BMA Magazine 437 - 26 March 2014 by BMA Magazine

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We liebe Lyneham

It must be behind the couch #437MARCH26 Fax: (02) 6257 4361 Mail: PO Box 713 Civic Square, ACT 2608 Publisher Scott Layne Allan Sko General Manager Allan Sko T: (02) 6257 4360 E: advertising@bmamag.com

Editor Tatjana Clancy T: (02) 6257 4456 E: editorial@bmamag.com

Do you remember the Parties at the Shops as part of that Centenary malarkey last year? Suprisingly they weren’t based on the heady excitement I feel when a combination of free checkouts, childless meandering and everything on my list being on sale results in a kind of suburban nirvana; it’s more like a celebration of the local community and how much creative talent is lurking behind the rendered govy house facades. The parties are back this year, albeit a little more sporadically (funding exists for this stuff folks, avail yourselves of it!) and Lyneham is one of those motivated areas that plans to showcase its wares. The Front Gallery and Cafe is hosting an exhibition featuring local artists called (strangely enough) We Love Lyneham: Aspects of Life in a Unique Suburb. Paul Summerfield, Annette Boyd and Clare Jackson are among the emerging and established artists that are giving their perspectives on one of our oldest suburbs. Curator Claire Capel-Stanley who has worked

with the National Gallery and National Library, has helped put together an exhibit that focuses on the personality and rejuvenation of the area. The associated Party at the Shops will also feature stalls, food, clothes via Aprils’ Caravan and pop up art goodness. To find out more about the scheme contact Parties at the Shops via facebook.com/ PartiesattheShops or head to partiesattheshops.com.au. The site is currently asking for artist submissions for the upcoming Ainslie party on the 17th of May. Email amy@devilmoon.com.au for more info.

FOR FASH SAKE So apparently Canberrans are able to host successful comedy festivals, make and export great music, food and art AND manage to create dapper threads. From April 30 to May 3, this impressive talent will be showcased again via Fashfest, another Centenary event that stuck (like the blu tacked posters I now have on my office wall that featured in the rather excellent BMA Exhibit at Canberra Contemporary Artspace last year. Yeah that’s a plug. What of it?) This year’s event will again highlight entrepreneurs, designers and musicians via a diverse range

of happenings. Canberra based fashion market Hustle and Scout are holding a Twilight Market at NewActon Nishi on 12 April, 3-8pm with three new local acts performing on the night, Brother Be, Kaleid (a new female acoustic trio) and DJ Faux Real. If that’s not enough there will also be roaming models by April’s Caravan, a Fashfest photobooth, a fashion shoot by Haus Models and a new pop-up food event called ‘The Forage’, which will be presenting a selection of Canberra’s finest food and wine in the Nishi Gallery Gardens. For more info head to hustleandscout.com.au or fashfest.com.au

PHOENIX PUN NEEDED If you can come up with another metaphor that DOESN’T allude to a Phoenix rising from the ashes in order to give the following Phoenix Pub announcement some comedic kudos I’d love to hear it. In the meantime I’ll let you know that the Phoenix has indeed recovered from the damage it received due to the recent fire in the Sydney Building. It will reopen with a umm bang for a ‘Resurrection Gig’ on Wednesday March 26 featuring Fire on The Hill – that pun wasn’t mine.

Accounts Manager Fahim Shahnoor T: (02) 6247 4816 E: accounts@bmamag.com

Image:Leighton Hutchinson. Those Lonsdale kids will catch their death in winter with this new uniform!

Sub-Editor & Social Media Manager Chiara Grassia Graphic Design Chris Halloran Film Editor Melissa Wellham NEXT ISSUE 438 OUT April 9 EDITORIAL DEADLINE April 1 ADVERTISING DEADLINE April 3 Published by Radar Media Pty Ltd ABN 76 097 301 730 BMA Magazine is independently owned and published. Opinions expressed in BMA Magazine are not necessarily those of the editor, publisher or staff.

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FROM THE BOSSMAN

YOU PISSED ME OFF!

Today, ladies and gentlemen, I would like to use this oftengoofy column to do something noble and bring awareness to an increasingly marginalised group in our community.

Care to immortalise your hatred in print? Send an email to editorial@bmamag.com and see your malicious bile circulated to thousands. [All entries contain original spellings.]

I am, of course, talking about… Vowels.

To the 40 year old pube who came into my work and sent back five coffees and then exclaimed all he wanted was an espresso on skim in a mug, thats a mug of flat white you doodle. How the fuck did you get to your age and not know what coffee you drink. I suggest next time you order a nice cup of shut fuck up and let me be a barista in peace

It all started innocently enough years ago when texting entered the world as a form of communication. When we had to type out each individual letter with our thumbs (or painstakingly with index fingers if you’re over a certain age) it made perfect sense to stave off the inevitable arthritis to type BRB for ‘Be right back’, GD for ‘good’ or the ever-popular SPSTM for ‘Sko please stop texting me’. But when the latest release from bass music superteam SBTRKT touched down in the palatial BMA Mag offices recently, it reminded me that it was creeping into our beloved realm of music in a rapidly growing fashion. MGMT, TNGHT, RNDM, GRMLN… The list goes on, but the Vowels don’t. What did Vowels ever do to anyone to deserve this treatment? To find themselves so cruelly cast out from society in an ever expanding fashion? And where will the persecution end (or, indeed, the questions)? Its popularity is catching on and soon other musicians, perhaps spying a chance to jump on the hate bandwagon and make a bit of cash, will start segregating Vowels too. And this will be just the beginning. Such widespread adoption by beloved musicians who are so slavishly followed by a screaming fanbase will - and I don’t think I’m speaking in hyperbole here absolutely definitely lead to laws being passed banning Vowels for all musicians in an attempt to stimulate the economy and get people buying again.

To the fucknuckles who don’t understand that travelling on escalators is less of a Sunday drive but more of a means to get somewhere. There is also an unwritten rule that you stick to the left hand side, imagine being considerate of others and understanding that you’re not the only person on the planet! You’re probably the same people that view the indicators in your vehicle as optional extras, the nimrods who stand near pool tables and look pained when they have to move for me to take a shot and definitely the same dickheads who decide to converse with your boring friends in the middle of a shopping aisle and expect us all to squeeze past you in a pathetic social dance of ‘I’m sorry, no I’M sorry’ . We’re all fucking sorry. Stay home losers. You continually piss me off.

This law will hit some groups particularly hard. Spare a thought for Oasis who become the rather unfortunate SS. Or Bonobo, who becomes a sound you make after being asked the question ‘Would you like a 12th pint?’ with ‘BNNB’. Or looking back to poor Lynyrd Skynyrd who would become the rather unfortunate sounding, errrrr, wait. Forget that last one. We’re on the fast track to descending into some kind of Orwellian nightmare where all Vowels are eradicated. Well I say we say ‘No!’ to Vowel neglect, take the power back and start sticking up for our marginalised Vowel friends by inserting them back into places they’re not needed. BRB, THX, GD all will be lovingly sprinkled with Vowels once more. Yes, RSI will curl the fingers into question marks so that when you look at your gnarled hands they seem to say back to you, ‘Why?’, but it will be worth it. Plus, kids today could use all the help they can get with writing. And let’s add more Vowels to our children’s names and follow our bogan brothers, who for decades have been pioneers in putting superfluous Vowels into their children’s names. One day I want to see an Aabbee or a Shaaaaaaayne represent my local district. What a proud day that will be. But I can’t do it alone. So... Wh’s wth m? Sht, nw ‘ve strtd dng t. Th dsas s sprdng, ppl! Stp t bfr t’s t lt!* ALLAN SKO - allan@bmamag.com PS A sincere good luck to GRNFST happening on Mar 29. *Who’s with me? Shit, now I‘ve started doing it. The disease is spreading, people! Stop it before it’s too late!

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Image credit: Megan Leahy

WHO: SHAUN KIRK WHAT: ALBUM LAUNCH WHEN: THUR APR 3 WHERE: THE FRONT

It’s all happening for self-styled blues/soul troubadour Shaun Kirk. A mega successful crowd funding campaign helped him release his new album, Steer The Wheel, which has skyrocketed to #1 on the Australian iTunes Blues Charts. First single ‘Stitches’ is a funky number where Kirk ultiltes a Robert Plant-esque falsetto to great effect and is getting a solid spinning on Triple J and Radio National. With rock, soul and r&b influences, Kirk has been winning over audiences from Woodford to Byron Bay Bluesfest. He’ll be swinging by The Front on Thursday April 3 at 7pm. $10 + bf from Moshtix. 18+.

WHO: Quarry Mountain Dead Rats WHAT: Folk Festival Gig WHEN: Fri–Sun Apr1 8–20 WHERE: The National Folk Festival

Hailing from Mornington Peninsula, Victoria, Quarry Mountain Dead Rats are a five piece that play a furious mix of dirty bluegrass, rock and roll and mountain music-inspired tunes all coupled with a dry wit. Using mandolin, banjo, guitar, washboard, double bass and the odd circular saw and mallet to achieve their frenzied folk sound, the QMDR have been whipping audiences into a fever with their powerful live performances. And for an unplugged band, they sure make alotta noise. You can catch the quintet on Friday, Saturday and Sunday at the National Folk Festival at Exhibition Park.

WHO: The Stiffys WHAT: EP launch WHEN: Thu Apr 3 WHERE: The Phoenix

“We used to just sing about stiffies but we’ve sort of outgrown that – we’ve matured as artists,” or so quips Jason Leigh, bass player for rockin’ Melbourne duo The Stiffys. They’ve just released their second EP We Are Groovy Boys, with new single ‘Boogie Boarding’ sitting alongside hip-shaker ‘I’m Really Good At Sex Because I’m Always Doing It’. When the good time boys aren’t tearing it up stage, they’re uploading their very own warm up exercise videos on the ’Tube (search with care). The pair will stopping by the back-with-avengeance Phoenix bar on Thursday April 3. Tickets $5 + bf, 18+.

WHO: Magnifik, Radar and Weston, Coda Conduct, Mr Michael x Monfory Horrors WHAT: Fashfest 2014 WHEN: Wed–Thu Apr–May 30–3 WHERE: Canberra Airport

Fashion extravaganza, Fashfest, will be appropriately soundtracked by a slew of cutting-edge acts, handpicked by Michael Lui. Kicking things off on the Wednesday is Magnifik, who recently scooped up Best House producer 2013 at the Music ACT awards. Thursday sees Radar and Weston unleashing their brand of electronica using a mixture of live instruments, software and vocals, while Friday night infectious hip-hop duo Coda Conduct spitting rhymes take the stage. Saturday night is capped off by Mr Michael x Monfory Horrors, a collaboration between violinist Liu and multiinstrumentalist James Erskine. Tickets start at $68 + bf.

WHO: Waterford WHAT: Single launch WHEN: Wed Apr 2 WHERE: Smiths Alternative

Local staples Waterford have just unleashed the first taste from their forthcoming second album, due to drop in early May. In true Waterford fashion, ‘All That Gold’ is a nugget of jungle pop gold – all fuzzy warm guitars and whip-sharp lyrics, clocking in just under three minutes. “It was written just before the 2013 election,” says songwriter Glen Martin. “Not that it’s a political song, or a song with a capital-M-meaning. Just a rumination, like all of our stuff.” Waterford will be launching the single at Smiths Alternative on Wednesday April 2, with support from Pocket Fox and Vice Like Grip.

WHO: Jazz and Blues Gala for Gulu WHAT: Family Care Orphanage fundraiser WHEN: Thu Apr 10 WHERE: CIT Southside Auditorium (Block J)

On Thursday April 10, CIT Southside Auditorium will be filled with the majestic sounds of some of Canberra’s finest jazz and blues musicians. Raising money for the Family Care Orphanage in Gulu, Uganda – started by Melbourne born volunteer Robin Yamaguchi, which provides safe housing, food and schooling for impoverished children in the area. Singers Dorothy Jane Gosper, Rachel Thorne, Pearlnoire and local jazz choir Rythm Sydnicate are just some of the talent lined up for the night. Yamaguchi will be in attendance to talk about the orphanage and her work. Tickets are $15 or $10 concession, available at the door. 7.30–10pm.

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cody atkinson Local music. Who has time for it? Isn’t it all shitty bands who can’t make it in the big smoke? And why would any sane person waste time releasing it? Cody Atkinson looks at the nuts and bolts of Canberra record labels. Name? The Canberra (independent) record label. Age? The first Aussie indie label release was The Saints ‘(I’m) Stranded’ in 1976. So let’s say about 38 years old. Location? In bedrooms and bars throughout Canberra. Why should I care about local labels and local music? Really? You’re reading BMA and you don’t care about local music? Calm down, it’s just a hypothetical question to get you riled up. It’s kinda how this column works. Ah okay. The primary reason you should care about local labels and artists is that, right now, local music is pretty damn good and it is being put out nearly entirely by local labels. Local labels provide important snapshots of the cultural health of towns like Canberra and while that ain’t as sexy as a Number One Gold Record, it is more culturally significant.

In addition, the relative ease in recording and releasing an album compared to, say, three decades ago makes having a good label operating out of Canberra more achievable. Hmmm, I don’t believe you. Nothing good could ever come out of Canberra. That’s a bit facetious. Case in point: TV Colours debut album Purple Skies, Toxic River, released on Dickson label Dream Damage, was rated by several judges as being one of the best Australian albums of last year. Other bands on the label include Danger Beach, The Fighting League and Slow Motion. ONE label doesn’t prove anything... How about Cinnamon Records then, who are making some noise with their noisy punk rock, such as Sex Noises, Mornings and Sweet Shoppe and whatever Orlando Furious and Mikey Shanahan are.

This list runs longer that I have column inches

So why has the local indie label returned? I thought we got rid of them with the mullet and the Canadian Tuxedo? Well, they’ve kinda come back too. Shit. Really? Yep. Back to the point, while there may be a perception that indie labels died, the local indie imprints really never went anywhere. It’s just now there’s a lot more of them, due to various advances in recording and distribution technology and the relative retreat of major record labels in Australia. While major label distribution is common in Australia, alternative artists signing wholesale to one of the Big Four is much rarer. Indies are getting a bigger piece of the pie? Indeed. A recent article by General Manager of Australian Independent Record Labels Association (AIR) estimated that the market share of AIR affiliated indie labels account for more than 35% of music sales, surpassing both Warner Music Australia and Sony. And that doesn’t count the sales by non-affiliated independent labels, like many of the newer Canberra labels. But if a band is really good, wouldn’t they be signed to a label out of Sydney, Melbourne or even overseas? Well, as alluded to above, the temporal location of a label is less important these days than ever before. With the primary mode of music distribution in Australia now being digital, temporal location is less of a factor, with the critical merits of the work being released.

Ah, but that’s still pretty narrow in scope. Doesn’t Canberra music lack diversity? Well, I wouldn’t put most HellosQuare releases in the same category as Dream Damage or Cinnamon. In fact, that’s probably the best thing about HellosQuare – that their music is provocatively unpredictable. And Birds Love Fighting puts out groups like Waterford, The Ocean Party and Crash The Curb and in their spare time put on killer genre crossing shows like Gangbusters with local and interstate acts. There are also killer dance and hip-hop labels... I could literally go on and on. I can tell. And that’s before you get to all the bands self-releasing albums independently and selling it off their own backs. Like the new Fun Machine album? Yeah and Julia and the Deep Sea Sirens, Super Best Friends, Fossil Rabbit and Central West... Again, this list runs longer that I have column inches. So, what you’re saying here is that all Canberra music and Canberra music labels are great and we can live in peace in harmony? Not at all. There is still the important critical distinction between local music and good local music. Listening to music is a highly subjective exercise and you might hate all local music. More power to you. And you might hate many of the bands on my list. I feel like there’s a ‘but’ coming on? But it’s also important to recognise that there is some stellar Canberra music and labels right now, in a variety of styles and genres. The fact that I’ve barely scraped the surface of the scene in this column is proofpositive. I know it’s cool to be a #CBRhater but it’s not as bad as it seems.

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BURNER COLLECTIVE

AUDIOARY RECORDS The term ‘audioary’ stemmed from a conversation about David Bowie. We labelled him a ‘Visionary of Sound’ and then got upset as there was really no one word available to describe this concept. Bingo, Bongo… ‘Audioary’ was born. We’ve always wanted to start up our own label as a medium to release our own music, but I can see it growing past that pretty quickly. There are so many talented musicians in Canberra and it would be our dream to one day have Audioary Records be in a financial position to back a lot of these artists. In the meantime we’ll continue to record and release music for Pivotal Point, The Barren Spinsters and in the near future Reporting to Charlie. We wanted to start up a label of musicians much like the original Motown or, more recently, Daptone Records. These empires seem to be more closely structured around a group of musicians, rather than your typical trend chasing businessmen of the major labels. At the end of the day, without the seasoned musos, you have no product to sell. Audioary Records plans for the future center around our launch on Friday April 4 at Transit Bar in Civic. As a part of this label launch we shall be releasing two EPs of The Barren Spinsters – Counter Culture and Lost Cause Found and a full length album from Pivotal Point titled It Doesn’t Look Good On Paper. For more information you can contact Brendon Houlahan on 0419 610 171 or email brendon@thebarrenspinsters.com. Alternatively, you can catch Audioary Records and all of the previously mentioned bands on Facebook.

BIRDS LOVE FIGHTING When I launched Birds Love Fighting, the city needed it. I saw a lot of potential in Canberra – creative stuff was happening, but there was no central way to find out what, who and when. Frustratingly, in some cases, the artist themselves wanted to remain mysterious in a city already lacking in any (at the time) notoriety for those in the creative music scene. There was this strong undercurrent of music and I wanted to help the Canberra music loving punters tap into this and also latch onto like-minded bands touring from interstate. Great stuff was going on in garages, bedrooms (musically) and lounge rooms in the inner-burbs. Getting that into a gallery space, cafe, or pub was always going to be a special thing. After that, things seemed to take-off – regular band nights, mini-festivals, physical and digital releases, tours and so on. The label’s initial desire to fill that creative hole in Canberra morphed into the outcome you see today. I run the label, but can’t say that I do it alone. It’s a small operation, so the bands throw themselves into it and friends help out. Having been through the ringer with show after show after show, I’ve chosen a more selective and flexible style of running the label. I suppose the goal now is to continue releasing limited edition vinyl 12” records and promote those releases with tours and mini-festivals, like Gangbusters. Contact us via birdslovefighting@gmail. com or birdslovefighting.com

Burner collective is a project put together by Angus Adamson and Lukas Benson. It aims to help expose local electronic producers and provide an outlet for them to host and disperse their tunes in a way that connects them with other local artists, creating community and exposure. Each volume hosts four individual tracks by four different artists. Each individual release tries to loosely carry a theme of genre and sounds alike to the other artists on the release, with some volumes carrying a slower down tempo theme featuring hip-hop and broken beat tracks while other releases create a more upbeat vibe with tracks that include techno and house themes. The label was started in a backyard over a cup of coffee and had humble intentions of creating a set of releases that could come out regularly and then be interacted with by the artists and other people that are interested in the electronic music production of Canberra. So far we have had a great response from artists that are willing to get involved and in turn have created seven volumes of great music all deriving from local sources. All of the releases are also available for free or donation. We aim to continue to grow and keep the releases fresh and flowing. With the help of a grant supplied to us by National Youth Week we aim to further promote the label and its artists and will be having a small event to expose the music in a public forum. Keep watch on our Facebook for more information. We are always looking for new additions to the label and will be looking to fill spots for volume eight in the near future. Contact us at: Burnercollective@gmail. com and on Facebook.

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CINNAMON RECORDS

hellosQuare

Cinnamon Records was started as a small project in 2012 by myself, but things have been getting a little busier lately so Anja Loughhead (frontwoman for Sex Noises and Sweet Shoppe) and the multi-talented Gus McGrath (Beach Slut, Oxen, Primary Colours and Sweet Shoppe) have joined the team.

hellosQuare was started by me (Shoeb Ahmad) in my Belco bedroom back in 2004 with the intention of putting out small editions of music, both from myself and by people who I admire.

The label was started mainly as a way of getting new Canberra music recorded and distributed, which is something that a lot of bands sadly don’t do. I hated seeing great bands disappear after playing only a handful of shows (in true Canberra fashion) without being properly documented. So far I’ve been recording, mixing, promoting and distributing music for bands because I wanted to help out with the things that are, unfortunately, often too expensive or stressful. The label has recently expanded past the A.C.T border line, but the goal is the same and it’ll always have strong Canberra focus. There are quite a few things in the pipeline. Sweet Shoppe are currently working on a debut album, a new Mikey Shanahan release is being recorded, Sydney band Filthy Teens have their cassette due out in May and new stuff from Are You There God? It’s Me, Margaret, Alphamale, Primary Colours and Spartak is set for release this year.

EARLY MUSIC Early Music (previously known as HEL) is a six-month-old DIY poly-genre label established by Gunwaif trio Becki, Sam and Oscar. Borrowing its release structure from the fashion world, Early Music emerged in January this year from an intensive threeweek recording and mixing period (out of a purpose-built demountable studio made of PVC pipes and old curtains) with its first seasonal catalogue of five records: Palliards, a solo EP from Tim Pearce, guitarist, singer, political commentator and frontman of garage power-trio The Worst; Wildebeest, the anticipated debut LP of teen semi-acoustic experimentalpop duo Northumberland; And the word of the Lord did not come to Eli, a haunting, bark-and-squeal odyssey by Perth-based Canberra ex-pat and dirtbag-angel-of-yourdreams Matthew Elias; When We Were, crmwll’s RnB-influenced, low-fi trance-tape reinvention; and The Stenxhographer, the debut solo LP of psychedelic-noise artist Stenxh.

We’re always looking for new music to release and/or record.

With winter coming and all, everyone— including exciting new additions to the Early roster—is hard at work on the next batch of records.

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We then started promoting and presenting shows for touring and local artists since 2007 and it is still something we do, helping us foster connections and friendships with people all over the world. We place a heavy emphasis on visual aesthetics and the physical nature of our catalogue. As a record collector myself, I want people to look forward when they receive a record from us - to be intrigued by the way the record looks and feels as much as how it sounds. Our graphic design has been looked after and supervised by Adam J Bragg - he has helped with creating a singular aesthetic which suitably works with the sounds hellosQuare puts into the world. The best part of running a record label is meeting people who you never thought you would or having genuine friendships build through the work. The worst part is having to worry about budgets - there is no such thing as breaking even. We are slowing down at the moment though we have releases lined up by minimalist indie rockers A Drone Coda and electronic popster Raus for 2014. We have never believed in a definite hellosQuare sound, if I like it enough and have the dough, I might just help you out! Check us out at hellosquarerecordings. com or get in touch at hellosquare.shoeb@ gmail.com

birth of Sibylla’s first child and Beth’s completing her Masters in Education. “Sibylla started making the album only 12 weeks after giving birth – she was very eager to get back to work,” adds Beth. These personal events have been reflected in song themes which are a little darker and more mature, as these things come out through their art.

DIAMONDS IN THE ROUGH rory mccartney Each year the National Folk Festival delivers a broad menu of musical styles, going much further than the ‘folk’ banner indicates. The 2014 lineup includes a first time appearance by Melbourne folk-poppers THE LITTLE STEVIES. The recent release by Beth and Sibylla Stephen, Diamonds for Your Tea, showcased their vocal charms, which are terrific when they combine in harmonies. It has been a time of change for the outfit, which recently trimmed down from a trio to a duo. “We had finished touring Canada and were thinking about making another album,” says Beth. “Robin (GeradtsGill, their bass player), who’s been our lifelong closest friend is also a filmmaker and he wanted to focus on that. Sibylla and I thought, well, songwriting is what we do, so we should keep doing it.” Geradts-Gill’s departure had little effect on the girls’ overall style as they had always shared the lead vocal duties and been the principal songwriters. “It wasn’t particularly difficult, but it was good to change a bit musically, otherwise it would be boring.” Apart from GeradtsGill’s leaving, it has been a time of major life changes, including the

The band lineup change did affect the recording process. As Sibylla and Beth could no longer rely on Geradts-Gill, they played all the instruments themselves – apart from two tracks where their bass player and drummer (who, along with an electric guitarist, will accompany them to their Festival gig) played along. “This was a huge difference for us as we previously stuck to our own instruments,” mentions Beth, who plays guitar while her sister accompanies on the ukulele. The girls write songs both individually and together. They had their hearts on their sleeves writing Diamonds, with a lot of self-revelation and some skeletons from the family history used as creative material. When writing solo, themes tend to differ. “Sibylla is much better writing about other people and telling their stories,” says Beth. “Whereas I’m quite egotistical and can only seem to write about my own situation.” Diamonds was given its own sound through being recorded in the new studio in Sibylla’s home. Virtually a little cupboard – just one by two metres, only two people at a time can fit in the intimate space. Any third person would have to hover in the bathroom next door. “We got the materials such as the padding from Bunnings,” says Beth. “The album saw almost every room in the house used, with even the cutlery drawer banged in one song to get a particular sound. We used everything at our disposal.” The Little Stevies will perform on the Saturday, Sunday and Monday of the National Folk Festival, which is on at Exhibition Park from April 17 to 21. Season and day tickets are available from folkfestival.org.au/tickets.

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LOCALITY

I know I usually start this column with a whimsical reflection on the state of the world, but there’s seriously far too much to cram in, so it’s best if I discard my fortnightly indulgence and just get into the good stuff.

We’ll start at the heavier end of the scale, with news of two releases from Canberra’s metal scene. Aeon of Horus will be unleashing Existence, their second release, which has been two years in the making. They’ve already released a teaser trailer on YouTube which demonstrates an intensity and intricacy in their work that will convince even the greatest of metal sceptics that this is an album worth hearing. Inhuman Remnants also have a new release out, with their Inattentional Blindness EP the second in their four-part cycle. Both bands will be launching their respective records at The Basement on Saturday March 29 at 8pm, with a little help from Wretch. A measly $15 will get you in on the action. After launching only a few months ago, local label Holy Eucharist Line has decided it’s already time for a reinvention, declaring on their website that they have officially switched monikers to Early Music. The reason for this shift so early in the label’s life is a little bit hazy, but with locals like Northumberland, Stenxh, Aphir and The Worst still on board, it doesn’t seem to indicate that there’s any shift away from their strong Canberra-based catalogue, which is certainly a relief. No Hausfrau have a new face joining their ranks, albeit one that you probably already recognise from the likes of The Monotremes and Nyash! Now with added Jono Griffiths on the kit, these sultry

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souls will be joined by the luscious Luxe when they take to the stage at Smith’s Alternative on Friday March 28. Doors are at 7:30pm, with tickets available online and at the door for $10. The Barren Spinsters, who I was greatly disappointed to learn are not actually a pair of childless old ladies but instead are a ripsnorter of a local roots duo (with a freakin’ keybass), will be launching their own label, Audioary Records, at Transit Bar on Friday April 8 for just $10 at the door. These guys advocate an interesting approach to their releases, with the recording process not taking place in a studio, but in the lounge rooms, bedrooms and bathrooms of the artists, with the intention of giving the recording a “lived in” feel. Judging by what they’ve already released, it’s certainly a raw sound with polish not really part of process at all. If you like ywour music friendly and a little rough around the edges, the launch kicks off at 8pm, with Reporting to Charlie and Pivotal Point joining in on the shenanigans. If you’re looking for a little more indie-folk in your musical diet, Acacia Suitcase will be launching a new EP at A Bite to Eat in Chifley on Sunday March 30 from 5pm. You’ll be hard pressed to find much recent stuff from them online (the most recent recordings are from 2011), but if you like to be surprised by soft, sweet sounds while grabbing an early dinner, you may be rewarded with a delicious new find. Like I said, there’s heaps of stuff happening in the Canberra scene right now. So go out and get amongst it! NONI DOLL - nonidjdoll@gmail.com; @nonidoll

THE REALNESS Once again, things are looking a bit grim on the touring front for the capital. Maybe I’m blind, but it doesn’t look very promising for those who enjoy getting out to the gigs in the very near future. Always happy to be proven wrong though, so if you have a gig lined up, feel free to hit the email and get it promoted for FREE here. Perth MC Coin Banks has been busily compiling tracks for his forthcoming debut album, slated to drop early 2014. In the meantime, he’s dropped a six track EP, HEADS, via his Bandcamp page. The opening track sees Coin Banks team up with fellow Perth beatmaker Ta-Ku and feature Atom and Like of Pac Div. Each of the six tracks sees Banks teaming up with a different producer and collaborating with various MC’s, including Homeboy Sandman. Looking for that perfect mix to bump in the car after a long day at the nine to five or hitting the books? Well Ta-Ku has got you covered, releasing his third instalment of the Drive Slow, Homie series. Once again, Ta-Ku exhibits exemplary skills both with his tracks selection and behind the boards, creating a seamless mix that will bump just as well in the lounge room or the ride. Well worth adding volume one and two to your playlist if you haven’t already.

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Fans of that traditional boom bap sound will have their mouths watering with the debut track from Australian boutique label We Play Records. Specialising in 7” releases, We Play Records will be releasing B Boy Stance, a collaboration between Australia’s DJ Force and the legendary O.C. Head to the We Play Records website to pre order your copy today, free shipping for all Australian orders. What happens when two of Kentucky’s finest gentlemen pick up the MPC and embark on an epic 18 day street fighter beat battle? You end up with two bloody and bruised beat makers, 36 amazing beats packaged onto a limited cassette release and the winner – you, the listener. Lofidel and Dr Dundiff are the men responsible for one of the most exciting beat projects to be released this year. Cop your copy of 1-2 (Super Dope Shit), either on cassette or as a free download via Lofidel’s Bandcamp page. Mobb Deep fans will be excited about the announcement of the duo’s upcoming eight studio album The Infamous Mobb Deep. Not really the most creative album title, TIMB will be a double album. The first disc will feature all new material, with production handled internally through Havoc and tapping into Illmind’s beat chest. Guest appearances are too many to name, but include the likes of Bun B, The L.O.X and Nas. The second disc is all unreleased studio sessions from their classic album The Infamous. Connoisseurs of the down south sound – well, more specifically that Texas sound, will get a semi-fat over the Houston Rap Tape mix up on Soundcloud. Clocking in at nearly seven hours, this really is an encyclopaedia of hip-hop from this region. Spanning tracks from 1991 through to 2013, the mix is the musical companion to the book of the same name. Houston Rap Tapes, the book, features in-depth interviews with various producers and MC’s from the areas accustom to the Houston scene, such as Fifth Ward and South Park. BERT POLE - bertpole@hotmail.com

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DANCE THE DROP

Why do you go out clubbing? Surely burying your unwashed hair into the supple arms of your 2.5 seater sofa and surfing through mindless hours of trite free to air television is a powerful surrogate. Especially so after a long week dealing caffeine to jittery businessmen in a Canberra Centre café or fussing over patronising middle aged women in a Manuka boutique. Some would say we do it to escape the drudgery of normal life. The sombre realism is that for 95% of us, the workday week is aggressively banal. The boredom of monotonous repetition and ‘dealing with people’ builds and builds until we can barely move forward; we suffocate under it, clutching anxiously at Friday like it is a lifesaving buoy bobbing in an ocean of discontent. When Friday finally comes within reach, our weathered limbs find renewed tenacity –the weight of incarceration melts away and the world is once again ours to control. Dance music is a wonder drug for the unfulfilled and here is your prescription.

Zombies get a really bad wrap. Sure, they murder everything and smell like a squashed wombat, but they were once people like you and me, albeit smelly cannibalistic versions. The Clubhouse is putting on a special ‘zombie friendly’ event on Saturday April 12. One Dah Ground features a herd of local undead DJ’s, so if you have any BRAAAAAINS you wouldn’t miss it! Everyone loves a good clubbing road trip. Well to be more accurate, everyone loves the excitement of driving to a wicked interstate gig. Driving home is a hellish quagmire of hangover pain and cruel self-judgement. Stage Fright has put on some amazing parties here in Canberra, but the club night originated in the surfside paradise of Merimbula. The hedonistic froth-fest is heading back to its original home, the Merimbula Lakeview Hotel on Saturday March 29 featuring a stellar line-up of alcoholics including Loose Youth, Team Wing, Simon Palajda, Sample Cat, Hugo Hoo, Mick Marshall and myself. Hope to see some of you there! Sydney based mega producer Steve Lind, aka Spenda C stepped away from his weathered midi controller for a few minutes this week to give budding music makers a few priceless tips on how to make it in the industry (without selling your body). “A great way to get into production is to do bootlegs and edits of your favourite jams. Working with a finished tune and figuring out how to pull bits out, re-arrange and add bits from other tunes or acapellas is a great way to get comfortable using your DAW (Digital Audio Workstation) and you get to customise tunes for your own sets. Once you feel as one with your DAW, I say jump straight in!” says Steve. “Contacting your favourite artists or labels and offering to do remixes for free is a great way to get some material out there. If you do a good job on a few remixes, you will set up a good relationship with the label and you can start swinging them some original stuff for consideration. Don’t be too bummed when they knock it back though... ask for some feedback and take it all in and start again. You’ll make a lot of shit tunes but then you’ll find your sound and make a few good ones too.” TIM GALVIN tim.galvin@live.com.au

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carrie gibson Ferocity is on the menu for Canberra’s AEON OF HORUS and INHUMAN REMNANTS this autumn. If malice is their plate, than wrath is their knife as these two prominent powers that be are set to puncture the moral foundation of all those who resist. Further intensification and growth have both engaged the bands over the past twelve months as both prepare for the official release of their sophomore albums. Ben Hocking of Aeon of Horus describes the band’s shift as a deeper focus on their creative outlet as “the eventual music is the sum of each of our individual influences. We just write against a backdrop of our mutual love of heavy and atmospheric music. More broadly, I think we’ve all come to the conclusion that it is almost impossible to earn any sort of money in a niche genre like progressive metal,” says Hocking. “So for us now the creative process and writing music that is challenging for us is paramount and probably the source of most fulfillment for us.” The music of Aeon of Horus has continuously proven its uniqueness to fans and critics alike, a claim all bands inelegantly make. Yet Aeon prove this statement with their enthusiasm for experimentation and admit that the process is almost competitive between them. “I think we all really get off on working on each other’s ideas and turning them into something new that they were never intended to be,” quips Hocking. “We allow ourselves to go anywhere and everywhere when we’re in that zone – we’ll usually rein it in later and continue to refine, but we find that letting different things creep in is often the way we write our best material.” A method of which can also be extremely punishing and frustrating, adds Hocking, yet the importance of keeping a fresh perspective when creating their music remains vital. Existence features two key players that Hocking states as having a large impact on the final outcome of the album. “The majority of the record was written as a three piece – being myself, Andy Annand and Peter Meere,” says Hocking. “We think Adam [Brown]’s bass playing really complemented the sound of the album. He doesn’t specifically come from a metal background, which is actually something that we wanted in a bass player. He loves his funk and fusion music, so that really impacted the sound of the record. Carlo [Beasley] joined the band as a live member on the Spatial Interaction Tour in 2013 (the Schoenberg Automaton and A Million Dead Birds Laughing) and he fit the sound a philosophy really well – we ended up taking him on as a full time member! We have been writing new songs with both of them and its going great. We really can’t wait to get going on the next record.” Before we start rubbing out hands together, we must first experience Existence through a mighty busy tour schedule the boys are endeavoring on this year. “We have a bunch of Australian dates in the pipeline including some great festivals all over the

country,” says Hocking. “Then we head over to Europe for the Prog Power Festival and a bunch of other dates in October. We plan on writing new material throughout the year as well.”

We find that letting different things creep in is often the way we write our best material

“If you were expecting sonic double kick, massive riffs, brutal vocals, shredding leads and you enjoyed our first EP, then yeah out latest should kick it out of the ball park for you…. If you’re a first timer with Inhuman Remnants, you better lube up,” states Inhuman Remnants guitarist JJ Lodding. Inhuman Remnants show an astute expansion this year and have armed their latest EP, Inattentional Blindness, to the teeth with a fresh layer of groove and have expanded on their debut release to make it their best creation yet. “Each song has its elements, so we aimed to give it more technical aspects, more aggressive riffs, more groove, just a more appealing recording basically,” says Lodding. “We were able to stretch out on the lyrical concepts in this direction and everything we learnt from our last recording has made this new EP what it is.” The debut EP for the band (Anathema - released in 2012) was described as being “the album of hell itself”. Lodding tells BMA that these kinds of comments are the most humbling. “Well I was shocked when I read this, it’s a pretty big call I guess. I was like ‘fuck yeah’, this guy totally gets it. We are pushing the boundaries with all our might and attempting to break the mould and it’s great to hear such positive feedback – we hope you all enjoy the new material as much if not more.” The double launch with Aeon of Horus is fast approaching and Inhuman Remnants share their thoughts on one of Canberra’s most acclaimed. “We have been good friends with the guys of Aeon for a long time and we were both releasing something at the same time it just seemed like an awesome thing to do,” Lodding explains. “Those guys and Wretch are some of the hardest working musicians I’ve ever met and any time we get a chance to share the stage with them we take it.” Inhuman Remnants also have a treat for the crowds of Canberra and give BMA a rundown of their year ahead – premiering the ‘Once Sent From The Outer Realms’ video clip, shot last August with the direction of the esteemed Dave Jacob of Ultimate Fury Productions. “What better time to introduce it then at this launch,” says Lodding, “we’ll bring the big guns to the party. The rest of the year has scheduled tours throughout winter down the east coast including support with America’s Abolishment of Flesh.” Get your fill of local metal goodness as Aeon of Horus and Inhuman Remnants team up to launch their respected recent releases at The Basement, Saturday March 29. Support from Wretch. Doors at 8pm, $15 for the lot. 18+.

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and Collisions. The 4th hosts Tortured, Empirical, Reign of Terror, Rite Of Violence.

METALISE Carcass is coming back! After a LOOOOOONG hiatus and following dropping their excellent Surgical Steel record last year, the band is back in full swing and extensively toured the world to support the album. They’ve announced four Australian dates for June with the nearest for us being the June 14th show at the Metro in Sydney. Kudos to the Sound Works lads for throwing that one together. LORD have said farewell to their drummer Damo Costas and are yet to announce who will replace him permanently. This will not stop them popping through town on the 17th of May at the Basement in Belconnen so stick your head in then to catch Australia’s best power metallers in action.

This fortnight also sees stoner legends Monster Magnet return to Australia with a show at the Hi Fi in Sydney on the 4th with locals King of the North and Arrowhead. They never fail to deliver so get on up to Syders for that one. Also don’t forget that Morbid Angel are back late April also at the Metro in Sydney on the 24th. Finally don’t forget the national tour for New Zealand’s 8 Foot Sativa and Frankenbok comes through with a huge bill at Metal Fiesta 5 on the 11th of April. Also appearing are Witchgrinder, Deprivation, Na Maza, Law of the Tongue, Inhuman Remains, Eyes to the Sky and The Murdering. That’s a huge show no matter how you slice it so be sure to circle that date on the fridge calendar. JOSH NIXON doomtildeath@hotmail.com

Another busy fortnight is in store out at the Basement with the 27th featuring Copia, Renegade Peacock and Eyes To The Sky. The 28th is Mark & Erin’s 21st show featuring Tensions Arise, Icarus Complex, Na Maza, Johnny Roadkill and Imperilment. While on Na Maza, they’re a part of a cool idea and bill known as Hell Ranch happening on the 5th of April. Located out near Eaglehawk Hotel near Sutton, the ranch is hosting a 5 band evening with tickets include spit roast dinner and you may camp out there if you wish, stay at the Eaglehawk hotel just down the road or take a short cab ride back to Civic. On the bill are Na Maza, The Defiant Few, Hence The Test Bed, Bleeding Gasoline and The Dead Men. Tickets can be sourced through the Facebook event page called Hell Ranch. The 29th is a huge bill for local metal and a celebration of the hard work put in by Aeon of Horus and Inhuman Remnants joining forces for a dual CD launch. Wretch, who just came back from a triumphant performance at Obscene Extreme Festival in Melbourne as well as ably supporting the brutal Jig-Ai and the uber intense Cripple Bastards in Canberra a couple of weeks back, are also on the bill. Rounding out the fortnight, on the 1st of April is I Wrestled A Bear Once, Caulfield, Purity, Bankrupt

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LATER SKATER Ian Mccarthy

If you’re between the ages of 12 and25, love skateboarding and are keen to socialise with some new like-minded people while receiving some help with the complexities of life, then you’re in luck. Headspace ACT, Drawing Boards and Adrenaline Boardstore have come together to create SKATE SPACE, a program consisting of a series of clinics aiming to promote positive relationships and well-being through the activity and community of skateboarding. We were able to speak to Nicole Hubbard from Headspace who told us about the programs purpose, goals and structure. The program is hoping to draw people’s attention to the services available to them via the organisations involved through a common interest in skateboarding. Hubbard explains why skateboarding is the chosen activity. “It’s an opportunity that’s worked well in other locations… It’s the sort of activity that people might often do just on their own but we’re trying to encourage people to do that in a group setting.” She adds, “It’s a fairly easy activity to teach… People can actually learn some tricks and feel like they’re making some progress and learning new skills in a way that other activities might take more time to learn.” The clinics are open to practically anybody who’s interested and you won’t have to be an expert skater to join in either. The program is suited to people of all different situations and skill levels. “It’s open to anybody no matter what your skill level,” says Hubbard. “The coaches will actually work with people at their ability level…one coach would work with the beginners and for people who are more advanced, one coach will work with the advanced group.” Hubbard also explained that participants don’t even have to own a board. “We’ve actually paid for ten skateboards to be provided to the program for those people who don’t own a skateboard and might just be new.” The program has a lot more to offer than just skateboarding advice, explains Hubbard. “There will also be some information on how to seek help if you’re having a hard time and the coaches are gonna try to work with the Headspace (representative) just to reinforce what they do for looking after yourself and also having a focus on relating to other people in good ways.” The program offers those involved the unique opportunity to form bonds and be mentored by talented and experienced skateboarders from Adrenaline who will be able to coach youth on their skateboarding as well as valuable social and life skills. In Hubbard’s words, “The coaches will all be quite advanced in their skateboarding… Drawing Boards have selected coaches who have worked with young people before – they’ve got a ‘working with vulnerable people’ check. They’ve got a passion and interest for young people to be learning new skills and learning how to relate well together.” For anyone wishing to take part in the program Hubbard says, “They can either just turn up on the day…or they would be welcome to ring Headspace to chat or into Drawing Boards to chat more about that.”

Unfortunately I don’t have enough space for the big cheeky intro that I’m sure you all usually adore. There are just too many gigs. To kick your weekend off, you can catch Sydney’s Ted Danson With Wolves who are currently touring their first full-length LP, WWTDWWD? They will be stopping by the Magpies Club this Friday, March 28 and will be joined by Wounded Pig from South Australia as well as locals Blight Worms, Lung, and Lost Coast. This gig will also be All Ages, so you crazy teeny-boppers have no excuse. On Sunday March 30 Melbourne folk-punkers The Smith Street Band will be at Transit Bar. If you know anything about Australian music or were lucky enough to catch frontman Wil Wagner at Magpies last month you already know how great this show will be. The band will be supported by The Menzingers all the way from Phillidelphia (born and raised, on the playground is where they spent most of their days), and Western Australia’s (can’t think of any famous 80’s sitcoms that mention WA in their opening title) Grim Fandango. Tickets for the show are $28.60 through Oztix so get in before they sell out which they almost definitely probably maybe will. Local favourites Sex Noises will be playing their final show together alongside Hoodlum Shouts in support of Harmony from Melbourne. They’ll all be at the newly re-opened Phoenix on Saturday April 5 and will only co$t you a rectangular portrait of the Queen ($5). On Sudnay April 6 Washington State band RIVIVR will be stopping by the Magpies Club with Sydney’s Canine. They will also be joined by locals Machina Genova and Swoon Queen for the measly cover charge of $15. This show will also be All Ages. USA’s The Slow Death which features members from The Ergs, Dillinger Four, and The Soviettes will be joined by Melbourne’s Laura Palmer and locals Yoko Oh No (with their new bass player). It will all be going down at the Magpies Club on Wednesday April 16. This one is yet another All Ages show. (Where were all the badass all ages shows back in the day before I started sneaking into bars?) You’re probably sick of hearing (or reading) me say it, but don’t forget to tune into 2XX on Monday nights from 9:30-11for Haircuts & T-shirts. Every week they’re on the air giving you the skinny on all things punk, hardcore and Americana in Canberra, Australia, and the world. By the way, you shouldn’t be sick of hearing me say it because it’s a cool thing and also because I’m often told I have a nice voice. So there’s a bunch of sweet shows you can and should go to, and there’s plenty more coming. And just because I can, here’s a shitty joke about hippies: What’s the difference between a hippy and a trampoline? You take off your boots before you jump on a trampoline. Thanks. I’ll be back next issue. IIAN McCARTHY

Skate Space sessions run on Saturdays, 9.30 - 11am, in Woden, Tuggeranong and Belconnen skate parks. For more info, check out Headspace ACT’s Facebook.

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

Image credit: Lorna Sim

ARTS | ACT

HEEEEERE’S JOHNNY! allan sko Canberra Youth Theatre and The Street Theatre have teamed up for something special in JOHNNY CASTELLANO IS MINE. Part of the ongoing Solo at The Street program launched in 2010 which is now responsible for thirteen works, this play focuses on Alice, an obsessed teenage girl who also exists as an earth-bound spirit, trapped between the mortal and immortal worlds. Her chance for escape lies in a repressed/recurring memory around what she perceives as an inextricable connection to a particular boy, Johnny. The play spans multiple time frames and planes, playing with distortions of memory and reality. Despite its title, the play contains no physical Castellano, nor any men in general. This all female work is written by prolific Canberra playwright – and former BMA Mag scribe – Emma Gibson, is being directed by Canberra Youth Theatre Artistic Director Karla Conway and stars in-demand dancer Alison Plevey. The play is a good news story for Canberra and its various avenues of artistic support. As Director Conway explains: ‘Emma Gibson approached CYT with the play in 2013 and it received development through our Seed: Staged Reading Program, with our Associate Artists. [The Street Theatre Artistic Director] Caroline Stacey and I had been looking for an opportunity to collaborate on a professional pathways program for the senior emerging artists at CYT who were ready to transition into professional work, and with Emma being a Hive playwright – and developing the work at CYT – it seemed like the perfect opportunity. As Director, I am leading a team of exceptionally talented artists in the early years of their professional practice on this work, with the goal that they will go on to continue developing professionally in Canberra. It is an honour to be part of their development.’ The premise for the work certainly sounds intriguing. ‘It’s a contemporary reimagining of The Little Mermaid as a psychological thriller,’ Conway explains. ‘This solo work is a hope-driven quest into the mind and memories of a teenage girl, searching for her true identity in order to release herself from purgatory and transcend into immortality.’

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While this may sound intense, the solo performer in question, Alison Plevey, says the piece is not without its quirks. ‘The work is definitely multilayered - humorous at times, disturbing and intensely emotional at others,’ Plevey explains. ‘There’s a beautifully simple, fragmented and abstracted set design of which I can’t reveal too much. And hopefully there’s a compelling mix of physicality, dance and theatre, plus a bit of a psychological roller coaster that edges into the uncomfortable, quirky and tragic.’ And it’s a mix that has lead to a gruelling schedule to get right. ‘Rehearsing eight hours a day, six days a week is intense,’ Conway says, ‘but for an artist it’s also a gift to immerse yourself totally without distraction. It’s the best way to work!’ When pressed if it was largely a dance performance, given Plevey’s solo involvement, Conway says: ‘Alison has a contemporary dance background but this is not a dance piece at all, it’s a play. I had always envisioned the work would be a physical theatre piece, due to the nature of the work and the style in which it is written. It would be a waste of Alison’s talent if there wasn’t some pure dance in there – it is only small – but still a spectacular moment in the play!’ ‘I wanted to jump in and grab it, go for it,’ Plevey chimes in, on auditioning for the part. ‘But I was unsure if I should and could and all that stuff, but with some encouragement I did my first theatre audition in front of Karla and Caroline. It was a crazy, adrenalised, fun challenge that for some reason felt beyond right!’ Confident that, ‘audiences will be kept on their toes as they piece together the mystery which traps Alice between worlds,’ Conway implores people of all ages to experience the show. ‘No matter if you are 15 or 50, the themes of first love, loss, identity and searching for happiness are universal to every member. This is a showcase of Canberra’s most exciting contemporary theatre artists.’ Johnny Castellano is Mine is showing at The Street Theatre from April 3 - 12. Tickets are available by calling The Street on 6247 1223 or by visiting thestreet.org.au

IN REVIEW

Performance poet Chris Huet, aka CJ Bowerbird, shared the stage with his brother Pete Huet, part time zinester and bassist for indie rock band Waterford for Saturday night’s gRage session in the Money Bin. The Huet brothers sat onstage in two hideous mossycoloured single sofas dredged up from the past alongside 2XX FM host and gRage presenter, Yen Eriksen, as part of the You Are Here 2014 arts festival.

The dedicated group that assembled on Saturday evening in Canberra Museum and Gallery’s Gallery 4 to experience The Exorcism of Megan Clune and Angela Goh resembled a party of young mourners passing into an airy modern chapel. In fact, they were about to bear witness to what promised to be an arcane rite: watching clarinettist Clune and dancer Goh performing all of the music they have ever learned. Below the annual fireworks of Skyfire, pristine white printed cards, resembling funeral keepsakes, were waiting on stools for an eager audience, many of whom were friends of the artists.

gRage: CJ Bowerbird and Pete Huet The Money Bin Saturday March 15

The Exorcism of Megan Clune and Angela Goh Canberra Museum and Gallery, Gallery 4 Sat–Sun March 14–15

Between each music video, Eriksen chatted with CJ and Pete about work processes and practice, the importance of narrative and musicality within art and whether or not there exists a Sigur Rós music video featuring Icelandic elves. At times the trio had trouble keeping a natural Q&A rhythm so there were a few uncomfortable pauses and strained responses throughout the discussion. Pete sometimes seemed uneasy being interviewed on stage but Eriksen still managed to persuade him to join her in a short grapevine dance demonstration. A compelling music video selection, CJ’s grounding stage presence and Pete ‘s self deprecating humour all drew smiles from the audience throughout the night. The videos picked by Pete and CJ challenged or surpassed the conventions of the music video medium. In particular Pete ‘s pick, ‘Bastards of Young’ by The Replacements supplanted the commonplace flashy music video with a black and white clip that consists of a four minute stony close up of a stereo blasting out the track. The night was bookended with music videos that CJ confessed have been known to make him cry. ‘Viðrar Vel Til Loftárása’ by Sigur Rós was the first – a haunting and gorgeously shot clip that tells the story of the reactions of a community and family to two young boys exploring their sexuality. The final music video of the night was the stunning cover of electronic duo Crystal Castles’ ‘Untrust Us’ by the Capital Children’s Choir.

An enjoyable surprise came at the end of the night with a performance from CJ and Pete that involved the brothers reading aloud each other’s poems and written works. Most emotive were the pieces about childhood. Pete recreated CJ’s experience of whoooooing down a hill on a billy cart and CJ crawled through a storm water drain from Pete ‘s memory. This clever exchange of words was a well played move by the Huet brothers that showed that they too could move beyond the conventions of their medium for a night. KATHRYN FORD

Image credit: Adam Thomas

In this recording, the original synthetic sounds are replaced with an insane combination of angelic voices and the simple sound of clapping hands.

It was clear that no live performance would take place; the most ‘live’ thing about what followed was the waves of fidgeting that travelled through the audience over time, seemingly an intentional sideeffect. Instead, a video projection split into quarters dominated the rear wall of the Gallery, depicting four nondescript rehearsal rooms. To its left, a smaller projection of the artists behind the scenes suggested that the filming of the main installation was recent. One by one, the glitchy, Skype-quality videos cued in each of the panels were brought to life via a not-so-magical click of the mouse and the exorcism began. As one, two, three, then four iterations of Clune cycled through the same falling clarinet phrase in a kind of demonic round, four Gohs repeated endless pirouetting movements. Again. And again. Forty minutes of four sets of repetitions. It was clearly too much for some audience members, who left before seeing the exorcism through. At the purposefully anticlimactic conclusion of the piece, the phrase ‘test of endurance’ was on everyone’s tight lips. However, as in the practice of any skill, repetition and endurance yield surprising wisdom. What initially were insignificant details crystallised into startling and fascinating obviousness. It became apparent that each sequence had been filmed at different times of day in the very space the audience now inhabited. With each recurrence in each panel, Clune and Goh’s exhaustion at having filmed the same few movements four times in a row was made increasingly transparent by their sighs, stretches and stumbles, all caught on unforgiving digital video. The program’s name-check of Malcom Gladwell’s 10,000 hours was key to my understanding. Having spent not quite that long within the torture chambers of school music rooms in the pursuit of socalled perfection, the humour was at once evident. All of the music and dance ever learned? I almost laughed maniacally. Why, that would be the same eight basic building blocks of a scale repeated ad nauseam! The Exorcism of Megan Clune and Angela Goh didn’t constitute a frenzied catharsis, but it did succeed in its stated aim to probe notions of perfection and authenticity by challenging its audience to endure and appreciate the hours of practice that are sacrificed each time it is created. ISABELLA EDQUIST

Image credit: Angela goh

A small audience sank down into bean bags and patterned couches in the venue’s makeshift lounge room for YAH’s live version of the music video program Rage, complete with its own guest programmers.

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A R T | C O M E DY | D A N C E | L I T E R AT U R E | T H E AT R E

IN REVIEW

It’s almost 8pm on the first night of this year’s You Are Here festival and Hissy Fit, an all girl art collective comprised of Jade Muratore, Emily O’Connor and Nat Randall, are about to take to the stage with their lecture performance She’s Lost Control.

Just after midnight on last Sunday morning,

The Money Bin’s bare cement floors are, for the next ten days, furnished with couches, cushions and crates, occupied tonight by 25 twentysomethings dressed in an even mix of Doc Martens and Chuck Taylors.

An audience listened, all warm in their beds.

The Night Fort Canberra Museum and Gallery Saturday March 15

Described as an exploration of “head-banging through its dual somatic relationship to the performance of hysteria and the contemporary rock, punk and heavy metal music culture of the MTV generation”, She’s Lost Control seeks to draw parallels between what was once medically diagnosed as ‘hysteria’ and the modern action of head-banging. The performance begins with a projected video of the artist’s faces against a black background, each of them performing different styles of head-banging. It is here, with only the video, that the trio manage to get their first laugh with a sequence of head-banging done to the solitary sound of drumsticks being hit together. Following the intro, the three young women introduce themselves and talk about their childhood, education and motivations. Nat shines here, having the audience in laughter despite making well aimed and serious feminist critiques. Jade also makes a lasting impression with tales of her time working in a sex shop photographing “literally hundreds” of dildos. Emily perhaps lacks some of the charisma of the other two, but this hardly detracted from the overall performance. The serious part of the evening comes with the lecture. The lecture, centred around the history of ‘hysteria’ as an ailment apparently unique to women, asserts that it is in fact a social construct intended to inhibit freedom of expression in women and to dismiss legitimate emotional response as feminine peculiarity. Hissy Fit conclude that an act of ‘hysteria’ is an act of subversion, that the “visual language of the body out of control,” is powerful feminist expression. Although a weighty subject, the lecture maintains a healthy momentum throughout and the passion and conviction of the performers ensures that it never feels preachy or patronising. As the night nears its end, we are treated to a demonstration of various headbanging techniques, each performed by one of the artists while another describes its correct execution. Of the many styles ‘AC/D She’, ‘Box Jellyfish’ and ‘Cunt Punch’ are all definite highlights.

DYLAN SLATER

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Image credit: Adam Thomas

Despite the obvious difficulties in combining a serious academic lecture with entertainment and performance (in the form of headbanging), the three artists managed a workable balance that made for a fun, informative and thought provoking evening.

A new evening social occurrence was dawning, Across from the crowds outside of Mooseheads,

The Night Fort, curated by the You Are Here festival producers, is a community sleepover held in the Canberra Museum and Art Gallery. Unlike gigs that leave audiences standing for hours, shifting weight between aching feet, The Night Fort offers the highest comfort, encouraging people to slob out and indulge in soft furnishings. As the show started, the audience settled among tents seemingly made from oversized clothes horses draped with sheets. Combined with the blankets and pillows strewn over the floor, CMAG had the feel of a childhood lounge-room on a wet June day. Opening the night was Finnigan and Brother. Like others on the night, they combined elements of spoken work with sound-scapes; their confronting story transformed a graphic phrase from mere repetition to ruminating lyric. The listener’s mind wandered and absorbed their poems, lost in thought and residual rhythm. Performances took place in a central tent, somewhat isolated from the ‘sleepers’. As unusual as it was to not view the acts – but very much experience them, this set up created an impressionable audience who were able to experience the work in its purity. The first few acts were accompanied by Danny Wild’s improvised projections of delayed live footage played over kaleidoscopic images. Maitland Schnaars and Thomas Day delivered their self-absorbed piece with aggression and volume. Clichés littered their monologue, but the imagery and repetition of “blood, mud, salt”, was effective and sat thick on the listener’s tongue. Emma Gibson followed, spinning a bedtime story of love, betrayal and conjoined twins. Engaging her audience with a circus of characters, bodies slept while minds were pulled through mermaid tanks, tree houses and gypsy vans, demonstrating a sophisticated command of a juvenile narrative format. Beau Anthony Deuwaarder then gave an abstract, strangely scientific monologue presented in several ‘plateaus’. The gravity of the piece, however, could not be appreciated by a foyer of under-30s at 3am on a Sunday. It was at this point in the evening that reality and dreams seemed to merge as sleepers fluttered in and out of consciousness. Just before 4am, Shoeb Ahmad’s spacey synth took over and lulled the foyer into slumber. All performers exhibited outstanding delivery. Most acts were widely accessible, exploring themes of identity, nation, mortality and isolation, although some were far from conducive to sleep. Some sleepers though, proved resistant to disruptive swells in music, their snores calling through the gallery. The Night Fort had an incredible atmosphere, created equally by aesthetic, performance and company present. GRACE FLANAGAN

Image credit: Adam Thomas

She’s Lost Control The Money Bin Thu–Fri March 13–14

So artists and festival organisers will face the Transfield question more and more over the next few years.

UNINHIBITED So the Sydney Biennale has put on quite a show before the event proper kicks off. On the back of artists protesting the involvement of corporate supporter Transfield and their relationship to the Manus Island detention centre where Reza Barati was killed in the recent riot, the Biennale has cut ties with the sponsor and raised the ire of the Minister for the Arts, George ‘Gershwin’ Brandis. Our national shitsheet, The Australian, reported that Senator Brandis “has issued an indirect threat against ongoing funding for the Biennale and other arts funding recipients that reject private sponsorship because of political pressure.” Which is some hilarious doublespeak. There is a significant difference between artists using a moment to protest an action and the political pressure of a Cabinet Minister threatening to pull the rug from organisations and individuals whose opinions differ from his. The protesting artists weren’t bowing to political pressure – they were protesting. And in doing so, they were standing up to political pressure. However, there is a counter argument that begs the question – is the greater good being serviced by Transfield’s support? Or is the money too grubby to handle? The noises being made by the Government indicate that arts bodies will be encouraged to seek private partnerships at a greater rate.

A (very small) minority posted some missives over the first weekend of the You Are Here festival, which receives support from the Canberra CBD Corporation. They claimed that You Are Here is compromised. This is stupid. Canberra CBD may be a corporate supporter and they may be looking to affect brand Canberra through their relationship with a fringe festival like YAH. But, as far as I know, Canberra CBD’s core business doesn’t result in riots. Without financial support, the arts either don’t happen, or have a far greater chance of being lost in the noise of our information age. Corporate support has its place. To ignore it is to ignore your audience. Artists should be looking for inventive, inclusive ways to bring greater detail and empathy to issues so often reduced in political debate to talking points and repetitive headlines. But artists should also be careful to ensure that they can access the audience with these messages and play the game. Art that takes place in a vacuum is no use in this situation. Clever makers should be looking to engage as many eyes and ears as they can and this means that a thoughtful approach to the means by which their work is shown is very much required. Some compromise will be needed. And while I’m not saying that the artists who protested Transfield’s involvement in the Sydney Biennale were wrong to do so (quite the opposite in fact), I do suggest that the relationship between more marginal art forms and sources of money needs to be carefully considered. Because the artist loses if the money for her practice is no longer considered an acceptable expense. GLEN MARTIN glenpetermartin@gmail.com

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A R T | C O M E DY | D A N C E | L I T E R AT U R E | T H E AT R E

ARTISTPROFILE:

Rockstars and Royalty What do you do? I design and make elaborate one-off gowns and hair accessories. I specialise in Victorian corsetry so a lot of my gowns are corseted. When, how and why did you get into it? I started sewing when I was about 10 and I made my first corset in about 1997 when I was a student and couldn’t afford to buy one. Once I graduated I started making more and more clothes and corsets for friends and soon realised this was where my true passion laid and that it was possible to make it into a fabulous career.

how angry I get. If you ask my husband what makes him laugh he’d probably say me getting angry at stickers! He thinks it’s hilarious. What about the local scene would you change? I don’t think there’s anything I’d change at the minute. There’s so many opportunities for local designers and creative people to get out there and share their work which didn’t exist when I moved to Canberra in 2007. Upcoming exhibitions? I’ll be selling my range of jewellery and accessories at the Hustle&Scout Twilight Markets on 12 April, and then showcasing my new collection of gowns at FASHFEST at the end of April. Contact Info: Vicky@rockstarsandroyalty.com.au; facebook.com/ rockstarsandroyalty; rockstarsandroyalty.com.au; instagram. com/rockstarsandroyalty; twitter.com/RockstrsRoyalty.

Who or what influences you as an artist? I find influences all around me— sometimes from a single piece of fabric or lace, sometimes from a song, sometimes from an image. My collection for this year’s FASHFSET is inspired by a ruined French chateau called La Mothe-Chandeniers. Of what are you proudest so far? Being asked to be a part of FASHFEST last year. Seeing my designs on the catwalk was amazing. I hadn’t been involved in a fashion event on that scale before and am so excited to be part of it again this year. The build-up is huge already and an image of Belinda Riding wearing one of my gowns at the huge shoot at Canberra Airport is in a current advertisement for the event. I keep looking at the picture and thinking ‘Wow. I made that dress!’ What are your plans for the future? I just want to keep creating! As long as I keep getting amazing clients and getting to design and make fabulous gowns I’m happy. What makes you laugh? British comedy and comedians. I can watch Black Books and Phoenix Nights over and over and never get tired of them. What pisses you off? So many things, but the one thing that pisses me off more than anything else in the whole world is stickers that say ‘easy peel’ that aren’t. It’s ridiculous

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COMEDY IN REVIEW Doug Anthony All Stars ANU Arts Centre Thursday March 6

A key attraction of the Canberra Comedy Festival was the return of the Doug Anthony All Stars (well, two of the trio), supported by Paul Livingstone (aka Flacco). After a late start due to video problems, a local lady provided some stand up as the curtain raiser. She was just warming up, getting in some good lines, when she finished abruptly (probably cut short by the delayed start). Overall, the show did not meet expectations. I had hoped for a proper ‘set’ from Flacco in character, but this was not to be. He came on with Paul McDermott and Tim Ferguson as part of the D.A.A.S act, standing in for the absent Richard Fidler. Feeling the after effects of recent spinal surgery, Flacco largely limited himself to playing guitar during D.A.A.S songs. His best moment was providing percussion support, beating a copy of The Canberra Times attached to his belt, with a pair of drummer’s brushes, sending bits of paper cascading to the floor. Ferguson (wheelchair bound due to his MS) gave a demonstration of how to look helpless to attract women (as there’s a nurse somewhere inside every woman). McDermott was his usual vibrant self, ripping into the audience – especially anyone caught bootlegging the show on their phone. He climbed over the seat backs to berate one yawning punter. This crowd interaction provided some of the funniest aspects of the show. Otherwise, it was largely a nostalgic review of their Canberran origins and past glories of DAAS Kapital, with lots of video footage from the show. The highlights of the night were songs including ‘Doing The Dead Elvis’, a Hare Krishna number and the D.A.A.S infamous ditty about being attracted to canines.

Image credit: Mark Turner

Rory mccartney

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I believe it customary to provide a brief recap when delighting readers with successive episodes of the one story, the need to do so stemming from their narcotic-affected short-term memories. You will doubtless recall that when I left you last, I had just sat down to lunch in the nearby company of four women of uncommon good looks, the extraordinary nature of their presentation matched only by my own radical clothing. So there was I, resplendent in unorthodox attire, wielding a consciousness heightened by its proximity to great beauty, grappling with the dichotomy of both making a noticed and favourable impression while remaining intriguingly aloof. I sat momentarily torn between these irreconcilable approaches. But for all my youthful bravado and unusual apparel – and after some little consideration, I saw the wisdom in maintaining a serene yet fascinating detachment rather than to force myself upon any of my four attractive neighbours. All being well, I would be able to force myself upon each of them at a later date. During this studious portrayal of an indifferent bon-viveur, I was able to steal a few chaste glances at my company. Each young lady’s loveliness seemed only to be surpassed by their neighbour and I am certain I detected no little intrigue in the nature of this daring young gentlemen in their midst. What were those jodhpurs doing in such scandalous proximity to aeronautical goggles? Was he pilot or horseman? Aeronaut or jockey? Had he created and monetised the flying horse? As I had gleaned all the practical enjoyment I could expect at this stage of our tryst, I decided to make the most elegant of exits and depart in a fashion so debonair as to further pique their determination to find out more about this rambunctious rogue in their midst, who from his dress, could feasibly be only the second man to have tamed the winged Pegasus.

nfsa arc cinema

I re-folded The Waterloo Directory of Rascals and Reprobates, collected together my periodical, goggles and the remnants of my luncheon – a sumptuous corn beef hash seeded cob with an unparalleled selection of regional pickles, stood erect, glided my chair back to its original station, bid a gentlemanly ‘Good day’ to the quadrumvirate of nurses, disposed of my refuse in the adjacent wastepaper basket, and strode magnificently from the scene rightly pleased with my tantalising blend of decorum and enchantment. As I flawlessly navigated the corridor crossroads, striding purposefully back to my office, I experienced the unwelcome pang of something not sitting right. I could immediately rule out my flavoursome corn-beef cob and I pride myself on the astuteness of my pickle preferences, but there it was, a meddlesome unease. I immediately conducted an emergency review of my person, the well-known mantra of many a gentleman in strife – ‘testicles, spectacles, wallet and watch’ all present and correct. These sacred articles confirmed, I was about to move to those less fundamental when a shocking realisation struck me to the core. I was without my aeronautical goggles. To be continued… gideon foxington-smythe

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bit PARTS WARTS AND ALL WHAT: Play WHEN: Wed – Sat April 2-12 WHERE: Courtyard Studio, Canberra Theatre After developing osteoarthritis put a spanner in the works of his hopeful running career, 17 year old Simon is shipped off to his grandmother’s place in Queensland. New scene, new start. Reluctant to help his grandmother with writing the family history, Simon is visited by the ghost of a long forgotten relative and soon gets swept up in untangling dusty family feuds. Penned and directed by local Bruce Hoogendoorn, Warts and All is a telling tale of the ties that bind us. Tickets $25 + bf, concession $20 + bf and Wednesday shows $15 + bf, available from the Canberra Theatre. TERMS AND CONDITIONS WHAT: Art exhibition WHEN: Fri – Mon March 14 – 31 WHERE: Nishi Gallery, NewActon With a focus on cross-disciplinary practices, the exhibition showcases emerging artistic talent among a variety of mediums, including performance, video, installation, photography, ceramic and painting. Curated by Chole Mandryk – one of the forces behind this year’s Art Not Apart, Term and Conditions seeks to explore and challenge themes of rules, regulations and other social constructs. Featuring work from Christine Atkins, Heather Brenchley, Oscar Capezio, Elizabeth Kenway, Anja Loughead, Viola Nazario, Eadie Newman, Michael Quill, Celine Roberts, Christina Thwaites and Kate Vassallo. Open every day from 10am-2pm and 4pm on weekends, until Monday March 31. Hamish Ta-mé WHAT: The Sentinels Project WHEN: Fri Mar 21 to Wed May 28 WHERE: East Hotel Photographer Hamish Ta-mé’s latest exhibition, The Sentinels Project, combines large portraits with video to engage in themes of public power, female strength and communities abilities to engage with evil in their midst. The series originally began as paste-ups – plastered throughout alleyways and under bridges, with guerrilla Artists Run Initiative (founded by Ta-mé in 2005). Drop by for opening drinks Thursday March 27, or an artist talk on Sat–Sun April 19 –20, 2–3pm. Ta-mé’s work is also on display at the National Portrait Gallery, having gained a spot in the prestigious National Photography Portrait Prize – his third year in a row. Canberra Zombie Walk WHAT: Brain Tease trivia night, Zombie Rock show WHEN: Fri Apr 4, Sat May 3 WHERE: Ainslie Football Club, Magpies Club Put your noggin to the test with Canberra Zombie Walk’s Brain Tease trivia night, studded with burlesque performances, horror magician Nyte Mare, an auction and rad prizes. Dress code is ‘all things brain’. Doors open at 7pm for a 7.30pm. Tickets $13 + bf, from Eventbrite. If that doesn’t satisfy your ceaseless hunger for braaaains, head on down to Magpies Club Saturday May 3 for Zombie Rock. On the bill are Burgworth, Red Remedy, The Quarters and KANG plus secret guest. $5 for the lot, bands start at 8pm. All money raised at both events goes to the Brain Foundation.

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album of the issue Aeon of Horus Existence [Own Label] Canberra’s Aeon of Horus are back, with a second full length album that is frankly astounding in its vision, ambition and, most importantly, execution. If you had this mob down as just another tech/ death/prog amalgam then even a cursory listen to this excellent piece of work is going to make you revise your opinion wholesale on just what it is AoH has to offer. Sure, vocalist/keyboarder Andy Annand still summons forth belches and roars from the very pits of Charon’s fetid bilges (struggling for a name for your new band? There’s one for you right there), and drummer Ben Hocking still has the piston-legged double kick attack utterly under control when such things are called for; but that’s about the only link with the uber-extreme past of Aeon of Horus. Of course extreme metal is at the heart of this project, but very often instead of the band appearing as workaday sturm und drang mongers on Existence, happy to churn out the hard stuff because that’s what’s expected of them, you’ll find a sleek, musicianly troupe so self-assured and confident in their own powers that they take on just about any musical style you can think of and come out on the winning team every time. So, you’ll get straight up death metal attack on the likes of the progressive Antithesis1, where Opeth loom large in the shadows as Annand roars and guitarist Peter Meer shreds like a djentleman possessed; but you’ll

also get jazzy, flattened-out, Crimson-tinged prog like the start of Radiate, or blissed out, trip hop-style drumming on short interlude Exude. But even at less than one and a half minutes Exude doesn’t settle for one style, morphing seamlessly from the world of Portishead to something approaching the NeoFolk tribalism of bands such as Wardruna in the beat of a snare. Aeon of Horus take what they want from where they want, and the resulting melange of meltingpot metallic grandeur is hard to resist, especially if you’ve a yen for a band that is never content with taking the easy road when a complicated yet always satisfying alternative route is available. Man alive, during the sumptuous Release the band even manages to shoehorn Annand’s wounded bellow into something approaching a radio-friendly melodic refrain, without sacrificing an iota of credibility or, more importantly, heaviness. This is no mean feat yet they pull off the trick without a hitch, which would be impressive stuff from a band with ten times the experience of AoH; to hear it from comparative babes in arms is nothing short of devastating…I haven’t mentioned him yet in this review, but props should also go to the exemplary bass playing of Adam Brown, which underpins everything here with a clarity and depth often missing from extreme metal productions. His playing is a real bonus on this release. But perhaps the most important thing about Existence is that it acts as a signifier to the world at large that Australia (and more importantly perhaps for us here at BMA, Canberra) has another top class extreme metal act waiting for its attention. Heavy metal has moved on a great deal in the six years since this band released their debut effort The Embodiment of Darkness and Light, and the exciting thing is that that progression sees something of a confluence with the progression Aeon of Horus themselves have made. Planets are aligning, and the time would now seem to be right for a band like AoH to make the stride from local heroes to something altogether more substantial. Without a doubt this band has the potential to be world beaters – let’s hope the world welcomes the beating with open arms… SCOTT ADAMS

A Man Called Son Midnight Associates [Independent] Melbourne-based singer/songwriter Simon Pearlman first launched A Man Called Son as a home studio project back in 2006, before going on to release several EPs and a debut album (2010’s Ruins Of Our Town) that saw him singing as well as playing all of the featured instruments. After a few years of regular live shows around Melbourne, this second album Midnight Associates sees Pearlman shifting A Man Called Son into a ‘proper’ band, with the core four-piece being bolstered here with additional cello and double-bass at points. Opening track ‘Resolution’ takes advantage of the lusher instrumental palette afforded here, sending smoky, vaguely countrified guitar jangles echoing against a brooding backdrop of organ swells as Pearlman’s vocals ring out clearly in the mix, in what’s easily one of this album’s more noir-ish, nocturnal offerings. Meanwhile ‘Left To My Own Demise’ leans closer to post-Crowded House style pop, as bright keyboards add accents to airy strummed guitars and laidback, limber drum grooves. ‘800-ISO’ suddenly kicks things off into Jesus And Mary Chain meets Oasis territory, in an unexpectedly guitar distortion-laden moment that adds some welcome punch amidst the more downbeat oriented moments here. ‘Holds You Back’ places a supple drum groove that nods towards hip-hop against fluid live bass and glistening acoustic guitar strokes, before suddenly exploding out into a chorus section that builds triumphantly against crashing drums, in what’s easily one of the biggest-sounding offerings on show here. While there’s certainly much to like about Pearlman’s rich and often atmospheric arrangement, I have to confess that not many of the tracks here really left much of a lasting impression on me. chris downton

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Joan As Police Woman The Classic [Pias Australia]

John Butler Trio Flesh & Blood [Jarrah Records]

Bob Mould Workbook 25 [Virgin]

Soulful The Classic is the fifth album release from Joan As Police Woman, known offstage as Joan Wasser. As it swings between various genres – blues, soul, mo-town, it sounds as if Wasser thoroughly enjoyed playing around with these new noises. The grating chorus of ‘The Witness’ is an unstable start for the album, but its upfront percussion and group backing vocals signify key elements that appear throughout the record. The follow up, ‘Holy City’, carefully paves some solid ground with its buoyant horns and soaring backing vocal harmonies, featuring a rap from Reggie Watts.

Ex Fremantle busker turned roots supremo John Butler is back four years after his last LP. This sixth studio album witnesses a sea change in the composition of his trio. In keeping with Butler’s principal of evolving the band over time, drummer Nicky Bomba was replaced mid-album by Grant Gerathy, although Bomba provided the percussion for almost all tracks. Butler has been talking up political issues on the TV recently, but there’s not a skerrick of that in this album – it’s all about the music. The move to a more personally focused (in terms of his life experiences and imagination) and less ‘cause’ centered content is in line with Butler’s desire to communicate meanings rather than expressing anger. Jan Skubiszewski’s production has resulted in an array of songs covering the complete spectrum from the simple and unvarnished to the highly engineered.

Following a string of masterpieces with roaring post-punk band Hüsker Dü, Bob Mould began his solo career with this more subdued effort that nevertheless packed a wallop when it came to expressing emotional intensity and heightened tunefulness.

The title track is a perfect example of Wasser’s experimentation working to virtuous results, her distinct voice contrasting wonderfully with the doo-wop vocals. ‘Good Together’ and ‘What Would You Do’ revel in luscious build ups that lead to stimulating sonic shifts. As she sings of falling in and out of love, Wasser’s delivery never wavers from anything less than self-assured, even on weaker tracks. In its withdrawn attempts to be sensual, ‘Get Direct’ awkwardly lingers for far too long, which may indicate that a less-is-more concept could be applied to better effect. Yet ‘New Year’s day’ clocks in at the same length and is far more moving with its tumbling percussion and spacious atmosphere. This marks the start of the second and better half of the album, with the consistency evening out. The uplifting ‘Shame’ shakes with a glorious groove and the album finishes on a bittersweet note with the bluesy tones of ‘Ask Me’. Although The Classic doesn’t always pull off what it is trying to achieve, the highlights support Wasser as a strong singer-songwriter who is unafraid to toy with the unknown.

The opener ‘Spring to Come’ is the sort of low-key ballad you would normally expect as a closer. Delivered with a smooth acoustic riff, it frames the rich, unmistakable tones of Butler’s voice. ‘Livin’ In The City’ is more like the JBT we want to hear, with the sort of powerful groove Butler wanted to achieve in this record. It’s a shuffling street song with a swaggering riff. There are many highlights, with enticing tidbits including the wailing blues guitar in ‘Cold Wind’, the fairylike-Wurlitzer notes in ‘Bullet Girl’ and the seductive hip churner ‘Blame It On Me’. Skubiszewski has spiced up the closer ‘You’re Free’ and the haunting strings of ‘Young and Wild’ with some lavish beats. Renowned for his musicianship, which is amazing seen live, this release can only serve to enhance Butler’s reputation for turning out rich albums full of skillfully crafted songs.

The influence of Richard Thompson’s solo work becomes apparent on such a track as ‘Brasilia Crossed with Trenton’, as there is a distinctive lyrical approach to Mould’s acoustic guitar playing that takes the music beyond the buzzsaw-thrash of his former band. Hüsker Dü suffered an acrimonious split and in many ways Workbook, originally released in 1989, was a new beginning. The underground music scene in the 1980s was a hard place to be, often reflected in music that was claustrophobic and bitter. Although Mould still had a few things to get off his chest, the songs on Workbook are expansively melodic and almost cheerful as on ‘See a Little Light’. This 25th anniversary edition, with bonus live material, opens with the elegant acoustic instrumental ‘Sunspots’ and moves into the fiery ‘Wishing Well’ with an understated ease. Mould still turns out some searing lead guitar and big choruses as on ‘Poison Years’, which begins with “Poison thoughts in my mind/Got to free myself from this bind,” a possible reference to his former Hüsker Dü bandmates. The consistent excellence of Workbook is helped along by ex-Feelies drummer Anton Fier, one time Pere Ubu bassist Tony Maimone and cellist Jane Scarpantoni who adds colour and light to the dark. DAN BIGNA

RORY McCARTNEY

ANGELA CHRISTIAN-WILKES

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Drowners Drowners [Pod/Inertia]

Thug Entrancer Death After Life [Software / Mexican Summer]

Ernest ellis cold desire [spunk]

Drowners were created through a transAtlantic marriage, whereby a Welshman wandered about New York City until he found a few like-minded musos and formed a band. While they may like to regard themselves as post-punk, their vibe is strongly garage pop, with the most punkish aspect being their short song lengths.

US-based electronic producer Ryan McRyhew began his musical production forays as Thug Entrancer amongst Denver’s thriving live electronic scene, before 2011 saw him relocating to Chicago. Indeed, it’s a city whose own electronic music history certainly figures heavily in the musical DNA of this latest album Death After Life, which despite its distinctly witch-house looking sleeve centres more around minimalist, stripped arrangements drawing equally from footwork, techno, house and more leftfield electronics. There’s a firm emphasis also on using vintage equipment, with analogue synths, TR808 drum machines and TB303 bass murmurs powering beneath virtually all of the ten tracks here. I kicks proceedings off in almost post-IDM territory, as icy melodic synthetic tones ripple and scatter against a skeletal backing of juddering, off-centre techno rhythms, the ambient howls that sweep through seemingly holding the fractured elements just barely together at points as volleys of snare rolls flex and bump. II meanwhile smoothes out the creases in favour of a minimalist glide through dubbed-out house handclaps and glittering toms that carries plenty of subdued nocturnal atmosphere even as contorted grinding digital effects rise up in the mix. Elsewhere, the nine minute long III sees the bpms edging up as acid 303 squiggles coil around a rattling techy backdrop of stacked handclaps and metallic snare fills in what’s easily the most floor-filling offering here, before V consummates the flirtations with juke / footwork that have been building up, sending rapid-fire snare rolls accelerating into the distance against an almost hypnotic backing of blurred tones. While impressive in parts, as a whole a lot of Death After Life unfortunately sits slightly awkwardly between genres rather than really successfully blurring styles.

In spite of the cliché we all judge an album by its cover. On this third release for Sydneysider Ernest Ellis I would be concerned he was planning on stealing the hotel bathrobe on his jaunt with your best friend; so comfortable does he appear in his Casanova on the terrace ‘I didn’t realise you had the camera honey’ pose. He himself declares it the sleaziest cover of all time. Funnily enough Ellis is quite the lothario on this album, but in the best possible way. Ladies get this, he wants to talk about his feelings and admit some of it might have been his fault! The results are moody, reflective, uncluttered and sexy with Ellis’s voice a Matt Berninger baritone with Justin Vernon pitch and clarity.

The band’s self-titled debut album sounds like material from the winners of the ‘bands who sound most like The Strokes’ competition. Vocalist Matthew Hitt comes across as a hybrid, channeling Strokes frontman Julian Casablancas and in songs such as ‘You’ve Got It All Wrong’, the casual, vaguely disinterested tone of Morrissey. This leads to inevitable comparisons with the originals which do not weigh heavily in Drowners’ favour. Songs carry bright licks, laced over angsty lyrics which ably capture the romance-rebuff merry-go-round of youth, with tragi-comic lines like “looking for ways to phrase a rejection”. The band apparently knows only one guitar style and all the tracks sound very similar, with no particularly memorable melodies. It’s the lyrics which are Drowners’ strongest feature, with a healthy dose of dry humour on display. You have got to love lines such as, “showing up heavily armed with light relief,” in ‘Watch You Change’. However, clever words alone don’t make a great record – clever tunes can, but this record does not have them. Taken individually, songs have an initial appeal which is quickly swamped by the repetition in sound that courses through the track list. Watch out for highlights such as the quirky ‘Long Hair’. Seriously though, you are probably better off listening to The Strokes. rory mccartney

chris downton

This record took longer to make and allows for far more breathing room than his past releases (King’s Canyon & Hunting), allowing the vocals to meander and the instrumentation to linger, working well even when it’s a cheesy sax. The opening track is ill placed however, with the corny keyboard only becoming ‘so bad it’s good’ in retrospect when you hear what else is in store. The obvious standout is ‘Black Wire I’, a deeply personal malaise about the misery of colossal feelings within a relationship not big enough to contain them. Ellis then counteracts that abrupt shock you feel when a great book ends and the characters are left hanging by leading warmly into its postscript, ‘Black Wire II’. Elsewhere ‘Exorcise It’ is a satisfying repetition with hypnotic drumming and high pitched longing, while ‘Pale Horse’ rounds out the aural courtship with self deprecating soul amidst bafflingly genius poetry that you won’t believe you fell for, but will be so glad you did. Cold Desire indeed. I may err need a moment now so hold my calls. tatjana clancy

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singles in focus by cody atkinson Perfect Pussy ‘Interference Fits’

Temples Sun Structures [Heavenly Recordings]

Sunn O))) and Ulver Terrestrials [Southern Lord]

They say the devil finds work for idle hands. Boredom can also foster creativity, as happened in the case of UK neo-psych rockers Temples, formed in just 2012 by singer-guitarist James Bagshaw and bassist Thomas Warmsley. Prospects escalated when their work on the internet caught the attention of a record label. Bagshaw and Warmsley then realised that a capability to play live gigs was highly desirable and swiftly rounded up a drummer and a keyboard player to constitute a proper band.

This collaboration is a meeting of minds to say the least. Sunn O))) have built a sizeable body of work around the treatment of drones in various settings – often low-end atmospheric rumbles transformed into locked monolithic riffs that have their rightful place within doom metal.

Temples delivers the pop sound of the 60s, with a vibe reminiscent of the 1967 hit ‘Green Tambourine’ by The Lemon Pipers. Themes tend to be more introspective than relationship based, leading down rabbit holes with such navel gazing ideas as being in harmony with nature. In keeping with the psychedelic flavour, production is deliberately lo-fi with lots of fuzzy echoes around the vocals and a tinny quality to the percussion from drummer Sam Toms. Opening track ‘Shelter Song’ brings a bright pop tang with its cheerful call and response style. There’s more a of a 21st century surf music sound to the title track, with bulked up vocals and the best, lengthy psychedelic passage in the album. ‘Mesmerise’, another highlight, has a swooping melodic style that appears frequently in this collection. ‘A Question Isn’t Answered’ employs a rhythmic, hand clapping start and swelling organ chords from keyboard player Adam Smith. Overall, Temples’ debut album is high on pop and – with the exception of ‘Sun Structures’ and ‘Sand Dance’, low on robust psychedelica. However, its qualities of being very strong melodically, vocally engaging and chock-full of jangling guitars make it a good listen. RORY McCARTNEY

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Norwegian group Ulver have alternated between evil black metal blasts and moody electronic compositions and thematic song cycles, with the latter taking over in recent years. This collaborative effort was originally assembled in 2008, only now appearing on Southern Lord. Both groups seamlessly integrate respective musical visions into a common desire to create an eerie, imaginary soundtrack that would have worked well in the ritualistic orgy scene in Stanley Kubrick’s Eyes Wide Shut. Each of the three lengthy compositions is anchored by drones which are not as pronounced as otherwise found on Sunn O))) recordings, but which nevertheless bear the hallmarks of understated heaviness. These provide the foundations onto which both groups unfurl slowly evolving instrumental layers comprising violin, viola and trumpet which coalesce into creepy soundscapes to take the listener out of their comfort zone. This album goes to show that discovering a signature sound can sometimes prove elusive. Although both Sunn O))) and Ulver have at various times explored the darkest corners of doom and black metal, recordings like this make the case that in the right settings quiet can be just as potent as noise.

Bring on the new noise. The cognitive dissonance that exists between an undeniably catchy riff and and the near incomprehensible surrounding noise should create discomfort but instead draws my sorry arse in. “Easy does it” doesn’t belong here.

Babaganouj ‘Too Late For Love’ A nice, fat slice of power pop from north of the border, up Queensland way. Think Smudge and Even, through a millennial haze. Also, how good is babaganouj the dip? Smoky eggplant, some beautiful flavours going on there...what do you mean this is meant to be a single review? Ah, the header above...So, yeah, nice boy-girl vocals, cute little guitar lines and a sunny disposition make it decent track, on par with, say, beetroot dip.

Waterford ‘All That Gold’ Waterford display a nice blend of indie rock polish and jagged distortion on this one, with waves of guitar and cymbals awash. The beauty about “All That Gold” is how it breaks down and builds up over the second half, creating space then closing it up.

Taylor Henderson ‘When You Were Mine’ This is a song. It contains an arrangement of sounds in a “musical” manner. It has a singer. It also features other musicians. I don’t know how many other musicians. I would say an indeterminate number of musicians. There are lyrics, and music underneath those lyrics. The lyrics make no sense to me. The end.

dan bigna

the word

on films

WITH MELISSA WELLHAM

What is it about Hollywood that making a kick-ass teen vampire series is so goddamn hard? Even Buffy the Vampire Slayer – a phenomenal television series, and I’ll never listen to anyone who says otherwise – sucked when it made its first appearance on the big screen. And the recent fare we have been subjected to – such as Twilight and Vampire Academy – isn’t much better. Is it too much to ask for another film like The Lost Boys?

quote of the issue “A female - especially one who lives off of blood and magic - is going to have her mood swings.” Rose Hathaway (Zoey Deutch), Vampire Academy

Vampire Academy

The Raid 2

Need for Speed

Rose Hathaway (Zoey Deutch) is a half-human half-vampire, who is sworn to protect her best friend Lissa Dragomir (Lucy Fry), a full-blood royal vampire. Which might not sound that difficult given that they both go to a magical, Hogwarts-esque boarding school – but the bad guys are everywhere, and they want Lissa’s life.

Super cop Rama (Iko Uwais) is back in The Raid 2, but instead of fighting his way up an apartment block, he’s swivel kicking his way through the hierarchy of crime families.

Need for Speed is not a good movie. It is not original, and it uses slow motion in an overwrought and almost laughable way to portray emotion. But boy, is it entertaining.

I had such high hopes for Vampire Academy… Okay, I was probably the only person over the age of 14 who had any thoughts about the film at all, but it had a promising premise. Based upon a series of fastpaced, fun teen books about vampires – and from the director of Mean Girls and the writer of Heathers – Vampire Academy looked like it might not suck. Alas, t’was not to be. The ‘Harry Potter meets Twilight meets Mean Girls’ set up of Vampire Academy doesn’t have enough genuine suspense, romance or laughs to even come close to any of those films. It is as unique film, in the sense that it’s the only one I’ve ever seen which has so much heavyhanded exposition, yet still leaves the audience confused as to what’s happening for most of the film. I had actually read the novel, and was still perplexed as the plot sped from one scene to the next. The dialogue is literally cringe worthy, and really the only redeeming feature is the likeable Deutch as Rose. One for Twilight tragics only. MELISSA WELLHAM

All ‘top 10’ best-of lists for fight scenes and car chases will have to updated to align with Evans’ latest creations. A muddy prison riot early in the film is absolutely brutal and gripping in execution, as well as fight in a toilet cubicle that defies the laws of physics for so much awesomeness to be unleashed in a tight space. Evans manages to provide enough variety in the execution to ensure each sequence heightens the escalation of the narrative. Nothing illustrates the growing intensity more than the mind blowing car chase in the second half of the film that combines martial arts and automobiles in magnificent union. The weaknesses exist in the plotting department, as Evans tries to expand the corrupt world established in the first film - but it becomes a convoluted list of interconnected characters. The conversation breaks provide a good chance to catch your breath between the brawls but none of the interactions carry any weight outside of establishing the grudges. A little of the spark from The Raid is missing in The Raid, but it solidifies Evans, Uwais and Indonesia as the new centre of the arse kicking universe. cameron williams

Based on the video game of the same name, Need for Speed is about street racing – the high-end kind, where the stakes are high and the car price tags are even higher. Tobey Marshall (Aaron Paul) is a small-town racer who finds himself driving to California to compete in a secretive street race, to battle an old rival and settle some scores. Add in some talented sidekicks, futuristic technology, and the fact that revenge is a dish best served cold, and Need for Speed manages to be a winner, even though it offers nothing new to the genre. Need for Speed is a fastpaced, energetic story, and even though it does take the emotional plotlines a bit too seriously, it stays engaging and fun. Paul is sympathetic and likeable as Tobey, and Imogen Poots is delightful as the smart and sassy love interest Julia. Also, Dominic Cooper is a suitable asshole, as Tobey’s arch nemesis Dino Brewster. This film is all about car chases, expensive wheels, shaky cam, and suspension of disbelief. Ignore the murky ethics of street racing (our minds aren’t really allowed to linger on thoughts of “casualties” and “consequences”) and just buckle in for the ride. At 230mph. MEGAN McKEOUGH

@bmamag

Robocop

Veronica Mars

What does a studio do when they want to make a lot of money, but can’t be bothered reading any of those pesky scripts that are always being pushed in their direction? Why, remake a film from the 80s of course! Oh, but the satirical punch and any artistry from the original have to go, obviously.

Veronica Mars was one of those great cult shows - a teenage Twin Peaks; a mystery noir wrapped in a high-school drama. The kind of show that inspires fans to put up their own money ten years later, and subsequently break records on Kickstarter, to support a film version. Veronica (Kristen Bell) is sassy, clever and curious, and the show saw her use her spy skills to solve the mystery of her best friend’s murder (spoiler alert – the film tells you whodunnit). Here, she has graduated law school and is living in New York… but is inexplicably drawn back to her hometown of Neptune, and her old investigating ways, to help solve a murder. With all the high expectations and beloved memories, this film could have been a disaster. But it is spectacular.

A remake of the 1987 RoboCop, 2014 RoboCop is set in 2028. Alex Murphy (Joel Kinnaman) is just a good cop in a bad world, trying to do his best to stop crime and corruption in Detroit – but when he’s critically injured in the line of duty, multinational conglomerate OmniCorp decides to build a half-man, half-robot police officer. Because WHAT COULD POSSIBLY GO WRONG? As it turns out, OmniCorp failed to remember one vital fact: there’s still a man inside the machine with a mind of his own. To be fair, this remake is on the right track with its social commentary – looking at political corruption, big business and American imperialism (my favourite!) – but the confused ideas and incoherent themes let down any Big Ideas that the film has. The action sequences and graphics are quite slick, and the supporting cast (including Gary Oldman and Abbie Cornish) do well with what they have. RoboCop is far from the worst unnecessary remake we have seen in recent years – but ultimately it has neither enough point nor awesomeness. melissa welham

It’s everything I loved about Veronica Mars, plus amazing cameos, fan in-jokes, show throwbacks, and enough new stuff to even out the nostalgia. There are love triangles to resolve, old friends to reconnect with, and old nemeses to trade insults with. Though the film did leave one gaping mystery unsolved (while all-too-quickly tying up other loose ends in the last half hour), nothing could blemish the sheer joy this film brought me. As a die-hard fan, Veronica Mars felt like a warm hug from an old friend. Though only officially released online, Veronica Mars seems enough of a big deal to warrant review. Available now. MEGAN McKEOUGH

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the word on dvds

Springsteen and I [Shock]

The Returned [Madman]

Bad Grandpa [Paramount]

There’s no way around it; I don’t get Bruce Springsteen. Over the last two years, Springsteen has visited our shores twice to rapturous reviews. His marathon live shows are legendary – cathartic, quasi-religious experiences representing the very essence of rock and roll. Or so they say. But his songs do not connect – they are a mystery to me, they say nothing to me about my life. I was hoping Springsteen and I would bridge the gap and make sense of the amorphous thing that is Springsteen. Sadly, all it did was confirm the man has stamina and his fans are too much. Essentially a mash-up of fan-sourced, self-made videos it would be a stretch to call this a documentary despite Ridley Scott’s (Blade Runner, A Good Year) involvement.

A school bus in the French Alps careens out of control and plummets over a cliff. Four years later, one of the victims climbs up onto the road and makes her way home where she makes a sandwich and freaks the living shit out of her mother, who incorrectly presumed her dead daughter was, you know, dead. Camille – said dead daughter, hasn’t aged a day since the accident and other than being alive, hungry and unable to sleep is exhibiting no signs of anything out of the ordinary. Why is she back? Is she a ghost? Then a young man appears from nowhere chasing down his fiancé. He died 20 years ago and wasn’t on the bus so they don’t appear to be connected. Then there’s Victor, a small mute boy with a devastating backstory who eats biscuits and is generally the creepiest thing outside a midnight screening of The Shining in a cemetery.

When Jackass 3D came out I couldn’t get there quick enough – nut-smashing in three dimensions was an offer too good to refuse. But for all the juvenile reverie, the whole concept of Jackass was flat, done and over. It was the soulless wringing of one last ounce of interest from of a long-forgotten corpse. In the age of YouTube who needs a bunch of middle-aged men acting like hyped-up teenagers? Given Bad Grandpa is ‘presented’ by Jackass you’d be right to approach with caution. But even though Johnny Knoxville brings the spirit of Jackass to the bear (fear not, nuts are smashed) there are enough differences in this semiscripted, hidden-camera road comedy to set it apart from its predecessors. Knoxville plays 86-year-old Irving Zisman, a man mourning the death of his wife Ellie (Catherine Keener!). At the sparsely attended funeral, his daughter Ellie turns up, gets into an argument with Irving, tries to steal Ellie’s necklace, knocks over her casket sending her flying across the floor and leaving her young son (Donnie/Jackson Nicoll) with Irving to return to his father in North Carolina. All this happens in a real funeral parlour, with real people reacting in very real ways all filmed with hidden cameras. The road trip that follows sees grandpa and grandson goad more real people into stunned reactions: underage drinking, strip clubs, disposal of a corpse, shoplifting, bikertaunting before it all ends in a beauty pageant. Bad Grandpa is a logical extension of the Jackass brand and characters and marks their entry into the Borat-style of filmmaking – they’d done it before but not to this extent. Knoxville and Nicoll’s relationship is the weird, beating heart of the film – an obvious affection developing between the pair as filming progressed. It’s not art, but it works.

There is no beginning, middle or end. There is no context. The narrative is outrageously subjective and superfans willing to make videos of themselves raving, crying and explaining all things Springsteen might be a cheap way to fund a film but it does not a good doco make. One minute it’s a tour of someone’s Springsteen memorabilia collection, then it’s all about how he gave them a path in life, then it’s about how Nebraska gets a trucker through her long hauls. Who cares? How are these obsessives any different to Beliebers tweet bombing their wayward low-panted hero with messages of love? The worst fan is the one who doesn’t shut up and Springsteen and I is nearly two hours of not shutting up. The best docos make the unknown understandable and this does no such thing. It makes sense Team Bruce would let the fans do the talking – his career is inextricably intertwined with them. But it doesn’t work and only serves to maintain the barrier between insider and outsider, an unusual outcome for an artist committed the democracy of rock. justin hook

The Returned is a French supernatural thriller and the latest in a long line of shows, both good and bad, that builds its mythology from unexplained incidents and coincidences. The daunting mountain setting recalls Twin Peaks, the mood unsettling, made even more so by a typically eerie Mogwai soundtrack. Each of the eight episodes gives just enough information away to deliver on the plot mechanics. But in doing so raises a new suite of questions – loss, the unfinished business of the dead, connections between twins, the past catching up to the present and safety aspects of pedestrian tunnels are all broached. The eye-popping cinematography deserves special mention as do the two young actors Swann Nambotin (Vicot) and Yara Pilartz (Camille) who anchor a superb ensemble cast, punching well above their age, height and weight. Like all mysteries some of the answers remain vague and unsatisfying, but that’s life. And death. justin hook

justin hook

@bmamag

the word

Free Music for Rich Kids @ Various locations, You Are Here Friday March 14

on gigs We ain’t rich. And we’re not kids any more. But free music is hard to pass up. And “Free Music for Students and the Aspirational Middle Class” doesn’t really have the same ring, does it? The FMFRK concept is a stellar one: handing over a bunch of stages to different curators to showcase what Canberra (and the South Coast) has to offer right here, right now. Free Music also showed off the urban renewal and flexibility that Canberra can hit when it wants to, with stages being set up in non-traditional spaces, such as parks and abandoned shops. There’s something a bit special about sitting in Ainslie Place, in the dead fucking middle of the Nation’s Capital, and watching bands play while light pours out of the still beating city, with the traffic flowing all around. It’s the counterpoint to Enlighten, where the city isn’t changed, just what happens within it. Primary Colours kicked off the show at The Money Bin. With a solitary demo to their name, and nary a gig, it could be said expectations were low. But any reservations about the newness of Primary Colours were quickly dispelled by the quality of their short set. Just three songs long, Primary Colours rained down in a storm of dissonance across the set. Orlando Furious focuses on one thing, but what that thing actually is, well, that’s hard to define. Although beset with technical difficulties, Furious mixed anger with croon throughout his set, putting a different spin on solo electronic pop. Just when you think you’ve worked him out, he’ll, for example, break out a country ballad or strip down to tights or chuck on a gold chain or break into a dance solo. In short; a very good set. On the Ainslie Street stage, Prom kicked right into gear. It’s very clear that they are all very talented musicians, but something just misses for mine, a sense of attachment to the material perhaps. However, it was clear on the night that I was in the minority, and you can’t like everything all the time. Waterford then set about doing their Waterford like thing in a very Waterford like manner. No bells and whistles, just good rock music played well by good musicians. All four members click well on stage together, with bassist Pete Huet often providing much needed relief on his banter-only microphone. Bonus points for the appropriate “You Are Here” sticker on his bass. Spartak keep propelling forward, further refining and reworking their music. Now back down to a three piece, Spartak have been polishing out a number of their cracks whilst preserving others, becoming more engaging as they develop. Maybe not their finest set, as compared to recent performances, but still a pretty damn good one.

PHOTOS BY Megan Leahy

Headliner Bobby Kill, of TV Colours, ditched the band to play the way that he wrote Purple Skies, Toxic River. No support or lifelines, just a drum machine and guitar pedals to keep him company on stage. And it sounded pretty damn good. Watching Kill build the songs step by step, bathed in the projection light of the Bin was something different, something raw. Not every note was perfect, but that’s what his subject matter is a bit about. The rest of the band was probably missed on the night, but the different perspective was refreshing. CODY ATKINSON

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the word

Neil Finn, Joshua James Canberra Theatre Saturday March 9

on gigs

Joshua James from Salt Lake City fronted up, armed with an acoustic guitar and an electric guitarist in support. Dipping and rising as he moved about the stage, James’ smoky voice carried a gentle strength. His folk-pop repertoire included ‘Annabelle’ and a song about moving to the heavily religious ‘Utah’. Simple arrangements, with space between notes, ensured the instruments never overshadowed the singing. An elegant vibe was created by the vocal harmonies and the clever interplay between the guitars. Neil Finn, with a five piece band, may have been touring in support of Dizzy Heights, but the set list resembled a greatest hits gig. Performing against a colourful swirl with a 3D-effect, Finn began at the piano with the mellow ‘Impressions’ before moving to the guitar to rock-on with ‘Pony Ride’. Songs from the rich seam of his musical career came early, with Split Enz’ ‘One Step Ahead’ next up, followed by Crowded House’s ‘Distant Sun’. Finn described his cycle around the lake and questioned the audience composition – any diplomats, public servants, politicians? (Simon Corbell, I noticed you did not stand up for that last one.)

PHOTO BY Mark Turner

Choices from the latest LP, including ‘Recluse’ (about staying home watching Game of Thrones) and ‘White Lies and Alibis’ were interspersed with picks from previous solo releases including ‘Sinner’, which used a sample to achieve the lush orchestral effect. There was crowd participation and the audience did not sound half bad, singing the ending to ‘Fall At Your Feet’. The most magical moment came during Finn’s rendering of ‘Message to My Girl’ in a piano solo. A generous encore had the crowd dancing to Enz songs ‘History Never Repeats’ and ‘I Got You’, before Finn closed with ‘Dizzy Heights’ and ‘Weather With You’. RORY MCCARTNEY

@bmamag

ENTERTAINMENT GUIDE Wed Mar 26 -Thur Mar 27 Listings are a free community service. Email editorial@bmamag.com to have your events appear each issue. wednesday march 26

Theatre

Art Exhibitions

One Flew Over the Cuckoo’s Nest

Hold Your Tongue

THE COURTYARD STUDIO

An exhibition by Martin James. 11am5pm Wednesday-Sunday.

CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

Fuelling Ed Radclyffe

Ed Radclyffe is a visual artist and musician with The Fuelers.Mon-Fri 10am-5pm Sat-Sun 12noon-5pm.

8:00pm, $25 - $35

Trivia Transit Trivia

Flex your noggin. Table bookings essential! 2 for $20 pizzas. 7:30pm. Free. TRANSIT BAR

CANBERRA MUSEUM AND GALLERY

Blaze Eight

Art exhibit. 11am-5pm Tuesday-Friday and 10am-4pm Saturday. Free.

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Elioth Gruner: The Texture of Light

Mon-Fri 10-5pm, Sat and Sun 12-5pm. CANBERRA MUSEUM AND GALLERY

Urban Weavings

Urban Weavings presents contemporary three-dimensional, functional and nonfunctional pieces. BELCONNEN ARTS CENTRE

The Rural Series

Ray McJannett explores the landscapes and stories of the historic districts of Yass and Gunning. BELCONNEN ARTS CENTRE

Fossilised Water and Petrified Air

New paper and ceramic works inspired by the landscape of the Kimberley.10am-4pm, Tue-Sun. Free. BELCONNEN ARTS CENTRE

Live Music Sing For Your Supper

New and upcoming artists, play a 30 min set for dinner and a drink. THE GEORGE HARCOURT INN

Wednesday Lunchtime Live Concert

With the RMC Brass Band. 12:40– 1:20pm. $2–5. WESLEY MUSIC CENTRE

Stonefield

With Lurch and Chief. Doors 8pm. Tickets via Moshtix. TRANSIT BAR

Phoenix Resurrection Gig

thursday march 27 Art Exhibitions Hold Your Tongue

An exhibition by Martin James. 11am5pm Wednesday-Sunday.

CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

Blaze Eight

Art exhibit. 11am-5pm Tuesday-Friday and 10am-4pm Saturday. Free.

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Elioth Gruner: The Texture of Light

Mon-Fri 10-5pm, Sat and Sun 12-5pm. CANBERRA MUSEUM AND GALLERY

Graham Fransella

Figure and landscape paintings and works on paper. Tue to Fri 10am-5pm Sat and Sun 9am-5pm until Apr 15. BEAVER GALLERIES

Urban Weavings

Urban Weavings presents contemporary three-dimensional, functional and nonfunctional pieces. BELCONNEN ARTS CENTRE

Avital Sheffer

Ceramics inspired by Middle Eastern and Jewish heritage. Tue to Fri 10am5pm Sat and Sun 9am-5pm until Apr 15. BEAVER GALLERIES

The Rural Series

Ray McJannett explores the landscapes and stories of the historic districts of Yass and Gunning. BELCONNEN ARTS CENTRE

Fossilised Water and Petrified Air

THE PHOENIX BAR

New paper and ceramic works inspired by the landscape of the Kimberley.10am-4pm, Tue-Sun. Free.

CMC Presents The Steptones

Film

Reopening night with Fire On The Hill. 9pm. Price TBA.

With After Hollywood. 7.30pm. $7-$10. SMITH’S ALTERNATIVE

CMC Presents Local and Original Bands

The Steptones with After Midnight 7.30pm, $10 / $7. SMITH’S ALTERNATIVE

Something Different Terms and Conditions

BELCONNEN ARTS CENTRE

Movie Thursdays

Showing ‘Joe Dirt’ on the big screen at Trinity Bar. Doors 5pm, Movie 7.30pm. Free entry and popcorn. TRINITY BAR

Live Music Thursday Long Play

Natalie Magee Trio. 5-7pm. Free.

Cross Disciplinary Artists are Rule Breakers. Launch: 14 March.10-2pm. Free.

HOTEL HOTEL

Zine Lounge

Pete Murray

OLD PARLIAMENT HOUSE

CANBERRA THEATRE CENTRE

NISHI GALLERY

Make your own handmade comic or magazine. Open daily 9-5pm.

Christopher Coleman Collective 7.30pm.$10

THE FRONT GALLERY AND CAFÉ

10 year Feeler Anniversary Tour. 7.30pm. $45.

Copia

With Renegade Peacock, Eyes To The Sky. Doors 8pm. $15. THE BASEMENT

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ENTERTAINMENT GUIDE Thur Mar 27 - Sat Mar 29 Nick Rigby

7:30-10:30pm.

THE LOFT AT DUXTON

Natalie Magee Trio 5-730pm. Free.

Blaze Eight

Art exhibit. 11am-5pm Tuesday-Friday and 10am-4pm Saturday. Free.

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Special K

Elioth Gruner: The Texture of Light

KING O’MALLEY’S IRISH PUB

CANBERRA MUSEUM AND GALLERY

HOTEL HOTEL

9:15pm-12:15am. Free.

Bob Log III

9pm. Price TBA.

THE PHOENIX BAR

Thursday Jazz at Smith’s

Featuring the seven piece Sydney jazz ensemble, A.C.R.O.N.Y.M. Orchestra. 8pm. $15. SMITH’S ALTERNATIVE

Christopher Coleman Collective

Folk, pop, blues and rock. 7.30pm. $10. THE FRONT GALLERY AND CAFÉ

On The Town

BELCONNEN ARTS CENTRE

The Rural Series

Ray McJannett explores the landscapes and stories of the historic districts of Yass and Gunning. BELCONNEN ARTS CENTRE

Film Cult of Arc

NATIONAL FILM AND SOUND ARCHIVES

Something Different

Live Music

Terms and Conditions

A. Baker Friday

Shaken & Stirred

A Night of Glamour & Burlesque. 7301030pm. $20.

5-8pm. Free. A. BAKER

4 Hands – Mozart, Beethoven and Schubert and

Art Exhibitions Fossilised Water and Petrified Air

New paper and ceramic works inspired by the landscape of the Kimberley.10am-4pm, Tue-Sun. Free. BELCONNEN ARTS CENTRE

Hold Your Tongue

An exhibition by Martin James. 11am5pm Wednesday-Sunday.

CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

Old Parliament House could be your office for aday! Receive free wifi plus cafe discounts. 14/28 March.

ACADEMY NIGHTCLUB

Michael Hayes / The Mighty Yak

Lunchtime folk guitar. 12.30-1.30pm. Free. SMITH’S ALTERNATIVE

No Hausfrau

Featuring Alice Cottee and Luxe 8.00pm. $10 SMITH’S ALTERNATIVE

Harmonious

Twelfth Night

Directed by Ed Wightman. 8pm, Wed to Sat, 28 March – 12 April. Under 30 tickets available at the door.r. THEATRE 3

saturday march 29

Fossilised Water and Petrified Air

BELCONNEN ARTS CENTRE

Aspects of life in a unique suburb as seen through local artists. 5pm. Free.

Fuelling Ed Radclyffe

CANBERRA MUSEUM AND GALLERY

Hold Your Tongue

An exhibition by Martin James. 11am5pm Wednesday-Sunday.

CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

Blaze Eight

Art exhibit. 11am-5pm Tuesday-Friday and 10am-4pm Saturday. Free.

Spanish harmonica player Antonio Serrano plays his eclectic repertoire. 8pm. $40. THE PLAYHOUSE

Vamp at City Underground

Featuring SHIV-R live. A night of goth, industrial, dark wave, electro punk. 7pm-1am. Price TBA.. MAGPIES CITY CLUB

Music, Lunch

Beth Monzo. 11-1pm. Free. MOCAN & GREEN GROUT

Love Saturdays

With Runamark. 9pm. ACADEMY NIGHTCLUB

grnfst

Cosmo’s Midnight with Morris, Linda Marigliano, Basenji, and guests. $50. grnfst.com.au GOOLABRI GOLF COURSE AND FUNCTIONS

Obsessions

Classic rock done right. 9pm. OLD CANBERRA INN

Oscar

10:30pm. Free.

KING O’MALLEY’S IRISH PUB

Turbo Belco

With Bulldoze All Bowlos and Baby Machine. 9.30pm. Price TBA. THE PHOENIX BAR

Kimosabi

9pm-12pm. Free.

THE LOFT AT DUXTON

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Aeon Of Horus and Inhuman Remnants CD launch

Elioth Gruner: The Texture of Light

THE BASEMENT

Mon-Fri 10-5pm, Sat and Sun 12-5pm. CANBERRA MUSEUM AND GALLERY

The Rural Series

Theatre

Ed Radclyffe is a visual artist and musician with The Fuelers.Mon-Fri 10am-5pm Sat-Sun 12noon-5pm.

Lisa Richards

BEAVER GALLERIES

Live Music

THE LOFT AT DUXTON

THE BASEMENT

Ceramics inspired by Middle Eastern and Jewish heritage. Tue-Fri 10am-5pm Sat and Sun 9am-5pm until Apr 15.

THE FRONT GALLERY AND CAFÉ

Tensions Arise, Icarus Complex, Na Maza, Johnny Roadkill, Imperilment. Doors 8pm. $15.

Avital Sheffer

BELCONNEN ARTS CENTRE

DJ Norm

Mark and Erin’s joint 21st

BELCONNEN ARTS CENTRE

Hosted by Varisht and Samuel Spencer. 8pm. Entry by gold coin donation.

5pm afternoon session/10:00pm band. Free. 9pm-12am.

Urban Weavings presents contemporary three-dimensional, functional and nonfunctional pieces.

Canberra Poetry Slam

We Love Lyneham

KING O’MALLEY’S IRISH PUB

BEAVER GALLERIES

Ray McJannett explores the landscapes and stories of the historic districts of Yass and Gunning.

OLD PARLIAMENT HOUSE

Alive Fridays

Presents Trim. $10 all night.

friday march 28

Jelly Days

New paper and ceramic works inspired by the landscape of the Kimberley.10am-4pm, Tue-Sun. Free.

Workshops

HOLY CROSS LUTHERAN CHURCH

NISHI GALLERY

With Arnan Wiesel, Aaron Chew, Caleb Wong. 7:30pm. $15–25 thru TryBooking. WESLEY MUSIC CENTRE

All levels welcome. Bring paper, easels and drawing materials. 1–3pm. $12/ day.

Terms and Conditions

Art Exhibitions

POLIT BAR & LOUNGE

Life Drawing Workshop

Urban Weavings

8.00pm.Entry by donation.

Cross Disciplinary Artists are Rule Breakers. Launch: 14 March.10-2pm. Free.

ACADEMY NIGHTCLUB

NISHI GALLERY

Poetry Slam

POLIT BAR & LOUNGE

Urban Weavings

Lawrence of Arabia. 730pm. Tickets TBA.

Cross Disciplinary Artists are Rule Breakers. Launch: 14 March.10-2pm. Free.

6–8pm. Free entry.

THE FRONT GALLERY AND CAFÉ

Urban Weavings presents contemporary three-dimensional, functional and nonfunctional pieces.

Graham Fransella

Figure and landscape paintings and works on paper. Tue to Fri 10am-5pm Sat and Sun 9am-5pm until Apr 15.

Tarot Card Reading

Mon-Fri 10-5pm, Sat and Sun 12-5pm.

Rn’B, House music. Free entry.

4Some Thursdays

Something Different

featuring Wretch. Doors 8pm. $15.

The Lavers and Jacob Sgouri EP release. 7.30pm. $10. SMITH’S ALTERNATIVE

@bmamag

ENTERTAINMENT GUIDE Sat Mar 29 - Wed Apr 2 Obsessions

Pub rock. 8.30pm till late. Free. OLD CANBERRA INN

Azlan

8pm-11pm. Free. THE DUXTON

On The Town GRNFST After party

GRNFST after party. 9pm. $5. Free entry for all that attend the Sutton festival. TRINITY BAR

Something Different Parties at the Shops Lyneham

Entertainment, stalls, music and food. 4pm. Free. THE FRONT GALLERY AND CAFÉ

Fash ‘n’ Treasure

Fashion and treasures market, clothes and much more. 10am-3pm. $3. EXHIBITION PARK IN CANBERRA (EPIC)

Terms and Conditions

Cross Disciplinary Artists are Rule Breakers. Launch: 14 March.10-2pm. Free.

Elioth Gruner: The Texture of Light

Mon-Fri 10-5pm, Sat and Sun 12-5pm. CANBERRA MUSEUM AND GALLERY

Urban Weavings

Urban Weavings presents contemporary three-dimensional, functional and nonfunctional pieces.

Live Music

We Love Lyneham

Sunday Afternoon Music OLD PARLIAMENT HOUSE

Elioth Gruner: The Texture of Light

THE FRONT GALLERY AND CAFÉ

Hold Your Tongue

An exhibition by Martin James. 11am5pm Wednesday-Sunday.

730pm. Free.

SMITH’S ALTERNATIVE

I Wrestled A Bear Once

With Caulfield, Purity, Bankrupt, Collisions. Doors 8pm. $25.

THE PLAYHOUSE

Schnitz & Giggles

Trivia

SMITH’S ALTERNATIVE

Nerd Trivia with Joel and Ali

Live Music

THE PHOENIX BAR

Sunday Sipper

DJs Doppel and Ashley Feraude. 3-8pm. Free. A. BAKER

Moon Day Fusion

Jake Lang and Alex Voorhoerve. 5-730pm. Free. HOTEL HOTEL

5-10pm.

Love and Loss

WESLEY MUSIC CENTRE

Acacia Suitcase

EP launch. Laid back indie folk band. 5–7pm. Free. A BITE TO EAT CAFE

Irish Jam Session

Irish Jam Session. Traditional Irish musicians in the pub from late afternoon. Free. KING O’MALLEY’S IRISH PUB

Jim Finn

Smith’s Summer Sounds and Sangria

Aspects of life in a unique suburb as seen through local artists. 5pm. Free.

Tuesday Blues at Smith’s

Comedy

THE DUXTON

Fossilised Water and Petrified Air

We Love Lyneham

Live Music

HIStory II

8pm-11pm.

Roots and blues. 1:30pm. Free.

BELCONNEN ARTS CENTRE

TRANSIT BAR

Mon-Fri 10-5pm, Sat and Sun 12-5pm.

BELCONNEN ARTS CENTRE

New paper and ceramic works inspired by the landscape of the Kimberley.10am-4pm, Tue-Sun. Free.

Croon and wail your heart out on the Transit stage. 9pm. Free.

Matt Dent

With Prudence Dunstone (mezzosoprano) and Maryleigh Hand (piano). 3pm. $15–35.

Ray McJannett explores the landscapes and stories of the historic districts of Yass and Gunning.

Karaoke Love

THE FRONT GALLERY AND CAFÉ

Twelfth Night

The Rural Series

Karaoke

Enjoy breezy music, antipasti, platters and sangria. 130-330pm.

THE LOFT AT DUXTON

Art Exhibitions

BELCONNEN ARTS CENTRE

Aspects of life in a unique suburb as seen through local artists. 5pm. Free.

Theatre

sunday march 30

The Rural Series

BELCONNEN ARTS CENTRE

Ashley Feraude

THEATRE 3

Art Exhibitions Ray McJannett explores the landscapes and stories of the historic districts of Yass and Gunning.

NISHI GALLERY

Directed by Ed Wightman. 8pm, Wed to Sat, 28 March – 12 April. Under 30 tickets available at the door.

monday march 31

ROSE COTTAGE

The Moochers and friends 3–5pm. $5.

CANBERRA MUSEUM AND GALLERY

April Fool’s Day. 6.30pm-8.00pm. $5.

Jake Lang and Alex Voorhoerve 530-730pm. Free. HOTEL HOTEL

CIT Presents The Bootleg Sessions

Pretty Crane, Ivory Lights, Brett Hiscocks and Michael Walsh. 8pm. Free entry. THE PHOENIX BAR

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Art Exhibitions The Rural Series

Ray McJannett explores the landscapes and stories of the historic districts of Yass and Gunning. BELCONNEN ARTS CENTRE

THE FRONT GALLERY AND CAFÉ

Transit trivia returns with your host Rainman. Book now on (02) 6162 0899. 7pm. Free. TRANSIT BAR

tuesday april 1 Art Exhibitions The Rural Series

We Love Lyneham

CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

wednesday april 2

Rainman’s Trivial Excuse

Terms and Conditions

NISHI GALLERY

7pm. Free entry.

We Love Lyneham

Something Different Cross Disciplinary Artists are Rule Breakers. Launch: 14 March.10-2pm. Free.

Michael Jackson music biography starring Kenny Wizz. 8pm. $79-$89.

Trivia

Ray McJannett explores the landscapes and stories of the historic districts of Yass and Gunning.

SMITH’S ALTERNATIVE

THE BASEMENT

BELCONNEN ARTS CENTRE

Aspects of life in a unique suburb as seen through local artists. 5pm. Free. THE FRONT GALLERY AND CAFÉ

Elioth Gruner: The Texture of Light

Mon-Fri 10-5pm, Sat and Sun 12-5pm.

Aspects of life in a unique suburb as seen through local artists. 5pm. Free.

Fuelling Ed Radclyffe

Ed Radclyffe is a visual artist and musician with The Fuelers.Mon-Fri 10am-5pm Sat-Sun 12noon-5pm. CANBERRA MUSEUM AND GALLERY

Elioth Gruner: The Texture of Light

Mon-Fri 10-5pm, Sat and Sun 12-5pm. CANBERRA MUSEUM AND GALLERY

Graham Fransella

Figure and landscape paintings and works on paper. Tue to Fri 10am-5pm Sat and Sun 9am-5pm until Apr 15. BEAVER GALLERIES

Avital Sheffer

Ceramics inspired by Middle Eastern and Jewish heritage. Tue to Fri 10am5pm Sat and Sun 9am-5pm until Apr 15. BEAVER GALLERIES

CANBERRA MUSEUM AND GALLERY

ENTERTAINMENT GUIDE Wed Apr 2 - Sat Apr 5 Live Music

thursday april 3

CMC Presents Pocketfox

With Nozl, Glenroy Heights, Vice Like Grip. 7.30pm. $5.

Art Exhibitions

Music at Midday

Ray McJannett explores the landscapes and stories of the historic districts of Yass and Gunning.

SMITH’S ALTERNATIVE

Gold coin donation charity concert featuring the RMC band. 11.00am/12.30pm. Free.

The Rural Series

BELCONNEN ARTS CENTRE

CANBERRA THEATRE CENTRE

We Love Lyneham

Something Different Jelly Days

THE FRONT GALLERY AND CAFÉ

Old Parliament House could be your office for aday! Receive free wifi plus cafe discounts. 14/28 Mar OLD PARLIAMENT HOUSE

The Same Page Book Show

A Book Club where beer and swearing are allowed. This month’s book: Who We Were by Lucy Neave. 6pm. SMITH’S ALTERNATIVE

The Same Page Book Club

Like First Tuesday Bookclub but with booze + swears. Discussing Lucy Neave’s Who We Were. 6pm. Free.

Aspects of life in a unique suburb as seen through local artists. 5pm. Free.

Movie Thursdays

Showing ‘Aliens’ on the big screen at Trinity Bar. Doors 5pm, Movie 7.30pm. Free entry and popcorn. TRINITY BAR

THE LOFT AT DUXTON

Twelfth Night

Thursday Long Play

THE COURTYARD STUDIO

SMITH’S ALTERNATIVE

Kaleid. 5-7.30pm. Free. HOTEL HOTEL

Shaun Kirk

Playing songs from forthcoming album ‘Steering the Wheel’. 7.30pm. $10. THE FRONT GALLERY AND CAFÉ

Chicago Charles & Dave 9.15pm-12.15. Free.

KING O’MALLEY’S IRISH PUB

KNIGHTSBRIDGE PENTHOUSE

Flex your noggin. Table bookings essential! 2 for $20 pizzas. 7:30pm. Free.

Warts and All

THE COURTYARD STUDIO

A play by Emma Gibson. 730pm. $25.

Workshops Life Drawing Workshop

All levels welcome. Bring paper, easels and drawing materials. 1–3pm. $12/ day. HOLY CROSS LUTHERAN CHURCH

friday april 4 Art Exhibitions

8pm. $5/$10 at the door.

Ball Park Music

With Papa vs Pretty and Holy Holy. 8pm.$39.80 ZIERHOLZ @ UC

Songs in the key of Motown

Tribute to The Temptations, Supremes, Four Tops, Pointer Sisters and more. $35- $66 CANBERRA THEATRE CENTRE

Pang! presents Yahtzel

Pang! presents Sydney indie electronic artist Yahtzel. 8pm. $15 before 11pm. TRINITY BAR

Oscar

5pm afternoon session/10pm band. Free. KING O’MALLEY’S IRISH PUB

Special K

10:30pm. Free.

KING O’MALLEY’S IRISH PUB

Something Different Tarot Card Reading 6–8pm. Free entry.

POLIT BAR & LOUNGE

Jelly Days

Old Parliament House could be your office for aday! Receive free wifi plus cafe discounts. 14/28 Mar

The Rural Series

OLD PARLIAMENT HOUSE

BELCONNEN ARTS CENTRE

Varsity Derby League is seeking men and women to play and officiate roller derby. 7pm in the Snug room.

Ray McJannett explores the landscapes and stories of the historic districts of Yass and Gunning.

Roller derby recruitment night

We Love Lyneham

KING O’MALLEY’S IRISH PUB

Aspects of life in a unique suburb as seen through local artists. 5pm. Free. THE FRONT GALLERY AND CAFÉ

Unmade Edges: A Centenary Legacy Exhibition Works inspired by Canberra’s regional villages. 10am-4pm. Tuesday-Sunday until April 17. Free. BELCONNEN ARTS CENTRE

Theatre Sex In America

Scenes from 20th century American theatre as performed by CADA students. Tickets via cada.net.au

CANBERRA ACADEMY OF DRAMATIC ART

Twelfth Night

On The Town

Elioth Gruner: The Texture of Light

Directed by Ed Wightman. 8pm, Wed to Sat, 28 March – 12 April. Under 30 tickets available at the door.r.

4Some Thursdays

CANBERRA MUSEUM AND GALLERY

Warts and All

THE PHOENIX BAR

8-10pm. Free.

TRANSIT BAR

Open jazz jam. 7.30pm. $5.

With Hearing Voices. 9pm. Price TBA.

Henry Ladd’s Game of Knowledge Transit Trivia

Thursday Jazz at Smith’s

The Stiffys

Trivia

THEATRE 3

THE STREET THEATRE

Scenes from 20th century American theatre as performed by CADA students. Tickets via cada.net.au

A play by Bruce Hoogendoorn. Ever wanted to prune your family tree? 2/8pm. $15–25.

Directed by Ed Wightman. 8pm, Wed to Sat, 28 March – 12 April. Under 30 tickets available at the door.

Film

Thursdays 6-9pm. Sundays 5-8pm. Free.

Warts and All

Twelfth Night

Johnny Castellano is Mine

Theatre

THEATRE 3

CANBERRA ACADEMY OF DRAMATIC ART

CANBERRA MUSEUM AND GALLERY

Mon-Fri 10-5pm, Sat and Sun 12-5pm.

Nick Rigby

Directed by Ed Wightman. 8pm, Wed to Sat, 28 March – 12 April. Under 30 tickets available at the door.r.

TRANSIT BAR

Scenes from 20th century American theatre as performed by CADA students. Tickets via cada.net.au

Elioth Gruner: The Texture of Light

Live Music

CANBERRA ACADEMY OF DRAMATIC ART

The Barren Spinsters

Sex In America

A play by Bruce Hoogendoorn. Ever wanted to prune your family tree? 2/8pm. $15–25.

SMITH’S ALTERNATIVE

Sex In America

Theatre

Rn’B, House music. Free entry.

Mon-Fri 10-5pm, Sat and Sun 12-5pm.

ACADEMY NIGHTCLUB

Film

Something Different

Sounds on Sight

Skate It Out

Free ice skating session for young people. 8-10pm. Free. PHILLIP ICE SKATING RINK

Metallica: Through the Never. 730pm. Tickets TBA. NATIONAL FILM AND SOUND ARCHIVES

Live Music The Marvellous Miz Demeanours

Encore performance. 7.30pm. $26.50. SMITH’S ALTERNATIVE

AD SPACE

Kimosabi

8-12pm. Free.

THE LOFT AT DUXTON

A. Baker Friday

Bella Groove. 5-8pm. Free. A. BAKER

Elena B Williams

Soul, folk, alternative and world sounds. 7.30pm. Entry by gold coin donation. THE FRONT GALLERY AND CAFÉ

Alive Fridays

Presents Tigerlily. $10 all night. ACADEMY NIGHTCLUB

THEATRE 3

A play by Bruce Hoogendoorn. Ever wanted to prune your family tree? 2/8pm. $15–25. THE COURTYARD STUDIO

Johnny Castellano is Mine

A play by Emma Gibson. 730pm. $25. THE STREET THEATRE

saturday april 5 Art Exhibitions The Rural Series

Ray McJannett explores the landscapes and stories of the historic districts of Yass and Gunning. BELCONNEN ARTS CENTRE

Fuelling Ed Radclyffe

Ed Radclyffe is a visual artist and musician with The Fuelers.Mon-Fri 10am-5pm Sat-Sun 12noon-5pm. CANBERRA MUSEUM AND GALLERY

Graham Fransella

Figure and landscape paintings and works on paper. Tue to Fri 10am-5pm Sat and Sun 9am-5pm until Apr 15.

Tortured

BEAVER GALLERIES

THE BASEMENT

Mon-Fri 10-5pm, Sat and Sun 12-5pm.

With Empirical, Reign Of Terror, Rite Of Violence. Doors 8pm. $10.

Elioth Gruner: The Texture of Light

Adam Wind (Afternoon Shift)

CANBERRA MUSEUM AND GALLERY

with Jenn Pacor & Christine Jauncey. 8.30pm. Free. POT BELLY BAR

@bmamag

ENTERTAINMENT GUIDE Sat Apr 5 - Wed Apr 9 Hamilton Darroch: Sun Trap

sunday april 6

Sculptures using objects exposed to the Australian landscape. 10am-5pm (12-5pm weekends). Until June 8

Art Exhibitions

Avital Sheffer

The Rural Series

CANBERRA MUSEUM AND GALLERY

Ceramics inspired by Middle Eastern and Jewish heritage. Tue to Fri 10am5pm Sat and Sun 9am-5pm until Apr 15.t

Ray McJannett explores the landscapes and stories of the historic districts of Yass and Gunning.

Live Music

Mon-Fri 10-5pm, Sat and Sun 12-5pm.

BEAVER GALLERIES

Twin Lakes

Indie pop five piece. 7.30pm. $10. SMITH’S ALTERNATIVE

Norm

8-12pm. Free.

THE LOFT AT DUXTON

Music, Lunch

Julia Johnson. 12-2pm. Free. MOCAN & GREEN GROUT

Shen Yun 2014

ringing to life 5,000 years of Chinese civilization through classical Chinese dance and music. 2.00p CANBERRA THEATRE CENTRE

Knights of the Spatchcock

With Harley Quinn and Owls Hunt Bats. 8.30pm. Free. MAGPIES CITY CLUB

On The Town Love Saturdays

With Ashley Feraude. 9pm. $10. ACADEMY NIGHTCLUB

BELCONNEN ARTS CENTRE

Elioth Gruner: The Texture of Light

CANBERRA MUSEUM AND GALLERY

Live Music

Bec Taylor’s piano class graduation concert

Friends family & public welcome. 1-3pm. Free. SMITH’S ALTERNATIVE

Karaoke

THE COURTYARD STUDIO

Karaoke Love

monday april 7

Croon and wail your heart out on the Transit stage. 9pm. Free.

Art Exhibitions

TRANSIT BAR

The Rural Series

Ray McJannett explores the landscapes and stories of the historic districts of Yass and Gunning.

Theatre Lies, Love and Hitler.

A play by Elizabeth Avery Scott. Tickets via cada.net.au. $25-$35.

CANBERRA ACADEMY OF DRAMATIC ART

Elioth Gruner: The Texture of Light

Warts and All

CANBERRA MUSEUM AND GALLERY

Live Music

A play by Bruce Hoogendoorn. Ever wanted to prune your family tree? 2/8pm. $15–25. THE COURTYARD STUDIO

Moon Day Fusion

Trivia

HOTEL HOTEL

Henry Ladd’s Game of Knowledge

Sunday Sounds and Sangria at Smith’s

Michael on Violin with Brother J on the decks - this is Moon Day Fusion

SMITH’S ALTERNATIVE

CMC Presents The Bootleg Sessions

8-10pm. Free.

THE PHOENIX BAR

With Andrew Shannon. 7pm. Free.

Marji Curran Band. 3-5pm. $5

Sunday Sipper

DJs Brother J (Sunday remedy) and Degg (funkiest of funksters) A. BAKER

Nick Rigby

Thursdays 6-9pm. Sundays 5-8pm. Free. THE LOFT AT DUXTON

Acoustic Sunday Sesh 2

THE FELLOWS BAR & CAFE (ANU)

Directed by Ed Wightman. 8pm, Wed to Sat, 28 March – 12 April. Under 30 tickets available at the door.

Tundrel (Full band acoustic set), Fess Fikkle, Sep & Cherie, Hayley & Pete. Doors 2pm. $10.

Warts and All

Byron

THE BASEMENT

Friday 2-5pm. Sundays 3-6pm. Free. THE DUXTON

Elena B. Williams

Johnny Castellano is Mine

Three time finalist in the Music OZ Awards. 5–7pm. Free.

THE STREET THEATRE

Flamencura

A play by Emma Gibson. 730pm. $25.

A BITE TO EAT CAFE

Looking Through A Glass Onion

Flamenco guitarist, composer and producer Paco Pena. 8.00pm. $90$99.50.

CANBERRA THEATRE CENTRE

SMITH’S ALTERNATIVE

Mon-Fri 10-5pm, Sat and Sun 12-5pm.

Twelfth Night

John Waters and Stewart D’Arrietta. 8:00pm. $50-$55

7pm. $10.

OLD PARLIAMENT HOUSE

Enjoy breezy music, antipasti, platters and sangria. 130-330pm.

Father/Daughter folk duo. 5pm. Free.

THE COURTYARD STUDIO

Irresponsible Comedy

A play by Bruce Hoogendoorn. Ever wanted to prune your family tree? 2/8pm. $15–25.

Sunday Afternoon Music

Theatre

A play by Bruce Hoogendoorn. Ever wanted to prune your family tree? 2/8pm. $15–25.

Comedy

Warts and All

BELCONNEN ARTS CENTRE

Hither and Yon

THEATRE 3

Theatre

CANBERRA THEATRE CENTRE

Irish Jam Session

Irish Jam Session. Traditional Irish musicians in the pub from late afternoon. Free. KING O’MALLEY’S IRISH PUB

KNIGHTSBRIDGE PENTHOUSE

Pub Trivia

8pm. Free.

THE PHOENIX BAR

Theatre

wednesday april 9

Warts and All

A play by Bruce Hoogendoorn. Ever wanted to prune your family tree? 2/8pm. $15–25.

Art Exhibitions

Trivia

Ceramics inspired by Middle Eastern and Jewish heritage. Tue to Fri 10am5pm Sat and Sun 9am-5pm until Apr 15.t

Avital Sheffer

THE COURTYARD STUDIO

Rainman’s Trivial Excuse

BEAVER GALLERIES

Transit trivia returns with your host Rainman. Book now on (02) 6162 0899. 7pm. Free.

Hamilton Darroch: Sun Trap

Sculptures using objects exposed to the Australian landscape. 10am-5pm (125pm weekends). Until June 8.

TRANSIT BAR

CANBERRA MUSEUM AND GALLERY

tuesday april 8

wFuelling Ed Radclyffe

Ed Radclyffe is a visual artist and musician with The Fuelers.Mon-Fri 10am-5pm Sat-Sun 12noon-5pm.

Art Exhibitions The Rural Series

Ray McJannett explores the landscapes and stories of the historic districts of Yass and Gunning. BELCONNEN ARTS CENTRE

Elioth Gruner: The Texture of Light

Mon-Fri 10-5pm, Sat and Sun 12-5pm. CANBERRA MUSEUM AND GALLERY

CANBERRA MUSEUM AND GALLERY

Unmade Edges: A Centenary Legacy Exhibition Works inspired by Canberra’s regional villages. 10am-4pm. Tuesday-Sunday until April 17. Free. BELCONNEN ARTS CENTRE

The Rural Series

Ray McJannett explores the landscapes and stories of the historic districts of Yass and Gunning. BELCONNEN ARTS CENTRE

OUT

Apr 9

The jezabels Holidays on ice Violent Soho interplay ...and more!

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FIRST CONTACT SIDE A: BMA band profile

Aaron Peacey 0410381306 band.afternoon.shift@ gmail.com.au Adam Hole 0421023226

Afternoon Shift 0402055314 Amphibian Sound PA Clare 0410308288 Annie & The Armadillos Annie (02) 61611078/ 0422076313 Aria Stone sax/flute/lute/ harmonica, singer-songwriter Aria 0411803343

The Barren Spinsters Where did your band name come from? I can tell you where we didn’t get it from…The Carillon. Group members? Ben Harris (drums/ vocals), Brendon Houlahan (vocals/guitar/keybass). Describe your sound: It’s like being hit over the head with a brick, only to discover that it was the most pleasant experience you’ve ever had. Who are your influences, musical or otherwise? Ben mostly. He’s always got something deeply profound to say, even when he’s being a dickhead. What’s the most memorable experience you’ve had whilst performing? It’s always enjoyable to see people dancing along having a good time. Those are probably the most enjoyable experiences we’ve had playing music. Of what are you proudest so far? I’m so proud of the fact that we still listen to each other’s ideas. It’s good to know that both Ben & I are employees of the music and are forced (most of the time) to put our egos aside for the greater good of what the song wants. What are your plans for the future? To release the large amount of recorded music we have up sleeve, starting Friday 4th April. We have locked ourselves away for the past 18 months to record four separate EP’s, which we can’t wait to share with you all. What makes you laugh? Ben, a small room full of instruments and a large fridge full of our preferred beverages. What pisses you off? Seeing incredibly gifted musicians wasting their talents from laziness, arrogance or just plain stupidity.

Back to the Eighties Ty Emerson 0418 544 014 Backbeat Drivers Steve 0422733974 backbeatdrivers.com Bat Country Communion, The Mel 0400405537 Birds Love Fighting Gangbusters/DIY shows-bookings@ birdslovefighting.com Black Label Photography Kingsley 0438351007 blacklabelphotography.net Bridge Between, The Cam 0431550005 Capital Dub Style Reggae/dub events Rafa 0406647296 Chris Harland Blues Band, The Chris 0418 490 649 chrisharlandbluesband @gmail.com Cole Bennetts Photography 0415982662 Danny V Danny 0413502428 Dawn Theory Nathan 0402845132 Danny 0413502428 Dorothy Jane Band, The Dorothy Jane 0411065189 dorothy-jane@dorothyjane.com Drumassault Dan 0406 375 997 Feldons, The 0407 213 701 FeralBlu Danny 0413502428

What about the local scene would you change? It’s a pretty dynamic scene we have going here. We shouldn’t be scoffing at it all. I’d just like to see more venues that support original live music. I’d also like to see those that already do defeat the absurd noise restriction regulations that are in place after 11:30pm.

Fire on the Hill Aaron 0410381306 Lachlan 0400038388

What are your upcoming gigs? Friday 4th April @ Transit Bar. Double EP release ‘Counter Culture’ & ‘Lost Cause Found’, as a part of our Independent Record Label launch ‘Audioary Records’

Groovalicious Corporate/ weddings/private functions 0448995158

Contact: thebarrenspinsters.com facebook.com/thebarren-spinsters

Australian Songwriters Association Keiran (02) 62310433

Fourth Degree Vic 0408477020 Gareth Dailey DJ/Electronica Gareth 0414215885

In The Flesh Scott 0410475703 Itchy Triggers Alex 0414838480 Jenn Pacor Singer-songwriter avail. for originals/covers 0405618630 Johnny Roadkill Paulie 0408287672 paulie_mcmillan@live.com.au Kayo Marbilus facebook.com/kayomarbilus1 Kurt’s Metalworx (PA) 0417025792 Los Chavos Latin/ska/reggae Rafa 0406647296 Andy 0401572150 Missing Zero Hadrian 0424721907 hadrian.brand@live.com.au Moots Huck 0419630721 Morning After, The Covers band Anthony 0402500843 Mornings Jordan 0439907853 MuShu Jack 0414292567 mushu_band@hotmail.com Obsessions 0450 960 750 obsessions@grapevine.com.au Painted Hearts, The Peter (02) 62486027 Polka Pigs Ian (02) 62315974 Rafe Morris 0416322763 Redletter Ben 0421414472 Redsun Rehearsal Studio Ralph 0404178996/ (02) 61621527 Rug, The Jol 0417273041 Sewer Sideshow Huck 0419630721 Simone & The Soothsayers Singing teacher Simone 62304828 Sorgonian Twins, The Mark 0428650549 Soundcity Rehearsal Studio Andrew 0401588884 STonKA Jamie 0422764482 stonka2615@gmail.com Strange Hour Events Dan 0411112075 Super Best Friends Sam White sam@imcmusic.net System Addict Jamie 0418398556 Tegan Northwood (Singing Teacher) 0410 769 144

Guy The Sound Guy Live & Studio Sound Engineer 0400585369 guy@guythesoundguy.com

Top Shelf Colin 0408631514

Haunted Attics band@hauntedatticsmusic.com

Zoopagoo zoopagoo@gmail.com

Undersided, The Baz 0408468041

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