BMA Magazine - Aug/Sep

INSIDE: Dylan Moran • Tex Perkins • Phil Wiggins & Dom Turner Canberra Unscripted Festival • Dan Ilic • Stuart McMillen comic

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[CONTENTS]

[Canberra’s

Guide]

Entertainment

#508

Aug/Sep

Brought to you by Lindt blueberry chocolates - blue balls you don’t mind having

Mail: 36/97 Eastern Valley Way Belconnen, ACT 2617 Publisher Radar Media Pty Ltd

SEEKER LOVER KEEPER

p. 16

General Manager Allan Sko T: (02) 6257 4360 E: advertising@bmamag.com Editor Allan Sko E: editorial@bmamag.com Accounts Manager Ashish Doshi T: (02) 6247 4816 E: accounts@bmamag.com Graphic Designer/Cover Design Tracy Ng Film Editor Cam Williams Featured Gigs Editor John Harvey & Allan Sko

DAN ILIC

p. 15

PHIL WIGGINS & DOM TURNER

p. 18

TEX PERKINS

p. 19

STUART MCMILLEN COMIC

p. 24

Entertainment Guide Editor John Harvey Social Media Manager Allan Sko Columnists Ruth O’Brien, Josh Nixon, Peter O’Rourke, Cody Atkinson, Allan Sko Contributors Stuart McMillen, Sarah Gaul, Jessica Conway, Vince Leigh, Cara Lennon, John Harvey, Andrew Myers, Cody Atkinson, Noni Doll, Rory McCartney, Allan Sko NEXT ISSUE #509 OUT Thursday 26 September EDITORIAL DEADLINE Friday 13 September ADVERTISING DEADLINE Wednesday 18 September 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.

LOLCOL - SARAH GAUL p. 28

ES 199 T 2 PAGE 10

LITERATURE IN REVIEW ALBUM REVIEWS FILM REVIEWS ENTERTAINMENT GUIDE

DYLAN MORAN

p. 29

CANBERRA UNSCRIPTED

p. 30 p. 32 p. 34 p. 40 p. 44 @bmamag

Popular among servants, who would often be seen crowding their local Seller of Temporal Trinkets of a weekend, Time would be purchased at ha’penny a bag which, they believed, allowed them some rest between chores.

FROM THE BOSSMAN

BY ALLAN SKO [ALLAN@BMAMAG.COM]

And so I return once again, dear reader, in my neverending quest to defend those desperately fighting in the vast and glorious battlefield of wordage.

Having assisted the throng with their band slash DJ name, before issuing a jolly good chiding to the gits who created mocking words for difficult conditions in previous columns, my purview now shifts to defend those among us prone to malapropisms.

Or “getting common phrases wrong”, if you prefer.

Y’see, we all have our “blind spots” when it comes to the understanding of language and the subsequent speaking of such. I refer to those little turns of phrase that we have been forever getting wrong, only learning otherwise until someone decides to alleviate our innocent ignorance in an embarrasingly public setting.

For more years than I care to count, I thought the phrase used to describe making do in scarce financial circumstances - make ends meat - was in fact make ends’ meat (with a possessive apostrophe), which I presumed meant surviving in times of hardship on the end of a meaty casserole; a desperately cobbled together Frankenstein of a dish assembled from the corpses of dinners past.

The practise didn’t last too long as, of course, the concept of buying Time was complete bollocks, and many servants were later executed for dereliction of duty.

Let your hair down vs let your heir down - a phrase used to infer a situation in which you can relax, it was originally termed

by Pitt The Even Younger in England.

Only 7 when he was crowned, the boy king grew tired of his courtiers carrying him to bed well before he thought it was due time, and so passed a law that enforced anyone to ‘let his heir down’ upon command, allowing everyone to relax.

Joined at the hip vs joint at the hip - this one seems easy - I mean you have a joint AT the actual hip area, so you may be simply pointing out the obvious. But instead of a phrase used to describe a pair who are forever in each other’s company, it refers to revellers at hip hop gigs who, to avoid expulsion via security guard, would hold their “jazz cigarettes” at the hip to avoid detection. (bonus fact: this, in turn, led to the “stressed jeans” trend after cigarette embers would administer surreptious circular burn holes to nearby drunken revellers) No holds barred vs no holes barred - I do have an explanation for this one - a very colourful and outlandish one at that - but my legal team have strongly advised me against printing it.

Go forth, my addled-brained brethren! And bat away the shame of ignominy with glorious nonsense.

As with most things in life, I prefer mine.

As 2019 has shown us, the only way to combat ignorance is more ignorance. The time has come to really lean in to your mistakes with some good old fashioned fake facts.

So, to equip you against the sudden scoffs and sneers of so called “educated” people pointing out your foibles, I humbly offer you a list of alternate etymologies for seemingly notso-well-known aphorisms.

Enjoy.

Duct tape vs duck tape - Industrial tape used primarily in ducts? ‘No no!’ you shall say to agaped onlookers. The term, in fact, originates way back to the early 1350s.

After the ravages of the Black Death had done away with a vast percentage of the population, and with things finally getting back to normal, an unfortunate after-effect was that duck’s legs were constantly falling off.

Fortunately, there was hope for the misaligned mallards when duck enthusiast, and fortuitously named Samuel Duck, invented a special strip of adhesive to keep them in place.

Eventually evolution caught up.

Bide your time vs buy your time - a term now recognised for taking your time, in the medieval period people were so poorly educated that many believed you could literally ‘buy your time’.

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[HOT TIX]

Sugar3 / ‘Party Crier’ single launch / Fri, 30 Aug / The Front Indie-pop-rock Canberra four-piece Sugar3 are launching their latest single Party Crier with 2410 Records stablemates Powder Blue and a solo set by Jaclyn from The Differs. Self-described as “some funky people with some funky tunes”, this will be prove to be a toe-tapping celebration of Canberra talent.

Club Sandwich Comedy / Sarah Gaul & Jacinta Gregory / Fri, 13 Sep / Tuggeranong Arts Centre The best night out in Tuggeranong, Club Sandwich Comedy is bringing Newcastle based musical comedy stars Sarah Gaul (pictured) and Jacinta Gregory to headline. Hosted by Chris Ryan and featuring RAW Comedy national finalists Tim Noon, EdwinTetlow and young musical comedian Ashy Kinsella, get in quick for earlybird discounts (students aged 15+ welcome when accompanied by a responsible adult). Tickets $10 students (must bring ID to door) and $15 adults, or $20 at the door.

Australian Dance Party: From The Vault / 20 - 22 Sep / Dairy Road Precinct (1 Dairy Rd) Venture into a secret warehouse, once an old storage bunker for valuable goods, to see Alison Plevey’s latest full-length work: From The Vault. The work features acoustic and electric cello by Alex Voorhoeve (Canberra Symphony Orchestra) and sound design by electronic music producer Andy McMillan (Doppel). Prompted by the safe-like nature of this unique building, the piece unlocks a timely reflection on our values; what is truly important, what we choose to keep safe, and what we spend time and money to preserve. 7:30pm Fri-Sat, 6pm Sun / $24-$38 from eventbrite.com.au PAGE 12

UPCOMING EVENTS

Beyond Comedy / Andrew Bensley / Fri, 30 Aug / Beyond Q Books (11 Briely St, Weston Creek) ‘Shared his stories with the audience effortlessly and eloquently’ – Beat Magazine. ‘Display[s] a comfortable poise and pace to his wry comedy.’ – Chortle. And so go the plaudits for the former RAW Comedy National Finalist Andrew Bensley. With MC Chris Ryan, supports from local stars Tanya Losanno, Taylor Coughtrie and Nick Daisy, plus a first-time spot from Dave Gooley. This will be a legendary night of laughs in Weston Creek.

Tickets $15 online or $20 at door unless sold out trybooking. com/BEIBL

Escape Ferocity pres Extrawelt (Live, Germany) / Sat, 28 Sep / Secret warehouse location They’re back, and heading for their roots: a dirty, dark, rumbling warehouse. The thought of getting back into the sweat factory is made all the more tantalising by German live maestros Extrawelt. For 30 years, these two legends have been refining their live act, equipped with an arsenal of gadgets and synths not out of place at NASA. Expect a journey from atmospheric to brain shaking techno. Expect multiple stages and the usual A-Grade standard of local legends on support duties. Stay tuned to their Facebook page for updates.

Sweet Dreams Festival / Ft. Citizen Kay, Kirklannd + Sat, 21 Sep / Truffle Farm (23 Majura Rd, Majura) The brand-new Sweet Dreams festival will transport you to another world with an electrifying line-up of international, national, and local artists mixing R&B, hip hop and EDM. And it doesn’t stop at the music, with a glow-in-the-dark ball pit, surreal giant neon animals, and some of the best artisanal food and drink offerings Canberra has to offer. Enter the dreamland on 21st September 2019 at the Truffle Farm Canberra, 23 Mount Majura Road, Majura. Tix from the Sweet Dreams website.

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The band, made up of Canberra live music veterans, includes Luke McGrath, Nick Delatovic, Chris Gleeson and Josh Chaffey, and they will be recording this album live on the night. It’s also Nick’s 37th birthday bash! I have no doubt this will be a great gig. Tix available at the door for $10.

[THE WORD ON LOCAL MUSIC]

LOCALITY

Ed Reading releases a new album across all platforms on Friday, 23 August. Ed has been producing music for over a decade and has a few different projects to his name, such as Disect (psytrance), Humanizm (techno), and Booyah (psychbreaks).

WITH RUTH O’BRIEN SEND YOUR GIGS AND INFO TO:

His recent Humanizm release, Adaptive Species, is 10 tracks of psychedelic wonderment,released by international label, Sub Element Records.

[RUTHMVOBRIEN@GMAIL.COM]

OK, enough of this winter bullshit. I’m done I tells you!

The best way to survive these last few chilly weeks is to either a) hibernate or, b) get to as many of these events as possible!

The ones below are all indoors and feature Canberra’s best artistic talent so if you’re going to stay in, why not do so in the presence of these fine folk?

Blood on the Dance Floor is a theatre piece by Jacob Boehme.

Jacob was diagnosed with HIV in 1998. In search of answers, he reached out to his ancestors. Through a powerful blend of theatre, image, text, and choreography, Boehme pays homage to their ceremonies whilst dissecting the politics of gay, Blak and poz identities. Recommended for age 15+. Show times are on Saturday, 24 August at 5pm & 8pm. Check the Tuggeranong Arts Centre website for details and to book.

Sticking with the theme of locally made theatre, Metamorphosis is now in full swing at The Street Theatre! Adapted by Steven Berkoff, this stage production tells the story of Gregor - a broken man, exhausted by eternal work and an ungrateful family. Until one morning, he awakes, and is not a man at all. Inexplicably he has been transformed into a gigantic insect.

The play features an all Canberra cast including Christopher Samuel Carroll, Ruth Pierloor, Dylan Van Den Berg, and Stefanie Lekkas. Tickets are available fromTthe Street Theatre website and the show is on at various times between now and Saturday, 31 August. Check the website for more deets!

Signs & Symbols are back with a new album and a launch show to boot (photo by Reid Workman) Signs & Symbols are making a comeback with their new album Counting in Colours which they’re launching at The Polo on Friday, 23 August from 8pm. Tix at the door. So many great local acts at the moment... can’t keep up!

On Wednesday, 28 August, Canberra DIG hosts the latest Crop Up Sessions. For your mid-week dose of music head over to sideway [sic] to have a listen to Eloria, Neko Pink, LIV LI and Pheno from 8pm. Tix available at the door for $10/$5.

On Friday, 20 September, Charlotte & The Harlots have brought a power pop/punk rock/grunge renaissance to their local scene.

With energetic live shows around the city, they have created their own brand of rock ‘n’ roll. With debut single SUNSHINE just released, and a promising debut EP out soon, The Harlots are embarking on their first headline east coast tour with mates Mimi The Desert Pearl and a handful of other great local acts including The Differs, Babe Fiasco, and Dalmacia.

A reminder about the inaugural Canberra music event, Sweet Dreams Festival on Saturday, 21 September. The line-up features Citizen Kay, Kirrah Amosa, Kirklandd and Thandi Phoenix. The event will be held at the Truffle Farm on Mt Majura Road and tickets are available via the website now (sweetdreamsfestival. com.au).

Sputnik Sweetheart sold out Transit Bar for their Us Girls single launch (photo by Jack Gruber) Onto music news now, and first up is huge congrats to local band Sputnik Sweetheart who SOLD OUT Transit Bar with their Us Girls single launch!

In further happy news, Teen Jesus and the Jean Teasers - have just released a new single See You In A Bit (I Still Care) and have announced that they’re playing Lost Paradise festival. Nice one.

If a market outing is more your thing, get along to the Handmade Markets on the weekend of 7-8 September. Featuring many local artists, designers, and makers across the board, this quarterly market is one not to be missed. Head over to Exhibition Park in Canberra - free parking and free entry.

That should keep you busy for a few weekends. See you in a month’s time!

The Missing Lincolns will be having their Lost Album live show at Smith’s Alternative on Friday, 23 August from 7:30-11:30pm.

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What are your plans for the future?

BMA ARTIST PROFILE

New music. Another album. More gigs.

BLISSPHORUS

What makes you laugh?

On the back of the release of their new album, The Art Is All We Need, BMA caught up with kind-of heavy, kind-of prog, strongly melodic Canberra three-piece Blissphorus to see what makes them tick.

Group members: Jeannie Cotterell - vocals, keys Pete Bosak - guitar, bass

Rehearsal room banter between songs.

What pisses you off?

The morning after the night before.

What about the Canberra scene/the music scene in general would you change?

A longer set every now and then would be nice; 40-45 mins ideally. And longer change-overs between sets. Small things really. The Canberra music scene is pretty great - cool venues and people.

Dave Williams - drums, vocals What would you like to plug?

Where did your band name come from?

From the subconscious, allegedly inspired by a certain Turkish cymbal company.

Describe your sound: Kind of heavy, kind of progressive, and strongly melodic. Long songs with extremes of dynamic and complexity.

Our new album The Art Is All We Need. Available from all normal digital distributors.

And, the Dragons Abreast Social & Corporate Regatta fundraiser! Gather your mates for a dragon boat race! Funds raised go to supporting breast cancer survivors and their supporters.

Email dragonsabreastregatta@gmail.com for more info.

Who/What are your influences, musical or otherwise?

Ambience and brutality. Tension and release. Soul and aggression.

What’s the most memorable experience you’ve had as an artist?

It’s not so much about a memorable moment; it’s the great satisfaction we get from the entire process of making music.

Tell us about one of your proudest moments?

That we were able to make an album completely independently - and we’re really proud of it! facebook.com/bmamagazine

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Licensed To Ilic A trip to the nation’s political heart has been a long time coming for Dan Ilic and the crew from satirical podcast A Rational Fear.

“We’ve been meaning to do it for a very, very long time, but… meaning to do something means nothing unless you actually do it,” he says, audibly excited. “And we’re actually doing it!”

And it seems like getting out of their usual haunts has been good for the show, selling out in Brisbane and Adelaide, with more to come in Melbourne.

“This year, we decided that we wanted to tour the show around Australia as much as we could,” Ilic explains. “We just made a commitment to get out of Sydney, get out of Redfern. Go see the people. It’s been really successful… We’re just like, ‘We should just not perform in Sydney ever again because no one’s allowed to go out and say things in Sydney!’”

Ilic first arrived on Australian screens in 2009 via the ABC’s Hungry Beast, a show that aimed to (and succeeded in) discovering the next wave of talent in Australian media. It launched the career of Ilic and his co-host, triple j drive announcer Lewis Hobba, as well as a host of others.

“Yeah, we all still hang out,” Ilic says. “We all talk on private messenger in our own group and we’re also very tight. We all look out for opportunities for each other and also look out for stories and for talent for everybody else.

“We’re actually a cross-media resource in our own right. We’ve all shot off and done really interesting and diverse things. Many of us have done really well,” he says, counting off the likes of Marc Fennell, Crikey’s Kirsten Drysdale, and Emmy award-winning credits designer Patrick Clair.

“None of us knew each other ten years ago when we started Hungry Beast. It was really quite fun to meet a whole bunch of 19 other extrovert egomaniacs who loved to make jokes. It was really fun meeting Lewis… Lewis is one of the smartest, funniest people I know in general. I’m truly riding his coattails.”

BMA’S Noni Doll speaks to Dan Ilic about finally bringing A Rational Fear to Canberra Perceptive Canberrans may be a little wary of Ilic’s opinion of the city, given the loving ribbing he gave it in Canberra: The Musical, a sketch that aired on Hungry Beast almost ten years ago. All the stereotypes are there: the roundabouts, the bureaucracy, fireworks, porn, and it did get some locals in a bit of a twist.

But Ilic says he’s actually always had a bit of a soft spot for the city.

“Two of my brothers live in Canberra, so I spend a lot of time there,” he explains. “I think it’s a lovely bit of work.”

Ilic says that if anyone is feeling a little bit precious about our beloved city, it’s not him they should be worried about, but rather his offsider Hobba and his penchant for monologues that are less than flattering regarding the places they visit.

“Lewis had a scathing one about Adelaide and it was very funny,” he recalls. “The crowd was not on side at all, but he eventually turned them towards the end. We’ll see what happens!”

A Rational Fear isn’t just about Ilic and Hobba, with a track record of getting some incredible political, journalistic, and comedic minds to chew the fat.

Canberra’s line-up is as brilliant as one might expect, with Mark Humphries, triple j Hack’s Shalailah Medhora, and Mike Bowers from The Guardian rounding out the panel, with other special guests to be announced.

Ilic says getting the chemistry right on stage can be a challenge, but everyone at the Canberra show is already well-acquainted.

“What’s cool with the Canberra show is that we all know each other,” he enthuses. “It’s really fun. Mark Humphreys and I do Insiders with Mike Bowers. Shalailah and I used to do FBI radio in Sydney together as young media kids, and Lewis and Mike… Mike’s wife, Paula Kruger who does [Afternoons] on [ABC 666] in Canberra was our chief of staff at Hungry Beast,” Ilic explains, proving that the media landscape in Australia truly is a small world.

“So it should be really fun. Sometimes we book a panel where nobody knows anyone, so we hope it works, but this one’s going to be really special because it’s our friends on stage making fun of each other and everyone.”

As the interview is wrapping up and the last question has been asked, Ilic volunteers one last story that is surprisingly poignant, reflecting the importance of laughing when the world seems to be falling apart.

“When stuff is really sad in the news, it makes satire a bit easier.

I was deported from Manus Island at the beginning of the year. I was making comedy with the refugees on Manus Island. When I got interviewed in Port Moresby by the Department of Immigration there, they said, ‘Why were you making jokes about refugees? That doesn’t sound very funny.’ I said, ‘That’s it. I make jokes about the saddest things.’ Anyway, she wrote that down in the report: ‘Makes jokes about the saddest things.’ That’s kind of what we do at A Rational Fear. We take what the media is making us scared of and we tell them what they should really be scared of.”

A Rational Fear will make jokes about sad things, bad things and all things political on Saturday, September 7 from 7pm at The Street Theatre. Tickets are $35 and can be found at http://www. thestreet.org.au

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Where The Wild Seeds Are

Holly Throsby of Seeker Lover Keeper tells BMA’s Jessica Conway about striking out on their own with their long-awaited second album and tour It’s been some eight years since Seeker Lover Keeper’s debut album, and much has happened in the interim.

The indie-folk supergroup, comprised of Sarah Blasko, Sally Seltmann and Holly Throsby, have been releasing solo albums, having families, relocating to varying degrees, writing songs with others, producing albums for others, gone on other national tours, or some combination of all that and more.

“We have been busy,” the ever-delightful Holly agreed, herself having a daughter with her wife, writing and touring two novels, taking another solo album of hers on the road, and leaving the big smoke of Sydney for a quieter life on the south coast.

With all this change and growth, it makes sense their albummaking process would have evolved as well. For their first self-titled album they each brought four songs they’d written to the proverbial table and worked on arrangements and vocal harmonies from there. But for their upcoming album, Wild Seeds, the process was collaborative from the get-go.

“Someone might bring in an idea for a song, like chord progressions and a melody for a verse, and we’d go from there – but all the lyric writing and song structure was done together.

“Other times we’d decide what we wanted to write a song about and then break it down to the way all three of us would look at that thing, using our own personal experience, and that made the song more universal”.

“We were so passionate about her performing Let It Out,” Holly recalled. “That has a lot to do with Magda’s off screen, real personality. None of us knew her, but we had this sense of her. I had also read her book (which is just incredible) and also being personally very heartened by her advocacy during the same-sex marriage plebiscite. Even from afar, I felt quite aligned with her, and I think Sally and Sarah shared that alignment.

“She brought so much of herself to that performance and also a side of herself that I think a lot of people don’t really see.”

The second single and album namesake, Wild Seeds, features another incredibly strong woman and advocate, willing to tell her truth in hostile circumstances – Yael Stone.

The track is rich with drama, soaring vocals, and three-part harmonies inspired by the joy and turmoil of youth. Needless to say (but I’ll say it anyway), Yael nailed the performance.

“Again, we’re all huge fans of Yael in both her work and in the kind of integrity she has off-screen. She is able to speak in a very intelligent and nuanced way on the social and political climate that we live in, and that’s something we respect and admire. And again, we were all really thrilled when she said yes, and she also brought so much of herself to that performance and put so much into it.”

Their third single has been selected and the video cast. You can expect another powerful woman to accompany another evocative and thought-provoking song.

The trio also had total control over this album by funding it themselves, something Holly happily described as ‘emboldening’.

SLK will bring Wild Seeds to Canberra Theatre in September, with Holly looking forward to Canberra’s ‘rock museum’.

“It is a great privilege to be able to do that (self fund a record), but it also came down to a practical choice. We didn’t have any contractual obligations to anyone, and we wanted to do it on our own terms and in our own time. We didn’t have to think about management or when it’d come out – we just made the record we wanted to make without any of that stuff.”

“I love that rock museum!” she laughed down the phone line. “I have to go every time I’m in Canberra, and to the arboretum in general.

I’m very into walking around Canberra, Lake Burley Griffin and stuff – Canberra is such a beautiful place.”

A key focus of Wild Seeds was pairing back both the overdubs and the number of instruments used to create a live-sounding album; also, to make songs that were replicable on stage.

I couldn’t agree more, Holly.

Seeker Lover Keeper bring their Wild Seeds’album to the Canberra Theatre on Friday, 6 September. Tix are $65 + bf from the venue.

“Sarah was largely responsible for that”, Holly said, of keeping the group on task. “She had just come out of producing a record for Sydney artist Jack Colwell, so her head was in producer mode which benefited us because Sally and I weren’t in that headspace.

“Reducing the overdubs and instruments was actually quite freeing because we knew what we had, and having limited choices allows you to be more in the music. Having endless choices can cloud things.”

Two singles have so far been released, along with two remarkable videos. The first track, Let It Out, is a reminder that it’s okay to be who you are, and accepting where you’ve come from as a part of that. In the album’s press release Sarah was quoted as saying: “The song became about the fact that, while it might feel scary, there are safe spaces in this world in which a person can express their true self and feelings.”

The mesmerising video features the iconic Magda Szubanski, who is just captivating in her performance.

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The Bluesome Twosome of Phil Wiggins & Dom Turner John Cephas sadly passed away in 2009, a great shock to the traditional blues community and an enormous loss to the music world. In 2014, to honor his contribution to music and the trio’s friendship, Turner went to the US to perform a series of East Coast gigs with Phil. This critically acclaimed tour marked the beginning of Wiggins/Turner duo.

“Since then Phil and I have done a number of Australian tours, performing at Narooma Blues Festival, Bluesfest, Blue Mountains Music Festival, The National Folk Festival, Port Fairy Folk Festival, Blues on Broadbeach, Cobargo Folk Festival as well as various venue dates,” Turner says.

However, this is the first Australian tour the duo has done for a few years. They have both been busy with other musical projects—Dom with Backsliders and The Turner Brown Band, and Phil with The Chesapeake Sheiks and various other musical collaborations.

“Not only has Phil been busy co-writing a book Sweet Bitter Blues (due for release in March 2020), but he recently received a United States National Heritage Fellowship Award from the National Endowment for the Arts—that’s all aside from the fact that we both live in different countries,” Turner exclaims.

Tuggeranong Arts Centre is delighted to present America’s foremost harmonica virtuoso, Phil Wiggins and legendary Australian blues guitarist/vocalist, Dom Turner as part of the duo’s 5th Australian tour.

Experience Piedmont, Delta and Hill Country blues along with soulful renditions of blues classics from this highly experienced and critically acclaimed duo—with individual performance and recording bios spanning 35 years—and blues harmonica that transcends stylistic boundaries when they hit Canberra on Thursday the 19th of September.

Phil Wiggins and Dom Turner first met in the ‘80s when Wiggins was touring with his long-term musical partner, John Cephas, as part of the blues duo Cephas & Wiggins. Back then, Turner was the part of many Australian tours as support act with his group Backsliders and it was from those tours that he became great friends with Cephas & Wiggins.

“It was such a great honour to work with traditionbearing blues musicians and I have fabulous memories of the times we spent together on those tours,” Turner says.

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Australia has a long history of appreciation and understanding of blues music evident in the number of blues related music acts as well as venues and festivals throughout Australia. In fact, in Clarksdale, Mississippi, in the heart of the Mississippi delta, the Australian flag flies due to the great number of Australian visitors.

But unlike Wiggins, who is a tradition bearer—a musician who was immersed in blues music and learnt first-hand from being around traditional blues masters—Turner, as an Australian, is a musician approaching acoustic blues from outside the tradition; having learnt primarily from listening to records.

“We draw on songs from the early 20th Century, but we present them in our own way and in our own voice. For us it is about the feel of the music, and what’s exciting for me and Phil is how we have a real connection in the way we meld our sounds. It feels natural and I feel like it pushes us both musically,” Turner says.

Tickets are on sale now for their show at Tuggeranong Arts Centre on Thursday, 19 September. The ticket price of $35 includes pre-show entertainment by the Leisa Keen trio in the Art Centre’s lakeside venue.

Tickets can be purchased online via Trybooking at https://www.trybooking.com/BCCSV

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Tex perkins - back in black BMA’s Andrew Myers catches up with the man to talk cold, hard, dirty Cash, and the 10th anniversary tour of The Man in Black

Tex Perkins has been the face of many, many bands over the last 30-plus years – namely the iterations of The Beasts of Bourbon, the thumping rock band The Cruel Sea, not to mention a successful solo career under his belt. And he was also a regular on SBS’s beloved music trivia show RocKwiz.

What I’m trying to get at is, Perkins has done the rounds of the Australian music scene more times than you’ve had hot dinners. But now Tex and his band The Tennesse Four are setting sights to return to our frosty territory for a tour that’s draped in black…

I had the pleasure of having a chat with the sarcastic and baritone boy on the eve of his ten year anniversary tour of The Man In Black – The Songs & Story of Johnny Cash, shuffling through Sydney, Melbourne, Hobart, Adelaide, Perth, Brisbane and, of course, our dear Canberra.

His nickname “Tex” (Gregory on his birth certificate) came to life while he was in his band The Dum Dums where Perkins found himself in a line-up with two other Gregs. So the stage name of Tex Perkins came to life and it’s stuck ever since. But as he insisted, some people do break the mould from time to time and think outside of the box… calling him simply “Perko.”

Perkins told me where this idea for a Johnny Cash tribute show came from all those years ago.

“I was invited by a bunch of producers who approached me for the tour… and I don’t think they realised, but I was very familiar with Johnny Cash’s music. It was a good fit and it worked right from the start. I just can’t help but celebrate the ten year anniversary.”

If you have never witnessed the way that Perkins weaves dialogue in between the songs so naturally, with only the acoustic guitar slung around his chest like a rifle, he tells a story before breaking into the next Cash hit.

“It’s about the story of Cash’s life, the story of his career, the love story between him and June Carter, from birth to death, but also the contradictions and the duality of his character. On one hand he was conservative, a family man, but also he was radical and had an outlaw perspective.”

Tex is a natural and you can tell Perkins wants nothing more than to honour the legacy that Cash has left behind.

“The songs have a strong narrative, but we also play those that reflect my attitude and how I connect with Johnny Cash, usually through a kind of dark humour.”

As Johnny Cash had over 90 albums recorded, the idea of curating a setlist can be daunting for even the most seasoned and well-versed fans. But Perkins spoke of it as if it were as easy as writing a shopping list.

“There’s a bunch of Johnny Cash songs you have to play, the gospel songs, the songs that deal with death and outlaws… all this grubby but fun stuff.” He lets out a gravelly chuckle, before stating: “You gotta have the big hits!”

From one fan to another, I had to ask Tex about his first introduction to the music of Johnny Cash. Tex’s voice lit up.

“A Boy Named Sue was a hit on the radio when I was maybe six… I remember it was probably the first song I ever heard that described this shady side of life – the guns and the blood and the beer and the mud. That song showed me an intriguing world I knew nothing about.”

Before I could even respond, he added: “What pricked my ears was the song had something bleeped out, something censored.

It made my mind boggle and it made me think of things far worse than what was being sung about.”

The impression of that one song has lasted almost 50 years and morphed into a career defining tour that not only is regularly sold out but also won the Helpmann Award for Best Contemporary Australian Concert.

I close by asking: what did he want the audience to take away from this monumental tour? With a cheeky chuckle Tex replied: “Merchandise.”

Tex Perkins and The Tennesse Four will be playing @ Canberra Theatre Centre on Saturday, 31st of August, 8pm. Tickets are $89.90-99.90 through the Canberra Theatre Centre website.

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DANCE THE DROP [THE WORD ON DANCE MUSIC] WITH PETER “KAZUKI” O’ROURKE [CONTACT@KAZUKI.COM.AU]

The dance music video. It’s an interesting one, and something I was thinking about the other day after I searched for an old tune by master of electronic weirdness Aphex Twin - Come to Daddy.

Set in a grim English housing estate, it’s an iconic clip to a crazy track, with a demon trapped in an old television and creepy children with Aphex Twin’s very meme-able face who smash up the place and terrorise an elderly woman.

Looking back, there were some really fantastic music videos over the years from The Prodigy, Fatboy Slim, Massive Attack, Justice, Daft Punk and the Chemical Brothers (who continue to surprise, such as this year’s Got to Keep On). And... look, there are too many to list here so I won’t try.

However, it doesn’t seem to be nearly as much of the case these days. Is that true? Or is it just the fact that I don’t religiously sit down to watch Rage these days and instead hear all my music via streaming, or in the club?

Fiction continues the techno every Thursday with local selectas, while there’s a fair bit of bass heavy house and EDM across a few Fridays, with Blanke on 23 August for his national tour, Wongo for the official Listen Out festival warm-up party on 30 August, and LO’99 on 6 September.

Mr Wolf has a few choice gigs worth checking out in the next month. This weekend on Friday, 23 August they’ve got some new up-and-coming DJs for a Rising Stars night - check out Woody, Theo, Alex Allen, Vivace, Haylee Karmer, Nue Dae, Bouncii, and Take-Tu. The following Friday, 30 August at Wolfie looks pretty interesting with a party from Made By Tsuki, an audio/visual project based out of Sydney whose been getting some seriously cool support from big name artists and festivals (including VIVID and Splendour in the Grass).

What does seem to be much more prevalent, though, is the use of visuals themselves as part of a performance. Whether this is from huge electronic music acts, such as the aforementioned Chem Bros, Eric Prdyz, Max Cooper, or Plastikman who create a custom made visually stimulating show, to individual DJs working with festival production engineers to bring a performance to life with an out-of-this-world setting transporting you to another dimension (particularly in the techno and trance world of festivals).

Even on a small scale there’s some pretty incredible projection mapping and visuals being done for more intimate settings - the technology is incredible!

And I guess this is where techno (used as a catch-all term) really thrives. The electronic music movement always had a technoutopian vibe and aesthetic, embracing visuals, virtual reality, and chemicals to imagine something new and exciting. And as cool as a great piece of short cinema is set to music, it’s being in that ‘other world’ on the dance floor in a full 3D audio/visual experience where the real fun is to be had.

Moving on, there’s heaps of happenings happening (haha) at Sideway. On the dance tip, I reckon give Section Seven: Martial Order a crack this Thursday, 22 August, while It’s a London Thing has all your UK grime/garage/2-step covered with Big Ting Recordings (SYD) & MCs Dtech & Tukka D (SYD) taking over the Communi-fi system on Saturday, 24 August.

Stil at Sideway, Le Doof will take you through some weird electronica and techno with Steeplejack boss Harold’s apocalyptic sound, and Le Doof resident Big Data (formerly Bàobīng) on Saturday, 31 August.

Toast on the Sunday, 1 September has some fun DJs, and Monkey Marc is bringing his Vital Sound album launch show to Canberra with plenty of heavyweight bass vibes on Thursday, October 24.

One for the diary!

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Made by Tsuki brings the audio/visual delights to Mr Wolf this August And continuing a solid run of Fridays at Mr Wolf, on 13 September, Equinox has teamed up with Bassic Records for the 5 years of Bassic tour - plenty of bush techno styles with Kase Kochen, ZigMon, Vorpal, and Canberra favourite Doppel.

For hard dance fans, Hard Attack has a Defqon1 Tribute party to honour the now defunct festival, with Tyx, Dzasta, Losta Beat, Ryan, Cotts, and Tyrade spinning some fast BPMs on Friday, 21 September.

Queer hotspot Cube Nightclub are celebrating their 14th birthday on 6 September - there’ll be a burlesque show, pole dancing performances, DJ Rawson on the decks, and debuchary aplenty.

A few doofs coming up as well this month; if you know you know! ;) And what’s probably going to be the party of the year, Canberra titans Escape Ferocity will bring German techno extraordinaire Extrawelt to a warehouse location for a special live show on Saturday, 28 September. Local supports not yet announced, but you know it’s going to be a massive one!

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METALISE

[THE WORD ON METAL] WITH JOSH NIXON

Cradle of Filth - Not an ACTUAL cradle of filth...

That would be horrible

Holy Serpent - the fully fledged force hit the Transit Bar this August Cold frigid winds brought the grim to the ACT recently, but there’s some absolutely brutal frosty riffs on the way to town in the coming weeks.

Earlier this month I played a festival down in Melbourne by the name of Brewtality and it delivered as advertised over three stages in two Collingwood venues: The Tote and The Bendigo.

King brought forth two new members on bass and a second guitar, and played some new material from an album due out later this year, including a ripper track entitled Cold Mountain.

the songwriting with a performance that will doubtlessly deliver sonically, and that’s to attend The Basement on Tuesday, 10 September where Mr Filth will be waiting. Virgins blood for extra Bathory-ness is optional.

Eyehategod announced a welcome and extensive tour of Australia slated for November this year, the first visit back since their 2012 jaunt. Canberra is on the cards once again with a The Basement stop on 11 November. Tickets through Eventbrite courtesy of Soundworks Direct.

Also in tour announcements last month for Canberra, fans of the shredding lord that is ex-Megadeth and Shrapnel Records legend Marty Friedman can cop a night of face shredding delights at The Basement on 14 December in case any of you need an idea for an early Christmas present.

Locals C.H.U.D. then bludgeoned The Bendigo crowd before one of my highlights for the day in Witchcliff from Bunbury, WA, successfully summoned Come My Fanatics-era Electric Wizard sonically, but brought some darker and varied vocal elements through the two guitars and bassist. High Tension, Psycroptic, Lo! and Blackhelm all were also absolutely killer.

My band of the day, and the reason for the long segue, was Melbourne doom quartet Holy Serpent. They proved on their 2016 album Temples that they had arrived as a fully fledged force to be reckoned with. On the cusp of a European tour and their new album Endless coming out on 18 October through their US label Easy Ride Records, the band were in devastating form. You can check a preview track on the streams entitled Lord Deceptor and better yet, catch them play with two amazing bands at the Transit Bar on Friday, 30 August.

Potion are preparing to record their own full length album in the coming month or so, an event that is greatly anticipated from all who have caught their EPs and impressive live show. Hekate featuring Marcus (Witchskull/Looking Glass) and Ash on guitar, plus Mal (bass) and Nathan (drums) from Sydney band Los Hombres Del Diablo round out this killer bill.

September welcomes the return of English legends Cradle of Filth and a special tour showcasing their 2nd full-length, 1998’s Cruelty & The Beast in full. Said ‘98 opus on the life of Elizabeth Bathory has a storied reputation as being an amazing artistic record from black metal’s second wave but also from some pundits and former members of the band as being one of the 90’s “best albums with the worst production”.

The Mark of Cain mark 30 years of Battlesick Adelaide’s The Mark of Cain have forged a deep, storied, and frankly well-earned reputation in uncompromising hard-edged rock. 1989 saw the release of their first full-length album Battlesick which laid the foundation for a very fruitful ‘90s that saw the band tour the world and forge a live show that eventually saw drummer John Stanier from American rock heavyweights Helmet, Tomahawk and Battles join in 1998.

The band are celebrating the 30th anniversary with a national tour along with The Messthetics, a Washington DC three-piece featuring Joe Lally and Brendan Canty of Fugazi and guitarist Anthony Pirog. It all happens on Saturday, October 19 at The Basement and tickets available through Oztix.

And finally, for the old school fans, Metal Church have announced a short Australian tour taking in one Sydney and two Melbourne shows. Crowbar in Sydney are hosting the band on 30 August.

Whatever you may think of that reputation, there’s one way to experience the record that will marry the undeniable quality of PAGE 22

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with Cody Atkinson

? Questioning Going Out

Right, let’s do this!

Let’s GO! It’s winter, nothing’s on TV, and the heating in your place SUCKS. Let’s go see a band or something.

Wait...is it cold outside?

Yeah, it’s Canberra in winter.

It’s going to be cold. It snowed the other week. Put a jacket on, you’ll be fine.

A jumper and a jacket then?

How about a scarf?

Let’s not overthink this. We can’t miss the next bus otherwise it’s a connecting bus, and that’s like two buses which will take forever. Gotta get outta here right now.

ALRIGHT! Let’s do this!

Wait...

What?

Who else is out?

Some people? Some music?

Drinks, alcoholic and nonalcoholic, whatever you like. At worst, it’s like the set-up you have at home but with stuff going on. Hell, even this column is there. You could be reading this very column out. This column is probably the worst part of your night.

Yeah? This is at the pub?

Yeah, probably in a stack in the corner. Your house with the shitty heating probably doesn’t have a copy. Yet. Alright. But what if the music sucks?

Then you can have a beer or two and play around on your phone.

Which is EXACTLY WHAT

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YOU’D DO AT HOME. Take a chance, jeez.

I take chances. But I’ll be wasting my time if the tunes are bad...

We’ve established that you’d be doing nothing really worthwhile anyway. Watching Bojack Horseman for the fifth time is not exactly productive time.

It’s a night, late in the week, and you’d be twiddling your thumbs.

Most live music is pretty damn good, and even the bad stuff has some redeeming features. It’s at least better than the repeats of House Hunters you’ve been bingeing on.

Cover?

I dunno, a tenner? There’s three bands. A tenner is nothing. You pay $15 a month for Spotify, who ends up giving artists all of about three cents. All of them.

You stream music for eight hours a day, and about three cents end up in the pockets of artists. Ten bucks is about a beer. Pay the damn cover. See some culture.

OK. Bands travel across the country – neigh THE WORLD – to play in this fine excuse for a city.

Deerhoof played in Canberra on a Monday night. DEERHOOF. And Thee Oh Sees, and A Place to Bury Strangers. Flying Lotus once played a midweek gig in Dickson. If these people can travel ALL AROUND THE WORLD to be here, you can hit up an Uber to town.

Jeez.

I know – about 30 people knew Deerhoof were in town. More people should have made it to many of the shows above, but

they aren’t the only group to play in front of a small crowd.

People say that nothing happens in town, but I think the more likely thing is that people don’t want to chase stuff out so they can just stay at home instead. Winter is too cold, summer is too hot, and spring has pollen and stuff.

And the less said about autumn THE BETTER. Hmmm.. home does sound quite good, though.

We decided. The pub. We’re going. It’s a nice day to go to the pub. To go to the pub. To go to the pub. No excuses. There’s always something on TV, or the weather is always shitty.

Forget about it while at the bar.

Music venues need you, to stay open, and to keep things rolling through town.

Didn’t we just save live music though?

Those mooted law changes, you mean? That’s a very small part of a much bigger picture.

Obviously, having venues to see things in is important, and the gentrification of the inner city is slowly turning the tide against live entertainment – unless these changes come to pass in full.

By the way, this is probably a good time to point one positive thing out.

What’s that?

It’s good that politicians on all sides of the divide are getting their act together after about a decade, and are thinking of how to get urban infill AND retain a sustainable culture in town.

But they’ve got to make the most of this opportunity.

Canberra is in a rare spot right now – the lack of lockout laws means that the inner city venues around can keep building a good regular audience, and the light rail means that more people can get home after shows. Plus.

But if new noise complaints from developments continue to place pressure on venues, all the other good work will all be for nothing.

I guess...

People in town, across all sides of politics (and outside of it) are actively trying to make it easier for you to see more live music.

If a bunch of suits can start changing the laws to make it easier for you to listen to some tunes and have a drink or two, then the LEAST you could do is to head out. It’s basically your democratic duty at this point.

Democratic duty? Bit strong there?

Or maybe NOT NEARLY STRONG ENOUGH. Arts and culture are critical to modern societies across the world; to the social fabric of towns and what makes up the constituent parts of them. You going to catch a sneaky set on a Friday night helps to build that, and adds a key dimension to one of the more gosh darn diverse cities in the country.

Alright. We’re heading out.

Sweet.

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Stuart McMillen is a Canberra comic artist. You can read this comic and others online via iusedtoberacist.com, and support him via Patreon. More on McMillen in future issues

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Exhibitionist | Arts in the ACT

for law what John Keating did for English at that school in Dead Poet’s Society. She made me genuinely see that individuals have the power to make a difference and be a force for good, and I still cling on to what she taught me with dear life. I remember exchanging tearful text messages with her the day Obama won his first election - the living, breathing proof of everything she taught us. I miss him, and her, very much.

I went as far as to enrol in law school and attend for a year, here at the ANU. I loved studying law and everything about it, and I got right into campus life - living in college, walking into the city for $2 drinks every Thursday night (I’m pretty sure selling drinks for $2 is illegal now).

WHEN I GROW UP

By Sarah Gaul When I was growing up, I always wanted to be a vet. There was not a doubt in my stilldeveloping primary-school-aged mind.

Obviously, I was over-looking that a large component of being a vet is dealing with animals in pain, or at the end of their lives.

“I just won’t do that part of it, I’ll mainly do the patting. Also puppies,” a snot-nosed, pigtailed me would shriek on the escalator on the way to browse pet food at Big W. To add to this picture: I often wore skirts around my neck (in public) as a kind of lion’s mane, because I loved The Lion King and briefly wanted to be a lion when I grew up.

Had a crush on Simba, if I’m honest.

At some point I realised I was garbage at science, which I’m told is a big part of being a vet (or turning oneself into a lion) so I decided I wanted to be a librarian. Because I love books. And I figured - librarians don’t need to deal with books in pain or at the end of their book-lives, except for that PAGE 28

time I spilt creaming soda on my favourite Baby Sitters Club book (RIP that book, and thank you Babysitters Club for making me absolutely believe that a group of 12-yearolds could seamlessly run a legitimate business.)

And as someone who was a bit of a weirdo in primary school (and now she’s a comedian? Groundbreaking.), like nerds everywhere I found the library to be a sanctuary at school.

Not so much anymore.

Libraries now essentially look like a cross between NASA headquarters and Google offices, with cool open-plan areas and ‘interactive learning’ (the only reason I ever went to the library was to interact with nothing and no one) and photocopiers that work through ESP. At some point I turned into a Horse Girl™, wanted to be a Horse, and then an Olympic Horserider for a while, but the most 9-5 I ever got was wanting to be a lawyer.

I had the most amazing Legal Studies teacher in high school, Ms. Fahey, who did

At around the same early age that I decided I wanted to be a librarian, I saw The Sound of Music onstage and was blown away. My love of being onstage has followed me around ever since. To be a famous singer (like Delta Goodrem), or actor (like on Home and Away) was only ever a distant fantasy, a reality reserved for a privileged few. And comedy?

Making people laugh for a living? Forget it.

Cut to: present day. Here I am: on the cusp of 30, not a vet (but I still love animals), not a librarian (still love books), not a lion (working on it), but someone who works a day job and carries a keyboard around doing comedy at night, who started writing comedy songs and googled ‘how did Tim Minchin make it ‘ at age 22 and went from there.

I’ve done gigs to rooms of two people, and gigs to theatres of a couple of thousand. I’ve been on TV, been turned down at countless auditions, starred in a film, and been told I’m ‘not as funny as I think I am’ (by a guy called Chad, so honestly his name makes him and his opinion irrelevant).

I’m Sarah Gaul, and when I grow up, I want to be a comedian.

Sarah Gaul headlines Club Sandwich Comedy at Tuggeranong Arts Centre on Saturday, 13 September alongside Jacinta Gregory, Chris Ryan MC, Tim Noon, EdwinTetlow and young musical comedian Ashy Kinsella. Tickets $10 students and $15 adults, or $20 at the door. @bmamag

Less is Moran

By Allan Sko

You suspect beloved British comedy Black Books has a permanent place in the Halls of Mirth. The first episode – which, shameless brag point, I was in the studio audience for – was broadcast at the turn of the millennium, and some 20 years on is still as funny and quotable as ever.

Unquestionably a shining achievement, and thus no wonder cocreator, writer and star DYLAN MORAN seems forever attached to it. Even the promotional poster for his upcoming Dr Cosmos stand-up tour proclaims, “Star of Black Books Dylan Moran!”.

But – 16 years since the final episode aired – perhaps it’s time for us all to move on.

“You know what, Allan, I really don’t mind,” he says, in that charming Irish brogue of his. “It’s not up to me; people remember whatever they remember. We made a good comedy and the world needs a good comedy. I think we want relief from the black rain of reality a lot of the time.”

The repeated requests to do another series, “doesn’t really bother me,” he says. “I mean, it’s not going to happen, obviously, because it was such a long time ago, but people forget that because they see me in front of their screen and go, ‘That was good… Are there any more?’ But yeah, that’s not happening.

“These people spend a lot of time in front of screens and get a slight surprise because you’re somebody from the screen on the street. I think what happens is they’ve seen someone on the screen, then they see someone on the street, and that’s why they take out their phone – they have to take a picture because they need you back on the screen.”

Something that has changed – and perhaps a further reason why a Black Books resurrection would be anachronistic – is the man himself has changed; his old character a persona non grata.

God showing off. ‘Look at all the colours I know.’”

With the regular stand-up cycle and numerous writing projects on the boil, I ask if the man has a set plan for the years ahead.

“No, I don’t have that level of authorisation or organisation,” he dryly quips. “I just try to get through every day. I’ve never had a plan. I concentrate on what I enjoy and I want to make people laugh.

Everyone likes laughing, including me, so reading funny stuff and writing funny stuff takes up my time. It’s like building the Great Wall of China except it’s never done. You just keep adding on for no reason and then you’re dead. So why ask questions. It’s time to pick up more stones and glue them together.”

Now in his late 40s, Dylan casts aside the idea of being any kind of sage of the scene, be it on stage or in interviews.

“I’m still learning,” he admits. “I don’t know what I’m doing. I never knew what I was doing. With interviews – you know what it’s like when people ask you questions; a lot of the time you haven’t thought about the answers. It puts you on the spot and demands you justify this and that. And of course you can’t. Because you just bluff your way through the day. That’s why politicians look uncomfortable most of the time. They haven’t thought about what they’re doing. They’re just hoping they get away with it. They’re in denial like the rest of us.

“I’m never going to know what I’m doing; I’d get depressed if I did. If you don’t know what you’re doing it means you’re winning.”

Thanks to Adrian Bohm Presents, Dylan Moran’s Dr Cosmos tour hits the Royal Theatre on Friday, 25 October. Tix are $91.65 + bf from Ticketek.

“C’mon.... Let’s go through all things I can no longer do,” he invites.

Drinking?

“NO DRINKING.” Bed time?

“NO LATE BED TIME.” And, as if to prove a point, my brain immediately leaps to a Black Books quote, my lips pleading with head not to burst out, “NO mobile phones… NONE of that… Or any of it!”

So for Dylan these days it’s about being “match fit” for the gruelling dance of stand-up; understandable, as, much like Ross Noble or Bill Bailey, no two shows are the same. Whereas other comedians will have a rigid set, or “act” as Jerry Seinfeld likes to call it, Dylan often flies off the cuff.

“A show is like an album,” he says. “You try to play most of the songs, but I don’t know what order I’m going to do it in, I don’t know what’s going to come out, I don’t know how it’s going to go – I don’t do it the same way every night. If I did I would go crazy.

“You’ve got to react to where you are; there might have been news stories that caught your attention or maybe it’s the place itself, or somebody there, or something in your own life. Every day is different.”

2015’s Off The Hook show saw an even-keeled Dylan on sparkling form, amusingly tearing into the start of his new life routine. “I’m getting into fruit,” he said, nibbling miserably on stage. “It’s just facebook.com/bmamagazine

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Unscripted, Uncensored, Unleashed

By Allan Sko

The CANBERRA UNSCRIPTED FESTIVAL is back for another year, the third to be precise, delivering another exhilarating four nights of on-the-spot theatre created by Canberra’s best improvisers.

“It started, as the best things do, with a group of friends chatting over a meal and dreaming about the future,” one of the producers of the festival and founder of Chrysalis Theatre Heidi Silberman says. “We all met through impro and had started our own theatre companies specialising in improvised theatre. We wanted to create an event to showcase Canberra’s improvisational talent.”

Heidi and her creative conjuring cohorts recognised a gap in the market and decided to do something about it.

“There are some great local actors who create in the realm of the unscripted but few opportunities for them to perform,” Heidi tells. “So one of our goals was to provide an opportunity for experienced and emerging improvisers to take to the stage.

“Our other goal was to provide a great season of entertainment for local audiences and introduce unscripted theatre to more people. We’ve succeeded with both these goals and are excited to come back for a third year.”

But it’s not just those who grace the floorboards that get to strut their stuff.

“Local playwrights have also been involved,” Heidi says, “writing the beginnings of plays which will be finished by the improvisers in Script Tease before the fictional cast of a cabaret show let their hair down in Late Night Cabernet.

As suggested, the festival’s scope, both in terms of time and the talent involved, means that within the sphere of the impromptu there will be a range of shows to suit everyone’s theatrical taste.

“From a family drama like no other in Sunday Brunch and a gender flipped take on film noir in Femme Noire, to the role

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play game style show The Adventurers,” Heidi enthuses.

“The final night of the festival sees the return of the long-running Canberra Impro Challenge. Laughs are guaranteed every night as performers create theatre live in front of an audience where no one knows what will happen next.”

With humour and enjoyment very much at the forefront of the whole experience, and Unscripted now firmly established with numerous shows under their rope (read: improvised belt), I ask after particular fond recollections.

“One of my favourite memories of our 2017 festival was the premiere of Shakespeare with Zombies,” Heidi says.

“In this show we had a make up artist backstage creating zombies as they gradually ‘turned’ from eloquent Shakespearean style characters to incoherent murderous zombies.

“And in 2018, Unscripted presented The Young and the Wrestlers which showed the backstage (and fully improvised) lives of a bunch of pro wrestlers as they prepared for a match. To see the costumes alone was worth the price of admission.”

And if all this has got you fired up to not only go along and see the festival, but to have a splash in glittering pool of improvised theatre, Heidi is good enough to explain the process.

“Alchemists Improvisation, Chrysalis Theatre, and Lightbulb Improv are producing the festival and held open auditions earlier this year. We have five fantastic casts currently in rehearsal for the shows. Some performers have over 15 years’ experience in improvised theatre, whereas for others this will be their first time on stage without a script, having previously focussed on more traditional plays where you need to learn lines.”

Come along and check out the jazz of the theatre world at Canberra Unscripted, from 19 – 22 September at The Street Theatre. Tickets on sale now through www. thestreet.org.au

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Exhibitionist | Arts in the ACT

LITERATURE IN REVIEW WITH CARA LENNON The Nickel Boys

by Colson Whitehead [Fleet; 2019] Elwood Curtis is a normal kid in the age of Martin Luther King Jr. He’s getting ready for college, he’s got a part time job, he’s going to anti-segregation protests.

He’s African American and he’s about to find out that sometimes it doesn’t matter if you follow the rules or if you rebel, if you’re brave or weak, if you fight or forgive.

If enough people want you to fail, there are no right moves.

At the Nickel Academy, a segregated boarding school for delinquents and wards of the state, we get a microcosm of institutional oppression. How is a kid whose most prized possession is a record of King’s speeches going to negotiate abuse and corruption?

The story opens in the present day, when the school is closed and archaeological students tasked with relocating its graveyard find a second, secret graveyard. And like most books, it ends with an acknowledgements section, perhaps the most horrifying part of The Nickel Boys, where we learn that the Nickel Academy is

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based on the real-world Dozier School for Boys. Right down to the unmarked graves and allegations of brutal abuse.

Good fiction says something about the reality, and The Nickel Boys feels real from the outset, in a way that sometimes even non-fiction doesn’t nail. The Nickel Boys layers in the small decisions and internal battles of the characters, the reasoning and rationalisations we all make a thousand times a day, illustrating mindsets we intuitively know to be out there.

Whitehead draws you into the characters until their emotional logic is second nature and their fights become personal. And Elwood, while fictional, is a stand-in for every student who went to Dozier, so watching his self-esteem getting held to the grindstone over and over again is high stakes in terms of anxiety.

10 points to Whitehead for characterisation and 10 points for verisimilitude. I can’t really minus points for The Nickel Boys being depressing, because a story like this is going to be depressing if it’s told well.

But there’s enough anger-fuel in it to make it compelling rather than soul-destroying. And it’s not without a bleak humour, one that stems from the utterly ridiculous bullshit people resort to in trying to make life fit the reductivism of racism (if there’s a black dormitory and a white one, where do you put the Mexican kid?).

It’s grim and it’s graphic and it leaves you with a dim view of people in general (those fuckers), but you should read it anyway because Whitehead knows how to write.

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BMA ARTIST PROFILE

Describe your art practice: Live Theatre Performance of the silly and serious, often a combination of the two.

When, how and why did you get into it?

We formed in December 2017. We are an ensemble who graduated from the Canberra Academy of Dramatic Art, now known as Perform Australia.

We wanted to form our own company for a number of reasons.

This is our passion. We all studied acting and performance and wanted a vehicle in which to exercise our skills on a regular basis after drama school.

We also wanted to take control of our careers and not be subjected to the audition panel. It’s been a very empowering process to stage our own shows.

What ideas do you explore through your art?

Through our previous production of ADOAA we explored the hypocrisy of authoritative institutions and how historically, they have abused their power. The piece was one of political satire and unfortunately, even though written in the ‘60s, felt all too modern.

This time around with The Good Doctor, the content focusses on the absurd nature of humans which affords us the opportunity to laugh at our own foibles and faults. We as an audience recognise the situations the characters are in and can sympathise, whilst laughing.

What are your plans for the future?

We are looking to develop and devise our own work with the idea of touring, perhaps doing the fringe festival circuit.

What about the local scene would you change?

The challenges we’ve faced as a group are ones that aren’t uncommon to a lot of performers or production companies which is about the challenge getting audiences to shows and affordable venue hire.

We’ve been very fortunate to have the support of Perform Australia to help us along the way but there are plenty of groups who don’t have the same support network. Having affordable venues which showcase local independent groups would be an amazing advantage to the arts community and would help grow the independent theatre scene in Canberra.

We are advocates for paying our cast and crew and are doing our part to change the ‘it’ll be great exposure’ culture that exists not just in this region but everywhere.

Because the play is presented as short stories each scene has a different relationship dynamic. It offers the audience variety and we feel Neil Simon has captured Anton Chekhov’s humour which has gone unappreciated in western history.

What are your upcoming performances?

Who/what influences you as an artist?

Dates: 28th – 31st August

We have many influences as a group. We pride ourselves on being ‘seriously silly’ which allows us the dynamic of exploring multiple different practitioners and theatrical movements.

Time: 7:30pm

Our ensemble have a broad range of personal interests so we try and incorporate those interests into our shows. We have used slapstick comedy, clowning, poor theatre, comedy of errors, and naturalism all blended together to reach our performance outcome this time around.

Ticket prices: Adult $35 Concession $25

Of what are you proudest so far?

Our season of The Good Doctor by Neil Simon and Anton Chekhov will be the second collaboration between Limbo Theatre and Honest Puck Theatre.

Location: Perform Australia Theatre, 11 Whyalla Street, Fyshwick

Ticket website: www.honestpuck.com.au

Contact info: Email: limbotheatrecompany@gmail.com or follow us on Facebook or Instagram

Putting on our first show in 2018 which we co-produced with Honest Puck Theatre company; Accidental Death of An Anarchist. It was a huge learning curve for us all, wearing multiple hats, not just a performance one.

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[SINGLES, AND LOVING IT - SINGLE REVIEWS] SHOTGUN MISTRESS NO FRIEND OF MINE [

]

Formed in 2018, Shotgun Mistress is the initiative of guitarist Matt Willcock, a man who is usually associated with gory death metal outfits such as Ackercocke, The Bezerker and Abremelin.

Here Wilcock has moved his style to a little to the left on the rock dial, going from rabid metal to hard rock.

The moniker of the new band is a killer name for a serious rock outfit too, giving a broad hint about the tone of music to be anticipated.

Fighters and Screaming Jets material. As guitars fly furiously, vocalist Glenn Patrick lays down lyrics that are hard hitting, both in delivery and in message.

No Friend of Mine is a serious song about the evils of domestic violence with the chorus line, ‘She’s not your toy, little velvet boy, and now she’s breaking out’. Axes clash in the stormy bridge, wailing and sending sparks fly, before the song winds up abruptly with a yell.

This debut single with an important message punches hard, yet carries a broad appeal.

RORY McCARTNEY

The eardrum shattering opening blast is followed by churning guitars that create a maelstrom of sound. The rhythm and chorus are catchy, with a sound reminiscent of some of the harder Foo

THE LAZY SUSANS OCEANS OF EMOTIONS [

]

Formed in 2016 in the beautiful Blue Mountains, four-piece The Lazy Susans fled south for cultured Melbourne.

Their title comes from the name of founder/vocalist Antonia Susan and the moniker of a handy dining table appliance which is oft seen in Chinese restaurants.

single Care About Yourself.

The band launched an EP in 2017, and has provided a sneak peak of their forthcoming debut long player Now That the Party’s Over (due for release in August) in the

including on a cassette (now there’s misplaced nostalgia for you!).

Care About Yourself looks at a friend who used to be so close but who (possibly through mental illness) has drifted away, with lyrics like, ‘I remember you, … before you started sinking, got lost in your head’ and, ‘No one’s gonna help you if you don’t want help’. The opening, gently chiming guitars drift along like party balloons, providing a backdrop for the wistful, regretful tone of Susan’s vocals.

Her voice takes on an increasingly desperate tone as the instruments close ranks to form a fuzzy indie wall of sound. The bouncy tune and the catchy way in which the lyrics build on themselves form an attractive package for a thoughtful look at a very topical subject.

(The Lazy Susans are soon on tour, making a Canberra stop on Thursday, 3rd Oct at Sideway) RORY McCARTNEY

The song fits in with the general theme of the album, which features like minded tracks including Help Me Help You and R U OK?.

Interestingly, these two songs were also given advance release,

PHIA FULL CIRCLE [

]

Phia (street name Sophia Exiner) is a classically trained singer/ songwriter from Melbourne, known both for playing with loops and for her proficiency with African instrument the kalimba.

She first made a splash with album The Ocean of Everything in 2016, followed by two EPs. Her second (self-titled) studio long player is due out later this year, with Full Circle released as its first single.

50-piece choir before Phia’s breathy vocal drops in, as she muses about marriage, family size, and how we make little versions of ourselves.

All the while, the singing of the choir rises and falls, joining in to pump up the chorus. While the guitar is a constant presence, the emphasis is on the awesome vocals.

Another amazing song from an artist who refuses to blend in with the crowd.

RORY McCARTNEY

Phia is known for writing about themes other than love and romance, and Full Circle is no exception. The song is a deep dive into what makes us who we are, as Phia looks at how her childhood, what she would be like as an adult, and whether she will become a mother, thereby starting the circle of life again.

A meaty guitar riff is enveloped by soft, swelling vocals from the

PAGE 34

@bmamag

FENN WILSON EYE ON YOU [

]

Melbourne based troubadour Fenn Wilson is an observational storyteller, crafting songs from what he sees around him.

His talents have been well recognised, with his having being acclaimed as emerging artist of the year at both the Queenscliff and Port Fairy Folk Festivals.

Wilson launched his EP Tales of the Black Dog in 2015, and has released the single Eye on You as a leadup to his debut long player Ghost Heroin.

Eye on You sees guitar strums flowing forward, like gentle waves lapping on the listener’s mind. There is a lot of light between strums, allowing plenty of time to take in the vibe of his lyrics.

KING CAVALLI OCEANS OF EMOTIONS [

]

New York-based music artist, writer, and public speaker King Cavalli has just released Oceans of Emotions, a new track from his forthcoming two-album set, the first of which is due out later in the year.

With such a loaded title one expects a similarly brimming arrangement of musical components to emerge, but what one hears is an intriguing cocktail of RnB, soul-laced contemporary pop with a few lashes of hip hop and rap thrown in.

However, these not-so disparate elements are quite distinct within the overall sonic contour of the track: the chorus contains the RnB pop slant, and the verses appropriate the hip-hop rap features, utilising this rhythmic bloodline to suitable effect.

PRESS CLUB THINKING ABOUT YOU [

]

Melbourne punk outfit Press Club has been wowing the crowds with the energy of their songs and the intensity of their live shows, including an impressive set at last year’s Yours and Owls Festival in Wollongong.

They first hit the airwaves with the 2017 single Headwreck, followed by the album Late Teens in 2018.

No sooner had the band put their debut LP to bed, than they were writing new songs in their studio beneath the traffic chaos of the Westgate Bridge.

Wilson’s deep, deep tones paint sensuous pictures such as, ‘Hands run like rivers babe, down you for miles’.

It is a voice at odds with his youthful appearance, seemingly being broadcast from an older man. The song style is on keeping with the relaxed, pensive feel captured in Tales of the Black Dog. Wilson often focuses on darker themes in his material, but here he summons hope within the lyrics, leaving the door open for good things yet to come.

There is a surprise finish, with a choir suddenly chiming in, echoing the track’s theme.

Eye on You is a slow burning love song which showcases Wilson’s extraordinary voice.

RORY McCARTNEY

All this is woven into a brief light-to-dark, spare-to-enlivened sequence with the focus, as one expects, the chorus, with its sombre overtones yet less measured performance.

Despite the padded title, King has managed to relieve the chorus of further burdens and allowed for a melody and accompanying lyric that doesn’t push the point, letting the expressed refrain do a lot of the heavy lifting.

King’s performance is quite engaging, with confidently executed flourishes and a disarming quality to his delivery that quickly works its charm. The absence of any pop-styled peaks and highs, rather than negate the strength of this track, instead allow for King’s impassioned pleas to become the critical force.

The song washes over you with a relatable sincerity rather than pummelling you with the artifice of manipulated melodic climaxes.

The production does a good job of helping successfully unite these aforementioned genres into an effective and satisfying amalgamation.

Comparable artists might include J. Cole or Miguel, though there is a slightly less moderated air about King Cavalli’s approach, and perhaps rightly so; we wouldn’t expect anything less from an artist whose serious gaze is towards much greater heights. VINCE LEIGH

being stalked, with her nights being invaded by an obsessed caller.

Foster’s vocals come through clear and strong, painting a vivid portrait of this invasion of her bedroom and her mind, and the deep distress they cause. There’s a hint of Garbage’s vocalist Shirley Manson in her tone.

The song incorporates Press Club’s usual impenetrable hailstorm of guitars, underscored by a rapid tattoo from stick man Frank Lees.

It benefits from the ‘presence’ gained by being recorded live to tape, as its uncomplicated rock hammers home the overwhelming emotion, as the track wraps with a wailing guitar.

Solid stuff.

RORY McCARTNEY

The fruits of this new creativity are to be released in their sophomore LP Wasted Energy, with Thinking About You launched early as a taster.

The song’s story is totally different from the romance implied by the title, as it recount’s vocalist Natalie Foster’s experience of facebook.com/bmamagazine

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[STILL SINGLES, STILL LOVIN’ IT - SINGLE REVIEWS CONT.] LLOYD SPIEGEL TRACK HER DOWN [

]

Fans of Lloyd Spiegel know that, in addition to cutting up the atmosphere with blood pumping riffs from his guitar, the magic bluesman does have material which flows at a more sedate, midstrength pace.

However, they may not be so familiar with the direction taken in Spiegel’s latest single Track Her Down.

This notable departure from his ‘strength through the blues’ approach sees a more cruisy, soulful tone.

feeling of longing to make more of a connection with those he meets, yet being in thrall to his true mistress – the music. Women just keep getting away from him, unsatisfied because he is too busy touring and making music to devote time to them.

The single readily engages with its laid-back, foot-tapper riff, with subtle hints of brass coming in to give the song a little lift. The mood is contemplative rather than passionate, with Spiegel sounding accepting, if slightly regretful, of the way things must be.

We await his new album Cut and Run, due for release on 3 September , to find out if the new song is a random departure or the sign of a new direction in his music.

RORY McCARTNEY

A great storyteller, Spiegel muses over the fact that being always on the move makes it hard to maintain relationships. There’s a

ASHA VIVIAN LIKE IN THE MOVIES [

]

Asha Vivian’s debut release Like In the Movies is a fine piece of ethereal pop that harnesses other genres to make its point. The melodic parts form a satisfying whole, one that feels less contemporary and more timeless.

And that’s a compliment despite the baggage of that tag. There are shifting moods over the course of this melodic landscape, from the brooding flourishes of the verse to the descending tag that rounds off the chorus and these all blend to create an interesting stylistic mix. Not quite Lana Del Ray but rather more like her kid sister.

Asha’s voice is as restrained as it needs to be to convey a subtle form of indifference that might be associated with a disaffected teen trying to fight off the fear of alienation.

The melody also works to shape the lyric into a form that offers a less exposed version of its directness, routing it into something vaguely hypnotic and illusory.

The production attempts to bridge the gap between the sparse, cooltempered flavours of current pop hits and the softer focus of a genre with wider appeal by utilising lush pads and fusing atmospheric guitars with drops outs, and for the most part it works, though the choice of drum machine sounds together with the bass parts place it somewhere a little behind us rather than ahead.

Nevertheless, the song works to highlight Asha’s voice, one that reaches some high registers with a subtle approach and none of the typical fanfare trilling one might expect. The point about living the next chapter etc. might be a laboured one when it comes to pop songs but with Like In the Movies the combined elements of voice, melody and performance seem to offset it, creating an alluring new take on an old theme.

Like In the Movies is a solid debut that showcases a singer-songwriter with an assured sense of flair and promise.

VINCE LEIGH

CHRIS ENDREY FEAT. CITIZEN KAY LUSITANIA [

]

Endrey’s 2017 album Lost + Found was a piano-driven set of curious indie pop, focusing on Chris Endrey’s mood savvy approach and whimsical musical idiosyncrasies.

This follow-up track, Lusitania, is a departure regarding sonic textures, though retains the multi-instrumentalist’s accessible quirkiness.

It’s an airy record that drips with danceable electronica, the ’80s bass synth line and Linn drumlike kick and snare providing a cushiony groove that’s hypnotically irresistible.

The ambient piano introduction floats over the bass and drums with some unexpected chord choices that segue into Endrey’s vocal. The bass synth is doing a lot of work here, with its triplet notes at the tail end of the verse cycle, but Endrey’s free-spirited

cadences provide the locus of control, with the refrain, ‘this is our own time’ given its moment over the barebones drum part.

An interlude of cascading electric piano comes in, adding yet another layer of warmth and playfulness. The intro piano makes a return, wedding Citizen Kay’s resolute performance to the track with clarity and ease.

Another verse provides a key lyric for me—‘everyone’s running out of breath to stay alive’—a finely wrought summation of what courses through the veins of this trippy pop paragon: there are many glistening sides to this pearl.

The arrangement goes somewhat against the grain yet it feels marvellously compact and brief, with the assigned chorus appearing at only two points during the song. But it satisfies and beguiles and encourages repeated plays, the push and pull of the electronic elements against the organic gratifying the desire for tonal shifts, diverging musical trajectories within the scope of its four minutes.

An album’s worth of similarly inspired work will make for a fascinating pop ride from Canberra’s Endrey.

VINCE LEIGH

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PAGE 37

KIM YANG OCEAN OF MIND

[INDEPENDENT RELEASE]

[

]

Kim’s clear tones hit you from the very first note she sings. Her voice reminds me of the timbre of Eva Cassidy mixed with the breathiness of Sarah McLachlan.

In a word, beautiful.

The opening, and title, track is about sinking in negative thoughts, with someone you love pulling you out of them. Starting off with simple guitar strums, and haunting humming, it’s captivating and emotive. Kim sings in the chorus, “I keep diving in the deep ocean of mind. You keep pulling me from the water undefined”. The underlying message of the song could appear to be quite dark. However, the resolve of a loved one reaching in to offer assistance and support makes it a song about loyalty, compassion, love, and hope.

The second track, Wake Me Up, has ‘big hit’ potential; it’s got the hook of many commercial pop successes. It ignites a story of lovers questioning if their love was ever real. This song has more instrumentation than the first, with piano and ukulele featuring prominently, continuing the melancholic tone.

There’s a clear and strong pathos to this songwriter’s material.

The final song on the EP is about Kim’s experience of giving up music for a period of time after starring on a TV singing competition in Taiwan. A fan wrote to her to encourage her to not give up. This song, Missed Chance, is for that fan.

Kim has a quality to her voice that evokes deep emotion. Her songwriting and production are a great reminder that good songs are good songs. They don’t require effects, samples, layers upon layers of tracks in production. The essence of great songwriting is good lyrics and a good melody, both of which are present throughout this Canberra artist’s debut EP. You can catch it on all major streaming services and can see Kim performing regularly around town.

THE MCNAMARR PROJECT HOLLA AND MOAN

[ONLY BLUES MUSIC/BAHOOL RECORDS]

[

]

Funk and soul singer Andrea Marr is back following the release of her 2017 album Natural; but she is not alone.

In mid-2018 Marr teamed up with Australian soul and blues singer-songwriter John McNamara to form The McMaMarr Project, which has just finalised its debut record Holla and Moan. In an intercontinental endeavour, the music was put together by a stellar team of instrumentalists (including drummer Willie Hall who played in the Blues Brothers Band) in Memphis, with the vocals recorded in Victoria.

Holla and Moan takes the blues and soul credentials of Stax Records, through the participation of that label’s Lester Snell as musical arranger and keyboard player, applies them to new material from Marr and McNamara, and projects them through the combined power of the duo’s well-matched voices. Strong Motown influences are immediately apparent in the saucy lead/title track, with Marr punching out the lyrics with her trademark hard-edged tone, with the vocals of McNamara as her foil.

The duo drops it down a cog in the laidback, R&B flavoured Missing You, a song polished with brass and subtle licks in the chorus.

Fiery love is a frequent theme in this record, including the title track, Throwing Down a Little Love and the positively smoldering Can You Take the Heat.

No More Chains brings gospel sensibilities, while the album closes with a tribute to their favourite genre with Blues Brought Me Here.

Other highlights include the call and response song Cry With Me and the soulful ballad History in which Marr builds the passion with the big notes.

Individually, Marr and McNamara are standout performers, but this combined project takes them to the next level.

RORY McCARTNEY

FUTURE SILENCE FUTURE SILENCE

[INDEPENDENT RELEASE]

[

]

New trio Future Silence drew together artists from a mix of Chicago based bands, including Kirk McMahon from Slow Thrills, Shannon Roberts from STAR/ Modern Tyranny and Rosie Schubert from Sabertooth Rodeo/Slow Thrills. (It sounds a bit like the local Canberra scene, where many groups share members from other outfits.)

Songwriters McMahon and Roberts drew on influences from the ‘60s, ‘70s and ‘80s, yet they have parceled them up with a 21st century feel.

The band’s respect for instrumental pioneers The Shadows comes through in their arrangements, while a liking for Yoko Ono has influenced the vocal delivery style.

Despite their nominated influences, the results are very contemporary (think pop meets shoegaze) and the main nod to earlier music is the band choosing to release their EP on vinyl.

Poppy Kansas Plains (which is also the advance single) cuts through with a snappy beat that accompanies the echoing vocals of Roberts. Lyrics, offset against sharp keys point to a wish to escape from the humdrum to the big, wide world.

Ealing Broadway slows the pace with hefty drum strikes from Schubert and a beefy bass feature. Roberts’ vocals seem to arrive from far away, as the keys take on alien characteristics.

Music box tones dominate The Near Miss, as vocals fight their way through a hazy curtain, before keys wail in sympathy.

Aliens crashes through with fuzzed-up guitar, and the EP closes quietly with All Is Numbers, which ambles at a soothing pace with a sound reminiscent of Australian band Alpine.

Future Silence’s self-titles debut delivers dreamy, keyboard heavy songs with veiled meanings, with a hint of creeping menace.

RORY McCARTNEY

RUTH O’BRIEN PAGE 38

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ALBUM IN

FOCUS

AHM WHY I LET YOU

[PROVENANCE RECORDS]

[

]

Melbourne based music artist Ahm’s latest album offers the listener a glimpse into the world of heartbreak through a mix of electronica, experimental techno, and downtempo drum ‘n’ bass all set against the ever-present ebb and flow of a progressive ambient soundscape.

Ahm’s previous release Black Spur contained a similar sounding collection of aural vicissitudes, though the overall pulse was one of a less sombre variety than what underpins this new release.

The rhythmic elements of Why I Let You are not as incessant, creating an interesting texture of trepidation and tension; for example, the jittery, interweaving pulses of Am I Better Off, which follows through to the stark radiances of New Tricks and Stateless, where more solid forms of movement are harnessed.

This sense of an emerging flow becomes most prominent, and perhaps more accessible, on the title track Why I Let You, with its full buoyant flavour representing the sonic narrative peak of the album. There is a multitude of compelling sounds and aural delights here, with varying permutations of frailty, vitality, and stilted disconsolation coalesced into an engaging and evocative whole. As if the title isn’t enough of a signpost to Ahm’s thematic preoccupations, his command of arrangement and the aesthetic choices he makes, especially with the infinite array on offer when working in such a technology-based genre, is such that a very tangible sense of affliction and hurt emerges.

One hopes that the more ebullient, hypnotic quality of Choose Your Speed, the album’s closing track, is the sonic equivalent of a therapeutic breakthrough, with its subtle notes of solace represented in the tempo, like a resuscitated heartbeat.

Ahm has produced an enticing record, replete with an assortment of alluring and cinematic textures which never fail to surprise yet adhere to a strong binding emotional motif.

VINCE LEIGH facebook.com/bmamagazine

SEBASTIAN FIELD PICTURE STONE Sebastian Field’s first solo album, Picture Stone, is a remarkable convergence of dreamy ambient with post-indie rock which has embedded in its lush soundscape the enduring aura kaleidoscope of the natural world.

The Canberra artist has united technology with the environment by way of fusing his emotionally charged musical statement to the grand expanse of the natural spaces of the world.

It’s a compelling marriage that works, with Sebastian’s aesthetic choices, a thread which encompasses lilting, ethereal voices and dense and luxuriant instrumentation, mirroring his inner preoccupations with the enormity of a miraculous exterior.

The set opens with a pianobased piece, Time May Wake Us All, a fitting introduction to the enchanting course upon which the listener is about to traverse.

Follow-up Liberty Bell is perhaps the track that best compacts Sebastian’s style into an identifiable form, as it relates to the more typical ‘song’.

Of course, they are all songs; the kinds that operate on a level that offer rich and sustained rewards.

Shorter tracks are spaced between the longer pieces, such as Iris, where the more unyielding textures are utilised, imbuing the album with subtle variation, which helps the listener become accustomed to the more engulfing panoramas, allowing them to digest the substantial mass of emotion unearthed.

There are many delights amid this bounteous offering - the intoxicating spiral of voices in Unravel, or the world-music inspired rhythmic totems of To Your Arms - but they are all enveloped

by Sebastian’s rueful, roaming cadences.

It is a feat of creative ingenuity that Picture Stone can feel so intimate, perhaps as a result of its proximity to the raw sound of the human voice reaching into the unreachable depths and heights, yet sound so all-encompassing, so voluminous.

This is the weight of emotion, and when this emotion is pestled into such a superabundance of sonic texture, the result is as powerful as it is elegiac.

VINCE LEIGH

PAGE 39

[FILM REVIEWS]

THE WORD ON

FILMS with Cameron Williams QUENTIN TARANTINO’S FAREWELL TOUR

The trailer for Once Upon a Time in … Hollywood spruiks it as the ninth film of writer and director Quentin Tarantino. For many years Tarantino has told the media he plans to make ten films and retire from directing.

And here, the filmmaker may be a man of his word.

Set in 1969, actor Rick Dalton (Leonardo DiCaprio) laments the end of his career in the company of his stuntman and driver Cliff Booth (Brad Pitt).

Dalton was once the star of a popular TV series who transitioned to Hollywood leading man, but the roles dried up and he’s back on TV playing the guest star.

While Dalton is on the way out, his neighbours Roman Polanski (Rafał Zawierucha) and Sharon Tate (Margot Robbie) are the toast of Hollywood. Dalton gets a glimpse of the glamourous couple and says, “I’m one backyard barbeque away from starring on a Polanski movie.”

Luck and an old friend are all Dalton has left in a city that’s changing around him. Hippies poke out their thumbs from PAGE 40

nearly every intersection. Child performers talk about their acting method and televisions are everywhere. The old western set where Dalton found fame is occupied by members of the Manson Family cult, who represent the counterculture about to upend the city of angels. You can’t help but feel Tarantino is lamenting an age of filmmaking that no longer exists.

It’s the end of an era; Dalton

and Booth are aimless and questioning their purpose.

Once Upon a Time in…

Hollywood is a melancholic throwback that doubles as a resignation from Tarantino who can no longer compete with a culture obsessed with serialised storytelling that’s dominating TV screens. An emotional ambush occurs because Once... isn’t overly reliant on Tarantino’s violent tendencies; aside from one gnarly sequence toward the end. Dalton and Booth’s relationship – acted to perfection by Pitt and DiCaprio – endures despite the fact the world is crumbling around the best buds. Tarantino shows a side we’ve rarely seen as a filmmaker: the optimist.

With retirement approaching, the man behind Reservoir Dogs, Pulp Fiction and Django Unchained is asking if there is more to life than Hollywood?

In Once Upon a Time in…

Hollywood, a title that conjures a fairy tale (narrated by Kurt Russell, too), Tarantino brings to life a world where fading actors and rising stars can have an existential crisis set to a killer soundtrack. It’s one hell of a goodbye. @bmamag

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PAGE 41

[ENTERTAINMENT GUIDE] [[ENTERTAINMENT ] ] PRINT PAGE GUIDE POLL POSTER PRINT PAGE POLL POSTER Thu 22 Aug

Thursday 22 Aug

ARTS Metamorphosis Adapted by Steven Berkoff Featuring an all Canberra cast including Christopher Samuel Carroll, Ruth Pierloor, Dylan Van Den Berg, and Stefanie Lekkas. Shows until 31 Aug. Tix from venue website THE STREET THEATRE Annika Romeyn exhibition - Endurance Inspired by the personally significant site of Guerilla Bay, Yuin Country. Runs until 20 Sep MEGALO PRINT STUDIO & GALLERY

The Missing Lincolns Lost Album launch From 7pm. $10 on the door SMITH’S ALTERNATIVE Girls Rock! Canberra fundraiser Featuring The Buoys, Cry Club, Lady Denman, Lucy Sugerman and Peach Lane. From 6pm UC HUB

DANCE Rising Stars New up-and-coming DJs hit the decks, featuring the might of Woody, Theo, Alex Allen, Vivace, Haylee Karmer, Nue Dae, Bouncii, and Take-Tu MR WOLF

MAY 27 – JUNE 2 MAY 18TO – MAY 22 MORE EVENTS bmamag.com/entertainment-guide FOR @ MORE EVENTS HEAD bmamag.

Oztix THE BASEMENT Signs & Symbols Counting in Colours album launch 8pm - Tix at the door The Polo

DANCE It’s a London Thing UK grime/garage/2-step covered with Big Ting Recordings (SYD) & MCs Dtech & Tukka D SIDEWAY BAR

Blanke Bass heavy house and EDM FICTION CLUB Saturday August 24

Wed Aug 28

DANCE

ARTS

AUTHOR TALK

Techno Thursdays Techno techno techno techno!

FICTION CLUB

Blood on the Dance Floor by Jacob Boehme Through a powerful blend of theatre, image, text and choreography, Boehme pays homage to their ceremonies whilst dissecting the politics of gay, Blak and poz identities (recommended for age 15+).

5pm & 8pm. Check the website to book TUGGERANONG ARTS CENTRE

Section Seven: Martial Order SIDEWAY BAR FRIDAY AUGUST 23

COMEDY Tommy Little Self-Diagnosed Genius After completing the world’s most gruelling marathon in Antarctica (with no previous experience), Tommy’s got a cracking story to share. Two shows at 6:45pm, and another at 8:30pm THE PLAYHOUSE The Song Company Mind Over Matter A zany and toonful chamber opera about two lifts and a computer virus in a bed of 1980s pop gold served up by five singers, two speakers, and four hands at one piano. 7:30pm.

Tix from venue THE STREET THEATRE LIVE PAGE 42

LIVE MUSIC Powder Blue - Flower Town single launch With supports The Narcissists, The Dirty Sunflowers, and Hedy Blaazer. 7:30pm – 11:30pm, $10, at the door THE FRONT Smoke Stack Rhino Doom Boogie single tour Support by Muddy Wolfe and Local Horror. 8pm TRANSIT BAR Red Hot Chili Peppers Tribute Show Performed by Chilly Willy, with Nirvana and Garbage tributes as support. 7pm – 9pm, tix from

SoundOut Series #3 Featuring Mahagonny “Qrt” (revealing sonic places), Lena Czerniawksa (drawing; Poland) Emilio Gordoa (vibraphone; Mexico/Germany), Josten Myburgh (electronics; Perth) Laura Altman (clarinet; Sydney) TRIO Alexander Hunter (viola de gamba; Canberra), Tony Osborne (vocal/electronics; Sydney), and Richard Johnson (wind instruments; Canberra).

7:30pm, $10/$20, at the door DRILL HALL GALLERY

TALKS Isaac Butterfield Why So Serious?

Explores our changing world.

With a fast-growing audience, Isaac’s commentary videos have had more than 60 million views.

7:30pm, tix from Moshtix KAMBRI PRECINCT

Shakespeare in Love Comedic theatrical tell of the Oscar winning film starring Gwyneth Paltrow and Joseph Fiennes. Running until 31 Aug with Saturday matinees. Tix from Canberra Theatre CANBERRA THEATRE

Thursday August 29

Evie Farrell, author of Backyard to Backpack: A Solo Mum, a Six Year Old and a Lifechanging Adventure In conversation with Evie will be Amanda Whitley, of HerCanberra. 6pm. RSVP: books@ paperchainbookstore.com.au or (02) 6295 6723 PAPERCHAIN BOOKSTORE

THEATRE The Good Doctor An adaptation of Anton Chekhov’s short stories for the stage, featuring a cast of memorable characters from an acting troupe plays out the stories as each scene is introduced. Runs until Sat 31 Aug. 7:30pm. Tix from stagecenta.com PERFORM AUSTRALIA STUDIOS

LIVE MUSIC Canberra DIG hosts Crop Up Sessions.

For your mid-week dose of music head over to have a listen to Eloria, Neko Pink, LIV LI and Pheno from 8pm. Tix available at the door for $10/$5.

SIDEWAY BAR

Friday 30 Aug

LIVE MUSIC Precipice #24 Every year a diverse range of improvisers from around Australia gather to collaborate in Canberra. Four opportunities to see extraordinary improvisation artists live. Tickets at the door (no late entrances). $15/$10 per show, or $20/$15 for the two Saturday shows. 7pm QL2 DANCE THEATRE Holy Serpent Melbourne doom quartet TRANSIT BAR

DANCE Wongo -Listen Out festival warm-up party FICTION CLUB Made By Tsuki, An audio/visual project based out of Sydney MR WOLF

COMEDY Beyond Comedy Andrew Bensley With MC Chris Ryan, supports from local stars Tanya Losanno, Taylor Coughtrie and Nick Daisy plus a first-time spot from Dave Gooley. Tickets $15 online or $20 at door unless sold out trybooking.com/BEIBL BEYOND Q BOOKS Saturday 31 Aug

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[ENTERTAINMENT GUIDE] [[ENTERTAINMENT ] ] GUIDE POLL POSTER PRINT PAGE LIVE MUSIC National Capital Allstars With Michael “Mikelangelo” Simic, Konrad Lenz, Netty Salazar, Beth Monzo, Bec Taylor, Chris Endrey & Broods. 8pm POLISH WHITE EAGLE CLUB Melting Pot Original and improvised funk, soul, jazz, and blues. Doors 8pm, start 8:30pm. Tix $18 conc/GA $20/$25 on thge door. newacton.com/events to book MAKESHIFT, NEW ACTON, NISHI 3 BroKen Strings’s first headliner 3 BroKen Strings comes to Canberra for its first headlining show, with guests Hence the Testbed, Biilmann, Clarity of Chaos, Innaxis, and Axiomatic Theory. Tix from Oztix THE BASEMENT Precipice #24 Every year a diverse range of improvisers from around Australia gather to collaborate in Canberra. Four opportunities to see extraordinary improvisation artists live. Tickets at the door (no late entrances). $15/$10 per show, or $20/$15 for the two Saturday shows. 7pm & 9pm QL2 DANCE THEATRE

MAY 27 – JUNE 2 MAY 18 – MAY 22 MORE EVENTS @ bmamag.com/entertainment-guide

a solo set by Jaclyn from The Differs THE FRONT

DANCE Le Doof with Steeplejack boss Harold Taking you through some weird electronica and techno ’s apocalyptic sound. With resident Big Data (formerly Bàobīng) SIDEWAY BAR

Sunday 1 Sep

LIVE MUSIC Precipice #24 Every year a diverse range of improvisers from around Australia gather to collaborate in Canberra. Four opportunities to see extraordinary improvisation artists live. Tickets at the door (no late entrances). $15/$10 per show, or $20/$15 for the two Saturday shows. 7pm QL2 DANCE THEATRE

the board.

EXHIBITION PARK

DANCE

Sunday 8 Sep

LO’99 Bass heavy house and EDM FICTION CLUB

ARTS

DANCE Cube Nightclub 14th birthday Feat. burlesque show, pole dancing performances, DJ Rawson on the decks, and debuchary aplenty CUBE NIGHTCLUB

THEATRE The Woman in the Window In Stalin’s Russia, the great poet Anna Ahkmatova is forbidden to write. In a future, denatured world, a young woman, Rachel, searches for what is missing in her life. .Fri Sep 6 – Sat Sep 21.

Tix from venue website THEATRE 3, CANBERRA REP

Handmade Markets Featuring many local artists, designers and makers across the board.

EXHIBITION PARK Monday 9 Sep Tuesday 10 Sep Cradle of Filth On a special tour showcasing their 2nd full-length, 1998’s Cruelty & The Beast in full THE BASEMENT

ARTS Spinifex Gum THE PLAYHOUSE Wednesday 11 Sep

Saturday 7 Sep

Thursday 12 Sep

Monday 2 Sep

LIVE MUSIC

LIVE MUSIC

Tuesday 3 Sep

Jazz Haus Vocalist Kristin Berardi/Bassist Sam Anning CD Launch AUSTRIAN CLUB

AM Reruns — Self-titled album tour Melbourne modernist trio AM Reruns announces its debut self-titled LP. 8pm, tix on the door SIDEWAY BAR

LIVE MUSIC

The Great Wizard’s Ball A place for Potterheads to prance. The ball is your chance to break out your most extravagant wizarding finery and dance the night away. From 7pm, tix from quizzicalley.com/ greatwizardsball THE ABBEY FUNCTION CENTRE

Jazz at The Lab - Miroslav Bukovsky/John Mackey Quintet: Miro’s Greatest Hits Music starts at 7.30 pm. Please book early at gpage40@ bigpond.net.au. Seating limited to 80 THE LAB @ ANU, ACTON

Tex Perkins and The Tennesse Four: The Man in Black The 10th anniversary of the Johnny Cash tribute tour. 8pm.

Tickets are $89.90-99.90 through the Canberra Theatre Centre website CANBERRA THEATRE

Jacinta Price - Mind The Gap Info and bookinging from truearrowevents.com.au or the venue THE STREET THEATRE

Sugar3 ‘Party Crier’ single launch Indie-pop-rock Canberra four-piece Sugar3 are launching their latest single Party Crier with 2410 Records stablemates Powder Blue and

Friday 6 Sep

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Tix are $65 + bf from the venue CANBERRA THEATRE

TALKS

Wednesday 4 Sep Thursday 5 Sep

LIVE MUSIC Seeker Lover Keeper Bring their ‘Wild Seeds’ album to the on Friday, 6 September.

’70s Tribute Night Including tributes to Led Zepplin, Queen, Kiss, David Bowie, Pink Floyd, Black Sabbath and more. From 7pm THE BASEMENT

TALKS

Friday 13 Sep

COMEDY

A Rational Fear Featuring Dan Ilic, Hobba, Mark Humphries, triple j Hack’s Shalailah Medhora, and Mike Bowers from The Guardian.

Jokes about sad things, bad things and all things political from 7pm. Tickets are $35 and can be found at http://www. thestreet.org.au.

THE STREET THEATRE

Club Sandwich Comedy - Sarah Gaul and Jacinta Gregory Hosted by Chris Ryan and featuring RAW Comedy national finalists Tim Noon, EdwinTetlow and young musical comedian Ashy Kinsella. Tickets $10 students (must bring ID to door) and $15 adults, or $20 at the door TUGGERANONG ARTS CENTRE

ARTS

DANCE

Handmade Markets Featuring many local artists, designers and makers across

5 Years of Bassic tour Plenty of bush techno styles with Kase Kochen, ZigMon, PAGE 43

ENTERTAINMENT GUIDE [ENTERTAINMENT ] ]] ] [[POLL GUIDE POSTER PRINT PAGE ENTERTAINMENT GUIDE [POLL POSTER PRINT PAGE]

Vorpal, and Canberra favourite Doppel MR WOLF

Centre’s lakeside venue TUGGERANONG ARTS CENTRE

EVENT

Wednesday 18 Sep

Canberra Moon Festival All day, 3-day fest feat. giant moon lantern, gourmet street Guinness world record holder Neal Hardy: bare-hand concrete breaking, Canberra-born SBS star Andy Trieu and the biggest group lion dance ever in Canberra CITY WALK, CIVIC

Thursday 19 Sep

Saturday 14 Sep

SOMETHING DIFFERENT Canberra Moon Festival All day, 3-day fest feat. giant moon lantern, gourmet street Guinness world record holder Neal Hardy: bare-hand concrete breaking, Canberra-born SBS star Andy Trieu and the biggest group lion dance ever in Canberra CITY WALK, CIVIC Canberra Roller Derby League Black ‘ n’ Blue Belles vs Red Bellied Black Hearts TUGGERANONG SOUTHERN CROSS STADIUM Sunday 15 Sep

EVENT Canberra Moon Festival All day, 3-day fest feat. giant moon lantern, gourmet street Guinness world record holder Neal Hardy: bare-hand concrete breaking, Canberra-born SBS star Andy Trieu and the biggest group lion dance ever in Canberra CITY WALK, CIVIC Monday 16 Sep Tuesday 17 Sep

LIVE MUSIC Phil Wiggins and Dom Turner America’s foremost harmonica virtuoso, Phil Wiggins and legendary PAGE 44 Australian blues guitarist/ vocalist, Dom Turner. The ticket price of $35 includes pre-show entertainment by

COMEDY Frenchy — “Turn It Up” tour MANNING CLARK HALL AT KAMBRI

ARTS Canberra Unscripted Festival Top quality theatre over four nights created on the spot by Canberra’s best improvisers.

Info, session times, and tix from venue website THE STREET THEATRE Friday 20 Sep

ARTS Canberra Unscripted Festival Top quality theatre over four nights created on the spot by Canberra’s best improvisers.

Info, session times, and tix from venue website THE STREET THEATRE Australian Dance Party - From The Vault Alison Plevey’s latest fulllength work: From the vault.

The work features acoustic and electric cello by Alex Voorhoeve (Canberra Symphony Orchestra) and sound design by electronic music producer Andy McMillan (Doppel).

7:30pm Fri-Sat, 6pm Sun / $24$38 from eventbrite.com.au WAREHOUSE, 1 DAIRY ROAD Saturday 2 1 Sep

SOMETHING DIFFERENT

MAY 27 – JUNE 2 MAY MORE EVENTS @ bmamag.com/entertainment-guide MAY1818– –MAY MAY2222 FOR MORE EVENTS HEAD TO bmamag.com/guide

Celebrated Australian pianist Andrea Lam will take the stage with the Canberra Symphony Orchestra (CSO) as soloist in ActewAGL Llewellyn Three’s program, which includes Mussorgsky’s beloved Pictures at an Exhibition. Pre-concert talk 6:45pm, concert 7:30pm. Tix from https://cso.org.au LLEWELLYN HALL Greg Van Borssum Theatrical Movement & Film Weapons Masterclass A special weekend class about mastering weapons for performance use. Info & tix from mirrormirrorproductions.com.au DIGITAL CONTENT STUDIOS, QUEANBEYAN Australian Dance Party - From The Vault Alison Plevey’s latest fulllength work: From the vault.

The work features acoustic and electric cello by Alex Voorhoeve (Canberra Symphony Orchestra) and sound design by electronic music producer Andy McMillan (Doppel).

7:30pm Fri-Sat, 6pm Sun / $24-$38 from eventbrite. com.au WAREHOUSE, 1 DAIRY ROAD Canberra Unscripted Festival Top quality theatre over four nights created on the spot by Canberra’s best improvisers.

Info, session times, and tix from venue website THE STREET THEATRE

LIVE MUSIC Canberra Symphony Orchestra — ActewAGL Llewellyn Three,

DANCE Exit Void D&B, jungle, dubstep, garage and UK bass with Severity (V Recordings), Juzlo, DJ HRH, Birch Tree, Human Instinct, Kakarot, and Souljazz Soundsystem. $5 with flyer (see Poll Poster Page), $10 on door RELOAD BAR & GAMES Sunday 22 Sep

ARTS Greg Van Borssum Theatrical Movement & Film Weapons Masterclass A special weekend class about mastering weapons for performance use. Info & tix from mirrormirrorproductions.com.au DIGITAL CONTENT STUDIOS, QUEANBEYAN Australian Dance Party From The Vault Alison Plevey’s latest fulllength work: From the vault.

The work features acoustic and electric cello by Alex Voorhoeve (Canberra Symphony Orchestra) and sound design by electronic music producer Andy McMillan (Doppel).

7:30pm Fri-Sat, 6pm Sun / $24$38 from eventbrite.com.au WAREHOUSE, 1 DAIRY ROAD

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.

Decadence & Debauchery Burlesque at its finest, with Zelia Rose, Jazida, Jake Silvestro, Miss Burlesque 2019, Michael Wheatley. 8pm/$55 VIP/$33 THE ABBEY

ARTS

are available via the website sweetdreamsfestival.com.au TRUFFLE FARM ON MT MAJURA ROAD

NEXT ISSUE: #494

OUT JUNE 7 LIVE MUSIC Sweet Dreams Festival Feat. Citizen Kay, Kirrah Amosa, Kirklandd, Thandi Phoeni

Canberra Unscripted Festival Top quality theatre over@bmamag four nights created on the spot by Canberra’s best improvisers.

Info, session times, and tix from

facebook.com/bmamagazine

PAGE 45

[ENTERTAINMENT GUIDE] [POLL POSTER PRINT PAGE]

MAY 22 – MAY 27 MORE EVENTS @ bmamag.com/entertainment-guide

THE STREET THEATRE

SOMETHING DIFFERENT Decadence & Debauchery Burlesque at its finest, with Zelia Rose, Jazida, Jake Silvestro, Miss Burlesque 2019, Michael Wheatley. 8pm/$55 VIP/$33 THE ABBEY Monday 23 Sep Tuesday 24 Sep Wednesday 25 Sep Thursday 26 Sep The Chats — Identity Theft tour Australian punk-rock band heavily influenced by the Cosmic Psychos. 8pm, tix from Moshtix MANNING CLARK HALL AT KAMBRI

COMEDY Fearless Comedy Gala Feat. Claire Hooper, Dane Simpson, Tessa Waters, Jean Kittson, Rachel Berger, and Sparrow-Folk. 7:30pm, $49 +bf from venue website CANBERRA THEATRE Friday 27 Sep

LIVE Melting Pot Original and improvised funk, soul, jazz, and blues. Doors 8pm, start 8:30pm. Tix $18

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