BMA Magazine #537 - Sep/Oct 2023

POWER METAL OUTFIT GLORYHAMMER ON SILLINESS DONE SINCERELY TECH DEATH METALLERS ARCHSPIRE ON THE PURSUIT OF PERFECTION

COMEDIAN JENNIFER WONG HAS IMPAIRED VISION, BUT LASER SHARP FOCUS

CBR BAND NONBINARYCODE PARADE POP PUNK/ROCK WITH A TINGE OF CABARET

ROCKSPEARE - MILL STREET THEATRE GIFT US ROCK ‘N’ ROLL ‘N’ BARD

[Canberra’s Entertainment Guide]

#537 sept/oct 2023

“YES”

Mail: 36/97 Eastern Valley Way

Belconnen, ACT 2617

Publisher

ABN 76 097 301 730 Pty Ltd

General Manager

Allan Sko

E: advertising@bmamag.com

Editor Allan Sko

E: allan@bmamag.com

Cover Design

Marty Baker

Cover photo

Rob Hookey

Article Design

Marty Baker & Allan Sko

Entertainment Guide Editor

Allan Sko

Social Media Manager

Angel Nash

Columnists

Jannah Fahiz, Josh Nixon, Alice Worley

Chris Marlton, Suma Iyer, Allan Sko

Contributors

Tamsin Kemp, Vince Leigh, Allan Sko, Noni Kuhner, Josh Eckersley

NEXT ISSUE #538 OUT

Thursday, 2 November

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Friday, 20 October

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Wednesday, 25 October

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BMA Magazine is independently owned and published. Opinions expressed in BMA Magazine are not necessarily those of the editor, publisher or staff.

FROM THE BOSSMAN

BY ALLAN SKO

Where There’s a Hemingwill There’s a Hemingway

The literary world was rocked earlier this week with the news that Ernest Hemingway—master of the short story form and author of The Old Man and The Sea—announced that he would be releasing a series of new short prose.

This was a surprising announcement due to the widely held belief that the author died as far back as 2 July, 1961.

“Rumours of my demise have been greatly accurate,” he quipped, proving as enigmatic as ever.

Hemingway’s Lazerus-like literary comeback was not the only cause of shockwaves to ripple through the community, with his first release in over 60 years causing quite the stir.

The lead-up to the release saw speculation run rampant. With a whole digital age blooming and methods of communication changing drastically, how would Hemingway approach the written word?

And what, prey tell, would fall under the intimidating author’s purview? These were big questions.

A consummately contradictory man, Hemingway achieved a fame surpassed by few, if any, American authors of the 20th century. As stated in Britannica:

The virile nature of his writing, which attempted to re-create the exact physical sensations he experienced in wartime, big-game hunting, and bullfighting, in fact masked an aesthetic sensibility of great delicacy.

And so it was to the surprise of almost everyone that, rather than rejecting communication methods of the modern day, Hemingway enthusiastically embraced them, as seen here with this exclusive— hugely expensive—reprinting of his 2023 piece entitled: Office Party

The work was instantly praised for its economy of language and ocean of implied meaning. Hemingway soon followed this with an unabridged version of the story, adding a wedding emoji (or ‘story beat’, as he refers to them) followed by one of an empty liquor bottle.

His most powerful piece was to come, though. Only one month later, the author unleashed this untitled work onto the world.

The work has already been shortlisted for the Pulitzer. The full impact and influence of Hemingway’s return has yet to be measured. But don’t expect any more teeny tour de forces from Hemingway any time soon.

News recently broke that the man has been whisked away to an undisclosed government location for extensive medical testing.

We here at BMA, for one, can’t wait to see how this experience will ignite inspiration for his future works!

Unplugged Sundays At The Lakes / 3 hours of local live music every Sunday / Gungahlin Lakes Club

With spring well and truly here, Unplugged Sundays—with a backdrop of a beer garden and three hours of excellent Canberra music each week—comes into its own. Continuing the successful Sunday sessions of December 2022 to March 2023, the growing weekly event continues to showcase our region’s finest musos. In the coming weeks, you can enjoy the sounds of Calvin Orosa (1 Oct), Jessica Maree (8 Oct & 12 Nov), Trev Sings (15 & 29 Oct), Jack Lowman (22 Oct), and Eden Plenty (5 Nov). Relax, dance, or simply bask in the company of music lovers of all ages. 2:30pm - 5:30pm, free entry, all ages welcome

Wayward Kings / Bring back heavy rock / Friday, 6 October / The Basement

Wayward Kings wield both an intense love of heavy rock and a rich songwriting ethos. The brainchild and collaboration of songwriter and well-known Newcastle soloist, Ryan Daley, and guitarist extraordinaire and founder of Semmens Guitars, Matt Semmens, completing the pseudo-supergroup are elite drummer Nick Bukey (he of Nick Bukey Drums Channel on YouTube fame) and seasoned bass player Jamie Hill. Extolling impactful rock, combining hues of Pearl Jam, Metallica, Alice in Chains, Soundgarden, and a sprinkling of Dave Matthews, the time has come to gird thyself. 7pm, $24.95 via Oztix

Alt-folk fun with Cassy Judy / Body Parts debut album tour / Saturday, 7 Oct / Smith’s Alternative

Cassy Judy, a proud transgender woman, criminal lawyer, community activist and alt/folk musician from Sydney, brings her recently released debut album Body Parts to Smith’s. A slightly madcap and hilarious tour of the body—from the country twang of the ToeSucking Texan Strikes Again to the catchy singalong-ability of Arse the LP is an Aussie classic in the making. Cassy weaves together improbable themes, backed by Lindy Morrison (The Go-Betweens), Alison Gould (Snarski Circus Lindy Band) and Sydney live music stalwart Russel Neal (lead guitar). 4pm - 6pm, $20/$15 via venue

Notes of Strength / Music to raise funds for MS Research / Sat, 14 Oct / Canberra Irish Club

MS is the most common acquired chronic neurological disease. It is often diagnosed between the ages of 20 to 40 and, in Australia, affects three times more women than men. As yet, there is no cure, nor is there a known single cause. Notes of Strength aims to raise funds for MS research—with local musos, the venue, and the production team giving their time and talent—with ticket funds and donations sent to KissGoodbyeToMS. So support the worthy cause, and enjoy the sounds of Metropolis, Monica Moore Trio, Woodface, and Dana Hassall Trio. Doors 6:30pm, show 7pm, tix $35 via Trybooking

Baggy Trousers + Setting Sons / Madness & The Jam? Luverly jubbly / Fri, 3 Nov / The Basement

Look out Canberra ... Baggy Trousers are bringing both the Sound of Madness, as well as special guests Setting Sons, Sydney’s own The Jam tribute act. A fiercely fun, energy-inducing night awaits, taking you back to the memories and melodies of misspent youth in one fantastic package. London born, with a merry ‘n’ meticulous mimicry of Madness shows, Baggy Trousers will roll out the hits: Our House, Shut Up, The Prince, House of Fun, Embarrassment, Cardiac Arrest, Madness, Wings of a Dove, NW5, Night Boat to Cairo, My Girl, and of course... Baggy Trousers! Blimey! 7pm, $34 via Oztix

Run Like Hell / Dark Side Of The Moon – 50th Year Tribute / Sat, 4 Nov / Canberra Southern Cross Club

Following the success of shows recreating Wish You Were Here in 2022 and 2023, seven-piece Floyd aficionados Run Like Hell are back to celebrate the 50th anniversary of Pink Floyd’s timeless Dark Side Of The Moon. With deep love and attention to detail, the entire album is expertly recreated in full, before the ensemble launches into a spirited encore of particular Pink classics. With an animated backdrop and lighting, sassy sax and backing vocals, this is a Floydian experience not to be missed. 8pm, $84.40 dinner & show, $38.50 show only (booking fee applies) via Ticketek

LOCALITY

[THE LATEST ON LOCAL MUSIC] WITH JANNAH FAHIZ. SEND GIGS AND INFO TO: [JANNAH.FAHIZ@GMAIL.COM]

Ahhhh! The weather is finally getting warm again. The flowers have come out, and so should you, too. Now that we have defrosted, there’s really no excuses. Get yourself out to some great live music events!

And I’ve got a list of them here for you to attend. First up...

With spring comes Floriade, and with Floriade comes a lot of fantastic live music surrounded by flowers. An amazing array of bright and colourful local artists can be experienced for free throughout the entirety of the festival.

Some of our talented locals (pictured above) who will be performing include Gia Ransome (1), JD Band (2), Eden Plenty (3), Tabitha Hart (4), Koebi Faumui (5), Bec Taylor (6), Jack Biilmann (7), RMC Rock Band (8), and Emilia Grace (9). Check out the Floriade website for a full schedule of when each artist will be performing as they have multiple shows.

Floriade also has a wealth of workshops and other entertainment on offer. And if you’d like to fully immerse yourself in this flower festival, grab a ticket to Nightfest to see live music and performances and stroll through light shows set up throughout the whole festival.

Floriade is on now until 15th October with Nightfest taking place from 28 September - 1 October. Make a plan to see all your favourite artists by heading to Floriade’s website. Nightfest tickets are also available to purchase there for $35 (cheaper for concession and families).

Hay-fever too intense for the outdoors? Thencatch local hard-rock band The Black Souls on Friday, 29 September at Pot Belly Bar. They’re celebrating the release of their new single Live Planet Die off their new album Heartbreak and

Redemption. Joining them as support acts will be A Commoner’s Revolt and Useful Industriousness. The show will kick off at 8pm on the day and tickets are available at the door for $15.

One not to miss! The wonderful Jack Biilmann will be doing a special show at The Street Theatre as part of his Divided Mind tour on Saturday, 7 October from 7:30pm. Joining him on stage for the first time since the recording of the album together will be Sara Flint (Apricot Ink).

Divided Mind is the 4th album from Jack Biilmann and was recorded at The Round Plain Church (land his Grandfather owned in 1965) using generators and a temporary recording set up. The concert will showcase old favourites and side A songs of the new album, which are very raw and emotional. Tix $35 via the venue.

2XXfm are throwing their annual Radiothon Party to raise funds for the beloved community station. Performing at this party are Sophie Edwards, MN Cappo, Miroji, Raio De Sol, Napoleon Ice Cream and Rental Snake

Organisers say: “The theme for this year’s Radiothon is Celebrate Local - Embrace Diversity and we tried our best to have this reflected in the diversity of music and artists in our line-up.”

Tickets are only $22 ($17 for concessions) via Humanitix and there will be more ways to contribute on the night. Like all great parties, there will be goodies for guests to take home with prizes up for grabs for supporters including tickets to the National Folk Festival, Canberra Theatre, Dendy Cinemas and more! So come on down to Live at the Polo on Saturday, 21 October from 6:30pm.

Smith’s Alternative and Belconnen Arts Centre are teaming up to present a series of events which bring you a touring musician and a local musician on the one night. With the no-nonsense name of Smith’s @ Belco, think Smith’s charm meets Belconnen lakeside setting. What could be better?!

The first one kicks off on Saturday, 11 November from 7pm in The Theatre room inside Belco Arts. The touring artist is Daniel Champagne (Nashville based, Bega Valley raised, pictured right) with Alec Randles (pictured left) as the local support. Fine tuned roots/folk music with outstanding acoustic guitar techniques. Pricing is $42 a ticket or $37 for concessions. Grab yours now now via Belco Arts website.

Blessed again are we with so much great music. Stay safe, stay beautiful, and keep dancing! And if you get sneezy, don’t forget to pack your hay-fever meds!

Every month is Pride Month at BMA Magazine, so what better way to celebrate September and beyond than by getting to know the scintillating pop punk/rock with a tinge of cabaret 4-piece nonbinarycode a bit better, eh?

Where the journey began...

When Steve and Jolene first started playing together, we were looking for a name that meant something that represented who we are as people. With Jolene being non-binary, and Steve working in IT, we thought throwing the nonbinary at the binary code just made sense - hence nonbinarycode was born. We formed after playing with Jazida (internationally acclaimed Canberra Burlesque artist) doing covers of The Dresden Dolls songs. When Jazida’s burlesque career took off in a big way and she could no longer be in the band, Jolene and Steve used their love of grunge, punk and stadium rock to create a new band. We took some of the original music that we composed with Jazida, and then applied a nonbinarycode sound style to the pieces - producing what you hear today in our recorded works.

After a few years of playing and writing songs as a duo with backing tracks that The Hardman produced, this year we’ve brought on the amazing Sorrento and Racso to complete both the band and our sound.

Group members:

InkBits (Jolene) on vocals + The Hardman (Steve) on guitars + Sorrento on bass + Racso on drums.

Describe your sound:

Pop punk/rock with a tinge of cabaret.

Influences, musical or otherwise?

We grew up on a diet of punk and grunge - so Nirvana, Green Day, Blink 182, the Sex Pistols, Tool and, of course, The Dresden Dolls.

Key tracks for folk to check out?

Our first releases, Hey Let’s Play and B-side Break Free, are available now on all streaming services.

Genderevolution is our latest, due for October, and there’s two more tracks coming in Nov/Dec.

Memorable experiences?

- Playing Enlighten Festival’s Pride weekend on the main stage was a huge moment. It meant a lot to be given a platform to showcase our music, in which gender diversity is celebrated and represented.

- Doing Music & Mayhem Rebellion, working with Jazida Productions to develop and perform a show, for which we received

a grant from the LGBTQIA+ Affairs Office. The show highlights the LGBTQIA+ community, with queer artists, and tells a story about queer history.

Recording our songs at Pendragon Studios. It’s been great working with David Pendragon and Jack Buchanan to bring our music to life.

What do you love about the scene?

We love the amazing people that we get to play with, and that come to our shows! There is nothing quite like playing to a crowd of awesome humans.

Then when they come up after a gig and tell you how much hearing your music really meant to their existence as a queer or gender diverse person, it really makes it all worth it.

What makes you laugh?

Jolene: So many things. I am always laughing at something.

Steve: There’s always something to laugh at when you’re in a band. Often when you play a bum note and the other band members look on at you with horror - that’s generally when I crack up.

What pisses you off?

Jolene: Homophobia/ Transphobia, hate of any kind really. Greed, cost of living, destruction of our planet.

Steve: Selfish/ narrow-minded/ bigotted people are probably top of my list.

Tell us about one of your proudest moments?

Releasing our first single! Also playing our first full gig with full band and all of our own songs!

Plans for the future?

To continue making music that speaks about the issues we face, as humans, as queer humans, and as ND

To make music videos and to tour the East Coast!

Anything else to add?

Support local queer artists!

Follow us on all digital media, give us a review on TripleJ Unearthed, and share our tunes!

Representing punk and punk adjacent goodness in the ACT Best Live Voice category we’ve got Tasha Nauenburg (Bad Lunar), Cormac McKahey (Sonic Reducer), and Keven 007 (Glitoris).

PUNK & DISORDERLY

[THE WORD ON PUNK] WITH ALICE WORLEY

Hey all! Spring has sprung! Congratulations, you made it through another winter (although it’s -3 degrees as I write this). Okay, so prepare yourself. I’m gonna start on a downer. But it’s swiftly followed by a lifter, and then an invitation. Let’s go.

As you all may have heard, The Shaking Hand, our once fresh new venue that opened earlier this year, has ceased its live music element (for now at least).

It seems the issue of massively inflated insurance costs, a problem plaguing most Aussie venues postCOVID, has caused the venue to halt all live music events for the time being.

The owners are said to be working hard to negotiate these costs and are trying to revive the venue while it still has life in its veins. This, however, seems like it’s going to take some time.

What can the general public do to help? Well! You can still come in, have a drink, a pizza, play some pool, have a smoke or a vape whilst adorning the outdoor furniture with bevy in hand (can’t do that most places these days).

Any support you can give to the venue may help it to stay afloat until a life line is thrown its way, which I know we’re all hoping happens soon. Big ups to BurntOut Bookings for working so hard to get this venue pumping with such awesome acts as quickly as it did.

I held my own event there a couple of months ago through Burntout and it was one of the best nights of my life, so thank you so much.

[Hey all, Bossman Sko here popping in with quick The Shaking Hand/ BurntOut update. As I learnt from an email exchange with BurntOut Head Honcho Sarah O’Malley:

“We’re looking to pivot toward more of a dive/tiki bar so as soon as we’ve got some events, we’ll be looking to tout them.”]

Alright, now for some joy. The National Live Music Awards (NLMAs) have announced their nominees, and we’ve got some awesome local punks among them!

In the ACT Best Live Music event category we’ve got CBR GRRRLS To The Front (which featured Voiid, Masochist, Box Dye, and Pretty In Punk) and Loading Zone (which played host to CLAMM, Alien Nosejob, Church Sound System, and tons more).

And in the ACT Best Live Act category we’ve got dogworld and Glitoris representing.

By the time this column is published, the voting will have just closed, but a big shout out to everyone nominated. Being a part of the music community is so elating, but it is hard work and can be super draining. So it’s awesome to see recognition going where it’s deserved. Good luck to all!

I really want to mention: please-please-please reach out if you would like me to include an event, a release, or anything related to local punk in this column. Especially hit me up if you’re a new punk band that wants to let the public know of your existence!

I know, for a fact, there’s more out there to include in these articles; and I want to include them!

So, if you have a gig coming up that you want plugged, just take a note of the next issue dates (see contents page of this mag), and if your event comes after that date, hit me up and I’ll give you a plug!

And hey; gig putter-on-ers are busy folk, so if you know one, why not give them a hand and reach out and their behalf, mmmm?

PUNK GIG GUIDE

Saturday, 30 Sep - Cammy Cautious & The Wrestlers w/ The Blamers @ Sideway

Saturday, 7 Oct - Cold Blood “Trouble From Paradise” Tour w/ Entrapment, Blindside, and Thant Thikha @ The Basement

Friday, 13 Oct - Carsick Cars (China) @ Sideway

Saturday, 14 Oct - RVG w/ Gut Health @ Sideway

Friday, 21 Oct - Osaka Punch “Mixed Ape” tour w/ Hemina and Slowbeard @ The Basement

Wednesday, 1 Nov - Lagwagon “By Request” Tour @ The Basement

By Tamsin Kemp

Close your eyes. Sit down. The seat beneath you is sandstone, slightly gritty. Flat forests of lichen bloom across the surface. The air is crowded with birdsong. Here and there, in the scrub, wadanggari blooms are in various states of dress and undress, unaware they are losing their name courtesy of one Joseph Banks. The heat is thick; the glare disappears the water in a field of light.

But not what is on it.

In the glistening harbour, a group of murri nuwi bob like oversized birds. Big boats, not locals. You watch them.

These are the eyes through which we experience Jane Harrison’s The Visitors, an original play coming to Canberra Theatre this November. The eyes and bodies are those of the elders, gathered to discuss the arrival of the nuwi and their cargo.

I spoke with Jane about the story, the history and histories, her writing process, the new production of the play, and how the play became a novel.

All the stories are interwoven for Jane. She is a Murawari woman (Murawari Country is far northwest NSW and southwest QLD) “but I grew up living in the Dandenong Ranges in Victoria,” she reveals.

“I didn’t always know about my Aboriginal heritage. Connecting to Country has been a long journey.”

Jane draws a parallel between her experience of disconnection and the disruption of colonialism to culture. The intersection of these weighty experiences prompted her to tell this story.

“And it’s not past,” she adds. “Time is different for Aboriginal people. We have the past, present, and future existing together. The stories are alive; they live in bodies. They are living in bodies in the present.

“This is about truth telling,” Jane continues. “I want the audience to meet the Elders, the knowledge holders. My characters would have known the natural world so intimately, they could have told you exactly how many stars are in the sky.”

Likely, they would also be able to recite the names of the 38 different species of cicadas present in that time’s Sydney Cove; a fact Jane discovered during her research for The Visitors. Whilst a deft trick of memory to many, for Jane, it is of resounding importance.

“I wanted to upend all of the stereotypes started by the colonists, describing Aboriginals as ‘miserable creatures’,” she says. “I wanted to honour their profound learning and acts of memory.”

When asked how the production gives us this depth of knowing and being, Jane doesn’t hesitate in her response. It’s all down to the actors.

“They hold the backstories, they bring them to life in movement and actions. [This production] introduces language into the script, Gadigal and Dharug, and I have a lot of faith and trust in them to make the characters real.”

“Timeisdifferentfor Aboriginalpeople.Wehave thepast,present,andfuture existingtogether.The storiesarealive;theylivein bodies.Theyarelivingin bodiesinthepresent.“

On that faith, I am keen to know how much interaction or influence Jane has once production commences.

“I have known Wesley Enoch (director) for thirty years – we have a long bond and a very trusting relationship. He has directed all of my plays. Our trust lives in the story. He needs to tell the story as much as I do.”

As for her involvement:

“It’s a little bit of everything. I went to the first three days of rehearsals for this production: part writer, part dramaturg, part observer. I love the collaboration that is theatre.”

Thrilling though collaboration can be, I wonder aloud if it’s hard to let go of something as precious and hard fought for as your writing.

“A play is a blueprint,” Jane says confidently. “The director and the cast are the architects and builders – they get to dwell in it.”

Whilst Jane admits to being, “a bit nervous,” about the outcome, her resolve is based on others.

“The actors are doing a great job,” she enthuses. “They (the cast) revealed how much the story meant to them, how they have dug deep into their own motivations.

“They put their whole bodies and souls into the story. The dynamics are powerful, and I find it very humbling that it has this effect on them.”

Talk turns to the timeliness of this production, with the referendum conversation ablaze. It has shaped the work as an empowering and vulnerable place for the actors.

“They have to be strong within themselves,” Jane tells us. “It’s very complex – how will they feel up on stage when the referendum is near, happening, over? What will they feel? These are big questions.”

Speaking of questions and referendums, I ask about her feelings on the Voice. Her response is an unhesitating and clear, “Voting YES”, before continuing.

“The Voice is about enriching our country. There’s a lot we don’t know, but we do have a lot of rich knowledge. The richer the knowledge the better we work together.

“We have a shared history,” she says. “There is no white history without black presence, and in the few centuries of colonisation, there is no black history without white presence. It’s about engaging and listening.

“In principle, it’s about recognition; a vehicle for conversations to be had. Sometimes I feel like we’ve all forgotten about the devastation. I still have rage at the Northern Territory Intervention.

“We need acknowledgement and understanding of perspectives. I’d like to think if a Voice was in place, we could achieve this deep listening. Dadirri, we all need to practise Dadirri.”

[Aboriginal people practise deep listening, an almost spiritual skill, based on respect. ‘Dadirri’ is an Aboriginal word meaning ‘inner deep listening and quiet still awareness and waiting’ - from the Dadirri Disability Services website]

Harrison has gifted us several ways to engage with the story of The Visitors. What began as a play is now a novel, and it has also been adapted into an opera, for which Harrison wrote the libretto.

I couldn’t help wondering if opera was somehow an unusual choice; a form so very Eurocentric in style.

“Not at all!” Jane responds. “Opera is just another form of storytelling, and not unlike a version of a Corroboree.“

“I worked with composer Christopher Sainsbury, a Dharug man,” Jane continues. “The music is the thing that tells the story; the opera leans into the natural rhythms of Dharug music. In essence, it is a synthesis of cultures.”

And the novel? We have a terrific play; do we need a novel?

“More story to tell!” Jane says. “The book was a lot more work. It made me research more deeply: the landscape, the animals. I wanted to show my characters as knowledge holders. Serious people.”

She describes how the novel regales the time “before the events of the meeting itself”.

“It extends the period of the play to the fifteen months after the meeting and the devastation that was wrought so quickly.”

Jane is quick to add:

“It isn’t all grim – there is a lot of humour in it. A nod to the fact that Aboriginal people use humour as a coping mechanism.”

I am interested to know what she would like audiences to take from this work, in whichever art form they experience it.

“I would like people to go away thinking,” Jane says. “Every country has issues they haven’t resolved. Right now we, Australians, need to listen. Now is about listening and respecting our voices.

“We must mature as a nation, have these uncomfortable conversations – own our own ignorance.”

She talks again about our shared history, and our shared future:

“Stories make us,” she says. “There are so many different eyes and ears in this one. It is deeply situated in the landscape, in the sounds of the insects and the birds.”

The Visitors invites us into this memory landscape, into the meeting of these seven leaders who are catching up on business, gossip; sharing a meal as the ships come in, considering what comes next.

So take that sandstone boulder seat, let the vibrations of the 38 species of cicadas sink into you. And listen.

The Visitors is on at the Canberra Theatre from 8 - 11 November. Tickets are $85.50–$95.50 + bf, and $35 + bf for students, Under 30s, and First Nation people.

METALISE

The warmer weather is usually a welcome event for most people. In true glass half empty metal thinking, it is merely a time for mother nature to smite my sinuses with the flora fornication of hayfever.

In between sneezes I bring you this missive from Toyland Studios in Melbourne where, apart from Pod People being hard at work on an album, works produced by Aus metal luminaries such as Hellspawn, Blood Duster, Damaged, King Parrot, and Witchskull (to name but a few) adorn the walls. I was last here in 2007 which, from the looks of the photos, was about 30kgs ago. But I digress...

Your author, working hard or hardly working?

On Saturday, 30 September, Bloodmouth will unleash a live action that will no doubt be accompianied by an all caps diatribe in the launch of their Carnist Industrial Complex release. This very nasty piece of work shows you don’t need animal proteins to be angry.

Joining them in this action will be the Novacastrian death quartet Volatile Ways, who themselves are touring to promote the recent release of their Compendium album. This a The Basement sanctioned event to which tickets can be purchased prior via Oztix.

Thursday, 12 October at The Basement sees the Canberra leg of the technical death metal stylings of Archspire (Canada) as a part of their Tech Trek Tour. If absolutely ripping guitar is your thing, Archspire is right up there in the modern tech death arena for shred. They will be perfectly complimented with performances from the UK’s Ingested and Melbourne’s Werewolves. This is going to be a special one, get your tickets ASAP.

Fresh from the studio, Pod People thought it might be a good opportunity to get the cobwebs off the live rigs and play a bit of a show at The Basement on Saturday, 14 October. The prospect of playing some new songs instead of songs old enough to still be on P-plates has seen front man Brad Nicholson so keen to play he thought he’d drop triple duties, with a set of new Lucifungus material from their August

album release IV, and a set of this year’s Hydranaut album. Amammoth are opening proceedings, so I suspect we will soon learn he has also joined them too.

[Hey. Editor Al here. It was later brought to my attention that Dave “DD” Drynan—also of Pod People, Lucifungus, and Hydranaut—will be doing triple duties that eve too. So that the man doesn’t feel left out, here’s our Dave with his own collection of questionably photoshopped hats. It was later confirmed that both Brad and Dave will be donning the pompoms and acting as cheerleaders for Amammoth]

Saturday, 21 October the maniacs at Chain Tombstone have thrown together a slamtastic evening of breakdowns with The Belco Grand Slam at The Basement, with two Canberra bands going head to head with two of Sydneys slamingest. The Tombstone are repping the ACT alongside Dyatlov Pass, with Cultists and Huntsman bringing the breakdowns for NSW. Get some tickets now.

A couple of cool international shows coming up in the near future also with Gloryhammer undertaking a glory to Dundee adventure with Rumahoy and Livewire at The Basement on Sunday, 5 November Tickets through Oztix. Sweden’s stoner rock legends Dozer return to Australia on Thursday, 9 November on a national jaunt with the excellent Jack Harlon & The Black Crows. These guys haven’t been back for 20 years so grab a ticket and make them feel welcome.

Rounding out the upcoming fridge calendar preparation is the the wrap of Witchskull album launch tour for The Serpent Tide with a trip to The Basement on Saturday, 18 November The show is a fine mixed bill affair including Immorium, Undermines, and Loose Cannon. Tickets are onsale now. While underscoring the internationals and a long time in between visits, it’s been 30 years since Pungent Stench last darkened the doors of the Terrace Bar. While the Terro is long gone, the ‘Stench lingers on in the guise of Schirenc Plays Pungent Stench with Lucifungus and Blightworms

The line-up is guitarist vocalist Martin Schirenc with a 3-piece band playing all of your mondo bizarre favourites at Pot Belly Bar on Friday, 1 December and the tickets are already moving so don’t sleep!

That’s yer lot for another month. See you next time, lest my sinuses kill me first.

[THE WORD ON METAL] WITH JOSH NIXON [DOOMTILDEATH@HOTMAIL.COM]

THE PURSUIT OF PERFECTION

By Carrie Gibson

It has been a romantic year for Canadian tech death outfit Archspire. As well as wrapping up their first European festival run—which included monoliths Brutal Assault, Metal Days, and Summer Breeze—there was the betrothal of guitarist Toby Morelli. As I chat with vocalist Oli Peters, I soon learn he, too, is set to exchange nuptials here in Australia next month.

I drop one idea about a Ozzy bachelor party and I’m stopped mid-sentence:

“I’m not doing a shoey!” Oli exclaims. ”My high tops get pretty gross.”

That firmly established, let’s get ourselves caught up on Archspire ahead of their Canberra show, shall we?

Their latest release, 2021’s Bleed the Future, is inordinately engrained in fan’s minds by now, having made the rounds for close to two years. Described as the “third tier” of the band’s progression, it is an album that propelled the band toward a platform Oli declares as “full recognition”, Archspire have slowly been clawing their way up with each release.

And for the genre in which they operate, this is a perilous climb.

Technical death metal is held to a high standard; arguably the highest. The skill, creativity and ability needed to meticulously weave together something so elaborate with proficiency and near godly dexterity—with perfection expected, if not outright demanded— is one of the reasons the genre is held in such high esteem.

It is also divisive.

Great risks are often enmeshed when a band wish to expand or experiment with

their sound. In the early days, Archspire were unyielding when it came to their material, making the music as extreme as possible. As the band evolved, however, they have learnt to be more tasteful and reserved when writing.

“Bleed the Future had a purpose; refinement and accessibility to fans,” Oli tells. “We incorporated a weird writing process. Everything was built from the ground up. It’s very filtered, and any potential a riff has been vested in and explored as a collective.

“It takes an exhaustive amount of time, yet it’s the only way we will do it”. Included in their writing process is a great deal of introspect and learning.

“The speed is the first avenue we go down,” Oli says. “As the vocalist, I am probably the most limited as far as speed goes, in terms of all the instruments. So I’m always trying to figure out how to write smarter so I can execute the lyrics faster: deliberately avoiding certain syllables to get that fluidity, observing rap artists and how they use their mouths to convey words faster.”

This required further delving. With such a pragmatic method developed and executed for the purpose of increased speed, how exactly has this evolved the vocals over the course of Oli’s time?

“There is definitive progress and development there, but I’m never happy with how I sound at a live show,” the self-critical Oli scoffs. “I’m still refining the technique. With every tour, every show, I’ll look back and observe: ‘Oh, I lost my tone there’, ‘I sucked there’.

“With that, though, it’s a very fine line,” he continues. “Some artists are hyperfocused on their vocal performance and don't enjoy their stage time. So it’s important to strike a balance between constructive criticism and taking something out of each show.

“I’m still learning.”

Oli, convinced that Archspire are still considered that obscure band that people stumble across, finds that wherever they play, there are people experiencing the band for the first time.

“It’s a cool spot for us to be in; we can only go up from here!” This is where Archspire thrive, invariably amassing new fans as they go, which is an exciting prospect, Oli declares. “It’s the sweet spot. There are still loads of surprises. We still have fun on stage, just thrilled to be there. We’re just like little kids.”

Bleed the Future was given more pre-production than previous albums, a luxury afforded by COVID. And wanting the material to be heavily massaged by Producer Dave Otero, a tangible and superbly polished product was well and truly ready by the time the band headed into the studio in Denver. It’s an avenue all bands should take, according to Oli, “for the sheer amount of time and money it saves”, allowing the band and producers to smooth over all the nuances.

With time, though, comes perfection, and perfection can be addictive. As mentioned, the precision, clarity, and fidelity required to construct and compose decent and distinguishable technical death metal can be formidable.

“I would consider ourselves perfectionists,” Oli admits. “We have to be. Our goal each time we play is to replicate the music as close to the album as we can, aiming for the same tempo, the same speed, keeping with the same complex rhythmic structures.

“I mean, that is the product we want to get out to everyone - the live show.”

Listening to technical death metal is captivating. Seeing it live, though? This is where awe is created, where the jaws drop; this is the judgement point, where artists are despised or lionised.

Archspire’s Tech Trek Australia tour stops by The Basement on Thursday, 12 October, where they will be joined by Ingested and Werewolves. Tix are $75 via Oztix.

There’s grandiose storytelling, and then there’s Gloryhammer.

Wedged nicely between the traditional and the contemporary, Gloryhammer embodies all our favourite elements of power metal; fantasy, mythology, elaborate and often imposing characters and concepts. But supremely, it imbues camaraderie and hope.

The band’s latest album sees us Return to the Kingdom of Fife, and it’s not the only return on the cards. BMA caught up with newly recruited vocalist, Sozos Michael, and stalwart guitarist Paul Templing to chat about imagination, momentum, and the band’s long-awaited return to Oz.

Now then; to Fife. For those playing at home, Fife is a region in Scotland, and the setting for the band’s debut album. It is the 10th century, and the evil wizard Zargothrax invades and conquers Dundee with an army of corrupted undead unicorns.

By Carrie Gibson

You still with me? Good.

So, this peanut, the evil wizard Zargothrax, kidnaps the princess Iona McDougall (gasp!). The prince of the Kingdom of Fife, Angus McFife, swears revenge and sets off on a quest to destroy the evil wizard and return Dundee to its former resplendence. And that, in brief, covers the grounded part of the tale.

“Time travel is taking us back to the Kingdom of Fife; we pick up from where the first album left off,” Sozos exclaims of the new LP. “After his victory [that is, Angus McFife’s] over Zargothrax, he now has to face off against his clone. Who also has the added help of nuclear weaponry.

“So yeah… that’s the crux of it,” Sozos concludes.

“Nothing complicated at all,” Paul adds, with a chuckle.

Power metal as a genre so often stirs a familiar question asked of its progenitors: is it the storytelling, or the music that

ultimately struck a chord? Longer in the game, Paul takes the lead:

“It’s going to be different for everyone,” he states. “But for me, I was originally in a different band—also a power metal outfit, also writing ridiculous conceptual fantasy stories—so I guess one thing fell into the other. I met Chris (Bowes - keyboardist for Gloryhammer, and lead vocalist and keytarist for Alestorm) and we formed Gloryhammer.

“Also, from a teenager I was a big fan of power metal,” Paul continues. “I loved now old school power metal bands like Rhapsody and Blind Guardian. So it’s a combination of these two things. Bands like Rhapsody, especially, who have storylines that are very confusing and sometimes completely nonsensical, is what we wanted to run with for Gloryhammer.”

I note Paul’s use of the term ‘old school’ when describing power metal. Being there is an undeniable argument to the distinctions between traditional and

modern power metal, essentially the elements are the same, no?

“There is a distinction, I feel,” Paul muses. “There’s been a shift in the last ten years that has set up this divide between what you would consider the ‘first wave’, or original, power metal bands from the mid ‘90s to early ‘00s.

“At the time, it was the least cool thing you could possibly do in metal. So these bands were trailblazers; they made the genre almost legendary. Now, it’s the complete opposite; people want you to be as ridiculous as possible.

“In some ways, we were one of the first to capitalise on this and, at the time, there were only a handful of bands that were actually doing well, like Dragonforce or…” Paul pauses to ponder. “Actually, I can’t name any!” he eventually chimes. “Metal was going in a completely different direction for many, many years. There seems to be more of an appetite for more traditional styles of metal these days, and not just power metal. All styles of metal.

“Every genre is thriving right now, due to the accessibility of the internet, Spotify, and such. It’s great for bands like us. Without all this, we would still be super not cool.”

Gloryhammer formed in 2010. It generally takes a band ten years to gain momentum. Yet Gloryhammer surged straight out of the gate, charging forth as if atop some mighty steed. In light of Paul’s ruminations, I asked if this resurgence of the genre contributed to the longevity of the band?

“It’s a combination,” he says. “That, for sure. The other being sheer blind luck! I mean, we weren’t doing it to be successful. We never really thought we’d make more than one album; we just thought, ‘Ohh this will be fun’.

“Then we were signed, we went on tour… it just kept on rolling. And now we’re here, on album number four. Of course, we obviously had the leg up from Chris. Alestorm were already very successful at that point. It’s hard to say what the biggest factor was. As you know, Chris stepped back from the live band many years ago, yet fans continued to come to shows.”

Having not heard from the man in a while, attention turns to Sozos. Although newly recruited (December 2021, to be precise), he has swiftly inscribed himself into Gloryhammer lore, with his paws, and vocals, all over the latest album. I take this opportunity to ask what he believes is his strongest impact on the band?

“This style of vocals is what I have always wanted to do,” he enthuses. “Ever since accidentally listening to Rhapsody at some point in my teens, I wanted to sing this epic, power metal style. Due to growing up and living in Cyprus, I was shielded from this style of music (there is a metal community here,” he adds, off the cuff, “but it’s not big on power metal).

“There wasn’t much that could prepare me for the silliness or the epicness of Rhapsody,” he recalls, one imagines with a faraway look on his face, and a nostalgic twinkle in his eye. “So in the beginning, I didn’t even perceive them as silly because they were being so sincere about it!

“This is what I enjoy about power metal; you can sing about silly things but you can be very earnest about it.

“I wanted to bring this enthusiasm and devotion with me when I

joined Gloryhammer because I think it’s what sets the band apart. There are many bands that do the whole ‘Ah, isn’t this silly?’ tone, but very few of them do it as sincerely as Gloryhammer. I’m able to channel real feelings within my performance; the anger, the triumph.

“As for the technical aspect, I have always liked vocal harmonies,” Sozos continues, on a roll. “The difference between the vocals of the first three albums to the fourth is that there is much more going on. There is more harmony, more elaborate melodies, and a bit more agility in the sense of positioning.”

It seems safe to say Sozos enjoys a challenge.

“Yes,” he’s quick to respond. “I don’t think I’m even halfway through my musical evolution at the moment. I’m always trying to learn. And Gloryhammer is an environment where I can just explore what is possible. It is a challenging environment.”

With him, Sozos has brought a new outlook and methodology, as well as an energy, that has added further weight to Gloryhammer’s impact; something Paul recognises.

“It has helped me realise that I can expand a lot in the space provided,” Paul elaborates. “Sozos brings a lot more technicality to the vocals. He is probably the most academically inclined singer I’ve encountered. He sings as you would play an instrument. He is thinking of the notes, the intervals. Most singers don’t think on that level; they use more intuition than anything. Sozos really goes beyond that.”

The majority of the Gloryhammer themes are created by Chris, who is described as having an uncanny ability to come up with ideas, almost at random, and completely off the cuff. He will also disappear, presumably into some remote, mountainous cavern, only to emerge two months later with a string of songs (and also with, presumably, a long wizened beard and a slightly mad look in the eye).

The boys went into more detail, stating that the construction of a song is not necessarily a carefully assembled process, but more of a plethora of ideas cast into the air, before clattering on the creative floor where, like a puzzle, the band piece them together.

Inspired by such concepts and stories, a dedicated bunch of Gloryhammer fans have expanded the scenario via their own fan-fiction which, in turn, have given the band a sense of clarity.

“In some ways that helps us!” Paul chuckles. “If they want to make sense of our nonsense, that’s great.”

Gloryhammer’s second ever tour was Australia, a massive feat, playing more shows here than anywhere else in the world, including their home country. That was close to ten years ago. Now, these mighty warriors of the galaxy finally return. So get in the mood, grab yourself a copy of Return to the Kingdom of Fife, and fill your soul with tales of old set to a soundtrack worthy of an epic.

POWER“ThisiswhatIenjoyabout METAL;youcansing aboutsillythings,butyoucan beveryearnestaboutit.”

Gloryhammer hit The Basement on Sunday, 5 November with guests Rumahoy and Livewire. Tickets are $71.40 via Oztix. Return to the Kingdom of Fife is out now through Napalm Records.

Venerable violinist Daniel Röhn and exeptional pianist Daniel Tedeschi usher us into salons of bygone times, leading us on an atmospheric musical journey through the roaring twenties via old Vienna, vibrant New York, and resurgent Berlin. Suffused with storytelling, fantasy, unbridled virtuosity, shining showpieces, and gentle-hearted miniatures, the concert features Gershwin hits, as well as Debussy’s last work and masterstroke (violin sonata for violin and piano). A compelling evening of evocative works from one of the most exciting periods in artistic history awaits. 7pm, $60 - $100 + bf via Humanitix

Join these Australian Jazz giants for an exciting exploration into jazz composition, improvisation, and performance, followed by a deep dive into Australia’s jazz industry. Keen to share decades worth of knowledge and experience with budding musicians, students and interested jazz devotees, this remarkable opportunity is a not-tobe-missed chance to tap into the passion and expertise of some of Australia’s most influential jazz musicians. 3:30pm - 5pm, tix only $20 via Trybooking

“A Dark Snow is Coming…” that’s the warning of an exhibition of images taken during heavy snowfall around the Snowies. “I intended to publish them as is,” artist John Brookes says. “However, I noticed the further one got from the snowscape and the nearer to habitation, the more the snow was tainted by emissions, black in places. I reversed the images, turning the bright whites to black; a glimpse of how humans destroy the nature they claim to love. These will be shown alongside the original images for contrast.” Free entry, on weekdays, 9pm - 5pm.

Monthly Gang Gang Comedy Night / Ft. Nick Schuller /

This month, Gang Gang Comedy—bringers of the best comics—sees the return of beloved CBR comedy son, Nick Schuller. Schuller moved to London just before the global pandemic, so you know his timing is impeccable. Handpicked by the Melbourne International Comedy Festival for the prestigious Comedy Zone in 2022, he has toured the country with the MICF Roadshow, and supported the big names, including Tom ‘Gold Logie’ Gleeson. Also on show is Cameron Ribbons, Laura Johnston, and Trish Hurley, with the charismatic MC Caitlin Maggs weaving the eve together. 7:30pm, $25 + bf via Humanitix

EVERY BODY / Monthly life drawing class / Friday, 20 Oct / Tuggeranong Arts Centre

Facilitated by a local artist, EVERY BODY is a monthly life drawing class for people aged 18 and over. Inclusive of all bodies, weight, gender and race, and celebrating all expressions of self, this class is a safe space to have drinks with friends and sketch a diverse range of models. Basic materials will be provided such as charcoal, paper and pencils, however you are welcome to bring your own materials to work with! There are two more classes left for the year on Friday, 20 October and Friday, 17 November. Tickets are only $20pp. Book via trybooking.com/CENRS

Carmen is hands-down the most popular opera of all time, jam-packed full of brilliant music and an audaciously sexy central character. But her death is a bummer. And who has the time or money to get to the opera anyway? In this fabulously funny reframing, award-winning fab cab team Eliane Morel and Daryl Wallis use all those hit tunes to get Carmen to tell her own story. Fresh from Adelaide Fringe 2023, and a sell-out Sydney show, it will have you laughing, crying, and singing along. Unmissable. 7pm, $45/$35 conc via venue

Wed, 18 October / Gang Gang Cafe

Carmen the Cabaret / Feminist & fun reframing of notable opera / Friday, 28 Oct / Smith’s Alternative

Dark Snow / Exhibition by John Brookes / 23 Oct to 8 Dec / Belconnen Community Gallery

Daniel Röhn & Simon Tedeschi / Virtuoso violinist & pristine pianist / Sat, 7 Oct / Snow Concert Hall

Jazz Master Class with Vince Jones Quintet / Saturday, 14 October / Tuggeranong Arts Centre

Crying Wolf

Wool Wool Wool… New Reality Show Canned Too Soon

Winter is finally over, so it’s time to burn all of your woolly jumpers again! But one foolish free-to-air television network has gone too far in their sheepskin-destructive madness. Chris Marlton has the scoop!

The hit reality-TV sensation Woollen & Ready has been confusingly cancelled this week by SBS after only one season on the air. The show had broken all domestic Australian ratings records with viewing figures that would make the AEC jealous.

Australian Electoral Commissioner (AEC) Commissioner, Tom Rogers, denied this in a formal statement released through his office yesterday:

“We ain’t jealous of no-one, especially not no TV-show.”

Managing Director of SBS, George Savvides, has not been able to be reached for comment.

Woollen & Ready took the nation by storm in 2022 with its unusual approach. The show consisted of first-person perspective filmed via head-cameras mounted on the contestant. We followed as they battled to complete three long-form challenges over twelve months.

Airing every weeknight on SBS Viceland from 6pm till midnight, the six-hour running time was uninterrupted by traditional ad breaks, instead punctuated by contestants orating advertisments in a manner akin to Orson Welles’ Campbell’s Soup ads heard during his 1930s radio plays.

The show’s format pitted six teams of three, all of whom were throuples, against each other. Using ingenuity, stealth, and independent wealth to outperform each other, the following challenges were staged:

Challenge 1: Woolstock

The first task facing our throuples was to organise a one-off music festival in the style of famous “you had to be there” 1969 mega-concert, Woodstock.

The catch? It had to have a central theme of “Wool.”

At the end of the challenge the judges decide if the wool-

theme usage was appropriate, scoring the task out of 100 based entirely on the woolly vibes. Some notable highlights that occurred during this task include:

Throuple Number 5: Candy, Steph and Jacob attempted to set up their festival on the salt plains of Lake Carey in Western Australia. Candy was adamant that:

“Rock bands love salt… and the sheep should too because Mountain Goats lick the salt off the sweaty skin of mountain climbers all the time.”

They managed to convince You Am I’s Tim Rogers (twin brother of AEC Commissioner, Tom Rogers) to headline the festival alongside Lou Bega of Mambo No.5 fame.

Shortly after Bega and Rogers arrived in the desert to join Candy, Steph, and Jacob, all five suffered from extreme dehydration due to salt consumption.

Their drastically lightened bodies were soon blown away by an unexpected haboob.

They have since been seen living together in a five-person polyamorous relationship in Norseman, 700km east of Perth, inhabiting a caravan, and managing a broken-down ferris wheel. All five answer to new names since the strong desert winds stole their memories and humour.

They were disqualified from Woollen & Ready for no longer being in a Throuple.

Throuple Number 2: Jade, Lettie and Joose chose to hold their festival on the Hibernia Platform, 300km east of Newfoundland, Canada.

The Bern (as Lettie called it) is the world’s largest offshore oil-drilling platform, with the cold weather perfect for ensuring everyone wears as much wool as possible.

Jade and Joose were determined to hold the concert on The Bern when they heard about the 12,000 litre oil spill that occurred recently.

“We thought,” sang Joose in his dulcet tones, “that we could soak up some of the remaining oil with all the wool. Maybe help out the wildlife in the area a bit.”

Unfortunately, hiring the Hibernian Platform proved expensive, as it has already produced over $100 billion worth

of oil, and is set to produce close to $150 billion more before the predicted field-depletion date in 2040.

In order to afford this, the three of them got jobs as rig workers for HMDC (subsidiary of ExxonMobil Canada and Chevron), where they are still currently working and making very good money for your information

Challenge 2: Woolgarden

In the second task, the teams had to grapple with the design and construction of a robotic sheep believable enough to convince a farmer it was real.

Some executives at SBS argued that the manufacture of industrial cybernetics was outside the capability of the cast of a reality-TV show. Savvides soon talked them around (read: threatened their families).

Throuple Number 1: Bogart, Willis and Trent dove into this challenge attitude and a positive

Unfortunately, their bold strategy of using a combination of wire coathangers, old sheep parts from the butcher, and zombie voodoo techniques acquired from 1970s American horror films proved disasterous.

The results—which could generously be described as smelly—eventually caused a generation-defining flood of meat-borne zoonotic bacterial pathogens to contaminate both Trent and Willis.

Still emboldened by the enterprise, Bogart kept practicing the voodoo chants, and while Willis eventually passed away, Trent became an evil immortal. Trent broke up with Bogart, left the show, and is currently streaming 16-bit console video games on Twitch.

Throuple Number 3: Vanessa, Melissa and Thumb were far more inventive. Both Thumb and Melissa have Cert III’s in mechanical bio-engineering, and soon put their knowledge into practice.

After two months they introduced the audience to Sheepbert, the robot Sheep. Their celebrations were short-lived however, as Sheepbert continued to learn at an alarming rate and soon became sentient.

For a number of weeks, Sheepbert was happy to shear itself, but grew bored with how slow the wool grew.

Sheepbert’s ever growing intelligence allowed it to selfupgrade and modify its mechanical DNA to make the wool grow at 350 times the original speed.

Despite Sheepbert shearing itself continuously at an alarming rate, the situation reached a horrible endgame when the speed of the wool-growth outstripped Sheepbert’s

impressive self-shearing speed. Sheepbert’s size was expanding exponentially, threatening to engulf the entire planet.

George Savvides stepped in and took charge. His Space Exploration Subsidiary, Cypriotic Endeavours, generated a space-time singularity on the opposite side of the sun. This singularity generated an Event Horizon (also known as a Black Hole Sun). The now Moon-sized Sheepbert was flung into the Event Horizon, and 18 June will forever be remembered as The Night of the Woolly Moon.

Some scientists believe Sheepbert is still expanding on the other side of the Galaxy.

Challenge 3: Woolfully Ignorant

The third challenge required the Throuples to learn early 1900s calligraphy along with a series of expert forgery techniques. The teams were tasked with forging World War One historical documents in an attempt to significantly change humanity’s perception of the history of Wool in War.

Throuple Number 6; Joan, Johnny and Jim learned the skills, but abruptly left the show and moved to Northern Europe where they are believed to be operating as professional confidence tricksters.

Throuple number 4; Xavier, Albrecht and Storb embraced the challenge and were extremely successful. This power-throuple’s forged accounts of sheep and goat based espionage are responsible for the recent renaming of Wooled War One

Judge or be Judged

The show was judged by George Savvides and UK singer Seal. In the end, Throuple Number 3, Vanessa, Melissa and Thumb were narrowly awarded as winners for the creation of Sheepbert over Throuple number 4, Xavier, Albrecht and Storb and their changing of history.

No one is sure why SBS chose to cancel this very successful and scientifically aggressive Reality-TV show. But one thing we are sure of is that public perception of non-traditional romantic multi-partner relationships is continuing to be more accepted. Maybe it won’t be too long until Australia elects its first Polyamorous Prime Minister.

Chris Marlton is a comedian, writer, painter, and filmmaker. His comedy special Mephisto Waltz is available to watch for free on YouTube. All upcoming comedy shows are available atlinktree/ChrisMarlton. Follow @chris.

Brown About Town: Antiquity Agony Aunt (AAA)

Dear Readers,

This month, I received a bunch of letters from Olympians, Titans, demigods, heroes, and other also-rans of Classical Greece. The bulk of them were #metoo complaints about Zeus, which, while valid, I could not address for fear of incurring his wrath.

Boo.

However, the three remaining letters had some timeless questions about love, work, and the devouring of people. I hope this advice will resonate with at least some of you.

And if you would like some advice about a mythological quandary, drop me a line at hotdelphioracle@gmail.com

Blessings, Antiquity Agony Aunt (AAA) xx

Dear Unsatisfied,

Having your liver pecked out every single day – even if it is by someone you love – is hard going. He’s got his vital organs on display all the time. That is stressful. He’s probably well aware of his dietary shortcomings and doesn’t need you to be counting his macros and giving him dude-bro diet advice.

You’re ‘unsatisfied’ with how his liver tastes now? Huh. Well, he’s let you eat his liver countless times over the millennia. And guess what? He hated it every single time. You may have enjoyed eating his liver, but I can guarantee that he never liked having his liver eaten by you.

Oh, but he nodded and said “Yup!” after you said, “That was amazing, babe”?

He’s sparing your feelings for millennia. Maybe you could do the same after a couple of hard years in and out of lockdown. What about what he enjoys eating? You could surprise him with a nutritious but tasty picnic lunch! Or make it something fun that you both plan together.

On the matter of your wandering eye: don’t eat the livers of rats, minnows or other birds(?!), because that is NASTY. Why eat out when you’ve got uncovered meat at home?

With Side Eye, AAA xx Dear AAA,

I am an eagle who subsists on the liver of my human partner Prometheus, which I faithfully eat every day before it grows back overnight.

Pecking out his innards used to be a real thrill; when he took care of himself. Lately, he has been sinking a few moscatos along with a tub of ice cream most nights. I know this is shallow, but I’m less keen on eating his liver every day now that he’s let himself go.

I feel terrible about saying this but … I’ve been fantasising about eating livers that don’t belong to my boo. I see rodents, fish, and other birds every day, and the thought of plucking out their gizzards drives me crazy.

How do I tell my partner to put in a bit more effort?

Yours Truly, Unsatisfied

Dear AAA, I’m a Great Sphinx—mighty in stature; rich in limestone— who finds it hard to connect with people.

My peers tell me that my preferred method of social interaction with new people, namely posing them with a riddle and then eating them alive if they answer incorrectly, comes off as hostile.

The male sphinxes I know have been doing this for centuries and they seem to be thriving. Maybe I’m doing it wrong.

How do I change?

Kind Regards, Stone Cold and Sorry

Dear Stone Cold and Sorry, Aww honey. Who’s saying this to you? Is it (gasp!) a MALE Sphinx, by chance? Bet it is.

Do you think that he isn’t high-fiving his bros when he gazumps someone who fails his test of wits?

Also, when an androsphinx devours a mortal, he’s assertive. When a gynosphinx does it, she’s ‘hostile’!

It’s a heinous double standard, and it needs to stop. Do you think a male sphinx would spend even a second worrying about what people think?

You need to be your authentic self. You, like every other sphinx, give humans riddles and then eat them if they mess up. Why should you change because some cheesedick androsphinx tells you that you’re hostile?

Back yourself, ignore the haters, and slay, queen.

Yours in Solidarity, AAA xx

anyone ever been so erased from their own story? Everyone knows the Rock of Gibraltar, Plymouth Rock, and Dwayne ‘The Rock’ Johnson. I’d settle for being the Rock of Sisyphus. How do I take back my life?

Love, Brenda

Dear Brenda, Sisyphus would be a pile of dust if it wasn’t for you. Were you the one who got himself on Zeus’ shitlist for cheating death?

No, you did not.

It’s not your curse. It’s his. And you can leave any time you like. You don’t need to settle for being the Rock of Sisyphus. You can be whoever you damn well choose. Remember: before you were his rock, you were your own rock, Brenda.

With Igneous Goodwill, AAA xx

Dear AAA,

I’m tired of being seen as a burden to my work husband, Sisyphus, by everyone. Sure, he has to push me up a hill every day or risk the wrath of Zeus, but it’s not like I had a choice in the matter either.

I want to have more control over my own narrative. Like, even the phrase ‘Sisyphean task’ – excuse me!? The task is ME, and I have a name! Has

By Noni Kuhner

Do you know how I’d LOVE to see Shakespeare? I’d love a focus on his juicy historical plays, but with a modern, exciting twist. Like using rock music!

Yeah, yeah, and with original compositions and everything. And, like, in 3D surround! But not in a cinema, no-no, but live, in an intimate venue with cracking casting, so you feel right in the thick of it.

But ahhh, who am I kidding? That will never happen…

BMA’s Noni Kuhner chats with Director Lexi Sekuless and Composer/Sound

Designer Andre Pinzon about all things ROCKSPEARE.

When the topic of William Shakespeare arises, thought tends to turn to his more famous fictional works. We’re talking Macbeth, Romeo & Juliet, Hamlet, Much Ado About Nothing. And rightfully so – they’re the big-name Marvel movies of the Bard’s catalogue. But the true faithful know where the true grit and candour lie. Enter Mill Theatre’s Rockspeare, a new series building on an established gem of an idea. Rockspeare delivers The Bard’s history plays, set against the backdrop of a rock universe where the music inherent in poetry is amplified with original compositions. The first act stepping up to the mic is Henry VI: Part One, also known by the slick, modern title of 1H6. This is the first instalment of four, to be played over four years, showing Canberra that factional power plays have a long and bloody history.

Director/Creator of the series, Lexi Sekuless, says that these plays, while not his most famous, still have plenty of intrigue to lure audiences in. And they intend to do just that right from the start.

“Henry VI: Part One is the first in the Wars of the Roses series,” Sekuless says. “I have done the last part before, being Richard III I’m really interested in starting from the very beginning; to see where it all began, particularly because the Wars of the Roses is pure political factions.”

And when it comes to rival political factions, where better in the country to host their sound and fury?

“We in Canberra are very aware of the issues, and fallout, that happen to a country when that kind of factional playing overtakes the leaders,” Sekuless says.

Akin to Bell Shakespeare, Baz Luhrmann, and other modern moulding of tales of old, the Rockspeare productions offer a visual and aural twist on the original, all the while remaining faithful to the original text. It is a twist both unique and compelling, completely of their own devising.

“We keep all the original text; except for just every now and again,” Sekuless reveals. “When things really kick off—when the York and the Lancaster factions split—its catalyst in the origianl text is when one is called a yeoman [Gasp! - Bossman Sko].

“Now we’ve changed that to ‘peasant’,” Sekuless explains, adding that 2023 has taken some of the power from the original word. “50 years ago, ‘yeoman’ would’ve landed as a deep insult.”

Indeed, meticulous care has been taken to all things aural. Sound is one of the key elements of the production, putting audiences deep into the action through complex soundscapes created by composer and sound designer, Andre Pinzon.

For Pinzon, the shape and style of the favourably intimate venue will create an immersive, in-the-thick-of-the-action experience.

“Drums pan from left to right, emulating that feeling [of movement],” Andre explains. “Other sound cues are muffled to create depth of space. Particular effects during certain scenes suddenly erupt, evoking a sense of: Oh! It’s coming from behind me!”

That, by itself, is enough to warrant a swift ticket purchase. But there’s also the addition of original compositions created especially for these productions.

“Joan [of Arc] gets a nice guitar riff, which initially was something that was created as a stand-alone sound,” Pinzon reveals. “[During the composition process] I started feeling this connection between the characters and factions, and was soon assigning particular sounds.”

Whilst a neat aural trick unto itself, this sonic specificity serves another purpose.

“I assigned the instrument of the harp to the French,” Pinzon continues. “And then used more of a grungy guitar for the English. You have an instant way to identify the different factions.”

Another element that differs from the original is the complete flip in genders of the cast. While in Shakespeare’s day, only men were allowed to grace the stage, the parts in 1H6 are played by an entirely female and non-binary company. Sekuless says that while a lot of the play is political, this particualr artistic decision isn’t meant to be.

“I’m not trying to labour any points other than show behaviour on stage,” she says, pointing out that it’s a reflection of the rising visibility of women in politics. “Obviously, I would like people to take good things away if they can, but if you’re going to look back, you need to wonder why [the historical events occurred].

“And I think that with doing a casting choice like this, you are able to make the looking back have some kind of possible purpose and hope for the future.”

Either way, she says she’s not interested in replicating the traditional productions and intends to make something fresh through Rockspeare, while staying true to the heart of the tales being told.

“What matters is that you make the story land,” Sekuless asserts.

“I’m not into museum pieces. If you’re going to revive something, if you’re going to do something old, it needs to be done with a doorway and a window to the future.”

And so comes your turn to be a part of history, as Lexi Sekuless Productions Present - Henry VI: Part One, running from Wednesday, 11 October to Saturday, 4 November at the Mill Theatre at Dairy Road. Tickets for previews week are $35, with main run $50 for adults, $40 for concessions. For more, head to milltheatreatdairyroad.com

“If you’re going to revive something, it needs to be done with a doorway and a window to the

J E N N

I F F E R

w o n g

Impaired Vision; Impaired Vision;

BMA’s Josh Eckerlsey talks to comic and TV presenter Jennifer Wong about limited sight, sound mental health, and a touch about her new shows (plural!)

audiences have been wonderful and responded warmly to the parts about mental health and depression. It means a lot to me that we have language to talk about these things now, which I certainly did not have 20 years ago.”

Sydney-based comedian and TV presenter Jennifer Wong is returning to Canberra with her latest comedy show, the curiously titled Jennifer Wong Has No Peripheral Vision. The show, inspired by the degenerative eye disease that impacts her vision, proves that you don’t need 20/20 vision to have a unique outlook on life.

Jennifer has spent almost 20 years performing stand-up, perfecting the whimsical wordplay and peculiar perspectives that make her an absolute joy to watch. Her approach is to look at something from as many perspectives as possible in order to find the funny. The things that really make her laugh, she explains, are when she can look at something in a new and surprising way.

“I was at a gig last night and a comedian called Harry Jun explained a Korean proverb, ‘to lick a watermelon’, which means that you haven’t even scratched the surface of something yet.

“Isn’t that great? The word economy, the visuals. I love it!”

Her new show has garnered rave reviews and sold-out shows at both the Sydney and Perth Comedy Festivals. Its content includes personal aspects of her life that she explores through her unique comedy lens.

“My comedic style is observational, which is appropriate for a show about having no peripheral vision,” she jests. “The title refers to a degenerative eye disease I have, called retinitis pigmentosa, which affects how much I can see.

“Basically, I have a narrower field of vision than the average person. In the show, I’ve taken that idea to metaphorically explore the question of what happens when we don’t see the full picture; both in social situations and life in general.”

The show not only shines a probing light on Jennifer’s eyesight issues, but on her mental health battles too. This frankness has resonated strongly with many audience members.

She reveals:

“I’ve been really lucky with the response to my shows this year. The

Outside of her work on stage, Jennifer is also an avid food enthusiast, making regular appearances on The Cook Up, with Adam Liaw (SBS), as well as presenting on the 6-part ABC series, Chopsticks or Fork? The show is a touching exploration of the stories and traditions of families behind the woks of Chinese restaurants across regional Australia. Jennifer admits that the ‘food enthusiast’ part of what she does was a happy accident, and feels fortunate to be able to use food as a way to tell stories; from her own life, and other people’s.

“How we eat says so much about how we live,” she says. “We can talk endlessly about our earliest food memories, comfort foods, or favourite potato chip flavours.

“My interest in food comes from growing up in a Cantonese family where every social gathering revolved around cooking and eating. Food training began early! At every meal, you’re talking about a past meal or a future meal; all while enjoying the present meal!”

Chopsticks or Fork? has also spawned a book, to be published next year, where Jennifer continued visiting restaurants in every state and territory in Australia. The book regales more stories about the families who run the restaurants and the fans that populate them. It also shares 33 Australian-Chinese recipes (Lemon Chicken! Honey Prawns! Mongolian Lamb!).

So, whether you’re a fan of comedy, food, or both, you can join Jennifer on familiar ground when she returns to Canberra with her hilarious stand-up show. It will be like returning to her comedy roots.

“The material I performed at my first show was actually written in Canberra when I was studying at ANU. I had a blog (it 2004; everyone had a blog) where I would write about funny things I’d seen in the news.

“One of the bits was about how China had a huge rodent problem, so they got these giant eagles to solve their huge rodent problem, which made me wonder what would happen once they had a giant eagle problem.”

Jennifer Wong will perform at The Street Theatre on Saturday, 14 October, at 8pm. Visit The Street Theatre website for ticket information

Gig merchant Harry Carman’s latest release represents a significant turning point in his musical career, attracting the attention of Grammynominated mix engineer Matt Weiss (André 3000, Nicky Minaj, Pitbull, Rick Ross), who worked with Harry to refine Buzz into its final form.

Add to this musical brew producer Josh Richens who, according to the humble Harry himself, “took a crappy ghost track I uploaded to triple j Unearthed and turned it into what it is today. Without him, (engineer) Matt would’ve never come by the song.”

And what exactly is Buzz today? A multilayered alt-rock-pop track that effortlessly transports you from an unsuspecting raw guitar intro to a rather lush and expansive sonic world.

Comprising four main components—a recurring musical hook with accompanying vocals, a verse, pre-chorus, and chorus—Buzz is unsuspectingly effective in creating a two-pronged assault,

BIRDCAPITAL BE BRAVE (FT. SAULE)

Be Brave marks the fourth single for Canberra’s Birdcapital (aka Palimah Panichit).

This time, the singer, songwriter, and producer is joined by fellow CBR-er Saulè, whose vocal approach is a perfect fit.

What first strikes one about Be Brave is the groove. It has a shuffling yet straight-time mid-paced feel, created by an assortment of percussive sounds aided by acoustic guitar, eighth-note staccato string accompaniment, and a bass drum heartbeat.

Some attributes are stripped back during the opening verse, allowing the lyric and the melody to rise to the surface, with the strings continuing the rhythm as the melody glides atop.

More verses follow, intensifying in melodic lines and narrative candour. The transition to the first chorus is smooth, allowing the single-line hook to do its work. After a few listens, the hook settles in.

utilising the well-crafted production qualities as a foundation to create space, energy, and excitement. We have the expansive air of the thematic motif set against the verses’ bold and direct nature. The specific EQ of the vocal in the verse matches the grand reach of both the chants and the layered vocal backings found in the chorus.

Augmenting these dynamic touches are surprise additions, such as the stripped-back second verse and the concluding chorus reiteration, which suddenly becomes undercut by a less organic approach, treated with a hybrid electrostyled instrumentation.

Harry’s vocal performance, studio treatments aside, is notable. It veers from delicately focused to so condensed with emotional zest that it packs a few mini punches when called upon to ring out the essence of the lyric.

The melodic choices here are enticing, leading us through a delightful pop ride that encompasses the sweetness of the pre-chorus to the resoundingly acute and vitalizing repetitive exaltation of the chorus hook: ‘I wanna know that I’m alive’.

It’s a persuasive song with a chiaroscuro backdrop— and it’s quite irresistible.

VINCE LEIGH

After an interlude featuring subdued electric guitar phrases, we’re back into the more replete groove, only for it to usher us into a second verse, giving us Saulè’s lone vocal over a muted acoustic guitar pattern. This helps give the track a sense of dynamics and drama.

As the string pulses continue, we’re led back to the second and final chorus, but not before some intriguing lyrics compel our attention, imparting a loving yet restrained resonance: You are sweet, you are kind, like I met you as a child

The mix of guitars, strings, percussion, and Birdcapital’s mostly low-register vocal, suggest a contemporary folkpop slash country air, with the lyric undoubtedly adding weight to this impression. The prominence of Saulè’s vocal performance, as it mixes with Palimah’s, solidifies the shared limelight concept, further giving us what might be a slice of life infused into a melodically tempered but vaguely romantic sensibility.

is another welcome addition to Birdcapital’s musical output, perhaps the most accessible and refined one yet.

HARRY

SINGLE(S) IN FOCUS

SPACEMAN AFRICA THE MUSICAL

CATCH ME IF YOU CANBERRA & ELECTRIC SCOOTER

Spaceman Africa the Musical returns with two tracks reinforcing the autobiographical comic’s distinctive approach to narrative-based rock. Hailing from Canberra, the writer, musician, and global nomad adopted his name after a memorable escapade in Ireland in 2002. His humour-laced indie odes have been compared to a contrasting list of artists, including Lou Reed, Bob Dylan, Tenacious D, and Flight of the Conchords.

The two songs on offer here— Canberra and Electric Scooter Blues common musical and lyrical threads, both stylistically and narratively.

Catch Me If You Canberra

grooved guitar-driven song whose primary concern is to namecheck as many Canberra suburbs as possible during six minutes and six seconds, and almost gets there, citing seventy-four.

That is perhaps a small feat in itself.

This geographical roll call is presented as a kind of flânerie, as we follow a nameless narrator and his travelling sidekick Bruce (of course) and their ramble across the nation’s capital, visiting various sites and bumping into local characters along the way.

Aside from the aspects of ingenuity required to create this Canberran name pun extravaganza, the performance and a mild sense of selfdeprecation infused with the approach render it all an amusing experience; more so for fellow Canberrans.

The second of Spaceman’s tracks, Electric Scooter Blues , extends this strategy, setting the tale of a rather unfortunate experience—a fatality-free scooter mishap—to the sounds of a fast-paced rock pulse and a narrative with a discernible arc.

We are given all the juicy details of the incident, where ‘bone and concrete meet’ with our narrator declaring they would much rather ‘eat at Hooters than fall off my

But fall he did. The track’s musical dynamics helpfully reflect all the hapless tragedy of the accident, doused in Spaceman’s

The climax, however, is not escaping from near death and throwing the scooter in question ‘in the lake’ but that the intractable crooner goes on to merely

These tracks blend colloquialism with a conversational delivery, set against a subordinate musical backdrop, which all makes for pure entertainment.

The latest from singer-songwriter Gia Ransome is an EP featuring four tracks whose uniformity of sound and approach reflect that of the emerging artist’s thematic concerns of loss, heartbreak, isolation, and devotion.

Despite the various incarnations these heady topics might take, Gia has corralled these states, woven their multiple threads into a haunting through-line, and christened them with an apt title.

Contrasting with Gia’s previous single Boots, an indie blues-rock amalgamation of nocturnal drama and fire, Winter is, although no less alluring, a far more intimate experience.

Gia’s vocal allure comprises its usually celestial appeal. But here, it’s a close-mic deal, creating an intimate, potent connection this makes with the listener. You are the only person Gia is performing to, and the effect is as allconsuming as it is compelling.

Gia, however, is not alone in creating this solo sensation. She is accompanied during various tracks by Charlotte Strong (violins), Brendan KellerTuberg (double bass), and Jamie Rea (piano), all adding further beautiful-yet-sombre tones.

Winter showcases Gia’s emotional antennae; the four tracks a distillation of her refined ability to take life encounters—and the hurt and hopelessness they sometimes create—and transform these emotional exposures into a musical coherence, hitting a nerve via the sheer nakedness of the performance, and the melodic designs that help guide them.

The EP’s opener, Thunder in the Night, is a fitting example of this. The frustration and loss tackled in the song find a suitable place amid the descending chord progression of the chorus. The six-eight time feel in the chorus’ melody suggests and evokes a resigned melancholy.

Be Gentle With My Heart, a track that explores the mire and complexities of falling in love following heartbreak, contains similar attributes. Its considered use of harmony and a melodic tilt upwards in the chorus, offers the listener (and, of course, the addressee) a soft warning, replete with historical context.

Gia Ransome’s Winter is a singularly eloquent undertaking. It gifts us all the transformative strength of music’s consoling energy; crystallising the personal into the seductively universal.

VINCE LEIGH

GIA RANSOME WINTER EP [ ]

THU 28 SEPTEMBER

Comedy Storytellers

Experience six captivating stories told by comedians Sarah Ison, Dylan Holmes, Anneli Cole, Nathan Hillman, Nick Starkey, and Marky Worthington. 7pm, tickets $20 via OzTix

THE BASEMENT

FRI 29 SEPTEMBER

The Whitlams

Black Stump Band

Tim Freedman and long-time drummer Terepai Richmond are joined by an A-Team of roots musos to reconstruct the best of The Whitlams’ repertoire, with a smatter of new songs + some classic Americana. 7pm, $56.10 via Oztix

THE BASEMENT

It’s Ladies Night with Alpha Men Australia

More than just eye candythese guys have all the moves!

7pm, $35 plus bf via Eventbrite

HARMONIE GERMAN CLUB

Rosieville

A play about family, resilience, homing pigeons, and helping each other through the big, world-shattering changes that life throws at us. Rosieville by Mary Rachel Brown is a universal story about getting back up after a blow to the heart.

7:30pm, $25-$35 +bf via venue

COURTYARD STUDIO, CANBERRA THEATRE

Tubular Bells For Two

Two blokes juggle over 20 instruments live on stage in a spellbinding performance. 8pm, $45 - $49 + bf via venue

THE STREET THEATRE

The Black Souls - Live Planet Die Single Release Party

The Black Souls are finally on wax, and thus are bringing you a single release party for Live Planet Die to celebrate the happy occasion. This is the 2nd single released from new LP, Heartbreak and Redemption Supports by Upper Body Denim and Useful Industriousness.

8pm, $15 at the door

THE POT BELLY BAR

Johnny Reynolds Band

Johnny Reynolds has a mighty impressive background as an global performer for the past 40 years, including joining BB King on stage, and being part of Dublin outfit The International Blues Band. 8pm, free entry

DICKSON TAPHOUSE

WTF (Welcome To Friday)The Beez

The Beez are a yodellin, thigh slappin’, lederhosen wettin’ fest of German music featuring Deta C. Rayner (accordion, vocals) and Rob Rayner (guitar, vocals). 8pm, free entry

CANBERRA IRISH CLUB

SAT 30 SEPTEMBER

Brick Burger - Canberra

Welcome to Brick Burger, where the world of food and fun come together in a unique and exciting way. From 11am

BEEF & BARLEY, LONSDALE ST, BRADDON

Japanese Film Festival Australia

2023 - Opening Weekend

2023 marks the 27th year of the JFF in Oz. Showcasing a variety of cinematic delights—from 35mm film prints to newly released titles currently screening in Japan— there are also special guests from Japan and Australia for Q&As and film screenings, as well as events for audiences to enjoy Japanese traditional and pop culture. See cinema for more info

PALACE ELECTRIC

Rosieville

A play about family, resilience, homing pigeons, and helping each other through the big, world-shattering changes that life throws at us. A universal story about getting back up after a blow to the heart.

2pm, $25-$35 +bf via venue

COURTYARD STUDIO, CANBERRA THEATRE

Adam Corbin

Adam Corbin is a very talented Canberra-based musician who plays a mix of original material, Australian covers, and big ol’ blues. 2pm, free entry

OLD CANBERRA INN

Forget the Footy Grand FinalsHere’s The Comfy Gutters!

Avoid the bad footy BBQ and come to Smith’s from 3pm - 5pm for an arvo of (mostly) original music from The Comfy Gutters and support Liz Caddy. $10 on the door or via Smith’s website

SMITH’S ALTERNATIVE

The Rat Pack Show

Five fantastic singers, two swingin’ sets, and one hot big band in a night to remember! 7pm, $40 + bf via Eventbrite

HARMONIE GERMAN CLUB

Lil Peep vs $uicideboy$ Night

An extremely heavy serving of Lil Peep + $uicideboy$ awaits, along with your other favourite alt rap tracks. 7pm until late, $15.30 via OzTix

THE BASEMENT

Bloodmouth & Volatile Ways

Volatile Ways have the East Coast locked in their sights, readying to pull the trigger and prove themselves as Newcastle’s finest heavy music exports. Bloodmouth is a paramilitary group/band that deploys sonic weaponry. 7pm, $24.50 via OzTix

THE BASEMENT

Rosieville

A play about family, resilience, homing pigeons, and helping each other through the big, world-shattering changes that life throws at us. Rosieville by Mary Rachel Brown is a universal story about getting back up after a blow to the heart. 7:30pm, $25$35 +bf via venue

COURTYARD STUDIO, CANBERRA THEATRE

Tubular Bells For Two

Two blokes juggle over 20 instruments live on stage in a spellbinding performance. 8pm, $45 - $49 + bf via venue

THE STREET THEATRE

SUN 1 OCTOBER

Silk Road: Art Exhibition

You are invited to the Silk Road Exhibition that will be held on the first of October in the historic Cuppacumbalong Homestead near Canberra. This exhibition will feature the universal language of visual and performing arts and Sufi poetry. 10am, free entry

CUPPACUMBALONG HOMESTEAD

Big Jerk BBQ & Reggae Party

A celebration of reggae throughout the day via various artists and DJs, with a succulent swathe of BBQ foods both from the kitchen and on the BBQ out front. 12pm, free entry

OLD CANBERRA INN

Inez Hargaden

Inez Hargaden is an Irish singersongwriter from County Cavan. She draws from folk, pop, rock, and jazz to reflect on the joys and tribulations of life. 4pm, free entry

DICKSON TAPHOUSE

Rosieville

A play about family, resilience, homing pigeons, and helping each other through the big, worldshattering changes that life throws at us. Rosieville by Mary Rachel Brown is a universal story about getting back up after a blow to the heart. 5pm, $25-$35 +bf via venue COURTYARD STUDIO, CANBERRA THEATRE

Purple Disturbance

Purple Pirate Party Coffs harbour high school indie rockers Purple Disturbance are joined by with locals Sertra and Gunk for this all ages show. 6pm, $15 via Humanitix, $20 on door THE FRONT CAFE & GALLERY

TUE 3 OCTOBER

Dept of RockPublic Service Battle of the Bands 24 bands, 4 heats, competing for the title of winner of Dept of Rock 2023. This is a fun and friendly event to showcase musos in Canberra’s public sector workforce while raising money for local charities. 7pm, $15 full, $10 concession via venue SMITH’S ALTERNATIVE

WED 4 OCTOBER

Suzie Miller In Conversation

Suzie Miller will be in conversation with Sally Pryor from The Canberra Times to discuss her new book Prima Facie. 6pm, free event, but booking via venue essential THE STREET THEATRE

Rosieville

A play about family, resilience, homing pigeons, and helping each other through the world-shattering changes that life throws at us. 7:30pm, $25-$35 +bf via venue COURTYARD STUDIO, CANBERRA THEATRE

THU 5 OCTOBER

Rosieville

A universal story about getting back up after a blow to the heart.

7:30pm, $25-$35 +bf via venue

COURTYARD STUDIO, CANBERRA THEATRE

FRI 6 OCTOBER

Japanese Film Festival Australia

2023 - Week 2

A variety of cinema—from 35mm film prints to newly released titles currently screening in Japan—with special guests from Japan and Australia for Q&As and film screenings, as well as events for audiences to enjoy Japanese trad and pop culture. See cinema for details

PALACE ELECTRIC

Wayward Kings

Rock group from Newcastle, with supports to be announced. See Hot Tix on page 12 for more! 7pm, $24.50 via OzTix

THE BASEMENT

The Basement Trivia

Grab your friends and create a team of up to 10 members. From music and general knowledge to pop culture, the diverse topics will keep you on your toes. 7pm, register for free via OzTix

THE BASEMENT

Rosieville

Family, resilience, homing pigeons, and helping each other through life’s big changes.

7:30pm, $25-$35 +bf via venue

COURTYARD STUDIO, CANBERRA THEATRE

CBS presents Chase The Sun

If you love blues rock then you cannot miss the return of Chase

The Sun, back for their first shows since 2020. 8pm, $27/$30 + bf via Humanitix, $35 on door

HARMONIE GERMAN CLUB

DJ Paisa

On the first friday of every month, Old Canberra Inn host Salsa Night. Get your grooves ready and be prepared to hit the dance floor. 8pm, free entry

OLD CANBERRA INN

WTF (Welcome To Friday) -

The Cuttings

Playing their own brand of rock pop truth. 8pm, free entry

CANBERRA IRISH CLUB

SAT 7 OCTOBER

National Vintage Guitar Expo

2 big days of guitar heaven featuring live workshops and special guest performances. From 10am, $10 + bf weekend pass via Humanitix

HARMONIE GERMAN CLUB

Rosieville

A play about family, resilience, homing pigeons, Rosieville by Mary Rachel Brown is a universal story. 2pm, $25-$35 +bf via venue COURTYARD STUDIO, CANBERRA THEATRE

NeonHoney

NeonHoney is a music producer and songstress from right here in Canberra. 2pm, free entry

OLD CANBERRA INN

Stonefest 2023

After a stellar return last year, Stonefest, our local festival with a wild history, keeps the flame burning. Ft Bakar, Ball Park Music, Dune Rats, Becca Hatch, Ike (From) Pluto, smartcasual, and Sophie Edwards. From 3pm, $59 for students, $89-$99 for general public via Moshtix

UNIVERSITY OF CANBERRA

La Fiesta

Latin American Festival. 3pm, free LATIN AMERICAN PLAZA, CHILDERS STREET

Cassy Judy Album Launch Cassy Judy’s debut album is a slightly madcap and hilarious tour of the body backed by Lindy Morrison (The Go-Betweens), Alison Gould (Snarski Circus Lindy Band) and Sydney live music stalwart Russel Neal (lead guitar). 4pm, $15/$20 + bf via venue

SMITH’S ALTERNATIVE

Cold Blood w/ Entrapment, Blindside & Thantu Thikha

The Trouble From Paradise tour ft. Entrapment, Cold Blood, and Blindside comes to Canberra, with special guests Thantu Thikha.

7pm, $24.50 via OzTix

THE BASEMENT

Jeff Lang + Special GuestsKeller Sessions

Canberra Blues Society proudly presents multi award-winner Jeff Lang & guests for a very special Keller Sessions Show as part of Capital Vintage Guitars Expo. 7pm, $30/$35 + bf via Humanitix or $40 at the door

HARMONIE GERMAN CLUB

Return Of The Living Dep! Deprivation w/ Taliesin, Post Human & Axiomatic Theory Deprivation are back from Wacken Open Air and are ready to party! 7pm, $24.50 via OzTix

THE BASEMENT

Jack Biilmann Divided Mind LP Launch Featuring Sara Flint Divided Mind neatly melts Biilmann’s solo blues/roots/country sound with his ‘90s & blues inspired rock ‘n’ roll band format. 7:30pm, $35 via venue

THE STREET THEATRE

Rosieville

A universal story about getting back up after a blow to the heart, by Mary Rachel Brown. 7:30pm, $25-$35 +bf via venue

COURTYARD STUDIO, CANBERRA THEATRE

SUN 8 OCTOBER

Sunday Sessions - The Fuelers

From 2pm - 4pm, experience chargrilled, high-octane racing tunes. 2pm, free entry

CANBERRA IRISH CLUB

Ben Drysdale

Ben Drysdale colours heartfelt lyrics with musical shades of contemporary indie folk, soul, and blues, taking audiences on a journey of reflection and hope through introspective ballads to upbeat foot stompers. 4pm, free

DICKSON TAPHOUSE

Eden Plenty

Australian artist, singer, songwriter and guitarist Eden Plenty is a devoted music craftsman, using his range and thought provoking lyrics as a method of connection. 4pm, free entry

OLD CANBERRA INN

Rosieville

A play about family, resilience, homing pigeons, and helping each other through the big, world-shattering changes that life throws at us. Rosieville by Mary Rachel Brown is a universal story about getting back up after a blow to the heart. 5pm, $25-$35 +bf via venue

COURTYARD STUDIO, CANBERRA THEATRE

Greek Fringe | Kadinelia

Check out avant-folk band Kadinelia (Greece) at Smith’s Alternative! 7pm, $40 (conc), $45 SMITH’S ALTERNATIVE

WED 11 OCTOBER

Deborah Conway In Conversation

Deborah Conway, Australian singer – songwriter, writer, guitarist, actor & record producer, in conversation with Alex Sloan discussing her new book. 6pm, free event but booking essential via venue

THE STREET THEATRE

Volumes Australian Tour 2023 w/ Gravemind

With the release of their 2021 album ‘Happier?’ the band are looking forward to showcasing tracks off the album aswell as all your favourite classics, joining the band on their long-awaited headline Australian tour will be Gravemind. 7pm, $50.40 via OzTix

THE BASEMENT

THU 12 OCTOBER

Archspire ‘Tech Trek Australia’ Tour w/ Ingested and Werewolves

Archspire ‘Tech Trek Australia’ Tour October 2023 with guests INGESTED and Werewolves. 7pm, $68.50 + bf via Oztix

THE BASEMENT

Liz Stringer

Much-loved singer/songwriter

Liz Stringer caps off a busy 2023 and brings to an end her work on her acclaimed 2021 album First Time Really Feeling with her First Time... For The Last Time solo tour. 7pm, $40 via venue

SMITH’S ALTERNATIVE

Redd Volkaert & Bill KirchenTitans of the Telecaster

Redd Volkaert and Bill Kirchen are gifted vocalists who perform with the synergy and joy of a beloved duo. 7:30pm, $70 + bf via venue

THE STREET THEATRE

FRI 13 OCTOBER

Japanese Film Festival Australia

2023 - Last Days

See cinema for screenings & tix

PALACE ELECTRIC

Art IRL: Lucky Charm!

Free art festival for people 15-25. Dress-up in, meet artists, unleash your creativity, connect with new people, relax in a quiet space, enjoy music & performances by young talent, and dance to your heart’s content! 6pm, free entry

NATIONAL GALLERY OF AUSTRALIA

Tijuana CartelAlectura Album Tour

Tijuana Cartel is poised to make new waves in the music scene with their unique blend of organic house music infused with rhythms and sounds from around the world, as they embark on a nationwide tour to celebrate the release of Alectura 7pm, $40.30 via OzTix

THE BASEMENT

Carsick Cars (China)

Legendary Chinese indie rock band Carsick Cars returns to Canberra for the first time since 2011. The trio have released three albums, toured with Sonic Youth, and played fests such as All Tomorrow’s Parties. With supports to be announced. 7pm, $30 + bf via Humanitix

SIDEWAY

Graeme Connors - My Lyrical Life Graeme captures the human condition in all its glory and frailty with empathy and humour, wisdom and understanding. 7:30pm, $69 + bf via venue

THE STREET THEATRE

Transista Groove

Three-piece Canberra band, with Glenda Harvey on guitar/lead vocals, Szusza Ihasz on bass, and David Twyman on drums. 8pm, free

OLD CANBERRA INN

Blindsided

Canberra rock covers band playing a diverse mix of rock songs with a twist with some classics in between. 8pm, free entry

DICKSON TAPHOUSE

WTF (Welcome To Friday)Napoleon Ice Cream + The Rain Gauge

The multi-flavoured, four-piece indie-rock/pop band Napoleon Ice Cream play alongside the melodic guitar pop three-piece with dark atmospheric edges that is The Rain Gauge. 8pm, free entry

CANBERRA IRISH CLUB

SAT 14 OCTOBER

The Johnny Reynolds Band Performing for over 40 years, starting in the Dublin circuit in 1982. 2pm, free entry

OLD CANBERRA INN

Pod People w/ Lucifungus, Hydranaut & Amammoth

An exclusive show, with Amammoth coming down from Sydney to play with the Flynn house bands Pod People, Lucifungus, and Hydranaut.

7pm, $25 via OzTix

THE BASEMENT

Vince Jones Quintent

Tuggeranong Arts Centre is delighted to welcome, for the very first time, 3 x ARIA award recipient Vince Jones and and his sublime Quartet. 7:30pm, $55/$50 via TryBooking

TUGGERANONG ARTS CENTRE

Jennifer Wong

Has No Peripheral Vision

Observational comedy that’s cornea than any other, with stories about minds and bodies and the way we see the world. 8pm, tickets $35/$30 + bf via venue THE STREET THEATRE

SUN 15 OCTOBER

Sunday Sessions - Jenny Sawer Duo

From 2pm - 4pm, the vocalist, vocal coach, guitarist, and pianist teams up to tantalise with tunes aplenty. 2pm, free entry

CANBERRA IRISH CLUB

Ben Drysdale

Ben Drysdale colours heartfelt lyrics with musical shades of contemp indie folk, soul, and blues taking audiences on a journey of reflection and hope through introspective ballads to upbeat foot stompers. 4pm, free entry

OLD CANBERRA INN

Josh Veneris

The man with the voice and the sound of the noonday sky, lulling us with its cajoling spirit. 4pm, free DICKSON TAPHOUSE

Thirsty Merc - 20 Good Years Tour

Thirsty Merc is celebrating 20 Years!

The Merc formed in 2002, recorded their debut album in 2003, sold over 250,000 units (one double platinum, one platinum), received 5 ARIA nominations, and garnered an APRA Song Of The Year nomination. 7pm, $40 via OzTix

THE BASEMENT

Robyn Martin Band with Special Guest Bess Harrison

The Robyn Martin Band traverse a wide musical terrain, trekking across the plains of deep pocket soul, heart warming yet thought provoking folk sensibilities, occasional banjo driven hoedowns, and a sprinkle of grungy angst rock for good measure. 7pm, $25, $15 conc. via venue SMITHS ALTERNATIVE

FRI 20 OCTOBER

Hope Wilkins The Editor Single Launch w/ Lara Buchanan, Nina Leo, and Tiarnie

Hope Wilkins is a versatile selftaught artist, who has achieved national recognition on triple j, and shared stages with prominent acts such as Hands Like Houses, Hollie Col, and Greta Stanley. 7pm, $29.60 via OzTix

THE BASEMENT

Impro Act: Duets

A theatrical inquiry into every type of relationship pairing imaginable, with different scenarios every night.

7:30pm, $35/$30 + bf conc. via venue

THE STREET THEATRE

Chris Harland Blues Band

Every CHBB set is a memorable, musical event, revisiting the best of the blues standards: B.B. King, Buddy Guy, Muddy Waters et al. 8pm, free entry

DICKSON TAPHOUSE

WTF (Welcome To Friday)Dreamlanders + King Hits

The tragic songs of love, loss and redemption of Dreamlanders meet the punch drunk boppin’ machine that is King Hits. 8pm, free entry

CANBERRA IRISH CLUB

SAT 21 OCTOBER

Osaka Punch - Mixed Ape Tour

Osaka Punch and the legend of the Mixed Ape, commonly known as The New Album, is a family of large and hairy human-like mythical creatures that inhabit the forests of SE Queensland. 7pm, $30 via OzTix

THE BASEMENT

The Belco Grand Slam

w/ Chain Tombstone, Cultists, Dyatlov Pass & Huntsman

Canberra locals Chain Tombstone and The Dead Men and Dyatlov Pass will hit the stage with intense energy and crabcore riffs. Travelling down from Sydney are Cultists and Huntsman. Delivering the chuggiest riffs, and the hardest breakdowns. 7pm, $18.40 via OzTix

THE BASEMENT

Impro Act: Duets

A theatrical inquiry into every type of relationship pairing imaginable, with different scenarios every night.

7:30pm, $35/$30 + bf conc. via venue

THE STREET THEATRE

SUN 22 OCTOBER

Sunday SessionsBlack Mountain String Band

From 2pm - 4pm, delve into their deep catalogue of bluegrass and old time music. 2pm, free entry

CANBERRA IRISH CLUB

EVICTED! A Modern Romance: Canberra screening with ACT Greens Member Johnathan Davis

Join the EVICTED! team and ACT Greens Member for Brindabella, Johnathan Davis, for the one-off Canberra screening of EVICTED! A Modern Romance, a film that explores the topics of the current rental crisis and cost of living. 3pm, various ticket prices via venue

PALACE ELECTRIC CINEMAS

Inez Hargaden

Inez Hargaden is an Irish singersongwriter from County Cavan. She draws from folk, pop, rock, and jazz to commonly reflect on the joys and tribulations of life. 4pm, free entry

OLD CANBERRA INN

NeonHoney

Music producer and songstress from Canberra. 4pm, free entry

DICKSON TAPHOUSE

Piaf and Aznavour - Back in Time

A journey into the fascinating world of French popular music with the worldly famous songs of Edith Piaf & Charles Aznavour. 4pm, $45/$40 + bf conc. via venue

THE STREET THEATRE

THU 26 OCTOBER

Press Club w/ Loser & Placement

Having spent much of 2023 touring with The Smith Street Band and DZ Deathrays, Melbourne fourpiece Press Club are heading back Canberra way, and they’re bringing Loser and PLacement with ‘em. 7pm, $40.30 via OzTix

THE BASEMENT

FRI 27 OCTOBER

Isabel Rumble Album Tour

Rising indie folk singer-songwriter Isabel Rumble launches her debut album Bird Be Brave with special guest Felicity Dowd. 7pm, $15 / $10 conc. via venue

SMITH’S ALTERNATIVE

ENTERTAINMENT GUIDE

Halloween Tribute Show - Feat.

Limp Bizkit + Korn + Faith No

More + Metallica + Audioslave

Halloween fancy dress party and tribute show. Grab your favourite Halloween costumes and join in for an spooky night of live music and fun. 7pm, $29.60 via OzTix

THE BASEMENT

Impro Act: Duets

A theatrical inquiry into every type of relationship pairing imaginable, with different scenarios every night. 7:30pm, $35/$30 + bf conc. via venue

THE STREET THEATRE

Transista Groove

Three-piece Canberra band, featuring Glenda Harvey on guitar and lead vocals, Szusza Ihasz on bass, and David Twyman on drums. 8pm, free entry

DICKSON TAPHOUSE

The Wildfires +

Ben Drysdale and Niall Howe

The Wildfires bring a night of blues, soul and country to the Irish Club. Supported by brilliant duo Ben Drysdale and Niall Howe. 8pm, free event

CANBERRA IRISH CLUB

SAT 28 OCTOBER

Oktoberfest CBR 2023

Canberra’s biggest Oktoberfest celebration featuring Masters of Oompah, Anton Werk’s Haus Band, Canberra Brass, and a host of roving musicians! 11am, free entry for some, ticketed for others via Eventbrite

HARMONIE GERMAN CLUB

Dean Haitani

With his unique finger style and soulful earthy vocals, Dean Haitani draws inspiration from blues & roots music, and his love of funk and old school R&B rhythms. 2pm, free entry

OLD CANBERRA INN

Emoween 2023

Welcome ghouls and ghosts; its time to channel your inner demons and Rob Zombies for the most ghastly night of the year! Emoween! It’s like Halloween, but with much more angst and eyeliner. 7pm, $24.50 via OzTix THE BASEMENT

Carmen the Cabaret

A brand new, funny, deliciously subversive take on the world’s most famous opera, Carmen Written and performed by Eliane Morel and Daryl Wallis, directed by Ghillian Sullivan. 7pm, $45 or $35 concession via venue

SMITH’S ALTERNATIVE

Impro Act: Duets

A theatrical inquiry into every type of relationship pairing imaginable, with different scenarios every night. 7:30pm, $35/$30 + bf conc. via venue

THE STREET THEATRE

SUN

29 OCTOBER

Chamber Classics:

All That Glitters

This program revels in the sparkling effervescence of some of the most delightful chamber works for woodwinds, with pieces by Beethoven, Ibert, and Louise Farrenc. 2pm, $17-49 online or at the door

ALBERT HALL, YARRALUMLA

Moondog

Moondog performs solo and as front man of the Moondog Blues Band. He is a master of the blues harmonica and a formidable guitarist and singer-songwriter. His deep voice delivers a rich authenticity reminiscent of the great blues singers of old. 4pm, free entry

OLD CANBERRA INN

Dean Haitani

With his unique finger style and soulful earthy vocals, Dean Haitani draws inspiration from blues & roots music, and his love of funk and old school R&B rhythms. 4pm, free entry

DICKSON TAPHOUSE

WED 1 NOVEMBER

Lagwagon - By Request Tour

The legendary U.S punk rockers are heading back to Australia & New Zealand for a special By Request, tour inviting fans in attendance to help curate the ultimate set list. 7pm, tix $69.90 via OzTix

THE BASEMENT