BMA Magazine 473 - 7 October 2015 by BMA Magazine

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METAL FIESTA 8

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A-LIST PRESENTS CARL BARRON

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CANNED HEAT

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EVERYTHING HAS A SILVER LINING

Rest In Peace, Magpies. #473OCTOBER7 Fax: (02) 6257 4361 Mail: PO Box 713 Civic Square, ACT 2608 Publisher Scott Layne Allan Sko General Manager Allan Sko T: (02) 6257 4360 E: advertising@bmamag.com

Editor Jeremy Stevens T: (02) 6257 4456 E: editorial@bmamag.com

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

The Tuggeranong Arts Centre has recently released the program for Silver Linings – a set of countless events to celebrate the centre’s 25th birthday! With all sorts of tricks and treats up its sleeve, it’s set to be a massive party, and it’s all in recognition of the centre’s history of art and creation. You’ll be able to get involved in dance (Bollywood, Bushdance, and more) with free tutorials, and there will be costumemaking tutorials to get you kitted out in the right gear for the dance too. You’ll also get to check out art workshops for kids and adults through October, and a film festival – with films from Brazil, Nepal, Israel, and more. Then there’s the Phat n’ Layzee Picnic, which will go down on Saturday October 31 – an event set to put to rest the idea that Tuggers is the fat and lazy suburb of the ACT, with drawing classes, zine workshops, and some great music to boot. All of this is leading up to the Silvery Moon Festival on Saturday November 7, when everyone will get a chance to show off their dance moves, contribute to the Universe Alight installation on the lawns,

and celebrate a milestone in the centre’s history.

THE GREATEST STORY NEVER TOLD

The program will run from Wednesday October 28 ‘til Saturday November 7. To find out more, head over to tuggeranongarts.com and check out their plans for one hell of a fun birthday.

Steven and Evan Strong are both presenting their talk The Greatest Story Never Told: Mankind’s Hidden History in Canberra late this October. The presentation covers their theory regarding Ancient Egyptians in Australia, ancient technologies and civilizations, and draws on archaeology, their knowledge of ancient sites, and their research.

WHEN LIFE GIVES YOU LEMONS … Release an album! Dylan Joel, one of Australia’s brightest up-and-coming hip-hop artists, is a talented and giving dude. He used his single, ‘What’s Good’, to launch his Pop-Up Op-Shop campaign this year, and raised over $10,000 for the Australian Himalayan Foundation. Now he’s gone and released Authentic Lemonade, his debut album, which is available now at all good record stores. Featuring collaborations with DJ Izm and Mantra, it’s also an album that includes some of the best session musicians around, including Igmar Thomas (John Legend, Macy Gray) and Tim Coghill (Matt Corby). Joel’s also announced a tour to run with the launch, and he’ll be hitting up Canberra along the way. You can catch him at Transit Bar on Wednesday October 21. Snap up those tickets from Moshtix quick smart – they’ll be out the door before you know it.

You can catch the show on Friday October 23 at ANU, from 6pm-10pm, and on Saturday October 24 at Old Parliament House, from 11am-3pm. Tickets are $20 each, or $35 for two, and there’s a discount for pensioners and students. You can find out more at forgottenorigin.com.

DOUBLE EXPOSURE RESIDENCY APPLICATIONS OPEN PhotoAccess has announced its 2016 Double Exposure residency program for a midcareer Australian photo media artist. Priority is given to artists who work experimentally, the residency runs for nine months, and seven weeks accommodation is provided, plus there’s a stipend of close to $5000. Applications close 5pm, Wednesday October 28. See photoaccess.org. au/?q=node/518 for more details.

Sub-Editor & Social Media Manager Andrew Nardi Graphic Design Chris Halloran Film Editor Emma Robinson NEXT ISSUE 474 OUT October 21 EDITORIAL DEADLINE October 12 ADVERTISING DEADLINE October 15 Published by Radar Media Pty Ltd ABN 76 097 301 730 BMA Magazine is independently owned and published. Opinions expressed in BMA Magazine are not necessarily those of the editor, publisher or staff.

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YOU PISSED ME OFF!

FROM THE BOSSMAN The Name’s Bond (reeeeeeeeee-miiiiiiiiiiiix!) As reliable as a Childish Gambino show, it’s the Bossman column! So. Spectre is out next month, and with a new Bond film comes a new Bond song. Love or hate the franchise, there is always intrigue and often delight surrounding a new Bond theme. Whether it be the orchestral opening swirls of ‘You Only Live Twice’, Shirley Bassey snarling “Gooooooold fiiiin-GAH!” (woooop-werrrrrr-wroow*) or Adele’s stirring effort for Skyfall, the choons chuffing over the opening credits are vital for setting the stage of the highfalootin’ action-espionage slash pervy superspy antics to come, with many staking a permanent place in popular music. You will know by now - ravenous current affairs junkies that you are - that Sam Smith has been chucked the musical keys for the latest, and he’s put in a solid if somewhat typical effort. But when oh when, I ask you, will we be treated to a dance slash EDM Bond theme? There’s certainly nothing wrong with sweeping, cinematic soulful/jazzy scores or a punchy rock track. But with 24 Bond films and counting and no EDM representation in sight, it’s time for a change.

Care to immortalise your hatred in print? Send an email to editorial@bmamag.com and see your malicious bile circulated to thousands. [All entries contain original spellings.] Screw you Fat Mike. I used to think you were ironic and funny and good at poking fun at what is wrong with the world but since seeing footage of you offering a fan $100 to leave your show because he was wearing a tie dye t shirt- I now just think you are a jerk. Um, you are supposed to be a punk. Which last time I listened was all about not following rules and doing your own thing and not caring about what other people think. And there you standtelling someone at your show what you deem to be acceptable, or in this case, unacceptable attire to wear. Ha ha. It’s great for you being a rich punk and all that, you don’t have to work blah blah blah but for us poor suckers who have to sell our labour for a wage, we pay to see you play. And last time I went to a NOFX concert, it was pricey. You guys aren’t cheap. So screw you Fat Mike, you pissed me off. Next time you play, make sure you let everyone know when buying the ticket what the uniform is.

And change we nearly had. Being the able-bodied ear-to-theground journo I am, I have obtained insider info that reveals we were perilously close to our first ever dance/EDM theme which I shall now share with you, the glistening listener. The Prodigy were in contention with track ‘Smack My Bond Up’, but after seeing human Wacky Waving Inflatable Arm Flailing Tube Man Keith Flint cut sick in the recording studio, the producers felt it had “too much edge” for the film. The Chemical Brothers were also approached and created ‘License To Pill’, a 33-minute upfront psychedelic dancefloor banger set to have cinema patrons’ hands in the air and tongues on the floor, with the subsequent two-hour film providing the come down. It was good to go, but sadly an amount of Skittles for the track couldn’t be agreed upon. Not to be outdone, Skrillex put forward a track simply called ‘Bond (Shaken Not Stirred remix)’ involving a quick build up followed by sampled Bond dialogue right before the drop: “The name’s Bond… James Bond.” Biddy-de biddy-de biddy-de WOP Beeeurrrrrrrrrowwwww bah bah bah BOOOWWWW-nRr rsxrxsq didi-ping! bwarrrrrrrrrrrrgh! fffft ffffft woof!** The track also included Fatman Scoop shouting, “If you’ve been shot by James Bond put your hands up!” throughout its running time. Everyone involved ended up gurning too hard to sign any kind of contract. As a final throw of the dice, the producers turned to rap. Deciding to capitalise on the recent blockbusting success of the NWA Straight Outta Compton documentary, they knocked together a version of their iconic classic. “Straight outta London, crazy motherf**ker named James Bond From the gang MI6 from across tha pond Mess up your day with his PPK Squeeze the trigger ‘n’ clear the bodies out tha way...” The producers were really high on the idea until they gave the project to Childish Gambino who no-showed at the studio. We may never get an official dance or rap Bond theme. But perhaps that’s not necessarily a bad thing. ALLAN SKO - allan@bmamag.com *writing the phonetics for the trumpet part in ‘Goldfinger’ proved harder than first thought

facebook.com/bmamagazine ** these phonetics, however, weren’t hard at all

WHO: MADRE MONTE & LOS CHAVOS WHAT: URBAN LATIN FIESTA WHEN: FRI OCT 9 WHERE: POLISH WHITE EAGLE CLUB

The Urban Latin Fiesta will be a night of sweating Cumbia reggae and Latin ska vibes provided by two of Australia’s best alternative Latin bands. Madre Monte will be there to launch their new single with locals Los Chavos. The dancefloor is promised to be “brutal”, as Madre Monte will deliver Afro-Colombian progressions, skankin’ guitars infusing reggae and ska grooves, and hard-hitting horns funkin’ and mixing up the Latin traditions. Entry is $20, with concession prices available. For more information, see the event on Facebook. Starts at 7pm.

WHO: MAT MCHUGH WHAT: ALBUM TOUR WHEN: FRI OCT 9 WHERE: TRANSIT BAR

Mat McHugh is a nice guy. You know how I know? Because he’s giving away his new album, Waves, to everyone for free. You want that download link? Just scroll down BMA’s Facebook feed to find it. What’s more, you’ll be able to see him perform songs from the album at Transit Bar, as well as material from his prior solo effort Love Come Save Me, and the occasional gem from his deep catalogue of songs from The Beautiful Girls and Seperatista SoundSystem projects as well. You can pick up your tickets through Moshtix for $30 + bf.

WHO: JONNO ZILBER WHAT: BLUES WHEN: SAT–SUN OCT 17–18 WHERE: THE HARMONIE GERMAN CLUB (17TH) + THE LOFT (18TH)

Jonno Zilber is one of Canberra’s favourite blues exports, and he’s about to return home for two special shows. Saturday October 17 will see Zilber at the Harmonie German Club in Narrabundah, gathering some of his favourite and most highly respected local musicians to join him on stage for two hours of high-energy jump blues and swing. That show will start at 8pm, and is free of charge. On Sunday October 18, Zilber will perform a solo show at The Loft in O’Connor as part of the inaugural Slowdown Swing Dancing Festival. That one starts at 7:30pm, with tickets available at the door.

WHO: JOHNNY CASH THE CONCERT - CASH 60 WHAT: TRIBUTE WHEN: FRI OCT 23 WHERE: STREET THEATRE

In 1954, a young man walked into the Memphis Recording Service to record ‘Hey Porter’, the song that would birth the legendary career of Johnny Cash. Johnny Cash The Concert is touted as one of the best Cash tributes around, renowned for bringing to life the spirit and the music of The Man in Black. Their brand new show ‘Cash 60’ is promised to be almost two hours covering 60 years of Cash, marking as much time since the world first heard from the man himself. Tickets are $65 + bf. For more information, visit thestreet.org.au. The show kicks off at 8pm.

WHO: NEIL BYRNE & RYAN KELLY WHAT: TOUR WHEN: SAT OCT 24 WHERE: STREET THEATRE

What began as Celtic Thunder’s Neil Byrne and Ryan Kelly performing a series of shows together called ‘Acoustic By Candlelight’ a few years ago has turned into what is now known as Byrne and Kelly. Driven by strong vocal harmonies, the duo seamlessly dive into combining genres like traditional Irish and Americana to create a fresh folk sound. Through classic Irish storytelling, Byrne and Kelly sing songs of both the past and the future and bring to life the pride, struggles and hope of the Irish culture. Tickets start at $55 + bf through thestreet.org.au. Be there by 8pm.

WHO: LORD, FRANKENBOK + MORE! WHAT: METAL FIESTA 8 WHEN: SAT OCT 31 WHERE: THE BASEMENT

Halloween and metal go hand in hand like Satan and evil clowns. That’s why The Basement is hosting Metal Fiesta 8: a Halloween spectacular featuring bands Lord (Syd), Frankenbok (Melb), Levitation Hex, Dawn Heist (Syd), Immorium, Inhuman Remnants, Claret Ash, Lo! (Syd), Noveaux (Syd), Chud, and Förstöra (Per). If that’s not enough, this night of the rockin’ dead will also throw into the mix some sexy burlesque action by The Velvet Vixens … so it goes without saying that this night will be strictly 18+. Tickets are $28.60 + bf through Oztix. The spooks start at 6pm.

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Playing shows is what we really love to do and I don’t think it can harm your reputation in any way

A STONE’S THROW AWAY

ANGELA CHRISTIAN-WILKES

Life has been pretty busy for STONEFIELD since their breakthrough Unearthed High win four years ago. From Sydney’s Hyde Park, Amy Findlay – drummer, singer, and the eldest of the four sisters – tells me that music has been a full-time effort for the group. She points out that they haven’t really had a break from music in a long time, just “eased off the shows for a while”. In fact, their current tour was not foreseen in this year’s happenings. “We were actually planning on not doing some shows for a while and adding a bit more mystery, seeing as we do tour quite a lot,” she says. “But then we figured, playing shows is what we really love to do and I don’t think it can harm your reputation in any way.” Whilst Findlay expresses a soft spot for the “smaller, sweaty pub shows”, the most crucial element to a great gig is the old classic: an enthusiastic crowd. The high demand for their powerhouse performances means sometimes they escape the small bar spots, with this month’s booking for Transit Bar having been upgraded to the roomier space of ANU Bar.

The string of shows precedes the release of their second album, anticipated to be unleashed upon the world in early 2016. This recording cycle produced an abundance of songs – too many songs in fact: “We’ve already recorded about 25 songs for this album, and so we’ve got to pick from those. And since then, we’ve also written heaps more songs, and we’re actually going to head back to the studio.” Refining the final tracks has proven to be difficult, but Findlay tells me that time and touring helps. “It’s been good to sit with [our first bunch of songs] and you really get a feel for what songs work the best. We’ve been playing some of them live and it’s really good to get a reaction from the audience. There have been a couple of songs that have really stuck out and we’ve been like ‘Yep, that’s definitely going on the album’.”

When I ask Findlay what has been happening outside the realm of music, she falters. Guitarist Hannah has started studying psychology part-time, while bassist Holly has been working towards her Victorian Certificate of Education (may we keep her in our prayers). But it’s unsurprising when Findlay says that their lives still revolve around music – after all, the group never wander far from the stage for long. “That’s really important to us, to still be getting out there and playing shows to break up writing … to feel like we’re actually doing something and experiencing something to influence our songwriting,” she says. “That’s pretty much our whole life: writing and playing shows!” And by the looks of things, it’s been working out pretty well. Have your socks knocked off by these incredible sisters at ANU Bar on Friday October 16. Supported by Doctor Goddard and Destrends. Starts at 8pm. Tickets are $24.98 + bf through Ticketek.

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LOCALITY

By the time you’re reading this, daylight savings will be in full swing, and much to our dismay, yes, we’re all going to lose an hour of sleep. But you know what? That’s no excuse to not head out on the town and check out some of our brilliant local talent. We can sleep when they wind the clocks back again!

Once again, The Phoenix is more than pulling its weight with the local line-ups, with tons of Canberran artists gracing their stage this fortnight. On Saturday October 10 from 9:30pm, you’ll be able to catch the jaunty fun of a Doctor Stovepipe set, with support from Americana tunester Den Hanrahan for just $5 at the door, or swing by for the Bootleg Sessions on Monday October 12 and enjoy Dave, String Elephants, The Blue Angel & Dr. Wiedermann and Guyy from 8pm, and you won’t have to pay a cent! Finally, if you’re still craving Bootlegs action, you can head back on Monday October 19 from 8pm and enjoy sets from The Kingstons, Career Advice, The Sinbirds and The Silver Surfer, with an entry fee that will make your wallet sing (that means it’s free). One of the quirkiest delights to pop up in the local music and theatre scene over the last year or so has to be MC KREWD, the queen of absurd hip-hop. She’s joining forces with drag princess Tammy Paks for the intriguingly named Sizzle & Moist at the Polish Club on Saturday October 10 from 7:30pm. It’s certainly going to be a night that blows a few minds, and will likely contain a few words and concepts even more disconcerting than the word “moist”. No word on support acts at this stage, but more details are promised in the lead up to the evening’s festivities. Tickets are $20 at the door, $15 for concession, and $10 for CMC members. If you’re ready to discover something unknown and wonderful in a truly delightful location, get yourself to Art Underground on Friday October 9 from 7pm. This monthly open mic evening is always full of lovely little curiosities, with unique, intriguing and thoroughly entertaining musical items a regular occurrence. You’ll find it in the beautiful Beyond Q Bookshop in Curtin, and entry is free! Should you get to Saturday October 17 and find yourself at a loose end, head over to the Old Canberra Inn for the 2015 edition of the Peter “Wally” Bamford Memorial Concert and while your time away watching a bunch of fantastic local bands and acts from further afield. Starting at 3pm, the line-up includes Bamford’s: The Next Generation, Long John, Brewn, Kevin Windross Band, Mick Meredith, Metropolis, The Jukes, The Lumpy Underdaks and Night Train. Entry is by gold coin donation, with proceeds going to the Centenary Institute for life-saving research to fight cancer, inflammation, and cardiovascular issues. Head along for a great afternoon and to support an even greater cause. Finally, if you’re a Canberran artist or band and you’re a bit miffed that your gig or news didn’t make it in, be sure to drop me a line a few weeks out and I’ll try to squeeze you in: nonijdoll@gmail.com. Now go and pencil all those gigs into your diary, then get out there and see some incredible ACT gigs, why don’t ya? NONI DOLL nonijdoll@gmail.com @nonidoll

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KINGS PAVING THE WAY

GUS MCCUBBING

Canberra’s band of brothers, LAVERS, have completed their debut record Thought I Was King. Headed by Dom and Seb Lavers, alongside drummer Matt Barnes and bassist Ben Cumming, the four-piece outfit has previously released EPs The Street is a Symphony in 2011 and Endless Corridors in 2012. According to Seb Lavers, the main difference between Thought I Was King and their previous work is that their debut record is far more similar to the unrestrained sound the band produces in their live performances. “I think with this album it’s probably gonna be most representative of what we’re like as a live band – with our previous releases, you probably wouldn’t get the idea of what we’re like as a live band from listening to them,” Seb says. “But this one, it’s a lot more layered, and has a lot more textures going on, but it’s probably most representative of what we’re like.” Self-produced by the Lavers boys at their drummer’s studio in Latham, Seb says that even though Thought I Was King is a debut

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record, it was nevertheless a relatively smooth process. “Most of the songs on the album we’d been playing live for probably a couple of years now, so we kinda had a pretty good idea about what we wanted to do, and how we were gonna go about recording it. It was just quite difficult finding the time to get it done, and we’ve got a perfectionist … So it wasn’t particularly stressful.

You’re putting these songs down in the form they’re gonna be in forever

“But it’s a debut album, and you’re putting these songs down in the form they’re gonna be in forever, so you have to take a lot of care.” With this in mind, Seb indicates that the band perhaps benefited from not having a central figure standing over the production of the record and dictating the direction of its sound. “It wasn’t so much that we had one person directing the project, it was much more collaborative and experimental, more of a melting pot of all of our ideas. And since we had a fair bit of time, we could explore each band member’s ideas and just pick the direction we all agreed on at the end.” Finally, in terms of direction, Seb says that the band’s sound was influenced by others both old and new. “I think we’re partly influenced by some of the more recent folk bands that are coming out – like Fleet Foxes – with the use of vocal harmonies. Also, a lot of our older influences, like The Cure and The Smiths, probably feature in some of the songs a lot more than you might expect …” Lavers will launch Thought I Was King at the UC Refectory on Friday October 16. Doors open 8pm and tickets are $12.25 through Oztix. Jack Biilmann and more are supporting.

There’s a huge line-up headed our way on Saturday October 24, when Melbourne’s The Go Set blow through the capital. They’re being joined by an impressive assortment of supports including fellow Melbournians Wolfpack, Brisbane’s Crooked Face, Wollongong’s Topnovil, and locals Revellers, Yoko Oh No, Capes, and Azim Zain and His Lovely Bones. It will all be going down at Transit Bar, and you can grab yourself tickets for just $12+bf through Oztix. Magpies is dead, but the scene is alive. As punks all across the capital shed a tear for the death of the Magpies City Club, it turns out we’ll get on okay without it. Of course we’ll all miss the endearing orange carpet and the distant sounds of the pokies, but we’re making do with what we’ve got, and it turns out, we’ve still got a fucking lot. On Thursday October 8 you can head down to The Phoenix to catch Melbourne’s The Ocean Party as they launch their newest album Light Weight. They’ll have support from Melbourne’s Cool Sounds and locals Wives. If you want to feel like you’re being shouted at in a ‘90s rave (in a good way) then you should definitely check out Melbourne’s Drug Sweat on Friday October 9. They’ll be at Lacklustre HQ (if you know, you know) in the wonderful company of Eadie and the Doodles, Thunderbolt City, and Odlaw. Seattle queer punks Agatha will be in town on Tuesday October 20, playing a chilled outdoor show at Commonwealth Park. They’ll be joined by locals Lost Coast and Owsla.

On Saturday November 7 Melbourne’s Teaser Pony, who are described enthusiastically as “LOLwave,” will be launching their new 7-inch EP at The Phoenix. Joining them on the night will be locals Thunderbolt City and California Girls. Tickets will soon be on sale for the second annual Gingerfest, a huge line-up of punk bands all in celebration of the life of beloved Canberra punk fan Nicholas Sofer-Schreiber or, the Ginger Ninja. This year’s festival is set to be huge, including sets from Gay Paris, The Porkers, Irrelevant, The Sinking Teeth, Mad Dash, The Stiffys, The Hard Aches, God God Dammit Dammit, Optionals, Fait Accompli, The Ramshackle Army, Nerdlinger, Foxtrot, Dividers, STFU, Bec Stevens, Billy Demos, Yvette Vials, Josh Arntez and Jay and Lindsay from Frenzal Rhomb. It will all be going down at The Factory Theatre in Sydney on Saturday December 12. That’s all for this issue. RIP Magpies. IAN McCARTHY

On Thursday October 22 you can catch Melbourne’s Dallas Frasca at The Basement, promoting their new album Love Army. They’ll be joined by local supports Renegade Peacock and Critical Monkee. Tickets are set at $15 + bf through Moshtix.

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Image credit: Cybele Malinowski

BASIC POLITICS 101 BAZ RUDDICK

Ten years on, pop trio THE BASICS have reinvented themselves as a political band to be reckoned with. With recent events in Parliament, it seems the time is perfect for the political stylings of the three piece. Tim Heath, Kris Schroeder, and Gotye’s Wally De Backer took a sojourn from their solo projects and got together in Abbey Road Studios to create their fourth studio album, The Age of Entitlement. I spoke to Tim about being a three piece, transitioning into protest songs, and what it was like venturing into the halls of Beatles stardom. Writing a political song isn’t something any band can do, Tim tells me. If you don’t want to be told to shut up, you need to be an established musician or be reinventing yourself musically. “I think it is really difficult for young artists,” Tim says. “They have to have a real point of difference musically, otherwise people are just going to say, ‘I am not interested in your little politics crap’.” Ten years as a band gave them the confidence to write music that was politically charged and critical of the government. The idea to record at Abbey Road came first and the songs came second. “We didn’t have any songs!” Tim laughs. “But Kris said he would write some and the

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ones he wrote came out in a political way. Wally and I were a bit taken aback at first, but we agreed with the sentiments.

We are pretty disgusted in the way Australia is run and the lack of political debate and consultation with the public

“We were ready to do something like this, because we are pretty disgusted in the way Australia is run and the lack of political debate and consultation with the public,” Tim says. “I am not suggesting by any means that heaps of people will listen to this record and it is going to change the nation, but hopefully it might give other bands some inspiration to go, ‘It’s not going to kill us to write a political song and be overt in our disgust’.” The Age of Entitlement was inspired by newly retired treasurer Joe Hockey. “We thought it was a bit thoughtless and hilarious,” Tim says. “Who is entitled and entitled to what? Maybe we should be entitled to something and why aren’t we? Mr. Hockey seems to think people are asking for too much, but maybe they should be.” Despite cost and effort, heading over to the UK to record in Abbey Road was something The Basics did in the pursuit of expertise. “We thought it could be our last record, and we should try and make it sound awesome,” says Tim. “It is probably the most famous studio in the world and it attracts a very high level of expertise.” Heading into the Beatles’ old haunts has something special about it too. “We were pretty awestruck by the place,” says Tim. “We had been looking at photos of it for years. Pretty much any photo with the Beatles in studio time was there, because they recorded every record there except one. It was a really fun opportunity to get to know the staff and hear all the stories behind the place.” The Basics will rise up and protest at Transit Bar on Thursday October 15 at 8pm. Support acts to be announced. Tickets are $25 + bf through Moshtix.

Image credit: Cybele Malinowski

PHOENIX FROM THE ASHES SAMUEL TOWNSEND

On the eve of her national tour, KATIE NOONAN takes time to chat about her latest record, Transmutant, and the personal journey that unfolds in the 12-track LP. Early into our conversation, I ask Katie if I’m drawing a long bow in seeing a relationship between the albums cathartic terrain and the following quote by Noor Tagouri: “For a star to be born, There is one thing that must happen: a gaseous nebula must collapse. So collapse. Crumble. This is not your destruction. This is your birth.” “Absolutely, definitely! The record is called Transmutant, so it reflects a huge transformation and a huge change that I’ve been through,” Noonan says. “I feel as though there’s been a huge change in the world, with my friends, my husband and my family – it’s been a massive time of change. And change is often not very easy. There’s a lot of facing yourself and owning up to stuff that may not be nice to own up to, acknowledging weaknesses and fears as well as strengths. So yeah, there’s absolutely the ‘phoenix from the ashes’ kind of vibe.”

When the water washed it all away I felt like I had emerged as a clean, new, and stronger version of myself

This ‘vibe’ is explored visually in the bewitching music video for ‘Quicksand’: a collaboration with one of Sydney Dance Company’s principal dancers, Charmene Yap. The minimalist, black and white footage of Yap’s fluid transitions are coupled with ethereal shots of Noonan as she builds her way through one of the more personal songs of the album, while shifting through a physical transformation too – a symbolic reference to the aforementioned phoenix. “For anyone who hasn’t done it, I highly recommend shaving your head, and I also highly recommend covering yourself with black paint! I found it strangely liberating and kind of cleansing. When the water washed it all away I felt like I had emerged as a clean, new, and stronger version of myself.”

The ‘new’ Noonan is about to hit the road again, this time with her band, Vanguard. When I ask how the record will translate in a live context, we get carried away with the electronic aspects to the production. “I’ve got a couple more synths and my little treasure trove of keyboards. I’ve always been very into embracing technology, but never in a way where technology is your master.” The trained jazz musician speaks fondly of her need for improvisation. “I love using samples and triggers but only when it’s run by the musician. There has to be room for improvisation, and stretching the time, playing around with forms. Every night the gig is different because we’re all improvisers. We’ve all studied and play jazz, but we don’t play jazz – though we still have that aesthetic in our approach to playing live. I love embracing technology, but it’s all very much in a live and interactive way.” Katie Noonan’s Vanguard play at the Street Theatre on Friday November 6 at 7.30pm. For tickets and information visit thestreet.org.au.

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DANCE THE DROP

There have been rumours floating around for a while, but reports have finally been confirmed that some wowsers are pushing for Sydney-style lockout laws here in our fine city. In short, these laws are a bad idea and simply don’t work.

Take a look at Sydney. The problems of Kings Cross have been pushed on to other suburbs, and there’s an increasing issue of unlicensed, illegal warehouse parties (as fun as they are). Not to mention the massive impact it’s had on businesses – both clubs and the associated industries that benefit, such as late-night food places and the taxi industry. And with Canberra’s culture of bar hopping between venues, this would likely kill much of our nightlife. But most of all, it’s paternalistic – if we want to combat street violence, we need to change the culture of idiots who think it’s a good idea to go and pick fights. The majority of people who just go out and have a good, safe time shouldn’t be punished for the sins of a minority. There’s nothing wrong with wanting to stay out and party until dawn. While we still can party however, fans of house and feel-good vibes should head along to Mr Wolf for POOLCLVB on Friday October 9. Support by Nostalgia, 3verest & Bakgat, and at just $10 – bargain! It’s been a while, but a new LGBTIQ night is opening in Canberra. Gay Cliché kicks off on Saturday October 10 at Transit Bar. Featuring Lady Bones DJs, Architect DJs and Baldwin & Hudak, there is a strict policy of no sexism, racism, homophobia, or transphobia of any kind – be your fabulous self! $10. The following weekend is a pretty massive one for Canberra. First up for techno fans, Subsonic Music Festival is doing its Canberra launch, with MSG, Trena, Doppel, Logan Zingus and T:Mo bringing the goods. And with lights by Subsonic, décor by Lotown and visuals by Brotherhood of the Seven Rays, this will be huge! $10. Also on Friday October 16, Silicon Slave and friends (Slomps & Ngarkotix) will be spinning some prog and psytrance sounds at Reload Bar. Yep, the one with all the video games – this is a very good idea (and it’s free entry!). If that’s not enough, the two-night doof Psylk Sounds gets into gear that Friday as well. The line-up is way too big to list here, but with a bunch of dudes from Ruffbeatz and Solar Records, you know this will be big. Check online for venue and pricing details. Finally, on Saturday October 17, there’s a bit of daytime rave happening at Westside Acton Park (yep, the weird, awesome shipping container structure by the lake) – Spring Carnival. With two stages featuring the likes of Yahtzel, Slumberjack, Spenda C, Indian Summer and a heap of other cool local and interstate acts, the festival is working with the OzHelp Foundation to promote good mental health. Oh, and there’s an afterparty too. And there’s probably a few other events that haven’t even popped up on my radar yet, so be sure to check Facebook and all the usual channels. Anyone who says Canberra is boring must just be a boring person – better stop hanging out with them. PETE O’ROURKE contact@kazuki.com.au

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SETH ROBINSON In case you haven’t heard, Canberra is officially having its musical moment. CBR has finally been marked on the map – not only for the polis and the roundabouts, but also for the insane talent that our city has launched. Local lads Adam Hyde and Reuben Styles, the two halves of PEKING DUK, sit firmly on top of the capital’s musical menu, with two tracks breaking the top five of last year’s Triple J Hottest 100, ‘Take Me Over’ hitting double platinum, and ‘High’ taking out a jaw-dropping triple.

most fun shows have been club shows. We did one in New York at Webster Hall with the Bloody Beetroots, which was incredible. As corny as it sounds, you could actually feel the energy from the crowd sort of bouncing back and forth, which was sick. You wouldn’t be able to get that at a festival – but that said, our Splendour set was so much fucking fun! You wouldn’t be able to get that vibe in a club – so they’re both very special in their own right.”

Ask the boys how it feels to be Canberra’s biggest export right now and you get a laugh and a slightly embarrassed “Yeah, it feels good.” Adam goes on: “It’s sad we don’t get to go back to Canberra as much as we’d like to.” Even with all their touring, Adam makes it clear that the Peking Duk boys “Still rep Canberra. It’s home, and it seems like every time we visit it’s getting cooler, which is really exciting to see, because we feel like it has a lot of potential. Much love for Canberra.”

That’s all something to keep in mind, particularly with Stereosonic right around the corner. Last year, Peking Duk’s Stereo set went viral after they dropped ‘Sandstorm’ – a catalyst that in turn resulted in crowdfunding Darude’s appearance at Future Music Festival. It’s also no secret that the boys are masters of audience participation, and while Adam says the ‘Sandstorm’ thing ended up dominating the afterglow of their Stereosonic experience, this time there will be “no gimmicky, jokey things”. But he promises that it will be a “very special show” and “actually, maybe we will, who knows.

It’s home, and it seems like every time we visit it’s getting cooler

I sat down with Adam to talk sweaty club shows versus festival stages, future tunes and the other stuff that happens when the boys jump out from behind the decks. To kick things off, I asked the question everyone has been itching to know the answer to: when are we going to see an album? “Me and Reuben are working on the album right now. We’ve been playing with so many different styles and flavours; we got straight rap beats, straight dance songs, straight rock songs, straight psychedelic sort of stuff,” he says. “It’s all different and we’re having fun with it all. We’re hoping to finish it by the end of the year. We’re trying not to rush things, this is our debut little baby, so we want to make sure it’s as close to perfect as we can possibly get it. Hopefully the first half of next year we’ll be able to share it with you beautiful people.” Mark your calendar and save the date for that one, but in the meantime, the best way to catch the boys is onstage. They’ve just finished the United States of Sweat tour, which saw them hit stages at Coachella and Lollapalooza. But Adam says that he still has a sweet spot for the Australian festival scene. “Splendour in the Grass is as good, if not better, than Coachella. Splendour is incredible. Australia has mad game with their festivals,” Adam says. “I think the American crowd is a little different, especially the more ravey festivals. It’s different, but at the end of the day it’s a music festival, people are going there to enjoy music. We’ve played festivals in India and Vietnam and at the end of the day, it all comes down to the same thing, which is people having a good time. “Festivals are this big, large thing, whereas a club show is really intimate – you can feel each other’s sweat,” he says. “Some of our

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“We’ve actually pushed the audience participation stuff too far before. On the last headline Australian tour we did, the Peace, Love and Sweatiness Tour, we decided to start doing stand-up comedy bits with our mate Benson on stage. I won’t get too much into it because it was just ridiculous, but there was actually one show we did in Wollongong where the whole crowd laughed on cue. That was probably the only successful time … but we learned, you live and you learn.” And will there be a return of Streaking Duk (for all the Hamish and Andy fans out there)? The short answer to that one: “I reckon there will be.” Finally, and perhaps most importantly, what’s next? “We’ve actually just posed a little challenge to Karl Stefanovic,” he says, referring to the co-host of the Today breakfast show. “He’s got to do this volunteer work. If he doesn’t do it, Reuben is going to get a really weird tattoo of Karl Stefanovic, and if he does do it, I’ll get a good tattoo of Karl Stefanovic on me.” And the music? “I woke up this morning, looked out the window, and I realised that the music Reuben and I are working on right now is really exciting. We’re just going to focus on the music right now, and the shows for sure – so just doing what we’ve been doing, but trying to do it better and bigger each time!” You can catch Peking Duk onstage as part of the star-studded Stereosonic tour in Sydney on Saturday November 28. Check out stereosonic.com.au for tickets, as well as additional cities and dates.

METALISE Canberra, a city with a local art community, is crying out for an experience that doesn’t involve the community players’ latest version of The Pirates of Penzance or relying on The Front at Lyneham to support a space for something contemporary with a decent wine and beer list. Once again, the maligned and almost unsupported (from a government sense) heavy music scene of this fair city is leading the way. Yes, a cultural experience that is at once resonant, relevant and indispensable in this neo-modern society of complex and confronting economic climates, a young country with growing pains striving to find an identity as a vital global citizen. Of course, you know that this can only be distilled and given context by realising the dream of four middle-aged musicians from The Vee Bees, who have longed to combine a bus ride, a tour of a local brewery, and a gig in one of those breweries, all in one day. Yes, on Saturday October 31, those with the intestinal fortitude and courage of a lion will be picked up at the Jolimont Centre at 10am, and conveyed to the Snowy Vineyard and Microbrewery to sample the 30 beers brewed therein and to enjoy a delicious meal. The band will then unleash a torrent of modern Australian bush ballads in a timeless four-to-the-floor verse, before jumping back on the bus and arriving back at the Jolimont by 6pm. Simply visit snowywines. fasthit.net/events.cfm to book your place in art history.

I often think of The Vee Bees as a more polished and superior version of The Cosmic Psychos. I channelled this thought when I heard the news about a tour next March, which will see a welcome return to these shores by USA rock veterans Clutch, who have revealed a run of Australian dates with none other than The Cosmic Psychos. To round that thought out, I know that The Vee Bees’ guitarist Davo counts both bands on his all-time favourites list, so I imagine you may bump into him when they play the Metro in Sydney on Friday March 4. I mentioned last issue that the delights of Gay Paris will return to the Phoenix on Saturday October 17. As if that wasn’t incentive enough to get along, locals with a fresh CD and a bunch of recent, great shows under their belts, Witchskull, will also be along for the show. That will be a ripping weekend with the grind show of the year happening the previous evening – Friday October 16 – at Transit Bar with Captain Cleanoff, Blightworms and Wretch out to melt faces. That’s going to be a great weekend. Don’t forget the Parkway Drive launch on Saturday October 10 here in town; the band have also been announced as the headliners for next year’s UNIFY festival in the Victorian countryside, along with In Hearts Wake, Tonight Alive, Neck Deep (UK), State Champs (USA), Stray From The Path (USA), Hands Like Houses, Dream On Dreamer, Make Them Suffer, Hellions, Trophy Eyes, Ocean Grove, Stories, Columbus, Void Of Vision and The Weight Of Silence. JOSH NIXON doomtildeath@hotmail.com

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

THE ART OF TEACHING NOTHING ZOE PLEASANTS THE ART OF TEACHING NOTHING is a new play by talented local playwright, Kirsty Budding. It is set in a fictitious high school and takes a satirical look at power, politics and corruption in the education system. A fraught topic, but one that may need unpacking, particularly if you are or have been a teacher or a parent on a school’s P&C committee! I caught up with actor Marti Ibrahim who plays English teacher Steph Harbour in the play. During our chat she frequently mentioned how well written the play is and described it as “uproariously funny” at least twice. The Art of Teaching Nothing is Budding’s first full-length adult play; to date she has cut her teeth on short plays and plays for children. The play is being produced by local theatre company Free-Rain, which Ibrahim explained is “very good at putting on high-quality theatre that encourages young, emerging artists to develop their skills.” It makes an invaluable contribution to the Canberra theatre community. “They are supporting Kirsty as a writer, and can I just say, when I first read this play, I was so drawn to it. It is so well written and it’s so good to see a theatre company of Free-Rain’s calibre in Canberra investing in this kind of work.” The play explores some heavy themes through humour. In particular it looks at what happens when bureaucracy gets in the way of common sense, and what happens when self-centred people try to get ahead in their careers or cover up their failures. It follows the story of Lucy, a new teacher striving for job satisfaction, who has to work out whether it is better to fight the system or become a part of it. “The humour [in the play] comes from the depth of meaning and that’s what I love about it,” said Ibrahim. “It’s got something to say but it does it in a way that entertains the audience.” Budding has handed over the play to director Cate Clelland, who is bringing it to the stage. Ibrahim enthused that Clelland is doing an amazing job at interpreting the work. I asked Ibrahim what she enjoys about working with original material. “I think there’s a lot of freedom, because it’s constantly evolving and developing,” she said. “The rehearsal journey [for this show] has been really interesting, because

every time I go to rehearsal I find something new that can be used in the show … it’s just sort of organic. The process continues to grow both on the page and in performance, and that’s what I find really exciting: that you’re taking somebody’s original work and honouring the script.” As an actor, Ibrahim is always drawn to interesting, well-realised characters. “[Budding] has done an amazing job of bringing these characters together,” she said. “They’re characters who are not unusual in the sense that they exist in the world; they have characteristics or behaviours that can be found first in the workplace or in society at large. And it gives actors like me a lot to play with. It’s so much fun creating character when the play is as well written as this one.” Ibrahim describes her character Steph Harbour as beautiful, but insecure and lonely. “She is obsessed with two things in her life: getting Julian’s attention – Julian is the young principal of the school – and Pokémon. This love she has for Pokémon is so interesting to me, because they are her only friends!” Ibrahim is enjoying getting into Steph’s skin. “It’s fun for me [to play Steph], because in my life I live in my head. I’m very logical, I’m generally not insecure at all; I tend to be quite a strong, confident person. So what I love about this character is that she’s challenging me to relate to someone who is my polar opposite.” Originally from Melbourne, Ibrahim moved to Canberra to study law and theatre at ANU. During her career, she has flipped between the law and theatre, but now balances both. Ibrahim has ended up staying in Canberra, in part because of the people in Canberra’s theatre community. “The people are amazing … they are like family. They are really supportive, they have your best interests at heart, and they love you and treat you like you’re blood. I’m very grateful to the Canberra theatre community and particularly Free-Rain, who are putting on this show,” she says fondly. Supporting such a community is a great reason to see homegrown shows like this. Another reason, of course, is that this play promises to be well written and very entertaining. The Art of Teaching Nothing will show at Canberra Theatre Centre’s Courtyard Studio, Thu–Sun October 22–25 at 8pm. Tickets start from $25 + bf through canberratheatrecentre.com.au.

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FIX AND MAKE

Image credit: Lee Grant

SHU-LING CHUA Beginning in November 2015, FIX AND MAKE (FAM) is a series of thought-provoking workshops and talks at Hotel Hotel that aim to actively question our consumption of and relationship with objects through the practical, the experimental, and the philosophical. The 12-month program for FAM – which includes a strong representation of local craftspeople as well as high-profile national and international designer-makers – has been as carefully crafted as the iconic staircase that leads into Hotel Hotel. As program director Andy Marks explains, the starting point for FAM was how and why the hotel was created the way it was. “There’s a shared philosophy … which is, we want to try to bridge the disconnect with our possessions, to question the things that we own and to understand them more.” Through learning how to make furniture from foraged branches or a utility apron from old denim, FAM invites us to reconnect with our hands and to rethink the value of the things we throw away. “FAM is about a depth of experience,” says Marks. “It’s about people spending time in an environment where they can question things and where they can learn practical skills.” Complementing this practical element, the talks explore topics such as: What makes an object enduring? Are we hard-wired to acquire things? Should we continue to make at all? And can fixing something bring personal fulfilment? Speakers include internationally renowned Indian toy-inventor Arvind Gupta, who makes toys, from trash and everyday items, for teaching children about science. By bringing different people together to learn, share, and have broader conversations, FAM asks us to contemplate how and where objects were made, and by who. “If we can reconnect with those objects philosophically, we might just perhaps see the world a little differently.” The program launches next month with the FAM Market, which will feature a local food market curated by Monster Kitchen and Bar. Visitors will be invited to make music with a robotic percussion system and there will be all kinds of workshop demonstrations, including how to make an oyster shucker, how to whittle long-life chopsticks by hand, and how to repair ceramics using a traditional Japanese technique called kintsugi. At its heart, FAM is about empowering people: “By small acts of fixing and making, we can all learn and we can all experience something that will inform our view of the way the world works. We can all do this. It’s accessible to all, to fix and make. Everybody can do it.” So, are you in?

The Fix and Make Market will launch on Saturday November 7, 10am–2pm at the Nishi Gallery in NewActon. For more details, visit hotel-hotel.com.au/fixandmake.

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A R T | C O M E DY | D A N C E | L I T E R AT U R E | T H E AT R E

MATT OKINE

Image credit: Zak Kaczmarek

Focusing on the breakdown of his previous long-term relationship, The Other Guy is as confronting as it is hilarious. However, Okine says turning his pain into comedy, night after night, isn’t as emotionally taxing as you might expect. “I guess just doing the show itself was enough to help me kind of get over the situation that was at hand. In a way, I like doing the show because it lets me get that stuff off my chest.”

NONI DOLL It doesn’t take long for it to become clear that MATT OKINE is pretty keen to get back to the ACT. “I’m super excited! Every time I come to Canberra, I have such a great time!” he exclaims. “People here [in Sydney] think it’s shit, but … there’s some cool places!” It’s not just about the nightlife though; Okine is also keen to show off his award-winning show, The Other Guy. “I’m really proud of it,” he says. “I’m going to be sad to see this show go. Often you do a show and by the fiftieth time you’ve done it, you’re just sick of it and you never want to say the words ever again, but this one, I think because it’s so personal … it’s something I am really proud of.”

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One of the most likely reasons that Okine is so comfortable with laying himself bare is because he’s been doing it a long time; his whole career, in fact. “I think every show I do is personal,” he says. “My first show was about my mum dying. My second show talked about a family member asking for money in Ghana and not knowing what to do. My third show was kind of about getting arrested and having the worst day of my life, ending up in lockup and having terrible thoughts running through my head, and this one’s all about a nine-year relationship falling apart. You know, I’m almost scared about … I don’t know what to do next,” he reflects. “Everything in my life is kinda good right now.” That said, there might be an extra hurdle for him to get over during his Canberra show. “A girl that I tell a story about … She’s from Canberra, so it’s going to be interesting to see her finally watching the show … because it’s all about the time that I accidentally spat gum into her hair, and the problem is I never told her it was me, and now she’s going to find out, so it might be worth coming along just for that!” he laughs, before turning a little more serious. “Yeah, she’s going to have to find out the hard way.” Matt Okine brings The Other Guy to The Street Theatre on Saturday November 7 at 8pm. Tickets are $35 at thestreet.org.au.

ARTISTPROFILE: TONY FLEMING

What do you do? I was the director of the Australian Antarctic Division from 2011, but I left the job in August of this year. I was privileged to go to Antarctica many times. I took my cameras to photograph Antarctic landscapes, wildlife and particularly people working at the Australian research stations, on the Aurora Australis (Australia’s icebreaker) and scientific field camps. When, how and why did you get into it? My attachment to Antarctica started when I was very young. My grandad, Raymond Priestley, went south with Scott and Shackleton as a scientist. I am passionate about protecting Antarctica and the globally significant scientific research in the Antarctic and the Southern Ocean. Photography has been a life-long passion for me. I remember using a Kodak camera when I was in junior school. When I was about 14, I inherited a twin-lens Rolleiflex, bought a Nikkormat, and built a darkroom in our bathroom – chemical smells pervaded the house! Who or what influences you as an artist? In terms of ‘who’, my mum, Jocelyn, and my wife, Helene Shannos – both are artists. Remote Australian and Antarctic landscapes and wildlife inspire me as a photographer.

Of what are you proudest so far? My conservation career highlight is getting about two million hectares into the NSW national parks estate – I was with the NSW National Parks and Wildlife Service for about nine years. Photography highlight is now! I’ve got my first solo exhibition at PhotoAccess. What are your plans for the future? I really don’t know – it’s greatto step into the unknown! What makes you laugh? People telling jokes and stories. I’m not a storyteller :-( What pisses you off? Uninformed political and social commentators. People who rubbish climate science, particularly uniformed political commentators! What about the local scene would you change? I was in Tasmania for the last four years, so I can’t critique the local scene. Upcoming exhibitions? I have an exhibition at PhotoAccess until October 18 – images of Antarctic landscapes and the science that we do in Antarctica. Contact Info: tfleming@iprimus.com.au.

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IN REVIEW

LITERATURE IN REVIEW

RocKwiz is taking the show on the road with their new tour, which kicked off in Canberra on Wednesday September 30. Australia’s favourite music quiz show is celebrating the Australian Recording Industry Association (ARIA) Hall of Fame, honouring the artists who have impacted Australian music culture.

“I was barely twelve when my family was split apart.”

Princess Bari Hwang Sok-yong (trans. Sora Kim-Russell) [Scribe; 2015]

RocKwiz Live! Salutes the ARIA Hall of Fame Llewellyn Hall, ANU Wednesday September 30

Julia “Queen of the Kwiz” Zemiro and Brian Nankervis were joined by Oz’s most beloved roadie, Dugald, and the RocKwiz Orkestra – James Black, Peter Luscombe, and Mark Ferrie, featuring guitarist Ashley Naylor, and Vika and Linda Bull. The night kicked off with Rock Brian challenging audience members for the chance to win a Wildcard. Winners competed in four rounds of music trivia, with the brainiest contestant of each round earning a spot on the panel. Despite missing out, nine-year-old Rory was arguably the best Wildcard. While some may think he’d be best suited to the sounds of The Wiggles, he knows his way around some AC/DC, and even shaved ‘RocKwiz’ into the back of his head. Rock on, Rory. The panel captains rotated throughout the night, and featured Ella Hooper, Col Joye (sans the Joy Boys), Joe Camilleri and Davey Lane. In between captaining their teams, they also performed some top-notch tunes for the audience, including ‘Science Fiction’ by The Divinyls and ‘Shout’ by The Isley Brothers. Zemiro even gave a crack at Olivia Newton-John, and it was everything you could wish for and more. Teams traversed classic kwiz rounds we all know and love from the show, like Million Dollar Riff, Local and/or General and ThirtyThree and a Third. There were also a few fun surprises (such as the Skyhooks versus Sherbet contestant karaoke) exclusive to the loose and loud live shows. Despite being star-struck by the musical guests, the audience panellists must get the credit they deserve, for being funny, good-natured, and complete music freaks. Shout-out to old mate Kevin from the ANU School of Music, for knowing all the words and riffs to every song in existence and for his rousing rendition of ‘Howzat’. Zemiro and Nankervis make the perfect duo. Between Nankervis’ dry wit and Zemiro’s effervescence, they have the uncanny ability to make every member of the audience feel as though they were speaking directly to them. Despite the big venue, the warm and casual vibes exuding from the crew made us feel like we were watching the kwiz up close and personal at The Espy, beer in hand.

Image credit: Eleanor Horn

RocKwiz Live! has a contagious joy, leaving audiences laughing and singing along, wishing the night would go on and on. The RocKwiz team have the vital and noble task of bringing people together through music, and they do it so damn well – plus, to be fair, the beer probably helps. ELEANOR HORN

An evocative, modern-day quest from one of Korea’s most renowned novelists, Princess Bari tells the story of a young girl, Bari, who escapes famine and death in North Korea in the 1990s, seeking refuge in China before fleeing halfway across the world to London. The almost-reverent description of the Korean landscape is replaced with the fear of being deported as Bari’s journey takes on a nightmarish quality: “As the ship crossed the equator, we entered the fiery level of Hell, and thirst and starvation slowly turned people into animals.” It is a curious tale that weaves magic and an old Korean myth with the haunting backdrop of a post-9/11 world. Named after an abandoned princess who travels to the ends of the earth to bring peace to the dead, Bari inherits her grandmother’s gift for seeing ghosts and reading the memories of others. Her grandmother and dog Chilsung return in dreams – some of which drag on – to guide Bari on her quest to find the “life-giving water”. In a final, anticlimactic scene, the dead ask Bari to tell them the reason for their suffering, why evil wins, and when they will be set free. She promises to return with the answer. Another distraction is the sidestory with Lady Emily, who shares Bari’s powers and represents the release that comes from forgiving our enemies. The child-like voice of the narrator sounds forced and at odds with all the hardship she has been through, while references to honour killings and sex trafficking are tossed in a little too casually. Religion – in particular, Islam – is also touched upon. Reflecting on the Lord in Heaven her grandmother spoke of and Allah Grandfather Abdul described, Bari concludes: “I guess you could say it was like the difference between them eating naan and chapatti, and us eating rice.” Princess Bari is not for the impatient but rewards those willing to go with the flow. It is a story of the search for home and a timely, surreal reminder of the cost of war and the desperate measures people will take to escape. Hwang’s personal experiences of fighting in the Vietnam War and being imprisoned for an unauthorised trip to North Korea is clear in his writing. An allegory for the futility of war, Bari’s message is important but so heavy-handed that it verges on being preachy. It’s as though Hwang thought the reader would miss this, so he opts for the literal: “There are no winners in war. What the living call justice is always one-sided.” In short, there is a lot happening in this ambitiously unsettling modern-day fairy tale. Like Bari, we’re all just trying to make it through each day. SHU-LING CHUA

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SIMSHAR EMMA ROBINSON Refugees and asylum seekers have existed for thousands of years – there are endless sources of conflict and crisis that lead to the displacement of people. Unfortunately, humanity has yet to come up with a workable solution to the problem of how to house and home people fleeing all manners of conflict. Such is the issue poignantly illustrated in Rebecca Cremona’s film SIMSHAR – based on the real-life story of the boat in 2008 that embarked on an illegal fishing expedition off the coast of Malta. All but one of the crew on this ill-fated boat perished at sea. Simultaneously, a ship carrying North African refugees was caught in a bureaucratic nightmare, as Italian and Maltese authorities tried to negotiate over who had responsibility for these people. The story ties into the never-ending debate that dominates headlines in Australian publications – what to do with the so-called endless streams of ‘boat people’? When I caught up with Cremona, she had a wealth of knowledge to share. While Canberrans are treated to a wide variety of films from the US and the UK – as well as a multitude of international film festivals – young countries with burgeoning film cultures are left behind. Such is the case with Malta, a relatively young country (it gained its independence in 1964), whose picturesque scenery provides excellent locations for many a blockbuster film, while lacking the infrastructure for locally made films. According to director Cremona, due to the various financial obstacles facing Maltese filmmakers, Simshar has been in the making since 2008 (and yet its message is still very much relevant today). That same year saw the actualization of the Malta Film Fund – a national grant fund for filmmakers. Simshar is the first film to be completed using this fund. When I asked Cremona the simple question – “Why make this film?” – her answer was instant: this film contains universal themes and drives home the message that the “personal is political”. As much as people would like to exist apart from political forces, government policies and legislation have an effect on all of us. Individuals can and should therefore exert power and influence over policy. Furthermore, Cremona emphasises that film is a powerful tool. While film shouldn’t preach a message, it can be used to raise awareness around contemporary and critical issues. A common characteristic amongst second-generation migrants in Malta seems to be short-term memory – when faced with refugees escaping unthinkable circumstances, the reaction is so often not empathy, but hostility. Simshar poses the question, “What would I do in this situation?” Simshar is a powerful film, shedding much-needed light on a highly emotive subject. It puts a human face on a complicated situation and will hopefully provoke a meaningful dialogue around the subject. Simshar is currently screening at Palace Electric. For dates, times and more information, visit palacecinemas.com.au.

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bit PARTS SILVER LININGS WORKSHOPS WHAT: Art and Dance Workshops WHEN: Fri Oct 2 – Thu Nov 5 WHERE: Tuggeranong Arts Centre Part of Tuggeranong Arts Centre’s Silver Linings program is a series of art and dance workshops in the lead up to the Silvery Moon Festival – and for those of you interested, the fun’s already started! If you’re from Tuggeranong, you can have you face cast as a mask and included in the Universe Alight art installation on the lakefront during the festival. You can try out five different dance traditions, from Nepalese to Filipino, with free one-hour tutorials and costume-making afterwards. And you can contribute original art to the Universe Alight installation too! It’s time to celebrate TAC’s birthday. See tuggeranongarts.com for more details. CANBERRA WIND SYMPHONY: IN FULL FLIGHT WHAT: Concert WHEN: Fri Oct 9 WHERE: Ainslie Arts Centre Did you know that Canberra has its very own wind ensemble? It’s like an orchestra without the strings – so like, flutes and clarinets and stuff. They just ride the wind, baby. That’s probably why they’ve called their concert ‘In Full Flight’. Pretty clever, huh? Anyway, there are 45 players in the ensemble, consisting of both national and international performers. By going along, some of the ticket proceeds will be donated to beyondblue to support Australian farmers fighting depression. So it’s for a good cause, too! You can catch two concerts on the night – one at 6pm and another at 8:30pm. Tickets are $40 + bf through Eventbrite. DEAD MEN’S WARS WHAT: Theatre WHEN: Thu Oct 15, Fri Oct 17 WHERE: Street Theatre Canberra Youth Theatre has collaborated with New Zealand’s Long Cloud Theatre to produce this stage production, which boldly re-examines the ANZAC legend. Featuring young actors from both Canberra and Wellington, for many of them, this will be their first professional acting job. The story follows one young woman who dares to speak out and question a nation’s founding myth that “leaves out half the nation”. Sounds controversial, no? Dead Men’s Wars suggests that sometimes the story spoken the loudest isn’t the only one there is. On both days, there’ll be matinees at 12:30pm and evening performances at 7:30pm. Standard tickets are $35, with concession prices available. Purchase through thestreet.org.au. JAPANESE FILM FESTIVAL WHAT: Film Festival WHEN: Wed–Sat Oct 14–18 WHERE: Capital Cinemas, Manuka

Another week, another international film festival in Canberra. Have you been keeping up? If not, you’re certainly missing out. But don’t fret, because you now know ahead of time that you need to attend the brilliant Japanese Film Festival. Returning for its 19th year, the festival will host a carefully curated selection of films, special international guests, Q&A sessions with cast and crew, and also include free screenings of vintage 35mm films. Among the films on show are Initiation Love, Princess Jellyfish and Library Wars: The Last Mission. Visit japanesefilmfestival.net for screening times and ticketing information.

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the word

on albums

But for all of the jumbled, seemingly nonsensical lines here, we have a musician confident enough to write a chorus with a line like “I’m peaceful ‘cause my dick’s in sunlight, held up by kites” – and that, if nothing else, feels refreshing.

album of the issue EL VY RETURN TO THE MOON [4AD] One of the criticisms most consistently levelled at The National is that they’re too gloomy, a little too sad. Matt Berninger’s voice certainly mines such depths that it’s hard to imagine it being particularly joyful, so as a fan, it’s an easy criticism to accept: it’s just not for you then. Others maintain that this gloominess portends an inevitable boredom. For the band’s most stalwart fans, this claim is less easy to swallow – how can you not at least be engaged by Berninger’s cathartic croons? His sometimes dark, always evocative tales? For those who have never been hooked in some way by The National (you poor souls), here comes your answer: El Vy. “Pronounced like a plural of Elvis; rhymes with ‘hell pie’”, El Vy is a collaborative effort between Berninger and Brent Knopf of Menomena. Their debut album, Return to the Moon, hits like something special – lead single, ‘Return to the Moon (Political Song for Didi Bloome to Sing, with Crescendo)’, is full of surprises right out of the gate. Wonderfully hooky guitars and a distinctive vibe more than appropriate for bedroom dancing, it’s somewhat of a surprise that Berninger’s deep voice still works here at all. But it really does. It’s an album that feels full of Berninger’s trademark, patchwork metaphorical ramblings: snippets of sentences cut and placed and shuffled around until they resemble something with flow.

‘I’m The Man To Be’, the song with that aforementioned chorus, is one of the more curious songs here – intermittent guitar squeals drop in and out, and later choruses are layered expertly. Again, more dancing and air guitar is on the cards here. ‘No Time To Crank The Sun’ is perhaps most reminiscent of The National, only in its wandering amble. Refreshing piano chords open the track, Berninger sings over his backing hum, and hand-claps (which you’d probably never hear from The National) come in to give it some pace. ‘It’s A Game’ is one of the album highlights. Stripped back in many ways, its restrain is its biggest asset. Berninger’s voice draws a nice contrast with Knopf’s bright melodies, and the chorus – “I’ve never been so alone, ‘til I read that the moon men were dead” – feels like the epitome of Berninger’s poignant lyricism that we’re so used to. Perhaps a thematic throwback to Alligator’s ‘Looking for Astronauts’ (it’s at the very least a look into the recurring topics that crop up within his lyrics), it’s easy to imagine it being the refrain best suited to an acoustic crowd-led singalong, ala ‘Vanderlyle Crybaby Geeks’ (which is known to make all present audience members spontaneously burst into tears). ‘Sleepin’ Light (feat. Ural Thomas)’ brings in light keys, Berninger’s repetition of “I can’t be alone”, and light backing vocals, while ‘Sad Case’ features one of the best percussion backings of the whole album, complemented by crashing guitar bursts that create some much-needed contrast. Return to the Moon is a step outward for Berninger, and Knopf has a talent for writing music that plays to his strengths. Berninger’s voice shines and Knopf’s melodies intertwine beautifully throughout – it’s an example of an album that almost shouldn’t work, but dammit, it does. Fans of The National, this is for you. People on the fence about them, it’s also for you. Heck, just dig in, the lot of you. El Vy is quality.

DONAVON FRANKENREITER THE HEART [LIBERATOR MUSIC] Donavon Frankenreiter lived the dream, graduating from the Californian surf to a major clothing label-sponsored, round-theworld surfing career. In parallel, he followed a musical path that progressed from his own band Sunchild to a solo singing career. Sharing common interests of boards, wax and music, he became friends with fellow singer and surfer Jack Johnson and has supported his gigs. The Heart is the seventh solo album from the soft/surf rocker. The opening simple strummer ‘When the River Bends’ – unembellished except for soulful backing vocals – serves as a vehicle for Frankenreiter to transmit some of his philosophy on life, about the need to be open and to just give it a go. Arranging the song to suit the mood, in ‘Woman’ Frankenreiter ramps up the passion while slowing down the pace. His voice thickens and adopts a whispered edge, while scattered, deeper-toned plucks and the heavy ‘thwack’ of the drumbeat underscore the emotion. ‘Big Wave’, with its syncopated plucked tune, is a CD highlight with some real swing to it, and both ‘The Way You Catch the Light’ and ‘Little Shack’ stand out with their foot-tapping qualities. The album ends well with the beguiling guitar pattern of ‘California Lights’. Apart from these, the laidback melodies are generally not very engaging. Well named, The Heart is a real heart-onyour-sleeve album that makes for easy listening. Honest and unpretentious, it’s not going to challenge your ears or take the listener on a new musical journey. However, the messages contained therein are likely to resonate with those who appreciate the simple, but important, aspects of life. RORY MCCARTNEY

JEREMY STEVENS

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BEN FOLDS SO THERE [NEW WEST RECORDS]

TINY LITTLE HOUSES YOU TORE OUT MY HEART [INDEPENDENT RELEASE]

VARIOUS ARTISTS WE LOVE DISNEY [WALT DISNEY/VERVE]

Ben Folds’ first album since 2010 will once again challenge some fans. The album cover describes it as ‘8 chamber rock songs with yMusic plus his Concerto for Piano and Orchestra with the Nashville Symphony conducted by Giancarlo Guerrero’. Fans of Ben’s exceptional piano skills will enjoy his showcasing of musical ability, but fans of his pop and rock music might feel a little disappointed, as his ‘8 chamber rock songs’ leave a little to be desired.

Is this fear and loathing from Melbourne? Well, loathing, no, but plenty of angst is communicated in a chirpy manner in this short, four-track release. New players in the indie-folk arena, the debut EP from four-piece Tiny Little Houses is summed up well in its tortured title. The breathy vocals of frontman Caleb Karvouttzis radiate a range of chiefly melancholy emotions in this examination of the pain of love and loss (sigh!). The mood varies from agonised loss to resignation at the inevitable. However, it’s all projected with bright licks and cheerful, catchy tunes.

A compilation album featuring artists across pop, rock, and R&B, We Love Disney delivers nostalgic feelings in unique covers of Disney’s greatest hits.

Opening track ‘Capable of Anything’ is a string-driven upbeat song that sets up some hope for a ‘classic’ Ben Folds album. Things slow down after that, with the next few songs ballads reminiscent of his Songs For Silverman album. They pick back up again with the standout track and single ‘Phone In A Pool’. It still has a mid-tempo pace, but it’s less orchestral and has Ben’s signature quirky lyrics and a smooth uplifting chorus. Folds has explained that the song is based on a true event whereby he got sick of constantly responding to his cell phone and threw it in a hotel pool. ‘F10-D-A’ is a quirky little tune simply involving Ben singing the chords of the song. Is this is a sign of a lack of lyrical inspiration, or is it Ben’s chance to leave his song at a point I’m sure many songwriters have had songs at during their creation? As a fan of Ben’s rockier moments like ‘Song For The Dumped’, ‘Army’ or ‘Rockin’ the Suburbs’, I was a little disappointed with this album, but fans of his ballads and piano enthusiasts still have much to rejoice with this unique contribution to the pop music landscape. JARROD MCGRATH

Emotions are cast into word pictures in Karvouttzis’ first-class songwriting, while he rolls them out in a downbeat fashion that the chronically pessimistic Winnie the Pooh character Eeyore could well relate to. In opener ‘Soon We Won’t Exist’, the joy of love is eroded by the caustic realisation that we’ll all be dust and ashes one day. The stubby guitar plucks could represent the relentless ticking away of our lives, while a melodica plays a consoling tune. Portraying relationship disaster in a scene of otherwise reckless fun, ‘Easy’ relates a relationship’s end in the midst of Luna Park. In ‘Every Man Knows His Plague’ and ‘You Are Mine’, Karvouttzis mourns his atrophying body and a romance that has imprisoned him with chains, while Clancy Bond relieves the atmosphere with animated percussion. In the closer, Karvouttzis sounds genuinely exhausted, singing “I’m so tired of being afraid”, his list of woes clashing with the optimistic melody that powers up towards the finish with a swinging beat. The lovelorn will relate well to the themes. Don’t worry however, our inevitable demise has never sounded so perky! RORY MCCARTNEY

Aladdin’s cosmic companion, Genie, voiced by the late Robin Williams, bursts with positive energy in ‘Friend Like Me’. Covered by Ne-Yo, it keeps the original track’s style in its orchestral work. Ne-Yo’s vocals are smooth but, unlike Williams’, aren’t versatile enough to portray the various characters that Genie embodies. One of the more ubiquitous artists in the Disney scene, Ariana Grande, slays in her rendition of ‘Zero to Hero’ from the musical fantasy, Hercules. The film made massive stylistic departure from the usual Disney fare, taking on gospel influences – and that style translates well with Grande’s singing. To cover Disney’s 1951 classic ‘In a World of My Own’ from the feature film Alice in Wonderland is quite a feat. In Jhené Aiko’s version of the song, the track becomes so modernised that it almost wouldn’t be recognisable if not for the soundbites of Alice. It’s arguable that in cover versions, the artist should deliver a new performance – and Aiko certainly does – but in this modernisation, it loses the sense of wonder. Fall Out Boy takes out the best number on the album in the jazz-influenced track ‘I Wan’na Be Like You’ from The Jungle Book. The track is corralled into their pop-punk style, pumping up the song with fresh energy that’s almost comically exciting. It keeps the original scat singing, but adds another dimension with quick guitar and fun rhythms. Filled with fun from start to finish, We Love Disney is good enough to make it into Disney fans’ playlists for some time. ALYSSIA TENNANT

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album in focus

DAVID BOWIE FIVE YEARS 1969–73 [PARLOPHONE RECORDS] Music too easily identified with a specific time and place can sometimes burn out quickly, but good quality work will often resonate well beyond the era in which it was created. The enduring artistry of The Beatles and The Velvet Underground are two obvious examples, as is David Bowie, whose music has been repackaged and remastered over the years but never as lovingly as on this first box set of reissues that covers the years 1969 to 1973. The sound quality, enhanced album cover art, bonus material and accompanying hardcover book with detailed text and images is a first rate effort that almost justifies the hefty price tag. I did baulk a little as not everything Bowie recorded in this earlier phase of his career is top shelf material. On his self-titled 1969 album, Bowie’s self-conscious search for a cohesive sound on such tracks as the nine-minute psychedelic-lite ‘The Cygnet Committee’ is apparent. However, this album does open with ‘Space Oddity’, the first classic and a track that revealed a distinguished talent for melody and arrangements. The search nevertheless continues on The Man Who Sold the World from 1970 with Bowie appearing on the album cover of the UK edition in a striking floral dress. But pay-dirt was struck on the classic album Hunky Dory the following year. This is where the Clockwork Orange styled glam look, Lou Reed-inspired hard rock edge and German cabaret vibe with sublime melodies blended together on

a fantastic set of songs, slightly eccentric but always compelling – check out Hunky Dory track ‘Life on Mars’ for confirmation. The only way was up on The Rise and Fall of Ziggy Stardust and the Spiders from Mars (1972) – presented here with an additional 2003 SACD mix which sounded a bit lightweight for my liking. But the album itself is an almost masterpiece that was conceived as a connected set of songs about the creative arc of an otherworldly rock ‘n’ roll star. Such songs as ‘Moonage Daydream’ accentuate everything good about Bowie at this point – most of all Mick Ronson’s blistering guitar work, the panoramic stereo sound and the vocalist’s sexual come-ons attached to one more great tune. Hunky Dory and Ziggy Stardust represent the creative peak of Bowie’s glam phase and the remastering on both albums is so good that many rewarding spins are inevitable.

KATIE NOONAN’S VANGUARD TRANSMUTANT [KIN MUSIC] Having first shone brightly with the band george, singer-songwriter Katie Noonan has applied her angelic voice to jazz, pop, rock and even dance. While george has been on hiatus for a decade, Noonan has been very active with the jazz trio Elixir, her band The Captains, solo projects and even a record made with her mum Maggie. She returns with her latest LP Transmutant, and with a slightly altered Captains’ line-up, entitled Vanguard.

The set is rounded out with a couple of live albums – the Ziggy Stardust soundtrack is a tad too even-paced, but the once bootleg Live in Santa Monica 1972 more than compensates with some harder than hard rock on the likes of ‘Suffragette City’. Everyone will of course have their favourites, but taken as a whole this box is hard to fault. So bring on volume two, which will cover the mid-to-late 1970s period when Bowie moved to Berlin and discovered the delights of German psychedelia and musical auteur Brian Eno.

Made with the aid of a pledge campaign, and the involvement of some pledgers as part of the album’s choir, the new release maintains the lush Noonan sound (notably, the pledge goal was reached in less than 48 hours – proof positive of Noonan’s cachet as an artist). Noonan’s voice is the dominant focus of the album, with the musicians keeping a respectful distance, complementing and enhancing the singing, while always playing second fiddle to the vocals. Indeed, there is no music, apart from the occasional, muted hum of electronica, in album highlight ‘Silence Speaks to the Lucky One’, in which Noonan’s singing is the music. There’s a touch of Florence + The Machine in the powerful vocals of ‘Quicksand’ (in an ‘adult contemporary’ form, as opposed to rock). So subdued is the music in some songs, that there is no apparent overriding melody. In ‘An Unwinnable Race’, soulful, floating effects coalesce in a Milky Way of sound. The thread of the tune appears and disappears, but it matters little – such is the gravitational pull of the singing. ‘Running’ possesses a more palpable presence than some other tracks, as Noonan’s voice soars heavenward, pushing satellites from their orbits. An impressive album, although the free-flowing form of some songs leaves the ear searching for a core melody to latch onto.

DAN BIGNA

RORY MCCARTNEY

But this box also includes the greatness of the 1973 album Aladdin Sane, with a dryer production in the vein of early Velvet Underground, and including one bona fide classic track ‘The Jean Genie’, which exudes a rock ‘n’ roll simplicity proto-punk luminaries like The Stooges also mustered. The covers album PinUps from the same year is more of a worry as it achieves little other than to re-imagine cherished favourites from the 1960s like Pink Floyd’s ‘See Emily Play’ as Weimar cabaret, which is fine for those who like that kind of thing but doesn’t quite match the multi-coloured teen dream Bowie was aiming for in his best work.

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singles in focus BY CODY ATKINSON GØGGS ‘SHE GOT HARDER’

BATTLES LA DI DA DI [WARP RECORDS]

SOL NATION MELTING POT [INDEPENDENT RELEASE]

Math rock is a curious genre. For all its time signature changes, complex rhythms and wonky song structures, it’s become a style of experimental rock that places the form of the music ahead of its function. According to guitarist and keyboardist Ian Williams, that description would accurately describe Battles’ style, and particularly their third studio album La Di Da Di: “A strip of white paint sometimes is just white paint. It doesn’t mean it’s a picture of snow. Not all our songs are representations of things.”

World music aficionados Sol Nation have all the credentials to put together an exotic sound with rhythms to move your body to. A big outfit at seven members, their varied backgrounds result in a combination of reggae, East Timorese folk, salsa, afro-beat, samba and funk. The band lineup includes Colin Badger from the venerable Painters and Dockers.

The result is that La Di is a kind of science project built with no discernible purpose other than to generate ‘fun’. It’s especially the case given that – unlike their previous LPs Mirrored and Gloss Drop – La Di doesn’t feature any vocalists. That might make Battles’ third course meal somewhat difficult to digest for the listeners less accustomed to their manner of mise en place, but for the devout math rockers and Battles fanatics, it’s a dish as well served as its album cover. Bananas fucking watermelon slices and all. With a genre so concerned with momentum, La Di carries the force more seamlessly than ever before. ‘The Yabba’ climaxes into ‘Dot Net’, which rides the information superhighway into ‘FF Bada’, which dances like a whacky mushroom into ‘Summer Simmer’, which actually feels like the music is bacon getting cooked to a crisp on a barbecue. Likewise ‘Cacio e Pepe’ weakens like macaroni and cheese in a boiling saucepan, and ‘Megatouch’ imitates a ladybug slowly crawling across your skin. It’s these absurd sensations that make every Battles album a treat, and arguably, removing the vocalists from the mix has only made it easier to indulge. ANDREW NARDI

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The party band from Melbourne has played in Canberra at our Multicultural Festival. Gigs such as this suit them perfectly, as the mix of German beer and the heady whiff of grilling meat on sticks combines with a fun atmosphere and a crowd of people who are happy to move. All the tracks carry infectious rhythms that are readily danceable and the vocals of Paulo Almeida – backed and balanced by Deline Briscoe – are easy on the ear. Sol Nation also makes its mark as a band with a conscience, with themes revolving around the environment, globalisation and the desperate need for peace and love. While the messages are all laudable, their blunt method of presentation, coming across as clichéd slogans, detracts from their power. Some of the music can be formulaic too, as the guitar licks that appear towards the end of several tracks appear to have been injected as part of a recipe, rather than with the aim of adding something special to the song. Better tracks include ‘High Vibes’, which moves from slow and soulful to bouncy in the choruses, and the closer ‘Crocodile’, a song with a message that sells better, as it is a bit veiled and not pushed so hard. Overall, it’s a case of attractive rhythms which are fine to party to live, let down by uninspiring lyrics. RORY MCCARTNEY

The prolific Ty Segall sets off on yet another new project, joining with members of Ex-Cult and Fuzz on this hard-rocking sojourn. ‘She Got Harder’ is bloody good – probably better than it has any right being, if you know what I mean. Maybe it won’t click with you on the first listen, but it keeps getting better as you go back to it.

MINERS ‘WRINGS’ Jangly guitar runs slowly dissolve into feedbacked chaos and back again on ‘Wrings’ from South Coast locals Miners. Approaching the shoegaze end of indie rock here, the vocals don’t grab a whole lot of the focus, but they don’t need to with all the other goodness going on.

ROOTS MANUVA ‘DON’T BREATH OUT’ UK hip-hop stalwart Roots Manuva is back in fine form here, with his iconic flow dominating this track. Perhaps a little more laidback than Rodney is used to presenting, but it works well nonetheless with evocative lyrics building off a sorta old-meets-neo soul beat.

SIGALA ‘EASY LOVE’ It feels like every second song on the charts these days is a dance-pop remix or cover of an older pop song, and I have no idea why this is happening. This track right here, ‘Easy Love’, is yet another entry in this suddenly overfilled category, lyrically comprising of Jackson 5’s ‘ABC’. I guess ‘Easy Love’ is better than listening to my ever-ticking wall clock, but by how much I don’t know.

the word

on films

WITH EMMA ROBINSON

Following the timeline of M. Night Shyamalan movies, one can see an almost perfectly straight line heading dramatically downward, from groundbreaking filmmaking (1999’s The Sixth Sense) to the derivative and at times nonsensical (remember 2008’s The Happening? The trees did it! Wait… what?!) Shyamalan’s latest film The Visit isn’t as bad as some of his other efforts (making the straight line indicative of decline now a little bumpy) but it is not a return to form. This is the last time I will get my hopes up for this director.

quote of the issue “I’m gonna get you!” Deanna Dunagan (Nana), The Visit

DIARY OF A TEENAGE GIRL

MACBETH

THE VISIT

Do not be turned off by the title of this film – it is not a brainless teen comedy trying and failing to be the next Clueless or Mean Girls. Nor is it an excuse to look at young, hot, scantily clad women. Rather, it is an honest and hilarious depiction of a young women’s sexual odyssey, complete with dick pics and just the right amount of sentimentality.

My week was ruined after seeing 2011’s Snowtown, Australian Justin Kurzel’s directorial debut. Food didn’t taste nearly as good, and my mum said I “seemed off”. Kurzel’s talent for exploring brutality and nihilism in his filmmaking left an indelible mark on my psyche. Whereas Hitchcock would imply violence, and Tarantino would revel in it, Kurzel wanted us to stand and stare at every detail, desperate and relentless in his attempt to make us comprehend the gravity of such terrible actions. Needless to say, I was morbidly excited for Kurzel’s return with his adaptation of Macbeth. With more slow-motion battle scenes than a Zach Snyder film, a bombastic gothic score from Nick Cave and Warren Ellis, and stunning cinematography from the Scottish highlands, Kurzel’s Macbeth may possibly be the most contemporary film adaptation of Shakespeare this decade.

There are many artists that have created seminal pieces of work and subsequently have not been able to live up to the hype and glory of their first creation. The time has well and truly passed for M. Night Shyamalan to join these ranks.

Minnie Goetze (Bel Powley) is a fifteen-year-old girl living in the 1970s who, like most teenagers, is consumed with sexual desire whilst lacking the emotional experience to go about satisfying herself without creating havoc and chaos. Thus she seduces her mother’s boyfriend Monroe (Alexander Skaarsgard) with little to no thought for the consequences. And yet, Minnie is a highly sympathetic character and surprisingly easy to relate to. Her moments of clarity following less than satisfying sexual encounters are tender to watch. It is very difficult to depict young female sexuality without exploiting it somehow – this film does it expertly with humour and compassion. This kind of raw honesty around female sexual desire is rarely explored with any real depth in film, which is what gives Diary of a Teenage Girl its edge. Trying to reconcile one’s heart and loins is a universally appreciated theme. As Minnie candidly narrates her experiences throughout the film, the audience sees her come of age in an unexpected and delightful way. EMMA ROBINSON

Michael Fassbender brings his own brand of tattered madness to the eponymous role, while Marion Cotillard has a more subdued approach to Lady Macbeth. For those well familiar with the source material, Macbeth is an absolute delight, borrowing tonal and aesthetic cues from HBO’s Game of Thrones whilst still experimenting with stylistic flair, never allowing source material to overpower filmmaking. Meeting Shakespeare at the middle, Kurzel embraces and emphasises the classic narrative’s observations about the violent madness of power. An excellent retelling of a timeless story. PATRICK JOHNSON

Teenage girl Becca (Olivia DeJonge) and her younger brother Tyler (Ed Oxenbould) visit their estranged grandparents for the first time, against the wishes of their mother (Kathryn Hahn). Becca documents their visit on her handheld camera (yep, the found footage trope is being used to tell this story) and begins to notice her grandparents exhibiting strange behavior. As the days go by, the siblings begin to unravel the mystery behind their odd behavior, culminating in a shocking twist (yep, an M. Night Shyamalan movie with a twist). Becca and Tyler begin to wonder if they will make it home alive (yep, a disastrous situation where, inexplicably, there are no capable adults responsible for the children to be found. Whatever will they do?) As tired trope after tired trope are not revitalised in this film, the audience will most likely predict the twist that is the tired hallmark of Shyamalan’s films. Furthermore, the ‘single mother not paying enough attention to her children’ cliché is getting old. The mother’s lack of involvement with her children is too convenient to the plot and not believable. The Sixth Sense, this film is not. EMMA ROBINSON

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SICARIO

EVEREST

As a convoy of DEA and CIA agents roll through the border city of Juarez, Mexico, toward a hostage pickup, Agent Kate Macer (Emily Blunt) is confronted by three naked and dismembered bodies hanging from a train line in the middle of the city. Alejandro (Benicio Del Toro) murmurs: “Welcome to Juarez.”

The notion – let alone the act – of climbing the world’s highest mountain is eternally alluring, if bordering on utter insanity. Baltasar Kormakur’s adventurethriller Everest is based on the true story of the disastrous climbing expedition of May 1996, in which two groups of climbers led by Rob Hall (Jason Clarke) and Scott Fischer (Jake Gyllenhaal) compete to reach the summit of the titular geological marvel amid the variables of blizzards, freezing temperatures, bottlenecks in the “death zone” (heights above 8,000 metres), avalanches, and retinal haemorrhaging causing blindness. Wait… did I say alluring?

Such brutality seems to be a given in the U.S.-led war on drugs, and this attitude is precisely what director Dennis Villeneuve wishes to interrogate. Why are we so desensitised to the insane violence perpetrated by warring cartels and governments? Why does this ‘war on drugs’ continue, and what does it achieve, apart from the deaths of the poor and vulnerable communities in Mexico and the U.S., as well as worldwide? Throughout Sicario, we follow Agent Mercer as she is led from one assignment to the next around the borderline, drip-fed information by her commanding officers (including Josh Brolin in an atypically affable yet guarded performance). There is no redemption; there is no lasting resolution. Villeneuve, continuing his four-film streak of bleak and disarming thrillers, is no stranger to the certain kind of nuanced complexity that lends itself to real life. In order to be critical of real-world issues, we need to be exposed to narratives that are not easy to stomach. Sicario shows us the problems that have risen from the never-ending war on drugs – it does not attempt to placate us. PATRICK JOHNSON

While the film largely follows a formulaic disaster-epic narrative structure, it does touch upon the fundamentally selfish aspects of extreme mountaineering: families being left in the dark about the whereabouts and safety of their loved ones, the increasing commercialisation of the mountain, and the risks others take in ensuring the big-paying climbers reach the summit and descend successfully (for a deeper analysis of this, see Canberran filmmaker Jennifer Peedom’s incredible documentary, Sherpa). Given Everest is essentially about humans taking extraordinary risks, I had hoped that such daring feats would be matched by a daring screenplay. However, the film just about makes up for its clunky and clichéd dialogue with some impressive performances from Clarke, Gyllenhaal and Keira Knightley, along with some stunning cinematography. MAJELLA CARMODY

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JUSTIFIED – THE COMPLETE FINAL SEASON [UNIVERSAL SONY ENTERTAINMENT]

BROOKLYN NINE-NINE – SEASON TWO [UNIVERSAL SONY ENTERTAINMENT]

BETTER CALL SAUL – SEASON ONE [UNIVERSAL SONY ENTERTAINMENT]

So now Justified has finished, ending its near faultless six reason run the way it started it – calm, confident and loaded with some of the snappiest dialogue on television. Though it was well-received by the critics and had a fervent fan base, it never quite scaled the heights or scored the hosannas of its peers (Mad Men, Breaking Bad et al). To be fair, it was a different type of show. Based on an Elmore Leonard story about a Kentuckian lawman it debuted strongly but wobbled soon after. It was only towards the end of its first season did it realise the case-of-theweek format did not serve its characters well, especially Raylan Givens (Timothy Olyphant) and his lifelong antagonist Boyd Crowder (Walton Goggins). Turns out that the Crowder character was meant to be killed off in the first few episodes. But so great was the chemistry between Olyphant and Goggins that the producers decided to make Boyd a regular. And it’s with these two characters that Justified delivers its grace notes.

The only way Brooklyn NineNine could work is by being funny. It’s an obvious thing to say about a comedy, but putting characters in unique (Veep, Silicon Valley, Transparent) or comfortable (Big Bang Theory) surroundings are some of the easiest ways to wrangle laughs. But setting a comedy in a police precinct reads as overfamiliar and hackneyed. Which is why this show doesn’t rely on the cops-catching-robbers part of the situation to work. Brooklyn Nine-Nine works so well because of the actors first, characters second, and situations third.

Straight off the bat, my opinion of Breaking Bad soured during its original run and has plummeted since. I consider it to be one of the most overrated TV shows of all time. Having said that, I recognise there were elements that worked; one of them was skeezy lawyer Saul Goodman (Bob Odenkirk) who skited around like a whirling dervish cleaning up the issues – some legal, others not so – of some rather unsavoury characters. Goodman became a fan favourite and one of the few moments of levity in a morose drama. But when showrunner Vince Gilligan announced the character would get his one spin-off series it seemed like a late-night idea stretched too far. Did we really need an origin story for this minor character and more importantly, how would the worlds intersect?

After years battling against the Dixie Mafia in all its configurations, Justified finally sets Givens and Crowder against each other. Before that though, they both have to dispose with a few opponents along the way in Avery Markham (the whisky-dripping-voiced Sam Elliot) and Katherine Hale (Mary Steenburgen). Each season of Justified has delivered reliable and devious criminal masterminds (Margo Martindale even won an Emmy for her turn as Mags Bennett) and the Markham/Hale combination is no different. In Justified’s Harlan County world, the faces may change but things remain the same. The Givens/Crowder feud doesn’t end as we might expect – both keep surprises ‘til the very end. But the final shot of the show serves to remind us, the lawman and criminal needed each other, forged together in the unlikeliest of bonds. JUSTIN HOOK

From the beginning this show clicked and very little has changed the second time around. Naturally, things do get zany for the sake of it – Jake (Andy Samberg) gets given control of the precinct, Jake falls for a defence attorney he is up against, Jake loses a wedding ring … well, you get the point. Samberg is the centre of most of the attention, but despite my early misgivings about him as a comedian, he wears you down, and plays the lovable dolt exceptionally well. The other two significant highlights: first, Andre Braugher as the taciturn, gay, black police chief Ray Holt takes the gruff stereotype and turns it on its head. Then there’s Chelsea Peretti as the pop culture-obsessed, droll, sasstalking, time-wasting office receptionist Gina Linetti. Again, another stereotype, but Peretti is a force of nature and another genuinely funny comedian in her own right. You can’t help but wonder if her character was created as a sly reference to her famous brother’s (Jonah) website – Buzzfeed. They share much in common. Any show needs a bit of tension, so Holt has to deal with an old enemy (Kyra Sedgwick) and Jake and his cop peer Amy (Melissa Fumero) may or may not be dating. But they are distractions. Brooklyn NineNine is a reliable, mainstream funny show. Simple as that. JUSTIN HOOK

Luckily, Gilligan and Breaking Bad writer Peter Gould knew what they were doing and dispensed with the character crossovers early. One comes and goes (the terrifying Tuco) whilst the other (Mike Ehrmentraut/Jonathan Banks) stays for the entire series. But this show is about Jimmy McGill – the man who would become Saul Goodman. Through flashbacks we learn ‘Slipping’ Jimmy was a small-time hood eking out a living running scams in Philadelphia. Current day Jimmy, pre-Bad, is a crumpled public defence lawyer looking after his far more successful lawyer brother Charles (Michael McKean) who has a physical and/or mental hypersensitivity disorder. Better Call Saul focuses on the brothers, opposites in almost every way. Saul looks, acts, and talks like a shyster but he always does the right thing. But everyone has a breaking point and Jimmy holds out ‘til the very end before one ultimate betrayal floors him. You don’t need to know Breaking Bad for this show to work. It stands on its own considerable merits, including Odenkirk, who is phenomenal in this vastly more complex role. JUSTIN HOOK

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Heart Beach, Cracked Actor, Waterford, Thomas Hyland The Phoenix Pub Saturday September 26

on gigs

Thomas Hyland – as he said at the start of his set – usually gets to hide behind the noise of a full band (most recently, Ivy St). So it’s understandable that he was a touch uncomfortable to begin, not that it audibly made a difference. With no assistance bar the guitar in hand, Hyland ripped through a tight set that grabbed the attention of everyone in the room.It’s been a fair while between drinks for Waterford, perhaps spent reeling from their namesake’s fulltime departure from the Canberra Times. Regardless, Waterford were back at The Phoenix, and in fine voice with well-written lyrics offset against bold, jangly guitars. Waterford showed that they know their way around a nice guitar pop song – the type that makes you slowly break out into a smile throughout. At any given Cracked Actor show you are likely to hear a handful of people turn around and say “Damn, that voice!” when Seb Field starts singing. It’s the musical accompaniment around that voice that lets the vocals grab so much attention, however. Cracked Actor work best live when the more aggressive, slashing guitars blend around slower tempo tracks, as they managed on this particular night.

PHOTO BY MEGAN LEAHY

the word

on gigs

PHOTO BY JARROD MCGRATH

A reel-to-reel tape recorder isn’t the most common rhythm section for a band, but Hobart’s Heart Beach have somehow made it really work for them on stage. The tape machine stopped for no one, and kept the set kicking along at a fast pace. The three human members of the band seemed perfectly attuned to their mechanical friend on stage, playing lashings of melancholic gritty pop and bringing a great night of music to a close. CODY ATKINSON

San Cisco, Major Leagues ANU Bar Thursday October 1 With only the one support act tonight kicking off at 8:30pm, we were in for an early finish. Major Leagues have that ‘grunge band’ sound happening with their jangly guitars and droning vocals. They had a tight sound set off with strong backing vocals and harmonies (lead vocals were also shared on some songs). They made a nice gesture to fans mid-set by offering a one-of-a-kind, hand-designed band shirt to the fan who could answer a Brisbane music trivia question. ‘Endless Drain’ was a highlight towards the end of the set. Having released their sophomore album Gracetown this year, Fremantle’s San Cisco now have a strong repertoire to choose from. They opened with old favourite ‘Golden Revolver’. Following that, the set remained evenly split between old and new material, which was a bit of a surprise considering this was their first headline show in Canberra since Gracetown’s release. ‘Beach’ exposed drummer Scarlett Steven’s angelic backing vocals and the band’s tight sound. ‘Awkward’ came mid-set and got the crowd moving a bit more. Singer Jordi Davieson gave a traditional introduction of band members during ‘Wash It All Away’, and showed off his frontman skills during ‘Jealousy’, dumping his guitar and swaggering around the stage. ‘Too Much Time Together’ and ‘Bitter Winter’ appeared to be played a little slower than their album versions and didn’t carry the punch expected. ‘Run’ was announced as their “last song” and as the band exited the stage, the crowd cheered for an encore amidst calls for their famous cover of ‘Get Lucky’. But this was not to be the case, as the band returned and concluded the set with another old track, ‘Fred Astaire’. JARROD MCGRATH

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on gigs

The Jungle Giants, Art of Sleeping, Hockey Dads ANU Bar Friday September 25 It’s nice to see enthusiasm for support acts. Hockey Dad had a few dedicated fans early on, and a few ‘tentative fans’. The two-piece put on a good show for the ever-expanding crowd. When promoting their products mid-set, they modestly exclaimed, “We’re not gonna make too big an impression on anyone, it’s early.” They did, as their final songs, including ‘I Need A Woman’, drew a few to the front barriers amongst wolf whistles from dedicated fans. We then shifted to the six-piece Art of Sleeping with their grungier Oz rock. New song ‘Voodoo’ was an early request from front row fans and definitely delivered when belted out by singer Caleb Hodges, who later proclaimed he had “Lost his voice during the week”. Well not from what we heard, and a Frank Ocean cover before closer ‘Crazy’ proved this.

PHOTO BY JARROD MCGRATH

Our headlining five-piece was a mix of all we had seen before us tonight. Singer Sam Hales set the mood by requesting that we all skull our drinks before the set commenced. They then launched into ‘Skin To Bone’ and were met with handclapping, body shaking, and a gravity towards the front. By their third track ‘Anywhere Else’, the bar area had cleared and all were focused on the Giants. Sam politely described the crowd as “intimate”. After his flute solo and a story about learning the flute despite “grape-eating bullies”, the band provided a high-octane conclusion involving hits ‘She’s A Riot’, ‘What You Want Me To Be’, ‘Mr Polite’, ‘Kooky Eyes’ and ‘Every Kind of Way’. With four girls up on their partner’s shoulders as we clapped for an encore I was sure would occur (‘Come And Be Alone’ had not yet been played), the night ended with disappointment as the house music came on and we still craved more. JARROD MCGRATH

the word

on gigs

A State of Grace: The Music of Tim & Jeff Buckley Canberra Theatre Centre Wednesday September 30 Tribute shows are tricky territory, especially when the legends you’re honouring are the Buckley boys. These musical icons left some fairly big shoes to fill. Huge, in fact. A State of Grace: The Music of Tim & Jeff Buckley was set to be an audio visual celebration of two men who helped define their respective eras: the ‘70s and ‘90s. Gary Lucas, co-writer for Jeff’s ‘Mojo Pin’ and ‘Grace’, assembled this motley crew of performers (who hail from all corners of the globe) including Martha Wainwright (Canada), Camille O’Sullivan (Ireland), Casper Clausen (Denmark), Willy Mason (USA), Steve Kilby (Australia) and Cold Specks (USA). Did they pull it off? Almost. Kilby appeared incongruous, his vocals strained and his connection to the environment out of synch. Rather than embracing the storytelling in this impressive back-catalogue, he instead played the part of rock ‘front man’. Cold Specks delivered some gristle but sounded pitchy at times, before forgetting the words during an a capella rendition of ‘Hallelujah’. An awkward ending to the first half of the show. Camille O’Sullivan revived the tenuous state of affairs by howling like a banshee throughout her introductory track. She kicked over water bottles with her gold boots before delivering a knock-out version of ‘Lilac Wine’. Shrouded in purple light and accompanied by Jordan Shapiro on piano, she had the crowd spellbound. Martha Wainwright tore through each of her tracks like a woman possessed. Her contribution to this ensemble truly inspired, as she genuinely appeared haunted by the spirits of both Buckley men. Clausen and Mason were fine additions, but overall this felt like a pilot for something that could (and should) be developed further. Watch this space.

SAMUEL TOWNSEND

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ENTERTAINMENT GUIDE October 7 - October 10

Listings are a free community service. Email editorial@bmamag.com to have your events appear each issue. WEDNESDAY OCTOBER 7

ART EXHIBITIONS Within These Walls

By Janet Angus. Until October 24. Mon - Fri 9am - 5:30pm Sat 9am - 1pm. Free. CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Transfer

25 Sep - 18 Oct.

TRIVIA Tranny Trivia

Glamour & Song questions. 8pm. Book Online.

ANU Arts Revue: Game of Tones

WORKSHOPS

THE COURTYARD STUDIO

Alliance Francaise Adult Courses

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

The Makings of an Angel BELCONNEN ARTS CENTRE

ALLIANCE FRANÇAISE

25 Sep - 18 Oct.

6-10 Oct.

Rent? Home? Sanctuary?

25 Sep-18 Oct. 10am-4pm Tue-Sun.

THURSDAY OCTOBER 8

BELCONNEN ARTS CENTRE

Blue Christendom

ART EXHIBITIONS

CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

Desperate thirst

The Distant Warriors

M16 ARTSPACE

Opens 6pm Oct 1-Oct 11.

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

Macquarie Digital Portraiture Award 2015 Free. Until Apr 2016.

Opens 8 Oct. Runs 8-25 Oct.

New but Nah

Opens 8 Oct. Runs 8-25 Oct. M16 ARTSPACE

Paintings from Arrente country and Aotearoa Opens 8 Oct 6PM. Runs 8 - 25 Oct.

NATIONAL PORTRAIT GALLERY

M16 ARTSPACE

Antarctica

COMEDY

Tue, Wed, Fri 10-4pm, Thu 10-7pm, Sat/Sun 12-4pm. Free.

COMEDY

POLIT BAR & LOUNGE

Alliance Francaise Childrens Courses

BELCONNEN ARTS CENTRE

FRIDAY OCTOBER 9

ANU Arts Revue: Game of Tones

7.30PM.

DANCE

Desperate thirst

Opens 8 Oct. Runs 8-25 Oct. M16 ARTSPACE

The Makings of an Angel 25 Sep - 18 Oct.

BELCONNEN ARTS CENTRE

Rent? Home? Sanctuary?

25 Sep-18 Oct. 10am-4pm Tue-Sun. BELCONNEN ARTS CENTRE

New but Nah

Lord of the Dance: Dangerous Games

Opens 8 Oct. Runs 8-25 Oct.

CANBERRA THEATRE CENTRE

Opens 6pm Oct 1-Oct 11.

M16 ARTSPACE

7.30PM. $69.90-$119.90.

Blue Christendom

LIVE MUSIC

CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

Matt Dent

8 Oct-1 Nov.

5pm

WALT & BURLEY

Madre Monte & Los Chavos $20/$18/$15. 7PM.

THE POLISH WHITE EAGLE CLUB

Spun

NISHI GALLERY

Heroes and Villains: Strutt’s Australia

William Strutt’s Collections. Until 15 Nov.

Christian Schmidt & Paul Goodchild

NATIONAL LIBRARY OF AUSTRALIA

WESLEY MUSIC CENTRE

Free. Until Apr 2016.

$35/$30/$10. 7pm.

Macquarie Digital Portraiture Award 2015

Funky Trop & Winter Skyline

NATIONAL PORTRAIT GALLERY

THE BASEMENT

Tue, Wed, Fri 10-4pm, Thu 10-7pm, Sat/Sun 12-4pm. Free.

$10. 8pm.

Antarctica

Roy Orbison and the Everly Brothers

PHOTOACCESS MANUKA

8PM.

New Work

Tappy Hour

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

THE PLAYHOUSE

THE COURTYARD STUDIO

$4.50 tap beers and free bar snack with acoustic tunes. 4:30pm. Free.

CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

THE BASEMENT

Michael Buzacott Sculpture

DANCE

En plein air

25 Sep - 1 Nov.

DRILL HALL GALLERY

Michael Buzacott Sculpture

Lord of the Dance: Dangerous Games

Open air music. $10/$15. Tickets at trybooking.com. 4PM. ANU SCHOOL OF MUSIC

DRILL HALL GALLERY

CANBERRA THEATRE CENTRE

ON THE TOWN

HONKYTONKS

LIVE MUSIC

Oscar

Paintings from Arrente country and Aotearoa

HONKYTONKS

Special K

KING O’MALLEY’S IRISH PUB

M16 ARTSPACE

COMEDY

KING O’MALLEY’S IRISH PUB

Every Fri to 6PM.

PHOTOACCESS MANUKA

New Work

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

25 Sep - 1 Nov.

Kon Kudo

Canberra based photographer and circus performer.

ANU Arts Revue: Game of Tones 7.30PM.

THE COURTYARD STUDIO

DANCE Lord of the Dance: Dangerous Games

7.30PM. $69.90-$119.90.

CANBERRA THEATRE CENTRE

LIVE MUSIC Rock or Be Rocked 6pm.

ROSE COTTAGE

SOMETHING DIFFERENT Fashion and Fantasy

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

My Cubby House Rocks

View custom built cubby houses. COMMONWEALTH PARK

Digital Feast

DJs, VJs. Free entry. A. BAKER

7.30PM.

7.30PM. $69.90-$119.90.

10pm. Free.

9pm. Free.

Happy Hour

The Ocean Party

POLIT BAR & LOUNGE

THE PHOENIX BAR

SOMETHING DIFFERENT

With Wives, Cool Sounds. 9pm. $5.

Acoustic Excellence Free.

THE BASEMENT

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

SOMETHING DIFFERENT Tarot Card Reading

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

THEATRE The Art of Shakespeare 8-23 Oct.

PARLIAMENTARY TRIANGLE

WORKSHOPS

Knack Launch $5/$15. 6pm.

GORMAN HOUSE ARTS CENTRE

8PM. $49.90.

THE PLAYHOUSE

ANU Arts Revue: Game of Tones 7.30PM.

THE COURTYARD STUDIO

ALLIANCE FRANÇAISE

CANBERRA THEATRE CENTRE

Portraits in Glass

Explore modelling in glass. Ede Horton. $450. CANBERRA GLASSWORKS

SATURDAY OCTOBER 10

7.30PM. $69.90-$119.90.

FILM Happy Feet

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

ART EXHIBITIONS

LIVE MUSIC

Bare: Degrees of undress

Doctor Stovepipe

NATIONAL PORTRAIT GALLERY

THE PHOENIX BAR

Within These Walls

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Transfer

25 Sep - 18 Oct.

BELCONNEN ARTS CENTRE

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Lawrence Mooney - Surely Not!

Lord of the Dance: Dangerous Games

6-10 Oct.

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

CANBERRA GLASSWORKS

COMEDY

DANCE

ALLIANCE FRANÇAISE

Explore modelling in glass. Ede Horton. $450.

Opens 8 Oct 6PM. Runs 8 - 25 Oct.

Alliance Francaise Childrens Courses

14 Aug- 15 Nov. Free.

Portraits in Glass

Canberra based photographer and circus performer.

WORKSHOPS

Alliance Francaise Childrens Courses 6-10 Oct.

Kon Kudo

With Den Hanrahan. 9.30pm. $5.

Icon

10.30pm. Free.

KING O’MALLEY’S IRISH PUB

Matt Dent

1.30pm. Sage Bar.

GORMAN HOUSE ARTS CENTRE

Duo Caliente in Concert

5pm. Tickets at trybooking.com. WESLEY MUSIC CENTRE

ENTERTAINMENT GUIDE October 10 - October 16 SATURDAY OCTOBER 10 Metal United Down Under $15. 8pm.

THE BASEMENT

Tappy Hour

$4.50 tap beers and free bar snack with acoustic tunes. 4:30pm. Free. THE BASEMENT

Mozart’s Last Symphonies With Richard Tognetti. 8pm. aco.com.au. LLEWELLYN HALL

LIVE MUSIC Duo Calliente

$10/$20/$25 at www.agac.com.au. 2pm. AINSLIE ARTS CENTRE

Irish Jam Session

WEDNESDAY OCTOBER 14 ART EXHIBITIONS Paintings from Arrente country and Aotearoa

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

Opens 8 Oct 6PM. Runs 8 - 25 Oct.

Matt Dent

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

KING O’MALLEY’S IRISH PUB

5pm.

HOPSCOTCH BAR

M16 ARTSPACE

Within These Walls

TRIVIA Tranny Trivia

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

THURSDAY OCTOBER 15 ART EXHIBITIONS New Work

Opens 6pm 15 Oct-25.

The Glories of Venice

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

WESLEY MUSIC CENTRE

Transfer

Isla Grant Farewell Concert Tour

25 Sep - 18 Oct.

BELCONNEN ARTS CENTRE

COMEDY

UC REFECTORY

Desperate thirst

ON THE TOWN

THE PLAYHOUSE

Opens 8 Oct. Runs 8-25 Oct.

Schnitz and Giggles

Chrome

SOMETHING DIFFERENT

The Makings of an Angel

The Big Draw 2015 – Portrait Puzzle Tale

BELCONNEN ARTS CENTRE

DIGRESS COCKTAIL BAR

Parkway Drive

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

Resident DJs playing industrial, EBM, alternative, dark electronic. $10/$5.

DJ Raven

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

SOMETHING DIFFERENT Sizzle and Moist

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

Fashion and Fantasy

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

My Cubby House Rocks

View custom built cubby houses. COMMONWEALTH PARK

Rockabilly Roundup

With live bands from 1pm. Market stalls at 11am. OLD CANBERRA INN

THEATRE The Art of Shakespeare

5pm. Tickets at trybooking.com.

7.30PM. $69.

11AM. Free.

NATIONAL PORTRAIT GALLERY

My Cubby House Rocks

View custom built cubby houses. COMMONWEALTH PARK

TRIVIA Einstein Trivia 6.30PM.

WALT & BURLEY

MONDAY OCTOBER 12 LIVE MUSIC Canberra Musicians Club- The Bootleg Sessions With Dave, String Elephants, The Blue Angel & Dr. Wiedermann & Guyy. 8pm. Free. THE PHOENIX BAR

TUESDAY OCTOBER 13

M16 ARTSPACE

25 Sep - 18 Oct.

Rent? Home? Sanctuary?

25 Sep-18 Oct. 10am-4pm Tue-Sun. BELCONNEN ARTS CENTRE

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

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

Alliance Francaise Childrens Courses 6-10 Oct.

ALLIANCE FRANÇAISE

SUNDAY OCTOBER 11

Karaoke Love

UC REFECTORY

Antarctica

ON THE TOWN

Tue, Wed, Fri 10-4pm, Thu 10-7pm, Sat/Sun 12-4pm. Free. PHOTOACCESS MANUKA

Macquarie Digital Portraiture Award 2015

7PM. Free.

KING O’MALLEY’S IRISH PUB

Free. Until Apr 2016.

SOMETHING DIFFERENT

Michael Buzacott Sculpture

Tarot Card Reading

DRILL HALL GALLERY

POLIT BAR & LOUNGE

NATIONAL PORTRAIT GALLERY

25 Sep - 1 Nov.

Kon Kudo

Canberra based photographer and circus performer.

FILM Bill Cunningham New York. 12.30pm. $5.

GORMAN HOUSE ARTS CENTRE

Booking only 0404364820. 5-7pm.

THEATRE Dead Mens Wars

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

FRIDAY OCTOBER 16 LIVE MUSIC

LIVE MUSIC

Karaoke Salon

The Lonesome Heroes

Live music. 10pm. Free.

THE PHOENIX BAR

Lavers

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

LIVE MUSIC Out to Lunch

12.30PM. $5 at the door.

New Work

THEATRE Bell Shakespeare’s Hamlet 13-24 Oct.

THE PLAYHOUSE

KING O’MALLEY’S IRISH PUB

Acoustic Soup

With Jack Biilmann. Tickets $10.00 from oztix.com.au or $15 at door.

7PM. $8/$12.

ANU FOOD CO-OP

SOMETHING DIFFERENT Fashion and Fantasy

UC REFECTORY

Tappy Hour

$4.50 tap beers and free bar snack with acoustic tunes. 4:30pm. Free. THE BASEMENT

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

Captain Cleanoff

THEATRE

ON THE TOWN

The Art of Shakespeare

Happy Hour

PARLIAMENTARY TRIANGLE

POLIT BAR & LOUNGE

CANBERRA MUSEUM AND GALLERY

TRIVIA

Lord of the Dance: Dangerous Games

Trivia and Beers with Bondy and Kiers

8-23 Oct.

CANBERRA THEATRE CENTRE

THE PHOENIX BAR

Bookings thestreet.org.au or 6247 1223.

7.30pm.

The Mighty Yak

With The Fuelers. 8pm.

DANCE

7.30PM. $69.90-$119.90.

Movember Launch Party

TRANSIT BAR

AINSLIE ARTS CENTRE

CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

Dead Letter Circus

Karaoke. 9pm. Free entry.

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

THE PHOENIX BAR

NISHI GALLERY

Cultural Reels

KARAOKE

With Miners, Wives & Mind Blanks. 9pm. $5.

8 Oct-1 Nov.

Spun

CANBERRA THEATRE CENTRE

Alliance Francaise Adult Courses

POLIT BAR & LOUNGE

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

CANBERRA GLASSWORKS

HONKYTONKS

CANBERRA GLASSWORKS

Stand-up Comedy. 8pm. $5 (online) $10 (door).

Day Ravies

The Distant Warriors

Carl Barron - Drinking With A Fork

10am. $70.

LOL Pol

M16 ARTSPACE

WORKSHOPS Make Your Own Paperweight

DIGRESS COCKTAIL BAR

LIVE MUSIC

Opens 8 Oct. Runs 8-25 Oct.

COMEDY

8PM. 13-27 Oct.

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

New but Nah

8-23 Oct.

PARLIAMENTARY TRIANGLE

CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

Dead Mens Wars THE STREET THEATRE

Rising Terror Tour. TRANSIT BAR

Every Fri to 6PM.

SOMETHING DIFFERENT Tarot Card Reading

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

@bmamag

ENTERTAINMENT GUIDE October 16 - October 21 FRIDAY OCTOBER 16

Matt Dent 7pm.

I Killed The Prom Queen

With Starrats, Hate crime, Rumours & Panic burst, Tickets $18 at oztix or $25 at door.

LIVE MUSIC Out to Lunch

THEATRE

TOURIST HOTEL

Dead Mens Wars

Choral music. 4-4:30pm. Free.

THE BASEMENT

4th Degree

SOMETHING DIFFERENT

TRIVIA

KING O’MALLEY’S IRISH PUB

Canberra Blues Society Monthy Jams

ANU Film Group - Lights, Camera, Trivia

HARMONIE GERMAN CLUB

THE PHOENIX BAR

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

SATURDAY OCTOBER 17 ART EXHIBITIONS

Evensong

NATIONAL PORTRAIT GALLERY

10.30pm. Free.

Guitar Trek

7.30pm. Tickets at trybooking.com. WESLEY MUSIC CENTRE

Tappy Hour

Paintings from Arrente country and Aotearoa

$4.50 tap beers and free bar snack with acoustic tunes. 4:30pm. Free.

M16 ARTSPACE

Groove Kings. 2pm. $3/$5.

The Big Draw 2015 – Story sculpture 11AM. Free.

Opens 8 Oct 6PM. Runs 8 - 25 Oct.

THE BASEMENT

NATIONAL PORTRAIT GALLERY

Chaos in the Capital

Bare: Degrees of undress

$15. 7pm.

TRIVIA

THE BASEMENT

NATIONAL PORTRAIT GALLERY

Einstein Trivia

ON THE TOWN

14 Aug- 15 Nov. Free.

Within These Walls

By Janet Angus. Until October 24. Mon - Fri 9am - 5:30pm Sat 9am - 1pm. Free. CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Transfer

25 Sep - 18 Oct.

BELCONNEN ARTS CENTRE

Desperate thirst

Opens 8 Oct. Runs 8-25 Oct. M16 ARTSPACE

The Makings of an Angel

Disco Kids & (pa)Rents Dance Off

SOMETHING DIFFERENT

2XX Local n Live - The Bootleg Sessions

Fashion and Fantasy

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

Rent? Home? Sanctuary?

NATIONAL PORTRAIT GALLERY

BELCONNEN ARTS CENTRE

New but Nah

Opens 8 Oct. Runs 8-25 Oct. M16 ARTSPACE

New Work

Opens 6pm 15 Oct-25.

Karaoke Love

Experiment with drawing direct from a model, suitable for all ages. 1-4pm. $45. Bookings essential o NATIONAL PORTRAIT GALLERY

THEATRE

THE STREET THEATRE

8-23 Oct.

Macquarie Digital Portraiture Award 2015 Free. Until Apr 2016.

NATIONAL PORTRAIT GALLERY

Michael Buzacott Sculpture 25 Sep - 1 Nov.

DRILL HALL GALLERY

Kon Kudo

Canberra based photographer and circus performer.

Gay Paris

With Witchskull. 9.30pm. $10.

By Janet Angus. Until October 24. Mon - Fri 9am - 5:30pm Sat 9am - 1pm. Free. CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Desperate thirst

Opens 8 Oct. Runs 8-25 Oct. M16 ARTSPACE

New but Nah

Opens 8 Oct. Runs 8-25 Oct. M16 ARTSPACE

New Work

Opens 6pm 15 Oct-25.

CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

The Distant Warriors

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

CANBERRA GLASSWORKS

SUNDAY OCTOBER 18 LIVE MUSIC Irish Jam Session

CANBERRA THEATRE CENTRE

AINSLIE ARTS CENTRE

Within These Walls

10am. $70.

Carl Barron - Drinking With A Fork

Feat. ANU Experimental Music Studio. 8.30PM. $15/$10.

M16 ARTSPACE

Make Your Own Paperweight

Boney M

Confluence

Opens 8 Oct 6PM. Runs 8 - 25 Oct.

WORKSHOPS

COMEDY

LIVE MUSIC

POLIT BAR & LOUNGE

Paintings from Arrente country and Aotearoa

PARLIAMENTARY TRIANGLE

HONKYTONKS

CANBERRA THEATRE CENTRE

8PM. Book online at politbar.co.

ART EXHIBITIONS

The Art of Shakespeare

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

8PM. 13-27 Oct.

Karaoke Salon

WEDNESDAY OCTOBER 21

13-24 Oct.

NISHI GALLERY

PHOTOACCESS MANUKA

TRANSIT BAR

7.30pm.

Bell Shakespeare’s Hamlet THE PLAYHOUSE

Tue, Wed, Fri 10-4pm, Thu 10-7pm, Sat/Sun 12-4pm. Free.

Karaoke. 9pm. Free entry.

AINSLIE ARTS CENTRE

Bookings thestreet.org.au or 6247 1223.

Spun

Antarctica

TUESDAY OCTOBER 20

Drawing the Human

Dead Mens Wars

8 Oct-1 Nov.

THE PHOENIX BAR

KARAOKE

Heroes and Villains: Strutt’s Australia NATIONAL LIBRARY OF AUSTRALIA

Up and coming artists. 8pm. Free.

2PM. Free.

CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

William Strutt’s Collections. Until 15 Nov.

MONDAY OCTOBER 19 LIVE MUSIC

POLIT BAR & LOUNGE

Luminous Melancholy

25 Sep-18 Oct. 10am-4pm Tue-Sun.

WALT & BURLEY

Under 13s dance fun in a real night club. 3.30-5pm. $15.

25 Sep - 18 Oct.

BELCONNEN ARTS CENTRE

6.30PM.

12.30PM. $5 at the door.

KING O’MALLEY’S IRISH PUB

With Maizie Williams. 7.30PM.

Evensong

Choral music. 4-4:30pm. Free. NATIONAL PORTRAIT GALLERY

Hands Like Houses

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

Love and Harmony Combine

3pm. Christina Wilson & Alan Hicks. Tickets at artsong.canberra.org. WESLEY MUSIC CENTRE

THE PHOENIX BAR

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ENTERTAINMENT GUIDE October 21 - October 27 WEDNESDAY OCTOBER 21 Macquarie Digital Portraiture Award 2015 Free. Until Apr 2016.

NATIONAL PORTRAIT GALLERY

Spun

8 Oct-1 Nov.

NISHI GALLERY

Michael Buzacott Sculpture 25 Sep - 1 Nov.

DRILL HALL GALLERY

Kon Kudo

Canberra based photographer and circus performer. HONKYTONKS

COMEDY Carl Barron - Drinking With A Fork 8PM. 13-27 Oct.

CANBERRA THEATRE CENTRE

DANCE Imperial Russian Ballet Co. Swan Lake 7.30PM.

CANBERRA THEATRE CENTRE

SOMETHING DIFFERENT BAD!SLAM!NO!BISCUIT!

THURSDAY OCTOBER 22 COMEDY Short, Fast & Funny Comedy Night

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

POLIT BAR & LOUNGE

SOMETHING DIFFERENT The Greatest Story Never Told

6.30pm. Tickets at eventbrite.com.au.

DANCE

6am-3pm.

Imperial Russian Ballet Co. Swan Lake 7.30PM.

CANBERRA THEATRE CENTRE

Lock Up Your Boss

With Frown & Hygiene. 9pm. $5. THE PHOENIX BAR

SOMETHING DIFFERENT

Clone

DARAMALAN COLLEGE

7.30pm. Tickets at thestreet.org.au. THE STREET THEATRE

SATURDAY OCTOBER 24 ART EXHIBITIONS Bare: Degrees of undress

Canberra PAX Warm Up

14 Aug- 15 Nov. Free.

RELOAD BAR & GAMES

Paintings from Arrente country and Aotearoa

Game Dev showcase.

Fashion and Fantasy

Clone

DARAMALAN COLLEGE

12pm. Free for members.

FRIDAY OCTOBER 23

ALLIANCE FRANÇAISE

NATIONAL PORTRAIT GALLERY

Opens 8 Oct 6PM. Runs 8 - 25 Oct. M16 ARTSPACE

Daramalan Theatre Company. 7.30pm. Tickets at daramalan.act.edu.au.

Within These Walls

By Janet Angus. Until October 24. Mon - Fri 9am - 5:30pm Sat 9am - 1pm. Free. CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Desperate thirst

TALKS

ART EXHIBITIONS

Opens 8 Oct. Runs 8-25 Oct.

Janet Hawley with Wendy Whiteley

Within These Walls

New but Nah

NATIONAL PORTRAIT GALLERY

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

10.30AM. Free. Bookings essential 6102 7070 or bookings@npg.gov.au

THEATRE Clone

Daramalan Theatre Company. 7.30pm. Tickets at daramalan.act.edu.au. DARAMALAN COLLEGE

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

COMEDY Neel Kolhatkar

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

Bell Shakespeare’s Hamlet

UC REFECTORY

THE PLAYHOUSE

FILM

The Art of Shakespeare

Café Cinéma

13-24 Oct. 8-23 Oct.

PARLIAMENTARY TRIANGLE

5.30pm. Le Prenom. $12.

M16 ARTSPACE M16 ARTSPACE

Heroes and Villains: Strutt’s Australia

William Strutt’s Collections. Until 15 Nov.

NATIONAL LIBRARY OF AUSTRALIA

Spun

8 Oct-1 Nov.

NISHI GALLERY

Macquarie Digital Portraiture Award 2015 Michael Buzacott Sculpture

Space Bong

DRILL HALL GALLERY

Look. Listen. Lead.

Leadership workshop. 9.30AM. $45. Bookings at 6102 7070 or bookings@npg.gov.au. NATIONAL PORTRAIT GALLERY

Tappy Hour

$4.50 tap beers and free bar snack with acoustic tunes. 4:30pm. Free. THE BASEMENT

Johnny Cash The Concert

NATIONAL PORTRAIT GALLERY

25 Sep - 1 Nov.

COMEDY Carl Barron - Drinking With A Fork 8PM. 13-27 Oct.

CANBERRA THEATRE CENTRE

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

LIVE MUSIC

Last Leaves & Waterford

THE PHOENIX BAR

THE POLISH WHITE EAGLE CLUB

7PM. $15.

THE STREET THEATRE

Castlecomer

With Mondecreen. 9.30pm. $10.

New single out soon.

Sound Bites

Rock or Be Rocked

ANU BAR AND REFECTORY

CHISHOLM TAVERN

$4.50 tap beers and free bar snack with acoustic tunes. 4:30pm. Free.

Free. Rock covers. 8PM.

Prizes for best dressed. $12.50 at stickytickets.com.au. 8pm. THE BASEMENT

The Greatest Story Never Told 11am. Tickets at eventbrite.com.au. OLD PARLIAMENT HOUSE

Fashion and Fantasy

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

THEATRE Crescendo

7.30pm. Tickets at thestreet.org.au. THE STREET THEATRE

Bell Shakespeare’s Hamlet 13-24 Oct.

THE PLAYHOUSE

Clone

Daramalan Theatre Company. 7.30pm. Tickets at daramalan.act.edu.au. DARAMALAN COLLEGE

WORKSHOPS Make Your Own Paperweight 10am. $70.

CANBERRA GLASSWORKS

SUNDAY OCTOBER 25

Awesome Aussie Roots Music. 3pm.

LIVE MUSIC

THE BASEMENT

RELOAD BAR & GAMES

CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

Tranny Trivia

WORKSHOPS

Gaming tournament.

LIVE MUSIC

Opens 6pm 15 Oct-25.

TRIVIA

POLIT BAR & LOUNGE

Halo Reach 2V2 Tournament

New Work

Free. Until Apr 2016.

With Tomb Sealer, Wretch & Mammon doors. 8pm.

ON THE TOWN

Opens 8 Oct. Runs 8-25 Oct.

ALLIANCE FRANÇAISE

Glamour & Song questions. 8pm. Book Online.

THE STREET THEATRE

Back to the Future 2015

Crescendo

Lecherous Gaze

8pm.

THEATRE

Dallas Frasca THE BASEMENT

Byrne & Kelly

SOMETHING DIFFERENT

Daramalan Theatre Company. 7.30pm. Tickets at daramalan.act.edu.au.

With Renegade Peacock & Critical Monkee. $15 at moshtix.

6.30pm. Tickets at trybooking.com.

GAREMA PLACE

LIVE MUSIC

THE PHOENIX BAR

Speed Talking

WESLEY MUSIC CENTRE

Every Fri to 6PM.

ANU ARTS CENTRE

THEATRE

CANBERRA MUSEUM AND GALLERY

Bach & Weiss on the Lute

Happy Hour

CIT MUSIC INDUSTRY CENTRE

Poetry. 8pm. Free.

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

ON THE TOWN

Tappy Hour

Matt Dent

WILBUR’S CAFE BAR

Wesley Music Scholars Spring Concert 3pm.

WESLEY MUSIC CENTRE

MONDAY OCTOBER 26 CIT Presents The Bootleg Sessions

With Beneath Benetta, Mister Monday, Ruth O’Brien & Jessica Horton. 8pm. Free. THE PHOENIX BAR

TUESDAY OCTOBER 27 COMEDY Carl Barron - Drinking With A Fork 8PM. 13-27 Oct.

CANBERRA THEATRE CENTRE

KARAOKE Karaoke Love

Karaoke. 9pm. Free entry. TRANSIT BAR

Karaoke Salon

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

THE BASEMENT

@bmamag

ENTERTAINMENT GUIDE October 27 - October 31 TUESDAY OCTOBER 27 LIVE MUSIC Out to Lunch

12.30PM. $5 at the door. AINSLIE ARTS CENTRE

SOMETHING DIFFERENT Book club

12pm. Members free. ALLIANCE FRANÇAISE

TRIVIA Impact Present Nerd Trivia with Joel & Ali 7.30pm.

THE PHOENIX BAR

WEDNESDAY OCTOBER 28 ART EXHIBITIONS Michael Buzacott Sculpture

25 Sep - 1 Nov.

DRILL HALL GALLERY

The Distant Warriors

THURSDAY OCTOBER 29 LIVE MUSIC A Night of Blues (Blues Bands)

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

Clowns

With Cosmic Kahuna, Sketch Method. 9pm. $5. THE PHOENIX BAR

SOMETHING DIFFERENT Speed Talking: Evening Session Free for members. 5PM. ALLIANCE FRANÇAISE

Silver Linings

Art, workshops, dance tutorials & more. 28 Oct-7 Nov. Tuggernongarts.com.

MozartMANIA!

NATIONAL PORTRAIT GALLERY

Buzzing Broadway

Free. Until Apr 2016.

ALBERT HALL

FILM

Bookings at canberraticketing.com.au or 6275 2700.

GORMAN HOUSE ARTS CENTRE

DOTA Spring Cup

Fashion and Fantasy

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

Silver Linings

Art, workshops, dance tutorials & more. 28 Oct-7 Nov. Tuggernongarts.com.

8 Oct-1 Nov.

THE STREET THEATRE

Macquarie Digital Portraiture Award 2015

7.30pm. Tickets at thestreet.org.au.

SATURDAY OCTOBER 31

NISHI GALLERY

Free. Until Apr 2016.

NATIONAL PORTRAIT GALLERY

ART EXHIBITIONS

LIVE MUSIC

Michael Buzacott Sculpture

MozartMANIA!

25 Sep - 1 Nov.

DRILL HALL GALLERY

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

Retro Invasion

Check Your Head

SOMETHING DIFFERENT

Spun

Crescendo

ON THE TOWN Retro Music. 7pm. Adult and family tickets available.

THE PHOENIX BAR

NATIONAL LIBRARY OF AUSTRALIA

THEATRE

THE COURTYARD STUDIO

LIVE MUSIC Your monthly dose of beats, rhymes and life. 9pm. $5.

William Strutt’s Collections. Until 15 Nov.

THE BASEMENT

Macquarie Digital Portraiture Award 2015

Joan Rivers: A Piece of Work. 12.30pm. $5.

NATIONAL LIBRARY OF AUSTRALIA

Heroes and Villains: Strutt’s Australia

With A Night In Texas & To The Grave. Tickets $15 at oztix. Oct 30 Champange Night. Oct 31 Banquet Night. Nov 1 Twilight Champagne Supper. Book at carlrafferty@

Cultural Reels

Leaving No-one Behind. Can Australia be a Truly Digital Nation? 1PM. Free. Bookings at 6262 1271.

LIVE MUSIC

Spun

NISHI GALLERY

NATIONAL PORTRAIT GALLERY

14 Aug- 15 Nov. Free.

FRIDAY OCTOBER 30

Boris Blade

8 Oct-1 Nov.

Bare: Degrees of undress

Helen Milner

TUGGERANONG ARTS CENTRE

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

TALKS

THE RUC (TURNER)

Gaming tournament.

RELOAD BAR & GAMES

Happy Hour

Every Fri to 6PM.

POLIT BAR & LOUNGE

SOMETHING DIFFERENT Silver Linings

Art, workshops, dance tutorials & more. 28 Oct-7 Nov. Tuggernongarts.com. TUGGERANONG ARTS CENTRE

TUGGERANONG ARTS CENTRE

OUT

OCT21

THE ANSAH BROTHERS COLD CHISEL 2XX SILVER LININGS HAMLET ...AND MORE!

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FIRST CONTACT SIDE A: BMA BAND PROFILE

Aaron Peacey 0410381306 band.afternoon.shift@ gmail.com.au Adam Hole 0421023226

Afternoon Shift 0402055314

Kayo Marbilus facebook.com/kayomarbilus1

Amphibian Sound PA Clare 0410308288

Kurt’s Metalworx (PA) 0417025792

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

Mighty Morfin

Back to the Eighties Ty Emerson 0418 544 014

Group members? Just me, Derek Mboya.

Bridge Between, The Cam 0431550005

Who are your influences, musical or otherwise? Short list would be: James Brown, Swizz Beats, Timbaland, Pharrell Williams (aka The Neptunes), Wolfgang Amadeus Mozart, Jamiroquai, Dr Dre, Beastie Boys, and more. Too many to mention. What’s the most memorable experience you’ve had whilst performing? I played a mash-up of Tame Impala and Kanye West, this guy on the dance floor could not believe what he was hearing and started shouting and freaking out, never seen anybody so amazed and confused at the same time. Also when I played my own track in a packed club and they went nuts for it. Felt good man. Of what are you proudest so far? Getting my debut EP signed to a Los Angeles label called Straight Up! Music. A few months later, they put my track onto a compilation called Straight Up Trap! Volume 7 along with some pretty big names in trap and they called that album “the best the genre has to offer”. What are your plans for the future? Making loads of music. I just want to expose myself to potential fans and play as many shows as I possibly can. What about the local scene would you change? People, go out to party earlier. Be more accepting of new stuff and try not to force the DJs to play something you know. Originally it was a DJ’s job to introduce the listeners to brand new music. Go out to have fun and if you like something that is not popular, don’t be afraid to trust yourself. Shout out to all the new spots opening up in Canberra, the nightlife is really getting interesting. Contact info: mightymorfinmusic@gmail.com, soundcloud. com/themightymorfin, @themightymorfin, www.facebook. com/themightymorfin.

Australian Songwriters Association Keiran (02) 62310433

Where did your band name come from? Since I was a kid, I loved the Power Rangers. They were cool no matter who was winning the fight. The Power Rangers logo was my computer background and one day I was messing around with some designs and I was like “What would I call myself if I was a Power Ranger?” So I punched in “Mighty Morfin” and it looked super cool. I went with it.

Describe your sound: My sound is influenced by classical, jazz, film scores, cinematic pieces, metal, hip-hop, African tribal music, and world music.

Johnny Roadkill Paulie 0408287672 paulie_mcmillan@live.com.au

Backbeat Drivers Steve 0422733974 backbeatdrivers.com Birds Love Fighting Gangbusters/DIY shows-bookings@ birdslovefighting.com Black Label Photography Kingsley 0438351007 blacklabelphotography.net

Chris Harland Blues Band, The Chris 0418 490 649 chrisharlandbluesband @gmail.com Cole Bennetts Photography 0415982662 Danny V Danny 0413502428 Dawn Theory Nathan 0402845132 Danny 0413502428 Dorothy Jane Band, The Dorothy Jane 0411065189 dorothy-jane@dorothyjane.com Drumassault Dan 0406 375 997 Feldons, The 0407 213 701 Fire on the Hill Aaron 0410381306 Lachlan 0400038388 Fourth Degree Vic 0408477020 Gareth Dailey DJ/Electronica Gareth 0414215885 Groovalicious Corporate/ weddings/private functions 0448995158 Guy The Sound Guy Live & Studio Sound Engineer 0400585369 guy@guythesoundguy.com

Los Chavos Latin/ska/reggae Rafa 0406647296 Andy 0401572150 Merloc - Recording Studio, Watson. Sam King: 0430484363. sam@ merlocrecords.com Missing Zero Hadrian 0424721907 hadrian.brand@live.com.au Morning After, The Covers band Anthony 0402500843 Mornings Jordan 0439907853 Obsessions 0450 960 750 obsessions@grapevine.com.au Painted Hearts, The Peter (02) 62486027 Polka Pigs Ian (02) 62315974 Rafe Morris 0416322763 Redletter Ben 0421414472 Redsun Rehearsal Studio Ralph 0404178996/ (02) 61621527 Rug, The Jol 0417273041 Sewer Sideshow Huck 0419630721 Simone & The Soothsayers Singing teacher Simone 62304828 Sorgonian Twins, The Mark 0428650549 Soundcity Rehearsal Studio Andrew 0401588884 STonKA Jamie 0422764482 stonka2615@gmail.com Strange Hour Events Dan 0411112075 Super Best Friends Greg greg@gunfever.com.au System Addict Jamie 0418398556

Haunted Attics band@hauntedatticsmusic.com

Tegan Northwood (Singing Teacher) 0410 769 144

In The Flesh Scott 0410475703

Top Shelf Colin 0408631514

Itchy Triggers Alex 0414838480

Undersided, The Baz 0408468041

Jenn Pacor Singer-songwriter avail. for originals/covers 0405618630

Zoopagoo zoopagoo@gmail.com

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