PAGE 2
@bmamag
facebook.com/bmamagazine
PAGE 3
PAGE 4
@bmamag
facebook.com/bmamagazine
PAGE 5
PAGE 6
@bmamag
facebook.com/bmamagazine
PAGE 7
PAGE 8
@bmamag
facebook.com/bmamagazine
PAGE 9
[CONTENTS]
[Canberra’s
Guide]
Entertainment
#518
June/July
I’ve heard many times to be a better writer, you need to read more. Great; now I need to learn to read.”
EVAN BUCKLEY - THE BURLEY GRIFFIN
p. 16
Mail: 36/97 Eastern Valley Way Belconnen, ACT 2617 Publisher ABN 76 097 301 730 Pty Ltd General Manager Allan Sko T: (02) 6257 4360 E: advertising@bmamag.com Editor Allan Sko E: allan@bmamag.com Accounts Manager Ashish Doshi T: (02) 6247 4816 E: accounts@bmamag.com Graphic Designer/Cover Design Juliette Dudley
IRMA GOLD’S NOVEL - THE BREAKING p. 24
LOLCOL WITH CHRIS MARLTON
EARTHBOUND
AERIAL SPORTS - CHER ALBRECHT
p. 26
Film Columnist Cam Williams Entertainment Guide Editor Allan Sko Social Media Manager Allan Sko & Ruth O’Brien Columnists Ruth O’Brien, Josh Nixon, Alice Worley, Chris Marlton, Allan Sko Contributors Josh Eckersley, Rory McCartney, Ruth O’Brien, Vince Leigh, John P Harvey, Michele E Hawkins, Isaac Dugdale, Allan Sko NEXT ISSUE #519 OUT Thursday, 15 July EDITORIAL DEADLINE Friday, 2 July
p. 28
p. 30
ADVERTISING DEADLINE Wednesday, 7 July 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.
RECORD STORE DAY
p. 32
CBR MUSIC REVIEWS
p. 34
SHOW/GIG REVIEWS
p. 40
FILM REVIEWS
p. 36
TIM FERGUSON
ES 199 T 2 PAGE 10
MORE CBR REVIEWS
p. 38
BMA GIG/EVENTS GUIDE p.42 @bmamag
FROM THE BOSSMAN BY ALLAN SKO [ALLAN@BMAMAG.COM]
I was metaphorically thumbing (the only kind of thumbing if you have my skin type) through the raft of potential topics for this month’s Bossman, when the missus decided to pop on Bo Burnham’s new Netflix special Inside to happily while away a portion of the weekend. And now, it’s all I want to talk about. This part-comedy, part mental health exploration, all-art piece is a documentation of Burnham’s creative process, and subsequent output, seemingly filmed over the past year-plus of lockdown. But it’s so much more than that. It’s a time capsule, a perfect distillation of the Lockdown Leg of our lives (which still rages on for many), honed particularly on the plight and struggle of performance creatives who, arguably, only exist along with an audience. If a comedian tells a joke in the forest, and all that. The case for its containment within a capsule of time can also be firmly pinned on how perfectly he captures the zeitgeist of 2020 and beyond. There are songs, and songs aplenty, interspersed with spoken-word vignettes that cover and capture all the hot topics of the day. He opens by questioning his role not just as a comedian in this Covid world (“are you being funny at a time this this?!) but of being a white, male comedian. From here we cover sexting, isolation, mental health, white women on Instagram, Facetiming with Mum, turning 30, suicidal thoughts, outrage and subsequent apology culture, gaming streams, a particularly hilarious mega-meta take on video commentary, and possibly the finest encapsulation of the internet in song form (“a little bit of everything all of the time!” opines his chorus, with the verses comprising an increasingly alarming list of disparate things to “enjoy”). He packs a lot into the running time, which, at 87 minutes, is lengthy for a comedy special. Perhaps too lengthy, you could argue; 10-15 minutes could be shaved off to make it extra tight. But you could also argue, and I would, that this is a deliberate artistic decision by Burnham, with an extended run time reflecting the seemingly never-ending state of the old Covids, and its enforced isolation. Indeed, about 20 minutes before the end, at around the time the special could be safely wrapped up, he confesses to the camera: “I’m about done, but if I finish then I’ll have nothing to focus on, so I’m just going to keep going...” It’s a stunning bit of work; equal parts hilarious and confronting (so much so, a helpline is proffered at credits’ end). I didn’t know Burnham had stepped away from comedy due to the onset of panic attacks, spending time on his mental health to the point he was finally confident in returning, only for Covid to hit. And his return, slow disintegration, and rebirth shown strafes the thin line between reality and performance; hilarity and despair. It strikes at everyone’s core need for connection and confirmation, and - in a beautiful twist - by exploring his own identity turmoil and isolation, he has no-doubt brought many people together in a shared understanding in a way only the sharp, self-aware, and of course, funny Burnham can. So yeah. Worth a watch! facebook.com/bmamagazine
PAGE 11
[HOT TIX]
Sam Buckingham / with Kim Yang / Sat, 12 June / Smith’s Alternative Having played alongside Kasey Chambers, Tim Freedman, Ben Lee and Washington, Sam Buckingham is finally touring solo in support of her fierce new single Something More. “I wrote this song because I was tired of believing I was asking too much... all I’ve ever asked for is the absolute bare minimum of equality and respect. It’s a reminder to myself not to accept the status quo.” Revered for her soul baring, intimate performance, expect storytelling, live loops and sampling, and expertly crafted songwriting. And support from the everwonderful Kim Yang! 6pm, $25 + bf from venue website
Paco Lara / Virtuoso flamenco guitarist / Sat, 19 June / The Q - Bicentennial Hall Australia’s own Spanish-born critically acclaimed flamenco guitarist - at the vanguard of flamenco fusion with hugely successful groups, El Barrio and Los Delinquentes - Paco Lara presents an evening of Spanish guitar. Lara’s extols his eclectic fusion of flamenco and guitar standards, leading his ensemble of second guitar, percussion, keyboard and special guest flamenco dancer, Deya Miranda Giner. The virtuoso of 30 years has toured the world and accompanied some of Spain’s greatest artists such as Maestro Paco Cepero, Mercedes Ruiz, and Isabel Pantoja. 8pm, tix from $25 + bf via venue
With Heavy Heart 8/ Metal of the darkest order / Sat, 10 July / Live at the Polo It’s exciting enough that Canberra’s favourite festival of misery returns for its long-awaited eighth instalment, let alone the announcement of Sydney doom metal maestros Cruciform to head the bill. It further stirs the blood to know they are joined by bigsound industrial doomsters Illimitable Dolor, the dark folk ‘n’ blues balladeers Burden Man, and the dirty dirge of Dust Devil. But perhaps most giddy of all is the slow-heavy-dark Futility, and the launch of their exceptional third album Anhedonic. Never has doom and gloom been so enjoyable. 8pm til late, $25 + bf from Trybooking PAGE 12 PAGE 12
UPCOMING EVENTS
The Fringe of Squaredom / Jazz in many forms / Sun, 27 June / Tuggeranong Arts Centre The Fringe of Squaredom presents jazz in its many forms, from the earthy swing of New Orleans to the classic cool of the modern era. Founded by Rachael Thoms and Tom Fell and featuring the powerhouse rhythm section of James Luke, Chris Thwaite and Hugh Barrett, the band brings together a collective of the region’s finest musicians to present four showcase concerts at the Tuggeranong Arts Centre. The concerts build upon the Arts Centre’s growing reputation as a venue for music, offering a program that will appeal to jazz lovers and jazz laymen alike. 4pm - 6pm, $30 via venue
Mick Thomas & The Roving Commission / Album launch/ Thu, 1 July / Smith’s Alternative Raconteur, troubadour, balladeer and poet, Mick Thomas is best known as chief songwriter of pub-rock icons Weddings, Parties, Anything. Current band The Roving Commission features old “Weddoes” bandmate Squeezebox Wally on Piano Accordion and a rotating schedule of talented performers playing Mick’s unique mix of folk, roots, and country. They are happily touting new album City’s Calling Me - originally a covers project that morphed into more, tapping into the Dutch genre of nostalgic sentimental pop music known as Jordaanlied. Two shows 7pm & 9pm, tix $35 from venue
Don’t Miss The Melody / Music Trivia Night / Sun, 11 July / Smith’s Alternative Come one, come all to the new Australiana music trivia show unlike any you’ll find in the bush capital. Don’t Miss the Melody brings some much needed pizzaz to the bog standard trivia experience with interactive rounds where you might find yourself in the spotlight. Bring a friend for a plucky table of two or max out with a group of eight. There are prizes to be won and laughs to be had, so don’t dilly dally and book your ticket today. 7-9pm, $15 from smithsalternative. com/events/don-t-miss-the-melody-72512 @bmamag
[SPOTLIGHT]
UPCOMING ARTS EVENTS
Mervyn Bishop Exhibition / Influential photographer / Until 1 Aug / NFSA
Canberra Symphony Orchestra / Four elements, four pieces / Sat, 19 June / Llewellyn Hall
The National Film and Sound Archive of Australia celebrates Mervyn Bishop, one of Australia’s most prolific and influential photographers, with a new exhibition open now until 1 August, 2021. Mr Bishop’s images of culture, politics, and people have significantly influenced our collective understanding of Australia’s history. This exhibition is drawn from the Art Gallery of New South Wales collection, the artist’s private archive, and enriched by sound and moving image from the NFSA. $13/$5, check tickets.nfsa.gov.au/Events/Mervyn-Bishop for opening times and more info
This World / Jazz Supergroup / Fri, 25 June / The Street Theatre
The Governor’s Family / Beatrix Christian play / 1 - 17 July / Canberra Repertory
Comprising four of Australia’s most esteemed jazz musicians, this celebrated super group made waves last year with their critically acclaimed debut album This World. Stuart Nicholson of UK’s Jazzwise called the quartet’s music “profound, moving and expressive jazz of the highest level”. Masterfully articulating the struggle, strength, and hope of humanity, the music imagines the prosaic and profound in a post-pandemic world. Having established deep musical bonds over several decades, the shared history and personal connection between these musicians can be felt in every note. 8pm, $25 - $35 via venue
Photo by Dylan Evans
I’ve Been Meaning To Ask You/ By Canberra Youth Theatre / 8 - 10 July / The Street Theatre
Performed inside a theatre-turned-playground-turned-battleground, this riotous experience is full of questions asked by young people, and answered by adults. Watch as age collides with experience in a revealing one-hour-tell-all that combines anonymous experiences with high-impact video. Adults take a back seat as a powerful panel of 9-13 year olds tackle the answers they receive. A collab with, and performed by, local young people from across Canberra, I’ve Been... brings audiences both young and old together to tackle the big (and little) questions that life throws at us. $18 - $29 + bf from venue facebook.com/bmamagazine
Ancient Greeks believed all matter was comprised of earth, water, air, and fire; the elements undergirded philosophy, science and medicine. Directed by Concertmaster Kirsten Williams, the orchestra explores each element in this program: taking to the sky with Vaughan Williams’ The Lark Ascending, before diving into the tempestuous waters of Welsh composer Grace Williams’ Sea Sketches, then bristling with Haydn’s spirited Fire symphony. The earth element has new meaning and urgency via Kim Cunio that seeks to make musical sense of the quandary of climate change. 2pm, $30-$101 via cso.org.au
It’s Sydney, 1897. Government House. A nation of colonies is on the verge of federation. Beatrix Christian’s remarkable play explores what might have been not that long ago. No other Australian play has dealt with such a time and place. The ghosts of our colonial past cannot be forgotten. Vice-Regal secrets warrant attention at any time, even fictional ones. Directed by Tony Llewellyn-Jones and starring Peter Holland as the titular Guv. $35-$45 + bf from Canberra Repertory
Lightbulb Theatre Presents / Shakespeare: Off The Ruff / 1 - 3 July / The Courtyard Studio Based on a single suggestion from the audience, improvisational impresarios the Lightbulb Improv company creates two fully off the cuff Shakespearean masterpieces right before your eyes. Nothing has been planned or written in advance for the comedy and drama about to unfold. Each performance is a completely new work, inspired by Shakespearean words, intrigues, and themes. All dialogue is devised on the spot, all characters created as you watch. All the stage is a world not yet explored! 7-9pm, $25 - $35 + bf from Canberra Theatre website PAGE 13 PAGE 13
LOCALITY
[THE WORD ON LOCAL MUSIC] WITH RUTH O’BRIEN. SEND YOUR GIGS AND INFO TO: [RUTH@BMAMAG.COM]
Well, well, well, it’s that time of the month again…Locality time! And I know, I know, it’s freezing out there and we’re still managing this coronavirus BS (thoughts are with you Melb + get vaccinated as soon as you can everyone), but there are still amazing things to attend all over the city that are cozy and COVID-Safe.
On Sunday, 20 June, yet another Sounds from the Suburbs will be taking place over at the beloved Gang Gang Cafe in Downer. The line-up this time will feature Nothing Rhymes with David, Slagatha Christie and Swoon Queen. Produced by the amazing music-lovers at Homegrown Sounds, these gigs are, from all accounts, a bloody good time! Tickets are available from Oztix. The guys from Swift Peaks will be launching their single Better on Sunday, 13 June at sideway. They’ll be joined by Signs & Symbols, Lost Coast and Rhys Coles with the gig starting at 2:30pm. Tickets are available at Oztix for a bloody steal at $10! Keen for a bit of a blues jam sesh? Jeff & Deej Band (featuring DJ Gosper aka blues Canberra’s powerhouse!) have got you covered with a June Blues Jam over at the Harmonie German Club on June 20. J & D will start the afternoon off at 2pm and will then be followed by some of Canberra’s finest musicians. Tickets are just $5 for Canberra Blues Society members or $10 for general entry and can be booked through Humanitix. For more info, head to harmonieclub.com.au
As we get even further into the chilly months , fear not! For Sound and Fury: Cold. Winter. Hot. Party. 2021. is here! Well…not quite yet, but it will be on 10 July at 8pm at Dairy Road in Fyshwick. Directed by the fabulous Little Dove Theatre Art and produced by Dionysus, these events always go off. This is Sound and Fury number 22 and, if popularity is anything to go by, I’m sure this won’t be the last. But just in case it is, go to this one! Tickets can be booked via soundandfury.party for $45. Do it!
One other event you might want to pop in your winter calendar of fun times is Winter Rhythm. Yep, the folks over at Goolabri near Sutton are putting together a fab line-up of incredible local acts including: The Decideds (folk reggae), Kopasetic (roots reggae), Bobby James (blues folk), Skinny Wolf (indie blues), Finn Burton (solo acoustic) and Sri Lustri Experience (guitar ragas). What better way to keep warm than by shakin’ ya bootay to the beats of local tune makers! This great event will be happening on Friday, 16 July from 5pm and tix can be purchased at bit/ly/winter_rhythm And finally! If you’re keen to get more info about music grants, comps, industry advice and other music-related opportunities every fortnight, sign up to my 1-year-old baby, Upbeat! If you subscribe before June 20 you’ll go into the draw to win a Golden Ticket to all Kambri shows for the next year! I’ve been told Upbeat is a pretty good resource for finding out about opportunities for professional musicians and industry personnel, which is good because that’s what it was created for! Anyway, sign up, QR code is below.
For those Fun Machine fans out there, listen up! On Friday, 25 June, the band is back at Smith’s Alternative for a one night only show alongside acts Jason Recliner and Lulu and The Tantrums. Sounds like a pretty bloody great night if you ask me. Tickets can be purchased direct from the Smith’s website at smithalternative. com/events Okay, okay, having a little break from live music now to let you know that the Handmade Markets are back! After having spent the last few market events being online only (which I believe still went quite well) the June market is happening from 25-27th of this month. For the event to stay COVID-Safe, you will need to book a free ticket which can be done via the markets’ website at handmadecanberra.com.au . There’s always loads of cool Canberra-themed stuff and many of the vendors are Canberra locals. So make sure you support this great event if you can! Aaaand, back into music again now! Any Wind, Brass or Strings players out there wanting to join an orchestra? The ANU Orchestra is holding auditions to recruits new members. Applications close Monday, 5 July at 5pm and the audition period is from 19-23 July. For more info and to apply, head to bit.ly/anuorchestra PAGE 14
O’Brien out. Ruth O’Brien - Singer | Songwriter | Writer | Lover of all things artsy and creative - email: ruth@bmamag.com
@bmamag
facebook.com/bmamagazine
PAGE 15
FIND THEIR LOST LIMBS by Joshua Eckersley Evan Buckley, better known as The Burley Griffin, is one of the most exciting musicians currently peddling his wares in Canberra’s burgeoning indie music scene. His new album Lost Limbs is due to be released in June, and to celebrate this momentous occasion, he is planning the biggest, most outrageously awesome album launch this city has even seen. But we’ll talk about that later. First, let’s delve into the bizarre history of Evan Buckley, who has one of the more interesting origin stories that you’ll hear about a young singer-songwriter whose journey has only just begun. Born and raised in Wanniassa, Tuggeranong, Buckley spent a significant portion of his childhood in a religious fundamentalist cult. This involved total isolation from the rest of society, spending the bulk of his time waiting for the rapture to come. Instead of maths and science, he learnt to load and shoot guns; essential skills for any future apocalypse. Instead of having friends like kids do, the closest thing to any sense of connection, according to Buckley, came in the form of his “crappy two-chord songs” that filled the lonely void over those troubling years. Music was a lifeline to the young man and served to be his true salvation when his family eventually left the cult and re-entered society, in time to complete his final years at high school. “I was a pretty weird guy, having spent all this time separated from society,” Evan tells us. “Music was a point of connection for me, going to gigs and starting bands with friends my own age. I went from being the really weird guy to gradually being accepted as a musician, and connecting with people through music.” With this new-found freedom, Evan started touring and seeing much of the world whilst self-funding and releasing two full length albums (You’re Quite a Forest in 2010 and the self-titled Burley Griffin in 2015). With his faith so thoroughly stitched into the fabric of his identity, and not so easy to unpick, he started questioning, finding holes in the foundation of his beliefs. As a songwriter, this growing doubt bled into his music, inspiring the song Die alone off his last album. He recalls: “It was me questioning the nature of God and the idea that God would send people to hell. Could this God even exist? Through processing and writing there was a big part of me deconstructing my Christianity to a point that it (his faith) passed away.” All this makes for a truly fascinating backstory as we return to the present, where Evan has established himself as a gifted songwriter and engaging performer. With three singles already released from the upcoming album, there is a sense of growth and maturity shining through the new music, suggesting The Burley Griffin has become a fully-formed and self-realised project. Aside from the catchy, melodic pop hooks and the tasty tinges of country-rock, there is a clever form of lyrical agility occurring that is nothing short of genius. The recent single Still Waters is a rollercoaster ride through the absurd contradictions of modernday life and includes the following choice lines: I want to be a real handyman I’m gonna whittle you a riddle of my good intentions Meet in the middle like an ampersand I got you holding out your Walden, going even Thoreau says only still waters run
The tune was inspired by Evan’s 2016 USA tour that coincided with the Trump presidential election campaign, where illogical reasonings and general insanity was at an all-time high. “That song is about the alternate logic of the libertarian people I was meeting, who were either not going to vote, or were going to vote for Trump because of these weird anti-logics,” Evan recalls. “One of them gave me the book Walden because it was about David Henry Thoreau going out into the wilderness to build a log cabin, and it’s all about being independent. At the same time everyone is having these arguments with me and trying to convince me of stuff that doesn’t make sense.” It’s one of the many gems on the new album Lost Limbs which is being launched at The Street Theatre on Saturday, 26 June. It promises to be a memorable night where The Burley Griffin will perform the album in its entirety, along with some early classics. Evan excitedly tells us: “It’s going to be an extravaganza. I’m getting a light show and projections organised. There’s going to be a string section, and probably some horns… We’re going to make it a really fun, lovely time. We’re trying to go for a bit of breadth, from fun to quite sincere, and back again.” The album will be available for purchase on vinyl, which is Evan’s preferred format for numerous reasons. “I’m pushing vinyls because this record is very special to me, and I think vinyl is a nice way to listen to it. The lyrics are on the inside because that’s a very important part of it,” Evan tells us. “I don’t try and cloak my lyrics in the mix. I like them to be fairly forward. I’m pro-vulnerability, I guess, in that I want people to hear what I am saying” The Burley Griffin’s Lost Limbs album launch is on Saturday, 26 June at The Street Theatre. Tickets are $25/$29 and are available at thestreet.org.au
facebook.com/bmamagazine
PAGE 17
But heck, don’t take my word for it. Check out their many wares yourself by heading to soundcloud.com/late-night-music-official . There’s also limited edition, juicy, sweet vinyl to be had too.
THE DROP
[THE WORD ON EDM/DANCE MUSIC] WITH ALLAN SKO Shibbity-Shabbity POW! It’s another edition of the BMA EDM/ Dance column. Let’s do it to it. Plenty of local action to commend and recommend, starting with a bit of a love letter to Canberra progressive outfit Late Night Music. If you don’t already know, it’s time to get edumacated! Formed back in a mystical time known as the 2010s by James Beetham and former BMA columnist Peter O’Rourke, whilst the label is listed as Melbournebased, it has Canberra DNA through and through, with the label positioned at the forefront of some cracking Canberra progressive house talent and subsequent original music. Stablemates read as a who’s who of the scene, including Fourthstate, Mønarch, Connor Mac, Liam Sieker and, of course, James “B-Tham” Beetham and Peter “Kazuki” O’Rourke themselves.
In other local news, this time looking at shows, the hip ‘n’ happenin’ Hot Foot folk are celebrating their first EP launch on Saturday, 12 June, with Mtty taking the honours with his Alberts Intergalactic Adventure (no possessive apostrophe; I checked, fact hounds). The EP serves up “four intergalactic heaters showcasing Mtty’s very own unique and quirky sound”, and the show sees the man headline, with Banker & Jackson Lees in able support. The event is free entry with purchase of the EP from Bandcamp. For the others, grab your tix from Humanitix for $10 a pop. In the meantime, I’ve got your preview stream right here, pal: hotfoot. bandcamp.com/album/alberts-intergalactic-adventure Continuing on the shows-front, another one to circle on the calendar is Irish rave ringmaster Rebūke. Here he is:
After years of writing it, I thought it would be a nice twist for the man to feature in it, so I caught up with old mate Pete for a Dance column special mini-interview. “James and I met back in 2010 when he was running open decks nights at Lot 33. He taught me to DJ, and we became best mates over time,” Pete explains. “We ran parties together as Department of Late Nights around 2015 or so, which eventually morphed into the label Late Night Music when James relocated to Melbourne.” Late Night Music’s modus operandi and intent has remained firm from inception. “We really wanted to focus on deep proggy techno and house, which we both share a long affinity for,” Pete opines, “and use it as a way to connect to other artists that inspired us both here in Australia and abroad. If you want your music out there, you can sit around waiting for someone to sign it, or you can push it out there yourself. And it was definitely the right move; I’ve been really proud of what we’ve achieved.” 2021 has already proved to be a good ‘un for the label, with more excitables to come. “Recent releases from our different artists have seen international airplay and support from some of the icons in the sound that we look up to, such as John Digweed and Robert Babicz,” Pete enthuses. “At the moment, we’ve got a few more releases in the works, including my new EP Samsara / Nirvana. Just waiting for the masters to come back! We’ve got Sri Lanken prog house legend Subandrio on a remix, which I’m pretty stoked about.” Speaking of releases, one of Late Night Music’s recent output concerns B-Tham & Liam Sieker and their track Zenticle. It’s your typical moody, slow-build, high-production prog house affair; bass snarls, blips, synth stabs and keys weave in and out of the main driving bass landscape, retaining the same driving motif throughout but switching up the sounds at just the right intervals to keep you engaged. PAGE 18 PAGE 18
Currently quarantining in Melbourne, he’s one of the first international house and techno DJs to tour Australia since the pandemic, a testament to how much he loves Australia. Since breaking through in late 2018 with Along Came Polly on Hot Creations, he’s stamped himself as one of the most original new artists on the scene. His since followed up with standout releases on iconic labels such as Drumcode (Rattle is a minor classic) and The Pipe on the ever-excellent Dirtybird label, before enjoying a standout year in 2020 (despite the lack of gigs), remixing Human Resource’s classic Dominator on Armada, Fatboy Slim & Eats Everything’s All The Ladies, and collaborating with Alan Fitzpatrick. Rebūke himself states of his particular concoction of sounds: “I love house, techno, and old rave records. I’ve got an obsession with the Italian, Belgian, and UK records from the early ‘90s and I try to bring that into my production. It’s really about capturing the dirt and energy of that time and fusing it with modern house and techno. That’s definitely what appeals to me.” And you can check out his wares in person with his first ever Canberra show at Fiction Club on Friday, 11 June. Supports in the main room are Unknown Avenue, Parisi, Amraks, Offtapia, with Divito and Edstar manning the Fact Bar. Tix are $27.01 – $32.23 from intix.com Well heck, that was a lotta words, wasn’t it? You must be knackered. I’ll wrap up here for the month. See you next.
@bmamag
facebook.com/bmamagazine
PAGE 19 PAGE 19
PUNK & DISORDERLY
[THE WORD ON PUNK] WITH ALICE WORLEY Hey y’all! Got a bunch more release rumblings and a couple of ACT punk rock bands about to resurface. Exciting times ahead! Canberra alternative fans may have noticed that one of the Capital’s staple punk bands has been pretty busy lately. Our beloved Sketch Method have been hitting the studio again! Haven’t had any releases to get keen for since their single Gladys in 2019, and before that their album Is It A Bird? Who Cares? in 2018, so seeing them getting to work on a fresh batch of tunes is just what we need in 2021. Every time these guys put something out, it trumps their previous release, so I’ve got high hopes and high expectations for what’s to come. So enter the newest release from Canberra’s political punk powerhouse; the wonderfully titled Panic! At The Costco. According to the band, it’s: “Two more minutes of pop punk anxiety. Fuelled by a post apocalyptic supply/demand capatilist regime where big business takes all, leaving us to apply for the opportunity to interview to work for our share of the scraps. No super, no overtime, no mercy.” They’re playing The Basement on Friday, 2 July, with tix a mere $18.10 from Oztix. Congratulations to The Dirty Sunflowers on their launch of Reel Love at Smith’s Alternative. Apologies to the staff at Smith’s that had to put all the tables and chairs back after a dance floor became a necessity, but I mean... it was a necessity. Always great to go to a show where all the bands are just mates that love playing with each other. So good to see Parrots With Piercings, Box Dye, and Nora all having such a good time championing the ever increasing catalogue of banger tracks being produced by The Dirty Sunflowers. Kudos to all!
Charlotte and The Harlots emerge! I myself have been wondering; where did Charlotte and The Harlots go? They’re one of my favourite Canberra bands but I haven’t seen any trace of them since last year. Just as I was starting to worry that they’d called it a day, they announced they’re going to be supporting The Kids on their Go Back To Canberra - Canberra Tour alongside Yoko Oh No and Enfants. Phew! Glad they’ve popped back on the radar, as I’m sure many of you are. Great to have them returning to the stage; we missed you! [Hey all, Bossman Sko here quickly popping in with some breaking punk news, reproduced here with Alice’s permission.... After a hiatus of 18 years, Canberra’s Vicious Kitten Records has been relaunched. The first release is a 7” single by NYC punk legend Kevin K - who has teamed up with Ricky Rat (Trash Brats / Dead Boys) on a hard hitting Ramones-like anthem called Identity Crisis. The first 100 singles comes with a bonus Kevin K sticker. Ooooo! Vicious Kitten Records formed in 1999 and grew out of the popular Vicious Kitten Fanzine. The label developed a reputation for releasing artists directly related to, or inspired by, Johnny Thunders and dissolved in 2003. Vicious Kitten released recordings by Australian and international artists including Kevin K, Freddy Lynxx, Nikki Sudden, Rick Blaze & The Ballbusters, Sheek The Shayk (ex-Psychotic Turnbuckles) and The Golden Arms (Japan). There’s plenty more to learn, so for more information on past and future releases, hit up viciouskittenrecords.com OK, that’s all from Sko. Back to you, Alice!]
Box Dye have announced a new single; State of Emergency. This will be their second song release after Julia back in early 2020, but this time the single in question has been recorded in a studio and not a friend’s mum’s shed. Still sounded pretty alright though, hey? The track is set to be released on 26 July, with a single launch to follow on the 30th at The Basement. Joining them on stage will be Spinning Plates, Bad Lunar and Northbourne. Should be a night of high energy, aggressive-but-catchy tunes, and maybe we’ll even do some stage diving (we can only hope). Tickets available now through Oztix, get onto it! PAGE 20
For some interstate band action, one of my all time most beloved Aussie punk bands, DickLord, will be coming to Canberra to support legends The Meanies on their Desperate Measures tour. I never thought I’d see either of these bands in Canberra any time soon, so I am absolutely stoked. I already have my ticket, don’t you? To finish off this month, I just gotta say, been great to see sold out local shows and so many people supporting the scene post lockdown. Big hand for all punters forking over their hard earned dollars to our starving musos and vulnerable venues, keep it up!
@bmamag
METALISE
[THE WORD ON METAL] WITH JOSH NIXON The mercury is dropping faster than Coalition capitulation over getting me vaccinated sometime this year, but it doesn’t mean that there are not - despite the Victorian situation - a dearth of riffs one can not lose themselves in as the frost settles in. Chain Tombstone & The Deadmen have a launch at The Basement on Friday, 11 June for their newest slab Circus of Gore which actually hit the streets in January. Axiomatic Theory and Black Heart are joining the festivities and entry is a low, low $13 via Oztix. Mucho Sonar are reigniting their Covid delayed Murdochracy tour from their self titled 2020 EP release. The band play The Basement on Saturday, 12 June with a soaring performance from the excellent Pilots of Baalbek and Rawrus Tongue from Wollongong. Tix are $18.10 from Oztix. Destroy All Lines are presenting Justice for the Damned on their Pain is Power Australian tour on Thursday, 17 June at The Basement with the intimidating Antagonist AD, Kid Presentable, and Facecutter. Tickets are $24.25 from Oztix but you better be quick and grab them today! If you fancy a trip down to even colder climes, I might suggest the weekend of the 17 - 19 June for this years Dark Mofo festival which announced its winter program in May.
Air festival in Alice Springs. The Canberra show sees the boys return to The Basement with an almost festival worthy line-up including new album toting Mental Cavity, Astrodeath, Mountain Wizard Death Cult, and new local band BC. That gig is on Saturday, 24 July and tickets are on sale through Oztix. Blacken Open Air takes place 30 July through to 2 August and the line-up is insane. Thy Art is Murder, Psycroptic, Amyl and the Sniffers, Clowns, Southeast Desert Metal, Shepherds Reign, Claim the Throne, Lo!, Ruins, Mountain Wizard Death Cult, Black Rheno, Potion, Descend to Acheron, Dead, Furor, Astrodeath, Dawn, Nglah, The Neptune Power Federation, Fuxache, Diskust, The Holy Dimes, and Diploid are among the first (first!) announced bands, with the full line-up due to drop soon. You better be quick as tickets through the Trybooking are evaporating at a speed of knots.
The full program runs 16-22 June and features a tonne of amazing things done in the way that only the Dark Mofo team can do, transforming Hobart into something unique the world over. Sonic Youth’s Thurston Moore kicks off events on the 16th, Lo! headline a heavy card on Thursday 17th, Om make a surprise visit headlining the Friday the 18th, and Canberra’s own Pod People feature on the Screams From The Abyss with Brisbane’s death metal legends Misery, The Amenta playing their first live show in seven years, Black metallers Altar Defecation, and locals Growth.
Closer to home, the Live at The Polo, on Saturday, 10 July, hosts the With Heavy Heart 8 doom fest with a crushing line-up headlined by Australia’s long serving death doom masters Cruciform.
And there’s the winter feast hall, and the MONA museum’s activities, and a slew of other events. All of these are ticketed, check the website for the full program. Polaris have been dominating the Australian scene of late and their Vagabond east coast tour on Wednesday, 23 June is currently sold out, but there’s a good chance that the ACT government might extend the capacity for that one. Just in case keep an eye and ear out for the Destroy All Lines site to release some more tickets. That show will also have Deadlights and Above, Below along. Witchskull also pulled out not one but a whole tour full of amazing shows for winter with the aptly named March of Winter that takes in Sydney, Melbourne (maybe), Brisbane, Canberra, and the cherry on top, a plush spot in the INCREDIBLE bill for this year’s Blacken Open PAGE 22
Cruciform enjoying a lovely day out ahead of their With A Heavy Heart 8 appearance Illimitable Dolor, Futility, Burden Man, and Dust Devil round out the morose affair and fingers crossed that the new Futility record we be available on wax on the night. That’s it for this month. See you next.
The following is the first chapter of Canberra author Irma Gold’s debut novel The Breaking. THE HOSTEL LOBBY WAS a shabby affair, ripe with the smell of mould. It was empty but for a girl with white-blonde hair. She was sitting on a chair that tilted alarmingly to one side, bent over her phone. I was fumbling with some brochures, touristy stuff, trying to act like I wasn’t suddenly panicking about what I was doing in Chiang Mai by myself. ‘Forget all that shit,’ the girl said without looking up. My fingers froze. Hearing another Australian voice was a shock. ‘Night markets are on.’ She looked up then. Her eyes were startlingly blue. The colour of a Sorrento sea. I felt homesick already. ‘I’m going now, if you like.’ She threw her phone into her bag. ‘Thanks,’ I said. ‘That’d be great.’ Not sure if it really would. ‘I’m Hannah Bird.’
‘Why not?’ I asked eventually.
I cringed inwardly at my formality, as if we were at some stupid work function, as if my surname mattered.
‘They use bullhooks.’
‘Deven with an E-N,’ she said, not following my lead. ‘Parentals did the dirty over in Pommyland but they couldn’t spell for shit.’ ‘Like the ham?’ ‘Don’t go there.’ The corner of her mouth twitched. ‘But for the record that’s also O-N.’ She was wearing a T-shirt and light flowing pants. I’d read that exposing shoulders and knees was rude, but I had clearly taken it to the extreme. I was in heavy cargo pants and a long-sleeved shirt. Sweat ran out the end of my cuffs, the veins in my hands bulged. I walked into the twilight with Deven with an E-N. The streets were full of tuktuks and motorbikes. Kids sandwiched between parents, babies held in arms, not a helmet in sight. The air tasted of smoke, like bushfire season back home. Every second person was wearing a face mask. ‘Is it always like this?’ I asked. ‘The smoke?’ ‘Nah, just this time of year. They’re burning all the plantations down to make this special fungus grow.’ We passed a food cart, three kids sitting on the pavement. One of them waved at us. I waved back but Deven was too busy talking. ‘The smoke gives the farmers cancer, but it earns them a truckload of cash. So, you know.’ I nodded, as if I did. A monk in his saffron robes walked towards us. I raised my phone to take his picture but Deven pushed my hand down and grabbed it, pulling me across the road. I thought about the film of DEET and citronella coating every inch of my body, a cocktail of malarial paranoia, and hoped she couldn’t smell it. ‘Don’t do that,’ Deven said without rancour. ‘Some of them worry you’ll use it for sorcery. Women can’t touch them either, not even their robe. And we have to get off the path for them.’
‘Oh,’ I said, like I knew what that meant. ‘They steal the babies from their mothers and torture them till they don’t even know who the fuck they are. Then they’re good for the tourists.’ She looked at me evenly. She had a tiny silver ring in her nose that blinked when she held her head at a certain angle and the lights caught it. ‘I didn’t know.’ ‘Most people don’t,’ she said. ‘Travel over here and don’t bother to find out anything. Don’t want to know. Just want a selfie with an elephant.’ I guessed she was talking about me. ‘You know the worst thing about Thailand?’ she said, holding up her coconut. ‘No fucking bins.’ I couldn’t tell if she was being ironic. I sucked up the last of the milk, trying not to make a slurping sound. I’d never much liked coconut but I was surprised by how good it was. A young girl came and set up some kind of xylophone right next to us. She was wearing heavy make-up and false eyelashes, the most elaborate costume. She began playing, her movements deft, her face sullen. The look of tweens the world over being forced to do something against their will. I found a small note and tossed it into her case. She didn’t acknowledge me. ‘I’m starved,’ Deven said, standing. She strode into the crowd and I leapt to my feet and hurried after her. The streets pulsed with people; I didn’t want to lose her. We landed beside a trestle full of seafood. Octopus and squid mostly. ‘I’m vego,’ I lied. My mother had warned me not to eat animals in Thailand if I wanted to go the distance without ending up in hospital. She was a GP and had run through a catalogue of horror stories before I left.
‘Okay,’ I mumbled, chastened.
‘Me too,’ Deven said. ‘Kao paht jeh kha,’ she said to an elderly man in a blue baseball cap at a neighbouring stall.
Up ahead brightly coloured toys whizzed up into the sky and before I knew it we were among the mess of it all, a maze of stalls winding around us.
‘What’s that?’ I asked as he handed over a box, my mouth filling with saliva.
‘I’m thirsty,’ Deven said. ‘Want one?’ She pointed at a pile of naked coconuts, their tops shaved into peaks. ‘Khor song luuk kha,’ she said to an elderly woman with missing teeth, and I felt dizzy with admiration. The woman hacked at the tops with a machete, stuck in pink straws. ‘Eighty baht.’ I scrambled in my bag, all the bills looked the same, but Deven already had it covered and was sitting down at a communal plastic table.
‘Fried rice. With tofu and stacks of garlic.’ I ordered something deep-fried because I figured it was the safest option. It came on a paper plate with a side of salad. We sat on a wall, part of the Old City. I knew that much from my guidebook. I wasn’t sure about the salad. What if it had been washed in tap water? I pushed it about with my plastic fork. On the back of a leaf was a tiny green caterpillar. It was alive. I put the plate on the wall, a good distance away from me. ‘So what are you doing here?’ I asked. ‘I’ve been teaching further up north.’
‘So what’re you planning on doing while you’re here?’ she asked.
‘What’s that like?’
‘I guess some temple hopping, ride an elephant.’
‘Alright. Good, I guess. And the money works out better than back home – everything’s so cheap here.’ She ran one finger around the empty carton and licked it.
‘You shouldn’t,’ she said, sucking on her straw. I waited for her to say something else but she was looking at a woman serving grilled corn on sticks. She was wearing a T-shirt that said, ‘The Devil Wears Ivory’. PAGE 24
I didn’t know what else to say. ‘Bet the kids love your blonde hair.’ She grimaced. ‘Except when I went on holiday and got a tan. Then they said, “What happened to your face? You’re ugly.”’
My mouth must have dropped open. She laughed, a horsey sound.
‘Sex festival?’
‘They all want to be white. All the creams’ve got bleach in them.’
‘Runs for a week. The kids get condom necklaces and show bags and spend their whole time watching cartoons of people totally going for it.’
‘Seriously?’ ‘The trans kids in my class have bleach baths. And cover themselves in talcum powder. Sometimes they come to school with blisters. From the bleach.’ I leant forward, wanting more, but she stood abruptly. ‘Let’s go rescue some elephants.’ My heart jolted inside my chest, but I followed her. We snaked through the crowds, down a side street crammed with motorbikes and into a tiny bar. We sat on stools, worn lanterns hanging above us. ‘Sawatdee kha,’ she greeted the barman. ‘Khor bia Chang song khuat kha.’ I looked around but I couldn’t see any elephants. I’d heard they were sometimes attractions at lavish parties but this didn’t look right. ‘Where are the elephants?’ I asked. She laughed again, throwing her head back so that her neck bulged. Two bottles of Chang beer were placed in front of us. She pointed at the green label. It had two elephants on it. ‘Oh,’ I said, feeling my cheeks flame. ‘So what about you?’ she said. ‘What do you do?’ I looked away and wondered about what to say. Lying seemed the best option. ‘Receptionist for a medical imaging company.’ ‘Classy. I used to reception for a mud fetish club back in Brisvegas.’ ‘A what?’ She tipped the bottle to her mouth before answering. ‘The girls wore business outfits,’ she said. ‘And men came to watch them smear mud on themselves.’ ‘That it?’ ‘Yep. They didn’t get to touch the girls. And the girls didn’t wrestle or touch each other. Just dripped mud on their clothes.’ ‘Weird.’ ‘Whatever does it for you, I guess.’ ‘Actually, I lost my job.’ It was a relief to admit it. My parents thought I’d quit in order to travel. They weren’t thrilled about that, but it was better than the truth. ‘And I couldn’t stand the idea of looking for another crappy job. So I came here.’
‘You’re joking, right?’ ‘It’s educational.’ She shrugged. ‘Crazy, but it seems to make a difference. The HIV rates here are terrible.’ ‘Suppose it’s better than my sex ed,’ I said. ‘Teacher came in with a pad stuck to his head and made us shout penis and vagina over and over till we stopped giggling. That was it.’ Then I found myself launching into the story of how I lost my virginity, in all its awkward detail. I didn’t know why I was telling her. Perhaps because I was already lightheaded on Chang. Or because I wanted to make her laugh again. She did. She said, ‘Let’s play ten questions,’ and then delivered them rapid-fire. ‘Which movie would you erase from history? On a scale of one to ten, how would you rate your orgasms? Who was the first person who made you cry? Favourite cartoon? If you could only have one, beauty or brains? Arctic igloo or Nepalese cave? G-string or boy leg? Spider or cockroach? Batman or Superman? Chris Hemsworth or Scarlett Johansson?’ And so I told her about how I orgasmed like a guy (every time — that is, after that awful first) and how Pete Antonopoulos had stolen the purse my aunty gave me in the shape of a dog’s head and cut off its tongue (I bawled) and how once when my dad was away my mum found a huntsman in the night and woke us all up and packed us into the car until morning when a neighbour was called in (so cockroach). And it was Chris, of course (Deven said she’d take both). Then it was my turn and I couldn’t think of anything witty or clever enough. So Deven told me about Shaniqua. Another teacher at her school, also her lover. But she’d returned to the States without a backward glance. ‘Have you ever slept with a woman?’ Deven asked. We were on our third or fourth beer by then. Her face was suddenly very close to mine. ‘No,’ I admitted, when my breath came back. ‘You should try it,’ she said. ‘Men don’t have a fucking clue what they’re doing.’ Based on experience, I couldn’t completely agree. Some did, some didn’t. ‘C’mon,’ she said then. ‘Let’s go.’ I didn’t ask where, just followed her into the warm envelope of the night. She spoke to a tuktuk driver in Thai. I listened to the lilt of it in an absent way.
Deven nodded, looked down the neck of her beer bottle. ‘I guess we’re all running, in a way,’ she said. ‘Us farang.’
We climbed in and sat pressed against one another. There wasn’t much room.
We sat in silence for a bit, drinking. I was trying to think how I could ask her what it was that she was running from but then she tossed her hair and looked at me with those Sorrento eyes. ‘Whiteys,’ she said. We were so close, I could see the pores in her nose, a fine smattering of freckles across her cheeks. ‘That’s what farang means. Though if you pronounce it wrong it means guava.’
I smiled at the driver and couldn’t for the life of me remember the word for hello. ‘Hello,’ I said, and dipped my head.
‘At least we’re sweet either way,’ I said. ‘Sweet as,’ she smiled. Deven ordered another couple of beers and this time I pulled out a thousand baht note, ready. I gripped it tightly, as if worried a thief would swipe it from my fingers, before calculating that it was only forty dollars. The barman took my money with a small smile. He had a wispy moustache that curved over the edges of his lip. I fancied that he sucked on it. I thought about how just a short time earlier I was stuttery, unsure. Now here I was in a Thai bar drinking Chang with the coolest girl I’d ever met. And not missing home one bit. ‘So how come you’re in Chiang Mai now?’ I asked, realising my omission. Deven shrugged. ‘I’m on my way home, really. Just don’t seem quite able to leave.’ ‘Sick of teaching, then?’ ‘Yeah, the sex festival really pushed me over the edge.’ She grinned.
‘Good evening, sir,’ he said, and I tried not to smile. He was doing better than I was. ‘It’s sawatdee kha,’ Deven said. ‘For next time.’ The tuktuk zipped and wove through the traffic and I felt drowsily drunk and happy. It was like swimming underwater. Deven threw her arm around my shoulder and kissed me. I wasn’t expecting that. I didn’t kiss her back, but I didn’t pull away either. ‘Tiger Temple,’ she said, pointing at a billboard as if nothing had just happened. ‘Don’t ever go there. They drug them up, even the cubs. It’s in the milk bottles. And they sell body parts on the black market.’ ‘Alright,’ I promised solemnly. ‘I won’t.’ We sped on through the night, to where I didn’t care. In that moment everything was wide open, and full of possibility. The future, good or bad, would have to look after itself. That was the first chapter of The Breaking by Irma Gold (MidnightSun $29.99), available in bookstores and online now. Irma Gold is the author of a short fiction collection, Two Steps Forward, and four children’s books, with another out 2022. She is Ambassador for the Save Elephant Foundation, Ambassador for the Chief Minister’s Reading Challenge and co-host of the writing podcast Secrets from the Green Room. PAGE 25
Exhibitionist | Arts in the ACT
of self-belief can lead to only one outcome: muscle loss. “The muscles have to be trusted,” said Doctor Greg. “They’re not going to trust themselves, that’s not an option. “They’re muscles.”
HEALTH AND HIGHNESSES By Chris Marlton Steinway: “Losing Muscle, Gaining Friends…” A private thinktank specialising in weight-loss management has released a report this week stating that the average Australian could lose between 20-25kg of pure muscle during the 2021-2022 financial year if they don’t start living, laughing, and loving. Globule-Mauve, a thinktank funded exclusively by the Atheist Pharmaceutical Corporation (APC), has published a sixthousand page recommendation paper, primarily using research from the world’s leading emotional scientist Doctor Gregory Steinway PhD. Steinway claims that all muscle grows exclusively through self-belief, and that a lack PAGE 26
His new book, Muscle Trust in the Age of Lust, Volume 1: Anarchy Above – Anarchy Below, is being released in hardcover in August, with an accompanying 76-hour long audiobook read by Bronson Pinchot and Audrey Tatou. The audiobook release is the first to be recorded in Synchronised Stereo™, a new format where one narrator voice is played in the left channel and one in the right channel. Pinchot is in the right channel speaking English, and Tatou in the left channel is speaking French. The audiobook is available for pre-order now at www.cLOUDbooks.fr/doctor-greg. Use discount code MARLTON for 8% off. Harry and Meghan: Approval Ratings and Games The numbers are finally out on the Duke and Duchess of Sussex’s approval ratings in the general population, and there are absolutely no surprises at all. Harry Windsor’s spike in popularity dropping significantly has caused a huge increase in Civilian Favourability Scores (CFS), ranking as highly as 6,133% on Tuesday, and dropping down to 5,230% by the weekend. This came in stark contrast to the previous week, when his inability to offer a
substantial excuse for his views on general issues caused a 12-month low of 4,780%, before steadying back around 5,555%. Harry’s wife, Meghan, whose opinions have been fraught with confusion over the past three months, has sunk incredibly low on the Crowd Assessment Scale (CAS), which we all know peaked at almost 600,000 dots when she married Harry, but has dropped as low as 590,942 in recent months. Her inability to find common ground, or enough common ground, to increase this trend has been distracting for a lot of people, who haven’t really seen enough effort from her in the areas that really matter. The Meghan Forecast predicts another dotdrop over the coming months, possibly as low as 590,920 dots by Eurasian Christmas Quarter (ECQ). Harry’s workload has continued to be extensive this month, averaging close to 16 hours of XBOX One daily. He has divided his time between Dead Rising 3: Operation Broken Eagle, Spectra: 8bit Racing, Trulon: The Shadow Engine, and WWE 2k20. He has not completed the single-player story mode of any of these games so far. Chris Marlton is a Canberra-based comedian, writer, painter, and film-maker. He runs a monthly stand-up comedy night at The Front in Lyneham. The next is on Friday, 25 June. Upcoming comedy gig details are available on Instagram @ threeblindmencomedy and on Facebook follow @ChrisMarltonComedy.
Art-Venders... Assemble!
for A Chorus of Women. We have been passionately engaged with human relations to the Earth and I look forward to helping with A Chorus of Women’s contribution to our work in progress performance in June.” Glenda Cloughly is like a sage-like cheerleader of the group, albeit with the brain of a professor.
By Allan Sko A dancer-actor-photographer, visual artist, composer-poetsinger, choreographer, and musical director-singer-songwriter walk into an arts centre… It sounds like a ridiculously elaborate set up for an esoteric joke but fortunately, for the sake of Humour, it is in fact the premise of the exciting, new collaborative project of the Belco Arts Centre’s Artists in Residence. “Earthbound is a new intergenerational, multi-arts performance group which has come into being to undertake the inaugural Belco Arts Rhizome five-month residency,” explains Courtney Allen, who frankly did a Herculean effort pulling all this information together for this scintillating article. “We are bound in examining the existential threat of climate change, and in exploring art’s purposive role in felt, emotional responses to such crises. In our time of profound environmental crises, we explore the patterns and rhythms that connect people with nature through dance, music and visual art.” Allen is the dancer-actor-photographer of the crack fivestrong multi-disciplined arts squad. Rounding out the team are visual artist Sally Blake (whose Night Goddess art adorns the background of this very article), composer-poet-singer Glenda Cloughley, musical director-singer-songwriter Johanna McBride, and performance poet-musician Danny Pratt. Elizabeth Cameron Dalman is the theatre consultant and choreographer supported by the Agent Phil Coulson of the group, Craig San Roque. As well as their own artistic fields, each member brings a wealth of experience and a new perspective to the singular piece. “I bring a long artistic and research career that explores human’s relationship to, and place within, the natural world,” explains Sally Blake. “Visualisation of the natural laws and patterning that hold humans in the right relationship with Earth, as well as the consequences of these unravelling is my art’s work. My art takes many forms as I make across textiles, sculpture and drawings opening up many potentials for the theatre space.” With a solid footing on both sides of the camera, Allen brings a different aperture to proceedings. “Behind the camera I bring a background of six years in both commercial and fine art photography, creative direction and producing,” Allen says. “In front of the camera I bring a background in dance and acting. I have always held a deep passion for humans’ interconnection with nature, and expressed this through multiple works where I dance outdoors at site specific locations.” Johanna McBride further compliments the brew. “I bring to our group years of experience as a choral director and accompanist and a great love of working and playing together,” she explains. “For the last 18 years I have been directing music PAGE 28
PAGE 28
“I bring a passion for telling inspiring wise law stories about nurturing life and unsquishable confidence in the wellsprings of love and people’s capacity for creative action,” she reveals. “Since 2003, I’ve written lots of music and words for A Chorus of Women’s large performance repertoire of original songs and major choral productions. Much of this has drawn on my training as a Jungian psychoanalyst and my research background in cultural psychology and the indigenous layers of European mythology.” And much like his chosen written artform, poet slash musician Danny Pratt keeps it cogent. “I’m bringing the sum of my life’s experience in music and poetry. At the moment that is distilling through Earthling Blues.” Collaboration can create a cacophony of creativity when working well, but can be a tricky balance to achieve. How have our members faired during such multitudinous imaginings? “Working across generations and art forms is exciting to me,” Sally Blake explains. “It is also challenging as we have hugely different ways of creating and understanding the world, and ourselves as artists. The collaborative pot is heating up and bubbling with potential. New things are beginning to emerge, fragile and tender.” Courtney Allen echoes these sentiments. “I have found the collaborative process incredibly eye opening and educational,” she says. “I have never worked with such a diverse group of artists across different generations before. We all have vastly different artistic processes which has been challenging in the making of the work. We have recently found more form and settled into our roles which has given us the momentum and clarity needed to combine creative capacities.” With Directing as one of her skillsets, Johanna McBride has found herself more at home in the environment. “Five passionate artists working together and being guided by Elizabeth Cameron Dalman, a marvellous choreographer and theatre artist has had its challenges and has been wonderful and inspiring. After many years of directing others, I have really enjoyed being directed. I have also loved improvising, playing with my own music again, and learning to jam with others to Daniel’s music.” For Glenda Cloughley, it’s been an experience of discovery: “I began the residency saying that I’d never written a note of new music with anyone else in the room,” she says. “I’m hoping to free myself into more playful practice.” And whilst the previous section saw Danny Pratt’s contribution brief, it is on the topic of collaboration that the man comes alive. “It’s been good!” Pratt beams. “It’s been a lot of listening, deep thinking, feeling, connecting, and sharing with these artists,” he enthuses. “Sitting together in vulnerable, sometimes heavy states. Letting the work brew both in the space between us and within our individual processes. Sometimes it’s been challenging for me to dwell in deep conversation rather than discovering the nature of our work together through play and process, but as we @bmamag
start to move into those areas more, I feel the value of how we have gotten to where we are now. “Learning further to acknowledge the difference in process of other artists has been valuable to my practice,” he continues. “Both in observing the aspects of their artistic thinking that have broadened my approach. As well as understanding how to work with other people more fluently. Also, just simple things like planning and organisation which is something this bunch are very good at… and I’m getting better at.” And in closing, Pratt describes perhaps the greatest gift collaboration can bear. “Speaking specifically to what it has brought to my own practice; I’m excited to be realising some of my songs with the creative support of the group,” he enthuses. “I’ve got these earthling blues grooves that are coming to life alongside Johanna McBride’s amazing musical mind and the others. She’s writing choral accompaniment to be sung by women over three generations as a sonic body for the core of the song and guitar to leap around in. “The feeling of playing it, is like being in the dream of what a song might sound like that you can’t quite remember when you wake up. I’m humbled and excited to share these sounds new to my music and process when we perform together.” With the bonafides well and truly established, and the machinations of the process worked through, the only thing that remains, of course, is Earthbound itself, and what each artist hopes to achieve through the project. “Within Earthbound I hope to find a robust and secure way of working across artforms, where each of us can bring our full creative potential to the performance space,” Sally Blake extols. “I hope the works I create as a visual artist can be in a dynamic relationship to the poetry and music and dance within the embodied space of the theatre. I believe that by finding ways to truly connect across artforms, and to imagine our purposes iterated visually, aurally, and kinetically we will create something much bigger than any of us could do alone.”
facebook.com/bmamagazine
As for Courtney Allen, she is full of hope: “I hope to expand my choreographic abilities and refine a disciplined dance practice. I hope to learn as much as possible from my incredible dance mentor Elizabeth in the world of movement, emotionality, stage and theatre knowledge. “I hope to deepen my artistic practice across both dance and music through the knowledge and guidance of my fellow collaborators,” Allen continues. “I hope to achieve a beautiful body of work together that is both engaging and moving across the collective themes we as a group are all deeply passionate about sharing and the change we are hoping for.” Johanna McBride once again champions the benefits of the collaborative process. “I hope that our continued learning process of collaborating across different art forms, temperaments, and generations will not only continue to broaden and deepen my artistic practice and all our work, but might set a modest example in our world. I believe we are all seeking, separately and together, artistic expression of the elements of transformation that are needed for humanity to continue thriving on this planet.” And Danny Pratt is suitably poetic in closing. “I’d like to further my understanding and capacity for communication of humanity’s connection to our earth through absorbing the other artists’ perspectives,” he says. “I’ve learnt a lot from the wisdom natural to all the women in our group, but particularly the older wise ones; about connection to nature, the patterns of life, and the power of art to help tether these fraying bonds. If I am able to gather and synthesise these important ideas and delineate them through my creative processes of poetry, music and art, I’ll be happy. Earthbound is on Saturday 26 June at 8pm. See belcoarts.com. au/earthbound/ or call 6173 3300 for more info.
PAGE 29
PAGE 29
“We don’t stop playing because we grow old; we grow old because we stop playing,” George Bernard Shaw is famously quoted as saying. CHER ALBRECHT and AERIAL SPORTS STUDIO are firm in their mission to ensure Shaw’s words don’t come to pass, as BMA’s ALLAN SKO discovers. Aerial Sports is an aerial acrobatic and circus studio in Mitchell that offers a variety of classes such as aerial silks, static trapeze, and lyra. There are ground based circus classes ranging from partner acrobatics to juggling and hula hoops, ensuring you don’t have to run away and join the circus for a fun and creative way to move your body. “We like to think of ourselves as an alternative to a typical gym workout,” Cher explains. “You still get a great workout, but instead of weights, you’re using your body to move in and out of positions. By the end of class, it feels like you’ve had your gym workout session.” Aerial Sports has a come-one, come-all policy, whether you can bend your body like a pretzel, or if your bones feel like they’re made of the snack. “Our classes are playful,” she assures. “Play involves exploration, investigating what your body can do, and discovering your own abilities. The workout becomes secondary, and fitness an after-effect.” The bonafides of Cher to create such the space for fun and fitness that is Aerial Sports are plenty. Growing up in Los Angeles, Cher started performing professionally at 17, singing and dancing at a local theme park. “When I was 19, I was first introduced to the static trapeze when a friend brought one to Venice Beach and put it up on the built-in play equipment,” Cher tells us. “I fell in love with Cirque de Soleil and always wished to be a part of the show, but my path took me to stunts in live stunt shows at theme parks.” The perilous world of stunt work pointed Cher’s career in one exciting direction, but it just wasn’t the right fit. “I then decided to dab in TV & Film stunts but quickly grew dissatisfied with the industry,” she reveals. “While doing stunts I would often train with fellow circus folk. My first trapeze was gifted to me in 2003, and I just wanted to learn more. It wasn’t for a few more years that I started focusing on aerial acrobatics, as an alternative to stunts.” Soon Cher found a deeper connection to the craft. “When I came to Australia, I focused on it solely because it reminded me of home and was the only physical outlet that I found fulfilling,” she continues. “I always dreamed of having a warehouse where I could play and do all the physical things I like to do.” And, in November 2015, it finally came to fruition with the creation of Aerial Sports, with an initial start of a singular silk class comprising her friends. From this humble beginning, the space and its activities soon grew gently and organically. “In 2016, I had a friend say their teen would love it ,and in April 2016, I started our first teens class, plus had two silks adult classes (the most popular), one lyra, and one static trapeze class,” Cher explains. “From there, we’ve allowed the studio to grow naturally, as the demand came. In Feb 2017, we added a second teen class and our first kids class, plus our consistent adult schedule, adding beginners only classes - up until then, they had all been mixed level classes. By 2018, we had three kids classes, two teen classes, and nine adult classes.” As the years rolled on, progress soon accelerated. “We expanded into the space next door, giving us much more room to grow,” Cher enthuses. “In 2019, we started running classes simultaneously. It was a scary move for us because I knew we were limited on teachers, and if a teacher got sick or hurt, it could be a huge issue. One class is hard enough to cover, but now two!”
PAGE 30
PAGE 30
PAGE 30
And with more classes, it naturally lead to the tricky task of finding more teachers, a quest that, in turn, saw the ever-resourceful Cher expand her operations even further. @bmamag
“The chance of finding someone who can teach Circus/Aerial Arts is few and far between, and in Canberra it’s even less,” she reveals. “Luckily, I had a few friends that loved aerials and also wanted to teach. “Then I started teaching other students or friends who were interested in teaching, to become aerial instructors. I’ve since developed and incorporated a teacher training program and a curriculum to help teachers teach and students learn.” With classes going strong, attention now turns to getting the good word out there. “We just had a successful student showcase and found people telling us they didn’t know Canberra had talent or shows like this, let alone a place to learn how to do it.,” Cher admits. ”In non-Covid times, we were doing showcases twice a year, and aim to get back to that. “It’s so satisfying to see students do moves they didn’t think they were capable of,” Cher beams. “To do cool moves they’ve seen others do, and to join the showcase and glowingly perform in front of their peers and family. I love seeing people as excited about aerials as I am.” And if all these has peaked your interest to give it a go, but seeing pictures of lithe people bend in amazing shapes or being suspended from a high place put you off, may I remind you... Come one, come all! “We have created an extensive curriculum, so students with no experience or strength and flexibility can learn as an absolute beginner and still get something out of it,” reassures Cher. “As students progress, they gain the strength and flexibility needed for more advanced moves. Instructors range from uni students, scientists, professional aerialists, and mums. We like to create a fun, friendly, and uplifting space where you’ll gain great friendships and a supportive space to learn, grow, and push your body to new movements. “ So get involved. After all, you only grow old if you stop playing. To join a class, hire a performer, or simply find out more, contact the good Aerial Sports folk via info@aerialsports.com or 6262 0215. Their website is aerialsports.com.au facebook.com/bmamagazine
PAGE 31 PAGE 31
with Andrew Myers
Black Sabbath – Master of Reality This is an exclusive repress of the highly influential band’s third album! This pressing is replicating the original Master of Reality that came in a boxed cover, with Vertigo Records authentic logo, and included a band poster tucked away in the sleeve. A new addition is this pressing is on purple vinyl and numbered for the occasion.
Ariana Grande – K Bye for Now (SWT Live) K Bye for Now is Grande’s FIRST live album to be distributed and pressed onto vinyl. This LP set was recorded during her Sweetener tour cycle, featuring her hits, such as, God is a Woman, and Break Up with Your Girlfriend, I’m Bored, Side to Side, Break Free and Thank U, Next. Do not sleep on this one as all Grande-stan’s will lap this one up!
The Cure – Faith The kings of goth are here to celebrate the 40th anniversary of their dreary post-punk album Faith, exclusively released on picture disc for Record Store Day 2021. Featuring songs like Primary and The Holy Hour.
PAGE 32
The Doors – Morrison Hotel Sessions The prolific ‘70s psychedelic rock band The Doors just celebrated the 50th anniversary of Morrison Hotel – the band’s fifth studio album. Digging out rare sessions recordings this is the first time these fly-on-thewall tracks will be heard, featuring renditions of Peace Frog, Roadhouse Blues and Queen of the Highway; a must-have for The Doors’ die-hard fans.
Engelbert Humperdinck – Engelbert Calling: The Boxset The man with the most “That sounds like a fake name” name ever has just compiled his 80th album, featuring fresh new recordings of his classic songs with additional help from legends such as Willie Nelson, Dionne Warwick, and Elton John. Engelbert Calling is spread over four 7” discs that are numbered out of 800. This boxset will not stick around!
Ed Sheeran – The A Team It has been ten years since Sheeran’s breakout single hit our airwaves and the phenomenon began. For Record Store Day ’21 there is the clear vinyl pressing of the single on a 7” disc; features the studio version and remixes.
@bmamag
For audiophiles all around the world Record Store Day has become an occasion to bask in the celebration of vinyl records and, to be frank, also an excuse to buy some especially released records for the day. Due to our old mate COVID-19 the celebration has been split over two days to comply with current social restrictions: 12 June and 17 July.
The Ramones – Triple J Live at the Wireless Capitol Theatre, Sydney, July 8, 1980
Here is a short shopping list of some of what can be scooped up on the days. For the full Record Store Day releases, visit www.recordstoreday.com.au
Evanescence -The Open Door It has been 15 years since this gothic gem was dropped, and we were given the powerful Call Me When You’re Sober, the piano laden Lithium, and the opener Sweet Sacrifice. Pressed on two grey marble LPs. Oooooooo!
This is a previously unissued live radio recording from the greatest punk band in the world -The Ramones. This LP was originally recorded during their End of the Century tour, featuring Blitzkrieg Pop, I Wanna Be Sedated, Teenage Lobotomy and Gimme Gimme Shock Treatment. Pressed on 180g vinyl and limited to 13000 copies worldwide.
Aretha Franklin – Oh Me, Oh My: Aretha Live in Philly, 1972
Hall and Oates – Voices
Aretha Franklin needs no introduction. She is the soul and blues powerhouse singer that every musiclover should know of. I Never Loved a Man (The Way I Loved You), Spirit in the Dark and, of course, Respect. This is limited to 10,000 copies and especially pressed for RSD ’21 on two orange and yellow discs.
An absolute must-have for 1980s pop connoisseurs! Voices was released in 1980 and propelled the heartthrob duo to household names with the upbeat You Make My Dreams, romance-laden Kiss on My List, and The Righteous Brothers’ cover of You’ve Lost That Lovin’ Feelin’. Voices is pressed on translucent vinyl, complete with an obi strip and booklet.
Pearl Jam – Alive
Czarface – Czar Noir Czar Noir is the unique LP and comic book combo by the American hip-hop supergroup. This is a new adventureorientated escapade courtesy of DJ 7L and the Czar-Keys, weaved together as you read the comic along with the record. Yes, I am serious. This has never been issued before and is limited to 5000 copies worldwide.
facebook.com/bmamagazine
To coincide with the 30th anniversary of Alive being released, the grunge gods have been kind and are gifting us a reissued 12” LP of the hit single on both vinyl and also cassette! Features the single and three B-sides with side-B being an etching.
PAGE 33
[CANBERRA MUSIC REVIEWS] THE ROYAL BELGIAN CONSPIRACY STEEL SHELL [
]
Early this year, Canberra and Melbourne based The Royal Belgian Conspiracy released Hold On, an impressive, understated folk-pop song in the style of Bon Iver which received an amazing response at radio and on streaming platforms. They’re now back with a second single, Steel Shell, another indie folk-pop gem that shines a reflective light on an enduring friendship and a lifechanging experience.
Utilising the refined musical sensibilities and skills of guitarist, songwriter, and vocalist Moozy, Steel Shell is an intimate meditation on the longlasting bond between two people. As Moozy says about the song: “It’s based on a long road trip I did with my childhood best friend, Steve. We did not check emails, social media, or take mobile phones or computers, which meant we were really alone with each other. We drove from New York through the centre of the United States to LA and then looped back around again through the deep south all the way back to New York.
ANIRBAN JEE MOVE OUT [
]
Canberra singer-songwriter and producer Anirban Jee has released a superb new R&B pop track, Move Out.
The new song follows the enormous success of his previous singles Mayday, Deep Down feat. Mary Ann Van Der Horst (2014 X-Factor artist) in 2016 and Undecided feat. Judd Field in 2014, both of which received generous airplay on commercial and community stations.
“Most nights we slept in the car, which is the ‘Steel Shell’. It was a sedan, not meant for sleeping. It wasn’t glamorous or Instagram stuff. The trip followed my time in Europe taking care of my sick brother. Steve and I met in New York, where we started the trip. We remain best friends.” Steel Shell features many of the same elements as their previous single, tasteful guitar layers, soothing vocal textures, strong melodies, and expressive performance from Moozy. Steel Shell’s most persuasive element is its melodic structure, which goes hand in hand with the lyric and the themes explored. The narrator looks back over a particular period in his life that has undoubtedly left its mark. Steel Shell is a moving invocation of remembrance, an inviting contemporary sort of lullaby that evokes the spirit of reminiscence in all its subtle comforting splendour. Taken from The Royal Belgian Conspiracy’s forthcoming and much-anticipated album due out soon, Steel Shell will undoubtedly repeat the success of Hold On. VINCE LEIGH
Move Out is minimalist dance-pop yet has a finely-honed feel about it, as it explores the typical tropes of the genre without succumbing to the more predictable characteristics of it. Move Out is a dynamic, soulful track with Anirban’s vocal performance a feature, communicating a lyric of self-determination with suitable well-balanced energy. With an assortment of memorable moments and overall accessible appeal, Move Out is sure to be Anirban’s next big hit. VINCE LEIGH
The success of these tracks sits alongside Anirban’s numerous awards and achievements collected recently, including Songwriter of the year 2018 (Australian Songwriting Contest), Songwriter of the Year 2017 (SongsAlive Australia), Winner of the International Category at the 38th Australian Songwriting Contest 2018, Winner of the Ballad Category at the 38th Australian Songwriting Contest 2018, Winner of Contemporary POP Category at the 35th Australian Songwriting Contest 2017 and many, many more. Move Out displays Anirban’s masterful ability to create strong melodies and thought-provoking lyrics. As Anirban Jee says about Move Out: “The track is symbolic of standing up to our troubles and fighting back with resilience and not letting our problems and worries get the better of us and steal our peace of mind.” Move Out was recorded, produced, and mastered by Sydney’s multi-platinum producer Steve Peach from Stereo Missile Recordings, Sydney. Steve produced and mixed for numerous record labels such as Universal Music, Sony, and Central Dance Records, and has worked with artists including Icehouse, Marcia Hines, Stafford Brothers, numerous The Voice contestants, Jenny Morris, Sophie Monk, ErikaHeynatz, Lonnie Gordon, Slinkee Minx, and Choirboys. PAGE 34
@bmamag
ALBUM IN
FOCUS
sound has only been personified and well tightened. Typhoons is an album about selfreflection at one’s own destruction at the will of substance abuse. If you look beyond the glossy and pummelling production, you can see a tale of how lead singer-bassist Mike Kerr has become two years sober. Typhoons is a more dance inspired release but that doesn’t slow the boys down. Lead single Trouble’s Coming opens the album with a rumble into gear like a foreboding elephant, courtesy of Ben Thatcher behind the kit.
ROYAL BLOOD TYPHOONS It is still hard to comprehend that British rockers Royal Blood are just a duo with a bass guitar and a drum kit! With album number three recently released, their
The dark and brooding Million and One slows down to let you reflect and take in each emotional smack and bruise of the lyrics, such as:
steering wheel of your life. “Tears in my eyes. Slept in a murder scene last night,” bellows Mike Kerr in this dark-dancey hit. Josh Homme of Queens of the Stone Age fame produced the snarky single Boilermaker; the bass line slaps you around the face and offers you another stiff drink. The instruments are crisp, the vocals are polished like steak knives and the production all round is mwah. For a band that only started out not even ten years ago they have gone from strength to strength with the trio of albums under their respective belts. To sum Typhoons up in a phrase: it’s black glitter. ANDREW MYERS
“All I wanted was someone to take me home. All those nights I felt I was alone…” Limbo is a shimmering and self-loathing track about letting your demons take the
ANDY MISON FERGUS CIRCUITS
Andy Mison has just released his debut album Fergus Circuits. The multi-instrumentalist, singer and [ ] producer has been refining his skills for some time and this collection of songs is undoubtedly a culmination of this assiduousness.
the overall patina of the melodies, which swing from outright big hooks to the more subtle groove induced kinds, such as in Sell It To Me Slowly.
From the opening track Bring Me Back To Life to the closer You Made Up My Mind, this album maintains a cohesive, consistent aesthetic and writing style. And there’s a good amount of quirk too, amid the layers of vocal, slabs of synth, and melodic vigour.
The majority of the tracks are bright, high-spirited, with some variances in feel that make up for the less common heterogeneous nature of sonic scope. Utilising tracks like Indigo Child, which features a chilled-out drum pattern providing a change in dynamics, works, with the listener coerced into taking in the various textures without the album’s prevailing fusillade.
Bring Me Back To Life seems to set the tone and temperament, a tendency for adopting synth sounds impregnated with a robust, friendly kind of menace, rippling bass parts, and rhythm programming efficiently aligned to the cause, which is a curious hybrid of funktinged, electro-pop. As we delve deeper into the album, we get more accustomed to the meticulously applied sound and vocal choices, and, of course,
Perhaps the stand-out feature of Fergus Circuits is the songwriting. Despite the obvious performing, recording, and programming skills on display—in fact, in some cases, despite them—these tracks, for the most part, stack up melodically. Mison knows his way around a song and in some cases cogently blends styles that have surprisingly charming results, such as in As Long As We Live, which adopts indie ’80s aesthetics and paints them over with a ’60s flavoured melody and chord structure, all the while maintaining the album’s dominant palette. If you like your electro-pop imbued with a smattering of funk, the odd jazz chord inversion, and a considered melodic bent, then Fergus Circuits is worth a listen. VINCE LEIGH
facebook.com/bmamagazine
PAGE 35
[FILM REVIEWS]
THE WORD ON
FILMS with Cameron Williams THE WORLD WAS SUCH A WHOLESOME PLACE... There’s nothing subtle about the Disney villain Cruella de Vil from One Hundred and One Dalmatians. To stay on brand, her live-action origin story, directed by Craig Gillespie (I, Tonya), ensures anything understated is nuked out of existence.
reason still remains unclear after the film).
She pulls up in a luxurious car with the number plate ‘Devil’ while The Rolling Stones Sympathy for the Devil plays.
The clock turns back to 1970s London where Estella, soon to be Cruella, works as a grifter alongside her buddies Jasper (Joel Fry; Game of Thrones) and Horace (Paul Walter Hauser; Richard Jewell). Estella wants to be a fashion designer and gets her big break when she’s noticed by the world’s greatest fashion designer, the Baroness (Emma Thompson; Late Night). Estella discovers the Baroness is linked to her past, falls asleep one night, and wakes up and decides to be Cruella.
That happens.
Yes, it happens that quick.
But Cruella isn’t interested in sympathy because it wants empathy. Why? Because you have to relate to the maniacal, black-and-whitehaired fashion designer who will one day come up with a plan to make a coat of out of puppies (for the record, this
Soon, a feud between Cruella and the Baroness develops that pushes Estella to extremes.
Picture this: Cruella de Vil (Emma Stone; The Favourite) stages a fashion show while a cover of The Stooges’ I Wanna Be Your Dog howls in a way that only that song can. That happens.
The period details of Cruella and the Vivienne Westwood inspired fashion choices make it pop. Gillespie, cinematographer Nicolas
Karakatsanis (I, Tonya) and costume designer Jenny Beavan (Mad Max: Fury Road) bring vibrancy to foggy London town and the conservative fashion scene as Cruella shakes it up with Joker-esque antics. Thompson is at her icy best as a fashion tyrant, and Stone has great chemistry with Fry and Hauser as a trio of con artists. The heist elements of Cruella are where the trio shine before the film is overwhelmed by a laboured backstory that hinges on paternity and Disney’s bad habit of killing off parents. The further you get into the Estella/Cruella dynamic, the further the film de-fangs its villainess and plops her in the misunderstood category. Cruella settles for vengeance and answers questions not many people were asking rather than offer up an intriguing heel turn.
THE MAN IN THE HAT [
]
Every so often, something comes along that quietly converses with your soul in a wordless language in which memory and meaning, intent and sentiment, understanding and action, are one, when past and future impress themselves inevitably upon the present. Essential to such a work is a character — at least one — whose heart is large enough to embrace whatever life throws at it. The work’s subject, its plot, its story arc may not matter; it may be unrecognisable or nearly impossible to describe. And if the story is repeatable, its outline may be inadequate to explain the mysterious joy or sadness the work evokes. Have I just spoiled The Man in the Hat? No. In fact, it is a story, and an engrossing one; a road trip of sorts by “The Man” (played by the veteran actor Ciarán Hinds); a pilgrimage, perhaps; a series of seemingly preordained coincidental surprises. A simple story, at heart, of simple things, and told with barely a word spoken throughout. But it is beneath the almost wordless story of this journey — beneath its allegory to the wealth of life’s essential mysteries and revelations, its imponderable cycles and connections — that the film speaks to us in that language without words. In this language of the soul, co-directors John-Paul Davidson and Stephen Warbeck are fluent. And it doesn’t hurt that it includes the most gorgeous cinematography of northern France. The Man in the Hat is a rare gem, and it does feature wonderful characters and whimsy. Yet I can’t explain what makes it a work of such spiritual nourishment. I can say with reasonable confidence, though, that your life will be the poorer for overlooking it. Screening at Palace Electric cinemas. JOHN P HARVEY
PAGE 36
@bmamag
[FILM REVIEWS]
I’M YOUR MAN [ICH BIN DEIN MENSCH]
DE GAULLE
THE DREAM FACTORY [TRAUMFABRIK]
[
[
[
]
Alma is a research scientist at Berlin’s acclaimed Pergamon Museum where she is searching for evidence of lyric and poetic works in Sumerian cuneiform tablets. She agrees to take part in, and provide analysis toward, a project in which a company creates humanoid robots to meet individual owners’ specific needs and desires. Although after a first meeting with the robot designed to match her characteristics, Tom (Dan Stevens), Alma decides she wants nothing more to do with the project. Her boss persuades her to continue with the experiment. Tom is everything Alma wants — on paper — but she can’t overcome that his behaviour is merely the output of an algorithm, albeit one that can adapt to circumstances and learn from her negative responses. And the more perfectly Tom tailors his behaviour to her apparent wishes, the stronger become Alma’s frustrations. I’m Your Man explores our perception of relationships, how we evaluate them, and how we try to understand what lies behind behaviour. The film also raises the question of what constitutes connection. What if we could have a companion we could trust implicitly despite our varying moods? What if we had 100% surety of fidelity in body and mind that many vainly strive for? And what if we never had to worry about becoming a burden as we age or our health fails? What if we could swap thinking with the one we love for absolute certainty? I’m Your Man doesn’t try to answer any of these questions. But, with companion robots already a reality, the issues that the fictional Alma’s experience with her companion robot raises about our humanity provide plenty of food for thought, in the guise of an entertaining tale of an asymmetrical relationship. Screening at Palace Electric Cinemas. MICHELE E HAWKINS facebook.com/bmamagazine
]
World War II, June 1940, Paris. Germany has battered the French military. In a French cabinet meeting, the commander-in-chief, Marshall Philippe Pétain (Philippe Laudenbach) insists that the country, lacking important machinery of war, must negotiate an armistice that would see it side with Hitler. An uncompliant Charles De Gaulle (Lambert Wilson) protests that France must instead fight the Germans where it can. De Gaulle travels to England to seek Britain’s military support from Winston Churchill (Tim Hudson). But meanwhile, France descends into universal privations, sudden displacement, and unprovoked fatalities. The political has become personal for De Gaulle as well as for those back at home. His wife, still in France, must make her own decisions in the interests of the family’s survival, particularly of its youngest member, Anne (Clémence Hittin) who, with Down Syndrome, is a natural target for Nazis. Largely a dramatisation it may be, but De Gaulle broadly attempts a sympathetic depiction of the man, emphasising his courage and tenacity in rebuilding the French fighting spirit from a position of exile, as self-declared leader of the free French. Ambitious, and knowing what must be done, the De Gaulle character holds, along with his wife, Yvonne (Isabelle Carré). The film’s sole disappointment lies in its depiction of Churchill, with a contrived stubborn gruffness bearing little relationship to the real Churchill’s toughness and intelligence. This perceived flaw aside, through superb acting all around, the film succeeds as insightful entertainment by drawing us into Charles De Gaulle’s political and personal turmoil. De Gaulle conveys, remarkably, a sense of the degree to which history can hinge on strength of character. Screening at Palace Electric cinemas. JOHN P HARVEY
]
When a young boy’s heart is broken, his grandfather helps him to see that true love is worth fighting for by telling him the story of a man he once knew. In this way we meet Emil (Dennis Mojen), who in 1961 leaves the army to find work at a major German feature-film studio where his brother, Alex (Ken Duken), is head of props. It’s here that Emil meets and falls in love with Milou (Emilia Schüle), the dance double for famous actress Beatrice Morée (Allenie Salvo González). Unfortunately, Emil inadvertently makes an intractable enemy of the studio head, Director-General Beck (Heiner Lauterbach). Determined not to lose Milou, Emil refuses to leave the studio premises, instead meeting in secret. Things appear to be going their way, with Emil due to woo Milou with a surprise on the morning of Berlin’s split, leaving Emil in the East and Milou in the West. Soon, Emil devises an ambitious plan to bring them back together. But to pull off his plan he’ll need a lot of help, including from his reluctant brother. And he’ll have to stay out of the way of DirectorGeneral Beck. Mojen and Schüle, as Emil and Milou, make the perfect star-crossed lovers, and the combination of spontaneity and ingenuity that they evoke in each other would tickle anybody’s creative ribs. As well, the choreography of motion throughout matches the cast’s impeccable delivery of a script that translates beautifully, even in subtitles. Filled with grand studio sets, a deeply engaging love story, inspired improvisation, and joyful comedy, Dream Factory is one movie you must see for its sumptuous visuals, its loveable characters and heartfelt acting, and for a storyline that will find a place in your heart. Screening at Palace cinemas. JOHN P HARVEY
PAGE 37
[CANBERRA SINGLE REVIEWS] Problems is the new single for Hope Wilkins and follows the release of her acclaimed debut [ ] EP Coffee Cups. Hope wrote the track with fellow Canberra artists Joel Tyrell (Hands Like Houses) and Lucy Sugerman and is, as the PR blurb states, ‘the first step towards her newly refined sonic identity.’
HOPE WILKINS PROBLEMS
That sonic identity is a definitive leap into some mainstream territory: clean production, a focus on a multi-tiered vocal approach, contemporary rhythmic additions, and space enough to reveal the tonal expanse of Hope’s voice. After the raw and earthy palette of her previous releases, Problems sounds quite polished, smooth, and more across-the-board accessible. The song style is also different, which is undoubtedly a result of the collaboration mentioned above. We now have a marriage of Hope’s high wattage range, direct fire lyrics, and emotion-fuelled performative presence, with
NINA LEO RECOVER [
]
Canberra music artist Nina Leo has been performing locally as frontwoman and guitarist of The Differs and opening for many known Canberra locals such as Slow Dial, Charlotte & the Harlots, Parklands and many more. Her debut solo single Recover has just been released with an EP due near the end of 2021. The central melodic motif around which Nina has structured Recover is a circuitous designation of notes, woven to a direct and undoubtedly personal lyric.
a pop-imbued series of melodic lines. Problems sounds like a very capable contender for sustained radio play, with its internal dynamic a good mix of predictability and expectation. And its hooks are not so obvious as to seem contrived but instead have a healthy amount of stealth to them. The chorus can linger long after the track’s final vocal adlibs, and the interplay between acoustic guitar and machine beat has a resonating quality also. The song explores the role of alcohol in a young adult’s life—a worthy and no doubt potentially perilous subject matter—and Hope handles this field of sociology and psychology with suitable delicacy and ambiguity. The juxtaposition of pop-inspired, contemporary R&B flavoured sensibilities with such a weighty topic enhances the track, embellishing it with a dark sweetness whose attraction is multidimensional, fertile, and affecting. Problems is certainly a refashioning for Hope, an extension that, conversely and surprisingly reveals, in a much starker manner than present in her earlier releases, the breadth and depth of her unquestionable talent. VINCE LEIGH
This is, in part, initiated by the opening line, Hold me close and say you won’t let go, and continues throughout. With music, it is often the barebones, furtively simple application of sensibilities that can wreak the most emotional havoc upon the listener, and the examples are limitless. Recover’s decelerated unravelling, its ruminative and tender sensory features are, during some moments, disarming, and during others reaffirming, though in an oblique way. Leo has managed to navigate through a terrain that will likely resonate with many others, with Recover’s unassuming traits sure to have a decidedly unearthly effect. VINCE LEIGH
Minimalist by design, the track also harnesses a wash of subtle textures and sonic garnishes, spread throughout, helping to provide a complimentary yet almost diametric backdrop. The rawness is juxtaposed by these aberrations, with Nina’s vocal free-floating around it, issuing notes of quiet meditation while maintaining a sombre, quiet solitary strength. Although the dominant palette is restricted to acoustic guitar, vocal, and some very appetising reverb, with the aforementioned add-ons colouring the landscape, Recover sounds quite expansive; what gives the track its breadth and depth are apparent. Embellished by the swaying, muted nature of the rhythmic pulse, there is a sense of the cathartic here, which one can attribute to the choice of chords, melody, and Nina’s performance; musical gestures imbued with varying tonal complexions, the most significant of which is a self-assuredness that engenders an empathetic quality. PAGE 38
@bmamag
facebook.com/bmamagazine
PAGE 39
THEATRE REVIEW - The Door by Lightbulb Improv — The Courtyard Theatre — Fri-Sat, 7-8 May 2021 Review by Michele E Hawkins Photo by Firedust Photography An evening’s improvised theatre at The Courtyard commenced with hostess Amy Crawford’s warmly received cheerful introduction to improvised theatre’s mechanics: essentially, unscripted performance in response to audience suggestions. The audience needed no encouragement to join in. First to take up the improvisational challenge was The Mavens, a singing trio accompanied on keyboard intuitively and sensitively by Alan Hui. Taking its cues from the life experiences of audience members, the trio made up its numbers as it sang. Moving from one genre to another, including blues and country, it turned heartache, missed opportunities, and regret into five tongue-incheek songs on what we all feel at some time in life. It had many audience members laughing at themselves. After interval, that night’s actors introduced themselves — their fictional selves, including their fictional motivations, again selected through audience acclaim. The audience then deciding whose story they wanted to follow, an intricate and ever-evolving production unfolded, each character responding to whatever mad turn of events emerged.
Setting the mood musically for this was gifted pianist Ella Ragless, who, watching the action carefully, introduced emotional highs and lows as the action unfolded. The Door’s cast reshuffles, from performance to performance, amongst Amy Crawford, Angie Ford, Ella Ragless, James Lim, Jeremy Strasser, Kit Berry, Luke Atchison, Lou Maconachie, Laura Griffin, Michael Carter, Millie Hayes, and Ryan Erlandsen. If those performing on this night were typical, Lightbulb Improv’s performers are naturally comical, with excellent timing. Performers inhabited characters intuitively, as though born to them, and responded to one another at a second’s notice. The Door was a fine example of the humorous spontaneity that even young amateur performers can call on after some training and practice.
And there were plenty of those, leading to playful vignettes in which we could all identify someone we’ve met.
THEATRE REVIEW - Animal Farm — The Playhouse, Canberra Theatre Centre — Thu-Sat, 6-8 May Review by Michele E Hawkins One of George Orwell’s greatest works, first published in 1945, was the novel Animal Farm, which Orwell uses to comment on the Russian Revolution of 1917 and the Stalinist era’s subsequent horrors. The story is set on Manor Farm, run by the cruel drunkard farmer, Mr Jones. Seeing the terrible conditions in which the animals live, Old Major, an elderly boar, urges the animals to revolt, convincing them that they could all live good lives in which all animals are equal. The animals rally and overthrow Mr Jones, who flees. But Old Major dies, taking his wisdom with him. Still, with plenty of food, shelter, and freedom, life improves for the animals. Of course, this happy period is cut short, though, by the steady rise to corrupt power of a group of pigs, led by Napoleon. This stage adaptation of the novel emulates Orwell’s focus on suffering, idealism, indoctrination, and the revolving door of corruption, greed, cruelty, betrayal, and even greater suffering and hardship with considerable veracity as the animals are slow to recognise how down-trodden and deluded they are. And, as those who remember the past die, fewer and fewer are left to pass on the lessons of history. Those in the present cling to their false beliefs, irrespective of the costs to them. Shake & Stir Theatre company’s production brings Orwell’s insights right into the present with references to Trump’s fake news and making America great again — jingles that the gullible animals forever leave unquestioned. PAGE 40
The production features five actors who slip easily from one character to another by the use of simple costuming accessories and by casting the illusion of various animals through pose and movement. Although the lighting was largely apt in creating the sorry state of the lives of the animals, it could have benefitted by some variation, for example, brightening during those times when the animals naïvely grasped a vision of a fair and equitable future. The other aspect that would have made the play much more poignant is variation in pacing. Quiet moments to allow the audience to breathe, reflect, and mourn would have enhanced the audience’s emotional experience. Nevertheless, the actors’ timing, diction, physicality, and seamless performances brought Orwell’s Animal Farm to life — important because, regrettably, it is as relevant today as when Orwell penned it.
@bmamag
MUSIC REVIEW - ANU Orchestra @ Llewellyn Hall - Thursday, 27 May Review by Isaac Dugdale / Photos Peter Hislop
The ANU Orchestra, formed in late 2019, had a triumphant debut public performance on Thursday night. Envisioned by Head of School of Music Kim Cunio as an inclusive, accessible orchestra, the Orchestra was formed with the intention of giving all ANU students and alumni a chance to play together regardless of their area of study, or background - as long as they can play. For someone like me, who loves music but doesn’t attend many classical performances, it was a great opportunity to experience the wonders this genre has to offer, without the stuffiness and expense that can often go along with it. The Orchestra was fantastic, and the energy and quality of the music was exceptional. Beginning with a selection of Mozart, a jubilant optimism shone throughout the first overture, The Marriage of Figaro, with a lovely soundscape and flourishes produced by the strings. In this as well as the Concertone that followed, the woodwind section was a real highlight, with light and effortless sequences that felt rather like lying in a sunny meadow without much to worry about - a welcome antidote to the general state of confusion and distress in the world.
THEATRE REVIEW - The Appleton Ladies’ Potato Race @ The Playhouse Thursday - Saturday, 3 - 5 June
Review by John P Harvey / Photo by Phil Erbacher Every year, Appleton’s male farmers race with a sack of potatoes over their shoulders for prize money of $1000; and, every year, local women compete in the race for prize money of $200. When former local Penny moves back to Appleton as its GP and learns of this financial discrepancy, she vows to do something about it. But many in Appleton feel that equalising the prize money would break with a time-honoured tradition going back for at least the 32 years that Mrs Armstrong, the head of the raceorganising committee, has been running the show for. Some take it as an attack on Appleton’s identity. Life’s difficult enough, with an influx of refugees, homosexuals, and vegetarians, without having to also manage notions of an impossible equality. Making the prize money equal for men and for women: that’s a bridge too far. Besides, the men carry a sack filled with 50 kilograms of potatoes whilst the women carry just 20 kilograms. What more need be said!
Trumpets of the kind played in the 1700s made an appearance, cutting through with presence in the acoustically impressive space of Llewellyn Hall. However, the latter half of the Concertone dragged on a bit, while being very pleasant, lacking drama. This drama was quickly restored with the fantastic Lyric Suite by Grieg, zealously introduced by conductor Max McBride as a piece at once “black, and full of colour,” conjuring fantastical happenings of the cold hometown of the Norwegian composer, lifted by elegant harp strums that called and responded to the rest of the orchestra. Sticking with this Scandinavian theme, the darkly beautiful and rousing Finlandia by Sibelius closed the evening, making great use of the thundering horn section and giving the timpani player a workout as the piece crescendoed.
The story, based on playwright Melanie Tait’s own experience, somewhat reflects the arbitrary events that occur in real life. The tale and its incidentals are easy to relate to; the play reflects well the inexplicable ways in which people react to challenges to their ideas and shows us our quirky selves through characters we might meet anywhere. With great lighting and sound production, an innovative set, and watchable characters arising from the production’s five actors, The Appleton Ladies’ Potato Race brings the atmosphere of a small Australian country town to life, and shows us amusing aspects of our national character through many laugh-out-loud lines. It’s was well worth seeing just for that.
Throughout the performance, a casual, unpretentious vibe made the show all the more enjoyable, without detracting from the highly skilled musicians playing seriously well. Kim Cunio described the Orchestra as the spiritual heart of any good school of music, and after witnessing what they can do, I can see why. facebook.com/bmamagazine
PAGE 41
ENTERTAINMENT GUIDE
THURSDAY 10 JUNE Mervyn Bishop Photo Exhibition Celebrating Mervyn Bishop, one of Australia’s most prolific and renowned photographers, whose images of culture, politics, and people have significantly influenced our collective understanding of Australia’s history. Runs til August, 10am – 4pm every day, $5 - $13 from nfsa.gov au NATIONAL FILM AND SOUND ARCHIVE 80s Tribute Night #11 Six amazing bands pay tribute to some of the biggest acts from the ‘80s. From 6pm til late, $30 + bf via Oztix THE BASEMENT Peep Show Trivia If you think you know the show, then give it a go. Donation entry, 7pm GANG GANG CAFE Milk: By Dylan Van Den Berg On the precipice of something life changing, a young Palawa man plunges into an exploration of self and Country. Runs 3 - 12 June, $45$32 from venue THE STREET THEATRE Grace Under Pressure Theatre based on hours of indepth interviews with doctors and nurses about their experiences of training and working in hospitals, written by David Williams and Paul Dwyer. Runs 10 - 12 June, $27 – $57 via venue website THE Q – QUEANBEYAN PERFORMING ARTS CENTRE SW Band Night presents: Potential, Shoeb Ahmad and Obsidian Dream From 8pm, free entry SIDEWAY FACT Thursdays Party all night in the intimate setting of Fact located on the mezzanine level of Fiction. Hear all your favourite RnB, Hip Hop & Party Jams. 10pm – 3am, free entry FICTION CLUB
FRIDAY 11 JUNE Smith’s Irish Jam Canberra’s finest exponents of trad Irish tunes gather for a weekly jam. 5pm – 7pm SMITH’S ALTERNATIVE
PAGE 42
Kulture Break’s 2021 Dance Nation School’s Spectacular: RESURGENCE Kulture Break have partnered with Lifeline Canberra to bring this year’s Resurgence-themed Dance Nation School’s Spectacular. 6:30pm, $23.58 – $29.72 from Eventbrite ROYAL THEATRE Bad//Dreems In the past, a heaving pub rock flavour may have defined Bad// Dreems, but on third LP Doomsday Ballet, the quintet have constructed a more textured, artdriven, considered sound. From 7pm, $35 + bf via Oztix THE BASEMENT Chain Tombstone - Circus of Gore Album Release Party The two-piece Comedic Death Metal band who write, record & mix all their music, have since recruited some new members to join the band’s line-up. Support from Axiomatic Theory and Black Heart. From 7pm, $13 from Oztix THE BASEMENT Milk: By Dylan Van Den Berg 7:30pm THE STREET THEATRE WTF Welcome To Friday Live Local Music - Black Cypress Borne of dark and chimeric folk blues, Black Cypress pay a melodic homage to the savage and beautiful. Inspired by remote wilderness areas, this three-piece band mesh dynamic acoustic blues, with instinctive vocal harmonies and incisive violin reveries. 7:30pm CANBERRA IRISH CLUB Vinyl DJs From 8pm Retro, jazz, funk, and more THE OLD CANBERRA INN FEEL ft. Rebūke Hailing from the motherland of Ireland, Rebūke brings his driving sound, chunky 808s, and funky basslines to town. Supports Unknown Avenue, Parisi, Amraks, and Offtapia in the main, and Divito and Edstar in the Fact Bar. 9pm – 5am, $32.23 from intix.com FICTION CLUB
SATURDAY 12 JUNE Australian Burlesque Museum Burlesque Exhibition at Flazéda The exhibition and collection includes work from Neo-Burlesque pioneers Gurlesque; strip-artactivists who ushered in a new wave of radical feminist political theatre. From 2pm FLAZÉDA HUB Live @ The OCI - Sophie Edwards Not your average pop singer, Canberra bred Sophie Edwards pairs hard-hitting lyrics with multigenre explorations to create her moody pop music. From 2pm THE OLD CANBERRA INN In2Deep + Friends In2Deep brings together the amazing talents of seasoned professional and versatile performer Rachel McNally (nee Thorne) and world-travelled piano player Michael Dooley. 3pm – 5pm, $20/$25 (free for Under 12s) via venue website SMITH’S ALTERNATIVE Metal United Down Under From Epic Death & Black Metal to Progressive, ft. Stormtide (Vic), Saralisse (NSW), Evocatus (NSW) Myridian (Vic), Atrocita, Black Mountain, Arkanae, and Endless Grin. 4:30pm til late, $25 via Oztix THE BASEMENT Odette Herald Australian Tour w/ EGOISM & KYVA Songs of love, heartbreak, grief, anger, self-analysis, and accountability. 6pm – 9:30pm, $36.90 via Oztix (may be sold out) KAMBRI PRECINCT Sam Buckingham + Kim Yang Something More Tour Sam Buckingham is revered for her soul baring, intimate, acoustic performances. The new live show combines this organic approach, keeping storytelling at the core, with the bold addition of live looping and sampling. 6pm – 8pm, $25 via venue website SMITH’S ALTERNATIVE Jackie Brown Jr Happy (You Wanna Be) Tour w/ Lily Morris & Sal and the Mandas All ages show, 7pm, $17.35 via Oztix GANG GANG CAFE Mucho Sonar + Pilots of Baalbek + Rawrus Tongue Bringing their brand of blistering horn infused punk rock back. From 7pm, $18.10 via Oztix THE BASEMENT
Les Divas: An All Male Revue Witness the greatest divas being impersonated like never before by Australia’s six-foot something songstress Prada Clutch. 8pm, $68 + $5.95 bf via venue THE PLAYHOUSE FICTION Saturdays The main room blasts out all the latest house, EDM and Mashups, while Fact Bar delivers all your favourite RnB, Hip Hop & Party Jams. 9pm – 5am, free before 10pm, $21.79 from intix.com FICTION CLUB The Dreggs Stories From Gracetown The folksters set off on the road in celebration of their latest EP. With special guests Alivan Blu. 9pm, $30 via venue website and are, at time of writing, sold out SMITH’S ALTERNATIVE Mtty: Alberts Intergalactic Adventure [HOT FOOT] An interstellar sonic adventure for the first EP on Hot Foot. Supports Banker & Jackson Lees. 10pm – 4:30am, free entry with purchase of EP from Bandcamp, entry-only $10 from Humanitix SIDEWAY
SUNDAY 13 JUNE The LGBTIQ+ Elders Dance Club Canberra - June Edition This fabulous FREE social event for Lesbian, Gay, Bisexual, Trans and Gender Diverse, and Intersex elders and allies. 1pm – 3pm, free but registration via venue required AINSLIE ARTS CENTRE Assembly x Larry’s Garage present: Yolanda Be Cool & Sgt Slick Dance the afternoon away with the best disco & house tunes at your favourite pub. Support by Jack Burton, Clique, Ashley Feraude, Sweetheart, Tim Galvin. 2pm – 8pm, $23.47 – $43.92 via Moshtix ASSEMBLY | THE PEOPLE’S PUB Swift Peaks Better Single Launch With supports Signs & Symbols and Rhys Coles. 2:30pm, $13.30 via Oztix SIDEWAY Live @ The OCI - Becoming Singer-songwriter Ben Cumming doing what he does best. 4pm THE OLD CANBERRA INN
@bmamag
ENTERTAINMENT GUIDE Stella’s Way Launch their new collection of pull-no-punches contemporary electric folk songs. 4pm, $20 via venue website SMITH’S ALTERNATIVE The Strides Builds on the foundations of classic roots reggae with a hip-hop edge, forging a sound that brings together modern dance hall, dub beats, and reggae-pop. 5pm, free SMOKEY HORSE Casio Cowboy Jim Dusty Aces Hi Single Launch The Jim Dusty Drive-thru Garbage Casino will be performing a live full band set, supported by special guests Griffin Ford, and Suli. 7pm, $17.35 from Oztix GANG GANG CAFE Clint Boge (The Butterfly Effect) Focusing on crowd favourites from The Butterfly Effect, his solo releases and a taste of upcoming works for good measure across two 40-minute solo and acoustic sets. 7pm, $40.05 from Oztix THE BASEMENT The Sunday Rock Show - Highland Light, Northbourne, Nora & Parrots With Piercings Some of the best Punk Rock you’ve heard crammed into one short night. 7pm, $20 on the door SIDEWAY Fiction Club ft. Will Sparks One of Australia’s biggest electronic artist, with supports Vivace, Reubok, Haylee Karmer, and Toucan in the main room, plus Edstar and Divito in the Fact Bar. 9pm – 5am, $42.68 via intix.com FICTION CLUB
MONDAY 14 JUNE Lunchulele Every Monday lunchtime, 12.30pm1.30pm, ukulele players mysteriously appear SMITH’S ALTERNATIVE
TUESDAY 15 JUNE Marky Worthington Presents: Open Mic Comedy Whether you’re a seasoned professional looking to tryout some new stuff, or if it’s your first time, head on down. Doors 7pm, show 7:30pm, limited spots available, email: markyworthingtoncomedy@gmail.com THE BASEMENT facebook.com/bmamagazine
IQ Trivia From 6pm THE OLD CANBERRA INN Stoner Rock Riffs at Smith’s feat. Death by Carrot Stoner Riffs descended from the Black Sabbath meets Pink Floyd branch of the Rock ‘n’ Roll tree. 7pm – 9pm, $15/$20 via venue SMITH’S ALTERNATIVE The Veronicas GODZILLA V HUMAN tour I’m seeing double here... Four Veronicas! Touting their surprise double album release. 7pm, $85.90 + bf via venue website CANBERRA THEATRE CENTRE
WEDNESDAY 16 JUNE Old Timey Jam The open jam where we party like it’s 1899. Luminaries from the local old timey/folk/acoustic scene will gather at Smith’s to lead an open session of Americana/old timey music. 4pm-6pm SMITH’S ALTERNATIVE Live Jazz From 6:30pm THE OLD CANBERRA INN Chicharrita Club at Paradiso Reggae Night Chill vibes and great beats with cozy Caribbean style. With each band bringing their unique flavour each week, expect a funky mix of tropical Ska, Dub, Reggae, Roots and Latin sounds. 8pm – 10:30pm THE HIGHBALL EXPRESS
THURSDAY 17 JUNE Justice For The Damned On their Pain Is Power Aus tour with special guests Antagonist A.D & Born Free. From 7:30pm, $24.25 from Oztix THE BASEMENT William Crighton: This is Magic “William Crighton’s new tune defies physics. It manages to walk a tightrope between relaying a powerful and serious message while also using disarming nostalgia and good humour, all the while being as catchy as hell. I’m not sure how he does it….it’s Magic” – Henry Wagons, Double J. 7:30pm, $35 via venue THE STREET THEATRE
FACT Thursdays Hear all your favourite RnB, Hip Hop & Party Jams. 10pm – 3am, free entry FICTION CLUB
FRIDAY 18 JUNE The Very Hungry Caterpillar The team behind the Australian tours of The Gruffalo, Spot, and The 13, 26, 52, 78 & 91-Storey Treehouses will excite, educate and entertain. RIP creator Eric Carle. What better way to celebrate the man’s life. The show features three other Carle stories, including Brown Bear, Brown Bear, What Do You See? $25 - $34 + $5.95 bf via venue website. Runs 18 - 19 June CANBERRA THEATRE CENTRE Smith’s Irish Jam Canberra’s finest exponents of trad Irish tunes gather for a weekly jam. 5pm – 7pm SMITH’S ALTERNATIVE Steve Kilbey (The Church) & The Winged Heels Dedicated to women real and imagined, Kilbey’s latest album Eleven Women will be performed in its entirety, accompanied by his all-star band The Winged Heels. 6:30pm, $43.90 (or $89.90 dinner option) via Oztix ROYAL HOTEL QBN Yotam Ottolenghi Flavour of Life The trail-blazing chef, prolific author, TV personality. 7pm , $109 – $139 + $5.95 bf via venue website CANBERRA THEATRE CENTRE Welcome To Friday (WTF) Live Local Music - Nice Good Things + The Decideds The original, rootsy, dubby, funky, Latiny, jazzy, gypsyish 8-piece dance band that are The Decideds are joined by Nice Good Things, comprising the songs of Rafe Morris, the voice of Chanel Cole, the cello of Gemma, and the violin of Llewellyn. From 7:30pm CANBERRA IRISH CLUB Gina Jeffreys The country music superstar returns with her exquisite new album Beautiful Tangle, with Rod McCormack, with his highly-acclaimed bluegrass album, Fingerprints – and singer-songwriter, Max Jackson. 8pm, $28.30 (dinner option $66.05) via Ticketek CANBERRA SOUTHERN CROSS CLUB (WODEN)
Queanbeyan Players Present: Kiss Me, Kate The Broadway hit musical written by Bella and Samuel Spewack with music and lyrics by the brilliant Cole Porter, this is classic “golden era” musical comedy but refreshed for, and set in, the 21st century starring Janelle McMenamin. Runs until 27 June, $30 - $55 via venue THE Q – QUEANBEYAN PERFORMING ARTS CENTRE Vinyl DJs From 8pm Retro, jazz, funk, and more THE OLD CANBERRA INN FEEL ft Tigerlily With supports Vivace, Toucan, Ren Kun, Trigga, and Edstar. 9pm – 5am, $16.57 – $27.01 via intix.com FICTION CLUB San Cisco - Between You and Me Album Tour w/ Jaguar Jonze Inviting you to the upbeat indie-pop groove on the cusp of innocence and heartbreak where San Cisco lives. From 9pm, $56.36 from Moshtix UC REFECTORY
SATURDAY 19 JUNE Leo Joseph’s Blues Piano Sessions Running since 2011, Leo’s familiar solo blues piano sessions have now found a new home at Smith’s on the 3rd Saturday of every month. From 12.30pm to 2pm SMITH’S ALTERNATIVE Canberra Symphony Orchestra Classic Afternoon: The Elements See Spotlight section (p13) for more details. 2pm – 3:30pm, $30 $101 via cso.org.au LLEWELLYN HALL Live @ The OCI Prue Hazel & Jonah Myers Enter the acoustic worlds of Prue Hazel & Jonah Myers, and be serenaded in a low-stress atmosphere with songs about heartbreak, Ikea, patience, and new beginnings. 2pm THE OLD CANBERRA INN DJ Mixtape: 2XX Radio Fundraiser Vol. 4 A day/night music session with CBR’s best DJs and 2XX FM presenters, with sets ranging from funk, soul, disco, Latin, electro, D&B, house, RNB + more. 5pm – 2am, $5/donation – all proceeds to go 2XXfm – your Community radio station! BLACKBIRD BAR PAGE 43
ENTERTAINMENT GUIDE A Night Of Hard Rock ft. Taliesin, Spinning Plates, NTT, Wesley & The Crushers Bringing together the finest of the local hard rock genre in one night. From 6:30pm til late, $20 + bf via Trybooking POLISH WHITE EAGLE CLUB Paco Lara The Andalusian Guitar Paco Lara’s eclectic fusion of flamenco, guitar standards, and pop are a must-see musical experience as he leads his ensemble of a second guitar, percussion, keyboard, and special guest flamenco dancer, Deya Miranda Giner. 8pm, $25 – $60 via venue website BICENTENNIAL HALL Phish + Phreak’s Drag Takeover A bevy of local queer talent with P+P’s own artists and multiple stunning guest performers at every show. 8pm til late THE BOARDWALK BAR & NIGHTCLUB Tundrel Album Launch Canberra longstays, Tundrel, have been banging out tunes here since the ‘90s. Supports for the night include local power rockers Renegade Peacock, and the laid back “Pink Floydian” vibes of David Bath and the Hot Tubs. 8pm til late, $29.35 from Oztix THE BASEMENT FICTION Saturdays The main room blasts out all the latest house, EDM and Mashups, while Fact Bar delivers all your favourite RnB, Hip Hop & Party Jams. 9pm – 5am, free before 10pm, $21.79 from intix.com FICTION CLUB
SUNDAY 20 JUNE English Trad Jam Dust off those accordions, fiddles, hammer dulcimers & tubas and knock out those toe tapping tunes from the British Isles including polkas, jigs, waltzes & 3/2 hornpipes with the Burnt Roast Band. 1pm – 3pm, free SMITH’S ALTERNATIVE
PAGE 44
CBS June Blues Jam hosted by Jeff & Deej Band Traditional and contemporary Roots music featuring Canberra’s Blues force of nature, DorothyJane ‘Deej’ ‘DJ’ Gosper and Jeff Prime – the superb resonator, acoustic and electric guitar accompaniment and soloing. 2pm – 5:30pm, $5/$10 via Humanitix HARMONIE GERMAN CLUB The Colour of Sound: A Concert Series - The Frequency Spectrum + Chromesthesia (Sound to Colour) Bask in a warm and thrilling musical adventure featuring the string ensembles; James McCusker Orchestra (2pm) and the Canberra Youth Orchestra (6pm). $21.53 – $36.86 via Eventbrite CANBERRA GIRLS GRAMMAR SCHOOL A Distant Dreamlike Sound Kompactus Youth Choir Presents a collection of beautiful choral pieces. 3pm – 4pm, $15 – $25 via Trybooking ALL SAINTS ANGLICAN CHURCH Live @ The OCI - Alec Randles Canberra local fingerstyle guitarist & originals roots musician. 4pm, free entry THE OLD CANBERRA INN Sounds from the Suburbs 5: Featuring Nothing Rhymes with David, Slagatha Christie, and Swoon Queen Homegrown Sounds’ series of all ages live music gigs, showcasing the best in local music. 6pm til late, $12.25 from Oztix GANG GANG CAFE Mayfair Lane with River Movement Indie-folk tunes with a dash of rap and reggae. 7pm – 9pm, $10/$15 via venue website SMITH’S ALTERNATIVE
That Poetry Thing: Recent Work Press As part of the That Poetry Thing readings, join us for the launch of three new Recent Work titles: Obligations of Voice by Anne Elvey, the moment, taken by Jennifer Compton, and For the Record by Ross Donlon 7pm – 9pm, $5/$10 via venue website SMITH’S ALTERNATIVE
TUESDAY 22 JUNE The Owl and The Pussycat Adventure calls and love conquers all in this nostalgic musical journey. Runs until 25 June, shows at 10:30am & 1pm, $20 - $27 from The Q website (check for times) BICENTENNIAL HALL IQ Trivia From 6pm THE OLD CANBERRA INN Urzila Carlson: Token African South African-New Zealander Urzila is a Token African. She’s also a multi-award-winning comedian, the 2019 Melbourne International Comedy Festival’s highest ticket-seller, and a household name across two continents. And she’s not finished yet. 7:30pm, $61.40 + $5.95 fee via venue website CANBERRA THEATRE CENTRE
WEDNESDAY 23 JUNE Canberra Girls’ Grammar School - Wednesday Lunchtime Concert The Music Academy at Canberra Girls’ Grammar School presents a delightful program of music for wind and string instruments. 12:30pm, $10 via Trybooking WESLEY UNITING CHURCH
PSTCRDS - 1 Year of This Place or Our Pace Their EP finally live with support from Everleigh, Bad Lunar, Trace and Hallways. 7pm til late, $18.10 via Oztix THE BASEMENT
Old Timey Jam The open jam where we party like it’s 1899. Luminaries from the local old timey/folk/acoustic scene will gather at Smith’s to lead an open session of Americana/old timey music. 4pm-6pm SMITH’S ALTERNATIVE
MONDAY 21 JUNE
Live Jazz From 6:30pm THE OLD CANBERRA INN
Lunchulele Every Monday lunchtime, 12.30pm-1.30pm, ukulele players mysteriously appear SMITH’S ALTERNATIVE
Urzila Carlson: Token African 7:30pm CANBERRA THEATRE CENTRE
The 7 Stages of Grieving A testament to love, family and resilience, The 7 Stages... is a vibrant and insightful account of what it means to be an Aboriginal woman in contemporary Australia. Runs 23 - 26 June, 7:30pm, $39 – $59 + $5.95 fee via venue website (check for times) THE PLAYHOUSE NYASH (live) at Paradiso Reggae Night Chill vibes and great beats with cozy Caribbean style. With each band bringing their unique flavour each week, expect a funky mix of tropical Ska, Dub, Reggae, Roots, and Latin sounds. 8pm – 10:30 pm THE HIGHBALL EXPRESS
THURSDAY 24 JUNE Lukas John Live! with Kopasetic and Finna Burton Lukas John brings his Melbourne based show to Canberra for the first time in 2021. 7pm til late, $15.05 via Oztix THE BASEMENT Joke Bucket with Cy Fahey Pitting a comedian’s wit against a random topic. Can they be funny with no prep time? Hilarity or disaster? Either way, you will be entertained. 7:30pm, $5 via Trybooking THE BOARDWALK BAR & NIGHTCLUB The Rubens The 5-piece finally arrive to celebrate their infectious summer jam, Live In Life. 7:30pm, $54.90 + $5.95 bf via venue website CANBERRA THEATRE CENTRE Ed Kuepper With Jim White Kuepper; the co-founder of ’70s proto-punks The Saints, chief architect of the uncompromising Laughing Clowns and The Aints! and master songsmith over some 15+ solo albums, and White; the brilliant drummer of renowned instrumentalists Dirty Three. 8pm, $50 via venue website THE STREET THEATRE FACT Thursdays Hear all your favourite RnB, Hip Hop & Party Jams. 10pm – 3am, free FICTION CLUB
@bmamag
ENTERTAINMENT GUIDE
FRIDAY 25 JUNE Handmade Market at EPIC Handmade is an award-winning market showcasing over 270+ Australian-made businesses. 12pm – 7pm EXHIBITION PARK The Lost Voice Of Anne Bronte An inspiring drama of the rise of a shy, sweet, sickly girl who shocks society when she speaks out against the abuse of young women forced into loveless marriages. 1pm & 7pm, $15 – $33.99 + $5.95 fee via venue website THE COURTYARD STUDIO Smith’s Irish Jam Canberra’s finest exponents of trad Irish tunes gather for a weekly jam. 5pm – 7pm SMITH’S ALTERNATIVE Canciones Populares - Spanish Folk Song for Voice and Guitar Mezzo-soprano AJ America and guitarist Minh Le Hoang perform distinguished Manuel De Falla’s most famous cycle of Spanish folk songs 6:30pm – 7:30pm, $43.29 via Eventbrite ANU SCHOOL OF MUSIC The Silverline Hometown Rodeo Album Launch Party Showcasing original songs from debut album Hometown Rodeo, plus a big mix of country pop & rock anthems of yesterday and today. 7pm, $27.33 via Eventbrite HARMONIE GERMAN CLUB Thelma Plum The Homecoming Queen Tour with special guests 30 million streams, a national sold out tour, and a debut London show that sold out two months in advance. And now... Canberra! 7pm, $44.92 via Moshtix UC REFECTORY Welcome To Friday (WTF) Live Local Music - Woodface All the sound, all the songs, none of the noise. Woodface – the perfect band for any occasion. 7:30pm CANBERRA IRISH CLUB Melbourne International Comedy Festival Roadshow With an all killer, no filler line-up of Australian stars and talented newcomers, buckle in for a night of stand-up, sketch, satire, silliness, and song to satisfy all your comedy cravings. 8pm, $46.90 + $5.95 bf via venue CANBERRA THEATRE CENTRE
facebook.com/bmamagazine
Melting Pot - Funk, Jazz & Blues John Mackey’s Melting Pot band will be joined by special guest, Sydneybased pianist & composer, Matt McMachon. Matt has performed with many of Australia’s most respected musicians. From 8pm, $18 – $120 via Humanitix MAKESHIFT BY RED BRICK
Children Collide w/ Andy Clockwise This tour comes after the release of Trampoline, the third single from their fourth studio album, Time Itself, due out in 2021 on Spinning Top Records. 7pm til late, $24.25 via Oztix THE BASEMENT
This World - Jazz Supergroup Comprising four of Australia’s most esteemed jazz musicians, this celebrated super group made waves last year with their critically acclaimed debut album This World. 8pm, $25 – $35 via venue website THE STREET THEATRE
The Burley Griffin: Lost Limbs Album Launch w/ Happy Axe This event will be a spectacle like no other, as moving songs are brought to life with rich instrumental arrangements, stunning visuals, and a few theatrical surprises. Featuring support from Canberra expat Happy Axe 7:30pm, $25/$29 via venue website THE STREET THEATRE
Vinyl DJs From 8pm Retro, jazz, funk, and more THE OLD CANBERRA INN Dead Lazarus w/ Slowbeard, Upside Down Miss Jane & Blissphorus Prog Rock, dark alt rock vibes, and grunge lords who make you feel like it’s 1991 again. 9pm til late, $18.10 via Oztix THE BASEMENT FEEL ft. Godlands Part of her Thank You 4 Raging Australian Tour, she has a bag of new tunes and lots of built up energy to unleash on the stage. With Reubok, Haylee Karmer, and Sweethard in the main room, and the ever-reliable Divito and Edstar in the Fact Bar. 9pm – 5am, $27.01 via intix.com FICTION CLUB
SATURDAY 26 JUNE Handmade Market at EPIC Handmade is an award-winning market showcasing over 270+ Australian-made businesses. 9am – 4pm EXHIBITION PARK The Lost Voice Of Anne Bronte An inspiring drama of the rise of a shy, sweet, sickly girl who shocks society when she speaks out against the abuse of young women forced into loveless marriages. 1:30pm & 7pm, $15 – $33.99 + $5.95 fee via venue website THE COURTYARD STUDIO Live @ The OCI - Corey Legge Corey Legge plays heartfelt alt-country and folk-rock, drawing influence from his wholesome upbringing amongst the fertile pastures surrounding Bega. 2pm, free entry THE OLD CANBERRA INN
Earthbound A Rhizome Residency A 5-month residency at Belco Arts distilled into one night, exploring the creation of new work with multidisciplinary artists from different generations; a series of vignettes using storytelling, music, dance, drawing and ceremony. 8pm, contact venue for details BELCONNEN ARTS CENTRE Good Lekker Something Better Tour The band’s diverse blend of indie-rock and Brit-pop will be joined by locals Parklands and The Narcissists. 8pm til late, $18.10 from Oztix THE BASEMENT Melbourne International Comedy Festival Roadshow 8pm, $46.90 + $5.95 bf via venue CANBERRA THEATRE CENTRE FICTION Saturdays The main room blasts out all the latest house, EDM and Mashups, while Fact Bar delivers all your favourite RnB, Hip Hop & Party Jams. 9pm – 5am, free before 10pm, $21.79 from intix.com FICTION CLUB
SUNDAY 27 JUNE Handmade Market at EPIC Handmade is an award-winning market showcasing over 270+ Australian-made businesses. 9am – 4pm EXHIBITION PARK
Goo Calligeros with Nelly Nova Goo’s original compositions are not only heavily influenced by the folk style but also much of the music fusion that has happened since. 4pm SMITH’S ALTERNATIVE Live @ The OCI Morton Choppers Choppers’ mixture of bluesy folk music, Australiana, humour, and storytelling is easy to get on board with, both refreshing and familiar. 4pm, free entry THE OLD CANBERRA INN Sunday Jazz Series w/ The Fringe of Squaredom West Coast Cool: The Music of the Gerry Mulligan Quartet. 4pm, $30 via venue TUGGERANONG ARTS CENTRE Key Grip - Swingin’ It All-star swing band led by Leo Joseph. 9pm, $15/$20 via venue website SMITH’S ALTERNATIVE
MONDAY 28 JUNE Lunchulele Every Monday lunchtime, 12.30pm1.30pm, ukulele players mysteriously appear SMITH’S ALTERNATIVE
TUESDAY 29 JUNE IQ Trivia From 6pm THE OLD CANBERRA INN
WEDNESDAY 30 JUNE Old Timey Jam The open jam where we party like it’s 1899. Luminaries from the local old timey/folk/acoustic scene will gather at Smith’s to lead an open session of Americana/old timey music. 4pm-6pm SMITH’S ALTERNATIVE Live Jazz From 6:30pm THE OLD CANBERRA INN The Kingstons at Paradiso Reggae Night Chill vibes and great beats with cozy Caribbean style. With each band bringing their unique flavour each week, expect a funky mix of tropical Ska, Dub, Reggae, Roots, and Latin sounds. 8pm – 10:30pm THE HIGHBALL EXPRESS
PAGE 45
ENTERTAINMENT GUIDE
THURSDAY 1 JULY Mick Thomas’ Roving Commission Two shows, 7pm & 9pm. See Hot Tix (page 12) for more info SMITH’S ALTERNATIVE Lightbulb Improv Presents Shakespeare: Off The Ruff See Spotlight page 13 for more info! Runs 1 - 3 July, 7:30pm THE COURTYARD STUDIO Queer People Reading Naked A literary salon that will hook you with the promise of nudity, but keep you with the literature and empowering message. 7:30pm THE BOARDWALK BAR & NIGHTCLUB American Psycho – The Musical Based on Bret Easton Ellis’ 1991 controversial best-selling novel American Psycho and the 2000 film of the same name, this sexy, dark, disturbing, and downright hilarious musical tells the story of Patrick Bateman. Runs 30 June - 3 July, $55 – 74 + $5.95 bf via website (check for times) THE PLAYHOUSE Beatrix Christian’s The Governor’s Family See Spotlight page (13) for more info! Runs 1 - 17 July CANBERRA REPERTORY FACT Thursdays All your favourite RnB, Hip Hop & Party Jams. 10pm – 3am, free entry FICTION CLUB
FRIDAY 2 JULY Dragon + Special Guests Three hit songs from each and every album that Dragon have released over their forty-year history 6:30pm, from $35 via Oztix ROYAL HOTEL QBN Sketch Method - Panic! At The Costco Single Launch Canberra’s political punk powerhouse. 7pm til late, $18.10 from Oztix THE BASEMENT Drummer Queens 8 extraordinary women. Many thunderous drums. 1 brand new show. 7:30pm, $49 – $99 + $5.95 bf via venue website CANBERRA THEATRE CENTRE Lightbulb Improv Presents Shakespeare: Off The Ruff THE COURTYARD STUDIO
PAGE 46
The Soul Movers Creating an unforgettable, soulmoving evening, and featuring exRed Wiggle Murray Cook! 7:30pm, $32.57 – $73.51 via Eventbrite HARMONIE GERMAN CLUB Welcome To Friday (WTF) Live Local Music - THYME Alt Rock from Canberra. Rock n’ Roll jams. Stealin’ your hearts and steamin’ your hams. 7:30pm CANBERRA IRISH CLUB Jason Singh plays Taxiride Performing all the iconic hits along with material from deep within the Taxiride catalogue – including Skin, Saffron, and Voodoo Doll Sin. 8pm, $30 via venue website SMITH’S ALTERNATIVE Phish + Phreak’s Drag Takeover A bevy of local queer talent with P+P’s own artists and multiple stunning guest performers at every show. 8pm til late THE BOARDWALK BAR & NIGHTCLUB Vinyl DJs From 8pm Retro, jazz, funk, and more THE OLD CANBERRA INN
SATURDAY 3 JULY Nat Bartsch’s Lullabies: Forever and No Time At All Enjoy a meditative, beautiful piano performance together with your baby. Suitable for kindy kids and tots under two. 11am – 11:45am, $20, $5 for kids, free for tots on laps! THE STREET THEATRE Live @ The OCI Jonathan Richman Experience Known for his wide-eyed, unaffected and childlike outlook, and music that, while rooted in rock and roll, often draws on influences from around the world. 2pm THE OLD CANBERRA INN Vocal Workshop with Andrea Marr & John McNamara (3pm) HARMONIE GERMAN CLUB Lisa Richards and The Lonesome + Special Guests Lisa Richards has teamed up with The Fuelers to become … Lisa Richards and The Lonesome. 6pm, $20/$25 via venue website SMITH’S ALTERNATIVE Run To The Jungle (Iron Maiden and Guns N’ Roses tributes) All ages, 7pm til late, $40 + bf via Eventbrite HARMONIE GERMAN CLUB
Drummer Queens 7:30pm, $49 – $99 + $5.95 bf via venue website CANBERRA THEATRE CENTRE Nat Bartsch’s Lullabies: Forever More Influenced by music therapy, originally designed to help babies fall asleep, whilst also soothing the parents, it grew into a global phenomenon. 7:30pm, $29/$32 via venue website THE STREET THEATRE The McNaMarr Project Keller Sessions Multi-award winning blues artists John McNamara and Andrea Marr have both carved a niche for themselves on the international blues scene with many years and accolades to their names. 7:30pm, $20/$25 via Humanitix HARMONIE GERMAN CLUB Revolution Drag Party Be entertained by their stunning cast of outstanding local drag talent and dance the night away. 8pm – 2am, $20 via Trybooking THE BOARDWALK BAR & NIGHTCLUB FICTION Saturdays House, EDM and Mashups in the main; RnB, Hip Hop & Party Jams in the Fact Bar. 9pm – 5am, free before 10pm, $21.79 from intix.com FICTION CLUB
SUNDAY 4 JULY English Trad Jam Dust off those accordions, fiddles, hammer dulcimers & tubas and knock out those toe tapping tunes from the British Isles including polkas, jigs, waltzes & 3/2 hornpipes with the Burnt Roast Band. 1pm – 3pm, free SMITH’S ALTERNATIVE Live @ The OCI - Josh Veneris The man with the voice and the sound of the noonday sky, lulling us with its cajoling spirit. 4pm THE OLD CANBERRA INN Griffin Ford & The Variables, Trash Springfield, Jordan Kenny, Blood Blossoms From 4:30pm SIDEWAY
MONDAY 5 JULY Lunchulele 12.30pm-1.30pm, ukulele players SMITH’S ALTERNATIVE
Naked Notions Book Launch Grace Lustri Naked Notions is a collection of poetry and reflections written during the author’s coming of age accompanied by watercolour paintings and ink figure drawings. 5pm, $10 via venue website SMITH’S ALTERNATIVE Hamlet: Prince of Skidmark Australia’s favourite kidult comedy duo, The Listies, are back with their hilarious adaption of Shakespeare’s classic. This is the bard, Listies style: ninjas, ghosts, pirate aliens, swords, dinosaurs, and zombies. Runs 5 - 7 July, $20 – $27 via venue website THE Q – QUEANBEYAN PERFORMING ARTS CENTRE Celtic Illusion Irish Dance and Grand Illusion A breathtaking array of experiences, fusing Irish Dance, Magic and influential flavours of Fosse, Michael Jackson, with a Broadway style. Celtic Illusion is a show like no other. 7pm, $79.90 – $89.90 + $5.95 fee via venue CANBERRA THEATRE CENTRE Sarah Wilson: The Wild and Precious Tour The New York Times bestselling author of I Quit Sugar and First, We Make The Beast Beautiful will talk in conversation about her latest book release, This One Wild and Precious Life. 7:30pm, $51.15 + $5.95 bf via venue website THE PLAYHOUSE Valhalore Intimate & Acoustic Tour Whilst plugging away at their second heavy album, Valhalore are ready to strip it back for the first time, bringing you their unique musical tapestry that is both breathtaking and awe-inspiring in its most authentic and raw form. 9pm, $24.90 from Oztix THE BASEMENT
TUESDAY 6 JULY IQ Trivia From 6pm THE OLD CANBERRA INN
WEDNESDAY 7 JULY Old Timey Jam Luminaries from the local old timey/ folk/acoustic scene gather to lead an open session of Americana/old timey music. 4pm-6pm SMITH’S ALTERNATIVE @bmamag
ENTERTAINMENT GUIDE Live Jazz From 6:30pm THE OLD CANBERRA INN CBS July Jam Workshop The workshops are not intended to show you how to play your instrument, but may give you a better understanding about how blues music is structured and how you can communicate this to the other members of your band. 7pm, $10/$15 $via Humanitix HARMONIE GERMAN CLUB Diamond Construct With special guests Mirrors, Weighbridge, and Bury Me. 7:30pm til late, $24.90 via Oztix THE BASEMENT The Penelopiad By Margaret Atwood Penelope re-tells the story of The Odyssey from her point of view through a series of visions spanning her life. An all-female cast of 13 actors in which the women play all the parts. Runs 7–17 July, $30 – $40 + $5.95 fee via venue website (check for times) THE COURTYARD STUDIO Shadow Ministers at Paradiso Reggae Night Chill vibes and great beats with cozy Caribbean style. With each band bringing their unique flavour each week, expect a funky mix of tropical Ska, Dub, Reggae, Roots, and Latin sounds. 8pm – 10:30 pm THE HIGHBALL EXPRESS
THURSDAY 8 JULY Roald Dahl’s Fantastic Mr Fox - Live Show Part interactive cartoon, part stage show, Fantastic Mr Fox is pure entertainment. Runs 8 - 11 July, multiple sessions per day, visit venue website for times and $39.50 + $5.95 bf tix CANBERRA THEATRE CENTRE Canberra Youth Theatre I’ve Been Meaning To Ask You Runs 8 - 10 July. See Spotlight section on p13 for more details THE STREET THEATRE Selby & Friends Presents: Mavericks This program presents the work of three fascinating composers whose impact was both profound and long-lasting. 7:30pm, $59.15 $77.50 via Ticketek LLEWELLYN HALL
facebook.com/bmamagazine
FACT Thursdays All your favourite RnB, Hip Hop & Party Jams. 10pm – 3am, free FICTION CLUB
FRIDAY 9 JULY Tijuana Cartel - Acid Pony Tour Tijuana Cartel’s sound is highenergy, guitar-driven, world music for indie kids. 7pm til late, $34.95 via Oztix THE BASEMENT Welcome To Friday (WTF) Live Local Music - Beta Blockers It’s folk music. It’s pop music. It’s god damn Rock ‘n’ Roll. It’s verses and choruses. It’s the music you already know that you don’t even know that you know. 7:30pm CANBERRA IRISH CLUB Rocking Down The Highway The Heart of The Matter has spent the last four years presenting Australia’s most authentic tribute to the Eagles, and are now looking to take you down the highway with your favourite car songs. 8pm, $29.75 (dinner $66.75) via Ticketek CANBERRA SOUTHERN CROSS CLUB (WODEN) Trixie & Katya Live The UNHhhh Tour You’ve seen them together on Youtube, Viceland and Drag Race, now it’s time to see them together live on stage in Australia for the first time since 2015! 8pm, sold out at time of print, check for availability LLEWELLYN HALL Vinyl DJs From 8pm Retro, jazz, funk, and more THE OLD CANBERRA INN
SATURDAY 10 JULY Live @ The OCI - Wrack & Ruin Taciturn friends, daunting women, cathartic cataclysms & suspect spirituality to stirring rhythms and an ear for the rootsy underpinnings of C20th music. 2pm THE OLD CANBERRA INN Mark Vincent A Tribute to Mario Lanza Fans can expect an intimate evening with Mark Vincent performing a rich repertoire of songs and arias made popular by the great Italian-American tenor and actor Mario Lanza. 2pm, $59 via venue BICENTENNIAL HALL
Wretch - The Plague - Anoxia Carnal Viscera - Facecutter Grindhead Records and their creepy mates invite you to a night of ugly death metal and traumatic grindcore. 7pm til late, $29.35 via Oztix THE BASEMENT
Don’t Miss the Melody Music Trivia Bringing some much needed pizzaz to the bog standard trivia experience with interactive rounds where you might find yourself in the spotlight. 8pm, $15 from venue SMITH’S ALTERNATIVE
Sound and Fury: Cold. Winter. Hot. Party. 2021. Trembling with humanity, the 22nd Sound and Fury flaunts and fuses exceptional performers in a party format. Expect unexpected music, theatre, live art, and dancing at its best. 8pm, $45 + bf via Humanitix SECRET WAREHOUSE LOCATION
The Meanies Desperate Measures LP Launch Desperate Measures is a hard, fast and catchy onslaught of hardhitting Meanies mayhem. Joined by DickLord, with songs about periods, shitty landlords and being fingered weird. Charming. 7pm til late, $34.95 via Oztix THE BASEMENT
With Heavy Heart 8 Delicious doom and gloom from Cruciform, Illimitable Dolor, Futility (who are launching their new LP), Burden Man, and Dust Devil. 8pm til late, check venue for ticket details POLISH WHITE EAGLE CLUB FICTION Saturdays House, EDM and Mashups in the main room; with RNB, Hip Hop & Party Jams in the Fact Bar. 9pm – 5am, free before 10pm, $21.79 from intix.com FICTION CLUB
SUNDAY 11 JULY Live @ The OCI - Hope Wilkins Following the release of her debut EP Coffee Cups in late 2020, Hope has had a busy past twelve months, selling out a string of live shows, gaining airplay on triple j, as well as receiving a nomination for the Best Live Act in the ACT – National Live Music Awards. 4pm THE OLD CANBERRA INN Majak Door - Just A Bit Of Australia Tour w/ The Shang Majak Door are a sly surf-rock, ‘60s psychedelia, dreamy wave pop hailing from Melbourne. 4pm, $18.40 via Oztix SIDEWAY Deuce Album Launch w/ Kilroy A collaboration between visual artist and musician Kayleigh Heydon, who hails from Manchester, and Curtis Wakeling (The Ocean Party, Pop Filter, Velcro), Deuce craft dreamy, evocative indie pop inspired by the likes of Mazzy Star, Galaxy 500, The Triffids, Felt and Beach House. 6pm GANG GANG CAFE
MONDAY 12 JULY Lunchulele 12.30pm-1.30pm, ukulele players SMITH’S ALTERNATIVE
TUESDAY 13 JULY IQ Trivia From 6pm THE OLD CANBERRA INN
WEDNESDAY 14 JULY Old Timey Jam The open jam where we party like it’s 1899. Luminaries from the local old timey/folk/acoustic scene will gather at Smith’s to lead an open session of Americana/old timey music. 4pm-6pm SMITH’S ALTERNATIVE Live Jazz From 6:30pm THE OLD CANBERRA INN The Front & Homegrown Sounds: Keaper, Suli & Tourmaline Melbourne’s Keaper draw inspiration from artists like DIIV, The Smashing Pumpkins, and The Sundays, with the band’s songs recognisable by their pensive lyrics, melodic instrumentation and an introspective atmosphere. 7pm, $15 + bf via Humanitix THE FRONT GALLERY & CAFÉ
PAGE 47
PAGE 48
@bmamag
