BMA Magazine 442 - 4 June 2014

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The punchline wasn’t worthy of a three-week run # 4 4 2 J u n e 4 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

Accounts Manager Julie Ruttle T: (02) 6247 4816 E: accounts@bmamag.com

Sub-Editor & Social Media Manager Chiara Grassia Graphic Design Chris Halloran Film Editor Melissa Wellham NEXT ISSUE 443 OUT June 25 EDITORIAL DEADLINE June 17 ADVERTISING DEADLINE June 19 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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If you’ve heard the term feminartsy, it tends to conjure up some fairly dodgy stereotypes. It’s usually a word wielded by the sort of folk who think we’re all on an equal footing in 2014, regardless of gender, nothing to see here.

By virtue of you reading this you can see the play on words, and so did former editor of Lip Magazine Zoya Patel, who took ownership of this term after some men’s rights activists used the label to describe Patel’s arty, women’s focussed slant of the world.

Far from being insulted, Patel used the word as a conduit to inspire a new space to promote ideas, discussion and events.

Feminartsy aims to be an online literature and arts journal that will also promote planned debates, readings and gigs.

The idea was made possible via a successful crowdfunding campaign, and is now ready to go. Feminartsy will be launched later this month, and whilst I can’t guarantee you get to hover over a big red button to make the site live (this is why I am not BMA’s tech guru) I can promise a night of music by Fossil Rabbit and Aphir, readings (one by our own Ashley Thomson no less) and ‘awkward speeches’

by Zoya herself. Money raised from this and upcoming events are used to fund the novel idea of paying contributors to the site (we hope this notion doesn’t catch on) and the rest goes to charities chosen monthly that support girls’ and women’s rights. Support the launch of Feminartsy at Smith’s Alternative on June 20.

Proceeds from the evening go to writers (!) and Hand of Laos.

Starts at 7pm. $10. More info at feminartsy.com

JUMPING JACK NEWSFLASH Imagine if you had Keith Richards under your thumb by giving him some shelter at your place, then ended up having sympathy for the devil as he told the story of how his nose was painted black after snorting his Dad’s ashes?

Think this piece deserved to be funnier? Well, let’s all agree that you can’t always get what you want, but if you jump on board outincanberra’s ‘Get The Rolling Stones To Canberra’ petition you just might find, you get what you need. A successful campaign would be used to promote Canberra as a viable touring destination.

Adelaide did it so anything’s possible, right? More info at outincanberra.com.au/ rollingstones

NO MORE TWO MINUTE NOODLES The Childers Group is an independent arts forum who formed in 2011 to advocate on

the principles of independence, objectivity, valuing the arts and promoting pride in the nation’s capital and surrounding regions.

After the recent Federal Budget announcement of plans to scrap 28 million from peak arts body The Australia Council, the group is expressing their concerns about the impact this will have on local arts funding, seeking assurance from the ACT Government that artsACT programs will remain intact. The group’s prime concern is how the cuts will affect young artists and their ability to survive.

Childers Group spokesperson Professor David Williams is calling on the federal opposition to oppose these measures, and for local politicians to ensure our arts community can continue to nurture local talent.

Become informed by heading to your local arts organisation website to see how the cuts may affect you, and stay involved by writing to your local member and harnessing social media to explain why you and your mates don’t fancy the idea of starving to make art in Canberra. For more info and to connect with other like-minded people head to childersgroup. com.au

PEAK TALENT Congratulations to local musos Alex Richens and Joel Davey who are finalists in the Peak Upload competiton, an initiative by the upcoming Perisher Peak Festival to develop unsigned artists. They’ll battle it out in front of music industry professionals on Sunday June 8, with the swimsuit competition postponed for now. For more info on the band head to facebook.com/alexandjoel or peakfestival.com.au/ peak_upload

TEENAGE ANGST GALORE Galore is a coming-of-age story with a slant we can all relate to – it was shot in and around the suburbs of Canberra. If it’s anything like my coming-of-age it will feature frustrations with public transport (notably the 333), fake IDs and lots of teenage

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Empowered women? What next,a plague of locusts? Am I right? Anyone? Don’t leave me hanging...

FEMINARTSY

angst. Thankfully Galore looks far more interesting; with The Age describing it as, “an enclosed world brimming with possibilities, desire and contradictions“. Maybe that is based on my year ten formal? Directed by Rhys Graham and starring Ashleigh Cummings (Tomorrow, When The World Began and Puberty Blues) the film has already had some love at the Berlin Film Festival (chosen in the Generation Section) and will now be screening locally for your chance to play ‘spot that suburb’. Due for release on June 19, check out bmamag.com for a shot at winning a free double pass, or head to palacelectric. com for screening info.

FROM THE BOSSMAN With a dire need to focus on writing this column of a deadline weekend, I accepted my wife’s kind offer to take the kids out shoe shopping for Perisher, bidding them a fond farewell as I glumly turned to the laptop screen. It turns out, I should have gone with them.

Two hours later - having spent the time largely staring at a blank screen and an increasing number of empty coffee cups - a familiar chatter of children was heard down the apartment hall.

The front door swung open and I was greeted by a bright-eyed three-year-old Isla espousing, ‘Look at THESE, Dada!’ The vocal invitation was moot, as my eyes were being hammered by gregariously sparkly shoes that flashed a violent blue and red every time she took a step. And boy was she taking a step. In fact, she was frantically jumping up and down with squeals of delight thus turning the living room into an instant nightclub and triggering an acid flashback for yours truly in the process.

The shoes were a perplexing development, as the wife and I had discussed at length our disdain towards such flashback-inducing foot apparel. In fact, I believe said disdain comprised a portion of our wedding vows. And so it was, with a resigned shrug of the shoulders, that the missus flashed me one of those ‘I’m not sure what happened’ looks reserved for parents that have just bought their child something they swore during those years BC (Before Children) they wouldn’t. Three-year-olds can be alarmingly persuasive creatures.

YOU PISSED ME OFF! 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.]

When there are a million spare seats on an interstate bus (okay one or two) why do I look like the kind of person you should sit next to? I’m tired and pissed off and don’t want to snuggle with a stranger for hours and hours, particularly one who smells of salt and vinegar chips. You continually PISS ME OFF!!!!!.

Oi. ice addict, why do you think shouting at your girlfriend at the top of your lungs is cool? Why do all the bystanders think it’s a show put on for their amusement and do nothing except shake their heads? Fuck youse all. Even me cos’ I did nothing either.

Hi Parent! Parking at the ‘No Standing’ area at the school so we all have to do twenty point turns in order to get around you is overwhelmingly irritating. Your vacuous expression as we all try and give you dirty looks makes you even more annoying. You piss me off. Everyday.

This small story is all by way of setting up a segue, for you see local comic Jay Sullivan displayed similar charms and persistence in persuading me to be a guest on his recent Storytime. There was no way I was going to agree. I simply had too much on. It was during the mag deadline, I had meetings up the wazoo, no way, no how, nuh-uh, #thanksforaskingbutno.

At this point we flash forward to me standing in the wings, thoroughly cacking myself before going on stage.

Held at Smith’s Alternative it was a great night that displayed the depth of talent and character Canberra has to offer (myself excluded). If you’re not already aware - and you really should be - the format is simple. Everyone has a story, so the intrepid Jay scours the land known as Canberra for interesting, funny and bizarre people to share their tale, be it a summation of their life entire, a segment, or a zeroing-in on a life-changing incident. It can be funny, it can be serious, it can be both so you never know what will happen, giving the night a certain edge.

Playing the consummate host, Jay rattles off a pithy intro before bringing out the first guest. He interviews them for a short while to create a context for the audience before announcing, ‘OK… It’s Storytime’. You then waddle up, trying to ignore the colossal amount of excrement that has found its way into your trousers, to tell your yarn. Throw in a couple of musical interludes, this time provided by the smooth vocals of the gorgeous Alice Cottee, and you have a cracking evening.

Storytelling is one of the oldest and most varied forms of entertainment and education. We tell and enjoy stories every day, whether over sharing an ale with a friend or catching the latest Game of Thrones with the wife. Stories are important, they make meaning of life, they crystallise the essence of being, they blah-blah-blah wank-wank-wank, you get the idea. Just get along to Jay’s next Storytime at Smith’s on June 24 (a snap at $18 from trybooking.com85352). It will be as dazzling and disturbing as a flashing pair of shoes.

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Image credit: Alex Dickson

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WHO: AFRO MOSES WHAT: ALBUM LAUNCH WHEN: SAT JUL 9 WHERE: THE BASEMENT

The magnetic and multi-talented Afro Moses will be in town Saturday July 9 playing a four hour set to celebrate the release of his new album, I Want 2B Happy. Hailing from Ghana, West Africa, Moses is a multi-instrumentalist, singer and composer with a flair for creating infectious tunes. Merging a slew of genres together including reggae, funk and afro-salsa percussion, Moses has shared stages with The Wailers, Michael Franti and the Australian Chamber Orchestra. And now he’ll be hitting The Basement stage with his band to get your hips shaking and your feet movin’. Tickets from $24.80 – $68.80 from inthemix.com.au. 18+

WHO: MIC CONWAY’S NATIONAL JUNK BAND WHAT: ALBUM LAUNCH WHEN: SAT JUN 21 WHERE: TUNER BOWLS CLUB

Combining a knack for music with signature silly humour and theatrics sensibilities, the always eccentric Mic Conway (The Captain Matchbox Whoopee Band) is back with his outfit The National Junk Band. It’s been five years since their last album but they’ve just dropped newie Diagonally Parked in a Parallel Universe, stuffed with sixteen tracks of vaudevillian comedy cabaret. Expect Conway’s live show to studded with corny jokes, wacky costume changes and a whole load of new tricks. Turner Bowls Club Saturday June 21. Tix $25, $20 concession and $15 for CMC members. Snap up your tickets from trybooking. 8pm.

WHO: SCOTTS WHAT: GROOVIN THE ANU WHEN: FRI JUN 13 WHERE: ANU BAR

Having built up a solid reputation for his vibrant live sound (featuring live drum and bass), local MC Scotts is a top notch choice to kick off the first Groovin’ The ANU, which is set to be a monthly event showcasing and supporting local original acts. Scotts has just dropped his debut release, Scotts Crossing, a seven song collection filled with his energetic and moving brand of hip-hop. The rest of the night’s line-up includes Kevin Windross band, The Feldons and Despite Eviction. Free entry! 18+ only (sorry kids), doors at 8pm.

WHO: THE BEARDS WHAT: NATIONAL TOUR WHEN: SAT JUN 7 WHERE: THE ABBEY

“We’ve convinced a lot of people to grow beards over the years,” claims Johann Beardraven, vocalist for the nation’s hairiest rockers, The Beards. “Now, not only do we get to check how their beards are going, but with our new ultra-catchy beard-related tunes, we’re confident that we’ll be able to inspire a whole new level of beard-growing, right across the country.” Prove the man right and start sprouting those chin whiskers in preparation for The Beards triumphant return to Canberra. They’ll be at The Abbey on Saturday June 7. Tickets $25 +bf a pop. Doors at 6.30pm.

WHO: BOYEUR WHAT: SINGLE LAUNCH WHEN: SUN JUN 8 WHERE: SMITHS ALTERNATIVE

Looking for the perfect way to wind down your weekend? Drop into Smiths Alternative Sunday June 8 in the afternoon to catch Melbourne indiepop duo Boyuer. Comprised of friends Hugh Middleton and Tim Ischia, they blend modern beats together with layers of classical strings, hooky tunes and sweet harmonies.

Lead single ‘Cupid’, taken from their debut EP Gold Street, is a bittersweet little number with a pretty slick video clip.

Although the pair juggle six instruments between them, they’ll be accompanied by a string section to fully flesh out their sound. 3pm, tickets TBA.

WHO: THE AUDREYS WHAT: ALBUM LAUNCH WHEN: WED JUNE 5 WHERE: THE ABBEY

Known for their manic guitars and charming wit, fans will be excited to know that The Audreys are traversing the countryside with Canberra kicking off the whole shebang. The whole group will be together and will be impressing us with a new album full of gritty vocals and pivotal grace. The new release Til My Tears Roll Away is the feature piece of the tour and as a rare treat the band is also allowing fans to choose from their back catalogue. Considered one of Australia’s finest live acts ,The Abbey is the place to be, June 5th. Doors open 6:30, Tickets $30 from Abbey.com.

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HOT AS HELL/ FOND FAREWELL

carrie gibson Soon the HELL CITY GLAMOURS will be dropping their latest – and last – album. This album will ultimately define a decade of hair, tight pants and cheeky smiles from the raucous Sydney natives.

When people’s energies start shifting in different directions you have to be realistic that nothing lasts forever

The decision to call it a day, no matter who you are, is always going to be a hard one. “It was something we labored over for a while; but it was also one of those things,” explains front man Oscar McBlack. “When you love something as much as we’ve loved our band and when people’s energies start shifting in different directions you have to be realistic that nothing lasts forever. Once we finished this record we asked ourselves, ‘what is the future?’ and just decided that instead of letting this deteriorate and see this thing we once loved so dearly become a faded version of itself, we thought, fuck it, let’s go out on top.” The Glamours are at ease, aware that they have the ability to know when their last show is and have a sense of control over the whole situation. “It’s probably the most mature thing we as a band have ever done,” laughs McBlack.

“We were reminiscing just the other day and yet, even when you mention a whole bunch of things that have happened to us in our career – playing on live television, touring the US…at the end of the day it all comes down to the amazing people we have met, the amazing bands we have had the honor of playing with,” says McBlack. “The whole thing has been a trip. One of the best things all of it has come from hard work and being an independent band.

We’ve had to answer to no one but ourselves and we are the one to put it to bed.” McBlack goes into detail about the DIY aspect and how it is highly underrated and although they have had their struggles, it has given them the most satisfaction. “No one picks up a guitar with money in mind, it’s never the initial thought – it should never become a thought.” Hell City Glamours debut album

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was recorded a little over five years ago, yet discussing the two albums with McBlack it seems all the processes have been the same. To save up enough cash it took the band about two years to get those songs done for their self-titled record. “We were in the same situation with the latest album. We would write a few songs, play a show, then go and record a couple of songs over and over until it was done. It’s an interesting process we have,” laughs McBlack. “I mean fuck, we’re older, we’ve had a lot more life experience; births, deaths, marriages… fuck… there has been a lot of stuff that’s happened in the last twelve years.

The first record reflects our youth – we started this band when we were twenty years old and between twenty and thirty you go through some shit,” he says with a laugh. “And now, well, we’re all thirty two so this record is… well maybe reflecting our wisdom but there is definitely some truth there.”

There is a mixed bag of emotions by fans for the Glamours farewell tour and it seems the feelings are mutual. “We’re all really excited to get back on the road, I think we’re really dreading it as well, in a way that as we finish each show it will be the last time we play in that town. We’ve been touring for about eleven years, it’s been fucking amazing. It’s going to be great but it’s also going to be very weird.”

What direction is everyone heading in? “Everyone has bands on the side, which I guess will all become our main projects,” McBlack laughs. “There is no way we can stop cold after this long, it becomes a part of your ability to stay sane.” It has been a very long and amazing ride for fans and the Hell City Glamours and guitarist Mo Mayhem has wrapped it up best: “We’ve seen a lot of shitty bands come and go and we are by far the shittiest band that’s lasted the longest.”

Hell City Glamours play their final Canberra show Friday June 6.

Tickets $18.40, available from moshtix. 8pm. 18+.

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We went on stage to play the first song – and suddenly the power just shut out. Someone had shut the generator door.

TICK TOCK SASKWATCH indigo trail “We had an intense concert experience a few months ago,” reminisces Liam McGory of the band SASKWATCH, as he thinks back on his maddest gig memory. “Basically, we went on stage to play the first song – great crowd and everything – but suddenly the power just shut out. Someone had shut the generator door.” McGory laughs as he recalls the insane moment – which, despite it having every possible ingredient for disaster, actually wound up being “pretty amazing.” The power was restored a minute or so later, but according to McGory, the audience was electrified for the remainder of the show. “It was just ridiculous … it was an incredible atmosphere, I can’t describe it.”

However, it seems the band haven’t yet worked ‘generator failure’ into their live show – and just as well, because with nine members, they’ll be struggling just to fit them all on the ANU Bar stage. “[Having that many people] just sort of … happened,” says McGory thoughtfully.

“We all met at uni – we basically formed through busking … It’s a pretty organic way to start a band. No real ambition or anything; just sort of a ‘play with your friends’ vibe.”

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It seems to have worked well for Saskwatch. The band, with a tantalisingly individual sound that fuses jarring rock and silvertongued soul, just released their sophomore album, Nose Dive, a few weeks ago and their massive live tour is set to land in Canberra in just under a month. “Yeah, we’re really looking forward to it. We’re really happy with the album and it’s great how it’s coming along live.

The studio side of things – the writing and stuff – is always great, but live stuff is the best part of being in a band,” remarks McGory. When asked about playing in Canberra, he lets out a short chuckle before agreeing there is a certain ‘underground cool’ to the city. “I wouldn’t have picked it, to be honest, but [Canberra’s been] amazing every time we’ve played.”

Nose Dive, which McGory proclaims as more “fully-formed” than its predecessor (2012’s Leave It All Behind) will get another chance to shine this year – the band have recently been announced as part of the 2014 Splendour in the Grass lineup. “It’s awesome! We’re really looking forward to playing stuff – a lot of our favourite bands are playing this year too, so it’ll be good to see them,” McGory grins. When grilled about their live act, however, he turns contemplative once more. “A lot of people have a sort of act or something – not really natural. We’re not too overly ambitious with it – we just want to have fun and make sure everyone else has fun. That’s the philosophy behind it.”

Saskwatch are playing at ANU Bar on Saturday June 21at 8pm. Featuring Naughty Rappers Collective and Jim Lawrie, tickets are $26.20 +bf from Ticketek.

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To have any energy or charge in a song, it has to be something that you care about

SATELLITE OF LOVE ANGELA CHRISTIAN-WILKES HELLO SATELLITES – the project of singer-songwriter Melbournian Eva Popov – make music to simultaneously fill rooms and warm hearts. Popov is bringing their sophomore album, 84,000, to warm Canberran hearts at The Front, this time in a solo capacity.

84,000 was a slow-burning – and sometimes self-acclaimed ‘messy’ project for Popov, recorded over a couple of years in six different studios. The result is an intricate record, bursting with layers of quirky, diverse sounds and hidden details that sharpen with each new listen. “A lot of that stuff was done at home; a lot of it with me on my own or with one friend… For everything you hear on that album, there are probably about ninety things that have been pulled off that didn’t work,” Popov reveals of the album’s intricacies. “Out of that layering and playing and experimentation, we hoped to make a shape that works!” The arrangements are subject to reincarnation, bound to the restrictions and the possibilities that performing and recording provide. “Being in a room with someone singing a song and having a recording you can play through amazing speakers…they’re

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totally different art-forms but they’re both a job. And I have to try to do each one as – I guess – faithfully as possible,” notes Popov.

Switching between the two is a separate process of its own, with the goal to avoid replication. “I have a really amazing band and we really spent days and days working through the songs and picking which layers come to life. To not make a carbon copy of the album, but to try and make something that works in real time with real people in a room. As a performer that’s kind of what interests me, to not recreate something that’s been done by a machine – to make a connection.”

A crucial aspect to Hello Satellite’s music is this connection, drawing the unsuspecting listener into a spectrum of emotions. In creating this channel, Popov notes the importance of the self in writing music that is genuine. “The fact is, you’re always writing from yourself.

Even if you’re leaving the actual narrative of your life… it’s still from your imagination. To have any energy or charge in a song, it has to be something that you care about or feel something about.” Music is regarded as a therapeutic process containing its own deficiencies.

“Whenever I feel sad or venerable about something, that’s when the real impulse to make music kicks in; a kind of way to deal with and make sense of it. I would really love to change that… so that I can be a little bit closer to that working from joy and offering that into the world.” In the end, that’s what it comes down to. “I can only offer something,” says Popov. “I cannot control how anyone takes it.”

Catch Hello Satellites at The Front in Lyneham, Canberra on Friday 6th June, with special guest Julia and The Deep Sea Sirens. Tickets are $10 at the door.

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LOCALITY

Ack! Too much news! No room for an intro, so I’d better get stuck in before I run out of space…

Readable Graffiti have been busy little bees, recently releasing a new single into the wild. “Every Day Takes A Little Time” is certainly a nice track that would easily slot into a triple j playlist with a happy little mix of beats and ethereal synth smoothly followed by a satisfying guitar line and almost country-style vocals. Sure, they reside in Melbourne now, but it’s worth keeping track of Canberran expats when they’re making tunes as sweet as this one. You can find it on their Soundcloud page: soundcloud.com/readablegraffiti.

Magpies City’s Underground will be satisfying your punkish needs on Friday June 13 from 7pm, with No Assumption, Teen Skank Parade, Vintage Vulva and Is Dead playing fast, loud and hard.

Tickets are $5, but the glorious bout of tinnitus you’ll wear for days after to remind you of all the fun you had is completely free!

Also on Friday June 13, Kevin Windross Band, The Feldons, Scotts and Despite Eviction will join forces for Groovin The ANU at ANU Bar, kicking off at 8pm. If you like free entry, a bit of variety in your styles of rock and drink specials, this will definitely be worth a look and listen.

If things are getting a little bit tight for you financially but you don’t want to sacrifice your ability to catch some local bands, you’ll be glad to know that Transit Bar are playing host to Spartak’s Five Points EP launch on Thursday June 5 from 8pm, and it won’t cost you a cent to get in the door. It’s also the last gig for Mornings, after they declared they were wrapping up back at the end of April, so this will definitely be a night of contrasts as one EP’s journey into the world begins and one band’s travels end. How remarkably poetic.

Majors Creek is about an hour from Canberra, which means that yes, it’s on the other side of the ACT border. However, it’s also close enough for Canberran musos to make the trek to perform. If you’re an artist or band that would like to share some folk, country, jazz, blues, world music or anything else of that sort of ilk, you should definitely consider putting your hand up to perform at the Majors Creek Festival. Applications close at the end of June and can be submitted at majorscreekfestival.org.

Finally, a call out on social media for “retirees” from Sparrow-Folk seems to indicate that the lovely ladies with the ukes and the cheeky sense of humour have been working on the follow up to their remarkable video for their last single, “Ruin Your Day”. I’m having a little trouble trying to work out which of their tunes it may be for, but by the looks of the photo they’ve released on Facebook, the clip will include a little bit of country and a little bit of western, although the specific ratio is unknown at this stage. Either way, you’ll want to keep an eye on their Facebook page for updates.

Aaand there’s the word limit. Until next time, keep it Canberran!

NONI DOLL NONIDJDOLL@GMAIL.COM/@NONIDOLL

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for them. Go into this album with an open mind to fully be able to appreciate their artistic vision.

THE REALNESS Sydney hip hop trio Loose Change are back on the road for their first full national tour in support of super smooth single ‘Yes Or No’. This will be the second tour that MCs Rapaport, Ellesquire and DJ Sam Z have embarked on after the release of second album Listening Party, featuring production by P.Major. Catch them at Transit Bar on Saturday June 7, supported by Semantix, Genesis Owusu and Shug B. Want to get out to more gigs but money’s too tight to mention? Well ANU Bar have you covered with their new monthly night, Grooving The ANU, which is free entry. Grooving The ANU will give up and coming artists a chance to strut their stuff on stage and hopefully help generate more exposure and new fans. Even better is that local MC SCOTTS has made the cut for the first night on Friday June 13.

SCOTTS will be showcasing tracks from his debut release Scotts Crossing as well as some new unreleased joints too. Aspiring artists should head to the Grooving The ANU facebook page to register their interest.

Considered by many to be the hardest working band in showbiz, The Roots, have just released their Eleventh studio album. ...And Then You Shoot Your Cousin sees The Roots return to the conceptual album formula that they applied on their previous album Undun.

Once again The Roots continue to push the boundaries, not contempt to revisit previous sounds that have proved successful

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So if you want something a little bit grittier, then the latest collaboration between Queens MC Mayhem Lauren and legendary Bronx D.I.T.C producer Buckwild should be ideal. The resulting output has been titled Silk Pyramids and sees Mayhem lace tracks over that classic Buckwild sound. Includes features from heavyweights in game like Action Bronson, AG the Coronor and Thirstin Howl to name a few. Continuing on with the boombap theme, two Brooklyn rhyme veterans Skyzoo and Torae have teamed to drop their debut album Barrel Brothers. Disappointing they didn’t decide to work exclusively with one or two producers, however you can’t complain with them enlisting the likes of OhNo, Black Milk, Illmind, Khyrsis and DJ Premier. Guests have been limited to the likes of Blu, Guilty Simpson, Sean P and Shi Stimuli.

Staying on the NYC tip, some may remember a trio out of the Bronx going by the name The Legion. They made a bit of noise in the early 90’s with their debut album Theme + Echo = Krill plus some 12” released during this time. However, like many other groups, they were lost in the wilderness for a minute. Luckily the good folk at Ill Adrenaline Records have dug into the archives and put together The Lost Tapes release. Don’t get it confused, The Lost Tapes isn’t just a simple compilation of early 90’s tracks. True, The Lost Tapes does feature some of their classics, however there are also some unreleased joints from their career plus three new tracks the crew have recently released.

If your preferring is more beat orientated then you may want to check out The UK collective Jazz Spastiks instrumental release of the Product, very dope!

BERT POLE - bertpole@hotmail.com

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You gotta write about what’s true to you and what’s true to us is everything that’s on this album

THE RIGHT REMIDY JADE FOSBERRY ‘Sangria’ is such a perfect song. As well as describing the things we love so much about beautiful burn city, (in no order: bars, booze and babes) it’s much more than that. It’s humble, happy and so very chilled – all the things that represent young rapper, REMI, so well.

Since ‘Sangria’ he hasn’t failed to impress, efficiently releasing hit after hit with ‘Saggin’, ‘Livin’ and most recently, ‘Tyson’. I was lucky enough to chat to Remi, ahead of his Raw X Infinity tour, kicking off in June. The conversation dove deep almost immediately, as we started discussing the record. “The whole album is just anecdotes of what myself, Sensible J and Dutch talk about in the studio and the conversations that I have with my friends,” explains Remi. “You gotta write about what’s true to you and what’s true to us is everything that’s on this album.” ‘Livin’ is a perfect example of this. It centers around themes Remi’s taken from his everyday life, pondered over and written, quite succinctly into a three minute track. He reflects on the way these thoughts come about, from simple conversations had at work. “People will come in to buy some clothes and I’ll ask ‘how’s

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your day’ and they tell me ‘work’s work’ and that they’re hanging to get wasted on the weekend, then replay.

I just don’t see that as a way to live,” he says. “But you gotta do what you gotta do.

I mean that’s how we’re taught – we’re given options on what we have to do and that’s just how it is.” The record as a whole is a reflection of this type of thinking. “It’s just made up of all the stuff that really affects us,” says Remi. “Rapping’s a universal thing; it can be about your problems, your friends, your family and all the other things you’re dealing with personally. The whole record is made up of that. We’ve got stuff on there about drugs, racism, about people’s opinions and how they’re unnecessary and even about just chilling out. It’s quite an eclectic record.”

Remi’s bringing these themes, his homies and his headline tour across Australia, from capital cities to regional towns. Remi was quite keen to include Canberra (surprisingly, his town of birth) along with the other regional towns because of the appreciation these places show.

“Sydney and Melbourne get so much music that they don’t even give a fuck. But in smaller towns, people just show love when you go out there.” So what can we expect from Remi’s much anticipated return to the Capital? “Expect the unexpected I guess,” he says. “I’m not gonna get naked or set myself on fire, but we’re definitely gonna be bringing the music. We’ve got drums with us and we’ve got awesome acts.

Don’t worry, we’re gonna bring the party. I promise you.”

Remi’s bringing his boys Sensible J Smith and Dutch, along with a host of other acts to Trinity Bar on Friday June 27. Tickets are $17.50 + bf, from Moshtix. Doors at 8pm.

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cody atkinson Cactus: that’s what some are saying about the Pixies Giagantic history. Hey, are they just Gouging Away at their fans, inflicting a new Wave of Mutilation? ‘Is She Weird?’ is certainly what the public saying about Indie Cindy. Will they La La Love You or Vamos from your heart? Here Comes Your Man Cody Atkinson to look at the “new” Pixies, and whether I Bleed for them still. Where Is My Mind?

Name? Pixies.

Age? 28 years old.

Location? Boston, MA. Why are you questioning the Pixies? Because people are worried about their legacy.

Their legacy? Well you see the Pixies are releasing new music again...

That’s nice of them... And it’s perceived as not being as good as the music they’ve released previously.

Hmmm. They’re also touring with a replacement bassist. I repeat, they do not have their original bass player.

SOUND THE “I’M SHOCKED AND DISPAIRED” KLAXON. I know, right.

How dare they do these things.

But the new album wasn’t life alteringly amazing. They quite clearly missed her, right? Well, probably not. The same guy wrote the songs as who wrote the songs on the earlier albums. It was produced by the guy who produced Doolittle. It was largely played by the same people. More than anything else it is proof that two decades is a long time.

Doesn’t all of this, when put together, destroy their legacy as a band? I don’t think it does. The bassline on ‘Debaser’ won’t start sounding any different now because of the terrible lyrics on Indie Cindy. That perfect chord progression on ‘Where Is My Mind?’ doesn’t become less perfect because Deal isn’t there on bass.

Are they just Gouging Away at their fans, inflicting a new Wave of Mutilation?

Let’s get back to the album thing. Well, the Pixies released Indie Cindy, their first album since 1991, last month to public and critical confusion.

Confusion? Well, it was OK and not great. Very patchy throughout.

It sounds more like a Frank Black album than a Pixies album. And apparently that’s not allowed because...reasons?

Yeah, imagine a band being different to what they were two decades ago. Charlatans. So people have hacked into them not being exactly who they used to be and writing songs like they used to. Apparently people are allowed to have a period liking Vanilla Ice but their favourite band has to be always perfect.

Of course. And the album was recorded without long-time bass player and generally amazing musician Kim Deal, who has a famously hot and cold relationship with lead songwriter Black Francis.

Wait, they recorded the album without one of their original members? How dare they! No band has ever done that before...

Yep, certainly not The Beatles. Or The Rolling Stones, or Pavement, INXS, The Saints, The Wiggles...

Fair point, but Kim Deal was integral to the Pixies...Yeah, she was, but she was probably more important to The Breeders. Let’s face

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it, she only wrote four Pixies songs, and nearly exclusively sung back-up vocals. Just because something’s different doesn’t mean it’s not worthy.

The Pixies recorded the bulk of their material more than 20 years ago, and have been broken up (for all intents) for longer than they’ve been a band. If you take a narrow view of legacy, the Pixies probably have already determined theirs with the Doolittle/ Surfer Rosa period. If you take a broader view, Trompe Le Monde probably has taken a shine off their peak anyway. However, if you’re like me, you don’t give a fuck about a band’s legacy and instead worry about listening and enjoying music rather than ranking it.

But I grew up with them. They owe me...Let me hold you up right there. A band or artist owes their primary debt to themselves, and their own interests artistic and otherwise. If you can’t stand behind what you’re creating as an artist, the whole artistic enterprise falls apart.

The Pixies owe themselves to release music they want to, for creative or financial reasons. If they want to cash in and count the Benjamins, that’s their prerogative. If they want to spend the next ten years locked up in a bunker trying to write the greatest album known to mankind, that’s also their choice. If you’re a fan of the Pixies, you should also recognise that they owe themselves a million percent more than they could owe you.

I’m one of their die hard fans though. My support means something! The fan-artist relationship is fundamentally symbiotic.

A fan relies on an artist for enjoyment, for entertainment. The artist relies on the fan for funds to pay for the works that they enjoy. As a rule, an artist builds a fan base by creating work before they look at the fanbase’s reaction to it. Even if you try to please everyone, you’ll still miss someone.

So what, I should just let the Pixies do whatever they want to do?

Pretty much. You can like it if you want, you can dislike it. I don’t think they’ll care too much either way.

@bmamag

The bar means more to everyone that comes here and that works here, It has a sense of community

BACK IN ‘O4 DANIKA NAYNA Staying open in the ACT bar scene is like living through a Canberra Winter evening in a mini skirt and midriff – it can be done (we’ve all seen it), but you must pose a resilience only a Canberran has to pull it off. It’s with such athletic endurance that Knightsbridge Penthouse this year celebrates ten years since its first apple and passionfruit martini. Lovely bespectacled British manager, Josh Nedeljkovic, explains that its survival through a changing hospitality environment has depended on how much care goes into Knighty by the staff, the owners and most of all, the customers. “If people didn’t care about it constantly over the past 10 years, its name as an institution could easily slide away,” Nedeljkovic says. “The bar means more to everyone that comes here and that works here, than just a place that serves drinks. It has a sense of community. There have even been instances where people from other bars and clubs have stayed to help clean up, like on my birthday. Not that I remember … but I’m told it was beautiful.”

Feeding off the Braddon district’s expansion, Knighty defies the ideal that getting older means you spend your evenings with a glass of scotch and an early bed time. Instead, the bar is changing tradition with a blackboard cocktail menu that updates daily and is keeping its Mort Street doors open later – til 4am on the weekends to be exact – to capture the after-dinner crowds keen to kick on close by. This has morphed the crowd into a mix of people that have been coming for years and those that are finding their way to the bar for the first time ever.

The later hours, menu disposal and a spruce-up (it looks smashing, by the way) really are the only big changes Knighty owners and management have made though, according to Nedeljkovic. He attributes its staying power to keeping an overall focus of making consistent drinks, promoting a good relationship between the bartender and the customer and just for everyone to have a pretty

damned good time. “It’s really important that whoever’s behind the bar greets you and makes you feel at ease,” says Nedeljkovic. “And the music is key,” he adds. “We don’t have big bands or anyone famous, but you come in here on a Friday or a Saturday night and you know it’s going to be happy, fun music. “The original idea was that you would walk into someone’s house – the penthouse. That’s why it’s so important for the staff to be welcoming,” says Nedeljkovic. “We’re all mates behind the bar and all have a good time while we’re working and the customers hopefully see that and have a great time themselves.”

Celebrate Knighty’s tenth year with a superhero themed cocktail menu made by muscular bar staff on Saturday June 21. Visit knightsbridgepenthouse.com.au for info.

music for everyone

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METALISE You may recall last week I sang the praises of a great UK doom band Conan, and their latest slab Blood Eagle, which again is absolutely exquisite. You best go and source yourself a copy of the album, because thanks to Von Grimm Records, they’re coming to town.

Tuesday September 9 one of the UK’s most promising bands who’ve been active since 2007 and kicked my head in with their Horseback Battle Hammer EP that I heard back in 2010. They’ve a pretty brutal menagerie of songs mostly based in Norse mythology and battles and the like and are well worth any discerning doom fans consideration. The band are touring, with Yanomamo and Looking Glass as the local support for this show happening at the Basement in Belconnen. So rad.

You know what’s also rad? After many years and about three tours from their frontman, we’re finally going to get a fully-fledged Neurosis tour. In the major state capitals and twice in Melbourne you’ll be able to catch them with a slew of great Aussie doom bands. If pressed, I think I would choose the Hi Fi Bar in Melbourne on Friday August 8. That show features Whitehorse who have just returned from decimating the northern hemisphere. They’re also at the Corner on the Thursday 7 with Clagg or closer to home at the Manning Bar on Saturday 9 with Adrift For Days. A stunning band, immense catalogue, immense sound, long overdue visitors to our shores. Attendance is mandatory.

If those announcements are too slow for you, or maybe not your cup of brutal, maybe you’re more stoked to hear about one of two tours hitting the wire of late. First off there is Cannibal Corpse and Hour of Penance doing a joint jaunt in September with five dates stopping most closely at the Metro Theatre in Sydney on Sunday 11. Of course, CC has been out a few times. Less frequent, but also brutal, is the three date tour announced for Gorguts in November with the Northcote Social Club in Melbourne on the Friday 14 for the super keen and the Newtown Social Club on the Saturday 15 for those who only want to spend six hours on the Hume.

If you want something a bit more upbeat than the former and a little more cerebral than the latter, then perhaps the Protest The Hero show at the Manning Bar in Sydney Friday September 5 is more your speed? Four albums of Canadian prog tech (does any country do heavy prog better than the Cannucks?), with last year’s Volition record being the latest, they tour Australia for the first time since their 2011 Soundwave shows.

We also had the welcome news of King Buzzo of The Melvins doing a solo tour that will hit the Transit bar in the city on the Saturday August 23 and I reckon if you want to get to that one you better get yourself a ticket through the Frontier Touring website pronto as that is bound to be a quick sell out.

Also be sure not to forget that it’s almost time for Switzerland’s Coroner at the Basement on the Monday June 9 and Belgium band Aborted at the same venue on the Monday June 16! Oh, and Corrosion Of Conformity, Weedeater and Lo! at the ANU Bar on the Saturday July 19, ARGH!!! There’s just too many awesome shows to see!!!!

JOSH NIXON doomtildeath@hotmail.com

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CALL THE CORONER CARRIE GIBSON The last fourteen years have been leading up to this moment for Swiss Tech Thrash prodigies CORONER, who have embarked on a string of reunion shows this year much to the amazement and surprise of long-time fans. A challenge, admits the band, yet simply summed up by guitarist Tommy Ritter as “fucking awesome.” A fourteen year hiatus as opposed to a disbandment it seems. What spurred the reunion tour for Coroner and what was it that had you all call it a day? “To see on all types of social media that a lot of people still listen to the stuff we recorded twenty years ago. That was too overwhelming to ignore,” says Ritter. “When Coroner called it a day back in 1995, everyone in the band was just ready for something new back then. We wanted to play with other musicians and explore more different styles. That was People still listen the only reason”.

to the stuff we recorded twenty years ago. That was too overwhelming to ignore

Coroner were and still are comrades with some of the biggest heavy weights in the game; starting out alongside the likes of Kreator, Celtic Frost and Sodom.

With bands such as these and their eternal imprint on the history shelves of metal, Coroner declare they have never regretted their decision of ending the band, even with the knowledge that they could have also taken the world by storm and sat illustriously alongside these titans.

Much has changed within heavy metal and the industry over the past fourteen years, the days of tape trading are over and now Coroner are seeing the two worlds. When asked if Coroner could potentially ignite again, Ritter’s response sounded promising. “I really hope so,” he says.

“We’ll see.” Consider the legacy of the band and the new generation grooming themselves into the music it seems inevitable. A legacy that fortunately has not diminished over the past fourteen years but has hastily built in momentum. When the reunion tour was announced the band had mentioned that writing new material for Coroner was not an option. However, it seems you have you been tempted to write? “Yes, we’re sorely tempted to write new stuff,” admits Ritter. “There will definitely be a new album. I just can’t say when.” The band has suffered a blow in recent years with Marky Edelmann denouncing himself from Coroner and although no longer with the original lineup, Ritter assures us that the band is now stronger than ever. A strength which they are bringing to Australia this winter .“We can’t wait to come to Australia,” says Ritter. “We’re really looking forward to that. We hope to see a lot of Australian metal heads at our shows, and we also hope that we’ll have time to see some of that beautiful country.”

Coroner play The Basement on Monday June 9, with support from Killrazer, Tortured and Bastardizer. Tix $49+bf from moshtix. Limited VIP meet and greet passes available.

@bmamag

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There’s been a bit of a drought lately around the local punk scene, but luckily it seems to be coming to an end. I’d like to think it has something to do with the compelling plea I issued in the last column, but I know I’m not as influential as I pretend to be.

The real heroes in this situation are all of the beautiful bands and promoters who work tirelessly to put on great punk shows for my – I mean your – pleasure. Let’s give me – I mean them – a round of applause. Maybe you should read up on everything that’s coming up while I go work on my humility issues.

If you’ve picked this issue up in time (and knowing your luck you almost definitely haven’t), Sydney’s Hell City Glamours are out on their last ever tour and releasing their last ever album. They will be at Transit Bar on Friday June 6 with support from long time locals TONK and the ever-exciting Bacon Cakes.

For a great night of local punk, head down to the Magpies City Club on Friday June 13. You can catch Teen Skank Parade, Vintage Vulva, No Assumption and …Is Dead all for the perfectly reasonable cover charge of $5.

On Thursday June 19, much loved locals Revellers will be taking stage at the Magpies City Club alongside Sydney’s Nerdlinger, as part of their joint, national ‘Friends With Benefits’ Tour. They will also be joined by Raised As Wolves from Bateman’s Bay with more to be announced.

Head down to Smith’s Alternative on Saturday June 21 to catch Newcastle’s Spencer Scott and Jack Lundie along with Shelby Clements and charming local, Jack Livingston. The cover charge will only set you back $5 for a night of acoustic acts that are easy on the ears but still punk at heart!

Adelaide’s Grenadiers are headed to the capitol on Thursday June 26. They will be playing at the Magpies City Club with more details and supports to be announced soon.

On Saturday June 28, make sure you head down to the Magpies City Club to Punx For A Cure. There’s a huge line-up of bands including interstates Oslow (Sydney), Yo! Put That Bag Back On (Sydney), Unbranded Animals (Sydney), David M Johnson (Wollongong) and GONER (Sydney) along with locals Hygeine, Swoon Queen and Jack Livingston. Entry will be $10 at the door with all proceeds going toward the Leukaemia Foundation.

You guys already know, but I’m going to remind you anyway, to tune into Haircuts & T-shirts on 2XX from 9:30pm every Monday.

So there you have it, there’s a massive string of shows coming your way and it’s all thanks to me – I mean – shit…...

IAN McCARTHY

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RORY MCCARTNEY Indie dance trio RÜFÜS are riding high with their debut Atlas reaching number one on the album chart and three tunes in the 2013 Hottest 100. BMA quizzed lead vocalist Tyrone Lindqvist about the band in advance of its forthcoming ‘Worlds Within Worlds’ tour through Canberra.

What other bands have inspired the RÜFÜS style and who do you look out for when choosing material for remixes? Our biggest musical influences are artists like Booka Shade, Trentemoller, early Royksopp, Foals and Kasabian. Bands like the Presets, the Klaxons and Cut Copy were also a massive influence on our live show, as we wanted it to be more of an electronic band as opposed to a producer heavy show.

Are changes in technology influencing the way you work?

Absolutely, both in the studio and on stage. Now that there’s access to soft synths and samples, you can bash out ideas and write faster and faster to get a rough idea of the big picture of the song, as opposed to spending irrelevant time on finicky production early on in the process.

As for the live show, three years ago we had quite a different set up to now, but new technology has allowed us to simplify our stage so that we’re not travelling with unnecessary gear.

What is your favourite Atlas track & why? Too hard, that’s like choosing your favourite child!!

With so many bedroom producers about, is the genre getting too crowded? Impossible! The more the merrier. Any producer or artist I know feeds off other artists and gets motivated and inspired by them to try new things, or play with sounds they’re hearing from acts they’re listening to. It’s a friendly community and more about sharing than competing.

What would be your most memorable gig and why? Byron Bay Falls Festival still has to be my favourite. The crowd was one of the happiest, most giving crowds I think we’ve ever played in front of. The more they give, the more we take risks and try things we might not have done without that extra push from the crowd. In this case they gave a hell of a lot. The set time we landed was the sunset slot, which is easily my favourite. That entire festival run was a bit of a dream actually. We’d come off stage and people would be offering beer and I just said, ‘there is no drug in the world that will make me feel more incredible than right now so I’ll pass’. I didn’t drink over the entire New Year period because it honestly felt like it’d just dampen the state I was in.

There’s a slight unpredictability and charm with analogue synths that give your song a life of its own.

Why the attraction for using older technology such as analogue synths? There’s a slight unpredictability and charm with analogue synths that give your song a life of its own. Whether it’s a light noise or warble, it’s something soft synths are still trying to replicate as well as they can. This is testament to analogue synths alone. There’s probably a little more control with automating soft synths and getting the sound you want, but if you have time and a real love for a natural changing sound, analogue is worth the investment Has the band’s style changed since its formation, especially when doing gigs? Not too much. I mean, it’s always progressing and changing and we’re always trying to improve on things ourselves, whether it’s performance or restructuring songs to keep it fresh for ourselves and the audiences. But I’d say the style and aesthetic of the band is pretty true to where we started.

How did you settle on the RÜFÜS DU SOL name for the US market? The change wasn’t an easy one to stomach initially, but after two months of throwing ideas around we ended up with RÜFÜS DU SOL for North America and we’re all really happy with it. Feels like a continuation of the same idea we initially had with the name in feeling foreign or exotic, but in a simple familiar name which people already knew.

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What are the band’s goals for 2014? We’ll be finishing our Australian run at the end of July with Splendour in the Grass and then we relocate to Berlin to start working on the next record. We can’t wait to get back in the studio actually. Hopefully, we’ll get to do a bit of touring around Europe and the UK while we’re there and then I’m pretty sure we will pop over to the States for a three week tour.

How do you create a bond with the crowd at gigs? During this whole tour so far, we’ve been in the audience watching the supports and having drinks, which gives you a good vibe of the energy in the room so you’re not walking out stone cold. No one seems to really know what we look like either, which makes it a little easier to just be at one with the crowd.

What can Canberra expect from your show in June and will it be a DJ show or live set? We’re looking to do a full live set with a pretty incredible light show. We had some help from Red Bull in designing the light show we’d always dreamed of and it took about four months to build and design. We worked with an incredible company from Melbourne called Eness who designed the whole thing.

RÜFÜS, supported by Hayden James, plays at the ANU Bar at 8pm on Thursday June 19. Tickets $36.30 +bf; presale through Ticketek.

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We like to look at the words and use them in all contexts possible – as impressions, as sound and for wordplay

IT’S FIVE CHRIS DOWNTON SPARTAK seem to never stop moving. Over the last few years they’ve managed to maintain a steady rate of recorded releases that puts many local bands to shame, whilst also opening for everyone from Omar Rodriguez-Lopez to Candlesnuffer and somehow squeezing in extra time to perform overseas as well. They’ve also recently expanded as a band, with new member Matt Lustri (bass/guitar) joining the founding duo of Shoeb Ahmad and Evan Dorrian. If anything, Spartak’s new EP Five Points, their first release since last year’s ‘Catch/Control’ single, sees the band’s shift towards melody continuing.

When I catch up with Ahmad, he confirms that the increased use of melodic elements wasn’t a conscious move. “In terms of writing the songs, there definitely wasn’t any preconceived thoughts about leaving certain elements of the music,” he explains. “Rather, I would suggest that the songs have taken on our interests at the time of writing and recording. Certainly, we were listening to a lot of analogue synth and electronic music and that led us to use more key-oriented

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instruments, but the guitar I guess pops up in different ways texturally and in particular, to service the music more than the notion of having guitar.” “A lot of the songs on this record were created between Evan and myself on our computers and creating arrangements that way,” says Ahmad. “But many of the sounds were created through accidents and then choices were made to keep them or leave them.

Jamming was a part of the process to come up with the final recorded versions of these songs.” Given that the band have recently spent time touring overseas, I’m also curious to ask Ahmad whether these experiences have fed into the new tracks. “Maybe not touring directly, though this release does follow from a tour we did in Japan where we purely improvised after a year of long distance computer based composition while Evan was living in London,” he replies. “If anything, the distance and ability to work on music away from each other made us more productive so when Matt came on board, we were already prepared with ideas to take forward.” I suggest that many of the lyrics on Five Points have an almost mantra-like feel to them and ask whether Spartak approach writing with a definite concept in mind.

“We like to look at the words and use them in all contexts possible – as impressions, as sound and for wordplay,” explains Ahmad. “On ‘Conditions’, I guess I wanted to use the vocal as texture and harmony more than a direct narrative, but then other points during the record, like ‘Locked In Three’, there is that certain stream-of-consciousness element you mention.”

Spartak launch their new Five Points EP at Transit Bar alongside Mornings (final gig) and Power Moves, Thursday June 5. Free entry.

@bmamag

June 5 2044

DANCE THE DROP

Dear Diary, On his death bed, my father told me that the world used to be a much better place. Before his life was snuffed out by a rare intolerance to bland EDM bangers, he confided in me the truth. The endless barren wasteland that is all I have ever known was once bursting with clubs, pubs and scrubs. Cheerful wankers danced until dawn without a care in the world – they were ignorant and free and the night was full of joy, but it was not to last. We know that the world was destroyed by vanity although the plague of hubris did not usurp our way of life in an instant in some aggrandised singular apocalyptic event. It was grown and nurtured in the dark corners of local dance floors, right here in Canberra. It began with local DJ’s casually wearing their headphones around their necks at the bar before and after their sets. ‘Look at me’ they silently screamed. ‘I AM A DJ’. Their pride spread like a cankerous wildfire. Within months, DJ headphones were everywhere.

Mothers choked by shiny new Sennheisser HD-25’s pushed their offspring in prams, the cute little necks of their infants sporting matching, albeit miniature replicas of the same boastful accessory.

When narcissism reached critical mass and the act of ‘looking like a DJ’ was so diluted that it was robbed of its lustre and social standing, starved ego’s turned to violence. The riots began. Blood splattered Beats By Dre lay everywhere, sullying the earth like wounded autumn leaves. We don’t know exactly when it became nuclear, but it is rumoured that the American president believed that the big red button would ‘drop the bass’ and boy what a boom it made. Now it is 2044, and all forms of DJing are banned. Superstar electronic celebrities are remembered as Stalin-esque tyrants who incited misery and war. I have sent this letter back in time as a warning – put your headphones away when you finish playing, please, the fate of the entire planet depends on it.

Those of you who slave over a keyboard or a shovel or old politicians genitals (ahem, sex workers I guess) will be gagging (some literally) for the start of the long weekend. Meche kicks things off on Friday 6th June with a trio of Sydney’s most achingly cool house headliners.

Danny T, Benson and Acaddamy are three of my personal favourites, so if you like it like I like it, don’t miss it!

Trinity Bar are squeezing a couple of eargasmic events into your long weekend. Friday night heralds the return of Canberra’s favourite bearded sons the Aston Shuffle. The lads are primed to share lots of new goodness from their latest longplayer Photographs, along with maybe a bit of manboob and happy drool.

Triple J listeners will be able to put a face to the name Lewi McKirdy when he steps up to toggle a few knobs on Saturday 7th June.

Punters beware; Lewi has been known to use his sultry radio voice as a weapon.

Have a great long weekend and leave the car at home. If you must pilot something while you’re intoxicated, ride a broom. It’s much funnier and less likely to land you in the slammer.

TIM GALVIN tim.galvin@live.com.au

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EX H I B I T I O N I S T

Full image credit: Shaun Haggarty

ARTS | ACT

HOME SWEET HOME RORY MCCARTNEY Participants in plays usually have a firm grasp of their lines, having read over them and rehearsed time after time. Little is left to chance.

Tired of such predictability? A new show throws that paradigm aside and takes on a fair amount of risk. A piece of unscripted theatre, THE HOME FRONT looks at the lives of Australian women during The Great War. Focused far away from the battlefields, the play studies the challenges they face in a small country town over the course of a month. What sets it apart from usual plays is that the actors don’t know who they will portray until the performance starts. Characters are built at the start of the show using ideas from the punters, with no two shows the same. It’s a bit like Thank God You’re Here, but more serious.

BMA spoke to director and co-producer Heidi Silberman to learn more about this fascinating approach to theatre. In conjunction with compatriot Cathy Crowley (who also acts in the production), Silberman received funding from Arts ACT to enable the project to fly. “We’ve done Impro ACT, which has good relations with The Street Theatre, for quite a few years. After an independent approach to the Theatre, we’ve now launched out on our own. Caroline Stacey, The Street’s Artistic Director, was incredibly supportive.” Silberman has much experience with theatre sports and the actors in the show have all appeared in scripted plays, have considerable improvised theatre experience and love the freedom this style of show offers. However, The Home Front offers a new challenge. “It’s an 80 minute show,” says Silberman. “All in one take, whereas most improv is in the short form, with just a three to five minute scene before you are off into a new story. This is one long story and a period piece, with a lot of research done into the Great War era.” Performed in costume (with Imogen Keen as costume designer) none of the players have done this type of show before.

With the Centenary of ANZAC coming up, it is a particularly appropriate time to run the show. Crowley came up with the concept as she has a strong interest in researching her ancestors. The play was seen as a way to get to understand them better, these women in her past. “People have not explored this area thoroughly, as the home front only rates a couple of paragraphs in a chapter of a book on military history,” explains Silberman. “This separation affected many families, but is little talked about and we wanted to look at the women who kept Australia going while their men were overseas. What did they have to cope with?” As people have heard about the project, there has been a strong interest from groups such as the Country

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Women’s Association and Defence Widows Australia, who wanted to share their histories. The producers have been told many stories and the show will tell different tales as the play changes every night.

The long form of improv will be new to many theatre punters as; due to its length, it is not seen on TV or much spoken of. The actors are passionate about it, relishing its fun aspects, while wanting to delve deeper into what is possible in improv. “We don’t just make people laugh, we can make people cry as well, says Silberman. There is strong local interest in improv, with some shows selling out. This is the first known time that this theme has been addressed in this way and the producers hope this will draw in those who have never seen an improvised show before, but who are interested in the war and in the experiences of women during that time. “We hope to surprise people by what they see and give them a new idea of what improv is,” she adds.

Unlike most plays, the director is actively involved in the show, being on stage with her three actors (including Ruth Pieloor and Lyn Petersen), who know their characters’ names but not their parts.

“The character is defined at the start of the show by the audience,” Silberman explains. “I’ll ask who does this person have away at the war, what is she good at and what is a flaw in her character.

The audience helps build that character for the night.” The director controls the flow of time, announcing changes in dates over the course of a month and injecting items into the play that the actors are not expecting. “There may be props that they have not seen before, which I’ll hand to them and they have to use in the play. This could include a letter they have to read out and respond to.”

This approach may seem risky, with the results having the potential for either being sheer genius or a disaster. ‘The risk is part of the joy and the terror of improv; we love the adrenalin rush,” says Silberman.

However, the plot is not at too much at risk of going astray. “As director, I have to ensure my actors are inspired. I can pick and choose topics and prompt the audience to offer suggestions. We don’t have to take unhelpful offers.”

Above all, the director and cast want people to consider the deeper issues. “We want people to look the resilience of these women, how they are different to us today and what can we learn from them.”

The Home Front is on at The Street Theatre, from Wednesday – Saturday June 18-28. Tickets $24 to $35 +bf available from The Street Theatre.

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IN REVIEW

Melbourne International Comedy Festival Friday – Saturday May 23 –24 The Canberra Theatre I was initially apprehensive about attending the Melbourne International Comedy Festival Roadshow. Not because I didn’t expect to laugh, but because shows such as this are traditionally focused around variety and variety is inherently likely to mean ‘hit and miss’. My concerns turned out not to be completely misguided, though I did find myself laughing more frequently than expected.

The show was opened by emcee Jeff Green who quickly won the audience over with his reasonably enigmatic delivery and relentless compliment of the Australian continent. Unfortunately I found a lot of his material to be a bit daggy and I wasn’t quite sure why jokes that one would probably cringe at if spoken by their own dad were any funnier in this context. However, judging by those who were laughing at Green, I, a filthy-minded teenage boy, did not fall into his target demographic.

Next up, was Tom Ballard, who was pretty much the opposite of Green. The former Triple J breakfast host’s material was ingenious, edgy and very charismatically delivered. Although obviously aimed for a more youthful demographic, Ballard seemed to be a hit all around.

Next came Elbow Skin, a two-piece musical comedy act. There’s always one. Elbow Skin seemed to be received positively by much of the audience, however I felt they fell victim to the pitfall of many musical comedy acts in that the musical element of their performance stifled the comedic element more than it helped.

After a twenty minute interval came Hannah Gadsby, more or less a veteran in the Australian comedy circuit. Gadsby was as funny as ever as she delivered various tales of self-deprecation in the slow and awkward manner that Australians have grown to love. Gadsby was easily the biggest hit of the night and at many points had me and I’m sure many others, in literal stitches.

Finally, bringing the night to a close, was American Greg Behrendt, who had both the appearance and outlook, of a fifty year-old boy.

Behrendt was obviously the most seasoned comic on the bill and drifted through his set with almost too much ease. His material was not particularly original or unique, but he was still engaging enough to be granted a reasonably positive reception from the crowd.

All in all, it was a soundly entertaining night and I am happy to have attended.

Full image credit: Mark Turner

IAN McCARTHY

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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 bunch of young people who did amazing things despite all of that.

They were people who refused to be defined by that.” Hooley was led to an early punk gig by his shop’s clientele, which for him was an experience akin to that of Tony Wilson’s Sex Pistols’ moment, as depicted in 24 Hour Party People – a film that Good Vibrations has much in common with. In punk he saw the promise of his record shop dream coming to life.

While the film is joyful it doesn’t shy away from the darker side of the man. Hooley is a neglectful husband and treats his pregnant wife, Ruth, terribly. So terribly it would seem strange at how forgiving Ruth is of his behaviour if not for Jodie Whittaker’s portrayal of her as a woman who was far from a doormat.

KEEPING OUT OF TROUBLE pETE HUET “I used to have anarchist friends, Marxist friends, pacifist friends, feminist friends… Now I just have Catholic friends and Protestant friends,” says Richard Dormer, playing Belfast’s ‘Godfather of punk’ Terri Hooley in the biopic Good Vibrations.

Hooley grew up in Belfast the son of an ardent socialist in the years before The Troubles, the bloody sectarian conflict that erupted in the late sixties and continued for three decades. As his friends took sides, Hooley kept out of it and in the seventies opened a record shop on Great Victoria Street, known as ‘bomb alley’. He dreamt of creating an alternative Northern Ireland – with people brought together by music. “The Troubles is a context for the story but not what it was about,” says Glenn Leyburn, who directed the film alongside Lisa Barros D’Sa. “Our story is about a man and a

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“Ruth and Terri still get on. They’re still friends…” says Leyburn.

“There [just] came a point when she knew the best thing for her was to go. And that the best thing for Terri was for her to go. Ruth is a very strong person in her own right. She went on to become a published poet.” Amazingly, their daughter has a cameo in the film, playing a nurse at her own birth. “It seemed like such a clever and good idea up until the point when we were actually filming it. And then everybody felt really uncomfortable,” says Leyburn.

The film also follows the young punk bands whose records Hooley released on his Good Vibrations label, including The Undertones, whose singer Feargal Sharkey is best known to Australians for his eighties solo single ‘Good Heart’. The directors worked with some of these musicians, inviting them to coach the actors and local band kids who performed their roles in the movie. “Brian [Young, of Rudi] taught them how to hold their guitars properly so they didn’t look like they were in indie bands and more like they were in punk rock bands,” says Leyburn.

Good Vibrations opens at Palace Electric on Thursday 12 June 2014.

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UN I N H I B I T E D The budget has prompted the kind of protest action not seen in these parts for a good twenty year. A bunch of virgin protesters got their first taste of the sweet thrill and slightly unsatisfying conclusion a good march can bring. It got a little wild on the ANU campus a couple of weeks ago, as it has at several sites around the country. And this is a problem.

Protest is fine. Great infact. More important is the fact that we can protest. It’s oft-said but rarely contemplated. We are not shot on sight as soon as we grab a placard and march on. This should never be underestimated.

However, protest should not be considered as an adequate call for change. Not by itself, and sometimes not at all. All too often protest can be used against the aims of the protest, which begs an incredibly important question- is what’s being protested about best served by a protest?

One might laugh off the stupidity of the Daily Telegraph front page carrying photos from the march on Sydney University under the headline ‘the ferals are revolting’. It’s worth laughing about. It’s pathetic. And then you remember that the Daily Tele is the most read paper in the land. That Alan Jones outrates every other radio show, except for Kyle and Jackie O. That Andrew Bolt and Miranda Devine are the most read columnists. That statistics indicate traditional media still outweighs new media in terms of influence, so Bolt and Jones and the Tele carry real weight. Not to mention the annoying fact that this Government was voted in by a large majority.

So the protesters, who might feel empowered by the numbers on the ground and the sense of public sentiment surrounding the budget, are still very much in the minority. Meaning hearts and minds need to be won. Said public sentiment means that hearts and minds are there for the taking, should a better suggestion, argued well, be presented.

Here’s the thing- chanting 70s slogans and roughing up the Foreign Minister does not constitute a better suggestion, nor good argument.

Oh I hear you, president of the socialist alliance/young libs/young motorists liberation society- the long history of protest renders my point null and void. Hey ho! This columns got to go!

But here’s the thing. In the past two weeks the Government has lurched from faux pas to snafu to great cocking balls ups of an increasingly entertaining variety. Not a swat of good news has confronted them. The polls are down, the voters feel betrayed, the Government brand is progressively more tarnished by the image of the Treasurer as a cigar-chomping fat cat, the PM’s daughter benefitting from favours while university fees increase and the speaker’s lavish fundraisers in an office which is meant to be beyond partisan politics. This isn’t just about the wink, but the fact that the

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wink ran so hard in the press is an example of the Government’s current standing (The key headline of the past fortnight might be “The Prime Minister is a massive winker” in papers who have been sacking sub editors and shouldn’t rely on spell-check...)

And yet- the pictures of Bishop or Mirabella being roughed up or the Education Minister and the PM cancelling an event on the advice of the Police, these are the only bits of material the Government has to spin. Nothing else is working. They are loving the protest action.

Loving it. It’s their one distraction.

The question is- do you want to punish this mob, or act like a mob and help their cause? Are you interested in pragmatic political change, or getting something off your chest?

Persecution Blues, the documentary about the closure and reopening of the Tote Hotel strikes me as perhaps the best reflection of what it takes to effect change, and the role of protest therein. To re-cap; the hotel is forced to shut as a result of stupid zoning law stuff that means the hotel had to fork out a vast amount of cash on extra and unrequired security. Government is lobbied, won’t budge.

A public campaign is launched. A peaceful protest outside the venue is staged. More of a festival gig really. Government won’t budge. Big names, Paul Kelly sized big names, stage a demo on the steps of the Victorian Parliament. Opposition members join the protest. Cos why? Cos polls are out that indicate the Premier is losing ground as a result of his handling (adding to a list of other matters affecting his numbers). Premier changes his mind. Too late for the owner, who has to sell. But the bar remains open.

The most important bit above? The bit where the Premier learnt that seats were in danger, and this issue was contributing to his woes. A perfect storm was required.

Issues ‘whose time has come’, like marriage equality, are overwhelmingly supported within the community, but remain unlegislated. Social change, including issues that are a result of a crass budget but not immediately obvious to the naked eye, take time and concerted effort to shift. But most of all, you need a perfect storm with dire polling numbers to really get it done.

Self interest always wins my friends.

You think this budget is unfair? You want change? Play a long game.

Recognise that Governments rarely lose power at their first ballot.

That the mistakes of turfing a leader as per Rudd and Gillard will not be made again. And that the budget in two years time just before that next election will contain a bunch of sweeteners aimed to prising the marginal seats back to the Government.

Change is complicated. Change requires tickling and rubbing and cajoling and whispers. It needs cool heads and rational arguments, charm and patience. Protest all you like. Protest against protests.

But you want change? Join a party, form a party, write an article, mount an argument, lobby whoever you can whenever you can, expose lies, remind people of everything that has happened and most importantly bring people with you. Calmly. Gently. And persistently. Good luck, Australia.

DRAKE SHINGLETON Glen Martin is on leave and will return next month.

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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: Warwick Heywood

What do you do? I make paintings that combine the representational and the abstract together on three-dimensional canvas forms. I am interested in exploring painting’s complex and evolving connection to human knowledge and ideals. I am particularly interested in the tension between the ethereal and ideal and the material and everyday. I’m also an art curator at the Australian War Memorial where, among other things, I commission artists and create exhibitions.

When, how and why did you get into it? In my teenage years art provided another world outside of the everyday. It provided a rich way about thinking and even feeling about things and I found that really seductive.

Who or what influences you as an artist? If I think about it, a large part of my art speaks directly to American painters from the 1960s through to the 1980s. Artists like Morris Louis, Philip Guston, Frank Stella, through to Peter Halley and Mark Tansey. They were really pushing towards the limits of painting, while at the same time telling us something about our contemporary world.

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Of what are you proudest so far? My family, then my work as a curator and finally my art practise, but I am working hard to move my art into second position.

What are your plans for the future? My painting style and the themes I explore are very open, and I see my art developing into bigger more elaborate forms and ideas. Art begets art.

What makes you laugh? I often smirk when I am thinking about a new work of art. I like my works to be a little bit funny.

What pisses you off? Getting bad haircuts; they’re very disheartening.

What about the local scene would you change? Everything! Just kidding, I have no idea. What I can say is that the Tuggeranong Arts Centre, Megalo Print Studio and Canberra’s Contemporary Art Society are great arts organisations.

Upcoming exhibitions? My exhibition Everything and Nothing opens on Saturday 7th June at 2pm, at the Tuggeranong Arts Centre and runs until the 27th.

Contact Info: warwick.heywood@awm.gov.au

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LITERATURE IN REVIEW Sleep Donation Karen Russell [Atavist Books; 2014]

Trish Edgewater lives in a world of terminal insomnia, sleep donations and communicable nightmares. Swathes of the public mysteriously lose the ability to fall asleep, slowly transforming into husks of themselves. Their appearance ages by years in a matter of weeks until they reach a final, milky-eyed state before they die of sleeplessness.

Trish works for twin businessmen who made millions before opening the Slumber Corps – a non-profit sleep bank. She solicits sleep donations from strangers over the phone, using a pitch formed around her sister’s case of fatal insomnia. As the Slumber Corps works to meet a never-ending demand for sleep, black markets known as “Night Worlds” begin offering dangerous elixirs to the unsleeping who are stuck on the donation waitlist. After a scandal threatens her company, Trish uncovers a secret that threatens her confidence in the Slumber Corps and its mission.

It’s me Dayne a comedian! Trust me I will tell you about a funny story.

My friend Mike said that Charles Darwin was a “idiot” because evolution is so obese but he figured it out because everyone else is even more of a idiot. But compared to them he is a genius. If we really are just a type of monkey then everyone hast to be a idiot which even Darwin said.

Mike said that once you know about evolution it is really obese, but before you know about it you could never imagine it. Its like a riddle you cant figure it out but then he said the answer and you said “I can’t belief I didn’t think of that!”!

Reduced to its bones, the plot of Sleep Donation reads like dozens of stories you could find in any third rate science-fiction rag and only the author’s mastery of storytelling elevates it to the realm of credible literature.

When I learnt how to BSc Computer Science the hardest program in the whole world to make is a program to teach the computer that it is a computer. Imagine if you were a microscope but with the brain of a genius. Then you would learn all about microscopeic things like amibers or semen, but you would never figure out that actually you were a giant microscope a million times bigger than you could even imagine!

The author, Karen Russell, is no stranger to bending genres. Her debut novel, Swamplandia! borrows heavily from fantasy tropes to create a foil for the starkly realistic world that her character’s inhabit. However, where Swamplandia! suffers from a meandering plot and melancholy tone, Sleep Donation is utterly coherent, relying on a strong protagonist to engage the reader and propel the plot.

Mike said that when I was a little boy my whole body was made up off completely different atoms than my body now. That means that the atoms that were me are somewhere else in the world RIGHT NOW but if we had technology to find them and put them back exactly how they were I could give me a piggyback or tell him good advice.

The novella reads like a Philip K. Dick story both in cadence and tone, except where it spirals into the protagonist’s philosophical reflections on the weight of consciousness. Although that may sound tedious, the author weaves in enough oddly compelling tangents that the reader hardly notices the paragraphs lost to metaphysics.

But then I said where will my right-now body’s atoms be when I am senile? Mike said that I will be completely different atoms again and my right-now atoms will spread out all over the world.

By keeping her focus on theme, our author escapes many pitfalls of the genre; the tempo of the plot doesn’t slog through descriptions of future technologies and race through action scenes. Instead, the story follows an even pace, allowing the reader to enjoy the distinct texture of Russell’s prose. In short, although her previous efforts left much to be desired, Sleep Donation earns Russell a spot on this reader’s list of authors to watch.

JACK PLANE

It is horrible when I thought about it because I had a “nervous breakdown”. But then Mike said don’t worry because you are actually just a microscope wa trillion times bigger than you can even imagine and actually the microscope is the size of the whole universe and everyone is it.

When I was born it was in South Africa in 1983 and Apartheid was on.

Which is Afrikaans so you say it like “apart” – “hate”. Trevor said its called that because blacks and whites are forced apart from each other and then they are all tricked to hate each other. But actually it is like that.

When Mandela became the president he said everyong has to live together and everyone has to forgive everyong. Which is good. Then Mandela died so I said “I am going to do a funny play to tell the true story and make everyone laugh about it and give all the money to charity (Medecins Sans Frontieres and Funda Nenja for animals).

It’s called “Its Me Mandela” because it is all about Mandela’s life and plus Mike is in it and he said we are all Mandela anyway. dayne rathbone - Dayne Rathbone is the winner of TripleJ’s National Raw Comedy competition. He and his Wallaby rugby star brother Clyde will be performing their highly anticipated new comedy play It’s Me Mandela at Canberra Theatre’s Playhouse on Saturday July 5. All proceeds are going to charities Medicins Sans Frontieres and Funda Nenja. Use the code “Madiba” for $15 tickets.

(Editor note: this piece is unedited at the request of the author)

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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

The welts and blisters etched onto the palms of a thousand illdisciplined children stand as bloody testament to my unwavering support for self-restraint.

Regular readers will be aware that even those I deem tolerable stand to benefit from my gratuitous thrashings. Should even they let their own standards slip and blacken my name by proxy, they are forced to pay a purgatorial price.

That I am only too eager to visit this far-sighted service upon those whose standards slip just shy of my own adds needless emphasis to the rage I am willing to visit upon those who engage in wilful disruption.

This approach to modern life in Canberra has proved a roaring success, subject as I have been to a mere fourteen court summons in its rigourous application. But my work continues.

There is one breed of rascal whose conscious trade in the misery of others is as repugnant as the sneer which oft accompanies their haughty manner and dithering haircuts. For both narrative and accuracy purposes, advocates of this article’s subject matter shall henceforth be referred to as ‘bastards’.

The commodity in which the bastard traffics is that of the ‘spoiler’ – a transaction involving the premature broadcast of privileged information, the receipt of which denies the recipient the impactful beauty of an artwork previously savoured by the bastard.

These acts are nothing more than a trade in deprivation, the conceited pursuit of smug superiority made all the more distasteful by the relish with which it is undertaken.

That the bastard would be willing to deny others the pleasure he himself has enjoyed tells us that, quite apart from his hasty verbal offerings, the only serviceable untimely ejaculation would have been for his layabout father to ruin his debauched mother’s encrusted eiderdown and rid us all of this pox.

Well, I may have a few ‘spoilers’ of my own for those bastards who revel in this unsavoury industry, insights which straddle the dichotomy of being both generic and accurate with the same ease exhibited by the bastard’s forebears as they straddled anyone who offered to pay their bus fare.

I believe it customary to offer a ‘spoiler alert’, but I am confident enough in the narcissistic character of these bastards that they can no more avoid reading on than their mother could keep her knees together. In summary: That awkward pause when you arrive at a table of your peers is not reverent expectation, but the swift evaluation of the nearest exits and the quickest route to them.

‘Friends’ will come and go. But mostly go. In fact, they will only ever come to tell you they never liked you and that they’re leaving.

You will largely go unloved for the majority of your life. The one exception being the love that only ‘Unsavoury Phil’, your future cellmate, will give you whether you want it or not. Should Phil be exhausted from his efforts, his deputy, ‘Unconscionable Pete’, will be only too happy to ransack your undercarriage. gideon foxington-smythe

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bit PARTS A RAP GUIDE TO EVOLUTION WHAT: Theatre WHEN: Wed Jun 11 WHERE: The Canberra Theatre Canadian artist Baba Brinkman latest creation, The Rap Guide To Evolution, cleverly blends a shape tongue with scientific theory.

Featuring music and turntable stylings from Jamie Simmonds and an amazing audio-visual show, this offbeat production taps into the provocative and the hilarious, all with a generous helping of solid scientific facts. Winning hearts and minds at the Edinburgh Fringe and turned into an off-Broadway smash, now is your chance to catch this performance one night only in Canberra at the Canberra Theatre, Wednesday June 11 at 7.30pm. Tix are $35/$30+bf from the Canberra Theatre or by phoning (02) 6275 2700.

SHADOWLAND WHAT: Theatre WHEN: Sat–Sun Jun 21–22 WHERE: The Canberra Theatre Internationally acclaimed dance troupe Pilobolus presents new production Shadowland, a magical feast of shadow puppets, dance, circus and concert. Making their debut Australian performance, it will feature at the Canberra Theatre, Saturday – Sunday June 21-22.

Detailing the surreal rite of passage of a young girl, Shadowland tiptoes on the edge of comedic and dramatic. The production combines an original including ballads and hard-rock tunes by David Poe with an enchanting line and mesmerising puppetry. Tickets are $79.90 - $98.90, available from the Canberra Theatre or by calling (02) 6275 2700.

BARONESS BIANKA’S BLOODSONGS WHAT: Cabaret WHEN: Fri-Sat June 13-14 WHERE: Smiths Alternative Bookshop Battling her bizarre addiction to the passion which plagues her, Bianka yearns for a normal life free of the Mark of the Beetroot.

Accompanying herself with the instrument from her mythical homeland she cries her Songs of Blood as a way towards healing and self-acceptance. What does this mean for the Baroness and those she encounters? Intrigued? Award-winning Joanna Weinberg is back in Canberra with this dark premiere of the 10th one woman show which will run for an hour at Smiths Alternative Bookshop. Get in early with an 8pm start. Tickets $25. trybooking.com/89212 Image credit: Sally-Forth Heaney-Garzoli

DREAMS, PERCEPTION AND ILLUSION WHAT: Photo Exhibition WHEN: Thur June 5-29 WHERE: Manuka Art Centre At Manuka Arts Centre three talented artists impress us with their outlook on our surrounds. Danny Wild uses interactive installations in his piece Thought Cues to comment on the dissociation of urban life.

Whereas Christine Rufflet’s Circus Dreams is an invitation to immerse oneself in a dreamy atmosphere where colours and contours mix to reveal shapes and silhouettes that belongs to a different world.

Sally-Forth Heaney-Garzoli’s Shifted: Scapes and Figures explores the way landscapes and figures are subtly transformed or shifted, by their relationship to one another. Exhibition opens June 5 with a 6pm start.

Free Entry. photoaccess.org.au/.

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the word

on albums

The beats and instruments paint a perfect background for Tuka and Jeswon’s rhymes. I could talk for pages about the intricacies of the song, but put simply, it’s a love song for the naysayers. I challenge you to listen to this track while thinking about the person you love. If your heart doesn’t melt, it’ll definitely still be beating in time to Morgs’ music.

album of the issue THUNDAMENTALS So We Can Remember [Obese] “Let’s search to evoke emotion/it’s more than just entertainment.” Those poignant words off the first track of ‘So We Can Remember’ set the scene for the rest of Thundamentals brilliant third album.

It’s an album that does evoke emotion in every sense of the word. From love and anger to passion and genuine joy, it takes the listener on a journey around the heads of the Thunda boys, through perfect prose, luscious vocals and their signature on-point beats.

We often hear title tracks and assume the album will never be able to live up.

It’s so disheartening to anticipate a record and then only listen to the initial releases because they simply set the bar too high. The Thundamental boys have not only released some absolute killer singles, but have managed to place the same genius into producing thirteen tracks that don’t disappoint.

The first two releases are definitely still standouts in my mind, but some other quiet gems have also managed to steal the show. The lead single ‘Smiles Don’t Lie’ did exceptionally well on so many charts, it became hard to keep track of it’s locational success. It’s one of the best on the album for so many reasons.

‘Something I Said’ was the second release with effervescent Thom Crawford on vocals. His beautiful voice complements the cleverly positioned trumpets perfectly, but is also cut by the (always) sharp rapping that the boys have locked down so well. It was a risky decision adding so many elements to an already steady song, but it pays off immensely as the three piece (and Thom, of course), have managed to produce a pretty innovative track, hiphop heads will be trying for a while to replicate.

There are so many well thought out themes amongst the album, from hatred of the boss, to racism and everything in between. However, as deep and thoughtprovoking as so many of these tracks are, the standout for me is the opening track, ‘Home In Your Head’. It features the sultry vocals of Mataya that open the song and cut deep right away.

The boys then take turns to speak about their humble beginnings in the rap game, their inspiration and most importantly, the power of music. The song tells a beautifully eloquent story of the love of music and why the boys do what they do.

So We Can Remember is an emotional, well crafted, deep and intelligent album.

It’s all these things and somehow still upbeat enough to pump in your car and drive across the country.

The boys have taken the sound we know and love a few steps further by experimenting with instruments, vocals and beats like never before. The result has taken them outside the realm of Oz hip-hop to a place that we’ll all definitely remember.

JADE FOSBERRY

LLOYD COLE STANDARDS [Tapete Records] Bob Dylan has inspired many different things in different people over his long musical career. One result from his 2012 LP Tempest was to fire up a new interest in song writing in Lloyd Cole. Formerly frontman of 80s band Lloyd Cole and the Commotions, Cole had produced a steady string of post-band solo records, but was getting a little jaded with the whole thing.

However, he was so impressed by Dylan’s ability to roll out songs which bore no relationship to his being in his 70s that it broke Cole out of the habit of writing songs reflecting his own age. It also broke Cole away from his recent acoustic style, with a record that is more up-tempo and which possesses a stronger rock and roll heart. The recording line-up featured exCommotions keys man Blair Cowan and Fred Mahr (drums) and Matthew Sweet (bass) from Cole’s first two solo albums.

Standards opens with a cover of John Hartford’s ‘California Earthquake’. Its bold electric guitars set a sonic statement for the album that this is not like past Cole records. The bass driven ‘Blue Like Mars’ brings out the resonance in Cole’s vocals while ‘Diminished Ex’ sounds like classic Dylan in its tone and phrasing. Cole’s vocals possess a casual coolness that brings an instant appeal. He spins storyteller’s lyrics with an occasional quirky edge and subtle humour in songs like ‘Women’s Studies’. Cole also crafts love songs with a difference such as ‘Opposites Day’ with its playful lyrics.

There are still gentle acoustic numbers in the collection too, including the pretty ‘Myrtle and Rose’ with its circular acoustic pattern and the gentle rambler ‘No Truck’.

However, this album belongs firmly in the electric camp.

RORY McCARTNEY

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The Roots …& Then You Shoot Your Cousin [DEF JAM]

Ginger & The Ghost Call Up The Whales [Shock]

Kelis Food [Ninja Tune]

Firstly, the bars. Meters limber and sharp, rhymes retaining spontaneity, with quotables on starvation, shoelaces, 98 problems and other New Jim Crow inevitabilities, Black Wit plus unexpected guests Greg Porn and Dice Raw drop eleven great verses in eleven tracks. Yet somehow, The Roots frustratingly unsongful 14th LP is the first eh from a band that doesn’t eh. The monetary security of being The Tonight Show with Jimmy Fallon’s house band lets indulgences be indulged too indulgently on this multi-playa satire of a per-diem perdition in a hood where God isn’t coming back. Case-in-point: the purgatorial posse-cut too downbeat to sustain itself. (Particularly after the four minutes of audio-visual avant-gangsta warfare, Cecil Taylor musique and shrouded Mercedes Martinez vox that the album pivots on.) Or the conclusive two Raheem DeVaughn showcases: the first an eh and the second that, for all the hope its graceful throwaway progression evokes, does not match the sublimity of the record’s first four songs. Which are stunning. As insouciant about their tragedy as Chano on ‘Acid Rap’ and wiser and more life-affirming, they widen-deepen-heighten the song-craft of their successive opuses ‘Rising Down’ and ‘How I Got Over’ after being waylaid by the successive detours ‘Undun’ and Costellocollab ‘Wise Up Ghost’. A band that play for People Who Listen to Music, the selfconscious quirks, plot-twists and beautifully lensed shots of piano-drum-bass all require and are rewarded by slighter attention that you’d suppose. “Def Jam life is now an evening job” says band leader ?uestlove, popping the myth in his recent Vulture essays that hip-hoppers have fat pockets.

Given the not-occasional-enough bullshit of this record, you may end up praying that either Fallon, or the US economy, gets canned.

Ginger & The Ghost are a mysterious duo.

In fact, so mysterious it was very difficult to find their full names on the internet; I could only detract that Missy is Ginger and Daniel is The Ghost. On their second EP, Call Up The Whales, there is an evocative approach to exude dark mysticism.

In retrospect, you have to feel kind of sorry for Kelis. Over the past decade she’s had hits on the scale of ‘Milkshake’ and ‘Bounce’ whilst continually bouncing through a succession of different labels, all of whom have seemingly had no idea how to really promote her properly.

Throughout the EP, deviation from generic folk song structures creates landscapes that could easily chronicle epic adventures in the land of fantasy. Think trekking through dark pine forests that are captive to magical secrets and maybe some hobbits. Or maybe elves? Yes, think elves. Ginger & The Ghost’s music is incredibly visual, assisted through deft arrangements of clear acoustic riffs, theatrical percussion and emotive strings.

Dynamics are then stretched out and then pulled back in waves for dramatic effect, such as the surges of ‘The Mark of Hearts’.

Midway through the title track, snare rolls combine with a chorus in a warlike chant; the theatricality is deliberate and effective. Further in, a memorable touch is the addition of the haunting whale song sampled.

It’s for exactly this reason that Kelis’ move to Ninja Tune for this sixth album Food particularly piqued interest in indie music circles, with the thirteen tracks here seeing her working with uber-producer Dave Sitek (TV On The Radio, Beady Eye) to craft a collection that has its roots in soul, gospel, vintage funk and Afrobeat more than the synthy dance stylings of her previous work.

CARY LONGMAN

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Part of their sound is Missy’s vocals – a mixture of Lykke Li and Gossling – that work beautifully with the textures of the sounds.

They form a core to the EP, solidifying its various experimentations. However, their constant presence can sometimes detract from the excellent song writing of Daniel, shifting subtly away underneath her soaring breathlessness. The lyricism also reflects the other-worldly, alluding to grand journeys, dancing in the deep and flying over fields. Imaginations at play with both the artist and the listener, be transported on the waves of Call Up The Whales to lands far far away.

Most notably though, it’s the use of a full live band, horn section and all that really lends a more organic and gritty feel to these tracks, which occasionally call to mind hints of Sitek’s Maximum Balloon solo project, albeit given a far more opulent spin into Motown meets Phil Spector territory. If radiofriendly tracks like ‘Breakfast’ and ‘Jerk Ribs’ showcase the funkier, more uptempo end of this album, the latter grafting an infectious skanking horn groove onto rolling cowbells and Kelis’ soul-funk vocal hook, it’s the more downbeat tracks that in many senses represent the true heart of this album.

Indeed, when her vocals are comparatively stripped of studio trickery and allowed to bathe properly in the majestic string-laden arrangements of tracks like ‘Dreamer’, there’s a sense of this easily being some of Kelis’ most frank and mature-sounding work to date.While there’s still an slightly ‘plastic’ feel to some of the tracks here, on the whole Food is a strong move in the right direction.

CHRIS DOWNTON

ANGELA CHRISTIAN-WILKES

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Hamilton Leithauser Black Hours [ribbon]

Champs Down Like Gold [Play It Again Sam]

The Murlocs Loopholes [Flightless/Remote Control]

The accepted wisdom on The Walkmen was that they were nearly men, a group that never fulfilled its considerable promise, who’d prefer to sabotage themselves for arts sake than take their shot at the top.

It’s a view slanted toward an alternate universe where the Brooklyn/Philly 5 piece that became rocks saviours instead of their contemporaries The Strokes- a much better universe, some might argue. But regardless of their seven records, three of which are must-own modern classics that contain unutterably incredible tunes such as ‘The Rat’, The Walkmen never quite made it like they should have made it.

There has been a lot of beautiful, melodious music coming from UK and Ireland based bands of late, notably from such artists as London Grammar and Little Green Cars. These heave been joined by Champs, comprising two brothers from the Isle of Wight, who have brought their own magic harmonies to the mix.

The Murlocs’ debut record taught me two things. The first: ALWAYS BACK UP YOUR DIGITAL FILES. A stolen laptop resulted in the band losing three-quarters of their work and having to start from scratch. The second: the harmonica, when working with some cruisey surf rock, is not as irritating as I initially thought.

Michael and David Champion sound much bigger than just a pair of voices, aided by their unusual recording venue. Studio Humbug is located in a water tank at Osborne House, the former residence of Queen Victoria on the Isle of Wight.

The tank’s metal structure produces echo effects which make the singing duo sound like a choir. Their style is indie pop with folk overtones and dominant keys, accompanying vocals which vary from smooth, to occasionally scratchy, to even a little androgynous at times. ‘Too Bright to Shine’ opens Champs’ debut album with a melancholy song of loss, its wavering keys producing an eerie atmosphere. Contrast this with the happy, hammered piano in ‘Savannah’ with its layered, overlapping vocals. There are elegant acoustic numbers too, including the bewitching ‘8mm Desire’ and ‘St. Peters’ which combines sweet, gentle vocals with a plucking pattern which draws you in like an eddy in a deep pool.

Percussion makes its most prominent appearance in the repetitive, rapid tattoo in ‘White Satellite’. Other album highlights include ‘Only a Bullet Knows Where to Run’ and ‘My Spirit Is Broken’ which has real earworm potential. Its catchy tune easily embeds itself in your head.

There is something deliciously retro about Loopholes, yet subtly distances The Murlocs from the wave breezy surf-rock currently assailing the alternative genre. The opening tracks are bathed in breezy guitar hooks, the pleasing wail of the harmonica and Ambrose Kenny-Smith’s androgynous howl, adding a soulful and distinctive edge to their sound. There’s a consistent pulse underlined with the steady robust percussion. Energy spikes can be found on the charismatic ‘Space Cadet’, a massively enjoyable highlight and the crunchy chord swipes on ‘Jukebox’, breaking down into a discordant, entertaining break.

From around 14 seconds into frontman Hamilton Leithauser’s solo debut you’d be forgiven for thinking that this is the one, the sound of promise fulfilled. ‘5am’, and much of what comes after, is deeply affecting torch music from one of rocks great vocal stylists.

The vibe is a whiskey drenched Nilsson meets Sinatra, with Scott Walker fiddling with mood lighting. There’s a brilliant, defiant desperation in Leithauser’s voice, and everything here is full of satisfying wide screen tension. As good as the guitars in the Walkmen were, their absence allows this extraordinary voice to soar. Little touches add a lot- the vocal additions of Amber Coffman from Dirty Projectors elevate ‘Silent Orchestra’, and Vampire Weekend’s Rostam Batmanglij injects his world musicfor-dummies know-how on champion tunes like ‘I Retired’. Single ‘Alexandra’ runs to a strange cadence that never quite settles, making a great melody seem uneasy. And terrific. If I’m honest, I expected Black Hours to be a placeholder, a solid curio before the inevitable reunion of his dayjob band. It is much much more, amongst the best things he’s done, maybe even the best. It certainly sounds like an artist hitting his potential. glen martin

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Whatever the mood of the songs, beguiling vocal arrangements and strong choruses, borne aloft by alluring melodies and powerful rhythms, make this an attractive package.

Mid album, the dynamism starts to slip as songs run into one another, coherent yet stilted. There is no doubt that The Murlocs are established within their own sound and are comfortable with their song-writing.

There is an ease the songs have, nodding to firm skills in the writing department. Their sound blends – not just travels between – surf, reggae, R’n’B, psychedelic rock and garage. However, they wash out some of their melodic grasp with reverb and the inability to play freezes the progression of the album. It is on the last track, ‘Loopholes’ where they settle into a slower, stripped back approach, giving balance and wrapping up the record smoothly as its layers fragment. Overall, the groove of Loopholes builds a strong sense of what The Murlocs are all about, yet steadily tires with more of the same.

rory mccartney

ANGELA CHRSTIAN-WILKES

@bmamag

Ed Kuepper The Return Of The Mail-Order Bridegroom [Valve] Way back in 1995, Ed Kuepper released an initially mail-order only album titled I Was A Mail-Order Bridegroom that saw him working his way through his own solo backcatalogue, Saints tunes and various covers, unaccompanied and armed only with an acoustic guitar. Nineteen years later, this latest solo album from Kuepper The Return Of The Mail-Order Bridegroom finally offers up its follow-up. More than anything else this collection acts as a recorded snapshot of his recent solo tour, with the eleven tracks here being recorded over just three days in Kuepper’s native Brisbane.

When reduced down to just acoustic guitar and voice, many of the songs taken from Kuepper’s back catalogue begin to take on new atmospheres and sense of space – something that’s accentuated even further by the intimate, close-miked recording approach taken here. A vaguely countrified slide/strum through ‘Rue The Day’ reveals new layers of uncertainty and tension lurking beneath the original’s jangly choruses, while elsewhere a looselimbed take on ‘The Way I Made You Feel’ manages to throw more light on the bluesy melancholic undertones that form the backbone of the song. As for the covers tackled, the strong takes on both The Walker Brothers’ ‘No Regrets’ and Skip James’ ‘Cypress Grove Blues’ bolster the track-listing substantially alongside two Saints tunes (the latter of which, ‘Messin’ With The Kid’ was curiously also included on the first volume. Apart from a strangely desultory reading of Hendrix standard ‘Hey Joe’, this is all pretty strong stuff and the ever-loyal Ed Kuepper fanbase isn’t likely to be disappointed by this latest album.

CHRIS DOWNTON

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the morrisons Hard Hoarse [Independent Release] Punk is not dead! It’s alive and kicking in Melbourne where The Morrisons, inspired by the likes of the Dead Kennedys and Black Flag, have added another volume to the ever expanding library of quick and angry songs.

This multiple-personality LP combines off the scale energy levels with youthful over-confidence and an irreverent sense of humour, all weighed down by an overload of angst on any topic you care to mention.

Rocky relationships, health issues and study problems all come in for a thrashing. The five piece’s debut album rolls its messages out old school punk style, with very fast tempos, scratchy vocals and squealing guitars. Disdaining any gloss, it is all captured lo-fi. The band squeezes fourteen tracks in just under thirty one minutes, with ‘blink and you’ll miss them’ length songs designed for an audience with short attention spans. All this, recorded by band guitarist Nick Carver at his own Exile on High Street Studios, is packaged in album art that takes a hilarious shot at gym junkie culture. ‘See You in My Dreams’ lays down the challenge with jet fast music and vocals spat out so quickly by Pete McKew that they are quite indecipherable. Barely lasting a minute, ‘Paris’ jump starts with a curly riff that is swiftly overtaken by a dust storm of guitar noise. Other highlights include ‘Can’t Graduate’, with its wicked bass riff and screamed chorus, the protest anthem ‘Don’t Wanna Act My Age’ and ‘Cherry’ with its guitar effects that sound like a frozen CD. The Morrisons combine the difficult daily double of simultaneously having an anxiety attack whilst unleashing some pretty cool rhythms, with themes that are sure to resonate with their target demographic.

Various Warfaring Strangers: Dark Scorch Canticles [Numero Group] In the suburban wastelands of 1970s America, groups of kids emerged from musty bedrooms littered with fast food wrappers and sci-fi comics and formed bands to turn their esoteric fantasies into semi-reality.

Much like the garage-punkers of the mid 1960s, attitude and enthusiasm compensated for lack of musical skill and a healthy display of influences completed the package. This compilation features a bunch of little known bands that picked up on darker vibes post-summer of love. Music had become leaner and heavier thanks to the likes of Led Zeppelin, Deep Purple and Black Sabbath and the hefty aroma from these three groups saturates this collection.

Band names like Stonehenge, Stoned Mace and Wizard give the game away with expectations of grungy guitars, much bass, no-frills arrangements and throaty vocals about pagan ritual. These bong-fuelled visions were accompanied by music with ominous overtones although sometimes more Spinal Tap than Slayer.

That said, these bands seemed pretty serious about their music and although most never released anything other than one single before fading into cruel obscurity, the intentions were always good particularly when proto-punk rock influences enter the mix like on ‘Sealed In A Grave’ from Triton Warrior. But for the most part, this music mines slower, atmospheric territory on the shadowy side and goes well with a six pack of beer, bags of munchies and a B-grade slasher flick dubbed within an inch of its life on video cassette. dan bigna

rory mccartney

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the perch creek family jugband Jumping on the Highwire [Vitamin]

dan wilson Love Without Fear [Ballroom Music]

The Brian Jonestown Massacre Revelation [a recordings]

With a band name like The Perch Creek Family Jugband (try saying that whilst intoxicated) and songs with names such as ‘Party On The Farm’ and ‘Bitchin’ Betty Lou’, it’s very easy to make assumptions about this band’s latest album. You’re right. They do play country music. However, Jumping On The Highwire – the second album from the four siblings and their friend – injects youthful charm into classic sounds.

The album title may sound like a slogan for a condom company, but this second solo LP by painter (as in on canvas, not walls and ceilings), multi-instrumentalist and former vocalist for Semisonic is magic. As a songwriter, Wilson penned songs for Adele’s smash hit album 21.

Since assembling his studio in Berlin, Anton Newcomb’s persuasive take on psychedelic music has adopted shades of euro-pop, which the motorik beat driving this thirteenth BJM album’s opening track ‘Vad Hande Med Dem?’ makes clear.

The multitalented nature of the musicians allows the album to shift from honkytonky homages, smoky blues and party-jigs, peppered with poppy tones.

Despite charging through their barn house boisterousness and fast-paced twanging with gusto, it feels like The Perch Creek Family Jugband would be a lot more enjoyable off record and onstage; particularly with the home-grown element of jug band music that cannot be captured aurally. Though obviously versatile and familiar with the many genres they work with, it can verge on cliché and fail to linger.

It is on the slower songs, where harmonies from the group suspend like fairy lights on a warm night that they are at their most enthralling. There is a richness to the layers of vocals on ‘Big Things Calling’ and ‘The Great Unknown’ that is missed on the more upbeat tracks. Each member sings throughout the album giving a rare dynamic to their storytelling. The many voices creates theatrical and often comical dialogue between vocalists, such as the sassy retorts on ‘Where You Been’ and the individual stories of ‘Watch ‘Em Run’.

Successfully encapsulating the group’s aptitude on song-writing and enthusiasm in performance, Jumping On The Highwire brings the hoe-down home.

ANGELA CHRISTIAN-WILKES

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This album is a testament to the amazing songs which can be a woven with a simple, beguiling tune and a beautiful voice. The album revels in romanticism, often with a melancholy edge, an approach in which Wilson takes particular pride. Folk-rocker Wilson’s voice sounds at times a little bit like Bernard Fanning and a whole lot like the radiant singing of Melbourne’s Gabriel Lynch (who deserves to be much better known). Wilson certainly knows how to pick them when assembling a brace of ladies to inject extra warmth and sweetness into his songs.

Natalie Maines provides the harmonies in the opener and Sara Bareilles adds a special touch to the close of the bewitching ‘Disappearing’ She entwines Wilson’s voice with her own and sets the song on fire. The album ends not with a whimper but with a huge, blissful sigh of longing in ‘Even the Stars Are Sleeping’. If the lady Wilson duets with sounds familiar, then you should not be surprised as its Missy Higgins. Their voices ascend together, in company with a pedal steel guitar. An album full of winning songs, it’s hard to pick a highlight. ‘When It Pleases You’ shines with its catchy melody and bold horn highlights. Of all the tracks, ‘However Long’ fights its way to the top of the bunch, with vocals that overlap each other like shadows and sparks flying from clashing cymbals.

Doubts about this relatively new direction remain as the ragged, acoustic psychedelia of Brian Jonestown Massacre’s best work was submerged on the previous three albums in favour of more synthetic, studiocrafted arrangements.

Happily, longer term fans will be pleased to hear that the druggy West Coast 60s vibe that worked so well on classic BJM albums like Give it Back! has returned on standout tracks like ‘What You Isn’t’. A distinct euro direction hasn’t quite left the fold, which explains why a track like ‘Food for Clouds’ would fit on a mid-80s album from The Cure. ‘Memorymix’, with its minimal beat underpinning and distorted disco vocals, would sound great in a West German nightclub. But then you have the flute dominated instrumental dreaminess of ‘Second Sighting’ which points to late 60s UK folk-rock, a signpost for BJM since the early days. A track such as ‘Xibaltha’ could have easily been added to the band’s overt psych-rock 2003 album And This is Our Music.

So, I guess some things have changed and some haven’t. The great thing about Newcomb is that he could always craft top quality music regardless of how chaotic his personal situation was. He is now more settled; the music is not quite as chaotic, but the quality remains first rate. dan bigna

RORY McCARTNEY

@bmamag

v

singles in focus by cody atkinson Body Count ‘Talk Shit, Get Shot’

Eagulls Eagulls [Partisan / Popfrenzy]

Graveyard Train Takes One to Know One [Black Hat Rackets]

Leeds-based post punk five-piece Eagulls certainly made an impression in the grand UK rock tradition earlier this year with their infamous open letter rant to other bands performing at the festival, attacking them for everything from being ‘retro’ to having their parents pay for their equipment. Given that their subsequent US tour was capped off with an appearance on Letterman, it’s a tactic that seems to have worked.

Graveyard Train made its name as a horror county band, singing of spooky icons like werewolves and shaking ghostly chains with its percussion. (Check out the coffin PR photos at previous label spookyrecords,com) Then the band left the limited scope of songs about hobgoblins and moved into a deeper country-noir world, drawing on the abyss of themes offered up by our mortality. Takes One to Know One which just falls over the EP/LP line after running out of breath at seven tracks, almost didn’t happen. Victims of its own rising success, rifts formed between band members. Then its muse called again and songwriting recommenced. A slower album, with only two upbeat tracks, it has less of the foot tapping catchiness seen in their previous release Hollow. The title track, with its unusual chanting delivery and bump-abump chorus, leaves no doubt that this is an eccentric record. The other fast mover ‘The Chrysalid’ is a blues masterpiece and disk highlight with its huge grunting bass. ‘The Creep’ is another winner, coming complete with a spaghetti western whistle, a merciless driving banjo and an arrangement where the vocalist becomes a grim concert master for his sepulchral backing choir.

‘Parasite’ shows devilish promise, but ends abruptly without developing its theme.

Graveyard Train’s singing is its real strength, with interchangeable lead vocalists and booming whole band choruses. However, as the band’s musicianship has improved, it has moved away from capital B to small b bizarre. While still treating folk or alternative country with disdain and retaining a twisted character of its own, Graveyard Train’s sound has moved closer to those genres. This could be a dangerous tactic, as losing a loopy edge could risk its semi-cult following.

The hilarious thing though is that Eagulls are easily just as retro as anyone else out there, drawing from the same jagged stew of Joy Division, Cure and Killing Joke influences as more high-profile UK peers Toy and The Horrors. Like those aforementioned bands, this debut self-titled album comes shrouded in thick coating of cavernous reverb that perfectly suits singer George Mitchell’s hollering vocals and the thundering wall of sound roar of the ten tracks collected here.

First single ‘Nerve Endings’ sees things crashing out of the gate as a bassline straight out of Unknown Pleasures collides with wiry guitars and a relentless tribal drum attack, with Mitchell repeatedly yelling “can’t find my end” as the tense riffing builds into an abrasive crescendo.

‘Tough Luck’ sees some of the moodier shades being pared back in favour of a vaguely Dinosaur Jr-esque wander through jangling guitar riffs and bellowed punk vocals. ‘Elsewhere’ offers up an anthemic blend of yelled singalong choruses and howling power chords that’s more reminiscent of peak-period Clash than perhaps anything else. An otherwise invigorating debut album from Eagulls, that’s unfortunately missing the presence of a real stand out track to push things forward. chris downton

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RORY McCARTNEY

This song, and it’s accompanying video, is about shooting critics of Body Count and their music.

The entire premise for this song revolves around killing people who don’t spread the gospel of Ice T and his crew.. There is a verse that is just various play on words of guns. I think I’m gonna err on the side of caution and give this a high score.

Parquet Courts ‘Instant Disassembly’ A song for the late nights around the grammaphone, ‘Instant Disassembly’ is a lackadaisical classic rock call back.

Build around a guitar melody and its counter, the song seems out of place without a slight sway, and a drink in hand. Parquet Court’s typical aggression is gone on this one, replaced with a discontent plea.

baptism of uzi ‘Believe’ Baptism of Uzi are fundamentally a krautrock band who occasionally break out into ‘80s inspired pop numbers, of which ‘Believe’ firmly fits within. ‘Believe’ comes off as a close cousin to 2013’s ‘Stray Current’, with constant snare and hi hats punctuating dreamy synths and disaffected vocals. Think of it as a rock band trying to go pop, but not all the way.

The Zebras ‘Try’ Brisbane-comeMelbourne indie popsters The Zebras have been fading in and out of the background for over a decade now.

“Try” sees The Zebras move closer to the direction of The Apples in Stereo than their straight up jangle roots, and not for the worse.

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the word

on films

WITH MELISSA WELLHAM

I love it when film industry people surprise you. Who would’ve thought that the goofy, kooky comedian Richard Ayoade – best known for his role as Moss on The IT Crowd – would turn out to be such a serious filmmaker? His debut effort Submarine was a funny, stylish and lingering film. His next effort, The Double, has not been afflicted

by Sophomore Slump.

quote of the issue “Does he remind you of anyone?” – Simon James on James Simon (Jesse Eisenberg), The Double

my sweet pepper land If you’re at drinks and someone says they saw a really good foreign film that’s a Kurdish western, but they can’t remember the name, there’s a good chance it’s My Sweet Pepper Land.

In a plot that resembles Hot Fuzz, a policeman named Baran (Korkmaz Arslan) is sent to be the sheriff of a small town that borders of Iran, Turkey, and Iraq.

Nobody in the area takes the law seriously and a tribal chief has absolute rule of the region.

When a young Kurdish teacher, Govend (Golshifteh Farahani), is shunned by the village, Baran decides that it’s time to stamp his authority.

As soon as Baran rolls into town on horseback it’s clear that My Sweet Pepper Land has a western flavour, and it doesn’t take long for a cowboy hat to land on his noggin. Two strangers in a strange land, Baran and Govend, face the difficulties of conflicting beliefs and ideals in the village. After An oddball start with a few humours moments, director Hiner Saleem pulls off a very difficult tonal shift that’s awash with gender politics as Baran rises to defend Govend’s honour as well as restoring the balance of justice.

The mountainous scenery further isolates the characters and is captured beautifully by cinematographer Pascal Auffray.

It takes a little too long to reach the obvious breaking point but My Sweet Pepper Land is a solid foreign twist on gunslingers and damsels in distress.

CAMERON WILLIAMS

X-Men: Days of Future Past The beauty of sci-fi is that it can be light entertainment full of ‘pew pew’ explosions or brimming with thought provoking philosophical undertones. The latest X-Men delivers on both fronts. The movie opens with scenes of human vs. machine warfare starkly reminiscent of Terminator 2. We find Professor X (Patrick Stewart) and Magneto (Ian McKellen) losing an apocalyptic war. A plan is concocted to send the ageless Wolverine (Hugh Jackman) back to a time when his sideburns are actually trendy: the 1970s.

Wolverine attempts to thwart the enigmatic Mystique (Jennifer Lawrence) in her plan of murdering the engineer of the mutant-killing machines in the present day, which ironically is the catalyst that starts the war. The appeal of X-Men has always been that it avoids the trap of depicting its characters as mono-dimensional ‘goodies’ and ‘baddies’ – even Magneto has always had complex motivations. The character arc of Mystique demonstrates this – while unlike Magneto she is unwilling to commit genocide to preserve the life of mutants, she will kill when it is absolutely necessary. The star-studded cast makes it difficult to say who stole the show, however in the end it was Peter Dinklage who stood out as the sinister Bolivar Trask. Remarkably, his stature was neither relevant to his character nor commented upon – perhaps the first occasion where a little person has gotten a role not written specially for them. X-Men is back on track. emma robinson

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The Double The Double is a darkly comic, depressing, and deliberately, self-consciously art house film – and you absolutely must see it if you get the chance. So rarely do filmmakers just ‘making it big’ attempt to do something truly different with their films, that efforts to do so should be rewarded. Particularly when those efforts turn out this delicious.

Writer-director Richard Ayoade (who played Moss in The IT Crowd, and directed Submarine a few years back) has crafted a film about deception and double identities. Simon James (Jesse Eisenberg) is a lonely worker in a dystopian officeblock future. He is ignored by his secret crush Hannah (Mia Wasikowska), and feels like nothing ever happens to him. Until, that is, his exact doppelganger – but with his exactly opposite personality – James Simon shows up at his workplace. From there, tings take a dark turn. The tone of the film is unapologetically bleak, tense and suspenseful – while the style and set design is as carefully curated as any Wes Anderson film, were a Wes Anderson film to be set in the monotone world of Blade Runner. While inspired by the novella The Double by Fyodor Dostoyevsky, the film is not a deeply philosophical piece of work, although questions a world built of bureaucracy and homogenisation. It is, however, clever and interesting – and will keep you guessing until its ambiguous conclusion. A comedy of misfortune and portrait of existential madness – The Double is one-of-a-kind.

MELISSA WELLHAM

@bmamag

Sunshine on Leith

Belle

Get your tea and biscuits ready and prepare for the pleasantries of Sunshine on Leith, a jukebox urban musical based on the music of The Proclaimers. Yes, those Scottish guys that sing that 500 Miles song you last belted out at karaoke.

Belle has all the romance and brooding heroes of a Jane Austen novel, the intricacies of class evident in Downton Abbey, and the political consciousness of 12 Years a Slave – although it is perhaps not expressed quite as articulately.

The songs are wrangled through a plot that features two soldiers (George MacKay and Kevin Guthrie) returning home to their families in Edinburgh, Scotland, after a tour in Afghanistan.

There is a romance, family drama and a handy Proclaimers’ song for each occasion.

Director Dexter Fletcher (Spike from Press Gang) offers a vibrant postcard of Edinburgh that has the camera flying over the city begging for you to visit.

One plane ticket please. The toe tapping is mainly kept indoors but Dexter gives each musical number a vibrant energy that’s infectious. The downside is the music. Sure, if you’re a big Proclaimers fan every ditty will be a winner, but it’s all really vanilla. Most of the film is a big build up to the use of 500 Miles, but the eventual song and dance number is worth the wait.

The cast is what elevates the material because they’re all so damn optimistic. MacKay and Guthrie are magnetic leads.

Peter Mullan, Jane Horrocks (Bubble from Absolutely Fabulous), Freya Mayvor and Antonia Thomas create a great mix of different voices in support.

Sunshine on Leith is pleasant. It will provoke a smile. Take your grandma. cameron williams

Belle is based on the true story of Dido Elizabeth Belle (Gugu Mbatha-Raw), the illegitimate mixed-race daughter of an Admiral. She is raised by her aristocratic great-uncle Lord Mansfield (Tom Wilkinson) and his wife (Emily Watson), and their position in society gives her many privileges – although equality is not one of them. As her cousin Elizabeth (Sarah Gadon) chases suitors, Dido becomes embroiled in a legal dispute that could end slavery in England – and begins to give away her heart to an idealistic young lawyer, John Davinier (Sam Reid) in the process.

Belle has all of the surface beauty, and the ‘forgive me, sirs’, that you would expect from a period drama – but the social awareness of the film lends it greater depth than most.

Although the film feels oddly corseted – with an entirely predictable narrative arc and borderline naff ending – the beautiful performance from Gugu Mbatha-Raw is enough to keep you mesmerized.

The same cannot be said for Dido’s love interest, played by Sam Reid, who is so bland that his inoffensiveness becomes offensive. Luckily, where romance is lacking the father/ daughter relationship provides emotional suspense.

MELISSA WELLHAM

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49

the word on dvds

50

The Bridge – Complete Series Two [Madman]

mistaken for strangers [Madman]

Jack Ryan: Shadow Recruit [Paramount]

The first season of The Bridge ended in horrific circumstances.

A string of murders that started with a corpse straddling the Danish/Swedish borderline on a bridge circled ever closer to lead investigator Martin Rhode (Kim Bodnia) until it was revealed his son was the final victim. In a chilling closing scene the killer, Jens (Lars Simonsen) made sure Martin knew the bare minimum about the death so as to wrack him lifelong guilt. Martin had slept with Jens’ wife and indirectly caused his own son’s death, you see. 18 months later a container ship runs aground under the very same bridge and sure enough Martin reteams with his old buddy, Saga Noren (Sofia Helin) the socially inept robot detective who might just be on the spectrum. As is customary with these sorts of shows, the initial crime is merely a precursor, a tiny cog in a much bigger more nefarious picture. Eco terrorism, biological warfare, shady wannabe shipping magnates and a cancer-ridden CEO all play important, cloudy roles. The trick for the writers, in putting all the other cogs in place, is to make it all seem feasible and organic. Too often plots contort themselves to solve mysteries.

Too often red herrings serve no particular purpose than misdirection. But as each of the ten episodes of this Swedish/Danish coproduction progress, they move with confidence and purpose.

There’s just enough to leave you guessing and involved. The real difference this season is the relationship between Saga and Martin, to the point they are almost friends – in their own special way. It’s impossible to understate just how much Bodnia and Helin have grown into their characters and elevate The Bridge far beyond ‘good’ Nordic crime fare into brilliant TV, period. As usual, the scenery and design is flawless, although some curtains of all those windows surely would go astray.

Chances are if you’re reading this and there’s no slam dunk case that people actually are, then you’ve probably seen a music doco or two.

As illuminating as even the best of them can be music docos generally preach to the converted and follow broadly similar construction: snappy vox pops, insidery anecdotes, exhaustive memories of the early years and usually a triumph over the odds.

This doco about a year on the road with The National throws that script out the tour bus window. It is one of the most disorganised messes I have ever seen. It also tells us next to nothing about the band, fans or life on the road. For these reasons and many more, it is also one of the best, most intimate and heartfelt music docos ever made.Matt Berningner – the only member of The National without a brother in the band – gives his metal-loving, indie rock hating younger sibling, Ted, a job as a roadie.

The plump thirtysomething Ted lives at home and doesn’t appear to have a job outside making very bad, no-budget horror films. Leveraging his roadie gig, he starts filming a documentary about his famous brother’s band. Thing is, he’s done basically zero preparation, is incapable of asking an intelligent question (sample: “Do you guys...err… take your wallets on stage?”) and is universally awful at being a roadie. Ted struggles to make the film, an early screening of the rough cut for the band and family is an unmitigated disaster and his mental structure for the film in-progress consists of poorly labelled post-it notes. Mistaken for Strangers is a front row view of the battle between family expectations and sibling rivalry/ support. If you can overcome the early (and the general overall) sloppiness you’ll be rewarded with a doco that is truly unique and surprisingly touching.

The Jack Ryan character comes from a different era.

Created by Tom Clancy, Ryan is an artefact of Cold War US hegemony. Through sheer force and superior tactical skills Ryan wins – for himself, for country.

The Jack Ryan movies (Hunt for Red October, Sum of All Fears, Clear and Present Danger and Patriot Games) reflect that world. Big, showy, explosiony and uber-patriotic. But does 2014 need the near flawless alpha dog Jack Ryan? Surely he belongs in the last century, especially when the Jason Bourne films forced a rethink of the whole spy thriller genre.

Luckily for Ryan, necessity isn’t the burden of proof for fiction or film – but quality sure is.

And on that metric Jack Ryan: Shadow Recruit does just enough to justify itself. It starts with Ryan studying in the UK during the 9/11 attacks. Feeling the pang of duty we cut forward to Afghanistan where Ryan’s helicopter is cut down by enemy fire. Cutting forward again it’s the present day and Ryan is recruited by Kevin Costner’s hairpiece to the CIA. Costner’s career was junk a decade ago, but he’s settled into agreeable late career relevance. Good for him. In what is surely the sexiest assignment ever, Ryan is embedded as a compliance broker on Wall Street.Through a scheme involving complicated Excel spreadsheets a Russian oligarch (Kenneth Branagh, who also directs) plans to collapse the world economy and blow shit up. Jack Bauer must stop it and time is running out. Wait, I meant Jack Ryan. And that’s the problem with JR:SR – it’s a serviceable international countdown thriller undercut but pedestrian plot and lack of scope. It could be an episode of 24. It feels unusually small despite its gorgeous international setting. Chris Pine as Ryan is snarkier than the Harrison Ford, Alec Baldwin or Ben Affleck versions. It suits the times even if the film he carries feels like a ‘90s throwback.

justin hook

justin hook

justin hook

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Boy & Bear, Patrick James ANU Bar Friday May 23 A far cry from the “complete piss up” (their words, not mine) that their Canberra gigs have been the last couple of years, Boy & Bear have developed a neat, well-oiled showcase of their latest album Harlequin Dream. Initially slightly flat, the gig exponentially improved the moment the quintet put down their instruments and picked up their banter, sealing the crowd’s interest with a couple of well-timed jabs at their frontrunner Dave Hosking and a shout-out to the drummer’s girlfriend, who’d apparently previously chastised the boys for “not being funny.” They certainly don’t need to worry about the latter comment any longer – in fact, I even caught myself wishing they’d put the instruments down for a few minutes so we could hear just how the lead guitarist’s toe was recuperating following it’s fracturing last time the band performed at ANU Bar. This is possibly not the best thought to have mid-gig, but it’s true nonetheless.

‘Arrow Flight’ is undoubtedly an album highlight, and live it’s no different – the smooth, rolling vocals punctuated by the plucky acoustic guitar give the track a vivid crispness that is unfortunately somewhat lacking from the other songs on offer. Having said that, the saxophone – performed to perfection by the enigmatic ‘Curtis’ – stands out beautifully against the distinctive Boy & Bear tapestry of folk-rock.

PHOTO BY STEVE NEBAUER

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The support, Patrick James – though lacking the precision of the following act – has a smooth, enticing country/rock/indie sound that looks set to develop strikingly. Keep a steady ear on the horizon.

INDIGO TRAIL

Prom, Pocket Fox, Chris Endrey RUC Turner Friday May 23 For this show he decided to bare nearly all, both figuratively and literally. Actual nudity at gigs has oft been seen as a sign of both openness and rebellion, of the reckless and the honest. However, on the night Chris Endrey was considerably more than this, totally emotionally exposed as well. Endrey’s set was peppered with covers PHOTOS BY ?????????? and originals, cameos and imagined football songs.

A friend leans over to me halfway through Pocket Fox’s set and whispers in my ear “this is twee-jazz”. I tried to think of a witty response or comeback, but I had nothing. Pocket Fox play with seemingly effortless efficiency on stage, a machine performing at a perpetually languid pace. Their set dipped and dived, culminating in a cover of Conchita Wurst’s winning Eurovision entry.

Prom are very much a theatrical rock band. Their bread and butter lies in their live performance. Made up of the remnants of several other fine Canberra bands, Prom try to blend their wide influences into a seamless experience and sometimes it pays off in spades. At other times, they fall a little short, but it’s not for want of trying. On a night for dancing, they were the band to really get the crowd on their feet.

A major part of the enjoyment of gigs like this is the cause that they are supporting, this case gender identity and broader LGBTQI issues. A gig for a gig’s sake is all well and good, but sometimes it’s worth it to consider the broader issues facing the community. Hats off to all the bands involved for doing so.

CODY ATKINSON

52

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Thee Nodes, Gentlemen, Hygiene, Primary Colours and Harrow City Magpies Club Wednesday 21 May Harrow were up first, a standard three piece on stage punctuated by a shirtless front man patrolling the dancefloor. It was solid, honest, but not spectacular punk with a few high spots, but could probably do without the frontman running into people who did not want any part of it. When they took the stage it was clear that Primary Colours had made a line-up change, with the guitarist and drummer changing stations on the stage. Appropriately for the gig, Primary Colours played a harder set, one built less on space and more on sound. Another very promising set from a young band.

Hygiene hit the stage running at 100 miles an hour with guitars, drums and bass flying everywhere. It was firmly in the speed punk/grindcore wheelhouse, which is a little outside of my usual tastes for listening. But the energy that they showed on stage was undeniable. Jagged waves of aggressive noise were what Gentlemen provided when they finally hit the stage. Scuffed up punk with all the accompaniments, Gentlemen seemed to play so damn hard on stage. Everything felt like it was so damn much and so damn furious, but in the best way.Hailing from Montreal, Thee Nodes were decidedly the show-piece for the night. Mr Node, appearing on stage with a bandaged skull and a shirt and tie combo, dominated attention with his high pitch squeal. But the performance of Thee Nodes was more than just the frontman, with the rest of the band providing a tight-knit freak-punk force. It was wild, weird, frantic and a bit beautiful. And good. It was really, really good.

CODY ATKINSON

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PHOTO BY PRUDENCE UPTON

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Pixies Sydney Opera House Saturday May 24 Weaving our way through Circular Quay amidst the throngs and iridescent lighting of the Sydney Vivid Festival, it seemed an odd contrast to be attending a smallish seated gig for a band that had inspired crowds this large to get a little loose on previous tours. No support act made Pixies’ delayed start time more glaring,allowing time to survey the diverse crowd. Some were very young, surely the latest lukewarm release Indie Cindy alone hadn’t brought them here?

Frank Black got the nostalgia memo; launching immediately into thumping college anthem ‘U-Mass’, eschewing the classy surrounds with a joyful Kiss me cunt/Kiss me cock ringing through the aisles.

New bassist Paz Lenchantin was a suprisingly excellent replacement for Kim, her vocal and guitar parts doing what they should, never making you feel as if she was so talented and mistreated she should return to her old band (see Kim Deal:Breeders). A modest dose of the new album gave this old cynic a breather, as by this stage I was at the front making a fool of myself during songs I had never heard them play live, ‘River Euphrates’, ‘Crackity Jones’, the majority of Come on Pilgrim with ‘Levitate Me’ and the soaring beauty of ‘Ed is Dead’ causing everyone to stand and dance like they meant it.

Frank Black and David Lovering remained focussed and polished as per the training of their now ubiquitous touring whilst Joey’s wry smile as he tried to eek out the best possible reverb cacophony during the trail end of ‘No 13 Baby’ could break a girl’s heart. Not a native Spanish speaker? No matter, we all knew the words to ‘Isla de Encanta’ and ‘Vamos’. The encore was satisfying with the anthemic ‘Hey’. My new mosh friend Malcolm said it best in his Scottish lilt, “Fucking. Magic”. tatjana clancy

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PHOTOS BY Megan Leahy

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British India, Sea Legs Transit Bar Wednesday May 28 “Advertise ‘Free Beer’ and they will come”, or so the saying goes.

Coopers were the host for the night, and the shout was on them via their “Coopers After Dark” promotion and national series of gigs.

Coopers branding was omnipresent, in the form of posters, stubbie holders and spent beers. As a result Transit was packed to the rafters, with bottles of brown and green piled across the bar.

Openers Sea Legs, from up the M3 on the Central Coast, open auspiciously to a very full room. Moreso than normal, the crowd was not there for the support, and the band knew it. Sea Legs’ brand of pub stained indie rock filled the room but didn’t demand attention. It lingered in the air, occasionally punctuated by conversation from the stage and from the crowd.

Ten years into their careers, British India have established themselves as fan favourites on the Australian rock music scene.

For the first half of their set British India seemingly struggled to gain attention of the bar. Hands were glued to mobile phones, heads turned to the solitary television showing the State of Origin. But, seemingly over the course a minute or two, the crowd plugged back into reality and the band on stage. Perhaps it was a sudden awaking; more likely the sponsor’s product. As I overheard during the set, British India are at their best at their most melodic and not when they get stuck in a rhythmic rut, and while the hits were played out the crowd was engaged.

PHOTO BY MARK TURNER

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CODY ATKINSON

Free Your Mind Festival UC @ Zierholz Sunday May 25 The thought of the impending Monday morning was no detergent for enthusiasts at the Free Your Mind festival held at the UC on Sunday 25th May. A five star lineup of death core titans; Thy Art Is Murder, Northlane, Veil of Maya, Make Them Suffer and Volumes.

Thy Art Is Murder we’re the draw card for the evening with punters eating out of the palm of their hands; a barrage of death core totality left the pit a twisted quagmire of chaos. Punters propelling themselves throughout the pit like demonic rag dolls....

Veil of a Maya were greeted by a waft of allegiant darlets, devoted and dutiful on inflicting as much pain as possible as the band sent out wave after wave of ferocity, a massive contender in this genre of music; Veil of Maya should not be underestimated.

Make Them Suffer came highly recommended through the chatter in the beer garden and upon the bands set (although cut extremely short) was a tapestry of unruliness; no bounds, no prisoners as the piece pummelled onlookers with a sensory overload.

Free Your Mind brutalised fans with a prominent amount of guts and savvy with the right amount of flair and versatility that have fans intensify their loyalty and allegiance with the these crafty Australian bands.

CARRIE GIBSON

PHOTO BY CLINTON HATFIELD

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ENTERTAINMENT GUIDE Wed June 4 - Sat June 7

Listings are a free community service. Email editorial@bmamag.com to have your events appear each issue. wednesday june 4

Art Exhibitions Treasures Gallery

The Library’s greatest treasures & best known stories. Daily 10am-5pm. Free.

NATIONAL LIBRARY OF AUSTRALIA

Nafisa Bilal

Sudanese artist using found objects.

Jun 3-9. For more info contact: cizabelal82@yahoo.com THE FRONT GALLERY AND CAFÉ

Inside

New objects and textiles by Megan Jackson. May 29-Jun 8. Wed-Sun 12-4pm. Free

CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

Theatre

Perception Deception Exhibition Hands-on exhibits to surprise your senses and challenge your mind. 9am5pm. Until May 2015. Admissio QUESTACON

Theatre It’s Dark Outside

By Arielle Gray, Chris Isaacs and Tim Watts. $35.

THE STREET THEATRE

Nick Rigby

With The Surrogates. 5pm afternoon session. 10pm band. Free.

KING O’MALLEY’S IRISH PUB

Hello Satellites

With Julia and the Deep Sea Sirens.

7.30pm. Free.

Farewell tour for Sydney hard rockers.

8pm. $15 +bf.

Hell City Glamours

Fun, laughs & prizes! 7.30pm. Free.

POLIT BAR & LOUNGE

thursday june 5

Local blues-rock-folk outfit release album ‘Til My Tears Roll Away’. 6.30pm. $30.

Luminous World

SMITH’S ALTERNATIVE

IQ Trivia Fun

Aldo Iacobelli - In The Shadow Of Forgetting

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

African Tribal Dance Beats. 9pm. $10

THE FRONT GALLERY AND CAFÉ

Live Music

Three contemporary artists. May 16 - June 21. Tue - Fri 11-5pm. Sat 10-4pm.

Zambesi Sound System

Trivia

3 new exhibitions. Wed-Sun 12-5pm.

Until Jun 15.

M16 ARTSPACE

Live Music

The Audreys

THE ABBEY

Piano Lunches

With Bec Taylor. 12.30pm – 1.30pm.

Free. All welcome.

SMITH’S ALTERNATIVE

TRANSIT BAR

On The Town New Kids On The Block

Showcasing rising talent. $10 all night.

ACADEMY NIGHTCLUB

Danny T,

With Benson + Acaddamy. 9pm. $10 before 11pm.

MECHE

Something Different Tarot Reading - with Marisol

Private Tarot Readings. 6-8pm. 10 spots. Book Marisol 0404 364 820.

Contemporary work by Australian and New Zealand artists, including a Indigenous art. Until June 29.

Thursday Jazz

With The Fringe of Squaredom. 8pm. $10 / $5.

POLIT BAR & LOUNGE

SMITH’S ALTERNATIVE

Theatre

Corpus

Chicago Charles & Dave

Party

NATIONAL LIBRARY OF AUSTRALIA

Works by Julie Bradley & sculptures by Mike MacGregor. Mon-Fri 9.30am2.30pm. Sat-Sun 10am-4pm. Unti FORM STUDIO & GALLERY

Hamilton Darroch: Sun Trap

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

KING O’MALLEY’S IRISH PUB

Spartak: Five Points Launch With Mornings and Power Moves.

8pm. Free.

TRANSIT BAR

Sculptures using objects exposed to the Australian landscape. 10am-5pm 12-5pm weekends.

Tin Sparrow

Kensuke Todo: A Survey

Spartak, Mornings, Power Moves

CANBERRA MUSEUM AND GALLERY

Kensuke Todo extends his bi-cultural perspective to sculptures and drawings.

12-5pm Wed-Sun. Free.

ANU DRILL HALL GALLERY

Karaoke Curry-Oke Wednesdays

Hosted by Jonathan Davis. 8pm. Free Entry.

DIGRESS COCKTAIL BAR

Live Music CMC Presents local and touring bands 7.30pm. $5.

SMITH’S ALTERNATIVE

Woodlock

“My Throne” Tour. 7.30pm. $5. Pre-sale from Moshtix.

THE FRONT GALLERY AND CAFÉ

On The Town Hump Day Wednesdays

Kick back mid-week with drink specials.

5pm.

TRANSIT BAR

Something Different The Beautiful Science of Glass Jeremy LePisto reveals the creative properties of glass & the science behind it. Free. 6pm.

Stunning harmonies, killer hooks, infectious pop. 7.30pm. Free.

THE FRONT GALLERY AND CAFÉ

Spartak launches ‘Five Point’ EP, Mornings last show. 8pm. Free entry TRANSIT BAR

A comic play dealing with big issues.

6pm-8pm. $15/$20. Book at: trybooking.com/86004 SMITH’S ALTERNATIVE

The Bootleg Beatles

50 years since Beatlemania. 7.30pm. $71.75 - $81.75.

CANBERRA THEATRE CENTRE

It’s Dark Outside

By Arielle Gray, Chris Isaacs and Tim Watts. $35.

THE STREET THEATRE

saturday june 7

On The Town

Art Exhibitions

4Some Thursdays

Hamilton Darroch: Sun Trap

9pm. Free. Discount drinks 10pm 12am.

ACADEMY NIGHTCLUB

Something Different Café Région

Discover Languedoc Roussillon. Win prizes. Food & wine. 8.15pm. $45/$55.

Book at: events@afcanberra.

ALLIANCE FRANÇAISE

Theatre It’s Dark Outside

By Arielle Gray, Chris Isaacs and Tim Watts. $35.

THE STREET THEATRE

friday june 6 Art Exhibitions TYRA 2014

Local youth art competition award and exhibition. 9am-5pm weekdays. Free

Sculptures using objects exposed to the Australian landscape. 10am-5pm 12-5pm weekends.

CANBERRA MUSEUM AND GALLERY

Kensuke Todo: A Survey

Kensuke Todo extends his bi-cultural perspective to sculptures and drawings.

12-5pm Wed-Sun. Free.

ANU DRILL HALL GALLERY

Treasures Gallery

The Library’s greatest treasures & best known stories. Daily 10am-5pm. Free.

NATIONAL LIBRARY OF AUSTRALIA

Nafisa Bilal

Sudanese artist using found objects.

Jun 3-9. For more info contact: cizabelal82@yahoo.com THE FRONT GALLERY AND CAFÉ

Aldo Iacobelli - In The Shadow Of Forgetting Three contemporary artists. May 16 - June 21. Tue - Fri 11-5pm. Sat 10-4pm.

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

TUGGERANONG ARTS CENTRE

QUESTACON

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ENTERTAINMENT GUIDE Sat June 7 - Tues June 10 Inside

New objects and textiles by Megan Jackson. May 29-Jun 8. Wed-Sun 12-4pm. Free

CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

Theatre

3 new exhibitions. Wed-Sun 12-5pm.

Until Jun 15.

M16 ARTSPACE

Luminous World

On The Town

Live Music

Select Saturdays

Ivory Lights

With Tai. 9pm. $10 before 11pm.

MECHE

Theatre

Sunday Sounds and Sangria

SMITH’S ALTERNATIVE

A comic play dealing with big issues.

6pm-8pm. $15/$20. Book at: trybooking.com/86004

It’s Dark Outside

By Arielle Gray, Chris Isaacs and Tim Watts. $35.

THE STREET THEATRE

Live Music James Blunt

The Moon Landing tour, with Busby Marou. 8pm. $107.65 + bf thru Ticketek.

ROYAL THEATRE

The Beards

Album launch tour With Franky Walnut.

Doors 6.30pm. $25 + bf.

THE ABBEY

A Drone Coda

With Yes, I’m Leaving + Raus. 9pm. $10.

SMITH’S ALTERNATIVE

Heuristic

Sudanese artist using found objects.

Jun 3-9. For more info contact: cizabelal82@yahoo.com

With Derryth Nash. 2-4pm. Free.

Corpus

FORM STUDIO & GALLERY

The Accoustic Sessions

ACADEMY NIGHTCLUB

Party

Works by Julie Bradley & sculptures by Mike MacGregor. Mon-Fri 9.30am2.30pm. Sat-Sun 10am-4pm. Unti

Art Exhibitions

A BITE TO EAT CAFE

Contemporary work by Australian and New Zealand artists, including a Indigenous art. Until June 29.

NATIONAL LIBRARY OF AUSTRALIA

Folk rock with female vocalists. 5-7pm.

Free.

Love Saturdays

With Chris Fraser. $10 all night.

sunday june 8

IRON BAR

Irish Jam Session

TUGGERANONG ARTS CENTRE

SMITH’S ALTERNATIVE

Traditional Irish musicians from late afternoon. Free.

KING O’MALLEY’S IRISH PUB

On The Town Heat @ Academy

With DJ D. $15 before midnight.

ACADEMY NIGHTCLUB

Hamilton Darroch: Sun Trap

Party

Inside

New objects and textiles by Megan Jackson. May 29-Jun 8. Wed-Sun 12-4pm. Free

CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

THE FRONT GALLERY AND CAFÉ

TYRA 2014

Theatre

CANBERRA MUSEUM AND GALLERY

Nafisa Bilal

With Boyeur Band + Cracked Actor + Wallflower. 3pm – 5pm. $5.

Art Exhibitions Sculptures using objects exposed to the Australian landscape. 10am-5pm ,12-5pm weekends.

monday june 9

A comic play dealing with big issues.

6pm-8pm. $15/$20. Book at: trybooking.com/86004 SMITH’S ALTERNATIVE

It’s Dark Outside

By Arielle Gray, Chris Isaacs and Tim Watts. $35.

THE STREET THEATRE

Local youth art competition award and exhibition. 9am-5pm weekdays. Free

Trivia Rainman’s Trivial Excuse

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

TRANSIT BAR

tuesday june 10 Art Exhibitions TYRA 2014

Local youth art competition award and exhibition. 9am-5pm weekdays. Free TUGGERANONG ARTS CENTRE

Comedy Irresponsible Comedy 7.30pm. $10.

SMITH’S ALTERNATIVE

10:30pm. Free.

KING O’MALLEY’S IRISH PUB

58

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ENTERTAINMENT GUIDE Tues June 10 - Sun June 15 Karaoke

Theatre

On The Town

Karaoke Love

The Rap Guide To Evolution

Friday the 13th

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

TRANSIT BAR

Written and performed by Baba Brinkman. 7.30pm. $35 +bf/$30 +bf CANBERRA THEATRE CENTRE

Trivia

Trivia

Trivial Tuesdays

IQ Trivia Fun

Hosted By IQ Trivia. 1st Prize $75. 7pm.

Free Entry DIGRESS COCKTAIL BAR

wednesday june 11 Art Exhibitions Kensuke Todo: A Survey

Kensuke Todo extends his bi-cultural perspective to sculptures and drawings.

12-5pm Wed-Sun. Free.

ANU DRILL HALL GALLERY

Treasures Gallery

The Library’s greatest treasures & best known stories. Daily 10am-5pm. Free.

NATIONAL LIBRARY OF AUSTRALIA

Aldo Iacobelli - In The Shadow Of Forgetting Three contemporary artists. May 16 - June 21. Tue - Fri 11-5pm. Sat 10-4pm.

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Theatre

Fun, laughs & prizes! 7.30pm. Free.

POLIT BAR & LOUNGE

thursday june 12 Art Exhibitions Intimate Obsessions

Creation and deconstruction. Jun 1222. Wed-Sun 11am-5pm. Free.

CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

TYRA 2014

Local youth art competition award and exhibition. 9am-5pm weekdays. Free TUGGERANONG ARTS CENTRE

Contemporary work by Australian and New Zealand artists, including a Indigenous art. Until June 29.

NATIONAL LIBRARY OF AUSTRALIA

Corpus

Live Music

MECHE

The Mighty Yak

Something Different

KING O’MALLEY’S IRISH PUB

With A-Tonez. 9pm. $10 before 11pm.

Art Underground Open Mic Night

With Adam Thomas & Pablo Latona.

Share poetry, short stories, music.

7pm. Free.

Theatre

Chrome

Doris

MECHE

Trivia

With Runamark. $10 all night.

Lauded as one of Australia’s great bands. 6.30pm. $20.

Thursday Jazz

With Java Quartet. 7.30pm, $15.

On The Town 4Some Thursdays

9pm. Free. Discount drinks 10pm 12am.

ACADEMY NIGHTCLUB

friday june 13

24th Annual Amnesty International Quiz Night

7.30pm. $28. Book at: http://www. amnesty.org.au/actsnsw/event/34365/ HELLENIC CLUB (WODEN)

saturday june 14 Art Exhibitions Kensuke Todo: A Survey

Kensuke Todo extends his bi-cultural perspective to sculptures and drawings.

12-5pm Wed-Sun. Free.

Karaoke

BELCONNEN ARTS CENTRE

Fabrique

An exploration of jewellery by Maria Klingner. Jun 13-29. Tue-Sun 10am4pm. Free.

BELCONNEN ARTS CENTRE

NATIONAL LIBRARY OF AUSTRALIA

Aldo Iacobelli - In The Shadow Of Forgetting Three contemporary artists. May 16 - June 21. Tue - Fri 11-5pm. Sat 10-4pm.

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Unruly Orchestrations

TYRA 2014

ANU FOOD CO-OP

TUGGERANONG ARTS CENTRE

Experimental artworks by staff of UC Faculty of Arts & Design. Jun 13-29.

Tue-Sun 10am-4pm. Free.

In Hearts Wake

Live Music

Theatre

ZIERHOLZ @ UC

CMC Presents local and touring bands 7.30pm. $5.

SMITH’S ALTERNATIVE

On The Town Hump Day Wednesdays

Kick back mid-week with drink specials.

5pm.

TRANSIT BAR

Local youth art competition award and exhibition. 9am-5pm weekdays. Free

Mitch/ Oscar

5pm afternoon session. 10pm band.

Free.

KING O’MALLEY’S IRISH PUB

Baroness Bianka’s Bloodsongs

Songwriter Joanna Weinberg. Addiction.

Gypsies. Yearning. 7pm-9pm. $25. Boot at: trybooking.com/8921 SMITH’S ALTERNATIVE

Groovin the ANU

Kevin Windross Band, The Feldons, Scotts, Despite Eviction. $3 beers.

8pm. Free.

ANU BAR AND REFECTORY

NV NIGHTCLUB

Select Saturdays

With Orkestrated. 9pm. $10 before 11pm.

Love Saturdays

ACADEMY NIGHTCLUB

Chrome

Alternative, dark electronic, industrial dance night. Theme: Mad science.

9pm. $10/$5 for students.

NV NIGHTCLUB

Theatre Bell Shakespeare’s Henry V 7:30pm. $35 - $79.

THE PLAYHOUSE

The Glenn Miller Orchestra

Direct from the USA. 7:30PM. $84.90 - $98.90.

CANBERRA THEATRE CENTRE

Treasures Gallery

Acoustic Soup

With Dream On Dreamer, Being As An Ocean, Endless Heights + Sierra. 7pm. $34.70

Mad science theme. Industrial, EBM, dark electronic & alternative. 9pm. $10.

Half price with student

THE PLAYHOUSE

Wagons

7:30pm. $35 - $79.

The Library’s greatest treasures & best known stories. Daily 10am-5pm. Free.

Organic food and local music. 7pm. $8/$10.

SMITH’S ALTERNATIVE

KING O’MALLEY’S IRISH PUB

9:15pm-12:15. Free.

CANBERRA THEATRE CENTRE

Experimental artworks by staff of UC Faculty of Arts & Design. Jun 13-29.

Tue-Sun 10am-4pm. Free.

Live Music

Baroness Bianka’s Bloodsongs

On The Town

Unruly Orchestrations

DIGRESS COCKTAIL BAR

IRON BAR

POLIT BAR & LOUNGE

Private Tarot Readings. 6-8pm. 10 spots. Book Marisol 0404 364 820.

ANU DRILL HALL GALLERY

Hosted by Jonathan Davis. 8pm. Free Entry.

With Beth n’ Ben. 6pm. $15/$30. Must book.

Tarot Reading - with Marisol

Art Exhibitions

Curry-Oke Wednesdays

Afro Moses - Afro Spirit 4 in 1

Songwriter Joanna Weinberg. Addiction.

Gypsies. Yearning. 7pm-9pm. $25. Boot at: trybooking.com/8921

BEYOND Q

Works by Julie Bradley & sculptures by Mike MacGregor. Mon-Fri 9.30am2.30pm. Sat-Sun 10am-4pm. Unti FORM STUDIO & GALLERY

10:30pm. Free.

Bell Shakespeare’s Henry V

SMITH’S ALTERNATIVE

Luminous World

Paces

Special K

TYRA 2014

TUGGERANONG ARTS CENTRE

FORM STUDIO & GALLERY

Starring Melinda Schneider. 7:30pm. $59.90 - $79.90.

THE ABBEY

Local youth art competition award and exhibition. 9am-5pm weekdays. Free

ACADEMY NIGHTCLUB

Works by Julie Bradley & sculptures by Mike MacGregor. Mon-Fri 9.30am2.30pm. Sat-Sun 10am-4pm. Unti

Live Music

3 new exhibitions. Wed-Sun 12-5pm.

Until Jun 15.

M16 ARTSPACE

With Will Sparks. $25 before 11pm.

Discount if dressed in theme.

Corpus

BELCONNEN ARTS CENTRE

3 new exhibitions. Wed-Sun 12-5pm.

Until Jun 15.

M16 ARTSPACE

Intimate Obsessions

Creation and deconstruction. Jun 1222. Wed-Sun 11am-5pm. Free.

CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

Fabrique

An exploration of jewellery by Maria Klingner. Jun 13-29. Tue-Sun 10am4pm. Free.

BELCONNEN ARTS CENTRE

Luminous World

Contemporary work by Australian and New Zealand artists, including a Indigenous art. Until June 29.

NATIONAL LIBRARY OF AUSTRALIA

sunday june 15 Live Music Canberra Blues Society Jam

With Monica Moore. 2–5:30pm. $3 members/$5 non-members.

HARMONIE GERMAN CLUB

David Christopher 5-7pm. Free.

A BITE TO EAT CAFE

The Accoustic Sessions

With Afro Moses. 2-4pm. Free.

IRON BAR

Sunday Sounds and Sangria With UltraViolet. 3pm – 5pm, $5 SMITH’S ALTERNATIVE

Canberra Young Music Society Open Day Live music, record sale, coffee.

Celebrate before we renovate! 12pm5pm. Free.

AINSLIE ARTS CENTRE

Irish Jam Session

Traditional Irish musicians from late afternoon. Free.

KING O’MALLEY’S IRISH PUB

Something Different A Folk Tale About Trees

Brian Hungerford will tell a folk tale & play small pipes. With arvo tea. 3pm.

Free.

FORM STUDIO & GALLERY

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ENTERTAINMENT GUIDE Sun June 15 - Thurs June 19 Theatre

Something Different

Bell Shakespeare’s Henry V

Booklaunch

4:00pm. $35 - $79.

THE PLAYHOUSE

monday june 16 Art Exhibitions TYRA 2014

Local youth art competition award and exhibition. 9am-5pm weekdays. Free TUGGERANONG ARTS CENTRE

Comedy Schnitz & Giggles Improvised Comedy 6.30pm-8pm, $5.

SMITH’S ALTERNATIVE

Live Music Bootlegs by 2XX

Local’n’Live. 8.30pm, $5.

SMITH’S ALTERNATIVE

Trivia Rainman’s Trivial Excuse

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

TRANSIT BAR

tuesday june 17 Art Exhibitions TYRA 2014

Local youth art competition award and exhibition. 9am-5pm weekdays. Free TUGGERANONG ARTS CENTRE

Menopause Makes Mummy Mental by Rita Wagner. 1.30pm – 3.30pm. Free, all welcome.

SMITH’S ALTERNATIVE

Theatre Bell Shakespeare’s Henry V

Introspection

Local youth art competition award and exhibition. 9am-5pm weekdays. Free TUGGERANONG ARTS CENTRE

Corpus

3 exhibitions: Wanderlust, Detail & Never Without. Wed-Sun 12-5pm. Free.

Until Jul 6.

M16 ARTSPACE

TUGGERANONG ARTS CENTRE

New work by Declan Greene. May contain nudity (doesn’t include porn).

7.30pm. $39 +bf/$37+bf.

Karaoke

Live Music

Curry-Oke Wednesdays

Thursday Jazz

Trivia

DIGRESS COCKTAIL BAR

Chicago Charles & Dave

Live Music

KING O’MALLEY’S IRISH PUB

Eight Gigabytes of Hardcore Pornography

CANBERRA THEATRE CENTRE

Trivial Tuesdays

Hosted By IQ Trivia. 1st Prize $75. 7pm.

Free Entry DIGRESS COCKTAIL BAR

wednesday june 18 Art Exhibitions Aldo Iacobelli - In The Shadow Of Forgetting Three contemporary artists. May 16 - June 21. Tue - Fri 11-5pm. Sat 10-4pm.

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Kensuke Todo: A Survey

Kensuke Todo extends his bi-cultural perspective to sculptures and drawings.

12-5pm Wed-Sun. Free.

ANU DRILL HALL GALLERY

Treasures Gallery

Unruly Orchestrations

NATIONAL LIBRARY OF AUSTRALIA

TRANSIT BAR

Experimental artworks by staff of UC Faculty of Arts & Design. Jun 13-29.

Tue-Sun 10am-4pm. Free.

Live Music

Intimate Obsessions

SMITH’S ALTERNATIVE

TYRA 2014

FORM STUDIO & GALLERY

THE PLAYHOUSE

Karaoke Love

6 new bands from ANU School of Music.

Art Exhibitions

NATIONAL LIBRARY OF AUSTRALIA

TYRA 2014

6:30pm. $35 - $79.

Karaoke

New Band Showcase

thursday june 19

Contemporary work by Australian and New Zealand artists, including a Indigenous art. Until June 29.

Works by Julie Bradley & sculptures by Mike MacGregor. Mon-Fri 9.30am2.30pm. Sat-Sun 10am-4pm. Unti

The Library’s greatest treasures & best known stories. Daily 10am-5pm. Free.

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

Luminous World

BELCONNEN ARTS CENTRE

Creation and deconstruction. Jun 1222. Wed-Sun 11am-5pm. Free.

CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

Fabrique

An exploration of jewellery by Maria Klingner. Jun 13-29. Tue-Sun 10am4pm. Free.

Hosted by Jonathan Davis. 8pm. Free Entry.

Lucie Thorne

Striking lyrics and voice. One show only.

7pm. $15/$20. Boot at: trybooking. com/85864 SMITH’S ALTERNATIVE

CMC Presents local and touring bands With Lucie Thorne. 8pm. $20 / $15.

Book at: trybooking.com/85864 SMITH’S ALTERNATIVE

On The Town Hump Day Wednesdays

Kick back mid-week with drink specials.

5pm.

TRANSIT BAR

Theatre Bell Shakespeare’s Henry V 6:30pm. $35 - $79.

THE PLAYHOUSE

Eight Gigabytes of Hardcore Pornography

New work by Declan Greene. May contain nudity (doesn’t include porn).

7.30pm. $39 +bf/$37+bf.

CANBERRA THEATRE CENTRE

Local youth art competition award and exhibition. 9am-5pm weekdays. Free

With John Mackey Band. 8.30pm, $10.

SMITH’S ALTERNATIVE

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

Revellers

With Nerdlinger + Raised By Wolves.

8pm. Price TBA. MAGPIES CITY CLUB

Piano Lunches

With Bec Taylor. 12.30pm – 1.30pm.

Free. All welcome.

SMITH’S ALTERNATIVE

On The Town 4Some Thursdays

9pm. Free. Discount drinks 10pm 12am.

ACADEMY NIGHTCLUB

Something Different Same Page Book Club

Presented by Scissors, Paper, Pen. 5.30pm – 7.30pm. Free. All welcome.

SMITH’S ALTERNATIVE

Local Fashion Trail

The best of Canberra’s local fashion.

6pm-late. Free.

QT CANBERRA HOTEL

Theatre Bell Shakespeare’s Henry V

The Home Front

7:30pm. $35 - $79.

THE STREET THEATRE

Eight Gigabytes of Hardcore Pornography

Improvised theatre exploring the lives of women in Australia. $35 +bf/$25 +bf.

THE PLAYHOUSE

New work by Declan Greene. May contain nudity (doesn’t include porn).

7.30pm. $39 +bf/$37+bf.

CANBERRA THEATRE CENTRE

BELCONNEN ARTS CENTRE

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ENTERTAINMENT GUIDE Thurs June 19 -Tues June 24 The Home Front

Improvised theatre exploring the lives of women in Australia. $35 +bf/$25 +bf.

THE STREET THEATRE

friday june 20

Showtune

Musical revue celebrating the words and music of Jerry Herman. $40/$35 CANBERRA REPERTORY SOCIETY

saturday june 21

Art Exhibitions

Art Exhibitions

TYRA 2014

Aldo Iacobelli - In The Shadow Of Forgetting

Local youth art competition award and exhibition. 9am-5pm weekdays. Free TUGGERANONG ARTS CENTRE

Live Music Siren Song Guitar Lunch

With Lisa Richards. 12.30pm – 1.30pm. Free. All welcome.

SMITH’S ALTERNATIVE

Mike McClellan

A long-awaited return to performing and recording. 6.30pm. $35/$80.

THE ABBEY

Live Music/ Special K

5pm afternoon session. 10pm band.

Free.

KING O’MALLEY’S IRISH PUB

On The Town Alive Fridays

With Alison Wonderland. $15 before midnight.

ACADEMY NIGHTCLUB

Univibes Presents Indian Summer

Sweat it out. 9pm. $10 before 11pm.

MECHE

Three contemporary artists. May 16 - June 21. Tue - Fri 11-5pm. Sat 10-4pm.

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Kensuke Todo: A Survey

Kensuke Todo extends his bi-cultural perspective to sculptures and drawings.

12-5pm Wed-Sun. Free.

ANU DRILL HALL GALLERY

Treasures Gallery

Launch of FeminArtsy Magazine

Fabrique

An exploration of jewellery by Maria Klingner. Jun 13-29. Tue-Sun 10am4pm. Free.

Luminous World

Bell Shakespeare’s Henry V THE PLAYHOUSE

Corpus

7:30pm. $35 - $79.

Eight Gigabytes of Hardcore Pornography

New work by Declan Greene. May contain nudity (doesn’t include porn).

7.30pm. $39 +bf/$37+bf.

NATIONAL LIBRARY OF AUSTRALIA

Works by Julie Bradley & sculptures by Mike MacGregor. Mon-Fri 9.30am2.30pm. Sat-Sun 10am-4pm. Unti FORM STUDIO & GALLERY

CANBERRA THEATRE CENTRE

Live Music

The Home Front

Shelby Scott

Improvised theatre exploring the lives of women in Australia. $35 +bf/$25 +bf.

THE STREET THEATRE

Shadowland

1:30pm & 6:30pm. $79.90 - $98.90.

CANBERRA THEATRE CENTRE

The Home Front

MECHE

Improvised theatre exploring the lives of women in Australia. $35 +bf/$25 +bf.

Love Saturdays

With Rawson. $10 all night.

THE STREET THEATRE

ACADEMY NIGHTCLUB

Showtune

Knightsbridge Penthouse 10th Birthday

Musical revue celebrating the words and music of Jerry Herman. $40/$35

Superhero themed cocktails. 8pm.

Free entry.

CANBERRA REPERTORY SOCIETY

KNIGHTSBRIDGE PENTHOUSE

monday june 23 Art Exhibitions

Bell Shakespeare’s Henry V

TYRA 2014

Local youth art competition award and exhibition. 9am-5pm weekdays. Free

Shadowland

8:00pm. $79.90 - $98.90.

TUGGERANONG ARTS CENTRE

CANBERRA THEATRE CENTRE

Theatre

New work by Declan Greene. May contain nudity (doesn’t include porn).

7.30pm. $39 +bf/$37+bf.

The Home Front

The Home Front

Trivia

Improvised theatre exploring the lives of women in Australia. $35 +bf/$25 +bf.

THE STREET THEATRE

CANBERRA THEATRE CENTRE

Improvised theatre exploring the lives of women in Australia. $35 +bf/$25 +bf.

Rainman’s Trivial Excuse

THE STREET THEATRE

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

Showtune

Musical revue celebrating the words and music of Jerry Herman. $40/$35

TRANSIT BAR

CANBERRA REPERTORY SOCIETY

BELCONNEN ARTS CENTRE

Contemporary work by Australian and New Zealand artists, including a Indigenous art. Until June 29.

Theatre

THE PLAYHOUSE

With Peking Duk. 9pm. $10 before 11pm. Online bookings TBA.

Eight Gigabytes of Hardcore Pornography

Creation and deconstruction. Jun 1222. Wed-Sun 11am-5pm. Free.

4:00pm. $35 - $79.

Select Saturdays

Introspection

Intimate Obsessions

Bell Shakespeare’s Henry V

On The Town

THE PLAYHOUSE

M16 ARTSPACE

Theatre

THE RUC (TURNER)

2:00pm & 7:30pm. $35 - $79.

3 exhibitions: Wanderlust, Detail & Never Without. Wed-Sun 12-5pm. Free.

Until Jul 6.

SMITH’S ALTERNATIVE

New-Vaudevillian comedy cabaret.

Album launch. 8pm, $25/$20.

Experimental artworks by staff of UC Faculty of Arts & Design. Jun 13-29.

Tue-Sun 10am-4pm. Free.

Something Different

SMITH’S ALTERNATIVE

Mic Conway’s National Junk Band

Unruly Orchestrations

BELCONNEN ARTS CENTRE

With Marji Curran Band + Lyndell Tutty.

3pm – 5pm, $5.

KING O’MALLEY’S IRISH PUB

Theatre

NATIONAL LIBRARY OF AUSTRALIA

Sunday Sounds and Sangria

10:30pm. Free.

The Library’s greatest treasures & best known stories. Daily 10am-5pm. Free.

CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

With music from Aphir and Fossil Rabbit. 7.30pm. $10.

4th Degree

With Jack Lundy + Shelby Clements + Jack Livingston. 8pm, $5.

SMITH’S ALTERNATIVE

tuesday june 24

sunday june 22

Art Exhibitions

Art Exhibitions

TYRA 2014

Intimate Obsessions

Creation and deconstruction. Jun 1222. Wed-Sun 11am-5pm. Free.

Local youth art competition award and exhibition. 9am-5pm weekdays. Free

CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

Live Music Irish Jam Session

TUGGERANONG ARTS CENTRE

Karaoke Karaoke Love

Traditional Irish musicians from late afternoon. Free.

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

TRANSIT BAR

KING O’MALLEY’S IRISH PUB

OUT

June 25

rat & Co lloyd cole angry anderson justin heazlewood ...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

Prom Where did your band name come from?We used to be called The Last Prom and dress as the Four Horsemen of the Apocalypse. Then we simplified.

Group members? Nick (singing), Julia (singing and keys), Mel (drums), Chris (guitar) and Matt (bass).

Describe your sound: Overwrought indie pop.

Who are your influences, musical or otherwise? The part in the high school movie where the two lovers kiss at the school dance, just before their hearts get tragically broken.

What’s the most memorable experience you’ve had whilst performing? The Last Prom, where we staged the ritual of the Apocalypse as a Year 12 Formal.

Of what are you proudest so far? Our songs.

What are your plans for the future? We’re shooting a video for our new single, but mostly we’re just hungry to play more gigs!

What makes you laugh? Human ambition.

Australian Songwriters Association Keiran (02) 62310433 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

What pisses you off? We often rage against the dying of the light, does that count?

Cole Bennetts Photography 0415982662

What about the local scene would you change? It’s already starting to happen – more great new indie record labels!

Danny V Danny 0413502428

What are your upcoming gigs? Go to our facebook.com/ pages/Prom for upcoming gigs and to say hi!

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 Fire on the Hill Aaron 0410381306 Lachlan 0400038388 Fourth Degree Vic 0408477020 Gareth Dailey DJ/Electronica Gareth 0414215885 Groovalicious Corporate/ weddings/private functions 0448995158

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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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