BMA Mag 312 16 Oct 2008

THREE12 October 16.08

SPACED OUT AT STONEFEST

bma magazine

bma magazine

FREE STUFF It’s time to deck yourself out in your best hypercolour t-shirts and score some stuff for free. Sling down an answer to the questions provided, and whip it off to: editorial@bmamag.com And your stomach will get that warm fuziness that only getting something for nothing can create.

Kiss On The Nose?

One of the world’s best-know ventriloquists, David Strassman, is soon to part ways with one of his most popular sidekicks, Ted E Bare.

Tragically, the much adored Ted E Bare is announcing his showbiz retirement, reportedly due to the constant pressure from publicity, paparazzi, and dangerously obsessive fans. However, before Strassman and Ted E Bare give each other their goodbyes, they’re embarking on a mammoth farewell tour in dedication of everyone’s favourite soft and cuddly guy, with an epic six-night stint at the Playhouse. We have five double passes to Strassman’s show on Sunday November 2. To snap one up, tell us the name of another of Strassman’s characters.

The Spring Offensive Spring is here, the time of year when all people with a good amount of grey stuff between their ears attempt to impose upon others their respective wishes. In keeping with this tradition, Dew Process have just announced their Spring Sampler Campaign.

For a limited time only, purchase from Sanity or Leading Edge Music the latest albums from The Grates, The Living End, The Panics, Whitley, Yves Klein Blue, Dropkick Murphys, Dr Dog, Tokyo Police Club, Delta Spirit, Tilly and the Wall or Port O’Brien, and you will receive an 11-track sampler featuring one track from each of these artists. To help out this attempt to impose upon you such a luscious buffet of tunes, we have a prize pack consisting of all the latest albums by each of

these artists. If you feel like such a decadent feast is the sort of thing that might get your rocks off, tell us which of the above bands utilises tap-dancing in their music.

Somewhere Better to give away.

If you like the sound of this offer, simply tell us the name of the Cohen brothers-created character who loved his White Russians.

Pinky and Your Brain

Sewing the Seeds

As the frontman and primary songwriter of Machine Gun Fellatio, Pinky Beecroft was the core stabiliser and creative juggernaut who led the group to veritable infamy, controversy, nudity, and, somewhere in between, 140,000 album sales.

After leaving the group in 2005, Pinky teamed up with The White Russians, allowing him to explore different musical avenues which were unavailable in MGF. Pinky Beecroft & The White Russians’ debut album Somethin’ Somewhere Better has just hit the shelves, with Pinky admitting that influences on the album were far from limited. “I was actually trying to re-create Cold Chisel’s East, but with Angus & Julia Stone both playing the role of Jimmy Barnes,” Pinky says. The group is stopping over at the Greenroom on October 25 to tout the album’s release, and in celebration, we’ve got three copies of Somethin’

New Zealand’s most prolific dub/reggae/funk kings The Black Seeds have conjured up yet another blitzing album, Solid Ground.

With a 10-member band who master a plethora of instruments from saxophone, bongos, keyboards and the wood block, Solid Ground sees the group at their strongest, reflecting the maturity, style and ingenuity that they’ve developed over their previous four albums. We have two copies of Solid Ground to give away to y’all. If perchance you enjoy a bit of dub/reggae/funk infusion, tell us which city The Black Seeds hail from.

STRUTH BE TOLD Negativity sucks.

It’s everywhere. Some days it feels like everyone’s complaining about everything. Whether it’s the state of the world, the local music scene, or the undercooked chips from KFC. Finding praise can be like digging for gold, whereas bitching pours out like dirty water from a broken mains. There’s something more socially acceptable about negativity.

With a few beers under your belt you can wax sarcastic about the woes in your life and the artists you despise, safe in the knowledge that those in your party will retort with political ‘hear hears’. At best it keeps us critical and encourages debate, at worst it’s a lazy black laser setting fire to our surroundings, giving us the shallowest sense of security.

I wonder about Australia’s ‘tall-poppy syndrome’. It’s in our blood to hack and slash away at those figures who achieve success, sitting back in our instant expert chairs, boiling with perspective on how we’d do things differently. Some say this comes from our convict past. There is an attitudinal hangover that traces back to the days when Australia was made up of exported criminals, given accommodation in this fantastic new land. People were offered a second chance, and with that came a shared status of equality – a safety in numbers. It wasn’t such a welcome prospect for a neighbour to climb ahead of the pack or big note themselves.

Perhaps we’re still outgrowing this nationalistic sense of low self-esteem.

There are those that people love to hate. Bono for his self-righteous political meddling. Michael Moore for his smug, preachy documentaries.

Ben Lee for his precocious arrogance. What troubles me, is the level of white-hot venom aimed at such celebrities who dare to stick their heads out. The journalist in me is disappointed about the constant onesidedness of the attacks. Isn’t Bono doing something practical and noble to tackle third world debt? Isn’t Michael Moore using the sensationalist tactics of the right-wing as an artistic tool? Could Ben Lee be given some credit for being so unapologetically passionate about his art? At what point is it less about their foibles and more about our own insecurities?

Negativity is a clever little bastard. Over time it reprograms your mind to automatically focus on the worst. If one of my songs doesn’t go well, then the whole gig is ruined. If there’s one piece of crap feedback amongst twenty good ones, guess which one makes my headlines? If something goes wrong, then my first instinct is to write off the day, the rest of the week, maybe the whole year… or life! I reckon there’s a ‘smallpoppy syndrome’ – Australian’s also don’t tolerate an excess of self-pity.

‘Shut up – it’s hard for all of us!’ This isn’t helpful either – friendships need empathy. When it’s closing time in the bar of life, I don’t want to be at the end of another rant, looking around at the empty chairs where my mates used to be.

Negativity is a bad habit, like smoking and drinking. Being overly negative is a sure fire sign that you’re not taking care of your soul. Sure, the girl in Ghost World makes deadpan sarcasm look cool, but what starts out as a biting wit, can eventually turn into a relentless bitterness that quietly runs like a cancer through your outlook. This year, I’m making a real effort to focus on the positives in my life. It’s hard work!

It’s like going to the gym. But like exercise, being positive has amazing flow-on effects. You begin to look and feel sexier, and so does the world around you. Enjoy negativity responsibly - in moderation.

JUSTIN HEAZLEWOOD www.bedroomphilosopher.com

NEWS Festival First Aaaah, October. It’s that time of year when every musiclover’s credit card balance dips exponentially into the red, as almost every week yet another festival releases tickets to be bought with haste and panic by desperate punters seemingly within minutes of their release.

One event which is sure to have already broken the bladders of many music connoisseurs is the announcement of Australia’s very first All Tomorrow’s Parties festival.

A concept which began in the UK, All Tomorrow’s Parties is a boutique festival that invites an artist or band to headline the event and then handpick their favourite performers to play alongside them. And who better to kick off Australia’s inaugural ATP than Nick Cave & The Bad Seeds, who have chosen an incredible selection of classic acts, including The Saints, Spiritualized, James Blood Ulmers, Harmonia, Fuck Buttons, the Stabs, and many more. The event will be pass through Mt. Buller Ski Resort on January 9 and 10, before heading up to Cockatoo Island on January 17 and 18, and

then finishing up at Brisbane’s Powerhouse between January 12 and 16. Get ya skates on!

The French Are Coming Banjo player and singer of French outfit Fils de Teuphu, Ronan Guittier is making the long haul from his quaint French village of Montreuil to Australia to perform his solo show Ronan/Ronan and to launch his new albums Copie/Colle. With 26 shows scheduled for his Australian road trip, including an appearance at the Serbian Club’s Folkus Room on Saturday October 18, Ronan will undoubtedly dazzle and charm his audiences with his RONAN GUITTIER

infamously joyous bric-a-brac of colour, turntable decks, children’s toys, and full box of treasures, while experimenting all the time with his acoustic instruments and loop pedal. With his warm smile, a cheeky look and a loaded shelf, Ronan/Ronan, the true one-man orchestra, will wind you up like a clock!

An International Flavour Wednesday October 29 will see the launch of the 12th Canberra International Film Festival, kicking off a 12-day celebration of cinema that will feature 75 screenings of 41 films from 20 countries, including 16 Australian Premiers.

Presented at Dendy’s stunning cinemas and the National Film & Sound Archives ‘Arc’ venue, the festival features everything from romantic comedies, dramas, and documentaries, to thrillers, and even an Australian horror flick. One feature likely to excite readers is Arc’s screening of Julian Schnabel’s Lou Reed’s Berlin. This musical theatre version of Reed’s 1973 rock-opera album Berlin, which confused and alienated fans when released, grew over time to become adored and accepted by fans and critics.

The festival wraps up on Sunday November 9.

867-5309/Jenny (Cloher) It’s been almost two years since Australia saw or heard from Jen Cloher. But now, like the return of a sweet child thought to be lost, Cloher has announced that she will be touring with her band, The Endless Sea, to co-headline a run of intimate dates with fellow Melbournian Laura Jean.

Over the past 12 months, Jen has been writing material for her sophomore LP, scheduled for release in early 2009, and will be sure to give punters a few tasty samples when she pops into The Front Gallery and Café on Saturday November 22.

JEN CLOHER

Renowned for captivating and powerful shows, everyone will be wanting her number after this night.

A Notable Lack of Relevance One of Sydney’s foremost post-hardcore groups of the current era, Irrelevant, have just announced an upcoming tour in support of their forthcoming album New Guilt.

Gearing up for an all-ages show at the Tuggeranong Youth Centre on Saturday November 6, New Guilt

IRRELEVANT was produced by Brian McTernan (Hot Water Music, Thrice, Senses Fail and The Bled), and is an ambitious effort in combining the brutal purity of the bands’ 2001 EP Reflecting and Refracting, the fierce musicality of their 2005 debut Ascension, and the maturity that comes with a menacing decade of dedication to the road. With shows at the ol’ TYC becoming increasingly renowned, this night is sure to be a top one.

A Seedy Back Alley If there are times when you've been chucking up your guts in the alley joining King O'Malley's and Academy and decided that the experience would be even more enjoyable if you had some live music playing nearby, then St Jerome's Laneway Festival might be right up your alley. Heading to Perth for the first ever time, as well as its usual ports of Brisbane, Melbourne, Adelaide and Sydney, 2009's offerings have just been announced, and will include the delectable offerings of Girl Talk, Stereolab, Architecture in Helsinki, The Hold Steady, The Drones, Cut Off Your Hands, Four Tet, Tame Impala, El Guincho, The Temper Trap, The John Steel Singers, and many more. Tickets go on sale on Monday October 27, so start saving those pennies!

AND ANOTHER THING...

YOU PISSED ME OFF Has someone yanked yer chain recently? Well, send an email to editorial@bmamag.com and have your sweet vengeance. And for the love of God, keep it brief! ALL ENTRIES CONTAIN GENUINE SPELLINGS. To the fucking wanker who whinged about the fucking wanker in the fat fucking ugly 4WD last issue.

Those of you not suffering from ADHD or short term memory loss due to a surfeit of ‘the booze’ may remember that a couple of issues ago I was banging on about a Metallica show in London in 1984. Well, in the strange way these things work out I ended up ‘in conversation’ shortly afterwards with none other than the mighty Cliff Evans, erstwhile guitarist of Tank, one of the support bands on that icy night nearly a quarter of a century ago. We like to keep a theme rolling in this column as you know, so I asked him if he had any recollections of the Bang That Head That Doesn’t Bang Tour.

“The 1984 Ride the Lightning tour with Metallica was a real eye-opener for us. Walking into Metallica’s sound check on the first date, we heard a sound that we’d never heard before. These guys had the heaviest guitar sound ever. A wall full of brand new Mesa Boogie stacks and Big Mick Hughes at the mixing desk, had created the now legendary Metallica sound. We knew we had to step our game up a notch to compete with these guys. We gave them a good run for their money and the tour brought us a lot of new fans. We also taught the Americans how to drink, apart from (legendarily mayhemic bassist) Cliff Burton, who seemed to have mastered the art already.”

I agreed that Tank certainly did push the young thrashers hard on the night I saw them, indeed the band was a pretty serious proposition in the mid eighties, never seeming to step out of the shadows of their management stablemates Motorhead. Why did Cliff think that was?

Honour and Blood, their album from 1984, in particular was worthy of a place in metal’s first division, so what went wrong? “ The one thing I remember about the recording of Honour and Blood was the unfeasible amount of beer that was consumed during the sessions. I can’t remember much else. The album still sounds awesome though.

Tank always had cult status, but we never seemed to be able to get to the next stage, a higher level. Looking back, now we’re older and wiser, we can see that the main thing that held us back was bad management.

You’re right – we had the same manager as Motorhead which meant we were not top priority and usually overlooked so we had to fend for ourselves. Also label support was a bit thin on the ground. Oh, and did I mention (former Damned bassist and Tank mainman) Algy (Ward)’s ability to get very drunk, piss everybody off then disappear for months at a time on a regular basis? About once every 6 months ...”

Evans hasn’t always been a pure metal guitarist, indeed immediately prior to joining up with Algy Ward he’d featured in the far more sedate blues outfit Chicken Shack. I wondered how neatly those two tours of duty fused together. “Haha! Playing with Chicken Shack was a strange experience. A lot of rock/metal names became part of the lineup at some time including Australia’s own Bob Daisley (ex-Ozzy, Ranbow etc) Paul Raymond (UFO) and of course Christine McVie (Fleetwood Mac). I lasted six months in the band before being fired the day before a show at Sussex Cricket Club. I later found out that my replacement on guitar for the evening was a certain Mr Eric Clapton. I’m sure he doesn’t tell this story in his interviews!” There’s a possibility that Tank may end up down here in 2009, in the meantime go to www.tankfilthounds.net to soak up some classic metal.

SCOTT ADAMS thirtyyearsofrnr@hotmail.com

bma :: Issue312 www.bmamag.com "bma: when you have no company shares, they can't drop" 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.

If you think looking down your top (which is obviously cut low so you will get noticed by the opposite sex) is the only action he’ll ever see you obviously dont realise that even though it may have been his sister, the ugly overweight stupid bitch whore of a girlfriend probably gets her freak on every night because 4WD driving hillbillies dont have much else to do. Dont write into a magazine if your going to contradict yourself. You pissed me off...

To the ignorant, rude and self centred people who’s petty & trivial complaints were published in this column in Issue 310. You fuckwits pissed me the fuck off. How dare you think that some guy looking down your top is a reason to write into BMA and abuse the

poor fella and his girlfriend?

What sort of social reject are you? The guy at the lights was probably doing you a favour you stupid slag - maybe you should put your gross tits away. And to the tard whinging about a car parking space - get over it you fucking flog. There are more important things in life to worry about than your little day to day complaints - and you wasted a good minute of my time making me read them, and write this. So fuck youse...

To all you writing about getting pissed off, you pissed me off! maybe people in canberra treat u like shit becuase they can tell your all fucking retarded! maybe they can tell your a pasive agressive pussy that will try to get back at them in a magazine! grow some balls or shut the fuck up Ohh that dick was rude to me, BMA will here about this! You piss me off !!!!!!!!!

FROM THE BOSSMAN When you go to the polls this October, be sure you vote 1 for Allan Sko. I’m not actually on the ballot paper, so be sure to add my name, draw a little box and write “1” in it. Try to make the box as square as you can, or else they might not accept it.

I will tackle the big issues head on.

I promise to abolish the concept of education in order to reduce the pressure felt by children, thus drastically reducing childhood obesity.

All schools will be converted to pubs so adults don’t have far to go, thus alleviating the strain of increased petrol prices and public transport. Cars will be converted to confectionary hybrids, and run off gumdrops, emitting rainbows instead of pollution, and thus drastically, and impossibly, cutting down emissions.

As for roads; where we’re going, we won’t need roads.

1

So this October, be sure to Go For Sko. Impractical solutions for a silly tomorrow.

Authorised by the Donkey Vote Party.

ALLAN SKO

Fax: 02 6257 4361 Mail: PO Box 713 Civic Square, ACT 2608 Publisher Scott Layne General Manager & Advertising Manager Allan Sko: T: (02) 6257 4360 E: advertising@bmamag.com Editor Ben Hermann: T: (02) 6257 4456 E: editorial@bmamag.com Accounts Manager Fahim Shahnoor : T: (02) 6247 4816 E: accounts@bmamag.com

Super Sub Editor Julia Winterflood Graphic Design Jessica Condi Film Editor Mark Russell Principal Photographers (The Flashbulb Posse) Andrew Mayo/Nick Brightman/John Hatfield Issue 313 Out October 30 Editorial Deadline October 17 Advertising Deadline Octoberbma 23 magazine

TIDBITS WHO APRIL MAIZE AND QUINN BAND WHAT MELBOURNE FOLKERS WHERE THE PHOENIX WHEN SAT OCT 25

Two of Melbourne’s most promising up-and-coming bands are joining forces to present a truly eclectic tour around the southern states of Australia this October. The Humpback Trail Tour, consisting of April Maze and Quinn Band, will stop by the Phoenix on Saturday October 25, showcasing the groups’ complimentary styles of smokin’ folk, reggae and soulful roots. Being described as a mix between John Butler Trio and Carus, and the legendary reggae flavour of the Wailers, Quinn Band invite smooth grooves with an impassioned dance vibe, combining social and political themes with a strong focus on humanity. April Maize likewise have a deep songwriting focus, melding together a soulful combination of impressive instrumentation using the likes of guitar, cello, charango, lap steel, congas, drums, and didge. Local favourites The Cashews will be supports for the evening, with festivities kicking off at 8:30pm.

WHO PINKY BEECROFT WHAT WRY MOFO WHERE GREENROOM WHEN SAT OCT 25

If you’ve ever caught one of Pinky Beecroft’s appearances on The Glasshouse or Spicks and Specks, you will have noticed that the infamous former frontman for the even more infamous Machine Gun Fellatio is an incredibly captivating, intelligent and wryly amusing individual and musician.

Since his departure from MGF, Beecroft has been exploring a plethora of musical directions, recently teaming up with The White Russians. Together, Pinky Beecroft & The White Russians are in the process of launching their debut album Somethin’ Somewhere Better, and will be coming to the Greenroom this October to give Canberrans a healthy dose of their musical offerings. While still wry, catchy, and funny, Pinky’s new musical direction is more delicate, fascinating and genuine than MGF’s tits-out, glitzy, and blinding madness. Pinky Beecroft & The White Russians will playaly at the Greenroom on Saturday October 25. Doors open at 8pm and tickets are $12 plus booking fee, available from moshtix.

WHO DOOF DOOF FANS WHAT SIDE PROJECT FIFTH B-DAY WHERE MERCURY BAR WHEN FRI OCT 24

WHO THE BAND BROKE UP WHAT LOCAL MUSOS GOING SOLO WHERE THE FRONT WHEN OCT 21, 28 & NOV 4

On Friday October 24, Sideproject celebrates its fifth birthday and a full five years of doof doof music with Gathering 2 at the Mercury Bar. Sideproject has always liked to celebrate birthdays in style and this event is no exception. Featuring a two hour live set from Psyboriginal (Sydney), one of Australia’s leading psy-trance artists, as well as sets from locals M3ow, Ugly Bunyip, Hoops, Psyentology, Tarik and Alamout, this event is one not to be missed. And just in case destroying your ears with the loudest, duffiest breaks isn’t enough to have you itching, there will also be crystal clear sound from PA Sime and a big lighting show by Toby, Azza and Dave, along with psychedelic decor from the Sideproject crew. Extras include free sure-to-be-needed chupa chups, glowsticks, fruit, candles, incense and the positive vibe you have come to expect. Entry is $20 on the door and copies of Psyboriginal’s new album, Unleashed, can be purchased for the reduced price of $15.The action starts at 8pm. Capacity is limited. Arrive early to avoid disappointment.

If all of a sudden – all at once – all of Canberra’s best bands went belly up, what would be left?

Most probably an amazing array of extraordinary solo artists. This concept of solo performances from key members from some of the Capital’s most respected lineups is being brought to The Front Cafe throughout October and November in The Band Broke Up, a residency hosted by The Ellis Collective’s own front man Matty Ellis. Each night in a quiet lamp-lit room will be four individual members from acts including The O’Hooligans, The Andi & George Band, The Wedded Bliss, Julia & The Deep Sea Sirens, The Cashews, Dr Stovepipe, Fire On The Hill and Mr Fibby, passing a single guitar between them, exchanging the stories behind their songs and playing into the evening. The first of these four unique shows kicked off on Tuesday October 14, and there are three more shows scheduled for October 21, October 28 and November 4. All shows begin at 7:30pm sharp and entry is $5 or by donation.

WHO ALT-KIDS WHAT REV'S SECOND B-DAY WHERE BAR 32 WHEN FRI OCT 24

It seems like only yesterday that Canberra’s youth were delighting at the opening of another alternative-oriented music night, in an otherwise dance/doof/rubbish-dominated club scene. But time flies when you’re having fun (and listening to Bloc Party), according to the old adage, and so it is with great joy and rapture that Bar 32’s indie/rock/punk/pop night, Rev, has reached its second birthday. And to celebrate, the organisers are throwing a decadent, debaucherous, dare I say Eyes Wide Shut-style soirée featuring a full DJ set by none other than The Vines. If the thought of rocking out on Bar 32’s creaking floors to a DJ set performed by one of Australia’s most notoriously wild rock groups doesn’t put you in heat, then there’ll also be performances by Alice (live) in the upstairs room, DJs performing on both levels throughout the night, and a lucky door prize consisting of an Epiphone Les Paul. What’s better is that this whole shindig will cost you nothing more than the usual price of $5, with the revelry kicking off from 9pm.

WHO THE HEADHUNTERS WHAT FUNK GODS WHERE WODEN SOUTHERN CROSS CLUB WHEN FRI OCT 24

Herbie Hancock may have drifted gradually away from the Headhunters back in the ‘80s, but the legendary godfathers of funk and fusion have been forging ahead for the past two decades, and are making their first trip to Australia this October. The Headhunters will feature on their Australian tour funk-drummer extraordinaire Mike Clark, master percussionist Bill Summers, and the amazing Jerry Z on hammond organ and bass. Most notably, the tour will also see the group collaborate with Australian composer Marc Mittag, who first met Headhunters’ drummer Mike Clark in New York during a recording session. Marc Mittag and the Headhunters will play at the Southern Cross Club, Woden, on Thursday October 23 and Friday October 24. Tickets for the dinner and show are $75 (kicking off at 7pm), and tickets for the show only (starting at 8:30pm) are $35.

7 Akuna St

Canberra City

ALL SHOWS FREE ENTRY

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11

"Phil is still a bit of a mental case, but he is recovering well - and he won't be drinking - did I already say that!?"

s r e n n i r G e Winners Ar Cecilia Pattison-Levi

GRINSPOON are back, older, wiser but no less manic. “Yeah! We are going to put on an old school rock gig at Stonefest and we are really looking forward to it,” says Kris Hopes, drummer of the iconic Australian band.

Stonefest is turning 40 this year, and a festival that can last four decades is doing something right. The organisers have recruited a knockout 2008 bill this year and it is spearheaded by Grinspoon. Stonefest is set out across two days at the University of Canberra, and it is utilising new locations on the campus grounds this year. “It’s a great lineup this year,” says Kris. “We haven’t played in Canberra for ages so it will be good for us to play live and see some other bands play – especially the local bands – that we find interesting.”

“I guess everyone knows that we have been having a short break away from music and that we have just started playing a few gigs,” says Kris.

“We have been playing at a few festivals and the response from the crowds has been great. It has given us the chance to road-test new songs and music as well as bringing back some of our old stuff. The set we will play at Stonefest will be a good mix of old and new and we will give the crowd a really good rock gig experience. Nothing’s changed there. We’ve got the new songs that we are trying out, but we’ll be as drunk as ever probably. But, not Phil. Phil won’t be drinking, but we will be probably drinking more and having a great time playing music. And that’s a promise I feel confident that as a band, Grinspoon, will deliver on.”

The meltdown of Grinspoon’s lead singer in February 2007, when Phil Jamieson was admitted to rehab due to addiction to methamphetamine, was very public. And, his interview with Andrew Denton on Enough Rope in July 2007 is now out there, but the band have coped well. “Yeah well, Phil is still a bit of a mental case, but he is recovering well – and he won’t be drinking – did I already say that!?” says Kris. “It is a good time for the band to get together and focus on what we do best. We have enough material to start thinking about recording a new album, but baby steps, if we have any more time off we might start to forget what we do. And, that would be bad. The break has been great, but it’s great to be coming back.”

Grinspoon are back! Back on the road and playing live, back in the studio and recording news songs. They are back reminding festival goers and music lovers alike of their five albums and their 12 years as a band. They are a band that has adapted to a drastically changing personal landscape and music industry within Australia. “We are survivors,” says Kris, “that’s for sure!”

Grinspoon play at Stonefest on Friday October 31 and Saturday November 1 at the University of Canberra. Joining them will be The Dandy Warhols, Faker, Regurgitator, The Grates, Alan Braxe, Bumblebeez, The Drones, Blue King Brown, TZU, Dexter, and many more.

Frantic Efforts unity and “Music should bringre person: harmony to the enti ” heart, mind and soul Cecilia Pattison-Levi “The universal language of music is melody and rhythm,” says MICHAEL FRANTI. “These parts of music cross international boundaries – and me – I just love to dance – and if I can think about the music, sing along and enjoy it, it’s the icing on the cake.”

Michael Franti is a Californian-born poet, musician, social activist and composer. He is returning to Australia with his band Spearhead to bring his unique music and message to the people. Franti blends hip-hop, funk and reggae together with his outspoken political and progressive lyrics to inform, entertain and to just make people enjoy the music and dance.

‘Icing on the cake’ is just what Franti delivers in his music. His lyrics are rich with great language, clever images and great social messages. His effortlessly-upbeat, politically-charged collection of songs has never failed to put a smile on my face nor get my feet tapping. His social work and his insightfulness in lyric writing put him high on my personal map of truly great songwriters. If not that, just as one of the world’s great poetic writers, as my students at Belconnen High will tell you.

“I just love dancing and music awakens in me feelings that help me through sadness and make me laugh and smile,” says Michael. “I hope my new album, that is the most successful that we have released, is a mixture of those ideas. I concentrate on writing good songs that people can sing along to and can also have a good time to. The world is a confusing place at the moment and to relax and enjoy music in a place where you can be together with others in a great place is good. Music should bring unity to individuals in their hearts, minds and bodies.”

Franti’s music is essentially a reggae infused hip-hop, but his work is so boundary-shifting, that even if you don’t like this particular style, the music is good enough to defy the boundaries of genre. “Music is about the universal language of empathy, of coming together to enjoy the moment,” says Michael. “I am a fan of songs. I don’t care about genres – just songs – if it is a good song, then, that is a great thing. It might be a song by Run DMC or Metallica or Rage Against The Machine – it’s the song that’s important.”

Michael Franti’s work inspires hope, thoughtfulness and energy and he is not afraid to stand up for what he believes in. Michael is a leader in the peace and social justice movement. He continues to influence people with his speaking engagements at universities, panels at the WHO/UN in Geneva and his work with organisations such as Oxfam and Amnesty International. And, I might be biased here, but his music and lyrics are truly inspirational and they rock! As Michael says, “Music should bring unity and harmony to the entire person: heart, mind and soul, but we should never forget to enjoy ourselves. Sing and dance.”

Michael Franti and Spearhead play live at the ANU Bar on Sunday October 19. All Rebel Rockers is out now on Ant-Records distributed by Mushroom/Liberation.

bma magazine 13

The Ties That Bind “I had a certain theme I wanted to deal with and I’ve dealt with that – it’s been nice and cathartic for me” Peter Krbavac Canberra is emblazoned in Joel Birch’s brain, though perhaps not for all the right reasons. “The last time we were there someone got their head shoved through a window and got the shit beaten out of them with poles,” he tells me. “An old guy at the shopping centre across the road from the venue,” he clarifies, lest he put off any prospective audience members when THE AMITY AFFLICTION pass through town again this month. “It was full on. We just bought our bread, salad and beer and we were on our way…” But with the Brisbane hardcore sextet’s debut album Severed Ties on the racks and sitting pretty at number 26 on the ARIA charts – after a year-and-a-half gestation period – the bloodshed will now hopefully be restricted to the LP’s artwork.

Joel, the band’s vocalist, admits that when the band recorded their breakthrough EP of last year, High Hopes, they consciously set out to make “as much of a metal core album as we could.” Conversely, with Severed Ties they had no such preconceived notions, simply writing what felt, well, right. “We never sat down as a band and said, ‘Alright, we want to write this kind of music now’ or ‘Let’s write something a bit poppier or a bit heavier’,” he says. “This time we’ve let ourselves write what comes naturally and I think it worked out a lot better.”

In a lyrical sense though, Severed Ties was a consciously planned affair, Joel saying that he “had some things that I wanted to deal with” – though he is loathe to elaborate. “I’ve dealt with them in a manner that a lot of the songs are still open, and that’s how I want to keep them,” he explains.

“I don’t really want to tell people what they’re about, just so listeners can decipher them how they want to. I guess a lot of kids impart themselves in a lot of songs lyrically, so they can draw more meaning from it just for themselves. I’m happy with that situation. I had a certain theme I wanted to deal with and I’ve dealt with that – it’s been nice and cathartic for me.”

Lyrical inspiration seems to have come from far and wide, Joel remembering that he was “listening to shitloads of Ryan Adams”, and also Bridge Nine darlings Have Heart. “But I don’t really get so inspired lyrically by too many bands,” he adds. “I was reading a lot of Gabriel García Márquez right before we wrote our record – he’s my favourite author. That had a pretty large bearing on how I was trying to structure my lyrics.”

Severed Ties also features a stable of guest vocalists large enough to rival any hip-hop LP, with the likes of JJ Peters (Deez Nuts, I Killed the Prom Queen), Michael Crafter (IKTPQ, Carpathian, Confession), Matthew Wright (The Getaway Plan) and Helmet (The Daylight Curse) lending their lungs to proceedings.

To launch the album, the band have put together a tour featuring a troika of so-hot-right-now bands, House Vs Hurricane, Rex Banner and A Secret Death, who, fortuitously, happen to be good chums of Amity. “We just wanted to take mates on tour,” Joel says. “We’ve been wanting to take A Secret Death out for ages but we just weren’t in a position to do it.

We’re not big by any means now, but we’re big enough to take them on the road and pay them enough to take a month off work. They’re my favourite Australian band, they have been for years, so I’m really psyched I get to go on tour with them. It should be a fun tour. I’m looking forward to it.”

The Severed Ties tour, featuring The Amity Affliction, A Secret Death, House vs Hurricane and Rex Banner hits the Tuggeranong Community Centre on Sunday October 19. All ages. Doors from 2pm, tickets through www.boomtown.oztix.com.au

LOCALITY

Back in 2003, a brown haired Woolies checkout chick with blonde streaks (guh) walked timidly into the BMA office to get her first story, after handing in an (awful) Powderfinger review to then editor Tracy. Five years later, and about four or so years worth of the locality column, her hair looks (slightly) better, and she’s moved to the big smoke (with her Floriade mousepad, sniffle) to a pretty new office in Sydney, to live in a cute little terrace house in the inner east of the city. She is learning every day how important washing the dishes and cleaning the fridge is, and that if people ask you for a dollar here, you give them a damn dollar. She also still hates talking in the third person. So very much.

In honour of my last column, and the barrage of summer festivals afoot, I’ve decided on my own authority to make this a festival special. So without further ado:

FORESHORE: November 29 http://www.lexingtonmusic. com.au/foreshore Clever Street name: ForeWhore The gang at Lexington have brought out all the stops to make this year’s Foreshore bigger and better than ever… Well better than last year anyway. It’s back on the shores of Lake Burley Griffin and is looking to be one of the biggest dance related festivals in the country. The lineup for 2008 features: The Presets, Sasha, PNAU, The Galvatrons, The Aston Shuffle, Jeff Drake plus many more.

Tip – take a poncho, just in case.

What to wear: Guys: Those horrid cutoff denim shorts, Girls: Please wear something.

Before I go, I want to express my love (and desire to make out with) every BMA contributor, Canberra band, and promoter, who made me feel so warm and fuzzy about doing the column every fortnight.

Special mentions have to go to wonder editors Tracy, Peter and now Ben, and a massive hug and lovepunch especially to Scott and Allan. I love you guys.

If this were an awards show, this is where the band would start playing to get me off stage...

I miss you already. Keep in touch, yo. xx Caz Dennes carrie.dennes@gmail.com

STONEFEST http://www.stonefest.com.au October 31 & November 1 Clever Street name: Stone-r-fest It’s at the University of Canberra grounds and will have the most interesting portaloos you’ve ever seen. It’s Stonefest’s 40th birthday and it’s planning a big celebration. Lineup for this year’s event includes The Dandy Warhols, Grinspoon, Faker and many many more.

What to wear: Boardies, or awesome tees that have your dorm name on them that will later be graffitied by pictures of wang.

TRACKSIDE November 22 http://www.myspace.com/ tracksidefestival Clever street name: Backside Thoroughbred Park plays host to another year of fun and frivolity at this year’s festival. After last year’s success, the Trackside team have worked incredibly tirelessly to bring you a stellar lineup, which currently includes The Living End, Cut Copy, The Panics and many more. Tickets are on sale NOW! What to wear: Jockey silks. Go on.

bma magazine 15

DANCE: THE DROP

“You can dance – dun dun DA DA dun dun-dun DA DA.” No safety dancing here. We be bustin’ it madcap freestyle, ya’ll.

“SHIT, there’s a lot on!” I screamed at my grandmother the other day over tea and crumpets. And fair enough. There really is. Observe.

Sideproject takes a sharp inhalation of breath to blow out the promotional candles of their fifth birthday dance cake on Friday October 24. Mercury Bar will be the place, and you can bear witness to the awesome musical prowess of psy-trance siren Psyboriginal (Sydney), M3ow, Ugly Bunyip, Hoops, Psyentology, Tarik and Alamout.

Killer sound and lighting is also promised, as well as chupa chups, glowstix, fruit, candles and incense. $20 entry, 8pm kick off.

Celebrate good times. C’mon.

Pang has a positively princely line-up ahead. The biggest of the batch include Crookers, rounding off a no-doubt huge weekend by playing the Sunday after Trackside – November 23 – with Dave Norgate, Hubert, Sean Kelly and Staky. Lot 33 be the place and $20 be the price. Tix are on sale now from Landspeed and Lot 33.

And the mighty Booka Shade will play a Transit Bar show on Thursday November 27. So special is the show that Transit are breaking their free entry rule, just for you. More details to come.

Before then, Pang will be entertaining and delighting with the UK’s Grum, an electroinfused breakbeat producer who’s throwing some mad shapes across the world, and is tipped to be the act to watch come 2009.

You can get in on the ground level by sampling his wares on his myspace www.myspace. com/grummmusic, and then by popping along to Lot 33 on November 7. Fifteen of your Earth clams will see your safe passage.

UK drum ‘n’ bass don Apex will rock the house party at the drop of a hat this Friday October 17 at Mercury Bar. Mastermind of the infamous Unknown Error production force for three years, Rob Dickeson has re-emerged under the solo Apex moniker, scoring instant success in April 07 when his debut The Space Between feat. Ayah made its way onto Hospital Recordings, the BBC Radio1 D&B Top Ten, Weapons of Mass Creation 3 CD, and Andy C’s acclaimed D&B Arena Mix release. Jump onto his myspace www.myspace.com/apexmusik and take a listen to Emo Funk. A tasty bit of late ‘80s neurofunk reminiscent of Bad Company/ Matrix’s Jellyfish. $15 Guy “Hyper” Hatfield will be stopping by Academy on Friday October 24. His Wired CD remains a staunch breakbeat mix favourite, and his energy-laden style is always a welcome addition to any dance floor.

The perennially popular Bag Raiders are launching an EP, and you can help them toast it by joining them at Academy on Saturday October 18, along with Ashley Feraude, J Vale, and 700odd close friends.

And if you want something a little different, Mario Brujo Gordon is gettin’ all Latin on your arses with a huge night of international proportions happening at Paparazzi on Friday October 24. Featuring Pochoman (Cuba), Cumbia Cosmonauts (Colombia/ Mexico), City of God (Rio), Professor Palacio (Argentina) and heaps more, it kicks off at 9pm and tis but a mere $10.

Phew! I’m knackered. I’m off to have a “jazz” cigarette, a balloon of cognac, and a recline in a chaz lounge under a dimly lit lamp. ALLAN “ON A 26 YEAR BENDER… NO, NOT THAT KIND OF BENDER” SKO

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The success of a major single or album all too often has a pacifying effect on a musician or group, as all of a sudden they are being assured by major labels, publicists and managers that they can do no wrong, that every nugget they pop from their tight rear ends is worth its weight in gold. For French electro producer ALAN BRAXE (real name Alain Queme) however, the success of Music Sounds Better With You – his 1998 collaboration with Benjamin Diamond and Thomas Bangalter under the guise of Stardust – only made him more determined to avoid the burden of major label contracts, instead forming his own label Vulture Music. “That song was one of the reasons I started my label. At that time I had a lot of offers from companies for doing similar songs over and over. I decided instead to focus on what I wanted to do. That song made me realise more than ever that some people just want you to write the same stuff over and over.”

For much of his career, Braxe has focussed on creating his own tracks, re-mixing and producing, however the past two years have seen him put on the cloak of touring DJ, travelling the world and, this month, Australia, bringing his good self to Stonefest’s Arena stage this October. As a well accomplished and respected producer/remixer, Braxe’s decision to begin DJing was met by some confusion, but also, for the most part, pleasant surprise by most of his fans.

“I decided to DJ because I thought I was focussing too much on producing and I was fed up with being locked in my studio. It’s very exciting and I like it a lot. It’s a great way to meet people, and a great way to perform. When I DJ I play a lot of different stuff. A bit of my own stuff, but mostly stuff from other producers. I like to play techno, house and deep house. It depends mostly though on the mood of the club.”

After starting his own label with a view to creative freedom, it’s no surprise that Braxe’s re-mixing credentials reflect the high degree of attention he receives from major artists, while at the same time not making him look like a field-playing jock within the electronic music profession. Having re-mixed acts including Goldfrapp, Jamiroquai, Justice and Björk, Braxe admits that the music he enjoys re-mixing is of the kind which is flexible, yet not too much like his own. “I like a really good vocal in the original mix. I’m not really excited about remixing house or dance music. I like to remix pop and hip-hop and basically any music which is not dance. Typically, if you have to remix a club track, it’s very hard to remix it because it’s already a club track, so you don’t know exactly what to do with it. I prefer to remix a down-tempo or rock track, because I’m actually adding the dance music value, and that makes it more exciting.”

2008 has seen Braxe release his new singles Addicted and Nightwatcher and after the experience of world-touring added to his assortment of professions, Braxe seems more than ever to be driven by the different reactions his – and others’ – music provokes from audiences. “The music being played in clubs now is quite similar all around the world; Melbourne, Paris, Sydney, New York. In Europe people are more shy than they are in Australia. The interesting difference in the dance community around the world is the people rather than the music.”

Alan Braxe will play from 2:30-4:00am at the Arena stage at Stonefest, on Friday October 31 at the University of Canberra.

THA REALNESS

I’ve said enough about him in his column over the years, so I won’t harp on, but just to let you know, Madlib (The Beat Konducta) has a new album out on BBE as part of their Beat Generation series called WLIB AM: King of the Wigflip. It’s incredible and you need it.

October will see the release of two mixtapes from the BTE camp, Ciecmate’s Pre-Emptive Strike and Maggot Mouf’s Anonymous.

Ciecmate’s release is a preview in lead up to February’s release of A Tale Of Two Cities by Ciecmate & Newsense and Maggot Mouf’s release is a bit of an introduction to Maggot

and is mixed by Ciecmate and DJ No Name Nathan.

New Obese records signing Dialectrix has just released his new single Outcast from his upcoming debut album Cycles of Survival.

Produced by Chasm, the tune combines harsh social criticism with an uprocking vibe and an unconformist ode to the creative process. Cycles of Survival is out October 18.

Funkoars new single Black Sally is available now via Itunes with an exclusive non-album b-side Don’t Take Me Home. You can hear the tune on their myspace as well! Their new album The Hangover is out on November 29 through Shogun.

Hailing from the everfertile hip-hop breeding ground of Adelaide come Common Cause with their newly

released debut album With A Purpose. Fuelled by bluesy, smoky heavy drum beats, the album combines its gritty suburban golden era production with honest, relevant lyricism and undeniable chemistry.

To Melbourne and the debut album from Fluent Form entitled Chapters of Substance. mate, Trem, Must, Mizari, Geko, Doc Savage and Methodz, you know the sounds are kept gritty and banging.

The Winter Stormz EP is a collaboration between UK rap leviathan Doctor Freud and Melbourne beat magician Methodz; together they are known as Purple Storms. The EP brings together the raw yet comical vocals from one of the UK’s brightest up and comers with the sounds of one of Australia’s most recognised (yet

"Albums are not as expected from underrated) beat makers performers unless Methodz. Featuring the there’s a conceptual thread Fluent that holds it likes of Purpose, together" Form and Phatchance,

with additional cuts form DJ Ilz, the EP is solid dope from start to finish.

Hot off the heels of their new album Music to Live

By Adelaide’s Terra Firma have just been added to the already mighty Rhyme Intervention 4 lineup on November 15 at the ANU! As if you didn’t need another reason to attend!

Elephant Traks are presenting the Treadbare Tour featuring Hermitude & Horrorshow at the Transit Bar on Wednesday October 29.

To hear music from all the above and more, tune to The Antidote on 2XX 98.3FM, every Tues night from 9:30 – 11pm.

ROSHAMBO

STONEFEST08 STONEFEST BMA PRESENTS THE OFFICIAL FESTIVAL GUIDE TO

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8.15 - 9.00PM 9.00 - 10.15PM 10.15 - 11.00PM 11.15 - 12.00AM 12.15 - 1.15AM 1.30 - 2.30AM

Fourthstate Spruce Lee Bumblebeez Dexter Alan Braxe (FR)

10.00 - 11.00PM 11.00 - 12.00AM 12.00 - 1.00AM 1.00 - 2.30AM 2.30 - 4.00AM

Ashleigh Mannix Snob Scrilla The Drones The Grates Faker The Dandy Warhols (USA) Grinspoon

12.00 - 1.00PM 1.30 - 2.30PM 3.00 - 4.00PM 4.30 - 5.30PM 6.00 - 7.00PM 7.30 - 8.30PM 9.00 - 10.00PM

THE ARENA: FRIDAY OCTOBER 31ST

SUPERSTAGE: SATURDAY NOVEMBER 1ST doors open 11.00am

UNIVERSITY DRIVE

Yes, it’s hard to believe alright, but it’s that time of year again. The long-standing entertainment juggernaut that is Stonefest is upon us once more, and with it comes BMA, wedging itself like a fat foot in the door of a party for the ultracool. So when yours eyes have stopped spinning from the night before, come and say g’day on the Saturday, and marvel at how good looking journalists can actually be. They’ll be things there for you to scoop. This magazine for one. Maybe lollies. Maybe pre-used suspenders. Maybe not.

Regardless, feel free to show up, and we’ll try our hardest not to hurl our trousers at you. No promises though.

Yours in tedium – ALLAN SKO

TICKETS

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FINE AND/OR DANDY

Justin Hook Australia is a strange and wonderful place. It’s not necessarily the heat, isolation, Bindi Irwin or mystifying appreciation of Powderfinger – but combine the first three and number four begins to make sense. No, Australia can be fascinating when it holds seemingly random artists close to its collective chest at the expense of others and flying in the face of trends or demographics. Take THE DANDY WARHOLS for example.

In the UK they are primarily known for being ‘that Vodafone band’, a reference to the once ubiquitous Bohemian Like You that seemed to be everywhere in the early 2000s. In Europe they’re a festival mainstay. In their homeland, the US, they’d struggle to get arrested. But in Australia the Dandy Warhols are semi-citizens; indeed drummer and regular phone interview dodger Brent de Borg is shacking up with a Melbourne native before the end of the year to cement the Dandys-Oz link once and for all.

Yes, Australian audiences have been kind to their supple blend of placid psychedelic power pop, astral drones and skinny legged hipster pouting.

Dandy’s guitarist Peter Holmstrom has a good idea why. “Australians get that we have sense of humour.” Take their breakthrough single Not If You Were The Last Junkie On Earth Earth, the semi-detached ironic tirade against heroin chic, nodding-off delivery and all. It takes a rugged sense of irony and humour to write a song lambasting vacant, aloof posturing whilst engaging in the very same behaviour all the way to the middle of the charts. Peter continues, “People don’t want their band to have a sense of humour. But personally I think it comes down to whether you like the music or not, it shouldn’t be about anything else. I know that having met some of my favourite bands, getting along with some of those people and not getting along with others – I made a conscious decision that music is not the people. You know – I can still like the music even if I don’t like the people… and it doesn’t seem like it should be that hard, but it was. It was a bit of a dilemma with a certain band.” Not that he’s naming names or anything, damn you Holmstrom! Kill Yr Idols indeed, as industry iconoclasts Sonic Youth once proposed. Figuratively, not literally. Of course.

But this business called music is a fickle, fad driven beast, “It seems like in England our audience has just gotten older, the influx of new listeners hasn’t really come in. England is such a trendy market so I’m not that surprised; what we’re doing now doesn’t sound like anything that’s popular. Everywhere else, it’s the full spectrum.” Moving beyond any nominal ‘scene’ would surely be the goal of any band hoping for longevity, and the Dandy’s are no different; releasing seven albums over fifteen years with the most recent, back to basics release …Earth to the Dandy Warhols on their own Beat The World Records, after exiting heavyweights Capitol Records. “It makes perfect sense, we’re not making music for just one thing, it’s not supposed to be connected to just one person. We’re making records that are a permanent thing.” As Holmstrom agrees however, time will be the ultimate test.

The move to complete independence hasn’t been a dramatic shock to the band, as Holmstrom explains, “We’re involved in every decision, but it doesn’t seem that much different from before because so much of the machine was already set up and it had nothing to do with Capitol Records… you know, they just put the records out.” Touring, bookings and all other support functions were farmed out beforehand and you get the impression that the band’s relationship with a nasty major label was purely dutiful. “It’s much the same as before, except that nobody says no!” Ah yes – the devil hands of meddling studio hacks knocking down every good idea and offering a posse of redundant ones. The Dandys should make a documentary about that one day.

Warming to the topic of total control the laconic guitarist continues, “You know there have been plenty of ideas that have been completely not feasible, and we realise that as time goes by. But nobody says so right up front. So it feels like we get to work things through, we get to learn and not get shot down.” The dissolution of the old system has increasingly created possibilities for new bands, and if you’re reading this whilst listening to a digitally compressed music file, well so much of such a simple task is tied up in the new way that I doubt you could consider waiting for official release dates before hitting the bit-torrent sites. Let alone what it means to stand up to turn a record over to listen to Side B. Or working horrific soot soaked 12-hour shifts down a pit.

But now’s not the time for hollow nostalgia of the industrial revolution. “You have to change, because the old ways never really worked, and they never did. We always felt like we didn’t get everything out of the label, there were things they weren’t doing or even willing to try. We felt like we never really fitted into any of the genres or any of the little boxes they wanted to fit us into so when we said no it would hurt people’s feelings, which is really silly. We just didn’t want to do anything that was embarrassing or pointless. It was just frustrating.”

Not that it ever called into question the purpose or drive of the band. Like Brando in a tight white shirt rage, they just wanted to stick it to The Man. “We just always had someone to rebel against.” Now that they are fully self managed and released, it might be difficult to find a suitable focus of their rebellion, perhaps it will be turned inwards. “No, we’ll find something else.”

Playing in Canberra for the first time in eight years at the 40th Anniversary Stonefest sounds like a pleasant outing for Holmstrom and co. “I love playing festivals, it feels like summer camp.” And depending on the largesse of organisers we may be lucky and get a marathon, Grateful Dead-esque wig out. “We’re finding it very, very difficult to play under two hours because of the amount of songs we have, most of which we feel like we’re expected to play.” Then as if to point at the staggeringly obvious Holmstrom adds with a wry laugh, “There’s no usually with us.”

The Dandy Warhols play the Stonefest Superstage on Saturday November 1st at 7.30pm. ...Earth To The Dandy Warhols is out now through Inertia.

Thirteen years and five albums deep, GRINSPOON exemplify Australian rock to the very core. Finishing off the 40th celebration on the Saturday evening will be this mighty sonic fury – make sure to keep your energy on tap. Check out the full Grinspoon inteview on p. 12.

n ALAN BRAXE has bee h as responsible for tracks suc h You Music Sound Better Wit Daft (as Stardust, along with ter), Punk’s Thomas Bangla along Intro (with Fred Falke), for with numerous remixes rk, Bjö as ied var as artists , Britney Spears, Goldfrapp tice.

Kelis, Jamiroquai and Jus xe Check out the full Alan Bra p, p. 17 Dro ce Dan the on w intervie

Formed in Sydney 1996, you already know FAKER for their massive This Heart Attack single, off their second releas e Be Twilight. With ARIA nominations for Best Rock Album, Best Group and Best Single, expect to see plenty of energy within the band and throughout the fans.

REGURGITATOR continues to take us on a journey throug h time and space, and the power of the fusion lick. Formed in 1994, Ben, Quan & Martin Lee started a band around the other bands they had at the time — Regurgitator was an appropriate moniker to describe the assembled mass of styles, sounds & attitudes, fueled as much by their ironic & geek nature as their irreverent take on themselves, corpo rate culture and human social behaviour. Fast forward to 2008, and Regurgitator still embody each and every one of those elements.

Like all truly great bands, THE GRATES began as a bit of a joke.

John had heard Patience do karaoke before, so when she suggested they form a band, he was apprehensive to say the least.

For The Grates’ debut album, their signature animal was the giraffe . It was a fitting match: that year, the album towered over all other beasts, made mammoth strides, and won the affection of the people, both here and abroad. Two years later, The Grates present second album , Teeth Lost, Hearts Won: an entirely different animal altogether.

Teeth Lost, Hearts Won might be a griffin, it might be a Where The Wild Things Are monster. But either way, it’s the sound of a band unafra id to bite.

The new world of THE DRONES is an exotic place, one populated by dark corners, rarely explored avenues, sparse canvases and dense, exhilarating peaks. Havilah,, their fourth studio LP, is an album of contradictions, with vaguely familiar nods to Neil Young’s paint-stripping guitar spasms and deliciously meandering pop dirges of Suicide and the Velvet Underground.

For the past decade four times DMC Australian champ DEXTER has constantly challenged the perception of DJ’ing and turntablism, delighting fans the world over. His 2nd placing in the 2000 world DMC finals is testimony to this, innovating his own style and being compared to noone. Dropping the old with the new, the classics with the obscure, each record seamlessly forced in to the next, building up into explosions of joy and madness, creating an atmosphere only he knows how to create. His ability to bring soul, originality & happiness to the dancefloor is his only aim and is cherished by thousands of punters throughout the world.

BMA PRESENTS THE OFFICIAL FESTIVAL GUIDE TO

STONEFEST08

Australia’s premier hard-hitting, politically charged, live urban roots crew BLUE KING BROWN are currently working on their second album, set to drop in 2009. They have been travelling worldwide from Melbourne to Kingston Jamaica, New York to San Francisco and Aoteoroa, working with the likes of Sly and Robbie, Jah Mason, and the legendary Santana.

The BUMBLEBEEZ unleashed Prince Umberto & The Princess Of Ill in 2007, containing the extremely potent Dr. Love potion. It’s been a good six years since having been chosen as Triple J’s Unearthed Canberra representatives, having taken their cut and paste hip hop and rcok twists (with bits and pieces of doo wop, garage, reggae, grime and acid all seeping into the mix) worldwide. era lyricism, Ninja red love of Native Tongues Forming in 2001 out of a sha originality, TZU flows, slick beats and bold Tunes production, freestyle sful groups in the st well respected and succes have become one of the mo Computer Love, scene. Their latest album, burgeoning Australian hiphop to established artists from underground legends announced TZU’s graduation MPC/ sampler arranger nsisting of two rappers, one at the top of their game. Co a world class live four members of TZU put on and a bass/synth player, the electronica and the cutting edge technology of show that incorporates the of live music. energy and visual dynamic nce — vocal harmonies KORA are a five piece band with huge live prese Wellington, Whakatane, from g hailin n, sectio sailing on a powerhouse rhythm during 2005 with and Aotearoa. Kora visited Australia for the first time recently supported and , Drop y’s Fredd Fat countrymen Salmonella Dub & released in was album itled self-t t debu Cog on their latest tour. Kora’s charts — debuting NZ l officia the of top the to October 2007 and shot straight of slowing down. in the Number 1 slot. Kora are showing no signs ASHLEIGH MANNIX picked up her first guitar at the age of 11. In the years that have followed Ashleigh has molded her musical self, writing and traveling largely solo. She has created an expanding library of songs that channel her disarming honesty and a warm charisma that infects and leaves audiences all over converted.

SPRUCE LEE plays good bass musics, as part of Sydney’s uptempo Ro Sham Bo Crew. Given props by the likes of Diplo for his truly delectable shake and hip drop bmore Dave Dobbyn Slice Of Heaven remix, Spruce is what’s really real.

In the outer planetary underground of tomorrow’s yesterday, the Alien-Nation is preparing to go to war with the powers that be to decide who will control the soundscape of the universe. No longer content to exist on obscure planets the Alien-Nation found a voice of true freshness to rally behind in an unlikely hero, a human they call SNOB SCRILLA, who has travelled to the far reaches of the universe gathering the essence of the dopest MC, the knowledge of the paramount drum, and the most advanced synth technology.

Canberra’s most despicable DJ duo; the TWO TERRORBLE TABLISTS, consists of Buick (2 x ACT DMC champion) & DJ Paypercutts (0 x ACT DMC champion). Formed in 1988 during the great breakdance drought of eastern Australasia, they combined their powers to terrorise crowds with bleeding earfuls of anything from hip-hop, classic funk, heavy metal, d ‘n b and dubstep, mixed with gusto. t’s now time for you to witness the Terrorble Too, ruining all of your favorite songs in a fashion only a Terrorble Tablist could. Shazam!

BMA PRESENTS THE OFFICIAL FESTIVAL GUIDE TO

FOURTHSTATE is DJ and creator of tech-funk with a driving progressive and tech edge. From minima l to nu-skool underground sounds var ying from deep, dark & tribal through to melodic & twisted tech-breaks, dubstep and everything in & through. Driven sea mlessly into a plateau of sweet layers formed perfectly for sweeping in and out of the conciousness.

Having played with the likes of Hybrid, James Zabiela, The Plu mp DJs, and praise production-wise from Anthony Pappa, and Eve Falcon.

STONEFEST08

PUNKSKA

Thirst d e n r a E d r a H For A idea for a et a stupid “Usually we g take it from there” song title and

Shailla Van Raad Self-described as a “yobbo Australian band”, the VEE BEES are certainly a band that have been around the beaten bush a few times.

Hailing from all parts of Southern NSW, the members of the Vee Bees are all country boys at heart. “We get together, jam whenever everyone happens to be in town. Sometimes we play in Cooma, Wollongong, and Canberra. Canberra’s music scene is really incestuous. Everyone knows everyone; you can’t get away from it.”

Originally forming in 2000 the band consists of Gleno (bass), Tomo (drums), Norro (vocals) and Simo. If that’s too many ‘os’ for you to handle I suggest you don’t read on. In 2004, Simo left the band “because he was more interested in kickboxing than music”, which the amused Norro explains. “We’ve all known each other for a while; Dave and Tom went to school together. Eventually we all became mates and formed the band.”

The band have been very busy bees lately. “The band is essentially part time because we have all this other shit in our lives going on. We all work full time; the band right now is just a hobby and in the last two years we have written about three songs. But hopefully early next year there won’t be as many kids around and we’ll record an EP and release it around that time.” When the Vee Bees play they don’t hum. They make a jam out of dumb shit. Mmm, honeyed dumb shit, such goodness. Talented, these boys are.“Most of what we play is dumb shit. Usually we get a stupid idea for a song title and take it from there. We jam and make up the lyrics. We sing about stuff we like; we’re not here to make big statements, we’re just here to make music and a bit of fun. Everyone in the band plays music for one reason or another but we don’t take it too seriously.”

Besides being so overwrought with work, the Vee Bees are also very proud of their efforts, as musicians and dads.“This is a first for a band in Canberra or Australia. As a combined effort we have had three kids in ten months, how crazy is that? The kids can’t come to band practice yet, the oldest right now is two and a half, but a few years down the track … we’ll see.”

So where do the Bees like to play best? “We played in Sydney once. I don’t like Sydney too much, it’s too sceney. It’s too cool. We played in Melbourne and the people there are really laid back, they don’t worry too much about how cool they are, what kind of image they present.

We’re all about playing music; we don’t go out of our way to be cool.”

The big city smoke doesn’t seem to attract their attention as much as their natural habitat; the countryside, wide open spaces and cars. “On our last tour we played at the Summernats Festival. This is a street car festival that happens every year in the ACT. We played for all of the four days, twenty hours in total. This was recorded as a live album which is due to be released at the end of the year.”

The Vee Bees will play at Vagabondage on Saturday October 25 at the Basement. Joining them will be Hell City Glamours, Meat Beater and The Toxic Men. Entry is 10 clams.

Bailing out the Banks, it’s the publicly subsidized, privately profitable Punk ‘n’ Ska News, direct from the frontlines of the class war, shouting ‘jump, you bastards!’ Some punk shows coming up in Belconnen. Local Resident Failure (NSW) and Reason Strikes (NSW) join locals Outcome Unknown and Yoko Oh No at The Basement (October 18), then Sydney’s Repo Man and Taipan join Eat a Brick (Tuross), Eye-Gouge!, Cold Front and All In Brawl at the Pot Belly (October 24).

Only $10 and the first band kicks off at 9:30 sharp!

On Halloween, The Toxicmen, Mafia, The Bastards and Short Fuse revive an inglorious punk tradition, putting on a Misfits Tribute Show at The Basement (October 31). Pioneers of horror punk, The Misfits (formed 1977) played annually on Halloween, wearing ghoulish makeup and bassist Jerry Only reputedly invented a hairstyle called the devilock, with the bangs coming to a point in front of the nose or chin, a style still worn by fans (A.K.A. Fiends) today. The Toxicmen also hope to have their 15-track debut album on sale for $2.

Fast-paced, brass-heavy US ska punkers, Streetlight Manifesto are touring downunda, but unfortunately (and typically) will miss Canberra!

Touring with Dan Potthast and The Resignators, catch them at the Annandale Hotel in Sydney (October 31). Check their myspace for music (myspace.com/streetlightmanifesto).

The Specials reunited for the Isle of Wight’s Bestival, in September, their first show since their 1981 split. Co-founder and keyboardist Jerry Dammers wasn’t involved, the band was billed as Terry Hall and Friends. The almost Specials performed a greatest hits-filled set, including A Message To You, Rudy and Monkey Man. The same weekend, old skool punks X-Ray Spex reformed for the first time since 1995, performing their entire album Germ Free Adolescents (1978 ) at London’s Roundhouse venue. Like The Specials, X-Ray Spex performed with an altered line-up, as original guitarist Jak Airport died of cancer in 2004.

Until We’re Dead (Fat Wreck Chords), the new LP from Scott Sturgeon’s (Leftover Crack/Choking Victim) band, the Star Fucking Hipsters should be available soon. Check the online video of the band performing 9/11 was an Inside Joke live in New York, plus a number of other new songs (http://www.youtube.com/watch?v=zEXBHE6LRMY&NR=1).

Need a laugh!? A video of grannies covering Sex Pistols songs has been posted from the new exhibition No Future at the Sydney Biennale 2008. The exhibit transforms the gallery into a rehearsal space for a punk band of volunteers who are over the age of 80 years. In the space they rehearse the 1977 Sex Pistol’s hit, God Save the Queen, originally banned from the BBC but topped charts anyway. The band gathers for practice and performs in public whenever they please during the gallery’s opening hours, during which their sessions are videotaped and recorded to be released on DVD and CD at the end of the Biennale. (www.youtube.com/watch?v=r5Fpv24bpN4) April 1982: The Misfits headline a bill in San Francisco, which includes Jody Foster’s Army, The Meat Puppets, The Undead et al. Eugene Robinson reviewed the show for Ripper magazine: “When they walked onstage…I knew there was something wrong, call it a feeling in my gut but these guys looked like…KISS! They weren’t though, they were bigger...They started playing and people started throwing beer cans.

The drummer jumps into the audience and starts pounding some kid…

The Misfits squeeze in a couple more songs – straight on garbage, rock and roll done by guys in funny costumes. The guitarist slaps Chris Cross, Santa Cruz’s most dangerous punkette, giving her a bloody lip and soon after unleashes his guitar and brings it down over Timmy, a fourteenyear old punk from Berkeley… The Misfits attempted to return and were again shouted down and off the stage. They had done a total of three songs, three songs too many for my taste…”

Oi Oi that’s yer lot!

SIMON HOBBS Next deadline is November 3. Send news, gig promos and abuse to rudebwaay@gmail.com

Kill The Pig! !

Slit Her Tquhitreoaabt it onstage

“I do drinks… y’know, idle hands” sometime

Nickamc

PIG DESTROYER is a name that can easily be cast off by the regular BMA reader, as it falls into the category of stereotypical metal band names.

You know the type I mean; the bands who have their name on the album covers in a barely legible typeface, letters running together and resembling a blood-spatter design. The album covers all portray some scene of horrific disrepair, a person with body parts missing, half naked women mostly dismembered, ungodly creatures devouring children. It all makes for a pretty brutal introduction, and that’s the point. It seems that’s what holds extreme metal back from ever being accepted as a mainstream genre, but Pig Destroyer are proving to be an exception to that rule. While Pig Destroyer’s lyrics are extremely confronting, dealing with fictionalised events depicting torture, murder, and ugly fetishes, and their music is extremely fast, short and straight to the skull, everything about the band is dealt out with a firm tongue in cheek, or at least a tongue in axe-wound.

If you’ve never heard of them, they are easily the killerest grindcore band to rise out of the USA in the last few years (rivaled only by Discordance Axis). They’ve released three amazingly successful full length albums on Relapse since 2001, and are currently finding themselves at the top of their popularity with their Phantom Limb record. Joining PD recently as a sound and effect manipulator, Blake Harrison gets tired of answering questions on their success. “Sometimes I think we’re a little too big for what we are. But it’s definitely flattering. We’re not trying to be exclusionary, or necessarily underground, we’re not writing or doing anything to cater to any mainstream success. We just kinda play, and do what we want.”

As successful as the metal press may term them to be, everyone in Pig Destroyer has a day job. “Scott is the family man and works for the government, I do sound engineering stuff, and Brian and J.R. work for a survey company. We’re all work-a-day guys, and that means that we can only do short tours of a few weeks at a time.”

Being a sound guy in a metal band is an interesting prospect. Everyone thrashes around onstage like crazy (or should do, if they have any live credibility as a band), behind a drumkit or some type of guitar, or with a mic in hand, badgering the crowd. A sound guy is held behind a desk with his or her myriad of pedals, effects boxes and often a keyboard or two. I asked Blake what he does to get into the music with having an instrument in hand, and what he thinks an electronic influence can bring to a metal band.

“It was a little awkward at first, but I just get into the music. I do drink quite a bit onstage sometimes… y’know, idle hands, but I was a guitar player and a bass player and a vocalist in bands before Pig Destroyer, so I try to keep my options open. Any direct influences come from Swans, Godflesh, Steel Pole Bathtub, Autechre, Coil, that’s what I’m mostly trying to draw from, but I’m mainly just trying to create a mood, make it personal.”

Rather than have bands thrust upon them by their label when they tour, PD try to search out bands from the place they’re visiting that they’d like to see.

“Grey Daturas are doing some shows, which we’re pretty stoked on, and Blood Duster. I mean, we’re really really excited to play with them. They were on Relapse too for a while, and I saw their first and only stateside appearance, and I was really excited about that. I don’t even know if I want to play after them.”

To make Pig Destroyer’s Canberra even more of an event to attend, it’s also the last ever show at the Greenroom and 4Dead are also playing, with their long ban at the venue finally lifted. Guaranteed to be a venue wrecking event, this one.

Pig Destroyer play the Greenroom on October 31, with Terrorust, 4Dead and Aeon Of Horus. Tickets from Moshtix: Ph: 1300 438 849: www.moshtix.com.au

Can't Start A Fire Without A Spark “Some songs in the album have that feeling of regret, like a lot of postcards I wish I’d never sent or things I wish I’d never said” Caitlin Croucher Alex Burnett believes that all men should write emotionally sensitive lyrics and that a sensible haircut is far easier to groom. He’s the lead vocals and guitar in Australia’s latest pop/rock darlings SPARKADIA, a band who quite frankly “Can’t grow our hair out quick enough these days”. Alex is also driving and talking on the phone at the same time, but that’s ok because he’s a rock star with feelings and they’re supposed to live life on the edge, aren’t they? “Yeah, I mean we’re not Motley Crew.

But we like to have a good time, you know.”

These three guys and a girl (insert wacky sitcom here) were signed to British label Ark Recordings in 2006 and pretty soon after began churning out their debut album Postcards in the UK. A somewhat intimidating experience, considering the closest the Sparkadia guys had been to a proper studio set up before this was in a basement with a fridge full of cheese. “Recording our first studio album was amazing,” Alex fondly recalls. “We’d never been over seas as a band before… never used a producer and suddenly we’re in this studio which is the total pedigree of the best rock and roll. The Killer’s had just finished recording Sam’s Town when we walked in.”

Despite having the cream of recording at their tips, the band weren’t particularly fussed with the end result of Postcards as long as their sound retained at least some of that authentic, virgin-album-feel. “A lot of bands want that really perfect, polished sound,” explains Alex. “We didn’t even think about that kind of thing. Sometimes a new band will get far too hung up on perfection and it ends up sounding almost too polished.” So what exactly did the ol’ Sparkies think about when writing Postcards?

Actually, why call it Postcards in the first place? Surely it’s all about Facebook now. “Some songs in the album have that feeling of regret, like a lot of postcards I wish I’d never sent or things I wish I’d never said,” Alex admits. “And some are postcards I wish I had sent but never did…”

Not that it’s all sit-in-the-dark-and-cry material. “There’s a lot of hope in there,” Alex is quick to point out. “Just some bittersweet moments too.” The whole album is supposed to be something that everybody can relate to. “We made something that the whole band would want to listen to. But we wanted something timeless too.”

Oh yeah, they also get points for having a girl in the band that isn’t a bass player or an ex-Neighbours rebound. “Tiffany (guitar and vocals) was originally an actress but she didn’t want to be one of those hybrid chicks who’s a model, an actress and a musician. Lucky ours could already play guitar!”

Sparkadia will be available for drunken swaying singalongs at Trackside on Saturday November 22. They will also be at the ANU Bar, October 22 with special guests Gin Wigmore and Oh Mercy. Tickets available from the venue: (02) 6125 8101, Ticketek: 132 849 www.ticketek.com.au and sparkadia.oztix. com.au

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I Trip She Skip

COMING SOON: FRI 24th October

omfortable inort c re a u o y n e s “Wh gs will always in th , s o a h c e th ut” themselves o

THE VINES WOLF & CUB SAT 25th October

SKIPPING GIRL VINEGAR THURS 6th October

THEREDSUNBAND & YOUTH GROUP

Shailla Van Raad

THURS 13th November

YOU AM I

Brought to you by an iconic Melbournian sign, SKIPPING GIRL VINEGAR are named after Audrey, the ‘skipping girl” of Richmond. SGV are Chris Helm (drums), Mark Lang (lead vox, guitar), Amanthi Lynch (keys) and Sare Lang (bass). Although their name originates from a Victorian vinegar ad, SGV would rather be associated with the folk genre and its story-telling qualities, rather than just an acidic food additive.

“In the folk tradition you do that kind of stuff, you tell stories through music. There is a power in telling stories. I’ve always been influenced by the likes of Bob Dylan and Simon and Garfunkel,” Mark explains, with a furrowed-brow phone voice.“As a songwriter I write from personal experiences – I try to encapsulate poetic phrases that can have many meanings. I like there to be more to lyrical depth. I try to leave lyrics to be open ended.”

This unlikely quartet, having graced the Australian airwaves with their blues-inspired sound, had a very unusual formation. “Chris and I bumped into each other in our teens and we have very similar music tastes. My sister and her friend Sarah were in a band together, and share similar taste too, but it’s different from Chris’ and mine. We got together though, and the two different styles seemed to complement each other; the harmonies really worked.”

Folk has now entered the building, and with it, its roots, which explore a variety of natural sound. “The music we make is very organic. We use natural sounding things. Some of our songs are recorded in the bedroom, kitchen and lounge room. It’s not slick production. For example, in our song One Chance you can hear Mark stomping in the kitchen and the fridge is muffling sound in the background.”

SGV’s new album, Sift The Noise, is definitely something to be proud of because of what it stands for and also its distinctive individuality. “It took years to get this album started. We decided to write as a writing collective.

We used a seasonal process, usually used in farming, to write. There are a million things to do in a band and it was hard to focus. So we decided to only focus on one thing, such as writing for example, and eventually let it take care of itself. Like servicing the season you’re in. You’ll know when the time is right to move onto the next thing. When you are comfortable in the chaos, things will always sort themselves out.”

“This record is about doing things you love and how we all come across obstacles when you pursue the things you love. It’s about struggle in all facets of life and finding the cracks of hope.” SGV are a proudly Australian band and want to keep their revenue strictly Australian, and took action to this effect. “We wanted to have an independent label. I think it’s important for the music to stay local. MGM agreed to be our distributor and backed us to stay independent. MGM isn’t like those major record labels that act like Rumplestiltskin. We’re into building relationships in the long term.”

So where to from here? “Eventually we want to tour the US and Europe and establish more of a fanbase there, but we’re not there yet and you should believe it when you see it.” Besides being appealing, soulful and catchy SGV are even a good source for some relationship advice. “Bands are like relationships, like a marriage, you need to maintain them and put effort in.”

Skipping GIrl Vinegar will play at the ANU Bar on Saturday October 25, joined

by Hancock Basement. Tickets are $10 at the door. Doors open at 8pm.

August/September FRI 17th

RAVEN CLOTHING & ASPHYXIATE RECORDS present CEMETRY URN SANGUINARY MISANTHROPIA AEON OF HORUS $10

SAT 18th

SPRING BREAK feat A-LOVE & THE LOST EVIDENCE AXE AKLINS DANIELSAN DJ JOSIE STYLES STUNAMI MC HAZLEQUIN $10

SUN 19th

Frontier Touring, Triple J, Max & Faster Louder.com present

MICHAEL FRANTI & SPEARHEAD THE WINNIE COOPERS DJ NICK TOTH Tix on sale NOW @ Ticketek $55.70*

WED 22nd

SPARKADIA + SPECIAL GUESTS Tix on sale NOW @ Ticketek $18.75*

*Tickets thru Ticketek. Transaction fees apply.

Pre-purchase tickets & guarantee entry!

BLACKBOX be hosted by Hamish, Andy and James Mathison, which shouldn’t come as a huge surprise. Without platinum selling albums from Silverchair or Powderfinger, the awards might even warrant a wager with friends.

The music industry’s night-ofnights is almost upon us and unlike the Oscars, Emmys or Logies, sunglasses and bondage wear are guaranteed to make an appearance on the red carpet.

The 22nd Annual ARIA Awards (SCTEN, Sun Oct 19, 7.30pm) will

On a musical note, Rainman goes to Rockwiz (SBS, Wed Oct 22, 8pm) as it follows music aficionado Mark Boerebach as a guest on Rockwiz. Mark, who was born blind and diagnosed with Asperger’s syndrome, is a font of knowledge about Australian ’80s music and lists the Xanadu soundtrack as his favourite album.

The episode of Rockwiz (SBS, Sat, 9.20pm) airs on October 25.

Other music shows to look out for include London Live (ABC2, Sun Oct 19, 12pm) with Morrissey, Mohair, Wolfmother and Goldfrapp, Classic Albums: Sex Pistols: Never Mind the Bollocks (ABC2, Fri Oct 24, 10.30pm) and Scott Walker: 30 Century Man (ABC2, Sun Oct 26, 8.30pm) which features interviews with the likes of David Bowie, Radiohead, Jarvis Cocker, Alison Goldfrapp and Brian Eno.

Fans of Californication (SCTEN, Sun, 10pm) who were concerned that last season’s happily-everafter tie-up would be the end of Hank’s sleazy ways should be unconcerned, if last week’s season opener is anything to go by, the writer’s aren’t done with jumping over boundaries. The best news of the fortnight is the return of Stupid Stupid Man (ABC1, Wed, 9pm) filling the void left by The Hollowmen, which will be sadly missed.

The folks behind Pizza have a brand new comedy – Swifty and Shift Couriers (SBS, Mon Oct 27, 8.30pm) has an eclectic cast that includes Ian Turpie, Amanda Keller, Melissa Tkautz, Paul Fenech and Angry Anderson among others.

Now Blackbox is not usually a forum to promote any kind of business news or financial show but the topic for this week’s Insight (SBS, Tue Oct 21, 7.30pm) is an exception. In the wake of the financial market uncertainty the program is looking at whether greed is to blame – could make interesting viewing. In the documentary stakes, First Australians (SBS, Sun, 8.35pm and Tue, 8.30pm) continues until November, Run Granny Run (SBS, Tue Oct 21, 10.05pm) looks at 89-yearold Doris Haddock, who after walking 3200 miles to protest against the influence of big money in US elections, became a senator, The Choice 2008 (SBS, Tue Oct 28, 10.05pm) which looks at the biographies of Barack Obama and John McCain, and Infamous Victory: Ben Chifley’s battle for coal (ABC1, Thu Nov 6, 8.30pm).

West Wing fans and other political geeks shouldn’t miss Mister President (SBS, Fri Oct 31, 7.30pm) which looks at how the White House is portrayed on film and TV. Series returning this week include The Office (SCTEN, Sun Oct 26, 10.20pm), The Zoo (Prime, Tue Oct 21, 7.30pm).

Thought for the week – Battlefronts (WIN, Sun, 6.30pm) – if the networks scrape any further for lifestyle show ideas, they are sure to put a hole in the bottle of the barrel soon.

TRACY HEFFERNAN tracyheffernan@bigpond.com

THEATRE COLUMN dancing) check out the website at www.bollywooddimensions. com.au The show will be on at the Street Theatre on Sunday December 14, so get to the BO on 62471223, or check out the website at www.thestreet.org.au.

Playground Oh for a time machine! I’d find a Sports Almanac, go back in time, give it to my past self to make my future self rich, and at the same time I’d write Theatre Column so it would actually be in by deadline.

[Ed - Damn right!]

Shoot to Kill The second Hunting Season show raises its sights on Street audiences THIS WEEK ONLY. The double-bill performances, under the umbrella care of the Street’s Made in Canberra project, features two shows specifically devised for the Hunting Season.

COGnition is a sound and sightscape exploring the human body and the rapid evolution of technology, while Papyrophobia, In Yellow, is a one-act play drawing on writing by T.S. Eliot, Virginia Woolf, Peter Schaffer, and the wonderful Charlotte Perkins Gilman story, The Yellow Wallpaper.

The Street Theatre presents Made in Canberra: The Hunting Season’s We Come in Peace Shoot To Kill.

At Street 1, now until Saturday October 18 @ 7.30pm. Matinee Saturday October 18 @ 2pm.

Tickets $8, bargain! Phone the BO on 6247 1223 for info and bookings.

Aaja Nachle No, it’s not one of the preposterously-named starlets on the sadly canned new 90210, but the end of year show from dance school Bollywood Dimensions.

Aaja Nachle – literally ‘Come and Dance’ – takes the audience on a trip on the emotional rollercoaster that is Bollywood dancing.

BOLLYWOOD DIMENSIONS

It’s a Christmas show so this may seem pre-emptive, but tickets sold fast for last year’s show, Enter My Heart, so you may want to book. For info on Bollywood Dimensions (especially if you think you’d like to have a crack at

Again at the Street – do they not draw breath over there?

– is another Made in Canberra initiative. The performance of the 2008 Playground Young Playwrights Competition, a venture set up by Naomi Brouwer’s Shanks Pony in conjunction with Canberra Youth

Theatre, will feature two one act plays by young’n’emergings: I’ll See Your Heart And Raise You Mine by Patrick J. Mullins, and Rose Petals by Farnoush Parsiavashi.

The Street presents Made in Canberra: Playground 2008, from Wednesday October 29 to Saturday November 1 @ 7.30pm. Tix $18. You know the number to call.

Notes to future self Remember: Rep’s Cosi, up at the end of November. Also Picnic at Hanging Rock, Free Rain’s show from October 30 to November 15. The next NUTS production, an adaptation of Ken Kesey’s One Flew Over the Cuckoo’s Nest.

Also the NUTS Ball, sometime around October (maybe check out the NUTS Facebook page for more info?). Remember all these, current self, so that future self doesn’t look like an ass. Again.

NAOMI MILTHORPE princessnaea@gmail.com

DISCOLOGY SINGLED OUT

WITH DAVE RUBY HOWE Bag Raiders Turbo Love (Bang Gang 12 Inches) This is why Bag Raiders are the best thing around in Australian electro. Side one’s Turbo Love is clench-fisted electro explosion complete with chest-rattling drums, crunchy synths and robotic chants, while side two sees the Raiders exploring some surprisingly smooth disco areas with a helping hand from Ted of Ted & Francis for some blue-eyed soul crooning. Both are amazing, both will be played endlessly, so get ’em now.

Cut Off Your Hands Happy As Can Be (Speak N Spell) They can’t put a foot wrong. It’s not even the best tune off of You And I, but it’s still some of the most outstanding and electrifying indie rock around. Hats off to Bernard Butler for expanding Cut Off Your Hands’ palette a little more; his influence is subtle, but oh so impactful. But COYH are the real stars here. They’re hopelessly in love with being hopelessly in love and not afraid to bare that rush and excitement on record. So very good.

Jessica Mauboy ft. Flo Rida Running Back (Sony BMG) Give them credit for trying pretty damn hard to get Mauboy’s career out of the toilet. Young Divas is like a cemetery for Idols but someone clearly thought Jessica Mauboy had some life in her yet. So over some fairly glitzy production and even a Flo Rida guest spot, here’s Mauboy doing her best to keep up. But let’s face it, even with all this money and schmaltz, she doesn’t sound like a star.

Roots Manuva Let The Spirit (Big Dada) Roots is evidently still one of the smartest rhymers out there. Not only are his verses filled with intelligent, inspired turns of phrase but he also called up Metronomy for some spazzed-out bubble-gum beats on this one. It’s a smart pairing really, and Roots saunters all over Metronomy’s tweaked-synth production like it was a playground.

T.I. Whatever You Like (Warner) I guess this is like T.I.’s version of a love song. Over some huge sounding synths and jittery snare hits, T.I. explains to his prospective boo’s out there how it works when you ride with him. He’ll buy you whatever you like, whenever you like but just make sure you provide him with that pussy. Whenever he likes. Shucks.

The Botticellis Old Home Movies (Antenna Farm Records) This is a San Francisco-based band with limited distribution in Australia, so you’ll have to buy the CD or record on-line. Old Home Movies was written over four years and is a beautifully refined album, produced with the help of Anton Patzner (the controlling man in Bright Eyes), and it sounds like Decoder Ring, the Strokes and the Saboteurs getting together for a white-wine party on a public holiday afternoon.

There are several swoony mellow tracks with harmonised vocals, but there is also a decent pace to songs like Old Home Movies and New Room. The album finishes with a cute 50 second lovesong. Don’t tell them, but the Botticellis are not psychedelic or drugged-out like they claim to be. They’re too crisp and well arranged. In fact, this album seems to be their ticket into the basket of a tightly coiled catapault, which will fling them over the walls of large indie record labels so they can jump onto the Arcade Fire’s tour bus.

LUCY BATTERSBY Youth Group The Night Is Ours (Phantom Sound and Vision) The Night is Ours proves that Youth Group are more than simply that band who had the OC song. The album is less guitar-led than previous work with the sound feeling much richer and layered. Personally I was surprised by the depth of sound evident on many tracks. It’s atmospheric without being pretentious. All This Will Pass is a prime example of just what a talented writer Toby Martin is. A beautifully structured album.

CARIRNGTON CLARKE Red Jezebel How I Learnt To Stop Worrying (PIid) What a find this album turned out to be! Red Jezebel are another of the very talented groups emerging (though apparently they’ve been around for ten years, who knew?) from Perth. This album is one of the best Australian indie rock releases I’ve heard in a while.

The album is consistent with More Than You’ll Ever Know and Kicking Deadly Sins standing out from the pack. Well worth a listen.

CARRINGTON CLARKE

Emily Barker Photos.Fires.Fables. (Qstik/MGM) Photos.Fire.Fables is the re-released, re-mastered debut solo album from London via Bridgetown, WA songstress and all round talent Emily Barker. Backed by her touring band the Red Clay Halo, the album’s songs are a delicate balance of folk and country music, with simple and strong traditional arrangements and instruments.

Central is Emily’s superb voice, which spins from a hushed and effortless bliss to a rattling scrape reminiscent of Lucida Williams, Emmylou Harris and Gillian Welch (from who The Red Clay Halo presumably take their name).

Featuring a sombre murder ballad with Steve Adams (The Broken Family Band), and the occasional Balkan influenced flourish, Photos.Fires.Fables is far from a dull album. Yet despite this, apart from a few stunning moments the songs struggle to raise themselves up to the quality of the players or Emily’s voice. It is an elegant and polished debut that never quite crosses the border into brilliance, instead hopefully acting as a taste of really great things to come.

OWEN M. CARROLL The Subways All or Nothing (Warner) The Subways’ debut LP Young For Eternity exhibited a group who was able to take alternative rock – a genre struggling for bands to resuscitate its worn, bland, and almost passé reputation of late – and make an album worthy of the critical acclaim which, in 2005, was often reserved for indie and post-punk cover groups.

At that stage, these latter groups hadn’t quite worn out their welcome. All or

Nothing, ironically, delivers the type of music that sceptics of alternative rock’s future would have expected three years ago. The album was produced by Butch Vig, a pull-factor which it would be expected could give some vague semblance of quality or integrity to this album, however unfortunately his expertise seem to be wasted (or maybe simply absent). The band sounds like they’re attempting to be heavier and, on some tracks, even straying into the realms of noise/fuzz/stoner rock, thereby abandoning the incredible fusion of pop and rock that made Young For Eternity stand out from the rest of the chaff floating about. The indie wave of the past six years is finally beginning to recede, so it’s unfortunate that the Subways may not be capable of taking up the reigns.

BEN HERMANN super FLORENCE jam The Head of Your Department (independent release) The Head of Your Department is a difficult album to classify. super FLORENCE jam are well named in that their style is like a jam session that takes you on a varied travelogue of musical flavours. The fare varies from the psychedelic Ghetto Project Fabulous, to the electric jazz of Spanish Doctor, to the bluesy Blues in G, to the experimental Ice Vampires. Whilst vocals appear in some tracks, the SFJ emphasis is on lengthy instrumentals that invite the listener to lose themselves in the brilliance of melody and rhythm. Whist the CD has 12 tracks, these vary from 20 second snippets to ten minute epics.

The band is not shy of including familiar riffs from other songs midway through their tracks. A bit like the Mars Volta, without the bizarre extremes, this CD represents solid chillout music with a slight ’70s vibe.

RORY McCARTNEY

Less Than Jake GNV FLA (Sleep It Off) It’s been almost ten years now since I saw Less Than Jake support Frenzal Rhomb at the ANU Refectory; a night which opened my eyes to a brand of ska much more influenced by fast-pace punk, and at some times, metal. It took the attitude, passion, humour, and teen angst of groups like Teen Idols, Lagwagon, and Unwritten Law and infused it with horn-laden ska riffs to create a unique variety of third-wave ska which stood well apart from the much more reggae and second wave-influenced groups like the Mighty Mighty Bosstones, Reel Big Fish and Sublime.

However, while LTJ’s punk hooks kept me infatuated with the group as I progressed from my mid to late teens, they gradually took prominence in the group, while the presence of horns and catchy ska riffs significantly decreased.

By the time Borders and Boundaries arrived in 2000, I could feel the group slipping, and after 2003’s Anthem and 2006’s In With The Out Crowd, I was convinced that the group, if still breathing, were just another generic power-chord pop-punk group. And in 2006, a very out-of-date one. But now, with GNV FLA, Less Than Jake appear to be scrambling their way out of the not-so-freshly-dug grave. The reason? They have found something they care about again. And with this sense of purpose, their musical ability has seen a parallel rejuvenation. Dedicated to their hometown of Gainesville, Florida, GNA FLA focuses on the realities of this small town in the USA’s deep south which, in the wake of their nation’s gradual economic downturn, has seen their previously ignored society of drug dealers, struggling single mothers, unemployed masses and criminals, rise quickly to the surface.

They might not be singing about girls, Pez, and their friends’ love of heavy metal, but they have rediscovered the motivation they had a decade ago. They also appear to have lost their fear of a hardcore-oriented punk culture and have smothered the album in ska-dominated tracks and catchy horn hooks. If there is a fourth wave of ska waiting just around the corner, Less Than Jake are well and truly ready and waiting.

BEN HERMANN

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Rock On!

Cell Out

With Mark Russell; he's like the brother you never had, and the sister who did half the football team.

It can get really depressing how little effort goes into a Hollywood film. Both films I reviewed this issue would have cost a mint to produce but in the end all you get is two-odd hours of boredom and a wallet fifteen bucks lighter. The way they talk about the forties and fifties it seems like there was so much talent you could jack some monkeys up on crack, give ‘em a typewriter and a camera and still produce a piece of eternally brilliant cinema. Maybe this generation’s monkeys haven’t been given the same grounding in structure, theme and dialogue... or the crack’s just not as good?

The Duchess The Duchess is your typical period piece – slightly depressing story, feisty heroine that wins over the hearts of the public despite suffering a devastating private life, surly male figure who is short and unpleasant to our heroine, idealistic young man ready to show our heroine what love really is. And of course, plenty of decadence, frills, feathers and curtsies. The Duchess follows the story of Georgiana (Keira Knightley), who becomes the Duchess of Devonshire after marrying the distant and almost cold Duke (Ralph Fiennes). The pressures to bear a son overcame her life, as does her interesting (read: awkward) living arrangement with the Duke and her growing love for another, Mr Grey (Dominic Cooper).

Step Brothers You know those films where the premise is so bad you can’t believe it could ever be any good? Ninety nine percent of filmmakers would make it into an unbearable cinema experience and only the perfect combination of minds could produce a poetry of comedic acrobatics. Step Brothers doesn’t have this miracle flying trapeze combination. In fact, it may actually distract the one percent-ers, causing them to fall to their career deaths.

This story of two immature forty year olds (Will Ferrell and John C Reilly), who are forced to live together when the parents they mooch off get married to each other; seems unlikely to find any suitable target market. Baby

"My dad and I decided that your mum's kind of hot, so maybe we should both bang her and in the meantime deal with the retard."

Dale (John C Reilly) Step Brothers

As a film, there are few real surprises along the way, although the story is enough to keep one interested.

Unfortunately, while it is adequately entertaining, The Duchess lacks the depth and thoughtfulness of other films, and neither dares to tread interesting ground or make any interesting statements. There’s something missing here, and while the acting, story and design are all adequate (well actually, the design is quite spectacular) there’s nothing mildly memorable about this fanciful excursion into corsets and betrayal. There are a few choice moments that reveal the potential depth of this piece – but director Saul Dibb only lets the film lightly push any boundaries. In addition, the Duchess’ love interest, Mr Grey, lacks any real passion or charisma

and has about as much chemistry with Knightley as a goat has with a lemon.

This lessens the emotional impact of some of the scenes, especially when seen against Fiennes, who craftily uses single expressions to hint at what goes on under the Duke’s matter-of-fact exterior.

The ending feels rushed, and it attempts to leave us on a high note even though we’re inclined to feel a bit down about how things all turned out for the poor ol’ duchess. Overall, an enjoyable film, but nothing to be concerned about missing.

boomers who appreciate poking fun at their lacklustre Generation X kids will surely find it a lame duck plot. The Xers themselves will think the comedy’s too juvenile. And Generation Y and younger will be depressed at the losers they are being told they’ll become. It’s hard to tell whether even screenwriters Adam McKay and Ferrell thought it would work. The joke of Ferrell and Reilly being overgrown teenagers loses its charm somewhere during the tenth masturbation gag – about three minutes in – yet it seems to be all they’ve got. Every other character offers their own interpretation of an irredeemable prat, except for Mary Steenburgen whom the script desperately tries to

make likeable... and fails.

The law of averages means that the unending flurry of dialogue produces a couple of genuinely funny moments.

These are quickly forgotten however, as the film delves back into the real business of ensuring it bludgeons the lowest common denominator’s funny bone. I no longer believe that Ferrell and Reilly’s poorer films are unfortunate flukes. It seems instead that Stranger Than Fiction and Chicago were their respective golden moments and this sort of crap is the bread and butter.

Children, so you need more cool violence to hide behind. Insert muscular but dramatically challenged leading man Diesel instead of a talent like Clive Owen. The groups fighting over Aurora are also less convincing so you need a whole lot more of them. And the story doesn’t really make sense so we get large chunks where various characters have to explain the twists – which still aren’t convincing. It’s a shame everything turns out this way as the first half of the film is actually quite good. Vin even manages to exude a little charm from behind the “I’m a hardass” placard strapped to his pectorals. Michelle Yeoh is tragically underused however, with her character always just a little behind the eight ball and tending to seem stupid as a result. Towards the

end of proceedings the action and tension dries up, and things get ridiculous.

Luckily by this stage we’ve tuned out enough to take a moment to realise just how many plot threads weren’t satisfactorily concluded.

MEGAN McKEOUGH

MARK RUSSELL

Babylon AD It’s roughly thirty years from now and the crazy survivalists were right. The world is dog eat dog, everyone’s packing heat and the value of human life is somewhere between nothing and the cost of a cheeseburger. Toorop (Vin Diesel) is a mercenary given the task of taking a sought after young girl named Aurora (Mélanie Thierry) and her nun guardian (Michelle Yeoh) from Russia to New York – a journey fraught with danger. They have to make it through refugee camps, snow covered wilderness and many, many dirty people.

Babylon AD is best described as a grilled cheese sandwich to Children of Men’s Turkish pide – some of the core ingredients are there but it’s not a meal; and it’s not worth leaving your house for. The story isn’t as strong as

MARK RUSSELL

e

os N e h T n O s s i K Tim Galvin

ell for Ted ’s a kind “It is a fareI’w ll just say itwell…” although rn am fare of John Fa h

Other than a proctologist, there aren’t many professions where you can pay the mortgage by having your hand up someone’s backside every day. The old art of ventriloquism was born in the middle ages where it was quite common to sup your ale from a goatskin bladder while regaling at a Peruvian bard quoting Shakespeare through the rear end of a wooden boy without his own lips moving. DAVID STRASSMAN could well be accredited for reviving this particular form of entertainment with his world renowned adult oriented puppet show including such well loved characters as Chucky and Ted-E-Bear.

But it hasn’t always been bright lights and groupies for David whose skills were honed in the much more modest yet inspiring surroundings of a bustling New York City street corner. “There are a lot of things you have to do on a street corner that are different to performing in a club, like having to hold people’s attention and projecting your voice over street noise. I was getting around $500 a week which in the ’70s would equate to a lot more now. So yeah I kicked ass and moved on to work in the comedy clubs alongside people like Seinfeld and when you are on stage you realise to be successful every line has to be funny so you are under pressure to perform. I really have to thank Hey Hey It’s Saturday in Australia though, as they allowed me to take my act all over the country after doing that spot. I have a real affinity for Australia.”

Most people in their high school years want to use their talents to become President of the US or an astronaut or the quarterback for the New England Patriots, not so for David although he chose his art for similar reasons. “Money! I didn’t have any talent actually. There was a choice in school between French, math and ventriloquism and I chose ventriloquism because I thought it would be the easiest! Then I started doing kids parties and making money on the side; all my friends were doing things like mowing lawns for a week for $5 and I was making $50 an hour at age 13 doing childrens parties! It was great!”

What some people may not know is that David developed his own form of technology called Puppetronics which enables him to perform seemingly impossible stunts on stage with the use of electronic circuits and controllers which can be viewed at his website http://www. puppetronics.com.“I am a radio control airplane freak; one day me and my buddy were pissed and thought ‘why don’t we put the electronic servos in Chuck!’ and from that we were able to hide the stuff in my jacket and I could operate him with the same controller you would an aeroplane. There are some cool clips on Youtube that you should check out.”

His latest show involves a whole bunch of new characters and heralds a sad farewell to perennial favourite Ted-E-Bear, although David hints at a possible return. “I like bringing the characters to life; they all have a back story, they all have dreams and fears and emotions; it is a farewell for Ted although I’ll just say it’s a kind of John Farnham farewell…”

In closing, he promises audiences will see something they have never seen before, involving a trick that has received a great response from his shows overseas.“I wont give too much away but lets just say it involves a six way conversation, it’s been received very well so far and I’m sure you guys will love it!”

David Strassman will perform Ted E Bare's Farewell Tour at the Playhouse from Tuesday October 28 until Sunday November2. Tickets through Canberra Ticketing.

This Rock Has Gathered Moss that I am

w people “I want to shobrace new ideas and willing to em ay from the Cold influences aw Chisel mold”

Cecilia Pattison-Levi

IAN MOSS, the Australian rock icon, famed for his unforgettable sound with guitar and voice is on a national tour. And, he will be making his voice heard more than you’ve ever heard it before. ”Yeah, I am looking forward to the tour,” says Ian. “It is a good lineup – a good blend of sounds and styles. I have just got back from New York where I have been recording a new album of ’60s soul music. It has kind of been a response to my performances of My Happy Valentine and Hallelujah on the Channel 7 show It Takes Two. The show has kind of got people remembering about me.”

Ian has been back in the studio doing what he does best. “It has been really great to work with the top line musicians in New York on this new record,” says Ian. “The album isn’t quite as finished as I want. I want to add some original tracks to the album. It just needs them to close it out.

But, I will record those tracks here and I hope the new album will be out in early February next year.” ”I will be road testing the new songs and covers on this new tour,” says Ian. “We are calling it the Never Say Never national tour. The sound will be more soul and blues and the covers are drawing from classic influences such as Sam Cooke, Al Green, Otis Redding and Stevie Wonder – with a pinch of Beatles and new compositions included for good measure. And, Wendy has a wonderful collection of songs and it will just be a great night with the combination of all the acts together.”

Ian will be joined by ARIA Award winning singer songwriter Wendy Matthews. Wendy, like Ian, has just completed her first independent record She. “It has been great to get a new lease of life; a new exposure you could say,” says Ian. “I made a conscious decision to get back to something I was always happy doing, which is singing, performing and recording.

The result is tracks I am really happy with and it’s a vocal blues meets soul sound with plenty of heart; it’s me alive and kicking. But I want to show people the other side of my performance, in the honest delivery of my singing. I also want to show people that I am willing to embrace new ideas and influences away from the Cold Chisel mold.”

“It is a bit like a renaissance I guess,” says Ian. Ian has been heartened by the success of his Let’s All Get Together album and sell out tours throughout 2007 and early 2008. “The shows with Jon Stevens were great and it was great to be under the whip of performing at night and performing on television and trying to write new songs. I guess the tour and the show put my music back out there,” says Ian. It showed Ian to be a musical stylist; not just a rock guitarist, not just an acoustic strummer, but a truly seasoned and rounded musical talent.

Ian Moss, Wendy Matthews and Tempus play live at the Woden Southern Cross Club on Thursday October 30. Dinner and show tix for 7.00pm are $85; show-only tix for 8.30pm are $45

GIG REVIEWS Supergrass @ The Forum, Sydney, Saturday October 4 On entering Sydney’s Forum, an odd little box-like venue in the heart of the Fox Studios ‘entertainment quarter’, after an all-action day of shopping which included a very friendly wheat bag vendor in Paddington Markets humming the theme tune to seventies soccer show Big League Soccer to me in full earshot of the passing public, it seems like literally everyone is here – I’m here, for instance, accompanied by the lady wife; former BMA editor Peter Krbavac is here, accompanied by a harem of cute young things whom he describes as ‘impossibly drunk’; members of the local constabulary are here, wandering freely through the venue staring in frankly accusatory fashion at anyone who appears to be having a ‘good time’, which, at eight and a half bucks a pop for a can of sherbetty ‘bourbon flavoured’ drink isn’t many of us; but perhaps most importantly Red Wiggle Murray Cook is also here, adding some showbiz glamour to the ’Grass’ second show at the venue in lieu of their cancelled Great Escape appearance.

And what an excellent show Mr Hot Potato (sadly clad in rock and roll black for the occasion) and the rest of us witnessed. Not a long one, mind – it’s only sixty five minutes after they started when they take the stage for their first encore; but during this time they’ve rolled out a number of meaty selections from new album Diamond Hoo Ha (significantly heavier than anything they’ve attempted thus far in their almost-fifteen year career) alongside the old favourites we’ve come to know and love (Sun Hits the Sky and Caught By the Fuzz being particularly effective), all played with style and verve. The thing many people forget about this band is that in amongst all the frivolity and lazy feelgood Britpop madness (Alright and Going Out, Moving and Late in Day represent those particular categories tonight), there’s actually a demon troupe at work, with everyone displaying marvelous chops, especially bassist Mick Quinn, whose fluidly bubbling basslines underpin Gaz Coombes’ crunchy axework to marvelous effect. There are three Coombes siblings on stage tonight, with Gaz being augmented by longtime keyboardist Rob and new (ish) arrival and youngest of the three adding second guitar to the mix alongside some sterling tambourine/cowbell percussive interludes.

A Supergrass show is always a good night out, and tonight, in less than ideal circumstances for a band that was expecting to trot out a greatest hits festival set, was no exception. Excellent stuff.

SCOTT ADAMS Goldfrapp @ The Belvoir Ampitheatre, Thursday October 2 You always know something special is going to happen at certain venues. The Belvoir Ampitheatre, Cockatoo Island and above all a special place is reserved for the Sydney Opera House. Goldfrapp certainly didn’t disappoint and at one juncture Alison even said “I’ve been dreaming about this gig for ages.” Opening up for a short set, Bertie Blackman played a half hour that was all too similar to Goldfrapp. I’ve always believed the support act should be a bit like the headliner, but not too similar as to make sure the audience doesn’t lose interest. The fact that the concert room was only about a third full explains the lack of relevance Bertie had on the night.

After an over-priced Opera House beer, it was on to the main event. The first thing you noticed was the twelve-piece string section all dressed in white and looking amazing. Then the band came on, and finally Alison Goldfrapp herself. She looked absolutely stunning with legs all the way up, and in a shy style she often covered her face. They blistered through a set that featured many songs from the new album Seventh Tree, while taking nothing away from numerous hits from their back catalogue - Ooh La la, Utopia and Strict Machine all sounded amazing.

The string section, which was exclusive to Sydney, added so much to songs like Black Cherry and Eat Yourself. At one point Alison requested we all ‘step up’, and many in the audience did with several remaining seated to enjoy the lightshow and atmosphere. It was almost like we’d stumbled on a most amazing group of musicians and that voice in the middle of a forest. With one of most incredible voices in music, there is no way that Goldfrapp themselves didn’t step up on this night. A simply spellbinding and brilliant show.

GEOFF SETTY

BMA BAND PROFILE

THE LONGEST DAY

Band Name:

The Longest Day. Where did your band name come from?

The Summer Solstice – the longest day of the year.

Group Members: Brad and Jay. Between us, we play a variety of instruments, including guitars, basses, keys, drums, glockenspiel, xylophone, and samples/ loops. For live gigs we’ve recently started playing with Greg and Marc from Sydney band Underlapper.

Describe your sound: File under post-rock, space rock, shoegaze, lo-fi; time, space, echo and reverb.

Who are your influences, musical or otherwise?

Musically, bands like Flying Saucer Attack, Sigur Rós, Ride, My Bloody Valentine, The Underground Lovers, Mogwai, Pink Floyd, and early Hunters and Collectors.

What’s the weirdest experience you’ve had whilst performing?

The fact that we’re actually playing in a room full of people who like the noise we make. Always humbling. Every single time.

What’s your biggest achievement/proudest moment so far?

Finding out that Night Falls was on the Japanese HMV e-catalogue was pretty cool. But really, considering we recorded our first album completely for ourselves and then gave it away to anyone who wanted a copy, the fact that we’ve now released three full-length albums, and that people seem to like them is something we’re INCREDIBLY proud of.

What are your plans for the future?

To make a fourth album, and to keep our ears open for stuff that moves us. To keep exploring and learning.

What makes you laugh?

At the moment, stuff like Garth Marenghi’s Darkplace, Arrested Development, I’m Alan Partridge, Saxondale, Man to Man with Dean Learner, and Snuff Box. And each other’s ability to find quotes relevant in daily life from all of these shows.

What pisses you off?

Arrogance, people who stand on escalators, naked short selling, and Dixieland jazz.

What’s your opinion of the local scene?

There’s some pretty cool stuff out there. But it’s been healthier, the loss of places like Toast and the on-again-off-again nature of the Green Room hasn’t helped. But hopefully it’s on the way back. Signs are good.

Contact Info: www.thelongestday.com.au or www.myspace.com/ thelongestdaymusic ought to do it. The website also has an email address, so feel free to channel your verbal abuse in that direction.

FIRST CONTACT: Write your band’s name as well as the name and phone number of the person to contact (limit of two contacts ie. phone and email) and send $5 (cheque or money order made to Bands, Music, Action) to bma: PO Box 713, Civic Square, ACT, 2608. For your $5 you’ll stay on the register until you request removal. Changes to listings also cost $5.

Aaron Peacey Aaron 0410 381 306 Afternoon Shift Adam 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 Annie & the Armadillos Annette 6161 1078/0422 076 313 The Ashburys Dan Craddock 0419 626 903 Aria Stone singer/songwriter(guitar), sax & flute Aria 0411 803 343 Australian Kingswood Factory Sharon 0412 334 467 Australian Songwriters Association (Keiran Roberts) 6231 0433 Arythmia: Ben 0423 408 767/ arythmiamusic@gmail.com Backbeat Drivers Steve 0422 733 974, www.backbeatdrivers.com Bastards Jamie 0424 857 282/ www.bastards.altpro.net Big Boss Groove Andrew 0404 455 834, www.bigbossgroove.com.au Birds Love Fighting Gangbusters/DIY shows - bookings@birdslovefighting.com Blister Bug Stu 0408 617 791 Bridge Between, The Rachel 0412 598 138, thebridgebetween.com.au Bruce Stage mgr/consultant 6254 9857 Casual Projects Julian 0401 016 885 Catchpenny Nathan 0402 845 132 Caution Horses Nigel 0417 211 580 CD and Website Design Brendan 0404 042 574 Chris Harland Blues Band, The Chris 0418 490 640 chrisharlandbluesband@yahoo.com.au Chuffs, The Glenn 0413 697 546 Cold Heart Projects Andrew 6294 5450 Cole Bennetts Photography 0415 087 833/colebennetts@gmail.com Colourful Racing Identities Josh 0410 135 605 Cool Weapon Luke 0410 983 450/ Josh 0412 863 019 Cris Clucas Cris 6262 5652 Crooked Dave 0421 508 467 Cumulonimbus Matt 0412 508 425 Dance With Amps Marcus 0421 691 332 Danny V Danny 6238 1673/0413 502 428 DayTrippers, The Reidar 0414 808 677, daytrippers@grapevine.com.au (dp) New Media Artists Mal 0414 295 297 Dogact dog-act@hotmail.com, Paulie 0408 287 672.

DJs Madrid and Gordon 0417 433 971 DJ/MC Bootcamp Donte 9267 3655 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 Dubba Rukki Jim 0409 660 745 Easy Mode Daz 0404 156 482, easymodeband@gmail.com Entity Chris 0412 027 894 Epic Flagon band@epicflagon.com EYE eye@canberra.teknet.net.au Fighting Mongooses, The Adam 0402 055 314 Final Warning Brendan 0422 809 552 Fire on the Hill Aaron 0410 381 306/ Dan 0410 480 321 FirePigs, The Danny 6238 1673/0413 502 428 4dead Peter 0401 006 551 Freeloaders, The Steve 0412 653 597 Friend or Enemy 6238 0083, www.myspace.com/friendorenemy Funk Shui Dave 0407 974 476 Gareth Hailey DJ & Electronica 0414 215 885 GiLF Kelly 0410 588 747, gilf.mail@gmail.com Guff Damian 6230 2767 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 Adam Hole Adam 0421 023 226 Infra Retina Kyle 0437 137 775/Michael 0430 353 893/www.infra-retina.com

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 Jennifer Versatile singer looking for band; 0422 158 362 Jim Boots 0417 211 580 Karismakatz DJ Gosper 0411 065 189/dj@ karismakatz.com Kurt's Metalworx (PA) 0417 025 792 Lenders, The Tim 6247 2076 Little Smoke Sam 0411 112 075 Los Capitanes Tim 0421 842 247 Los Chavos Jules 0413 223 573 los.chavos@yahoo.com.au 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 Malumba Dan 6253 5150 MC Kayo Marbilus 0405 648 288 kayo_101@hotmail.com, www.myspace. com/kayo_marbilus, Meatbee Ben 0417 492 560 Missing Zero Hadrian Brand 0424 721 907/hadrian.brand@live.com.au Murder Meal Combo Anthony 0419 630 721 MuShu Jack 0414 292 567, mushu_band@hotmail.com Myriad Kath 6253 8318 MyOnus myonusmusic@hotmail.com/ www.myspace.com/myonus Neptune's Necklace Mark 6253 1048 No Retreat Simon 0411 155 680 Ocean Moses Nigel 0417 211 580 OneWayFare Chris 0418 496 448 Painted Hearts, The Peter 6248 6027 Para 0402 277 007 Petra Elliott Petra 0410 290 660 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 Queanbeyan Music & Electronics 6299 1020 Redletter Ben 0421 414 472 Redsun Rehearsal Studio Ralph 0404 178 996/6162 1527 Rhythm Party, The Ross 0416 010 680 Roger Bone Band Andy 0413 483 758 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 Sara Vancea Sara 6247 9899 Seditious Intent Toby 0419 971 547 Sindablok Duncan 0424 642 156 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 Stalker and Liife Darren 0413 229 049 Super Best Friends Matt 0438 228 748 Surrender Jordan 0439 907 853 Switch 3 Mick 0410 698 479 System Addict Jamie 0418 398 556 Taboo Bamboo Greg 0439 990 455 That ‘80s Band Ty 0417 265 013 The Morning After (covers band) Anthony 0402 500 843/ myspace.com/themorningaftercovers Tim James Lucia 6282 3740, 0413 609 832, LUCIAMURDOCH@hotmail.com Top Shelf Colin 0408 631 514 Transmission Nowhere Emilie 0421 953 519/myspace.com/transmissionnowhere TRS tripstate@hotmail.com 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 Woden Youth Centre Jeremy 6282 3037 Zeitgeist www.zeitgeist.xwave Zero Degrees and Falling Louis 0423 918 793 Zwish 0411 022 907

GIG GUIDE October 16 - 29 THURSDAY OCTOBER 16

FRIDAY OCTOBER 17

ARTS _____________

LIVE _____________

Canberra Short Film Festival Films. Short. Lots of them. Until October 18 DENDY CINEMAS, CIVIC

God Save the Queen With Pleased to Jive You, Slovac, Rubycon and Barbarian. From 6pm. Entry $5 WODEN YOUTH CENTRE The Australian Johnny Cash and June Carter Tribute Show From 8pm. Entry $20 THE GREENROOM, PHILLIP 3rd Exit THE DURHAM, KINGSTON Itchy Triggers From 10pm-2am KING O'MALLEY'S, CIVIC Chris Harland Blues Band From 6:30pm SOUL BAR, WODEN Cemetery Urn With Sanguinary Misanthropia and Aeon of Horus. Entry $10 ANU BAR, ACTON Rev Canberra's best indie/rock/punk rock night club. Entry $5 BAR 32, NORTHBOURNE AVE

DANCE _____________ Trash Thursdays With DJs Adam and Esscue. $5, $2 drinks til 2am ACADEMY, CIVIC Blast From The Past Tunes from the ’80s and ’90s MINQUE, FRANKLIN ST, MANUKA Michael O'Rourke KNIGHTSBRIDGE PENTHOUSE Ashley Feraude (TRINITY) BAR, DICKSON Bleep TRANSIT BAR, AKUNA ST, CIVIC

LIVE _____________ Gangbusters: Firekits With Crayon Fields and Babyfreeze BAR 32, NORTHBOURNE AVE Kudos THE DURHAM, KINGSTON Next of Kin From 9pm-midnight KING O'MALLEY'S, CIVIC

SOMETHING DIFFERENT _____________ Braddon Brainbuster Trivia 6pm rego, 6.30pm start. Beer/ food vouchers, cash prizes to win THE BRADDON CLUB Karaoke PJ O'REILLEY'S, TUGGERANONG McFaddens McComedy Featuring Kale Bogdanovs, Daniel Connell, Jay Sullivan, Geoff Setty, Nuts and more. Free FILTHY McFADDEN'S, KINGSTON FRIDAY OCTOBER 17

SOMETHING DIFFERENT _____________ Classic Karaoke From 7:30pm THE BRADDON CLUB SATURDAY SATURDAYOCTOBER 18 18 18 18

DAY PLAY _____________ Jazz Sessions From 2pm, catch some smooth jazz, complimented by Australian cheese platters for only $10 and weekly wine tastings MINQUE, FRANKLIN ST, MANUKA Weston Creek Spring Carnivale With The Toxicmen and a skate competition. From 11am til 3pm DILLON CL, WESTON CREEK

DANCE _____________

DANCE _____________

Souled Out Fridays R&B with DJ Leon Smith MINQUE, FRANKLIN ST, MANUKA After Work Beats With Jemist TRANSIT BAR, AKUNA ST, CIVIC Friday Night Mix Up PJ O'REILLEY'S, TUGGERANONG Jemist KNIGHTSBRIDGE PENTHOUSE Stryke!

(TRINITY) BAR, DICKSON Apex (UK) UK drum 'n' bass. $15 MERCURY BAR, N'THBOURNE AVE

Saturday Samba Fever Brazilian roots boys from Sydney, Kokoloco Belezas show from Canberra live Batucada and Capoeira all night. From 9pm PAPARAZZI NIGHTCLUB, MANUKA 80s Music With DJ Craig PJ O'REILLEY'S, TUGGERANONG Frank Madrid KNIGHTSBRIDGE PENTHOUSE Jemist (TRINITY) BAR, DICKSON

SATURDAY OCTOBER 18 Spring Break Featuring A-Love & The Lost Evidence, Axe Aklins, Danielsan, DJ Josie Styles, Stunami and MC Harlequin. Entry $15 ANU BAR, ACTON Bag Raiders EP Launch With supports Ashley Feraude, and J Vale ACADEMY, CIVIC Tommy Trash MONKEY BAR, CIVIC

LIVE _____________ Cocktoberfest A fund-raiser for prostate cancer, featuring D'Opus & Roshambo, Tonk, The O'Hooligans, Serenik, Tin Alley, The Beards, DJ Pornstylus, Moh Van Wah, Kempsey, Spoil, Ink, Light Noise, Monster Elephante, Nobody's Fool, The Magic Hands, Using Three Words, Adam Hole, The Side Tracked Fiasco, Alta Volante, Escape Syndrom, Gasma, Jester, The Guests, Black Creek and Justin Huehn. Entry $20. From 12pm THE GREENROOM, PHILLIP Shakedown Regular indie/alt/dance night with DJs Tom and Chris. Follows Bachelor of Arts. From 9pm BAR 32, NORTHBOURNE AVE Local Resident Failure With Reason Strikes, Outcome Unknown, and Yoko Oh No THE BASEMENT, BELCONNEN The Cool From 10:30pm - 2:00am KING O'MALLEY'S, CIVIC Fire on the Hill THE PHOENIX, EAST ROW, CIVIC Ronan/Ronan On the Copie/Colle album tour THE FOLKUS, SERBIAN CLUB, MAWSON SUNDAY 19 SUNDAYOCTOBER 19 19 19 19

DAY PLAY _____________ Sunday Playground Chill out on the Astro deck or misbehave on the dance floor.

With $3 Coronas and finger food MINQUE, FRANKLIN ST, MANUKA

DANCE _____________ Lilova Diskow (TRINITY) BAR, DICKSON

SUNDAY OCTOBER 19

LIVE _____________ Irish Jam Session From 5pm KING O'MALLEY'S, CIVIC Michael Franti & Spearhead With The Winnie Coopers and DJ Nick Toth. Tickets $55 ANU BAR, ACTON Amity Affliction All ages. Doors at 2pm TUGGERANONG YOUTH CENTRE MONDAY 20 MONDAYOCTOBER 20 20 20 20

DANCE _____________ Hospitality Night With Sean Kelly & guests TRANSIT BAR, AKUNA ST, CIVIC Bootleg Sessions Local musos bustin' it out THE PHOENIX, EAST ROW, CIVIC TUESDAY OCTOBER 21

LIVE _____________ Chuse Jazz Tuesdays With Austin Benjamin Trio (TRINITY) BAR, DICKSON The Band Broke Up With Curly O (The O'Hooligans), Randall Blair (The Wedded Bliss), and Sanjiva de Silva. With an introduction by Jacquie Apps.

From 7:30pm sharp. Entry $5 THE FRONT CAFE, LYNEHAM

SOMETHING DIFFERENT _____________ Fame Trivia From 7:30-10:30pm. Book early to avoid disappointment by calling 6295 1769 THE DURHAM, KINGSTON Pot Belly Trivia POT BELLY BAR, BELCONNEN Carry-On Karaoke TRANSIT BAR, AKUNA ST, CIVIC Games Night THE PHOENIX, EAST ROW, CIVIC WEDNESDAYOCTOBER 22 22 22 22 22 WEDNESDAY

LIVE _____________ Sparkadia Tickets $19 ANU BAR, ACTON Niels Rosendahl Quartet Entry $7 HIPPO BAR, GAREMA PL, CIVIC

WEDNESDAY OCTOBER 22

SOMETHING DIFFERENT _____________ Fame Trivia PJ O'REILLEY'S, CIVIC Trivia Night ACT RUGBY UNION CLUB $5 Night TRANSIT BAR, AKUNA ST, CIVIC Meet Your Match Speed Dating MINQUE, FRANKLIN ST, MANUKA Carry-On Karaoke $5 Coronas and Snowy Mtn Brewery beers THE DURHAM, KINGSTON THURSDAY THURSDAY 23OCTOBER 23 23 23 23

DANCE _____________ Trash Thursdays With DJs Adam and Esscue. $5, $2 drinks til 2am ACADEMY NIGHTCLUB Blast From The Past Re-live your favourite tunes from the ’80s and ’90s MINQUE, FRANKLIN ST, MANUKA D'Opus From 9:30pm THE DURHAM, KINGSTON Jemist KNIGHTSBRIDGE PENTHOUSE Bicipital Groove (TRINITY) BAR, DICKSON

LIVE _____________ National Campus Band Competition National Final With bands from around Australia. Doors open 6:30pm CIT MUSIC INDUSTRY CENTRE, AINSWORTH AVE, PHILLIP Gangbusters: 1st Birthday Bash!

With From the South, Black Creek, Super Best Friends, The Trivs and lots more! From 9pm. $5 BAR 32, NORTHBOURNE AVE Marc Mittag and The Headhunters Tickets for dinner and show $75 (kicking off at 7pm), and tickets for the show only (starting at 8:30pm) $35. Until Friday Oct 24 SOUTHERN CROSS CLUB, WODEN Tripitide From 9pm - midnight KING O'MALLEY'S, CIVIC Brackets THE PHOENIX, EAST ROW, CIVIC

SOMETHING DIFFERENT _____________ Basement Pool Comp THE BASEMENT, BELCONNEN

THURSDAY OCTOBER 23

FRIDAY OCTOBER 24

SATURDAY OCTOBER 25

Karaoke with a Twist PJ O'REILLY'S, TUGGERANONG Carry on Karaoke PJ O'REILLY'S, CIVIC Braddon Brain Buster Trivia 6pm registration for 6:30pm start THE BRADDON CLUB AIE Video Games Trivia Free entry, prizes to be won.

From 7pm HOLY GRAIL, CIVIC

Sweet 16 on Halloween Lip Magazine launch of 16th issue. Entry $6, including raffle, exhibition, live bands and film instillation THE FRONT CAFE, LYNEHAM Rev's 2nd Birthday With a DJ set by The Vines, two levels of DJs and a guitar giveaway. Entry $5 BAR 32, NORTHBOURNE AVE Repo Man With Eat a Brick, Taipan, Eye Gouge, Cold Front, and All in Brawl THE POT BELLY, BELCONNEN

Hell City Glamours With The Vee Bees, Meat Beater, and The Toxic Men THE BASEMENT, BELCONNEN

FRIDAY24 OCTOBER FRIDAY 24 24 2424 24

DANCE _____________ DJ Hyper (UK) With Tim Galvin and DJ Kiz ACADEMY, CIVIC Sideproject Fifth Birthday With Psyboriginal, Alamout, Tarik, Psyentology, Hoops, Ugly Bunyip and M3ow. Entry $20 MERCURY BAR, N'THBOURNE AVE Latin Space Race With Pochoman, Cumbia Cosmonauts, City of God, Professor Palacio, and many more. From 9pm until late.

Entry $10 PAPARAZZI, FRANKLIN ST MANUKA After Work Drinks From 5pm, with Jemist TRANSIT BAR, AKUNA ST, CIVIC Souled Out Fridays R&B with DJs Daz, Nate & Adam MINQUE, FRANKLIN ST, CIVIC Friday Night Mix Up With DJ Craig PJ O'REILLEY'S, TUGGERANONG D'Opus KNIGHTSBRIDGE PENTHOUSE Tom Toms From 5:30pm, with Cranky kicking off at 9pm (TRINITY) BAR, DICKSON Foshow With Corona girls and $5 Coronas all night MONKEY BAR, BUNDA ST, CIVIC

LIVE _____________ James Southwell From 8pm THE GREENROOM, PHILLIP 3rd Exit KING O'MALLEY'S, CIVIC Toucani From 6pm SOUL BAR, WODEN The Vines With Wolf & Cub. Tix $41.90 ANU BAR, ACTON

SUNDAY 26 SUNDAYOCTOBER 26 26 26 26

DAY PLAY _____________ Tuggeranong Markets TUGGERANONG HOMESTEAD Sunday Playground Chill out on the Astro deck or misbehave on the dance floor.

With $3 Coronas and finger food MINQUE, FRANKLIN ST, MANUKA

SATURDAY 25 OCTOBER 25 SATURDAY 25 25 25

MONDAY OCTOBER 27

DAY PLAY _____________

DANCE _____________

Gorman House Markets GORMAN HOUSE Burley Griffin Antique Centre KINGSTON FORESHORE Jazz Sessions From 2pm, catch some smooth jazz, complimented by Australian cheese platters for only $10 and weekly wine tastings MINQUE, FRANKLIN ST, MANUKA

Bootleg Sessions Local musos bustin' it out THE PHOENIX, EAST ROW, CIVIC Hospitality Night With Sean Kelly & guests TRANSIT BAR, AKUNA ST, CIVIC

DANCE _____________

The Band Broke Up With Aaron (Fire On The Hill), Andi (Andi & George Band) and Nick (The Missing Lincolns), with an introduction by Andrew Procter. From 7:30pm sharp.

Entry $5 THE FRONT CAFE, LYNEHAM Chuse Jazz Tuesdays With Matt Lustri (TRINITY) BAR, DICKSON

Saturday Spring Fever All ages until 10pm. From 7pm PAPARAZZI NIGHTCLUB, MANUKA 80s Music With DJ Craig PJ O'REILLEY'S, TUGGERANONG Decadance Saturdays With Chris Fraser and Sean Kelly.

From 10pm ACADEMY NIGHTCLUB, CIVIC Scotty Fisher KNIGHTSBRIDGE PENTHOUSE The E.L.F With Hubert v Dave Norgate TRANSIT BAR, AKUNA ST, CIVIC Beni Riot in Belgium MONKEY BAR, BUNDA ST, CIVIC

LIVE _____________ Pinky Beecroft & The White Russians From 8pm. Entry $11.50 THE GREENROOM, PHILLIP Curious Fate KING O'MALLEY'S, CIVIC April Maize and Quinn Band THE PHOENIX, EAST ROW, CIVIC Skipping Girl Vinegar With Hancock Basement. Entry $10 ANU BAR, ACTON

TUESDAY28 OCTOBER TUESDAY 28 28 2828

LIVE _____________

WEDNESDAY 29 29 29 WEDNESDAY29 OCTOBER

DANCE _____________ Caribbean Vibes MONKEY BAR, BUNDA ST, CIVIC Hermitude & Horrorshow Massive aussie hip-hop night, with Wax Lyrical to boot. Free!

TRANSIT BAR, AKUNA ST, CIVIC

SOMETHING DIFFERENT _____________ Fame Trivia PJ O'REILLEY'S, CIVIC $5 Night TRANSIT BAR, AKUNA ST, CIVIC Carry-On Karaoke From 9:30pm. $5 Coronas and Snowy Mtn Brewery Beers THE DURHAM, KINGSTON

DVDEVOTEE

Dexter Season Two (Paramount)

Horton Hears a Who (Rated G)

Great Australia Albums: Nick Cave & The Bad Seeds – Murder Ballads (Madmen/SBS)

After catching and ridding Miami of the Ice Truck Killer, Dexter (Michael C. Hall) returns to combat the Bay Harbour Butcher. Dexter Season 2 is good to watch with the voiceover as it is less irritating than in Season One and the humour expressed through this device is more of a focus. The second season of Dexter has the title character examining himself, and the way he operates, as the relationship he has with the Bay Harbour Butcher is exceptionally personal. The supporting cast are all excellent with Keith Carradine joining the cast as Special Agent Frank Lundy from the FBI. He is hunting down the Bay Harbour Butcher and developing a relationship with Deb – Dexter’s sister (Jennifer Carpenter). Of course Doakes (Erik King) is still aware that Dexter is a ‘fucking freak’, and won’t let anything stand in his way in an effort to take him down. All of this is relatively serene in Dexter’s world, and then in walks Lila (Jamie Murray); she immediately has the viewer on edge and as the series progresses, more and more is revealed as to why (both figuratively and literally). The problem with this one is that, unlike Season One there are a couple of episodes where things lag, before ramping back up for a great conclusion. Perhaps they could have done two six episode storylines instead of a twelve part saga. That is minor quibbling though, because by the end of Season Two, all is enjoyable and Hall and crew carry the whole thing off admirably. The standout performance is from the veteran Carradine, who brings to Lundy a sense of order and honesty. Dexter Season Two features cast interviews as the only special feature.

It will be worthwhile to see if they can keep this pace going into the third season and beyond.

There’s been a veritable parade of animated feature lengths hitting our screens of late, the best ones able to appeal as much to adults (with a sly wink of cheeky dialogue here) as well as children. With this Dr Seuss adaption, it pleases me greatly to report that Horton Hears a Who is placed firmly in this category.

There is much to like in this film. It’s almost a moot point to gush hyperbole about the standard of animation these days, such is the giddying height of its quality, so let us just say it’s up to dizzying scratch. There are continual, solid contributions from the supporting characters, including the usual array of cute ‘n’ cuddly (including a frankly bizarre and consistently amusing character that can only be described as a mentally challenged Pokemon) and the downright hilarious (the monkeys). There is a simple yet solid plot complete with philosophical musing on the nature of reality for the adults to enjoy. It lags ever so slightly near the end, but not enough to diminish proceedings. And the humour is plentiful and varied, packing more one-liners, snappy dialogue, physical comedy, parody and slapstick in five minutes than most contemporary “comedies” can manage at a full hour and a half.

Nick Cave & The Bad Seeds have followed a uniquely violent, poetic and ambivalent path.

They don’t give ass about public or critical perception, and even within a clearly defined sound they can tinker considerably with the edges – like they did this year on Dig! Lazarus! Dig! – yet remain wholly within their own aesthetic.

Such definition, perversely, crates freedom.

GEOFF SETTY

NEXT ISSUE: THE TRACKSIDE EXTRAVAGANZA, FEATURING CUT COPY, THE GETAWAY PLAN, AND THE PANICS, ALONG WITH YOU AM I AND YOUTH GROUP. GO ON, GET!

But what makes this film a real winner are the central characters; Horton (Jim Carrey) and The Mayor of Whoville (Steve Carrell). Both actors are perfectly suited to their characters, play to their strengths magnificently (Carrey in manic Mask/Ace Ventura mode, Carrell tightly wound yet lovable form) and their interaction throughout the film keeps you riveted and, more importantly, laughing. All in all, an excellent addition to the animation canon, to be enjoyed by kids and adults alike.

ALLAN SKO

So in 1996 when the band recorded Where The Wild Roses Grow with Kylie Minogue, just starting to define herself outside the SAW factory pop persona, brows were furrowed and chins stroked. Kylie got instant indie cred and Cave… well I’m still not sure what he got, despite his earnest proclamations herein about Kylie being a ‘national treasure’. I’m not foolish enough to argue the point on that, but I can confidently assert that Minogue is one of the most inarticulate, incoherent and vague interview subjects about an artist she recorded a career turning song with. For god’s sake, surely she had time to prepare a reasonably well structured sentence or two about the writing process or her thoughts on Cave, as a performer or person. Instead we get a babbling brook of simplistic senselessness that not only fails to scratch the surface – it doesn’t even enter the same room. If this doco was planned as some sort of stealth attack of Kylie’s ability to function outside the three-minute radio song format, it succeeded marvellously.

Almost all of the major players are interviewed, Warren Ellis and Blixa Bargeld being notable absentees. Cave’s recollections are expansive and dramatic as would be expected – thought bubble moments of German tourist slayings a particular highlight. Roland S Howard, despite looking like a 60 year-old canteen lady manages to stay upright on his stool – which for anyone who saw his performance last year at his ANU Bar is quite a feat. Conway Savage is deliriously engaging and Mick Harvey’s role as the musical core and equilibrium of the band is reinforced, as if it were necessary.

Absorbing viewing, by and large, yet there are other problems. The doco dissolves into a quasi history of the band rather than the recording of the album, song by song deconstruction style. Worthy and who knows – that may have been the intention of the producers to differentiate from its more famous counterpart. But the result is disjointed and sadly unsatisfying, especially considering the source material on offer.

JUSTIN HOOK