BMA Magazine #542 - Apr/May 2024

Well, what do we have here! It’s only a selfdescribed “mad little festival” called ApPolo featuring a raft of tip-top talent! Bathe your ears in the joys of Highline, Archie, Before the King, Cheeky Leash, Silky Roads, Sam Sly, Lily Begbie, Butter Bath, YAGKI, Atlas Franklin Alexander, Salty Season, Koebie Faumui & Frames.

It all happens across 2 stages, it all kicks off at 2pm, and it’s all set to be absolutely 2-riffic. Tix $35 - $40 + bf via Humanitix.

Dean Abbott’s soulful voice effortlessly weaves together heartfelt lyrics and catchy melodies that will have you smiling, toe-tapping and singing along in no time. Drawing inspiration from legendary artists like Jack Johnson, his music is a delightful blend of uplifting tunes and introspective storytelling. His songs encapsulate the essence of life’s simple pleasures, capturing moments of love, adventure, and selfdiscovery, forming an instant connection with his listeners.

Join intrepid jazz adventurers and TAC regulars Rachael Thoms (vocals), Lachlan Coventry (guitar), and Chris Pound (bass) for an evening of spontaneous and interactive creativity. Write your favourite jazz tune on a “post-it-note” and the band will select songs at random. All you have to do is sit back, sip your wine, and let the magic and the fun unfold! BYO writing implement. Post-its supplied.

WHO: Post-It-Note

Jazz Requests

WHAT:

Rachael Thoms, Lachlan Coventry and Chris Pound

WHERE:

Tuggeranong Arts Centre

WHEN: Fri, 26 April

It’s been over 10 years since Trish hung up her Idea Of North acappella hat. During her 15 years with Caberra’s ARIA-winning group, her song-writing was well utilised, and her efforts garnered several prestige awards.

These days, Trish has returned to what she loves best – a small, tight ensemble performing

original material and arrangements of beloved jazz standards where voice functions both as storyteller and instrument, wordless and blended. Trish will be singing songs from her 2017 ARIA shortlisted album The Game as well as jazz faves and newer compositions, including songs from the upcoming EP.

SATURDAY 4 MAY, 7PM BELCO ARTS CENTRErts

Shortis and Simpson have embarked on a series of shows that explore the musical influences of a notable guest. So far these have featured Keith Potger of The Seekers, political journalist Karen Middleton, local blues muso DJ Gosper, Nigel and Beth who run Smith’s, and Michael Simic (Mikelengelo of Black sea Gentlemen fame). And next in this impressive line-up is local singer/songwriter/author, Fred Smith!

In Under the Influence, S&S lead him through the singers, the songwriters, the seminal moments, from childhood to the present, that have informed his music. And, of course, the story of his ‘real job’ in the Public Service and his experiences in places like Bougainville and Afghanistan. Surprising, revealing, funny, entertaining, poignant. 7pm, $42/$37 via the venue

10 May

Zeppelin RoomHarmonie German Club

Originally from England, Chris Harland has performed at festivals around Australia and supported Eric Burdon and the Animals and guitar virtuoso Matt Schofield. Chris has been deeply influenced by Eric Clapton and this is his tribute to the guitar great. The show will include Sunshine of Your Love, Wonderful Tonight, Cocaine, Tears in Heaven, Layla and other timeless favourites, and he will be supported by some of Canberra’s finest musicians. $30 + bf via Humanitix

LOCAL TY

SEND GIGS AND INFO TO: [JANNAH.FAHIZ@GMAIL.COM]

March madness is definitely over but I have some local gigs that you’ll go crazy for! There’s a wide variety of genres, from jazz to rock to rap, to get amongst. So here, without ado further, are my top picks for the next weeks. Now, don’t panic...

This is your last chance to see Ryland Newstead and the MCGs live because this is their last show ever! After touring the world, the band found themselves butting heads with each other about royalty splits and talking only through lawyers.

Fortunately, they’re coming together one last time to celebrate this project and sell off all their merch. Head on down to sideway at 7pm on Saturday , 13 April for a night full of pop/rock/alt music (and maybe some fights). Locals Absent Ace Tone and Napoleon Ice Cream will support them on the night. Tickets are up on Humanitix for $15+bf.

A great gig is coming in for landing! Fasten your seatbelts because Pilots of Baalbek are taking flight on Friday, 19 April . Influenced by ‘70s space rock, expect boogie and glam with splashes of proto-punk.

This concert is to celebrate the release of their latest album, By The Seat Of Our Pants , which came out in early March. Joining them will be Voodoo Space Acid Kids and Rawrus Tongue for a night filled with a kind of rock that will have your head in the clouds. Head on down to The Baso from 7pm and get your ticket now from Oztix for $20.

If you’re looking for fresh rock ‘n’ roll, this is the one for you. Dept of Rock is hosting three events to showcase the artists that entered their battle of the bands last year. Why are they doing this? Because Canberra has so much talent! These artists are new, enthusiastic and skilled. This first showcase highlights the theme Cheeky and will take place on Saturday, 27 April from 3pm (doors 2:30pm) at Smith’s Alternative . The line-up is The Shadies , IT Grrrls , Absent Ace Tone , Adventure St and The DUDs . You can purchase your ticket now for $15 via Smith’s website.

Off The Top No Writtens is a competition to showcase freestyle rappers in Canberra and beyond. DJ Chemi-Cal and Newborn Noise will be supporting all the contestants who will be making up rhymes on the fly for the chance to win a cash prize. Audience members can also buy raffle tickets to win prizes donated by local businesses. This is your chance to discover some of the finest up-and-coming rap artists while maybe taking home a prize yourself. All of this occurs at Smiths Alternative on Saturday , 27 April , from 9pm. Tickets are $25 and are available to purchase now via the Smith’s Alternative website. One of Canberra’s greatest success stories is our very own Hands Like Houses They’ve already sold out one hometown show and added a second on Saturday, 18 May at Fun Time Pony . Don’t snooze on this one because it will sell out! So if you’re one of the rare few that have seen the name but have yet to watch, this is your opportunity to finally get to their show. And if you have seen them, well... now they have a new vocalist, Josh Raven ! Help celebrate this new line-up of Hands Like Houses and get a taste of the music they’ve been working on. The show kicks off at 8pm, and Melbourne’s super-talented Bellehaven will join them. Grab your ticket now via Oztix for $44.90.

So much Canberra talent. Enjoy the next few weeks of gigs, and remember; it’s starting to get chilly, so wrap up! See you in the next one - Jannah

By Jen Seyderhelm

The pause was so long that I thought I’d lost connection—or, worse, that Thomas had hung up.

‘That’s a good question,” he says, finally.

There is another long silence before Thomas speaks again.

“That’s too hard a question.”

Thomas’ reticence to talk about himself, the Three, and their music is understandable, both because the music speaks (read: roars) for itself and, to poach the Walter Payton adage: “When you’re good at something, you’ll tell everyone. When you’re great, they’ll tell you.”

And ooooooooo WEE... Have they told them.

“Dirty Three are my favourite live band,” crows Nick Cave. “No contest ... I think it’s because they don’t have a singer ... There are three musicians working together, one no less important than the other and well, you can get lost in all that. Their music washes over you and you’re away ... When I watch them, they ignite something.... They’re utterly unique and absolutely world-class.”

“Every time I see the Dirty Three, they make me cry,” Cat Power has been noted as saying.

“I remember when I first heard Dirty Three, they were like nothing else around; an instrumental band with a violinist who played like Hendrix, and epic songs that tore at the very fibre of your being,” Zan Rowe memorably said.

And Jen Cloher has perhaps the most poignant reflection on their mesmeric music.

“Their songs, you know, maybe saved someone’s life,” she says. “They’re one of the world’s greatest living bands without a shadow of a doubt … It speaks straight to your heart.”

Dirty Three bandleader and violinist/violist Warren Ellis, however, commented on the new record in a typically straightforward fashion.

“Recorded in five days. Mixed in a year. Nothing has changed. Older and meaner, sadder, and totally dangerous. Dirty Three are 32 years old. Come blow out the candles and help us stick a knife in the cake.”

I called Dirty Three an instrumental rock band in the intro but, to Nick Cave’s point, they’re so much more than that. Whatever genre you can think of, it will be reflected on a track on their albums somewhere.

Photo: Prudence Upton

There should be a genre called WET in their honour, an acronym from their last names and a state that Warren Ellis is often in during his high-octane playing.

I told Mick this idea. I get the distinct impression that he won’t take the suggestion back to the other two.

Dirty Three is Ellis on violin, bass and guitar (when he’s not literally climbing, prowling or cavorting on stage), Jim White on drums (who sometimes has to avoid the wildly flailing parts of Ellis) and Thomas. They were all working in the Melbourne music scene in the early 1990s when they came together for a jam in a kitchen somewhere, and the band was born.

The three have been prolific in their output together and apart, with Ellis also a member of Nick Cave and the Bad Seeds, Jim White part of Xylouris White with Cretan lute player Giorgos Xylouris, and Thomas in Mess Esque with Helen Fransmann, whom he was performing with the night we spoke, as well as the Eleanor Jawurlngali Triad.

Jawurlngali is a Mudburra and Garrawa woman from the Northern Territory who contacted Dirty Three for permission to create vocals to accompany one of their instrumental pieces. Mick said he was so blown away by her ethereal voice that the collaboration transcended the initial request. She’ll also be the support act when The Dirty Three returns to Canberra in June.

Mick Thomas still lives in Melbourne, with Ellis in Paris and White in New York. He reckons he tours the least of the three, but I got the tangible impression that he doesn’t include the gigs that don’t put him on an aeroplane.

The pandemic “allowed us to catch up more than we had done for a long time” as well as more painting time for Thomas. His artwork has been exhibited here and overseas and graces all of Dirty Three’s album covers, bar one, including the forthcoming Love Changes

Everything, available June 14. Those are physical copies (including vinyl, naturally), which you can purchase at the June 18 show at the Canberra Theatre Centre.

On stage, the Dirty Three takes your breath away. Sucker punches your soul. Forces you up, up, and out of your seat to sway your body and stomp your feet. Create mental stories to the instrumental pictures they describe. It is a living, breathing, visceral experience.

“There’s a looseness to us, and that’s the joy of it on stage and off,” Thomas says, smiling at the thought. “It’s such a great band to be in and a very expressive medium.

“Three is the right number. We feed off each other, and it works.

As for the forthcoming shows, be sure to get your cardio in.

“We’ll play a large part of the new album; it’ll be a long show, 2 to 3 hours at least,” Thomas explains. “There will be one or two songs from all the albums we’ve released. It will be spectacular. It sweeps you off, and the audience comes with us.

The new album features tracks called Love Changes Everything I-VII

According to Thomas, the first single, available now, is the rockiest.

“When we recorded this album, we just set up and played and played over a few days,” he recalls. “Ideas were thrown around, but there was not a lot of need to sit around and talk.

“I think it could be our best record,” he suddenly states. “We were freer than at any other time, and the playing came so naturally.

“It’s satisfying. And I believe we really captured what’s best about Dirty Three.”

But enough of the artwork, experience and extracurriculars. Back to the question at hand. Has love changed everything for the trio in the 12 years since the last album and the two decades since they’ve been in Canberra?

Warren Ellis described the song, The Pier, during Dirty Three’s Tiny Desk Concert in the US as being about “realising you’re the only sane one and you want to destroy the world by drowning them in your pyjama pants in a lake and undermining Facebook by realising a new way of communicating.”

I probably deserved a similar response. I’ve realised that this trio speaks a unique language together, different from any I’ve ever encountered before. Yet, I understand it. And the answer I take away from their Canberra concert will be different from yours.

It will still likely involve pyjamas.

Dirty Three perform at Canberra Theatre on Tuesday, 18 June. Tickets are $85 - $99 + bf via Canberra Ticketing.

By Sammy Moynihan

Get ready, Canberra! A musical storm is brewing and is set to hit the Ainslie Arts Centre with electrifying energy and pattering percussion. AUSECUMA BEATS, the dynamic Melbourne-based ensemble renowned for its fusion of traditional multicultural melodies with contemporary production flair, will grace the stage on Friday, 26 April.

At the heart of Ausecuma Beats lies a passion for bringing people together. In a world that can be divided by borders and barriers, this eclectic group of musicians have a simple yet noble mantra: to transcend cultural boundaries with their infectious rhythms and soul-stirring performances.

Boubacar Gaye, one of the band’s driving forces, embodies this fervent dedication to unity.

“Music, dancing, partying, and performance are the best ways to bring people together,” he enthuses. It’s great to see people dance to the music and connect through the power of sound.”

Indeed, the band’s name is a deliberate fusion of the four cultures of its founding members (Australia, Senegal, Cuba, Mali—AU-SE-CU-MA), an instant metaphor for bringing together different musical traditions.

“I just wrote one Facebook post saying I wanted to hear what people were doing and what they were making, and it completely took off,” he recalls. “I could see the views moving very quickly, 3k likes to 5k likes, almost overnight.”

He connected with many musicians worldwide through this initiative, allowing the band to expand and explore different musical styles.

“We met with people from rock backgrounds, traditional cultural music backgrounds, and more modern dance music backgrounds—all with completely different styles.”

Reflecting on the challenges of working across genres and creating something from these meetings, he says:

“Despite these different backgrounds and styles, everyone shared the same love for music and community. That unifying force made it easier to fuse the genres together and create a new album with all these ideas in the mix.”

The new album in question, Dakar Bamako, features an impressive 14 musicians from three different countries. They come together in a true cross-cultural collaboration that celebrates stories of migration, cooperation, and the unifying power of music and dance.

During the 2020 COVID lockdowns in Melbourne, Boubacar felt that people were very disconnected. He turned to social media on a mission to unite people from across the globe.

Photos: Pape A Global Connection: Music During Lockdown

With every strike of the drum and making of the melody, they champion the values of diversity, inclusivity, and cultural exchange. Their music reminds us that despite our differences, we are all united by our shared humanity.

Dakar Bamako: A Musical Collaboration Across Continents

Behind the scenes, a driving force propels Ausecuma Beats forward and amplifies its message. That perpetual motion machine is Music In Exile, a not-for-profit Melbourne-based record label, promoter, and support organisation run by the lovely Joe Alexander, dedicated to showcasing and supporting artists from refugee and migrant backgrounds.

“Music in Exile changed everything for us,” Boubacar enthuses, gratitude permeating his tone. “Talk about bringing people together! They’ve done so much for us.”

Boubacar reflects further on this happy growth.

“We were just playing in our local bar,” he recalls. “Now we perform all across the country and all over the world, and we get to make music in all kinds of places, meeting so many fantastic musicians along the way.”

An Electrifying Night to Remember

The 26 April gig will mark Ausecuma’s second visit to Canberra. Boubacar brims with excitement for this long-awaited return. “Canberra seemed very quiet at first, but it felt like a big celebration when we started playing,” Boubacar says. “We met so many new fans, and we hope they all return and bring more people with them so we can grow our community even further.”

As we eagerly await their arrival, Boubacar urges audience members to pop over to the Ausecuma Beats Instagram page to see all the stories about how the music came about.

“The show will also feature lots of stories in between the songs so that people can really understand what the music is about and how it came to be.”

Ausecuma Beats promises an evening of boundless energy and unbridled joy. From the hypnotic rhythms of the djembe to the fiery grooves of Afrobeat, each note resonates with a spirit of celebration and unity.

Let the irresistible rhythms of Ausecuma Beats wash over you, ignite your spirit, and fill your heart with the joy of connection.

As Boubacar says: “Get ready to boogie. Get ready to feel the music. Feel the dance. Feel the love.”

Ausecuma Beats is playing at the Main Hall, Ainslie Arts Centre, on Friday, 26 April at 7pm.

Tickets are $25 + bf via Humanitix.

Photo: Dallas

Music In Exile: Amplifying Voices, Building Bridges

“For those who never met Nicky, he was at every gig, supporting bands big and small, new and old, getting in your ear, bigging you up whether you were on stage or in the crowd. You’d say “Cheers!” to him and he’d respond with, ‘Ted Danson!’. So that’s why we called it Dansonfest!”

So says fashion onion, former Super Best Friend and current SUDS member Johnny Barrington, one of the many members of the punk community that has poured his time and talent into the commemorative celebration that is Dansonfest.

Presented by The Noise Floor & The Baso and supported by BMA Mag, Spy, and Capital Brewing Co, Canberra and Sydney punk bands are bringing back the fest that marks and remembers the life of friend “The Ginger Ninja” — Nicholas Sofer-Schreiber aka Nicky — a man whose legend has spread far and wide.

“Since the last Gingerfest, there hasn’t been a show like this, and sometimes we need a reason to catch up with our punk family,” Joel says.

Nerdlinger

“The punk scene in Canberra has always been amazing and supportive, no matter who you are, so it feels nice to be able to celebrate that. I’ve had friends I haven’t seen in years message to say how stoked they are to see Dansonfest coming back, and that they will be travelling to Canberra for the show!

“It’s a great feeling to be a part of the team making that all happen.”

Johnny B continues this enthusiasm.

“There’s a tonne of other local acts that make up this community, but there’s only so many slots,” Johnny says. “We tried to keep a bit of Ginger’s “flavour” in there, so to speak.

Such is the love for The Ginger One that not one, but TWO music festivals have run in his honourDansonfest and Gingerfest. The latter has boasted performances from the likes of America’s Jeff Rosenstock (Bomb the Music Industry!), Bodyjar, 28 Days, Jay & Lindsay from Frenzal Rhomb, Bec Stevens, Clowns, Hightime, Totally Unicorn, Fait Accompli, Gay Paris, The Hard Aches, and Super Best Friends.

But it was the inaugural Dansonfest in April 2014, where Nicky’s closest mates in the Canberra and Sydney punk scenes first came together to rock in his name, just five months after his tragic death.

It’s in that spirit that The Noise Floor is bringing back Dansonfest on 11 May 2024 at The Baso Canberra (Ngunnawal & Ngambri Country), with a DIY punk rock bonanza.

Punk & Disorderly Man Of The Year 2023 and friend of the column, Joel Cabban, is one of many working tirelessly to make this celebratory homage happen. We caught up with the man about Dansonfest and he had this to say:

“We want to bring this festival back every year, and with the love that’s being shared since we announced, the future is looking bright.”

Headlined by Captives (Melbourne/Naarm), Ess-Em (Sydney/Eora) and Nerdlinger (Sydney/ Eora), more than a dozen bands and acoustic acts will play across three stages, with the bar staff pumping out good beers and Chompys burgers and snacks from 4pm.

“In the lead up,” Johnny urges, “organisers are asking people to share their favourite Gingerfest and Dansonfest memories (via @Dansonfest.cbr and #Dansonfest) and above all, their memories of Canberra’s most enthusiastic little brother, The Ginger Ninja.“

Nicholas Sofer-SchrieberThe Ginger Ninja

Ess-Em

Captives

Chris Duke & The Royals

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

April has the best local and abroad opportunities for neck damage (due to incessant thrashing) with the first couple weeks of the month alone, as I’m sure many of you will be reading, having consumed the Carcass/Black Dhalia Murder tilt in Sydney and the insane double header of Orange Goblin/Dr Colossus/ Astrodeath and Gatekreeper/Kruelty (phew!).

This reporting period kicks off with Swedish melodic death lords Scar Symmetry, who will lay waste to whatever remains of your skeletal integrity on Friday, 12 April. This is a big week at The Baso!

On Friday, 19 April at The Baso, you can travel through a post-apocalyptic world when Maitland’s Miruthan bring The Land of the Damned to town, immersing those in attendance in a world of zombies and villains.

The rouges gallery is long for the rest of this bill with Melbourne’s Kuntsquad, Gong death metallers Children of Perdition, Sydney-flavoured death doom in the form of Devoid Altar and Sydney’s blackened thrash band Asura. That’s a lotta villainy for 20 bucks!

We’ve got several new local releases on our seasonal menu this month, either freshly plucked or about to be harvested, from local environs. Pilots of Baalbek dropped their second album, By The Seat Of Our Pants, and an excellent video for the lead single Cargo Cult, animated by Neptune Power Federation guitarist Inverted CrucuiFox. The band played Mixed Bill Madness on 23 March—which you either missed or went along to already—but you can catch them as they join Neptune for their album launch on Saturday, 27 April, at The Duke in Sydney.

Of course, you’re free to attend that show, but let it be known that The Pilots also have a regional flight booked for a Friday, 19 April slot at The Baso’s back room on a super-strong local bill that includes Voodoo Space, Acid Kings, and Rawrus Tongue. Check out the record and get along to a gig!

A welcome return home to my good mate Simon Murphy earlier this year has also created a welcome home to now 4/5ths Canberra band, Mental Cavity.

Taking no time to get one with things, the band released an EP entitled Waste Clearance, with four tracks of d beat infused death metal chiming in at a breakneck eight minutes.

Three originals and a cover of Autopsy make for a good time to check it out before the band is announced as the support for the hefty 4/20 or 20 April show at The Baso. Yes, the Suffocation Hymns From The Apocrypha tour has rounded out their line-up with the pioneering brutal assault, adding the Cavity to already announced tour buddies Revocation. Tickets at Oztix.

Another 50% Canberra band, Hekate, announced the longawaited release of their sophomore album, House of Solomon, on Blackfarm Records. Dropping the single Cordelia on YouTube a couple of weeks ago.

The album is available online through the Blackfarm website, and I was chuffed to get a preview a while back. I’m happy to report that it’s a big step up from an already impressive debut.

You can catch the band at Sunburn on 27 April with a laundry list of Australia’s best stoner doom bands. Astrodeath, Bongcleaner, Budd, Bifter, Clagg, Droid, Elephant Orgy, Ghostsmoker, Goat Shaman, Iusa, Lucifungus, Master Leonard, Motherslug, Mourners, Moutain Wizard Death Cult, Rocky’s Pride and Joy, Smoke Witch, Sundowner and Zombie Hunger.

riffs, Bombed Back To The Stoned Age, is killer, and it’s great to see the great man putting it all together; hoping to see a tour here come Q3/4 this year. Right, that’s it this month. See you next.

One huge international double bill I’ll be travelling for in July was Soundworks’ welcome announcement of the return of Lousianna’s Eyehategod and Goatwhore at Crowbar on Saturday, 27 July.

This is an absolutely tantalising tour from two of NOLA’s GOATS. This line-up features members of almost every notable NOLA band of all time, so you couldn’t ask for much more Louisianna if you tried!!!

Super welcome news is that the mighty Triumph of Death, Tom G Warrior’s unit that has been bringing the legendary legacy of the mighty Hellhammer to modern audiences over the past few years, is coming to Australia and The Baso on Wednesday, 14 August

I witnessed this firsthand at Dark Mofo in 2022, and you will want to get your ticket for this one early!

Really digging the new album Gilded Sorrow by The Obsessed. Wino gets a second guitar player in the band, and it’s working out great; their clip for the album’s heaviest

Based on true events, The ShoeHorn Sonata is a compelling revelation of the experiences of women imprisoned by the Japanese in WWII told through two who meet again 50 years later.

The filming of a TV documentary forces the women to relive a past in which unspeakable brutality was punctuated by moments of heroism, tenderness and even a gentle humour. They confront terrible secrets that even the Australian government has tried to erase from history.

The Shoe-Horn Sonata was first performed at Sydney’s Ensemble Theatre in 1995 and won both the Australia Remembers National Play Competition (1995) and the Play Award for the NSW Premier’s Literary Awards (1996) for Australian playwright John Misto. For tix & more info: ticketing.humanitix. com/tours/theatre-at-dairy-road

Art & Action

Tuggeranong Arts Centre’s April school-holiday program is a chance for young ones to show off their creativity in an action-packed day of visual and performing arts, guided by a team of professional artists, musicians, dancers, and actors. Everyone starts the day playing theatre sports before breaking into smaller classes based on age. Participants will be introduced to fun materials

such as fabric, paint, and collage to create amazing artwork! They’ll learn a Hip Hop dance routine with our Fresh Funk tutors. After lunch, musicians Katie and Jess Cole will lead a collaborative music making music session. Wednesday 17 April, from 9:30am to 3 pm. $85 via Ticket Tailor.

UPCOMING ARTS

The heartwarming coming-ofage stage musical based on the 2000 film boasts music by Elton John, and the book and lyrics by screenwriter, Lee Hall. The tale of a motherless British boy with an anachronistic love for ballet follows personal struggle and fulfilment against family and community unrest fuelled by the tumult of the 1984–85 UK miners’ strike in County Durham, NE England. The talented cast of adult and child performers feature two Canberra lads and two Newcastle boys in the lead role of Billy Elliot, and his best mate Michael.

Free-Rain Theatre

WHERE:

The Q Performing Arts Centre

WHEN:

9 April

Solve the problems of your world, one 80s song at a time! Part play, part musical, and part rock show, this hilarious new show will have you on your feet, rocking out to the soundtrack of your youth! Meet Tammy Tooth, a woman in the midst of an epic existential midlife crisis. She’s lost her job, her husband, and now her mind.

Through a quirk of fate, Tammy travels back in time to 1987, where she comes face to face with her 16-year-old self in her teenage bedroom.

CRYING WOLF with CHRIS MARLTON

Retail Giant to Finally Shut Down 400 Stores Across Australia

Why are these stores being closed? Investigative reporter Chris Marlton delves deep and asks the questions every Australian is wanting an answer to.

McCarthur Anthony Gurble Guntt, also known as MAGG in certain large circles, is a 27-foot-tall, 835 kilogram Mega Man. Often referred to as ‘giant’ by historical literature and Lord Of The Rings fans, Guntt prefers the term Mega-man because:

“It sounds cool, and I liked the old Mega Man games on the original Nintendo and Super Nintendo video game systems back in the ‘80’s and ‘90s,” he told BMA Magazine late last year.

“This was before I got so big that my hands couldn’t hold the controllers, you understand.”

Guntt views the reactions to his recent announcement as a form of prejudice.

“It’s malicious behaviour, sure, but that’s in my nature,” Guntt told BMA Magazine. “Asking someone like me to not behave like this is akin to asking a paraplegic to run in the Olympics. I have a genetic predisposition to cause havoc in and around the societies I inhabit, so that’s exactly what I plan on doing.”

McCarthur Guntt is, of course, referring to the fact that he’s planning to use his immense size and strength to permanently close the doors of four-hundred shops around Australia over the 2024-25 financial year.

“I’m a big man; a Mega-man,” he said during an October 2023 press conference. “So no one can actually stop me doing it.”

It was during this press conference that he outlined his plans to travel across Australia from July 2024 to the end of March 2025, and any shop he doesn’t like the look of, he will close the door of, breaking it in such a ways that it can’t be fixed.

When Guntt was asked if he cared about the business owners:“I’ve completed all the relevant forms, contacted all the relevant authorities, and given enough time for people to evacuate the premises so they don’t get locked inside and die of starvation.

“It’s out of my hands now.”

When told that the forms he provided were not official in regard to Australian Government regulations, Guntt replied, “These are Mega Man forms. I made them myself. I am an authority unto myself, and closing doors on shops I don’t like is something I have decided to do.”

It is estimated that roughly 3,000 workers will be out of a job once all 400 stores have had their doors forcibly closed. Outraged workers have been protesting out the front of the giant’s castle since the announcement was made, though his habit of snatching the

closest person and snapping their femur has reduced the enthusiasm and size of the demonstrations considerably.

Castle Guntt has now erected a sign out the front saying...

PROTESTERS WILL BE SNAPPED

...with several human tibias hanging by fishing wire from the bottom of the sign.

Born in Moree in 1983, McCarthur Guntt had normal-sized parents and attended a normal-size school. His life seemed to be continuing in a normal fashion until his eighth birthday when he began to grow very fast.

By the age of 11 he was 14 feet tall and could smell the blood of Englishmen from up to two kilometres away. At 15, he was banned from all competitive sports for accidentally (on-purpose) permanently injuring the entire opposing team in a basketball game by falling onto their bench during a time-out.

When he was 22 years-old, Guntt got his first job at a Bing Lee in Newcastle. He was the best TV seller the retail store had ever seen, using violent coercion to force customers to buy the most expensive TV available, which he would then carry to their homes and install by removing their roof like it was a dollhouse, and placing the TV inside the house as though he were installing a mouse-wheel in a cage.

After three years working at Bing Lee, Guntt asked for a raise, under the presumption that he was selling 80% of the store’s gross income. He was refused, and a week later he was fired for a breach of the Code Of Conduct when he threw his manager through a window.

It was a month later that the doors of that Bing Lee store were closed in a way that was unable to be undone, with McCarthur Guntt heavily suspected.

Over the following four years, towns and cities where Guntt resided would have the doors of many shops closed, often following run-ins with the giant. For a long time he refused to take responsibility or credit for the violent behaviour.

In 2012, Guntt moved to Hungary for four years to study with other giants, whom he found on the largemanresources.com giant community website.

Upon returning to Australia in 2016, he held a press conference where he claimed responsibility for all of his past retail outlet door closures, citing the nature of Mega-men, and that he had no choice in the matter. He then began to file his unofficial Mega-man documentation and forms with the local councils, a technique he no doubt learned during his time in Europe.

“I would like to say that I’m not doing this to hurt anyone,” declared Guntt in an expose from the February 2024 issue of Women’s Weekly. “But it’s just not true.

“I don’t like people, and I relish their anguish.

“So I’m going to enjoy closing these retail outlet doors, as well as the fighting and violence that will hopefully occur when I clash with the authorities trying to stop me.”

The AFP have issued a statement asking for all Australians to stay out of Guntt’s way, indicating that they’ve asked the Army for assistance in the matter. The Army were quick to issue a statement of their own, that read:

“We don’t want anything to do with giants. We’re not interested. Go away. Go ask the Navy.”

The Navy have refused to comment.

CEO of Jeans West, Jennifer Baker, has warned Guntt that if any of her stores’ doors are closed in the coming year, a swarm of Denim Warriors will be unleashed upon, covering him like an outbreak of particularly pernicious lice.

Guntt, however, has welcomed this.

“I dream of the day that I may fight a thousand denim-clad warriors. And, hopefully, they end me, and put an end the torment of being the largest man alive, and all the pain it has brought me over the past 40-odd years.

Chris Marlton is a comedian, writer, painter, and film-maker. Tickets for his 14 March Canberra Comedy Festival show are on sale now at www. linktree/ChrisMarlton. Follow @chris.marlton on Instagram, Facebook and on YouTube to see his latest comedy clips.

The Indignity of Being a Mattress

I was under the impression that living in Canberra is easy. But judging by the 11am state of the bathrooms at any large agency, some folks are holding a LOT of stress in their gastrointestinal systems.

I’m a bit concerned. You know how when you walk into a public toilet, you sometimes have a false start with the cubicle you walk into and you have to go to another one? The number of times I leave having seen a Rorschach blot of someone’s vivid turd is too many. My brain likes to screengrab that with maximum image resolution and test me:

“What do you see when you look this inkblot?”

I see IBS, brain. That’s what I see.

I think it’s the cold. I think we are all self-soothing with warm drinks, and those bonus morning coffees and extra cups of tea are just white knuckling it through our intestines.

And that’s fine. But like, don’t hurt yourselves. Be careful.

Lunchroom noticeboards are how you become aware of the level of weird at your workplace. Someone at my work is asking $3500 for a used mattress. That’s some wishful thinking. I don’t just mean because mattresses stain easily; obviously if there’s a ghost in yellow on that upholstery. No one’s gonna buy it (well at least I wouldn’t; I don’t know what you lot are into).

We need to educate ourselves about the factors that we need to consider in the purchase of a secondhand mattress. I, for one, would like to know about gas retention threshold, which is simply not talked about enough.

Before I put down thirty-five hundred dollars, I’d like to know about the number of farts a mattress is holding. You might say “that’s ridiculous, mattresses don’t hold farts”.

Please.

Any mattress belonging to someone at my work is holding onto intergenerational digestive trauma. I have seen, first hand, the way my colleagues mainline Guzman and Gomez, and I’m sure that $3500 Sealy Posturepedic can double as an extensive food diary.

And I would like to educate myself on the extent of the damage before committing to a large purchase.

I don’t want any brain farts, either. As soon as someone’s had a messed-up dream, then I don’t want that energy anywhere near a place where I could be sleeping. If someone has entertained any kind of non-physical vulnerability on a mattress, then that mattress has performed emotional labour. And that means it is less well equipped to deal with my problems. Which are

It doesn’t even have to be a dream, it can just be like weird sad boi reminiscences. Once a person has laid on a mattress and wondered whether the girl they dated in first year uni has kids now and gotten an erection at the vivid memory of the smell of her hair but then felt too sad to do anything about it because of the cumulative effects of SSRIs and middle age... I would estimate that that mattress has lost 10% of its

Mattresses do the work of a subconscious travel device, super absorbent towel and bulk billing psychologist and they are tired. A mattress isn’t just for Christmas, people. Please if you buy a mattress, do the humane thing. Make sure the only farts it has to retain are yours.

Suma Iyer is a Canberrabased comic.

getting hands on with the marvel that is ROBBIE KARMEL

Artist Robbie Karmel’s main focus is drawing and embodiment— looking at how we use the body to draw and how we can use drawing to examine the body and embodied experience. Over his thrilling career—which includes starting a studio, completing a PhD, and art, art, and

Arts origin story?

I’ve always been a drawer; in high school, I drew a lot of morbid sketches of bodies and hung out in the art rooms a lot. I went to the ANU School of Art for my undergrad and honours, where I was exposed to printmaking and performance and did a lot of life drawing.

Around this time, I was doing a lot of life drawing and self-portraiture, and I began to embed my body in the work a lot more through performative drawing processes.

After this I went to the College of Fine Arts in Sydney (now UNSW School of Art and Design) for my Masters and PhD, further exploring drawing and embodiment.

During my Masters, I visited the UK and stumbled on a guy called Barn the Spoon who had a little shop in Hackney where he sat carving wooden spoons all day, and it triggered something in me. When I returned, I got an axe and a knife and tried to whittle a few spoons, quickly expanding into hand-tool woodworking. I became absorbed in how we use and learn-to-use tools, and how social these practices are in their sharing and teaching.

So for my Masters and PhD, this became integrated with my drawing practice and I started making what I called performative studio furniture, objects that I would climb on or wear or use in some way to produce drawings both with and on. I invited people to draw, so it became a collaborative and experiential process.

Tell us all about your upcoming exhibition. As a fan of the Greylock analog horror series, I am exceptionally fascinated with Tulpas and firmly believe in art as a therapeutic practice.

It’s a big show, there’s a lot going on! The Tulpa drawings began in 2021. I had a rough time during the lockdowns and have ongoing mental health conditions that got pretty bad during that period. At one point, I was hospitalised for a few weeks, and while there, I started doing a drawing every day just to get myself doing something.

I began to draw with a lot of colour, which isn’t something I’d really explored previously. I was trying to activate something joyful within myself. I was also looking into

Internal Family Systems, a psychological framework that considers the self as being made up of different parts within us, each with a voice. Sometimes, we’re a gestalt of these different voices functioning well together; sometimes, we have internal conflicts, and sometimes, one voice will take the wheel and override all the others.

The drawings became manifestations of these internal figures. Not illustrations of specific characters, but using drawing as a process to give form to feelings, to articulate and to tease out and untangle the difficult shit. So the Tulpa drawings are that; using drawing to make sense of a wet, messy, dissected body.

I was talking to a friend on the phone about all this, and he brought up the phenomena of tulpamancers, groups of people on the internet who deliberately develop imaginary friends, often pop culture characters, whom they consider willful and independently sentient. The term Tulpa is an appropriation from Buddhism, stolen and largely decontextualised by early 20th-century Western esoteric occultists to describe forms or beings brought into being by thought, so I must acknowledge that it’s not an unproblematic term. I need help understanding its original Buddhist form.

The exhibition also includes a lot of woodwork, notably the bowls and spindles turned on the lathe. So, the Tulpapa part of the exhibition is very much about “Sitting” in the title, and the turned objects are the “Standing and Turning” part of the show. Woodworking and wood turning, like drawing, have significant therapeutic value, most obviously as productive and mindful processes; you have to focus on what you’re doing; you can’t rush things;

Trauma Forma Flora Fauna, 2024, coloured pencil on paper, 59.5 x 42cm

Wizz Fizz, 2023, coloured pencil on paper, 59.5 x 42cm

Anatomy, 2023, coloured pencil and graffite on paper Tulpa Drawing, 2021, coloured pencil on paper, 42 x 59.5 cm

it is attentive, meditative, and mindful. In my recovery making things has been an effort towards behavioural activation, another psychological term, but doing something, anything, to get yourself moving again, even if you feel bloody horrible while doing it.

The Head Bowls are a series of turned wooden bowls worn on the head to draw on and performed in different ways. For this show, I’ll have groups of five people wearing them and drawing on their own bowls and on each other. This is the culmination of many of these threads, my investigations into embodiment, tool use, collaborative making, and art as a social and therapeutic practice.

What do you explore through art?

Some of the more prominent themes are political; I have much to say about the disabled experience and how our government treats the vulnerable, both here and abroad. The most recent drawings have a lot more green and bodies that are mutilated in much more distressing ways, very much as a response to the horrors in Palestine at the moment. I’m moving very slowly on this, but I think the trauma that both produced these events and that these events are producing is something that we do not currently have the language to really understand, let alone address. And can you tell us more about Studio Studio?

I started Studio Studio with Richard Blackwell in 2019 when I finished my PhD and moved back to Canberra; it’s been a wild ride! We share the space, and both run our practices out of the studios; we have a machines room, a print studio, and a nice big gallery/ project space. We have the occasional exhibition and host residencies, I’m also hoping to start teaching my own workshops out of the space in the next year or two, but it’s a lot to get these things going. We’re hosting a group exhibition of Gungahlin-based artists with Gungahlin Arts

called Inhabited, which opens on the 3rd of May. I’m very excited about it!

Who/what influences you as an artist?

I look at as much stuff as possible, especially drawing and print media. Some classic favourites are Goya, Jim Dine, Jenny Saville, Marlene Dumas and Joseph Beuys. I have to acknowledge Mike Parr’s influence and presence in the field of drawing and performance as it relates to interrogating and representing the self. I’ve already mentioned media and world affairs, particularly with how the internet works. It’s impossible not to be influenced by that stuff, and we are going through such a strange and unprecedented time with how we broadcast and receive images and information. We’re seeing the impact on how we make art and how we use it to understand and respond to it. Also, I listen to a lot of The Drones; anything by Gareth Liddiard is gold. The guy knows how to say shit.

Of what are you proudest so far?

Studio Studio, we’re building something exceptional here. I’m also thrilled with the Head Bowls. They’re the resolute form of so many things I’ve been working towards for a long time, and I’m just starting with them!

What are your plans for the future?

In the short term, I’m doing a project with Hands On Studio and Megalo Print Studio over the next few months, and I’m very excited about it. I’ve also been doing a lot of printmaking at Megalo, something I last did a while ago, I pulled my first lithograph since undergrad yesterday, and I’m going to really delve into it.

Anything else you’d like to add?

Phew, no, I think that covers everything! Sorry, I’ve written you a short book there.

Three very contemporary exhibitions are now showing at Tuggeranong Arts Centre.

Sitting Standing Turning presents an eclectic range of work from the breadth of Robbie Karmel’s practice, including drawing, handmade furniture, printmaking, and performance. He pushes traditional mark making to its boundaries by creating works collaboratively during performances using hand-crafted wooden objects.

Up and coming glass artist Louis Grant creates minimalist sculpture that takes contemporary glass

into the realm of colour-field installation. His work investigates queer identity through the medium of glass, while interrogating notions of gendered practice.

The three ABODE artists focus on dwellings; how and where people live, either by choice, through design or due to circumstance. How are feelings of security associated with “home” affected by change, transience, or the need to improvise shelter? ABODE includes sculpture, video and installation.

Untitled, etching on hahnemühle, 30.5 x 41.5 cm

Louis Grant, I Know my Age and I Act Like It, installation view, Tuggeranong Arts Centre. Showing until 8 June

Robbie Karmel, Sitting Standing, Turning installation view, Tuggeranong Arts Centre. Showing until 8 June

Abode, view, Tuggeranong Arts Centre. Showing until 8 June

Flickerfest, the celebration of snappy celluloid, is marking a triumphant 33 years with 2024’s event. In this span, the event has gone from strength to strength, taking the once-humble local gathering at Balmain High School in 1991 to its now long-established moniker as Australia’s leading Academy® Qualifying and BAFTA Recognised short film festival; one that tours the country.

“We’re always working hard to continue to present A-list short film programmes recognised amongst the best in the world,” Director Bronwyn Kidd espouses. “This year’s films have been hand-picked from the festival’s record 3,400 entries!”

Darwin Story

And, as is pleasingly the case each year, the Thursday, 16 May showcase at Palace Electric features a slew of Canberrans proudly planting

their creative flag in the cinematic landscape.

“Local Canberra highlights include To Be Silent by producer Skye Leon,” Director Bronwyn Kidd reveals.

To Be Silent

Skye is a Lardil Yangkaal and Worimi filmmaker who grew up and went to school in Canberra. She attended Stromlo High School and Canberra College before moving to Sydney to do her Bachelor of Screen Production at AFTRS.

“To Be Silent is a thought-provoking, contemporary First Nations short documentary,” Kidd explains. It is also her graduation film from AFTRS, leaping effortlessly from the world of academia to being screened at festivals both at home and abroad.

Beautiful Things

The Canberra pride continues, showing we shine across the various vital disciplines that make up a film.

“Beautiful Things features the talents of Canberra locals Emily Taylor and Benjamin Ling who contribute hair & makeup as well as cinematography respectively,” Kidd enthuses.

The short centres on a struggling poet, a recovering addict, a resentful matriarch, and a fractured family held together by a yearly ritual. However, this year there’s an unexpected visitor…”

In addition to the intriguing story and hometown heroes, there is another compelling reason to check out Beautiful Things: it is the acting debut of former army lawyer and whistleblower David McBride, who plays the lead.

From Canberra to the world entire, Kidd reveals the make-up of the rest of the fest.

I Am Not A Robot

“Highlights of the European Union films include the contemporary Netherlands black comedy and Flickerfest winner of Best EU Short I Am Not A Robot,” she says. “It’s a stunning look at the future of robotics through a woman who discovers a surprising secret through her use of captcha.

Down The Fall

“This will be joined by the winner of the Best EU Rainbow Short at Flickerfest, the mesmerising German film Slow Down The Fall,” she continues, which sees two ski jumpers synchronously rehearse movements in the Alps valley.

A Study Of Empathy

“And don’t miss the unique and thoughtprovoking German/Danish short A Study Of Empathy, winner of the Oscarqualifying Best International Short Film at Flickerfest 2024.”

Worthy watches all, but Flickerfest wouldn’t be complete without the best that this Big Brown Land can offer.

Cold Water

“Australian highlights include Cold Water,” Kidd enthuses, “starring industry legend Bruce Spence (Mad Max), winner of AFTRS Best Original Script at Flickerfest 2024 and the winner of the Panasonic Award For Best Australian Short Film (Academy Qualifying) the stunning choreographic short Yeah The Boys, that takes a whimsical, hard but heartfelt look at Australian male drinking culture, beautifully enhanced by a stunning original soundtrack from the Avalanches.”

Yeah The Boys

And as if all this cinematic wonderment weren’t enough, also included in your ticket price is either a complimentary Gage Roads Beer, Rosnay Organic wine or Four Pillars Gin, which you can gleefully sip as you hear from filmmakers before the screening.

MENTAL CAVITY WASTE CLEARANCE

Navigating the turbulent waters of the death metal scene, Canberra’s own Mental Cavity have dropped their latest EP, Waste Clearance, a concise foray into their established sonic territory with a mix of original tracks and covers.

Since 2017, the band has carved out their niche within the genre’s cavernous realms, offering a blend of ferocity and technical acumen that’s become their hallmark. Waste Clearance, while not a seismic shift in their trajectory, offers a glimpse into their current state of their musical evolution.

The opener, Enraptured Being, plunges the listener into the thick of the band’s sound, a relentless assault that’s as much a testament to their genre proficiency as it is a showcase of their individual talents. Yet, despite the evident skill, a strangely comforting sense of familiarity envelops the track—a testament to the band’s ability to hit all the right notes in the death metal genre, showcasing their impressive command and collective musical muscle. Recreant follows a similar blueprint, delivering the expected blast beats and guttural vocal onslaught.

The musicianship is a solid, competently executed maelstrom highlighting the promised spark of unpredictability and/or deviation from future offerings.

The covers—tributes to Autopsy and Disrupt—underline the band’s ability to honour their roots with remarkable reverence and technical precision. These renditions showcase their adeptness at channelling the essence of their influences while embedding their unique stamp, illustrating a respectful dialogue between their musical heritage and artistic voice.

On Twisted Mass of Burnt Decay, the track unfolds with relentless straight quarter note thumps, building a dense, unstoppable sonic wall. The

vocal style intricately weaves through this auditory barrage, adding a unique texture. As the track nears its two-minute mark, it intriguingly slows down, simulating a festering decay before accelerating towards a climactic and explosive finale.

Mindlock introduces itself with an enthralling feedback loop that sets the stage for yet another intense auditory journey. This track stands out with its skilled and convulsive drumming, which adds a new layer of complexity to the EP. The dynamic shifts are further accentuated by what appears to be gang-style shrieks and wails, creating a raw and immersive listening experience that encapsulates the band’s ability to explore and experiment within the confines of their genre.

Waste Clearance sees the individual talents—Aaron, Alex, Rohan, Simon, and Julian—merge to create a cohesive unit.

While it may tread familiar ground, the EP is a testament to the band’s solid foundation in the genre, highlighting their commitment to the core elements that make death metal resonate with its fans. Their musicianship is not just a display of technical prowess but a celebration of the genre’s enduring appeal, offering a sound that is alluring in its familiarity and impressive in its execution.

This latest release underscores the band’s understanding of what makes death metal tick, affirming their place within the genre while setting a solid groundwork for future exploration and innovation.

VINCE LEIGH

PILOTS OF BAALBEK

BY THE SEAT OF OUR PANTS

Picture this: a sonic stew brewing in the heart of Australia’s capital, infused with the spirit of ‘70s space rock, boogie, and glam, and seasoned with a hint of proto-punk rebellion.

Fasten your seatbelts and put your trays in an upright position: Pilots Of Baalbek are about to take off; and there WILL be turbulence.

Drawing inspiration from the pantheon of rock deities—including Hawkwind, The Sweet, The Stooges, The Ramones,

New York Dolls, AC/DC, Kiss, and Jimi Hendrix— Pilots of Baalbek concoct a heady brew that, upon first listening, seems to defy categorisation.

It’s a melting pot of rock styles in the classic vein, a bold and brazen mash-up that pays homage to the past while hurtling towards the future with a blisteringly reckless abandon.

Now, brace yourselves for their sophomore effort, the eagerly awaited followup to their 2020 debut, Uncontrolled Airspace. Kicking off the album with Sea Fury, Pilots of Baalbek waste no time in unleashing a barrage of riffs, accentuated by sixteenth note drum rolls amid a sonic

cocktail that’s two parts AC/DC, one part Status Quo/Motorhead retro but infused with a twist—a vocal attack that ignites with unguarded intensity.

Each track reveals a new facet of the band’s sonic arsenal as the album unfolds. Glide Slope sees more riff-heavy goodness, with vocals buried deep in the mix, adding to the overall power and fury of the sound.

Cargo Cult takes us through more ‘70s guitar riffage, juxtaposed with a melodic streak that adds depth and dimension to the relentless groove.

As we delve deeper, Freddy offers a controlled slice of rock ‘n’ roll, with a rhythm section introduction paving the way for gliding guitar riffs that soar to expected but nonetheless spirited heights.

Meanwhile, Family Knowles bursts forth with quick-paced momentum reminiscent of Motorhead’s flag-waver, Ace

Of Spades, barraging us with an onslaught that can best be described as relentless.

Moon Pigeon reveals the band’s more melodic side, opening with a torrent of muscular swings and stabs before segueing into a classic rock groove adorned with fiery guitar work.

DB Cooper takes us into darker territory, with a menacing intro that morphs into another pub rock fashioned track.

And Reverend Gill brings the album to a close with an unfaltering rock groove showcasing the band’s myriad influences in all their glory.

Pilots of Baalbek harness an array of rock sub-genres, amalgamating the band’s exhibited sensibilities—riffs, syncopated incantations, and blistering rock vocals. They embody the aura of musicians delving into interconnected musical styles, crafting an enticing and authentic version.

VINCE LEIGH

PEACH

Formed in Canberra in 2018, the indie-pop trio Peach Lane, consisting of Madeleine, Pierre, and Hannah, has established a reputation for ethereal, atmospheric, selfproduced indie-pop. Having shared stages with Northeast Party House, Odette, and E^st, the band’s style features guitar layers, harmonies, and a blend of live and electronic instruments influenced by The xx, Lorde, and Bon Iver. Following their debut EP, Take This Day, Peach Lane has explored remote collaboration, resulting in their latest selfproduced release, You Love Me I Hate Me The new track extends the band’s previous focus with a lush concoction of vocal layers, undulating keys, synths, and drums. Built on a compelling arrangement of strong melodic parts, Peach Lane has not sacrificed any inclination to create enticing, intimate pop for the sake of sheer mood or style. And the irresistible title did not disappoint. From the opening electric piano flourishes to the heated abundance of the outro chorus, there is a quiet sort of tension that avails itself into a billowing culmination of auditory sweetness.

Although these sonics are compliantly wistful, reinforced by the nuanced vocal approach, the gradual instrumentation build, and the various contours of light and shade (the arp addition in the chorus provides a fitting sense of urgency), the narrative takes its cues as one expects given the title, from the self-deprecatory.

But this all serves the song and, subsequently, the production very

well, making for an enticing proposition of potential intimacy constrained by self-doubt or misalignment.

Combining a well-crafted song with refined performances and an ear for production detail—the positioning of the rhythmic elements in the mix revealed a particularly deft touch, as did the blending of the lead vocal with the various backing vocals and textures—You Love Me I Hate Me is a welcome addition to the band’s expanding output and reputation.

VINCE LEIGH

Archie’s latest EP, Tell the people you love that you love them, is a testament to the band’s evolving sound and artistic maturation. It’s a collection that sees the group pushing their boundaries and refining their musical voice, marking a significant step forward.

The opening track, Me Now, introduces us to a blend of chilled keys and funk guitar that sets a mood before evolving into a groove that’s more about subtlety than overt flashiness. The song navigates a path between minimalism and a more classic disco vibe, showing the band’s skill in balancing different musical elements.

Lowtide changes tempo, adopting an indie pop-rock stance with an uplifting chorus. The track’s accessible hook and guitar solo demonstrate

the band’s ability to create engaging and resonant music without resorting to complexity for complexity’s sake.

Flow continues the exploration with an effect-laden piano backing and a soulful vocal line, shifting into a pop R&B groove. The track is yet again a showcase of the band’s ability to blend genres, delivering bitesized hooks that are catchy yet never feel contrived.

Out Of The City shines as a microcosm of the EP’s overall approach, blending the band’s varied stylistic influences into a coherent whole. The track balances melodic strength with dynamic performances, illustrating Archie’s growing confidence in their sound.

And Purpose, the EP’s closing song, shifts towards indie rock while echoing the thematic

depth of the preceding tracks. It’s a solid end to the collection, demonstrating the band’s growth and hinting at their potential for future explorations.

The individual talents of Archie’s members—Grant Simpson, Olivia Faletoese, Xandy Wanjura, and Geromy Houghton—shine throughout the EP. Their collaborative effort is evident in the music’s cohesiveness, reflecting a band finding its stride.

Tell the people you love that you love them is an encouraging sign of what’s to come from Archie. It showcases a band not resting on its laurels but rather one eager to explore and expand its musical horizons in fearless fashion.

VINCE LEIGH

LEILA

STRANDED IN CAIRNS

After performing on major stages and releasing her debut single, Missing Piece, in 2023, Leila started 2024 with Stranded In Cairns, inspired by her experiences with Queensland’s cyclones.

Leila’s first single served as a compelling introduction, blending soulful folk-pop with a powerful vocal delivery. This initial offering demonstrated her knack for creating engaging melodies over a simple four-chord progression, building anticipation, and delivering emotional payoff in a way that resonated.

As Leila transitions to her latest release, Stranded In Cairns, the foundational elements of her debut—evocative vocals, strategic song structure, and the ability to connect emotionally with the listener—pave the way for this new chapter in her musical evolution. In contemporary pop/folk, it’s noteworthy when a track skilfully blends maturity with a sense of newness and intimacy with a broader appeal.

Stranded In Cairns manages to hit these notes with a certain finesse. The track employs the acoustic guitar not just as an accompaniment but as a percussive force, particularly within its verses, offering an engaging sonic texture without being overbearing. Through this, Leila constructs a thoughtful and

inviting soundscape, positioning the track as a solid entry in her evolving musical catalogue.

From the first note, Stranded In Cairns offers a chorus that catches the ear and gently pulls the listener in. The immediate allure of the chorus, enriched with a satisfying resolve tag, is a testament to Leila’s songwriting abilities. The track is adorned with vocal adlibs that exhibit not just technical skill but a nuanced emotional depth, adding layers to what might, in less capable hands, have been a straight pop/folk offering.

Upon a second listen, the chorus unfurls its full power, resonating with a robustness that belies the track’s overall delicate construction. A violin solo emerges as a highlight, weaving in and out of Leila’s vocals, complementing and elevating the track. This interplay adds a new dimension, showcasing the kind of musical intertextuality and sophistication.

As the track progresses, shifting to a quieter, more intimate verse offers a moment of reflection, a breather that underscores Leila’s ability to modulate mood and tone. The cruise back to the chorus isn’t just a retread; it’s a deliberate stride, confidently ushering us toward the outro and underscoring the song’s thoughtful architecture.

Stranded In Cairns marks a mature and dynamic addition to Leila’s evolving repertoire and artistry.

VINCE LEIGH

Find us inside Dirty Jane’s vintage emporium (behind Domayne)

80 Collie St, Fyshwick

Open 7 days, 10am to 5pm

PLUS carefully curated, limited edition, brand new vinyl that will blow your record loving socks off!

Have records to sell?

We pay cash for unwanted collections and will travel far and wide to pick ‘em up!

THU 11 APRIL

Art Live: All Stars

Come to the NGA for a rockinfused painting workshop at Art Live: All Stars. Led by Vincent Namatjira & Ben Quilty, groove to bands Spit

The Dummy, Monomania, You Tell Me, The Reeds, Evadell, and Mulga Bore Hard Rock. 6pm, free, regist. essential

NATIONAL GALLERY OF AUSTRALIA

Billy Elliot: The Musical

The heart-warming comingof-age stage musical based on the 2000 film boasts music by Elton John, and the book and lyrics by screenwriter, Lee Hall. Running til 9 May with shows at 1:30pm & 7:30pm. See theq. net.au for all session times and tix info

THE Q PERFORMING ARTS CENTRE

[Screening] Pearl Harbor

Directed by Michael Bay with gripping performances from Ben Affleck, Josh Hartnett and Kate Beckinsale, the film blends elements of the

romance, war and historical genres with a soaring Hans Zimmer score. 6pm, $12–16 via NFSA

NFSA CANBERRA (ARC CINEMA)

Late November w/ Playlunch

This will be a show to be remembered - don’t miss Playlunch & Late November on their East Coast tour! 7pm, $18.40 via OzTix

THE BASO

FRI 12 APRIL

Funan

With subtle, understated animation, this debut feature from Denis Do strikes at the heart of the terror for Cambodians living under the Khmer Rouge regime. 2pm, $12–16 via NFSA

NFSA CANBERRA (ARC CINEMA)

Scar Symmetry

With the release of the long-awaited second album of their transhumanist Singularity trilogy, Phase II –

The Xenotaph, Scar Symmetry continue to tap into one of the most profound evolutions over the course of humanity. 7pm, $59.90 via OzTix

THE BASO

[Screening] Cobweb

An uproarious take on the film-within-a-film, this recent release from Kim Jee-woon (I Saw the Devil, The Last Stand) packs every moment of its 132-minute runtime with edgy, dramatic comedy. 7pm, $12–16 via NFSA

NFSA CANBERRA (ARC CINEMA)

Hamapple (USA) w/ One Square Mile (USA), Radio Rejects, Commoners Revolt & Highland Light

Featuring current and ex-members of The Vandals, Spider & Manic Hispanic, SoCal punk rockers Hamapple hit Aussie shores this April. Now, if one US band wasn’t enough, along for the ride is Hermosa Beach hardcore punks One Square Mile. 7pm, $15 on the door

THE BASO

Witchgrinder

w/The Absentee, Space

On Fire & Endless Grin

Witchgrinder are returning to Canberra on for the ‘Nothing Stays Buried Tour!’. The band are primed to showcase new and old material dripping with industrial metal dipped in horror! 7pm, $20 on the door

POT BELLY BAR, BELCONNEN

JD Band

The JD Band are a Canberrabased traditional and contemporary acoustic roots music duo/trio/band. 8pm, free entry

OLD CANBERRA INN

The ENA Trio

The ENA Trio features three of CBR’s brightest young musos: Evan Teece, Nate Griffin and Arland Shaw-Crocker. Their eclectic mix of music reflects the diversity of their personal tastes, including everything from jazz, Latin and blues to gospel, funk and hip-hop. Expect a riveting musical journey, as ENA (‘one’ in Greek) lead from Bill Evans to J Dilla. 8pm, free entry

DICKSON TAPHOUSE

The Fuelers

The Fuelers will be performing at the Irish Club starting at 8pm, and entry is free! The Fuelers take their name from nitro-fuelled drag cars. Once these guys get going, the only thing that’ll stop them is a parachute. 8pm

CANBERRA IRISH CLUB

SAT 13 APRIL

[Screening] The Thin Red Line (35mm)

Terrence Malick captures both the staggering scale of war and the intimacy of individual stories in this fictionalisation of the Guadalcanal Campaign during the Second World War. 1pm, $12–16 via NFSA

NFSA CANBERRA (ARC CINEMA)

Birth & Rebirth Music for Harp, Viola & Cello World-class and bound to delight, three of Australia’s outstanding young performers bring their most recent program to Canberra at the Wesley Music Centre. 2pm, $40 via Humanitix

WESLEY MUSIC CENTRE, FORREST

Chris Harland Blues Band

The simplest formula. The maximum impact. The Chris Harland Blues Band has the command and the precision to nail every number they play. Every CHBB set remains a memorable, musical event, revisiting the best of the Blues standards: B.B. King, Buddy Guy, Muddy Waters. 2pm, free OLD CANBERRA INN

Karl S. Williams & Sally Wiggins

Award winning QLD songwriter

Karl S. Williams and renowned percussionist Sally Wiggins bring their exciting new duo to the hallowed stage of Smith’s Alternative for the first time. 6pm, $25 ($20 concession) via the Smith’s website

SMITH’S ALTERNATIVE

Lo$t In Grey: Breaking Point

Experience the new wave of real aus rap, back in style and done proper. Our community has only grown from the start and we’re so grateful that the depth is being valued for what

it is. Featuring Doherty, XV, Kaspar Kron, UndergroundHerb, Ozumi,MirrorTwinz & MFour 7pm, $12.24 via OzTix

THE BASO

I Want It That Gay: Cara Whitehouse

Rewrite your childhood through the nostalgic sounds of the ‘90s and ‘00s with this queer musical cabaret at Tuggeranong Arts Centre. 7:30pm, $38 full / $32 concession via TicketTailor

TUGGERANONG

ARTS CENTRE

SUN 14 APRIL

NeonHoney

NeonHoney is a music producer and songstress from Canberra, Australia. 4pm, free entry

OLD CANBERRA INN

Tim McNally

Tim McNally has brought his live set to venues all across ACT & NSW, with a vast array of covers at his disposal, Tim McNally’s smooth vocals and effortless guitar playing leaves the audience stunned by his easy grooves and rhythmic melodies. 4pm, free entry

DICKSON TAPHOUSE

MON 15 APRIL

Milo Edwards: Sentimental

Award-winning British comedian Milo Edwards is coming to Canberra with his hit new show ‘Sentimental’. Praise for Sentimental: “Incredibly skillful, life-affirming, and uplifting” - The Wee Review 5*. 7pm, $30 (25$) via Smith’s Alternative SMITH’S ALTERNATIVE

TUE 16 APRIL

Hip-Hop Songwriting Workshop

In this free one-day school holiday workshop, students will be guided through the creative process of songwriting, from the initial spark of an idea to a fully written, cohesive song. 10am, free via TicketTailor

TUGGERANONG

ARTS CENTRE

Science. Art. Film.Vesper + panel

In a post-apocalyptic world, teen bio-hacker Vesper has a chance to save her community if she can cultivate a precious discovery of seeds. Join us after the movie for a panel discussion exploring genetic engineering and biohacking. 6pm, free; bookings essential via NFSA

NFSA CANBERRA (ARC CINEMA)

WED 17 APRIL

[Screening] E.T. The Extra Terrestrial

Young Elliott discovers and befriends a stranded alien, hiding ‘E.T.’ in his suburban California house with the help of his siblings. One of the most enduring and beloved family films of the 20th century. 1pm, $10–12 via NFSA

NFSA CANBERRA (ARC CINEMA)

THU 18 APRIL

Billy Elliot: The Musical

The heart-warming comingof-age stage musical based on the 2000 film boasts music by Elton John, and the book and lyrics by screenwriter, Lee Hall. Running til 9 May with shows at 1:30pm & 7:30pm. See theq. net.au for all session times and tix info

THE Q PERFORMING ARTS CENTRE

[Screening] Space Jam

Michael Jordan plays himself in this iconic ‘90s sports comedy, leading a team of Looney Tunes characters in a basketball game against alien invaders. 1pm, $10–12 via NFSA

NFSA CANBERRA (ARC CINEMA)

John Stokes Live

Head over to the George and end the week with artist John Stokes. Relax and enjoy the acoustic rhythmical strumming and deep tones. Stokesy has a strong passion for energetic guitar playing and blending vocals. 6pm, free entry

THE GEORGE HARCOURT INN

Miruthan w/ Kuntsquad, Children of Perdition, Devoid Altar & Asura

Miruthan from Maitland brings their music journey to Canberra. Travel through a postapocalyptic world. They craft a unique experience, immersing fans in a tale of survival amidst zombies and villains. 7pm, $15 via OzTix

THE BASO

Pilots of Baalbek w/ Voodoo Acid Space Kings and Rawrus Tongue

Fresh off the release of their latest album By The Seat Of Our Pants, Pilots of Baalbek again taking off from Canberra with incredible In Flight entertainment from VooDoo Space Acid Kings and Rawrus Tongue. Come and get some Rock N Roll! 7pm, $20 via OzTix

THE ABYSS @ THE BASO

FRI 19 APRIL

[Screening] Parasite

Parasite tackles greed and class division, confounding audiences with a web of twists and turns. How far will the impoverished Kim family go to wrangle their way into the glamorous world of the Park family? 7pm, $12–16 via NFSA NFSA CANBERRA (ARC CINEMA)

Focus Group & Hooper Crescent Double Album Launch

Celebrating he double album launch of Melbourne/Naarm post-punk/new wave bands

Focus Group and Hooper Crescent. Supported by Shoeb Ahmad. 7:30pm, $15 + bf via Humantix, $20 on the door

SIDEWAY

Blooms Sings

Stevie Nicks, Carole King & Linda Ronstadt

Celebrate the hits of Grammy Award-winning artists Stevie Nicks, Carole King & Linda Ronstadt in one massive show, featuring Australian vocal powerhouse, Bloom. Hear hits like You’re No Good, I Feel The Earth Move, Landslide, Dreams & more. 8pm, from $43.60 via cscc.com.au

CANBERRA SOUTHERN CROSS CLUB

The Cuttings

Members Robert, Peter, Dave and Maeve bust out a raft of original songs. 8pm, free entry OLD CANBERRA INN

SAT 20 APRIL

Book Club at the NFSA | Nomadland + discussion

Chloé Zhao’s Oscar-winning film inspired by journalist Jessica Bruder’s Nomadland, a searing study of harsh economics after the Great Recession. 1pm, $18–20 via NFSA NFSA CANBERRA (ARC CINEMA)

The Crossbenchers

A four piece Canberra band doing lounge, Blues, R&B, originals, covers. From Chuck Berry to Frank Sinatra, from Ray Charles to the Doors. 2pm, free OLD CANBERRA INN

Shipwrecked!

Countertenor Tobias Cole will be joined by a small band of strings (and harpsichord!) to present stormy vocal works by Baroque composers. Fans of music without words will also be treated to unusual instrumental gems! 4pm, $40/$35/$15/$0 via TryBooking WESLEY UNITING CHURCH

Ana Key & The Underdogs and The Filthy Darlings

Ana Key & the Underdogs: Lyrical, satirical, slightly political, rock, blues, new wave, post punk, comedy. The Filthy Darlings: the first point of call for a musical emergency & the last to respond. 6pm, $20

THE BUNKER, QUEANBEYAN

Suffocation w/ Revocation

Grab your helmet and start training now as New York death metal legends Suffocation and their very special guests, Boston progressive death metal masters Revocation team up for the ultimate night of destruction. 7pm, $69.90 via OzTix

THE BASO

Prinnie Stevens - Lady Sings The Blues VOL 2

With a song selection spanning 100+ years Prinnie embarks on more stories of the women that have shaped music’s history. 7:30pm, $59 + bf via venue

THE STREET THEATRE

Hindley Street Country Club

See the Aussie band hailed as the world’s best covers act! 8pm, tix from $89.50 - $135.35 via Ticketek

CANBERRA SOUTHERN CROSS CLUB, WODEN

SUN 21 APRIL

Inez Hargaden

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

OLD CANBERRA INN

Neonhoney

NeonHoney is a music producer and songstress from right here in ol’ Canberry. 4pm, free

DICKSON TAPHOUSE

TUE 23 APRIL

Amigo The Devil

Armed with a banjo and dark tales of serial killers, the macabre and more, Amigo The Devil will leave you awe-struck as he tours Australia This April. 7pm, $39.90 via OzTix

THE BASO

WED 24 APRIL

The Tortured Poets Department Release Party

Taylor Swift is releasing her brand new album The Tortured Poets Department and we are throwing the ultimate Taylor party to celebrate! 7pm, $14.56 via OzTix

THE BASO

THU 25 APRIL

Johnny Reynolds Band

Johnny Reynolds has an impressive background as an international performer for the past 40 years, and has joined BB King on stage at the National Stadium in Dublin in 1985. 1pm, free entry

OLD CANBERRA INN

The Blooz

Four musicians playing the great blues songs that fuel modern music. 4pm, free entry

OLD CANBERRA INN

Persepolis (4K restoration, Australian premiere)

Persepolis is a stunning, blackand-white animated adaptation of Marjane Satrapi’s bestselling autobiographical graphic novels. This coming-of-age story follows a young girl who grows up during the Iranian Revolution. 6pm, $12–16 via NFSA

NFSA CANBERRA (ARC CINEMA)

Daniel Deluxe (Denmark)

Synthwave phenomenon

Daniel Deluxe (DK) will make his debut in Australia in 2024! Emerging from the streets of Copenhagen, Daniel Deluxe has risen as a beacon in the expansive domain of electronic music. 7pm, $45 via OzTix

THE BASO

Billy Elliot: The Musical

The heart-warming coming-ofage stage musical based on the 2000 film. Running til 9 May with shows at 1:30pm & 7:30pm. See theq.net.au for all session times and tix info

THE Q PERFORMING ARTS CENTRE

FRI 26 APRIL

For the Honour of Australia (1916)

+ Breaker Morant (35mm)

A compilation of two 1915 Australian silent films created to promote Australia’s war efforts to British audiences, followed by Australian cinema classic Breaker Morant. 1pm, NFSA

Canberra (Arc Cinema)

NFSA CANBERRA (ARC CINEMA)

[Screening] Good Morning, Vietnam (35mm)

Inspired by a true story, this much-loved war comedy stars Robin Williams as Adrian Cronauer, an Armed Forces Radio Service DJ who arrives in Saigon to entertain troops during the Vietnam War. 6pm, $12–16 via the NFSA

NFSA CANBERRA (ARC CINEMA)

The Smith Street Band 15th Year Anniversary Tour

The Smith Street Band are celebrating their 15th year of being a band. Since forming in 2009,

they’ve played over 800 shows in 23 different countries. 7pm, $55 via OzTix

THE BASO

8 Ball Aitken Band

+ Dillion James

Join us for a night of blues, swamp-blues, swamp-rock, alternative country, and Americana music with 8 Ball Aitken band feat. Dillion James on keys. 8pm, CBS members $30/ General $35

HARMONIE GERMAN CLUB

HoneyClub

Canberra-Based blues & Rock Duo outfit. Playing an array of covers across several genres, peppered with their own spin. 8pm, free entry

OLD CANBERRA INN

Johnny Reynolds Band

Johnny’s credits include joining BB King on stage at the National Stadium in Dublin 1985, touring Ireland with The Karen Coleman Band, and touring Europe. 8pm, free entry

DICKSON TAPHOUSE

SAT 27 APRIL

Sunburn 5

Sunburn 5 will bring together the best that Australia has to offer in the underground stoner/doom scene. 12 hours of ear-splitting, spliff-eating riff worship. 12pm, $60 via Oztix

THE BASO

[Screening] The Sound of Music (35mm)

Winner of no fewer than five Oscars, this cherished family classic stars Julie Andrews as Maria, a hapless yet charmingly earnest nun who becomes governess to the seven Von Trapp children. 1pm, $10–12 via NFSA

NFSA CANBERRA (ARC CINEMA)

CBS Monthly Blues Jam hosted by Key Grip

Key Grip hosts the April Blues Jam, with by some of the finest musicians in the region jamming together for a great afternoon of live blues music. 1pm, CBS members $10 / General $15 / kids under 16 - free entry

HARMONIE GERMAN CLUB

Gia Ransome

Gia Ransome is a singer/songwriter, who with her band will make you feel like you’re living a great romance in an old school dive bar. Described as a marriage between Nick Cave and Lana Del Rey, you can expect an experience of suave, bluesy rock. 2pm, free entry

OLD CANBERRA INN

Ash Grunwald

Australia’s foremost bluesman Ash Grunwald tours the release of his new single - Life Without You. 7:30pm, $55 + bf via venue

THE STREET THEATRE

SUN 28 APRIL

Eden Plenty

Eden Plenty is one of Australia’s most beautiful original voices, his talent is matched only by his love of creating and sharing music. 4pm, free entry

DICKSON TAPHOUSE

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, singer and song writer. His voice holds a deep authenticity reminiscent of the great blues singers of the old. 4pm, free entry

OLD CANBERRA INN

TUE 30 APRIL

Co.Lab

Co.Lab at the Canberra Theatre Courtyard, a live, improvised performance. Australian Dance Party with guest artists Melanie Lane (dance), Alex Voorhoeve (cello), Sia Ahmad (sound/ voice) and Nicci Haynes (visuals). 6:30pm, $40 via Canberra Theatre Centre

COURTYARD STUDIO, CANBERRA THEATRE

WED 1 MAY

Commonwealth Comedy Tour - Lars Callieou, Chris Franklin & Lindsay Webb

Direct from the Melbourne International Comedy Festival, comedians

Chris Franklin & Lindsay Webb (Australia) team up with International Comedy superstar Lars Callieou (Canada) to bring you 2 hours of world class stand-up comedy, live. 7pm, $30 via OzTix

THE BASO

FRI 3 MAY

Rotting Christ w/ Jungle Rot

Greek black metal pioneers

Rotting Christ will embark on a journey to Australia & NZ for

the first time in over a decade supported by, and introducing, US death groove giants Jungle Rot. 7pm, $53.05 via OzTix

THE BASO

Salsa Night with DJ Paisa

Happening on the first Friday of every month, get your Salsa grooves ready and be prepared to hit the dance floor. 8pm, free OLD CANBERRA INN

SUN 5 MAY

Neonhoney

NeonHoney is a music producer and songstress from Canberra, Australia. 4pm, 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 commonly reflect on the joys and tribulations of life. 4pm, free entry

DICKSON TAPHOUSE

THU 9 MAY

Friendly Jordies Presents: A Call to Neck Beards

Following the success of A Tale As Old as Rome, Friendlyjordies is back with his latest attempt to convince anyone who disagrees with him about very

niche conspiracy theories is wrong. 7pm, $50 via OzTix

THE BASO

Slowhand -

Eric Clapton A Tribute

Sunshine of Your Love, Wonderful Tonight, Tears in Heaven, Layla and other favourites performed by an 8-piece band featuring Chris Harland. “Close your eyes and you’d swear it was Eric Clapton playing...”

–John Spencer (Canberra Blues Society). 8pm, tix $30 via Humanitix, $35 at the door

HARMONIE GERMAN CLUB

FRI 10 MAY

DansonFest

To celebrate 10 years since it started, CBR The Noise Floor and The Ginger Ninja are bringing back the punk rock bonanza with a BANG!

Featuring Captives, Ess-Em, Nerdlinger, Chris Duke & the Royals, Sketch Method, Tantichrist, Box Dye, Revellers, Ebolagoldfish, and more. 2pm, $30 via OzTix

THE BASO