BMA Magazine 466 - 15 July 2015 by BMA Magazine

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DMC CHAMPS

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OLD CANBERRA INN

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PALACE CINEMA - THE SCANDYS

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I’m going to Iceland to marry Iggy Pop # 4 6 6 J u l y 1 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& Jeremy Stevens 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 Andrew Nardi Graphic Design Chris Halloran Film Editor Emma Robinson NEXT ISSUE 467 OUT July 15 EDITORIAL DEADLINE July 8 ADVERTISING DEADLINE July 9 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

Ainslie and Gorman Arts Centres are thrilled to announce an Opening Party (to rival a Beastie Boys video) to launch refurbished venues at both arts centres, as well as a host of new and exciting opportunities for artists and the community. To celebrate the renovated spaces and the renewed focus on cutting-edge artistic programming, they’re gearing up to host a massive, multi-arts extravaganza in the newly renovated Ainslie Arts Centre at Eloura St Braddon, curated by the newly appointed Creative Producers Adelaide Rief and Mark Henshaw. The night will include performances from bands and DJ’s including Slow Turismo featuring Brass Knuckle Brass Band, Faux Faux Amis, Playful Sound (Danny Wild), DJ Deggs, and more to be announced. Artworks and installations will also feature by Alexander Boynes, Michelle Day, Marie Hagerty, Peter Vandermark, Alex Asch, Mariana del Castillo, Danny Wild, and more to be announced. The building will be illuminated inside and out with a specially commissioned light show by the ANU School of Art Digital Media Workshop. Food vans, a chillout area and a cash bar will ensure you don’t need to go anywhere else. As well as gearing up for the party of the year, expressions of interest are now open for an unprecedented range of arts opportunities. Ainslie and Gorman Arts Centre Director Joseph Falsone says: “This is the largest and most extensive call for expressions of interest Canberra has seen in a long time. As well as the formal opportunities to access space and support at our centres, we’re opening the door to new ideas and approaches, and to new collaborations and partnerships. We are calling on anyone with a creative project in mind to contact our creative producers to discuss

*Time of your life not guaranteed but maybe you’re just hard to please. You should explore that further.

IF KYLE SANDILANDS CAN DO IT… You too could have the kinds of credibility and public support that Kyle has ... oh wait. 2XX are currently conducting training sessions for both volunteers and the general public. The course involves basic use of the mixing desk, how to make content, as well as information on the recent changes to media and defamation law (insert another Kyle joke). Whether you want to host your own show or just want to learn more about the world of radio, it’s a great chance to be a part of an iconic Canberra station. Please get in contact with training coordinator Nick McCorriston at n.mccorriston@2xxfm.org.au if you wish to book a session on any weekend.

WINNERS CORNER One of the BMA things I will miss is devising daft questions for competitions and your subsequently awesome responses. A recent example for a giveaway for Tim Rogers

tix had me asking what Tim would do if he lost his white Stetson. You didn’t disappoint. If Tim lost his Stetson, he’d carve a new one from the case of one of his Gretsch’s, probably the 5120 used on Deliverance, and he’d cut out a bit extra from the case for a new pair of boots. He’d put a patch over his eye, grab a jug of rum and say “well tonight it will be pirates singing yo ho ho, not cowboys and moonshine wailing oh oh oh”! Curse like a **** before proceeding to throw a signature guitar windmill.

SOOKY LALA LAND I’ve tried to avoid doing this in an attempt to retain the kind of Grace Kelly dignity I will be known for as BMA Editor. When you recover from your laughing fit I can tell you that I am actually sad to leave. For the following reasons. 1. Allan has taken to wearing vests in the office. 2. I will miss laughing at Allan. 3. I won’t ever find another workplace where I can sate my penchant for intensely offensive swearing. 4. I work with the most passionate and talented writers of any street press in the country, world, universe, and no correspondence will be entered into. 5. I love giving local bands, venues, labels and artists a chance to spruik their wares in a magazine I myself have been reading since it first began. 6. Seriously. Vests. What is he, 90? – TATJANA CLANCY, EDITOR

IImage courtesy of FM projects

YOU GOTTA FIGHT. FOR YOUR RIGHT. TO PARRRTEEEE (AND EXPRESS YOURSELF ARTISTICALLY)

the possibilities.” For more info on how to access these arts opportunities head to agac.com.au and to have the time of your life at the party of the century* head to the Ainslie Arts Centre at Elouera Street, Braddon on Friday the 10th July, 6pm – late. Tickets are $20 full/$10 concession + BF. Available online or limited at the door.

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FROM THE BOSSMAN

YOU PISSED ME OFF!

We have been in the so-called “Communication Age” for some time now. As such we have many, often confusing, ways of conversing with each other. This wasn’t always the case.

Care to immortalise your hatred in print? Send an email to editorial@bmamag.com and see your malicious bile circulated to thousands. [All entries contain original spellings.]

When I were but a wee lad, we had two options of talking to each other from a distance - using two cans connected by a piece of string, or not doing that. Parents, ever the Futurists, used a mode known as Shouting Very Loudly From The Front Step, primarily used to inform the small members of the family that hot food had been placed upon the table and there would be Hell To Pay if it got cold before being consumed.

To the goddamn uncertainties of charity!

Now, of course, we have upwards of 734 different ways of saying hello or, indeed, sharing an intimate body part. And the options will only increase. By 2020 we’ll likely be able to beam thoughts directly into other people’s heads, ensuring there’s yet another way of communicating we can ignore people with. Facebook is my communication Achilles Heel, in that I try not to check it that often. I got a text telling me about a mobile phone message from a friend asking if I got their Facebook message. Having one mode of communication to alert you to another form of communication that mentions checking another mode of communication you’ve used is more 2015 that #yolo-ing your swagging twerk, or whatever the kids are up to these days. So, in the spirit of evolution, we have found ways to categorise ourselves - to find our strengths and weaknesses with different forms of talk - and have established the following:

Being a polite sucker can be a pain the ass, because as soon as those people in shopping centres campaigning for all the nearextinct animals, all those wonderful medical charities, all those environmental causes – as soon as they make eye contact with me, I’m done. That’s it. And I’m stuck talking with them for the next ten minutes, fully aware that the chances of me pulling out my wallet to sign up for a monthly donation are near nil. Worse are random chances for uninstitutionalised charity. A man ran up behind me today and asked for a fiver. His girlfriend had been in a car crash, he said, and he needed some petrol for his own car to go and see her. “I’m not a druggo,” he told me. Being the sucker I am – fuck, if I can spend a fiver on coffee for myself – I handed him five dollars and he ran off. Hopefully to go fill his car up. I’ll never know. Part me of hopes he didn’t have a girlfriend in a crash (if he did, I hope she’s alright). I’ll never truly know, which is the most frustrating thing. But I’d hope if I were in his position, some sucker would extend me the same benefit of the doubt if I truly needed it.

“Why Do We Even Own a Phone” people - Some have phones simply because we’re told we have to. We know people who have phones, never answer them, and explicitly state that despite having an answering service - they never check it. “Facebook Onlys” - There are some people you’d swear were dead. You call them, text them, email them some 20 times over a span of weeks. You’re just about to inform the authorities of your concern when you think - as a last resort, because it seems bit intrusive - you’ll Facebook message them. And voila! They turn up before your Return key goes cold from your touch as if nothing’s happened. “Hey! How R U? What you bin up 2?” “Jekyll and Hyders” - a fascinating breed and a particular favourite. There are those who scrub up brilliantly on, say, the phone but crumble with the written word. Or vice-versa. I’ve spoken to folk who were positively spiky on the phone, using clipped, terse sentences and giving every indication that not only would they like you off the phone immediately, but they hoped you would be introduced (by way of a particularly nasty fall from a tremendous height) into a ditch of shite. And then, a mere ten minutes later, an email from the same person comes in with the kind of well-mannered prose and delight that would make Mr Darcy swoon. “Allan, my treasure, what a delight to speak with you again…” Marvellously strange. In short, we ARE in the Communication Age. We’re conversing with each other more than ever. And we’re good at some forms, bad at others. When someone is spouting abuse on their digital soapbox, or when we feel compelled to check our emails on a family holiday, it feels like a bad thing. But it’s good, because it’s also opened up new ways for people to express themselves. I know those who are painfully shy in person but write near poetry via text. There are others that you receive emails as though smashed out by a T-Rex but are TedX like in person. Use your words wisely, my friends. Whatever medium you use. ALLAN SKO - allan@bmamag.com

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WHO: ALPINE WHAT: ALBUM TOUR WHEN: WED JUL 8 WHERE: ANU BAR

‘A’ is for album tour, ANU Bar and… Alpine! Dubbed the ‘Foolish Tour’, the Melbourne sextet will be celebrating the release of their ripping new single, ‘Foolish’, which features on their brand new sophomore LP, Yuck… seriously, what a good name for an album! The title derives from the band’s yucky reactions to ‘first world problems’: awkward dates, plastic vanity, foolish attraction – that kinda thing. Behind this theme, Alpine deliver a musical experience that aims to push the ‘pop’ genre to new and often weird places. Be there by 7:30pm. Tickets are $24.82 through Ticketek.

WHO: TIM ROGERS WHAT: TOUR WHEN: THU JUL 9 WHERE: THE PLAYHOUSE

With a career now motoring along in its third unique decade, Tim Rogers’ remarkable résumé encompasses the world of music, film, television and stage. As the frontman of You Am I – one of the essential Australian rock ‘n’ roll bands – Tim Rogers has released ten studio albums, three of which have debuted at number one. He has stood in front of 50,000 screaming rock fans, but is just as at home playing an acoustic guitar and joking with the locals in a community run country town venue. Tickets are $40 + bf through canberratheatrecentre.com.au. Be there by 8pm.

WHO: VARSITY DERBY LEAGUE VS LIGHT CITY SABRES WHAT: MEN’S AND MIXED ROLLER DERBY WHEN: SAT JUL 11 WHERE: SOUTH CROSS BASKETBALL STADIUM

Now’s your chance to see Varsity Derby League’s roller derby skills in action! The men’s team, Capital Carnage, will be taking on Adelaide’s Light City Sabres, and the mixed team, the Smackademics, will also be playing Light City Sabres. What’s more, there will be entertainment provided by local band The King Hits, as well as plenty of goodies at the bake sale, kiosk and licensed bar. Doors will open at 3pm and the first whistle will blow at 4pm. Tickets are $15 for adults and free for kids in company. For tickets and more information, visit varsityderbyleague.com.

WHO: LUCIE THORNE WHAT: ALBUM TOUR WHEN: SAT JUL 11 WHERE: WHITE EAGLE POLISH CLUB

The strikingly poetic songsmith Lucie Thorne has just dropped her third LP, Everything Sings Tonight. Alongside long-time musical partner and legendary drummer Hamish Stuart, the LP crystallises the pair’s dynamic chemistry. Thorne says that the album captures the energy and exploration of the pair playing together live. Recorded over two days in Berlin, the album is brimming with subtlety and grace – buoyed all the while by that signature warmth and intimacy for which their live shows have become so renowned. Doors open at 7:30pm. Tickets can be purchased through TryBooking.com.

WHO: TIGERLILY, SETH SENTRY, THE FADERS & GANG OF YOUTHS WHAT: UNI WEEK WHEN: SUN–SAT JUL 12–18 WHERE: THREDBO ALPINE VILLAGE

Thredbo is bringing partygoers a jam-packed Uni Week in the snow! Featuring headline sets from leading local acts, Seth Sentry, DJ Tigerlily, The Faders and Gang of Youths, the week also boasts a plethora of action-packed snow activities and unique alpine events. These include on-mountain Zorb Ball races and NASTAR ski races, among a stack of other activities to sink your snow boots into. As part of this incredible weeklong revelry, Thredbo has released a five-day pass, which is available to students for just $330. Accommodation packages are available so head to thredbo.com.au for more information.

WHO: BEAST & FLOOD WHAT: ALBUM LAUNCH WHEN: THU JUL 16 WHERE: THE PHOENIX

Supporting the launch of their album Lanugo, Beast & Flood are visiting the capital to “reclaim our share of Joe Hockey’s $200 a night rent”. Citing post-punk and ‘classic-mod rock’ influences such as Iceage, WU LYF, Modest Mouse, The Drones and At The Drive-In, the Sydney trio have been described as “a wellspring of shouty aggrandized epiphanies and thrashed-out zeal” and “music that sounds like protest – that is, if you can protest a sinking feeling in your stomach.” The gig starts at 8:30pm. They’ll be joined by Primary Colours and Parks.

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Due to Braddon sprouting a new coffee shop faster than you can say ‘wasn’t that a caryard last week?’, Kingston developing something in an inland city called a ‘foreshore’ and Acton now embracing the ‘New’, you cannot ignore the changing face of Canberra. Even my local shops have a new gallery/café (shameless shout out to Gallery 27). As well as a bunch of new venues there are of course ample opportunities to take over existing haunts, hose them down and make new memories, and we’ve noticed that’s been happening. Canberra has no shortage of old venues being given a nip and tuck and freshened up for fancier times. Back when bus tickets were the same garish colour combo as the buses themselves my friends and I would catch the 333 bendy bus to Civic every Saturday. First stop was at The Gorman House Markets (because a stall holder may have been selling a different shade of black velvet jacket that week) and when we weren’t lolling around in Glebe Park lamenting our difficult teenage existence, we were at Mopokes (now Beach Burrito) having a coffee, comparing fake ID’s to then use at The Terrace Bar later that night, and then attempting to look bored and aloof whilst playing bad pool at Happy’s amusement arcade (now Magpies City Underground). Don’t even get me started on places like Vegas (fantastic 2 for 1 drink specials that flew in the face of RSA laws), Blind Beggar’s (now Goodberrys) and Zorro’s: the place where if your relationship with your boyfriend/girlfriend survived the night you were destined to live happily ever after. Or at least until someone better came along. You may have your own memories of what a venue once was, and we encourage you to send them through for another issue. In the meantime, here’s a snapshot of places that you should check out anew or for the first time. Canberra nightlife bashing is more redundant than ever. TATJANA CLANCY

THE BASEMENT THE POT BELLY BAR The Pot Belly Bar in Belconnen has recently changed hands. The new owners are striving to make this a unique experience for patrons. Gone are the Super Dry and Carlton Draught taps – they’ve been replaced by craft beers from companies such as Holgate Brewhouse, Young Henrys, Brouwerij Rodenbach and even Canberra’s own Mount Tennent Pale Ale from local brewer Pact Beer Co. While the Pot Belly will retain it’s old-world British pub look and feel, it will break the beer mould in many ways, and support local industry as it heads out in new and unchartered craft beer waters. Alongside the craft beer, the Pot Belly will also serve a range of boutique spirits and drinks. Similarly, the food they’ll be serving will seek to be different, but true to the bar culture. The Pot Belly will also support a number of different local initiatives – having already hosted their first ARTSMASH, and with open mic evenings, a local darts club and crafternoons on Sundays (craft beers with matched food – creating tasting experiences). The Pot Belly is all about the new, bold and innovative, while still respecting its roots. After all, it’s a bar that has been around since the early 1970s – the old British pub charm and Canberra nostalgia is entrenched. You should get out there and give it a go. Don’t support the man – support the people. For more information about The Pot Belly, visit potbellybar.com.au, call (02) 6251 4530, or find us on Facebook at facebook.com/potbellycanberra.

Located in the heart of Belconnen, the basement is one of Canberra’s premier live music venues. Recently renovated and under new management, it caters for all genres, and hosts local, national and international acts. There’s nothing too loud or too quiet, too hard or too soft, too funky or too metal. If bands play it, and people like it, it’s right for our stage. the basement has been supporting the Canberra music scene for well over ten years – a Canberra institution promoting local talent and providing a well-loved community space for music creativity and expression. Boasting two stages with unparalleled acoustics, a state-of-the-art PA system providing exceptional sound quality and clarity, a beer garden and four pool tables, the basement exceeds expectations. With most of the crew having been involved in the Canberra music scene for many, many years, we are committed to providing the most exciting and professional experience for the artists and our patrons alike. The most grass roots bands can share the feeling of the biggest international acts, on a stage designed for world-class performances. Every cable, every light, every microphone is to the standard expected by the biggest names around. Our goal is simple: to be an important rhythm in the re-emerging heartbeat of the Canberra scene. For so long, so many people have dedicated their time and efforts to reinvigorating the live music scene in Canberra, and the basement is committed to being a major player in this these efforts. See thebasementcanberra.com.au, call us on (02) 6156 1562 or like us on Facebook at facebook.com/basementbelco.

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THE POLISH WHITE EAGLE SANCHO’S DIRTY LAUNDRY AT BEACH BURRITO Your favourite Mexicans down at Beach Burrito Civic will now be dishing tacos and burritos with a healthy side of local art. Beach Burrito’s restaurant manager and artist Arthur Gruselle has teamed up with Sancho from Sancho’s Dirty Laundry and The Chop Shop to co-curate monthly exhibitions aimed to further Canberra’s creative scene. A lofty, upstairs, part-retail, part-gallery and partmicro performance space is also due to open up come spring! “The exhibition space will fill a gap for those street-based and ‘low-brow’ practices, like skate art, car and bike custom culture, t-shirt label launches, tattoo art, street art and graffiti,” Sancho says. The space will be offered to artists at 0% commission, with all works available to be purchased for the duration of the exhibition. The opening night is planned for Thursday July 16. The gallery space is proudly supported by Pistonhead Kustom Lager and Sailor Jerry. Follow Sancho’s Dirty Laundry on Facebook to stay up date with the opening night as well as future exhibitions and events, at facebook.com/SanchosDirtyLaundry. You can also visit sanchosdirtylaundry.com, email sancho@sanchosdirtylaundry.com, or call 0431 285 160 for more information.

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After a run of rotten luck in 2014, the Polish White Eagle Club in Turner (known affectionately as The Polo to folks around town) again welcomes live performers and audiences through its doors. The Polo went within a whisker of losing the lot after a couple of break-ins and an arson in January 2014. That was only the start of the ordeal; next came dealing with insurance. But 18 months down the track, we’re back. And so are our partners, including the Canberra Musicians Club, who’ve helped us revive The Polo as a live music hub. With the inner north filling up, our future looks brighter than ever. There’s a whole new generation of Canberra-dwellers discovering what’s on at The Polo. Part of our appeal in recent years has been down to what we don’t offer: poker machines. The Polo kissed the gaming dollar goodbye in 2007. Ending the drip left a hole in our pocket. Keeping these fine old places open isn’t easy – the bills only ever go up. The developers in this part of town circle like sharks. But our patrons and volunteers prefer the smell of an oily rag to the mindless bleats of a slot machine. And it’s been amazing to see what’s filled the void since. No pokies mean songs, cheers, beers, pierogies and more. The vibe is great, and artists and audiences love it. Check us out at whiteeagleclub.org.au, phone us on (02) 6248 8563, email whiteeagleclub.act@ gmail.com, and like us on Facebook at facebook.com/PolishWhiteEagleClub.

MAGPIES CITY CLUB Two years ago, The Magpies Club hosted the occasional show – mostly comprised of local and regional punk acts. But it lacked much of what any room its size demands: a half decent PA system, a few lights, and some control … it worked, but there was plenty of room to grow. Now, The Maggies boasts two stages, a continually expanding PA and tours from some of the biggest bands in the world (of course, that depends on your idea of good music). We are running shows every week, featuring local bands, touring acts (who would not have their chance at an audience if it wasn’t for you fine people of the local scene) and of course, the annual poetry/comedy/cultural night that is the Frock Festival. So whether it’s an EP launch for a local act, a fundraiser for any number of charities (Headfest, Zombie Walk, Cancervive – you bloody legends!) or just another night watching locals supporting interstate mates (let’s face it, they are the future of the music scene), The Magpies Club’s gig guide is definitely something to keep an eye out for! We’ve still got the shitty carpet, but little by little, The Magpies Club is becoming a new home for the best live original music – right under your nose, in the heart of the city. To enquire about a show, contact magpiescityclub@gmail.com, call the club on (02) 6248 8917, or sneak down the stairs next to Gus’ and say g’day to Aaron or Timmy. Cheers!

LOCALITY

We’ve passed two milestones in the last few weeks; we’ve crossed the threshold of the solstice – marking the way to longer, warmer days – and the year is already half over. 2015 has already been a pretty great year for Canberra music, but there’s still plenty coming in the weeks ahead! Most people think that Saturday July 4 will be all about the US, but for lovers of ACT hip-hop it will be all about (Zierholz) UC, with local Groovin’ The Moo stars and Professional Queanbeyan Dissers Coda Conduct playing the home leg of their Pool Room Tour. Jimmy Pike, Benjamin Reeve and Jedbrii will bring the support love with a few surprise guests waiting in the wings, ready to totally flip your lid. Entry to this killer evening of awesome is totally free, with the

festivities kicking off at 7pm. But you’ll want to get there early to make sure you can get in to what will be a very popular night out. The Canberra Musicians Club are again curating The Bootleg Sessions at the Phoenix on Monday July 6, and they’re mixing things up with a bunch of artists that are a little bit more rock than their usual picks. Starting at 8pm, you’ll be treated to sets from Infinite Winter, Owls Hunt Bats and Local Horror, with some softer tunes from Melbourne blow-in Karl Kaiser-Schmidt and Canberran solo singer-songwriter Jarrod McGrath. As usual, it’s free (although donations to the money-collecting vessel are encouraged). The July edition of Groovin’ The ANU is on Friday July 10, with this month’s line-up consisting of Bruges, The Ians, The Sticky Bandits and Scott Grubman. As always, entry is free and you’ll want to be there at the ANU Bar from 8pm to catch the whole set.

MOJO GUITAR TEACHERS

In recording news, Agency have released ‘High Heat,’ a single that you can get on vinyl, or by download via Bandcamp. Opening with a big bass line followed by distorted guitars and shouty vocals, it’s a real mash of styles, mixing heavy rock and punk elements with the big swells of a pop tune. There’s also a B-side in ‘Iya Makasih Banyak Bos,’ which you can purchase with the single and will be released with the vinyl sometime around Thursday July 30. Take a listen for yourself at hellosquare.bandcamp.com/ album/high-heat. While we’re on the topic of new releases, I confess I missed the announcement on The Ansah Brothers’ new mixtape Polaroid, but hot damn, it’s no surprise that Dom Alessio and the triple j crew have been popping a few of its tracks into the Home and Hosed playlists. Somehow these gents have managed to find a beautiful balance between being chill and getting a good whack of life into their tunes. You can have a listen at soundcloud. com/theansahbrothers/sets/ polaroid. And remember, if you or your band have some news or a gig coming up, drop me a line and I’ll try to squeeze it in the next edition. NONI DOLL nonijdoll@gmail.com @nonijdoll

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WIG AND PEN

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I have ADHD and I kind of just let that reign

decided to do something that I had a bit more control over, where I could be a bit more autonomous. Ableton just helps achieve that – it’s essentially a wheelchair, creatively speaking…”

Stackhat described the sound of his EP as “specific, but ambiguous at the same time.” “I had about 120 songs after two years and my manager went through and picked seven of what he thought were a good representation of what I’d been doing. It’s a bit jazz, and I’m not ashamed to admit that.”

STACKS ON The debut EP from performance artist STACKHAT is a testament to what can be achieved when the forces of ADHD are unleashed upon the music sequencing program, Ableton Live.

Nevertheless, he made sure to point out that the songs from his debut work were written two or three years ago, and that his more recent work has taken a slightly different trajectory. “My songs now are a little bit more beatsy and a little bit more hip-hop. But I am still all over the shop. I don’t confine myself to any genre or style.”

Based in Sydney, the self-titled EP began after Stackhat – who says that his major influences are The Avalanches, The Books and Flying Lotus – released a first draft online and gained a good response. “Then,” he explains, “I decided to knuckle down and take it more seriously… I fell into an Ableton vortex, and just showed myself the ropes.”

The most striking impression one gets speaking to Stackhat and listening to his music is just how central his attention deficit disorder is to the production of his intimate yet arrhythmic music. “I’m gonna say I think it’s also fairly self-evident in my music that I have ADHD and I kind of just let that reign, rather than try to stifle it… whereas I kind of have to stifle it in every other aspect of my life.

However, electronic music hasn’t always been Stackhat’s primary focus. “I’ve been in bands for over ten years. About five years ago I had really bad pneumonia and ended up going to hospital. Then I had a botched operation that ended up leaving me with only one fully functioning lung, so it meant that my singing sort of suffered pretty badly after that. I was just a bit of a caged animal. I was used to performing so much and then I couldn’t do that anymore… so I

“I can’t repeat anything… I get bored so easily with my own music. My manager had to force me to put a chorus in one of my songs. He was like, ‘dude, you’re saying something, it sounded nice. Sing it again. That’s what a song is.’ So that’s a tough lesson for me to learn, but I’m working on it.”

GUS MCCUBBING

Stackhat will let his music reign when he plays at Free The Beats in Sydney at Knox Street Bar. 6:30pm, Thursday July 9. See facebook.com/ events/829484243826442 for more details.

TIM ROGERS

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THE REALNESS This year has been a big one for SoundCloud. With the introduction of advertisements, and the news that a switch to a tiered, subscription-based model might be on the cards, the streaming site has made big changes to try and become more financially competitive, and actually start making money as opposed to just losing it. Given that these changes seem to be coming on a monthly basis, we were probably due for something new. Those craving their

monthly dose of SoundCloud news were patiently rewarded this week as it was revealed, effective Wednesday July 1, third-party apps accessing the site will be limited to 15,000 plays per day. As ads don’t appear on plays outside of the SoundCloud website, this seems like an attempt to redirect traffic and increase revenue. Given SoundCloud posted losses of around 23 million euros in 2013, these changes were inevitable, really. Though the speed at which the changes have occurred is surprising. While the recent announcement of competitor Apple Music may be a factor, it’s really anyone’s guess what happens from here. The next few weeks will see a couple of big releases. For fans of the beat tape, master of the genre, Pete Rock, is set to release Petestrumentals 2 on Tuesday June 23. First single ‘One, Two, A Few More’ is already out and the rest of the album should be par-for-thecourse (read: extremely solid jazzy beats for around an hour). Pusha T’s King Push is also due out, and will supposedly mark a change in the rapper’s sound more along the lines of the Kanye West produced single, ‘Lunch Money’. While ‘Lunch Money’ has an undeniably modern sound, old Kanye is still here and his appreciation for record collecting and soul samples is evident through the recognisable use of the classic Jean Jacques Perrey’s sample track, ‘Eva’. Barring any changes to the release date, King Push should be out Tuesday June 30. That date also means Vince Staple’s debut album Summertime ’06 will see the light of day. Seth Sentry is playing at Academy on Friday July 3, as part of his epic 47-stop Strange New Past album and tour. Tickets are $30 and can be purchased through Moshtix. Local girls Coda Conduct are also coming home on Saturday July 4 for their date at Zierholz, as part of their Pool Room tour. Finally, Aussie beat-maker and former Red Bull Music Academy resident Dizz1 has a show lined up at Transit for Saturday July 11. Dizz1 is touring in support of his latest album In Sickness And In Health, and will be supported by First Gulf War, Faux Real, Bottle Brush, Crooked Sounds and Loic. Finally, if your rap hunger still isn’t sated, recent sets from D’Angelo and Run the Jewels from Bonnaroo are up and about on the interwebs and are worth sinking your teeth into. BRADY MCMULLEN - REALNESS. BMA@GMAIL.COM

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HARTS ON FIRE RORY MCCARTNEY After experiments with high school bands such as High Speed Mini Bus and Groove Shot, Melbournian Darren Hart switched to a solo musician operating from his bedroom. Under the moniker HARTS, he released a debut EP Offtime in 2013 and the LP Daydreamer in 2014. Although he has previously played for those hillbillies in Tumut, Harts is about to make his first visit to Canberra. He’ll be supporting his new EP Breakthrough, which is radically different to his previous material. Harts has a soft spot for ‘70s music and this comes across strongly on his new EP. “My early guitar inspirations came from Jimi Hendrix and blues guitarist Buddy Guy. Prince was a huge influence on my songwriting,” Harts says. “Other groups influencing my sound were ‘70s bands like Earth, Wind and Fire and other funkmeets-soul kinds of stuff.”

It’s a breakthrough for me to find that sound that connects me to an audience.

While he has played with both a full band and solo, Harts finds that the solo approach currently suits him best. “It’s more efficient for me. In bands, it’s hard to organise people’s time to get together and rehearse. Just getting the songs down and the work done is more complicated. I’m at ease when I can control everything myself,” he says. Listening to Harts’ earlier music, there appears to be a mix of indie pop and electronica; however, Breakthrough is quite different. “I took a different direction with it. It has a greater focus on guitar – there’s a bluesy rock feel in my guitar playing,” Harts explains. “I wanted to blend in the funk-groove stuff that I love and take it to the next level.” Asked if the title Breakthrough was meant to highlight the change, Harts elaborated, “This is my breakthrough time – with all the media coverage and exposure. The EP single played a huge part in that,” he says. “Also, I honed more of the sound on this one, as opposed to being more diverse on previous releases.” Harts is stoked by the way his followers resonate with this specific sound – particularly the way punters respond to the title track at gigs. “It’s a breakthrough for me to find that sound that connects me to an audience.” Harts’ work traverses several genres, and while blues and soul dominate now, his musical approach is not static. “I love so many different genres. It’s constantly changing, and while today I’m really digging the rock and blues, tomorrow I might be into the slower or ballad-like side of music,” he says. “I never want to limit myself or the music I create. My aim is to make the music coherent in its releases. So in this EP, I’m definitely liking the rock direction for now.” It takes a fair bit of electronic assistance to recreate Harts’ complex sound on stage – while still imitating the presence of a band, rather than giving off a ‘producer’ vibe. For the new tour, he will be accompanied by a drummer to give the show some extra punch. Harts plays at Transit Bar at 8pm on Saturday July 4. Supported by the Barren Spinsters and Foreign Kings. Tickets are $15.30 through Moshtix.

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KNIGHTSBRIDGE

DANCE THE DROP

When I finally boarded the yacht known as the Biscayne Lady, I was greeted by a steaming buffet. I chuckled to myself – the doe-eyed punters were still waiting in the line behind me, and most of them had been chewing on their faces for the past half hour. Surely an alternative selection of gum, water and unicorns would have been green-lit by a more honest marketing team. Nevertheless, I ordered a shoebox-sized slice of lukewarm ‘yesterday’s pizza’ and sat down to pre-game. This particular cruise was fairly pricey by Miami Music Week standards, but for a $200 outlay you could party with progressive overlord Sasha and enjoy an open bar (yippee!).

As a man, it’s really hard to figure out what to wear on a daytime boat cruise. The throbbing sun creates a tepid soup in your loins that transmogrifies into a cold layer of wrong at first sight of the moon, but I digress. The normality of the two chilled mid-decks completely contrasted with the hedonism exploding all over the rooftop area. The turntables were set up on top of the boat, where Sasha was pounding the Miami coastline with some of the freshest techno and melodic house music this side of the equator. Miami, I love you – even though you are an intense and sweaty mess. But anyway, thanks for reading about my U.S. trip… now onto something a little more immediate.

BMA SESSIONS

I’ve been contributing to BMA Magazine for more years than Justin Bieber has had pubic hair – a long period that seems like a short time. I remember my first article well; it was a phone interview with Danny Bonnici from Melbourne live breakbeat act Nubreed. When the phone finally rang, I was in the middle of my fifteenth panic attack – what if I sounded like an idiot? Oh my god, I need to fart, or throw up, or pass out – I’m not ready for this! But as soon as I started talking to the normal human on the other end of the phone, the farty-spew veil was lifted and I found myself forever enamoured with the company of likeminded peers. BMA became a proper vehicle to extend my thirsty tentacles into the beating heart of the entertainment industry. Over the years I’ve discussed Julia Gillard’s bottom with the Chaser crew, swapped pick-up lines with James Blunt, rapped about black culture with Ice Cube and spent hours swapping war stories with countless others through a speakerphone (including nearly all of my clubbing heroes). The time has come to move on. It’s been an absolute pleasure to accompany all of you on the bus, or in the toilet, or from within your textbook while you are pretending to study in class (or wherever you read BMA). It has been an experience that I will truly hold dear to my heart for eternity. Special thanks to all of the editors who have corrected my spelling and grammar over the years, and who have also given me the amazing opportunity of writing pretty much whatever the hell my brain spews onto paper. Last but not least, to the big bossman Allan Sko who gave a lanky kid his first journalistic panic attack many eons ago… Have a drink for me, won’t you? TIM GALVIN tim.galvin@live.com.au

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CODY ATKINSON Everyone’s gotta hate someone. I hate people, you hate people, everyone hates people. Musicians hate people, too. They just sometimes hate people in public a bit more often than you or I. I mean, when you have a column every week it’s tempting to sling shit at your enemies (like Matt C – YOU KNOW WHAT YOU DID), but decorum always prevails. Cody Atkinson looks at where the beef is at in music. Why do musicians start hating on each other? Musicians are people too. They feel emotion – human emotion. They get jealous, they feel shit every now and again, they get stressed out and they fall in love with the wrong people. And people are just so hateable sometimes – with their round squishy faces and stupid hair and clothes that they wear... Calm down just a bit maybe... deep breaths... Ahhhhh, I think I’m good. OK, what is the most famous feud in popular music history? It has to be Tupac and Biggie, right? The schism between former friends 2pac and the Notorious B.I.G. symbolised the East Coast vs. West Coast hip-hop battles that were raging through the mid-90’s. And the ending... I mean, it’s the most conclusive ending imaginable to any feud. Throwing shade at someone pales into insignificance, compared to a beef where two guys ended up being shot. That’s even before you dive into the cultural significance and popularity of both men during that era. It’s huge, and looms large in pop culture history.

Who is the best at creating heat right now? Right now it doesn’t even seem close, because Azealia Banks is running the game. It’d be quicker to list the number of people that she hasn’t beefed with on Twitter, than the ones she has. Like, I think there are eight rappers or producers that she hasn’t called out. Wait... Make that seven. She’s just that damn good at it. How about the hairiest musical feud? It has to be the Van Halen singer wars. So much great hair flow, so few fucks given. Wait, bands can feud with themselves? Absolutely! Intra-band fighting is some of the best music fighting. When you’re publicly displaying your emotions on a daily basis, on tour, every single day, away from home, tempers are bound to fray sooner or later. Whether it’s Keith Richards and Mick Jagger, or Lennon and McCartney, or Axl Rose and Slash, or all of the Pixies with the rest of the Pixies, band feuds often get so much more personal due to the close proximities involved.

people are just so hateable sometimes, with their round squishy faces and stupid hair and clothes that they wear

Yeah, well, guys dying is serious... Yep... I really don’t know where we can go from here... How about the stupidest long-running feud? Maybe the two-decade-old Smashing Pumpkins and Pavement rivalry, which makes little to no sense to this day. On ‘Range Life’ – the third single from Pavement’s fantastic Crooked Rain, Crooked Rain from 1994 – Stephen Malkmus sings “out on tour with the Smashing Pumpkins, nature kids, I/they don’t have no function, I don’t understand what they mean and I could really give a fuck.” Not exactly a burn there... Pretty weak really. But somehow this led to Billy Corgan/ The Pumpkins losing their shit and getting them canned from Lollapalooza that year. Corgan has even tried to keep it going to this day – taking shots at the Pavement reformation in both 2010 and 2012. Over a throwaway lyric.

Oasis...

Oh my god, I forgot about Oasis! Their hater game is unparalleled – just ridiculous. Oasis broke ground with both inter and intra-band fighting, with amazing performances on both fronts. I mean, the Gallagher brothers and their various arguments over the years, both inside and outside of the band. Fighting backstage, fighting in planes, fighting around the world, even just fighting. The Gallagher brothers are still fighting, and don’t look like stopping, which is their gift to humanity. Other than their music... I mean of course their music is their most important contribution... probably. But every time either one opens their mouth about anything remotely negative, the British music press instantly spawns 692,479 articles about it. I think I read an article in NME the other day about how Liam Gallagher didn’t like his local fish ‘n’ chip shop that much. #foodwars. But why can’t everyone just get along without hating each other? Surely life is too short? HAHAHAHAHAHAHAHAHAHAHA, no. As much as it pains me to say it, feuds seem to be part of contemporary society, despite how much everyone hates them. Everyone’s gotta hate someone.

The dude should probably just let the terrible burn rest... I know, right? The ability to feel affected seems to be part of Corgan’s identity however, with him starting feuds with a diverse range of people – from The Guardian and NME, to Soundgarden, Sonic Youth, Marilyn Manson, Courtney Love, The Presets... I mean the list just goes on.

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If you prefer something on the lighter side, you can head down to the Magpies City Club on Thursday July 2 to catch Melbourne’s Flangipanis and Adelaide’s Dead Joe. They’ll also be joined by local favourites Capes, and Canberra’s newest punk outfit Sketch Method. Entry to this one is just $5 on the door, and it’s open to all ages! I have some very startling news for the Canberra punk community. Jye went to Japan. (More like Jyepan, amirite?) Anyway, this is a significant blow as a punk show without Jye is like rum-and-coke without the rum. Who the fuck drinks plain, alcohol-free coke? Actually I guess lots of people. I’m starting to think there may be some holes in this simile, but the point is this: I miss Jye and I’ve confused this column with my personal diary, so now you all get to know about it. It’s sad, but I guess we’ll power through. Melbourne punk/sludge outfit Batpiss will be hitting The Phoenix on Thursday July 2. They will be joined by Wollongong’s Hy-Test and Sydney’s Meat Cake.

MAGPIES BASTARD

If you want even more of the heavy stuff, then you should definitely go down to Magpies City Club on Wednesday July 8 to catch the USA’s Dangers on tour with Newcastles’s Staunch. They’ll be supported by New Zealand’s Graves, and Newcastle’s Disparo! with additional local support from Propeller and Office Jerk. This show will also be open to all ages! On Thursday July 9, you can catch New Zealand’s Carb on Carb at The Phoenix alongside local dreamo boys Oxen, as well as Sydney’s Hannahband and Sweater Season. For a good mixed-bag punk night you can head to The Basement on Saturday July 11 to catch Reign of Terror along with Sydney’s Abyss Collective and more locals Inebriator, Cockbelch and N.W.E. Entry for this one will be $15 on the door. Australian folk-punk hallmarks The Smith Street Band have just announced yet another tour. This time they’ll be travelling around the country in September alongside their American mates Andrew Jackson Jihad and The Sidekicks, and fellow Melbournians The Sugarcanes. They’ll be stopping by The Magpies City Club for an all-ages show on Friday September 11. Tickets are set at $34.70 and available through Oztix. Be sure to snatch up your tickets nice and early ‘cause this one’s sure to sell out! That’s all for this issue. Just a reminder that in Jye’s brief absence, we all need to pull a little more weight. Go to a couple more shows, drink a little more alcohol, mosh a little harder, and if you’re really in the mood, grow a big red Mohawk. Do it. P.S. If you’re reading this and thinking “Who’s Jye?” I don’t want you in my life. IAN McCARTHY PUNK.BMA@GMAIL.COM

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METALISE Huge death metal tour announcement last fortnight, with Nile, Unearth, Feed Her To The Sharks and Whoretopsy taking to the countryside on the What Should Not Be Unearthed tour. Five shows, with the closest for us being the Sydney show at the Manning Bar in Sydney Uni on Friday November 20, for over 18’s only. Parkway Drive announced a national tour last month, and now the supports are out with Suicide Silence, Memphis May Fire and The World Alive joining the Byron Bay behemoths for their show at the UC Refectory on Saturday October 10. Next week – Tuesday July 14 at The Basement in Belconnen – the mighty Black Cobra from the USA will grace us with their presence. Plenty of five-piece bands don’t manage to conjure the heavy like these guys do, so you are in for a big treat should you make the effort. Jucifer, also hailing from the US of A, are along for the jaunt to further tempt you out of your winter slumber. Melbourne’s Dead round out the bill. Fresh off their triumphant support with the mighty Pallbearer, Looking Glass shared some early mixes of their fourth album with me last fortnight. All I can say is hang onto your hats, as the psychedelic winds are going to blow you clean away. The band have really gone further with some of the experimentation hinted at on the III release, including some really tasty applications of different tones on their regular instruments, as well as some tasty-ass keyboard sounds that recall the ‘70s rock that they mine so expertly. Get keen. Another local release I got to sample recently on a visit to the fine folks at Better Music in Philip was the new album by Wretch. The band have grown a tonne with the addition of a bass player and vocalist Ben, who replaced Joel and has filled that role with aplomb. The results – based on what I’ve heard – are utterly brutal, with really strong production. Two local releases that you can look forward to later in the year. Melbourne’s Captain Cleanoff released a superb and loooooong overdue new album in the form of Rising Terror, which is available for purchase through Bandcamp – a place I am increasingly sourcing music from these days! 16 tracks of the grindcore genius you have come to know and love from these long-time loons, the band will blow through town on Tuesday October 6. More details will come closer to the date, but you should definitely check the record out. While on Bandcamp and grind delights, The Kill put out a mini LP through the Blastasfuk Bandcamp site, with six blistering doses of caustic, powerviolent grindcore, and folks who order a hardcopy get an extra three tracks for the effort. Another Aussie band well worth a look. JOSH NIXON DOOMTILDEATH@HOTMAIL.COM

BATPISS CARRIE GIBSON According to BATPISS vocalist and guitarist Thomy Sloane, the three basics of their performances are beers, impulsiveness and playing fucking loud! So, digging around inside the mind of one of Melbourne’s most enigmatic punk outfits, we took the opportunity upon the release of the band’s sophomore album Biomass to find out what makes new material exciting to the band. The response we got was expected: “well when ya finally come up with some new songs and ya don’t have to play the old shit all the time is always a relieving feeling.” If Biomass was to reveal anything about the band, it reveals the darker sides to personal experiences recently shared between all members of Batpiss. Thom describes, “from family matters, addiction, self-hatred and total love. Sonically the album is more directed away from the faster ‘punk’ side of things, and bellows a more guttural feeling towards groove and space.”

We have accepted that we do now have a sound of our own and that we should play on it

When discussing the challenges faced with Biomass’ formation, the most taxing was a combination of time. Be it a looming recording deadline, or compiling all previously recorded sections of material, “in all past recordings we’ve done, all the material was recorded completely live. Regardless if it took one take or ten, we’d usually just lay it down. But with some of these songs they were recorded in separate parts and proved to be quite frustrating at some stages, but I think we got there in the end.” No one wants to write the same album twice. This is an adage Batpiss live by, stating that it is very important to keep a band evolving. “I think with our first album, Nuclear Winter, we were still finding our sound as a whole unit, with having songs that ranged from one-minute punk songs to seven minutes of the one sludgy riff that delves more into stoner or doomy vibes,” Thom explains. “Biomass still has the same vibe, but in a more mature and thought-out way, where we have accepted that we do now have a sound of our own and that we should play on it.” In regards to the quality of recording, Batpiss have taken a new approach with Biomass. Nuclear Winter was a ten-hour recording process in a “shitty pub” (as described by Thom). “Biomass was recorded over five days at a mate’s studio. Our amps were in isolation booths, and drums were in a separate room too, so there’s gonna be a huge difference to sound than recording live in the same room like Nuclear Winter was.” What opportunities do you want to see come to fruition with Batpiss during 2015? “Well obviously we’d like to see the record getting listened to by fans and whatnot, but also just to keep it real and still play with total passion,” Thom affirms. Batpiss will play fucking loud when they crash The Phoenix on Thursday July 2. Supported by Hy-Test and Meat Cake. Tickets are $20 + bf and are available through Moshtix.

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

AT LAST: A LEGEND LIVES ON BAZ RUDDICK One of the most powerful female voices of all times, Etta James, was an understated genius whose career was marred with a tumultuous personal life and her private battles with substance. With a career that spanned over fifty years, James sang songs from the south – RNB, gospel, blues and rock ‘n’ roll – all with a voice that could fill your belly with butterflies and explode your heart. She even helped Avicii become a millionaire with her sample on ‘Levels’. Blues songstress Vika Bull is Etta James in AT LAST: THE ETTA JAMES STORY, a stage show that presents the life and music of one of the greatest voices of the twentieth century. For Vika Bull – one half of blues duo Vika & Linda, who most recently played the Byron Bay Bluesfest, and has sung with Paul Kelly – the decision to play Etta James in the stage show was a no brainer. “When I got into the music business when I was seventeen, I was introduced to her,” Vika tells me. Singing the songs of James is how Bull pays tribute to her idol – her first passion in the music business. Part of the appeal of James’ voice is her range – from supernova power, to ultra-soft and gentle, James displayed a certain vulnerability in her voice that was representative of her tumultuous life. “I liked her especially because of her power, but also the fact that she can be really gentle and very vulnerable when she wanted,” Vika says, attributing this vulnerability to James’ tough childhood in foster care. Early doo-wop singers and RNB songstresses had a particular quality that was not indicative of the time. At a time when women were expected to exhibit meekness, these singers were empowered and independent as a result of growing up in a society that segregated them based on colour. “That is why they became so great,” Bull states. “They could sing so well, and with honesty, because they had been through it.”

Condensing a career of fifty years into a two-and-a-half-hour show is no easy feat, as Bull and the producers combed through her extensive discography and picked out the right songs to create the show. “She sang up until she was about seventy! We had to skip a lot, but most of the hits are there,” Vika says. “We go right through – there’s RNB, funk, soul, jazz, and rock ‘n’ roll. Everything she sang, we try and cover.” Trumpet player Tibor Gyapjas helps to narrate her life throughout the show, as he and Bull follow James’ life in all of its highs and lows. It explores her birth, to a fourteen-year-old mother and unidentified father, her meeting with Johnny Otis (who launched her career), her struggles with substance, her ten-year separation and subsequent reunification with lifelong partner Artis Mills, and finally her death. In telling the story through narration as well as music, they are able to give the audience a taste of her personality. “There are some really funny moments,” says Bull. “She was a really cheeky, funny woman. A kind of mischief maker, and I really like that about her.” Although an accomplished and powerful singer herself, playing the part of Etta James still poses technical challenges. “It’s hard because it is really vocally challenging, because of how powerfully she could sing. I have to try and put that across. It can be draining,” Bull says. A typical pre-performance day consists of a lot of rest and vocal exercises. “I try and sing as close to the original as I can. I don’t stray too far from anywhere. You can’t really stuff around with songs like ‘At Last’ or ‘I’d Rather Go Blind’.” The struggle of putting together a show that pays tribute to a larger-than-life figure lies not only in emulating her voice, but more deeply in remaining true to her memory. “I am aware that she has passed on, and I have to try and tell the story that will make the audience really happy, and also make her happy,” Bull says. “I get a bit scared sometimes and think ‘what if she hates it?’ So I am really mindful of that.” At Last: The Etta James Story will be showing at The Playhouse, Canberra Theatre Centre on Saturday July 4 at 8pm. Tickets are available through canberratheatrecentre.com.au.

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IN REVIEW

Kelly The Playhouse Tuesday–Friday June 24–27 A story set during Ned Kelly’s final imprisonment can’t end happily, and the images that accompany its publicity may make this play seem an unappealing evening’s entertainment. And, certainly, the play is neither happy nor uplifting. For all that, when pure happenstance found me sitting in the audience, I was pleasantly surprised at the consummate acting that entered into it. The fictional final meeting between Ned Kelly and his brother Dan, on the last night before Ned’s execution, is a scenario potent with rising anticipation as the conversation and action turn between the past and the surprising possibilities of the immediate future. The play’s dramatic arc begins with the purpose of Dan’s incognito visit: to obtain his brother’s absolution. It is this express wish that sets in motion the train of conflicts and revelations that follow. Kelly contains more action than you’d imagine would occur in a prison cell housing a single prisoner, partly because the third actor, whose chief character is that of Ned’s warder, illustrates a number of characters arising in conversation between Ned and Dan. These vignettes made excellent use of the warder’s walkway above Ned’s cell to that end. An impressive aspect of the conflicts between the brothers, sometimes verbal and sometimes very physical, was their staging so that the audience was able to see both brothers’ faces for much of the time though they moved around considerably and generally faced each other.

It’s not easy, without giving too much away, to say much more about what it is that occurs in the cell, and I won’t say whether Dan’s wish for absolution is granted; but it’s fair to say that the dramatic arc that begins with Dan’s purpose in visiting does end on a note satisfying to the audience. JOHN P. HARVEY

Image credit: Justine Walpole

What I found most engaging about the play, though, were the twists and turns that the brothers’ discussion revealed in (presumably fictitious) untold aspects of the Kelly story and how well they integrated with and served to explain well-known facets of the legend. Leaving aside the obligatory interjection of a homosexual relationship (which was, even if it was politically correct, not credible), these additional twists and turns enriched the legend as they provided wonderful dramatic fuel for the rapid alterations in the relationship between the brothers as they negotiated the state of their relationship as brothers and family providers. The legend of the Kelly gang’s exploits and the social injustices that fuelled them was of course already considerable. The way in which these fictional revelations provide surprising motivations and explanations for some of the legend’s most dramatic moments — from the initial unjust accusation against Ned of attempting to shoot a policeman, to Ned’s emergence behind the troopers besieging the Glenrowan pub — makes for truly satisfying and original storytelling.

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Joke Offender: Terrible. Me: [Silence continues.] This is killing me. One guy at my work is a serial offender. I told him that if he tells me one more ‘joke’, that I would write 500 words about it in a free magazine full of ads, articles and vouchers for the Transit Bar. This day happened recently. It was his masterpiece – something he didn’t copy from someone else; it was original. Being a part-time comedian is difficult. But not in the way most people think. It’s not writing jokes, it’s not embarrassing yourself – it’s people. You get lots of people talking at you, not to you – at you. “I just couldn’t get on stage, it’s just too hard,” they’ll say. But what they are actually saying is, “I won’t get on stage, I care what people think of me.” But the thing that is the hardest are those people that pull you aside as if they have a secret: “hey, I thought of a joke for your act…” You never remembered outsourcing this task to anyone. Although, my kids are material-generating machines: “Daddy, if I point my willy in the air, I can wee in my hair.” That’s my boy. You have a joke for me? Well… here’s the thing; no matter what you say, they are going to tell it to you. Joke Offender: I have a joke. Me: They faked 9/11, the Holocaust was imaginary and someone must have voted for Abbott. Joke Offender: My dog has no nose… Me: [Silence – but internally screaming.] Joke Offender: … c’mon, ask me. Me: How does he smell?

Joke Offender: So, here it is. Imagine that your toilet paper was confetti. Me: And? Joke Offender: That’s it. Just work with that. How about no, dickhead? Confetti toilet paper? You come to me with not even a premise or a punch – just some kind of weird what-if. I then need to reverse engineer a scenario of how we got there – and then what happens next? Presumably wiping faecal area with dots of tissue paper. The imagery would make you seek out what the menu at the Transit Bar is (they have great pizzas), which is before the gig guide, but after the latest review. So, if I can offer any advice to someone who works with or knows a comedian, here it is: don’t tell us a joke or something for our ‘skits’. Tell us a story or do something stupid in front of us. Tell me about how you drove past Mitchell and saw a new escort agency called ‘The Girlfriend Experience’. This helps us. Here is some more advice you didn’t ask for: don’t say you will come and watch us if you have no intention of doing so. Don’t say, “tell me when you are on, I will be there.” You never are, none of you. Whew… glad one of us said it. DAVID GRAHAM - David Graham is a part-time comedian who gigs around Canberra and runs the new Comedy Club at Uni Pub (which is not in the uni). See comedyact.com.au for 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

ARTISTPROFILE: The Metal Guy

What do you do? I make upcycled and recycled metal sculptures out of discarded cutlery, stainless steel kitchen utensils and metal objects. When, how and why did you get into it? It began in mid-2014 with a single wall sculpture that I made out of old, automatic gearbox parts. I don’t know exactly when I got the idea to make figurines out of cutlery, but my interest developed from there. It is a wonderful creative release for me. It’s exponentially expanding into animals, lampshades, windmills and a thousand other ideas that I have no time to build! Who or what influences you as an artist? There are many metal sculptures in Canberra that attract my attention, and the world of steampunk upcycling/recycling (especially in the U.S.) provides me with endless inspiration. Modern industrial design and furniture is also exciting. Plus, there are so many backyard metal artists and professional artisans living in the Southern Tablelands area.

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Of what are you proudest so far? The first windmill I ever made. I have a big soft spot for it and I won’t sell it! What are your plans for the future? To be known as one of the most original and interesting metal artists and sculptors. And I want to have my own workshop and collaborative metal workspace. What makes you laugh? My friends and family. What pisses you off? Time wasters, bad drivers and insincerity. What about the local scene would you change? Not much. It works for me. Upcoming exhibitions? I’ll be a part of the RAW showcase titled ‘Glimpse’, which will take place at Belconnen Arts Centre on Friday July 17. You can see my work at the Monaro Woodworks in Cooma, or you can meet me (and my work) at Hall Markets on the first Sunday of every month. Contact Info: themetalguy.com.au, dave@themetalguy.com.au, etsy.com/au/shop/TheMetalGuyCanberra, pinterest.com/themetalguy0191.

LITERATURE IN REVIEW Silent Scream Angela Marsons [Bookouture; 2015]

Right from the start, Angela Marsons’ Silent Scream draws you in. A spate of murders shocks the Black Country, right in the heart of the UK. When a headmistress is found drowned in her bathtub, Detective Inspector Kim Stone is assigned to the case. Soon after she commences her investigation, more deaths occur in what initially appear to be unrelated incidents. Elsewhere, an archaeologist is on the hunt for a lost hoard, and is set to excavate an area adjacent to a former children’s home for girls. When the archaeologist’s life is threatened, D.I. Stone and her team set out to find out why. Running ahead of her permissions from the brass, D.I. Stone enlists the help of specialists to complete a seismic survey of the excavation site. There, they make a gruesome discovery. Separately, Stone deduces that her woman in the bath – as well as others who died soon after – were once employees at the orphanage. Only two of the former employees are alive, but it remains to be seen if they are killers or future victims. Disturbing secrets are unearthed with respect to three girls from the orphanage who have lain in the cold ground. It becomes evident that their murders were brutal and sadistic. D.I. Stone fast realises that she’s on the hunt for a serial killer whose spree spans decades. Revealing the girls’ identities becomes a priority, as D.I. Stone realises that she needs to find the killer before they strike again. But to catch them, she must confront the demons of her own past. I momentarily lost touch with my family, as I was glued to this book. I was deliciously manipulated to think that there was only one killer. I was sucked in to the point that I was thinking about what D.I. Stone should do next. The clues to the murderers’ identities are very subtly arranged into the structure of the story and its clever characterisations. I thought I had guessed who the killer was in the last couple of chapters, but I was robbed of the satisfaction of knowing I had successfully put the pieces together. I loved the character of D.I. Kim Stone. After a rough start to her life, she is understandably complex, smart and flawed just enough to be intriguing. I humbly predict that – at some point – we will see her as the central character of another ‘whodunit’ series on UK TV. It has been a while since I was so engaged, especially by a first in a series. Angela Marsons has rocketed up the list of my favourite crime novelists, and I can’t wait to settle in and read the second in the series, Evil Games, which has just been released.

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

Fortuity Courtyard Studio, Canberra Theatre Centre Saturday–Sunday May 9–17 Fortuity collects into the one production short excerpts from about ten works almost all originally choreographed by Elizabeth Cameron Dalman OAM, for the purpose of celebrating 50 years of her professional dance practice and the 50th year of the cutting-edge dance company Cameron founded in 1965, Australian Dance Theatre (ADT). The retrospective was danced by members of Mirramu Dance Company; Dancecology’s Grace Peng; and five guest artists from a dance company in Taiwan. Interspersing the excerpts with Cameron’s explanatory memoranda, Fortuity sets out to offer audiences an insight into “those early radical, revolutionary years of contemporary dance in Australia”. No obvious theme ran through all the pieces; the excerpts seemed chosen to highlight works (from both during and since her days with ADT) that Dalman felt illustrated most strongly her striving for originality. Indeed, their collective effect was of an exhibition of new ideas. Many of the pieces selected had found their inspiration in the work of well-recognised Australian pictorial artists, some of whom — including Sir Sidney Nolan — had been relatively undiscovered at the time. The first excerpts in particular (from the dance Landscape), unmistakeably depicting an alert desert lizard and a flock of birds (which evidently were parrots), were inspired by such artists as Lawrence Daws, Albert Tucker, and Russell Drysdale. Aspects of other excerpts were less obvious, such as why two parts clearly for women were danced by one of the only two men

performing, and how young people today should understand the excerpt from Eleo Pomare’s Limousine for Janis — the work being about Janis Joplin, and the excerpt focusing on her drinking and injecting. Abstruseness aside, the entire performance depicted well the times that the various works came from, as did the music they were set to. The age of almost all of them — including several Beatles numbers and clearly ’70s jazz — was readily discernible. The unknown piece to which the opening Landscape excerpt was set, though, was timeless and could easily have come from a recent recording by Deep Forest. Dance performance is never entirely distinct from set and costume, and costume in Fortuity stands out in some excerpts for its individuality. The lizard costume in particular, from Landscape, assisted through the dance’s warm illumination, evoking welcome umber hues of the Australian desert and its reptilian denizens. But the Taiwanese dancer performing the solo was gifted in conveying the characteristic movements of what appeared to be a frill-necked lizard. The coordination in timing between the parrot characters in the second Landscape excerpt was a special delight, but the standard of dance was consistently high throughout; it was refreshing to see wsuch fine coordination in simultaneous leaps and turns. Calman herself took to the stage several times, reprising or supporting roles she has played in the past, and nicely rounding this dual anniversary. JOHN P. HARVEY

Image: Barbie Robinson

IN REVIEW

CADA

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bit PARTS SPIN WHAT: Pin Exhibition WHEN: Wed Jun 24–Sun Jul 5 WHERE: ANCA Gallery ANCA Gallery presents sPIN, its fifth annual exhibition of miniature wearable artworks. The concept of creating small, wearable works that are on the cutting edge of contemporary art, design and craft practice appeals to artists and audiences alike. With over 200 diverse works by more than 65 emerging and established artists from around Australia, sPIN is a great chance to collect small works that you can wear or display in your home – there’s something for everyone! Materials include glass, plastic, gold and silver, paper, porcelain, wood, paint, textiles and even plant matter. For more information, contact Annika Harding on 0414 641 125 or email gallery@anca.net.au.

Image credit: Andrew Sikorski

PROTEAN WHAT: Clay Exhibition WHEN: Fri–Sun Jul 3–19 WHERE: Nishi Gallery Protean is an exhibition showcasing contemporary ceramic artworks from members of the Canberra-based artist collective, Claybodies. Established in 2013, the Claybodies ceramics group has now expanded beyond its original cohort of ANU School of Art graduates to nearly 55 members. Defined as the potential to assume many forms, Protean is a metaphor for the material of clay and the current culture of ceramic practice in Australia. This exhibition will push deeper into the practice, ask questions and reconsider the potential of clay. It will open at 6pm on Friday July 3, and will be held in the Nishi Gallery. For further details, contact 0422 263 533 or email annemastersceramics@gmail.com. LORE WHAT: Bangarra Dance Theatre WHEN: Thu–Sat Jul 9–11 WHERE: Canberra Theatre Centre

Image credit: Jeff Tan

Deeply moving performances, incredible dancing and authentic storytelling are trademarks of any Bangarra Dance Theatre season, and none more so than the company’s new double bill, Lore. Curated by artistic director Stephen Page, Lore features two brand new works with three choreographers. The trio have drawn from their experiences to create personal and heartfelt works, with themes of identity, inequality, and sustainability. Page said this program was about sharing stories: “Our culture is so strong – night after night, our dancers and artists bring you their stories, passion, dedication and physicality to the stage.” For tickets see canberratheatrecentre.com.au. DYLAN THOMAS: RETURN JOURNEY WHAT: Theatre Production WHEN: Tue–Sat Jul 21–25 WHERE: The Street Theatre

Dylan Thomas was one of so few poets of his time to enjoy professional acclaim during his lifetime. Despite this fame, Thomas – who was notoriously shackled by alcohol addiction and poverty – went gently into that good night at only 39. This show is set during his final, doomed tour of America, blending his stories and poetry with incisive commentary on the nature of performing, audiences, and the American touring circuit. The audience is taken through Wales past and present in Anthony Hopkins’ celebrated directorial debut. Over 80,000 people worldwide have enjoyed this critically acclaimed production. It will commence at 7:30pm. For tickets and more information, visit thestreet.org.au.

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the word

on albums

to drive root chords into the ground has remained firmly in place. There have been occasions when the band has fallen silent with various side projects taking precedence, but touring and recording has been relatively consistent in the last few years, and this latest self-titled album reveals a strain of experimentation that has been present since day one.

album of the issue WIRE WIRE [POPFRENZY]

Wire’s mono-chord punk assault shook things up on their 1977 debut album Pink Flag, which arrived in the same year as the Sex Pistols’ Never Mind the Bollocks – but these were two different beasts. The Pistols sought to update 1950s rock ‘n’ roll for a generation of youth disillusioned with the blandness of the mainstream culture industry. Wire instead chose to reinvent music as we know it. This edgy four-piece stripped away all distracting embellishments to reveal the basic building blocks of sound – a pure and primitive noise that resonated with an eternal desire for raw, sonic stimulation. The Velvet Underground and The Stooges entertained similar thoughts some years earlier, and Wire set about exploring this primal urge at a time when popular music was undergoing a radical transformation. Cash cow dinosaur bands like Led Zeppelin and Pink Floyd were being drastically stripped of their manufactured mystique, and replaced by amps turned up to eleven for the purpose of generating a joyous racket for the sheer sake of it. The Pistols and The Clash might have set an agenda based on the past – and then gone about creating a style to support it – but Wire was only interested in those untapped dimensions of creativity. The band has transformed its sound at various points, but the original intention

Although metronomic rhythms and monochrome production are mainstays, the two original band members – guitarist/vocalist Colin Newman and bassist Graham Lewis – have this time opted for a more melodic approach that is kinda like late 1960s psych-rock, as performed by Joy Division. The thematic intent is made clear on opening track ‘Blogging’, which suggests a consumer dystopia resulting in, “voting by proxy/ buying online/selling on eBay/all that is mine.” As is the case with virtually all of Wire’s songs, the words are matched by music that is tight and concise, and maybe just a little more melodic this time around than long-term listeners have come to expect. What works are the psychedelic textures that align this latest incarnation of the band with shoegazer music from the likes of Slowdive and My Bloody Valentine. This approach makes for an ominous closure to lengthy track ‘SleepWalking’, and also suggests an affinity with the recent past – in particular indie rock of the no-frills variety, but with atmospheric nuances of the shoegazer kind to keep things interesting. With this mind, I’ve been particularly enjoying ‘In Manchester’, which explores an Avant-pop sensibility while ensuring that a darkened sheen (reminiscent of Factory label bands pre-Happy Mondays) remains in place. Much of the album is set out this way, apart from final track ‘Harpooned’, which is an eightminute over-amped sonic blast with Colin Newman’s vocals taking on an even more menacing tone. A fitting way to end a recording that doesn’t quite match the glorious heights of earlier work, but which nevertheless evokes a groundbreaking cultural moment when punk rock became transformed into post-punk and the musical landscape became populated by the likes of Steve Albini and Sonic Youth, who both owe Wire a huge musical debt. DAN BIGNA

ALABAMA SHAKES SOUND & COLOR [ROUGH TRADE] In six relatively short years, five-piece Alabama Shakes have certainly experienced one of the more stratospheric rises experienced by a band in recent times. Indeed, since the breakout success of their 2012 debut album Boys & Girls, they’ve gone on to appear on Letterman and Conan, and they’ve also worked with Jack White on a series of singles for his Third Man label. Three years on, the release of this highly anticipated second album Sound & Color sees Alabama Shakes fresh from jamming with Prince at Paisley Park and preparing to play at this year’s Glastonbury, which sounds like a pretty comfortable position to be in. More than anything else, the twelve tracks collected here reflect the band’s increased experience, and indeed, they sound tighter as a unit on this album than ever before. At the same time though, this is an album that stylistically jumps around a lot, with a seemingly restless focus on experimentation lurking amidst the band’s established roots rock/blues base. While the title track opens proceedings with smouldering downbeat blues given a slightly dubby tow – as skipping snare patterns roll against Brittany Howard’s spectacular vocals and glittering vibraphone percussion – ‘Don’t Wanna Fight’ sees a hip-hop-tinged drum break locking against jagged guitar riffs and a chorus hook packed with backing soul harmonies. Elsewhere, there’s a sudden launch off into punky overdriven guitar riffs and clattering tribal drums on ‘Guess Who’, with Howard’s vocals adding a teasing edge to the sudden drum and keyboard breakdowns, before ‘Gemini’ wanders out into spectral, ambient soul as her reverbtreated vocals ripple like smoke against sparse drums and liquid-sounding keys. A spectacular return. CHRIS DOWNTON

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BRASS KNUCKLE BRASS BAND SPLIT LIP [INDEPENDENT RELEASE]

OTHER LIVES RITUALS [PIAS]

The local, nine-piece, New Orleans-style street funk outfit – going by the pugilistic moniker of the Brass Knuckle Brass Band – launched their debut LP in 2013. That selftitled release displayed an ability to fashion a new idea in the minds of punters: a brass band with fun, grooveable rhythms. Some of the best tracks on their debut went beyond the instrumentals, to include vocalists in the mix. The latest LP has built on that experience by including a broad range of guest singers and a balanced portfolio of straight music and songs.

In the four years that have passed since Oklahoma-based trio Other Lives’ preceding album Tamer Animals, the band have seen their fanbase expand considerably. It’s something that’s partially down to their Coachella appearance, but spending a chunk of 2012 supporting Radiohead on tour and then having Thom Yorke remix their single can’t have hurt any. Four years on, Rituals offers up Other Lives’ third album, and it’s an impressive follow-up to say the least. There’s an astonishing level of detail and clarity to the 14 tracks collected here, with the band’s intricately layered arrangements deftly balancing a sense of grandeur and intimacy at the same time. It’s certainly easy to believe the trio’s claim that they’ve always been trying to write classical music, with string orchestration making an appearance amongst the layered percussion and subtle electronics throughout the majority of this album.

Instrumental highlights include ‘Retrograde’, which strikes a different note with its slower, more contemplative pace, and the throaty croaker ‘Brush Your Teeth, Take Your Pants Off’ with its complex interweaving of different instruments as they coil together and rise up. There’s also some street cred/ hip-hop action from local artist Citizen Kay – his textured voice balanced by snippets from female vocalist Sarsha Simone. Kay shifts gear, dropping into a cruisy chorus after high-speed verses. The natural but generally unrealised affinity of brass accompaniment to hip-hop is emphasised by combining the band with Roshambo and Hayds’ rapping. Album highlight ‘Mr Pickering’ shines with the duet of the smoky James Grim and the sharp-edged Kira Puru, who together paint a picture of late night romance and risk. Closer ‘Hometown’ – with its call-and-response vocals – sings the praises of the ACT. The Skywhale even gets a special mention with “we’ve got boobs in the sky”. Ultimately, the BKBB has raised the bar for brass bands through the inclusion of a colorful palette of singers, and its popularity should grow accordingly. RORY MCCARTNEY

It seems a slight disservice to describe Other Lives as American cousins to Alt-J, but it’s an immediately apt comparison, with the band’s arrangements similarly being built around circular rhythmic pulses and predominant vocal harmonies. That said, there’s a more florid, even proggy aesthetic at work here. See the likes of ‘Easy Way Out’, which sees spiralling keyboards and ominous strings reaching out into the distance against fluttering drums and Jesse Tabish’s weary sounding vocals, in what’s easily one of the most opulently filmic moments to be found here. Indeed, many of the strongest moments manage to marry darkness and beauty at the same time, as with ‘Beat Primal’’s smooth transition between uplifting choral harmonies and sinister, crawling orchestration. A stunning third act. CHRIS DOWNTON

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EDDIE BOYD AND THE PHATAPILLARS A LOVER AND A FOOL [INDEPENDENT RELEASE] Timing its release to coincide with the Byron Bay Bluesfest, the A Lover And A Fool EP is the debut offering from Blue Mountains, roots-flavoured trio Eddie Boyd and The Phatapillars. The carefree ‘Fooling Myself’ slips along to a ticklish ukulele, as the cooing voices send a calming invitation into a dream world that spills over into daylight. Female backing vocals pull a soothing rug over the rougher vocals of frontman Eddie Boyd. There’s a change of tack in the title track, with the music taking on a more overcast hue. Bluesy licks fly like sparks from a brazier as a frowning harmonica underscores a syncopated rhythm. The song changes shape as it progresses, as a male/female duet flashes briefly in and out of view. Nostalgic whimsy trickles down in the gently plucked tune ‘Bad Timing’. In danger of fading out, the song is shored up by a rising but still subtle drumbeat. A snowball creation, it gains mass and pace as it runs downhill, before suddenly falling off a cliff onto a cushion of acoustic guitar, only to repeat the process again. The unsteady rhythm in ‘Next To Me’ – a story of determination and lust – flares into light with a sudden burst of electric wah-wah guitar. The mini-album closes with the rough-and-tumble between the sheets that is ‘Long Ago’. The melody tosses and turns restlessly, before storm clouds gather and burst – ending the song in yelled lyrics and a stomped out beat. This debut release offers an intriguing snapshot of a new band capable of elegant musical arrangements. The varied tracks contain so much character; the band is still probably trying to decide which musical outlook suits them best. RORY MCCARTNEY

ALPINE YUCK [IVY LEAGUE]

KYLE WILKINS THE FIGHT FOR CHRIST [KP]

JED ROWE THE LAST DAY OF WINTER [INDEPENDENT RELEASE]

Melbourne six-piece indie-synth-poppers Alpine first came to notice with their 2010 EP Zurich, followed by the debut LP A Is For Alpine in 2012. Their captivating formula entailed the blending of clever, catchy tunes with inventive vocal patterns created by the interplay between Phoebe Baker and Lou James. Canberrans who caught the band at Enlighten got a preview of the latest songs.

Kyle Wilkins’ The Fight for Christ EP – released June 16th on KP Records – marks the Canberra artist’s first professional release. For those who are familiar with Kyle’s work, this may come as a surprise as, despite being only 18 years of age, Kyle has over 4 years’ experience supporting recognised international acts, including Canadian group Swollen Members and Necro.

2012 saw the release of the magical The Ember And The Afterglow – the second longplayer from the skilful throats and fingers of the Jed Rowe Band. Country-folk songs with dark-hued themes were broadcast with bewitching melodies. Rowe has now taken on a solo mantle however, shedding ‘band’ from the caption.

The band stays true to its glacial character, although the chill has bleached out some of the hooks that made earlier tracks like ‘Tough Skin’ and ‘Villages’ so attractive. Rather than trying for catchy music, Alpine have developed an approach that relies to a greater extent on the powers of its vocalists. The minimalist backing to the seductive ‘Come On’ – half-sung and halfsighed – serves as a perfect intro, where the singing dominates the music. ‘Foolish’ captures the sparkle and excitement of infatuation as vocals flow in a melodious tide – sometimes in sync and sometimes interwoven – with funky guitar and bright keyboard flashes in support. This new love theme flows into ‘Shot Fox’ with “when your heart beats/mine beats faster”. The sirens’ call and the rapid ticking beat of ‘Up For Air’ lures listeners into an environment of strobed vocal injections. A synth sunrise announces the dawn of ‘Jellyfish’, which is Bjork-like in its squeaky, crystal creativity and accompanied by keys maintaining an envious distance. Alpine’s new works reveal a softer line with aerated songs that are full of bubbles. A feeling of happiness pervades the tracklist. While the music is vanilla, the vocal chemistry between the two girls has been heightened. Baker and James combine to create a sound with all the colour, sweetness and crispness of frozen yoghurt. RORY MCCARTNEY

With supports like that, you would be forgiven for thinking that Kyle’s debut effort follows in a manner that is both aesthetically and lyrically similar, however you would be mistaken. While the title is a dead giveaway, The Fight for Christ could not be further from the gore-rap of Necro. The EP details Kyle’s transformative experience as a teenager, in particular focusing on his battles with drug addiction and mental health issues. These issues are common throughout the EP, and given the title and songs like ‘I Got The Lord With Me’, it should come as no surprise that references to Christianity come pretty thick and fast. While Kyle’s undeniable skill in rapping is apparent throughout, and he displays a good knowledge of how to construct a wellcrafted hip-hop song (as evidenced through ‘Never Lost Once’ and the hook on ‘You My Son’), personally I found the constant references to religion difficult to stomach. Kyle certainly possesses the necessary skill and ear that are needed to become successful, but the constant religious references made me feel like I was sitting in a confessional, rather than sitting on my couch streaming an EP on SoundCloud. Ultimately, that may serve to alienate a more mainstream audience. BRADY MCMULLEN

The Last Day Of Winter was made with a bigger range of instruments – some newly learnt by Rowe (he just casually picked up the piano and fiddle!). And while Jeff Lang and Suzannah Espie have returned from supporting Rowe’s previous LP, they’re joined by a pair of musicians from The Stillsons. Avoiding the usual frontloading of the album, the best songs appear from track four and carry on from there. ‘Let The Colour Come In’ drops some of the best lyrics and guitars on the CD, with licks coiling and spitting. Equally impressive is ‘Fire’ with its emotive fiddle, tin can percussion and a Jeff Lang contribution in the bass and banjo. Guitar notes are highlighted in ‘Red Dirt Valentine’, which alternates between glowing like night-time cigarettes and flashing like a knife. Keeping with the lyrics, the melody swells and recedes in the piano ballad ‘Rise And Fall’, while there’s a funky tilt to ‘What You Gonna Do About It?’ The hired help swells the vocals, with three-part harmonies lifting ‘Miss What Might Have Been’ – a strolling song with honky-tonk piano, subtle brass and an old-time cut to its wardrobe. With a broader range of styles, Rowe’s latest work sees the bushman vibe fading in favour of an alt-country style, but with strong, urban storylines and a hint of Americana, with the use of ‘college boy’ and Oldsmobile in the lyrics. RORY MCCARTNEY

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singles in focus BY CODY ATKINSON LOW ‘NO COMPRENDE’

KING PARROT DEAD SET [AGONIA]

ELANA STONE KINTSUGI [INDEPENDENT RELEASE]

The expectation brewing around King Parrot’s sophomore album was flagrant. The Melbourne natives made such a colossal statement with their debut album, Bite Your Head Off, that their work was cut out for them to expand on an already legendary sound. They have done just that with Dead Set.

Sydneysider Elana Stone (sister of exBluejuice Jake Stone) has won jazz awards and even fronted her own band. In this solo release, anything resembling recognisable jazz has been replaced by incredibly creative, electro-indie pop. It’s a work of big, bold sounds, with Stone’s voice, brash percussion, and synths that bounce, wriggle and wrestle to fill the available space.

Apart from a few initial choice words of mine like “holy shit!” and “get the fuck outta here!”, my response to Dead Set is genuine respect for the amount of sweat and struggle put into the album. It is a mature and modernised sound for a band whose reputation was already severely preceding them. Dead Set has polished the sound of King Parrot – a sound that had so much muscle and force, it was like trying to yield a kraken. They have now disciplined this inferno and cultivated her sound. They’ve cleaned her up, toned her up, and washed her face, and this is the platform she now stands upon.

The opening shriek in ‘Panic Attack’ is worthy of a victim glimpsing an approaching blade, as Stone’s piercing voice comes across in a highly produced landscape. Above her pitch are the repetitive strikes of a single piano key, while underfoot there is a rumbling buzz. This is visceral songwriting at its best, unveiling a scene of pain and meat on the bone, “… pleading, needing, dying alone”.

King Parrot is renowned for their live show – it is one of the most entertaining spectacles you will see on a heavy metal stage, and this album is just as charged up. You can feel the mosh pit; you can hear Slatt’s faint tormenting of the crowd. And like the stage, Dead Set is their territory. Get in or get out of the fucking way.

Stone’s multi-toned voice delivers flashbulb glimpses of familiar songbirds. The brightness of Little Scout’s Melissa Tickle fences with the rich tone of Gemma Ray in ‘Steely Dan’ – a high impact song with a brisk tattoo on the drums and sharp hand claps. Eerie shades of Kate Bush arise in ‘Not Mine Anymore’, while the fractured construction of ‘King Of Kong’ recalls the art of Bertie Blackman and the clockwork anarchy of Dresden Dolls’ Amanda Palmer. ‘Sleep Doesn’t Come’ successfully combines a magician’s hat of effects with a boppy, poppy chorus. The collection closes impressively with the radical transformation of Mariah Carey’s ‘Emotions’ – from run-of-the-mill pop to a barely recognisable creature that ticks slowly forward on stilettos, before surrounding itself with a looped choir of her own vocals, accompanied by rumbling synth gremlins. A mirage of shifting forms, it displays her full vocal capability before ending in a crescendo of mirrored voices.

CARRIE GIBSON

RORY MCCARTNEY

In particular, ‘Need No Saviour’ instantly throws you in this pit where you’re tossed around like a rag doll. ‘Home Is Where The Gutter Is’ is a prime example of the band’s newfound creative perception; still showcasing the elements of grind and thrash that they have always used as a staple, the music is fluid and its direction changes on a dime. It’s like wielding a sledgehammer through your mother’s china cabinet while ripping into a raw steak.

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Low have always been sonically stark – every sound standing out as its own unique beast, separated by space. Somehow ‘No Comprende’ sounds even rawer and more isolated than they have before. Alan Sparhawk’s distinctive voice majestically cuts through the terse atmosphere, creating a sense of melancholy to the sound.

MIKAEL SEIFU ‘THE LOST DRUM BEAT’ It took me a couple of goes to fully get my head around this one – in the most fantastic way. At times an exercise in patience, at others one in hyperactivity, Mikael Seifu somehow always manages to make ‘The Lost Drum Beat’ feel comfortable. Squelchy and glitchy in parts, but with near folk influences present too, it is a conundrum wrapped in a riddle wrapped in a phenomenal song.

AGENCY ‘HIGH HEAT’ There’s some real guts to ‘High Heat’, a bit of the ol’ quietloud-quiet to start the heart again. Channelling alt-rock heroes past, ‘High Heat’ is one of the most visceral things I’ve listened to this year. Agency are all about the pounding bass, chaotic guitars and frenetic drums, and for the local lads that’s a good thing.

FIFTH HARMONY FEAT. KID INK ‘WORTH IT’ This is not a song I like at all. It just feels so... so... empty. Like refined sugar. Or trashy TV repeats. It sounds oddly similar to Jason Derulo’s ‘Talk Dirty’, which isn’t a great thing, and the second half of the song is seemingly a coda of the first half.

the word

on films

WITH EMMA ROBINSON

The 1990s is having a cinematic renaissance. Last week the T-Rex clomped back onto the silver screen in Jurassic World and next up we have another installment in the Terminator franchise: Terminator Genisys. Some of my favourite films are sequels (Terminator 2, Aliens, Clerks 2). This doesn’t mean sequels should be flung onto our screens like rapidly producing and unnecessary bunnies – let’s face it, most of them fall short of the original. I’m approaching the new Terminator with trepidation, and asking myself yet again, “is this a good idea?”

quote of the issue

“…Probably not a good idea” – Owen (Chris Pratt), Jurassic World

WALKING THE CAMINO: SIX WAYS TO SANTIAGO A documentary reliant on its subjects’ ‘journey of selfdiscovery’ and associated clichés could easily fall prey to audience cynicism. Walking the Camino, however, embraces this universal existential conundrum via the travelogue format, and by doing so allows the physical, emotional and spiritual benefits of embarking on an ancient pilgrimage to speak for themselves, without patronising the audience by spelling everything out. Walking the Camino charts the journeys of several pilgrims from varied cultures and backgrounds. They abandon their 21st century lives in favour of a trek across all 800 kms of Spain’s Camino de Santiago – a sacred Christian path that ends at the supposed burial place of St. James. Despite the occasional nasty blister, bouts of tendonitis, and bad weather, the liberating and therapeutic nature of walking such an immense distance is palpable. As you witness the participants’ endorphins kick in, their smiles, laughter and the natural high achieved from gaining new friends and perspectives, it’s easy to see why one Spanish cleric describes the Camino as ‘pure medicine’. If you’re partial to a bit of ye olde medieval architecture, breathtaking Spanish countryside and the lure of a challenge, you’ll be wondering why you haven’t already booked flights, yelled “carpe diem!” and strapped on your hiking boots to try out the Camino for yourself. An enlightening, feel-good documentary.

MAJELLA CARMODY

THE NIGHTINGALE Phillipe Muyl’s French-Chinese The Nightingale left me nonplussed. I’d sat in a cinema for 90 minutes and the only thing I had to show for it was a mild interest in Chinese culture. This film is a somewhat stimulating comparison of the differences arising in China’s population, and typifies the pronounced technological gap, which currently exists between Chinese classes. However, this theme is never directly engaged. Rather, interesting discussions around Chinese identity and culture are sidestepped with the hokey ‘aw-shucks’ odd coupling of a grandfather (Li Baotian) and his bratty granddaughter (Xin Yi Yang). We follow these two characters as they travel back to the Grandfather’s home village, where he wishes to release a nightingale he carries for the duration of the film. The premise of this film relies on chemistry between characters, which is negligible. Even with a strong cast, every point in each character’s development feels forced and trite, and the scenes involving the granddaughter’s mother (Ren Quan Ying) and father (Zhu Chong Yi) not only feel like an episode of The Bold And The Beautiful, but are even lit and shot like one. I really wanted to like this film. There are some absorbing scenes and themes, but they are marred by a middling script and Muyl’s soft touch. But hey, if some of you are looking for another oversimplified reason to complain about the technology-obsessed younger generations, this film is for you. PATRICK JOHNSON

GOING CLEAR: SCIENTOLOGY AND THE PRISON OF BELIEF Going Clear is a compelling look at the controversial Church of Scientology, and while it explores Scientology’s founder – pulp sci-fi writer/prophet L. Ron Hubbard – it largely focuses on its three most well known followers: leader David Miscavage, and actors Tom Cruise and John Travolta (all of whom declined requests for interviews). The organisation’s relationship with Hollywood, through its two most prominent spokesmen is one of the more fascinating aspects of this documentary. The inclusion of Mark Rathburn (Miscavage’s former right-hand man) is also a great coup. It will inevitably face accusations of bias, as almost all of its interviewees are former members who didn’t leave under the best of circumstances. It’s also light on the beliefs behind Scientology, so it probably helps to have a bit of background before seeing it (the South Park episode ‘Trapped In The Closet’ should do nicely). Given the infamously lawsuithappy history of Scientology, it was probably a brave move to make this documentary at all. The tactic of ‘fair game’ – a Scientology response to critics, which translates to any and all means necessary to achieve their goals – is covered extensively, as are its battles with and eventual victory over the US government. As a documentary, it leaves a little to be desired. As an exposé into what is, at best, an expensive self-help program or, at worst, a powerful and dangerous cult, it’s nothing short of chilling. PATRICK BELL

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PALACE CINEMAS

THE MAFIA ONLY KILLS IN SUMMER The film named Best Comedy at the 27th European Film Awards has come to Canberra, showing that European children have mighty acting chops, and that the mafia is much like spaghetti – tangled up with everything on the plate. Arturo (played by Alex Bisconti and first-time director Pif) is a young boy struck down with the affliction of instant and passionate love. Unfortunately, the mafia’s insidious presence in his hometown keeps Arturo from pursuing his love through a series of darkly comical mishaps. As an Australian, it’s always interesting to gain an insight into the varying political systems of older countries, with traditions and grudges that have survived several generations. Attacking the problems presented by the presence of the mafia means delving into centuries of old conflict. Nothing in Australian history can truly compare to the longevity of conflicts faced in countries such as Italy (not that we do not have shameful stains on our own history). That’s one reason to see it. The other is to admire the subtle talent of the children in this film. Over half the film is driven by a cast of child actors that manage to convey their intentions with the slightest of facial expressions. No one is staring vaguely off into the distance waiting for their cue – these kids are focused, and hilarious. The Mafia Only Kills In Summer is a dark subject matter presented lightly and hilariously. EMMA ROBINSON

JURASSIC WORLD All ogle, little substance. Professional hilarious person Chris Pratt plays a dinosaur-tamer of sorts in this unnecessary sequel. Set 22 years after the events of Jurassic Park, the island is astoundingly open for business. After more than two decades of watching the mighty T-Rex chomp and roar, the public’s interest is waning. Hence the genius idea, “let’s genetically engineer a whole new dinosaur that’s bigger, smarter and has more teeth.” Obviously, this is a catastrophic idea (it’s almost as though the managers of the park haven’t seen the previous three films). Dinosaurs run amok and the profit margins are in serious jeopardy (horrific and easily preventable deaths will do that to a business). The first film of this franchise is an excellent film for several reasons. It did not rely only on the newly minted CGI technology of the time to drive the plot. 1993 Jurassic Park posited a simple yet pertinent philosophical dilemma: just because we can, does not mean we should. Exploration of this issue – along with believable character development – was woven simply and expertly in amongst the heart pounding dinosaur chases. Jurassic World (and the previous two sequels) ignored the lessons learned in the first film. It proceeds to not only make the same mistakes, but also invent some whole new ones. Nostalgia is the main reason to see this film. If you want to replicate the same claustrophobic tension, rewatch the first one. EMMA ROBINSON

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the word on dvds

RAY DONOVAN – SEASON TWO [PARAMOUNT] Ray Donovan is a fixer. When his clients – usually the rich and famous – make mistakes, Ray makes the problem go away. He’s paid to band-aid over the disreputable activities of people who don’t know any better. And so Ray Donovan (Liev Schreiber) joins the long, relatively recent list of TV’s white, male antiheroes operating on the margins of society, with their own fluid moral agenda. I guess it makes it better when protagonists like Ray go after ‘bad guys’ – like molesting priests – but ultimately it is a challenge to find something so unique about Ray that he demands your attention. Ray – both the character and the show – is more enigmatic than charismatic. Liev relies on slow burning intensity, but it’s often hard to discern the difference between silent power, boredom and “wait – what is my line again?”, looking all the while like a sad, confused potato. Which is why Jon Voight’s performance as his showy, anything-goes father (Mickey) is a welcome relief, providing colour in the mostly sombre proceedings. But demonstrating the delicate balance Ray Donovan has yet to fully conquer, Mickey swings between hilariously rogue thuggery and 100% ham sandwich; Voight excels at the latter. The stakes are raised a little in this return season, with Ed Cochran (Hank Avira) as an FBI man on the trail who rises through the ranks, getting closer to Ray’s past and present. But it fizzles for the most part.

There is a real sense of disappointment with Ray Donovan – it wants to be more, but it’s hard to fathom how it’s possible when it’s this deep in. The die has been cast. That’s not to say it’s a bad show, but the competition is fierce. Still, Ann Biderman’s previous show Southland scaled greater heights within tighter genre constraints – the cop show format – so there’s hope for Ray. JUSTIN HOOK

DUMBER AND DUMBER TO FOXCATCHER [UNIVERSAL SONY] [ROADSHOW] Let there be no confusion – no one asked for this sequel and it is not essential. But if necessity dictated yearly film schedules, they’d be pretty threadbare. So maybe two fully-grown men dressing and acting like morons for what feels like an eternity isn’t such a burden on humanity, but it sure does feel like it. Two decades since Dumb and Dumber became an unexpected runaway hit, Lloyd (Jim Carrey) and Harry (Jeff Daniels) are back, and nothing has changed. Well, that’s not strictly true, plenty has. The Farrelly Brothers (Bobby and Peter) had the world at their feet after that debut. Their next film Kingpin was one of their best, but it didn’t consolidate their success. That would have to wait until the next one, There’s Something About Mary, which was an absolute juggernaut. It hasn’t been the same since – for the brothers or for comedy. Judd Apatow soon cornered the man-child market and spawned a cottage industry. Tina Fey, Melissa McCarthy, Kristen Wiig and Amy Poehler are a mere slice of the incredible female comedians dominating TV and the big screen. The comedy scene has exploded, splintered and conquered to the point where the Farrellys’ output looks quaint. I mean, there’s going to be an all female reboot of Ghostbusters, for god’s sake. It’s somewhat fitting that the best gag of this canonical sequel (Lloyd faking silent insanity over lost love) is not only delivered in the first five minutes, but was also the majority of the movie’s pre-release trailer. Through Lloyd’s creepy infatuation with Harry’s daughter, you get an idea of how off-balance this film is. Amazingly, almost despite all the evidence presented, Dumb and Dumber To somehow works. The laughs aren’t constant or subtle – but dammit they do exist. Peg it to nostalgia, because there’s nothing visionary or necessary about this return of the idiots. JUSTIN HOOK

You can picture Steve Carell’s manager calling him with the Foxcatcher script – “Steve, this is Oscar-bait. Not only do you get to play the creepy heir to a well-known American industrialist family, but the film is overbearingly sombre, you get to roll around with Channing Tatum and Mark Ruffalo, he’s a monster – and the best part… you get to wear a prosthetic nose!” And it nearly worked. Carell, Ruffallo, Tatum and director Bennett Martin received tonnes of award nominations. Carell didn’t quite get the Oscar – Bennett scored a Best Director statue at Cannes – but the buzz around Carell’s performance distracted slightly from the film that surrounded it; in as much as it’s not that good. Carell plays John du Pont, a man of untold wealth and obsessions – the main one being wrestling. In the mid-’80s, du Pont convinces Olympic wrestling champion Mark Schultz (Tatum) to train with him at his Pennsylvanian farm, Foxcatcher. Mark’s brother David (Ruffalo) initially refuses the du Ponts’ offer to join them – but finally succumbs. The goal is the 1988 Seoul Olympics, but things don’t quite go to plan and ten years later, du Pont shoots and kills David on his estate. Foxcatcher is based on a true story, and though Mark openly disputes some of the details, the narrative is largely correct. Tatum plays David through grunts and aggressive self-punches to the head, Carell skulks around mistaking cartoon villainy for malevolence and Martin’s direction is sedate and listless. There’s no doubt it is a visually arresting film, but the pacing and script are real problems. What does survive is the parable of wealth – du Pont purchases favour and people despite being of questionable character, surrounded by eager enablers. No amount of washedout cinematography can hide that harsh, real-world reality. JUSTIN HOOK

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CSFF

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the word on gigs

Titlefight, Agency, Paper Arms Magpies City Underground Thursday June 25 It was my first time at the underground bunker that is Magpies City Club, and what an experience it was. From start to finish I felt like I had entered a ‘90s time warp, with a sea of flannel shirts aiding the authenticity of the set design. The mosh pit existed in a kind of honour system utopia, where constant acts of death defying stage diving were accommodated safely (no security guards seemed visible nor necessary) and punters periodically held up lost items – like wallets – in search of owners. It was a perfect combination of everything that punk and small, DIY scenes should (and in this case, do) stand for: passionate and enthusiastic engagement with the music alongside nothing short of absolute care and consideration for your fellow punter. South Australian punk rock outfit Paper Arms came highly recommended and wore their impressive touring schedule with pride, delivering an incredibly tight and passionate set featuring well-crafted songs – including one anthemic number about an important punk prerequisite: ‘being broke and not being able to afford shit.’ For such a young bunch of guys, Pennsylvanian four-piece Titlefight had quite a prolific back catalogue to choose from. Three records in with the recently released Hyperview, their sound has evolved from noisy punk to something a little more reflective and melodic, much like Sweden’s Iceage. Standouts were ‘Rose of Sharon’ and ‘Chlorine’, but their entire show was a blistering display of energy and sound. I suspect seeing Titlefight play Magpies in 2015 will stick out as a memorable show. A great venue, a perfect crowd, and bands playing above and beyond anyone’s expectations. It’s how the best music should be.

the word on gigs

TATJANA CLANCY

The Black Dahlia Murder, Psycroptic, Colossvs, Tortured, Inhuman Remnants The Basement Friday June 26 Only one word can describe the tone of Friday night’s wrath at The Basement: fury. The Black Dahlia Murder were supported by some of the best Australia has to offer: Inhuman Remnants, Tortured, Colossvs and Psycroptic. With a fusion of the most delectable heavy metal styles, the night was at a constant climax. Inhuman Remnants lead the evening’s revelry with a violent agenda and a strong surge of intent, absolutely drenching the crowd in their mastery of elaborate death-grind, disgorging immense technique and ferocity with severe groove. They. Are. Heavy! Tortured, another of Canberra’s favourites, brought the right amount of stability to underline the evening’s line-up. Tortured have nailed their sound and it echoed through the venue to an uproar from fans.

PHOTO BY NATHAN MOLLISON

Melbourne’s Colossvs were fucking impressive and my highlight of the night; feeding off the frenetic energy of the pit, we were now in their clutches. A taut and firm assault from start to finish, executing a union of styles with such dark articulation and a rabid intensity, the crowd was left in sheer elation. Psycroptic were overwhelming. Their confrontational aggression and sheer aptitude in this game is awe inspiring. It truly is an honour to see the Tassie boys perform. Churning out their sound with such distinction, such conviction - it wasn’t so much delivering the goods (which we devoured like a leg of lamb) it was Psycroptic showing us how it’s done. The floor had now tripled with patrons all scorching from the night’s decadence of heavy metal as The Black Dahlia Murder came out to an uproar from the pit. Wasting no time, the Americans in exactly 0.3 seconds now owned The Basement. With a constant mauling of muscle and force, The Black Dahlia Murder delivered deliberate carnage to the crowds of Canberra leaving nothing in their wake. CARRIE GIBSON

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AUSSIE ROCK TRIBUTE NIGHT

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the word

on gigs

Schneider Kacirek, Spartak, Shisd The Street Theatre Wednesday June 17 “Why did I mess up the beginning?” It was this question that Stefan Schneider repeated at the end of his set with Robert Kacirek, regardless of any assurances given by his co-conspirator in sound. No one noticed, stated Kacirek, other than me. It was somehow both the most and least accurate statement I’ve heard this month. Kacirek was right in that the newness of the material on show to the crowd meant that the only sign that something was askew was a brief look of uncertainty on his face. But to say that no one noticed the sounds emanating from the stage would be wildly off, with the crowd in delicate focus for the hourlong set. For mine, it was the subtle inventiveness and the dusting of divergent influences that stood out – like Kacirek’s use of plates over snare drums to create alternating scraping or hollow sounds, which were then looped and triggered at will. Or the use by both men of tuned percussion, which – when combined with the jazz, the more traditional EDM and the post-rock elements on show – created a different discourse.

PHOTO BY MEGAN LEAHY

the word

on gigs

Spartak’s set saw them return to their instrumental, improvisational and experimental roots, leaning on soundscapes built on tape loops fed through machines of all shapes and sizes. Microtonal sounds filled the room, slowly bending and twisting through waves of rhythmic destruction, moving from ambient to more agitated sounds and back again. Given the job opening the night, Shisd’s sound leant towards the ambient side of the pop spectrum, with heavily processed vocals and a table full of electronics at his disposal. Discrete moves and melodies dominated the set, with near-disembodied vocals swirling around sonic mischief beneath. CODY ATKINSON

Emmylou Harris & Rodney Crowell, Harmony James AIS Arena Tuesday June 23 It was a big venue to fill with just an acoustic guitar (even with the seating compacted to form an intimate setting), but Harmony James accomplished it with flair. There’s something about a pure, beautiful voice set to simple melodies, and it had the punters riveted. The twists and turns in the timbre of her voice were awesome. While a country lass at heart – who spent time as a cowgirl and learned to love western paperbacks – she could spread her subject matter pretty widely, taking in in-flight magazines and coffee (“for you I’m a skinny flat white with two”). A fitting support act, she even referenced ‘Emmylou’s Guitar’ in one of her own original works.

PHOTO BY DAVID MCCLISTER

While they have only made albums together relatively recently, Emmylou Harris and Rodney Crowell go way, way back together in the US country music scene. Unsurprisingly, they were so insync with their singing, with Crowell’s gravely tones and Harris’ smoky, deep tones. Their guitars were simpatico too, with Harris’ strumming, and Crowell chucking in the fancy plucks. The most elaborate electric guitar work – including a few intricate, very fast solos – came from the one non-US band member, Jedd Hughes from Quorn in South Australia. Being a full-on country affair, there was plenty of pedal steel in the songs (of course). There’s got to be some voodoo in the way the musician conjures up those sighing notes with the movement of his hands. Apart from their own material such as Harris’ ‘Red Dirt Girl’ and Crowell’s ‘Houston Kid’, highlights included the well-known covers ‘Love Hurts’ (first made famous by The Everly Brothers), ‘Dreaming My Dreams’ and a tune by Roger Miller. RORY MCCARTNEY

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ENTERTAINMENT GUIDE Wed Jul 1 - Sat Jul 4

Listings are a free community service. Email editorial@bmamag.com to have your events appear each issue. WEDNESDAY JULY 1

Queen Juanita and the Zydeco Cowboys

SATURDAY JULY 4

ART EXHIBITIONS

7pm. NATIONAL PRESS CLUB

ART EXHIBITIONS

Life and time: Portraits by Rod McNicol

Dead Joe (SA), Capes, Sketch Method MAGPIES CITY CLUB

Life and time: Portraits by Rod McNicol

10am-5pm. Free. NATIONAL PORTRAIT GALLERY

Memories and Rust

Flangipanis (QLD) ON THE TOWN

Nigel Dobson and Josh Darcy. WedsSun 11am- 5pm CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

Playtime

Greg Hodge. Tues - Fri 11am-5pm, Sat 10am - 4pm. CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Free Entry & $4 Drinks Specials. ACADEMY NIGHTCLUB

A Fabled Gesture

On Joue Sur La Terre

Photography Exhibition. Opens 7pm. 11 June-2 July ALLIANCE FRANÇAISE

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

4Some Thursdays

SOMETHING DIFFERENT Tarot Card Reading

Booking only 0404364820. 5-7pm. POLIT BAR & LOUNGE

Slowing Down Time

Louise Curham, Michele Elliot, Sue Healey and Jo Law BELCONNEN ARTS CENTRE

X-Rated

The Sex Industry in the Act. Until Sept 20. CANBERRA MUSEUM AND GALLERY

FRIDAY JULY 3 ART EXHIBITIONS "Here I give thanks..."

All That Fall

John R Walker. Landscapes. 12-5pm Wed-Sun. DRILL HALL GALLERY

The Screen Set

Kirsten Coelho. Porcelain. 12-5pm Wed-Sun. DRILL HALL GALLERY

Sacrifice, life and loss in the First World War. 10am-5pm. Free. NATIONAL PORTRAIT GALLERY

"In the falling light"

Zoe Kirkwood. Tues - Fri 11am-5pm, Sat 10am - 4pm. CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Protean

sPIN

Miniature wearable artworks. 6pm. ANCA GALLERY

Room

Amelia Zaraftis. Tues - Fri 11am - 5pm, Sat 10am - 4pm. CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

New Works By Nigel Dobson

Ceramics exhibition. Open daily. Free. NISHI GALLERY

Shifting Senses, Smash, Altered. 125pm daily. M16 ARTSPACE

Protean

A Fabled Gesture

Ceramics exhibition. Open daily. Free. NISHI GALLERY

Surround/s

Amelia Zaraftis. Tues - Fri 11am - 5pm, Sat 10am - 4pm. CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Greg Hodge. Tues - Fri 11am - 5pm, Sat 10am - 4pm. CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE) Art exhibition. 2-26 Jul. WATSON ARTS CENTRE

Slowing Down Time

Louise Curham, Michele Elliot, Sue Healey and Jo Law BELCONNEN ARTS CENTRE

All That Fall

Sacrifice, life and loss in the First World War. 10am-5pm. Free. NATIONAL PORTRAIT GALLERY

The Screen Set

Zoe Kirkwood. Tues - Fri 11am - 5pm, Sat 10am - 4pm. CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Room

New Works By Nigel Dobson

Opens 6pm 25 Jun - Jul 5. 11am-5pm. CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

FILM Film Screening: Paper Planes

Subtitles. 3pm. NATIONAL PORTRAIT GALLERY

sPIN

Miniature wearable artworks. 6pm. ANCA GALLERY

Show $55. Dinner & Show $110. 6.30pm. THE ABBEY With Ivan Ooze & Dylan Joel. $30/35. ACADEMY NIGHTCLUB

Groovalicious

Phil Emmanuel

THEATRE

With Carnival Road. 8pm. $15. CAPITAL GOLF CLUB NARRABUNDAH

Casanova

ON THE TOWN

Glamour & Song questions. 8pm. Book Online. POLIT BAR & LOUNGE

Ceramics Triennial

Australian Burlesque Festival

10pm. Free. KING O'MALLEY'S IRISH PUB

Tranny Trivia

Kirsten Coelho. Porcelain. 12-5pm Wed-Sun. DRILL HALL GALLERY

9pm. Free TREEHOUSE BAR

Shifting Senses, Smash, Altered. 125pm daily. M16 ARTSPACE

TRIVIA

Nigel Dobson and Josh Darcy. WedsSun 11am- 5pm CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

"In the falling light"

S.A.M

Seth Sentry

18 Jun-4 Jul. Bookings at 6257 1950. THEATRE 3

Memories and Rust

John R Walker. Landscapes. 12-5pm Wed-Sun. DRILL HALL GALLERY

LIVE MUSIC

Opens 6pm 25 Jun - Jul 5. 11am-5pm. CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

Ceramics Triennial

10am-5pm. Free. NATIONAL PORTRAIT GALLERY

"Here I give thanks..."

Swick

All night. $10. MR WOLF

THEATRE Head Full of Love 7:30pm. THE STREET THEATRE

THURSDAY JULY 2 LIVE MUSIC Batpiss (Melb)

With Hy-Test, Meat Cake. 9pm. $5. THE PHOENIX BAR

Dos Locos

9pm. Free. KING O'MALLEY'S IRISH PUB

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ENTERTAINMENT GUIDE Sat Jul 4 - Sat Jul 11 SATURDAY JULY 4 LIVE MUSIC Australian Burlesque Festival Show $55. Dinner & Show $110. 6.30pm. THE ABBEY

Spirit Bunny (Bris)

MONDAY JULY 6 LIVE MUSIC The Bootleg Sessions

Presented by Canberra Musician’s Club. Various Artists. 8pm. Free. THE PHOENIX BAR

With Agency, P A R K S. 8pm. $5. THE PHOENIX BAR

SOMETHING DIFFERENT

8pm. $15.30 inc BF. TRANSIT BAR

Play on a grand piano. 6-10pm. POLIT BAR & LOUNGE

Harts

Play for your supper

CSO’s Icon Water Opera Gala: PUCCINI 7:30pm. $20-$85. LLEWELLYN HALL

Special K

TUESDAY JULY 7 KARAOKE

10:30pm. Free. KING O'MALLEY'S IRISH PUB

Karaoke Winter Comp

10pm. Free. DURHAM CASTLE ARMS

TRIVIA

Vendetta

BandJava

9pm. CASINO CANBERRA

ON THE TOWN Love Saturdays

$10 before 12am. ACADEMY NIGHTCLUB

Sneaky: Surgin aka Steve Lising From 9PM Free TREEHOUSE BAR

SOMETHING DIFFERENT Improvision party 10pm. Free. NISHI GALLERY

Walking and falling

QL2 Dance. 11am, 12:15pm and 1:30pm. Free. NATIONAL PORTRAIT GALLERY

THEATRE Head Full of Love 7:30pm. THE STREET THEATRE

At Last: The Etta James Story Starring Vika Bull & The Essential R&B Band. Bookings at canberratheatrecentre.com.au. CANBERRA THEATRE CENTRE

Casanova

18 Jun-4 Jul. Bookings at 6257 1950. THEATRE 3

SUNDAY JULY 5 FILM Film screening: Oh ! What a Lovely War

2:30pm. Free. NATIONAL PORTRAIT GALLERY

SOMETHING DIFFERENT Walking and falling

DJ Brai. 8pm. POLIT BAR & LOUNGE

The Phoenix Quiz Trivia. 7.30pm. THE PHOENIX BAR

WEDNESDAY JULY 8

THURSDAY JULY 9 ART EXHIBITIONS Western Extremities

West Australian Ceramics. 9-12 July. Free. WATSON ARTS CENTRE Riley Beaumont. Weds-Sun 11am-5pm CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

Isle 9

Art Exhibition 9-12 Jul. WATSON ARTS CENTRE

LIVE MUSIC

Art exhibition. 2-26 Jul. WATSON ARTS CENTRE

Ceramics Triennial

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

4Some Thursdays

Free Entry & $4 Drinks Specials. ACADEMY NIGHTCLUB

SOMETHING DIFFERENT

Yioryios. 10-4pm Tue-Sun. BELCONNEN ARTS CENTRE

Tarot Card Reading

Sacrifice, life and loss in the First World War. 10am-5pm. Free. NATIONAL PORTRAIT GALLERY

"Here I give thanks..."

John R Walker. Landscapes. 12-5pm Wed-Sun. DRILL HALL GALLERY

"In the falling light"

Kirsten Coelho. Porcelain. 12-5pm Wed-Sun. DRILL HALL GALLERY

Protean

Ceramics exhibition. Open daily. Free. NISHI GALLERY

10am, 12:30pm. $30/U18 $10. Bookings essential. NATIONAL PORTRAIT GALLERY

$5 oer child. Bookings essential at 02 6102 7070 or bookings@npg.gov.au. NATIONAL PORTRAIT GALLERY

ART EXHIBITIONS Western Extremities

West Australian Ceramics. 9-12 July. Free. WATSON ARTS CENTRE 10am-5pm. Free. NATIONAL PORTRAIT GALLERY

Riley Beaumont. Weds- Sun 11am5pm CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

2Seasons

Ceramics from Northern Territory. 104pm Tue-Sun. BELCONNEN ARTS CENTRE

Surround/s

Art exhibition. 2-26 Jul. WATSON ARTS CENTRE

Ceramics Triennial

Shifting Senses, Smash, Altered. 125pm daily. M16 ARTSPACE

John R Walker. Landscapes. 12-5pm Wed-Sun. DRILL HALL GALLERY

FRIDAY JULY 10 ART EXHIBITIONS 2Seasons

Ceramics from Northern Territory. 104pm Tue-Sun. BELCONNEN ARTS CENTRE

Isle 9

Art Exhibition 9-12 Jul. WATSON ARTS CENTRE

Victorians Stepping Up LIVE MUSIC

Storytime: Stradbroke Dreaming by Oodgeroo Nu

SATURDAY JULY 11

Booking only 0404364820. 5-7pm. POLIT BAR & LOUNGE

Alpine

With Staunch, Graves, Disparo, Propeller, Office Jerk. 7pm. MAGPIES CITY CLUB

Cabaret show. 8pm. $15. POLIT BAR & LOUNGE

Capturing Inherent Patterns

LIVE MUSIC

Dangers (USA)

Glamour and Moist

QL2 Dance. 11am, 12:15pm and 1:30pm. Free. NATIONAL PORTRAIT GALLERY

Ceramic Exhibition. 10-4pm Tue-Sun. BELCONNEN ARTS CENTRE

Foolish National Tour. Tickets via ticketek.com.au ANU BAR AND REFECTORY

QL2 Dance. 11am, 12:15pm and 1:30pm. Free. NATIONAL PORTRAIT GALLERY

Inconsistent

With Oxen, Sweater Season, Hannahband. 9pm. $10. THE PHOENIX BAR

Walking and falling

All That Fall

Walking and falling

Carb on Carb

9pm. Free. KING O'MALLEY'S IRISH PUB

Shifting Senses, Smash, Altered. 125pm daily. M16 ARTSPACE

Capturing Inherent Patterns

SOMETHING DIFFERENT

Life and time: Portraits by Rod McNicol

Playtime

Surround/s

From 9pm. Free TREEHOUSE BAR

Hard Cover

ON THE TOWN

10am-5pm. Free. NATIONAL PORTRAIT GALLERY

Tom Hathaway

Inconsistent

Life and time: Portraits by Rod McNicol

SOMETHING DIFFERENT

Glamour & Song questions. 8pm. Book Online. POLIT BAR & LOUNGE

ART EXHIBITIONS

QL2 Dance. 11am, 12:15pm and 1:30pm. Free. NATIONAL PORTRAIT GALLERY

Songs from the Great War

TRIVIA Tranny Trivia

Groovin The ANU

8pm. $10. ANU BAR AND REFECTORY

Heuristic

10pm. Free. KING O'MALLEY'S IRISH PUB

Nunchukka Superfly & Yoko Oh No

Yioryios. 10-4pm Tue-Sun. BELCONNEN ARTS CENTRE

"Here I give thanks..."

All That Fall

Sacrifice, life and loss in the First World War. 10am-5pm. Free. NATIONAL PORTRAIT GALLERY

Isle 9

Art Exhibition 9-12 Jul. WATSON ARTS CENTRE

"In the falling light"

Kirsten Coelho. Porcelain. 12-5pm Wed-Sun. DRILL HALL GALLERY

Victorians Stepping Up

Ceramic Exhibition. 10-4pm Tue-Sun. BELCONNEN ARTS CENTRE

Protean

Ceramics exhibition. Open daily. Free. NISHI GALLERY

FILM Film screening: Australian Biography: Faith B 3pm. Free. NATIONAL PORTRAIT GALLERY

Live TRANSIT BAR

Dirtybird Tour

With Kill Frenzy & Will Clarke. All night. $15. MR WOLF

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ENTERTAINMENT GUIDE Sat Jul 11 - Wed Jul 22 SATURDAY JULY 11 LIVE MUSIC Dizz1 (Tru Thoughts) Live TRANSIT BAR

The Mighty Yak

LIVE MUSIC

COMEDY

Trivia and Beers with Bondy and Kiers

Naked Girls Reading

7.30pm. THE PHOENIX BAR

WEDNESDAY JULY 15

Live music. 10.30pm. Free. KING O'MALLEY'S IRISH PUB

ART EXHIBITIONS

7pm. NATIONAL PRESS CLUB

Ceramics from Northern Territory. 104pm Tue-Sun. BELCONNEN ARTS CENTRE

Lazy Eye

Johnny Roadkill

Wtih The Bitter Sweetheats, Black Aces. 9:30pm. $5. THE PHOENIX BAR

ON THE TOWN Love Saturdays

$10 before 12am. ACADEMY NIGHTCLUB

SOMETHING DIFFERENT Walking and falling

2Seasons

Protean

Isle 9

LIVE MUSIC Irish Jam Session.

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

SOMETHING DIFFERENT Walking and falling

QL2 Dance. 11am, 12:15pm and 1:30pm. Free. NATIONAL PORTRAIT GALLERY

MONDAY JULY 13 LIVE MUSIC The Bootleg Sessions

Presented by 2XX. Various Artists. 8pm. Free. THE PHOENIX BAR

SOMETHING DIFFERENT Play for your supper

Play on a grand piano. 6-10pm. POLIT BAR & LOUNGE

TUESDAY JULY 14 KARAOKE Karaoke Winter Comp

DJ Brai. 8pm. POLIT BAR & LOUNGE

Chris Harland Blues Band Electric guitar blues. NATIONAL PRESS CLUb

Yioryios. 10-4pm Tue-Sun. BELCONNEN ARTS CENTRE

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

Amelia Zaraftis

Recent Work. 12-5pm daily. M16 ARTSPACE

2Seasons

Ceramics from Northern Territory. 104pm Tue-Sun. BELCONNEN ARTS CENTRE

"In the falling light"

Kirsten Coelho. Porcelain. 12-5pm Wed-Sun. DRILL HALL GALLERY

COMEDY

Playtime

Sydney Comedy Festival Showcase

Life and time: Portraits by Rod McNicol

4Some Thursdays

LIVE MUSIC

10am-5pm. Free. NATIONAL PORTRAIT GALLERY

Inconsistent

John R Walker. Landscapes. 12-5pm Wed-Sun. DRILL HALL GALLERY

Art Exhibition 9-12 Jul. WATSON ARTS CENTRE

With Primary Colors, P A R K S. 9pm. $5. THE PHOENIX BAR

Ceramic Exhibition. 10-4pm Tue-Sun. BELCONNEN ARTS CENTRE

Capturing Inherent Patterns

Sneaking in the city's finest DJs. From 9pm. Free Entry TREEHOUSE BAR

ART EXHIBITIONS

Beast & Flood

ON THE TOWN

Riley Beaumont. Weds- Sun 11am5pm CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

SUNDAY JULY 12

LIVE MUSIC

Ceramics exhibition. Open daily. Free. NISHI GALLERY

QL2 Dance. 11am, 12:15pm and 1:30pm. Free. NATIONAL PORTRAIT GALLERY

Sneaky: S.A.M.

Naked girls read out loud comedy. 7:30pm. $15. POLIT BAR & LOUNGE

Victorians Stepping Up

"Here I give thanks..."

Free Entry & $4 Drinks Specials. ACADEMY NIGHTCLUB

SOMETHING DIFFERENT Tarot Card Reading

Booking only 0404364820. 5-7pm. POLIT BAR & LOUNGE

FRIDAY JULY 17

Various Comedians. Tickets $40. CANBERRA THEATRE CENTRE

Headfest

Lineup tbc. MAGPIES CITY CLUB

Rule of Thirds

With Wives, Bobby Kill. 9:30pm. $5. THE PHOENIX BAR

Damien Leith

The Parting Glass- An Irish Journey. 8pm. THE STREET THEATRE

Surround/s

LIVE MUSIC

ON THE TOWN

All That Fall

8pm. $15/$20. THE BASEMENT

Aussie Rock Tribute Night

Love Saturdays

Art exhibition. 2-26 Jul. WATSON ARTS CENTRE Sacrifice, life and loss in the First World War. 10am-5pm. Free. NATIONAL PORTRAIT GALLERY

Victorians Stepping Up

Ceramic Exhibition. 10-4pm Tue-Sun. BELCONNEN ARTS CENTRE

"In the falling light"

Kirsten Coelho. Porcelain. 12-5pm Wed-Sun. DRILL HALL GALLERY

ON THE TOWN BAD!SLAM!NO!BISCUIT! Poetry. 8pm. Free. THE PHOENIX BAR

SOMETHING DIFFERENT Storytime: Stradbroke Dreaming by Oodgeroo Nu

$5 oer child. Bookings essential at 02 6102 7070 or bookings@npg.gov.au. NATIONAL PORTRAIT GALLERY

TRIVIA Tranny Trivia

Glamour & Song questions. 8pm. Book Online. POLIT BAR & LOUNGE

THURSDAY JULY 16 ART EXHIBITIONS ...now you don't

Dorte Conroy. 12-5pm daily. M16 ARTSPACE

Amelia Zaraftis

Recent Work. 12-5pm daily. M16 ARTSPACE

ON THE TOWN NORM

9pm. Free. TREEHOUSE BAR

SATURDAY JULY 18 ART EXHIBITIONS Protean

$10 before 12am. ACADEMY NIGHTCLUB

Sneaky: Lucrative 9PM . Free entry TREEHOUSE BAR

SOMETHING DIFFERENT Bastille Day

Dinner, champagne, trivia night. $10. 7pm. ALLIANCE FRANÇAISE

SUNDAY JULY 19

Ceramics exhibition. Open daily. Free. NISHI GALLERY

LIVE MUSIC

Yioryios. 10-4pm Tue-Sun. BELCONNEN ARTS CENTRE

Canberra Blues Society Monthy Jams

Capturing Inherent Patterns

Life and time: Portraits by Rod McNicol 10am-5pm. Free. NATIONAL PORTRAIT GALLERY

Inconsistent

Riley Beaumont. Weds- Sun 11am5pm CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

"Here I give thanks..." John R Walker. Landscapes. 12-5pm Wed-Sun. DRILL HALL GALLERY

Surround/s

Art exhibition. 2-26 Jul. WATSON ARTS CENTRE

...now you don't

Dorte Conroy. 12-5pm daily. M16 ARTSPACE

All That Fall

Sacrifice, life and loss in the First World War. 10am-5pm. Free. NATIONAL PORTRAIT GALLERY

Chris Harland Blues Band. 2pm. $3/$5. HARMONIE GERMAN CLUB

Irish Jam Session.

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

TUESDAY JULY 21 THEATRE Dylan Thomas

Return Journey. 7:30pm. THE STREET THEATRE

WEDNESDAY JULY 22 ART EXHIBITIONS "In the falling light"

Kirsten Coelho. Porcelain. 12-5pm Wed-Sun. DRILL HALL GALLERY

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ENTERTAINMENT GUIDE Wed Jul 22 - Fri Jul 31 WEDNESDAY JULY 22 Life and time: Portraits by Rod McNicol

10am-5pm. Free. NATIONAL PORTRAIT GALLERY

"Here I give thanks..."

John R Walker. Landscapes. 12-5pm Wed-Sun. DRILL HALL GALLERY

Surround/s

Art exhibition. 2-26 Jul. WATSON ARTS CENTRE

...now you don't

Dorte Conroy. 12-5pm daily. M16 ARTSPACE

Capturing Inherent Patterns Yioryios. 10-4pm Tue-Sun. BELCONNEN ARTS CENTRE

Victorians Stepping Up

Ceramic Exhibition. 10-4pm Tue-Sun. BELCONNEN ARTS CENTRE

THEATRE

Dylan Thomas

Return Journey. 7:30pm. THE STREET THEATRE

FRIDAY JULY 24 THEATRE Dylan Thomas

Return Journey. 7:30pm. THE STREET THEATRE

SATURDAY JULY 25 ART EXHIBITIONS Amelia Zaraftis

Recent Work. 12-5pm daily. M16 ARTSPACE

THURSDAY JULY 30 DANCE

Return Journey. 7:30pm. THE STREET THEATRE

Reckless Valour 29 Jul-1 Aug. THE PLAYHOUSE

SUNDAY JULY 26 LIVE MUSIC

ON THE TOWN

Irish Jam Session.

Playtime

SOMETHING DIFFERENT

WEDNESDAY JULY 29

Shaken & Stirred

ART EXHIBITIONS

Burlesque glamour. 7:30pm. $20. POLIT BAR & LOUNGE

Amelia Zaraftis

"In the falling light"

Recent Work. 12-5pm daily. M16 ARTSPACE

Unmentionables

Kirsten Coelho. Porcelain. 12-5pm Wed-Sun. DRILL HALL GALLERY

Shaken and Stirred Burlesque and cabaret. 7:30pm. $20. POLIT BAR & LOUNGE

Kirsten Coelho. Porcelain. 12-5pm Wed-Sun. DRILL HALL GALLERY

"In the falling light"

By Alycia Moffat and Claire Lenehan. Weds- Sun 11am- 5pm. Free. CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

Capturing Inherent Patterns

Ceramics from Northern Territory. 104pm Tue-Sun. BELCONNEN ARTS CENTRE Recent Work. 12-5pm daily. M16 ARTSPACE

Yioryios. 10-4pm Tue-Sun. BELCONNEN ARTS CENTRE

All That Fall

Sacrifice, life and loss in the First World War. 10am-5pm. Free. NATIONAL PORTRAIT GALLERY

2Seasons

Amelia Zaraftis

Capturing Inherent Patterns

THEATRE

Life and time: Portraits by Rod McNicol

Dylan Thomas

Return Journey. 7:30pm. THE STREET THEATRE

THURSDAY JULY 23 ART EXHIBITIONS Unmentionables

By Alycia Moffat and Claire Lenehan. Weds- Sun 11am- 5pm. Free. CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

ON THE TOWN Playtime

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

4Some Thursdays

Free Entry & $4 Drinks Specials. ACADEMY NIGHTCLUB

10am-5pm. Free. NATIONAL PORTRAIT GALLERY

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

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

THEATRE Gaslight

A Victorian Thriller. 30 July- 15 August. CANBERRA REPERTORY SOCIETY

Yioryios. 10-4pm Tue-Sun. BELCONNEN ARTS CENTRE

Unmentionables

By Alycia Moffat and Claire Lenehan. Weds- Sun 11am- 5pm. Free. CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

FRIDAY JULY 31

Life and time: Portraits by Rod McNicol

ART EXHIBITIONS Unmentionables

By Alycia Moffat and Claire Lenehan. Weds- Sun 11am- 5pm. Free. CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

"Here I give thanks..."

10am-5pm. Free. NATIONAL PORTRAIT GALLERY

Surround/s

John R Walker. Landscapes. 12-5pm Wed-Sun. DRILL HALL GALLERY

Victorians Stepping Up

Ceramic Exhibition. 10-4pm Tue-Sun. BELCONNEN ARTS CENTRE

...now you don't

Dorte Conroy. 12-5pm daily. M16 ARTSPACE

ON THE TOWN

Ceramics from Northern Territory. 104pm Tue-Sun. BELCONNEN ARTS CENTRE

9pm. Free. TREEHOUSE BAR

John R Walker. Landscapes. 12-5pm Wed-Sun. DRILL HALL GALLERY

"Here I give thanks..."

Art exhibition. 2-26 Jul. WATSON ARTS CENTRE

Victorians Stepping Up

Ceramic Exhibition. 10-4pm Tue-Sun. BELCONNEN ARTS CENTRE

...now you don't

Dorte Conroy. 12-5pm daily. M16 ARTSPACE

2Seasons

All That Fall

Sacrifice, life and loss in the First World War. 10am-5pm. Free. NATIONAL PORTRAIT GALLERY

2Seasons

Ceramics from Northern Territory. 104pm Tue-Sun. BELCONNEN ARTS CENTRE

DANCE Reckless Valour 29 Jul-1 Aug. THE PLAYHOUSE

Flava R&B

DANCE Reckless Valour 29 Jul-1 Aug. THE PLAYHOUSE

OUT

JUL 15

DYLAN MORAN QL2 STRANGE ATTRACTOR ...AND MORE!

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FIRST CONTACT SIDE A: BMA BAND PROFILE

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

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

Shorty and Chow Where did your band name come from? It was originally a name I (Julian Fung) coined for a duo idea I had with Barnaby. He’s a little on the short side and I’m… well, oriental. So I went with a really common Chinese name. Group members? Barnaby Briggs (double bass), Julian Fung (Saxophone), Luke ‘Baby G’ Greenhalgh (guitar), Blair Fairbairn (drums). Describe your sound: Shorty and Chow’s music is a unique blend of jazz, progressive rock, groove and funk, with a hint of Eastern influence. Who are your influences, musical or otherwise? : John Scofield, John Coltrane, Pat Metheny, Kurt Rosenwinkel, Charles Mingus, Dave Ades, Jamie Oehlers, Sonny Rollins, Warwick Alder, King Crimson. What’s the most memorable experience you’ve had whilst performing? Haha, there was this one gig out at The Abbey, where two girls came up with a post-it note that had two numbers and two names on it. They later signalled for me to give them a call. Of what are you proudest so far? I’d have to say that the playing on our upcoming album would be the thing that has given me the biggest buzz. What are your plans for the future? Keep improving as a band, play more and see where it goes from there.

Australian Songwriters Association Keiran (02) 62310433 Back to the Eighties Ty Emerson 0418 544 014 Backbeat Drivers Steve 0422733974 backbeatdrivers.com Birds Love Fighting Gangbusters/DIY shows-bookings@ birdslovefighting.com Black Label Photography Kingsley 0438351007 blacklabelphotography.net

Los Chavos Latin/ska/reggae Rafa 0406647296 Andy 0401572150 Missing Zero Hadrian 0424721907 hadrian.brand@live.com.au Morning After, The Covers band Anthony 0402500843 Mornings Jordan 0439907853 Obsessions 0450 960 750 obsessions@grapevine.com.au Painted Hearts, The Peter (02) 62486027 Polka Pigs Ian (02) 62315974

Chris Harland Blues Band, The Chris 0418 490 649 chrisharlandbluesband @gmail.com

Redletter Ben 0421414472

Cole Bennetts Photography 0415982662 Danny V Danny 0413502428 Dawn Theory Nathan 0402845132 Danny 0413502428

Redsun Rehearsal Studio Ralph 0404178996/ (02) 61621527 Rug, The Jol 0417273041 Sewer Sideshow Huck 0419630721

Dorothy Jane Band, The Dorothy Jane 0411065189 dorothy-jane@dorothyjane.com

Simone & The Soothsayers Singing teacher Simone 62304828

Drumassault Dan 0406 375 997

Sorgonian Twins, The Mark 0428650549

What pisses you off? Questionnaires.

Fire on the Hill Aaron 0410381306 Lachlan 0400038388

Soundcity Rehearsal Studio Andrew 0401588884

Fourth Degree Vic 0408477020

STonKA Jamie 0422764482 stonka2615@gmail.com

Gareth Dailey DJ/Electronica Gareth 0414215885

Strange Hour Events Dan 0411112075

Groovalicious Corporate/ weddings/private functions 0448995158 Guy The Sound Guy Live & Studio Sound Engineer 0400585369 guy@guythesoundguy.com Haunted Attics band@hauntedatticsmusic.com

Kurt’s Metalworx (PA) 0417025792

Rafe Morris 0416322763

Feldons, The 0407 213 701

Contact info: facebook.com/shortyandchow

Kayo Marbilus facebook.com/kayomarbilus1

Bridge Between, The Cam 0431550005

What makes you laugh? The state of Australian politics.

What about the local scene would you change? I think that the scene could benefit from a sense of community – I often get asked to go and check out other people’s gigs, but there doesn’t seem to be a culture of musicians supporting other people’s gigs.

Johnny Roadkill Paulie 0408287672 paulie_mcmillan@live.com.au

Super Best Friends Greg greg@gunfever.com.au System Addict Jamie 0418398556 Tegan Northwood (Singing Teacher) 0410 769 144

In The Flesh Scott 0410475703

Top Shelf Colin 0408631514

Itchy Triggers Alex 0414838480

Undersided, The Baz 0408468041

Jenn Pacor Singer-songwriter avail. for originals/covers 0405618630

Zoopagoo zoopagoo@gmail.com

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NATIONAL CAMPUS BAND COMP

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