BMA Magazine 451 - 22 October 2014

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I wonder what my roller derby name could be? Submit your suggestions. # 4 5 1 O c t 2 2 Fax: (02) 6257 4361 Mail: PO Box 713 Civic Square, ACT 2608 Publisher Scott Layne Allan Sko General Manager Allan Sko T: (02) 6257 4360 E: advertising@bmamag.com

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

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

Sub-Editor & Social Media Manager Chiara Grassia Graphic Design Chris Halloran Film Editor Melissa Wellham NEXT ISSUE 452 OUT Nov 5 EDITORIAL DEADLINE Oct 29 ADVERTISING DEADLINE Oct 30 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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The Unlikely Poet is a fusion of art, politics and poetry based on the theory that there is an unlikely poet within all of us.

Whether you’ve never written a creative word in your life or you’re a full-time creative, come along and tease the poet within. Everyone is welcome to perform, write and share ideas or simply listen – in any combination of the above.

Under 18s are encouraged to bring a guardian to accompany them as there may be some unpredictable (read: naughty) concepts up for discussion (sounds great right?). The night will be held on Sunday October 26 at Entry 29 – next door to The Street Theatre cafe:entry29.org.au/. 7pm for music, drinks, art-working, networking through ideas and creative interests and then 8pm start for the workshop. $10 at the door or $5 for students and concession. Food and drinks provided. To RSVP and for more details head to the Facebook event page: facebook.com/ events/1493909644223990/

I’LL HAVE WHAT THEY’RE HAVING I love this description from the press release: “Picture yourself…. By the river, tangerine trees towering over you, the whispers of melodies from cellophane flowers of red and green float past – you follow them, past the echoes of folk from the old barn, through the maze of markets and fresh produce, you intertwine with the musical power infiltrating your mind from a stage in the field and as the diamonds fall from the sky, you retreat to the deep underground of the shearing shed to dance the night away.” Welcome to Marmalade Skies. A three-day, (part) BYO, camping, music and arts festival that brings the best of young Australian music, country house party vibes and the downright ridiculous to your ears and your minds. Marmalade Skies is a simple concept: bring a group of people together, then bring

KEEP THE CHANGE Plenty of famous artists started their career as a busker.

Wouldn’t it be great if I could recall a few to help prop up my point? While you try and think of one, I’ll tell you that the third Australian National Busking Championships (ANBC) are on again. It’s a one-day event that features buskers performing throughout the Cooma CBD and wraps up with the Finals Concert in Centennial Park at 5pm on Saturday November 1.

The ANBC is a celebration of all styles of music, including blues, jazz, hip hop, R&B, pop,

rock, folk, country, bluegrass, Indigenous, multicultural or classical. Last year saw over 100 performers, with local lad Guyy Lilleyman taking out the top prize. Local businesses and Rotary have really gotten behind the event this year, with the prize pool currently sitting at $7000!!. For more info go to coomamusic.com.au/ australian-national-buskingchampionships

SHOW AND TELL Remember the first bike your parents gave you? Or what about those denim jeans you were wearing when you found out your grandma died?

Objects. They all have a story or another. Why do we hold on to some things more than others? Come and hear writers share their stories from rip publishing’s blog series, Show + Tell. Featuring Show + Tell bloggers: Sam Townsend, Camilla Patini, Lucy Nelson and Jess Oliver plus new stories from Zoya Patel and Claire Capel-Stanley. Feel inspired to share your own story? There will be one wildcard spot available on the night. All you need to do is bring along your story on the night and put your name in a hat. The event is on at the Gorman House Arts Centre on Wednesday October 29, 6.30pm for nibbles, 7pm start.

More info at facebook.com/ events/1480256022257315/ rip publishing is supported

by Ainslie and Gorman Arts Centres through The Project Space residency program

Accepting donations so that next year I may put a cushion on this crate.

POETS AND WE DIDN’T KNOW IT

along all their mates. Invite your community to discover the best new Australian music in an idyllic country festival atmosphere. Throw in sunflower fields, inland beach parties, a shearing shed dance party, art installations, craft beer and cider stalls and a huge stage packed with tunes til the early hours and you’re well on your way to seeing what we see. Picture yourself on the secluded countryside, a beach party kicking on till sunset, then the real fun begins.

The event is in Goulburn, 45 min from Canberra, Fri–Sun December 12–14. If you’re interested in performing, volunteering or generally getting involved email info@ marmaladeskiesfestival. com.au and the team will get back to asap, or you can go to marmaladeskiesfestival.com. au/. I’m not sure what’s going down in that shearing shed, but I want in.

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FROM THE BOSSMAN And so it was we received a press release from yet another musical act with the word ‘owl’ in it. What was going on?

Sometimes you suspect there may be higher forces at play.

When I say ‘higher forces’ I refer not to some corporate illuminati sitting atop the industry controlling mainstream taste and ensuring there’s at least one minute of tits and ass in every Ministry of Sound music video (true, but). I point more to the number of similar monikers that frequent us in seeming trends.

Recently we had received communiqué from music groups The Owls, Owl Eyes, Owl City, The Four Owls and Owl! That’s My Foot!

(I may have made that last one up). Coincidence? Or did some celestial owl-like being appear skyward in a brilliant flash of light one night at the very moment multiple sets of musicians were trying to determine their band name? “Look, Peter-theDrummer!” Mick-the-Guitarist will exclaim, eagerly pointing a grubby finger upwards. “Look at that Strigiformic shape!” Peterthe-Drummer stops licking his weathered pencil, looks up from his pad upon which is scribbled many a failed band name and exclaims: “It’s a sign! We shall name ourselves… Owl Night Long!”

Perhaps there is a belief that having ‘owl’ in your name will imbue some form of wisdom and with it untold riches. Or perhaps it’s merely coincidence.

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.]

To the old man who felt the need to make a gesture at me for driving my car in a low gear. You really pissed me off. I take pride in my driving. Keeping to the limits and not touching my phone are the norm. So it really frustrates me when I have an old man gesture to ‘slow down’ when I wasn’t even speeding. My car may have been in first gear, my car may be a V8, my car is a little loud (roadworthy) - but that gives you no reason to insinuate that I’m speeding or even respond whatsoever. I don’t mind appreciation for my car - what I mind is your interpretation of my driving. You obviously have no room in your mind for physics or speed, it’s full of Tracey Grimshaw talking about ‘hoons’.

To people with overly-loud motorbikes that insist in revving them to the point that everyone’s ears in the nearby 20km bleed.

It’s not big. It’s not clever. You suck.

Yet this is no isolated incident. We have Boy and Bear, Grizzly Bear, Panda Bear and Polar Bear. There’s a Husky and a Dusky.

What’s particularly strange is when their tour cycles start to synchcronise. A few years back three of the Owl-based groups swooped into Canberra within the space of a month. In October Husky and Dusky toured within the same week.

But the best came some years ago when two very different John Waters toured. One is the beloved British actor/musician performing popular John Lennon homage Looking Through a Glass Onion. The other Waters is a “trash” film director from the ‘70s/’80s responsible for bringing larger-than-life drag queen Divine to attention, a person who - and I’m not kidding here - once ate freshly baked dog excrement (seriously, I’m not kidding…

Do NOT look it up if you’ve eaten any time in the last lifetime). I love the thought of a poor, unsuspecting Lennon-lover settling down for a night of tunes and instead getting a pencil-thin mustachioed director talking about how many takes it required for a dog to unleash a Cleveland Steamer for dietary purposes.

Of course now we’re talking about people’s birth names rather than band names. There is no mystery in multiple Johns or indeed - to pick a random magnificent example - multiple Allans. Just the other day I conversed with a fellow whose parents not only had the decency and good sense to name their child Allan but had the brilliance of adding two ‘Ls’ to the spelling for extra length.

So is there some higher force at play pulling creatives towards the same names? Is there a cashed-up promoter who thinks it would be funny to put all these bands on in quick succession?

Or is it simply nothing? Sometimes it’s a case of not overthinking it. When I interviewed The Music years ago (remember them? Of ‘The People’ fame? There you go.) I was keen to ask them about their name. Was it some bold statement about their work being The Music? Was a glib offhand statement about the decaying nature of the industry? “Nah, we just started playing gigs and didn’t have a band name so we just went with The Music as a filler.” As I said, sometimes it’s best not to overthink it.

Anyway, I’m off to put the finishing touches on the first single from my new band Weird Owl Yankovic called ‘Hoo Are You?’. It sucks. We expect to make millions.

ALLAN SKO - allan@bmamag.com

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WHO: RICHARD IN YOUR MIND WHAT: ALBUM LAUNCH WHEN: FRI OCT 24 WHERE: TRANSIT BAR

WHO: ALL OUR EXES LIVE IN TEXAS WHAT: FOLK WHEN: SUN OCT 26 WHERE: FRONT GALLERY

Image credit: Oliver Link

WHO: SOULS OF MISCHIEF WHAT: ALBUM LAUNCH WHEN: FRI OCT 31 WHERE: TRANSIT BAR

WHO: THE JEFF ‘TAIN’ WATTS QUARTET WHAT: JAZZ WHEN: FRI OCT 31 WHERE: THE STREET THEATRE

WHO: AFRO MOSES WHAT: GIG WHEN: SUN NOV 2 WHERE: IRON BAR

WHO: UNBRIDLED WHAT: FESTIVAL WHEN: SAT NOV 15 WHERE: THROROUGHBRED PARK

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Sydney’s leading purveyors of psychedelic pop, Richard In Your Mind, have been busy soaking up the praise for their new album, Ponderosa.

Having already drawn comparisons to heavyweights such as The Beatles, Beck and Ween, their acclaimed fourth album bristles with joyous pop hooks, vocal harmonies, found sounds, synthesizers and the odd sitar. They’ll be bringing their surreal tunes and party vibes to Transit Bar with support from The Feldons and Myriad Ways. Doors open at 8pm, but turn up early – the gig is free before 9pm and $10 after.

Sydney songwriters Elana Stone, Georgia Mooney, Hannah Crofts and Katie Wighton have teamed up to form All Our Exes Live In Texas.

With mandolin, ukulele, accordion, guitar and lush harmonies, the four piece have been charming audiences with their sweet folk tunes.

Debut single ‘Tell Me’ has been getting airplay and buzz, especially after the launch of its filmclip, which features cameos from Jake Stone (Bluejuice), Phil Jamieson (Grinspoon), Jackson Gallagher (Home and Away) and Lawrence Leung (Offspring). Support from Kristabelle and the Southern Jubilee Ringers. Doors at 6pm. Tickets $18.40 +bf from oztix.

It’s been eight years since hip-hop legends Souls of Mischief visited our shores, but the Oakland crew are back with new album There Is Only Now. Since the release of their first album, 1993’s ‘til Infinity, the four piece have been carved out their place in the hip hop landscape, influencing acts such as Kanye West, Big Sean, Just Blaze, P. Diddy and even Vampire Weekend. Catch Tajai, A-Plus, Phesto and Opio at Transit Bar on Friday October 31. Support Words Eye View, Sauvess, Stik N Move and Scotts. Doors at 8pm. Tickets are $44 available from moshtix.

Five time Grammy award winner Jeff ‘Tain’ Watts has been hailed as one of the most influential and innovative drummers of his generation, whether leading his own band or playing as a session musician. Watts has racked up quite the reputation, combining blinding speed, complex rhythms and time signatures along with a sense of elegance and composure. With a new album on the way, this will be your rare chance to catch Watts, accompanied on stage

by Osmany Parades (piano), Troy Roberts (sax) & Chris Smith (bass), before he returns to the USA. 8pm. Tickets are $35 +bf from thestreet.org.au.

Celebrated for his vibrant blend of Afro-fusion, reggae, salsa and funk, the multi-instrumentalist and composer Afros Moses will be back in town to play Iron Bar on Sunday November 2. A teenage star in his native country of Ghana, West Africa, he was nicknamed the African James Brown for his funky music and dance styles and first spotted by one of Bob Marley’s tour managers and whisked away to Europe. Since then, Moses has played at festivals around the world, sharing bills with the likes of Ziggy and Rita Marley, The Wailers, Miriam Makeba and Salif Keita. Kicks off at 2pm. Free.

There’s a new all ages, all day music fest to add to the calendar and this one includes horses. Based Thoroughbred Park, Unbridled promises music, food and yeah, horses. Expect food and craft markets, workshops, activities and horse sports (including jousting, mounted archery and horseball) and performances. The music lineup includes country duo Busby Marou, UK singer-songwriter Fiona Bevan, Mark Moldre, Troy Henderson and locals The Burley Griffin, The Fuelers, Dr Stovepipe and Hayley Shone. 9am until late. Tickets from $40 with discounts for concession, 12–17 years and families. Tickets and full program, yet to be announced, at unbridledfestival.com.

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baz ruddick Picture the scene. Nine hundred foot dragging, brainless, zombies, hobbling and groaning their way down the streets of our beloved capital. Do you run, hole up in your basement, shotgun in hand and survive off tinned meats? Or are you going to cop a bite, join the living dead and shuffle your way across Canberra in support of a great cause? On Saturday November 1, the zombie apocalypse is coming. Canberra residents will be donning full zombie regalia and taking to the streets in support of the Brain Foundation. I spoke to Jae Burns, organiser and creator of CANBERRA’S ZOMBIE WALK.

So what makes a good zombie, I ask Burns. “Just getting into the character of it!” she says. “On the day there will be some amazing people doing makeup who have had a lot of experience and then other people will have just gotten a kit from a two dollar store. It isn’t entirely about the looks but it is about really just getting into it and getting into the character of it.” Burns cites a “creepy little girl complete with teddy bear” and a man with a chainsaw through his chest as the stars of last year’s zombie walk. “I am a fan of the b grade stuff,” she says.

“Like Romero and all of that!”

Being idle or stationary is fine – Just let your makeup do the work

Canberra’s zombie walk was born over a few drinks as Burns and Rob Vidaic discussed the zombie walks of Sydney and Melbourne and the possibility of raising the undead in the ACT. Passionate about the research the brain foundation does, Burns and Vidaic took on the monumental task of organising the event and pulled it off in just over two short months. Despite such rushed organisation, the walk still pulled a crowd of 600 strong. This year, they’re hoping to crack the one thousand mark.

Following the walk, crowds will be treated to a fire twirling show by some ‘molotov zombies’ before the invasion after-party commences at the Magpie Club. “We are doing a punk rock theme,” says Burns. “Last year we had a massive turn out. It was at the Phoenix and they were at capacity till around four in the morning!”

The all ages gig will kick off at 5pm and feature a plethora of great punk bands, including Nerdlinger, Revellers, Littlefoot, Kang, No Assumption, The Great Awake, Inedia, Overdoze and Thrashed.

But you can’t pull off a zombie apocalypse without help and support. “We have some guys from CMA (Canberra Makeup Academy) [who] are going to be doing makeup on the day and there are makeup artists from all around Canberra willing to help people out,” says Burns. “They have been posting on Facebook offering their assistance.”

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I seek advice from zombie enthusiast and go to man Jason Becks, creator of zombiehire.com (your one stop shop for all things undead), about how to play the part. He gives me a simple zombie choreographic guide.

“Keep your mouth open with your teeth bared,” says Becks. “Keep your stance asymmetrical, avoid repetition or cyclical walking. Being idle or stationary is fine – just let your makeup do the work.

“Move slowly, at around ten percent speed. There is no malice or evil intent in a zombie – just the impartial impulse to consume any living thing. Zombies don’t have the motor skils to attack effectively – they just flow towards their prey.”

Ultimately the Zombie Walk is about friendship and community.

“You see a lot of people bouncing off each other with their ideas,” Burns tells me. “You will see two people who don’t know each other but have costumes somewhat related hamming it up together.

Last year we ended up with a pope, a priest, a nun and a gimp.

What are the odds of that?”

The Zombie Walk is a family friendly event, kicking off at Regatta Point from 3pm, Saturday November 1. Find them on Facebook for the latest updates. The following day on Sunday November 2 is Day After Dead at Iron Bar featuring Afro Moses plus guests.

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Artwork by Colin O’Mullane

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LOCALITY

In this edition’s episode of Noni Says Really Obvious Things: the weather’s getting warmer! For many, that’s a brilliant thing, but if you’re like me and don’t particularly enjoy being all hot and bothered at gigs, allow me to impart one very wonderful piece of wisdom: get yourself a fan. It’s quite easy to integrate the flapping of stiff fabric or paper into your chosen style of dance and it will also make you incredibly popular with those around you who weren’t clever enough to bring a way to cool themselves down. It’s a great way to start conversations with other punters and it reduces your chances of dance floor induced heat stroke. Everyone wins! Trust me, it’ll be the best $5 you spend all summer.

Halloween falls smack in the middle of this fortnight and I have to confess, it’s one of my favourite themed evenings of the year. If you’re looking for somewhere to get your monster mash on come the evening where the spirit world and ours begin to intertwine, consider the Manga Republic Halloween Record Release Party at The RUC in Turner, Friday October 31. Those playing and launching records include Liam McKahey and the Bodies, Beth n Ben and Midnight Cinderella and those who come along to shake their bones are encouraged to come in their spookiest duds. The doors to darkness will be open from 8pm, with full price tickets setting you back $20. Smiths Alternative are rolling out a new monthly event in the form of Whiskey and Blues Tues, with the first to be held Tuesday October 28. Starting at 7:30pm, there’ll be tunes from Whisky Straits and whiskey tasting. (Hang on… I’m starting to see a trend here…) Entry is $10, with this evening being the first of many to come, with regular occurrences on the last Tuesday of the month.

Looking Glass are hitting up The Basement on Friday October 24 and are bringing Bent Hen and Agency along to fill out the bill for a night of serious rock. Starting at 8pm, tickets are $10, which is a brilliant price for a rollicking Friday evening. If you’re looking for a way to shake off the mid-week blues, CMC Wednesdays at Smith’s Alternative are often a sure bet and on Wednesday October 29, they have a particularly delectable line up, with New Gods of Thunder and The Lavans. Starting at 7:30pm, it’s a great opportunity to let your ears soak up some wonderful roots sounds. Mark my words, the $10 you spend on entry will be money well spent.

Sure, the whole country is digging Peking Duk right now, but it’s still worth giving them a shout out here every now and then, especially since they’ve just released a brilliant new single featuring fellow Canberrans, Safia. If you haven’t heard ‘Take Me Over’ yet, you absolutely should – it gets into your bones, somehow striking a balance between being chilled and soaring for the stars. Definitely a Hottest 100 contender, you can find it at soundcloud.com/ pekingduk. I always say that you have no excuse to miss out on local music, but now you have one less than zero. Warmer nights, hot local tunes – it’s a recipe for delight, so get to your favourite venue and get on board.

NONI DOLL NONIDJDOLL@GMAIL.COM /@NONIDOLL

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CARRIE GIBSON With each album, Swedish heavy weights, IN FLAMES take a step forward, be it either to the left or the right the band continue to strive and the band’s latest release Siren Charms symbolizes this evolution “Siren Charms reveals where we are today,” explains bassist Paul Iwers. “Encompassing where we are in life, our song writing, our musicianship and how we are evolving.”

that the band now focus on the past four releases and throw in some golden oldies for good measure. “We always listen to what our fans want to hear and at the end of the day we all have to want to play them and be able to play them,” laughs Iwers. “But it’s definitely getting harder to write that list.”

I can tell you now – you learn an awful lot about people whilst on the road

With a band whose ever intensifying reputation completely took them by surprise, it is no wonder the ever so humble yet unassailable In Flames still blush when hearing the words ‘pioneers of a genre’. A title Iwers reveals they never set out to attain yet feel incredibly honoured – “We certainly didn’t set out to be pioneers as you say and it’s only when people ask me this question that I really think about it,” he laughs. “I wasn’t in the band when it started, I was a friend on the side so I don’t feel I can take credit for it, but I can continue to preserve their heritage or whatever. It’s a very cool thing though,” he says with a laugh.

Siren Charms was produced in record time for In Flames; a record which the band admits was extremely challenging to arrive at.

Setting a timeframe of six weeks to piece this opus together meant six weeks of solid work.... minus the beer drinking and soccer, Iwers states. “We needed the time pressure, it’s good for us – for me personally, it was never a problem though, even if I was hopping on crutches at the time.” In Flames have eleven albums under their belt – the success of this is due to a finely tuned writing process which has all five members involved in finalising the product.

An added challenge to a band that have over ten albums in their catalogue is constructing a set list; some songs in which were released prior to most current fans being born. Iwers explains

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Iwers who joined In Flames on the release of 1997’s Whoracle was sent straight out on tour, the first twelve months for the bassist were a little mixed he admits “Going into the band I was a little surprised as to how some things worked in the industry –going on a tour where we weren’t making any money was new to me,” says Iwers. “Investing all my time in one band was also new, but it was also a very healthy experience for me. These types of situations are what keep us all level I think, but you have to invest – be it either in a new market or by supporting a bigger band, you need to take these sorts of plunges. The first twelve months for me were learning how to be in a serious band, a successful band; adapting to new lifestyles, it was a crazy journey but I like to consider everything we do as a learning process – we evolve between the records but we also evolve as people and I can tell you now – you learn an awful lot about people whilst on the road,” he laughs.

In Flames are taking to the road yet again in support of Siren Charms and also America’s Trivium, who list In Flames as one of their biggest influences to date. Having a blast is priority number one for the band, as Iwers dishes on his aspirations for the tour.

“Trivium are old friends of ours and we love every opportunity to get back to Australia, we a way overdue”.

In Flames and Trivium are hitting the east coast throughout November, including a Sydney show at UNSW Roundhouse on Friday November 21. Tickets $81.15 +bf from ticketek.

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sending new beats and Bishop sending back his vocals.

THE REALNESS The metal faced villain MF DOOM has resurfaced with some fresh new special herbs for the ears, this time teaming up with new comer Bishop Nehru to form NEHRUVIANDOOM. The collaboration grew out of a meeting at London’s famous jazz venue, the 100 Club. in 2013 where MF DOOM and a then 16 year old Bishop Nehru were booked to play. MF DOOM was immediately impressed by Bishop Nehru, a MC prodigy who has been co-signed by Kendrick Lamar and described by Nas as “the future of music”. After the show, MF DOOM and Bishop stayed in touch on e-mail, with MF DOOM

A year later and a couple of studio sessions behind them, the work has taken shape. The Metal Fingers production and Bishop Nehru’s classic flow makes it sound like they found missing Ampex reels from ’94. The album is the first full length studio album produced by MF DOOM since Take Me to Your Leader in 2003.

DJ JS-1 of the world famous Rock Steady Crew is set to release his sixth full length album, IT IS WHAT IT ISN’T (Ground Original 4).

Known for his traditional boom bap style, scratch hooks and bevy of legendary features, this album, which is NOT a compilation, will add on to his impressive catalogue. IT IS WHAT IT ISN’T boasts a line-up featuring new songs with Erick Sermon of EPMD, KRS-ONE, Murs & Fashawn, Bucksot, Ill Bill & Slaine of La Coka Nostra, Torae, Homeboy Sandman, O.C, The Artifacts and many more. It has 21 new songs featuring over 45 artists including colaborations that cannot be duplicated such as the song ‘Higher Level’ with Brother J and Professor X of X-CLAN. Following the critically acclaimed Pillars EP with MindsOne, Kev Brown teams up again with Ill Adrenaline Records. This time Brown is collaborating with fellow Low Budget Crew member Hassaan Mackey to bless listeners with That Grit. Both the Washington D.C. based producer-on-the-mic and the Rochester, NY emcee are long-time members of the prolific artist collective and have previously worked together various times, but this mini-album marks the first time the two embark on a full project.

Most boom-bap enthusiasts should already be well acquainted with both Kev Brown and Hassaan Mackey.

The Koreatown Oddity’s debut full-length LP, entitled 200 Tree Rings is now available on limited edition cassette. It features production by Jeremiah Jae, Ras G, House Shoes, Kone, AshTreJinkins, Luke Cage, Giovanni Marks and The Koreatown Oddity himself. The album tells the story of his journey to enlightenment leading up to his final days.

While you are at it go check out Pops 45s, which is a collection of cuts and bars, all chopped from a stack of 45s given to The Koreatown Oddity by his father. It was recorded live to tape in one take!

Prefer that late ‘80s/early ‘90s sound? Then San Francisco duo Rime Force Most Illin’ have most definitely got you covered with their The Force is Slamin’ EP. A most for those who enjoy lengthy cuts, B-Boy beats and fresh rhymes.

BERT POLE - bertpole@hotmail. com

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EASY BEING GREEN

NONI DOLL

DAN KELLY seems like a reasonably sound choice for the musical element of Canberra Environment Centre’s Annual Fundraising Event: he’s witty, tells a great yarn and knows how to weave a political thread or two into his songs. All that aside, there’s another reason why he’s a perfect choice for this kind of event. “I studied environmental science when I was younger, at Griffith University in Brisbane,” he says. “I’ve always been really interested in it, because it is going on. So if I can put my hand up and help, I do. I could have probably done a lot more.

I’m a bit lazy, so I guess I’m trying to step it up.”

Lazy isn’t exactly the first word to come to mind when you look at what Kelly has been up to over the last few years. There’s been a stint living in Sydney, international touring duties with Paul Kelly, writing and recording a new album, with a new single hot off the presses. “I was just gone for a long time, but I’m back now,” he says, making all that sound like he’s just been on holiday.

I’m a bit lazy, so I guess I’m trying to step it up

With four years gone since Dan Kelly’s Dream, his last album, the suggestion that there might be a new one on the horizon is certainly exciting. That being said, he’s in no hurry. “Yeah, the album will probably come out early next year,” says Kelly. “It’s pretty well done. Got a bit of mixing to do and a bit of track listing… I don’t want to rush out a record and then hope for the best. I just want to put out singles and start playing with the band again, because I’m having a lot of fun with that.”

In the meantime, his new single, ‘Melbourne vs Sydney’ seems to have been timed beautifully to coincide with his Canberra visit. After all, what would happen if Australia’s two biggest cities were to take each other out in a nuclear war? “I think Canberra would be rubbing its hands with glee! They’ll rise victorious from the ashes,” Kelly jokes.

While he seems happy to make fun in and about his music, Kelly’s keenness to help local groups like Canberra Environment Centre is entirely serious. “I’ve got friends in Greenpeace and all that sort of stuff too, but I do like the idea of trying to support local centres,” he says. “It’s the whole ‘think globally, act locally’ thing. It makes the most sense in terms of being empowered to do stuff and seeing results for what you do. I think working in smaller groups is really good cause they go and work on local issues and that’s where it all starts.”

Dan Kelly will be playing as part of the Canberra Environment Centre’s Annual Fundraiser on Friday October 24 at the Nishi Gallery from 8pm. Fun Machine and In Canberra Tonight’s Chris Endrey will interview Kelly, as well as Canberra Times cartoonist David Pope, former GetUp! Director Simon Sheikh and ACT Greens Member for Molonglo Shane Rattenbury. Tickets are $45. For more information and to book, visit ecoaction.com.au.

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DANCE THE DROP

I grew up on the Northbourne strip, now it is little more than empty shells plastered in realtors mobile phone numbers.

Goodbye Meche, Fare thee well ICBM, arrivederci North Bar. Here is my epoch to the troublesome trio: I first came inside you, when you were called ‘The Bin’. I was only sixteen but ‘fake ID’d’ my way in Chris Fraser and Nash T were in charge of the decks. The place was full of riff raff clutching cash from dole cheques I learnt to drink and spew and dance apon thy putrid floor. Work, sleep, eat, drink and Bin, life wasn’t much more Flaming Lamborghinis, fifty cent middies and dollar drinks. These were the perfect recipe for crusty spew stained toilet sinks.

Time passed very quickly and with it a few new names. You ended up as Meche and ICBM, but not much changed.

North Bar was always ‘cooler’ and ‘exclusive’ but we all knew it was a rouse. The only difference was having to wear more grown up shoes.

I loved playing to your patrons, although sometimes it was a test, to lean over in the mix and take stupid drunk requests Surely people reading this will give me a little nod. When I say ‘I’m DJ and not your fucking iPod’ What of the strip in years to come? How bland will tenants be? A new scotch bar with live guitar and another Maccy Dees?

No matter how decrepit, please know you will be missed. Just understand, you’ve forced our hand to look elsewhere to get pissed.

A new generation of messy trashbags can be transported back in time to Canberra’s most iconic closed venue, Lot 33 on Saturday October 24. Trinity Bar are holding another reunion night featuring some of Lot’s most infamous residents, including yours truly! Having played at the last two shows, I can promise you a night of euphoric blurred vision, humpy fun and more classic tunes than you can poke a vodka redbull at. Come and feel the nostalgia.

Dusky are headed back to Canberra for their Next Step tour in November. Dusky have been one of my favourite producers of the past few years. They have nailed the house/progressive crossover sound that I love so much and are reported to lay down one of the best dancefloor journeys this side of an Argentine dayclub. The venue is Transit Bar, the date is Saturday November 8 and supports include Peekz, Offtapia and Ced Nada. Do. Not. Miss.

There are so many amazing new tunes out at the moment it’s hard to fit them all into this final paragraph, but I’ll do my best – just because I like you. Metrik and ShockOne have teamed up on balls out DnB anthem ‘Resonate’ – what a fucking tuuune! Shift K3Y have gleefully remixed my biggest ‘go-to’ record of the moment, Watermat – ‘Bullit’ and it really works. Solomon Grey and Lane 8 have just released ‘Diamonds’, a feelgood deep trance future classic. The always reliable Tiga has waved his magic wand over Iggy Azalea’s ‘Black Widdow’ and let’s just say it sounds a lot better now. Finally, a prediction of club-lands biggest tunes of the summer, The Magician feat Years and Years – ‘Sunlight’ and Hot Since 82 – ‘Somebody Everybody’. Check these out and let me know what you think!

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TIM GALVIN tim.galvin@live.com.au

@bmamag

cody atkinson The whole music world is talking about bangers. Bangerz by Miley, bangers in the club, bangers and mash for breakfast. If the early 2010s will be defined by anything culturally, it will be bangers. Or not. I haven’t really been paying attention. Cody Atkinson writes words.

So what’s a banger? A banger is a banger. It is a song that bangs.

But what does that mean? It means what it means. Nothing more, nothing less.

You don’t know, do you? I do, I do. I’m cool, I’m hip. I’m with “it”. Of course I know what a banger is.

Well, what is it then? “If a song is extremely tight or just unbelievably awesome, it is a banger.”

You just looked that up on Urban Dictionary, didn’t you? How dare you try to besmirch my good name!

Come on...OK, I might have, but I do know what a banger sounds like at least.

Ah, a “club banger”, I’ve heard of that...Yeah, that’s an early derivation of some bangers, but not all bangers are club bangers.

And there are music awards for the best “club banger” of the year.

Really? Yep, the BET Hip Hop Awards have done it for the last few years, awarding the peak of banging-ness of music.

Where does the word “banger” even come from? The entomology of “banger” is a bit disputed. Gang banger has long been associated with the US hip hop/rap movements. In his verse on the Wu-Tang Clan’s ‘Bring Da Ruckus’ (1992) Raekwon closes with “Wu-Tang banger, 36 styles of danger”, potentially referring to either his weapon or (more likely) the track’s ability to move heads.

It is banging so hard that it would measurable on the Richter scale

OK then, what does a banger sound like then? A banger doesn’t necessarily have a strictly defined sound.

COME ON, ARE YOU JUST MAKING THIS UP NOW? No, no, no. A banger usually has a four to the floor beat, but beyond that there’s a little room to move. It’s not necessarily constrained by genre.

So you can head bang? No you don’t head bang to a banger...well, not usually. I mean you could get your headbang on, but it would be unorthodox. I think.

You think? I thought you were meant to be an expert or something? Meh, I’m doing this one on feel. I’m not going to overcomplicate this one. It’s about bangers, it’s about the vibe.

But there’s no such thing as a shoegaze banger, surely? Hmmm, not yet, but may the talented musicians of Canberra take this as a challenge – $20 for the first person to write a shoegaze club banger. And some other random merch we have lying around.

Do you have the authority to issue challenges like that? Almost certainly not.

OK, how would you use banger in a sentence? Man, that song is a banger. It just, you know, bangs. I can’t believe how hard or long it bangs. It is banging so hard that it would measurable on the Richter scale.

I get it, I get it. Where do you normally encounter bangers? You mean in the wild?

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Yes, “in the wild”? The clubs are the place where the banger lives and dies. The dancefloors around the town and indeed the nation, heave to the constant rhythms that underline the core identity of bangers.

In a written form the earliest mention of “banger” or “club banger” that I can find with a musical context is in a 2000 issue of Vibe Magazine. Mike Skinner from The Streets took it internationally on their 2002 track ‘Let’s Push Things Forward’, stating that “I write bangers, not anthems”. Since then, “banger” has seemingly been open game for everyone.

Open game for everyone...Who was that person who released an album called Banger? You mean Miley Cyrus and her album Bangerz?

Maybe? Yeah, I think that’s the one. Miley symbolically announced her new “dance” direction by taking the term that has been recently used to describe popular dance music as that of her album. And then she added a “z” at the end to try to make it cool I guess?

Perhaps. Is Bangerz full of bangerz? I genuinely have no idea. I can’t remember listening to any of it. And I certainly won’t admit to doing so here, even if I did.

But did it work? Probably. A lot of people bought that album. Note to self: make a record called Number One Singlez. I put a “z” there to make it look cool.

So what is the point of bangers? People enjoy them? Is there anything else required?

While people can get on their critical high horse and deride them as lacking depth or substance, is that really required to like a song? Isn’t enjoyment the point of listening to music? Bangers exist because people like listening to bangers. They like dancing to bangers. And that’s all that’s needed.

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Local indie-punk favourites Super Best Friends have announced their first Canberra show in…I dunno…like, a while. They will be celebrating the launch of their new single ‘Out Tonight’ at The Phoenix on Thursday November 13 with support from Newcastle’s Maids.

Oi! Here’s a bunch of cool punk things.

If you’ve picked this metaphorical baby up in time, then you can catch Sydney’s Yes, I’m Leaving, who will be launching their new album Slow Release at The Phoenix on Saturday October 25. They will be joined by Canberra locals New Age Group and Nature Kids for a mere $5 door charge.

Aussie punk legends The Living End will be visiting the capital for the first time in two years as they gear up to write their seventh album. They’ll be at ANU Bar on Wednesday October 30 and you can grab tickets for $50.87 +bf through Ticketek.

A bunch of tight interstate bands will be headed to the Magpies City Club on Friday October 31. Catch Shepparton’s Inedia, Melbourne’s Kill Dirty Youth, Sydney’s Ebolagoldfish, Sydney/Canberra/ Goulburn’s Rather Be Dead and Sydney’s Speedball all for just $10.

The 2014 Zombie Invasion is coming on Saturday November 1. In order to help raise funds for the Brain Foundation, the following stack of sick bands will be playing at the Magpies City Club, including Melbourne’s Littlefoot, Overdoze and Inedia, Sydney’s Nerdlinger, THRASHED, KANG and The Great Awake and locals Revellers and No Assumption. More details for this one are coming soon. Tickets for this one are set at $15 through Evenbrite.com.au or at the door on the night.

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As if that weren’t enough, the endearingly nicknamed ‘Bestie Boys’ will also be headlining the aptly named Super Best Fest on Friday November 28 at the Magpies City Club. This show will be an all ages extravaganza, as it hosts a mixed bag of some of Canberra’s best young acts including Fricker, Duck Duck Ghost, Rather Be Dead, Obey the Lifeless, Adventure Sunday, Jack Livingston, Hannah Blackburn and Maggie Jeffs all for just $10.

In what may well end up being the punk event of the year, the first annual Gingerfest is coming up in loving memory of the Ginger Ninja. The festival will take place at The Factory Theatre in Sydney on Saturday December 6 and will see sets from 28 Days, Bagster, Totally Unicorn, Born Lion, Clowns, Super Best Friends, Hightime, The Punk Rock Hillbilly, Revellers, Lindsay ‘The Doctor’ McDougal and Lincoln Le Ferve with even more acts to be announced! Tickets are on sale now for just $27.50 +bf through factorytheatre.com.au, with all proceeds going toward Vision Australia.

Also, remember to tune into the best show for local and international punk and hardcore, Haircuts and T-shirts on Tuesdays from 10:30pm at their new home on PunkRockRadio.

Oi! There’s a bunch of cool punk things.

IAN McCARTHY PUNK.BMA@GMAIL.COM

@bmamag

METALISE There’s a tonne of local shows coming up in the next few weeks leading up to Christmas. But of course more good touring news is afoot and once again its lifeisnoise bearing the good tidings. After an aborted schamozle at the beginning of this year, Lousiana’s godfathers of sludge Eyehategod are back in late January/early February next year for a four show tour. No Canberra show this time, but you can catch the Sydney show on Saturday January 31 at the Manning Bar or the Melbourne show the night before at the Hi Fi in Melbourne. Exquisite.

Looking Glass are at the Basement again on Saturday November 8 with The Veil from Sydney for a doomstravaganza as well.I’m really looking forward in what I think is their first Canberra show since the last Metal for the Brain, the return of the utterly black-hole singularity crushing Whitehorse. The Melbourne six piece have had a stunning year of tours under their belt and have bludgeoned the world with their malevolent sonic corruptions and on Thursday November 13 at the Basement, they’re coming back to play for us.

Along for this run of shows are New Zealand outfit Meth Drinker, whom I’m looking forward too on the strength of their name alone.

Also really looking forward to seeing Hygiene on the back of their awesome 7” and Blight Worms, who destroyed me at a recent show with their three piece vicious intent take on nihilistic grindcore.

JOSH NIXON doomtildeath@hotmail.com

This weekend features a couple of stellar shows out at the significantly refurbished Basement with my favourite doom rockers Looking Glass playing with another long-time favourite Canberra 3 piece Bent Hen and Agency on Friday October 24.Saturday October 25 is a special night on the Canberra death metal calendar with the welcome return of Psychrist. Sydney band Cruciform headline the show and the bill is rounded out with quality locals Tortured and Claret Ash. This is a pretty momentous occasion welcoming back Psychrist –they set the bar pretty darn high back in the day with their classic releases The Abysmal Fiend, Embrace Rapture in Disgust and Debauching the Minions and were a staple in the metal show diet in the ‘90s and early 2000s.

Don’t miss their welcome return.

In the coming weeks are some highlights to look forward to in the form of Canberra’s Local Horror playing their single launch at the ANU bar on Friday November 14. Made up of members of bands including The O’Hooligans, The Variodivers and Clay Pidgeons, the bands single ‘Somatic Depression’ is out through their Bandcamp page right now. The night features the busy boys from Looking Glass, Agency and Astro Zombie. Check it!

There’s a great show to look forward to at the Basement on Friday November 7 with Holland’s Sinister touring the country and dropping by.

Abled and abetted by Tasmaniacs Maphistopheles, locals Tortured, Wretch and Inhuman Remnants, it’s an utterly brutal bill that is certainly one to prime your liver up for the summer and festival binge drinking period.

Not content to just record and play another 30 shows around the traps,

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

THE GREAT ESCAPE anne widjaja Who would’ve guessed that one thing ABC’s star journo Virginia Haussegger and legendary filmmaker David Cronenberg could count in common is their appearance at this year’s CANBERRA INTERNATIONAL FILM FESTIVAL (CIFF). The CIFF has come a long way since its days as a University of Canberra initiative, with a small but dedicated following of UC film majors and the like and a program of only eleven films. Now running over 18 days at the Dendy Cinema, with 64 films over 120 sessions in its program, the CIFF has established itself as one of the most successful arts organisations in Canberra. Lex Lindsay, this year’s CIFF Artistic Director, would go as far to say that the festival has grown into “a unique event on the national festival calendar.” Although Lindsay is new to working with the CIFF after 20 years working in festivals around the country, he has been watching the festival’s growth from afar and is excited to be working on a festival with “so much potential”.

Looking at the glossy CIFF program, you can tell that Lindsay has worked hard to ensure the festival is the best it could be. With such an impressively diverse program, scheduling which films to watch feels like a surmountable challenge, not unlike being asked to pick which chocolate you’d like out of the box (but what if I want all of them?).

The festival opens with the Australian premier of David Cronenberg’s critically acclaimed dark ensemble comedy Map to the Stars, starring Julianne Moore and Robert Pattison, as well as the first ever Moari action epic The Dead Lines, the Australian premier of documentary Welcome As Friends by Hubert Sauper (Darwin’s Nightmare).

When I ask Lindsay about his vision for CIFF, he likens his artistic process to that of a “psychotherapist”. Although Lindsay draws inspiration from “curatorial models outside of film…visual art exhibitions, writers and ideas festivals and performing arts,” he believes having a clear vision for what a festival program wants to achieve is the most important part of being an artistic director. “It’s been a tough year for Canberra in many ways and I think the audience is up for a bit of light relief, some good old satire and escapism,” he says. Lindsay’s cerebral approach to his work is apparent in the three thematic ‘strands’ he’s created for the program – ‘War, Hope and Denial’, ‘Man, Woman and Child’ and ‘Then, Now and Next’.

Each strand has six films which he hopes will “interrogate and explore the theme from different perspectives… as a way of starting a bigger conversation inspired by the topics our films are taking on.” He continues, “I believe in a program that has interconnections within it, films that will sit in compliment or stark contradiction to each other,

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I think that makes for a more interesting festival experience.” From a German documentary about the contested cultural imagining of the female sex organ in Vulva 3.0, to an Australian film about an AfghaniAustralian woman’s journey to Kabul to save her charity and barter her dowry in Love and Marriage in Kabul, the CIFF program interrogates so many issues you’ll have enough intellectual fodder for a month’s worth of dinner party conversation starters.

This year’s ‘Conversation Program’, a series of ten forum and panel discussions on the topics of the films, will be sure to provoke heated debate lasting well beyond the screenings. Audiences will have the opportunity to engage Q&A style with the likes of Virginia Hausseger as she speaks to director of Love and Marriage in Kabul, Amin Palangi, about her travels to Afghanistan. On the other side of the spectrum, Hausseger will be chatting with Canberra’s fashion elites, Corr Blimey and Fashfest producers, Steve Wright and Nick Ellis, following a screening of French fashion documentary Dior & I. CIFF audiences will also get to experience films from over 29 different countries. With narratives spanning from the political history of Bosnia & Herzgovina (For Those Who Can Tell No Tales) to the generation gap in modern Chinese society (China’s Three Dreams), CIFF reflects a diversity of culture which Canberra hasn’t seen since this year’s Multicultural Festival. “You do get a distinct flavour in films from different regions…that’s why it is important to make sure we have a wide range of countries represented in the program,” says Lindsay. “The Scandinavians, for example, produce some amazing, stark gritty naturalism… Eastern European countries have a knack for quirky comedies…and Chinese cinema is really evolving.”

The festival’s diverse program is also a love letter to Canberra’s community of film buffs. Lindsay speaks with the highest praise of his experience working with CIFF, which he has nicknamed “the thinking person’s film festival”. Lindsay discusses how Canberra audiences “are particularly erudite, very much connected to the national conversation and a highly informed audience,” describing the CIFF Foxtel Audience Choice Awards as “an endorsement from the smartest festival audience in Australia.” Let’s just hope word about Canberra audiences spreads far and wide so that there are many more arts festivals, as exciting and diverse as CIFF, for us to win over too.

The Canberra International Film Festival runs from Thursday October 23 to Sunday November 9 at Dendy Cinemas. CIFF program and tickets are available at ciff.com.au

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IN REVIEW

Waterhouse Natural Science Art Prize 2014 National Archives Fri–Sun Sep–Nov 26–9 The Waterhouse Natural Science Art Prize 2014, exhibiting at the National Archives of Australia until November 9, is a travelling exhibition presenting the prizewinning and highly commended works from the annual acquisitive prize presented by the Museum of South Australia. Launched in 2002 to commemorate the birth of the South Australian Museum’s first curator, Frederick George Waterhouse, the prize encourages artists to explore the world around them and present their own perceptions of natural science.

Now in its 13th year, the Waterhouse Natural Science Art Prize provides one of Australia’s key opportunities for artists to reflect on the themes of nature, natural science and conservation.

Divided into four categories – Painting, Works on Paper, Sculpture and Objects and Youth – the exhibition showcases a multitude of different mediums, styles and practices although the overarching theme is well articulated. Exhibitions such as these always present a curatorial challenge and despite the mishmash of works presented, the exhibition overcomes these quite well, however the space did feel a little crowded – a bigger space would have helped the viewer gain perspective of some of the larger works in particular.

As always, the works presented are of very high quality and the exhibition gives the viewer a fascinating insight into the way very different artists approach the natural world. The main themes explored are conservation, extinction, preservation, wonder, growth and ephemerality. The natural world is presented as awe-inspiring yet fragile, ancient yet ever-changing and in possession of incredible resilience. Some of the pieces are heart-wrenching, such as Chris Stubbs’ “Exhibit” – Javan rhinoceros, a life-like sculptural depiction of the now extinct Javan rhinoceros encased in a glass box. Others, such as ACT based glass artist Harriet Schwarzrock’s Breathe (winner in the Sculpture and Objects category), encourage the viewer to marvel at the natural world and learn by its example.

Overall winner, Queensland artist Carol King’s painting High Tide, Wynnum is a beautifully layered work depicting mangroves that draws attention to the complex and multilayered coastal ecosystem.

Including Schwarzrock, Canberra is well represented in this exhibition which includes work by emerging glass-artist Emilie Patteson and painter Nicola Dickson, both highly commended in their sections. Patteson’s work, Preserved Impermanence II, is a poetic glass exploration of scientific preservation, decay and the ephemeral, while Dickson’s work, Bauer Brocade – Noisy Friarbird depicts the friarbird and various plants in an ornamental fashion, designed to reflect the sense of wonder early colonists must have felt when they first encountered the Australian environment. The 2014 Waterhouse Natural Science Art Prize is an excellent exhibition that encourages viewers to look at nature through the lens of the artist and draws attention to the fragility of nature and the damage it has suffered from human hands. Encouraging contemplation, wonder and delight, the works presented offer a bittersweet insight into the beauty of the natural world and serve as a reminder that it needs to be nurtured, protected and sometimes just left alone. jess oliver

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WHERE IN THE WORLD?

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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

zoe pleasants Set in two worlds, a mythic underworld of the dead and a stark urban reality, WHERE IN THE WORLD IS FRANK SPARROW? is a gritty, grim play. Written by multi-award winning Australian playwright Angela Betzien, it tells the story of a young hero, Frank Sparrow, as he faces danger, overcomes weakness, finds romance and faces death. Originally commissioned by the Graffiti Theatre Company in Ireland, the Canberra Youth Theatre Company is bringing the play to Australia for the first time. I drop in on one of their rehearsals and chat with director Tamzin Nugent. It promises to be a physical and poetic production. Nugent has opted to use silks to create the underworld – I watch the cast effortlessly climb up and down the silks and hang in them upside down – and the play is written in rhyme. Nugent feels the silks give the play “a really ethereal, exciting quality.” I ask her what inspired her to use them.

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“Whenever I direct a play I ask everyone, what’s something they’ve always wanted to do, what’s something they feel if someone is good at it that we can perhaps learn from them?” she says. “And luckily some of them had used silks before and now everyone is in them, having a go,” And as for the rhyme, “It’s not like Shakespeare, it’s not hard to listen to.” Nugent reassures me, “It’s more like slam poetry, it’s more immediate and visceral, [the cast] just get their teeth into it. In fact, I’ve begun rhyming everything that I’m doing, phone calls, speaking to my friends, it just kind of slots in!” laughs Nugent.

As well as the silks, Nugent is creating the two mythical worlds by paring back the set. “I’m working with an amazing designer, Christiane Nowak and the way she’s been able to put the vision forward. We’ve talked about layers – this world that we’ve created has so many different layers. We’ve got a lot of shadow work in there as well. It’s almost like an illusion – I’m very much into epic theatre, getting in amongst the audience. I like for people to feel they are in that world,” Nugent says.

The play deals with the universal issues of finding yourself, not fitting in, the redemptive powers of love and how someone else can often be the catalyst for our change. It also seems to touch on topics that are perhaps more relevant to its original Irish audience, because of that country’s history. “It deals with belonging and territories and fights over space and lot of youth issues, it’s also got a bit of gangland war in there and promises that are broken,” says Nugent. “It’s interesting applying something that is really relevant in Ireland … into an Australian, Canberra, context,” she says. And given it was written by an Australian playwright, it’s almost as if the Canberra Youth Theatre Company is re-interpreting this play from its Irish origins back into its mother tongue.

Where In The World Is Frank Sparrow? is on at C Block Theatre, Gorman Arts Centre from Oct Fri-Sun Oct 24-26, Thu-Sat Oct-Nov 30-1. Tickets $15 from cytc.net.

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UNINHIBITED And then it happened. Out they came, business cards, postcards, bookmarks even. As though we were rehearsing a rip-off of that scene in American Psycho, we checked over each other’s ‘collateral’, made appreciative comments, gave what we hoped was helpful advice, before the presenter moved us on to her next Powerpoint slide. Regrettably – or thankfully – I wasn’t helping to rehearse an American Psycho rip-off; I was just attending a workshop about what writers can do to build audiences, national audiences, international audiences, if you please.

It was, it should be said, an excellent workshop: well-structured, expertly presented, and a damn fine bunch of participants. A lot of relevant ground was covered: how best to use social media; how to prepare biographical statements that engage readers; the elements of best-practice media releases etc. However, I couldn’t help thinking that I wished I lived in an era when I could just make art and not have to worry about the extraneous stuff – websites, Facebook, Twitter, grant applications, grant acquittals, sending invoices to clients, chasing up invoices, and what’s an appropriate font for a business card.

It would be very easy, I think, to present yourself as a committed and productive artist without getting around to making any actual art. Build a good website and make sure it’s filled with fine text and attractive images. Distribute some oh-so-very-interesting articles

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through social media. Attend some shows, making sure to take the opportunity to hand out business cards to the well-connected people you come across. No, it wouldn’t be hard. Nor would it bring anything of lasting value to the world.

Still, the whole notion of professionalism and the arts does worry me. In some ways, they cancel each other out. Art is about brightburning life. It’s about blasting holes in metaphorical walls and roofs.

It’s about rearranging things so they are better, so life is enormously, terrifyingly possible. Art isn’t about cold-hearted, cold-headed strategy and action. Art is a scream in the night.

Professionalism? Seriously, what the fuck is that? It’s about the right presentation of self. It’s about the right word at the right time to the right person in the right context. It’s about rules, and protocols, and instructions. If art is an impossibly rich explosion, professionalism is pretence and artifice.

Of course, we’re not living in an era of anarchy. We’re also not living in an era of daily, generous, private philanthropy. Every artist alive today would love to have an adoring benefactor; we’d love to have our own private sponsor and be left alone to do whatever we’d like.

No doubt the time of the great art patron never existed; the past is so dead it barely happened. A life of art has never been easy.

So what then are we to do with professionalism? It is a word for our times, it’s here to stay. We should embrace its productive side – the sense of seriousness, of intent, of valuing every creative action as though it’s as important as bringing into the world a new architectural wonder or fixing a broken water-main. But we should also be cautious of believing that professionalism is the main game.

A business card is nothing but a tool. Art is the greatest life-force imaginable. 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: Madeline Bishop

What do you do? ? I am a photo based emerging artist living and working in Canberra. My work is usually focused on domestic and everyday experiences, particularly family and the home environment.

Of what are you proudest so far? A tricky question as I always begin to despise my past work as time progresses. Since it is recent, I’m going to say creating my latest body of work Monuments, as I’m not sick of it yet.

What are your plans for the future? After I finish my two scheduled shows I will have more time to experiment with new approaches and methods because I won’t be working to a deadline. I’m planning to get out of the studio and focus more on interpreting real places and environments.

What makes you laugh? Amy Poehler ’til i die.

When, how and why did you get into it? I’ve been hooked ever since I took a black and white film class in high school. I was also lucky enough to have leftie parents who encouraged me and my sister to both have money sucking careers in the arts, leaving their retirement fund responsibility to our youngest sibling, who we will be pushing into an actuarial degree.

What pisses you off? The lack of female artists represented in major galleries.

Who or what influences you as an artist? My influences sway depending on the work I am making at the time, but my long term love is Anne Zahalka – her work has a wonderful grasp on Australian culture and often manages to be sad and funny at the same time.

Upcoming exhibitions? I am showing Monuments at Ccas Manuka from Mon–Thu Oct 16–17and I will be showing 80 Denier at Photoaccess from Thursday November 27.

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What about the local scene would you change? I think Canberra’s art scene is underrated; there are a lot of passionate and creative people and organisations working here and supporting artists. If anything, I’d change the perception of Canberra from the outside.

Contact Info: madelinebishop.com bishop.madelinerose@gmail. com

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IN REVIEW Borodin Quartet Llewellyn Hall Thursday October 2

Respectful anticipation prevailed as the Borodin Quartet, dressed and illuminated elegantly, strode onto the stage of Llewellyn Hall; sat; and struck up Beethoven’s String Quartet in G Major, opus 18 no. 2, the second of six string quartets Beethoven composed from 1798 to 1800. Unlike Beethoven’s “Victory” Symphony; Ode to Joy; and other brightly emphatic works, its four somewhat contrasting movements have an effect more restful than excited, and the quartet naturally dealt with it with quiet professional aplomb. But the music was light rather than ponderous. The Borodin Quartet is no newcomer to the music scene; in fact, it may be the oldest musical ensemble still playing. First forming, under a different name, in 1945, it quickly specialised in playing the works of Shostakovich.

Naturally its original members and many of their successors have moved on to other pastures; but membership continuity has ensured the quartet’s present members’ ability to remain faithful to the musical intent of the original. Shostakovich’s String Quartet no. 8 in C minor, opus 110, was not one of the pieces that the quartet originally formed to play, being composed 15 years later, in 1960.

But, Shostakovich remaining a staple of the quartet, it was on the menu. A strange piece, it oscillated slowly between comprehensible modern harmony and contrived dissonances that, though clear, were not entirely pleasing, offering not even anticipation of their resolution. Its five movements of course contrasted somewhat and took us on a journey, though quite where to and why are questions the alien harmonies and unusual rhythms shed little light on. The piece highlighted well the quartet’s profound coordination, both in each movement’s opening notes and, most brilliantly, in the work’s final note, which, in perfectly maintained aural balance, the quartet wisped away deliciously to nothing. Following intermission came Tchaikovsky’s String Quartet no. 2 in F Major, opus 22. If you’ve met many of Tchaikovsky’s works, you might expect the adrenalin to rise. In fact, it’s another relatively unemotional work, but it contains stirring passages; and the fourth and final movement certainly moved.

Certain passages in the opening movement that should have sounded sweet lacked life, due to a very slight fault in tuning, but the ensemble’s timing was again extraordinary. The second movement—rich, melodious, mellifluous—again suffered very slightly by imperfection in tuning.

The tuning discrepancy, picayune though it was, unfortunately dulled the edge of musical excitement throughout the evening. Whether the leader was playing slightly flat or the other members were playing slightly sharp, I can’t say, but the discrepancy remained throughout, and, a couple of times, was positively jarring. String players of the calibre of graduates of the Moscow Conservatory don’t lack for a good ear, so I can only put this down to an off night.

John P. Harvey

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IN REVIEW La Fille Mal Gardée Canberra Theatre Wed–Sat Oct 15–18

La Fille Mal Gardée (The Wayward Daughter) is basically the Pretty Woman of the ballet world – light-hearted, occasionally quite funny and with moments of sweetness so strong your teeth will start to hurt. This is not a bad thing, but it can result in the worst possible outcome for a ballet short of the entire company doing the Mexican wave off stage – it can be completely…boring. That kind of was-that-a-musical-cue-or-did-the-old-man-next-to-me-just-snore boring. It’s dancing with the snooze devil.

Fortunately for the West Australian Ballet, their production of La Fille Mal Gardée is on the opposite end of the spectrum. What could have been a drool-inducer is instead exciting, amusing, inviting and – most of all – mesmerising. A large part of that is due to the genius of an effective setting. Instead of the traditional ‘provincial peasant dancing in the fields like some tutu’d up version of The Sound of Music, The West Australian Ballet has chosen to root their production very firmly within 1950s France. From the full skirts and princess silhouettes of the female corps de ballet to Colas, the male love interest being appropriately decked out to resemble James Dean, this ballet is a whirl of swishing fabric and sighing denim. (By the way – ballet in denim? I don’t know about you, but I can barely bend over to tie my shoes in jeans and here are these boys, casually doing a grand jeté en tournant as if denim were the new lycra. I had to pinch myself.) On this stage, the roar of a real, working motorbike is just as welcome as the distinctive feather-clunk of pointe shoes.

And it’s fantastic.

The real stars of this production though, are the dancers. While occasionally the corps de ballet is slightly out-of-sync, their overall charm and beatific smiles are surprisingly enthralling.

Robert Mills as the Widow Simone is the weakest of the principal cast – humorous but repetitive, he occasionally opts for flailing arms instead of genuine expressions. The most welcome and frank amusement comes from Andre Santos’ Alain, who is hysterically funny while managing to jump twice as high as anyone else on stage. His tiny, precise cowlick of hair is styled to perfection and his expressive face is easily responsible for the biggest laughs of the night. Of special note, however, is the principal couple – particularly Jayne Smeulders, whose Lise is not only technically brilliant, but feels like an actual person instead of an empty, elegant cloud.

These two carry the show, but part of what makes them so easy and rewarding to watch is the way they interact with one another.

Here, at last, is a romantic ballet with a couple who actually look and act like they’re in love. None of this ‘you are the love of my life so I’m going to dance with my face two feet from yours at all time’ nonsense – these two are almost sappily believable. Overall, La Fille Mal Gardée is just good, light entertainment with enough flair not only to keep you awake, but talking about it for quite some time.

INDIGO TRAIL

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LITERATURE IN REVIEW House Immortal Devon Monk [Roc; 2014]

“The way I saw it, a girl needed three things to start a day right: a hot cup of tea, a sturdy pair of boots, and for the feral beast to die the first time she stabbed it in the brain.” So starts the first in Devon Monk’s new urban fantasy series House Immortal.

Matilda Case is no ordinary 26 year old managing the farm owned by her grandmother.

Mutant crocboars, a two headed farm hand named Neds and a barn sized dragon like stitched together lizard all appear in the first few pages letting the reader know this is not the Earth of today.

This world has eleven ruling houses where each house is responsible for some element required to sustain life and economy. The houses are named after colours and all have a formal standing, except for Matilda’s house, House Brown.

Matilda was born a normal girl to scientist parents but at age eight she fell dangerously ill and was saved by her brother Quinten when he transferred her to the hidden body of a stitched together girl child. Layers of background are woven neatly into the description of what was in the past and what the risks and dangers are for Matilda now and in the future as a consequence of her brother’s life saving actions.

Told from Matilda’s point of view, the action starts with the unannounced arrival of Abraham Seventh, a galvanised from House Gray. The galvanised are 12 revered beings that became immortal after an event many years ago. Like Matilda, they are stitched together and are stronger, faster and smarter than normal human beings.

Abraham claims to have come to protect her father who is believed to have the highly coveted secret to immortality, but discovers he is dead. He then uncovers that Matilda is a hidden and undiscovered galvanised.

At Abraham’s insistence but on her terms, Matilda leaves the farm for the protection of House Gray to save herself and her grandmother. With high hopes of also finding her missing brother she has the challenge of navigating the politics of the houses and their intense interest in her while her interest in Abraham grows.

Meanwhile, Slater, the human leader of House Orange, is terminally ill and wants immortality for himself. He uses the one person who has made a human immortal Matilda’s brother, to set him on the course to achieve his ultimate ambition to rule all houses. As a parting gift Matilda’s grandmother gives her the gift of time knitted in to a long scarf she made with wool from tiny mutant sheep.

The cliff hanger ending left me wanting more, so much so that I have pre-ordered book two, Liberty Bell.

ALSEY ANN CONDIE

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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

I am a man of extraordinary talents. The evidence is everywhere: my kaleidoscopic range of velour smoking jackets, my extensive and varied charge sheet at Woden Police Station, my boundless supply of child labour.

However, in this modern age, one factor crystallises my abundance of gifts more than any other – my relative anonymity.

The pre-eminent signal of mediocrity in today’s society is popularity.

The more popular you are with the masses, the less you have to offer the ages; and nowhere is this dichotomy more focused than in the entertainment industry.

Readers will have noted among my many insightful witticisms the conundrum of Disc Jockey David Guetta’s very existence, let alone his success. Imagine my shock upon learning that Monsieur Guetta is the second highest-earning member of his profession, and that his profusion of empty-headed tripe earned him $30 million last year. $30 million. Almost as much as my last out-of-Court settlement.

In most every field of ‘entertainment’, those who claim the greatest success are those who tax one’s emotions and intellect the least: Dan Brown, Kasabian, Maroon 5, Dan Brown, Calvin Harris, Guy Sebastian, Iggy Azalea, Stephenie Meyer, Swedish House Mafia, Dan Brown and Dan Brown. All purveyors of abject banality and yet all richly rewarded.

Why is this? Well, as with so many evils, it boils down to the stupidity of the general public. ‘Fans’ of this sort are the type who find genuine artistry too confusing and so must be hand-held by corporate pimps through the very centre of a featureless desert, all the while convinced that they are actually brushing up against the margins of society’s norms; teetering on the cutting edge when they are in truth wholly enveloped by flabby triviality, cocooned in a trite blandness.

The portrayal and prevalence of mediocrity can convince its champions that they are in possession of both taste and a rebellious spirit, providing just the right balance of sparkle and distraction to quieten the voices in their heads screaming at them to end it all.

For the rest of us, the chief purpose of these dominant forces is that their tedium and ubiquity can help identify true worth, serving as a stark contrast to those rare gems which provide genuine succour from the banalities of everyday life rather than constitute them.

On that score we must be grateful that they encourage a focus upon anything that isn’t the rotting carcass of mankind’s once great creative achievements. When one is forced to wade through rivers of shit, a dirty puddle can provide welcome sustenance and an oasis reflect true wonder.

The bestowal of mass popularity upon anyone is often a clear signal that their output runs as an open sewer. Trust your instinct to resist engagement with this vortex of shite. Don’t eat Guy Sebastian’s shite. Especially when instructed to do so by Dannii Minogue – a woman who really should recognise her crass incompatibility with any position of judgement and focus on the proper employment of vowels in her own name. gideon foxington-smythe

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bit PARTS WHERE I END & YOU BEGIN WHAT: Play WHEN: Sat–Sun Oct 18–26 WHERE: The Street Theatre Image credit: Lorna Sim

Doppelgängers, impersonators, and monstrous stand-ins. Catch the world premiere season of local playwright/creative all-rounder Cathy Petocz’s debut play, Where I End & You Begin. With an unconventional structure – staging two plays at once – get sucked into a world of Chandler-esque private eyes, powerful connections and clues while watching two worlds merging. Directed by The Street’s Artistic Director, Caroline Stacey and starring MEAA award winner Raoul Craemer (To Silence) and Kate Hosking (Diva Sheila). Wed–Oct 22-25 at 7.30pm; Sun Oct 26 at 6pm. All tickets $30 available from thestreet. org.au PULSE: REFLECTIONS ON THE BODY WHAT: Art exhibition WHEN: Sat–Sun Oct–Feb 18–22 WHERE: Canberra Museum and Gallery CMAG’s latest exhibition, PULSE: Reflections on the body, incorporates the work of twenty seven contemporary Australian artists. Exploring the age old question of what it is to be human, the pieces tackle the meaty subject matter through moving image, painting, performance, photography, printmaking, sculpture and text. Curated by Mark Bayly, CMAG’s Assistant Director, Exhibitions and Collections, the exhibit includes a performance program and a series of floor talks and public conversations. Exhibition runs until Sunday February 22, 2015. Gallery open hours are Mon–Fri 10am–5pm. For more details, hop onto museumsandgalleries.act.gov.au.

CERTIFIED AUSTRALIAN WHAT: Art exhibition WHEN: Wed–Sun Oct–Nov 22–9 WHERE: ANCA Gallery Certified Australian takes a well-needed dig at the current Government’s policies on Border Protection and what these measures mean not only for asylum seekers who try to reach our shores by boat, but for current Australian residents and citizens of particular backgrounds and religions. Artists Martin James and Hardy Lohse use screen printing and mixed media techniques to create their subversive, powerful and thought-provoking pieces. Officially opens on Wednesday October 22 at 6pm, with all welcome. On at ANCA Gallery until Sunday November 9 – gallery hours are Wed-Sun 12–5pm.

NIGHT AT THE MUSEUM: FEAR WHAT: Night at the museum WHEN: Fri Oct 31 WHERE: National Museum of Australia On Friday October 31 (of course) rather than carve pumpkins or walk the streets looking for candy, why not get to the heart of the matter? The Museum will host a fright night with a difference as we play with the darkest of your fears. What would make you hit the panic button? The NMA is once again flinging open its doors after dark, with the galleries open and full of surprises, plus live music from DJ T:MO and Mr Michael, dancing, storytelling, art, games and robots. 6pm-9pm. 18+ only. $10 entry and free for Friends of the National Museum. Tickets from nightmuseumfear.eventbrite.com.au.

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credentials and the band quickly became a mean and lean unit, having tightened their sound over many infamous nights while cutting loose on stage at the Oxford Tavern. This was before entering the tiny Trafalgar studios in Sydney’s inner west to lay down the tracks for Radios Appear, an album suffused with rock n roll danger.

album of the issue Radio Birdman Box Set [Citadel Records] The suburbs had pub rock and the inner city had punk – that’s how it went in Australian cities throughout the 1970s where geography played a big role in influencing musical taste. This meant that in 1976 a band like Radio Birdman would have been a total oddity in the beer barns of Sydney’s outer west. Even more of an oddity considering that key influences included scuzzy, distortion drenched rock n roll from Detroit, more specifically The Stooges and the MC5.

The Saints introduced punk to Brisbane and Radio Birdman did the same for Sydney at a time when edgy three chord rock performed at high speed and energy would have seemed to the mainstream like it had arrived from another planet.

But that was then. Radio Birdman has been long deserving of a set like this which compiles the two albums the band recorded in its original incarnation along with a US edition of the classic 1977 debut Radios Appear, a blow the roof off live recording at the Paddington Town Hall from the same year and a whole slew of bonus tracks which are of historical value.

Birdman began charting new territory from the moment the band formed in 1974 and it was the right combination of ingredients that made things work.

Front man Rob Younger’s voice conveyed suitable outlaw menace; guitarist Deniz Tek had authentic Michigan proto-punk

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It goes without saying that any album beginning with a sharpshooting version of The Stooges’ ‘T.V Eye’ will pull the listener into a wild ride. And so it goes with the outlaw blues of ‘Descent into the Maelstrom’ and dark balladry on ‘Love Kills’ which points to the influence of The Doors at their peak. Then there are the signature tunes which close the album and happened to drive audiences into fits of frenzy in live performance.

‘Hand of Law’ with its fiery, galloping rhythm and ‘New Race’ with its anthemic chorus, bestowed on the band a sort of cult status with dubious quasi-fascist overtones but the whole Birdman ‘army’ thing was really more about irony. ‘New Race’ says something along the lines of, ‘if the commercial record companies and radio stations only give the kids bland approximations of a good time then the kids will have to go out and start their own scene.’ This is what that song is about and also what sets the scene for all that fantastic Australian punk rock to follow.

Unfortunately for Birdman, fame and glory was not to be. The band travelled to the UK and recorded the follow-up album Living Eyes in difficult circumstances in 1978 and then promptly broke up. Living Eyes contains some first-rate songs like ‘Crying Sun’ and ‘Breaks My Heart’, which point the way towards post Birdman projects like The New Christs and various Deniz Tek combos. Although the legacy was a small one when it came to recordings, it was highly potent and influential and remains so. This box set which is smartly packaged with insightful liner notes, tidy remastering and a stack of alternative versions, outtakes etc, is a sharp reminder of this legacy and a compelling listen for anyone interested in the origins of Australian alternative music. dan bigna

bluejuice Retrospectable [Dew Process] Farewell Bluejuice! With the departure of key musician Jerry Craib from the band in March 2013, the rot had arguably set in. Not so surprising, therefore, was the news in August this year that the lads were calling it a day after 13 years together (it certainly does not seem that long). In addition to the farewell tour, there’s the release of Retrospectable, bringing together some of Bluejuice’s most notable tunes from their three LPs Known for their brash keyboard playing, contagious melodies, bold shoutout vocals and wild fun vibe, they first took our attention with ‘Vitriol’. Other songs from their debut album, which featured some of the band’s early hip hop influenced material, get scant attention in the compilation, ignoring a key aspect of their musical development. Selections are heavily weighted towards their latter two LPs with a surprising emphasis on Company. While ‘Act Yr Age’ and ‘Cheap Trix’ show the band on fire, others like ‘Aspen, New York’ and ‘On My Own’ – while they serve to illustrate other aspects of the band’s sound – are not their best work.

The band’s sophomore release Head of the Hawk was a real kicker. So it’s appropriate that this compilation includes ‘Broken Leg’, ‘Work’ and the title track as that LP featured examples of some of their catchiest tunes, most dazzling keyboards and song lyrics with the greatest sing-along potential.

However, ‘Medication’ (which would have been a worthy inclusion) was left out.

Not relying totally on their laurels, the band slipped three new songs into the disk, including ‘I’ll Go Crazy’. Another newbie ‘George Costanza’, with its soul/disco mix and shades of Datarock is terrific and the closing smooth pop ballad ‘No Time for Tears’ could be Bluejuice’s swan song.

RORY McCARTNEY

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Firekites title [Spunk]

Lanie Lane Nightshade [Ivy League]

Flying Colors Second Nature [Mascot Label Group]

Newcastle-based four piece Firekites first emerged back in 2008 with their debut album The Bowery, which went on to enjoy significant triple j support and even something of a hit single in the form of ‘Autumn Story’. Over the ensuing six years since that album’s release there has been a fair amount of change within the band’s ranks, with former member Jane Tyrell leaving the band to focus on The Herd fulltime. Despite these upheavals, this long awaited second album Closing Forever Sky sees Firekites arguably soaring to more majestic and widescreen heights than ever before. There’s also the sense that the band have opted for a considerably broader canvas this time around, with several of the expansive seven tracks collected here stretching past the eight minute mark.

Sydney singer/songwriter Lanie Lane made a sparkling debut in 2011with the country/ rockabilly flavoured To The Horses. That album was very retro rock, with a vibe straight out of ‘50s-era USA. Lane went bush to tap into her inner feelings when writing the songs for her second long player, with results that are worlds away from her first album.

US super group Flying Colors formed in 2012, matching established musos like Mike Portnoy (ex-Dream Theater) and Steve Morse (Deep Purple) with singer/songwriter Casey McPherson from Alpha Rev. While demonstrating prog-rock tendencies (particularly in the closer ‘Infinite Fire’) with big expansive passages, their self-titled debut rocked on with crisper, shorter songs such as ‘Shoulda Coulda Woulda’ and ‘Kayla’.

Enlisting Tortoise’s John McEntire to contribute an exquisitely detailed and warm mix pretty much offers up the master stroke here, whilst also hinting at the scale of Firekites’ ambitions. Opening title track ‘Closing Forever Sky’ calls to mind ghostly traces of Radiohead perhaps more than anything else as Pegs Adam’s vocals ride a rattling backbone of live breakbeats against a glimmering backdrop of slow post-rock guitars and delicate keys. ‘Fallen’ meanwhile reaches out into slightly more folky territory as strummed acoustic guitars and swelling layers of orchestral strings flow and ebb against brittle angular drum patterns, Timothy McPhee’s breathy vocals seeming to just bleed through the lush mix of textures. Elsewhere, ‘Fifty Secrets’ sees the electronics becoming more overt as programmed snares cut and stutter against a wash of close-miked acoustic guitars, only to gradually resolve themselves down into a vaguely house-esque pulse. Gorgeous. chris downton

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Opener and first single ‘Celeste’ makes it apparent that the country image has gone.

There’s a clever cross-flow of guitars in a song that heralds her move to a more indie pop style, tinged with soul. Lane’s distinctive voice is applied in a new manner, with the previous bounce replaced by a more sophisticated, contemporary vibe.

‘Nightshade’ puts the brakes on, with slower, moody songs that are predominantly down tempo. Her earlier teasing qualities have been replaced by more serious tones, exploring deeper emotions. The pop tune ‘I See You’, with its hushed backing vocals, draws comparisons with Owl Eyes. Her voice skates on cloud tops in ‘La Loba’, while the atmospheric ‘Salute’ brings textured electric guitars.

Shades of the perky attitude of ‘To The Horses’ surface in ‘You Show Me How I Should Like It’; but this is a much more nuanced piece of work. In departing from the playful approach of her debut, Lane has lost some of the character which set her apart. However, ‘Nightshade’ shows off her wonderful voice in a whole new set of hues and reveals both the full range of her voice and her ability to extend herself beyond the retro-rockabilly pigeonhole. The coquette image has been replaced by the siren, with a more pervasive sensuality expressed in long, lingering notes.

RORY McCARTNEY

Now the band has moved the prog-rock switch from half to full boost in their sophomore LP. Second Nature is a fine example of the genre, its orchestrated format seeing the instruments take on the role of sections of an orchestra and long songs which undergo stark changes as they advance, like the movements in a classical music piece. Vocalist McPherson is well suited to the genre, with a flexible voice which can belt out the big notes.

Sweeping strings are replaced by wailing guitars and everything is on a grand scale.

Lead track ‘Open Up Your Eyes’ starts with a gentle electric piano tune, giving little hint of what’s to come, before it rockets away with a huge electric guitar overture.

The album sounds very 70s in places, especially in songs like ‘One Love Forever’, which shows Jethro Tull qualities with its Celtic folk influences. The best bits include ‘Mask Machine’ with its rolling waves of guitar licks, ‘Bombs Away’ and ‘Lost Without You’, a tight piece of work that is an album highlight. Even in the longest tracks, the momentum is maintained by the ever varying melodies and rhythms and the powerful singing of McPherson, who sounds like a very soulful Matt Corby in ‘Peaceful Harbor’ and Muse’s Matthew Bellamy in bits of ‘Cosmic Symphony’.

RORY McCARTNEY

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Geoffrey O’Connor Fan Fiction [Chapter Music]

Husky Ruckers Hill [label]

Melbourne-based songwriter/producer Geoffrey O’Connor released his first solo album Liquorice Night back in 2007 under the alias Sly Hats, before going on to release his second album Vanity Is Forever in 2009 under his own name. Five years on, this latest collection Fan Fiction finally offers up O’Connor’s third solo album, although the fact that he has parallel duties as the frontman guitarist in Crayon Fields certainly provides a good excuse for this album’s extended gestation period. Those familiar with O’Connor’s previous solo outings will already have a good idea of what to expect here, with the eleven tracks here seeing him refining his sheeny AM radio-friendly synth-pop approach to more glossy and layered levels.

Lead by the bearded Husky Rawenda, the much-loved band rose from the depths of a backyard shed to release their acclaimed debut, Forever So. The new album, Ruckers Hill, delivers soft changes for the group neatly captured in Rawenda’s sharp songwriting. In doing so, they have solidified Husky’s ability to create gorgeous music with a stellar sophomore effort.

The interior shot of O’Connor leaning on a Roland Juno 6 synth immediately shows where this record’s heart is at – think Howard Jones mixed with A Flock Of Seagulls all hanging out on some strangely melancholy tropical beach with Vince Clarke-era Depeche Mode. In a similar way to Donny Benet though, O’Connor isn’t playing his knowingly retro synthpop aesthetic for laughs and there’s an undeniable level of sincerity (if it’s occasionally airbrushed and cold) seeping through all of this album. It’s not hard to get the feeling that dance-beat propelled tracks like ‘Never Have You Looked So Good’ and ‘Jacqueline’ could have soundtracked some similarly sexually frustrated kid’s rollerskating rink outing back in 1983, such is the level of attention to production detail here. But even when the ‘Agadoo’-esque synth calypso beats kick in on ‘Into My Hands’, it’s hard to shake the slightly creepy sense of darkness that lurks below like an obsessive stalker. chris downton

Opening track ‘Ruckers Hill’ begins gently before tugging in with an infectious hook that will dictate the alluring nature for the rest of the record. Smooth melodies form rhythmical choruses that may linger in the back of one’s mind for days to come, hinting that Ruckers Hill may be a more singleoriented release than their last. Percussion is used dynamically throughout for dramatic effect – note the swells of ‘Arrow’ – and the album is imbued with charismatic harmonies akin to Fleet Foxes.

There is strong narrative structure throughout the record, theatrical yet understated, whilst the delicate fingerpicking arrangements remain characteristic of Husky remain. External characters are present yet the mysterious Josephine that pervaded Husky’s debut is unheard; she has been replaced – or maybe transformed into – Joan. Great mountains and burning cities and are sculpted as Rawenda’s vocals cleanly sail throughout, lending a spacious touch to the record. Such a moment can be heard the lilting call of ‘I’m Not Coming Back’. Subtly is key and it is the quieter touches that linger underneath that reveals Rawenda’s true craftsmanship. In complete form, Ruckers Hill becomes cohesive and balanced, deftly playing a hand well known whilst weaving in new ideas. Yet, most importantly, it signifies true musicianship from Husky as they effortlessly overcome the sophomore slump.

ANGELA CHRISTIAN-WILKES

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C.J. Symon Twelve Day Today (Preludes and Fugues) [Independent Release] For us non-school of music types, a fugue is music in which a short melody is introduced in one part and developed by other parts, with a prelude being the introductory piece for the fugue. There’s more to it, involving words like ‘contrapuntal’, but let’s not go there.

While it takes its structure from classical music, with Bach being a heavy hitter in his day, the similarity with this album stops there. Local experimental musician C.J. Symon has generated 12 prelude/ fugue pairs, concentrating on an everyday household object as the core source of the piece, with assorted effects thrown in.

The sounds bring to mind specific things – but what you picture may be far from what is making the noise. The opening couplet sounds like blowflies, ripping plastic and a squeaky door (or is it a two stroke motorcycle?). However, the core instrument used to create this collage was a zipper.

Another highlight is ‘Lid’, with a sequence of hollow rattles giving rise to surprisingly biological sounds, a sewing machine and a train. The effects achieved by dragging a chair around are remarkable.

Symon’s material reminds us that the world is a very noisy place, invading our consciousness and creating stress. In ‘Lock’, a minute of blissful quiet (broken only by a ticking clock) is gained after shutting the door on the streetscape hubbub of traffic and pedestrians. Interestingly, natural sounds (a source of relaxation) are absent apart from the brief appearance of birdsong in ‘Door’. The album challenges the listener to place meaning on the semi-abstract representations. Bravely experimental it is, but while deep thinkers may find hidden meanings in repeated listens, for the rest of us it is only a once-over curiosity. rory mccartney

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singles in focus by cody atkinson Ex Hex ‘beast’

FKA Twigs LP1 [Young Turks]

Thanks Light & The Hallucinations [Enjoy Ears Records]

London-based singer / producer FKA Twigs (real name Tahliah Barnett) has had a mammoth twelve months since the release of her feted EP2 towards the end of last year, to the point that this similarly functionally-titled debut album LP1 arrives amidst the sorts of media hype usually reserved for Mercury Prize winners.

With an impressive array of production collaborators called into service here including Arca (Kanye West), Sampha and Paul Epworth (Bloc Party, Futureheads), the ten tracks here see Twigs veering away from the trip-hop stylings of her preceding EPs, towards a more full-bodied rnb-centred sound. That said, there’s the unmistakeable presence of a wide range of more ‘underground’ dance sounds filtering through this collection, with elements of footwork, UK garage and witch house rearing their heads. Indeed, many of this album’s most striking moments arrive here when things get darker and edgier. ‘Hours’ sees slow mechanistic rhythms providing an almost skeletal backdrop to Twigs’ eerily dragged and processed vocals as they weave against glittering electronics, in what’s easily one of this album’s most exquisitely subtle moments. Elsewhere, ‘Numbers’ sees an almost junglist backbone of twitchy footwork snare rolls looking into place against a repetitive harmonic pulse and spooky keys as Twigs’ soul-centred vocals soar in the foreground, riding the furiously accelerated rhythms. Of course, it’s the opulently layered, full-blown rnb-kissed tracks such as the smoochy bedroom-centred and strings-laden ‘Lights On’ and ‘Two Weeks’ that offer up what’s easily the most radio-poised material on offer here. As pleasurable as these smoother moments are though, there’s an occasional sense of glossy emptiness creeping beneath these tracks when compared to LP1’s more satisfyingly edgy offerings.

Once the lone love child of Zane Zor, Thanks Light has picked up extra candlepower to become a multi-instrumentalist four piece.

On the rocky road to make this sawn-off album (at just eight songs) the band lost and gained two members. Recorded in Zor’s home, they opted for the unvarnished musical truth provided by analogue gear, including reel to reel tapes. This carries over to the songs too, with ‘one, two, three, four’ lead-ins and even a couple of post-song scraps of conversation left on tape.

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Everything about this band is eccentric, from the album title to the unusual composition of the assembled tracks. They hurl out the recipe book on conventional approaches to music in this free flowing album that combines theatricality, indie pop, folk and rock. Thanks Light’s whacky approach invokes comparisons with the laisse faire spirit of Richard in Your Mind, but without the hippy psychedelia.

The hint that there’s more character here than usual starts with opener ‘Next to You’.

Ukulele driven, its theatrical stance and playful arrangement, including a burst of the kazoo, give it the air of a kiddies’ song.

Change the lyrics and it could be some of Peter Coombe’s material. Changing from a one man show to a band has done wonders for the depth and variety of Zor’s music, leaving behind the tinny electronica of ‘Re::Evolution’ from the ‘Pop Rox’ release, or the solo troubadour style of ‘’aLive and Naked’. Highlights appear in the form of the oh-so-cool ‘South of Mexico’ and the punk rock blitz on ‘Making Me (Oh Yea!)’. The musical ground constantly shifts beneath your feet in this record which combines a vibe of tropical romance with a strong dose of fun.

RORY MCCARTNEY

Ex Hex, the new project driven by Mary Timony (ex-Wild Flag, Autoclave) is a noisy take on garage pop. Plenty of guitar hero moments present themselves on ‘Beast’, with solos taking prominence throughout.

‘Beast’ is a piece of proper grown up rock and roll for grown up people.

Run The Jewels ‘close your eyes (and count to fuck)’ Run The Jewels, the collaboration between two of New York’s finest MCs (El-P and Killer Mike), is packed full of grit and grime.

Zack de la Rocha, of RATM fame, guests on ‘Close Your Eyes’, and drops a decent verse here. However it’s El-P who steals the show here, both with his rhymes and his production, which is a world away from his earlier work with Cannibal Ox and others.

Mind Blanks ‘long shadows’ New to the Canberra scene, Mind Blanks attack hard on ‘Long Shadows’, with a tidal wave of distorted guitars washing over pounding drums and barely audible vocals. Shoegaze influences come through strongly on ‘Long Shadows’, with a hazy, dream-like atmosphere imposing itself over the track.

Beau Ryan feat Justice Crew ‘Where You From?’

Let’s lower the expectations here – this is an attempt by a member of the Footy Show to create a novelty pop single. The (loose) premise of the song is set up by the refrain (Tell me where you from?), from which point it degrades into a series of poorly rapped observations about ethnic stereotypes. As a rapper, Ryan makes a decent retired football player.

47

the word

on films

WITH MELISSA WELLHAM

The film everyone has been talking about these past few weeks is, of course, Gone Girl.

Given that the movie is based on the worldwide bestseller by Gillian Flynn, if you managed to avoid spoilers before the film was released, I’m impressed. If you’ve managed to avoid spoilers even after the film’s release, I’m amazed.

Much of the commentary surrounding the film has been about its intentions. Is it misogynistic? A film about misandry? Or is it just a good ol’ fashioned thriller? You be the judge.

quote of the issue “What are you thinking?

What are you feeling?

What have we done to each other? What will we do?” – Nick Dunne (Ben Affleck), Gone Girl

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Gone Girl

The Skeleton Twins

Dracula: Untold

A friend warned me right before I walked into the theatre –“You will walk out and question all human behaviour and motivations. Trust no one, only your dog”. He wasn’t wrong. Gone Girl is a mind bending thriller that will provoke sympathy for one character and then half an hour later make you want to curse and vilify that same person. Nick Dunne’s (Ben Affleck) life takes a turn for the dramatic and twisted when on the morning of his fifth wedding anniversary he finds that his wife Amy (Rosamund Pike) is missing.

The circumstances around Amy’s disappearance become more sinister, putting Nick under a glaring and uncomfortable spotlight.

The Skeleton Twins proves that indie dramedies about siblings and family relationships still make fine film fodder – particularly when supported by powerful and deep performances from two of your favourite comedians.

If you only see one vampire movie this year make sure it’s What We Do In The Shadows.

Dracula Untold was terrifically boring when it had no business to be – epic battle scenes and swarms of bat attacks left me rolling my eyes. The story of Dracula is epic, layered and absorbing with ample space for retellings and prequels. It’s not fodder for mindless action movies.

What follows, without wanting to give away any spoilers, is a taught psychological thriller along with several bleak observations about marriage.

Nick’s life is put under 24 hour scrutiny from a perverse media circus making one almost sympathetic to the cynical and bitter person he becomes – how could one not in such a judgmental environment?

Likewise, Amy’s motivations become more and more complex. Both characters are admirable, detestable, wickedly smart and terrifying. I thoroughly enjoyed the high levels of incidental female characters.

Nick’s sister, the head detective and many more were integral to the story and their gender was of no consequence – they were not the token tough chicks or beautiful distractions – they were real people. Don’t miss this film and don’t let anyone spoil it. emma robinson

When Maggie (Kristen Wiig) and Milo (Bill Hader) both contemplate suicide on the same day, these estranged twins are unexpectedly brought back into each other’s lives.

Under the same roof for the first time in years, Maggie is forced to admit that her seemingly perfect life is pretty messed up and Milo must confront the fact he isn’t perfectly fine with his own messed up life, even if he says he is.

Saturday Night Live alumni Wiig and Hader prove that they can act – really act. This film about family is mined for both laughs and tears, with the two stars turning in performances with flawless comedic timing as well as believable grief. Supporting cast member Luke Wilson is an exceptional extra, in a nuanced and oddly touching role.

Despite the fact that the premise of estranged family has been done to death, The Skeleton Twins truly does breathe new life into a straightforward premise. There is one scene (you’ll know it when Starship’s ‘80s hit ‘Nothing’s Gonna Stop Us Now’ stars playing) that made me grin just thinking about it once the film had finished. This film is a carefully calibrated mix of the hopes and mundane horrors of everyday life – with real tenderness. melissa wellham

Luke Evans plays Vlad – Dracula before he was turned into a vampire. Vlad has returned from enslavement in the Turkish army to bring peace and stability to his homeland of Transylvania. When war threatens his home once more, Vlad seeks the power of a hideous beast imprisoned in a light tight cave. The price?

He must resist the staggering temptation of human blood for three days or suffer eternal damnation as a creature of the night.

I was grinding my teeth into stubs for the entire film.

Mistakes like ‘that woman just fell at least three kilometres –why didn’t her body liquefy when she hit the ground?’ and ‘how did the Turkish army cross a distance of thousands of miles in one night?’ made me want to scream. There was a budget for showy special effects but script development appeared to have the smallest budget of all.

The one saving grace of this movie was Charles Dance, playing Tywin-Lannister-asa-vampire who turns Dracula.

Unfortunately, even he could not save this movie.

EMMA ROBINSON

@bmamag

The Judge

The Case Against 8

The Judge isn’t really disappointing per se, as the trailer seemed to indicate this film would be a fairly stodgy, solid but uninspiring venture.

But it’s a shame that in one of his bigger non-comic book hero roles in recent years, Robert Downey Jr. took a script that relies on his ability to deliver snarky lines at top speeds, rather than enhances it.

The Case Against 8 covers an expansive and complicated legal battle and not only have the filmmakers managed to create a concise and focused exploration of the facts – they have also given this emotional documentary a great deal of heart.

In The Judge, Downey Jr. stars as a “big city lawyer” (sorry, couldn’t bring myself to type that cliché without quotation marks) Hank Palmer, who has to return to his hometown after his mother dies. Once home, he is forced to confront his estranged father, the small town’s judge (Hank Palmer) – and the situation gets even more complicated when the judge is accused of murder.

The Judge is overlong, underdeveloped and cluttered with subplots – while the script is reliant on formulaic plot points and the occasional line of cringe-worthy dialogue. The cast is actually very strong (the film also features Vera Farmiga, Vincent D’Onofrio and Jeremy Strong) and they do what they can with the script, but it’s an unwieldy and many-themed beast.

The film has been spread too thin and ultimately both the family and courtroom drama is rendered bland – which is surprising given that both are interesting almost by default.

The verdict is in. If only one could sentence films to community service and they came back a little bit better.

MELISSA WELLHAM

The film takes the audience behind-the-scenes of the landmark Supreme Court case that overturned Proposition 8, California’s ban on same-sex marriage. The film follows two key groups. The first is the odd-couple legal team who led the case, David Boies and Ted Olson. They were the representatives for Al Gore and George Bush respectively, in the much publicised legal battle about the Florida election recount. The other key group the film follows are the plaintiffs themselves: two ordinary couples who decided to put their lives, privacy and love on the line. Theirs are the stories that will touch hearts.

The Case Against 8 is a remarkably reserved film.

It doesn’t pull any punches, but it also doesn’t throw them carelessly. Instead, it quietly documents the long drawn-out court case and connected advocacy work – without slamming large swathes of America. This film is a courtroom drama, a legal thriller and a family channel movie all in one. It will inspire a few tears, as well as a few laughs. And hopefully, it will also inspire some thought-provoking conversations. This film shows that the right side of history – and the wrong side of history – is already being documented.

MELISSA WELLHAM

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49

the word on dvds

50

Brilliant Creatures [Roadshow]

Chef [Universal Sony]

For all our alleged egalitarianism, we actually struggle when locals make it big. And whilst the tall poppy syndrome is not uniquely Australian, we’re pretty close to owning the patent rights.

It’s fine when sports people or musicians make it big overseas.

But if you’re a writer, artist, comedian, theorist, polemicist or – god forbid – a combination of all of the above then you better be ready for a national smack down. Know your place.

Brilliant Creatures is a doco about four famous Australians who knew their place all too well. And for the most part it wasn’t Australia.

Remember when food shows were big a few years ago? The first wave were your Gordon Ramsey shouty, fix-this-bloodymess-up ones where some rat hole in East Grinstead was given the once over. Then there was Heston and his amazing exploding ice cream, and Jamie with his lisp and liberal splashes of olive oil and faux ladism. Then there were the competition shows, apparently still going.

Anyway, food was everywhere it seemed – except on the big screen. Chef is the first big studio movie to leverage the developed world’s obsession with eating authentic, artisanal food from a moving vehicle.

Yes – the pulled pork food truck craze is a major film. But please, keep reading. It gets better.

Robert Hughes, Germaine Greer, Clive James and Barry Humphries are amongst the best in their respective fields.

Their talent is undeniable, their intellect formidable. They have enormous egos and were unafraid to deploy it. They all left a very insular Australia in the 1960’s, heading to Europe primarily. It didn’t take long for each of them to start making waves – Greer as the forthright, indefatigable feminist, Hughes as one of the best critics/ writers of the late 20th century, Humphries as Dame Edna et al and James as a different sort of critic, and latterly poet. Their relationships with Australia was always fractious and this is the story of that relationship.

It is not a gushing bio-doco of four great Australians. Howard Jacobson, British author and journalist, is the amiable host and interviewer who uses his personal relationship with the three living ‘iconoclasts’ (Hughes sadly passed away in 2012) to good effect. Greer is – as always – a blunt quote machine. Humphries, suave relaxed urbanity. James, in the latter stages of a terminal illness, is devastating – talking wistfully about his beloved Kogarah (Sydney suburb) he will never see again. Brilliant Creatures is proof that it’s easy to impress your homeland, much harder still to challenge them to be better. justin hook

Carl Casper (Jon Favreau) is a well-credentialed head chef at a stuffy French restaurant in Los Angeles. While the rest of the culinary world is head-totoeing pigs, Casper is delivering chocolate lava cakes. Snapping first at his boss (Dustin Hoffman) and then a food blogger (Oliver Platt) in a very modern YouTubed meltdown, Caspar quits in disgust. His tirade makes him infamous. Cue the reinvention of Carl Caspar where he reconnects with his family, his son, his skills and his love of food. It sounds terrible, right? Well it isn’t.

This is Favreau’s return to small films after the big budget Iron Man franchise made his diary very busy. There’s no doubt he knows how to construct a film and Chef, for all its simple themes and plot developments positively buzzes along.

Favreau the actor is just as good, affable and oblivious to technology and how much of an asshole he is. But the welltrodden path to redemption is never boring, thanks to the ageless John Leguizamo, his chef offsider and some beautiful locations (Miami, Texas). Beyond Sofia Vergara’s lack of talent, there’s nothing to dislike about this film at all. A simple, joyful treat. justin hook

Hostages – the Complete Series [Warner Home Video] There are those who bemoan adaptations of foreign TV shows for American audiences.

Something about loss of purity or dumbing down, runs the logic.

Really though, who cares where an idea originated so long as the outcome is enjoyable.

Homeland’s first season was very enjoyable. Then it got shit, everyone turned off and the show needed a few years of ‘retooling’ to get back on its feet. The US remake of The Killing never even had a good first season but still lasted four, somehow.

Like Homeland, a show it shares many plot similarities and themes with, Hostages was originally an Israeli show, Bnei Aruba. It was a critical and commercial hit. No such luck for the US version as it limped to an early exit late last year, mostly unloved.

Regardless of how it finished up, Hostages starts well. The establishing shot of a family quietly enjoying time together on a couch in front of the TV pulls out to reveal masked home invaders standing over them, guns pointed. Thanks to a quick time shift, we are introduced to one of the hostage takers Duncan (Dylan McDermott) as a no-nonsense FBI agent in a scene dripping with clichés. It is a Jerry Bruckheimer production, after all. Duncan has taken the Sanders family hostage and is demanding the mother, Ellen (Toni Colette), kill the President.

She’s operating on him the next day, you see. How are they going to drag this out for 15 episodes you ask? Good bloody question.

There’s no doubt McDermott and Colette save Hostages.

It’s a show with an intriguing premise that plays the drama too loose, the conspiracy too crazy and the logic too warped.

If you succumb to the overthe-top craziness of it all, it’s actually quite fun but it does feel like a show spinning wheels to find a purpose. justin hook

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51

the word

Missy Higgins, Dustin Tebbutt, Jherek Bischoff Canberra Theatre Saturday October 11

on gigs

PHOTOS BY ??????????

Jherek Bischoff, co-producer of Missy Higgins’ latest album Oz, rocked up looking overdressed in a tuxedo. Armed with only a ukulele and loop pedal, he demonstrated his orchestration talents, fitting together an incredible variety of jigsaw puzzle sounds into a coherent whole. Indie folk artist Dustin Tebbutt provided a complete contrast in the next set. Backed by a similarly skilled multi-instrumentalist on guitars, percussion and vocals, Tebbutt’s high, floating vocals soared over the audience. His delicate, smoky songs, such as ‘Where I Find You’, made every note count from the minimalist electric guitars. Complex arrangements involved a surprising amount of mid-song guitar changes, sometimes with only a few notes laid down on one instrument before swapping to another guitar.Missy Higgins took the punters on an autobiographical journey which both celebrated Australian musicians and highlighted songs linked to special moments in her life. Higgins was comfortable covering a wide range of artists, from Slim Dusty to The Go-Betweens. She told the stories behind her selections from Oz, including the fan letter she wrote to Paul Dempsey and the way Chrissy Amphlett inspired her to be brave and take charge of her own career. While songs like ‘Back to the Wall’ by Divinyls were close to the originals, others provided Higgins’ own interpretation. She provided her own graceful take on The Drones’ ‘Shark Fin Blues’, smoothing off the usual ragged edged singing of Gareth Liddiard. Higgins’ powerful voice was in top form and she showed off her jazzy origins in a cover of ‘The Way You Are Tonight’.

There were plenty of old favourites too, with ‘Scar’ getting particular acclaim from the fans.

RORY MCCARTNEY

the word

on gigs

PHOTO BY DALE WOWK

52

Allday, Baro, Remi Zierholz @ UC Saturday October 11 Allday’s Canberra listenership? 3:1 ratio under-18s to over-18s.

Counterintuitively, 50/50 genderwise. Only yelled the Kendrick half of the ‘Backseat Freestyle/Goldie’ entrance music. Allday himself? His Drake-isms are coupled with a flow-wordplay-quotable matrix so modestly outfitted that his chances on a ‘Piñata’ or ‘Something They Don’t Know’ would be skinnier than him. But his cultivation of an audience conflating him with his art (nothing new or insidious) comes via a swagged-out looks-personality-humour matrix, plus a pre-debut catalogue bespeaking real work. Given the main act’s cultic status, support duty was superfluous. Baro’s charm and indebted beats never energized the crowd. Applause was lukewarm. Remi came on stronger, demanding attention. But the cheer elicited by “I eat pussy like a sandwich” came from a crowd undesensitized by counterparts like “my moustache pink” or “it’s suede puma.” And some irony would’ve improved asking the all-ages section to commit to the presumably-titled ‘Ecstasy Party’. Plus Baro’s re-emergence to tender a verse (as a belated No Crowdsurfing notice was plastered up) saw his “ass-kid/acid” flow relegate the surefooted Remi to second-place in a two-man race.

Onstage, Allday flaws show – a remixed ‘3005’ was drowned out by a crowd spitting Gambino’s verses back at him. His hooks resonate though, a besotted crowd needing no cue to back-up the candid and/ or garbled ‘Got It’, ‘Fuckin’, ‘Wasting Time’ and ‘Right Now’. When a melody soared, such as ‘Girl in the Sun’, the little groove proffered by his soft trap is consigned to backing up the emphatic “OH MY GOD my sad lips,” a trope which sounds fucking good by the way. The only sign of disrespect was the mere one-song encore. Which they loved, regardless.

ALBERT SHIRT

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53

the word

on gigs

Primary Colours, Cracked Actor, Raus Transit Bar Thursday October 9 Primary Colours hit the stage first to play their blend of energetic post-punk. To resort to an old cliché, Primary Colours get a whole lot of noise out of just two members. Shrieks and howls emit from both members at points, tempered by the occasional softly spoken vocal.

Enjoyable and energetic, Primary Colours showed that on the night there is some value to restraints and throwing them aside.

Cracked Actor, launching their new single ’Hollywood’, were beginning long march towards the release of their debut album.

The centrepiece of Cracked Actor is to the delicate vocals of Seb Field; everything else seems to fall in place around it. Glitchy electronics sit beside driving basslines and reverb laden guitars, and do so comfortably. When Field implores the the crowd to stand up for their last couple of songs, the crowd do so without hesitation.

The band closes with ‘Lemon On Your Lover’ and ‘Hollywood’, the highlights of their set.

PHOTO BY MEGAN LEAHY

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Raus, and his partner in crime Yether, have slowly but surely evolved into something a bit different. Synths, drums (both acoustic and electronic) and baritone vocals combined into a hazy slush, which enveloped the sizable crowd at Transit. Launching their debut album LP, everything seemed fluid on stage, with the songs resembling jam sessions at times more than any set structure. The set seemed like it was an expression of joy for the two men on stage, with frontman Raus at times abandoning his post and whacking away on his trusty cowbell. cody atkinson

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55

the word

on gigs

Dune Rats, W.O.D Transit Bar Thursday October 2 W.O.D were the openers on the night, playing classic “oi” inspired punk rock. W.O.D, who share ties with Cairns/Melbourne boys Drunk Mums, are infectious while on stage. They moved around, dove into the crowd, strut and strode everywhere they went. Most importantly, the music was tight, with everything hitting about right.

Lyrically, W.O.D stuck to a lot of Australiana themes, bogan culture and zero fucks given. With flannos dotting the crowd, they were simultaneously loose and tight at the same time, which fit the mood of the room.

About ten minutes into the Dune Rats set everything started to get a little bit real. Security conspicuously appeared throughout the venue and the band made an announcement over the PA, asking for everyone just to cool down just a little.

Then a foot flew into the air and a glass lamp fixture broke. It was like a sign that we were entering another universe, a zone of danger, another dimension where everything was slightly off.

Every other minute people were jumping into the air, supported by hands and arms and heads. People were dancing on tables, sweat seemed like it was dripping from the walls. The security presence at the venue kept increasing and increasing and increasing, like Mr Smith in The Matrix.

Punters began to be dragged out of the venue, slowly at first, then rapidly. A person would be dragged out and another would replace them on top of the crowd. The punters seemed to spawn from nowhere and replicate. At one point I swear that I saw the same kid get dragged out three times in ten minutes, which couldn’t be true. The crowd swelled and fluctuated, members jumping off the stage into the abyss of the crowd, only to be replaced by another identical kid. Shit wasn’t just getting real, it was getting surreal. And fortunately there was a fitting soundtrack for the madness.

Dune Rats know how to put on a good show; it’s why they have such a big following despite being “underground”. Their blend of stoner punk sat on the poppier side of someone like DZ Deathrays or Wavves, but they still shredded with sufficient force. If you had to pick the band they most resembled, perhaps it would be later era Hard-Ons. Guitar riffs reigned supreme throughout the set, dominating the small venue.

While the whole set got a good response from the crowd, stand-outs ‘Red Light, Green Light’ and ‘Pogo’ drew a little more energy from the venue. Banter wise, it was all about broken bongs and bro-ing down on tour, which fit the vibe of the night.

A Dune Rats show is a party for those who want to party, those who want to cut loose a bit. The three Rats know how to play together and each other’s strength and weaknesses. They also seem like they love what they do and the fact that they can tour the country doing so, which is half the battle in engaging the crowd sometimes.

You don’t have to like Dune Rats – and plenty don’t – but you have to respect how much buy-in they get from their crowds. cody atkinson

PHOTOS BY MEGAN LEAHY

56

@bmamag

ENTERTAINMENT GUIDE Wed Oct 22 - Fri Oct 24

Listings are a free community service. Email editorial@bmamag.com to have your events appear each issue. wednesday october 22

The Real & The Imagined

M16 ARTSPACE

4some Thursdays

BEAVER GALLERIES

By Meelan Oh & Sacha Nixon: works about feeling in place. Free. Wed-Sun 12-5pm. Until Nov 9.

By Jean-Yves Camus. Opening: Oct 22, 7pm. Free. Until Nov 11. Mon-Thu 9-8pm. Fri 8-5pm.

Observation

Something Different

The Waterhouse Natural Science Art Prize 2014

M16 ARTSPACE

A Sense of Place

Art Exhibitions

Studio glass inspired by Australian landscape by Holly Grace. Oct 16-Nov 4. Free.

Monuments

Landscapes Territoires Rêvés

M16 ARTSPACE

By Madeline Bishop. Opening 6pm Oct 16. Until Oct 26. Wed-Sun 11am-5pm.

CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

Awaken

Works reflecting spring. Tue-Fri 105pm. Sat 12-4pm. Until Oct 25.

CRAFT ACT CRAFT & DESIGN CENTRE

Certified Australian

Hardy Lohse & Martin James explore refugee policy. Opening Oct 22. Until Nov 9.

ANCA GALLERY

Absorb

Curious & exquisite light works.

Wed-Sun 10-4pm. Until Nov 6. Gold coin entry.

CANBERRA GLASSWORKS

Macquarie Digital Portraiture Award Screen based portraiture finalists.

10am-5pm daily. Free.

NATIONAL PORTRAIT GALLERY

Movement

By Aika O’Toole. Opening Oct 16, 6pm.

Until Nov 16. Free.

CANBERRA GRAMMAR SCHOOL GALLERY

ALLIANCE FRANÇAISE

Nature as seen by the artist. Until Nov 9. Free entry.

NATIONAL ARCHIVES OF AUSTRALIA

Meet with Jean-Yves Camus

Painting the Town

ALLIANCE FRANÇAISE

By Julie Spencer: The intricacies of every day urban lifestyles. Free. WedSun 12-5pm. Until Nov 9.

Canberra Grammar Sculpture Festival

Chieng Reaction tour. 8.30pm. Tickets from Oztix.

Plus Harris Hobbs Small Sculpture Prize. Opening Oct 16, 6pm. Until Nov 16. Free.

CANBERRA GRAMMAR SCHOOL GALLERY

Australia for UNHCR

boyandgirlco.’s furniture from discarded pallets. 11am-3pm. Free.

NISHI GALLERY

Live Music With Prepared Like A Bride, Graves + more. Time & $TBA.

CMC Presents bands every Wednesday

BEAVER GALLERIES

SMITH’S ALTERNATIVE

With Joshua Wellington + guests.

7.30pm. $10-$5.

Wednesday Night Gigs

Showcasing local talented musicians.

8pm. Free.

LITTLE BROOKLYN

Ronny Chieng ZIERHOLZ @ UC

Curry-Oke

8pm. Free Entry. Specials for group entries.

DIGRESS COCKTAIL BAR

Live Music

BILK GALLERY

The Arid Zone

Ceramics & botany by Cathy Franzi.

Tue-Fri 10-5pm. Sat 12-4pm. Until Oct 25.

CRAFT ACT CRAFT & DESIGN CENTRE

Art Exhibitions Lumiere

By Ned Hatch: A quirky exhibition about natural & artificial light. Free. Wed-Sun 12-5pm. Until Nov

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Live Music Richard In Your Mind

Psych / indie popsters launch their new album Ponderosa! 8pm, $10 on the door.

THE LOFT AT DUXTON

Freshest mixes of the 21st century.

8pm. Free.

Pat Metheny Unity Group

THE LOFT AT DUXTON

With Chris Potter, Antonio Shanchez + more. Info & tickets: canberratheatrecentre.com.au

The Church

Pretty City

Looking Glass

CANBERRA THEATRE CENTRE

With Wallflower + Bruges. 9pm. $5.

THE PHOENIX BAR

Further/Deeper tour. 8pm. $53 via Ticketek.

ANU BAR AND REFECTORY

With Bent Hen + Agency. Blues rock.

8pm. $10.

Dos Locos

THE BASEMENT

5pm afternoon session. 10pm band.

Free.

9pm. Free.

With Marcus Blacke & The Morrisons.

Time TBA. $15.

By Marian Hosking. Until Oct 26.

friday october 24

DJ Norm

Where I End & You Begin

thursday october 23

GORMAN HOUSE ARTS CENTRE

TRANSIT BAR

Eclectika: Ceramic Artistry for the Table

Botanical Edge

$15-$21. Book at: cytc.net.

From harmonica to guitar to didgeridoo!

6.30-9.30pm. Free.

KING O’MALLEY’S IRISH PUB

THE STREET THEATRE

Where in the World is Frank Sparrow?

Minh Ha

Theatre

By Cathy Pet?cz. World Premiere.

7.30pm. $30.

By Cathy Pet?cz. World Premiere.

7.30pm. $30.

Karaoke

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

STUR GALLERY

Theatre

THE STREET THEATRE

CANBERRA MUSEUM AND GALLERY

Thornton Walker – paintings & works on paper

By artists from the collective Claybodies. Opening Oct 16, 6pm. Until Nov 9.

Discuss the exhibition. Lunch $10.

12.30pm. Free event.

Comedy

MAGPIES CITY CLUB

With Heike Qualitz. Until Nov 15. Tue-Fri 11am-5pm. Sat 10am-4pm. Free

Works by Michele England about global warming issues. Free. Wed-Sun 125pm. Until Nov 9.

Where I End & You Begin

CRAFT ACT CRAFT & DESIGN CENTRE

Peter Vandermark & Archie Moore

ACADEMY NIGHTCLUB

M16 ARTSPACE

Confession

Recalled from dreams, photos, travel & memory. Oct 16-Nov 4. Free.

Free entry.

27 Aussie artists exploring shifts in understanding of what it is to be human. Until Feb 22.

Pulse: Reflections on the Body

Scantlings

Works in clay by Lesa Farrant. Tue-Fri 10-5pm. Sat 12-4pm. Until Oct 25.

On The Town

The Grahams

THE FRONT GALLERY AND CAFÉ

Dinner Concert

Chicago Charles/ SBS

KING O’MALLEY’S IRISH PUB

Live Music

Acoustic local & interstate musicians.

9.30pm. Free.

Hams & Jay Boats’ Soul Trio.

6-10.30pm. Free.

LITTLE BROOKLYN

Thursday Jazz

SMITH’S ALTERNATIVE

SMITH’S ALTERNATIVE

On The Town

HOTEL HOTEL

With The Jac. 8pm. $5/$10.

Kooyeh

Soul infused reggae. 8pm. $10.

Alex

80s & 90s. 9pm. Free.

UNI PUB

57

ENTERTAINMENT GUIDE Fri Oct 24 - Sun Oct 26 UV Paint Rave #2 $15 before 11pm.

Thornton Walker – paintings & works on paper

Talks

BEAVER GALLERIES

ACADEMY NIGHTCLUB

Café Scientifique “The Digital City”

A discussion. 5.30pm. Free. RSVP by Oct 22.

Recalled from dreams, photos, travel & memory. Oct 16-Nov 4. Free.

Peter Vandermark & Archie Moore

With Heike Qualitz. Until Nov 15. Tue-Fri 11am-5pm. Sat 10am-4pm. Free

ALLIANCE FRANÇAISE

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Theatre

Eclectika: Ceramic Artistry for the Table

Where I End & You Begin

By Cathy Pet?cz. World Premiere.

7.30pm. $30.

THE STREET THEATRE

Where in the World is Frank Sparrow? $15-$21. Book at: cytc.net.

GORMAN HOUSE ARTS CENTRE

saturday october 25

By artists from the collective Claybodies. Opening Oct 16, 6pm. Until Nov 9.

STUR GALLERY

Botanical Edge

By Marian Hosking. Until Oct 26.

BILK GALLERY

The Arid Zone

Ceramics & botany by Cathy Franzi.

Tue-Fri 10-5pm. Sat 12-4pm. Until Oct 25.

CRAFT ACT CRAFT & DESIGN CENTRE

Art Exhibitions Lumiere

By Ned Hatch: A quirky exhibition about natural & artificial light. Free. Wed-Sun 12-5pm. Until Nov M16 ARTSPACE

Monuments

By Madeline Bishop. Opening 6pm Oct 16. Until Oct 26. Wed-Sun 11am-5pm.

CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

Awaken

Works reflecting spring. Tue-Fri 105pm. Sat 12-4pm. Until Oct 25.

CRAFT ACT CRAFT & DESIGN CENTRE

Certified Australian

Hardy Lohse & Martin James explore refugee policy. Opening Oct 22. Until Nov 9.

ANCA GALLERY

Absorb

Curious & exquisite light works.

Wed-Sun 10-4pm. Until Nov 6. Gold coin entry.

CANBERRA GLASSWORKS

Movement

By Aika O’Toole. Opening Oct 16, 6pm.

Until Nov 16. Free.

CANBERRA GRAMMAR SCHOOL GALLERY

Scantlings

Works in clay by Lesa Farrant. Tue-Fri 10-5pm. Sat 12-4pm. Until Oct 25.

CRAFT ACT CRAFT & DESIGN CENTRE

A Sense of Place

By Meelan Oh & Sacha Nixon: works about feeling in place. Free. Wed-Sun 12-5pm. Until Nov 9.

M16 ARTSPACE

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Observation

Works by Michele England about global warming issues. Free. Wed-Sun 125pm. Until Nov 9.

M16 ARTSPACE

The Real & The Imagined

Studio glass inspired by Australian landscape by Holly Grace. Oct 16-Nov 4. Free.

BEAVER GALLERIES

Landscapes Territoires Rêvés

By Jean-Yves Camus. Opening: Oct 22, 7pm. Free. Until Nov 11. Mon-Thu 9-8pm. Fri 8-5pm.

ALLIANCE FRANÇAISE

The Waterhouse Natural Science Art Prize 2014

Nature as seen by the artist. Until Nov 9. Free entry.

NATIONAL ARCHIVES OF AUSTRALIA

Pulse: Reflections on the Body 27 Aussie artists exploring shifts in understanding of what it is to be human. Until Feb 22.

CANBERRA MUSEUM AND GALLERY

Painting the Town

By Julie Spencer: The intricacies of every day urban lifestyles. Free. WedSun 12-5pm. Until Nov 9.

M16 ARTSPACE

Canberra Grammar Sculpture Festival

Plus Harris Hobbs Small Sculpture Prize. Opening Oct 16, 6pm. Until Nov 16. Free.

CANBERRA GRAMMAR SCHOOL GALLERY

Australia for UNHCR

Theatre

NISHI GALLERY

Where in the World is Frank Sparrow?

Live Music

GORMAN HOUSE ARTS CENTRE

boyandgirlco.’s furniture from discarded pallets. 11am-3pm. Free.

DJ Norm

Freshest mixes of the 21st century.

8pm. Free.

THE LOFT AT DUXTON

$15-$21. Book at: cytc.net.

Where I End & You Begin

By Cathy Pet?cz. World Premiere.

7.30pm. $30.

THE STREET THEATRE

Jack Biilmann

sunday october 26

Stone day. Time & $TBA.

UNIVERSITY OF CANBERRA

Yes I’m Leaving

Live Music

THE PHOENIX BAR

With Groove Inc. 3pm-5pm, $10.

With New Age Group + Nature Kids.

9.30pm. $5.

Cruciform and Psychrist

Sunday Sangria Sounds

SMITH’S ALTERNATIVE

With Tortured and Claret Ash. Death/ Black metal. $10. 8pm.

Sunday Sessions

Tim Wheatley

LITTLE BROOKLYN

THE BASEMENT

Acoustic local & interstate musicians.

4pm. Free.

Crooked Saint EP available now. Time & $TBA.

Irish Jam Session

Live Band

KING O’MALLEY’S IRISH PUB

KING O’MALLEY’S IRISH PUB

With The Fuelers. 8pm. $15.

THE FRONT GALLERY AND CAFÉ

Traditional Irish music. From late afternoon. Free.

10:30pm. Free.

Bob Log III

Briggs

THE PHOENIX BAR

Sheplife & Hau: Football, Feasts & Funerals Launch. 8pm. $20 through Moshtix.

Claws and Organs

Live Music

All Our Exes Live in Texas

LITTLE BROOKLYN

THE FRONT GALLERY AND CAFÉ

TRANSIT BAR

With Other Liquid Fires. Grundge rock.

Time & $TBA. THE BASEMENT

Acoustic local & interstate musicians.

9.30pm. Free.

Folk with Kristabelle & the Southern Jubilee Ringers. 6pm. $20 via Oztix.

Like Thieves

Minh Ha

8pm. $25 through Ticketek.

ANU BAR AND REFECTORY

From harmonica to guitar to didgeridoo!

3-6pm. Free.

Lyndell Tutty

THE DUXTON

SMITH’S ALTERNATIVE

With Man-a-Man-a-Mwnci. 2pm. Free.

On The Town

Studio 68 Sound Search

Love Saturdays

LA DE DA

With special guests 7.30pm, $10.

With Jared de Veer. $10 before 1am.

ACADEMY NIGHTCLUB

Steve

The Acoustic Sessions IRON BAR

Singer/song writer comp.

Something Different

80s & 90s. 9pm. Free.

Spring Winds Festival

Something Different

BELCONNEN ARTS CENTRE

UNI PUB

The Hunger Jams: CRDL Grand Final Roller derby final. With music by The Naddiks?. 3pm. Tickets: crdl.com.au AIS ARENA

Enjoy an arvo of kite flying & more.

12-4pm. Free.

Belco Bag and Bundle Bazaar A no-fuss sell what you can carry market with vintage, art & more. 124pm. Free.

BELCONNEN ARTS CENTRE

Sing!

Come and sing along. Info: thestreet. org.au THE STREET THEATRE

@bmamag

ENTERTAINMENT GUIDE Sun Oct 26- Sat Nov 1 Theatre Where in the World is Frank Sparrow? $15-$21. Book at: cytc.net.

GORMAN HOUSE ARTS CENTRE

Where I End & You Beginw

By Cathy Pet?cz. World Premiere. 6pm. $30.

wednesday october 29 Art Exhibitions Lumiere

By Ned Hatch: A quirky exhibition about natural & artificial light. Free. Wed-Sun 12-5pm. Until Nov

THE STREET THEATRE

M16 ARTSPACE

Workshops Unlikely Poet

Hardy Lohse & Martin James explore refugee policy. Opening Oct 22. Until Nov 9.

ENTRY 29

Macquarie Digital Portraiture Award

Music, drinks, artworking, poetry slam/ workshop. 7pm. $5/$10.

monday october 27 Live Music The Bootleg Sessions

With Sex On Toast, Brass Knuckle Brass Band, PJ Junior & the Soul Pimps.

8pm. Free.

THE PHOENIX BAR

The Alex Stuart Quintet

Album Launch. Info: thestreet.org.au THE STREET THEATRE

Theatre Where in the World is Frank Sparrow? $15-$21. Book at: cytc.net.

GORMAN HOUSE ARTS CENTRE

Workshops French Classes

Conversation, pronunciation, grammar or travel workshops for all ages. Info + bookings: afcanberra.c ALLIANCE FRANÇAISE

tuesday october 28 Comedy ACT Comedy Open Mic Night

Certified Australian

ANCA GALLERY

Screen based portraiture finalists.

10am-5pm daily. Free.

NATIONAL PORTRAIT GALLERY

Absorb

Curious & exquisite light works.

Wed-Sun 10-4pm. Until Nov 6. Gold coin entry.

CANBERRA GLASSWORKS

Movement

By Aika O’Toole. Opening Oct 16, 6pm.

Until Nov 16. Free.

CANBERRA GRAMMAR SCHOOL GALLERY

A Sense of Place

By Meelan Oh & Sacha Nixon: works about feeling in place. Free. Wed-Sun 12-5pm. Until Nov 9.

M16 ARTSPACE

Thornton Walker – paintings & works on paper

Recalled from dreams, photos, travel & memory. Oct 16-Nov 4. Free.

BEAVER GALLERIES

Peter Vandermark & Archie Moore

With Heike Qualitz. Until Nov 15. Tue-Fri 11am-5pm. Sat 10am-4pm. Free

Live Music Whiskey & Blues Tues

With Whisky Strait. 7.30pm. $10.

SMITH’S ALTERNATIVE

Theatre Where in the World is Frank Sparrow? $15-$21. Book at: cytc.net.

GORMAN HOUSE ARTS CENTRE

Trivia Nerd Trivia with Joel and Ali

Presented by Impac Comics. 7.30pm.

Free.

THE PHOENIX BAR

Trivial Tuesdays

CMC Presents bands every Wednesday With New Gods of Thunder + The Lavans. 7.30pm. $10/$7/$5.

SMITH’S ALTERNATIVE

Wednesday Night Gigs

Showcasing local talented musicians.

8pm. Free.

LITTLE BROOKLYN

Theatre Where in the World is Frank Sparrow? $15-$21. Book at: cytc.net.

GORMAN HOUSE ARTS CENTRE

thursday october 30

By artists from the collective Claybodies. Opening Oct 16, 6pm. Until Nov 9.

STUR GALLERY

Works by Michele England about global warming issues. Free. Wed-Sun 125pm. Until Nov 9.

The Real & The Imagined

Curry-Oke

8pm. Free Entry. Specials for group entries.

DIGRESS COCKTAIL BAR

Live Music Thursday Jazz

With The Cooking Club. 8pm, $15/$10.

SMITH’S ALTERNATIVE

The Living End

8pm. $51 via Ticketek.

ANU BAR AND REFECTORY

A guitar and vocals powerhouse. 6.309.30pm. Free.

C.I.T School Stars Band Competition 2014

Who is this year’s school star? Support your favourites or enter online. 6-10pm.

Free.

CIT MUSIC INDUSTRY CENTRE

Dinner Concert

Hester Fraser & Feraude with Dan Bray & Damian Slingsby. 6pm. Free.

HOTEL HOTEL

Studio glass inspired by Australian landscape by Holly Grace. Oct 16-Nov 4. Free.

Holy Holy

Landscapes Territoires Rêvés

Special K

BEAVER GALLERIES

By Jean-Yves Camus. Opening: Oct 22, 7pm. Free. Until Nov 11. Mon-Thu 9-8pm. Fri 8-5pm.

ALLIANCE FRANÇAISE

The Waterhouse Natural Science Art Prize 2014

With The Tambourine Girls and Slow Turismo. 8pm. $12 through Moshtix.

TRANSIT BAR

4some Thursdays ACADEMY NIGHTCLUB

27 Aussie artists exploring shifts in understanding of what it is to be human. Until Feb 22.

Where in the World is Frank Sparrow?

Painting the Town

GORMAN HOUSE ARTS CENTRE

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

Free Entry.

DIGRESS COCKTAIL BAR

facebook.com/bmamagazine

KING O’MALLEY’S IRISH PUB

EbolaGoldFish

With Inedia, Kill Dirty Youth, Rather Be Dead + Speedball. Time & $TBA. MAGPIES CITY CLUB

Manga Republic Halloween Launch Party

With Liam McKahey & The Bodies, Beth n Ben & Midnight Cinderella. Fancy Dress! 8pm. $10/$15/$20.

THE RUC (TURNER)

Brendan Gallagher

8pm. Tix: $25/$20 via trybooking. com/96425 SMITH’S ALTERNATIVE

DJ Norm

Freshest mixes of the 21st century.

8pm. Free.

Tease & Tearaways: Night of the Living Dead With The Velvet Vixensm 13, Claret Ash + Beast Impalor. Burlesque, steam punk & black metal. Time & THE BASEMENT

The Jeff Tain Watts Quartet

Modern jazz. Info: thestreet.org.au THE STREET THEATRE

Rumshack

7pm. Free. Dress up for complimentary drink & prizes.

IRON BAR

Souls of Mischief

Hip hop. There Is Only Now tour. 8pm. $40 through Moshtix.

TRANSIT BAR

On The Town Halloween

Featuring SCNDL. $15 before 11pm.

ACADEMY NIGHTCLUB

Steve

80s & 90s. 9pm. Free.

UNI PUB

Something Different Nigh at the Museum: Fear

Dress up & face your fears. Dance, stand-up, graffiti + more. 6-9.30pm. $10. Info: nma.gov.au NATIONAL MUSEUM OF AUSTRALIA

Where in the World is Frank Sparrow?

Theatre

M16 ARTSPACE

Chicago Charle5pm afternoon session/10pm Band. Free.

On The Town

Pulse: Reflections on the Body

By Julie Spencer: The intricacies of every day urban lifestyles. Free. WedSun 12-5pm. Until Nov 9.

Chicago Charles/ Something like This

Theatre

KING O’MALLEY’S IRISH PUB

Free entry.

CANBERRA MUSEUM AND GALLERY

Live Music

9pm-12am. Free.

Nature as seen by the artist. Until Nov 9. Free entry.

NATIONAL ARCHIVES OF AUSTRALIA

friday october 31

THE LOFT AT DUXTON

Karaoke

THE LOFT AT DUXTON

Karaoke

TRANSIT BAR

Live Music

Eclectika: Ceramic Artistry for the Table

M16 ARTSPACE

9pm. Free entry. Grand final prize of $1000 awarded on Nov 4.

CANBERRA GRAMMAR SCHOOL GALLERY

Nick Rigby

Observation

Karaoke Love Competition

Plus Harris Hobbs Small Sculpture Prize. Opening Oct 16, 6pm. Until Nov 16. Free.

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Be bold, be offended, be very afraid.

Info: comedyact.com.au.

THE FRONT GALLERY AND CAFÉ

Canberra Grammar Sculpture Festival

$15-$21. Book at: cytc.net.

$15-$21. Book at: cytc.net.

GORMAN HOUSE ARTS CENTRE

saturday november 1 Art Exhibitions Lumiere

By Ned Hatch: A quirky exhibition about natural & artificial light. Free. Wed-Sun 12-5pm. Until Nov M16 ARTSPACE

Certified Australian

Hardy Lohse & Martin James explore refugee policy. Opening Oct 22. Until Nov 9.

ANCA GALLERY

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ENTERTAINMENT GUIDE Sat Nov 1 - Wed Nov 5 Absorb

Curious & exquisite light works.

Wed-Sun 10-4pm. Until Nov 6. Gold coin entry.

CANBERRA GLASSWORKS

Movement

By Aika O’Toole. Opening Oct 16, 6pm.

Until Nov 16. Free.

CANBERRA GRAMMAR SCHOOL GALLERY

A Sense of Place

By Meelan Oh & Sacha Nixon: works about feeling in place. Free. Wed-Sun 12-5pm. Until Nov 9.

M16 ARTSPACE

Thornton Walker – paintings & works on paper

Recalled from dreams, photos, travel & memory. Oct 16-Nov 4. Free.

BEAVER GALLERIES

Peter Vandermark & Archie Moore

With Heike Qualitz. Until Nov 15. Tue-Fri 11am-5pm. Sat 10am-4pm. Free CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Poke Something that Bites

Cohen Gum on touchy emotions. 113pm. Until Nov 18.

NISHI GALLERY

Eclectika: Ceramic Artistry for the Table

By artists from the collective Claybodies. Opening Oct 16, 6pm. Until Nov 9.

STUR GALLERY

Observation

Works by Michele England about global warming issues. Free. Wed-Sun 125pm. Until Nov 9.

M16 ARTSPACE

The Real & The Imagined

Studio glass inspired by Australian landscape by Holly Grace. Oct 16-Nov 4. Free.

BEAVER GALLERIES

Landscapes Territoires Rêvés

Painting the Town

By Julie Spencer: The intricacies of every day urban lifestyles. Free. WedSun 12-5pm. Until Nov 9.

M16 ARTSPACE

Canberra Grammar Sculpture Festival

Plus Harris Hobbs Small Sculpture Prize. Opening Oct 16, 6pm. Until Nov 16. Free.

Talks

Workshops

Artist’s Floor Talks

French Classes

With Michele England & Julie Spencer.

Arvo tea included. 2pm. Free.

M16 ARTSPACE

Theatre

CANBERRA GRAMMAR SCHOOL GALLERY

Where in the World is Frank Sparrow?

Live Music

GORMAN HOUSE ARTS CENTRE

Heuristic

10:30pm. Free.

KING O’MALLEY’S IRISH PUB

90’s Tribute Night

$15-$21. Book at: cytc.net.

sunday november 2 Art Exhibitions

15 bands covering 15 bands from the 90’s. 5pm. $25 or $20 presale.

Poke Something that Bites

Zambezi Sounds

NISHI GALLERY

THE BASEMENT

African beats. 7.30pm, $10.

SMITH’S ALTERNATIVE

Australian National Busking Championships

Performers from all over bring music to the streets of Cooma. Final concert, 5pm. Free.

VARIOUS LOCATIONS

Thelma Plum

With special guest. 8pm. $35. Book at: thestreet.org.au THE STREET THEATRE

SMITH’S ALTERNATIVE

DIGRESS COCKTAIL BAR

Day After Dead

IRON BAR

Lead of The Steptones brings us sublime sounds. 3-6pm. Free.

Irish Jam Session

Traditional Irish music. From late afternoon. Free.

KING O’MALLEY’S IRISH PUB

Studio 68 Sound Search Singer/song writer comp.

LA DE DA

By Jean-Yves Camus. Opening: Oct 22, 7pm. Free. Until Nov 11. Mon-Thu 9-8pm. Fri 8-5pm.

On The Town

Something Different

Love Saturdays

The Waterhouse Natural Science Art Prize 2014

ACADEMY NIGHTCLUB

Acoustic Session and Market Day

ALLIANCE FRANÇAISE

Nature as seen by the artist. Until Nov 9. Free entry.

NATIONAL ARCHIVES OF AUSTRALIA

Pulse: Reflections on the Body 27 Aussie artists exploring shifts in understanding of what it is to be human. Until Feb 22.

CANBERRA MUSEUM AND GALLERY

With Jake Raven. $10 before 1am.

Something Different Canberra Zombie Walk & Invasion

Walk + gig to support The Brain Foundation. Info: canberrazombiewalk. com MAGPIES CITY CLUB

Live Music

Trivial Tuesdays

Blues by Chris O’Connell. 8pm, $15/$10.

THE DUXTON

Mark Wilkinson

TRANSIT BAR

Sunday Sangria & Sound

THE LOFT AT DUXTON THE PHOENIX BAR

Karaoke Love Competition

9pm. Free entry. Grand final prize of $1000 awarded on Nov 4.

Trivia

Patrick Ryan

With The Crossbones. 9.30pm. $5.

Karaoke

Live Music

DJ Norm

Sailor’s Grave

tuesday november 4

Flowerbomb

Halloween celebrations with Afro Moses + guests. Prizes & more for best costumes. 2pm. Free.

Freshest mixes of the 21st century.

8pm. Free.

ALLIANCE FRANÇAISE

Cohen Gum on touchy emotions. 113pm. Until Nov 18.

Monsters tour. With Left and Dalli. 8pm, presale via Moshtix.

TRANSIT BAR

Conversation, pronunciation, grammar or travel workshops for all ages. Info + bookings: afcanberra.c

Acoustic acts & market stalls. Food available all day. Doors from 12:30pm.

Free entry all day.

THE BASEMENT

monday november 3 Live Music Schnitz & Giggles

6.30pm – 8pm, $10.

SMITH’S ALTERNATIVE

With guests. 8pm, $10.

SMITH’S ALTERNATIVE

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

Free Entry.

wednesday november 5 Art Exhibitions Canberra Grammar Sculpture Festival

Plus Harris Hobbs Small Sculpture Prize. Opening Oct 16, 6pm. Until Nov 16. Free.

CANBERRA GRAMMAR SCHOOL GALLERY

Lumiere

By Ned Hatch: A quirky exhibition about natural & artificial light. Free. Wed-Sun 12-5pm. Until Nov M16 ARTSPACE

Macquarie Digital Portraiture Award Screen based portraiture finalists.

10am-5pm daily. Free.

NATIONAL PORTRAIT GALLERY

Certified Australian

Hardy Lohse & Martin James explore refugee policy. Opening Oct 22. Until Nov 9.

ANCA GALLERY

Absorb

Curious & exquisite light works.

Wed-Sun 10-4pm. Until Nov 6. Gold coin entry.

CANBERRA GLASSWORKS

Movement

By Aika O’Toole. Opening Oct 16, 6pm.

Until Nov 16. Free.

CANBERRA GRAMMAR SCHOOL GALLERY

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@bmamag

ENTERTAINMENT GUIDE Wed Nov 5 - Wed Nov 12 A Sense of Place

thursday november 6

Lumiere

By Meelan Oh & Sacha Nixon: works about feeling in place. Free. Wed-Sun 12-5pm. Until Nov 9.

Art Exhibitions

By Ned Hatch: A quirky exhibition about natural & artificial light. Free. Wed-Sun 12-5pm. Until Nov

Peter Vandermark & Archie Moore

Cohen Gum on touchy emotions. 113pm. Until Nov 18.

Poke Something that Bites

Certified Australian

M16 ARTSPACE

With Heike Qualitz. Until Nov 15. Tue-Fri 11am-5pm. Sat 10am-4pm. Free

NISHI GALLERY

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Live Music

Eclectika: Ceramic Artistry for the Table

King of the North

By artists from the collective Claybodies. Opening Oct 16, 6pm. Until Nov 9.

STUR GALLERY

Observation

Works by Michele England about global warming issues. Free. Wed-Sun 125pm. Until Nov 9.

M16 ARTSPACE

Landscapes Territoires Rêvés

By Jean-Yves Camus. Opening: Oct 22, 7pm. Free. Until Nov 11. Mon-Thu 9-8pm. Fri 8-5pm.

Can It Tour. With Renegade Peacock, Looking Glass + Critical Monkee. 8pm. $15.

THE BASEMENT

On The Town 4some Thursdays Free entry.

ACADEMY NIGHTCLUB

friday november 7

ALLIANCE FRANÇAISE

Live Music

The Waterhouse Natural Science Art Prize 2014

Positive Feedback Loop

Nature as seen by the artist. Until Nov 9. Free entry.

With Bruges + Dylan Hekimian. 8pm.

Free.

Pulse: Reflections on the Body

Groovin’ the ANU

NATIONAL ARCHIVES OF AUSTRALIA

TRANSIT BAR

27 Aussie artists exploring shifts in understanding of what it is to be human. Until Feb 22.

With The Naddiks, Barren Spinsters, Beneath Benetta + Hearing Voices.

Free. Time TBA.

Painting the Town

Sinister

CANBERRA MUSEUM AND GALLERY

ANU BAR AND REFECTORY

By Julie Spencer: The intricacies of every day urban lifestyles. Free. WedSun 12-5pm. Until Nov 9.

With Mephistopheles, Tortured, Wretch + Inhuman Remnants. $36.75 on oztix or @ the door. 8pm.

Live Music

Something Different

CMC Presents bands every Wednesday

The Vinyl Lounge

M16 ARTSPACE

CMC Forest Falls, Rosie Henshaw + Dylan Wright. 7.30pm. $10/$7/$5.

SMITH’S ALTERNATIVE

THE BASEMENT

BYO vinyl. 5.30-6.30pm. Free.

NATIONAL FILM AND SOUND ARCHIVES

saturday november 8

Something Different

Art Exhibitions

Perception Deception Exhibition

Painting the Town

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

By Julie Spencer: The intricacies of every day urban lifestyles. Free. WedSun 12-5pm. Until Nov 9.

M16 ARTSPACE

Canberra Grammar Sculpture Festival

Plus Harris Hobbs Small Sculpture Prize. Opening Oct 16, 6pm. Until Nov 16. Free.

M16 ARTSPACE

Dusky

The Next Step Tour. 8pm. $39 via Moshtix.

TRANSIT BAR

Something Different

Hardy Lohse & Martin James explore refugee policy. Opening Oct 22. Until Nov 9.

Fash ‘n’ Treasure

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

ANCA GALLERY

EXHIBITION PARK IN CANBERRA (EPIC)

Movement

By Aika O’Toole. Opening Oct 16, 6pm.

Until Nov 16. Free.

CANBERRA GRAMMAR SCHOOL GALLERY

A Sense of Place

sunday november 9 Live Music

By Meelan Oh & Sacha Nixon: works about feeling in place. Free. Wed-Sun 12-5pm. Until Nov 9.

Irish Jam Session

Traditional Irish music. From late afternoon. Free.

M16 ARTSPACE

Peter Vandermark & Archie Moore

KING O’MALLEY’S IRISH PUB

With Heike Qualitz. Until Nov 15. Tue-Fri 11am-5pm. Sat 10am-4pm. Free CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Eclectika: Ceramic Artistry for the Table

By artists from the collective Claybodies. Opening Oct 16, 6pm. Until Nov 9.

STUR GALLERY

Poke Something that Bites

Cohen Gum on touchy emotions. 113pm. Until Nov 18.

The Acoustic Sessions With Ben Chan. 2pm. Free.

IRON BAR

monday november 10 Workshops French Classes

Conversation, pronunciation, grammar or travel workshops for all ages. Info + bookings: afcanberra.c ALLIANCE FRANÇAISE

NISHI GALLERY

tuesday november 11

Observation

Works by Michele England about global warming issues. Free. Wed-Sun 125pm. Until Nov 9.

M16 ARTSPACE

Live Music Hand of Mercy

Landscapes Territoires Rêvés

With Hellions + Void of Vision. Time & $TBA.

By Jean-Yves Camus. Opening: Oct 22, 7pm. Free. Until Nov 11. Mon-Thu 9-8pm. Fri 8-5pm.

MAGPIES CITY CLUB

ALLIANCE FRANÇAISE

wednesday november 12

The Waterhouse Natural Science Art Prize 2014

Nature as seen by the artist. Until Nov 9. Free entry.

Art Exhibitions

Pulse: Reflections on the Body

27 Aussie artists exploring shifts in understanding of what it is to be human. Until Feb 22.

Pulse: Reflections on the Body

NATIONAL ARCHIVES OF AUSTRALIA

27 Aussie artists exploring shifts in understanding of what it is to be human. Until Feb 22.

CANBERRA MUSEUM AND GALLERY

Canberra Grammar Sculpture Festival

CANBERRA MUSEUM AND GALLERY

The Wildbloods

Plus Harris Hobbs Small Sculpture Prize. Opening Oct 16, 6pm. Until Nov 16. Free.

MAGPIES CITY CLUB

Macquarie Digital Portraiture Award

Live Music With Brother Be + Heart of Mind. Time & $TBA.

CANBERRA GRAMMAR SCHOOL GALLERY

Screen based portraiture finalists.

10am-5pm daily. Free.

CANBERRA GRAMMAR SCHOOL GALLERY

NATIONAL PORTRAIT GALLERY

OUT

Nov 5

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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

Wretch Where did your band name come from? It’s as boring as ‘we needed a cool name, someone thought of one, we argued a bit and then went with it’.

Group members? Scream-o-pillar (vox), Dad (drums), Shy Cunt (guitar), Mayor of Queanbeyan (guitar) Describe your sound: Coarse, belligerent, abrasive, bassless aggression. We’re a ludicrously fast, angry band with two guitarists and no bass player, taking cues from death metal, thrash and punk.

Who are your influences, musical or otherwise? Musically, we’re influenced by: Lock Up, Pig Destroyer, Napalm Death, Brutal Truth, The Kill, Hall and Oates, The Cars and – of course – Toto. There are quite diverse musical tastes within the band: Dad loves jazz, The Mayor of Queanbeyan is a raging country fan, Shy Cunt is nuts about musical theatre and Scream-o-pillar is a concert pianist.

What’s the most memorable experience you’ve had whilst performing? Our previous vocalist grabbing a wireless mic and disappearing into the toilets mid-set so he could take a piss while simultaneously screaming his lines, then falling back onto the stage over the barrier in nothing but his boxers and having his balls fall out of his shorts in the process.

Of what are you proudest so far? Doing support spots for international touring acts that we love — particularly Cattle Decapitation — has been fun, but the highlight has definitely been playing at Obscene Extreme Festival What are your plans for the future? We’re recording our second full-length at Studio Anders Debeerz in Brisbane in January and due to do a live split later in the year.

What makes you laugh? Whatever offends the general population.What pisses you off? The general population What about the local scene would you change? I think that the local scene is in pretty rude health. It can be a problem getting people to go to gigs outside of their particular comfort zone.

What are your upcoming gigs? Supporting Sinister on Fri Nov 7, Metal Fiesta Sat Nov 22, Transit Bar Fri Jan 23 andUnder the Southern Cross Festival (Sydney) Sat Jan 24.

Contact info: fvckingshitcvnt.bandcamp.com/, facebook. com/wretchgrind

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Australian Songwriters Association Keiran (02) 62310433 Back to the Eighties Ty Emerson 0418 544 014 Backbeat Drivers Steve 0422733974 backbeatdrivers.com Bat Country Communion, The Mel 0400405537 Birds Love Fighting Gangbusters/DIY shows-bookings@ birdslovefighting.com Black Label Photography Kingsley 0438351007 blacklabelphotography.net Bridge Between, The Cam 0431550005 Capital Dub Style Reggae/dub events Rafa 0406647296 Chris Harland Blues Band, The Chris 0418 490 649 chrisharlandbluesband @gmail.com Cole Bennetts Photography 0415982662 Danny V Danny 0413502428 Dawn Theory Nathan 0402845132 Danny 0413502428 Dorothy Jane Band, The Dorothy Jane 0411065189 dorothy-jane@dorothyjane.com Drumassault Dan 0406 375 997 Feldons, The 0407 213 701 FeralBlu Danny 0413502428 Fire on the Hill Aaron 0410381306 Lachlan 0400038388 Fourth Degree Vic 0408477020 Gareth Dailey DJ/Electronica Gareth 0414215885 Groovalicious Corporate/ weddings/private functions 0448995158

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

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

Top Shelf Colin 0408631514

Haunted Attics band@hauntedatticsmusic.com

Zoopagoo zoopagoo@gmail.com

Undersided, The Baz 0408468041

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