BMA Magazine 461 - 15 April 2015 by BMA Magazine

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NEEDLE AND THE DAMAGE DONE: RECORD STORE DAY EQUALS FUN PUNS

I dreamt that Tony Abbott hit on me. The dirt won’t wash off. #461April15 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

Saturday April 18 is Record Store Day. This is great news, but it’s kinda like Mother’s Day; why only restrict the adulation to one day? (I’m quietly hoping my sons read this). It is a good excuse, however, to make a day of hanging out at the record shop, dance in the aisles, daydream about John Cusack in High Fidelity (a rare ‘book-to film’ that didn’t suck) and feel good about buying music ensconced in works of art. There’s lots happening around town, for more info head to recordstoreday.com.au We caught up with Frog from Songland Records, who says: “Songland is continuing our efforts to support the Weston Creek R.S.P.C.A. by selling donated vinyl, VHS videos, and cassette tapes with ALL money raised going straight to the animals! The range of pre-loved records for sale is amazing and can be found at songland.com. au - there are many collectable pieces in there! Of course Record Store Day is the special time of year when all of us “cool kids” pass the note around class with the best albums we’ve heard in the last year. For me that would be a choice between a few legendary Australian acts. Swanee has released his best ever album called One Day at a Time, and released on RSD will be an amazing double album by The Black Sorrows called

Endless Sleep which is Joe Camilleri’s tribute to acts like Lou Reed, Hank Williams, John Coltrane and Warren Zevon. It’s just wonderful.” I encourage you to buy anything that isn’t New Order B-sides or the Boys Next Door record I’ll be looking for. Put it down, you won’t win.

A DIRTY RED IDENTITY: RUGBY LEAGUE REMEMBRANCE Conscription, class war, and Rugby League. Live music, archival footage and documentary film combine in The Dirty Red Digger: The Story of World War I in Australia through events in Rugby League between 1914 and 1918. From the working class tenements in ‘Dirty Red’ Glebe, the divisive Prime Minister Billy Hughes, and the traitor/hero status of boxer Les Darcy, this special multimedia event explores the battle for Australian identity and the Anzac legacy. Griffyn Ensemble director Michael Sollis has worked closely with the Gungahlin Bulls Rugby League Football club, comparing the stories of young men in the trenches with young men today, this is a special event not to be missed. The Dirty Red Digger is a groundbreaking collaboration that sees Rugby League communities collaborate with art and music, exploring the struggle for Australian identity during World War I, and the challenges of young men today and a hundred years ago. The program features music that we know was played during

WWI in Australia, and Australian music that has been written since. With over 40 minutes of archival footage and a series of interviews with young men and women, this will be premiered in Canberra and then tour nationally. Catch it at Belconnen Arts Centre on Sat April 25 5pm, Sun April 26 5pm.

GLOBAL BATTLE OF THE BANDS AT THE DURHAM GBOB is a huge international event with over 30 countries involved and the winners are given the title of ‘Best New Band in the World’! Canberra bands looking for a head start in their music career and a chance to play on the World Stage should apply to take part in the Global Battle of the Bands. The ultimate prize for winning the Australian Final is an allexpenses paid trip overseas to the World Final to compete against all the other National Winners. This is a spectacular event where the crème of the music industry gather to check out the world’s top new talent. Music lovers should also make sure they get to the show to check out the best bands Canberra has to offer, and to support the one they like most. It will be exciting to see which of the dynamic lineup gets through and there will be audience giveaways to boot. The Canberra Heat will be conducted on Saturday May 2, starting at 8pm. Bands wanting to take part need to contact organisers now by emailing redletter@bigpond.com or calling 02 9519 3978. For more info head to gbob.com

Graphic Design Marley Film Editor Melissa Wellham (Thanks for all your hard work Melissa! - BMA) Taking your Death metal requests with a smile

NEXT ISSUE 462 OUT April 29 EDITORIAL DEADLINE April22 ADVERTISING DEADLINE April 23 Published by Radar Media Pty Ltd ABN 76 097 301 730 BMA Magazine is independently owned and published. Opinions expressed in BMA Magazine are not necessarily those of the editor, publisher or staff.

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FROM THE BOSSMAN On Broken Bones and Aging Moans Two firsts occurred to me over Easter that brought home the frailty of humanity and got me thinking about aging. I turned 33, and I broke my first bone. Yes, after 33 years on this mortal coil sans break, I decided it was high time to end the drought. And so pedaling my bike - gaining impressive speed - I launched myself from atop a suitably wet slope and delivered to the concrete floor below the kind of high speed on-point elbow drop that would make Macho Man Randy Savage whistle in appreciation. As such, I am slowly typing out this column sporting a sling and half cast combo that makes me look like a drunk crab trying to play Twister. It’s not without its suffering, but perversely it has its benefits. Admittedly after going so long without severe injury, the mind stubbornly refuses to believe anything’s wrong and attempts to go about usual business, leading to many an awkward scenario. As such, my wife will often enter a room to find me grotesquely tangled up in a cardigan like a fly in a spiderweb, quietly repeating ‘Ow. Ow. Ow,’ to myself, before she disentangles me with gentle tutting and that lovingly reproachful facial expression long-suffering wives do so very well. Sure, my left arm now perpetually protrudes out horizontally in a perpetual, ‘Can I Help You?’ pose of an eager Jeeves-esque valet or as if method acting the part of a fancy gentlemen in a Pride and Prejudice style dance scenario (or, as my daughters and wife have quite taken to, using me as a rudimentary towel hanger).

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 all those little twelvies who hang around the mall for hours on the end, please don’t be scums and have the decency to cough up $1 to buy a bottle of water instead of returning every half an hour to ask for ’free water’. Please to not proceed to ask for a replacement when you spill your ‘free water’ all over our front counter leaving me to clean up your fucking mess. You pissed me off so please go back to the skate park or where-ever the place is that you smoke your lovely second-hand durries before I ‘accidently’ spill your free water over your brand new stussy shirt and snapback. To all the #tagforlikers on instagram, you piss me off. You are an embarrassment to society and boasting that you have 100 likes on something because you’ve tagged 100 irrelevant tags does not make you seem cooler. To the same person that loves their #tagforlikes, going through someones social media pages and claiming that you just so happen to like the exact same things as them does not make them want to be friends with you. Please stop it, you are an embarrassment and you piss me off greatly.

But at least I won’t be left behind come later in life. I now have a body part that I can clutch and rub, muttering like an old crone, “Ooooooo! There be a storm a comin’ in, you mark my werds! I can feel it in me elbow, I can.” But this also shines a light on something I have always been mildly obsessed about. And that’s the threshold of age. There’s nothing like a birthday or health scare to ram home our mortality. We all age. I can hear you aging right now. It’s gradual, creeping and - all of a sudden - explosive. What’s fascinating is pinpointing that very moment that a person crosses from being Young to Middle-Aged, or from Middle-Aged to Proper Old. You know what I mean. I’m sure you’ve had that friend who has always been considered so youthful for their age and one day they turn up to work or a family occasion and you think, ‘Damn… Tim looks OLD all of a sudden, right?” Yesterday, our fictional Tim was A Young Man. Now, he is Looking Old. Facebook certainly doesn’t help when it delivers one of those, ‘This day one year ago’ things in your timeline. You wake up feeling good about yourself, see your one-year-younger self and go, “Shit… What happened?” And it’s not just looks. On Monday you’re perfectly normal. Come Tuesday, you’re hitching your belt above your nipples, getting the names of technological gadgets slightly wrong and taking a keen interest in gardening. I’ve always maintained that if I shave off my lifer-beard once the crow’s feet kick in I’ll look 14 again. Truth is, I probably have a face like a crab’s bus ticket underneath. Anyway, I must dash. My elbow tells me there’s a storm coming and I best get my nipple-high trousers off the washing line. Worry not; the wife will soon be along to untangle me. ALLAN SKO - allan@bmamag.com

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Image credit: Joseph Darmenso Image credit: Murray Foote

WHO: Solquemia Esencial WHAT: Live Music WHEN: Fri April 17 WHERE: Teatro Vivaldi

Inspired by Latin Jazz, Flamenco and Rumba, Solquemia Esencial is a guitar duo that brings out the enchantment of the Spanish guitar in a unique and intimate setting, inspired by Latin Jazz, Flamenco and Rumba. Established by Alejandro Florez in 2009, as a form of exploring and experimenting with different sounds and instruments both solo and in collaboration with other musicians, including Juan Martinez, performing together for the last 15 years on a diverse range of projects which have taken them around Australia and overseas. Support includes The Night Café, Karina Bontes and Don ‘Oudist Nudist’. Doors at 7pm, $25.

WHO: Key Grip WHAT: Blues WHEN: Fri Apr 17 WHERE: Old Canberra Inn

The fabulously talented Key Grip, who have always aimed to find and reside in that grey area between blues and jazz, are bringing themselves to the forefront to play some catchy tunes. It’s a gig they’ve been looking forward to hugely thanks to the location, so it’s bound to be a good one, with band member Leo Joseph saying, “It’s our favourite venue and it just has to be one of the best venues for any sort of music gig and certainly a blues gig in Australia.” Kicks off at 7pm at the Old Canberra Inn.

WHO: The Beards WHAT: Live Music WHEN: Sat apr 8 WHERE: ANU Bar

Music’s best beard-themed band are hitting the streets of Canberra for The Strokin’ My Beard Tour. After an incredibly busy year of recording yet another album all about beards, The Beard Album, playing for packed venues throughout Europe on two international tours and receiving their second ARIA nomination, The Beards will be bringing all of their beardy goodness to ANU Bar. Known for their fresh live shows, this gig is not one to miss if you’re a fan of music, fun and most of all beards. Starts at 8pm and tickets are $29.92 at ticketek.com.au.

WHO: Dansonfest WHAT: Music Festival WHEN: Sat apr 25 WHERE: The Basement

A gig that has previously filled The Basement to absolute capacity, Dansonfest is back and dedicated to the memory of Nicholas SoferSchreiber, A.K.A. The Ginger Ninja. With a line-up including The Revellers, Topnovil, Bagster, Local Resident Failure, Ebolagoldfish, Wolfpack, No Assumption, Raised as Wolves and a whole heap more, people are coming together to pay tribute to the amazing man that Nick was, listen to a bunch of fantastic music played by awesome bands and have an absolute blast. 3pm, tickets are available for $20 at oztix.com.au.

WHO: The Good Morning Rave WHAT: Rave WHEN: Fri may 1 WHERE: Ainslie & Gorman Arts Centre

Are mornings a drag? Ever wanted to spice things up a little, but don’t know how? Well now No Lights, No Lycra have got you covered with their Good Morning Rave. When people generally hear the word Rave, their first thought isn’t usually ‘that’s how I want to start my morning’, but why not start the day with a Rave session? Start off with some fairy lights, dancing, hula hooping and good times and finish off with some delicious homemade muesli and a Yoga cooldown session. Begins bright and early at 7am; tickets are $12/$15 at eventbrite.com.au.

WHO: Bam Margera as FFU WHAT: Live Music WHEN: Wed may 6 WHERE: ANU Bar

After leaving Australia in the wake of a string of sold out shows, Jackass and Viva La Bam’s Bam Margera is back to cause some mayhem once again. Leading a band made up of members from the likes of CKY, Viking Skull and Guttermouth, Bam is riding into town to let Canberra know that rock and roll is not dead, but very much alive and kicking. If you’re a show that combines rock with drama, debauchery, chaos, stunts and outrageous antics, then this one’s for you. Tickets $57.15 or meet and greet tickets for $210.15 at oztix.com.au.

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DAN BIGNA It so happens that my favoured Star Wars movie is The Empire Strikes Back as its goodies versus baddies storyline contains many elements comprising a good action film – danger, excitement, romance, intergalactic warfare and Princess Leia who exudes strength and vulnerability in such a believable way that you can’t help but connect with her. Star Wars might be set in a galaxy far, far away but, man, take out the Wookiees and Jabba the Hutt and the persistent desire to overcome adversity is something that anyone attempting to survive the daily grind can relate to. Whatever factors provoke an attraction to the franchise there is little doubt that Star Wars devotees are an obsessive lot which might explain why creative director Russall Beattie, fresh from the UK burlesque scene, decided that the way forward was to place Star Wars characters front and centre in the wonderful world of burlesque and create a parody that evokes a Las Vegas styled concept involving eight seductive female Stormtroopers doing ‘In a Chorus Line’. This goes someway to penetrating the essence of THE EMPIRE STRIPS BACK, the Star Wars themed burlesque show that Russall Beattie has been touring around the country to ever growing audiences and the culmination of previous employment with a burlesque group in the UK with his own vision gestating in the background.

Beattie walks a fine line between genuine devotion and comedy which the show accomplishes with the right vibe in place. “You can’t market something that’s crap or something that hasn’t been properly developed,” he says. “You have to be willing to spend a bit of money on it and put in thought and effort to take it up to the next level. When you have something like that it transcends being pigeonholed, that’s when people come back to it. It’s about taking people out of their comfort zone and introducing an element of danger which is what makes the burlesque. On a really large stage you think about what you can do to maintain that edge.” It would seem we are talking about a special kind of light sabre styled edge that has attracted performers to the show from the beginning.

people get on board and believe those characters on stage are the actual characters

“The immediacy of coming up with an idea and being attached to all the different aspects of it being created on stage really appealed to me,” says Beattie. “The fact that there were scantily clad women involved didn’t hurt. So when I came back to Australia I began doing burlesque when it had become a very hot thing here.” It would seem the resurgence in burlesque performance has now well and truly hit the mainstream as Empire Strips Back regularly sells out venues. It has grown to the extent that it will be playing the Enmore Theatre in Sydney for all those Star Wars fans who want to see characters we all know and love evoke feelings of nostalgia for the original movies while also revealing far more than merely removing a mask. In this respect Beattie strives for a high degree of authenticity, going so far as employing people who worked on the Star Wars films in costume design. “Star Wars is a massive part of popular culture that everyone knows and we go for authenticity in our show,” he says, before adding, “The props are very effective, as effective as can be when you are making strippable clothing.” As an admitted learner driver when it comes to the burlesque scene, the idea of talented female performers acting out comical Star Wars routines in various states of undress is really quite appealing and given that my crush on Princess Leia has lasted many years, I figure there is something seriously bubbling away on a show that makes you want to be in on the joke, an awareness that Beattie works hard to cultivate. “The closer you get to making it look and feel as a genuine part of that universe, people get on board and

believe those characters on stage are the actual characters,” he says. “So when you really hit a joke or make something happen it sticks because the audience loves the Star Wars theme enough to want to joke about it.” And who wouldn’t want to succumb to the parody and have a giggle at an incredibly sexy Darth Vader?

Kael Murray has been with the show since its inception in 2010, having become interested in burlesque performance a short time before then. “I moved to Sydney and ended up attending a few burlesque nights held around the city,” she tells me. “I immediately became enthralled with excitement from watching the strength, beauty, grace, comedy and power that came from the women performing on stage. I felt true admiration and inspiration and thought to myself, ‘I want to dance like that.’” The right blend of parody and carefully orchestrated choreography has proven to be the winning formula for The Empire Strips Back – considering that Star Wars had always been due for a sensual makeover. In the show Kael Murray will be, “A female Luke Skywalker and C3PO before eventually turning to the dark side to become one of a troop of blaster wielding Imperial Stormtroopers.” She has always been a Star Wars fan, so when she tells me that she will get to ride a life size Taun Taun, play with light sabres and dress in a 30 piece golden robot costume, you just know that pure delight is within easy reach. Murray points out that “Aside from Star Wars fans attending, who are bound to enjoy the comical and sexy parodies of their favourite characters coming to life on stage, the incredible calibre of costumes, sets and lighting and the brilliant dancers, actors, singers and circus performers making up the cast, ensures a show you won’t easily forget.” It would seem that creative director Beattie has pressed all the right buttons and what it all boils down to is this – “You want the slickness without it being too polished. This show takes all the good things about being a kid and combines that with all the good things about being an adult.” The Empire Strips Back will be on at the Canberra Theatre, Saturday April 18. Tickets from $60 +bf from canberratheatrecentre.com.au.

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LOCALITY

LONELY SPINSTER ZOE PLEASANTS Brendon Houlahan, one half of Canberra rock outfit, THE BARREN SPINSTERS, is an affable guy who is passionate about Canberra’s local music scene. When I called him to arrange a chat it turned out he works a couple of blocks from me, so ten minutes later we met for a coffee. We talked about his music, the upcoming launch of The Barren Spinster’s third EP and his fledgling record label. It is easy to like Houlahan’s enthusiasm, but it was his observations about life, on a day that hadn’t been going well for me, that I most enjoyed. Houlahan keeps himself busy. As well as playing in The Barren Spinsters, he plays in several other Canberra bands, including his own solo project, writes for many of them and has recently launched a record label, Audioary Records. “[The name] Audioary doesn’t roll off the tongue very well,” comments Houlahan. “Ben [Harris, the other barren spinster] and I were thinking what do you call a visionary but in audio? I think we were talking about David Bowie at the time…and we just came up with Audioary.”

otherwise they’re going to end up on the great big Canberra pile of wasted potential

Through his label Houlahan is encouraging local musicians to release their own music. He feels really privileged to play with so many great musicians in Canberra, but he sees too many of them get burnt out using their energy to help elevate others. “If you’re not a contributing member of a band or you’re not actually doing your own music in some way, shape or form, you’re going to get chewed up and spat out,” he says. “So I try to encourage all these fantastic writers around town to get their music happening, otherwise they’re going to end up on the great big Canberra pile of wasted potential.” I pointed out that this was probably true of life. One of the artists Houlahan has been working with in this way is Hayley James, singer from Critical Monkee. She will debut her solo work at the launch of The Barren Spinster’s third EP, which is also called Audioary. “It is a bit of a different space, [her music is] a bit more acoustic, a bit more tender,” explained Houlahan. And Local Horror will finish off the night. Audioary is the third of four EPs Houlahan and Harris recorded when they shared a house together. The two met playing in bands but realised that the thing they like most about these bands was “The two of us working together. We thought ‘oh well, we’ll cut out the middle man and do a two piece.’ And it seems to be going pretty well.” Not one to rest on his laurels, Houlahan is on the look-out for a producer, “Someone who can really help us sculpt [The Barren Spinsters] in to something that we’re really proud of and has staying power.”

We’ve had the first cold snap of the winter months hit over the last few weeks, so now seems the right time for me to dole out my favourite piece of advice: the coldest time of the year is the best time to see a band. Less people in the venue means less smooshing to get up the front, dancing is a ridiculously awesome way to get warm, and because the temperature is lower to begin with, you won’t end up sweating and getting stinky and overheating like some folks do in summer. Wins all round! Consider testing this theory at Beth n Ben’s Baggage Claim album launch at The RUC in Turner on Friday April 17. It’s a bittersweet occasion of beginnings and endings: while they’re releasing a new CD, the band is also wrapping up, with this being their very last gig. before they head off to pursue other interests and opportunities. They’re going to leave quite a hole in the Canberran music scene, so make sure you’re there to give them the send-off they deserve! Support is coming from Beneath Benetta and Deiblu. Entry is $20, it all starts at 8pm and you’ll be able to grab a copy of their album on the night. For more details, visit facebook.com/BethnBenband. On the topic of departures, it pains me to share that one of Canberra’s most vibrant local identities is leaving us for warmer climes. Chris Endrey, known for his work on In Canberra Tonight, Fun Machine, PAINT on PAINT and plenty of other collaborations, as well as his remarkable solo work as a comedian, musician and just all round awesome dude, is leaving Canberra for the bright northern lights of Brisbane. His impact on the Canberran scene during his time in the nation’s capital has been massive, so it’s with a very heavy heart that we must wish him farewell and all the best in his further adventures.Ease the Monday blues with a little help from 2XX Live n Local’s Bootlegs at The Phoenix on Monday April 20 from 8pm. Acacia Suitcase, Hannah Blackburn, Helena Pop and Draining Pool are all on the bill, which is pretty good value when you consider that there’s no entry charge! The Ansah Brothers, made up of Genesis Owusu and Citizen Kay, have dropped a new single and quite a dark, industrial video to go with it with the release of ‘Go Figure’. It’s a pretty straight track, grounded in little more than a basic beat and bass line, which lends it a gritty sound. The lyrics seem full of contradictive: aspirational yet aggressive, positive yet pessimistic. Take a listen for yourself at facebook.com/TheAnsahBrothers.

And in a final whirlwind wrap: Friday April 17 is this month’s edition of Groovin’ the ANU, starting at 8pm at the ANU Bar, with sets from The Pretty Bones, The Wrst, After Hollywood and Onkalo, and free entry. Head to The Phoenix on Thursday April 23 to catch The Steptones and The Gypsy Scholars from 9pm, for a measly $5. Then on Saturday April 25, you can spend your ANZAC Day evening with Slow Turismo and Teem from 9:30pm at The Phoenix, again for the low, low price of $5. Until next time, possums! NONI DOLL NONIJDOLL@GMAIL.COM /@NONIJDOLL

The Barren Spinsters will launch their third EP, Audioary, at Transit Bar, Friday May 1, supported by Hayley James and Local Horror. $5 before 9pm, $10 after.

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We’re just thinking, ‘can we win over some new fans?’

YOU ME KILLING IT angela christian-wilkes Shortly after YOU ME AT SIX announced they would be playing Groovin’ the Moo, frontman Josh Franceschi received an email from our own local bands, congratulating him on their spot. “Luke Kilpatrick [of Parkway Drive] sent me this long message, being like ‘well done for finally waking the fuck up and going to see other parts of Australia, other than Sydney, Melbourne, Brisbane, Perth, Adelaide.’” This year GTM will host the London-based rock band’s third visit to Australia, a place where there’s “definitely been a good relationship.” For Franceschi, its regional format means overcoming some of the limitations experienced often by both bands and punters in Australia. “I know a lot of international bands will have this perspective: you fly in and every day you play a show, six shows down, you fly off, have a day off, party, whatever, get on another plane,” he says. “It’s all main cities… But there are fucking parts of Australia where other people cannot justify flying five hours to Melbourne to go and see a fucking show.”

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With his surprisingly accurate prediction of the crowds, it also means reaching a newer audience. “My interpretation of Groovin’ the Moo is that it’s going to be a lot of pissed, high, drugged up people walking around,” says Franceschi. “So what I’m hoping is that people will walk into the tent, walk to the stage (wherever it is) and they check us out. If they like it, great! We’re not going with the expectation that we’re going to walk out and play a thousand people that day… We’re just thinking, ‘can we win over some new fans?’”

Over the course of our interview, it becomes increasingly apparent that Franceschi loves his job, saying it has given him the “Opportunity to experience new things, meet new people and just do things that aren’t normal.” He discusses the influence of older albums on their latest record Cavalier Youth, fondly describes his first experiences of writing music and recalls the early years: “For me and the boys in You Me, the thing we would always do would be get pissed for free, mosh with our mates, stage-dive and basically do something that kept us off the streets away from all the pikies and the chavs who were trying to beat us up.” An impressive ten years in and four albums deep, it has obviously not been all sunshine and rainbows for You Me. Then what is the secret to keeping the passion alive and keeping the band moving? “I always try and get some perspective on how lucky we are,” says Franceschi. “I think that it’s the acceptance that without this band and without this music, our lives not be as fruitful. They wouldn’t be as meaningful. That may sound a little bit hippy-ish but that’s the angle I am coming from.” See Josh and the boys at Groovin the Moo at University of Canberra on Sunday May 3 or catch their side show at The Metro, Sydney on Wednesday May 6. Tickets for GTM available through moshtix at $99.90 +bf.

RORY MCCARTNEY The sleepy south coast village of Milton may seem an unlikely spot for a congregation of some of our sharpest rock legends. A little north of Ulladulla, Milton has a regular passing trade of musos, plying their stuff at its theatre. However, the main annual event is the KIDGEERIDGE MUSIC FESTIVAL. In its tenth year, the line-up of a dozen acts includes You Am I, Adalita, Lior, The Audreys, and Mark Seymour and the Undertow. BMA spoke to the organiser and one of the headliners to get a feel for the event. Festival arranger Will Repanellis was excited to be just four weeks out from the show, to be held on Friday 1st and Saturday 2nd May, with tickets selling fast. In its tenth year, the festival was moving from Kidgeeridge Farm to the Milton showgrounds, enabling bigger crowds and more artists. ‘We wanted to expand it as we had limited infrastructure at the farm. Plus we wanted to make it more a community event and the showgrounds are just a five minute walk from the town where the restaurants and accommodation are. We’re looking to have a good crowd, with capacity expanded from 500 to 2000 people (per day).’

supportive of the Kidgeeridge Music Festival and its publicity. Besides fronting You Am I, Rogers’ incredible flexibility and energy have seen him front a number of bands, have a flourishing solo career, act, write articles and even join up with Josh Pyke, Chris Cheney and Phil Jamieson for a Beatles White Album tribute show. However, Kidgeeridge is something special. ‘With the way things go with myself and the band, everything is very different. You know what to expect with big festivals, but the smaller ones based on a community are very exciting. I have family in Milton and love playing around that area, which is a special part of Australia. It’s also great to be there for more than a day, in a job that’s usually just one night stands. It’s great to have two shows in two days, if I’m not thrown out of town after the first one.’

It’s great to have two shows in two days, if I’m not thrown out of town after the first one

The change was welcomed by local businesses and the event’s date shifted from October to May to place it at time outside peak tourist season, when everything is packed out, to another period when the weather is still perfect and there are no competing events such as the Narooma Blues Festival. ‘We have added two more artists to the lineup and the expanded format enables us to attract bigger name artists as draw cards.’ Destination NSW has recently chosen Kidgeeridge Music Festival as a Regional Flagship Event for 2015, providing support with marketing. ‘They see the potential of our festival to bring people from outside the region to town, to boost things during low season tourist time.’ Besides being a boost for business, over its nine year history the festival has provided upwards of $175,000 to community organisations and charities. ‘Cancer outpatients and a proposal to build a respite centre for kids with disabilities are just some of the beneficiaries.’ Festival catering is all sewn up too. ‘We have 10 different providers, all from local businesses, cafes and restaurants. All relatively gourmet type food.’ Importantly, in the event of inclement weather there’s no need to worry, as the big top under which the gigs are held can accommodate all the punters. Repanellis says that none of the artists have been hard to please when it comes to festival arrangements. He is especially keen to see alt-rock/blues/country band Benjalu, who hail from Newcastle. He also spoke highly of TIM ROGERS who has made several appearances at the Milton Theatre and who has been

Rogers will be playing both with You Am I and in a solo show, a double act he’s frequently done at other festivals. Punters will be able to appreciate both sides of Rogers, who takes a different approach to the band v solo shows. ‘The most important thing about You Am I is its rhythmic swagger. That’s what excites me about the band, which I’m there to support. Playing with the band is just the most fun you can have with half your clothes on. If there are four middle aged men who know they’ve been handed a very lucky history and present, being able to do what they do, it’s us. Playing by myself I have to switch onto something else, and there tend to be more words.’ He dismisses any idea of knowing exactly what the audience wants to hear (other than him singing more in tune he says with a laugh), as that would be presumptuous of him. Rather ‘I like to test myself physically, intellectually, stylistically and artistically to put on an interesting show; that’s the most I can do. If people enjoy it, then I feel happy.’ Despite having both band and solo set lists to create, this presents no challenge as Rogers enjoys picking from the sizeable back catalogue and throwing in covers. Never a man to stand still, Rogers is often juggling a number of concurrent projects. Writing a play in rural South Australia over Easter (he admits ‘I don’t holiday very well’), he was eagerly looking forward to the long road trip to Milton to catch up on some study tapes and play a lot of music. ‘I mix it up, listening to country and some gutbucket rhythm and blues.’ Rogers also finds being on the move a great aid to the imagination and songwriting; he particularly likes trains. Plus, in good news for fans, Rogers let slip ‘The band is making a new record, so that’s exciting. Plus I’m writing a bunch of stuff for a new record for another project’. The Kidgeeridge Music Festival will be held at the Milton Showground, Friday 1st to Saturday 2nd May. See the festival website kidgeeridge.com.au for the full line-up and all details including ticketing.

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DANCE THE DROP

Life is a great wheel – rise up on my spokes says the wheel, but don’t be upset when it casts you down again. The good times pass away, but then so do the bad.... If this has you confused, I’m talking of course about the end of Future Music Festival, announced just last week. It’s absence will leave a huge hole in the Summer music festival calendar, much like the loss of Big Day Out and earlier on Summerfieldayze and Good Vibrations. What began as the Two Tribes rave (with genres you’d never hear now such as hard house) morphed into Future Music Festival around 2006, soon touring nationally around the country. Each year it grew, incorporating new stages, expanding it into almost every major dance genre, the patrons creating their own experience. You could spend the entire day at the Cocoon Techno stage if you liked, never having to rub shoulders with the ‘roided-up ravers the festival eventually became associated with. Admittedly, I haven’t attended Future for a few years now, but I’ll always have lasting memories of it, raving to some of my favourite acts in various states of inebriation (ahem), lights flashing though the air accompanying the thundering basslines of The Prodigy or The Chemical Brothers. Of course, Future had its issues – it’s lines were too long, the food was rubbish and there was always some drunk 18 year-old crashing into you and spilling their sugary cider on your shirt as you’re trying to rock out to Skrillex. In some ways, it was just too damn big. And that’s probably where the cost issues came from – the thing just collapsed under its own collective weight, trying to be too much for too many people. However, something new will take its place, it always does. Perhaps a one stage stadium trance rave? Maybe a deep house boat cruise? We’ll definitely look forward to future incarnations (pun intended), but Future, you’ll be missed.

If you’re up for a dance these coming weeks, there’s a few gigs worth checking out. Canberra doof crew Off-Tap Productions present some tasty bass music courtesy of New Zealand’s K-Lab, with heaps of support acts including Solar Record’s Kryptik and Ngarkotix, alongside Canberra locals Bizzle, Booyah, Loose Cannon, Dooflin, Prntz, DJHDH, Key Seismic, Silicon Slave and Zo Diac. It’s set to go down at The Basement on Friday April 17. Massive! If banging house music is more your style, Mr Wolf is hosting Sweat It Out’s Terace that same night (Friday April 17). He’s remixed the likes of Peking Duk, Flume and Rufus. From 9pm with Nick Lynar in support. On Friday April 24, Thank You Ma’am presents its first birthday party at The Basement, with none other than Canberra heroes Safia! They’ll be in DJ mode to get the party going with support from Skin & Bones, Mulk Mulk, Offtapia, NayNay, Hello Hallo, Veneris and Drew’s Lost Boys. $25 at the door. And if you keep your ears to the underground, there may be some sneaky tunes near a lake this coming weekend! PETER O’ROURKE / contact@kazuki.com.au

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CHIARA GRASSIA In the mid to late 2000s, PEACHES ruled supreme. Responsible for fearless dance-punk bangers like ‘Fuck The Pain Away’ and ‘Boys Wanna Be Her’, elaborate costumes and lyrics to make you blush, the Berlin-based artist has always done things on her own terms. In the middle of a “hectic morning” – with the occasional pause as her roommate brings her coffee and eggs “sunny-side” – Peaches chats about her forthcoming new album, Rub. “I’m splitting my time between Berlin and Los Angeles,” she says, adding that the new album was recorded out of the garage of her LA home. “This is the first time I’ve actually done an album in complete collaboration with one person, my friend Vice Cooler,” says Peaches. “We just spent ten hours everyday for a year in my garage and came up with everything. No pre-writing or anything, just ‘do it now!’ Which is good – having a person present all the time was a different experience. We’re very comfortable together so I think it was a really good collaboration, good for me too to not just be alone,” she laughs.

more than, you know, ‘are you a man or a woman’? It’s going beyond that and hoping that it gets more extensive – more respect, more things to say, more discussion.” And the musical style? “It’s very classic Peaches sound,” she confirms. Of her approach to songwriting, Peaches is candid. “I’m not the kind of writer that writes every day, which I’m sure makes some people feel that then you’re not a real writer,” she says. “Like half the battle is just writing everyday, Nick Cave 9-5, like it’s a job you do everyday.” Instead, she pools her creative energy into the album or project she’s working on, giving it her full attention. Since 2009’s I Feel Cream, Peaches has been busy with a multitude of other creative endeavours, including starring in a one-person version of Jesus Christ Superstar and creating her own loosely autobiographical musical. “This is my first album in six years,” she says. “It wasn’t like I was not performing – 2010–11 I did the play [Peaches Does Herself] which turned into a movie and then I toured with it 2013. I did an opera, L’Orfeo, [in which she played the lead] where I had to learn Italian and I’d sing these melodies for six months.”

I look forward to freaking [audiences] out, in a good way

Like her other albums, Rub is brimming with guest vocalists, including Feist and Kim Gordon, the latter who Peaches declares as “amazing.” Of Gordon’s performance, Peaches says, “It’s funny, because when people record with you you can’t hear the music you just hear them, you know? They have headphones on and it doesn’t bleed through the microphone. She doesn’t really sing, she has a rap kind of a voice. So it was really cool – it was like, ‘oh my god, that’s the voice!’ She just listened to the track and nailed it in the first take. I thought that it may be difficult because it’s not noise guitar, but I realised that she’s so experienced at experimental situations that she just rolls with stuff so easily.” Thematically, Peaches has always been bold. Teaming a theatrical demeanour with playful, sex-positive lyrics that empower and provoke has always been her thing. What’s the concept she’s tackling on Rub? “I’d say it’s like post-gender, like a post-gender album. Like instead of struggling with why women fight with men..” she trails off, before declaring, “Next level.” But still with feminist values? “Of course. I mean, in a post-gender world, everyone’s a feminist,” she laughs. “It’s recognising that we have come far and recognising all the genders and understanding that some people don’t like to be defined by any gender whatsoever. Just feeling

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When I mention that’s there’s expectations of what the stage show is going to be like, I’m met with an “uh oh.” Renown for her madcap stage outfits – such as a flesh-coloured leotard decorated with a cluster of large breasts, complete with barbie heads for nipples – this tour will see Peaches dial it back a little. No outlandish costumes or back up dancers. Instead, it’ll just be her alone on stage. “It’s kind of a little scary for me too, because I’m going back to a more of an old-school way where it’s just me on stage,” she says. “But I’m excited. I think it’s more of a test, too.” As for her upcoming Australian tour, she’s keen. “I think Australian audiences really let go and are always really giving and I’ve had a really good relationship through the years.” While she’s no stranger to larger festivals like Big Day Out or even prestigious venues like the Sydney Opera House, Groovin’ The Moo - which will snake its way through regional areas across the country - is a different venture. “I look forward to freaking them out,” Peaches says of the GTM audiences, “In a good way.” Catch Peaches at Groovin’ The Moo, Sunday May 3 at The Meadows, UC. $99.90 +bf. Full lineup and tickets at gtm.net.au.

METALISE Well that show at the Basement a couple of weeks back on a Wednesday night featuring Psycroptic and Goatwhore was an absolute humdinger. I gave Goatwhore guitarist Sammy Duet a lift back to his hotel after the show via a trip through maccers in Belco and punished him with questions about New Orleans legends Acid Bath. Topics of conversation ranged from guitar nerdery, opening an Australian themed bar in New Orleans to their relationship with serial killer John Wayne Gacy whose artwork adorned the bands artwork and meeting him in prison as young men in the early ‘90s. That’s a pretty metal night out. Walking out of the show I got a flyer for the freshly announced tour from The Black Dahlia Murder who will warm the Basement walls up on Saturday June 26. The supports were announced last week with the US band being abled and abetted by Tasmania’s Psycroptic and Melbourneites Colossvs (fronted by triple j metal host Lochlan Watt) as well as local brutal dudes Tortured and Inhuman Remnants.

Other metal nights out in Canberra and the surrounds in the next couple of weeks include the ridiculous bill at the Factory Theatre on Saturday April 18. If your tour is called “The Deathcrusher tour” it would wanna be pretty seriously brutal. Well Napalm Death and Carcass is already brutal on its own, but add in Australian power violence maestro’s Extortion and you have a recipe for near meltdown. Soundworks Touring are to thank for this, do not shirk the rip up the Hume, all three bands are going to destroy. On Tuesday April 21 in the leafy suburb of O’Connor at the Lacklustre Records HQ the city will welcome USA grind terrorists Torso with the exceptionally brutal local band Blight Worms and Overmen from 7pm and 18+. In May there’s a already a few cool local bills shaping up with a visit from the mighty King Parrot with their local buddies High Tension and Colossvs at Magpies City club on Thursday May 21 to celebrate the new King Parrot record which I told you about last issue. Also coming in May is a visit from the mighty Voyager with France’s Klone at the Basement on the Friday May 22. The week after is a big mixed bill at the Magpies with something for all heavy music tastes on a night dubbed Into The Crypt which is fitting for heading downstairs into the Magpies City club which hosts the show on Saturday May 30. I Exist join Hellbringer, Witchskull the very welcome return of Boonhorse with Urge To Kill kicking off early at 7.30pm to fit in all them riffs in for a measly $10. JOSH NIXON doomtildeath@hotmail.com

We needed it to be the pedestal for the band, so we had a real appreciation for the project

WHAT MATTERS CARRIE GIBSON It’s safe to say that on the announcement of the Themata (Ten Year Anniversary) Tour, Australia was pretty close to naming March 16 as National Karnivool Day. “That would be nice, as long as we all get a day off. Hey, I’m all for it,” laughs Mark Hoskings, guitarist for the beloved KARNIVOOL. It’s been ten years since Australian ears first heard Themata, the explosive debut album from those lads o West. An album that has consistently held top billing on the CD rack. Ten years is a lot to fathom in a bands career, however Hoskings agrees that Themata would have to be the most important album for the band. “In many ways, Themata was the landmark album for us – the opener and provider for what was going to be the rest of our career.” Many bands do not have their boom moment on their debut, an occurrence that still mystifies the band. Themata was not only important for the band but for the country, as it is not uncommon to still here comment of Themata in any conversation about the history of music in Australia. Hoskings goes into detail on the amazing feedback Themata received when it was first released. “It was early stages for the band so when the album came out it was our first step we took it head on with Themata. We certainly didn’t think it was

going to be as big as it was though yet we needed it to be the pedestal for the band, so we had a real appreciation for the project.” Karnivool have never been a band to write the same album twice regardless of how successful previous albums have been and the musical project they endeavour will always be a representation of where they are today. “Comparing artists and their releases is only natural,” says Hoskings. “And we think it’s fantastic people can still associate with that album, although the cries for ‘just give us another Themata album!’ are still apparent” he adds with a chuckle. “There is such a youthful bite to that album.”

The critically acclaimed album Asymmetry which has added significant numbers to an already mushrooming fan base – has this been the album that has taken you all over the world? “Asymmetry has been an amazing album for us, it’s done some amazing things,” Hoskings says. “The critical acclaim was actually quite unexpected, it’s certainly expanded our fan base on a tangent level. We didn’t expect that album to get as big as it did either, we write music very much for ourselves so we appreciate the feedback we get from our fans.” Karnivool had no intentions of touring Themata at any particular milestone, until the realisation set in that looking back at a particular moment and experiencing something again like it was the first time was too good to pass up. “I can remember seeing some bands doing this very thing and I thought wow what a beautiful way to remember something,” says Hoskings. “It’s a really exciting way to approach music.” I came out bruised and battered the first time I saw Karnivool on the original Themata tour in 2006 – it was vicious. “There was definitely a lot of energy back then from fans, I hope it comes out again, well maybe not all of it,” laughs Hoskings. “It takes a longer time for the bruises to heal these days.” Karnivool are touring nationally in May

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QUICKSILVER carrie gibson SILVERSTEIN have their tickets, jammies and toothbrushes packed and are heading back to Australian for a string of shows next month to promote the band’s latest release I Am Alive In Everything I Touch. A band who, according to vocalist Shane Told, have recently celebrated what most emo bands never get to celebrate.... A ten year anniversary. BMA ran through the creative process of their latest album with Told as well as their anticipated Australian tour. The pending release of I Am Alive In Everything I touch (to be released in May), what were your original thoughts or concepts when going in to write the record? “I felt like from some of my early notebook writings I’d jotted down the record was going to be very personal and very dark,” says Told. “A lot of times with dark writing, it becomes very vague and starts to lose its effect because it has no frame of reference to actual happenings in the world around you. So the idea came to use real cities, real references to real places and events. It made the record very, very personal to me and also really gave the record a true aura of sadness.”

We figured we’d put out two records and break up because that’s what every other emo band did

What has ten years solidified in the band? Or perhaps even reinforced? “We figured we’d put out two records and break up because that’s what every other emo band did,” he says with a laugh.“But the debut resonated with people, gained so much support, so we kept going, kept making records, kept touring and kept truly enjoying playing music, it solidified our determination.” In terms of writing the latest record, what are some challenges you hoped to face when writing? “I just want to get the demons I’ve accumulated over the last two years out of my head,” says Told. “I know it’s cliché to say but writing truly is a release for me. I lost my cousin who was very close to me in an accident in 2006 and I couldn’t write about [that]. I tried, but the words just wouldn’t come out. Finally in 2010 I wrote a song about him and it gave me a lot of closure. It was the therapy I needed that I had avoided for four years and still thought about every day.” What are your anticipations for the release? “I just want it to come out already!” Says Told. “We spent such a long time writing and recording, the reactions from fans so far have been promising.” The Australian tour is fast approaching, what will be the first thing you do when touching down on Australian soil? “Sleep. The flight is fucking brutal.” Catch Silverstein at Magpies City Club on Thursday May 7 with Dream On Dreamer and Young Lions. All ages, $38.80 from oztix.

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If you’ve picked this issue up in time, you can catch Tasmania’s selfdescribed ‘convict punk’ outfit The Dead Maggies on their ‘Folk ‘til You Punk Tour’. They’ll be at the Magpies City Club, this Friday April 17 with support from Sydney’s The Bottlers and locals Helena Pop.

I’ve decided to start this column by admitting that I can’t think of a decent way to start this column. I can do that because it’s edgy and this is a punk column. If you have a problem with that then you can write a letter to the Editor whom I can only assume has even less time and fewer fucks than me to devote toward your whiny demands [leave brackets for optional note from Editor]. If you don’t have a problem with it then I guess you can just continue reading about all the punk shows coming up.

If your tastes lie more along the lines of post-punk and emo then you might choose to spend your night on Friday April 17 seeing Sydney’s Oslow and Lapse alongside Queensland’s Kiri and locals Ecruteak. This show will be taking place at Lacklustre HQ (if you know, you know) for just $5 on the door. The second annual Dansonfest is ready to go! Established to remember the life of the Ginga Ninga Nicholas Sofer-Schreiber, this year’s festival will take place at The Basement on Saturday April 25. The great lineup of local and interstate acts includes Bagster, Local Resident Failure, Ebolagoldfish, Revellers, Topnovil,Wolfpack, Nerdlinger, Dividers, Words Eye View, Raised As Wolves, No Assumption, Adventure Sunday, Billy Demos, The Brothers Nude, Josh Arentz and Gaffers. Tickets are set at $20 +bf through Oztix. On Wednesday April 29 you can catch Sydney’s Dead Farmers as they launch their new Wasteland LP at The Phoenix. They’ll be joined by locals New Age Group and Total Nightmare for but a mere $5 door charge. Did you forget that Bam Margera was a thing? Because I sure as fuck did, just like I’ve forgotten that I was once a fourteen year-old boy who “rode” a skateboard. Anyway, the former Jackass star is coming to Canberra with his band Fuckface Unstoppable, which also features members of CKY, Viking Skull and Guttermouth. They’ll be at ANU Bar on Wendesday May 6 with local supports TBA. Tickets are available via Oztixand are priced at $57.15 for General Admission or $210.15 for a Golden Ticket, which includes a meet-and-greet. Melbourne thrash group King Parrot are headed to the Magpies City Club on Thursday May 21. They’ll be joined by hometown mates High Tension and Collosvs. On that note, I would like to end this column by admitting that I have no idea how to end it. Goodbye. IAN McCARTHY PUNK.BMA@GMAIL.COM.AU

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

THE DARK SIDE BAZ RUDDICK Long a favourite among Australian audiences, CIRQUE DU SOLEIL has been wowing audiences for decades with it’s grand take on circus performance from around the world. Huge, colourful and exciting, the circus of the sun celebrates the human spirit in all it’s splendour. Le Noir takes the spirit of Cirque du Soleil and presents it in an intimate setting. Billed as the ‘dark side of cirque’, Le Noir fully immerses the audience the world of cirque, celebrating the craft of the performer up close and personally.

“It’s actually quite nice to be able to see people’s faces and see their reaction,” she says. “I like to be able smile at them during the show or give them a wink.”

“Cirque du Soleil literally means circus of the sun,” says dancer Carla Broadway. “So when we are talking about Le Noir we are talking about more intimate, erotic and dangerous experience.” The show transitions in colours through a range of human experiences rather than a linear story line. “So we start with white,” she says. “The performances are angelic and its a little bit romantic and beauti-ful. Then we transition into the red section of the show where everything is a lot more passionate, a little more erotic and a little bit fiery and sensual. When we get to black things become a whole lot more dangerous and a lot more exciting.”

“We have a wheel of death, she adds. “It is it is probably the most dangerous and reckless act out there! Terrifying and thrilling to watch!” In addition to the wheel of death further stunts include Le Noir’s signature ‘aerial cradle’ swing act.

In order to achieve the intimate and up close setting, Le Noir has a 360 degree viewing angle. The performance can literally be watched from all angles. “The set up is a little different to your typical theatre,” Broadway states. “In this show, the stage is round. It is a little bit like a catwalk with a round at the end with seating all around it.” With the audience ‘right under the performer’s nose’ , they are fully immersed in the show. Broadway states that while for some of the acrobats and trapeze artists this was quite a daunting experi-ence, it allows the performers to incorporate the audience into their show.

While the setting may be intimate, Le Noir does not skimp on the full cirque experience. “There is huge variety of acts,” says Broadway. “Everything from aerial Lyra [with a hoo], aerial silks, tra-peze, acrobats and hand balance acts will be on show.

The show will feature 24 of the world’s most experienced and best circus performers, many of which have performed in Cirque du Soleil. In terms of costumes, Le Noir keeps it quite minimal, showing off the physique of the artists. “The costumes are minimal and beautiful,” states Carl. “They are pieces of lingerie and crystallised garments that show off just how incredible the bodies are on stage.” While people may have a preconceived notion of what a circus is, the challenging aspect of Le Noir is what makes it so exciting. “People have this idea when you say Cirque of a tent and a ring,” says Broadway. “But this is really a unique setting and I really think people will be pleasantly surprised by the it.” Cirque du Soleil’s Le Noir will on at the Canberra Theatre, Wed– Sun May 6–10. $79 +bf at canberratheatrecentre.com.au

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CANBERRA (IN PLAYLISTS) SHU-LING CHUA Most people measure their lives in months or years. I measure mine in playlists. When I started writing this in November, I was tentatively adding to Canberra Vol 7. It wasn’t until late March that I finally started Canberra Vol 8. Canberra Vol 1 marked my move as a fresh-eyed grad who begrudgingly missed seeing alt-J at Laneway. I remember driving to Woden just so I would be in the car long enough to finish at least a song or two. I still drive to Belco every now then, for the same reason. Opening with ‘Freedom’ – Emma Louise, it spans from AlunaGeorge to Emmelie Forest’s ‘Only Teardrops’ (yes, Eurovision). At 39 songs (2hr 28min), it follows no particular theme and ends with my short-lived first relationship. ‘Chronicles of a Fallen Love’ – The Bloody Beetroots and ‘Love Don’t Live Here’ – Ladyhawke sit side by side halfway through Canberra Vol 2. (Note: Ladyhawke makes an excellent break-up album.) Wallowing in guilt, Vol 2 coincided with my first winter in Canberra. ‘Recover’ – CHVRCHES and ‘Rescue Song [RAC Remix]’ – Mr Little Jeans make an appearance however as things start to look up. Spring brings Canberra Vol 3 and someone new. We meet on the eve of the Federal Election. ‘Call Me Maybe’ – Carly Rae Jepsen, UniPub. It worked. He asked for my number. “What type of music do you like?” “Pop.” “Such as ...” “Lana Del Rey.” “That’s not pop”, he smiled. I took it as a good sign that we both liked Florence + the Machine. Music compatibility matters. I remember being delighted to find ‘Paper Planes’ – MIA on the playlist he made me. Unfortunately it wasn’t meant to be. Another break-up, new playlist. Canberra Vol 4. ‘All the Days’ – HAERTS (‘All the days we had together’), ‘Ghost’ – Chelsea Lankes (‘Is it real or should I go’), ‘Letter Never Sent’ – Young Summer (‘One day I hope you say/I’m the one who almost got away’). I posted ‘Summertime Sadness [Cedric Gervais remix]’ – Lana Del Rey on Facebook with the caption, ‘Soundtrack of my life ...’ I haven’t listened to this playlist since. It makes me cringe.

I buy a ticket to New York in February 2014. Just before I go, I halfheartedly start Canberra Vol 5. Five songs, 22 min. Opening with ‘Days Are Gone’ – Haim (‘Sometimes I wish I didn’t miss you at all’) and ‘Don’t Wanna Dance’ – MØ (‘I don’t wanna dance with nobody’), it’s defiantly upbeat with a touch of regret. ‘ICU’ – Lou Doillon perfectly sums up the mixed feelings I now felt (‘And of course I wonder/Does it happen to you?/Does my ghost ever come looking for you?’) While searching for gigs in New York, I stumble across The Governors Ball (AKA Gov Ball). And what a happy accident it turned out to be... Three days of beautiful weather, music and dancing. Music festivals are an experience in themselves – a celebration of music and so much more. Bonding with strangers because you’re all standing behind the ‘tall guy’. You may never see your new friends again but you’ve shared a moment. Alive, young and carefree... It’s simply magic. I return to winter. Canberra Vol 6 is dark but decidedly electronic. Ásgeir’s mournful yet uplifting ‘Going Home’ gives away to the electro beats of ‘Seeya’ (ft. Colleen D’Agostino) – deadmau5, ‘Pulsing’ (ft. Nina K) – Tomas Barfod and ‘Time’ – Jungle. My friends and I see The Aston Shuffle at ANU in August. (Note Canberra-newbies, dancing helps keep one warm.) With Canberra Vol 7, I seem to have come full circle. It doesn’t reflect any particular mood or theme. Like Vol 1, it’s a collection of songs I happen to like at the time. Eclectic. ‘Complètement fou’ – Yelle and ‘Trustful Hands’ – The Dø add a touch of je nais se quoi, tempered with the raw earthiness of The Preatures. Blue Planet Eyes would go on to be a favourite album that summer. So, why did I resist Canberra Vol 8 for that long? Perhaps it was laziness. Going deeper however, I suspect it was a sign of my growing ambivalence with Canberra. For a while, I felt trapped. Terrified I would spend the rest of my twenties here. I felt I needed to leave before I stopped loving this city. I didn’t know how much longer I would call Canberra home. I still don’t. And so, Vol 8 ... Read more of Shu-Ling’s musings at hellopollyanna.blogspot.com.au. Record Store Day is on Saturday April 18, with plenty happening at stores around town. Head to recordstoreday.com.au for more details.

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

IN REVIEW F*ck Decaf The Street Theatre Saturday March 21 How do you take your coffee? Weak? Black? Milk? Decaffeinated? Well, on Saturday and Sunday afternoon, F*ck Decaf served the audience a hot cup of coffee with a dash of drama and extra friendship on the side. Penned by The Cutting Room Floor’s Tyler Jacob Jones – winner of two Artrage Theatre Awards (2013 & 2014) and the prestigious Martin Sims Award (2014 Fringe World Festival) – F*ck Decaf captures the life and friendship of Ruby (Amanda Watson) and Kate (Ann-Marie Biagioni). The play follows them as they meet up for coffee at the same café and are served by the same cute waiter year after year. Ruby’s coffee order fluctuates, yet her and Kate’s friendship continues to grow and unfold. Kate and Ruby are best friends – no, scrap that. The oldest of friends. Binary opposites in their coffee orders, views on life and taste in men, their friendship is continuously threatened by heated arguments and rash behaviour. The characters were well established and perfectly executed by Watson and Biagioni. The result was an hour of tension-filled dialogue and coffee-throwing madness which had the audience in tears and on the edge of their seats with anticipation. What unfolded was a mixture of shouting, coffee-sculling and coffeethrowing. While the promo did promise smashed crockery, for safety and clean-up reasons, paper cups were used instead. Yet the mess of spilled coffee over the entire set and cake splashed on both actors made up for this. The highlight of this scene was when Kate stormed out and, via phone and through the café’s windows, continued to argue and yell, making an outstanding range of angered facial expressions. The play’s messages about life, our misunderstandings and how we grow continued throughout. From Ruby and Kate’s continual singing and discussion of ‘Life’ by Des-ree, from their reflections on what their biographies would be about, to their attempts to justify their travelling choices or Pilates classes, life was always an integral discussion point. Their decisions in life and their choices in men were shown to deeply affect their overall happiness and, coincidentally, their coffee choices. The performance left a spectacular message on how we shouldn’t need to justify our own decisions to anyone but ourselves. “I take my coffee like I take my men,” Kate repeated throughout the performance. This, along with Ruby’s changes from skim to decaf to espresso highlighted how we sometimes perceive coffee as a reflection of both personality and lifestyle. Yet, in F*ck Decaf Ruby and Kate’s coffee choices were secondary to how they drank, tipped, threw coffee – over themselves, each other and the set itself, showing that it’s not our decisions or our coffee choices that matter. Instead, it’s whether or not we’re happy with them. ROSE MAURICE

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ARTISTPROFILE: Sean Davey

What do you do? I am a photographer. I work mostly with black and white film, and produce works in series. The final form my work takes is both books and portfolios. When, how and why did you get into it? I did photography throughout school where I had a very supportive teacher. I was never overly studious, so to find something at a young age that really engaged me was very inspiring. I have always been attracted to observing people and early on I felt a natural pull towards documentary photography, which I still very much enjoy. Who or what influences you as an artist? I have a few strong influences, most of them are friends and contemporaries. A sense of ambience in a particular place is very inspiring. It’s almost as if there is something in the air that makes me want to investigate certain areas, whether in nature or in the middle of a city. Small details that form part of a larger scene are very inspiring. I always try to pull back with my images and show more, but often what interests me are details within it. Of what are you proudest so far? I don’t associate pride with photography – at times I find it very arduous. I certainly don’t have a romantic vision of being an artist. It is often very tiring and it’s not something that leaves me easily. If I were to pick a project that I am most proud of, I would say my first book Pidgin. Making this book taught me to trust myself, and this is the most important thing for any artist.

What are your plans for the future? I would like to slow down but I’m not there yet. I have a compulsion to photograph and to keep busy, so more of the same for a while yet. Recently I have been gravitating towards portraiture, I recently completed a residency at Gorman House where I photographed at the markets on Saturday mornings. I have a lot of negatives in my archive that I have never even looked at, so I would like to comprehensively go through them and see what I have. What makes you laugh? Humour is like art, you never know what’s going to hit you and how hard. I love people who can effortlessly tell good and honest stories of their own misfortune with a sense of humour, that usually makes me laugh. What pisses you off? My own forgetfulness and absentmindedness pisses me off. I get annoyed at myself when I forget how good my life is and how fortunate I am to have my health, a loving family and friends. What about the local scene would you change? Canberra has an incredible art scene. I can’t really think of what I would change. We are fortunate to have such a strong art scene here, plus such an incredible physical location to be inspired from. I am a studio artist at ANCA in Dickson and I have to say that having a studio is really great. I would love to see a few more professionally run artist studios in Canberra. Upcoming exhibitions? Port Moresby | Second Contact is an exhibition of black and white photography that spans ten years of working in Papua New Guinea. The exhibition is presented at Huw Davies Gallery at PhotoAccess in Manuka from Thu–Sun Apr–May 30–24. Everyone is welcome to the opening night on Thu Apr 30 at 6pm. Contact Info: seandaveyphotographer.com, thephotographyroom. com.au, email@seandaveyphotographer.com

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LITERATURE IN REVIEW

is suffering after being shot with dust that causes a galvanised body to come apart, adding to the challenge of getting them all back to the farm safely.

Infinity Bell is the second in Devon Monk’s House Immortal series. The world has eleven ruling houses, denoted by a colour, each responsible for some element required to sustain life and economy. A failed time travel experiment 300 years ago resulted in the deaths of many in the vicinity, but 12 survived. They were revived by scientists and became immortal ‘galvanised’ beings. The galvanised beings are stitched together and are stronger, faster and smarter than normal human beings.

Matilda insists it is she who will go back in time and this is where things start to get complicated. Matilda emerges 300 years in the past in the eight year old body of the girl she was implanted into by Quentin when she was a child. The question of whether she was successful and if history has been altered is partly answered in the final pages. Monk economically paints vivid pictures with her words that makes imagining this world fairly easy. The ending for me has gaps and there are some unexplored characters and relationships that dilutes some of the scenes. More simmering tension in the build up to the relationship between Matilda and Abraham would have made the outcome less predictable.

Infinity Bell Devon Monk [Roc; 2015]

The action picks up from the cliff hanger ending of the first book of the series, House Immortal. Matilda Case, is the 26 year old recently discovered 13th galvanised being and she is on a quest to help her brother Quentin save the world. Matilda, her galvanised love interest and protector Abraham Seventh, Quentin and the twoheaded Neds are on the run with a bounty on their heads. Abraham is accused of murdering the head of House Grey, Quentin is accused of murdering the head of House Orange and all the houses want Matilda. The time travel experiment was conducted by Quentin and Matilda’s great great-grand father. Quentin has discovered that the experiment, has cracked time but soon, time will heal its self. The consequence will be all galvanised beings will die, including Matilda. To save them, Quentin plans to travel back in time to his great great-grandfather and convince him there is an anomaly in the equations he will use for his time travel experiment. Aided by off-the-radar friends, the race is on to get back to the farm alive so Quentin can access his equipment in the basement. Abraham

I have every expectation that more of the story of Matilda Case will be revealed in the next instalment Crucible Zero, due out in September. 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 Prior to the Policeman’s intervention, I confess to being sceptical why anyone should wish to conduct a conversation with a slug attached to the side of one’s face, but took this as a symptom of a symbiotic relationship between the two organisms whereby the parasite had acquired control of its host’s left cerebral hemisphere. A reasoned argument. Be warned: the common yet treacherous practice of self-decoration is often mistaken to such a degree that the protagonist looks less ‘alluring enigma’ and more ‘awkward tit’. Embellishment with trinkets and charms is something that mankind has been partial to for millennia. Adorning oneself in knick-knacks has been the preferred method of promotion in a bid to acquire an added allure, attracting whatever it is one seeks, be it a mate, social cachet or the very latest in venereal disease; but the results are often as questionable as the intentions that produce them. From the caveman, to the Incas to your own ice-heads, humans have forever coveted the latest fashion piece, be it polished obsidian, wafer-thin gold plate, or Milo-encrusted track marks. More recently these trimmings have moved on from the merely decorative in a bid to harness use as well as beauty – a function combined with form. This endeavour has been as successful as a politician’s attempts at pithy humour, its employment as clean and crisp as a Frenchman’s bill of sexual health – a singular failure set only to be exacerbated by the rise of ‘wearable technology’. Modern technology is generally a new phenomenon to me and I first encountered the ‘wearable’ variety only recently when trying to burn an unsightly mollusc from the face of a passer-by with the fiery embers of my calabash pipe. I was swiftly informed by a Police officer that said mollusc was in fact a ‘bluetooth headset’.

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That the slug was able to bellow “Stop burning my face, you prick!” in near perfect English through the conduit of its host was a harder case to prosecute, and a turn-up which certainly raised both my own and my victim’s eyebrows, which were themselves burnt off in the conflagration. I am now more attuned to the penchant of the populace to cover themselves in pieces of robotic hardware, which are more adept at convincing the wearer of their own indispensability rather than projecting any sense of attractiveness, worth or value of any kind. I hear that the latest fad is the desecration of the timepiece. That the timepiece should be wrist-worn, rather than via an attractive pocket chain nestling snuggly in a double-breasted tweed waistcoat, is offensive in and of itself. That the inelegant hunk of mechanised witchcraft should also demand one’s attention at every waking moment, dissipating your relationships with people who may actually be present in favour of those who bark and clamour from within the wonderfully-woven web, is more distressing. Their only valid purpose can be to act as a siren to right-minded people and facilitate the shepherding of all owners into a purposebuilt moron storage facility. gideon foxington-smythe

bit PARTS Groundrush WHAT: Art Exhibition WHEN: Fri–Sat Apr–May 10–16 WHERE: CCAS, Gorman Arts Centre Image credit: Pam Crofts

Groundrush is an absorbing art exhibition that presents a unique response by six artists and their time spent in Australia’s third largest desert, the Tanami Desert. Artists Rachel Bowak, Pamela Lofts, Kim Manhood, Pip McManus, Andrew Moynihan and Nic Hempel reflect on their individual experiences and interactions with the site in the Tanami Desert during the winter of 2007. The exhibition is presented through various different mediums including sculpture, photomedia, video, painting, drawing music and dance, promising to display interesting perspectives on mining and the Australian landscape. Free. Khan Manuel WHAT: Live Music WHEN: Sat Apr 18 WHERE: The Street Theatre Having previously been described as a new guitar hero, Khan Manuel is setting off on a tour of Australia to showcase the songs from his critically acclaimed second studio album The Message. With the combination of awesome guitar, quick and talented fretwork, amazing solos and catchy melodies, there is be no doubt as to why it has been said that Manuel is truly and up and coming contender for the title of guitar legend.Doors open at 7.30pm and tickets to the show are $35 at thestreet.org.au or call (02) 6247 1223. Spanish Film Festival WHAT: Film festival WHEN: Thu –Wed Apr –May 23 –6 WHERE: Palace Electric Cinema Exclusive to Palace Electric Cinema around Australia is the Spanish Film Festival consisting of 38 contemporary features across Spain, Latin America and more. Featuring films such as the black comedy Wild Tales, which was nominated for the Academy Award for the Best Foreign Language Film and winner of the Goya for the Best Foreign Film, to Spanish Affair, a comedic jewel, which won the hearts of over two million people on its opening weeks. Following the opening night will be an after party with Torres Wines, live entertainment and tapas, courtesy of Monster Kitchen and Bar. $50 opening night, $27 every other night. Mozarts Flute WHAT: Live Music WHEN: Thu Apr 30 WHERE: Drill Hall Gallery After establishing critical acclaim and a passionate audience following in the short time of three years along with a succession of sold out concerts at the Sydney Opera House, the Australian Haydn Ensemble are making their way to Canberra with a stunning programme of classical flute and string music. Bringing the likes of Mozart’s C major flute quartet and Beethoven’s op eight-string trio, this charming and wonderful procession of intimate chamber music will please classical music fans and newcomers alike. 7pm. Tickets are $49/$29/$20, available from australianhaydn.com.au or call 1800 334 388.

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(especially interesting when that scene is her own life) is next level. Given that these lines are presented in a voice that is part spoken part drawl (and in her own accent, without the faintest hint of force) adds much, but any speak-sing voice is only as good as the phrasing- here is another space where Barnett makes the hard look simple. Her phrasing is magnificent, Dylanesque, which is why little clusters of lyrics get wedged in the listeners mind.

album of the issue Courtney Barnett Sometimes I Sit and Think, and Sometimes I Just Sit [Milk!] A couple of years ago I was locked in a conversation with some notable yet fringe members of the Melbourne musical elite, who wanted my opinion on Courtney Barnett. “I mean, I’m worried that I’m missing something – I kinda get it, but I don’t really get it, you know?” upwardly inflected one. “I mean, she’s cool and nice and stuff, but is she, like, amazing?” opined the other. The subtext of these two questions was ‘why is Courtney Barnett getting raves, booking American and European tours, sending people into a frenzy with what sounds disarmingly simple?’ Or ‘it shoulda been me’. Barnett makes things sound simple, yes, but in the way that Jordan or Federer or Comaneci make things look simple. She makes the difficult look effortless. The on-pointe slackerdom replete with flannel and a winningly Cobain-esque mastery of the non-showy shred from Barnett’s previous EPs is all here, equal parts Jonathan Richman, Paul Kelly and Stephen Malkmus. But there’s something else elevating all of Barnett’s craft and it’s all about the voice. Barnett’s singing voice and her voice as an author is what has catapulted her ahead of the Melbourne pack. Her dab hand with detail sketched from just outside of the scene she’s describing

The simple premise of ‘An Illustration of Loneliness (Sleepless in New York)’, the washed up seal as a cue to discuss mortality and the point of it all in ‘Kim’s Caravan’, flirting in the pool as presented in ‘Aqua Profunda’ or the semi suicidal corporate drone of ‘Elevator Operator’ all act as vessels for Barnett’s wit, smarts and style. Everything on the record does, really. ‘Depreston’ does drift above the pack, a candidate for the national canon. Starting off as a wry take on the pursuit of the real Australian dream (property ownership, natch), it becomes something altogether more heartbreaking and serves as a perfect indictor of why people are going mental for her. It’s a level of observational and phrasing skill that is the stuff of quoteunquote real writers. Those familiar with Barnett’s EPs might be shocked by how SIS&TSIJT rocks – the best sonic explanation coming from listening to the EP version of ‘Avant Gardener’ and then checking the live on The Tonight Show version. The album sounds like the latter, the result of the band around Barnett gelling into some kind of perfectly calibrated rock beast. If anyone makes a move to write their bi-annual ‘guitar music is dead’ thinkpiece, they need to reference this album and have themselves proved wrong. It’s such a good ‘rock’ record, in the most basic terms. But it’s also whisperingly subtle and that’s down to the singular skill of Barnett as an observer and a presence in her writing. The one misstep on this album is in the single, where Barnett sings “put me on a pedestal I’ll only disappoint you”. Which is flat out wrong. Nothing disappoints in this inevitable contender for album of year status come the end of 2015.

The April Maze Sleeping Storm [Self-released] Husband and wife duo Todd Mayhew and Sivan Agam have made quite splash in the alternative folk world. In 2015 they have gifted us again with their third LP Sleeping Storm, created with the aid of Pozible funding. Beauty lives in this material, both in the elegance of the musicianship and the tone and interplay of the vocals. Agam’s cello breathes notes like a warm blooded animal, sighing in sympathy or humming in support of the singer. Her bow carves emotion from a solid block of life. The elegant arrangements match the tone of the music to the lyrics, shifting to a flicker or rising in brilliance to match the words. Plus, The April Maze has the blessing of two singers with wildly different voices, adding much spice to the songs. Their voices complement each other so well, both in taking turns with the lyrics and coming together in the harmonies. The fracking protest song ‘Leave it in the Ground’ displays the full scope of Mayhew’s voice, against a mottled backdrop of interwoven strings. Agam’s singing breaks through like a light across the hills in ‘Homeland’, while the gentle guitar and cello dance a solemn duet. ‘The Bishop Who Ate His Boots’ breaks the velvet musical texture with a harsh colonial crustiness. Based on a true story about a relative of Mayhew’s who made soup from footwear in order to survive, it comes complete with a triumphant shout-it-out, clap-it-out, stampit-out chorus. The duo’s alternative side becomes more apparent towards the tail of the track list, with some rock attitude in the catchy fingering in ‘Inside Out’ and a playful hip hop influence (Lily Allen-style) in the delivery from Agam in ‘So Many Songs’. RORY McCARTNEY

glen martin

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Purity Ring another eternity [4AD]

Two Gallants We Are Undone [ATO]

Zun Zun Egui Shackles Gift [Bella Union]

another eternity, electronica duo Purity Ring’s second album, instantly feels more positive, softer and a step into the light from the grisly, elusive stories of their debut shrines. The complexities have been shirked and replaced with simpler elements. Megan James’ vocals weave around Corin Roddick’s skeleton of beats, instead of continually competing with layers of samples. The album opens with the shimmering, hopeful pop of ‘heartsigh’, lust and love solidified in bouncy claps and playful whorls. This slips into the contrasting piano washes and punchy rhythm of ‘bodyache’. Purity Ring have noticeably zoomed in on a personal sweetness, traced with intimacy.

Since their inception thirteen years ago, San Francisco-based duo Adam Stephens (vocal, guitar keyboard) and Tyson Vogel (drums, vocals) have continued to release material under their Two Gallants partnership, their sound continually evolving over the intervening years. Indeed, 2012’s The Bloom And The Blight easily offered up a critical high water mark for the duo, even if it was eclipsed slightly by media attention on the taser-related antics of an overzealous police officer during the subsequent tour. Three years on, this fifth album We Are Undone see Two Gallants enlisting the skills of producer Karl Derfler, known for his work with the likes of Roky Erickson and Tom Waits.

British five piece Zun Zun Egui grew from the partnership of a keyboard player from Japan and guitarist/singer Kushal Gaya from Mauritius. After launching its unique, experimental afro-pop sound in 2011 with Katang, the band has continued its wild, genre crossing musical expression in Shackles Gift, which combines rock, funk, blues and world music. This album impresses with the vibrancy and speed of the music and the violent energy and conflicted emotions expressed in both the furious playing and frequently hypnotic vocalisation. The rhythms cover a confused compass, from whirling, to swinging to a spasmodic jerking. Lead track ‘Rigid Man’ is suspended over supersonic drumming, whose jungle rhythms invite you to move to the energy of the planet. In ‘African Tree’, which follows a martial drum beat, funk-rock vibes and psychedelic spasms collide with high impact vocals and music which mixes sledgehammer blows with chiming sounds. Tribal beats and a deep bass groove lead into the powerful sense of fury which dominates ‘Ruby’, a hip thrasher with repetitive, chant-like lyrics. ‘I Want You to Know’ crashes into jagged distortion, with tangential sounds side-swiping each other and vocals echoing up from a deep well in the bridge. Alternatively panicking and beseeching, the call and response vocals are a pied piper plea to the lost and confused. ‘Soul Scratch’ casts off the chickenwire distortion of the preceding song, replacing it with a plunging funk rhythm and a fractured Calypso influence, with stair jumping guitar licks cementing its finish. The frantic percussion and constantly shifting vocal tones are a feature of this gryphon of a record, which looks like a different animal according to the angle from which you view it. Whichever animal you choose, it has real bite.

Deliberate or not, this is temporary as another eternity descends into increasingly darker territory as it progresses. ‘stranger than earth’ signifies a change of tone, a rapid-fire verse leaning into the ominous tug of bass. The closeness does not disappear with the pop-laced exterior, with the atmosphere ripening with that doomed lovers. Once again whilst listening to Purity Ring, I become reunited with the unique yet slightly alarming feeling that I am undergoing an exorcism. Or at least I feel what I imagine an exorcism feels like. The heavier moments of the album are marked by a slick density. ‘dust hymn’ is a trembling beast, treading a mesmerizing line between the quiet and the overwhelming. ‘flood on the floor’ follows a similar format, delicate drops blending with stutters before the chorus explodes into a gripping constellation. Purity Ring’s new cohesion marks a graduation from their debut, holding onto the sharpness that has always defined Purity Ring and channeling it into minimal ideas. another eternity is hypnotizing from its glossy beginnings to its dangerous end. ANGELA CHRISTIAN-WILKES

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While there’s still a strong blues undercurrent to the ten tracks collected here, for the most part the folky stylings that characterised their earlier work are gone, replaced by a more jagged and overdriven garage-rock aesthetic. Lyrically it’s also easily Two Gallants’ bleakest collection to date, with ‘There Is So Much I Don’t Know’ in particular highlighting the duo’s increasing estrangement from their home city as more and more venues get shut down. There’s frequently a sense of fuzz pedal-laden bluster here on tracks such as ‘Murder The Season/The Age Nocturne’, which marries huge crunching Pixies-esque hooks to Stephens’ delay-drenched yelp, while elsewhere the title offers up a gnarled blues-rock stomp that comes across like the more noir-ish cousin of The Black Keys. While there’s certainly a satisfying muscular level of crunch being brought out by the nice production here though, unfortunately it’s the songs themselves here that let this album down, leading to a sense of bombast with little real substance behind it. CHRIS DOWNTON

RORY McCARTNEY

Duke Garwood Heavy Love [Heavenly]

Låpsley Understudy [XL Recordings]

For London-based singer-songwriter Duke Garwood, it’s certainly been something of a long and winding journey leading up to this fifth solo album Heavy Love. After initially surfacing back in the early nineties as the guitarist on The Orb’s Perpetual Dawn single, Garwood decided to travel the world, ending up in Cuba and Thailand as a session musician before drug and money problems saw him homeless and living in Brixton. Fortunately an encounter with The Master Musicians of Joujouka saved his life, although it’s his more recent friendship with fellow traveller Mark Lanegan that’s arguably played a pivotal role in his musical re-ignition. After Garwood played guitar on Lanegan’s 2012 album Blues Funeral, the duo struck up a strong bond that lead to 2013’s excellent collaborative album Black Pudding.

I am still not sure where I stand with the concept of an EP. Does a musician or group work to cement themselves within a solid sound in a few songs, or do they work to spread themselves across their breadth and risk appearing flighty? For some artists, perhaps the EP is a morsel of a later album, still being cooked up? Whatever it may be, British artist Låpsley has managed to extract the essence of a good EP on Understudy.

Two years on, Heavy Love sees Garwood re-entering the studio alongside Lanegan and producer Alaine Johannes (QOTSA, Chris Cornell) to craft what’s easily his most accomplished collection of songs to date. Indeed one of the most satisfying things about this album is its gorgeously unhurried pace, with Garwood’s slow-burning burnished vocals colliding with a backdrop of noir-ish Southern Blues that’s at odds with his UK heritage. Tracks like opener ‘Sometimes’ and ‘Hawaiian Death Song’ evoke the sort of dark US South depicted in HBO’s True Detective perhaps more than anything else, unfurling a cinematic sense of underlying menace as jagged guitar bends circle and ebb against Garwood’s nocturnal growl and a haunting backdrop of ambient echoes. A spectacular fifth album, Heavy Love sees Garwood just starting to approach the height of his powers – and this will probably make my end of year list. CHRIS DOWNTON

It opens with the smooth, jazz-like ‘Falling Short’. Immediately the listener steps out into her clear, fluid vocals. A simple choice of piano chords unfold with percussive accentuations and subtle taps of sampling. ‘Brownlow’ is a personal centre-piece. Delicate beats hang around a soft shroud of synths. The emotive cincher lies in the layering of vocals, its sweet harmonies and its deepened samples, quietly rising with electronic thuds before the understated shimmer of the chorus. Låpsley evokes bittersweet unease with poignancy, making it immediately gravitational. The cyclical ‘8896’ treads slowly, with movements of synths that seems to replicate the sounds of waves, before the EP finishes with stripped ‘Dancing’. By this point, the distanced use of sampling is characteristic to the EP. Låpsley’s use of dynamics are to be applauded. Instead of working with overwhelming rises and falls, she melds the few layers she has with precision. The changes are not particularly noticeable but make for interesting progressions throughout that have a bigger impact than I originally believed. Understudy is a shortlived treasure, holding onto a few select ideas whilst gently moving through a varied range of sounds.

Judas Priest Defenders of the Faith 30th Anniversary Reissue [Sony] A number of question surround this reissue. Heralded as a ‘30th anniversary special edition’, the album has actually been re-released over 31 years after it’s initial appearance, whilst hardcore fans of the band will be left wondering why Defenders… gets the deluxe treatment whereas it’s more illustrious predecessor, Screaming for Vengeance, reached it’s entry into early middle age with nary a whisper from band or label alike… All moaning aside, though, fans of heavy metal the way it used to be made will welcome the chance to reappraise Defenders of the Faith. It’s accepted as one of the classics of the Priest canon and with all-time Priest staples such as ‘Freewheel Burning’ and ‘The Sentinel’ numbered amongst its cuts you’d be hard pressed to stake a claim otherwise. But pound for pound it’s nowhere near as strong a release as …Vengeance, which would be this reviewers recommendation for anyone looking for a way into the Priest ouvre. Longstanding fans may be attracted by the addition of a full, unexpurgated live Priest show from Long Beach Arena (scene of the recording of Iron Maiden’s famed Live After Death effort) in 1984 spread over two of the three discs of this reissue and there are certainly enough highlights dotted amongst the tracks to make it worth seeking out if you know your Priest onions. The version of ‘Sinner’ included here is the best I’ve ever heard in over thirty years of fandom and the raw heaviness of the recording will also have true fans salivating. Not for everyone, then, but a nice release nonetheless. scott adams

ANGELA CHRISTIAN-WILKES

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singles in focus by cody atkinson Kitchen’s Floor ‘Resident Dregs’

Gaz Coombes Matador [Hot Fruit]

The Hayden Hack Infusion The Colour of….. [Self-released]

With his debut 2012 solo album Here Come The Bombs, it seemed like former Supergrass frontman Gaz Coombes was going to great lengths to put as much distance between himself and his old band as possible. If anything, this second album Matador see Coombes going even further out into left field, offering up a lush and frequently dark collection more built around analogue synths and detailed arrangements than rock riffs. While comparisons have been made with Damon Albarn’s similarly self-reflective Everyday Robots, a far closer fit here is probably Radiohead, particularly when the krautrock meets orchestral elements begin to rear their heads. Opening track ‘Buffalo’ calls to mind Alt-J’s stripped back palette at first as Coombe’s clear vocals ring out against gathering keyboards and looped percussion, only for the entire track to suddenly burst out into florid orchestral majesty amidst dramatically building strings.

The Afro-tinted music sounds like it falls from the flying fingers of a foreign band, but this funk outfit comes from the Sunshine Coast. Starting as a duo, The Hayden Hack Infusion soon found its ambitions needed a bigger troupe, so it sprouted into an eight man collective. This powerhouse of percussion, electric guitars and brass laid the path for their debut album The Colour of.... Armed with personal conviction, it spreads a Gospel of our common humanity and the desperate importance of caring for the following generation.

‘2020’ stretches out into eerie Bowie-esque zero gravity soul, before the emergence of stuttering programmed rhythms and flamenco-tinged guitars slowly pushes things towards one of few straight-out guitar and drum flameouts to be found here. Elsewhere ‘Detroit’ (apparently about a drug-induced panic attack during Supergrass’ final US tour) masks its dark lyrical material with a fluid krautrock grooves that suddenly explodes into massed Philly soul-styled vocal harmonies, the guitars trailing away beneath as if with a sense of weariness amidst the majesty. There’s certainly no doubt that the eleven tracks collected here see Coombes reaching out into ambitious new terrain. At the same time though there’s the nagging sense that he’s over stacked some of these tracks with so much detail that the songs themselves don’t get a chance to breathe. CHRIS DOWNTON

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Opener ‘Inside’ gets the soul train rolling, with strident trumpet blasts and some wah-wah guitar. Very danceable, the tracks are full of colour and movement, but in a cruisy rather than a riotous way. Music flows effortlessly in a soulful tide – a testament to the tightness of the rhythm section and the skill of the valve/key pushers on the wind instruments. Rhythms carry rounded edges, except when pierced by shards of saxophone blasts, which frequently dominate songs with the sheer weight of their mojo. Take away the Afro-funk overlay and there’s a powerful ‘70s vibe to the long, juicy brass passages. Keeping it pure, there’s little in the way of electronic window dressing, apart from a snippet of synth on songs like ‘Pass It On’. The African tang is boosted by the action of guest percussionists, who inject the primal beat of hand on hide in tracks including ‘What We Love’. Opening with a little street chatter and laughter, ‘Sanibonani’ stands out from the pack with its exotic edge, courtesy of lyrics in the Zulu language. However, on the CD pack, frontman Hayden Hack covers his tracks well, apologising if he has got the pronunciation wrong. RORY McCARTNEY

Scruffy, maybe even scuzzy, garage rock whose film clip features a legit garage. That’s verisimilitude right there, the extra nine yards or three metres or whatever. ‘Resident Dregs’ is heavy and a little messy, leaving you a little bleary eyed or eared, but is a song whose heart (and riffs) are in the right place.

Spirit Valley ‘Moonrocks’ A little bit of psych tinged rock and roll here on ‘Moonrocks’, with reverb heavy guitars and vocals swirling together beautifully. However, it’s when the layer of fuzz hits that the song really kicks into gear and Spirit Valley find their groove.

Lighting Bolt ‘The Metal East’ Lighting Bolt are, broadly speaking, brutalists. They play music that is utterly brutal. ‘The Metal East’ is an unabashed assault on the ears, constant kicks and snare hits and attacks from all angles. Barely discernible vocals struggle to be heard in the din of pummelling bass riffs and perpetual noise, but what makes it through is worth hearing.

Natalie La Rose ‘Somebody’ There’s no good reason to listen to this song. It’s shiny, it’s vague and it’s utterly, utterly boring. ‘Somebody’ is a song that is offensively inoffensive, a song without a clear identity or purpose for existence. In fact, the only bearable parts of ‘Somebody’ are taken from Whitney Houston’s ‘I Wanna Dance With Somebody’ and that’s even stretching the use of the word “bearable”.

the word

on films

WITH MELISSA WELLHAM

There are now seven (!) Fast and Furious movies. That’s one less than there are Harry Potter films. That’s one more than the number of films Peter Jackson has made set in Middle-earth. Whether you love or hate the series will determine whether you are pleased by this fact, or whether it makes you despair at humanity – but it’s an extraordinary feat for a franchise. On an unrelated note, this is my last issue of BMA as the film editor. The only reason I’ve talked about Furious 7 so much is so that I can say this: it’s been a fun ride.

quote of the issue

“One last ride.” – Dominic Toretto (Vin Diesel), Furious 7

The DUFF

Wild Tales

A Little Chaos

I admit it, I enjoy a film targeted at teenagers (or should I say tweenagers) every now and again. The DUFF, alas, is not one of The Greats. It’s no Mean Girls but nor is it John Tucker Must Die levels of bad, for which we should all be grateful.

Don’t let the subtitles put you off, this Spanish-language film (proper name, Relatos salvajes) is one of the best black comedies in years.

I didn’t know much about A Little Chaos going into it other than it starred Alan Rickman, Kate Winslet and Stanley Tucci. That was more than enough to sell me (I imagine this is the case for many people). It was Winlset’s ability to play any character, Rickman’s droll humour and Tucci’s perfect comic timing that carried this pretty yet somewhat disappointing film.

Bianca (Mae Whitman) is a bit of a ‘weirdo’ happily travelling through her high school education in a post-clique world. This isn’t The Breakfast Club – basket cases can be friends with princesses. But then Bianca finds out that student body knows her as The DUFF (Designated Ugly Fat Friend) to her ‘prettier’ friends. So begins the obligatory makeover montage, clashes with the school bully and ‘learning to be true to yourself’ themes. The DUFF doles out the clichés, but there is enough a postmodern twist that the film still feels fresh. This is partly due to Whitman’s performance, which is genuinely funny, deeply sympathetic and just the right amount of weird. Her chemistry with co-star and love interest Robbie Amell is also entirely believable – and refreshingly relaxed and equal – which is what a film like this really rides on. At times there’s a bit too much heavy-handed preaching, as the film tries to ensure its teen audience learns a Moral Lesson, but mostly there’s just laughs. If you’re a fan of teen flicks, there’s a good chance you’ll think it’s “crazy amazing”. MELISSA WELLHAM

The film is a collection of six standalone shorts woven around the common theme of revenge, inevitably through violence. It is often brutal but always engaging, with more than one of the shorts ending with a satisfying feeling of comeuppance. With many memorable moments ranging from laugh-out-loud funny to darkly humorous to just plain dark, the film is not for everyone. The eerie timing of the first short (no spoilers, you’ll figure it out) may also turn some off. However, barring a few puns that didn’t translate well into English, the comedy is brilliant and the themes are universal. It’s hard not to empathise with the characters, though many act in a delightfully despicable way in the course of their tales. Tempering this is the feeling that if any of the pro/ antagonists had just taken a moment to stop and think, it would have prevented each of the scenarios from getting into ‘well that escalated quickly’ territory. It’s a fine balance but one that Argentine director Damian Szifron strikes perfectly. As usual for foreign language films, it won’t get a general release in Australia (it came out mid-2014 in the Spanishspeaking world) but is the closing film of Palace Cinemas’ upcoming Spanish Film Festival. Best enjoyed with good friends and good cerveza. PATRICK BELL

King Louis XIV (Alan Rickman) decides he’d like a big fancy garden and – given he is the King and can do whatever he wants (or rather, arrange for people to do things for him) – he commissions Andre Le Notre (Matthias Schoenaerts), a landscape architect, to design it. While searching for an assistant, Le Notre encounters Sabine de Barra (Kate Winslet) and, after some initial hesitation over her failings (being female and a commoner), he hires her. Romance blossoms but not without constraints, which take the form of a manipulative wife and a traumatic past. I was irresistibly reminded of trashy teen movies featuring upper-class high school students falling for bad, poor boys/girls. Given how little this film delves into the gender politics of the time this seems to be a reasonable comparison. On the plus side it is also a gorgeous looking film and Sabine delivers a rousing ‘so there’ speech to the king at the conclusion that makes it quite watchable, if a little dull. EMMA ROBINSON

@bmamag

Leviathan

Furious 7

People have been telling stories for thousands of years, thus making it impossible to tell completely original tale. What we have now (and what is most impressive when successful) is variations on a theme – people dusting off stories from many moons ago and telling them in a way that is relevant today. Stories we’ve all heard before but told from a completely different point of view.

Since the Fast and Furious franchise became selfaware during Furious Five each sequel became more outlandish than the last and the stakes got lower as the characters continually shrugged off death. Sure, the spectacle is entertaining, but it has been void of tension. Furious 7 has a heightened sense of mortality giving the film stakes for once, born of tragic circumstances due to the passing of Paul Walker, handled deftly by director James Wan. Dominic Torretto (Vin Diesel) and his crew (Walker, Michelle Rodriguez, Tyrese Gibson, Ludacris and Dwayne ‘The Rock’ Johnson) separate after defeating an international terrorist, Owen Shaw (Luke Evans). But now, Shaw’s brother (Jason Statham) is out for revenge. Hurricane Statham sweeps through Furious 7 aggravating the crew with a series of showdowns that allows Wan to construct jaw-dropping action sequences. Wan does an astounding job of making every punch, crunch and gymnastic car matter.

Leviathan does not feature a mythical sea creature but instead focuses on one man, Nikolai (Aleksey Serebryakov) who is subjected to the most intensive rain of shit from the government, various figures of authority and the people he loves. His home, which his family built, is being taken from him by the government for capitalistic gains. His desperately sad wife, under the constant fluorescent glare of cheap light bulbs, is slowly alienating him. And he has no agency in his fate. When Thomas Hobbes penned the book Leviathan in 1651 he posited that without a strong, undivided government people would exist in a state of civil war. Citizens must submit their power and in return could expect to live peacefully. Like many philosophies (Marx would be rolling in his grave if he knew how Stalin interpreted Communism) it works well in theory. In reality, specifically the morally bankrupt and corrupt Russian political system, it is tragic. A slow burn that is utterly captivating. Bring tissues and wine. EMMA ROBINSON

Furious 7 still has a creepy male gaze, particularly when it comes to the way women are gratuitously filmed, but at the film’s heart there’s a bittersweet struggle between the way cinema allows for a spectacle of immortality like Furious 7 and mourning for the loss of Walker. Wan even lightly breaks the fourth wall to allow the actors to use their characters to pay respect to Walker in an honourable way that has emotional resonance. Easily, the best in the series so far. CAMERON WILLIAMS

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the word on dvds

Silicon Valley – s1 [Roadshow/Warner] The tech sector – despite being so very ripe for parody – has escaped remarkably unscathed. Sure, there are plenty of nerd-based sitcoms around but very few actually satirising the obscene egotism, insularity and incomprehensibility of tech geeks. There’s The IT Crowd but that was also an office comedy and kept its thematic targets reasonably limited, with good effect. But Silicon Valley aims high and hits almost every target. Created by Mike Judge – the insane genius behind Beavis and Butthead, Idiocracy and beloved cult classic Office Space – this show comes with pedigree and expectation. The biggest miracle of Silicon Valley is not making a compression algorithm the major serieslong plot arc (impressive as that is) but making a bunch of talented, socially awkward or deliberately inept characters interesting and dynamic. Richard Hendricks (Thomas Middleditch) is the aforementioned compression programmer who writes the code that will revolutionise file storage… Stick with me. Though he could sell it to the highest bidder, he instead opts to hothouse it in a start-up run by the oafish Erlich Bachman (T.J. Miller). Safely ensconced in a shabby suburban house outside the open-plan offices and glitz of Silicon Valley, Hendricks and his friends furiously try and get their code ready for an actual product to deliver to their angel investor. Along the way there are failures, mistakes and obscene murals. However, the show hits an unpredictable zenith at a tech trade show, a throw away comment about an unsavoury sexual act and an all night gonzo session white boarding equations about said sexual act. It’s one of the best half hours of comedy I have seen in years and to find out at its conclusion it was written by Clay Tarver, guitarist of sadly overlooked ‘90s indie darlings Chavez, was the icing on a very special cake. justin hook

The Mary Tyler Moore Show – Seasons 1–4 [Madman] Whether you know it or not, almost every sitcom around today has a strand of The Mary Tyler Moore Show in their DNA. Sometimes it’s obvious, like the case of 30 Rock – two career driven women (Mary Richards/Mary Tyler Moore and Liz Lemon/Tina Fey) in the media business that are successful, funny and single. Both are the epicentres of their show, the pratfalling core around which bigger prats fall. The bigger influence The Mary Tyler Moore Show had was the way scripts and plots developed. It was funny without necessarily needing a punch line, though there were plenty of those. It focused more on the characters and the set up rather than the zinger. And in the tumultuous ‘60s and ’70s it dealt with burning social issues with a light, but never flippant, touch. Never forget either that it offered three strong female leads and role models – Richards, Rhoda (Valerie Harper) and Phyllis (Cloris Leachman). So successful were the latter two characters, they got their own spin off series. The show was also produced through her own production company which was responsible for groundbreaking shows like Newhart, Hill Street Blues and WKRP in Cincinnati. In many ways, Mary Tyler Moore broke the mould. Mary Tyler is basically an office comedy set in a TV news station and the home; the two seem to merge effortlessly. The sitcom archetypes are all there – gruff boss, egotistical colleague and smart ass – but though we’ve seen their types over and over, these feel more rounded and real. To be fair, the early seasons do seem tame and a vestige of a bygone era but by the third and fourth it’s a far more complete show and episodes like The Lars Affair and My Brothers Keeper are classic TV, holding up remarkably well. Through it all, Tyler Moore’s impeccable comedic timing holds firm. justin hook

Transformers Generation One – The Complete Series/The Movie [Madman] It’s easy to write the Transformers series off as advertisements in search of a plot. Many do. People who reflexively belittle something because it doesn’t conform to their perception of what entertainment should be. As usual, truth is more complicated than perception. Transformers started with a Japanese toy line in the early ‘80s then morphed into a comic book residing in the Marvel Universe before making the leap onto the small screen with original TV series, now retitled Generation One. It ran from 1984 to 1991 and included a big screen adaptation in 1986, which was Orson Welles’ last ever performance as Unicron. It has since splintered in multiple directions with multiple shows but the core remains the same – the battle between the Autobots and Decepticons, led by Optimus Prime and Megatron respectively. Though Generation One has some primitive blocky animation, it holds up well. Prime is a recent addition (2010-2013) where the back story is revisited (Unicron is back, Optimus reverts to Orion Pax for a bit), animation is understandably slicker and a female bot (Arcee) is given prominence. The Transformers universe has two major things going for it. Firstly, transforming vehicles are cool. This was something Michael Bay misunderstood, focusing too much on annoying humans and not trucks converting into giants with that sound. The other thing, perhaps the biggest, is Peter Cullen as the sonorous, commanding voice of Optimus Prime. He was there in the beginning (and the films) and returns in Prime. The longevity and success of this franchise is wedded deeply in the characters and intricate world of the animated series and these two very different examples show why reevaluating with new eyes can yield unexpected results. justin hook

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the word

on gigs

Darren Hanlon, The Burnt Sausages Street Theatre Friday March 27 How many songs can you write in an Aussie barbeque-themed concept band? Quite a few, it turns out. Bursting forth from a giant upright meat tray, Melbourne’s The Burnt Sausages (clad in brown velour and hoods) slashed through eight or so songs that were loyal to their theme - meat, grills, salads, sliced bread, the children’s table. People were into it – the girl next to us was doubled over with laughter and requests for an encore were numerous. My friend and I were more interested in eating the packets of Shapes (BBQ flavoured, of course) that were thrown to the audience. A natural storyteller, Darren Hanlon’s tales told in-between the songs, usually as droll and heartfelt as the songs themselves, are a drawing card for his live shows. The best one of the night involved Hanlon sitting in a rural pub, listening to a wedding band play two of his songs (‘Falling Aeroplanes’ and ‘Elbows’, both included in the night’s set) “but with Pearl Jam voices”. Hanlon played a handful of new songs off his latest, Where Did You Come From, recorded while train hopping through the southern states of the USA. These included ‘The Chattanooga Shoot Shoot’- a title Hanlon couldn’t resist - about riding a bus that was shot up, dug up childhood memories ‘Haley’s Comet, 1986’ and an attempt at a soul song, the sweet ‘Trust Your Feelings (When You Wake)’. The band, Steph Hughes (Dick Diver) on drums and Lyndon Blue on double bass, waded in and out.An extended encore included a full band rendition of ‘Punks Not Dead’ (complete with The Burnt Sausages, still in full costume, jumping around the stage) and Hughes joining in for ‘All These Things’. CHIARA GRASSIA

the word

on gigs

National Folk Festival EPIC Thursday–Monday 2–6 April “Life beats down and crushes the soul, and art reminds you that you have one”: so said Stella Adler. Music’s peculiar power to connect us directly with emotions exultant or doleful, which seemingly arises in proportion to the musicality of both composer and performer, is an important part of what made the 2015 National Folk Festival live up to its promise of five days in a perfect world. Between the soulfulness of Mike McClellan; the sweetly tuned, rich vocal harmonies of All Our Exes Live in Texas and of Co-cheòl; the cracking dance pace of The Outside Track; and the exuberance of Gordie MacKeeman and his Rhythm Boys lies a vast range of emotional colour, all waiting to transform your tepid, grey everyday existence. And, as usual, no less fun was on offer, at this year’s National, by bands playing predominantly instrumentally, such as The Heartstring Quartet. One of my favourite acts this year, Daniel Ho, performs generally solo on guitar and ukelele. The music he performs is chiefly his own. He sings mostly in Hawaiian, ranging emotionally from wistful to appreciative to utterly joyful. His compositions and his playing styles vary so much that it’s easy to forget that all this sound is coming from one rather diminutive man. Ho last appeared at the National in 2012. This year, he brought with him his charming wife, Lydia, and his hula dancer, Nani. It’s eye-opening to see these hulas translating so readily into gesture the lyrics they accompany. But merely to hear Ho sing and play is to experience the sweetness of the Hawaiian soul.

PHOTO BY John P. Harvey

john p. harvey

@bmamag

the word

Kipori Baby Wolf Woods New Orleans Blues Band The Marquee, National Folk Festival Friday April 3

on gigs

The Marquee at the National Folk Festival is a difficult venue for a performer to wrangle. The stage itself is quite wide and as a sitdown venue, it can be quite difficult gauge an audience’s response. In order to make it work, you have to not only be a top notch musician, but very conscious of position and stagecraft. Kipori Baby Wolf Woods New Orleans Band had nothing to worry about when it came to musicality. The guitar skills of Woods himself were never in doubt, with blistering solos and pulling out the old “playing with my teeth” party trick. His harmonica player was also absolutely incredible, pulling out work that often outshone the band’s leader. However, there were things that detracted from the atmosphere of the performance. Firstly, the band had set up all the way over on the right hand side of the space, which left a glaring hole on stage. Initially, they seemed flat, not really picking up in energy until halfway through the set, potentially due to this being their first show of the festival. But most noticeably, there was a particularly high audience turnover, with a sizable number leaving after the first song, incredibly unusual in the case of what was a full house for an international act.

PHOTO BY John P. Harvey

Overall, it seemed that this was a performance that really polarised the audience. At the end, there was everything from pockets of standing ovation to comments from departing audience members that it wasn’t as good as hoped. It was hard not to have mixed feelings. It seemed we’d been given a glimpse of something special, but never got to taste just how great it could be. NONI DOLL

the word

on gigs

The Outside Track The Marquee, National Folk Festival Monday April 6 While there are always plenty of fantastic acts at the National Folk Festival specialising in Celtic music, it’s not particularly common to see younger people continuing this musical tradition. As a result, the youth of The Outside Track, composed of members from Scotland, Ireland and Canada, is incredibly refreshing, breathing new life into the traditional music of the British Isles.Their set was by no means completely traditional, with the vocal style and energy onstage weaving a kind of pop sensibility through the performance. It was easy to be struck by the inevitable parallels between them and The Corrs. While they weren’t quite that modern, they still had strong potential for appeal beyond the boundaries of folk fans without losing their commitment to the storytelling of the Celtic style. Covers seemed to make up the majority of the set, but they were the kind of tunes that only real aficionados would be familiar with, so it seemed a lot of the audience were coming in with fresh eyes and ears. Their musical ability was breathtaking, with intricate patterns woven across violin, accordion, harp and flute. The addition Irish dancing both as a visual element and as a form of percussion was entrancing, picking up what was already a vibrant performance.

PHOTO BY John P. Harvey

They dealt with the challenge of the wide Marquee stage with aplomb, filling it and the room with joy and enthusiasm, even if the audience numbers were less than the full house they deserved, with an average age closer to their parents’ than their own.If The Outside Track is the future of traditional Celtic music, then it is definitely in good hands. NONI DOLL

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the word

on gigs

Black Springs, Day Ravies, Mind Blanks Passive Smoke The Phoenix Thursday April 9 Playing their first non-houseparty show, Passive Smoke might be pretty new and raw, but they certainly showed some promise. Duelling guitars and group vocals were common themes throughout the set and made up for any cracks that showed. Mind Blanks were one of the most promising new bands to come out of in Canberra last year. Channelling the work of guitar heroes past, the band blended shoegaze influences with searing guitar melodies. Mind Blanks showed a tendency to start with a restrained idea and expanded it, gradually at first then rapidly. With a short three song set, Mind Blanks seemed to err on the side of “less is more” and it worked on the night. Bursting onto the scene a couple of years ago, Day Ravies may have taken their name from the former Kinks frontman, but sounded more like My Bloody Valentine. This particular set showed their slow evolution towards the poppier leanings of the former, whilst still retaining some of the intensity of the latter. With intertwining vocals mixed with abrasive guitars and mellow keys, Day Ravies managed to create a pretty different brand of scuzzy pop, alternately attacking and mellow.

PHOTO BY Megan Leahy

Black Springs play good, honest indie rock. Sort of like a bunch of kids from Sydney had listened to a couple of decades of guitar pop and tried to throw it together into a 45 minute package. With the then packed Phoenix gradually emptying, Black Springs filled the room with easy-going songs, a little laconic but wholly enjoyable. CODY ATKINSON

the word

on gigs

Leo Sayer Canberra Theatre Friday April 10 There was a surprisingly small audience waiting for Leo Sayer and his four piece band to take the stage under a projected stylised image of Sayer with his famous ‘fro. However, compensated for their numbers with the enthusiastic welcome they offered the singer. While touring under the flag of his new The Restless Years LP, there were just a few selections from that record. Sayer knew what the fans wanted and he delivered hits in spades. The set list kept throwing up songs like ‘Orchard Road’ which, while forgotten over time, immediately loomed large in memory as the catchy pop lyrics flooded back. Ever the showman, Sayer strolled along the stage edge, shaking hands and gesturing animatedly to his songs. Doing very well for a 67 year old, his voice generally dealt well with most of the tricky notes, aided no doubt by the thermos of “magic tea” which is often favoured by singers of a certain age. The audience was happy to return briefly to memories of their more youthful days and of Sayer’s Countdown appearances. The bouncy dance-worthy songs were kept for the second half, bringing some punters surging to the stage for a brief boogie. A fair amount of well-practiced humour was injected into the performance. While corny in parts, the audience lapped it all up willingly. Sayer has grown in his love of the blues and included a few long harmonica passages in his presentation. A show highlight was the harmonica-guitar duet in an extended version of ‘Raining in My Heart’. Of his more recent material, Sayer’s songs have drifted into more serious themes than his early romantic pop. However, ‘Saturday Girl’ demonstrated that he has retained his ability to write love songs from a workingman’s viewpoint.

RORY McCartney

@bmamag

ENTERTAINMENT GUIDE Wed Apr 15 - Fri Apr 17

Listings are a free community service. Email editorial@bmamag.com to have your events appear each issue. BAD!SLAM!NO!BISCUIT! 8pm.

wednesday april 15 Art Exhibitions As I See It

Watercolour and photographic exhibition. 19 Mar - 21 Apr.

CORK STREET CAFE & GALLERY

Return to Anzac Cove “Your Friend the Enemy”

13 artists commemorate Gallipoli. Opening 6pm Apr 10. Runs until 17 May. Open Wed-Sun 12-5pm. ANU DRILL HALL GALLERY

THE PHOENIX BAR

Theatre As You Like It

Bell Shakespeare Company. 7-18 Apr. Tickets and information at canberratheatrecentre.com.au THE PLAYHOUSE

Trivia Tranny Trivia

Questions with Glamour. 8pm. Free. POLIT BAR & LOUNGE

Diplomacy: Translations in Glass

Opening hours 10am – 4pm. Wed Sun. Free. 11 Feb - 16 Apr. CANBERRA GLASSWORKS

Artifish // Artifice

By Ned Hatch. Opens 17 Apr. 6pm. Free. M16 ARTSPACE

Fritz Who?

By Brian Smith. Opens 6pm Apr 15 until May 16. Mon-Fri 9am-5.30pm. Sat 9am-1pm. CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

The Red And I

Exhibition opening 7pm. Runs from 8-28 Apr. ALLIANCE FRANÇAISE

Sticks and Stones

By Gina Wyatt. Opens 17 Apr. 6pm. Free. M16 ARTSPACE

Impulse

thursday april 16 Art Exhibitions Arja Valimaki

27 Mar 10am-2pm. 30 Mar-2 Apr 10am-4pm. 13 Apr-16 Mar 10am4pm. 17 Apr 10am. 27 Apr-30 Apr 10am-4pm. EMBASSY OF FINLAND

SCAB

By Jacob Potter. Opening 6pm Apr 16 until Apr 26. Wed-Sun. 11am-5pm.

CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

Live Music The Pink Floyd Experience $79/$99/$119. 8pm.

CANBERRA THEATRE CENTRE

Bootleg Rascal 8pm. $15.30.

Art by Belle Palmer. Opening 6pm Tues 2 Apr - Sat 2 May. Free.

TRANSIT BAR

Groundrush

KING O’MALLEY’S IRISH PUB

TUGGERANONG ARTS CENTRE

Opens 6pm Apr 10 - May 16. Tues - Fri 11am-5pm, Sat 10am-4pm. CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Capture

15 Apr - 10 May.

BELCONNEN ARTS CENTRE

Sleuth: The Delegation

Chicago Charles & Dave 9pm. Free.

Guantanamo Baywatch

With Bo Loserr and the Night Snakes. 9pm. $5. THE PHOENIX BAR

Sail On! Sail On!

With Purity & Treehouses. MAGPIES CITY CLUB

On The Town

Art. Opening 6pm Thur Apr 2 - Sat May 2.

Playtime

Unconflicted

TREEHOUSE BAR

TUGGERANONG ARTS CENTRE

Work by the staff of Megalo print studio & gallery. Opens 17 Apr. Free. M16 ARTSPACE

3 Exhibitions

Sydney based artists. Framed, Love Shack & That Jumping Guy. Tues-Fri 10-4. Sat-Sun. 12-4. Free. PHOTOACCESS MANUKA

Top 40, Dance, RnB. 10pm. Free entry.

4some Thursdays Free entry.

ACADEMY NIGHTCLUB

Something Different Tarot Card Reading

5pm-7pm. Free entry. Book at politbar. co.

Live Music

POLIT BAR & LOUNGE

Architects

Theatre

Australian Tour. Metal/Hardcore. 7pm. Tickets at Oztix. ANU BAR AND REFECTORY

The String Contingent 7.30pm.

GORMAN HOUSE ARTS CENTRE

Something Different Canberra Potters’ Society

Classes. Week 1 13-17 Apr. Week 2 20-24 Apr. $245 PW. Enrol at 6241 7800. WATSON ARTS CENTRE

As You Like It

Bell Shakespeare Company. 7-18 Apr. Tickets and information at canberratheatrecentre.com.au THE PLAYHOUSE

friday april 17 Art Exhibitions Weathered

17 Apr - 10 May.

BELCONNEN ARTS CENTRE

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ENTERTAINMENT GUIDE Fri Apr 17- Wed Apr 22 Arja Valimaki

27 Mar 10am-2pm. 30 Mar-2 Apr 10am-4pm. 13 Apr-16 Mar 10am4pm. 17 Apr 10am. 27 Apr-30 Apr 10am-4pm. EMBASSY OF FINLAND

Live Music Alejandro Flores & Juan Martinez 7pm. $25.

TEATRO VIVALDI

Beth n Ben

Album launch. 8pm. $10/$15/$20. THE RUC (TURNER)

The Dead Maggies

Folk Til You Punk Tour. The Bottlers & Helena Pop. MAGPIES CITY CLUB

Solquemia Special

Latin and Flamenco Guitar. $25. 7pm. TEATRO VIVALDI

Nantes

8pm. $15.30. TRANSIT BAR

Ria Ritchy/The Mighty Yak

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

Key Grip: Blues That Swings Blues. 7pm.

Return to Anzac Cove “Your Friend the Enemy”

13 artists commemorate Gallipoli. Opening 6pm Apr 10. Runs until 17 May. Open Wed-Sun 12-5pm. ANU DRILL HALL GALLERY

Artifish // Artifice

Fritz Who?

By Brian Smith. Opens 6pm Apr 15 until May 16. Mon-Fri 9am-5.30pm. Sat 9am-1pm. CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

The Red And I

$10 before 12am. MR WOLF

S.A.M.

9pm. Free.

As You Like It

THE PLAYHOUSE

The Empire Strips Back

Burlesque. Tickets at canberratheatrecentre.com.au.

Exhibition opening 7pm. Runs from 8-28 Apr.

CANBERRA THEATRE CENTRE

Sticks and Stones

GORMAN HOUSE ARTS CENTRE

ALLIANCE FRANÇAISE

The Bookbinder

Canberra Youth Theatre. 1pm & 7pm.

By Gina Wyatt. Opens 17 Apr. 6pm. Free.

sunday april 19

M16 ARTSPACE

Opens 6pm Apr 10 - May 16. Tues - Fri 11am-5pm, Sat 10am-4pm. CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

15 Apr - 10 May.

SCAB

HOTEL HOTEL

Irish Jam Session

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

Something Different

By Jacob Potter. Opening 6pm Apr 16 until Apr 26. Wed-Sun. 11am-5pm.

Canberra Blues Society Monthy Jams

Unconflicted

HARMONIE GERMAN CLUB

CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

Dan Fernandes & The Unusual Suspects. 2pm. $3/$5.

Work by the staff of Megalo print studio & gallery. Opens 17 Apr. Free.

monday april 20

M16 ARTSPACE

Canberra Potters’ Society

THE FRONT GALLERY AND CAFÉ

Canberra Youth Theatre. 1pm & 7pm. GORMAN HOUSE ARTS CENTRE

saturday april 18 Art Exhibitions 3 Exhibitions

Sydney based artists. Framed, Love Shack & That Jumping Guy. Tues-Fri 10-4. Sat-Sun. 12-4. Free. PHOTOACCESS MANUKA

Sleuth: The Delegation

Art. Opening 6pm Thur Apr 2 - Sat May 2. TUGGERANONG ARTS CENTRE

As I See It

Watercolour and photographic exhibition. 19 Mar - 21 Apr.

POLIT BAR & LOUNGE

Trivia Twotonmurphy.com Presents Christo and Raph’s Trivia. 7.30pm. THE PHOENIX BAR

wednesday April 22 Art Exhibitions Unconflicted

M16 ARTSPACE

Sydney based artists. Framed, Love Shack & That Jumping Guy. Tues-Fri 10-4. Sat-Sun. 12-4. Free. PHOTOACCESS MANUKA

Return to Anzac Cove “Your Friend the Enemy”

13 artists commemorate Gallipoli. Opening 6pm Apr 10. Runs until 17 May. Open Wed-Sun 12-5pm. ANU DRILL HALL GALLERY

Weathered

17 Apr - 10 May.

BELCONNEN ARTS CENTRE

Artifish // Artifice

By Ned Hatch. Opens 17 Apr. 6pm. Free. M16 ARTSPACE

Fritz Who?

Cult Classics: Zombeavers

The Bookbinder

8pm. Free.

3 Exhibitions

Groundrush

Latin Jam. 7.30pm. $10.

THE PLAYHOUSE

Karaoke Camp with DJ Brai

Bloody Lips

Solquemia

Bell Shakespeare Company. 7-18 Apr. Tickets and information at canberratheatrecentre.com.au

POLIT BAR & LOUNGE

With David Stavanger, Ellie Malbon & CJ Bowerbird. 1pm. Free.

Something Different

As You Like It

8pm. $5. Info at politbar.co.

TUGGERANONG ARTS CENTRE

Film

Theatre

Karaoke on Demand

Live Music

Art by Belle Palmer. Opening 6pm Tues 2 Apr - Sat 2 May. Free.

Live Music

WATSON ARTS CENTRE

TRANSIT BAR

Work by the staff of Megalo print studio & gallery. Opens 17 Apr. Free.

TREEHOUSE BAR

Classes. Week 1 13-17 Apr. Week 2 20-24 Apr. $245 PW. Enrol at 6241 7800.

Karaoke. 9pm. Free entry.

Impulse

BELCONNEN ARTS CENTRE

Terace & Nick Lynar

LANDSPEED RECORDS

Bell Shakespeare Company. 7-18 Apr. Tickets and information at canberratheatrecentre.com.au

M16 ARTSPACE

On The Town

ACADEMY NIGHTCLUB

Karaoke Love

Limited Record Collection on sale. 10am.

Theatre

Capture

Presents Mash’d N Kutcher. $10 before 11pm.

Karaoke

Record Store Day

By Ned Hatch. Opens 17 Apr. 6pm. Free.

OLD CANBERRA INN

Alive Fridays

Something Different

By Brian Smith. Opens 6pm Apr 15 until May 16. Mon-Fri 9am-5.30pm. Sat 9am-1pm.

Tickets $12 at dendy.com.au.

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Boo Seeka

DENDY CINEMA

TRANSIT BAR

Live Music

Exhibition opening 7pm. Runs from 8-28 Apr.

2XX LocalnLive Presents The Bootleg Sessions

Sticks and Stones

8pm. $13.30.

Khan Manuel

7.30pm. $35 at thestreet.org.au or 6247 1223. THE STREET THEATRE

The Beards

8pm. $29.92 at ticketek.com.au. ANU BAR AND REFECTORY

La Bastard

With The Villenettes & The King Hits. 9.30pm. $5. THE PHOENIX BAR

Southside Evolution

Eyes to the Sky, Owls Hunt Bats, Human, The Feldons, Critical Monkee, Spatchel, Zac Hore & more. 6pm P J O’REILLY’S (TUGGERANONG)

On The Town Love Saturdays

With Project M. $10 before 12am. ACADEMY NIGHTCLUB

S.A.M.

9pm. Free.

TREEHOUSE BAR

With Draining Pool, Helena Pop, Hannah Blackburn & Acacia Suitcase. 8pm. Free. THE PHOENIX BAR

Something Different Canberra Potters’ Society

Classes. Week 1 13-17 Apr. Week 2 20-24 Apr. $245 PW. Enrol at 6241 7800. WATSON ARTS CENTRE

Play For Your Supper 6pm.

POLIT BAR & LOUNGE

tuesday april 21

The Red And I

ALLIANCE FRANÇAISE

By Gina Wyatt. Opens 17 Apr. 6pm. Free. M16 ARTSPACE

Impulse

Art by Belle Palmer. Opening 6pm Tues 2 Apr - Sat 2 May. Free. TUGGERANONG ARTS CENTRE

Groundrush

Opens 6pm Apr 10 - May 16. Tues - Fri 11am-5pm, Sat 10am-4pm. CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Capture

15 Apr - 10 May.

BELCONNEN ARTS CENTRE

SCAB

By Jacob Potter. Opening 6pm Apr 16 until Apr 26. Wed-Sun. 11am-5pm.

Art Exhibitions

CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

As I See It

Comedy

CORK STREET CAFE & GALLERY

Ross Noble: Tangentleman

Watercolour and photographic exhibition. 19 Mar - 21 Apr.

7.30pm. $46.

CANBERRA THEATRE CENTRE

CORK STREET CAFE & GALLERY

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ENTERTAINMENT GUIDE Wed Apr 22 - Wed Apr29 Live Music

On The Town

Capture

Something Different

Wasters

Alive Fridays

BELCONNEN ARTS CENTRE

Play For Your Supper

With Signs & Symbols, & Lost Coast. 9pm. $5. THE PHOENIX BAR

Something Different Canberra Potters’ Society

Presents Who Killed Mickey. $10 All Night. ACADEMY NIGHTCLUB

Just A Gent

$10 before 10pm. MR WOLF

15 Apr - 10 May.

Sleuth: The Delegation

6pm.

POLIT BAR & LOUNGE

Art. Opening 6pm Thur Apr 2 - Sat May 2.

tuesday april 28

TUGGERANONG ARTS CENTRE

Flava R&B

Film

Art Exhibitions

TREEHOUSE BAR

Spanish Film Festival 2015

Unconflicted

WATSON ARTS CENTRE

Something Different

PALACE ELECTRIC CINEMA

Trivia

Canberra Potters’ Society

Classes. Week 1 13-17 Apr. Week 2 20-24 Apr. $245 PW. Enrol at 6241 7800.

Tranny Trivia

Questions with Glamour. 8pm. Free. POLIT BAR & LOUNGE

thursday april 23 Comedy

9pm. Free.

Classes. Week 1 13-17 Apr. Week 2 20-24 Apr. $245 PW. Enrol at 6241 7800. WATSON ARTS CENTRE

Theatre Monkey... Journey to the West $45.

Ross Noble: Tangentleman

THE PLAYHOUSE

CANBERRA THEATRE CENTRE

7.30pm. $46.

Jays Jungle 10am. $20.

Film

saturday april 25

Spanish Film Festival 2015

Tickets at palacecinemas.com.au.

Art Exhibitions

Live Music

By Jacob Potter. Opening 6pm Apr 16 until Apr 26. Wed-Sun. 11am-5pm.

PALACE ELECTRIC CINEMA

SCAB

Tickets at palacecinemas.com.au.

Live Music Slow Turismo Dansonfest

TRANSIT BAR

Karaoke Camp with DJ Brai

THE BASEMENT

POLIT BAR & LOUNGE

3rd Dividend

Trivia

KING O’MALLEY’S IRISH PUB

Impact Present Nerd Trivia with Joel & Ali

10.30pm. Free.

On The Town Love Saturdays

With Dee. $10 before 12am. ACADEMY NIGHTCLUB

Sneaky: Surgin aka Steve Lising 9pm. Free.

TREEHOUSE BAR

THE PHOENIX BAR

Unconflicted

Monkey... Journey to the West

MAGPIES CITY CLUB

Dos Locos 9pm. Free.

KING O’MALLEY’S IRISH PUB

On The Town Playtime

Top 40, Dance, RnB. 10pm. Free entry. TREEHOUSE BAR

Work by the staff of Megalo print studio & gallery. Opens 17 Apr. Free. M16 ARTSPACE

Return to Anzac Cove “Your Friend the Enemy”

Bohemian Serenade Classical Twilight Concerts

13 artists commemorate Gallipoli. Opening 6pm Apr 10. Runs until 17 May. Open Wed-Sun 12-5pm.

5pm. $35/$20 via www. tuggeranongarts.com/events/.

Weathered

Traditional Irish musicians in the pub from late afternoon. Free.

ACADEMY NIGHTCLUB

17 Apr - 10 May.

Something Different

Artifish // Artifice

5pm-7pm. Free entry. Book at politbar. co. POLIT BAR & LOUNGE

Theatre Monkey... Journey to the West $45.

THE PLAYHOUSE Drumstruck

Percussive performance. Info at 6281 0899. HELLENIC CLUB (CIVIC)

friday april 24

BELCONNEN ARTS CENTRE

Irish Jam Session

KING O’MALLEY’S IRISH PUB

monday april 27

8pm. Free.

7.30pm.

THE PHOENIX BAR

wednesday april 29 Art Exhibitions Return to Anzac Cove “Your Friend the Enemy”

13 artists commemorate Gallipoli. Opening 6pm Apr 10. Runs until 17 May. Open Wed-Sun 12-5pm. ANU DRILL HALL GALLERY

Weathered

17 Apr - 10 May.

BELCONNEN ARTS CENTRE

Artifish // Artifice

By Ned Hatch. Opens 17 Apr. 6pm. Free. M16 ARTSPACE

Fritz Who?

By Brian Smith. Opens 6pm Apr 15 until May 16. Mon-Fri 9am-5.30pm. Sat 9am-1pm. CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Sticks and Stones

By Gina Wyatt. Opens 17 Apr. 6pm. Free. M16 ARTSPACE

Impulse

Art Exhibitions

Art by Belle Palmer. Opening 6pm Tues 2 Apr - Sat 2 May. Free.

By Brian Smith. Opens 6pm Apr 15 until May 16. Mon-Fri 9am-5.30pm. Sat 9am-1pm.

Arja Valimaki

Groundrush

The Red And I

EMBASSY OF FINLAND

M16 ARTSPACE

Fritz Who?

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Exhibition opening 7pm. Runs from 8-28 Apr.

27 Mar 10am-2pm. 30 Mar-2 Apr 10am-4pm. 13 Apr-16 Mar 10am4pm. 17 Apr 10am. 27 Apr-30 Apr 10am-4pm.

TUGGERANONG ARTS CENTRE

Opens 6pm Apr 10 - May 16. Tues - Fri 11am-5pm, Sat 10am-4pm. CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Capture

Film

15 Apr - 10 May.

Cult Classics: Zoolander Tickets $12 at dendy.com.au.

Sleuth: The Delegation

Impulse

Live Music

TUGGERANONG ARTS CENTRE

CIT Presents The Bootleg Sessions

Film

TUGGERANONG ARTS CENTRE

ALLIANCE FRANÇAISE

Sticks and Stones

By Gina Wyatt. Opens 17 Apr. 6pm. Free. M16 ARTSPACE

Live Music Chad Croker/Oscar

Groundrush

KING O’MALLEY’S IRISH PUB

TUGGERANONG ARTS CENTRE

By Ned Hatch. Opens 17 Apr. 6pm. Free.

Art by Belle Palmer. Opening 6pm Tues 2 Apr - Sat 2 May. Free.

5pm afternoon session/10pm Band. Free.

sunday april 26 Live Music

ANU DRILL HALL GALLERY

Tarot Card Reading

THE PLAYHOUSE

Sydney based artists. Framed, Love Shack & That Jumping Guy. Tues-Fri 10-4. Sat-Sun. 12-4. Free.

4some Thursdays Free entry.

$45.

3 Exhibitions

PHOTOACCESS MANUKA

Karaoke. 9pm. Free entry.

With various bands. 3pm. Tickets $20 via oztix.

Theatre

Vintage Vulva, Cockbelch & Bastard Sons of Liberty.

Karaoke Karaoke Love

THE PHOENIX BAR

CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

Chainsaw Hookers

M16 ARTSPACE

Teem. 9.30pm. $5.

The Steptones

The Gypsy Scholars. 9pm. $5.

Work by the staff of Megalo print studio & gallery. Opens 17 Apr. Free.

Opens 6pm Apr 10 - May 16. Tues - Fri 11am-5pm, Sat 10am-4pm. CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

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DENDY CINEMA

Bruges, PJ Junior and the Soul Pimps, Maggie Jeffs, Brendan and Shannon. 8pm. Free.

BELCONNEN ARTS CENTRE

Art. Opening 6pm Thur Apr 2 - Sat May 2.

Spanish Film Festival 2015

Tickets at palacecinemas.com.au. PALACE ELECTRIC CINEMA

THE PHOENIX BAR

ENTERTAINMENT GUIDE Wed Apr 29 - Sun May 3 Live Music Dead Farmers

With New Age Group & Total Nightmare. 9pm. $5. THE PHOENIX BAR

Steve Smyth 8pm. $14.30. TRANSIT BAR

Trivia Tranny Trivia

Questions with Glamour. 8pm. Free.

Perception Deception Exhibition

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

Theatre The Crucible

Theatre Production. 1-16 May. Bookings at canberrarep.org.au or 6257 1950. THEATRE 3

POLIT BAR & LOUNGE

saturday may 2

thursday april 30 Art Exhibitions Arja Valimaki

27 Mar 10am-2pm. 30 Mar-2 Apr 10am-4pm. 13 Apr-16 Mar 10am4pm. 17 Apr 10am. 27 Apr-30 Apr 10am-4pm. EMBASSY OF FINLAND

Dance Frame of Mind

Sydney Dance Company. 7.30pm. $49/$69. CANBERRA THEATRE CENTRE

Live Music

Art Exhibitions Groundrush

Opens 6pm Apr 10 - May 16. Tues - Fri 11am-5pm, Sat 10am-4pm. CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Sleuth: The Delegation

Art. Opening 6pm Thur Apr 2 - Sat May 2. TUGGERANONG ARTS CENTRE

Return to Anzac Cove “Your Friend the Enemy”

13 artists commemorate Gallipoli. Opening 6pm Apr 10. Runs until 17 May. Open Wed-Sun 12-5pm. ANU DRILL HALL GALLERY

DVA

Weathered

THE PHOENIX BAR

BELCONNEN ARTS CENTRE

With Cracked Actor. 9pm. $5.

17 Apr - 10 May.

Clint Boge

Fritz Who?

8pm. $15.30. TRANSIT BAR

Mozarts Flute

7pm. $49/$29/$20 at australianhaydn. com.au or 1800 334 388.

By Brian Smith. Opens 6pm Apr 15 until May 16. Mon-Fri 9am-5.30pm. Sat 9am-1pm. CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

ANU DRILL HALL GALLERY

Impulse

On The Town

TUGGERANONG ARTS CENTRE

Art by Belle Palmer. Opening 6pm Tues 2 Apr - Sat 2 May. Free.

Playtime

Capture

Top 40, Dance, RnB. 10pm. Free entry.

15 Apr - 10 May.

TREEHOUSE BAR

BELCONNEN ARTS CENTRE

Something Different

Dance

Shaken & Stirred

Frame of Mind

POLIT BAR & LOUNGE

CANBERRA THEATRE CENTRE

Burlesque. 7.30pm. $20. Bookings at politbar.co.

friday may 1 Dance Frame of Mind

Sydney Dance Company. 7.30pm. $49/$69. CANBERRA THEATRE CENTRE

Live Music Kidgeeridge Festival

Music festival. Fri $77. Sat $127. Weekend pass $177. Camping tickets $60. Info at kidgeeridge.com.a MILTON SHOWGROUND

The Audreys

Lilve music. $30. 6.30pm. THE ABBEY

Something Different No Lights No Lycra

7am. Tickets $12/$15 at eventbrite. com.au.

Sydney Dance Company. 7.30pm. $49/$69.

Film Spanish Film Festival 2015

Tickets at palacecinemas.com.au. PALACE ELECTRIC CINEMA

Live Music Kidgeeridge Festival

Music festival. Fri $77. Sat $127. Weekend pass $177. Camping tickets $60. Info at kidgeeridge.com.a MILTON SHOWGROUND

The Fuelers 9.30pm. $5.

THE PHOENIX BAR

sunday may 3 Groovin the Moo

Saskwatch, You Me At Six, Hilltop Hoods and many more. Tickets available at Moshtix. UNIVERSITY OF CANBERRA

GORMAN HOUSE ARTS CENTRE

@bmamag

ENTERTAINMENT GUIDE Sun May 3 - Sun May 17 Film

Theatre

Something Different

Cult Classics: Clueless

The Crucible

Fash N’ Treasure

THEATRE 3

EXHIBITION PARK IN CANBERRA (EPIC)

Tickets $12 at dendy.com.au. DENDY CINEMA

monday may 4 Live Music

Theatre Production. 1-16 May. Bookings at canberrarep.org.au or 6257 1950.

thursday may 7

Canberra Musician’s Club presents

Live Music

THE PHOENIX BAR

Dream On Dreamern & Young Lions + Morep.

The Bootleg Sessions. 8pm. Free entry.

tuesday may 5 Trivia

Silverstein

THE PHOENIX BAR

wednesday may 6 Art Exhibitions

friday may 8 Buried In Verona

With Pariah, Lifes Ill, Hate Crime & Harley Quinn. MAGPIES CITY CLUB

saturday may 9

Hell Ain’t A Bad Place To Be

Theatre Production. 1-16 May. Bookings at canberrarep.org.au or 6257 1950.

The Story of Bon Scott. 8pm. $52 at canberratheatrecentre.com.au. THE PLAYHOUSE

THEATRE 3

saturday may 16

monday may 11

Art Exhibitions

Film

Groundrush

Cult Classics: The Room

Opens 6pm Apr 10 - May 16. Tues - Fri 11am-5pm, Sat 10am-4pm.

Tickets $12 at dendy.com.au. DENDY CINEMA

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

wednesday may 13

Return to Anzac Cove “Your Friend the Enemy”

13 artists commemorate Gallipoli. Opening 6pm Apr 10. Runs until 17 May. Open Wed-Sun 12-5pm.

Art Exhibitions Groundrush

BELCONNEN ARTS CENTRE

Capture

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

BELCONNEN ARTS CENTRE

Return to Anzac Cove “Your Friend the Enemy”

13 artists commemorate Gallipoli. Opening 6pm Apr 10. Runs until 17 May. Open Wed-Sun 12-5pm. ANU DRILL HALL GALLERY

Weathered

17 Apr - 10 May.

BELCONNEN ARTS CENTRE

Fritz Who?

By Brian Smith. Opens 6pm Apr 15 until May 16. Mon-Fri 9am-5.30pm. Sat 9am-1pm. CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

15 Apr - 10 May.

Return to Anzac Cove “Your Friend the Enemy”

13 artists commemorate Gallipoli. Opening 6pm Apr 10. Runs until 17 May. Open Wed-Sun 12-5pm. ANU DRILL HALL GALLERY

Weathered

17 Apr - 10 May.

BELCONNEN ARTS CENTRE

Fritz Who?

By Brian Smith. Opens 6pm Apr 15 until May 16. Mon-Fri 9am-5.30pm. Sat 9am-1pm.

Film

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Spanish Film Festival 2015

Live Music

PALACE ELECTRIC CINEMA

Sleepmakeswaves

Tickets at palacecinemas.com.au.

Live Music Bam Margera as FFU

With guests. 8pm. Tickets $57.15 at oztix. ANU BAR AND REFECTORY

Great Northern Tour. Tickets at oztix. com.au or sleepmakeswaves.com. Bands perform covers of classic 90’s rock. 6pm. $20 at oztix.com.au or $25 at door. THE BASEMENT

ANU DRILL HALL GALLERY

Opens 6pm Apr 10 - May 16. Tues - Fri 11am-5pm, Sat 10am-4pm.

Fritz Who?

By Brian Smith. Opens 6pm Apr 15 until May 16. Mon-Fri 9am-5.30pm. Sat 9am-1pm. CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

13 artists commemorate Gallipoli. Opening 6pm Apr 10. Runs until 17 May. Open Wed-Sun 12-5pm.

Theatre

ANU DRILL HALL GALLERY

The Crucible

Fritz Who?

By Brian Smith. Opens 6pm Apr 15 until May 16. Mon-Fri 9am-5.30pm. Sat 9am-1pm. CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Theatre

Theatre Production. 1-16 May. Bookings at canberrarep.org.au or 6257 1950. THEATRE 3

Hell Ain’t A Bad Place To Be

The Story of Bon Scott. 8pm. $52 at canberratheatrecentre.com.au. THE PLAYHOUSE

The Crucible

sunday may 17

Theatre Production. 1-16 May. Bookings at canberrarep.org.au or 6257 1950.

Something Different

THEATRE 3

Canberra Blues Society Monthy Jams

thursday may 14

The Mighty Bluesicians. 2pm. $3/$5.

ANU BAR AND REFECTORY

90’s Music Festival

QUESTACON

The Crucible

Art Exhibitions

Return to Anzac Cove “Your Friend the Enemy”

6pm. 15 May. $10 at door.

Theatre

Capture

15 Apr - 10 May.

SciNight: X-rated Science for Adults

Theatre

Staunch Nation

Andrew and Shannon’s Pub Trivia 7.30pm.

10am - 3pm. 7 Feb, 21 Mar, 11 Apr, 9 May, 13 June, 15 Aug, 19 Sep & 7 Nov. Entry $3.

MAGPIES CITY CLUB

With Cold Emotion & p a r k s 9pm. $5

friday may 15

Something Different

HARMONIE GERMAN CLUB

Naked Girls Reading

3 girls read aloud from various books. 7.30pm. $15. Book at: politbar.co. POLIT BAR & LOUNGE

OUT

april29

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infinity broke bam margera ...and more!

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

Coda Conduct Where did your band name come from? We were still trying to think of our own MC names, and Sally was like “How about Coda?”. I was like, “What, like, Coda Conduct?”. It was genuine confusion, not an intentional pun, but we performed our first gig as Coda Conduct and it’s stuck! Group members? Sally & Erica (badass lyricism, lava flows, distributors of potent sass). Describe your sound: It really ranges! On one end, it’s cheeky, fast paced and braggadocio, and then sometimes we’ll be more sincere and emotive. Who are your influences, musical or otherwise? Inspiration can be anything from a YouTube video to a dude walking down the street wearing a fedora. But musically, right now we’re feeling people like Akua Naru, Homebrew, Dawn Laird and Little Simz. What’s the most memorable experience you’ve had whilst performing? That’s tricky. We had a couple in the front row getting waaaaaay too handsy with each other once. Slightly distracting, to say the least. Of what are you proudest so far? I’m still stoked about the time an eight year old girl saw us play, and told us that now she wanted to be a musician when she grew up. Not enough eight-year-old girls want to be in bands! What are your plans for the future? ARIAs, sold out universal tours (yes, universal - first hip hop gig on the moon), getting enough money to buy a dimmer switch… But seriously, our plan for the future is to get back to writing new music we love, progressing, touring a little more, and to keep connecting with awesome people. What makes you laugh? Any time our mums rap our lyrics. What pisses you off? I get frustrated when people aren’t interested in asking questions about the world

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

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

What about the local scene would you change?You wouldn’t believe the talent we have coming out of the CBR hip hop scene. The only think we would change is the turnout to regular shows – it would be so awesome to be able to see larger crowds at gigs to appreciate it! What are your upcoming gigs? Groovin’ The Moo – UC Canberra - May 3rd / Groovin’ The Moo Afterparty - La De Da Bar - May 3rd, UC Refectory, Supporting Thundamentals Friday May 15th

Fourth Degree Vic 0408477020

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

Top Shelf Colin 0408631514

Contact info: codaconduct.com.au

Haunted Attics band@hauntedatticsmusic.com

Zoopagoo zoopagoo@gmail.com

Gareth Dailey DJ/Electronica Gareth 0414215885 Groovalicious Corporate/ weddings/private functions 0448995158

System Addict Jamie 0418398556 Tegan Northwood (Singing Teacher) 0410 769 144 Undersided, The Baz 0408468041

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