BMA Mag 361 Nov 24 2010 by BMA Magazine

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The Church Kick the boot into drum machines #361NOV24

! a r r e b n a C on

y r u f e h t Unleash

DJ Krush Man of the Rising Hum

The Sound of Young Canberra Compilation

# 3 6 1 N O V 2 4 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 Julia Winterflood T: 02 6257 4456 E: editorial@bmamag.com Accounts Manager Ashish Doshi T: 02 6247 4816 E: accounts@bmamag.com Super Sub Editor Josh Brown Graphic Design Cole Bennetts Exhibitionist Editor Yolande Norris E: exhibitionist@bmamag.com Film Editor Mark Russell Principal Photographers (The Flashbulb Posse) Andrew Mayo Nick Brightman NEXT ISSUE 362 OUT DEC 8 EDITORIAL DEADLINE NOV 29 ADVERTISING DEADLINE DEC 2 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.

Seven Short Films With a Difference In celebration of International Day of People with Disability the ACT Human Rights Commission and the ACT Community Arts Office present Seven Short Films With a Difference. The new films about disability will be opening on Friday December 3 at the National Film and Sound Archive. It is a free event but seating is limited and bookings are essential, so phone 6205 2222 for a seat. For full programme details head to withdifference.tumblr.com .

Groovin the Moo Rolling Back into Canberra in 2011 Lock the date in kiddos: Sunday May 8. After a sell out show in 2010, GTM is excited to be making a return trip to The Meadows at UC as part of the 2011 tour. With improved and expanded facilities to match another impressive music program that will provide over ten hours of music and feature close to 25 local, national and international artists, GTM will once again be a valuepacked day with a twist of country hospitality thrown in. They’re even promising twice the number of international artists than this year. Bloody moovellous. Yep, the bad cow puns have begun. The line-up will be announced on Wednesday Feb 2, with tix on sale Tuesday Feb 15. It sold out this year so get in quick! Head to gtm.net.au for all the info.

Canberra’s E.L.K wins 2010 Australian Stencil Art Prize E.L.K recently took out Australia’s top gong for stencil art with his work titled Saul Williams. E.LK’s photo realist stencil of the American poet, writer, actor and musician impressed judges with its technical brilliance. As a self taught artist, E.L.K has spent the past six years developing his own style of painstakingly detailed stencil art. He creates the stencils by methodically cutting out layer upon layer of shade and detail from recycled plastic. He then uses a spray can to build up the image from the lightest colour to the darkest. According to E.L.K’s website, elkstencils.com, “the name E.L.K comes from a chance piece of information about the epiphytical tropical elkhorn fern. His interpretation is that the plant is integrally connected to the structure of the tree, but also independent of it, and as a result free.” Massive congrats from BMA, E.L.K.

Cannibal Kittens & Dubious Mothers Presents What-for Tenettabaum? Avuncular! The second instalment of Canberra’s annual showcase of experimental spoken word brings together performers from The Front Slam and Bad!Slam!No!Biscuit!. Established in 2009 to provide space for poets to extend their limits the night promises performances from Canberra’s unique poetry movement. Hosted by Andrew Gayland and Julian Fleetwood, it will feature JACINTA, Alison McGregor, CJ Bowerbird, Josh

Saul Williams

Yes, we have no bananas! We have no bananas today!

New Weird Australia have just released their first geographically specific, guest curated compilation, The Sound of Young Canberra. Shoeb Ahmad (hellosQuare) and Tim Guthrie (Dream Damage) have put together an eclectic mix of styles; some familiar, some entirely new; featuring some residents and some expatriates. Tracks come from Pollen Trio, Teddy Trouble, Spartak, Jonny Telafone, From The South, Readymen, Reuben Ingall, Danger Beach, Shoeb Ahmad, Assassins 88, Kasha and Bum Creek. The Sound Of Young Canberra is now available for free download from newweirdaustralia.com .

Inmania, Miranda Lello, Joel Barcham, Bela Farkas, Michael Klapdor, Leon Twardy, Benjo and antyphayes. 7.30pm, $5.

FROM THE BOSSMAN The Social Network – a film about the financial rise and friendship fall of Facebook founder and zeitgeist manipulator Mark Zuckerberg – is one of the best films of 2010, for many reasons, including this quote: “The internet isn’t written in pencil; it’s written in ink. And you called me a bitch.” Writer Aaron Sorkin of The West Wing fame knows his way around soundbites and societal mores, and he’s perfectly summed up something we should all keep an eye on. At the age of 28 I have straddled the boundaries of the internet’s iron clad grip on society. I am not so young that I have grown up ignorant of the world without internet, I am not so old that I think the term ‘internet’ means the inner lining of your swimming knickerbockers. Back in my day* – aside from trenching 20 miles to school each day in the snow sans shoes and all that bollocks – if you had a problem with someone, you’d exchange a few comments pointing out curious facial features or a person’s inability to admirably fill a pair of trousers, and pelt a few tanbark pieces at each other’s head until you grew tired/bored and retired for a good old knees up and a double malt milk from Doris the dinner lady. Problem solved. A good old fashioned têteà-tête was like a bucket of water over a fiery situation. We now have the bellows of social media. Now, if we’re not smart, the whole damn world – including your exes from high school, that guy you met in the pub that one time and, heaven forfend, your mother – now knows all about it.

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 original spellings] To the miserable and semi-retarded goldfish of a man who rang for pizza around 6.30 on Saturday 6/11 and asked for my name not much longer after I had said ‘G’day thankyou for choosing XXX in Florey’ etc. I don’t know whether ur some weedy hypersensitive pond scum or just a pretentious customer service fuck, but either way I was not rude to you at all, just very concise due to the fact we were getting FUCKING SMASHED and I had to run to the office to answer ur call. Don’t give me ur bullshit– u work in the ‘industry’, you choose to come here instead of Kippax, YOU DON’T WANT FREE PIZZA (pfft). You just want ‘respect’. Your beggarly little complaining profession – or hobby, whatever – does not deserve mine or anyone else’s. I hope God finally puts a stop to the flaccid little effort you call YOUR LIFE and you die of a painful brain aneurysm while placing your next ‘order’. Fuckwit

We all remember that well-worn stat about human fear; death ranks #2, public speaking #1 so theoretically we’d rather be the corpse than the person giving the eulogy at a funeral. Let’s apply that concept to the social networking age. Picture your favourite location. Now picture all of your Facebook friends there. Now imagine getting on the microphone and announcing your latest status update. Because effectively that’s exactly what we’re doing online. I’m sure many of you would rather die. We love social sites like Facebook because they allow us to voice opinions we otherwise wouldn’t have the gumption to extol in public. Hell, I hide behind writing like the rest of us. But we do need to remember having an online argument is akin to being one of those loud wankers that ruin your café experience. Airing your dirty laundry in public is never a good idea. A Facebook Psychiatrist would help; the study of the last ten status updates of a person leading to a psychological assessment. There’s the Gonna, always touting “I need this…”, “I need that…”, substituting a lack of drive/fear of failure with empty promises. There’s The Constant Updater, changing status every 15 minutes to things of startling interest such as “Warming up a muffin”/“Eating a muffin”/“Muffin eaten. Yum”. It doesn’t take Freud to identify a desperate attention seeker, filling the void of inadequacy with vacuous nonsense. Then there are the Genuine Sharers, purveyors of internet awesome, sharing tunes, shows, their own work, or videos of chimps riding on segues. These people are content and want to share their joy with others. Then there’s Shameless Self-Promoters. Like me. My recent Facebook updates reveal a hopeless narcissist desperately wanting people to think he’s funny and in possession of an unusually large male appendage. The fact I am also writing about this in a self-deprecating way means I want you to think I’m vulnerable and easy going. Which I am. With an enormous schlong. And those who rarely update at all? Well, they’re too busy being someone in the ‘real world’ and settling their differences in person. Ha! The very idea. ALLAN SKO - allan@bmamag.com * Christ, I can’t believe I used that sentence without irony. And so begins the descent I’ve heard all too much about.

and

another thing…

Cradle of Filth have a new album out. Regular observers of Canberra’s liveliest read will remember I’m something of a fan of England’s biggest extant black metal band (I’m sorry all you Meads of Asphodel fans – I’ll brook no argument here), so when I was offered the chance of a chinwag with CoF axepert Paul Allender – a man I go back a little way with from my activities in the world of merchandise – I jumped at the chance for a chat about said elpee – Darkly, Darkly Venus Aversa. The new album is your sixth back in the band since you rejoined for Midian – how do you yourself approach each successive album now, with regards to keeping everything fresh? “I try to keep any influence from the outside world to a minimum. When I write new material I tend to shut myself away and not listen to any form of music. There’s a danger if influenced by other bands in the same scene as us of sounding like them – and that just can’t happen.” So much for the present. What about the past? How do you think the industry has changed over the years – is it easier for bands such as Cradle to make headway now than when you first started? “The industry has totally changed and it’s because of the internet. It’s so easy for bands now to get online and set up a Facebook page to show their band off. There are plus and minus sides to this. The plus side is that it’s so easy now for new bands to be heard. The minus side is that there are so many bands now and unfortunately all the not very good ones can be heard too. Back in the day you had to be good enough to be heard through tape trading otherwise your tape just would get binned!” If we might go back in time a bit again, the last time I saw you was when I was doing (top British psychedelic doom outfit) The Blood Divine’s merchandise at the end of the last century. You seemed quite happy in that band. What led to you rejoining CoF? “The Blood Divine was great and it was one of those things I needed to do at that time. When we were recording the second album two of the members had changed their style and everything sounded wrong so I left. I rejoined Cradle because Dani [Filth, the band’s fabled throatsmith and all round leading light] had called me up and asked if I wanted to rejoin, plus I missed playing fast again so I accepted!” Back to the new album; Cradle of Filth are one of metal’s most recognisable bands, both visually and musically – how aware are you when writing new music, or thinking of new concepts for stage wear etc, that fans expect certain things from the band in both areas, and how much, if at all, does this sway what decisions the band makes? “To be honest I’m not aware at all, I write music for myself; if you write music for another reason you are cheating yourself and it doesn’t come from within you. Once we have the album written, then we get onto designing stage clothes etc.” He’s a focussed one, that Allender. But then you don’t get to the top of any tree without that sort of single-minded drive… Anything else you’d like to say about the new album? “Errrr – it’s fucking amazing! And I’m so vibed up from this album I’ve started to write the next one!” scott adams thirtyyearsofrnr@hotmail.com

WHO: Lovers of melodic rock WHAT: The Black Parade WHEN: Sat Dec 4 WHERE: The Maram

Melodic rockers Stone Parade, alongside progressive rock champions Sleep Parade (both unrelated) will be making some noise at The Maram on Saturday December 4. Hailing from Sydney, Stone Parade have toured with Maroon 5, Hoobastank, 3 Doors Down and INXS while Sleep Parade, born and bread in Melbourne, have rocked out with the likes of Cog, Karnivool, Behind Crimson Eyes and Porcupine Tree. Supported by local metal heads Spoil and Escape Syndrome along with promising up and comers The London Circuit, this is set to be a huge show. Doors open at 6pm, tix $10 through Moshtix or $15 at the door.

WHO: Leppard WHAT: Def Leppard Tribute Show WHEN: Fri Dec 3 WHERE: The Maram

You know the name, you’ve heard the songs, now rock out to the tribute. 65 million album sales, 44 hit singles and more sugar than you can handle, Def Leppard have the ‘80s rock anthems that we all love. Leppard are Australia’s finest Def Leppard rock tribute show, recreating the stadium show atmosphere with the big guitars, big choruses, fist pumping party anthems and oozing power ballads. No costumes, no acting, just pure ‘80s rock recreated to pay honour to one of the world’s best selling musical artists. The members of Leppard also performed in Ivoj Nob, Maiden OZ, and Live Evil, so they’re old hats at this game. Tix through Moshtix.

WHO: Paul Andrews WHAT: A guy who’s doing something right WHEN: Sat Nov 27 WHERE: The Front

“Hello, my name’s Paul Andrews and I play guitar and sing in a Sydney band called Lazy Susan. Ok, here’s my pitch. It’s a Saturday night in Canberra, you feel like going out, but you don’t feel like a huge one. You want to have a few drinks but don’t want to head to some beer barn or over-hyped bar. You want a few drinks, with a few friends, in a small place, listening to a guy who writes good songs, a guy who’s just supported Brian Wilson in Sydney so he must be doing something right. That’s where I come in – me and another guy called Glenroi Heights. The end.”

WHO: Mihirangi WHAT: Maori Princess of Funk WHEN: Wed Dec 1 WHERE: The Front

“I’m Mihirangi, I miss all my Canberra friends and can’t wait to play for you all again!” Mihirangi’s astonishing show has captured and mesmerised audiences both nationally and internationally, becoming a touring favourite with her unique sound. She has performed with Public Enemy, Arrested Development, Michael Franti and Lee Scratch Perry. Singing in both Maori and English and dubbed the Maori Princess of Funk and the Queen of Loops, Mihirangi creates her own band sound live in front of her audience. Tickets are available at the door for $15/$12, and support is from Canadian singer/songwriter Kira. 7.30pm.

WHO: The Howling Cats WHAT: Canberra Supergroup WHEN: Fri Nov 26 WHERE: Fun Machine’s tour paunch party, The Clubhouse

After one week of not having a gig The Howling Cats are ready for another, and another. Since all their friends came to The Phoenix and clapped for them they’ve decided to go on a Grand World Tour. Though members won’t necessarily be in the same place at the same time, the tour will consist of Melbourne, Sydney, Walcha, Terrigal, Kangaroo Valley, Alice Springs, North Carolina, New York and London. They’ll be supporting Fun Machine (deceiving name, really) at their Tour Paunch Party and will be howling until The Clubhouse burns down or the sun rises over the Empire. Do come along.

WHO: Jez Mead WHAT: Whiskey-fuelled blues WHEN: Thurs Nov 25 WHERE: The Front

Jez Mead is the archetypal slow burner. Relying on a DIY attitude and an unyielding touring ethic, Mead has been building a fire of support through constant gigging around the country and unwaveringly positive word of mouth. In support of his new single Town’s Too Small, Jez is touring nationally through November and December. Built over a chorus of foot-stomping and swampy handclaps, Mead mixes a potent combination of whiskey-fuelled blues with an emotionally charged diatribe of heartbreak and escapism. If Jez were a barman, Town’s Too Small would be his signature drink. It’s going to be a helluva great night.

IT’S A TRAP it’s a trap!

katherine quinn I’m always startled when a musician I’m interviewing enquires as to how I am. What? We’re talking about me now? You expect me to come up with something interesting to say to someone who’s just won two ARIA awards and played a worldwide headlining tour? So when Johnny Aherne from THE TEMPER TRAP asks me how my day has been (having just won two ARIAs and being in the midst of a world headlining tour), of course I start rabbiting on about the cheesecake I’m baking. Mortified. It soon becomes evident, however, that Johnny isn’t your everyday rock star (if rock stars can ever be described as ‘everyday’). He actually seems politely interested in the cheesecake scenario, and he has a charmingly cavalier attitude towards his newfound fame and fortune, which makes me almost feel like I’m talking to a normal person.

I’ve never really been normal… I’ve done all sorts of weird jobs… I’m too much of an ADD child to go to an office. If the band stopped I don’t know what I would do

“I’ve never really been normal,” Johnny tells me (I said almost!). “I dropped out of school in grade eight and I’ve done all sorts of weird jobs… I’m too much of an ADD child to go to an office. If the band stopped I don’t know what I would do.” It doesn’t seem like Johnny will have to worry about that any time soon, with The Temper Trap’s debut album, Conditions, winning hearts all over the globe. The first single off the album, Sweet Disposition, gained them international acclaim when it was released in 2009, and has since reached platinum status after more than two million sales. The follow-ups Love Lost and Fader contain the same catchy, hook-ridden melodies and clever lyrics, with lines like “I pledge myself allegiance / to a better night’s sleep at home” making Conditions one of the stand out albums of 2010. The music media consistently describes the band’s sound as ‘atmospheric’ and this description is strangely apt; ethereal organs and heartbeat rhythms give The Temper Trap’s music a unique aura which could bring you to tears if you were feeling a bit pent up or fragile. “As a band, we definitely enjoy the songwriting process and some of the members enjoy recording more than they do touring,” Johnny tells me, adding that the band will take time off to work on a new album in February 2011. “There is a great satisfaction in creating songs… I think we’re all looking forward to having a break from playing live, just for a little bit.”

That’s hardly surprising, since these talented Aussie lads are on the final leg of a marathon global tour that has lasted for over a year. Johnny laughingly tells me about the differences between audiences in different countries, describing the Spanish as passionate and enthusiastic, and the Japanese as “super polite, and they’ll clap when they’re supposed to clap and [during the performance] they’ll be completely quiet.” As for us Aussies, apparently we’re a rather rowdy bunch. “Without fail, every show that we’ve played around the world there’s always someone who’ll yell out ‘Aussie Aussie Aussie.’ And I think Australia’s the only place in the world where the audience members throw stuff at the bands,” Johnny says. “You know, flip flops and all that sort of stuff. If they like you, they throw stuff at you.” The four members of The Temper Trap met while working and studying in Melbourne, but have since moved camp to London to focus on the international market (probably because we throw stuff at them!). “Dougie always wanted to start a band,” Johnny says of the lead singer. “I knew Dougie when I was 13 and he was 18 and he always said, since I’d known him, ‘one day I’ll start a band’… then when I was 18 I was working really close to him in the city, he just went ‘oi, Johnny, come to band practice.’ [We] really wanted to take it seriously, sort of practice a lot and probably take it more seriously than most people… we hit it pretty hard.” That hard work has certainly paid off, but Johnny insists that his life hasn’t changed that much since he has scaled the heights of fame. “I can walk around sometimes before our show and watch the support band and no one will know who I am,” Johnny says. “I think it just depends where you are, or at the moment I’ve got long, blonde, stragglish hair so I’m kind of recognisable. Dougie gets it the worst – there’s sometimes not that many Asian people around Europe and stuff so he’s pretty distinctive. But Lorenzo [the guitarist] sometimes says that he’ll go out to sign autographs and stuff and no one will recognise him. Poor Lorenzo.” The Temper Trap is also doing its bit for humanity, by supporting an organisation called Buzz Off which is an international campaign against malaria and other mosquito-borne diseases. The band members commissioned three artists to paint a painting inspired by The Temper Trap’s song Little Boy, and by making a donation to Buzz Off fans can receive a postcard of one of the paintings as well as a unique code to download the song. “The whole band is very sort of conscious of that sort of stuff, and we’re not over the top or stupid about it, but we’re just looking for little opportunities to do our part,” Johnny says. See what I mean? He even wishes me good luck with my cheesecake before he hangs up the phone. The Temper Trap are one of the main attractions at this year’s Foreshore Summer Music Festival, held on Saturday November 27 at Commonwealth Place. If you haven’t already purchased a ticket, bad luck! The event has now completely sold out.

ALL AGES There is nothing more satisfying than knowing that the all ages scene is buzzing to the point where I have to squeeze the information onto the page, in a struggle similar only to that of packing away a sleeping bag. But unfortunately, this is not one of those columns. This, which you are about to read, is no more than a perfect demonstration of exactly how pathetic our city’s all ages music scene is becoming. In this half page section, dedicated exclusively to Canberra’s youth, I would usually expect to have mentioned a good five events, at the very least. But this fortnight, I believe we have hit rock bottom with a total of TWO gigs. That’s right, two. Having made some visits of late to both the Belconnen and Woden Community festivals, I have met some rather admirable individuals who are so fed up with the lack of entertainment set up for those under the legal age that they have begun to take action. For the love of god people, speak up! And to all bands and venues out there: you are the ones with the power to make things right. Of course, things need to get better. I would like to thank all the venues, event management teams, bands and even individuals who have still, through all of this, remained loyal to Canberra’s youth. Despite the fact that technically, this venue is not even within the borders of the ACT, this is one gig I am truly grateful for. On Tuesday November 30 melodic hardcore Californian band Stick to Your Guns will be up on stage at the Axis Youth Centre in Queanbeyan as part of the Hopebringers tour. The boys have collected a cavalcade of supporting acts including San Francisco-based First Blood, Brisbane boys Wish For Wings, Third Strike from the Gold Coast and Canberra’s very own Venom Eyes, as fresh as you can get, having formed just this year. Tickets cost only $22 (+ bf) and doors open at 6pm. So get yourself out to Queanbeyan for this. But remember, never walk the streets alone after dark. The Woden Youth Centre still remains one of the musical staples of Canberra’s all ages scene. What this city would be like without them, I do not know, nor do I wish to ever find out. On Saturday December 4 they will be hosting Digbyfest 2010. After three exceedingly successful years, Digbyfest is back for its fourth and most successful yet. This year featuring triumphant Melbourne experimental electronica duo Paqman, local one-piece act Love, Sage, as well as Astrochem, West of the Sun, Pleased to Jive You and Turbulence. To be a part of this spectacular event costs only $10 at the door, as it swings open at 6pm. Once again I’ll advise that you get your groove on whilst you can. You never know how far away your next chance may be. I’ll be there with bells on, as should you. It is a horrible and unsatisfactory feeling ending the column with such little information announced. But for now it will have to do. Bands, venues and audiences, get out there and do something! We, the juvenile delinquents of Canberra, can only be bored shitless for so long before we get out of control and start loitering in ‘no loitering’ areas! NAOMI FROST allagescolumn@gmail.com

LOCALITY

On August 26 the Liquor Act 2010 was passed by the ACT Legislative Assembly. According to the Office of Regulatory Services Department of Justice and Community Safety, the new Act “aims to respond to the needs of the community and liquor industry and strike a successful balance in an effort to minimise the harm arising from alcohol-related incidents. All matters will be considered with regard to the impact on the community, and licensees and permit holders will be expected to understand and manage the risk associated with the sale and consumption of alcohol in the ACT.” Now this sounds alright to me. Anything to curb the sometimes cringe-inducing Civic of a Thursday, Friday, Saturday night is a good thing; packs of fluoro singlets and gaggles of mini-skirts; shrieking, shivering, stilettos in hand, walking pneumonia in winter. The mobs of boozy boys laying in to anyone who gets in their way or flashes their latest bit of sauce a look. The Act will make the following an offence; to provide alcohol to an already intoxicated person by both patrons and employees on licensed premises; to abuse, threaten or intimidate an employee for refusing service of alcohol; and to offer alcohol promotions which encourage rapid consumption of alcohol. See ya later Jim Beam babes. But with all blanket legislation problems arise, the biggest one being that the new Act is yet another constrictor of Canberra’s live music scene. Treasured small venues like Phoenix and The Front are facing a 500% increase in licensing fees for post-midnight trading ($16,000 per annum compared to roughly $2,000). The revenue raised from the increase is supposedly going towards the enforcement of the Act, both in terms of police numbers and education. But when was the last time you saw a punch up at The Front, or felt the need for police protection at Phoenix? The fluoro singlets and mini-skirts don’t flock to these venues for $3 drinks, music lovers do, to catch a band and have a beer or two. Once again the Government has reached for the closest tool at hand by restructuring the licensing fee schedule (which targets any venue with a capacity over 80). Consequently the new Act is not only a serious headache for existing small venues, but aspiring venue owners will now have to rethink post midnight trading as they weigh up the prospect of having a smaller capacity/closing early or having to meet the additional costs. If these new venues want to be competitive and provide the type of experience Canberra’s live music scene sorely deserves, it will require being lumped in with the $3 drink establishments which are undeniably the fuelers of the alcohol-related incidents the Act is seeking to combat. The Act is also introducing “stronger protection for children and young people, including stricter guidelines for underage events”. You can only imagine, dear readers, what this will mean for Canberra’s dwindling all ages scene, but more on that next time. For a more detailed discussion of the many ramifications of the Liquor Act 2010, check out the Facebook group ‘Do you want Canberra pubs to close @ 12?’ JULIA WINTERFLOOD julia@bmamag.com

DANCE THE DROP What do we care if it’s summer? Weekend UV is like kryptonite to any true disco disciple, racing home at 6am hiding behind our emergency service station sunglasses as the big yellow sphere threatens to break the horizon through the misty windshield of our comforting metal cocoon. Early morning joggers and dog walkers are our arch nemeses – how dare they live their healthy lifestyles right up in our pale faces! I beseech you to rise up o’ army of darkness and join me in blotting out the weekend sun, Death to Illumination! Some of you may have seen Hubert’s mug on Canberra Milk cartons as a missing person. It’s just not possible to hide a ten foot Sasquatch slash male model in a city as small as ours and the reason he hasn’t been spotted by concerned locals is because he isn’t here. His PANG dynasty lives on in Wollongong at mega venue The Grand Hotel, with the next exciting instalment bringing break/funk legend Krafty Kuts to the fray on Saturday December 4, supported by Steve Lind, Cheese vs Offtapia, Bounce Crew DJs, Squeak N Bleep DJs, Aka Vs Lachlan Holland, Ruslan vs Wizz Fizz Kidz and Down to Joust vs Narrator. Hit up Moshtix for your $20 + bf slice of interstate heaven. God I love good house music; it gives me a feeling similar to the one Joel Monaghan gets when he visits the pound clasping a fresh jar of sweaty breakfast spread (Galv! I’ll never be able to look at cashew butter again! - Ed.). Give or Take is providing us addicts with a truly amazing fix when they usher German ‘erectro’ legends Tiefschwarz into Transit Bar on Friday December 10. Lucky supports for this evening of frivolity include Shepz, Circus DJs, Gabriel Gilmour, Biggie, Tim Heaney, Fourthstate and String~Theory. Do not miss. 4Sound have been depriving us of a lot of sleep lately, so much so that I imagine James Beetham has become Captain Snooze’s bête noire. Things are not looking good for December either, with another round of impressive double headers including tYdi and Marlo on Saturday December 11 followed by Sam Scratch and Kraymer on Saturday December 18. Supports for both shows include Enerv8 and Jerry Seaniger, Kimosabi, Team Wing and B-tham. So what do you guys have planned for this weekend? If you said anything but “Foreshore!” in an overly excited manner then I’m sorry to hear it. I have harped on enough about the actual festival itself but there is one more fact that you may want to consider – the afterparty! Kicks have locked in a couple of rejuvenation specialists in Art Vs Science and The Stafford Brothers to keep your legs moving well into the next day. The venue is of course Academy and tickets will sell at the door for around $15, bargain! Finally, big props to local up and comer Skin N Bones for taking out the inaugural Foreshore sound search DJ competition. I’m sure they will provide punters with a special set on the day! See you all at the festival! TIM GALVIN tim.galvin@live.com.au

myspace.com/pangnight

NOT JUST A LITTLE KRUSH TIM GALVIN When Hideaki Ishii pushed the video cassette into his VCR and saw the Wild Style label disappear into the machine, the seemingly innocuous incident would change the young man’s life forever. His introduction to US hip-hop culture in the early ‘80s via the iconic urban film would set off a chain reaction of events that not only redefined the man, but also the industry into which he was reborn. As far as hip-hop is concerned, it would be safe to say that it was more than just a KRUSH.

I’m always keeping my originality in my tracks

A true innovator, Krush set about experimenting with live instruments; as more of a soundscape artist than a DJ he released his first artist album all the way back in 1994. The critically acclaimed Krush gave birth to the genre of trip-hop, a genus which, rather than constrict the boundaries of hip-hop, gave it exponential potential as an art form. Fast forward to 2010 and Krush is still pushing the boundaries of urban music. “I’m working hard for new productions. I’ve got a single coming out next January and a new album coming out next July,” he says. “Also I’m joining the band Method of Defiance and playing with Bill Laswell, Bernie Warrell, Toshinori Kondo, Dr Israel and Gy Licata. And MOD’s album was just released this October and I will perform for the release party in NY tomorrow! I hope to bring this band to Australia in the future.” Krush’s sound is as indefinable as it is concise; his emergence as an artist in a scene previously dominated by US influences was a significant factor in the rise in popularity of hip-hop music in Japan, although Krush remains prudent on the subject. “Some of them still follow the American scene but there are many original Japanese artists coming out and it looks interesting for me.” He also feels a real responsibility in his position as an international ambassador for not only his own culture but also for the evolution of hip-hop. “Yes I’m putting a message in all of my productions! The message is different and depends on the tracks but I’m always keeping my originality in my tracks,” says Krush. “I’m always travelling all over the world so I’ve got many influences from my family, people, views, smells, nature.” The Krush live experience is augmented by both his talents as a turntablist and his unique ability to defy logic, to ignore convention and provide a truly new experience for the listener. A true man of modest words, the artist simply sums up his ability by saying “[it’s] just feeling.” On the live front, Krush is excited about his impending return to Australia, a country which he has a deep affection for. “I always have a great time in Australia when I perform. I am going to play many new productions and maybe some will be included on my new album. So don’t miss it!” DJ Krush will be playing an intimate show live at Transit Bar on Thursday December 2. Tickets are $25 + bf through Moshtix and doors open at 8pm.

E X H I B I T I O N I S T

Richard Bell

phrase ‘proper way’ meaning the proper way of doing things, which respects the community and its codes of behavior while referencing an Aboriginal way of doing things. The work of proppaNOW is also about now - it concerns current conceptions of culture and race, current political issues as well as issues such as displacement and authenticity. The artists are still very much influenced by their heritage and their community, but approach their work from a contemporary art perspective using a variety of media.

ALL TOGETHER NOW VANESSA WRIGHT “Art can absolutely change the world. Will change the world. Fuck beauty, I want to change the world motherfucker!” - Richard Bell There is nothing shy about proppaNOW, that’s the first thing you should know. They are a confronting, engaging, political machine - an Aboriginal artist’s collective from Brisbane, out to change the world. An upcoming exhibition of new and recent work by the collective at the Canberra Contemporary Art Space will introduce Canberra to the provocative, compelling and mischievous work of proppaNOW, a group that promotes the work of urban Aboriginal artists while also questioning what Aboriginal art is. Officially established in 2004, proppaNOW includes some of Australia’s most successful contemporary artists. The seven artists currently in the collective are Richard Bell, Vernon Ah Kee (who represented Australia at the 2009 Venice Biennale), Tony Albert, Jennifer Herd, Bianca Beetson, Laurie Nilsen and Gordon Hookey. Each of these artists is successful in their own right, but together the collective forms a supportive, close-knit and intergenerational working family. They produce work that is distinct and individual, yet the work of all seven artists is fundamentally concerned with issues of identity, racism and inequality, and strives to overturn established stereotypes, preconceptions and misconceptions of both Aboriginal art and Australian history. The interests of urban Aboriginal artists are often overlooked by government funding and are underrepresented in galleries that favour more traditional work by regional artists, so the proppaNOW collective was established to give a voice and political agency to a sidelined group. The ‘proppa’ in proppaNOW, refers to the Aboriginal

For the upcoming CCAS exhibition proppaNOW will be experimenting with forms of new media and for some this will be an exploration outside their comfort zone. Works will be primarily photography or video pieces, familiar territory for some of the artists, such as Richard Bell. For Bell there is “no better way to convey messages and ideas than moving images”, and this preference is particularly evident in his 2008 video work Scratch an Aussie. In this work Bell is a self-styled black Sigmund Freud, psychoanalysing attractive, half naked young men and women and questioning the often-prevalent racism of white Australia, all with a good dash of biting satire. Bianca Beetson’s work also employs humour and satire to convey issues in her almost always pink and frequently sequined work that is primarily concerned with individual Aboriginal identity. Existing somewhere between painting and sculpture Beetson combines kitsch and pop culture references with elements of traditional work such as dot painting and burial poles. Her work critiques both what it means to create authentic Aboriginal art as well as roles of beauty and the feminine in art. One of Beetson’s most provocative works is her gingerbread man series. These works deal with skin and her own issues with identity, being a fair skinned Aboriginal woman who is constantly questioned about ‘how Aboriginal’ she is and the authenticity of her work as a result. One motif the proppaNOW group shares is the image of the target, seen in works such as Tony Albert’s No Place 2 (2009) as well as works by Beetson. It represents how the collective is often seen as an easy target for criticism, both from the outside and within the indigenous community, because they like to stir up trouble and create controversy with their work and actions. In 2003, to accept his Aboriginal & Torres Strait Islander Art Award, Richard Bell chose to wear a t-shirt emblazoned with the words, “White girls can’t hump”. It is actions such as this that form part of the strength of the proppaNOW collective, often deliberately making themselves a target for criticism and debate, while simultaneously causing interest in their art and their collective message. Continued on page 22

T Anton Bruehl Esquire Canteen: Puerto Rican singer and rumba dancer Marga and accordionist puppeteer Bil Baird of the Ziegfeld Folies 1944

ALL TOGETHER NOW CONTINUED The director of the Canberra Contemporary Art Space, David Broker, views this proppaNOW exhibition as vitally important for the Canberra art scene. “proppaNOW”, states Broker, “are an exceptional example of collective activity and can set a great example for Canberra artists”. One of the potential future outcomes that Broker sees arising from this exhibition is that the exposure of Canberra artists to the work of proppaNOW will encourage local Aboriginal artists in their practice, creating the opportunity to show more local work in coming years. proppaNOW: new-recent work promises to be a surprising, captivating and hopefully controversial exhibition. If audiences are very lucky Gordon Hookey may even use the opening as an opportunity to recite his new poem - an ode to Bob Katter! It’s a rare opportunity to see Australia’s hottest art collective in a group show outside of Queensland and an unmissable opportunity for Canberra audiences to view the work of artists producing such compelling and intelligent art. Art that hopes to change not only Australia, but also the world. proppaNOW: new-recent work opens at the Canberra Contemporary Art Space Gorman House at 6pm Friday December 10 and is on show until late January 2011. For more information visit www.ccas.com.au .

THE ORIGINAL SELL OUT Sarah Mason The first major retrospective of ANTON BRUEHL, ex-adverstar photographer, is currently being presented by the National Gallery of Australia. In The Spotlight showcases an extensive collection of Australian-born Bruehl’s gorgeous colour and black and white photographic works from 1920-1960. The iconic images produced by the not-so-soulless wonder are not always immediately attributable to Bruehl, even though millions have enjoyed his sumptuous advertising imagery. He is credited as having transformed commercial photography into an art form, as one of the most successful celebrity portraiture, advertising and fashion photographers to come out of New York during the commercial boom of the 1950s. Bruehl’s well-known portraits of a flame-haired Marlene Dietrich, scowling Katharine Hepburn or trumpet-wielding Louis Armstrong hang in the NGA alongside advertisements from Vogue, The New Yorker, Vanity Fair and House and Garden. The exhibition marks the establishment of artistic lighting and styling, which has inspired contemporary Australian photographers such as Max Dupain and Athol Smith. The NGA chose to display a representative collection of Bruehl’s works for this show, rather than his more popularly exhibited 1920s-30s modernist still-life studies and advertisements. This presented a challenge, particularly in the display of the 100 black and white photographs donated by Bruehl’s son, Anton Bruehl Junior. “Exhibitions of similar sized photographs can look like washing on a line, so we went for a theatrical look,” said the NGA’s Senior Curator of Photography, Gael Newton. “We understood the quality integrity but also the imagination and sense of play he brought to his works. We used black painted frames and white reversed-out text on black labels”, she said. In addition to creating an extensive collection of black and white images, Bruehl was a pioneer of colour production techniques, working with photo technician Fernand Bourges to master high-colour photography three years before Kodak released Kodachrome colour film in 1935.

Laurie Nilsen Sit Down Money 2010

“We wanted to create the sense of that hot palate, said Newton. The colour scheme in that part of the exhibition is blue and orange and we also used quotes associated with his career, like ‘colour is like dynamite, dangerous if you don’t know how to use it.’” Dynamite Canberra photographers-in-training can take heart from the unglamorous beginnings of Anton Bruehl. Born in Naracoorte, SA and raised in Melbourne, he studied electrical engineering, only moving to New York when his German-born father was refused naturalisation during World War 1. The injustice could not have been more fruitful for Bruehl, who never returned to Australia, but forged his skills at art school, making his mark on the big apple and on Australian photographic history.

In The Spotlight – Anton Bruehl Photographs 1920s – 1950s is on show at the National Gallery of Australia until February 6 and entry is free

Dosvidas, Frida Kahlo Doll, 2009

A Very Crafty Christmas Yolande Norris For all its positive messages, Christmas has long represented all that is depressing about throwaway consumer culture. Recent years however have seen a defiant move against these attitudes, and a resurgence of all things handmade. There are global movements, such as Etsy.com, as well as local activity, such as the Handmade markets, but one organisation that has long championed the cause in Canberra is CRAFT ACT CRAFT AND DESIGN CENTRE, exhibiting and promoting cutting-edge work by designers and artisans. In June of last year Craft ACT launched its retail shop front, responding to the calls from local practitioners for more opportunities to increase the visibility of their practice and the viability of their careers. Local makers can now produce and sell wares all year round, not just when the rare opportunity to exhibit arises. The inviting space, located alongside the Craft ACT gallery, is a feast for the eyes and imagination. One wall boasts a site-specific work by local graf artist Byrd, and the remainder is packed with diverse and innovative handcrafted goods. Craft ACT curator Diana Hare estimates that 95% of artists stocked in the shop are from the Canberra region – making it a hub for local creative talent. Even the remaining 5% generally have some connection to the ACT, often being alumni of the prestigious ANU School of Art or artists who have previously exhibited with Craft ACT. Because of their dealings with beautiful and unique objects Christmas has always been a busy time for the organisation and the makers with which it associates. The shop means they are able to rise to the occasion more than ever before, while also taking time to celebrate another year of creative activity in the capital. This year the shop will burst its seams at a special one-night-only Christmas event. New works by Craft ACT’s dearest artisan friends will fill not only the shop and storeroom, but the entire foyer area too. There’ll be music, drinks, and a chance for an end of year catch-up with the who’s who of the Craft and Design community. Central to the festivities will be a specially commissioned Christmas tree, by local designer and craftsman Tom Skien. The tree will be festooned by decorations made by some of the scene’s most well known artists – to give this centuries old Christmas tradition a contemporary spin. Contrary to popular belief locally handcrafted goods don’t have to be bank-breakers. People from all walks of life are drawn to the handmade, so all different budgets and tastes are catered for. Ultimately, the value of these handcrafted goods is beyond monetary – being a step towards sustainable practices and production, supporting independent industry and keeping the local creative economy strong. It’s shopping with a conscience, keeping Christmas individual and keeping you free from the horrors of the mall. Check out what’s on offer at Craft ACT Craft and Design Centre from 2-5pm Saturday November 27, upstairs in the North Building, 180 London Circuit.

ARTISTPROFILE: Tiffany Cole

What do you do? I’m painter. I mainly paint still-lifes featuring animals, insects, flora and shiny objects. I use oil paint because of its capability to conjure beautiful textures like opalescence, glass and fur. I like to explore ways to blur the lines between reality and the artificial. When did you get into it? I think I’ve always made things. I was a crafty child… in a good way. I really got into painting more seriously though just before I applied to uni. The course at the School of Art opened my eyes to all the complexities of the art world, and introduced me to the genres in art that I now love. Who or what influences you as an artist? I am fascinated by nature and the lives of different creatures. I think life is mysterious, and I enjoy imagining what existence would feel like as another creature. David Attenborough is my hero. He has such a regard for nature, not to mention an incredible whispery narrator voice. I also love still-life paintings from the 17th Century Dutch era. They are like magic shows in painted form, recreating nature in such a juicy and glamorous way. What’s your biggest achievement/proudest moment so far? Winning the QANTAS Foundation Encouragement of Australian Art Award, which I used to travel to the Peruvian Rainforest and Galapagos Islands this year. What are your plans for the future? My solo exhibition titled Unexpected Guests is going to be on show from December 2 to 12 at CCAS Manuka, you should come along! Not sure what’s next as yet… I would like to spend a long period of time making a new series of paintings. What makes you laugh? The ridiculous scandals ensuing daily on The Bold and the Beautiful - will Ridge get back with Taylor after Brooke’s outrageous scandal? Glamorous ‘80s clothes, dramatic hairdos, Kath and Kim… lots of things. What pisses you off? People who are rude to service staff - it’s just no good. What’s your opinion of the local scene? I think we have a great local scene. It’s just the right size to be close knit, which is great for the word to get around about things, and there’s a really supportive atmosphere here. Contact info: tiffany_joy_cole@hotmail.com

UNINHIBITED Until recently I thought of myself only as a visual arts person. I went to art school, worked in galleries and was so immersed that I had very little time to think about any of the ‘other’ art forms on offer. In fact I confess to seeing them as something pretty well separate. Suddenly I’m the editor of Exhibitionist and my creative universe has increased tenfold - I’m surprised to realise how much these art forms have in common, and more so that I love them equally as much. This week just past is a prime example of how far I’ve come; a week that saw me heading to the theatre not once, but twice. I know, I know, it sounds like hardly a stretch, but bear in mind this is someone who would have been lucky to see the curtains raised perhaps annually over years previous. The nature of my two outings could not have been further apart. The first was a highly civilised visit to The Playhouse at the Canberra Theatre Centre after I bought into the hype surrounding When The Rain Stops Falling. Everyone was talking about it; one particularly convincing review from the Sunday Mail cited it as “probably the best play I’ve ever seen” and that was good enough for me. So, faced with the prospect of either lumping on the couch watching IT Crowd or checking out said production I chose the latter (I must be growing old) and went alone (like I said). Thank the universe I did. In the space of two hours, perched on the edge of my seat and being overcome by spasmodic snuffling crying fits my life was slowly and irrevocably changed by this epic and stupefyingly beautiful masterpiece. Not having the appropriate theatre background I feel hopelessly ill-equipped to put my impressions of When The Rain Stops Falling into words, so allow me to quote: “it was probably the best play I’ve ever seen” (I second that - Ed.). Days later now and I am unable to shake many moments from my mind and replay parts of dialogue over and over in my head - problematic because this makes me start snuffling all over again. Then, in complete contrast: the Phoenix Players rendition of 1970s musical Best Little Whorehouse in Texas, taking the stage in Queanbeyan. “Texas has a whorehouse in it – Lord have mercy on our souls!” And let me tell you one more thing you probably already know – amateur musical theatre is alive and well in Canberra. Again I will borrow from the professionals: Best Little Whorehouse is the probably the funnest production I’ve seen in my life. Ultracatchy and ridiculous songs, outrageous costumes, bawdy humour, cute characters and crazy highjinks, all with a bittersweet centre and side order of cowboy boots and Texan accents. No snuffling here but snorting with laughter instead, and a self-scolding for not having realised that this kind of talent walked among us. Now I rue the past 20-odd years of theatre I’ve missed and appear to have a burgeoning addiction to show biz. If only my vocabulary could catch up. yolande norris exhibitionist@bmamag.com

bit PARTS WHO: ANU School of Art Graduates WHAT: 2010 Graduate Exhibition WHEN: 6pm Friday December 3 WHERE: The entire School of Art building

Katherine Griffiths, Her Divided Self, 2010, Bachelor of Visual Arts Honours

There’s no better way to bid farewell to a year of visual art in Canberra than the ANU School of Art Graduate Exhibition. Each year an estimated 2,000 punters descend on the School for its night of nights. It’s the best of what’s to come, as the class of 2010 fill the school with the fruits of their labour and fill their glasses to match. There’s something for everybody – painting, photography, new media, sculpture, glass, ceramics, textiles, printmaking, furniture design and gold and silver – the works are for sale, so are the drinks, but the electric atmosphere is free, morale is high and the outfits outrageous. Don’t miss out on the awards ceremony, where the art world picks its favourites of the year’s crop.

WHO: Tiffany Cole WHAT: Exhibition Unexpected Guests WHEN: Opens 6pm Thursday December 2, continues until Sunday December 12 WHERE: Canberra Contemporary Art Space Manuka A perfect warm-up for the Graduate Exhibition, Unexpected Guests showcases the latest work from acclaimed Canberra painter Tiffany Cole. Also a graduate from the School of Art, Cole recently won the prestigious QANTAS Encouragement of Contemporary Art Award, enabling her to travel to Peru and the Galapagos Islands earlier this year. The adventure perfectly appealed to Cole’s preexisting interest in nature, flora and fauna, and this latest body of work draws upon inspirations she found along the way. Be blown away by Cole’s incredible technical skills in this suite of succulent and seductive oil paintings, as she investigates the clash of suburbia and exotic faraway places. WHO: Martin Schoeller WHAT: Exhibition Close Up WHEN: On now until Sunday February 13 WHERE: National Portrait Gallery When New York based photographer Martin Schoeller creates a portrait, he doesn’t mess around with sets and contexts. Instead he gets right to the point and up extremely close. The National Portrait Gallery presents Schoeller’s first Australian exhibition with a selection of these very works – many of which are celebrity portraits capturing the likes of Bill Clinton, Angelina Jolie, Iggy Pop, Jack Nicholson, Marilyn Manson and more. These full-frame full-face extreme close ups reveal surprising complex details of the human face and bring all Schoeller’s subjects - regardless of whether they are politicians, musicians, actors or unknowns - to an equal level. WHO: Gary Smith WHAT: Exhibition Industrial Desire WHEN: On now until Sunday December 5 WHERE: M16 Artspace Griffith

WHO: Last Man To Die WHAT: Interactive installation and performance WHEN: Saturday December 5 Installation 11am – 5pm, Performance 7pm WHERE: Canberra Contemporary Art Space Gorman House An announcement from Last Man To Die: “LMTD Tours is pleased to announce our guided explorations into the future/past of humanity will continue in December. The Last Man To Die explores a future where humanity has triumphed over ageing and death and looks back at a time when people lived for barely a single century. You’ll experience first hand the brave new world explored by those first immortals and the choices faced by the last to die.” “But what does it mean?!” I hear you say. Why, it means an interactive all-day installation and evening performance. Featuring Hanna Cormick, Benjamin Forster and Charles Martin in collaboration with writer Pete Butz. Tickets are on the door for $10 or $7 Concession and CCAS members. Unearth more at www.lastmantodie.net .

The industrial landscape is transformed into a place of ethereal beauty by Canberra artist Gary Smith in his latest exhibition Industrial Desire. Smith, who was awarded a Master of Philosophy from ANU in 2005, grew up in the industrial town of Geelong on the Bellarine Peninsular of Victoria. So began his early fascination with the distant flare of the oil refinery and bay-scapes dominated by heavy industry. Images of storage tanks, piers, and pipelines are transformed into shimmering, ambiguous objects by a multi-layered process of printing and painting. Smith’s subtle, alchemic paintings reveal the surprising beauty found within the mix of oil, salt and fumes in these areas. WHO: Vexta, Ha Ha, Anthony Lister and more WHAT: Pop Up Exhibition Exterior Motvieser WHEN: Until Sunday November 28 WHERE: I Trip I Skip, Lonsdale St Braddon Melbourne’s Metro Gallery is descending upon Canberra with a delicious side serving of street art, specially assembled to accompany Space Invaders at the National Gallery of Australia. One of Metro’s aims is to show how the work of many of the artists who appear in the NGA show has progressed recently, namely Vexta, Ha Ha, Anthony Lister and many of the Everfresh crew. The ‘pop up’ exhibition will do just that, appearing at forward-thinking Braddon boutique I Trip I Skip for five days only. Be quick or you’ll miss it. If you’re an eager beaver and picked up BMA fresh from the press then you might just make the opening night – Thursday November 25.

) ls l a H d e w lo l a H ( JUSTIN HOOK

THE CHURCH were recently inducted into the ARIA Hall of Fame.

On the evening of the ceremony, the band’s lead singer, Steve Kilbey, stole the show with a rambling and hilarious 30 minute speech that even managed to prompt Tina Arena to heckle from the floor. At the conclusion of Kilbey’s show-stealing performance, Marty Willson-Piper – the man largely responsible for the band’s signature ethereal, chiming 12-string guitar sound – mock-chided his colleague for destroying the mystique they had worked assiduously at developing over their 30 year career. As for the award itself, Willson-Piper is gracious but wary; “Awards are a funny thing. The problem with awards is in the end they have no bearing on what you do creatively. I mean it’s great someone has come along and said ‘you are worthy’ and it’s nice to have people show their appreciation. But it has no bearing on what you do.”

Walking ever more delicately around the subject the guitarist concludes, “You don’t want to be ungrateful but you can’t really incorporate it into your work. The thing with awards is you just have to treat them with a healthy distance. You just say ‘thank you for bestowing the honour upon me’ and just leave it at that. It has nothing to do with how you move on as a band.” And they have been doing plenty of moving on over the last 30 years. Willson-Piper joined Kilbey and guitarist Peter Koppes in a line-up that would eventually morph into The Church in early 1980. Little under a year later they scored their first major radio hit with the pysch-pop jangle mini-anthem The Unguarded Moment. As the decade wore on, the dreamWhy didn’t we get pop neo-psychedelia scene, of another drummer? which The Church are widely regarded as one of the most Why did we influential flag bearers, even substitute him secured its own media friendly with a crap drum label – Paisley Underground. Then there’s the ghostly Under machine? The Milky Way (from 1988’s Starfish) – a song that kicked down many a door internationally and was recently voted by The Age newspaper as the best Australian song of the last 21 years. For a band with such a nigh-on unimpeachable legacy, you could probably forgive them for dwelling on the past and perhaps even allow a surrender to the now drearily inevitable ‘play the whole album all the way through’ thing. For Willson-Piper and co. that’s on the agenda. “No it’s not, really. That’s the thing we have to be careful of; things like that they tend to suggest. And it’s just like the Hall of Fame thing, when you get honoured at a thing like that it’s like a full stop, it means it’s the end. And it’s not really. We’ve continued making records since we started and we’ve never stopped.”

Yet for all these years of activity, critical adulation, commercial success and touring, life in a Hall of Fame band isn’t as financially rewarding as you’d expect. Statues and industry votes don’t pay the electricity bills. “No, not particularly. Everybody’s always hurting for money. It’s an expensive world we live in and I find that everyone’s trying to find ways to pay bills… to buy that CD… to go out to dinner… to go to the movies and even buying your kids a present and eating! People think that bands like us run around flush, just because we’ve been around for a few years.”

For the current 30th anniversary tour, the band decided on a small scale, acoustic approach eschewing larger plugged-in theatre shows. Each show will be a reverse overview of their career where they play a song from each album in reverse chronological order from the last album all the way through to the beginning. WillsonPiper is happy with this compromise. “It’s a cool thing and it’s a good overview without it being too bombastic and self-aggrandising. We just felt a low-key version of what we had done over the years is the best approach.” This approach means we’ll be getting a unique perspective on how the band themselves see their place in the recent history of Australian rock, and you’ll also get at least one song from the oft-criticised – especially by the band themselves – Gold Afternoon Fix, the 1990 album that represented The Church’s big chance to capitalise on Starfish’s international success and also saw the departure of drummer Richard Ploog and the arrival of drum machines. Willson-Piper is currently writing the liner notes for the album’s pending re-release and fronts up to the challenge. “It’s gonna be a difficult one to write because it was the album where Richard parted ways with the band and it sounds like a drum machine and it really ruins the songs – all you can hear is that stupid drum machine which is so frustrating and I don’t know how the hell we let it happen. Whether Richard was going to be in the band or not is another issue… but you know why didn’t we get another drummer? Why were we doing it with a drum machine? For all the sadness of Richard not being in the band and whatever the reasons were is irrelevant. The point is if he wasn’t going to be in the band why didn’t we get another drummer? Why did we substitute him with a crap drum machine? So that is always eternally disappointing for us that it ended up being that way.” So in a few weeks time when The Church play at Tilley’s, come see them kick the boot into drum machine once and for all. Catch The Church live at Tilley’s on Saturday December 4. Tickets are $48 and can be purchased through the venue either at the bar or by calling 6247 7753.

MEN OF STEEL

‘SKALLION STALLIONS

justin hook

ben hermann

The Tangalooma Resort is about 90 minutes from the Brisbane CBD on Moreton Island. Popular with locals, it’s a dolphin retreat of sorts and dotted with the rusting hulks of long deceased ships, a perfect retreat for stressed out Brisbanites. I’ve been told they actually exist. When THE JOHN STEEL SINGERS wanted an image to adequately express the specific local-ness of their recently released debut album, Tangalooma (Dew Process), they lugged carloads of We wanted to camera gear to Moreton Island, as make a fairly Tim Morrissey explains. “I hadn’t Brisbane and been to Tangalooma since I was land Queens three and I always had that visual centric album image in my mind of the wrecks. We wanted to do something Queensland-centric and these shipwrecks where just phenomenal.” From firsthand experience diving through the wrecks, I can confirm he’s not lying about them and the stunning cover art proves they know a thing or two about graphic design.

In the seven months or so since they packed out The Majestic stage at this year’s National Folk Festival, RAPSKALLION have covered a lot of ground. Which is no surprise, really, considering the type of rag-tag, gypsy cabaret-cum-travelling carnival outfit that they pride themselves on being. After only recently returning from an extensive European tour and about to embark on their own When the Wine Kicks In national tour, Fingal Capaldi (accordion, guitar, vocals, mandolin, general mischief maker) reflects on the months that have just passed. “It was amazing, and Berlin was especially incredible,” he says. “We played the Fusion Festival, which is held on an old Russian air force base. The stages are set up in the underground air force hangers, and so it’s like a cabaret at the end of the world.”

There’s a strong sense of local pride in this band. Not in the Southern Cross tattoo on your back type of way, more of a respect of antecedence and contentment with how the Brisbane music scene has evolved. “We wanted to make a fairly Brisbane and Queenslandcentric album because a lot of people in Brisbane or even other parts of Australia don’t necessarily know a local band is even Australian.” And then there’s that Brisbane sound, as Tim continues: “Brisbane, musically, always had a unique sound. Dry vocals, pop oriented, but also trebly guitars straight into the amp and wiry little guitar licks; bands like Up’s and Downs, The Apartments, The Go-Betweens.” It’s that last band that has made the biggest impression on The John Steel Singers. “The Go-Betweens always quoted Brisbane suburbs or things about the area and it was always great that this pretty successful band were still quoting Brisbane suburbs.” It’s no surprise then that The Go-Betweens’ Robert Forster ended up producing Tangalooma, playing the less invasive, more fatherly role in the recording. “The father role would be an apt way of describing it. He’s certainly not an engineer sitting at the mixing desk twiddling knobs.” Apart from the obvious fan-boy thrill of working with one of your musical idols, there were pragmatic reasons for the coupling that actually went beyond Forster reclining behind the mixing desk in an immaculate suit sipping tea. “Robert is wired to make pop songs – he has a pop brain,” Tim explains. “He’s also very good at arranging and structuring and really helped trim the fat off a lot of the songs. You know if you’ve been playing a song for a year you might get quite attached to a guitar part. But in reality it may be cluttering up the song, so it’s good to have an authority figure everyone respects. You tend to take it a lot more seriously when it comes from him.” Long may he trim. Catch The John Steel Singers live at the ANU Bar on Friday December 3. Supports are Deep Sea Arcade and Fishing and tickets are $18.85 + bf through Ticketek.

The music we play is fun music and it’s party music. People go a bit crazy wherever we are

Fingal explains that, as could be expected for any type of music, the reception the group receives differs between countries “depending on their particular cultural bent,” but that overall, their type of music lends itself to a fairly predictable audience response. “The music we play is fun music and it’s party music. People go a bit crazy wherever we are, especially if there’s a bar. So yeah, generally speaking, people are up for a party no matter where you are in the world.” The ‘skallion’s music could be described in many ways – cabaret, gypsy, punk, oom-pa, polka, blues, tango and almost any other type of music renowned for getting people on their feet and dancing, coupled commonly with a sideshow of circus performers and vaudeville theatrics. So although the group hardly appears to be in want of creative flair or dramatic inspiration, Fingal explains that Europe nonetheless proved to be the flirtatious muse that musicians of all inclinations find her to be. “Our inspiration does come from particular types of music, but it certainly is improved by new places and experiences. I really improved my French accordion sound while we were over there. As well as that, it’s a really established scene they’ve got, especially in terms of the theatrical stuff and the street performing, and that certainly made an impression on us.” With so much time on the road, the group has found precious little time to write or record a new album. After returning from Europe, the group split up and went camping separately, each to write and create some tunes to bring back to the group. After their national tour comes to a close, they plan to head back to Melbourne to crack on with the new album. “It’s been almost two years since the last one,” explains Fingal. “It’s along similar lines for sure, but a lot more rhapsodic. It’s evolved into something way more interesting than it originally was. We want to make it way more bent and left-field.” Rapskallion play at Phoenix for free on Wednesday December 8. In support will be Mr Fibby.

LAUNCHING INTO THE STRATOSPHERE

DON’T CURB YOUR ENTHUSIASM

Matt Petherbridge

peter krbavac

Vocalist Greg Byrne is currently stuck in the mundane. During our chat, he was unjustly accosted by his boss for using the work phone as we discussed the change of direction and sound on STONE PARADE’s brooding, more urgent and direct second record Stratosphere. “Our new record takes me on a journey. It’s that realisation that you need to separate yourself from conventional living and expectations,” the singer humbly muses. “Isolation, adventure and rebirth are words that constantly spring to mind when describing the record.”

Since they emerged from the spare room and onto the stage a few short months ago, local duo CRASH THE CURB have been the talk of the town, winning over audiences with their spiky, guitar-heavy brand of pop and their endearingly ramshackle performances.

Hailing from the Northern Beaches, Stone Parade hold some illustrious honours to their name, claiming first prize in the 2008 International Songwriting Competition Rock category with their song Somebody Will Miss You Isolation, from their first record, Chase the adventure and Setting Sun as well as playing to rebirth are over 10,000 students across 70 words that high schools across Australia on spring to mind when describing the 2009 Rock the Schools Tour. the record Whilst Byrne found the 2008 ISC win “a morale booster” and “refreshing to feel appreciated and recognised” for the band’s creative song craft, not to mention a “surreal” moment meeting the KAK when the band played on the Kerri-Anne show, the band was not about to rest on its laurels. Made up of two brothers and life-long friends, Alex (Qasabian, guitar), Mark (Fouche, bass), Kevin (Fouche, guitar) and Billy (Handley, drums), Stone Parade worked on Stratosphere free of interference, relying on each other’s encouragement and direction to create sonic cohesion out of each member’s persistent, individualistic visions. The fact the record was not only selfproduced, but self-engineered is astonishing. Much of the new material that comprises Stratosphere was born from collating songs out of “the best of the best bits” that presented themselves after endless hours of jamming. One of the best of the best bits turned into first single Paranoia, which has dirty, sexy money written all over it. “Paranoia was originally just a meaty riff that Mark had been messing around. It was only ever really about that gritty, pacey riff. It breeds a sense of urgency,” Byrne laughs. Stratosphere was mixed by eight time Grammy award nominated engineer Mark Needham (Chris Isaak, The Killers). “Mark is a pro. We gave him creative licence to have a play around with different effects and our song structures. That extra bit of love helped make the record sound amazing,” Byrne offers. So what’s on the cards for 2011 for Stone Parade? “We’re actually planning a trip to Canada and the United States in March… It’ll be fun to take our record across the other side of the world!” Byrne laughs. “Canberra better be prepared for our live show… we’ve got caged dancers, fire breathers, contortionists, just the usual!” Catch Stone Parade with supports Sleep Parade, London Circuit, Escape Syndrome and Spoil live at The Maram on Saturday December 4. Tickets are $12.80 (+ bf) via Moshtix.

With only a handful of gigs to their name, the duo were named ACT winners in the latest round of triple j’s Unearthed competition. This saw them flown to Perth to play alongside the likes of Ben Kweller, Xavier Rudd, Karnivool, Grinspoon, Children Collide and Paul Kelly at the One Movement for Music conference showcase gigs. “We were just about to jam and then I got the call [from triple j] and I was kind of like ‘what?!’” guitarist Adam says, putting on an irritated voice. “I didn’t answer in the nicest way.” “He was like ‘oh yeah, we can play that gig I guess,” drummer Grace chimes in. “I was really shocked,” Adam continues. “I was on the phone for ages and then I told Grace and she had the proper reaction of screaming. Then we tried to jam afterwards and it was just so bad. We were so jittery.”

One of the drivers was telling us that she’d driven Lady Gaga

After a fortnight of intensive rehearsals the pair found themselves sleep deprived and blurry on the other side of the country. “The first day we got to Perth was the hugest day,” Grace says. “We were awake for 24 hours straight and there was a gig at the end of that. As we got there we had to go to the ABC – we were on the radio doing a scavenger hunt with two other bands. They’d hidden the room key for our hotels somewhere in Perth.” While over there, Crash the Curb were afforded the full star treatment. “We had a driver, yes,” Adam laughs. “Though we didn’t really take them up on the offer because the hotel they put us in was within a two minute walk from everywhere we played,” Grace says pragmatically. “One of the drivers who took us to the airport was telling us that she’d driven Lady Gaga,” she adds. “We gave her a CD because she was going to drive Metallica in a couple of weeks so we thought she could play it while she’s driving around,” Adam jokes. With that madness behind them, Crash the Curb are now preparing to finally launch their self-titled EP, as the original launch show was postponed when it clashed with the first day of the One Movement fest. But ever energetic, the band already has a full length record in the works. “That’s the thing I’m most excited about. Playing gigs is cool but I love recording and making a product,” Adam says. “I’ve got so many songs. There’s enough to choose from to make something pretty good. We could do another EP but we just want to establish it. EPs are about finding your sound and we’ve done that already.” Crash the Curb launch their self-titled EP at Smiths Alternative Bookshop in Civic on Thursday December 9, supported by Cat Cat. Entry is free.

If there’s a town chasing something so it’s always new to in Australia you me – a good example is my new single haven’t played Lady Luck.” This process officially came to in why not play fruition during his time as the host of triple there rather j’s Roots N All program from 2005-06 as he than some town got a new level of inspiration to draw from. “I in Canada? was a pretty traditional blues guy and I didn’t listen to much stuff that wasn’t bluesy at all. But my ears opened up from doing that show which has ultimately benefited my music.”

PEARLS OF WISDOM shaun bennett Five albums in, 15 years of touring, an APRA Award, ARIA nominations and his own record label and Melbourne troubadour ASH GRUNWALD is still high on a creative buzz searching for his next project. His secret is to keep searching and embrace all that is available to us. “Part of the shift in your music is that you’re always

Grunwald has kept himself amused this year by further broadening his blues/rock sound by adding hip-hop and electronic elements to his new album Hot Mama Vibes. As such he recruited famed Aussie hiphop producers Mr Trials (Funkoars), Chasm and Countbounce (TZU) to name a few. This took recording and producing from Brisbane to Adelaide to Melbourne and he even had material sent from London. Grunwald says that technology has enabled him to do things he has never done before. “Technology has really benefited the listener and music maker but has not benefited the music industry in terms of revenue, but it doesn’t mean musicians aren’t making any less music.” While he has had plenty of fun in the studio this year, playing live is what Grunwald does best, as there is hardly a town in Australia he hasn’t played in. “There aren’t many,” he agrees. “If there’s a town in Australia you haven’t played in why not play there rather than some town in Canada?” he asks. “Since I’m doing the Jack Johnson support slot I can do a side show in Sydney and Melbourne while I’m there.” From playing live he draws further inspiration and ideas for future projects as his songs come alive in a new light. “I played a song called Mojo from my last record with an orchestra and that was insane and I thought ‘damn, I’ve gotta do this more often!’” As Ash’s daughter becomes audible down the phone line I begin to wrap up by posing the question of the interview: what’s the plan for the future? “I’d love to do a gig with an orchestra and record it since that really engages different influences of mine. I’ve been talking with Kram as we did a gig together and may do a side project together at some stage and then I’ll work on my next album.” Adapting with the times, experimenting with new genres, collaborating with diverse musicians, being a family and businessman… surely this guy should write a life coaching book. “The options never dry up.” Ash Grunwald plays The Maram on Thursday December 9 with The James Fahy Trio. Tickets are $20 + bf through Moshtix. Doors open 8pm.

after falling asleep at the wheel and writing off the original beast. “Now I’m lucky to have a great manager and tour manager who are the planning people, and I can concentrate on writing, playing music and being the ‘take each day as it comes’ guy.”

DRIVEN, NOT STIRRED KG It would be an understatement of gross proportions to say that 19-year-old guitarist, surfer and singer-songwriter KIM CHURCHILL possesses drive. The Canberra-born, Merimbula-bred musician is more itinerant than a Kalahari Bushman trying to divest his people of a Coke bottle. “As a young artist, now’s the time for me to be busy,” chirped Kim on the line from Margaret River, where he’s just played four shows in three days. “You just have to tour your arse off, record heaps and keep pushing in every way you can.”

You have to tour your arse off, record heaps and keep pushing in every way you can

And it’s this team, along with secret agents in each corner of the globe, that has him booked for a host of national and international shows next year, including the Peats Ridge Festival, the Woodford Folk Festival, Texas’ South by Southwest, Memphis’ International Folk Alliance Conference and a tour of England. When he’ll find the time to record the 40-odd songs in his brain matter, as well as release three EPs and a second album by the end of 2011, the world hasn’t a clue. Alls I know is that Kim’s freakish impetus, enviably manic guitar talents and a salubrious attitude to life would almost make one regret a youth thus far wasted on the wholly unwholesome. Well, almost. Kim Churchill’s latest EP Turn to Stone is due for release in mid-December. Kim will be playing with Ashleigh Mannix at The Holy Grail on Friday December 3. Tickets are $10 on the door.

So, while I was sitting there wondering where all my ambitions had got to, Kim told me about his musical beginnings. After picking up the guitar at the tender-loin age of four, Kim then trained classically for ten years. At 16, he started to find his own musical feet under the influences of not illicit substances, but Bob Dylan, Led Zeppelin, Pink Floyd, Bowie, Marley and more recently Jack White. Taking multi-tasking to new heights with his one man band act, Kim hit the road in a campervan straight after year 12 two years ago. He hasn’t had a fixed address for more than a week since. While his contemporaries were busy either going to uni or TAFE, getting jobs or contemplating the futility of so many TV crime dramas, Kim had been traversing Ozland, busking at markets, playing every venue he could, squeezing in a surf and generally having a rad time. “It’s been a hectic couple of years, but it’s also been lots of fun,” Kim enthuses. “When I used to plan my own gigs, it was sporadic and just stupid. I would play a gig in Melbourne on Sunday and have another booked in Byron Bay the next day, which meant I had to drive long hours after gigs.” Kim admitted to having “involuntarily” upgraded his first campervan

THE REALNESS One of Melbourne’s most admired emcees, Bigfoot has finally dropped his long awaited debut solo full length entitled Giant Steps on Broke Tooth Entertainment/Obese Records. For those in the know, Bigfoot has been dropping heat since the mid-‘90s with a barrage of killer guest verses and productions on some of the scene’s finest releases and now it’s time for him to take the spotlight. Produced entirely by Bigfoot himself (with some help from fellow Hired Goon accomplice Heata) Giant Steps is full of bangers – I’m talking huge bass lines, dark synths and dirty, dusty samples. Coupled with his aggressive no nonsense flow and clever wordplay, Bigfoot murders sucker emcees and also drops some crazy vivid narratives on the listener. Add to this a stellar line-up of guest spitters from the likes of Brad Strut, Muph, Ciecmate, Bias B, Lazy Grey, Dialectrix, Fluent Form and the Hired Goons crew and you’ve got a certified burner of a record. Go get it now. Karsniogenics have just released the debut album from The Statesmen – aptly titled Drama To The Finish. The Statesmen are made up of duo Sean B and DJ Dcide and represent Brisbane, QLD. Having spent 18 years collectively on radio with 4zZz’s PhatTape hip-hop show supporting and showcasing local product the duo are now unveiling their own sounds to the masses. Featuring guest appearances from Lazy Grey, Bias B, Jake Biz, Bigfoot, Miss Brown, Marvel and Marvin Brown the duo have offered up the first single Whatever The Cost as a free download through their MySpace – myspace.com/thestatesmenhiphop. Peep it and support the fellas. Fresh from his rappertag verse, Lotek is back on the scene with his latest offering International Rudeboy which is now available for pre-order (lotekbandcamp.com). Representing with fresh dancehall and ska hip-hop vibes, Lotek always keeps it fresh and bass heavy. The release features Roots Manuva, RuCL, Ciecmate, Dialectrix, Ozi Batla and Jimmy Screech. Looking forward to checking out the full release. Having released an essential series of hot genre-bending single releases, UK bass label Night Slugs are now set to release their first compilation album later this month entitled Night Slugs Allstars Vol. 1. The release collects tunes from the recent single releases alongside new exclusives and remixes. Artists appearing include Mosca, Lil Silva, Jam Unit, Girl Unit, Kingdom, Egyptrixx, Bok Bok, Optimum, Jacques Green and L-Vis 1990. For a taste of the fresh bass music sounds coming out of the UK at the moment this really is essential stuff. Also rocking the label retrospective steez is Bristol’s Punch Drunk imprint who are showcasing the wealth of talent from the city with a new double CD compilation Worth The Weight. Featuring a who’s who of dubstep dopeness, the compilation presents both classic and newly released tunes from the likes of Peverelist, R&D, Guido, Joker, Pinch, Jakes and Appleblim. After dropping the dope King Midas Sound album on Hyperdub, Kevin Martin has now jumped back to Ninja Tune for another excursion under his The Bug moniker. The Infected EP is a heavyweight release featuring two brand new tunes blessed by Hitomi and Roots Manuva respectively (boh!). Remix duties come from Autechre and Scratch DVA. BIG! To hear tunes from all these releases and much more, tune to The Antidote on 2XX 98.3FM every Tuesday night from 9.30 – 11pm. ROSHAMBO roshambizzle@yahoo.com.au

RAW MEAT palimah panichit RAW CITY RUKUS are quite strange bedfellows. As they welcomed an atypically scruffy BMA into their midst with nothing but grace and aplomb, it was obvious that they were a delightfully diverse unit from as little as the way of greeting style. With as many genres as funk, metal and rock under their belts, Raw City add yet another feather to their proverbial cap as one of a few hip-hop crews with live instrumentation. “I think most of us are pretty new to hip-hop,” offers songstress Imogen Spong; her comment eliciting grins from the crew. “The backing music is more funk than hip-hop,” agrees MC Ribby. “It’s always gonna be hip-hop, but we branch out a bit. Changing the music up is always good,” MC Jizzy muses, and the others nod in agreement.

We do get a lot of inspiration from heaps of Australian people

Raw City’s white knuckleinducing juggling of genres is a pleasure to see, throwing in synth-driven dancefloor friendly riffs and funk swagger on a whim, keeping their musicality fresh and interesting. When asked about their influences, in terms of MCs, MC Ribby and Jizzy are in agreement, with Jizzy listing off his influences: “my all time favourite is Nas. I’m a Nas fan, but I can’t really rhyme about the same sort of stuff as he does over there – the ghetto stuff. Guys like the Wu-Tang Clan, Pharoahe Monch… we get a lot of inspiration from Australian artists as well, like Horrorshow and the older Bliss n Eso.” “We’ve been listening to US hip-hop since high-school and stuff,” Ribby turns to indicate Jizzy. “Sorta when Hilltops got big is when we started to realise that Aussie hip-hop is around, and just seeing other people do it made us realise we can do it as well. We do get a lot of inspiration from heaps of Australian people.” Like many Canberran musicians, Raw City have a tight connection with the local scene and its players: “Rubycon has been around for a little while, and have always impressed… Hancock Basement are pretty good. We’ve had a lot to do with Atlantis Awaits as well… we’ve known them for years.” As for recording prospects, fans of Raw City will only have to wait so much longer. As Jizzy notes, there are no grand plans in the works just yet. “We’re just rolling with it at the moment. Haven’t really had time to think about it. Our show at Foreshore is, to the year, where we started.” Ribby adds “it’s definitely a goal for next year, to do an EP.” “It’s all happened so fast, we’re just taking it in stride. We haven’t expected to get this far,” says drummer Phatty, and they all laugh good-naturedly. “Yeah, because we’ve come so far,” Imogen jokes. As self-deprecating as their humour can be, coupled with their varied backgrounds, they might just get there. Catch Raw City Rukus live on the Block Party Stage at the Foreshore Summer Music Festival at Commonwealth Place on Saturday November 27. Tickets have long sold out, so enjoy if you managed to snag a ticket!

METALISE Some disappointing news for black metal fans hoping to attend the Black Mass fest I’ve been spruiking over the last few columns. It seems two weeks out from the event, The RSL has bowed to pressure from some Christian groups and cancelled. The promoters of the event have communicated through press releases that the RSL Board decided to cancel following (and I quote from the promoter’s press release) “pressure from Christians who have lobbied them to cancel the show.” At the time of submitting my article, the event is still looking for a host venue. Hopefully they’ll find somewhere to move the show. If you have a ticket and didn’t know the news, contact seancerecords@hotmail.com for more info. Seems weird that a club that derives a good deal of their income from gambling would bow to a religious group’s concerns, especially given the RSL’s own constitution states in section 4.1, provision J) “To maintain a national association, NON SECTARIAN, and in relation to party politics, non partisan etc.” To be fair, I don’t know if the RSL board are aware of some black metal bands’ penchant to evoke Nazi imagery, but none of the advertising or material I’ve seen promoting the event contain any of those elements. The poster does feature a devil figure with a bloody pentagram carved into its forehead, flanked by two skulls over an inverted cross, which was what young Catholic writer Siobhan Reeves reacted to. The Sydney Morning Herald reported that she saw the poster and event advertised on Facebook as highly offensive and lobbied members of her family who have served our country to pull the event. We’ll watch how this one plays out with interest. Hope it still goes ahead for the sake of Aussie black metal acts as a LOT of effort and time went in to putting this show on, but I guess the Newtown RSL will likely monitor the shows played there a little more closely in future.

for the past few months. One thing the band has always done is bring out great supporting bands and this was evidenced with The Sword, Baroness and Lamb Of God. Back in 1993 on the Australian leg of the Black Album tour the band brought along a band from the Californian desert who were just about to release an album called Sky Valley. Yours truly was at that show and let me tell you, after their opening set in the Sydney Entertainment Centre, I was pretty much ready to go home then and there. Kyuss of course then broke up two years and two albums later and of course Josh Homme went on to form Queens of the Stone Age and hasn’t been interested in reforming since. Not so much the other guys in the band. So Kyuss Lives! is hitting Australia in 2011 and features the Blues For The Red Sun era members in Nick Oliveri, Brant Bjork and John Garcia, with Homme’s parts being played by Garcia’s mate Bruno Fevery. The Sydney show is licensed all ages at The Metro Theatre on Saturday May 7 and tickets are on sale Thursday November 25 through Ticketek. Josh NP: Cough – Mind Collapse – Ritual Abuse (2010) JOSH NIXON doomtildeath@hotmail.com

A bumper bill hits The Basement on Friday November 26 with performances by Boundless, Godomination, Imperial, Corporate Takedown, Perpetual End and System Addict. The Metallica hoopla is dying down now they’ve finished playing their 12,932 shows in Australia

COLLISION COURSE NO MORE

SOHO MOFO

Shaun Bennett

daniel boyle

CHILDREN COLLIDE have to be one of the most modest bands in Australian music. At least that is the overwhelming sentiment surrounding my chat with their laidback bassist Heath Crawley. I’m lucky enough to catch him on a day off when the band aren’t playing at a festival, appearing on TV or radio or asleep recovering from their relentless touring schedule. “Once you get into a cycle of touring it becomes your flat-line and once you have a break from it for more than three weeks things start to go haywire and the vertigo starts to kick in.”

After living it up in New York in recent times, VIOLENT SOHO have returned to Australia. Drummer Michael Richards tells me “we had a great time in New York, but it’s really nice to be home. We’re all really big advocates of Brisbane. I couldn’t think of a nicer city actually.”

From listening to Crawley, fame was something they didn’t work towards but it instead found its way to them. Luck, it seems, has always been on their side. “We’re not a glossy magazine, and we’ll keep it that way. There’s only so much manufactured stuff people can take before it all starts sounding the same,” he says. “The Gagas of the world are more about the image and mystery and we’re more about the sound aspect of things.”

The Gagas of the world are more about the image – we’re about the sound

Indeed they are, but as mentioned earlier timing and luck play big factors too. Children Collide emerged from Melbourne with the likes of The Temper Trap, Eddy Current Suppression Ring and British India in 2008 with a fresh, organic rock sound that has had them compared to Nirvana. Their debut album The Long Now produced a string of hits such as Farewell Rocketship, Social Currency and Skeleton Dance. As per the band’s modesty, Crawley insists the band don’t consider which songs should be released as singles. “We don’t really think about which single to release first. We weren’t expecting Jellylegs to do as well as it did. That song was just to say ‘hey, we’re still alive and kicking.’ We thought our new song My Eagle would be too rocky for the commercial stations but everyone is playing it and likes it.” The boys have also been lucky enough to have a nostalgic theme surrounding each of their visits to Canberra. When supporting, almost double-billing, The Grates at the ANU Bar last year their fan-base and radio play had began to go gangbusters off the back off hits including Farewell Rocketship and Social Currency. Their appearance at Stonefest last year also coincided with the band’s fifth anniversary and now they are about to play their first headline show in the capital. With their schedule it’s surprising to hear that the band is planning an extensive rehearsal session in their time off before their next tour. “We’re gonna get some of our new songs stage ready, so we can let loose when we play them live,” he says. “When we play live we physically interpret the music we’re playing and let it all collide… pardon the pun.” Modesty, old school rock ‘n’ roll and an elaborate live show. Maybe we should believe Children Collide with their Theory of Everything. Children Collide are bound to tear apart The Maram on Sunday November 28 with Violent Soho and Super Best Friends supporting. Tickets are $20 + bf through Moshtix. Doors open 8pm.

The band has just been added to the Laneway Festival line-up. “We’re really excited to play that one,” Michael says. “We played before a couple of years back, that was great. I’ve been a number of times myself, it has that great vibe that you always search for. We’re going to It feels like it has a purpose.” es some plac In recent times Violent Soho n eve er nev I’ve have been no stranger to big heard of before festivals, getting on stage all over the world. “The best one would have to be Lollapalooza. It just blew my mind we got to play there at all. I’d be surprised if there was a better festival out there actually. It was an honour to be a part of, I’d recommend it to anybody.” Never happy to rest, Violent Soho will be hitting the road shortly with Children Collide. “I guess it’s a regional tour of sorts, we’re going to some places I’ve never even heard of before,” he says. “We’re just doing about eight shows on the tour. We’ve been friends for quite a while, so we’ve been planning to tour together for quite some time. We actually bumped into them at South by South West and hung out for a few days together. It’s good timing that we can do these shows together with them.” After the tour with Children Collide, it will be time to get onto a new recording. “At the moment we’re just writing the songs, focussing more time on rehearsals,” explains Michael. “In the next six months, there probably won’t be quite as much touring. We’ll be working on getting a second album done. Some people would even call it a third album – maybe we’ll just call it album 2.5.” With the band a bit older, Michael says the sound will be a bit different on the new album. “I think the songs will be coming from a different place. I guess there was a lot more angst in the earlier songs. A lot of those songs were written in our late teens or early 20s. I don’t really know what the new songs will sound like, but overall it will be a more mature sound.” After having the opportunity to record at Rockfield Studios for the last album, I wondered what they would do to better that one. “Personally I hope we stay in Australia to record the next one. While it’s great to go to these fancy studios, there are just as good studios in Australia that we can record at. It also means I don’t have to leave my wife for a couple of months like last time.” Catch Violent Soho alongside Children Collide and Super Best Friends live at The Maram on Sunday November 28. Tickets are $20 + bf via Moshtix.

BFFS daniel boyle It’s just after 5.30pm and I’m hearing the voice of John Barrington. Not on triple j’s Hack program though. John called in to let us know what’s new with SUPER BEST FRIENDS. “We’ve got some shows coming up we’re pretty excited about. We’ve got a couple of supports with Children Collide and Violent Soho,” John reveals. “We’ve played some shows with other bands on their label before, so hopefully that will lead to more in the future.” Being a mainstay of the Canberra live scene for a number of years now, Super Best Friends have released a couple of EPs, with the next step being a debut The political nature album. “We have about of our jobs has taken five tracks that we’re ready to go in and demo,” away the politics John tells me. “We want ’re We sic. in our mu to make sure there’s ing sitt cefen just nothing cringe-worthy members of the on the album. We’re still media now very happy with Ready, Aim, Fire!, we can give that to people still. We had the clip for Ready, Aim, Fire! played on Rage and got some really positive feedback about that. I must say we’ve fallen out of love with our first recording though.” Before recording, there are some more touring plans. “We’ve got an east coast run in the works with another Canberra band that are good friends of ours,” he says. “It’s not Hoodlum Shouts, who we normally hit the road with, which we really enjoy. The other band is organising the tour, so I won’t say anything yet – I don’t want to steal their thunder.” As the political reporter for a current affairs radio program, you might expect some of that to slip into the songs of Super Best Friends. “I had an interview with The Doctor for the Ausmusic Digital Radio channel,” John explains. “It was talking about people that work at triple j and the bands they’re in. We talked about how the political nature of our jobs, being based in Canberra at Parliament House, has taken away the politics in our music. We’re just fence-sitting members of the media now.” Super Best Friends haven’t been as active this year as in the past few years. “We had a bit of a break – Adam and I both had trips overseas and Matt became a Dad,” he says. “There’s a fourth rock star in the band now.” The band has been quite active in recent times though, playing a number of support slots for touring bands. “We’ve played with Peabody, we’ve been playing at Transit and The Phoenix, just reminding people we’ve got some tunes we’re pretty excited about.” Something else to be excited about is a possible trip across the ditch. “We played with Dictaphone Blues from New Zealand, we became friends with them, they told us we should head over to NZ, hopefully we can ride that wave next year. We’d love to head further overseas, but there’s the whole work/life balance to sort out. We’ll see what happens.” Catch Super Best Friends supporting Children Collide and Violent Soho live at The Maram on Sunday November 28. Tickets are $20 + bf via Moshtix.

the word

on albums

Alpine Zurich [Ivy League]

album of the issue julia and the deep sea sirens family pets [independent]

There are many elements of Family Pets that one could point to as being responsible for its immersive, captivating quality. It could be the autoharp, double bass, or cello, which give the songs a sprawling, overwhelming character, and the listener the sensation that they’re lost at sea (or lost in the thoughts of a lost lover…). Or it could be the velvet-fisted percussion which is used with such precision that its absence is just as powerful as its presence. It could also be the sweet guitar, the ditty-ing banjo, or the beautifully evocative production. But to be fair, Family Pets would not have the irresistible temptation of a dark, lost love if it weren’t for Julia Johnson’s disarmingly angelic yet equally haunting voice. When she sings you feel not so much like a sympathetic listener, but a part of the story. Such is the effect of Ms Johnson’s vocals that listening to her not only makes you yearn for, but experience as though real a lifetime of love, loss, and every ounce of feeling that goes along with it. BEN HERMANN

In their extraordinary debut EP, Melbourne six-piece indie synth pop band Alpine, formerly Swiss (not to be confused with disco house/electronica merchants The Swiss), have crafted something truly captivating. Their successful formula entails the blending of clever, catchy tunes with inventive vocal patterns created by the interplay between the lovely Phoebe Baker and Lou James. Songs coalesce from random ideas, with an emphasis on grasping spontaneity, improvisation and a willingness to embrace less than perfect playing in the aim of capturing the vibe of the moment (and occasionally the vibe of alcohol). Opener Heartlove sets the scene, with Phoebe and Lou’s vocal gymnastics reinventing the alphabet. Too Safe summarises the artistic approach of the band well, with its message of the rejection of the monotony and comfort of stable relationships in preference for the inspiration which thrives on volatility. Tough Skin playfully combines disco beats with ethereal vocals that flow like whispered girly secrets. There’s a magic intermingling of dissimilar rhythms and beats, arranged artfully in the one track to produce fresh surprises. Villages juxtaposes floating vocals with deep guitar notes and bringing up the rear is the playful Icypoles, which the girls like as it gives them the chance to play instruments at gigs. Its drawn out boogie-licious finish extends for a lickable four and a half minutes. rory mccartney

Elliott Smith An Introduction to Elliot Smith [Kill Rock Stars] I once tried to reach out to a girl through the common humanity of Elliott Smith. I figured that if you ain’t got the words to explain feelings, the truly talented artist can step in. The only problem was that the girl in question found Smith a little too intense for her liking whenever letting out a lyric like, “do what you want to, whenever you want to / although it doesn’t mean a thing,” from Ballad of Big Nothing, the opening track on this appealing but not overly thorough survey of this masterful talent. But would the world be the interesting place it can be if only the good times deserved a mention? What I really like about this dude is that he wrote melodies that pierced the skin just like The Beatles did all those years ago, but Smith also had an understandable suspicion of the mainstream. This meant that he sometimes sounded a bit ragged even when a particular tune was so delicious that you knew it was going to hit the sweet spot every time. Smith also understood that exposing vulnerability can be a risky business, but you can never be entirely certain. In any case, the music on this 14-track compilation is weighted more towards the raw acoustics found on early fantastic albums like either/or, but inclusions like the superb Miss Misery from the Good Will Hunting soundtrack get me going every time. dan bigna

Gareth Liddiard Strange Tourist [SHOCK] Gareth Liddiard conjures stories of wirewalkers, colonials and David Hicks on his first solo album away from The Drones. Strange Tourist is a stripped back affair - guitar, words and a bottle of whiskey. There are no noisy electric guitars to hide behind, the lyrics are everything on this bare bones recording. Strange Tourist will please fans of The Drones; there is an intimacy about the record that feels like Liddiard is showing you his new songs before plugging into an amp. There are some great tracks on this album but there is one obvious standout. It’s the 16-minute epic that bookends the record; so striking it leaves the other songs to blend into each other. The Radicalisation of D has Liddiard telling the epic tragedy of David Hicks at his terrifying and hysterical best. The track plods along with a stark octave bassline, flecked with dissonances that follow each failure in D’s life: “you are living in a nightmare you can’t bribe your way out of… there is a building in Manhattan and it’s burn-ing...” The Radicalisation of D reminds me of Frankie Teardrop by Suicide. Both are built on a simple idea that builds suspense through vocals that are surprising, frightening and entirely gripping. The song completes Strange Tourist and leaves you in a strange kind of awe, the kind where you look back with fingers over your eyes. josh becker

singled out

with Dave Ruby Howe

Grace Woodroofe Always Want [Modular/Universal] Despite her famous allegiances, Grace Woodroofe is intent on forgetting about all the hoopla and just concentrating on mesmerising the world with her debut album, Always Want. From the opening notes of the first single, Grace is magnetic, drawing you in with her soulful cries on the pensive I’ve Handled Myself Wrong. Produced by Ben Harper over nine days, Always Want is surprisingly eclectic for a singer/songwriter’s debut album. Harper’s band Relentless7 makes a huge sonic contribution, doubling as Grace’s backing band across the album. They dish out humid blues thunder on Transformer, atmospherics that segue into a slinky dub groove on Battles and dejected roadhouse blues on the tear-jerking title track, where Grace croons “I always want what I can’t have,” which is quite insightful considering she penned the track at only 15 years of age. Always Want clocks in at just over 31 minutes, creating an existential dilemma that leaves you brainstorming a life of crime to try and discover all of her unreleased demos and b-sides for the full effect of immersion. If F. Scott Fitzgerald wrote “The exhilarating ripple of her voice was a wild tonic in the rain” in 2010, he surely would be referring to Grace Woodroofe. Keep both eyes peeled on her during 2011. matt petherbridge

The Tallest Man On Earth Sometimes the Blues Is Just a Passing Bird [Dead Oceans Records]

Wolf People Steeple [Jagjaguwar]

The Wild Hunt, spoke of a mellowed man. At first this disappointed me, but in no way is his new mellowness demonstrative of a slip in form. Slower, gentler and more tender, stylistically and instrumentally more diverse, Matsson is simply beginning to explore the tools of his craft. Gone are the urgency and sandpaper vocals of Shallow Graves, but when a songwriter is this naturally gifted, the end always justifies the means. With Sometimes the Blues, Matsson is at his gentlest yet, singing about life’s little eddies, about home, strength, memories and the beauty of the person you love. These songs are just one man doing what so few songwriters are capable of doing well: evolving and maturing. I’ll listen to this man for a long time yet. You should too.

There’s a few scientifically proven measure of what makes a great song. Sounding like Jethro Tull circa-Stand Up is usually a good start. Not necessarily the more flute-intensive parts (difficult to find as that might be) but the proggy, hard crunch Martin Barre parts. Then there’s the spidery Richard Thompsonera Fairport Convention quotient; the essential years that melded pastoral English folk with churning rock. A bit of wigged out cosmic skronk noise won’t hurt either. Nor will liberal doses of Sabbath/ Zeppelin riffage. On paper that sounds like a god-awful expedition down shit street. But when Wolf People do it on Silbury Sands, the lead track off their debut album, it’s pretty bloody tremendous. Especially considering the first 90 seconds is an elongated gonzo blues guitar solo tacked onto the Wicker Man soundtrack. It shouldn’t work. Then all of a sudden it starts making sense after the stanza where Jack Sharp mournfully wails “You never drive the lifeboat up the mountain side”. Quite. And whilst it’s tempting to fob Wolf People off as hackneyed Canterburyscene revisionists with a classic rock bent, there’s something else happening. As much as you hear influences, it’s hard to pick other people’s songs like you might with some other Canidae-inspired bands. I don’t give Chris Goss a hard time for re-writing Cream’s songbook, so it’s only fair Wolf People get cut a little slack. Of course they’re no Masters of Reality. But who is? This will do just fine though.

ASHLEY THOMSON

JUSTIN HOOK

This is the second five-track EP released by Swedish solo folk guitarist Kristian Matsson (aka The Tallest Man on Earth) and it comes in the same year as his second full-length album, The Wild Hunt, adding to a flawless literally, flawless - repertoire. In his first album, Shallow Graves, Matsson crafted a gravelly vocal style for himself and plucked his guitar and banjo half to death through racing, intricate, passionate songs built on nothing but his lyrics and skill. Carrying his guitar like a weapon, he smashed those numbers out like a man possessed, flecks of blood flying onto the microphone as he growled. It was genius.

Aeroplane Without Lies [Balance Music/EMI] As shittily disappointing as the Aeroplane album was/is, latest cut Without Lies is one of the few good things in amongst the cheese tasting plate. A subdued vocal take from Sky Ferreira and a constant synth throb keeps your head nodding for an all too brief two minutes. Hunt it down for the Breakbot remix and thank me later.

Holy Ghost! Say My Name [DFA] It’s likely the most unimmediate thing that disco dudes Holy Ghost! have ever done, but given time Say My Name will creep up on you and have you moving your hips like a stereotyped Hawaiian girl. And it certainly doesn’t hurt to have a grooved-out Revenge version on the flip either.

Kanye West All Of The Lights [Def Jam/UMA] When Kanye West calls, you fucking answer. And when you show up to the studio and it’s like a condensed version of We Are The World you don’t complain, you just belt out your part and hope that Alicia Keys’ warbling doesn’t drown you out on the final mix. And so, the assembled mass of talent including Fergie, Kid Cudi, TheDream, Rihanna and even Elton John play entourage duties to the main event, Kanye, who stomps out the pop tune of the summer.

the word

on films

WITH MARK RUSSELL

Harry Potter’s nearly done! The penultimate stream of milk is spurting from the cash cow and splashing onto our screens. I’m yet to see for myself whether Deathly Hallows Part 1 falls into the ‘actual film’ category of the middle movies, or follows the fan-boy/girl/child-pleasing tradition of the first two in the series. Only the box office sorting hat will tell us...that’s right, I’m into the books... curse you all.

quote of the issue “Look around you, Hypatia. Why would the stars share their perfection with us?” Orestes (Oscar Isaac) Agora

Harry Potter and the Deathly Hallows: Part 1 Torture, discrimination, nudity, paranoia… this sure isn’t Hogwarts anymore, Toto. Oh wait… Hogwarts has always been messed up. Part one of an epic two-part finale, Hallows sees our trio all grown up, out on their own, and in for the fight of their lives. The world (both wizarding and muggle) has been in chaos since Voldemort’s return, and Harry, Ron and Hermione set off to find the remaining Horcruxes in order to defeat him – inadvertently learning about the Deathly Hallows along the way. If that sentence means nothing to you, don’t bother seeing Deathly Hallows. You probably need to know at least 75% of Harry Potter lore to understand and appreciate the full gravity of events. Still, Deathly Hallows is an exceptional film – moody, dark, intense and poignant. There are some wonderful moments between our heroes, and Harry and Hermione share a particularly special moment in a tent with some Nick Cave. Purists will have some problems with the changes made to the story, and it’s true that some parts drag. A beautiful short animation is a wonderful addition though, and the acting standard is high. This was never going to be my favourite film, as some of my favourite things are missing or in short supply – Hogwarts; fabulous supporting characters; joy of almost any kind. But Deathly Hallows isn’t afraid to explore the darker issues, and watching it you do realise that Harry Potter really is about so much more than just a boy wizard. MEGAN MCKEOUGH

wild target

agora

Britain’s top hitman (Bill Nighy), set to inherit the killing business from his droll ‘n’ delightful octogenarian mother (Eileen Aitkins), is hired to off a sexy art blagger (Emily Blunt). Instead of making the kill he becomes inexplicably intrigued with the lovable minx, picking up a random ginger (Rupert ‘Ron Weasly’ Grint) during the fray who simultaneously challenges his sexuality and summons feelings of mentorship. His actions incur the wrath of a wronged art mafia don (Rupert Everett) who employs the country’s #2 hitman (Martin Freeman) to track him down. High-larity and thrills aplenty ensue, right?

In the ancient city of Alexandria, blood is approaching a rapid boil. Christians, Pagans and Jews are all fighting for their place in the pecking order, while a lone philosopher, Hypatia (Rachel Weisz), looks to the heavens for entirely different reasons. Her fascination for astronomy makes her much more interested in orbits and where the Earth sits in the scheme of things, rather than these impermanent political fortunes. Hypatia’s loved by many but she receives particular doting affection from both her student, Orestes (Oscar Isaac), and her slave, Davus (Max Minghella). These three, and their shifting allegiances and beliefs, drive the action and philosophy of Agora.

Well no, not as such. This opinion seems to put me among an elite few in the world, as most critics and punters are lapping up this luvvie assassin affair. Undoubtedly Bill Nighy takes the phrase ‘aging gracefully’ and once again stomps younglins firmly in the nuts with his prowess; all swoon and facial ticks and character nuance. He positively carries this film with his matured smoulder. But the film’s plot has been done and done again (most obviously in the original French version Cible émouvante), Grint and Freeman’s characters beg for substance but are underdeveloped, and a potentially interesting crossgender love triangle is quickly, and safely, snuffed out. In the end, despite great acting and some sparse yet genuinely funny moments, I just didn’t care for the characters, which means I just didn’t care for this film. ALLAN SKO

The film is writer/director Alejandro Amenábar’s treatise on the dangers of religious extremism. He shows us that ‘allegory’ ain’t some kind of dismembered reptile. There are constant real-world parallels, highlighting our doomed plan of attack for dealing with current fanatics. We also get a mirror held up to our society’s misogyny and general mistrust of women. All of this is put in context through Hypatia’s musings on astronomy. Silent, haunting vistas of Earth give perspective to the violent squabblings of men. This may sound like Agora is a torturous ‘art house’ lecture but it’s actually a very well put-together film. The first half gradually sows the seeds of tension and drama, then things amp up as we move towards the conclusion. Add to this a bunch of top notch performances and we get a film that leaves us philosophically uncertain and emotionally changed. MARK RUSSELL

the word on dvds

Animal Kingdom [Madman]

The Lost Thing [Madman]

Beneath Hill 60 [Paramount]

Animal Kingdom is about a Melbourne crime family, a significant barrier to overcome. Localised crime stories have hardly been off the screen in the last few years. Mostly they’ve been utter trash – soulless exercises in hyper sexualised crim glamorisation serving only to titillate audiences unwilling to grasp the true nature of extortion, assassination and drug dealing. It’s reckless entertainment exploiting the most venal aspects of our airbrushed and image conscious modern life. Animal Kingdom is a completely different beast. For a start it’s a family story that just happens to be about a household of career criminals, and there isn’t that much action or gun play. For a film that is driven by the after effects of bullets, the actual gunplay is short, brutal, erratic and blunt. Like the characters who inhabit this world. Jason Cody (James Frecheville) is a recent orphan thanks to his mothers OD. He’s taken in by his extended family of criminal misfits overseen by Smurf (Jacki Weaver), the matriarch and true power base of the family. The stoic youngster has stumbled into a family fraying at the edges after Baz (Joel Edgerton), the daytrading rational one, is killed by bent coppers and the family begins to spiral out of control, ensnaring anyone unfortunate enough to cross the family’s path. Pope (Ben Mendelsohn) steps up with disastrous results. His vicious intent, often unspoken, is the core of Animal Kingdom; it lingers long after the credits roll. Eventually Jason is compromised and runs for his life. The final scene is ambiguous – in a film about allegiances there’s no easy read on that final embrace between Jason and an obviously stunned and off-kilter Smurf. But chances are the die has been cast. Every single sentence of praise heaped upon this film is justified. Animal Kingdom is a triumph.

Even if the name Shaun Tan isn’t familiar to you, it’s more than likely that his illustrations will be. As the author and illustrator of acclaimed (and extensively awarded) children’s books The Arrival, The Red Tree, The Lost Thing, and most recently Tales from Outer Suburbia, Tan’s distinguishably quirky and often disturbing illustrations (he cites Tim Burton, Stanley Kubrick, Francis Bacon and Sidney Nolan as influences) have endeared him to his adult fans almost more so than his younger ones. The Lost Thing has now been adapted into a 15 minute short film, using a mixture of CGI and 2D hand-painted elements. Its production cannot be faulted, with Tan and his small team giving great justice to the illustrations of the original publication. Set in a dystopian Melbourne, The Lost Thing follows a young boy who, when collecting bottle tops at the beach one day, stumbles upon a monstrous, bright red, halfmachine, half-octopus-type creature who appears to be lost and out of place. The boy searches for the creature’s owner or home, but meets only indifference from everyone whose help he seeks. Like many of Tan’s works, the story deals starkly with themes of alienation, migration and depression, but still leaves the audience/reader with a strong feeling of hope. Most notable in the short film is Tan’s expansion of the ‘world’ of dystopian Melbourne beyond that which, as Tan admits “could not be entirely expressed within the confines of the original 32-page book.” Alongside the film itself, the DVD contains Tan’s audio commentary, some deleted scenes, and an interview with Tan, as well as the small hardback book What Miscellaneous Abnormality is That? – the book which makes an appearance in the film itself and which includes a collection of Tan’s black-and-white sketches of creatures appearing in the film.

For a country that takes great pride in the mythology of young men killed at war in foreign battlefields, there have been scant few films pulling apart actual battles. The truth underpinning these myths is open to debate – every April there’s another round of ‘they wuz anonymous cannon fodder M’Lord’ vs ‘Poppycock – it forged our National identity.’ And if the amount of boozed up flag-flaunting young patriots who descend upon the cliffs of Turkey is anything to go by, myths are very important. Unfortunately myths cloud reality and subsume individual deeds into a greater, more blunted and acceptable narrative. Truth is – war is about killing people. Oliver Woodward (Brendan Cowell) is a reluctant conscript. Whilst the majority of his peers promptly signed up to fight for the Empire, Woodward was hesitant to commit. More important to ensure the copper mines ran to capacity for the war effort, he thought. Cowardly, said society. So off to the Western Front he heads soon taking control of a tunnelling operation that will eventually blow up that hill in the title. He succeeds, setting off an explosion that at the time was the greatest manmade explosion ever. The acute sense of claustrophobia achieved on such a marginal budget is astonishing, and for a movie largely set underground and in sodden trenches Beneath Hill 60 doesn’t fall into the trap of indistinguishable characters complaining about the higher ups. Although there’s a bit of that as well, along with flashback sequences that disrupt rather than assist. So whilst we may not make many films like this, it’s comforting to know that great Australian wartime stories can translate to the big screen free of cheap jingoism. A fine cast and Jeremy Sims’ tight direction – except for those flashbacks – make for a genuine and intense treat.

justin hook

BEN HERMANN

justin hook

the word

BLACKBOX

on games Enslaved: Odyssey to the West Developer: Ninja Theory Platforms: PS3, 360 Length: 8 – 12 hrs Rating: Good for the kids

I wasn’t initially too psyched about reviewing Enslaved. From what I had seen, it seemed like a stock standard action adventure. But there were two facts that got me interested in it; firstly Andy Serkis, of Gollum and soon to be Captain Haddock fame, was involved and secondly the story is based on Monkey. Of course, having grown up with the brilliance that was Monkey Magic I was intrigued. Unfortunately, it seems my impressions were right. As with Ninja Theory’s previous title, Serkis is the best thing in the game. Both his voice and motion talents are impeccable, making Monkey a very likeable character. Likewise, the female character avoids being one of those typical princess leads, making her a far less frustrating companion than most. That said, she’s still not without her incompetencies, what with her needing Monkey’s help with so much as opening a tin can. The story also does well to keep things rolling, albeit a bit slowly. Admittedly it isn’t anything like the TV show, which of course is only to its detriment, but they tie in the Monkey elements reasonably well. That said, don’t expect a big reunion. Pigsy doesn’t show up for a good few hours and from what I could tell, Sandy seems to be missing from the roster meaning the loveable banter is definitely absent. The gameplay however is where it falls flat. Admittedly, none of it is particularly atrocious, but there’s nothing in here that you wouldn’t have seen before and done better. There’s a big emphasis on traversing tricky terrain (which all conveniently consists of poles and perfect hand grips), however this doesn’t get much harder than flailing the left stick and tapping X a shitload, making it feel like a poor man’s Uncharted. The combat system is more satisfying, however fights are few and far between. Instead, the focus is on sneaking around whilst your female companion draws fire. As you would expect, this premise starts to wear thin, especially once you’ve heard the expression “I’ll just scan ahead” for the umpteenth time. For god’s sake, I’m Monkey, just let me bash the shit out of something. Technically the game is a bit of a mixed bag too. Some of the visuals are quite compelling, with Monkey and Tripitaka being particularly well designed. However the game is plagued with various technical hitches including frequent frame-rate drops, image tearing, blatant popups and jerky animations. With so many issues present, they do of course hurt the playing experience. Overall, Enslaved doesn’t offend, nor does it overwhelm. If you’ve got some spare cash and some kids, this will do well to tie them over. Otherwise, you’d be better off spending your money on the Monkey Magic boxset. TORBEN SKO

Despite the fact it still feels like winter most days, summer is less than a week away and in TVland that means three things – a mad rush to tie up the good shows, the start of the b-grade summer shows and lots and lots of cricket. In fact Richie and the rest of the Channel 9 commentary team pull off the covers with the first Ashes Test (GEM, Thu Nov 25, 10.30am). If you can’t wait – FIFA World Cup 2018 and 2022 host announcement (SBS1, Fri Dec 2, 1.55am). Those addicted to Deadwood (which seems to have dropped from our screens) should check out a classic for comparison – The Man Who Shot Liberty Valance (ABC2, Sat Dec 11, 8.30pm) with James Stewart, John Wayne and Lee Marvin is a good place to start. One of the surprises of this year has been The Big C (GEM, Wed, 9.30pm), an engaging dramedy with just the right amount of quirkiness. A cast that includes Laura Linney, Oliver Platt, Gabourey Sidibe and Idris Elba certainly helps. Weeds (GEM, Wed, 10pm) hasn’t fared so well since it took on the Desperate Housewives style of scriptwriting – suspension of disbelief is had when the storyline is ridiculous. Blackbox mused last fortnight that there was no stone left unturned in the pursuit of observational docos. Blackbox was wrong. SAS: The Search for Warriors (SBS1, Tue Dec 7, 8.30pm) follows SAS hopefuls as they try out for the elite fighting force. Best non-ratings news so far is that 7Mate is replaying The Shield (7Mate, Mon Dec 6, 9.30pm) from Season 1 and Prime will air the new Jimmy Smits legal drama Outlaw (Prime, Mon Nov 29, 9.30pm). Elsewhere it’s all about docos, travel, music and food… as it should be at this time of year. The musical brush is broad starting with Blur: No Distance Left to Run (ABC2, Fri Dec 10, 8.30pm) which tells the band’s story and is followed by Blur: Live at Hyde Park (ABC2, Fri Dec 10, 10:05pm), filmed during their 2009 reunion tour. One musically themed show not to miss is Lennon Naked (ABC2, Sun Dec 5, 8.30pm) – a biopic of Lennon’s post-Beatles life starring Christopher Eccleston. There’s also Ladies and Gentlemen: The Rolling Stones 1972 Concert (ABC2, Fri Dec 3, 9.30pm), Live at the Chapel presents Lady Gaga (Go!, Sun Nov 28, 1pm) and Sony Music Special: Jimi Hendrix (Go!, Sun Nov 28, 1.30pm). For the gastronomes there’s Rene Redzepi’s Noma (SBS1, Thu Nov 25, 7.30pm) which looks at the world’s number one restaurant, Copenhagen’s Noma, Neil Morrissey’s Risky Business (SBS1, Thu Nov 25, 8.30pm) that follows Neil Morrissey on his quest to open a micro brewery, Willie’s Chocolate Revolution (ABC2, Mon Dec 6, 9.30pm) and a second series of Luke Nguyen’s Vietnam (SBS1, Thu Dec 9, 7.30pm). Those with the travel bug will appreciate High Road, Low Road (Prime, Sat Dec 4, 7pm) which looks at the luxury and budget options for exploring California, Making Tracks (SCTEN, Sat, 4.30pm) which takes us on a tour of Australia, repeats of Great British Journeys (7TWO, Sun Nov 28, 9.45pm) follows the routes of Britain’s explorers, Escape to the Sun (7TWO, Sun Nov 28, 10.45pm) which puts a microscope on Benidorm in Spain. Best schedule find: Wacky Races (Go!, Sun, 11am) – the original with Dick Dastardly and co. TRACY HEFFERNAN tracyheffernan@bigpond.com

GIG GUIDE Nov 24 - Nov 27 wednesday november 24

Thursday november 25

Arts

Women and Colour

The Austen Tayshus Comedy Club

New Paintings from Ninuku Arts. ‘Til November 24. CHAPMAN GALLERY

The Pheasant and the Fool An exhibition by Emily Penso. ‘Til November 28.

CANBERRA CONTEMPORARY ARTS SPACE - MANUKA

Close Up

Introducing some of the finest emerging comedy talent in the country. Three comedians every night.

Every Thursday from 8pm.

HELLENIC CLUB IN THE CITY

friday november 26

Dance

What-for Tenettabaum?

Ashley Feraude

Space Invaders

NATIONAL GALLERY OF AUSTRALIA

KING O’MALLEY’S, CIVIC

Karaoke

Arts

Straight swingin’ and slinky from 9pm.

Australian street art, stencils, posters, paste-ups, zines, stickers. ‘Til Feb 27.

Special K

CANBERRA IRISH CLUB

Open mic night. 8pm, free.

CASINO CANBERRA

An exhibition by Martin Schoeller. ‘Til Feb 13. NATIONAL PORTRAIT GALLERY

Roll Up, Plug In and Play

Hosted by Andrew Gayland and Julian Fleetwood, feat. Jacinta, Alison McGregor and more. 8pm, $5.

10pm-2am.

Rollin Summer 2

D’Opus & Roshambo, Raw City Rukus and Still Cool. 6pm - late. TUGGERANONG SKATE PARK

Fun Machine Tour Paunch Party With Rubycon, Joe Oppenheimer Band and The Howling Cats. 8.30pm, $5. Do not miss! THE CLUBHOUSE

Virgil Donati

Tix through Better Music.

THE MARAM, ERINDALE CENTRE

THE FRONT CAFE AND GALLERY

St Andrews Night Ceilidh

The Clubhouse is now open three nights a week. Providing your alternative music needs.

Dance

THE MERRY MUSE

Open Decks

THE FRONT CAFE AND GALLERY

LOT 33

KNIGHTSBRIDGE PENTHOUSE

uniVibes Thursdays

THE CLUBHOUSE

Evening Matinee Timber from 6pm.

7pm, $17/$14/$12.

Double Happiness

Every Friday from 5pm ‘til late. Head to the Facebook page Double Happiness @ OPH for all the info. OLD PARLIAMENT HOUSE

Live

8pm, free.

Jemist

Alex Anonymous

Velvette

Living the dream, dance the night away from 9pm. KNIGHTSBRIDGE PENTHOUSE

THE PHOENIX PUB

Evening Matinee

Purple Sneakers DJs

Feat. Severed Crow, Driven To The Verge, Never Trust a Bunny, Frostbite. u/18s. 6pm.

KNIGHTSBRIDGE PENTHOUSE

TRANSIT BAR

One Love

Live

B-tham, Pedro, Bedroom Bangerz. $10, 10pm.

With Psychic Asylum.

My Disco

With Hoodlum Shouts and Spartak. 8pm. ANU BAR AND REFECTORY

You Am I

Supported by Cabins and Hancock Basement. Tix through Moshtix. THE MARAM, ERINDALE CENTRE

Wednesday Lunchtime Live Credo - Male Quartet.

WESLEY MUSIC CENTRE

Bianca Meier

She walks the earth with the sunshine, strumming and singing her own original folk-pop tunes. 7.30pm THE FRONT CAFE AND GALLERY

Hippo Live

The Inflections. HIPPO LOUNGE

Rock Nation Unplugged 8pm, free.

THE HUSH LOUNGE, PHILLIP

Something Different Fame Trivia

Along with good old $5 Night. TRANSIT BAR

Fame Trivia

Do you know lots of stuff about nothing? Then why not try your hand at Trivia every Wednesday. 6pm. P J O’REILLY’S, CIVIC

Trivia

Presented by Overheard Productions. 7.30pm. CANBERRA SERVICES CLUB, MANUKA

HIPPO LOUNGE

Mo Lopez from 6pm.

Emma Bosel

Lounge music from 7-10pm. THE GEORGE HARCOURT INN

Percee P (NYC-Stones Throw)

The legendary old school rapid fire flow machine in Canberra for a free show! 8pm. TRANSIT BAR

Chicago Charlie 9-12am.

KING O’MALLEY’S, CIVIC

Domus Adultus

Genevieve Chadwick, Angels are Architects, Army of Ignorance. 9pm, free. THE PHOENIX PUB

Open Mic Night

8pm.

AXIS YOUTH CENTRE, QUEANBEYAN

Lot Fridays

With Mario Gordon.

LOT 33

Rev

Your weekly alternative party. DJs spin indie, rock, electro, grunge, punk tracks all night. $5. BAR 32

Purple Sneakers

Philadelphia Grand Jury DJ set, Minnou, Architect DJs, Lucky Punk and more. Free.

8.30pm.

P J O’REILLY’S, CIVIC ALL BAR NUN

With Howl and Bearhug. 8pm. ANU BAR AND REFECTORY

Severed Crow (Melb)

THE FRONT CAFE AND GALLERY

With Never Trust a Bunny, Driven to the Verge (Melb) and Frostbite. 6pm. AA.

Something Different

Boundless

CUBE NIGHTCLUB

Craft ACT Christmas

An afternoon of food, wine and music and Christmas cheer. Great op for Christmas shopping! 2pm-5pm. CRAFT ACT

Foreshore

Genevieve Chadwick

Jez Mead

9pm ‘til 11pm followed by DJ Pete ‘til 5am.

Arts

Dance

Philadelphia Grand Jury

Karaoke

saturday november 27

Live

9pm, free.

Whiskey-fuelled blues with an emotionally charged diatribe of heartbreak and escapism. 7.30pm, $10.

HIPPO LOUNGE

TRANSIT BAR

The Bridge Between

POT BELLY BAR

Khaos in the Capital

AXIS YOUTH CENTRE, QUEANBEYAN

With Godomination, Imperial, Coporate Takedown, Perpetual End and System Addict. THE BASEMENT

Sold out, bitches. HIPPO LOUNGE

Foreshore Afterparty HIPPO LOUNGE

Frankie

Global jetsetter groovy deluxe from 8pm. KNIGHTSBRIDGE PENTHOUSE

Candy Cube

10pm ‘til 5am with DJs Matt and Pete. CUBE NIGHTCLUB

Womp Saturdays

Dubstep. The Clubhouse: Supplying your alternative music needs. THE CLUBHOUSE

Archie

Supported by B-tham, Oli Y, HartAttack and Happyy. $10, 10pm. LOT 33

REV

GIG GUIDE Nov 27 - Dec 01 saturday november 27

Miss Ink II

live Mike Chaplain

sunday november 28

Classic hits from 1-3pm.

dance

Obese Records Presents The Three Up Tour

10pm ‘til late with DJ TJ.

THE GEORGE HARCOURT INN

With Illy, 360 and Skryptcha, three of the countries finest young emcees. Tix through Moshtix. 8pm. TRANSIT BAR

Severed Crow (Melb)

With Never Trust a Bunny, Driven to the Verge (Melb) and Frostbite. 8pm.

Cube Sunday

CUBE NIGHTCLUB

Live Mitch 5pm.

ALL BAR NUN

HOLY GRAIL, CIVIC

Laura & Matt

Oscar

THE GEORGE HARCOURT INN

10.30pm-2.30am.

Classic hits from 1-3.

KING O’MALLEY’S, CIVIC

Irish Jam Session

The Heroines

KING O’MALLEY’S, CIVIC

With Star Assassin, Escape Syndrome, The Red Vests, Scaramouche, Gudgeon. 7pm. ANU BAR AND REFECTORY

The Toot Toot Toots

Come and have a fiddle from 5pm.

Sunday Sessions On The Deck With Chris Harland Blues Band. 2pm, free. CANBERRA IRISH CLUB

With Fait Accompli.

Dan Banks Band

Khaos in the Capital

Sunday Best

THE PHOENIX PUB

Feat. Severed Crow, Driven To The Verge, Never Trust a Bunny, Frostbite. o/18s. 8pm. AXIS YOUTH CENTRE, QUEANBEYAN

Paul Andrews.

Of Lazy Susan. Supported by Waterford. 8pm. THE FRONT CAFE AND GALLERY

Something Different Carry On Karaoke P J O’REILLY’S, CIVIC

monday november 29

THE BASEMENT

THE PHOENIX PUB

With Tony Haley. 5-7pm, free. A BITE TO EAT CAFE

Children Collide

With Violent Soho and Super Best Friends. Tix through Oztix and Moshtix. New album out now. THE MARAM, ERINDALE CENTRE

live The Bootleg Sessions

Gravy Tram, Sarah Daphne, Mick Moon and The Missiles, Adam Cousens. 8pm, free. THE PHOENIX PUB

Something Different Fame Trivia

P J O’REILLY’S, CIVIC

Salsa Dancing 6pm.

KING O’MALLEY’S, CIVIC

Hospitality Night: Nurse Your Wounds 8pm. Free entry. TRANSIT BAR

tuesday november 30

Something Different Karaoke Love

The holiday season competition in full swing. 9pm, free. TRANSIT BAR

wednesday december 01 Comedy Comedy Club

Emo Parsonson, Georgie B, Jay Sullivan, Tom Gibson, Toby Halligan, Pat Hornby. 8Pm, $10. CIVIC PUB

Live Mihirangi

She’s captured and mesmerised audiences both nationally and internationally. $15/$12, 7.30pm. THE FRONT CAFE AND GALLERY

Captain, My Captain

comedy

THE PHOENIX PUB

Comedy Open Mic

The Inflections.

A showcase of real fandantical dirty moves and boot-scootingly groovy tunes. $10/donation. 7.30pm. THE FRONT CAFE AND GALLERY

Live Stick To Your Guns (US)

With First Blood (US), Wish for Wings (Qld), Third Strike and Venom Eyes. 6pm. AA. AXIS YOUTH CENTRE, QUEANBEYAN

Hippo Live

HIPPO LOUNGE

Rock Nation Unplugged 8pm, free.

THE HUSH LOUNGE, PHILLIP

The Blonde Sessions 7pm, free.

P J O’REILLY’S, TUGGERANONG

Something Different Fame Trivia / $5 Night TRANSIT BAR

GIG GUIDE Dec 01 - Dec 08 Fame Trivia

Do you know lots of stuff about nothing? Then why not try your hand at Trivia every Wednesday. 6pm.

Trivia

P J O’REILLY’S, CIVIC

Presented by Overheard Productions. 7.30pm. CANBERRA SERVICES CLUB, MANUKA

Last Man to Die

Dance

Arts

CANBERRA CONTEMPORARY ART SPACE GORMAN HOUSE

DJ Paul

The Blue Marquessa

Dance

THE STREET THEATRE

D’Opus

friday december 03

7pm and 9pm, $25/$20.

What Are You?

Bookings phone 6247 3150. $18/$14 on the door.

7pm.

ALL BAR NUN

Cube Sunday

10pm ‘til late with DJ TJ. CUBE NIGHTCLUB

DJ Pauly D

Makes a mean five-spice chicken. From 8pm.

5pm.

KNIGHTSBRIDGE PENTHOUSE

ALL BAR NUN

GORMAN HOUSE ARTS CENTRE

A Touch of Soul

Live

Arts

Dance

HIPPO LOUNGE

Sunday Sessions On The Deck

The Blue Marquessa

The Crunch

THE STREET THEATRE

Evening Matinee

thursday december 02

7pm and 9pm, $25/$20.

Unexpected Guests

An exhibition by Tiffany Cole.

CANBERRA CONTEMPORARY ARTS SPACE - MANUKA

Comedy The Austen Tayshus Comedy Club

Introducing some of the finest emerging comedy talent in the country. Three comedians every night. CASINO CANBERRA

Dance

HIPPO LOUNGE

Ninja Charlie from 6pm.

KNIGHTSBRIDGE PENTHOUSE

Faux Real

Everydaym hustlin’ from 9pm. KNIGHTSBRIDGE PENTHOUSE

Peking Duck

Presents Young Blood and Skin and Bones. ACADEMY NIGHTCLUB

Vinyl Only

Canberra’s wax collectors spinning the black circle. Free, 8pm. TRANSIT BAR

4Sound Session

With Mario Gordon.

Disco, electro, fidget. Feat.Loose Youth, TeamWing, 2Hyped and B-tham. $10pm, 10pm.

Evening Matinee

Rev

Soul Train

HIPPO LOUNGE

Des Shore from 6pm.

KNIGHTSBRIDGE PENTHOUSE

DJ Krush (Jap)

LOT 33

Your weekly alternative party. DJs spin indie, rock, electro, grunge, punk tracks all night. $5.

With The Amosa Brothers.

Candy Cube

Supportsed by B-tham, HartAttack and Happyy. $10, 10pm.

Twice Shy

Classic hits from 1-3pm.

Mike Chaplain

Transit Rock Sundays

THE GEORGE HARCOURT INN

TRANSIT BAR

THE GEORGE HARCOURT INN

Classic hits from 1-3.

Featuring Graveyard Train.

Forest Fundraiser Spectacular

Ungus Ungus Ungus

Feat. George Bishop, Rafe Morris, One Foot In The Gravy, Ungus Ungus Ungus, Dubba Rukki and more. 12-9pm.

Progressive funk, rock, pop, psychedelia. 7.30pm.

The Church

With Dirty York.

An Engaging Affair

Sunday Best

THE PHOENIX PUB

Feat. Spoil, Stone Parade, Sleep Parade, Escape Syndrome and The London Circuit. Tix through Moshtix THE MARAM, ERINDALE CENTRE

Humonic (Melb)

Ashley Feraude

The Clubhouse is now open three nights a week. Providing your alternative music needs.

Ungus Ungus Ungus

Progressive funk, rock, pop, psychedelia.

THE CLUBHOUSE

POT BELLY BAR

Open Decks

Aaron and Jacinta P J O’REILLY’S, CIVIC

LOT 33

The John Steel Singers

8pm, free.

Live Domus Adultus

With special guests Deep Sea Arcade and Fishing. Tix $15 pre/$18 at the door, through Ticketek. ANU BAR AND REFECTORY

POT BELLY BAR

Heath Cullen & The 45

Barely whispered acoustic songs and sweeping rock odes. 8pm, $15/$20. THE FRONT CAFE AND GALLERY

Gleny Rae Band

Leppard

GORMAN HOUSE ARTS CENTRE

Lounge music from 7-10pm. THE GEORGE HARCOURT INN

Open Mic Night

Def Leppard Tribute. Tix through Moshtix.

Leanne Melmoth

12 Foot Ninja

KING O’MALLEY’S, CIVIC

POT BELLY BAR THE MARAM, ERINDALE CENTRE

Super Raelene Bros

KING O’MALLEY’S, CIVIC

Something Different

Double Happiness

7pm.

Roll Up, Plug In and Play Open mic night. 8pm, free. CANBERRA IRISH CLUB

Karaoke

Every Thursday from 8pm.

HELLENIC CLUB IN THE CITY

THE FRONT CAFE AND GALLERY

tuesday december 07

live Rapskallion

With Mt Fibby. A doube bill to die for! THE PHOENIX PUB

10pm-2am.

The Northern Territory acoustic funk outfit are back after a knock-out show in September. 8pm.

Dos Locos

Featuring current students of the ANU School of Music, with local folksy/ gypsy/popsy band Lady Grey.

wednesday december 08

Bookings phone 6247 3150. $18/$14 on the door.

THE MARAM, ERINDALE CENTRE

9pm, free.

More or Leske

THE PHOENIX PUB

Arts

Annie and the Armadillos

THE BASEMENT

The Bootleg Sessions

Trivia Night

sunday december 05

With Friend or Enemy.

monday december 06

something different

THE PHOENIX PUB

What Are You?

A BITE TO EAT CAFE

THE PHOENIX PUB

With local HC band All In Brawl and punk, ska and reggae DJs ‘til late. 9pm.

Driver Side Airbag

5-7pm, free.

live

THE BASEMENT

Free live music at Canberra’s most charming watering hole. THE PHOENIX PUB

Brothers Grimm

TILLEY’S DIVINE CAFE

Punky Reggae Party

uniVibes Thursdays

THE FRONT CAFE AND GALLERY

CORROBOREE PARK COMMUNITY HALL

Kim Churchill

HOLY GRAIL, CIVIC

BEYOND Q BOOKS

Live

With House of Thumbs (Melb), Voltera (Melb), Reign of Terror and Friend or Enemy.

KNIGHTSBRIDGE PENTHOUSE

2-4pm.

LOT 33

Live With Ashleigh Mannix, Carter Rollins. Doors at 7pm, tix $10 at the door.

Ernie Van Veen And His Band Of Young Men

Raye Antonelli

BAR 32

xoxo from 9pm.

CANBERRA IRISH CLUB

CUBE NIGHTCLUB

Japan’s finest purveyor of broken beats and atmospheric soul. Tickets $25 + BF through Moshtix. 8pm. TRANSIT BAR

With Mama’s Blooz House. 2pm, free.

10pm ‘til 5am with DJs Matt and Pete.

THE FRONT CAFE AND GALLERY

Every Friday from 5pm ‘til late. Head to the Facebook page Double Happiness @ OPH for all the info. OLD PARLIAMENT HOUSE

Saturday december 04 Arts The Blue Marquessa

7pm and 9pm, $25/$20.

OUT DEC 8

LAST ISSUE OF THE YEAR BITCHES! linkin park CLOUD CONTROL LOS CAPITANES ...and more!

THE STREET THEATRE

FIRST CONTACT SIDE A: BMA DJ profile

JAMES FAHY Group members: I cloudsource all of my bandmates, so my backing tracks are separated into two second ‘tasks’ and are completed simultaneously all over the world. Describe your sound: My sound and I are currently engaged in arbitration: it wants me to stop cloudsourcing material, and I want it to evolve somewhere more sporadic and unpredictable. The songs each tell their own story, their own way, and I just have to make sure the audience understands what they’re trying to say. It’s worked so far. Who are your influences, musical or otherwise? The people who are making something unique and beautiful without relying upon technology. This obviously includes Hot Chip, who live on synths but make it soulful. Joanna Newsom, Elliott Smith, Joe Oppenheimer, Fun Machine, Jeff Buckley, Jack White and Johnny Greenwood also spring to mind. What’s the weirdest experience you’ve had whilst performing? Applause. What’s your biggest achievement/proudest moment so far? Sustained, recurring applause. That and my EP, The Sun Will Burn Through This Cloud. What are your plans for the future? Lots of recording. The latest batch of new songs are going to have an effect on people, but they need to be recorded right – drunk in my living room over many, many late nights. What makes you laugh? People typing answers, staggering into the kitchen for a drink, finding ants, throwing out that bread that’s mouldy and has ants in it, returning to the computer and continuing a cloudsourcing gag that began in the first question, realising that they forgot to get a drink. What pisses you off? Being thirsty. What’s your opinion of the local scene? I’ve discussed it many times in many places, but it comes back to Canberra’s music scene growing exponentially, less people leaving and enormous events beginning to show true promise. What are your upcoming gigs? I’m supporting Ash Grunwald at The Maram on Thursday December 9, and Fun Machine on various dates of their tour – check out their Facebook site, I implore you (natch - Ed.). Contact info: Email anything to j.fahy@hotmail.com. I promise you a humorous and fulfilling answer.

Aaron Peacey Aaron 0410 381 306 Activate Jetpack activatejetpack@ hotmail.com Adam Hole Adam 0421 023 226 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 Amplif5’d Classic rock covers band Joy 0407 200 428, joybarac-heath@hotmail.com Annie & the Armadillos Annie 6161 1078/0422 076 313 The Ashburys Dan Craddock 0419 626 903 Aria Stone, sax & flute, singer/ songwriter (guitar) Aria 0411 803 343 Australian Songwriters Association (Keiran Roberts) 6231 0433 Arythmia: Ben 0423 408 767/ arythmiamusic@gmail.com Backbeat Drivers Steve 0422 733 974, www.backbeatdrivers.com Big Boss Groove Andrew 0404 455 834, www.bigbossgroove.com.au Bill Quinn Overheard Productions bill@overheard.com.au, Ph: 0413 000 086 Birds Love Fighting Gangbusters/DIY shows - bookings@birdslovefighting.com Black Label Photography Kingsley 0438 351 007 Blister Bug Stu 0408 617 791 Bridge Between, The Rachel 0412 598 138, thebridgebetween.com.au Bruce Stage mgr/consultant 6254 9857 Caution Horses Nigel 0417 211 580 Chris Harland Blues Band 0418 490 640 chrisharlandbluesband@yahoo.com.au Clear Vision Films rehearsals/film clips/stunts - 0438 647 281 wcoulton.clearvisionfilms.com Cole Bennetts Photography 0415 982 662 /colebennetts.com Cris Clucas Cris 6262 5652 Crooked Dave 0421 508 467 Danny V Danny 6238 1673/0413 502 428 Dawn Theory Nathan 0402 845 132 D’Opus & Roshambo hifidelitystyles@yahoo.com DJs Madrid and Gordon 0417 433 971 DJ Latino Rogelio 0401 274 208 DJ Moises (RnB/Latin) 0402 497 835 or moises_lopez@hotmail DNA Vic 0408 477 020 Drumassault Kate 0414 236 323 Easy Mode Daz 0404 156 482, easymodeband@gmail.com Entity Chris 0412 027 894 Epic Flagon band@epicflagon.com Fighting Mongooses, The Adam 0402 055 314 Final Warning Brendan 0422 809 552 Fire on the Hill Aaron 0410 381 306/ Lachlan 0400 038 388 4dead Peter 0401 006 551 Freeloaders, The Steve 0412 653 597 Friend or Enemy 6238 0083, www.myspace.com/friendorenemy Funk Shui Dave 0407 974 476 Gareth Hailey DJ & Electronica 0414 215 885 GiLF Kelly 0410 588 747, gilf.mail@gmail.com Groovalicious Corporate/Weddings/ Private functions 0448 995 158 groovalicious@y7mail.com Guy The Sound Guy live & studio sound engineer, 0400 585 369, guy@ guythesoundguy.com HalfPast Chris 0412 115 594 Hancock Basement Tom 6257 5375, hancockbasement@hotmail.com Happy Hour Wendy 0406 375 096 Haunted Attics band@hauntedatticsmusic.com

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