BMA Magazine 479 - 16 March 2016 by BMA Magazine

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GROOVIN THE MOO

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NATIONAL FOLK FEST

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MUSIC FOR CANBERRA

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CANBERRA ROLLER AD SPACE DERBY LEAGUE

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THE DICKSON TRADIES

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THE GREEN SHED OLD CANBERRA AD SPACE INN

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CALLING ALL ARTISTS

To help prevent violence, this magazine will automatically lock itself after 1:30am. #479March16 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 Andrew Nardi T: (02) 6257 4456 E: editorial@bmamag.com

Accounts Manager Ashish Doshi T: (02) 6247 4816 E: accounts@bmamag.com

Sub-Editor Alyssia Tennant

Have you been looking for your big break? Whether you’re a writer, a visual artist, or something else entirely, there are some great opportunities coming up in our fine city to get yourself and your work out there. Belconnen Arts Centre has just put the call out for 2017 exhibition proposals. They’re after artists to exhibit their work for four weeks, and their 2017 program is looking to present work that is socially engaged, a bit experimental, maybe interactive, new media, or just traditional practice – so there’s no excuse not to get involved. They’re encouraging applications from Indigenous artists, artists with a disability, and anyone from a culturally or linguistically diverse background. They have project grants to help fund work, and are accepting applications from all around Australia, so don’t be shy. Applications close on Friday April 1. Find out more at: bit.ly/1OURU1e. ANCA Gallery are also looking for exhibition proposals to run between February and June of 2017. Whether you’re new or established, from the ACT or interstate, or an artist or curator, they want YOU to come and help fill their space up. And what a space it is! With three moveable walls (how can I get those in my house?), track lighting, roller shutters, and

more, you can basically do with it what you will*. Applications close Thursday March 31 at 5pm. For more information, see: anca.net.au/applications. And if you’re good at working them words real nice, the ACT Writers Centre has opened applications for their 2016 ACT Writer-in-Residence Program. It’s open to Aussie writers in any form or genre, and the successful applicant gets a stipend of $5,000 dollarydoos, accommodation at Gorman Arts Centre, and an office at the Museum of Australian Democracy. The residency is set for this year, and applications close on Friday April 8 at 4pm. Find out more at: bit.ly/1Rah8R7. *Don’t quote us on that.

GROOVIN ALONG TO LTC AND CHALKBOARD Are you excited for this year’s Groovin The Moo yet? You should be! Local MC LTC (Lolesio The Courageous) was just announced as the Unearthed act playing Canberra this year. Not only that, but at our very own Canberra GTM, UC Live will bring out Chalkboard again – a small, intimate space where local musicians can put their names down for a set time on the day, pick up any instruments available, and bang out a set of flaming hot guitar licks/ chilled down-tempo ballads/ experimental German disco. Whatever they can make on the day!

Students from The Woden School will be getting involved with Chalkboard again too, helping run the area. The Woden School is all about providing educational programs and opportunities for kids from years 7 to 12 with an intellectual disability and/or autism. Make sure if you’re heading along to put your name down and get up on that stage to show off your skills!

ROLLIN ON IN Henry Rollins. You might know him as the ex-front man of Black Flag. Or as a writer. Or as a motivational speaker, journalist, radio host, activist, or actor (how is your resume feeling right now?). Rollins is rolling on back into our fine country in September for a speaking tour. It’s his first tour here since 2012, and he’s heading all around Australia, from the usual capital city spots, to Alice Springs, Lismore, and the Margaret River. So yup, you bet he’s dropping by Canberra. On Thursday September 8 you’ll be able to find him at the Canberra Theatre Playhouse, so you’ll have a chance to catch the multi-talented workaholic speak his spoken words and impart some of his knowledge. Tickets go on sale at 9am on Friday March 11, and can be nabbed for $59.50 + bf from canberratheatrecentre.com. au/show/an-evening-withhenry-rollins.

Graphic Design Chris Halloran Andrew Nardi Film Editor Emma Robinson NEXT ISSUE 480 OUT April 13 EDITORIAL DEADLINE April 1 ADVERTISING DEADLINE April 7 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.

Catch local artist LTC at Groovin The Moo on Sunday April 24!

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YOU PISSED ME OFF!

FROM THE BOSSMAN BWARRRRRRRRRRAAAAACH! RRREEEEEEEEEEARCH! Sorry about that. That’s more shouty bolded capital letters than anyone should have to face in a given publication. I’m just trying to phonetically capture the terrifying din that cockatoos summon during hours of the morning that should be reserved for sound slumber. I’m sure you’ve experienced the same. You know the sound. If you can do any better in capturing that sound phonetically, please email me at allan@bmamag.com and show off your wares. I’ll give you a prize. The reason I’m thinking about such a thing is because here we are, charging through another mad March in Canberra where iconic sights and sounds are used to celebrate all things ACT. There are many iconic “Sounds of Canberra” that happen in this month. The multi-arts spectacular that is Art Not Apart returns. There’s the splendour of Enlighten. And we have the Canberra International Music Festival to look forward to. Plus, of course, there’s all the various brilliance to be found from our fabulous hard working venues in our Entertainment Guide (*SHAMELESS PLUG ALERT*). But if one were asked, ‘What is the defining SOUND of Canberra?’, I would be hard-pressed to say anything other than the banshee wail of a cheeky cockatoo of a morning.

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.] Dear old masturbator, I don’t know who you are, but please stop masturbating outside my window at work. The other night you were doing it and I didn’t want to say anything to interrupt you. It was the most awkward thing,, so I just let you continue. But you keep coming back, and you keep doing it, over and over again. Part of me wants to know why you’re doing this, watching porn on your phone, in this same spot every time. People can see you from the road. Do you have no shame? Did you learn our Wi-Fi password? Is masturbating in public a socially acceptable thing now? Did I miss something? It’s not like going to the bathroom. It’s not like, when you gotta go, you gotta go. You can literally do this anywhere else, in a secluded place, in a place where there obviously isn’t someone working by the window that you’re masturbating under. People will read this and they’ll probably think I’m just making this up. I’m really not, though. There are some very strange people that inhabit this city.

My Mum once said something that resonated with me (she has words that resonate, as does my Dad, who I know reads this column... Hello ,my dear parentials). ‘Cockatoos are the comedians of the bird world,’ she said. And she’s right. Sporting a general taoist view on life of ‘leave no footfall ‘ and ‘live and let live’, I’m the kind of of person that would not only actively avoid crushing an ant, but would violently alter their footfall in an ankle-spraining way to avoid crushing an innocent insect simply trying to get on with their day. But when a peaceful slumber is interrupted by a screeching cockatoo at 5am in the morning, it takes every fibre of my being not to grab the nearest blunt instrument, track them down, and beat them into a bloody pulp. Ahhh, but I shouldn’t be so violent. We have America for that. Canberra is a peaceful place. And this is why I love the place. I believe it’s a sound that unites many Canberrans. We truly are the bush capital. And we’re home to the comedians of the bird world. I have no doubt they live here in their droves because they recognise how wonderful this place is. Big smoke city folk who live in Sydney and Melbourne may be woken up to the sounds of cars, or gang violence, or people shuffling home disgruntled by puritanical lockout laws. But here in Canberra? The worst we have is the cockatoos, my friend. And I can live with that. ALLAN SKO - allan@bmamag.com

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WHO: THE WEEPING WILLOWS WHAT: ALBUM LAUNCH WHEN: FRI APR 1 WHERE: HARMONIE GERMAN CLUB

Partners in life, love and song, Melbourne alternative country duo The Weeping Willows are embarking on a massive tour to celebrate the launch of their self-produced LP Before Darkness Comes A-Callin’. And they’re branching out to Canberra! With a collection of ten tracks that are raw, earthy alt-country, it’s probably best to see this one before they pack up their trunks and leaf. So, put on your country kicks and head over to Harmonie German Club where they’ll be playing at 8pm. RSVP to the event at theweepingwillows.com.au/gigs/.

WHAT: RUMBLE FOR THE JUNGLE WHEN: SAT APR 2 WHERE: AVIARY ROOFTOP BAR

Picture sunset views, panoramic windows, good music and a good cause. Rumble for the Jungle is a musical menagerie fundraising for grassroots non-governmental organisation The Worldwide Tribe, supporting refugees in the Calais Jungle and Dunkirk. Held at Aviary Rooftop Bar, you and your friends can enjoy live music from Azim Zain and His Lovely Bones, Not Quite Disco, Luke 15:11, Gate Five and more. With that much talent, it’s sure to be a fun night that also leaves you feeling good about contributing to a worthwhile cause! Entry is a $10 donation at the door.

WHO: RUMBLR WHAT: GIG WHEN: FRI APR 8 WHERE: SMITH’S ALTERNATIVE

Newly formed Canberra band Tumblr … ah, wait no, I mean Rumblr … will be hit up Smith’s on Friday April 8 from 7pm. Titled after the faux fighting app of the same name (which is pretty much like Grindr but for fighting, or so I’m told), Rumblr are what you’d call ‘genre spanners’. They’re currently in the process of recording a debut EP with producer Dax Liniere (Majora, Sleepmakeswaves), so I guess this gig is a bit of a preview of what you can expect. Visit smithsalternative.com for details, and stay tuned for more gigs at The Phoenix and ANU Bar in August!

WHO: THE LEVITATION HEX WHAT: ALBUM LAUNCH WHEN: FRI APR 15 WHERE: TRANSIT BAR

Canberrans The Levitation Hex are coming home! Here to release their long awaited second album Cohesion, they’ll be joined by the Blue Mountain’s finest and Soundwave alumni Red Bee and locals Imperilment. Kicking off at 8pm at Transit Bar on Friday April 15, you need to be 18+ to rock your socks off! (Do people still use that phrase?) Heavy as hell, this one’s for the metal and rock lovers out there. Nab yourselves some tickets from Moshtix for $12 + bf. And maybe bring along a ‘Welcome Home’ banner, y’know, just to be nice.

WHO: NICHOLAS COMBE NONET WHAT: ALBUM RELEASE WHEN: SAT APR 16 WHERE: THE STREET THEATRE

For one night only, here in Canberra, is the spectacular Nicholas Combe Nonet. He’s here to launch his debut album, Once Is Enough, in the very room it was recorded over a year ago. Regular Canberra gig-goers may know Combe, but this one’s the first release under his own name. Because this is a one-off appearance before Combe vanishes for a sabbatical to Indonesia, it’s not to be missed. Get your tickets starting from $10 at thestreet.org.au and head to The Street Theatre on Saturday April 16 for an 8pm start.

WHO: THE GO SET WHAT: TOUR WHEN: SAT APR 16 WHERE: TRANSIT BAR

Ready … Set … Go! Aussie folk punk band The Go Set are touring the East coast and Adelaide as part of their In The Streets tour this April. And guess what? Sans the coast, that’s us! They’re touring to celebrate their sixth studio album Rolling Sound, which for the first time the band has self-produced. On Saturday April 16, they’ll be joining us Canberrans for a night of frivolity at Transit. Tickets are $18.40 and can be purchased via thegoset.com/events.

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Waiting For The Dust To Settle SAMUEL TOWNSEND & ELEANOR HORN In a timely coincidence, I caught up with SARAH BLASKO the afternoon after International Women’s Day. Blasko – with her heart on her sleeve – chatted about her latest record (an unflinching collection of love songs), her new approach to collaborative songwriting, and her love of drag shows. Eternal Return has surprised fans and critics respectively, but for Blasko it was an album waiting to happen. “It’s something I always wanted to try my hand at. I always wanted to write a more succinct pop record. I love pop music and I just wanted to hone that in a bit.” The album is laden with synths and layered production; a departure from the orchestral stylings evident on Blasko’s more recent releases. It’s a record that references key musical influences, and does so honestly – Gary Numan, Diana Ross and Bruce Springsteen; artists from the ’80s that Blasko grew up listening to. Along with the shift in production values has come a change of pace in the poetic imagery we’ve come to expect from Blasko’s lyrical storytelling. There’s a measured articulation evident in key tracks including ‘Luxurious’, a song that explores the terrain of intimacy – a personal perspective surrounding Blasko’s blooming love in a new relationship. I question the challenges that this approach may have yielded, “To begin with, it flowed really easily and it was just an expression of how I was feeling at the time, so in that sense it felt quite effortless. But to keep that message really tight and simple has its difficulties.” express myself and certain aspects of who I am … in a professional sense.” This brings us back to the song ‘I Wanna Be Your Man’. In the track, Blasko simultaneously contemplates, demands and resolves, “Maybe you will not understand, I wanna be your man, I know it’s hard to comprehend.” Is this Blasko speaking ‘plainly’ and being direct with her message regarding sexism? “I just wanted to write about it from a very personal perspective. It’s such a shame that I don’t claim to speak for anyone else, but I definitely feel that I’ve encountered gender and sexuality difficulties based on feeling exposed as a how in play into e com woman, or feeling vulnerable as a woman you e ceiv people per amongst men.”

This is where Eternal Return stands apart from previous outputs I Awake and As Day Follows Night, “In a way, it’s easier to be more longwinded and to veil what you’re trying to say,” she says. “It’s scary, and there’s something very revealing when you’re trying to speak very plainly and you’re not trying to hide anything.” Blasko previewed Eternal Return at the Graphic Festival in Sydney with a rapturous response in late 2015. The atmospheric live show coupled new songs with symbolic imagery produced by filmmaker Mike Daly. The aesthetic – richly enveloping the entire album – has also made a successful transition to video, with Blasko’s tracks ‘I’d Be Lost’, ‘Luxurious’ and ‘I Wanna Be Your Man’. The latter video, directed by Warwick Thornton (Samson & Delilah), captures the sensuality and mood of the song in a spectacular fashion. “On a basic level, I’m a real fan of drag shows. I really love the heightened and over-the-top drama of a good drag show, so I was really interested in working with someone who was experienced in this.” That particular someone is Sydney performer Ms Aaron Manhattan. “Including Aaron in the video is very much highlighting what I’m saying. It’s such a shame that sometimes gender and sexuality and all these things come into play in how people perceive you, and what their limitations are of you, and what they expect of you.” I push this further, wondering if Blasko has faced difficulties as a woman in an industry currently under the spotlight of gender inequality. “It’s very hard to know whether it’s just me, or the industry, or what it is, you know? I’m quite a shy person in a lot of ways. I’ve realised that I do find it quite difficult when faced in a situation where I am perhaps the only woman.” Blasko’s unravelling of the question illustrates the consideration she has given it over time, “I’ve realised that I’ve felt quite uncomfortable with way I

The influence of men feature heavily on Eternal Return, as Blasko steps beyond her comfort zone to collaborate with David Hunt, Ben Fletcher and Nick Wales. “I’d done some music on some film in the year or two since my last record, and I was quite tired of working on my own. I just felt that it would be really refreshing to work with other people.” It appears that working with others has rendered some unexpected results. “There is so much that other people bring to what you do, and it just made me feel really liberated from writing the music and writing the chords. Instead I was just focusing on the lyrics and the melody.” Although the new record is only on the cusp of receiving the live treatment nationally, audiences are already curious of potential possibilities in a new musical direction. Will she continue navigating beyond unfamiliar territory, leaving behind the weighty and often grandiose production of previous work? “For me, I like to work on songs as a collection, to make sense of a certain time. I always feel like I wait for the dust to settle a little bit after I’ve put out a record, and then just very slowly and surely write something new.” Sarah Blasko will bring her Eternal Return tour to The Abbey on Wednesday April 6. Tickets are sold out.

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The fine scoundrels in The Opposite of Everything! Our drummer Steven was the child of German new-wave rock stars, and now spends most of his time playing garage-rock arrangements of Shostakovich string quartets at impossibly hip underground warehouses in Brooklyn. Our bassist Alan was a disenchanted jazz school virtuoso who spends most of his time in Stockholm, learning Norwegian tunes on the mouth harp. Our clarinettist Sam has his roots in classical music and Klezmer, and now produces electronic music and gives Richard Dawkins electric saxophone lessons (true story!). On the accordion and shwarma-sized synthesiser, we have Kelsey, who plays in a Dixieland New-Orleans band, and writes surf-rock Christmasthemed horror movie soundtracks in her spare time.

THE FELLOWSHIP OF THE VIOLIN

What has been the best and worst things you’ve done on tour?

KAROLINA FIRMAN JARON FREEMAN FOX is a violinist who’s lived his life a bit more adventurously than most violinists. His musical talents were bred in the mountains of Canada’s rural northwest, and influenced by his studies in India, Sweden and Indonesia. His band, THE OPPOSITE OF EVERYTHING, combines violins, guitars, clarinet, bass and drums for a huge sound that redefines what the violin is capable of. I caught up with Jaron to flesh out the details of his Australian tour and his musicmaking escapades. What has it been like being on tour for so long? Not unlike being stuck in the john. Obviously it’s satisfying and you’re having a great time, but after a while you start to wonder what the rest of the world is up to.

Monkeys managed to unzip my case and were about to make off with my violin!

Who are your favourite musicians to play alongside?

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Weirdly, the highlight of our last European tour was probably a lastminute set we got asked to play on the kids’ stage of this festival in the north of Finland – which somehow ended with us freestyling a Beastie Boys-style call-and-response while rolling around on the floor playing through all my distortion pedals at once. And while on tour in Indonesia, I ventured into the jungle, to see what the resident monkeys would make of my fiddle playing. I turned around just in time to see that they had managed to unzip my case and were about to make off with my other violin! I retrieved my gear without even catching rabies. What is the most unusual thing that has inspired your music? When I was 14, I became an apprentice of a great seven-foot, Canadian, Mohawk-bearing “off-road fiddler”. His name was Oliver Schroer, and I would go live with him for chunks of time and learn the dark arts of the violin, until he passed away in 2008. Oliver also exposed me to all kinds of amazing music, from Tuven throat singing, to obscure Frank Zappa recordings, to south Indian Carnatic violin virtuosos, who I later studied with in India. Jaron Freeman Fox performs at Smith’s Alternative on Wednesday March 23 at 7pm. Tickets are $20 via smithsalternative.com.

LOCALITY

Mid-March to mid-April is a buzzer of a time for Canberra, like the city is trying to get one good shake out of the good weather before ANZAC Day arrives and we’re back living in the civic equivalent of an icy pole. This month is no exception, with plenty of local stuff going on to give you plenty of happy memories to keep you going through the winter. Art, Not Apart is back again for 2016 on Saturday March 19, right across the NewActon precinct and beyond. This year’s program is full of interesting bits and pieces, including a whole bunch of local acts, as well as a few that are boomeranging back for the occasion. There’ll be sets from ANU Experimental Music Studio and Hope Street; Ben Marston will be performing his solo improvisational Sounds of Acton work, built around trumpet and laptop; Doppel, Hudak, Gate Five and Fourthstate will bring their Canberra-based skills to the decks, with Kirklandd adding a little local hip-hop to the mix. Former Canberrans returning for the event include Aidan Lowe and his trio, Joe Oppenheimer and James Fahy. For the full list of artists, events and where to find them, visit artnotapart.com.

The other great big event for this time of year is the National Folk Festival at the Exhibition Park, which spans right across the Easter long weekend. As usual, there’s a strong contingent of Canberrans flying the flag, so be sure to circle Pocket Fox, Hashemoto, The Black Mountain String Band, GhostNoises, Burrows, Hayley Shone and The Guitar Cases Band in your program. It’s on Thu–Mon March 24–28, and you can find all the details at folkfestival.org.au. For those keen for a dose of festival action, but your wallet isn’t quite able to cope with one, Smith’s Alternative presents The National Anti-Folk Festival. From 9am to midnight every day Thu– Mon March 24–28, you could find yourself walking into a set from any of these folks: Blue Angel and Doctor Wiedermann, Bren Ryan, Bud Petal, CJ Shaw, Hayley Shone, Jarrod McGrath, Jen & Jim, Lip and Puck, Oliver Downes, Orbis Tertius, Paint on Paint, Psithurism, Rachel Armstrong, Reuben Ingall, Sarah Gaul, Shorty and Chow … and that’s just the musicians confirmed so far. Who knows who else will rock up? If you’re a local performer who’d like to join in, email smithsalternative@gmail.com. Even when there’s nothing to celebrate, it seems nothing gets in the way of Brother Be’s desire for a party. That seems to be the drive behind their Hootenanny at Transit Bar on Saturday March 19 from 7:30pm. They’ve roped in Brass Knuckle Brass Band, The Spindrift Saga and Jules Boult to join them for a night that is certainly going to be unique, complete with the Best Vest competition, a dance off or two and Canberra’s Shortest Trivia Contest – apparently it’s going to set you back $15 to sate your curiosity. And in the briefest of closings: Tom Woodward has another new album out, and it’s free! Find it at tomwoodward.bandcamp.com and get some wonderful local folk in ya face. NONI DOLL NONIJDOLL@GMAIL.COM @NONIDOLL

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just really

We’re thing for us is that we don’t excited to take this know what’s gonna happen with these shows; there are momentum and keep some acts we want to see, and rolling with it check out how they perform live. I actually still have to go over who’s playing … but there are gonna be some cool ones for sure.” So chances are you might be able to catch the guys on stage at GTM, then in the mosh a little way down the track. If you’re going for scale and a dedicated block of Rubens time, there’s no shortage of opportunity this coming year.

JUMPING THROUGH HOOPS SETH ROBINSON We’re still very much in the fledgling days of 2016, but so far it’s definitely been the year of THE RUBENS. Off the back of their Hottest 100 win, the release of Hoops, and a year of solid touring, the boys are ready to back it up with the announcement of the Hold Me Back Tour, and of course, a whole bunch of dates with Groovin The Moo. We caught up with The Rubens’ resident keys wizard Elliott Margin to chat about what the next year has in store. “This year is looking pretty dang exciting. We’ve got GTM and our headline shows, and we’re just really excited to take this momentum and keep rolling with it. We’re heading overseas as well, which will be really good,” Margin says. “We haven’t even been to GTM as punters before! Our schedule for the festival looks pretty crazy, but we’re gonna have to sneak out and grab whatever acts we can. The whole

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“These are some massive shows. We’ve never done headline shows of this size before. It’s really exciting, and kind of scary. We’re really excited to play the Hordern, which is our hometown show. The fact that we saw bands playing there when we were younger, and now we’re playing there is just unreal. If I told my 16-year-old self that he’d be playing there one day, there’s no chance he’d believe me, no way.” he says. “We’re doing a lot of work on the production as well, which is new for us. We want to keep it exciting for us, and the fans.” There’s also plenty of new music in store, with The Rubens eager to follow on from the success of Hoops, and get back into the studio. “We were lucky with Hoops, we got a couple of months off so we rented a house south of Sydney and did a whole bunch of writing there. It was a whole bunch of drinking beer and barbeques and chilling out – then when the sun went down it was time to hash out some songs and get it done. We got 35 songs down before we went in to record. We’d like to revisit a few of those, but we’re always writing. As soon as the album came out here in Australia, we were back at it, making new material.” The Rubens will drop into Groovin The Moo @ UC on Sunday April 24. GTM tickets are $102.90 + bf through Moshtix.

NONI DOLL Canberra has been pumping out some incredible exports across a range of areas over the last few years, releasing Nick Kyrgios into the sporting arena, Mia Wasikowska into Hollywood, and HANDS LIKE HOUSES are quickly gathering enough of a following to be able to put their name up there too. They’ve just signed to US label Rise Records, spent almost all of last year traipsing around Australia, the US and the UK, and look set to do it all again in 2016. But right now, singer Trenton Woodley is just focused on their new album Dissonants, and getting it out to as many ears as possible. “At the moment it’s just getting the album out and looking forward to seeing how that connects, because it’s been a big, long, drawnout process,” he says. “But [it’s] finally here … and people can actually hear it full, as it’s meant to be heard.”

community and the culture that builds around it,” he reflects. “There’s always people working really hard and really passionate people trying to make it happen. We want to be supporting that wherever we can, for sure.” It turns out Woodley feels very passionately towards a number of issues hurting the local and national music scenes, especially with respect to accessibility for those who aren’t of drinking age. A quick glance at their social media pages demonstrates that these kids are some of their most avid fans. “All ages music is struggling everywhere in Australia,” he says. “I’d love to see the ability to have a venue that is licensed all ages without the ridiculous licensing fees that come with that … It feels like there’s no way to expose younger people to rock music and what it’s capable of, short of these crappy little basketball hall or youth centre shows that just can’t, as a venue, deliver the performance quality…”

Even to the non-post-hardcore trained ear, it’s easy to see why Hands Like Houses fans have been frothing for this release for months. The vocals are clean and strong, with a throbbing core rhythm It feels like there’s no that contrasts beautifully with the finer way to expose younger overlaying melodic elements. Almost a people to rock music and battle cry, this is an album that can convert what it’s capable of the uncommitted. Riding the success of their two previous albums, Ground Dweller and Unimagine, Hands Like Houses’ international tours have taken the band as far as Singapore, New York City, Denver and London. Even so, Woodley admits that there’s nothing quite like playing in their hometown. “Canberra is at the top of the list, just because the shows themselves are so much fun.” While working on an album as grand as Dissonants – coupled with a life on the road – anyone would think the band could easily become disconnected from Canberra. Not so – Woodley says the bonds remain strong, with most of the band still living in the capital with their families. “Although, a couple of the guys have US girlfriends that they spend a lot of time with over there, so home is becoming a fluid concept!” he laughs. Then, getting serious, Woodley reflects on what he would change about the Canberra scene. “Since we started out, it feels like Canberra has really struggled to maintain a consistent community around music, with venues popping up and then going away just as quickly,” he says. “There’s a lack of consistent regulation in terms of sound pollution. It feels like Canberra hasn’t really been able to develop a community around local venues or consistent places to play.” Even so, Woodley can’t ignore the success around local artists like Peking Duk, SAFIA and indeed, Hands Like Houses. “It’s certainly not to say that bands out of Canberra can’t do well … And it could be that we’ve just been so disconnected from it all, because we’ve been travelling so much – but we just feel a lack of governmental support and nurturing for that actual music

How exactly can Canberra accommodate artists striving for a higher performance quality, then? “Large bands don’t want to play Canberra, because they just think of the same little youth hall venues they played growing up,” he says. “They don’t really want to do that again because it’s hard to look and sound like a world class band in a room that isn’t really custom built to that sort of specification or that sort of quality.” Woodley points to both the government and the broader community as those who need to drive it. “We’d like to see something developed centrally, and with Canberra’s own personality in mind. Something that would enable people to get into music at a younger age.” But with the rise of lockout laws in Sydney and Brisbane, and rumours spreading around a similar legislation in Canberra, is such a drastic reshaping of our entertainment industry all that likely? “I think Canberra has a unique opportunity. It’s always been at the forefront and been a bit more progressive in its thinking at a local government level, so I hope that with any changes that are made, that obviously security is a thing that’s important to remember.” For Trenton Woodley, it comes down to wanting better opportunities for Canberra bands and making it easier to break into the industry. “We’d love to see more bands come out of Canberra. We’d love the opportunity to play there to more people.” And I’m sure Canberra would be more than happy to have the opportunity to grow another band as successful as Hands For Houses. Hands Like Houses’ new album Dissonants is available now.

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The actual process “I do a lot of the writing on my own and it’s just becomes part of the way this whole thing the inspiration evolved,” he says. “In some ways a completely solo performance can have potency. It makes me play differently and sing differently and it puts a stronger pressure on those things.”

FINDING THE LOST CITY DAN BIGNA ED KUEPPER’s latest album Lost Cities conjures an intimate sound world with sparse, understated melodies that invite listeners to inhabit the spaces between the notes and remain there. His vocals on the record are quiet and wistful; they point to the fact that Lost Cities is a solo album in the true sense of the word, as Kuepper played all the instruments himself. His voice has been placed at the front of the mix to encourage heightened engagement with the artist’s perception, but plaintive reflection wasn’t always the case. Kuepper’s early work with The Saints in the mid-to-late 1970s was all about hard hitting rock ‘n’ roll that paved the way for punk. His next band The Laughing Clowns charted previously unexplored territory later identified as experimental post-punk, and a lengthy solo career has provided diverse moods, sounds and words with the assistance of attuned collaborators, notably percussionist Mark Dawson. After overcoming a bout of writer’s block, Kuepper began writing the songs that appear on Lost Cities and decided to make it a completely solo project.

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One notable outcome from the solo process was a consistency and cohesiveness to the music that invites close listening to the album in its entirety. This signals a move away from disconnected digital consumption towards a renewed focus on albums as desired objects that generate new ideas. Meaning becomes invested in the creative process, which Kuepper has teased out from the earliest days of The Saints. “When I recorded the first Saints album, I never knew 18 months later I’d be recording Prehistoric Sounds,” he says. “It’s just something that happens when you start doing things and you get spurred on by the process of doing it and the actual process becomes part of the inspiration.” Kuepper sees his many projects over the years as forming part of an ongoing statement that could be about ongoing musical exploration beyond the mainstream. The Saints self-released their first single ‘(I’m) Stranded’ because the band realised early on that they weren’t into courting the music industry. Kuepper has had chart success with a number of solo albums, notably Honey, Steel’s Gold (1991), but an independent, creative approach formed in the early days has persisted. This accounts for the sheer inventiveness of albums like Lost Cities. “I tend to do what I do and the industry is this thing that exists somewhere else. It’s not that I’m knocking on their door saying let me in or anything. For such a long period of time now I’ve done things myself and you just have to know when to take advice and when to reject it.” See Ed Kuepper on Friday April 1 at The Street Theatre. Kicking off at 8pm, tickets start at $40 and can be purchased from thestreet.org.au.

THE REALNESS A month is a long time, but not as long in February. Even so, a whole heap of realness has been going down since the last issue. Hopefully everyone managed to get along and check out J Dilla Changed My Life at La De Da, Check Your Head at Phoenix or Hips and Hops at Lobrow last week. With the hangover from the party of the last month, it’s understandable that things have to eventually quieten down and

it looks like that time has come. While there’s a pretty stark lack of gigs lined up for the month, at least at the time of writing this, there’s still a whole heap of new music for everyone to get their head around that doesn’t involve about fifty billion different versions of The Life of Pablo – at least we now all know that there definitely is such a thing as too much Twitter. First up, Turquoise Prince LTC is continuing his meteoric rise from the local scene and into the upper echelons of the Aussie music industry, copping another Triple J rotation with his song ‘Modest Gxddess’ and features from Stoney Roads, Complex and FasterLouder. Coming fresh off the back of the gig with Peking Duk and the Meeting Tree at UC Refectory on Friday March 4, you’d be best to get in now so you can tell your mates “I told ya so” around this time next year. Spend those street credits wisely. Your boi Ventures has also been dropping hot fire with his new mix featuring everyone from Kevin Gates, A$AP Ferg, Young Thug and Travis Scott. Hit Ventures’ Soundcloud for all your requisite mixtape dankness over the next month. Local MC Lash is also getting in on the mix and has popped up on triple J Unearthed with new track ‘Save the Drama’. With a woozy intro, true as lyrics, sparse flow and a momentously memorable and singable chorus, this one is on trend and definitely worth a fair few repeat listens. In other news, local beatmaker Hayds has launched his new Facebook page and website for Smithgrind Ent. Hayds is a stalwart of the local scene, so if you’ve got bars but are lacking in the beat department, hit up smithgrindentertainment. com and see what’s on offer. Finally, to tide you over until the inevitable slew of gigs come flooding in later in the month, Woroni Radio is putting up a new hip-hop show on Wednesday nights focusing on underground and golden era tunes. Homie says the show airs on 6pm on Wednesday and will also be recorded and uploaded weekly. Definitely tune in or, if you got mad flowz, hit ‘em up on the Woroni Radio FB page and spit something live. BRADY MCMULLEN realness.bma@gmail.com

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CODY ATKINSON Lockouts: the hot button issue of the day. Stopping people from getting into pubs is the new … letting people drink in pubs? Sydney has them, Queensland will have them soon (again) and they seem to be all the rage (again). But do lockouts work, or are they a really restrictive and stupid idea? I don’t know right now, but Cody Atkinson might help me find out in a few paragraphs time…

Wait, what?

OK, what’s a lockout?

Well, the laws were introduced because there was evidence that pub-goers crammed a night’s worth of drinking into a few hours, leading to excessive behaviour. With longer opening hours, punters spread out their consumption over several hours, similar to what happened at the end of the 6pm closing times in Australia.

A lockout is the time where a pub closes its doors to new (or old) patrons. Lockouts are almost always accompanied by restrictions on last drinks. And that’s what they’ve brought in for Sydney? Yep, now you can’t get into a bar after 1:30am and you can’t get a drink after 3am in the Sydney CBD or Kings Cross. Except for the Casino, which apparently doesn’t have any problems at all, except for all the people flushing their hard-earned down the toilet and into the sewage filled hands of a multibillion dollar corporation. SOCIAL PROGRESS YAY! But who would even WANT to drink after 3am? What type of slacker goes to a pub after midnight either? Let’s dial it back a bit. For a large part of the 20th century, pubs in Australia closed at SIX FUCKING PM. I can assure you that’s not a typo. WHO WOULD WANT TO DRINK AFTER 6PM? OK then… For about 50 years, workers would knock off at 5pm and race to the nearest pub to get as drunk as possible within the next hour, then drive home shitfaced, crash their cars, and then drink some more if they were still in close to one piece. Other than Sydney, where else have had lockout laws introduced?

They have dropped since the lockouts were removed. In some areas, alcohol-related crime in the early morning was up, but that’s somewhat predicable. How could pubs being open longer lead to less alcohol being consumed?

Didn’t Melbourne trial a lockout scheme in 2008? Yes, it did. And guess what? What? It didn’t work. Not at fucking all. Pubs and clubs hated it, and asked for widespread exemptions to the laws. Violent crime allegedly went up. Protests were mobilised against the laws and the city’s reputation took a hit. It was pretty much, in all senses of the word, a disaster. So let’s go back to Sydney – are the lockout measures working there? Yes, and no. Violence is down in the lockout areas, but the number of people going out in those places is down even more dramatically, with foot traffic reduced by up to 80% in Kings Cross in some reports. With violent crime only down a third since the introduction of the laws, on a per punter basis the likelihood of violent attacks has gone up.

Lockouts hurt the economy, and in turn the creative arts industries

Lockouts have been in place in Newcastle for over a decade, and they’ve somewhat achieved their goals there. Notably, violence is down about a third in the years of broad anti-social alcohol measures, including lockouts, restrictions on the serving of shots, late night RSA supervisors for pubs and increased security measures. Wait, so it wasn’t just lockouts?

Nope. Turns out when you develop public policy you look at a bunch of complementary measures that … I’ve just lost everyone, haven’t I? If I had a good fart joke, this is where I’d throw it. Sorry, I stopped paying attention… Figured. TL;DR. Most good ideas are multifaceted, and not just one big headlining idea. OK, what have other countries done? In November 2005, England went ahead and removed all opening hour restrictions on pubs, which previously had to call last drinks at 11pm. By removing all restrictions on opening hours, both crime and alcohol consumption are down.

So crime is down, but so is everyone?

Yeah. At least 16 pubs in the lockout area have shut down since the introduction of the laws. Put simply, the entertainment industry in Sydney is struggling, especially the live music business. There have been massive protests against the laws since their introduction going under the name of Keep Sydney Open, and some of Australia’s most prominent musicians have loaned their voices to the cause. So do lockout laws work in reducing violent crime? Maybe. There’s mixed evidence to prove that they do work, and when they do work it’s hard to separate the lack of violence and the lack of people out. And even when they do work, it’s often in conjunction with other perfectly good measures that would work as well on their own, like restrictions on bottle shop hours, improved safety measures and drink type restrictions after midnight. Globally, the trend is moving away from the implementation of lockouts, and towards alternative measures that both protect the safety of the public and their ability to enjoy a good night out. Just because everyone hops on board one particular policy idea doesn’t mean that there aren’t other more effective ideas out there. What can be said for certain is that lockouts hurt the economy, and in turn the creative arts industries.

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BMA SESSIONS

DANCE THE DROP

Since when did little old Canberra become such a techno town? It seems there is suddenly some of kind of techno gig every week, from large scale warehouse raves, underground club nights and even in the more commercial venues. And Canberrans seem to love it, whether it’s twisted and bouncy, deep and minimal or relentless, percussive four-to-the-floor. What’s especially encouraging to see is the amount of younger clubbers getting into it as well, rather than just us older people who’ve been around the scene for a while (dunno if twenty-seven counts as being old, but hey, when I was eighteen, twenty-seven was definitely getting there!). So I guess my tip for this month is go out and see some techno, it’s damn fine stuff. Thursdays now have a regular place to be for dance fans, and that’s Digress Bar with Honeysuckle. The weekly club night will see the literally underground venue host some awesome techno and other danceable beats, starting with Arther Miles and Freddie Norwood on Thursday March 17 (who will also appear at the uniVibes St Patrick’s Day party at ANU Bar earlier in the day). Mr Ties and Playful Sound the following week on Thursday March 24. It’s free entry, and something definitely worth supporting.

KNIGHTSBRIDGE PENTHOUSE

On Friday night, 4Sound brings ex-Canberran Jaytech to Canberra to tour his new album Awakening. The trance master has toured the world with Above & Beyond and has multiple tracks out with Anjunabeats – this will be pretty special, and only $10 on the door before 10pm! It all goes down at Transit Bar, with Peekz, Eden Sinclair and B-Tham in support. On Saturday March 18, Torren Foot returns to Mr Wolf. Representing the One Love label, he has been pioneering what he calls ‘gangster house’ – hear what this might be, with Me Again, Yo Yo DJs and Everest in support. Also that night, uniVibes presents Hober Mallow (SYD) and sordid mthr doing live art at Lobrow, $15 entry or $10 for uniVibes members. 6pm ‘til midnight. It might be on a Wednesday night, but that is no reason to miss Jauz (USA) on Wednesday March 20, who will be bringing his wubby, heavy bass housey kind of sound to Academy! Tickets are likely to sell out, so get in quick. As it’s a long weekend, Hard ENVY returns to Cube with a special Sunday gig, featuring Australia’s hard style legend Audiofreq headlining the evening, with of course a massive amount of local talent in support including The Soundsmith, Guerrilla Warfare, Fuentes Brothers, Jorgo, Phoenix, and Clive Warren vs Lostabeat. Tickets on the door. Porsches arrives at Mr Wolf on Friday April 1 in DJ mode. Support includes Nick Riveria, Nay Nay and Hudak. Saturday April 2 sees new trance crew Capital Trance present their first night at The Basement – Damage Control – with an all local cast including PEEKZ, Onyx, Olsson and Absolute Zero. $10 on the door. Lastly on Saturday April 9, Department of Late Nights is bringing Sydney techno favourite Shepz down from Sydney at Digress, supports includes Dante, Perdy and yours truly (Kazuki). PETER ‘KAZUKI’ O’ROURKE contact@kazuki.com.au

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some new friends in the tightly packed dressing rooms backstage. They have always envisioned playing to thousands of people on huge festival stages, and they love every second of it, but they also treasure the connection they have with more intimate club shows and they really enjoy seeing the same fans over and over.

Bring your energy!

PARTY HOPPERS, ELECTRO POPPERS CLINTON HATFIELD Sitting down and chatting to Max Hershenow of New York-based electro-poppers MS MR ahead of their upcoming headlining tour and Groovin The Moo dates, we gain a little insight into their live show and their plans for their trek around our great island nation.

If you do manage to get tickets to one of their sideshows, you’ll be able to get a better look at their customised wardrobe! They take pride in their aesthetic as artists and people, because “it’s a fun way to control every element of a live show, without spending an enormous amount.” Australian audiences can expect a special surprise for the eyes, since they can’t bring their usual giant MS MR stage lettering. You’ll only get to see it if you snap up your tickets early! Groovin The Moo comes to University of Canberra on Sunday April 24. You can nab your tickets and see the full line-up at gtm.net.au.

Preparing to head back for their fourth trip, MS MR are no strangers to Australian shores. Even after three trips though, Hershenow admits he’s never even seen a Kangaroo in real life – but he’s quick to say that he became a little intimidated after seeing a clip of a small boy being kicked into a pond. Nevertheless, MS MR are very, very pumped to be returning to one of their favourite places to tour. The way Australians have adopted their unique sound and electric live show has made it all the more appealing to return. With the way that alternative pop has evolved in this country over recent years – with explosive tours by artists in similar sonic spaces – MS MR can really show their true colours on Australian stages and more importantly, get the crowd dancing. Reflecting on their last visit, Hershenow says that “Our Splendour In The Grass show will go down in our minds as one of the best ever.” And now they want to deliver a message to all Moo Groovers: “Bring your energy!” Discussing their 2015 LP How Does It Feel, Max says it was written and recorded with the live show in mind, and that they have spent the last five years building their high-energy stage presence. Their stage show has evolved over time in a very natural way, and as they have come into their own and gotten to know each other better, Max thinks it would be hard to imagine going without one another on stage. Heading into Groovin The Moo, MS MR are excited to see Hottest 100 winners The Rubens again, and also to make

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METALISE It’s a big month for local heavy tunes here in Canberra. Two of our cities longest serving riff warriors are on the cusp of putting their hard work out for all to check out and in the case of Looking Glass, which I’ve had a good chance to digest, is BMA’s album of the issue. One I’ve not had a chance to get the headphones on for yet, but am relishing the opportunity to do so, is the new Levitation Hex record Cohesion. Adam Agius has been a creative force in the capital since the late ’80s. Since combining with fellow Canberran

and phenomenal drum talent Ben Hocking of Aeon of Horus and Mark Palfreyman and Scott Young of Alrum in 2010, the band have steadily built an enviable reputation both at home and abroad with their brutal and psychedelic-tinged progressive death metal. The new album Cohesion is due out on the Friday April 15 and a huge hometown launch is planned for the same date at Transit Bar in the city with Red Bee and Imperilment. If you want an early sample of the new record, purchase the latest issue of Heavy Magazine and it comes with a code to download a new track titled ‘Disrate’. The launch show is the following day (Saturday April 16) with the eighth instalment of the Under the Southern Cross mini-fest at the Bald Faced Stag in Sydney. Segression are back in a headline spot with Bastardizer, Daemon Pyre, Earth Rot, Order of Chaos, Voros and Whisky Smile joining Lev Hex for that big evening of entertainment. King Parrot, the band that has no nest, presently on a tour of Europe with Soulfly, have already announced ten Australian dates for their tour in late March and early April. Starting at this year’s Blacken The Globe festival in Alice Springs on Sunday March 27, the guys will swing by the Basement on Thursday April 21 in between a bunch of shows with Five Finger Death Punch. They’re insatiable, irrepressible, and indefatigable and I’ll let you know who’s on board for the fun and games next issue. Of course, you could also see them at the Five Finger Death Punch side show for the Black Sabbath main support at the big top on Friday April 22, but that’s if you’re not saving yourself for the main event at the Allphones Arena on Saturday April 23, as we say farewell to the wellspring of which this column and all metal flows. There’s a bunch of shows up the Hume in Sydney in the coming weeks and months, with Trivium playing the UNSW Roundhouse for a licenced all ages show on Saturday April 16. Kadavar and Fear Factory announced Australian tours in recent weeks with the German doom rockers hitting Sydney with Melbourne band Child and locals Aver on Friday April 29 and the LA industrial metallers at the UNSW Roundhouse on Friday June 3. JOSH NIXON doomtildeath@hotmail.com

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DROPPING FRENZAL BOMBS CARRIE GIBSON After FRENZAL RHOMB collectively ruined Soundwave Festival for everyone this year, the injury-prone, walking OH&S liabilities decided to embark on the aptly named Friendless Summer tour. We caught up with LINDSAY ‘COCK-EYE’ MCDOUGALL recently to see how it’s all going so far. “It’s really good!” pipes up Cock-eye. “We’ve had our fill-in drummer tag out and our original drummer, our proper drummer, Gordy, tag back in after the doctors gave him an all-clear on his bung arm. Now he can put his hand around a drumstick and something of similar girth he’d like to put his hand around [laughs].” Now that Ol’ Fuckarm – as McDougall affectionately refers to Gordy – is back, was it a tearful farewell for Kye? “Well, I didn’t actually realise it was going to be his last show! We were playing in Sydney and at the end of the show, we were packing up our gear and he was all gloomy-eyed. ‘This will probably be the last time I play with you guys.’ Oh, okay, seeya! In our defence though, Kye’s actual project is creating these five-minute drum chronologies where he plays an entire band’s discography in like three-second grabs. He had done a Beatles one not long ago, which received quite a lot of publicity and he was eventually invited to play at Madison Square Garden during the half-time set of a Knicks game. So it’s fair to say that if Kye were to continue h playing drums for Frenzal nint our lly rea it Is Rhomb, he wouldn’t be we us, Jes album? much longer.”

should really shut up

What is the current status of the band’s ninth album, now that gimp-arm is back in the seat? “Is it really our ninth? Jesus, we should really shut up. Well, we’ve pushed back the recording until October this year. We just have to write some more songs; we’ve gotten bored with the old songs we have. I’m sure Gordy has been writing away; writing some depressing songs about not being able to do his shoelaces up or something,” he supposes. “Seriously though, I think we are the world’s most hospitalised band … We’re just waiting on Guinness World Records to confirm that for us. Before every album cycle, something happens – whether it be broken arms, detached retinas or pig worms munching away at Jason’s brain. It will be an album that reflects, a) how old and easily injured we’re getting, and b) our last album was out in 2012 so we’ve got a lot of shit to write about.” Frenzal Rhomb are out to ruin all of our lives come Friday April 8 in The Basement of our nation’s capital. Tickets are $31.65 through Oztix. For all those who recall Frenzal’s last visit – in which they moonlighted as bar wenches for the evening – then you can guarantee yourself another rad night!

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ANDREW NARDI 2016 is an important time for a band like VIOLENT SOHO. That’s not only because the critically acclaimed Brisbane boys are about to release their anticipated fourth album WACO, but also because Australia seems to be in the middle of what can only be described as a ‘rock revival’. While popular and alternative music have for so long been saturated with electronic and dance music, it’s almost become a rarity to see the nation craving some raw, quality rock.

Even by shutting everyone out however, Tidswell realises that it would be a mistake to disregard the audience that pushed Violent Soho onto the stage and into the spotlight in the first place. It’s for that reason that the band seem to have the utmost respect for their fans – a respect that’s only strengthened by their resolve to remain true within their music. “We are what we are singing about. And it seems like there are a lot of people out there that are just like us,” Tidswell reflects. “Over the past ten years, no one was really singing about that sort of stuff. There really wasn’t any lyrical content about what people like ourselves go through on a daily basis. People were starved for so long of any lyrical content based on that sort of stuff – I guess they all just leapt on when it was available.”

But that’s what these four dudes from Mansfield, Brisbane have done. Before Luke Boerdam, James Tidswell, Luke Henery and Michael Richards caused a ripple in our airwaves, we didn’t have as many young Aussies searching out some bare-bones rock ‘n’ roll, screaming out phrases like “hell fuck yeah!” at gigs and flocking to bands like Dune Rats and DZ Deathrays, both of whom also hail from Brisbane. It’s only appropriate that Violent He spent the whole night Soho would tour their new album with those two bands, and with a view of showing in hospital … but he still Australia what the Brisbane rock scene – played the rest of and the national ‘rock revival’ – is all about.

It’s difficult to pinpoint ‘the sort of stuff’ that Tidswell is talking about – it probably has something to do with the experience of being a young Australian and growing up in 2016. All the set! we can say for sure is that that ‘stuff’ “Last time Dunies came to a show was at the comes alive when crowds congregate at a Violent Soho show and Manning Bar in Sydney. We were playing, and they were on the side connect with the band’s music. of the stage or whatever, and they kept running into the band room, grabbing shit, bringing it out, putting it on the stage,” that’s Violent Soho’s vocalist and guitarist, James Tidswell, recalling the last time they toured with Dune Rats. “For some reason, Bretty [Jansch] put a kettle on stage – and I don’t know why [Luke] Henery did this – but of all the things he could’ve picked up, he picked up the kettle and poured it onto his face. It had just been boiled! It scorched his face, he spent the whole night in hospital … but he still played the rest of the set!”

Even alongside their huge tours and rock ‘n’ roll antics, it’s almost difficult for Tidswell to reconcile the fact that Violent Soho now has a huge listener-base, which only rose to prominence following their third album, Hungry Ghost. That album was written when the band had barely a small following outside of Brisbane. More significantly, it was an album that the band had intended only themselves to listen to and appreciate. Following its success, it only made sense that they would try to recreate that segregation with the making of WACO. “When you’ve got all these people into your band and everyone telling you how good it is, it’s very easy to buy into the fact that you’re special, or that you knew this, or that you knew how to do it,” Tidswell says. “But that’s not the case – we didn’t know how to do it, we’re not special, we didn’t know how this was going to play out. So the whole idea was to shut everyone out, to make sure that we made [WACO] the exact same way we did Hungry Ghost – mentally, anyway.”

“Because we’re music fans, we basically try and do everything the way we would have liked the band to have done it for us,” Tidswell says. “So we’re literally playing as if we were the audience. We know what it would be like to be in the crowd and hear that kind of music coming through the speakers at full volume. It’s just like at Laneway, some of the parts the crowd were singing were just deafening,” Tidswell recalls of the recent St Jerome’s Laneway Festival. “During ‘Like Soda’ in Brisbane, the crowd was louder than the band – that was something else.” When I asked Tidswell why Canberra was left off the upcoming WACO tour, it only reinforced the humble respect that Violent Soho have for their fans. “On this one, it just wasn’t possible,” he says. “We would love to be able to play there and we will try and get back there within the year … Because we really respect the people that like and buy music, and the fanatics in the music scene. And we think we are fanatics as well … Y’know, we’re just trying to go about our band respectfully.” Violent Soho’s new album WACO will release on Friday March 18. They’re playing at the Enmore Theatre in Sydney with DZ Deathrays and Dune Rats between Thu–Fri May 26–27. Tickets are $55.97 through Ticketek and selling fast.

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MacArthur Ave. Yoko Oh No are having their White Commodore album launch with Office Jerk and Sketch Method at The Phoenix on Saturday March 26. Then Friday April 1 brings the incredible Whitney Houston’s Crypt to The Phoenix along with Twinrova, Harrow and California Girls.

Punk music helps you grow. Through aggression and refusal to conform, punk music helps to change the way people think. It changes lives and gives people the chance to focus their energy on change. So why should anyone be excluded from the opportunity to be a part of that? Unfortunately, the current Canberra music scene is excluding people every day. The current system of shows and availability of venues prevents people who could have great impact and input for this scene from being able to contribute. Ageism stops people from being able to do this. I understand that a lot of venues such as The Phoenix and The Basement struggle with overcoming this because of liquor laws, but the concept of 18+ only venues is incredibly limiting, as it creates less variety within bands and exchanging of ideas between bands, as well as less punters who help to keep the scene thriving. Organisations such as Lacklustre and venues like Crossroads do an incredible amount to remove the strong stigma that contributes to the 18+ only culture, but with noise control issues and other suburban complications, they can only do so much.

On Wednesday April 6, we have a huge night at The Basement with The Bennies showing off their brand new album Wisdom Tooth, accompanied by Off Their Heads from the US and Hightime. Then on Friday April 8, Australian heroes Frenzal Rhomb are back at it again for a hell of a night supported by Clowns at The Basement. Lastly, Deep Heat are launching their new album at The Phoenix with Bobby Kill, Agency and the ever-perfect Passive Smoke on Saturday April 14. RUBY TURNNIDGE rubymaudet@gmail.com

There needs to be a wider attitude shift so that there is more support for greater changes to venues and events. If punk shows in Canberra have in the past raised money for great causes, why can’t they now raise support for great social causes? I spent years lying or attempting to cover up my age in order to make others comfortable, but maybe I should have been more vocal – maybe it would be easier for young punks now to feel comfortable at shows instead of having to laugh off “twelvie” jokes and stay seen and not heard until they’re considered old enough to be of value. Coming up in the CBR: On Friday March 18, Idylls are finally returning to our fine city to play with Scab Eater, Harrow and Dickiebirds at Lacklustre HQ, 110

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SHARONA LIN If you’re wondering where the Perch Creek Family Jugband went, you’ll be relieved to know that they’re still making music and still touring – it’s just that they’re called PERCH CREEK now. The change, around a year ago, doesn’t mean they’re not still a family: Perch Creek is still made up of Camilla Hodgkins, her siblings Lear, Eileen and Christi, and her husband, James Chandler. Rather, it signals a shift towards a more open, eclectic style of music. Camilla has spent a sunny day in Melbourne when I call. She’s been enjoying the time spent focusing on songwriting, rather than constantly on the road. “We’re all quite homey people,” she confides. “We’re really enjoying not heading off on the road every second week for three months at a time – it’s really nice having that grounding, a home we’re not leaving all the time.” The band formerly known as the Perch Creek Family Jugband have been in existence for a decade, and they’ve spent a lot of that time touring. Since the name change though, they’ve changed it up a bit.

As a lover of Spotify, I was also interested to learn that they only have one song on their profile: ‘Mama Sings’, the single they’re touring. Camilla insists there’s no Taylor Swift-type statement about streaming services there. Rather, they just never thought to upload their previous releases. “Spotify wasn’t as much of a big deal then as it is now, so it didn’t occur to us to put it there.” They’ll release new music on Spotify, but they aren’t interested in putting up songs recorded as the Perch Creek Family Jugband retrospectively.

Everyone kept asking us, ‘When are you doing the National Folk Festival again?’

“It was a really conscious decision, but also a really natural progression to just be Perch Creek,” Camilla explains. “We just felt like we didn’t want to be defining our genre of music in our band name … we felt like it would be great to have a band name that reflected what we were doing, was a bit more open, and didn’t straight away put an idea into people’s heads of what they thought we would be.” It signifies a shift to their new music, a lot which will get played for the first time at the National Folk Festival.

This new album is a product of many hours of collaborative songwriting: “it’s a really slow process, but really rewarding.” Everything from the lyrics to the chord progressions are written as a group, a lesson in being comfortable in putting ideas out there. “It’s just exciting, the possibilities with songwriting in such a large group,” Camilla gushes. Just because they’re family, doesn’t mean they all think the same, either. “I think there’s definitely some surprises – we know each other and there are definitely some ideas that people come up with that are really kind of reflective of them and their style. But sometimes someone will come up with some really cool lyrics or some really wild ones and it’s like, where did that come from?” Add to that the music itself, and it’s easy to understand why they are spending so long on this new album. The band members play everything from keyboard to washboard to ukulele to saw. One of them tap-dances, and all of them sing.

The National Folk Festival is a return to their touring roots: Perch Creek have toured extensively in the last four years, including several trips to Europe and one to Canada. Camilla attributes Perch Creek’s strong fan base to this touring schedule, but the future will be more about their online presence. “We plan to release heaps of singles and film clips – the live experience is still really important, but the whole online aspect of it is growing so much these days. That’s really exciting.”

“We’re not trying to forget that ever happened,” she explains, “But it exists in the past and it’s nice that they’re there on CD and iTunes. It feels really nice and exciting to come out with fresh songs, and that’s an opportunity to put all our new stuff out under our new band name.”

While the rest of their new album is still being recorded, to be released in early 2017, the National Folk Festival will be privy to some of their new material: “We’re going to be playing ‘Mama Sings’ and a few of the older ones as well. It’s always nervous and exciting. It’s quite different recording those songs when you’ve played them live a lot – you develop this comfortability; the studio is such a sheltered environment.” The previous and only time they played the National Folk Festival was three years ago, to a warm reception. Since then, they’ve played their own shows in Canberra, but they’re excited to be playing at the festival again. The festival three years ago really stuck with them, as well as Canberrans apparently: “It was a memorable festival and a memorable crowd. We’ve been back to Canberra since, and we love it, but everyone kept asking us, ‘When are you doing the National Folk Festival again?’” Perch Creek are playing Friday, Saturday and Sunday, at different times of day for each. Diplomatically, Camilla doesn’t pick a favourite. “All of them can be ideal. It’s really fun doing evening shows because everyone wants to dance, but the morning is great too because it’s a different crowd, and you can tell more stories.” Catch Perch Creek at the National Folk Festival, hitting the Budawang Stage at 5:20pm on Friday March 25, the Majestic Stage at 9pm on Saturday March 26, and the Marquee Stage at 10am on Sunday March 27. Tickets are available for purchase from folkfestival.org.au/tickets.

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GOOD OL’ FASHIONED HOEDOWN KAROLINA FIRMAN Easter is coming up, which means that the NATIONAL FOLK FESTIVAL is fast approaching. One of the bands performing at the local festival are the British/Australian duo consisting of Todd Mayhew and Sivan Agam, a.k.a. THE APRIL MAZE. I caught up with Mayhew, who told me just how excited they are to play at the festival for another year. “The National Folk Festival is always an honour to play and is a huge platform for us to share our music with big audiences. It is a really special occasion as we get to jam with old friends and meet new musicians to collaborate with. In a nutshell – we’re pumped,” Mayhew says. “The National Folk Festival is very special to us. This year is the 50th festival and will also mark ten years since The April Maze formed.”

We gave up our day jobs and lived out of our 1976 Kombi van

But who are The April Maze? And how did they get started? “We are a husband and wife alternative folk duo that originally met in an old scout hall in Melbourne. Sivan grew up playing cello in orchestras in the suburbs of London, and I’m a self-taught guitarist and banjo player from tropical north Queensland,” explains Mayhew. “After connecting musically, we gave up our day jobs and lived out of our 1976 Kombi van for many years, sharing our music and stories across Australia. We’ve toured internationally to New Zealand, Canada, the United Kingdom and Europe.” And how do they describe their music? “I find it hard to describe our music at the best of times, but our sound has been described as ‘a mix of spectral dustbowl blues, vengeful hoedowns and pared back swoon songs’,” Mayhew says. “The April Maze’s sound is for all-weather – to curl up with on rainy days or to dance to in a sun-soaked summer. We delicately fuse a haunting melancholy sound with dreamy trippedout harmonies, lyrical cello, banjo, guitar and sultry vocals … think Mumford, Florence and First Aid Kit with a cello.”

ED KUEPPER

It’s no surprise the duo are returning to the National Folk Festival once more, as they have something of a fondness and a history with the festival. “Our first ever performance together was at a ‘play for your pots’ open mic night in the Dandenong Ranges of Victoria. After playing a few songs and having our free beer, we met some locals and were invited back to their campfire jam nearby,” Mayhew recalls. “As a result, we met some incredibly passionate folk musicians that were extremely encouraging –including the late Joe Paolacci who had played at The National since the ’70s. They took us under their wings and introduced us to a folk world that we didn’t even know existed … since then, we have been immersed in the Australian folk scene.” You can head on over to the National Folk Festival from Thu–Mon March 24–28. Find show times, tickets and more details over at folkfestival.org.au.

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E X H I B I T I O N I S T ARTS | ACT

ROMEO & JULIET INDIGO TRAIL Until a few weeks ago, ALEX WILLIAMS had never done professional theatre. Now, he’s Bell Shakespeare’s Romeo in their shiny and fresh production of ROMEO & JULIET (coming to Canberra in early April). “It’s fairly decent for a first big outing, yeah, I know,” says Williams over the phone from Sydney, where the play has been running at the Opera House for just over a week. “But it’s a role I’ve always wanted to do before I got too old.” Williams is in his mid-20s, which seems like an odd time to worry about being too old for a part, but he insists, “I didn’t want to be 32 and doing it. It’s great to get it done now, especially in the Opera House with Bell Shakespeare. It’s a pretty amazing experience.” Despite being relatively new to the world of professional theatre, Williams is a trained actor with a wealth of experience under his belt already. He grew up in Perth and eventually studied there, getting a place at the Western Australian Academy of Preforming Arts, which is where, until now, his theatre experience had come from. Afterwards, he moved to Sydney and snapped up several film and TV jobs before auditioning for Romeo & Juliet. “I’d auditioned once before for Bell for another big role. I went alright then, but Peter [Evans, Artistic Director] asked me, ‘What’s your relationship with Shakespeare? Why haven’t you done any theatre before?’ And I sort of said, ‘Actually, I’ve always just really wanted to play Romeo in Romeo & Juliet.’ Turns out that is not the best thing to say when you’re auditioning for something else, so needless to say I didn’t get that role. “But when I got wind early the next year that they were looking for a Romeo, I jumped at it. Peter remembered me and he was like ‘Hey, there you go. You get to audition for the one you actually want.’ I put a fair bit of work into it though,” he says sincerely, and this is the first glimpse he’s given me of the unflinching determination that centres so many actors on their quest for the perfect role. “They’d already cast Kelly [Paterniti, the production’s Juliet] fairly early, so Peter centred it around her, which was clever – Juliet’s such a good role, she’s the anchor of the play. Anyway, I had a call-back with her and had a bit of fun and basically tried to make her laugh to be honest.” It’s a good time to mention that, true to his word, Williams is very funny. At one point, he exasperatedly exclaims that Romeo “has no chill at all,” and it’s easy to imagine him drolly hurling his arms towards the ceiling in feigned frustration. Williams also knows exactly when to pause for my imminent snort of laughter; he’s a performer through and through. Humour, he then gleefully informs me, is actually a huge part of Romeo & Juliet. The play may arguably be Shakespeare’s most

famous tragedy, but – in a classic Shakespearian way – it’s actually a real genre-bender. “It’s structured over five acts – over five sunrises basically. But we’ve split the play up into two halves, and really the first half is a comedy. It’s extremely funny. All these awful accidents keep happening, and then the lovers meet. It’s quite light, really.” So it’s just before interval that the first tragedy strikes, though Williams won’t tell me exactly where the split is. “The second half is then completely different. It keeps thinking back on the comedy of the first half, which makes the second half all the more tragic because you keep getting reminded of how nice things used to be.” What’s it like then, as an actor, to have to tell this huge, emotional storyline night after night after night? “It is difficult, yeah. It gets easier, I think.” He pauses and barks out a laugh. “Well, I hope it does. It’s the two-show days that are really tiring. They’re the ones where … you’ve just done it all. It’s like … your friends have died. Your wife has died. You’ve killed yourself. And then you’ve got to get up and do it all over again.” The pressure of a role as visible and iconic as Romeo is surely another factor, I assume, but Williams doesn’t seem to entirely agree because, he confesses, he’s known Romeo for a while. “I actually played him way, way back in high school, so I’ve always been intrigued, I guess. It’s a very emotional character and in that sense, yes, it’s challenging, you know – he’s nowhere near as clever as Juliet, but he has a good battle between his own mind and heart. It’s nice to play someone who’s so one-hearted, I suppose.” Frequently and humbly, Williams interspaces his answers with gratitude towards the cast. At one point, when I ask about his favourite part of this experience so far, his thankful grin zooms down the line. “Just working with the people I get to work with is the best part of doing theatre. Kelly’s absolutely fantastic, she’s incredible to work with, and she’s just got such an incredible dexterity with the language. We’re constantly changing, constantly evolving. Obviously, the play’s fantastic and doing it in front of people is great, but the cast and crew I’m working with … they’re the ones I learn from. It’s hard to say, but basically it’s getting to work with people who are very, very good at their job and just … just trying to keep up.” So it’s the collaboration, then? “There you go. You did it in one word. I took about sixteen sentences.” When I remind him that’s his job at the moment anyway, he grins again. “True!” Romeo & Juliet is at the Canberra Theatre Playhouse from Friday April 1 to Saturday April 9. Tickets can be bought online at the Canberra Theatre website, https://canberratheatrecentre.com.au.

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LITTLE SHOP OF HORRORS

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SHARONA LIN The stage upstairs at Civic Pub is tiny – you’d probably fall off if you took more than two steps across it. Every month, that little stage boasts an impressive lineup of local and occasionally interstate comics who perform seven-minute sets, and the quality speaks for itself; Comedy Club at the Civic Pub routinely sells out. There’s a group of regulars at the very front of the room, and the rest of the room is also packed, with latecomers perched on bar stools at the back of the room. Canberra’s comedy scene seems small, especially if you’re coming from a bigger city like Melbourne or Sydney. However, it’s a deceptively active one. THE COMEDY CLUB at Civic Pub is one of the first proper comedy nights in Canberra and has been running for over seven years now, with no sign of slowing down. And while three Canberran music festivals have disappeared in the last few years, the Canberra Comedy Festival is going into its fourth year with 15,000 tickets on sale. There are local acts like Ian Worst, Chris Ryan and Greg Kimball performing alongside interstate and international acts such as Tripod, Matt Okine and Arj Barker.

Still, what makes Canberra’s comedy scene so great is also one of its disadvantages: because it’s relatively small, there’s not much in the way of weird, experimental comedy like Melbourne’s Aunty Donna, or dedicated sketch comedy shows. But that’s changing too. “There are a few people who are a bit more experimental – they go into character comedy, and a bit more absurd comedy,” Greg says. It’s mostly the younger comedians who have the time to focus on experimentation. There’s also some improv and musical comedy. Hamish Hudson, one of the founding comedians of Comedy ACT, is a musical comedian and one of Canberra’s comedy mainstays. A group of young comics are involved in a sketch comedy show, Secret Show, in the Comedy Festival. “It’s more on an individual basis – there are no regular nights that do that more experimental comedy,” Tim says. Most of the focus is on club-type comedy, so there are plenty of opportunities for new comics to try their hand in a lower stress environment.

Greg has been in comedy for six years, with a day job in the public service. All the comics have day jobs – that’s just Canberra. “It’s a small city,” he says, “There’s not the When we talk comedy in Canberra, all same entertainment industry here.” roads lead to one person. Tim Duck isn’t a our in It’s just not Some Canberrans leave for bigger comic, but he’s something of an unofficial interests to diss each cities to work in comedy full-time; spokesperson for the Canberra comedy Daniel Connell and Toby Halligan are other and carry on like scene, as the main admin behind the both working in Melbourne now, and Comedy ACT website. He’s also one of the egotistical dicks the Stevenson Experience in Sydney. team who started Comedy Club at Civic But a lot of them are more than happy Pub over seven years ago (originally he was with what Canberra offers. Ian Worst, who only started performing the sound tech for his friend, comedian Jay Sullivan), and one of the nine months ago, found it easy to break in: “I think in bigger cities founders and the General Manager of the Canberra there’s a more competitive air around the comedy scene, but there’s Comedy Festival. no need for that here. Everyone here just wants to see and support “The first year we had no idea, we just wanted to do something big,” as much comedy going on as possible.” Tim says of the Comedy Festival. “It’s sort of our baby, everyone’s “Not many people know about Canberra’s comedy scene until they quite involved at that core level.” delve into it,” Chris says. “It’s not Melbourne or Sydney, but I don’t Everyone involved in Canberra’s comedy scene talks about the much care. This is where I happily live and there is more than enough community. Wednesday night, local comedian Greg Kimball isn’t comedy on offer for me.” performing at Civic Pub, but is just around to watch some comedy There’s Polit Bar comedy, regular gigs at The Bunker, a monthly and support his fellow comics – a pretty great indication of how open mic at The Front Café and The Durham, shows at the Duxton, a tight-knit they are here. Although the scene has been getting brand new regular gig night at Smith’s Alternative Bookshop, and of bigger in the last few years, everyone knows each other, he says. course, Comedy Club at the Civic Pub. “Everyone’s very supportive, we all work together,” he says – and it feels genuine, not just like he’s showing off the best side of the “They know they’re going to get a good show,” says Greg, before the scene to a new Canberran. More comics are around now, from show starts, pointing out the regulars. He’s right, of course. There’s perhaps 10–15 regulars a few years ago to 40–50 regular comics a genuinely good vibe at the show: the crowd is incredibly receptive performing today. Still, Greg says, “Because the comedy club scene to audience interaction, even if a fresh joke doesn’t land quite right. is still growing, everyone’s working together to make it better. There Hamish Hudson brings out a guitar for an ode to buses, and sex, kind are no rivalries, everyone gets along, it’s just a nice scene.” of. There’s one heckler who gets destroyed. Oh, and no one falls off Chris Ryan, another local comic, concurs. Part of it goes back to Tim, who doesn’t get involved in personal politics: “He is a guy who genuinely aims to give the punters a great show.” And part of it goes back to the smaller scale of the comedy scene here: “It’s just not in our interests to diss each other and carry on like egotistical dicks,” she tells me bluntly.

the stage.

If comedy is your thing, head along to the Comedy Club at Civic Pub on the first Wednesday of every month. The Canberra Comedy Festival also wraps up its season on Sunday March 20. Details are at canberracomedyfestival.com.au.

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IN REVIEW

Danny Bhoy: Please Untick This Box Canberra Theatre Sat–Sun Mar 5–6

Internationally renowned, Scottish-born comedian Danny Bhoy took no time in assessing the raucous crowd during his Sunday night performance at the Canberra Theatre. Audience interaction weighed in heavily during the first half of the show, as he critiqued Public Servants and made fun of our government, “I haven’t been to Canberra for three years, which is what? Seven or eight changes of leadership?” Touché. Please Untick This Box explores these modern times, or more accurately, it shines a spotlight on the absurdities of the digital age. The laughs came hard and fast as Bhoy relayed anecdotes from his steel-trap mind. He shared stories, using his brand of observational humour, exploring politics, racism, bureaucracy and the degradation of human interactions. Recalling a recent trip to the hairdressers – which required the 42-year-old to complete extensive paperwork before taking a seat in the London salon – was comedy gold, and succinctly illustrated the crux of the show; but why? The charm of Danny Bhoy exists not just in his accent and obvious hilarity, but his approach to life in general. He is an empirical researcher, actively seeking stories and baiting those who enter his orbit. During his stay in Canberra he attended the Night Noodle Markets and questioned their need for an Information Booth, “I was wondering if you could tell me where I could get some noodles around here?” In his hotel he got sassy with a grouchy waitress, who reluctantly took his order for pancakes, returning with a single serving of honey on an enormous plate, “I see you’ve got a bee!” He also likened Donald Trump’s face to a “back-combed orangutan’s arse.” SAMUEL TOWNSEND

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E X H I B I T I O N I S T ARTS | ACT part. And then so do the costumes, the set, the sound and light; it brings so many elements together.” Dal Cortivo is returning to Canberra for this show. He grew up here and cut his cloth in the Canberra community theatre scene. His first role, at age 10, was as a rat and a sheep in a production of Joseph and the Amazing Technicolour Dreamcoat at the Erindale Theatre. “My Mum still has the photo of me as the rat, so that keeps me grounded,” he laughed. Dal Cortivo attended Marist College where his drama teacher was Anne Somes, who is now the Artistic Director of Free-Rain.

THE LITTLE MERMAID ZOE PLEASANTS Local theatre company Free-Rain are bringing that Gen Y Disney favourite THE LITTLE MERMAID to the Canberra Theatre in April. Based on the 1989 movie (which in turn is based on the Hans Christian Anderson tale, albeit a sanitised version with a happy ending), the stage show of The Little Mermaid features all the hit songs from the movie as well as a swag of other songs. Free-Rain prides itself on producing high quality, entertaining theatre and often – as is the case for this production – uses a mix of amateur and professional performers in its shows. This show stars Mikayla Williams as Ariel and TIM DAL CORTIVO as Prince Eric. I spoke with the gregarious Dal Cortivo, who is one of those mermaid-loving Gen Ys. “I grew up with it,” he said. “It’s one of my favourite Disney movies. So playing Prince Eric is a childhood dream coming true!” I asked Dal Cortivo what drew him to musical theatre. He told me it’s the spectacle, “I love that it has all the different elements – the music, the dance, the acting too. And they all play such an important

After school, Dal Cortivo wanted to pursue his love of acting, but his parents persuaded him to have something to fall back on. He studied public relations at UC and spent a year in the industry after he graduated. “I thought, I can’t do this, I can’t be behind a desk – and so I auditioned for some of the drama schools around the country and got into the Australian Institute of Music in Sydney.” Dal Cortivo’s parents shouldn’t have worried – he has been doing shows ever since, including touring Asia, the Middle East and Europe with a production of The Smurfs. I asked Dal Cortivo what he thought the main message of The Little Mermaid was. “I would say it is about courage,” he said. “Prince Eric and Ariel are both in situations where they’re not happy and both of them use courage, and make a choice to jump out of that and try something new.” Something, it sounds like, Dal Cortivo can relate to. The Little Mermaid is showing at the Canberra Theatre from Fri–Sun April 8–17. For tickets and more information, visit canberratheatrecentre.com.au.

CADA

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IN REVIEW

Yana Alana: Between the Cracks The Famous Spiegeltent Sat–Sun March 5–6

Photo by Peter Leslie The first words to tumble from Yana Alana’s lips during her brief reign at the Famous Spiegeltent were, “I’m blue”. The visual and metaphorical pun induced immediate hysteric reactions from the audience, as the award-winning cabaret performer swaggered her way through the intimate crowd, beneath a relentless spotlight. Completely naked, aside from a healthy slathering of blue body paint, a pair of blue glitter heels, and a giant blue wig, Yana Alana held the crowd captive and left them wanting more. Between the Cracks is equal parts hilarity and tenderness, as carefully orchestrated by creator Sarah Ward. Imagine the illegitimate lovechild of Dame Edna Everage and Meow Meow and you just might conjure an image of Ward’s alter ego, or ‘drag diva bouffant’, Yana Alana. The camp cabaret stylings of this show add to the rich tapestry of thought-provoking material, which all unfolds throughout the tightly packed hour. Songs on the setlist broach far-reaching topics such as anal sex and the culture of porn – to which Ward states, “I’m not judgemental of that, except that it’s a subject we need to talk about. I see a lot of looks of recognition from a lot of women in the audience during that song!” – to the fragility of mental health and the fluidity of sexual identity. Audience participation is toyed with in manageable doses and Yana Alana’s slapstick banter with pianist Louise Goh is pitch perfect. After a spellbinding finale with ‘One Woman Show’, the audience is left to ponder Leonard Cohen’s song, ‘Anthem’, as Yana Alana quotes, “There is a crack in everything. That’s how the light gets in.” SAMUEL TOWNSEND

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THE MAKING OF MIDNIGHT OIL PETER KRBAVAC

Photo by Ken Duncan

“We have a former Midnight Oil roadie and tour manager working with us and he finds it very amusing, the care we take with these objects that they used to throw into the back of a truck,” chuckles curator Ross Heathcote as we step around sheaves of gig posters. Walking through room after room of memorabilia, the density of THE MAKING OF MIDNIGHT OIL becomes apparent. It’s hard to imagine a more exhaustive or immersive exhibition being mounted for many other musicians. A large amount of the material on display is thanks to the archivist tendencies of the band’s drummer, Rob Hirst. “Even in the earliest days of [pre-Midnight Oil band] Farm, he was keeping an archive of what they were doing,” Ross explains. “A lot of really prominent Australian rock musicians have come to see the show and said ‘I wish we’d kept our stuff.’ Rob is avid – and not worried about running out of space to store things.” In a stroke of good fortune, the exhibition was being assembled as the lease on the Midnight Oil’s storage space was coming to a close. Ross and his team jumped on the chance to acquire the band’s old equipment cases, which have been converted into mobile display cases and which, in turn, set the overall visual aesthetic of the exhibition. “This was a real achievement,” Ross says proudly. “It helps us move the show around in the fashion of a touring rock show, rather than a museum show.” Plastered with stickers from airlines and festivals across the world, the exteriors of the cases tell their own stories. Inside, they are packed with artefacts: battered guitar pedals, fragments of lyrics on hotel stationary, setlists, backstage passes. Posters dating from the band’s earliest shows cover every spare section of wall, while the band’s famous ‘Sorry suits’ from the Sydney Olympics hang in another room. Elsewhere in the exhibition, the giant banner from Midnight Oil’s Exon protest show looms over a stage full of the band’s old touring equipment, including Peter Gifford’s bass – scorched after catching fire in the back of a land cruiser during the Blackfella Whitefella tour with the Warumpi Band. Walking past a case of fan-made memorabilia, Ross points out a garish but otherwise unremarkable Hawaiian shirt in the corner. “There was a gig at Selina’s in Coogee and the fans all turned up to find that Selina’s had said you need a collar to get in,” he recounts. “Most of the fans had t-shirts, so the band management went out and bought a truckload of Hawaiian shirts and handed them out.” “You can run with the music, you can run with the fans,” Ross concludes, “but you get into the social history, the issues that they championed, the international nature of their efforts and the events that they created and you’ve got a really broad, rich story that goes beyond music.” The Making of Midnight Oil runs at the Tuggeranong Arts Centre ‘til May 14. Entry is free. A program of talks, concerts and screenings surrounding the exhibition is available on the venue’s website.

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RECORD STORE DAY

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E X H I B I T I O N I S T ARTS | ACT

ARTISTPROFILE: SARA ROBERTS What do you do? I am a painter. When, how and why did you get into it? Pretty much everyone in my family is an artist in some way, and my mother is a painter so it really is thanks to her that I got into painting. She has been my main teacher throughout the years. Who/what influences you as an artist? There are so many artists that I am influenced by. I am constantly looking at different contemporary artists. If I had to pick one, it would be the painter Peter Doig; the first time I saw his work in Paris, I was so inspired. The way he depicts the landscape really has changed the idea of what painting is and what it can be for me. Of what are you proudest so far? So far I am very proud of how much I have learned in painting by being disciplined and doing it every day for the past few years.

What pisses you off? Being covered in paint all the time and slowly having every single thing I own covered in paint! I guess it comes with the job… What about the local scene would you change? I live in Sydney, so I don’t know a great deal about Canberra. I am very much looking forward to getting to know more about the city and discovering the local scene! What are your upcoming exhibitions? I am currently getting ready for an exhibition with Leah Bullen, and curated by Kathleen Linn called Retronauts. The exhibition will be on display at ANCA gallery from Wednesday March 16 until Sunday April 3. Contact info: sarairoberts@gmail.com, 0425 220 912, facebook.com/sararoberts.artist, sararobertsartist.com

What are your plans for the future? Probably like most artists, to be represented by an exciting gallery both in Australia and oversees and to keep on painting every day. What makes you laugh? Definitely my husband!

‘By the Sea’, Sara Roberts, 2016, oil on paper

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IN REVIEW La Clique The Famous Spiegeltent Friday February 21

Photo by Dave McCarthy

The Spiegeltent really is the perfect venue for La Clique. It’s intimate, making you feel like you are watching the performance with friends. The 1920’s aesthetic sets the scene too, and the whole experience has been meticulously curated, with the ticket checkers and refreshment sellers all outfitted and characterised to the ninth degree to fit the wooden, mirrored tent. Even some of the audience have gotten into the spirit, as I spot a sequined dress here and fishnetted leg there. Not so many bow ties as t-shirts and shorts though – it was a warm night. A world away from the Canberra Centre, we have stepped into more than just a tent, we’ve visited a bygone era. Our night at La Clique started with two couples from Canberra, Swing Katz doing their thing on the tiny stage as the audience filled the deckchairs and booths. Having first seen La Clique in Adelaide some ten years ago, I knew what I was in for. With the stage in a type of, ‘in the round’ set-up, I sat opposite a gentleman who had no idea – and so, I settled in and watched the show through his eyes and sense of childlike wonder. The international cast of nine performers – plus the house band – wowed this man all through the night. His mouth agape during most performances, never quite believing what was happening on the stage. The slinky burlesque thrilled him, the dance sequences moved him, and spinning tabletop acrobatics made him shake his head in disbelief. It was quite a delight to watch, not only what was happening on stage, but how this man was reacting. Highlights for me included Kelly Wolfgram’s powerful vocals, which came direct from New York. Pole aerialist Remi Martin turned the Spiegeltent into a parkour playground, and the audience enjoyed an unassuming reverse striptease. A routine involving a claw-foot bath, lots of water and acrobat Omar Cortez was especially spellbinding. Omar’s resemblance to Purple Rain-era Prince played up more than a bit, to extreme effect. UK magician and comedian Paul Xenon acted as MC, and kept the show flowing well between acts. He lamented when the biggest cheer of the night came from his sculling a pint of beer at the conclusion of a balancing trick. The audience would beg to differ though, with Sophie Zucchini and her infamous hanky-panky trick almost breaking the crowd into a riot. This is where my newfound audience friend’s eyes really bugged out, and I was genuinely concerned for his welfare for a moment, until he stood up to give a standing ovation. It was an evening filled with comedy, jazz, illusions, stunts, grace and style. A friend summed it up perfectly: La Clique was a little like an episode of Australia’s Got Talent, but with actual talent. LISA SAMPSON

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the sheer super-speed of the production is something else she often comes back to, and at times it sounds like a fantasy epic itself. “I got an email from a colleague at ANU,” (van Nieuwland works parttime in the Textiles Department at the School of Art) “and it just said ‘we’re looking for some weavers who could do some weaving for a movie.’ So I replied and sent them some photos of my work, and within half an hour the costume designer was on the phone. She gave me the timeframe and I said, ‘That’s really soon!’ and she said, ‘I know, but don’t you want to weave for Geoffrey Rush?’” Van Nieuwland laughs. “And I said, ‘Of course I do!’ But I mean, I would’ve done it even if it was for someone I didn’t know … I quite like responding to commissions like that because you know if you get it right, it’ll be loved on the other side.”

MONIQUE VAN NIEUWLAND INDIGO TRAIL

Photo: Monique van Nieuwland

MONIQUE VAN NIEUWLAND talks about fabric as though it is a living, breathing character, a fitting habit given she recently worked for the costume department on new Australian/American film GODS OF EGYPT, which premiered in Australian movie theatres late last month. “I saw the movie for the first time yesterday and it was so exciting,” van Nieuwland effuses happily over the phone. “I’d prepared myself for lots of action and effects but mostly it was fantastic to see the fabrics perform so well.” She often uses language like this when talking about the work she did for the film; how it performed and contributed to the characters, whether it was right in front of the cameras and lighting, if it was appropriate for the difficult environment of a movie set. Despite this easy familiarity with the terminology, van Nieuwland got involved with Gods of Egypt quite suddenly, she tells me. In fact,

Van Nieuwland was contacted late in December 2013. By April 2014, she and two student assistants from the Textiles Department had woven over 70 metres of fabric. “It was fantastic and I’d do it again, but I’d be better prepared,” she confesses. “It was just bang, bang, bang, fast and furious, my other life on hold. They would say ‘Can we have this garment on Sunday because we’re filming on Tuesday.’ So really, they wanted them yesterday.” Van Nieuwland worked almost exclusively with weaving, crafting anything from shawls for set decoration to pieces of major characters’ costumes. “I look at costume design so much more carefully now,” she says before pausing, the phone line crackling. “When you see the movie, you know that what I did is a little cog in an enormous machine.” She pauses again, reflective, before mentioning how overwhelming it is, to understand how much work goes into even a tiny part of a project like this. “But,” she finishes. “I do think it was still significant. Those garments add another element. I’m very proud.” Of what? “Of how they performed, of course.” Gods of Egypt is showing at Dendy Cinemas, and at Hoyts Belconnen and Woden.

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FASH N TREASURE

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cocktails, incredible gastro pub grub, and it can also boast the most craft beers on tap. We had a chat with the team behind Ducks Nuts – including Chef Danny Russo of Russolini and Marble & Grain – to get the goss on Dickson’s newest hip and happening venue. “I saw it as a great opportunity to work in Canberra again, following the success of Marble & Grain, and create a new venue in the Dickson Precinct,” Russo says. “To be part of a venue that’s working to inject life back into the Dickson precinct is what I’m all about.”

DUCKS NUTS ELEANOR HORN As many of you will surely be pleased to hear, there’s a new bar and grill in town, and it’s not what you’d expect. DUCKS NUTS is now officially the largest space in Dickson serving premium beverages,

With new residential and commercial dwellings on the horizon, as well as the ACT Government’s focus on redeveloping Dickson, Ducks Nuts will provide something that Dickson doesn’t currently offer; the plan is for Dickson to be the next Braddon-style cultural hub. And now with that vital information out of the way, let’s get to the good stuff: the food. “There will be the classic elements you would expect to find, such as the traditional burgers and steaks, as well as a focus on sharing and social dishes, including a Ducks Nuts board. And while people say you don’t make friends with salad, Chef Danny Russo thinks you can with the Ducks Nuts Roast Duck Salad, or the roast pumpkin salad! There’s a range of mains, and even some mini mains for kids under 12.” And if that’s not enough to make your mouth water, there’s always the chocolate brownie sundae with salted caramel popcorn for dessert. The menu is priced so you can visit multiple times a week, providing plenty of variety in a relaxed atmosphere. “Ducks Nuts is more than a place you can just stop in for a beer. [It’s] a contemporary, modern sports bar, providing patrons with full onsite TAB and Keno facilities, all sports channels live and showing the matches of the day, and live entertainment every Friday and Saturday night …” And when these guys say ‘live entertainment’, they don’t mean a karaoke machine. Acts you can expect to find at Ducks Nuts include, “Minh Ha Music, acoustic guitarist, to some of Australia’s finest DJs and live acts from The Groove Academy. Brother J, master of all things deep and funky will be playing his own style of DJ set, and La Fiesta Sound System will be creating the party atmosphere...” So, there you have it. Beers, grub, and music, all in a chill atmosphere that won’t drain your wallet dry. What more could you want? You can find Ducks Nuts Bar & Grill at 30 Woolley Street, Dickson, or call them on (02) 6230 7675.

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Which sounds great, but what else does the event offer? “It starts on Good Friday and runs through Easter Saturday and Easter Sunday. On Good Friday, a lot of the events are free, and we’ve got artists doing things in Bermagui itself,” he says. “We’ve got Radical Son playing at the community centre on the Saturday night, and there’s a free concert by Phillip Glass called Musical of Moving Parts.” David went on to say that they have a full day of music on Saturday and Sunday too. “It includes everything from Western classical music, to Taikoz drumming, to electronic music workshops for young people and then we’ve got a beautiful chamber music series.”

FOUR WINDS FESTIVAL KAROLINA FIRMAN There are a lot of things to get up to over the Easter long weekend, and one of the classiest options is to check out the FOUR WINDS FESTIVAL. Located in Bermagui, NSW, Four Winds has been operating since the 1990s with a view of combining quality classical music with beautiful surroundings. According to festival director David Francis, Australia has no other classical music event quite like this one. “There’s no other setting like this in Australia, you sit outside and you listen to music. It’s completely relaxed – not like any other concert or festival experience,” Francis says. “You can listen to really exquisite music in a beautiful place.”

They’ve running a range of workshops as well, which are primarily aimed towards young people. “One of the workshops is about electronic music. It’s about sampling, collecting sound samples and looping. So all of the electronic music techniques that young people like to use in their own creativity,” Francis says. They’ve also organised to have “artists who are performing in the festival to come in, give little talks and perform for the young people.” If you come with your kids, there are options for them as well. “Parents can leave their children with child minders. There, they can get creative with lots of play and lots of good fun, and some music making too.” The Four Winds Festival runs from Tue–Sun March 22–27 at the Bermagui Community Centre. For more details ticketing information, check out fourwinds.com.au.

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IN REVIEW The Bugle Boys The Famous Spiegeltent Thursday February 25

importantly, they rely on a healthy respect for the original works, while avoiding parody or sickly excessive adoration. They should be a celebration of a legacy, and in the rare circumstance, a remarkable addition to it. Drag is also tricky, but for different reasons. It can be a celebration of diversity and the play of masculine and feminine energies. It can be an explosion of joy and a killer of cynicism, a social equaliser fueled by the right combination of class and crass. However, there’s the risk of belittling cis and transwomen for the sake of a saucy gag, and the potential to end up with a show so dependent on cheese it makes the lactose-intolerant weep. The Bugle Boys promote themselves as a salute to the Andrews Sisters, the three all-American women whose tight harmonies and constant wartime touring helped form what many know as the World War II swing sound. As the name suggests, the parts are all played by blokes, so we’re faced with a show that fits into both of the aforementioned difficult categories. Here lies the challenge.

Great tribute shows are incredibly difficult to pull off. They need a high level of musicianship to do justice to songs that defined an era or genre. A strong format helps, whether it’s a solid narrative or straight set of songs the performers are passionate about. Most

The Andrews Sisters were certainly camp in the old Vaudevillian tradition, so the idea of putting them at the centre of a drag show isn’t a long stretch. Michael Dalton (Patty), Jon Jackson (Maxene) and Andrew Dessman (LaVerne) showed a remarkable knack for replicating the Andrews’ sound, rejecting the traditional miming schtick for live singing, and nailing it. Despite the falsetto and occasional surprisingly low note, it was totally convincing, pushed along by their strong stage presence. But then The Bugle Boys fell into a number of the traps their mixed genre format had made them vulnerable to. The storyline and banter was less of a celebration and more of a cruel joke at the expense of the women who were their source material. They regularly fell back onto the tired drag tropes of The Sweetie, The Ugly One and The Slut, with the big band sound of the ’40s betrayed by the use of poor synth backing. The local material was based entirely on “Canberra is boring” and “you all hate Queanbeyan, right?”, while other jokes were simply transvestite gags that stopped being fresh, edgy and acceptable years ago. The Bugle Boys promised a cheeky look at three trailblazing stars of years gone by. While there were certainly some fine elements of the past in amongst the victory rolls and satin faux-uniforms, sadly, too many of them were of the type not worth revisiting. NONI DOLL

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LITERATURE IN REVIEW The High Places Fiona McFarlane [Penguin Australia; 2016]

The most puzzling collection of stories I’ve read in a while; The High Places was an unexpected lesson in appreciating what it takes to create a work of art. Opener ‘Exotic Animal Medicine’ begins with a hook – an accident on a dark country road – and ends inconclusively. Will Sarah be charged? What becomes of elderly Mr Ronald? Will the cat Sheba survive? It takes skill as writer to not spell out everything and to do it so well. The remaining twelve stories follow a similar vein. Closure, in the conventional sense, is rare yet the stories are complete. McFarlane’s clarity of expression illuminates hidden layers of meaning, revealed to those with the patience to pick over clues missed on a first reading. The emotional core of The High Places revolves around human relationships, particularly families. ‘Unnecessary Gifts’ pieces together the hours in which a father loses sight of his eight-year-old son, perhaps for the last time. ‘Those Americans Falling from the Sky’, ‘Cara Mia’ and ‘The High Places’ are filled with a similar sense of waiting. Of the two stories about men unnaturally attached to birds, ‘Man and Bird’ and ‘Violet, Violet’, the former is pointedly surreal while the latter a compassionate tale of two men seeking to fill a hole in their lives. The slow dawning of truth in ‘The Movie People’ is sinister yet delightfully witty. On a first date, the protagonist of ‘Art Appreciation’ squirms when an art lecturer says something about “the impossibility of totality”. The significance of this throwaway line becomes clear when he then pleads with his fiancée to spend Friday nights with him rather than at art class. The insufferable Andersons in ‘Mycenae’ hide secrets, as does Rose of ‘Rose Bay’. Can you ever really know someone – an old friend, a lover, your own child – entirely? Malacologist Bill Birch’s conviction that Mabel, the colossal squid, must be free – “There must be some things in the world that no one sees and no one knows” – that mystery, is at the heart of McFarlane’s beautifully restrained stories. Life is inexplicable. Things don’t always make sense. We don’t need to know all the answers … we can’t. McFarlane’s writing is also a reminder that no two persons ever read the same book; art reflects personal experiences. Carefully wrought yet never contrived, The High Places is a series of contemporary fables you can and should read again, taking away something different each time. SHU-LING CHUA P.S. While I’m not ruling out writing the odd piece for BMA, Cara Lennon will be continuing as regular book reviewer. Special thanks to the ever-lovely editors who took a chance on me, the authors who make this possible and to you, of course, for reading.

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bit PARTS THE GREAT MOSCOW CIRCUS WHAT: Circus WHEN: Wed Mar 30–Sun Apr 3 WHERE: Goulburn Workers Club Oval Come one, come all! That’s right – the circus is in town! Presenting the 50th Anniversary tour, The Great Moscow Circus is doing an 80-city tour of the land down under. Bringing high energy and ridiculously talented performers, this is sure to bring the ‘wow’ factor and entertain and delight guests of all ages! It’s a new, two-hour production, so even if you’ve been before, it’s going to be a different experience again. In Canberra, it runs from Wednesday March 30 to Sunday April 3 at the Goulburn Workers Oval, and will soon after make its way to Majura Park near the airport. Tickets can be picked up from thegreatmoscowcircus.com.au. THE COLOUR WHEEL WHAT: Multimedia performance WHEN: Thu Mar 31 WHERE: Tuggeranong Arts Centre Art and music. Are there two things better in the whole world? Sigh. Take a dramatic journey through The Colour Wheel with former Midnight Oil songwriter and muso Jim Moginie. He’s here to tell us all about the symbiotic relationship between colour and sound in an original combining the two greats (that is, music and art). With provocative lighting and haunting guitar, two visual artists will be reactively live painting to create an emotional experience that ultimately aims to prove the connection between music and colour. Held in conjunction with the nationally acclaimed Making of Midnight Oil exhibition, tickets are $35 and can be booked through trybooking.com. AUTO ITALIA CANBERRA WHAT: Italian automotive show WHEN: Sun Apr 3 WHERE: Old Parliament House Lawns I’ve got a car. I’ve got a big, black, shiny car. Maybe tonight we could go for a ride. Out on the road and all the way out to Old Parliament House to take a gander at an automotive exhibition of Italian cars, motorbikes and scooters displayed with passion and pride from around the nation. Lamborghinis, Ferraris, classic cars, flashy cars, all that jazz. It’s your chance to see something different to a usual car show, and with just a hint of the Mediterranean. For more information and maybe even a registration (if you’ve got a car to show off), head to autoitaliacanberra.com. Bon appétit! Wait, that’s not right… Photo (above) by Marisa Gangemi

PETER HELLIAR WHAT: Comedy WHEN: Fri–Sat Jun 3–4 WHERE: The Playhouse One of Australia’s most beloved comedians, Peter Hellier will be in Canberra for two nights only, and it’s guaranteed to be ‘One Hot Mess’. That’s the name of his new comedy show, you see. Bursting into the Aussie scene in the ’90s as a cast member of Rove, he’s now one of the biggest names in Australian comedy and can be seen most nights of the week as a full-time co-host on The Project (but if you’re really keen, some good old fashioned YouTube could make it every night). Perhaps not one to take your children to, it’s still one hot mess you don’t want to miss. Tickets will set you back $42 + bf and are available at canberratheatrecentre.com.au.

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GREAT MOSCOW CIRCUS

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the word

on albums

in Canberra? You guys need to go somewhere else to make this.”

To qualify this thought, if you have seen this band live, it’s clear that there is a gulf between their talent and ability and the production of their previous records. III was my album of the year in BMA a few years back when it came out and, while it contains some absolutely sterling songwriting and it demonstrated the best sound on a record they’d pulled to date, it didn’t quite capture the balance in what was on wax living up to their potential.

album of the issue LOOKING GLASS IV [GOATSOUND] For regular readers of my column in the BMA, one could be forgiven for being objectively fatigued at my gushing praise for the early mixes of this album. Now that it has arrived in its final form, it is entirely fitting that this record takes its place among the best ever sustained pieces of creative heavy music-making that have come out of this country, and as BMA’s album of the issue. “Sustained” is a word not used lightly here. It’s a big, ambitious piece of work. Weighing in at 12 tracks, and a running time of 57:34, it’s long. The length doesn’t impose on the quality of the work or dilute the creative chances it takes. The record succeeds at being progressive without any pretentiousness, it’s catchy without sacrificing musicality, it traverses a bunch of heavy music styles without losing focus. On a record that covers so much ground, it gives me a great sense of pride to know that it was entirely written, created and recorded right here in the neighbourhood over a couple of months last year. For those who’ve come late, Looking Glass are veterans of the Canberra heavy music community. As indicated by the title, this is their fourth foray into a full length and I will make a guilty confession here: the previous three records are all among my favourite records produced in the territory. But when I heard they were recording this one locally, my internal reaction was to wince and think to myself, “Really, here,

It’s a high bar in their circumstances, I count all three guys as benchmark players in their respective disciplines. Unequivocally, my wincey face and thoughts were utterly decimated by the band and Tim Duck at Infidel Studios in Queanbeyan with this record. It sounds fan-tastic. I feel that the three-piece of Marcus De Pasquale (guitar/vocals) and brothers Lachlan (bass/vocals) and Clinton Paine (drums) has been perfectly captured as a band; it’s their best performances on any record to date and it’s done justice by Tim’s work behind the desk. If there’s a better advertisement for recording in the region, I’m yet to hear it. Song-wise, it took me half a dozen listens to be able to comprehend this. That’s not a knock on the record’s accessibility, it’s just that their scope is so much wider than so many bands that occupy the stoner doom genre, that there was a lot to take in. Songs that didn’t gel for me straight away have become essential favourites for me as the production revealed more layers with repeat listens. While at their core they’re a three-piece heavy rock band, there are acoustic interludes with aching beauty, detours of psychedelic feedback and mental anguish that scrape on your psyche, reminding me of ‘EXP’ from Axis: Bold As Love. There are moments of pure Led Zeppelin clavinet joy that nearly melted my brain, like the first time I heard album opener ‘Before I Hang’ pop into the bridge. In a genre full of tired tropes, fresh ideas are embraced and explored with refreshing fearlessness. Track by track, this record evidences a band that is at the absolute peak of its creative power and distilling it into killer songwriting. I can’t express how excited I am for all to share in this album, because you will be talking about it for a long time to come once hooked. Brilliant.

FOREIGN KINGS FOREIGN KINGS [INDEPENDENT RELEASE] Want to put some roughage back in your CD library to balance out all those producer releases featuring some blow-in vocalist? Well, after making the schooners rattle at local venues with the output of their amps throughout 2015, the five lads in Canberra, heavy rockers Foreign Kings travelled down the Hume to Melbourne’s Goatsound Studios to try and capture what they do so well in the flesh. Self-produced with the aid of sound engineer Jason Fuller, the recording quality has a rough edge, with the instruments ruthlessly competing with each other for domination, in an atmosphere that is thick with sound. With no tricky effects apparent, the CD has succeeded in creating a vibe that is more live gig than studio product. Following in a proud tradition of foot to the floor garage rock, the EP basks in its unashamed love of battering ram riffage and vocals hurled at the mic. Opener ‘Twisted Mind’ sets the scene with a song that’s long on grunt and kind of sparse on subtlety. There’s a warts ‘n’ all approach to ‘Keys to Hell’, in a song that commences with a barrel full of distortion and feedback squeal, as a harbinger to guitars that plunge and rip through powerful riffs. Carrying the best riff-combo in this package, ‘Tailor Made for Madness’ stands out as a tough nut in a crowd of heavies, with vocalist Justin Croke sounding hot as he launches the song with a huge yell. The music spins ever faster in the maelstrom that is ‘Twice the Fool’ while closer ‘High Street’ stands out with its contemplative, ballad style verses and lonely, spaced notes, mixed with concussive choruses. A CD best listened to loud. RORY MCCARTNEY

JOSH NIXON

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ANIMAL COLLECTIVE PAINTING WITH [DOMINO RECORDING COMPANY]

HIGHLY SUSPECT MISTER ASYLUM [300 ENTERTAINMENT]

MARSHALL OKELL SIPPING ON ROCKET FUEL [ONLY BLUES MUSIC]

For a decade and a half, Animal Collective have been the flag bearer for weird, psychedelic pop with an experimental tinge. The rotating collective of four have ventured through the obtuse and accessible, the electronic and the acoustic, with wildly varying degrees of success. Once ‘My Girls’ and Merriweather Post Pavilion broke big, something was destined to change, mostly because it had to.

Driving, thunking, hip jerking basslines. Gravelly vocals. Throw some ’90s grunge attitude and Blink-182 boys-being-bad charm together and you edge closer to the essence of Highly Suspect. Is it punk? Is it grunge? Is it rock? Does it need a definition if you find yourself singing the chorus of Lydia to yourself all night?

Brought up by his dad on a rock ‘n’ roll diet from birth, Marshall Okell joined his first band at age 11 and worked his way through various genres before settling on blues and roots as his forte. A prolific tourer, Okell has gone through five touring vans, but still found time to record his fourth LP Sipping on Rocket Fuel. This is very different in mood from his 2012 release Birdy, a record with a softer feel due to the death of key figures in Okell’s life. Now he’s back, loud ‘n’ proud. However, while the blues blood flows stronger in this CD than its predecessor – and the label is ‘Only Blues Music’ – this is far from just a blues-only record.

Painting With is by far their most straightforward pop album to date. It sees Animal Collective stepping back to work as a three-piece – the same three as Merriweather – and it largely takes the same broad sonic approach. Somewhat gone are the tangents and freakiness that abounded through their earlier works, replaced in its stead by sleek, sunny pop hooks. The appeal to Painting With is immediate, but there’s few further layers of the onion to reveal after it kicks into gear. There’s always been sweetness pervading Animal Collective’s sound, but ‘Floridada’ might be their most saccharine moment to date – with a definite love/hate reaction in the chorus too. ‘Vertical’ has a crunchier sound, with elements of imperfection and sonic overload adding a bit of texture. As a whole, the album sounds a bit like an old neon light; very artificial, very bright but occasionally flickering. When the album works, it’s the flickering that does it. Panda Bear and Avey Tare’s vocals add quite a bit of charm, but it all feels like a bit too much at times. Painting With is a good album, but it feels like a slight step back for a band that doesn’t usually look at their shadows. CODY ATKINSON

Brooklyn-originated three-piece Highly Suspect come with exceptional credentials. Scott Weiland picked them to tour alongside Velvet Revolver. They’ve been compared with Queens of the Stone Age. Rolling Stone gushed over them as one of the few needto-know bands of 2016. Sceptics will already be prepared to slash and burn the album, but before you wield the hatchet, be prepared to listen and love. Frontman Johnny Stevens’ voice and appearance have echoes of poppunk idol, Billy Joe Armstrong and mealymouthed Rancid leader, Tim Armstrong. Fans of both will likely find much to love in this second full-length album. Mister Asylum is fuelled on stories of breakups, family dramas, drug and alcohol addictions and misadventures and the pain of life, generally. ‘Mom’ is the standout track of the album and to truly appreciate the heart-ripped-out-still-beating effect, YouTube live performances of this. “I just wanted to tell you I’m alive and doing fine, so how are you?” is a killer line delivered from an adult son to the mother who abandoned him and his younger brother when he was a one-year-old. It’s raw, it’s genuine, and it rocks. Years of scraping by, playing local gigs and idolising Stone Temple Pilots and Sublime while backing up local Brooklyn bands has finally seen Highly Suspect rocket into the mainstream charts in the US, and Australia is about to roll out the (beer-stained) welcome mat. CAT WOODS

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Brief, screaming lead guitar highlights pepper the album like buck shot. Fingers cut sparks along the fretboard in opener ‘Amsterdam’ before the track catches a ride on a blues riff with a ghostly resemblance to Norman Greenbaum’s ‘Spirit in the Sky’. Okell’s swampy voice is tickled by licks that squelch and wail. He adopts a higher vocal tone in highlight track ‘Spill My Spice’ which digs in deep with a catchy, dirty rhythm before slipping off into a psychedelic fug. There’s a hint of calypso melody in ‘I’ll Do Anything’, while ‘Road Warrior’ plunges into a slow sledgehammer beat with hip-hop overtones and there’s an ever so slow reggae tint to the title track. The vigorous rock song ‘Devils Out’ ends in a long film noir soliloquy, while closer ‘Carry On Carry On’ casts up a thick, shadowy atmosphere. Sipping on Rocket Fuel shows that Okell is much more than just a one-genre singer, but the best tracks are those where the blues flow strongest. RORY MCCARTNEY

album in focus

likes of P-Funk and Roy Ayers, who were significant funk forebears. In the late 1980s, Public Enemy drove home words on self empowerment, injustice and inequality and the need to maintain a healthy cynicism. But out on the West Coast, N.W.A reported from the streets with an AK-47 close at hand.

N.W.A STRAIGHT OUTTA COMPTON [UNIVERSAL] I thought it was interesting at this year’s Oscars that the opening and closing music was Public Enemy’s ‘Fight the Power’, a token gesture introduced to address the accusation these were the ‘White People’s Choice Awards’. I wonder why the selected music wasn’t N.W.A’s ‘Express Yourself’ or maybe the infamous ‘Fuck Tha Police’, considering that the superb bio-pic Straight Outta Compton had been nominated for best original screenplay, although not best picture. At the very least, it was better that Public Enemy rather than some lame relic like House of Pain was chosen to represent hard-hitting hip-hop from previous years, but the gesture was nevertheless a joke, as Public Enemy’s Chuck D acknowledged. Although Hollywood was willing to accept Straight Outta Compton to a degree, as the film was hugely successful at the box office, N.W.A’s music at the Oscars would have left the executive suits somewhat uncomfortable. Gangsta rap had always thrived outside the mainstream entertainment industry, although it became so popular it was inevitable the majors would get involved. The film explores the difficulties of making uncompromising art in an exploitative culture and the music on this soundtrack album gets across that N.W.A’s art was totally uncompromising. The release coincides with the DVD edition of the movie and serves as an excellent primer of the group’s best work, interspersed with cuts from the

“You are now about to witness the strength of street knowledge,” Dr. Dre informs us on the intro to ‘Straight Outta Compton’, the appropriately featured opening track. “Boy, you can’t fuck with me,” Ice Cube asserts a few verses later, which is a somewhat harder sentiment than the “I’ve got ants in my pants and I want to dance” line in Funkadelic’s ‘(Not Just) Knee Deep’, but an important musical lineage is nevertheless acknowledged through the latter’s inclusion. A major theme on the featured N.W.A tracks is survival through self-assertion, which is where the guns and macho posturing come in, but cultural pride through creative expression and the rejection of life destroying drugs is also a big part of the story, as heard on ‘Dopeman (Remix)’ and ‘Express Yourself’. On the latter track, Dre has a dig at the populist escapism propagated by chart-toppers when he goes, “They want reality but you won’t hear none/they rather exaggerate a little fiction.” N.W.A wiped away the fiction by coming on hard from the get-go, but after Ice Cube left the group, cliché crept in and later tracks like ‘Real Niggaz’ can’t quite conjure the raw edginess of Ice Cube’s ‘The Nigga Ya Love to Hate’ and ‘No Vaseline’, with razor sharp lines aimed at his former group. Dr. Dre turned things around on his debut Death Row Records album The Chronic with ‘Nuthin’ but a ‘G’ Thang’, exuding the laidback yet menacing G-funk style that would prove to be highly influential on postN.W.A artists like Snoop Dogg and 2Pac. These tracks are included on a worthy soundtrack album that features a good selection of N.W.A, but also a decent taste of what came before and after. DAN BIGNA

IGGY POP POST POP DEPRESSION [LOMA VISTA RECORDINGS] This album isn’t in French. Nor is it a jazz record. This might not normally warrant a mention, but it’s notable because Iggy Pop’s last two solo albums were. Pop has long played the role of the provocateur, pushing at the limits of popular music and ideas. In this way, Pop found a perfect collaborator in Josh Homme, a man who has done much of his best work with other voices in play (think The Desert Sessions). This album recalls Pop’s life and career in brief flashes throughout. Album standout ‘Gardenia’ sounds like its sung by Bowie more than Pop, especially in its chorus. Elsewhere, Iggy’s vocals channel (fellow Son of Lee Marvin) Tom Waits’ gravelly warble more than Pop’s distinctive howl. Pop’s lyrics range from the macabre (‘Paraguay’) to the romantic (‘Break Into Your Heart’) with plenty of dry wit throughout. Post Pop Depression sees the aforementioned provocateur turn more reflective, singing about a life well lived. Aside from Homme’s involvement, Pop has enlisted help from members of the Arctic Monkeys and The Dead Weather on the album, and the results are good. The band here is tight, and probably amounts to his best solo backing band in recent memory. Homme’s production keeps pace throughout, subtly shifting from blues to rock to cabaret and even more. There’s even a hint of punk here, but it’s small and fleeting. More than anything, it’s a great example of contemporary American rock and roll – catchy, but with a bit of blood and guts behind it. Post Pop Depression represents Pop’s most coherent musical statement in years, if not decades. If that’s it for him, it’d be a more than fitting final statement. CODY ATKINSON

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POCKET FOX THE BRIGHTEST LIGHT [INDEPENDENT RELEASE]

FATIMA AL QADIRI BRUTE [HYPERDUB RECORDS]

ANDY GORDON NEW ALBION [INDEPENDENT RELEASE]

Pocket Fox strikes a more cultured image than your average local band, with smart ’dos and frocks. Up to an 11-piece outfit, the folk poppers find it a challenge fitting onto some stages, such as Smith’s Alternative. However, the breadth of talent and instruments, including bold brass, seductive woodwind and the mechanical chimes of the marimba provide an extra depth to their music. This debut album follows the launch of a self-titled EP in 2011. Apart from their regular line-up, the album drew on the voices of the Winter School Singers, comprising school kids who attended a week-long music workshop at Belconnen Arts Centre in 2014.

Imagine an apocalyptic future world inhabited by half-human, half-machines prowling about, seeking their own tribes, but maybe also hunting one another. An air of menace and also primal fear, love and survival dominate. Kuwaiti musician and artist Fatima Al Qadiri has sculpted the soundtrack for this new world. Swampy, thick synthesiser meets Gregorian chants and what sounds like an enormous metal bird swooping through the gunshot drumming over some tracks to elicit an eclectic and hypnotic soundscape.

Roots singer-songwriter Andy Gordon has some eight LPs in his back pocket. His latest release, the fourth collaboration with producer Syd Green (whose work includes iOTA and The Stiff Gins) is a concept album centering on the interaction between the First Peoples and the British settlers from the First Fleet. The frank recoding process includes ambient sounds such as Kookaburra calls and the effects of the rougher edges of the analogue recording process, enhancing the honesty of the material. Album preparations included research at the State Library of NSW and walking over the ground in which the historical events took place.

The participation of all band members in the singing enables complex vocal overlaps, as seen in the opening track ‘Heartsong’. It’s a maze of acapella voices making a statement that this is a special musical offering. Its dreamy mood is suddenly shattered by thrusting brass, before giving way to the playful, key-driven following track ‘Stop to Fight’. Its fast-paced lyrical delivery flashes before our ears in a freeflowing composition with a volatile pace, plummeting from flat-out to dead slow, with different instruments fading in and out. The title track stands out as an album highlight, the gentleness and beauty of its delivery hiding dark secrets in the lyrics, with talk of police cameras and “the brightest light casts the darkest shadow.” Other standout tracks include the springloaded rhythm of ‘Cigarette’, and ‘Kingdom Come’ with its raindrop keys falling through a mist of brass. Sometimes quirky in lyric, often wistful or nostalgic in tone, but always warm and welcoming, this album brings a fresh, unusual character to the local scene. RORY MCCARTNEY

Standout track ‘Battery’ is going to be snapped up by a contemporary dance choreographer any day now. It’s the epitome of what all the tracks convey – a toying with the sounds of war. It’s not aggressive in the sense of inviting or promoting an offensive; it’s more like the 24-hour news cycle that batters you with homicides, genocide, teenagers with self-timed explosives attached to their bony backs … the inevitability of crisis but not without hope, because there is always a humane response to meet this violence. Amongst many of the snatched vocal bites Qadiri has entangled in the brutal soundscape, she includes an ex-LAPD sergeant discussing abuse of police power on final track ‘Power’. Again, it is not hopeless – despite the abuse of power, communities rise and protest with a unity they may not have previously founded and forged. Al Qadiri hit the music radar in 2010 when she released Muslim Trance as a mini-mix for DIS Magazine under the pseudonym Ayshay. This is her second release on London label Hyperdub. Her first in 2014, Asiatisch predicted an exciting and adventurous global sound nomad. Brute is the fulfilment of that prediction and deserves your ear muscles. CAT WOODS

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The first half of the album approaches the listener at a measured pace, with notes from a patchwork of guitars, including acoustic, steel, slide and dobro, coming with space between them, like light seen through trees. There’s a storytelling format to opener ‘Lieutenant Dawes’ – its balmy mix of acoustic and cello painting images of calm seas and sandy shores. There’s a subdued threatening feeling to ‘Warra Warra (Go Away)’ as guitars emit ghostly whines, while ‘Circle in the Sand’ employs an embroidery of electronic loops and shadowy backing vocals to relate missed opportunities. CD highlights start to appear as the album assumes more colour and pace as it progresses. ‘Yoo-Lahng’ stars-on with its chunky syncopated percussion, glistening cymbals and chattering mandolin while the traditional ‘Wild Mountain Thyme’ wears the cloak of the bush balladeer. Interaction between different races is starkly painted by the intersection of clap sticks with the Celtic spine that sits at the heart of ‘Spear’ while Gordon’s duet with Nardi Simpson is the disk highlight. New Albion is an album brimming with atmosphere and deep meaning. RORY MCCARTNEY

album in focus

DREAM THEATER THE ASTONISHING [ROADRUNNER RECORDS] 2016 sees the release of the thirteenth album The Astonishing for progressive rock’s current leaders, Dream Theater. In the long tradition of prog bands from the ’70s onwards, they decided to release a 130-minute concept album. The Astonishing is intended to be a musical, set in a dystopian age that is devoid of music. It follows the struggles of the hero Gabriel, who is blessed with the “Gift of Music”, and his Ravenskill Militia, to overthrow the oppressive ruler of the Great Northern Empire and bring music to all the people of the empire. The Great Northern Empire is a place inspired by both fantasy and sciencefiction, where the people live in a largely medieval society dominated by large flying NOMACS (Noise Machines) that repress the creative expression of the people. This is by far Dream Theater’s most musically diverse album; in order to best represent the people of the Great Northern Empire, they have branched out into a wide range of musical styles from large symphonic anthems, to mellow folk ballads, electronic instrumentals, short interludes, and of course, plenty of Dream Theater’s signature prog metal. This album sees the incorporation of a symphonic orchestra, a choir and for the first time, a set of bag pipes (The X Aspect) and a flock of Galahs (Ravenskill). The Astonishing is the third album for Dream Theater’s new drumming

powerhouse Mike Mangini and it seems that he has finally found his space in the musical landscape of the band. Mangini is famous for his speed and power, and was a little bit domineering in the previous two albums, but it seems that the band has now settled around their new rhythmic anchor. The guitars are beautifully crafted by the ever-present John Pertrucci, once again finding a perfect blend of finger shredding solos and epic harmonies. The Wizard of the Ivories, Jorden Rudess is at his best on this album creating everything from classically inspired piano solos, to the electronic machinations of the NOMACS. John Myung, as always, is subtly keeping the rhythm and groove in check, with his almost subliminal basslines. James LaBrie has probably the greatest challenge in the band, as he takes on the personas of the various characters in the story. Like the rest of the members of the band, he has really stepped up to the challenge and delivered. As is the way with concept albums, no individual track really stands alone and it can really only be appreciated as a whole, much like a movie or a theatrical production. Unusually for Dream Theater, there are no particularly long tracks, but a great number of very short ones. Stand-out tracks include the singles, ‘The Gift of Music’, ‘The Moment of Betrayal’ and my personal favourite, ‘Three Days’. The Astonishing is available as a two-CD set, a digital album and for the devotees, a vinyl box set, a limited edition deluxe box set and the box bundle, which includes the limited edition and vinyl box sets. Along with these, there is a mini site that goes through all the characters in more detail. TIM BUTLER

WHITEFALL ORIGINS [INDEPENDENT RELEASE] It’s difficult to believe that it was only four or five months ago when Canberra progressive metalcore quintet Whitefall played their first gig. Their debut EP Origins relies heavily on the somewhat divisive, low, single note guitar timed perfectly with the double kick, but they do it incredibly well. It’s reasonably banal to say an album takes you on a journey these days, however this one does. From the opening tranquil synth and strings, Origins balances the raw aggression of metalcore with scattered moments of breakdown heaven as well as peaceful moments of quiet clarity and restraint. It’s one of those ‘pick you up, smash you about, drop you off again’ kind of records. The single from the EP is ‘Causality’, a conspicuously Northlane-inspired song featuring an alluring cameo from Dan Tompkins of Tesseract. Tompkins’ appearance provides a perfect polar opposite to the intense deep growls from Whitefall’s vocalist Connor Mairs. It’s a fantastic fusion and may well inspire Mairs to expand his vocal range to diversify his performance. While ‘Causality’ is certainly a great track, the standout of the album is ‘Archetype’. Out of the five songs, this one encapsulates all that makes these guys ‘progressive’. The guitar tone is a very interesting choice, sounding like a distorted sitar. It’s the song that would be best in their live performance. Whitefall certainly tick all the boxes for a metalcore group, but it seems that boxes are not for them. Their uniqueness shines throughout the whole record and is engaging from start to finish. After the way Whitefall entered the music world, it’s well worth keeping an eye on these guys – they’re heading in the right direction at a rapid rate. JEREMY EDWARDS

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singles in focus BY CODY ATKINSON THE GOON SAX ‘UP TO ANYTHING’

CUB CALLAWAY FALL OF THE EMPIRE [DOMINION RECORDS]

SAVAGES ADORE LIFE [MATADOR]

Brisbane band The Saints made their mark in Australian rock history, banging out the hit ‘Stranded’ in 1977. On guitar was a young Cub Callaway. Forty years after he joined his first outfit X-Men, and some 13 band line-ups later, Callaway is still making intoxicating music. A rock album with punk overtones, Fall of the Empire is the second release with Dominion, drawing on a backing band including John Hoey from Died Pretty, Phil Hall from Lime Spiders and Richard Ploog of The Church.

Adore Life may be both a heavier and lighter album to follow up 2013’s excellent Silence Yourself. It features some of Savages heaviest moments to date, and it also exposes a rawer, more vulnerable side. It’s about life – adoring life, love, lust, revenge – as we hear via the mantras yelped throughout by lead vocalist Jehnny Beth.

There’s a slight misstep with the vocals in the opening title track, which sees Callaway use both a soft and a more forceful delivery. In the softer tones, he sounds flat and dirgy; however, this approach is abandoned in following songs, to the betterment of the record. ‘Fall of the Empire’ is a work of balance, between acoustic strums and high altitude electric contrails. While grasping a theme of collapse on a gigantic scale, the vibe is glacially cool, rounded out by circling keys. ‘One More Time Tonight’ ups the vim with more forthright guitars and a catchy sax riff. The mood is of a late night cityscape, brightened by rain-washed streets. A great sax solo in the bridge and a sophisticated touch of ’80s keyboards help make this a CD highlight. There’s a jazzy cast to the theatrical ‘Mr Goldeneye’, while the spiraling licks and undulating sax impress in ‘Road of Bones’. Callaway’s interpretation of the lonesome person’s anthem ‘TV Glow’ by Danger Beach (written by Bobby Kills), with a more focused take on the lyrics, is another winner. Callaway’s band finishes strongly with great licks in the closing pair of tracks, in an album in which the guitar-sax interplay is the outstanding feature. RORY MCCARTNEY

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Adore Life still remains loyal to Savages’ post-punk influences, diverging to incorporate elements of pummelling metal, electronic beats, and industrial-esque sludge, all coated in a stadium rock sheen. Savages’ delivery is always bold, taking these elements and wrapping them into their own punk style. On this album they are not afraid to stay away from ballads, and if anything, the use of slower paced tracks serves to intensify the remaining tracks. The anthem-like opener ‘The Answer’ is swathed with a level of menace, setting the scene with aggressive guitars and pummelling kick drums. “Love is the answer,” Beth pledges to us over and over like an affirmation. The guitar and bass play off each other with restrained ferocity on ‘Sad Person’, as Beth howls “love is a disease, the strongest addiction I know”, spitting it out as “dis-ease” to prove her point. ‘Surrender’ is reminiscent of Nine Inch Nails with its sludgy buzz-saw groove. It’s an irresistible track, perhaps showing a more playful side of the band that wasn’t always present on their last album. Not all tracks really hit the mark however, with some just going by without much sticking power. As a whole, it’s a collection of songs that are raw and angsty, with strong high points that outweigh any lows. Adore Life is the promotion of just that, an unashamed display of the tangle of love and sex and fury and rage, justifying that it is “human to adore life”. MEGAN LEAHY

Catchy, wistful indiepop coming straight from Brisbane, QLD. A little scrappy and lo-fi at times, but that just adds to the charm of the thing. Apparently these guys are teenagers, but they’ve already got this guitar pop thing down, which quite frankly is scary. Great little track.

KRISTEN KONTROL ‘X-COMMUNICATE’ Is this too pop? Is there such a thing? Probably, I dunno, but the vibe of ‘X-Communicate’ is solid anyway. Certainly a change of direction for the former Dum Dum Girls front person. There’s definitely New Order feels coming through, especially with the straight-from-the-80s synth pads and the guitar breakdown at the end. Shiny and pretty and ear wormy as all hell.

HOODLUM SHOUTS ‘HEAT ISLAND’ It’s been a fair while between drinks for exlocals Hoodlum Shouts, and ‘Heat Island’ couldn’t have come soon enough. It’s good, real good, but that shouldn’t be news to most of you out there. It’s a bit heavier than the stuff off Young Man, Old Man, but Sam Leyshon’s furious vocals still shine through.

FLO RIDA ‘MY HOUSE’ There’s actually an Australian legal precedent relating to Mr Rida. I shit you not. It’s about the service of legal documents over Facebook, due to him bailing on Newcastle’s Fat As Butter festival in 2011. However, that story about his relationship with evidence procedures is still more interesting than his song, ‘My House’.

the word

on films

WITH EMMA ROBINSON

What can I say about Ryan Reynolds? Well, several things actually, such as the dude has finally come into his comic own (a journey he started in 2002 with Van Wilder: Party Liaison) with Tim Miller’s Deadpool, a role he inhabits so perfectly it seems like an extension of himself. I wish him all the best in his endeavours to flex his acting chops in other ways (he was great in The Woman In Gold), but right now I just want the sequel to Deadpool to come the fuck out!

quote of the issue “Wow, this is such a big house, but I only ever see the two of you here. It’s like the studio didn’t have enough money for any more X-Men...” Wade/Deadpool (Ryan Reynolds), Deadpool

DEADPOOL

THE LADY IN THE VAN

TRIPLE 9

Initial skepticism toward this film can be forgiven – we’ve seen Ryan Reynolds do funny before with less than hilarious consequences (remember 2009’s The Proposal? Or 2011’s Green Lantern? Oh dear…). However, set your toe curling trepidation aside kids, this film is full of not-at-all cheap laughs, as well as hot sex (Firefly fans can rejoice, Morena Baccarin is fantastic in this), and some truly excellent dick jokes.

Humanity resonates all around us. Through the brutalising force of routine however, we tend to forget this. People become self-involved and ignorant of the small interactions with others, which make up the sum of our lives. It’s easy to forget that faces have stories, but it is a forgivable aspect of being human. The Lady in the Van draws upon this fact and highlights the unavoidable humanity in our everyday lives.

Wade (Ryan Reynolds) is a former operative for the Special Forces come mercenary. Life is pretty good for the beautifully sardonic Wade, having met his match in the female version of him, Vanessa (Morena Baccarin), a sexually liberated badass. Everything goes to shit when a stereotypically (but not at all exasperating) evil scientist tortures him into permanent disfiguration. Thus, Deadpool is born and dick jokes, along with ultra-violence, ensue.

Alan Bennett (Alex Jennings) is an acclaimed playwright who, in 1973, developed an unlikely relationship with Miss Shepherd (in a terrific performance by Maggie Smith), a homeless woman who lived in a van in his driveway for 15 years.

Displays of incompetence drive me up the wall – an experience I didn’t think I’d have to endure throughout Triple 9, a thriller directed by Australia’s John Hillcoat (The Proposition) and starring the ostensibly talented Kate Winslet, Casey Affleck, Woody Harrelson and Chiwetel Ejiofor. The film follows a team of corrupt cops, ex-military personnel and experienced criminals who attempt to pull off a nigh impossible heist for the ruthless Russian mafia. In terms of ‘organised crime’, one would think all bases are covered.

At its heart, Deadpool is a revenge story as well as a journey of self-discovery (aaawww). Though capable of inflicting pain in the most imaginative ways, Deadpool spends a large portion of the film in insecure brain spasms about regaining his former beauty so as to win back his hot girlfriend (the same woman who vowed to stand by him through cancer). Watching the physically fit but emotionally hapless Deadpool fight and fuck his way to self acceptance is actually not at all frustrating, but oddly endearing.

This film has an odd and lovable charm, which was one of its detracting factors for me walking in; I firmly believe the last thing the world needs is another whimsical and charming British comedy with quirky characters. And yet Smith and Jennings both handle their characters with finesse and dignity, accurately evoking what was most certainly an awkward and restrained relationship in real life.

Goes without saying, but don’t skip the final credits.

One of the most satisfying aspects of this film is how utterly infuriating Miss Shepherd is, right up until the point we find out more about her character, and why she is the way she is. This sort of character study helps audiences become more empathetic, and grants us more patience with the seemingly frustrating personalities in our day-to-day lives.

EMMA ROBINSON

PATRICK JOHNSON

Unfortunately, from the opening bank-robbery scene of Triple 9, I was firmly situated in my ‘unhappy place’, due to the fact that I had not witnessed such a display of incompetence on screen since Sandra Bullock was set upon outer-space in Gravity: everything that could go wrong, does go wrong. Organised crime? Methinks not. Utter ineptitude? Methinks yes. While the concept of an almostfoiled bank-robbery is nothing new, the actors’ inability to mask Triple 9’s flimsy, clichéridden screenplay undermines the suspension of disbelief. Lazy dialogue and a plethora of campy villains who carry around Glad-bags full of human teeth, cheapened the supposed highstakes plot. Triple 9 contains a frustrating amount of untapped potential. After a quite frankly boring first-half, we are treated to a glimmer of a taut thriller, with an edge-of-your-seat house-raid. But it’s not enough to quell the total let-down of an ultimately predictable denouement. MAJELLA CARMODY

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SON OF SAUL

HAIL CAESAR

Son of Saul is likely to be one of the most confronting, important and cinematic films you will ever experience. Unlike other Holocaust films (Schindler’s List, Life is Beautiful), Son of Saul does not provide any emotional cues or distance through score, nor does it contain an abundance of Nazi paraphernalia. Rather, the film focuses entirely on the experiences of Saul Auslander, as he is forced to work as a Sonderkommando (mainly Jewish prisoners who were forced to dispose of gas chamber victims) in AuschwitzBirkenau. Saul discovers the body of a boy whom he takes to be his son, and attempts to find a Rabbi to ensure that the boy is given a proper, dignified burial.

The Coen brothers comfortably inhabit a broad spectrum in the cinematic world – they do irreverent, outlandish humour beautifully (think 1998’s The Big Lebowski and 2008’s Burn After Reading), as well as dark portrayals of the human condition (as in 2010’s True Grit and 2013’s Inside Llewyn Davis). What the brothers have created in Hail Caesar straddles several styles quite successfully – it is a beautifully shot film complete with razzle dazzle musical interludes and somewhat black humour that ultimately begs the question: is life a dream come true just waiting to happen or is it an infuriating, selfdestructive slog?

Son of Saul is stylistically arresting. Most of the film is set within annexes of the gas chambers and crematoria and is shot almost entirely in close-up, ensuring a claustrophobic, unflinching intimacy. The use of sound overwhelmingly compounds a sense of inevitability: you’re launched, without warning, into a world of organised chaos, subjected to confused whispers and screams in various languages, gunshots, panic, asphyxiation and death. These stylistic choices also evoke a sense of powerlessness and complicity in the crimes being systematically committed around you. Saul’s quest then, provides a glimmer of humanity within the hell of Auschwitz. Winner of the 2016 Oscar for Best Foreign Language Film, Son of Saul is a unique, ambitious and thoroughly devastating masterpiece. MAJELLA CARMODY

Hail Caesar takes place in 1950s Hollywood and follows Eddie Mannix (Josh Brolin), a character loosely based on a real life person whose job it was to manage and mitigate scandals that could derail film production and damage a film distribution company’s reputation. Mannix sometimes strides, sometimes staggers his way through covering up catastrophes and trying to stay above the corruption inherent in Hollywood. As always there is a starstudded cast (the nice thing for movie-goers when watching a film directed by a well established person or people is the tendency for talented actors to swarm to the projects like bears to honey) and they all shine. Coen staple Tilda Swinton is on form with her comic genius and Channing Tatum proves once again how multi-talented he is (he can also sing!). Good, off-thewall fun. EMMA ROBINSON

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the word on dvds

SICARIO [ROADSHOW] From the very beginning, Sicario feels different. A SWAT team dodge and weave through an arid Arizonan suburban street; tan houses blending into the sandy hills as the sun parches everything in sight. A heavyarmoured vehicle smashes through a house where the FBI uncovers grisly secrets, before an outdoor shed complicates matters even more. Few films set the scene and tone so masterfully as this; confusion, death, heat, foreboding and the drug war. One of the FBI agents in the raid, Kate (Emily Blunt), is selected to be part of a multi-disciplinary unit to take down the boss of the cartel responsible for the Arizona incident. The government spook leading the team, Matt (Josh Brolin), doesn’t really seem on the level. His offsider, Alejandra (Benicio del Toro), is definitely not on any level. Their first task is to extradite the cartel leader from across the border in Juarez, which is needless to say, incredibly tense. Michal Mann at the peak of his career-type tense. A pylon of black SUVs speeds across the border and through desolate Mexican suburbs, all along you are thinking something is bound to happen … you want something to happen just to release the tension. And sure enough it does. As the assignment progresses, the motives and explanations get murkier. Kate is the innocent eyes and ears of the audience, and so she begins to question the whole thing. This wasn’t strictly necessary; the ambiguity and falsity of the War on Drugs™ is hardly a state secret, so please don’t leave it to the ‘only good cop’ to valiantly shine a light on the whole farrago. Other than that, Sicario is taut, nasty and near-flawless. There are no winners, only casualties – those who know what needs to be done and those who think they can get away with it. Neither side is morally justified, it’s just the way it is. JUSTIN HOOK

SHERLOCK – THE ABOMINABLE BRIDE [SHERLOCK] When the Mark Gatiss/Steven Moffat-helmed Sherlock debuted in 2010, it was nothing short of a sensation. Benedict Cumberbatch had transformed a Victorian-era fictional detective into a modern day supernova – he knew everything, unravelled mysteries in rapid fire and was a bit of a prick. But he was definitely modern (text messages flashing up on the screen) and Sherlock was from another century. But the fact that it took six years before the producers transported this Sherlock back to the horse and buggy days isn’t the biggest surprise of the The Abominable Bride. Nope, the biggest shock is just how average the whole thing is.

SHOW ME A HERO [WARNER BROS./HBO] If anyone is going to make the byzantine positioning and machinations of municipal council meetings, elections and zoning decisions must-see-TV, then David Simon is the man. The Wire revolutionised TV drama in how stories were told (long, detailed, complex) and what those stories were (globalisation, government malfeasance, corporate impropriety, the drug trade, urban decay). By the time it finished its five-season run it was a cultural talisman. But if anything, above all the critical hosannas and audience adoration, Simon proved he could tell difficult stories.

Carving it out of the series to make it a stand-alone is probably the most successful thing about this 90 minute episode. Sure, it references the end of the third (and parts of the entire) series but when it all wraps up, there hasn’t been much plot progress. You see, Sherlock is diving deep into his psyche and in doing so takes himself back to the 19th century. In this alternate timeline he sets about solving the Emelia Ricoletti case; a bride goes crazy and shoots herself on a balcony only to keep on turning up and possibly being responsible for the deaths of assorted London men. She also likes to spook people in spooky, dimly lit places like castles and the gardens of castles. Until things get a touch Inception and Sherlock’s nemesis Moriarty shows up for some brain melting and fisticuffs, and Sherlock saves the suffragette movement … or something.

It’s the late ’80s Yonkers – a city on the outskirts of New York City – a federal judge has ordered the city council to desegregate, which would reduce high-density public housing and scatter the underclass on government support amongst the wealthy. See what I mean, David Simon doesn’t exactly take the easy route. The council is torn on whether to follow the court order, even though ignoring the judge would bankrupt the city. The issue is a lightning rod for the prejudices of the local ratepayers; why should private citizens who earned their middle class life have to share the spoils of victory with the ruffians? By the same token, the working poor have to put up with crime, prostitution and drug dealing on their doorstep. Surely they have a voice? Look around any modern Australian city and you’ll see the same problem playing out in marginally different ways. We call it the ‘housing affordability crisis’.

Finding a way to transport this version of Sherlock back to his roots isn’t an easy job, but this approach is wobbly. To get into his ‘mind palace’, the modern day Sherlock was chemically enabled. But like most people on drugs, this ‘movie’ – that did stunning trade in China and South Korean cinemas, oddly enough – is a rambling mess.

Oscar Isaac (Star Wars: The Force Awakens) is brilliant as the troubled ex-cop/youngest ever mayor of Yonkers, as is Alfred Molina as his hammy successor. The beauty of Show Me A Hero is how a deliberately self-contained factual story can ricochet in all manner of complex directions. Classic David Simon, you could say.

JUSTIN HOOK

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Peking Duk, DJ Benson, Turquoise Prince LTC, The Meeting Tree Alternative Wellness Retreat, Skin & Bones UC Refectory Saturday March 5

on gigs

To celebrate the start of a new academic year, UC threw a party with a line-up of well credentialed DJs supplying the tunes. First up was local duo Skin & Bones, who unfortunately I missed because I was at a show elsewhere in the Spiegeltent. Following these guys was The Meeting Tree Alternative Wellness Retreat. I arrived in time to catch the second half of their pop infused, up-beat set. Next up was Canberra based hip-hop duo Turquoise Prince LTC, who the crowd responded enthusiastically to. These guys delivered a tight, slick set and stood out to me as delivering the most distinctive, original sound of the support acts. Melbourne DJ Benson took over and continued to hype the crowd with his high energy, bass-heavy set.

PHOTO BY DALE WOWK

From the outset, Peking Duk was big and loud. They started their set with some hometown love and then played the riff from Fatboy Slim’s ‘Praise You’ to celebrate Mardis Gras. The highlights of their set were definitely their big hits. Ben Woolner from SAFIA joined them on stage to sing ‘Say My Name’ and ‘Take Me Over’, and then later in the night they played ‘The Way You Are’. But in between I felt like they played too much filler. It was probably just me who thought this, because the crowd, who were there to have a good time, loved everything the duo served up. Maybe it’s because I finished uni some time ago, but I felt out of sync with the crowd, and watching DJs in a stark venue, while remaining sober enough to drive home, seemed to exacerbate that feeling. ZOE PLEASANTS

the word

Patrick James, Hein Cooper Transit Bar Saturday March 5

on gigs

The line-up was well matched in terms of style, with crooners Patrick James and Hein Cooper on the same bill. Ulladulla balladeer Cooper took to the stage solo, armed with his acoustic, a loop pedal and some electronica. His vocals floated and soared, Jeff Buckley like, in ‘The Real’, aided by a magic music box that sent a sharp clapping rhythm bouncing off the walls. A couple of finger taps and the machine obediently cast up a new confetti shower of sound, with the beats burrowing deep into reverb. Dropping the guitar, Cooper did an a cappella song, backed by a tangled web of three loops of his own voice. There was a cover of Kanye West’s ‘Runaway’ and a new song ‘Overflow’ from Cooper’s new LP (only released the day before) indicating a move to an indie pop vibe, with more upbeat catchy rhythms.

(Photographed elsewhere)

Patrick James and his three-piece band upped the tempo, combining their voices to blast out ‘In New Light’. Urged on by James, the punters thronged the front of the stage for ‘Bugs’, with the song extended by a cappella chorus with the crowd joining in. The audience then rapidly returned to their seats, only jumping up again for a couple of faster songs later in the set. The band retired as James, on keys, sang ‘Kings and Queens’, using a striking technique of fading his voice in and out as the song progressed. A set highlight was a cover of John Farnham’s ‘Two Strong Hearts’, with James on acoustic and his band gathered around the mic for backing vocals. Some mistakes saw the song dissolve into laughter a couple of times, but they reloaded and carried on, closing with a saxophone highlight. RORY MCCARTNEY

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the word

on gigs

Snowy Mountains Country Music Festival Thredbo, NSW Saturday March 5 Deep Creek Road opened the Snowy Mountains Country Music Festival on the Friday night, and the main event on Saturday. Only 382 tickets were sold, which made the festival outrageously enjoyable. No queues all weekend, a friendly and polite crowd, and abundant toilet paper. Most people brought camping chairs and adhered to stereotypical country style. The Adam Eckersley Band brought with them a set of Southern rock encompassing tracks from both their albums. Amber Lawrence sang well despite her irritating stage presence and Kelsea Ballerini revved up the crowd with Swift-esque country/pop hits. What surprised me most was the effort the artists went to with their sets. Although the crowd was pretty dedicated, Ballerini, Lawrence and Morgan Evans included pop covers, including mash-ups of originals like Ed Sheeran’s ‘Thinking Out Loud’ and the ‘Australian anthem’, ‘You’re The Voice’ by John Farnham. The festival must have been a little disappointing for the international artists, given the popularity of country music in the United States. Moore even commented that the enthusiastic applause and cheers sounded ‘like a golf clap’.

PHOTO BY JEREMY DYLAN

As they set up for Kip Moore, rain started pelting down. About 50 people left, but the rest tucked their bags under their chairs and stood in a broad crowd in front of the stage. Rain splattered the instruments and audio equipment, which resulted in a long set up and sound issues throughout the set, although the audience was oblivious. Moore gave an energetic and personal performance, tailoring his set to requests. Daryl Braithwaite closed the main event, although by that stage most people had left, saturated. GRACE FLANAGAN

the word

on gigs

Illy, Dylan Joel, Citizen Kay Academy Friday March 4 The line-up outside at 8:45pm set the vibe for this night, even though this seemed a little early for the venue. It was great to have the place packed and the dancefloor stacked before the opening act, especially since said opening act – local boy Citizen Kay – nailed his set and gave the best performance of the night. Supported with a live drummer and backing tracks with catchy chorus lines, he bounced around the stage in his fluoro checked legionnaires hat and immediately had the audience engaged. His set had a good variety of pace and style and meant he more than held his own against the other two more known acts. Dylan Joel had a similar set-up of a live drummer, but with a third member on keys and mixing. Whilst he has received a bit more airplay than Citizen Kay, and still had the audience engaged, his performance was not as entertaining. It was during this set that I realised that this was the first time I’d seen a drum kit in Academy and that it is actually a great ‘live’ music venue.

PHOTO BY MICHELLE GRACE HUNDER

Illy reaffirmed this during ‘Cinematic’. I remembered Academy was a former cinema and this may contribute to its excellent acoustics and potential as a live music venue. Despite having plenty of great songs, I have yet to be impressed by Illy’s live performance. ‘Young Bloods’ lacked the metal energy of the recording and ‘On and On’ didn’t have the impact I hoped for. His set also involved him trialling some new material and this impacted his momentum. Obvious highlights of the night were a crowd sing-along to ‘It Can Wait’, ‘Heard It All’ (which he advised may no longer be part of his sets) and closer ‘Tightrope’. JARROD MCGRATH

@bmamag

the word

Icehouse, Alex Lloyd Canberra Theatre Centre Thursday March 3

on gigs

If you haven’t seen Alex Lloyd since the early 2000s, you might not recognise him until he belts out those ballads he made a name for himself with. His talented vocals have held up as he gave us a set of Oz rock ballads that were prominent at the turn of the millennium (think Powderfinger at their peak). ‘Green’ ignited fans’ memories as one audience member sang a line so loudly it distracted Lloyd into a pause where he explained the lyrics. Still, 25 minutes into the set this reviewer was waiting for him to pull out ‘Amazing’ so we could get our Icehouse on (which he did with an obligatory tease).

PHOTO BY JARROD MCGRATH

Last here in 2014 at the Southern Cross Club, this time around Icehouse garnished a sold out Canberra Theatre. They carried the same performance energy with that epic sound, driven by double synths, thumping bass and multi instrumentation, including sax, drum solos, twelve string guitar and even an oboe blown by Iva Davies himself. This energy and talented musicianship, combined with Davies’ exceptional songwriting and an impressive projector/ light show, is what makes Icehouse a standout live act amongst ‘nostalgic’ Australian artists. Hits such as ‘Crazy’ and ‘Electric Blue’ stood out during the first half of the set. The band then urged the audience out of their seats for a finale of crowd pleasers that included ‘Great Southern Land’, a cover of T-Rex’s ‘Bang a Gong (Get It On)’ and ‘We Can Get Together.’ All this ensured no one left an Icehouse show less than satisfied once again. JARROD MCGRATH

the word

GBH, The VeeBees, Urge To Kill Transit Bar Wednesday March 2

on gigs

This, quite frankly, is what we want. Within seventeen minutes of hitting the stage on a stinking hot Canberra night, Brit street punk heroes GBH have already blazed through three quarters of their debut 1981 EP Leather Bristles, Studs and Acne. Over the next hour they’ll play, at similarly breakneck pace, most of their collected seven and twelve-inch output for legendary punk label Clay Records – six epoch-defining releases spread over three years, plus a few other choice nuggets from a career now well into its fifth decade. But this isn’t your usual middle-aged spread nostalgia cash in; rather, the ferocity with which this bunch of aural ne’er-d-wells attack the material on offer tonight underlines just what a great band they are, and indeed, always have been. Vocalist Colin Abrahall hasn’t aged a day since this reviewer first saw a similarly vital performance from him onstage in London in 1986, and neither, gratifyingly, has his twisted snarl of a voice. Hence tracks from that first EP like the incendiary ‘Knife Edge’, ‘Freak’ and a particularly aggressive take on ‘Generals’, sound as fresh as they did when they were first minted all those years ago.

PHOTO BY SWIFT TAYLOR

The hour flashes by with seemingly not a breath taken by band nor the not-too-shabby midweek crowd (warmed up, if warming up was actually needed, by sterling efforts from The VeeBees and Urge To Kill), until somehow we’re all in a vicious version of ‘City Baby Attacked by Rats’ together and spilling out onto the steaming hot streets, satiated by punk goodness… SCOTT ADAMS

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the word

We The Kings, Avastera, Cambridge The Basement Saturday February 27

on gigs

Flashback to 2007, a time of bad emo haircuts, heavy eyeliner and more pop punk bands than you could count. Now, a large number of those bands have faded into the pop punk aether, but not these guys. We the Kings played their first ever Canberra gig last month to a huge crowd of former pop punk teens who, despite the fact that they’re all now adults, knew every single word of every single song. The gig kicked off with a strong set from Cambridge that included an inspired mash up of Taylor Swift’s ‘22’ and Rihanna’s ‘We Found Love’, which went down nicely. They were followed by Avastera, who got the audience warmed up with some incredible vocals, instrumentals and a whole heap of energy. Then came the main event. We The Kings burst onto the stage opening with ‘Queen of Hearts’, then launched straight into an old favourite that had the whole crowd singing along, ‘Skyway Avenue’. The band played a fantastic set with songs from all aspects of their career making the list, including the song that started it all, ‘Check Yes Juliet’. Lead singer Travis Clark brought humour and charisma to his performance with stories from his life, and it made the gig feel like a jam session with friends. He also revealed that ‘Secret Valentine’ was all about sex, opening with some very creative innuendos, such as, “This song is all about the first time I played Tetris…” (Photographed elsewhere)

Overall, the gig was an incredible night of great music, great laughs and most of all, it made you feel like you were just hanging out with some great friends. NICOLA SHEVILLE

the word

Saskwatch, Young Monks, Slow Turismo UC Refectory Thursday February 25

on gigs

Hitting the road after the release of their latest album Sorry I Let It Come Between Us, Melbourne band Saskwatch delivered a stellar intimate performance despite the small crowd. Support act Slow Turismo gave their all in a performance to a very small audience, and set the mood for what would promise to be a great night of music. Young Monks took the stage soon after with boundless energy and a rather enthusiastic cover of MGMT’s ‘Electric Feel’, which went down beautifully with the crowd and band members alike. Then came Saskwatch and they did not disappoint. The indie-soul band moved from song to song with ease and managed to prove why they’re one of Australia’s most promising up-and-comers. Despite having fewer band members than previous albums, Saskwatch gave their all and showed Canberra exactly what they’re made of. Mostly playing songs from Sorry I Let It Come Between Us, frontwoman Nkechi Anele gave a compelling performance, almost singing the crowd into a trance and giving off an exciting, energetic show. Anele belted out tunes with her smooth, intoxicating voice to the sound of whirling guitars and instruments that set the scene for a mystical atmosphere, taking the audience on an emotional journey from heartbreak to happiness.

PHOTO BY DALE WOWK

Saskwatch are not a band to be missed and have ensured that not only their musical style but also their live performances are a standout in the Australian music scene. The band will continue touring Australia until late April, so if you get the chance to see them, make sure you do – you will not be disappointed. NICOLA SHEVILLE

@bmamag

the word

Sufjan Stevens, Ngaiire Canberra Theatre Centre Thursday February 25

on gigs

Following the release of Carrie & Lowell last year, Sufjan Stevens has really risen to prominence. Arguably his best album, it explores childhood, grief, depression and faith; with that knowledge, audience members braced themselves for a night of tumultuous emotion. Opening the show was the dynamic soul songstress Ngaiire. Invigorating and mesmerising, her powerful vocals reverberated around the room in tracks from her debut album, Lamentations. Overwhelmingly bright lights shone as Sufjan Stevens and his band took to the stage with ‘Redford’ from his album Michigan (2003). With a backdrop of home videos from his childhood, set in cathedral-like windows, hearing Stevens live is like hearing him for the first time; drawing out every emotional nuance, his songs tell the intimate story of his mother, Carrie, who struggled with drug addiction and abandoned him and his stepfather, Lowell. The first half of the set was dominated by songs from Carrie & Lowell. Hauntingly sombre, Stevens and his band moved seamlessly across the stage, alternating between instruments. ‘Vesuvius’ and ‘Futile Devices’ both from The Age of Adz (2010) were particularly impressive, with electro-acoustic rhythms and an immersive lights production. He ended on ‘Blue Bucket of Gold’; reaching out to his surroundings for support, he sung, “Tell me you want me in your life/ Or raise your red flag/Just when I want you in my life.”

PHOTO BY JEREMY STEVENS

In the encore, Stevens and his band arranged themselves around a single microphone, and he spoke to the audience for the first time, joking that even his happier songs are about death. They performed some of his early acoustic work, and ended on a high with the Illinoise (2005) track ‘Chicago’, which was received with a lasting standing ovation. ALYSSIA TENNANT

the word

Rob Thomas, Pete Murray Royal Theatre Monday February 22

on gigs

Matchbox Twenty. You remember them, right? Oh, you were born after 1996 and thought I was talking about something you buy in a camping store that lights candles in the rain. Fair enough. Last month, Matchbox Twenty’s frontman Rob Thomas came to pack out the Royal Theatre with his band. The $150 gold tickets seemed a little pricey to me, but that didn’t stop the place filling up quickly with exuberant fans throughout. Pete Murray opened with his standard set of favourites and kicked off well. The crowd were into the songs and, with the exception of ‘So Beautiful’, they were played with good energy and there were many in the crowd who seemed to suddenly remember, “Hey, I dig this guy’s voice!” Rob Thomas came on to much screaming and proceeded to belt out the favourites from his solo career and a few select hits from Matchbox Twenty, including a haunting rendition of ‘3AM’ (which I personally believe could have done without the slide guitar, but maybe that’s just me).

PHOTO BY MARK TURNER

Halfway through the set he threw a surprise with an awesome cover of David Bowie’s ‘Let’s Dance’ that went off. The extended guitar solo would have done Pink Floyd proud in its length and the guitarist has to be the result of an unholy union of Adrian Belew and Robert Cray, I swear. The show closed with hit after hit belted out, leaving a screaming and slightly sweaty crowd sated. For now, at least. MARK TURNER

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the word

Rufino and the Coconuts The Famous Spiegeltent Saturday February 20

on gigs

Opening a set with a crisp Caribbean version of Bowie’s ‘Let’s Dance’ would get an audience worked up out of their seats and onto the dancefloor, right? Well, not this one. It took a bit of coaxing and a few more songs before the punters got it. But when they did, the dancing ensured many rugs were cut on the wooden floorboards of The Famous Spiegeltent. The audience were in on the joke and let their hair down – Rufino made sure it was a damn fine time. Rufino and the Coconuts is a band of familiar faces. Pip Branson (Cell Block 69, Mikelangelo and the Deep Sea Gentlemen) is Rufino, resplendent in white suit, pith helmet and pencil-thin moustache. More than a few of his coconuts are also in Cell Block 69, including the powerhouse backup vocalists. The Coconuts are a tight band, who really believe in their shtick. Anything goes in the jungle/ Spiegeltent, and at one point Rufino shed his suit to reveal a skintight tiger onesie, complete with a tail.

PHOTO BY LISA SAMPSON

In between a mix of originals and covers, Rufino – the Catalan Casanova – regaled us with stories of his time working for ASIO, and how his band set sail from Botany Bay to arrive at Lake Burley Griffin. The island vibe theme continued with lyrics like “To catch a cray you have to think like a cray”, with requisite pinchy hand movements. It was silly, it was fun and we were all seduced by Rufino’s constant whispers about how beautiful we were. Oh, Rufino! The set closed with ‘Everyone’s Disgusting’, and with all our beauty, we embraced our flaws and just got on down. LISA SAMPSON

the word

TV Colours, Thunderbolt City, Wet Dream The Phoenix Pub Thursday February 18 “It’s great that Dan Melchior broke down … ah, nah we’re having a good night, just Canberra people…”

on gigs

When disaster strikes, you gotta adapt. The final bill was put together at the last minute, because of Melchoir’s mechanical issues in Gundagai. While I’m sure it’s a nice place, I’m positive he would have had more fun here. New three-piece Wet Dream opened the night with a haze of dreamy pop. With reverb-heavy guitars, a drum machine and disparate vocals, the band showed a fair bit of promise throughout their set. Down the track they could be something really worthwhile. Thunderbolt City have been kicking around the local scene for the last year or so, slowly refining their blend of powerful guitars and pop along the way. This set felt like the band in their ideal form, a bit catchier than in the past with the roughhewn edges polished off just a little. It’s a shame that it’s their last show for a while, because they played a pretty great set.

PHOTO BY MEGAN LEAHY

The last minute addition of TV Colours was a bit of a surprise: a full band TVC show has been as rare as hen’s teeth lately. It was worth the wait. All the favourites got an airing out, and the atmosphere kept building. ‘City Nights’ was a corker, as was ‘The Kids Are Alright’ amongst others. Despite two newish members in tow, the band seemed in sync throughout. Then the call came over the PA that the pub was closing, with the pub threatening to flood. The band quickly launched into the chaos that is ‘Beverly’, and that was it for the night and maybe a little bit longer. But what a tops night for Canberra people…

CODY ATKINSON

@bmamag

the word

on gigs

Radio Moscow, Kings Destroy, Holy Serpent, Los Hombres Del Dialo Transit Bar Friday February 19 Transit Bar was fairly quiet when I first arrived for a night of heavy rock featuring four bands, including American headliners Radio Moscow. I had zero knowledge of any of the bands or their songs, but have always enjoyed heavy and psychedelic rock, so was keen to check it out. When I arrived, the first band of the evening was already on stage, Sydney’s Los Hombres Del Dialo. The band looked like they were having the best time ever, especially the drummer who was all smiles as he hammered hard into the cymbals. They had a tight performance, with a heavy sound (there was a running theme of heaviness throughout the night), similar to Deep Purple or Wolfmother. The lead singer carried a serious expression, but interacted with the crowd, cracking a few jokes – and making a toast to the Canberra Raiders and other Territorian icons – to the still relaxed audience. Holy Serpent soon took to the stage – a Melbourne band with a heavy (yep) Black Sabbath-esque sound. They, too, were a tight outfit, but with a sludgy presence and lower bass frequency riffs. The crowd began to come forward at the singer’s request, slowly getting into the music. The lead singer and guitarist managed to break a string from his first song, although it didn’t phase him, pushing on before replacing it while the rest of the band locked into an extended jam. When the penultimate act of the evening began their first notes, the crowd had begun to fill the venue in anticipation of the headliners. The bald lead singer of New York-based Kings Destroy carried an angst-ridden heavy sound, his vocals echoed as he sung with the look of a man possessed (or just deeply concentrating), looking deep into the void and moving into the centre of the venue to belt out the performance. With the antics of the lead singer and a now a few beers down, the restless audience finally got into it, with some gentle headbanging. By now, it was time for the final act and headliners of the evening, Radio Moscow. They looked completely the part to match their early ’70s sound, with flared jeans and paisley shirts. The crowd suddenly became animated, and filled out the space at the centre of the room in front of the long-haired band. The difference in sound was immediately apparent, and definitely suited to this writer’s ears. Reminiscent of the classic psychedelic blues rock of Cream or The Jimi Hendrix Experience, Radio Moscow has a cleaner sound, which contrasted well with the heavier support acts. Needless to say, the experience of performing together for years showed, with the band completely working as one, with epic breakdowns and a mixing of time signatures and rhythms. Lead singer and guitarist Parker Griggs created a genuine psychedelic wall of sound – echoed melodies moved through the air at hypersonic speed as his fingers slid over the fretboard of his Fender guitar. Their sound was absolutely hypnotic, and the audience responded as such, lost in a bit of a trance to rolling electric patterns.

PHOTOS BY STELLA-RAE ZELNIK & MEGAN LEAHY

All the music that night was top notch, but I found the crowd and the vibe a bit lacking. There didn’t seem to be much of a buzz about the room, and people mainly kept to themselves. I really feel a gig needs to have that audience participation and excitement to create an extra special evening. It was excellent music, but I hope next time Canberra steps up a bit and just gets into it a bit more. PETE O’ROURKE

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the word

Dave Rawlings Machine Canberra Theatre Centre Wednesday February 17

on gigs

The energy is palpable – tangible – in the Canberra Theatre Centre foyer, as fans from all over town know what a treat it is to have these superstars in town. The crowd includes a large showing from the local music community, demonstrating the appeal of these folk as a band’s band. Hardly superstars to the general Aussie public of course, but to their fans it don’t get much better than this. Their epic discography has imprinted on the music landscape so largely that we can take comfort in knowing that good songwriting and true musicianship is not a thing of the past. Their care and commitment seems to carry through the air as people chat and smile broadly in the foyer. Walking into the Playhouse, the auditorium is packed. On stage, the mics, guitars, double bass, fiddles, and banjo await in a soft blue light. The welcoming house music on the speakers is classic Johnny Cash. Dave Rawlings Machine enter the stage with big smiles and keen acknowledgement of their audience. The boys in wide rimmed white hats and denim, and the girls in flowing blue denim and plaid frocks, all with wicked boots! They get straight into it with an energy so big and beautiful that the crowd softens with excitement. You know, that feeling like, “Oh, this is so good,” and your body melts a little with the joy of listening. We are all gonna savour this experience. It is as if Dave Rawlings’ guitar is an extension of him. He plays with great understanding and respect of its possibility, wrestling with the instrument as he pushes it out from him and almost simultaneously pulls it back in. He sings, as they all do, with a brow furrowed by emotion, not strain. His knees buckle and sway in the peaks of songs – he moves like he is made of music. While all of the vocals are sensational, the confluence of Dave Rawlings and Gillian Welch is unparalleled. Their timing, unison and harmony are truly out of this world. It is often difficult to tell where one voice ends and the other begins – and yet this doesn’t make them one. Their personas are refreshingly unique. Rawlings seems to emanate joy with his height, bounce and grin, whereas Welch huddles over her guitar with a loving and rocking intensity. Willy Watson plays harmonica, guitar and fiddle – deftly maneuvering the bow around his ten-gallon hat in the process – and adds some funny repertoire to the conversation. “Banjo deficiency can result in too much denim,” he quips as Rawlings reaches for the much anticipated instrument. Watson sings a few songs of his own, including a sing-along with the crowd. Rawlings cranks the banjo on ‘To Be Young (Is To Be Sad, Is To Be High)’, which he wrote with Ryan Adams one whiskey-fueled night together. It just ain’t country if there’s no whiskey! The band finishes strong with three encores and three standing ovations.

PHOTOS BY SHASTA BREE (Photographed elsewhere)

The slow deliberation of Rawlings and Welch is just lovely. They move at their own pace, demonstrated on this rare Australian visit by their insistence on driving every leg of the tour, rather than flying. This considered approach shows in every moment of attention that they give to their music, to each other, to the band and to their audience. CHENOEH MILLER

@bmamag

ENTERTAINMENT GUIDE March 16 – March 19

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

Blaze Ten

Canberra Comedy Festival 2016 March 15-20.

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

By Knees. Opening 6pm 17 Mar. Runs until 2 Apr.

LIVE MUSIC

March 19 - June 26.

Opens Mar 11. Until May 14.

COMEDY

The ONE Project

LOL Pol

7.30PM. Free. Book online at politbar.co.

WEDNESDAY MARCH 16

THURSDAY MARCH 17

ART EXHIBITIONS

Cold Like Concrete

Terraforming Expo

Art both visual and literary, part of Noted writers’ festival. Free. 16-20 Mar. ANU SCHOOL OF ART

The Making Of Midnight Oil TUGGERANONG ARTS CENTRE

MEGALO PRINT STUDIO + GALLERY

28 photographers. 1 roll of film. 25 Feb - 20 Mar.

$7/$10. Bookings recommended. politbar.co

Blaze Ten

Canberra Comedy Festival 2016

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

CANBERRA THEATRE CENTRE

PHOTOACCESS MANUKA

Opens 6pm Feb 19. Until Mar 24.

Macquarie Digital Portraiture Award 2015 Free. Until April 2016.

NATIONAL PORTRAIT GALLERY

Fringe Dwellings 25 Feb - 20 Mar.

POLIT BAR & LOUNGE

March 15-20.

CANBERRA THEATRE CENTRE

Robbie Mann Plays Stride Piano POLIT BAR & LOUNGE

Shortis and Simpson

In ‘The Power and the Passion’. 7.30pm. $45. TUGGERANONG ARTS CENTRE

Liam McKahey & The Bodies With The King Hits. $10/$15. 9pm. THE PHOENIX BAR

FILM Flickerfest 2016 7pm.

National Photographic Portrait Prize 2016 NATIONAL PORTRAIT GALLERY

Terraforming Expo

By Knees. Opening 6pm, March 17. Runs until April 2. MEGALO PRINT STUDIO + GALLERY

Macquarie Digital Portraiture Award 2015 Free. Until April 2016.

NATIONAL PORTRAIT GALLERY

Fringe Dwellings Feb 25 - Mar 20.

PHOTOACCESS MANUKA

Finn

COMEDY

CHISHOLM TAVERN

Canberra Comedy Festival 2016

9pm. Free.

DENDY CINEMA

4sound Presents Jaytech

1916: The Irish Rebellion

TRANSIT BAR

Film.

Opens 6pm Feb 19. Until Mar 24.

Awakening Australia tour.

March 15-20.

CANBERRA THEATRE CENTRE

NATIONAL FILM AND SOUND ARCHIVES

Live Music on the Terrace

FILM

COMEDY

LIVE MUSIC

PARLOUR WINE ROOM

French Film Festival 2016

Canberra Comedy Festival 2016

Humbug

Deborah Conway and Willy Zygier

March 3-29. Bookings at affrenchfilmfestival.org.

PALACE ELECTRIC CINEMA

CANBERRA IRISH CLUB

NATIONAL FILM AND SOUND ARCHIVES

Spear

PHOTOACCESS MANUKA

March 15-20.

CANBERRA THEATRE CENTRE

Schnitz and Giggles $10. 6.30pm.

DIGRESS COCKTAIL BAR

St Patrick’s Day celebrations. 3.45pm.

Cassidy’s Ceili

St Patrick’s Day celebrations. 7.30pm. CANBERRA IRISH CLUB

4pm.

Ghost Tour.

Gwyn Ashton

HARMONIE GERMAN CLUB

March 10-23. Tickets at trybooking.com/jzpz

NATIONAL FILM AND SOUND ARCHIVES

FILM

Chris Webbe Duo

ON THE TOWN

LIVE MUSIC

French Film Festival 2016

NATIONAL PRESS CLUB

Oscar

Slumberhaze

10pm. Free.

Brother Be

KING O’MALLEY’S IRISH PUB

TRANSIT BAR

Fridays From Five

3-29 Mar. Bookings at affrenchfilmfestival.org.

PALACE ELECTRIC CINEMA

Spear

10-23 Mar. Tickets at trybooking.com/jzpz

NATIONAL FILM AND SOUND ARCHIVES

LIVE MUSIC Lunchtime Live

12.40pm. Different music programmes weekly. $5 or donation. WESLEY UNITING CHURCH

Art Vs. Science

8pm. Tickets at Moshtix. TRANSIT BAR

ON THE TOWN Hump Day

Get over the hump with drink specials after 5pm. TRANSIT BAR

SOMETHING DIFFERENT BAD!SLAM!NO!BISCUIT! Poetry slam. 7.30pm. THE PHOENIX BAR

THEATRE All This Living

ACT Seniors Week for a return season of guerilla grannies and anti-ageing ads. Mar 13-20.

Live music. 8pm. Free.

Hannah & Nick 9pm. Free.

KING O’MALLEY’S IRISH PUB

St. Patrick’s Day Free. 12pm.

Every Fri to 6pm.

$15 entry.

TRANSIT BAR

Special K

10.30pm. Free.

KING O’MALLEY’S IRISH PUB

Fir Croi

SOMETHING DIFFERENT

CANBERRA IRISH CLUB

The Salt Room

Rock Or Be Rocked

GORMAN HOUSE ARTS CENTRE

THE BURNS CLUB

St Patrick’s Day celebrations. 12pm.

ON THE TOWN The Thursday Games

Crazy Ass Games including tournaments and prizes, and all things Sangria & FUN. 5pm. Free. AVIARY ROOFTOP BAR

SOMETHING DIFFERENT The Stella Prize in Conversation Stella Prize reps talk women’s representation and literature for Noted writers’ festival. 5:30-7pm. GORMAN HOUSE ARTS CENTRE

Passing the Pen

Canberra young writers’ org Scissors Paper Pen welcomes its new guard! 7:30-9pm. Free. GORMAN HOUSE ARTS CENTRE

FRIDAY MARCH 18

TRIVIA

Speak Uneasy

POLIT BAR & LOUNGE

Happy Hour

Hootenanny

ANU BAR AND REFECTORY

ART EXHIBITIONS

Glamour & Song questions. 8pm. Book online.

AVIARY ROOFTOP BAR

TRANSIT BAR

POLIT BAR & LOUNGE

THE STREET THEATRE

Tranny Trivia

DJs spinning old skool, hip-hop, R&B. Free from 5pm.

8pm. Tickets at Moshtix.

Beautifully clumsy word art for Noted writers’ festival. Opening 6pm, Fri Mar 18. Free. SMITH’S ALTERNATIVE

7.30pm. $10/$5.

Binge Watch

What’s the best TV? Answered for Noted writers’ festival. 7:30-9:30pm. Free. GORMAN HOUSE ARTS CENTRE

The Power and the Passion

By Shortis and Simpson. $45/$35. 7.30pm. TUGGERANONG ARTS CENTRE

SATURDAY MARCH 19 ART EXHIBITIONS Cold Like Concrete

Art both visual and literary, part of Noted writers’ festival. Free. 16-20 Mar. ANU SCHOOL OF ART

The Making Of Midnight Oil Opens Mar 11. Until May 14. TUGGERANONG ARTS CENTRE

Speak Uneasy

Beautifully clumsy word art for Noted writers’ festival. Opening 6pm, Fri Mar 18. Free. SMITH’S ALTERNATIVE

The ONE Project

28 photographers. 1 roll of film. Feb 25 - Mar 20. PHOTOACCESS MANUKA

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The ’80s Mix Tape 9pm.

THE BASEMENT

8pm.

Mucho Sonar & The Neptune Power Federation With Johnny Roadkill. 9.30pm. $10/$15. THE PHOENIX BAR

East Row Rabble

The Rabble delivers a slick mix of funk, ska ‘n’ blues with horn lines that’ll get ya booty shakin’. HONKYTONKS

SOMETHING DIFFERENT Noted Festival Ask Me Anything Three AMAs about writing for children (10am), publishing (11am), and feminism in YA (12pm). Free. SMITH’S ALTERNATIVE

Lit Hop!

Noted writers’ festival’s literary bar hop! See Facebook for venues and times. 6-10pm. Free. VARIOUS LOCATIONS

THEATRE All This Living

ACT Seniors Week for a return season of guerilla grannies and anti-ageing ads. Mar 13-20. THE STREET THEATRE

ENTERTAINMENT GUIDE March 20 – March 30 SUNDAY MARCH 20 ART EXHIBITIONS Speak Uneasy

Beautifully clumsy word art for Noted writers’ festival. Opening 6pm, Fri Mar 18. Free.

TRIVIA

With Shrapnel, Waterford & Wet Dream. 9pm. $10/$5.

THE PHOENIX BAR

50th National Folk Festival

Phoenix Quiz Night. 7.30pm.

WEDNESDAY MARCH 23

SMITH’S ALTERNATIVE

ART EXHIBITIONS

COMEDY

The Making Of Midnight Oil

Canberra Comedy Festival 2016

TUGGERANONG ARTS CENTRE

Opens Mar 11. Until May 14.

March 15-20.

Blaze Ten

LIVE MUSIC

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

CANBERRA THEATRE CENTRE

Polifemy

With Walking the Dog. 3pm. WESLEY UNITING CHURCH

GhostNoises 5pm. Free.

A BITE TO EAT CAFE

Irish Jam Session

Traditional Irish musicians in the pub from late afternoon. Free. KING O’MALLEY’S IRISH PUB

Tedeschi Trucks

7.30pm. $97/$142.50 + Transaction Fee. CANBERRA THEATRE CENTRE

Aviary Sundays Live

Feat. Rose Costi, James Kelly, Amy Jenkins. 3pm. Free. AVIARY ROOFTOP BAR

SOMETHING DIFFERENT Noted Independant Publishing Fair

40 stallholders, food, coffee, and events for kids and adults all day long. 10am-3pm. Free. GORMAN HOUSE ARTS CENTRE

Sunday Spritz

Featuring Swift Taylor. 4pm.

Parading

Tris & Travis’s 90’s Quiz

Opens 6pm, Feb 19. Until Mar 24.

National Photographic Portrait Prize 2016

THE PHOENIX BAR

folkfestival.org.

EXHIBITION PARK IN CANBERRA (EPIC)

ON THE TOWN Aviary Easter Thursday

Lucrative, ADAM, NORM. It’s the freshest Easter Thursday in Canberra. $10 Cocktails $6 Ciders $5 Beers. Free. 5pm. AVIARY ROOFTOP BAR

FRIDAY MARCH 25

March 19 - June 26.

LIVE MUSIC

Terraforming Expo

Robbie Mann Plays Stride Piano

NATIONAL PORTRAIT GALLERY

ON THE TOWN Oscar

10pm. Free.

KING O’MALLEY’S IRISH PUB

SUNDAY MARCH 27 LIVE MUSIC 50th National Folk Festival

folkfestival.org.

EXHIBITION PARK IN CANBERRA (EPIC)

Irish Jam Session

Traditional Irish musicians in the pub from late afternoon. Free. KING O’MALLEY’S IRISH PUB

Aviary Sundays Live

Feat. Dessert Before Dinner, Oli, James Anthony. 3pm. Free. AVIARY ROOFTOP BAR

By Knees. Opening 6pm, March 17. Runs until April 2.

7.30PM. Free. Book online at politbar.co.

SOMETHING DIFFERENT

MEGALO PRINT STUDIO + GALLERY

POLIT BAR & LOUNGE

Macquarie Digital Portraiture Award 2015

4th Degree

9.30pm. Free.

Draw while listening to Don McKinnon and Carlo Beasley, Gypsy/Jazz duo. 1pm. Free.

Free. Until April 2016.

KING O’MALLEY’S IRISH PUB

NATIONAL PORTRAIT GALLERY

Live Music on the Terrace

COMEDY

PARLOUR WINE ROOM

Schnitz and Giggles

folkfestival.org.

$10. 6.30pm.

DIGRESS COCKTAIL BAR

FILM French Film Festival 2016 March 3-29. Bookings at affrenchfilmfestival.org.

PALACE ELECTRIC CINEMA

Spear

March 10-23. Tickets at trybooking.com/jzpz

NATIONAL FILM AND SOUND ARCHIVES

PARLOUR WINE ROOM

LIVE MUSIC

TALKS

Lunchtime Live

4pm.

50th National Folk Festival EXHIBITION PARK IN CANBERRA (EPIC)

ON THE TOWN Happy Hour

Every Friday to 6pm.

POLIT BAR & LOUNGE

SOMETHING DIFFERENT Art Underground 7pm. Free. BEYOND Q

SATURDAY MARCH 26

Drawn In

NATIONAL PORTRAIT GALLERY

MONDAY MARCH 28 LIVE MUSIC 50th National Folk Festival

folkfestival.org.

EXHIBITION PARK IN CANBERRA (EPIC)

TUESDAY MARCH 29 KARAOKE #KaraokeLove

Karaoke. 9pm. Free entry. TRANSIT BAR

Karaoke Salon

8PM. Book online at politbar.co. POLIT BAR & LOUNGE

ART EXHIBITIONS

Good Food Month: ‘Taste Text’

12.40pm. Different music programmes weekly. $5 or donation. WESLEY UNITING CHURCH

The Making Of Midnight Oil

EAST HOTEL

Collected Resonances

Opens Mar 11. Until May 14.

Tarot Card Reading

TUGGERANONG ARTS CENTRE

Booking only 0416-651-974. 5-7pm.

THEATRE

AINSLIE ARTS CENTRE

National Photographic Portrait Prize 2016

POLIT BAR & LOUNGE

TRIVIA

NATIONAL PORTRAIT GALLERY

Nerd Trivia with Joel and Ali

3.30pm.

All This Living

ACT Seniors Week for a return season of guerilla grannies and anti-ageing ads. Mar 13-20. THE STREET THEATRE

MONDAY MARCH 21 LIVE MUSIC 2XX and CIT Present

The Bootleg Sessions. 8pm. THE PHOENIX BAR

TUESDAY MARCH 22 KARAOKE #KaraokeLove 9pm. Free entry. TRANSIT BAR

Karaoke Salon

8PM. Book online at politbar.co. POLIT BAR & LOUNGE

SOMETHING DIFFERENT Tarot Card Reading

Booking only 0416-651-974. 5-7pm.

8pm. $5.

ON THE TOWN

March 19 - June 26.

Hump Day

Terraforming Expo

TRANSIT BAR

MEGALO PRINT STUDIO + GALLERY

Get over the hump with drink specials after 5pm.

TRIVIA Tranny Trivia

Glamour & Song questions. 8pm. Book online. POLIT BAR & LOUNGE

THURSDAY MARCH 24 LIVE MUSIC Gay Cliche

With Skin & Bones featuring Quails, Mikah Freeman, Architect DJs, Pelvic and Megan Bones. 8pm. $10. TRANSIT BAR

Annie and the Armadillos 7pm. Free.

NATIONAL PRESS CLUB

Heuristic 9pm. Free.

KING O’MALLEY’S IRISH PUB

By Knees. Opening 6pm, March 17. Runs until April 2.

Macquarie Digital Portraiture Award 2015

SOMETHING DIFFERENT

Presented by Impact Comics. 7:30pm. THE PHOENIX BAR

WEDNESDAY MARCH 30

Free. Until April 2016.

ART EXHIBITIONS

FILM

Opens Mar 11. Until May 14.

French Film Festival 2016

National Photographic Portrait Prize 2016

NATIONAL PORTRAIT GALLERY

March 3-29. Bookings at affrenchfilmfestival.org.

PALACE ELECTRIC CINEMA

LIVE MUSIC 50th National Folk Festival folkfestival.org.

EXHIBITION PARK IN CANBERRA (EPIC)

Yeo

Ganbaru tour. 8pm. TRANSIT BAR

Yoko Oh No

With Office Jerk & Sketch Method. $10/$5. 9.30pm.

The Making Of Midnight Oil

TUGGERANONG ARTS CENTRE

March 19 - June 26.

NATIONAL PORTRAIT GALLERY

Terraforming Expo

By Knees. Opening 6pm, March 17. Runs until April 2. MEGALO PRINT STUDIO + GALLERY

ART EXHIBITIONS Macquarie Digital Portraiture Award 2015 Free. Until Apr 2016.

NATIONAL PORTRAIT GALLERY

THE PHOENIX BAR

POLIT BAR & LOUNGE

@bmamag

ENTERTAINMENT GUIDE March 30 – April 7 LIVE MUSIC

Loud So Clear

COMEDY

Jack Biilmann & The Bronze Whalers

TRANSIT BAR

Schnitz and Giggles

TRANSIT BAR

WEDNESDAY MARCH 30

$10. 6.30pm.

DIGRESS COCKTAIL BAR

LIVE MUSIC Lunchtime Live

12.40pm. Different music programmes weekly. $5 or donation. WESLEY UNITING CHURCH

Mags Stewart “Far Away & Long Before”

5.30pm. Free but bookings essential at politbar.co.

8pm. $10 on the door.

ON THE TOWN

Whitney Houston’s Crypt

Rumble For The Jungle

THE PHOENIX BAR

AVIARY ROOFTOP BAR

With Twinrova, California Girls & Harrow. 9pm. $10/$5.

Fundraising for a grassroots NGO called The Worldwide Tribe.

Robbie Mann Plays Stride Piano

THEATRE

7.30PM. Free. Book online at politbar.co. POLIT BAR & LOUNGE

Backslider in concert

8pm. thestreet.org.au.

The Backsliders 7.30pm. $40.

TUGGERANONG ARTS CENTRE

The Itchy Triggers 10pm. Free.

KING O’MALLEY’S IRISH PUB

WORKSHOPS

DJs spinning Old Skool, Hip Hop, R&B. Free from 5pm.

THURSDAY MARCH 31 KARAOKE Hip Hop Karaoke

8pm. Hosted by Havoc. TRANSIT BAR

TUGGERANONG ARTS CENTRE

Strathnairn ArtBAC

Tue-Sun April 1-25. 10am to 4pm. BELCONNEN ARTS CENTRE

Out of Space

BELCONNEN ARTS CENTRE

ON THE TOWN

ACT WRITERS CENTRE

Opens Mar 11. Until May 14.

Rocking the Suburbs Song Writing Workshop

Glamour & Song questions. 8pm. Book online.

7.30pm.

The Making Of Midnight Oil

PARLOUR WINE ROOM THE STREET THEATRE

Focus on the Short Story with Theresa Layton

BELCONNEN ARTS CENTRE

Beauty and Belonging

Hump Day

POLIT BAR & LOUNGE

Tue-Sun April 1-25. 10am to 4pm.

WORKSHOPS

Ed Kuepper

Tranny Trivia

Uncertain Journeys

Live Music on the Terrace

ON THE TOWN

TRIVIA

$78.50-$93.50 + Transaction Fee. April 1-9.

ART EXHIBITIONS

Opening April 6 at 6pm. Until April 17.

TUGGERANONG ARTS CENTRE

4pm.

TRANSIT BAR

Romeo & Juliet

WEDNESDAY APRIL 6

CANBERRA THEATRE CENTRE

7.30pm. $50 at trybooking.com.

POLIT BAR & LOUNGE

Get over the hump with drink specials after 5pm.

8pm. Entry on the door.

Fridays From Five AVIARY ROOFTOP BAR

Happy Hour

Every Fri to 6pm.

POLIT BAR & LOUNGE

SATURDAY APRIL 2 ART EXHIBITIONS Uncertain Journeys

Tue-Sun April 1-25.10am to 4pm. BELCONNEN ARTS CENTRE

The Making Of Midnight Oil

With Rob Hirst, Jim Moginie and Paul Greene. $30/$20. 1pm. TUGGERANONG ARTS CENTRE

SUNDAY APRIL 3

KING O’MALLEY’S IRISH PUB

Cellissimo

Musical Gems for Cello and Piano. 5pm. $40/$25. TUGGERANONG ARTS CENTRE

Aviary Sundays Live

Feat. Ben Kelly, Josh Veneris, Jacqui Douglas. 3pm. Free. AVIARY ROOFTOP BAR

Tundrel

Alternate acoustic duo. tundrel.com, 5pm. Free. A BITE TO EAT CAFE

SOMETHING DIFFERENT

Strathnairn ArtBAC

OLD PARLIAMENT HOUSE LAWNS

TUGGERANONG ARTS CENTRE

BELCONNEN ARTS CENTRE

Right Hear, Right Now

NATIONAL PORTRAIT GALLERY

Macquarie Digital Portraiture Award 2015 Free. Until April 2016.

Opens 6pm, March 31. Runs until April 24.

Traditional Irish musicians in the pub from late afternoon. Free.

The Colour Wheel The Pretty Bones

March 19 - June 26.

Irish Jam Session

Opens Mar 11. Until May 14.

Tue-Sun April 1-25. 10am to 4pm.

National Photographic Portrait Prize 2016

NATIONAL PORTRAIT GALLERY

LIVE MUSIC $35/$25. 7.30pm.

Tue-Sun April 1-25. 10am to 4pm

LIVE MUSIC

Auto Italia Canberra

TUGGERANONG ARTS CENTRE

GORMAN HOUSE ARTS CENTRE

8:30am to 3pm. $10/$15.

MONDAY APRIL 4

Right Hear, Right Now PHOTOACCESS MANUKA

LIVE MUSIC Mozart

Conductor: Benjamin Northey LLEWELLYN HALL

The Bennies

Wisdom Machine Launch. 8pm. TRANSIT BAR

ON THE TOWN Hump Day

Get over the hump with drink specials after 5pm. TRANSIT BAR

THEATRE Romeo & Juliet

$78.50-$93.50 + Transaction Fee. April 1-9. CANBERRA THEATRE CENTRE

THE PHOENIX BAR

Opens 6pm, March 31. Runs until April 24.

LIVE MUSIC

TRIVIA

ON THE TOWN

Beauty and Belonging

CMC Presents The Bootleg Sessions

Tranny Trivia

The Thursday Games

BELCONNEN ARTS CENTRE

THE PHOENIX BAR

POLIT BAR & LOUNGE

With Capes and Undermines. 9pm. $5.

Crazy Ass Games including tournaments and prizes, and all things Sangria & FUN. 5pm. Free. AVIARY ROOFTOP BAR

SOMETHING DIFFERENT Shaken and Stirred

PHOTOACCESS MANUKA

Tue-Sun April 1-25. 10am to 4pm.

National Photographic Portrait Prize 2016 March 19 - June 26.

NATIONAL PORTRAIT GALLERY

Terraforming Expo

By Knees. Opening 6pm, March 17. Runs until April 2.

8pm. Free.

TUESDAY APRIL 5 KARAOKE #KaraokeLove

Glamour & Song questions. 8pm. Book online.

WORKSHOPS French Courses for Kids April 6 - July 2.

ALLIANCE FRANÇAISE

General French Courses

MEGALO PRINT STUDIO + GALLERY

9pm. Free entry.

POLIT BAR & LOUNGE

Macquarie Digital Portraiture Award 2015

TRANSIT BAR

Karaoke Salon

Words on a Wire

Free. Until April 2016.

8PM. Book online at politbar.co.

NATIONAL PORTRAIT GALLERY

POLIT BAR & LOUNGE

GORMAN HOUSE ARTS CENTRE

LIVE MUSIC

Orlando Furious

Jazz at the Gods

Mozart

Burlesque and cabaret. 7:30pm. $20. politbar.co $10. 7pm.

FRIDAY APRIL 1 FILM

With Shit Narnia & Narks. 9.30pm. $10/$5.

Meals from 6pm. Music at 7:30pm. Bookings essential. $22/$15.

THE PHOENIX BAR

THE GODS CAFE

Vinyl Lounge

From Rosendo to Rosendo

SOMETHING DIFFERENT

Film.

NATIONAL FILM AND SOUND ARCHIVES

Free but registration is compulsory at eventbrite. ANU BAR AND REFECTORY

Heuristic 9pm. Free.

April 6 - July 2.

ALLIANCE FRANÇAISE

THURSDAY APRIL 7

Conductor: Benjamin Northey LLEWELLYN HALL

Special K

10.30pm. Free.

KING O’MALLEY’S IRISH PUB

Tarot Card Reading

Booking only 0416-651-974. 5-7pm. POLIT BAR & LOUNGE

KING O’MALLEY’S IRISH PUB

facebook.com/bmamagazine

ENTERTAINMENT GUIDE April 7 – April 16 THURSDAY APRIL 7 LIVE MUSIC

Beauty and Belonging

Tue-Sun April 1-25. 10am to 4pm BELCONNEN ARTS CENTRE

TUESDAY APRIL 12

National Photographic Portrait Prize 2016

KARAOKE

NATIONAL PORTRAIT GALLERY

8PM. Book online at politbar.co.

CANBERRA SOUTHERN CROSS CLUB (WODEN)

Macquarie Digital Portraiture Award 2015

POLIT BAR & LOUNGE

#KaraokeLove

Staunch and Earth Caller

Thirsty Merc

Back to the Grind tour. Tickets from ticketek.com.au.

With special guests. THE BASEMENT

Positive Feedback Loop

With The Sticky Bandits & Beth Mo. 8pm. TRANSIT BAR

March 19 - June 26.

Free. Until April 2016.

9pm. Free entry.

NATIONAL PORTRAIT GALLERY

TRANSIT BAR

FILM

SOMETHING DIFFERENT

Ricketts Italian Film Collection

Tarot Card Reading

NATIONAL FILM AND SOUND ARCHIVES

POLIT BAR & LOUNGE

Apr 8-10.

ON THE TOWN

LIVE MUSIC

The Thursday Games

Blues Brothers and Soul Revue

Crazy Ass Games including tournaments and prizes, and all things Sangria & FUN. 5pm. Free. AVIARY ROOFTOP BAR

FRIDAY APRIL 8 FILM Ricketts Italian Film Collection

April 8-10.

NATIONAL FILM AND SOUND ARCHIVES

LIVE MUSIC Thank You Ma’am: Roland Tings (DJ Set) 8pm. $20/$25 + bf via Moshtix. TRANSIT BAR

POLIT BAR & LOUNGE

Live Music on the Terrace 4pm.

PARLOUR WINE ROOM

AVIARY ROOFTOP BAR

FRIDAY APRIL 15 FILM Marco Polo Jr

6.30pm meet the filmmaker.

NATIONAL FILM AND SOUND ARCHIVES

LIVE MUSIC Robbie Mann Plays Stride Piano 7.30pm. Free. Book online at politbar.co.

Live Band

Macquarie Digital Portraiture Award 2015

TUKA

NATIONAL PORTRAIT GALLERY

Live Music on the Terrace

ANU BAR AND REFECTORY

Live music. 10.30pm. Free. KING O’MALLEY’S IRISH PUB

Free. Until April 2016.

SOMETHING DIFFERENT

Right Hear, Right Now

24-Hour Story Challenge with Ian McHugh

PHOTOACCESS MANUKA

April 9, 10am. April 10, 1pm. ACT WRITERS CENTRE

THEATRE Romeo & Juliet

$78.50-$93.50 + Transaction Fee. April 1-9. CANBERRA THEATRE CENTRE

SUNDAY APRIL 10 FILM Ricketts Italian Film Collection

April 8-10.

NATIONAL FILM AND SOUND ARCHIVES

THE BASEMENT

LIVE MUSIC

ON THE TOWN

Irish Jam Session

Oscar

WEDNESDAY APRIL 13

Crazy Ass Games including tournaments and prizes, and all things Sangria & FUN. 5pm. Free.

ART EXHIBITIONS

Frenzal Rhomb Tickets at Oztix.

Booking only 0416-651-974. 5-7pm.

The Thursday Games

8pm. Tickets at Moshtix.

Robbie Mann Plays Stride Piano 7.30PM. Free. Book online at politbar.co.

Karaoke Salon

ON THE TOWN

Traditional Irish musicians in the pub from late afternoon. Free.

Opens 6pm, March 31. Runs until April 24.

Uncertain Journeys

Tue-Sun April 1-25. 10am to 4pm. BELCONNEN ARTS CENTRE

Strathnairn ArtBAC

Tue-Sun April 1-25. 10am to 4pm. BELCONNEN ARTS CENTRE

POLIT BAR & LOUNGE

Tickets at Ticketek. 8pm.

ANU BAR AND REFECTORY

4pm.

PARLOUR WINE ROOM

FE5T1VAL 15 8pm.

THE BASEMENT

The Levitation Hex

Album launch. With Red Bee & Imperilment. 8pm. TRANSIT BAR

Out of Space

ON THE TOWN

GORMAN HOUSE ARTS CENTRE

Fridays From Five

Opening April 6 at 6pm. Until April 17.

Beauty and Belonging

Tue-Sun April 1-25. 10am to 4pm BELCONNEN ARTS CENTRE

National Photographic Portrait Prize 2016 March 19 - June 26.

NATIONAL PORTRAIT GALLERY

ON THE TOWN Hump Day

Get over the hump with drink specials after 5pm. TRANSIT BAR

DJs spinning old skool, hip hop, R&B. Free from 5pm. AVIARY ROOFTOP BAR

Happy Hour

Every Fri to 6pm.

POLIT BAR & LOUNGE

SATURDAY APRIL 16 ART EXHIBITIONS Macquarie Digital Portraiture Award 2015

Free. Until Apr 2016.

10pm. Free.

KING O’MALLEY’S IRISH PUB

Fridays From Five

Feat. Ben Kelly, Josh Veneris, Ele Wilcher, James Kelly. 3pm. Free.

Tranny Trivia

Killwater (prev. Los Pajeros)

POLIT BAR & LOUNGE

Uncertain Journeys

WORKSHOPS

BELCONNEN ARTS CENTRE

KING O’MALLEY’S IRISH PUB

DJs spinning old skool, hip-hop, R&B. Free from 5pm. AVIARY ROOFTOP BAR

Aviary Sundays Live AVIARY ROOFTOP BAR

Every Fri to 6pm.

Originals with a couple of laid back covers, 5pm. Free.

POLIT BAR & LOUNGE

A BITE TO EAT CAFE

SOMETHING DIFFERENT

Art Underground

Majura Valley Paddock to Plate

Happy Hour

7pm. Free. BEYOND Q

SATURDAY APRIL 9 ART EXHIBITIONS Right Hear, Right Now

Opens 6pm, March 31. Runs until April 24.

Wine tasting and guided tour of the valley. 4 course brunch. 10am. $95. Bookings essential. ELK & PEA

24-Hour Story Challenge with Ian McHugh April 9, 10am. April 10, 1pm. ACT WRITERS CENTRE

WORKSHOPS

Uncertain Journeys

Diving In (Memoir) with Biff Ward

BELCONNEN ARTS CENTRE

ACT WRITERS CENTRE

PHOTOACCESS MANUKA

Tue-Sun April 1-25. 10am to 4pm.

Strathnairn ArtBAC

Tue-Sun April 1-25. 10am to 4pm. BELCONNEN ARTS CENTRE

Out of Space

Opening April 6 at 6pm. Until April 17. GORMAN HOUSE ARTS CENTRE

1pm.

TRIVIA Glamour & Song questions. 8pm. Book online.

French Courses for Kids April 6 - July 2.

ALLIANCE FRANÇAISE

General French Courses April 6 - July 2.

ALLIANCE FRANÇAISE

Focus on the Short Story with Theresa Layton 7.30pm.

ACT WRITERS CENTRE

THURSDAY APRIL 14 LIVE MUSIC Confluence

7pm. $15. A showcase of innovative music from Australia and the world. AINSLIE ARTS CENTRE

Slow Turismo

8pm. Free entry. $5 beers, wine and spirits.

NATIONAL PORTRAIT GALLERY

Right Hear, Right Now

Opens 6pm, March 31. Runs until April 24. PHOTOACCESS MANUKA

Tue-Sun April 1-25. 10am to 4pm.

Strathnairn ArtBAC

Tue-Sun April 1-25. 10am to 4pm. BELCONNEN ARTS CENTRE

Out of Space

Opening April 6 at 6pm. Until April 17. GORMAN HOUSE ARTS CENTRE

Beauty and Belonging

Tue-Sun April 1-25. 10am to 4pm BELCONNEN ARTS CENTRE

National Photographic Portrait Prize 2016 March 19 - June 26.

NATIONAL PORTRAIT GALLERY

LIVE MUSIC The Nicholas Combe Nonet Album launch. Tickets at thestreet.org.au. THE STREET THEATRE

The Go Set

8pm. $18.40 via Oztix. TRANSIT BAR

PARLOUR WINE ROOM

@bmamag

ENTERTAINMENT GUIDE April 16 – April 27 SATURDAY APRIL 16 SOMETHING DIFFERENT The Mindful Writer with Walter Mason

10am.

ACT WRITERS CENTRE

SUNDAY APRIL 17 LIVE MUSIC Aviary Sundays Live 3pm. Free.

AVIARY ROOFTOP BAR

TUESDAY APRIL 19 KARAOKE Karaoke Salon

8PM. Book online at politbar.co.

ON THE TOWN

Happy Hour

Aviary Sundays Live

Hump Day

POLIT BAR & LOUNGE

AVIARY ROOFTOP BAR

Get over the hump with drink specials after 5pm.

WORKSHOPS

JAUZ

Art Underground

Diving In (Memoir) with Biff Ward

ACADEMY NIGHTCLUB

BEYOND Q

7pm. Free.

8pm.

Tranny Trivia

Glamour & Song questions. 8pm. Book online.

WORKSHOPS

BELCONNEN ARTS CENTRE

Beauty and Belonging

ALLIANCE FRANÇAISE

NATIONAL PORTRAIT GALLERY

April 6 - July 2.

General French Courses April 6 - July 2.

ALLIANCE FRANÇAISE

THURSDAY APRIL 21

8pm.

THE BASEMENT

ON THE TOWN The Thursday Games

Crazy Ass Games including tournaments and prizes, and all things Sangria & FUN. 5pm. Free. AVIARY ROOFTOP BAR

Tue-Sun April 1-25. 10am to 4pm

FRIDAY APRIL 22

BELCONNEN ARTS CENTRE

Macquarie Digital Portraiture Award 2015 Free. Until April 2016.

NATIONAL PORTRAIT GALLERY

Karaoke Salon

Macquarie Digital Portraiture Award 2015

King Parrot

ART EXHIBITIONS

KARAOKE

Tue-Sun April 1-25. 10am to 4pm

French Courses for Kids

SOMETHING DIFFERENT

WEDNESDAY APRIL 20

TUESDAY APRIL 26

ART EXHIBITIONS Beauty and Belonging

LIVE MUSIC

POLIT BAR & LOUNGE

SATURDAY APRIL 23

POLIT BAR & LOUNGE

TRANSIT BAR

Booking only 0416-651-974. 5-7pm.

1pm.

ACT WRITERS CENTRE

TRIVIA

#KaraokeLove

Tarot Card Reading

3pm. Free.

SOMETHING DIFFERENT

TRANSIT BAR

POLIT BAR & LOUNGE

9pm. Free entry.

Every Friday to 6pm.

8PM. Book online at politbar.co. POLIT BAR & LOUNGE

#KaraokeLove

Free. Until April 2016.

9pm. Free entry. TRANSIT BAR

Right Hear, Right Now

Opens 6pm, March 31. Runs until April 24.

SOMETHING DIFFERENT

Uncertain Journeys

Booking only 0416-651-974. 5-7pm.

Tarot Card Reading

PHOTOACCESS MANUKA

POLIT BAR & LOUNGE

Tue-Sun April 1-25. 10am to 4pm. BELCONNEN ARTS CENTRE

WEDNESDAY APRIL 27

Strathnairn ArtBAC

Tue-Sun April 1-25. 10am to 4pm. BELCONNEN ARTS CENTRE

National Photographic Portrait Prize 2016 March 19 - June 26.

NATIONAL PORTRAIT GALLERY

LIVE MUSIC

ON THE TOWN

Rock Or Be Rocked 8pm.

Hump Day

SOMETHING DIFFERENT

TRANSIT BAR

THE BURNS CLUB

Canberra Obscura

TRIVIA

Ireland Will Be Free

AINSLIE ARTS CENTRE

Tranny Trivia

8pm. $10.

Opens 6pm, Mar 31. Runs until April 24.

NATIONAL FILM AND SOUND ARCHIVES

The Basics of Creative Writing with Jenny Bon

PHOTOACCESS MANUKA

LIVE MUSIC

ACT WRITERS CENTRE

Uncertain Journeys

Robbie Mann Plays Stride Piano

Strathnairn ArtBAC

Tue-Sun April 1-25. 10am to 4pm. BELCONNEN ARTS CENTRE

National Photographic Portrait Prize 2016 March 19 - June 26.

NATIONAL PORTRAIT GALLERY

Get over the hump with drink specials after 5pm.

FILM Film.

BELCONNEN ARTS CENTRE

National Photographic Portrait Prize 2016

March 19 - June 26.

Right Hear, Right Now

Tue-Sun April 1-25. 10am to 4pm.

ART EXHIBITIONS

7.30PM. Free. Book online at politbar.co. POLIT BAR & LOUNGE

Live Music on the Terrace

10am.

SUNDAY APRIL 24 LIVE MUSIC

4pm.

Groovin The Moo

ON THE TOWN

UNIVERSITY OF CANBERRA

PARLOUR WINE ROOM

Fridays From Five

DJs spinning old skool, hip-hop, R&B. Free from 5pm.

10:30am. Ticket information at gtm.net.au.

MEST & Hawthorne Heights 8pm.

THE BASEMENT

Glamour & Song questions. 8pm. Book Online. POLIT BAR & LOUNGE

WORKSHOPS French Courses for Kids April 6 - July 2.

ALLIANCE FRANÇAISE

Focus on the Short Story with Theresa Layton 7.30pm.

ACT WRITERS CENTRE

General French Courses April 6 - July 2.

ALLIANCE FRANÇAISE

AVIARY ROOFTOP BAR

OUT

APR 13

HOW DO MUSICIANS MAKE MONEY, ANYWAY? WHAT HAPPENED TO THAT LOCAL BAND? ARE THEY STILL ALIVE? WHAT EVEN IS MUSIC, MAN?

facebook.com/bmamagazine

FIRST CONTACT SIDE A: BMA BAND PROFILE

Aaron Peacey 0410381306 band.afternoon.shift@ gmail.com.au Adam Hole 0421023226

Afternoon Shift 0402055314

Kayo Marbilus facebook.com/kayomarbilus1

Amphibian Sound PA Clare 0410308288

Kurt’s Metalworx (PA) 0417025792

Annie & The Armadillos Annie (02) 61611078/ 0422076313 Aria Stone sax/flute/lute/ harmonica, singer-songwriter Aria 0411803343

JAMARZONMARZ Where did your name come from? In Year 6, a friend created the nickname “Jamarz” while we were on an excursion. I then used “JamarzOnMarz” as a Twitter username and I’ve stuck with it since then. Describe your sound: My vocals have generally been aggressive, although I’m versatile in style. I can be smooth, I can be energising or I can be emotional. My saxophone is lively, bright and saxy. Who are your influences, musical or otherwise? Joey Bada$$ and Kendrick Lamar. What’s the most memorable experience you’ve had whilst performing? Definitely the first hip-hop event I’ve ever performed at. Rapper 316 invited me to perform on his set, so I made a four-track medley, in which I pulled out a ski mask for one song and then my saxophone for another. It was insane; the crowd was wild and responding to every lyric. Of what are you proudest so far? The outcome of that hiphop event, plus all the positive comments people have been saying to me after I perform, it’s an incredible feeling. You feel like all the hard work has paid off. What are your plans for the future? I need to finish year 12 before I can be fully dedicated and focused on my music. However, you can expect a rain/reign of singles this year and hopefully some big gigs, including interstate shows!

Australian Songwriters Association Keiran (02) 62310433 Back to the Eighties Ty Emerson 0418 544 014 Backbeat Drivers Steve 0422733974 backbeatdrivers.com Birds Love Fighting Gangbusters/DIY shows-bookings@ birdslovefighting.com Black Label Photography Kingsley 0438351007 blacklabelphotography.net Bridge Between, The Cam 0431550005 Chris Harland Blues Band, The Chris 0418 490 649 chrisharlandbluesband @gmail.com 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

What makes you laugh? If I’m not cracking up from memes, guarantee I’m dying because of the homie, Mulunda … That boy is too funny, he needs his own reality TV show.

Drumassault Dan 0406 375 997

What pisses you off? Police brutality. Donald Trump. Bigots. Racism. Homophobia. Islamophobia. Oh, and wired microphones – I hate them.

Fire on the Hill Aaron 0410381306 Lachlan 0400038388

What about the local scene would you change? I’d like to see fans of local artists/bands stick around to support other local acts while they perform.

Gareth Dailey DJ/Electronica Gareth 0414215885

What are your upcoming gigs? I can’t announce anything yet but keep an eye out … It’s going to be lit. Contact info: facebook.com/JamarzOnMarz, soundcloud. com/jamarzonmarz, twitter.com/JamarzOnMarz

Feldons, The 0407 213 701

Fourth Degree Vic 0408477020

Groovalicious Corporate/ weddings/private functions 0448995158 Guy The Sound Guy Live & Studio Sound Engineer 0400585369 guy@guythesoundguy.com

Los Chavos Latin/ska/reggae Rafa 0406647296 Andy 0401572150 Merloc - Recording Studio, Watson. Sam King: 0430484363. sam@ merlocrecords.com Missing Zero Hadrian 0424721907 hadrian.brand@live.com.au Morning After, The Covers band Anthony 0402500843 Mornings Jordan 0439907853 Obsessions 0450 960 750 obsessions@grapevine.com.au 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 Greg greg@gunfever.com.au System Addict Jamie 0418398556

Haunted Attics band@hauntedatticsmusic.com

Tegan Northwood (Singing Teacher) 0410 769 144

In The Flesh Scott 0410475703

Top Shelf Colin 0408631514

Itchy Triggers Alex 0414838480

Undersided, The Baz 0408468041

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

Johnny Roadkill Paulie 0408287672 paulie_mcmillan@live.com.au

Zoopagoo zoopagoo@gmail.com

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