BMA Magazine #510 - Oct/Nov 2019 issue

PAGE 2

@bmamag

facebook.com/bmamagazine

PAGE 3

PAGE 4

@bmamag

facebook.com/bmamagazine

PAGE 5

PAGE 6

@bmamag

facebook.com/bmamagazine

PAGE 7

PAGE 8

@bmamag

facebook.com/bmamagazine

PAGE 9

[CONTENTS]

[Canberra’s

Entertainment

#510

Guide]

Oct/Nov

Brought to you by the Eternal Lords of Unnatural Energies

REGURGITATOR

p. 16

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

NEW SHORT STORY BY JAMES FORMBY p. 24

BEC SANDRIDGE

FLIGHT MEMORY WITH LIAM BUDGE

YOU AM I

p. 35

Film Columnist Cam Williams Entertainment Guide Editor John Harvey Social Media Manager Allan Sko Columnists Ruth O’Brien, Josh Nixon, Peter O’Rourke, Allan Sko Contributors James Formby, Alice Worley, Ruth O’Brien, Jeremy Stevens, Vince Leigh, Cara Lennon, Andrew Myers, Rory McCartney, Allan Sko NEXT ISSUE #511 OUT Thursday, 21 November EDITORIAL DEADLINE Friday, 8 November

p. 30

p. 43

ADVERTISING DEADLINE Wednesday, 13 November 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.

PAUL DEMPSEY

p. 29

PRESS CLUB

p. 29

BEN WINKELMAN

p. 29

LLOYD SPIEGEL

p. 37

TIM FERGUSON

ES 199 T 2 PAGE 10

TIM FREEDMAN

p. 43

ALEX WILLIAMSON @bmamagp.42

FROM THE BOSSMAN

BY ALLAN SKO [ALLAN@BMAMAG.COM]

Thank you goes to the Eternal Lords Of Unnatural Energies for the endless diet of coffee, chocolates, sweets, and occasional flash of green for health in enabling this issue to get out.

For it is, in short, a big ‘un. Packed with content. Positively dripping with art. Abash with music.

Sitting atop my editing throne, I have presided over some 30,000 words of juicy content this edition (and then eventually, unable to put it off any longer, actually started to read them), lovingly ladled by the hardworking BMA writers who, with passion and aplomb, espoused the artistic wonders that bubble and pop excitedly in the creative cauldron that is Canberra.

Whether it be cover darlings You Are Here festival - making a triumphant return after their hiatus - showcasing a range a fringe events, or Regurgitator embarking on their 25th anniversary, or The Street Theatre showcasing original Canberra work, or Canberra Theatre Centre continuing their blushing calendar, or the razorsharp local comic talent on offer, or ACT acts sitting happily alongside big interstate fare at the George Harcourt Inn’s inaugural Red, White, Amber & Blues Festival, or...

Look, I could ‘or’ us all to death here. You get the idea. There’s a lot on.

But then, when it comes to this fabulous capital city of ours, when is there not? If you poke your head out of the window and listen, you can hear the sound of things being made.

Canberra is a city full of new projects and returning friends: creative chaos and diligent work, hot licks and pulse-pounding beats, performance, posters, scripts and plays, madness and gladness, music, dance, and jokes both rude and shrewd.

Bands, Music, and Arts, if you will.

Canberra is a community filled with creative conjurors, summoning things that never existed before. And we are all the benefactors. I am eternally grateful to sit in the seat I do; to provide, through BMA, a humble conduit between the hardworking artist and their work, and the audience who seek it.

I feel this glowing sense of pride in everyone here, from the people centre stage themselves to the tireless flyerers to the slightly gruff sound guy on someone’s show, to the person pounding the piano on the pavement.

For you see, creativity is not something you can fail at. Oh sure, the tyrannical draw of career comparison can linger like a smelly ghost, and a lacklustre attendance can rattle the confidence (not to mention the bank balance).

But the act of beginning a project is the most powerful thing you can do. It’s living your best life. It is the journey and the destination. It is the sowing and the reaping.

So go forth, you fine creator, and you, you keen consumer of art; may your merry dance forever twirl on future’s floors.

Right, I’m off for a lie down.

facebook.com/bmamagazine

PAGE 11

[HOT TIX]

Grinspoon / Chemical Hearts tour / Fri, 18 Oct / UC Refectory Legendary Aussie rockers Grinspoon are on their epic Chemical Hearts national tour, packed with hits and audience faves from the era when Grinspoon commanded festival line-ups of the day a la Big Day Out, Homebake and Livid. To mark the event, Grinners have released a Chemical Hearts vinyl record with a tracklist containing some of the band’s favourite singles, offering fans a nostalgic taste of what’s to come at the shows. Joining them on this jolly jaunt are support acts The Hard Aches, Gooch Palms, and Bugs. 7pm, tix are $61.10 from oztix.com.au

Monkey Marc Vital Sounds tour / With MC Rider Shafique & Fyah Roiall/ Thu, 24 Oct / sideway Monkey Marc is bringing his Vital Sound album launch show to Canberra, promising to deliver heavyweight bass vibes with a dancefloor-pumping adventure through hip-hop, reggae, dub, dancehall, and b-b-b-BASS music. As if that weren’t enough, to make the night more magic, that cheeky Monkey is flying out heavyweight MC Rider Shafique from Gloucester, UK and killer grimehall rapper Fyah Roiall, who is coming to Australia from Kingston, Jamaica for the very first time. From 7:30pm - 2am, tix are $27.46 from http://bit.ly/Vital_CBR

Lucha Fantastico/ High-flying Mexican wrestling / Sat, 2 Nov / Harmonie German Club Mexican wrestling is characterized by colorful masks, rapid sequences of holds, as well as “high-flying” maneuvers. The wearing of masks has developed special significance, and matches are sometimes contested in which the loser must permanently remove their mask; a weighty wager indeed. The Harmonie German Club will be transformed into a haunted Lucha Libre Arena for this show packed with action, comedy, and acrobatics, with more than ten masked luchadores set to soar. The show runs from 8:30-11:30pm, and tix are $32.74 – $42.23 from LuchaLibre.com.au

PAGE 12

UPCOMING EVENTS

Katchafire / With Jemere Morgan / Wed, 23 Oct / The Basement New Zealand’s Katchafire are bringing their pacific roots reggae deliciousness back to Australia with heir-to-the-family-throne Jemere Morgan along for the ride. Jemere, Grammy award-winning son of Jamaican legend Gramps Morgan, will be spreading the word of love and unity with his charming and soulful persona.

Meanwhile, 21-years-strong Katchafire continue the vibe of their 5th studio album Legacy, which has spawned five celebrated singles in Fyah In The Trenches, 100, Love Today, Way Beyond, and Addicted. 7pm, tix $40.05 from oztix.com.au

Canberra Brass + Zackerbilks Prohibition gig / Fri, 1 Nov / Albert Hall (photo by Peter Hislop) Come and kick up your heels to the music of the ‘20s and ‘30s; an era when alcohol was illegal in the United States and the music of the time celebrated what everyone knew - that rules are made to be broken. A joint venture from local brass band Canberra Brass (I mean, the name says it all, really) and eight-piece jazz ensemble Zackerbilks, a band described as “Canberra’s most exciting trad jazz”. 7pm. Early bird tix $40 until 18 October, then $50 thereafter from trybooking.com/BFJCQ. Prices at door $80 per person, so get yer tix as early as ya can!

Day of The Dead / Latin American Fiesta Sat, 2 Nov / Polish White Eagle Club It’s the most colourful day of the year! Experience the family friendly vibes and atmosphere of the Latin American celebration of music, dance, art, and the tradition of Dia De Muertos over one huge day. Now in its eighth year, it again will feature a slew of toetapping live bands, cultural performances, as well as all the market and food stall action needed to keep you powered throughout.

There’s even a kids piñata and face painting. From 12pm-8pm, tix $16.91 – $85.49 from eventbrite.com.au (there’s also a warm up party with Zambezi Sounds on Fri, 1 Nov at Smith’s Alternative from 9:30-11:30pm). Muy bieno! @bmamag

facebook.com/bmamagazine

PAGE 13

really want to mention and support this month is Music 4 Mental Health: A Mental Health Month Event. Coordinated by Canberra’s favourite fun, indie-pop choir, Mixtape Chorus, this gig will showcase some of Canberra’s finest live musicians who will both entertain and share with us their experience of music’s positive benefits for mental health.

LOCALITY

[THE WORD ON LOCAL MUSIC] WITH RUTH O’BRIEN. SEND YOUR GIGS AND INFO TO: [RUTHMVOBRIEN@GMAIL.COM]

Hello beautiful people and welcome to this month’s Locality!

I love this time of year. As I type, I can hear kids splashing in the pool downstairs, birds chirping away, and the warm breeze blowing through the open door. Lovely! And unless you suffer terrible hayfever (like my poor Dad) there’s no reason not to get outdoors and enjoy some splendiferous events put on by local artists, creatives, and makers.

So let’s jump in!

On Sunday, 20 October, the inaugural Braddon Busking Festival will be kicking off in Mort, Lonsdale and Elouera Streets. Put together by the Braddon Collective - a local groups of movers and shakers making things happen in the Inner North - the event is open to musicians, dancers, and street performers of any kind.

To be involved in the official festival and thus compete for prizes, all buskers must be registered and are required to pay a small entry fee to help support the event.

For punters wishing to experience all this entertainment and support local performers, head over to the above locations between 11am-7pm. Should be a great day!

The amazing local line-up includes Canberra legends Endrey, JAYNE., Evan Buckley (The Burley Griffin) and Scoob McGoon.

You will even get to experience the benefits of singing about mental health first-hand by learning a song with Mixtape Chorus!

This great gig is on at The Polo (Polish Club) from 2-6pm. Tickets are free but registration (via Eventbrite) is encouraged.

Also at The Polo, this time on Friday, 1 November, local singersongwriter Hope Wilkins will launch her most recent single, Unstable. After winning a competition through triple j Unearthed to have her debut music video recorded with students from NIDA in Sydney, Hope is ready to share the next chapter in her everexpanding repertoire.

Supporting on the night are local favourites Peach Lane, ARCHIE, and Jamie Leone. Get your tickets through HumanTix for the insanely cheap price of $10+ booking fee. Also, they have accessibility info on the booking website! #impressed #accessiblegigs. Doors open at 8pm.

On Saturday, 2 November, Gorman House Arts Centre will be hosting CBR Fair Day 2019. In partnership with the ACT Government, Ainslie & Gorman Arts Centres and the SpringOut Pride Festival, the AIDS Action Council bring together the Fair to celebrate all of the wonderful, brave, and loveable aspects of Canberra’s unique LGBTQI+ culture. The day begins at 11am and will wrap up around 5pm. The event is free to attend and will feature an enormous variety of amazing performances, arts and crafts activities, and stalls. Sounds like a wonderful day out all round!

Muddy Wolfe muddy the waters of the past with their latest single ‘Willie Allen’ this October At Transit Bar on Thursday, 24 October you can hear the latest single from Muddy Wolfe performed live. Presented by 2410 Records, the band’s new song Willie Allen presents a story that reminds us of Australia’s not-so-nice history regarding the treatment of Indigenous Australians.

WIllie Allen is featured on their upcoming EP, due for release in December. Supporting bands include Wandering Ghosts and Wesley and The Crushers - all fantastic acts in their own right.

Doors open at 8pm and tickets are $10 + booking fee via Moshtix.

Saturday, 26 October features a mass of great events - do a quick Facebook search and you’ll see what I mean. But the one I PAGE 14

And a reminder that over at NGA, the last performance of Duto Hardono’s In Harmonia Progressio work, as part of Contemporary Worlds: Indonesia exhibition, will be happening between 11am12pm on Saturday, 26 October. It’s a live vocal performance of action and reaction that transforms language, evoking universal forms of human communication.

Realised by a local choir throughout the Gallery, In Harmonia Progressio creates new, improvised compositions with every performance. And it just so happens that I feature in this one! It’s been a great project to work on every fortnight with a lovely bunch of fellow Canberrans. Come and say hi!

Finally, and to emphasise the call at the top of this column, if you want your event featured in the next Locality (which covers the second half of November and the first half of December) send me an email at ruthmvobrien@gmail.com. I’m totes interested in writing about the diversity our local arts scene has to offer so if you’re a creative, artist, or maker of any sort (or, indeed, know one), send me your event info! ’Til next month, ciao! xo @bmamag

BMA BAND PROFILE

What are your plans for the future?

My future plans are to keep writing and playing music.

To look after my family, to maintain my playing and performing, while always trying to improve as a person and musician, and hopefully entertain the people that I’m fortunate enough to play in front of.

What makes you laugh?

My wife, my little girl, silly movies, and Rick & Morty.

What pisses you off?

Whether in a trio or solo, James Southwell’s music career is burning as brightly as his shock of magnificent hair. We caught up with the man ahead of his Red, White, Amber and Blues Festival performance to hear what he’s been up to.

Artist name and origins: James Southwell Band. My name, with band on the end.

Although, when I play solo acoustic, I drop the band part...

Hahaha.

Group members: Generally the band is a trio. And, depending on availability, the members of the trio change and from time to time we add more musicians to the list, depending on the gig.

The current line-up, however, is Matthew Perin (Sunny Coast) on drums, and Ben Wicks (Melbourne) on bass. These two guys gel so well with each other, and it’s really enjoyable to have such a solid rhythm section behind you.

Describe your sound: Funky and fun blues with rocky elements, paired with soul and groove vibes.

Who are your influences, musical or otherwise?

I learnt how to play guitar by watching a Stevie Ray Vaughan video on repeat. Trying to mimic it as best I could.

Other artists that influence me are Trevor Young, Hendrix, Eric Clapton, Derek Trucks, Marcus King, Joe Walsh, Kevin Borich, Phil Manning, Geoff Achison, and Jan Rynsaardt. Just to spit a few at you.

Ignorance, and some people’s inability to be empathetic.

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

The few venues we have are great, though I would always like to see more. I would especially like to see more booking, promoting, and encouraging new original bands, playing their own original music.

What would you like to plug?

First, latest record. Recorded just out of New Orleans, at the famed Dockside Studio. It came within a whisker of a Grammy nomination, and was the number 1 played blues album in the country. Top 10 for over a year.

It’s James Southwell - The Dockside Sessions, Where The Wind Blows.

Listen on Spotify, buy from jamessouthwell.com or grab one at a show.

Also, the Red, White, Amber and Blues Festival. Happening this 25-27 October at The George Harcourt Inn. It’s a huge three-day event showcasing the best talent from the who’s who of Aussie blues. You’ll enjoy tunes from top blues & roots artists, cold beers, delicious wines, and great food.

This is a first-of-its-kind festival for Canberra and tickets will sell out. Book a pass for a single day or save heaps with a three-day pass and enjoy an amazing weekend of music, food and drink.

Get your tickets at georgetix.com

What’s one of the most memorable experiences you’ve had as an artist?

The first time I played on stage. I was 13 or 14. It was with The Kevin Borich Express with special guest Phil Manning at my parents’ wedding. I was incredibly nervous, and almost didn’t play, but I eventually jumped up and it was the best thing I could have done. That moment really lit a fire in me and gave me the drive to keep playing more and more, and to be able to do the things I’ve done up to this point in my career.

Tell us about one of your proudest moments: Convincing the love of my life Alanna to marry me. Then, of course, our incredible daughter, and her little sister that’s on the way. Being a husband and father are the two things I’m most proud of in the world. facebook.com/bmamagazine

PAGE 15

By Jessica Conway

To celebrate their quarter-century tour, and existence, BMA’s Cara Lennon took a deep dive with cheeky chappy Quan Yeomans to talk about entertaining the kids, both young and old alike. Over to you, Cara...

Has it really been a quarter century since the lads kicked off? The band you used to catch on Recovery between Monkey Magic and Dylan Lewis pulling a stupid face is now on their 25-year anniversary tour.

They’ve released 11 albums, been the band in a bubble, copped shit from Alan Jones for singing about cock... But what about 2019? Why, their very first kids’ album, of course! Regurgitator’s Pogogo Show sees Quan, Ben and Pete team up with Koko [of Boys Boys Boys!] to rap about unicorns and lay down pop punk pillow fights. Front man Quan Yeomans elaborates.

[BMA] Pogogo Show. How did that come about?

[Quan] Ben [Ely, vocals & bass] has had kids for a lot longer than I have and he always, being the creative genius that he is, plays with the kids and was very musical, and they sang a lot together as they grew up. He would come up with silly songs all the time and play them to me. And I’m like ‘Dude, you gotta do a kids’ record man, don’t worry about the band’.

We were going through a period of being in the wilderness and not really connecting as a band—I was overseas. And he just never got round to doing it. I think he gave a song away to a kids group and they did quite well. He just sorta sat on it for a long time.

Then we were recording Dirty Pop Fantasy in Hong Kong and spent a bit of time together and then started throwing little ideas around to do a kids record with the band instead.

Silly kind of ideas, on a dictaphone, in a 12-story walk-up in the middle of Sheung Wan. Then we got back. We were now both married and had kids and the relevance kinda came up again as my kids got a little bit older. We got together one more time at his place when he used to live in Melbourne; around three, four years ago now. We put down a few more solid ideas just with an OP–1, which is one of the coolest little keyboards you can buy (by a company call Teenage Engineering). He was playing bass, and we just put down rough ideas for songs, and five made it to the record.

PAGE 16

Did you play them to your kids during the writing process?

Yeah, yeah, I mean just for kicks, to get feedback and stuff.

That’s the great thing about doing kid stuff. You can play it to yours and they can tell you how much it sucks. Kids don’t have any filters…

Not really. Not my kids anyway.

So that’s what got the ball rolling. Then we thought of finding a fourth member to give it a bit more appeal, and a female just to change the dynamic a little bit. Koko was in Melbourne and we played with her band a few times. We all loved her as a person. And she was like, ‘Yeah, I’ll do it.’ So we got together in a rehearsal space in Melbourne called the Bakehouse, and just recorded the album in one day.

Damn. That’s super fast.

Yeah. We had a few scripting ideas. Pete is a natural; he’s really, really great with his scripts and with his acting. It gelled really quickly. We wanted it rough and a bit silly and bit like ‘whatever’ as well. We didn’t want to overwork it.

Any other differences between doing a kids album and doing one for adults?

I think it was really important for us to do it together in a room to record live. Ben really enjoys that approach. He really wanted to do it for this one and I agreed. I thought the dynamic would work really well with four of us going hell for leather just throwing in ideas and getting it down quickly.

In terms of mixing, we weren’t as particular about it, probably because it’s all about the vocals, and getting the gags out there, so the kids can understand the words.

Have you got a sense of how kids are responding to it?

We’ve played just over half a dozen shows. Some of them have been really great, and others have been a bit like, ‘What the hell are we doing here?’ kinda thing. We particularly found it hard to do festivals. Outdoors festival type things I found a bit odd, whereas it works really well in theatres.

Playing to kids that age is completely different to playing to older kinda twenties, thirties, forties... people that we’re used to. It’s really hard to gauge. I find it really quite difficult to gauge their enthusiasm sometimes.

I mean, you’re doing it a lot for the parents as well. The parents are really enjoying it, which is a big part of the reason why we did it. I don’t really wanna take my child to see the average kind of kids band that’s out there because, it’s just… it kills you. It’s soooo tedious. You gotta put the smile on for them—they’re loving it, it’s fine—but honestly, it can be like eating razor blades.

I think a lot of the parents really enjoy [Pogogo] and that’s very important. And it is a lot about fans introducing their kids to our music through this medium as well, so it’s kinda cool in that regard. But yeah, kids are kinda weird; you don’t know if they’re scared, or if they’re so focused they can’t really express it. They don’t really respond in the same way. But the crowd sizes have certainly been very, very healthy and really surprising to begin with ‘cause it’s such a new project.

If a typical Regurgitator gig involves jumping up and down and screaming the lyrics to I Will Lick Your Arsehole—how does this experience translate for the under 12s?

Sure, well... obviously we can’t really throw those… [laughs] I’d like to, but there are some parents that don’t really get it, or don’t wanna put their child through that part of their education. I’m happy for my child to know about those words as long as he understands that context is important.

There were a couple of tracks that didn’t make it onto the record because ABC Kids were putting it out and they’re quite strict. Even though they were double entendres and weren’t like, specific. We had a song called I’m a Duck, and I Don’t Give A… They just didn’t wanna go there, which was a shame. I was willing to drop stuff, which I don’t really like doing, but I was willing this time.

Whose brainchild was Farting is Part of Life?

Whose brainfart you mean? I think it was basically between Ben and Dee Dee; they were having a conversation. Or maybe it could have been Anouk. One of his daughters and him were talking about it and that’s how it came about. It’s a pretty diverse album—there’s a big difference between The Box and Mr Butt.

We didn’t really have a focus for the record. This is just the silly first one, which is great, but in future I’d like to have a bit more focus in terms of theme. A bunch of sketches strung together with some script and narrative.

You know, ones that focus on science, or the human body, or emotions, or something like that, just to tie it together a bit more. facebook.com/bmamagazine

But we are a band of mixed bag aesthetic so it’s not surprising that it ended up that way, and all my planning may not actually eventuate. [The next one] may be another collection of crazy brain farts. We might call the next one Brainfart, actually.

Certainly not out of character.

No, exactly. It’s a very Regurgitator thing to have an album that’s playing with all these different sounds then have one or two tracks that are completely off the wall.

Like Weird Kind of Hard (the elevator muzak interlude to the Headroxx album about a guy working at a drum store to pay child support, which then disintegrates into outof-tune scat, nonsense words, and snickering).

[For that] we kind of had to like say, ‘Look Pete [Kostic, drums] it’s time for you to record something, get something out; just write something that is real and true to you and we’ll, you know… we’ll make a mockery of it.’

He was very open about it, I mean they’re really raw lyrics and they are about his life. It’s kinda sad in a weird way but it’s great that he can do that reflection. A lot of art practice is really about reflecting on life, and it’s cathartic and kinda pleasant to do it from time to time.

I wouldn’t have realised it’s based on someone real!

I know, I know, that’s the great thing about it. And I really respect him to be able to put it out there, to be honest.

What about the lyrics to Party Looks then? They sound like character dialogue made up from people you’ve met at parties over the years.

I haven’t been to a party for, like, ten years. It’s me thinking back. That one’s more about the idea of being in a club trying to have a conversation and just reading their lips, going, ‘What the fuck are they—what did you say? I don’t know what you said but I’m gonna nod and smile and carry on with the conversation.’ I’ve had that experience quite a lot so that was the idea behind that song.

Let’s talk anniversary tour. Does it ever feel like you’ve been permanently on the same trip for 25 years? You guys always seem like you’re touring.

Yeah, but we keep it fairly relaxed now. We occasionally do this kind of tour where there’s 20 or more shows in a row. But it happens maybe once or twice every three years or so. Our bodies just can’t cope with it otherwise.

We’re a bit older now and we do high energy stage performances, so it’s tough to carry that for long. Unless you’re really fit. It does feel a bit tiring when you’re in the middle of it, but we don’t tour that much; we’ve just never PAGE 17 really had a long hiatus.

What’s the gearshift like on a big tour like this going from regional gigs to big shows?

The larger shows we do are festivals and they’re so much easier in lots of ways. They’re getting harder in terms of performance because you’re dealing with a bunch of young kids that are all into whatever’s on Spotify. You’re old flesh.

So it’s kind of weird, and tough, playing to people who don’t know your music. But the touring is very easy.

When you’re doing your own tours you’re responsible for everything. I’ve spent the last five years paring down my gear so I don’t have to carry too much and don’t end up hurting my back. I managed to get my whole rig - my amp and guitar - to under 14kg. I remember touring with a Marshall stack and full drum kit at some point in the ‘90s. It was just insane.

So it’s nice that’s technology’s gotten more portable as you’ve gotten older?

It’s amazing. It’s really great. Pretty soon we’re going to be holograms and we won’t have to get off the couch.

And at festivals you’re converting people that are hearing you for the first time.

That is one of the privileges of playing live and still being able to do it, you know. I think we play better now than we ever have as a band, because we’re a lot more focused and aware of our bodies, and of being careful with our craft. And we still enjoy it which is vital. It’s really great where you do have young people come up to you and go, ‘I started to listen to you on your seventh album’. And I’m like, ‘What? That was awful!

How are you even attracted to us?’

It’s weird, but it’s nice.

You guys were my first live gig, at an all ages festival. It was a revelation just being able to stand in a field and scream swear words…

Honestly, that’s why I do what I do. My wife works in health care and I’m just like, man, you should start a band, just so you can scream. It’s just such a good

PAGE 18

stress reliever. It’s why I’m reasonably calm as a human being I think, because I get to stand on stage and scream my guts out to a bunch of strangers. It’s really, really nice. Great therapy.

And for the Quarter Pounder Tour you’re doing it with Shonen Knife and the Fauves.

They’re great bands, for different reasons. Shonen Knife are an awesome Japanese group. We’ve played with them before and they’re just really lovely people. Part of the criteria as you get older and more experienced in the game is playing with bands that are pleasant to be around. We’ve been really fortunate in the past. Glitoris were lovely people to travel with, as were The Stress of Leisure on the last tour. And the Fauves and Shonen Knife are a similar kind of thing; really, really great people.

The Fauves you’ll love just for the banter. Andrew the front man is simply incredible. He’s just so sardonic and selfdeprecating and hilarious. He used to do this fanzine called Shred. If you can find copies of it they’re just hilarious. I had a man crush on him for some time but I think I scared him off.

He’s such a shy, shy dude.

Everyone gets one…

Really? I’ve had a few in my time: Shaun Micallef, David Attenborough.

Have you met them?

I managed to sing on the same song as Shaun Micallef but I never met him. I only said yes to it because I thought I’d meet him.

Are there any bands you have toured with that stand out?

The Mint Chicks! They’re always going to be my favourite punk band ever. When we toured with them I was just like, ‘Damn! These guys are good! They should be bigger…’ Of course the younger brother went on to do Unknown Mortal Orchestra and became massive as a result of that. They shouldn’t have disbanded. They were so amazing.

Is there going to by any Pogogo on the tour?

Maybe Pidgeon Riding a Motorcycle?

Maybe! Maybe we’ll do a baby metal version.

It seems there will be plenty to look forward to when Regurgitator hit The Basement on Thursday, 24 @bmamag October. Tickets are $55.85 from oztix.com.au

By Alice Worley Get ready, kids. Two of Australia’s biggest rock heavyweights, You Am I and Jebediah, are headlining a joint tour across the country.

And if you live in a small town and are thinking, “Aww man, that means a roadtrip to a major city”, well you’re in luck.

To have a chat about the tour, memories of Jebediah, and his beginnings in You Am I, I was lucky enough to have a chat with the band’s legendary drummer, Rusty Hopkinson.

weeks in every city and you wouldn’t be able to stop at all the little towns in between. And now it’s a lot more about festivals and there’s not really a circuit where you can get out there and play five nights a week. We’re doing lots of gigs in lots of places I’ve never been to so that’s pretty cool.”

Rusty goes on to describe a pain that us Canberrans know all too well.

Russell “Rusty” Hopkinson joined forces with Tim Rogers and Andy Kent in 1993, replacing previous drummer Mark Tunaley whose sound was travelling in a different direction to the rest of the band. Rogers has mentioned previously that he truly considered disbanding the group before Rusty came onto the scene.

“When you grow up in Perth, especially in the ‘70s and ‘80s, you know all about missing out on tours. It was a given that any band of a certain stature in terms of being cool and good probably wouldn’t come. And it sucks when you miss out on that kind of stuff. It’s good to be able to go to some places we haven’t been and meet some people that are excited that we’ve decided to take the time to come and play for them.”

Rusty started out playing in other bands that rose with You Am I in the late ‘80s and early ‘90s. He got to know them from playing at gigs together and having a few beers after the shows.

I explained that Canberra can have a similar problem, with a Sydney trip needed to see some big acts. Rusty had an explanation as to why such cities can sometimes miss out.

“I’d been in bands for something like ten years before I joined You Am I,” Rusty says. “I was about 27 and I’d been playing since I was about 17. A Melbourne band I was in used to play with You Am I a lot and go out drinking after shows. When they decided to part ways with Mark they rang and said, ‘Would you like to play?’. There was no audition or anything; I was just suddenly in the band, which was kinda cool. You can’t ask for much more than that.”

“Canberra’s always been a great place to play; it’s just a matter of where to play,” he says. “It’s always been a uni in some form and there’s always been other, smaller venues, but I get that it’s just one of those places where a lot of people think, ‘Well, those Canberra people will make the trip’ which is terrible, but it’s always a matter of what’s available within that time. It’s a bummer to miss a place out but, y’know, we try and work out a way where we can do it the next time. It’s not through lack of trying or that we don’t wanna go there; we always have fun [in Canberra], we’ve always had good crowds and appreciative crowds. Canberra’s really good that way.’

After Rusty joined, You Am I’s album Sound As Ever won Best Alternative Release at the 1994 ARIAs. In The Encyclopedia of Australian Rock and Pop, music journalist Ian McFarlane wrote that Rusty, “supplied the boost of confidence required for You Am I to make the leap into the premier league of Australian rock”. I asked if he thought the grand statement was an accurate one.

“Ahh, probably not,” he humbly states. “It’s lovely, and I’ll take it. I think it was more that Mark had his idea about what drums were, how he wanted his drums to sound, whereas I came from playing in a lot of different bands. I think I was more open. If anything, what I brought to it was a little bit more freedom. I was less like, ‘No, this is how I wanna play the drums’ and more like, ‘Cool, let’s do that!’. I was one of the first people to hear Berlin Chair before it was released. They played it for me on a cassette when they asked if I wanted to join the band and I couldn’t believe it was the same band. It was quite a leap forward, and I think they’d already made that leap. I just allowed the band to move on from being a “grunge” band, which I don’t think any of us wanted to be.”

If you look at the destinations listed on this double headline Aussie tour, you’ll notice a lot of smaller towns and regions listed along the way. I wanted to know why the bands chose to stop in all these obscure, and probably not so profitable, places.

“For a chance to be able to play,” Rusty says. “You can only play Sydney and Melbourne so much. It’s just getting out there and playing, going places that are generally under-serviced by the music industry. When I started out in Perth, you’d play a couple of

You Am I and Jebediah will be supported by an array of local acts while they work their way around the country, and Rusty is excited to see which groups pop up along the way.

“There’s always been great bands from regional Australia, which is a tough place to be,” he says. “There’s lots of barriers, but I think it’s well worth supporting anyone who tries to be creative outside of where the creatives are supposed to be. You have to support people who want to give it a go, and that’s how we met Jebediah. They came to every show we did and then they told us, ‘We’ve got a band’; we invited them to play and we were impressed. Before you know it they’re playing massive venues and doing really well. So, there’s a reason to give people a leg up and it’s nice to be part of that.”

20 years later, they’re still playing together and selling out venues. Make sure you don’t miss out on seeing these iconic Australian rock geniuses in the sweaty flesh. If you do, I’m sure you’ll have a heavy heart...

You Am I & Jebediah are playing on Thursday, 7 November @ The Basement. Tickets are $55.85 through oztix.com.au

Text

facebook.com/bmamagazine

PAGE 19

DANCE THE DROP [THE WORD ON DANCE MUSIC] WITH PETER “KAZUKI” O’ROURKE

locals on the line-up of course, with Dubdeckerbuss, Fourthstate, Boomtze, and Rascal & Tidy.

[CONTACT@KAZUKI.COM.AU]

The Headz crew won’t be letting up over the month either, with New Zealand’s Coco Bryce playing some tip top jungle on Saturday, 9 November at the Pot Belly in Belconnen, and VIVEK and Fixate at sideway (lower case ‘s’) for a day party on Sunday, 17 November. Put it in your diary!

If everything in life has an opposite, a yin to the yang if you like, for electronic dance music it’s chill out music.

Made with the same instruments (or lack thereof) and sampling techniques, chill music is designed for relaxing and reducing the heart rate. Like its high beats-per-minute counterpart, it’s about creating atmosphere and setting an albeit different vibe.

A good chill mix can have just as much power as a good danceable DJ set, and throughout rave history the chill space has provided a welcome retreat from the thump-thump-thump of the mainroom. Lounges instead of lasers, if you will.

There are loads of different chilled styles to get into, from ambient to the slowest of house music, sparsely beated atmospheric jungle to psychedelic dub. It’s a total world to explore. Start with Tangerine Dream’s 1974 album Phaedra and go from there (and I won’t go into the full history because that would take a hell of a lot more than this column allows).

But one record you should definitely give a full listen to with your favourite bottle of red or Snoop Dogg’s finest, is the 1990 album Chill Out by The KLF.

Mr Wolf has some other sweet spots over the coming weeks too - young Sydney trap and bass music prodigy Badrapper returns to Canberra on Friday, 25 October. His latest mix on triple j was pretty darn heavy, so give this one a go.

Department of Late Nights takes over the club with Melbourne’s Steve Ward flying up to spin some proper headcaving house and techno tunage on Friday, 1 November. He shall be joined by B-tham (Melbourne), Fourthstate, and T:mo.

Odd Mob is no stranger to Canberra, and will be back at Fiction on the Friday, 18 October, supported by Reubok, Toucan, Harry Howse, and Ryan Layt. Bangers ensured.

Some other tasty nights announced include Will Clarke (UK) and Matroda (Croatia) on Friday, 25 October for some bassy tech-house on the EDM edge of the sound, while Melbourne’s Will Sparks hits the club on Friday, 1 November.

Furthermore at Fiction, some big names have already been announced for early January if you’re in the city over the summer break, with Chris Lake on the Friday, 3 January, and Michael Bibi returning to Fiction the following Saturday evening.

You’d have to be seriously committed to attend all the cool things on offer at sideway, but on the dancey end, first check out It’s A London Thing on Saturday, 19 October for grime and UK garage with some local selectas.

Chillax, bra! With all the madness in the world, you need you some sweet, sweet KLF sonics The KLF played a special role in the early days of rave and electronic music as it is, but their 45-minute continuous mix of sound is truly something special. They combine weird synth soundscapes with samples of Tuvian throat singing, slide guitar, sheep bleating, a passing train, and snippets of radio from the deep south of the USA with echoed local news reports and even a Baptist preacher.

It’s odd, it’s weird, but in my opinion is one of the most relaxing and existentially surreal pieces of music ever created.

So next time you’ve just got back from the club and aren’t quite ready to go to bed, fire up YouTube and seek this one out. It’s unlike anything you’ve ever heard.

And now, to peruse and expand upon the events calendar!

My pick for club nights this first weekend would definitely be Australia’s king of breaks, Kid Kenobi, who’ll join the Headz Are Rolling crew at Mr Wolf on Friday, 18 October. Some fantastic PAGE 20

Monkey Marc is bringing his Vital Sound album launch show to the club on Thursday, 24 October, while on Friday, 25 October a new regular Friday DJ residency starts, and this month features a mix of Afro-Latin electro-folk dub from Rafael, Solid Funk, plus party tunes from Maarten Vlot and Jungletronica and experimental esoterica from Horizon Eyes.

Canberra House Social take over the room at sideway on Saturday, 9 November, with Budapest’s Route 8 exploring territory between and amongst techno, breakbeat, acid, and slapped out house. Supported by locals Amraks, and Carlyle.

And finally from sideway, I reckon give Friday, 22 November a crack - there’s super interesting live group 30/70 coming with their blend of futuristic-jazz afrobeat trip-hop weirdness. Worth checking out!

Hard Attack has a few dates at the The Boardwalk in Belconnen.

On Saturday, 19 October the crew celebrate their first birthday with Twisted Melodiez, while Saturday, 16 November features JTS. Lastly, Raveyard - A Halloween Rave is taking place in a secret location in the city on Friday, 1 November - as Pusha T once rapped - “if you know you know!”

Hope you have a chilled one.

@bmamag

facebook.com/bmamagazine

PAGE 21

METALISE

[THE WORD ON METAL] WITH JOSH NIXON If the announcement of James Hetfield going back into rehab instead of coming to Australia on a package tour with Metallica and Slipknot has got you down, well allow Metalise to offer you a remedy of several international and domestic shows popping through the region in the next couple of months, from sludge to symphonic death.

There must be something in the water because Mental Cavity have also been announced as the local support for New Orleans’ other heaviest band, Eyehategod, happening on Monday, 11 November at The Basement. This is easily my must see pick for gig of the month. Black Rheno have the national support for the tour and good thing too; it’s been seven years since the NOLA sludge kings bludgeoned the ANU Bar. Going to be a sensational show.

Mark of Cain hit The Basement in Belco on Saturday, 19 October with the 30th anniversary tour for their album Battlesick. Ex Fugazi alumni The Messthetics are out for this national tour and you can hit Oztix to pick up your tickets for the birthday party.

Black Rheno join Eyehategod this November for Metalise’s Gig of The Month

Five-piece Munt from Melbourne make us move Towards Extinction Munt are a five-piece band out of Melbourne who blend black, modern death metal and grind core to great effect, and have put the fruits of their brutal labor into their fourth release, an EP called Towards Extinction. They are taking it up the east coast in celebration of its launch. Warpath from Adelaide are also on board with their new EP Out of Fear for this jaunt and they will be joined

by Blight Worms, Tenchknife and Facecutter at The Basement on the Friday, 25 October.

Crowbar, one of New Orleans’ heaviest bands of all time, postponed their winter Australian tour, but now it’s just around the corner, happening on Friday, 6 December. Local supports were just announced with Arrowhead and Canberra’s Mental Cavity on board for all them riffs. Best of all, Crowbar are playing at...

Crowbar, in Sydney.

Also vying for your November concert dollar is Italian symphonic death band Fleshgod Apocalypse. The Flesh’ will be closing out their six-date run of Australia here in Canberra in celebration of their new album Veleno (the Italian word for ‘venom’). Also performing at the show are Unholy Vendetta, Black Mountain and Freedom of Fear. Soundworks Direct or Oztix for tickets.

If you’re keen for a cruise up the Hume, a great excuse for a road trip is the Steel Assassins Festival in Sydney at The Bridge Hotel.

Running over three nights if you count the Thursday night warm-up show, there’s a whole lotta metal from the event that bills itself as “Australia’s truest metal fest”.

The Thursday night show is 7 November in Glebe at the Staves Brewery and features Japanese thrashers Riverge, Sydney acid metal Sabire, and long time Sydney act Hazmat.

Friday, 8 November is the main event at The Bridge Hotel with locals Witchskull headlining. Rounding out the bill will be Tyrant, Riverge, Temtris, Shadow Realm, The Plague, and Triple Kill.

And Saturday, 9 November is even more stacked with Black Majesty, Elm Street, Mason, Envenomed, Hidden Intent, Snake Bite Whiskey, Bulletbelt, Wartooth, Canberra’s Mattersphere, Head In A Jar, Medics of Pain and a “special secret performance”.

That’s a whole lot of metal and you can get your tickets at Moshtix.

Witchskull will also be appearing at Sun Burn Festival with Pod People, Lucifungus and a cavalcade of great slow riffing Aussie bands at The Tote in Melbourne on the Saturday, 30 November.

That will be their last show before going into the studio on 1 December to record their third album. Early 2020 release due.

Canberra’s Mental Cavity are filling all the calendar holes this November PAGE 22

And finally, Opeth are out in Australia for five dates in December.

If you’re seeking an early Christmas present, hit up the State Theatre in Sydney on the 14th to catch them bring forth some classics as well as material from this year’s In Cauda Venenum.

@bmamag

facebook.com/bmamagazine

PAGE 23

Exhibitionist | Arts in the ACT

THE COURTESAN AND THE CHERRY BLOSSOM TREE

BY JAMES FORMBY he walked slowly to his horse. Its reins were held by Tokugawa no Shiroku, his eldest son.

“Shiroku looks so handsome in his armour,” Masamune thought with fatherly pride. His son, hair cut in the samurai top knot at the Genpuku ceremony, had proven himself more than proficient in tactical planning. Shiroku had also distinguished himself as a fierce warrior in the many battles he had fought since coming of age.

“The cherry blossoms are especially beautiful this morning,” thought Lord-General Tokugawa no Masamune. “The way the rays of the rising sun catch the morning dew; they sparkle like the stars in the night sky.”

He was walking down the steps of the mountain shrine where he had made offerings to the kami of the mountain at sunrise in hopes that they might bestow some insight into the dilemma troubling his mind.

It was the morning before his forces were to confront those of an old comrade, Lord-General Kenzai no Saburo. The daimyō Yoshida no Moritaka, Masamune’s Lord, had given Masamune the task to put down what Yoshida termed an uprising by one of his vassals, the daimyō Yasagi no Kenjuro, whose army Lord-General Kenzai led.

What troubled Masamune was the fact that Yoshida was in reality rebelling against the Shōgunate and the Emperor. Increasingly cruel, paranoid, and megalomaniacal, Yoshida was becoming more erratic and illogical. His decisions threatened to plunge the Sacred Islands into a protracted, bloody civil war. Masamune knew that Lord Yasagi had been tasked by the Shōgun and the Bakufu to put down Yoshida’s rebellion and arrest the rebel for treason. He also knew that Lord Yasagi’s forces, led by his old comrade Kenzai Saburo, had been augmented with a large force of the Shōgun’s troops, and his own forces were greatly outnumbered.

The dilemma seemed irreconcilable— Masamune was torn between his sworn duty as samurai to die for his Lord; yet he also had a duty to the Shōgun and the sacred personage of the Emperor. Should he ally his army with that of Lord Yasagi, the representative of rightful authority, and march on his Lord Yoshida’s castle in the name of the Emperor? Or should he follow Lord Yoshida’s orders and engage Lord Yasagi’s army, knowing this latter choice would be the instigation of civil war?

Feeling that his offerings at the shrine had not been received favourably by the kami, Masamune’s indecision remained. Alliance or battle?

“To defy my daimyō would mean death and dishonour for my clan; if I obey my daimyō it will bring death, suffering, and misery to the inhabitants of the Sacred Islands,” he agonised. “And yet, on reflection …” he thought. “We all live and die at the whims of the kami. If battle with Yasagi’s army is to be fought today, and it is to be my last day, well then … it is a beautiful day to die.”

Flanked by the twenty samurai who were his personal retainer PAGE 24

Masamune looked down upon the ranks of Lord Yoshida’s army encamped in the valley below the mountain shrine. They were resplendent in their black and red lacquered leather armour, the standards of the Yoshida clan stirred by a gentle breeze. He mounted his horse and, accompanied by his samurai retainer and Shiroku, began to make his way slowly back down the cobbled path toward the valley below.

An old, black-robed monk was walking up the stone path to the shrine. Protocol demanded that he should have moved to the side of the path and bowed until the Lord-General and his samurai escort had passed. Instead, the monk walked straight toward Masamune’s horse. Abruptly, and beginning to draw his sword, the captain of the samurai, Shiramitsu, stepped in front of the monk, growling.

“Insolent dog! You’ll lose your head for your lack of respect!”

“Wait,” commanded Masamune, reining in his horse. “It would be a bad omen to kill a holy man on this beautiful morning Shiramitsusan. Let him approach.”

Shiramitsu, stepping back a few paces, sheathed his sword, but remained ready to draw and strike instantly if the monk made any threatening moves toward the Lord-General.

“I don’t recognise your robes holy one; are you Shinto or Buddhist?” enquired Masamune.

“I am at once both and neither, my Lord; I am all faiths and none,” replied the monk.

“Riddles! Pah; you stink of Zen. Most likely you are from one of the accursed sects of warrior monks that plague the Sacred Islands.

How do I know those robes don’t conceal a dagger meant for my heart?”

“Come, my Lord. We both know that your angry companion would leave my head rolling in the dust before I could draw a dagger, were I to have one concealed.”

Shiramitsu took a step closer to the monk, his hand grasping the hilt of his sword. Masamune continued.

“I have heard tales of the martial prowess of these warrior monks.

If they were not exaggerated, I think maybe you could strike before Shiramitsu-san can draw his sword. You could be an assassin in the employ of Yasagi Kenjuro. Maybe I should relieve you of your head for your insolence after all.”

The monk looked Masamune in the eye. There was no sign of fear; only the twinkling light of amusement. He bowed his head.

“If that is my Lord’s wish.” @bmamag

Exhibitionist | Arts in the ACT In spite of himself, Masamune smiled. He was enjoying this. There seemed something auspicious in the old monk’s arrival at the mountain shrine. He inspected him closely. It was hard to judge his age; he could have been anywhere between 50 and 70, though there was a youthful gleam in his eye.

Enough, thought Masamune. I’ve spared the monk’s life. Maybe that would assure the kami’s favourable disposition and give him the insight he needed to make his decision.

“Be on your way holy man; I have a battle to be fought and I must rejoin my men.”

The monk replied: “Lord-General Kenzai and his forces are still six hours march from here. I know you face a struggle within, Tokugawa Masamune-sama. I wish to tell you a tale. Once finished, I will be on my way; you will rejoin your men, and battle will be joined. Or not.”

Masamune’s amused demeanor disappeared abruptly.

What does this wily old monk who speaks in riddles know of my struggle? he thought. Who is he? Was he sent by the kami to assist?

He turned to his samurai captain, ordering: “Shiramitsu-san, take the men back to the valley. I wish to question this monk a while longer.”

Shiramitsu hesitated.

“My Lord? Is it wise to be alone with this dog of a monk?”

Masamune was becoming irritated.

“Follow my order, Captain. I may be advancing in years but I think I can still manage to defend myself against one old monk.”

Shiramitsu knew better than to argue. He turned, barked the order at the Lord-General’s retainer, and marched them down the path back to the valley.

[A New Short Story by James Formby] “They may indeed be irreconcilable,” the monk conceded. “Though it is certain that Yoshida and his allies will be defeated, and all who serve him face execution.”

“You think I hesitate to follow Yoshida’s orders out of fear of defeat or fear for my own life?”

“No, my Lord. I did not intend to imply such. It is well known that you are a brave and honourable warrior, as well as a man of conscience,” the old monk replied.

“I am aware that Lord Yasagi’s forces have been greatly reinforced by a contingent of the Shōgun’s troops from Kamakura, and that my own forces will most likely face defeat,” Masamune explained.

“Only a fool or a madman feels no fear; a brave man is one who acts despite his fears,” stated the old monk. “There is a proverb: from good can come great evil; from evil can come great good; for true balance a man must recognise that both exist within him.”

“More riddles holy man?” asked Masamune cynically.

“There is still much blood to be shed, and the path to peace is a long one; but ultimately the warring clans will be united under a strong Shōgun, Tokugawa Masamune-sama. If you act correctly.

Unfortunately, I cannot tell you which path you should follow. You must decide for yourself.”

Masamune peered closely at him. “Who are you, old one?”

“I have worn many faces and served many masters. My name is Master Po Ling. I am a Shaolin monk and a member of the Order of Shinobi.”

Masamune frowned. He knew of the Shinobi. The very name meant “to sneak.”

Masamune, gathering his thoughts, watched his men disappear. At length he spoke. “What do you know of my struggle, old one?”

The monk answered: “Sometimes the kami grant me visions in which a black dragon guides my spirit. It showed me you, Tokugawa Masamune, standing at the point where two paths begin. The dragon told me of your struggle and showed me where the two paths led. One leads to power and honour for the Tokugawa clan and its descendants, as well as peace and prosperity for the Sacred Islands.

The other leads to the clan’s utter destruction, and years of suffering and war for the Sacred Islands. But beware; the obvious path may not be the right one.”

Masamune thought on this before replying.

“Which then is the path I should follow? If I rebel against Yoshida, the civil war will be averted, and the Sacred Islands will be spared the tribulations. Yet my wife, youngest son, and three daughters are at the Summer Palace, and Yoshida would execute them for my treason. It seems to me this is the path that would lead to the utter destruction of the Tokugawa clan.”

“That could be so,” allowed the old monk.

Masamune continued. “But Yoshida’s rebellion against the Emperor and the Shōgun will plunge the Sacred Islands into a long and bloody civil war. He has the support of a few of the northern daimyōs, but his mind and his military strategy are becoming increasingly erratic. I don’t believe that his forces can be victorious; his rebellion is doomed to fail, and all who side with him face trial and execution, and that also seems to be the path that would lead to the destruction of my clan. Your statements are contradictory, old one.” facebook.com/bmamagazine

PAGE 25

“The Shinobi are warriors who fight without honour. So, you are a warrior monk after all, as well as a foreigner,” observed Masamune.

“Yes, my Lord, that is so. I am Chinese and a warrior monk,” Master Po Ling replied, “although my fighting days are long behind me now.

To you the Shinobi fight without honour. But we follow our own moral code, kept secret from outsiders.”

“What then is this tale you wish to tell me? Will it help me make my decision?” enquired Masamune.

“That I cannot anticipate. It may have no bearing whatsoever,” replied the monk. Clearing his throat he began to relate the tale.

“Many generations ago there lived in Heian-kyō a beautiful young courtesan named Mayumi. All agreed she was the most beautiful woman in the capital. Many of the rich nobles and court officials loved her and hoped to win her love, showering her with gifts and love poems; but in vain, for Mayumi was deeply in love with a handsome young samurai named Kaneda.

“In time war came to the Sacred Islands and Kaneda prepared to march with his daimyō’s army. Mayumi was distraught. She feared she would never see her lover again, that he would be killed in battle.

On their last night together, she pleaded with him not to go, to renounce his rank and to marry her as a commoner.

“But Kaneda was of an ancient samurai lineage, and so his honour would not let him perform such a cowardly act. He reassured Mayumi that he would return to her after being victorious in battle, and gave her a cherry blossom sapling, symbolising their young love which would blossom and grow with time. He told her that, like the tree, they would grow old, wither, and die together as is the way of men and women.

Village by dawn tomorrow.” He handed the scroll to Masamune.

“Then I must return to camp and make arrangements at once,” said Masamune.

“My Lord,” said Master Po Ling, bowing respectfully.

Masamune rode slowly back down the path to the valley. The old monk watched him go, then sat and began meditating.

Masamune rode into the samurai camp. He dismounted and an aide took the reins of his horse. Captain Shiramitsu, relieved that no harm had come to his Lord-General in his absence, rushed over and bowed.

“My Lord; should I order the men to make ready for the march?”

“No Shiramitsu-san; we will await Lord-General Kenzai’s forces here,” replied Masamune.

Shiramitsu misunderstood Masamune’s statement. “My Lord?” he questioned. “Kenzai could divide his forces and flank us. The valley is wide open at each end. They would slaughter us.”

But Masamune countered his concerns. “We won’t be facing Kenzai’s army in battle this day, Shiramitsu-san. Fetch my son Shiroku and bring him to my tent.”

Shiramitsu was clearly confused but he acknowledged his LordGeneral’s order and rushed off to fetch Shiroku.

Masamune entered his tent. He sat at a writing table and prepared brush, inkstone, and water. Taking a piece of parchment he began to compose a lengthy message.

Shiramitsu, with Shiroku, entered the tent as Masamune finished writing. Standing up, he handed the parchment scroll to Shiramitsu.

“Mayumi waited many months for Kaneda’s return until one day a messenger arrived with news that Kaneda had perished in battle. He had fought bravely and honourably, but had fallen, mortally wounded.

“Send a fast rider, seek out Kenzai’s army, and deliver him this message.”

“Mayumi was heartbroken. Every day, year after year, she sat weeping in the garden next to the cherry blossom tree until eventually she had grown old and ugly, her beauty withered along with the aging tree.”

Shiroku spoke up: “Father? We aren’t marching on Kenzai Saburo?”

Masamune thought on this before replying: “A sad tale; yet I don’t see how it relates to my dilemma.”

“It may not; I leave that to you,” conceded the monk. “Your decision must be your own, Tokugawa Masamune-sama. I cannot make it for you.”

For a long time Masamune deliberated while Master Po Ling waited patiently. After a time he spoke.

“I have made my decision, old monk; and I need the assistance of the Shinobi. Your warriors are masters of stealth; can they infiltrate the Summer Palace and rescue my wife and children from Yoshida’s clutches?”

“With ease, my Lord,” replied Master Po Ling. “Send a trusted messenger at once to take this scroll on a fast horse to the Abbot of the temple at Todaji, and your family will be safe in the Hidden

PAGE 26

Handing Shiramitsu the scroll given him by the old monk he continued.

“Send another rider with this scroll to the Abbot of the temple at Todaji.”

“No, I have new orders. First, I have pledged our force here in support of Kenzai’s army. In the name of the Emperor and the Shōgun we march on our daimyō, Yoshida, who is to be arrested and taken to Kamakura where he will stand trial before the Bakufu for treason.”

Shiramitsu and Shiroku, both shocked, realised that by these actions their Lord-General was rebelling against their daimyō. Nevertheless, they understood full well that it was not their place, as samurai, to pass judgement on a superior—or indeed on one’s Lord.

Masamune continued. “I pledged my life in service to Yoshida no Moritaka, who was once a just and honourable Lord. I believe he now suffers a sickness of the mind as he is obsessed with becoming Shōgun and ruling the Sacred Islands. I will not be a party to that. My duty to the Emperor, the Shōgun, the Bakufu, and indeed to the Sacred Islands, must outweigh my sworn duty to my daimyō.”

Shiroku made as if to speak but Masamune, silencing him with a raised hand, continued. “Shiroku-san you will lead the army; I promote you to the post of Lord-General, with Shiramitsu-san as your second in command. Obey Kenzai Saburo’s orders faithfully. He is an old comrade,

@bmamag

an honourable man, and an old friend. We fought in many battles together when we were young.”

The parade ground was silent as Masamune reached for the short sword, his features composed and relaxed.

Shiramitsu interjected: “My Lord? You will not be leading the army?” But Shiroku was beginning to understand the meaning behind these new orders. His father’s intentions were clear.

Shiramitsu, who was performing the duty of kaishakunin for his old Lord-General, stood behind and to the left, his Tachi long sword drawn.

The duty of the kaishakunin, a “second”, usually a trusted comrade, was to strike if the samurai about to commit seppuku should show hesitation or fear, and also to spare the samurai from the excruciating agony once the ritual cut had been made.

“This thing I have ordered will bring great shame and dishonour to the Tokugawa clan,” said Masamune. “Even though I am acting under legal authority, I have failed in my sworn duty to my daimyō. As samurai, I cannot allow my dishonour to stain the Tokugawa clan; and so I must take the only action I can that will remove the stain of shame and allow the Tokugawa clan to flourish and prosper.”

He looked toward Shiramitsu who now also understood what his Lord-General intended.

“Shiramitsu-san, I request that you honour me by acting as my kaishakunin.”

Shiramitsu’s voice choked with emotion. He was unable to speak but he accepted his Lord’s request with a bow.

“Shiroku-san, the old monk at the mountain shrine has men rescuing your brother, sisters, and mother from the Summer Palace. I could not act as I must, had they remained hostage to my loyalty. Once you have arrested and delivered Yoshida to Kamakura, the old monk will reunite you with them. You are their protector now and head of our clan. I know you will bring great honour to the Tokugawa name.”

To both he said: “Go now; I must prepare for the ritual.”

The two men left the tent and Masamune felt a great sense of relief wash over him. He knew that he had made the right decision.

Everything was to be as it should.

At midday, in the parade ground clearing at the centre of Tokugawa’s army encampment, Masamune knelt on a tatami mat, dressed only in his fundoshi loincloth and the traditional white shini-shozoku kimono. The massed ranks of samurai surrounded the open square on three sides. A writing table, inkstone, parchment, and brush sat before Masamune.

Closing his eyes, he contemplated for a few minutes and then, charging the brush, he began to write. The kanji formed with precise and delicate skill.

Once finished, he gave the ink time to dry and handed the parchment to Shiramitsu. The Samurai-Captain bowed to Shiroku, now Lord-General of Yoshida’s army, and handed him the scrolled parchment. An attendant removed the writing table and implements, which were replaced by a tatami mat on which lay Masamune’s Wakizashi short sword.

Drawing in a deep breath, Masamune plunged the short sword deep into his abdomen and began to make the horizontal cut left to right.

His facial muscles were as steel, not a trace of the excruciating pain showing, although beads of sweat formed as he slowly cut open his belly.

Shiramitsu, with tears streaming down his face, unable to bear any more, brought his razor-sharp sword down in one swift stroke, severing Masamune’s head quickly and cleanly. Many of the samurai openly weeped as their beloved Lord-General’s headless body slumped forward.

Shiroku’s face was inscrutable as he addressed the massed ranks of samurai. “We march on the Summer Palace at dawn with Lord-General Kenzai Saburo’s army to arrest the rebel daimyō Yoshida. The Shōgun has charged us with bringing the traitor to Kamakura to face trial and execution. My father’s sacrifice has absolved us of the dishonour of marching on our former daimyō’s castle. Our duty to the sacred personage of the Emperor and the Shōgun outweighs our oath of fealty to daimyō Yoshida, who is a rebel against all we hold sacred. If there are any here who feel they cannot raise arms against our former daimyō, I invite them to follow the example set by my honoured father.”

There was dead silence; not one man spoke out. “For our Lord-General Tokugawa no Masamune, we march.”

The silence was broken by the loud cheering of the samurai.

From his vantage point on the mountain, Master Po Ling had observed the seppuku ritual, and as Masamune’s headless corpse was respectfully covered and removed, he stood and bowed in respect to the former Lord-General. Such a shame that a good and honourable man must die for a rebel madman, he thought. And yet Tokugawa no Masamune had not hesitated in his sacred duty once it had become clear. Such a noble sacrifice must count for something.

The old monk knew that the Path was righteous. What he had seen in his vision would come to pass. The Tokugawa clan would rise to a great destiny and unite the warring clans of the Sacred Islands, ushering in an unprecedented era of peace and prosperity.

He walked slowly up the mountain path to the shrine.

The former Lord-General contemplated the sword as he prayed silently.

“Compassionate Buddha, grant that I be reborn in the Pure Land. I have lived an honourable life to the best of my ability. My actions were always in accordance with the tenets of Bushido, and there is nothing that I am ashamed of or regret. My family’s honour is assured. Grant that I should be reunited with them when their time comes and they are reborn in the Pure Land.

“It is a beautiful day to die.”

Lord-General Shiroku read his father’s death poem aloud to the assembled samurai. “A butterfly lives but a single day; yet its beauty is eternal.

“Exquisite,” murmured a samurai.

facebook.com/bmamagazine

James (AKA Winston Smith the Second, AKA JamieTheBastard) plays guitar for local punk bands Bastard Sons of Liberty, Bastard Sons of Motorhead, and Cockbelch. He is currently finishing up his first novel, a young adult/alt history/Celtic fantasy/steampunk adventure, as well as working on two original screenplays; a near future Aussie dystopian action drama; and a satirical, blackly comic, post-apocalyptic ‘western’.

James has also published several well-reviewed fan fiction stores online based on: Alien, A Clockwork Orange, HP Lovecraft’s Cthulhu Mythos, and Mad Max respectively, which can be found at fanfiction.net/u/6676755/JamietheBastard for anyone who may be interested.

PAGE 27

Exhibitionist | Arts in the ACT

playing an acoustic rendition of an acoustic Xavier Rudd song in a Bali hostel. I came across a set of sheets in a Mandala print so loud, it competed with the speeches of Nelson himself.

I read the tag: “Good Vibes Guaranteed”. Say no more.

Despite only investing in a King single bedframe during my Summer ’17 haul, I chose to purchase the spread in Queen, because I’m worth it. As I paid my $154.99, the shopassistant informed me the sheets were 99% hemp and I was doing my part for the environment. In return, I received the same moral validation as I do when I spend the extra $1.50 to not buy cage eggs. As I left, I turned and asked him what the 1% that wasn’t helping was. “Oil companies,” he responded.

A CHANGING AESTHETIC: MY SPRING 2019 LOOK

get a little risky, nay, a little silly, with the pant length.

By Emma Holland

As I looked in the mirror and saw the blinding gap of skin between my upper ankle and my factory outlet Nike free runs, I couldn’t help but think this is what firstwave feminism was all about. I should be allowed to walk down the street, showing as much skin as I like, without feeling the fear of my right to vote being revoked. I payed $97.99. The suffragettes payed with their lives.

Many have criticised my quarterly attempts to present seasonal look books without the use of imagery. It’s a shame that we have fallen so accustomed to a world of screens and immediacy that we must criticise those who seek alternate and more traditional mediums to express the visual, such as the written word or a detailed crochet.

As the metamorphic one of my friendship group, I take seasonal changes as an opportunity to redefine myself, change up my wardrobe, and enter my chrysalis phase (NOT A METAPHOR). Whilst my winter ’19 aesthetic played more to my dreams of settling down with an Icelandic fisherman, cable-knits and block coloured beanies can only get you so far in spring. As much as I enjoyed others assuming I spent my past times reading Nicholas Sparks on a windy beach, it was time to move on.

My first purchase came in the form of a ¾ Lorna Jane legging. With warmer temperatures, I thought it appropriate to PAGE 28

My second purchase was a vintage ski jacket from a back-alley store in Fitzroy.

The zipper was broken and, when I reached into the pockets, I felt the familiar stickiness of a half melted lemon hardcandy. I can only assume this jacket was previously owned by an elderly gentleman who passed away in a cinema during a Classic Mondays viewing of Back To The Future. I paid $55 and I love it.

A new look must be committed to in all aspects of life, including the bedroom, which is why I decided to seek out a new duvet cover. I entered a shop that had the energy of a dreadlocked backpacker

Finally, as the night air gets warmer, my appetite for night life has been invigorated.

I saw myself in to a low-fi jewellery store, one where most of the necklace’s charms are feathers. I wanted to purchase a ring to wear on my left hand to ward off any unwanted suitors during girl nights out. I found and purchased one of plain gold with a diamante love heart, for $12.50. It fit loose enough that I if it were to, say, slide off whilst I was dancing and I accidentally got bought multiple Aperol Spritz’s by various fine young men, I could take it up with the manager of Lovisa and avoid any damnation from my sisterhood. I had it engraved with “Married to the game”.

As I lay all my new purchases across my new bohemian bed spread, each piece piggybacking off the suffering of another, I saw an overarching narrative forming. Every selection interwove to tell the story of my new look for the season.

So, what is my spring 2019 aesthetic you ask?

It’s hard to explain. I’d have to show you.

Canberra fave and RAW Comedy star Emma Holland returns from a packed comedy schedule in Melbourne to headline Beyond Comedy on Friday, 25 October, MC’d by local legend Laura Campbell. Well regarded for her captivating on stage cadence, her witty writing, and genuine love for the filmography of Brendan Fraser. Tix $10/$14.50 from trybooking.com @bmamag

On The Road... with Tim Freedman

Press’d For Success

by RORY McCARTNEY Melbourne-based punks PRESS CLUB have wowed audiences with the energy and aggression of their live shows and have just launched sophomore LP Wasted Energy. BMA spoke to lead singer Natalie Foster to hear what has been happening since the band’s appearance at last year’s Yours and Owls Festival in Wollongong.

“Heaps! Heaps! “ Foster enthuses. “We’ve been overseas twice, recorded another album, and then we’ll be back in Australia in November for a big tour.”

Press Club’s new LP was written straight after the debut, so the band obviously has a lot of creative energy it wants to express.

“When we get into a writing mood, we just thrive off of it and it’s just what we live and breathe for a couple of months,” Foster reveals. “Songwriting is a whole-of-band exercise, generally starting with one riff, and an entire song is developed from there.

Best known as the front-man and songwriter of Australian legends The Whitlams, Tim Freedman’s solo performances are a mixture of charming cynicism and delicate piano, and have become as popular as his four-piece band performances.

We caught up with the man ahead of his tour and Canberra show to hear about this crazy thing called Life.

What do you listen to, or indeed do, when travelling?

I’ll be listening to the finalists of the Australian Music Prize in readiness for the final votes in January. And I might visit Manuka Pool if I’m lucky.

Best travel experience?

“The band tried recording all instruments live at the same time for the first album and were happy with the results. The same ethos was kept for the second album. We recorded live to tape to get a more authentic feel. The live performance is such a strong point in what we do and from the beginning we knew our recordings had to capture that.”

New York back in the ‘90s was memorable. I saw lots of music and came back inspired.

Asked how Wasted Energy differed from their debut, Foster says: “We just stepped it up a little bit. We’ve got better in terms of songwriting, and the recording quality steps up in how it sounds.”

Bouilaibasse and Suave.

Foster strove to capture her vocal grittiness during the recording process rather than relying on post-production.

A glass of champagne.

Regarding song messages, the broad theme of change applied across the album, including topics of breaking free, finding yourself, and society’s need to change.

Worst travel experience?

[Left blank! What a positive guy! - BOSSMAN AL] Favourite travel snack/drink?

Do you have any pre-show rituals?

Best way to celebrate a good gig: Adrenaline and champagne can lead all sorts of places.

What’s a fond gig memory?

“In the first album I gained a lot more inspiration from friends, and their stories around me, while in this one most of it is a lot more personal,” Foster reveals.

The Shepherd’s Bush Empire in London 2003 took off.

The track Behave relates to expectations placed on people in general, although it also has a particular meaning for Foster.

Warnambool 1996 - I thought ‘this can’t get any sadder’.

“As a female, there are certain things people say I should do.

Maybe I could get fiery if I wore a leather skirt or had more rips in my top, but I don’t think anyone should be told what to do or how to think. How people express themselves is unique to them.”

I have four new songs with new themes and weird chords. It’s great having some new jigsaw puzzles.

That being said, Foster is ambivalent about the meanings of some songs, as she believes that people should draw their own interpretations.

The reception that Press Club has received overseas, including at the Reading and Leeds Festivals, has been overwhelming, and the band is ready and rearing to bring that energy home.

Press Club, supported by Johnny Hunter, play at UC Hub on Thursday, 31 October. Tickets $17.87 through Moshtix. 8pm. facebook.com/bmamagazine

What’s a not-so-fond gig memory?

Tell us about your latest work, and what you most love about it:

Thoughts and feeling on destination Canberra (playing there/ the place/the people)?

From the early days of 1993 at the ANU Bar, through many gigs at Tilleys, I’ve always felt very welcomed in Canberra. And I love Manuka Pool.

Tim Freedman’s solo show is at The Street Theatre on Friday, 25 October from 8pm. Tix are $49 + bf and are avaliable from thestreet.org.au

PAGE 29

Liam Budge’s soaring vocals during Flight Memory rehersals. Photo by Shelly Higgs PAGE 30

@bmamag

And there were many challenges. Pilots assumed they would be spied on and didn’t want their voices being recorded. David’s employer wanted him to spend less time on his invention as they saw no need for it. And there was also the general attitude of the invention not being a good idea because America ‘hadn’t done it yet’.

Echoes of this second-best, not-good-enough kind of attitude occur all too frequently in the Australian psyche and, as David experienced, can be a real barrier to career progression. Liam reflects on the parallels between these attitudes in his own career experience.

“People wrongly assume that you’re a better musician just for living in New York,” he says. “New York doesn’t make you a better musician. It allows access to different things but there’s certainly an element of things overseas having, to Australians, this intangible beauty about them when, actually, the same beauty exists in Australia…Canberra’s a great place and there are brilliant musicians [here] who are as good as anyone in New York.”

I asked Liam about the music in Flight Memory.

by Ruth O’Brien When thinking about some of the greatest human inventions, it’s easy for the most common things we use today to be taken for granted.

From televisions to cars to computers, once inventions become a mainstay of modern society, the story of how they came to be often becomes decreasingly talked about as the years go by.

Equally common is the assumption that all great inventions happened overseas, particularly in the USA. These two key points highlight the story of Australian inventor, David Warren (pictured above), and his invention of the black box flight recorder, also known as the Aeronautical Research Laboratories (ARL) Flight Memory Unit. While versions of flight recorders had been around since 1939, Warren’s was the first to record the sounds within the cockpit, as well as the plane mechanics, in the event of a crash.

When he was just a boy, David’s father, Rev Hubert Warren, was killed in a light-plane crash in the Bass Strait, somewhere between mainland Australia and Tasmania. The last gift he received from his father was a small crystal radio that he treasured immensely. It’s probable that the combination of family tragedy, his creative mind, and love of mechanics set David on his inventive path.

The Street Theatre’s director, Caroline Stacey, along with HelpmannAward winning lyricist and playwright Alana Valentine, and ARIA-award nominated composer Sandra France, bring together a masterful ensemble of Australian artists to perform Flight Memory - a song cycle consisting of ten original compositions about this understated and remarkable device, and its inventor.

“Stylistically, it lends from a lot of different genres - jazz, pop, classical… there’s elements of these sounds that are going to be incorporated. Kimmo Vennon is involved, so I imagine he’s going to do things that evoke planes and create an atmosphere and, through the text, through the lyrics, there’s references to pilots and planes and airports; shaping the narrative.”

There’s also a bit of spoken dialogue between the songs that helps to string the story together.

The calibre of artists in this project really is the cream of the crop. Along with Liam, the other vocalists include multi award-winning jazz musician, Michelle Nicolle, and Canberra’s renowned singer, Leisa Keen. Onstage with the trio will be a number of familiar names in Canberra’s music and arts scene including Gary France, Brendan Clarke, Tom Fell, Jess Green, and Ben Marston. As already mentioned, Kimmo Vennon is doing sound design. Imogen Keen has designed and created the sets and costumes, and Nik Pajanti is the lighting designer.

“Institutions like The Street Theatre form the centre of the Canberra arts scene,” Liam enthuses. “Them doing such compelling works, even commissioning this work from Sandra and Alana, shows great faith in Australian creativity. It’s the antithesis of what David Warren faced.”

David Warren never made a cent from his invention but his contribution to aviation safety is now widely recognised within the industry. This original Street Theatre work is a great tribute to this Australian hero.

Flight Memory runs at The Street Theatre from Thursday, 14 - Saturday, 16 November at 8pm, and Sunday, 17 November at 4pm. Tix range from $44-49 and are available from thestreet.org.au

I sat down with Liam Budge, one of the three vocalists in Flight Memory, to chat about this original work, commissioned by The Street Theatre. This will be Budge’s first performance back in Australia after having spent the last six years living in New York. “[Flight Memory] is not just a focus on the invention itself; it’s also a character study about David Warren, the challenges he faced, and how facebook.com/bmamagazine he overcame those,” says Liam.

PAGE 31 Composer Sandra France. Photo by Jessica Conway

Exhibitionist | Arts in the ACT

LITERATURE IN REVIEW WITH CARA LENNON

The Memory Police

by Yoko Ogawa [Harville Secker; 2019] On an island lives a population that, on any given day, wakes with everyday items disappeared from their minds. The things may still exist—birds, hats, bells—but the town doesn’t recognise them, remember them, or have the ability to re-learn about them.

Cue the Memory Police, a taskforce charged with the job to destroy any evidence

of the disappeared objects, in order that it may never have existed at all.

It’s an original take on dystopian fiction, a story that’s sweetly paranoid rather than just paranoid. Characters are up against an oppressive force of mysterious machination, that knows who you are and what you might be hiding. In the secret lives of a fearful people they’re protecting music boxes, candy, the smell of perfume in an empty draw; hoping they’ll remember why they were important.

What a premise.

This is a book about an idea, and the extremes Ogawa takes it to in order to explore it are super gratifying. Ogawa doesn’t neglect the plot, and unlike a lot of books about strange things happening slowly, The Memory Police never stagnates.

It does, however, trip over its internal logic a whole bunch, in a way that’s likely to bother you if you’re the kind of person who comes out of a movie with a list of plot flaws ready to complain about (that’s me) or if you need to understand the rules of the imaginary universe to find it immersive (also me). Bells disappear but the hero knows about doorbells and church bells. Boats disappear and people forget boat tickets too, but when fruits disappear, they remember wine and jam.

I was removed from the story a lot, wondering if I was stumbling over sloppy editing, sub-par translation from the Japanese, or if these apparent contradictions were part of an allegory about the conflicted coping mechanisms of humans dealing with traumatic loss.

I eventually just landed on ‘sod it’.

Also, I can’t but think The Memory Police must have lost a little in translation. It’s the nature of translation that something is always lost. A receiving language doesn’t have direct equivalents for all the words, with their nuances and cadences; and a receiving culture will be missing some of the cultural context needed to invoke a whole idea or familiarity from a single word.

For a book built around small pleasures of the senses and how treasured objects affect our sense of self, the prose occasionally comes across as anaemic; at odds with the otherwise tender take on our relationship with things.

Inventive, subtle, if a little austere, The Memory Police is a gently dark journey from one of Japan’s most celebrated contemporary authors.

PAGE 32

@bmamag

by Ruth O’Brien To our fathers’ fathers The pain, the sorrow; To our children’s children The glad tomorrow.

Katie Noonan and The ASQ Usher In The Glad Tomorrow

These are the final words in Oodgeroo Noonuccal’s poem, A Song of Hope. They are also the final words of a song of the same name on Katie Noonan’s most recent record, The Glad Tomorrow. This project sees Noonan come together with the Australian String Quartet (ASQ) to perform a song cycle based on Oodgeroo’s poetry.

Oodgeroo Noonuccal, also known as Kath Walker, was an Indigenous artist, activist, poet, and educator. First discovering Noonuccal’s words as a precocious 2nd grader, Katie began a “life-long deep interest and respect for First Nations culture.”

Having previously made a record based on the poetry of Judith Wright (of whom Noonuccal was a close friend) with the Brodsky Quartet called With Love & Fury, Noonan sees this current album as a follow up.

“I started thinking - wouldn’t it be great to celebrate Oodgeroo’s work with her writing because she is arguably the greatest Indigenous poet in Australia.”

Oodgeroo was from Quandamooka country, Minjerribah, commonly known to many as North Stradbroke Island. A fiercely proud Queenslander, Katie wanted to ensure that the project had a strong Queensland “DNA”.

“North Stradbroke Island is a very special part of the world for me…it’s where I write most of my songs and I’ve always felt a very deep connection to that country,” says Katie.

Five of the ten composers Katie has commissioned to write this piece are from Queensland. Having admired the work of ASQ for a long time, it seemed especially fitting for Katie to work with them on The Glad Tomorrow when the two most recent additions to this musical foursome - first violin, Dale Barltrop, and second violin, Francesca Hiew - were from Brisbane.

As already mentioned, this is not the first time Noonan has set music to poetry, nor will it be the last. In fact, this will be the fifth of 19 albums that Noonan plans to produce, based on the work of her most beloved poets.

When asked where the idea came from to pair her love of poetry with music, Katie said: “I think I always had a deep respect for the power of the written word because my dad is a journalist…and I loved reading ancient words, whether it be Shakespeare or... I remember falling hardcore in love with John Keats when I was a teenager, and really loving great poetry. I guess I’ve always had an appetite for writing excellence.”

Katie also states that, unlike other musicians, singers are given the opportunity to use text and therefore, “have this extraordinary tool at our disposal to add to our musical language.”

This will be Katie’s first time performing with the Australian String Quartet. After first hearing strings used in a non-classical way by artists like Björk and Elvis Costello, Noonan was, “really fascinated with the amazing way you could use a string quartet… it’s a beautiful colour palette to play with”.

Katie has also collaborated with members of Noonaccul’s family on this project. Oodgeroo’s great-granddaughter, Kaleenah Edwards, will be joining the tour to read each of the poems in Jandai language at every performance. Oodgeroo’s grandson, songman Joshua Walker, and Quandamooka Yoolooburrabee Aboriginal Corporation (QYAC) have assisted with the translations.

This performance will undoubtedly be a magnificent work on many levels. With so many factors of artistic excellence coming together in the one project - Noonan’s voice, a stellar array of composers, the brilliant ASQ and, of course, Oodgeroo Noonuccal’s poems - this tour will undoubtedly be of worldclass quality.

However, the thing that stands out most about this project, musical mastery aside, is Noonan’s desire to share the works of an artist who had visions for a better future for all Australians.

“Overwhelmingly, Oodgeroo’s poetry does offer hope, and she did earnestly believe that true reconciliation was coming and is possible, as do I. And, that there will be a Glad Tomorrow.”

The Glad Tomorrow is on at the Canberra Theatre Centre on Saturday, 9 November at 8pm.

Tickets prices range from $55$65 and are available online at canberratheatrecentre.com.au

facebook.com/bmamagazine

PAGE 33

[ SINGLES, AND LOVIN’ IT - SINGLE REVIEWS] HUCK HASTINGS HEY BABE? [

]

Sydney outfit Huck Hastings, aka Harrie, has been putting material up online for a few years, fine-tuning his brand of quirky lo-fi folk-pop. Hey Babe? is a good indicator of his overall style. Not your run of the mill gutspilling, post-relationship ditty, but one laced with a disaffected strangeness and offbeat humour, underpinned by an infectious, albeit circumscribed melody.

The sound is raw and Harrie’s voice offers up morsels of vulnerability along with resignation and cloaked denigration. It’s the sincere romantic trying to get to the bottom of a thwarted love using a self-deprecating approach whose power lies in its mellow nature.

The lyric can surprise with unexpected jabs, such as, ‘I thought you thought that I was cancer’, as well as being endearing, soliciting

KIRKLANDD KNOWBODY [

]

Canberra’s Kirklandd is part of a new breed of Australian rappers staking their ground and widening their reach into mainstream acceptance. Having completed a good run of shows of late, including a hometown appearance at this year’s Groovin The Moo, Kirklandd gives us knowbody. Produced by long-time collaborator Cam Buff, knowbody follows Impulse, a far more mooddriven example of Kirklandd’s musical preoccupations.

The intro sample—if it is indeed a sample—cleverly establishes the melancholic current searing through the track. Aided by kick busy beats that couch the production in a lulling solid low end, the track’s crowning lustre is the featured hook, with its earnest declaration bolstered by a series of rather mollifying notes, establishing the melodic heart of the song.

the listener (and hopefully the muse behind this song) with lines such as, ‘I loved you so much but love can be hard to bear’. Indeed.

This is the experience of that suffering laid out, with Harrie’s boyishly sombre vocals providing a fitting accompaniment to the anguish. The song rests on the lyric and the candour with which it is performed, and this works to keep the audience hooked.

The song is divided into two melodic sections, repeated throughout, providing the bed upon which the observations and lovelorn narration can continue to probe the obstructed dreams of a jilted lover. It’s raw and powerful because of this; quite affecting in the end, when one realises that not only is the narrator attempting to make sense of a dire amative situation, but that it isn’t any kind of reconciliation they were hinting at after all (though of course, the song can be viewed as a substantial attempt at that). It’s an attempt at closure.

It will be interesting to see how Hey Babe? fares in this Ed Sheeran hearton-the-sleeve era, as Huck Hastings does an admirable job of providing a gutsier and charmingly unprocessed version of that style.

VINCE LEIGH This section ends by utilising the lyric’s neat corollary; a revelation that harnesses simple yet efficacious wordplay. Surrounding this are the more typical rap cadences.

But effective use of space has allowed Kirklandd’s delivery to vary from a contemplative swagger to a series of breakneck vocal alliterations, with a smoothness that feels natural and legitimate.

Kirklandd’s music relies less on doomsday approaches and more on affirmative practices, and this design is highlighted here. Indeed the aforementioned clincher line, ‘till I get to know myself I don’t know nobody’, draws upon not only the estrangement of youth but could easily be interpreted as bearing broader sociological significance to include class, race, or gender.

The all-encompassing sanguinity of knowbody lends itself to these manifestations and, of course, to a whole lot more. This is an accomplished slice of contemporary rap, polished in the places it needs to be yet with enough fractured fervour inside the crevices to heighten a resolute, honourable rawness. Kirklandd’s knowbody is a valuable, starkly vibrant and self-assured addition to the expanding pantheon of Australian rap and hip-hop.

VINCE LEIGH

LORENZO IANNOTTI LAY WITH ME [

]

Lay With Me is the latest release from Australian singersongwriter Lorenzo Iannotti.

Lorenzo’s last single, If Love Comes To Call, was a pop-rock semi-ballad that highlighted a musical sensibility founded on strong melodic hooks and direct lyrics performed with earnest intensity and obvious talent.

Lorenzo’s vocal ability is established from the get-go on this song. Unlike his previous releases, this track features the ‘rock’ element of his armoury. There’s driving piano, background chants et al, and a full band. It’s restrained and refined rock but it’s there.

Kicking off with the barebones piano and vocal combo, the instrumentation eventually expands to include a full coterie of musicians. There’s a Springsteen-like feel about the track when it takes off, which I am aware is a curious comparison to make PAGE 34

considering Lorenzo’s voice; not the booming baritone of the boss but the high-soaring cadences of a pop tenor.

But the result can be just as satisfying. Lorenzo’s controlled zeal manages to transform what might otherwise be a histrionic marriage into a more compelling piece of mainstream fare.

Ultimately, it is these sorts of mutations that will help Lorenzo’s music stand out. Having said that, Lorenzo’s songwriting skill might be another ace up his sleeve. You’ve heard this before: well-crafted, memorable, hooky, catchy; all of these descriptors are accurate.

Stylistically, we’re venturing back and forth in time, and there’s nothing wrong with that. In fact, at times these melodic and sonic references to the past are rejuvenating: there’s a tangible feeling of honesty about the accumulated inspiration behind it all.

One would like to imagine there is a market for Lorenzo’s material that is not adjudicated on the typical tastemaker bluster, hype and PR; that his songs, this song, for example, can exist out there and find its way to the rightful listeners, the kinds for which the only criterion is a gratifying song.

VINCE LEIGH @bmamag

Tired Of Feeling Like A Stranger

by Alice Worley

When you’re dealing with the trials and tribulations of the modern day world and everyday life, not knowing yourself can be a terrifying and unhinging concept.

Mental health is still a widely misunderstood thing, and to really reflect on yourself and seek help in that reflection is a brave and rewarding pursuit.

And that’s exactly what Bec Sandridge has written about in her brilliant new single, Stranger.

An enticing taste of her debut album, Try + Save Me, Stranger tackles some of Bec’s biggest personal struggles with her mental health; trying to keep her head above water in a world that some can feel they are drowning in.

I was fortunate enough to catch Bec for a phone call while I enjoyed a cup of tea on my balcony and she was doing her morning Woolies shop. I was eager to ask all about her highly anticipated debut album.

“It took about a year-and-a-half to write it and finish recording it in Melbourne,” Bec says. “I started doing it with Oscar from Holy Holy and Gab Strum from Japanese Wallpaper. It was kind of a bit collage-y but we got there in the end.

“I’ve been a big fan of Oscar’s guitar work and Gab’s synth,” she continues. “He’s a bit of a synth lord, so I heard of them both through friends and then, in classic small Melbourne music scene fashion, I ran into them at a gig and we just springboarded from there. Gab and I have been friends for a pretty long time and so I just said, ‘You’re the person for the job’.

Oscar was more like an acquaintance and then we got closer.”

Seeing as the single, Stranger, has been making such an impression on Bec’s fans, I wanted to talk to her about the inspiration and motivation behind the song.

“Stranger came from a place where I was feeling pretty disconnected from myself and I felt a bit body dysmorphic, which is heavy,” she reveals. “But it came from a place initially of anxiety and looking at myself from the inside out and the outside in.

“I think it’s a really cool thing to be able to see yourself from a different perspective and be aware of things that trigger you,” she continues. “When I initially started writing the song, it was very much the verse and by the end of it, it was Oscar being pretty persistent saying, ‘You need to finish the song’. I’d been in therapy for about a year and my perspective of being a stranger to myself kind of facebook.com/bmamagazine

changed, and it was more empowering rather than paranoia-inducing, which was kinda cool.”

The single has been married with a visually beautiful but simultaneously unsettling music video, directed by artist, director, and drag king Tanzer.

The theme of body dysmorphia has taken a literal portrayal in the video as Bec is slathered in make-up, filmed in a trippy split screen setting, then coming face to face with a leaf blower.

“I wanted it to feel like an anxious little nightmare, penduluming between reality and what’s in your head. I thank Tanzer for directing that through a beautiful lense. I think she’s just smashed it. She’s a wizard.”

Whilst mental health is still widely a misunderstood thing, it is a subject that’s being addressed quite a lot in music nowadays. I wanted to know if Bec had an opinion on why that is.

“I think certain mental illnesses are very normalised,” Bec says.

“Anxiety and depression are starting to be something that is spoken about, which is amazing.

“I think there’s this real desire for people to be honest about things they feel uncomfortable about and I think maybe it’s perpetuated by this Instagram culture where everything is so tailored and feels almost artificial.

“But with that, I feel like there’s a bit of a punk movement happening where people are saying, ‘No this isn’t who I am, this is just one facet,’ and I think with that we’re starting to want to talk about the ugly and the real and the scary stuff. So maybe it’s coming from the whole internet thing and wanting to be a bit braver by showing who we really are.”

I saw Bec years ago when she played her first Canberra gig at Smith’s Alternative (back in either 2013 or 2014). She was already a polished performer, and so talented that I was baffled to see only about ten people in the audience.

It’s so satisfying, now, to see her selling out huge venues and touring the globe with her unique voice, both in the literal and figurative sense of the word.

This stylish, sophisticated, and talented artist is travelling around Australia later this year with her album’s release and I highly recommend getting to one of her shows.

Bec Sandridge will be performing her Try + Save Me tour in Canberra on Saturday, 26 October @ UC Hub, with support Eaglemont. Tickets are $17.87 and are available through moshtix.com.au PAGE 35

ALBUM IN

FOCUS

IVY LAB STARS EP [20/20 LDN RECORDINGS] [

]

Minted in late 2015, 20/20 LDN Recordings announced themselves with Ivy Lab presents 20/20 Volume.1. And what a herald it was.

It quickly garnered a wealth of glowing reviews from notable outlets, described as, “uncompromising, insightful and rather awesome - 9/10” by Mixmag and, “impossible to categorise - 9/10” by DJ Mag. A short while later, 20/20 went on to claim the title of Best Breakthrough Label 2016 in DJ Mag’s Best of British Awards.

Upon further research, it positively floored me (in the best possible way) to learn that Ivy Lab are duo Sabre and Stray. Sabre is known to his bank manager as Gove Kidao.

He is also known to me as my old school mate from England.

Cue the flashbacks that now hindsight present as prescience.

Not only was he one of Ashlyns school’s nicest fellas, but his passion for music even then was evident. He would spend minutes on end of a Monday

PAGE 36

morning, intricately and loquaciously detailing the sonics of the latest drum & bass gem he had unearthed from a weekend’s dustyfingered foray into London’s vinyl vaults. He was the go-to DJ at our respective 18th birthday bashes, and I remember as clear as yesterday that - as he completed another flawless blend and glanced from decks to crowd, earphones hanging half off his head - he absolutely “looked the part”.

So whilst it delivered a delightful surprise to discover that this beloved music was in fact from an old school mate, it’s actually no shock that Gove/Sabre and partner-in-grime Stray have gone on to stir a bubbling sonic melting pot of drum & bass, dubstep, hip-hop and techno with aplomb.

Following on from their acclaimed first artist album - the terrifically titled Death Don’t Always Taste Good - the duo show no sign of slowing with this taught ‘n’ terrific four-track, 15-minute EP; a release that houses one of the year’s best tracks in any genre. We’ll get to that.

Title track Stars kicks off proceedings with an inspired use of blues/soul singer Shirley Horn’s Here’s To Life, the edited “heaven!” lyric punctuating each lilting bar, and it’s here Ivy Lab’s signature sound shines through; a mesmeric swirl of strings and playful synth underpinned by a beat that takes no shit. It’s a wonderful contrast. Further to this is how the core melody/ embodiment of the loop remains throughout, and yet warps and changes just enough - with flourishes of added sound and effects - to take the listener on a

bewitching journey. To whit, filtering the vocal to have a deep - Creepy? Earnest? cadence some minutes deep into the run time.

From here we shift to Betty White, a collab with Barclay Crenshaw (AKA Claude Vonstroke) who injects a sense of funk and melody into the Lab’s creative, marrying a laconic, staggering beat with an equally languid fudgey-funk bassline. Layer some warped, ethereal vocals over the top and you have the high without the weed.

Which brings us to When I Go. My, oh my, what a beautiful, mesmeric slice of sonic wonderment this is. It’s the best track J. Dilla never wrote. It’s an unearthed gem from Flying Lotus. Yet it’s more than that. It’s pure Ivy Lab. Inviting you into the dreamscape with the extended “go” vocal, the track pulses and shines, adding little garnishes of sound that meerkat into the track before ducking down again. It’s lush, it’s emotive, it’s utterly fantastic.

And the EP is tied off nicely with All Day Swimming; a gentle, breezy, somewhat more uplifting track with an earworm of a melody which is added to and stripped back, and counterpointed with a female vocal that holds it all in place.

A recent study in the UK stated that the more frenetic the music you’re listening to while driving, the more likely you are to crash.

Well, if everyone drove around listening to Stars EP, not only would there never be an accident, there would be no war.

Bravo, lads. And big up the Ashlyns massive. ALLAN SKO

@bmamag

By Rory McCartney While other regional centres such as Goulburn have had theirs running for years, the new Red, White, Amber & Blues Festival at the George Harcourt is a first for Canberra.

It features a mammoth line-up of Australian blues royalty, including Chain, Kevin Borich, Russell Morris, and The Bondi Cigars. The talent list would not be complete without one of the nation’s finest blues exponents, Lloyd Spiegel.

His albums regularly feature in the Top 10 of the Australian independent music charts and he has been recognised with Australian Blues Music (Chain) Awards. Spiegel has been an ambassador to the Australian Blues Music Festival and he was included in Australian Guitar Magazine’s list of the Top 50 Australian guitarists of all time. BMA asked Spiegel about his thoughts on the upcoming festival and on his music in general.

It gob smacked thwe man when he found out about it.

“Honestly, the line-up bowled me over when I saw it. I actually can’t remember seeing a bill this strong in a venue festival like this. It’s a giant leap and as far as I’m concerned; a great way to kick off a new event. Just bring the best.”

“I actually can’t remember seeing a bill this strong in a venue festival like this.” LLOYD SPIEGEL on the upcoming Canberra festival

Asked if he was appearing with a support band or running solo, Spiegel stated: “I’ll be solo for this one. I play with a drummer on the rest of the tour so this will be a good chance to mix up my set.”

He relishes the flexibility of a solo show, as it grants him the ability to walk on stage without a setlist and really play up to the crowd and the moment.

Spiegel’s most recent release, Cut and Run, represents the end of a trilogy of records, made over three years, with each one written during the touring of its predecessor. The creative writing process differed over the three albums.

“With each one of the last three, I’ve gained more and more confidence in the sense of giving honesty to my audience and feeling each time that they’ll follow me into that new song or new sound. It’s been a really freeing experience, putting them all close together so I can lay them end to end and see myself opening up to my audience more and taking more risks because of it.”

In his songwriting, lyrics are often directed inwardly, as he selfanalyses and delivers messages to himself, in a process that helps Spiegel deal with life.

“It’s cheaper than therapy but it’s kind of the same. It’s talking it out before you really know the root of it and allowing it to make sense in its own time. I usually don’t get to the core of what a song is about til the album is being mixed and I’m listening to it on repeat in the car. Before that, it’s just a bunch of thoughts out loud that don’t make much sense. Once I start piecing where it all came from together, I find myself feeling a tremendous weight lifted off my shoulders.”

The artist’s latest LP includes track Tokyo Blues. Japan is not a country you usually associate with a love of blues, but Spiegel has a strong following there.

“Some of the biggest crowds I’ve ever had have been in Japan and there’s something about that country that brings out a childlike mischief in me. It’s probably because I don’t even remotely fit in there so I give myself a pass to just go with it and stick out as much as possible. That song brings me great joy because it embraces that feeling I get.”

Asked about his favourite song on the LP, Spiegel stated: “I particularly like Rattle Your Cage which I wrote after seeing the American high school students stage walk out protests over gun control.” As he gets older, Spiegel finds it exciting to see kids standing up and being counted, and he felt compelled in his own way to tell them: “I see them, I support them, and I’m facebook.com/bmamagazine proud of them.”

Spiegel enjoys developing the next generation of blues talent, and led a guitar masterclass at this year’s Melbourne Guitar Show.

“I was lucky to grow up in a supportive scene where guitarists always had time for me. I feel it’s an obligation to do the same. The true aim of any musician is to have a link in the chain of its evolution; helping others move forward does that.

The workshops demystify a lot about both the instrument and the industry and I usually learn a thing or two as well.”

He played an enthusiastic role as an ambassador to Youth in Blues. “Working with young musicians is a passion for me. I was ten when I started playing around Melbourne so I know how baffling it can be to a kid who wants to perform but doesn’t know how it all works. It’s not a selfless act though. Ha! Feeding off the enthusiasm of young players reminds me of where I came from, and that after all the touring and recording etc at the end of the day, it’s just great to be able to pick up a guitar and play something on it.”

Followers of music trends may wonder about the future of the blues genre, in this era of producers and hip-hop. However, Spiegel believes there is nothing to fear.”‘I’m seeing more young blues talent now than I’ve ever seen in my 30 years performing. It’s not always the traditional sense of blues but that’s a great thing.

It’s a really exciting time for Australian Blues I think.’

The Red, White, Amber and Blues Festival is on at the George Harcourt Inn, 3 Gold Creek Rd, Nicholls, on the weekend of October 25-27. Full line-up, dates and tix are available at georgeharcourt.com/content/blues-fest-canberra PAGE 37

GYROSCOPE 4YRLV EP

[SKULLERY RECORDS]

[

]

Perth band Gyroscope made their mark with some of the hardest rocking albums of the first decade of this century. While the lyrics were scorching and the guitars relentless, they managed to infuse their music with some fantastic melodies that turned into many a rock fan’s earworms.

It has been nine long years since their last album Cohesion (with only the Crooked Thought/DABS double-A single thrown out in 2017). Now they are back with the new EP 4YRLV. Some bands mellow with time and a lengthening list of albums. Not so Gyroscope, who have punched the air with yet more angry sounds.

Title track 4YRLV cuts no corners in delivering blistering music and vocal desperation from front man Daniel Sanders. Guitars charge through right from the start, and slightly fuzzed-up vocals strive to fight through the electric storm, before the song fades away into quivering reverb and feedback. There is no sign of the band’s carefully crafted melodies and arrangements that featured in earlier releases; it is just shear anguish and brutality.

I Am the Night has an ominous lead in, created with a murmuring bass line, before the vocals thrust in, clearer now, but still snarling.

Bloodstream follows the same fierce formula of smash-’em-before-they-havetime-to-breath, as Sanders yells: “I guess I’m sick of everything!”.

Reversing the normal trend for bands to slip into a softer style, Gyroscope have devolved, sliding down the rock pile to a more basic style of grunge, trading clever melodies for a simple ferocity. It is no Breed Obsession, but it is chock-full of energy and raw thrills.

RORY McCARTNEY

DANNY MCCRUM HUSTLE BUSTLE

[INDEPENDENT RELEASE]

[

Kiwi singer-songwriter Danny McCrum has a varied palette of pop, indie, soul, and funk. His first album Awake and Restless dropped in 2007, followed by two more LPs. Professional frustrations almost led to the end of his creativity, but the return of inspiration while in Austria resulted in his revisiting the recording studio and the creation of his latest release Hustle Bustle.

Indie with some soul vibes thrown in, opener Skin captivates with its syncopated drumming, toe tapping rhythm, beguiling chorus, and playful guitar work. It is a thoughtful examination of the difficulty we have in changing our ways, as we cannot help but be the people we are.

[POLYDOR RECORDS]

[

]

Instead of making an album of daddy kink monologues, and pouting and batting her eyelids so hard you can practically hear it through your speakers, Lana this time has delivered a thought provoking and mature album.

The soulful title track opens the record with a thick piano and scathing lyrics about a guy who can’t quite be mature about anything.

Lead single Mariners Apartment Complex is a breezy song about positive vibes and the rollercoasters of life – “They mistook my kindness for weakness. I fucked up, I know that but Jesus, can’t a girl just do the best she can?”

The social commentary continues in Don’t Be Late. With its catchy bassline and smooth vocal overlaps, it talks about the rampant materialism and frantic pace of modern life.

The album then shifts into Venice Bitch which has no merit to be nine minutes long; the track ultimately only works as background music as you drive with the top down.

McCrum then heads to funky town for the title track, expressing his wish to escape the rat race and breath some fresh air.

Love Song is a touching ode to a lover that is weaved together with the gentle twinkle of a piano. This song is made to have thousands of lighters thrusted into the air during future live shows.

There is a liquid quality to the electro undercurrent to the danceable, soul flavoured album highlight Rescue. It is such a chilled-out, hip song!

Can’t Find No One slows things down, with an interstellar search for other life, before the pace leaps forward with the ‘live for the moment’ themed Full Speed Ahead.

Light My Way is an atmospheric stalker, while Done All I Can is a love song with echoing, well deep, guitar picks. The sparkling indie track Whole Again is followed by Mine All Mine which delivers some impressive guitar work with jazzy overtones.

Whether stating his views on current issues or expressing his emotions, McCrum presents attractive musical packages with smooth vocals and well-crafted lyrics.

RORY McCARTNEY

PAGE 38

]

LANA DEL REY NORMAN FUCKING ROCKWELL

Cinnamon Girl (nothing to do with Neil Young’s 1969 hit) is a morose track with minimal instrumentation.

The impassioned delivery of the lyrics in California, dealing how the protagonist longs for a lost lover to return to America from overseas, are crushing – “We’ll do whatever you want, travel wherever, how far. We’ll hit up all the old places”. With each line becoming more and more pained.

Lana is a woman who wears her heart on the sleeve of her sun dress. Norman Fucking Rockwell offers some of Lana’s best penned material and is more of a concise album than 2017’s askew Lust For Life, making Norman age like a fine cheddar with each experience.

ANDREW MYERS @bmamag

Paul Dempsey Along with bassist Stephanie Ashworth and drummer Clint Hyndman, PAUL DEMPSEY has just returned from sunny Byron Bay after wrapping recording on the new SOMETHING FOR KATE album with producer Nick DiDia and assistant Troy Gilchrist (DiDia has worked with other Aussie treasures like Karnivool, The Living End, and Powderfinger). Some days after we speak, the band jetted off to Toronto for the album to be mixed with Howie Beck – things move quickly, something that will no doubt please their dedicated fans.

“He [DiDia] was great to work with, and the studio is fantastic, and you know – it’s Byron Bay. The weather’s better than winter in Melbourne,” Dempsey tells me over the phone. “It was nice to get out of town, away from our familiar surroundings, which is pretty much what we do whenever we make a record.”

When I ask if Byron had an effect on the songs, Dempsey tells me that it’s more about the band getting away from what they’re used to.

“I don’t think it’s so much about the location, more just about not being surrounded or beholden to your everyday, regular, home life,” he says. “That really is what breaks the spell. As much as we possibly can, we just like to be completely focused on the recording.”

Now with families and kids, life for the band has changed over their 25 years, and there are a different set of responsibilities and routines that band life needs to work around. Gone are the days of just booking a tour and jetting off when the feeling strikes. However earlier in the year, before the band went to Byron Bay to record, Dempsey played a series of shows at The Gasometer in Melbourne, where he road tested a handful of the new SFK tunes to a live audience.

“We were still in the thick of writing at that point, and sometimes I’m just not sure about a song until I just try and bash it out live,” he says. “Sometimes I’m sort of nervous about it, and I’m not sure about even showing it to anybody, so I guess I kinda have to force myself onto the spot.”

His band-mates were along for the ride too. “Clint and Steph were obviously in the audience most nights, listening to what I was doing, and then they would come at me with pages of notes,” he says. “Even though all three of us weren’t on the stage, it’s really valuable for them as well, just to hear me play the new songs live. I write all the stuff, but they really get in there and pull it apart, suggest changes, and I open myself up to that.”

Fans of SFK and Dempsey’s work will know that not only do they have a musically distinctive and diverse catalogue, but that Dempsey’s lyrics carry a beautiful, vivid descriptiveness to them – without it ever being entirely obvious what they’re about. Dempsey’s process of writing those

facebook.com/bmamagazine

ON BREAKING THE SPELL, AND COLLABORATING WITH STRANGERS

By Jeremy Stevens lyrics is one he works hard at, and he has traditions that pair up with that process: such as burning the words he wrote along the way in his Moleskine notebooks. The notebooks for the upcoming album haven’t been burnt – yet – but he assures me that they are “destined for the flames.”

“I did it after our very first EP,” he says. “I had a notebook with all the kind of rambling, stream-of-consciousness crap that was a part of that journey towards those lyrics, and I just instinctively didn’t want it around anymore. It’s really like spilling the inside of your brain and your heart out onto the page … I just feel like when I’m moving forward, beginning to work on the next project, I need a clean slate.”

Dempsey has his own prolific solo career humming along at a nice pace these days, and soon enough he’ll be playing for us at the Canberra Theatre Centre. Apart from performing being “pure enjoyment” for him, playing live is also about Dempsey’s relationship with the crowd.

“When there is that sort of collective feeling in the room, you feel like there is no separation between the person on the stage and the people in the audience,” he says. “Everyone’s there for the same reason, and everyone is on the same trip for a little while, and there’s very few opportunities in life where you can really feel like you’re on the same trip with 500 other people … It’s like a collaboration with strangers.

“You’re just all in something together for a little while. And when that happens and it’s really great, you could be anywhere. You leave the moment, you depart from yourself.” He laughs, but I agree with him – it’s true. The best gigs do feel that way.

It’s hard to talk about a band like Something For Kate and their 25 years without talking about how so few Australian acts make it that long with sustained support from the public and their fans.

“We just feel incredibly grateful to our audience,” Dempsey says. “Our first responsibility is to ourselves, to the three of us, to just keep it special and keep on doing things our way.”

Not many bands are lucky enough to have an audience like that, either – one where you could reinvent your sound and start doing something new, while having fans embrace it with open arms. It’s fitting then that SFK’s last album, Leave Your Soul to Science, ends on the line: ‘There’s never been a better time to begin.’

“That song, Begin, it’s about the moment,” Dempsey says. “That every single second is an opportunity to begin. So I guess we don’t look too far ahead, and we don’t have big master plans. For us, it’s all about just staying true to what we’re doing right now, in this moment. Let’s just make a great record and go and have a blast playing it live.”

It’s a plan their fans will no doubt be very happy with.

Paul Dempsey plays the Canberra Theatre Centre on Thursday November 7. Tickets are $50 + bf, and available at canberratheatrecentre.com.au

PAGE 39

THE WORD ON

FILMS with Cameron Williams THE JOKE’S ON YOU

Is Joker a big troll?

Being outraged by Joker is falling into its trap. The origin story of Batman’s nemesis, played by a lowcarb Joaquin Phoenix, carefully picks its moments to troll you.

Take the film’s most triumphant moment: Joker dances in the streets of Gotham City in full clown make-up and dyed green hair.

The scene is set to Gary Glitter’s Rock and Roll Part 2.

So what’s the punchline?

Well, Glitter is a convicted paedophile.

You can give director Todd Phillips (The Hangover) the benefit of the doubt – the song still plays at sporting events guilt free – but even the world’s worst search engine would inform you of Glitter’s misdemeanours.

Like with a lot of Joker’s edgiest moments, it’s crafted to agitate.

PAGE 40

Phillips wants Joker to be taken seriously with its exploration of a man’s decent into madness, to eventual murderer, which triggers a class war on the streets of Gotham built on an ‘eat the rich’ mentality.

The politics are murky because Joker is pushed over the edge because

he feels unheard and his career as a stand-up comedian ain’t working out. Jeez bud that is … not so tough.

Never Really Here, The Master, or as even as far back as Gladiator; a far more menacing villain.

Phillips’ greatest trick is making Joker look like a gritty character study from the 1970s, inspired by the films of Martin Scorsese (Taxi Driver), William Friedkin (The French Connection) and Sidney Lumet (Network, Serpico) but it’s nothing more than a poor imitation.

Only for a moment does Joker have a point-ofview that’s tangible, which is the dangers of giving extremists a mainstream platform.

Gotham’s media sensationalise Joker’s crimes with newspaper front pages covered

with clowns with fangs, and later in the film he’s invited as a guest on a popular talk show (enter: Robert De Niro). It all ends badly, but Joker only ever paints in shades of black on black. Whenever it feels like the film’s got something to say, it slaps on a ‘shit happens’ bumper sticker instead.

We’ve perfected the art of giving things the attention they don’t deserve in pop culture - politics, social media and Joker slots into this category. It’s already one of the most talked about films of 2019 so far.

We’ve been trolled.

Yes, the terrifying enigma of the Joker, which has always been the character’s greatest strength throughout the history of Batman comics, gets explained in detail. The Joker used to be evil in the same way the flux capacitor makes time travel possible in Back to the Future – it just is.

None of the undercooked politics, violence, or ties to exhausting tropes of Batman films (hello, young Bruce Wayne) are Joker’s worst hand.

Its biggest misstep is empathy. Phillips is obsessed with ensuring we understand Joker’s motives to portray him as a tragic figure who becomes a cult hero.

Phoenix’s performance is great, but he’s been better. Look to You Were

@bmamag

DON’T STOP ME NOW [MA COSA CI DICE IL CERVELLO] — LAVAZZA ITALIAN FILM FESTIVAL 2019 — PALACE CINEMAS, SEPTEMBER–OCTOBER [

]

Paola Cortellesi has taken starring roles of all kinds, and this single movie demonstrates her versatility.

In Don’t Stop Me Now (literally: “But What the Brain Tells Us”), Cortellesi plays Giovanna, a payroll accountant with the distinction of having a more uninteresting job than any of her daughters’ classmates’ parents do.

In fact, Giovanna is a highly trained field operative for Italy’s intelligence services. And her current mission plays havoc with her single parenting of a young daughter.

This could have been a rather tense film in which the hazards of Giovanna’s professional life spilled over to threaten her personal life in the shape of her daughter; but in fact it takes a rather different turn as Giovanna uses her professional resources to right wrongs that her friends have suffered due to increasing public disenchantment and disengagement.

And it’s her creativity in both spheres of her life that largely gives the film its unusual blend of continuous action and continuous hilarity — creativity that an enforced holiday only serves to feed.

Beautifully plotted, naturally acted, and lit with finesse and filmed with originality, Don’t Stop Me Now enjoys the fortunate distinction of being nonstop entertainment for everyone, and of withstanding repeat viewing for years to come.

See it when you get the chance, for its action, for its comedic creativity, and for the satisfaction of watching Giovanna’s personal relationships blossom, reigniting her friendships and a long-lost romance.

JOHN P. HARVEY

facebook.com/bmamagazine

PAGE 41

Exhibitionist | Arts in the ACT

What exactly is the meaning of life?

To have the energy you bring to this world project a positive influence on those around you. All living creatures are our brothers and sisters.

Except flies. Fuck them annoying bastards.

Hecklers… A help or a hindrance? Do you have any particular favourite “come backs/ put downs” for the lippy segment of the great unwashed?

If they use audible diction to speak their words, it can work in my favour. But many of the drunks at my show yell out sentences that resemble animal calls more closely than English words. I can’t do much with that.

The Danish word ‘hygge’ means to evoke a feeling of warmth, happiness and glow.

What would create this sensation for you?

I guess being in a womb. That has a 45 watt bulb illuminating it.

What is your favourite book?

A CHINWAG WITH A COMEDY WAG

Who are some of your favourite comedians?

What got you into comedy?

Bill Burr, Jim Jefferies, Frankie Boyle. You might get a better understanding of my comedy if you’re familiar with any of those.

Having the confidence to say fairly inappropriate jokes around the 35-yearold mothers that made up my Master in Teaching uni course.

It usually resulted in shocked stares of disgust, but the one or two who would occasionally giggle convinced me I had the confidence for comedy.

How would you describe your style of comedy to the layman?

I’m not sure if ‘Heavily Australian’ is a comedy genre but I’ll coin it now if it’s not.

How would you describe your style of comedy to a TV Exec looking to sign you to your own series?

I’d list of all the sexual favours I was willing to perform in order to get me on the air. It’s a long, degrading list that few Hollywood producers would turn down.

PAGE 42

What’s one of the funniest/weirdest things that’s happened in your career?

Probably having fans ask me to do sex stuff to their partners/wives/aunties. My fans are so great.

Comedians hate being asked “tell us a joke” when people find out they’re comedians. So... What’s one of your favourite jokes?

Airplane pilot comes onto the intercom to say: “One of the engines on plane is out, but not to worry, there’s still one more engine keeping us going”.

15 minutes passes and the pilot comes on the intercom again to say: “Unfortunately we’ve just lost the last bloody engine on the plane, so yeah.. We’re gonna be up here all night folks”.

I love my history books. Distant Mirror by Barbara Tuchman is a personal fave, which brings to life the men and women who lived in 14th century Europe. I would’ve been burned at the stake for my heretical comedy a few times over by now if I were alive then.

[The following question is lovingly borrowed from Richard Herring] If you had to be in the middle of a human centipede - if you had to - but you got to pick who would be in front and who would be behind, who would you pick for both?

I guess in the ranking system of society as a performer maybe I’d have to stand behind a civil servant of some sort. I eat enough shit from politicians watching TV so might as well eat a bit more.

And behind me? Behind me maybe a small child that isn’t too heavy for me to drag along.

Alex plays The Street Theatre, 8pm, on Friday, 22 & 7pm Saturday, 23 November – for tickets and info go to frontiercomedy.com https://au.patronbase.com/_StreetTheatre/ Productions/AW19/Performances

@bmamag

Do you have any pre-show rituals?

Not rituals, exactly, but I try to get relaxed and focused before we start.

Ideally, I like to have a bit of quiet time before playing to collect my thoughts, but it often doesn’t work out that way. For years I’ve thought of taking up meditation before gigs, but I still haven’t.

Best way to celebrate a good gig: Often it’s a beer with the bandmates.

The adrenaline can run high for a while after a good gig, so celebrating is easy.

It’s harder to wind down.

What’s a fond gig memory?

I played with a friend’s band in Paris last year. Since then I have a fever to do more playing in Europe.

What’s a not-so-fond gig memory?

Getting yelled at by the groom at a wedding gig.

On The Road with... Ben Winkelman Jazz pianist and composer Ben Winkelman presents music from his new trio album Balance, which has been described by Downbeat as, “one big, interconnected thing of beauty”. His writing explores diverse musical interests filtered through a jazz perspective: AfroCuban, gospel, and classical music, with a focus on Latin rhythms in odd meters. Joining him are long-term colleagues Ben Vanderwal on drums and Sam Anning, winner of the 2015 National Jazz Award, on bass.

We caught up with Ben to see what makes the man tick when on tour.

What do you listen to, or indeed do, when travelling?

On the long flight to and from Australia I like to binge watch movies. When travelling in Australia, I’m always hoping for more beach time.

Lately I’ve been listening to a great NPR (US public radio) podcast in the car called Hidden Brain, which discusses issues related to the human brain and psychology. Very interesting, and the presenter has a very soothing voice.

Recently, my favourite driving music has been the Cuban rumba group Osain Del Monte. I was lucky enough to see them live while visiting Havana a few years ago.

Best travel experience?

I’ve visited Galicia in Spain several times recently – very beautiful, great seafood, small but lively cities, great people. I also enjoyed Cuba a lot. I saw a lot of great music whilst there.

Worst travel experience?

Not so fond of long drives on Long Island, New York (I do that quite a bit).

Favourite travel snack/drink?

I’ve been away from Australia for a while, so I’m looking forward to eating some meat pies on the road. In my opinion, Australia generally has better Asian food than in the US, so I’m looking forward to that, too. facebook.com/bmamagazine

Tell us about your latest work, and what you most love about it: My compositions are contemporary jazz pieces that draw on a variety of influences. I played in salsa bands for years; I like to study classical music on piano, especially Bach, Ravel and Debussy; and since moving to New York I have been playing gospel music for an African-American church. Some of these influences can be felt in my writing.

When I started playing with the great Australian drummer Ben Vanderwal a number of years ago, he introduced me to the idea of playing Latin rhythms in odd meters. This is something I still enjoy experimenting with - some of the pieces on the new album have this.

The new album is called Balance. I think a lot about balancing different elements in my pieces: planning/ spontaneity, complexity/simplicity, density/openness, intellect/emotion. I recorded it with Obed Calvaire and Matt Penman, two New York jazz musicians I’d admired for a long time.

One of the things I love about jazz is group interaction.

Good improvisers listen and respond to each other; it can be like having an interesting conversation.

Thoughts and feeling on destination Canberra?

I love playing at The Street Theatre; it’s one of my favourite venues. I’ll be playing with Ben Vanderwal and Sam Anning. We were a regular band for a number of years, and I feel that we have a special musical connection. Now that we live in different countries it’s a rare treat to get to play with them. It always feels a bit like a band reunion when we get together to play again.

Anything else you’d like to add?

I’m really looking forward to touring in Australia again.

It’s a great experience to play my music every night with such stellar bandmates.

The Ben Winkelman Trio: Balance Album Launch happens at The Street Theatre on Friday, 25 October at 7:30pm. Tix $29 from thestreet.org.au PAGE 43

ENTERTAINMENT GUIDE]] ENTERTAINMENT [POLL POSTERGUIDE 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 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 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 Sugar3 ‘Party Crier’ single launch Indie-pop-rock Canberra fourpiece Sugar3 are launching their latest single Party Crier with 2410 Records stablemates Powder Blue and a solo set by Jaclyn from The Differs THE FRONT

PAGE 44

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

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

Bass heavy house and EDM FICTION CLUB

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

Sunday 1 Sep

THEATRE

LIVE MUSIC

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

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 Monday 2 Sep Tuesday 3 Sep LIVE MUSIC 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

TALKS Jacinta Price - Mind The Gap Info and bookinging from truearrowevents.com.au or the venue THE STREET THEATRE Wednesday 4 Sep Thursday 5 Sep Friday 6 Sep

LIVE MUSIC Seeker Lover Keeper Bring their ‘Wild Seeds’ album to the on Friday, 6 September. Tix are $65 + bf from the venue CANBERRA THEATRE

Saturday 7 Sep

LIVE MUSIC Jazz Haus Vocalist Kristin Berardi/Bassist Sam Anning CD Launch AUSTRIAN CLUB ’70s Tribute Night Including tributes to Led Zepplin, Queen, Kiss, David Bowie, Pink Floyd, Black Sabbath and more.

From 7pm THE BASEMENT

TALKS 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

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

EXHIBITION PARK

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 Thursday 12 Sep

LIVE MUSIC AM Reruns — Self-titled album tour Melbourne modernist trio AM Reruns announces its debut selftitled LP. 8pm, tix on the door SIDEWAY BAR Friday 13 Sep

COMEDY 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

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

Sunday 8 Sep

DANCE

ARTS

LO’99 @bmamag

facebook.com/bmamagazine

PAGE 45

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

Thu 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

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

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

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

DANCE

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

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

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

TALKS

Thursday August 29

Blanke Bass heavy house and EDM FICTION CLUB

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

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

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

Annika Romeyn exhibition - Endurance Inspired by the personally significant site of Guerilla Bay, Yuin Country. Runs until 20 Sep MEGALO PRINT STUDIO & GALLERY 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

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 PAGE 46 four hands at one piano. 7:30pm.

Tix from venue

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

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

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

Friday 30 Aug

LIVE MUSIC Precipice #24 Every year a diverse range of improvisers from around Australia gather to collaborate in

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.

NEXT ISSUE: #494

OUT JUNE 7 The Good Doctor An adaptation of Anton Chekhov’s short stories for the stage,

Canberra. Four opportunities to @bmamag see extraordinary improvisation artists live. Tickets at the door

facebook.com/bmamagazine

PAGE 47

PAGE 48

@bmamag