BMA Magazine 476 - 16 December 2015 by BMA Magazine

COVER

DRUG DRIVING CAMPAIGN

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MOLONGLO GROUP

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WOMADELAIDE

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AD CIT SPACE

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THE COLOR RUN

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KNIGHTSBRIDGE PENTHOUSE YACHT ROCK

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JOSH PYKE

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SOUND OUT

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THE DICKSON TRADIES

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AINSLIE AND GORMAN

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A GRAMMY NOMINEE? IN OUR TOWN? Who would’ve thought it, right?

Drive safe and be merry, you lot. #476December16 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

Dr Nicholas Milton, who is the chief conductor and artistic director of the Canberra Symphony Orchestra, has been nominated for a Grammy Award! It’s for his work with German pianist Joseph Moog and the Deutsche Radiophilharmonie, and he’s been nominated in the Best Classical Instrumental Solo category. So look, yeah, he’s not up there competing against Tay Tay, but this is absolutely massive, and on behalf of BMA, we’d like to extend our sincere congratulations to Dr Milton! We’re talking about a damn Grammy award here, people. Put your hands together.

SLOW TURISMO ‘FALTER’ WITH NEW SINGLE RELEASE Just kidding, we love these guys, as if they could do any wrong. We love them almost as much as we love a silly headline. Local favourites Slow Turismo have just released their new single ‘Falter’, and it’s brilliant. Exactly the kind of poppy guitar

work you’ll be craving this summer, and matched with their infectious vocal lines, it’ll get stuck in your head for weeks. Give it a spin over at soundcloud.com/slowturismo.

WE LARGE MOBILE SOUND SYSTEM Need someone to get your party started? Directed by everyone’s favourite DJ Coolio Desgracias, the We Large Mobile Sound System can deliver “1000 watts of the finest eclectic jams to get buns jigglin’ and beards scratchin”. These guys bring the sound system, the records, and get the party started with some tunes and remixes – all the while taking on MC duties as well! If that sounds like something you might need for a shindig this festive season, get in contact with them at:

welargeproductions@gmail. com Or call Celli on 0404 192 642.

MERRY HAPPY! Hey you lot, it’s that time of year again when people get all merry and happy, spend time with loved ones, and generally have a wonderful time. But we’d be remiss if we didn’t tell you all to be safe and careful out there this festive season. Australia is a bit of a drinking nation, and far too many people tragically die every summer over Christmas and New Year’s because they risk drinking (or taking drugs) and driving. Be careful. Take a cab. Walk. Just don’t drive. This is the kind of thing people can never take seriously enough. That aside! Have a wonderful Christmas and New Year’s, check out some sick gigs, and tell your family and friends you love them.

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T: (02) 6247 4816 E: accounts@bmamag.com

Sub-Editor & Social Media Manager Andrew Nardi Graphic Design Chris Halloran Film Editor Emma Robinson NEXT ISSUE 477 OUT January 20 EDITORIAL DEADLINE Jan 8 ADVERTISING DEADLINE Jan 13 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. Cover photo credit: Leslie Kirchhoff

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It’s a really small, gentle thing, and nearly everyone does it on a daily basis. But it’s a powerful one when you think about it.

FROM THE BOSSMAN And so we find ourselves once again at the year’s end, a contemplative time of misty reflection and list perfection; a time to mull, ponder and deliberate over the year’s events and take the time to sift through the daily muck in order to unearth glittering jewels of human endeavour, all lovingly presented in the readymade clickbait format of a list. It’s a celebratory issue. We have a chest-puffing piece on Canberra pride penned by Questioning and Singles in Focus’ own Cody Atkinson. Angela Christian-Wilkes has thrown down a fine bit of wordage celebrating women in music. But it hasn’t been the cheeriest end to the year. War, fear and terrorism once again rule the headlines. So I thought I would utilise these final column inches for the year and use my time of misty reflection to focus on the little things that make life worthwhile, and reaffirm the everyday goodness in humanity. All in list format, of course, because you bloody love it that way, you slags. So without further ado, it’s Allan Sko’s… Top Five Things What Made Me Happy in 2015, Like 5) The Canberra Centre Zebra Crossing Traffic law dictates that cars have to stop at zebra crossings. Despite this, with regular frequency, I see a group of Canberra pedestrians in Civic just outside the Nando’s/Grill’d intersection halt their walk en masse in order to let the poor, long-suffering no doubt interstate - motorist glide past the busy road.

As Jimmy Carr says, someone wants to “make you happier”. Think about that next time someone shares a link. 2) My Next Door Neighbours My neighbours are the kinds of people that make you realise you could be a 1000 times better person than you currently are. They are suffering through the Mister Fluffy nonsense and had their home knocked down this week. At the same time, they gave our girls hand painted trowels and a homemade gardening box decorated by their own children for our kids’ birthdays. They are busy people, going through a lot, and yet find time to be this awesome to others. These people make me want to be a better person*. 1) The Return of the (Wallet) Ring In a year in which I was nearly scammed twice and people were after my ill gotten gains, it’s heart-warming to know there are still good hearted people out there looking to do the opposite. After a 14-hour deadline Friday, I managed to drop my wallet as I stepped from my Uber chariot. To paraphrase a Tony Soprano phrase, my life is in that wallet. So I dedicate this final column of the year to Jennifer Shaw, who not only found my wallet, but managed to track me down online and then drove over to my workplace to give it back to this idiot. So thank you Jennifer. * spoiler alert… Ain’t gonna happen. But the thought is very much there, and it’s the thought that counts after all ALLAN SKO - allan@bmamag.com

This single action is met by motorist and pedestrian alike with knowing, friendly waves to one and all. It’s just a lovely moment where a group of strangers come together to help out another complete stranger in a scenario where societal laws dictate there’s no need. It never fails to make me smile. 4) People Who Dedicate Their Life To Making You Laugh… There are a host of YouTube channels and Podcasts run by people who make little to no money but exist simply to entertain and delight. As a wrestling nerd, the Attitude Era, New Generation Project and OSW Review podcasts have been responsible for many a chuckle. And the sheer effort involved in everything the Auralnauts do is something to behold. 3) ...And the People Who Share Them I interviewed Jimmy Carr for this issue, and in the enjoyable chat he stated a very basic thing about comedy - “All I’m trying to do is to make you laugh and release endorphins and hopefully let you be slightly happier.” Nearly all of us do this, whether we realise it or not. Be it my octogarian grandmother tenatively using the Facebook or firing up the Twitter Machine to show me something they find amusing, or my scarily ahead-of-his-time younger brother keeping this old bastard up to date with a new clip or cutting edge piece of comedy, the fact remains that someone has seen something they think you would like and have taken the time to send it to you in order to form a connection.

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WHAT: B.B. KING TRIBUTE WHEN: FRI DEC 18 WHERE: HARMONIE-GERMAN CLUB

50 years on, ‘A Night at the Regal’ hopes to take blues lovers back to 1965 – when B.B. King was the undisputed king of the blues and the classic album Live at the Regal was recorded in Chicago. Hailed as one of the hottest blues performances in history, Live at the Regal will be performed in its entirety on the night. The legendary Pat Powell will channel the king’s voice, with the rest of the band consisting of the best local jazz and blues musicians in the region. Starts at 8pm. For booking information, contact Dave Blanken on 0418 448 107.

WHO: ANDREA KIRWIN WHAT: GIG WHEN: SUN DEC 20 WHERE: THE FRONT CAFÉ

Fiji seems like a nice place for a holiday, but how much do you know about Fijian culture? Eh? Gotcha there, didn’t I? Andrea Kirwin is a singer-songwriter with Australian-Fijian roots. She weaves melodies and storytelling together in an Island-style roll, much like the way her Fijian grandmother used to weave pandanus mats in her village. But she also mixes in a bit of hip-hop, folk, funk and soul, all set amongst her smooth, laidback vocal tones. She’ll be supported by The Cashews. The show runs from 4pm to 7pm. Entry starts at $10.

WHO: DARREN HANLON WHAT: CHRISTMAS TOUR WHEN: MON DEC 21 WHERE: THE POLISH CLUB

‘Tis the season for … Darren Hanlon? Ten years ago, Darren Hanlon capped off his year with a low-key show in Sydney. Since then, Hanlon’s Christmas shows have become something of a tradition, as many of his fans come along to catch ol’ mate Santa Darren ring in the Christmas spirit with a bit of Australian indie. This year, he’ll be supported by The Grand Magoozi. Tickets are $25 + bf through darrenhanlon.com, or $30 at the door. Kicks off at 7:30pm.

WHO: BAG RAIDERS WHAT: TOUR WHEN: THU DEC 24 WHERE: MR WOLF

No one does Aussie dance music better than the veterans – and that’d have to be Bag Raiders. Whether it’s for their electro roots, their new stuff or their mega-hit ‘Shooting Stars’ (trust me, you know it, just look it up), Bag Raiders are undoubtedly one of Australia’s national treasures. So what’s up, Canberra? They’re playing Mr Wolf on Christmas frickin’ Eve! Not a bad way to spend the night before you get up extra early to unwrap ya pressies and stuff ya gob with Christmas lunch. $15 entry before 11pm. Supported by Bakgat, Skinny and Hudak.

WHO: CONFESSION WHAT: FINAL TOUR WHEN: MON JAN 4 WHERE: THE BASEMENT

Sad news, metalheads. Australian metalcore outfit Confession is about to take their final bow. The choice was made by their infamous frontman, Michael Crafter (who you might remember from Big Brother, if you’re into that), who wanted to leave the scene on a high note, rather than to fade away as the responsibilities of life take the lead. It’s always a disappointing day when someone gives up the metal, but that’s all the more reason to catch Confession’s final string of shows! They’ll be supported by Graves and special guests. Tickets are $24 through Oztix. Catchya there at 7:30pm.

WHO: TRUCKFIGHTERS WHAT: TOUR WHEN: FRI JAN 8 WHERE: THE BASEMENT

Swedish fuzz is a genre of music. It sounds like a genetically modified corgi or an unsuccessful ’70s porn film, but it’s not, it’s a genre of music. One of its most beloved bands is Truckfighters, who are renowned for bringing the fuzz. And by bringing the fuzz, they mean their manic, sweaty, all-encompassing live show. It just so happens that they’re psyched to be coming here, too. They’ll be supported by Fuck The Fitzroy Doom Scene, Witch Fight and Hence The Testbed. Opens at 7:30pm. Tickets are $34.20 through Oztix.

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BMA MAGAZINE’S TOP FIVE ALBUMS OF 2015 JEREMY STEVENS: EDITOR 5. BUT FOR ALL THESE SHRINKING HEARTS BY JOSH PYKE [WONDERLICK] Josh Pyke manages to do what the best singer-songwriters do with But For All These Shrinking Hearts. Beautiful melodies, warm song-writing, an intimacy to the work, and most importantly – consistency in every regard. It’s a record that covers solid ground, and it is a testament to Pyke’s significant talents. 4. THE MINDSWEEP: HOSPITALISED BY ENTER SHIKARI [AMBUSH REALITY/PIAS RECORDINGS/ HOSPITAL RECORDS] Enter Shikari’s The Mindsweep was released in the middle of January this year. It warranted a few listens, and while it was a strong release, it didn’t quite take the same kind of direction that I thought 2013’s Rat Race EP was going to send them (the ending to ‘The Paddington Frisk’ awoke something in me). When I heard The Mindsweep was going to be remixed, I was curious – and that curiosity only grew when I learned it was being remixed by artists from drum and bass label Hospital Records. As an introduction to the genre, it’s done incredibly well to win me over. Keeno’s remix of ‘The One True Colour’ is sublime. If you never thought drum and bass was for you, give this a spin, it’s incredible work and breathes new life into Shikari’s album. 3. ARE YOU ALONE? BY MAJICAL CLOUDZ [MATADOR] Never have I heard minimalism done so well. Majical Cloudz’s Are You Alone? is so stripped back, so sparse, and so well composed, that this is minimal in the most honest definition of the term. On top of this, each song feels distinct from the next, with Devon Welsh’s vocals shining in every way. Matthew Otto’s work on production gives each song a flowing, shifting undercurrent that beautifully complements Welsh’s writing. Lyrics, tone, style, and substance all come together here to form an album that I’ll happily have live on my shelf for years to come. Nothing short of timeless songwriting. A very special album. 2. ART ANGELS BY GRIMES [4AD] Grimes’ Visions was good – don’t get me wrong – but it didn’t grab me. It didn’t make me sit up and pay a huge amount of attention. When she then went and released ‘Go feat. Blood Diamonds’, I was floored. Say what you want, but that production, and that drop, that hook – it’s pop gold, and it did an amazing job of showing just how diverse a songwriter and artist Grimes really is. As a result, I was unsurprisingly pleased with the direction she took on Art Angels. This is incredible pop music, with some of the catchiest hooks you’ll hear all year. A bold and welcome move forward. 1. ALL HANDS BY DOOMTREE [DOOMTREE RECORDS] Hip-hop crews have never really done much for me in the past, but Doomtree – just wow. The Minnesota collective made up of Dessa, Cecil Otter, P.O.S, Sims, Mike Mictlan, Paper Tiger, and Lazerbeak have crafted an album that doesn’t let up once. My first proper introduction to hip-hop was P.O.S’s Never Better (it’s still one of my favourite albums), and on All Hands, P.O.S delivers the same kind of unique flow and wordplay I’ve come to expect. Cecil’s work, in particular on ‘Heavy Rescue’, is phenomenal too, but it’s really Paper Tiger and Lazerbeak (both on production) who steal the show here. Doomtree don’t get nearly as much attention as they deserve.

ALLAN SKO: PUBLISHER/BOSSMAN 5. HUD.DREEMS BY KNXWLEDGE [STONES THROW RECORDS] I’m a sucker for instrumental hip hop. Yes, Kendrick Lamar gave us another devastating instant classic with his masterful storytelling in To Pimp A Butterfly (I LOVE ‘How Much Does a Dollar Cost’), but I delight in the art of mining the rich depths of soul, funk, jazz and, in track nvrndng’s case the Nine Cricket theme, in order to cut, mash and layer in a bid to create something new. Knxwledge manages to distill the ethos of J Dilla and make something new out of something old. I can’t give praise higher than that. 4. POWERS OF TEN BY STEPHAN BODZIN [HERZBLUT RECORDINGS] Mesmeric stuff from the production veteran. The 46-year-old German DJ, techno producer and label owner has delivered a perfectly pitched album rich in experience. Equally beautiful, sinister and emotional, Powers of Ten is mind music at its very best, a velvety deep techno landscape that screams “timeless”. With just the right balance of emotion displayed in each track, this is a real masterpiece of the genre. 3. IT’S LIKE/FATHOMS EPS BY TIPPER - [TIPPERMUSIC] Speaking of veteran producers, the UK’s Dave “Tipper” Tipper is another chap from across the waters pumping out electronic gem after electronic gem. The man is a gun, both behind the mixing desk and in life, battling a heart condition whilst releasing two excellent EP in the given year. Two things spring to mind with Tipper’s work; an incredible grasp of producing, and a real sense of fun and joy. One listen to glitch hop classic ‘Distal’ will tell you this. Do yourself a favour; get a good quality set of headphones and settle in to the man’s mastery. There are layers upon layers in Tipper’s work, each track expertly peppered with squeaks, pops, blinks and beats all meticulously arranged over a solid groove or rhythm. 2. RICOCHET BY RESO - [HOSPITAL RECORDS] As a devoted head to the D&B genre I always try and include an example of the canon and you can go no finer than Reso’s intricate, brilliantly produced love letter to the genre that is Ricochet. It was tempting to cheat outrageously and put in a Hospital compilation, or Best of Noisia’s Vision label or the Ram Annual all of which are fantastic - but there’s no need when Reso has put in such an accomplished, wide-expanding effort. Listen to album opener ‘Taiga’ where beautiful atmospherics are met with insane drumming - and be delighted. 1. BANQUET BY LANKS - [SELF RELEASED] Tame Impala’s Currents is rightly heading up many a 2015 Best-of list. But for mesmeric, drift away sounds, be sure you don’t overlook the wonderful Lanks. The solo venture for Melburnian Will Cummings, Lanks combines that spine-chilling falsetto with expert production that is at times warm and rich, and then sparse and scary, often within a very short space. The whole EP is flawless, but ‘Beach Houses’ is a masterpiece of scratchy backing, trademark falsetto, big warm synths and shuffling drums and is one of the tracks of the year.

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ANDREW NARDI: SUB-EDITOR 5. LA DI DA DI BY BATTLES [WARP RECORDS] In many ways, La Di Da Di is the album we’ve been expecting since vocalist Tyondai Braxton left the math rockers after their hit first album, Mirrored. Where their sugary sophomore album Gloss Drop filled the void with guest vocalists, La Di is nothing but a stream of flowing instrumentation, carried along by a calculated momentum and a playful character, like a fancy Rube Goldberg machine. But for all the time signature changes and experimental song structures, La Di ultimately succeeds because it inspires those weird sensations the band is known for, and with little else than their instruments. 4. IN COLOUR BY JAMIE XX [YOUNG TURKS] Having already proved himself in the Mercury Prize-winning indietronica/dream pop sensation The xx, as well as with an album remixing the works of Gil-Scott Heron, Jamie xx consistently shows that he’s one of the most talented producers of the decade. His debut studio album In Colour is a testament to his ability to invoke emotion through production, and with the unlikeliest of instruments, too (a steel drum shouldn’t make me reflect on my life this much). He also builds on the dance styles of his contemporaries, with party-vibin’ UK garage and post-dubstep tracks like ‘Gosh’ and ‘Loud Places’ competing for some of the best dance singles this year. 3. EVERY OPEN EYE BY CHVRCHES [VIRGIN/GLASSNOTE] There really isn’t another band like CHVRCHES at the moment. The electro-pop powerhouse have carved out their place in the industry as something of an ’80s throwback with emo tendencies – but for all their love of scenes and styles long gone, CHVRCHES still manage to hone a sound that is characteristically ‘2015’. Their sophomore album Every Open Eye blows their first out of the neonlit water, with exhilarating highlights like ‘Keep You On My Side’, ‘Leave a Trace’ and notably ‘Clearest Blue’, which explodes into a thrashing electro outro, like a tumultuous relationship getting sucked into a hurricane. 2. SOMETIMES I SIT AND THINK, AND SOMETIMES I JUST SIT BY COURTNEY BARNETT [MILK! RECORDS] It’s a real, bloody shame that Australia’s listener-base is divisive on the truly talented Courtney Barnett, and for little else than the tone of her voice. Where other artists like The Drones’ Gareth Liddiard and Bright Eyes’ Conor Oberst have made names for themselves by ‘not singing’, Barnett’s witty contemplations on Australian culture have been overlooked because of their appropriately monotonal delivery. The rest of the world seems to love her anyway, and there’s really no question as to why – this album poetically depicts the mediocrities of our seldomrepresented lower-to-middle class cultures. Sometimes average can be beautiful, y’know? 1. HOW BIG, HOW BLUE, HOW BEAUTIFUL BY FLORENCE + THE MACHINE [ISLAND RECORDS] Though the effervescent Florence Welch might now be overshadowed by Adele in the diva department, her third studio album was undoubtedly her strongest yet. Characterised by a raw, brutal honesty, How Big explores Florence’s heartfelt, intimate and adventurous sound in a way that harkens way back to Fleetwood Mac’s Rumours. Whether it’s the rough, grizzly guitar and hard-hitting horns on lead single ‘What Kind of Man’, the gospel jive that moves ‘Delilah’ to and fro, or the powerful rock/ folk anthem ‘Queen of Peace’, How Big proves itself to be the definitive indie rock masterpiece of 2015.

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RORY MCCARTNEY: CONTRIBUTOR 5. BYSTANDER AND DESTROYER BY THE VENDETTAS [INDEPENDENT RELEASE] Melbourne’s The Vendettas specialise in door-kicking garage rock. Their second album offers plenty of the snarling vocals and raging guitars seen on their debut disk, Burn. Opener ‘Wake Up Call’ is an omnidirectional noisemaker while ‘Ain’t No Time’ carries some Foo Fighters style with the best melodic lines on the record. Not just a guts ‘n’ glory band, there’s a satisfying complexity to its sound, with tracks refusing to follow predictable paths. ‘City of the Gun’ has guitars tumble over themselves in a crossed-up format that is something of a band trademark. Stainless – burnished or barbed – there’s plenty of steel in every track. 4. DOUBLE LIVE SET BY LLOYD SPIEGEL [INDEPENDENT RELEASE] This live LP captures the highlights of 25 years of Lloyd Spiegel’s magical blues. There are fast movers that allow Spiegel to demonstrate the nimble wizardry that flies from his fingertips, like a reworking of Little Richard’s ‘Lucille’. Plenty of the music flows at a more sedate, mid-strength pace however – ideally suited to his voice, which comes with the depth of a dam and the texture of blue metal. A great storyteller, lyrics and the electric atmosphere of the live show merge to form shadowy pictures in mid-air. Bursting with magnetic rhythms and blood pumping tunes, there’s plenty to thrill both lovers of good songwriting and guitar enthusiasts. 3. SPEAKERZOID BY THE JUNGLE GIANTS [AMPLIFIRE] The Jungle Giants used their sophomore LP to undergo a minor revolution in their sound, as they adopted an alternative, creative approach. The clean-cut indie presentation of their debut LP Learn To Exist has been chopped off at the knees, as the band embraces a more complex format with several tracks making extensive use of samples to fill all the gaps between vocals and music. The unbearably catchy opening pair of songs employs bizarre squeaks and squawks, while chunkier works lurk further down the tracklist. While retaining the appeal that won them fans, they retuned their sound to set them apart from other bands of their ilk. 2. THE LONGEST RIVER BY OLIVIA CHANEY [NONESUCH] Emotion flows like a tide through the purity of vocals and keyboard patterns in this debut LP by English folk singer Olivia Chaney. Recorded in studio, home and church, it captures both her own compositions and covers, done to her own arrangements. Of rare quality, her songwriting is seen at its best in ‘Imperfections’. High and lilting, her voice dominates scarce piano notes, with the singing increasing in force and the piano rising in sympathy as the song approaches its finale. In ‘Waxwing’, the song rises to another level by the vocal harmonies and sighing violin of compatriot Jordan Hunt. 1. SLEEPING STORM BY THE APRIL MAZE [INDEPENDENT RELEASE] Beauty lives in this material – both in the elegance of the musicianship and the tone and interplay of the vocals. Agam’s cello breathes notes like a warm-blooded animal, sighing in sympathy or humming in support of the singer. Her bow carves emotion from a solid block of life. The elegant alt-folk arrangements match the tone of the music to the lyrics, shifting to a flicker or rising in brilliance to match the words. Plus, there’s the blessing of two singers with wildly different voices complementing each other so well, both in taking turns with the lyrics and coming together in the harmonies.

BMA MAGAZINE’S TOP FIVE ALBUMS OF 2015 CODY ATKINSON: CONTRIBUTOR 5. ONES AND SIXES BY LOW [SUB POP] Ones and Sixes might be the album that sees Low at their most complete – combining their previous two decades and 11 albums into one coherent package. It might also be their best album in 15 years (Things We Lost In The Fire), or at least in seven (Drums and Guns). Low’s music evolves slowly – it comes at you at the pace of a glacier. But, like a glacier, it’s a thing of true beauty in full flight. Ones and Sixes sees a sense of balance throughout – glitch elements sitting alongside Sparhawk and Parker’s vocals, and acoustic guitar strums living with fuzz bass. 4. THE MOST IMPORTANT PLACE IN THE WORLD BY BILL WELLS AND AIDEN MOFFAT [CHEMIKAL UNDERGROUND] With a title cribbed from a Swedish furniture company’s slogan, Wells and Moffat return with their sophomore effort, no less calculated and brooding than their first. Moffat’s gutter poetry and Wells’ hybridised, piano-driven, electronic jazz fit perfectly together like two longlost puzzle pieces. Moffat’s long-standing lyrical themes run strong on the album, with stories of sex, Scotland and getting soused filling the air around Wells’ offbeat productions. It’s pretty different, but also pretty good. 3. NO CITIES TO LOVE BY SLEATER-KINNEY [SUB POP] As the old saying goes, absence makes the heart grow fonder. For Sleater-Kinney, ten years apart has seen the appreciation for them skyrocket. That would all be for naught however, if No Cities To Love didn’t bring the goods. In response, Tucker, Brownstein and Weiss have created close to the best American rock album of the decade so far, with duelling vocals and guitar solos for days. Plain and simple, Sleater-Kinney know their way around a good bloody song. More than any other album this year, No Cities To Love just doesn’t let up, and is relentlessly brilliant from start to finish. 2. PLATFORM BY HOLLY HERNDON [4AD] Platform feels like another step forward for Herndon, which came as a little bit of a surprise considering how good Movement was. Herndon creates laptop music – as in the aural sources for much of the material come from whirs and clicks of the machine, and the sounds of their use. The disembodied human elements – most notably her chopped and screwed voice – add a near-human element, like a ghost in the machine. Sometimes you can tell when an album is a little bit special, even if it’s hard to put it into words – this is one of those times. 1. HIGH BY ROYAL HEADACHE [WHAT’S YOUR RUPTURE] With their self-titled debut album in 2011, Royal Headache came out like a bolt from the blue; a breath of fresh air in a sometimes stagnant music scene. High – the long-awaited follow up album – isn’t just an affirmation of their earlier efforts, but a statement that goes even further. Every great element from that album seems even better on High. This is soul-punk for the masses, beauty and power co-existing over eleven simple tracks. It might not be the most complex album or the year or the most verbose, but it’s the most listenable and enjoyable, which is all that matters anyway.

MEGAN LEAHY: CONTRIBUTOR 5. MUTILATOR DEFEATED AT LAST BY THEE OH SEES [CASTLE FACE] For a band as prolific as Thee Oh Sees have been to date, consistency is sometimes an issue. On what must be their tightest offering to date, Mutilator Defeated At Last has just about everything you could ask for in a psych-garage album. From the yelps of John Dwyer to the scuzzy guitar riffs that propel the album along, Mutilator Defeated At Last is filled with cracking Cali-surf punk tracks that I am looking forward to putting on repeat over summer. 4. I LOVE YOU, HONEYBEAR BY FATHER JOHN MISTY [SUB POP] Country-tinged alternative-folk-rock isn’t something that usually draws my attention, but there is something about Father John Misty’s I Love You, Honeybear that makes me unable to stop listening. Maybe it’s the brilliant lyricism – crass as a sailor, yet as witty and colourful as a poet. Maybe is the unobtrusive instrumentation that swells and genrehops from electro-tinged folk to full-blown rock. Or is it that voice? My, it can soar. Floating between sarcasm and sincerity, Misty’s self-deprecating delivery is cutting, always demanding your undivided attention, making I Love You, Honeybear much more than just an album of love songs. 3. HIGH BY ROYAL HEADACHE [WHAT’S YOUR RUPTURE] If you combined The Saints, The Buzzcocks and Cold Chisel, you probably would end up with something like Royal Headache. High may only be the sophomore album of Royal Headache, but it’s delivered with all the swagger and chutzpah of rock ‘n’ roll veterans. The frantic energy of Royal Headache is largely driven by frontman Shogun, as he flits between screams and soulful croons. The no-holds-barred snarl of ‘Garbage’ may have the most sledges, but it’s the sleeper track of ‘Wouldn’t You Know’ that gets all of the points for its raw passion and shout-along-ability. The driving simplicity of High has an addictive quality that just gets better the more I hear it. 2. DUMB FLESH BY BLANCK MASS [SACRED BONES] Armed with an Aphex Twin-esque barrel of effects, Blanck Mass creates twisted noise-EDM for those that like to dance alone, or barely dance at all. Dumb Flesh is a broad concept album that explores the fragility and flaws of the human condition – and without any decipherable lyrics. The progression through an artificial life cycle may make it an intriguing use of the concept album, with Blanck Mass leaving interpretation up to the listener. For something almost entirely electronically generated, there is an organic touch to Dumb Flesh that provides an unexpected warmth and feeling of being alive. 1. NO CITIES TO LOVE BY SLEATER-KINNEY [SUB POP] After a decade-long hiatus, it is as if Sleater-Kinney were never gone at all. No Cities To Love sees the trio return to form, bringing with them the experiences of their various side projects from over the past ten years. Adding a huge, epic slab of ‘80s rock to their riot-girl trademark, the music takes on a harder edge than on previous albums, with driving melodic riffs that could go on for days. Their lyrics are scathingly on point and self-reflective, providing commentary on the anxieties of contemporary life via the vocal interplay of Carrie Brownstein and Corin Tucker. If anything, Sleater-Kinney sound more determined than ever to say something and say it loud. Welcome back, ladies.

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IAN WORST: CONTRIBUTOR 5. FAN OF A FAN: THE ALBUM BY CHRIS BROWN & TYGA [RCA/YOUNG MONEY ENTERTAINMENT/CASH MONEY] Chris Brown has admittedly been a controversial figure ever since his poorly received work with Rihanna in 2009, but he’s finally gotten his career back on track after teaming up with his best friend/enabler Tyga, for an ingenious parody of hip-hop’s most dangerous clichés. A banger about the California gangster lifestyle titled ‘Westside’, clever. Another banger about noisy intercourse titled ‘Girl You Loud’, cheeky. Yet another banger about partying with sexually attractive women and weed called ‘Bitches N Marijuana’, satirical genius. Fan of a Fan will inevitably go down in history as the Animal Farm of hip-hop. 4. WAKE UP! BY POPE FRANCIS [BELIEVE DIGITAL] Finally, an answer to the question that was on everyone’s lips from the second that Bishop Jorge Mario Bergoglio became Pope Francis: when’s he gonna drop? It was a long and arduous wait, but Francis is the people’s Pope and he eventually gave us what we wanted – an hour of religious speeches delivered in his trademark smooth and sexy Roman rasp, dubbed over the compositions of Björk on Xanax. It would have been nice to see the Dalai Lama spit a couple of bars, but I suppose some coasts just shouldn’t cross. 3. SAVIOR BY METRO STATION [METRO STATION MUSIC] Eight years. That’s how long it took Metro Station to come out with a follow-up to the instant classic that was their self-titled debut album, and it was worth the wait. Don’t be deceived by the fact that this album was released independently and has failed to sell a remotely impressive number of records or produce a chart-breaking single. That’s clearly because the band has opted to take the road of artistic integrity with conceptually solid tracks such as ‘Married in Vegas’ and ‘Deadly On The Dance Floor’. Looks like guitarist and backup vocalist Trace Cyrus is finally living up to the righteous examples set by his father Billy Ray andsister Miley. 2. WILDER MIND BY MUMFORD & SONS [GENTLEMEN OF THE ROAD/ISLAND/GLASSNOTE] Mumford & Sons have long been known for their versatility – spanning genres from contemporary folk-pop to contemporary folk-rock, but when the band dropped Wilder Mind in May, no one could have predicted their move toward contemporary pop-rock. It’s completely different to everything else they’ve ever done because there’s no banjo. NO BANJO. Though the band’s new direction may be significantly less accessible to old-school fans (no banjo), it’s refreshing to see such a popular name climb out onto such a thin commercial limb. 1. KYLIE CHRISTMAS BY KYLIE MINOGUE [PARLOPHONE/WARNER BROS.] It was no surprise to Australians when our most artistically respected musician decided to brave the unchartered territory of a holiday album. Kylie Christmas is as ingeniously titled as it is executed, featuring innovative orchestrated arrangements of untouched Christmas bangers such as ‘Let it Snow’, ’Santa Baby’, and ‘Santa Claus is Coming to Town’, the latter of which features a haunting verse from the definitely alive and able-to-sign-a-recording-contract, Frank Sinatra. Instant holiday classic.

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DAN BIGNA: CONTRIBUTOR 5. THE DECLINE OF WESTERN CIVILISATION COLLECTION – DVD [MADMAN] Only now has Penelope Spheeris’ groundbreaking documentary series The Decline of Western Civilisation received an official release on DVD – essential viewing for anyone interested in the transformation of underground music in Los Angeles throughout the 1980s. The doco’s cinema vérité adds urgency to highenergy, no-frills punk rock performed by bands focused as much on daily survival as on crafting underground art. 4. HEADY NUGGS: 20 YEARS AFTER CLOUDS TASTE METALLIC BY THE FLAMING LIPS [WARNER BROS] Brain-melting psychedelia never sounded so good. Unlike many of their punk and hardcore-inspired ‘indie’ peers, The Flaming Lips had a keen sense for the acid-fried harmonics of early Pink Floyd and Smile-era Beach Boys. Armed with a suitable array of mind-enhancing production techniques, the band and noted producer Dave Fridmann turned out a psych-rock highlight on the original 1995 pressing of Clouds Taste Metallic, now repackaged with complementary bonus and live material. 3. BACK FROM THE GRAVE VOLUMES 9 AND 10 BY VARIOUS [CRYPT RECORDS] Many of the bands on these newly minted compilations in the superb Back from the Grave series of killer 1960s garage punk barely made it out the driveway of their parents’ homes, let alone achieved any kind of meaningful success. That doesn’t really matter anyway, because splattered across 30 tracks are some of the most primitive spurts of hormonal noise ever committed to wax with a lot of down-and-out stuff happening to remind us that love can be cruel. 2. THE NIGHT CREEPER BY UNCLE ACID AND THE DEADBEATS [RISE ABOVE RECORDS] Trashy psychedelic rock with a touch of stoner/doom is the main flavour here, with the UK band celebrating B-grade culture in all its guises. The album cover has a vintage movie poster feel about it, and the sounds lock in some almighty riffs. This music unashamedly celebrates a time when primitive ’60s pop and heavy guitar bands from the 1970s laid the groundwork that proved to be fertile territory in the right hands. The style and content is decidedly retro, but that is all part of the fun when the noise kicks in. 1. LOADED: RE-LOADED BY THE VELVET UNDERGROUND [ATLANTIC] Loaded was the Velvet’s fourth masterpiece in as many years – an impressive achievement by any standard. The music on offer is accessible, meticulously crafted and retains the backstreet edge that put this band at odds with the flowers and sunshine obsessed counterculture. This set contains six discs that include a never-before-released mono mix alongside sparkling, remastered stereo, winning bonus material and live recordings including the mostly praised Max’s Kansas City performance from 1970. On Loaded, Lou Reed loosened up the heavy sex and drugs themes running through the first two albums and handed the reins to John Cale replacement Doug Yule, who opened the door to the brighter side of life, which should also have opened the door to the charts.

BMA MAGAZINE’S TOP FIVE ALBUMS OF 2015 JOSH NIXON: METAL COLUMNIST 5. WITH THE DEAD BY WITH THE DEAD [RISE ABOVE RECORDS] Lee Dorian post-Cathedral and ex-Wizzers Bagshaw and Greening had a lot of anger to summon around welldocumented events in the English doom family. Rather than a Mustaineesque 20 years of complaining about it, they unleashed this musical reaction to their circumstances and it’s nasty, heavy and brilliant. 4. UNANSWERED HYMNS BY CHURCH [INDEPENDENT RELEASE] The year in doom metal was high output, but I felt there was a lot of repetition of ideas and reliance on a hissy, old-sounding production to provide more atmosphere than the songwriting. The first minute or so of Unanswered Hymns left me feeling the same, but that soon wilted in the face of what felt like the musical equivalent to joining the Manson family at its most cultish. Pass the Kool Aid, I’m signing on for this Church. 3. LUMINIFEROUS BY HIGH ON FIRE [E1 MUSIC] Seven albums in and you know to a degree what’s coming here: drums that seem to summon ancient Nordic war parties, and a mad, barbarian warlord wielding an axe and shouting such that opposing forces turn tail and flee in terror. Then Pike produces a song like ‘The Cave’, which was written in response to a breakup with his fiancé, and you realise that there’s a couple of other layers to High On Fire. Layers that are still more a sedimentary rock than an onion, but layers nonetheless. 2. ODYSSEY BY HORISONT [RISE ABOVE RECORDS] Ex-Church of Misery Aussie axesmith Tom Sutton joined this wonderful Swedish band following their previous album. The result is an absolutely glorious celebration of ’70s prog and blues-based rock. I think of Blue Oyster Cult melding with ’70s English bands on the cusp of the NWOBHM movement; stunning vocal performances, a fearless ten-minute song to kick off the album, artwork like an old-school sci-fi paperback and guitars that sear despite not having the gain on their amps set to magma levels. Particularly impressive is the vocal delivery on this record; melody, variation and dynamics are all there in spades. It is a little in the higher range than many of you would perhaps listen to without encroaching on prime-Halford level highs, but give the album a couple of goes to settle on you. I did the gardening to it (cleaning up the weeds for my house inspection) and I was suddenly astral travelling rather than swearing under my breath at the landlord’s choice of gravel. Mad. 1. THE VAST ELECTRIC DARK BY WITCHSKULL [INDEPENDENT RELEASE] I’ve carried on about it since I heard the rough mixes in February, and we come to December and the band sits astride the top of the international doom charts over a couple of the records below and 19 other albums that sought to achieve what Witchskull do with only four days in a Melbourne studio. The Aussie-ness is wonderful. What other occult-inspired band even know who Rosaleen Norton is (artist and pantheistic, bonafide Aussie witch), let alone pen an astoundingly awesome song about her? Fuck Five Finger Death Punch, this is the band that should support Sabbath on their last tour and this is the album that proves it.

ANGELA CHRISTIAN-WILKES: CONTRIBUTOR 5. KINDRED BY PASSION PIT [COLUMBIA RECORDS] This album got me out of bed during a particularly trying period of the year – a period that tasted like Aldi hash browns and smelt like recycled dust from a Target heater. After the tumultuous and patchy Gossamer, Kindred spills over with healing through its poignancy and intricacies. Whilst the style is distinctly Passion Pit, Michael Angelkos has meshed together an album that travels. It moves from arching pop (‘Five Foot Ten’) to vast calmness (‘Looks Like Rain’). Kindred is a happy place for me, one that is also conveniently really beautifully made. 4. ART ANGELS BY GRIMES [4AD] I struggled to get through Art Angels, mainly because I kept getting stuck on ‘Art V. Maim’ and couldn’t extricate myself from the repeat button. God forbid when it inevitably is played in JB Hi-Fi and I break something under hypnosis. Grimes’ narrative is stronger, her presence brighter and her confidence more magnetic than ever before on Art Angels. Creative waves of synths are meshed with chunky beats and precise, abrasive production. These are stories from a mind that dreams in colours us mere mortals don’t see, told by the most discernible of Claire Boucher’s vocals yet – angelic and tinged with dark secrets. Another delicious offering from a genius. 3. GLITTERBUG BY THE WOMBATS [14TH FLOOR RECORDS] Girl is perpetually in love with band. Girl wins tickets to meet band and hear their new album before its release. Girl goes to album listening session and has trouble breathing. Girl meets band and shows them the birthday card a friend made her when she was fifteen-years-old. It has partitioned boxes where they can all sign their names, which they do. On her way home, girl calls her best friend and starts to cry at a pedestrian crossing. This story tells you absolutely nothing about Glitterbug but tells you precisely why I hate The Wombats. 2. EMOTION BY CARLY RAE JEPSEN [SCHOOL BOY RECORDS/INTERSCOPE] Simply mentioning Carly Rae often highlights how swamped her reputation is by ‘Call Me Maybe’. But perhaps this is a blessing. It has left her new record somewhat ignored by those whose pop endorsements require the white man’s stamp of approval (many of which credited Jepson’s collaborators without acknowledging her role as the chief songwriter on every single track). This leaves Emotion to be embraced by those who experience pop on a cathartic level – those who blast it at traffic lights and dance sober in supermarkets – my kind of people. Emotion shimmers and soars with ’80s styling. Although often playful, it is suspended in a sincerity that doesn’t hinge itself on a preformed artistic image. The sugar is subtler than Kiss and the after-taste is less exhausting. An all-out glorious gem. 1. EVERY OPEN EYE BY CHVRCHES [VIRGIN/ GLASSNOTE] I know that when reviewing this album objectively, I gave it an above average rating. Now, subjectively, I place it in my top five simply because my love for this band is too intense to ignore. By amplifying and simplifying what they already very much know, CHVRCHES deliver high energy anthems powered by both exhilarating hope and honest anger. Every Open Eye has me feeling like life is a movie and I am its naïve yet determined heroine who spends a lot of time thinking profound stuff on public transport.

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GLEN MARTIN: CONTRIBUTOR 5. SONGS TO PLAY BY ROBERT FORSTER [TAPETE RECORDS/EMI] There’s many 2015 records worth noting – from Dick Diver, Destroyer, Tame Impala, Natalie Prass, Beach House, Sleater Kinney and Courtney Barnett to name a few. But they’re edged out by this confident, low-key piece of pop gold from Australia’s greatest sardonic songsmith. Forster weaves ten perfect tunes in his first album since 2007, capturing the intelligence and poise he has always been famous for. No mean feat for an artist approaching 60 years of age. 4. HAVE YOU IN MY WILDERNESS BY JULIA HOLTER [DOMINO] Holter’s work is twisty and difficult, making the obvious grasp of pop songcraft harder to fully appreciate. Still, the deviations here are all worthwhile. Imagine a Laurel Canyon songstress who moved east to study contemporary movement and jazz in a French school, as rendered in a Wes Anderson style and you’d get close to one of the year’s most interesting performers – but Holter is more complicated and less cartoonish than that. She’s built a small temple of tunes in a clever and affecting record with a real heart beating behind the obvious intellect that informs standout tunes like ‘Feel You’ and ‘Sea Calls Me Home’. 3. THE MAGIC WHIP BY BLUR [EMI] A shock for fans who have been crying out for a reunion record, assuming that somehow Albarn & co. wouldn’t fall into the trap of nostalgia acts and instead create something utterly new. The fans were right. The Magic Whip couldn’t have been made by any other act, and yet it sounds completely fresh. It’s a record about connection that seeks to connect, and does so in a very real and moving manner. If it’s the end, it’s a perfect way to go out. 2. CARRIE & LOWELL BY SUFJAN STEVENS [ASTHMATIC KITTY] Probably the hardest record to listen to in 2015, but one of the easiest to respect. Stevens has been way beyond his contemporaries for a while, and this is an astonishing work of art. When a songwriter taps into the big emotions, they can come a‘cropper very, very easily – but not so with Stevens and this tough but extraordinary work. It’s amongst his very finest, which means it’s amongst the finest works you’ll hear this decade. 1. HIGH BY ROYAL HEADACHE [WHAT’S YOUR RUPTURE] My one-year-old son is the best barometer of music I know. He demands a record each morning, and of the sets spun in our house during the year, this is the one that he responds to most immediately and fervently. High is an incredible collection of simple things done perfectly. The ten tunes have a propulsive quality that is increasingly rare in modern music – for some reason, singer Shogun needs us to hear these things. My son may miss some of the lyrical nuance, and hence a free pass is given to a record concerned with themes familiar to listeners of popular music these past 60 years, but this is no major issue. Notable also is Royal Headache’s ability to inspire real abandon in their audience. In an age where Taylor Swift artfully suggests that you dance without care (proceeding to manufacture shapes that look kinda free, but simultaneously studied and instagrammable), this is a raw rock record of the kind made by the Stooges or the Saints. A classic.

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ALYSSIA TENNANT: CONTRIBUTOR The Top Five Christmas Albums: Sometimes putting on some Christmas tunes is the perfect way to get yourself wrapped up in the spirit of the season. And with Christmas just around the corner, now is the perfect time to immerse yourself in merry music. 5. ELVIS’ CHRISTMAS ALBUM BY ELVIS PRESLEY [RCA VICTOR] Years of listening to rock ‘n’ roll with my grandmother have left me with a deeply ingrained bias towards Elvis Presley. But even objectively, this album stands the test of time. Released in 1957, it’s filled with rock ‘n’ roll numbers, blues, gospel favourites and perennials like ‘White Christmas’ and ‘Silent Night’. It’s one of those albums that you can’t help but tap your foot along to. And I’m not just saying that out of obligation to The King. 4. SONGS FOR CHRISTMAS BY SUFJAN STEVENS [ASTHMATIC KITTY] There are few things more refreshing than a Christmas album with originals during a time when shopping malls relentlessly play carols. In Songs for Christmas, we get both traditional Christmas songs (‘Away in a Manger’ and ‘Jingle Bells’) as well as characteristically long-titled originals (‘Come On! Let’s Boogey to the Elf Dance!’). The arrangements of the songs and vocals are nothing if not eclectic, and at times are a little obscure. Overall, Stevens’ hits the nail on its head for fans of yuletide joy with his mammoth album, which contains over 40 songs. 3. A CHARLIE BROWN CHRISTMAS BY VINCE GUARALDI TRIO [FANTASY] What better time than Christmas to get all nostalgic? Back in 1965, pianist Vince Guaraldi and his trio were brought in to compose and perform music that reflected the humour and charm of the Peanuts gang for the Charlie Brown Christmas TV special. The compositions range from the immediately recognisable and upbeat ‘Linus and Lucy’ to the richly textured percussive nuances of ‘What Child Is This?’ This album is easily one of the best of Christmas. It delivers everything you loved about Christmas as a young child, and everything you love about music now. 2. A LOS CAMPESINOS! CHRISTMAS BY LOS CAMPESINOS! [TURNSTILE/HEART SWELLS] If you’re going to listen to a seasonal album this year, make it the 2014 Christmas EP A Los Campesinos! Christmas. The best thing about this EP is that it’s honest in ways that other Christmas albums often aren’t. It’s a holiday filled with romantic promise, but that’s not always the reality. The songs (most of which are originals) are typical of Los Campesinos! in their nature. Backed by the usual amalgamation of sounds, frontman Gareth Campesinos’ lyrics are fitting of the emotions that can accompany Christmas. 1. CHRISTMAS BY MICHAEL BUBLÉ [143 RECORDS] Released in 2011, this album remains undefeated in my most listened to between the months of October and December. In his lightly swinging, standard style, Bublé croons seasonal songs that are easy to listen to and filled with warmth (which makes the album slightly relevant to Australia because it is also warm). Bublé is so well-suited to Christmas that I can’t recall any other time I’ve heard from him than at Christmas time. Perfect for a holiday party or for sitting at home under the air-con, it has listeners dreaming of a ‘White Christmas’.

BMA MAGAZINE’S TOP FIVE ALBUMS OF 2015 BRADY MCMULLEN: HIP-HOP COLUMNIST 5. EAT, PRAY, THUG BY HEEMS [GREEDHEAD] I’m one of those diehard “Das Racist was prophetic and their flame burnt too bright, too quickly” kinda people, so whenever Heems or Kool AD put anything out, I gotta gobble it up. I feel like just because their former group’s success was kick-started by ‘Pizza Hut, Taco Bell’, Heems and Kool AD are all too often dismissed as joke-rap. Heemy is always bringing the realness though, you just have to listen… I dunno, maybe he is just lazy, but for me that’s part of the charm. 4. SURF BY DONNIE TRUMPET AND THE SOCIAL EXPERIMENT [INDEPENDENT RELEASE] Was this Chance’s for real debut? Was it really Donnie Trumpet and the Social Experiment’s? Or, was it just something that just happened and it had to have someone’s name on it? There were so many questions surrounding this release, but it sure felt like a Chance album. Boasting the biggest guest list ever seen on a free release – from Erykah Badu and Busta Rhymes to Quavo – Surf perfectly mixes Donnie Trumpet’s jazz rhythms with Chance’s characteristic flow-of-consciousness raps and more radio-friendly fare. Optimistic, reminiscent and depressing – sometimes all at once. 3. HUD DREEMS BY KNXWLEDGE [STONES THROW] Hud Dreems feels like the rebirth of Dilla – though, I don’t really know if the comparison is a fair one as Knxwledge, somewhat paradoxically, feels so fresh. But yeah, I’ll admit that the similarities are glaring. Pulling a page right out of the Donuts handbook, Knxwledge rarely exceeds 1.5 minutes in song length on the 26-track effort. For all the similarities however, this is a great album – Knxwledge clearly knows his way around a deck and obviously wears his musical influences on his sleeve and every single one of them is given space to shine on Hud Dreems. It’s not the technical prowess but the honesty of the production that makes this one a winner. 2. AT. LONG. LAST. A$AP BY A$AP ROCKY [POLO GROUNDS/ RCA] While there’s still the chopped and screwed samples, with A.L.L.A, Rocky shifted away from the sound that brought him almost overnight success and took us (almost literally) down the rabbit-hole. Using psych-rock samples and moving away from the flow that served him so well throughout Long. Live. A$AP, Rocky demonstrated to the world that for all the talk of models, drank and drugs, he’s damn serious about creating a legacy. While it’s not one of the most breathtaking or widely acclaimed albums of the year, A.L.L.A is one of this year’s most aspirational and that’s why it makes the cut. 1. AND AFTER THAT, WE DIDN’T TALK BY GOLDLINK [SOULECTION] Goldlink has been on the radar for about two years now, so it feels like we’ve been waiting an eternity for this one. Seamlessly blending dance and hip-hop, Rick Rubin’s latest protégé put together something that was worth the wait. While it’s this year’s best party album by a mile, it’s not all about the energy. There are moments of genuine personality throughout – from the distinct delivery and flow, to personal rhymes like the album openers ‘After You Left’ and ‘Zipporah’. While it won’t feature highly on a lot of top five lists, it is without a doubt one of the year’s most accomplished debuts and definitely deserves its place.

PETE O’ROURKE: DANCE COLUMNIST 5. THE GREAT MYSTERY BY DESERT DWELLERS [BLACK SWAN SOUNDS] Apparently this album was predominately recorded on the road, in airports, airplanes, and hotel rooms, and finished in multiple studios across multiple countries. And it certainly shows, but in a delightfully intricate way– with an eclectic but unified sound of experimental dubstep (sorry, ‘sacred bass’, as this group like to call it), psychedelic techno and mystical vocals from the Middle and Far East. Sure, it suffers from the misguided ideal that ‘we’re all one universal consciousness’ – culturally appropriating new age trappings that a lot of this style of music has – but it’s a damn fine record with some serious technical production and musical composition. 4. DODGE AND BURN BY THE DEAD WEATHER [DRAGORA GRUPO COMERCIAL/THIRD MAN RECORDS] There’s nothing groundbreaking about this album, but Dodge and Burn presents the angry blues-rock super group (made up of Kills vocalist Alison Mosshart, City and Colour bassist Jack Lawrence, Queens of the Stone Age guitarist/keyboardist Dean Fertita and of course, the ever-impressive Jack White) in fine form. It’s a theatrical record, with screams of tortured pain peppering both Mosshart’s upfront vocals (and lyrical content) and Dean Fertita’s heavy guitar work. Brooding and at times overly abrasive – and with the unmistakable producer’s touch of Jack White – this is one record to play loud on your stereo. 3. WHATEVER HAPPENED TO UTOPIA? BY ASTRALASIA [MAGIC EYE] OK, so this album was recorded over 20 years ago in 1994, but having only discovered this band six months ago, this has become one of my favourites of the last year. A cosmic mixture of foreboding atmospheric textures, world music instrumental samples and ethereal radio recordings as if broadcast from some far-off base on the moon, this LP is still pretty timeless (yet definitely having that ’90s electronica feel in some of the drum loops). If you’re a fan of The Orb or the KLF’s Chill Out, you’ll enjoy this one immensely. Oh, and these guys are still around – they put out an album Wind on Water back in June, which is also worth checking out. 2. CURRENTS BY TAME IMPALA [INTERSCOPE RECORDS/ MODULAR RECORDINGS] Guaranteed to be in many listeners’ top five albums for 2015 is Tame Impala’s third LP, Currents. The move from purer rock sounds to the incorporation of synth-heavy, downtempo electronica and psych-pop sounds initially put a few fans off, but the risk has definitely paid off for the multi-instrumentalist Kevin Parker (who basically is Tame Impala, as songwriter and producer of the record). A dreamy haze of filtered synth stabs, disco-inspired bass riffs and of course Parker’s echoed voice, this album is already a classic. 1. TECHNICIANS OF THE SACRED BY OZRIC TENTACLES [MADFISH MUSIC] Ozric Tentacles are one of those weird jam bands that seem to have been around forever – never popular, but still have a huge following of dedicated fans. Technicians of the Sacred, their 15th studio album, is psychedelic space-rock at its best – a collection of slick, shimmering guitars, synthesizers with an ’80s retro feel, Eastern scale progressions and polyrhythmic percussion interluded with otherworldly choirs and digital effects. Despite its frenetic pace, this is still a very chilled LP – the guitar work never overboard, and the layers of sound clear and defined. If you’ve never delved into modern space rock, give this one @bmamag a spin!

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LOCALITY

What do I say to Christmas? Bah humbug, because it means that many of Canberra’s music venues are taking a well-earned break, but thankfully there’s a flurry of last-minute gigs to tide us over in the meantime. The Phoenix is certainly going to be buzzing with local acts for the next few weeks, starting with Lavers and Slow Turismo on Thursday December 17 from 9pm. It’ll only set you back $10 to get in, which means you’ll have plenty of dosh left over to catch Wallflower and The Ansah Brothers on Saturday December 19 from 9:30pm, with an entry price of $5. If there’s any venue that’s had a massive year, it’s Smith’s Alternative – what with the whole returning-after-a-sizable-hiatus-with-newownership thing, and they’re finishing the year with many bangs. Julia Johnson’s Xmas Spectacular is on from 7pm on Sunday December 20, promising a charming little do for a price that’s TBC, before MC KREWD offers up her confronting yet strangely charming hip-hop style on Wednesday December 23 from 7pm, entry being $15. Plus, every week you can back it up with Smith’s Varietal, Wednesday nights from 9:30pm for $10 entry.

After Christmas, chill by the pool/under the air con with some sweet CBR tunes. Start your playlist right with the new track from just over the border, care of Queanbeyan gentlemen Omar Musa and Hau, as they join with L-Fresh the Lion and Lior on their new single, “The Past Becomes You”, which you can find on YouTube. Or if you’re feeling like something with a few more guitars and a little more country twang, give The Burley Griffin’s new seven-track self-

titled EP a spin, their first major release since 2011.You can find it at theburleygriffin.bandcamp.com. Once you’ve wiled away the hours and you get to the point where you realise it’s Saturday January 16, you can get yourself down to The Basement in Belconnen for Festival Allsorts, one of the biggest celebrations of local music Canberra’s ever seen. We’re talking two stages playing host to over 25 acts over 14 hours and a whole mash of genres, starting at 12pm. The list is massive, but I’m going to run you through it anyway, because when you see it, you’re sure to spot somebody you love: Queen B and The Archers, Critical Monkee, Foreign Kings, Knights of the Spatchcock, The Kingstons, Deathcap Mushroom, Imperilment, Johnny Roadkill, Cockbelch, Positive Feedback Loop, Is Dead, Hallucinatorium, The Naddiks, The Sticky Bandits, Mighty Morfin and Want of Peace, Psionic Tide, And Then Silence, Brother Be, Macho Duck, in2deep, The Blue Angel and Dr Wiedemann, John Burgess, Georgia Davis, Georgia Bennett and GhostNoises. At the time of writing, the entry price is still TBC, but if you’re keen to volunteer on the door, do poster runs, sell merch, or work as a photographer, videographer, stage manager or general helper, your hard work will be duly rewarded. Check for more info on Facebook, or email your volunteering details to shananigansentertainment@gmail.com. While it may seem quiet now, we all know how good Canberra musicians are at the last minute gig, so make sure you keep your ear to the ground over the coming weeks… You never know what you might hear alongside those jingle bells… NONI DOLL NONIJDOLL@GMAIL.COM @NONIDOLL

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PLUGGING IN THE STRINGS

Photo credit: Adam Thomas

People like to hear it get warped – they want me to fuck with the sound heaps

KEREN NICHOLSON Local electro-acoustic, experimental act HAPPY AXE debuted on the Canberra music scene this year, and since, the beautifully manipulated improvisation of violin, saw and vocals has evolved and swept through Canberra venues. Happy Axe is the delightful Emma Kelly of The Ellis Collective, Mr Fibby and Cracked Actor. Except she’s now gone solo, sparked by her need to combine her love of electronic music and her classically trained violin. Happy Axe just released her debut EP This Topia on Friday December 11 at Smith’s Alternative Bookstore, with special guests Heffer and Mikelangelo with the National Capital Allstars. In the early noughties – before Happy Axe was Happy Axe – while practicing for classical exams throughout school, Kelly nagged her friends to go to electronic gigs. And nothing has changed: things like The Chemical Brothers, “and some cute Aussie ones like Gerling and Sonicanimation” are always on her radar. From this interest comes a delicate electronic sound that rests amongst pop music, yet is rooted in a classical sensitivity – the father of electronica being an early twentieth century Russian physicist, Leon Theremin (1896–1993), who

invented the theremin – an early electronic musical instrument. The theremin led to wild and interesting developments in classical music in the 1920s and ’30s.

“There is a lot of experimental music out there, but not many people creating music like this using strings,” Emma says. “I was inspired loosely by some of those ’90s trip-hop groups like Goldfrapp and Portishead, and more recent stuff like Oliver Tank and Patrick Watson. Even though my music doesn’t sound anything like those artists by the time I’ve composed.” Kelly’s approach to recording the EP is unique in that her work comprises a great deal of improvisation. The compositional process largely begins in her head with little input from others, before she permits critique on the finished work. “It’s not just about making pretty sounds – now it’s about messing with the sounds. People like to hear it get warped – they want me to fuck with the sound heaps.” The EP was recorded at Merloc Studios at the last minute. Kelly was aware of how the record would come together though, putting her efforts into preproduction. “I’ve made a lot of recordings of the pieces already, as a part of narrowing down what kind of version of each piece I want on the EP. I try out different effecting, looping and production techniques, and come up with a version I like.” Along with the EP comes collaboration with local digital-visual artist Paul Summerfield. Summerfield listened to Happy Axe’s recordings and specially designed work related to the tracks. When thumbing through Summerfield’s recent colouring book Secret Cities, you’ll see the names of the songs that inspired certain pages. Friday’s launch was a snapshot of a year’s progress for Happy Axe – with the goal to release an EP at the end of the year achieved. Here’s hoping we hear much more from Happy Axe in 2016. You can keep up to date with all things Happy Axe at facebook.com/happyaxemusic.

WE LARGE MOBILE SOUND SYSTEM

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PARLOUR WINE ROOM

THE REALNESS There goes another 12 months. Why is it always a surprise how quickly they go? It seems like only a few months ago that Souls of Mischief and Pharcyde were coming through town, but it’s actually been close to 12 months since then. While it’s mostly good for leaving you with the feeling that you’ve achieved absolutely nothing over the course of the past year, the end of the year is also a good thing for a fair few people in Australia because of Christmas, New Year’s, the sun and drinking. But you need to capitalise on this annual situation that results in copious amounts of vitamin D, alcohol and free time, and in order to do that you’ve gotta be aware of how best to use your time. So that’s what I’m going to do – I’m here to give you a list of all the foreseeable events and things that you’ll be needing to make this the best hiphop Christmas in Canberra you’ve ever had. Start things off with Eats, Beats and Scribbling on Sheets. This recurring event is happening during late-night shopping hours on Fridays all throughout December at Sancho’s Dirty Laundry. There’s an open deck for those with skills on turntables and Canberran artists will probably be sitting around doing their thing on paper and various other mediums – a.k.a. strong vibes. If it sounds like your thing, you can register your interest by messaging Sancho’s Dirty Laundry on FB. You’re also going to want some things to listen to and maybe some things to read in your downtime. Ideally, you’re gonna split your Christmas holiday time like 70% downtime and sleeping and 30% partying. While you’re chilling, you might want to put on the Turquoise Prince LTC’s ‘Middle of the Night’ – one of Canberra’s biggest musical exports this year. You know that’s a fact because he just copped 13th in the most played Unearthed tracks for the year. You might want to also put on Tak-Un-Da’s latest tune, ‘Got Next’. This is a true elevation for Tak-Un-Da. While the potential was always there and shone through on this year’s ‘STFU’ with Ventures and the Ansah Brothers, this track – with its Massive Attack drums and that chopped and screwed chorus – is so really real. “Okay, but I don’t have any ideas for Christmas presents for my immediate fam and other loved ones,” you say. Don’t worry, I got you. If you like reading words as well as listening to them, check out this book called ‘The Big Payback’, all about the history of business in hip-hop. It’s been called a tour de force. If too much hip-hop isn’t enough, check out CREAM homewares. CREAM emblazons legends like Biggie, Pac, ODB, Cube, Snoop, Dre, Busta, Nas and Hov on things like cutting boards, coasters, towels and scented candles. As Kanye’s and Future’s tour riders both show, there’s nothing more G than a scented candle. Finally, after the festive season finishes when you’re back in Canberra and the monotony of work has once more become routine, you’re really, really going to need something to take you back. On Saturday January 30 you’ll be able to check out Detroit’s very own Guilty Simpson at Transit with Jimmy Pike, Corpus Colloseum and Tak-Un-Da in support. BRADY MCMULLEN realness.bma@gmail.com

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SHENANIGANS 9

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ANGELA CHRISTIAN-WILKES This article is difficult to begin because there is simply too much to say. Get me in a corner after a pint (yes, it only takes a pint), mention women’s role in the music industry, and you will find it harder to extract yourself from that conversation than I do to tear myself away from the ‘Feelin’ Myself’ video. Women and the huge hurdles they face in the music industry is currently a very hot topic. The issues we face are complex and difficult to separate into compartments to be addressed individually, as is the way with many socially rooted problems. When asked to write something about “women in music”, I considered writing about harassment in live music spaces, or the disenfranchisement of the things women enjoy. I could discuss the explicit sexism that is still rife in the industry, or the undercurrents of discrimination that manifest more discreetly being told “you’re not pretty enough.” However, I have settled to discuss the broader topic of the visibility of women in the music industry, the problems related to this, and possible solutions.

publicising, volunteering and performing. What is different is the visibility and the recognition – both financially and socially – women receive for the work they do. This itself came to light as a definite problem that needs to be addressed. 2015 wasn’t the year it suddenly became an issue, because this is a reality that has existed for women in music since forever. But perhaps this was the year we were able to articulate our experiences a little better. Mel Krause is a project manager at The Push, a Victorian nonprofit youth music organisation that aims to educate, entertain, inspire and empower young people. The Push identified that women were prematurely dropping out of the industry and thus they have developed a program that seeks to make young women visible. It will be launched next year. “APRA AMCOS gives us these statistics that tell us that 80% of their songwriters are male and only 20% are female, which we know in all reality, there’s got to be more than 20% females who are out there performing. And performing really well!” Krause points out. “So we’re not sure where women are falling off that professional list, where they’re no longer professional and no longer registering with the song-writing body, so The Push want to help improve the professional careers of ten young women in Victoria.”

We need everybody to show up for women

In 2015, there was a spike in visibility and a spike in the people discussing the various issues faced specifically by women in Australian music. Jessica Hopper, releasing her book The First Collection of Rock Criticism by a Female Rock Critic, became a key figure in initiating the conversation when she spoke about women’s struggles at music conference BigSound (which, a friend of mine said, “had everyone in tears”). STEP, BigSound and Canberra collective Feminartsy ran panels on what it means to be a woman in the industry. Music Victoria, the peak industry body of its state, conducted a survey of women’s participation and experiences in the industry, which consequently lead to the formation of the Women’s Music Industry Advisory Panel. Publications such as Tonedeaf, The AU Review and Junkee all ran features on women in music. One of One, a website that profiles women in the industry, was established. Courtney Barnett won an ARIA (and then another, and then another, and then another) amongst a swathe of male-dominated nominations. LISTEN Records, a label that “exists to support, promote and distribute the creative output of underground Australian female and LGBTQIA+ artists”, was founded. And this is only a short shopping list! It became increasingly clear to the public how prominent women are in this space – whether we are seen or not. There are women managing, creating, advising, booking, writing, editing, producing,

The reasons as to why women are leaving the industry are hard to pin down. It could potentially be linked back to a pervasive, unconscious attitude that sees women’s work being undervalued, which translates into lower levels of confidence. Casual sexism, lack of role models and, for many, assault and harassment that turns live music spaces into unsafe environments can all make the music industry a hostile place to be as a woman. Krause doesn’t think a lack of enthusiasm or participation from young women is a reason. “It is really hard to pinpoint what it is about women, but I feel like when women make a go of it they make a go of it. They are really professional in their approach to [music]. But in my experience, women drop off a lot more simply than men. “I think if we look hard enough we find enough of the right people doing the right thing, but for some reason they’re not cutting through,” Krause notes. “And that’s true with all facets of the industry. A good example is our volunteer base here at The Push,

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where we probably see the opposite of the APRA stats. We see 80% women and 20% men, and we see women participating more prolifically, for longer, committing for a longer amount of hours, working harder, than a lot of men. But they’re not cutting through and getting a job after being involved with our organisation and plenty of other organisations along the way.” Currently, there is an overall lack of information on volunteer participation in music – something that surprised me given the prevalence of unpaid work undertaken by my peers, both men and women. However, the few sparse statistics that do exist support this with Music Victoria’s education committee 63% women and Face The Music’s volunteer rate 70%.

audience. The unequal distribution – not unusual – made me question why men were not showing up to discussions about gender. Perhaps it’s low priority. Maybe men feel like it doesn’t concern them. Never the less, it seems that the majority of the industry aren’t interested. As chief benefactors and chief occupiers of the industry, men have access to vast networks, platforms and resources that they can use to champion the women around them and circulate the discussion to those who have preemptively closed themselves off to it. This isn’t to say that men should be moving into women-only spaces. Instead, they should be converting the space they currently occupy into one that includes, celebrates and supports women.

Krause highlights the confidence gap between men and women as well. “The confidence gap is a really interesting thing to consider, because a lot of the way the music industry is going now is about just going out there and doing it. If you want to be a publicist, you go and help your friend’s band and you build your contact book. They’re the people who become employable. They can show that they’ve got a natural application to what they’re doing, they’ve had some success and you can work with them into the future. I find that a lot of these young women aren’t going out and doing those things… they’re not doing that little bit extra and when they do get onto something good like they do here at The Push, they stick to that and they don’t actually expand further than that. So helping young women to have the confidence to just go out there and do it is really important. A lot of it has nothing to do with their skills. It’s about their motivations and drives and confidence to just put themselves out there.”

Of course, this isn’t to say all music industry men are terrible, apathetic creatures who spend their time smoking expensive cigars in the back room and chortling at sexist jokes. The male editors I have worked with at BMA have been 100% supportive of my wishes to prioritise female artists and are always willing to engage in these discussions with me. There are artists like Wil Wagner of the Smith Street Band who have stood up and pointed out the problem. Glenn Dickie, the moderator of the Hens in the Cockhouse panel, was quick to acknowledge the incredible impact women have had on his career in music. Such actions all have meaningful impacts even if small. An increase in conscious recognition can only help move us, as an industry, towards equality.

“That’s the hardest part,” she says. “I have been working in the music industry for 15 years or more and even I sometimes second guess myself. I get asked to speak on Face The Music and I think ‘Why me?’ But I’m more than suitably qualified to do it, and I should be doing it, but I still hold myself back sometimes. It’s the hardest thing to overcome.”

Gender inequality in music cannot be condensed into a short, blanket statement. However, in 2015, we did a pretty decent job of breathing fresh air into a complicated discussion. Let 2016 be the year where a discernible difference is made – by industry bodies, initiatives, and individuals. Women are here, we are working our arses off, and it’s time we got credit for it. In the words of Jess Hopper: “We need everybody to show up for women.”

Initiatives such as The Push’s are not vast all-encompassing solutions in themselves. It must be mentioned that personal responsibility plays an integral role in making a change. This is especially significant for men, as the most visible group in the industry across all areas. I was lucky enough to attend Hens In the Cockhouse, Shake A Tail Feather, a Face The Music panel that profiled initiatives run to combat the aforementioned problems (Krause was a member of the panel). Whilst the discussion was wonderful, it disappointed me to see very few men in the

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DANCE THE DROP

KNIGHTSBRID

And just like that, we’re at the end of the year. A special time when one’s clubbing endeavours have to suddenly compete with other commitments of frivolity, such as office Christmas parties, end-ofyear catch-ups with friends, holidays down the coast and dinners with distant relatives who you forgot to buy a Christmas present for. Civic is suddenly full of way more people than you thought existed in Canberra, and you’re again slightly disappointed with the most recent Ministry of Sound Annual CD. But there is dancing to be had, and Canberra doesn’t dissatisfy in this department. The Persian Rug Store are back at Knightsbridge Penthouse for a final time this year, with none other than the store manager himself spinning records to get you moving! Free entry on Thursday December 17. On Friday December 18, Academy Nightclub welcomes a huge name with Melbourne bounce and EDM superstar Will Sparks gracing the decks. Presale tickets available for $20 through Moshtix. On Saturday December 19, Gay Cliché returns to Transit Bar with a stellar line-up of DJs including Mikah Freeman, Sondrio, Lady Bones DJs, Architect DJs, Victoria Mean and Hudak. $10 on the door, this party will be all smiles!

BMA SESSIONS

On Boxing Day – Saturday December 26 – the Connekt crew will run Bass Canal, a day party at the river (exact location announced soon) with a local line-up of first-class selectors. Beats and swimming in the sun? Count me in! On Sunday December 27, the harder sounds of dance return to Cube Nightclub with Hard Envy vs. HMAS (Sydney). A massive line-up awaits with Suae, DJ PULSAR, BBC, Mz.Haytch, Arbee, Nomad, DJ Nasty, and The Fuentes Brothers. Still haven’t decided on New Year’s Eve yet? Academy Nightclub has one of Australia’s favourite electro and big-room house DJs Tigalily to bring in 2016. With support from Trey V, Jake Raven, Leuky and Runamark, this will be pretty huge. Presale tickets at $30 from Moshtix. If psychedelic doof sounds are more your vibe to celebrate the Earth’s rotation around the sun, Off Tap Productions is again running Connections Transformational Gathering with a two-stage party in a super-secret location. Unfortunately, tickets are pretty much sold out, but maybe you’ll be pleasantly surprised with an awesome present this Christmas? As always, there’s plenty more things to be announced after this column is printed, including an awesome Connekt party on Saturday January 16 with two headliners from No Qualms Records, some more techno parties over the summer, and pretty much every bar hosting some form of crowded NYE party. Personally, I’ve had a fantastic year– attending some very cool events, hearing some inspiring music – and if I can be a bit selfindulgent – DJing to some really fun crowds! 2016 is shaping up to be a fantastic year for music, so until then, have a happy Christmas, a rad new year and keep reaching for those lasers. PETER ‘KAZUKI’ O’ROURKE contact@kazuki.com.au

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TOYO’S STORY PETE O’ROURKE While many know him for his heavy drum and bass DJ sets as Zodiac, Canberra musician and DJ Jarrod Bartlett’s latest project is a step in a completely new direction. A mixture of downtempo beats and indie electronica, TOYO is primarily a live-focused act. Starting with just a single drumbeat and some reversed guitar, the experimental sounds have developed into something that the young Canberran artist is super excited about. “This is the first time I was really writing music just for myself,” he says. “After having that first track down, it all just snowballed from there – it ignited something inside myself,” Jarrod says. “TOYO came about in a big change in my life – working in the studio, messing about with Ableton – I wanted to set myself up for a challenge.”

I wanted to set myself up for a challenge

Jarrod has always surrounded himself with music, saying that he used to “wag school to learn Metallica riffs” on his guitar.

After a launch at La De Da, Jarrod brought his TOYO project to Dragon Dreaming Festival back in October, which he says was a completely different vibe to his usual festival experience. “I’m used to people going crazy, being a drum and bass DJ. People were sitting around on the grass – everyone in their own element, a few even meditating. My mum was there as well for it, which was pretty cool!” Completely focused on pushing his music out into the ether, Jarrod has even considered starting his own label to release his music. “It’s the way to do it in 2015,” he says. “Maybe I’ll get some other likeminded artists on board, that way I can really push the sounds I want to hear.” With artists like UK composer Bonobo and techno producer Max Cooper influencing his compositions, TOYO’s first publically released track features the vocal stylings of Toronto-based vocalist Amy Kirkpatrick. “I first heard Amy sing on a track called ‘Caves’ with her project, Data Romance. I asked her if she wanted to collaborate – she had a listen and wrote some lyrics, sending some stems [recordings] for me to use.” The Canadian connection goes further, with Jarrod travelling there earlier in the year to play some shows during their summer festival season. “Dude, it was amazing!” he says. “Seeing how they do festivals over there was really inspiring. I’ll definitely be heading back. There’s more stuff in the works, but I’m keeping the details on the down-low for now.” TOYO has a few shows lined up over the next couple of months, including a headline slot at Rabbits Eat Lettuce Festival near Bryon Bay in April, having just played Subsonic Festival near Sydney and at La De Da’s fourth birthday celebrations. So what’s next for Jarrod Bartlett? “I’ve got a bunch of collaborations and remix projects coming up, and more tracks to be released. I’m also going to try to expand TOYO to have more live elements during performances. I’m just going to surround myself with music.” TOYO’s music can be heard at soundcloud.com/toyomusic. You can catch him at Christmas in the Bar on Sunday December 20 at Transit Bar, alongside The Ansah Brothers, MONDECREEN and more. Doors open at 4pm. Entry is $10 or a toy to go under the Christmas tree.

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METALISE Where did 2015 go, eh? I’m a bit ill prepared for this last column of the year in that I’ve been pre-occupied over analysing my top five and trying to find out if the new Looking Glass album IV was going to come out on Bandcamp at the end of last month. Having a friendship with the band and the company mastering the album in Melbourne saw two great outcomes. Firstly, in ringing the engineer who mastered the record and mutually gushing over how fantastic it is, the promised electronic release has been delayed as the band has now agreed to a physical release through a Melbourne label, because the work is that good. The second and more selfishly welcome outcome is that I don’t have to toss a coin over which album is number one in my list this year now, cause it was Witchskull or this. Now I may have rabbited on – and I have done, as regular readers of this mag can attest – about both of these albums this year, but I am very pleased to point out that I am not the only one who thinks so. It may not be the American top 40, but Witchskull’s album has topped the worldwide Doom charts in December, overtaking Lee Dorian of Cathedral and the original Electric Wizard rhythm section’s new band, With The Dead. This year has been almost ridiculous in the volume of quality doom music and Canberra has not only finished the year on top of the worldwide list as voted on each month by over 20 writers across the globe, but Witchskull has also found

themselves anointed by Metal Hammer magazine as official “sons of Sabbath” in the Black Sabbath issue of the magazine, featuring a song of theirs on the compilation CD on the cover. It’s been an incredible year musically for Marcus and members of both bands, and next figures to be somehow even better. It’s great news for local heavy music. Who else had a great 2015? Wretch did for sure, with their new album and a slew of killer shows around town. Hellbringer have distilled a few years of hard work and it has borne fruit in the form of a slot on next year’s vaunted Maryland Death Festival, where they will play alongside fellow Aussies Destroyer 666, Denouncement Pyre, Nocturnal Graves and headliners Venom. The Levitation Hex have been lurking and working hard on their next opus Cohesion and I am very much looking forward to their label High Roller Records announcing the release date, as the last one was a cracker. That just scratches the surface. Well done Canberra, looking forward to what 2016 brings. The Basement has a couple of great shows coming up with the New Year’s Eve Shananigans show of covers everyone seems to love these days. Michael Crafter announced the end of Confession online and along with Graves they are at the Basement on Monday January 4 to say goodbye. Then on Friday January 8 the awesome Truckfighters from Sweden are out for a visit too. So much more coming up folks – as always, merry festivus and see you next year! JOSH NIXON doomtildeath@hotmail.com

THE BASEMENT

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SHENANIGANS MINI FEST

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CHANTS, CHAOS AND THE CAPITAL PHOTOS: MEGAN LEAHY, WORDS: CODY ATKINSON “ACT! ACT! ACT!” The now-familiar cry carries through and envelops the small room. The crowd builds and builds the chant, while the band tune up.

THE MUSIC DREAM DAMAGE AND THE FIGHTING LEAGUE

The ACT chant. Just three letters, yelled over and over and over. Occasionally it is changed to “CAN-BER-RA” and even more rarely to “RAIDERS”, but regardless of words, chants fill the air. At a variety of venues across town, it’s not totally uncommon to hear the crowd break into a footy game-style chant near the end of the night. It’s not just limited to Canberra bands either; when Teaser Pony played The Phoenix early in November they were greeted by the chant and talk of St Mal Meninga, the patron saint of the Canberra gig scene. “I’ll be willing to bet a large amount of money that the first time there was an ACT chant was at a Fighting League show,” says Ian McCarthy. “The Fighting League were the Canberra band.” “Nah, I swear it was at a TV Colours show, maybe the one after I Exist,” Donovan McComb-Gray chimes in. While thoughts differ about why and when it started, like all good stories, everyone recognises it as a distinctly Canberran thing. Some have even heard the chant interstate and overseas, like a calling card back home. Local gig goer and scene documenter Pat Cox goes to more shows than nearly anyone. “I think I heard chants of postcodes at one of Josh Nixon’s band’s shows a few years ago, but nothing substantial,” states Pat. “It certainly has taken proper shape in the past couple of years.” Not all people are enamoured with the chants however. “Sometimes it can feel a bit forced – and probably definitely comes off as alienating to interstaters, or people who aren’t in the extended friendship circle,” blurts anonymous punter #1, fearful for their reputation. “Or who aren’t drunk enough to join in unselfconsciously,” adds punter #2. “It just seems a little forced. Like it’s put upon. It’d be fine if it was spontaneous, or if it was a tradition, but it just feels fake,” adds anonymous punter #3. At first it can be a little disconcerting, because it’s often totally disconnected from the music. It is, essentially, people just yelling about where they are. But that in itself is a little unique, and totally unlike the gig going experience in any other part of Australia right now.

Dream Damage is a label identified with the Canberra scene (as it’s known outside the town in publications such as Pitchfork) in the last decade as much as any other. Starting as an online blog run by Tim Guthrie and blossoming from there, the label (run out of a Dickson PO Box) has released albums by a lot of highly respected local bands, such as Assassins 88, TV Colours, Danger Beach, Cat Cat, Jonny Telafone, and probably the most Canberra band to ever exist: The Fighting League. As strange as it sounds to say, the band was “Canberra” as much as anything can be; at least they tried to be. In a state of hiatus (except for one recent gig at the Pheno), The Fighting League built up a reputation over the first half of the 2010s as the most exciting live act in town. Frontman Dom Death dedicated every song to Canberra, or to the Raiders, or to his mates. Anyone who slagged off Canberra was in for a spray, as was anyone who wasn’t from the Capital. “It really started after they played almost every week across the summer of 2010. That’s when Dom came into his own as a frontman and was championing Canberra consistently onstage – and people started listening.” Peter Krbavac was deep in the scene when The Fighting League started to break through. “Others may have been put on, but Dom never was.” Tropical Paradise didn’t break globally, or even perhaps into some of the more remote suburbs of Canberra. But The Fighting League, to their mates, punters and other bands, were the Kings of the Capital. Sure, it might have been a self-proclaimed title with no rewards, but it was something nonetheless. After the eventual hiatus of The Fighting League the term “Kings of the Capital”

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became an ever-evolving inside joke, shifting its nobility via different publications and forums to other acts such as Anja from Wivves and Bobby Kill from TV Colours. That was the thing about The Fighting League though; they made all their fans feel like Kings of the Capital. HELLO. SQUARE.

Holding up the older part of the scene are the stalwarts in the Canberra Musician’s Club, whose displays might be less vocally passionate, but still run deep. Why else would they launch a songbook devoted to ACT songwriters? The CMC scene differs a little from the others – a little more self-sustaining. CMC is the loose home of Canberra’s burgeoning brass scene, as well as the deep folk scene. And they throw gigs anywhere they can, from a backyard in Downer to the social clubs in O’Connor. As a volunteer run organisation, people willingly give up their time to keep it going, just for the opportunity to play and hear other people’s music. The strength of the CMC is proof that Canberra pride comes in a bunch of different forms. THE SMALL, SMALL SCENE

While Dream Damage is a representation of the Inner North, hellosQuare is a bit harder to pin down. When he started the label, founder Shoeb Ahmed tried to create his own version of Dischord Records but “tying down that DIY ideal to experimental electronic music and weird indie-ness”. In fact, hellosQuare might have the most Canberran origin story of them all – starting in a West Belconnen bedroom, eventually shifting to Weston Creek. Ahmed put out his first release when he was still in year 12, a CD-R containing such great acts as Love of Diagrams, Clue to Kalo and Brisbane’s Lawrence English. As the label evolved, Ahmed always saw hellosQuare as more than just a label itself. “hellosQuare was always about placing a Canberra-based entity in the greater scheme of things,” Shoeb adds. “We started off by bringing artists like (Japan’s) Tenniscoats and Christopher Willits as (Lawrence English’s) room40, toured them around the country, and then seeing what else came after that. We did releases with international artists before going back to local artists as a strategy to let the outside world know about the curatorial vibe before introducing them to good, previously unheard music from our friendship circle.” Shoeb has a pretty open approach to what he releases – if he likes it, he’ll get behind it, regardless of the genre. hellosQuare often serves as the between for some of the more hardcore punks with the CMC crowd and the Music/Art School kids, a musical middle ground concerned less with genre/style than substance. Another label that follows a similar attitude is Jordan Rodger’s Cinnamon Records, which has bands both inside and out of Canberra, as well as constantly touring bands through town. Cinnamon also has a similar “friendship circle” type vibe, with familiar faces popping up consistently in each band. THREE LITTLE LETTERS

“It’s a pretty small city, so everyone kinda supports each other.” Peter Krbavac knows this better than most, having spent the past few years (bar a couple of years in Adelaide) in and around the scene. “Working from the most recent, I’ve played in Eadie and the Doodles, Thunderbolt City, Mind Blanks, New Age Group, The Newsletters, Bad Lifers, Shopgirl, filled in for Passive Smoke and TV Colours, played in Waterford and in Voss. There are a handful of others, some of which were pretty short-lived.” A former editor of this magazine, Pete has played across much of the spectrum of Canberra bands, from folk to twee pop and even punk rock. Canberra is a smallish town at heart, and it shows in the music and arts scene. After a while, even the most outsider-ish of people can start to recognise the same faces around the town. Where gigs in other Australian cities are sprawled out across suburbs and postcodes, most of Canberra’s scene is tight, both metaphorically and geographically. Many gigs see hip-hop guys matched with punks, or indie poppers mixed with folk. Because the scene is small, genre and posturing becomes somewhat secondary. Bands share members like punters sharing smokes, a necessity to get the desired outcome. And it’s not just rock bands that share members. Dance collabs float out of the end of big nights out, fillin band members become permanent, cyphers sometimes become more concrete over time, and “guest spots” end up dropping the word “guest”.

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THE ICONS THE RAIDERS

Not many cities in Australia have identifiable flags, but as a citystate Canberra has an inbuilt icon to represent its residents. One noted “gig house”, the Lacklustre HQ, had the flag up on the wall, seeing safe passage of its visitors through the night. The Lacklustre label itself has a coat of arms, loosely based on that of the ACT. The words on the crest read: “The Greatest City In The World – Canberra” Even outside of Lacklustre, punters have been known to rock up at some shows with the flag as a cape, occasionally as well as with musicians on stage. Unlike the Queensland, NSW or Victorian flags, the ACT flag is unique – it has a completely different design to the rest of the country, reflecting the deliberate and sometimes isolated nature of the city. Canberra often gets projected as a sterile place, with parliaments and pollies and roundabouts. Young punks getting some blood, sweat and tears on the symbol of the city is the best way to call bullshit on that. CANBERRA 4 LYF

It’s fair to say – more than any other uniting feature – Canberra bleeds green. Sure, not a whole lot of people go to Raiders games, but there’s a lot of love for the team, or at least the idea of it nonetheless. And damn, that simple yet catchy team song might be the single best one in all of Australian sport, down to the cheesy as fuck ‘80s metal guitar. Plenty of Canberra musicians represent the Raiders on the regular. Man of many bands (and names) Bo Loserr is rarely seen without his vintage Raiders jersey on, circa the era of St Mal. Super Best Friends nicked the colour scheme for their killer beanies. The Fighting League partially named their freaking band after the game itself. At the last Assassins 88 show last year, the accompanying AV entertainment for the night was the ‘94 grand final on loop, with the crowd counting down the last 5 seconds through the night. And it goes beyond support for the team. Most notably, the short-lived dance pairing Lime Green ... well you get the picture. The Raiders are like a simulacrum for the local music scene itself – a little geographically isolated, constantly underrated, with occasional breakout stars (and more that deserve it) and a small yet parochial support base. It’s not uncommon to go to a heavy gig on a Friday night and see the same punters at Bruce Stadium the next afternoon, perhaps a little worse for wear. Canberra and the scene must love the Raiders, for one reason more than anything – why the fuck else would anyone drink lime milk? THE FLAG One of the most visible signs of Canberra pride in and around the scene is the rise of Canberra tattoos. Location is always somewhat temporary, but there’s not much more permanent than a tattoo. “I got the tattoo the day I moved to Melbourne. I wanted to make sure that when I moved down I wouldn’t start bagging out Canberra, that I’d remember where I was from,” says Ian McCarthy, pictured above with the outline of the ACT on his arm. Ian, a local comedian, BMA contributor, and former frontman of Fricker, wanted to make sure that he had a part of him that represented where he grew up.

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He’s not alone, either. Ian Best, pictured, decided to get perhaps the most memorable landmark in town inked on his leg. “I always wanted to get a tattoo, and I can remember when I got it I wanted it to be something. The Telstra Tower is meant to be the sight you see when you come into Canberra coming from Melbourne or Sydney, like on the Kings Highway. The first thing you see is that Telstra Tower.”

“We’d think about moving back to Canberra, and one of the reasons is that it’s pretty cheap to live here. I know people in town think it isn’t, but try living in inner city Sydney,” states Sally Coleman from Coda Conduct. YOU CAN NEVER LEAVE HOME

Best goes on to add that the tattooist who gave him the gift of the Telstra Tower said that he’d done a bunch of other Canberrarelated tattoos over the last year or so.

T H E M E N TA L I T Y TOWN CENTRE LIMITS

Even when bands “make it big”, they still end up repping the capital. A recent issue of BMA had Peking Duk’s Reuben Styles making it clear that they still were from Canberra, even if he no longer lives here. Apparently he’s the same bloke as he was back then, and still occasionally catches up with his old bandmates from Rubycon (who later evolved into Slow Turismo).

Although the live scene is pretty confined these days, Canberra is still ruled by geography. Conversations with locals slowly reveal the hotspots of particular scenes. Punk and hardcore bands have haunts in two Inner North sharehouses (Crossroads and Lacklustre), while metal has always had a home at Belconnen bar The Basement. A little more left-field, some of the hip-hop scene congregates around the Mandalay, united by eating great food out of a bus. Local band Agency start nearly every set by declaring that they are from Weston Creek, and not Canberra more generally. The CBD and the Inner North are seen as more of a melting pot, as that’s where a lot of the venues are more or less based. Most of Canberra’s venues are in a couple of clusters. From Lyneham to the north of town to the CBD (including ANU) is the big one, with the 1km radius in Belconnen (plus UC) as a supplementary area. There are a couple of other venues sprinkled around, but most of the young Canberra scene can be navigated in a drunken stumble. While the public transport in town leaves a little to be desired, you can more or less get to gigs on the extreme ends of town within 15 or so minutes on a bus. “I can go out pretty much any night of the week and see a pretty good band or comedy show near my house,” boasts Ian McCarthy. “I don’t think I could do that in Sydney or Melbourne, not somewhere I could afford.” “Gentrification hasn’t hit Canberra that bad. We’ve only really lost Braddon. And south of the lake, but that doesn’t count,” adds Donovan. Additionally, compared with the other Australian capital cities, Canberra isn’t that expensive of a place to live.

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Coda Conduct are a part of the Capslock Collective, a grouping of talented artists forging a path, putting on shows together – and getting noticed for it. Canberra’s hip-hop movement is largely selfsustaining, built on local flow and support. They recently moved up the Hume Highway, but they still see themselves as a Canberra act. “I think that leaving Canberra has made me even more conscious of being a Canberran. It’s a Catch-22, but you meet people elsewhere who are Canberrans, who lived here and grew up here – in a way you are even more conscious of where you come from when you’re no longer living there,” says Erica Mallett. “Guys like Hau and Omar Musa, they still rep the area.” The conception that you have to move elsewhere to break it big also rings false with them. “Safia and Peking Duk and Citizen Kay who have been repping Canberra and have lived in Canberra their entire music careers, they’ve had so much play from that, and so much success, so I think it’s a bit of a myth that you have to move out of Canberra to succeed,” adds Sally Coleman. HOW SOON IS NOW? It’s hard to tell if the current crop of civic pride will hang around or not. Cultural trends are hard to predict, especially ones so interwoven with the fabric of a city. While locals always had a sense to defend the ACT from criticism, the way it has unexpectedly grown from a defence mechanism into a “movement” was hard to conceive just five years ago. And across all of the other cities I’ve lived in or visited over the years, nothing comes close to what’s happening in Canberra. Not everyone may be 100% comfortable with every element of the pride, but every “local”, either born here or a transplant, seems to feel an affinity for the place. The ACT chants might die down over time, as newer generations replace older ones, but I’m not sure that the feeling behind them will ever really go away. It might just not be as ear-splittingly loud.

IT TAKES ALL SORTS JEREMY STEVENS Some will say otherwise, but to those in the know, Canberra is never at a loss for amazing events, gigs and talent to explore. We have a whole bunch of local bands that continually put on great shows, and one event that’s looking to bring together as many as possible in January is FESTIVAL ALLSORTS. Organised by Benjamin ‘Shaggs’ Crawford, it promises to be a huge day of local music, showcasing some of the best artists that Canberra has to offer. We had a chat with Shaggs about the festival and its place in the scene. Can you tell me what Festival Allsorts is about? Festival Allsorts was put together in order to showcase the diverse musical talent we have here in Canberra. Also to get the different music styles all together on one bill, so that local bands could play to people they wouldn’t normally get a chance to perform to. Why is it important to celebrate the local scene like this? We have so many amazing bands here in Canberra. We just wanted to let the public know about them, and to know that there is a massive, diverse local music scene here. The line-up is quite eclectic and diverse. Who are some of your favourite acts that will be performing on the day? I’ll actually be seeing some of these acts for the first time at this show, so it’s going to be a fun one for me too. Knights of The Spatchcock are always entertaining to watch and they’ll be showing off their new singer, Jamie (ex System Addict). On the heavier side of things, Imperilment are fantastic, and Johnny Roadkill always rock the place!

Canberra seems to have a much tighter musical community than the bigger cities

Canberra often cops a bit of flak for not being as musically supportive as places like Melbourne and Sydney, but showcases like this seem to show just how wrong those people are. What’s the best way for us as a city and community to continually prove the naysayers wrong? People just need to get along to local shows, support local artists, buy merch from local bands, etc. Hopefully this show will bring a few of the different Canberra bands together and close the divide between genres. As a musical community, what do you feel sets Canberra apart from the rest of Australia? Canberra seems to have a much tighter musical community than the bigger cities. We have fewer venues to choose from, so we always bump in to each other at shows, haha! All the musos seem to know each other or know of each other. Everyone’s always happy to help out and you rarely run into egos. The passion that local musos and punters have (in any city) is always what keeps the local scene alive. Just pop along to a local gig and watch the crowd sing along to their favourite local act!

2015 is coming to a close and so the flood of local shows comes to a trickle. This year has seen some deep losses alongside some of the best shows, and next year hopefully will bring the punk scene back up on its feet for so much more. I wanted to write this column about some of the deeper issues to be tackled: such as the lack of female punk presence in Canberra, of POC representation in the scene, issues between labels and venues, the lack of venues themselves, the relation between violence and punk, the voice that punk can provide for issues that isn’t being used, etc. But instead I’m going to focus on the few shows left for this year that need to be seen so that we can move forward into the new year with more support and encouragement for the bands, venues, and people behind the scenes of shows that have worked so hard for there to be a scene at all. So that it can continue to grow bigger and better. It is Christmas so shows are slow, but if your funds are low and you’re looking to treat yourself to a little something special, these few are definitely going to be something special. Cosy hideout Transit Bar is hosting the Canberra slice of Hierophant’s Australian tour on Wednesday December 16 and to show them a warm welcome they’re joined by locals Fight Milk, who offer up fast songs so good you can’t even tell they’re about oblivion and flesh-eating ants, the hypnotic young doom lords Monocerous to grab your attention, and the short and sour Urge to Kill to keep your heart rate and fists up. To bring in the new year with a bang on Monday January 4, the Basement has a huge night in store for a sweet farewell for Confession, along with the deep dark energy of NSW band Graves, the sweethearts of the hardcore punk scene Staunch, locals on the up and up Honest Crooks, Autumn and Vinewood. Later in the month, but early in the evening, Transit Bar has a show kicking off at 4pm worthy of an early start with Goulburn-born garage punks Propeller, the slow and ghostly Elk Lodge, and headlining are British band Gnarwolves supported by Apart From This on their tour through down under. Another support is yet to be confirmed, so come for a night and a surprise – both worth missing a Canberra sunset. To end on somewhat of a personal note, I moved to Canberra from Sydney for this scene after spending half a year travelling down every weekend to see shows, and I haven’t regretted anything. What Canberra has is incredibly important to a lot of people and should not be overlooked. These shows are more than worthwhile, so come to what you can and help it thrive. RUBY TURNNIDGE rubymaudet@gmail.com

Festival Allsorts will hit The Basement on Saturday January 16 and kick off at midday, running until 2am. Entry is to be confirmed, and the line-up includes locals like Critical Monkee, Foreign Kings, Is Dead, The Naddiks, Brother Be, GhostNoises and more. See the Facebook event for more details.

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NOFX

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2015 QUESTIONING 2015 The year 2015 has nearly run its course. Oh how the time flies by. Who can remember what happened in January now, or even what the concept of January is. Luckily, Cody Atkinson is here to look back on the year that was, and some of the things that stick in what is his excuse for a memory. Wait, 2015 is over? Yes, time continues its never-ending march with another year defeated and passed. OK, let’s cut to the chase early. What was the single biggest music story in Canberra in 2015? It was about how a guy wasn’t coming to Canberra, then decided to and then decided at the last minute to not come again. Wait, what? The sudden announcement of a Childish Gambino show at Academy (yes, Academy) with barely two weeks notice sent parts of the scene into a frenzy, with tickets selling out within about three hours and eventually ending up for re-sale at up to five times the face price. As the event neared, Gambino (or Donald Glover to fans of TV show Community) played a DJ show in Newcastle that was received extremely negatively, with booing and protests after the gig. After the Newy show, Gambino cancelled the Canberra gig, citing tiredness. The hype machine rolls on, undefeated.

look pretty nice because of it. Unfortunately, we said goodbye to City Magpies, which had built itself up to be a much-loved local venue over the last few years. Still, as the Cosmic Psychos would say, it’s a nice day/year to go to the pub and drink a beer. So who ‘owned’ music more broadly in 2015? I think it has to be Taylor Swift, even though she didn’t release any new music this year. From the #TayTayForForHottestHottest100100 farceshambles in January to the Ryan Adams 1989 cover album farceshambles (forget the hype, it paled in comparison to Father John Misty’s attempts at it) and even her huge tour at the end of the year, Swift dominated the popular music cycle. Separating my own personal opinions from the mix, Swift sits in an interesting spot right now – young enough to still craft her creative legacy, with a seemingly endless, captive audience willing to eat up every skerrick she puts out, in song form or not. Any other artist would die for such a platform, and she seems to be using it well.

The hype machine rolls on, undefeated

There must have been some great shows that actually happened this year, though? Almost too many to mention. Let’s give it a crack anyway. DJ Shadow and Cut Chemist playing at Transit was a once-in-alifetime experience, and something that will stick with me for years to come. Death Cab For Cutie were recently one of the world’s biggest bands, and they rightfully packed out ANU Bar. The Gooch Palms and TV Colours tore the Pheno a new one in February, with great interstate and international bands hitting up the bar nearly every Thursday for the rest of the year. And The Street had an eclectic range of shows this year, from The Necks to Schneider Kacirek (amongst others). But some of the best shows I saw were ad-hoc shows in houses and garages across Canberra, like the Tape/Off show in O’Connor or the Self Defense Family show at Lacklustre HQ. Good music can come out of nearly anywhere, and often at the most unexpected times. So what was the general vibe in the Canberra music community in 2015? 2015 was a year of new beginnings, with several beloved venues re-opening, changing hands or undergoing renovations. The Polo in O’Connor flung open its doors again after fire gutted its innards, whilst the Phoenix still feels half-complete while the other half remains dormant. Smith’s also changed hands this year, and has dove headfirst into a furious schedule of gigs. Out in Belco, both the Basement and the Pot Belly have had a fresh lick of paint, and

I’m guessing your word of the year was ‘farceshambles’?

How did you guess? Every other ‘new’ word this year was a total farceshambles, a clusterfuck of literary proportions. Or not. What was the worst thing to happen to music in 2015? Well – and I hope you’ll all agree with me here – it was when a bunch of fucking fucks decided to shoot at people in Paris just trying to catch a gig. Entertainment – and music specifically – should be a refuge for people trying to blow off steam and enjoy themselves, regardless of age, race, religion, colour or creed. These fucking fucks tried to ruin it for everyone, to threaten the safe space built up over years by and for all of us. What a bunch of fucking fucks. OK, let’s bring the mood up just a touch. What was the weirdest thing to happen in music in 2015? Other than the cavalcade of Swift covers (which I still can’t fucking understand why), it has to be Meow The Jewels. HOW THE FUCK DID WE GET TO CAT HIP-HOP?! You know, I don’t really care, I’m just glad we made it this far. As Childish Gambino would name one of his albums, because the internet, I guess... I see what you did there. You tried to wrap the piece up in a narrative arc. You’re not nearly a good enough writer to pull off a stunt like that. But you can’t blame me for trying. Thanks for reading this column this year, even if it was a hate read from time to time. And a prediction for 2016? Cassettes and vinyl will begin to fade in favour of VHS cassettes and floppy discs, which are even more impractical to use and sound worse. HEY BRO, CAN YOU LEND ME A VCR SO I CAN GET DOWN TO THE NEW PARQUET COURTS EP? CHEERS MAHN! Argh, I wish 2016 was over already.

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

EURE-CARR! ALLAN SKO Jimmy Carr. Hugely successful comedian. Panel show mainstay. Heading to Canberra. Let’s get to it, shall we? As with most high profile comedian interviews, we wrestle with the heavyweight topics, such as his luscious locks (“the good people of Lego are responsible. Remarkable. It looks like it’s made of wood”), his favourite Aussie comics (“I’m a huge fan of Jim Jeffries. And that guy Tom Ballard. He’s a pretty funny boy”) and, of course, that laugh (“Someone said it sounded like an auto-tuned queef.”) There may also have been some talk about comedy, and his upcoming show. “I try to do standup comedy all the time,” he says. “I view that very much as my job. And everything else is gravy. I’m the boss when I’m doing standup. Whereas with TV, it great fun, but it’s a team sport.” For some, their familiarity with Jimmy is through his panel shows, both as host and guest. “Panels shows are a great way of presenting comedy,” he says. “It’s essentially standup sitting behind a desk made into a televisual format. The shows I host are kinda like your babies, so 8 out of 10 Cats and Big Fat Quiz of the Year has been such a lovely thing. They’ve both been going for ten years now, so it’s a big part of my life. As a guest, being on QI is quite something. It’s a bit like being at your first wedding when you’re and getting to sit at the grown up’s table. You’re trying to be funny in front of a polymath.” An aspect that sets Jimmy apart from the comedic crowd is the risque nature of his comedy. Despite pushing the boundaries, his intention is not to cause offense, making some compelling points about the nature of comedians along the way. “I don’t mind a bit of mild stuff, but my taste would very much be for darker and edgier,” he says. “One of my favourite noises is when an audience laughs and then goes, ‘Ooooooooo!’ Your conscious kicks in late to the party. If you want to be high-fallooting in your magazine, it’s called cognitive dissonance. You have two conflicting thoughts in your head at the same time - one disapproving of the joke, and the other laughing. And I think the sense of humour is the real you.” “The audience judges jokes,” he continues. “Lenny Bruce said, “the audience is a genius” and what he meant by that is an audience dictates what is and isn’t acceptable and what is and isn’t funny. If

the audience doesn’t laugh, it’s useless. Also if the audience laughs, they’re not offended. They’re having fun. Ultimately, the audience will be the arbiter of taste and decency… The reason you get into comedy is because you’re slightly psychologically dysfunctional. You feel the need to be liked by everyone. A joke is just a fancy way of saying, ‘I like you and I want you to like me too.’ Most people do that by communicating but others go into comedy and tell jokes. We’re quite needy souls, comedians, but I think I have the right to say offensive things. And people have got the right to be offended as well. But you never want to upset anyone. My gallows, dark sense of humour translates well to Australia. I dunno what that says about your nation!” Of his rcich canon of grisly gags, are there any that he is particularly fond of? “There’s a few things about religion that I’m quite proud of,” he says. “When you’re talking about people’s beliefs or sexual orientation delicate topics - you do them well and get away with it, and it’s funnier for it. If you’re doing a joke about child abduction, it’s gotta be pretty fucking brilliant because the potential to upset is right there. And the only way you’re going to get away with that is if you make people laugh. Because then they’re with you.” Jimmy describes his upcoming show as a no frills affair. “It’s two hours of me. If you like soft, whinging Poms you’re in luck. If you want someone to complain about the heat, I’m your man!” he says. “There’s no real theme to it. It’s just 250 jokes in a row, and hopefully they’re all funny. “I tend not to do topical stuff because it rots so quickly. No matter how funny your routine about Oscar Pistorius is, it feels old six months later. At best it’s stuff that can be repeated in the pub…. I’ll give you 250 one-liners for the price of a ticket.” And finally… What is with that laugh, and where’s it been hiding all these years? “I’d been on TV for about five years by the time I felt really relaxed enough to let go and laugh,” he says. “It’s very nerveracking being on TV shows and sometimes you just wouldn’t let yourself go because you’re very focused... It’s a weird thing. I laugh on an ‘in’, not an ‘out’ so it comes out as this honking sort of goose laugh. Sadly I’m not hung like a donkey, but I do laugh like one.” Jimmy Carr’s Funny Business plays at the Canberra Theatre on Sunday January 17. Tix are $79.90 + bf from Canberra Ticketing.

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THE SPIEGELTENT

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race. He gets away with pointing his finger and laughing in the face of anything and everything, because his finger is simultaneously directed at himself. “It’s important to explore culture a little bit, and of course the natural trend for me is to poke fun and exaggerate to some extent,” Bhoy says. “It was certainly a great way of integrating myself with Australian audiences – or offending them, one way or the other.” It’s certainly done the trick. His 16-date tour will see him in Australia through March and April in 2016.

DANNY BHOY SAMUEL TOWNSEND On the eve of his 2016 tour, Scottish comedian DANNY BHOY takes time to talk about making fun of Australia, the genesis of his new show – Please Untick This Box – and the untapped Indian comedy scene. I begin by revealing a family tradition that sees my siblings and folks gathering each year to watch Danny Bhoy: Live at the Sydney Opera House. “That sends a bit of a shiver down my spine actually,” confesses Bhoy. Have I revealed too much and scared him off? “We used to have the exact same thing with a Billy Connelly DVD,” he says. “My family would get together every Christmas and watch the same DVD, and it was kind of a uniting experience. It crossed all age barriers, so we could all enjoy it. I’m very flattered.” And this is the charm of the 42-year-old stand-up comic. He too crosses barriers with his unique brand of comedy – age, gender and

Bhoy’s last show, Dear Epsom, saw him stepping beyond his comfort zone. “It was quite theatrical as I’d never had props before. And the idea of reading from letters on stage, while holding a room of 2,000 people is quite a daunting thing. That was, to date, the most out-of-the-box-type thing I’ve done.” Is there a thread between that show and the new one? “There is a bit in the show about how much I hate marketing and that bombardment of spam, and I tell anecdotal stories about that, but the whole show is kind of broader in reach. I’m talking about politics, religion – all kinds of stuff come into the frame.” With charting new territory, I’m curious about his next move. The answer is India. “Back in 2007, I did a few shows there. It went really well, but I’ve not been back… which sounds like I’ve been banned. I haven’t!” Bhoy – whose father is Indian – says he just hasn’t been able to get another Indian tour together again. “It was a really fascinating experience, because it was the first time since I’d started comedy that I was starting to get a repeat audience – and then to do a show in a country that not only didn’t know me, but also didn’t know what stand-up was. It was a very back-to-the-floor experience.” See Danny Bhoy’s show Please Untick This Box at the Canberra Theatre Centre on Saturday and Sunday March 5 and 6 at 8pm. Tickets are $54.90 + bf. For event details, visit canberratheatrecentre.com.au.

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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

Evangeline Canberra Theatre, Courtyard Studio Saturday December 5 More and more, it seems contemporary theatre makers are involving the audience in their shows. I’ve seen this involvement range from asking the audience to do something simple like join in a song or wear a mask, to something far riskier like asking the audience to perform the entire show. When done well, audience involvement changes theatre from passive consumption to something much richer. Theatre maker Chenoeh Miller is interested in the interaction between audience and performer and how this interaction shapes the experience of a show for both. So I wasn’t surprised when Miller invited the audience of her latest show – Evangeline – to get up and walk around during the show and to follow any instructions that would be projected onto a screen. Evangeline was staged in the small Courtyard Studio; upon entering the space, Miller’s aesthetic was immediately apparent. Two performers were already in the stage area, dressed in striking red costumes with wild, teased hair and long, red eye lashes. They were moving in an intensely physical yet constrained way and they kept this up for an hour before the show started – an impressive effort. Evangeline is about grief. It started with loud, pounding music and the performers (Erica Field, Alicia Jones, Ruby Rowat and Peta Ward) portraying the pain of loss. Their faces were contorted in disbelief and denial and their movements were reaching and desperate. The music – composed for the show by Dane Alexander – was extraordinary, and I loved the way the performers used its cues to inform their movements. Following the intensity of this initial phase of grief, one by one, each performer tentatively reacquainted themselves with the small,

mundane movements of everyday life. It was at this point that the instruction “please do touch” appeared on a screen. On stage, the performers were vulnerable and fragile and we were asked to reach out and touch them. For many of us, this is an uncomfortable thing to do, even when we can see it is what somebody needs. Some people in the audience threw themselves into the task, giving full body hugs and spending much time gazing into a performer’s eyes. Others were more tentative – not sure how to initiate the interaction, gently taking a performer’s hand in theirs. And, of course, others watched on. The performers responded to being touched, it eased their pain and they were even able to smile again. When they were left without touch, their pain built again until someone else reached out to them. Evangeline is about grief and our response to the grief of others. I loved the way Miller approached this subject matter. It takes incredible insight and vision to be able to communicate an idea so effectively. Miller didn’t tell us what she wanted us to know, she helped us to experience it. Evangeline is evocative, simple, powerful and revealing, and above all, it was beautifully performed. ZOE PLEASANTS

Photo credit: Martin Ollman

IN REVIEW

CADA

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CANBERRA COMEDY FESTIVAL 1

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CANBERRA COMEDY FESTIVAL 2

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E X H I B I T I O N I S T ARTISTPROFILE: VEE MALNAR

What do you do? I’m a multimedia artist, so I work in art, music and theatre. Visual art is a larger component. The ideas behind my art are based on identity and the environment, domestic work, as well as pop culture. A lot of my art deals with the undervalued, yet highly necessary work in the home. When, how and why did you get into it? I was very young when I started painting and writing songs and plays. This led to art school and formal training, as well as lots of experimentation in different art forms. There was a cross pollination between my music and art, and the women I painted doing housework took on a ‘popstar’ quality. Our society seems to value popstars more highly than mothers and domestic workers, so I present these ideas in my art. Who or what influences you as an artist? My environment and relationships, my family, my friends, my mum. Cindy Sherman, Tamara de Lempicka, Edward Hopper, Francesca Woodman and Wendy Sharpe. Of what are you proudest so far? My son, he’s a far better artist at his age (13) than I ever was!

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What are your plans for the future? More photography. I’m just skimming the surface of ideas. I want to see how much more I can do with this medium. What makes you laugh? Funny people. Cats. My good friends, who are stand-up comics, Amanda Gray and Lou Pollard, they are hilarious. I laugh at anything just to stay sane. What pisses you off? War. Traffic Jams. Ongoing social problems we can’t resolve and bureaucratic misinformation. What about the local scene would you change? I’d take poker machines out of clubs and replace them with art galleries, and art spaces for anyone to come in and do art. Upcoming exhibitions? FemaleCentric, paintings and photographs by Vee Malnar @ The Front Gallery and Café, Shop 1, Wattle Place, Lyneham Shops, Act 2602. From Tue¬–Mon January 5–18, 2016. Opening night is Thursday January 7, 6–9pm. Contact Info: frontgallerycafe.com/exhibitions facebook.com/events/408593972679501 front.gallery@gmail.com (02) 62498453

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UNDERSTANDING MUSIC SEMINAR

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TOP FIVE BOOKS OF 2015 SHU-LING CHUA Reviewing for BMA pushed me beyond the ‘classics’ this year. And for that, I’m grateful. After years of snubbing Australian literature, I finally realised what I was missing out on. It’s not difficult to imagine ‘new’ classics such as Foreign Soil – a shoo-in, had it not been published last year – inspiring the next generation of Australian writers. To see ourselves reflected in someone’s writing is to feel less alone. The value of diversity in literature cannot be underestimated, for it is a mirror of society. And so, I challenge you to pick something you wouldn’t normally read. Go on, surprise yourself. 5. The Singing Bones by Shaun Tan [Allen & Unwin; 2015] Tan’s latest work is a collection of 75 clay sculptures, each exquisitely photographed and accompanied by an excerpt from the Grimms’ fairy tale that inspired the piece. Whimsical and sinister in turns, the sculptures breathe new life into much-loved characters and lesser-known tales; it’s as though they know something you don’t. The result is, as Tan describes, “a well-considered marriage of earthy material … infused with weightless and magical ideas.” 4. Anchor Point by Alice Robinson [Affirm Press; 2015] When her mother disappears into the bush, ten-year-old Laura makes an impulsive decision that will haunt her for decades. Robinson remakes the archetypal Australian bush story for a modern audience, allowing the tension to ebb and flow with the untameable land. A gripping tale of repressed secrets, sacrifice and living with the choices we make.

3. A Strangeness in My Mind by Orhan Pamuk [Penguin (Australia); 2015] Pamuk’s ninth novel transcends time and place in its discussion of love, tradition and kismet. Its basic premise – boy elopes with the wrong girl – unfolds against a tapestry of competing voices, history, politics and morality. A mesmerising love letter to the changing streets of Istanbul, it lingers at the back of your mind, like an unfinished train of thought just waiting to resurface. 2. Six Square Metres by Margaret Simons [Scribe; 2015] It’s a testament to Simons’ wit and humour that a book on “gardening-related reflections” held my interest so. The vignettes range from musings on life, death and human connections to likening John Howard to a brassica and uncovering the leg of a Barbie doll in the compost. A delightful ode to the rhythm of the seasons and “life continuing in messy fashion no matter what plans we make.” 1. Small Acts of Disappearance by Fiona Wright [Giramondo; 2015] Brilliantly researched and written, this is no ordinary essay collection. Drawing on literary discussions, cultural histories and medical studies, Wright meditates not just on hunger, but on her place in the world and what it might take to recover. Wright captures the contradictions of anorexia and recovery with grace, honesty, intelligence and devastating precision. At its heart is a desire to understand what it means to live, with all our human flaws. See my full review in this issue, and happy holidays! xo

JIMMY CARR AND DANNY BHOY

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AUSTRALIAN NATIONAL BOTANIC GARDENS

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IN REVIEW Cirque du Soleil: Quidam AIS Arena Thursday December 10

Cirque du Soleil needs no introduction; the French-Canadian circus troupe has travelled the globe for over 20 years, sharing its creative mix of extraordinary circus acts and stage productions. Their latest circus to come to town is Quidam, a one-of-a-kind Cirque show that is more an introspection into reality than their usual fantasy productions, featuring real-life characters thrust into a fantastical world. The story of Zoé and her parents is abstractly twisted throughout the show, interwoven between daring feats of human agility, strength and expert choreography. Ignored by her parents and left to tend to her own imagination, Zoé jumps at the opportunity to breakout of her parents’ mundane existence and escape down the rabbit hole, and her parents are pulled alongside her into the world of Quidam. With 46 talented acrobats, musicians, singers and actors, Quidam is bursting with richly diverse and compelling acts. The diabolo performer juggles up to three plastic spools on his string, whipping them metres into the air before catching another and throwing the next; the aerial hoop artists gracefully twist and turn on the hoops that hang from the ceiling – performing in unison and alone, eloquently manoeuvring their bodies around the hoop, and at one point, daring to dangle from nothing but the back of their necks and the fold of their feet. Zoé naturally slips into Quidam’s world of quirky and eccentric

characters. She meets ringmaster Mark, whose infectious charisma and knack for comic relief makes him a lovable soul as he pokes fun at other players. He was even so cheeky as to re-gift one of the audience member’s popcorn to a child in the front, and to steal another spectator away for his minions in Hazchem suits to experiment on. Wearing a purple suit and bowtie, Mark is one of the brighter characters in comparison to the sombre blues and pinks of the other costumes. The moments of deep emotion and drama are those that reflect the internal struggles of Zoé’s parents. The ‘Aerial Contortion in Silk’ performer is a metaphor for her mother’s state of mind, her loss of self and of control. Like a butterfly, the performer emerges from her cocoon of red silk and slowly contorts herself around the cloth in a reverse-chrysalis (or reverting back to her cocoon form) – wrapping her body and then dramatically dropping to the stage at a terrifying pace. Wearing a nude bodysuit, she appears naked with only the red silk to hide her vulnerability. The live band matched the action both in moments of delicacy and ferocity. The dramatic tearing of the violin strings, the deep throb of the bass, the clash and clangour of drums and the sensual tones of the saxophone were the perfect backdrop for the hive of activity onstage. Zoé’s voice was an act in itself; her ethereal tones carried her into Quidam and all the way out. With years of experience in tow, it’s no wonder Quidam is so polished, elegant and nuanced. HANNAH QUILL

Photo credit: Tim Butler

FRINGE FESTIVAL

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VEE MALNAR EXHIBITION

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“It’s great now. I don’t have to wear… There will be a bath waiting for me at home, I better run. I have a photo of me shrugging at my nephew’s christening. Use that instead,” says Amin when asked too many questions at once. More on this story as it develops. The following is a news item that failed to gain any attention in the mainstream Australian news media. Due to its singular significance in the history of music I have taken the time to translate the story from its original source – The Taiwanese Daily News Shower™. The first story appeared in the News Shower on the 26th of June 2015 and the final article in the series appeared on the 2nd of August 2015. 26 June 2015 FORMATION OF ABBA COVER BAND HAS NO CONSEQUENCES For a long time, people have analysed the principle of cause and effect in terms of ethics, drama, and science, but all that may come to nought thanks to four former cult leaders who founded the band ‘ABBATROSS’ on the weekend. The band’s formation has led to literally nothing at all, leading this reporter to question the very existence of this report. 2 July 2015 EFFECT OF CONSEQUENCELESS ABBA BAND FELT WORLDWIDE People all over the world have sat up and noticed the formation of an ABBA cover band, an event that existed seemingly in a vacuum. Reactions to the news have varied from extreme to very extreme indeed. Newly former priest Father Noddy Amin is just one of many of the devoutly religious who have rejected their system of faith following the news.

The following items were written in such advanced Taiwanese that only the headlines could be translated, as well as a short quote from former ABBATROSS fan club member Elsie Cavernous, which appeared in the final article. 20 July 2015 ABBATROSS HYSTERIA LEADS TO MASS SUICIDE, RECORD PURCHASES 2 August 2015 THE FALL OF ABBATROSS: HOW SEX, DRUGS AND PROOF OF BAND’S CONSEQUENCES LED TO DEMISE OF ONCEMEANINGLESS MUSICAL GIANT “It was just something you knew your parents wouldn’t understand.” – Elsie Cavernous, ABBATROSS Fan Club President. JAMES MCMAHON James McMahon was born in a small fishing village on the coast of Senegal in March 1961. At the age of 9, he was appointed Labor Secretary and dutifully performed this role for 16 years. After leaving the administration, James relentlessly pursued a career in gameshows to no avail. In 2008, he self-published his autobiography. The book, titled James McMahon: Long Walk to Freedom, spent a record 89 weeks atop the New York Times Best Seller list. In 2010, James retired from public life and now lives with his wife Marion on the McMahon family ranch in Massachusetts.

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LITERATURE IN REVIEW Small Acts of Disappearance Fiona Wright [Giramondo Publishing; 2015]

I stumbled across an essay by Wright at 1:30am, in that limbo between night and day. I bought Small Acts of Disappearance the following afternoon. “I’ll always remember the particular intensity that malnutrition brings on, I know that I miss it still.” Wright’s essays on hunger dissect not just her personal experience with anorexia but her place in the world and what it means to live, with all our human flaws and frailty. Knitting travel writing, memoir, and literary discussions with medical studies, the essays are an attempt to understand – what brought her to this state, and what might it mean (or take) to recover. Clinical yet poetic, Wright’s choice of words is painstakingly precise, restrained and incisive; there is no room for wastage. Her attention to detail is crystalline, strikingly clear. The author’s gaze from the cover, like her writing, is piercingly captivating. Small Acts of Disappearance is filled with contradictions. Within / without. Public / private. Physical / psychological. That which gives us strength also makes us vulnerable. Wright confesses, “My illness terrifies me, and so does the prospect of getting better, because I don’t know where I stand without it.” In opening essays ‘In Colombo’, ‘In Berlin’ and ‘In Miniature’, she explores how one’s body and sense of self relates with the world around us, the devastating effects of the Minnesota Experiment, and nostalgia: “The body remembers.” ‘In Increments’ examines how in the same way Wright’s hunger creeps up, inch by inch, the process of recovering is slow: “this isn’t

a narrative of sudden healing, of epiphany or of discovery.” It is this unflinching grace and honesty (“my denial of my denial”) that makes Wright’s prose so compelling. In her analysis – her careful unravelling of the truth – she holds up a mirror to both herself and the reader: “hunger, like writing, is a mediator. It stands between me and the world, between my self and the things that might cause it harm.” The writings of Christina Stead, Carmel Bird and John Berryman, Victorian dollhouses, and even the German language illuminate Wright’s understanding of herself and her experiences. Just as the author is never defined by her illness, Small Acts of Disappearance is about the hunger for more – more control, more meaning – as well as the hunger to be free – free from the fear of rejection, of not fitting in. There are echoes of Plath in the calm, matter-of-fact portrait of a young woman wrestling with her very real terrors. Anyone who is confused or going through great change is likely to find solace in this essay collection, with its shades of complexity, delusion and deception (in particular, writers will smile in recognition at the feeling of ‘double-consciousness’). “Recovery is not a linear process,” Wright admits. And that, paradoxically, is where hope lies. SHU-LING CHUA

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COLLEGE ARTS AND SOCIALOF SCIENCES

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bit PARTS SPIDERS WHAT: Science Exhibition WHEN: Opens Sat Nov 21 WHERE: Questacon Look, I know that title has made you worried that this promo is going to lead you into a dark swamp where a thousand spiders are gonna wrap you up in web, dance around you and laugh at you, but it’s not like that. Actually, Questacon is holding an exhibition that will give you an eighteyed insight into the amazing world of arachnids. Spiders features interactive displays, exhibits and 200 spider specimens including Australian tarantulas, funnel-webs, redbacks and giant water spiders. Did you know that spiders are amongst the most successful species on Earth, even outliving the dinosaurs? Maybe you’ve got a fear to get over? This could help? GALLIPOLI THEN & NOW: FORGED BY WAR WHAT: Photography Exhibition WHEN: Tue–Fri Dec 8–18 WHERE: Lalezar Hall, Turkish Embassy Photo credit: Vedat Acikalin

Commemorating the hundredth anniversary of the Gallipoli campaign, Gallipoli Then & Now honours the Australian and Turkish soldiers who served and sacrificed themselves at Gallipoli in 1915. For over 30 years, Turkish-Australian photojournalist Vedat Acikalin has documented the bonds and friendships forged through their experiences of war. He has photographed the soldiers as old men – meeting in friendship on the very battlefields they once fought on as enemies when they were young. He captures the ongoing bonds forged not only between the men, but also with their children and descendants. Acikalin honours their stories and memory through these poignant photographs. The exhibition is free and open Monday to Saturday, 10am–5pm.

Photo credit: Ken and Julia Yonetani

THE LAST TEMPTATION: THE ART OF KEN + JULIA YONETANI WHAT: Art Exhibition WHEN: Opens Sat Dec 12 WHERE: National Gallery of Australia Ken and Julia Yonetani are internationally acclaimed Japanese and Australian artist collaborators… and they know their way around an art installation or two. Well, in this case, specifically two. Their NGA exhibition features chandeliers made from uranium glass, which have been reconfigured to emanate UV light. It also features a nine-metre banquet table made entirely of salt. Their work is a provocative response to the Fukushima Daiichi nuclear power plant accident, in the sense that each chandelier represents a country that operates nuclear power stations. But don’t worry, the uranium glass poses no health risks. The exhibition is open Wednesday to Sunday, 10am–5pm. Entry is free. SOUNDOUT 2016 WHAT: Music Festival WHEN: Sat–Sun Jan 30–31 WHERE: Ainslie Arts Centre

SoundOut’s seventh annual festival is on the horizon. It’s the improvisational, jazz and experimental music festival that will uplift tired ears and explore the unknown. And the artists come from all over! Australia, Austria, France, Germany, Netherlands, Norway, Switzerland and the USA will be throwing their sounds into a melting pot of sonic ingredients. Artists include RHRR (France), electronic artist Franziska Baumann (Switzerland), trombonist Henrik Munkeby Nørstebø (Norway), guitarist Hannes Budar (Germany), tenor saxophonist Luc Hotukamp (Netherlands) and Psithurism from Canberra. The festival runs in four-hour sessions from 1pm to 11:30pm on both days. Ticket prices start from $30 through isoundout.wix.com/soundout2016.

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SUMMER’S AD END SPACE YOGA FESTIVAL

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album in focus

VARIOUS STRANDED: THE CHRONICLES OF AUSTRALIAN PUNK [ABC MUSIC/UNIVERSAL] The Australian punk and indie scenes of years past have been well documented on a decent number of compilations that amply reveal just how good this music was. This two-disc collection is a little different, because it doesn’t focus solely on past glories but includes a diverse number of contemporary Australian acts. Alongside sheer classics from The Saints and Radio Birdman are selections from Frenzal Rhomb, Royal Headache and the always-fabulous Cosmic Psychos (who belong in both the ancient and modern camps). Captured within the 51 featured tracks is a large chunk of Australian musical history that has involved alternative musical expression rarely bothering the charts, but nevertheless resulting in art of the highest quality. The historical focus is usually on the fertile London and New York scenes, but Australian punk was a winner from the get-go. The self-released single ‘(I’m) Stranded’ from The Saints preceded both The Sex Pistols and The Ramones when it arrived in 1976, and to this day remains one of the most incendiary blasts of rock ‘n’ roll ever committed to vinyl. Fittingly, it is the opening track on this collection and before I have the chance to properly recover, Brisbane punk band Razar’s suitably titled ‘Taskforce (Undercover Cops)’ bursts from the speakers with an edgy vibe in the vein of reprobate rockers The Dead Boys, and the mosh is now in full swing. The Brisbane punk scene was spawned almost by necessity as a response to an authoritarian state

government that advocated heavy-handed policing and Razar’s track is a forceful comeback to that terrible archconservative environment. A healthy noise quotient that had been established by these early groups flows through other choice selections from key bands such as Celibate Rifles, Meanies and The Hard-Ons. The inclusion of the Birthday Party’s ‘Release The Bats’ (1981) reveals how quickly the music progressed from the fast, snotty rock ‘n’ roll of the late 1970s to complete sonic deconstruction that opened up the many dynamic musical tangents of the post-punk era. Elsewhere, The New Christs’ vocalist Rob Younger conjures an edgy outlaw blues carried over from Detroitinfluenced punk rockers Radio Birdman. Some first-rate new wave crossover material from The Riptides and Sunnyboys is also featured, and the Sunnyboys classic ‘Alone with You’ remains an FM radio staple to this day. But the standout track rounding off disc one is ‘Delinquent Cars’ (1979) from Sydney band X, which captures the primal heart of all the best rock ‘n’ roll throughout history in 2 minutes, 26 seconds. The second disc is given over to punk bands from more recent times and although I will always remain a fan of the originators, first-rate material arrived from such bands as Bodyjar and The Nation Blue, and it is fitting these groups are placed alongside the original classics to illustrate how comprehensive the legacy of the Australian music underground has turned out to be. The final track slot is appropriately occupied by The Cosmic Psychos, yet again itching to give discerning music fans a taste of working class suburbia on ‘Nice Day to Go to the Pub’ ¬– the perfect finale to an outstanding collection of fulfilling hardedged music. It is worthwhile noting this is an ABC release, so here’s hoping a comprehensive TV documentary on the Australian punk scene comes next. DAN BIGNA

HUGO LEE CONFLUENCE [INDEPENDENT RELEASE] The brainchild of local songwriter and multi-instrumentalist Hugo Lee, Confluence required the involvement of many talented musos and vocalists, as well as the considerable backing of the ANU School of Music. Tracks were inspired by and written in a variety of global locations. The results were captured in a very down-to-earth fashion at ANU, people’s homes and on location however, using portable recording equipment. Organic in its conception, writing and recording (all of which sometimes occurred in close conjunction), the result is a fresh feel to match an experimental vibe with pop sensibilities and strong jazz overtones. The title track is a roller-coaster work of great contrasts – jumping between huge gusts of brass and the cruisy singing of Rose Costi. As snippets of lighter horns curl around her vocals, the brass reaches hurricane intensity in the finale. In the playful ‘Mirror’, Tate Sheridan sings, backed by sharp inhalations and exhalations of breath. Lee’s weapon of choice – the alto sax – dominates the record, spiraling up or stabbing sharply through many tracks. The sax stars on in ‘Damage Control’, although Sheridan’s crazy jazz piano gives it a run for its money. Canberra female vocal trio Kaleid provide a cappella in the intro to ‘The Boat’, paving the way for the well-oiled voice of Costi. The bright strokes of the marimba make ‘Sunlight’ a standout track, while nature meets technology in ‘Firefly’, which matches a hiss like a furnace-hot wind with relentless electronic keys. The album balances surging instrumentals with lighter songs. While jazz fanciers might appreciate the cut and thrust of the brass and the free range arrangements of tracks such as ‘By the Loch’, the tracks with vocals are clear highlights for me. RORY MCCARTNEY

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ROBERT FORSTER SONGS TO PLAY [TAPETE RECORDS/EMI]

DON MCGLASHAN LUCKY STARS [INDEPENDENT RELEASE]

MEN FROM EARTH WILDWOOD ECHOES [RIVERSONG MUSIC]

Robert Forster quite literally wrote the book on the rock ‘n’ roll. His 2010 tome The 10 Rules of Rock and Roll contains a list of just that – summarising the playful wisdom that only has legitimacy if you’ve had the kind of career he has. A Go-Between and solo artist for 30 years, Forster is a living treasure. Question is, does this new record pass the test of its creator, let alone the audience?

Ex-member of Kiwi alternative rockers Blam Blam Blam (whom famously had a song ‘There is No Depression in NZ’) and the more conventional pop rockers The Mutton Birds, songwriter Don McGlashan has been proceeding under his own steam with solo records since 2006. His third LP sees him stepping back from complex material, with minimalist backing arrangements and a more personal touch to the lyrics. The new format works well, allowing his gift with warm, catchy rhythms to come to the fore.

Four tree-huggers with a deep love of nature, Men From Earth bring together an unusual collection of musicians from various genre backgrounds, with an age range that jumps from 21 to 62. Despite these differences, these guys share a special respect for the natural world and want to communicate their feelings to you in their debut LP. This folk/mountain music collection broadcasts the wonder of valleys, woods and rivers running free. Inspiration for the songs comes from the bond with the natural world that the band members made together in darkest reaches of Tasmania. The life force of the planet comes through clearly in the energy of their music.

The answer is a resounding, thumping yes. For a record which is quiet and considered, Songs to Play is beautifully put and perfectly played. This is what music sounds like in the hands of an expert who knows his strengths and weaknesses. As a superfan, I was hopeful but wary – but Songs To Play exceeds all expectations. It opens with ‘Learn to Burn’, which sets a perfect tone and a high bar. Across the ten taut, eclectic, hugely-varied yet always authoriallyanchored tracks, Forster simply shows us how it’s done. This is the pure rock ‘n’ roll (and pop and bossa nova) of a musician who has taken the lean template of the Velvets, Jonathon Richman and early, spindly Talking Heads and crafted something in his vision. To list standout tracks would be to list every song on the album; though it’s worth noting rule two in Forster’s list: “the second-last song on every album is the weakest”. Because he’s a contrarian, the second-last tune on Songs To Play is also its best. It’s Forster at his most arch, witty, knowing and melodically magnificent. The song is called ‘I Love Myself and I Always Have’. The song is as perfect as the title. There’s one rule that Songs To Play makes redundant, being number nine: “great bands don’t have members making solo albums”. Nothing will ever replace the Go-Betweens, but Forster solo is a treat to be thankful for. Songs To Play is 2015’s quietest triumph, a masterwork from a master craftsman. GLEN MARTIN

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The opener digs deeply into acoustic chords, lit by fiery bursts of electric guitar and rounded out by a teasing banjo line. In the chorus, McGlashan is strong on message about not being too credulous about what you’re told: “girl, make your own mind up”. He’s not just here to preach however, as the title track expresses thankfulness for what he’s got and a genuine joy in life. A sparkle runs right through the catchy melody of ‘Hold on to Your Loneliness’, before the tone changes with flashes of barbed electric guitar in the grittier, grainy ‘Home to the Other Side’. There’s plenty of appeal in the unusual combination of the sounds of a shaker and a bicycle bell, which form the centrepiece of ‘For Your Touch’. ‘Charles Kingsford Smith’ (as much about the airport as the man) carries a special meaning if you’ve ever made a sad airport farewell, or even if you just like watching aircraft. McGlashan’s songwriting is as strong as ever, as he paints urban scenes using a musical score instead of a canvas. It’s easy to tell that these hand crafted songs were made with love by a man with an eye – and an ear – for life.

The harmonica runs wild in the joyous album highlight ‘Rest in Peace’, while the trill of mandolin and cheerful shuffle of banjo wind their way through the tracklist. The injection of the sharp slap of the djembe adds a special character to the rhythm in tracks such as ‘Fire on the Mountain’. No woozy troubadours here, the heavy slashes across the strings in ‘The Crossing’ carry a violent edge, while in ‘Brothers and Sisters’, there’s crossfire of flying fingers. Generally upbeat, the one solemn moment comes with the dramatic ‘Wayward Son’, a requiem telling of a burial in the cold earth and the tears that fell thereon. The band takes time to draw breath in ‘Roll on the Breeze’, and there’s a real gravity to the title track as the ghostly chant “time stands still my friend” is uttered by band members. A celebration of natural life, the album style would appeal to followers of artists like Mustered Courage and the Jed Rowe Band. RORY MCCARTNEY

RORY MCCARTNEY

FRAUDBAND MANY WAYS IN… ONE WAY OUT [KASUMUEN RECORDS]

BEAT HAPPENING LOOK AROUND [DOMINO/K RECORDS]

THE FRANKLIN ELECTRIC THIS IS HOW I LET YOU DOWN [INDICA RECORDS]

Instrumentalist outfit Fraudband found itself a bit short of merch to offer on its upcoming European tour. So, with time running short, it jammed together two existing EPs. No, it’s not strictly a straight cut-and-paste, as the band took the opportunity to jazz up the arrangements on some of the material. The result was Many Ways In… One Way Out.

From the beginning, Beat Happening had it sorted for those who like things stripped back and raw. The band’s songs are conceptually sophisticated but musically primitive in the best possible way. The sophisticated part is a well honed ability from this voice, guitar and drums threesome to conjure an elemental lust for life at the core of the best rock and pop music going back to Elvis, but usually missing from mainstream product. The primitive bit is a back-to-basics approach involving rudimentary instrumentation, production and delivery with feel-good melodies from the primordial soup.

Fresh from Canada comes The Franklin Electric with its debut LP. The band was the brainchild of singer-songwriter Jon Matte who needed a vehicle to unleash his clever folk-pop lyrics and wood grained voice on a waiting world.

Fraudband’s approach to rock could be described as ‘jam-oriented’. You know, the stuff that comes forth when a gig comes to a close and the band enthusiastically throws up heaps of free ranging sounds into the air to see what falls out. Opener ‘Tangled Up’ runs with random taps, thuds and increasingly raucous reverb, with its rhythm emerging slowly. It’s a rambling story, told by a garrulous drunk. ‘Eastern Block’ definitely has a faint belly dance vibe about it, while ‘Sometimes… Some Things Pass’ has a palm fronds waving in a tropical breeze atmosphere. Guitar notes stretch out in their hammocks, with desultory taps from the percussionist. It’s a languid spot in an otherwise fairly frantic album. There’s a more freelance approach in the moodier ‘Find Something’, which takes on a darker visage in an otherwise bright collection of music. It delivers engaging rhythms before the playing grows increasingly manic, until running out of puff and fading to a whine. ‘Keyed In’ has a glimpse of wilder stuff, with lots of feedback, deep thrumming and fierce buzzing. Fraudband’s material lies in a tricky spot, being neither avant-garde enough for true aficionados of navel-gazing experimental stuff (like fans of The Necks), nor conventional enough to attract fans of common or garden rock. It therefore runs the risk of exciting neither group.

This collection brings together a bunch of album tracks and singles starting with the ultra simple ‘Our Secret’ from 1985 and followed by a decent selection from the five albums released from then until 1992. Standouts like ‘Bewitched’ hit the sweet spot with vocalist Calvin Johnson deadpanning “I’ve got a crush on you/Got a crush on you/What am I to do?/Got a crush on you” over an insistent, percussive thump and a couple of chords. Other songs such as ‘Nancy Sin’ exude a primal rockabilly vibe that post-punk forbears like The Cramps conjured to maximum effect, and later efforts like ‘Teenage Caveman’ are suitably self-explanatory. Calvin Johnson also founded the K Records label whose logo Kurt Cobain had crudely etched on his arm with the connection not hard to figure out. Cobain liked to sculpt affecting melodies from raw sound, as did Beat Happening who proved that the lessis-more approach can be a good thing. DAN BIGNA

Matte’s song-writing impresses with its powers of description, whether portraying emotions or creating a nostalgic mood. To some extent, his bandmates are there just to fill in the musical space around their frontman, as Matte dominates the album with his beguiling singing and classy trumpet-playing, which together give the disk its appealing character. Lead item ‘Strongest Man Alive’ is a bubbling acoustic number with airy vocals and a Boy & Bear flavour. Matte’s vocals come in pulses, changing tone in the peaks and troughs of the melody. Hidden in the lyrics is a message that even the most honest man can harbour a feeling of undeserved guilt. Percussion builds, wave-like, at the start of ‘Unsatisfied’; the band liked the song so much that there are two versions in the tracklist. While the orchestral arrangement has all the bells and whistles, the band’s version allows the song’s strong core rhythm to shine. The title track is a minimalist piano ballad with restrained power and emotion behind its tentative, understated vocals. The album highlight comes in the simple acoustic song ‘Show Me The Quiet Air’, which reveals the hues and contours of Matte’s voice in their best light. The addition of horns adds soft sepia tones to the flow of music, with the brass combining to greatest effect in ‘Watching from a Rooftop’. Rich in melody and radiant with life, This Is How I Let You Down is a great debut. RORY MCCARTNEY

RORY MCCARTNEY

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ROBBIE MILLER THE FASTER THE BLOOD SLOWS [INDEPENDENT RELEASE]

DAN KELLY LEISURE PANIC [ABC MUSIC]

ANTHONY PRIWER TIME TO STOP DREAMING [INDEPENDENT RELEASE]

If you caught onto his 2013 single ‘Don’t Go Walking Away’, then you’ll love this debut EP which takes that gem and builds on it. Miller’s forte is folk-pop with gentle vibes and a dreamy delivery. True, the lyrics are fairly pedestrian, romantic stuff, unlikely to win songwriting prizes. A song is much more than a string of words however, as it should have an attention-grabbing tune and then seal the deal with the way the ideas are expressed. It’s here that Miller has really got the goods.

If asked to bet on who would become Australia’s most respected and feted singer-songwriter of the new millennium, I would’ve bet the house on Dan Kelly – handsome, smart, laconic and incredibly skilled with a tune. I would’ve wagered that ‘Drowning in the Fountain of Youth’ or ‘(I Will Release Myself) Unto You’ would become mega hits and that Kelly would now be a judge on The X Factor or some-such. Good thing I don’t bet.

Adelaide resident Anthony Priwer had a dream. The TV producer come singersongwriter wanted to create pop songs with a bright sound that drew on the easy melodies and ‘everyday’ themes of material from the ’60s and ’70s. Taking no half measures, he enlisted the Deanna Duric Trio as his backing band and drew on the skills of Gabs Agostino, whose credits include no less than the Hilltop Hoods.

Opener ‘Sunday’ announces its arrival with an acoustic tune – trickling down like rain on a window – as a backdrop to Miller’s sleepy voice. The mood is warm and sincere, with the vocals cocooning the emotion. The singing is especially powerful when Miller switches to a cappella mode as the song draws to a close. ‘The Pain’ captures the best lyrics on the EP, cutting deeper with open-ended thoughts that could lead onto any number of personal amd global issues relevant to the listener. It’s an ‘insert your own problem on the dotted line’ sort of song. The more insistent beat and ringing guitar create an aura of tension and urgency. There’s a measured delivery to ‘Don’t Go Walking Away’, with strong piano strikes and plenty of light between notes before the tempo rises. Miller’s falsetto pulses out and there’s a finessed ending as the song fades, suddenly but gently. Sounding rather Boy & Bear-like, ‘Come Take It All’ benefits from a stomping beat, tickles of a banjo and glimpses of the stronger side of Miller’s voice. It’s in ‘Wish I’d Known’ however that the depth and substance of the vocals really shine, conducting emotion so capably. It’s an impressive debut, with a mesmerising delivery. RORY MCCARTNEY

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Somehow Kelly has remained in the margin close to the mainstream. Maybe he’s too clever; his tunes know themselves and know you, and know you knowing these songs, and more. He lays it all on the table – references within references, big choruses, ripping guitar leads, layers and layers of sound. Maybe that’s it. Or maybe the times have never quite suited his shtick. His is a detached eye on modern life that would’ve worked well in the what-me-worry 1990s, but doesn’t quite fit these changed times of sincere paranoia. Maybe. It’s a shame, because Leisure Panic reaffirms his great gifts. It also reconciles his ambition with his position, however. On ‘Ex Bandido’, he sings “I’ll never be no Australian Idol”. Perhaps that’s why he feels comfortable to open the album with the eight-minute krautrocker ‘On the Run’, which meanders sweetly but never explodes. The album is certainly more chilled than his earlier works, carrying less of the big pop moments. But the massive hit that never was is here (‘Never Stop the Rot’) alongside a bunch of other outstanding earworms (‘Hydra Ferry’, ‘Haters’, ‘Everything’s Amazing’ and ‘Melbourne vs. Sydney’). Leisure Panic – while no real step up on earlier efforts – is an excellent showcase for one of the nation’s great wits and greater songwriters. It’s an album that should be spinning in as many homes as Whispering Jack or Delta’s latest. GLEN MARTIN

Priwer’s debut LP is a strictly acoustic affair, with piano and ukulele being the most prominent instruments. Jazz influences characterise the piano arrangement in the opening title track. The only unusual inject is the tapping of shoes on a hard surface in ‘When I Hear High Heels’. Priwer sings in a crooner style with a strong vibrato on most tracks, stretching out the syllables in ‘She’s What’s on My Mind’. There’s a dreamier, ambling mood to ‘Tell Me’, while jazz vibes return in ‘Don’t Let Go Too Soon’. The immediate impression created by the vocals is reminiscent of the style of song in children’s TV shows. It’s all so cheery and revved up, but the themes are miles away from anything Peter Combe launched on his kiddie fan base. Romance rules – in the purist sense, of course (although I’m not so sure about ‘Your Place or Mine’). There’s also a theatrical touch – a bit like Peter Allen meets Bob Down. The lyrics and genuinely optimistic delivery recall a time of innocence, long since lost in the gritty, in-your-face approach to current pop. While Priwer has fulfilled his dream – with some songs being taken up by community radio and some café playlists – the style of music has limited appeal. RORY MCCARTNEY

singles in focus BY CODY ATKINSON OMAR MUSA FT HAU, L-FRESH THE LION AND LIOR ‘THE PAST BECOMES YOU’ ’

WAAX HOLY SICK [SELECT MUSIC]

TARMAC ADAM IN PLACE [ONESIZE RECORDS]

I just love an angry woman at the front of a rock band, but there’s less of them about these days, since ragers like Sianna Lee from Love Outside Andromeda went all quiet. Not just that, but apart from a taste in furious music, there’s much in common between Andromeda’s wonderful rhythms laced with vitriol and the flashing stiletto lunges that fly from this EP by WAAX. After beating themselves into shape and a little bloodletting (goodbye to one female member), WAAX has settled down to work as a more or less stable quartet. With a little help from producer Konstantin Kersting (Big Scary), the Brisbane-based rockers have been punching holes in the sky with songs that flare like magnesium in a brazier.

The brainchild of songwriting duo Matt O’Donnell and Steve Paix, Tarmac Adam first stuck its head above indie-pop parapet in 2003 with Handheld Torch. They tapped into the Crowded House cachet by including drummer Paul Hester and bassist Nick Seymour in their line-up. The untimely death of Hester forced a change in the rhythm section, but the music rolled on with another long play in 2013 and now their latest release, In Place.

Standby for mayhem in the glass splintering opener ‘I For An Eye’. It’s the ultimate in ‘look at me!’ songs – with its glorious, fractured guitars that are smoothed a little by prowling keys, and a message compacted with frantic repetition, before the song swaggers off into the distance with a long trail of gorgeous reverb. The brawl between vocals and guitars continues in the title track, with the angry, flying spittle of ’70s punk (which is sort of Chrissy Amphlett meets Johnny Rotten). Turning the page, ‘CC Thugs’ is a mascara-smudging ballad in the Courtney Love vein – if you can imagine a ballad that’s dragged along a fuzzy, shoegaze guitar line. This short, sharp intro by an outfit that has the pretensions of wanting to recreate riot rock comes to a close with ‘Wisdom Teeth’, with its blunt call and response of “Shut Up! Shut Up! Shut Up!” from the band. At just 11 minutes and 20 seconds, it’s criminally short, but oh-so-good! RORY MCCARTNEY

The sound has shifted from that of their sophomore LP The History Effect, losing some of that record’s clean air and bounce in favour of a more crowded musical space, with a thicker electro feel. O’Donnell’s vocals gain an electronic burr, giving it a casual drawl in ‘A Town Called Mercy’. The band has a strong belief in sending a message, and as a result the songwriting is something special. In what could be branded a concept album, the tracks carry a consistent theme of the need for a less selfish, kinder and more compassionate approach to life. It’s a wakeup call, with plenty of inspiring word pictures. The overall vibe is one of optimism, served up in an encouraging, coaching manner – not an accusing fashion. The music may not always ignite the pilot light on your sense of excitement however, as the melodies used to spread the gospel according to Tarmac Adam are not always gripping. The best tracks are ‘Blindside’ with its twangy guitar, and the strong chorus and acoustic core of ‘Walk Tall’ and ‘Today’s the Day’, which carry the cheery smile that pervades the album. While the music is more security blanket than punchy in delivery, the messages are worthy of serious contemplation. RORY MCCARTNEY

This is good. Really, really good. Locals (or close enough) Musa and Hau team up on this track with rising Sydneysider L-Fresh, each providing a take on their Australian experience and their heritage. All three verses are sublime, great examples of both Oz hip-hop and its distinctive voice. Lior is merely here for the icing on the cake, which works well.

GOOCH PALMS ‘TINY INSIGHT’ Goochies are back with the first single off their (long)forthcoming new album. Leroy and Kat know how to pump out tunez, killer little fuzzy punky pop wedges of sound that come off effortlessly. ‘Tiny Insight’ is both catchy and rocks, and you can’t really ask for much more in two and a half minutes.

DAVID BOWIE ‘BLACKSTAR’ Pretty much everyone has already formed their opinions about David Bowie. You’ll either think he’s a genius and I’ve underrated him, or that he’s an overrated hack. This might be the best thing Bowie has done in years, or maybe even a decade or two, inventive while still looking back at his previous work. The big call back is to galactic themes, where Bowie has always seemingly been the most comfortable and popular.

KYLIE & DANNII MINOGUE ‘100 DEGREES’ This is not a good Christmas song. Nor is it Kylie’s finest hour. As a general rule, Christmas songs should stay at arm’s length from disco. Somehow, this might be the least of the problems with ‘100 Degrees’, which is saying something. It’s the Xmas song no-one asked for, or wants to listen to.

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THE BEST SINGLES OF 2015 CODY ATKINSON

In overblown awards show manner, I’m breaking this one down into fake categories. With fake nominees and all. BUY INTO THIS SHITTY GIMMICK AND LOVE IT! A small panel was consulted, and their opinions were incorporated into the piece. This list isn’t exhaustive, nor is it definitive. It is quite possible, and indeed likely, that I’ve left some absolute classics off this list. BEST CANBERRA SONG OF THE YEAR: Bad Lifers – ‘Life Failure’ Unlucky: Agency – ‘High Heat’, Reuben Ingall – ‘Eyelids’, Ace Romeo – ‘Hyperdrive’, Primary Colours – ‘Compact Disc’, Citizen Kay – ‘Life Gives You Lemons’ Great year for local singles, with the list above only scraping the tip of the iceberg. It’s hard to go past the scrappy punk of Bad Lifers, whose debut album was also their last, having played their last show over four years ago. Catchy as all hell, with top riffs and sharp lyrics. Five thumbs up, would recommend. THE NO. 96 TRAM AWARD FOR BEST (EX OR CURRENT) DOLEWAVE TRACK:

THE DON’S SMALLGOODS BATTERED SAV FOR BANGERRR OF THE YEAR: Shamir – ‘On The Regular’ Unlucky: Omar Souleyman – ‘Bahdeni Nami’, Tame Impala – ‘Let It Happen’, Grimes ft. Aristophanes – ‘SCREAM’ What a BANNNGERRRR. Hailing from Las Vegas, Shamir hits all the right notes on ‘On The Regular’, which has a beat that just won’t quit. And man, that voice. I mean THAT VOICE. One of the most interesting breakthrough artists of the year, and someone to watch out for. THE MCA MEMORIAL FOR BEST HIP-HOP TRACK:

Dick Diver – ‘Tearing The Posters Down’

Cannibal Ox – ‘Harlem Knights’

Unlucky: Courtney Barnett – ‘Pedestrian At Best’, The Ocean Party – ‘Guess Work’, Twerps – ‘I Don’t Mind’, You Beauty – ‘Illywhacka’

Roots Manuva – ‘Don’t Breathe Out’, Kendrick Lamar – ‘The Blacker The Berry’, Joey Bada$$ – ‘Big Dusty’, Curse Ov Dialect – ‘Twisted Strangers’

How can I overlook Courtney Barnett, you may ask? The sheer brilliance of ‘Tearing The Posters Down’ is how, Mr Hypothetical Question. Maybe the best Dick Diver song from maybe their best album, the track sees their take on tight indie rock, and they nail it in one take. This one got stuck in my head for months. I can’t wait to see what they have up their sleeves next.

Even after a decade out of the game, Cannibal Ox quickly reestablished why they were one of the most influential underground hip-hop groups with ‘Harlem Knights’. El-P might not be running with them anymore (too busy Run[ning] the Jewels, and the disputes), but Vast Aire and Vordul Mega’s flow is so on point that it makes diamonds look blunt.

THE GRANT MCLENNAN CUP FOR BEST UNAPPRECIATED AUSTRALIAN SONG:

THE SPIDERBAIT PONY FOR BEST SONG UNDER TWO MINUTES:

Dollar Bar – ‘Wayne and Schuster’ Unlucky: Love of Diagrams – ‘Double Negative’, Kitchen’s Floor – ‘Resident Dregs’, Blank Realm – ‘River of Longing’, Pearls – ‘Pretend You’re Mine’ After 17 years of toil, Dollar Bar might have just found their perfect form. The dry witticisms are still hitting strong, as are the absolutely necessary guitar excursions. But, instead of feeling old and a little out of place, they feel absolutely comfortable in their own skins on ‘Wayne and Schuster’ and Hot Ones more broadly. THE APHEX TWIN PSEUDONYM FOR BEST EDM TRACK:

Deaf Wish – ‘They Know’ Unlucky: GOGGS – ‘She Got Harder’, Agency – ‘Set Then Forget’, Dollar Bar – ‘Australia Hates Me’, Battles – ‘Tyne Wear’ Short, hard, fast rock that just gets in and out, and has a little bit of fun along the way. There’s guitars, riffs, top-notch vocals, bashes and smashes of drums – what more could you really want here? Pain might not be the perfect album, but this is close-to-perfect as a song. Also extremely catchy, so watch out for that. THE PETER DUTTON SHORT TERM VISA FOR BEST ASSORTED INTERNATIONAL TRACK:

Mikael Seifu – ‘The Lost Drum Beat’

Panda Bear – ‘Mr Noah’

Unlucky: μ-Ziq – ‘XT’, Container – ‘Eject’, Ratatat – ‘Cream On Chrome’, Blanck Mass – ‘Dead Format’, Aphex Twin – ‘avril altdelay’

Unlucky: Deradoorian – ‘A Beautiful Woman’, HEALTH – ‘Stonefist’, Deerhunter – ‘Snakeskin’, Toro Y Moi – ‘Empty Nesters’

Before 2015, I had no clue who Mikael Seifu was, but this little gem has got me wanting more. ‘The Lost Drum Beat’ is a grab bag of influences wrapped up in a neat, yet unique package. Somehow it’s both nervy and welcoming at the same time. Top effort.

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‘Mr Noah’ might be Panda Bear’s best work to date, whether solo or with Animal Collective or even guesting with others. Forget ‘sneakycatchy’, this melody will get stuck in your head for weeks. It sounds a little broken at times, but that only makes it more engaging.

the word

on films

WITH EMMA ROBINSON

It’s time to compile your top ten lists and have rambunctious arguments about film this year. You’ll see that your faithful reviewers have compiled one for your pleasure (or disgust, it’s a highly subjective and sometimes combative topic). However, attention must be paid to this year’s turkeys. Feminists and practitioners of BDSM were pissed off with Fifty Shades, sci-fi die-hards washed their hands of the Wakowski brothers when Jupiter Ascending hit our screens, and everyone predicted the big twist of M. Night Shyamalan’s The Visit within ten minutes.

quote of the issue

“Because I’m fifty shades of fucked up.” Christian Grey (Jamie Dornan), Fifty Shades of Grey. (THAT’S NOT EVEN A SAYING!)

THE HUNGER GAMES: MOCKINGJAY – PART 2 I was killing time on Buzzfeed and came across this snortworthy quote – funny tweets about The Hunger Games: “Jennifer Lawrence still being in Hunger Games movies feels like if Justin Timberlake were still touring with NSYNC.” It’s true, Lawrence’s career has skyrocketed from smart, strong chick kicking arse in post-apocalyptic landscapes to Oscar-winning chameleon. But perhaps we are all teenage fanatics at heart, because Mockingjay – Part 2 is still killing it at the box office (obviously we are, look at the pre-sales for the forthcoming Star Wars). Fed up with receiving an unequal share of resources (and, obviously, sacrificing their children for slaughter masquerading as entertainment), the other districts are closing in on the dictatorial District One. The war that began in Part 1 has now gathered momentum and Katniss once again finds herself a pawn in another person’s game. There’s also the unresolved love triangle that, thankfully, doesn’t drive the story (unlike other YA films) and plenty of action. This final chapter brings home in a brutal fashion the poignant theme that has been lurking in the story since the first book/ film – the stakes are much higher than survival. Bringing down one masochistic overlord only to replace them with someone equally evil continues the unfair distribution of power and resources to the ruling elite while the masses suffer. I love what THG has done for the YA genre. Katniss will be missed.

EMMA ROBINSON

BY THE SEA

SPECTRE

The third film from director Angelina Jolie-Pitt explores a conflict not of a political kind – like her first two – but of a marital one. Voyeurs of all descriptions will be drawn to this film not just for the subject matter, but also for the opportunity to watch a real-life married couple (that has been incessantly followed by the media) play out a relationship drama. Unfortunately, the couple and the film are largely uninspiring.

Inevitably, the James Bond franchise has been circling the black hole of cultural irrelevance for some time now, and Sam Mendes’ and Daniel Craig’s latest addition to the canon has only confirmed that this postwar relic has almost been stretched to its limit.

Vanessa (Angelina Jolie) and Roland (Brad Pitt) travel to seaside France in the 1970s. It becomes apparent within the first ten minutes that their marriage is troubled, though the reason why is revealed gradually through a series of flashbacks. Roland spends his days trying to write, but instead mostly smoking, drinking and despairing of his distant wife and writer’s block. The arrival of newlyweds Lea (Melanie Laurent) and Francois (Melvil Poupaud) bring with them a chance to revitalise a crumbling marriage, when their sounds of lovemaking from their adjacent room reach Vanessa and Roland.

Spectre takes everything Skyfall did right and does it wrong. Daniel Craig’s waning interest in the Bond role shows once again, despite how well this disenfranchisement was used in the previous film to underline a vulnerability in a typically stoic and reserved character. Instead of engaging with strong plot points tethered to Bond’s muddled past and complementing this with interrogation of the ethically problematic nature of constant state surveillance, Spectre is instead enamoured with suits, watches, whiskey and luxury cars, further associating the 007 franchise with a brand of outdated masculinity that no longer reflects a viable reality for most men.

Inoffensive, but ultimately disappointing.

Despite less-than-impressive cinematography, parts of this film feel like an extended advertisement for ‘The Modern Man’ – the strong, well-dressed, composed male you’ll find in the pages of GQ or Men’s Health. In fact, every scene feels as if the setting and costumes were delicately plucked before the plot to foreshadow next season’s trends. James Bond is bullshit, but usually, it’s entertaining bullshit. Without an interesting or compelling plot however, cracks in the façade begin to appear and we see it for what it really is: vapid and materialistic cock-worship.

EMMA ROBINSON

PATRICK JOHNSON

This film is reminiscent of European films in the 1970s. Two seemingly selfish people trying to destroy each other, beautiful vistas and an undercurrent of kinkiness move this slowbuilding story forward. The couple are uninspiring and at times a little nonsensical – Brad Pitt’s Roland becomes a different person about half-way through the film – a development that’s tough to believe.

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PALACE CINEMAS

IN THE HEART OF THE SEA Mankind’s relationship with nature has always been strained. We strive against it, yet seem reluctant to admit that deep down we are a product of the environment we arise from. This is a theme that has been explored in art and literature throughout history – most notably in Herman Melville’s Moby Dick. Man’s perceived role as supreme being on this earth is interrogated in the face of a chaotic and unfeeling universe. Drawing upon the real-life ordeal that inspired Melville’s classic, In the Heart of the Sea follows the crew of the whaling ship Essex, sunk off the coast of South America by a monstrously large whale. Director Ron Howard guides this tale with a nervous energy, seemingly intimidated by the drier parts of the real-life story in comparison to the titanic reputation of Moby Dick. The camera work chops and changes constantly, rarely letting you linger on faces or sights – which may be very well, considering the poor quality of some of the CGI. Chris Hemsworth – as the main protagonist – occasionally shows his range, but this is marred by his poor accent, which at times just sounds like the beefy leading-man typecast he has become so adept at portraying. Cillian Murphy, Ben Whishaw and Brendan Gleeson however, all deliver terrific performances, injecting real sentiment into a film which can at points feel clichéd and hammy. But that’s okay. It’s a perfectly adequate piece of entertainment. PATRICK JOHNSON

THE PROGRAM Stephen Frears’ latest film The Program is an adaptation of sports journalist David Walsh’s book Seven Deadly Sins, which details the career of infamous cyclist Lance Armstrong and the clinical, meticulous doping regimen that led to his unprecedented seven Tour de France ‘victories’. The Armstrong story is such well-trodden ground for sports journalists, sports fans and filmmakers alike – so I was keen for a fresh take on sport’s greatest doping debacle. Shakespeare couldn’t have conceived of such a character as Armstrong: a cancer survivor who becomes the superman of sport, onto which supporters can project their desires for success against all odds – only to fall heavily from grace when it is revealed that this underdog is a rabid, cheating sociopath. The Program triumphs in raising more questions than it answers, generating important debate about the accountability of sporting governing bodies, supporters, athletes and the wider public. It’s unfortunate that The Program suffers from a lack of narrative anchoring. It begins as an investigative journalismtype piece, pitting the parallel storylines of Walsh (Chris O’Dowd) and Armstrong (Ben Foster). Disappointingly, Walsh all but disappears until the final act of the film. The audience then becomes witnesses to horrible people hooking themselves up to steroidinfused intravenous drips for the remaining screen time. Caution: if you’re squeamish with needles, avoid this one. MAJELLA CARMODY

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the top ten films of 2015

WITH EMMA ROBINSON (ER), MAJELLA CARMODY (MC), AND PATRICK JOHNSON (PJ).

10. IT FOLLOWS

5. LAST CAB TO DARWIN

It Follows is an instant classic of the horror genre. There are no cheap jumps, tricky tricks, or superfluous gore scenes in the film – just a simple but effective story involving a crazed, sexually transmitted poltergeist that won’t stop following you until it kills you. With intensely claustrophobic and lingering camera work reminiscent of John Carpenter, a killer soundtrack from Disasterpeace and an outstanding performance from soon-to-be indie sweetheart Maika Monroe, you’ll be looking over your shoulder well after the credits roll. - MC

9. INSIDE OUT

Where do we draw the line at selfdetermination? Staunch supporters of euthanasia (or perhaps peer-reviewed suicide?) will enjoy this film as it challenges the foundation of why autonomy in ending one’s life is so critical without preaching either side. Meanwhile, anyone with even a passing understanding of intersectional racism will just be glad that a film that explores this cockroach of an issue is up on our screens. This is Australian film at its best – an unapologetic, insightful and wry exploration of issues that badly need more attention. - ER

Ages 9 to 12 can be rough – you’re starting to feel more complex emotions, but lack the power to articulate or even understand why you might go from being ecstatically happy in one moment to desperately sad in the next. This film gives young people in that age bracket a beautiful metaphor that helps them understand why they might feel inexplicably disgusted, angry or fearful. Be prepared to be a full-grown human who weeps publicly though, this film has all the emotional highs and lows. - ER

I have never been in a cinema full of people trying not to ugly cry. These were not subtle, weepy sniffles but big, heaving, I-have-about-eightyemotions-and-they-are-all-coming-out-my-eyeballs sobs. Another contender for best Australian film, Holding the Man is a love story for everyone (a point that unfortunately still has to be made). Despite insurmountable prejudice and the personal always being political, this film’s message is simple: love is love. - ER

8. ME, EARL AND THE DYING GIRL

3. MAD MAX: FURY ROAD

Peak indie was five years ago. Shortly following the release of films like Juno and 500 Days of Summer, unsuspecting film audiences were subjected to an avalanche of awkward coming-of-age stories with (admittedly) really good soundtracks. The gloss has worn off as time has passed. This may account for Me, Earl and the Dying Girl’s lacklustre box office returns. And yet, this is a film that deserves much more recognition. It’s an honest, humanistic story about coping with loss, with one of the most cathartic final scenes of the decade. - PJ

2015 was a year for gender equality. Around the world, the push for equal pay and the push to end gender discrimination began to mount. Perspectives have begun to change, and audiences have begun to demand more from their action blockbusters. Mad Max: Fury Road has all the hallmarks of its ferocious ’80s predecessors and all the mad spectacle of a Tim Burton film, all focused around the inclusion of strong female characters – something sorely overdue in today’s film industry. - PJ

7. GAYBY BABY The disappointing but ultimately unexpected right-wing political furor that accompanied the release of this film actually worked in its favour – the publicity it generated caused a backlash that was demonstrated in high cinema attendance. This film showcases a unique part of our culture whose experiences of the world are both starkly reminiscent to that of the majority as well as being completely different. I will never forget the shop attendant working a makeup counter being scolded for subjecting a young man to her ‘gender crisis’ by an irate mother. Brilliant. - ER

6. EX MACHINA Unsettling, disturbing, powerful. Alex Garland’s directorial debut Ex Machina is a tour de force of contemporary science-fiction. It’s got the cinematic goods: a story of the will to survive, an examination of gender politics and the ethics of artificial intelligence and emotional manipulation, along with stunning production design and one of the strangest, most hypnotic dance sequences to grace cinemas in recent years. Caps off a stellar year for both actors Domhnall Gleeson and Alicia Vikander. Don’t miss it. - MC

4. HOLDING THE MAN

2. SICARIO From the unexpectedly visually ferocious opening sequence, drug-cartel film Sicario cemented itself as one of the year’s best films. Emily Blunt and Josh Brolin turn in some terrific performances, but this is by far Benicio del Toro’s time to shine. An Inception-esque score, a drained colour palette, and subject matter that’s so violent and rotten to the core will make this film difficult to shake until days after you’ve left the cinema. It’s up there as a great companion piece to the Coen Brothers’ classic No Country for Old Men (2007). - MC

1. THE LOBSTER The premise is so simple, cutting and ridiculous, it sounds like some sort of twisted joke. You must find a suitable life partner at ‘The Hotel’ in 45 days, lest you be turned into an animal of your choice. Yorgos Lanthimos’ English language debut features a strong cast in a darkly comic allegory that takes aim at everything in 2015’s modern relationships, from the finality of marriage to the black and white judgment of dating apps like Tinder. The end result is a stinging condemnation of the societal institution of ‘love’. - PJ

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PALACE CINEMAS CHRISTMAS PROMO

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the word on dvds

INSIDE AMY SCHUMER – SEASONS 1 & 2 [ROADSHOW]

MISSION IMPOSSIBLE: ROGUE NATION [PARAMOUNT]

In the space of a year, Amy Schumer has gone from being an unfamiliar name on a rarely seen cable show to some sort of comedy zeitgeist juggernaut, to the point that her one-off live show in Melbourne – instead of Sydney – during a movie promotion visit became a minor story in itself. Of course newspapers will grasp any random Twitter comment to string a story along, but Schumer has quickly risen from stand-up reality TV show contestant (Last Comic Standing) to genuine A-list star. And Inside Amy Schumer has been her ticket to stardom.

Age does some funny things. They say you get more conservative. You certainly get slower, creakier and the hangovers harder to pacify. Weirdly – and something much harder to predict – you also let go of some of the visceral distaste with Tom Cruise. Ten years ago the ‘Oprah couch incident’ turned Cruise into a bigger international punchline than he already was. Though his career didn’t immediately suffer – War of the Worlds opened the month after his crazed antics and made a tidy half-billion – it was hard watching him without recoiling in horror. But a funny thing happened in the first few minutes of Mission Impossible: Rogue Nation – about the time where the actual Tom Cruise dangled off the side of an actual airbus (mocked up as a Russian military plane) as it ascended into the skies. It was an impressive and very real stunt – and in that moment, Tom Cruise the nutter faded into the background, and you are reminded that for all his faults, the guy knows how to carry an action film. And this latest instalment of the MI franchise is an incredible action film, resisting any doubts about its continued existence.

On the surface, it doesn’t seem like a very revolutionary show. Comedians playing heightened versions of themselves (Louie, Hello Ladies, Master of None) are hardly unique or groundbreaking anymore. Nor are vox-pops or entertainment industry satire. But there’s something ineffable about this show that separates it, making it larger than the sum of its parts. Schumer, obviously, is the critical quotient. Despite coming up through the club comedy scene, getting her own specials and appearing on TV in the early stages of her career, it’s like she’s a cleanskin. She seems unburdened. Part of that is her comfort in tackling taboo issues without making a huge fuss about it. She mines each scenario for its comedy value, usually deadpan and eager to push the boundary a little bit further than most. Obviously being female, she writes from her perspective free from the constraints of network sitcoms – so awkward sex skits aren’t dressed up as bad relationship skits.

What is noticeable in this collection is how Schumer (who created and exec produced as well) sets the tone, phrasing and pace of the show so early on. There aren’t really any first season stumbles or sophomore slumps. Inside Amy Schumer is a critical success for many sociopolitical reasons, but above all because it’s funny. JUSTIN HOOK

MI: RN opens with Ethan Hunt (Cruise) going deep underground – possibly in Cuba, probably in Paris, but definitely in the worst prop beard in movie history. His team (IMF) has been shut down by Congress for, amongst other things, blowing up the Kremlin. Ouch. But Hunt is determined to prove the existence of a mysterious shadow government-type organisation called The Syndicate. Helping/hindering him is Ilsa Faust (Rebecca Ferguson), a British agent on some deep, undercover mission. Not only is Faust a decent female action character, but her handler is played by Simon McBurney – huge victory on two fronts. MI: RN is brisk, smart and well-choreographed, and with Cruise laying off the smug, it’s one of the best MI films so far. JUSTIN HOOK

SCORPION – SEASON 1 [PARAMOUNT] In the US, the CBS network is the king of the procedural; that type of show where a dilemma – usually a criminal activity – is presented to the cast and they must collaborate, often overcoming complications to achieve an agreeable outcome. Lessons are learned, relationships tested and authority circumvented, but it all wraps up neatly in about 42-to-46 minutes. The good guys win or at least lose in the best of possible circumstances. Shows like NCIS and its variants – Hawaii Five-O, Elementary and the entire CSI franchise – are consistent audiencepleasers. Though they rarely rate in critics’ picks, they are the reliable machine at the core of the TV industry. Scorpion is one of the more recent additions to the genre and like its counterparts, it won’t be winning any awards. This time, these plucky upstarts are awkward geniuses – the maths prodigy, the psychologist, the mechanical engineer and the cherry on top: the guy with the 197 IQ (Walter O’Brien – who is actually a real person). Einstein only had 160, as he constantly reminds us. To bridge the gap between their high mental faculties and poor social skills, they rope in a single mother of a kid with Asperger’s. The authority figure is an FBI handler who doesn’t take no shit and has a troubled past with O’Brien. Setting the bar high in the debut episode, O’Brien races a Ferrari down a runway as a passenger jet flies ten feet above as an ethernet cable transfers vital data from the plane to a laptop in the car. Oh boy. More than most of the other shows listed above, Scorpion is classic no-brain TV. The plots are so outlandish, the characters so one-dimensional that it often drifts into unintended comedy. Probably not the plan, but with summer coming on – who cares. JUSTIN HOOK

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VIOLENT FEMMES

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TV: The Year in Review with Allan Sko and Justin Hook

ALLAN SKO: And here we be once again, it’s your dynamic duo of delicious… Ahhhh fuck it. It’s late and I can’t think of any more alliterative D-words. No more to say other than it’s the TV Year in Review with your boys Justin “I do the DVD page” Hook and Allan “Bossman” Sko. Justin did a great intro, so I’ll leave you with that. Happy watching. And get a job.

INTRO JUSTIN HOOK: 12 months ago, safe for the comfort of a well-worn Chesterfield in a dark room, this column went out on the safest of all limbs and prognosticated the end of the Golden Era of TV. With Breaking Bad finished and Mad Men gearing up for its final season, it seemed like the end of an epoch. We also speculated on Netflix’s impact, bravely suggesting it might be big. Well, not to gloat or anything, but bloody hell we were right. Looking back at 2015 there’s no doubt streaming services (Netflix, Stan, Presto, Amazon) have revolutionised how we consume. On-demand viewing was always going to pressure the traditional network model where audiences are force fed shows and happily that’s happening. It has also taken a bite out of torrenting – a fact the sector don’t especially appreciate. The argument that people would pay for fair proceed content was an anathema to existing players – they deserve to eat, nay, be force fed humble pie. But the bigger story has been what we consume. House of Cards and Orange is the New Black were outliers last year – hugely popular with critics and audiences, but still very new conceptually. Would the buzz retain its fizz? The last 12 months has exploded the narrative. The sheer amount and undeniable quality of original programming on streaming services is astounding. The roundup below testifies. Looking ahead the curve will trend in favour of Netflix et al at the expense of the commercial networks. Dozens of new original content shows, documentaries and movies are scheduled across the on-demand sector. In fact, pay attention to the last part – the new kids on the block are looking to disrupt the movie studio system next and Adam Sandler (Ridiculous 6 is the first of a four film deal between the ‘star’ and Netflix) is their Pretorian Guard. OK, I just watched it and even though it’s another Adam Sandler film it’s the gamble that’s the interesting part.

removed from the genius of the first series - but I don’t think it deserved the vilification it got. That’s always the risk of following something truly magnificent. I heard DaVinci’s Mona Lisa By the Beach was total shithouse.

JUSTIN HOOK: From my perspective, it looked like the vacuum created by the big name exits hasn’t been successfully filled. GoT felt like it was sleepwalking and TWD has been sleepwalking forever. Breaking Bad’s nominal spin off Better Call Saul was a completely different show. Funnier, better paced, more interesting and heaps more Bob Odenkirk which is a huge success in anyone’s ledger. But it wasn’t created to supplant the originating series or fill some imaginary gap, and despite my personal misgivings, it was one of the best of the year. [Agreed - SKO]. ALLAN SKO: Some people were a wee soured with House of Cards S3 but I felt the story was engaging and pushed on far enough to keep the show as a whole interesting. Turning a psychopath like Frank Underwood into a potentially likable character is an interesting play that toys with an audience’s moral compass. And Robin Wright and Kevin Spacey can act the shit out of the screen; some of their exchanges toward the end of the series are dynamite and worth the time investment alone.

SAME OLD, SAME OLD ALLAN SKO: With many series crashing through the middle of their runs, a theme for the year was very much same-old same-old. Which sounds bad, but isn’t really. Game of Thrones was very Game of Thronesy (people you like died, there was some rape, dragons got bigger etc) and The Walking Dead was very Walking Deady. Which is to say, shite. I do not get the world’s addiction to TWD. It’s a bad show made from an outstanding (and still on-going) comic. The previous season got my hopes up - the writing! the character development! the interweaving plotlines! the horror! - only to have it degenerate into the usual poorly scripted, head-scratching crap. If you enjoy the show, good for you. I won’t take anything away from you. Just know you’re wrong. True Detective Season 2 was a strong frontrunner for most lambasted series of the year. It wasn’t great - heck, it was far

THE DEAD HAVE RISEN ALLAN SKO: Another story for the year was the resurrection of shows. We have the rebooted X Files to look forward to, but one of the unexpected gems was Bruce Campbell’s triumphant return in Ash vs The Evil Dead. Despite creator Sam Raimi only being around for the first episode, the series is exactly what you’d hope for. Impressive gore, witty one liners, and all-round sharp TV and Bruce Campbell Bruce Campbelling the fuck out of his screen time. The scary bits are genuinely scary, the funny bits the same.

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Continuing the theme of flogging a dead zombie horse, yet another undead series came out in Fear The Walking Dead. I liked it. It was infinitely more sophisticated than TWD, but genre fatigue has finally kicked in for mine, so it’s hard to keep excited despite a tick in the box for writing, acting, directing and editing. JUSTIN HOOK: Ash vs The Evil Dead is one of the other best shows of the year. Bruce Campbell is incapable of being anything other than pitch perfect with his quips, looks and chainsaw revving - and so it is here. But more than any other of the Evil Dead franchise, this series allows him to stretch out way more (figuratively and corset-speaking) and share the action with regular antagonists and protagonists. It’s also incredibly gory.

GAGGING FOR IT ALLAN SKO: A pleasing development in the last year was the abundance of original Aussie comedy, with many hardworking stand-up comics get their own vehicle. Whilst not my particular mug of Earl Grey, Josh Thomas’ Please Like Me continued from strength to strength. Comedic long-stayers Sammy J and Randy’s In Ricketts Lane found a solid sitcom home, and if it’s current rating on IMDB of 8.8 out of 10 is anything to go by, it seems the public are happy. A quiet gem was ABC’s It’s A Date; a unique premise based around love and courtship with a veritable who’s who of Aussie talent. Each episode was a stand alone with its own theme (Should You Date Outside Your Comfort Zone, for example). I know cheques would have exchanged hands, but there’s a strong sense of community surrounding this project, with longstays Pia Miranda and Shane Jacobson in a very sweet exchange. Your milage may vary as to whether it was funny, but I was happy to see this project exist. JUSTIN HOOK: Shaun Micallef’s The Ex-PM is not without charm but it sure feels like it’s coasting, especially in a year where real life politics went from batshit crazy to levels even John Oliver cannot comprehend. Likewise, Utopia returned for another run at satirising the bureaucracy and their masters, easy prey no doubt - but still the most reliable 30 minutes of local comedy going round. Like The ExPM, external events made it seem all the more like a documentary. Frightening. No Activity over on Stan is waving the banner for local original streaming content.

HEROIC EFFORT JUSTIN HOOK: The phenomenal success of Marvel’s rebirth as a billionaire franchise movie studio, and the efforts by DC to replicate that, has acted as some sort of creative vortex and exemplar. We now have the Arrowverse - where Arrow and The Flash coexist and occasionally cross pollinate. Next year DC’s Legends of Tomorrow will join these established and well liked shows . Supergirl might turn up in this particular DC universe one day, but for the time being it’s a fun ride all by itself. Over on Netflix, Daredevil was great fun and easily one of the best superhero shows of the year. Until Jessica Jones (pictured) debuted a few weeks ago, giving a good run for its money. Both of these shows allude to the world they inhabit (Jessica hearing talkback radio in a bodega about the the destruction of New York by unnamed ‘people’) but don’t rely on Thor to walk in the background for you to get the idea. That was one of the initial problems with Marvel’s Agents of S.H.I.E.L.D. It felt like Tony Stark et al needed be there. Yes, it’s gotten better, but it’s also been superseded by the Netflix Marvel world, where Iron Fist, Luke Cage and The Defenders will all get their own series next year. Oh wait, let’s not forget Agent Carter, like almost everyone else.

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THE ORIGINALS JUSTIN HOOK: Netflix was also the honey pot of cross-genre original content. Wet Hot American Summer, well David Wain mainly, corralled an A-list cast to revisit the scene of a little seen or loved cult classic and made 10 new episodes. W/ Bob and David rebooted Mr Show with Bob and David bringing back every key cast member and being just as funny, in a slightly different way; though nothing reached the giddy heights of The Story of Everest. The Unbreakable Kimmy Schmidt was better than most network comedies in 2015. Tremendous music docos on Bob Weir (Grateful Dead), Keith Richards and Nina Simone went beyond record label press kits to delve deep into the troubled heart of each artist. OK, the Keef one was a bit fluffy, but C’moooon! He’s still alive! And that’s leaving out Narcos, Orange is the New Black, BoJack Horseman, Bloodline, Master of None and plenty more. At the risk of this sounding like an ad for Netflix, let it be known that the Adam Sandler film was really really bad. With over 30 more original series scheduled for next year, it’s obvious where this is going.

ALLAN SKO: Bosch was a pleasant surprise. In 2015, when the mandate is to go bigger, badder and more all out, Michael Connelly’s Bosch got back to basics with a straight up and down detective procedural drama with the excellent Titus Welliver of Deadwood fame as the titular character and plenty of The Wire alumni to spot. For fans of The Killing.

LOOKING AHEAD ALLAN SKO: We’re still in the early stages of the paid-streaming model but already it feels like we’re into the new norm. Does this spell the death of TV? As a charlatan ad-guy there is plenty of reading that suggests TV advertising is not dead and has plenty of cut through, and that’s what will dictate the future. TV is far from dead, but the new model is most definitely here and as far as the consumer is concerned, it’s pretty sweet. Justin? JUSTIN HOOK: In response, the commercial networks are fragmenting and flailing. Lifestyle and food channels have sprung up from nowhere and mock as you might, any opportunity to get more Anthony Bourdain on air isn’t such a bad outcome. Reality TV is waning - although anything with Les Gold (Hardcore Pawn) picking a fight with a Detroit native over crappy second hand leather jackets remains essential viewing to me. Unlike the success stories above, there is no coherent vision for the commercial free-to-air networks. The other elephant in the room is torrenting, namely the reduction of it at the hands of streaming services. It hasn’t wiped it out completely, but the trend seems to be a gradual shift by audiences towards decent, new, up-to-date, fairly priced paid content - just as all objective analysts predicted. This is about audiences taking back some of the moral ground and experiencing world class TV on their couch at the same time as people in Brooklyn and Birmingham. That’s all we were asking for.

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on gigs

Halestorm, Bellusira ANU Bar Saturday December 12 Christmas came early for Canberra with two female-fronted rock bands on the bill. Ex-Melbourne, now LA-based, Bellusira were up first. There were plenty of dreads on stage, but not a reggae note to be heard from their punchy set. Vocalist Crystal Ignite illustrated her lyrics with rapid, jerky movements, with a vivacity that was part rock and part Zumba. An intense performer, she could switch to a rougher, gravelly tone when the song demanded it. Unusually for this genre, which specialises in angsty themes, Bellusira’s songs were more focused on taking the bad things that happen and extracting something positive from them. Unlike Bellusira’s positive waves, Halestorm embraced the darker side with a vengeance, ripping out ‘Welcome to the nightmare in my head’ in opener ‘Mz Hyde’. This revved up what had been a fairly placid crowd, and started the punters punching the air. Halestorm worked hard to fire up the audience, with good results. Almost too good, as front woman Lzzy Hale had to take charge, threatening some blokes suffering from a testosterone overload that she’d stop the show if they kept fighting. That quickly settled them down and it was on with the gig. Hale can scream with the best of them, with long held notes of jet turbine intensity, but she was equally strong going solo with keys on the ballad ‘Dear Daughter’. She dropped her guitar, accompanied by only the lead axe man in ‘Familiar Taste of Poison’, before the rest of the band joined in. Brother and drummer AreJay didn’t have a role in ‘The Reckoning’ until halfway through the song, but more than made up for it with a spectacular, extended solo piece, with the stage all to himself. RORY MCCARTNEY

the word

on gigs

British India, Duck Duck Ghost ANU Bar Saturday November 28 Locals Duck Duck Ghost were our only support for this evening, and revealed their excitement to be supporting British India during their set. The band have an eclectic sound with a mix of grunge vocals and an upbeat, almost funky instrumentation. I think this at times makes their songs sound a little confused and they lacked a standout original. The highlight of the set was their cover of Bloc Party’s ‘Helicopter’. Their first time to Canberra since the Purple Haze festival and the release of Nothing Touches Me (Declan did reveal that festival contract conditions had stopped them touring the album here earlier in the year), British India gave us a set that covered their long career, showing they have quite a few well-known hits now. They started with ‘Black and White Radio’, reminding the audience of the band’s punkier origins. As a fan of the new album, I was there to hear the new material and the first taste of this came with their fourth song ‘Spider Chords’. Other songs from the new album included ‘Blame It All On Me’, ‘Wrong Direction’ and the standout of the night, ‘Suddenly’. Then the boys pulled out Rage Against the Machine’s ‘Killing In The Name’ for their encore, concluding a damn fine set that left the crowd surely satisfied.

PHOTO BY CLAUDIA TILLEY

JARROD MCGRATH

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A-LIST ENTERTAINMENT

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the word

Peter Blakeley National Film and Sound Archive Friday November 20

on gigs

The National Film and Sound Archive’s 100 Seats series showcases renowned musicians playing to an intimate audience, with conversation and stories interspersed throughout the set. In this edition of the series, Australian musician Peter Blakeley shared songs off his upcoming album, as well as classics from his more than 20 years as a solo artist. Blakeley is best known for his 1990 song ‘Crying in the Chapel’, which won an ARIA and went platinum. Now, he has returned to Australia after 20 years in Los Angeles, and key highlights of his 100 Seats performance were the stories he shared from his time there. Accompanied by guitarist Mike Caen, Blakeley’s soulful vocals filled the space at the NFSA. Combined with the gorgeous, projected backdrop of city lights and the haunting notes of the guitar, the performance transported viewers to what felt like an insight into his creative process. The musician enveloped the audience in his stories, speaking with the ease you would expect from someone telling yarns in their lounge room, and breaking into song seamlessly – it was when he opened his mouth to sing that his immense talent and experience suddenly took centre stage. The only jarring moment of an otherwise beautifully balanced evening was the Q&A after the intermission, when Blakeley was joined by Cris Kennedy from the NFSA. Whilst the discussion was interesting, the sudden move to a traditional interview felt out of step with the intimacy of the evening – it made transitioning back into the second half of the set more difficult. Blakeley demonstrated through 100 Seats that his talent and passion is still as strong as 20 years ago however, and this can only bode well for his forthcoming album. ZOYA PATEL

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Marlon Williams and the Yarra Benders, Ben Salter Transit Bar Wednesday November 25

on gigs

A packed Transit Bar greeted opening act Ben Salter, with barely any room to move with the number of people sitting on the ground. When Tim Rogers calls you one of the world’s greatest singers and songwriters, it’s worthwhile to pay attention. Indeed, Salter’s back catalogue – both solo and with The Gin Club and Giants of Science – is formidable. Largely running through tracks off his criminally under-appreciated 2011 album The Cat and this year’s The Stars Are My Destination, Salter’s vocals rang through the room, disrupted only by the conversation of punters. In fact, it felt like Salter was perhaps put off by the lack of attention of some, which was a shame, given the quality of the music on show. Maybe not his best set ever, but still one of the better sets to hit town this year. Everything seems to be breaking Marlon Willams’ way right now, with award shows, TV shows and movies to boot. Given that, it wasn’t a surprise to see a packed house, and one almost solely there for him. Williams greeted the crowd with no company, bar an acoustic guitar in hand, as he slowly introduced the rest of his band, member-by-member, song-by-song. As a result, Williams’ clear but powerful voice was given room to stand out early and often, and was the fulcrum that held the set together. The slow, twang-filled, early pace lost some of the crowd early on, before the electricity was turned on and the ‘rock’ was attached to the ‘country’. For the last few songs and the encore, Williams and the Yarra Benders could do no wrong; the only flaw is how long it took to get there.

PHOTO BY MEGAN LEAHY

CODY ATKINSON

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SHENANIGANS NEW YEAR’S EVE PARTY

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Fairgrounds Festival Berry Showgrounds Saturday December 5

on gigs

So either there were no ‘festival dickheads’, or I was the dickhead everyone was complaining about. Never have I been in a crowd so large and seen such little fuckwittery across the course of a day. Of course, it was so damn hot for most of the day that people really didn’t have a choice. Even with free access to the local pool, the sun beat down on Berry so hard that I was afraid the goat pavilion would go up in flames. Sorta-locals Shining Bird opened up the festival to a bunch of punters still floating in the gates. With a smooth blend of folk pop, the band whetted the appetite of punters ahead of a long day of music. Methyl Ethyl – having made the long trek from WA – then stepped up with some impressive late-era Deerhunter-esque indie rock. With a set that didn’t drag at all, this was impressive stuff from the kids from Perth. The thing about Royal Headache is that they don’t really have any bad songs, or at least yet. Law’s amp died a couple of songs in, so they just kicked into a restrained version of ‘Wouldn’t You Know’, which according to frontman Shogun, sounded like “elevator music on mushrooms.” If that’s the case, sign me up. If there’s one thing I learnt from this set, it’s that Royal Headache shouldn’t have to play in daylight hours, or certainly not outside. Royal Headache are built for the nighttime – in a pub where the beer is flowing. Swigging from a growler, Shogun cooked in the sunlight – his energy sapped by the sun and skies above. Royal Headache kicked out the jams (figuratively and metaphorically) until Shogun could give no more. I didn’t care much for Meg Mac before this set, but I think I kinda get it now. It might be a little hard to pin down, but there’s just something going on there that’s a little bit special. With a voice that reverberated across the town itself, Mac launched into soulful ballad after soulful ballad, a respite after the stadium rock onslaught of Mercury Rev. After nine solo albums, Joshua Tillman – or Father John Misty – has found his place in the spotlight this year, and after an hour with the man at twilight, it’s easy to see why. For want of a better term, the man knows how to put on a show. Misty acts as nearly the polar opposite to Royal Headache’s Shogun; where the latter flung himself around in fury, the former does so purely in enjoyment. Heavily running through this year’s I Love You, Honeybear, Misty barely let up, with only cicadas and a camera phone temporarily breaking his focus throughout. One of the most engaging live sets I’ve seen this year so far. When they get on stage, Ratatat play like they mean it – like an ’80s glam rock band on heat. It’s hard to play instrumental electronica with energy and reckless abandon, but they manage to pull it off in spades. The set served as a great ‘Welcome to Ratatat’ introduction, with all five albums leant upon. Ultimately, Ratatat are probably better enjoyed in a sweaty nightclub than an open country showground, but I’ll take it however I can get it.

PHOTOS BY MEGAN LEAHY

Not everything was perfect about Fairgrounds. Notably, the booze and food ran out, and more shade would’ve been nice. But they got the big things right: the bands and the people. And they’re the most important things of all. CODY ATKINSON

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the word

on gigs

Chris Cornell, Dave Le’aupepe Llewellyn Hall Thursday December 3 It was fitting that Chris Cornell successfully tackled The Beatles’ classic ‘A Day in the Life’ towards the end of an audience-pleasing set at Llewellyn Hall. This was also a brave move, as the song is an intricate studio composition that was not intended to be performed live. But as was the case at many points throughout the show, this charismatic singer/songwriter confidently rose to the challenge and made it work with an acoustic guitar and cello played by touring companion Bryan Gibson. The powerful orchestral crescendo in the original composition was substituted here with some frantic string play that reached a suitable degree of intensity and made for a show highlight. The Beatles remain a touchstone for Cornell and his main band Soundgarden despite all those Zeppelin and Sabbath comparisons. This influence flowed through the emotive melodic phrases on ‘Can’t Change Me’ from his 2009 solo album Euphoria Morning, played with an understated charm on a sparkling-sounding guitar chosen from a selection lining the stage. The Beatles’ influence was also present on Cornell’s take on the classic Soundgarden song ‘Blow Up the Outside World’ from the underrated 1996 album Down On The Upside. With the electricity and production effects stripped away from the album version, a fragile minor key melody came across in the verses that would have found a home on the Beatles’ White Album. The reconfigured version here was quite amazing. As he was to do on a few songs, Cornell played around with simple loops and backing tracks provided by

records on a turntable set up on the stage, which fleshed out the sound with appropriately vintage technology. On this song, an emphatic tap on the guitar was looped to replicate a percussive thump filled out with a repeating strummed pattern. This conjured a sonic swell that matched the intensity of the original recording. All this was cleverly done and revealed a creative agility from a performer who confidently owned the stage yet at times exuded a somewhat guarded and cynical persona, a hallmark of the grunge generation. The set list was an even mix of covers, solo material and Soundgarden classics such as ‘Rusty Cage’ from Badmotorfinger and ‘Black Hole Sun’ from the band’s finest moment, the 1994 album Superunknown. Earlier in the evening, the growing audience was treated to an acoustic set from Dave Le’aupepe taking some time out from his main band Gang of Youths, and at times sounding like Bruce Springsteen circa his Nebraska album, although with somewhat less intensity. But it was Cornell who stole the show. He bantered with the audience between songs about such things as spirit mediums and repeatedly voiced scepticism that they actually can communicate with the dead. At one point he invited an audience member up on stage to help him tune his guitar. Early in the set he strapped on a harmonica and performed a rousing version of Bob Dylan’s ‘The Times They Are A-Changin’, which confirmed the timelessness of protest songs. Later on, Cornell performed an early solo tune ‘Seasons’ from the Singles soundtrack, and as I lapped it up a whole bunch of pleasant grunge memories came flooding back. DAN BIGNA

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ENTERTAINMENT GUIDE December 16 – Dec 25

Listings are a free community service. Email editorial@bmamag.com to have your events appear each issue. WEDNESDAY DECEMBER 16

ART EXHIBITIONS Climat etat d’urgence

Until 19 Dec.

ALLIANCE FRANÇAISE

FRIDAY DECEMBER 18 LIVE MUSIC Matt Dent

7pm.

TOURIST HOTEL

M16 Artspace Drawing Prize 2015

Robbie Mann Plays Stride Piano

M16 ARTSPACE

POLIT BAR & LOUNGE

Sneaky: Surgin aka Steve Lising From 9PM $5.

TREEHOUSE BAR

Gay Cliche

Canberra dance party for LGBTI community. 8pm. $10. TRANSIT BAR

Galleries 1, 2 & 3.

7.30PM. Free. Book online at politbar.co.

SOMETHING DIFFERENT

Sideshow Alley

Heuristic

10-23 Dec. 10am-4pm.

Infamy, the macabre and the portrait. 5 Dec-28 Feb. NATIONAL PORTRAIT GALLERY

Macquarie Digital Portraiture Award 2015 Free. Until Apr 2016.

NATIONAL PORTRAIT GALLERY

Wendy Saddington: Underground icon 5 Dec-17 Apr.

CANBERRA MUSEUM AND GALLERY

COMEDY Schnitz and Giggles

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

SOMETHING DIFFERENT BAD!SLAM!NO!BISCUIT! Poetry. 8pm. Free. THE PHOENIX BAR

Christmas Gift Fair

10-23 Dec. 10am-4pm. WATSON ARTS CENTRE

Igitur Nos

Christmas Carols. 12.30pm. Free. NATIONAL PORTRAIT GALLERY

10pm. Free.

KING O’MALLEY’S IRISH PUB

Parlour House Band 4pm.

PARLOUR WINE ROOM

Cellblock ‘69

Tickets through moshtix. THE BASEMENT

Hau

8pm. Tickets at moshtix. TRANSIT BAR

The Vinyl Sessions with Danny Wild and Turner 6pm

OLD CANBERRA INN

POLIT BAR & LOUNGE

SATURDAY DECEMBER 19 ART EXHIBITIONS Climat etat d’urgence

Until 19 Dec.

ALLIANCE FRANÇAISE

M16 ARTSPACE

Tranny Trivia

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

THURSDAY DECEMBER 17 LIVE MUSIC Lavers

With Slow Turismo. 9pm. $10.

Galleries 1, 2 & 3.

Sideshow Alley

Infamy, the macabre and the portrait. 5 Dec-28 Feb. NATIONAL PORTRAIT GALLERY

Macquarie Digital Portraiture Award 2015

OLD CANBERRA INN

Turner

WILBUR’S CAFE BAR

4pm. $10 or donate a toy under the tree. TRANSIT BAR

SOMETHING DIFFERENT Canberra Blues Society Monthy Jams

Dorothy-Jane Band. 2pm. $3/$5. HARMONIE GERMAN CLUB

Shenanigans

Christmas Carols. 1.30pm. Free. NATIONAL PORTRAIT GALLERY

MONDAY DECEMBER 21

Blues & W(h)ine

LIVE MUSIC

POLIT BAR & LOUNGE

Blues & half price wine. www.politbar.co.

TUESDAY DECEMBER 22 KARAOKE

THE BASEMENT

Karaoke Salon

Speed Talking

12pm. Free for members. ALLIANCE FRANÇAISE

Men Inc

Every Thurs 5pm. Grooming, style and entertainment for the versatile man. Info @ qtcanberra.com.au/b QT CANBERRA HOTEL

Tarot Card Reading

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

James Southwell 7pm

OLD CANBERRA INN

ON THE TOWN Oscar

10.30pm. Free.

KING O’MALLEY’S IRISH PUB

DJ Black Temple DJ Music.

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

THURSDAY DECEMBER 24 KARAOKE Xmas Eve #KaraokeLove

9pm. Free.

TRANSIT BAR

LIVE MUSIC The Vinyl Sessions with Degg and Pactman 6pm

OLD CANBERRA INN

ON THE TOWN Chicago Charles & Danger Dave

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

Slaytallica

SOMETHING DIFFERENT

WATSON ARTS CENTRE

The Bootleg Sessions

CANBERRA MUSEUM AND GALLERY

AINSLIE ARTS CENTRE

10-23 Dec. 10am-4pm.

KING O’MALLEY’S IRISH PUB

SOMETHING DIFFERENT

8pm. $15/$10.

CANBERRA MUSEUM AND GALLERY

9pm. Free.

Wendy Saddington: Underground icon

Confluence

5 Dec-17 Apr.

LIVE MUSIC

ON THE TOWN

TREEHOUSE BAR

Wendy Saddington: Underground icon

Tranny Trivia

Awesome Aussie Roots Music. 3pm.

With The Ansah Brothers. 9.30pm. $5.

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

NATIONAL PORTRAIT GALLERY

Matt Dent

THE PHOENIX BAR

Slayer and Metallica tribute.

Free. Until Apr 2016.

TRIVIA

PARLOUR WINE ROOM

THE PHOENIX BAR

Playtime

Macquarie Digital Portraiture Award 2015

3pm.

NATIONAL PORTRAIT GALLERY

THE PHOENIX BAR

NATIONAL PORTRAIT GALLERY

Christmas Gift Fair

4pm

Various Artists. 8pm.

Wallflower

Infamy, the macabre and the portrait. 5 Dec-28 Feb.

SOMETHING DIFFERENT

Free. Until Apr 2016.

5 Dec-17 Apr.

Sideshow Alley

Ben Chan

Canberra Music Blog Christmas in the Bar

Every Fri to 6PM.

ART EXHIBITIONS

LIVE MUSIC

Happy Hour

The Illusionists 1903

TRIVIA

SUNDAY DECEMBER 20

ON THE TOWN

M16 Artspace Drawing Prize 2015

CANBERRA THEATRE CENTRE

WATSON ARTS CENTRE

ON THE TOWN

THEATRE $45-$99.

Christmas Gift Fair

WEDNESDAY DECEMBER 23

Playtime

TREEHOUSE BAR

SOMETHING DIFFERENT Tarot Card Reading

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

Men Inc

Every Thurs 5pm. Grooming, style and entertainment for the versatile man. Info @ qtcanberra.com.au/b QT CANBERRA HOTEL

FRIDAY DECEMBER 25

8PM. Book online at politbar.co.

LIVE MUSIC

Karaoke Love

Robbie Mann Plays Stride Piano

POLIT BAR & LOUNGE

Karaoke. 9pm. Free entry. TRANSIT BAR

TRIVIA Kieron & Kieran’s Xmas Trivia 7.30pm.

THE PHOENIX BAR

7.30PM. Free. Book online at politbar.co. POLIT BAR & LOUNGE

Matt Dent 8pm.

THE GEORGE HARCOURT INN

Parlour House Band 4pm.

PARLOUR WINE ROOM

RELOAD BAR & GAMES

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ENTERTAINMENT GUIDE December 25 – Jan 10 FRIDAY DECEMBER 25 ON THE TOWN

Karaoke Love

SOMETHING DIFFERENT

TRANSIT BAR

Tarot Card Reading

Karaoke. 9pm. Free entry.

WEDNESDAY DECEMBER 30

Happy Hour

Every Fri to 6PM.

POLIT BAR & LOUNGE

ART EXHIBITIONS

SATURDAY DECEMBER 26 ART EXHIBITIONS

Sideshow Alley

Infamy, the macabre and the portrait. 5 Dec-28 Feb.

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

Men Inc

Every Thurs 5pm. Grooming, style and entertainment for the versatile man. Info @ qtcanberra.com.au/b QT CANBERRA HOTEL

FRIDAY JANUARY 1

NATIONAL PORTRAIT GALLERY

Sideshow Alley

Infamy, the macabre and the portrait. 5 Dec-28 Feb. NATIONAL PORTRAIT GALLERY

Macquarie Digital Portraiture Award 2015 Free. Until Apr 2016.

NATIONAL PORTRAIT GALLERY

Macquarie Digital Portraiture Award 2015

Wendy Saddington: Underground icon

NATIONAL PORTRAIT GALLERY

CANBERRA MUSEUM AND GALLERY

Free. Until Apr 2016.

Wendy Saddington: Underground icon

5 Dec-17 Apr.

THURSDAY DECEMBER 31

5 Dec-17 Apr.

CANBERRA MUSEUM AND GALLERY

LIVE MUSIC Rock Or Be Rocked

ON THE TOWN

PARLOUR WINE ROOM

KING O’MALLEY’S IRISH PUB

ART EXHIBITIONS

Macquarie Digital Portraiture Award 2015

LIVE MUSIC

Free. Until Apr 2016.

Screening: Ned Kelly

KING O’MALLEY’S IRISH PUB

Finn

NATIONAL PORTRAIT GALLERY

8.30pm. Free.

3pm. Free.

Irish Jam Session

The Next Movement: NYE 9pm. Free.

TRANSIT BAR

Glamour & Grunge

10.30pm. Free.

KING O’MALLEY’S IRISH PUB

ON THE TOWN

New Years Eve Party with Tammy Paks. 7.30pm. $45/$48.

Sneaky: Surgin aka Steve Lising

SOMETHING DIFFERENT

Retro NYE

TREEHOUSE BAR

Blues & W(h)ine

THE RUC (TURNER)

POLIT BAR & LOUNGE

7pm-1am. DJ Robot and Black Temple.

Playtime

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

TUESDAY DECEMBER 29

DJ Metavirus New Years Eve.

RELOAD BAR & GAMES

NYE Bash 2015

KARAOKE

Doors at 5pm.

Karaoke Salon

THE BASEMENT

POLIT BAR & LOUNGE

S.A.M. & NORM. 9pm. $5.

8PM. Book online at politbar.co.

#TRNT

KING O’MALLEY’S IRISH PUB

Special K

POLIT BAR & LOUNGE

NATIONAL PORTRAIT GALLERY

Heuristic

ON THE TOWN

Blues & half price wine. www.politbar.co.

Arrhythmia

6pm-6.30pm and 7pm-7.30pm. Free.

LIVE MUSIC

MONDAY DECEMBER 28

ART EXHIBITIONS

Infamy, the macabre and the portrait. 5 Dec-28 Feb.

LIVE MUSIC

KING O’MALLEY’S IRISH PUB

FRIDAY JANUARY 8

SATURDAY JANUARY 2

BELCONNEN SOCCER CLUB (MCKELLAR)

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

9pm. Free.

FILM

10.30pm. Free.

SUNDAY DECEMBER 27

TRANSIT BAR

9pm. Free.

4th Degree

TREEHOUSE BAR

Groove You

8pm. Free.

NATIONAL PORTRAIT GALLERY

CHISHOLM TAVERN

9pm. $5.

LIVE MUSIC

Chicago Charles & Danger Dave

NATIONAL PORTRAIT GALLERY

9pm.

Sneaky: NORM

THURSDAY JANUARY 7

Parlour House Band

4pm.

The Vinyl Sessions with Sam and Tony

Matt Dent

NATIONAL PORTRAIT GALLERY

ON THE TOWN

Sideshow Alley

OLD CANBERRA INN

CHISHOLM TAVERN

Free. Until Apr 2016.

LIVE MUSIC

And special guests. 7pm.

Covers band. Boxing day.

Macquarie Digital Portraiture Award 2015

NYE 2016

TREEHOUSE BAR

AD SPACE

From 9PM $5.

SUNDAY JANUARY 3

TRANSIT BAR

10pm. Free.

Parlour House Band 4pm.

PARLOUR WINE ROOM

Truck Fighters

The Fuzz Tour. Tickets available through Oztix. THE BASEMENT

SOMETHING DIFFERENT Sex, Murder and Mayhem Tours.

Late night openings. 6.30pm. Tickets required. NATIONAL PORTRAIT GALLERY

SATURDAY JANUARY 9

LIVE MUSIC

ART EXHIBITIONS

Irish Jam Session

Wendy Saddington: Underground icon

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

TUESDAY JANUARY 5

5 Dec-17 Apr.

CANBERRA MUSEUM AND GALLERY

FemaleCentric

Vee Malnar. Paintings and photographs. 5-18 Jan.

KARAOKE

THE FRONT GALLERY AND CAFÉ

Karaoke Love

Infamy, the macabre and the portrait 5 Dec-28 Feb.

Karaoke. 9pm. Free entry. TRANSIT BAR

WEDNESDAY JANUARY 6

Sideshow Alley

NATIONAL PORTRAIT GALLERY

SUNDAY JANUARY 10

ART EXHIBITIONS

LIVE MUSIC

Wendy Saddington: Underground icon

6pm. Tickets at the door.

CANBERRA MUSEUM AND GALLERY

Irish Jam Session

Gnarwolves

5 Dec-17 Apr.

TRANSIT BAR

FemaleCentric

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

Vee Malnar. Paintings and photographs. 5-18 Jan.

KING O’MALLEY’S IRISH PUB

THE FRONT GALLERY AND CAFÉ

Sideshow Alley

Infamy, the macabre and the portrait. 5 Dec-28 Feb. NATIONAL PORTRAIT GALLERY

@bmamag

ENTERTAINMENT GUIDE January 11 – Jan 28 MONDAY JANUARY 11 LIVE MUSIC Stray From The Path

With Hellions, Antagonist Ad & Void of Vision. Tickets at livenation.com.au. THE BASEMENT

TUESDAY JANUARY 12 LIVE MUSIC State Champs

With Neck Deep. Tickets at livenation.com.au. THE BASEMENT

WEDNESDAY JANUARY 13

LIVE MUSIC Live Evil

8pm. Presale via moshtix. TRANSIT BAR

ON THE TOWN Oscar

10.30pm. Free.

KING O’MALLEY’S IRISH PUB

SOMETHING DIFFERENT Sex, Murder and Mayhem Tours.

Late night openings. 6.30pm. Tickets required. NATIONAL PORTRAIT GALLERY

SATURDAY JANUARY 16

SUNDAY JANUARY 17 COMEDY

ART EXHIBITIONS

Jimmy Carr

Sideshow Alley

Funny business tour.

CANBERRA THEATRE CENTRE

LIVE MUSIC Irish Jam Session

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

Lulu Swing a Manouche Gypsy Jazz.

AUSTRALIAN NATIONAL BOTANIC GARDENS

WEDNESDAY JANUARY 20

ART EXHIBITIONS

Wendy Saddington: Underground icon

FemaleCentric

Macquarie Digital Portraiture Award 2015

5 Dec-17 Apr.

CANBERRA MUSEUM AND GALLERY

FemaleCentric

Vee Malnar. Paintings and photographs. 5-18 Jan. THE FRONT GALLERY AND CAFÉ

Macquarie Digital Portraiture Award 2015 Free. Until Apr 2016.

NATIONAL PORTRAIT GALLERY

Sideshow Alley

Infamy, the macabre and the portrait. 5 Dec-28 Feb.

Vee Malnar. Paintings and photographs. 5-18 Jan. THE FRONT GALLERY AND CAFÉ

Sideshow Alley

Infamy, the macabre and the portrait. 5 Dec-28 Feb. NATIONAL PORTRAIT GALLERY

THE PHOENIX BAR

AUSTRALIAN NATIONAL BOTANIC GARDENS

THURSDAY JANUARY 14 LIVE MUSIC Dos Locos 9pm. Free.

KING O’MALLEY’S IRISH PUB

FRIDAY JANUARY 15 ART EXHIBITIONS

Infamy, the macabre and the portrait. 5 Dec-28 Feb. NATIONAL PORTRAIT GALLERY

Summer School Holiday Program

SOMETHING DIFFERENT

WATSON ARTS CENTRE

Sideshow Alley

SOMETHING DIFFERENT

Amber Nichols

Jan 11-29. A range of classes to be offered.

NATIONAL PORTRAIT GALLERY

Fraudband

NATIONAL PORTRAIT GALLERY

Summer School Holiday Program

Free. Until Apr 2016.

LIVE MUSIC Support from Mind Blanks and Passive Smoking. Supported by Micky Sulit.

Festival All Sorts

2 Stages, 25 acts. 12pm. THE BASEMENT

The Surrogates

SATURDAY JANUARY 23

Jan 11-29. A range of classes to be offered. WATSON ARTS CENTRE

FRIDAY JANUARY 22 LIVE MUSIC Parlour House Band

Infamy, the macabre and the portrait. 5 Dec-28 Feb. NATIONAL PORTRAIT GALLERY

LIVE MUSIC Big Boss Groove

Big band party sounds. AUSTRALIAN NATIONAL BOTANIC GARDENS

SOMETHING DIFFERENT Summer School Holiday Program

Jan 11-29. A range of classes to be offered. WATSON ARTS CENTRE

SUNDAY JANUARY 24 LIVE MUSIC Australia Day Concert

With Franklyn B Paverty and Humbug. AUSTRALIAN NATIONAL BOTANIC GARDENS

WEDNESDAY JANUARY 27 ART EXHIBITIONS Sideshow Alley

Infamy, the macabre and the portrait. 5 Dec-28 Feb. NATIONAL PORTRAIT GALLERY

SOMETHING DIFFERENT Summer School Holiday Program

10.30pm. Free.

4pm.

KING O’MALLEY’S IRISH PUB

PARLOUR WINE ROOM

Festival Allsorts

SOMETHING DIFFERENT

WATSON ARTS CENTRE

THE BASEMENT

Sex, Murder and Mayhem Tours.

WORKSHOPS

25 local acts over 2 stages. Doors at 12pm.

SOMETHING DIFFERENT Summer School Holiday Program

Jan 11-29. A range of classes to be offered. WATSON ARTS CENTRE

Arrhythmia

6pm-6.30pm and 7pm-7.30pm. Free. NATIONAL PORTRAIT GALLERY

facebook.com/bmamagazine

Late night openings. 6.30pm. Tickets required. NATIONAL PORTRAIT GALLERY

Songs to Die For

6pm-6.30pm and 7pm-7.30pm. Free.

Jan 11-29. A range of classes to be offered.

Introductory Intensive $290.

WATSON ARTS CENTRE

THURSDAY JANUARY 28

NATIONAL PORTRAIT GALLERY

WORKSHOPS Introductory Intensive $290.

WATSON ARTS CENTRE

ENTERTAINMENT GUIDE January 29 – Feb 10 FRIDAY JANUARY 29 LIVE MUSIC Parlour House Band

4pm.

PARLOUR WINE ROOM

NOFX

9am. Oztix.

James Reyne

Introductory Intensive

With Moving Pictures. Tickets at canberratheatrecentre.com.au.

WATSON ARTS CENTRE

Justine Clarke

Sideshow Alley

Infamy, the macabre and the portrait. 5 Dec-28 Feb.

AUSTRALIAN NATIONAL BOTANIC GARDENS

SUNDAY FEBRUARY 7 LIVE MUSIC

LIVE MUSIC

SMITH’S ALTERNATIVE

AUSTRALIAN NATIONAL BOTANIC GARDENS

SOMETHING DIFFERENT SoundOut 2016

International festival of improvisation, Jazz and experimental music. AINSLIE ARTS CENTRE

WORKSHOPS Medieval Cookware Course Followed by Medieval Feast on Feb 13. $200.

AND MORE!

With Mr Tim and the Fuzzy Elbows.

Night Terrors

Jazz and blues.

MOST EXCITING RELEASES OF 2016

CANBERRA THEATRE CENTRE

NATIONAL PORTRAIT GALLERY

Annie and the Armadillos

ALBUM REVIEWS

NATIONAL PORTRAIT GALLERY

WORKSHOPS

ART EXHIBITIONS

JAN 20

Sideshow Alley

Infamy, the macabre and the portrait. 5 Dec-28 Feb.

LIVE MUSIC

SATURDAY JANUARY 30

THE SUMMER WRAP-UP

ART EXHIBITIONS

UC REFECTORY

$290.

OUT

SATURDAY FEBRUARY 6

WATSON ARTS CENTRE

SUNDAY JANUARY 31 LIVE MUSIC Belle Whyte

Indigenous singer/songwriter. AUSTRALIAN NATIONAL BOTANIC GARDENS

$10 entry.

Young Monks Indie pop band.

AUSTRALIAN NATIONAL BOTANIC GARDENS

TUESDAY FEBRUARY 9 COMEDY Dawn French $112-$266.

CANBERRA THEATRE CENTRE

WEDNESDAY FEBRUARY 10 ART EXHIBITIONS Sideshow Alley

Infamy, the macabre and the portrait. 5 Dec-28 Feb. NATIONAL PORTRAIT GALLERY

COMEDY Dawn French $112-$266.

CANBERRA THEATRE CENTRE

SOMETHING DIFFERENT SoundOut 2016

International festival of improvisation, Jazz and experimental music. AINSLIE ARTS CENTRE

WORKSHOPS Medieval Cookware Course Followed by Medieval Feast on Feb 13. $200. WATSON ARTS CENTRE

WEDNESDAY FEBRUARY 3 ART EXHIBITIONS Sideshow Alley

Infamy, the macabre and the portrait. 5 Dec-28 Feb. NATIONAL PORTRAIT GALLERY

@bmamag

facebook.com/bmamagazine

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

FOREIGN KINGS Where did your band name come from? The inspiration came from a beer poster in our practice shed. Group members? Justin (vocals), Tom (guitar), Matt (bass), Simon (drums), Shane (guitar). Describe your sound: Straight up rock and roll. Lots of riffs, solos, headbanging and a real good time. Who are your influences, musical or otherwise? AC/DC, Led Zeppelin, Violent Soho, Airbourne, Jet, Kingswood and countless others. What’s the most memorable experience you’ve had whilst performing? Transit Bar always has awesome energy and we love playing there. Though the highlight has to be the two times we played at Turning Man, a reoccurring house party in Turner. There was something very special about having a bunch of people packed into a backyard and up on the roof, dancing and headbanging while we played on a couple of rugs. The set culminated in a giant wooden sculpture of a man being set ablaze while we played. Good times. Of what are you proudest so far? Being able to play to a sold-out crowd within only a few months of playing our first show. What are your plans for the future? Our debut EP is coming out on Thursday January 7, and we’re touring in January and February. We are also going to be working on a video clip, and working on some new material for our next release. What makes you laugh? Video clips of people falling down. What about the local scene would you change? We’d love to see more young rock and roll bands on the scene. There are plenty of people that crave the good times that only rock music can provide, but not enough people out there making it. What are your upcoming gigs? We’re playing Festival Allsorts at The Basement on Saturday January 16, and then we have an East Coast tour in January and February, finishing up at Transit Bar on Friday February 12. Contact info: foreignkingsband@gmail.com, bookings@ scissorkickchamps.com.au, facebook.com/Foreignkingscbr, triplejunearthed.com/artist/foreign-kings.

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 Bridge Between, The Cam 0431550005 Chris Harland Blues Band, The Chris 0418 490 649 chrisharlandbluesband @gmail.com Cole Bennetts Photography 0415982662 Danny V Danny 0413502428 Dawn Theory Nathan 0402845132 Danny 0413502428 Dorothy Jane Band, The Dorothy Jane 0411065189 dorothy-jane@dorothyjane.com Drumassault Dan 0406 375 997 Feldons, The 0407 213 701 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

@bmamag

THE GREEN SHED

facebook.com/bmamagazine

AUSTRALIAN INSTITUTE OF MUSIC

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