – MARCH 24 ON THE TOWN
ON THE TOWN
Hump Day
The Thursday Games
Get over the hump with drink specials after 5pm. TRANSIT BAR
Crazy ass games including tournaments and prizes, and all things Sangria & FUN. 5pm. Free.
SOMETHING DIFFERENT
Vault Thursdays
Fun and Games with Tammy Paks
Salacious entertainment, laughs and prizes! 8pm. Free.
THE ABBEY
Aviary Live Sessions
3pm. Free. Local musicians step in to entertain us for a Sunday Session. Beer & Cider specials.
THEATRE Chicago
Tickets at philo.org.au. 9-25 Mar. ERINDALE THEATRE
THE COURTYARD STUDIO
7pm.
COMEDY
7pm. Info at thestreet.org.au.
Dave Thornton
Simon Taylor
THE COURTYARD STUDIO
THE COURTYARD STUDIO
Things I’ve Never Said. 8.30pm.
Doug Anthony and the All Stars 7pm. Info at thestreet.org.au. THE STREET THEATRE
Chris Endry 8.30pm.
THE COURTYARD STUDIO
Girls Can’t Take A Joke
2XX LocalNLive present The Bootleg Sessions 8pm. Free.
THE PHOENIX BAR
TUESDAY MARCH 21
Doug Anthony and the All Stars
THE PLAYHOUSE
THE STREET THEATRE
7.15pm.
8.30pm.
Cal Wilson
Jimoin
THE STREET THEATRE
8.30pm.
THE PLAYHOUSE
FILM
Rebecca De Unamuno
Ocean Film Festival 2017
THE PLAYHOUSE
KARAOKE Kegs n Karaoke
Lyn Dale and Diversity 8:30pm.
VIKINGS CLUB (CHISHOLM)
LIVE MUSIC
With Cat Heaven, Passive Smoke & Lower Body. $10/5.
Moaning Lisa
The Sweetest Pre-Order EP Launch. With The Lowlands and Marlon Bando. 8pm. TRANSIT BAR
Urthboy
Make More
THE PHOENIX BAR
Archer
Info at smithsalternative.com. SMITH’S ALTERNATIVE
Nick Oliveri
With Blue Sky Circus, Signs & Symbols, Renegade Peacock. 8pm. Tix from Moshtix. TRANSIT BAR
Great Dane
NATIONAL FILM AND SOUND ARCHIVE
Jason Hart/Metropolis
HARMONIE GERMAN CLUB
Tickets Tickets $14/12 at nfsa.gov.au. By Michael Schlitz. Until 26 Mar.
Alliance Française French Film Festival 2017
7.30pm.
The nation’s most captivating film event, is now returning for its 28th annual season. affrenchfilmfestival.org.
THE COURTYARD STUDIO
PALACE ELECTRIC CINEMA
TRIVIA
LIVE MUSIC
Thicker n Richer Trivia
Reggae Wednesdays
THE PHOENIX BAR
THE PHOENIX BAR
$10. 7.30pm.
Urthboy did well when he dropped his hugely successful LP in 2016, The Past Beats Inside Me Like A Second Heartbeat, redefining the landscape of Australian hip-hop in the process. He’s just recently released a new single titled ‘Crushing Hard’, and a second tour run to boot. 8pm. $30 + bf at urthboy.com. ANU BAR
Hard Cover
5pm/10pm. Free.
KING O’MALLEY’S IRISH PUB
Enschway
Info at academyclub.com.au. ACADEMY NIGHTCLUB
Bridge Between 7pm. Free.
CANBERRA IRISH CLUB
Frenzal Rhomb
With Totally Unicorn. 8pm. Tix via Oztix. THE BASEMENT
9pm. Free.
ON THE TOWN
Scott Cook
Fridays From Five
KING O’MALLEY’S IRISH PUB
Info at scottcook.net.
SMITH’S ALTERNATIVE
PAGE 68
LIVE MUSIC
A cross between ZZ Top and Dr Feelgood. 8pm. Free.
BEAVER GALLERIES
With Christo and Jon. 7.30pm.
NATIONAL FILM AND SOUND ARCHIVE
Visions from the Atomic Age
Paul Foot
Demi Lardner
In this year’s line up of films we show a diverse range of ocean related sports and adventures.
THE PHOENIX BAR
FILM
From The Air: Prints
THE STREET THEATRE
9pm.
THE COURTYARD STUDIO
COMEDY Tis A Pity She’s A Piglet. Info at thestreet.org.au.
THE PLAYHOUSE
Luke McGregor
7pm.
Six of Canberra’s funniest girl comedians have teamed up and are terrorising the Canberra Comedy Festival with their fresh funny jokes and scathing social commentary. A girl gang, you say? But that’s the most dangerous type of gang! We know – and so only the most courageous of audience goers will brave this high-intensity showcase demonstrating some amazing Canberran comedy newcomers. $20. 7pm.
Jimoin
7pm.
THE STREET THEATRE
Betty Slim
ROYAL THEATRE
THE STREET THEATRE
ANCA GALLERY
Mar 22-Apr 9.
BELCONNEN ARTS CENTRE
Tix at ticketek.com.au
7pm. Info at thestreet.org.au. 8.30pm.
Elapse
Hannah Gadsby: Nanette
Daniel O’Donnell
Doug Anthony and the All Stars
Harris Stuckey & James McMahon
Free. Feat. The ACT Senior Concert Band, the ACT Flute Ensemble.
LIVE MUSIC
The Bedroom Philosopher
Cat Show. Canberra Comedy Festival. $25 + bf. 8:30pm.
BELCONNEN ARTS CENTRE
YMS Sunday Music by Lake Ginninderra
MONDAY MARCH 20
COMEDY
COMEDY
AVIARY ROOFTOP BAR
OLD CANBERRA INN
FRIDAY MARCH 24
THE COURTYARD STUDIO
THURSDAY MARCH 23
Open To Suggestion. Info at thestreet. org.au.
With Bec Taylor (Glitoris), Oto (Klamar). 4pm.
UNI PUB
Both Sides of the Fence By Robert Bleyerveen. Among Turkey’s most prominent musical exports, Mercan Dede believes that when you put digital, electronic sounds together with hand-made, human ones, you can create universal language. This contrast between electronica and classical/folkloric arts cuts to the core of the Sufi philosophy that guides this one-of-a-kind artist. 6.30pm. $40/$50.
Top 40 Party Tracks + Student prices. Free from 10pm.
POLIT BAR & LOUNGE
Free. Curated by Ashley Lumb and Laura McLean. PHOTOACCESS
AVIARY ROOFTOP BAR
DJs spinning Old Skool, Hip Hop, R&B. Free from 5pm. AVIARY ROOFTOP BAR
@bmamag
[ENTERTAINMENT GUIDE] SATURDAY MARCH 25 ART EXHIBITIONS Wildwood & Sparking Life Free. Until 25 Mar.
TUGGERANONG ARTS CENTRE
Sweety
By Belinda Jessup & Melanie Olde, curated by Felicity Harmey.
More information at bandmix.com.au/ mac11943/
LIVE MUSIC
COMEDY
Eugene ‘Hideway’ Bridges
PJ Michael & The Banditas 7pm. $15.
Open Mic Comedy at The Phoenix
Irish Jam Session
THE PHOENIX BAR
THE BURNS CLUB
A mix of Blues, Soul, Jump, Funk, Gospel & Rock. 8pm. $25/20. HARMONIE GERMAN CLUB
Kitten Hurricane
m8, The Onlooker & Paradise Lost
Free. Curated by Ashley Lumb and Laura McLean.
EP Launch. With Lycanthrope, Lions of the Underground + more. Kitten Hurricane are one of Canberra’s premier metalcore bands. The band went into Cowbell Studios in Southeast Queensland late last year to record their first EP. The EP is a five-track, take no prisoners, onslaught from start to finish. 7:30pm. $15.
PHOTOACCESS
THE BASEMENT
Elapse
Heuristic
DRILL HALL GALLERY
Ebb and Flow
Untethered – Australian Textile Arts & Surface Design Association. Until Apr 2. BELCONNEN ARTS CENTRE
Planetary Gardening
Mar 22-Apr 9.
ANCA GALLERY
Both Sides of the Fence By Robert Bleyerveen.
BELCONNEN ARTS CENTRE
10pm. Free.
KING O’MALLEY’S IRISH PUB
Eugene ‘Hideaway’ Bridges 8pm. $22/$15.
HARMONIE GERMAN CLUB
COMEDY
ON THE TOWN
The Bedroom Philosopher
Vault High Flyers
Cat Show. Canberra Comedy Festival. $25 + bf. 8:30pm. THE COURTYARD STUDIO
Jeff Green
Info at canberracomedyfestival.com.au. UNI PUB
Dave Thornton
FILM
Aviary Live Sessions
Visions from the Atomic Age
KING O’MALLEY’S IRISH PUB
ON THE TOWN
M16 ARTSPACE
Canberra’s best DJs every Saturday. Free from 10pm. UNI PUB
RAICES: Afro Latin Festival
At Smiths Alternative and other venues. SMITH’S ALTERNATIVE
The Earth Festival
Tickets at entrance or theearthfestival. org. EXHIBITION PARK IN CANBERRA (EPIC)
MONDAY MARCH 27 LIVE MUSIC CIT Presents The Bootleg Sessions
8pm. Free entry.
THE PHOENIX BAR
TRANSIT BAR
THEATRE Russell Cheek: Who Am I?
One man, one remote, one screen. 7:30pm. $35 + bf via thestreet.org.au.
7.30pm.
Poison Ivy 2017 Pole Dancing Comp
TRIVIA
Stephen K Amos: World Famous
THE BASEMENT
7:30pm.
7pm. 8.30pm.
THE PLAYHOUSE
Yianni Agisilaou
The Simpsons Taught Me Everything I Know. 6pm. THE COURTYARD STUDIO
FILM From The Air: Prints
By Michael Schlitz. Until 26 Mar.
Big Bang Ballers Fundraiser
Fundraiser using the game of basketball to fight youth poverty and social disadvantage. Free. 7pm. AVIARY ROOFTOP BAR
Canberra Harvest Festival 2017 2pm. Free.
CANBERRA ENVIRONMENT AND SUSTAINABILITY RESOURCE CENTRE
The Earth Festival
THE STREET THEATRE
WORKSHOPS Draw Life
Life drawing with models. 6:30pm. $15 + bf. POLIT BAR & LOUNGE
WEDNESDAY MARCH 29
Sweety
Ocean Film Festival 2017
ERINDALE THEATRE
PALACE ELECTRIC CINEMA
Tickets at philo.org.au. 9-25 Mar.
In this year’s line up of films we show a diverse range of ocean related sports and adventures.
WORKSHOPS
SATURDAY MARCH 25
Register for the workshops at trybooking.com/254087.
NATIONAL FILM AND SOUND ARCHIVE
Femme to be Masc
LIVE MUSIC
TUGGERANONG ARTS CENTRE
The Twilight Classical Concert Series 5pm. $35/20.
SUNDAY MARCH 26
23 Mar-9 Apr.
M16 ARTSPACE
Interior Landscapes
Kill The Noise
Having last toured Australia over three years ago, a tour from Kill The Noise has been long overdue. Kill The Noise’s 2015 album Occult Classic showcased his versatility across different musical styles, pairing his signature brand of intricate electronic music with beautiful melodies and the intensity of a live rock show. 9pm. $15 + bf via Moshtix. ACADEMY NIGHTCLUB
Get over the hump with drink specials after 5pm. TRANSIT BAR
SOMETHING DIFFERENT Fun and Games with Tammy Paks
Salacious entertainment, laughs and prizes! 8pm. Free. POLIT BAR & LOUNGE
THEATRE Presented by Canberra REP. 29 Mar-9 Apr.
Russell Cheek: Who Am I?
One man, one remote, one screen. 7:30pm. $35 + bf via thestreet.org.au. THE STREET THEATRE
DRILL HALL GALLERY
THURSDAY MARCH 30
Ebb and Flow
Untethered – Australian Textile Arts & Surface Design Association. Until Apr 2.
KARAOKE
Elapse
9pm.
BELCONNEN ARTS CENTRE
THE COURTYARD STUDIO
By Robert Bleyerveen.
facebook.com/bmamagazine
SMITH’S ALTERNATIVE
By Elisabeth Cummings.
ANCA GALLERY
Classic rock and blues. 8pm. Free.
9pm. $5-$10.
THEATRE 3
Josh Early: Oliver Up A Tree
Rock Or Be Rocked
The Varietal Night #69
m8, The Onlooker & Paradise Lost
BELCONNEN ARTS CENTRE
Sail On! Sail On!
1pm.
LLEWELLYN HALL
Trelawny of the Wells
COMEDY
THE PHOENIX BAR
Info at llewellynhall.anu.edu.au.
By Belinda Jessup & Melanie Olde, curated by Felicity Harmey.
TUGGERANONG ARTS CENTRE
With guests. 8pm. $10.
Birds From The Bogs Perform With CSO
Hump Day
THEATRE Chicago
LIVE MUSIC
ON THE TOWN
The nation’s most captivating film event, is now returning for its 28th annual season. affrenchfilmfestival.org.
EXHIBITION PARK IN CANBERRA (EPIC)
PALACE ELECTRIC CINEMA
THE PHOENIX BAR
ART EXHIBITIONS
Alliance Française French Film Festival 2017
The nation’s most captivating film event, is now returning for its 28th annual season. affrenchfilmfestival.org.
Nerd Trivia with Joel Barkam
Tickets at entrance or theearthfestival.org.
BEAVER GALLERIES
Alliance Française French Film Festival 2017
#KaraokeLove
9pm. Free entry.
Dave Hughes
6pm. $35 via TrickFitness.com.au.
NATIONAL FILM AND SOUND ARCHIVE
KARAOKE
SOMETHING DIFFERENT
CANBERRA THEATRE CENTRE
Tickets Tickets $14/12 at nfsa.gov.au.
TUESDAY MARCH 28
7.15pm.
THE COURTYARD STUDIO
7.30pm.
Traditional Irish musicians in the pub from late afternoon. Free.
AVIARY ROOFTOP BAR
23 Mar-9 Apr.
By Elisabeth Cummings.
SMITH’S ALTERNATIVE
3pm. Free. Local musicians step in to entertain us for a Sunday Session. Beer & Cider specials.
BELCONNEN ARTS CENTRE
Interior Landscapes
MARCH 25 – MARCH 30
Mar 22-Apr 9.
Kegs n Karaoke
THE PHOENIX BAR
Both Sides of the Fence BELCONNEN ARTS CENTRE
PAGE 69
[ENTERTAINMENT GUIDE] THURSDAY MARCH 30 LIVE MUSIC Birds From The Bogs Perform With CSO
Info at llewellynhall.anu.edu.au. LLEWELLYN HALL
ILUKA
MARCH 30 – APRIL 5
Think Susan Tedeschi, Bonnie Raitt, with a dash of Aretha’s Soul. 8pm. Free.
ON THE TOWN
TRIVIA
Darker Half
Final Sunset Disco
Presented by Canberra House Social. Free. 12pm.
Incredibly Important Trivia Night
HARMONIE GERMAN CLUB
With Flaming Wreckage, Signs & Symbols + more. 8pm. THE BASEMENT
Harvey Sutherland & Bermuda
AVIARY ROOFTOP BAR
WORKSHOPS
Casa De Reboco: Brazilian Party
It’s A Gin Thing
7pm. $20/$15.
THE POLISH WHITE EAGLE CLUB
Russell Cheek: Who Am I?
One man, one remote, one screen. 7:30pm. $35 + bf via thestreet.org.au. THE STREET THEATRE
Velour-funk technicians Harvey Sutherland and Bermuda bring their acclaimed live show to Canberra in support of a new EP, Expectations. Sharing the name of his breakout 12”, Bermuda is Harvey Sutherland’s live band – a futurist outfit. Supports include Happy Axe, Trim B, and on the ones and twos: FB Perimeter, Cressy and Genie. 8pm. $30 at Eventbrite. AINSLIE ARTS CENTRE
THE PHOENIX BAR
SOMETHING DIFFERENT
THEATRE
ILUKA unveils her more soulful side with her EP, Blue My Soul. First finding national attention through triple j with the much loved ‘Paper Doll’, then solidified with the polished ‘12th of July’, ILUKA has come of age with this record moving effortlessly between retro pop and gospel soul. This is epitomised by lead single ‘Blue Jean Baby’, which captures the essence of summer – carefree and upbeat, but filled with longing nostalgia. 9pm. Tickets are $15 at smithsalternative.com.
With Chris Endrey. 7.30pm.
SUNDAY APRIL 2 ART EXHIBITIONS
Masterclass with CBR Distiller Tim Reardon. 6:30pm. $25. POLIT BAR & LOUNGE
WEDNESDAY APRIL 5 ART EXHIBITIONS m8, The Onlooker & Paradise Lost
23 Mar-9 Apr.
M16 ARTSPACE
Interior Landscapes By Elisabeth Cummings.
Sweety
By Belinda Jessup & Melanie Olde, curated by Felicity Harmey. BELCONNEN ARTS CENTRE
Ebb and Flow
Kate Lush Band
Untethered – Australian Textile Arts & Surface Design Association. Until Apr 2.
HARMONIE GERMAN CLUB
DRILL HALL GALLERY
Common Ground & FACE2FACE 31 Mar-23 Apr. PHOTOACCESS
Elapse
Mar 22-Apr 9.
8pm. Free.
BELCONNEN ARTS CENTRE
ANCA GALLERY
Copy & Paste
Arvo Sessions
Both Sides of the Fence By Robert Bleyerveen.
FILM
BELCONNEN ARTS CENTRE
KING O’MALLEY’S IRISH PUB
KING O’MALLEY’S IRISH PUB
Young at Heart
SMITH’S ALTERNATIVE
9pm. Free.
sleepmakeswaves
Tickets at sleepmakeswaves.com. ANU BAR
5pm/10pm. Free.
ON THE TOWN Fridays From Five
ON THE TOWN The Thursday Games
Crazy ass games including tournaments and prizes, and all things Sangria & FUN. 5pm. Free.
DJs spinning Old Skool, Hip Hop, R&B. Free from 5pm. AVIARY ROOFTOP BAR
THEATRE
AVIARY ROOFTOP BAR
Harvey Sutherland & Bermuda
Vault Thursdays
AINSLIE ARTS CENTRE
Top 40 Party Tracks + Student prices. Free from 10pm. UNI PUB
SOMETHING DIFFERENT
7pm. $30/$20.
THE STREET THEATRE
SATURDAY APRIL 1 ART EXHIBITIONS
THEATRE
Interior Landscapes
One man, one remote, one screen. 7:30pm. $35 + bf via thestreet.org.au. THE STREET THEATRE
FRIDAY MARCH 31 COMEDY Lewis Spears: Try and Stop Me.
6pm.
THE COURTYARD STUDIO
Alliance Française French Film Festival 2017
The nation’s most captivating film event, is now returning for its 28th annual season. affrenchfilmfestival.org.
THE STREET THEATRE
MONDAY APRIL 3
Young at Heart
Info at palacecinemas.com.au/festivals/ young-heart-film-festival.
CANBERRA IRISH CLUB
Kyle Lionheart
The Fuelers
SMITH’S ALTERNATIVE
THE PHOENIX BAR
9pm. $10/$5.
Borneo
Special K
TRANSIT BAR
KING O’MALLEY’S IRISH PUB
10pm. Free.
Irish Mythen
Info at smithsalternative.com. SMITH’S ALTERNATIVE
ON THE TOWN Hump Day
Get over the hump with drink specials after 5pm. TRANSIT BAR
BAD!SLAM! NO!BISCUIT!
THE PHOENIX BAR
TUESDAY APRIL 4
Young at Heart
Tickets at bit.ly/2h0um2Y.
LIVE MUSIC
8pm. Free.
LIVE MUSIC
THE BASEMENT
PALACE ELECTRIC CINEMA
PALACE ELECTRIC CINEMA
FILM
Somnium Nox
Info at palacecinemas.com.au/festivals/ young-heart-film-festival.
SOMETHING DIFFERENT
FILM
PALACE ELECTRIC CINEMA
ANU BAR
PAGE 70
One man, one remote, one screen. 4pm. $35 + bf via thestreet.org.au.
CMC Presents The Bootleg Sessions
Kingswood
Kate Lush Band
Russell Cheek: Who Am I?
FILM
Ken from Special K
With TEEM, Northbourne Flats. 1pm.
THEATRE
LIVE MUSIC
DRILL HALL GALLERY
Info at thebasement.com.au.
Info at smithsalternative.com.
KING O’MALLEY’S IRISH PUB
By Elisabeth Cummings.
LIVE MUSIC 7pm. Free.
Traditional Irish musicians in the pub from late afternoon. Free.
One man, one remote, one screen. 7:30pm. $35 + bf via thestreet.org.au.
POLIT BAR & LOUNGE
Russell Cheek: Who Am I?
Irish Jam Session
Russell Cheek: Who Am I?
Shaken & Stirred
Intimate burlesque and cabaret. 7pm. $21.89 via Eventbrite.
LIVE MUSIC
Info at palacecinemas.com.au/festivals/ young-heart-film-festival. PALACE ELECTRIC CINEMA
KARAOKE #KaraokeLove
A staple at The Phoenix, it’s never too late to get into BAD!SLAM!NO!BISCUIT! Covering everything from spoken word, rhyming, poetry, Hip-hop, verse, manifestos, shopping lists, rants, prayers – whatever you’ve got, they want to hear it! You’ll also get to mingle with the fun community that’s grown at BAD!SLAM! 7:30pm. THE PHOENIX BAR
THEATRE
9pm. Free entry.
Trelawny of the Wells
LIVE MUSIC
THEATRE 3
TRANSIT BAR
Presented by Canberra REP. Mar 29 - Apr 9.
Thoms and Coventry duo 6pm. $10.
TUGGERANONG ARTS CENTRE
@bmamag
[ENTERTAINMENT GUIDE] THURSDAY APRIL 6 FILM Young at Heart
ON THE TOWN
Dave Graney and Clare Moore
ON THE TOWN
Fridays From Five
SMITH’S ALTERNATIVE
The Thursday Games
DJs spinning Old Skool, Hip Hop, R&B. Free from 5pm. AVIARY ROOFTOP BAR
Info at palacecinemas.com.au/festivals/ young-heart-film-festival.
KARAOKE
ART EXHIBITIONS
Kegs n Karaoke
PICNIC
$25/15.
THE PHOENIX BAR
TUGGERANONG ARTS CENTRE
LIVE MUSIC
Free. Oil Paintings. Until 29 Apr.
Johnny Peasant and The Awesome
Jazz/blues/swing virtuoso and a senior tax officer turned poet. 7pm. THE FRONT GALLERY AND CAFÉ
Tempest Rising
With Valhalore, Psionic Tide, Beast Impalor & Na Maza. THE BASEMENT
Monoceros
‘Space Dungeon’ EP Launch. With Hallucinatorium, Slave Birth. 8pm. $10. TRANSIT BAR
Tickets at smithsalternative.com.
Irish Jam Session
Traditional Irish musicians in the pub from late afternoon. Free. KING O’MALLEY’S IRISH PUB
SATURDAY APRIL 8
PALACE ELECTRIC CINEMA
9pm.
APRIL 6 – APRIL 18
Specimens Exhibition
TUGGERANONG ARTS CENTRE
3 New Exhibitions
In the Moment, Women In A Washbasket & Changing Tides: The Waters of the Past. Opening Fri 7 Apr. 5. BELCONNEN ARTS CENTRE
m8, The Onlooker & Paradise Lost 23 Mar-9 Apr.
M16 ARTSPACE
Interior Landscapes By Elisabeth Cummings. DRILL HALL GALLERY
Common Ground & FACE2FACE
ON THE TOWN
31 Mar-23 Apr.
The Thursday Games
Animal Heart Exhibition
PHOTOACCESS
LIVE MUSIC
#KaraokeLove
Fridays From Five
9pm. Free entry. TRANSIT BAR
WORKSHOPS Draw Life
Life drawing with models. 6:30pm. $15 + bf. POLIT BAR & LOUNGE
WEDNESDAY APRIL 12 ART EXHIBITIONS Specimens Exhibition
Free. Oil Paintings. Until 29 Apr. TUGGERANONG ARTS CENTRE
3 New Exhibitions
Crazy ass games including tournaments and prizes, and all things Sangria & FUN. 5pm. Free.
Elapse
Common Ground & FACE2FACE
Chicago Charles & Danger Dave
ANCA GALLERY
KING O’MALLEY’S IRISH PUB
FILM
SOMETHING DIFFERENT
Young at Heart
John Passant and The Awesome
PALACE ELECTRIC CINEMA
9pm. Free.
A night of poetry and song. $18. 7pm. THE FRONT GALLERY AND CAFÉ
FRIDAY APRIL 7
Mar 22-Apr 9.
BELCONNEN ARTS CENTRE
TUGGERANONG ARTS CENTRE
Get over the hump with drink specials after 5pm.
Hump Day
TRANSIT BAR
10.30pm. Free.
THEATRE
FILM
Bonnie Raitt
Bell Shakespeare’s Richard 3
Young at Heart
CANBERRA THEATRE CENTRE
THE PLAYHOUSE
Patti Smith
FRIDAY APRIL 07
Jessica Mauboy
PALACE ELECTRIC CINEMA
LIVE MUSIC
Info at canberratheatrecentre.com.au. CANBERRA THEATRE CENTRE
With Isiah. Tickets at ticketek.com.au. ROYAL THEATRE
Lagrime D’Amante
THEATRE
AINSLIE ARTS CENTRE
Trelawny of the Wells
At the tomb of the beloved. 6.30pm.
Gruntlesmith 7pm. Free.
CANBERRA IRISH CLUB
Kate Miller-Heidke
With National Pops Orchestra. CANBERRA THEATRE CENTRE
Client Liaison
THEATRE 3
Bell Shakespeare’s Richard 3 6-15 Apr.
THE PLAYHOUSE
SUNDAY APRIL 9
Andrew Baxter & Mike Beale
FILM
HARMONIE GERMAN CLUB
Info at palacecinemas.com.au/festivals/ young-heart-film-festival.
Wharves
SUNDAY APRIL 09
Andrew & Mike play some of the hottest, swingiest, rockiest, soulful, funkiest blues around. 8pm. Fr
With Brother Be & Dom Lavers. 9pm. $10/5. THE PHOENIX BAR
Arvo Sessions 5pm/10pm. Free.
KING O’MALLEY’S IRISH PUB
3 New Exhibitions
In the Moment, Women In A Washbasket & Changing Tides: The Waters of the Past. Opening Fri 7 Apr. 5. BELCONNEN ARTS CENTRE
Specimens Exhibition
Free. Oil Paintings. Until 29 Apr. TUGGERANONG ARTS CENTRE
Common Ground & FACE2FACE 31 Mar-23 Apr. PHOTOACCESS
Animal Heart Exhibition Until 29 Apr.
TUGGERANONG ARTS CENTRE
6-15 Apr.
THURSDAY APRIL 13
With the Tash Sultana. Tickets at ticketek.com.au. ROYAL THEATRE
THEATRE Bell Shakespeare’s Richard 3 6-15 Apr.
THE PLAYHOUSE
TUESDAY APRIL 18 KARAOKE #KaraokeLove 9pm. Free entry. TRANSIT BAR
LIVE MUSIC Boo Seeka
Info at transitbar.com.au. TRANSIT BAR
Presented by Canberra REP. 29 Mar-9 Apr.
Diplomatic Immunity tour. Tickets at moshtix. ACADEMY NIGHTCLUB
ART EXHIBITIONS
Santana
LIVE MUSIC
Info at palacecinemas.com.au/festivals/ young-heart-film-festival.
SATURDAY APRIL 15
Animal Heart Exhibition
ON THE TOWN
7.30pm.
AVIARY ROOFTOP BAR
LIVE MUSIC
PHOTOACCESS
Info at palacecinemas.com.au/festivals/ young-heart-film-festival.
KING O’MALLEY’S IRISH PUB
DJs spinning Old Skool, Hip Hop, R&B. Free from 5pm.
31 Mar-23 Apr. Until 29 Apr.
Shortreef
FRIDAY APRIL 14
KARAOKE
Until 29 Apr.
AVIARY ROOFTOP BAR
AVIARY ROOFTOP BAR
TUESDAY APRIL 11
In the Moment, Women In A Washbasket & Changing Tides: The Waters of the Past. Opening Fri 7 Apr. 5.
TUGGERANONG ARTS CENTRE
Crazy ass games including tournaments and prizes, and all things Sangria & FUN. 5pm. Free.
Young at Heart
Listings are a free community service. Email editorial@bmamag.com to have your events appear each issue.
For up-to-date listings, visit bmamag.com/gigguide.
PALACE ELECTRIC CINEMA
LIVE MUSIC Merry Muse Folk Club Band 4pm. $3/$5.
CANBERRA IRISH CLUB
facebook.com/bmamagazine
NEXT ISSUE: #492
OUT APRIL 11 PAGE 71
FIRST CONTACT Aaron Peacey 0410381306 band.afternoon.shift@ gmail.com.au Adam Hole 0421023226 Afternoon Shift 0402055314 Amphibian Sound PA Clare 0410308288 Annie & The Armadillos Annie (02) 61611078/ 0422076313
Cole Bennetts Photography 0415982662 Danny V Danny 0413502428 Dawn Theory Nathan 0402845132 Danny 0413502428 Dorothy Jane Band, The Dorothy Jane 0411065189 dorothy-jane@dorothyjane.com Drumassault Dan 0406 375 997
Johnny Roadkill Paulie 0408287672 paulie_mcmillan@live.com.au Kayo Marbilus facebook.com/kayomarbilus1 Kurt’s Metalworx (PA) 0417025792 Los Chavos Latin/ska/reggae Rafa 0406647296 Andy 0401572150
Feldons, The 0407 213 701
Merloc - Recording Studio, Watson. Sam King: 0430484363. sam@merlocrecords.com
Fire on the Hill Aaron 0410381306 Lachlan 0400038388
Missing Zero Hadrian 0424721907 hadrian.brand@live.com.au
Fourth Degree Vic 0408477020 Gareth Dailey DJ/Electronica Gareth 0414215885
Morning After, The Covers band Anthony 0402500843
Groovalicious Corporate/ weddings/private functions 0448995158
Mornings Jordan 0439907853
Birds Love Fighting Gangbusters/DIY shows-bookings@ birdslovefighting.com
Obsessions 0450 960 750 obsessions@grapevine.com.au
Guy The Sound Guy Live & Studio Sound Engineer 0400585369 guy@guythesoundguy.com
Painted Hearts, The Peter (02) 62486027
Black Label Photography Kingsley 0438351007 blacklabelphotography.net
Haunted Attics band@hauntedatticsmusic.com
Rafe Morris 0416322763
Aria Stone sax/flute/lute/ harmonica, singer-songwriter Aria 0411803343 Australian Songwriters Association Keiran (02) 62310433 Back to the Eighties Ty Emerson 0418 544 014 Backbeat Drivers Steve 0422733974 backbeatdrivers.com
Bridge Between, The Cam 0431550005 Chris Harland Blues Band, The Chris 0418 490 649 chrisharlandbluesband @gmail.com
PAGE 72
In The Flesh Scott 0410475703 Itchy Triggers Alex 0414838480 Jenn Pacor Singer-songwriter avail. for originals/covers 0405618630
Polka Pigs Ian (02) 62315974
Huck 0419630721 Simone & The Soothsayers Singing teacher Simone 62304828 Sorgonian Twins, The Mark 0428650549 Soundcity Rehearsal Studio Andrew 0401588884 STonKA Jamie 0422764482 stonka2615@gmail.com Strange Hour Events Dan 0411112075 Super Best Friends Greg greg@gunfever.com.au System Addict Jamie 0418398556 Tegan Northwood (Singing Teacher) 0410 769 144 Top Shelf Colin 0408631514 Undersided, The Baz 0408468041 Zoopagoo zoopagoo@gmail.com
Redletter Ben 0421414472 Redsun Rehearsal Studio Ralph 0404178996/ (02) 61621527 Rug, The Jol 0417273041 Sewer Sideshow
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