BMA Mag 369 Apr 12 2011

www.bmamag.com

DATAROCK Mooving on up

GEESE Flaps its left wings

#369APR13

T N A R R A W T O I R T E I U Q D N A NS

H T L A E H L A MET

IMPROVE

YOUR

LA GU

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GTM announces local contingent and Unearthed winner

“You could think of 2XX’s Local ‘n Live as a bit like BMA for your ears!” Naw. Turn to page 17 to read more. #369APRIL13 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 Zoya Patel Graphic Design Cole Bennetts Exhibitionist Editor Julia Winterflood E: editorial@bmamag.com Film Editor Melissa Wellham Principal Photographers (The Flashbulb Posse) Andrew Mayo Nick Brightman NEXT ISSUE 369 OUT APRIL 29 EDITORIAL DEADLINE APRIL 18 ADVERTISING DEADLINE APRIL 21 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.

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With only a few short weeks to go until the 2011 tour kicks off, GTM congratulates all the winners of triple j’s Unearthed competition as well the local artists who will be completing the line-up. In our nation’s capital give it up for Fun Machine, Crash the Curb and Raw City Rukus, and The Ellis Collective for taking out Unearthed. Four local acts on a major festival bill; massive props and big ups Groovin The Moo. Tix are swiftly flying out the door so head to Moshtix quick smart, and be sure to get there early on Sunday May 8 to give your support to these local legends.

BMA is looking for shooters Wanna shoot for BMA? Wanna go to gigs for free? We’re currently on the hunt for gig photographers. If you think you’ve got what it takes to join our flashbulb posse and have your pics splashed across the pages of this fine rag then send a sample of your work (three landscape gig snaps preferably) to editorial@bmamag.com .

D’Opus and Roshambo announce LP launch date Canberra duo D’Opus & Roshambo have just released their second full length album Past Time through Mercury Switch/Inertia. Hot on the heels of a sold out pre-release show at Transit Bar in March, the duo have announced a Canberra album launch proper at Transit on Saturday June 4 to celebrate the album’s release with their home town. With Past Time currently receiving rave reviews, including a glowing 4.5/5 in Marie Claire (!), the duo are getting set to take their new live show (complete with live guitar, bass and drums) across the country in support of the record over June/July. Past Time features guest appearances

My Friend the Chocolate Cake at The Street My Friend the Chocolate Cake are an intensely colourful and ruthlessly honest musical mirror to Australia’s complex national character. They’re the band with the strings, the piano, the big tunes and the plainly daft name. This year Choccie Cake are releasing Fiasco - optionally known by its extended title Somewhere Between the Sacred and the Bleeding Ordinary. It’s the unmistakable sound of My Friend the Chocolate Cake turning 21. Singer/songwriter and pianist David Bridie, never a man to gild the lily, reckons it’s a “classic cake mix”, with its distinctive pop-noir, brooding urban angst and rich filmic gravitas shot with a lyrical elegance for which Bridie is lauded. Hear it live at The Street on Saturday May 7. Tix through the venue.

Assassins 88 new digital EP Local duo Assassins 88 have just released a digital EP called Kaneda. Says one half of the duo Lachlan, “we are calling it our ‘neo-punk’ release. It’s inspired by sci-fi movies like Repo Man, Blade Runner, Akira and Predator, Enter the Void etc, and the music has a technoey punk feel. We originally wrote the songs before we did our original tape and only just got around to finishing them after something like two or three years. We also went back to the lo-fi way of

recording to get that overblown sound. We don’t have any plans yet of releasing it but the feedback has been really good so it might get a release on tape later this year with more tracks but I’m not sure. Until then it’s up for free at dreamdamage. com. Check it.

Canberra International Music Festival Classical music a bit beige for your taste? Not in this year’s Canberra International Music Festival! Check out Lara St John – a tall, sexy, Amazonian, French Canadian, passionate violinist playing as fast, powerfully and perfectly as anyone has ever heard, in duet mode with William Barton on Didj… playing Bach’s Chaconne.

Oo er. Same bill: four funky, hot Danes, each well over 185cm, towering over you as they ignite with fiery tango rhythms and hardcore violin playing that will leave you breathless. Oh, and the Piazzolla music. Trust us, you’ve never experienced tango like this! The Danish String Quartet are certainly not what you normally picture when thinking about violinists. It’s classical music with a hot twist.

For more info check out cimf. org.au, and to book tix head to canberraticketing.com.au .

Lara St John

from Hau (Koolism), Muph (Muph & Plutonic), Chanel Cole, Dialectrix and more.

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FROM THE BOSSMAN Yes, I said the Spare a Thought series focusing on the plight of misunderstood folk in our industry would be ‘occasionally appearing’ but after the warm support of last issue’s column (read by as many as 12 people), two in a row it is. So now we shine our Spare a Thought spotlight on… The Photographer.

‘A picture is worth 1,000 words’ is a well worn axiom typifying the importance of a visual image. We are shocked and stunned by photographic prizes. We gleefully wet our knickers at cats that look like Hitler. A picture is a powerful thing, yet we oft treat photography, and the hardworking photographer behind it, with disdain because when done well it takes large effort and looks largely effortless. But the time it took to write this column is less than the amount of time it took to set up, shoot and edit that rather handsome pic of yours truly atop this column.

One of the biggest backhanded compliments you can give a photographer is “Woooooo! Nice picture! You must have a pretty sweet camera”. Unless you have a futuristic Japanese self-taking Nikkei 37000 MP 9-over-20 model it actually takes a human person, with human person skills acquired over many years, to take a good shot. You don’t hear people whistle impressively at an article or book and go “Woooooo! Nice article! You must have a pretty sweet keyboard.”

A part of the misunderstanding is that the art of photography has shifted over the decades. Lord Ottombottom of the early 1900s was armed with a flashpouch and a camera the size of a steam engine, and only had one chance to snap Lord Muck in his finest pantaloons. Pictures of lightning used to nab National Geographic photo prizes, so hard was it to pick its brief half second appearance. Now, even your gran’s iPhone has a fastshutter-lightning-capture app (right next to the do-you-smellof-cat-piss app). This has led to people assuming photography is easier. And yes it is, but good photography… Well, that’s another matter. Hours in the dark room have been swapped for hours on the computer. A single shoot can generate 100s of potentially usable pics, of which a few are honed down in a frantic photographic equivalent of The Bachelor before hours of deft digital touch up are applied. Do you know how to saturate a skin tone by running a baffle spigot over the semi-loaded whoop-bop backdrop? I thought as much.

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 fuckwit who robbed me last week, you pissed me off! I’m sure in your moment of desperation you thought a smash and grab would secure some money for the next two weeks but not when you’re stealing my gay man bag and gay coin purse and other gay items you will have no use for and will make no quick money from. When you smashed the door in and woke me up, you not only scared me; you pissed me off! The door was deadlocked, dude. You could at least have taken a few more items if you were going to go to the trouble of working the back door and then KICKING IN A DEAD LOCKED DOOR. You couldn’t have just smashed a window? Or learned how to not steal? Surely, that’s easier than kicking in a dead locked door. I’m sure you probably think I’m better off than you and can afford to be robbed. Which is another reason why you’re such a fucking moron. Because you wouldn’t know how long I saved for the shit you stole, you wouldn’t know how important the music on the iPod you nabbed was to me (more than the device itself). I hope you appreciate the 400 playlists I made for people over the years, contained on that iPod. But you won’t. Cause you’re a bastard.

Long suffering photographer friend Cole Bennetts once regaled me an apt tale. Relaxing at a drinking abode after an arduous day of shooting - his extensive camera gear dangling medallion like around his neck - he was approached by a super-starched-shirt fella. “Hey take my picture!”//“Sorry,” Cole politely replied. “I’m just here to relax.”//“Nah c’mon, take my picture, it won’t take long,” he persisted.//“No thanks,” said Cole again. Unwavered, the man pressed for a third time. Cole then retorted, “What do you do for a living then?”//“Me? I’m an accountant.”//“THEN DO MY TAX RETURN! DO MY TAX RETURN! DO MY FUCKING TAX RETURN!” Cole barked, in a voice loud enough to silence the pub in a scene reminiscent of a Western. Mr Number Balls duly slunk off, schooled by a man who puts the f in f-stop.

So spare a thought for our photographic friends. They’re talented, hard-working, and strangely delicate creatures. Unless, of course, they’re paparazzi. They’re just scum.

ALLAN SKO - allan@bmamag.com

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another thing…

I’m driving him to the pub because we’ve got nothing better to do today. Despite the fact that he has a full-sized reconstruction of a ‘traditional English Pub’ built at the house, Bobby still likes to venture out to the local every now and then. Luckily for all concerned the local is a three mile-up-hill-down-dale-as-the-crow-staggers which prevents Bobby from attending unless I’m driving, which saves everyone a lot of bother in the long run, especially Bobby’s bank manager. He doesn’t like to drink alone you see, and before I became his minder Wayne would often be called by a distressed seventies rock god marooned somewhere having spent all his money on beers for a new set of friends and thus unable to afford a cab to wherever it was he was meant to be going.

Bobby is generous to a fault when it comes to drink. In all other areas of life his parsimony is legendary, but if a man needs a drink Bobby’s your man. Quite soon after I arrived he gave me the slip in Great Manton when we were out shopping for essentials. I found him outside the local Off Licence with two suspicious looking teenaged boys, who were looking incredulously at the crate of export strength lager sitting on the pavement in front of them.

Bobby had happened upon the two urchins desperately trying to scrabble together enough cash for a couple of cans of cheap cider, and sensed their distress. He asked them what their favourite tipple was, then marched into the shop and bought them 24 cans of the stuff – around fifty quid’s worth of booze. “‘They looked thirsty’ was his sheepish answer when I asked him what the hell he’d done that for.

And so we settle in to the pub for a lunchtime session. Most of Godhammer’s best work was hatched after midday trips to the boozer, their creativity piqued by the diet of beer, vodka and, remarkably, cheese and pickle sandwiches. So much cheese and pickle was consumed during the recording of Loki’s Demise, their final album in the ‘big time’, that drummer Ross ‘Red Thunder’ Couling (so called because of his ginger hair, hair he said to anyone who would listen was actually ‘strawberry blonde’) had no recollection of recording the album at all and was convinced he was learning someone else’s drum parts when the band rehearsed for their final tour of US enormodomes. So not only is this a chance to top up on last night’s alcohol levels, it’s also a pleasant, rose-tinted trip down memory lane for Bobby. Occasionally the beer leads to a traffic jam on said cranial thoroughfare, but today seems to be a good one. Greeted by the locals as something of a returning hero, we take our place at the bar (Bobby seated on a stool, me stood just behind him, close enough for Bobby to sense that I’m still there), and the boss gets the beers in. For everyone. Or rather he orders the beers for everyone. We then go through (what I’m sure to everyone present apart from me is an endearingly amusing routine) a ritual of Bobby checking, with growing panic, each of his pockets in turn looking for cash to pay for the round. He then turns apologetically to me, face a picture of innocence.

“Micky, I seem to have left me wallet on the mantelpiece. Can you do the honours?”

It’s his money I’m spending of course, but that doesn’t seem to be the point with Bobby. Like all good rock stars, the artifice is all...

Next time: Passport problems. scott adams - thirtyyearsofrnr@hotmail.com

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WHO: Hell City Glamours WHAT: Guitar enhanced mayhem WHEN: Sat May 7 WHERE: Transit Bar

Why those Hell City Glamours lads, they sure do love our national’s capital much more than everywhere else in the world. And that’s why they’re coming back again. Crazy fans, good booze and their favourite little venue Transit will combine for an outpouring of guitar enhanced mayhem. To help them keep their heads above water they’ve scammed Johno & The Trannies into coming out of retirement with a $20 bill on a fishing line along with Canberra’s finest band Tonk. It all goes down in the nicest possible way on Saturday May 7 with proud (though possibly not so much the next day) presentation by BMA.

WHO: Community radio 2XX 98.3 FM WHAT: Local ‘n Live Launch WHEN: Sat April 16, 10am4pm WHERE: Garema Place

Community Radio 2XX 98.3 FM launches its Local ‘n Live show (weekdays 4-6pm) on Sat April 16. Celebrate with them at this free festival of diverse, quality local music. Featuring The Ellis Collective (on stage 1.15-2.00pm), plus the funky Brass’ere (12.301pm) and the ever popular D’Opus & Roshambo with their new LP Past Time (2.30-3pm) as well as up and coming roots artist Pete Akhurst and other great local musicians. See www.2xxfm.org.au for details and get on down to Garema, then tune in to 98.3 FM (or stream online) at 4pm weekdays from Monday April 18.

WHO: Parlour Wine Room WHAT: Parlour’s Third Birthday WHEN: Sat May 14 WHERE: Parlour Wine Room, New Acton

Parlour is turning three and naturally three be the magic number for their decadent celebrations. There will be a continuous flow of food and complimenting drinks with three courses (vegetarian with cocktails, followed by meat and seafood with wine, followed by dessert with dessert wine). Each course involves three rounds of food and each drink will have three variants, however wine will have six, being three reds and three whites. Even the dress code is designed around the number three; black, diamond and gold being Parlour’s interpretation of primary colours of the decadent world.

Oo er. For more info head to parlour.net.au .

WHO: Elisha Bones WHAT: Songs to close your eyes to WHEN: Sat April 16 WHERE: The Front Café

Elisha Bones, guitarist and sometimes vocalist of hiatal Canberra band The Trivs, is branching out as a solo artist in the absence of his amigos. Writing a whole batch of songs on a cheap acoustic guitar whilst studying abroad, Elisha has returned home into the loving arms of his electric guitars and pedal board, dressing his melancholy songs in pretty textures and loops. An EP is on the horizon, but until it is released the only way to hear his music is to come to this gig! Supported by talented folk singer/songwriter Shobana Narayanan. Doors open 7.30pm.

WHO: Single Twin WHAT: Playing the Peking Spring Festival WHEN: Sat April 30 WHERE: The Street Theatre

If dedicated Neighbours fans cast their minds back ten years, they may recall bit character Marcus Teague: Total Cover Health representative and foil to Dr Darcy Tyler. His namesake, however, is more memorable. In the last few years, the real-life Marcus Teague – former leader of Melbourne indie-rock moodists Deloris – has been recording and performing under the Single Twin name. Like his old band, he trades in lyrically driven, folk-tinged tunes. Unlike his old band, the songs don’t have so many drums or loud, distorted guitars. Single Twin will be in town for the Peking Spring Festival, playing with Hoodlum Shouts. Tickets are $18 or $12 concession.

WHO: Eight emerging artists WHAT: Exhibition Double Hitch WHEN: Fri April 29 (opening 6pm) – Sun May 1 WHERE: O’Connor Scout Hall

Roping together installation, drawing, sculpture, video and music, Double Hitch is an exhibition featuring works by eight emerging artists who have studied at the ANU School of Art and have all grown up in Canberra. Using materials found in their homes, on the streets, in the scrub, at the op shop, each artist ties together ideas of warmth, community, friendship and reminiscences of a childhood spent in Canberra’s ‘burbs. Held inside the heritagelisted O’Connor Scout Hall, away from the traditional gallery space, Double Hitch welcomes the public to become entangled with their local artists and welcomed into Canberra’s thriving art scene.

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y U G Y R I A H Y hE'S M Tim Galvin I remember bounding out of bed as a small child on a Saturday morning and attacking a large bowl of corn flakes with atomic omnipotence so that I was allowed to switch on the TV and watch Video Hits. Early morning music television was actually more of a religion than a prosaic weekend routine; the square screen was a Narnia-like portal into another world, a world of beautiful superstars and fantastic absurdity. American rock bands were at the forefront of this revolution of indulgence, their visual chimera poured into loungerooms all over the world with artists like Mötley Crüe, Poison and WARRANT impregnating our young minds with not so subtle unscrupulous innuendo. The latter, a four-piece from the back streets of Los Angeles rose to the top of the charts in the early ‘90s with hits like Cherry Pie, Uncle Tom’s Cabin and I Saw Red. 20 years and a few lead singers later, the boys are back in town touring their latest album, an ode to a time of fast cars and an even faster lifestyle.

You can’t sit down with a songwriting business plan.

Songs just come from your soul, good, bad or ugly

“The main goal is to have as many fans hear the new record Rockaholic. In this crazy business it seems that all the drama trumps the music. We want people to get back into the Warrant music,” says founding member Jerry Dixon.

“We’re always on the road in the USA and do an average of 50 shows a year. We just need to learn how to get on a plane and head down under more often. The prep is going well, just trying to figure out what day and time it is there! What’s crazy is we’ll be there almost 20 years to the date of our last Australian tour.”

After experiencing an exuberant honeymoon in the LA rock scene, their enigmatic frontman Jani Lane left the band in the late ‘90s under questionable circumstances, a clear crossroad which almost ended their musical career.

“Yes, we call the ‘90s the ‘Black Years’. It was a great time for new music that would pave the way to grunge but it was a bad time in the Warrant camp,” he says. “Egos and dreams where shattered in the blink of an eye. The band was used to being a priority and it was tough when the key was turned off and thrown away. My main issue was that I loved all the music that was in a sense taking away my band. But somehow we survived.”

Lane returned in 2008 for a short series of reunion shows, but as with all bruised and battered relationships, the cordiality was

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short-lived, Lane packing up his leather pants and moving on again the following year.

“The many times he left us high and dry pissed us off at the time.

As time passes I realise it was the best thing to ever happen to us.

As a band we are closer than ever, we get to write music together, we get to go to Australia together but most of all we are happy.

Happy band equals good music,” says Dixon.

Change happens to us all, for some it replaces potential with a figurative brick wall and for others it galvanises us and inspires us to keep moving forward with our dreams. Luckily for fans of Warrant, the engine room is still cranking along with a full belly of steam and it seems the old rockers have lost none of their brash attitude in their new material.

“Writing’s in a constant state of change .You can’t sit down with a songwriting business plan. Songs just come from your soul, good, bad or ugly. Tunes can start out with the intention of being about love and end up being Sex Ain’t Love. The new record has 14 songs that speak about 14 different things,” he says. “Records are written over long periods of time and in our case this one took two and half years. What you hear is what we felt in that time frame. So, yes, in two and half years we did have some sex, drugs and several parties, along with some tears.”

The band emerged in an era where the rock music industry was a white-knuckle ride, a full tilt rollercoaster full of endless parties, packed stadiums and hardcore fans. “It was so much fun I can’t remember!” In contrast, some of today’s musicians seem to regard their art as more of a career path than a lifestyle, although Dixon agrees there are definitely some exceptions to the rule.

“Have you gone to a screamo show lately…? These new bands tear it up! I don’t think music ever changes, just new kids with new ears and new looks with the same dreams we all have. [We are] still the same old Down Boys… It just hurts more the next day.”

Dixon has blown the candles off his birthday cake 20 times since he last set foot in our country, and you can tell that he is quite enthusiastic about the idea of coming back to set the stage alight alongside Quiet Riot and the LA Guns and a whole new legion of Aussie fans.

“The show is going to kick ass from start to finish. Three great LA bands from the Sunset Strip on the loose down under and in New Zealand equals one hell of good time. We are so excited to get there and crank up the amps.”

Warrant will be rocking out at the ANU Bar on Saturday April 30 with Quiet Riot and LA Guns. Tickets are $90 through Ticketek.

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ALL AGES All the way from Seattle, USA, five-piece alternative/rock band The Classic Crime are hitting the road with Sydney’s Chemical Transport, who are staying loyal to their mass of Canberra fans on The Vagabonds tour. Joining them on the stage at the Tuggeranong Alliance Church in Calwell will be rising local acts Drawing North and Transience Invalid. Tickets to witness this tremendous line-up shake down the church walls cost just $15 at the door or you can be prepared and pre-order online at Oztix for just $18.40. Doors open to the public at 5pm on the eve of Sunday April 17.

The sixth annual Regrowth Festival is right around the corner, so now is the time to get your tickets. There is no better opportunity to escape from daily routine than this: four days and three nights camping out on a property nearby the charming town of Braidwood.

You can spend the entire Easter/Anzac long weekend dancing off any traces of regularity that you may have brought with you.

R.E.G.E.N and Servants of Sound, have catered for all tastes, presenting you with local and international artists producing only the best of the best, “psychedelic and progressive trance, dub step, techno, minimal, glitch hop, breaks, wobbly beats, chill, dub reggae, folk, gypsy and the undefinable!”.With more than 50 DJs/artists/ groups playing, among them some doof legendaries, such as Ace Ventura, Mr. Squatch, Mr. Bill, Sun in Aquarius, Black Samurai and Wax Rabbit, just to name a few. You also have the chance to enjoy the on-site healing/lifestyle area, unique market village and a number of workshops, including the re-vegetation project that gave the festival its name, which has so far planted 55,000 trees at R.E.G.E.N events alone. The festival begins at 5pm on Friday April 22 and stretches all the way through until Monday April 25. Tickets currently cost only $85 from regen.org.au or you can purchase tickets at the gate for $110. Plant some trees and spend a long weekend a world way away from all normalities of life, at one of the best bush doofs the country has to offer.

The Tuggeranong Alliance Church in Calwell, a venue proving themselves to be quite the reliable staple in Canberra’s all ages scene at the moment, is presenting us with a line-up rather different to what we have become accustomed to. New Yorker ambient/ indie/soul quad As Tall As Lions, are collaborating with Central Coast folk/indie/western act Elliot The Bull to bring to the hungry masses The Sound of Animals Touring. Tickets can be purchased in advance from Oztix for the stupidly low price of $23.50. Doors open at 6pm on Friday April 29.

Canberra’s beloved alternative/rock five-piece Atlantis Awaits are currently on a three month tour of Australia and New Zealand, but excitement is already brewing about their return. On Saturday May 14 you can see Atlantis Awaits, as well as Sydney’s power pop/rock group The Never Ever, Melbourne’s Daylight Hours, Wake the Giants from Sydney and local act Psychic Asylum. Stay tuned for more.

NAOMI FROST allagescolumn@gmail.com

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LOCALITY Canberra community radio station 2XX is about to launch its Local ‘n Live program, so I caught up with station volunteer Andrew Saw to find out more.

Can you give us the spiel about Local ‘n Live? Local ‘n Live will be just that – local and live music, plus some arts. There is so much quality music made in our community and region, 2XX can’t help but want to share it with everyone, both pre-recorded and live. We’ll play new tracks from local musicians, get them in for a chat about what they do and broadcast live-to-air performances, as well as let listeners know more about the amazing range of other music and art that people can get out and see. You could think of 2XX’s Local ‘n Live as a bit like BMA for your ears! It kicks off formally on Monday April 18 at 4pm, then every weekday from 4-6pm on 98.3 FM and online at 2xxfm.org. au. Musicians, artists and inspiring presenters interested in getting involved should get in touch by ringing (02) 62 300 100. Head to the website for more info.

And a bit about the launch? 2XX is launching Local ‘n Live with a diverse showcase of just some of the cream of the crop of Canberra’s musical acts on Saturday April 16 in Garema Place. We are really pleased to have the wonderful The Ellis Collective (on stage 1.152.00pm), funksters Brass’ere (12.30-1pm), the ever popular D’Opus & Roshambo with their new album Past Time (2.30-3pm) plus up and coming roots artist Pete Akhurst along with other great local musicians.

What do you think of the current state of the local scene? The local scene is really a ‘territory treasure’; there is such a diversity of quality and interesting music on offer in this town. Another great thing about the scene is the sense of community and how artists are so friendly and work together.

How important is community radio in a town like Canberra, which is made up of pretty disparate suburbs that tend to keep to themselves? Community radio is important in so many ways, with Local ‘n Live being just one simple example. 2XX broadcasts music, information and views that don’t make it into the mainstream media – we have community announcements of all sorts, specialist music, and programs that address issues in politics and society that you won’t hear elsewhere. Without sounding too political, community radio is by the people, for the people; 2XX is alternative and provides access to the airwaves for the community at large. Even in this day of social media online, social isolation is a big problem which community radio helps address.

How do you see Local ‘n Live changing Canberra’s live music scene?

2XX Local ‘n Live will get the music and musicians in, so as to get the vibes and info out to the community.

JULIA WINTERFLOOD julia@bmamag.com

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DANCE THE DROP

Unlike most people, who might remember the early ‘90s for the first gulf war, or the commercial rise of email, or even as the time when Kurt Cobain had a pulse, I tend to commemorate the era of fluoro tracksuits by one event alone. At this time, somewhere in a dimly lit bedroom in the suburbs of Melbourne, a young Italian Australian by the name of Anthony Pappa was honing his wizardry on a pair of well-worn turntables. By the age of 13, Pappa was already being chaperoned into nightclubs to spin funky house and disco to people twice his age. By 15, he had taken out the Australian DMC championship, landing him international exposure relatively overnight. The rest is history, and the Pappasaurus returns to Canberra on Easter Thursday, April 21 alongside an equally impressive roster of international stars.

Effigy boggle the mind yet again with an incredible line-up at Hippo Bar including the aforementioned Australian ex-pat, who is joined by Desyn Masiello (UK) & Marcos Paz (Arg), all for the ridiculous price of $10 (before 10pm). Fuel your four-day hangover with a night of incredible progressive music!

Just a quick stumble away is Transit Bar, which is also providing ample long weekend entertainment in the form of Sydney tech legend Simon Caldwell, appearing in a long awaited return to our city on the very same night. Caldwell is joined by a slew of locals including Biggie, SVRT, Anjay, Scottie Fischer, Pete Canell and Radar. When it rains it pours!

Whenever I hear the name Trinity it always makes me think of the manly woman with the incredible bottom from the Matrix movies.

Some might also attribute this word to Canberra’s newest A-list venue in the heart of Dickson’s Chinatown, which delivers a brutal slow motion crane kick to your wallet this month with a monster line-up of big name guests. Friday April 15 brings house music deity Danny Howells (UK) to the DJ booth for a special five hour set, Saturday April 16 heralds the return of super producer Sam La More and Thursday April 21 brings a diverse trio of headliners including Nadastrom (USA), Illya (Syd) and Audiojack (Ger).

The Clubhouse has been captaining the bass music battleship in the last few months, and the lads don’t seem to be pulling up anchor any time soon. Friday April 22 brings another round of Bass Lab to the dark womb, this time helmed by DnB wizard Q-Bik (WA). Your deckhands for the evening will also include Dred, DJC, Riske, Izz and D.Wils.

I can’t finish this edition without giving you a last minute tip for the impending Warehouse Music Festival. If you haven’t already purchased a ticket, find a promoter on Facebook and grab one while you still can, as you will pay a lot less for one now than you will on the day. See you all in the main room!

TIM GALVIN tim.galvin@live.com.au

myspace.com/pangnight

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SLATED FOR SUCCESS

DATA-ROCKING OUT

estelle gonzalez

chiara grassia

One way to gauge your success as an artist is by the lengths girls will go to get your attention at a gig. Brooklyn based AC SLATER, also known as Aaron Clevenger, can safely say he’s made it. “Some girl had lyrics from Calm Down on her underwear and leaned over in front of me when I was playing.”

This year, those cheeky Norwegian dance-punks DATAROCK plan on unleashing a musical, a single in the form of a collectable toy, as well as embarking on their seventh tour of Australia. Since releasing their debut album in 2005, the band have been endlessly touring the globe, released their second album a few years back, and appeared on a slew of US TV shows including a stint on the uber-hip kid’s program Yo Gabba Gabba.

For AC Slater it began with hip-hop. Artists like De La Soul, A Tribe Called Quest, Mobb Deep and Wu Tang Clan were early influences, but there was a defining moment that steered the young DJ in the direction of electronic music. “I was really into stuff like Prodigy all the way out to, like, DJ Shadow. But it really clicked for me when I saw The Chemical Brothers live. I had never been to a rave before and it opened my eyes to a whole new world of music.”

Some girl had lyrics from Calm Down on her underwear and leaned over in front of me when I was playing

He has since gone on to become one of the most sought after remixers and producers as well as one of the most in demand DJs in the bass music scene. A chance meeting with Drop the Lime and the Trouble and Bass crew at a Brooklyn party led to AC’s current affiliation with the Trouble and Bass label. “I DJd at a party in Brooklyn years ago and when I got off the decks I walked towards the back of the room and they were standing there all menacing. At first I thought I was going to get beat up but then they told me they liked my set and we just kind of hit it off immediately!” This relationship led to collaborations with artists such as Drop the Lime, DJ Craze and, much more recently, Bart B More, Dillon Francis, Flinch, and Xaphoon Jones of Chiddy Bang.

AC also founded his own label, Party Like Us Records, in 2009.

“We’re about to put out our two year anniversary compilation on April 12, with four brand new unreleased remixes and tunes! Some of the aforementioned collaboration tracks will be coming out on Party Like Us.” AC’s last visit left such delightful memories that he’s heading back to our shores just six months later to do it all again. “I remember DJing at Park Life Sydney when it started raining during my set and the crowd went wild. Then the rain stopped and the sun came out and everyone was dancing. Then it rained again and everyone went wild again. It was magical!”

If Sydney in spring is impressive then regional Australia in autumn for the Groovin The Moo tour is sure to blow his mind “I’m really looking forward to seeing all the cities because I’ve never been to them. Also the level of fun involved in an Australian festival tour is through the roof!” Pack your gumboots and your bass face – AC Slater is coming to town.

AC Slater will be getting feet tapping at Groovin The Moo on Sunday May 8.

Tickets are through Moshtix for $99.90.

But hang on, a musical? Datarock? From the band who brought you the geek-chic anthem Computer Camp Love? From the band who seem to be constantly adorned in snazzy red tracksuits? “We love performing, but we have to try to come up with something new,” says super confident frontman Fredrik Saroea, speaking from We were a hotel in Chile of all places. thinking, what we were thinking, what is is the stupidest “And the stupidest thing you could thing you could possibly do? And that is to possibly do? write a musical. I mean, look at the songs [we have]. Some are And that is to so cute. Like Computer Camp l! sica mu a te wri Love; that’s a musical song, a call and response.”

While Datarock will be providing the sonic goodness, fans will be encouraged to get involved with the musical by making their own visual accompaniments. A slice of the musical extravaganza takes the form of their new EP, California, which is chock full of super slick electro punk delivered in their signature tongue-in-cheek style, and is slathered in pop culture references Sareoa promises Canberra audiences will be able to hear when they take the stage at Groovin The Moo in May. As well as a musical under their belts, the band have enlisted esteemed toy designer Bryan Flynn to produce Datarock: Limited Edition. Fantastically ambitious, the new ‘single’ is available in the form of a collectable toy stuffed with a USB containing the brand spankin’ new EP, album, album art and concert footage. “I collect those kinds of toys myself, I have hundreds. I think the reason why I collect them is because those companies and those designers who do them, I see a link between those kinds of companies and independent record labels… We’ve worked with indie labels, we’ve worked with big labels, and now we have problems because it’s so hard to sell copies.” This left the band to ponder; “How can we try and come up with a simple concept, a physical product that people can be just as passionate about as they used to be about 7’’s or 12’’s, or CDs in the ‘80s? The designer toys are actually vinyl releases - made out of vinyl.” And the wonderfully neat solution? Why, a datarock, of course! “It’s a diamond character - a diamond is a rock, with a USB inside it - a USB carries data… We’re just trying to find a way where we can combine the old days with the new way of life.”

Datarock are rocking out Groovin The Moo on Sunday May 8, at the UC Meadows. Tickets will set you back $99.90 and are available through Moshtix.

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as much as possible and employed obscure and disturbing lighting, sound and staging effects to best achieve this result.

For Artaud, the ‘cruelty’ of the theatre was to submerge his audience in an unfamiliar and shocking performance to break them out of the complacency of their experience and bring them face to face with the dangers of life.

His performances would transcend the mere recitation of words and incorporate every sensation of the performer; every movement should have significance in order to affect our reality.

To achieve this effect he was inspired by and utilised the ritualised movements of Eastern dance forms, particularly Balinese dance.

FLYING IN THE FACE OF TRADITION vanessa wright Prepare to have your reality questioned and your beliefs challenged.

Shadow House Pits’ new original production GEESE promises to attack your senses from all sides and leave you wondering how you could have survived before. Written and directed by Artistic Director, Joe Woodward, Geese will be taking over The Courtyard Studio at the Canberra Theatre Centre from Tuesday April 26 – Saturday April 30.

Shadow House Pits originated in 1995, and is a direct descendant of the old Pie In The Sky Theatre and Bar, infamous as the P.I.T.S. which operated for just over two years in the 1980s.

Run by David Bates (who went on to develop the famous Spiegeltent) and Joe Woodward, P.I.T.S. was the kind of music and theatre venue you would want to tell your kids about, though they would never believe you could have been that cool (well, that’s what it sounds like. I’m clearly too young to actually know…).

Woodward’s Shadow House Pits is now Canberra’s centre for experimental and alternative theatre; theatre that aims to inspire and educate audience and participants. Say’s Wooward, “ [it’s] theatre from the cracks in the psyche of culture”. It is the kind of theatre that divides audiences; either you love it or you hate it, but you can’t argue that it isn’t compelling.

Geese is a performance inspired by the life, work and philosophies of the French playwright, actor, poet and director Antonin Artaud.

Artaud was an exponent of what he called the Theatre of Cruelty; he believed that the theatre should emotionally affect the audience

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Stylistically Geese is inspired by the unusual and often disconcerting work of Artaud, but the issues it addresses relate to our current world and experiences.

Primarily Woodward is focusing on an aspect of Australian history, the left wing radicalism that was prevalent in the 1960s and 1970s.

Geese is a cultural allegory for a leftist mindset and an inescapable shedding of culture.

Through the main character of Simon Weigl, the play questions how Australia has changed in the decades since and what has happened to our sense of radicalism.

The play follows Weigl, exploring his relationships with the three most important women in his life and the effect they have had on him at pivotal moments.

As Woodward explains of his character Weigl, “The three key women in his life were all concerned with forms of sacrifice: the mother as a kind of suffering martyr for her Jewish faith; the radical girl, Eva, sharing his journey from Maoist revolutionary and the extreme left to the ultimate sacrifice of death; and Green who sought transformation of self through art as a revolutionary act in the tradition of Antonin Artaud.”

Woodward describes how in opposition to contemporary society’s obsession with looking to the past and reclaiming cultural heritage, the character of Weigl is constantly shedding his past, his family and his cultural heritage, “until there is nothing left to shed”.

By erasing his past Weigl aims to transform himself into a new person, free of biological and cultural attachment.

Continued on page 22

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FLYING IN THE FACE OF TRADITION

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The events of the play come to a head in 2002, at the time of the Bali bombings when Weigl loses someone very close to him and struggles to cope with the loss that ultimately prevents his intellectual cleansing.

Woodward argues in this work that a lot of left wing radicalism represented in the character of Weigl disappeared after the tragedies of the September 11 terrorism attacks and the Bali bombings.

The consequences of extreme idealism and death as a possible solution for a cause are looked at through the lens of Weigl’s experiences and what happens to those of us who choose to step outside what is considered normal.

Geese promises to be mesmerising, perplexing, exciting and overall an innovative piece of theatre for Canberra audiences, employing Balinese dance, Butoh, poetic and metaphorical text and original music by Damien Foley.

Woodward hopes audiences will leave with “a sense of shock that this is an original play from Australia, a type of experimental and innovative theatre that we don’t necessarily see in Australia anymore”.

He wants audiences to “unlock or explode those things that appear to be solid fact”; an awareness and questioning of the world and facts is the message Woodward wants you to take away from this performance, in the spirit of Artaud.

So basically, expect to have your mind bewildered and/or blown by Geese. Personally, I can’t wait to see how it all comes together.

Geese will be showing at The Courtyard Studio, Canberra Theatre Centre from April 26th – 30th. Tickets are available through The Canberra Theatre Centre. For more information visit www.shadowhousepits.com.au .

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The 39-year-old of Brazilian and Japanese descent began singing at 15 when she formed her own band, but has been professional since 1992 as the lead vocalist for Pato Fu. Since 2007 the songstress has been balancing Pato Fu and her solo career, as she refused to give up a band that “still makes [her] happy” but she did want to branch out into other styles. “The solo career gives me the opportunity to communicate with audiences that maybe wouldn’t listen to the music we make as Pato Fu.” A tour of Oceania was too good to pass up despite a busy tour schedule with Pato Fu, especially because she has never set foot on Aussie soil.

BRAZILIAN BEAUTY ALISHA SKERRETT A dark haired Brazilian beauty is every man’s dream of a great night out and that’s just what they’ll get when FERNANDA TAKAI hits Canberra town. Better known as the frontwoman of alternative pop rock band Pato Fu, Takai is taking time out of her busy band schedule for a fly by tour of Australia. The Brazilian songstress will be at The Playhouse Theatre in Canberra for one night only on Tuesday April 19.

Her dulcet tones will serenade the audience with some of her originals as well as interpretations of hits from Michael Jackson, The Eurythmics, Duran Duran and the Brazilian classic Insensatez. When pressed, Takai describes her music as soft pop bosa but says music is hard to define. “I’m not very fond of labels, especially since diverse music cannot be categorised.”

“It’ll be my first time. We are so far away from each other but Australia is a country I’m very excited to visit.” Despite having little time to see Oz, Takai has clear musical goals and a plan to return and visit the shores of Lake Burley Griffin once more. “I hope to establish a connection with those who like Brazilian music and are open to some different approaches to it. I would also like the visit to form the foundation for a long term relationship with Australia so that I will be able to return again soon.”

The evening with Fernanda Takai is far from a selfish attempt to display her solo talent; it will benefit those affected by the recent disasters in Japan, with part proceeds going to the Japanese Red Cross. Having family and friends in the earthquake ravaged country made the tragedy even more poignant for Takai. “It really broke my heart watching those scenes on television. I contacted everyone I know over there and they are all fine.”

Head along to an unusual gig that will open your mind and you’ll also be opening your heart to help a country devastated by Mother Nature.

Fernanda will be performing at The Playhouse Theatre on Tuesday April 19.

Tickets are just $40, get them now from www.canberraticketing.com.au .

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What do you do? I am involved with the sound arts. I also make music with Spartak and savages. Lastly, I run the record label hellosQuare and curate all kind of things like the Peking Spring Festival.

When did you get into it? I was making sound and music years ago, and started the label in 2004 in my bedroom. Nothing crazy and profound - just really started from scratch with an idea in my head and kept the ball rolling.

Who or what influences you as an artist? Any knowledge is influential to my work. I take cues from history and political upheaval as subject matters to reinterpret through my sound art and music, be it in a subtle rebellion or blatant statement.

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

Curating Peking Spring to this point has been quite a feat but other memorable things include my various overseas tours to SE Asia, Japan and New Zealand and creating my audio-visual installation Whirlwind Lullabies last year.

What are your plans for the future? Nothing concrete apart from spending time with the family, watching the Socceroos and the Bangladesh cricket team play (and attempt to win games) and last but not least, keep on working on all kinds of tone, drone and musical treats.

What makes you laugh? Topical humour, ethnic jokes (but only said by ethnic people) and scenesters/hipsters.

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What pisses you off? People who are all talk and no substance.

What’s your opinion of the local scene? Highly creative if a little insular. People here need to break out of their shackles and push themselves in the wider world without leaving this humble town. To leave means to give in, in my opinion. It may be a little bit more hard work but your reward might just be that little space of notoriety that you created for yourself.

What are your upcoming performances/exhibitions? The Peking Spring Festival – info of which can be found at www. hellosquarerecordings.com. Highlights of the festival include the three performances at The Street Theatre that will happen on Saturday April 30, May 7, and May 14, all of which can be read about at thestreet.org.au .

Contact info: hellosquare.shoeb@gmail.com

Almanac: The Gift of Ann Lewis AO The Drill Hall Gallery, Australian National University Thursday February 17 – Sunday April 3, curated by Glenn Barkley MCA, Sydney The pieces are coming together at Almanac in the Drill Hall Gallery. Beyond reproach the works of Emily Kame Kngwarreye and Sally Gabori stand guard. During 1964-83 Ann Lewis oversaw and collected works that encouraged the artists of Gallery A in Sydney to abandon depictive art and look to European modernism.

As a result, the thrust of Lewis’ collection was marked by experimentation and ‘futuristic’ ideas. Paint became the subject of art. The black background of Kngwarreye’s The body painting series, 1996, is disturbed by large sweeping strokes of white applied with the speed and sureness of an intuitive hand. Echoing the ceremonial body paint worn by Indigenous women, the work is a vehicle for cultural expression and demonstrates that paint alone can suggest the human body, flesh and its movement.

Although largely an exhibition without figures, the body is front and centre in Rosella Namok’s work. As if talking with her hands, she scratches, digs and drips paint onto the surface of Para Way, other way, 2001. The static medium of paint communicates the history of a people, laying the land, so to speak. The next room sees the genesis of this kind of storytelling. Playing with oil for oil’s sake; with its thickness, flat pallor and hidden properties Ralph Balson’s Constructive No. 24, 1953, comes alive. Balson saw a link between rigidly applied paint and our impulses. Similarly Callum Innes thins the oil of his canvases with turpentine. He toys with the properties of paint to illustrate that its application takes precedent over a narrative or subject.

As almanacs are used to understand diverse phenomena it is no surprise that the show contains a breadth of themes. Thoughts on the environment versus man-made objects are found in the work of Rosalie Gascoigne and Janet Dawson. Ricky Swallow paints a picturesque impression of emerging technology. Themes of ceremony and chance are embedded in the work of Curley Barduguba and Robert Rauschenberg.

This outstanding private collection has been generously donated to the Museum of Contemporary Art, where it will return as a potent reminder of Sydney’s foray into abstraction and willingness to experiment.

Chloe Mandryk

Callum Innes, Exposed painting charcoal black deep violet (detail), 2004 oil on canvas, Museum of Contemporary Art

IN REVIEW

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bit PARTS WHO: Muhammad Marzuki and Omar Musa WHAT: Jogja Hip-Hop WHEN: Friday April 15 WHERE: Arc Cinema, NFSA Jogja Hip-Hop is an evening which celebrates the work of the Jogja Hip-Hop Foundation and the vibrant live music scene in Java’s traditional capital, now the dynamic centre of Indonesia’s contemporary art making and performing arts scene. The night will include video clips, a talk and performance, plus a screening of HipHopDiningrat, which is about Muhammad Marzuki and Chandra Hutagaois’ six year long diary of the work of the rappers of Jogja Hip-Hop Foundation and their attempts to blend the sounds of modern Indonesian urban culture with Javanese tradition. The night commences at 8pm. For more information head to the NFSA website, nfsa.gov.au, or to hiphopdiningrat.com and killtheblog.com .

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WHO: Canberran artists WHAT: Exhibition Many Hands WHEN: Fri April 29, 6pm WHERE: Photospace, ANU School of Art Many Hands is an exhibition spanning all visual art disciplines.

See artwork from Canberran artists utilising the theme of light.

The exhibition is curated by recent Visual Art graduates from the Australian National University, Cameron Chamberlain and Michael Hedges. The Many Hands exhibition showcases the use of light in creating new art practices. Light is used to experience and create all visual art and enables the creation of new media.

This exhibition runs for one night, starting at 6pm Friday April 29.

See how Canberra’s emerging and established artists respond to the bloodline of the visual arts — light. For more information visit manyhandsart.com .

WHO: Nick Delatovic and National University Theatre Society WHAT: RIG auditions WHEN: Mon May 2 – Thurs May 5 WHERE: ANU Creative Arts Centre Drama Lab Here’s the spiel for RIG, written by Nick Delatovic: Media darling and social terrorist is given a second chance to continue his passionate crusade against the establishment of corporate industry. Aided

by Vera and Lee, heirs to the Pound Empire, Frances trail blazes his quest for a Utopian society... But is this partnership without consequence? Actors, design and tech crew are invited to audition and interview for positions in this dynamic theatrical presentation.

Head to the facebook page for audition times: RIG – AUDITIONS AND INTERVIEWS. To make an audition/interview booking and collect the audition package contact director Cameron Thomas: 0418 297 405, sowerberry@hotmail.com .

WHO: Japenese designers WHAT: Exhibition Japanese Design Today 100 WHEN: Now until Thurs April 21 WHERE: ANU School of Art Gallery The design of household items acts as a mirror that reflects our lifestyle. This exhibition introduces 90 designs for household items that were produced during the 1990s, and 13 others, in which we see the roots of contemporary design, from the postwar Japan of the 1950s. The exhibition presents contemporary Japanese design through a selection of about 100 everyday products. Unlike architecture, the furnishings and equipment used in everyday life can be gathered together in one place to make an exhibition. The design of the objects on display here, a summary of life in presentday Japan, gives a substantial insight into Japanese urban culture today.

WHO: Paul Selwood WHAT: Exhibition Perspective Cutouts WHEN: Now until Sun May 22 WHERE: ANU Drill Hall Gallery Paul Selwood is one of Australia’s finest sculptors and has been exhibiting since the 1970s. This exhibition focuses on his recent work in which he renders monumental structures through a series of two dimensional illusions. By taking the conceptualising tool that is drawing and applying it to steel sheet Selwood has created a series of ‘perspective cutouts’. In the process Selwood creates an artistic language that transcends and subsumes the possibilities of both two-dimensional and three-dimensional art-making. Puzzle making and solving comes into play as he cuts and folds rusted steel into shapes that assert form, mass and gravity. Groovy.

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WHO: Akmal WHAT: Bald comedy WHEN: Fri May 13, Sat May 14 WHERE: Canberra Theatre Centre, Queanbeyan Performing Arts Centre Comedy superstar Akmal brings his brand new show The Life Of Akmal to Canberra and Queanbeyan mid-May. He’ll be featuring memoirs and extracts from his book, and covering topics from growing up in Egypt and migrating to Australia to being kicked out of the Coptic Orthodox Church and finding solace in his newfound religion of Comedy. There are outrageous stories of how Akmal entered the comedy world and insights into the characters he has met along the way. Fellow comedian Joel Ozborn, who has toured extensively with Akmal both nationally and internationally over the last two years, will join him. For tix head to canberraticketing.com. au or theq.net.au .

DEEP SOUTH GIRLS

HIGH NOONAN

justin hook

matt petherbridge

America’s Deep South has a turbulent history. That band of states hugging the lower corridor of the mainland – Texas through Florida – succeeded during the Civil War. Soon after they became the butt of pretty much every geographic joke America could imagine. Native Georgian Emily Saliers, one part of duo INDIGO GIRLS, makes a convincing case that those jokes are at best ill-judged, at worst fabrications. “The South was a fascinating place to grow up. It’s the birthplace of the civil rights movement in the US. It’s a tremendously painful and difficult yet inspiring history. There are dialogues here in the South. Living here is as good as politics and human conversation get in the face of this nation that’s so polarised. Atlanta is the place to be.”

KATIE NOONAN has a voice from heaven. That’s why it’s so hard to articulate her talents in such a human language - especially after watching her shape shift in each of her creative projects (George, Elixir, The Captains and her solo albums). BMA’s Matt Petherbridge spoke with Noonan about her constant craving for eclectic projects, including her upcoming tour and mini-album with internationally renowned Australian classical guitarist Karin Schaupp.

Indigo Girls audiences tend to be involved and whenever we bring up a local issue, they

Emily and fellow Indigo Girls band member, Amy Ray (they share vocal and guitar duties) know a thing or two about politics and fighting for causes; it runs through their blood and their music. Saliers grew up in the hotbed of political activism – burst into Yale in the 1960s in a stridently liberal y The e. applaus family. But for Saliers, despite a devout know what fan base at heart there’s a simpler we’re about message: “Indigo Girls audiences tend to be involved and whenever we bring up a local issue, they burst into applause. They know what we’re about. And even those that are there for a good time are at least there in the spirit for change.”

For the pair, like many others, the change is political, environmental and social – but more specifically personal. As openly gay musicians there have been battles, but it hasn’t typified their career. Saliers easily pinpoints one recent unsavory incident. “We had this one tour all set up, paid for and everything. It got cancelled. Word got to parents that we’re lesbians and they objected to that. But we have always been outspoken and radical ….so it kind of goes with the territory.”

The band’s biggest hit to date was their 1988 single Closer to Fine but it was a contribution to the compilation Grateful Dead tribute album Deadicated three years afterwards that sparks Emily’s memory. “We’ve always had tremendous respect for them and then got to open for them in Eugene, Oregon about a million years ago… or maybe it was the very early nineties. It was one of the highlights of our career.”

We commissioned a bunch of contemporary Australian composers to write the arrangements for Karin – they’re all new, some of them are a little bit wacky!

“Karin and I have been fans of each other for many years. We’re both from Brisbane; we were both taught music by our mothers. We’re also both young mothers with young children and we’ve got a lot of common ground.

She was leaving the Queensland Conservatorium of Music just as I was starting,” Katie says.

I thought we should get together and have a cup of tea and see if anything sparks between us. We had a quick cuppa and soon agreed that the music of the British Isles had a fertile repertoire to pull from. “All of the music written for he King’s Court and so many amazing pieces written for lute and voice,” says Noonan. Noonan pitched to Schaupp that the classical compositions should comprise Act One of the show and they should play contemporary music from artists such as Radiohead, Peter Gabriel and Kate Bush as Act Two. “She hadn’t heard the songs before but we managed to find ones that we both really loved. We commissioned a bunch of contemporary Australian composers to write the arrangements for her – they’re all new, some of them are a little bit wacky!”

Splitting the shows into two Acts is a blessing in disguise for Noonan, who will be flexing her classically trained and pop-tinged vocal approaches. “It’s hard doing it in the one concert, but because the shows are in two parts, I’ll have time to retrain my brain”. Noonan is excited about playing Canberra’s Street Theatre for the first time.

“I haven’t played The Street Theatre before, but I’ve heard it’s a really cool room. I ultimately prefer playing intimate rooms because you can connect easier with the audience. This music in particular, it’s just me and Karin, and I’m not playing piano either – it’s just guitar and voice. It’s incredibly intimate.”

For a band reared on lush country-folk acoustic music, it was a rare treat to work with a band that codified much of the folk-rock formula in the late ‘60s on American Beauty and Workingman’s Dead, “To see Jerry Garcia (lead singer, guitarist, chief beard-wearer) listening to us play at the side of the stage and we were just babies.

It’s just another moment in a wonderful career – but that one performance in particular stands out.”

Noonan and Schaupp are releasing a mini-album to commemorate their collaboration, which they recorded with Brisbane engineer Dave Neil about a fortnight ago. “I just got the download link to have a listen to the rough mixes, we’re mixing on the first weekend of April,” says Noonan. “We did it in two, four hour sessions. Basically we did a few takes of each song and we’d nail it in one of those takes, usually the second one I find, sometimes the first one... depends. I prefer keeping [recording] as live and in the moment as possible.”

The Indigo Girls will be causing audiences to swoon at The Canberra Theatre on Wednesday April 27. Tickets start at $89.90, and are available through www.canberratheatrecentre.com.au .

Katie and Karin will be stunning audiences at The Street Theatre on Friday May 6. Tickets are just $39, or $25 concession, and are available online at thestreet.org.au .

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EYES AND EARS WIDE OPEN

BEING A TEAM PLAYER

holly orkin

lauren bicknell

One of the perks of writing for BMA is that sometimes you get the chance to talk to one of your music gods or goddesses. For me, GOTYE is one such god, known best for his barefoot drum playing, the groovy Learnalilgivinanlovin and the heartbreaking, tear-worthy Hearts a Mess.

She’s the kind of musician that will see you sitting in your car and listening to the radio long after you pulled into the driveway. Her music inspires even the busiest of people to take a moment and slow down for just a little while. So when I took a moment to chat to HOLLY THROSBY, I was delighted to discover that she is as lovely as her melodies. Holly is currently in the middle of a tour promoting her latest album released earlier this year. Team is a gentle and beautiful addition to an already stunning career, named partly because of the overlapping vocal arrangements.

It’s been five years since his last album Like Drawing Blood, but come this June/July (depending on how soon he can finish it), Wally De Backer aka Goyte will bring out his much anticipated new album which features the already released single Eyes Wide Open.

So what can we expect from this new record? Is it same/same but different? “I could tell you some kind of condensed version of all the things I’ve done over the past five years, specific things though that have affected this record are what happened with the last album, in terms of some of the success I found with it.

Things I didn’t expect like the way people responded to some songs. Songs that... weren’t necessarily the weakest but that I felt were unfinished on the last album people have taken to really strongly. I was going to leave Learnalilgivinanlovin off the last album but for some people it’s their favourite song! I’ve got a bit more of a studio, I’ve got nicer gear to work with, I’ve had more time with this record... I think one thing is that Eyes Wide Open is not really reflective of the rest of the album, it’s one of a few outposts of different directions.”

It’s a challenge enough to find something that you think is exciting in a sound world

Luckily, those who aren’t as devout as I can get a chance to (re) acquaint themselves with Goyte’s delightful sounds at Groovin The Moo! Though people who do know Goyte will also know his work uses a mixture of live and pre-recorded sounds, so is he worth seeing at a festival? How does he make it work? “It’s a challenge enough to find something that you think is exciting in a sound world or as a lyric or as a song without also throwing in ‘ohhh but this is going to be really hard to do live...’. If I had that as an extra facet of what made me decide to pursue a song or not I wouldn’t make the right decisions. Actually there’s one song especially that I’m going to try and premiere at Groovin The Moo, I’ve just started picking it apart with Tim and Lucas, my band. We were just listening to it the other day going ‘ohhhh... there are really a lot of different little things going on... how will we do this?’ It’s a peculiar challenge.”

A challenge that I’m certainly gagging to experience! I implore you to do the same and if you do, come say ‘hi’ - I’ll be the girl in the front row sobbing my eyes out at the beauty (O Holly, you dear sweet thing. Loves ya, I do - Ed.).

Gotye will be causing an emotional ruckus at Groovin The Moo on Sunday May 8. Tickets are through Moshtix, at a mere $99.90 a pop!

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Her long-time producer, Tony Dupé “…imagined that the different vocals were like teams working together,” said Holly. The album radiates with an array of mostly classical instruments to create what she describes as “a lot of I think when underlying positivity”.

you have a mind that kind of flutters ‘round a lot you always feel like you just want to make more

Holly has always preferred alternative recording spaces and this album was no exception. Team was recorded in a sandstone 19th century church in the NSW Southern Highlands. “It was a lovely place to be, it was very isolated and [there was] a little graveyard across the street which kind of gave it a spooky feeling at night time when it got very windy, but the only neighbours were cows which was nice and it was just a very special place, I suppose.”

Along with an interesting mix of small towns and capital cities, she said she’s looking forward to paying the ACT a visit in a couple of week’s time with supporting act, Laura Jean. “I really enjoy playing in Canberra… there’s something about it that feels really friendly at our shows.”

The fond feelings towards her adoring audience is sure to be mutual as Canberrans will get to enjoy the unique experience created by Holly and her band, The Hello Tigers. “The audiences always get a real kick out of Bree and Jens… I mean they play so many instruments between them and they’re often playing two instruments at the same time and so it can get kind of acrobatic and funny, which I think people don’t expect.”

If you’re not lucky enough to catch her this time around, though, fear not because there will be plenty more Throsby where that came from. “I’m always thinking not to be a slouch creatively… I think when you have a mind that kind of flutters ‘round a lot you always feel like you just want to make more.”

She hinted at what’s to come with a new band she started just last year. Once this tour is over it’ll be straight back to the creative drawing board with friends Sally Seltmann and Sarah Blasko who will doubtlessly put together something that will dazzle, amaze and enchant.

Holly will be dazzling audiences at ANU bar on Friday April 15. Tickets can be bought through Ticketek for $27.80.

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SALMON SWIMMING UPSTREAM

THE DUKE OF CORNWELL

PETER KRBAVAC

Matt Petherbridge

“Everyone goes on about how wonderful it is that there’s so much music around, but it’s all so fuckin’ average,” spits KIM SALMON. Somewhere during our chat we’ve gotten sidetracked, but he’s on a roll and I’m certainly not going to stop him. If there’s anyone qualified to rail against modern music, then Kim Salmon – founder of hugely influential post-punks The Scientists; veteran of Beasts of Bourbon; leader of The Surrealists, The Business and SALMON; one half of Darling Downs, alongside with Ron Peno; half of Precious Jules; solo artist in his own right – is that man.

The wonders of the internet never cease to amaze HUGH CORNWELL, solo artist and former frontman of seminal UK punk band The Stranglers. Sick of having his albums re-released and repackaged overseas (most acrimoniously in the US), Cornwell offered his 2008 album Hooverdam up for free download from his website, hughcornwell.com. It’s a gamble for any artist, but it’s paid off enormously for his career. “It’s gone around the world like a virus and it’s made a big difference to my audience, people playing it to their mates. A lot more people come and see me because of that.”

“I’m partially responsible for it,” he continues. “I was a big punk rocker and punk rockers are all about ‘anybody can do it.’ The thing is yeah, anyone can do it, but that doesn’t …punk rockers mean you can be average. You’ve still got to make it worthy. What’s are all about happened, with all these wonderful can ‘anybody things like the egalitarian nature g thin The ’ it. do punk and the digital age, it’s is yeah, anyone of enabled a whole lot of people to go can do it, but out there and pollute the bloody that doesn’t place with rubbish. There’s all these mean you can be really average people out there that average are getting lauded ... and they’re wrecking it for people like me who give a shit. There, I’ve said it and I hope there’s a million angry blogs out there, ‘Who the fuck do you think you are?’” he laughs.

On the back of strong critical reviews and greater fan awareness of Hooverdam, Cornwell has found himself in the position to tour the world again, including Australia in May, where he’ll be performing two sets – The Stranglers’ I’ve never really debut album Rattus Norvegicus had good vibes in its entirety and a collection of his greatest hits from The from [The Stranglers], so Stranglers and his solo albums.

Rewind 20 minutes and we’re talking about his improv-based collaboration with Candlesnuffer at the upcoming Peking Spring Festival. The project came about when Kim was invited to perform at last year’s Melbourne Jazz Festival. “[Organiser] Shaun Baxter got in touch with me and made some suggestions about collaborating with various people,” Kim explains. “Most of them seemed a bit like indie rock to me and finally he suggested Dave (Brown, Candlesnuffer) and I thought ‘I like the idea of that.’ I just thought the idea of a few indie guitarists noodling away would be really boring – I’m putting myself in that category, you see.”

After exchanging CDs of each other’s music and having a jam, “just to see if it would work,” the partnership was forged. The pair have performed sporadically since, so it’s a coup Peking Spring has landed this performance. “Dave’s got his guitar that he sits on his lap: he’s got it rigged up so that all kinds of sounds can come out of it,” Kim explains. “He’s got an arsenal of mostly cooking gear by the look of it – bit of shaving gear there as well – that you can make a noise on the instrument with, but less probable sounds. I mostly work with a couple of little Sony cassette players and amp noise.

And occasionally there’s a guitar in there. We just show up and play. There’s never been any plans at all. It’s really just salvaging a performance out of whatever happens.”

Kim Salmon and Candlesnuffer play at the ANU Bar on Thursday April 21 with MoHa! (Norway), Horatio Pollard (UK) and The Black Moth. Entry is $15. Doors open at 7pm.

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I’ve stayed away.

I think they wish I never existed

Rattus Norvegicus holds a special place in Cornwell’s heart.

The album takes the Latin name for the “common brown rat” and was recorded in ten days; it can’t be trumped in Cornwell’s books.

“We’d been playing the songs for 18 months, we could play them in our sleep,” he chuckles. “We stamped our mark on the world with Rattus Norvegicus. To me, it’s got to be the one for me.

“I was discussing it with my label and we realised that (the current incarnation of) The Stranglers hadn’t done it. I could play three quarters of the songs anyway - I had been playing them on and off and all I had to do was learn three songs! So it was two days rehearsal and suddenly I could do the whole album!”

Cornwell has steered well clear of The Stranglers (who have continued to this day as a band), a move which wasn’t entirely intentional. “You know, it took me a year to get my equipment out of them. That sort of behaviour made me think, well maybe, they’re not too friendly. I’ve never really had good vibes from them, so I’ve stayed away. I think they wish I never existed,” he admits in a sombre tone.

Cornwell is also about to publish his debut novel, Window on the World, a psychological thriller with romantic overtones set in the art world of London. It’s been four years in the making and its impending release in May through Quartet Books in the UK has Cornwell excited. “It’s been a long, long, long time coming. It’s going to be an amazing feeling when I finally see it in print. Much how I felt when I was waiting to see Rattus Norvegicus for the first time in my local record store.”

Hugh Cornwell will be bringing his musical expertise to ANU Bar on Thursday April 28. Tickets are going for $40.95 from Ticketek. You can read the full version of this feature at bmamag.com. Hooverdam is available for free download on hughcornwell.com .

me! Do you know what you’re getting here?’ I’m glad that they encouraged me to do it because I think others can sometimes see things in you that you can’t.”

SOLO MAGIC peter krbavac Having spent nearly 20 years fronting Geelong noiseniks Magic Dirt, frontwoman ADALITA has stepped out on her own: on record, on stage and on the campaign trail talking to the press. “I usually do all the talking, even with Magic Dirt,” she laughs. “But I think there’s a lot of responsibility to talk about a record... to try and get across the intentions and to look back and get some perspective on what you’ve done as an artist and then to talk about it in an objective sense. I find it difficult, but some days are better than others.”

I feel like I’m full of songs and I’ve got to get them out

And good news for the fans – both old and new – who have been won over by Adalita, the record. It appears a follow up isn’t too far off. “I’ve started writing for the second record,” she says. “I feel like I’m full of songs and I’ve got to get them out, so I definitely feel like there’s a second one and possibly a third one. See how we go from there.” As to how this next instalment will shape up, anything’s possible it seems. “I don’t want to restrict myself to any format,” Adalita says. “It’s the same kind of feeling that Magic Dirt had: we just did whatever we felt like. I’m that same person so I do the same thing too.”

Adalita is hitting up the Transit Bar on Thursday April 14 as part of her National Album Launch tour. Tickets are $18.20, through Moshtix!

Adalita credits Magic Dirt’s bassist Dean Turner - who passed away in 2009 after a long battle with cancer - with inspiring her to strike out on her own. “He was really encouraging of it,” she says.

“I started writing songs for the record and I shared the demos with Dean. We would both sit down and have a listen to them all. Then we decided on how the record would sound, which was it would just be me: one vocal and one guitar. Minimal, [the] stripped back essence of the song is exactly what Dean and I planned and that’s what we achieved.”

The role of ‘solo artist’ is still very much a new thing for the otherwise seasoned musician, as she only played her first solo show in March 2009. After a handful of low-key gigs and stint touring with Rockwiz Live, Adalita experienced something of a baptism by fire when she was requested as the Australian support for last year’s Blondie and The Pretenders doubleheader. A daunting prospect, one imagines.

“It was!” she exclaims. “Mick and Anthea Newton who got me on the tour and do A Day On The Green, really believed in me and were very supportive. I was like ‘I don’t know about this... I just don’t know if it’s appropriate, if I should do it because it’s just

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THE REALNESS First up this month is the first official solo LP from Broken Tooth Entertainment label head honcho Ciecmate. Game Over is released on Monday April 18 with Obese distro and is 100% pure Ciecmate.

With his label now 18 releases deep, Ciecmate is a true veteran of the scene of pushing cutting-edge independent hip-hop music to the people, but with Game Over he moves into the spotlight with his own unique personal vision. It’s dark and heavy, but there is light amongst the shade with tunes like Every Breath showing Ciecmate’s love for life despite its misgivings. Highly original and absolutely essential, cop Game Over when it drops. The album also features appearances from Maggot Mouf, Bias B and Diem.

Hot on the heels of his collaboration record with DJ Muggs, NonPhixion’s Ill Bill is back at it again with another album, this time with Jedi Mind Tricks goon Vinnie Paz (who in turn recently released his own solo LP). Do these dudes ever rest? Ill Bill and Vinnie Paz’s new album Heavy Metal Kings is due out in May and features collaborations with Reef The Lost Cauze, Sabac Red, Crypt The Warchild, Q-Unique and Slaine. Expect heavy beats from the likes of C-Lance, Grand Finale, Gem Crates, Sicknature, Shuko, DJ Muggs and Ill Bill himself.

Following on from star turns for labels like 2nd Drop, Keysound, Hemlock and Soul Jazz, producer trio LV have announced their debut album Routes which will drop on Keysound in May. Comprised of all previously unreleased tunes, Routes is 100% pure London music and features the vocals of Joshua Idehen.

Following on from a killer EP for Planet Mu, juke and ghetto house pioneer Chrissy Murderbot is set to unleash his third full length album Women’s Studies next month. Pushing the tempo up into the 160bpm range, Murderbot chops samples frenetically to create pure dancefloor mayhem. This is music to get stupid to, plain and simple, and features vocal contributions from MC Zulu, Rubi Dan, Coool Dundee, Johnny Moog and Popeye. Chicago juke legend DJ Spinn also pops up on single Bussin Down.

Youngsta is set to deliver the next mix album for the famed Rinse station/imprint on Monday May 23. You’ll recall that he was involved in the I Love Dubstep compilation a few years ago and is now back again with a deep, dark selection of dubstep’s more minimal side.

Showcasing a bunch of new and exclusive tracks, alongside some scene classics, expect tunes from Distance, Kryptic Minds, DJ Madd and Icicle.

Speaking of Icicle, the d’n’b/dubstep producer delivers his debut album Under The Ice through Shogun Audio this month on Monday April 25. The album sees Icicle expanding his sound to include influences from classic house and techno. Guest appearances and collaborations come from Robert Owens, SP:MC, Proxima and DRS. Finally this month is the news that Surgeon is set to return to the full length format with his latest release Breaking The Fame. Hot on the heels of his Fabric mix, the album has no set release date, but word is it will arrive on Surgeon’s own Dynamic Tension label and will comprise all new material.

To hear from these releases and much more, tune to The Antidote on 2XX 98.3FM every Tuesday night from 9.30pm.

ROSHAMBO roshambizzle@yahoo.com.au

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METALISE So, Soundwave Revolution details have been leaking more than a Labor Party cabinet meeting. With interweb forums everywhere touting the likely date of Saturday September 24 for this festival one could be forgiven for calling it ‘Soundwave-lite’. Line-up details have been expanding exponentially with the announcement of Devin Townsend being the latest addition to 24-odd confirmed acts with quite a few more yet to be announced. The drip feed will continue as winter closes in on us.

The Arthouse in Melbourne, or The Arty has hosted 1000s of gigs over the years and a good proportion of those have been top-notch metal, punk and hardcore shows. It’s all coming to an end with the current proprietors not renewing the lease on this Melbourne institution and there’s been a slew of gigs being promoted as “the last Arty show” as a result. If your Easter weekend is free and you need something to do, I highly recommend that anyone needing a good cleanout head down the Hume for Sunday April 24’s RIDICULOUS grind bill. The line-up is world class. Fuck I’m Dead, Captain Cleanoff, The Kill, The Day Everything Became Nothing, Superhappy Funslide, Roadside Burial, Garbage Guts and Die Pigeon Die make up this stunning bill and a fitting farewell to The Arty for those who like their grind.

Speaking of The Kill, I had an opportunity to hear their forthcoming and as yet untitled record when I was down recording in Melbourne recently and mark my words, this is going to be a landmark for Australian grind releases, if not the most unrelenting and irrepressible force unleashed from Melbourne in a long time. The blasting just doesn’t let up and the cover of Slayer’s Necrophobic makes the whole album worth the price of admission alone. Be ready for a mid-year release to coincide with the band’s Maryland Death Festival appearance in May. The Bladder Spasms are a veritable institution in Canberra punk circles. Long time drummer Noro of The Vee Bee’s has had to hang up the skins and now the band are looking for anyone interested in tom-tom abuse and pro level beer consumption. Their only criteria being you must be over 18. You don’t even need your own kit according to Dave Spasm, who can be contacted through bladderspasms@hotmail.com for more info.

On the local front for all ages fans, New Yorks’ Emmure have rescheduled their canned January dates and will be at the Tuggeranong Youth Centre on Wednesday June 15 with Sydney break down addicts Shinto Katana. Alestorm’s Saturday May 14 show at The Manning Bar in Sydney has been seasoned with the addition of Darker Half as well as shipmates Voyager. Tickets from Moshtix, but if you purchase one through the Soundworks Touring website (soundworkstouring.com/australia/tour/47.php), you can go into the draw to win a hoodie, signed tour poster and a copy of Voyager’s last album I am the reVolution.

Unkle K’s band of the week, with full, unbridled support from me is US band Bastard Priest. Basically a heavily Swedish influenced band ala Entombed or Dismember with a hearty and healthy influence of d beat keeping everything aggressive. Under The Hammer of Destruction rules – Check ‘em.

Unkle K’s band of the week - www.myspace.com/bastardpriest

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JOSH NIXON doomtildeath@hotmail.com

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the word

I

on albums

album of the issue pharoahe monch W.A.R (We Are Renegades) [Duck Down Records]

It is a testament to the magnanimous Monch that, even after an Olympic break, he has come out with one of the most relevant records of this period. Even more impressive is the actual music. This is a multi-layered record, convoluted to the point of deliciously organised confusion. With motifs and plots for this record introduced as early as his first solo release, Pharoahe spirits us away through space and time – this record’s time line spans from 1973 to 2023 – and weaves narrative, fact and meta-narrative into a true lyrical masterpiece.

The story, once unraveled, is cohesive and causal to a point of madness.

Monch’s insistence on micro-detailing transforms W.A.R into a richly evocative experience. The imagery is incredible, cinematic hip-hop formed by complex soundscapes that vary from technicolour brilliance to an utter lack of light. Not only do the songs have their own fingerprint, but they also inhabit their own space, plane and time. Pharoahe’s own technical finesse is legendary, his arsenal of techniques borne like a grenade belt; his rhymes are Duke Nukem with infinite ammo.

PALIMAH PANICHIT

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Brian Robertson Diamonds and Dust [SPV/Riot]

king kobra King Kobra [Frontiers/Riot]

low C’mon [Inertia/Sub-Pop]

Former Thin Lizzy and Motorhead guitarist Brian Robertson is one of the legends of hard rock and heavy metal.

Part of Lizzy during the halcyon Jailbreak days, his guitar partnership with Scott Gorham is still revered wherever men gather to talk about six strings and the truth (that’s an excellent doco title right there Adams Ed.). His tenure in Motorhead was less successful, and, in 1984, Robertson more or less disappeared from the radar as far as most were concerned.

There is no doubt in my mind that nostalgia is a bad thing; the compulsion – even for young people – to look back to times past with the meek acceptance that ‘things were better then’ is surely a massive obstacle in the way of progress both on a personal and societal level. That said, I am very, very pleased that Frontiers Records keep putting out records by old hair metal bands from the ‘80s. Hypocrite I may be, but I just don’t gots the time to worry about that cos I’m TOO BUSY ROCKING!!!

Like all seventies rockers of a certain level of success, Robertson employs a general factotum; Robertson’s goes by the name of Soren Lindberg and, on a trip from London to Stockholm made to ferry some of the great man’s equipment for an upcoming show, Lindberg was listening through a carrier bag full of cassette tapes given to him by Robertson that the famed guitarist had found lying around in his London residence. He didn’t know if anything on them was any good, and told Lindberg to bin them at journey’s end if there was nothing of worth to be found.

This album is that journey’s result, and you have to thank the maker that Lindberg had the presence of mind to actually listen to the tapes, for what has come to light is a magnificent collection of eighties-styled hard rock and blues that is an absolute joy to listen to, and pure testament to the man’s supreme talent. If you love Thin Lizzy, you’ll love this record.

Despite the fact you’ve never heard of them, there are some really famous people in King Kobra. For instance, drummer Carmine Appice (pronounced ‘apissy’! chortle!), whose brother Vinnie was the drummer in Black Sabbath and Dio, played drums for Rod Stewart for years in the ‘70s and ‘80s.

You can view his moustache and gong in the video for the titanic Stones-meets-Abbadisco-shagfest that is Do Ya Think I’m Sexy. Perhaps more importantly, vocalist Paul Shortino was not only a member of Quiet Riot and Rough Cutt, HE WAS DUKE BLEEDIN’ FAME IN SPINAL TAP!!! So, is being famous enough to make your no-hope hair metal band any good? It wasn’t in the ‘80s, as KK lurched from movie soundtrack inclusion (Iron Eagle!! ) to lukewarm chart botheration, and, (surprise, surprise), it isn’t now either. This album has some nice moments, and Shortino sounds great, but that’s about it I’m afraid.

Scott Adams

Nambucco ‘Rock this House’ Deliria

Another Low album, another round of fans asking the inevitable: is it as good as Things We Lost In The Fire? In many ways, that 2001 album is an albatross around the Duluth-based trio’s neck. To many, the band has been trying to figure out a way to grow within the narrow confines Things… created. Muffled drums, grinding guitars, slowly revealed and hushed melodies. Their most recent album Drums & Guns was the most politically-charged and divisive in the band’s career.

Think of C’mon as a rebalancing.

Lead track Try to Sleep is pro-forma Low – a shuffle of feint reverbed guitar, rising counterbalanced harmonies and subtle jazzy drum rumbles.

If that song settles your nerves, Witches jolts. An angry retort against “All you guys out there, acting like Al Green” it builds with slashes of rabid guitar threatening to detonate. But then – it doesn’t, pulling back into an ethereal pinched solo.

Soon after, the song thumps to a halt. A confused and confusing track, it nevertheless verifies their utter command over dynamics. The driving eight minute dirge Nothing But Heart reaffirms their comfort with campfire repetition.

C’mon is Low reasserting their strengths. They’d be foolish to try and replicate the past and forays into experimentation have failed to yield unanimous victories. It’s the album they needed to make to get to the next step. Most bands would eat their own arm to make such a tremendous holding pattern record.

Justin Hook

singled out

with Dave Ruby Howe

stolen youth Dark Century [Clarity Records]

the kills Blood Pressures [Domino]

Established in 2000, Adelaide five-piece hardcore/punk band Stolen Youth draw their inspiration from a stable of acts including Propagandhi, Mid Youth Crisis and Mindsnare.

In this, their second full length album, insane guitars and fiendishly quick drumming direct a storming tide of righteous anger at racism, injustice in occupied Palestine and the rape of the earth by the human race.

Since 2008’s Midnight Boom things have been rather quiet for hipper-than-thou, transatlantic duo The Kills.

Between jet setting with Kate Moss and making magic with Jack White, the pair have been everywhere but in the studio together, giving critics reason to wonder if their sound would ever be the same. One listen of the new album and it’s clear that these fears were unfounded.

Rather than the unbalanced, inconsistent mess that was predicted, the album is a heavily layered and vocally stunning testament to the fact that when The Kills do something, they damn well do it right.

Like the battle between good and evil, Stolen Youth’s strident music exhibits a stark contrast between complete anarchy on one hand, and songs with a cleverly crafted complexity on the other. The opening track Whispers of the Past kicks off with a beginning like a sweetly revving V8, before the percussion leaps in with ever accelerating speed. Fear Amongst the Masses is a mindless chaos with no distinct melody, with the drums lording it all over the futilely battling guitars beneath. Then there’s the deliberate blending of opposites in Poverty of Love, with its gentle piano lead in before this is ripped to shreds by a buzz saw riff, with a crazy guitar at the tail. Humans and Swim to the Sun are the album highlights. Both are of epic length (for punk tracks), with long instrumental beginnings and complex formats that build the music in interlocking layers of ever rising intensity. It’s arguable which of the two has the best licks in the disk. What is certain is the contribution to the album of the hyper fast drumming from Dave McCann.

Rory McCartney

The album opens with Future Starts Slow, which with its catchy-as-hell chorus and bluesy riff sets the tone for what’s to come. Singles Satellite and DNA see Alison Mosshart’s husky vocals take centre stage, blending perfectly with the guitar-centric instrumentals.

Heart is A Beating Drum and Nail in My Coffin are lyrically potent, beat heavy odes to love, in the angry, attitudepacked fashion we’ve come to expect from the duo. Further down and the mood becomes softer, with Jamie Hince’s one minute long, Beatles-esque Wild Charms. Continuing this trend Mosshart has cited Patsy Cline as the inspiration behind the captivating Last Goodbye, an unusual foray into ballads and easily one of the album’s standouts. The tail end of the album is just as good, with Damned If She Do and Pots and Pans certifying the album as pretty near perfect.

Marissa Paine

the ovals Into The Eyes Of Those Who Sleep [Independent Release] The retro sound has become an increasingly popular genre, as witnessed by the success of Wolfmother and Tame Impala.

While they have merely dipped a finger into psychedelica, The Ovals from Melbourne have gone for full body immersion.

Their second EP fuses strong progressive influences with the tradition of atmospheric stadium bands such as Pink Floyd. They’ve adopted a more classical approach to rock, introducing long instrumental passages that are like a series of orchestral movements, replacing the standard song structures of verses and choruses. The senses are overwhelmed by complex musical panoramas that shape shift with shimmering keys and guitar arabesques.

The experimental nature of the music is immediately evident in the opener Refugees, which strikes an unusual note with a tempo that seems deliberately slightly out of time. Lost With Bones projects an atmospheric cocoon of space filling sound, with a strong underlying bass beat and a theatrical feel. Heretic is the standout track, exploring new bounds with long guitar passages overlaying chants of “Burn the Heretic, Burn the Heretic”.

Persephone’s’ Groove foxes the listener, throwing echoing shadows in a dreamy lullaby, before becoming teasingly funky. This weird menagerie ends in an indulgently drawn out distortion. Into The Eyes Of Those Who Sleep is too involved for casual listening and is best appreciated reclining on a bean bag in a dark room.

Rory McCartney

Chris Brown Look At Me Now ft.

Busta Rhymes & Lil Wayne [Sony] Chris Brown is just tolerable when he’s singing but trying to front as a rapper drops him to new douchey depths. And Busta’s lightning fast flow makes him look like (even more of) a chump.

Dr Dre I Need A Doctor ft.

Eminem & Skylar Grey [UMA] “Hey Dre, when’s Detox dropping? What? Now? Well where’s the first single? This is it? Hahahaha! Dre, you so crazy!

Like it took 10 years to make this.” *cocks trigger* “So where’s the real first single?”

Friendly Fires Live Those Days Tonight [XL/Remote Control] Not cowering at the prospect of album #2, Friendly Fires seem a little more confident this time around. That’s clear on Live Those Days Tonight which finds the group willing to try just about anything including throwing some frantic beats and euphoric house vibes into the mix. A smash.

Glee Cast Loser Like Me | [Sony] So these guys got annoying quickly, didn’t they? And now they’ve got their own cloying ‘original’ song. Wake me up when they do Journey again.

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the word

on films

WITH MELISSA WELLHAM

Dear Commercial Filmmakers: Please just have a little self-respect. Yes, you can make a Twilight rip-off, with the director of Twilight no less, and people will watch your film. Yes, Zack Snyder, you can make Sucker Punch, a film that is nothing more than a teenage boy’s messy and incoherent wet dream (pretty standard, really) that by its sheer obviousness loses all power to titillate or excite. Yes, you can do these things if you want. But where is the passion? Where is the artistry? How do you people sleep at night? Think about it.

quote of the issue “Maybe none of us really understand what we’ve lived through, or feel we’ve had enough time.” Kathy (Carey Mulligan), Never Let Me Go

Red Riding Hood

Just Go With It

Never Let Me Go

Set in a town of indeterminate medieval-ness, but where all the young men miraculously have copious amounts of hair gel, Red Riding Hood wants to be a slick, stylised and sexy retelling of the classic tale about a big, bad wolf. Unfortunately, the film is none of these things.

Mostly it’s just ridiculous.

Romantic comedies have been going steadily downhill for a long time – and this one is no exception. Let’s count the clichés, shall we?

Based on Kazuo Ishiguro’s dispassionate, detached and yet emotionally devastating novel, Never Let Me Go doesn’t quite live up to the source material – but it will still make you feel. A cerebral sci-fi, this is actually a film about human relationships, more so than technology and scientific advances. Kathy (Carey Mulligan), Ruth (Keira Knightley) and Tommy (Andrew Garfield) grow up together at boarding school, where they are taught that their lives will never be like anyone else’s. The big reveal is revealed very early on: the three children are clones, created to be organ donors, who will eventually donate all their major vital organs before “completing”. As they grow older, the complex relationships between the three characters make their short lives even more complicated.

Valerie (Amanda Seyfried) is the town babe (or whatever goodlooking girls were in the age of fairytales – the town’s desirable maiden?) who despite being completely insipid has two men vying for her affections. They are the bad boy Peter (Shiloh Fernandez) and the wealthy Henry (Max Irons). As if a love triangle that completely ripsoff Twilight isn’t enough, this film also features werewolves: one such demon lives in the town, and has started picking people off one by one.

The film makes a big point of playing up the ‘mystery’. Is Peter the werewolf? Is Henry? Is her mother? Is that bucket the werewolf? What about that pig, maybe it’s a were-swine? Does anyone even care? (No.) The same woman who made Twilight, Catherine Hardwick, directs Red Riding Hood and while she cannot be blamed for the similarities in the plot, she can certainly be held accountable for the similarities in direction. The actors are all unnecessarily twitchy, and the sweeping aerial shots of trees seem to be stock footage taken from the Twilight films.

Who let this dog out?

Melissa Wellham

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1. Ridiculous, completely unfeasible, and borderline offensive plot: Danny (Adam Sandler) meets the girl of his dreams, Palmer – who of course just happens to be 23, blonde and leggy. However, he’s spent most of his adult dating life pretending to be married, in order to pick up women – so he has to explain his wedding ring by inventing a fictional ex-wife, Katherine (Jennifer Aniston).

2. Annoying characters: The sweet and completely undeveloped (character-wise, at least) Palmer has nothing to her except slow-motion hot-chick scenes and wide-eyed, naïve speeches about “bonding.”

Sandler as Danny just parades around acting like a complete ass, which apparently is supposed to be attractive to women.

3. Tedious ‘comic relief’ character: Eddie, Danny’s cousin, is meant to be funny. He has had a penis enlargement, and can speak in a kooky accent!

In actuality, he just makes you want to punch things.

4. A useless scene involving a sheep. A poo joke. A dance-off.

5. Makeover montage: Yep, we’re supposed to think that Katherine is “frumpy” and “unattractive”. I mean please – she has a ponytail, and glasses.

In conclusion? Just Go With It has barely enough to be a decent popcorn film. I’d go and see it just to test out your bullshit tolerance level.

MEGAN McKEOUGH

Mulligan, Knightley and Garfield are all perfectly cast, and turn in astounding performances.

Mulligan is, as usual, wise beyond her years. Knightley can convincingly act a bitch, and Garfield does goofy well. The cinematography and scenery throughout is also beautiful, and combined with the understated costuming, director Mark Romanek has created a stunning visual sensibility.

The pace is glacial, and the emotional pay-off doesn’t feel nearly satisfying enough, but in the end Never Let Me Go is an atmospheric mood piece – the equivalent of some very finely crafted, yet depressing, elevator music. But really, really good elevator music.

MELISSA WELLHAM

the word on dvds

Chuck – season 3 [Warner Home Video]

Monday Monday S1 [Talkback Thames]

The Girl Who Played With Fire [Roadshow]

Chuck has always felt like a show on eternal deathwatch.

It’s the story of an unwilling government operative – The Intersect – with a database of government secrets implanted in his brain. Chuck Bartowski (Zachary Levi) struggled with his ‘gift’ and the two protective agents sent to make sure he didn’t fall into the wrong hands.

He fell in love with one agent (Agent Sarah Walker/Yvonne Strahovski) and constantly bickered with the other (Colonel John Casey/Adam Baldwin). The latter relationship provides the most consistent laughs in the series, whereas the former has become a major problem the show struggles to address.

It’s hard to accurately describe Monday Monday. It’s a little bit like The Office in that it’s about the relationships coworkers develop when working in an office. It’s also a bit like Cold Feet, in that it doesn’t move particularly quickly, but you enjoy the ride. It’s billed primarily as a comedy, but is also dramatic, touching on hardhitting issues like the economic downturn that many countries faced recently.

Here’s what I know about the Millennium series. Firstly, the books keep the mouth breathers on public transport happy, providing something slightly more challenging than the latest Dan Brown pamphlet of rot. I also knew that Larsson was a publishing phenomenon who died rather prosaically (heart attack) given the Byzantium ‘all-the-way-to-top’ plotting of his books.

Since debuting, Chuck forged an easy balance between goofy, fish-out-of-water spy caper and office slacker comedy with Chuck retaining his day job at the local big box electronics warehouse. It’s flashy, fun and none too serious. Budgets were tight, but the snappy dialogue, frenetic pacing and relentless cultural referencing made up for crappy CGI and shaky-wall syndrome. Whilst critics have always held a soft spot for this underachiever, finding an audience has proven tougher. It survives thanks to a commercial agreement with a multi-national sandwich chain.

This season finds Chuck getting his wish to be instated officially as a right proper spy.

He promptly fails spy school.

A small setback and he’s soon back in the bad-guy-stopping game. This season also finds his family and friends conspiring with him to defeat his nemesis – The Ring. It’s a gamble that pays off handsomely. Scott Bakula returns as Chuck’s scatterbrain genius father, and Brandon Routh arrives for an extended run as an operative. But the heart of the show – Chuck and Sarah’s relationship – rises and falls in tune with Bartowski’s new life as a spy, providing an awkward distraction in a show that refuses to surrender.

JUSTIN HOOK

Whatever it is like, Monday Monday provides a slightly off-the-wall insight into the goings on in the head office of a supermarket chain in England.

The company, Butterworths, is struggling and has had to relocate from London to Leeds.

The show starts with main character Sally, a personal assistant, meeting and ‘getting acquainted with’ a bloke on a night out. The next day with a raging hangover and serious remorse, she discovers that bloke is Steven, the new personal assistant working at the desk next to her. The ensuing awkwardness and development of friendship is startlingly realistic and little is added for dramatic effect.

Through Steven and Sally, along with two other personal assistants, Natasha and Jenny, the viewer discovers the intricacies involved in dealing with incompetent executives.

These fumbling execs, along with some creepy assistants and an alcoholic boss provide light-hearted relief from the romantic drama that goes on in the background of the show.

Monday Monday is probably not the type of show you’d add to your regular viewing schedule unless there was a pretty serious lack of other options, but it was a pleasant diversion down the back of ABC2 for those (very few) Friday nights at home. The DVD is brilliant for lazy Sunday afternoon viewing, making the long dark tea-time of the soul seem to fly by.

CLARE BUTTERFIELD

What I didn’t know was how tediously overdrawn that plotting was. And how execrable the dialogue and how tepid the suspense appeared. To be fair, nuance is lost in transplantation and dialogue that feels free flowing and intelligent in one language invariably comes off as stilted and hokum in another – but plotting doesn’t. And characterisation doesn’t.

As might be clear by now, I have neither read nor seen any of the other books or films. As a neophyte, it was a worthwhile experiment jumping right into the middle of a film series.

Using The Two Towers and Empire Strikes Back as case studies, I reminded myself that mid-points could succeed as stand-alone pieces, taking into account the necessary ambiguity and fuzziness at the sides. Sure, it’s impossible to understand everything without a full download of the back-story, and so character motivations will occasionally be a mystery. But this is an entirely different kettle of salted herring.

This film – like ones that precede and followed it – is actually respliced and edited down from a Swedish TV miniseries. So it’s only natural that this feels like a TV movie. It’s plodding and sluggish. Noomi Rapace plays the abused and avenging heroine (Salander) with stoic, thin lipped tightly coiled brilliance. And there are flashes of suspense, but they’re just as easily spotted in advance. As a film – it’s a drag.

JUSTIN HOOK

39

the word

BLACKBOX

on games

Killzone 3 Developer: Guerrilla Games Platform: PS3 Length: 5 10hrs Rating: Take or leave Whilst playing the Killzone 3 co-op, a simple statement was made that summed up the whole experience; “I’m not sure which part I’m meant to be enjoying”. I’m not saying it’s a terrible game. In fact it has many virtues. As with the second incarnation the graphics are pretty balls awesome, the levels are nicely detailed and it’s got a good bit of length to it. Unfortunately, as with its predecessor, it’s rocking a ton of negatives that ultimately levels it out as a pretty average game, and by average I mean skippable.

Of all its faults, the most offensive is the control system - it just feels horrible to use. While many could be quick to place the blame on the inherent shortcomings of controller-based-aiming, the likes of Modern Warfare and Halo have done well to dispel this perception. In both aforementioned cases, the games employ various subtle tweaks to the aiming - even subtler than the all so obvious auto-aim - to make that experience feel inexplicably more enjoyable. Killzone on the other hand can barely get its aiming sensitivity right, what with the fact I needed to switch between a 10% and 80% sensitivity, depending on whether I was on foot or manning a vehicle’s weapon at the time.

Pretty lame Milhouse.

My other major gripe, as summed as a single point, is that it feels rushed to market. Such a feeling is reinforced time-and-time again by a plethora of issues. To name but a few, there’s the fact that the storyline and cinematics seem so quickly scrambled together that they’re not only manic and confusing, they’re also seemingly missing some key sound-effects half the time. Likewise, the levels frequently feature collision and clipping issues and even a bit of good old pop-up, just so you don’t forget that you’re playing a game. Whilst I can accept that every game will have a few of these issues, Killzone 3 just takes the piss by the end of it.

Another shortcoming I was keen to quickly mention is that at no point was I really sure why I was meant to be on the good guys’ side. Not only is this never really motivated, but the actual main characters are as unlikable as they are retarded. Sure, some might call them antiheros, all I know is that it’s like hanging out with that kid at school that everyone wanted to punch - you know the one.

While in reflection this review is probably more damning that warranted, what with the fact that Killzone 3 still stands up against most other FPS titles, I personally wouldn’t spend my dime on this particular title.

TORBEN SKO

The extreme long weekend that rolls up Easter and Anzac Day is a great opportunity to lie around in front of the box. Quite surprisingly, the Easter Bunny doesn’t feature high on the schedule. In terms of Christian religious rituals, the closest you get is a Compass special (ABC1, Fri April 22, 8.30pm) that goes into a remote Aboriginal mission, and two Christian-but-not-really Easter-themed classic movies The Miracle of Our Lady of Fatima (GEM, Sat April 23, 6am) and The Ten Commandments (ABC2, Sat April 23, 8.30pm).

Sadly, Go’s main bunny-themed offering is the b-grade movie The House Bunny (Go!, Mon April 25, 6.30pm) about an evicted Playboy bunny joining a sorority, featuring Hugh Hefner.

Easter week does bring with it a plethora of much better movie choices including I’m Not There (SBS1, Sat April 23, 10.05pm), Todd Haynes’ fabulous biopic of Bob Dylan that uses personality rather than narrative, Death of a President (SBS1, Wed April 20, 10.05), a mockumentary which follows the investigation into the assassination of George Bush, (Go!, Thurs April 21, 9.30pm), Flight of the Navigator (Go!, Sat April 23, 6.30pm), The Omega Man (Go!, Sun April 24, 12.30am) and Igor (Go!, Wed April 27, 7.30pm).

Anzac Day coverage is everywhere including Lost Diggers of Fromelles (Prime, Mon April 25, 7.30pm), ANZAC Day March 2011 (ABC1, Mon April 25, 10.30am) live from Anzac Parade, Gallipoli Dawn Service (ABC1, Mon April 25, 12.30pm), Viller-Bretonneux Memorial Service (ABC1, Mon April 25, 1.30pm), Lone Pine Service from Gallipoli (ABC1, Mon April 25, 6pm).

Don’t miss Australian Story (ABC1, Mon April 25, 8pm) as they follow Jet’s former manager, David Powell and reveal some of the inner dynamics of the relationship.

Art Nation (ABC1, Sun April 17, 5pm) takes on fashion but is not your average catwalk show – it looks at street fashion photography, men’s fashion in Australia, the rise of eco fashion, jewellery design from the House of Baulch and fashion photographer Bruno Benini.

Other new shows and seasons this fortnight include Collectors (ABC1, Fri, 8pm), Detroit 1-8-7 (Prime, Wed, 8.30pm) starring Michael Imperioli (aka Christopher from The Sopranos), new Caprica (7Mate, Fri, 10.45pm, Sat, 10.30pm) and the brilliant East West 101 (SBS, Wed Apr 20, 8.30pm).

Docos to check out include Stephen Fry and The Great American Oil Spill (ABC1, Tue April 19, 8.30pm) which visits the communities of the deep south to see the effect on the people and the wildlife, William and Kate: A Royal Love Story (ABC1, Tue April 26, 8.30pm), The First Windsors (ABC1, Tue April 26, Wed April 27, Thu April 28, 6pm) and a special Q&A: Is the Royal Romance Over (ABC1, Thu April 28, 8.30pm) which looks at the role of the monarchy in Australia.

West Wing nuts shouldn’t miss 30 Rock (Prime, Thu April 21, 11.30pm) with Aaron Sorkin guest starring, made all the more significant by the fact that 30 Rock was the show in direct competition with Sorkin’s quickly cancelled Studio 60 on the Sunset Strip.

TRACY HEFFERNAN tracyheffernan@bigpond.com

40

41

GIG GUIDE April 13 - April 15 wednesday april 13 Arts Café Rebetika

An epic story of love, music and defiance. thestreet.net.au .

THE STREET THEATRE

Arc: Mundane History (18+) 7.30pm.

ARC CINEMA, NATIONAL FILM & SOUND ARCHIVE

Japanese Design Today 100

The design of the objects on display gives a substantial insight into Japanese culture today. ‘Til April 21.

ANU SCHOOL OF ART

The Adventures of Alvin Sputnik Deep Sea Explorer. A multi awardwinning one-man micro-epic puppet show. Tix through the venue.

THE STREET THEATRE

Paul Selwood – Perspective Cut Outs

Paul Selwood is one of Australia’s finest sculptors. Wednesday – Sunday, 125pm. ‘Til May 22.

ANU DRILL HALL GALLERY

Ballet Russes

The Art of Costume. Tix: nga.gov.au.

Running until May 1.

NATIONAL GALLERY OF AUSTRALIA

Dance Latin Wednesdays

Every Wednesday night!

MONKEY BAR

Live BMA Presents Gigmund Freud

Mystery Opening Act, nozl, Fun Machine and The Last Prom playing their second ever gig!

THE PHOENIX PUB

Eric Bibb

The troubadour live in duo mode with Staffan Astner. Tix through Ticketek.

TILLEY’S DIVINE CAFE

Something Different Fame Trivia

Call up your very smartest friends and enlist them to ensure Wed trivia triumph.

TRANSIT BAR

Refreshing April Afternoons

Free BBq, $5 bottled beers, Live Jazz Wednesdays & Thursdays, 5pm.

TRINITY BAR

thursday april 14

Dance

Arts

Hailing from beachside Newcastle, Post Paint are touring w/ Jack Colwell (Syd).

7.30pm.

Café Rebetika

Twice Shy

Featuring DJ Matt & DJ Pete. 2-4-1 drinks & free entry until 11pm. 9pm – 5am.

THE GEORGE HARCOURT INN

REV

THE FRONT CAFE AND GALLERY

Foreplay Fridays

Lounge music from 7-10pm.

CUBE NIGHTCLUB

Arc: Sampaguita, National Flower (15+)

Something Different

Canberra’s weekly Indie/Alt/Dance Party every Friday.

Open Mic Night

ARC CINEMA, NATIONAL FILM & SOUND ARCHIVE

9pm, free.

Ashley Feraude

An epic story of love, music and defiance. thestreet.net.au .

THE STREET THEATRE

2pm.

Arc: Sunday Afternoon in Victoria Park (15+)

With appearance by director Lola Amaria. 6pm.

ARC CINEMA, NATIONAL FILM & SOUND ARCHIVE

Arc: Manila Skies (18+)

With appearance by director Raymond Red. 8.15pm.

POT BELLY BAR

Refreshing April Afternoons

Free BBq, $5 bottled beers, Live Jazz Wednesdays & Thursdays, 5pm.

TRINITY BAR

Karaoke

8.30-11pm, followed by DJ Kiz until 5am.

CUBE NIGHTCLUB

ARC CINEMA, NATIONAL FILM & SOUND ARCHIVE

A Commercial Farce

friday april 15

BAR 32

Extreme dubstep spectacular.

KNIGHTSBRIDGE PENTHOUSE

One Night In Dominican Republic

Featuring Canberra’s all-star DJs & MCs, Live Percussions & Guests. Doors open 9pm.

MONKEY BAR

Cheese (80s/Retro)

Come and unleash your inner 80s love and work that dancefloor to all the embarrassing classics.

TRANSIT BAR

Ministry of Sound Electro House Sessions

An hilarious slapstick comedy! Tix through the venue.

Arts

Dan Vukovljak – Something or Nothing

An epic story of love, music and defiance. thestreet.net.au .

ACADEMY NIGHTCLUB

Arc: Sampaguita, National Flower (15+)

Chris Stout & Catriona McKay

ARC CINEMA, NATIONAL FILM & SOUND ARCHIVE

THE MERRY MUSE

CANBERRA THEATRE CENTRE

Paintings and gadgets by an emerging artist with a curious mind. Opening night, 6pm.

CANBERRA CONTEMPORARY ARTS SPACE - MANUKA

The Adventures of Alvin Sputnik Deep Sea Explorer. A multi awardwinning one-man micro-epic puppet show. Tix through the venue.

THE STREET THEATRE

Dance Timber

Café Rebetika

THE STREET THEATRE

6pm.

Arc: Jogja Hip-Hop

Celebrating the work of the Jogja Hip-Hop Foundation and its vibrant live music scene. 8pm.

ARC CINEMA, NATIONAL FILM & SOUND ARCHIVE

A Commercial Farce

Featuring Timmy Trumpet.

Live With Cresswell and Green. 7.30pm, $22/$18/$16.

Queen Juanita & The Zydeco Cowboys CD Launch, 8pm.

QUENBEYAN BOWLING CLUB

Friday Night Acoustic Series Featuring Bernie Hayes. 8pm, free.

HARMONIE GERMAN CLUB

New Era w/ Danny Howells

Shiver me... arrrr... arrr.

An hilarious slapstick comedy! Tix through the venue.

CANBERRA THEATRE CENTRE

(Dig Deeper 5 Hour Set, UK). Entry Before 10pm, $15.

Live

Spacious + Botany Bay + Half Circle Scroll

Oscar

KNIGHTSBRIDGE PENTHOUSE

Juliet Ward & Phil Moriarty 8pm, free.

THE PHOENIX PUB

Triple J presents Adalita w/ Amaya Laucirica

Come witness the compelling honesty of Magic Dirt frontwoman Adalita. $15 + BF through Moshtix.

TRANSIT BAR

Chicago Charles

KING O’MALLEY’S, CIVIC

The Bridge Between Duo

Blues and roots at its finest. Awesome harmonies, sensational guitar. 6-10pm.

BELGIUM BEER CAFE

42

Post Paint & Jack Colwell.

Exhibition opening, featuring Micky Allan, Steenus Von Steensen & Michal Glikson. 6pm.

CANBERRA CONTEMPORARY ART SPACE GORMAN HOUSE

The Adventures of Alvin Sputnik

TRINITY BAR

KING O’MALLEY’S, CIVIC

Cracked Actor feat. Special guests

Come see Cracked Actor play at the wonderfully intimate Smiths Bookstore for free!

Deep Sea Explorer. A multi awardwinning one-man micro-epic puppet show. Tix through the venue.

SMITH’S ALTERNATIVE BOOKSHOP

Comedy

Sydney based songstress Sam Buckingham brings her enchanting live show to The Front. 8pm.

THE STREET THEATRE

Greg Proops Live

As seen on Whose Line Is It Anyway? Tix through canberraticketing.com.au .

CANBERRA THEATRE CENTRE

Leisa Keen

CASINO CANBERRA

Sam Buckingham & Evan Buckley.

THE FRONT CAFE AND GALLERY

43

GIG GUIDE April 16 - April 21 saturday april 16 Arts

Australian Rolling Open Australian inline park skating championships. 10am.

EDDISON PARK, WODEN

Café Rebetika

An epic story of love, music and defiance. thestreet.net.au .

THE STREET THEATRE

Arc: Machete Maidens Unleashed! (MA15+)

With appearance by director Mark Hartley. 2pm.

sunday april 17

CANBERRA THEATRE CENTRE

Arc: Eddie Romero Double Bill (18+)

Moro Witch Doctor plus Beast of Blood.

With introduction by Mark Hartley. 7pm.

ARC CINEMA, NATIONAL FILM & SOUND ARCHIVE

Melissa Main CD Launch

Paul Selwood – Perspective Cut Outs

Phoenx Bootlegs

ANU DRILL HALL GALLERY

The design of the objects on display here gives a substantial insight into Japanese culture today.

ANU SCHOOL OF ART

Arc: Belkibolang (18+) 2pm.

David Bath & The Hot Tubs, Pete Akhurst, Monkey Brain, The Feldons.

8pm-10.30.

Uncle Boonmee Who Can Recall His Past Lives (M). Season run April 17 April 24.

ARC CINEMA, NATIONAL FILM & SOUND ARCHIVE

Something Different

Refreshing April Afternoons

Buddhist Meditation Classes Drop-in any week. Class fee $14.

For details call 9387 7717 or www. meditateincanberra.org .

WESLEY CHURCH

tuesday april 19

Dance Urban Playground

Hospitality Sundays CUBE NIGHTCLUB

Cube Saturdays

Live

Featuring DJ Matt & DJ Pete. 2-4-1 drinks & free entry until 11pm. 10pm – 5am.

CUBE NIGHTCLUB

Urban Playground Every Saturday night!

MONKEY BAR

Frankie Madrid

Pure Latino madness. And Madonna.

KNIGHTSBRIDGE PENTHOUSE

Academy Saturdays with Department of Defiance ACADEMY NIGHTCLUB

Pyramid presents Tin Can Radio

Michael Elisha Bones

Performing songs born from a more melancholy muse, with singer/ songwriter Shobana Narayanan. 8pm.

w/ B-Tham from Raw FM, Bobby and locals Pedro, 2Hyped & Kaesien. Doors open early, DJs from 9pm.

Something Different

MONKEY BAR

A BITE TO EAT CAFE

Karaoke Love

CANBERRA IRISH CLUB

5pm – 7pm, Free.

A bizarre bazaar of bric-a-brac and bits and bobs. It’s a garage sale in a pub!

Free set up. 12-5.

THE PHOENIX PUB

monday april 18 Arts Paul Selwood – Perspective Cut Outs

ANU DRILL HALL GALLERY

GAREMA PLACE

A visual exploration of music through painting, photography, sculpture and more. April 18-29.

Something Different

Japanese Design Today 100

Over 2000 used LPs! Craaazy! Cash paid for old records. All genres. 10am.

LANDSPEED RECORDS

44

ANU SCHOOL OF ART

Cognac Lounge

4pm-6pm, free.

If Music be the Food For BeAN

Landspeed Records Vinyl Sale

The design of the objects on display here gives a substantial insight into Japanese culture today.

THE PLAYHOUSE

Sunday Sessions On The Deck

Local ‘n Live Launch

Community Radio 2XX 98.3 FM launches its Local ‘n Live show (weekdays 4-6pm). Launch 10am-4pm.

Japanese Design Today 100

Easter Thursday House Sessions

THE CARILLON, ASPEN ISLAND

CASINO CANBERRA

Leisa Keen Trio

BELCONNEN GALLERY

Dance

Paul Selwood is one of Australia’s finest sculptors. Wednesday – Sunday, 12-5pm.

THE FRONT CAFE AND GALLERY

A visual exploration of music through painting, photography, sculpture and more. April 18-29.

Part proceeds will be donated to the Japanese Red Cross. Doors 8pm, tickets $40.

W/ Readable Graffiti. Pyramid are back with another brilliant live double header.

TRANSIT BAR

The design of the objects on display here gives a substantial insight into Japanese culture today.

If Music be the Food For BeAN

Fernanda Takai - Japan Benefit Concert

With The Cashews, 11am, free.

Phoenix Flea Market

THE PHOENIX PUB

Japanese Design Today 100

ANU DRILL HALL GALLERY

National Carillon Open Day

Solid Feat. SAM LA MORE (Syd) Fire On The Hill

BELCONNEN GALLERY

Paul Selwood – Perspective Cut Outs

Live

THE GEORGE HARCOURT INN

Something Different

TRINITY BAR

thursday april 21

Classic hits. 1-3pm.

Live Entry $15.

A visual exploration of music through painting, photography, sculpture and more. April 18-29.

ANU SCHOOL OF ART

Soiree

TRANSIT BAR

Paul Selwood is one of Australia’s finest sculptors. Wednesday – Sunday, 12-5pm.

If Music be the Food For BeAN

MONKEY BAR

Brain teasers and useless facts.

Register your team by 6pm to get involved and have plenty fun.

ANU DRILL HALL GALLERY

Dance Featuring DJ TJ. Free entry, free pool & discounted drinks. 10pm – late.

Fame Trivia

Arts

THE STREET THEATRE

R&B, hip-hop, oldskool, anthems with DJs Karma Stylez and MC Tee. 10pm.

TRINITY BAR

Paul Selwood – Perspective Cut Outs

THE FRONT CAFE AND GALLERY

Two Writer Types Tour, 7.30pm.

Free BBq, $5 bottled beers, Live Jazz Wednesdays & Thursdays, 5pm.

Arts

David Ross Macdonald & Heath Cullin

Deep Sea Explorer. A multi awardwinning one-man micro-epic puppet show. Tix through the venue.

THE FRONT CAFE AND GALLERY

Something Different

ARC CINEMA, NATIONAL FILM & SOUND ARCHIVE

Arc: Uncle Boonmee

Entertaining songstress Melissa Main presents her debut CD: You Me Kitchen Now. 7.30pm, by donation.

THE PHOENIX PUB

Paul Selwood is one of Australia’s finest sculptors. Wednesday – Sunday, 12-5pm.

The Adventures of Alvin Sputnik

MONKEY BAR

Live

Japanese Design Today 100

An hilarious slapstick comedy! Tix through the venue.

Every Wednesday night!

Live

Arc: A Year Without Summer (15+)

A Commercial Farce

Latin Wednesdays

A night of music and mayhem for the weekend worker. It’s a Monday but more like Friday. Gyeah.

TRANSIT BAR

ARC CINEMA, NATIONAL FILM & SOUND ARCHIVE

ARC CINEMA, NATIONAL FILM & SOUND ARCHIVE

Dance

Hospitality: Nurse Your Wounds

Arts

Paul Selwood is one of Australia’s finest sculptors. Wednesday – Sunday, 12-5pm.

4.30pm.

Dance

BELCONNEN GALLERY

The design of the objects on display here gives a substantial insight into Japanese culture today.

ANU SCHOOL OF ART

Calling all crooners – come and get involved in one of Canberra’s most loved Karaoke nights.

TRANSIT BAR

wednesday april 20 Arts Paul Selwood – Perspective Cut Outs

Jemist

Not to be confused with Giant Rocktopus. Less arms/ tentacles.

KNIGHTSBRIDGE PENTHOUSE

Llik Llik Llik: Easter w/ Simon Caldwell

Llik returns with an easter goody bag of the freshest house, disco and techno.

And it’s for free!

TRANSIT BAR

Live

Paul Selwood is one of Australia’s finest sculptors. Wednesday – Sunday, 12-5pm.

Ben Kemp

If Music be the Food For BeAN

THE FRONT CAFE AND GALLERY

ANU DRILL HALL GALLERY

A visual exploration of music through painting, photography, sculpture and more. April 18-29.

“Kemp’s voice, as warm and malleable as volcanic mud.” - The Listener.

7.30pm, entry $5.

Open Mic Comedy Night 9pm, free.

POT BELLY BAR

Poetry Night

Easter Thursday w/ Nadastorm (USA)

THE PHOENIX PUB

TRINITY BAR

BELCONNEN GALLERY

In other words: BAD!SLAM!NO!BISCUIT! It’s got to be seen to believed.

w/Illya (Syd) + Audiojack (Ger). Entry before 10pm, $15. $20 after 10.

Japanese Design Today 100

Little Blak Dress

The design of the objects on display here gives a substantial insight into Japanese culture today.

ANU SCHOOL OF ART

With Bears with Guns.

THE PHOENIX PUB

Special K Solo

KING O’MALLEY’S, CIVIC

GIG GUIDE April 21 - April 27 The National Folk Festival

An Easter feast of folk! Feat. oodles and oodles of virtuoso musos! folkfestival. asn.au .

Lucy Jamison and Rachel Thorne CASINO CANBERRA

EXHIBITION PARK

saturday april 23

Kim Salmon/Candlesnuffer

W/ MoHa! (Norway) + Horatio Pollard (UK) + The Black Moth. 7pm, Entry $15.

ANU BAR AND REFECTORY

Dance Urban Playground

Something Different

Every Saturday night!

Refreshing April Afternoons

Cube Saturdays

Free BBq, $5 bottled beers, Live Jazz Wednesdays & Thursdays, 5pm.

TRINITY BAR

Karaoke

8.30-11pm, followed by DJ Kiz until 5am.

CUBE NIGHTCLUB

friday april 22 Dance Foreplay Fridays

Featuring DJ Matt & DJ Pete. 2-4-1 drinks & free entry until 11pm. 9pm – 5am.

MONKEY BAR

BAR 32

Academy Fridays

W/ Mercury Switch Lab Recording. DJ’s D’Opus, Ced Nada, Faux Real, Dred and Cheese.

ACADEMY NIGHTCLUB

Q-Bik

THE CLUBHOUSE

Mercury Switch Lab Recordings Night

Live CASINO CANBERRA

Solid w/ Styles & Hyde (Vicious) + Offtapia Free Entry.

TRINITY BAR

With Killing Birds and The Walking Who.

Something Like This KING O’MALLEY’S, CIVIC

The National Folk Festival

An Easter feast of folk! Feat. oodles and oodles of virtuoso musos! folkfestival. asn.au .

EXHIBITION PARK

Triple J presents The Holidays w/ Gold Fields & DJ Princi, $15 + BF through Moshtix.

TRANSIT BAR

sunday april 24

Live

w/ Spenda C (Aka Steve Lind, Syd).

Free Entry.

Sounds like? Bonnie Prince Billy if he never got laid. 8pm sharp, no cover charge.

THE FRONT CAFE AND GALLERY

Friday Night Acoustic Series Featuring Lucie Thorne. 8pm, free.

HARMONIE GERMAN CLUB

EXHIBITION PARK

Something Different

Easter Sunday w/ Funktrust DJs (Syd)

TRINITY BAR

AIS ARENA

Something Different Karaoke Love

Its time to represent at Karaoke Love, Transit’s popular weekly Karaoke night.

Tapestries of Sound

Indian classical meets Celtic folk and several shades between. 4pm, free.

THE FRONT CAFE AND GALLERY

Comedy Night

Bring your Easter eggs and Anzac biscuits and we’ll have a little party.

7.30pm, free.

monday april 25

THE FRONT CAFE AND GALLERY

Trivia Night

[NULL] w/ DJs metaVirus, Chrome, & more

7pm, free.

THE PHOENIX PUB

Trance, Dark Psytrance, Electronica, Industrial, Goth. The perfect Easter Monday styles.

wednesday april 27

TRANSIT BAR

Rufus (Live, Syd) + DJ Rush

Arts

Free entry.

TRINITY BAR

Geese

Inspired by Artaud’s surreal imagination and the bizarre world it engendered. Tix through CTC.

Live Phoenix Bootlegs

Su Blu, Bo Banta, Alice Cottee, Cherie Kotek. 8pm-10.30.

THE PHOENIX PUB

Something Different Anzac Day

COURTYARD STUDIO, CTC

Live ANU Jazz

Monthly jazz night showcasing School of Music jazz students.

ANU SCHOOL OF MUSIC

Two-up out the back.

Indigo Girls

THE GEORGE HARCOURT INN

Tickets on sale through the venue.

Buddhist Meditation Classes

CANBERRA THEATRE CENTRE

Drop-in any week. Class fee $14.

For details call 9387 7717 or www. meditateincanberra.org .

Pure Evil Trio + Loveshy 8pm, Entry $8.

BAR 32

WESLEY CHURCH

Something Different

tuesday april 26

Fame Trivia

No brain drains allowed on Transit Bar’s Wed night Trivia evening. Register your teams by 6pm!

Glasshouse: Lost Weekend

Arts

TRANSIT BAR

Inspired by Artaud’s surreal imagination and the bizarre world it engendered. Tix through CTC.

Easter public holiday mayhem with dem Glasshouse music aficionados.

Free Entry.

Deadmau5, Martin Solvieg, Bag Raiders, Ajax and more. Tickets on sale now.

TRANSIT BAR

A bizarre bazaar of bric-a-brac and bits and bobs. It’s a garage sale in a pub!

Free set up. 12-5.

Dance

Annie and the Armadillos

Dance

Ildiko

An Easter feast of folk! Feat. oodles and oodles of virtuoso musos! folkfestival. asn.au .

ACADEMY NIGHTCLUB

D’Opus, Ced Nada, Faux Real, Dred, Cheese.

ACADEMY NIGHTCLUB

The National Folk Festival

Academy Saturdays with Jared de Veer

THE PHOENIX PUB

Canberra’s weekly Indie/Alt/Dance Party ever Friday. OPEN GOOD FRIDAY.

THE PHOENIX PUB

THE PHOENIX PUB

CUBE NIGHTCLUB

Havana Nights REV

Warehouse 2011

With Outcum Unknown and Yoko Oh No.

Phoenix Flea Market

CUBE NIGHTCLUB MONKEY BAR

Dance

The Inserts

Featuring DJ Matt & DJ Pete. 2-4-1 drinks & free entry until 11pm. 10pm – 5am.

Big Score

Every Friday night!

Live

Geese

COURTYARD STUDIO, CTC

The National Folk Festival

TRANSIT BAR

Refreshing April Afternoons

Free BBq, $5 bottled beers, Live Jazz Wednesdays & Thursdays, 5pm.

TRINITY BAR

An Easter feast of folk! Feat. oodles and oodles of virtuoso musos! folkfestival. asn.au .

EXHIBITION PARK

OUT APR 27

THE ASTON SHUFFLE the drums the wombats ben folds against me! ...and more!

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FIRST CONTACT

SIDE A: BMA band profile

REUBEN INGALL Describe your sound: I play guitar and sing, feeding the sound through a bunch of purpose-built bits of programming/patching on my laptop - algorithms to cut-npaste, loop, delay, etc. I control them with a footswitch made from an old keyboard. I occasionally DJ bad mashups as Dead DJ Joke.

Who are your influences, musical or otherwise? Minimal music, music with a really limited or focussed idea behind it, from Erik Satie to My Disco, drone music and humming machines, stillness, mono-tasking, Fennesz, Oval, Xiu Xiu, the collaborations between Alva Noto and Ryuichi Sakamoto, Ben Frost.

What’s the weirdest experience you’ve had whilst performing? DJing - playing Ween’s Waving My Dick In The Wind as a dozen fully naked people jumped up and down on stage. The flopping was audible.

What’s your biggest achievements/proudest moments so far? This year I appeared on a New Weird Australia compilation called The Sound of Young Canberra, in some really great company. And my Mum likes my latest CD. And getting a crowd to do the Macarena.

What are your plans for the future? Do more. Release a free CD/download of live recordings from the past six months, work on new material, and hopefully gig more, especially interstate.

What makes you laugh? Animated GIFs What pisses you off? The word hipster. Pretty bored with it.

What’s your opinion of the local scene? Same as most opinions I see in this space: slightly jaded but optimistic and enthusiastic. I’m disappointed by the shortage of venues, but there are a lot of interesting acts playing backyards, living rooms, cafes and all kinds of one-off spaces. I guess in an environment like Canberra the keen folk get keener – to their credit.

What are your upcoming gigs? Friday April 29 at Smiths Alternative Bookshop with Seaworthy and Kharkov (as part of the Peking Spring Fest). Thursday May 19 at the New Young Canberra showcase in Sydney with Savages and Kasha.

Contact info: reubeningall.com, reubeningall.bandcamp. com, reubeningall.tumblr.com

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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 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 Hitherto Paul 0408 425 636 In The Flesh Scott 0410 475 703 Inside the Exterior Nathan 0401 072 650

Itchy Triggers Andrew 0401 588 884 Jacqui Seczawa 0428 428 722 JDY Clothing 0405 648 288/ www.jdyclothing.com Jenn Pacor singer/songwriter avail. for originals & covers, 0405 618 630 Jim Boots 0417 211 580 Johnny Roadkill Paulie 0408 287 672, paulie_mcmillan@live.com.au Karismakatz DJ Gosper 0411 065 189/ dj@karismakatz.com Kayo Marbilus myspace.com/kayomarbilus Kurt’s Metalworx (PA) 0417 025 792 Little Smoke Sam 0411 112 075 Los Chavos Andy 0401 572 150 los.chavos@yahoo.com.au Manilla Green Herms 0404 848 462, contactus@manillagreen.com, Mario Brujo Gordon world/latin/ reggae/percussionist and DJ. 0405 820 895 Martin Bailey Audio Engineer 0423 566 093 Words for You: writer/publicity/events Megan ph 6154 0927, megan@wordsforyou.com.au Mercury Switch Lab Studios mercuryswitch@internode.on.net Missing Zero Hadrian Brand 0424 721 907 hadrian.brand@live.com.au Moots aspwinch@grapevine.com.au Huck 0419 630 721 MuShu Jack 0414 292 567, mushu_band@hotmail.com MyOnus myonusmusic@hotmail.com/ www.myspace.com/myonus No Retreat Simon 0411 155 680 Ocean Moses Nigel 0417 211 580 OneWayFare Chris 0418 496 448 Painted Hearts, The Peter 6248 6027 Phathom Chris 0422 888 700 The Pigs The Colonel 0422 412 752 Polka Pigs Ian 6231 5974 Premier Audio Simon 0412 331 876, premier_audio@hotmail.com Rafe Morris 0416 322 763 Redletter Ben 0421 414 472 Redsun Rehearsal Studio Ralph 0404 178 996/6162 1527 Rhythm Party, The Ross 0416 010 680 Roger Bone Band Andy 0413 483 758 Rob Mac Project, The Melinda 0400 405 537 Rug, The Jol 0417 273 041 Samsara Samahdi 0431 083 776 Sansutra J-Ma 0403 476 350 Simone Penkethman (Simone & The Soothsayers, Singing Teacher) 6230 4828 Soundcity Rehearsal Studio Andrew 0401 588 884 Solid Gold Peter 0421 131 887/ solid.gold@live.com.au Super Best Friends Matt 0438 228 748 Surrender Jordan 0439 907 853 Switch 3 Mick 0410 698 479 System Addict Jamie 0418 398 556 The Morning After (covers band) Anthony 0402 500 843/ myspace.com/themorningaftercovers Tiger Bones & The Ferabul-Zers Danny feralbul@aapt.net.au Tim James Lucia 6282 3740, LUCIAMURDOCH@hotmail.com Top Shelf Colin 0408 631 514 Transmission Nowhere Emilie 0421 953 519/myspace.com/ transmissionnowhere Udo 0412 086 158 Undersided, The Baz 0408 468 041 Using Three Words Dan 0416 123 020, usingthreewords@hotmail.com Voodoo Doll Mark 0428 650 549 William Blakely Will 0414 910 014 Zero Degrees and Falling Louis 0423 918 793 Zwish 0411 022 907

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