BMA Magazine 472 - 23 September 2015 by BMA Magazine

COVER A STATE OF GRACE INSIDE:

METAL FIESTA 8

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CHRIS CORNELL

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GREAT SOUTHERN BLUES FESTIVAL

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GROOVIN THE ANU

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THE GREEN SHED

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AINSLIE AND GORMAN ARTS CENTRES

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SAN CISCO/THE WAIFS

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PARKWAY DRIVE

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CIT SCHOOL STARS BAND COMP IT’S TIME FOR A CHAT Are you a part of the ACT arts sector? The Childers Group is putting the call out, and now’s your chance to have your voice heard.

Isn’t it great that we now have a woman as the Minister for Women? #472SEPTEMBER23 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 Jeremy Stevens T: (02) 6257 4456 E: editorial@bmamag.com

Accounts Manager Ashish Doshi T: (02) 6247 4816 E: accounts@bmamag.com

Sub-Editor & Social Media Manager Andrew Nardi

We Should Talk is the first in what will be a series of informal discussion and networking opportunities for the ACT arts sector. It’ll see Jack Lloyd (Belconnen Arts Centre), Rosanna Stevens (Scissors Paper Pen), Yolande Norris (BIG hART), and Michael Bailey (CMAG) hold discussions centred around arts in the ACT, the direction its heading, and how the people in the industry operate. They want to hear about what you need – whether it’s skills development, further career opportunities, or a better work/life balance. You’ll be able to meet plenty of other people in the industry and make some new friends along the way. Admission is absolutely free (but a donation of $10 is encouraged, if you can!), there’s an open bar (18+), and you have to book ahead. Presented by The Childers Group and supported by the Cultural Facilities Corporation, the event will go from 4-6pm on Wednesday September 30 at Canberra Museum & Gallery. If you’d like to RSVP, head on over to weshouldtalk.eventbrite. com.au for all of the details.

Are you one of those students who can absolutely slay a guitar solo and impress all of your mates? What about those heavy metal double-kick drum fills you’ve just nailed over the last term’s break? Well if you’ve got the skills to pay the figurative bills (because let’s be real, there’s not that much money in music these days as sad as it is), CIT have just opened up entries to the CIT School Stars Band Competition for 2015. Whether you’re a solo performer or in a band, you’re eligible to enter as long as you’re a school student and in any year between 7 and 12. Registrations are open now, and you can find all of the details over at is.gd/CITSchoolStars. You could win yourself studio recording time at the CIT Music Industry Centre, gift vouchers, and a scholarship to study at the CIT Music Industry Centre itself. All participants will also get a live DVD and audio recording of their performance from CIT to put in their portfolio, throw up on YouTube, show the grandparents, whatever you want! It’s all yours. The competition goes down on Thursday November 5 from 6-10pm, and registrations close on Monday October 26.

ELEFANT TRAKS ANNOUNCE LICENSING ARM Elefant Traks, perhaps one of Australia’s most important labels and supporters of homegrown hip-hop, has just announced its own licensing arm, with a view to help independent and amateur productions out around the country. Traditionally, licensing music for productions and creative projects can be laborious and quite timely. Elefant Traks are aiming to keep the process with their platform as simple and fast as possible, If you’re a filmmaker or someone interested in licensing some work, you can submit a request via the online form. In the future, some tracks from their catalogue will be available for instant licensing, much like buying songs from iTunes or another online outlet. The label has launched the arm as of now, and there are over 200 tracks online. As expected, with a talented roster like theirs, including artists like Hermitude, Horrorshow, The Herd, Urthboy, Jimblah, L-FRESH The LION, Astronomy Class, Jane Tyrell, and The Last Kinection, there’s a huge variety of music available. It’s a move that’s set to benefit creatives around the country and encourage more professional productions across the arts in general.

Graphic Design Chris Halloran Film Editor Emma Robinson NEXT ISSUE 473 OUT October 7 EDITORIAL DEADLINE Sept 28 ADVERTISING DEADLINE Oct 1 Published by Radar Media Pty Ltd ABN 76 097 301 730 BMA Magazine is independently owned and published. Opinions expressed in BMA Magazine are not necessarily those of the editor, publisher or staff.

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YOU PISSED ME OFF!

FROM THE BOSSMAN Celebrity Smells If you’re anything like me - and God willing you are - before hitting the town you’ll love nothing more than dousing yourself in a celebrity’s smell. Celebrity endorsed scents. They make me smile. I get why they exist, and of course the idea is not a new one. Known people have been associating their name with fragrance since Socrates unleashed his Wisdom on the world (gamechanger, that one). There’s a motza to be made and the formula is a winning one. “You want to smell nice. There’s a thousand different choices. Here’s a picture of Kim Kardashian’s face. Sold.” But it’s the earnestness of it all that teases a grin. The other week we got a press release touting Jessica Mauboy’s bold stride into the world of smell. “Jessica has announced the release of her debut fragrance, BE BEAUTIFUL,” the PR espoused. “The brand references her hometown of Darwin with striking colours, reminiscent of the seaside tropical paradise. The aquatic fresh floral is equally at home on a sun-drenched day, or on a glamorous, sophisticated evening on the town!”

Care to immortalise your hatred in print? Send an email to editorial@bmamag.com and see your malicious bile circulated to thousands. [All entries contain original spellings.] To my local college – Before you think about raising fee’s, maybe you should focus on fixing your shitty facilities? You changed the library computers to new ‘aesthetic’ all-in-one monitors that now take 30 minutes to fucking start up. What were you thinking? If you sold them all, bought windows 95 computers from cash converters and spent the rest of the money on crack it’d still be a better use of our money. Not to mention the former dribbly-piece-of-shit water fountain that has been converted into a pants-soiling high pressure fire hose. It is 2015 and i still get trapped in the sliding doors because you dont have a fucking safety mechanism. You pissed me off

I love the fact the name is in shouty capitals, almost making it like an order. “Be Beautiful, Dammit, Or Else!” With that subliminal message I can imagine a lot of husbands thinking this the perfect silver anniversary gift for their long-suffering wives. But this is the bit I love. “The fragrance embodies Jessica’s down to earth yet glamorous character.” I’ve always wanted to smell both glamourous and down-to-earth and finally - finally - I can. Having a celebrity face to promote a product makes sense, but suggesting it is the essence of the celebrity themselves enters the realm of madness. “I’m extremely passionate about my first ever fragrance, BE BEAUTIFUL,” the lovely Mauboy says. “I am so proud to present an amazing scent that is not only reflective of who I am, but also accessible for all my fans.” If a smell were truly reflective of a human being, most of us would be shilling something that smells like a mixture of fear, disappointment and anxiety with a hint of cleaning products and booze. That’s not exactly going to get the pulse racing. Also fun is the notion that the celebrity cooked up the scent themselves, which is suggested with the “from” or “by” premise. Lovely from Sarah Jessica Parker. Honey by Beyonce. Questionable by Miley Cyrus. I can just picture Beyonce getting her Walter White on, sporting a fetching designer white lab coat and over-sized “science glasses”, randomly adding droplets of different coloured liquid into a big beaker before screaming, “Eureka! I’ve done it! I’ve captured my smell!” But as well as making some serious bank, being approached (or deciding) to be the face of a perfume is a solid badge of beauty. You’re not getting a perfume or aftershave endorsement deal looking like John Goodman or Steve Buscemi. And that’s a damn shame. It shouldn’t just be reserved for the beautiful but the talented as well. With that in mind, I’m off to fire up a Kickstarter campaign for Haggard by Steve Buscemi. I count on your support. ALLAN SKO - allan@bmamag.com

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WHO: THE TOMMYHAWKS WHAT: EP TOUR WHEN: FRI OCT 2 WHERE: THE FRONT

The Tommyhawks are coming to Canberra for one night only to serenade you with their folk-indie-grunge tunes. With the release of their debut EP We’re All Meat And We’re Gonna Get Eat, they are touring Australia for the first time and will perform in Canberra on Friday October 2. Their music lies between delicious folk melodies and hard driven, punk-infused blues. It’ll have you covered in goosebumps and yearning for more. Head down to the very popular Front Gallery located at Lyneham shops for a night full of collective energy. Tickets will be available through their website, thetommyhawks.com. Opens at 7pm.

WHO: GREAT SOUTHERN BLUES FESTIVAL WHAT: GAIL PAGE, JJ GREY, MOFRO, 19 TWENTY + MORE WHEN: FRI–SUN OCT 2–4 WHERE: NAROOMA (NSW)

Listen up, because this is your last ever chance to attend this innovative, entertaining and fun blues festival. The Great Southern Blues Festival, located in Narooma, delivers an excellent mix of international performers and regional artists. This year’s lineup includes Gail Page, US artists JJ Grey and Mofro, as well as Australian artists 19 Twenty, Richard Clapton, and many more. Organisers have announced that the 2015 festival will be the last in its current format. So quickly grab your tickets and head down to the coast. Ticketing information is available through their website, bluesfestival.tv.

WHO: BEYOND FESTIVAL WHAT: KATIE NOONAN, ARCHIE ROACH, BLUE KING BROWN + MORE WHEN: FRI–MON OCT 2–5 WHERE: GREENHILLS CENTRE

Canberra is proudly hosting the first ever Beyond Festival, an event aimed at tackling issues around indigenous rights, asylum and refugee policies, and equality. Feel good and fight for a better world whilst listening to a great line-up, including Katie Noonan, Archie, and Blue King Brown. Wait, there is more! A host of advocates and academics will be there to make inspiring speeches about these deep-seated issues. How can you miss it? You possibly cannot. Beyond Festival will satisfy both your soul and your mind. Tickets are purchasable through beyondfestival.com.au and at the gates.

WHO: VANISHING SHAPES WHAT: TOUR WHEN: SAT–SUN OCT 3–4 WHERE: THE FRONT, BEYOND Q

Five-piece progressive folk band Vanishing Shapes are about to go on their first ‘Hallucinatour’. They are an emerging Novocastrian band from Newcastle, and they play interesting folk music in the style of many different and diverse cultures. Their music can be described as ‘magical’. And you can see this truly fascinating band in Canberra not once, but twice! On October 3, they will play at the Front Galley at 7:30pm, and then on October 4, you can see them play at the Beyond Q Bookshop in Curtin Shopping Centre at midday. Visit facebook.com/vanishapes for more information.

WHO: SHAMEEM WHAT: NATIONAL SOLO TOUR WHEN: SUN OCT 4 WHERE: THE BASEMENT

2015 has been busy for Perth neo-soul songstress Shameem. The independent, self-managed musician has just released her new album The Second City, knocked over a national full band tour, performed at Canadian Music Week in Toronto, and supported Michael Bolton and Anthony Callea. Now she’ll be taking her voice and keyboard out on the road for a solo tour, which will drop by The Basement here in our fine old city in early October. The show will be supported by Cherie Kotek Lane, doors are 1:30pm (with a 2pm start), and entry is just $5. There’s no better way to spend a relaxed Sunday afternoon if you ask us.

WHO: LAST DINOSAURS WHAT: TOUR WHEN: SAT OCT 10 WHERE: ANU BAR

Ahh, the highly anticipated Last Dinosaurs album Wellness is finally here! And to celebrate, they have announced Australian tour dates, which include some of the largest venues they have performed at to date. The majority of their shows are sold out across the country, but fear not, Canberrans – tickets are still available at ANU Bar. Due to play in the nation’s capital on Saturday October 10, make sure you grab your tickets for only $42 each via Ticketek for a night of groovy tunes. They kick off at 8pm.

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INDENT PRESENTS HANDS LIKE HOUSES

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SAMUEL TOWNSEND Powerful voices in popular music have the ability to communicate with listeners in a realm beyond words. The poetry of the written word dances alongside the visceral sound created by some artists. Think Kate Bush, Björk, and Robert Plant – musicians and singers whose cathartic exorcisms through song have held audiences spellbound from their very first outings as performers. These are individuals who have tapped into something far deeper than the flawless production of studio recordings, instead embracing their idiosyncratic vocals – flirting with distortion and primordial rumblings. Then think JEFF BUCKLEY, the mystic ‘90s cult figure who haunted coffee houses in New York, sparkling brightly before his swift and tragic death, like many before and since.

The project, which has been in development over the past yearand-a-half, will also see a number of local and international artists involved in the Australian tour. “These vocalists are all bringing so much to the table as individual artists. They all have their own distinct vocal styles and great bodies of work in their own rights,” Lucas says. “All of them seem to have been touched by Jeff, and now Tim is becoming a rapid favourite with some of the artists who may not have known his work previously.” The artists in discussion are Martha Wainwright, Casper Clausen, Willy Mason, Camille O’Sullivan, and Australia’s very own Steve Kilbey, from The Church.

None is a saint or a sinner; people are sometime mixtures of all sorts of things

“He had quite a charisma and high voltage presence. He was just 24 years old. And then once I’d heard him sing, it became obvious that I was in the presence of one of the greatest vocalists I’d ever encountered.” This is musician GARY LUCAS, who worked closely with Buckley on two of his most beloved tracks, ‘Mojo Pin’ and ‘Grace’. “When I first met Jeff, there were definitely sparks flying between us. He was really very complimentary to me from the beginning regarding my guitar playing; he was familiar with my history and I was very flattered to hear it from him … It seemed natural to want to bring him into my project.” Now, almost 20 years after the singer walked into the Mississippi River and tragically drowned, a new project has been born and will premiere here in Australia: A STATE OF GRACE: THE MUSIC OF TIM AND JEFF BUCKLEY. Lucas, who is overseeing this project as musical director, speaks of his responsibility in bringing this important and sometimes very sorrowful story to audiences. “Overall, I’ve tried to keep the spirit of Tim and Jeff alive in a positive way, whilst trying to stress how great and brilliant an artist the two of them were – singular talents. Incredible musicians with incredible legacies.”

Jeff Buckley was born in Southern California during the mid ‘60s and raised by his mother. It was a vagabond existence that had them shifting around the state more often than not. Buckley once described their broken family-unit as “rootless trailer trash”. His famous father, Tim Buckley, died just two months after meeting his eight-year-old son for the very first time. Jeff was never invited to his father’s funeral – a painful memory that stayed with him. “The story is a complicated one, but it is with everybody on earth. None is a saint or a sinner; people are sometime mixtures of all sorts of things,” muses Lucas. The complicated story in question is about to be thoughtfully explored by Lucas along with his band, Gods And Monsters.

Lucas is thrilled by the line-up joining him on this tour, and this is especially evident when he discusses the involvement of Canadian singer and songwriter, Martha Wainwright. “She came out of the scene in New York and her brother [Rufus] had a very close connection with Jeff. So she was certainly privy to his artistry. I first became aware of her work because of a guy [Nick Hill], who was instrumental in putting Jeff and I on the radio in New York. He had a show that featured the two of us and in fact that was Jeff’s first time ever on the radio,” he recalls. “A couple of years later, Nick was touring Martha as her tour manager. She’s spoken in interviews about how she was aware of Jeff and his formidable presence on the club scene of New York.” Martha is sure to bring a nuanced perspective to this ensemble cast, as she borrows from her own fraught family history in the retelling of the Buckley story. It’s impossible to ever forget the singer’s own issues after listening to her track, ‘Bloody Mother Fucking Asshole’, a song she wrote about her father, Loudon Wainwright III. “I love her ‘witchy’ – for lack of a better word – style. She sounds really haunted and possessed when she’s singing, and so did Jeff.” Jeff Buckley did appear ‘haunted’ or ‘possessed’ when singing. His diaphanous falsetto clutches at the heart while he cathartically meanders his way through storytelling – a process that saw him exploring dreamscapes scrawled within his many notebooks. His experimentation was fearless and this is recognisable when listening to his singular studio record, Grace. When asking Lucas about his recollection of this time, he gushes. “It was so brilliant! I just trusted that he knew what he was doing, which is what I really like to do with collaborators, more than dictate direction. I think the greatest collaborations are where the individuals bring everything they can to the table and let the sparks fly.” A State of Grace: The Music of Tim and Jeff Buckley plays at The Canberra Theatre Centre on Wednesday September 30 at 7.30pm. For tickets and information visit canberratheatrecentre.com.au.

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A LIST PRESENTS LAWRENCE MOONEY

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CASH IN CONCERT

LOCALITY

If you’ve been completely wrecked by the flu recently (like myself – pity is welcome), then you have an excuse to not leave the house – mostly to keep yourself well and to not infect other punters. However, if you have a clean bill of health and you are not getting out there to check out the local music on offer, you’re an absolute dill.

At the top of the list of things you should definitely not miss is the return of Glitoris on Friday October 2, when they’ll be launching ‘Disgrace’, their first single, at the Polish Club. They’ll be supported by Venus Mantrap and more special guests yet to be announced, with entry setting you back $20 and doors opening at 8pm. You won’t want to miss a moment of their sweary, sparkle-fuelled feminist punk. It truly is a sight to behold. Head to TryBooking to secure your spot because these ladies are sure to sell out. The advent of the pop-up venue has been an interesting addition to the artistic landscape of Canberra. The heady days of The Chop Shop have been and gone, Westside Acton Park is in some weird kind of limbo, and now there’s a new kid in town (who will soon be leaving town). Gorgeous Mortar in Braddon is only sticking around until Monday October 5, with the Mort St. address playing host to a massive amount of art, music, poetry and various other bits and pieces that will make your heart sing. Get in while you can, and if you’ve got a spare dime, throw in some cash to their crowdfunding campaign. You can find all the details at gorgeousmortar.com.au. From a fresh face to one returning, if everything has gone to plan, by the time you’re reading this, Smith’s Alternative should be back on its feet under the watch of Nigel McRae. While the calendar of events is yet to be fully revealed, rumours are that there are already lots of local artists booked in for upcoming gigs, so watch this space. The third instalment in The Phoenix’s Check Your Head series is on Wednesday September 30 from 9pm, with September’s line-up including Macho Duck, Scotts Adam, and Jedbrii, with beats from IllGato. This little hip-hop and beats enterprise is quickly gaining a keen following, so be sure to jump on board this train before all the kids who aren’t as cool as you catch on. Finally, there’s been some really nice recordings popping up over the last few weeks, so even if you have been stuck in bed with some kind of plague, you can still get a fix of local tunes. Reuben Ingall has dropped Microclimates, an album crammed with glitchy yet graceful electronica, so full of texture that it feels like you could reach out and take a handful of it. Experimental is definitely an accurate description, so prepare yourself for something a bit different. Grab a listen at reubeningall.com. Whether you’re catching a new band with some old friends, or you’re pouring yourself a cup of chamomile and curling up with a new local album, be sure to add a little bit of Canberran music to your diet this fortnight – it’s good for you! NONI DOLL NONIJDOLL@GMAIL.COM @NONIDOLL

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Photo by Keren Nicholson

MERLOC: NOW RECORDING

KEREN NICHOLSON

MERLOC, the recording studio of engineer SAM KING, officially opened its doors on Saturday September 12. The launch featured tunes by DJs Coolio Desgracias and Pat Rose, with beer by Bentspoke Brewing Co, and was attended by a tight Canberra music community who explored the space and discussed their projects with King. The long-awaited arrival of Merloc is a result of King’s realisation that his recording and producing needed a permanent home. As a teenager he recorded his own music on a 4-track cassette that his mum got him. The guy down the road wanted him to record his terrible metal band – then all the metal bands in Belconnen wanted a piece of him. He has been recording and producing ever since. He has kicked around in people’s houses and Charley’s Forest Hall near Braidwood, where he produced the first Cracked Actor and Pocket Fox records. Five years ago, after he got sick of forgetting gear and improvising, he started looking for his own space.

The population to great band ratio is terrifyingly good

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The studio is located in Watson Technology Park. King built the studio himself from a recycled dismantled warehouse mezzanine – the slats on the walls are from someone’s deck. It is a floating room on fibreglass pads for isolation – nothing can get in and nothing can get out. The whole space is arranged in a pseudorandom pattern to avoid lobbing – 50% absorption and 50% reflection, resulting in neutral frequency response, but it still has life. King has invested in making the space an aesthetically pleasing place to be. The wood panelling on the walls gives the feeling of a Norwegian sauna. There is nothing more creative than a Norwegian sauna. “People will spend ten hours a day there. I sought the feel of a creative space with visibility between rooms. Sometimes I sit in there and just play guitar, because it sounds beautiful,” he says. When working with King, he seeks to strike a thoughtful balance between guidance and the creativity of the artists he works with. He has a unique, laidback disposition, and is the selfless member of your band, able to advise on song structure, songwriting, arrangement, and delivery. He understands that recording expectations are varied, depending on the genre. There is no typical. Need a hot tip from King? Record demos before you come into the studio. The more prepared you are, the more fun you will have and the better it will sound. “It’s worth remembering that as an artist, the thing that you have recorded must sound good to you – it does not matter what others think. You need to like it,” he says. So, why Merloc? Merloc is a fish on a bicycle on the wall at Dickson pool. Someone spray-painted ‘I am Merloc’ next to the fish. Essentially, King thieved it. Every time the words were painted over, they would reappear, much like the consistency of Canberra music. “Canberra, population-wise, punches well above its weight,” he says. “The population to great band ratio is terrifyingly good.” Time to hit the studio? Merloc Studios is located at Canberra Technology Park, 49 Phillip Ave, Watson ACT. To book a session or for more information, visit merloc.com.au.

We all grew up together and have played music together since high school

STARTED FROM THE SEAFLOOR CLAUDIA TILLEY With numerous albums already under their belt and showing no signs of stopping, the young six-piece band THE OCEAN PARTY are planning to serenade Canberrans with their sun-kissed tunes this October. Their latest album Light Weight is their fifth in the last three years, and is due to be released Friday October 9. “It’s not always easy to make records and tour when you have a small income and a part-time job to work around, but I’m not sure we could stop making records at the rate we do at the moment,” says Lachlan Denton, guitarist and vocalist in the band. “I don’t know what anyone would put their energy into.” Interestingly, Light Weight is The Ocean Party’s first professionally recorded album, and it was produced by John Lee (Lost Animal, Love of Diagrams). Denton notes of the process, “It meant we had to prepare a lot more before we started recording. We don’t have big budgets for records, so when you are in a studio and it’s costing you by the day, you don’t want to screw around too much. John was very understanding of this and he made the process run smoothly.”

With various different voices and inputs flowing into the songwriting from the six band members, you would think the process would get messy from time to time. But nah, the guys have it covered. “We see ourselves as being more like a band of producers, so it’s all about talking to each other about the song,” he says. “There is a certain amount of respect you need to have for the vision of the person who brought the original song idea, but I think we have a good, open platform and it always feels like we all play a very even role on a record.”

The Ocean Party’s unique and distinctive sound stems from a number of different influences. Each new album is a progression from the previous record, with a new feeling and tune to it. “It sometimes seems like every record is influenced by the music we listened to on the previous album tour – the only thing I can remember listening to on the last tour was New Order, so that might trickle through. “At the end of the day, I think everyone in the band takes musical influence from very different places, but I do think that we are good at following each other’s lead with a vibe. We all grew up together and have played music together since high school, so I think that has dictated our sound.” So what’s next for The Ocean Party? A tour of Europe? Maybe even another record? “We did the US last year and the plan is to try and do the US, UK, and Europe in 2016. We have already started recording the next record, so as well as playing a few shows, we’ll be hoping to finish off another record.” Luckily for us, the guys show no signs of slowing down. The Ocean Party will launch their album Light Weight at The Phoenix on Thursday October 8 with support from Wives and Cool Sounds.

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an absolutely bangin’ edit of ‘Impossible’. In a word: dank. Search Ventures on FB or Soundcloud to have a listen.

THE REALNESS What a fortnight for new music! Ghostface and Doom released a track together; Mac Miller released his new album, GO:OD A.M.; T.I. dropped a new mixtape; there’s a new Jay Rock tune featuring Black Hippy, ‘Vice City’; Skepta did a mixtape with Tim Westwood; and Travis Scott released Rodeo. Of all the past fortnight’s new music, for me, Travis Scott’s Rodeo really stood out, if only for the fact I actually didn’t hate it. Objectively, I should have hated everything about it – insane use of auto-tune and Justin Bieber featuring on an album from an artist whose previous efforts I didn’t even enjoy. Yet, while I’ve listened to Owl Pharaoh and didn’t think too much of anything about it, and didn’t listen at all to Days Before Rodeo, I am a fan of the latest release. I was right about the auto-tune – it’s almost ubiquitous throughout – though Scott manages to employ it on nuanced Atlanta production with a level of inventiveness and variety not normally heard. Also, hell must be freezing over because Justin Bieber’s feature wasn’t that bad. Yeah, I just wrote that…

The Ansah Brothers went and released a video for ‘Go Figure’ on September 1. From their Polaroids mixtape released earlier in the year, ‘Go Figure’ features a catchy refrain to keep the radio kids happy while also working to The Ansah Brothers’ demonstrated lyrical strength and underground sensibilities. Looking forward, Anderson .Paak is releasing an effort with LA producers Blended Babies. Paak has been killing it this year, releasing ‘Suede’ with recent Canberra touree Knxwledge earlier in the year, so I’m stoked to see how this works out. Check Your Head is on once again at The Phoenix this month. This incarnation of your monthly night of beats and bars will feature Jedbrii, Scotts, and Macho Duck. You can go and see this whole tasty line-up for the low, low price of $5. At prices like this you can’t afford not to go … BRADY MCMULLEN realness.bma@gmail.com

Locally, MC and producer Hayds dropped his latest release, The Movement Vol. 1. While there’s no surprises here – as Hayds lays out a number of tracks in the traditional Aussie hip-hop mould – his production expertise shines through, with every track feeling more like those that you would find on a bigger-budget effort. Hayds’ passion for the Canberra hip-hop scene is also clearly evident, with The Movement Vol. 1 featuring a whole host of local talent such as Hau, Axe Aklins, Semantix, Words Eye View, Ciecmate, Roshambo, Indighost, Suavess, Nicola Marie, Coda Conduct, Jedbrii, Jimmy Pike, Nix, Panther, Dazed, Vili TK, Odeon and Omar Musa. While all the revelry will sadly have died down well before this publication goes to print, Hayds will be launching his latest effort in concert with Suavess (who also recently dropped Chilla Shit) on Saturday September 19 at Transit Bar. You can support Canberra hip-hop by copping The Movement Vol. 1 at Landspeed or by making a visit to Hayds’ Bandcamp. Local producer Ventures has also posted some new music recently. Following on from the release of Travis Scott’s Rodeo, Ventures has capitalised and produced

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BAZ RUDDICK PARKWAY DRIVE are the undisputed kings of Australian heavy music. With a career spanning 12 years, the boys from Byron have taken their cheeky surfer outlook, spliced it with a keen thirst for adventure, a love of heavy music, and trail-blazed their way around the globe. Despite being an international sensation, Parkway Drive have remained firmly rooted in Australia. On the eve of the release of their fifth album, Ire, I spoke to metalcore nice guy Winston McCall about 12 years as a band, reinventing the formula, and keeping their adventurous spirit alive in the unknown.

colouring-in books going, ‘This is the pinnacle of creativity’.” The years of touring and recording have made the boys want to throw out the Crayola’s and sharpen up the Derwent’s. Marked changes in Ire’s sound are more melodic guitar sections, stripped backbeats, and a focus on intensity. “In the past it was always faster and heavier. So this time we had to step back and focus a bit more.” McCall says. “We don’t have soaring vocals to carry hooks. So we made sure melody was carried through the guitars. A lot of the stuff we used to play was just chaos all over the place in terms of intensity, so that was stripped back and we learnt to play less in parts.”

Starting to understand new ways of doing something is like starting a brand new band

Parkway’s fifth studio album marks an evolution for the band. As heavy as ever, and as epic as ever, Ire seamlessly carries off this heaviness with melodic hooks and driving guitar. But this didn’t come easily. The boys had to make a conscious effort to challenge themselves. “We have done the same formula for our entire career,” McCall tells me. “Deciding to throw away that formula you built your band’s entire existence on, and starting to understand new ways of doing something is like starting a brand new band.” A retrospective approach was taken – keep what they liked from the old, and replace what they didn’t with the new. Such marked difference was not without risking the fan base, however. Yet in the interest of evolution, it was necessary. “When you stick to that one formula you just keep reinforcing stereotypes that basically seal where you have to be going,” McCall tells me. “You can either put out a record that has changed very little and hope it is good enough to keep the band going, or you can do something different, challenge people, and hope that what you do is relevant.” Winston McCall remains one of the true legends of the original surfer metalcore scene. Completely devoid of pretension and with a keen sense of humour, the years of being the poster boy for the Australian heavy music scene have not quashed his enthusiasm for the job. It is evident he loves what he does because he loves to talk about it. This progression in music reflects their progression as a band. “A third of our entire existence, we have been making this music.” McCall says. “I would be very surprised if there were people who still found the same joy in colouring-in books they did as a child – ten years later, still sitting there with their year one

A musical restructure was no easy feat for a band that prides itself on the faster and heavier. “It is a big hit to the ego!” says McCall. He rattles off the process of stripping back: “Play the simplest beat you have got because that guitar needs to be heard, don’t sing until the first two notes, and then you can put a little bit in to carry it along …” Creating Ire was a process of several years of both on-the-road and downtime writing. “When we’re at home and we have writing time, we work our arses off,” says McCall. “And this time it meant we had so much more work, simply because in the past, doing things to the formula, you feel really confident with how you do it – we write it, we tweak it and three incarnations later you are like ‘That is as good as it is going to be so let’s record it’.” This time around, the boys laboured over songs up to 60 times to get them into their current state. “Songs that we wrote two years ago literally were not finished until the last day of recording. We didn’t even know if the concept was going to work at all, so that meant much more work.” So if it’s all hard work and refining sounds, what about the spirit of adventure that’s so evident in their famed world tour DVD Home is for the Heartless? “Oh it’s still there,” McCall assures me. “That’s why I jumped out of a plane!” he says, referencing their new video for the song ‘Vice Grip’. Parkway Drive will be playing the UC Refectory on Saturday October 10 at 6:30pm. Support from Thy Art Is Murder, Memphis May Fire, and The World Alive. Tickets are $60.20 through Oztix.

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SCOTT BATUM “We’re definitely ready to come home and have a few beers!” HANDS LIKE HOUSES have held form and made 2015 their busiest year yet. Between touring throughout the UK and Australia, writing and recording a new album, and taking part in the travelling circus that is the Warped Tour in the US, the Canberra boys are due for a well-needed rest. But rest won’t come any time soon as the five-piece have scheduled yet another world tour, kicking off in Australia in late September. As part of the upcoming tour, the band will be playing shows in a number of regional towns, including Scone and Orange, as part of the 2015 Indent Tour.

As for what we can expect from their third offering, the band is hoping to capitalise on the release of single ‘I Am’ earlier this year. The song, which has now cracked 1.1 million views on YouTube, will feature on the album. When asked about the writing and recording process for the new album, Matt ‘Coops’ Cooper said he was confident that the band’s growth would be reflected in the album’s quality. “We think we’ve grown smarter over the last couple of years with writing and tours, so we hope it’s translated into a more intelligently written, better sounding album as a result.”

The music is always the primary motivator of anything you do

“It’s about developing an awareness of music as a social tool in regional communities. Our friends in In Hearts Wake did the tour last year and spoke really highly of not only the turnouts and the environment of the tour, but also the organiser and what they are trying to achieve,” says Trenton Woodley from their producer’s studio in Florida. Indent is a MusicNSW initiative to give young Australians access to drug and alcohol-free entertainment. The band will be playing six all-ages shows in September and October throughout New South Wales. But the tour won’t end there. Following a five-date saunter along the western coast of Australia, the Canberra lads will be flying back to the UK and US for another headline tour. This year, Hands Like Houses completed their second run on the Vans Warped Tour in the United States. The band previously performed on the tour in 2013 and released their second album during the two-month long run of shows. It’s no secret that lesser-known acts on Warped struggle when they clash with a major headliner. But Joel Tyrrell, the bassist for the band, says that it wasn’t as much of a problem this time around.

“No matter who we were clashing with, we had a really solid crowd … Looking at the tour, pulling in a lot less people to when we did it two years ago, it was nice to see that we were pulling bigger crowds with less people there.”

The band underwent a pretty drastic tonal shift between their first and second albums. Trenton hopes that the new album will appeal to fans of both and also garner themselves some attention from markets they haven’t quite cracked yet.

“It’s a step forward without leaving anything behind. We’ve tried to take the best of what we’ve done previously. Grabbing a handful out of each album and taking a big step forward,” Trenton says. “It’s definitely darker and heavier in parts and we’ve made sure we have huge choruses and memorable lyrics and lines.” The band will be playing a hometown show at ANU Bar as part of their national tour. When asked about what they have in store for us this time, Coops and Tyrrell say they are hoping for a big showing from friends, family, and the fans. “We’re just trying to make it bigger and better each time.” After a short break over the holiday period, the band are planning on getting right back to work promoting their new album. “The music is always the primary motivator of anything you do, but we want to grow the band, find some challenging new opportunities, and especially in Australia, we really want to spend some time building a brand back home.” Hands Like Houses are about to embark on the Indent Tour with Columbus. The Indent Tour will be going through Campbelltown, Orange, Scone, Batemans Bay, Goulburn, and Sydney between Friday September 25-Sunday October 4. See indent.net.au/the-tour for all of the details. They will also be playing at ANU Bar on Sunday October 18, opening at 8pm. Supported by Lower Than Atlantis and Far Away Stables. Tickets are $34.70 + bf through Oztix.

Straight after Warped, the band headed back to the studio to finishing writing and recording their new album. Titled Dissonants, it’s due for release towards the end of the year.

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DANCE THE DROP

If you’re one of those super smart, plan-for-the-future type people, you’ll be looking at this coming double long weekend with a smile on your face, because you’re the kind of person who’s already put in your leave application – you get to take a ten-day holiday with only four days of leave. Good work there! If you’re more of a that’s-for-future-me-to-work-out kind of person (and let’s face it, that’s probably most of us), you’ll still be here in Canberra, without a ten-day holiday – but hey, a double long weekend is still pretty good, right? In fact, this can be a positive: it’s the perfect opportunity to spend some hours engaging in man’s greatest form of entertainment – dancing all night to repetitive, amplified music in a dark room with a bunch of ravers! More time for gigs, more time for recovery – a literal rendition of “eat, sleep, rave, repeat” (surely Fatboy Slim was talking about a Canberra long weekend, right?).

Zodiac is best known for his slamming drum and bass sets, but he’s been quietly working on a new, chilled, downtempo project, Toyo. Get a first taste of these new sounds at La De Da on Friday September 25 with support from Dub Princess (Melbourne), Deiblu, Phishbone, Files Davis, Nigiri, and Alex York. Two nights later, UK house and disco-tech producer/DJ Star Slinger will be hitting up Transit Bar for his first Canberra appearance – this dude knows his way around the decks, be sure to check him out if you’re a house fan! Support by Mighty Morphin, Turt Lush, first gulf war, Aeon Knight, Architect DJs, Dred and Bottle Brush vs. D.Wils. If you prefer your beats much darker and very twisted, head along to The Basement instead for Darkness Returns. One of Canberra’s finest producers, Gibb Tartaris will be bringing his forest/dark psytrance project Reflection back to Canberra after an extensive European tour. With support from Xuhji, Technocalypse, ahHType and Horuscope, you know this will be a good night of heavy music! There’s bound to be a few sad ravers now that Defqon.1 Festival is over, but don’t despair – the lads and ladies at Hard Envy will be taking over Cube nightclub two Sundays in a row! On Sunday September 27, Tim Dawes will be down from Sydney, supported by a host of local selectors including Cassie Bear, Nomad, Loose Cannon, The Soundsmith, Ben Penfold, Cotts, and Capital Punishment. The following Sunday October 4, two interstate guests will bring plenty of reverse bass as United As One (Sydney) and DJ Practice (Melbourne) are welcomed to Hard Envy for the first time. The Saint, Fuentes Brothers, Guerrilla Warfare, Jorgo, Phoenix and Clive Warren in support! If that’s not enough rave action for you, Academy is playing host to Melbourne’s Slice N Dice (and being from the Southern city, you can expect some Melbourne bounce), and for techno fiends, keep your eyes/ears peeled to Box Cutter’s Facebook page – they’ll be putting on some shenanigans on Friday October 2 as well! PETER ‘KAZUKI’ O’ROURKE contact@kazuki.com.au

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METALISE Okay, to kick off – I was right, the Iron Maiden world tour dates did come out shortly after the last issue went to press and given the amount of people I’ve had asking me if I’ve listened to their new, epic double album The Book of Souls, I assume that this will be sold out pretty quickly. The Sydney date is Friday May 6 at the Allphones Arena and the Melbourne show is on the Monday May 9 at Rod Laver. The band will tour with The Raven Age, featuring George Harris – son of Maiden bassist Steve – on guitar. This follows on from the nepotism of the 2008 tour when Steve brought daughter Laura’s band out for the tour. The lesson being, if you get a gig offer from the child of a Maiden member, jump on it as you will soon board Flight 666 with Bruce Dickinson as your pilot. I’ve bleated on plenty in this column about you lot getting along to the Elder and Earthless double header on Sat–Sun Oct 24–25 in Sydney. Lifeisnoise can’t help themselves, and have now got Japan’s Mono out for a visit in December. A trip to the Newtown Social Club is on the cards for Sunday December 6, which will be quite the bone jarring experience for those keen to take that on. Soilwork announced for February and I’m not sure if that’s anything to do with Soundwave but what the hey, Max Watts on Monday February 15 for some melodic death metal can’t be a bad thing.

Speaking of the wave, Lordi and Bring Me The Horizon might get some folks excited for the full bill announcement soon. The October local show event calendar is pretty full, starting with Witchskull, Local Horror and guests at Transit on Saturday October 3 for some AFL Grand Final-worthy album launch action in the shape of their amazing LP The Vast Electric Dark, which comes out electronically on Thursday October 1 and physically at the show. It’s Transit again on Friday October 16 for the astounding grind delights of Captain Cleanoff, Blightworms, and Wretch. Gay Paris hits The Phoenix on Saturday October 17 for their first ACT visit since they came to town with King Parrot last year. Then the Halloween Spectacular of Metal Fiesta 8 closes the month at The Basement in Belconnen, with the HW bill of Lord, Frankenbok, The Levitation Hex, Dawn Heist, Immorium, Perpetual End, Lo!, Novveux, Claret Ash, C.H.U.D, and Forstora on Saturday October 31. On local nostalgia, there is a fantastic and whimsical new Facebook group and website called Secret Devil Zine that is busy transferring the video delights of Canberra’s heavy metal history up onto Vimeo and serving up tasty treats from our city’s storied heavy metal past. Well worth joining up to suss out. JOSH NIXON doomtildeath@hotmail.com

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THE LONG ROAD TO BEING CONRAD SEWELL SETH ROBINSON Chances are if you’ve tuned into the radio at any point over the last year, you’ll be well acquainted with the truly impressive pipes of CONRAD SEWELL. His hits ‘Hold Me Up’ and ‘Start Again’ have dominated the top 40 charts, and ‘Firestone’ – his tropical house collaboration with Norwegian producer Kygo – was the defining summer anthem of 2014. Now, on the back of massive success both at home and abroad, Sewell is preparing for the release of his debut album, and revelling in the next stage of a journey that began at eight years old. “I suppose when it comes down to it, I’m a songwriter at heart,” he begins. “I started recording songs when I was eight, and just recording them onto tapes. I was always around it. I signed my development deal at 17, and from there I was always trying to figure out a way into the industry.”

If you work really hard, when you get it, you’re like ‘Ah! Now what can I get next?’

It was this mission that took Sewell overseas – from his hometown of Brisbane, to working with industry leaders across continents. “I went to Sweden, because there was a lot of great pop music coming out of there. I studied songwriters, like Max Martin, that were writing all the pop hits. I wanted to be around it, and learn from it. It was cool. It helped me learn what I wanted to do,” he says. “You’re constantly changing and growing in this industry. No one has a set way of doing it; I think you’re constantly learning. When I came to America I learned a whole new bag of tricks. You just keep on and absorb everything around you, because doing that makes you a better artist.” With all this in mind, it’s no wonder that Sewell has found himself where he is today, working with some of the biggest names in the industry. It’s been a marathon as opposed to a sprint, and he treats it as such. Ask Sewell what it feels like the first time you hear yourself on the radio, and you get an answer that puts ten years into a nutshell. “It’s surreal at first, but it’s also the natural progression. You’ve worked for it for so long. If you had asked me that four years ago, I would’ve been like ‘It’s crazy getting played on the radio!’ But by the time it actually got played, I felt like it was supposed to happen, because I had already had that song for two years, and had been working so hard,” he says. “It’s like anything in life – if you work really hard, when you get it you’re like ‘Ah! Now what can I get next?’ “There are moments of uncertainty, but those moments pass very quickly, because something will happen, or you’ll listen back to the music you’ve been creating and realise there’s something there,” he says. “I’ve always strongly believed that I was good enough to do what I’m doing, and no one could take that from me. Even though people will definitely say to me ‘Are you still trying to do that?’ it was never a question. I just want to keep on working, get this music out to everyone I can, and continue growing and getting better as a musician.” You can catch Conrad Sewell at Transit Bar on Wednesday October 7 at 8pm. Tickets are $20 through Moshtix.

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putting on a killer final month of shows and will continue to do so until Wednesday September 30, so make sure you make your way down one final time and show some love and support. Anyway, here’s a short list of some cool shows coming up.

Unfortunately, it is a sad note on which I must begin this issue’s column. By the time this is published, our beloved Magpies City Club will have a mere eight days left of its existence. With this in mind, I feel it’s only right to offer a short tribute in honour of what’s been one of Canberra’s best live music venues over the past two years. In its relatively short lifespan, it’s become a safe-haven for not only a vast array of local artists, but also for an impressive list of interstate and international bands. One cannot mention the huge impact of the venue without mentioning the man who’s been all but single-handedly responsible for its success: Joel Cabban. In just two short years, Cabban worked as a manager, booking agent, and light and sound engineer to take the venue from a mostly empty room, hosting shows on a tiny stage with a small PA on a fairly sporadic basis, to a comfortable, supportive, and accommodating environment with not one, but two well-built and lit stages with superb sound and multiple shows a week. Now, you might notice that this column’s gig info is pretty sparse, and that is in no small part due to the closure of the club, which until now has had a bit of an unintentional monopoly on the local punk and hardcore scenes. Rest assured, though the loss of this venue is a tragic one, Canberra music will surely recover. We’re very used to the coming and going of live music venues, and we always manage to make do. That being said, Magpies has been

If thrash is your thing, then definitely head to the Magpies City Club on Friday September 25 to check out Sydney’s Tanned Christ as they launch their new EP Antipodean Sickness. They’ll be joined by some stellar local supports including Loather, a new Canberra band featuring members of Blight Worms and Machina Genova, along with Starrats and Agency. On Thursday October 8, you can head down to The Phoenix to catch Melbourne’s The Ocean Party as they launch their newest album Light Weight. They’ll have support from Melbourne’s Cool Sounds and locals Wives. There’s a huge line-up headed our way on Saturday October 24, when Melbourne’s The Go Set blow through our capital. They’re being joined by an impressive assortment of supports including fellow Melbournians Wolfpack, Brisbane’s Crooked Face, Wollongong’s Topnovil, and locals Revellers, Yoko Oh No, Capes, and Azim Zain and His Lovely Bones. It will all be going down at Transit Bar, and you can grab yourself tickets for just $12 + bf through Oztix. That’s all for now. I must go get some paper towels to clean up all the tears on my keyboard. IAN McCARTHY

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What is real? What is authentic? Is this real, or is it just a guy writing to himself on a page? Why can’t it be both? Cody Atkinson looks at the real and the fake, in alternately real and fake ways. What is authenticity? Authenticity is quite literally the quality of being authentic. It is being real, being truthful in its origins, its sincerity, its meaning, and its intentions. Authenticity is the grounding in which all art has its base, and what truth it holds. OK, how does authenticity apply to music then? Well, all music has some degree of authenticity in it, and it guides how we listen and interact with it. If you think music means something, anything, then there’s a level of authenticity present. All art and music is authentic to some degree, as long as it has an idea at its heart. The mere existence of artistic expression is evidence of its own authenticity. Pretty faux-meta there... But at the same time, some music is more authentic than other music. Does it come with an authenticity ranking or something? Come on, I’m trying to be serious here. Some music is a little closer to its origins than others; the message rings truer. OK, what types of music have higher levels of authenticity?

How about less authentic forms of music? The gold standard of escapism in music is probably chart pop music. But hasn’t pop music always be been about fostering a certain sense of escapism, both for the audience and the artist? To a certain degree, but the divide seems to be becoming greater. I mean, David Bowie didn’t go to space nor was he really called David Bowie, and I was never sure if he was ever afraid of Americans (ordinary-era Bowie reference). But that doesn’t feel like much when you compare it to the constant transformations of an artist like Miley Cyrus, who may be representing authentic emotions and feelings at times, but they change so rapidly that it’s hard to keep up.

Authenticity is the grounding in which all art has its base

Some genres of music live and die off the back of their perceived realness, for want of a better term. Think hip-hop and punk, which originated as protest music as much as anything else. If you’re not real in punk, you’re quickly branded a poser or a sell-out, which can be a kiss of death. Even in folk, which exists to document the culture that it purports to represent. So how do you judge authenticity? Ah, that’s the beauty about it: it’s all down to you, the listener. How authentic something is revolves around not only how much the artist represented themselves in creating it, but also how the listener chooses to interpret that representation. Is authenticity important at all? Again, only if you, the listener (and reader, I guess. Hello readers, I assume you’re still with me, if you even exist at all! Keep reading to the end for a surprise twist) value it at all. I mean, maybe you don’t give a fuck about where a band comes from, or what the musician was trying to represent with his killer guitar solo. Maybe you just wanted to listen to some killer tunes. More power to you. But not for you? Yeah, personally it’s the music that represents something real that resonates with me. Don’t get me wrong, I like a bit of dada every now and again, and some abstraction, but there’s something a bit special about hearing a good story told well. Can you give us an example? There’s something about hearing The Saints being isolated in the wasteland of the suburbs of Brisbane under Joh that goes past just the brilliance of the song itself. I mean, on ‘(I’m) Stranded’, you

can hear the frustration in Kuepper’s guitar, in Bailey’s strained vocals. Punk wouldn’t have gained much of any traction if it didn’t represent the actual feeling and circumstances of the artists at the heart of the movement. Punk meant something because it actually was something, something tangible at least.

Has music moved past the need for authenticity? I don’t think it has, but in popular music it feels less important than ever. Pop music has moved increasingly to the world of fantasy, of selling not only hopeful dreams, but also literally unachievable ones, at least in terms of iconography.

But surely there is still some realism in the most outrageous modern pop creations? Yeah, absolutely. If you strip away the sequins and meat dresses, Lady Gaga is still trying to say something at least she (and her fans) believe. Somewhere behind Justin Bieber’s constant selfaggrandising is a grain of truth, or at least I hope. There must be other genres that are less than authentic in intention? Of course. Space rock is literally about the stuff of fantasy, about rock in fucking space. Glam rock tended to be about image over substance, but not always. That’s where you can get into trouble – generalising about things that you probably can’t do so about. Maybe Axl Rose meant every lyric that he’s ever written for Guns N’ Roses; in fact there’s no doubt that he probably does. In that situation, I tend to feel like a dick. So what’s the most authentic song ever written? How long is a piece of string? Honestly, who knows? So, in lieu of a proper answer to the great question of the most authentic song of all time, I’ll give you ‘Oh Yeah’ by Yello. Because if I do that, at least some of you who have gotten this far (Hello survivors of this indulgent column! How’s it going? Don’t worry, not much longer left! This is the twist by the way! Thanks M. Night Shaymalan for the suggestion, I think it worked well!) will have the words “daybow-bow… chk-chicka chickaaah… day-bow-bow… ooooohhh yeaaaaaaah” stuck in your head for at least the next 15 minutes. Day-bow-bow… Chk-chicka chickaaah. Mission accomplished.

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MADRE MONTE

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

JULIA ZEMIRO AND ROCKWIZ ANGELA CHRISTIAN-WILKES It’s always nice when someone doesn’t hold back with the Canberra love, especially if: a) that person isn’t a native, and b) that person is JULIA ZEMIRO, host of music quiz show ROCKWIZ. Early on in our chat, she fondly remembers Canberra’s role as the first date on all three of RocKwiz’s live tours. “The first live show we ever did as a group that wasn’t on the television was in Canberra. Peter Garrett came and cut the ribbon onstage before we began and it was a really fabulous beginning. We love going back to Canberra … Canberrans love music. They always show up and the place is full.” While it feels nice to get some shine on your hometown, it quickly becomes apparent that Zemiro hasn’t just been giving love to our nation’s capital. It’s not that Canberra isn’t special – “It must be a good place to start, because the first few shows are the ones that kick you off and get you going” – it’s simply that Zemiro seems to regard all of the places she has been with her signature enthusiasm. Throughout our conversation, she speaks of the amazing knowledge of Darwinian women, the fervour of Adelaide’s fans, and the keenness of Tamworth’s locals to hear rock ‘n’ roll (as opposed to the country music they’re famous for). Where the constant readjustment to new places would seem challenging for many, Zemiro takes it in her stride and finds the best in wherever the show takes her. “It’s fun for us, because it means you have to adapt the show, space-wise. Every time you turn up to a theatre there is something new, so it keeps you on your toes and I think it keeps it fresh.” This spring, Zemiro, her wing-man Brian Nankervis, and the RocKwiz crew will be trekking around the country to bring their acclaimed live format to the stages of major cities and regional towns. This tour – entitled RocKwiz Live! Salutes the ARIA Hall of Fame – will see rock royalty rubbing shoulders with up-and-coming talent. As always, the live shows will not be recorded and the special guests will not be revealed until the show, making each stop on the tour that much more irreplaceable. In her role as presenter, Zemiro will be engaging with new faces every night, with two members from each team selected from the audience. She stresses the importance of making the team members feel welcome. “You have to pay attention to them. You have to see if they’re nervous. You have to support them if they are nervous. I have to listen so hard to what’s going on because, really, I can’t do that show without those contestants.” Therein lies the central element to Zemiro’s magic: listening. Whether she’s making quips on RocKwiz, interviewing the stars of Eurovision, or hearing the stories of her friends on Home Delivery, Zemiro is

listening. “You just have to listen to what they’re giving you. If I’m not really listening to the contestants on RocKwiz, I’m going to miss those golden moments of them being hilarious,” she says. “And I want them to be hilarious! I want them to shine! Because a lot of them are actually funnier than me.” For Zemiro, presenting involves a lot of being funny and thinking on her feet as she entertains, asks questions, cracks jokes, and keeps the show running smoothly. In between all of this however, she maintains her keen attention to detail and sharp memory in order to bring out the best in people. This has been the standard from day one. Ten years and thirteen seasons in, RocKwiz has solidified itself as something of an Australian cultural icon, with Zemiro as its ever-beaming face. After attending University of Sydney – “not finishing my Bachelor of Arts” – she studied acting at the Victorian College of the Arts, before departing into the harsh world of auditions. RocKwiz – the brain baby of Nankervis and producer Ken Connor – was one such gig. “I had to run my call-back audition as if I was running that show,” Zemiro says of her initiation. “It was a real challenge. They were saying, ‘If you want this gig, can you run this? Can you own it?’ And I thought, ‘Well. This is one of those times where you’ve just got to love what you do and love every minute of this and hope that you get it’,” she says. “RocKwiz was the right people meeting at the right time.” Since its beginnings, Zemiro has been backed by a team who have let her natural charm take centre stage. “They’ve just said, ‘Do what you do, and we’ll support you’.” In turn, Zemiro makes sure that she is supporting the people onstage. “[It’s] about being generous. It’s about listening to them, it’s about smiling at them and with them. I say to them before we go on stage – we get into a huddle – I say, ‘Look, you’re not contestants now. You’re part of the show. You’re cast. We’re going to put on this show together’.” Because, at the heart of it, Zemiro wants everyone to have just as good a time as she is. “I want people to leave that live show of RocKwiz thinking, ‘I have been wanting to be on this show all my life, I finally get on there, and it’s better than I ever thought it would be.’ That’s what I want.” Join Julia at Llewellyn Hall with the whole RocKwiz team on Wednesday September 30. Tickets are $93.59 + bf through Ticketek.

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ITALIAN FILM FEST

Photo by Claudio Iannone

EMMA ROBINSON My personal favourite of the international film festivals is coming to the exceptional Palace Cinemas from Tuesday September 22 to Sunday October 11 – the LAVAZZA ITALIAN FILM FESTIVAL. This festival promises to be overflowing with all the essential things in life – excellent coffee, delicious wine, exquisite food, and of course, thought-provoking and brilliant films. The curator of this film festival is Elysia Zeccola Hill. I caught up with her recently and she shared some wisdom about which films were the pick of the bunch and which have an Italian ‘feel’. “To complement the stellar line-up of films, we can’t resist showing a little Italian hospitality,” says Elysia. “So there is a big focus at our special events to provide excellent wine, Lavazza Italian coffee, and high-quality catering [by Monster Kitchen & Bar in Canberra]. “Italians are known for their own particular sense of humour and the comedies are well-represented in the ‘Commedia All’Italiana’ section. There are also strong and sophisticated dramas such as The Dinner, their ensemble period films with stunning cinematography

such as the Taviani brothers’ Wondrous Boccaccio, crime dramas such as the unmissable highlight Black Souls, as well as Luca Zingaretti in Perez. And of course, Italians are known for their classic masterpieces such as this year’s closing night selection The Conformist – Bernardo Bertolucci’s 1970s political thriller, which has been digitally restored.” Some other highlights include Nanni Moretti’s return-to-form Mia Madre, and for a young, fun-loving audience, heartthrob Raoul Bova doesn’t disappoint in the comedy Do You See Me? As with all other cultures, Italian films have their own particular style and feel – the trademarks include a very dry sense of humour and a fearless exploration of the more intimidating and scary elements of life – mortality, illness, and madness. Unlike French films, which will often linger on a particular scene silently to emphasise a point, Italian film is minimal in its camera angles, while still managing to communicate a multitude of messages through the barest of dialogue. For the people who can’t afford a plane ticket to Italy to spend a month immersing themselves in the culture and history, the film festival provides an affordable and appealing alternative. The film Italy In A Day is, as the title suggests, a mosaic of life in Italy on one single day. According to Elysia, director Gabriele Salvatores edited together this montage from 632 videos sent in from all over Italy. It captures the hopes, fears, and dreams of everyday Italians as seen through their own eyes. Tickets are selling like the perfectly made coffees that are synonymous with an Italian way of life, so book now. Tickets are available online at palacecinemas.com.au, over the phone, and in person at the cinema.

QL2

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CANBERRA YOUTH THEATRE PRESENTS DEAD MEAN’S WARS

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IN REVIEW The Wharf Revue The Playhouse Tue–Sat October 15–26

The Sydney Theatre Company has produced this extraordinary annual revue of Australia’s (chiefly federal) political life since 2001, setting with it an unexcelled standard of irreverence toward the public and (nominally) private lives of its targets, our beloved leaders. This year’s satirical celebrations of a profession as old as prostitution confronted a crisis demanding creation, learning, and rehearsal of new material when, on the night preceding opening night, a certain party spectacularly chopped off its own head. I was privileged to see part of an early rehearsal of the material written in rapid response. The cast and crew’s accomplishment and professionality in delivering our laughs extra fresh on such a demanding schedule were awesome. I’m pleased to report that the revue left no turd un-stoned — sorry, no stone unturned — and no nose un-punched. More impressive, though, was the show having such polish that its timing was the only clue to the suddenness of this new material. Necessary costume changes were covered by video skits projected large at impressive quality, and they were as funny as the live ones. Though the collection of spoofs saw practitioners from both sides of politics make unfeeling use for their own ends of the old and infirm, the unemployed, and victims of violence, the temptation must have been great indeed to focus on Tony Abbott. But the 2015 edition took a broader and longer view. Reviving illicit affairs of

the heart or other organs, reprising orchestrated back-stabbings betwixt successive prime ministers from the same party, and reheating Julie Bishop’s carefully hands-free recipes for blood pudding: the revue cast its gentle aspersions (all in a spirit of fun) widely, impersonating and exposing the folly of Downer and Costello, the madness of Latham, the autocracy of Rudd, the hypocrisy of Brandis, and the extraordinary inability of a serving prime minister to respond to a simple invitation to explain his claims with anything but head-nodding and pouting for several minutes. It even managed to use the French Revolution to reflect for our consideration the ignorant apathy that enables the most disturbing characters, ambitions on naked display, to freely indulge their assorted misanthropies — and let us find in it cause for hilarity. One delight the Wharf Revue always springs is musical sophistication. These guys are really good: they make singing complex satirical lyrics in complex four-part harmonies look like a doddle. And the songs were consistently funny as well as clever. The revue’s misuses of Les Misérables, highly Under-Milk-Woodian narrative, the operatic Phantom, and more great theatre were utterly natural. Outrageous imitations of voice and gesture; devastating lyrics and lines; exquisite timing; and a superb sense for the falsehoods that our cherished leaders’ public personas fail to entirely hide made the revue one to laugh about even hours afterward, and I can’t recommend it too highly. JOHN P. HARVEY

Photo by John P. Harvey

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E X H I B I T I O N I S T ARTISTPROFILE: Sally Dunbar

What do you do? I’m an artist and an art teacher. When, how and why did you get into it? I grew up with art and have been surrounded by art all my life. I have loved it since I can remember, I have always loved drawing and being creative. Who or what influences you as an artist? My father has been a big influence and a big supporter of the arts, particularly indigenous art. He is also an amazing artist himself. I have grown up watching him always working on something, whether it is painting, sculpture, or even some amazing meal. Of what are you proudest so far? Being an artist and making the time to make art.

ARTS | ACT What are your plans for the future? To keep making art, as much art as possible, and to take it overseas someday. I would love to go to New York and Europe. What makes you laugh? My family and friends, my boyfriend, Uncle Evan. I only hang around people who make me laugh. They are all crazy and just thinking about them makes me laugh. What pisses you off? People who freak out about small, silly things and can’t see the big picture. And people who don’t have any art on their walls. What about the local scene would you change? I always wish there was a bit more happening in Canberra for young people. More ARTNOTAPARTs etc. Upcoming exhibitions? Merge, a RAW showcase at Belconnen Arts Centre on Friday October 2. Contact Info: www.dunbarsally.com

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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

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LITERATURE IN REVIEW Foreign Soil Maxine Beneba Clarke [Hachette Australia; 2014]

Foreign Soil – winner of the Victorian Premier’s Unpublished Manuscript Award 2013 – damn well deserves every bit of praise received. It slams readers like a Molotov cocktail, casting a harsh light on what it means to be human. Featuring all manners of violence and questions of race, Clarke’s debut story collection is an uncomfortable read. Visceral yet tender, it dares you to look away. My advice: don’t try reading it in one sitting. Sucker-punch ‘David’ leaves readers reeling but with a glimmer of hope through the tears. It transitions seamlessly between the voice of a young Sudanese-Australian mother and her elder, brought together by a sleek, new cherry-red pushbike. Clarke uses multiple narrators to similar chilling effect in ‘Gaps In The Hickory’. Another recurring feature is her meticulous attention to accents. Down by the port of Kingston, Nathanial watches “small air bubble travellin slowly up out de water, as dem fast-tail fishie flit jus below de surface.” As a slam poetry champion, Clarke has an ear for the lyrical and stretching out the suspense. The stories span continents – Australia, Africa, Europe, and North America – and decades. ‘Railton Road’ tails protagonist Solomon through the rebel squats of 1960s Brixton and the Black Panthers movement, while its modern-day echo hones in on the eponymous ‘Harlem Jones’ and the police shooting of Mark Duggan in 2011. There is a cold, burning emptiness to both that is difficult to understand. To her credit, Clarke neither moralises nor makes excuses for the shocking crimes and betrayals portrayed. Readers are left to come

to their own conclusions. And yes, the decisions of some characters disappoint. The two longer pieces – ‘Gaps In The Hickory’ and ‘The Stilt Fishermen Of Kathaluwa’ – give Clarke space to experiment with a larger cast and more details. The former keeps readers guessing at the link between elderly Dolores in New Orleans and a seemingly ordinary family in backwater Mississippi. The latter strikes closer to home, switching between the perspectives of Asanka, a young Tamil boy counting the seconds in Villawood detention centre, and Loretta, a lawyer who used to advocate for asylum seekers. Dreams of a brighter future in ‘Hope’ and ‘Big Islan’ offer needed respite. Closer ‘The Sukiyaki Book Club’ is a semi-autobiographical story recalling the rejection letters from a publisher: “Unfortunately, we feel Australian readers are just not ready for characters like these.” Clarke has gone where few have dared and Australian literature is richer for it. Defiant in the face of despair and injustice, these are characters and stories we should be ready for. Dedicated to Australian fiction writers of colour – Clarke is of Afro-Caribbean descent – Foreign Soil will challenge the way you see the world. In a word: stunning. SHU-LING CHUA

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Tristan Deratz and Barney Lewer, Coal price

bit PARTS THIS IS NOT ART FESTIVAL WHAT: Cultural Festival WHEN: Thu–Sun Oct 1–4 WHERE: Newcastle, NSW This Is Not Art is a cultural festival spanning over 180 events and 20 venues. Featuring themes of identity, gender, culture, and feminism, it will take the form of talk panels, poetry slams, film launches, late-night readings, master classes, workshops, zine fairs, debates, parties, art exhibitions, and installations. What’s more, it was just announced that the line-up will include comedian and former Triple J Breakfast host Tom Ballard and Australian YouTube sensation Natalie Tran. The best part is that it’s free to attend and open to the general public. To view a full program, including events, times, and locations, visit thisisnotart.org. RAW CANBERRA PRESENTS MERGE WHAT: Arts Showcase WHEN: Fri Oct 2 WHERE: Belconnen Arts Centre You know when you feel like going out and doing something, but you can’t decide what you want to do? Like, ugh, do I feel like being in a gallery, or near a stage, or next to a catwalk? That’s where MERGE comes into play. It’s a showcase of 30 artists from around Canberra, but there’s no specific theme – these artists are fashion designers, hair and makeup artists, musicians, visual artists, performers … pretty much anything that comes under ‘art’. It’s a good excuse to get out and see what Canberra’s creative arts industry is getting up to. Tickets are $20 + bf through RAWartists.org/canberra/merge or $25 at the door. It opens at 7:30pm.

Photo by Lisa Maree Williams

NIDA OPEN SPRING PROGRAM WHAT: Acting Course WHEN: Mon–Sun Oct 5–11 WHERE: Daramalan College Looking to improve your acting skills? Like, maybe you want to convince people that your uncle works at Nintendo when you don’t even have an uncle? Or maybe you just, y’know, want to be a professional actor? Then it’s a good thing that NIDA is offering spring courses in both screen acting and auditioning. Explore working with scripts from both film and television, and acting in high-stakes situations while maintaining the ability to master positions and props with precision. Discover how to get an audition, what kind of scenes to choose, and how best to prepare for the audition process. Visit open.nida.edu.au/spring for pricing and more information. LAWRENCE MOONEY WHAT: Comedy WHEN: Sat Oct 10 WHERE: Canberra Theatre Centre You know this funny man from Dirty Laundry Live and It’s A Date – two of the funniest shows to air on the ABC in recent years. Now he’s bringing his award-winning comedy to Canberra – Surely Not! That wasn’t a joke, that’s just the name of his live comedy show. It follows Lawrence and his brothers on a road trip after the death of a favourite uncle … we know what you’re thinking, that doesn’t sound like comedy, but just trust us on this. It’ll be good. Tickets start at $44.90 through canberraticketing.com.au, with concession discounts available. Starts at 8pm.

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the word

on albums

been polished up a touch, the basslines have more movement, they’ve added keys to the mix, and Shogun’s vocals have been pushed right to the front. Shogun’s importance to the Royal Headache sound can’t be overstated, giving the garage rock band a touch of Sam Cooke – a solid baseline of soul which sets them apart from their peers. For a more local comparison, Shogun sings like a blend of Leroy from Gooch Palms and Dom Death, which is a very good thing indeed.

album of the issue ROYAL HEADACHE HIGH [DISTANT AND VAGUE RECORDINGS] The entire history of Royal Headache can more or less be tracked on a perhapslost 6-year-old thread on the recently re-booted music website Mess+Noise. From the clumsy introduction with an incorrectly linked MySpace page (the late ‘00s were a wild time), to their breakthrough, big shows, and eventual break-up, it is all pretty much there. Royal Headache, for the uninitiated, existed as a brightly burning star on the local music scene, releasing a killer selftitled album of soul-punk in 2011, getting national and international acclaim over the next 12 months, then touring like crazy before going on “hiatus” into different bands for a few years. The then four, now five-piece, out of the inner-west of Sydney hit hard at the beginning, the usual internal discontent followed, and they’re now back to take their rightful turn in the spotlight. With their comeback show at the Opera House in their rear-view mirror and the reunion seemingly permanent, Royal Headache are probably at the zenith of their powers, completing a rise that was hard to predict from that first forum post so many years ago. High sees a more mature Royal Headache, both sonically and lyrically. The songs are longer, and they seem to have something more to say. The piercing guitars from Laurence Hall have

The first six tracks on High are about as good as any start to an album I’ve heard this year. ‘My Own Fantasy’ is a fantastic distillation by the band of the after-effects of near-fame and stardom, with a killer lick to boot. The title track has a melody so boisterous that it deserves to be sung out loud with every listen, neighbours be damned. Even their measured attempt at a ballad seems to come off, with ‘Wouldn’t You Know’ cribbing off Motown and Mod sounds to create a compelling track. After the album standout ‘Garbage’ (full with a world-class sledge directed at Melbourne) things seem to fade just a little and the album loses momentum. Not to say that the second half of the album isn’t good; it’s just that it’s not as good. Album closer ‘Electric Shock’ redeems things to a certain degree with a visceral bash ‘n’ smash, which ends High on a very strong note. Although High is a great album, there’s that nagging thought that it could be even better somehow, in ways that I can’t quite work out. Perhaps it’s the weight of expectations after their acclaimed debut, or maybe that the production is a touch too clean, or even that they included one ballad too many on the album (‘Caroline’) and should have just cut it short instead. At the end of the day this is just nitpicking, and shouldn’t get in the way of an album that gets better with every listen. Maybe Royal Headache is a better album than High, but it doesn’t really matter because both are well worth your time and mine. CODY ATKINSON

LAST DINOSAURS WELLNESS [DEW PROCESS/UNIVERSAL] Three years and a line-up change after the release of debut LP In a Million Years, and Brisbane-based Last Dinosaurs have delivered a follow-up that tweaks its danceable indie-pop style in an even more dance direction. The same layered approach is there, but the 1s and 0s on the CD are even more crowded now, as the band has ramped up its use of effects pedals. Masters in making their own gear, Last Dinosaurs gave compatriots The Jungle Giants the pedal technology that that band used to great advantage on their latest LP. Opener ‘Take Your Time’ kicks off with a striking mix of vocal and water effects, all put in a blender and spat out as an introduction to the shimmering synths and bright licks that follow. Ranks of tin soldier keys march across a landscape lit by the incandescent explosions in the melody, which characterise the entire record. In ‘Evie’ keys and guitars overlap joyously, while the song is tattooed with bright licks along its length. The sawtooth guitar melody in ‘Karma’ is succeeded by ‘Wurl’, the buzzing theme of which combines with cascading keys that rise and fall. The song ends in garbled vocals that segue seamlessly into the title track. A disk highlight, ‘Wellness’ draws attention with its unusual drag-scrape rhythm, while the captivating syncopated construction in closer ‘Zero’ makes that another winner. Wellness falls slightly short of the high bar set by the band’s debut, in that it lacks the quantity of killer hooks and melodies that made the first record stand out from the crowd. While songs retain their own individuality, the consistent approach to their construction can make the track list in Wellness run together in the listener’s memory. RORY MCCARTNEY

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OWEN / INTO IT. OVER IT. SPLIT EP [POLYVINYL]

THE PAPER KITES TWELVEFOUR [SONY]

UNCLE ACID AND THE DEADBEATS THE NIGHT CREEPER [RISE ABOVE RECORDS]

Split EPs work best when the two artists complement each other, and in the case of the Owen / Into It. Over It. split, it’s hard to imagine a better fit. Owen is the solo project of Mike Kinsella (American Football, Cap’n Jazz), which has seen Kinsella depart perhaps from his more upfront emo background for more nuanced and subtle acoustic plaintive recordings. Into It. Over It. is primarily Evan Weiss’ project, and one of the handful of bands he’s been involved with – like Kinsella’s work, his is rooted in emotional storytelling but is given a more anthemic and punk-ish edge.

The title of The Paper Kites’ sophomore release is more meaningful than most album tags. Something of a concept album, in a bizarre fashion, band lyricist Sam Bentley reckoned he’d be at his most creative after midnight. So for two yawning months, he didn’t put pen to paper until after the witching hour. Then the band laid down the album in Seattle under the wing of producer Phil Ek (Fleet Foxes, The Shins).

Trashy psychedelic rock with a twinge of stoner/doom is the main flavour on this fourth album from UK band Uncle Acid and the Deadbeats, which celebrates B-grade culture in all its guises. The album cover has the vintage look of 1970s horror movie poster art and the music within worships at the altar of the almighty riff, but the Black Sabbath influences are less overt than you will find with similarly minded groups such as Electric Wizard and Orange Goblin.

Opening with Owen’s original track ‘Poison Arrows’, expert acoustic flourishes and Kinsella’s mellow vocals bring a mournful beauty to an otherwise bright arrangement. ‘I see your faults and I raise you mine’, he croons, before percussion and heavier keys wander in. IIOI’s cover of Owen’s ‘Poor Souls’ is a soft, muted piece. Evocative keys drift like the last breath of the moon before dawn. It abruptly cuts off, merging into IIOI’s brand new track, ‘Local Language’. Evan’s songwriting has always felt exceptional, toeing the line a good songwriter should between the personal and the general. There are numerous acoustic recordings of ‘Local Language’ online that perhaps showcase this better than the split recording, but it remains brilliant here too. The closing track, Owen’s cover of IIOI’s ‘Anchor’, puts a decidedly punk spin on the once melancholy and stripped-back acoustic tune. Despite coming in at just over ten minutes, this split EP is a great (albeit short) introduction to both artists, and perhaps its only fault is that it leaves us wanting much more.

Was it worth him mucking up his biorhythms? Compared to debut LP States, the dreamy qualities of songs like ‘Malleable Beings’ are still there, but the overall brightness has been turned down in a record that is less pretty and more moody. The musical style has also shifted to a less folky, heavier indie balance with more emphasis on electric guitars to set the tone. Christina Lacy loses her shot at lead vocals (heard in ‘Living Colour’), but her harmonies boost the graceful vocals in the disco beat-driven highlight track ‘Revelator Eyes’. ‘A Silent Cause’ brings a sweet Husky-like vibe, while there’s an alt-country tang to ‘I’m Lying to You Cause I’m Lost’, complete with a harmonica line. The best tracks are heavily frontloaded, including the crooning opener ‘Electric Indigo’, so full of contrasting licks and delicate intersecting backing vocals, and ‘Renegade’ with slashing guitars that either cut deeply or raise bright sparks. Closer ‘Too Late’ is another winner, building slowly with a restrained intensity, its echoing licks projected out in contrast to the subterranean, shimmering synths. It’s not so surprising to get a more subdued result for songs conceived in the wee small hours. One for the night owls, twelvefour is a very worthy LP, but not as striking as States. RORY MCCARTNEY

Band leader, the mysterious K.R. Starrs, must have been listening to The Beatles a lot before entering the studio and this is made apparent on the melodic brush strokes embellishing such a track as ‘Inside’, otherwise dominated by crunching riffs. The bottom end heaviness that one expects from this type of music has been replaced by a hazy mid-range treble, all the better to accentuate the trash factor. A deliciously sleazy fuzztone is the driving force on opener ‘Waiting for Blood’, and the Sabbath influence can be detected in the ominous descending chords on ‘Murder Nights’. The music shifts a gear on ‘Yellow Moon’ with a plaintive organ otherwise found on any number of British psych-folk tracks from the early 1970s, but for the most part, brash guitars and a garage punk vibe rule the day, particularly on the hidden untitled bonus track with edgy acoustics more akin to the Brian Jonestown Massacre. This album is about celebrating the past, as primitive ‘60s pop and heavy guitar bands from the 1970s laid the groundwork that has proven to be fertile territory. The style and content is decidedly retro, but that is all part of the fun. DAN BIGNA

JEREMY STEVENS

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album in focus

KURT VILE B’LIEVE I’M GOIN DOWN... [MATADOR RECORDS] Growing up, all Kurt Vile wanted was a guitar. When he was given a banjo instead, the young Vile didn’t let this faze him, instead embracing it and teaching himself to play as if it were a guitar. On his sixth album, b’lieve I’m goin down..., Kurt Vile may have come full circle, as if returning to be that boy, once again, playing the banjo. The musical career of Vile can be tracked back to when he co-founded The War on Drugs with friend and collaborator Adam Granduciel in the early 2000s. The crossover of Vile’s solo and The War on Drugs’ early careers run almost in parallel, including the two playing in each other’s bands for several years. Despite leaving to pursue his solo work, Vile continued to play with The War on Drugs, and Granduciel returned the favour for The Violators, Vile’s backing band. The pair finally split musical ties in 2011, and subsequently both released their most critically acclaimed and highest charting albums. One could argue that they would not have achieved this without each other, but also, without splitting up they may never have found that success at all. This year may mark the biggest divergence between the two artists – The War On Drugs reaching popular commercial success in 2014, and Vile seemingly turning away from it and releasing an introspective and largely acoustic think-piece.

After the breakthrough of Wakin on a Pretty Daze in 2013, producing a follow-up was always going to be a tough task. Vile has openly talked about taking a different approach on b’lieve, and when listening, it’s easy to envisage Vile sitting on his couch at 3am writing songs while his family sleeps. Whether it holds up in the longer term is another thing, as much of this album finds itself missing the cleverly sharp, hook-driven melodies Vile is known for. On b’lieve, Vile moves away from psych garage rock, taking a distinct Americana twang; gone are the spiky guitars, in place, something that’s mellower and less complicated. Vile’s slick guitar work has been dialled back modestly, with alternative instrumentation such as banjo and keys filling the place of the electric guitar. It’s about the little flourishes on b’lieve, whether he’s gently strumming or just picking away. b’lieve plays almost like two albums, strongly opening with the quirky ‘Pretty Pimpin’. It kicks along as Vile muses with the man in the mirror – viewing himself as an outsider. As the first piano keys are heard tinkling on ‘Life Like This’, the album takes an introspective turn that fades into Appalachian folk. It’s a bit reminiscent of Elliott Smith at times (and fittingly so, courtesy of long-time Smith producer, Rob Schnapf). With a whisper and a sigh, Vile murmurs about growing into growing older, but his head is less in the clouds than it would appear. b’lieve is Vile’s darkest album, and although he metaphorically soul searches, the way he writes about his family is openly sweet. Never too far away is the wiseass Vile, “just a certified badass, out for a night on the town”, still present through his wry delivery and characteristic drawl. In some ways, Kurt Vile is becoming a bit like a new-era Beck – selfreferencing and genre crossing as his mood takes him. Six albums in, one wonders, and looks forward to, where his whim will take us next. Just as long as he doesn’t fade out by then. MEGAN LEAHY

MCSHERRY O’BRIEN 3 [INDEPENDENT RELEASE] Songwriter philosophers Paul McSherry and Paul O’Brien are back, with a couple of changes following their 2014 release McSherry O’Brien and the Lowlands. Since then, the departure of some band members to the Indian Ocean-side of the continent has seen them raise a new backing band, dropping the ‘Lowlands’ tag. The style of the latest LP has taken a swing away from the overtly political questioning of values that marked their last record, casting a broader gaze over life in general. The understated, casual cleverness to the musicianship that marked their collaboration with the Lowlands remains, as does the variety in song arrangements. There’s a genuine joy in the breezy ‘City to Live In’, with its casual strolling keys and bright trumpet. This spirit of vitality runs true in ‘Promise of the Music’, which balances the thrill of being on tour with the perilous economics of band life. Christmas songs can tend to be a bit cringeworthy, but ‘Could’ve Done With Christmas’ captures just the right vibe of road trips, optimism, and a festive season spent in summer heat. The foot tapper ‘American Hotel’ uses a narrative style in unrolling lyrics, its jazzy keys conjuring a sensation of the dramatic. On a different tack, antique organ tones underpin ‘See the Place’, the pedal steel emphasising the longing for lost love. The duo benefit from sharing lead vocals, with a marked difference in delivery. McSherry doesn’t always sound the most melodic, but he comes across a bit like Fred Smith in closer ‘Lifeline’. Top marks go to the summery pop of ‘Donna’, in a CD that captures simple pleasures, without lapsing into sentimentality. RORY MCCARTNEY

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singles in focus BY CODY ATKINSON ACE ROMEO ‘HYPERDRIVE’

MERCURY REV THE LIGHT IN YOU [BELLA UNION]

FUCK THE FITZROY DOOM SCENE FACING THE RUIN [INDEPENDENT RELEASE]

Mercury Rev’s first studio album in seven years, The Light in You, has an ornate sound. The veteran psychedelic-rock band’s sound has really mellowed since their debut album in 1990, Yerself is Steam – and that lighter sound continues in this album. It plays from start to finish with a melodic build-up of the earnest, high-pitched vocals that Jonathon Donahue is known for.

A band with a name like this obviously never had commercial radio success in their gun sights. What the four-piece from Melbourne does have is a vision that encompasses a trip back to the glorious days of UK heavy rock that existed in the ‘70s. It was a time of uninhibited riffage that carried a huge punch, yet possessed powerful melodic qualities that rang in the ears long after the music stopped.

More dream-pop than psychedelic-rock, the track ‘Amelie’ is a song in few words. As strings and brass are brought into the equation, Donahue’s voice competes in his vocal range with a cacophony of frequencies. There’s a sense of curiosity sparked during the song, as the lyrics repeatedly mention breaking a habit, which is left a mystery. The lengthiest track on the album, ‘Central Park East’ repeats the line “Am I the only lonely boy to ever walk in Central Park?” over and over. The song is almost reminiscent of something you might have heard from The Smiths, but lacks Morrissey’s deliberate and powerful aesthetic. It feels as though there should be a moment in the song where there’s a shift of some sort, but there isn’t and so it falls short in its repetitive delivery. The album finds itself in transition with its ambiguously titled ‘Emotional Freefall’, which is palpably charged with comparatively upbeat singing backed by gentle guitar. It’s during ‘Sunflower’ that the tempo really quickens, though. The highlight of the CD, it is fun, danceable, and notably different from the other tracks. With lyrics that are easy to remember (because there are so few of them), The Light in You comes together in the end but would seriously benefit from being less repetitive. ALYSSIA TENNANT

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‘Dream’ rises from slow stepping, bone crunching riffs, before leaping into the galloping pace that characterises the band’s music. There’s a long instrumental lead-in, full of indulgent licks, before the vocals appear (just so you know where the priorities lie here). There’s versatility too, gained through all four members taking turns at lead vocals, with the opener having a Black Sabbath quality. Blistering is the only way to describe the start of ‘White Crystal Lady’, with heaps of chops and changes to both the vocal pitch and the rhythm that makes it a bucking bronco of a song. ‘Better Off Dead’ is the grim reaper track, with menacing guitars, Led Zeppelinlike wails, and a very black message indeed. It shows prog rock sensibilities with changes in melody and style, as it fires along with some admirable guitar passages. Keyboards and hand percussion add a special touch to the anarchic jam session that marks the latter half of ‘Blind Faith’. After the epic title track comes a violent contrast in the long, creeping plucks of chillout closer ‘Leaving’. A classy touch! FTFDS has tapped into a rich vein, imbibing songs with the oomph and passion that is the very essence of ‘classic’. They’ve struck a timeless chord with head-bangers and heavy rock devotees.

Ace Romeo might very well be the most ‘80s band name not to come from the ‘80s, and as such it’s a pretty good fit for the music on display here. ‘Hyperdrive’ gives you riffs, more riffs, and when you were least expecting it, even more riffs. A fun little track from ex-local Ace Romeo, whose name I really like typing out in full.

PAINTONPAINT ‘SMASH’ There’s something mid-‘90s trip-hop about ‘Smash’, the debut from local two-piece PAINTonPAINT. Perhaps the reverb-laden vocals, or keys giving way to a fat bassline. Regardless, it’s the interplay between the vocals here that’s the real gem, and it sustains multiple listens.

CURSE OV DIALECT ‘TWISTED STRANGERS’ Curse Ov Dialect have been one of the most out-there hip-hop groups Australia has churned out, and ‘Twisted Strangers’ is a great intro to their two-decade-old back-catalogue. Ethno-folk hits coexist peacefully with more traditional boom bap, but the shock for me here is the guy from Future Islands dropping a surprisingly good verse. Who knew he could rap?

JUSTIN BIEBER ‘WHAT DO YOU MEAN?’ I don’t know for sure, so this is just a hunch, but I think Justin – ol’ matey Justin – doesn’t know what you mean. So if you know what you mean, good on you, but maybe next time you could tell Justy Boy, so he wouldn’t have to write this song.

RORY MCCARTNEY

the word

on films

WITH EMMA ROBINSON

More and more movies are coming out that are brandishing a brash and confronting agenda, politically, racially, sexually, and more. Film is for everyone – you can put on brainless entertainment and be transported away from your mundane life. Or you can come to the movies and be confronted and challenged. Whatever you want from film can be had – it is a medium that can and does deliver on several fronts. Personally, I want it all – fart jokes, political commentary, ugly crying, hysterical laughter. This fortnight’s selection has it all!

quote of the issue

“Tell a little truth and people lose their minds.” O’Shea Jackson (Ice Cube), Straight Outta Compton

STRAIGHT OUTTA COMPTON It is well past time this story was told. The highly influential group N.W.A burst unapologetically into the music scene in 1988 with their politically charged, hard-edged music that changed hip-hop and ultimately music forever. Frontrunners of this seminal group Dr. Dre (Corey Hawkins) and Ice Cube (O’Shea Jackson) continue to create music and influence artists today. Any time members of a marginalised group attempt to create art of any kind, that art becomes political in some way, whether the artists want it to be or not. Everything about the creation of N.W.A – from the struggle of having their music made (police officers, both white and black, loved to play the game ‘let’s victimize the black man’), to the issues they rapped about (of course they sung a song called ‘Fuck The Police’ – it was completely justified and needed to be sung about) – was intensely scrutinised. The intimidation that the FBI attempted to inflict merely fueled the fire – N.W.A took their threats and made them public, thus putting a much-needed, glaring spotlight on the prejudice that black people faced then and even now. The film is not perfect; the story skimps on some of the more misogynistic elements (no mention was made of Dr. Dre’s violence against women). All of the female characters are treated as accessories in this film. Nevertheless, it’s an excellent, politically charged story with a pumping soundtrack.

EMMA ROBINSON

RICKI AND THE FLASH

GAYBY BABY

Yes, a film with Meryl Streep as the lead actress will always be on our ‘must watch list’. But don’t think it is necessarily going to be a good film. The trailer for Ricki And The Flash set high expectations, for it appeared to have a lovely mixture of laughter and tears in it, with a heartfelt message about family. The trailer only worked against the film because it gave these wrong impressions. Where there was humour, it was failed attempts. It was used inappropriately and juxtaposed against serious issues, creating awkward moments for the audience.

I recently watched a YouTube clip that showed a mother explaining to her small son what the word ‘gay’ meant. After being told that some men like men and some women like women, the son stared at his mother for a few seconds and then said, “Can I have a cookie?” The take-home message could not have been clearer – homophobia is a learned behavior. This message could not be more evident in this excellent documentary that tells the story of same-sex families from the perspective of the children.

Living up to her name, Streep – who never fails to play a diverse character – delivers another convincing role. Ricki is an elderly woman who gave up everything for her dream of being a rock ‘n’ roll star, including her children. Streep acts alongside her own daughter Mamie Gummer, which adds a sense of realism and intimacy. But this is not enough to make up for the ineffective plot line. The film took an irritable amount of time to reach the climax and many scenes seemed unnecessary. Not to mention the predictability of it all. It was clear from the start that Ricki would in some way make amends with her family. Unfortunately, what was not predictable was Streep’s singing, which concluded the film and left an annoying ringing in the audience’s ear. Ricki And The Flash is at its best mildly enjoyable. If you are looking for a good afternoon in with Meryl Streep, I would steer away from this average film. Instead revisit the classics like Sophie’s Choice and Manhattan. CLAUDIA TILLEY

The children of this groundbreaking and fascinating documentary are intelligent, perceptive and (delightfully) absolutely hilarious. Having found themselves in families that are considered to be outside the norm by ‘mainstream’ society, they have gained a unique insight into the everyday struggles of most children. A particularly touching moment of the film occurs when a young man strolls through the cosmetics section of a department store and samples some bright, red lipstick. As the sales assistant goes to chastise him for wearing lipstick (that’s not for boys), his mum comes to the rescue, stating that he doesn’t have to change a thing just because she is having a ‘gender crisis’. This film is not just for those who come from a same-sex family. Every person has someone in their life that is outside the mainstream in some way. We need more films like this! EMMA ROBINSON

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MAZE RUNNER: THE SCORCH TRIALS

ME AND EARL AND THE DYING GIRL

The Young Adult Dystopian Fiction Adaptation Machine responsible for churning out the likes of Divergent and The Hunger Games strikes yet again with The Scorch Trials, the sequel to 2014’s The Maze Runner. Part-zombie flick, partprison breakout, part-parkour showcase, and part-inexplicable brothel rave, the film is a somewhat confused series of very dark, but mostly satisfying set pieces. Previously in this story, our teenage heroes escaped the physical and psychological ‘Maze’ prison experiment developed by mysterious organisation WCKD (World Catastrophe Killzone Department). Their troubles continue however, as they are chased into the desolate wasteland known as ‘The Scorch’ by the sinister Doctor Janson (Aiden Gillen), where they meet up with a group of resistance fighters.

This film broke me.

The trouble with adapting a series of novels with an established fan-base is achieving a balance between fan service and the development of a coherent and engaging storyline. While The Scorch Trials manages the action sequences well, the minor characters stream in (and die off) so thick and fast that it was difficult to engage or empathise with their respective plights. Stemming from this issue, the film overstays its welcome by a good half-hour, with enough false endings to rival The Lord of the Rings. Knowing that The Scorch Trials is purely film series ‘filler’ should help to quell audience frustrations. MAJELLA CARMODY

In their senior year of high school, the socially invisible Greg (Thomas Mann) and Rachel (Olivia Cooke) are thrust into a friendship together by Greg’s mother when Rachel is diagnosed with leukemia. Me And Earl And The Dying Girl follows the pair as Rachel undergoes treatment and Greg has to juggle his obligation to his new friend and his own future rapidly unfolding in front of him. Me And Earl benefits from a witty and honest script, powerful performances from its leads, as well as capable and sensitive direction from Alfonso Gomez-Rejon. Molly Shannon, Jon Bernthal, Nick Offerman, and newcomer Ronald Cyclers II also bring a reality to their caricatured supporting roles. For a drama to be effective, it must embrace comedy as an emotional counterpoint to the serious issues. This technique grounds the narrative, and makes the issues relatable whilst acknowledging the humanity in difficult situations. Me And Earl succeeds in combining a comic and quirky approach with an emotional storyline. This film nails the confusion of finishing school and growing up, as well as the serious trauma of watching a loved one battle a life-threatening illness. It’s a self-aware drama that never crosses over into melodrama, retaining that vital thirddimension to each character. I suspect not enough people will see this film, but they should. It’s funny, relatable, and has one of the most emotionally satisfying endings of the year. PATRICK JOHNSON

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the word on dvds

CLIVE JAMES IN JAPAN [MADMAN]

HAEMOO [MADMAN]

SAN ANDREAS [WARNER HOME VIDEO]

It might surprise you, but before the internet, people still had an unhealthy obsession with Japan. Hentai, ‘crazy’ food, capsule hotels, love hotels, salary men, vending machines seeling all manner of wares, robots, and surgical snaggle teeth have all been happening for decades in mysterious Japan. Well, maybe not the teeth thing. And the crazy food wasn’t crazy so much as healthy or non-Western. Anyway, point being, poking fun at Japan in the ‘80s was like shooting fish in a barrel and one of the best shooters was Clive James.

There’s no easy way to a turn a tragedy into entertainment. Human disasters do not make good popcorn flicks and mostly come out as mawkish misrepresentations of history. Though hard – it is possible. Haemoo was directed by Shim Sung-bo from a story he co-wrote with Bong Joon-ho (Memories of a Murder, The Host, Snowpiercer), which itself was adapted from a stage play.

Disaster flicks can be real good fun. 1972’s The Poseidon Adventure is often cited as the film that really kick-started the contemporary disaster movie genre. Whether it is tsunami, meteor, storm, twister, fire, volcano, shark, or alien – putting good, decent people in harm’s way is normally a reliable way for a summer box office reward. The problem with these sorts of films is balance. Our onscreen victims can’t be strangers or too one-dimensional, or else we have no skin in the game. Likewise, linger too long on character building and we get impatient for explosions or flying sharks. And when those explosions or collapses or tidal waves do hit, they better look more intense, bigger, and more catastrophic than last year’s version. San Andreas is a case study in every element being lined up just right, only to fail in the execution.

At the time, James was working on UK TV as a cultural commentator, after many years as an essayist and critic. On his ITV show, James became obsessed with a Japanese game show called Endurance where contestants were subjected to ridiculous torture and feats of survival. These days, rich Westerners pay good money to do it on the weekend and call it a tough mudder. So successful were the shows James devoted to Endurance that he was sent to Japan in the mid ‘80s to unravel the mysteries of the Orient. This is the result. As a snapshot of a society on a rapid trajectory of rebirth post-WWII, Clive James in Japan is fascinating. It was during this era that Western perception of a highly efficient, heavily industrialised nation began to take hold, and seeing James wander around modernish – but still slightly drab – streetscapes is a reminder of how fast and deep that journey continued in the decades since. But it’s still a cringeinducing experience in parts. Bafflement over unusual food (err … sushi) is never funny. Clive James in an ill-fitting robe is though. Through it all, he is a deft observer of the unusual and invariably has the perfect turn of phrase and measured cadence to overcome the awkwardness of a foreigner in a strange land.

JUSTIN HOOK

The true story is as follows: in late 2001, a South Korean crew carrying a boatload of illegal Korean-Chinese immigrants locked some of their passengers in a fish storage box under the deck of the boat. In the stifling conditions, 25 people suffocated. The crew responded by throwing their bodies overboard. Haemoo (or sea fog) sticks roughly to those details but adds some barbarity and a relationship between a passenger and a crewmember. Both these fictional additions create some friction between the entire crew. The former tests the limits of how far a group of friends/co-workers will go to cover a huge crime, whilst the latter is largely a by-the-books love story under duress thing. However, it’s the ill-fated relationship between Dong-sik (Park Yoo-chun) and Hong-mae (Han Ye-ri) that offers the most surprising of grace notes to the film. It’s one that mirrors Bong Joon-ho’s memorable closing shot in Memories of a Murder and in that one moment, the emotional wallop almost reverses every misstep that preceded it. It almost feels like the film was written after deciding how it would conclude. Haemoo feels like it should be a whole lot more. Issues of class structure, immigration, cultural identity, and rampant capitalism are hinted at, though never adequately digested. At times it feels like a play on the big screen – trapped being neither big nor small, success nor failure. JUSTIN HOOK

Ray Gaines (Dwayne Johnson) is a helicopter rescue pilot. He’s tough, saves lives, and is separated from his wife (Carla Gugino), who has shacked up with a jerk businessman (Ioan Gruffudd). Already, you know who will survive and who won’t. As you do in the synopsis of every disaster film. But who cares. Elsewhere, a jittery scientist (Paul Giamati) predicts the mother of all quakes, but obviously it’s too late. Soon enough, the Hoover Dam has crumbled, and California is about to be split in two. The minor genius of this film is twofold: (i) making the hero a helicopter pilot means copious amounts of aerial shots of crumpling CGI cities, and (ii) same hero fanging a leisure cruiser up the side of a 100-metre tidal wave, dodging a tanker at its peak. Glorious. Johnson is a genuinely likable actor, the science is semibelievable, a serious actor is on board (Giamati), and the disaster footage is A+, but for all this, San Andreas is not the rollercoaster ride it should be. JUSTIN HOOK

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the word

on gigs

Jess Ribeiro, Wives, Mind Blanks The Phoenix Saturday September 5 Mind Blanks are the type of band you leave the house early for. Kicking around town for the last year or so with a variety of line-ups, they’ve quickly become a live favourite wherever and whenever they play. They’ve only got four songs, mind you, but they certainly are corkers. Their brand of heavy shoegaze with occasional touches reminiscent of early Pavement makes for rock music you can really sink your teeth into. The one constant of the band to date, frontman and songwriter Peter K, is a master of self-deprecation on stage, but he more than delivers up there. Anticipation built when Wives hit the stage, and for good reason – Wives’ brand of nervy electronic post-punk is engaging. Leading up to the release of their debut album, Wives have worked on balancing their set, with Anja’s decisive vocals comfortably blending with Gus’ synths, Jordan’s piercing guitars, and Tim’s frenetic drums. Wives are a band worth catching right now – sooner if you can. Originally hailing from Armidale via Darwin, Jess Ribeiro has really stepped up her game over the last six months on the back of her new album Kill It Yourself, and it definitely showed in her set on the night. Ribeiro’s set was all about the subtlety of the sounds, and the interplay between them. It rode on her brilliant voice, swinging and swaying through the machinations of her tight band. Sometimes less is more, and while not minimalist, the restraint shown left everyone I talked to wanting more. Very impressive.

PHOTO BY MEGAN LEAHY

the word

on gigs

CODY ATKINSON

Joan Baez The Royal Theatre Thursday September 17 You can tell an artist is held in special reverence when a bloke who isn’t even going to the show leaves flowers and a note for Joan Baez at the merch desk. With a “G’day mate!” she hit the stage, going solo for the early part of the gig, before being joined later by Dirk Powell, who played everything with strings – from banjo to piano – and her son Gabriel Harris on percussion. A Baez show is a bit like a covers concert, in that she takes well-known songs from other singers, and makes them her own. Beginning with Elizabeth Cotton’s ‘Freight Train’, the legendary folk singer took us on a tour that covered Tom Waits, Woody Guthrie, John Lennon, and her one-time romantic partner, Bob Dylan. Of her own material, ‘Diamonds and Rust’ was a standout, but it was disappointing that her cover of ‘The Night They Drove Old Dixie Down’ did not feature in the setlist. Baez likes to hear the punters joining in, and she had them all singing along to the Dylan classic ‘It’s All Over Now, Baby Blue’. Her political side featured less than expected, with just a few remarks made about making room for refugees and the “self-righteous pundits” she encountered on the Q&A TV show. There was a salute to the First Peoples however, with Baez reading some lyrics from The Goanna Band’s ‘Solid Rock’ while Harris did an impressive and unexpected job with a didgeridoo. While Baez made a comment about her voice not lasting forever, it was certainly in fine form on the night, with its incredible vibrato and the power that it still retains let loose briefly in ‘Swing Low, Sweet Chariot’. RORY MCCARTNEY

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the word

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The Getaway Plan, Red Beard, Despite Eviction Transit Bar Saturday September 12 After a whole heap of anticipation, The Getaway Plan have released their first full-length album in four years, and to celebrate, the boys have kicked off an ambitious national tour. With over a decade under their belts as one of Australia’s most-loved homegrown bands, these guys have not lost their flair for the wonderful, as they proved to Canberra on Saturday night. With support bands Despite Eviction and Red Beard opening, the night kicked off in style, setting the mood for the main event with good rock and a fresh, guitar-ridden version of the Gym Class Heroes hit ‘Cupid’s Chokehold’ by Red Beard. When it was finally time for the main event, The Getaway Plan got the crowd going with a performance of ‘Landscapes’ from their latest album, then brought it all the way back to the beginning with ‘Streetlight’ from their very first album. They continued pulling songs from every one of their releases, including their very first EP Hold, Conversation, making the gig a walk down memory lane for longtime fans and a thrill for every person present. This show was without a doubt one of The Getaway Plan’s finest. The intimate surrounds of Transit Bar added to the cosy, up-close-andpersonal atmosphere, which set the mood nicely. Now with their latest album Dark Horses, and a series of awesome live gigs, The Getaway Plan prove time and time again that they’re truly one of the most talented bands that Australia has to offer and that there’s no stopping their success.

the word

on gigs

NICOLA SHEVILLE

Tkay Maidza, Willow Beats, Porches, L.K. McKay Academy Nightclub Friday September 11 Tkay Maidza is a short person. So much so, that up on stage, you might expect her to get lost. Knowing that made last night’s show at Academy all the more impressive. To put it simply, Maidza is a powerhouse. She takes the stage with a level of energy and confidence that I put down to smashing the festival circuit for the last six months. What’s more is she keeps it going, from the first song to the last, through fan favourites such as ‘U-Huh’, ‘Brontosaurus’ and of course ‘M.O.B.’ She even managed to sing through her brief water breaks. Beyond Maidza herself, the show kept the bar high, with a stage setup featuring loads of black-and-white stripes and psychedelic eyes. DJ L.K. McKay, who’s top-notch mixing gave the show an impressive structure, blocked songs into groups of three or four as opposed to taking breaks between each tune. I think perhaps this hybrid DJ set/ live gig structure was one of the elements I appreciated the most. I walked away from last night a happy man, with just one small consideration – I would’ve loved more. Maidza’s set lasted a little over 40 minutes – short, sweet, and action-packed. I can understand it, rapping is hard work, and as I mentioned before, Maidza has just come off some major festival shows, where set times are shorter. Plus, as a breakthrough artist she’s definitely still working on her back-catalogue, but all in all, when she called it a night I felt like she had a lot more in her, and I would have been happy to stay much further past my bed time! I’m already psyched for the next time she comes around, with a bigger, badder, even punchier set.

SETH ROBINSON

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the word

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Xavier Rudd & The United Nations, Bobby Alu & The Palm Royale UC Refectory Sunday September 6 Bobby Alu and his band The Palm Royale got the punters’ attention with a rapid tattoo – including an unusual hollow rattling sound – from an impressive array of log-shaped drums. Then they took to the ukuleles (including a bass version) for a mixture of cool and calm songs, gliding on tropical harmonies and more upbeat stuff to get the secret hula dancer in you moving. Highlights included a cover of Grover Washington Jr.’s ‘Just The Two Of Us’ and Alu’s own pop song, ‘You Know’. Making a striking appearance, Xavier Rudd arrived on stage in tails (without sleeves) and a top hat garnished with bird feathers and a possum’s tail. Backed by a bamboo flute and playing didgeridoo himself, he called upon the spirits of the ancients to help get the show moving. Then there was a jump to reggae with Rudd’s dancers whirling flags in keeping with the lyrics. The United Nations band was outstanding in its support, particularly the backing singers, dancers, and South African Tio Moloantoa (who put on the best bass solo I’ve seen). Besides their remarkable vocals, whether backing Rudd or in their solo spots, the choreographed, sinuous moves of the dancers added much to the spectacle of the show and revved up its energy. Rudd’s tribal-rock music delivered powerful danceable rhythms, polished with sax and lap steel guitar. His messages, whether they were statements on the environment or politics, or his main theme of peace and love, came across all the more powerfully with echoed vocal effects. The man is a master of the theatrical, as the haunting music was taken up a level by great visuals. Rudd’s redlit silhouette made him look more voodoo witchdoctor than hippy.

the word

on gigs

RORY MCCARTNEY

Smith Street Band, Andrew Jackson Jihad, The Sidekicks Magpies City Club Friday September 11 Hailing from Cleveland, Ohio, The Sidekicks played a brand of guitardriven, muscular indie rock that’s pretty easy to enjoy from the cheap seats. Their set was very much the display of a team effort, but singer Steve Ciolek stood out with that strong yet slightly fragile vocal sound, with every lyric fighting for its rightful place amongst the rest of the band. It took a while to pin down Andrew Jackson Jihad, but I guess that’s part of the fun of seeing a band like this. Leaning more down the folk path than traditional punk, AJJ set up with cello and acoustic guitar, but also with a power trio to boot behind them. The results, while slightly unconventional, worked quite well and built as the set progressed. The Smith Street Band must be running close to the most popular live rock ‘n’ roll band in the country right now. The crowd sung along with every word and charged the dancefloor hard (shout-out to Shaun C. for his help on the night).

PHOTO BY MEGAN LEAHY

The high points of the Smith Street Band are great – energetic and agile punk rock that captures the crowd and shakes them by the collar. The identity of the Smith Street Band is intertwined with Wil Wagner, and he really felt like the heart and soul of the show on the night. If there is one criticism of their set, it would be that it was a little one-paced, with not a whole lot of variation. But if the crowd likes what you’re doing, why change it up? As the band faked leaving for an encore, and then eventually left for good, it struck me that this is what we should remember Magpies for – a sweating mess of fans listening to music they love. CODY ATKINSON

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ENTERTAINMENT GUIDE September 23 - Sept 25

Listings are a free community service. Email editorial@bmamag.com to have your events appear each issue. WEDNESDAY SEPT 23

ART EXHIBITIONS Footy Fever

Curated by Alexander Boynes. Aug 28- Oct 3. Tues - Fri 11am - 5pm, Sat 10am - 4pm. Free.

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

A Quiet Moment

Paintings by Robert Riggs.

SOMETHING DIFFERENT Fashion and Fantasy

12 Sep-22 Nov. Collectors talk Wed 23 Sep at 1PM. CANBERRA MUSEUM AND GALLERY

Circus Oz

Sep 23-26. 7:30pm. $60-80. CANBERRA THEATRE CENTRE

THEATRE Much ado about nothing

Canberra Botanical 2015

Presented by Canberra REP. 17 Sept-3 Oct. Bookings 62571950.

NISHI GALLERY

The Confidence Man

JUICE KITCHEN CAFE

10am-4pm. 19 Sep - 5 Oct

CANBERRA REPERTORY SOCIETY

The Distant Warriors

A gripping interactive audio-visual thriller. 20-23 Sep.

ANZAC Centenary exhibition inspired by Indigenous and Maori soldiers. 9 Sep- 19 Nov. CANBERRA GLASSWORKS

Within These Walls

By Janet Angus. Until October 24. Mon - Fri 9am - 5:30pm Sat 9am - 1pm. Free.

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Pryor Again

Ian Pryor, watercolors. 5-26 Sept. TUGGERANONG ARTS CENTRE

Distant Voices

Openings 6PM 17 Sep-4 Oct. Free. M16 ARTSPACE

Walrus’s Mentis Fractura

Exploring the sensation of various mental illnesses. HONKYTONKS

Synthesised Fragility

Opening 17 Sep 6PM-4 Oct. M16 ARTSPACE

Shelter Object

Lizzie Hall. 17-27 Sept. Weds- Sun 11am- 5pm. Free. CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

Waxing, Waning

17 Sep-4 Oct. Free. M16 ARTSPACE

Juggler of Gravity

Dan Moor Sculptural installation. 5-26 Sep. TUGGERANONG ARTS CENTRE

Beyond Our Hot Horizon

Paintings by Jenny Blake. 3-27 Sep. 10-4PM. JUICE KITCHEN CAFE

COMEDY The Wharf Revue

$45/$65. 8PM. 15-26 Sept. THE PLAYHOUSE

THE STREET THEATRE

TRIVIA Tranny Trivia

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

THURSDAY SEPTEMBER 24 LIVE MUSIC CIT MIC Night 7PM. Free.

AINSLIE ARTS CENTRE

Humbug

Celtic Band. 8pm.

THE FRONT GALLERY AND CAFÉ

Dos Locos 9pm. Free.

KING O’MALLEY’S IRISH PUB

The Stiffys

With The Neanderthals. 9pm. $5. THE PHOENIX BAR

Mace and the Motor 8pm. Free.

TRANSIT BAR

Ensemble MIC Night (student performers) CIT music performance ensemble showcase. 7pm. Free. AINSLIE ARTS CENTRE

SOMETHING DIFFERENT Café Région

$55 for non members, 15% discount for members. 7.45PM. ALLIANCE FRANÇAISE

Shaken and Stirred

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

Glamour and Moist

LIVE MUSIC

Cabaret show. 8pm. $15.

Devin The Dude

Tarot Card Reading

TRANSIT BAR

POLIT BAR & LOUNGE

8pm. Presale via Moshtix.

I Exalt

With Semper Fi, To The Grave, Blind Oracle, The Sign Of Four. Doors 7:30pm. $10. THE BASEMENT

ON THE TOWN Hump Day

Get over the hump with drink specials after 5pm. TRANSIT BAR

POLIT BAR & LOUNGE

Booking only 0404364820. 5-7pm.

FRIDAY SEPTEMBER 25 LIVE MUSIC Something Like This Live music. 10pm. Free.

KING O’MALLEY’S IRISH PUB

Robbie Mann Plays Stride Piano 7.30PM. Free. Book online at politbar.co. POLIT BAR & LOUNGE

Sax in the City 8:30pm.

JERRABOMBERRA HOTEL

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ENTERTAINMENT GUIDE September 25 - Oct 3 FRIDAY SEPTEMBER 25

FILM

ON THE TOWN Vinyl Sessions

The Turning

OLD CANBERRA INN

LIVE MUSIC

6pm-midnight. Free.

SATURDAY SEPTEMBER 26

1.30PM.

NATIONAL PORTRAIT GALLERY

Third Party 8:30pm.

ART EXHIBITIONS

JERRABOMBERRA HOTEL

Footy Fever

70s to current rock music. 9pm. $5 at door.

Curated by Alexander Boynes. Aug 28- Oct 3. Tues - Fri 11am - 5pm, Sat 10am - 4pm. Free.

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

A Quiet Moment

Paintings by Robert Riggs. JUICE KITCHEN CAFE

Canberra Botanical 2015 10am-4pm. 19 Sep - 5 Oct NISHI GALLERY

Within These Walls

By Janet Angus. Until October 24. Mon - Fri 9am - 5:30pm Sat 9am - 1pm. Free.

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Bare: Degrees of undress 14 Aug- 15 Nov. Free.

NATIONAL PORTRAIT GALLERY

Pryor Again

Ian Pryor, watercolors. 5-26 Sept. TUGGERANONG ARTS CENTRE

Transfer

25 Sep - 18 Oct.

BELCONNEN ARTS CENTRE

Heroes and Villains: Strutt’s Australia William Strutt’s Collections. Until 15 Nov.

NATIONAL LIBRARY OF AUSTRALIA

Rock or Be Rocked (ROBR) P J O’REILLY’S (TUGGERANONG)

Live Band

WEDNESDAY SEPT 30 ART EXHIBITIONS Footy Fever

Curated by Alexander Boynes. Aug 28- Oct 3. Tues - Fri 11am - 5pm, Sat 10am - 4pm. Free.

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Canberra Botanical 2015

With Cracked Actor, Waterford, Thomas Hyland. 9:30pm. $5.

Within These Walls

ALLIANCE FRANÇAISE

SOMETHING DIFFERENT

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

KING O’MALLEY’S IRISH PUB

Heart Beach

THE PHOENIX BAR

Fashion and Fantasy

12 Sep-22 Nov. Collectors talk Wed 23 Sep at 1PM. CANBERRA MUSEUM AND GALLERY

CANBERRA GLASSWORKS

By Janet Angus. Until October 24. Mon - Fri 9am - 5:30pm Sat 9am - 1pm. Free.

Transfer

25 Sep - 18 Oct.

BELCONNEN ARTS CENTRE

Distant Voices

THEATRE

Openings 6PM 17 Sep-4 Oct. Free.

Much ado about nothing

The Makings of an Angel

Presented by Canberra REP. 17 Sept-3 Oct. Bookings 62571950. CANBERRA REPERTORY SOCIETY

SUNDAY SEPTEMBER 27 LIVE MUSIC Irish Jam Session

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

M16 ARTSPACE

With the Lanyon Trio.

Calm Turmoil

TUGGERANONG ARTS CENTRE

THE FRONT GALLERY AND CAFÉ

Bookings at canberraticketing.com.au or 6275 2700.

24 Sep-5 Oct.

Waxing, Waning

17 Sep-4 Oct. Free. M16 ARTSPACE

Cine Class - La Cage Doree

Synthesised Fragility

Drawn In

WALT & BURLEY

With The Charge, Lillye. 9pm. $5.

Italian Souvenir

SOMETHING DIFFERENT

24 Sep-5 Oct.

LIVE MUSIC

M16 ARTSPACE

BELCONNEN ARTS CENTRE

6.30PM.

DIGRESS COCKTAIL BAR

THE PHOENIX BAR

The Makings of an Angel

Einstein Trivia

Schnitz and Giggles

Improv comedy sketch night. 6:30pm. $10.

Opening 17 Sep 6PM-4 Oct.

FILM

TRIVIA

COMEDY

Synthesised Fragility

TRANSIT BAR

NATIONAL PORTRAIT GALLERY

THURSDAY OCTOBER 1

Foreign Kings

BELCONNEN ARTS CENTRE

DRILL HALL GALLERY

1PM. Draw while listening to Chris Bottomley’s voice and guitar.

28 Sep - 10 Oct. 6-8PM.

25 Sep - 18 Oct.

8pm. Presale via Resident Advisor.

Calm Turmoil

Glamour & Song questions. 8pm. Book Online.

Alliance Francaise Adult Courses

Live music. 10.30pm. Free.

Star Slinger (UK)

CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

Tranny Trivia

WORKSHOPS

M16 ARTSPACE

Lizzie Hall. 17-27 Sept. Weds- Sun 11am- 5pm. Free.

TRIVIA

ANZAC Centenary exhibition inspired by Indigenous and Maori soldiers. 9 Sep- 19 Nov.

Openings 6PM 17 Sep-4 Oct. Free.

Shelter Object

CANBERRA REPERTORY SOCIETY

The Distant Warriors

Distant Voices

M16 ARTSPACE

Presented by Canberra REP. 17 Sept-3 Oct. Bookings 62571950.

POLIT BAR & LOUNGE

NISHI GALLERY

Michael Buzacott Sculpture

Opening 17 Sep 6PM-4 Oct.

Much ado about nothing

10am-4pm. 19 Sep - 5 Oct

KING O’MALLEY’S IRISH PUB

25 Sep - 18 Oct.

THEATRE

25 Sep - 1 Nov.

$25. 5.30PM.

ALLIANCE FRANÇAISE

LIVE MUSIC

Buzzing Broadway

THE COURTYARD STUDIO

ON THE TOWN Chicago Charles & Dave 9-12pm. Free.

KING O’MALLEY’S IRISH PUB

SOMETHING DIFFERENT Tarot Card Reading

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

FRIDAY OCTOBER 2

A State of Grace

The music of Tim & Jeff Buckley. Bookings on 62752700. CANBERRA THEATRE CENTRE

CHECK YOUR HEAD

COMEDY Uni Pub Comedy Club

Your monthly dose of beats, rhymes and life. Jedbrii, Scotts, Macho Duck. 8pm. $5.

Featuring Michael Connell. 8pm.

THE PHOENIX BAR

LIVE MUSIC

KARAOKE

ON THE TOWN

Karaoke Salon

8PM. Book online at politbar.co.

Hump Day

Soul Of Fire- She fought for peace

Karaoke Love

TRANSIT BAR

ON THE TOWN

TRANSIT BAR

SOMETHING DIFFERENT

Oscar

Paintings by Jenny Blake. 3-27 Sep. 10-4PM.

ON THE TOWN

Picasso & Braque Go To The Movies

COMEDY

Every Tues 8pm. Book online at www.politbar.co

THE FRONT GALLERY AND CAFÉ

Waxing, Waning

17 Sep-4 Oct. Free. M16 ARTSPACE

Juggler of Gravity

Dan Moor Sculptural installation. 5-26 Sep. TUGGERANONG ARTS CENTRE

Michael Buzacott Sculpture 25 Sep - 1 Nov.

DRILL HALL GALLERY

Beyond Our Hot Horizon JUICE KITCHEN CAFE

The Wharf Revue

$45/$65. 8PM. 15-26 Sept. THE PLAYHOUSE

TUESDAY SEPTEMBER 29

POLIT BAR & LOUNGE

Karaoke. 9pm. Free entry.

Karaoke Salan

POLIT BAR & LOUNGE

TRIVIA Nerd Trivia with Joel and Ali

Presented by Impact Records. 7:30pm.

Get over the hump with drink specials after 5pm.

Culture Reels. 7PM. $5.

GORMAN HOUSE ARTS CENTRE

Fashion and Fantasy

12 Sep-22 Nov. Collectors talk Wed 23 Sep at 1PM.

CANBERRA MUSEUM AND GALLERY

UNI PUB

Special performance in German. 4pm. THE STREET THEATRE

10pm. Free.

KING O’MALLEY’S IRISH PUB

SATURDAY OCTOBER 3 ART EXHIBITIONS Michael Buzacott Sculpture 25 Sep - 1 Nov.

DRILL HALL GALLERY

THE PHOENIX BAR

@bmamag

ENTERTAINMENT GUIDE October 3 - October 7 SATURDAY OCTOBER 3 Footy Fever

Curated by Alexander Boynes. Aug 28- Oct 3. Tues - Fri 11am - 5pm, Sat 10am - 4pm. Free.

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Canberra Botanical 2015 10am-4pm. 19 Sep - 5 Oct NISHI GALLERY

Bare: Degrees of undress 14 Aug- 15 Nov. Free.

NATIONAL PORTRAIT GALLERY

Within These Walls

By Janet Angus. Until October 24. Mon - Fri 9am - 5:30pm Sat 9am - 1pm. Free.

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Transfer

25 Sep - 18 Oct.

BELCONNEN ARTS CENTRE

Heroes and Villains: Strutt’s Australia

William Strutt’s Collections. Until 15 Nov.

NATIONAL LIBRARY OF AUSTRALIA

Distant Voices

Openings 6PM 17 Sep-4 Oct. Free. M16 ARTSPACE

The Makings of an Angel 25 Sep - 18 Oct.

WORKSHOPS

TRIVIA

Kon Kudo

Alliance Francaise Adult Courses

Tris and Travis’ Trivia: All At Sea

HONKYTONKS

ALLIANCE FRANÇAISE

THE PHOENIX BAR

28 Sep - 10 Oct. 6-8PM.

SUNDAY OCTOBER 4

7:30pm.

WORKSHOPS

ART EXHIBITIONS

Alliance Francaise Childrens Courses

Distant Voices

ALLIANCE FRANÇAISE

Openings 6PM 17 Sep-4 Oct. Free. M16 ARTSPACE

LIVE MUSIC Soul Of Fire- She fought for peace

Special performance in German. 4pm. THE STREET THEATRE

Irish Jam Session

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

6-10 Oct.

WEDNESDAY OCTOBER 7 ART EXHIBITIONS New Work

By Julia Thwaites. Opening 6PM Oct 1-11.Wed- Sun 11am- 5pm. Free CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

Michael Buzacott Sculpture

3PM.

NATIONAL PORTRAIT GALLERY

LIVE MUSIC Soul Of Fire- She fought for peace

Special performance in German. 4pm. THE STREET THEATRE

Bjorn Again

8PM. $49.50/$69.50.

CANBERRA THEATRE CENTRE

The Seven Ups 9:30pm. $5.

THE PHOENIX BAR

The Big Draw: Portrait puzzle tale

Einstein Trivia 6.30PM.

WALT & BURLEY

Within These Walls

Presented by Canberra REP. 17 Sept-3 Oct. Bookings 62571950. CANBERRA REPERTORY SOCIETY

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

25 Sep - 18 Oct.

BELCONNEN ARTS CENTRE

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

WORKSHOPS Alliance Francaise Adult Courses

28 Sep - 10 Oct. 6-8PM. ALLIANCE FRANÇAISE

Alliance Francaise Childrens Courses 6-10 Oct.

ALLIANCE FRANÇAISE

Lord of the Dance: Dangerous Games

7.30PM. $69.90-$119.90.

CANBERRA THEATRE CENTRE

8PM. Book online at politbar.co. POLIT BAR & LOUNGE TRANSIT BAR

Much ado about nothing

CANBERRA MUSEUM AND GALLERY

DANCE

SOMETHING DIFFERENT

THEATRE

12 Sep-22 Nov. Collectors talk Wed 23 Sep at 1PM.

TUESDAY OCTOBER 6

Karaoke Love

CANBERRA MUSEUM AND GALLERY

Fashion and Fantasy

NISHI GALLERY

SMITH’S ALTERNATIVE

12 Sep-22 Nov. Collectors talk Wed 23 Sep at 1PM.

A. BAKER

10am-4pm. 19 Sep - 5 Oct

Karaoke Salon

Fashion and Fantasy

DJs, VJs. Free entry.

Canberra Botanical 2015

KING O’MALLEY’S IRISH PUB

Mayfair Tour.

Digital Feast

ART EXHIBITIONS

KARAOKE

Winters End

SOMETHING DIFFERENT

MONDAY OCTOBER 5

Heuristic

10.30pm. Free.

CANBERRA THEATRE CENTRE

CANBERRA GLASSWORKS

Transfer

Bran Nue Day

7.30PM. $69.90-$119.90.

SOMETHING DIFFERENT

THE BASEMENT

New Work

FILM

Lord of the Dance: Dangerous Games

Tranny Trivia

ANZAC Centenary exhibition inspired by Indigenous and Maori soldiers. 9 Sep- 19 Nov.

TRIVIA

CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

DANCE

The Distant Warriors

NATIONAL PORTRAIT GALLERY

By Julia Thwaites. Opening 6PM Oct 1-11.Wed- Sun 11am- 5pm. Free

BELCONNEN ARTS CENTRE

1.30PM. Entry $5. Tickets at trybooking.com.

DRILL HALL GALLERY

24 Sep-5 Oct.

THE FRONT GALLERY AND CAFÉ

25 Sep - 18 Oct.

TRIVIA

Shameem

11AM. Puzzle making.

Calm Turmoil

The Makings of an Angel

25 Sep - 1 Nov.

KING O’MALLEY’S IRISH PUB

By Janet Angus. Until October 24. Mon - Fri 9am - 5:30pm Sat 9am - 1pm. Free.

BELCONNEN ARTS CENTRE

Canberra based photographer and circus performer.

Karaoke. 9pm. Free entry.

LIVE MUSIC Paul Dal Broi Quartet

Jazz. 7.30PM. Bookings essential. THE GODS CAFE

ON THE TOWN Karaoke Salan

Every Tues 8pm. Book online at www.politbar.co POLIT BAR & LOUNGE

facebook.com/bmamagazine

ENTERTAINMENT GUIDE October 8 - October 17 THURSDAY OCTOBER 8 DANCE Lord of the Dance: Dangerous Games

7.30PM. $69.90-$119.90.

The Makings of an Angel

TRIVIA

LIVE MUSIC

BELCONNEN ARTS CENTRE

Einstein Trivia

Dead Letter Circus

COMEDY

WALT & BURLEY

25 Sep - 18 Oct.

Lawrence Mooney - Surely Not! 8PM. $49.90.

CANBERRA THEATRE CENTRE

THE PLAYHOUSE

LIVE MUSIC

DANCE

The Ocean Party

Lord of the Dance: Dangerous Games

With Wives, Cool Sounds. 9pm. $5. THE PHOENIX BAR

SOMETHING DIFFERENT Tarot Card Reading

7.30PM. $69.90-$119.90.

CANBERRA THEATRE CENTRE

FILM

Booking only 0404364820. 5-7pm.

Happy Feet

WORKSHOPS

NATIONAL PORTRAIT GALLERY

POLIT BAR & LOUNGE

3PM. $5. Bookings essential. 6102 7070 or bookings@npg.gov.au

Alliance Francaise Childrens Courses

LIVE MUSIC

ALLIANCE FRANÇAISE

Thy Art is Murder, Memphis May Fire and The Word Alive. 6:30pm. Tickets $54.00 +bf GA from oztix.com

6-10 Oct.

FRIDAY OCTOBER 9

Parkway Drive

UC REFECTORY

DANCE

ON THE TOWN

Lord of the Dance: Dangerous Games

DJ Raven

7.30PM. $69.90-$119.90.

70’s, 80’s, 90’s, Dance Classics and Top 40. From 9pm. Free.

CANBERRA THEATRE CENTRE

VIKINGS CHISHOLM

LIVE MUSIC

SOMETHING DIFFERENT

Madre Monte & Los Chavos

Fashion and Fantasy

THE POLISH WHITE EAGLE CLUB

12 Sep-22 Nov. Collectors talk Wed 23 Sep at 1PM.

WORKSHOPS

Sizzle and Moist

$20/$18/$15. 7PM.

Alliance Francaise Childrens Courses 6-10 Oct.

ALLIANCE FRANÇAISE

SATURDAY OCTOBER 10 ART EXHIBITIONS New Work

By Julia Thwaites. Opening 6PM Oct 1-11.Wed- Sun 11am- 5pm. Free CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

Michael Buzacott Sculpture 25 Sep - 1 Nov.

DRILL HALL GALLERY

Bare: Degrees of undress 14 Aug- 15 Nov. Free.

NATIONAL PORTRAIT GALLERY

Heroes and Villains: Strutt’s Australia William Strutt’s Collections. Until 15 Nov.

NATIONAL LIBRARY OF AUSTRALIA

Within These Walls

By Janet Angus. Until October 24. Mon - Fri 9am - 5:30pm Sat 9am - 1pm. Free.

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Transfer

25 Sep - 18 Oct.

BELCONNEN ARTS CENTRE

Kon Kudo

Canberra based photographer and circus performer.

CANBERRA MUSEUM AND GALLERY

CMC, Tammy Paks, MC KREWD. 8pm. $15 presale. THE POLISH WHITE EAGLE CLUB

WORKSHOPS Alliance Francaise Adult Courses

6.30PM.

TUESDAY OCTOBER 13 KARAOKE Karaoke Salon

8PM. Book online at politbar.co. POLIT BAR & LOUNGE

ART EXHIBITIONS New Work

By Julia Thwaites. Opening 6PM Oct 1-11.Wed- Sun 11am- 5pm. Free

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

Dead Mens Wars

ON THE TOWN Karaoke Salan

Every Tues 8pm. Book online at www.politbar.co POLIT BAR & LOUNGE

WEDNESDAY OCTOBER 14 ART EXHIBITIONS

Bookings thestreet.org.au or 6247 1223. THE STREET THEATRE

FRIDAY OCTOBER 16 LIVE MUSIC Captain Cleanoff

Rising Terror Tour. TRANSIT BAR

Michael Buzacott Sculpture

SOMETHING DIFFERENT

DRILL HALL GALLERY

Tarot Card Reading

25 Sep - 1 Nov.

The Distant Warriors

ANZAC Centenary exhibition inspired by Indigenous and Maori soldiers. 9 Sep- 19 Nov. CANBERRA GLASSWORKS

Within These Walls

By Janet Angus. Until October 24. Mon - Fri 9am - 5:30pm Sat 9am - 1pm. Free.

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Transfer

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

THEATRE Dead Mens Wars

Bookings thestreet.org.au or 6247 1223. THE STREET THEATRE

SATURDAY OCTOBER 17

25 Sep - 18 Oct.

ART EXHIBITIONS

Kon Kudo

Michael Buzacott Sculpture

BELCONNEN ARTS CENTRE

Canberra based photographer and circus performer. HONKYTONKS

The Makings of an Angel 25 Sep - 18 Oct.

Alliance Francaise Childrens Courses

SUNDAY OCTOBER 11

Tarot Card Reading

TRANSIT BAR

SOMETHING DIFFERENT

ALLIANCE FRANÇAISE

SOMETHING DIFFERENT

THEATRE

Karaoke. 9pm. Free entry.

BELCONNEN ARTS CENTRE

6-10 Oct.

UC REFECTORY

Karaoke Love

28 Sep - 10 Oct. 6-8PM. ALLIANCE FRANÇAISE

With 10 Years (USA), Guards of May. 8pm. tickets $35.00 +bf GA from oztix.com.au.

Fashion and Fantasy

12 Sep-22 Nov. Collectors talk Wed 23 Sep at 1PM. CANBERRA MUSEUM AND GALLERY

THEATRE Dead Mens Wars

Bookings thestreet.org.au or 6247 1223.

25 Sep - 1 Nov.

DRILL HALL GALLERY

Bare: Degrees of undress 14 Aug- 15 Nov. Free.

NATIONAL PORTRAIT GALLERY

Heroes and Villains: Strutt’s Australia

William Strutt’s Collections. Until 15 Nov.

NATIONAL LIBRARY OF AUSTRALIA

Within These Walls

By Janet Angus. Until October 24. Mon - Fri 9am - 5:30pm Sat 9am - 1pm. Free.

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Transfer

25 Sep - 18 Oct.

THE STREET THEATRE

BELCONNEN ARTS CENTRE

CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

TRIVIA

DANCE

Tranny Trivia

Canberra based photographer and circus performer.

Lord of the Dance: Dangerous Games

POLIT BAR & LOUNGE

7.30PM. $69.90-$119.90.

CANBERRA THEATRE CENTRE

LIVE MUSIC Isla Grant Farewell Concert Tour 7.30PM. $69.

THE PLAYHOUSE

Glamour & Song questions. 8pm. Book Online.

THURSDAY OCTOBER 15 COMEDY Schnitz and Giggles

Improv comedy sketch night. 6:30pm. $10. DIGRESS COCKTAIL BAR

Kon Kudo

HONKYTONKS

The Makings of an Angel 25 Sep - 18 Oct.

BELCONNEN ARTS CENTRE

SOMETHING DIFFERENT Fashion and Fantasy

12 Sep-22 Nov. Collectors talk Wed 23 Sep at 1PM.

CANBERRA MUSEUM AND GALLERY

THEATRE

HONKYTONKS

Dead Mens Wars

THE STREET THEATRE

Bookings thestreet.org.au or 6247 1223.

@bmamag

ENTERTAINMENT GUIDE October 18 - October 31 SUNDAY OCTOBER 18 LIVE MUSIC Hands Like Houses

With Lower than Atlantis (UK), Far Away Stables (AUS). 18+ ANU BAR AND REFECTORY

SOMETHING DIFFERENT Canberra Blues Society Monthy Jams Groove Kings. 2pm. $3/$5. HARMONIE GERMAN CLUB

SOMETHING DIFFERENT

Bare: Degrees of undress

Fashion and Fantasy

NATIONAL PORTRAIT GALLERY

12 Sep-22 Nov. Collectors talk Wed 23 Sep at 1PM.

CANBERRA MUSEUM AND GALLERY

TRIVIA Tranny Trivia

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

THURSDAY OCTOBER 22

TRIVIA

COMEDY

Einstein Trivia

Short, Fast & Funny Comedy Night

6.30PM.

WALT & BURLEY

TUESDAY OCTOBER 20 KARAOKE Karaoke Salon

Local comedians perform their best short sets. $10/$5 concession. 7:30pm. CIT MUSIC INDUSTRY CENTRE

FRIDAY OCTOBER 23

8PM. Book online at politbar.co.

ART EXHIBITIONS

Karaoke Love

Within These Walls

POLIT BAR & LOUNGE

Karaoke. 9pm. Free entry. TRANSIT BAR

ON THE TOWN Karaoke Salan

Every Tues 8pm. Book online at www.politbar.co POLIT BAR & LOUNGE

WEDNESDAY OCTOBER 21

By Janet Angus. Until October 24. Mon - Fri 9am - 5:30pm Sat 9am - 1pm. Free.

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

COMEDY Neel Kolhatkar

Live (Comedy Night GA Seated). 7pm. Tickets $29 + BF from oztix.com.au UC REFECTORY

Within These Walls

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

SOMETHING DIFFERENT Fashion and Fantasy

12 Sep-22 Nov. Collectors talk Wed 23 Sep at 1PM. CANBERRA MUSEUM AND GALLERY

CANBERRA GLASSWORKS

Within These Walls

By Janet Angus. Until October 24. Mon - Fri 9am - 5:30pm Sat 9am - 1pm. Free.

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Kon Kudo

Canberra based photographer and circus performer.

Last Leaves & Waterford New single out soon.

THE POLISH WHITE EAGLE CLUB

SATURDAY OCTOBER 24 ART EXHIBITIONS Michael Buzacott Sculpture

LIVE MUSIC MozartMANIA!

Oct 30 Champange Night. Oct 31 Banquet Night. Nov 1 Twilight Champagne Supper. Book at carlrafferty@bigpond.com

Buzzing Broadway

Bookings at canberraticketing.com.au or 6275 2700.

KARAOKE

THE COURTYARD STUDIO

Karaoke Love

ON THE TOWN

TRANSIT BAR

Retro Invasion

Karaoke. 9pm. Free entry.

Retro Music. 7pm. Adult and family tickets available.

Karaoke Salon

8PM. Book online at politbar.co.

THE RUC (TURNER)

POLIT BAR & LOUNGE

ON THE TOWN

SATURDAY OCTOBER 31

Karaoke Salan

ART EXHIBITIONS

Every Tues 8pm. Book online at www.politbar.co

Michael Buzacott Sculpture

POLIT BAR & LOUNGE

25 Sep - 1 Nov.

WEDNESDAY OCTOBER 28

Michael Buzacott Sculpture

ANZAC Centenary exhibition inspired by Indigenous and Maori soldiers. 9 Sep- 19 Nov.

FRIDAY OCTOBER 30

ALBERT HALL

TUESDAY OCTOBER 27

Johnny Cash The Concert

THE STREET THEATRE

AINSLIE ARTS CENTRE

By Janet Angus. Until October 24. Mon - Fri 9am - 5:30pm Sat 9am - 1pm. Free.

Michael Buzacott Sculpture The Distant Warriors

Canberra’s finest blues musicians come together for a night of blues. 7:30pm. $10/$5 concession.

NATIONAL LIBRARY OF AUSTRALIA

ART EXHIBITIONS

Feat. Daniel Thompson, Stuie French & The Tennessee Studs. Bookings at thestreet.org.au.

A Night of Blues (Blues Bands)

William Strutt’s Collections. Until 15 Nov.

LIVE MUSIC

DRILL HALL GALLERY

LIVE MUSIC

Heroes and Villains: Strutt’s Australia

ART EXHIBITIONS 25 Sep - 1 Nov.

THURSDAY OCTOBER 29

14 Aug- 15 Nov. Free.

DRILL HALL GALLERY

Bare: Degrees of undress 14 Aug- 15 Nov. Free.

NATIONAL PORTRAIT GALLERY

Heroes and Villains: Strutt’s Australia

25 Sep - 1 Nov.

William Strutt’s Collections. Until 15 Nov.

DRILL HALL GALLERY

The Distant Warriors

ANZAC Centenary exhibition inspired by Indigenous and Maori soldiers. 9 Sep- 19 Nov. CANBERRA GLASSWORKS

NATIONAL LIBRARY OF AUSTRALIA

LIVE MUSIC Metal Fiesta 8

SOMETHING DIFFERENT

5PM. Tickets available from oztix.com.au.

Fashion and Fantasy

MozartMANIA!

12 Sep-22 Nov. Collectors talk Wed 23 Sep at 1PM.

CANBERRA MUSEUM AND GALLERY

25 Sep - 1 Nov.

THE BASEMENT

Oct 30 Champange Night. Oct 31 Banquet Night. Nov 1 Twilight Champagne Supper. Book at carlrafferty@bigpond.combigpond.com ALBERT HALL

DRILL HALL GALLERY

HONKYTONKS

OUT

JUN 17

THE ART OF TEACHING PEKING DUK MATT OKINE ...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

Kayo Marbilus facebook.com/kayomarbilus1

Amphibian Sound PA Clare 0410308288

Kurt’s Metalworx (PA) 0417025792

Annie & The Armadillos Annie (02) 61611078/ 0422076313 Aria Stone sax/flute/lute/ harmonica, singer-songwriter Aria 0411803343

Bleach It Clean Where did your band name come from? It’s a secret. Shhh. Group members? Gabby – bass/vocals, Blake – guitarist/ backing vocals, Liam – drums, Alex – bassoon. Describe your sound: If The Cranberries and punk had a baby. Who are your influences, musical or otherwise? The Cranberries, Nirvana, Red Hot Chili Peppers, and Silverchair (pre-sell out).

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

What’s the most memorable experience you’ve had whilst performing? At our EP launch, the power went out on the left side while we were covering ‘Smells Like Teen Spirit’. The microphones went out, so the room started singing it with us to compensate.

Bridge Between, The Cam 0431550005

Of what are you proudest so far? Releasing our first pizzarelated album.

Cole Bennetts Photography 0415982662

What are your plans for the future? Keep trying to make good music. What makes you laugh? Our bassoon player Alex. What pisses you off? There’s no gigs for under-age bands. What about the local scene would you change? A bigger scene for under-age bands. What are your upcoming gigs? We will have more in the future. We are trying to focus on song-writing and recording, but whenever we do have gigs, they will be on our Facebook/Twitter. Contact info: triplejunearthed.com/artist/bleach-it-clean, @BleachItClean, facebook.com/Bleach-it-clean-1532618750299808/, youtube.com/channel/UCThneBHBG_EJFvCqGZHwGbQ.

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

Danny V Danny 0413502428 Dawn Theory Nathan 0402845132 Danny 0413502428 Dorothy Jane Band, The Dorothy Jane 0411065189 dorothy-jane@dorothyjane.com Drumassault Dan 0406 375 997 Feldons, The 0407 213 701 Fire on the Hill Aaron 0410381306 Lachlan 0400038388 Fourth Degree Vic 0408477020 Gareth Dailey DJ/Electronica Gareth 0414215885 Groovalicious Corporate/ weddings/private functions 0448995158 Guy The Sound Guy Live & Studio Sound Engineer 0400585369 guy@guythesoundguy.com

Los Chavos Latin/ska/reggae Rafa 0406647296 Andy 0401572150 Merloc - Recording Studio, Watson. Sam King: 0430484363. sam@ merlocrecords.com 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 Rafe Morris 0416322763 Redletter Ben 0421414472 Redsun Rehearsal Studio Ralph 0404178996/ (02) 61621527 Rug, The Jol 0417273041 Sewer Sideshow Huck 0419630721 Simone & The Soothsayers Singing teacher Simone 62304828 Sorgonian Twins, The Mark 0428650549 Soundcity Rehearsal Studio Andrew 0401588884 STonKA Jamie 0422764482 stonka2615@gmail.com Strange Hour Events Dan 0411112075 Super Best Friends Greg greg@gunfever.com.au System Addict Jamie 0418398556

Haunted Attics band@hauntedatticsmusic.com

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

Johnny Roadkill Paulie 0408287672 paulie_mcmillan@live.com.au

Zoopagoo zoopagoo@gmail.com

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