BMA Magazine 399 August01 2012 by BMA Magazine

And the award for best new band name goes to. . . The Vaginabillies #399AUGUST01 Fax: 02 6257 4361 Mail: PO Box 713 Civic Square, ACT 2608 Publisher Scott Layne Allan Sko General Manager Allan Sko

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Editor Ashley Thomson

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Super Sub-Editor Greta Kite-Gilmour Graphic Design Marley Film Editor Melissa Wellham NEXT ISSUE 400 OUT AUGUST 15 EDITORIAL DEADLINE AUGUST 6 ADVERTISING DEADLINE AUGUST 9 Published by Radar Media Pty Ltd ABN 76 097 301 730 BMA is independently owned and published. Opinions expressed in BMA are not necessarily those of the editor, publisher or staff.

Since the initiation of the online idea-sharing network TED in 2006, various satellites to the central annual conference have sprung up around the world under the moniker TEDx. While keeping to the TED ethos, they’re able source speakers from wherever they see fit, including their local area. TEDxCanberra began in 2010 and its third event will be taking place Saturday September 8 at The Playhouse, with 19 speakers scheduled to appear. The talks will take place in four blocks throughout the day and the organisers of the event have issued a call for musicians to appear and demonstrate their craft at the commencement of each of the four sections. In accordance with the TED vision, the successful musical applicants will employ any means to create unusual, innovative music. Fourpiece drums, bass, lead and rhythm pop/rock is NOT what they’re after. Anything else is in scope. It can be instrumental, jazz, blues, classical, choir, hip hop, DJing. Be interesting. Be creative. They can’t pay you; it’s for the craft and the exposure. To apply, submit a one-minute YouTube, Facebook or Vimeo video to www.facebook.com/ tedxcanberra. Tell them why you should be the house act and demo the kind of music you’d play in a given minute. If you go over a minute, you break the selection criteria. Go to!

ANU School Of Music Announces New Head In the wake of a damaging two-month onslaught of press over the massive cuts to the ANU School of Music, ANU Vice-Chancellor Professor Ian Young has announced that Doctor Peter Tregear will be taking over as Head of the School in mid-August. His predecessor, Professor Adrian Walter, stepped down from the position in early June, despite the fact his position was one of few still guaranteed in the wake of the cuts. “I look forward to what I believe is a once-in-ageneration opportunity for ANU

Gallery@BCS Calls For Visual Artists The gallery operating inside Belconnen Community Centre is currently taking expressions of interest for exhibitions between January and June 2013. Focusing deliberately on local and emerging artists, Gallery@BCS is dedicated to showcasing artists needing or wanting a foot in the door. Artwork displays are afforded a minimum two weeks’ exposure. If you’d like to take advantage of the space you can download the application form at bcsact.com.au/gallerybcs. For more information, contact Ben Drysdale on (02) 6264 0267 or via email at ben. drysdale@bcsact.com.au. Email the completed form to Ben or return it in hard copy to the reception at Belconnen Community Centre, Swanson Crt, Belconnen. Applications close Friday August 31.

Rock The Schools Call Out Local Bands Rock the Schools is making the annual call out for the country’s best emerging bands to apply to be a part of the 2013 tour.

For all young rockers out there, this is the chance to follow in the footsteps of other bands including Nine Sons of Dan, Van She and Cassette Kids to tour the country and perform your music for thousands of high school students. An awesome platform for any promising young act, Rock The Schools contracts up to four bands for the five-month program, with each group travelling for four to six weeks, performing at a different school each day. The experience gained from the touring experience and daily shows is second to none, with bands coming off the program strengthened and tight. For information on how to apply or to submit an application, visit rocktheschools.com.au/2013band-applications/.

Local Street Art In Unprecedented Showcase Local artist Dale Newbery has assembled works by some of Canberra’s best street artists to be exhibited over two months at Soju Girl Gallery in the Melbourne Building, Northbourne Ave. Entitled Hung, the exhibition will bring together heavyweights and up and coming creatives of the Canberra street art scene. They are fixtures around Canberra’s alleyways, underpasses and stormwater drains but for the first time the public will see them in one place. All forms of street and urban art will be on display: graffiti, stencils, paste-ups and paintings. Artists include Jessmess, Haul, Walrus, Byrd, Swerfk and more. The Soju Girl restaurant/bar will be open Monday-Saturday and the exhibition runs Thursday August 2 to Sunday September 30. Free.

The inspiration for no part of Seth MacFarlane’s 2012 movie, Ted.

TEDxCanberra Calls For Musicians

to lead the nation in developing a truly innovative, attractive, and sustainable educational program for music within the nation’s leading research university,” said Dr Tregear. The School, which suffered the cuts as part of an attempt to mitigate its predicted $2.9 million deficit, has lost considerable regard, despite the fact its new curriculum will not be announced until early 2013. Many already feel its potential for musical innovation and cultivation has been permanently incapacitated.

FROM THE BOSSMAN

YOU PISSED ME OFF!

Although the ominous shadow of digital continues to slink over the physical product landscape, every return from the Post Office still yields a Christmas-like atmosphere at BMA Mag HQ.

Has someone yanked yer chain recently? Well send an email to editorial@bmamag.com and have your sweet vengeance. [All entries contain original spellings]

Our poor accounts man will stumble in - his forehead sporting a slick sheen of sweat; his arms frozen in the perpetual shape of a Post Office tub - bearing the day’s haul of review discs and, like jazzed-up jackals, we eagerly tear into the soft bellies of the packages and whoop, yell, fist-pump and titter respectively at the various musical and visual wares that spill out. Nine long years on, it is still one of my favourite parts of the job.

To all you wana be Cadel Evans in Canberra that cycle on our roads. Yes our roads the ones that all us motorist pay for and well I no what your going to say… Oh I have a car and I pay rego to. Well I have a traler and a boat which I pay rego for them to be use the roads and they are attached to my car dickheads, also people who catch the bus contribute to the bus lanes……so fuck of I really don’t want to here your dribble any more. When are you green lane rapists going to start to at least contribute to my rego that has increased to pay for your DANGER lanes that have popping up all over Canberra. Oh and lets not forget the 6 million dollar cycle lane that is being build around Civic. Is it really to much to ask for a small fee to register your bikes like every thing else that uses ACT roads? FUCK NO… maybe then motorist will respect you..

When privileged enough to view hundreds of releases every month, you tend to spot trends, or “shit what is kind of similar in its happening, like” to use the office parlance. One recurring theme that tends to speckle the CD rack is the inevitable, and surprising, parade of scantily clad female singer-songwriter album covers. I speak not of your Crunk Booty Shakeup Party Down VII mix CD covers that are smacked with the kind of lasses that look sticky to the touch. No surprises there. We all know sex sells, and in the realm of pump ‘n’ hump pedalling R&B and pop - where flesh fills covers and heads alike, and there’s enough grind to run a coffee house - it’s the currency of choice. But it seems garishly unnecessary for a talented up-and-coming female singersongwriter in the folk/indie realm; and so many succumb - same pose, same coy tilt of the head, same leering top down view. I realise there are reasons why this happens. There’s an empowerment, “I am woman hear me roar”/”If you’ve got it flaunt it” angle being pushed. You can argue about how hard it is in a male-dominated industry and thus the need to use every weapon in your arsenal, in a kind of “if we can reel them in with the sex, we can wow them with the music” ethos.

Olympics, you piss me the fuck off. Everyone’s all ‘grace’ and ‘discipline’ and ‘the global community united’. No, fuck that. Human race fail. It’s a bunch of narrow-minded cunts wasting their time becoming brilliant at useless things so they can win bits of metal while companies make billions in advertising. Fuck you, Olympics. Fuck you, athletes. And fuck you, world, for cheering retards on. GO CHINA. Fuck Danny Boyle.

But it’s at odds with the material. If you’re rapping about “crunking it up in my booyow” and “jam a fat one in my love pudding” (or whatever kids are up to these days) then a sexy cover is warranted; if anything, it serves as an apt warning of what’s to, ahem, come. Not so with bright-eyed folkies with lyrics they hope to be described as “earnest”. If you want your music to be taken seriously, steer away from covers that suggest album titles like Welcome To My Vag, despite what your overly-sweaty manager tells you. In R&B it’s deliberately raunchy and works. In folk/indie, it’s a genre anachronism and smacks of apology - “I think the music might be a bit shit, so here’s a whiff of crotch to keep you interested”. Not needed. You’re a beautiful unique snowflake; let your heartfelt songs on love, loss, hardship and life do the wowing. So as a stiff warning, please enjoy these horrendously disturbing album covers including yours truly. Sweet dreams.

ALLAN “ARE YOU READY FOR THIS JELLY” SKO allan@bmamag.com

WHO: LOCAL/ INTERSTATE BANDS WHAT: CANBERRÄNG WHEN: THU-SUN AUGUST 2-5 WHERE: CANBERRA & SURROUNDS

This year the prohibition-themed weekend packs in everything from live big-band jazz music and social swing-dancing to a road trip to Lake George Winery. Friday August 3 will see Bim Bam Boogie play at Albert Hall as a fitting close to the highly esteemed Helzapoppin’ Dance Competition, in which fast dancers (we’re talking up to 320bpm) sweat it out in the classiest way possible, of course. Saturday night is the Prohibition Ball, with Spectrum Big Band playing live and a taster swing dance class. The weekend comprises eight live bands over ten events in total. Ticket prices vary for each, so check details at canberrang.org.

WHO: THE BRASS KNUCKLE BRASS BAND WHAT: RETURN TO ACT GIG WHEN: FRI AUG 10 WHERE: THE WHITE EAGLE POLISH CLUB

If you haven’t experienced the magic of this New Orleans-style street funk/soul outfit at the ’11 or ’12 Summer Rhythm and National Folk Festivals (not to mention pretty much any room in Canberra large enough to fit six horns and percussion), then here’s your chance to redeem yourself. Fresh off the back of their recent QLD tour, The Brass Knuckles returns to Canberra at a none-more-fitting venue than the delightful and shenanigan-evoking Polish Club in Turner. Add to the bill Musicoz finalists No Hausfrau and ZooPaGoo as the opening acts and you got yourself an evening of toe-tappin’, bootyshakin’ merriment. 7pm doors, bands 8pm. Tickets $8 CMC/$10/$15.

WHO: FRODE GJERSTAD TRIO WHAT: NORWEGIAN JAZZ WHEN: SAT AUG 11 WHERE: SMITHS ALTERNATIVE BOOKSHOP

There’s something about the thought of three Norwegian jazz musicians playing in the homely surrounds of a couch-laden, wineserving bookstore that conjures warm, fuzzy feelings. It’ll likely have a greater effect upon all those who experience the Frode Gjerstad Trio firsthand when they visit Canberra as part of their international tour. Featuring alto sax, clarinets, acoustic bass and drums and with extensive experience in various musical settings (Gjerstad and percussionist Nilssen-Love’s 1992 Circulasione Totale Orchestra included a rock band) their ‘European free scene’-inspired jazz will keep you comfortably melted into those couches. 7.30pm. $15 door.

WHO: THE GRIFFYN ENSEMBLE & ROB GELL WHAT: CLOUDY WITH A CHANCE OF RAIN WHEN: SUN AUG 12 WHERE: NATIONAL GALLERY OF AUSTRALIA, GANDEL HALL

Yep, you read correctly; joined by geomorphologist and former TV weatherman Rob Gell, The Griffyn Ensemble will perform the weather forecast as part of this year’s National Science Week. Described as ‘music spanning genre and geography in an entertaining scientific journey’, the program features re-imaginings of Crowded House and Burt Bacharach, contemporary music from Uruguay, Latvia and Japan and classic Debussy and Schubert. The concert will explore changes in weather and environment across the four seasons with context and commentary provided by Gell. 2.30pm. $10-$35 + bf from griffyn.iwannaticket.com.au.

WHO: JENNY M. THOMAS & THE SYSTEM, THE LUCKY WONDERS WHAT: CONTEMPORARY FOLK WHEN: FRI AUG 17 WHERE: THE MERRY MUSE

The Merry Muse will see two of the country’s finest contemporary folk bands showcase their talents when Melbourne’s postmodern bush band Jenny M. Thomas & the System play songs of murder, treachery and criminal women, and Byron Bay’s indie folk four-piece The Lucky Wonders launch their new album, Lay Down My Arms. Since the release of Bush Gothic, Jenny M. Thomas & the System have appeared on countrywide radio programs and featured in the prestigious Roots UK 2012 album compilation, while The Lucky Wonders have been busy touring their own infectious record, gaining nationwide recognition. 7.30pm. $12/$14/$17.

WHO: POP SINGLES WHAT: DEBUT ALBUM TOUR WHEN: SAT AUG 18 WHERE: THE PHOENIX BAR

Melbourne trio Pop Singles will be dropping into The Phoenix as part of the launch of their much anticipated debut album, All Gone. Expect a polished yet raw live sound with ‘80s post-punk melodies blended with the musical inspirations of local luminaries Popolice and Dane Certificate. With an album described as “assured and composed, relatable and affecting,” their launch will undoubtedly go off with a bang. Supporting on the night will be Melbourne’s Cat Cat, as well as TV Colours and Biscuits, each of which should be reason enough to get yourself down to the gig. Get a taste for Pop Singles here: mediafire.com/?czad0wd4j41a8t3. 8pm.

SINEAD O’CONNELL “We want to be taken seriously as a city and we deserve to have this art form given the talent Canberra has to offer.” Caroline Stacey, the artistic director and CEO of Canberra’s famous Street Theatre, on the upcoming CAPITAL JAZZ PROJECT. This is Canberra’s second year hosting the CPJ, an original festival that mixes artists and their jazz experience in such a way that, according to Stacey, “creates a forum which magnifies the range of ideas, interests and possibilities surrounding jazz.” Adding an educational component to the mix, the project harvests the necessary dialogue needed to connect people with jazz in the nation’s capital as well as showcasing the richness of the Australian jazz scene. “I think it absolutely embraces originality and uniqueness, not just in its approach but in its sound,” says Caroline. “We’ve developed a sophisticated jazz project in an ongoing way, keeping the focus and intensity that becomes a part of it.”

Studying jazz is as much about studying a style of music as it is about studying humans

Their ally in this endeavour, the ANU School of Music, is as much on the doorstep of this new festival frontier as their colleagues at The Street Theatre. This bond ultimately becoming a fantastic opportunity and conduit for exposing jazz and the breadth of the talent offered. Caroline commented on the perspectives that arise when you gauge the depth of this talent in the collection of musicians brought to the table. “It makes you reflect on things, like ‘Where is jazz as an art form in the here and now?’ and ‘What does it mean to make this music?’ Not only that. ‘What does it mean to make the music and be a part of it as a listener?’” This alludes to the importance of the dialogue Caroline had mentioned earlier, quite literally. What is the language we use to talk about jazz? What are the semantics and what it the psychology surrounding the way we describe jazz? This kind of rhetoric has been seemingly overlooked in the ‘experience’ of jazz in Canberra until now. Caroline and her team at The Street Theatre are determined, using the academic component as an invaluable aid, to “open up new ways of doing things for our listeners and practitioners. “By coming along people are effectively participating, and in doing so, learning from the masters in exchange.” Forums for music criticism and harnessing the resources of interested writers in Canberra – these are the things the Capital Jazz Project supports

in order to give jazz the attention it deserves. In any medium, it seems, jazz should be written and talked about. “We should have a conversation about how we talk about jazz and how we write about it,” and if we do this people will have an opinion about how it is translated and received in society. As much as there is talk in this initiative, so too is there innovative action. Throughout the creative program there is a lot of “risktaking.” As Caroline admits, it is “a very brave project. What the artists are doing, that, to me, is what is really brilliant about the program. There is depth but there are so many connections between the various elements being experimented with.” I managed to grab an insight into the thoughts of two of the musicians participating in the CPJ – about the project, jazz and the ANU School of Music. Local Ben Hauptmann observed about the recent cutbacks, “Every jazz musician in the country knows what is happening to the School of Music, so hopefully the festival will bring more awareness to the issue in the wider community.” Hauptmann, performing opening night, had a lovely sentiment up his sleeve regarding the art of jazz. “Being able to hear people’s personalities when they make music… studying jazz is as much about studying a style of music as it is about studying humans and the way they express themselves and communicate with one another. The great thing about jazz is the interaction that happens between the musicians and that the audience is a part of that experience, completely involved in what is happening on the stage, whether they realise it or not.” Then there is Tim Willis. You can see him in the last gig in The Street’s Theatre Two but for now he’s touring France. On the CPJ, he says, “I am hoping that it will serve to bring new music to the Canberra jazz audience and help to strengthen the profile of the Street Theatre as a cultural centre.” On the theme of how jazz makes one feel, Willis says the inspiration for playing music “is definitely an organic feeling, a lot like the need to eat or drink. But developing the ability to satisfy those cravings takes time and perseverance.” Sharing this feeling and ability with his band The End, Willis remarks it is ultimately about “trust and understanding (musically speaking) between one another.” Finally, from Willis; “I love [jazz] because I am able to express myself in a completely abstract medium. When I improvise it’s a sensation like no other; you feel completely alive and present and in the moment. There is a wonderful fleeting sense of clarity.” If the Capital Jazz Project has the capacity to offer any of us this fleeting sensation, then I say it is worthy of our fullest attention. The Capital Jazz Project will showcase over 90 musicians in ten days, from the greats to the innovating unknown. Check thestreet.org.au for full program and ticketing details.

ALL AGES Hey folks! Welcome to my birthday-themed column. It’s on the brain because in my group of friends, most of us are born roughly within a week of each other, so we all experience a slow and constant stream of feeling bereft over money for presents. This theme clearly has nothing to do with all ages stuff, and I could try justify it with, “Oh, but BMA turns 400 issues old very soon” or, “Oh, but I’m wearing an imaginary party hat whilst typing this.” But really it’s ‘coz I saw this awesome lame joke I had to share: What does a clam do on his birthday? He shellabrates! Ha! Anyways...

Remember when you were about five and received a pair of rollerskates for your birthday? Well, imagine if someone then gave you a bag full of lollies and the consequential sugar burst propelled you into a career of awesomeness in Roller Derby. If you can’t imagine it, you don’t have to – come watch Red Bellied Black Hearts vs. Black ‘n’ Blue Belles on Saturday August 11. They battle it out at the Southern Cross Stadium in Tuggeranong. Doors open at 5pm for a 6pm start. Tickets are $11.75 + bf and can be bought online at Oztix. Also on Saturday August 11, our very own Canberra hardcore band, When Giants Sleep, joins forces with other local and South Coast bands at the Woden Youth Centre. The line-up includes Snakepit, The Sweet Apes, Perspectives and Cold Youth. Tickets are $10 and can be bought at the door, which opens at 6pm. The gig runs until 9.30pm. Live@BAC is practically designed for chillaxing-to-the-maxing, and is held the second Friday of every month. Your next chance to unwind whilst overlooking the panoramic view of Lake Ginninderra/ checking out the artwork, is on Friday August 10 at the Belconnen Arts Centre. It costs $5 at the door and runs from 5.30pm-7.30pm. Details on performers are put up each month on their website: belconnenartscentre .com.au. Antagonist A.D. (NZ), Lionheart (US) and Shinto Katana (Aus) are playing at the Tuggeranong Youth Centre on Wednesday August 15. Tickets are $23.10 and can be purchased through Moshtix online or by calling 1300 438 849. Not having an 18th birthday won’t restrict you from seeing four awesome metal bands at a bar. The Amity Affliction, The Ghost Inside (US), Architects (UK) and Buried In Verona play on Tuesday October 2 at UC Bar. Tickets are $51.30 + bf and can be bought online or by calling either Ticketek on 132849 or Oztix on 1300 762 545. And again, just letting you know nice and early that the chilled out acoustic wonder Xavier Rudd will be playing at Canberra Theatre, Sunday September 9. General admission is $61.50 + bf and can be booked by calling (02) 6275 2700 or online at canberratheatrecentre .com.au. Cheers, ANDIE EGAN allagescolumn@gmail.com

The geeks from the Physics Department programmed a bunch of robots to play the James Bond theme

ATTACK OF THE NERDS graham walker Set your nerd-ray to stun because it’s that time of year when the geek gets chic. This year’s NATIONAL SCIENCE WEEK features everything from robots playing James Bond tunes to Canberra’s own Nobel Prize-winner in a celebration of all things inspirational in the world of science. National Science Week runs from Sat-Sun August 11-19 with the festival launch on Friday August 10 in Garema Place, featuring ex-Gadfly musician Phil Moriarty, science films and explosive live science performances. Punters can get hands-on in Garema Place at luncthime, Wed-Thu August 8-9, where Australia’s first science bike will be pedaling science. The ANU’s Scicycle – imagine science meets Pimp My Ride meets a tricycle – will also be busking and booming around Canberra’s libraries.

fiction. Punters are promised a complimentary Dalek extermination. Tickets for the shows on Sat/Sun August 11/12 will sell fast, so book online at csiro.au/discovery. Nerds rejoice – they even have the Tardis! For those preferring less fiction in their science, the Australian Academy of Science is kicking off its Giants of Science series with Australia’s newest Nobel laureate, astronomer Professor Brian Schmidt, on Sunday August 11 at 10.30am. Says Science Week ACT Committee Chair Kylie Walker, “[He] has completely changed our understanding of the expanding universe. He’s also a proud Canberran so we can’t think of a better person to kick off our program.” With hundreds of events around town – from debunking the forensics of CSI to trivia with ABC’s Bernie Hobbs at the National Portrait Gallery – there’s something for everyone. National Science Week runs Sat-Sun August 11-19 with the launch on Friday August 10 in Garema Place. Visit www.scienceweek.net.au for the program.

SCINEMA, the international science film festival, is screening free matinee sessions at CSIRO Discovery Centre. The line-up of films includes 2012 festival winner, Into the Gyre, a doco about the US research team that travelled to the gyres (hotspots) where plastics accumulate in the oceans. “This year our films have a particularly artistic flavour,” says SCINEMA director Cris Kennedy. “My favourite is a short produced by the University of Pennsylvania, Robot Quadrators Play the James Bond Theme, which is exactly like it sounds – the geeks from the Physics Department programmed a bunch of robots to play the James Bond theme.” It screens Friday August 17 at 10am, and you can check other session times at scinema.com.au. If your sonic screwdriver needs a workout, the CSIRO Discovery Centre is also presenting The Science of Doctor Who. Comedian Rob Lloyd, along with a panel of chemists and physicists, pull apart clips from the show and discuss the fact behind the science

LOCALITY

The first thing you need to do this fortnight is visit canberrang. org.au. Canberräng is a four-day music event being held at a whole smattering of hidden gem venues in the ACT from Thu-Sun August 2-5: White Eagle Polish Club, Albert Hall, The Brassey. They’re bringing in big band jazz groups, having a swing dance extravaganza and organising an outing to the Lake George Winery among a heap of other stuff. It’s not exactly cocaine from a dildo on a ski slope but it’ll take the edge off that weekend like nothing else. So will a burrito. A free one. Guzman y Gomez. On Bunda Street. Friday August 3, 11am-8pm. I wouldn’t lie – not about free burritos. Thank me later. Or just groan and have trouble shitting. And if you’re hazed out on burrito and can’t dislodge that empty Corona bottle in your colon, go spit some jazz in there to slick it up. Capital Jazz Project is kicking off at The Street Theatre and runs from Saturday August 4 to Tuesday August 14. They’re bringing in jazz legends from around the world, including and up to a man who recorded Bitches Brew with Miles Davis. Head to thestreet.org.au for full details but my picks are Ben Hauptmann, the Andy Butler Large Ensemble and Joe Chindamo, who’s reinterpreting Coen Brothers’ film soundtracks. Miss this and you’re just pointless. Also this fortnight, Arc Cinema at the National Film and Sound Archive is turning five on Saturday August 4. They’re showing a new film by Rolf de Heer, The King Is Dead, with an accompanying talk by de Heer himself. They’re also screening Starship Troopers and digital and 35mm screenings of Singin’ In The Rain. I’m in it for Starship Troopers (though my fondest memories of Denise Richards lie elsewhere – where my Wild Things fans at?) but this is filmic, local and proper quality. Visit nfsa.gov.au/arc for more. Kudos goes next to Blahnket. They’ve arranged to bring sensational electronic producer Mono/Poly (LA, Brainfeeder) to Hippo Bar on Thursday August 9. Turn to page 27 for my feature (yes, this is self-promotion) because Blahnket are backing this with a line-up of stellar local and interstate electronic artists (and there are whisperings of a VERY non-standard sound system being shipped in). There are only 75 tickets available so hit Moshtix. The next day, Friday August 10, in a much more family friendly affair, National Science Week kicks off in Garema Place from 6pm-9pm. National Science Week will encompass a heap of events over the following days (see page 17 for our feature). Unstick one pasty thigh from the other and take your neglected, Maggi-noodle-fed progeny along. In a rush to squeeze these in, local brass menagerie The Brass Knuckle Brass Band will be playing at The White Eagle Polish Club with No Hausfrau and ZooPaGoo on Friday August 10, 8pm. Limb, a new percussive musical brainchild from Austin Buckett of Pollen Trio and Kasha, will be showing at the ANU School of Music on Thursday August 16, 8pm. And the same night, Local Feat, a retrospective of feature films from the ACT (spanning 1971-2010), kicks off at Kendall Lane Theatre. Check newacton.com.au/localfeats for more. And that’s everything local I care about. ASHLEY THOMSON - editorial@bmamag.com

It’s more of a bonus, kind of like when you’re a kid and you get a new bike

I still go there quite a bit. We love it there.” I put it to Nielsen that with the saturated production on the album, the live reproduction might prove challenging. “Electric Hawaii sounds very similar live,” he replied. “With keys, bass, drums, vocals and some harmonies, it’s pretty much the same stuff. When you are recording you have a bit of a luxury with over-dubs. On the track [Look Up] my dad is playing trumpet on the chorus and so we just sample that as he can’t come with us.”

IMPOSSUMLY ELECTRIC

alistair erskine

One of the more surprising indie records of this year has emerged almost under the radar from New Zealand quartet OPOSSUM. Their sophisticated and playful guitar pop has hallmarks of one of the finest bands that country has ever produced - The Mint Chicks. So it was to this interviewer’s delight to find this is the second band to rise from the ashes of that antipodean power pop landmark after the stunning Unknown Mortal Orchestra. I caught up with Opossom’s singer, Kody Nielson, and found out how they have ended up here.

I’m about to begin my next question when, to my delight, Kody interjects: “Pretty stoked that the album will be coming out on vinyl.” I ask if his 7” LP release is important. “It’s not essential, it’s more of a bonus, kind of like when you are a kid and you get a new bike, it makes me just a little bit more proud of the album.” Hopefully you’ll find them on the merch table when they tour Canberra. Opossum will appear on Wednesday August 15, 8pm, at ANU Bar as part of the Blind Date tour with White Arrows and Jinja Safari. Tickets are $40.90 + bf through Ticketek.

“We went to record the last Mint Chicks’ album around 2009 and decided to have a break, which coincided well as we had ended the record contract,” Nielsen explained. “That gave us a bit of space so we took some time off. I came back from Portland, where we had relocated to, and just thought I would chill for a while, but started working on a new record and recorded Electric Hawaii.” Inviting comparison to psychedelic indie like Tame Impala, a tight indie pop album like Opossom’s also sounds like the crowds might dig it down at the pub. But Opossum have long since abandoned their local surrounds and become international citizens. “Actually we have played more gigs overseas than we have in New Zealand. We have a few lined up before we come over to Australia but it’s all quite new.” So the new revered location is Portland, Oregon. I ask Kody what’s it’s like to live there. “We liked it there, similar and mellow to New Zealand - everyone there is kind of chilled and they accept artists, and it’s great for creativity and it’s not like you seem out of place there, or different or wierd,” he laughs. “[Former Mint Chick] Reuben’s still over there; Paul’s over there and plays in bands.

CHRIS NAVIN With two EPs under their belt and a swag of gushing reviews, Ballarat-based six-piece HUNTING GROUNDS is hitting the road for an Australian tour to launch their latest album, In Hindsight. Beginning as a high school band in 2009, the young men from Victoria have quickly earned a reputation as one of the most promising talents in Australia. The new album is their first full-length, and the first release since changing their name from original moniker, Howl. It features some breathtaking songwriting and a level of maturity that is surprising – or should I say, intimidating – from such young artists. The unassuming youngsters have come a very long way since winning the triple j Unearthed High competition in 2009. Aside from a tasteful name change, their sound has evolved into a stunningly rich feast for the ears that showcases their newfound maturity. Carefully balanced, synth-laden, ‘80s-influenced pop sensibilities and undeniable songwriting prowess characterise their new sound. Releasing the then self-titled EP Howl and another, Brothers In Violence, in 2010, they have honed their sound to the sort of perfection you’d expect from a much more experienced band. As a six-piece it would be easy for their music to sound crowded and overly complex but, paradoxically, they emphasise space; a deep, vast bed of carefully chosen synth and guitar sounds. The instruments in each song sit comfortably in their own frequency range, meshing and interacting in such a cohesive way that it could only come from a form of joint consciousness, deep trust, and knowledge of their shared goals and focus: to make mind-blowingly good music. Driven by the haunting introspective vocals of singer Michael Belsar, the majority of the album is simply flawless and proves without a doubt that winning Unearthed High was no fluke. With songs in their repertoire as diverse as the upbeat guitarfocused single In Colour, the space journey of Star Shards and – the most epic song on the album – ‘80s stadium anthem-inspired Liquid Air, Hunting Grounds are a band with an enigmatic, everevolving sound that is often hard to pin down. Taking cues from reverb-laden new wave and krautrock bands as well as psychedelic Australian acts, each member brings a stack of intelligent and thoughtful influences to help create a sound that is unique and creative while remaining accessible. “We all listen to so much, it’s crazy! We all really like Tame Impala and their brother band Pond, as well as international bands like Radiohead and Stone Roses.”

Their debut album, In Hindsight, recorded at Melbourne’s Red Door Sounds with producer Paul “Woody” Annison (Children Collide, Black Cab, Young Revelry), features the breathtaking single Flaws, a deep and slightly dark track that was originally intended as a demo for future material. “We experimented with it. Our producer had some ideas to fill it out, then we sat down and said: ‘This is probably the best song we have’.” The song, which has helped to earn them heavy rotation and feature album status on triple j, is the soundtrack to a utopia-style film clip of young men and women dressed all in white. The inspiration behind the concept? “We always had plans of making a kind of cult documentary.” Well, one thing for certain is the definite feeling of purity that shines through the clip, which also reflects the vitality of the youthful group.

We always had plans of making a kind of cult documentary

Though relatively new to the touring circuit, Hunting Grounds have become renowned for explosive and unpredictable live shows that often include stage-diving. Since their inception they’ve hit the stage at some major events, such as Big Day Out and Golden Plains, as well landing supports for The Living End, Yacht Club DJs and Grinspoon, to name a few. No strangers to the road – their last EP earned them a 26-date tour with Philadelphia Grand Jury – this will be the first time the band has headlined their own tour: 13 dates throughout Australia with good friends, Brisbane’s own Gung Ho. An occasion, it seems, to which they’ll rise with ease. “We’re really looking forward to it, it’ll be a lot of fun and the guys from Gung Ho are good friends of ours so it should be really good.” When asked what the future holds they mused, “One thing we know for sure is that we’re going to continue writing and releasing music and enjoying it as much as we can.” With such an amicable and mature attitude it’s fair to say that, if this is the new breed of songwriters in Australia, the future is looking very bright indeed. To the good fortune of those in the nation’s capital they’ll be stopping by Transit Bar in August to share their hypnotic tunes with their Canberra audience. Hunting Grounds will hit Transit Bar on Saturday August 11, 8pm, with Gung Ho. $17.85 door. In Hindsight is available now through Redcat Sounds.

IN THE COMPANY OF JELLYFISH LAUREN BICKNELL BLUEJUICE tracks have a way of sticking in my head; in line at Woolworths, while I make red curry, on my way to a job interview, as I tie my shoes... Suddenly, for at least a week after one of their singles is released, almost every moment is defined by hyped up synthesizers, energetic vocals and an all-round feeling of ‘80s cheese in the best of ways, and their latest is no exception. The Recession (Winter Of Our Discotheque Remix) was released in June and produced by Styalz Fuego. The single re-explores and builds upon a track from Bluejuice’s latest album, Company. Singer Stav Yiannoukkas said the band was not heavily involved in the remix but they’re very happy with the end product. “Styalz is certainly a talented guy and he can hear the hooks to bring out in a song – you know, it’s not like he really deconstructed the original so much.” What developed is an endearingly danceable number that features synth tracks not unlike those you would find in a good game of Sonic the Hedgehog.

What its final destiny is we’re unaware, but that jellyfish is going places

This is the kind of sound the group is synonymous with. But ears across Australia have been dazzled in a whole new way by Bluejuice’s recent acoustic cover work, with The Wiggles’ Wake Up Jeff last year and Lana Del Rey’s Video Games earlier this year. Even so, the group does not have plans to explore their softer side much further. The band is now a week away from touring with the remixed single throughout Australian universities and they’re looking forward to warming up some wintry dance feet. Stav said sometimes touring with such a high-energy act can be tough and some nights prove more difficult than others, but the band prides itself on putting on a great show. “If you give the audience enough in the beginning, and they bring it back, between the two entities there’s one nice big jellyfish that is just pushing its way to the ocean. What its final destiny is we’re unaware, but that jellyfish is going places.” In other words, if you’re planning to come to their Canberra gig, you may consider bringing some dancin’ shoes and also, perhaps, a snorkel. When the band isn’t gallivanting around Australia on tour, they’re enjoying the opportunity to write with other musicians. Jake Stone and Stav are also radio hosting once a weeknight on triple j. As if that wasn’t enough, Stav is working on a children’s iPad novel. He couldn’t talk too much about the project but the story is said to be quite emotional. “It’s nowhere near completion so there’s really not much to say about it at this point... aside from that it’s making girls cry nationwide,” he joked. Bluejuice will be supported by Deep Sea Arcade and The Preachers (and maybe a jellyfish) at ANU Bar, Tuesday August 14, 8pm. Tickets are $25 on the door, $20 presale/students through Ticketek.

You would expect it to happen somewhere like Europe... it is fantastic for Canberra

REINVENTING THE WHEEL

Dan Bigna

When it comes to improvised music, local fans are regularly treated to world class performances. Earlier this year, the fantastic SoundOut festival featured musicians from around the world participating in ensemble improvisations at the freer end of the spectrum, and the Capital Jazz Project – in its second year – is putting on a series of concerts at The Street Theatre that will enlighten. What caught my eye in this year’s line-up is the JOHN MACKEY QUARTET’s anticipated ‘Coltranesque melodic concept.’ John Coltrane is one of the greatest post-bop saxophonists, and tenor saxophonist John Mackey’s passionate admiration for Coltrane promises to stimulate the senses. Mackey is an ANU Jazz lecturer and has performed with some firstrate musicians over the years. including Nat Adderley and Lee Konitz, who he describes as “a small man in stature but with a massive mind.” Mackey’s sharpened perceptions shape an illuminating discussion in which he explains how improvised music can be likened to the way people speak to each other in everyday conversation. He also considers links between painting and music where the interaction

between colours on the flat surface of a canvas is similar to the configurations of sound assembled by improvising musicians. When performing, Mackey says that providing a narrative is as important as improvised flights. “A lot of people talk about improvisation as if it is being made up on the spot, but there needs to be a framework in place which would be the chord sequence. I want to make it interesting and challenging on the stage but I also want to give the audience a sense of story. A lot of what we play are jazz standards which some people will know inside out, but we then try and take these in a completely different direction. It’s trying to be creative by reinventing the wheel and I like that challenge.”

Mackey has been sketching out themes for his performance at The Street Theatre, which he is shaping into a suite. His faith in the instincts of his quartet (pianist Andy Butler, bassist Rohan Dasika and Mark Sutton on drums) has helped the process. “What I love about playing with that group is that all I have to do is start playing and they know what to do,” he says. “I will be writing sketches kind of like what happened with [Miles Davis’] Kind of Blue album. I’ve got a few pivotal melodies that have been running around in my head and the whole suite will be talking to those couple of phrases. It won’t be my usual approach but more on-the-spot.” The Capital Jazz Project is the forum for the exploration of these ideas, an event which Mackey is very enthusiastic about. “To have an event like this is amazing,” he says. “You would expect it to happen somewhere like Europe but it is fantastic for Canberra.” The John Mackey Quartet will appear at the Capital Jazz Project on Saturday August 4, 10pm. See thestreet.org.au for ticketing and full programme details for the Project.

It’s a completely different vibe in the room when you take away alcohol

together or something!” The tour has a couple of all ages shows on the bill as well, which the girls are excited about, especially considering that two members of Stonefield are still school-aged.

SHARING LINES zOYA PATEL Brooke Addamo of OWL EYES and Amy Findlay of STONEFIELD might be young but they have a lot to say about an important topic: respect. As two of the ambassadors for The Line, Owl Eyes and Stonefield will be touring regional Australia this August on their Winter Road Trip, spreading the message of respect and where to draw the line when it comes to respectful relationships. The Line is a government campaign that aims to raise awareness of issues of respect amongst young people, from respect within relationships and friendships to issues around cyber-bullying, sexting and social media. It’s a holistic approach that promotes issues through the use of activities like gigs and talks from local celebrities. Previous The Line ambassadors have included Pez and Maya Jupiter.

“It’s definitely a lot of fun playing to younger crowds,” Findlay says. “It’s a completely different vibe in the room when you take away alcohol.” Addamo agrees: “They don’t really need alcohol to hype them up – they’re just hyped up on life.” With this tour coming up and their own recording plans, both ladies will be very busy for the rest of this year. Owl Eyes is releasing her debut album in October this year, and Stonefield are currently working on their debut also, despite some timing issues. With two of the girls in school, full time recording isn’t really an option. Nevertheless, Findlay assures me, “We’re in the process of setting up a home studio so we can put together demos a lot easier and that kind of thing.” Clearly these are two bands to watch. Catch Owl Eyes and Stonefield on Thursday August 9 at Zierholz @ UC, 9pm. $15.00 + bf through Moshtix.

Addamo and Findlay are excited to hit the road, especially for a good cause. Addamo explains: “It’s something that everyone can relate to and I feel like, on behalf of Amy and myself, it’s just something easy that we can talk about and it’s not preaching something, it’s just speaking about something that’s relatable.” Findlay says of the issue of respect and young people: “There’s never enough knowledge. It’s definitely good to be able to take what we do and convey the message.” The tour will hit quite a few regional towns, from Ballarat to Mount Gambier, and luckily for us the bands will be stopping over at Zierholz to play their sweet tunes for Canberra. Considering the tour is really all about The Line, I asked the girls if we could expect anything different from their shows throughout the Winter Road Trip. “I know that I’ll definitely be playing some new music, just to test out everything before my upcoming album,” Addamo says, “and I think that both of our bands are going to do a special surprise, like maybe a song

SPREADING JUNGLE FEVER baz ruddick Brisbane’s music scene is exploding. Gone are the days of Powderfinger and Savage Garden. Indie-pop bands like Last Dinosaurs, San Cisco, Ballpark Music and The Medics are shaking down dancehalls countrywide. With a solid indie pop scene, Brisbane has given birth to another brilliant act: THE JUNGLE GIANTS. Although not playing at the festival, on Splendour’s eve The ‘Giants were packing the tour van and setting out for Byron Bay to support their Brissy mates, Ballpark Music. I spoke to Sam Hales, lead singer of the quartet, about their brand new EP, their touring ambitions and their future as a band.

You can waste so much time and money recording an album

Rather than rush into the studio at the first scent of an album, The Jungle Giants decided to take it slow, earning their merit touring on the back of EPs whilst developing a solid fan base. “Right now we are totally focused on this EP. We just want to tour for ages and get that under our belt. You can waste so much time and money recording an album. You have to be really sure of yourself before you go in.” In recording their latest EP, The ‘Giants employed the help of legendary Brissy-based producer, Magoo, of Regurgitator and Spiderbait fame. “He is really well-experienced and a really wicked guy. We went to his studio which is just this old church in the middle of nowhere. We were on tour at the time so we would do a few days recording, then we would go play with San Cisco over the weekend. We’d just fly over, then come back and do the same thing next week. It was pretty laidback. Instead of writing and arguing about how things should go it was just really simple.” Despite having only two EPs to their name, The Jungle Giants are no strangers to the road. Earning their stripes the old way, with consistent touring and solid shows, the guys cut their teeth with solid support slots for Brisbane buddies Ballpark Music and, more recently, Sydney-based Boy & Bear. “We did 30 dates. It was crazy. It took nearly two months. We went everywhere. It was pretty much life-changing and we learnt so much. Every show sold out! We played in some massive theatres and heaps of regional shows. It was really insane and it was also really validating.” Taking the notoriety earned in their support slots, The Jungle Giants are about to commence their first tour as a headlining act, hitting the road in their much-loved Tarago. “We have never been out on the road by ourselves so it’s going to be really cool.” With indie jazz/pop duo Toucan along for the ride, the giants are keen as shit to show Australian audiences a rollicking good time. Dance like an animal with The Jungle Giants and Toucan at Transit Bar, Thursday August 23, 8pm. Tickets are $18.40 ($23 with EP She’s A Riot) through Moshtix.

SURFING SUCCESS chris navin ASH GRUNWALD has been a prominent figure in the Australian music scene for some time now. His last album, Hot Mama Vibes, was a hit both critically and commercially and his latest full length, Trouble’s Door, is set to emulate and build on that success. The album’s tracks are instantly engaging, with an earnest and good-natured soul shining through the first class blues licks that you’d expect from a Grunwald recording. The songs utilise slide, electric, steel string and resonator guitars to marry a sound tastefully offset by electronic beats.

I think I’ve been nominated for five ARIA awards so it’d be good to win one

Melodically strong and with a surfie-inspired film clip featuring Pete Murray (hey, nobody’s perfect…), the single Longtime is set to make an impact on the Australian music industry and has already been bestowed the honor of an APRA award and several ARIA nominations. “The APRA award was cool because it was for songwriting and with the ARIAs I was stoked. I think I’ve been nominated for five ARIA awards so it’d be good to win one.” As well as drawing a stack of accolades, the single off his previous album, Walking, was featured in the Hollywood blockbuster film Limitless. This was a stroke of good fortune that earned a lot of praise from US audiences and industry figures alike. The catchiness of Grunwald’s new music is partly due to the slick and often understated beats of Fingers Malone, a member of successful Australian band The Funkoars. “I met Fingers years ago on a surfing/ muso jam and we’ve been friends ever since.” After hearing Trouble’s Door you might picture a classic ‘sell-yoursoul-at-the-crossroads’ blues singer; strangely, the opposite is true. No doubt part of his success, Ash is as down-to-earth as you could hope for, with a laidback attitude and friendly nature that may be partly due to the fact that he answers only to himself. It’s a testament to the quality of his music that everything he records and releases is done independently. A rare and impressive feat in itself, it has the added benefits of no record label yes-men or imposed deadlines – just Ash and his guitars, making their way in the world. There have been some changes recently to his live performances, which previously included a live backing band. Ash has embraced a solo, dance-oriented show which he says means a more interactive experience. “I’m playing five brand new tracks off the album and it’s all going a bit more electronic, so that’s something different for me. At the same time, I’ll be playing a lot of old stuff so it’s a varied set now.” With a new album and a stack of shows and collaborative projects in the works, we can expect Ash’s good-time blues to continue making a mark on the Australian scene well into the future. Trouble’s Door is out now via Shock Records. Join Ash for an intimate show at The Abbey on Thursday August 16. Doors at 6.30pm, 7.30pm dinner, 9pm show. $35 + bf through theabbey.com.au/shows.

DANCE THE DROP

The recent success of the ‘all local’ Underground Project has reinvigorated my faith in the fellowship of the Canberra dance music community. Hardstyle, dubstep, house, trance, breaks, techno, drum & bass, electro, fidget, bassline, moombah, garage, plank, trouse, progressive, disco, minimal, balearic, trap, indie and Caribbean soul stab – all successfully existing under the same roof – was a refreshing reminder of the health of our scene here in the cold concrete capital. And by the way, I made up two of those genres – can you guess which? Maybe it’s easier to make like your dad and call everything ‘techno’.

I remember how much it meant to me to be voted in the top five in Canberra in the Inthemix Top 50 awards and receive my triumphantly translucent trophy in the mail, so don’t forget to vote in the 2012 poll so that your personal picks can bathe in the warm gooey fuzziness of public adoration. Voting opened on Friday July 27 so make your way to inthemix.com.au/awards/search to make your selections. Academy will be hosting the official awards tour party on Friday August 10. This year’s event features dual headliners Ember (NSW) and Andy Murphy (VIC) so get amongst it. Trinity Bar have invited professional hair model and part time music maker Sam La More back on the very same night. All exceptional personal appearance jokes aside, Mr La More is one of our finest exports, famous for working with Groove Terminator as Tonite Only, producing most of Pnau’s and The Potbelleez’s biggest records and, when he has time, probably fighting dragons with a knobbly stick. I am invigorated by the positive vibes coming from our hardworking button-pushing Australian music militia, and my contribution to this ever-growing army of fist-pumping insomniacs is to share their private passions with you. I plan to sign off every edition of The ‘Drop with an exclusive ‘Top Five’: dance tunes listed and briefly rationalised by one your favourite local or interstate Australian dance music artists. Kicking things off in the very first instalment is Canberra’s own trance deity Peekz: Kobana & Yane3Dots – September [Proton Records]: “Definitely one of my tunes of the year. Blissfully dances the line between progressive house and trance with a souring breakdown to boot.” Jaytech – Dr Device [Anjunabeats]: “I could have picked any number of tracks off his new album Multiverse (out Monday August 13) but this one is a chunky main room dancefloor killer!” Fon.Leman – Cape of Hope/LA [Bomba Records]: “This guy is definitely one to watch out for; sweet driving and melodic prog.” Danilo Ercole – The Man With Two Names [ColdHarbour]: “One of the standouts on Marcus Schulz’s Los Angeles compilation earlier in the year. Has an epic build, moody deep bass and a melodic lead.” Ercola feat. Annie – Follow Me (Rex Mundi Remix) [ColdHarbour]: “Another Danilo Ercole production. Listen as you hug the sweaty punter next to you as recognition of a night well done.” TIM GALVIN tim.galvin@live.com.au

ASHley thomson “It sucks that a lot of this is not being played on radio – but we’ll change that soon. Because people are gonna wake up to it.” That was MONO/POLY (born Charles Dickerson, Bakersville, CA) in an interview with his university’s student news in 2008, aged 21. He was talking about the ‘beat generation’, recognized by most as artists like Jamie xx, M83, Mount Kimbie, Baths, Burial, Gold Panda, Com Truise and Crystal Castles among many others. It is a generation of musicians who, rather than pick up conventional instruments, wandered into the dazzling void left when stadium DJs like Fatboy Slim and Basement Jaxx fell from grace and hip hop producers like J Dilla and The Neptunes had made their great innovations. These newcomers were not making anthemic music or hip hop breaks, nor do they make them now; all over the world, alone in bedrooms, they were plucking and sampling and splicing sounds together, regardless of their origins, and exploring the sheer diversity of sounds they were able to interlink in the name of music. The product is intensely detailed, sometimes difficult to access, but in its intricacy there is a depth of listener satisfaction the likes of which only classical music can be applied to as a precedent.

Electronic music is the next great musical step

“I think electronic music is the next great musical step,” said Mono/Poly, en route to Australia through South East Asia when I spoke with him. “We are making sounds that have never been heard before so it’s something that really draws people’s attention and it’s hard to get tired of. Instead of being stuck with a fixed amount of instruments we are making our own instruments... It’s constant inspiration.” Mono/Poly’s creative path began when he was in his early teens listening to Timbaland, a man he credits as an innovator to this day. “I think Timbaland and Magoo’s Welcome To Our World record really inspired me because those beats at the time were amazing. I still consider The Neptunes and Timbaland as some of my favourite producers – but now my world has opened up even more with hearing so much music across the world.”

foray into YouTube demo videos shows you what would now be seen as its limited uses, but it was a landmark in the world of electronic music and is still used today by artists like MGMT and Chemical Brothers. Mono/Poly chose the name deliberately and with foresight. “It’s definitely where I belong,” he explained when I asked after it. “Mono/Poly is the perfect name for what I am. Electronic music production is something that I have always been passionate about and I don’t know what I’d do without it. It’s my life.” The beat generation community that Mono/Poly is now a part of is also one with an unprecedented creative infrastructure. On the one hand, the music is created in isolation, the individual immersed and alone; on the other, it is shared with more freedom via the internet than any before it, with many electronic artists making their way exclusively online. “Wow. Yeah, I didn’t think of it that way but you’re right; it is definitely the first of its kind,” said Mono when I put this dichotomy to him. “The simultaneously isolated and borderless environment is a great way to find yourself and your own sound. I’m glad to be alive at this time. It’s full of possibilities.” One of the great impediments to this borderless environment is radio – and what commercial radio will and won’t play based on its accessibility – but Mono/Poly’s been optimistic from the outset. “I can see the two working together. The better I do in mixing and engineering, the more sound systems my music can be played on whether they are good or bad. Though, as you said, a good sound system is what really does it justice... I put a great amount of attention to detail in my sound and a weak sound system won’t exhibit all the nuances that were intended.” And the nuances are out there for those who want them. Mono/ Poly’s physical releases to date have been few but acclaimed – two EPs, Manifestations and The George Machine, and an LP, Paramatma – but he is set to release a second LP this year: Golden Skies. “It’s one of the most beautiful records I’ve ever created. When I was creating it I took the approach of ‘less is more’. Even though it’s something that’s totally new I think it has the potential of attracting a broader audience because it’s more laid back.”

“The individuals rather than the institution are what made it good... I ended up leaving school though. I left without completing but the intent was to improve my technical ability. I’m happy with the little knowledge that I came out with.”

Mono/Poly is at the forefront of a genre that remains the true zeitgeist of music, both in the physical world and online. Just as he and thousands of others create it in isolation, so are millions more accessing it in isolation; headphones on, hunched over keyboards and laptops, hearing it in the purest available form outside of a full-blown cathedral of sound. If, how and when that translates into popular acknowledgment is anyone’s guess, but there can be no doubt it will.

It was during his time at Cal State that Mono/Poly began to grow into and explore the potential of his musical alter ego. He took his moniker from the Korg Mono/Poly, a mono/polyphonic analog synthesizer keyboard manufactured in the early 1980s. A quick

Blahnket is providing a special sound set-up for Mono/Poly’s show. Get one of the 75 available tickets to Hippo Bar on Thursday August 9 through Moshtix, $30 +bf. Onetalk, Spartak, Ostinato (Syd), Deaf Cat, 2Fuddha and Aeon supporting. 8pm.

Mono/Poly has been able to dedicate himself to this process of self-education and horizon-broadening since walking away from a degree at Cal State Fullerton.

Nine times out of ten I think people are making dubstep because they can make more money

feedback has been like, ‘I can’t believe it’s free, you know, it sounds really good!’ Well yeah, I wasn’t just gonna give you all a bunch of shit tunes! It’s all stuff I’ve worked hard on and tried to make as good as possible.”

THE LONG CON morgan richards One of New Zealand’s premier drum ‘n’ bass dynamos, CONCORD DAWN (aka Matt Harvey), is back with a new album, Air Chrysalis. And get this: it’s free! That’s right folks, for the low price of $0.00 you can download a copy from his page on SoundCloud. But just because it’s free doesn’t mean it’s not worth paying for. “Some people assume that if it’s free, it must be shit,” laughs Harvey. “But heaps of the

So why release an album gratis? “Well, for a number of factors, really. I think music’s becoming more business-oriented now. You’re hearing more people in drum ‘n’ bass writing hits, writing tunes to get played on radio and make tonnes of money. A lot of people have also started making dubstep, not because they really like it – and if you do then hey, that’s cool – but nine times out of ten I think people are making dubstep because they can make more money. “Music’s like that,” Harvey continues. “You’ve got real big fake pop stars, and they’re worse than ever these days – your Nicki Minajs or your Lady Gagas or whatever – they’re essentially corporations making a product to be sold. It’s not someone writing music coming from their heart or putting any kind of feeling or soul into it. It’s all market research, y’know: ‘We need to write a song about such-andsuch because it’s what 18-24-yearold girls in America want to listen to on the radio’. I just think music, dance music especially, is heading that way. It’s all getting a bit yucky, you know? “So I thought, if you take the whole money thing out of the process... Well, I had a few costs with the vocalists and making one or two music videos, but I’ve kept the costs down and have just written some music that I really like. It seems that a lot of other people really like it too, and they’ll tell other people and the word will spread. I’d rather do it that way than, I dunno, having a guest appearance from Pitbull on one track and Rihanna on another, spending a million dollars on a music video and getting plastic surgery and just being plastic about the whole process.” A strong desire for authenticity sets Concord Dawn apart. Harvey’s deliberately trimmed the excess glam and glitz. “None of the vocals on the album have been autotuned. The press packs haven’t been Photoshopped – this is what I look like, man! I’m not gonna take the wrinkles off my face or tidy my beard up or make my teeth straight. This is a real human being who makes real music.”

Download Air Chrysalis from concorddawn.co.nz/ before showing your appreciation on Saturday August 11 when they hit The Clubhouse. Supports include Centaspike, Zanetic (WA) and Reload (Syd), 9pm. Stay tuned to Clubhouse’s Facebook for ticket details.

THE REALNESS J Dilla. Madlib. Pete Rock. Famed and visionary MC/producers who dared to look outside the scope of the traditional hip hop ‘beats and rhymes’ structure for albums and beat-tapes. You can now add The Alchemist to that list. Always close to the top of my fave producers list, Al has spent over a decade making classic and highly original sounds for a host of artists, from underground legends Dilated Peoples to heavy-hitting Queens rappers Mobb Deep and Capone-n-Noreaga. Lately The Alchemist has moved into muddier, psychedelic territory with Oh No and Gangrene and has now turned his attention to his most realised vision yet, Russian Roulette. The album intersperses swampy beat sketches and instrumentals with short, intense verses from a variety of vocalists, such as Meyhem Lauren, Action Bronson, Evidence, Guilty Simpson and more. It’s an ambitious yet cohesive record and utterly compelling. Get it. Swim was a fave of many when Caribou released it a few years ago. Since then he’s been busy with remix projects and releasing under his Daphni alias. It’s under this alias that he’ll release his new album Jiaolong. Using this moniker for his housier, more dub-oriented productions, the album will include material he’s unveiled over the past 12 months alongside new works. It’s out early October. Martin Clark’s Keysound imprint is always on point. Under his Blackdown alias, he’s teamed up with Dusk for an album of new material entitled Dasaflex. Their previous album Margins Music is a personal classic and the new material looks set to see them further explore the murky ever-shifting ground of London bass music. Dasaflex is due September. Friends Of Friends is another excellent emerging imprint that has become synonymous with quality. Groundislava is one of their star producers and he returns in August with a brand new album, Feel Me. Regular collaborators Clive Tanaka and Jake Weary turn up on vocal duty, but this time Groundislava has also collaborated with label-mate Shlohmo and Anticon’s Baths on production. Expect plenty of ‘80s slow-mo lo-fi fuzzy electronica. Warp has unveiled details of the forthcoming new album from prolific LA producer-genius Flying Lotus. Until The Quiet Comes is due early October and features a collaboration with some dude called Thom Yorke. It’ll be a classic, right? It is FlyLo after all… Also returning to the fold is much-loved Ninja Tune soldier Kid Koala. His new album 12-Bit Blues was created entirely on the E-mu SP-1200 sampler. Will it be hyperactive? Sure. Bugged out? You betcha. The koala is back in your gum tree in September. Tri Angle keep on bringing us that fresh new music. Their next release is the debut from Bristol’s Vessel. Following releases on Left Bank, Immerse and Astro:Dynamics, his new album Order Of Noise is due late September and will showcase his slowed, chopped, dubbed-out house music – if you can pigeonhole his sound at all. Finally, that crazy-haired bassweight goon The Gaslamp Killer is readying his debut on Brainfeeder in September. Equal parts grinding bass and ethereal psychedelia, the album features collabs with Gonjasufi, Computer Jay, Daedelus, Samiyam and more. To hear music from all these artists and more, tune to The Antidote on 2XX 98.3FM every Tuesday night from 9.30pm. Stream at 2xxfm.org.au. ROSHAMBO AKA CED NADA - roshambizzle@yahoo.com.au

jade fosberry ILLY’s back and he’s bringing the boom-bap in a very big way. With a fresh new album under his belt, he’s announced his massive Bring It Back tour throughout August and September, featuring killer collabs, bangin’ bass and his signature silver-tongued lyrics which are sharper than ever. Those lyrics took flight at age 13 when a young Al Murray’s love for hip hop began. He started doing gigs at 17 and his big break came at 19 when he was performing for a crowd of about 20 people. Homegrown kings Phrase and Daniel Merriweather were at this show and wasted no time taking Illy under their wing and into the studio. Since then, the ride’s been… well, surprisingly smooth. “I’ve been so lucky, there’s not really that much that could have gone better. Everything’s really, sort of… worked.”

I don’t think you need to make stupid music to appeal to people

‘Worked’ is a serious understatement. From debut studio album, Long Story Short, to The Chase and now with the release of Bring It Back, Illy’s been kicking goals. With a massively successful album release, numerous festival spots and sold-out shows around the country, Illy’s been working hard and making his mark as the fresh prince of hip hop. Add a Law degree to the mix and you’re barely scraping the surface of what this young man is capable. How did he do it? “I just didn’t give myself an option not to. I sort of said, ‘You’re not quitting, you’re not gonna stop making music and you’re not gonna drop out so you’re just gonna have to make this work’, and I did somehow.” So Illy, where ya been? We might have missed him but he’s never missing in action, making music through any medium he can. Although it seems a while since the release of The Chase, Illy and producer/genius M-Phazes have kept their lucky fans happy with live streams and ‘Friday Flips’: taking fans’ suggestions for remakes of current and classic tracks. “Giving away free tracks – people really appreciate it. You can do the songs at shows, they get sent around the internet and people like talking about it so it’s really a win/win. I enjoy making music as well so there’s that tiny detail. There’s no negative to it; it keeps you sharp, people appreciate it and people are talking about it so it’s good.” The result, as with everything Illy and M-Phazes attempt, is a musical gold mine. A few of the gems they chose to flip were Blink 182’s Dammit, Oasis’ Wonderwall, and Avicii’s Levels (because FloRida didn’t do it justice). At least four of these flips will be taken on tour, complementing an already stellar set.

From the flips to the release of his third album, it’s clear Illy’s no fan of indolence, seizing every opportunity and consistently utilising his passion as best he can. “I’m not making ridiculous amounts of money, but I’m in a good enough position and I’m lucky enough to be able to make this what I do full time. To take that for granted is crazy and it’s a great way to make sure that doesn’t last. So I try and get a lot of stuff done and be as prolific as possible.” Illy’s part of a community of young Aussie hip hop artists who are living by that sentiment – working hard and making quality music. Aussie hip hop is doing incredibly well, but that’s no surprise given the level of talent, commitment and hard work these guys are exhibiting. According to Illy, “It seems every year it’s getting exponentially bigger. The young people that are involved and the way they’re approaching making music is awesome. To be a part of it and feel like I’m sort of contributing to that, to make people feel like it’s improving and that young people are picking up the slack… I’m really lucky.” What really separates Illy from his musical counterparts is his ability to complement the fluid feel of his music with poignant lyrics that really hit home. “I don’t think you need to make stupid music to appeal to people. One thing that I’ve tried to do is just make songs that people can love without being totally forgettable a month or two later.” The impact of solid production and smooth melodies can only be enriched by lyrics that resonate, and that’s definitely the case with Illy’s. Contrary to what most people might be thinking, Bring It Back isn’t actually the follow-up to The Chase, but rather is something Illy’s been working on for a while. It sees Illy return to his roots with a sound that is noticeably different. “This album is more of a personal project than anything else. I didn’t start out with the intention of releasing it as a standalone album.” But after contacting some hip hop peers that he’s been wanting to work with for a while (including Pez, Trials, Mantra and Reason), he was able to lay down some tracks, resulting in an album that is a union of hip hop royalty. “It’s a different sound from The Chase and Long Story Short… The simplest way I can describe it is stepping out of my comfort zone to step completely back in.” The first two tracks off the album have recently been released: Heard It All and Where Ya Been. Their immediate success coupled with a quick look at his Facebook page highlights how eager his fans are to hear the new album. How does he think they’ll react? “There are inevitably some fans that like the bigger pop songs, but I think that it’s done well enough that even those peeps will be able to come ‘round to it. I’m proud of it and that’s what matters.” Illy’s bringing it back to Zierholz @ UC on Friday August 24, 9pm. He’ll be touring with Chasm Soundsystem and Skryptcha. $28.60 through Oztix.

METALISE At The Gates tickets have been on sale for a week or so by the time you read this, and it’s welcome news that a tour from one of Gothenburg, Sweden’s favourite melodic death bands is on the cards. Thursday November 1 at The Metro Theatre in Sydney is the closest show and if you haven’t already sorted a ticket, you can hit the Ticketek website or give the Metro box office a ring on (02) 9550 3666. Burning Love from Toronto, Canada, bring chipped shoulders and electric blood to Bar 32 on Saturday August 18. Weaving a mix of Poison Idea’s dark punk, QOTSA-esque melody and an MC5-inspired high-energy assault into their Kurt Ballou-produced LP, Rotten Thing To Say, the band will be a welcome international visitor to the bar.

with Melbourne act Mindsnare, who share a drummer in Gordy (probably the best hardcore/punk drummer in Australia – like, ever) along with locals Yoko Oh No. Then for a complete contrast, Saturday August 25 is the first Canberra show for The Levitation Hex, an act comprised of members from Alchemist and Alarum. The band will be launching their debut release which I hope to have heard by next issue. Along for the big show are Law Of The Tongue, Orion’s Fire and proggrind maniacs A Million Dead Birds Laughing. If that wasn’t enough choice, the same night (Friday August 25) at The Basement is Melbourne’s Frankenbok playing with Tensions Arise, Not Another Sequel Just Another Prequel, Na Maza, Godamnation and Beneath the Tides, celebrating Mr Tiernan Creagh’s birthday to boot. Happy returns. Sydney power metal black-belts LORD are doing another of their insanely huge national tours that they like to do at least once a year, and the band always make the effort to pop by our neck of the woods. Starting in September and running through to December, they’re bringing Melbourne act Electrik Dynamite along for all the shows. We are getting a visit on Saturday September 29 at The Basement so keep an eye out for more details closer to the show. Nightwish have announced a January tour for next year and for those early birds Friday January 11 at The Enmore Theatre in Sydney is the date with Sabaton from Sweden and Darker Half in tow.

This Friday August 3 at The Basement in Belconnen is the Canberra leg of the BerserkerfoX EP launch tour. The New World Murder EP is being launched alongside support act State Of Integrity’s LP, Did We Choose To Suffer. The band has also launched a clip on YouTube called The Betrayal. Along for the show are locals Inside the Exterior and Unholy Vendetta. On Saturday August 4, The Basement will feature Foundry Road, Smoking Mirror, Temtris, Lab 64 and Dead Life.

Unkle K’s Band of the Week: Coffinworm: http://coffinworm. bandcamp.com/track/instant-death-syndrome - US Blackened sludgers with vocals reminding the Unkle of The Arm and Sword of a Bastard God. So there are TWO Bands of the Week for you.

The Hellenic Club in the city is gearing up for a big weekend in August with Friday August 24 seeing a gleeful return from Frenzal Rhomb

JOSH NIXON doomtildeath@hotmail.com

The competition of who can explode out of the stereo the hardest just strikes me as insane

industry. Rosetta hold a firm opinion. “It’s so binary. Either you don’t care and you want everything as loud as possible or you’re a purist who doesn’t want any of those things used on the recording at all. But the competition of who can explode out of the stereo the hardest just strikes me as insane.”

STONER DETERMINISM chris navin Fresh off the back of a successful European tour, Philadelphia quartet ROSETTA are back in Australia to enthral listeners with their unique brand of stoner doom and epic space-inspired soundscapes. They’ll be showcasing tunes from 2011 release, A Determinism Of Morality, as well as rare material from their recent split EP with touring buddies, City Of Ships.

The 2011 release draws upon a feeling of frustration at the prevailing American societal mentality. “In some ways, it’s a reaction to a prevailing attitude and a conscience revolt against that.” Australian audiences can, on the other hand, can look forward to an energetic and interactive live performance: “It feels sometimes when we play in the United States there’s a sense of detachment or distance between us and the audience. We try to be a pretty intense live band and I think there’s something special about the level of audience interaction we’ve had in Australia that takes it up another notch.” Rosetta and City of Ships’ split EP is out now through Birds Robe Records. Catch them both on Wednesday August 1 at Bar 32, with supports Nuclear Summer from 8pm. $23.50 from Moshtix.

Rosetta is a fascinating band. They once released a double album written so that both discs could be played simultaneously, complementing each other. The concept arose from indecision over the album’s direction; instead of releasing one album with two contrasting styles, they recorded both the heavy and ambient tracks as separate albums that could hold strong individually. The result was creative and rare. “We were trying to figure out at which point we wanted to push more into ambient territory. We started experimenting, recorded the first disc, and then the second we largely improvised and just kept adding layers until it would stand up.” The double album reflected a tension that lay at the heart of the band; a balance between heavy stoner doom-metal in the style of Isis and Old Man Gloom, and ambient soundscapes that call to mind Red Sparrows and Mono. It’s a tension they now balance with ease, combining both styles to create a listening experience that is intense and engaging, both recorded and live – where a vast and powerful wall of sound gradually builds into intense crescendos. They’re also a band that strives to pursue creativity and excellence in the recording process. Their most recent recording, A Determinism Of Morality, was mixed separately for vinyl and digital in a way that brings out the strengths of each medium and avoids the traps of over-compression and excessive amplitude – the use of which are a raging debate at the heart of the

E X H I B I T I O N I S T the film festivals.” In other words, it plays everything that marketing boards for Hollywood would immediately ablate as ‘small-interest’ and the usually doom-laden term, ‘unprofitable’. Quentin, whom attendees will recognise as the guy who gives the always erudite and incisive speech before most film screenings, (often dropping enough cinema-flavoured names to make David Thomson’s epic, The New Biographical Dictionary Of Film, a redundant reference point), is adamant that cinema right now is going through the most significant change since 1927, when The Jazz Singer introduced sound to the screen. In a very short time, Arc Cinema will most likely be one of the last places an Australian can to go to the movies and actually watch a film as opposed to a digital projection.

ARC CINEMA TURNS FIVE Michael O’Neill For a small slice of Canberra’s population, the last five years of the ARC CINEMA screening program has been a romance worthy of any celluloid reel. This singular silver screen has been an oasis for cinephiles across the region who don’t always want to watch the latest Hollywood blockbuster or yet more Oscar-bait, seeking further afield in their viewing habits to exotic locales in Asia or the world of art house cinema. Not that Arc is an art house cinema, as Head Cinema Programmer Quentin Turnour corrected me with a pedagogical (and strictly metaphorical) ruffle of his feathers. “The Arc is a Screen Culture Program – that is, it reflects the work of the [National Film and Sound Archive], Australian and world cinema, and whatever passes through

Aptly enough, amongst the celebratory screenings Arc is hosting to welcome its quinquennial birthday, the cinema will demonstrate the powers of its brand new DCP digital camera with a double screening of Singin’ In The Rain, in both its original 35mm reel and digital. I mention this must be an exciting time for Arc – to be turning five and on the cusp of the digital revolution – but Quentin is less enthusiastic, going so far as to argue that perhaps the age of cinema as a real photo-dramatic possibility is already coming to an end. He cites the blockbuster culture post-Star Wars, as well as a tendency towards more conservative narration, as the main perpetrators of this decline, giving me a slight paternalistic frown when I come to the defence of George Lucas’ sci-fi masterpiece. However, he remains more optimistic regarding the future of Arc itself, hoping that one day there might be another theatre with more content spanning beyond just film. For now, though, Arc remains a bastion for anyone who loves art house, world cinema or the vast vault of cinema’s rich history. Arc Cinema will celebrate with special screenings beginning Saturday August 4. General admission tickets are $11/$9 with $5 weekday matinees. Bookings on (02) 6248 2000. Visit nfsa.gov.au/arc for full programme.

Broun has been involved as a writer/director for Short + Sweet since its inception. “When I first started, I tended to overwrite. It’s wonderful for me, the discipline; to be succinct and exact with every single word.” Bringing Short + Sweet to the capital for the fourth time, Broun has run a series of workshops leading up to the festival. A playwriting weekend hosted by the ACT Writers Centre produced many plays in the line-up. “I’ve also run actor workshops and director workshops,” Broun adds.

SUCCINCT + DELICIOUS LAUREN STRICKLAND We live in the Age of the Epic: a time when Batman movies are dark, intense and nearly three hours long; when fantasy series’ get turned into TV shows before their author can even finish writing them; when everything is, at the very least, a trilogy. Enter an unlikely hero from an unexpected corner: Alex Broun, festival director of SHORT + SWEET and champion of the ten-minute play. “You can’t waste a second in ten-minute theatre,” Broun says, “You can’t spend half an hour setting up characters or a situation. You can’t dawdle!” The hundreds of bite-sized plays Broun himself has penned show a love of the abbreviated format. “I really like that challenge of compressing the action into ten minutes; to create something that’s quite complete but only takes ten minutes to tell.”

Broun takes an egalitarian approach to the directorship that has let the contributors make the festival their own. “I think [it’s] a bit of a flaw with the artistic director model that so much of our theatre runs on – where you have one person saying: ‘This is what you have to do’. [Short + Sweet is] a platform for the writers, the directors, the actors involved in the festival to present what they feel is good theatre – what they feel works and what they feel the audience will enjoy. It’s a very democratic arts event. “What that means in Short + Sweet in Canberra is you get a really broad variety of plays. One play written by a young girl from Burma, Sumon Aye, called Sealed with Blood is about the student revolutions in Burma, and about people who she knew who died in that revolution. You’ve got that, and then against that you have a play like John Lombard’s play Dracula Kidnaps Someone’s Bridesmaid.” The festival is a true mixed bag, with everything from the polished Top 20 bill to the experimental Wildcard programme. “When you go along to traditional theatre you’ve got a pretty good idea what you’re going to see that evening. In Short + Sweet it’s always changing,” Broun warns. “You never know what’s going to happen.” Short + Sweet will present 30 of the best ten-minute plays from the ACT and around the world, Wednesday August 22-Saturday September 1, at the Courtyard Studio. Bookings/full programme details through canberratheatrecentre.com.au or on (02) 6275 2700.

LITERATURE IN REVIEW Tell It Slant By Brenda Miller & Suzanne Paola [McGraw Hill; 2012]

The title, Tell It Slant - a phrase lifted from an Emily Dickinson quote - forms the ethos upon which this excellent book on nonfiction writing is based. With the words, ‘Tell all the Truth but tell it Slant’, Dickinson proffers that writers mine their lives for material and clothe memory in literary fineries; to be playful with the actual truth in order to get at the emotional truth. And so it is that our lively authors Brenda Miller and Suzanne Paola explore the various ways to bring a nonfiction story to life across three parts (Unearthing Your Material; The Many Forms of Creative Nonfiction; Honing Your Craft), 244 pages, and 16 subsections. The book’s structure is clean and simple, following a regular and easy-to-read format – inspirational quote, intro example from one of the

authors, discussion of technique, examples of technique, writing exercises to close. The information follows a linear line from basic exercises to more in-depth techniques, pausing for occasional entertaining rumination of why we write nonfiction and how we benefit from it. Whilst I had some initial hesitation towards the simplistic start – where it dwells on the senses in a section more akin to a high school exercise – the book soon takes off, delivering myriad techniques, examples and sources written in an entertaining, enthusiastic and warm style. In such an instructional book, gentle starting steps are to be expected; and in the context of the denser later chapters this soft opening makes sense, even though more experienced writers would be forgiven for quickly skipping over it. This occasional broadness is a perpetual pitfall when pitching to amateurs and professionals alike, but on the whole Miller and Paola have balanced their information adroitly. The authors’ obvious verve for the subject shines throughout and allows Tell It Slant to stand out from the myriad manuals currently available. Miller and Paola deliver beautiful and thoughtprovoking moments of contemplation – essays on death, powerful 140-character pieces and poignant ruminations on the nature of memories – that charge the reader with the power of the very form they are attempting to create, which in turn spurns a passion to get writing. It has put a fire under this reviewer to sculpt more creative nonfiction; a sign of a successful guide if ever there was one. Despite a simplistic start, Tell It Slant soon blooms into a worthy working companion for the discernible nonfiction writer, penned with verve and passion and brimming with worthy examples, ideas, and further reading to help you bring your stories to life. ALLAN SKO

UNINHIBITED Most working Canberrans have a better opportunity to combine a serious creative pursuit with an unrelated career than anyone anywhere else in the country. Or anywhere in the world for that matter. So why don’t more of us do it? Four public servants I know – three in their 30s – recently went from working full-time to part-time in order to make room for their literary, artistic or musical interests. They chose to have one or two weekdays set aside as ‘Creative Days’ each week and have brought their salaries down to something closer to the average Australian in order to do so. I salute them – and wonder why I hadn’t thought of it myself.

so good anymore.” I choose to believe he mistook us for full-time musicians and that his statement was a compliment rather than a dig. However, the bartender’s sentiment still has a ring of truth to it. I used to prefer my musicians well-practiced and shit-poor myself. Nowadays, I think there’s a balance that could be made that would allow for greater development of talents while not condemning creative types to lives of quiet (or loud, as the case may be) desperation or to casual hackery. Yes, Creative Days are a mighty fine idea and more of us should take them. One of the aforementioned public servants gave me some fine advice though; if you are going to retreat from full-time work to make way for a Creative Day, then make it a middling weekday rather than a Friday or a Monday. Otherwise, when you’re supposed to be creating, you’ll be drunk, hung over or down the coast instead. Pete Huet petehuet@yahoo.com

Of course, not every public servant is fortunate enough to be able to rearrange working hours and recently some have not even been fortunate enough to keep their jobs. But on the whole, the public service is an excellent place to be employed if you wish to free up time to work on a play, a canvas or your dance quintet. The ‘traditional’ life path of the creative person is to work hard at his/her dream through post-school years, eating packet noodles, living in share houses and working casual jobs to survive. Then, if the artist is unable to turn passion into career by the age of 25, or 30 at a stretch, s/ he admits defeat, knowing s/he did her best, and heads back onto the road more travelled. S/he may continue to create on weekends or holidays but nothing like s/he used to during and immediately following art school. But why can’t creative types plug away seriously part-time, rather than casually, while also developing (albeit at a slower rate) a mortgage-paying career? I know not everyone is a fan of the idea of permanent part-time creativity. “Bands used to just play music,” a Melbourne bartender told me after our band performed at his Fitzroy pub. “Now they’re not

AN ARTISTS’ SALUTE

THE FACES BEHIND THE FAÇADE

chloe mandryk

greta kite-gilmour

The ANU School of Art’s PhotoSpace Gallery is currently hosting an exhibition of works from the 2012 Canberra Contemporary Art Space residents. SALUTE is an initiative by artist and curator Julia Boyd, who explains: “These mediums directly reflect the dynamic experience of studying at the School of Art, where all the current [Canberra Contemporary Art Space] residents did their studies. It facilitates artists being able to connect with each other after school and encourages conversations between all the artists involved in the show. It’s created a certain energy that is essential to artists continuing to create new and engaging work.”

Whether you’ve proudly donned home-grown clothing labels or simply spared a moment to soak up the beauty of our ever-evolving street facades, you’ll be among those who have paid well-deserved homage to the fresh surge of creative initiative pulsating throughout our city. Few, however, have shown such dedicated support as Andrea Garvey, scout and instigator of Honkytonks’ WEDNESDAYS AT THE WALL.

Ruby Green’s imposing velvet panels serve as a fantastically textural background to a vibrant Australian landscape dotted with wanderers and wildlife. Hannah Bath’s candied watercolours depict familiar landscapes and counter the earthy and rusted colours found in other works. Holly Granville-Edge presents us with large photographs of domestic items ‘lost in space’. Another artist who experiments with space is Roman Stachurski, whose piece is inspired by the 1963 film The Great Escape. Roman’s tower, which makes excellent use of the gallery’s high ceiling, is capped off with a beam of light reaching down to the floor. In his words, he was inspired by “German Stalags which operated in Europe throughout the duration of the war. In particular, the words told to POWs as they entered the camps: ‘Vas du das Krieg est uber’ (‘For you the War is over’). “I took the theme Salute literally and introduced military themes into my work. There is so much beauty in manmade objects outside of their designated purpose.” Julia Boyd’s photographs capture the ephemeral nature of urban environments. Julia’s technique alters the way the audience interacts with a photograph. “I aim to slow down the process of photography by working with old cameras and really appreciating the subject matter. Though the spaces I photograph are often void of any initial ‘thrill factor’, I aim for my work to slowly reveal itself to my viewer and for my audience to spend a bit more time looking at my pictures than they would photography that’s online or in the media.” Patrick Larmour’s etchings seek to displace our understanding of the relationship between subject and object in art. He rewrites the function of real world objects by painting them true to life. If art is an archive of time and place, the works in this show display this collective’s appreciation of accessible mediums and subjects close to home, encouraging us to pause and reflect. As Julia says, “The ordinary becomes really interesting – cars on the street and clothes people wear. I’m thankful someone was there to capture that.” Salute is currently showing at the ANU Photospace Gallery until Sunday July 29. The gallery is open Mon-Fri, 10am-4pm. Free.

The fortnightly exhibition is a platform from which local artists – bedroom sketchers to notorious-yet-nameless graff gods – can showcase and sell their creations in a warm and welcoming environment. “It all started back in February,” explains Andy. “We had an idea to have art running off our main wall. Any artist could bring in works and just sell straight off it. It wasn’t so big at the beginning, just a small community – and that was great – but then we realised we had the opportunity to turn it into something that could be a real event. There are so many talented young people in this city. I mean, we have the art school right here so we could utilise that.” Through forging connections with friends of friends at the ANU Art School along with in-house table-top advertising, Andy reeled in an impressive line-up of local artists within a mere month of spawning the idea. The night has since played host to an eclectic assortment of displays, including a fashion parade showcasing the demiurgic designs of Lisa T; the urban craftsmanship of street artists Abyss and Fergus; typography; photography, and even the odd titbit (so to speak) of female nudity. The latter was particularly well-received. “Jess Mess has probably been the most profitable. She sold all of her [Naked Girls And Rude Words] pieces, which is absolutely incredible. Like $1500-worth... that’s massive!” Selling works is optional, however. “You can choose. We don’t take commission or anything from the artists; they put their own prices on it. I help a bit with that, but it’s often hard for me to judge that too!” Past event successes certainly make merchandising logical. “A lot of artists have done really well out of it. Every exhibition has sold something. For a first exhibition, even just selling one thing is so good!” It isn’t only artists and aficionados to whom this night appeals either. With the addition of live DJs and the consistently friendly bar crew, At The Wall has fast become the city’s most lively and colourful midweek event. In fact (something to which this writer affectionately attests) the Honkytonks staff regularly spend their rostered nights off here. “They love it! It’s one of their favourite nights to come in, it’s just so inviting. It’s so much fun on a Wednesday!” I’ll raise a hot mulled cider to that. Check our Entertainment Guide for more details on the Wednesdays At The Wall. Join in on Honkytonks’ hump day fun next Wednesday August 8 at 7pm, with Created In The Bedroom: Drawings By Eugene Mulipola. Free.

drum by the time it gets to Canberra,” Judith assured me. Not known for her flamboyance, I wondered what had been stripped back in this show for it to be called Nothing Fancy. “A lot of my other shows have had a narrative or I’ve chucked a song or a dance in, not that I can do either of those kind of things with any kind of competence, and this time I just thought, let’s just do a really straight forward stand-up show… it is pretty much just gags.” Judith has had a diverse career across TV, radio and film, but only last year did she feature in her own TV project, Judith Lucy’s Spiritual Journey. This saw her on a quest to discover something to believe in and enabled her to meet many different people, from those who believed they channelled aliens, to Buddhist and Catholic nuns, to an ex-AFL footballer with a disciplined meditation practice.

DRINK, SMOKE, PASS OUT ZOE PLEASANTS JUDITH LUCY, someone who surely needs no introduction, is bringing her latest show, Nothing Fancy, to Canberra for one night in August. Revered for her dry, laconic and sharply perceptive comedy (exacted often at her own expense), her latest show is a chance to catch up on what she’s been up to and what she’s been thinking about over the last three years. And that covers, in her words, “everything from our politicians to the fact if you’re a woman over 40 you never have to buy soap or candles because that’s just what people give you; so a bit of everything.” When I caught up with Judith she’d just finished a run of shows in her hometown of Perth. She’s already toured the show to Brisbane, Melbourne, Adelaide and Sydney. “So it’s going to be as tight as a

Her journey has provided plenty of fodder for Nothing Fancy, enough fodder in fact that she’s turning it into a book. But did she find something to believe in? “Well,” responded Judith, “I used to be this incredibly dismissive atheist who just thought it was all bullshit and if you believed in anything you were insane. I guess I’m a long way from being that person now.” And as for the book, the deadline is imminent. “I am supposedly finishing that off by about Monday. So that’s not making me feel stressed at all,” Judith joked. “It is my answer to Eat, Pray, Love and it is indeed going to be called Drink, Smoke, Pass Out.” Judith enjoys performing in Canberra. “Look, this is going to sound pretty sucky but it is absolutely true. I have generally found the audiences in Canberra really good because they’re really smart. They probably read stuff into my jokes that aren’t really there, god bless them. I’ve always had a good time doing shows in Canberra.” Watch Judith Lucy have a good time on Saturday August 18 at Canberra Theatre, 7pm. Tickets $45 + bf through canberratheatrecentre.com.au.

ARTISTPROFILE: Belinda Toll

What do you do? Iâ&#x20AC;&#x2122;m an independent artist who primarily uses blown glass. My most recent works are blown glass domes that are displayed on the wall with images behind them. I also work for many local glass artists at the Canberra Glassworks. I have recently gone back to University to study gold and silver smithing. When did you get into it? I found a hot glass short course at Monash University about ten years ago, and after taking this class I was hooked. A few years after that I moved back to Canberra and did a Bachelor of Visual Arts with Honours, majoring in glass, at Australian National University. I graduated in 2009. Who or what influences you as an artist? I am mostly influenced by my surroundings and take a lot of photos of things I see that interest or intrigue me. I manipulate and layer multiples of these images and use them within my glass pieces. Whatâ&#x20AC;&#x2122;s your biggest achievement/proudest moment so far? Completing my degree was a huge accomplishment for me. I also won the Inaugural National Student Art Glass Prize in 2010. What are your plans for the future? To experiment and push the new skills I am learning in gold and silver smithing and, most importantly, to keep making art. What makes you laugh? My very funny friends. What pisses you off? Bad wine. Whatâ&#x20AC;&#x2122;s your opinion of the local scene? A small community of artists who have a diverse approach to their art.

Upcoming exhibitions? I have an exhibition on until Saturday August 11 at Canberra Contemporary Arts Space, Gorman House. Contact Info belindatoll@hotmail.com

bit PARTS MULTI-ARTS FESTIVAL CALLOUT! WHAT: art, not apart WHEN: Due Mon Aug 27 (for Sat Oct 27) WHERE: NewActon Space! We all need space. Space to create, space to think, space to be. art, notapart is a multi-arts festival offering beautiful spaces to artists from all backgrounds. Becca, the curator, can help artists and groups integrate their ideas for the use of space into this day without divisions. Each group receives a table, umbrella and some chairs; there’s no commission on art sales, and everyone is encouraged to make things on the day. Some writers are offering lucky-dip poetry, a street crew is painting a car, and a sculptor will finalise his UFO. There’ll be short films, dance, suitcase markets and a carefully woven stage of music. And a paste-up competition. And more than fits into this little website: newacton.com.au/ana. Clasp a coffee with Becca and talk about your own space. Taking submissions now! Email hello@newacton.com.au to get your foot in the door.

Canberra’s Poncho Circus WHAT: Debut Show: Underground WHEN: Fri Aug 10 – Sun Aug 12 WHERE: QL2 Theatre, Gorman House Poncho Circus is a group of skilled young performers formed from members of Canberra’s own Warehouse Circus and they’re working towards the performance of their debut theatre show, Underground. The piece aims to show off the wide variety of skills this home grown circus has to offer. “Underground is a chance for us to enter the performing world with a bang,” says Jake Silvestro, artistic director. The show follows the stories of ten characters and their interactions with each other and circus in a world where circus is a punishable offense, like Morris dancing should be now. “It sounds kind of grim but in reality there’s a lot more comedy than you’d think... and mystery too.” $10-$18 door or email ponchocircus@gmail.com for pre-booking info. Terry Pratchett Onstage WHAT: Wyrd Sisters: The Play WHEN: Tue Aug 14 – Sat Aug 25 WHERE: Tuggeranong Arts Centre Terry Pratchett’s novels have sold over 70 million copies. Make sure you remember that because he won’t in a few years. Ha. Dementia. No, it’s a very serious condition and it’s sad to know his mind is going. Very black. Anyway, Pratchett writes fantasy that challenges and amuses in equal measure. It makes for great play adaptations. Wyrd Sisters is based on the first in the ‘witches’ series and is a twist on Shakespeare’s Macbeth .This time the witches are the good guys! The Tuggeranong Arts Centre Women’s Theatre Forum (WTF) is a community group dedicated to older women in theatre so get along to what promises to be a charming incarnation of a Pratchett classic. Yes, it’s really called WTF. To make a booking phone (02) 6293 1443. All shows at 7.30pm. $25/$30. Bone Idol 2 WHAT: Talent Show On Crack WHEN: Fri Aug 17 WHERE: Canberra Contemporary Art Space, Gorman House Bone Idol is inspired by the highs and lows of talent shows, bringing this ubiquitous contest style to performance art. This is a chance for you to get out there and show something completely original. The risk of losing your dignity is compensated by the possibility of winning the highly sought after Bone Idol trophy and a dazzling prize of $500. Performers also get free entry/drinks for the night and a full four minutes. One rule: only as many props as you can carry. All funds go to helping CCAS stage exhibitions and performance events throughout the year. Applications due Wednesday August 15. Visit ccas.com.au or call (02) 6247 0188 for more info. Bone Idol is calling you! 7pm. $10.

The Canberra Craft & Quilt Fair WHAT: Australia’s Most Popular Craft Event WHEN: Thu-Sun August 9-12 WHERE: Exhibition Park In Canberra

cuBasic Music Production Workshop WHAT: Budget Cubase Classes WHEN: Fri Aug 24-Fri Nov 2 WHERE: Kendall Lane Theatre, NewActon

The biggest craft event in the Southern Hemisphere returns to Canberra. The event showcases the latest in craft products from both international and local suppliers, numerous classes and workshops as well as inspiration from the fair’s special guests. The four-day event will feature a mix of works including the 2012 Annual Exhibition by Canberra Quilters Inc, with close to 200 quilts on show. Visitors will also be treated to works by Australian artist, Cheryl Bridgart, who has swapped paint brush for sewing machine. The Fair will also showcase a selection of wearable artworks, with artists interpreting the theme ‘The Fairest of Them All’. For more information visit craftfair.com.au. Open daily 10am-4.30pm. $9-$14 (children under five free).

cuBasic, a non-profit NewActon and MusicACT initiative, will offer six music production lessons to help you gain a better understanding of the Cubase production software platform. Go from complete novice to finishing your first track after six lessons over 12 weeks. Every ticket will also buy you a free drink at the Diamont hotel after each session to help get the social aspect moving. And because Cubase isn’t the cheapest software, cuBasic have organised with Better Music in Philip to cut $200 off the retail price to help students on their way to honing their talent. Each session is $25 or $125 if you pay for all sessions upfront. For MusicACT members, tickets are $15 for each session or $75 if you pay upfront. Email cubasic@musicact.com.au for more info or head to musicact.com.au/content/cubasic to sign up.

the word

on albums

album of the issue

japandroids celebration rock [Polyvinyl Record Co.]

Every year there is one album which, coming from a group either ensconced in, associated with, or strongly influenced by a traditionally non-mainstream scene (in this case punk), captures the imagination - and with it the unconditional adoration - of the alternative world’s music critics. Pitchfork gushes uncontrollably; the music press, generally, breaks into hysterical worship. Last year it was Fucked Up’s David Comes to Life; this year, it’s Celebration Rock. Japandroids, for their part, capture the imagination because they bring to their music a raw, fuzzy blend of rock and punk that evokes acts from Springsteen and Petty through to The Bronx and At the Drive-In, alongside an extremely rare combination of wisdom, sincerity, urgency and optimism. Both members of the duo - guitarist Brian King and drummer David Prowse are 29; the age around which so many musicians make their last-ditch effort to make a critically successful record before throwing in the towel.

But instead of engaging in navel-gazing of their current predicament or morbidly pontificating their future, they look back to grasp the energy, spontaneity and emotional peaks and troughs of their youth. King is not concerned with nostalgia or reminiscence, but with seizing the day, sucking every last piece of marrow out of the bone of his youth. On paper, his lyrics are clichéd and amateurish – particularly on Younger Us, where King sings, “Remember saying things like ‘we’ll sleep when we’re dead’/and thinking this feeling was never gonna end/ remember that night you were already in bed, said ‘fuck it’, got up to drink with me instead!” Yet when screamed over fuzzy guitars, surplus feedback and a respectable collection of low-fi and delay pedals – youthful optimism wasn’t the only thing collected on their return to the ‘90s – King exudes such confidence and earnestness that you don’t feel the need to question his message. This is perhaps the group’s greatest strength – Japandroids are old enough to know better, but still too young to care. BEN HERMANN

SIGUR ROS VALTARI [EMI]

THE SMASHING PUMPKINS OCEANIA [CREATE/CONTROL]

Sigur Ros are an acquired taste. To ‘get it’ you must first get past the invented language, lack of structure, plodding pace and weird texture. Ten years ago this stuff was the shit; hypnotic, vague, otherworldly and without anchorage in the contemporary musical landscape. Amongst the nu-metal noise and burgeoning garage scene it stood out by virtue of its tranquillity and mystique. It didn’t quite belong anywhere and being Icelandic took Sigur Ros that little bit farther beyond comprehension.

Billy Corgan supposedly swore off the album format a couple of years ago in favour of releasing his ongoing Teargarden By Kaleidyscope EP series, but this eighth Smashing Pumpkins album apparently works as an ‘album within a larger cycle’. The fact that Corgan represents the sole original member amidst a new line-up of hired hands is likely to represent a divisive factor for some long-time fans. Despite these portents, though, Oceania offers the closest thing to a classic Pumpkins album, something that’s perhaps not that big a leap when you consider that Corgan played pretty much everything bar drums on most of the band’s biggest moments. All of the signature elements remain firmly in place on the 14 tracks here; skyscraping guitar arrangements, glamtinged vocals and crashing live drums (Mike Byrne providing a worthy successor to the departed Jimmy Chamberlain), all tempered with Corgan’s ambition and lack of restraint.

For the most part Valtari is epic. Sweeping orchestration and ethereal vocal lilts that barely rise above a canter. Sigur Ros work best when they can stretch out and explore melody, but justification is required. And there’s not much in the way of pay-off here – it’s all build, hinting at the possibility of crescendo and utter refusal to tackle opportunities. The back half of the album drifts into desolate nothingness. The ambient noise of Fjogur Piano is hardly revolting, but it lacks the languid grandeur of any random Stars Of The Lid track. The artificial crackle of Ekki Mukk sums it up perfectly; replicating the sound and anticipation of an old vinyl record, it’s rooted in mimicry – a facsimile of passion and a shortcut to emotion. Valtari might well be redemption for fans that stuck it out through the lean years of soundtracks, side projects and silence – but let’s not confuse epic with grace or emotion. JUSTIN HOOK

Compared to the extremely compressed sound of The Pumpkins’ later albums, there’s an increased airy sense of looseness to the mix that harks back to the sounds explored on Siamese Dream. There’s also an increased presence of synths on tracks such as Violet Rays and One Diamond, One Heart, but here they call to mind New Order’s streamlined subtlety more than the electronic experimentation of Adore. Against all odds, Oceania is a way better Smashing Pumpkins album than it could have been. CHRIS DOWNTON

THE TEARAWAYS tONES OF DIRT AND BONE [INDEPENDENT]

CAN tHE LOST TAPES [SPOON RECORDS]

TWIN SHADOW CONFESS [4AD]

LADYHAWKE ANXIETY [MODULAR]

Right from the start The Tearaways’ full-length album Tones Of Dirt And Bone sets out to make an impression. With polished, crisp production that soars without overcompression while lighting up the catchy blues-influenced lead guitar, it’s a recording that’s easy on the ears while maintaining a level of raw punk energy. Sometimes bordering on folk-punk territory, the feel of the songs is soulful and energetic. Tracks like well-crafted Her Town engage the listener and expertly fly the punk-rock banner. The vocals lock tightly into a husky, anthemic, sing-along style, delivered with an Australian twang that’s always refreshing. Lyrics centre around the usual trials and tribulations of young musos in the punk scene; romance, identity, politics and counter-culture ideals. There’s an influence of Rancid and Operation Ivy-style punk icons throughout, especially in Rags To Rags, a reggae-ska hybrid complete with organ and halftime upstroke guitar.

When James Brown decided that rhythm was king in the mid-‘60s the message was received in some unlikely places – including postwar Germany, which birthed Can’s textured, psychedelic funk. This group responded to black American rhythm on its own terms, combining wide-ranging musical interests: modernist composition, Pink Floyd’s oceanic landscapes and The Velvet Underground’s potent avant-garage rock. The result was absorbing, richly blended, utterly unique – danceable, strange, loin-stirring and noisy. Like the aforementioned Pink Floyd, it becomes clear when embarking upon the thrilling trawl through the three discs comprising The Lost Tapes (which encapsulates the band’s history between 1968 and 1977) that Can was comprised of meticulous artisans, so only the best music made it onto the albums. This meant a considerable bulk of material was relegated to the vaults – some of the finest. A substantial review of this previously hidden music from keyboardist Irmin Schmidt has unveiled gems. It begins with freedom-loving experiments when the group included original vocalist Malcolm Mooney, such as the eight-minute excursion into blunt sonic weirdness in 1968’s Waiting For The Street Car. Elsewhere the rewards are many, including the atmospheric-turned-loose and spiky score piece, Dead Pigeon Suite, and the live wild trip on disc three, somehow aptly titled Networks Of Foam.

Twin Shadow’s Confess plays out like a guilty pleasure. An irresistibly catchy and fittingly cheesy ‘80s throwback so unabashedly cemented in its ways you can’t help but go along with the ride. But Confess is as much about pathos as it is convention. George Lewis Jr. (aka Twin Shadow) has created an album of familiar pop songs with surprising emotional depth. He spits out age-old clichés with conviction and poise. It contrasts well with the 8/8 drum patterns, sharp, infectious synth lines and guitars that seem permanently plugged into flanger and delay pedals. Lewis’ love affair with everything ‘80s is apparent on every single second of the album, with only a few samples of modernity.

It’s been four years since New Zealander Pip Brown released her debut self-titled album Ladyhawke, and in the wake of that record’s breakout success both here and in the UK, it’s been curious to see the mixed reception that’s greeted the anticipated follow-up Anxiety.

If I had one criticism it would be that there isn’t much new territory being explored here; though well executed it’s a sound that’s been done before plenty of times. That said, if the Epitaph/Fat Wreck Chords ‘90s punk sound is your thing it’ll be a solid dose of the good oil you love. Overall, Tones of Dirt And Bone is a satisfying solid release which, despite not covering much new ground, does what it does so well it’ll leave the listener satisfied. CHRIS NAVIN

DAN BIGNA

But being made in 2012 has its advantages; Confess is marginally darker and has a level of intensity not found in pop music released during the ‘80s. On songs like Five Seconds and Run My Heart there is a true sense of urgency and almost punk-rock energy. The uptempo vibe of the album never really lets off, with most tracks pumping and stomping their way through Lewis’ sincere, cocksure voice. Confess indulges so much in its ‘80s roots that it never feels satirical or ironic. An album you may feel embarrassed for liking – but you’ll still like it. If you one day find yourself desperately searching for your old Phil Collins album and just can’t seem to find it, go buy Confess instead. TIM O’BRIEN

As the title suggests, it’s certainly slightly darker lyrically, but the biggest change here is the increased presence of guitars, with an additional level of rock crunch present in all of the ten tracks here. Perhaps most importantly, though, it’s a collection that’s noticeably geared towards larger venues and festivals. Opener Girl Like Me rolls with a barbed guitar swagger that calls to mind mid-period Blur as handclaps and angular bass runs add a vaguely glam-rock vibe to Brown’s vocals. The Quick & The Dead leans closer to the likes of Garbage with its arena-filling guitar fuzz and frazzled electronics. Above all, this is a collection that openly wears its guitarpop influences on its sleeve, whether in the title track’s Runaways-meets-PJ Harvey chorus vocals, or in Cellophane’s knowing keyboard wink to Wings (listen closely – it’s there). While there perhaps isn’t a single to quite match the immediacy of My Delirium or Paris Is Burning, there’s a greater sense of substance here with the preceding album’s synths replaced by meatier rock hooks and more confident song-writing. CHRIS DOWNTON

the word

on films

WITH MELISSA WELLHAM

If you’re the kind of person who doesn’t watch Australian films because our cinematic output invariably seems to be movies about depressed people living in unfriendly cities and addicted to hard drugs/harrowing tales set in outback Australia which feature incest or bestiality/ Wolf Creek, then I have news for you: our local produce just got a whole lot sweeter. With the hip rom-com Not Suitable for Children and Indigenous musical (kind of – it’s not like Bran Nue Dae) The Sapphires, you might actually find yourself leaving the cinema with a smile on your face.

quote of the issue “There’s a storm coming, Mr. Wayne. You and your friends better batten down the hatches, because when it hits, you’re all gonna wonder how you ever thought you could live so large and leave so little for the rest of us.” - Selina Kyle (Anne Hathaway), The Dark Knight Rises

the dark knight rises

take this waltz

I didn’t enjoy The Dark Knight Rises that much. Awkward.

Take This Waltz is about a young married couple, Lou (Seth Rogen) and our protagonist Margot (Michelle Williams), whose love has turned into a kind of cute but passionless companionship.

Christopher Nolan’s The Dark Knight Rises picks up eight years after The Dark Knight ended. Bruce Wayne (Christian Bale) has become a recluse with a gimp leg, living a solitary life in his mansion while cultivating a creepy beard. Criminal activity in Gotham has ostensibly been crushed. However, the appearance of a stealthy cat burglar, Selina Kyle (Anne Hathaway) is the first sign of a reemergence of crime in Gotham – and Bruce Wayne must become Batman once more, to face an opponent far stronger than any he has faced before: Bane (Tom Hardy).

Lou and Margot go through married life engaging in a string of silly games and comfortable familiarity: enter the mysterious Daniel. He paints! He earns a living through dragging a tuk-tuk! He has arm muscles! And suddenly the already restless Margot is thrown into a state of confusion as each encounter with Daniel leaves her more and more intrigued by the promise of shiny new passion.

So. The twist at the end of the film undermines Bane as a serious, scary villain. Nolan has tried to weave too many storylines together and unfortunately forsakes his characters – which made the previous films so compelling – for larger political themes, which are not even fully explored. For a film about Batman, it doesn’t actually feature Batman that much. There’s a really lame third of the film where Batman is trapped in a desert prison (/down a well).

My main problem with this film is that I found there to be very little chemistry between Margot and this man who’s supposed to be setting her loins on fire. I blame this mainly on Luke Kirby (who plays the ‘too bohemian to be true’ Daniel). I also thought Margot was annoying, though beautifully played by Williams. Rogen also turns in a surprisingly nuanced performance (or maybe it’s just nuanced for Rogen) as the likeable and completely non-sexual Lou.

Look, it’s not all doom and gloom. This is still a Christopher Nolan film, after all, and the actors still turn in convincing performances (particularly Anne Hathaway). But perhaps lower your expectations, because rather than rising above The Dark Knight, The Dark Knight Rises has taken a significant step down.

While Take This Waltz offers some interesting insights and lovely scenes of Toronto, it largely annoyed the shit out of me. The characters were slightly too unlikeable and the situations slightly too unsympathetic. Even though it is shot with a lot of love and care by Sarah Polley, for me it just didn’t hit the mark.

melissa wellham

megan mckeough

not suitable for children Not Suitable For Children is yet another step in the right direction for Australian film, proving that we can make funny, heartwarming, romantic comedies that are just as good as those Hollywood makes – and in many cases better. Ryan Kwanten plays Jonah, a twenty-something who likes to party hard, lead a somewhat promiscuous lifestyle and be responsible for as little as humanly possible –that is, until he discovers he has testicular cancer and that surgery will render him infertile. His housemates (played by Sarah Snook and Ryan Corr) try to help him through this trying time, while also trying to convince him not to impregnate one of his many ex-girlfriends in a rash and rushed attempt to have children. The Sydney scenery shows that our big cities can be just as cinematically appealing as the bright lights of New York, with shots of graffitied back streets and the iconic Sydney skyline adding character without feeling too forced. While Not Suitable For Children is a little directionless at times, as if unsure of what the ending will actually be as it meanders towards its conclusion, it’s still cheering and uplifting enough to feel gratifying at the end. It’s also not so lewd as to actually be not suitable for children. This is the kind of vulgar, rougharound-the-edges rom-com that has made Judd Apatow’s career – and may just make the careers of its lesserknown stars too. MELISSA WELLHAM

the word on dvds

The Borgias The FIrst Season [Paramount] A couple of episodes into this sumptuous 15th century Roman drama, the newly throned Pope Alexander VI (Jeremy Irons, in lecherous good form) comments, “What would Rome be without a good plot?” and for its brief nine-episode debut season, The Borgias lays on plotting as thick as molasses. It hadn’t been long since Rodrigo Borja/Borgia – a Spaniard in the heart of Latin Christendom – outmanoeuvred his more pious rivals to take the Papacy under dubious circumstances in 1492 than he took a mistress, ordered the assassination of rivals and usurpers in the College of Cardinals (his Church posse, if you will) to retain his grip on power, and married off his daughter to an impotent king and Peter Hook-impersonator, all the while preparing for French invaders and generally paying scant attention to the actual duties of Pope – you know, being the role model for Catholics on earth and providing guidance for the Church. It’s grand sweeping history – Florintini political thinker Niccolò Machiavelli makes an appearance, as do the legendary Medici family. This is a period ripe for the picking, bursting with potential, but dramatic licence is required and has been taken. This is a cable TV series, after all, not a BBC documentary. The Borgias’ timing was rotten – two weeks later Game of Thrones started on HBO and clearly air was sucked out of this more modest period drama; ratings plummeted by half upon GOT’s debut. As primer for midmillennia Italian history, it’s a good start and should whet the appetite of the neophyte, inaccuracies and all. As a drama, it’s even better, thanks largely to solid performances (from Irons and Francois Arnaud, as Rodrigo’s son, Cesare) and free of the bells and whistles of its critically lauded cable cousins. justin hook

Mildred Pierce [Universal/Sony]

Carnage [Warner Home Video]

The first adaptation of James Cain’s 1941 hardboiled novel is a classic of the camp melodrama noir genre. That version veered considerably from the original plot, mixing in murder and becoming a relatively straight thriller, albeit one with strong familial urges. This version, produced last year for HBO, qualifies as the definitive version – should you be in the market for one.

A group of boys are playing in a park. Suddenly, one lashes out and hits another on the face with a branch, leading to – as we later find out – some nerve damage and a couple of broken teeth. To resolve this juvenile infraction the parents of the aggressor (Kate Winslet and Christoph Waltz) meet the parents of the victim (Jodie Foster and John C. Reilly) at the latter’s painfully shabby/chic Brooklyn apartment. Over the next 80 minutes, four desperately different people attempt, with little success, to put personal differences aside and reach some sort of agreement. What actually happens is that they all send each other bat-shit crazy; projectile vomiting is involved.

Todd Haynes (Velvet Goldmine, Far From Heaven) is a filmmaker well versed with form and structure, and in this five-part mini-series Haynes sticks meticulously to the original novel, paying astute attention to form alone. Every scene and line of dialogue is represented on the screen with meticulous detail. For some this proved to be a barrier, reducing the pace of Mildred Pierce to near catatonic. But one person’s paralysis is another’s engrossment. Each scene is so splendidly crafted that you should leave expectations of brisk narrative at the door. This is pure melodrama – the slow, revealing sort. Mildred (Kate Winslet) married into a wealthy family who are destroyed by the Great Depression. Unwilling to admit defeat and embarrassed at having to work as a waitress, Mildred wants more – not for herself as such, but for her precocious daughters, Veda and Ray. Through sheer force of will, Mildred builds a restaurant empire in glorious art deco Los Angeles and attaches herself to dashing vagabond Monty Beragon (Guy Pearce, in fantastic Gable-esque form, thin mo and all), initially for lust but eventually for status. It’s this yearning that unravels Mildred’s life; she frustrates in her ability to make the same mistakes over and over again. But the relationship with her daughters is astounding – rarely do you see female relationships addressed with such nuance, honesty and affection. Mildred Pierce is brilliant. justin hook

Alan and Lucy (Waltz and Winslet) are high-powered professionals – we know this because they wear ironed suits – whereas Michael and Penelope (Reilly and Foster) are more middle class, a tap salesman and author respectively. It’s obvious Alan and Lucy are there as appeasement; Alan spends most of his time on his phone and Lucy barely conceals her annoyance. Like the play it’s based on (God of Carnage) everything happens in one location over an afternoon filmed in real time, lending Carnage a sense of tight claustrophobia. The aborted attempts by Alan and Lucy to get back to the outside world ratchet up the intensity to skin-crawling levels. You want them to escape. The to-and-fro banter in this dialogue-heavy film only picks at the surface as it reaches for ‘comedy of social graces’ territory. It doesn’t quite scale those heights and it’s not Polanksi’s greatest by any stretch. Still, it’s neat that a film has the decency to finish without dramatic lessons, profound dénouements or heartfelt resolutions. It just ends because it’s run its course – everyone in the room hates each other so, fade out. justin hook

the word

BLACKBOX

on games

Magic: The Gathering – Duels of the Planeswalkers Platform: iPad, playing cards Developer: Wizards of the Coast Length: 15hrs+ Verdict: Buy Just like the iPad port of the board game Carcasonne, Magic: The Gathering - Duels of the Planeswalkers is another in the long line of successful board and card games that has been ported to the iPad. Magic is arguably the grandfather of the ‘control magical creatures’ genre of gameplay (think Pokemon and Yu-Gi-Oh), being originally created as a card game in 1993 by still-owner Wizards of the Coast. These games boil down to two essential elements of play: what magic creatures, spells or artefacts you have, and how you use these items in a strategic fashion to beat your opponent. Within the world of Magic each player assumes the role of a Planeswalker; essentially a wizard capable of controlling various magical creatures and items. The storyline has little practical bearing on the gameplay, but Wizards of the Coast is notable for putting significant effort into the presentation of the cards. Similar to a game like chess, the most impressive part of the game is how simple the mechanism for play actually is, and conversely how rich the strategies for play can become. Each card within Magic gives an indication of what it does and how to use it, meaning that despite how complicated the rules of play are, they are immediately available to the player and don’t require reading a monolithic tome of game knowledge (looking at you, Warhammer). The gameplay of Magic revolves around a structured set of player turns, and within each turn a set of phases. The player (hopefully each hand is drawn at random) has a set of ‘land’ resources in their hand, which they need to choose how to spend on creatures, spells and the like, whilst simultaneously trying to damage their opponent and prevent damage to themselves. The game allows for different playing styles via its different card decks; some decks focus on having the largest or the fastest creatures, others will focus more on doing damage via spells or making your opponent run out of cards the fastest (having no cards is a victory condition for your opponent). This richness in playing styles gives the player with the greatest depth of knowledge an advantage in correctly guessing his or her opponent’s moves, but simultaneously doesn’t represent an impassable barrier to adoption by new players. The iPad port of the game represents a faithful reproduction of the Magic gameplay system and does so in a method that is both engaging and simple. I would recommend this for anyone, regardless of whether card games are normally an interest. peter davis

The second instalment of Celebrating 25 Years of rage: 1991-1994 (ABC1, Sat Aug 25, late) will be stellar: the (commercial) birth of grunge; big beefy guitars; the first Big Day Out; the rise of the DJ; and the reinvention of punk, ska and hardcore. Episode one featured some gems from Run DMC, Stone Roses and The Pixies, along with cringeworthy fare from Tone Loc, Fine Young Cannibals and Kylie. Chez Blackbox is eagerly awaiting the Olympic Opening Ceremony in the wee hours of the morning as we go to press, and hoping, dear readers, that if you don’t like sports, you like movies. With ads. Because that’s what’s showing on most networks (other than WIN) for the next couple of weeks. On the plus side, there are some standouts that you forgot (or didn’t know existed) including Seven (Go!, Wed Aug 8, 9.30pm), Go (Go!, Tue Aug 7, 9.45pm), Maverick (Go!, Fri Aug 10, 7.30pm), Child’s Play (Go!, Sat Aug 11, 12.10am), The Man With Two Brains (Go!, Sat Aug 11, 11.30pm), Some Like It Hot (ABC2, Sat Aug 4, 8.30pm), and Planet of the Apes (One, Tue Aug 7, 8.30pm). Almost everything else appears to be on hold. If you’re really desperate there will still be Masterchef All Stars (SCTEN, Sun Aug 5, 7.30pm), The Shire (SCTEN, Sun, 8pm), The Voice US (Go!, Tue Aug 7, 8.30pm), Being Lara Bingle (SCTEN, Tue, 8pm), and 90210 (11, Sun, 5pm). One little awesome late-night find Fresh Meat (11, Tue, 9.30pm) will continue. Best described as a cross between Spaced and Peep Show (with lots of the same comedians) but with a pinch of Young Ones absurdity. Of course, there’s also still new Rockwiz (SBS1, Sat, 8.30pm) to save you, and some doco fare including: The Last Explorers (SBS1, Wed Aug 8, 8.30pm); Dream Build (ABC1, Sun, 8.15pm); Three Men Go To Scotland (ABC1, Tue Aug 7, 8.30pm), and; Websex: What’s the Harm? (ABC2, Fri Aug 3, 9.30pm). Two new Aussie dramas have just gone into production: Seven’s A Place to Call Home set in rural Australia in the ‘50s, and ABC’s The Time of Our Lives, a Gen-X drama from The Secret Life of Us creator Amanda Higgs. The place to be this weekend is in the Beverly Hills Hotel where hundreds of US TV critics will get to see the first full episode of the next season of Homeland. It’s part of the TV Critic Association’s press tour, with previews of the new shows and panels of actors, directors, studio execs, and show runners (much more glamorous than the odd preview DVD that arrives in the mail at Chez Blackbox...). The Twitterverse has been ablaze with commentary on the new shows and, if the critics that get the Blackbox seal of approval are right, the shows to watch out for include: comedies The Mindy Project (from Office star Mindy Kailing), Ben and Kate, Gordon Ramsay’s Hotel Hell and new seasons of Downton Abbey and Fringe. And there are still offerings from ABC, FX, CBS, Showtime, The CW and HBO to come. Finally, in appreciation of the audience rather than advertisers, Go! is airing full uncut 45-minute episodes of, well, Episodes (Go!, Thu, 10.30pm). TRACY HEFFERNAN tracyherrernan@bigpond.com @ChezBlackbox

the word

Per Purpose, The Fighting League, Danger Beach The Phoenix Bar Wednesday July 11

on gigs

On Wednesday July 11, Canberra’s most intimate venue, The Phoenix Bar, was host to a trio of young energetic indie-punk bands, featuring two strong up-and-coming local acts and Brisbane garage favorites Per Purpose. The scene was set for an army of well-dressed uni hipsters to show the world what they do best: bring the fun in ample amounts while grooving away to the wild sounds of some of the nation’s finest. A crowd bigger than any seen at The Phoenix in recent memory assembled for what turned out to be a not-so-quiet weeknight. First act Danger Beach brought an interesting style to the studentheavy Wednesday night crowd. Sporting a synth and a distinctly ambient lead guitar sound, they drew upon a mixture of new-wave, garage and shoegazer influences to make a dark ‘80s-inspired soundscape the basis of their tracks. Despite some promising moments later in the set and an enjoyable cover of the Q Lazzurus classic Goodbye Horses, they left an overall impression of a band that had not quite found its direction and perhaps was not ready for the stage. Treading a fine line between sophomoric under-rehearsed mush and bona fide indie genius, they spent a little too much energy in the realm of the former. That said, I would watch Danger Beach again just to see them fulfil their potential as the powerful force they showed glimmers of being on the night. The crowd swelled considerably for the onset of Canberra-obsessed indie-punk heroes The Fighting League. They brought to mind early punk classics along the lines of The Stooges and MC5 and the sort of Canberran pride you might expect at a Raiders clash. Frontman Dom was a devastating ball of energy and charisma that helped whip the receptive crowd into a frenzy of dancing and head-bobbing, the intensity of which is rarely seen at The Phoenix on a weeknight. The peak of their set was the track Calypso; an upbeat tropicalflavored offering led by School of Music hotshot guitarist Andy, and the pounding drums of Canberra man-about-town Alex Alcazar. They finished their set shirtless and towering atop the shoulders of their loyal followers, who raised them to hero status as they preached the Canberra pride, boldly telling the fans, “The next band isn’t from Canberra, make them feel unwelcome.” Classic. Currently residing on Brisbane label Bedroom Suck, Per Purpose faced the somewhat daunting task of following The Fighting League. With a strong kind of dirty indie meets classic rock and British Invasion sensibilities, their set felt like it might resonate more strongly with a hardcore Sydney/Melbourne hipster crowd. Falling a little short of crowd encouragement (perhaps due to the well-heeded invitations of the support band) they nonetheless brought an energetic and passionate set with some interesting melodies, crisp guitar tones and a charismatic lead singer. They powered through their set with a style that (on a different level) felt like it might bring the house down; the drummer was passionate, the rhythm guitarist elegant and talented and the lead singer’s delivery was reminiscent of a toned down Mick Jagger.

PHOTOS BY DAVID BURKE

Overall it was a night of fender-powered crunching indie-punk goodness. The atmosphere was youthful and spirited (the onstage banter of The Fighting League alone was worth the Wednesday night trek) and the crowd was left energized, upbeat and entertained. CHRIS NAVIN

the word

on gigs

Paperback Sessions: Abby Dobson Smiths Alternative Bookshop Friday July 20 Squeezed into the back corner of a bookshop, somewhere between ‘queer lit’, ‘cooking/gardening’ and a sea of expectant faces, singer/ songwriter Abby Dobson beckons to her audience. “There’s still a few spots up the front here,” she purrs. “Get closer.” One couple get talked into perching on a tiny seat level with the songstress, and their relaxed and love-struck faces hover over Abby’s left shoulder for the duration of the gig. Abby Dobson is here for the fledgling Paperback Sessions, an intimate performance series launched by Smiths Alternative Bookshop. As she tunes her guitar she chats with the crowd about her desire for a cosy, intimate gig and a chance to reacquaint herself with Canberra after a decade-long absence. “Terrible,” she nervously confesses, “for a girl who was born in Canberra.” The audience nods and hums appreciatively (‘Oh, so you’re one of us!’). Someone even gasps. This revelation unhappily sets the tone in High School Reunion mode, and try as she might Abby is unable to shake this uncomfortable vibe for the remainder of the evening. The set was a compact selection of songs from her previous solo album, hits from her Leonardo’s Bride days (her half-English, halfFrench version of Even When I’m Sleeping was a crowd favourite), and as-yet-unrecorded tunes from her next solo offering. Songs like I’m Not Missing You, See What The Morning Brings, You Will Find Your Way and Two Swallows were all fine examples of Abby’s obsession with composing lovelorn odes and musings on heartbreak. Coming to the end of the wistfully depressing What If? Abby herself jokingly sighed, “Oh, the smorgasbord of emotions and bad relationships. What happens to songwriters who meet the love of their life in their ‘20s?” It’s not unusual for an artist to build a body of work around a single theme. But after a while of listening to Dobson’s heart being broken, song after song ending in a mournful near-whisper, you begin to wonder if she ever sings about anything else. Or if anything nice ever happens in her love life. Or if anything nice will ever happen in anyone’s love life, ever again. Or if it might not be a good idea to give up on it all yourself, and break up with that lovely guy or girl you’ve been seeing for the past few months; maybe everything is destined to end with your heart in a million pieces on the bathroom floor while you cry into the bottom of an empty wine bottle and... Okay, I’m being a bit overdramatic now but you get my point. Surely it’s not all that bad? To add injury to the serious romantic angst I’ve developed by this point, Abby’s exploration of this broken-hearted theme is a severely limited one. In reaching for a way to articulate her painful brushes with love and loss, Abby frequently falls back on cliché, and her songs all have such a similar verse-chorus-verse-chorus-fade structure that they begin to blur together. Despite lacklustre material, Abby has a voice that had me reaching for some clichés of my own; ‘breathtaking’ and ‘haunting’ amongst them. I’ve spent a large amount of time looking for less bogan ways to say ‘Oh. My. God’.

PHOTOS BY PAMELA MILLER

Her voice rose from a soft, endearingly baby-like sound to a surprisingly strong swell; the high notes made every set of eyeballs in the room curiously shiny, with every soul proverbially stunned into silence at the unexpected force of this tiny woman’s song. LAUREN STRICKLAND

the word

on gigs

Frenzal Rhomb, I Exist, Super Best Friends The Basement Saturday July 21 It was minus two degrees the night Frenzal came to town. Two days later I am still struggling to accurately describe what happened that night at Belconnen’s The Basement. Along with a couple of hundred other Frenzal fans, I didn’t feel the cold. If anything it was heating up down there in one of the stinkiest, most exhilarating ways possible. After stellar opening performances from local bands I Exist and Super Best Friends it was time for the Frenzal boys to take the stage. The lights went out and a cover of CDB’s mid-‘90s hit Let’s Groove played under the constant soundtrack that was the drunk and raucous crowd chanting “Frenzal! Frenzal! Frenzal!” It became evident to me that I did in fact want to groove tonight. With one of my closest compadres by my side, a beer in hand, and the Hawaiian-shirt-clad figure of Lindsay McDougal taking the stage, shit was about to get animal. I drowned the butterflies in my stomach with a lukewarm Melbourne Bitter as harmonised feelings of excitement and aggression pumped through my veins. I wanted to be as belligerently close to my fellow man as possible whilst lathering myself in his sweat. After a bit of banter with the crowd (I tuned out; I just wanted to drink beer and be sworn at) the Frenzal boys opened with their classic track Genius from their first album, Coughing Up A Storm. This set the tone for the rest of the show, in which they consistently delved into their colourfully crude and satirically ruthless back catalogue, whilst showcasing songs from their latest album, Smoko At The Pet Food Factory. Songs with clever and ironic political messages sat perfectly next to the absolute hilarity of fast-paced punk ballads about being a shameless scumbag with a semi-serious weed habit. Classic songs such as Never Had So Much Fun, Bucket Bong, Russell Crowe’s Band and Ben Is A Cunt got the crowd singing along whilst moshing tirelessly and fearlessly. The crowd was in fine form. It was tough love as core strength was tested in a do-or-die scenario. Mosh or be moshed. Choose your own path of destruction or be subject to someone else’s. The vibrant horde moved with unity and fluidity as they pushed and pulled in brutal camaraderie. Right as Jason Whalley sang the opening line to their cover of the Home & Away tune, I looked around the crowd and I noticed something that moved me emotionally. All of a sudden, I knew that we belonged together; the aggression in the crowd was, in fact, love. Scenester teenagers affectionately tussled with mohawked thirty–year-old punks. Those presumably guilty of public servitude held arms outstretched to catch a speaker diving-enthusiast as he exhibited his lack of concern for spinal health. An extremely tall man dutifully shouldered people into crowd-surfing positions while the world’s drunkest hippy was being propped up and passed around so that he could passively enjoy the show, even if he wasn’t going to remember it.

PHOTOS BY MARTIN OLLMAN

No band unites like Frenzal Rhomb. Drummer Gordy Forman’s singlet endearingly said it all: ‘Cunt’ – because, under the Frenzal banner, it’s what we all were. Just a big bunch of ‘em. Drenched in stink and united in nonchalant foul language, I had never been happier. Right up until I elbowed that chick in the teeth. That was just too fucking far. Anyway, up ya bum. Gig gets a 4/5, and a lovely big ‘fuck off’ to all those who attended. BAZ RUDDICK

ENTERTAINMENT GUIDE August 1 - August 4 WEDNESDAY AUGUST 1 Arts Exhibition - Rings

Exhibition - Canberra Bells

Tue-Fri 9:30am-5pm, Sat 12pm-4pm. CRAFT ACT

Dance

Contained works by Carlier Makigawa.

Latino Wednesdays

Exhibition – MAY’S: The May Lane Street Art

MONKEYBAR

BILK GALLERY

10am-5pm.

BELCONNEN ARTS CENTRE

Exhibition - Foodjects

Objects/utensils spawned from movement towards ‘new Spanish cuisine’. Tue-Fri 9:30am-5pm. CRAFT ACT

Exhibition - Word of Mouth Mon-Fri 10am-5pm.

CANBERRA MUSEUM AND GALLERY

Exhibition - Three Exhibitions

CANBERRA CONTEMPORARY ART SPACE GORMAN HOUSE

Exhibition - Emergent Meaning FORM STUDIO & GALLERY

Exhibition - Many Stories Many Journeys Art by young Aboriginal and Torres Straight Islanders youth in the ACT. Mon-Fri 9am-4:30pm. GALLERY @ BCS

Exhibition - Beyond Boundaries

$4 wine. 9pm. Free.

Live Sing For Your Supper

Singers, poets, musicians! Feeling hungry? Book your slot for a free meal! (02) 6230 2484. 6:30pm. THE GEORGE HARCOURT INN

Something Different Transit Trivia

Flex your noggin. Table bookings essential! 7:30pm. Free. TRANSIT BAR

thursday AUGUST 2

Strong, vibrant and highly skilled craft practitioners and designers. Tue-Fri 9:30am-5pm, Sat 12-4pm CRAFT ACT

Tue-Fri 9:30am-5pm, Sat 12pm-4pm.

CRAFT ACT

Part of Greenfaces. www. canberraticketing.com.au or (02) 62752700. CANBERRA IRISH CLUB

Dance

Mario Gordon Pugsley Buzzard HARMONIE GERMAN CLUB

Matt Dent

Live music. 6pm.

MOOSEHEADS PUB AND NIGHTCLUB

Berserkerfox (Melb)

With State Of Integrity (QLD), Inside The Exterior, Unholy Vendetta. 8pm. $10. THE BASEMENT

Thursday Ladies Night

Friday Party Night!

DIGRESS COCKTAIL BAR

P J O’REILLY’S (TUGGERANONG)

Free champagne for ladies til 11pm + iconic tunes by ladies all night from female DJ Pumpin

Hidden Desire, 7pm-9pm, followed by resident DJ til close. Free nibbles/ champagne 5pm-7pm.

Trash Thursday

Havana Nights

$3 drinks 10pm-midnight! ACADEMY NIGHTCLUB

1st place wins cash prize! Plenty of bar vouchers to be won too. 8pm. P J O’REILLY’S (TUGGERANONG)

DJs Trent Richardson & DJ Spink. 9pm. MONKEYBAR

Rufus

With Elizabeth Rose. $15 before 10pm. TRINITY BAR

R&B Heat

‘90s Edition. 9pm.

ACADEMY NIGHTCLUB

Funkn Gonuts

Buick, Wild, Faux Real, Goldfinger. 8pm. Free.

Vengeance + Kyro & Bomber

TUGGERANONG ARTS CENTRE

Man In The Mirror

ANU ARTS CENTRE

Live

Live and loud. 8pm.

Chris Wainhouse

Exhibition - Beyond Boundaries

Written by Yasmina Reza. Book at www. trybooking.com/BQHF or at the door. 7:30pm. $5+.

CRAFT ACT

Comedy

Live

God of Carnage

Tue-Fri 9:30am-5pm, Sat 12pm-4pm.

HIPPO BAR

10am-5pm.

Tue-Fri 10am-5pm.

Exhibition - Canberra Bells

CRAFT ACT

Karaoke Night!

Tue-Fri 9:30am-5pm

BELCONNEN ARTS CENTRE

Exhibition - Signature

Exhibition - Canberra Bells

Exhibition - Foodjects

God of Carnage

ANU ARTS CENTRE

THEATRE 3

Karaoke

TUGGERANONG ARTS CENTRE

Written by Yasmina Reza. Book at www. trybooking.com/BQHF or at the door. 7:30pm. $5+.

By Shelagh Stephenson, directed by Ed Wightman. 8pm. (02) 62571950/ canberrarep.org.au for bookings.

Arts

Exhibition – MAY’S: The May Lane Street Art

Tue-Fri 10am-5pm.

The Memory Of Water

TRANSIT BAR

THE CLUBHOUSE

The Rescue Ships

Michael Jackson tribute show. 6:30pm/8:30pm. $25/$60 with dinner.

THE FRONT GALLERY AND CAFE

SOUTHERN CROSS CLUB (WODEN)

Claire

The Southbound tour. With The Streetlight Parade, Pocket Fox. 9pm. THE PHOENIX BAR

Set Sail

Presale from Moshtix. 8pm. TRANSIT BAR

Faux Real

KNIGHTSBRIDGE PENTHOUSE

Canberräng Day One Launch

8 acts over 10 events. More info/events at http://www.canberrang.org/. HOTEL KURRAJONG

friday AUGUST 3

With Ngaiire. Brian Campeau and Elana Stone’s project, an ideal marriage of talents. $15. 8:30pm.

Moment of Truth

From 7pm-9pm, followed by resident DJ Craig with dancefloor classics/hits. P J O’REILLY’S (TUGGERANONG)

Digress Dual Friday

Funk/live 6-8pm (Happy Hr 5-7pm). Resident DJ + more play allsorts 9:30pm on. $8 J/bombs 10-11pm. DIGRESS COCKTAIL BAR

Lee Coombs

THE CLUBHOUSE

Jemist

KNIGHTSBRIDGE PENTHOUSE

Canberräng Day Two

8 acts over 10 events. More info/events at http://www.canberrang.org/. ALBERT HALL

Arts

Annie and the Armadillos

Exhibition - Japan: Kingdom of Characters

CASINO CANBERRA

With life-sized figures of Hello Kitty, Neon Genesis Evangelion, Gundam and more. Wed-Sun, 12-5pm. M16 ARTSPACE

Exhibition - Many Stories Many Journeys Mon-Fri 9am-4:30pm. GALLERY @ BCS

God of Carnage

Written by Yasmina Reza. Book at www. trybooking.com/BQHF or at the door. 7:30pm. $5+. ANU ARTS CENTRE

Exhibition - Signature

Strong, vibrant and highly skilled craft practitioners and designers. Tue-Fri 9:30am-5pm, Sat 12-4pm

Live music.

Sam From Out Of Town KING O’MALLEY’S IRISH PUB

Heath Cullen

Paperback Sessions. Tix through www. paperbacksessions.com.au. Supported by Alice Cottee. 7pm. $20. SMITH’S ALTERNATIVE BOOKSHOP

Something Different Guzman y Gomez Free Burrito Day

Free burritos. That’s all you need to know, really. But there’s cool live music too. 11am-8pm. CANBERRA CENTRE

saturday AUGUST 4

CRAFT ACT

The Memory Of Water

By Shelagh Stephenson, directed by Ed Wightman. 8pm. (02) 62571950/ canberrarep.org.au for bookings. THEATRE 3

Arts Exhibition - Phosphorescence

Wed-Sun, 12-5pm. M16 ARTSPACE

ENTERTAINMENT GUIDE August 4 - August 8 God of Carnage

Written by Yasmina Reza. Book at www. trybooking.com/BQHF or at the door. 2pm + 7:30pm. $5+. ANU ARTS CENTRE

The Memory Of Water

By Shelagh Stephenson, directed by Ed Wightman. 8pm. (02) 62571950/ canberrarep.org.au for bookings. THEATRE 3

The Incredible Shrinking Man 4:30pm.

ARC CINEMA

Love Saturdays With Pred. 9pm.

ACADEMY NIGHTCLUB

Pugsley Buzzard

THE BRASSEY OF CANBERRA

Exhibition - Canberra Bells

As Famous as the Moon

Something Different

CRAFT ACT

CASINO CANBERRA

Next Gen Artists’ Forum

TRANSIT BAR

Live music.

Sarah McLeod

Film Socialism (u/c18+)

Canberräng Day Three

ARC CINEMA

THE WHITE EAGLE POLISH CLUB

Dance

KING O’MALLEY’S IRISH PUB

New film from Jean-Luc Godard. 7:30pm.

Old Skool Saturdays

Mix of Old Skool R‘n’B, 80s & 90s. Free entry. $5 vodka original & flavours 10-11pm. DIGRESS COCKTAIL BAR

Live Pugsley Buzzard

Canberrang Swing Dancers Prohibition Event. Tix online from www.canberrang.org. 2pm. OLD PARLIAMENT HOUSE

Capital Jazz Project: Albare ITD Long Way. Part of Capital Jazz Project. 8pm. Details/tickets through www. thestreet.org.au.

With Smoking Mirrors, Temtris, Lab 64, Dead Life. 8pm. $10. THE BASEMENT

Nas ‘Life Is Good’ LP Launch

8 acts over 10 events. More info/events at http://www.canberrang.org/.

Oscar

Princi

HIPPO BAR

Capital Jazz Project: John Mackay

Saxophonist. Part of Capital Jazz Project. 10pm. Details/tickets through www.thestreet.org.au. THE STREET THEATRE

Something Different Fash ‘n’ Treasure

A smorgasboard of kitsch old stuff! O, the smells! 10am-3pm. $3. EXHIBITION PARK IN CANBERRA

sunday AUGUST 5 Arts Exhibition - Word of Mouth

Encounters with abstract art. Mon-Fri 10am-5pm, Sat-Sun 12pm-4pm.

Urban Playground Presents. CD giveaways all night. DJs Karma/Jswiss/ Hypnotic/MC Tee. 10pm.

CANBERRA MUSEUM AND GALLERY

Music Comma Coffee

Exhibition - Japan: Kingdom of Characters

MONKEYBAR

Bass, violin, looped vocals or something similar. 10am-11am. MOCAN & GREEN GROUT

Another Minute Past Midnight

Southside Sessions Presents. With Acoustix. Performances 9pm till close. P J O’REILLY’S (TUGGERANONG)

The Vee Bees

With The Vaginabillies. 9:30pm. THE PHOENIX BAR

The Gold Standard: Rob Kay

Knightsbridge classic DJs return to the fold for one night only! KNIGHTSBRIDGE PENTHOUSE

OLD BUS DEPOT MARKETS

Secret Garden Sundays. 3pm.

Four Canberra-based artists discuss their careers and answer why they do what they do. 3pm. Free. BELCONNEN ARTS CENTRE

THE ABBEY

THE STREET THEATRE

Foundry Road

Exhibition – MAY’S: The May Lane Street Art

Strangeways brings their annual turf war to Transit Bar, with Radar and Architect DJs. 8pm. $10.

Wed-Sun, 12-5pm. M16 ARTSPACE

8 acts over 10 events. More info/events at http://www.canberrang.org/.

Groundbreaking exhibition of street art by leading Australian and int’l graffiti artists. 10am-5pm.

Splendour In The Bar

$20/$65 with two course dinner. Doors 6:30pm, dinner 7:30pm. Tickets through www.theabbey.com.au.

Exhibition - The Sacking

Canberräng Day Four

Starship Troopers (MA15+) One screening only! 4:30pm. ARC CINEMA

With life-sized figures of Hello Kitty, Neon Genesis Evangelion, Gundam and more. Wed-Sun, 12-5pm. M16 ARTSPACE

Live Irish Jam Session

Traditional Irish music.

KING O’MALLEY’S IRISH PUB

Sunday Best

heidegger: Intelligent folk funk rockers bring a smile to your dial. 5pm. Free. A BITE TO EAT CAFE

monday AUGUST 6

BELCONNEN ARTS CENTRE

Tue-Fri 9:30am-5pm, Sat 12pm-4pm.

Dance No Lights No Lycra

Dance where no one’s watching. 7:30pm-9pm. $5. CORROBOREE PARK HALL

Karaoke

Arts

Karaoke Love

Exhibition - Many Stories Many Journeys

TRANSIT BAR

Mon-Fri 9am-4:30pm. GALLERY @ BCS

Exhibition – MAY’S: The May Lane Street Art 10am-5pm.

BELCONNEN ARTS CENTRE

Exhibition - Word of Mouth

Encounters with abstract art. Mon-Fri 10am-5pm, Sat-Sun 12pm-4pm. CANBERRA MUSEUM AND GALLERY

Live

Croon and wail your heart out on the Transit stage. 9pm. Free.

Live Capital Jazz Project: 21 + 75 Double Bill

Andy Butler and Bernie McGann. 7pm. Details/tickets through www.thestreet.org.au. THE STREET THEATRE

Something Different The Phoenix Quiz

The Bootleg Sessions

Canberra Musicians Club presents The Glaciers, Zoi (Japan), Amber Nichols, Hayley Shone. 8pm. THE PHOENIX BAR

Mojito Monday

Every week a special Phoenix brand trivia. 7:30pm. THE PHOENIX BAR

Trivia Tuesday

$100 cocktail party as first prize. 7:30pm. Free.

$10 Mojito’s, $7 Nojitos. The best latin DJ’s & Music in Canberra. $7 entry w. free drink.

DIGRESS COCKTAIL BAR

Biscuits

P J O’REILLY’S (TUGGERANONG)

DIGRESS COCKTAIL BAR

Post-weekend sounds from Ryz, Peekz, Kimosabi, Steve On Weekends! Free pool, 2-4-1 pizza, 9pm. Free. TRANSIT BAR

tuesday AUGUST 7 Arts Exhibition - Foodjects Tue-Fri 9:30am-5pm CRAFT ACT

Exhibition - Beyond Boundaries Tue-Fri 10am-5pm.

TUGGERANONG ARTS CENTRE

PJ’s Trivia Tuesday

1st place cash prize with Bar and Kitchen vouchers to be won! 7pm.

WEDNESDAY AUGUST 8 Arts Exhibition - Rings

BILK GALLERY

The Memory Of Water

By Shelagh Stephenson, directed by Ed Wightman. 8pm. (02) 62571950/ canberrarep.org.au for bookings. THEATRE 3

Exhibition – MAY’S: The May Lane Street Art 10am-5pm.

Exhibition - Signature

BELCONNEN ARTS CENTRE

CRAFT ACT

Mon-Fri 10am-5pm.

Tue-Fri 9:30am-5pm, Sat 12-4pm

Exhibition - Word of Mouth CANBERRA MUSEUM AND GALLERY

ENTERTAINMENT GUIDE August 8 - August 12 Exhibition - Canberra Bells

Cathy Franzi draws attention to plants threatened by development. Tue-Fri 9:30am-5pm, Sat 12pm-4pm. CRAFT ACT

Exhibition - Emergent Meaning Large Abstract Acrylic Paintings by Robert Sok. FORM STUDIO & GALLERY

Exhibition - Japan: Kingdom of Characters

With life-sized figures of Hello Kitty, Neon Genesis Evangelion, Gundam and more. Wed-Sun, 12-5pm. M16 ARTSPACE

Dance

Alliance

Trash Thursday

InTheMix Awards Party. With Andy Murphy & Ember. 9pm.

ACADEMY NIGHTCLUB

Dose

$3 drinks 10pm-midnight!

Thursday Ladies Night

Free champagne for ladies til 11pm + iconic tunes by ladies all night from female DJ Pumpin DIGRESS COCKTAIL BAR

Karaoke Karaoke Night!

1st place wins cash prize! Plenty of bar vouchers to be won too. 8pm.

ACADEMY NIGHTCLUB

Phil Jones, Marky, and Peekz. 8pm. Free. TRANSIT BAR

Capital Jazz Project: Bennie Maupin

Live

Identical Strangers + Chad

MONKEYBAR

Charles and Dave

Digress Dual Friday

Live

Capital Jazz Project: Charmaine Ford Trio

Funk/live 6-8pm (Happy Hr 5-7pm). Resident DJ + more play allsorts 9:30pm on. $8 J/bombs 10-11pm.

THE STREET THEATRE

Capital Jazz Project: Joe Chindamo

THE GEORGE HARCOURT INN

Audiotune

8:30pm-10:30pm. Followed by resident DJ with dancefloor hits. $10 jugs + $6 cocktails 7pm-10pm. P J O’REILLY’S (TUGGERANONG)

Something Different Transit Trivia

Flex your noggin. Table bookings essential! 7:30pm. Free. TRANSIT BAR

Exhibition - Rings

Contained works by Carlier Makigawa. BILK GALLERY

Exhibition - Foodjects Tue-Fri 9:30am-5pm CRAFT ACT

Exhibition - Many Stories Many Journeys

Mono/Poly (LA, Brainfeeder)

Reinterpreting Coen Brothers soundtracks. 8pm. Details/tickets through www.thestreet.org.au.

HIPPO BAR

THE STREET THEATRE

The Brass Knuckle Brass Band

Tickets through Moshtix. ZIERHOLZ @ UC

friday AUGUST 10 Arts Exhibition - Foodjects

Tue-Fri 9:30am-5pm CRAFT ACT

Exhibition - Many Stories Many Journeys Mon-Fri 9am-4:30pm. GALLERY @ BCS

The Memory Of Water

THEATRE 3

ZIERHOLZ @ UC

Something Different National Science Week Launch!

With music, cinema, sport and explosive science demonstrations -- all free! 6pm-9pm.

NATIONAL BOTANIC GARDENS

Poncho Circus: Underground

Everything a circus should be. 6:30pm. QL2 THEATRE

saturday AUGUST 11

Exhibition - Beyond Boundaries

The Memory Of Water

Matt Dent

New film from Rolf de Heer with director Q&A. 7pm. ARC CINEMA

Exhibition - Word of Mouth Mon-Fri 10am-5pm.

CANBERRA MUSEUM AND GALLERY

Comedy Eddy Ifft

Part of Greenfaces. www. canberraticketing.com.au or (02) 62752700. Seen on Good News Week. CANBERRA IRISH CLUB

KNIGHTSBRIDGE PENTHOUSE

Concord Dawn

Air Chrysalis album tour. With Centaspike, Zanetic, Reload, Zerosis, Buick, Rush MC, Dred. 9pm. THE CLUBHOUSE

Capital Jazz Project: Tim Willis & The End

Jazz with a rock edge. 10pm. Details/ tickets through www.thestreet.org.au.

Live music. 8pm.

P J O’REILLY’S (CIVIC)

Performance Night

Havana Nights Presents. Canberra’s hottest dance crews with an amazing night of entertainment. 9pm. MONKEYBAR

Live@BAC

Over Lake Ginninderra: live music, cruise the gallery, drink, catch up. With nibbles! 5:30-7pm. $5. BELCONNEN ARTS CENTRE

Sam La More

Frode Gjerstad Trio

SMITH’S ALTERNATIVE BOOKSHOP

Hunting Grounds

Nite Society Presents. The In Hindsight tour with Gung Ho. Tix through Oztix. TRANSIT BAR

The King Hits

With The Professor. 9:30pm. THE PHOENIX BAR

Gossips

Live music.

The Science of Dr Who

Comics and scientists dissect wonders of Dr Who. Sat, 12:30pm + 6pm. Sun, 10am + 1pm. $20/$25. CSIRO DISCOVERY CENTRE

Poncho Circus: Underground Everything a circus should be. 2pm and 6:30pm. QL2 THEATRE

sunday AUGUST 12 Arts

The Great Singin’ In The Rain Shoot-Out! (G)

Wed-Sun, 12-5pm.

THEATRE 3

35mm film print vs. new digital prejection technology. 7:30pm. ARC CINEMA

The King Is Dead (MA15+)

Exhibition - Japan: Kingdom of Characters M16 ARTSPACE

Film Socialism (u/c18+)

New film from Jean-Luc Godard. 2pm. ARC CINEMA

ARC CINEMA

Live Irish Jam Session

Exhibition - Canberra Bells

KING O’MALLEY’S IRISH PUB

New film from Rolf de Heer. 4:30pm. CRAFT ACT

With Offtapia, Styles & Hyde, Diamonds & J.O.O.L.S Shaolin. $10 before 10pm. TRINITY BAR

M16 ARTSPACE

The Bridge Between CASINO CANBERRA

Dance

Moment of Truth

Old Skool Saturdays

P J O’REILLY’S (TUGGERANONG)

KING O’MALLEY’S IRISH PUB

By Shelagh Stephenson, directed by Ed Wightman. 8pm. (02) 62571950/ canberrarep.org.au for bookings.

Exhibition - Phosphorescence

From 7pm-9pm, followed by resident DJ Craig with dancefloor classics/hits.

Heuristic

Something Different

Equal parts wine and science! Happy hour 5pm. Reserve seats: http://www. anbg.gov.au/gardens/. 6pm.

Live

The King Is Dead (MA15+)

DJ Soup

CASINO CANBERRA

THEATRE 3

M16 ARTSPACE

MOCAN & GREEN GROUT

Cafe Scientifique

Arts

Wed-Sun, 12-5pm.

Bass, violin, looped vocals or something similar. 10am-11am.

GAREMA PLACE

CRAFT ACT

Exhibition - The Sacking

Music Comma Coffee

Norwegian ‘free’ jazz. 7:30pm. $15.

Stonefield and Owl Eyes

Thundamentals, Mantra, Dialextrix, Sietta, D’opus and Roshambo. Tix through Moshtix.

Tue-Fri 9:30am-5pm, Sat 12pm-4pm.

CRAFT ACT

HIPPO BAR

Hip Hop Big Block

By Shelagh Stephenson, directed by Ed Wightman. 8pm. (02) 62571950/ canberrarep.org.au for bookings.

Tue-Fri 9:30am-5pm, Sat 12-4pm

Cha Cha Char

THE PHOENIX BAR

9pm.

THE WHITE EAGLE POLISH CLUB

Exhibition - Canberra Bells

Exhibition - Signature

With Ashley Feraude. 9pm.

Los Chavos

The Memory Of Water

TUGGERANONG ARTS CENTRE

Love Saturdays

THE STREET THEATRE

KNIGHTSBRIDGE PENTHOUSE

By Shelagh Stephenson, directed by Ed Wightman. 8pm. (02) 62571950/ canberrarep.org.au for bookings.

Tue-Fri 10am-5pm.

Urban Playground Presents. 10pm.

Our New Orleans style street funk band are back! With ZooPaGoo + more. 8pm. $8 CMC/$10 conc/$15.

Ashley Feraude

Art by young Aboriginal and Torres Straight Islanders youth in the ACT. Mon-Fri 9am-4:30pm. GALLERY @ BCS

KING O’MALLEY’S IRISH PUB

DIGRESS COCKTAIL BAR

thursday AUGUST 9 Arts

KNIGHTSBRIDGE PENTHOUSE

Kick ass jazz. 8:30pm. Details/tickets through www.thestreet.org.au. Blahnket Presents. With Onetalk Spartak, Rachel Haircut, Ostinato + more. Tix thru Moshtix. 8pm.

DJs Karma/Jswiss/Hypnotic & MC Tee

ACADEMY NIGHTCLUB

HIPPO BAR

Latino Wednesdays

Singers, poets, musicians! Feeling hungry? Book your slot for a free meal! (02) 6230 2484. 6:30pm.

THE ABBEY

Jemist

THE STREET THEATRE

Princi

Sing For Your Supper

$40/$110 with three course dinner. Doors 6:30pm, dinner 7:30pm. Tickets through www.theabbey.com.au.

MONKEYBAR

P J O’REILLY’S (TUGGERANONG)

KING O’MALLEY’S IRISH PUB

Jane Rutter

With ANU Jazz Faculty. 8pm. Details/ tickets through www.thestreet.org.au.

Dance $4 wine. 9pm. Free.

Live

Wed-Sun, 12-5pm.

Mix of Old Skool R‘n’B, 80s & 90s. Free entry. $5 vodka original & flavours 10-11pm. DIGRESS COCKTAIL BAR

Traditional Irish music.

Sunday Best

The Other Side: Three voice fusion with subtle acoustic guitar. 5pm. Free. A BITE TO EAT CAFE

Capital Jazz Project: The Catholics

6pm. Details/tickets through www. thestreet.org.au. THE STREET THEATRE

ENTERTAINMENT GUIDE August 12 - August 17 Something Different The Science of Dr Who

Comics and scientists dissect wonders of Dr Who. Sat, 12:30pm + 6pm. Sun, 10am + 1pm. $20/$25. CSIRO DISCOVERY CENTRE

monday AUGUST 13 Arts Exhibition - Word of Mouth

Encounters with abstract art. Sat-Sun 12pm-4pm. CANBERRA MUSEUM AND GALLERY

Live Biscuits

Post-weekend sounds from Ryz, Peekz, Kimosabi, Steve On Weekends! Free pool, 2-4-1 pizza, 9pm. Free. TRANSIT BAR

Mojito Monday

$10 Mojito’s, $7 Nojitos. The best latin DJ’s & Music in Canberra. $7 entry w. free drink. DIGRESS COCKTAIL BAR

The Bootleg Sessions

2xx Local ‘n’ Live presents Cuddlefish, Beth n Ben Band, The Burley Griffin, Drew Walky. 8pm. THE PHOENIX BAR

tuesday AUGUST 14 Arts Exhibition - Canberra Bells

Tue-Fri 9:30am-5pm. CRAFT ACT

Exhibition - Foodjects

Tue-Fri 9:30am-5pm, Sat 12-4pm CRAFT ACT

Exhibition - Word of Mouth Mon-Fri 10am-5pm.

CANBERRA MUSEUM AND GALLERY

Exhibition - Beyond Boundaries

wednesday AUGUST 15 Arts The Memory Of Water

By Shelagh Stephenson, directed by Ed Wightman. 8pm. (02) 62571950/ canberrarep.org.au for bookings. THEATRE 3

Exhibition - Word of Mouth

Tue-Fri 9:30am-5pm, Sat 12-4pm CRAFT ACT

Trivia Tuesday

$100 cocktail party as first prize. 7:30pm. Free. DIGRESS COCKTAIL BAR

PJ’s Trivia Tuesday

1st place cash prize with Bar and Kitchen vouchers to be won! 7pm. P J O’REILLY’S (TUGGERANONG)

By Shelagh Stephenson, directed by Ed Wightman. 8pm. (02) 62571950/ canberrarep.org.au for bookings.

Charles and Dave

A Finucane and Smith production of the award winning play. 7:30pm THE STREET THEATRE

Exhibition - Foodjects Tue-Fri 9:30am-5pm CRAFT ACT

Exhibition - Signature

CRAFT ACT

KING O’MALLEY’S IRISH PUB

Mario Gordon

KNIGHTSBRIDGE PENTHOUSE

Live

Pigeon

Popsicle

Oh Hebe tour. Supported by Readable Graffiti. 8pm. Free.

Dance

TRANSIT BAR

Latino Wednesdays

With Horrorshow and Briggs. $44.85 + bf thru Oztix.

$4 wine. 9pm. Free.

Live music.

CASINO CANBERRA

Matt Dent

Hilltop Hoods

6pm. Free.

CHARLIE BLACK

Joel Harrison

MONKEYBAR

UC REFECTORY

Live

With Hannah Gillespie. 7:30pm.

Sebastian McFox

Local Feats

Project XO

Bad!Slam!No!Biscuit! Poetry slam. 9pm. THE PHOENIX BAR

Sing For Your Supper

Singers, poets, musicians! Feeling hungry? Book your slot for a free meal! (02) 6230 2484. 6:30pm. THE GEORGE HARCOURT INN

Jinja Safari

They’re worldly and whatnot but still good fun. Tix through Ticketek. 8pm. ANU BAR AND REFECTORY

Something Different

Nigel Wearne

KING O’MALLEY’S IRISH PUB

THE FRONT GALLERY AND CAFE

KNIGHTSBRIDGE PENTHOUSE

Retrospective of Canberra feature films, 1971–2010. Tix/info: http://newacton. com.au/localfeats KENDALL LANE THEATRE

Ash Grunwald

Cafe Scientifique

NATIONAL BOTANIC GARDENS

thursday AUGUST 16

Exhibition - Japan: Kingdom of Characters

Presented by XOXO & Friends. 9pm. ACADEMY NIGHTCLUB

Cheese/Retro

Cheesy cheesy cheesy retro badness. 8pm. Free.

Album launch. Presale only. $35. Doors 7pm, show at 9pm. Tickets through www.theabbey.com.au.

TRANSIT BAR

Limb

TRINITY BAR

THE ABBEY

By Austin Buckett (Kasha, Pollen Trio). An introduction to the possibilities of new music. 8pm. $15. ANU SCHOOL OF MUSIC

Flex your noggin. Table bookings essential! 7:30pm. Free.

The King Is Dead (MA15+)

THE PHOENIX BAR

1st place wins cash prize! Plenty of bar vouchers to be won too. 8pm.

The Flood

Bluejuice

Every week a special Phoenix brand trivia. 7:30pm.

The Memory Of Water

Strong, vibrant and highly skilled craft practitioners and designers. Tue-Fri 9:30am-5pm, Sat 12-4pm

Wed-Sun, 12-5pm.

The Phoenix Quiz

BILK GALLERY

Live

Something Different

Contained works by Carlier Makigawa.

TUGGERANONG ARTS CENTRE

Arts

ANU BAR AND REFECTORY

Exhibition - Rings

ACADEMY NIGHTCLUB

Tue-Fri 10am-5pm.

Croon and wail your heart out on the Transit stage. 9pm. Free.

They put on a helluva show. Tix through Ticketek. 8pm.

M16 ARTSPACE

$3 drinks 10pm-midnight!

THEATRE 3

Equal parts wine and science! Cafe 4:30pm. Reserve seats: http://www. anbg.gov.au/gardens/. 5pm.

TRANSIT BAR

Exhibition - Japan: Kingdom of Characters

P J O’REILLY’S (TUGGERANONG)

No Lights No Lycra

Karaoke Love

M16 ARTSPACE

Exhibition - Beyond Boundaries

TRANSIT BAR

Karaoke

Wed-Sun, 12-5pm.

Trash Thursday

Karaoke Night!

Dance

CORROBOREE PARK HALL

DIGRESS COCKTAIL BAR

Exhibition - Signature

Transit Trivia

Dance where no one’s watching. 7:30pm-9pm. $5.

Free champagne for ladies til 11pm + iconic tunes by ladies all night from female DJ Pumpin

Karaoke

CANBERRA MUSEUM AND GALLERY

Exhibition - Phosphorescence

Thursday Ladies Night

Mon-Fri 10am-5pm.

Tue-Fri 10am-5pm.

TUGGERANONG ARTS CENTRE

Dance

Canberra artist McCarron-Benson explores bullying, women and the workplace. Wed-Sun, 12-5pm. M16 ARTSPACE

From 7pm-9pm, followed by resident DJ Craig with dancefloor classics/hits. P J O’REILLY’S (TUGGERANONG)

THE PLAYHOUSE

A Finucane and Smith production of the award winning play. 7:30pm

Exhibition - The Sacking

Moment of Truth

Tex Perkins rinses Cash, with Rachael Tidd. Details/tickets through Canberra Ticketing.

Arts

THE STREET THEATRE

With special guest Thrupence. $15 before 10pm.

The Man In Black: The Johnny Cash Story

Friday AUGUST 17

The Flood

Chet Faker

Digress Dual Friday

Funk/live 6-8pm (Happy Hr 5-7pm). Resident DJ + more play allsorts 9:30pm on. $8 J/bombs 10-11pm. DIGRESS COCKTAIL BAR

Nobody Knew They Were Robots (Syd)

With House of Thumbs (Melb), Inside The Exterior, Perpetual End. 8pm. $15. THE BASEMENT

M16 ARTSPACE

New Rolf de Heer film. 2pm + 7pm. ARC CINEMA

Exhibition - Rings

Contained works by Carlier Makigawa. BILK GALLERY

The Memory Of Water

By Shelagh Stephenson, directed by Ed Wightman. 8pm. (02) 62571950/ canberrarep.org.au for bookings. THEATRE 3

Comedy Fiona O’Loughlin

Part of Greenfaces. www. canberraticketing.com.au or (02) 62752700. Seen on Celebrity Apprentice.

OUT

AUG15

bma magazine’s 400th issue! chet faker the beautiful girls tedxcanberra owen campbell ...and more!

CANBERRA IRISH CLUB

FIRST CONTACT

SIDE A: BMA band profile

Bastard Sons of Liberty Describe your sound: Hardcore punk, Bastard Sons of Liberty-style.

Group members? Karl Blitzkrieg (lead vocals), Matt (bass), Anthony (drums), Jamie (guitar/backing vocals), Tone Jaram (backing vocals/door bitch/general mayhem). Who are your influences, musical or otherwise? All the usual suspects: The Clash, Sex Pistols, Crass, Dead Kennedys, Bad Brains, D.O.A., Dropkick Murphys, Black Flag, MC5, Ramones, Motorhead, Slayer, Machine Head, Stooges, Iggy Pop, Henry Rollins, Joe Strummer, Guy Fawkes, Ned Kelly, George Orwell, David Suzuki, Bill Maher, Julian Assange, Stewie Griffin, Eric Cartman. What’s your biggest achievement/proudest moment so far? Sharing the stage with great local bands over the last seven years, including Chud, Toxicmen, Moots, Corporate Takedown, Punishment, Sewer Sideshow, Rather be Dead, Hence the Test Bed, to name just a few. What makes you laugh? Our bass player trashing his gear in a classic rock show finale. Teach The Who a thing or two. What pisses you off? Apathy, ignorance, stupidity, arrogance. Justin Bieber, Katy Perry, One Direction, The Voice, The X Factor and all manufactured, corporate Top 40 plastic pop garbage (and all the sheep that support it). Lying, hypocritical, self-serving politicians, celebrity culture, Paris Hilton, tabloid journalism, religious fanatics, animal cruelty. Plans for the future? Finishing up our second CD. Working our new recruit/guitarist Dave into the band, playing a shitload more gigs (Global Apocalypse permitting, that is). What’s your opinion of the local scene? A wealth of great bands and dedicated small venue-owners struggling in the face of unfairly-imposed government financial restrictions. As well as great people who donate their time, money and efforts selflessly for the support of local live music. What are your upcoming gigs? The Pot Belly on Friday August 10 with Perdition, Bladder Spasms and All in Brawl. Contact info: Send all abuse and hatemail to: bastardsonsofliberty@hotmail.com or post on facebook.com/BastardSonsofLiberty.

Aaron Peacey 0410 381 306 Activate Jetpack activatejetpack@hotmail.com Adam Hole 0421 023 226 Afternoon Shift 0402 055 314 After Close Scotty 0412 742 682, afterclose@hotmail.com Alcove Mark 0410 112 522 Alice 0423 100 792 Allies ACT (Oxfam Group) alliesact@hotmail.com/ myspace.com/alliesact Amphibian Sound PA Clare 0410 308 288 Amplif5’d Classic rock covers band Joy 0407 200 428, joybarac-heath@hotmail.com Annie & the Armadillos Annie 6161 1078/0422 076 313 The Ashburys Dan Craddock 0419 626 903 Aria Stone, sax & flute, singer/ songwriter (guitar) Aria 0411 803 343 Australian Songwriters Association (Keiran Roberts) 6231 0433 Arythmia: Ben 0423 408 767/ arythmiamusic@gmail.com Backbeat Drivers Steve 0422 733 974, www.backbeatdrivers.com Big Boss Groove Andrew 0404 455 834, www.bigbossgroove.com.au Birds Love Fighting Gangbusters/DIY shows - bookings@birdslovefighting.com Black Label Photography Kingsley 0438 351 007 Blister Bug Stu 0408 617 791 Bridge Between, The Rachel 0412 598 138, thebridgebetween.com.au Bruce Stage mgr/consultant 6254 9857 Capital Dub Style - Reggae/Dub Events + DJs facebook.com/CapitalDubStyle Rafa 0406 647 296 Caution Horses Nigel 0417 211 580 Chris Harland Blues Band 0418 490 640 chrisharlandbluesband@yahoo.com.au Clear Vision Films rehearsals/film clips/stunts - 0438 647 281 wcoulton.clearvisionfilms.com Cole Bennetts Photography 0415 982 662 /colebennetts.com Cris Clucas Cris 6262 5652 Crooked Dave 0421 508 467 Danny V Danny 6238 1673/0413 502 428 Dawn Theory Nathan 0402 845 132 D’Opus & Roshambo hifidelitystyles@yahoo.com DJs Madrid and Gordon 0417 433 971 DJ Latino Rogelio 0401 274 208 DJ Moises (RnB/Latin) 0402 497 835 or moises_lopez@hotmail DNA Vic 0408 477 020 Drumassault Kate 0414 236 323 Easy Mode Daz 0404 156 482, easymodeband@gmail.com Entity Chris 0412 027 894 Epic Flagon band@epicflagon.com Fighting Mongooses, The Adam 0402 055 314 Final Warning Brendan 0422 809 552 Fire on the Hill Aaron 0410 381 306/ Lachlan 0400 038 388 4dead Peter 0401 006 551 Freeloaders, The Steve 0412 653 597 Friend or Enemy 6238 0083, www.myspace.com/friendorenemy Gareth Hailey DJ & Electronica 0414 215 885 GiLF Kelly 0410 588 747, gilf.mail@gmail.com Groovalicious Corporate/Weddings/ Private functions 0448 995 158 groovalicious@y7mail.com Guy The Sound Guy live & studio sound engineer, 0400 585 369, guy@guythesoundguy.com HalfPast Chris 0412 115 594 Hancock Basement Tom 6257 5375, hancockbasement@hotmail.com Happy Hour Wendy 0406 375 096 Haunted Attics band@hauntedatticsmusic.com Hitherto Paul 0408 425 636 In The Flesh Scott 0410 475 703

Inside the Exterior Nathan 0401 072 650 Itchy Triggers Andrew 0401 588 884 Jacqui Seczawa 0428 428 722 JDY Clothing 0405 648 288/ www.jdyclothing.com Jenn Pacor singer/songwriter avail. for originals & covers, 0405 618 630 Jim Boots 0417 211 580 Johnny Roadkill Paulie 0408 287 672, paulie_mcmillan@live.com.au Karismakatz DJ Gosper 0411 065 189/ dj@karismakatz.com Kayo Marbilus myspace.com/kayomarbilus Kurt’s Metalworx (PA) 0417 025 792 Little Smoke Sam 0411 112 075 Los Chavos Latin-Ska-Reggae facebook.com/loschavosmusic Rafa 0406 647 296 Andy 0401 572 150 Manilla Green Herms 0404 848 462, contactus@manillagreen.com, Mario Brujo Gordon world/latin/ reggae/percussionist and DJ. 0405 820 895 Martin Bailey Audio Engineer 0423 566 093 Words for You: writer/publicity/events Megan ph 6154 0927, Mercury Switch Lab Studios mercuryswitch@internode.on.net Missing Zero Hadrian Brand 0424 721 907 hadrian.brand@live.com.au Moots aspwinch@grapevine.com.au Huck 0419 630 721 MuShu Jack 0414 292 567, mushu_band@hotmail.com MyOnus myonusmusic@hotmail.com/ www.myspace.com/myonus No Retreat Simon 0411 155 680 Ocean Moses Nigel 0417 211 580 OneWayFare Chris 0418 496 448 Painted Hearts, The Peter 6248 6027 Phathom Chris 0422 888 700 The Pigs The Colonel 0422 412 752 Polka Pigs Ian 6231 5974 Premier Audio Simon 0412 331 876, premier_audio@hotmail.com Rafe Morris 0416 322 763 Redletter Ben 0421 414 472 Redsun Rehearsal Studio Ralph 0404 178 996/6162 1527 Rhythm Party, The Ross 0416 010 680 Rob Mac Project, The Melinda 0400 405 537 Rug, The Jol 0417 273 041 Samsara Samahdi 0431 083 776 Sansutra J-Ma 0403 476 350 Simone Penkethman (Simone & The Soothsayers, Singing Teacher) 6230 4828 Soundcity Rehearsal Studio Andrew 0401 588 884 Solid Gold Peter 0421 131 887/ solid.gold@live.com.au STonKA Jamie 0422 764 482/ stonka2615@gmail.com Super Best Friends Matt 0438 228 748 Surrender Jordan 0439 907 853 Switch 3 Mick 0410 698 479 System Addict Jamie 0418 398 556 The Morning After (covers band) Anthony 0402 500 843/ myspace.com/themorningaftercovers Tiger Bones & The Ferabul-Zers Danny feralbul@aapt.net.au Tim James Lucia 6282 3740, LUCIAMURDOCH@hotmail.com Top Shelf Colin 0408 631 514 Transmission Nowhere Emilie 0421 953 519/myspace.com/ transmissionnowhere Udo 0412 086 158 Undersided, The Baz 0408 468 041 Using Three Words Dan 0416 123 020, usingthreewords@hotmail.com Voodoo Doll Mark 0428 650 549 William Blakely Will 0414 910 014 Zero Degrees and Falling Louis 0423 918 793 Zwish 0411 022 907