BMA Magazine 446 - 13 August 2014

ad space

2

@bmamag

ad space

facebook.com/bmamagazine

3

ad space

4

@bmamag

ad space

facebook.com/bmamagazine

5

ad space

6

@bmamag

ad space

facebook.com/bmamagazine

7

ad space

8

@bmamag

ad space

facebook.com/bmamagazine

9

ad space

10

@bmamag

ad space

facebook.com/bmamagazine

11

JOIN CAT EMPIRE ON STAGE? HELLO!

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 ISSUE447 OUT August 27 EDITORIAL DEADLINE August 20 ADVERTISING DEADLINE August 21 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.

12

WORDSMITH: STOP, COLLABORATE AND LISTEN Wordsmith is a collaborative project that has brought together visual artists and writers in a creative interaction to explore the common ground between these differing yet inextricably linked mediums.

A series of written works, varied in both their scale and style, were produced by a number of locally based

writers. These works then became inspiration for a group of artists who responded through the production of a collection of equally diverse visual artworks. Just as each of the writers has produced a distinct work, each visual artist has responded uniquely to the material they have received through the scope of their individual practice.

This process has resulted in a diverse range of works that reflect the range of individuals who have come together to create this exhibition. Curator Sarah Norris says, “I’ve made an effort to match writers and artists that I felt would have the greatest potential for an interesting and productive interaction, based on my awareness of their previous work and my exchanges with each of them as the project evolved. CJ Bowerbird was paired with Jacklyn Peters, Nigel Featherstone with both Julian Laffan and G L Wyatt, Yolande Norris with Ian Robertson, and Sarah Rice with Caren Florance. The result of these collaborations has been incredibly successful, with both art forms gaining from their relationship with the other”.

This exhibition will be taking place between August 21 and September 7 at M16 Artspace in Griffith, ACT. The opening night will commence at 6pm on Thursday August 21, with opening words from local spoken word artist and 2013 Australian Poetry Slam Champion CJ Bowerbird.

More at m16artspace.com.au

GRANITE FESTIVAL: WHERE THE MUSOS AREN’T FOSSILS

I’m more of a dog lover myself

I really hope somebody took Coolio on a tour of Belcompton #446August13

Throughout September and October The Cat Empire will be offering the general public the chance to do exactly that. The band has just announced that they will be accepting audition videos (of up to two minutes in length) for musicians across the country to join them on stage when they hit the road for their National Tour next month. Members of The Cat Empire will personally chose the winners, with vocalist/ trumpeter frontman Harry Angus leading the project.

The band has committed to choosing at least one musician in each state to join their troupe of trumpets, trombones, drums and percussion on stage at the show closest to the winner’s home. The process for entering is simply a matter of uploading a video. Harry says, “Entrants can play any instrument or even sing. We will work with whatever talent is delivered up.

And they don’t have to audition with one of our songs. If we like the song they come up with, instead of them learning one of our songs, we will learn their song to perform on the night”. The band is also totally ok with covers. After watching Stevie Wonder sound check in The Netherlands recently, they’re secretly hoping for the opportunity of a Stevie cover.

Each winner will be provided with their own backstage pass, plus an additional backstage pass for a friend. The performer will attend sound check on show day to meet the band and to rehearse the chosen song. To enter a video for the chance to play on stage with The Cat Empire, entry details and terms and conditions can be found at thecatempire.com. All entries must be received by Friday September 5. (Editor’s tip: just choose a Stevie Wonder song).

Festival has been resurrected to become the three-day event Granite Town: a community based festival featuring Katie Noonan, Thirsty Merc, Emma Pask, Mama Kin and many more. The festival will open on Friday night with a Welcome to Country opening ceremony and the visually spectacular Riverlights, a parade of unique artist-designed and communitybuilt floating lanterns at dusk. The event also features gourmet food, late night jams and unique experiences; visitors can book a seat to be ferried out to the exclusive Sandbar Brunch - a gourmet dining experience which will take place at low tide on the sand bar of the Moruya River. Some old favourites remain. The wellestablished annual celebration Festival of Voice and the much anticipated traditional Moruya festival Street Parade.

The event will also support the Moruya youth refuge and the Moruya hospital auxiliary oncology unit. Granite Town festival runs from October 1719. Single day and long weekend passes available. For more info head to granitetownmoruya. com/

Imagine being able to travel to a coastal music festival faster than you can say, ‘Look kids! There’s Pooh corner!’

The much loved Moruya Jazz

@bmamag

FROM THE BOSSMAN Regular readers of this ‘ere rag will know I can be a goofy bastard. This often translates to leaving fruity phone messages to friends and colleagues in an attempt to shine a shard of light in their otherwise grey day, or at the very least to simply amuse myself. But this becomes frequently unstuck with the myriad of mad message services currently out there.

It should be simple. A person doesn’t answer, you leave a message, they listen to it, they get back to you, the world ticks on. What could be easier? Except through a combination of user idiocy and phone company madness, it is often a nightmare.

Despite actively engaging in a message bank, many people don’t use it, or at least don’t use it properly. One can go to great effort in leaving a meticulously detailed message spiced up with a couple of gags and flawless impersonations for good measure only to have the person call back and say, ‘Nah, I didn’t listen to your message; what’s up?’ forcing you to repeat yourself like a show parrot.

But this is only a minor quibble when compared to the unaccountably stupid message options. The most infuriating is when a mechanical voice informs you, ‘Please leave a ten second message and it will be sent as a text message.’ If I wanted to send a text message, I would have sent a fucking text message, Mecho-Lady. And said talk-to-text translations are seemingly performed by a cat smacking away on a keyboard, so that a simple missive like, ‘Meet me outside Landspeed Records’ turns into, ‘Meat tea pouts wide, sand peed purplemonkeydishwasher’.

And whilst brevity is the soul of wit, ten seconds simply isn’t enough, often leading to being cut off at the worst moment. ‘Hey, it’s Allan, I hope this finds you well, just calling about the next issue and whether you wanted to be involved, and whether you have seen the size of my...’ “MESSAGE ENDED, GOODBYE.”

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.]

As the Canberra winter becomes cold enough to reach biblical proportions there’s nothing that warms my heart more than seeing your holiday snaps on Facebook. I live vicariously through your European and Balinese adventures, content that one day I too will be to regale my chums with wondrous visuals of places they’ll never visit instead of watching The Bachelor in front of a clapped out oil heater whilst pretending I’m only partaking in a social experiment on the loss of dignity vs the desire to be on television.

To all the idiotic middle aged inhabitants of the inner north that fail dismally at simple tasks like ordering a coffee, you piss me off, every, single weekend. When your friendly and attentive wait staff tells you we’re out of something, don’t respond with “seriously?” Do you think I’d say it just to see your dumbarse reaction? It’s great that you earn a small fortune and drive a Subaru, but just because I don’t doesn’t make me a lesser person.

I can spit in your coffee so try being polite some time.

So not only do you suffer the mild annoyance of being unable to contact a person at that given moment, but you’ve suggested to a valued client they inspect the size of your appendage instead of having the time to end the sentence with “discount”.

But this pales in comparison to the weirdness of being transferred - unwittingly, and with no warning - to an actual real live human who transcribes your message and passes it on.

Is this the ‘50s?! In 2014, what possible reason is there for a human to take down a message. I can only imagine after the person scratches down your words on a parchment using quill and ink, it’s rolled up into a tight tube, a wax seal is affixed and it is safely stowed away on a carrier pigeon to be dispatched.

The lack of warning means you’re suddenly faced with the unnerving prospect of leaving a private message with a complete stranger. This was made painfully evident when I first came across this bizarre service many years ago. Deciding I would leave a high-larious message to my old boss about leaving his buttplug over at my house I was suddenly faced with an old dear asking me for said communique. I stammered my way through the message - ‘Butt... Plug, did you say dear?’ - and left the conversation feeling slightly ill. Now there are people I don’t call for fear of being faced with this situation again.

So if you have the option for a message service, for the good of the nation go for a simple one and actually listen to it. Scores of minutes and awkwardness will be saved. Now I’m off to read the entirety of The Great Gatsby on my Editor’s answering service.

ALLAN SKO - allan@bmamag.com

facebook.com/bmamagazine

13

WHO: Tawadros WHAT: Album Launch WHEN: Sat aug 16 WHERE: The Street Theatre

From thrilling and furiously paced numbers to beautifully introspective and tranquil tracks, we give a warm welcome to Joseph Tawadros who is bringing the release of his 11th album - Permission to Evaporate - to Canberra. The quartet’s routine pushes the oud into new territory, pairing the fretless lute with unlikely musical partners including the piano, double bass, req and bendir, all drawn together

by Tawadros’ trademark virtuosity and lyricism. These compositions stretch and showcase the musical talent of the group, challenging even the most experienced musicians. The Tawadros Quartet will be on stage at 8pm. Tickets are priced at $30 from thestreet.org.au.

WHO: owen rabbit WHAT: Album Launch WHEN: sun aug 17 WHERE: The Front Gallery & Cafe

Owen Rabbit will be visiting our small slice of heaven this month with his debut single ‘Police Car’. The singer, producer and multiinstrumentalist hails from Melbourne. With his voice and a diverse blend of analogue, digital and acoustic instrumentation, he creates textured and haunting electronica, performed live with a loop pedal.

His sound, which encompasses elements of soul, trip-hop, low-fi Indie and R&B, is idiosyncratic and experimental, while full of hooks and pop sensibility. Soft and expertly layered, this is a tune that you can just sink into. Tickets TBA. Doors at 7:30.

WHO: SLOW TURISMO WHAT: SINGLE LAUNCH WHEN: FRI AUG 22 WHERE: TRANSIT BAR

Image credit: Jack Bennett

WHO: Peter Black WHAT: Album Release WHEN: sat aug 23 WHERE: transit bar

WHO: Kilter WHAT: album launch WHEN: fri aug 22 WHERE: meche

WHO: Oliver Downes WHAT: Album Launch WHEN: Tues aug 19 WHERE: Smith’s Alternative

14

Taking cues from indie heavy-weights LCD Soundsystem, Arcade Fire and The Strokes, local kids Slow Turismo have been makin’ noise with their sweet sound. They flitter effortlessly between minimalism and chaotic rhythm and a fuller sound fleshed out by trumpet and lush harmonies. With debut single, the summery gem ‘Breathe’, released to rave reviews and about the drop follow up ‘Thunderstorm’, things are heating up for the band. Swing by Transit Friday August 22 to check out what all the fuss is about. Support comes from Sydney-siders Hollow States. Just $10 at the door.

The Paintings on the Wall Say Gambler! Gambler! is Peter Black’s third full-length album and is a flaming ball of creativity. Through whimsical melodies, intimate vocals and powerful orchestration come songs layered with musical talent. Black is an utterly driven misfit who provides music that is utterly complex in its simplicity.

A performer and songwriter this artist showcases what it means to be ambitious and self-assured with his beautiful, haunting and often surreal works. Peter Black will share his songs at Transit Bar from 8pm onwards. Playing alongside King Buzzo, tickets for this massive show are $43.35 from oztix.com.

With the launch of his new EP album Kilter’s infectious and atmospheric sounds will have people running to the dance floor.

With MPC, synths, microKorg and drum kit in tow, his shows are a live manifestation that speaks volumes for Kilter as not just a skilled producer, but also as a talented musician. His mastery of atmospherics and sharp percussive instincts, along with his now-trademark use of the steel drum have helped the young muso explore new parameters for dance music and has left us with the impression that this is not a show to miss. Doors open 8pm. Tickets are $10+bf from moshtix.com.au.

At the end is Sydney singer-songwriter Oliver Downes’ debut EP, which brings together four songs reflecting the artist’s love of the ocean. Downes mixes soaring melodies and precise lyrical musings with a piano style both percussive and refined. Taking his cue from artists as diverse as Leonard Cohen, St Vincent and Radiohead, his music is by turns melancholy, uplifting and opaque. At the end is the first statement of a distinct musical voice and emerging songwriting talent. Doors open at 7:30pm with tickets priced at $10 on the door.

@bmamag

ad space

facebook.com/bmamagazine

15

jade fosberry You know the feeling you get when you hear the bass line of a song? The shiver up your spine when a sample is mixed, cut and scratched in sync with quickly and slickly spat rhymes? The fire that starts to rise within you when you hear passionate words, over perfectly timed beats? If any of that resonates with you, you’re probably a fan of Australian hip hop and there’s definitely one group that’s influenced that love affair over the last decade THE HILLTOP HOODS. They’ve been making music for over twenty years and have produced some of the most legendary tracks to emerge from our shores, on levels far surpassing that of just their chosen genre. I caught up with MC Suffa to talk life, music and the challenges for Aussie hip hop artists, from the ‘90s to now. Despite their proven success, the boys aren’t averse to taking risks and have recently produced a progressive and passionate album, different to anything they’ve released before. Walking Under Stars drops this month, after a solid period of writing, recording and touring. The trio have spent the last few months in New Zealand and Europe, ducking back home for a quick show at Splendour, before soon heading back across the ocean to the U.S and Canada.

Prolific is an understatement, but Suffa sums the last few months up well with, “I can’t tell the difference anymore, between jetlag, a hangover and the general way I feel.”

their twenty years of experience is able to dictate what works for them as a group. “We’ve all grown up,” Suffa says. “We’ve been friends for so long that we know what buttons to leave alone and not push and we know how to resolve disagreements better. We’re probably the closest we’ve ever been.” That closeness is the result of two decades of working together and today’s success didn’t come without a struggle. However, the issues the boys faced in the group’s early days are quite different to what’s facing the emerging hip hop artists of today. Suffa says, “When we were coming through, the situation was that there weren’t a whole lot of avenues to get our music out. We were a bit restricted and people were a bit closed off to the Australian accent making hip hop music. But now they have to deal with a different set of issues, like saturation, where there’s so many people making music and doing well, that they’re competing a little bit to get heard. Not that music’s a competition, but there’s still the competition for space on the airwaves. So there are different challenges for each group of artists that comes through.”

Suffa also notes the fact that with so many young, talented people, it’s hard to differentiate yourself without digressing too much from what you’re trying to do, “I’m seeing so many kids struggle, trying to keep their integrity without having to set themselves on fucking fire to get attention.”Talking more on the issues the Hoods faced, a notable one is the recurring argument about the Australian accent taking on hip hop, historically, a largely American genre. Interestingly, Suffa explains that this isn’t even a problem in other countries; it just seems to be a local mindset. “Overseas we’re fine, it’s not an issue,” he says. “The issue is never that they don’t like the accent. The only issue, in say, Switzerland when we’re playing, where they’ve been raised with American movies and television, is that they have a bit of difficulty understanding us. But the feedback was never that they don’t like it. We only face those people here and those people are never gonna like it. They’re set in their ways and they’ve got this cringe about themselves that reflects when they hear their own accent doing a genre that they’re not comfortable with. That’s their problem, not ours.” Although the group are always going to get that negative feedback from local naysayers, their talent still has the ability to cross borders and language barriers. “I think that’s the case in a lot of countries where English is the second language,” says Suffa. “Like German hip hop fans; a lot of them grew up on Biggie and Jay-Z and they don’t always know what that artist is saying in every track, but they connect with them; the music, the delivery, the cadence of the person’s voice, the energy – all that connects with them.” It proves that music genuinely is universal. The Hoods’ success is testament to that. They’ve not only put Australia on the map in terms of competitive caliber, but they’ve given us consistently exceptional music that’s kept our country’s love affair with hip hop alive.

I can’t tell the difference anymore, between jetlag, a hangover and the general way I feel

The new record sees them travel to a much more soulful place with features from Maverick Sabre, Dan Sultan and Aaradhna, but moving away from the last album’s recipe that resulted in such massive success wasn’t completely intentional. Referencing the latest collaborations, Suffa says, “We were just fans of their music. With, Maverick Sabre, we’ve been fans of his for a while so we went after him to get him on the record. Then there are tracks like ‘Rumble, Young Man, Rumble’ with Dan Sultan on it. I’d written the hook and originally it was gonna be me doing it, but it was just outside of my register, I couldn’t sing it. We were like, ‘we need to get someone in’ and Dan was just perfect.” The collaborations prove that they’ve put together a much more progressive record, but in doing so, have still managed to marry those elements with ingredients that cater to their long-time fan’s hip hop taste buds. Walking Under Stars not only sees a shift in musical styles, but the themes and stories referenced, highlights the group’s transformation from their first few releases to now. “When we were kids, we made a lot of music that was popular amongst our followers, with a lot of drinking tracks in amongst that,” explains Suffa. “Now we’ve sort of grown out of that theme to a degree and I guess we’re talking more about our families and relationships.” That growth is evident in the maturity of the record’s themes, but also in the band’s consistent ability to interact so seamlessly in tracks and complement each other’s styles so well. Suffa references the fact that they’re able to reach that level of interaction as a group, but it’s sometimes simply due to logistics and competing priorities.

“For a lot of this record we weren’t even in the same room together and that’s just a practical thing because Pressure has kids and me and Debris both have home studios,” he notes. In saying that,

16

Hilltop Hoods will be heading back on the Australian road and to the capital later this year; tour dates will be announced over the coming months. Until then, you can check out the brilliant new album, Walking Under Stars, released through Golden Era Records.

@bmamag

ad space

facebook.com/bmamagazine

17

LOCALITY

This fortnight kicks off with a flurry of events, with Cracked Actor playing a free gig with Raus at Transit Bar on Thursday August 14 from 8:30pm. Then Canberra’s most pre-teen angst-filled supergroup, Are You There God? It’s Me, Margaret will play The Street Theatre on Friday August 15. This is your last chance to catch their Judy Blume-fueled tunes, so get yourself a ticket for $15, which also gets you a band zine and download code for their new EP. On the same night, Turner Bowls Club will play host to the best in hi-octane rock ‘n’ roll, with The King Hits, Crossbones, The Fuelers and The Professor coming out to play from 8pm for $15. And oh my goodness, Friday August 15 is also playing host to Festival 15 2014 at The Basement from 8pm, with RiffRaff, Loud So Clear, Teen Skank Parade and heaps more… It’s 15 bands doing 15 minute sets for $15. And just when you think that date couldn’t fit any more goodness in, Matt Dent brings his folky sounds to Ojo Café and Bar in Tuggeranong from 6:30pm, for free! Then on Saturday August 16 from 8pm, Magpies City Underground will play host to another fantastic local line up, featuring Tundrel, Critical Monkee and Vintage Vulva, as well as Melbourne blow-ins Greenthief, for just $10.

The following week is looking pretty damn smashing too, kicking off with The Steptones at Smith’s Alternative on Monday August 18 from 8pm for $10. On Thursday August 21, Cinnamon Records offer up sets from Wives, Mind Blanks and California Girls (who will also be launching a new EP) at Transit Bar from 8pm with a $10 door charge. After that, you can round out your week with a night of ukulele and giggles with Sparrow-Folk and The Modern Gentlemen at Smith’s Alternative on Friday August 22 from 7:30pm for $15.

However, it’s not all about the live experience: there’s plenty of video news in the Canberra scene too! Not too long ago, Nick Delatovic (of PROM, Babyfreeze, Cracked Actor and a whole ton of other stuff) got together with Julia Johnson, Nick Peddle, Sam King and Matt Lustri to pull off the insane task of recording an EP in a single day. Somehow they managed to pull it off, and the video for the first track (“World of Hurt”) can be seen at lick-nuke.com, and yes, it warrants multiple viewings/listenings. The Ellis Collective are also the proud owners of a dark new video for their tune “Blackwords”.

It’s not exactly one for the kiddies, but if you want to take a look, you can find it on their Facebook page.

If you’re looking a local muso for a promo opportunity, 104.7’s Made In Canberra segment hits the airwaves from Sunday August 16, so now is the time to get your tunes and press kits in to homegrown@1047.com.au. It goes to air Sundays from 6-8pm, perfectly complementing the local music representation provided by 666 ABC Canberra and Local n Live on 2XX during the week.

As always, there’s plenty to keep Canberran music-lovers busy this fortnight, so throw off the blankets, turn off the TV and get out and amongst it!

NONI DOLL NONIJDOLL@GMAIL.COM /@NONIDOLL

18

@bmamag

levitation and witch skull

facebook.com/bmamagazine

19

The band comes from emotions processed by an 11 year old girl

IN FULL BLUME leon twardy Cathy Petőcz is perhaps the most earnest and engaging person I’ve ever met and as an artist her work is downright arresting. So when I heard her concept band ARE YOU THERE GOD? IT’S ME, MARGARET was simultaneously launching their E.P. and playing their final show, I jumped at the chance. I knew AYTGIMM had a cult following for its

exuberant and powerful live shows, but I wanted to know what fuelled it and what it was trying to achieve. I figured that for once asking about the name was reasonable.

“The band came from Judy Blume’s 1970 novel of the same name,” says Petőcz. “It’s about a girl called Margret, an eleven year old, who’s just moved to New Jersey from Manhattan and is simultaneously fascinated and terrified by a lot of things – the concept of puberty and her body changing, boys and her quest to figure out who God I and how she can relate to him. The band comes from those emotions. The feelings of frustration confusion and jubilance – those big emotions being processed by an eleven year old girl! “All of the band members read the novel and talked about our own pre-teen experiences. Luchi and I sat down and read Luchi’s diary from when she was eleven. It was incredible – there was this one line that fuelled many of our songs, ‘I just feel so crazy!’ All these emotions she didn’t understand; she didn’t know why she was like that. Because you know, everything’s changing and emotions are wild.” It’s apparent that forming this concept band was not some cynical endeavour to Petőcz, but a careful and necessary emotional response.

“Art is how I figure things out and it’s how I build something and give something and question things and struggle with things,” she says. “But I make my art for other people. I want people to know they’re not alone. I think there’s something powerful in telling a story, because when you can articulate it and tell it, it loses its power over you – it’s your story now and you have power over it. These big emotions lent themselves to the crazy grubby pop that I wanted to experiment with. I really tried to write punk but I like harmonies too much,” Petőcz admits. “Maybe it’s bubblegum punk? With layered looped viola, multiple rounds of at least four singers, spoken lines and some screaming by me – it’s a really exciting set! I’m really looking forward to playing and it’s our final show so coooome!” Let me make this clear: Are You There God, It’s Me Margaret gleefully takes the full cringey horror of pre-teen awkwardness and turns it into one of the most upliftingly aggressive bands I’ve ever seen. It is utterly unique, you need to see it to understand it and when you do you’ll feel it through and through.

It’s their final show! Go! Are You There God? It’s Me, Margaret’s final show will be on Friday August 15 at The Street Theatre, 8pm. Support from California Girls, Nature Kids with DJ set by Anja (Sex Noises, Wives). Tix are $15+bf through the venue and will include a band zine and download code for the EP.

20

@bmamag

facebook.com/bmamagazine

21

THE REALNESS Sydneysiders True Vibenation have developed a strong following largely thanks to their live shows combining infectious hooks and razor sharp raps with big horns and genre-bending electronic beats. The trio are really in their element and are celebrating with a national tour of Australia to celebrate the release of their second album ON through Big Village Records, stopping by Transit Bar on Saturday August 30.

It would of been hard to miss this next gig, considering the Basement in Belconnen isn’t exactly know as a Hip Hop Mecca in this city. However, they will be hosting Cleveland’s finest, Bone Thugz n Harmony on Thursday August 14. Bone will be represented by members Krayzie & Wish Bone this time around, who, aside from performing their classic material, are also scouring Australia for artist’s to sign to their label states side.

Adelaide producer and beatsmith Gamblz has recently dropped his sophomore project Mr Gamble, via Rare Find Records. The instrumental EP showcases Gamblz skills behind the boards and builds on his debut project Gambling Instrumentals Vol1. Mr Gamble is the perfect for either MC’s wishing to sharpen their skills over some dope beats or just to vibe out too. Available now on limited run vinyl and CD. Keep an eye out on the new project from Jake Biz, Lazy Grey and DCE under the moniker 750 Rebels. So far two tracks have surfaced – ‘Pig City’ and ‘Griz vs Biz’ – and if these are anything to go by, then the full album Kold Heat is definitely going to warm up the atmosphere over the capital!

So this next one won’t be to everyone’s taste, but if you are willing to explore new boundaries or better yet other galaxies then the latest offering from Shabazz Palaces might be up your alley. Some may better know Shabazz as Butterfly from 90’s seminal hip hop trio Digable Planets. Lese Majesty is many miles away from the Digable Planets days, but those willing to expand their mind may find something here they didn’t expect.

Planet Asia and producer TzariZM have teamed up to created an album for the true-schoolers and fans of that hardcore boom-bap sound. Via Satellite is an album described in one word: aggressive.

There’s never been any doubt about PA’s lyrical ability, however he has received criticism in the past regarding his beat selections. The consistency of having one producer throughout the entirety of the project is really evident throughout Via Satellite. Features include Casual, Tristate, Oh No, Prodigal Sunn and Rockness Monsta to name a few.

Long-time Brooklynite lyricist Illa Ghee has released his third album, Social Graffiti. The album features guest appearances from industry veterans Sean Price, O.C., Fame, Guilty Simpson, JuJu, Royal Flush, General Steele and boasts production from legendary beatsmiths such as Large Professor and Ayatollah amongst others.

Doe Cino sees Eddie Meeks and Joe Doe reunited again. The two members of former group Prophetix are back with a new EP titled STANKY!!! The EP takes a minute to kick off which is a bit disappointing considering it’s an EP, but once it does, wow! Check out tracks ‘Stank Raw’ and ‘Walk The Talk’.

BERT POLE - bertpole@hotmail.com

22

@bmamag

CODY ATKINSON Can something that was never alive really die? According to pundits and critics worldwide, we are about to see just that, namely the death of the album. But is it really that dire, or is there another explanation. Cody Atkinson questions.

Name? The album.

Age? The first “record album” was released around 1909 and the first LP in 1948.

Location? On shelves in homes across the world.

What’s this about the death of albums? Haven’t you heard? The album is dead.

The album is dead? According to who? Well, articles in The Guardian, The New York Times, The Observer, Wall Street Journal have proclaimed the death of the album as we know it. Even Wikipedia is all over it.

Wikipedia has proclaimed the death of the album? Yep, said that the album era was over sometime in the mid 2000’s, a product of internet piracy and iTunes.

And Wikipedia is never wrong...

Indeed.

So streaming is going to take over? Perhaps. It’s probably too early to tell, but it seems to be heading in that direction. But the popularity of streaming doesn’t necessarily indicate that people don’t want to listen to albums anymore – you can still listen to albums easily on streaming services.

Well, how about the artistic merits of the album? Have they died too? This is a point brought up by critics when looking at the decline of physical album sales. The argument goes that people aren’t buying albums anymore because albums have too much filler, much more than they did back in the day and it’s easier just to listen to bangerz, man.

So it was the filler in the observatory with a candlestick?

Exactly. Well, except for the fact that this is a massive fucking generalisation of the hundreds of thousands of albums produced both by major labels and independent artists over the last decade. ‘People aren’t buying albums due to lack of quality’ is such a subjective statement with such a wide array of data-points that it would be pretty, well, stupid to say out loud. But other than that it’s a spot on criticism. Great job everybody!

It’s easier just to listen to bangerz, man

But what do the experts say? Can we get a talking head’s point of view? Well, tastemakers like the head of Radio 1 in the UK George Ergatoudis state that we have entered a new age of singles and that “albums are edging closer to extinction”. It’s starting to be a commonly held point of view that people no longer wish to listen to albums, instead curated playlists and endless hits.

Radio guy states that people just want to listen to radio hits...It’s a shock, I know.

So do the numbers back this up? Well yes and no. It’s true that physical album sales in Australia (according to ARIA) have declined 60% in the last decade, from 48 million CDs to 19.5 million. Physical singles sales have taken a greater hit, however, going from just over 9 million sold in 2004 to 87,000 in 2013.

And digital? Digital sales for single songs actually dropped last year and remain below both the volume and cash levels of physical album sales in Australia ($95 million to $142 million). Furthermore, digital album sales increased in the last year despite the slide in singles sales. This data doesn’t account for an album’s worth of single songs being bought by individual users, which would push the album numbers further up.

Hang on, these numbers seem to indicate that, umm, the album isn’t dead? But who needs statistics, especially when they disagree with you? There was a similar story in the US, where digital albums sales were stable and digital single sales dropped sharply.

What about streaming and “curated playlists”? Aren’t they the new dominant medium? Well, not at least from a financial point of view. In 2013, digital streaming revenue in Australia accounted for only $10.9 million dollars, or around a fifteenth of the amount of total physical music sales in Australia. Working on the back of an

facebook.com/bmamagazine

envelope, $10 million would account for around 75,000 yearlong Spotify subscriptions in Australia, which is about the amount of albums you need to sell to “go platinum”. It must be said, however, that streaming sales are growing rapidly in Australia and more broadly globally.

But surely a good album is still a good album? Yeah, times and technologies have changed, but quality of artistic expression rarely does. It is extremely unlikely that the album has been “played out”, unless there’s an explicit and easily identifiable reason why. There have been a bunch of great albums released this year just like there were crappy albums in the ‘60s and ‘70s.

Back to the sales argument for the death of the album. Surely commercial sales data shouldn’t be taken to be a proxy for the artistic merit of a form of artistic expression? Ummm, yeah, what he said. Artistic success and financial success aren’t necessarily the same things and shouldn’t be treated as such. While commercial and artistic success isn’t mutually exclusive, they are likewise not mutually dependant.

From the data above, it seems that we’re paying less for music as a whole? This is where it becomes interesting. We may very well be currently paying less for more music than a decade ago. Due to the ease and cheapness of recording technology and devices, coupled with the ever expanding population of the world, it is likely that more albums are being both produced than ever before.

The introduction of digital music delivery services, such as streaming music services and online sellers like iTunes, means that you can buy or listen to an album, or even a single song, for a lot less that you used to be able to. So, at least off early indications and available data, we might also be listening to more music than ever, from a greater array of artists.

So, tell it to me straight. Is the album gonna make it man? Looks pretty good right now but you never can predict the future.

23

DANCE THE DROP

For every clubbing generation there exists at least one enduring soul. You’ve probably seen him or her before – outdated hairstyle a little greyer than yours, clothing erring a little more towards the ‘slutty comfortable’ corner of the fashion pyramid. The first time you gazed up from your frosty beverage and spotted one of these antique clubbing characters, you probably mistook them for an overly obsessive parent or poorly disguised Narc.

Mature clubbers are much more than daggy baby makers dressed as undercover drug police, they are windows into a forgotten era.

See that lady in the corner with the Jordache jeans and purple skivvy? Back in her day, she didn’t have to go outside to smoke and she drank her vodka straight from a shot glass. The guy in the back in the bowling shoes and jersey vest has seen more bar fights than YouTube. Twenty years ago, they were just like you. So where do you see yourself in a couple of decades time? Is pumping club music just a phase or will you ride it out until your hip gives way and your cochlear implant fizzles in your ear canal? Most of you will at some point admit defeat, retreating to a leafier street. Your two door coupe with twin ten inch sub woofers and illegally low suspension will be traded for a maroon minivan with an automatic sliding door.

Life has a way of creeping up on you and changing you. It is never announced; a short man in a bowler hat doesn’t show up at your door and hand you an envelope marked ‘Adulthood’. Life creeps up like a

24

cheeky kitten and pounces, claws and teeth at the ready. When you are inevitably taken down by the metaphorical feline, don’t ever let go of your inner moron. The one who drank too much, partied too hard and regretted everything on Monday morning. That person was pretty cool.

The Stereosonic 2014 lineup was released on July 29, featuring Calvin Harris, Tiesto, Skrillex and many more artists you have probably seen at a festival before. But that’s not the point – get a ticket, get to the gym and don’t come out until your biceps look like the smooth, round cranium of a small child. I’m personally more excited about artists like Scuba, Hot Since 82, Duke Dumont and Route 94. Let’s hope for some local side shows!

Peking Duk are the biggest thing to come out of Canberra since Mark Webbers ego. The lads have been carving up festival stages all over the country and its time they finally came back for some of mum’s famous sweaty stew. The Peace, Love and Sweatiness tour hits Meche on Saturday August 16. If you love seeing hairy dudes take their shirts off, lots of moist moustaches and a butt load of screaming twenty-something’s then you definitely shouldn’t miss this!

New tune time! Nicky Night Time is fresh off his maiden ARIA #1 single with his remix of Sunshine’s ‘The Only One’. Sandro Silva & Arston have teamed up to produce mind bending EDM sledgehammer ‘Symphony’. Above and Beyond have dropped yet another trance classic called ‘Blue Sky Action’ and Sydney house maestros Avon Stringer kick it with the big boys on ‘Tell You No Lie’.

TIM GALVIN tim.galvin@live.com.au

@bmamag

rory mccartney Initially lauded as Triple J Unearthed winners way back in 2009, ART VS SCIENCE has had chart success and national recognition as one of the country’s cheekiest electro-dance acts. Consisting of James Finn on vocals/keys, Daniel McNamee (Dan Mac) on vocals/ guitars/keys and Daniel Williams (Dan W.) on drums, the band is embarking on its Creature of the Night tour. Mainly targeting regional centres, they are set to blitz the compact dance floor of Transit this month. BMA spoke to Dan W. as the band was taking its time, driving back from a successful gig at Splendour in the Grass. “We were playing on the Mix-Up tent and it fortuitously started raining as we were playing, so everyone had to come and watch us,” says W.

on the EP, as it’s fun to play and came together organically. “I also like playing ‘Mother’ live,” he says. “It goes for something like 30 minutes with lots of different sections. It’s our most self-indulgent song to date.” Also a long track in the album, it was done in one take (except for the vocals). Initially intending to cut it down, the band loved it just as it was.

It’s fun to be so close to people, have them rammed in and get in their faces to really blast them’

There has been a three year gap between the release of the album and the new EP, Create/Destroy. The band felt the need for a break after a hectic touring schedule, but has been busy writing again for a year. While Art vs Science has been known to create a batch of songs quickly under pressure, they won’t admit to any considered, creative pattern. “We’ve been looking for a process the whole time we’ve been a band, but it’s different every time. Sometimes we start with an almost completed song and sometimes we just start with a riff,” explains W. “With Create Destroy, we were writing it about a year ago, but there was something missing, so we stopped. Then Jim thought of something that brought it all together.”

The tour theme song, ‘Creature of the Night’, is a bit different from the band’s usual material – fuzzier and more hippy-hippy. “It was a bit like a poem that Jim came up with,” W says. “He envisaged something a bit like a club song, but also anti-club as its dark lyrically, but also tongue in cheek.” While they got a woman in to do the vocal theme, the band has been spreading a rumour that she was an Icelandic woman they met in a bar one night. However, W admits that the story is romanticized and “not entirely true”. He said he’d have to avoid answering any question as to who sang the key lyric.

There is a long inhuman growl in the song like a stretched vocal effect, but W explains it was purely electronic. “It was a keyboard sound we built with our new, fancy gear, combining a growling thing with a bass line,” he says. “It sounded pretty evil so we thought we’d use it”’ Elsewhere in the song, there are vocal effects that were treated with delays. “When a song is finished, it’s fun to go and put all the strange moments in.” W favours ‘Create Destroy’

facebook.com/bmamagazine

Art vs Science has a party style that sets it apart from other electro dance acts like The Presets and RÜFÜS, which have a less casual take on their music. However, Dan denies any deliberate move to take a less serious line. “We make the music we want to hear and songs that are pretty tongue in cheek, but we are big fans of those bands and like to take a chapter out of their book.”

The boys all contribute to the singing and who takes the lead depends on who brought the initial idea for the song. “We have a concept called the Captain’s Hat, so whosever song it predominantly is, gets to wear the hat and make the calls in the writing process,” W says. The song, ‘I Was a Child Once’, was created through public participation, with a result that was more pop than dance orientated. “It was done with a public studio in the city and we signed-up people over the internet, to come in and contribute what they wanted to the song. It was hilarious, as some people were great musicians and others claimed to be able to fart in tune or that they could slap themselves in the forehead in time,” quips W. There were many submissions. “We could write a coffee table book with all the ideas people had for what to put in the song.”

For the up-coming tour, W says that the set list will have stuff from the new EP, all the oldies and some new songs including ‘Chosen One’ and ‘Look at the Stars’. While the big ‘hypnotron’ used in the ‘Creature of The Night’ video is untransportable, there may be other props. “We used this prop at Splendour which Jim conceived of and built, with crystals that glow in different colours,” W explains. “We just have to work out the logistics of transporting it in a Tarago.”

As for the next LP, W made no promises about a timeline for its release. “We are still writing and hopefully will do more recording soon, with the possibility of another EP before year’s end.” The band is keen to get to Transit as, “it’s fun to be so close to people, have them rammed in and get in their faces to really blast them.”

Art vs Science will dance the pants off punters at Transit, Friday August 15. 8pm. Sold out!

25

I may be a little late to the bandwagon, but I would like to officially announce that it is fucking cold! Luckily, however, the punk scene doesn’t seem to be having the same ‘take-it-easy-in-front-of-aheater’ inclinations as I am. Maybe all those flannel shirts, denim jackets and chunky-ass boots are finally serving some practical purpose by keeping us warm. Whatever the reason may be, there seems to be enough awesome shows coming up to make you believe that standing outside for longer than five minutes won’t give you hypothermia. It will though. Anyway, here they are.

On Wednesday August 20, you can catch WA’s Alex The Kid at the Magpies City Club as part of their upcoming national tour. They will be joined by locals Silver Lining, No Assumption and Rather Be Dead for a mere $10 cover. And…All Ages!

Help local label Cinnamon Records raise funds to put together volume II of their Spice Rack mixtape by hitting up Transit Bar on Thursday August 21. For just $10 (or $5 before 8:30pm) you can catch three solid Cinnamon bands: local favourites Wives (formerly Sweet Shoppe), California Girls (who will be launching his debut Age of Consent EP) and newbies Mind Blanks.

There are many different ways one might feel about Courntey Love, but regardless she’ll be at the UC Refectory on Saturday August 23 with support from The Mercy Kills from Melbourne. If you have

26

$81.50 to throw around, you can throw it at Oztix for tickets to this show. Help celebrate the Nintendo themed 21st birthdays of beloved Canberra punks Zane Harlem (of No Assumption) and Jack Lenffer (of…err…she’s pretty cool…) at the Magpies City Club on Saturday August 30. The ordeal will feature sets from No Assumption (or, as they will be called on the night, Zane and the Ejaculators), Rick Dangerous and the Silkie Bantams, Revellers and Office Jerk.

Come mosh in your favourite Nintendo themed costume and/or enter a Mariocart or Super Smash Bros. tournament for a chance at some unspecified prizes (probably booze).

If you’re not too wrecked from the above, you can head to Transit Bar on Sunday August 31 to catch acoustic sets from The Smith Street Band’s Wil Wagner and fellow Melbournian Georgia Maq (releasing her debut 7’’ EP). Tickets for this one are $13.30 through Oztix.

Australia’s favourite live shit-storm, The Bennies are stopping by the capital soon on tour with New York’s Morning Glory. They will be at the Magpies City Club on what should be a holy day (Sunday September 21) with support from Sydney/Newcastle band Mucho Sonar, Melbourne’s Wolfpack and locals Revellers. You can grab tickets for this All Ages party for $18.40 through Oztix.

Now, I can hear you thinking – ‘Hey Ian, are you gonna remind us to listen to Haircuts & T-shirts AGAIN?’ Damn right I am. Monday nights. 9:30. 2XX. You know what to do!

IAN McCARTHY PUNK.BMA@GMAIL.COM

@bmamag

METALISE

of its winter hibernation, so do psychedelic fuzz-rock trio Looking Glass, with a slew of fresh tunes. The group have announced they’re heading back into the studio in September to lay down tracks for album number four. To celebrate the long awaited re-opening of the Phoenix Bar, the start of spring, and the eve of a new recording, the lads are playing a show with locals A Drone Coda at the Phoenix on Saturday the 30th of August for the very 90’s price of $5 for entry with doors at 9.

Prong are a storied band that seemed to be more known for featuring on the shirts and influences list of more well known bands back in the day right through to now too I guess. That lead metal leaning folks to buying records like Beg To Differ which was the album I remember listening to a bit back in the early 90’s. Never did I imagine they’d be playing the Metal Fiesta at the Basement on the 22nd of November. That is going to be one fun pre-summer bill, more details as they arise.

The guys are bloody busy having been also confirmed as supports for the utterly amazing UK band Conan who are touring with Sydney’s Yanomamo and landing at the Basement on the 9th of September. That’s a big month for guitarist Marcus when you factor in the first show for his new act Witchskull with the incredible Levitation Hex and just announced support for the show, the barely controlled sonic violence of grindcore locals Wretch at the ANU Bar on the 20th of September.

Amazing news for doom fans has become almost tiring this year with Neurosis driven hearing problems still lingering this week. 666 Entertainment always delivers a cracking bill for the Doomsday shows, and this years is living up to expectations with the announcement of the USA’s Windhand and New Zealanders Beastwars headlining the early October touring festival. No Canberra show, but Hermann’s Bar in Sydney on the 3rd of October with local billing including Summonus and our own darlings of the doom circuit Looking Glass and Witchskull would be good bets I reckon.

In exceedingly differing ends of the heavy spectrum, Confession have a new record and are on the road in October with Prepared Like A Bride and Grave (no, I don’t think it’s THAT Grave Swedish death fans) and and they’re coming to the Magpies Club in the City on the 22nd for a licenced all ages show.

Speaking of, The end of August also marks the end of winter, a winter for the large part through which we all have struggled to survive without Canberra’s popular Phoenix Pub. With the coming of spring, the heralds of spring awaken, and like a bear stumbling out

facebook.com/bmamagazine

Also next fortnight at the Basement in Belco is new glam sensations Sister Dolls with Na Maza and guests on – according to the dates I got this week – The 20th and 21st. So twice the chances to catch that one, and then on the 23rd is Domino featuring Exist Within, Na Maza and The Shadow Embrace.

JOSH NIXON doomtildeath@hotmail.com

27

E X H I B I T I O N I S T ARTS | ACT

CHILD’S PLAY BAZ RUDDICK With the world’s eyes focussed on Israel it is little wonder that the AICE (Australian Israeli Cultural Exchange) Israeli Film Festival is gathering so much attention. With a disproportionately large film industry to size of the population, Israel’s cinema is famed for its stark and brutal contrasts and its representation of turbulent beauty.

I spoke to acclaimed director and writer Nadav Lapid about his film The Kindergarten Teacher and how it fits in as a distinctly Israeli film.

The Film Festival, playing in Canberra from August 19-31, showcases the best and most diverse Israeli Films released in the last year Despite being half a world away, the heavily accented voice of Nadav Lapid came through clear and sharp. Speaking with a methodical rhythm and precision, the slow and steady voice of Lapid was exactly what I expected from one of Israel’s most acclaimed up-and-coming directors. Slow, calculated and calm.

“It is not the best time in Israel now. There was a ceasefire but it was cancelled. I am okay”, answers Lapid to the obligatory ‘how are you’ question. Currently working on the script of his third film, Nadav tells me that the situation in Israel is an ever-penetrating force to the artist. “The worst thing is that it feels normal. Yet the mental capacity to imagine something different is very hard... There is something in Israel that is penetrating your thoughts and penetrating your ability to think of something different.”

Lapid’s film The Kindergarten Teacher tells the story of a middle-aged Kindergarten Teacher, Nira, and her five-year-old pupil Yoav. Nira, who is desperately searching for purpose in her life, discovers that Yoav has a gift of poetry well versed beyond his years. The film follows the pair as Nira attempts to nurture Yoav’s ability and bring to light his gift to the world. Raising questions of grace, humiliation, public life and private life, The Kindergarten Teacher implores the viewer to ask questions about what we see and what we believe. “People don’t believe it, but they don’t have this crucial dramatic moment where you jump from the mountains and put their trust in faith”, Lapid says of his main protagonist. “But she (Nira) is convinced that she has a miracle in a box and she thinks all she has to do is open the box and everyone will see. But really a miracle is in the eye of the observer. If you don’t want to see a miracle you will never see a miracle”. Throughout Lapid’s film we get an overwhelming sense of being a participant rather than an observer. Many of the shots are close-up panning shots and several times a character makes direct contact with the lens. This, in Lapid’s opinion, helps create the tension which is necessary to his story. “The camera tries to create order while the characters defy the camera and defy this order. This creates an inner tension between the predicted and the unpredicted. Sometimes the children get too close or they’re in the side of the frame. For me, this tension is really something essential In the film”.

28

For a film which thematically deals with poetry, these close up panning shots which embed us so closely to the protagonist are essential in helping us shape our questions. “There is something in the cinematic work that is definitive of modern poetry. It is essentially unharmonic. It goes in a very sharp and brutal way from the melodic to the completely unmelodic.”

The Hollywood adage that one should never work with animals or children was bravely thrown out the window in Lapid’s work. A lover of long cinematic sequences, Lapid turned his anxiety of working children into a way of liberating the creative process form the constraints of his own habit.

“I thought I shouldn’t try to transform little kids into small adults and try and control them but I should let them exhibit their poetic uncontrollable behaviour while at the same time the camera keeps on working in its way.” This was extended to finding the star of his film, five-year-old poet Yoav, played by Avi Schnaidman. Early on in the process Lapid decided he didn’t want a child who was a professional actor. “We wanted someone who had this conscious unconscious thing about him. A kind of mystery inside him”.

Rather than from the usual agencies, Yoav was found in a gym class in a small suburb of Tel Aviv. From a non-artistic background and with no exposure to drama or films, Avi was chosen for his sensitivity and understanding of the character of Yoav. “I didn’t work with him talking about the narrative lines or the plot. The main thing for me was that when he went to recite the poem, each time he was really curious to know whether it was the first time he had recited the poem or was he repeating it for another time. This distinction was important for him. So he could create this magical moment when he expressed this poem for the first time and the sublime moment when a new poem came to him. He had this very sharp observation”.

While the film is very personal to Lapid it is also a distinctly Israeli story. “For me, this film is how I see Israel... There is no distinction between the personal and the public. The story could happen anywhere, but at the same time there is something in the heart of the Israeli society that is this refusal to look at beauty”.

Despite saying this, the ever present beauty in Lapid’s film are overwhelmingly Israeli in nature. From his rhythmic depiction of 20-year-old soldiers partying in an apartment,his unabashed portrayal of five-year-old children singing nationalistic songs to his warm shots of Tel Aviv at night and the calm stillness of the red sea in Eilat, Lapid overloads the senses of the audience with depictions of physical beauty that run parallel with the intrigue of Yoav’s poetic beauty.

The Kindergarten Teacher is just one of the many Israeli Films being screened as part of the AICE Israeli Film Festival at Palace Electric Cinema. More info at aiceisraelifilmfestival.com

@bmamag

ad space

facebook.com/bmamagazine

29

X

H

I

B

I

T

I

O

N

I

S

GHOST ON THE HIGHWAY

T

Image credit: Paz Tassone

E

ANNE WIDJAJA Speaking to Darwin based playwright Mary Anne Butler about her new play HIGHWAY OF LOST HEARTS, I am reminded of Aristotle’s contested theory of catharsis in Greek tragedy. Is the purpose of tragedy to allow the audience to experience catharsis, or is it about the characters on stage undergoing catharsis? Based on Butler’s own journey coming to grips with losing her friend, Savannah Holloway, in a tragic boating accident on Sydney Harbour in 2008, Highway of Lost Hearts is the perfect test study.

“She [Savannah] was 25 years old…her death made no sense to me.

[So] in December 2009 I packed up my van, hurled my dog Piglet into the jumpseat and headed south for Bradley’s Head—the point of Sydney Harbour closest to where the boat accident took place,” explains Butler of her decision to embark on a 4500 kilometre road trip across the country. “I needed to see the point where Savannah had died.” Upon reaching Bradley’s Head, Butler recollects feeling “an undeniable sense of her [Savannah] still there in the water… small bits of her DNA swilling around in this massive body of water, becoming a part of the whole.”

To prepare to write the play, Butler workshopped the events of her road trip from an outside character’s perspective. She worked with distinguished Australian playwright Jenny Kemp to blur “the boundaries between fact and fiction”. From the resulting draft of “thirty five pages of typed notes: scraps, scenes, diagrams and dialogue”, Mot, the everywoman of Highway of Lost Hearts, emerged. During the process, director Lee Lewis uncovered the “central ‘human’ core of the play” – a “very human journey of a lost woman crossing a lost country, trying to retrieve the pieces of her missing heart—and with them, the will to move on.”

If the experience of watching Highway of Lost Hearts is cathartic, it is universally so for playwright, performer and audience.

Butler reflects on her grief in her writing and accesses it in her performance as Mot, simultaneously bringing the audience with her on her journey “in the back seat of the van”.

Mot creates “a dialogue with the audience,” breaking down the fourth wall with audience members who “often speak back to Mot when she invites it”. At the end of one show someone even joined in as Mot performed her final line.

“The theme of grief tends to resonate with many,” Butler muses about audiences’ overwhelmingly positive reception of the play. “A woman once came up to me after a show and said, ‘I just realised through [the play] that you never get rid of grief, you just learn to carry it better.’”

Highway Of Lost Hearts is on at the Canberra Street Theatre from Tue–Sat Aug 26–30. Tickets are available from $25 + bf at thestreet.org.au

30

@bmamag

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

WRITE WHERE IT HURTS JASON RICHARDSON “I’ve always felt Canberra is misrepresented by many who don’t live there,” says author MELANIE IFIELD. “I felt there was a need to show the fun, human side of our nation’s capital.” Her book The Age of Corruption was published in December 2013. It is an action and adventure novel with lead character Fiona Page finding herself hunted by a psychopath and protected by a retired assassin.

“When I started this book I was living in Canberra and the impression outsiders get is the city is full of politicians. I’ve always believed that is too narrow a view when Canberra has so much to offer.

The city itself is beautiful and the people I worked with incredibly friendly. So I thought, ‘what else could be going on here?’” Says Ifield.

“I’m never going to be a martial arts killing machine so I started developing a fantasy life to see where the story would go and it developed a life of its own.”

Completing a novel is a challenge, so it is significant that she published three novel-length books in 2013. It’s all the more remarkable as Ifield achieved this while suffering the debilitating effects of chronic fatigue syndrome.

While her other two books are written for the middle grade to teen readers, this one is aimed at an adult audience. “It’s called The Age of Corruption because it explores the question of how far you could go without a moral compass. What are you compromising when you look into the darkness within and without and act on it? However, it has its humorous angle, too.”

“These novels are my beginning as an author,” says Ifield, still battling chronic fatigue. “Sometimes I feel ‘human’ but others I feel like a foreigner in my own skin, struggling with exhaustion, nausea and headaches, to find the words to express myself.”

“As a little girl I filled exercise books with stories,” she says. “I think it’s something I’ve always wanted to do. I got sidetracked working for the Federal Government in Canberra writing policy documents and it was hard to come home and find an authentic voice to write fiction. Now I’m finding time, even if it is due to ill health.”

In late 2013, Ifield published three books under her own imprint. The books are available through the Amazon website and each aim at different genres of the fiction market.

She believes that writing is an important pursuit. “It helps me get up in the morning. Illness can be de-motivating, but, even if I only write 500 words, I’m still doing something I love.”

“Follow your dreams,” Ifield advises. “It’s difficult when your brain is in a fog, but don’t give up.”

facebook.com/bmamagazine

31

E

X

H

I

B

I

UNINHIBITED It was, I admit, an awkward tweet to send. “It seems there’s a benefit to being a gay artist after all”, before adding the link to a newspaper article about how rich people going through divorces will be slugged with a massive increase in costs, which isn’t a bad thing, mind.

There’s no disputing my sexuality; I’m more than happy with how my life has turned out in this regard. It was my tweet’s reference to ‘poor artist’ that made my stomach churn.

In the global context, I’m not poor. Not in the slightest. I have a roof over my head (sure it sometimes leaks, but we don’t have to worry about that today) and I can shout myself a bowl of pho every few weeks and I’m prone to kick-starting the odd morning with a takeaway cappuccino and a muffin. I buy books as though they’re going out of fashion and barely a month goes past when I don’t purchase a new record. Clothes? Pffft. Who cares? As long as I don’t look like a public servant or a hobo, I’m happy with the threads I’ve got.

T

I

O

N

I

S

T

What is a priority for me is having time to write. And that’s where the ‘poverty’ word comes in. Although ‘poverty’ really is the wrong word; let’s leave it to the rough-sleepers who don’t know if they’re going to make it through the night. Still, anyone with a creative practice knows that sacrifices have to be made. For most, making art, whatever the form, rarely brings in an income. For every Radiohead there are a million bands who don’t have two coins to rub together.

For every Klaus Moje, there are thousands of Australian glass artists who rely on a raft of menial jobs to make ends meet.

This whole art thing: it’s a tough gig. The toughest? Most likely.

According to the Australia Council, the Australian Government’s arts advisory and funding body, the average annual income for a male Australian artist is $21,600. The average annual income for a female artist? $14,500. Leaving aside (for now) the massive gender disparity, that’s sweet fuck-all in anyone’s terms. Especially when you consider that it is generally estimated it costs an individual $18,000 a year to live in Australia, excluding housing costs, not to mention childcare. So artists who are serious about their practice and are driven to succeed – whatever that means – have to be bold and brave with how they live their lives.

But what are some of these bold and brave ways?

For a start, there’s insisting on proper payment for our work. Not all projects are financially viable, and not every single artistic act requires monetary payment. However, we are providing a service so we should be paid appropriately. There has to be the option of part-time employment, including in the public service – there is no difference between someone wanting to take ‘time off’ to care for a child and someone wanting to take ‘time off’ to care for their creative practice. Besides, having artists in the traditional workforce is demonstrably, inherently a good thing. What about that biggest expense of all – shelter? Increasingly artists are discovering the towns and villages adjacent the ACT, where rents are much lower and it’s possible to buy a house without having to rob the nearest Westpac.

But, hey, there are better and more radical thinkers than me out there.

What do you reckon?

Huh? NIGEL FEATHERSTONE

32

@bmamag

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: SACHA POLA

When, how and why did you get into it? It’s something that I did as a child, as we all did I suppose. Only I never grew out of it.

What makes you laugh? That depends on the kind of laugh. I chuckle when I see something interesting and suprising, I laugh when I’m embarrassed or somebody makes me and I LOL in moderation and on Friday nights.

Who or what influences you as an artist? People, current affairs and a swathe of artists living and dead, local and abroad who have names like Marlene Dumas and David Hockney.

What pisses you off? I despise police intimidation, greed & selfies.

I’ve probably just offended half the population. If you’re doing all three please just pick one. Pick selfies.

Of what are you proudest so far? Without a doubt my division 11 ANU men’s soccer championship win. That’s 11, not 1. No typo.

What about the local scene would you change? The quality is too high. It makes my job a lot harder.

What are your plans for the future? I’m moving to Melbourne in the next couple of months where I’ll be trying to exhibit and taking a course in building design at RMIT.

Upcoming exhibitions? I have one upcoming solo show at CCAS Manuka on the 21st August at 6pm. Please come. I promise great snacks & half decent wine.

What do you do? I’m a painter and drawer.

Contact Info: sacha.j@live.com.au / sachapola.com.au

facebook.com/bmamagazine

33

E

X

H

I

B

I

T

I

O

N

I

S

T

IN REVIEW

IN REVIEW

This year Quantum Leap, one of Canberra’s most prominent youth dance studios, offered up Boundless, a triple bill consisting of three new contemporary dance works, choreographed specifically for this season. However, Boundless, despite the name, actually feels a little weighed down. Make no mistake, the standard and professionalism is high, especially from a company with an ensemble of 44 dancers, most of whom are teenagers. The show is not long – clocking in at just over an hour overall, so it doesn’t try the patience of the audience or trigger the restlessness that so terrifies performers.

The three works on offer are exceedingly diverse and are intriguing solely from this comparative perspective. None of these things are troublesome – the problem lies with aspiration. Boundless sets its target so high that, when it falls just short, there’s no hiding it.

As Senior Curator of International Prints, Drawings and Illustrated Books, Jane Kinsman states of her exhibition, “There hasn’t been an extensive Robert Motherwell exhibition in Australia.” Despite the popularity of Abstract Expressionist art, Motherwell doesn’t have the celebrity of Pollock here. Kinsman suggests Motherwell “was well-known in the US, formative in the Abstract Expressionist movement.” Motherwell was an abstract expressionist printmaker – this seems like an oxymoron to most familiar with the movement.

“Many abstract expressionist artists did not like printmaking, especially Jackson Pollock,” says Kinsman, who suggests Pollock was “hopeless” with the medium. Abstract expressionism is strongly associated with Pollock’s emphasis on immediacy and movement, which doesn’t seem to easily lend itself to the two-stage process of printmaking.

The first work, The Bigger Picture, is an interesting take on modernity and the fabric of the everyday. Facts such as ‘we share 50% of our DNA with a banana’ are projected on the back wall of the stage, as the dancers respond. Dealing with difficult and complex topics, when done well, can be wonderfully thought-provoking.

Here though, these philosophical aspects seem somewhat at odds with the actual dance. The movements usually originate with the arms and legs, rather than the core, giving the entire production a somewhat disjointed, jerking quality. Occasionally humorous, the whole thing still feels a little uneven as it draws to a close, leaving an odd sense of emptiness rather than revelation.

The second piece, Cinders, is again a mix of successes and failures.

One glaring problem is the projection which, this time, is a mishmash of tumbling black objects that completely detract from the dance rather than enhance it. Nonetheless, there are undeniable bright spots that, when they emerge, shine fiercely, illuminating the stage and banishing the darkness of doubt. One particular moment occurs when the ensemble fuses together in constant motion, the perfectly synchronised, sharp arm movements contrasting relentlessly with the fast fluidity of their feet.

The final piece, Samsara, is where the production unquestionably picks up for the better. Effectively centred around the idea that ‘although we die alone, we are not alone in dying,’ Samsara examines what it is to live, grow and transition from young to old. It also does something previously unseen in a Quantum show – bring in older dancers, all over 55, from the dance company Growing Old Disgracefully (GOLD). This adds another dimension to an alreadyenthralling performance, further elevating the profundity the piece centres around. Dispensing too with the standard Quantum electronic soundtrack, Samsara makes the most of its Buddhist influence, utilising soft crescendos and haunting vocals that ensure it stands out from the remainder of the show.

Overall, Boundless is a commendable and curious performance, despite its patchiness. indigo trail

Robert Motherwell: At five in the afternoon Orde Poynton Gallery, The National Gallery of Australia Sat–Mon Jul–Oct 12–6

For Motherwell’s favoured mediums of etching and lithography, the work had to first be applied to the stone or plate and then printed onto paper, often by a master printer. The sense of spontaneity in the final print is down to Motherwell’s skill with the medium.

As Kinsman states, “He worked directly on the stone, which was something he could do…with spontaneity inspired by the Surrealists and their ideas of automatism. Pollock struggled with spontaneity in printmaking.” For Motherwell, separation may have been printmaking’s attraction: he could produce a mark without knowing exactly how it will look. The works themselves are bold and expressive and often draw in unexpected elements such as collage or texture. Editing adds a distinct dynamic to Motherwell’s work. It changes the focus from Pollock’s splashed automatism to the pursuit of something very particular. Kinsman suggests of the editing process, “Motherwell was a perfectionist…He would go step by step, trying to refine his collages. He was inspired by this method of making art by the Cubists and the Surrealists before him.” This is evident in Motherwell’s Elegy series in the exhibition. “In his Elegy series, started late 1940…” states Kinsman. “He was developed an iconic image, which was initially inspired by poetry, including Garcia Lorca’s elegy of the death of a matador.’ In the work, according to Kinsman, “He would search for the perfect version of the elegy – something that was essentially infinite.” Motherwell created more than a hundred works in the series.

As with most abstract shows, the exhibition is best when experienced. Black and white become ‘protagonists’, according to the artist. The collaboration with printer Ken Tyler led to the introduction of bold, matte colours, a welcome addition and the partnership is thoughtfully observed in the exhibition. Despite his apparent obscurity in Australia, Motherwell was a leading light of American art world dominance and Jane Kinsman’s online exhibition essay is well worth a read to understand the broad influences within the exhibition.

Motherwell’s work is not exactly Abstract Expressionism as we know it, but he plays an important role in exploring the possibilities of abstract forms.

ROSIE GOLDFEDER

34

Image credit: Robert Motherwell

Boundless Canberra Playhouse 30 July – 2 August

@bmamag

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

definitely a thing that I maintained for a few years.” Nevertheless things have changed for Okine, as he quickly recaps “…Now I have a decent job and I’m not quite as broke anymore…” The job to which he is referring is, of course, the spot he scored just a few months ago, co-hosting the Triple J Breakfast show; a gig which comes with its own modest but comfortable ABC salary. As Okine puts it, “I’m not making it rain, but I’m making it like slightly overcast.”

OKEY DOKEY ian mccarthy If there was a competition for ‘Australia’s Coolest Dude’, MATT OKINE would easily be a finalist. He’s a hilarious comedian and a co-host of the nation’s trendiest breakfast radio show. He’s also an actor, writer and rapper in his spare time. Everything he touches seems to turn to cool – a talent which I quietly hoped might rub off on me as I spoke to Okine over the phone in what I considered the early morning and he probably considered afternoon.

The past year or two have been absolutely transformative for Okine and much of his comedy is still centred on the struggles of life before his success. “I always follow the rule that you only talk about what you know and having done comedy for ten years with really only having anything happen in the last two or so,” he says. “I mean, there are a lot of times where you’re just broke as shit…It’s

facebook.com/bmamagazine

Luckily, Okine isn’t overly-dependent on financial misfortune for comedy material. “I can make jokes about anything,” he says, “It’s my job. I don’t think you have to be broke to be funny…” Speaking of his comedic themes, Okine declares, “I guess whenever I’m doing standup, I’m never talking about things that aren’t just me and who I am…I talk about the way I clean the house. I talk about things that annoy me with the things that I own. I talk about the people in my life who do stupid things. I talk about everything that’s honest and that’s all I really do. I’m not about to change the world,” he affirms. “But I can do a killer joke about toasters.”

Though the early mornings and attempts at balancing his broadcast and stand up work have inevitably taken their toll, Okine has a clear vision of what keeps him going. “Naps. Lots of naps.” He laughs before adding more seriously, “You know, what gets me up in the morning is remembering the days when I was selling wine on the phone to people who hated me, calling them and the days when I was super broke and didn’t know if I was going to be able to pay rent or anything like that…It’s a combination of all those things.”

Matt Okine will be performing at Zierholz @ UC on Friday August 22. Tickets are set at $32.65 ($25.50 for students) and available through oztix.

35

E

X

bit PARTS

H

I

B

I

T

I

O

N

I

S

T

SiX MiX WHAT: Art Exhibition WHEN: Wed 13th – Sun 17th August WHERE: Craft & Design Centre

Image credit: Amelia Zaraftis

SiX MiX is an exhibition of contemporary sculpture by Honours students of the ANU School of Art Sculpture Workshop. The artists include Dierdre Pearce, Martin Rowney, Isobel Rayson, Fredrika Rose, Poon Sing Wai Anton and Amelia Zaraftis who are presenting works which span the diverse nature of contemporary art, including objects, documented performance, ephemera and installation. These works are united by the artists shared sensitivity to different materials and their properties. It has been arranged so that viewers may interact with the artists intimately as each takes a turn to sit at the gallery. Event opens 13th August at 5:30. Free entry.

SCI NIGHT WHAT: Adults only science night WHEN: Friday Aug 15 WHERE: Questacon Questacon is kicking off National Science Week celebrations with SciNight, a geeky night for grown-ups. Visitors can battle against robots in air hockey, compare their baseball pitch to that of a professional, or discover the science of power lifting. Visitors can also enjoy science shows, demonstrations, hands-on activities, and explore Questacon’s interactive galleries kid-free. DJ Alex Carder will play throughout the night, and Mega Nites Café will offer a bar and special menu to keep your strength up. So pull on your sneakers and run along to Questacon for the next SciNight as this popular adults-only event explores the science behind sport. Doors 6pm-10pm. Tickets $10 at the door.

BRICK EXPO WHAT: Lego Exhibition WHEN: Sat 23rd – Sun 24th August WHERE: Hellenic Club Woden Brick Expo is a Canberra-based LEGO exhibition, which brings together both fans and collectors from across Australia. Now in its fifth year, Brick Expo is a popular winter event that attracts sell-out crowds.

This year’s piece de resistance is a replica of the Elvis Skycrane. Many Canberran’s will be familiar with this particular helicopter as it played a major role in the 2003 bushfires. At four metres wide and one metre high, it is an impressive creation by Ryan McNaught, Australia’s only certified LEGO professional. All proceeds will go to Pediatrics at the Canberra Hospital with tickets priced at $12 for adults and $6 for children from brickexpo.com.au WINTER BLUES PARTY WHAT: Blues jam WHEN: Saturday Aug 23 WHERE: Harmonie German Club

36

Canberra Blues Society are throwing their annual Winter Blues Party, featuring the Liza Ohlback Band with Ali Penney and Richard Perso.

Renowned for her stunning vocal range which draws comparisons to major leagues Etta James and Aretha Franklin, singer-songwriter Liza Ohlback has been scooping up accolades nationally. One-man-band Richard Perso blends folk, rock and blues and roots with multiple didgeridoors and acoustic guitars. With a members only lucky door prize and raffle prizes, it’s the perfect excuse to rug up, venture out and get down. Doors at 7pm, for a 7.30pm start. Tix are $20 for CBS members and $25 for non-members.

@bmamag

ad space

facebook.com/bmamagazine

37

the word

on albums

album of the issue spoon they want my soul [loma vista]

A friend of mine says Spoon are boring, which renders me speechless. The very idea of somebody with taste not finding this band enthrallingly brilliant is gobsmacking. For me, Spoon combine all the very best elements of rock and roll – swagger, swing, intensity, spikiness, intrigue, intelligence and viscerality and boil it way down. To an essence.

Elvis Costello joining the Rolling Stones in a session produced by Prince doing covers of songs they thought the Kinks might write, if the Kinks were a Motown group, without the ego of all those musical monoliths. Perfection. If that doesn’t appeal I just don’t know what can be done about you. I say this because this is a review and while no review is objective, a Spoon review written by a Spoon fanboy should be read within its own particular prism. I don’t think Spoon have made a bad record. You’ve got to go for Britt Daniel I guess, to really get the Spoon thing. He projects high intelligence, a low fool-sufferance threshold and the vibe of being difficult to know and harder to love. His voice can seem strangled and reedy, the spite in the delivery obvious. For me, he’s the modern Costello mixed with the best of early Michael Stipe. Who knows what he means and who cares? It sounds smart and it sounds good. As does his perfect, minimal excursions in guitarology. Spoon is Daniel, abetted by Jim Eno, whose solidity and sonic know-how give Daniel the platform to shake his thing. Eight

38

albums into a career, two schools of thought prevail. One is the inevitable request for newness – something that sets apart this album from previous albums, very much in line with the never-ending desire for fresh blood our culture demands.

And on that front, whilst it differs from Transference, it doesn’t differ too significantly from their classic 20012008 run of four unbeatable records. So that’s a mark against. But note that it resembles four classic records and does not suffer in comparison, which leads to the second school of thought – that there’s a great sense of relief when a band 20 years into a career retains ‘it’. You’d never guess that this band is only a few years younger than the Pavements and Blurs of the word, acts riding the nostalgia circuit. They formed just before Kurt Cobain topped himself.

20 years later they’ve made their finest work. The production is full-on, though it’s interesting that two big-name bigaesthetic producers (Joe Ciccarelli, indie rock’s go-to guy for cleaning up a sound as a band reaches commercial critical mass – see his work with the Shins and Modest Mouse for referent – and Dave Fridmann, legendary weirdo of Flaming Lips/Mercury Rev fame) have been brought in and turned out a record that sounds like a Spoon record. That’s the strength of their sound. Spoon are ineffably, absolutely Spoon. Naysayers might wish for greater sonic diversion and difference. Naysayers be damned.

An authorial voice this complete doesn’t need tweaking. The thing is the quality of the songs and TWMS tops the perfection of GaGaGaGaGa. No filler. From the new entry to the definition of rock canon opener ‘Rent I Pay’ all the way through to the stirring closer ‘New York Kiss’ this is a perfect collection of songs, exploring many styles but retaining the clarity of voice that vintage bands earn. ‘Outlier’ is some glacial funk, ‘Knock Knock Knock’ is a twisty grind, ‘Inside Out’ a stunning groove-based heartbreaker. ‘Do You’ is a standout summer classic and ‘Rainy Taxi’ explains the Spoon appeal perfectly- the middle eight is stunning.

But instead of repeating it, they leave it be. You have to start the song again to hear it. Minimalism equals moreishness.

Seems simple, but it’s so rarely done and never this well. glen martin

martyn The Air Between Words [Ninja Tune] While Dutch electronic producer Martijn Deijkers’ earlier work saw him rapidly associated with the more techno-influenced end of the dubstep scene, his ensuing releases such as 2011’s Ghost People album on Brainfeeder saw him extending his parameters out into broken-beat and dark grimy electro. Three years on, this third album The Air Between Words sees him making the shift to Ninja Tune with a collection that’s easily his most lithe, airy and house-influenced outing to date. While it’s certainly his most dancefloor-focused evolution to date, there’s no subsequent lessening of substance, with Martyn’s use of purely analogue sounds lending a gorgeously warm edge to the sense of introspective soul lurking beneath. If opening track ‘Forgiveness Step 1’ offers up a cinematic intro with rich layers of ambient synths swelling against feathery female vocal samples, ‘Glassbeadgames’ sees Martyn teaming up with Four Tet for a rattling broken-beat house wander through muted glassy bass chords, blurred out pop vocals and hissing snares that’s easily one of the most visceral workouts to be found here.

Elsewhere, ‘Two Leads And A Computer’ takes things out into gritty Detroit-tinged electro as vintage drum machines rattle against moody analogue bass arpeggios and trails of noodling synths. ‘Love Of Pleasure’ meanwhile sees former Hype Williams singer Inga Copeland contributing a New Wave styled vocal to a stripped down backing of waspy layered synths and stiff sounding drum machine grooves that sits closer to Ladytron’s cold Euro-scented synth-pop than anything else. In truth though it’s hard to really pick out highlights here, amongst such a consistently engaging and particularly well sequenced tracklisting.

The Air Between Words captures another evolution in Martyn’s sound that’s well worth exploring. chris downton

@bmamag

East Brunswick All Girls Choir Seven Drummers [Independent Release]

Rise Against The Black Market [DGC, Interscope]

Royksopp & Robyn Do It Again [Pod / Inertia]

There are no straw boaters or pleated skirts on display in this Melbourne based, three man and one woman rock show, whose debut album commemorates the notably high turnover in drummers since the garage band’s formation.

After an excruciating three years of waiting, fans of punk rockers, Rise Against, can rest easy knowing that the Chicago natives have produced another awesome album with The Black Market.

Royksopp and Robyn already have a long history of collaborating together, Robyn having contributed vocals to ‘The Girl And The Robot’ off Royksopp’s 2009 album Junior, before the Norwegian duo returned the favour with production duties on Robyn’s 2010 track ‘None Of Dem.’ The extended songwriting process for this collaborative mini-album Do It Again originally began back in late 2012 when Robyn began a series of weekend sojourns to Royksopp’s Bergen studio, and both parties have emphasised that the five tracks collected here represent completely new territory for both acts. While the above statement is partially true, for the most part it’s the obvious and natural blend of Robyn’s impressively versatile pop vocals with Royksopp’s lush and dazzling production that makes an impact.

Opener ‘West Brunswick’ is a three way conspiracy between retro keys, heavy guitar strums and a drawling harmonica. ‘Mon Repos’ builds a bird’s nest of Marcus Hobbs’ rough as guts vocals and fuzzy guitars, atop a powerful subterranean rhythm. Hobbs’ voice can vary from a coyote like yowling to warbling with a great vibrato. The band has a love of long, distorted passages, only to let the listener down easy at the end with a gentle finish. Their country influences raise dusty hands in ‘Golden Ninne’, a slow strummer with saw-toothed harmonies that presents the band in a more reflective mood.

‘14 Clay Gully Court’ is an album highlight.

Starting with a slow, melodic riff, it uses a clever device of ending each line of the first verse with increasing intensity, with a little extra push from the backing vocals. Cleverly inventive, the song ends in a see-sawing journey, fluctuating between the engagingly gentle riff and outright distortion. There’s a tortured brutality to the log-splitting guitar slashes in ‘Darius’, contrasting with the almost harp-like plucks in ‘Aeroflot’ which, with its ghostly backing vocal and lonesome wailing guitar, generates an appropriately lighter than air vibe for the track.

In the proud traditions of The Birthday Party and The Drones, East Brunswick All Girls Choir celebrates a rough and ready style of music, in which the wild desperation of their playing is an uncompromising search for rhythm in the midst of chaos.

RORY MCCARTNEY

facebook.com/bmamagazine

The band’s seventh studio album may share distinct similarities with their older albums, but it manages to portray a maturity and experimentation that has been steadily building through their work, whilst maintaining the same old modesty and social commentary they’re famous for.

The fast-paced and addictive opener, ‘The Great Die-Off’, sets the explosive tone for the rest of the album. Beginning with a string instrumental, the song dives into that raw emotion the band are so well known for and the rest of the album does not disappoint.

The Black Market is political punk at its very best and if you’re looking for punk music that really takes a stand then this is the album for you.

Epic ten minute opening track ‘Monument’ certainly sees the pairing fitting like a glove as Robyn’s icily graceful vocals trail over a backdrop of brooding electro bass pads and clicking drum machines that call to mind the more cruisey side of Giorgio Moroder taken off on a widescreen trip, particularly as rich eighties-tinged saxaphone swells rise into focus towards the track’s end.

By contrast, ‘Sayit’ takes things off on a throbbing tech-house wander that sees dark bass arpeggios and synthesised robot voices clinging tightly to Robyn’s playful yet cold pop vocals, the distorted synths that power below adding a ferocious sense of growling energy, before ‘Do It Again’ sees things shifting gears for a sheeny slice of candy-sweet main room dance-pop that’s more reminiscent of Ke$ha than anything else. Rather than really representing a major evolution on either artists’ parts, Do It Again showcases a naturally smooth fit between Royksopp & Robyn.

nicola sheville

Chris Downton

The album’s first single, ‘I Don’t Want To Be Here Anymore’, follows. Never having been afraid to make a political statement, as proven by the likes of ‘Prayer of the Refugee’, this track tackles the issue of gun violence around the world with emotional vocals, a memorable drumbeat, and impassioned guitar riffs.

There’s a track for every kind of punk fan on this album, including ‘Methadone’, and ‘A Beautiful Indifference’ with their pounding drumbeats and heavy bass lines that come as a raw, punkish throwback to the band’s early days. ‘Tragedy + Time’ is slightly different from the band’s usual style, with one of the catchiest choruses Rise Against have ever written, and certainly the catchiest on this album.

39

album in focus

the correctional system. The Loner hardly made a ripple in the charts, but it resulted in Simms getting a Deadly Award in 2001 for making his mark with what is seen as a classic collection of protest music.

40 years after its release, a tribute to Simms has been created by an impressive array of musos under the banner of The Painted Ladies.

Joining Simms are Luke Peacock (from Halfway), Roger Knox (aka the Koori King of Country), The Medics, Ian Haug (exPowderfinger) and Paul Kelly (no introduction needed). Ed Kuepper (ex-Saints) and John Busby also make an appearance and You Am I drummer Rusty Hopkinson was the producer.

The Painted Ladies Play Selections From The Loner [+1 Records] No ordinary covers record, this release brings back to life some almost forgotten songs, with a combination of very special artists, including the originator himself. The album is special, not because the songs are famous, but because of what they represent. The original LP was captured in conditions of the utmost adversity and sank almost without a trace. Almost! Yet these songs came to be recognized as a milestone in the national history of Indigenous artists, with such significance that the record was formally acceptance onto the registry of the National Sound and Light Archive.

Aboriginal singer Vic Simms put out his first single ‘Yo-Yo Heart’ in 1961, when he was just 15. A potential career in music was almost extinguished by his falling into the criminal justice system and subsequent imprisonment. It was in Bathurst Gaol that Simms learnt the guitar and crafted his songs. A tape of his music found its way out to big time record label RCA. In one of the most extraordinary recording scenarios seen in this country, RCA was stoked enough by what they heard to get a band to learn the songs from the tape and then send them out with a mobile recording unit.

Captured in just an afternoon in the prison dining room was a set of songs which found their way onto vinyl as The Loner in 1973. There followed as series of promotional concerts which Simms cut short when he perceived that he was being used as a PR tool for

40

Simms’ songs come across with a large ladle of rock and a dessert spoonful of country. The lyrics can be stark in their portraiture of a secondclass, down-trodden people. ‘Get Back Into the Shadows’ makes it plain that a black man who wants to listen to a band in a bar isn’t welcome. Never mind its graphic message, the song is upbeat, countrified rock, boosted by horns and with joyous licks in the bridge. There are songs of love and pride too. In ‘Poor Folks Happiness’, a rich woman chooses to party with the poor because they have a happiness that money cannot buy. ‘Stranger in My Country’ is an anthem of repression with its lyrics, “Cos I’m the one who you forgot/After my land was taken”. Atmospheric with spaced-out guitars, it blows up into a full-on rock jam.

Luke Peacock takes the vocal lead in most racks, being accompanied by Sue Ray in a duet in the gentle ballad ‘You Make Me Know I’m Alive’. ‘Living My Life By the Days’ shines with its elegant acoustic rhythm, dappled by a sweet violin. The disc winds up with two songs not by Simms, although he provides the vocals in ‘I Wanna Bop’ that is saxophone charged, pure rockabilly fun. The party mood carries on into the closer, with its surf rock licks. This tribute to Simms’ The Loner portrays the struggle of the Indigenous people, while showing that you can still have a good time while you’re pushing out your message.

RORY MCCARTNEY

Alison Wonderland calm down [EMI] Alison Wonderland wears many hats: DJ, producer, mixer. Her presence as a notable figure in the Australian electronic music scene has been noted for a while now, so it was a surprise to discover that Calm Down is her first EP; her first collection of completely original tracks.

I connected with ‘Cool’ on a spiritual level; mainly due to its lyrical loop of “I’m too cool for this/I’m too for this.” Despite the breaks being a little predictable, it’s a solid opener for the EP. Though it quickly becomes clear that Alison’s vocal range is limited and her lyrics are not particularly sophisticated, she manipulates her vocals to her advantage to form a stronger part of the whole. Things get heavier with the darker tones of ‘I Want You’.

It is plugged to the brim with sturdy drops, quivering with bass that shift between detailed layers. The shimmer and polish of ‘Lies’ bounces with light synths before curling back into quiet space, allowing the softer touches to be illuminated. It is a calmer addition to the collection, but perhaps one of the more mesmerising in its simplicity. ‘Sugar High’, true to its name, is saccharine; too sweet and too simple to have an impact. The EP finishes with ‘Space’, the most imaginative track with its mixture of futuristic synths, strings and chopped vocal samples.

Calm Down isn’t overwhelming, but simultaneously, it isn’t in any way disappointing. Building upon past experimentation, Wonderland establishes a substantial core for her own sound, proving that she is more than capable at constructing sounds from scratch. Don’t dismiss this for a standard set of dance tracks, for it is underlined with a creativity that hints at expansive potential for Wonderland.

ANGELA CHRISTIAN-WILKES

@bmamag

v

singles in focus by cody atkinson G.R.L ‘Ugly Heart’

Bob Mould Beauty and Ruin [merge]

Popstrangers fortuna [Carpark Records]

I’m always dipping into the Bob Mould songbook, having recently picked up reissues of Sugar’s power-pop blitz and Mould’s first solo album Workbook, no less intense than Husker Du’s primal scream despite the noise levels turned down a notch. This results in a guitar shimmer a bit like R.E.M. Although somewhat unfair, I cannot help but compare everything Mould does to Husker Du, a band so musically powerful and penetrating that the ferocious sonic hurricane of that band’s masterpiece, Zen Arcade, has left an indelible mark.

Mould has of course moved on artistically, and this latest album has cutting, first-rate melodies and an emotional depth that one would expect from this post-punk auteur.

For their sophomore album, New Zealand trio Popstrangers moved to London, and somehow the colder climate has injected sunnier vibes into their sounds.

Popstrangers have pulled away from the twisted, raw rock of their previous releases to submerge themselves in pop, awash with the sheen of the 80s and the haze of the 60s. Let’s just get this out of the way, straight up: the comparison to Tame Impala is inevitable and unavoidable.

Lead singer Joel Flyger’s glazed, slightly reedy vocals almost immediately ring of Kevin Parker’s own whilst, atmospherically, euphoric, blissful choruses emerge from the hazy angst of the verses. Though bubbly, hazy elements are the focus throughout, influences outside of Parker filter through.

A nod to the steady pace of Brit-pop can be heard on ‘Distress’, whilst indie guitar rings on ‘Tonight’. On lead single ‘Country Kills’, the steady movement of its verses peppered with intricate undertones contrast nicely with the ironic lyrical content. These songs form a catchy core for the album with their stand-out quality and ear-worm capabilities.

Efforts to create interest can be heard on the latter two with their colourful solos and reverb play.

Opening track ‘Low Season’ comes on with an aching melody that Mould has always done so well. This adds weight to exposed feelings along the lines that life can be a tricky proposition at the best of times, and the only way to make sense of it all is to turn to meaningful creative expression – it makes sense that Kurt Cobain was a fan.

Mould has once again crafted the finest art from simple tools – guitar, bass and drums with a no-bullshit voice and short songs with no trickery.

The arrangements might be basic but the melodies are sublime as on ‘I Don’t Know You Anymore’ which is saturated with a similarly tuneful catchiness to anything on the fantastic Sugar album Copper Blue. The Beatles were always in the top 10, why isn’t this dude? dan bigna

Suitably lush, psychedelic sounds blend with harmonious pop and alluring melodies, giving way to surprising touches with each new listen. Final track ‘What Is On Your Mind’ exhibits these qualities. Fortuna is very likeable, but an unfortunate lethargy sets in around at the halfway mark. There isn’t quite enough differentiation, not quite enough change of pace of the album to seal the deal into becoming convincing overall. However, Popstrangers’s move into the field of pop does have moments of simplistic and pure pop glory, making it well worth the listen.

ANGELA CHRISTIAN-WILKES

facebook.com/bmamagazine

Bombastic pop song? Check. Major city reference in the chorus? Check. Slight country and western influence? Check. Love/hate relationship with a romantic interest?

Check. Simple, repeated hook? Check.

The only flaw in this cornucopia of focus group fanaticism is that the song in question, ‘Ugly Heart’, sounds absolutely awful.

Ben Frost ‘Venter’ BSo many songs are hyped up, but comparatively few deliver. Make no mistake, however, that Ben Frost and ‘Venter’ are for real. The slow build up, with those pounding drums, to the rough chaos about halfway through, to the two fake endings, it just works, plain and simple.

Danger Beach ‘Accelerate’ Canberra’s own Danger Beach, ex-Assassins 88 amongst others, is back with this grimy slice of the 80s. Unlike his 2012 album Pacific, the action on ‘Accelerate’ is driven not by layers of guitar by instead waves of synths.

Ultimately it’s a fine piece of retrofuturism, of the not-too-distant future from the not-too-distant past.

Gooch Palms ‘Hungry’ Gooch Palms, one of the best things to come from Newcastle in recent years, are nothing but a bunch of fun. ‘Hungry’ is no exception, with simplicity the key, just guitar, drums and vox. Leroy Macqueen’s Iggy Pop-esq vocals take centre stage, but don’t sleep on those harmonies.

41

the word

on films

WITH MELISSA WELLHAM

Look, I don’t want to denigrate Christopher Nolan’s exceptionally good Batman films – but can we all take a moment to appreciate how the entire Marvel film franchise has been absolutely killing it recently? The films are the perfect blend of fast-paced wit and equally fast-paced action, there’s crossover characters and villains, and there’s nary a dark and brooding (and let’s face it, kind of unreplaceable) hero in sight.

quote of the issue “I am Groot.” – Groot (Vin Diesel), Guardians of the Galaxy

Hercules Directed by Brett Ratner (he of X-Men: The Last Stand fame and Movie 43 infamy) and starring Dwayne “The Rock” Johnson (he of the bulging biceps and appearances in the last few Fast & Furious films), Hercules is just as ridiculous as you’re expecting.

This particular take on the legend of Hercules is actually quite clever – although I’ll try not to spoil it here – and is based on the premise of Radical Comics’ story by Steve Moore. Hercules (Johnson) is now a mercenary for hire, renowned throughout the land for his daring feats and apparent demi-god status. But despite the tales of his heroics, Hercules chooses his missions based upon the dollar dollar bills.

Until, that is, he is called on to defeat a corrupt king – while also facing demons from his past.

Despite the fresh premise going some way to reinvigorate the well-known story, the script of the film is a painfully predictable. Lines of dialogue – nay, entire monologues – can be guessed before they are delivered, and each plot twist is as understated as The Rock in a loincloth.

Johnson looks he is on some serious steroids, but also turns in a confident and unabashed performance as Hercules – equally comfortable taking the piss in some scenes, and taking his role way too seriously in others – which helps keep the film engaging.

One for Clash of the Titans fans only. melissa wellham

Guardians of the Galaxy Guardians of the Galaxy gate crashes Marvel’s cinematic stable and instantly becomes the life of the party. Filmmaker James Gunn delivers a rocking space odyssey with the perfect band of misfits.

A manhunt is on to find the human outlaw, Peter Quill (Chris Pratt), who is in possession of an orb with power to destroy worlds. Quill discovers an evil plan to exploit the orb and forms a protective squad made up of an assassin, Gamora (Zoe Saldana), a brute named Drax (Dave Bautista), a genetically engineered rodent, Rocket (voiced by Bradley Cooper), and a talking alien tree, Groot (voiced by Vin Diesel).

Gunn isn’t afraid to proclaim his influences and there are shades of Star Wars and Raiders of the Lost Ark stamped with his sense of humour. Pratt’s Quill is channelling the spirit of Harrison Ford’s Indiana Jones days, and the Rocket and Groot relationship is an oddball mirror of Han Solo and Chewbacca.

Gunn and Nicole Pearlman’s script is full of mirth and meta-references that include an acknowledgement of the MacGuffin structure of the plot when Quill asks if the orb has a Maltese Falcon vibe. It’s clever and self-aware in an effortless way.

Going back to Earth is going to be hard with the next line up of Marvel films because Guardians of the Galaxy offers a different experience that’s wild, adventurous and a ridiculous amount of fun. cameron williams

42

The Lunchbox The Lunchbox is a warmhearted crowd-pleasing film from first-time director Ritesh Batra. It is very sweet, without being cloying; and has a little bit of spice too.

Housewife Ila (Nimrat Kaur) is unhappy. Her husband ignores her, her father is dying of cancer, and she can see no way out of Mumbai. In an attempt to reinvigorate her marriage, Ila sends a special lunchbox to her husband through India’s famous lunch delivery system – hoping that the way to his heart is through his stomach. Instead, the lunch is accidentally delivered to another office worker, Saajan (Irfan Khan). He eats the whole lunch, and so Ila makes this stranger lunch the next day. And the next. Through a series of letters delivered through the lunchbox system every day, the unlikely pair strike up a friendship – and maybe something more.

The Lunchbox has received critical acclaim and film festival glory – due to the understated story, and fine performances from both Kaur and Khan. Each lead brings an aching loneliness to their portrayal – sometimes anger, sometimes grief – that resonates and feels very real.

It does drag slightly towards the end, and those who are expecting something more from such a touted film (a more serious exploration of ‘issues’, or even the characters’ inner psyches) might be disappointed.

But the delicate flavours of the film will impress those looking for something subtle and memorable.

MELISSA WELLHAM

@bmamag

Lucy

Begin Again

Welcome to the new age of machine gun metaphysics with Lucy. A young student living in Taiwan, Lucy (Scarlett Johansson), becomes a drug mule against her will at the hands of a crime lord (Choi Min-sik). Surgeons insert a packet of synthetic drugs into Lucy’s abdomen that bursts while she’s travelling to Europe.

As a result, she begins acquiring increasingly powerful mental talents and physical abilities.

From the writer/director of indie smash-hit Once – a charming and musical story of love lost and found and lost – comes Begin Again. The stars are slightly more high-profile this time around, but the story just as subtle and the emotions just as genuine.

Writer and director Luc Besson is back in The Fifth Element form messing around with ideas about human brain capacity, executed in dialogue that sounds like a Wikipedia entry, amidst hectic car chases and hallway gun battles. Any deconstruction of the plot results in Besson screaming back “BECAUSE SCIENCE!” Lucy is elevated to a God-like status with each percentage of brain power she unlocks, that’s contrasted against the chaos caused by the villains still in cave-man mode. Besson wildly unleashes his special brand of Euro crazy and the sillier Lucy gets, the better it gets, not many action films confidently go bonkers like Lucy.

Johansson channels Robert Patrick’s T-1000 from Terminator 2: Judgment Day as Lucy’s mind accelerates at the speed of light. Choi Min-sik is a tantalising villain who walks in the footsteps of the corrupt Norman Stansfield (played by Gary Oldman) from Besson’s Leon: The Professional. Lucy is science-fiction lunacy and it’s great to be back in the madhouse with Besson as he flips cars and minds.

CAMERON WILLIAMS

Begin Again introduces the audience to Dan (Mark Ruffalo), an alcoholic music producer who has just been fired from his label, been kicked out of his house, and whose daughter hates him. One night in a bar he hears Gretta (Keira Knightley) singing, and immediately decides he wants to make a record with her. Gretta has just been dumped by her rock star boyfriend Dave (Adam Levine), and is wary of record executives and labels – so eventually the two decide to spend summer recording a low-budget album on the streets of New York.

Carney’s script has a few clichés and contrivances – but while the journey may be predictable, it’s the low-key quirks of the film that will keep the audience captivated along the way. The chemistry between Knightley and Ruffalo is sweet and believable. Separately, Ruffalo does a good job of portraying a down-on-his-luck schmuck without ever feeling too pitiable; while Keira Knightley really should be applauded for challenging herself with a singing role, and there is a heartfelt sincerity to all of her songs.

A film that captures the romance of the creative process, and the beauty of fresh starts.

MELISSA WELLHAM

facebook.com/bmamagazine

43

the word on dvds

44

37 Days [Roadshow] A little over a week ago it was the century anniversary of the start of the First World War. Military anniversaries roll around with alarming and sombre frequency, but this is a big one; the Great War, the War To End All Wars. Expect it was neither especially great nor the season finale of state-on-state conflict. It was merely the next platform on the eternal train ride of war.

With over 16 million dead and another 20 million casualties it certainly ripped apart Europe and the subsequent arbitrary boundaries set the scene for a bloody century. But if you’re reading this you’ve probably seen the business end of a history class so none of these facts are especially new. What 37 Days does is tell the story of how all this god-awful mess began, starting with Emperor Palpatine. Huh? Edward Grey (Ian MacDiarmid – forever Star Wars’ whey-skinned Palpatine) was UK Foreign Secretary when Archduke Franz Ferdinand was assassinated. Thirty seven days later Europe was at war.

Over three hour long episodes the captures the frantic toing-and-froing between European superpowers trying to figure out if they should go to war or not. At times it is portrayed as a group of surly children squabbling over toy cars; disaffected Kings trying to make geopolitical points has the effect. Of course the ending is a given so the tension is reliant on how close it was to not happening. The filmmakers went to great lengths, scouring historical documents and letters to create a narrative that was factually correct and dramatic enough for TV. You almost believe war was declared over a misunderstood phone call.

Historians may complain about the performances (Churchill is a harrumphing cartoon villain, Kaiser Wilhelm is visiting from Blackadder) but 37 Days isn’t made for them. But it’s a reminder that war – whatever the root causes – is inevitable.

Bloody humans, ay. justin hook

The Amazing World of Gumball – The amazing volume 2 [Madman] Finding an animated show about a dysfunctional family doing crazy things is not the hardest task. In fact it seems most use that as the starting point then differentiate by taking the plot and characters as far out as possible. Seth McFarlane has built a tidy career out of it. Not an especially creative or pleasant one, but a career nonetheless. In many ways The Amazing World of Gumball falls smack bang in that not-so-sweet spot – stupid dad, long suffering wife, talking pet and uncontrollable kids.

Most episodes revolve about some minor family event that spirals out of control eventually ensnaring anyone and everyone who comes into contact with their vortex of loud dayglo insanity. Still very same same, right? Wrong. Gumball, somehow…although I am still not exactly sure what the magic potion is, is different. It belongs in the same class as The Regular Show and Adventure Time, although it isn’t as pop culturally savvy as either as those shows. Nor does it have obviously definable characters like Mordecai or Jake – although there’s no way Gumball is worse for it. In many ways the low targets are better, grounding it more in an unusual reality of bright colours and sharp, witty dialogue. There are shades of Powerpuff Girls in design and output.

Also, the characters are superimposed onto real photo backgrounds so it feels like a long lost after school show from the 80s. But where other shows use dialogue as an excuse to load riffs and zingers, Gumball seems deeper, more willing to let characters interact like real people. This applies more to the kids than the adults (Richard and Nicole). Oh, and they’re all cats, rabbits and fish. Did I mention that? Well it’s not that important. What is important is that Gumball is funny and touching, which is plenty good for me. justin hook

Freaks and Geeks [Madman/Via Vision] Cult classic; two words any pop culture consumer should treat with extreme caution.

It’s meant to mean important but could just as easily be read as code for – impenetrable, boring, dated, confusing or shit. In TV world the phrase usually goes hand in hand with that other chestnut cancelled before its time. Networks aren’t in the habit of cancelling well performing, well liked TV shows so cult favs are usually unloved – by the masses – niche products (Terriers, Firefly, Twin Peaks, Pushing Daisies et al).

Freaks and Geeks is one of the biggest cult TV shows of all time. And it’s good. Very very good.

Although Judd Apatow gets name branding rights on this one (he was exec producer) this is really Paul (Bridesmaids) Feig’s show – he created, directed, wrote it. The Midwestern high school/family drama is his vision and Feig has publicly stated the show is based on his experiences growing up in Michigan. That partially explains why the characters feel real and lived-in.

Another factor is Feig is a brilliant writer, able to capture the awkwardness of teenage years, the low ambition of suburbia and the status and clique woes of friends. It’s a comedy – only not in the traditional sense. Often times it has been carefully constructed to allow the pauses to say much more than the dialogue.

This was a gutsy decision by Feig and Apatow, especially for a new show on a major network. The pace is calm and relaxed, dripping in sepia, Rush tee shirts and heartache. The casting is the final factor. The talent on display intimidates: Linda Cardellini, James Franco, Seth Rogen, Jason Segel, Busy, Phillips, Martin Starr, John Francis Daly. Every single one has gone onto bigger – not necessarily better – things.

No specific stand outs, a true ensemble piece and one of the best TV shows ever. justin hook

@bmamag

ad space

facebook.com/bmamagazine

45

the word

on gigs

JOVA, Kevin Windross Band, ZZG The Basement Saturday August 2 Entertaining a paltry crowd that did not reflect their talent, as is so unfortunately the way in Canberra, Sydney prog-rockers JOVA nevertheless managed to provide this reviewer with a sensory overload. With Jorden Martin on vocals and bass, Pedro Greig on “strings” and Tim de la Roche on the drums, the trio were just beginning a national tour for their new EP Colours that Will Run. Produced by Dan Murtagh (Dead Letter Circus, Jerrico), the EP has already been spoken of very highly, with the Sydney Unleashed Review, describing JOVA as having the “potential to reach an international standard” and being “worthy of supporting an international band such as Tool.” Martin’s demonic vocals lead the band to appear distinctly reminiscent of Mastodon, a group which Greig later told me the guys had never originally listened to but now very much enjoyed. Meanwhile, Greig’s own contribution to JOVA’s sound was the greatest point of interest for me. Wielding what he simply called a “viola guitar”, this curious instrument allowed Grieg to oscillate between ethereal sounds resembling Sigur Ros and the more conventional metal style guitar. Alongside this, JOVA’s use of warehouse rave visuals allowed the mind to wander, happily stimulated by this melodic rapture. While still in the process of the sexing the place up, the new manager of The Basement was an enthusiastic host, who will no doubt have his hands full as his bar gains a reputation as the rival to Belconnen’s prime music venue, the UC Refectory. JOVA were supported on the night by the Kevin Windross Band and ZZG. GUS McCUBBING

the word

on gigs

PHOTO BY MARK TURNER

46

Mother Africa Canberra Theatre Tuesday July 29 Mother Africa is essentially a tight-knit series of musical and circus acts. The dancing, the drumming to an extent, and, most obviously, the songs, carry distinctly African flavours; but running through the entire show perhaps more obviously than anything else were the flamboyant costumes. The musical acts were very good: the singing was fine, the harmonies were great, and the only thing to spoil it was the volume of the crash cymbal. Each act’s stars were brightly lit, maintaining our attention on the key places on this already well-lit stage: useful, as we might otherwise have missed that a few of the dancers moved, with uniquely African leg-shakes, faster than you’d have thought possible. If the musical acts were good, the circus acts were terrific.

Though few of them were unique, you may be in for a surprise if you think you’ve seen them all before. Some very neat bouncing juggling of an impossible number of balls; a wince-inducing contortionist; a large self-animated satchel revealing endearing personality traits; juggling of a table — and of a small boy; a unicyclist with unusual gear; a climber with unusual supports; a team of two men of unusual strength: the show did maintain our attention. What the cast communicated throughout the performance, along with its obvious skill and strength, was a genuine sense of fun. But, more than anything else, what dazzled the audience was the sheer energy of every moment of the two-hour performance, an energy obviously generated through hard training. Setting aside the crash cymbal’s often painful volume, the performance was constantly enjoyable.

JOHN. P. HARVEY

@bmamag

ad space

facebook.com/bmamagazine

47

the word

on gigs

Splendour in the Grass North Byron Parklands Fri–Sun Jul 25–27 A southern man by blood and by nature, Byron Bay always existed as this whimsical magical place in my consciousness. The famed Splendour in the Grass was a road trip too far for myself and I never ventured past Newcastle. That all changed this year when myself and some comrades made the fabled pilgrimage to the smug little north coast town. With low expectations, what I found was not the skeleton of a once great musical festival now trodden to death under the feet of roiled up, shirtless headdress wearing ‘festiheads’, but rather a large scale musical festival that has somehow kept its integrity and held it’s spot as one of Australia’s biggest for many years.

Friday got into full swing with DZ Deathrays opening the festival in the natural amphitheatre. Straggly long haired ruffians too-ed and fro-ed, shoving with aggressive love and mutual appreciation of the thrash pop stylings of D-Z. Sydney based band The Preatures took the battered and beaten crowd from the boys. Super cool songstress Isabella Manfredi flirted with the audience while the super tight band played with exact precision, professionalism and confidence, complete with well fitting tribute to Aussie legends The Angels. Our very own Peking Duk took advantage of the energised first day crowd and played a relentless afternoon set in the mix- up tent.

As the night wore on the vibe got funkier. Soul songstress Kelis hit the stage. Despite her voice sounding a little strained, the audibly husky singer had the dominating sexy stage presence she is renowned for. By far the funky beacons of soul of the evening, if not the festival, were Outkast. Playing their first ever Australian concert and after many years hiatus, André 3000 and Big Boi hit the amphitheatre stage in front of one of the biggest crowds I have ever seen. With a set that lasted an hour and a half, the duo delved deeply into their back catalogue of hits and bantered with the audience playfully.

Saturday got off to a mellow start with Sydney based rock/reggae outfit Sticky Fingers. With a harem of fans sporting bucket hats and sticky finger daisies on their chest, the boys got the main amphitheatre grooving as the menacing clouds parted ways.

Described as “sort of like Steve Martin” and having “extreme facial expressions”, it was little wonder that Future Islands were near the top of my must see festival list. The four piece synthpop band from Baltimore tore the stage a part with a sweaty energy so unique and bizarre, leaving a stunned and gaping audience cheering for more. Brisbane four piece Violent Soho bought back the DZ vibe.

Enveloped in a pit of hair and beard to a soundtrack of ‘Jesus Stole My Girlfriend’, I was overcome with ecstasy that this was the fresh face of Aussie rock music.

The weekend tore on faster and faster and I was lost under a dazzling sea of premier acts, including rap super freak Danny Brown, City and Colour, Two Door Cinema Club fill-ins Foals, New York bad boys Skaters, Parquet Courts, grunge queen Courtney Barnett and Aussie loop master DD. Dumbo.

PHOTOS BY BAZ RUDDICK, IAN LAIDLAW & STEPHEN BOOTH

48

Aside from the incredible winter sunshine, the thing that makes Splendour in the Grass such a premier festival is the flawless ability of the promoters and organisers to pick a line-up that works on so many levels. From huge shiny superstar acts to grass roots up and coming artists, the splendour line up has a perfect balance of hidden gems and must see staples. Despite its unrelenting growth, it hasn’t yet succumb to ‘the big festival syndrome’ of becoming a washed up, money grubbing shit weekend.

BAZ RUDDICK

@bmamag

ENTERTAINMENT GUIDE Wed Aug 13 - Fri Aug 15

Listings are a free community service. Email editorial@bmamag.com to have your events appear each issue. wednesday august 13

Art Exhibitions Albert Camus 1913-2013

Exhibition celebrating Albert Camus.

Opening at 7pm Jul 31. Until Aug 14.

9am-7pm. Free.

ALLIANCE FRANÇAISE

Not Waving

By Michelle England. Aug 7-17. WedSun 11am-5pm. Free.

On The Town

Short + Sweet Theatre Festival

Luke Jaimes

Acoustic local & interstate musicians.

9.30pm. $TBA.

ELEVATED NIGHTCLUB

Busby Marou

Theatre

ANU BAR AND REFECTORY

Locals present short 10 min plays in a comp for the best. 7.30pm. $30/$33.

CANBERRA THEATRE CENTRE

Arcadia

Short + Sweet Theatre Festival

Trivia

CANBERRA THEATRE CENTRE

CANBERRA REPERTORY SOCIETY

IQ Trivia Fun

Western Desert Artists

POLIT BAR & LOUNGE

THE FRONT GALLERY AND CAFÉ

All the Young Dudes

Commercial Dance. 9pm. Free.

By Tom Stoppard. Heart & chaos: 1 family 2 centuries. 8pm. $20/$30.

CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

30 Aboriginal artists from NT. All sales go directly to the artists. Until Aug 25.

Live Music

Theatre

Fun, laughs & prizes! 8pm. Free.

Locals present short 10 min plays in a comp for the best. 7.30pm. $30/$33.

Arcadia

By Tom Stoppard. Heart & chaos: 1 family 2 centuries. 8pm. $20/$30.

CANBERRA REPERTORY SOCIETY

thursday august 14

friday august 15

LITTLE BROOKLYN

8pm. $25. Tickets: anuunion.com.au

DJ Paulie

80s & 90s. 9-late. Free.

UNI PUB

Gin and Beats

Brenton K & Negronis. 5.30-8.30pm.

Free.

A. BAKER

Elvis – Memphis to Las Vegas

6.30pm. $50/$220. Book at: theabbey. com.au THE ABBEY

Festival 15

15 Bands, 15 minutes, $15. All styles, all genres. 8pm.

Masculinity and it’s flexibility. Aug 1-24.

Tue-Sun 10-4. Free.

Art Exhibitions

Art Exhibitions

Arcadia: Sound of the Sea

Expression of the 70s. Aug 14 - Oct 19.

10am-5pm daily. Free.

#selfie

Yvette Fitzpatrick

NATIONAL PORTRAIT GALLERY

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

UV Paint Rave

Film

ACADEMY NIGHTCLUB

BELCONNEN ARTS CENTRE

Paintings with bold sweeps of colour & texture. Until Aug 28. 9am-10pm. Free.

HELLENIC CLUB (WODEN)

A Printed Space

Anna Sutherland’s passion for design & colour, inspired by beautiful pieces of jewellery. Aug 1-24.

Colour Music

The rapport between music & visuals.

Until Sep 25. Wed-Sun 12-5pm. Free.

ANU DRILL HALL GALLERY

BELCONNEN ARTS CENTRE

Film

Karaoke

Stronger Than Fiction

Don’t Stop Believing Karaoke Heat 4. 9:30pm. Free.

DURHAM CASTLE ARMS

Live Music

International Documentary Film Festival.

Thu-Sun until Aug 31.

PALACE ELECTRIC CINEMA

Live Music

CCAS Members show. One night only.

6pm. Free.

Stronger Than Fiction

International Documentary Film Festival.

Thu-Sun until Aug 31.

Matt Dent

Earthy originals accompanied by Stomp & Harp. 6.30pm. Free.

With X-Cutioner Total Eclipse. 8pm.

Presale via Moshtix

LITTLE BROOKLYN

With Ben Marston Trio. 7.30pm, $15.

Open Mic Feature Act – Tash Carlton

SMITH’S ALTERNATIVE

Dinner Concert

KP presents DMC Act Heats TRANSIT BAR

Neil Diamond’s Hot August Night 8:00pm. $50-$70.

OJO CAFE AND BAR

Pop concert with Lavers and Wallflower.

6-10.30pm. Free.

CMC Presents local and touring bands

Liam McKahey and the Bodies With Dylan Hekimian. 9pm. Free.

5pm afternoon session. 10pm band.

Free.

Bone Thugs N Harmony

Art vs Science

THE BASEMENT

TRANSIT BAR

With the Dan & Amy Band, Tom Woodward + Dylan Hekimian. 7.30pm. $10/$7/$5.

SMITH’S ALTERNATIVE

Acoustic Soup

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

HOTEL HOTEL

THE PHOENIX BAR

‘Grammy’ award-winning US hip hop.

8pm. $52.

ANU FOOD CO-OP

facebook.com/bmamagazine

Commercial Dance. 9pm. Free.

ELEVATED NIGHTCLUB

SciNight (Sport Themed)

KING O’MALLEY’S IRISH PUB

A taste of her new EP. 6pm. Free.

Terbium

Something Different

Showcasing local talented musicians.

8.30pm. $TBA.

Thursday Jazz

$10 before 11pm

Live Music

OJO CAFE AND BAR

9pm. Free.

On The Town

PALACE ELECTRIC CINEMA

Plump Duo

Wednesday Night Raw Gigs

THE BASEMENT

THE PLAYHOUSE

Mitch/ Oscar

KING O’MALLEY’S IRISH PUB

Creature of The Night tour. 8pm. $20+BF. Tickets: moshtix.com.au

Explores the science of sport with Canberra Rollerderby League. 6-10pm. $10.

QUESTACON

Lunch with Puccini

With Fleur Miller. 8pm-9.30pm, $25/$20. Book at: trybooking. com/94363 SMITH’S ALTERNATIVE

Theatre Short + Sweet Theatre Festival Locals present short 10 min plays in a comp for the best. 7.30pm. $30/$33.

CANBERRA THEATRE CENTRE

Arcadia

By Tom Stoppard. Heart & chaos: 1 family 2 centuries. 8pm. $20/$30.

CANBERRA REPERTORY SOCIETY

Heuristic

9.30pm. Free.

HELLENIC CLUB (WODEN)

49

ENTERTAINMENT GUIDE Fri Aug 15 - Tues Aug 19 Art Exhibitions

Uncle Jed

Theatre

Something Different

Offline

TRANSIT BAR

Short + Sweet Theatre Festival

Lunch with Puccini

Work by artists represented by Jas Hugonnet online gallery. Aug 16-31.

11-3pm.

NISHI GALLERY

Not Waving

By Michelle England. Aug 7-17. WedSun 11am-5pm. Free.

CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

Western Desert Artists

30 Aboriginal artists from NT. All sales go directly to the artists. Until Aug 25.

Family trio. 8pm. Presale via Moshtix.

James Reyne Plays Australian Crawl

Locals present short 10 min plays in a comp for the best. 7.30pm. $30/$33.

8:00pm. $65 - $75.

CANBERRA THEATRE CENTRE

Cover Art

9.30pm. Free.

Bollywood comes to Canberra. 6:30pm. $30 - $87.

Live Music

Arcadia

THE PLAYHOUSE

HELLENIC CLUB (WODEN)

Acoustic local & interstate musicians.

9.30pm. $TBA. LITTLE BROOKLYN

Devdas The Musical

CANBERRA THEATRE CENTRE

By Tom Stoppard. Heart & chaos: 1 family 2 centuries. 2pm & 8pm. $20/$30.

With Fleur Miller. 12.30pm. $35 with lunch/$25/$20. Book at: trybooking. com/94363 SMITH’S ALTERNATIVE

monday august 18 Comedy Schnitz & Giggles Improvised Comedy

THE FRONT GALLERY AND CAFÉ

Il Bruto

CANBERRA REPERTORY SOCIETY

Arcadia: Sound of the Sea

Rock n’ roll! 9pm. $TBA. OLD CANBERRA INN

Workshops

SMITH’S ALTERNATIVE

The Aston Shuffle

Cooking with Truffles Workshop

Live Music

Expression of the 70s. Aug 14 - Oct 19.

10am-5pm daily. Free.

NATIONAL PORTRAIT GALLERY

All the Young Dudes

Masculinity and it’s flexibility. Aug 1-24.

Tue-Sun 10-4. Free.

BELCONNEN ARTS CENTRE

Colour Music

The rapport between music & visuals.

Until Sep 25. Wed-Sun 12-5pm. Free.

ANU DRILL HALL GALLERY

7.30pm. $25. Tickets: anuunion.com.au ANU BAR AND REFECTORY

DJ Raven

80s & 90s. 9pm-late.

UNI PUB

10am-2pm. $80. Booking and info: www.ecoaction.com.au.

CANBERRA ENVIRONMENT AND SUSTAINABILITY RESOURCE CENTRE

Den Hanrahan and the Roadsiders 9.30pm. Free.

THE PHOENIX BAR

sunday august 17 Film

Yvette Fitzpatrick

The Joseph Tawardros Quartet

HELLENIC CLUB (WODEN)

THE STREET THEATRE

A Printed Space

On The Town

Live Music

Love Saturdays

With Jared de Veer. $10 all night.

Owen Rabbit

Luke Jaimes & Vintage

THE FRONT GALLERY AND CAFÉ

Paintings with bold sweeps of colour & texture. Until Aug 28. 9am-10pm. Free.

Anna Sutherland’s passion for design & colour, inspired by beautiful pieces of jewellery. Aug 1-24.

BELCONNEN ARTS CENTRE

saturday august 16 Film Stronger Than Fiction

International Documentary Film Festival.

Thu-Sun until Aug 31.

PALACE ELECTRIC CINEMA

Live Music Tristen Bird

With Courtney Robb. Time TBA. $TBA. THE FRONT GALLERY AND CAFÉ

Bloody Lips

Words written and spoken with blood.

3-5pm. Free.

HOTEL HOTEL

Peking Duk

Peace, Love & Sweatiness Tour. 8pm. $25+BF/$35+BF. Tickets: moshtix. com.au MECHE

50

Permission to Evaporate album launch.

8pm. $30. Tickets at thestreet.org.au.

Stronger Than Fiction

International Documentary Film Festival.

Thu-Sun until Aug 31.

PALACE ELECTRIC CINEMA

6.30pm-8pm, $10.

The Bootleg Sessions

The Burley Griffin, Lavers + Rumshack.

8pm. Free.

THE PHOENIX BAR

The Steptones 8pm, $10.

SMITH’S ALTERNATIVE

Something Different Mulled Games

Board Games and Mulled Wine.

5pm-late.

A. BAKER

Trivia

Singer, producer & multiinstrumentalist. Time TBA. $TBA.

Fame Trivia at Woden

ELEVATED NIGHTCLUB

Irish Jam Session

Fame Trivia at Dickson

Something Different

Traditional Irish music. From late afternoon. Free.

KING O’MALLEY’S IRISH PUB

Canberra Roller Derby League

Canberra Blues Society Jam

SOUTHERN CROSS STADIUM

ACADEMY NIGHTCLUB

Commercial Dance. 9pm. Free.

Great prizes to be won. 6.30pm.

THE TRADIES (WODEN)

Great prizes to be won. 7pm.

THE TRADIES (DICKSON)

tuesday august 19

Double Header Bouts. Info and Tickets: www.crdl.com.au.

The youth jam. 2–5:30pm. $3 members/$5 non-members.

HARMONIE GERMAN CLUB

Karaoke

Lunch with Puccini

The Acoustic Sessions

Karaoke Love

With Fleur Miller. 8pm-9.30pm, $25/$20. Book at: trybooking. com/94363

Derryth Nash. 2pm. Free.

Talks

A BITE TO EAT CAFE

SMITH’S ALTERNATIVE

The Science of Electricity, Light & Future 30 min by Dr Niraj Lal from the ANU with flame balls & explosions. 11am.

Free.

QUESTACON

IRON BAR

Magic Rob

Psychedelic folk rock with medieval twist & space rock vein. 5-7pm. Free.

Sunday Sessions

Acoustic local & interstate musicians.

4pm. $TBA. LITTLE BROOKLYN

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

TRANSIT BAR

Karaoke Madness

58,000 songs to choose from. 8pm late. Free.

POLIT BAR & LOUNGE

Live Music Oliver Downes

With Alex Gilbert + Maybe Harry. EP Launch. 8pm, $10.

SMITH’S ALTERNATIVE

@bmamag

ENTERTAINMENT GUIDE Tues Aug 19- Sat Aug 23 Theatre The Importance of Being Earnest 8:00pm. $40-$65.

THE PLAYHOUSE

Trivia Quiz Night

With a team or by yourself. Varied prizes. 7.30pm. Free.

THE PHOENIX BAR

wednesday auigust 20 Art Exhibitions A Printed Space

Digital Feast

AV wonderland with uniVibes DJ and ANU Projection Artists. Cheap meals and drinks. 6pm-late.

ALLIANCE FRANÇAISE

Talks

Theatre

Towards a World Without Dementia

The Importance of Being Earnest

QUESTACON

THE PLAYHOUSE

Panel discussion. 5.30-8pm. Free.

Art Exhibitions

THE PLAYHOUSE

Macquarie Digital Portraiture Award

8:00pm. $40-$65.

POLIT BAR & LOUNGE

Western Desert Artists

30 Aboriginal artists from NT. All sales go directly to the artists. Until Aug 25.

THE FRONT GALLERY AND CAFÉ

Arcadia: Sound of the Sea

Expression of the 70s. Aug 14 - Oct 19.

10am-5pm daily. Free.

NATIONAL PORTRAIT GALLERY

ANU Emerging Artists Exhibition

Mon-Thu 9am-8pm. Fri 8am-5pm.

Until Sep 3.

ALLIANCE FRANÇAISE

All the Young Dudes

Masculinity and it’s flexibility. Aug 1-24.

Tue-Sun 10-4. Free.

IQ Trivia Fun

Fun, laughs & prizes! 8pm. Free.

thursday august 21 Art Exhibitions Australian Idle

By Sacha Pola. Aug 21-31. Wed-Sun 11am-5pm Free.

POLIT BAR & LOUNGE

Film Stronger Than Fiction

Glam Rock. With Na Maza + special guests. More info at The Basement’s Facebook page.

Karaoke

THE BASEMENT

Don’t Stop Believing Karaoke

Showcasing local indie music. 8pm. $TBA.

A Printed Space

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

BELCONNEN ARTS CENTRE

Louise Paramor & Peter Maloney. Until Sep 27. Tue-Fri 11am-5pm. Sat 10am4pm. Free.

Comedy Matt Okine

As heard on Triple J. 8pm. $22/$30.

Tickets: oztix.com.au

Poetry at the pub. Sign up to judge or be judged. 7pm. Free.

THE PHOENIX BAR

Work by artists represented by Jas Hugonnet online gallery. Aug 16-31.

11-3pm.

NISHI GALLERY

Cinnamon Records

Screen based portraiture finalists.

10am-5pm daily. Free.

CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

Live Music

Western Desert Artists

Richard Perso

Didgeridoo, guitar, roots, rock, blues & folk. 7pm. Free.

OJO CAFE AND BAR

Slow Turismo 8pm. $TBA.

30 Aboriginal artists from NT. All sales go directly to the artists. Until Aug 25.

THE FRONT GALLERY AND CAFÉ

Arcadia: Sound of the Sea

Expression of the 70s. Aug 14 - Oct 19.

10am-5pm daily. Free.

NATIONAL PORTRAIT GALLERY

Special K

ANU Emerging Artists Exhibition

KING O’MALLEY’S IRISH PUB

ALLIANCE FRANÇAISE

TRANSIT BAR

With The Mighty Yak. 5pm afternoon session. 10pm Band. Free.

The Remnants 9.30pm. Free.

HELLENIC CLUB (WODEN)

Live Music

BAD! SLAM! NO! BISCUIT!

Offline

PALACE ELECTRIC CINEMA

Thursday Jazz

Something Different

Anna Sutherland’s passion for design & colour, inspired by beautiful pieces of jewellery. Aug 1-24.

By Sacha Pola. Aug 21-31. Wed-Sun 11am-5pm Free.

80s & 90s. 9pm-late.

THE BASEMENT

HELLENIC CLUB (WODEN)

International Documentary Film Festival.

Thu-Sun until Aug 31.

9pm-12am. Free.

Glam Rock. With Na Maza + special guests. More info at The Basement’s Facebook page.

Yvette Fitzpatrick

On Men

NATIONAL PORTRAIT GALLERY

Live Music

Sister Dolls

Art Exhibitions Paintings with bold sweeps of colour & texture. Until Aug 28. 9am-10pm. Free.

DURHAM CASTLE ARMS

SMITH’S ALTERNATIVE

saturday august 23

Screen based portraiture finalists.

10am-5pm daily. Free.

TRANSIT BAR

7.30pm. $20/$15.

THE PLAYHOUSE

Australian Idle

With Riley Bell. 8-10pm. $5.

Sister Dolls

Matt Boden Jazz

8:00pm. $40-$65.

NATIONAL PORTRAIT GALLERY

Yvette Fitzpatrick

LITTLE BROOKLYN

The Importance of Being Earnest

Stronger Than Fiction

ANU DRILL HALL GALLERY

Showcasing local talented musicians.

8.30pm. $TBA.

Theatre

LOL Pol Stand Up Comedy

Live Music

Wednesday Night Raw Gigs

QUESTACON

Film

PALACE ELECTRIC CINEMA

Final. 9:30pm. Free.

Dr Graham Walker’s demos with DJ sixfootsix. 6-6.30pm. Free.

Comedy

The rapport between music & visuals.

Until Sep 25. Wed-Sun 12-5pm. Free.

HELLENIC CLUB (WODEN)

Double Decker Science

Macquarie Digital Portraiture Award

Colour Music

Paintings with bold sweeps of colour & texture. Until Aug 28. 9am-10pm. Free.

Something Different

ZIERHOLZ @ UC

CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

International Documentary Film Festival.

Thu-Sun until Aug 31.

BELCONNEN ARTS CENTRE

friday august 22

The Importance of Being Earnest

Offline

NISHI GALLERY

11am & 8pm. $40-$65.

Theatre

Trivia

Work by artists represented by Jas Hugonnet online gallery. Aug 16-31.

11-3pm.

Celebrating the 1944 Liberation of Paris by the Allies. Period dress. $45/$55.

8.15pm.

A. BAKER

Anna Sutherland’s passion for design & colour, inspired by beautiful pieces of jewellery. Aug 1-24.

BELCONNEN ARTS CENTRE

Liberation of Paris Night

Mon-Thu 9am-8pm. Fri 8am-5pm.

Until Sep 3.

All the Young Dudes

Masculinity and it’s flexibility. Aug 1-24.

Tue-Sun 10-4. Free.

Chicago Charles & Dave

DJ Raven

BELCONNEN ARTS CENTRE

KING O’MALLEY’S IRISH PUB

UNI PUB

The rapport between music & visuals.

Until Sep 25. Wed-Sun 12-5pm. Free.

With Alex Raupach. 7.30pm. $15.

SMITH’S ALTERNATIVE

Dinner Concert

Jazz with Wayne Kelly Trio & Miroslav Bukovsky Trio. 5.30-10.30pm. Free.

Acoustic local & interstate musicians.

9.30pm. $TBA. LITTLE BROOKLYN

Sparrow Folk

Colour Music

ANU DRILL HALL GALLERY

On Men

Louise Paramor & Peter Maloney. Until Sep 27. Tue-Fri 11am-5pm. Sat 10am4pm. Free.

HOTEL HOTEL

With The Modern Gentlemen. 8pm, $15. Book at: trybooking.com/94571 SMITH’S ALTERNATIVE

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

On The Town

Gin and Beats

Film

Terbium

Commercial Dance. 9pm. Free.

ELEVATED NIGHTCLUB

Something Different Nordenskjold and Shackleton

Recreating the 2 epic voyages of early Antarctic exploration. 6pm. Free.

QUESTACON

Yoahn Strauss and Double G&Ts. 5.308.30pm. Free.

A. BAKER

On The Town

International Documentary Film Festival.

Thu-Sun until Aug 31.

PALACE ELECTRIC CINEMA

Vintage

Live Music

ELEVATED NIGHTCLUB

Domino

Commercial Dance. 9pm. Free.

Alive Fridays

Presenting Timmy Trumpet. $15 before 11pm.

ACADEMY NIGHTCLUB

facebook.com/bmamagazine

Stronger Than Fiction

Alt metal/metal core. With Exist Within, Na Maza + The Shadow Embrace.

8pm. $13.

THE BASEMENT

51

ENTERTAINMENT GUIDE Sat Aug 23- Fri Aug 29 Dalashice

Mark Cusack & Alice Plumb join forces for county and pop. 8pm-11.30pm.

Free.

GUNDAROO COLONIAL INN

Kate Miller-Heidke

Live Music Irish Jam Session

Traditional Irish music. From late afternoon. Free.

KING O’MALLEY’S IRISH PUB

With Ryan Keen. 7.30-10pm. $60.

Tickets: canberratheatrecentre.com.au.

Siren Series

Local Group

SMITH’S ALTERNATIVE

CANBERRA THEATRE CENTRE

7.30pm – 11pm, $10 SMITH’S ALTERNATIVE

Yuko Nishiyama

With Lisa Richards & Guests. 6pm8pm, $10.

IRON BAR

THE PLAYHOUSE

8pm. $72-$85.

From The Melvins with Blackie of the Hard-Ons. 8pm. Presale via Oztix.

Sexytet

Third Party

A BITE TO EAT CAFE

KING O’MALLEY’S IRISH PUB

Tuchasoul

9.30pm. Free.

HELLENIC CLUB (WODEN)

Live Music

Acoustic local & interstate musicians.

9.30pm. $TBA. LITTLE BROOKLYN

DJ Steve

80s & 90s. 9pm-late.

UNI PUB

Canberra Blues Society Winter Blues Party Liza Ohlback Band with Ali Penney + Richard Perso. 7pm. $25.

HARMONIE GERMAN CLUB

Vamp

Alternative Industrial Goth Retro. With The Dark Shadows & 4 DJs. Time TBA. $TBA. MAGPIES CITY CLUB

Brass Knuckle Brass Band

With The Mouldy Lovers. 9.30pm. Free.

THE PHOENIX BAR

On The Town Terbium & Luke Jaimes

Commercial Dance. 9pm. Free.

ELEVATED NIGHTCLUB

Love Saturdays

With Runamark. $10 all night.

ACADEMY NIGHTCLUB

Something Different

Local Brass Band Style Funk. 5-7pm.

Free.

Sunday Sessions

The Light Part of Every 24hrs

Comedy

Comedy

Open Mic Comedy

Alex Williamson

Time TBA. $TBA.

THE FRONT GALLERY AND CAFÉ

Dumb things I’ve done. 8pm. $35+bf.

ZIERHOLZ @ UC

Wednesday Night Raw Gigs

Bloody Lips

Words written in blood, spoken by Anis Mojgani, Catherina Behan & Raphael Kabo. 3-5pm. Free.

HOTEL HOTEL

TRANSIT BAR

Karaoke Madness

58,000 songs to choose from. 8pm late. Free.

POLIT BAR & LOUNGE

Showcasing local talented musicians.

8.30pm. $TBA. LITTLE BROOKLYN

Open Mic Feature Act – Park in the Rain Evocative lyrics. 6pm. Free.

OJO CAFE AND BAR

Brick Expo

Something Different

Trivia

HELLENIC CLUB (WODEN)

Book Launch - Mediation in Orange

IQ Trivia Fun

Exhibition of rare & unique Lego.

8.30am-5.30pm.

Theatre The Magic Flute

Mummies, Magic & Mozart by Opera Australia. 2pm. Free. Must book: canberratheatrecentre.com.au.

PARLIAMENTARY TRIANGLE

monday august 25 Comedy Schnitz & Giggles Improvised Comedy 6.30pm-8pm, $10.

SMITH’S ALTERNATIVE

Live Music The Bootleg Sessions

By JG Montgomery. 5pm, $10.

SMITH’S ALTERNATIVE

Trivia Quiz Night

With a team or by yourself. Varied prizes. 7.30pm. Free.

wednesday august 27 Art Exhibitions Yvette Fitzpatrick

Paintings with bold sweeps of colour & texture. Until Aug 28. 9am-10pm. Free.

HELLENIC CLUB (WODEN)

Presence and Absence & The Price of Oil

Recent paintings by Edwin Gardiner.

Tue-Sat 10am-5pm. Opening Aug 26 at 7pm. Until Sep 6.

THE Q - QUEANBEYAN ARTS CENTRE

Offline

Theatre

A. BAKER

Macquarie Digital Portraiture Award

The Importance of Being Earnest

Trivia

Screen based portraiture finalists.

10am-5pm daily. Free.

Fame Trivia at Woden

Australian Idle

THE PLAYHOUSE

Great prizes to be won. 6.30pm.

Board Games and Mulled Wine.

5pm-late.

THE TRADIES (WODEN)

Fame Trivia at Dickson

Great prizes to be won. 7pm.

THE TRadies (dickson)

Fun, laughs & prizes! 8pm. Free.

POLIT BAR & LOUNGE

2XX Trivia Night

Support a significant community station. Time TBA. $TBA. THE FRONT GALLERY AND CAFÉ

thursday august 28

THE PHOENIX BAR

Mulled Games

NISHI GALLERY

NATIONAL PORTRAIT GALLERY

By Sacha Pola. Aug 21-31. Wed-Sun 11am-5pm Free.

CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

The Light Part of Every 24hrs

The work of Clare Jackson & Georgia Black. Until Sep 1.

THE FRONT GALLERY AND CAFÉ

Arcadia: Sound of the Sea

Expression of the 70s. Aug 14 - Oct 19.

10am-5pm daily. Free.

NATIONAL PORTRAIT GALLERY

52

Louise Paramor & Peter Maloney. Until Sep 27. Tue-Fri 11am-5pm. Sat 10am4pm. Free.

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Exhibition of rare & unique Lego.

8.30am-5.30pm.

PALACE ELECTRIC CINEMA

On Men

THE FRONT GALLERY AND CAFÉ

Work by artists represented by Jas Hugonnet online gallery. Aug 16-31.

11-3pm.

International Documentary Film Festival.

Thu-Sun until Aug 31.

ANU DRILL HALL GALLERY

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

Something Different

Stronger Than Fiction

The rapport between music & visuals.

Until Sep 25. Wed-Sun 12-5pm. Free.

Something Different

Brick Expo

Film

Colour Music

Live Music

THE PHOENIX BAR

sunday august 24

ALLIANCE FRANÇAISE

Karaoke Love

LITTLE BROOKLYN

QUESTACON

2pm & 8pm. $40-$65.

Mon-Thu 9am-8pm. Fri 8am-5pm.

Until Sep 3.

Karaoke

Presented by CIT with Mondecreen, Citizen Kay, Monster Piece + Michael Walsh. 8pm. Free.

HELLENIC CLUB (WODEN)

ANU Emerging Artists Exhibition

Acoustic local & interstate musicians.

4pm. $TBA.

Dr Graham Walker’s demos with DJ sixfootsix. 11-11.30am. Free.

Double Decker Science

Recent paintings by Edwin Gardiner.

Tue-Sat 10am-5pm. Opening Aug 26 at 7pm. Until Sep 6.

The work of Clare Jackson & Georgia Black. Until Sep 1.

Man a Man a Mwnci. 2pm. Free.

King Buzzo

10.30pm. Free.

Presence and Absence & The Price of Oil

The Acoustic Sessions Elvis to the Max

TRANSIT BAR

Art Exhibitions

THE Q - QUEANBEYAN ARTS CENTRE

Hypnotic indie pop. 7.30pm. $12.

THE FRONT GALLERY AND CAFÉ

tuesday august 26

Film Stronger Than Fiction

International Documentary Film Festival.

Thu-Sun until Aug 31.

PALACE ELECTRIC CINEMA

Live Music National Campus Band Comp

The biggest live band comp in Australia.

8pm. Free. Info: anuunion.com.au ANU BAR AND REFECTORY

Something Different Shaken & Stirred

Burlesque glamour. 7.30pm. $20. Book at: politbar.co POLIT BAR & LOUNGE

friday august 29 Film Stronger Than Fiction

International Documentary Film Festival.

Thu-Sun until Aug 31.

PALACE ELECTRIC CINEMA

Live Music Mark McHale 6.30pm. Free.

OJO CAFE AND BAR

Live Music

Acoustic local & interstate musicians.

9.30pm. $TBA. LITTLE BROOKLYN

@bmamag

ENTERTAINMENT GUIDE Sat Aug 30 - Tues Sept 9 saturday august 30 Art Exhibitions On Men

Louise Paramor & Peter Maloney. Until Sep 27. Tue-Fri 11am-5pm. Sat 10am4pm. Free.

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Presence and Absence & The Price of Oil

Live Music

Trivia

True Vibenation

Quiz Night

Recent Triple J Hip Hop show album of the week. 8pm. Presale via Moshtix.

TRANSIT BAR

Live Music

Acoustic local & interstate musicians.

9.30pm. $TBA. LITTLE BROOKLYN

Something Different

Recent paintings by Edwin Gardiner.

Tue-Sat 10am-5pm. Opening Aug 26 at 7pm. Until Sep 6.

Dinner with Helena and Vikki

Offline

ANU School of Art Open Day

THE Q - QUEANBEYAN ARTS CENTRE

Work by artists represented by Jas Hugonnet online gallery. Aug 16-31.

11-3pm.

Meet the popular TV personalities. 6pm. $100. Book at: 6281 0899.

HELLENIC CLUB (WODEN)

Open studios & course info. 9am-4pm.

ANU SCHOOL OF ART

sunday august 31

NISHI GALLERY

Macquarie Digital Portraiture Award Screen based portraiture finalists.

10am-5pm daily. Free.

NATIONAL PORTRAIT GALLERY

Australian Idle

By Sacha Pola. Aug 21-31. Wed-Sun 11am-5pm Free.

Film Stronger Than Fiction

International Documentary Film Festival.

Thu-Sun until Aug 31.

PALACE ELECTRIC CINEMA

NATIONAL PORTRAIT GALLERY

ANU Emerging Artists Exhibition

Mon-Thu 9am-8pm. Fri 8am-5pm.

Until Sep 3.

ALLIANCE FRANÇAISE

Colour Music

The rapport between music & visuals.

Until Sep 25. Wed-Sun 12-5pm. Free.

ANU DRILL HALL GALLERY

Film Stronger Than Fiction

International Documentary Film Festival.

Thu-Sun until Aug 31.

TRANSIT BAR

Get your singing voices out for the night. 8pm-11pm. Free.

By The Song Company. 6pm. $TBA. WESLEY UNITING CHURCH

Fashion and treasures market, clothes and much more. 10am-3pm. $3.

EXHIBITION PARK IN CANBERRA (EPIC)

ALLIANCE FRANÇAISE

sunday september 7

Colour Music

Live Music Band Java

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

IQ Trivia Fun

Fun, laughs & prizes! 8pm. Free.

POLIT BAR & LOUNGE

Something Different Fash ‘n’ Treasure

Mon-Thu 9am-8pm. Fri 8am-5pm.

Until Sep 3.

Karaoke Love

Karaoke Madness

Karaoke Night

Vocal Fireworks

ANU Emerging Artists Exhibition

Trivia

TRANSIT BAR

Live Music

Expression of the 70s. Aug 14 - Oct 19.

10am-5pm daily. Free.

Karaoke

Karaoke

NATIONAL PORTRAIT GALLERY

NATIONAL PORTRAIT GALLERY

Something Different

PALACE ELECTRIC CINEMA

Expression of the 70s. Aug 14 - Oct 19.

10am-5pm daily. Free.

Screen based portraiture finalists.

10am-5pm daily. Free.

Sunday Sessions

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

Arcadia: Sound of the Sea

Macquarie Digital Portraiture Award

ANU DRILL HALL GALLERY

tuesday september 2

THE Q - QUEANBEYAN ARTS CENTRE

THE Q - QUEANBEYAN ARTS CENTRE

A BITE TO EAT CAFE

LITTLE BROOKLYN

Recent paintings by Edwin Gardiner.

Tue-Sat 10am-5pm. Opening Aug 26 at 7pm. Until Sep 6.

Recent paintings by Edwin Gardiner.

Tue-Sat 10am-5pm. Opening Aug 26 at 7pm. Until Sep 6.

Smooth Jazz/Funk. 5-7pm. Free.

Acoustic local & interstate musicians.

4pm. $TBA.

Presence and Absence & The Price of Oil

Presence and Absence & The Price of Oil

The rapport between music & visuals.

Until Sep 25. Wed-Sun 12-5pm. Free.

The Funky Monkeys

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

KING O’MALLEY’S IRISH PUB

From The Smith Street Band with Georgia Maq. 8pm, presale via Oztix.

Louise Paramor & Peter Maloney. Until Sep 27. Tue-Fri 11am-5pm. Sat 10am4pm. Free.

On Men

THE FRONT GALLERY AND CAFÉ

Expression of the 70s. Aug 14 - Oct 19.

10am-5pm daily. Free.

On Men

Louise Paramor & Peter Maloney. Until Sep 27. Tue-Fri 11am-5pm. Sat 10am4pm. Free.

NATIONAL PORTRAIT GALLERY

Wil Wagner

ANU DRILL HALL GALLERY

Art Exhibitions

Irish Jam Session

Arcadia: Sound of the Sea

The rapport between music & visuals.

Until Sep 25. Wed-Sun 12-5pm. Free.

wednesday september 3

The Light Part of Every 24hrs

Traditional Irish music. From late afternoon. Free.

Colour Music

THE PHOENIX BAR

Live Music

The work of Clare Jackson & Georgia Black. Until Sep 1.

Art Exhibitions

With a team or by yourself. Varied prizes. 7.30pm. Free.

Arcadia: Sound of the Sea

CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

saturday september 6

Therapy music to drink & socialise with.

5-7pm. Free.

A BITE TO EAT CAFE

tuesday september 9 Karaoke Karaoke Madness

58,000 songs to choose from. 8pm late. Free.

POLIT BAR & LOUNGE

58,000 songs to choose from. 8pm late. Free.

POLIT BAR & LOUNGE

GUNDAROO COLONIAL INN

OUT

Aug 27

Andy bull sticky fingers johnny roadkill pop will eat itself ...and more!

facebook.com/bmamagazine

53

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

After Hollywood Where did your band name come from? It’s a reference to the Go-Betweens’ seminal album, Before Hollywood.

Group members? Chloe (vocals/keys), Liam (guitar), Jose (bass), Angus (drums) Describe your sound: Sophisticated indie pop, with a dash of psychedelic rock.

Who are your influences, musical or otherwise? The Australian indie scene from the late 70s / early 80s (The Saints, The Go-Betweens, Birthday Party, Laughing Clowns, The Church, The Triffids etc). Contemporary indie bands (Vampire Weekend, The Killers, Pond, Group Love, Tame Impala). Classic bands (Velvet Underground and Pink Floyd).

What’s the most memorable experience you’ve had whilst performing? Playing to a fantastic crowd at our recent EP launch.

Of what are you proudest so far? Recording and releasing our debut EP, White Lies.

What are your plans for the future? Playing as many gigs as possible, touring, writing songs and recording an album next year.

What makes you laugh? Liam, our guitarist, usually has us all in stiches with one of his crazy stories.

What pisses you off? Politicians trying to control the internet (this also makes us laugh).

What about the local scene would you change? More venues, more all-age venues, more live music.

What are your upcoming gigs? Wednesday, October 8, Acoustic Soup, ANU Food Co-op, Saturday, 22 November 2014, Tuggeranong Community Festival Contact info: facebook.com/After.Hollywood/ triplejunearthed.com/artist/after-hollywood/ after.hollywood@gmail.com

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 Cole Bennetts Photography 0415982662 Danny V Danny 0413502428 Dawn Theory Nathan 0402845132 Danny 0413502428 Dorothy Jane Band, The Dorothy Jane 0411065189 dorothy-jane@dorothyjane.com Drumassault Dan 0406 375 997 Feldons, The 0407 213 701 FeralBlu Danny 0413502428 Fire on the Hill Aaron 0410381306 Lachlan 0400038388 Fourth Degree Vic 0408477020 Gareth Dailey DJ/Electronica Gareth 0414215885 Groovalicious Corporate/ weddings/private functions 0448995158

54

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 Greg greg@gunfever.com.au 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

@bmamag

ad space

facebook.com/bmamagazine

55

ad space

56

@bmamag