BMA Magazine 432 - Jan 15 2014 by BMA Magazine

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MAMA Needs Money

More summer reviews than something with a lot of summer reviews.

#432JANUARY15 Fax: (02) 6257 4361 Mail: PO Box 713 Civic Square, ACT 2608 Publisher Scott Layne Allan Sko General Manager Allan Sko T: (02) 6257 4360 E: advertising@bmamag.com

Editor-in-Chief Ashley Thomson T: (02) 6257 4456 E: editorial@bmamag.com

Accounts Manager Fahim Shahnoor T: (02) 6247 4816

During the summer break, it was reported in the Canberra Times that, due to a change in funding application deadlines and processing at the ACT Event Fund, the MusicACT Music Awards has missed out on a $20,000 grant. There is consequently an unprecedented $20,000 hole in the event’s budget, which, says MusicACT President Gil Miller, will most likely be filled by “a number of small private sponsors.” If the shortfall is not dealt with, it is unlikely the event will go ahead, said the organisers. While there is no doubt that the successful grant applicants (including Canberra Comedy Festival and Parties at the Shops) are great investments, the threat to the MAMAs is one the Canberra music scene should feel acutely. No event in the ACT is so pivotal to local music’s recognition. Miller remains positive that, “one way or another”, the shortfall will be met. As meaningless as it is, BMA would like to concur.

Jimeoin, Dave O’Neil, Glenn Robbins, Jeff Green, Peter Berner, Luke Heggie, and locals The Stevenson Experience, Emo Parsonson, Daniel Connell, Hamish Hudson, Dayne Rathbone, Chris Ryan and Edwina Nelson are just some of names already billed to appear at the second annual Canberra Comedy Festival. The line-up announcement, made Thursday January 9, is nothing short of stacked. Last year’s event hosted over 3,800 attendees and even sported a marriage proposal, so organisers are ready to improve on that base. The event takes place across several venues from Wed–Sun March 5–9, with the Opening Night Gala to be held on Tuesday March 4. Head to canberracomedyfestival.com. au for more information or to purchase tickets. Do so with haste, because the Opening Night Gala sold out in no time flat last year. [Footnote: As a gold sponsor of the event, BMA Magazine’s opinions are biased. You should therefore test their validity by purchasing tickets to the event and making your own minds up.]

Canberra Comedy Festival Returns with Massive Line-Up

Australia Celebrates Live Concert to have Good Contemporary Music!

The Doug Anthony All Stars, Charlie Pickering, Tom Gleeson, Hannah Gadsby, Urzila Carlson,

Matt Corby, Lior and Megan Washington are all billed to appear at this year’s Australia

Celebrates Live concert on the lawns of Parliament House, easily making it the most musically relevant and creative line-up the event has ever sported. This is not, of course, to say that Guy Sebastian will not be missed, but hey, credit where credit is due!The concert kicks off from 5pm on Saturday January 25 (that’s right, not Australia Day) and you can find more information at australiaday.org.au.

BMA magazine Seeking new All Ages Columnist It is with a heavy heart that we must bid adieu to our All Ages Columnist Andie Egan. For the past year, Andie has taken pun-laden youth-centric music journalism to new heights. A beaming demeanour, open palate and unquenchable propensity for themed puns will forever be the hallmark of a sorely missed writer. So it is, in search of Andie’s replacement, that BMA Magazine is extending feelers into every school in the ACT – oh yes, right into that horse’s mouth. If you think you have what it takes to be our next All Ages columnist – if you’re young but not content indoors, literate but not too bookish, and a music lover above all – email editorial@ bmamag.com with a resumé and explain why this job should be yours.

E: accounts@bmamag.com

Sub-Editor & Social Media Manager Jeremy Stevens Will someone please, please think of the Machine? [Image credit: Martin Ollman.]

Graphic Design Chris Halloran Film Editor Melissa Wellham NEXT ISSUE 433 OUT JANUARY 29 EDITORIAL DEADLINE JANUARY 20 ADVERTISING DEADLINE JANUARY 23 Published by Radar Media Pty Ltd ABN 76 097 301 730 BMA Magazine is independently owned and published. Opinions expressed in BMA Magazine are not necessarily those of the editor, publisher or staff.

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FROM THE BOSSMAN Ahhhh, how quickly we find ourselves blindly windmill-punching through yet another new year. Like a small child awoken from a couch-bound slumber, doughy-eyed and blinking we wonder where we are, what the heck happened and what now? There’s a smorgasbord of feelings at this time of year – a smashing together of blind optimism, end-of-year indolence, sombre reflection and a general sense of ‘Hang on… These aren’t my trousers...’ merry-making – that creates something magical about January. Despite negotiating the first few hours of a new year with a hangover that puts a heavy heartbeat in the head, it’s hard not to feel invigorated about opening a fresh pack of 365. For those first few trembling steps of a new year, anything is possible. I will write that book. I will lose that weight. I will stop doing three-list gags as often. Before that, there’s the joy of making our way through the start-of-year rituals. Rituals such as taking a spirited romp with a digital machete through the overgrowth of an inbox that, throughout December, has become lush with emails concerning Christmas well-wishes from people you’ve never met in China, offers to expedite large sums of Nigerian wealth and invitations to spurn the size of one’s member via colourful pills. Also, there’s thrashing your way through anxiety dreams about all the various things you put in the ‘Do It In January’ basket – i.e. most of it – that threatens to rob you of decent sleep when you need it just before work starts. Then there’s being on the receiving end of some cuts, many more sharp prods and the knocking over of at least one precious item with electrical cord as you put away the Christmas decorations. And who doesn’t enjoy constructing a mini funeral pyre from those numerous pointless Christmas cards – where only a poorly-scrawled name is applied – and setting it ablaze? (I will note it’s more effort than I put in – I don’t even send cards, Scroogey Grinch that I am – but the act of simply scrawling one’s name in what can be described as “pre-schooler font” and letting Hallmark take care of the rest with a preset platitude seems a colossal waste of everyone’s time.)

YOU PISSED ME OFF! Care to immortalise your hatred in print? Send an email to editorial@bmamag.com and see your malicious bile circulated to thousands. [All entries contain original spellings.] To the Sound Tech for the Stonefield concert at Zierholz at UC When the bass and the drums are drowning out the vocals for the first Support Act, you should have had PLENTY of time to get your levels right BEFORE the second support, let alone the main act. Despite your piss-poor work, and the Findlay ladies constantly asking you to change levels throughout their performance, you STILL failed to give them the sound quality they deserved. I feel really sorry for Lester the Fierce, the first support act of the night. Her vocals would have sounded AMAZING if she had a tech that knew what they were doing. Louder is not better, not when you’re in a venue full of hard surfaces. Did you not learn that in your first semester?! When the Bass is distorting, that’s a problem. When the lead vocalist’s sound is distorting, that’s a problem. Go back to TAFE and learn your fucking trade! Shitty sound techs like YOU are one of the reasons Canberra gets overlooked by decent bands when touring. YOU are the reason we can’t have nice things. We shouldn’t have to go to Sydney to see a gig with a sound tech that knows what they’re doing. Live Music Venues please take note: stop paying these arseholes money! All they do is make people want to never see anything at your venue again. For the low-life pickpockets who decided to relieve several people of their wallets at Vans Warped. You got away with it this time, but you may not be so lucky the next and it would be very unwise to be caught out as a thief in the middle of a mosh pit full of metal and punk fans.

Once we venture out into the world there’s the knowing smirk elicited when hitting the gym for the first time and marvelling at the hordes of fellow folk wearing gym clothes that have spent more time absorbing mothballs than sweat. And for those with cricketing inclinations there’s the joyous sound of a ball skittling violently into the wicket of an unfortunate English tailender, a sound – whilst undeniably pleasing – that tends to sink the heart a tad, as it signals the working year looms and that another passage of time has flittered past at the speed of a Mitchell Johnson bouncer. But this is the year I will seize the day. I’m finally going to write an album, and it will include tracks like the soaring I Like Parenthesis Titled Tracks (Or Do I?), the instant anthem for the world-wise recycling generation Can I Borrow a Peeling? and the heartfelt I Really Must Stop Relying on Three-List Gags. All I need now is to learn to play, write and basically have anything to do with music other than talk about it. But the year is young! So before we collapse into the inevitable and safe steady step of drudgery comprising the same failed dreams and bad habits that we subject ourselves to every year, enjoy this glistening moment of optimism. Now if you will excuse me, I have a book to start, a musical instrument to learn and a pair of trousers to find. ALLAN SKO - allan@bmamag.com

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Image credit: Lushpup Images

WHO: YES, I’M LEAVING, THE FIGHTING LEAGUE, SHAKING HELL, MORNINGS WHAT: PUNK GIG WHEN: FRI JAN 17 WHERE: SMITH’S ALTERNATIVE

Sydney noise rock three-piece Yes, I’m Leaving play with a nearly unmatched intensity. After sitting relatively unnoticed for years, perfecting their show, and releasing two LPs, it’s hard to understand why they aren’t bigger yet. Their latest album, Mission Bulb, kicks off with a scream, a wall of sound, a brutal tone and a sense of menace lurking beneath it all. If it’s anything to go by, it’s going to be a cracking show. Joining them are our very own The Fighting League and Mornings, and Melbourne’s Shaking Hell. Entry is $6, and the party kicks off at 8pm.

WHO: JAYTECH WHAT: NEW ALBUM TOUR WHEN: FRI JAN 17 WHERE: ACADEMY

Progressive house maestro Jaytech is returning once again to Canberra to showcase his impressive blend of styles – and this time around, he’s preparing to release a new album! Set for a release in autumn or winter this year, Jaytech says of it: “Embracing technology and keeping a positive frame of mind have always been two core values of mine, and they will be coming together to tell the story on this next project.” Having completed tours of Japan, Europe, the USA, and having played Tomorrowland and Electric Daisy Carnival, Jaytech knows what he’s doing – and he does it well. Doors at 9pm. $10 before midnight.

WHO: LOS CHAVOS AND MORE WHAT: LATIN REGGAE WHEN: Every Sat + Sun in January WHERE: AUSTRALIAN NATIONAL BOTANIC GARDENS

This January will see the return of the much-anticipated Summer Sounds Concert Series. An annual effort put together by the Australian National Botanic Gardens, it’s a huge month of outdoor live music. Next up are local Latin reggae legends, Los Chavos, who will take to the stage on Sat Jan 18. To round out the month, the series will see Hit Parade, Annie and the Armadillos and the Dorothy-Jane Band take to the stage. You can bring a picnic, there’s a barbecue and refreshments available on-site, and each concert goes from 5:30–7:30pm. Entry is by donation to the Friends of the Gardens, which is $2 for individuals or $5 for families.

WHO: THE LIGHTWORKERS, THE CASHEWS WHAT: LOCAL SUNDAY AFTERNOON MUSIC WHEN: Every Sunday in January WHERE: OLD PARLIAMENT HOUSE

The perfect time to visit Old Parliament House is here. Visit Café Terrace, from 1:30–3:30pm, to see The Light Workers perform (Jan 19), and the week after, The Cashews (Jan 26). You can also visit the Downstairs Gallery between 12:30–3:30pm to pose for your own caricature. Chris Wilson (Cartoons by Chris) will be drawing visitors, then you can check out Behind the Lines 2013 and view some of the best political cartoons of last year. You get to keep the drawing, although admission fees apply for the gallery. It all kicks off every Sunday, from 12:30pm. See moadoph.gov.au/visiting/events for more information.

WHO: INHEARTSWAKE WHAT: THE SKYDANCER TOUR WHEN: THU JAN 23 WHERE: THE BASEMENT

Byron Bay lads InHeartsWake have announced three weeks of summer tour dates – and this time they’ll be trekking across regional Australia. In an effort to reach new audiences, the tour will take the band to places from Maroochydore to Armidale, and from Ballarat to Renmark. The Skydancer Tour is also part of a new journey for the band, with the launch of the single of the same name being used to raise awareness and funds for three grassroots not-for-profit organisations across three continents. Support from label mates Hand of Mercy and Hellions. Tickets are $18.40 + bf through Oztix, and doors open at 8pm.

WHO: KIM CHURCHILL WHAT: SINGLE TOUR WHEN: THU JAN 30 WHERE: TRANSIT BAR

At the age of 23, Kim Churchill has achieved some impressive feats. He’s played headline shows and festivals all around the world, was handpicked to support Billy Bragg on his 23-date European tour, and is getting ready to release his fourth album. This January, he’s returning home for a set of east coast date to support his new single, ‘Window to The Sky’, and by all accounts it’s set to be a great show as Kim brings out the guitar, bass drum, tambourine, harmonica, and percussion – all at once, of course. Tickets are $12 + bf through Moshtix, or $15 at the door. Doors open at 8pm.

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justin hook In the press notes for THE WORLD’S END there was specific reference to ‘spoilers’ and a polite but firm request not to give away the ending or key aspects of the plot. If you’ve seen it – you’d understand. It’s a film that makes some pretty significant lurches in plot and tone, and keeping them concealed for as long as possible serves the film well. For EDGAR WRIGHT, director and cowriter (with Simon Pegg), the request was pretty basic stuff. “I think it’s a no-brainer,” he says. “Why wouldn’t you want to have surprises in store? I don’t think most Hollywood films mean to ruin all the surprises, but they just want to put in all the money shots. So with this one we had a whole bunch of spectacular shots for the trailer and still have heaps left in the film. Which was cool. But it’s kind of a necessary evil for the trailer. After all, if it was just five guys going on a pub crawl only a twentieth of your audience would show up.”

If you do manage to turn back the clock, bad things happen

And therein lies the problem. Money shots are revenue creators; they increase the chance of getting bums on seats. You have to give a bit of flash to get a little bit of cash, as no-one ever has said. “I do get asked this a lot, but back in the ‘70s, trailers did exactly the same thing,” Wright explains. “The trailer for Psycho tells you there’s a murderer in the shower. The trailer for Carrie has the ending in it – the infamous blood-soaked Sissy Spacek one – and the one for Dirty Harry has all the major moments in it. The reason I ask for it is mainly because reviewers just casually ruin it for people.” Fair point, reviewers can be casual ruiners, which is now my new favourite pejorative. Along with spoilery-type things, music plays a central role in The World’s End. In the film, Gary King (Pegg) is a bit of a loser. He’s just about to enter that middle-aged part of his life where you are meant to be consolidating your career, family and life. But he does nothing but drink and relive youth in his mind, where he is still at the top of his game. He’s a pathetic character, very much against type for the usually ebullient Pegg. Gary somehow manages to convince a group of his old mates (Martin Freeman, Nick Frost, Eddie Marson and Paddy Considine) to finish a pub crawl started 20 years previous, but never “officially” completed. Which means we get to revisit a purple patch for a particular type of British music – the convergence of rave, rock, pop and indie. The back end of Madchester and the seeds of Britpop. The swagger of the newly reunited group of friends is captured by a spot-on soundtrack selection, practically a greatest hits collection for the era: Blur, Pulp, The Stone Roses, Primal Scream, Teenage Fanclub, Inspiral Carpets, Happy Mondays and The Charlatans. “That was really important to me,” Wright says. “I think in a lot of British music in that time there’s a slightly melancholic edge, and so it seemed to fit perfectly. But there’s a couple of things going on. Gary has got this mixtape he uses as a security blanket, that he uses to protect himself from his advancing years; sort of like his

Picture of Dorian Gray. He seems to mistakenly think that if he plays the Soup Dragons’ ‘I’m Free’ every day he gets in the car, it’ll be just like 1990 and everything will be okay.” And in the end it was okay, because Gary King gets to stride purposefully through a town under siege, replete with long black coat, to the strains of ‘This Corrosion’ by The Sisters of Mercy, wanting for all the world to be Andrew Eldritch. “Yeah, yeah totally. We tease it about three times, don’t we?” Reliving the past is, by design, nostalgic. But maudlin nostalgia is not something you normally associate with Edgar Wright. His pop culture references have always been sharp (Spaced, Shaun of the Dead, Scott Pilgrim vs. The World) and it’s a fair bet his forthcoming Marvel adaptation of Ant Man won’t be a tearjerker. The World’s End isn’t morose, but there is a very strong tinge of wasted opportunity running through the entire film. “It bemused me as to why I feel sort of nostalgic when I have a pretty full life now, very busy and very happy with my career,” Wright says. “However I would think back a lot to trying to change things about my formative years, and I’d wonder why I would want to do that. I definitely have this ongoing time travel fantasy which perplexes me, and that is kind of what the movie is about. But really what the movie is about is a cautionary tale: be careful what you wish for. If you do manage to turn back the clock, bad things happen. “It’s also overt escapism. I grew up in a small town in the west of England where nothing really happens. It wasn’t like I was in a big metropolis. That’s why there’s so much mayhem in my films, kind of making up for a quiet and peaceful childhood. But I also gravitate towards the type of films that are about dark subjects, dark goings beneath the surface of small towns, because that’s where I grew up. In terms of this one, I don’t think there are as many overt horror or sci-fi references as there are in Hot Fuzz for instance, but it’s more that the sci-fi theme is directly tied into that idea of your home town changing. “All those horror films I grew up watching were really rich in metaphor in a way like they aren’t anymore. Most modern horror films aren’t about anything at all. It’s all surface.” Wright – along with his frequent writing partner Pegg – has made a point of pushing original ideas into film. Though their characters often share traits, and plot elements and references are familiar, you don’t get the feeling they are aiming small and taking the low risk approach. “I think that as an industry you have to be careful to tell new stories with new characters, because you feel like there’s going to be nothing to reboot in 30 years’ time,” Wright says. “I do find myself slightly tired of the endless cycle of seeing the same movies. So in a way, doing these three films [the Cornetto Trilogy: Shaun of the Dead, Hot Fuzz, The World’s End] is a nice way to evoke genres. The World’s End might be inspired by things like Village of the Dammed, Invasion of the Body Snatchers and so on, but it isn’t anything like those films.” The World’s End is available now on DVD and Blu-ray, from pretty much every single store that sells movies.

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the smugness of a self-satisfied weasel, his brown leather shoes complimented only by his overly-attended rawhide face. His name is Mark Nicholas, and he must be stopped. His eagerness to not only justify, but glorify, the very existence of Mr Michael Clarke is an act so treasonous that it can be likened to voiding one’s bowels over the Queen and all her grandchildren. Etiquette, grammar, cricket, Australia – just a few of the many things ruined by the inhabitants of this land. It has been my misfortune these last few weeks to personally witness the England cricket team be treated by Australia as a cockney flower girl should expect to be by her upstanding landlord – mentally denigrated, physically manhandled and sexually governed. These are dark times for the English gentleman: workers rights pervade like the common cold, the people of France have escaped captivity and English cricket has gone to hell in a hand basket. I can appreciate sporting excellence – an accomplished cover drive, the dribbling wonderment of Association Football, a thousand bloodhounds tearing a defenceless fox to ribbons – but in all of these examples there is the propensity for either side to profit: deep cover could take a one-handed catch, the left-back perform a scything tackle, the contaminated corpus of the mangy fox infect future generations of bloodhound with debilitating disease.

While this fetid goitre of a human being should be affixed atop Traitor’s Gate via his least attractive appendage, some consideration must also be given to the likelihood of his own corruption at the hands of the nefarious Mr Ian Healy. The forced bonhomie between the pair is just one of the reasons they must be separated. Limb from limb. That Nicholas, in a lamentably jocular effort, refers to Healy as “Heals” is only appropriate insofar as Healy’s contribution to insight stands comparison with a particularly virulent case of Athlete’s Foot. And thus have I uncovered a conspiracy. You may consider my position biased and unfounded, I would counter that you are in league with the malignant Nicholas. gideon foxington-smythe

This recent Ashes series was so askew as to be positively corrupt. That the gentlemen of the England cricket team should be expected to perform under the most demanding of conditions, while the Australians are given licence to wallow in their collective filth, cannot be good for the game. These contaminants, so vehemently fostered by the likes of Mr David Warner, have become airborne, diffusing from out in the middle to foul the native inhabitants of the stands. I myself bore witness to “witticisms” only appropriate to the farmyard. The ability to count backwards from ten and then stand up, while demonstrative of the most basic of education, does not constitute crowd entertainment. “You are a wanker,” seemed more insightful self-analysis than cutting gibe. But not only were the England team forced to contend with these wholly alien conditions, they were also the victims of great treachery. There is a traitor on your shores who exists entirely beneath contempt. He marauds across your televisual airwaves with all

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ALL AGES Hey folks! I hope your new year’s celebrations weren’t as bad as the ABC’s broadcasting of them. Awkward beginnings aside, I can feel a busy and prosperous year of underage events in my waters. Let’s start with The Corner in Belconnen and Y Engage in Civic. For those who don’t know, The Corner and Y Engage are both youth centres that run activities for young people aged 12–25, and this summer they both have programs absolutely full of fun things to do. The Corner will be running activities such as ice skating, cooking, paintball, BBQs, fort building, trivia, pool, a foosball championship, screen printing, paddle boating, big splash, movies and popcorn, geocaching, and a Zombie Apocalypse End of Holiday Party. Y Engage will be running a table tennis competition, BBQs at the skate park, movie events, card games, cooking, brunch, day trips to the coast, band nights, a pool competition and an Australia Day party. Both programs run from Mon–Fri January 6–31. For detailed and up to date information on the programs, visit their respective Facebook pages at facebook.com/bcsyouthservices and facebook. com/Y.Engage.ACT. Similar to the above, but on a slightly different schedule of Wed– Fri January 8–31, The Woden Youth Centre is holding a summer holiday program including a craft day, tie-dye shirts, mural painting, a pool competition, cooking, sport days and excursions to the coast, Cotter, Big Splash, and laser tag (book ASAP to secure a seat for excursions). For detailed and up-to-date information on the program, check out their Facebook at facebook.com/ WodenYouthCentre. Reigner, a five-piece hardcore band from our very own Canberra, will be playing at the Canberra Civic Youth Centre on Friday January 17. Supporting acts include Elegists, Failure, Collisions, and Bankrupt. Tickets are $13.30 online at Oztix or $15 at the door, which opens at 5pm on the night. Jessica Mauboy of ex-Idol, acting and chart-topping fame is making her way to the AIS Arena on Saturday January 18 on her To The End of The Earth tour. Tickets start from $89 + bf and can be bought online or by calling Ticketek on 13 28 49. What are you doing this Australia Day eve? Why not pack a picnic, head to the lawns of Parliament and set up for a night at the Australia Day Eve Concert? The event kicks off at 5pm with a onehour tribute to honour the outgoing Australians of the year, plus a special performance from Lior. I can almost guarantee you that nothing in your lifetime will ever measure up to hearing Lior display his delicious musical genius in public for free. Nothing! If you miss out on those celebrations you can always catch the Australia Day Fireworks Spectacular on actual Australia Day. Festivities start at 7pm and from 9pm onwards you can view the majestic fire-filled sky from Regatta Point, the lawns of the National Library or the Rond Terrace. Reece Mastin fans! Where will you be on Friday February 7? Cos good ol’ Reecey boy will be at the Southern Cross Club in Woden singing catchy tunes about girls from around the world and other things that interest young whippersnappers like yourself. Tickets are $57.75 + bf and can be bought through Ticketek. Cheers,

ANDIE EGAN allagescolumn@gmail.com

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LOCALITY After its usual summer slumber, Canberra’s music scene is rumbling back to life, with a few stark changes to the landscape since the end of 2013. The Phoenix Bar has had yet another facelift, removing the partition in the main bar – gone are the days of being stuck behind some jerk who feels entitled to block your view of the band by standing on the window-sill of the old “No Smokin’ Past This Point” wall. We lost one of Canberra’s most beloved music fans, Nicholas “Ginger Ninja” Sofer-Schreiber, whose passing shocked the entire local punk rock community. Canberra’s newest label, Holy Eucharist Line, has been officially launched and christened and whatever else it is you do to mark the birth of a music publishing collective, and Corin Forest Resort, the home of Corinbank, has changed hands and is open for business once again, securing the festival’s future for 2014. There’s a lot to take in, and yet somehow it’s only January … Having spent 2013 winning MAMAs and showing off their ‘Naked Body’, Fun Machine is ready to hit the ground running in 2014 with their new single and video, ‘Shave’. Due for release by the end of January, it will star a few familiar local faces, as well as a whole lot of neon face paint, as indicated by photos from the shoot.

to add some Canberran flavour to their vote, 2013 was a pretty strong year for ACT artists in terms of airplay, with SAFIA, Peking Duk, The Aston Shuffle and Citizen Kay (with a dash of The Brass Knuckle Brass Band) all getting a nod on the list of suggested songs on the online voting form. However, if there was a different local track that caught your attention in the last year, you can still throw it a nomination via the “Add Your Own” function. If you’re looking to start filling that shiny new diary with gigs to attend, on Thursday January 16, you can catch the ethereal sounds of Gatherer, Calico Cat and Reuben Ingall at Smith’s Alternative from 7:30pm for $5 (apparently there will be a microwave involved). Drumfest 2014 marks a year since the passing of Matt Sykes, with performances by Nyash, Dub Dub Goose, Southerly Change and more at The Polish White Eagle Club on Saturday January 25 from 7pm. Finally, if you’re a musician or just an avid gig-goer, now is the perfect time to sign up for or renew your Canberra Musicians Club membership. With significant discounts for members on entry to all their events, it’ll pay for itself in no time. Visit canberramusiciansclub.org.au for details and to sign up. With promises of new releases from a stack of local artists and an ever growing gig schedule, it looks like 2014 is going to be a stellar year for local music. NONI DOLL

Just in case you missed all the talk on the radio and the endless articles about potential winners, you only have until Monday January 20t to vote in the Triple J Hottest 100. Thankfully, for those looking

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cody atkinson We appear to be living in the “wave” age. Chillwave was the last big one, and it has been joined by a new contender: dolewave. Lauded by critics and hipsters across Coined by a music the land, dolewave r, nte forum comme bands such to s ear dolewave app as Dick Diver be a bit more than a and The Ocean flavour of the month Party continue to expand their reach to outside of the Centrelink queue. Originally coined by a music forum commenter, dolewave may be a little bit more than a flavour of the month. Cody Atkinson looks at why.

rule out the punk bands. Also, Jack Farley records a lot of dolewave, or if a member of Dick Diver/The Ocean Party is in the band it could very well be dolewave. If the guitars jangle, and the outlook isn’t chirpy, and the stuff they sing about is what you and your mates have conversations about on a regular basis, then it’s likely dolewave.

Name? Dolewave.

Or The Ocean Party on ‘Quarter Life Crisis’ with:

Age? About two years old.

“Every weekend’s always the same, girl in my room don’t even know her name/ I’m high on Saturday, suicidal on Sunday, I’m wasting my youth away.”

Location? Predominantly in Melbourne. More specifically north of the CBD. Even more specifically in between Collingwood and Coburg. However, there are dolewave consulates in most Australian capital cities. What is it? It’s a term that describes a genre of music mostly coming out of Melbourne that is heavy on jangly guitars and catchy melodies, but light on studio effects. Originally coined by a member of the Mess+Noise forum as a bit of a joke, the term actually now describes a genre of music. Why should I care about it? Because a lot of Australia’s good indie music can probably be called dolewave. Dick Diver are the standard bearers, but it’s broader than just them and their eight billion spin-off bands. Eddy Current Suppression Ring is also broadly dolewave, as is much of Chapter Records. Dolewave also comes with the official Australian Music Blog seal of approval, if they could be bothered making one. Lazy dole bludgers. The bloggers, that is. Okay, who else are dolewave? An easy rule of thumb is to look at pretty much anything produced by ECSR’s Mikey Young, and then

Best name for a dolewave band? Probably Ciggie Watch or Dick Diver. Killer names that sum up the genre. Can you give me a chorus that sums up the genre? How about Twerps’ ‘Who Are You’: “We’ll get drunk, we’ll get stoned, we’ll get high, we’ll get drunk” (ad nauseam).

Yeah, I really like/hate this stuff. Where does it originally come from? The broad origins for dolewave can probably be traced to Flying Nun Records in New Zealand, and the broader Dunedin Sound. Other obvious influences are Scotland’s Postcard Records and the associated C86 “scene”, and closer to home The Go-Betweens. When’s the fad/totally legitimate/fake genre going to end? Two years in, dolewave looks to be going strong, but there are signs of tension in the air. Dick Diver recently held a #destroydolewave contest on twitter, and many are thinking that the genre (or at least the term) has run its course. On the other hand, it hasn’t really been overexposed on the radio, and the music being produced is still pretty good and fresh. It doesn’t suck, and that’s half the trick with music. Look for dolewave to stick around for at least another couple of years. Chance of hitting the mainstream? Very low, unless a couple of pop stars abandon autotune and hire Mikey Young. (Vote One More Mikey Young.)

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Fuck whatever happened in 2013, because now we have a whole new year to fill with wonderfully fractured memories. It’s understandable that the holiday period may have caused a lull in your punk tendencies, or at least your ability to express those tendencies in a suitable environment, but now the venues are open and the bands are back, so there’s no excuse. Let’s get started. Local gems Sex Noises have just released a new 7” EP entitled Birds of Paradise [Ed: Turn to our album review pages to get the skinny on it.], and on that note will be playing the Canberra date of their minilaunch tour this Thursday January 16 at Transit Bar with support from Teaser Pony and the must-see TV Colours. The same night will also see Adelaide’s Grenadiers and Melbourne’s The Union Pacific rocking The Phoenix – with local support from Revellers and Yoko Oh No. Friday January 17, Yes I’m Leaving, a Sydney band known for their intense shows, will be hitting up Smith’s Alternative with a killer list of supports: Melbourne’s Shaking Heads and local favourites The Fighting League and Mornings. For the random but decent cover charge of $6, this show is one you’ll regret missing. Newcastle bands All in a Year and Suburban Haze will be taking over The Phoenix on Saturday January 18. They will be joined on the night by Goulburn’s Office Jerk and local hardcore punk rats No Assumption, all for a measly cover charge of $5. On Thursday February 6, The Basement will host Columbus and Malibu Stacy, both from the great state of Queensland. Local acts Azim Zain, Arrivals, Revellers, and No Assumption will all be joining them. The cover charge will be $12 for what is sure to be a great night. On Saturday February 15, the legendary Frenzal Rhomb will be heading to Canberra to play a set which will feature all 35 secret tracks from their Not So Tough Now record. They will be playing at Zierholz @ UC with yet-to-be-confirmed local support. You can get your tickets through Oztix for $28.60 + bf. As always, don’t forget to tune into 2XX FM every Monday night from 9:30–11pm for a fresh dose of the best Australian and international punk and hardcore. I would like to end this column by taking a moment to honour the memory of Nicholas Sofer-Schreiber, affectionately known as “The Ginger Ninja”. Nicholas passed in late December under unfortunate and unjust circumstances. He will be remembered by many for his passion and dedication as Canberra’s biggest and best punk rock fan. Bands from around the world have expressed shock and disappointment at the loss of one of their biggest fans, remarking on the life of the powerfully fun and supportive human being that Nicholas was. No matter the show, Nick was always the closest, the loudest and the happiest. Punk shows certainly won’t feel the same without him. IAN McCARTHY

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DANCE THE DROP

Hi, my name is Tim and I am addicted to dance music.

It feels “cleansing” to figuratively stand in front of a group of congenial peers and purge those words from within the dark depths of my shame dungeon. Many of you may share my condition. You may be reading this while curled up in a quivering ball, squashed into the angled crevice of your shower wondering, “What is wrong with me?” and, “Why would I bring BMA Magazine into the shower, other than to attempt to manipulate it into some kind of warm and soggy pleasure device?” Regardless of your specific quandary, you are extremely unbalanced. What life’s fine print has not disclosed to you is that dance music addiction does not materialise without your consent. Similar to the development of a pop culture vampire, it requires your permission to enter, although once it receives a beckoning nod to step beyond the welcome mat, it will never remove itself from the confines of your subconscious. Dance music overloads your mental real estate with a multifarious playlist of uninvited consorts, forcing important memories to pack their bags and replacing them with benign musical metadata such as the year Underworld formed (1987, just in case you were wondering) and the correct spelling of Bob Sinclar. If the first stage is admitting that you have an addiction, then the second is embracing it. Allow me to comfort your eyeballs with the following short statements. It is completely acceptable to storm out of a room because your roommate doesn’t understand the difference between drum ‘n’ bass and jungle. Don’t beat yourself up because you spent three weeks scouring the internet for a proper 320kps version of your favourite track, because “the bassline just doesn’t sound right otherwise”. You aren’t a massive weirdo if the rising dominance of EDM caused you to consume handful after handful of mood vitamins, even though it has absolutely no effect on your mental wellbeing. Dance music addiction may not receive the same amount of press as alcoholism or drug dependence, but it does share a common factor. It will alter your life. Next time you are late for work because you were utterly compelled to drive the long way and catch the end of the latest Above and Beyond podcast, ask yourself this: do I need help? Speaking of trance luminaries, Canberra ex-pat and all-round jovial human being Jaytech is headlining the first Academy instalment of Trance Answer on Friday January 17. The local grapevine tells me that trance fans can look forward to more regular events at Academy in the near future, so bring on the lasers! The crazy insomniacs at Stage Fright are back at NV Nightclub on Sunday January 26 with a line-up of local DJ’s including Flip Jack, Palajda and more set to put a serious dent into your Australia Day public holiday plans. Entry will be around the same price as a beach towel-sized “Made in China” replica Australian flag – your choice. Now we have moved on to the very “science-fictiony” year 2014, I’ve decided to change the column. From the next edition, The Drop will feature a new section specifically devoted to getting inside the mind of club land. Stay tuned people! TIM GALVIN tim.galvin@live.com.au

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THE REALNESS Welcome to 2014. Hope you all had a wonderful Christmas and new year, and the fat man delivered what you expected. Hopefully it included a couple of dope albums to add to your collection. As one would expect at this time of year, things are very grim on the touring front. Unless, that is, you ventured to any one of the capital cities recently and had the opportunity to catch either The Roots, De La Soul or Talib Kweli with Dead Prez. Unfortunately there was no capital stop for any of them. While things are a bit quiet, I thought it might be a great opportunity to catch up on some projects from 2013 that slipped through to the keeper. Melbourne-based photographer Michelle Grace Hunder

is currently in the process of putting together her coffee table book called Rise. The Rise project will see Michelle document the Australian hip hop scene, collating around 100 portraits, including the likes of M-Phazes, Urthboy, Mantra and Grey Ghost, into the book. Michelle ran a Pledge campaign last year and was successful in reaching her target of $17,000+ to cover the layout and printing costs. Rise is expected to hit bookstores in the first quarter of 2014. It may be worthwhile to share with you some of the tracks released in 2013 that are still on heavy rotation. On the soul tip, Charles Bradley’s ‘Strictly Reserved For You’ was a monster tune, with a brilliant video to boot. On the hip hop tip, my two favourite tracks for 2013 both came off the Marco Polo Newport Authority 2 release. They are ‘Long & Winding Road ft. First Division & Large Professor’ and ‘Stand Up (Remix) ft Tragedy Khadafi, Lil Fame, Adrian Younge & The Delfonics’. I also decided to post my best albums of 2013 list via my Instagram (@bertpole – shameless plug). There were some interested comments from fellow hip hop heads across the globe. Some agreed, others thought the list was kind of weak and added their own list to the mix. Never one to shy away from a good discussion, I thought it would be worthwhile sharing some of my follower’s recommendations. Worthy suggestions from followers included The Foremost, which saw DJ Format and legendary MC Phill Most Chill collaborate. Definitely a must-have for those who enjoy a faster flow over the mic. This next one would have certainly pushed for a spot on my top 5 list, and I actually can’t believe I missed it. Perth-based producer Kid Tsunami has assembled a stellar line-up of MC’s to bless his luscious production on The Chase. Features include O.C., Masta Ace, Prince Po, Sean Price, El Da Sensei, AG, KRS-One, and shit – the list just keeps going. Another recommendation was the Albert Einstein project. Long-time collaborators Alchemist and Prodigy (Mobb Deep) teamed up to finally release an album together. You know what to expect, Alchemist on the beats with some mic duties and Prodigy laying down the majority of verses. Then there was The Adventures of Captain Crook, which was released by Berlin instrumentalist Klaus Layer via Redefinition Records. Klaus is the first international artist signed to Redefinition Records and has delivered a beautiful example of instrumentalism at its finest. BERT POLE bertpole@hotmail.com

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Peacock, Knights of the Spatchcock, Ghetto Pump, I Am Duckeye, Hence the Testbed and The Velvet Vixens, make sure you put that one on the fridge calendar now!

METALISE Happy n’yeah thrashers. So right after the 2013 end of year issue came the disappointing news that Kylesa were canning their Aussie tour, which I later found out was due to visa issues. Anyhoo, Heathen Skulls didn’t let us down, and they’re back on Tuesday April 1 at ANU Bar with Looking Glass, so at least that isn’t too far down the track! Heathen Skulls are also presenting the 25th anniversary tour from New Orleans legends Eyehategod at The Hi-Fi in Sydney, Saturday January 18 with Lo!. Well worth a quick burn up the Hume for that one this weekend. USA new school thrash lords Havok are playing The Basement in Belconnen on Friday January 31 with special guests I should know about next issue. That one should provide some bangovers.

Clutch is doing a sidewave on Thursday February 20 at the best room in Sydney, the Metro Theatre. There are bound to be a slew of these announced as we creep closer to the Soundwave juggernaut and I’ll keep you posted. Fleshgod Apocalypse and Septicflesh have announced a five date tour of Australia for May. The symphonic atmospheres of both bands make this a huge tour for fans of that flavour of metal, and metropolistouring.com is the place to obtain tickets for their Manning Bar appearance on Saturday May 17. Also on the bill are Rise of Avernus and The Seer. Plenty of metal for only 59 bucks. Cripple Bastards are looking to tour Australia, including Canberra, in early March – more details next ish, but a heads up for the planner! JOSH NIXON doomtildeath@hotmail.com

The Basement is hosting an awesome Aussie metal bill headed by the latest signing of European label High Roller Records, our 50% own lords, The Levitation Hex. Friday January 24 will see the lads play with Melbourne greats Dreadnaught, Haw Maw and locals Wretch, who are coming off a bittersweet 2013 – they ended it with a really great selfreleased album, but also the departure of vocalist Joel. This is an awesome bill, support it! The next night on Australia Day eve, Saturday January 25, in Sydney at The Bald Faced Stag, you can catch Under The Southern Cross 6 with an enormous line-up of Aussie metal, including: Be’lakor, Dreadnaught, Claim the Throne, The Levitation Hex, Aeon of Horus, As Silence Breaks, ROME, Arrowhead, Hadal Maw, Sorathian Dawn, Metreya, Bastardizer, Dead Life, Psynonemous, Infinite Black, Chainsaw Charlie & the Chocolate Cha Cha Factory and Sin 4 Me. That’s a ripping long weekend mission. On Friday February 14, The Basement will host Shenanigans 7. With 13 bands on two stages, including Our Last Enemy, Tonk, Voltera, Na Maza, Penguin, Variodrivers, Super Best Friends, Renegade

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

Spin, 2012, gouache on paper, 76 x 57cm.

ARTS | ACT

ARTISTPROFILE: Hannah Beasley What do you do? Mostly painting. When, how and why did you get into it? I have always enjoyed drawing. Then again, I have also always enjoyed music and reading and about a million other things. I think I fell into my fine arts degree at ANU by accident really, but over the last six years painting has become increasingly more important to me as a way of playing with materials and different ways of thinking. I enjoy the physical process of painting, because it is fun and it feels good, but I also find painting really useful as a tool for critical thinking, for asking questions, sorting through problems and exploring all the relationships, associations and meanings that coloured mud can have on a board. Who or what influences you as an artist? There are so many excellent Canberra artists who continue to influence me. Ruth Waller, Viv Binns, Marie Hagerty, Peter Maloney, Greg Hodge, Julie Brooke, Suzanne Moss, the list goes on. Elsewhere I am really

interested in Islamic geometry, Pakistani and Indian miniature painting, abstract painting, pattern, Bernard Frize, Agnes Martin, Shahzia Sikander, Monir Farmanfarmaian. This list also goes on. Of what are you proudest so far? I am quite proud of anything I manage to finish. What are your plans for the future? I refuse to plan more than two years in advance. I hope to have a solo show in that time somewhere. What makes you laugh? Robert Hughes interviewing Mugrabi. (Not having a better answer, I have just deferred to the very last thing that made me laugh. If you haven’t watched this, you should.) What pisses you off? Everything pisses me off when I’m in the right mood. What about the local scene would you change? Nothing really, which is why I’m staying here. Upcoming exhibitions? I have nothing locked in, but as said I plan to have a show, probably at the beginning of next year. Contact Info: hannah.j.beasley@gmail.com.

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bit PARTS VIVA LAS VEGAS (1964) WHAT: Outdoor Film Screening WHEN: Sat Jan 18 WHERE: Arc Cinema, National Film and Sound Archive The National Film and Sound Archive don’t seem to ever stop throwing special events for us lucky Canberrans. This summer, right through February, they’ll be holding Arc Outdoors – a slew of special screenings celebrating the importance of 1964. Coming up, they’ve got an evening booked in with the man himself – Elvis Presley! If you head down to the Arc, you’ll be able to catch him in a screening of George Sidney’s 1964 hit, Viva Las Vegas. There’s bar service and snacks available, but you’re welcome to BYO food (no glass). Doors open at 7pm, with the movie starting at sunset (approximately 8:30pm). $14 for adults. THE SUNDAY ASSEMBLY WHAT: Not Your Average Assembly WHEN: Sun Jan 19 WHERE: Majura Hall, Dickson Started early in 2013, The Sunday Assembly is a godless community aiming to build on the positive aspects of the Christian church, like community and altruism, without the need to believe in any faith – and the Canberra chapter has been growing at a crazy rate. In 2014, they’ll be holding an Assembly every month, with a different theme each time, and January’s is “Resolutions”. With speaker Fiona McIlroy, tea, cakes, and a sing-along with Julia Johnson, it’s not to be missed. Free tickets to the January assembly are going quickly – 200 seats already snapped up – so get in fast: sundayassemblycanberra.eventbrite.com.au. BACKYARD BEE KEEPING WHAT: Introductory Workshop WHEN: Thu Jan 23 WHERE: Canberra Environment Centre If you’ve always thought of bees as just those bugs that make an annoying sound, that could probably take over the world if they managed to organise a co-ordinated attack on the world’s super powers – well, maybe it’s time to get over your fears like the rest of us. Backyard Bee Keeping is an introductory workshop run by the Canberra Environment Centre that’ll teach you how to keep your own bee hive, harvest your own honey and improve the pollination of your garden crops at the same time. It’s simple, and not in the least bit scary. The workshop runs from 6–8pm, and costs $20. Book at ecoaction.com.au.

Image credit: D-Eye Photography

DIE FRINGE BURLESK! WHAT: Fringe 2014 – Burlesque Show WHEN: Fri Feb 7 WHERE: Civic Square The 2014 Canberra Fringe is rapidly approaching, and The Sass & Tease Collective are set to bring us the best night of burlesque Canberra has seen in years – and that’s saying something! Set to be massive, hilarious and yes, absolutely sexy, performers will include Ivy Ambrosia, Tiffany Blue, Abel Fox, The Sass and Tease Collective. Jordan Best as “Venus De Milo” and comedy from Jay Sullivan. Plus locals Little Mac and The Monster Men will be bringing down more rockabilly than you can even begin to handle. The show kicks off at 8:30pm, and entry is free. Head down to the Fringe mainstage so you don’t miss out!

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

UNINHIBITED I had a week off work over Christmas, so I thought I’d take the opportunity to chat with my favourite manmade lake, Lake Burley Griffin. LBG told me how he felt about the Centenary and what he’s looking forward to this year. Pete Huet: Hey LBG, thanks for taking time out of your schedule to talk to me. How’s it going? Lake Burley Griffin: Hey Pete. Well, I’ve got a bit of an algal bloom around my West Basin but otherwise not too bad. This algae season’s been pretty nice to me so far. Can’t complain. PH: So the Centenary is over. How was it for you? LBG: I thought it was pretty cool. Really dug seeing The Church on Regatta Point. From Almost With You to Unguarded Moment. Perfect. I don’t get much of chance to get out so it was even more special for me – although having the champagne bar along the south side, that day made me kind of nervous. A bunch of folk just staring at you, you know? Gave me ripples. Enjoyed Skywhale. Big Piccinini fan. Also, it scared the shit out of the carp. Fucking hate those guys. Fireworks were pretty good. Better than bloody Skyfire – I mean, Skyfire displays are always good but the music is so shit, you know? PH: Sure do. Anything you’re looking forward to this year? LBG: Really stoked about David Sedaris coming to town. BIG FAN. Just having him cross over the bridge a couple of times will be an honour. I’m also looking forward to that Enlighten festival again, makes me pretty round the edges. I hope they bring back those giant glowing fish bikes – the carp hate those as well. Fuckers. And, as always, I look forward to triathlons. Good to have a few people swimming through you, you know? Especially when everyone else just thinks you’re too filthy to get in. And people just say that in front of me all the time! “Wouldn’t want to swim in that, would you?” I’m like, “Well, dude, you look like you’d have a bit of an invasive species problem yourself,” if you know what I mean. PH: Not sure I do … LBG: I was suggesting he had an STD. PH: Oh, right … Anyway, do you remember the time I got run down by a cyclist when I was walking across Commonwealth Avenue Bridge? LBG: Do I ever? ! That was hilarious! I laughed so hard a little bit of water went over my dam. I was watching a fire truck heading south – anything to break up the day, you know? – when that guy just went straight up your back. BOOM! PH: Yeah, he was watching the fire truck as well. LBG: Haha. You were the only two people on the path. Hilarious. PH: Thanks man … Anything you’d like to add? LBG: They have to bring back the Birdman rally. That thing was the shit. I suppose they’re worried about all the OH&S crap nowadays, but can’t they just get the idiots to sign release forms? That rally ruled, you know? PH: It sure did. Thanks for talking with me. LBG: Thank you. Pete Huet petehuet@yahoo.com

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Brian Ritchie of Violent Femmes by David Burke

Falls Festival 2013, Marion Bay, TAS

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the word

on albums

But there’s real heart underneath the smart-arsery. ‘J Smoov’ is essentially about a middle-aged affair, cut in half with a wonky trombone solo that eventually becomes confident and magnificent, while ‘Houston Hades’ has a refrain that will have listeners banging the wheel of their Subarus all summer. ‘Shibboleth’ is his best take on post-new wave ‘80s headrush action since ‘Perfume-V’ from 21 years ago, and ‘Chartjunk’ is a swinging amalgam of Randy Newman, Billy Joel and ‘Gardenia’ from Malkmus’s (outstanding) 2008 record Real Emotional Trash.

album of the issue stephen malkmus & the jicks wig out at jagbags [matador] “I’m not contractually obliged to care”, sings Stephen Malkmus on his sixth post-Pavement record. No shit. Not caring (whilst secretly kinda caring) has been the indie godhead’s leitmotif since conception. But don’t take it for wisdom, or even a message. Elsewhere on the magnificently titled Jagbags, he sings, “livin’ in this yurt, everybody hurts, there’s no central heat”, and, “I’ve been trippin’ my face off since breakfast”. Don’t look too hard for meaning. Let it happen upon you as your mind clears to the sound of another mega-riff. I read a piece comparing Malkmus to Lou Reed, in that both were the brains behind hugely important, culturally relevant bands whose solo careers were all about indulging their sonic whims over trying to continue on the cutting edge. It’s true. Malkmus has been flying his freak-folk flag via proggy jams and off-kilter pop since his first solo LP back in 2001, and listeners hanging on for something Pavement-y are missing the point. Malkmus is 47 now, a settled father of two, and this record sounds exactly like the record a man in his position would make: a hall-of-famer with nothing to prove making mischief in the basement. This is an LP for Jicks fans more than Pavement geeks. Its comfort might annoy, and the time signature madness and endless guitar boogies might rankle.

That’s been a trick Malkmus never gets enough credit for: taking the rough, uncool end of the American songbook and filtering it. There’s as much Creedence and Jackson Browne in Pavement as there was Bongwater and The Fall. Since 2000, the palate has filled with your Jethro Tulls and Marillions, long form mystic widdlecore. But that’s okay when you phrase the Stonehenge-isms with a raised musical eyebrow, and more so when you infuse it with a little Tago Mago-era Can, as on monolithic opener ‘Planetary Motion’. A couple of tracks get lost – ‘Cinnamon & Lesbians’ is a little too cute, while ‘Independent Street’ teeters on the awesome/ridiculous axis. ‘Rumble at the Rainbo’ pokes a little more fun at the punk rock lifers it chronicles/ satirises than necessary, but it cracks along at enough of a clip to redeem itself. That number is one of many referencing middle age, the least rock of rock subjects. But Malkmus is happy to reference his present and his past in equal measure. The magnificent ‘Lariat’ looks back to a pre-Pavement time, where SM and Bob Nastanovich are wasted in a University of Virginia dorm, listening to records from “the best decade ever”. It’s a late period classic. The key thing about Jagbags though is the joy in its presentation. So much so that it makes previous Jicks albums seem a little dour. More than any of his solo/Jicks efforts, Jagbags sounds like its maker is comfortable with his lot. He probably doesn’t care, but he can afford distance because he knows there’s enough of an audience following every move. A good thing, and a solid introduction to 2014. GLEN MARTIN

gossling harvest of gold [dew process] It’s surprising to learn that this is indiepopper Helen Croome’s, aka Gossling’s, debut LP – but her previous releases were all EPs. Gossling’s voice is immediately identifiable, with its cute, slightly squeaky tone. Apart from sounding special, her charming voice is ideally suited to exploring tender topics such as the sweet sadness of the transient nature of relationships. The songs had a difficult birth, written largely in Melbourne after an attempt to get in touch with her muse in Tassie failed to produce results. There’s more to the songs than the expected relationshipcentred lyrics, as ‘Vanish’ expresses the anger and anguish Croome felt following the murder of Jill Meagher. Although usually soft and gentle in her delivery, this song demonstrates that there’s a restrained power behind that voice. Gossling’s album brings on board alliances with other singer-songwriters, including UK producer T Jay who co-wrote the title track. There’s a clever collaboration in ‘Songs of Summer’ too, combining Gossling’s fragile delivery with the power of Sparkadia frontman Alex Burnett. In the opener ‘Big Love’, the music comes as gently as random ideas from a daydream, before plunging strongly into the chorus. Other highlights are ‘Harvest of Gold’, infused with a warm, bright glow, and ‘Challenge’ with its direct demands made to a disco beat. A musically rich album, Gossling creates a retro sound through the use of the Farfisa organ in ‘Never Expire’, and builds a lush sound through the inclusion of orchestral strings in ‘That Feeling’. The album marks a big step in Gossling’s career, as she moves from a simple folky sound to a full-bodied electro-pop one. All of a sudden, she sounds a lot more grown up. rory McCARTNEY

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the bennies rainbows in space [poison city records]

various artists late night tales – bonobo [late night tales/emi]

the avett brothers magpie and the dandelion [universal republic records]

Melbournian four-piece The Bennies combine a little rock and a slice of punk with strong reggae influences. The notes to their second LP hint at their madcap approach, but do not fully prepare you for the frontal impact of their sound. For their style, think of Bluejuice, but with a more untamed character, a stronger reggae influence and a sound that’s a little rough around the edges.

Although UK-based downbeat producer Simon Green emerged back in 2000 as Bonobo on the Ninja Tune label, and quickly attracted a devoted following, it was his 2010 album Black Sands that really propelled him to a much larger audience – aided in part by the use of his music on a high profile car ad the same year.

North Carolina bears the doubtful distinction of providing more American Idol finalists than any other US state, having NASCAR racing as the state sport and being the birthplace of Krispy Kreme. It’s also the home of folk rockers The Avett Brothers, consisting of brothers Scott and Seth and assorted hangers-on.

In the wake of Bonobo’s recent sixth album, The North Borders, this latest volume in the Late Night Tales mix series sees Green crafting a 75-minute-long selection that manages to touch on both his influences and peers over its 21 tracks. What’s particularly noticeable about this mix is the way in which it manages to entirely avoid electronic music for much of its running length. Indeed, the entire first half sees Green focusing upon (occasionally vintage) funk, classical and soul. Dustin O’Halloran’s ‘An Ending A Beginning’ opens proceedings here with a gentle classical piano piece, before Bonobo’s own gorgeously understated cover of Donovan’s ‘Get Thy Bearings’ unleashes the slow majestic jazz horns and Nina Simone’s ‘Baltimore’ injects a melancholy reggae soul feel.

Listening to Magpie and the Dandelion, their eighth studio CD since their 2000 formation, there is less rock but more folk, country and even a little more pop apparent in their style. The band has easy to listen to melodies, capable musicianship and nice voices (if a little mournful at times), but that’s about it. Opener ‘Open-Ended Life’ provides an uninspiring introduction. Despite the best efforts of a playful banjo, enthusiastic harmonica and crafty fiddle playing, it comes across as wholesome, mass-produced US country folk that would be ideal background music for chugging down a Bud in some western-flavoured bar. ‘Morning Song’ brings to mind cosy sentimentalist songs that appear in the more poignant moments of Hollywood movies with a rural aspect. The songwriting is ordinary, becoming corny in ‘Good to You’, and with the lyrics to ‘The Clearness is Gone’ (the only song with some serious electric guitar) aspiring to Christmas cracker joke quality.

Themes are simple: live wild and enjoy yourself. There’s a nice flash of local suburbia in song references too, singing about Collingwood, the Westgate Freeway and the girls of Frankston. One thing it’s guaranteed to do is make you cheerful, as this (almost) angst-free zone is a thorough celebration of crazy fun. A real party band, they’ve written songs with shout out lyrics made for sing-alongs, and the extreme energy levels are a natural accompaniment to either enthusiastic moshing or frenzied dancing (although keeping up with the high tempo would be challenging). From opener ‘Party Smashers’ with its keyboard hailstorm and yelled vocals, to the horn-boosted reggae of ‘Sensi-mi’, to the punk storm of ‘It Goes Without Saying’, to the celebration of toking (with the mood upped by some vinyl scratching from DJ Snes Mega) that is ‘Let’s Go Get Stoned’, it’s all literally a blast. ‘Knights Forever’ stands out, capturing the unreal feeling of the endless potential and immortality of youth. You can be confident that the band will really sound just like this live, because they recorded the album in one room, with one mic and no over-dubs. Not a bad effort when you consider the high quality of the recording. It’s also in keeping with the band’s values of unvarnished honesty and no-frills partying. rory McCARTNEY

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It isn’t until halfway in that traces of more contemporary electronics begin to rear their heads, and even then it’s only a fleeting glimpse. Romare’s ‘Down The Line’ brings in the buzzing bass synths and handclaps, before Shlohmo’s ‘Please’ takes things down into more abstract hip hop grooves, with Lapalux’s ‘Gutter Glitter’ dropping things into dreamily layered samples. From there, though, it’s a quick turnaround back to the more classically oriented sounds, with the tasteful piano arrangements of Bill Evan’s ‘Peace Piece’ drawing things to a close. Gorgeous, and free of anything approaching an obvious track. chris downton

The poppy, bright album single, ‘Another is Waiting’, with Mumford overtones from the banjo, is an improvement. Better songs also include the acoustic plucker ‘Part From Me’, ‘Skin and Bones’ with its rambling banjo and ‘Souls Like the Wheels’, recorded live in St Louis. The theatrical, piano-led ‘Vanity’ is the only song with any real mojo. Overall, the album is unexciting and lacking in character. It’s like Maroon 5, but with banjos. rory McCARTNEY

pretty city heights ep [independent]

peshay generation [tru thoughts]

jordie lane not built to last [vitamin records]

The debut EP from Melbourne three-piece Pretty City, with song titles stamped on the plain white surface of the disc, has the hallmarks of a new band struggling to make good. However, there’s a lot of promise in this no-frills package. While their earlier single ‘Ignoring My Friends’ was slow and cruisy, their EP ramps up the pace, with oblique vocals delivered in mushrooming echoes against a wall of fuzzy guitar. However, the riffage comes through crisp and razor sharp.

Mention the name Peshay around an ageing junglist and they’re likely to suddenly get a faraway, dreamy look in their eyes. During the late ‘90s, Peshay (real name Paul Pesce) was one of the most innovative figures operating amongst the UK’s then thriving drum ‘n’ bass scene – a veritable secret weapon amongst Goldie’s Metalheadz roster and the man behind club smashes like ‘Predator’ and ‘On The Nile’.

While he was raised by a comedian and a professional clown, Melbourne singersongwriter Jordie Lane forsook both theatre and circus tent for a different stage. Attracted to guitars from an early age, he officially launched his roots career in 2009 with the LP Sleeping Patterns. His fourth release, Not Built to Last, has seen him progress from the one man effort of his previous album to recording with a full band from Nashville. Down tempo, it tackles sombre themes of the trials of love and the shortness of our time on earth. Lane keenly draws on the ideas of other song writers, including fellow Victorian Brendan Welch.

The opener, ‘Falling in and Out of Love’, has a bold start followed by a cross-hatching of powerful, appealing grooves. Cavernous echoing vocals create wide aural vistas, their sleepy tone in stark contrast to the thrashing guitars. Beneath it all, there’s a solid rhythm to sway to, provided by the strong underlying bass line. ‘If Fire Dies’ comes across at a measured, dreamy pace, curling towards you with the deceptive slowness of a path of tracer bullets. The shadowy shoegazer’s veil is drawn apart for a clear delivery of multiple catchy riffs in ‘Everyone’s Favourite Song’. The tune of the lyrics of may sound like The Radiators’ 1979 hit ‘Comin’ Home’ but the rest of the song is radically different. ‘Spinning’ offers bold guitars of which Gyroscope would be proud. Leaving the best until last, ‘Broken Bones’ is the CD highlight. The main vocal retains its appealing fuzzy melodiousness, with great backing singing in the chorus and a disintegration into multiple psychedelic facets at the death. Recorded with the aid of Jez Giddings, who also worked with rock up and comers Kingswood, this is an exciting debut that combines garage vibes with shoegaze and a little psychedelica. rory McCARTNEY

While he’s survived record company shenanigans and continued as an enduring presence on labels like V Recordings, though, this latest album for Tru Thoughts, Generation, sees Peshay dropping the junglist styles entirely in favour of a collection that’s far more rooted in jazz, disco and vintage funk. With a strong emphasis on live instrumental performances, the loose, free-flowing vibe here is often closer to the likes of The Herbaliser than anything else. There’s also a focus on crate-digger-friendly breaks, with ‘Indigo’ offering up a chase scene-worthy retro-funk shuffle that fuses sinuous Moog grooves to fluid snare breaks and rolling bass grooves – all in a manner likely to delight old Mo’ Wax heads. ‘Seville’ meanwhile brings the rolling Latin discohouse rhythms to the forefront, as 4/4 snares and clattering batucada percussion power away beneath majestic Cuban horns and a fluid samba bassline. ‘Kickin’ It With The Piano Trio’ takes things off on a snaking freeform jazz wander that sees Bill Evans-esque piano fills trading shots with descending double-bass runs and a rush of hyper-dextrous cymbals. With a virtual absence of electronics, it’s perhaps the track that best highlights Peshay’s intention to step out of his usual square, and while there’s the occasional tepid moment here, overall these are pretty quality vintageminded grooves.

Two things are immediately apparent from Lane’s voice: the quality of his timbre and the strong accent. He sounded more like a Melbourne lad in older material such as ‘Old Quarter Town’, but now comes across with an accent that is almost more Stateside than mid-Pacific. This is a great roots EP, vocally amazing and sonically rich with the sighing of steel guitars and the throaty rumble of a Hammond organ. Every song is a pleasure. ‘Dead of Light’ dazzles with long held notes in the vocals, smoothed by backing singing from Clare Reynolds and a rich, varied musical arrangement. ‘Lost in You’ showcases the beautiful, soulful vibrato of Lane’s voice, as does ‘Think I Always Thought’ with its ambling, can-kicking melody. However, Lane’s overtly US tone brings to mind John Williamson’s recent comments about the Americanisation of Australian country music. The singing style may be in keeping with Lane’s recent homebasing in LA, but this EP was a strange project to have been released with the aid of Arts Victoria. rory McCARTNEY

chris downton

@bmamag

rose cousins we have made a spark [Old Farm Pony Records/ Vitamin records] Something of a big wheel in North American folk circles, Canadian singer Rose Cousins has kept a foot in each camp, being based in both Eastern Canada and Boston. A multi-award winner in recent years, her third album We Have Made a Spark scored her the 2013 JUNO gong for Solo Roots and Traditional Album of the Year. A strong promoter of her craft when touring, she almost always invites local acts to appear with her on stage. Cousins belongs in that rare category of singers who can imbue every word they utter with a bold hue, more like varied tones in a grain of wood than a single, solid colour. Her strong accent accentuates this effect and backing vocals are placed perfectly to make the sound even richer. When at her best, Cousins is spine-tingling. The slower, piano-driven songs tend to be her best work in an album which, varying from cruisy to sombre in tone, is an easy listen. Masterful at channelling emotion, it’s easy to see why snippets of her songs are popular with TV shows when it comes to reinforcing the most dramatic bits. Cousins knows how to create a powerful vibe by leaving words hanging in space as a song closes. All tracks are her own work, except for a cover of Springsteen’s ‘If I Should Fall Behind’, performed as a duet with Mark Erelli. Notable tracks include the banjo and dobrotickled tune ‘The Darkness’, ‘The Shell’ with its subtle backing vocals and ‘Go First’ with its elegant string quintet in support. Best of all is bonus track, ‘All the Time it Takes to Wait’, as Cousins joins her choir to create a song of ghostly beauty. rory McCARTNEY

zika solaris [independent]

sex noises birds of paradise [cinnamon records]

What did you do over the Canberra winter: ski, or curse the cold and order another hot chocolate? Local singer-songwriter and multi-instrumentalist Zika Vuletic was busy writing material for his debut CD, recorded at Broken Knee Studios. It was engineered by Cub Callaway (past member of The X-Men and The Saints) whose other recordings include TV Colours, Danger Beach and (way back) The Triffids.

Four songs. Ten minutes. The exemplification of short, fast, loud. Not oversimplifying it, just not overcomplicating it. Local band Sex Noises return with their second EP, building on their last release Clovers. Sex Noises show a bit more range on Birds of Paradise, still going hard and fast where necessary, but not being afraid to change it up every now and again for dramatic effect. The drums hit hard throughout, but there is occasionally respite from the madness.

Influenced by the experimental, ambient work of Brian Eno, Zika’s material is atmospheric, evocative and free-flowing, giving it the quality of music that has no horizons. This ability to conjure up a feeling of stellar distances ties in perfectly with the theme of isolation captured in opener ‘Solaris’ (named after a Russian sci-fi film). Keyboard driven, its soft, slow vocals flow on a tide of synths. The equally floating ‘Drifter’ changes tack, employing a collage of twangy guitar plucks (including Cub on slide guitar) to present its introspective message. The style morphs again with a more garage/punk vibe to the CD highlight, ‘Angels Speak @ Broadband Speed’ (or does that mean NBN speed now?). ‘Faster than Thought’ combines these approaches with a mix of guitars and keys in variegated rhythms, with Carol Wapshere’s violin adding extra richness at the finish. ‘Wrecking’ presents a helter-skelter of random keys and electronica as part of a selection of sounds. This ambient style is crafted to enable the music to be enjoyed at varying levels. You can use it as background music, latching onto whatever specific melody takes your fancy, or immerse yourself in it totally. Don’t be spooked by apparent track lengths on the CD cover, as the timings are cumulative, and the songs are not lengthy for this genre. rory McCARTNEY

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Sex Noises go the punk/hardcore route on Birds of Paradise, but a bit more specifically they hit some of the same marks as early Riot Grrl bands like Bikini Kill and Heavens to Betsy. The best moments on Birds of Paradise occur when they leverage their dynamics and look towards slight changes in sound and speed (e.g. ‘Visions of Darkness’). Tension builds through most of the tracks, and when the drums finally hit it everything comes crashing down. The clear highlight on this EP is closer ‘Grim Reefer’, with Anja Loughhead’s impassioned cry of, “Inhale/ Exhale/ It’s hard to take”, cutting over the nimble-yet-hollow guitar line sitting underneath. Paranoid overtones play throughout the track, which is understandable given the subject matter. Birds of Paradise is a touch messy at times, and over-exuberant in parts, but that’s more a product of the recoding than the songwriting. It’s clear that there are some really good ideas on display here, but sometimes they are a little bit reluctant to show themselves. Birds of Paradise sees a young band starting to push the boundaries of what they do, if even by just a bit, and they come out the other side better for it. cody atkinson

little stevies diamonds for your tea [Love Your Records]

frankie rose herein wild [Fat Possum Records/Caroline]

the bamboos fever in the road [Pacific Theatre]

Folk-poppers The Little Stevies are Melbourne sisters Beth and Sibylla Stephen. Diamonds for Your Tea is their third LP, but the first created since the departure of band member Robin Geradts-Gill, which shrunk them in size to become a duo. The album was recorded in their home studio, with at least one song captured using the acoustics of their bathroom.

An escapee drummer from (amongst others) all girl band Vivian Girls, New Yorker Frankie Rose has released her third solo album. If the thrashed guitars and pounding drums at the intro to opener ‘You For Me’ get you slavering for a little garage rock, then get a tissue to mop up the drool. The unfolding, floating vocals will soon dispossess you of that notion.

It’s been a long haul for Melbourne band The Bamboos. Starting in 2000 as an instrumental covers outfit, they created original music, increased their vocal content over time, added Kylie Auldist and then Ella Thompson as principal vocalists, before making their mark at the 2012 ARIAs.

They had their hearts on their sleeves writing this one, with a lot of self-revelation and some skeletons from the family history used as creative material. ‘Shattered Dreams’, based on the life of their maternal grandmother, is a song of survival over the hardships of paternal death, single motherhood and domestic violence. It is unusual material for a young folk band. The title song grew from Sibylla’s experience of new motherhood, and ‘I Hold My Breath’ is a brave exposure of Beth’s feelings about the emotional desert that lies between good relationships. Individually, the girls have charming voices. Combined in harmonies, they sound terrific. ‘Easily Swayed’ demonstrates their ability to produce elegant arrangements with a base of determined percussion decorated with a trickle of piano, dabs of guitar and swirls of floating backing vocals. The ladies sound their best in the brightest, most lively songs, making the opening title track and ‘Thunder’ the CD highlights, although they also impress with the slower track ‘Wish to the Water’.

This is a synth-pop record of predominantly hazy guitars and singing that has the edge taken off it with mild echo effects. (Fortunately, Rose has not taken the distortion to the limits of her old band, which released one EP with all the acoustic qualities of having been recorded in a tin bucket.) The echo fuzz tends to rob Rose’s voice of emotion, resulting in a somewhat plastic feel. ‘The Depths’ gets the trophy for CD highlight, armed with a solid bass rhythm and catchy chorus. Other winners are ‘Question/Reason’, ‘Heaven’, with its nod to ‘80s synth vibes, and ‘Into Blue’ with its Alpine/NYPC flavour. The disco beat cover of The Damned’s ‘Street of Dreams’, with its slashed guitar strokes and shimmering keys, is another strong point, even though the random, slow keys, wedged in at the end like an afterthought, detract from it. Rose would have done better with some shorter song lengths. Upbeat despite its title, ‘Sorrow’s bright guitar plucks and alternating bouncy/ dreamy rhythms would have everything going for it as a short, sharp pop song. However, it drags on too long, blunting its impact.

Endearing as the rest of the songs are, with the sisters’ sweet voices and the beaut lyrics, there is a limited amount of “spark” in the album. It is not strong when it comes to memorable melodies or catchy rhythms. Diamonds for Your Tea would make great easy listening background music for your local hipster café.

The album takes a few plays to get into, but give it a chance and the strength of the rhythms and the appeal of the catchy melodies grows on you. rory McCARTNEY

On their sixth studio LP Fever in the Road, The Bamboos avoid the featuring of guest vocalists which marked their previous release Medicine Man. In corporate speak, this has strengthened their “brand” as a genuine vocal group, rather than a loose collective. The two vocalists complement each other perfectly, with Auldist’s strong, deep tones well balanced by Ella Thompson’s brighter, bouncier voice. The track list keeps the vibe varied, with the lead vocal role alternating between them. While guitarist and keys man Lance Ferguson is listed in the PR as the band’s third member, they worked with ten other musos when recording various tracks. The Bamboos are best known for their soul and funk emphasis, but this latest album has a strong pop feel. Album highlight ‘Avenger’ flies the pop flag proudly with its angular guitar notes. Thompson’s singing of ‘Helpless Blues’ injects some funk while retaining a pop core. Auldist cranks up the funk level with ‘Rats’, with a catchy riff from Ferguson in the verses and hammered chords on the keys in the chorus. Soul makes a strong appearance in ‘Jump My Train’, while Auldist gives a forceful delivery in the stiletto strutter ‘Leave Nothing Behind’, with some strings thrown in for dramatic emphasis. Other highlights, ‘Harbinger’ and ‘Looking West’, both delivered in Thompson’s floating tones, indicate that The Bamboos’ funk and soul credentials are being increasingly blurred by a pop influence. rory McCARTNEY

rory McCARTNEY

@bmamag

singles in focus by cody atkinson Sweet Shoppe ‘Apartment’

party gravy party gravy [independent]

midlake antiphon [bella union]

There was a rush of brass-dominated releases in 2013, including Adelaidebased Crump Cake Orchestra and our local Brass Knuckle Brass Band. Another ACT outfit to get into the tubular metal scene is Party Gravy. Night time city goers will recognise the CD cover location as an alcove of the Sydney Building during one of its quieter moments.

What do you do when your frontman leaves after two years working towards your fourth album? In the case of Texan psych-folk rockers Midlake, they elevated guitarist Eric Pulido to lead vocals, junked the recordings and started over – writing and laying it down in six months.

Produced with the aid of crowd funding via a Pozible campaign, the band’s debut album was laid down at local Hi-Hat Studios. As with other brass band releases, the appeal of pure instrumental pieces is limited. Party Gravy does score better than average with the energy and sprightly nature of its compositions, though. ‘Pilot’ kicks off the album with a bold fanfare and a carnival of brass, with a constantly varying melody and rhythm. Their perky tunes possess a distinct danceable quality. However, like the Crump Cake Orchestra, the limiting factor with Party Gravy is the lack of vocal input. You can only marvel at skilfully manipulated trumpet valves so often before it starts to all sound the same. Party Gravy restrict the vocals to background party noise in the opener and ‘You Schmooze You Lose’, with some galvanising whole-of-band shout outs in ‘Hot in Here’. It’s surprising the positive impact even a few shout outs can have on a track. Band singer Patrick Langdon finally hits his stride in a cover of the Gospel number ‘I’ll Fly Away’. The singing is a bit slow and dirge-y, but the instrumental injections keep the track lively. Patrick does not get a second go. Without a greater vocal contribution to their material, this is a genre enjoyed better live than on a disk. rory McCARTNEY

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The band cites Radiohead, Pink Floyd and Jethro Tull as influences, and shades of the first two bands are evident in the moody atmospherics of the LP. However, while Midlake use Jesse Chandler’s flute to add depth to some tracks, it goes nowhere near the manner in which Jethro Tull made a gambolling, energetic flute the central feature of some of their material. Midlake favours sombre tones and off-beat rhythms and effects which alter song tempos. The title track is characterised by long, drawnout vocals which give the song an out-offocus feeling. The atmospheric ‘Provider’, one of the better tracks, uses syncopated percussion and delays to give a spaced-out vibe. However, its reprise at the end of the album is rambling and drab. The two-faced instrumental ‘Vale’ kicks off softly with flute and strings, before flipping to guitars screeching like scorned harpies and then wrapping up with a psychedelic finish. CD highlight ‘This Weight’, a mellow track with more syncopated drumming and slashes of acoustic guitar, comes late in the album. In prog rock style, songs tend to be longer to give them the opportunity to morph as they advance. However, in cases such as ‘The Old and the Young’, this only causes an initially attractive sound to lose its appeal as it drags on. While Antiphon has its appealing features, appearing briefly like bright blooms in a mottled, grey landscape, this is an underwhelming record. rory McCARTNEY

A new year means a new Canberra band to listen to, and this time it’s Cinnamon Records’ “supergroup”, Sweet Shoppe. ‘Apartment’ sees them enter melodic post-punk territory, with delicate melodies off-set by the powerful delivery in the chorus. They probably missed their chance, however, when they neglected to call themselves Morning Sex Slut.

pixies ‘Blue eyed hexe’ So, is the Pixies without Kim Deal still Pixies, or is it just a continuation of the Frank Black/Black Francis solo stuff that occasionally featured other Pixies? Sonically ‘Blue Eyed Hexe’ borrows more from latter era Black than it does from any of the Pixies stuff. Not that it is a bad thing. It just doesn’t sound like the Pixies stuff we grew up with, and that’s fine. People change.

pharrell williams ‘happy’ It’s upbeat, it’s pleasant and it doesn’t push beyond its limitations. It’s not the sort of music that exists as a happy but inoffensive flourish on the radios of millions worldwide as they undergo their daily lives, as alluded to in the 24-hour video clip of this track.

broken bells ‘After the disco’ The man who was responsible for the “song that will change your life forever” (according to Garden State) has gone disco. Or disco-pastiche. This isn’t the song that will change your life. It might not even make you look up if you hear it on the radio. But, because of this, it will probably get played on the radio. It fits with the here and now, which always seems to happen with Danger Mouse and rarely so for James Mercer.

the word

on films

WITH MELISSA WELLHAM

Well, Boxing Day was a bit of an anticlimax, eh filmgoers? In recent years we have been treated to more Oscarwannabe and big blockbuster fare than turkey stuffing on Christmas Day. And this year? A little Hobbit here, a little Walter Mitty there. Nary a musical about death and tragedy during the French revolution in sight. Thankfully, January already looks to be a bit more interesting, with The Book Thief, Her and The Wolf of Wall Street out soon. Onwards!

quote of the issue “I am fire. I am death.” – Smaug (Benedict Cumberbatch), The Hobbit: The Desolation of Smaug

the hobbit: the desolation of smaug In 2013, I called The Hobbit: An Unexpected Journey “a disappointing failure that was so long I had to leave the cinema three times to purchase extra choc tops just so I didn’t starve”. (I’m paraphrasing here.) Thankfully, The Hobbit: The Desolation of Smaug is much better than its predecessor. While this instalment will still leave you thinking maybe Jackson read The Neverending Story instead of the very slim The Hobbit (only five of the book’s chapters make it into this movie), and while the film suffers slightly from “middle chapter syndrome” (its parents never showed it enough attention), it’s a lot less draining and dull than An Unexpected Journey. Not only will The Desolation of Smaug undoubtedly teach hundreds of teenagers the meaning of the word “desolation”, this instalment is a lot more confident and exciting. As ever, Jackson’s style is visually resplendent, and his more complicated chase scenes and fight sequences are delightful to behold. Watching the dwarves and Bilbo battle a troupe of Orcs while riding down a river in barrels is a particular highlight.

frozen

What the American public wants is a tragedy with a happy ending. That line belongs to the author William Dean Howell. If Mr Howell was alive today, he’d be chuffed with Joel and Ethan Coen’s Inside Llewyn Davis, a film that embraces failure in a beautiful way.

Elsa (voiced by Idina Menzel) is the Queen of her kingdom – however, unbeknownst to all, she has magical powers. But when Elsa starts to lose control of her powers, she accidentally puts her entire kingdom under the spell of an eternal winter, and so she flees. (As you do.) Her plucky, optimistic younger sister Anna (voiced by Kristen Bell) sets off on a journey with cute loner Kristoff (Jonathan Groff) and his reindeer Sven to find her sister and bring her back. Along the way they battle magical ice creatures, snow storms – and learn the obligatory moral lessons about family, friendship and love.

In 1961, Llewyn Davis (Oscar Isaac) is a folk singer with no money who resorts to sleeping on the couches of acquaintances while salvaging his career. From the ground floor of the American folk movement, the Coens tap into the ultimate story of the man that never was. The Coens examine Davis’s condition as a man clouded by depression, and their intention is aided by moody visuals from cinematographer Bruno Delbonnel. An unexpected wave of comfort does come from Davis’s journey. No matter how bad it gets, there is another day, another stage and another chance for Davis to try again. Never is the character suddenly reborn as an improved person; a credit to the Coens’ scripting and delivering a wonderfully honest account of a knockabout character.

Here’s hoping Jackson can maintain the pace in The Hobbit: There and Back Again.

The beating heart of the film is the luscious songbook constructed by music producer T-Bone Burnett and performed beautifully by the cast. You’ll also notice that it’s Isaac’s voice on most of the music, and it’s one of many outstanding elements of a sublime leading performance. Inside Llewyn Davis is a masterfully told story and a transcendent piece of filmmaking from the Coen brothers.

melissa wellham

cameron williams

The most thrilling part of this instalment, however, is that we finally get to meet the menacing Smaug. Voiced by Benedict Cumberbatch, the great and terrible dragon is humorous as well as horrible.

inside llewyn davis

A very loose adaptation of the Hans Christian Andersen story The Snow Queen, there’s a lot to like about Frozen. It’s beautifully animated (Elsa’s magic powers and ability to manipulate snow and ice are depicted gorgeously), the writing is smart (although I could’ve done without a heroine who was so desperate to get married), and there’s plenty of singalongs. If you’re one of those folk who walked out of Disney’s last animated “princess” movie, Tangled, thinking, “Golly, there weren’t nearly enough songs in there to satisfy, were there?” – and let’s face it, what selfrespecting adult human wasn’t thinking that? – then Frozen will not disappoint. Frozen is a nice marriage of traditional Disney fare and modern sensibilities – and the female characters might even constitute good role models for young girls. MELISSA WELLHAM

@bmamag

august: osage county

saving mr. banks

August: Osage County, another film in the tradition of tightly scripted stage plays making the transition to film (Rabbit Hole, Carnage), is a triumph. The three Weston sisters – the strong and stubborn Barbara (Julia Roberts); the homely Ivy (Julianne Nicholson); and the flighty Karen (Juliette Lewis) – all return to their family home and their prescription pilladdled, cancer-stricken, sharptongued mother, Violet (Meryl Streep). Far from a happy reunion, complex relationships and old secrets are revealed, and no one escapes unscathed.

A therapist’s couch is replaced with Disneyland in Saving Mr. Banks. Author P. L. Travers (Emma Thompson) expels a few personal demons with the help of Walt Disney (Tom Hanks).

Set in the stifling heat of the Midwest (yes, a metaphor perhaps for an overbearing matriarch), August: Osage County is spectacular – it had me riveted, horrified, enthralled and saddened. Indeed, it takes a reserve of mental and emotional energy. Equally touching and frustrating, Streep is in fine form as the manipulative and viciously clever Violet, demanding your attention throughout. The pivotal dinner scene evokes both horror and fascination, and wouldn’t be possible without the brilliant acting – Roberts shines as the wrung out Barbara, and the solid supporting cast includes Benedict Cumberbatch, Ewan McGregor, Chris Cooper and Margo Martindale. No one is likeable, but they are understandable in their flaws. However, the strong script (by original playwright Tracy Letts) and powerhouse acting is what holds this film together. Worthwhile, though probably too suffocating for some. megan McKEOUGH

After 20 years of negotiating the rights to the novel Mary Poppins, Travers ventures to California in 1961 to finalise the deal with Disney while overseeing the production of the film. As Travers plays hard to get with Disney and his staff, director John Lee Hancock digs into her past via flashbacks to explain her disagreements with the artistic decisions about the adaptation. Scenes of Travers verses the Disney empire are entertaining at first, but become rusty after multiple confrontations, and in her memories you see the relationship with her father overstated to the point of nausea. There is a great story in Saving Mr. Banks, but it’s swimming against the current of Hancock’s laborious handling of the material. Travers is brought to life with pomp and purpose by Thompson, and it’s a fantastically neurotic performance. Hanks looks the part as Walt Disney, but there isn’t much depth to the character because the performance feels vigilantly crafted to ensure the man is represented in the best possible light, so as not to offend the mouse house. Despite the gloss weighing down Saving Mr. Banks, there’s an emotional pull in the scars of childhood and a creator’s bond with their characters. CAMERON WILLIAMS

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the word on dvds

prisoners of war: series two [madman] The first series of Prisoners of War ended with the mother of all teases. Three Israeli soldiers had been held hostage for 17 years; two were released in a controversial prisoner swap, the third presumed bashed to death by a fellow POW under orders from their captors. But after a fraught few months of survivor’s guilt, Uri (Ishai Golan) and Nimrod (Yoram Toledano) now believed their fellow POW was not dead at all but alive in Syria and possibly still in captivity. Fade out. They were half right. Amiel (Assi Choen) – the third POW – is indeed still alive, but living under the name Yusuf and pretty high up the anti-Israeli terrorist chain of command. But that’s not the spoiler or twist for the second season of the show Homeland was based on. The first season toyed with the idea that one of the returned POWs had been turned into a sleeper agent. Haim Cohen, the IDF psychologist in charge of their reintegration, was wary of Uri and Nimrod and spent most the time barely hiding his disbelief in their story. But this time around, Haim (gal Zaid) emerges as the rising star of the show, and obviously the basis of Saul Berenson, as he slowly unravels the truth with plucky supermodel-beautiful offsider, Iris (Sendi Bar). Through Haim’s eyes we see everything beginning to fall into place. And for a show of justifiably damaged people, Haim is the stoic, calm centre around which chaos and duplicity swirls. Even though it occasionally descends into incredulous psychodrama, Prisoners of War is better the second time around, and by steadfastly refusing to give up answers readily it is one of the few true examples of the long game plot development currently on TV. Oh, and obviously it’s a million times better than Homeland.

justin hook

under the dome [paramount] Like many shows that start with an intriguing concept, only to slowly realise they have no idea what exactly to do with it, Under the Dome starts strong and heads for the solid middle. Based on a recent Stephen King novel of the same name, it’s an undeniably neat premise, one that would have surely had TV executives gesticulating more wildly than ever in coke-soaked enthusiasm. One day, for no apparent reason, a gigantic dome descends over a small rural US town like a real life snow cone. Instantly, an artificial barrier is created between townsfolk; families and friends suddenly confronted with a literal and metaphorical division. They can see each other but non-visual contact is impossible. Seriously, the opportunities to explore the concept of separation, otherness and walled communities are boundless, and by all indications that’s exactly what King had in mind when he wrote the book. Part of the problem is that in the TV show, the timeline of the dome’s existence has been extended. This means that new plots have to be inserted and existing ones stretched to their absolute limit. Often the pacing is glacial, which is a real bummer for a show predicated on the notion that answers need to be found, like, quickly. And for a show based on Lost-like mysteries, it finds real difficulty in making the mysteries add up to anything significant – there are too many dead ends. Dean Norris (Hank from Breaking Bad) brings an element of gravitas, but he’s surrounded by cardboard cut-outs – confused small town cop, mystical person, dangerous dude. To be fair, there is still plenty of opportunity left and King continues to give the show his blessing so there is a chance Under the Dome could realign itself. But at the moment, it’s no Fringe. justin hook

the it crowd: the internet is coming [roadshow] It’s been a while since The IT Crowd occupied a place in the upper reaches of the pop culture dialogue. But if anything, this show has shown there doesn’t need to be a large narrative or driving purpose for something to exist. So long as it’s funny and the geek references up-to-date, then that’d be enough. Still, the temptation for a fifth series was always in the background. Show creator Graham Linehan said there’d be one, but it never happened. So this hour-long one-off special is a celebratory lap of honour for Roy, Maurice, Jen and, to a lesser degree, Douglas and Richmond. Actually, when you line up the names of the actors playing those characters (Chris O’Dowd, Richard Ayoade, Katherine Parkinson, Matt Berry, Noel Fielding) you start to get a better idea of why it became impossible for The IT Crowd to continue; all of them – but especially O’Dowd – have seen their careers grow exponentially since the show started nearly a decade ago. Getting them together in a room, much less committing to another series at the right price, would have been the biggest challenge. That’s why The Internet is Coming works so well, allowing the characters just to be themselves with no real pressure to tie things up over multiple episodes. The unifying plot is a viral video that shows Jen “throwing” a cup of coffee over a homeless person and Roy physically abusing a small person nearby. For a while their anonymity is protected, but when a hi-res version is found, the internet takes over. Meanwhile, Maurice wears women’s slacks. The interwoven plot threads, references and developments are all there, same as always. But as the episode ends in shame, as you’d hope, the timing for this farewell feels just right. It’s time to move on. justin hook

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cody Atkinson 1. Australian wildlife is shit-scary to indie rock nerds. Deerhunter were halfway through their first track when Bradford Cox shut it down. The reason why was not a mistake or malfunction, but a giant huntsman. Guitarist Lockett Pundt even thought that the spider in question was a crab. So they’re also not good at identifying potential food sources. However, that didn’t seem to affect Deerhunter through the rest of their set as they ensured the festival got off to a cracking start. 2. Australians love a good obscene chant. Near the end of Dick Diver’s sublime afternoon set of gentle shuffling rock, Al Mountford took the stage for a change of pace, a rant against capitalism during ‘Head Back’. But they committed: a bunch of costume-changing dancers who came out with masks of prominent billionaires. It culminated with a resounding chant of “Fuck Kochie” which reverberated across the amphitheatre. Which leads to … 3. The Boot is alive and well. Attempts on The Boot (a phenomenon where a shoe is taken off and thrust in the air when there is a feeling that the festival has hit its peak) came fast and frequently. Deerhunter got about 50 boots, Helmet got a handful and a few others picked up one or two along the way. But the consensus Boot belonged to Dick Diver in a show of force across the festival. Billionaire dancers who turn into tropical birds is a no-brainer. 4. There is no filler on a festival with only one stage. It felt, during the festival, that there was always something on. Indeed, there was only a two hour break on the Saturday night and not much more on the Friday. It meant that great acts like Courtney Barnett and Baptism of Uzi were forced to blow away the cobwebs with very early starts, and artists like Roland Tings played through tomorrow. 5. The talk about the paucity of females in indie has been greatly exaggerated. Meredith this year had Beaches, Dick Diver, Courtney Barnett and Stonefield, amongst others, to provide strong and literate female voices through the festival. While the men still outnumbered the ladies, the females that were there all provided extraordinarily strong sets.

me feel old) all played well, despite their age and reliance on older material. All four bands sounded fresh, and reinforced that good music is relevant no matter when it was written and first performed. And I haven’t even touched on Nile Rogers and Chic, who were the singular highlight of the festival for many.

The winners received a carton of beer and adulation from the crowd forever. The losers got liberally covered in glitter

7. With one exception …

The Brian Jonestown Massacre nearly entirely operate within the realm of nostalgia. This is not a bad thing, but a seemingly subconscious recognition that their work apes and re-invents the prior art base. It’s hard for a band so big (about nine members) to sound coherent live, but BJM pull it off with aplomb. My personal highlight of the festival. 8. Sometimes lack of phone, internet and dickheads can be a nice thing. Being stuck on a farm is pretty nice, especially if the company is good, the music is loud and the beer is free flowing. Sure, setting up a tent in the wind and rain kinda sucks, but at least the soundtrack is good to back it up, with sound reverberating from the main stage all across the campsite pretty much the whole time. 9. Nude sprints are for either the very brave, very proud or very drunk. Meredith also has Australia’s (least or most, depending on the eye of the beholder) prestigious sprinting race, the Meredith Gift, which has no performance enhancing equipment allowed. Competitors (both male and female) were tasked to run 150 meters around the amphitheatre and race for a stuffed dog wearing a hat. The winners received a carton of beer and adulation from the crowd forever. The losers got liberally covered in glitter. A true win/win scenario. 10. Meredith is ultimately for a good cause.

6. Older bands don’t have to be nostalgia fests.

Meredith has no false excesses – no channel (V) shoving shit down your throat, no corporate sponsors, no exorbitant prices and it allows BYO grog (but very few people overdo it). And all profits from the festival go to help out the Nolan family, for whom it is a benefit concert. It’s a festival “for the right reasons”, and a community vibe runs heavy through it.

Melvins, Beasts of Bourbon, Helmet and even I guess Spiderbait (who have been around for two decades now and, as a result, make

Coming out of my first Meredith experience, I learnt that it is a festival that all live music lovers should go to at least once.

[Meredith Music Festival ‘Galah Logo’ designed by Clemens Habicht.]

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Guitar Wolf, Little Mac and the Monster Men, Bacon Cakes The Basement Wednesday December 4 Bacon Cakes opened the night with his mix of garage rock and sweet ‘60s pop. Incorporating some male/female call-and-response at times, it seems that the live version of Bacon Cakes is growing into their skin. Their decision to close the set with a cover of Cosmic Psycho’s ‘Nice Day To Go To The Pub’ was objectively the right call, because it’s a corker. Up next were Little Mac and the Monster Men. While it’s not what I’d choose to listen to every day as a genre of music, rockabilly serves as a great palate cleanser between bands. And let’s face it, who doesn’t like a bit of double bass? It’s like the normal bass, but double. Word. Little Mac and the Monster Men’s set was tight, but felt a little long. The Guitar Wolf live show is, to put it bluntly, enigmatic. After honing their live show for nearly 30 years, Guitar Wolf are good at what they do, and keep it to that. They’re not gonna throw a hip hop jam in there, they’re just content to keep going with their hard/punk rock. There’s no point experimenting when you have your thing down. Drum Wolf preened his hair on cue in breaks, while Guitar Wolf (the man, not the band) constantly tried to engage the crowd in any way he possibly could. The crowd was alert and ready for a show, moshing and crowd surfing from the first song in. It was good, loud fun with a band who has been having it for a long time. Exiting the building to torrential rain, there was a feeling of contentment and mild deafness. Not a bad combination for a tropical summer’s night. CODY ATKINSON

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Vans Warped Tour Exhibition Park in Canberra Friday December 6

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Most of us who went to Vans Warped Tour hadn’t been before, as the US staple hasn’t graced Australian shores for ten years. Having little in common with the gargantuan US franchise of the event, this year’s incarnation of Vans Warped Tour was a rather stripped-back affair. With three medium-sized stages and the mandatory half-pipe at EPIC, many people were hailing this year’s Vans Warped Tour as Soundwave’s little brother. However, in my eyes it was a bloodied and screaming reincarnated devil foetus ejecting itself violently from the behemoth Soundwave cervix. This year’s Vans Warped Tour played host to slew of huge names, many striking a nostalgic chord with the crowd. Mid-afternoon saw ska legends Reel Big Fish grace the main stage, complete with three-piece horn section, rockabilly quiffs and loud-ass suits. Reception was strong and the crowd bopped as they slipped into fan favourite ‘Beer’. Swedish punk royalty Millencolin thrashed before Canberra with their signature enthusiasm and humour. Playing many songs from widely acclaimed album Pennybridge Pioneers, one pretty little punter confessed that she “cried a little bit” as they performed an acoustic rendition of ‘The Ballad’. Truly substance over scene, it is little wonder Millencolin have remained one of the most respected skate punk bands of the ‘90s. A rejuvenated Bert McCracken, of emo band The Used, rocked a hipster fringe and played with an exciting new energy – playful and exuberant. Taking an opportunity to pay homage to one of his heroes (Nelson Mandela), McCracken confessed his love for the crowd and swore his respect of them. I instantly had an image of Madiba wailing along to ‘In Your Eyes’. Despite their age, The Offspring rocked with all the vigour of their ‘90s selves. Albeit slightly stiff and a little unanimated, the band played tightly and the crowd responded with enthusiasm. My red wine headache kicked in as I pondered the lyrics of ‘Pretty Fly (for a White Guy)’ from the back. In addition to the large international acts, the best of Aussie hardcore was also on show. Crowds moshed hard as The Amity Affliction fucked shit up. Circle pits opened up and the largely male crowd slam danced up a storm to their huge breakdowns. As polished metalcore outfit Parkway Drive hit the stage, I took an opportunity to observe from the back while the beautiful boys from Byron played with near robotic precision. The intimacy of the festival was perfectly suited to the grass roots scene of up-and-coming hardcore. Toga-clad hardcore kids came out dressed as romans to see We Came as Romans. Sydneysiders Hand of Mercy came with ear-bleeding breakdowns, while vocalist Jenna McDougall of Tonight Alive serenaded us with infectious pop punk. Festival-goers came to see if the polarising Michael Crafter (of I Killed the Prom Queen fame) and his second incarnation of Confession could hold up to the first following a very public and bitchy online break-up. Female fans swooned as Canberra boys Hands Like Houses played a solid home game that was perfectly illustrative of why they are making waves beyond ACT borders.

PHOTOS BY DALE WOWK

Canberra put on a perfect day with the sun shining and a light breeze blowing. ‘90s punk fans freed themselves from public servitude for a day and moshed alongside hardcore kids, while old school former emos with regrettable neck tattoos tussled playfully alongside teens who had just discovered the genre. A no-bullshit affair with a shit load of great music, it was the perfect start to summer, which was improved by a distinct absence of festival heads, relaxed security, and the presence of people who wanted to have fun. BAZ RUDDICK

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(The) Melvins, Helmet ANU Bar Thursday December 12 There was a good turnout for the gig, probably caused by the momentum from Helmet’s 2011 show. 24-year veterans, Helmet kicked off with a barrage of guitars, accompanying the gravelly, no-nonsense vocal delivery of frontman Page Hamilton. Bassist Dave Case executed complex chords as his paws leaped back and forth along the frets. Brilliance on stage inspired enthusiasm in the audience too. There was a dude in ball cap, bandanna and sunnies who gave one of the best air guitar shows I’ve witnessed. The Melvins, with a 30-year heritage, were a band with quite a presence. For starters, in a venue not unknown for loud bands, they were a very loud band, featuring twin drummers with complete kits. Then there were the visuals. Frontman and guitarist Buzz Osborne sported a colourful long smock and grey afro, the tufts of which were kept continually erect by a fan. More subtle was bassist Jared Warren, with his cravat and turban of a style worn by elderly women early-mid last century. The Melvins’ music varied from the turgid and heavy to the fast melodious licks delivered by Osborne. All the while, the drummers boomed out the beats – at times synchronised, at times at cross purposes. Mid-set came a brilliant call-and-response song, with no guitars and the vocals only accompanied by subtle percussion. It was dead serious music, with not one word said to the crowd, not even a, “Hello Canberra”. But there was still a powerful crowd interaction. Osborne may have disappeared off-stage at set’s end, but while the twin drummers played a gracefully diminishing pattern of beats, Warren wandered the crowd, administering prolonged hugs to many people. RORY McCARTNEY

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Woodford Folk Festival Woodfordia, QLD Fri Dec 27–Wed Jan 1 Initially I was not keen to photograph Woodford Folk Festival, when asked a few years ago. I, like many, had no idea that it had turned into one of Australia’s largest festivals, with a line-up so varied and eclectic it would be hard not to get swept up in. It didn’t take long for me to get it – check out of reality for a week and take in the best entertainment has to offer, all while eating like a king and dancing like a loon! Woodford is the most comfortable and fun festival, without a doubt; showers, proper toilets, real loo paper – it’s the basics that matter. Getting around the massive site is easy and rewarding, and getting from venue to venue means you go past some of the finest festival food on offer. The standards are high – no dagwood dogs here! Six days of this makes it hard to return to actual reality. Musically, Woodford is not all pure folk. It’s the base, and you get a great spread of music from across the spectrum. Half Moon Run, Beth Orton and Julian Marley headlined the festival, alongside dozens of other acts that you have heard of and many you have not – that’s the magic. You don’t really know what to expect! I will be returning to Woodford in 12 months to do it all again. For a photographer, it’s like shooting 12 months work in six days. How much fun does that sound like?

PHOTOS BY MARTIN OLLMAN

MARTIN OLLMAN

‘Fire Event’ by Martin Ollman; Woodford Folk Festival, Woodfordia, QLD, Wednesday January 1, 2014.

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Falls Festival Lorne, VIC Sat Dec 28, 2013–Wed Jan 1, 2014

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As the Aussie summer rolls on and the disappointing, empty feeling Christmas leaves us with dissipates, the festival season kicks into full swing and hordes of city folk abandon their shitty existence. With a soundtrack of incredible music, I guess for three or four days, that’s what life is. In three beautiful locations, Falls Festival has become the place to be for music lovers over the New Year period. As a lover of booze, music and stinky toilets, it was only fitting that I hauled arse nine hours south to the beautiful surrounds of Lorne, Victoria. With an accidental detour through the middle of country NSW (Jerilderie?) followed by a white knuckle straight shot to Melbourne, I found myself sleeping upon a bed of cardboard with my two new comrades in a Melbourne park. As we took swigs from a silver bag of vino and watched the trains roll by, I knew I was in for a four day adventure at Falls. After acquainting myself with a few warm cups of goon with my new 20-strong group of friends, I found myself dancing in elation to the Hot Dub Time Machine. DJ Tom Loud kicked off the festival with his travelling dance “time machine” – an AV show that gives you a taste of the biggest hits from the ‘50s ‘til the current day. Sunday morning started with sore heads as we awoke in ovenlike tents. The first band on the bill for many of us was The Smith Street Band – a hard-partying and brilliant songwriting folk-punk band from Melbourne. Met with much appreciation from the midafternoon crowd, the band was unofficially elected with the boot. Tuareg guitarist Bombino and band were met with anticipation as they took the stage in full desert garb. Bombino has become hot property on the world music stage, being the subject of a documentary about the geopolitics of Niger and with a second album produced by The Black Keys’ Dan Auerbach. With a beautiful slow cover of Kavinsky’s ‘Nightcall’, ethereal electronic band London Grammar lulled us into a special place as the sun sank. Hip hop soul band The Roots closed Sunday on the main stage, hardcore fans grooving down the front while everyone else dug it from the back. Monday began with the customary hangover, but was quickly quashed with good music and more booze. LA based Hanni El Khatib and band kicked off the day. The garage psychedelia band played with a nonchalant sort of indifference. Backed up by some extremely accomplished musicians, they pulled it off perfectly. Brisbane grungers Violent Soho rocked the Grand Stage, as the screams of a million “YEAH YEAH YEAHS” reverberated pleasantly in my ears. WA band Pond pulled people away from an overrated DJ set in the grand theatre with their psychedelic badassery and weirdness. Neil Finn had the festival in a sing-along with the hits of Crowded House, while The Wombats followed with a contradictory performance – dull songs delivered with energy. Dance punk band !!! (CHK CHK CHK) had a small yet intense crowd, entranced by the hypnotic moves of lead singer Nic Offer, which was a perfect way to end the night.

PHOTOS BY DAVID BURKE

NYE was the biggest day of them all. Edgey songstress Isabella Manfredi of The Preatures hit the stage with a Jagger-like intensity. The crowd went wild as they finished their set with a cover of The Saints’ ‘Stranded’. Despite stripping back to a single drum kit, Wolf & Cub managed to play a set worthy of their old selves, albeit slightly less exciting. Johnny Marr of The Smiths had every hipster in the festival singing along to ‘How Soon is Now?’, as everyone else made that joke about being a fan of Charmed. Bonobo, The Rubens, Violent Femmes, The Cat Empire and Vampire Weekend were our kindred brothers into the New Year. As I found myself slamming beers with my new British friend and two hilarious girls from Adelaide, I couldn’t have been happier it was 2014 and I wasn’t in Mooseheads. BAZ RUDDICK

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Canberra NYE Celebrations Civic, ACT Tue Dec 31, 2013–Wed Jan 1, 2014 It was the best of times, it was the worst of times. It was the blurst of times. New Year’s Eve is a collective event like few others; a night that celebrates the year that was and glimpses at the potential for the future. Most cities swell for NYE celebrations, with people flooding CBDs worldwide. Canberra is no exception. “Fuck art, let’s dance!” Tim Rogers is usually not deemed fit for family consumption. Not in You Am I mode anyway. He drops truth bombs, usually of the four letter variety. But the man can write a song, and his band can certainly play those songs bloody well. The first set rattled off their newer stuff, with the highlights being older tracks ‘Rumble’ and ‘Billy’, and it was punctuated by a cover of ‘Teenage Kicks’ with a guest female vocalist whose name I completely forget. But that second set? Utterly transcendent. It was a collection of all that is good about You Am I. The rollicking tracks, the straight up rockers. The wry sense of humour, dispersing the occasionally serious subject matter at hand. ‘Berlin Chair’, man, ‘Berlin Chair’. And they made a late play for the crowd, closing with brilliant covers of Iggy Pop’s ‘Lust For Life’ and Springsteen’s ‘Born To Run’. The Iggy. The Bruce. The sheer audacity to pull it off, and pull it off they did. But it must be said that You Am I were totally out of kilter with the rest of the night. Oddly, they were the touch of class on a night lacking it. But the family-oriented crowd seemed to be there mostly for the fireworks, and with little kiddies around, you can’t blame them for that. My happiest memory of the night was a dad politely asking me if he and his son could go to the front, because the kid was learning the drums and wanted to watch the drummer in action. That’s kinda what music is all about. Left at an odd end after You Am I, we jumped between pubs after the set, looking for a place to settle. Someone suggested Uni Pub, and somehow it was the idea that got up, probably due to its view of the city of Canberra for the fireworks. Or maybe because one of our group was a touch too drunk. Either way we headed off to Uni Pub for the first time in forever. The view was stunning. The city bathed in light. Sofas backing onto views of the city that no other pub in town can touch. The environment less so. The drinks were glowing under the neon lights. GLOWING FREAKING DRINKS. But you have to take the good with the bad – such are the trade-offs in life. The count was off. Badly off. Then the DJs started yelling “HAPPY NEW YEAR MOTHERFUCKERS!!!” over bad remixes of songs from the ‘80s and ‘90s that we all kind of liked back in the day. And every 30 seconds or so, the DJ tried to get everyone to “JUMP JUMP JUMP, WOOOOOOOOOOOOOOOOOOO!” No-one jumped. No-one WOOOOOOOOOOOOOOOOOOO-ed. It was beauty and horror at the same time. The reflections of fireworks bouncing over the clear Canberra skyline. The sound of aural rape. It was beautiful. It was doomed. CODY ATKINSON

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Summernats 27 Exhibition Park in Canberra Thu–Sun January 2–5 Summernats is an event that divides the ACT. Synonymous with hard drinkin’, bad music listenin’, dangerous drivin’ and boganism, the playground of revheads and car enthusiasts that their beautiful city becomes for three days every year causes many residents of the ACT to recoil at the very thought. Despite the bad press that Summernats has received in the past, the 27th incarnation of the event put many questions of its legitimacy to rest. Tucked away in the confines of EPIC, Summernats 27 wasn’t an event about drinking, hooliganism or tits, but more an event to celebrate the passion motoring enthusiasts feel for a good burnout, a huge engine and an immaculate paint job. Although I didn’t get to see Summernats in its Jack Daniels-fuelled moonlight glory, the final day of the event appeared to be a family friendly affair with, surprisingly, way less dickheads than your average music festival. With the ultimate 200-strong phat lap down Northbourne Avenue, Summernats entrants kicked off the event with a show of ‘appreciation to Canberra’. The three day event rolled on to include Freestyle Grass driving events, ‘Horsepower Hero’ Dyno awards, Body Ink competition, a Supercruise, live music with The Living End and the Miss Summernats competition (won by redheaded Danah Wheatley). The brainchild of Canberra man Chic Henry, Summernats has been roaring into Canberra since 1988. As the years rolled on, so did the general discontent among Canberra residents about the noise and general anti-social behaviour. Canberra resident Allison (the owner of a P6 LTD Falcon) stated that although there is definitely, “the occasional dickhead who does burnouts on the street thinking he is a hero,” the vibe inside the event was in fact friendly and relaxed. With a record 103,000 people in attendance, the event was said to be one of the most “incident-free”. That means that the T ‘n’ A were no doubt confined to the night-time hours, and as such I did not get to witness the display. 11-year Summernats veteran Alex from Ballarat stated that things did get pretty wild in the bars at night – “especially with all that great music.” The annual burnout finals finished off the competition with tyrescreeching intensity. In the blazing Canberra sun, cars of all shapes and sizes hit the pad to whip the audience into a frenzy. For five solid hours, spectators were bathed in plumes of toxic fumes and strips of rubber. The vibe was definitely gladiatorial. One mulletted spectator’s forearms were blackened with fine particles of rubber as he clutched the fence to get as close as possible to the event. Car after car tore down the strip, performing burnouts with such tyrepopping precision that they were nearly things of beauty. The highlight of the burnout competition was the 1979 Ford LTD hearse (complete with 502 big block and 871 supercharger) owned by Joe Gosschalk from Ipswich, QLD. With a number plate that read ‘undead’ and a speaker-lined casket in the back, the silver hearse was previously in the Guinness book of records as the world’s fastest hearse. With my head light from the fumes, my ears ringing from the noise and my stomach butterflied with adrenalin, I realised that it wasn’t ‘us and them’ like many Canberrans believe. The simple pleasure of a burn out transcends all social barriers and unites us. BAZ RUDDICK

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ENTERTAINMENT GUIDE Wed Jan 15 - Sat Jan 18

Listings are a free community service. Email editorial@bmamag.com to have your events appear each issue. wednesday january 15

Art Exhibitions Past.Present.Future

thursday january 16 Art Exhibitions Past.Present.Future

Photography by Mark Mohell. Opens Wed Dec 11, 6pm. 9am-5:30pm (-1pm, Sat).

College Express 5

CANBERRA CITY FRAMING GALLERY

Artwork by Year 11 & 12 students from across the ACT. 10am-4pm. BELCONNEN ARTS CENTRE

Head Full of Flames

Punk in the nation’s capital, 19771992. 10am-5pm (12-5pm Sat-Sun). Free.

CANBERRA CITY FRAMING GALLERY

College Express 5

Artwork by Year 11 & 12 students from across the ACT. 10am-4pm. BELCONNEN ARTS CENTRE

Art Exhibitions

Film

Past.Present.Future

Rocky (PG)

Original 35mm print. 7:30pm. See nfsa. gov.au/arc for info and tix. ARC CINEMA

Artwork by Year 11 & 12 students from across the ACT. 10am-4pm.

Live Music

Chicago Charles/ Live Band (TBA)

BELCONNEN ARTS CENTRE

Chicago Charles & Dave

5pm afternoon session/ 10pm band. Free.

KING O’MALLEY’S IRISH PUB

Alive Fridays pres. Jaytech

CANBERRA MUSEUM AND GALLERY

9:30pm. Free.

KING O’MALLEY’S IRISH PUB

Live Music

Revellers

$10 before midnight.

The CMC Presents …

With Matt Wicking, D.A. Calf, and Fossil Rabbit. 7:30pm. Free. SMITH’S ALTERNATIVE

Something Different BAD!SLAM!NO!BISCUIT! 8pm. Free.

THE PHOENIX BAR

With Yoko Oh No, The Union Pacific, Grenadiers. 9pm. THE PHOENIX BAR

Smith’s Jazz Thursday With The Wayne Kelly Trio. 9–11pm. $10. SMITH’S ALTERNATIVE

Calico Cat

7:30–8:30pm. $5.

SMITH’S ALTERNATIVE

friday january 17 Art Exhibitions Past.Present.Future

Photography by Mark Mohell. Opens Wed Dec 11, 6pm. 9am-5:30pm (-1pm, Sat).

CANBERRA CITY FRAMING GALLERY

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saturday january 18

ACADEMY NIGHTCLUB

King Parrot

With High Tension, Psynonemous, Shadow Queen, Imperilment. Doors 8pm. $15. THE BASEMENT

Yes, I’m Leaving

Punk rock, with Shaking Hell (Melb), The Fighting League and Mornings. 8pm. $6. SMITH’S ALTERNATIVE

Thredbo Blues

The original blues festival. See thredbo.com.au/thredboblues for lineup and tickets. THREDBO ALPINE VILLAGE

Photography by Mark Mohell. Opens Wed Dec 11, 6pm. 9am-5:30pm (-1pm, Sat).

CANBERRA CITY FRAMING GALLERY

College Express 5

Artwork by Year 11 & 12 students from across the ACT. 10am-4pm. BELCONNEN ARTS CENTRE

Live Music Long Reef

10:30pm. Free.

KING O’MALLEY’S IRISH PUB

All In A Year

With No Assumption, Suburban Haze, Office Jerk. 9:30pm. THE PHOENIX BAR

George’s Bux

With Live Evil and Flaming Wreckage. Doors 8pm. $15. Public welcome. THE BASEMENT

Celtic Woman

5:30pm. $99-299 + bf thru Ticketek. ROYAL THEATRE

Thredbo Blues

The original blues festival. See thredbo.com.au/thredboblues for lineup and tickets. THREDBO ALPINE VILLAGE

On The Town Love Saturdays

With The Projektz. $10 all night. ACADEMY NIGHTCLUB

ENTERTAINMENT GUIDE Sun Jan 19 - Thu Jan 23 sunday january 19 Art Exhibitions College Express 5

Artwork by Year 11 & 12 students from across the ACT. 10am-4pm.

Born Of Osiris

With After The Burial. Doors 8pm. Door price TBA. THE BASEMENT

monday january 20

BELCONNEN ARTS CENTRE

Art Exhibitions

Live Music

Past.Present.Future

Thredbo Blues

The original blues festival. See thredbo.com.au/thredboblues for lineup and tickets. THREDBO ALPINE VILLAGE

Irish Jam Session

Photography by Mark Mohell. Opens Wed Dec 11, 6pm. 9am-5:30pm (-1pm, Sat). CANBERRA CITY FRAMING GALLERY

Comedy

Free traditional Irish musicians in the pub. Late afternoon into the night. Free.

Schnitz & Giggles

KING O’MALLEY’S IRISH PUB

SMITH’S ALTERNATIVE

Ben Kelly & Dylan Hekimian

Live Music

MAMA winning guitarist for Smith’s Summer Sounds and Sangria. 3–5pm. $10. SMITH’S ALTERNATIVE

Improvised comedy. 7:30pm. $10.

The Bootleg Sessions

With The Kujo Kings, The Quarters, Space Party, Three’s a Crowd. 8pm. Free. THE PHOENIX BAR

tuesday january 21 Art Exhibitions Future Proof

A super mega art exhibition, with everyone, by everyone. Opens Fri Dec 6, 6pm. 11am-5pm (10am-4pm, S

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Past.Present.Future

Photography by Mark Mohell. Opens Wed Dec 11, 6pm. 9am-5:30pm (-1pm, Sat).

CANBERRA CITY FRAMING GALLERY

College Express 5

Artwork by Year 11 & 12 students from across the ACT. 10am-4pm. BELCONNEN ARTS CENTRE

Something Different Without a Voice 4: All the Lonely People

Shadow House Pits pres. dark cabaret music and theatre. 8pm. $15/12 thru TryBooking. SMITH’S ALTERNATIVE

Trivia Trivia and Spheres with Bondy and Kiers

Arc Cinema presents. 7:30pm. Free. THE PHOENIX BAR

Workshops Music Craft for 5-8 Years

See mfe.org.au for booking and information. 5pm. AINSLIE ARTS CENTRE

wednesday january 22 Art Exhibitions Future Proof

A super mega art exhibition, with everyone, by everyone. Opens Fri Dec 6, 6pm. 11am-5pm (10am-4pm, S

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Past.Present.Future

Photography by Mark Mohell. Opens Wed Dec 11, 6pm. 9am-5:30pm (-1pm, Sat).

CANBERRA CITY FRAMING GALLERY

College Express 5

Artwork by Year 11 & 12 students from across the ACT. 10am-4pm. BELCONNEN ARTS CENTRE

Live Music The CMC Presents …

With Zambezi Sound. 8pm. Free. SMITH’S ALTERNATIVE

Talks An Evening with David Sedaris 7:30pm. $65 + bf thru Canberra Ticketing. CANBERRA THEATRE CENTRE

thursday january 23 Art Exhibitions College Express 5

Artwork by Year 11 & 12 students from across the ACT. 10am-4pm. BELCONNEN ARTS CENTRE

Future Proof

A super mega art exhibition, with everyone, by everyone. Opens Fri Dec 6, 6pm. 11am-5pm (10am-4pm, S

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

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ENTERTAINMENT GUIDE Thu Jan 23 - Wed Jan 29 Australia Day Bootleg Sessions

Live Music

On The Town

Chicago Charles & Dave 9:30pm. Free.

Australia Day Long Weekend Foam Party

(Pub closed Jan 26, thus early Bootlegs.) With Hence The Test Bed, The Bee Cons, Hannah Blackburn. 8

Smith’s Jazz Thursday

ACADEMY NIGHTCLUB

Australia Celebrates Live

KING O’MALLEY’S IRISH PUB

With Alex Raupach Quintet. 8pm. $10. SMITH’S ALTERNATIVE

Inheartswake

$10 before midnight.

Something Different

With Hand Of Mercy, Hellions. Doors 8pm. Door price TBA.

Lip Magazine Yearbook Launch

The Timbers

SMITH’S ALTERNATIVE

THE BASEMENT

With Beth n Ben. 9pm. THE PHOENIX BAR

SoundOut 2014

Festival of free improvisation, free jazz, and experimental music. See canberrarep.org.au for tix. VARIOUS LOCATIONS

friday january 24 Art Exhibitions College Express 5

Artwork by Year 11 & 12 students from across the ACT. 10am-4pm. BELCONNEN ARTS CENTRE

With readings, live music and tapas. 7pm.

saturday january 25 Art Exhibitions College Express 5

On The Town

KING O’MALLEY’S IRISH PUB

Levitation Hex

Artwork by Year 11 & 12 students from across the ACT. 10am-4pm.

A super mega art exhibition, with everyone, by everyone. Opens Fri Dec 6, 6pm. 11am-5pm (10am-4pm, S

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Past.Present.Future

CANBERRA CITY FRAMING GALLERY

Festival of free improvisation, free jazz, and experimental music. See canberrarep.org.au for tix. VARIOUS LOCATIONS

Drumfest Canberra

Matty Sykes tribute night feat. Nyash, Southerly Change and loads more. 7pm. THE POLISH WHITE EAGLE CLUB

Long Reef

10:30pm. Free.

KING O’MALLEY’S IRISH PUB

Bacon Cakes and the Z-50 Jays

SoundOut 2014

Let There Be Aussie Rock!

VARIOUS LOCATIONS

THE BASEMENT

Festival of free improvisation, free jazz, and experimental music. See canberrarep.org.au for tix.

Music Craft for 5-8 Years

Future Proof

With Dreadnaught, Hadal Maw, Wretch. Doors 8pm. $15. THE BASEMENT

Workshops

Art Exhibitions College Express 5

BELCONNEN ARTS CENTRE

With guests. 9pm. THE PHOENIX BAR

Tease & Tearaways pres. Australian Kingswood Factory and loads more, with burlesque. 8pm. $15.

See mfe.org.au for booking and information. 5pm. AINSLIE ARTS CENTRE

wednesday january 29

Live Music

Art Exhibitions

Matt Dent

SoundOut 2014

5pm afternoon session/ 10pm band. Free.

THE PHOENIX BAR

sunday january 26

Past.Present.Future

Special K/Oscar

Impact Comics Present. 7:30pm. Free.

ACADEMY NIGHTCLUB

KING O’MALLEY’S IRISH PUB

Live Music

Nerd Trivia with Joel and Ali

With Pred. $10 all night.

Live Music

CANBERRA CITY FRAMING GALLERY

Trivia

Love Saturdays

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Photography by Mark Mohell. Opens Wed Dec 11, 6pm. 9am-5:30pm (-1pm, Sat).

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

NEW PARLIAMENT HOUSE

3–6pm. Free entry.

A super mega art exhibition, with everyone, by everyone. Opens Fri Dec 6, 6pm. 11am-5pm (10am-4pm, S

Future Proof

A super mega art exhibition, with everyone, by everyone. Opens Fri Dec 6, 6pm. 11am-5pm (10am-4pm, S

With Matt Corby, Lior, Megan Washington, and more. 5pm onwards. Free.

Photography by Mark Mohell. Opens Wed Dec 11, 6pm. 9am-5:30pm (-1pm, Sat).

Future Proof

Art Exhibitions

THE PHOENIX BAR

Artwork by Year 11 & 12 students from across the ACT. 10am-4pm. BELCONNEN ARTS CENTRE

tuesday january 28

Future Proof

A super mega art exhibition, with everyone, by everyone. Opens Fri Dec 6, 6pm. 11am-5pm (10am-4pm, S

WILBUR’S CAFE BAR

Irish Jam Session

Free traditional Irish musicians in the pub. Late afternoon. Free.

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

On The Town

Live Music

Australia Day at the Tradies

The CMC Presents …

With Icon, an outdoor lounge, BBQ, and tennis on the telly. 12pm onwards. THE TRADIES (DICKSON)

Waterford and friends. 7:30pm. Free. SMITH’S ALTERNATIVE

Chronolyth

With Immorium, Na Maza, Imperilment. Doors 8pm. $15. THE BASEMENT

monday january 27

Kerbside Collection

Nothing’s On! You’ll just have to entertain your damned selves. Happy ‘Straya Day public holiday!

Debut album launch. With Mind the Curb. 8pm. $10. HIPPO BAR

Love, BMA Magazine

Matt Dent

7–10pm. Free entry. OJO CAFE AND BAR

OUT

JAN29

Birds of tokyo the bennies the fringe ...and more!

facebook.com/bmamagazine

FIRST CONTACT SIDE A: BMA band profile

Aaron Peacey 0410381306 band.afternoon.shift@ gmail.com.au

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

Adam Hole 0421023226

Johnny Roadkill Paulie 0408287672 paulie_mcmillan@live.com.au

Afternoon Shift 0402055314 Amphibian Sound PA Clare 0410308288 Annie & The Armadillos Annie (02) 61611078/ 0422076313 Aria Stone sax/flute/lute/ harmonica, singer-songwriter Aria 0411803343 Australian Songwriters Association Keiran (02) 62310433

Kid of Harith Where did your band name come from? It’s taken from the title of a Bonnie “Prince” Billy song. This particular song has a weird way of making me feel physically sick when I listen to it. It’s probably a coincidence. Group members? Matthew Robert Arnaudon – plays stuff. I write and perform the music, but it would not be possible without expert help from my friends Reuben Ingall, Houl, Aphir and Laura Winkler. Describe your sound: Instrumental, ambient and pop songs. I like to create soundscapes around a theme. For example, my track ‘Fear’ (featuring vox by Aphir) was an attempt to recreate my own worst nightmare. I’m terrified of sharks and the ocean. I wanted the track to feel like being thrown from a capsized boat in the middle of the night. Who are your influences, musical or otherwise? Deep Forest, Xiu Xiu, Ricky Gervais, Mark Hollis, Jeff Mangum, Werner Herzog, Tom Waits. And my cat Donnie, he listens and provides inspiration. I try to write music he will enjoy. What’s the most memorable experience you’ve had whilst performing? When somebody tells me that they enjoyed my performance, those are always the best and most memorable experiences. The pinnacle of my live set was once supporting Steve Kilbey of The Church in Sydney. Of what are you proudest so far? Being nominated for the 2013 MAMAs felt great. Also, having spent a hell of a lot of time working with Reuben Ingall to produce an album (Tatemae) that I’m thoroughly happy with. What are your plans for the future? 2014 will see Tatemae released digitally online, on USB and hopefully vinyl. I plan to demo a new long ambient collection soon focusing more on rhythm and repetition rather than short bursts of melody. What makes you laugh? Ricky Gervais is a genius. Oh, did I mention cats? What pisses you off? Speeders in school zones. What about the local scene would you change? Others’ opinions that it’s a boring place with nothing going on. Boredom in Canberra is now a copout excuse. What are your upcoming gigs? Tatemae album launch in Feb. Contact info: triplejunearthed.com/ kidofharith; soundcloud. com/kidofharith; facebook.com/kidofharith; @kidofharithband.

Backbeat Drivers Steve 0422733974 backbeatdrivers.com Bat Country Communion, The Mel 0400405537

Kayo Marbilus facebook.com/kayomarbilus1 Kurt’s Metalworx (PA) 0417025792 Los Chavos Latin/ska/reggae Rafa 0406647296 Andy 0401572150 Missing Zero Hadrian 0424721907 hadrian.brand@live.com.au Moots Huck 0419630721 Morning After, The Covers band Anthony 0402500843

Birds Love Fighting Gangbusters/DIY shows-bookings@ birdslovefighting.com

Mornings Jordan 0439907853

Black Label Photography Kingsley 0438351007 blacklabelphotography.net

Obsessions 0450 960 750 obsessions@grapevine.com.au

Bridge Between, The Cam 0431550005 Capital Dub Style Reggae/dub events Rafa 0406647296 Cole Bennetts Photography 0415982662 Danny V Danny 0413502428 Dawn Theory Nathan 0402845132 Danny 0413502428 Dorothy Jane Band, The Dorothy Jane 0411065189 dorothy-jane@dorothyjane.com Drumassault Dan 0406 375 997 Feldons, The 0407 213 701 FeralBlu Danny 0413502428 Fire on the Hill Aaron 0410381306 Lachlan 0400038388 Fourth Degree Vic 0408477020 Gareth Dailey DJ/Electronica Gareth 0414215885 Groovalicious Corporate/ weddings/private functions 0448995158 Guy The Sound Guy Live & Studio Sound Engineer 0400585369 guy@guythesoundguy.com Haunted Attics band@hauntedatticsmusic.com

MuShu Jack 0414292567 mushu_band@hotmail.com

Painted Hearts, The Peter (02) 62486027 Polka Pigs Ian (02) 62315974 Rafe Morris 0416322763 Redletter Ben 0421414472 Redsun Rehearsal Studio Ralph 0404178996/ (02) 61621527 Rug, The Jol 0417273041 Sewer Sideshow Huck 0419630721 Simone & The Soothsayers Singing teacher Simone 62304828 Sorgonian Twins, The Mark 0428650549 Soundcity Rehearsal Studio Andrew 0401588884 STonKA Jamie 0422764482 stonka2615@gmail.com Strange Hour Events Dan 0411112075 Super Best Friends Sam White sam@imcmusic.net System Addict Jamie 0418398556 Tegan Northwood (Singing Teacher) 0410 769 144 Top Shelf Colin 0408631514

In The Flesh Scott 0410475703

Undersided, The Baz 0408468041

Itchy Triggers Alex 0414838480

Zoopagoo zoopagoo@gmail.com

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