BMA Magazine 447 - 27 August 2014

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NEW COMEDY NIGHT IN CHARNWOOD: COS CHARNWOOD IS FUNNY

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 Jeremy Stevens Graphic Design Chris Halloran Film Editor Melissa Wellham NEXT ISSUE 448 OUT Sep 10 EDITORIAL DEADLINE Sep 3 ADVERTISING DEADLINE Sep 5 Published by Radar Media Pty Ltd ABN 76 097 301 730 BMA Magazine is independently owned and published.

Opinions expressed in BMA Magazine are not necessarily those of the editor, publisher or staff.

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GROWING GREAT ARTS LEADERS: NOT A CONTRADICTION IN TERMS

CARPE DIEM BY HAVING A TOP NIGHT OUT The ANU Film Group, Australia’s largest film society, will be celebrating the life and legacyof the late Robin Williams with a special tribute screening of two of his most beloved films – Dead Poets Society and Good Morning, Vietnam. Many around the world and in Canberra were deeply saddened to hear of the passing of Robin Williams last week. The ANU Film Group’s special one-off theatrical screenings bid farewell to a unique talent, and pay tribute to the profound impact that his work has had on the lives

of so many. In Dead Poets Society, Williams stars as an unorthodox English teacher who encourages his students to seize the day and go against the status quo, changing their lives and his own in the process.

Directed by Peter Weir, the film was nominated for 4 Academy Awards in 1989, including Best Picture and Best Actor for Robin Williams. Then, revisit the breakthrough big-screen role that earned Williams his first Oscar nomination in 1987’s Good Morning, Vietnam, Williams plays an irreverent DJ who shakes things up when he is assigned to the US Armed Services radio station in Vietnam. Membership of the ANU Film Group is open to everyone, and will be available for purchase at the door from $15. The Group will also be donating $5 from all sales on the night to Lifeline Canberra in recognition and support of those dealing with depression.

Catch the Robin Williams tribute on Sunday August 31 from 6pm at the Coombs Theatre, located at the ANU behind the National Film and Sound Archive. More info via anufg.org.au.

In a world of diminishing funding and increased expectations it’s more pertinent than ever to encourage leadership in the arts. Word has it that a successful leader needs more than free gig tickets and an arsenal of effusive compliments at their disposal - arts lobby and advocacy body The Childers Group have wisely identified the desirable attributes to include vision, motivation, inspiration, and sustainability. The former might contribute to a successful tenure as BMA editor, the latter might help you move forward in your career as an artist or arts administrator. But how do you learn those skills? The Childers Group is tackling these big issues in a half-day forum to be held on Monday, 1 September, 2014 from 12 noon to 5pm at the Canberra Theatre Centreand Canberra Museum and Gallery. The Arts Leadership Forum aims to assist younger and newer administrators to become leaders, as well as supporting experienced

It’s deadline, and we’ve been trying to think of a witty caption for an hour - we got nada.. Maybe this guy’s writing one.

The dude who looked like a lady will be missed #447August27

American-born Sydney comedian Tommy Dean will headline the opening night of Canberra’s newest comedy room ‘The Bunker’ at the Ginninderra Labor Club in Charnwood on Saturday, September 6. Hosted by Canberra comedy regular and confirmed 1995 Charnwood High School graduate, Greg Kimball, the night will also feature hilarious locals Danny Bensley, Sophie Rutzou and Emo Parsonson. Tommy Dean will be the first of monthly Bunker Comedy nights to be held on the first Saturday of each month until the end of the year. Catch the first show on Saturday September 6 at 730pm. Tickets are $16.50 via trybooking.com. More info on upcoming shows at comedyact. gov.au.

managers to further enhance their skills. It will also provide opportunities for networking with speakers and peers. A networking lunch, two plenary sessions and diverse breakout workshops will provide a unique opportunity to share ideas and join in conversation with speakers and other participants who are helping shape the future of arts leadership in the ACT region. One of the speakers is Bossman Allan Sko but don’t let that deter you.

For more information head to childersgroup.com.au

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FROM THE BOSSMAN I have just returned from the thoroughly real Accredited Council for Ruling Over New Innovations in Mouthings (or ACRONIM for short). Us word wizards meet every second trimonder when Venus - the known giver of words - rests in the fertile celestial grammar quadrant.

And so it is that I return, flushed of cheek and swollen of brain, to deliver unto you dear reader the new terms that will be incorporated into common useage. For years we struggled with ‘you know that strange feeling you get when’ and needing a word for ‘that thing’, but no longer. Now, joining known favourites such as Funstop, where you remember the funny thing you should have said seconds after the moment has passed and Listfail, when you can’t think of a second example for a column, here are the latest additions to the human canon. Enjoy. And as we say in ACRONIM meetings... Don’t be a Sangefreunde!

Scheissefrusten - the frustrating moment that occurs a split second after showering and putting on clothes when you realise you need a poo Eurekargh! - the moment of realisation that occurs when you’re just far enough away from a location to make it annoying that you’ve left something important behind Occstupation - the moment when you realise you’ve done something stupid at work. Includes annoying all your contacts by accidentally using the CC field instead of the BCC field for a mass mailout, sending an inflammatory email about someone to the person you’re badmouthing, and hitting Reply To All instead of Reply

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.]

On Saturday night, I stood on Northbourne Avenue for 50mins, waiting to be admitted to Peking Duk’s show. Which I bought a ticket to three weeks ago. Yes, a ticket. One would assume that a ticket that cost $38.50 would in fact afford you entry to the venue. Apparently not. Not only were unadmitted ticket holders waiting on the street, but anyone who had previously entered the venue also had to line up to re-enter. In addition, your week-long scare campaign designed to force ticketholders to arrive earlier than necessary, caused all the people standing outside your doors to be under the impression that they were in fact missing a show that they had paid for. Yet the support acts you claimed would be on early were still on stage when we finally got in after 1AM. I don’t know if you oversold the door tickets or just oversold the event in general, but the point of having a ticketed event is that YOU KNOW HOW MANY PEOPLE ARE COMING. On a side note, I’m not sure whose bright idea it was to book two of Canberra’s biggest exports on the same night at separate events, but perhaps all these issues could have been avoided with an Aston Shuffle-Peking Duk double header. Duh.

To Make Someone’s E-quaintance - to meet someone for the first time over email Seeyagit - an expulsion or expletive uttered immediately after putting down the phone and ending a superficially pleasant conversation (“OK mate, so redo the whole thing, yeah? I’ll get right on that for you. Cheers, bye!... <hang up> ...Twat”) Frutile - a child’s failed attempt to convince their parents they have enough room in their stomach for dessert but not for fruit Forelog - the temporal opposite to the backlog of work that awaits someone upon their return from holiday, a forelog refers to the mountain of work that must be completed before going on holiday Slurvian - the deft tongue or language adopted by drunkards, prevalent in ‘sch’ and ‘ssss’ sounds. (“Want to get a kebab?”// “Schoundsss like a plan.”)

BM - referring to a time before mobile phones (“When were you born, Timmy?”// “10 BM, Miss.”)

Faux-setto - describes that special high-pitched octave that enters the voice when randomly running into someone you don’t really want to converse with and yet still need to be polite to, such as your sibling’s ex girlfriend Groundhog Dismay - the infuriating habit of making the same quirky, time-wasting mistake on a daily basis, such as forgetting your mobile, leaving the milk out of the fridge, or staring at an object you need to bring with you convinced you’re going to remember it only to forget about it later ALLAN SKO - allan@bmamag.com

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WHO: THE LITTLE STEVIES WHAT: GIG WHEN: SAT AUG 30 WHERE: SMITH’S ALTERNATIVE

WHO: SORREL NATION WHAT: GIG WHEN: SUN AUG 31 WHERE: HOPSCOTCH BAR

WHO: Context & Jimmy Flipshyt WHAT: EP LAUNCH WHEN: FRI SEP 5 WHERE: TRANSIT BAR

WHO: The Ellis Collective WHAT: ALBUM LAUNCH WHEN: SAT SEP 6 WHERE: THE STREET THEATRE

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WHO: Conan WHAT: AUSTRALIAN TOUR WHEN: SAT SEP 20 WHERE: THE BASEMENT

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WHO: Marianne Scholem WHAT: ALBUM LAUNCH WHEN: SAT SEP 20 WHERE: SMITH’S ALTERNATIVE

Having delighted audiences at the last national Folk Festival, sister duo The Little Stevies will be back in town to play the cozy confines of Smith’s Alternative. Having dropped their third album, Diamonds For Your Tea, late last year to critical acclaim, the girls are gearing up for a crazy busy festival season before skipping the country for New Zealand tour. The duo will be bringing their five piece band to accompany their breezy tunes, layered harmonies and sweet songwriting This intimate night will be capped off with support from locals Pocket Fox. Time and price TBA Welcome the recent addition, English singer-songwriter Sorrel Nation, to Canberra’s bubbling music scene with an afternoon gig at the very hip Hopscotch bar, a perfect way to while away a lazy Sunday. Having paid her dues in her hometown stomping ground of London and lapping up praise, Nation is now set to win over Australian audiences as she makes Canberra her new home. She’s been writing, performing and recording her music since age thirteen and now has made the big move to Canberra, bringing her pristine pop with her. 3pm-6pm. Price TBA. Adding to the already thriving Canberra hip hop scene, Canberra/ Cairns duo Context & Jimmy Flipshyt have teamed up again to drop their second EP, Fire In The Basement. Featuring the classic boom-bap sound the duo are renowned for, the EP is loaded with esoteric samples, guests and cheeky sense of humour. To celebrate the release, the duo will be in town to launch it as Transit. The night doesn’t end there – Stateovmind will also be launching his latest EP, The Crate Tape, plus Uncle Toby, Legit N Miss M, Lash, Phishbone, Pesik and Krumb, all hosted by Coda Conduct. $10. 8pm.

Nationally praised for their dark folk sound, beloved locals The Ellis Collective have just released their hotly-anticipated sophomore effort, Carry. Anchored by frontman Matty Ellis’ unflinchingly raw and distinct vocals, coupled with soaring strings, The Ellis Collective have been carving out their place in the Australian music landscape and Carry on is no exception. Lead single ‘Black Words’ has already snagged rotation on Triple J, with its emotionally-charged, narrative driven lyrics. They’ll be performing at The Street Theatre on Saturday September 6. Support from Kira Puru (of The Bruise). Tix $25 presale from the venue or $30 at the door. 8pm.

Looking for a good ear pounding? England’s mighty Conan are making their Australian debut and if the rave reviews from across the pond are anything to go by, you won’t wanna miss their Canberra show. Hot on the heels of their sophomore release, Blood Eagle, doom metal racket-makers Conan will be hitting our shores to stir up some noise. Head along to The Basement Tuesday September 8 to catch the double whammy onslaught of Conan and sludge doomers Yanomamo, who are along for the ride. With support from Looking Glass and Mammon. Ticket price TBA. 8pm.

With stints at Art No Apart and You Are Here as well as Smiths, Transit and The Front, local singer-songwriter Marianne Scholem has been delighting Canberra audiences with her piano-driven pop ballads. With a musical style that veers towards Regina Spektor and Kate Miller-Heidke theatrics, Scholem combines wistful tales with a sharp pop sensibility. Since mid-last year, Scholem penned a song a month and the result is her first album, Ten Months.Drawing inspiration from turbulent relationships, her debut is a solid concept album that details a doomed romance over the course of ten months. Time and price TBA – keep your eyes peeled.

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RORY MCCARTNEY Formed in 2008 from the dregs of local band Dog Act, JOHNNY ROADKILL took on a darker mantle as they chose a path of heavier riffs and more insistent rhythms. Now, after two EPs and a significant line-up change, the band has released its first LP. BMA caught up with bassist Paul McMillan and drummer Jay Blackwell to get the details of their journey to this point.

Blackwell begins, “While we originally started out under the Dog Act name, we sensed a change in our direction from our light rock beginnings and wanted to start afresh.” McMillan adds, “Our current guitarist Paul Blackwell used to be in Dog Act with us and when we were searching for a name for that band, Johnny Roadkill was one of his suggestions. Many years later, searching for a new name, we asked him if he was cool if we used it. A few more years down the track, he’s back with us in the band. Who would have thought?”

something on his guitar and we all start playing along. If it works, it works. If it doesn’t, then it goes on the ‘to be continued’ pile.” For the title track to their debut album Dead in the Head, McMillan had the music well sorted before he introduced it to the other members, with vocalist Dave Wine conjuring up the lyrics. “Dave is always writing things down; little stories or poems in a book,” says McMillan. “He automatically knows he’s got something for a song, flips through the book and pulls out the lyrics, which can be cryptic and taken in many different ways.”

Blackwell tells how he added his own touches to the title song.

“We sat down and wrote it, with the off beat on the high hat.

Myself being the drummer, I sat there and listened to the song and had an idea of what I wanted to play in here,” he says. “Initially, a couple of the guys were uncomfortable with the different sound but, after playing it through a couple of times, they grooved along to it and the off beat ended up driving the whole rhythm. We don’t want every song sounding the same with the standard four / four bang, bang, bang, bang.”

We don’t want every song sounding the same with the standard four / four bang, bang, bang, bang

Johnny Roadkill is strictly heavy rock, taking their cue from such outfits as Kiss, AC/DC, Anthrax and Avenged Sevenfold.

“Our style has evolved a bit,” explains McMillan. “While remaining true to a hard rock, it has experienced a shift in the sound with the change in our two guitarists. We cross a lot of borders, feeling at home playing with punk, rock or metal bands.”

Blackwell quips, “We’ve even played with a country band on the bill.”

In 2011 Johnny Roadkill had a well established line-up, but subsequently lost its guitarists as one went overseas and the other went on a different musical path. “A lot of people doubted whether we could continue as a band,” says Blackwell. “People often see the guitarists as the key songwriters. However, we write our music as a five piece writing instrument.” Having established their name, the band was keen to continue and rather than perceiving the change as a loss, saw it as means to progress onwards. McMillan adds, “The new guitarists brought a certain attitude with them and their own individual image, which complemented the band and gave us an injection of life, inspiring us to carry on and aim for better things.”

A question about what drives their song themes draws prolonged laughter from the two guys (clearly there’s no deep and meaningful process here). McMillan recovers and explains, “There’s a whole range of things. We don’t often sit down and decide that we’re going to write a song about a given topic. Often I come up with riff to show the guys at rehearsal. If they’re feeling it, the song evolves naturally.”

Blackwell elaborates, “Like Paulie said, he might start playing something on his bass or Blackie [Paul Blackwell] might start

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A question on funds for the recording draws more laughs. “Everything’s hard to raise funds for these days,” says Blackwell. “Being in a local band, you have to fund a lot of things yourselves. In hindsight, we maybe should have looked at crowd funding which a lot of bands seem to be doing. However, that has only been popular in the last six to 12 months and we recorded prior to that period.”

While The Basement is their main base, Johnny Roadkill has played at Transit, ANU, PJ’s; Magpies – anywhere that will have them. They love it when the crowd is on side with them. “One of our songs, ‘Running Home’, is a crowd favourite, almost like our anthem”, says McMillan. “It’s a real buzz when the crowd is getting into the whole whoa-whoa-whoa thing, singing the words back to you. It gives us a lot of energy.” Blackwell adds, “From a drummer’s perspective, I look forward to ‘Dead in the Head’ because it’s different to the rest of the songs.”

Johnny Roadkill is a frequent visitor to Sydney and has also played at Dubbo and Wollongong. They see the Canberra scene as heading in a positive direction. Blackwell says, ‘It’s at a really strong point at the moment and is growing again. We have had some great bands on the bill and impressive turnouts at the shows. While there was a lull 12 months ago, local crowds are growing again.

Sydney bands are saying that Canberra is the place they want to play at the moment.”

Johnny Roadkill, with support from Tonk, The Khalasar and Cinnamon Lane, play The Basement on Friday September 19 at 8pm. Tickets $10 at the door.

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LOCALITY

It’s here! It’s that lovely little period where winter starts to fade and spring begins to show her face before pulling a sly one and making it cold again. Nevertheless, there are plenty of local acts blooming around town to prove that yes, the sun will be coming soon. Psychedelic fuzz-rock trio Looking Glass will be playing tons of new tunes at The Phoenix on Saturday August 30 in preparation for a studio stint in the coming weeks. They’ll be supported by A Drone Coda, with with entry setting you back a measly $5, and doors thrown open at 9pm. The laid-back folk-rock sounds of Fire on the Hill will return to The Phoenix on Saturday September 6 from 8:45pm. This will be more than just your average night out; with the gents celebrating 10 years playing tunes together, there’s sure to be a few sing-alongs rising from their loyal local following.

There have been a few new Canberran releases unleashed in the last few weeks, which is always very exciting. Tom Woodward has put out Clichés and Mirrors, his first EP in a good while, complete with some fetching cover art depicting Mrs Gina Rinehart and her favourite pet, and it’s full of lovely alt-country tunes that are nothing like what the cover indicates you should expect. If you want some lilting, smoky sounds in your ears full of banjo, slide guitar and a voice that sounds like it should be coming from a cowboy rather than a fellow in a white jacket with peroxide-blonde hair, head over to tomwoodward. bandcamp.com and grab yourself a digital copy of the EP – having just broken his arm, , I’m sure Tom would greatly appreciate any funds you could throw at him.

Raus has also released a new LP, and it’s called… LP. Out through hellosQuare recordings, it’s spacey and quite fun, with what appears to be a Jim Morrison-influenced vocal style. If you’re a bit of an audiophile, you can pre-order this release on limited edition vinyl, or if you’re a little less hip, you can find it via hellosquare. bandcamp.com. If you’re looking for local sounds with a whole ton of atmosphere that will both delight and unsettle you, it is definitely worth checking out Sensaround and their new 5-track release, Isotropes. Spooky yet full of really fun free improvisation, it’s kind of like a clown that hasn’t quite crossed over to the dark side… yet.

That’s a weird summary, but it feels appropriate for some reason.

Like Raus’ new album, you find it on the aforementioned hellosQuare Bandcamp page. As one of Canberra’s greatest supporters of local music, 2XX FM are always keen to expand their Canberra music collection, and have put the call out for interested bands to submit their music for their general playlist. Should you feel like a bit of community radio airplay, send your new/old/blue (borrowed need not apply) tunes to music@2xxfm.org.au. Keep in mind that WAV/ FLAC files are preferred, but if you have another format that is of a high quality, drop them an email and they might be able to help you out! ifAnd as a final teaser: word is that Glitoris will be playing another gig soon… More news as it comes to hand.

NONI DOLL NONIJDOLL@GMAIL.COM/@NONIDOLL

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STICKY SITUATION gus mccubbing After releasing their much acclaimed debut album, Caress Your Soul, in March 2013, STICKY FINGERS dropped their second album, Land of Pleasure, earlier this month. Sitting down for a phone interview with the band’s bassist, Paddy Cornwall, we briefly paid our tributes to The Sopranos before getting stuck in to how he linked up with two guys he knew from kindergarten and high school, found a singer busking on the streets of Newtown, formed a band and became famous.

Frontman Dylan Frost was only 16 when Cornwall and friends stumbled across him plying his wares in Sydney. “He was fresh off the boat from Auckland, New Zealand,” explains Cornwall. “He was just this chubby boy with black hair down to his knees.” And yet despite this less than impressive aesthetic, “He just had this voice…” Since then, the band’s line-up has remained unchanged, something which has allowed the band to knuckle down and get shit done. For example, Land of Pleasure was recorded at Rocking Horse Studios, twenty minutes inland from Byron Bay, the very day after returning to Australia from their European tour. “We worked obsessively in that studio day and night,” Cornwall says. “You couldn’t have pulled us out of there if you tried.” Despite now having a good relationship with the producer of their two albums, Dann Hume, it appears that for a time Sticky Fingers were a strong advocate of the ‘fake it till you make it’ strategy. Hume, Cornwall explains, stumbled across the band for the first time when they played at the Newtown Festival a few years back. “He was caught under the illusion that he was actually watching a semi-famous band, which he wasn’t,” says Cornwall. “We were just famous in that postcode and had, like, 200 of our mates there singing every word. He came over and asked for a CD and I jokingly said that we’d sold out…”

He was just this chubby boy with black hair down to his knees [but] he just had this voice

Despite having earned a reputation as a barnstorming live band, it appears that Sticky Fingers are now paying equal attention to putting out finely-honed albums and rollicking video clips. While mentioning Gorillaz, The Clash, The Stone Roses, The Scientists and “lots of old school reggae” as major influences upon Land of Pleasure, Cornwall says the main difference between the albums and the band’s live experience just comes down to intensity. “On the album you’re gonna hear a lot more production, whereas live it’s an honest, rambunctious, shambolic fucking version of the songs that still manage to deliver a euphoric kind of party vibe,” he says. Meanwhile, Cornwall points American Hustle as the inspiration behind video clip of ‘Gold Snafu’, their latest single. We wanted to “re-create Christian Bale’s characters,” he explains. “This overweight, past-his-prime loser who still thinks he’s bigger than he is, but then gets a bit of shake-up.”

Sticky Fingers play Transit on September 3 and 4, with both dates already sold out. Land of Pleasure is in stores now.

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BULL BY THE HORNS NONI DOLL If his latest album is anything to go by, ANDY BULL really likes to leave his audience incredibly emotionally conflicted. It’s a release that’s full of tracks that are catchy and fun while also managing to be introspective and challenging. Bull says that’s a vein he really likes tapping into. “I find it inspiring, the ambiguities of life… the mix between the appearance of something and the actual meaning of it as well. There are opposites and polarities all the time in life and I think that’s what music is good for legitimising.”

The release of Sea of Approval marks the end of a long recording process for Sydney-based Bull, having filled all the performance, recording and producing roles on his own. Spending all that time alone doesn’t seem to have fazed him much, though. “It’s good in a lot of ways because you’re not bothering anyone else and you can work to your own schedule,” he says.

you’re doing covers of your own songs, which is really good. It’s a nice feeling

But he’s not afraid to acknowledge that there were challenges, adding that sometimes a little bit of support is handy when things aren’t going how you planned.

“When it’s not going very well or it feels really hard or it feels like you’re not making as much progress, that can be quite challenging. Once or twice, friends came around and were like, ‘you’re doing really well!’ and that was a big refresher for me. To have someone else there was really encouraging. But seriously, that only happened about half a dozen times throughout the recording process, so yeah, you talk about the madness – I didn’t do it very well.”

Having come off such a gruelling solo project, it’s no surprise that Bull is keen to get back on the road with a full band. He says that the addition of other members has changed the way he looks at the songs on the album, accentuating certain elements for the live show. “It’s reimagined… It’s not a facsimile of the record by any means. But I think it’s really good,” he says. “I find it really exciting because it kind of comes to life again. I like to think of it like you’re doing covers of your own songs, which is really good. It’s a nice feeling.”

Just before we wrap up our chat, Bull notes that his set at Transit Bar will be the first time he’s played in the nation’s capital without being a support for another artist. He mentions last played here as part of Groovin’ the Moo and had a great time. Does that make him excited for his next visit? “It looks like tickets are selling, which is kind of a novelty, people buying tickets ahead of the show… I think that means there’ll be a nice atmosphere in the room. I do like Canberra. I hope they like me!”

Andy Bull will play Transit Bar on Thursday September 11at 8pm, with support from New Navy. Tickets are $25 + bf through Moshtix.

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We had to make sure we had shit hot musicians to take us forward

TALL POPPIES TATJANA CLANCY When I talk to POP WILL EAT ITSELF frontman Graham Crabb via Skype, it’s quite an effort to contain my inner fangirl; after all 1989’s seminal This Is The Day, This Is The Hour, This Is This is in my top five albums of all time.

PWEI are touring Oz for the first time in 20 years, yet show no signs of straying from the high octane/sample driven onslaught that put them in a genre all their own, often at the expense of a broader fan base. “In the end you question was that the sort of thing that held the band back, people did say we were ahead of our time but then that can mean you never really get the recognition you deserve” says Crabb. Thankfully the band didn’t change their approach “It just comes naturally, you write and put things together in a way you find entertaining and the way you’d want to hear it from someone else, we never had big theories about what we’d do next and how we’d be received, we just did what felt right each time”. After a brief reunion in 2005, the band reformed with Crabb as the only original member.

He remains chief songwriter, but is now joined by his wishlist of

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musicians; fans of the band that jumped at the chance to play in PWEI mark two. “ I’m joined by Mary Byker from (Apollo 440) Tim Muddiman, Jason Bowld (Killing Joke) and Davey Bennett (This Burning Age) says Crabb. “They’re all excellent, they had to be really, when we were putting together a new version of the band, we had to make sure we had shit hot musicians to carry us forward;” Former drummer Crabb says he did a ‘Phil Collins’ and got out from behind the drum kit to give the live shows more dynamism. “Apart from live drums, bass and guitar, a lot of the samples will be via a backing track, Mary and I want to be as live, in your face and visual as possible, we concentrate purely on the vocals, I think that draws more people in”. Fans can expect a mix of old classics like ‘Def Con One’ and ‘Wise Up Sucker, as well as material from 2011’s New Noise Designed

By A Sadist and tracks from a new release due in October.

20 years on, Crabb admits that the experience of touring has mellowed slightly, but still has its wonderfully odd moments, ”The other night we did a festival where we stopped off at a town on the way back and started necking double JD’s, there was this couple that were following us around who were a bit weird; squeezing each others body parts in front of us and telling us what they were going to do to each other later, an unsavoury looking couple definitely”.

Still ‘Preaching to the Perverted’ then. I plan to request ‘In The Air Tonight’.

PWEI play the Manning Bar in Sydney on September 6. Tickets $66.60 inc bf via metropolistouring.com. Meet and greet packages available.

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THE REALNESS On Friday September 5 the Beat Basement Records and Capslock Collective will take over Transit Bar, hosting a launch party to celebrate the release of not one but two recent EP projects.

Canberra MC Stateovmind will be headlining alongside Context & Jimmy Flipshyt to showcase tracks from their recently released EPs. Support slots on the night will be supplied by Legit N Miss M, Lash, Phishbone, Pesik and Krumb and the night will be hosted by Coda Conduct.

The Crate Tape EP is the fourth solo release from Stateovmind and is entirely produced by Develop from Beat Basement Records.

This five track extended play sees Stateovmind move away from the cleaner sound of his previous releases and take a slight detour towards a much more raw ‘boom bap’ sound. The Crate Tape is a unique twist on a tried, tested and effective formula and is inspired by a time when you listened to your favorite hip hop album on a dubbed TDK cassette tape.

Fire In The Basement by Context & Jimmy Flipshyt is the second release by the duo and picks up where things left off with The Shadows. The EP weighs in at eight tracks and builds on the boom bap sound that the duo have become known for. In addition, the EP touches on some deeper concepts and introspective lyrics. With feature verses from BVA, P.Smurf, Sinks, Stateovmind, Mattrix and Dane One Redefinition Records have been very busy of lately, releasing an impressive list of releases that heads should sit up and take notice of. First off the bat is a very rare gem that not many people would have had the chance to ever listen to, until now. K-Def’s original beat tape (yes the actually cassette) he shopped to the legendary Marly Marl, has been dusted off and given a limited edition vinyl and cassette run. Re packaged as Tape One, it features rare and unheard instrumentals and demos produced on various samplers, including the MPC60 during the late 80s and early 90s, in his formative years as a budding producer.

Also worthy of a mention is Damu the Fudgemonk’s latest project Live From Wonkabeats Volume 1. It is a one-take, live freestyle session captured by Damu on his trusty Tascam pocket recorder.

Press play and travel back to 17 October, 2011 and listen in as Damu plays live and unheard beats straight outta his MPC, while Flex Mathews kicks freestyle raps.

Raw Poetic, who is a regular MC on many a Redef release, has teamed up with Low Budget founder and Redef affiliate Kev Brown to release Concentrated Maneuvers. The album is presented as two halves: Side A features a collection of vocal tracks, consisting of several short songs by Raw Poetic that cover a great variety of subjects. Side B, the instrumental side, features all of the instrumentals as the name would suggest.

Don’t sleep on other recent Redef releases from The Artifacts, All Points Bulletin, and Klaus Layer’s For The People Like Us. On the beat tape tip Paxico Records has releases a couple of limited release projects. Check out GOLDENCITY by Sudan Moon and heart beats by Howie Wonder. Both are excellent beat tapes though showcasing completely different producers.

BERT POLE - bertpole@hotmail.com

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DANCE THE DROP

Continued exposure to the sun causes the Earth’s crust to break out in large domed tents, sky high speaker stacks and lasers. This horribly enticing ailment, commonly known as a ‘music festival’ attracts millions of tiny pragmatic humans who swarm to the affected area, stomping away the infected tissue, absorbing all of the parasitic alcohol and chemicals and covering the wound with hydrating streams of excreted waste. This selfless interaction can contain the issue quite well in the short term, although there is nothing that modern intergalactic science can do to exterminate the affliction for good. Not unlike herpes in humans, once a music festival is contracted it stays with the host for the rest of their natural lives. Certain treatments are available once a planet feels the tickle of scaffolding being erected on its surface, but a full blown outbreak is imminent once a ‘main stage’ is easily visible. It is possible for the strain to be passed from one planetary surface to another via intimate physical contact, although in this case, the earth has not had any action since it banged the moon billions of years ago.

One of the more potent strains of the festival virus carries the scientific name DEFQON1. It is also the most ‘personalised numberplate friendly’ of all of the different types of festival viruses. You may have spied its autograph on small tin identification rectangles attached to heavily modified fifteen year old Mitsubishi Lancer coupe’s or in the form of gigantic stickers blocking Subaru Forester drivers view of anything at all behind them. There is no doubting the popularity of this gruesome gathering. It attracts more hectic lads per square metre than a Buy one Get One Free sale on Adidas snap pants. The 2014 incarnation is being held on Saturday September 20 at the International Regatta Centre in Sydney, assumedly so the boats full of international happy powder can dock directly at the entrance to the festival. Have fun, be safe and don’t pat the dogs.

Drum n Bass purists are probably fuming over the recent upturn in popularity for the genre. I’ve been involved in countless forum flame wars with militant bassheads over the years, mostly over my acceptance of ‘commercial’ (i.e. anything but DnB) dance music.

Sorry lads, looks like you are under the spotlight now! Scoop up as many fresh faced 18 year olds as possible and take them along to Trinity Bar on Friday September 12 for a night of seriously accessible underground bass music with Kasra (UK) and Enei (RUS).

Let’s talk about new music. Renato Cohen – Suddenly Funk is probably the coolest house record I have heard in the past few years. KANT’s remix of Blonde feat Charli Taft’s ‘Higher Ground’ is going to be a staple in my sets for the remainder of the year – it’s a progressive weapon! Keep an ear out for Sydney duo Destroy the Machines productions in the coming weeks – from all reports they are set to drop some serious heat! Recent Ex-Melburnian Luke Chable is currently working on his debut solo album. I managed to get a sneak peek a few weeks ago and it is absolutely brain melting stuff. . I predict a very high ranking in my top five albums of 2014, stay tuned!

TIM GALVIN tim.galvin@live.com.au

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CODY ATKINSON Recently the Victorian Minister for Planning, Matthew Guy, made a commitment to introduce the ‘agent-of-change principle’, potentially revolutionising the attitude to noise restrictions in Melbourne and protecting live music venues against complaints from developers and residents. With potential concerns about noise pollution rearing its head in the ACT in recent weeks, is it time to potentially investigate similar moves here? Cody Atkinson questions.

Name? Noise complaints and noise pollution.

Age? About five minutes after the first gig started ever.

Location? About three doors down from the pub you’re in.

What’s the ‘agent-of-change’ principle? The ‘agent-of-change’ change principle potentially revolutionises the relationship between live music venues and other occupants. The agent of change principle determines responsibility for noise management.

Where changed conditions are introduced into an environment (for example through a new use, or changed operating conditions), the reasonable expectations of the existing land users should be respected.

Depending on who enters the community (the venue or the resident) and presuming compliance with current noise pollution standards by the existent party, the onus of remedial work will fall on the new party.

So has it been successful? So successful that in 2013 Leichhardt City Council implemented a similar zone on Parramatta Road, with hopes that it would create a similar entertainment and live music hub. The Council specifically cited the success of the Fortitude Valley measures in making the proposal for Parramatta Road.

Canberra’s live music scene is in a good place right now though, isn’t it? It’s good right now, but it could always be better.

According to the recent Live Performance Australia report, the ACT had one of the lowest per-capita spends on live contemporary music in the country. This is despite the ACT’s push in the last two years to promote culture through the city with both the Centenary celebrations and the CBR campaign.

Does the ACT need similar reforms? There is a decent case for them in the ACT. It has been raised recently in the Canberra Times that some venues around Narrabundah (such as the Harmonie German Club) have concerns that development proposals that have been submitted may cause potential noise complaints and significant costs to improve their facilities, in the future. An ‘agent-of-change’ principle would protect venues like Harmonie, who have been in their current location for over 50 years.

it’s an important issue and governments should always be receptive to good ideas.

But wouldn’t this unnecessarily shift the balance in favour of live music venues at the hands of developers? The ‘agentof-change’ principle doesn’t just protect venues, it protects the original user of the land regardless. If a venue moves next to the house you’ve been living in for a decade and starts blasting music all night, it would be on the venue to pay for the necessary changes to fix the noise.

So why were the changes introduced and were there any other changes? They were introduced in a paper by Music Victoria amid a period of threats to several iconic live music venues in Melbourne. There has also been changes to code compliance rules for small venues and a review of “out-dated” noise pollution levels.

So if Victoria is the first place in Australia to introduce ‘agentof-change’ laws, what have other states done? The first major move to support live music with respect to noise restrictions happened in Brisbane, with the introduction of the Valley Special Entertainment Precinct, which shifted much of the battle back in favour of venues in this field. The Valley Special Entertainment Precinct (which covers large swathes of the inner city, but not the CBD itself) has been withdrawn from wider noise pollution laws, with a local city law increasing noise pollution limits both at the venues and from any potential complainant’s premises. The move has been said to have increased the vibrancy of the Brisbane live music scene and has created a hub of venues near the city.

What are the restrictions in the Precinct and how do they compare to the ACT? At its heart, the Valley Special Entertainment Precinct allows for sound of up to 90db during peak music times (the weekend nights) and a secondary measure for maximum noise levels in a complainant’s household (50db). In the ACT,

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the maximum sound level from the border of the leasehold, as prescribed by the Environment Protection Regulations 2005, is 60db. This is a simplified summary and much more detail is available in both the Amplified Music Venues Local Law 2006 and the ACT EPR 2005, but that means that noise eight times as loud is permitted in the Valley as compared to the ACT.

Has the ACT considered similar changes in the past? In 2009, the ACT Government initiated the ‘Inquiry into Live Community Events’ and established the ‘Reduction of Barriers to the Production of Live Music in the ACT lnterdirectorate Committee’. In 2011, the ACT Government considered both the interim and final reports stemming from these committees, which included submissions into designated live music areas and ‘order-of-occupancy’ (similar to agent-ofchange) legislative amendments. Ultimately at the time the ACT Government decided not to follow these recommendations.

So if they’ve rejected it before, why bring up the issue again?

Because it’s an important issue and governments should always be receptive to good ideas.

There has been a lot of change in Canberra in the last four years, from the re-vitalisation of Braddon to the nascent hub of New Acton to the proposed creation of a creative space in Civic West.

The live music culture of the Capital is important in providing a cultural identity amongst its citizens and fosters the creation of art, both emerging and established.

In the last four years other governments of various political persuasions have implemented or have considering implementing changes to help facilitate live music and live music venues. While it may not have been the right time for change four years ago, it might now be time for the ACT to consider the approaches undertaken in other parts of Australia and potentially implement them here.

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On Tuesday September 9 you can catch a cool night of pop-punk at the Magpies City Club where the UK’s Neck Deep will be stopping by alongside New York’s State Champs, Melbourne’s Sidelines, Sydney’s With Confidence and local favourites Drawing North. This show is all ages and tickets are $31.65 through Oztix or $35 at the door on the night.

I don’t care how punk you are, spring is fucking beautiful and it’s almost here! There’s going to be gorgeous flowers blooming and magic in the air and…probably steel toe boots hitting my face if I keep this up much longer. I’ll just get straight to the point then.

Things are going to start heating up and local punk shows are no exception. There’s a whole stack of them headed our way and a whole new one coming as soon as we get through these! I would tell you to pace yourself, but what do punks know about moderation?

If you’ve picked this up in time, you can head down to the Magpies City Club this Saturday August 30 to help celebrate the 21st of a couple of beloved Canberra punks. Come dressed in your favourite Nintendo-themed costume for a chance at some punk prizes (probably alcohol). Oh and there will be bands. No Assumption, Rick Dangerous and the Silkie Bantams, Revellers, Office Jerk and Two Lead Fish will all be smashing out sets AND IT’S FREE! 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). The two will be supported by Canberra’s favourite angst-chanelling folk-punk, Jack Livingston. Tickets for this one are $13.30 through Oztix.

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Australia’s favourite hard-partying, drug-taking band The Bennies will be back in the capital on Sunday September 21 (for bonus irony points, attend your local church in the morning) at the Magpies City Club. They will be joined by New York’s Morning Glory, Sydney/ Newcastle band Mucho Sonar, Melbourne’s Wolfpack and locals Revellers. You can grab tickets to this all ages party for $18.40 through Oztix.

Canberra’s very own Wives are set to release their debut single ‘Buried’ through Cinnamon Records on Monday September 1 and will be celebrating with their first ever interstate tour which will wrap at The Phoenix on Saturday September 27. They will be joined by Sydney’s Mere Woman, who will be celebrating the release of their new album Your Town and locals Agency.

As always, remember to tune into 2XX every Monday night from 9:30 to check out all the latest local and international punk and hardcore news and music on Haircuts & T-shirts.

So, get excited for these shows and start trading in your thick warm flannies for tattered band tees. But probably keep the leather jackets for now. It’s still a bit nippy IAN McCARTHY PUNK.BMA@GMAIL.COM

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METALISE Caught wind of some just great shows to close out 2014 in a year that has already delivered a cavalcade of amazing shows and once again its lifeisnoise leading the charge. The indomitable lords Sleep are back for their second Australian jaunt off the back of the Meredith festival. That fest show is on the 12th of December and there is a Sydney show at the Manning Bar on the 13th of December as a rad early Christmas present. Lifeisnoise is also presenting Torche next month at the Oxford Art Factory in Sydney on the 19th of October.Thanks for bringing all these great bands out guys! Then there was the totally unexpected welcome surprise of a visit on November the 13th at the Basement in Belconnen from Australia’s leading exponents of cranium crushing doom metal, Whitehorse.

The Melbourne sextet have had a massive 2014 with Roadburn, European and north American tours under their belt. Also along for the show are New Zealand band Meth Drinker and locals Hygine who have just pressed a deliciously disgusting 7” of pure power violence with lashings of grind. That is a show for the fridge calendar.

press…um…oh yeah, Sound Wave! Well the reactions to the first announcement of the wave are always as precious as the regular press are well informed on what heavy music is all about. I can’t say that the announcement tickled anything on my “must buy a ticket list”. The fest has moved to two days in the eastern state cities with Perth falling off, and there are still a pretty sad amount of Australian bands on the bill. And at the risk of sounding old and whiney, I’ve seen Judas Priest, Mayhem,Faith No More, Soundgarden, Fear Factory and a bunch of those bands when they were a lot younger and more vital. But hey, it’s early and you never know whats coming up in the second and third announcement and Godflesh are a band I am keen to see live.

I gotta give the best reaction to the announcement award to a Twitter user named 1800-HELLNO for this post which I’ll leave you with for this fortnight Ministry, Godflesh and Fear Factory on one day in Australia. Holy f%$kcall me the 19th century cos this is an industrial revolution.

JOSH NIXON doomtildeath@hotmail.com

.While on a doom kick, how about its finally that fortnight for the astounding and essential UK doom band Conan to be welcomed to the Basement on the 9th of September. The band’s 2014 release Blood Eagle is one of the year’s very best records and that is a show that you need to catch.

Also along for all Australian dates and promoting the tour are Sydney’s Yanomamo, a welcome show from the amazing Looking Glass and Mammon. Also highly anticipated on the local show front in a couple of weeks is the welcome return of the prog metal mastery of The Levitation Hex and the debut of doom three piece Witchskull and the whirling grind maelstrom that is Wretch at the ANU bar on the 20th of September.

There’s a weekend of pure heavy metal up in Sydney on the 31st of October and the 1st of November under the banner of Steel Assassins 2014. LORD headline over Bengal Tigers, Darker Half, Eyefear, Taberah, Silent Knight, Johnny Touch, Forsaken Age, In Malices Wake, Temtris, Harlott, Atomesquad, Frair Rush, Alira, Mattersphere, Asylum, Steel Swarm and Blacksmith. Doomsday 2014 is on in Sydney on the 3rd of the October at Hermann’s Bar with the stunning Windhand from the USA and the intimidating Beastwars from New Zealand, still looking to get some details on the supports, but get up the highway for that none the less.

There was some other festival announced in the last couple of weeks, um, I dunno, there was talk of it being the “greatest rock line up in Australian history” in some Fairfax

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

PUT YOUR BACH INTO IT INDIGO TRAIL It’s 10am in Berlin when Vartan Bassil answers his phone. His heavilyaccented – but nonetheless jovial – English seems to somehow reflect the motion and bustle of a city in mid-morning; it’s no difficult feat to imagine the endless pounding of feet on the footpath outside, or the faint roar of a car as it crawls around street corners. Bassil, however, is concerned with a different type of movement – he’s a renowned breakdancer and choreographer, whose extremely successful show RED BULL FLYING BACH is coming to Canberra in mid-September.

Bassil began dancing in the middle of the 80s. Inspired by none other than the great mover and shaker, Michael Jackson, Bassil adopted the King of Pop’s style. “I liked how he danced,” he recalls. “That was my first step towards dancing – copy all MJ’s moves.” From that, he segued naturally into hip hop. “For me, though, hip hop was missing something. But then, I saw breakdancing movies from America – straight away, I wanted to start breakdancing.” This led to the formation of Flying Steps, the company Bassil still runs today. Initially a more recreational company, they quickly turned professional. “When we created Flying Steps, we started doing competitions and got involved in music clips … but then, after a while, we started to dream of going from a hobby to a – a life, really. We asked ‘can we live off what we do? Can we live off dancing?’”.

The short answer is yes. The long answer leads straight to the creation of Red Bull Flying Bach in 2010. “Here in Germany, we have a problem. Here, they don’t accept what we do – breakdancing. They think it is some ‘street style’ … it is not taken seriously. For us, it was important to show the high culture how artful breakdancing is.” From this idea grew an extraordinary idea – create a show with adrenaline-fueled, hardcore breakdance set to the compositions of 18th century classical music legend Johann Sebastian Bach. It’s a bizarre but somehow lethally intoxicating combination. “People love it when you bring things together,” Bassil says. “It’s more – how do you say it in English? – it’s more … spectacular.” He settles on the word as though it alone could convey the performance’s sensation.

“The ballet dancers, they pirouette on their feet – well, we can do it on our head. It’s more crazy.” Making breakdancing “accessible for the cultured” isn’t Bassil’s only priority, however. The marrying of symphony and head slide has another benefit. “When I was young and with my mother, she’d take me to the classical concerts. But for me, it was really boring – one hour felt like three. With [Flying Bach], parents come with their kids. And they always say to us, ‘thank you! Now I can bring my kids to the classical music! They are getting some culture,’” Bassil elaborates excitedly, his English swept along by his enthusiasm.

“So we get both. We get old people, so they can see how artful the breakdancing is and we get kids, who go to see the hip hop.” He pauses, his grin practically audible across the continents. “This makes us really proud – that both are merged together.” Creating the performance itself, however, was no mean feat. “There were many different steps

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to it,” says Bassil. “When I met Christoph [Hagel, the artistic director], it was important for us to – to ‘set the vision.’ We have more than sixty minutes on stage with just classical music, so it was really important to find a beginning, middle and end.” Deciding on Bach, a composer infamous for his difficult and labyrinthine compositions, took some time. “[Christoph and I] needed something special. We didn’t want to just dance to classical music, we needed something more – something deeper, something that made a difference. And that’s – that’s Bach.” While they were happy with their choice, the difficulties of setting headspins and jackhammers to strings and brass quickly became apparent. “Yeah, of course it was complicated,” Bassil says, before pausing briefly. “But we love it. We love it when something is complicated.” That is hardly surprising, given the ambition of the project, but Bassil’s tone is again an exhilarated one – as though the challenge of contrast is a gift that continues to give, even four years after its formation.

“The music is like mathematics, you know,” he reflects. “All the notes work together and in the end they make something … whole. I see the same in breakdancing.” And while breaking down the music took its time, the value was well worth it. “When you go deeper and deeper, you start to understand how the music is built and what Bach was thinking. You feel a little bit like ‘ah! I understand what he is trying to tell us!’ Then you pick it up and bring new insights.” It’s a meticulous process, but one Bassil is adamant about. “You have to understand the music – only when you understand it can you use it.” And if the success of Flying Bach proves one thing, it’s that Bassil understands what he’s talking about. The reviews have been almost astronomically positive.

Last year alone, they reached hundreds of thousands of people when the company went on a world tour, a feat they’re hoping to repeat this September. “In the beginning, it was just to make it in our city. But now we’re in our fourth year of touring this production. Most of the shows are sold out. Last year, we were in Sydney and Melbourne and now we’re coming back. Again.” It’s not too much of a stretch to imagine Bassil pinching himself in disbelief.

All of it leads up to one question, though – what would Bach think?

“You know – isn’t this crazy – when people asked me this before the premiere, I would say ‘I don’t know.’ But now, we have been to so many cultures and countries, but the reaction is the same every time. You don’t need to translate something – the classical music, you just understand it. We ‘wake Bach up’ again to life.” Bassil pauses once more, the ever-brimming enthusiasm finally contained by a fierce pride. “It’s working everywhere in the world. I think that’s why we’re so happy. And I think Bach would like it – maybe he would dance it with us?” He barks a laugh, before happily concluding: “Yeah. I think he would be proud. We are.”

Red Bull Flying Bach is at the Canberra Theatre on Saturday September 13. Ticket prices start from $89 and are on sale now: redbullflyingbach.com.

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IN REVIEW Circas’ S Canberra Theatre Wednesday August 6

Brisbane based troupe Circa last toured Canberra in 2013 with ‘Wunderkammer’ as part of the Centenary. They are part of the popular trend of Australian circus acts which focus on the power and agility of the human body, rather that animals doing tricks. While outfits such as the Flying Fruit Fly Circus and Circus Oz combine elements of traditional circus with some zany humour, Circa takes a more artistic view, aiming to bring out an emotional response. Their new show S was intended to be sinuous, seductive, sophisticated, sensual and savage and it delivered on its goals.

No sequins were in sight as the seven acrobats in black costumes performed on a large diamond shaped surface. An atmosphere of mystery was immediately created with a dark stage, an amplified sound of breathing and a solitary figure contorting as it struggled to rise, lit only by a dim, disembodied light. While other circuses juggle objects, Circa acrobats juggle people, with beautifully choreographed movements requiring strength, flexibility, incredible timing and no small element of courage. In keeping with the theme, many complex emotions and different human relationships could be drawn from this acrobatic ballet – need, dependence, aggression and joy competed for attention in the sequence of human sculptures.

Stage effects were simple but effective, but the music was complex, varying from eerie to wild to surreal as it changed to match the mood of the show. A leap in the intensity of the soundtrack called up a surge in speed and dynamism in the performers. All the while, the players formed human ladders, erected and collapsed different shapes and interacted like cogs in a machine. Morphing one composition into the next required strength and precision to make it all flow elegantly.

S was the sort of show that made people exclaim with wonder, as we witnessed movements such as the human rotisserie and the human skipping rope. Question: when you are the top person in a three person human tower, how do you get down? Answer: very carefully!

Also, when there three pairs of players all doing amazing things simultaneously, who do you watch?

There was humour too and touches of the bizarre. In one sequence, two women were joined at the mouth by a short umbilical cord. In another, a woman was lifted, by hand, using her upper jaw. Combining comedy and imagination, one man was mic-ed up in his mouth and body, so that every impact and breath rang out as a woman struck and leapt at him, or made him do tricks.

Apart from a small spillage of water at the very end (when balancing glass bowls), the hundreds of movements packed into a 90 minute performance went off perfectly. A celebration of the beauty of human movement, this was a show with a real ‘wow’ factor. rory mccartney

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UNINHIBITED It’s something I’ve always loved doing, even when I was a kid, and I expect that I’ll keep going it until I draw my last breath. It’s how I find out about what I may or may not need in my life. Reviews: I read a heap of them. Music reviews. Book reviews. Film reviews. Reviews of any kind of art. Of course, there are authors and bands/musicians I follow no matter what anyone else might reckon, but I do like to dip into the public discussion to see what’s happening.

In the last couple of years there has been considerable chatter about the state of reviewing in Australia. There are some who believe we don’t have a sophisticated culture of review at all. There are others who are worried about the proliferation of comment – particularly online – that masquerades as review. I share the latter concern. Last year the Childers Group, an arts advocacy body for the ACT region (of which I’m a part), held a forum on the art of the review. Two astute observations bubbled to the surface: (1) reviewers should ideally be ‘traders in ideas’; and (2) intelligent reviews ‘illuminate’.

We’ve all read reviews that put forward a coherent argument that allows the reader to make his or her decision. Regrettably we’ve all read reviews that come across as simply vicious. Most of us in the arts would advocate that there be a robust culture of analysis and assessment, but can some reviewers go too far? If the increasing number of court cases (overseas more so than Australia) where creators are suing the producers of what are perceived to be unjustifiably negative review is anything to go by, the answer appears to be yes.

Can an especially corrosive review or comment be deemed legally defamatory? The Arts Law Centre of Australia defines defamation as ‘a communication that lowers/harms the plaintiff’s reputation, holds the plaintiff up to ridicule, or leads others to shun and avoid the plaintiff’. The Centre goes on to suggest that reviewers probably have the defence of ‘honest opinion’. However, that defence may crumble if the ‘opinion’ is based on false information, and/or an unfairly negative preconception, and/or there is intent to harm.

We live in multi-media times.

What if a blogger hasn’t identified their comment as ‘review’? What if a home book-club records its discussion and posts it on-line?

What would happen if the transcript of a particularly energetic festival panel goes up on a website? In these cases, would there be the defence of ‘honest opinion’?

The Australian Book Review has advice for its reviewers, which can easily be extrapolated to apply more broadly. A reviewer shouldn’t comment on an artist they are unfamiliar with. That is, if you’ve never heard of DJ Shadow you probably shouldn’t review his latest EP. Listen to a record or a read a book more than once so that the layers and nuances of the work can be revealed. Avoid using the personal pronoun – review is not autobiography. That is, try not to write ‘I grew up in a family that only ever listened to [insert you mum’s favourite band], but this latest from [insert your mum’s favourite singer] makes me want to eat my own head.’ Finally, show due but not limitless respect for established artists. Think David Sedaris is an old fart? Don’t accept a job to review one of his shows.

NIGEL FEATHERSTONE

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

ARTISTPROFILE: Graham Eadie

What do you do? I paint in oils, acrylics and watercolour. I do some of this most days and I listen to mainly classical music while I do it.

When, how and why did you get into it? It started when I was at high school in the mid twentieth century. I really do not know why I started to paint since I was at an academic school that did not teach art. Perhaps painting was a private rebellion. It certainly came more naturally than French irregular verbs and algebra. There is a compulsive element to art and all through the many years I worked in educational administration I continued to paint and to care about painting. Twenty years ago when i retired from that work I was lucky enough to get into the painting course at the ANU School of Art. I did a four year painting degree and then a further four years and completed a PhD. Who or what influences you as an artist? There have been many influences over time. These days It is the materials themselves that exercise the strongest influence. The expressive potential of paint is the issue.

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Of what are you proudest so far? It is usually the last thing I have done that I like the best. When I start looking further back with satisfaction I suspect the end will be very close What are your plans for the future? I want to continue working at my present rate until the lights go out.

What makes you laugh? Monty Python, Norman Gunston and Jack Sparrow, for example, What pisses you off? Lemmings and the fact that time runs in one direction only.

What about the local scene would you change? Not a lot, Canberra is a great place. Maybe the distance from the sea.

Upcoming exhibitions? I have not thought beyond the present show. There is a group of works on paper that I have been doing while preparing the current acrylics. They address the same subject area but are materially very different. It would be interesting to show them soon.

Contact Info: eadie@grapevine.net.au

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IN REVIEW Offline Nishi Gallery Fri–Sun Aug 15–31

Offline presents eight contemporary artists curated by Jas Hugonnet. All of the artists are familiar to Canberra audiences who are ‘au fait’ with haunts such as CCAS Manuka, the SOFA Gallery, NGA, The Front and Art, Not Apart festival. A sense of dystopia is strong in the work of Byrd and Paul Sutton. The former is known for his environmental themes where part animal part human creatures symbolise a worrying collision between man, nature and technology.

Doggerel, meaning disjointed, is just that. The wallpiece of spray and house paint, shows a dog head with human legs ending in turquoise wedge heels holding a digital camera carelessly. Byrd’s flock of fantastical characters inhabit a digital world, but seem unimpressed by it. A similar sense of detachment comes across in Sutton’s The Cars That Ate Parity composed of several digital prints where each captures a reflection on the glossy shell of a car part.

As the title implies the pictures encourage the viewer to think that the machines that separate us from the natural world also offer a chance to see it differently.

Equally attentive, but this time to gesture, is Richard Blackwell with several steel wall pieces outlining the shape of a brushstroke.

With a Lichtenstein accent, the focus is on mark making itself and the shadow they cast on the gallery wall introduces a new narrative altogether. Also walking the line of abstraction in the group are colour field and textural pieces by James Powditch and Natalie Mather’s delicate op-art paintings, whose repeated strokes build luminosity.

of domestic dogs made from flamboyantly coloured bird feathers.

All sourced from native species, the juxtaposition alludes to the relationship between predator, prey and pet in Australia. In the same vein Louise Upshall collages human faces and marsupial body parts into voodoodoll-like 2D bodies for Mammalia. Many of the eight exhibit alchemy in their approach.

Jacob Potter’s prints recall the Internet art trend with an MS Paint sensibility and bold colours that buffer towards the centre.

Up until now the artists have swung it both ways, exhibiting with artist run initiatives and institutions around Australia and held court on Hugonnet’s namesake web gallery. As an online ‘space’ it is surprising to see Offline come to fore in this format and it is worth noting that the current display of works is not shown as a collective on the website. As their work moves between an exhibition and online stockroom format it is pointed that the artists explore concepts of space, abstraction and humanity, themes that gain greater meaning but are also open to subversion on the World Wide Web. CHLOE MANDRYK

Eschewing reality entirely, Emily Valentine presents two sculptures

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bit PARTS CTRL+ALT+DEL WHAT: Comedy night WHEN: Thu Aug 28 WHERE: Civic Pub Want to be part of an uncomfortable laughter track? That’s the hook the team responsible for In Canberra Tonight has thrown to the public in anticipation of their new comedy night at Civic Pub. CTRL+ALT+DEL’s first night is set to be a corker, with stand-up from award-winning South Australian writer and comedian James McCann (response for composing Wolf Creek: The Musical), Raw Comedy ACT heat winner Shahed Sharify and MC-ed by local maverick Dayne Rathbone MC-ing.

Tickets are $18/$20 presale from trybooking or $25 at the door. Doors swing open at 8pm for an 8.30pm start.

STUDIO UNDERGROUND WHAT: Theatre WHEN: Thu-Sat Aug 28-30 WHERE: C Block Theatre, Gorman Arts Centre Leave your expectations at home – you could be in store for anything with the mysterious Studio Underground, Canberra Youth Theatre’s latest venture. Directed by established artists from NIDA, WAPPA and VCA, Studio Underground is an invigorating and interactive theatre experience that rewards with active participation; the more involved you get, the more the show rewards. It’s all a little hush-hush. Book beforehand (no door sales) and you’ll be given an entry password, assigned a special task for the night and a dress code. Recommended for ages 13+. Nab your tickets now (remember, no door sales). $10 from cytc.net. 7.30pm.

STRATHNAIRN BY THE LAKE WHAT: Art exhibition WHEN: Fri-Sun Aug-Sep 29-21 WHERE: Belconnen Arts Centre Strathnairn, a members-only local arts and craft hub nestled in the outskirts of Canberra, is all set to show off to the public with their bi-annual exhibition, Strathnairn By The Lake. Carefully curated

by Peter Haynes, the collection demonstrates the high quality and diverse talents of Strathnairn members, from professionals to skilled amateurs. The exhibition will be held in the beautifully modern confines of the Belconnen Arts Centre, overlooking the lake. Opening night is Friday August 29 at 5pm, with a meet the artists on Sunday September 7 at 3pm.

SALVAGED WHAT: Art exhibition WHEN: Tue–Mon Sep 2–15 WHERE: The Front Gallery

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Recent ANU textiles graduate and recipient of The Front’s 2013 Emerging Artists Support Scheme Award, Adele Rae Cameron’s latest exhibition taps into these dense themes while simultaneously being playful and aesthetically pleasing. Salvaged questions and explores modern Western society’s relationship with material excess, overconsumption and commercialism through a collection of intriguing sculptures and installations. While the pieces are made from found and discarded objects, Cameron incorporates traditional textile processes such as binding, stitching and weaving to reclaim and reuse the original materials. Official opening Thursday September 4 at 6pm at The Front Gallery.

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37

the word

on albums

swooping and rocketing up.

Combined with the huge variety in the intricate song melodies, the overall effect is magnificent.

There are a lot of conflicting images.

Contrast the pure, poppy fun of ‘Hostage’ against the mixed pictures of passion and violence in ‘Straight for the Knife’. The shock of the message in ‘Free the Animal’, ‘I love you so, wanna throw you from the roof’, is bedded down in percussion reminiscent of the bright, hollow sounds of an Indonesian gamelang orchestra.

album of the issue Sia 1000 Forms of Fear [Monkey Puzzle Records] It’s great to see Australian artists doing well overseas, especially in the major league of the US Billboard Charts. Now Sia Furler has scored a debut number one on the album charts with 1000 Forms of Fear.

He Says: Sia has succeeded in spite of her anti-pop culture stance. Her rejection of the whole celebrity whirly-gig is obvious, her face absent from CD art that is emblazoned with photos (she took herself) of people wearing wigs in her trademark blonde bob shape.

The CD launches with an unmistakable statement that this is a big sound album, with a vocal tsunami in the chorus.

The strong auto tune distortion in the opening track, which hints that this may be a more distorted vocal album than usual, is fortunately a false impression.

Brilliant as ‘Chandelier’ is, with its mesmerising melody, it’s the genuine voice that dominates this LP. In ‘Big Girls Cry’ the full timbre of her singing blazes through, smashing through the verses to a syncopated beat before breaking out into the irresistible catchy chorus. Sia employs a few Regina Spektor style vocal swirls in ‘Burn the Pages’, with marching keys broken by a stabbing beat. There’s a real fire in the belly behind the passionate delivery, that is a blend of spiky pop with RnB overtones. Her vocal inflections are always a musical journey in themselves, turning, twisting,

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She says: Another stellar CD from our Adelaide girl. The soulful lyrics in each of the twelve tracks are not about primal fear, but the fear of rejection, loss, desperation and the myriad relationship struggles that beset humanity. The album kicks off with popular hit single ‘Chandelier’.

As I write, my mind visualizes the frenetic dancing of the young gymnast in Sia’s video clip. Turn up the volume and immerse yourself in ‘Big Girls Cry’, the antithesis of Frankie Vallie and the Four Season’s classic hit ‘Big Girls Don’t Cry’. It’s a rollercoaster from the introspective ‘Burn the Pages’ with its measured, purposeful tempo, to the energetic and upbeat ‘Eye of the Needle’, before crashing down with the melancholy ‘Straight for the Knife’.

There are fantastic drumming and xylophone sequences throughout’ Hostage’. Anyone who enjoyed the 1986 Australian comedy movie ‘Malcolm’ will feel nostalgic when they hear the opening bars of ‘Fair Game’. Look for the delightful xylophone interlude and later, the solitary glissando that launches the closing chorus. ‘Straight for the Knife’ has one of those catchy choruses that go round and around in your head. You know the type; just as you think you’re nearing the end of it, for the fourth consecutive time, it starts up again like a perpetual loop. ‘Cellophane’ showcases Sia’s exceptional vocal talent, with superb leaps in pitch, beautifully robust in both the upper and lower registers. This is a mammoth pop album, brilliantly crafted with stark images of love and pain. While the songs were all written in collaboration, the brand is undeniably Sia.

Mogwai Come on Die Young [Chemikal Underground] Mogwai hit upon a signature sound early in the day with appealing tangents tried out at various points. The band’s music reveals instrumental dynamics carefully pieced together, with an atmosphere of tension and release as the driving force. So it is with Mogwai’s second album Come on Die Young, originally released in 1999. Like many other records from that time, digital limitations thinned out the music. This is somewhat rectified with a proper remastering job investing each instrument with a clarity and resonance to highlight emotional depths.

This adds to the magic when the band conjures slow burning workouts featuring sparse, languid melodies that build to searing white noise as on lengthy album track ‘ex-cowboy’ – the bonus version of this one is a killer!

Mogwai formed in Glasgow in the mid 1990s and were not aligned with either the exported American grunge thing or rainbow coloured brit-pop. A singular path was forged with post-punk noise from the likes of the Jesus and Mary Chain and My Bloody Valentine as influences of note. This extends to the sampled ‘punk rock is great’ bit from Iggy Pop on the opening track which might initially seem strange alongside ‘cody,’ the melancholy ballad that follows it and the only piece of music on the album to feature vocals. But it works well for all concerned.

Mogwai follows its own logic so completely that the bonus disc becomes a valuable footnote, although definitely worthy of attention. But the original album is where great art happened. dan bigna

RORY AND MICHELLE McCARTNEY

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Old Crow Medicine Show Remedy [ATO Records]

Inga Liljestrom Two Dangers [Groovescooter]

Ron Pope Calling off the Dogs [Brooklyn Basement Records]

Old Crow Medicine Show is a US bluegrass outfit with folk influences and a smattering of country music credentials. Their ‘string band’ format comes from an old-time musical style first popularised in the 1920s and 1930s. The seven piece outfit comprises members with names like Critter, Ketch and Chance; their gear includes an unusual guitar/banjo hybrid called a guitjo and their brand of material has made them suitable touring partners for Mumford and Sons.

Remedy, the band’s fifth studio LP since 1998, is weighted more on the bluegrass than the country side. This is not a bad thing either, as the country material, such as the maudlin ‘Dearly Departed Friend’, tends to the morbid side, while the Appalachian flavoured bluegrass is just plum, crazy fun. Energetic hillbilly folk with call and response lyrics, such as the wild ‘8 Dogs 8 Banjos’ is played at a speed so fast as to be almost un-danceable. There are songs about whisky, rivers, the southern states (especially Tennessee) and more whisky.

The record also celebrates that great American institution, the prison system, in the opener and closer, though from very different angles. ‘The Warden’ takes on the expected vibe of unjust oppression. While in the morbid country category, it does show how fine the boys can sound when they pare back the instrumentation and combine their voices. ‘Brushy Mountain Conjugal Trailer’, played at a strolling banjo pace with harmonica overtones, is a hilarious romp about a conjugal visit in a gaol.

You’ve probably already heard Inga Liljestrom’s powerful vocals without even realising it, on TV shows like Rake and Blood Brothers, but that’s just the tip of an incredibly diverse career that’s seen the Sydney-based singer/songwriter collaborate with the likes of Gotye, The Church and Itch-E & Scratch-E over just the last ten years alone. Three years on from her distinctly darker collection Black Crow Jane, which attracted comparisons to Kate Bush and PJ Harvey, this fourth solo album Two Dangers sees Liljestrom returning home after living in France for the past five years and revisiting the acoustic folk influences of her youth. The thirteen tracks collected here could perhaps be best described as ‘haunted country-noir’, with an impressive cast of guests including The Necks’ Lloyd Swanton and Canberra’s own Mikelangelo being enlisted to add double-bass, eerie strings, banjos, musical saw and backing vocals to a collection that positively drips with goosebump-y atmosphere. While Liljestrom’s remarkable vocals represent a compelling centrepiece on their own, it’s the depth of interplay with the instrumental arrangements that heightens the levels of tension on a yearning cover of traditional folk song ‘Katie Cruel’. Elsewhere ‘Wooden Leg’ sees swooping violins adding a chill-inducing European cinematic edge to Liljestrom’s obsessive-sounding chanteuse vocal. Elsewhere, the duet between Liljestrom’s vocals and Mikelangelo’s ghostly backing harmonies on ‘Take Hold Of My Heart’ offers up a delicate lullabye complete with feathery guitars that carries a darker undercurrent that feels almost like something out of a David Lynch film. It’s not hard to see why The Church describe Liljestrom as one of Australia’s best kept secrets and this could easily be her best album yet.

Judging from the extensive merchandise available on his website, extensive discography and the confidence with which he performs, Ron Pope is somewhat of a veteran in the music industry. ‘Lick My Wounds’ is a colourful and sleek start for his ninth solo album Calling off the Dogs, with its catchy calls and energetic arrangement.

The catchy pop-rock continues on ‘Empty Page’. In this format, Pope’s vocals sound rich.

CHRIS DOWNTON

ANGELA CHRISTIAN-WILKES

‘O Cumberland River’ stands out with the rhythmic partnership between violin and guitar. Filled with heel smoking melodies and skirt swirling tunes, this exuberant album expresses the full range of emotions in an atmosphere of blazing fiddle and robust lyrical delivery.

RORY McCARTNEY

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When the tempo and tone drop on ‘Explain’ – minimalist and delicate, it feels like a homage to folk king, Damien Rice – affairs seem promising with the inclusion of new range. Yet, the sound remains at a steady point; a slow, self-pitying point.

The edges of Pope’s voice seem to fray in the name of angst on ‘Silver Spoon’, whose experimentations result in uneasy consistency. Instead of delving back into the positive work that kicks off Calling Off, Pope attempt to channel the epic nature of stadium rock with spacious, dynamic songs like ‘Signs’ and ‘Push Me Away’. He navigates the music well, but the emotion is so forced it ends up sounding whiney and grating. This is partially due to the overdrawn delivery and partially due to the constant repetition of hurt feelings mixed with pseudo-inspiration. ‘Nothing’, featuring Alexz Johnson, could be a comfortable radio hit in the vein of A Great Big World’s ‘Say Something’. Yet, on the album, it sinks down with its surroundings.

It feels as if Pope, in trying to prove how real and true his emotions are, completely misses the mark. He can clearly still craft a strong track with all the necessary components to be polished and easy on the ear, but Calling Off The Dogs ultimately bogs itself down in cliché to disadvantageous effect.

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album in focus

muddy licks and wrapping up with vocal overlaps at the death. Enticing as it is, this vocal bypass is just a diversion from the high pitched singing of lead vocalist Fergus Linacre, who holds dominion over all with tracks such as the previously released single and blues rumbler ‘Ohio’.

However, in a move that may dismay some long neck toting, head banging established fans, but delight others yet to be convinced of the band’s worth, Kingswood uses the LP as a vehicle to show that they are much more than your average garage outfit.

Kingswood Microscopic Wars [Dew Process] The four lads from inner Melbourne have been aggravating our eardrums since 2007, but their debut LP has been a long time coming. Captured in Blackbird Studios in the music capital Nashville, Tennessee under the tutelage of Vance Powell (Jack White and The Arctic Monkeys) ‘Microscopic Wars’ makes their first serious claim on a place in the pantheon of Aussie rock gods. Seeking to make the most of their 2012 Change of Heart EP, a number of the strongest tracks from the ‘deluxe’ version of that stubby release have found their way onto the LP. Considering the length of time they’ve been powering up amps, this seemingly short list of material could be taken as a shortage of creativity. However, there is a generous track list of 13 songs here and enough variation in their latest offerings to put that notion to bed. Read on!

Opener ‘All Too Much’ contains just the right amount of rugged desperation, imparted by frantic drumming and fraught vocals. It advances in a relentless rhythm, contrasting with the jagged riff of ‘Sucker Punch’ which leaps forward in brief surges. Both deliver the gritty, gutsy rock expected by the growing band of Kingswood followers.

Album single ‘I Can Feel That You Don’t Love Me’, starring band guitarist Alex Laska in his unfamiliar role as lead vocalist, is definitely a song to watch.

With its fuzzy intro and slow, brooding bass rhythm at the start, it carries a strong blues undertone, enhanced by moody keys, before breaking out into

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It’s in the title track, by toning things down a bit and playing with tempos, that the band shows that this is more than just a conventional hard rock album. There’s even some playful scattered studio tuning chatter spliced on the end. The track which follows, ‘So Long’, reinforces this impression with its overlapping vocals and psychedelic finish. ‘Hours’ is a short, scratchy, sepia faded piece of quirkiness.

‘Piece by Piece’ is another ‘character’ track with ambling, unamplified guitar plucks, punctuated by occasional bursts of amped-up strings. It demonstrates that these guys are more than just guts and thunder, with an imaginative, eccentric side. The surprising musical collage ‘Tremor’ is similarly inventive with the clashing geometry of its rhythms and sounds, while ‘Side to Side’ employs retro-prog concepts in a theatrical structure.

Fear not humble black T shirt wearing, mosh pit filling fans as there’s plenty to satisfy your primal musical urges. ‘She’s My Baby’ is a blatant rock thrasher worthy of Tumbleweed, letting loose with towering psychedelica. ‘Eye of the Storm’ begins as a keyboard driven ballad, using the oomph of powerfully delivered lyrics in place of high wattage early on, before radiating brilliant licks mid song and then rocking on before collapsing into weird vocal distortion.

The collection ends with a bang with the sledgehammer percussion, massive vocals and squalls of bent licks in ‘Chronos’. This LP will change your concept of what this band is all about.

RORY McCARTNEY

The Antlers Familiars [Anti] The Antlers arrived a little too late. Their blend of heart-on-sleeve-big-crescendo modern indie would’ve been perfect as a soundtrack accompaniment for The O.C., but by the time The Antlers released their breakthrough LP Hospice in 2009 Marissa Cooper was dead. A shame. Marissa was flawed but meant well, and The Antlers would’ve replaced Band of Horses on festival bills and in Kia commercials.

As it stands, the group ply their trade in the minor leagues, critically feted but lacking a major audience. You might argue that this is because they make themselves easy to respect but tough to love. Theirs is a music that is always reminding the listener that something important is either happening or about to happen. Songs build and collapse with an intense seriousness. Familiars is a great example of a style you might take or leave.

Peter Silberman’s voice resembles that of Augie March’s Glenn Richards so much that a reading of this LP can’t help but reference the Australian band. Against Richards and his twisty word craft, The Antlers come up a little short in comparison. Familiars rests on a formula of establishing a melodic motif and repeating it with subtle variations, ideally building to some kind of crashing climax. On songs like ‘Palace’, ‘Intruders’ and ‘Parade’ it’s exhilarating. I just could’ve done with a touch more variation.

All in all it’s a fine work of a particular type- one that asks a lot of the listener. A couple more hooks and we’d have something great. Or we’d have an Augie March record.

Either way, The Antlers are one of the more interesting acts working today and Familiars is as good as they’ve been so-far.

GLEN MARTIN

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singles in focus by cody atkinson Donny Benet & Kirin J Callinan ‘The Edge’

Slow Club Complete Surrender [Caroline]

hilltop hoods walking under stars [Golden Era/Universal]

Rebecca Taylor and Charles Watson from Sheffield in the UK are a duo which likes to morph its style between albums.

The country-folk of Yeah So in 2009 was followed by the experimental Paradise in 2011. Their third LP has returned to a simpler path, filled out with brass and strings, but with less production. While they drew inspiration for this release from songs of the 70s and the current crop of pop singers, like Taylor Swift, this LP captures neither the great lyrics of the former nor the catchy tunes of the latter.

Aussie hip hop kings, Hilltop Hoods have dropped their seventh studio album Walking Under Stars, and put simply, it’s all their fans were hoping to expect and much more.

It’s progressive and risky, straying from their recently proven recipe for success.

The songs tackle personal issues, have a much more soulful sound, and are all evidence of the trio’s relationship that’s grown over the last two decades. The album begins on a personal note with ‘The Thirst’. Pressure spends time speaking of his family and his little boy. The insights into his family life continue later on the album on track seven, ‘Through The Dark’, where Pressure details his son’s battle with cancer. It’s a beautiful and heartbreaking track that takes us through Pressure’s home, heart and to places the boys as a collective have never ventured before.So much of the album reflects where the trio are at in terms of their own personal lives.

They’ve opened up to their fans in a way they haven’t done before, and almost taken them a step further on the journey they’ve been on.As much as the album is soulful and more mature than we’ve seen before, it still has elements of the party Hoods we all know and love. ‘Cosby Sweater’ is one of those tracks that will be screamed at concerts, pumped up on radios and stuck in heads for days. Overall, the album is an example of what dedication to your craft can lead to. Perfect production, and a deep, soulful and polished album; something we’ve come to expect from the Hoods.The boys prove that they’re at their peak in terms of talent, maturity and closeness; all of these elements resulting in a beautiful album that’s a few steps above anything we’ve heard from the Hoods. It caters to the true fans, providing their trademark talent and beats, but also proves to naysayers, how relatable and raw Aussie hip hop can actually be.

‘Tears of Joy’ starts with the slow, languid rhythm associated with Portishead, but expectations of something gritty are quickly dashed by the less satisfying high, piping vocals which dominate the song. ‘Everything Is New’ which follows is better, with the interplay between male and female vocals, and Taylor’s strong sighs which punctuate the chorus. Her soulful side comes out as she punches out some big notes in the Motown influenced ‘42’, which pursues the big band vibe with its glossy brass.

Overall a down-tempo release, it finally shows a spark of life in the title track. While neither of the pair possesses a cracking voice, they do have their moments. For Watson, it’s going solo in the simple acoustic song ‘Paraguay and Panama’. While she has some bluesy potential, Taylor comes across best in the warm folk number ‘Dependable People and the Things That I’m Sure Of’, which makes a better fist of capturing a 70s feel, and the ‘hidden’ track at the finish. In an album which struggles to maintain listener interest, it’s this plus the last listed track which count as the collection highlights. rory mccartney

jade fosberry

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The first single off Donny Benet’s forthcoming album of collaborations, ‘The Edge’ sees Kirin J Callinan’s distinctive pipes take centre stage.

The music underneath is classic Benet, with his grubby 80’s pop fingerprints all over the track. A speeding drum machine sets the tempo, and the pulsing synths beneath add a bit of depth.

Ty Segall ‘Susie Thumb’ San Fran’s Ty Segall is back doing his fuzzed out garage thing on ‘Susie Thumb’. Bits of glam shean shine through vocally from the distorted guitars and driving drums in the first half of the song, while guitar solos are the order of the day on the second half.

Twerps ‘Heavy Hands’ Dismiss Twerps as just another lo-fi jangly Melbourne band at your peril. ‘Heavy Hands’ shows some great guitar driven tension throughout, and vocal parts that give in intent what they sometimes lack in clarity. More than anything else, ‘Heavy Hands’ is just damn catchy, like Twerps often are at their best.

Guy Sebastian ‘Come Home With Me’ Sorry Guy, but I’m pretty comfortable right here so I’ll pass.

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the word

on films

WITH MELISSA WELLHAM

Gia Coppola is a thirdgeneration filmmaker and her pedigree is obviously impressive. She’s the granddaughter of Francis Ford Coppola (The Godfather, Apocalypse Now) and the niece of Sofia Coppola (The Virgin Suicides, The Bling Ring). No pressure or anything. It’s given her some good breaks – such as working behind the scenes on Sofia’s films and acting as a ‘creative consultant’ on her grandfather’s recent horror flick – but it means that critics may well look at her debut effort with a more critical eye. Luckily, it lives up to the expectations.

quote of the issue

“Why do you have to try so hard to seem crazy?”

– Teddy (Jack Kilmer), Palo Alto

The Hundred-Foot Journey “In this restaurant we do not serve an old, tired marriage, but a passionate affair.” So declares Madame Mallory (played by Perfection, also known as Helen Mirren). When the Kadam family flee Mumbai to settle down in the countryside of France and open an exuberant Indian restaurant, the sparks fly between Madame Mallory, the proprietress of a hatted eatery and Papa Kadam (Om Puri). So begins a war – tradition versus innovation with the French side fiercely safe-guarding their culinary customs and the Indian family doggedly maintaining theirs. The ante is upped even further when the son Hassan (Manish Dayal) crosses to the other side and is mentored by Madame Mallory.

Gastronomy as a science and art owes its roots to French cuisine culture. This reality has created the unfortunate perception among some that French cuisine is perfect – and why tamper with perfection?

However, the very nature of food itself is organic and therefore needs to adapt and evolve otherwise we would stagnate and eat the same things forever (quel horreur). Watching the two ancient cultures, both so sure of their superiority, battle it out and eventually come a delicious melding was incredibly satisfying. This film did drag a little towards the end however since real life dramas often take decades to resolve the lengthy climax is understandable. Fans of Chef will love this film. Buy snacks beforehand and don’t see it on an empty stomach.

EMMA ROBINSON

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The Expendables 3

All this Mayhem

The Expendables 3, like the previous films in the franchise, is here to provide old-school action with an all-star cast. By now, it’s difficult to think of an action hero from the 80s or 90s or even 00s who hasn’t appeared in the Expendables series – and even the few fresh faces aren’t quite enough to reinvigorate this ailing concept.

If William Shakespeare were alive today, he’d view All this Mayhem and proclaim “dameth!”

The true tale of skateboarding brothers, Tas and Ben Pappas, makes the tragedy of one of the Bard’s plays look amateur.

Filmmaker Eddie Martin collates archival footage that spans five decades, combined with a series of talking heads, which tracks the rise of the Pappas brothers from skate ramps in Melbourne to professional tournaments in America. In 1998, for a brief moment, Tas was the world’s number one skateboarder, Ben was number two and Tony Hawk settled for third place.

How this achievement was forgotten in Australian sport history is a puzzler but Martin shines the light on the Pappas brothers’ success and gets dirty in their demise. All this Mayhem is brutally honest in execution and goes straight for the truth – mainly the mistakes of the Pappas brothers and the corporatisation of skateboarding. A few voices are missing from the story, namely skateboarding overlord Hawk and it hangs a little too onesided but the fallout of Pappas brothers’ career is gobsmacking nonetheless. Martin crafts an excellent snapshot of the multimedia pathways through the 80s and 90s of handheld video cameras as part of the skating sub-culture that would evolve into YouTube and our camera savvy culture. There’s an artfulness to the scrappy footage that tentatively steps into what will become the norm.

All this Mayhem is the Senna of skateboarding docos. Skate to it.

Barney Ross (Sylvester Stallone), Lee Christmas (Jason Statham) and the rest of the geriatrics are back – this time facing a villain from Barney’ past. No, wait, wait – it gets better. A villain from Barney’s past… who he thought he had killed, but is now back from the dead. Conrad Stonebanks (a suitably sinister Mel Gibson) has made it his mission to, well, expend the Expendables.

Barney decides that the only way to beat Stonebanks is to bring in the new class of action heroes: tech-savvy hackers (who probably also understand social media).

Australian director Patrick Hughes (Red Hill) keeps the film tight, although he is let down by script that is more of a Michael Cera than a Sylvester Stallone.

That is, it’s paper-thin and not very substantial.

The Expendables franchise was all in good fun, but I feel like this third installment would be the natural end for a series of films that are getting a bit old and tired. Give Schwarzenegger, Ford and Stallone a rest – they deserve it.

MELISSA WELLHAM

CAMERON WILLIAMS

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A Most Wanted Man

Palto Alto

Post-9/11 politics reaches its tentacles across the globe in this film. Present day Hamburg’s Islamic community is shaken with arrival of half-Chechen, half-Russian immigrant Issa Karpov (Grigory Dobrygin).

German and US security keep a watchful eye on Issa has he lays claim to his father’s fortune. Is Issa an extremist hell-bent on committing acts of horrific terrorism? Or is he about to become the next unfortunate victim of post 9/11 paranoia? For the first thirty minutes of this film I felt disconnected – the characters were uncharismatic and unlikeable. I didn’t question that the film would result in a gripping climax but I doubted whether I would care very much about what happened to any of the characters. Fortunately this is a slow cooker of a film – give it time and a meaty, complex aroma will waft out and draw you in.

This is a Coppola film through and through. Edgy soundtrack – check. Beautiful, soft and Instragram-esque cinematography – check. Slight script, angst-y characters and themes of alienation and isolation – check, check, check.

This film, though, doesn’t come from Sofia Coppola – it’s the debut directorial effort from her niece, Gia. Based on the much-derided collection of linked short stories written

by James Franco (who also stars in this film), the film has condensed and refined the story. April (Emma Roberts) is shy and sensitive and insecure (so really, just your average teenage girl) and holds a flame for her soccer coach Mr B (James Franco). Teddy (Jack Kilmer) is an introspective artist, who is painfully in love with April. Fred (Nat Wolff) is Teddy’s charismatic, destructive best friend. The film follows the three characters through the school year as they fuck up, hook up and navigate growing up. The wandering plot is propped up by strong performances from Roberts, Kilmer and Wolff, as well as the carefully crafted atmosphere of the film. While the story itself isn’t exactly groundbreaking (rich white kids do stupid things – hello, Brett Easton Ellis), it’s the way she has translated it onto screen that suggests that she has a promising career ahead of her. The struggles of ennui-ridden and overprivileged teens can feel like they deserve an eye-roll, but Coppola has included enough awkwardness, tenderness and genuine emotion to make this portrait of teenage years feel sympathetic.

Phillip Seymour Hoffman gave a masterful performance as Gunther Bachmann, a shrewd and battle weary agent of national security who displays moments of callous brutality and true chivalry. His character embodies the soul of the film; people are not entirely good or evil - they are morally ambiguous. Even the best, such as Annabel Richter (Rachel McAdams), a champion of the rights of the world’s most vulnerable, can be forced to abandon her principles. The plot, which incorporates world politics and personal struggle, comes together flawlessly in the final, brutal scene. Don’t miss it EMMA ROBINSON

MELISSA WELLHAM

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the word on dvds

44

Twin Peaks – The Entire Mystery [Paramount]

Princess Mononoke [Madman]

Twin Peaks entered a landscape where The Golden Girls and McGyver reigned supreme. It replaced long running soap, Dynasty. There was simply nothing like it at the time and arguably nothing else since. Its influence is more a vibe than anything specific although anytime a show where quirky characters sprout nonsense – Twin Peaks is usually, unfairly, referenced. The real question after 24 years is: does it hold up? This was never meant to be a murder mystery, not in the traditional sense. Though the show opens with a body (the infamous Laura Palmer) wrapped in plastic on a gloomy lakeshore, the hunt for the murderer was never supposed to be the main game. David Lynch saw the show as an offbeat soap, character rather than plot. And it’s certainly offbeat. In many ways the show’s unexpected success killed it; the hurried resolution to solve the murder derailed the show’s second season – or so legend would have you believe. This gargantuan set captures both seasons and its controversial prequel film Fire Walk With Me. The real catch for fans is the extensive extras, especially the 90 minutes of extra scenes for the film.

Fans will revel in every new Lynch morsel. The mastering is phenomenal; each scene crackles with crispness and depth – compared to memory, this is practically 3D. Each wail (and there are many) will threaten your glassware.

Gladly, the original 4:3 aspect ratio is maintained, a portal for modern viewers to how many of us first saw it. Twin Peaks more than holds up – it exceeds expectations and remains one gigantic and surreal mindfuck, an unsettling calling card from another universe. It’s much more than a cultural reference point. If you’ve never seen it, this is the best way and time and if you have there’s plenty still to discover although explanations remain as vague as ever.

A few weeks ago it was announced Studio Ghibli was downsizing and ceasing movie production for the foreseeable future. It wasn’t a massive surprise. Studio head, animation genius and silver gnome Hayao Miyazaki had already announced his intention to stop making films after his most recent (The Wind Rises) so this announcement merely formalised what we already knew. It’s not the first time Miyazaki has announced his retirement. In 1997 he had completed his final film for his studio, or so he said. That film was Princess Mononoke. Time will tell if Miyazaki will stick to his second retirement but now is the perfect time to look at his most ambitious film and arguably his greatest, recently released on Blu-ray for the first time.In medieval Japan young warrior Ashitaka fends off a possessed demonic boar, Nago.

In the process he is infected with its curse and told by his elders he will die if he doesn’t seek help from the Great Forest Spirit. On his journey he falls for San/Mononoke, the adopted daughter of wolf goddess Moro. Elsewhere, Princess Eboshi rules Irontown and is determined to rule nature and slay the gods, spirits and mythical animals protecting the forest. Worlds eventually collide, violently, in an ecological-themed battle that’d infuriate the op-ed writers at The Australian. It’s impossible to understate the importance of Hayao Miyazaki – he is one of the greatest cinematic animators of all time and a filmmaker with few peers.

In this film he pushed almost every boundary working his production team to the bone; legend has it he oversaw each of the 144,000 animation cels in the film. It’s this sort of manual attention to detail that elevates Ghibli films above their CGIcousins and instils phenomenal levels of texture, depth and fluidity. Princess Mononoke may be 17 years old but its themes are timeless and it has never looked better.

justin hook

justin hook

Southland – The Complete Fifth and Final Season [Warner Home Video] So this is the end of the road for one of TV’s most underrated series. Unusually it goes out with some fanfare, although understated and human to the very end. Southland was a cop drama so it would naturally wander into cliché on occasions, but unlike most other shows of genre it didn’t seem in any major rush to close cases or solve crimes. Indeed, one of its hallmarks was a willingness to let seemingly major episode plot points just drop off the radar altogether. A shooting, chase or death will just happen and there’ll be no follow up.

No perp walk, no triumphant hi-fiving back at headquarters.

It just moved on. Undoubtedly this frustrated the type of viewer who demands nice neat little bows on everything but it’s the essence of human, in this context. It’s the ambiguity, the lack of real answers or resolution. It’s also letting things go; some that matter, some that don’t. Southland followed an assortment of beat cops and detectives through the rough parts of LA. Whether on crime scenes or in squad cars, actual policing was merely a backdrop to characters talking shit and generally getting on each other’s nerves. Over time you became attached to even the jerk ones (especially Dewey) and realise this is one of the few shows that has successfully taken you into the lives of street cops without making it obvious.

Intimacy by stealth. Fittingly the final scene of Southland sees one of its most troubled characters – the back-pain ravaged John Cooper (Michael Culditz) – face mortality in ambiguous circumstances.

His path from angry cop in the closet to angrier cop in the closet, but on pain meds, was the soul of this soul. He was the pure representation of what Southland was – good in difficult circumstances.A show ripe for discovery via binge viewing justin hook

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the word

on gigs

Are You There God, It’s Me Margaret?, California Girls, Nature Kids The Street Theatre Foyer Friday 15 August At the end of their set Nature Kids announced that it was their first show, which was a bit of a surprise. Sure, the kids on stage looked young, but they had just ripped off half an hour of pretty weighty indie rock, riffs and all. Bits of The Strokes here, dashes of Brit-Pop there, the only downside was the lack of audible vocals throughout.

Gus McGrath has floated in and out of various Canberra bands over the last couple of years, including openers Nature Kids. His newish project California Girls saw him take the stage solo, armed with a drum machine, guitar, keyboard and looping pedal. Somehow out of this mix California Girls produced Madchester-esq alt dance music that was catchy and engaging for his half hour set.

Are You There God, It’s Me Margaret? (from here on AYTGIMM) is a band roughly centred around a re-creation of a coming-of-age book by Judy Bloom of the same name, with songs focused around puberty, school, guys and God. But the concept was seemingly confined to subject matter, with the short list of songs quite diverse in nature. Lush harmonies reigned across the songs on show, with cutting guitars and smooth keys and cello fighting for attention.

It was a shame that AYTGIMM finished after so few shows but perhaps such a concise concept wasn’t built for a long run. Closer “Are You There”, a piece of cutting garage-rock, provided the highlight of the night and indeed their short but successful time together.

PHOTO BY MEGAN LEAHY

the word

on gigs

CODY ATKINSON

Art vs Science, Castlecomer Transit Bar Friday 15 August Castlecomer (named after a town in Ireland) is one of those bands that makes you glad you rolled up early for the show. From the opening bars, before the instruments rallied round him, it was clear that frontman Bede has a great voice. However, he’s only one singer in a band that thrives on multi-vocal deliveries and harmonies. Their style is not easily described; it’s pop with a strong folk undertone that results in marvelous rhythms. They claimed their one, more soulful song resulted in patrons in Wollongong throwing rum and Cokes at them (though. personally, I cannot see anyone from The Gong wasting a good rum n’ cola). In a night always meant for dancing, Castlecomer had the punters on the floor early. If you missed out last night, they are back at Transit on 12 September.

The members of Art vs Science, dressed in casual knits, made themselves busy laying out an array with more pedals than the Tour de France. They were soon back in their matching shirts for some serious dance music. The guys kicked off with the new stuff, including ‘Create/Destroy’ and ‘Creature of the Night’. This had the crowded floor humming, but not yet raising a sweat. The emergence of favourites such as ’Magic Fountain’ had the front rows packing down with Bledisloe Cup ferocity. Up close to the stage, (with its makeshift crowd barrier formed from little tables stood on their ends) it was cool to see Dan Mac morphing his voice using first the keys, and then the guitar. While overwhelmingly electro-dance, the band still found room for an extended guitar solo, again featuring Dan Mac. After, their epic tune ‘Mother’, they left everyone happy with evergreen favourites ‘Hollywood’ and ‘Parlez-Vous Francais?’

RORY MCCARTNEY

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Peking Duk Meche Saturday 16 August

on gigs

Canberra’s very own electronic gods Peking Duk hit the decks last weekend to flaunt their latest and greatest songs to a highly impressed audience. The duo - comprised of Rueben Styles and Adam Hyde – yelled their greetings and we as the audience replied with shameless enthusiasm. Straightaway their mixes had the audience bouncing and it didn’t take long before the crowd was a roiling mess of sweaty bodies, sharp elbows and feet that pounded the floor louder than the music itself. They provided a great mix of songs, from their newest releases to clever mix-ups of old classics that had the crowd chanting for more. Peking Duk yelled incentives and we lapped it up, waving our hands in the air and stomping our feet in time with the tempo.

It was unusual to see such high profile figures communicating with the audience on a personal level but it was most definitely a pleasure to witness. Reluctantly I made for the toilets leaving the raging crowd behind, and was surprised to see that the bar and indeed almost every other location was empty except for the dance floor; Peking Duk had charmed us better than the Pied Piper himself. After the last note rang clear, the audience sagged as one, spent from the exertion required to keep on top of the hybridized electro-house and funky disco that held us suspended for the best hour of the night. Although it was a full set it felt like only moments had passed before I was leaving the building feeling high, much like the last song they performed.

BETH WATSON

the word

King Buzzo, Peter Black Transit Bar Saturday 23 August

on gigs

Up first on the night was Peter Black, perhaps better known as Blackie from the Hard Ons and Nunchukka Superfly. Black, away from the waves of noise of his other bands, relied on just his acoustic and unique voice to command the attention of the early Transit Bar crowd on the night. Songs of divorce and shitty jobs were the order of the day but they were tinged with a sense of beauty with deftly plucked guitar resonating through the room. In Canberra promoting his third solo album, Black showed that a good song is a good song, regardless of how it’s delivered.

King Buzzo cut an impressive figure on stage; a plume of hair seemingly in perpetual motion, coloured by salt and pepper shakers.

Buzzo, on his first solo tour of Australia after two dozen albums with The Melvins, the gig was a chance to not only hear his new solo material, but evolutionary versions of classic Melvins tracks.

The solo set-up shifted the focus to the storytelling as much as the songs, with Buzzo holding fort on topics such as Iggy Pop and his “nemesis” Courtney Love (also playing in Canberra on the same night).

The raw power of his voice roared through the night, and his guitar took the beating of a lifetime. Using the fat strings to create a bassy sludge throughout, Buzzo was dynamic, using both physical and aural space as his weapon, letting the silence do as much damage as the sound. He was just one man, but had the sound of many.’

PHOTO BY MEGAN LEAHY

48

CODY ATKINSON

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ENTERTAINMENT GUIDE Wed Aug 27- Sat Aug 30 Listings are a free community service. Email editorial@bmamag.com to have your events appear each issue. wednesday august 27 Art Exhibitions ANU Emerging Artists Exhibition

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

Until Sep 3.

ALLIANCE FRANÇAISE

Action Stations

Work by Louise Paramor & Peter Maloney. Tue-Fri 11am-5pm. Sat 10am-4pm. Until Sep 27. Free.

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Wordsmith

Visual artists & writers in creative interaction. Aug 21-Sep 7. Wed-Sun 12-5pm. Free.

M16 ARTSPACE

Colour Music

Arcadia: Sound of the Sea

National Campus Band Comp

NATIONAL PORTRAIT GALLERY

ANU BAR AND REFECTORY

Art Exhibitions

Works by Clare Jackson & Georgia Black. Opening Aug 26, 6pm. Until Sep 1.

Something Different

ANU Emerging Artists Exhibition

Comedy

POLIT BAR & LOUNGE

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

10am-5pm daily. Free.

The Light Part of Every 24hrs

THE FRONT GALLERY AND CAFÉ

Shaken & Stirred

Burlesque glamour. 7.30pm. $20. Book at: politbar.co

Alex Williamson

friday august 29

Dumb things I’ve done. 8pm. $35+bf.

ZIERHOLZ @ UC

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

OJO CAFE AND BAR

The rapport between music & visuals.

Until Sep 28. Wed-Sun 12-5pm. Free.

Wednesday Night Gigs

Yvette Fitzpatrick

LITTLE BROOKLYN

ANU DRILL HALL GALLERY

The biggest live band comp in Australia.

8pm. Free. Info: anuunion.com.au

Showcasing local talented musicians.

8pm. Free.

Film Stronger Than Fiction

OJO CAFE AND BAR

On Men

ANU DRILL HALL GALLERY

Live Music

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

POLIT BAR & LOUNGE

Plump

LITTLE BROOKLYN

2XX Trivia Night

9.30pm. Free.

Presence and Absence & The Price of Oil

THE FRONT GALLERY AND CAFÉ

Screen based portraiture finalists.

10am-5pm daily. Free.

NATIONAL PORTRAIT GALLERY

M16 Artists’ Show

New works by M16 Studio Artists. Aug 21-Sep 7. Wed-Sun 12-5pm. Free.

M16 ARTSPACE

Offline

Film Stronger Than Fiction

International Documentary Film Festival. Thu-Sun until Aug 31.

PALACE ELECTRIC CINEMA

Live Music Wayne Kelly

Blues. 8pm. Free.

DURHAM CASTLE ARMS

HELLENIC CLUB (WODEN)

Cheese on Toast DJ 10pm. Free.

DURHAM CASTLE ARMS

The Gaps

KING O’MALLEY’S IRISH PUB

Screen based portraiture finalists.

10am-5pm daily. Free.

M16 Artists’ Show

New works by M16 Studio Artists. Aug 21-Sep 7. Wed-Sun 12-5pm. Free.

On The Town

M16 ARTSPACE

Alive Fridays

ACADEMY NIGHTCLUB

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

11-3pm.

Australian Idle

Presenting Tigerlily. $15 before 11pm.

Australian Idle

Songbirds & Sirens

Canberra Open-Mic Poetry Slam: Love. Chaos

CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

TRANSIT BAR

Chad Croker Duo

THE Q - QUEANBEYAN ARTS CENTRE

NATIONAL PORTRAIT GALLERY

5pm afternoon session. 10pm band.

Free.

THE PHOENIX BAR

Singer-songwriters Marianne Scholem, Hayley Shne & more. 8pm. Free.

Recent paintings by Edwin Gardiner.

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

Live Music/ Oscar

TRANSIT BAR

Something Different

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

Presence and Absence & The Price of Oil

Macquarie Digital Portraiture Award

Grandmaster Monk

NISHI GALLERY

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Battle of the Band winners return for a night of rock. 8pm. Free.

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

11-3pm.

With No Hausfrau + Joe Oppenheimer.

9pm. $5.

M16 ARTSPACE

6.30pm. Free.

Questions with Glamour. 8pm. Free.

Macquarie Digital Portraiture Award

Wordsmith

The rapport between music & visuals.

Until Sep 28. Wed-Sun 12-5pm. Free.

Tranny Trivia

THE Q - QUEANBEYAN ARTS CENTRE

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Mark McHale

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

Recent paintings by Edwin Gardiner.

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

Work by Louise Paramor & Peter Maloney. Tue-Fri 11am-5pm. Sat 10am-4pm. Until Sep 27. Free.

Colour Music

On Men

thursday august 28

Action Stations

Live Music

Acoustic local & interstate musicians.

9.30pm. Free.

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

ALLIANCE FRANÇAISE

PALACE ELECTRIC CINEMA

Trivia

Support a significant community station. Time TBA. $TBA.

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

Until Sep 3.

Visual artists & writers in creative interaction. Aug 21-Sep 7. Wed-Sun 12-5pm. Free.

International Documentary Film Festival. Thu-Sun until Aug 31.

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

HELLENIC CLUB (WODEN)

saturday august 30

With Daniel Ferri & Melea Vera. Time TBA. $TBA. THE FRONT GALLERY AND CAFÉ

Offline

NISHI GALLERY

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

CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

Arcadia: Sound of the Sea

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

10am-5pm daily. Free.

NATIONAL PORTRAIT GALLERY

9pm. Free.

KING O’MALLEY’S IRISH PUB

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ENTERTAINMENT GUIDE Sat Aug 30 - Wed Sep 3 The Light Part of Every 24hrs Works by Clare Jackson & Georgia Black. Opening Aug 26, 6pm. Until Sep 1.

THE FRONT GALLERY AND CAFÉ

Film Stronger Than Fiction

International Documentary Film Festival.

Thu-Sun until Aug 31.

PALACE ELECTRIC CINEMA

Karaoke Karaoke Night

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

Chaplinitis

Celebrating 100 years of Chaplin. Live music & events all day. Bookings: 6248 2000.

NATIONAL FILM AND SOUND ARCHIVES

Dinner with Helena and Vikki

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

HELLENIC CLUB (WODEN)

Theatre The Dream

Bell Shakespeare’s A Midsummer Night’s Dream. Magic and mayhem.

Aug 30-Sep 13. Info and bookings onl THE PLAYHOUSE

GUNDAROO COLONIAL INN

Live Music Live Music

Acoustic local & interstate musicians.

9.30pm. Free.

LITTLE BROOKLYN

sunday august 31 Film Robin Williams Tribute Screening

Silky Six

Dead Poets Society & Good Morning, Vietnam. 6pm. $15.

HELLENIC CLUB (WODEN)

Stronger Than Fiction

9.30pm. Free.

Looking Glass

With A Drone Coda. 9.30pm. $5.

THE PHOENIX BAR

Live band.

10pm. Free.

DURHAM CASTLE ARMS

The Big Whathaveyou

Tribute to the Big Lebowski. With The Barren Spinsters , The Burley Griffins + more. $20. Time TBA.

ANU FILM GROUP (COOMBS THEATRE)

International Documentary Film Festival.

Thu-Sun until Aug 31.

PALACE ELECTRIC CINEMA

Live Music The Funky Monkeys

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

A BITE TO EAT CAFE

Sunday Sessions

Theatre

Trivia

The Dream

Quiz Night

Bell Shakespeare’s A Midsummer Night’s Dream. Magic and mayhem.

Aug 30-Sep 13. Info and bookings onl THE PLAYHOUSE

monday september 1 Live Music The Bootleg Sessions

The Dream

Bell Shakespeare’s A Midsummer Night’s Dream. Magic and mayhem.

Aug 30-Sep 13. Info and bookings onl THE PLAYHOUSE

tuesday september 2 Art Exhibitions Salvaged

Sculptures by Adele Cameron. Until Sep 15.

THE FRONT GALLERY AND CAFÉ

Tone, Colour and Space

Arts by students of Lake Tuggeranong College. Mon-Fri 10am-7pm. Sat 10am-4pm. Until Sep 13. Free.

TRANSIT BAR

4th Degree

10.30pm. Free.

KING O’MALLEY’S IRISH PUB

On The Town Love Saturdays

With Exposure. $10 all night.

ACADEMY NIGHTCLUB

Something Different

Traditional Irish music. From late afternoon. Free.

KING O’MALLEY’S IRISH PUB

The Acoustic Sessions

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

Karaoke Love

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

TRANSIT BAR

Theatre

Wil Wagner

The Dream

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

TRANSIT BAR

ANU School of Art Open Day

Action Stations

Work by Louise Paramor & Peter Maloney. Tue-Fri 11am-5pm. Sat 10am-4pm. Until Sep 27. Free.

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Wordsmith

Visual artists & writers in creative interaction. Aug 21-Sep 7. Wed-Sun 12-5pm. Free.

M16 ARTSPACE

Colour Music

The rapport between music & visuals.

Until Sep 28. Wed-Sun 12-5pm. Free.

ANU DRILL HALL GALLERY

Salvaged

On Men

With Mai & Sam. 2pm. Free.

IRON BAR

ALLIANCE FRANÇAISE

Karaoke

POLIT BAR & LOUNGE

Irish Jam Session

ANU Emerging Artists Exhibition

Sculptures by Adele Cameron. Until Sep 15.

HOPSCOTCH BAR

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

wednesday september 3

TUGGERANONG ARTS CENTRE

Karaoke Madness

True Vibenation

THE PHOENIX BAR

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

Until Sep 3.

OLD CANBERRA INN

Singer/songwriter/guitarist. 3pm-6pm.

Free.

7.30pm. Free.

Theatre

Sorrel Nation

Blues, roots & pop. 9pm. Free.

Andrew and Shannon’s Pub Trivia

Art Exhibitions

THE PHOENIX BAR

Sacred Cow

LITTLE BROOKLYN

THE PHOENIX BAR

Trumpet Club, Sanjiva De Silva, Buck et al + Heya Gosper. 8pm. Free.

Acoustic local & interstate musicians.

4pm. Free.

THE BASEMENT

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

Bell Shakespeare’s A Midsummer Night’s Dream. Magic and mayhem.

Aug 30-Sep 13. Info and bookings onl THE PLAYHOUSE

THE FRONT GALLERY AND CAFÉ

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

Recent paintings by Edwin Gardiner.

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

THE Q - QUEANBEYAN ARTS CENTRE

Tone, Colour and Space

Arts by students of Lake Tuggeranong College. Mon-Fri 10am-7pm. Sat 10am-4pm. Until Sep 13. Free.

TUGGERANONG ARTS CENTRE

Macquarie Digital Portraiture Award Screen based portraiture finalists.

10am-5pm daily. Free.

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

ANU SCHOOL OF ART

NATIONAL PORTRAIT GALLERY

stur gallery

50

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ENTERTAINMENT GUIDE Wed Sep 3 - Sat Sep 6 M16 Artists’ Show

New works by M16 Studio Artists. Aug 21-Sep 7. Wed-Sun 12-5pm. Free.

M16 ARTSPACE

Arcadia: Sound of the Sea

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

10am-5pm daily. Free.

NATIONAL PORTRAIT GALLERY

Live Music Wednesday Night Gigs

Showcasing local talented musicians.

8pm. Free.

LITTLE BROOKLYN

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

Theatre The Dream

Bell Shakespeare’s A Midsummer Night’s Dream. Magic and mayhem.

Aug 30-Sep 13. Info and bookings onl THE PLAYHOUSE

Theatre

Theatre

The Dream

The Dream

THE PLAYHOUSE

THE PLAYHOUSE

Bell Shakespeare’s A Midsummer Night’s Dream. Magic and mayhem.

Aug 30-Sep 13. Info and bookings onl

Bell Shakespeare’s A Midsummer Night’s Dream. Magic and mayhem.

Aug 30-Sep 13. Info and bookings onl

Mozart’s The Magic Flute

Mozart’s The Magic Flute

CANBERRA THEATRE CENTRE

CANBERRA THEATRE CENTRE

Adventure in 1930s Egypt. 7.30pm. $29-$109.

friday september 5

Adventure in 1930s Egypt. 7.30pm. $29-$109.

saturday september 6

Live Music

Art Exhibitions

Davesway

Action Stations

Earthy, acoustic & honest Aussie flavour. 6.30pm. Free.

OJO CAFE AND BAR

Chad Croker/ Special K

5pm afternoon session/10pm Band.

Free.

Work by Louise Paramor & Peter Maloney. Tue-Fri 11am-5pm. Sat 10am-4pm. Until Sep 27. Free.

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Wordsmith

CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

Live Music Dos Locos 9pm. Free.

KING O’MALLEY’S IRISH PUB

Kenny P

8pm. Free.

DURHAM CASTLE ARMS

Hence The Test Bed

With Renegade Peacock + The Khalasar. 9pm. $5.

THE PHOENIX BAR

KING O’MALLEY’S IRISH PUB

Hit Parade

9.30pm. Free.

HELLENIC CLUB (WODEN)

Fire On The Hill 9.30pm. $5.

THE PHOENIX BAR

3rd Exit

10pm. Free.

DURHAM CASTLE ARMS

Elwood Myre

Head full of ideas. Closet full of ghosts.

Acoustic folk. Tima TBA. $TBA. THE FRONT GALLERY AND CAFÉ

Vocal Fireworks

A star-studded line-up. 7pm. $40/$45.

NATIONAL MUSEUM OF AUSTRALIA

The rapport between music & visuals.

Until Sep 28. Wed-Sun 12-5pm. Free.

By The Song Company. 6pm. $TBA.

10pm. Free.

Salvaged

Acoustic local & interstate musicians.

9.30pm. Free.

Temtris

THE FRONT GALLERY AND CAFÉ

6pm. Free.

POLIT BAR & LOUNGE

Sculptures by Adele Cameron. Until Sep 15.

By Susan Buret. Sep 4-14. Wed-Sun 1-am-5pm. Free.

10.30pm. Free.

Ms Adie Sings

M16 ARTSPACE

DURHAM CASTLE ARMS

Floored

Heuristic

Colour Music

HELLENIC CLUB (WODEN)

Tranny Trivia

Art Exhibitions

Live Music

9.30pm. Free.

Something Like This

thursday september 4

NATIONAL PORTRAIT GALLERY

Pseudo Echo and Absolutely 80s

DJ Rawson

Trivia

POLIT BAR & LOUNGE

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

10am-5pm daily. Free.

Visual artists & writers in creative interaction. Aug 21-Sep 7. Wed-Sun 12-5pm. Free.

KING O’MALLEY’S IRISH PUB

ANU DRILL HALL GALLERY

Questions with Glamour. 8pm. Free.

Arcadia: Sound of the Sea

With Reign of Terror, Na Maza + Black Reign. $10. Time TBA. THE BASEMENT

Lakeside at 5 in The Galley

Jazz with Gary France & Friends. 5pm.

Free.

TUGGERANONG ARTS CENTRE

The Dual EP Launch

Hip hop luminaries. 8pm. $10.

On Men

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

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Floored

By Susan Buret. Sep 4-14. Wed-Sun 1-am-5pm. Free.

WESLEY UNITING CHURCH

Live Music

LITTLE BROOKLYN

On The Town Love Saturdays

With The Projektz. $10 all night.

ACADEMY NIGHTCLUB

Something Different Fash ‘n’ Treasure

Live Music

CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

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

LITTLE BROOKLYN

Presence and Absence & The Price of Oil

Theatre

TRANSIT BAR

Acoustic local & interstate musicians.

9.30pm. Free.

On The Town Alive Fridays

Recent paintings by Edwin Gardiner.

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

THE Q - QUEANBEYAN ARTS CENTRE

Presenting Seek N Destroy. $10 all night.

Tone, Colour and Space

Something Different

TUGGERANONG ARTS CENTRE

The Vinyl Lounge

New works by M16 Studio Artists. Aug 21-Sep 7. Wed-Sun 12-5pm. Free.

ACADEMY NIGHTCLUB

BYO vinyl. 5.30-6.30pm. Free.

NATIONAL FILM AND SOUND ARCHIVES

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Arts by students of Lake Tuggeranong College. Mon-Fri 10am-7pm. Sat 10am-4pm. Until Sep 13. Free.

M16 Artists’ Show

EXHIBITION PARK IN CANBERRA (EPIC)

The Dream

Bell Shakespeare’s A Midsummer Night’s Dream. Magic and mayhem.

Aug 30-Sep 13. Info and bookings onl THE PLAYHOUSE

Mozart’s The Magic Flute

Adventure in 1930s Egypt. 7.30pm. $29-$109.

CANBERRA THEATRE CENTRE

M16 ARTSPACE

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ENTERTAINMENT GUIDE Sun Sep 7 - Sat Sep 13 sunday september 7 Live Music Band Java

Therapy music to drink & socialise with.

5-7pm. Free.

Karaoke Love

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

TRANSIT BAR

Live Music Conan

Macquarie Digital Portraiture Award Screen based portraiture finalists.

10am-5pm daily. Free.

NATIONAL PORTRAIT GALLERY

Live Music

With Yanomamo. Time TBA. $TBA.

Acoustic Soup

Acoustic local & interstate musicians.

4pm. Free.

Theatre

ANU FOOD CO-OP

The Acoustic Sessions

The Dream

A BITE TO EAT CAFE

Sunday Sessions LITTLE BROOKLYN

With Stu Tyrrell. 2pm. Free.

IRON BAR

Irish Jam Session

Traditional Irish music. From late afternoon. Free.

KING O’MALLEY’S IRISH PUB

Theatre The Dream

Bell Shakespeare’s A Midsummer Night’s Dream. Magic and mayhem.

Aug 30-Sep 13. Info and bookings onl

THE BASEMENT

Bell Shakespeare’s A Midsummer Night’s Dream. Magic and mayhem.

Aug 30-Sep 13. Info and bookings onl THE PLAYHOUSE

Trivia

Drama inside the combat & protest.

2pm & 6pm. $69.70- $99.90.

CANBERRA THEATRE CENTRE

monday september 8 Live Music The Bootleg Sessions

Open Mic Feature Act : Sam Carmichael

Sassy & unsuspected covers. 6pm.

Free.

OJO CAFE AND BAR

Wednesday Night Gigs

Showcasing local talented musicians.

8pm. Free.

Supporting his ‘Sea of Approval’. 8pm.

Presale via Moshtix.

TRANSIT BAR

Something Different Naked Girls Reading

3 girls read aloud from various books.

7.30pm. $15. Book at: politbar.co.

POLIT BAR & LOUNGE

Theatre The Dream

Bell Shakespeare’s A Midsummer Night’s Dream. Magic and mayhem.

Aug 30-Sep 13. Info and bookings onl THE PLAYHOUSE

friday september 12

Trivia and Steers with Bondy and Kiers

LITTLE BROOKLYN

Theatre

Live Music

THE PHOENIX BAR

The Dream

Live Music

7.30pm. Free.

wednesday september 10

THE PLAYHOUSE

Rolling Thunder Vietnam

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

Andy Bull

Bell Shakespeare’s A Midsummer Night’s Dream. Magic and mayhem.

Aug 30-Sep 13. Info and bookings onl

Acoustic local & interstate musicians.

9.30pm. Free.

LITTLE BROOKLYN

Art Exhibitions

THE PLAYHOUSE

Arcadia: Sound of the Sea

Trivia

9.30pm. Free.

Tranny Trivia

Heuristic

POLIT BAR & LOUNGE

DURHAM CASTLE ARMS

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

10am-5pm daily. Free.

NATIONAL PORTRAIT GALLERY

Action Stations

Work by Louise Paramor & Peter Maloney. Tue-Fri 11am-5pm. Sat 10am-4pm. Until Sep 27. Free.

Questions with Glamour. 8pm. Free.

thursday september 11

DJ Rawson

HELLENIC CLUB (WODEN)

10pm. Free.

Castlecomer

8pm. Presale via Moshtix.

TRANSIT BAR

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Art Exhibitions

Something Different

THE PHOENIX BAR

Colour Music

Ice Floes and Growlers

Theatre

The rapport between music & visuals.

Until Sep 28. Wed-Sun 12-5pm. Free.

Art Underground Open Mic Night

ANU DRILL HALL GALLERY

M16 ARTSPACE

The Dream

Salvaged

With Duck Duck Ghost, Fricker, Hannah Blackburn + Hayley Shone. 8pm. Free.

Bell Shakespeare’s A Midsummer Night’s Dream. Magic and mayhem.

Aug 30-Sep 13. Info and bookings onl THE PLAYHOUSE

tuesday september 9 Karaoke Karaoke Madness

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

POLIT BAR & LOUNGE

Sculptures by Adele Cameron. Until Sep 15.

THE FRONT GALLERY AND CAFÉ

On Men

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

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Floored

By Susan Buret. Sep 4-14. Wed-Sun 1-am-5pm. Free.

CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

Tone, Colour and Space

Arts by students of Lake Tuggeranong College. Mon-Fri 10am-7pm. Sat 10am-4pm. Until Sep 13. Free.

An exploration of Antarctica. Sep 1128. Wed-Sun 12-5pm. Free.

A Lightness of Being

By Ngaio Fitzpatrick. Sep 11-28. WedSun 12-5pm. Free.

M16 ARTSPACE

In Translation

An exploration of the Canberra region.

Sep 11-28. Wed-Sun 12-5pm. Free.

M16 ARTSPACE

Live Music Live duo

8pm. Free.

DURHAM CASTLE ARMS

Alturas

Traditional & modern jazz & tango. Time TBA. $15/$20.

THE FRONT GALLERY AND CAFÉ

Share your short stories, poetry, music or general verbal art. 7pm. Free.

BEYOND Q

Theatre The Dream

Bell Shakespeare’s A Midsummer Night’s Dream. Magic and mayhem.

Aug 30-Sep 13. Info and bookings onl THE PLAYHOUSE

saturday september 13 Art Exhibitions Arcadia: Sound of the Sea

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

10am-5pm daily. Free.

NATIONAL PORTRAIT GALLERY

TUGGERANONG ARTS CENTRE

gorman house

52

@bmamag

ENTERTAINMENT GUIDE Sat Sep 13- Sat Sep 20 Action Stations

Work by Louise Paramor & Peter Maloney. Tue-Fri 11am-5pm. Sat 10am-4pm. Until Sep 27. Free.

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Ice Floes and Growlers

An exploration of Antarctica. Sep 1128. Wed-Sun 12-5pm. Free.

M16 ARTSPACE

Colour Music

The rapport between music & visuals.

Until Sep 28. Wed-Sun 12-5pm. Free.

ANU DRILL HALL GALLERY

Salvaged

Sculptures by Adele Cameron. Until Sep 15.

THE FRONT GALLERY AND CAFÉ

On Men

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

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

A Lightness of Being

By Ngaio Fitzpatrick. Sep 11-28. WedSun 12-5pm. Free.

M16 ARTSPACE

Floored

By Susan Buret. Sep 4-14. Wed-Sun 1-am-5pm. Free.

CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

Tone, Colour and Space

Something Different Red Bull Flying Bach

Johann Sebastian Bach, with Breakdance crew, Flying Steps. 8pm. $70-$96.

CANBERRA THEATRE CENTRE

Theatre The Dream

Bell Shakespeare’s A Midsummer Night’s Dream. Magic and mayhem.

Aug 30-Sep 13. Info and bookings onl THE PLAYHOUSE

sunday september 14 Live Music Irish Jam Session

Traditional Irish music. From late afternoon. Free.

KING O’MALLEY’S IRISH PUB

The Acoustic Sessions With Matt Dent. 2pm. Free.

IRON BAR

Sunday Sessions

Acoustic local & interstate musicians.

4pm. Free.

LITTLE BROOKLYN

tuesday september 16

Arts by students of Lake Tuggeranong College. Mon-Fri 10am-7pm. Sat 10am-4pm. Until Sep 13. Free.

Karaoke

In Translation

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

TUGGERANONG ARTS CENTRE

An exploration of the Canberra region.

Sep 11-28. Wed-Sun 12-5pm. Free.

M16 ARTSPACE

Live Music Client Liaison

Dance, electric & pop. 8pm. Presale via Moshtix.

Karaoke Madness POLIT BAR & LOUNGE

Karaoke Love

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

TRANSIT BAR

wednesday september 17

Colour Music

Kenny P

The rapport between music & visuals.

Until Sep 28. Wed-Sun 12-5pm. Free.

8pm. Free.

DURHAM CASTLE ARMS

ANU DRILL HALL GALLERY

On Men

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

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

A Lightness of Being

By Ngaio Fitzpatrick. Sep 11-28. WedSun 12-5pm. Free.

M16 ARTSPACE

Macquarie Digital Portraiture Award

friday september 19 Art Exhibitions Hip Hop LA and NY Showcase A showcase by the Fresh Funk crew.

8pm. Gold coin entry.

TUGGERANONG ARTS CENTRE

Live Music

Screen based portraiture finalists.

10am-5pm daily. Free.

DJ Rawson

In Translation

Something Like This

9.30pm. Free.

HELLENIC CLUB (WODEN)

NATIONAL PORTRAIT GALLERY

An exploration of the Canberra region.

Sep 11-28. Wed-Sun 12-5pm. Free.

M16 ARTSPACE

wednesday september 17 Live Music

10pm. Free.

DURHAM CASTLE ARMS

Diesel

Lit up: The Singles tour. 8pm. $55.

Book at: thestreet.org.au THE STREET THEATRE

saturday september 20

The Love Junkies

Art Exhibitions

Rock from Perth. 8pm. Presale via Oztix.

In Translation

TRANSIT BAR

Something Different

An exploration of the Canberra region.

Sep 11-28. Wed-Sun 12-5pm. Free.

BAD! SLAM! NO! BISCUIT!

Hip Hop LA and NY Showcase

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

THE PHOENIX BAR

M16 ARTSPACE

A showcase by the Fresh Funk crew.

8pm. Gold coin entry.

TUGGERANONG ARTS CENTRE

Arcadia: Sound of the Sea

Trivia

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

10am-5pm daily. Free.

Tranny Trivia

Questions with Glamour. 8pm. Free.

POLIT BAR & LOUNGE

Thursday september 18

NATIONAL PORTRAIT GALLERY

Action Stations

Work by Louise Paramor & Peter Maloney. Tue-Fri 11am-5pm. Sat 10am-4pm. Until Sep 27. Free.

Live Music

Art Exhibitions

Art Exhibitions

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Arcadia: Sound of the Sea

LITTLE BROOKLYN

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

10am-5pm daily. Free.

Capital Chemist Art Award Exhibition

An exploration of Antarctica. Sep 1128. Wed-Sun 12-5pm. Free.

TRANSIT BAR

Acoustic local & interstate musicians.

9.30pm. Free.

Heuristic

9.30pm. Free.

HELLENIC CLUB (WODEN)

Special K

10pm. Free.

DURHAM CASTLE ARMS

Angus and Julia Stone

With special guests. Live music. 8pm.

Tickets $54.90 from Ticketek.

LLEWELLYN HALL

NATIONAL PORTRAIT GALLERY

Action Stations

Work by Louise Paramor & Peter Maloney. Tue-Fri 11am-5pm. Sat 10am-4pm. Until Sep 27. Free.

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Ice Floes and Growlers

An exploration of Antarctica. Sep 1128. Wed-Sun 12-5pm. Free.

Ice Floes and Growlers

Entries close Sep 15. Exhibition Sep 18-27. Info at: tuggeranongarts.com.

M16 ARTSPACE

Live Music

ANU DRILL HALL GALLERY

TUGGERANONG ARTS CENTRE

Patrick James

The rapport between music & visuals.

Until Sep 28. Wed-Sun 12-5pm. Free.

On Men

Launching his new EP ’Broken Lines’.

8pm. Presale via Moshtix.

TRANSIT BAR

Colour Music

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

CANBERRA CONTEMPORARY ART SPACE

M16 ARTSPACE

OUT

Sep 10

nightfest hands like houses levitation hex swollen members noosa jazz festival ...and more!

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FIRST CONTACT SIDE A: BMA band profile

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

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

Kooba

Australian Songwriters Association Keiran (02) 62310433

Where did your band name come from? Brainstorm in the sunshine..

Back to the Eighties Ty Emerson 0418 544 014

Group members? Sinuhe Pacheco (timbales, vocals), Sergio Castro (vocals, guitar), Nelson Castro (vocals, minor percussion), Joe Taylor (sax, flute), Scott Levers (trumpet), Damian Counahan (congas, timbales), Rohan Fox (piano), Jack Schwenk (bass), Jonathan Harding –Clark (drums).

Describe your sound: Jazz/funk Latin fusion.

Who are your influences, musical or otherwise? Palo, Amigos Invisibles, Alex Wilson, Salsa Celica, Armada Fania and more.

What’s the most memorable experience you’ve had whilst performing? Falling on stage.

Of what are you proudest so far? With such a large group, to have the flexibility to play almost anything we want.

What are your plans for the future? Create catchy originals and record a new album.

What makes you laugh? Feet tickle..

What pisses you off? Are you on time?

What about the local scene would you change? More venues that are supportive of good live music, especially orchestras of this size. Amazing sound!

What are your upcoming gigs? Monkeybar on the Friday September 26, Smiths Alternative in October/November.

Contact info: ftumbajazz@gmail.com, kooba.net.au, facebook.com/koobaband

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

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

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

Top Shelf Colin 0408631514

Haunted Attics band@hauntedatticsmusic.com

Zoopagoo zoopagoo@gmail.com

Undersided, The Baz 0408468041

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