BMA Magazine 486 - 12 October 2016 by BMA Magazine

COVER LINE INSIDE: INFO

AINSLIE IVOJ +NOB GORMAN

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BOY & BEAR

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THE JEZABELS

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HOLY HOLY

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METAL FIESTA

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BOY & BEAR

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HOT CHOCOLATE

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SONGS IN THE KEY OF MOTOWN

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MAJORâ&#x20AC;&#x2122;S CREEK

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RAT PACK

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AINSLIE + GORMAN

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ANCIENT RAIN

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SUMMERNATS

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THE GREEN SHED

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artists struggle to make a living making and performing their art,” Ms Esguerra said.

BY OUR OWN DESIGN

If you’re in public and you’ve got clothes on, congrats, you’ve passed the test #486Oct/Nov 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 Sarah Naughton Graphic Design Andrew Nardi Film Editor Emma Robinson Entertainment Guide Nicola Sheville NEXT ISSUE 487 OUT November 9 EDITORIAL DEADLINE October 28 ADVERTISING DEADLINE Nov 3 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.

Design Canberra is an annual festival celebrating and promoting Canberra as a global city of design. Design Canberra 2016 is showing the world what our city is made of. One city – one hundred + events. Now in its third year, Design Festival plans to showcase design excellence across all disciplines – the best the ACT has to offer. With more than 26,000 visitors last year, organisers are anticipating higher numbers for the 2016 festival. From Thursday October 27 to Friday November 25, Design Canberra presents over 100 exhibitions, events, activations and workshops, covering landscape design, architecture, industrial design, technology, fashion, jewellery and homewares. This year features a tribute exhibition to design luminary Robert Foster, workshops with ‘trashion’ installation artist Francis Sollano (Philippines), public conversation with sustainable designer David Trubridge (NZ), international design perspectives from Giovanna Massoni (Belgium), urban renewal inspiration from Marcus Westbury, tours of acclaimed Canberra houses, artists’ open studios and more. Presented by Craft ACT: Canberra Craft and Design Centre. Explore the full program at designcanberrafestival. com.au.

THE ARTS ARE ALWAYS GREENER ACT Greens Arts spokesperson Indra Esguerra recently released the Greens $19 million plan to support Canberra’s artists and creative industries. The plan covers easy, affordable spaces for exhibitions and designated Entertainment Precincts for live music and other events. “Artists and creative industries not only enrich our community and our lives, they also contribute to our economy and local employment – yet many

“A vibrant and creative city like Canberra needs spaces for artists and performers to meet, create, display, practice and perform. That’s why the Greens will invest $1.75 million in a Curator for the City who will negotiate with building owners to facilitate affordable arts spaces, improve events programming throughout the year for local artists and musicians and ensure a minimum percentage of local artist content at big ticket Canberran events such as Enlighten and Floriade.” Ms Esguerra also announced a plan for entertainment precincts in Canberra. “Canberra’s music and events culture has evolved organically, with entertainment venues popping up everywhere from the city to town centres and at local shops. While this is a demonstration of our creative and lively city, sometimes this has led to tension between residents and entertainment venues,” she said. “The ACT Greens will establish designated Entertainment Precincts where music and events will be encouraged. Our plan also includes creating a micro-grants fund to support alcohol-free events across Canberra. Part of putting the community first means investing in the arts, music and culture that bring so much joy to so many peoples’ lives.”

WHAT DO WE DO WITH ALL THIS ART? How do you manage an evergrowing cultural collection in the digital age? This November the National Film and Sound Archive of Australia (NFSA) will host some of the world’s leaders in archiving and cultural collection to explore these big-picture questions of the 21st century. Digital Directions 2016 follows on from last year’s inaugural sold out conference and will gather scholars, policy-makers, galleries, libraries, archives and museums (GLAM) sector professionals, and creative entrepreneurs together in the same space.

The discussion will take place on Thursday November 10 at 9am. Book online at TryBooking.

WRITE, EDIT AND SUBMIT YOUR OWN WORK Scissors Paper Pen are giving their blog to one writer under 35 for a two month block. They want to give the gig to a writer who likes penning nonfiction and/or fiction in the form of: interviews, book reviews, short articles, memoir, poetry, short stories or prose poems. The residency is open to writers who are yet to dip their toes in the nonfiction or fiction waters as well as to those with a bit of writing experience and a strong agenda. They’re looking for someone with a flair for writing and a passion for a challenge. You’ll get to work with an SPP editor who will help you with your work from conception to finished product. You’ll get feedback on your work as well as someone to pitch your ideas to. As much as possible, they will provide you with books to review, events to attend (and review) and to help you source people you might want to interview. They are also offering the writer $100, that’s whether you write a short weekly piece or a few longer, in-depth pieces. Most importantly, they’ll give you the blog, the whole blog, and nothing but the blog to feature the thing you do best for two months. To apply, write an email to writetoscissorspaperpen@ gmail.com. In it, tell SPP where you’re from, how old you are, and tell why you’d like to be a writer in residence and what you’d want to do with the residency. They’d also love it if you pitched an idea for a piece in the email. If you have something you’ve written in the past (it doesn’t have to have been published) please attach it to your email, and press send. Applications close at midnight on Friday October 21. Any applications received after that may be kept for next time. For more information, visit scissorspaperpen.org.

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FROM THE BOSSMAN Tiny Tum Meal times are a sacred and important occasion. Atop a steaming plate of culinary delight many a romance has been sparked; a business deal struck; a peal of laughter enjoyed. Food with friends is cause for celebration and mirth, a time to relax, unwind and recharge as you recount, and are recounted, with life’s various oddities. However, as with many things in my life, these feasts of joy can often be cause to send me into a paroxysm of panic. Y’see, I have been blessed/cursed with an astronomically tiny stomach. While this has proved vital in keeping a trim figure, it is problematic come meal time. “Well, if you can’t finish the damn meal, just leave it, you infuriating git!” I hear you chorus. Well yes, this may be the case for most right thinking people, but my thoroughly wonderful mother instilled in me the importance of not wasting food (the “think of the starving children in Africa” mantra was wheeled out on any occasion I dared to cast a piece of food aside). And so it is with near blind panic that I attempt to finish everything on my plate, such is my undying love for my dear Mama.

What? We’re allowed to be positive every now and then? Send an email to editorial@bmamag.com and see your feelings, whatever they are, circulated to thousands. [All entries contain original spellings.] Entry #1: To the dear old grass parrot stretching his legs crossing the road this afternoon: you worried me when you reached the gutter, because I thought you might just stick around on the bitumen, but your valiant effort in climbing the gutter paid off, and I knew you’d be safe till next time you decided to cross my street. It was a touching moment; thank you. You made my day! Entry #2: Cars that run on nothing and emit nothing; the SolarCity electricity network; a battery able to keep a house running through two nights and a cold day; and public transportation on air cushions. And that’s to say nothing of autonomous cars and rocketry, or of your more ambitious goals: the Mars Colonial Transporter, the Mars oasis, and safe general artificial intelligence. And, unusually and fortuitously, you have the vision and the humility to do it right. Elon Musk, I salute you. You made my day.

This is fine when serving out your own food, but when at a restaurant or pub (especially ones where the idea of a burger is lumping half a cow between a bun) the panic kicks in. Because I’m not some limp-wristed leaf munching Earth Child, dammit, I want meat. I just don’t want ALL of it. As well as a desire to adhere to my dear Mama’s sage-like humanitarian advice, I am always riddled with deep-set guilt when the hired help come to take my offending plate away. For me, a piece of leftover food on a white plate is like a glistening pimple of humiliation, stoutly mocking my puny appetite. The worst of it is imagining a trembling little Luigi-style chef character in the kitchen, staring at my unfinished meal, his eyes glassing over and his bottom lip swelling in size, trembling ever more violently as he blubs, “He… He no like it? But I slave! I slave for a so long using Mama’s recipe! That’s it! I quit. There is nothing for me here any more…” before shooting himself.

NFSA

So strong is the case of my catastrophic sensitivity to such matters that when the inevitable time comes at the end of our feasting – with belly bursting and meal far from finished – I indulge in the sad practice of placing my napkin over the offending food like drawing a sombre pall over a corpse (here signalling the death is of my macho dignity, which had been ill for some time). There are tactics for keeping my self-created symbolic character of culinary patheticness that is Luigi away. Bringing along someone in possession of a proper manly appetite, ie a person who can finish what you can’t, works well. My brother is a food wing man in this regard, a veritable human waste disposal, and for that I love him. So should we ever find ourselves in the position of breaking bread together, please ensure my meal is small, and my napkin large. And bring your appetite. ALLAN SKO - allan@bmamag.com

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WHO: THE HARD ACHES WHAT: EP TOUR WHEN: SAT OCT 15 WHERE: TRANSIT BAR

It’s safe to say Adelaide indie-punk rock act The Hard Aches aren’t new to music. The slacker punks surged forward on a relentless touring schedule for the past few years, playing in venues as diverse as car parks, backyards, bedrooms and record stores, honing a sound that is unmistakably their own, brought to life by the technical brilliance of drummer Alex Upton and the frenetic guitarwork of Ben David. Now the duo is coming back to Canberra, touring their new EP I Freak Out. Support from MOLEY!, Azim Zain and His Lovely Bones and Green Bricks. Tickets are $19.40 via Oztix. 8pm.

WHO: CAITI BAKER WHAT: SINGLE TOUR WHEN: SUN OCT 23 & THU OCT 27 WHERE: OLD CANBERRA INN & THE FRONT

Soul/hip-hop artist Caiti Baker is making serious inroads following the release of her debut solo single, ‘Heavy On My Heart’. Gorgeously rhythmic and sassy, ‘Heavy On My Heart’ is an honest, personal reflection on the state of the world and where Caiti sees herself fitting into it all. Caiti was born into a household filled with vinyl, CDs and tapes of blues, soul, gospel, jazz, big band and rock ‘n’ roll, her father a respected blues musician. She’ll be performing in Canberra over two nights. Stay tuned for start times and cost of entry.

WHO: MATT OTTIGNON’S TOUGH TENORS WHAT: JAZZ WHEN: WED NOV 2 WHERE: THE GODS CAFÉ & BAR

Who likes a bit of smooth jazz, baby? If you want to hear the jazzman testifyin’, then you’re in luck: Matt Ottignon’s Tough Tenors will be performing at The Gods Café & Bar in the ANU Arts Centre. With Chris O’Dea and Matt Ottignon on tenor sax, Tom Botting on bass, Andrew Scott on piano and Tim Geldens on drums, it’s almost certain that you’ll get the spirit of jazz inside you. There’ll even be a light meal at 6pm before the music starts at 7:30pm. Bookings are essentials however, as seating is limited, so book early by emailing thegodscafe@gmail.com. Tickets are $22 or $15 for concession.

WHO: CHRIS CAIN WHAT: TOUR WHEN: FRI NOV 4 WHERE: HARMONIE GERMAN CLUB

Jazz. Blues. You Bleeding Gums Murphys out there know that these are the only two words that matter. Now meet American blues legend Chris Cain: his jazz-tinged, blues soaked guitar and deep, warm vocals have the maturity and authenticity of bluesmen many years his senior. His expressive style is the result of a lifetime of study and the relentless pursuit of music mastery. His passion and intensity are a blend of his mother’s Greek ancestry and his father’s soulful black heritage. Tickets for his upcoming gig are selling for $39.95 + bf via harmonieclub.com.au. Starts at 8pm.

WHO: MENISCUS WHAT: ALBUM TOUR WHEN: SAT NOV 19 WHERE: ANU BAR

Cinematic ambient rock group Meniscus have announced they will release their second album Refractions on Friday October 21 and follow up with a headline tour. Refractions is the band’s first new material since their single ‘DBT’ in 2014 and features an epic groove-laden soundscape crafted brilliantly by the Sydney act over five years of writing and jamming. Their ANU Bar show will feature extensive visual projections, as well as support from Escape Syndrome, Local Horror & Knights of the Spatchcock. Tickets are $15 + bf via Moshtix. Starts at 8pm.

WHO: PJ MICHAEL & THE BANDITAS WHAT: EP LAUNCH WHEN: SAT NOV 26 WHERE: TRANSIT BAR

PJ Michael & The Banditas are Canberra-based troubadours, whose music lies at the crossroads of alt-country and blues. The five-piece (PJ, Liz Boylan, Aino Suomi, Luke Brown and Grahame Thompson) bring with them rich harmonies, a shiny resonator guitar, a weeping violin, rolling rhythms and importantly, an ear for a good story. To celebrate the launch of their debut EP All Night Long, PJ Michael & The Banditas will be throwing a party that lasts for about that long. There’ll be support from LAVERS plus another special guest. Entry is $5 before 9pm.

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TRANSIT BAR

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TRIALS+ TRIBULATIONS

Photo by Cybele Malinowski

SAMUEL TOWNSEND October will mark the much-anticipated and emotionally charged return to the stage for THE JEZABELS, as Synthia is finally released beyond the confines of digital downloads and radio airtime. News surrounding the cancellation of their national tour broke earlier this year, following confirmation that keyboardist Heather Shannon would undergo treatment for ovarian cancer; a battle that was kept private until the band’s official statement generated an outpouring of love and support from fans the world over. I chat with the band’s frontwoman, Hayley Mary, on the morning of their first rehearsal. “It’s been so long since we’ve toured … can we still play? [laughs]”

As questions of new and old are pondered, the future is where fans are gazing. Where to next? “We have thoughts on what to do, but because of Heather’s health situation we kind of can’t plan anything too far ahead. We always have to wait on the scans … make sure the doctors give the ‘go-ahead’.” Mary, on more than one occasion during our interview, indicates that nothing is certain when it comes to the future of The Jezabels. “There are no promises that we’ll do any more touring [than what’s already booked], so I would say, if you’re considering coming to a Jezabels show on this tour, you should! Because as we’ve learnt this year, you can’t take anything for granted!”

Unlike the drama and poetry which often veils the music of The Jezabels, Mary riffs light-heartedly about the myriad emotions she and her band members are facing. “I get a bit emotional. Sometimes I just cry on stage, for almost no reason, so this could be terrible! This could actually be disastrous,” she laughs. The band, who are known for their electric live performances, are grateful to hit the road again with this album, which has been described as their best work yet. Mary says they’re excited and nervous about reuniting with fans in this context, “Partly, obviously, because of all the trials and tribulations, but also because the album is kind of symbolically important to the band as well. And to not be able to tour it, and then finally able to tour it, umm … that excites me.”

With an extensive tour of North America winding up in December, the band return to Australia to welcome in the New Year with a string of summer festival dates in January, before disbanding to work on various projects. “We’re all doing other side projects at the moment and expanding our interests, so we’re all going to be making music still. There’s no talk of a new album as yet, but … you never know!” Synthia presented itself to the band as a surprise, so fans can remain hopeful that another album may be lying dormant and waiting for the right moment. And what about those side projects? “It’s all very secretive at the moment, but the one that I am doing is ideologically driven and it’s got a very strong message behind it and you’ll be hearing about it soon.” Mary chooses her words carefully as she elusively offers up morsels of information. “I met up with some producers from London and we’ve decided to create a movement via our music,” she laughs. “All I can say is that it’s about the future!” Pushing my luck, I ponder the output of this suggested project. “It’s audio, visual – it’s everything!”

There are no promises that we’ll do any more touring

As the band busy themselves with the transition from studio to stage, I wonder what can be expected in concert halls across Australia this spring. “I’ve done a couple of interviews this morning and people have asked, ‘how are you going to recreate the show?’ and that is always the hardest part,” she says. “I always prefer it to be an evolution, or like a different experience that makes people want to actually come, because otherwise you can just listen to the album.” The album, which has received much airplay with tracks ‘My Love Is My Disease’ and ‘Come Alive’, again unfolds in signature cinematic soundscapes, now synonymous with the band. Ideas running adjacent to intimacy, sexuality and identity are fleshed out in brave and poetic storytelling. Are there any favourites that Hayley Mary is itching to bust out on this tour? “I think ‘Pleasure Drive’ is going to be fun.” She pauses for reflection. “Actually, you know what’s a fun one? ‘If You Want Me!’ That’s really fun.” Mary concludes that the band have been looking at this tour through the lens of reconnecting with audiences, suggesting that some old favourites might get a look-in too. “I’ve actually really gotten into ‘Look of Love’, which is an old one. It’s weird because I always struggled with that one when it was new … I guess it’s funny, when you get new songs, the old songs seem easy.”

As Synthia was released to the world back in February, Hayley Mary spoke fervently about a positive shift she could sense globally; an excitement surrounding attitudes and direction. As our interview comes to a close I am curious, after the tumultuous year that played out, if she has managed to maintain her enthusiasm. “I do feel like there is a massive shift, yeah. I am still excited, but I think … it’s all about perspective, and it’s a constant battle for optimism. That’s what this new project is about … reminding people that you have a responsibility, now, to shape the future. It could become dystopian very easily, or utopian depending on what we do now.” The Jezabels play at ANU Bar on Friday October 21. Support from Ali Barter. The show is 18+. For tickets and information, visit Moshtix.

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THE RIGGS ROLL IN JARROD MCGRATH There are a lot of musical influences and comparisons surrounding THE DELTA RIGGS. What’s great is that the group don’t mind these comparisons. In fact, they actually embrace it. As Michael “Monte” Tramonte, the group’s bass player explains to me, the band are “music lovers” foremost, and he sounded excited to simply discuss his favourite artists with me. Their latest album Active Galactic has more of a disco funk vibe than previous albums, yet it still draws comparisons to The Rolling Stones (as their previous albums did, but more from a rock perspective). I was a little nervous to ask about this comparison but Monte took this as a complement and continued to explain that the group were “basically a Stones cover band without covering their songs.” I was also curious if this new sound on some songs had been a conscious decision in their songwriting. Monte explained how songs like ‘Surgery of Love’ came about when fellow band members Elliot and Rudy were “in LA writing songs for other people.” When they played these songs for producer Jason Hollis, he told the guys, “you’re crazy if you give these songs away,” and instead advised them that this was the start of “the next Delta Riggs album.” The album is a nice progression from their previous efforts, as it still has a rock foundation with solid songwriting, but with a layer of maturity in the form of disco experimentation. Monte agreed, explaining that they did “focus on lyrics more this time.” Interestingly, he described their previous lyrics as a bit “silly”, stating that with Active Galactic they decided that they “can still be silly but in a more serious way.”

We’ve been music fans for a long time and we know our shit

What comes through in The Delta Riggs’ music and attitude, is that they genuinely love music and enjoy exploring a variety of styles and artists. When asked about his favourites, Monte exclaimed that he hates and loves that question and went on to list Primal Scream, The Clash, Fleetwood Mac, The Replacements, Jesus and Mary Chain, Oasis and The Strokes. “But like, that’ll all change tomorrow.” Having only played Canberra once before, it is interesting that, with their new, dancier tunes, they will be playing Academy this time. Monte advised that there was “no correlation” between the new music and the venue, and that he had never been there before. When I explained that it is predominantly known as a dance nightclub, he responded, “that’s kinda cool.” With the band members living in both Sydney and Melbourne, it’s natural for them to “get excited to see each other,” and this comes off in their live shows. When asked if the new disco songs had changed their live show, his response was, “no, we are still as loose as fuck.” Catch The Delta Riggs at Academy on Wednesday October 19. Tickets are available through Moshtix at $20 plus $3.50 booking fee.

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LOCALITY

We’re pretty gig-dense this month, so no time for dallying.

Art Underground mark their 25th outing at Beyond Q on Friday October 14. From 7:30pm, there’ll be an open mic full of wonderful Canberran talent, with a feature spot from spooky cabaret darlings The Blue Angel and Dr Wiedermann. Entry is free, but I can’t guarantee that you won’t come away from it without an armful of beautiful books as a memento of your evening. There are a bunch of incredible Bootleg Sessions at The Phoenix over the next few weeks. On Monday October 10, you can catch Dana Hassall, Jimmy and the Ginger, Zackerbilks, Milf Camp, and

Triumverate, thanks to the Canberra Musicians Club. On Monday October 24, 2XX’s LocalnLive present a Bootlegs lineup including Orbis Tertius, Local Horror, Terrible People, and Pat McKinney. CIT present the Bootlegs on Monday October 31, and they’ve picked Naked Scientist, Bleach It Clean, and Betty Alto for their night out. All of these evenings start at 8pm, and entry is free, though you’ll look like a bit of a jerk if you don’t chuck some cash when the hat goes round. She-Riff has its third instalment on Thursday October 20 from 8pm at Transit Bar, showcasing some of the ACT’s top female musicians. The line-up consists of Georgia Bennett, Wandering Ghosts, Betty Alto, and Second Sun and entry is a measly $5. If you think the way Australia’s government treats refugees stinks, head to the Polish Club on Friday October 21 for Amps Not Camps! Presented by ANU RAC and featuring sets from Wet Dream, Rumblr, Azim Zain and His Lovely Bones, and Moaning Lisa, the night will be raising money for ACT Migrant and Refugee Settlement Services to support their work helping newcomers adjust and thrive in Australia. The show starts at 8pm and entry is $10. Smith’s Alternative has a bunch of local joy over the next few weeks. Singer Songwriters Solo returns on Friday October 14 from 9:30pm, with sets from Alice Cottee, Bernie Slater, Jim Sharrock (of Dr Stovepipe and Dubba Rikki) and Sydney’s Fleur Wiber, all for $15. On Saturday October 15 from 9:30pm, $15 will get you in to see East Row Rabble launch their new single, ‘Aliens In My Brain’. Fans of alt country, blues and roots should definitely be there on Thursday October 13, when Dreamers and Fools perform tunes from their substantial back catalogue with Tom Woodward as support from 9:30pm. Entry is $15. For some more experimental tunes, check out Soundscapes #5 at 9:30pm on Thursday November 3, featuring Telephones For Eyes, Guyy, and Teem. Entry is $10. The Day of the Dead Fiesta returns on Saturday November 5 from 3pm. It’s a day full of Afro-Latin tunes from the likes of Los Chavos, Brass Knuckle Brass Band, Zambezi Sounds, Raio de Sol, and Melbourne’s ClaveManía and Mandacuru. There’ll be a huge festival atmosphere with dance and circus across the day, before the limited entry gig in the evening. There are a range of ticket options, topping at $30 for an adult full-event ticket, so look for the event on Facebook for full details and to book. NONI DOLL NONIJDOLL@GMAIL.COM @NONIDOLL

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A ZEN STATE OF MIND SCOTT BATUM In August 2015, no one had even heard of the YOUNG MONKS. The Canberra funk-pop four-piece blew on to the scene in September last year, with their bumpin’ track ‘Jarmin’ in the Dark’, and after a handful of shows in the nation’s capital (including a packed out Phoenix Bar single launch), they disappeared just as quickly. But the Monks are back with a new song, ‘Bad Bad Freddy’, and they’re ready to get spooky. I joined the Monks during the filming of the music video for ‘Bad Bad Freddy’ and it became abundantly clear that they are, above all else, a D.I.Y. band. After a failed trip out to Namadgi National Park that was hindered by mechanical troubles, the band landed at Escape Rooms out in Philip. A far-cry from the serene nature setting that was to be their new video, the creepy décor seemed almost too perfect. “The new song has a range of vibes to it. It’s got the spook and it’s got the funk,” explains multi-instrumentalist Stevie Reinhart. As newcomers to the music scene, the band understands that without help from the Canberra community, they wouldn’t be where they are. “We’ve put a lot of work and a lot of creative energy into creating this video clip,” explains singer Matt Santos. “From the sets that we’re using, and the people we’re connecting with … We have a community around us that can support us and help us achieve a creative goal. I think that’s really important for us at this point.” It’s not just their visuals that have a D.I.Y. feel, it’s their music too. ‘Bad Bad Freddy’ was entirely written and recorded in a living room, evolving a great deal along the way. “It’s off the cuff. We don’t really think about it a lot … We don’t intend to make it a certain way,” said Reinhart. “This song in particular has come a long way. It’s changed so much,” bassist Tom Caldwell added.

ELK & PEA

We have a community around us that can support us and help us achieve a creative goal

Shrugging off the standard processes of the music industry, the band is looking toward the future of music distribution. When asked if there are any plans to release a fully-fledged album or EP, their response was ambiguous. “We almost feel like releasing an album at this point in time would be a waste of energy. If we can release singles and catch people on the way, we’d build on a platform rather than releasing an album and being done with it,” explains guitarist Sam Koster. Young Monks have a busy few months ahead. They’ve been announced for Spilt Milk and they are trucking down to Melbourne in October to play with Ocean Alley. In the meantime, they have plans to put on some shows in Canberra, and the launch of ‘Bad Bad Freddy’ is imminent. Keep your eyes peeled. This band is going places. Young Monks have been added to the Spilt Milk bill, which is taking place on Saturday December 3 at Commonwealth Park. Tickets have sold out, but stay tuned for more gigs are Canberra in the coming months.

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GURGE INCHURGE CHURGE GURGE CHURGE GURGEAND AND IN

KEREN NICHOLSON We’ve been along the genre-defying REGURGITATOR ride for more than 20 years now. They have kept us keen, manifesting themselves in different ways musically and visually. And in 2016, they’re coming to the dining halls of UC to salute the natural order of things: human distribution, movement and migration. I caught up with Ben Ely, musical multi-tasker, while he was hanging with his family during school holidays in Brisbane.

Local feminist punk band Glitoris are supporting Regurgitator in Canberra this time around; the boys are notorious for their eyeopening support acts. Remember Disaster Radio? How do they choose their support?

“We just try and find people that we think will suit us. The best shows we have had: one was a twelve-piece Greek bazooka band, the audience was really confused,” he recalls. “It’s nice to challenge people’s ideas about performance. Our manager has really great taste. He books music for the NGV a on g and has got his finger on the pulse rkin wo n bee I’ve to nice sounds. We also have Burnt e On … um alb k pun s’ kid Sausages on this tour in Melbourne. song, ‘Pull Your Pants Up They all dress as sausages and sing Mr Butt’, I wrote it with sauce songs. They will make you feel a bit lighter – like a calm rainbow in a my daughters. sea of dolphins,” Ben assures me.

After their 2013 release Dirty Pop Fantasy, the Gurg announced a hiatus, but Ben has kept himself weirdly busy since then. “I’ve been doing a lot of different things. I created a minimalist solo album – Goodbye Machine. I’ve always wanted to do that,” he says. “I got married. My wife is a contemporary dancer, so I’ve been making music for contemporary dance. I’ve done some live performance composing, which has been nice. The hours aren’t as crazy. I did an endurance guitar improvisation on the beach with dancers in the ocean. I’ve just been jamming too, but with live performers. And I recorded an Ouch My Face record with Milk! Records.”

Ben has continually found himself engaged in unusual creative endeavours – he can’t help it. “I’m just up for anything; I usually say yes. I enjoy it, it keeps me on my toes. I get inspired and challenged in different ways. If you need to play the electric guitar and make it sound like the ocean, it helps your guitar-playing and songwriting. “I’ve been working on a kids’ punk album. But it’s a bit naughty – it’s hard to know which songs to include. One song, ‘Pull Your Pants Up Mr Butt’, I wrote it with my daughters. Sounds kind of like ‘Jump Around’.” Last year, the Gurg wound up at the National Gallery of Victoria (NGV) performing a one-off show of their version of The Velvet Underground & Nico, and announced they were again open for business with their quick metro Cheap Imitations tour. But why this tour? “We’re making sure we keep ourselves out there. We will release records next year. It’s to remind people that we’re still around and to get back on form,” Ben says.

Never lacking an original outfit, I need to know where they sourced their suits from, and it turns out, Ben designs them! “Have you seen Shaolin Soccer?” Ben asks. I haven’t. “I was watching The Mermaid with my wife and she said, ‘You seem to get all of your costume ideas from this director’. She is talking about Stephen Chow. He makes feel-good movies, but super bizarro. The Mermaid is the biggest movie in China. My wife is Taiwanese and my kids are obsessed with Asian culture.” A portion of ticket sales for these shows on the Human Distribution tour will go towards the Melbourne camp of the Asylum Seeker Resource Centre. Ben and I discussed our shared disbelief of the circumstances so many refugees have found themselves at the hands of our Australian government. “Manus Island is a nightmare,” Ben says. “We wanted to help out. It’s distressing, like prison camps.” “We are looking forward to Canberra and touring, it’s like being with family,” Ben tells me. “It’s like getting together for Christmas dinner but without the fighting. There is less fighting now. We don’t see each other as often so it’s a treat. We appreciate what we have with the fans. We value it more because we have been together for so long. There’s more gratitude now.” Regurgitator will hit the UC Refectory on Saturday October 22, supported by Jeremy Neale and Glitoris. Tickets are available through Oztix.

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UNIVERSAL AND PERSONAL RORY MCCARTNEY Alt-country and indie-folk artist JULIA JACKLIN originally hailed from the Blue Mountains, then sang pop covers in a high school group before joining her friend Liz Hughes in a band that peddled Appalachian folk style material. They used various handles including Little Beard, Salta, and then Video Set. Now touring internationally in her own right, she contacted BMA while on the road in Philadelphia, talking about her early career and new debut LP. Liz Hughes was a big influence on Jacklin and her stagecraft. “She asked me to join her band when I was around 20 and over the next few years we learnt and grew together as musicians. We learnt all the basics together, sound checking, gear, what not to say on I played the right stage. She’s incredibly shows to the right ambitious and talented people and was and hardworking and pretty lucky is an incredible ally to have in this industry.”

Things have moved fast for Jacklin, touring the world with just one freshly released album. Supported by her international team, she found her SXSW appearance to be a game changer. “I played the right shows to the right people and was pretty lucky.” Jacklin has always been conscious of time passing and her desire to achieve. Asked if she was happy with progress she said, “Right now I’m absolutely satisfied with where I am musically. I’m too tired at this stage to over-analyse anything! I’ve always wanted to tour and make a record so right now I’m feeling good and where I should be.” Her debut LP Don’t Let The Kids Win fell into place for her. “I was just writing the songs over a year or so, with no real intention of making an album,” she says. “I just realised once I had enough, that I could make one. The longest thing has been the waiting for it to come out and all the steps I’ve taken since recording to make sure that people will actually hear it.” Asked about its lyrical themes, Jacklin explains, “The lyrics are personal, but they’re also pretty universal. It’s just a list of all the things I’ve realised are important to me over the last few years, which it turns out are the things that most people think are the most important. Family, friends and not being an asshole to the people you love.” As to her favourite track, that depends when you ask her. “Today it would be ‘Motherland’. I just feel a new connection to that song.” There’s a charming simplicity to Jacklin’s videos, which she designs herself. “I’ve collaborated on both with Sam Brumby; a very talented man based in the Sydney area. That’s one of the most fun things to do with music, add visuals to it and prance around in random locations. I hope to continue doing that for a few more songs off the record.” Julia Jacklin, with supports to be announced, plays at Transit Bar on Thursday December 1. Tickets are $15 + bf available through Moshtix.

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THE REALNESS Ohhhhh damn. I gone and done it this time! It’s about 12:45am literally two days before this episode goes to print and I gotta go through and find all the stuff for you folks to get up, get funky and get loose to this month. If only these columns came around on some sort of recurrent monthly basis, I’d have been able to plan my life out and maybe, just maybe, I wouldn’t be in this situation… First up this month we got the Transit Bar once again coming through with the goods on Friday October 14, putting on another round of Illsworth’s, which is always a solid night of hip-hop. For a total of zero dollars, you can catch a whole host of local talent, i.e. Lash, Jedbrii, Silicon Slave, Filfy Finn, KeegZ and DJ Ill.Gato. Also FB reckons that it’ll ‘probably’ be hosted by Jimmy Pike, so if that’s not ambiguous/mysterious enough to grab you, I just don’t know what will. The Phoenix is doing its bit as well, having another crack at cornering that lucrative CBR sample-head/producer market with Stacks of Wax II: Funk and Soul Sessions on the Saturday October 22. I’m not out here trying to plan your social calendar but if you got nothing else on that night, why not head down for a session and bathe in the ambient crackle of some funky and, evidently, soulful vinyl? Go on … Do the right thing. Following on from the release of the titular single a few months back, as promised D’Opus & Roshambo have returned with the proper, in person, release of Mayday on Friday October 28 at Transit Bar. Suavess will be swinging through, Jedbrii and Lash are both gonna be here and Faux Real & Chemi-Cal will be flexing on the one’s and two’s. Also, peep game on the surprise guests! Come and celebrate the return of some of CBR’s favourite sons for the low, low price of $10, which is an insanely reasonable dollar figure to catch a line-up that stacked. Finally, this month we have the return of the Thundamentals to the UC Refectory on Saturday October 29. Jeswon and Tuka are channelling Bieber pretty effectively with new single ‘Never say Never’, and the hot tip is that there’s gonna be heaps more new stuff ready to go on stage, so if you’re a fan you really don’t wanna miss this. With PEZ and Mallrat on support, this one’s shaping up to be a doozy and I’d be failing myself and you, my one-and-a-half readers, if I didn’t use this platform to advise you to get along. Tickets are available online now through the Thundamentals website for about $30. BRADY MCMULLEN realness.bma@gmail.com

WE GETCHA MOLLY MCLAUGHLIN HORRORSHOW have been pretty quiet lately, but now they’re back at it and more confident than ever. The duo, made up of MC Solo and DJ Adit, dropped a single called If You Know What I Mean earlier this month, and they’re hitting the road in October with new songs and new energy. If You Know What I Mean is a tongue in cheek ode to hiphop arrogance, a trait that doesn’t necessarily come naturally to rapper Solo. “I don’t think anyone expects me to be arrogant. In fact, they kind of expect the opposite at this point,” he laughs. “But I think it’s important to be able to allow yourself to feel good about who you are and your skills and achievements. I’ve always loved how hip-hop does that for people, it gives them songs they can sing along to and that make them feel good about themselves.” As always, Horrorshow fans are anxiously anticipating new music and Solo reports that an album is definitely on the way. “I think we’ve been a bit more open to trying new things and we’ve been workshopping and jamming ideas with close friends which has brought some fresh ideas to the table,” he says. “This latest batch of songs is influenced by the One Day Sundays parties we’ve been running with the rest of the crew, seeing up close what kind of songs work on a dancefloor and trying to better incorporate that vibe into the thoughtful or introspective kind of songs we make.” Horrorshow will also be bringing their newly signed Elefant Tracks labelmate B Wise along on the tour, who has just released his debut EP Semi Pro and is making waves in the local scene. “We’re really excited about his music,” Solo says. “He brings a fresh aesthetic to the landscape here and he writes heartfelt songs and is very passionate about what he’s doing. He’s also a really dope performer who knows how to command a crowd.”

It’s important to allow yourself to feel good about who you are and your skills and achievements

Solo also teased a second support act that should be familiar to local hiphop fans. “I can’t let too much out of the bag just yet but another act will be on the tour who travels the world repping Canberra – or should I say Queanbeyan,” he teases. With the show at Transit Bar already sold out, along with the Melbourne and Sydney dates, Solo is looking forward to playing one of the more intimate spaces of the tour in Canberra. “People can expect a party,” he says. “Hopefully one that moves you and makes you think, but ultimately an experience where you can have fun and connect with us and the other people around you in the room. Horrorshow will drop by Transit Bar on Wednesday October 12, supported by B Wise. Tickets are sold out.

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DANCE THE DROP

Music pretty much always sounds best outdoors, and there’s nothing better than making shapes on the dancefloor with the sun shining down and the bass reverberating through the trees, surrounded by your closest mates. Add in a heap of markets, workshops, a cinema, and installation artworks, and you’re set for a damn good long weekend of adventure. If I’m able to be a little indulgent in my column this month (and it’s my column, so why not), I’d like to put in a plug for Dragon Dreaming Festival, which takes place on the banks of Lake Burrinjuck near Wee Jasper (two hours from Canberra) from Friday October 21 to Monday October 24. While the festival has aspects such as its diverse line-up of many musical styles across three stages, a seriously high quality of decor and stage production, and the picturesque location, it’s the people behind the event who make it so special. This festival has heart and soul – and you can sense the hard work that goes into every small detail. Musically, there’s lots going on from the big psytrance and progressive acts, the techno and drum & bass, the various live bands, electroswing, dub, house or hip-hop. On top of that, you’ve got workshops and lectures on music, art, yoga, environmentalism, and I’m sure a bunch of topics that defy description.

DEPARTMENT OF LATE NIGHTS

Dragon is one of my favourite festivals of all time, and a definite highlight for me in the festival calendar. If you’ve never been, or have been and still haven’t bought your ticket for this year – I strongly suggest that you do! I’ll be also spinning some tunes there, and am pretty excited about that, too (there’s the self-indulgent part). If trap and bass music is your thing, you’ll want to catch Spenda C and Ian Munro who will be dropping some beats at Academy on Friday October 14, along with Menttis, Yen Sid and Leuky in support. If you prefer more of a hip-hop infused, lush electronic music style (often called the ‘Australian Sound’), check out Basenji (the dude’s tunes are popular on triple J and BBC Radio 1) who’ll be performing a DJ set at Mr Wolf, along with Nay Nay, Mia, and Ryan Fennis in support. Braddon is certainly the place to be on Saturday October 29 in Canberra, with the Braddon Block Party. Lonsdale and Eloura Streets will be host to a number of events throughout the day including popups, markets, street races, a float parade, live acts and of course dance music and DJs, as part of a street party that will go late into the night. If you’re still keen to party on, Mr Wolf has a Halloween Rave with Skinny, Nay Nay and Double Agent on the decks. There’ll be prizes for best dressed as well! The following weekend has some drum & bass action at Digress with Neonlight, Lockjaw, Transforma and Doctor Werewolf on Saturday November 5 – this will be huge I reckon, and I’m sad I’ll miss it (I’ll be seeing the Vengaboys in Sydney, don’t judge me!). PETER ‘KAZUKI’ O’ROURKE contact@kazuki.com.au

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METALISE AD SPACE

Kicking of October with well wishes to Witchskull who are off to New York to record their sophomore album with arguably doom metal’s best-known producer/engineer Billy Anderson. The band tore the Transit Bar a new one alongside Monoceros and San Francisco’s Acid King at the recent Doomsday Fest and were in absolutely vital form rolling out a couple of new tracks, including set opener ‘Raven’. If this is the standard for the rest of the record, it is looking like another leap forward for the band, who have generated a tonne of buzz off the strength of their debut album. All the best, lads. Destroyer 666 took the goat by the horns and moved to Europe in the early 2000’s and have since forged an uncompromising legacy with the release of a new album this year entitled, Wildfire. The band have been very busy touring the northern hemisphere and we’re lucky to not only get a return home tour but a show at The Basement on Sunday November 6. I managed to get onto the promoter to get the supports, which haven’t been widely advertised yet; the shows features supports from Denouncement Pyre, Black Mountain and Wretch, which makes this show easy to justify a Sunday night beverage or two and raise the horns to one of Australia’s most successful exports. Superheist don’t wanna call it a comeback, but come back they have with a new line-up and a new album recorded at the much vaunted NRG Studios in Los Angeles, California over the winter months. They teased a track ‘Hands Up High’ in September, and then debuted the first single ‘Fearing Nothing’ on the 7th of October from their forthcoming album, Ghosts of the Social Dead, which is due out later in October. They’re embarking on a full tilt national tour and they’re headlining Metal Fiesta 11 at the Basement on Friday October 28 with national tour buddies and fellow long-time nu metal types, Wollongong’s Segression. Also along for the big show are Envenomed, Na Maza, Imperilment, Inhuman Remnants, Acid Hymph, Horrorwood Mannequins, Beast Impalor, Hallucinatorium and some burlesque action from Kaiya of The Velvet Vixens. On Saturday October 15, The Basement is hosting a national initiative all across Australia promoting Australian heavy music with shows all over the place. Our leg features great talents From Hells Heart, Flaming Wreackage, Fatigue, Lord Ragnar and Mytile Vey Lorth. There’s a lot of sponsorship and a huge amount of effort behind the enterprise, so get along and show some support for local produce. The Wounded Pig show I mentioned last issue in relation to the excellent Blight Worms in support with Wretch is on Thursday October 27 at The Basement too. Big night at the Transit Bar on Friday November 11, with I Exist playing their last show for a while in Canberra with Sydney’s Lord Sword, Wretch and Disavow. That should help warm things up for summer. Also a heads up for Wednesday November 30 with the 16-piece progressive stylings and difficult to spell Ne Obliviscaris embarking on a national tour and dropping by The Basement with German outfit The Ocean and Jack the Stripper in tow. JOSH NIXON doomtildeath@hotmail.com

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THE

FIGHT BACK

CARRIE GIBSON The return of one of Australia’s earliest heavy metal bands; SUPERHEIST has caused a flurry within the national music scene – and as we started to unwind the details of what prompted the return – they were almost identical reasons to what prompted the departure, explains DW Norton. “Boredom,” he laughs. “Life’s just not the same without music.” As for the departure… “Boredom, frustration. Had to give it a rest. Life kinda sucked in the turmoil we found ourselves in back then. Too much time being broke and hating on each other because we were broke and frustrated and hating each other.” Don’t call it a comeback, well what should we be calling this tour? “Well this is clearly an ironic title – but here are some other options ‘Superheist Mark II’ or ‘Hope you like our new direction?’ or ‘Nu-Heist, Heist Again’ [I like this one] … ‘Why the fuck is Superheist back?!’” Forming in 1993; when the Australian heavy metal scene was still making a name for itself, when nothing seemed like a struggle for Superheist and every ‘shitty gig’ was a bonus. Norton describes, “Every mile crammed in the van playing around the country was amazing. Other bands likes In:Extremis, Alchemist and Damaged were super helpful and supportive. The underground scene was strong. We didn’t have the internet or Facebook or any of that shit … We just had each other to spread the word.” Those are friendships the band have held onto almost 25 years later: “We’ll be catching up with a lot of those old faces on this tour.”

element – what can we expect to see during the Superheist set at Metal Fiesta? “Canberra is going to be the first to see Superheist live in 13 years, the first to see Benny and Ezekiel Ox in full flight and the first to hear material from the new album. Most of all, you’ll see a bunch of dudes stoked to be back doing what they love.” The news of the Superheist reunification has spread far and wide, including to longtime pals SEGRESSION. Having been great pals for the past twenty years, I also chatted with Sven Sellin about Segression’s initial reaction to the news. “It was super positive,” Sellin states. “We’ve played numerous shows with them from the late ‘90s to early ‘00s. We always have a great time sharing the stage with them and we are keen to catch up with the lads for these shows.” Segression recently played the New Dead Fest in Adelaide and are now scheduled to play Metal Fiesta in Canberra. What are your views on these mini festivals, which are Australian bands’ bread and butter for the small part? “Back in the day we always organised shows that had a diverse range of metal genres,” Sellin says. “We really enjoy the festivals, as we got to see many great Aussie acts on the same line-up. It gives the crowd a chance to see how diverse our scene is.”

Alongside Superheist, Segression have also been a staple in the Australian metal scene – what can you tell us about the longevity of Segression, and what keeps you going? “We just love what we do. Our passion, playing heavy music keeps us going. The line-up we have Canberra is going to now is by far the best we’ve ever had. be the first to see We’ve never felt so comfortable on Superheist live in stage. As long as we are still having fun, we’ll continue to write and record 13 years new material.”

How was the metal landscape at this time and how has it changed for the band personally over the years? “It’s been quite confronting coming back after a 13-year break and seeing how the internet now rules the music industry and the world,” Norton says. “When we first started, CDs had only just become the main format and our first release was on cassette! iTunes and iPhones weren’t even thought of and now that’s where it’s all at. Facebook is the window to the fans and everything seems to happen in front of a computer screen. It’s a different world from when we first started, that’s for sure. Is it better? In some ways it is … but I think I preferred the way it was.”

Soon to release the band’s fourth album (the first in 13 years) how can you describe the fresh sound of Superheist with the addition of new drummer Benny Clark and vocalist Ezekiel Ox? What have their additions contributed to the band so far? “The sound has broadened considerably and the songs are better than ever. It still holds true to the traditional Heist sound but definitely explores new territory. Ox and Benny bring a fresh vibe and elevated skill. With the new members I think the strengths of the band are yet to be realised, but the hunger to succeed is as strong as ever.” A new sense of revelation has been captured in Superheist’s latest album, which has given Norton a new lease on ‘rock’ life. “I was pretty jaded after eleven years in Superheist. We came pretty close to realising our dreams, but fell agonisingly short. It took years to get over the disappointment. Deep down, I think Drew and I knew it was time for a fresh start and I couldn’t be happier with the new line-up.” For the crowds who haven’t had the pleasure to see the band in their

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The latest album from the band, Painted in Blood was inspired by the blood painter Rev Mayers. Take us through this muse for the project. “Chris has been close friends with Rev for many years. And when I wrote the music for the song, Chris immediately had an idea based on Revs artwork,” he explains. “Chris spoke to Rev and discussed a blood art album cover concept, with the title track inspired by his work. It just snowballed from there. We filmed a video clip for the title track where Rev is actually using someone’s blood to paint the album cover. Rev was super excited to be involved. The final product is exactly what we envisioned.” When it comes to writing an album for Segression, Sellin says that there are no set formulas and this allows the songs to evolve along the way. “We’ve been doing this for so long now that we simply don’t think about it too much.” Accompanying Superheist on their slot in Canberra, Segression will see the best line-up the band has ever had, affirms Sellin: “The band has never been as tight and crushing as we are now. We have always been an energetic band, and we will continue to be so as long as we play live shows.” See Superheist and Segression play at Metal Fiesta 11 at the Basement. It’s on Friday October 28 at 7pm. For the full 10-band line-up and to purchase tickets, visit Moshtix.

In the mid ‘80s, it seemed like there was a really vibrant scene in Australia

ship. Sure, Nevermind may have helped financially a few months later, but Mudhoney – whose ‘Touch Me I’m Sick’ single is still just as vital near three decades on – is representative of the label’s roots and ethos more than any other.

GREAT DOWN HERE JUSTIN HOOK When iconic US record label Sub Pop was on the brink of collapse in 1991 just as grunge was breaking big, Mudhoney’s album Every Good Boy Deserves Fudge is now heralded as the album that righted the

Of course Mudhoney left Sub Pop the year that punk broke™, but Mark Arm and Steve Turner started the on-again-offagain ‘60s indebted garage psych rock side project called THE MONKEYWRENCH on the label their main band just left. Their debut album (Cold As A Broke Dick Dog) was a cold shot of weird, rough funk in an era of chugging dropped-D tunings. Electric Children, the follow up some nine years later, is an intimidating, unknown gem. Next month, The Monkeywrench will tour Australia for the first time ever. It was an unusual announcement, because it came out of nowhere. Turns out we have a cancelled All Tomorrow’s Parties festival to thank for that. “The whole festival collapsed. We could see it coming from a mile away. It moved from Wales to Manchester. It was an impossible task.” “But we’d put so much work into it, it’d be a shame to let it go to waste. Then Tim (Kerr) said – have you ever been to Australia before? And Martin (Bland – ex Lubricated Goat), who’s from Adelaide originally, hadn’t played there for 20 years and wanted to go back before he died.” Though it’s something that is often overlooked in the annals of local music history, a particular strand of Australian music of the ‘80s heavily influenced Arm and many of his Seattle peers. “In the mid ‘80s, from our vantage point at least, it seemed like there was a really vibrant scene in Australia. The Scientists, Cosmic Psychos, Beasts of Bourbon and all the weird stuff that was on Black Eye Records. We read all the reviews in (US underground music magazine) Forced Exposure and it all just seemed really cool.” This year marks the 25th anniversary of the year that Seattle’s music scene exploded. Some argue it changed the music business forever. Others cringe at the memory of flannel. Either way, Arm was right in the middle of it all. If you’ve seen the Mudhoney doco I’m Now: The Story of Mudhoney, you’d know full well his thoughts on that era, but it’s hard to resist the question. “The only time I think about it is when I get asked questions about it. It wasn’t glory days or the best time of my life. I was fucked up and meandering. I had no sense on how to live life. Things are much, much better now. And cool. And fun.” The Monkeywrench play at The Basement on Thursday November 24 at 7:30pm. Ticket are $24 + bf, available from Oztix.

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MORRISSEY

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Ever since the anti-discos and Rock Against Boredom gigs of the late ‘70s, punk has been a vibrant and important scene in Canberra. For decades, it’s been the angry, loud, creative outlet for people of the nation’s capital, cramming into hot, sticky bars after work on a Friday night. In the last few decades, not much has changed, and as always Canberra has some absolutely cracking gigs coming up. We start the month off with The Stiffys – the Melbourne art rock duo who offer sick beatz, distorted guitars, serious vocal chops and some interesting costume choices … You can catch them on Thursday October 6 at The Phoenix, and you definitely should. Next up, we have The Hard Aches who are hitting up Canberra on their I Freak Out EP launch tour. Their new single, ‘Glad That You’re Gone’ is some beautifully melodic punk rawk, with a casual, almost careless vocal style, paired with grungy guitar riffs that create a catchy and potent sound. They’ll be accompanied by FOLEY! – a punk/garage/pop group with a fast and dirty sound; Azim Zain and His Lovely Bones – a Canberra/Sydney based folk/punk outfit with infectious melodies; and Green Bricks – Canberra-based punk rockers with positively dulcet tones. They’ll all be at Transit Bar on Saturday October 15. The week after on Saturday October 22, Transit Bar will also be hosting Sunhaus on their Bobby tour, following their mid-October EP release. Sunhaus are an alternative indie rock band from Brisbane with chill, summery vibes and gorgeous vocal harmonies – something you’d close your eyes and nod along to on a long car ride. Their track ‘Realignment’ is an absolute banger. They’ll be joined by Canberra’s own House of Strangers, who say they’ll “blow your mind with their sweet harmonies and tempt your body with their psychedelic groove.” I don’t really know what that entails, but it sounds good. Also making an appearance will be Moaning Lisa, Canberra locals (and a favourite of mine). They offer indie grunge reminiscent of the Pixies and Wolf Alice, and are fresh off the back of their National Campus Band Comp victory – so you should probably see them before they blow the fuck up. Alternatively, you can go see their Oktoberfest set at ANU Bar on Thursday October 13. Last for this issue – but certainly lot least – is I Exist. This local metal band is dirty, fast, heavy and loud. They have infectious rhythm and a dude who screams from the bottom of his gut, and it’s awesome. Joining them from Sydney are Lord Sword – hardcore sounds, fuzzy guitars, and distorted vocals. Also on the line up are WRETCH, a Canberra-based group of seasoned metalheads brought together by the love of grind and dirty minds. Also playing are Disavow, and I’ll be honest – I have no idea who the fuck Disavow are. But if they’re in a line-up with these guys, I’m expecting great things. See all these dudes on Friday November 11 at Transit Bar. So, hopefully these gigs will sedate you for the next month. Until next time, dudes. ELEANOR HORN e.trs.horn@gmail.com

OWNING YOUR PLACE HAYDEN FRITZLAFF It’s taken a long time for ALI BARTER to come from nowhere. After honing her craft in Melbourne’s open mic scene, she went into the studio to carve out a string of releases ranging from dream pop to grunge. I fired off some questions about her rise from bedroom songwriter to opener for some music’s biggest names. How much work went in to finding your groove before first recording your music? My sound is something I’ve discovered through recording. I have a wide appreciation of music, so when I started out I had infinite possibilities and artists I wanted to sound like. It took a lot of recording to narrow down what I actually wanted to sound like. In the end, I came back to my guitar and simple songs that I can sing alone, without a band. What led you towards that rawer sound on your latest singles?

Rock ‘n’ roll is meant to be about attitude and vibe

I wanted to record songs close to the form that I wrote them in, starting with my shitty guitar playing and then building around that. Rock ‘n’ roll is meant to be about attitude and vibe, things I have way more of than technical skill. I write to understand myself and the world around me. I find communication, managing people and relationships difficult in real life, so I tend to write out my frustrations, desires or remorse through music. I love a song that sums up exactly how you are feeling, I crave identification in a song and so I aim to do that with my writing. I listened to the Foo Fighters everyday of high school so it’s not surprising I use distorted guitars and a bit of screaming.

Your new single ‘Girlie Bits’ refers to the language used to shoehorn female musicians. Was there one moment of inspiration? It came together one day in a bungalow on a beach in Goa when I was feeling fat in my bathers but it’s definitely been brewing. I became aware of what my head was saying to me and started realising all the unhelpful things women hear on a daily basis, how that fucks with our heads. I’m aware enough now not to take narrow views or expectations on board, but it’s a hard thing to do. I think the more we identify the sexist way that women are received and expected to act/ look/behave, the less we’ll be shocked by these old ideas. You’ve supported some incredible acts lately. How is it interacting with the bands? It just depends how much time you get to spend together. The City Calm Down boys I knew from around Melbourne already, so it was natural to hang with them. The War On Drugs were awesome as well. They wanted to hang out, talk about music. They were very approachable, even if I was a little star-struck. Ali Barter is supporting The Jezabels at ANU Bar on Friday October 21. The show is 18+. For tickets and information, visit Moshtix.

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MORRISSEY

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VOICES IN THE FOREST

POWER, SEX AND MAGIC RORY MCCARTNEY

Photo by Tom Perry

Singer-songwriter ABBE MAY kicked off her musical trip with a variety of Perth-based bands, before striking out solo with multiple album releases that embraced genres from electronica to blues to rock, and featured a heavy sensual side. Things went all quiet after the 2013 release of LP Kiss My Apocalypse, when May entered a musical hiatus. Now she’s back touring with a new record in the works. BMA spoke to May about the hiatus and her upcoming release.

I like to promote the notion that a powerful woman is not a bad thing

May was very forthcoming in talking about the seizure and nervous breakdown that she recently suffered, and the anxiety that led to it. When asked if the return to recording and touring was very difficult she answered, “The return itself was not difficult because I’ve got a great team around me, and I’m really solid and strong myself.” Her band – co-writer and producer Matt Gio and her co-writer and brother Doug – all rallied around her. Her next LP Bitchcraft is almost locked-in, with only a couple of songs yet to finalise. “Just to really throw a musical U-turn, I’ve made a gospel, soul, electronica and blues record.” Asked if it was more difficult to make than previous albums, she said, “It’s different; I think this one has the best flow. I’ve never been so experienced or open to collaborating with others. I’ve stumbled upon an amazing producer in Matt Gio as we have a wonderful chemistry. It gives us a great marriage of creativity, so I can completely let go of the reins when I need to.” May also found it the most involved and emotionally taxing recording she has experienced. “Writing and recording is therapy for me. Where I’ve done eclectic records before, this is my most cohesive, with the songs in a uniform sense – vibe and genre wise – without killing the passion in them.” She knows it is the best record she has ever made.

As to the LP title May says, “While an outspoken woman may be called a bitch, I like to promote the notion that a powerful woman is not a bad thing. I think that strength and femininity in both men and women are really powerful,” she says. “I felt like incorporating a bit of magic and working with the divine feminine, as a kind of feminist manifesto, would be an interesting statement to make.” The precise title came from a book by astrologer Mystic Medusa, with May getting permission to use it for her album. On a record that deliberately examines politics and sexuality, May’s favourite song is ‘I’m Over You Standing Over Me’, inspired by a Q&A episode on domestic violence, where Van Badham was accused of being hysterical. Finally, May is making a call-out to anyone who wants to be involved in her next video (the concept of which is currently secret). You can get involved by emailing info@abbemay.com.

Abbe May’s Doomsday Clock tour, supported by Mike Noga, hits Transit Bar on Friday November 18. Tickets are only $15 + bf through Moshtix.

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Has all this time I love nothing more than in your career throwing on my old Rolling and becoming a Stones record parent changed the way you think about your work and lyrics?

CLASSICAL DIESEL SAM INGHAM Australian blues rock maestro DIESEL is twelve shows into his 23show ‘Americana’ Tour. I chatted with him about his influences for the Americana album, and how his career in the Australian music industry has changed his perception and future goals.

I’m nostalgic. It’s never the same and there are different challenges. Everything I do is work-in-progress. In my mind I’m never done, my career is one continuous album. I’m happy that vinyl is coming back, it sounds so deeply musical compared to online sound. It’s awesome that downloading sites give you instant access, but a record’s energy is a physical thing. I love nothing more than throwing on my old Rolling Stones record – those first guitar bars from Keith Richards feels like he is standing right there, you really feel it. You don’t get that from an mp3. When they can make a digital recording sound like that, I’ll be so happy. Diesel is coming to The Street Theatre on Friday October 21 at 7:30pm. Tickets are $55 + bf via thestreet.org.au.

How do the upcoming solo shows differ from your previous shows? When I’m performing solo the dynamic changes, I can expand more on ideas and go in different directions. Audiences are more perceptive and appreciative. Also, The Street Theatre is a great place to perform in – it has a very telling audience. You can see everyone clearly and I like that. I’m really looking forward to that show. Americana’s album cover is a photo of your parents. Did your family influence you musically while growing up? My family was a big part of my musical influence. I got to profoundly see, hear and appreciate their music. It made me creative. Other artists have inspired some of your songs. Is there anyone in particular you would like to collaborate with? I’m on stage with the Bruce Springsteen tour with Jet early next year! I really love playing live and I plan to keep going as long as I’m physically able. I don’t make wish lists; my doors are always open. I’ve been so lucky and blessed so far. One of the biggest moments for me was writing and recording with Neil Finn. With Australian rock and blues being heavily influenced by the American style, what advice would you give to new artists who aspire to do what you do? Establish how much you really love the music. When things are lean and tough, it’s going to be your best friend through it all. Be happy with what you have been given. I question myself often, that I must really love it a lot, to keep wanting to play. Expand yourself and be driven, embrace your style. It’s important to be you.

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POEMS

COME

LIFE

HAYDEN FRITZLAFF What with two Australian tours in the works, an album of Shakespearean sonnets already on the shelves, another (Death’s Dateless Night with Charlie Owen) now available for pre-order and his new show opening at The Olympia Theatre in Dublin in three days, it’s not surprising that, for PAUL KELLY, something as mundane as booking a rehearsal venue has fallen through the cracks. “Our rehearsals have been very Irish so far,” says singer and self-confessed ‘talker’, CAMILLE O’SULLIVAN, in her distinctive Irish accent. She’s Kelly’s latest collaborator and the two of them are chatting with me about ANCIENT RAIN, the unique performance project that sees them setting a century of Irish poetry to music. “Everywhere in town is full for the Theatre Festival, so we have a beautiful train journey out by the sea every day. It’s quite nice because some of the poetry that we’re doing involves poets who lived where those beaches are. It’s a nice reminder every morning.”

The trio, under the directorship of Chris Drummond, are a unique match. Each player takes a different approach to storytelling. Themes of resistance, love, redemption and loss all come to the fore in Ancient Rain. Kelly’s understated vocal style and O’Sullivan’s vulnerable yet magnetic tone contrast in a powerful way, allowing both of them to inhabit distinct characters. It’s clear that Kelly in particular feels the universality of the show’s themes. He speaks, almost with indignation, about the capacity poets have to traverse nationalities and e periods. “It’s not just about bringing out Irish poetry; they’re world writers,” he says. “Some of the big writers we’re doing – Yeats, Joyce, Kavanagh and Seamus Heaney – they’re writers on a world stage. To me, there are no borders with poems and writers. They’re not citizens locked in their own countries, they roam far and wide.”

Maybe that’s the reason Kelly and O’Sullivan are nervous about bringing their reinterpretations to Irish and Australian theatres. Aside from the boldness of tackling The poets she’s talking about are a mix of poems ingrained in the Irish literary giants (W.B. Yeats, James Joyce, consciousness (O’Sullivan balls her There are no borders Samuel Beckett) and contemporary Irish s ter wri fist and shakes it in faux anger: “‘I’ve and ms writers, for whom Kelly and O’Sullivan poe h wit known this since I did my leaving share a deep affection. It’s this affection certificate”’), Ancient Rain had that is helping them breathe new life to persuade the family of the late Seamus Heaney to let them into the works, a process that involves a delicate balance of augment one of his poems with music. There are still strict limits songwriting, musicality and theatre. “There’s a beautiful moment as to how far Kelly and O’Sullivan can stray from the original form. in ‘The Airman Foresees His Death’”, says O’Sullivan when I ask It all goes to show how tightly bound Ireland is to its artists. “In about how all these elements come together in Ancient Rain. “It’s Ireland there’s nothing that separates rock and roll from poetry,” quite still, there’s kind of a light pad electronic sound and Paul says O’Sullivan. “It’s not something from the past, it’s seen as sings it. And then he’s a bit higher up in the staging than usual. something that matters today. I don’t realise it as an Irish person Then it goes to ‘The Statue Of The Virgin At Granard Speaks’, and how natural it is to hear their names all the time. It’s something there’s this thing, it’s not overly theatrical but there’s kind of a veil that you’re aware of since you’re little.” on me. So it’s small theatrical touches. You don’t have to be overly emotional, but you can magnify the story to be really real “You can’t avoid it in Dublin,” says Kelly. “The great thing about and authentic.” Ireland and Dublin in particular is that they celebrate their writers. So there are signs, visible signs, and monuments, bookshops, “A light theatrical touch,” Kelly agrees. “That poem floored me the places, restaurants and bars and everyone knows that certain first time I heard it. I love it every time. It doesn’t bore me. It’s still writers were here or they went there. It’s just really celebrated.” about the poetry and the music but we are trying to lift it out of I ask Paul Kelly whether he thinks honouring its writers is just being a gig.” Gigging is something Paul Kelly is all too familiar something that Australia does well. “Well we don’t have a Samuel with, having carved out a career as one of Australia’s most beloved Beckett bridge,” he says, “no Les Murray Bridge.” O’Sullivan smiles songwriters. It’s been a vastly different story for O’Sullivan who and says, “you might well have a Paul Kelly Bridge one day.” only embarked on her career as a performer after a horrific car accident and a year of rehabilitation saw her reassessing her Paul Kelly and Camille O’Sullivan perform as Ancient Rain at The ambitions. Prior to that, she enjoyed an award-winning career as Playhouse from Wed–Fri November 2–4. For tickets and more details, visit an architect. Understandably, the singer was a little star-struck canberratheatrecentre.com.au. when she first met Paul Kelly in the kitchen of his Melbourne home. “It was a very surreal experience,” says O’Sullivan of the initial meeting, which Feargal Murray, her long-time collaborator and Ancient Rain’s musical director, also attended. “To be fed lunch, I was a bit in awe, like ‘oh my god, what are we doing here?’”

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PLANET OF SOUND Planet of Sound is our column celebrating the wide history of music, our favourite musicians, genres, movements, bands and artists, and how they have impacted our lives. In this month’s entry, resident BMA writer Dan Bigna discusses the recent Nick Cave documentary One More Time with Feeling, explores the iconic musician’s ties with Canberra and recounts a time he ran into Cave. The bigger stuff is Cave’s earlier band the Birthday Party performing in Canberra in 1980, around the time they were recording the album Prayers on Fire that, in its completed form, explored an extreme form of rock ‘n’ roll that worthy predecessors like The Stooges and Captain Beefheart had paved the way for. The Canberra punk scene was well underway when The Birthday Party visited and you would expect that the desire to progress a scene founded on the need to break away from the droll safety of mainstream entertainment was enhanced by having this band hitting our humble town – Canberra needed punk bands in 1980 and still does now. That Birthday Party tour started out in London, travelled to Melbourne and then hit Canberra and the connection resonates: London – Melbourne – Canberra. This suggests Nick Cave did a lot to make Canberra an international destination well before flights to Singapore started.

I attended the recent screening of the powerful Nick Cave documentary One More Time with Feeling at Palace cinema and the day after rushed to the shops to get a copy of his album Skeleton Tree, which subsequently made it to number one on the charts. The new songs have a beautifully crafted sparseness about His other band The Bad Seeds has performed at the ANU Bar them and are steeped in metaphor. Cave has melded narrative and the Royal Theatre and both shows were first class examples verse that attempts to make sense of our strange world with of intense creative expression that might have been inspired by abstract reflections that accentuate the punk at one point, but followed its strangeness. But there is much more to it. Cave was in no mood to own path regardless of whatever happened to be trending at the time. engage with me on any Within the darkened grooves lies a painful When The Bad Seeds played at the to catharsis formed in the wake of a terrible level and told me ANU Bar in 1992, Seattle grunge tragedy, the death of his son, Arthur. The piss off was in the ascendency but Cave’s emotional vulnerability of Cave and his performance was an outpouring of partner Susie, revealed in the documentary and the eight songs individually crafted artistry that was a modern chapter in the long on Skeleton Tree, conveys a painful acknowledgement of human history of storytelling. I recall standing near the front of the stage mortality. A pall of sorrow hangs over the music and is reflected with a look of intense adoration as Cave investigated religion in the jet black album cover and sparse packaging. The melodies and death on ‘The Mercy Seat’, the epic opening track on the Bad and tones are muted to reflect a state of grieving, but aesthetic Seeds’ 1988 masterpiece Tender Prey and probably his transformation prevents that final dive into an emotional finest composition. black hole. This is due in part to the guiding hand of multiinstrumentalist Warren Ellis. I felt empowered in the presence of this superior musical expression and little effort was required to attend the after gig Ellis is shown in the doco piecing together the arrangements and party at long lost Civic venue The Asylum, a small grungy space ensuring the sounds from the hired musicians and fellow Bad that hosted a whole bunch of indie bands of the right kind and is Seeds make order from chaos. The opening track ‘Jesus Alone’ much missed to this day. Upon entering, I found myself standing sets the scene with a stark electronic pulse that captures the between Cave and fellow musician Tex Perkins at the bar. Perkins desolate state of the vocalist, but the words and semi-melody was then doing hard blues music in The Beasts of Bourbon and built around it signify an elevated creativity. Skeleton Tree is a was hitting hard liquor with Cave. Believing I was in the presence beautifully constructed album, although difficult listening and the of likeminded people, I walked up to Cave with beer in hand and accompanying documentary makes for unsettling viewing. began berating him for not focusing his attention on the printed word after having written the forceful Southern gothic novel And However, I am pleased I was able to attend a screening in Canberra, the Ass Saw the Angel. It turned out he was in no mood to engage which in its own unassuming way has connected with Nick Cave’s with me on any level and told me to piss off after I repeatedly music through the various stages of his career. The small stuff asked when he was going to turn in his next literary masterpiece. would include going to goth parties in inner city group houses with I couldn’t blame him. After all, he just wanted to hang out in Cave’s music playing at full blast. I would attend these gatherings Canberra city, drinking beer and playing pool with Tex Perkins as with a friend who was well-versed in music of the right kind and his we all do. girlfriend Deanna, who was convinced that Cave had written the song ‘Deanna’ – that intense exploration of existential freedom – DAN BIGNA just for her.

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

FILMS FROM HERE, THERE AND EVERYWHERE SHARONA LIN

Photo from ‘Bad Girl’, with Canberra raised Samara Weaving. Showing at CIFF on Fri Nov 4 at 6pm.

A woman in a small town in Russia grows a tail. A former child bride becomes South India’s first female taxi driver. A woman becomes Australia’s first Indigenous dancer to join the Australian Ballet in their 50 years.

The internet, especially, “is changing the ways in which people are engaging with screen,” she says. “Audiences are engaging with video content in new ways. They’re watching shorter videos, and sharing them; people are becoming curators.”

The CANBERRA INTERNATIONAL FILM FESTIVAL has had its ups and downs in its time, but this year, it’s celebrating its 20th anniversary with aplomb. The festival will be held at the National Film and Sound Archive, and is helmed by new festival director Alice Taylor, who has put together an exceptional program prioritising innovation and experimentation over the same old.

In that vein, the festival will feature a few events that are somewhat left of field for most film festivals. Chief amongst them is the ‘Curator’s Corner’, in which festival-goers can curate their own programs of short films, and share them. The shorter formats will appeal to younger audiences, Taylor says, and will be a more participatory, immersive experience. unusual event is not even a Audiences are engaging Another film, at least, not in the usual sense. t with video conten It’s an experience of the National y’re in new ways. The Arboretum, in 3D virtual reality, “a watching shorter videos, perfect marriage of science and arts.”

“We tried to get films you won’t see anywhere else, for an experience Canberrans wouldn’t otherwise have,” Taylor enthuses of the festival. “It’s programmed for Canberrans, who are generally highly and sharing them; people “I concentrated on trying to program educated, interested in diversity, and are interested in being challenged.” To that end, for a younger audience, but also trying are becoming curators the festival gives a forum for voices who to stay true to the older audience,” might otherwise not be heard, including women, Indigenous people, Taylor says, and she believes that the festival program is edgy and people with disability and the Asia Pacific. There’s also some local contemporary, pushing the boundaries of cinema. “At the same time, it flavour: “It’s hard to get films into distribution in Australia,” Taylor appeals to people who want to be entertained.” notes, so there are more than a few local films on the roster, including All of those buttons are pushed at various parts of the festival, but Footprints on Our Land, a documentary about Ngunnawal Elder Aunty perhaps not quite as effectively as they will be on Monday October Agnes Shea. 31, Halloween. Taylor is more than a little excited that the festival falls In the past few years, the Canberra International Film Festival has over the holiday, and there will be a Halloween double bill to celebrate. downsized due to lower attendance. “Audiences have a lot of options,” It’s not a traditional Halloween film double bill either: the first film, Taylor says, and that’s why CIFF is so distinct: it has to be specific to The Frankenstein Complex, is a documentary about monster design, the city. This year, it certainly helps that it is being held at the National including prosthetics, robotics and puppetry, while the second film, Film and Sound Archive, with a “gravitas” and beauty appropriate for a Rob Zombie’s 31, has never been screened in Australia. national building, giving this year’s CIFF more of a festival feeling than At the end of the day, Taylor says: “Film is a changing industry, it’d the old venue did. be crazy not to innovate alongside it.” And that’s what the Canberra There will be local beer and wine, as well as food and of course, International Film Festival is doing with its 20th anniversary popcorn – the intent is for audiences to stick around and enjoy the and beyond. atmosphere, rather than going just to watch the film. There’s a streak The Canberra International Film Festival takes place at the National Film of innovation running through Alice Taylor and through the festival, and Sound Archive from Thu Oct 27–Sun Nov 6. Tickets, showing times and with the former deeply interested in experimental and participatory a full program are available via ciff.com.au. cinema, in engaging audiences with interactivity and experiences.

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PALACE ELECTRIC BRITISH FILM FESTIVAL

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

THE BIG PICTURE OF WOMEN IN MUSIC MORGAN HAIN

Photo from ‘Play Your Gender’. Showing at CIFF on Sat Oct 29 at 6pm.

Filmmakers and film lovers alike are coming together for this year’s 20th anniversary of the CANBERRA INTERNATIONAL FILM FESTIVAL. Celebrating films from both domestic and international filmmakers, the festival will explore (among other topics) artistic themes, as well as specific elements that characterise the arts industries. Among these arts-themed films are Akounak Tedalat Taha Tazoughai, Ella, Heart of a Dog, Author: The JT Leroy Story, and lastly PLAY YOUR GENDER. One of the many aspects of art under the microscope at this year’s film festival is music, and the music industry behind the artists that we see so often on our televisions. Directed by Stephanie Clattenburg, Play Your Gender digs deep into this idea, discussing the portrayal of women and how they are subject to discrimination in the music business.

The documentary Play Your Gender also examines why our society isn’t quite as accepting of women in the work force as some would like it to be. When it comes to women who have roles that would be stereotypically seen as a male job, most of the time in the music industry they aren’t taken as seriously as their male counterparts. Stephanie explained that often this is because we haven’t seen it happen before, so we doubt that it could really be happening. “This is an issue in every walk of life, not just in the music industry. Sometimes it’s even in female dominated jobs where men are discriminated against. Even if we’re trying not to be sexist, and not judging someone on their gender, we can’t escape it,” she says. “We should all acknowledge that we could all be less judgmental. I think we all have to own that.”

“It’s a documentary about women in the music industry and gender bias. We look at different aspects of the music industry, but mainly focus on the production side,” Stephanie explains. “Less than five percent of music producers and music engineers are women, so this documentary is trying to find out why that is, and how we can try to change that.” Clearly showing the divide in gender equality, the film highlights the issues that are occurring behind the scenes of the music industry, whilst trying to raise awareness of the gap between men and women. Stephanie expressed how this problem of sexism and gender bias isn’t just in the pop music industry, but across all genres of music. “We’ve interviewed people in hip-hop, rock, and metal,” she says. “We’ve made the documentary as varied as possible; with some genres of music it was easier to find examples of gender bias than with others.”

Stephanie also acknowledged how many people in the music industry are often only trying to compliment other artists, however most of the time it comes across as a negative judgment. She described how artists that were interviewed for her documentary showed her new ways of looking at things in the industry, and how they handle their own personal judgements. Of course, Stephanie also had views on looking back at the problem in the opposite direction, pointing out that women being belittled isn’t always the case. “I think that sometimes there are a lot of women who are really sexist, whilst there are also a lot of men who are so on board with a lot of women’s rights and equality movements,” she says. “So in that way, I think it can be really inaccurate that sometimes there are feminist articles about women versus men. I think that’s completely not the case.”

A drummer herself, and one who has worked in the music business, Stephanie has experienced first-hand how women in music are compared to each other and judged for just being a woman. “Of course I’ve been judged based on the fact that I am a female. That was also something that came up in a lot of the interviews we did for the film,” she explains. “There’s more blatantly obvious sexism where people are just straight up like, ‘Girls can’t do as well as guys’. I think that most of gender bias comes from a place of ignorance.” Stephanie went on to discuss how female artists are quite often compared to each other, solely based on their looks, rather than their musical skill or talent. “For example, if there’s a girl who has red hair she’s compared to Florence and the Machine, or if there’s a bass player who’s a girl, she’s compared to other girls who play bass.”

Uncertain of how the film will play out with Australian audiences, Stephanie is hopeful and excited for her documentary to have its premiere in Canberra, and is sure that people who see her film will be enlightened about women’s roles in the music industry. “Everyone that worked on the project is proud of the job we did. We found some great people who were really insightful,” she exclaims. “I don’t think you really ever know how people will react. I hope that they will like it, and I hope that people who are interested in the topic can take something away from the film.” Stephanie Clattenburg’s film Play Your Gender has its world premiere at The Canberra International Film Festival on Saturday October 29. Tickets are $17 for adults and $14.50 for concession via ciff.com.au.

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

IN REVIEW

Miss Burlesque ACT State Final The Abbey Saturday September 10

Photo by CaptaVitae Photography

ALLIANCE DE FRANCAISE

The men were dapper, the women glamourous, the performers dazzling, the stage kittens cute, the judges fierce, the merch stalls busy. A crowd of 140+ arrived glammed up and eager to see Canberra’s burlesque performers compete for places in the Miss Burlesque Australia state final competition. Winning here would guarantee them placement in the grand final in Darwin on October 21. Three winners would be announced – Miss Burlesque ACT state final winner, Miss Burlesque Canberra (runner up) and Mr Boylesque ACT state final winner. The show started with a red carpet parade of all eight performers, introduced by the MC for the night – Charlie Debacle (Mr Boylesque 2014). His grandeur, quick wit and charisma kept the crowd entertained all night. Charlie introduced the judges, the prizes that the winners would receive and then pleased the crowd with some sassy political comedy and hilarious burlesque examples. Mr Boylesque ACT competitors Ziggy Charms and Regal Shivers started the competition. Ziggy Charms performed first, dancing to an upbeat pop song, stripping out of a suit, then flag and fan dancing in gold hot pants. With a sexy fishnet striptease, his artistic routine was high impact, sexy and fun. Regal Shivers (Kat of the Year 2015) performed a very slow, sultry and seductive knight in shining armour strip tease (in real armour!), revealing a hidden dragon in his underwear. Both performances were crowd pleasers. The six competitors in the ladies’ section were: Viridian Mint, Jazida, Ursula Wolfe, Chocolate E Claire, Marilyn Mocktail and Sparkle Muffin. Judged in three sections – classic, neo and unique. ‘Classic’ performances were judged on costuming, classic music and four main moves: the bump, grind, shimmy and strut. ‘Neo’ had to incorporate the above four moves, but with the requirement that the music was modern and the burlesque alternative. ‘Unique’ routines could be anything the performer wanted to do in any style, but had to include a unique gimmick or talent. The ladies were sassy, sultry, fierce and beautiful; with gorgeous props, the competition was spectacular. With a rainbow of coloured costumes all night – dripping in Swarovski’s, gemstones, lace, satin and glitter – the performers were absolutely beautiful with the Abbey’s lighting and backdrop. They performed proudly, supported each other, and at times were obviously nervous but with smiles and passion. No one envied the judge’s having to make hard decisions. The incredibly supportive crowd hollered and cheered and clapped for everyone. It was hard to even guess who the winner would be. This show in Canberra was produced by Strawberry Siren (Miss Burlesque Australia), and coproduced by Miss Kitkas House of Burlesque. Congratulations to the winners: Miss Burlesque ACT state final winner – Jazida; Miss Burlesque Canberra – Chocolate E Claire; Mr Boylesque ACT state final winner – Ziggy Charms. SAM INGHAM

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I asked Die Roten Punkte if they were a German comedy duo (not knowing that they were in character). “We are actually a band, a rock and roll band,” Otto corrected me. “Our manager keeps booking us for comedy festivals, and music festivals, cabaret, and so for us, is a little bit strange.” Astrid went on, “People laugh at us, Otto thinks its okay, as long as everyone’s having a good time, then that’s what its supposed to be. “All of our songs are original songs, we have rock songs and indie pop and we even have some electro-clash. We are inspired by B52’s, Blondie, Iggy Pop, David Bowie.”

DAS IST GUTE MUSIK! KAROLINA FIRMAN I have had a few surreal experiences in my life, some of which I don’t think are appropriate to put to paper. One that I can reveal to the world however, is my conversation with Australian, mock German, comedy-rock band, DIE ROTEN PUNKTE (or The Red Dot). The band is composed of Clare Bartholomew and Daniel Tobias, and like some other bands such as The White Stripes, they pretend to be a brother and sister duo … except they play characters, Otto and Astrid Rot. Die Roten Punkte have released four studio albums since 2006, Die Roten Fahrten, Super Musikant, Kunst Rock and Eurosmash. They’ve performed at the Melbourne Cabaret and Adelaide Cabaret festivals and are due to perform at The Street Theatre. But back to that surreal interview – the reason it was so surreal was because it was completely in character, which means I got to hear some gems of in-character, pseudo-German, comedy-rock gold.

I asked how long it took to write and produce each song. Otto explained that, “Some songs are really easy and they don’t take much time, ‘cos I can just go into the studio and work and there’s no interruptions. Then there’s some songs that we write together, and they can take five, six, seven years.” They ‘gently discussed’ for a while the validity of this claim. Otto claimed that he has to hide his ideas, “like peanut for a dog,” so that Astrid forgets about them after the initial rejection, whereas Astrid maintains that she never forgets and merely pretends to forget so that he stops feeling sad. And just how much do Die Roten Punkte love their fans? The duo say that fans attend their concerts dressed like “lions and robots”, and that there were a great many things that they would like to see in Australia such as, “seeing and licking a cane toad.” In short, as can be seen from this interaction, Die Roten Punkte are fast-paced and witty communicators, and they deliver an experience that should not be missed. Die Roten Punkte bring their show ‘Supermusician’ to The Street Theatre on Saturday October 15 at 8pm. Tickets start at $39 + bf from thestreet.org.au.

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

DOUG AT A FUNERAL SCOTT BATUM Death. It’s a topic most would rather avoid thinking about. The impending decay of our bodies, the slow entropy that eventually deletes us from this world, the crushing weight of knowledge that our little spark will one day be extinguished. It’s enough to send any sane person around the bend. But for Tim Ferguson, one third of the DOUG ANTHONY ALL STARS, death cannot and should not be ignored. It should be made fun of! The Doug Anthony All Stars, which currently comprises Paul McDermott, Paul ‘Flacco’ Livingston and Tim Ferguson, are bringing their new show, Near Death Experience, to Canberra in November, after sold-out runs in London and Edinburgh. Never missing a chance to crack an off-colour joke or make fun of a town he used to call home, Ferguson is ready to bring the madcap, wicked energy of DAAS back to where it all began. On the subject of the new show, Ferguson cannot resist making light of the impending void we all face. “Death makes great light entertainment,” he says with his cheeky grin audible even over the phone. “It’s about everyone’s proximity to death at all times. Whether they’re a new-born baby or whether they’re 110, everyone is close to death,” explains Ferguson. “Luckily, we [DAAS] are all old. This puts us in a position where, for most of our audience, we can say an insurance company would bet that we are closer to death than you are, but let’s play our little game,” he quips. DAAS began on the streets of Canberra, busking throughout the city. After gaining widespread acclaim and notoriety following sold-out shows at the Edinburgh Fringe Festival in 1987, the group returned to Australia and developed a cult following with their shows The Big Gig and DAAS Kapital (which is still banned in Germany and Japan). The group disbanded in 1994 after a farewell tour. The catalyst for the break-up was due in large part to Tim Ferguson’s health issues, namely his diagnosis of multiple sclerosis. After reuniting in 2013 at the Melbourne Comedy Festival for the release of DAAS Kapital on DVD, the group reformed with Paul ‘Flacco’ Livingston replacing former member Richard Fidler. Now bound to a wheelchair, Ferguson notes that the position he and his colleagues are in, is ripe with comedic material. “The beauty of being old men is that we can talk about all the stuff that most other comedians haven’t gotten around to yet,” Ferguson said, and with a chuckle, he added, “With me in a wheelchair, experiencing multiple

sclerosis, it’s terrifying for people because I symbolise their mortality … And where terror lives, laughter is not far away.” Death isn’t the only thing on the menu for the new DAAS show. Porn is also getting the stiff end of the stick … “At the moment, we’ve got a song about pornography … and how it’s causing death. It’s causing the death of men who go home and stay home and don’t go out and exercise but also, it’s their social death – it’s the death of their sex lives. And while the Doug Anthony All Stars wholeheartedly endorse the industry, we do figure that it’s worth singing about the personal repercussions,” he states, after giving me a very in-depth and graphic description of what porn actually is, giggling the whole way through. “Certainly, on older men becoming addicted to pornography, we’ve cornered the market!” he added. As much as Ferguson mentions his illness and old age, there appears to be no slowing down the Doug Anthony All Stars. Nearly 30 years on from their international debut, DAAS returned to the UK with Near Death Experience to rave reviews and sold-out audiences. When asked about the success of the show, Ferguson had a small amount of wisdom to impart. “Comedy’s got to do what drama has to do, what tragedy has to do. It’s got to make you laugh at some point, it’s got to make you cry at some point, it’s got to make you horny at some stage and it’s got to make you think. So whether it’s Schindler’s List or Zoolander, you need all four of those things. We try to cover all those food groups,” Ferguson says. “It’s really quite an emotional show. Once people have been sucked in to thinking that they’re just here for a laugh, they’re susceptible to finding that they become emotionally engaged in what’s going on,” he continues. It’s clear that age and illness have not affected Tim Ferguson’s sense of humour. Whether it was urging me not to vote for a Canberra Green in the upcoming election because, and I quote, “They used to be fucking baristas, now they’re just looking for a job that pays”, or trying to rally me behind a movement to tear down Commonwealth Park and replace it with a new business district, his tongue was always firmly planted in his cheek. If this is anything to go by, the new show will be gut-bustingly funny. The Doug Anthony All Stars will be performing Near Death Experience at Canberra Theatre Centre, Fri–Sat November 11–12. Tickets through canberratheatrecentre.com.au.

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COMEDY ACT SNACK ‘ER UP, BOYS NONI DOLL

Photo by Anneliese Nappa

MATT OKINE is in his second week of holidays. “I’m sitting in my lounge room right now, which isn’t very holiday like, I know,” he says, before explaining that he hasn’t spent the whole time doing nothing. “I just came back from the Northern Territory. It was incredible. Man, I love that place so much. I had such a great time. I got to see Uluru for the first time. It sounds dumb … but when you’re looking at it, I didn’t realise how rocky it would be. Like, it’s all rock. It’s 100% rock.” While he might be back to work on Monday, he’s still got a lot more travelling to do in the coming weeks. Still to come are shows in Wollongong, Launceston, and a run of two at The Street Theatre on Saturday October 22. It’s the first time Okine’s had more than one show on a single trip to Canberra. He’s nervous, yet optimistic. “[It’s] always scary. You don’t want anyone to miss out, but you also don’t want a show with four people in it. But I’ve got so much faith in Canberra. I’ve genuinely had such a good time there,” he says, reflecting on previous visits. “There’s a real warmth in Canberra and there’s a real sense of people supporting things, I find.” But it’s not just the ACT’s audiences that impress Okine. “Being on the radio and seeing the music community that comes out of Canberra is incredible,” he muses, full of enthusiasm. “For a reasonably small place, and certainly for one that gets paid out on heaps by a lot of Australia, it’s got an incredible scene. It’s producing some seriously awesome artists at the moment … It’s really exciting to know what’s going on there.”

It’s everyone’s dream to make a cooking show, but you’ve got to be careful what you wish for

What else is exciting is Okine’s schedule. The guy is the ultimate slashie, having recently released new music under his Boilermakers moniker, and with two TV shows in the works, including Short Cuts to Glory: Matt Okine vs Food for ABC iView. “It’s everyone’s dream to make a cooking show,” he says wearily, “but you’ve got to be careful what you wish for … I started to get proper large just from eating that much food everyday on this show. You’re eating like, six schnitties a day! You’ve got to really jam huge amounts of it in your mouth because they just want the cameras right up close. So I put on heaps of weight. I literally just joined the gym yesterday and I’m supposed to be dieting but I don’t think I will.” Matt Okine will be fighting fit when he plays The Street Theatre on Saturday October 22, with shows at 7:30pm and 9pm. Tickets are $35 + bf at thestreet.org.au.

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FRIENDLY NEIGHBOURHOOD JORDIES SCOTT BATUM Self-help gurus have been the butt of countless jokes in the past. But Jordan Shanks, of FRIENDLYJORDIES fame, is coming to Canberra to help us think differently about self-help and motivation and even impart some wisdom of his own. His show, titled CHIN UP, STOOGE, is designed to be part comedy, part self-help. Shanks considers himself an aficionado of the self-help genre, having read over 300 titles. “I used self-help books as a palate cleanser,” said Shanks. The daily grind of researching Australian politics for his YouTube channel had begun to take its toll. After being approached to create a stand-up show, he struggled to decide what topic to choose. “I started writing one on politics … and god, it was too much. It definitely makes you a jaded person, researching this all day. And then I would have to double the amount of research if I was going to write a comedy show as well.” He wants the new show to be inspiring for the audience. “My main goal is to give you more value than what your ticket is worth,” explains Shanks. “If you just follow the simple values I will be talking about, it will return to you infinite-fold. These are the things that got me to where I am.” When probed about the most important piece of self-help advice he’s encountered, Shanks went into depth about the concept of ‘Kaisen’. Essentially, the word ‘Kaisen’ translates from Japanese to ‘constant and never-ending improvement’. The self-help context of ‘Kaisen’ tells us to identify eight or ten key actions in your field that you need to master. Shanks quips that Arnie said it best. “He said whether it’s preparing for a debate as governor or building a magnificent body, it’s all about reps. Just doing it over and over again.” The FriendlyJordies YouTube channel is a leading source of satire on Australian politics right now. Lampooning the conservative side of the current landscape, Shanks has made a name for himself by pulling no punches and urging political action by his viewers. Whether he has actually made a difference or not, Shanks feels like, at the very least, he is helping people explore the subjects themselves. “I get hundreds of messages like with people saying ‘I never had any interest in politics until now’.” Shanks believes there is a void in Australian political satire right now, due in large part to overwhelming corporate media control. “That’s why they want to neutralise satire so much, because it actually does act as a gateway drug into you researching these issues yourself … To me, a satirist, when they’re at their best, is actually just an activist, because they basically identify an evil in society and then offer the medicine. They aren’t supposed to just identify the evil.” Jordan Shanks wants you all to know he’s here to help. Whether it’s by imparting some small piece of wisdom he’s gleaned from his extensive research on self-help, or shining light on a piece of political evil our government is conducting, Shanks believes that we can all make a difference in our small, messed up world.

Jordan Shanks, a.k.a. FriendlyJordies will be performing ‘Chin Up, Stooge’ at the ANU Arts Centre on Thursday October 20. Tickets are available through Moshtix.

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the word

An Evening with Henry Rollins Canberra Theatre Centre Thursday September 8

on talks

Within minutes of taking the stage, Henry Rollins began serving Australia its own arse on a plate: “Will you let those filthy queers have a moment of happiness?” He is talking about the plebiscite; a word that recently made its way into the social activists’ already populated lexicon, “Do you know what you can do with one hundred and sixty million dollars? Schools. Parks. Bridges. Roads. That’s a lot of money, and you’re going to spend it on asking if people are prehistoric and if they have dumbass traditional ideas of right and wrong? I think you all need to evolve!” Rollins, dressed in black, barely drew breath during his two-hour set. His diatribe unraveled in rapid fire, leaving the audience spellbound in its wake. Political musings made an appearance, but didn’t infiltrate his ravings as much as you’d expect from the man who was marched off CNN. Rather they bookended his memoir – reflections on growing up with his mother in Washington DC, being bullied at school, watching riots unfold and finding solace from all the chaos in music, his savior.

PHOTO BY RICKY LLOYD

Rollins bravely revealed a tender side to his captive audience; his alpha armor momentarily slipping as he walked the line between sentimentality and nostalgia. With misty eyes he mourned the loss of David Bowie, recalling an epic tale about a lunch he shared with the ‘Bow’, and he beamed brightly as he evoked the memory of meeting Dionne Warwick, his ‘alt mom’. His final story of mentoring a German fan, a survivor of sexual assault, brought the audience to their feet, in a well-deserved standing ovation. SAMUEL TOWNSEND

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

ARTISTPROFILE: GEORGIA BLACK

What do you do? I’m a visual artist and printmaker, mainly working in screen printing. I am also just a maker in general, I love working with yarn and text. When, how and why did you get into it? I didn’t know much about printmaking until I studied at the ANU School of Art after taking a gap year. I always liked drawing and applied to the Print Media and Drawing department, because that’s all that I had in my portfolio. Art was my worst subject at school so I never thought I’d be doing this now. Who/what influences you as an artist? I still consider the lecturers I had at art school to be my mentors. Patsy Payne and John Pratt continue to inspire me to keep working and question everything. And anyone who’s seen my work could guess I’m obsessed with clouds, they’re extremely evocative and we have the most amazing skies here in Canberra. Of what are you proudest so far? Graduating honours was a big deal for me, the art school had some major changes to staff at the time and our cohort had little support, there were many times when I thought of dropping out.

What are your plans for the future? I’d like to do more residencies and spend some time making art overseas. What makes you laugh? My friends, and stupid memes. What pisses you off? Sexism, it’s 2016 for fuck’s sake. Women deal with all kinds of forms of harassment, abuse and assault every single day; I have no patience left for it. What about the local scene would you change? There are so many people working so hard to make Canberra the vibrant arts district that it is, it would be nice to have a government that would support its local artists and organisations. What are your upcoming performances/exhibitions? I have a solo show up at the moment at PhotoAccess. I’m also doing an artist talk on the last day of the exhibition, Sunday November 6. Grounded runs from Thu Oct 6–Sun Nov 6 at PhotoAccess, Manuka. Contact details: www.georgiablack.com.au, georgiablack@live.com.

Georgia Black, The Return (detail), 2016, smoke and acrylic on glossy photo paper, 10.0 x 15.0 cm

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IN REVIEW

Wiggle Room – Ralph Indie Season Ralph Wilson Theatre – Gorman Arts Centre Wednesday September 28

Photo by Justin Ryan

Developed and mounted by a collective of local performers, including Alison Plevey of Australian Dance Party, Cher Albrecht and Deb Cleland of Solco Acro and innovative vocal artist Ruth O’Brien, Wiggle Room is the first work in the exciting Ralph Indie season presented by Gorman Arts Centre to expand boundaries of performing arts in Canberra. This work is dynamic, kaleidoscopic entertainment, which twists and turns across genres, physical and emotional levels; melding dance, physical theatre and circus set to Ruth O’Brien’s hypnotically layered, looped, live and improvised vocal soundscape. By taking the risks inherent in a cross-discipline approach to development, and drawing on their backgrounds in dance, aerial/ circus and live music, the artists generate creative wiggle room, permitting raw experimentation to combine with confident delivery. This enables the troupe, individually and collectively, to work to their strengths, test and adjust to their limits and support each other in

venturing together into new territory, courageously creating new work in their invented form, which swirls technique with freshly shared skills. Energetically rotating its theme through a riotous combination of angles, the company used the whole space; walls, floor and ceiling within the theatre. Comic juxtapositions morphed across the mind’s eye as a confined space worker was caught in an entangling tango with an Ironing Board partner, while aerial gymnastics twisted through space, cone headed clowns stumbled tentatively and clowning cyclists wove gleefully, child-like. In another dimension, the players cornered high against the theatre wall were directed by an insistent voiceover to “hold for two minutes.” This contrasted strongly with the freedom of the aerial acrobatics on swings and twirling on silk straps and rings, where strength was in the action rather than the image. The complete hilarity of the performers writhing, hands-free, into their tight jeans over a monologue on constricting snakes, was extrapolated into the restlessness of sharing a single sleeping mat, allowing the audience to giggle and guffaw as the realities of limitation, competition and sharing were played out. In a quieting, intriguing feat of flexibility, crawling between and removing the cover of the sleeping mat from the inside, the performers transformed it into an inner world where their white silhouettes struggled against the sheer surface in an allegory of angst. The performers’ strength, agility and endurance enabled them to maintain the artistic dynamic and heart pumping pace of this work, which touched every surface and worked the whole space in a multi-dimensional, contorted, Escher-like examination of the expanse between ‘plenty of…’ and ‘not much…’. The powerful, piled metaphors built to a crescendo as the players moved feverishly around the space repeatedly declaring, “there’s room here!”, drawing the audience into the Wiggle Room. ANTHONY PLEVEY

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LITERATURE IN REVIEW

The Windy Season Sam Carmody [Allen and Unwin; 2016]

The Good People Hannah Kent [Pan Macmillan; 2016]

On the west coast, Elliot Darling vanishes. On the east, a bikie gang abandons their stronghold, fleeing inland. What does the disappearance of a fisherman have to do with three ranking bikies and a teenaged meth cook?

Phenomenal talent, Australian author Hannah Kent has leveraged her masterful storytelling power, proven in Burial Rites, to deliver on that promise with her sophomore release. This is another story that fully immerses the reader in a place, time and world of welldrawn characters. The environment, from weather to plant life to heaviness of the air are all richly hued and fully alive from page to page. I expected to be drawn in, transported and absorbed and I was all of these things. Seek this book out and indulge in it.

The Windy Season follows Elliot’s brother Paul as he steps into the life Elliot left behind. 17-year-old Paul ditches an unfulfilling life in Perth – bagging groceries, living with his oddly disconnected family – for what seems on the surface to be an equally dismal existence – cray fishing in the dying town of Stark. “Meth was like the bacteria that flushes a corpse … a corpse isn’t alive but it teams with the barely living. The opportunists. The ceaselessly hungry. Dealers and junkies. Junkie dealers.” The town of Stark makes an appropriately macabre setting, in the gritty daylight kind of way that seems particular to Australian literary fiction. The hopelessness and petty violences of the local inhabitants are all the more oppressive for being shown through the eyes of Paul and the various backpackers that come to town in search of a coastal paradise. The Windy Season could be viewed as either a tepid thriller or a brutal coming of age story. Sam Carmody convincingly captures the experience of an awkward adolescent finding their values. It’s not hard to suspend disbelief as Paul fumbles his way through his rubbish job, his first relationship, and cobbling together some kind of camaraderie with the adults of Stark. As a character, Paul remains likeable despite occasionally threatening to disappear up his own selfishness in his less grown-up moments. Various contemporary themes are touched on, including how globalisation affects the livelihood of small communities in combination with the prevalence of drugs. These issues are more a backdrop than a discussion and serve to ground the narrative plausibly in the present. The pacing of The Windy Season lets it down in places. So much page real estate is devoted to Paul battling his seasickness and navigating his feelings that the mystery of Elliot’s disappearance fades into the background for long periods. The tension is kept up to some degree with sharp snapshots of the inbound bikie gang, and local leering creepertypes help to maintain a semi-present sense of danger. However, when things seem about to take-off, the narrative will often flick back to Paul stuffing about with girls. While this is entertaining and highly readable, it prevents The Windy Season from ever really turning into a page-turner. It’s a neat little piece of Australian Gothic and a solid holiday read, if you’re looking for one. CARA LENNON

Set in 1825 in a claustrophobic community of Ireland where myths and facts hold the same value, the mysticism and madness threaten chaos at every meeting. Michael, a seemingly traumatised autistic child, is also maybe a devil that can be cast out with magical intervention. The possibility of a healthy child returned to his grandparents after the death of their beloved daughter and the child’s mother is powerfully alluring. The risk and potential consequences are devastating. Nora Leahy genuinely believes that the real Michael, a well and healthy child, has been spirited away and replaced with a demonic, speechless creature, a ‘changeling’. Local woman, the elderly and isolated Nance Roche, believes he is borne of the fairies and can be returned to them. She convinces Nora that the true Michael will be recovered if they can banish this creature. Nance, Nora and Nora’s young and fearful maid become embroiled in a dangerous series of rituals that may or may not result in Michael’s return to the mysterious fairy world, or the death of a poorly child. The power of an illusion, when met with encouragement and in a desperate state of mind, is compelling. Nora, for all her flaws and desperate beliefs, is also a genuinely compassionate and loving mother, grandmother, wife and aunt. Kent skilfully combines her viewpoint with a wideangled view of how it must appear to the outside world. This ability to zoom in and out on particular characters and the minutiae of their daily lives and thoughts, enriches each of them. Just as Burial Rites was rich with historical fact and folklore, so The Good People follows suit in being a well-researched and entirely immersive experience. Kent has an academic background and her dedication to research, analysis and weaving facts into a narrative is masterful. The Good People has echoes of Arthur Miller’s The Crucible in its depiction of women as depraved and demonic when they deviate from societal norms. Miller’s book was counter to the American political landscape of the time (“witch-hunting” for communist artists and activists). The Good People has no overt political message, but all of us can identify with the desire for some sort of magic or mystery to make possible the dream job, relationship, life, escape. If it was promised when we were exhausted by life, and the alternative is living in exactly the same way otherwise, wouldn’t we risk it? CAT WOODS

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LITERATURE IN REVIEW

Letter to My Teenage Self Grace Halphen [Affirm Press; 2016]

The Hit Nadia Dalbuono [Scribe Publications; 2016]

“The water buffalo was unable to speak and too lazy to move, so would just point in a particular direction. Nobody had any idea what this meant.” – Shaun Tan

This Italian crime drama is notable more for what is missing, than what it provides. A thin storyline, fleshed out only slightly by unexpected tangles and intrigues fails to ignite. Scandi noir has become a cult style the world over, with rich depictions of landscapes both urban and wild, and lone wolf detectives with a sense of time and history conveyed.

Letter to My Teenage Self is the labour of 15-year-old Grace Halphen and a pantheon of Australian somebodies – athletes, Nobel Prize winners, actors, lawyers, comedians, chefs. Anything you can be famous for has a representative, including being mediocre (cough, Kochie, cough). Halphen’s a young person who had a rough transition from primary to high school, and with this book is paying forward the help she had at the time. Each contributor has written an advice-filled letter to their 13-year-old self – advice they wish someone had given to them. Nearly half of all mental health problems in Australia begin before the age of 14, and it seems like every week there’s another article on bullying, depression and funding cuts to the mental health sector. There’s not as much focus as there should be on what teenagers themselves have to say about this, so it’s impressive and significant to see Halphen raising her voice. Some of the adult contributors, however, are less impressive. The letters are pretty hit and miss, as you’d expect from a book with over 50 contributors. The upside of this is that any teenager could pick up this book with a good chance of finding something they’re interested in. But, as Shaun Tan points out in his letter, writing meaningful advice to your 13-year-old self is kind of hard to do. “You can’t actually tell anyone much in advance and expect it to have the same weight of personal experience.” Tan’s vaguely pointing water buffalo sums up the issue that most of the contributors seem to struggle with to some degree. Advice ranges from oddly and specifically pragmatic (“don’t carry around a backpack that is too overloaded,” – Adam Gilchrist) to generically inspirational (follow your dreams/passion – everyone). And then some of it is just a little bit detached. I’m looking at you, Dannii Minogue. Yes, 13-year-old you may have “already experienced things other teenagers with stars in their eyes can only dream of,” but you’re kind of meant to be writing for the universal teenager. I suspect the real value in this book is not in the advice. Nearly every writer identifies that they felt isolated during high school, and unlike the slightly nauseating spectacle of Minogue telling herself she’s a rainbow, hearing that other people feel like outsiders may change how you feel about being an outsider. The outside becomes the inside.

The Hit merely rehashes clichéd American crime TV in book form. The only notably Italian flavour to this book are the names. There is barely any description of the city, the weather, the external landscape at all. There’s no food or history, no art or culture. This could just as easily be a story set in Los Angeles for all the lack of detail. That said, this does work well enough as an airport or longtrip distraction. A high-earning TV executive with a nasty cocaine addiction and a nefarious addiction to gambling, actresses, travel and praise, Micky Proietto is the most unsympathetic victim possible. Within the first two chapters, his family are abducted in a brazen scheme that leaves the authorities and Micky to unravel who has masterminded this whole operation. Leone Scamarcio is the detective who must investigate, interview and try to untangle the web of deceit and debts that Proietto has entangled them both in. There is so much to lament here too. There are constant references to Scamarcio’s childhood and history in Calabria – home of the Mafioso – and yet very little detail. While this might work on television with some dark lighting and some smoky, half-imagined flashback sequences, it is not enough to make vague implications in a novel and never flesh them out. There is no end to the quality of both crime fiction and Italian fiction in the world. It is both brave and perhaps reckless of Dalbuono to introduce the sketchily-drawn Detective Scamarcio. With so little back story, so little to invest in by readers and so sorely lacking any sense of Italian history, culture, landscape and personality, this can never compete with Patricia Cornwell, Stieg Larsson, or really any other crime novelist you can name. Good for a distraction that you’ll quickly forget. This is the Cherry Ripe from the service station that suffices between stop-overs, but if you want something truly meaty, rich and rewarding, head for Andrea Camilleri, Jean-Claude Izzo or Massimo Carlotto. CAT WOODS

CARA LENNON

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bit PARTS ENVIRONMENTAL FILM FESTIVAL AUSTRALIA WHAT: Film festival WHEN: Thu–Sat Oct 13–15 WHERE: Palace Electric For the second consecutive year, EFFA returns to Canberra. EFFA’s mission is to inspire Australians with stories, knowledge and action for protecting our natural and urban environments. This year, EFFA is proud to announce the addition of acclaimed Australian author Tim Winton as Festival Patron. He joins former long-time environmental crusader Bob Brown. EFFA in Canberra will include outdoor screening events and panel discussions around environmental issues relating to Canberra, Australia and beyond. Highlights this year include When Two Worlds Collide, Bugs on the Menu and Sustainable. For a full program and showing times, visit effa.org.au. CANBERRA DRUMMERS DAY WHAT: Drum exhibition WHEN: Sat Oct 22 WHERE: Groove Warehouse The Groove Warehouse, Canberra’s pro drum centre, is proud to announce Canberra Drummers Day 2016. This special one-day event celebrates Canberra drummers and drumming enthusiasts on stage and “in session”. A giant outdoor stage will host live performances of local Canberra artists and – for the first time ever – drum karaoke! There will also be a series of themed talks and demonstrations on topics such as playing different styles, drumming careers, care and repair, drum tuning as well as hands-on sessions on specific topics like e-drums, cajóns, Brazilian samba, metal, jazz, rock, pop and more. Starts at 10am. CANBERRA POTTERS OPEN DAY WHAT: Pottery WHEN: Sun Oct 23 WHERE: Watson Arts Centre Who is excited about Canberra Potters Open Day 2016? Everybody! It will be a great family day, promoting this fabulous organisation. Included in the activities are a range of demonstrations. There’ll be porcelain carving by the very talented 2016 Doug Alexander Award winner Liz Crowe. Learn the secrets of altering turned foot-rings into decorative feet, and how to hand-build with coloured clays. See a hand-building demonstration. Walker Ceramics Clayworks and Keanes will have their trade tables packed with goodies. Hands-on favourites include Have-a-Go, Have-a-Throw. It’ll be absolutely pot-tacular! Starts at 10am. CHRIS WAINHOUSE WHAT: Comedy WHEN: Sat Nov 12 WHERE: Ginninderra Labor Club

Comedian of the Year, Triple J RAW Comedy winner, winner of the 2016 Melbourne International Comedy Festival ‘Piece of Wood’. With a résumé like that, you could put yourself through a lot worse pain … or should I say, worse Wain. Ahem. Best to leave the comedy to the actual comedians, I think. Known for his searing angular prose and regarded by many as one of the finest comedians and comedy writers in the country, Chris’s fresh brand of comedy is guaranteed to bring any audience undone. As far as quality goes, he’s been compared to the likes of The Umbilical Brothers and Carl Barron. So you shouldn’t miss him! Doors open at 7:30pm. Entry is $16.50.

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the word

on albums AL LOC SIC MU

to keep fighting the good fight and to leave the bigots behind. It’s a timely and reassuring track, and it wouldn’t be complete without D’Opus’ low, defined bass rippling away and assuring the message has set in. Of course, Mayday isn’t all politics. Elsewhere, ‘The Road’ plays like a highway jam, and ‘After Midnight’ like a lazy Sunday hangover song, with chilled out production that harks back to early Aussie hip-hop (think The Calling era of Hilltop Hoods), and at times even imitates improvised jazz.

album of the issue D’OPUS & ROSHAMBO MAYDAY [MERCURY SWITCH LAB] Since their debut EP in 2006, local emcee Roshambo and producer D’Opus have become two mainstays in Canberra hip-hop. Their third LP Mayday is their strongest yet; it’s not only a worthy benchmark for Canberra’s hip-hop canon, but for the Australian hip-hop community overall. Originally mentored by local legends Koolism, the pair have always prided themselves on their unique style: setting story-driven rhymes amidst delicate and energising production. That hasn’t changed on their third LP: opening song and title track ‘Mayday’ feels like a cathartic return for the duo, after laying dormant for close to three years. Where the Australian brand of hip-hop has been sometimes criticised for failing to give voice to the issues that need it (in essence one of the defining conventions of the genre), it’s refreshing to see Roshambo – as well as featuring artists Lash and Jedbrii – make a number of political statements on ‘Brush You Off’. A comment on social media’s segmentation of Australian society, Ro and co. take aim at sexism, homophobia and racist collectives like Reclaim Australia, while also shining a light on Indigenous issues, our refugee crisis and the aggressive culture of masculinity that impacts our music industry and Australian society more broadly. The message is directed at everyday Australians rather than our government, as the song encourages us

Speaking of production, D’Opus’ palette of sounds is both varied and distinct. He’s not afraid to let himself go into a drum ‘n’ bass frenzy, as in the outro of ‘Escha’; he throws in some scratching, but not so much as to overwhelm, occasionally balancing with softer instruments like a xylophone (‘Soul Glo (Refix)’); he even has a track to himself, ‘Slides’, in which rhythmic bass and light synths work together to invoke images of a city skyline at night (it’s not far from being a Burial track). It’s fair to say that on Mayday, D’O is proving himself as one of our country’s leading producers in hip-hop. At this rate, he’ll soon be on par with the likes of M-Phazes and Plutonic Lab. Lyrically, Roshambo’s flow is tight, as he carries his poetry seamlessly across the LP. Ro bounces between subject matter at a natural pace, and the result is that both his individual songs and the entire LP weave together a story. He’s also not afraid to play with profound and somewhat complex allegories; take ‘Nostalgia’ for example. Here, Ro reflects on the influential figures in his life and how their memories have survived through nostalgia, a feeling for him often brought upon by music. ‘The Line’ and ‘Escha’ are just as poignant, but overall, it feels as though Ro is capable of exerting himself just that extra bit further, to push the limits of the genre and create something that truly speaks to us. It’s not the end of his journey at any rate, so it will be exciting to see where the local emcee and producer go after this perfectly solid LP. ANDREW NARDI

GLASS ANIMALS HOW TO BE A HUMAN BEING [WOLF TONE LIMITED] In their 2014 debut album Zaba, Glass Animals created this chaotic world encapsulated within a mystical jungle. It was cryptic, dreamy and intoxicating. How To Be A Human Being steps out of the jungle and into the harsh glare of reality. The quirks and weirdness are still there, but a new found confidence makes the sound heavier, tighter and more exposed. Each track is based around fictional characters created by frontman Dave Bayley, who sourced inspiration from strangers he met during the two years spent touring Zaba. In ‘Life Itself’, we meet the basement-dwelling loner who wants to be free, in ‘Season 2 Episode 3’, the lovable stoner girlfriend, and the murderous wife with schizophrenia in ‘Mama’s Gun’. With every track the band morph into each character and situation, slightly changing pitches and playing with different sounds. Street drums and outside voices can be heard in ‘Pork Soda’, and in ‘Take a Slice’, a song about lust, the mood is brought down and given an almost sleazy feel. The closing minutes of the album beautifully, but morbidly, encapsulate each story. ‘Agnes’ tugs at emotions with its sad lyrics about the loss of a friend. But the background is laced with a euphoric beat that lifts the mood, pulling your heartstrings in opposite directions. It perfectly depicts the feeling of being lost and the confusion of life. How To Be A Human Being is like a book full of short stories examining the human experience. The highs, the lows and everything in between. How do you be a human being? No one really knows. GISELLE BUETI

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ANDY SHAUF THE PARTY [ANTI]

GYPSY & THE CAT VIRTUAL ISLANDS [ALSATIAN]

PARQUET COURTS HUMAN PERFORMANCE [ROUGH TRADE]

You follow Shauf into the party, reeking of loneliness, feeling awkward and uncomfortable. Sherry’s waiting for her boyfriend, Jeremy; the pair have troubles you never paid attention to until this night, but under the false confidence of alcohol you pluck up the courage to speak to her about it.

Indie pop duo Xavier Bacash and Lionel Towers, better known as Gypsy & The Cat, wowed us with their 2010 debut record Gilgamesh. One album and an EP later comes another long player Virtual Islands. So how far have Gypsy & The Cat strayed from their musical path in the intervening years? A back-to-back comparison of the band’s first and latest offerings shows that it has stayed close to the formula that made Gilgamesh such a good career launch. There’s a slightly softer feel to the tracks, which also have less ‘dance’ quality about them. Songs display more sophistication and variety, courtesy of a willingness to experiment with different musical formulas.

No band seemingly cares more about appearing to not give a fuck than Parquet Courts. At their best, Parquet Courts can lull you into another world, like the first half of 2012’s Light Up Gold, as good a quarterhour from a garage-punk band that you could hope for. But the first time I listened to Human Performance, the New York quartet’s fifth(ish) album, I absolutely hated it. Hated it.

It’s the tale of every teenager who doesn’t slip naturally into the social world. “Listen to this half-wit, spilling his guts after a bottle of wine, thought this would be a good time, now I can’t finish my drink,” sings Shauf. Lyrically, Shauf excels in subtly; there is no attempt at clever allusion, Shauf simply tells the story of characters at a neighbourhood party. This subtly is mirrored in Shauf’s composition; the instruments are almost entirely played by Shauf alone (minus the strings, provided by Colin Nealis). The sound is tight, upbeat and smooth - similarities between Elliot Smith and Shauf’s vocal and instrumental quality ring true for The Party. Stylistically, this album shares a lot with its predecessor, The Bearer of Bad News (2015). Both pieces tell broken narratives of characters in a small town. However, The Party is lighter in tone, giving a pleasing juxtaposition between the cheerful arrangement and less cheerful lyrics. Each vignette takes the listener to an intimate place, exploring the thoughts of the characters in a benign manner. As the night closes on the final track, ‘Martha Sways’, Shauf sings: “Martha’s thin, and pretty just like you, I held her close, like I held you.” We’ve all had a Martha, or two. The Party, for the teenage listener, evokes a feeling of nostalgia for the present. KASHMIRA MOHAMED ZAGOR

The short intro builds anticipation with its crashing gong and industrial metallic sounds, before the real tracks commence with the dreamy, soft edged vocals, warbling synths and rubbery beats of ‘Give & Take’. A soft beauty shines through the inclusion of a few bars of Erik Satie’s ‘Gymnopedies No. 1’. ‘Odyssey of the Streets’ has great choral and orchestral qualities, which make it a CD highlight. While that song speaks of “surfing a neon rocket”, the real twangy surf sound comes in ‘Tragedies of a Love’, while ‘Leaving Home’ captures the best dance vibe. Closer ‘Naomi’ is an acoustic strummer, with a brief sunburst of electronica. While the album does not have a song with the standout attraction of ‘Jona Vark’ from Gilgamesh, it has a star quality that spans the whole tracklist, with catchy rhythms, appealing choruses and clever, complex soundscapes. With the duo reportedly splitting after the promotional tour for this LP, Virtual Islands is probably their swan song. If so, it’s a worthy one. RORY MCCARTNEY

The rawness, the intensity of their frenetic rock was just gone, their sloganistic statements suddenly stale. Everything about Parquet/Parkay Courts/Quarts to date was dynamic – this was generic indie, searching for any identity. Full disclosure: I’ve listened to Human Performance more than any other album that came out this year. I listened to it in the hope that the next listen would reveal something that I missed on the last. For the first five spins I couldn’t understand why they would release it. Friends kept telling me to persevere, and more enlightened music critics kept singing its praises. After about ten listens, gems started emerging from the depths of the album. Sleepless nights were buoyed by the jagged jangle rock of clear album stand-out ‘Berlin Got Blurry’, the following drowsy day guided by the blissed-out vibes of ‘Captive Of The Sun’. After a rush of morning caffeine, ‘It’s Gonna Happen’ took the edge off. Each listen revealed another layer, another originally unheard dimension. It’s their deepest album, and their most incoherent. Pure Parquet then. I don’t hate Human Performance any more. It’d be impossible to keep listening if I did. But I still want it to be Light Up Gold, or even Sunbathing Animal when I put it on, even if I know it’s not. CODY ATKINSON

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album in focus

THE RAMONES THE RAMONES – 40TH ANNIVERSARY DELUXE EDITION [RHINO] Forty years on, The Ramones’ self titled 1976 album sounds as exhilarating as it did when the band first decided that rock music had become too precious and ornate and it was once again necessary to kick out the jams with a no-bullshit approach that dispensed with unnecessary extras like guitar solos and sophisticated wordage. It still amazes when looking at the lyric sheet to see how clipped and concise Joey Ramone’s phrasing was. Phil Spector had encapsulated teen desire in three-minute pop nuggets. For The Ramones, three minutes was providing way too much information. The entire lyrics to ‘I Don’t Wanna Walk Around With You’ read: “I don’t wanna walk around with you (x3) / So why you wanna walk around with me? I don’t wanna walk around with you.” This beautifully succinct poetry carries a universal resonance that didn’t require Shakespearean grandeur. The Ramones drew upon the street-wise harmonies of ‘50s doo-wop and ‘60s girl group pop music to capture the frenetic pace of urban life. The basic idea was to compress the raw energy and gritty outpourings from edgy proto-punk groups like The Stooges and The New York Dolls into catchy sonic miniatures that avoided avant leanings and glam androgyny. From these early thoughts, great art was crafted by a bunch of misfits in ripped jeans and

leather jackets with a rudimentary knowledge of noise making and compulsive urge to count in the songs. The debut album was recorded in a couple of days for around six grand. Producer Craig Leon had initially decided the best way to hear this music was in mono so that, “all the instruments and vocals came out of both speakers in one direct, glorious burst of sound,” as he puts it in the informative liner notes. But given stereo mixing had been the norm since the late 1960s, and the band had been fans of the pronounced stereo panning on the early Beatles records with vocals and instruments noticeably separated, the final mix went this way. The original version of the album therefore sounds a lot like mid ‘60s garage punk with a retro stereo mix. But on this superb 40th anniversary 3 CD/1 vinyl album edition, Craig Leon’s original mono mix has finally seen the light of day, and when placed alongside the new stereo remaster, comes out a winner. The Ramones in mono sound more powerful and confronting, if that was actually possible. The effect is indeed a ‘glorious burst of sound’, as Leon described it. The mono mix brings considerable value to a punk rock masterpiece and is the selling point of this set, but the extra material also makes for a worthy bonus (you will want to whip out the turntable as the set also includes the mono mix on vinyl). Album outtakes like ‘You Should Never Have Opened that Door’ accentuate the band’s devotion to short and snappy ‘60s pop melodies and the live set recorded at Los Angeles venue The Roxy shows a band in full control of their material. Although guitarist Johnny Ramone ran the whole operation with military discipline, the songs are so good that the no-pause-for-breath approach gets the hormones raging and invites the thought that each audience member went out after the show and formed their own band with the understanding that this simple music was ingenious. DAN BIGNA

LED ZEPPELIN THE COMPLETE BBC SESSIONS [BBC] Led Zeppelin. Studio sessions. Live. Never heard before recordings. The big news for fans is that the BBC Sessions recordings unearthed a previously unheard track, ‘Sunshine Woman’. These eight unreleased recordings add to the expanded and remastered 1997 BBC Sessions release. ‘Sunshine Woman’ is a bluesy boogie with trademark pounding piano and Robert Plant’s heartrending howl. It is reputed to have been widely bootlegged but never officially recorded. Is it worth the entire box set? No, but the super deluxe edition contains a 48-page booklet of photos and insight into the recording sessions as well as a limited edition print of the original album artwork. Versions of ‘Dazed and Confused’, ‘Communication Breakdown’ and ‘You Shook Me’ are all worth listening to over and over again. But if you already have the 1997 BBC Sessions, the only new addition is the third CD in the release. From 1969 to 1971, Led Zeppelin’s sound was particularly bluesy rather than stadiumready, superstar sounds that characterised their later 1970s work. At the time of the BBC recordings, Page and Plant were emerging from the period of establishing themselves as iconic to being canonised as gods of rock. The timing means they are perched right on the edge of superstardom, but still ferociously hungry and uncertain enough about this to perform and create, as if it might all end tomorrow. Listen to the floor-shaking guitar on ‘How Many More Times’ and the signature wails and moans of Plant in his most primal state on ‘Dazed and Confused’. ‘Whie Walls’ offers eight minutes of non-stop guitar riffs. The songs may remain the same, but there’s enough bonus material to justify the investment here. CAT WOODS

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JAKE MEADOWS GOOD COMPANY [INDEPENDENT RELEASE]

LIZ STRINGER ALL THE BRIDGES [INDEPENDENT RELEASE]

GROUPLOVE BIG MESS [ATLANTIC RECORDS]

Multi-instrumentalist Jake Meadows has supported several top flight artists including Daniel Johns, Angus & Julia Stone and Thelma Plum. Not your average musician, Meadows’ forte is one of the most ancient and elegant instruments – the harp. He gives a 21st century take on its wonderful sound by weaving in other instruments, vocals and electronica. For this, his debut EP, he enlisted the help of Daniel Johns, who features in all tracks and who also produced the release. Johns’ high pitched voice is a very good foil for Meadows’ deeper tones.

In 2012, husky-voiced singer-songwriter Liz Stringer made a career leap. With the launch of her fourth LP Warm in the Darkness, she went from an acoustic delivery to a more contemporary sound with meatier guitars, a bigger backing band and a wider range of instruments in the mix. Released with the aid of both a Pozible campaign and recorded in Portland, Oregon under the stewardship of producer Adam Selzer (The Decembrists, Fleet Foxes), All the Bridges retains the band format and the rock/alt-country vibe.

Grouplove are the essence of free-spirited youth. They’re indie pop rock sound just makes you want to dance, bounce and have fun. Big Mess, the third instalment from the bubbly band, is no exception. With catchy choruses, blasting melodies and constantly buzzing vibes, the album delivers everything we know and love about Grouplove. But that’s just it, it delivers everything we already know.

Icebreaker track ‘Gossip’ first shows itself with a lazy, almost deliberately retarded start. The vibe is tropical with a hint of the Far East. The chilled vocals progress along a bouncy cadence, dodging delicately placed keys and falling into echoing pools. Iciclelike electro hooks reflect both light and sound, with a little temple gong percussion. Meadows’ expertise as a harpist comes to the fore in ‘Echo of Tomorrow’. There’s a woolly start, before juddering beats impose themselves. Harp notes slide down the spine of this track, which offers a danceable profile if you ignore the dominant fast beats and focus on the slower, underlying rhythm. Beginning with tinny, lo-fi beeps, ‘Lost Entitlement’ fills gaps in a musical space with metallic apparitions and a clever cat’s cradle of synth sounds. The title track gives the impression of specks of voice, music and ambient sounds in a huge, echoing room, in which exist multiple sonic installations. The beats in closer ‘Come on Over’ leave big paw prints as they pad along. An inventive debut by Meadows that breaks new ground, not hurt at all by the cachet of the involvement of Johns. RORY MCCARTNEY

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With less instrument add-ons, more reliance is placed on guitars, which carry the album well. While the record does not sound as fierce as its predecessor, the lyrics still hold a great emotional weight. Stringer’s lyrics such as “sweeping the footpath with my shame” capture feelings poetically, while lines like “putting spot fires out that raged inside my head” draw inspiration from rural life. The songwriting shows a real affinity for the landscape with references to natural features appearing through the tracklist. This LP has bright tones, with the emphasis on quick, driving tempos, and increased use of backing vocals to enrich the sound. Not that Stringer’s voice needs any support. Immediately attention-grabbing, she varies her delivery through the album, making the singing a treat to listen to. Many tracks are real winners, including kick-off track ‘Anyone’ with its brightly chiming guitars, the slower ‘If You Mean It’ with its pedal steel circling eagle-like and ‘Keep Keeping On’ with its Hammond organ smoothing out the folds. The disk closes with a pure acoustic, its casual strumming framing the singing, but never obscuring it. Stringer’s latest offering takes on the impressive Warm in the Darkness, and surpasses it.

The album starts off strong, with two massive highlights. ‘Welcome To Your Life’ is an anthem, perfect for yelling along to, and is a prime example of how the band can turn a chorus into explosive fireworks. ‘Do You Love Someone’ has the same effect. Its catchy beat and fun melodies make it the most memorable song on the album and the one I’m most looking forward to hearing live. After that though, the album kind of goes flat. The energy is there, the fun is there, but something is missing. ‘Standing In The Sun’ is very neatly produced, ‘Enlighten Me’ gets a little lost and ‘Spinning’ takes the mood down low, making it hard for the album to get back up. ‘Traumatized’ almost makes for a recovery with its powerful energy, but falls short just off the mark. The title of the album is Big Mess, but it’s more of a neat mess. The production is very tightknit and actually really good, but it doesn’t have the playful charm of their previous albums. In saying that though, it’s still a fun pop rock album that will be great for dancing along to when the sun finally shows up. GISELLE BUETI

RORY MCCARTNEY

LOC MUS AL IC

GARBAGE STRANGE LITTLE BIRDS [STUN VOLUME]

MSTRKRFT OPERATOR [LAST GANG RECORDS]

THUNDERBOLT CITY DEMO 2016 [DREAM DAMAGE]

Wow! Is it really over 20 years since Garbage stunned alt-rock music lovers with the confronting, semi-vicious sound packaged in its self-titled debut, which was soon to be followed up by the enormously devourable Version 2.0? Now the four-piece are back with their sixth LP, which brings a bleaker form of darkness, with emo themes dominating this celebration of insecurity.

Before dance music was absorbed and constipated into the genre we now recognise as ‘EDM’, the scene was filled with the likes of Crookers, The Bloody Beetroots and Digitalism, not to mention some imitators who fell into a forgotten subgenre we endearingly remember as ‘bloghouse’. The gist of this scene was that anyone with a computer could jump in and fashion some saw cutter electro basslines, add in some repetitive guitar riffs and share it into the blogosphere. Stylistically, it played into the indie rock scene of the day, which was being owned by bands like Klaxons and Franz Ferdinand.

Canberra’s Thunderbolt City burst onto the live scene last year and their debut EP, Demo 2016, brings with it a killer set of tunes. After a brief stint playing as Total Nightmare, Thunderbolt City have proven to be a pretty strong force in the Canberra scene. Playing a string of shows until songwriter Carey Paterson’s departure overseas, the band have progressed from thrashy hard rock to their own style of fuzzed-out power-pop. The release of their debut cements this reputation further, presenting us with four tracks that are heavily laden with big melodies, catchy-asall-hell guitar hooks, and attitude to match. Taking key Influences from ‘70s and ‘80s power-pop – think Cheap Trick and The Replacements – their sound is more classic American rock than anything else.

The band has retained its fancy, overloaded guitars and keys, albeit with less of the melodic pop quality that branded their early material. However, moody trip-hop vibes have achieved a new prominence, in keeping with the often bleak lyrics. “Sometimes I’d rather take a beating”, sings Shirley Manson in the trippy opener, with rapid-fire electro drumming underpinning this masochistic confession. Garbage claims this to be its most romantic release, where romance equals vulnerability, and themes circle the damaging side of love, with imagery of fear and self-doubt. Highlights include the fast mover ‘Empty’ with its guitar and keyboard rich atmosphere and big ‘sock it to me’ choruses, all strung together with an ear friendly melody. In ‘Night Drive Loneliness’, Manson sings of lipstick and high heels, but this slow, shadowy assemblage is no ‘Cherry Lips’. Manson’s singing is wrapped in a faint, shroud like wrap of her own vocals. ‘So We Can Stay Alive’ stars on with its electro jumble, pierced by violent broadsides of sound. With its reckless vigor and anarchic make-up, it crows with a feeling of triumph that is absent from most other tracks. ‘If I Lost You’ is the trip-hop starlet, dragging scrapes of white noise while electro worms wriggle up, before Manson’s vocals rise, Kylie like, on an updraft of synths. RORY MCCARTNEY

MSTRKRFT was among the scene’s greats, not only because half of the project belonged to Death From Above 1979’s Jesse F. Keeler, but because of their simple and fun party tracks like ‘Heartbreaker’, ‘Bounce’ and a cool remix of Justice’s ‘D.A.N.C.E.’ Operator marks their return to dance music since their peak in 2009. Rather than assimilating into the hip-hop infused or deep house territories we see today, Operator calls back to the aggressive rock coated muses of yesteryear – think ‘Waters of Nazareth’, but without the organ, and for ten songs straight. It might click for some, but for the most part, it’s unwelcoming as fuck. The one track worth investigating is ‘Runaway’, which plays to the strengths of everything that made that era of dance music great. Unfortunately, the rest of the album is built on resentment rather than love. In all MSTRKRFT’s drive to create something ferocious and against the wave, they ended up scaring everyone away from their own party, like that angry drunk who invited you over only to listen to him shout about how his girlfriend left him.

The cassette opens up with ‘Flashback’, immediately nostalgic to an era when rock and roll was unapologetically bold and brash. ‘Teenage Waste Dump’ is the pick of the lot, with soaring guitars that go on for days. When a song opens with such an epic guitar solo you know you’re in for something, as it propels the track forward with gusto. ‘Little Friend’ takes a slightly softer approach, with a pop hook and crisp guitar licks that are reminiscent of Big Star. It closes out with the heavy ‘Gone to Seed’, which has a rollicking melody that is begging to be shouted along to. Just as every good EP should, as Thunderbolt City’s Demo 2016 draws to a close its final notes linger, leaving you wanting more. MEGAN LEAHY

ANDREW NARDI

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singles in focus WITH CODY ATKINSON DONNY BENÉT ‘WORKING OUT’

THE TEMPER TRAP THICK AS THIEVES [LIBERATION]

STILLWATER GIANTS MUNICH [INDEPENDENT RELEASE]

London-based Australian alternative band The Temper Trap is back with a third long player. This album sees something of a return to its original sound and a change in the line-up, which has dropped to four with the departure of Lorenzo Sillittoe. Ironically, the loss of a guitarist has seen a greater emphasis on guitars in the tracks. For the first time, the band brought in some hired help for the songwriting. However it’s unlikely to win any awards as the lyrics are pretty unremarkable until track nine, and that’s a song the band penned themselves.

Formed in 2010, the indie-rock four-piece from Margaret River in WA (a region well known for huge trees, caves, good wine and surfing) wasted no time in creating product, with successive EPs in 2011 and 2012. The guitar band embraced the surf sound popular with many groups including Last Dinosaurs, while injecting a hint of The Strokes, courtesy of the vocal tone of frontman Henry Clarke. 2016 sees the launch of the band’s debut album, which almost never happened due to various internal conflicts.

The Temper Trap has always struck me as a band with a sound that’s so big and complex that, like takeaway meals, you have to dig deep to find something to really bite into. The title track comes as a pleasant surprise, with some real backbone courtesy of a big, layered sound, bold rhythm and sharp singing bolstered by shadowy backing vocals that come in pulses. However, ‘So Much Sky’, with its variegated guitars and vocal riff, backs off to a complex, less defined form that lacks impact. ‘Burn’ fires up well with powerful vocal combinations and ‘Fall Together’ rules with its all-conquering synths and huge sunburst chorus. Following a similar structure, ‘Alive’ maintains the upbeat vibe that pervades the album. ‘Summer of Almost Gone’ is a chameleon pop song, with constantly changing colours. Trouble is, most of them are pastel tones. ‘Tombstone’ falls in icy, invigorating cascades, but, apart from a bit of grunt in ‘On the Run’, the tracks are not very exciting from then on. Overall, this LP maintains the impression that The Temper Trap brings a big stadium vibe, but is short on substance.

Some of the best lyrics appear in ‘Help You Out’, readily expressing the frustration of trying to assist people who refuse to help themselves, while the setting of ‘Mount Street’ provides some local Perth colour and chopped-off, punchy riffage. ‘Secret Agent’ plays to everyone’s spy fantasies (and a possible career dilemma faced by musicians) with the lyrics, “If I wasn’t in this band, I’d be a secret agent man”. The Beach Boys style lead-in harmonies work in ‘Montage’, and ‘Throw it All Away’ is filled with tricky, seemingly random guitar parts that somehow come together, jigsaw-like. Other notable tracks include ‘Patience’ with a crosshatched mix of rhythms and a shout out chorus, and the happy, slappy beats and ear friendly guitar melodies of ‘Joker’. In making that big leap from EP to LP, the quality of the band’s output is a little diminished, with tracks lacking the same character that featured in the preceding release Fly Under the Radar. Munich is an easy and fun listen. However, while the songs carry a bright, instant appeal, they are readily submerged in the crowded surf rock marketplace.

RORY MCCARTNEY

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If you don’t get Donny Benét, that’s cool. Everyone can be wrong from time to time. I get it. I don’t eat bacon. But Donny is bloody great. More importantly, ‘Working Out’ is a modern Italo disco gem, both two decades behind and ahead of its time. And that sax solo halfway through is on point. What more could you want?

RAINBOW CHAN ‘WORK’ That. Beat. Is. Undeniable. Absolutely dynamite production here, really next level stuff by Rainbow Chan. ‘Work’ is the debut single from her debut album Spacings, and it’s a bit of a banger. Strike that, it’s a lot of a banger. Almost as an afterthought, Chan also manages to find a near perfect vocal hook to cap off this sweet piece of future-pop.

THE SHABBAB ‘WE KEEP COMING’ The Shabbab, a cross-cultural fourpiece currently living in Melbourne, take a big fucking hammer to some of Australia’s dark past on ‘We Keep Coming’. Aside from the spot-on sentiment, this is a chugging piece of garage rock from a band who is more under the radar than they should be. This is emblematic rock ‘n’ roll, out to cause chaos for the right reasons.

ARTISTS OF THEN, NOW & FOREVER ‘FOREVER COUNTRY’ Do you want to hear every country musician ever play every country song ever at the same time? OF COURSE YOU DO!!! You literally never have to listen to another country song ever again. This is all of them. ‘Forever Country’ is a mashup comprising half a century of Nashville history into four minutes of garbled mess. I’M SOLD!

the word

on films

WITH EMMA ROBINSON

Every since Emily Blunt strutted onscreen in torture devices, also known as Jimmy Choo stilettoes, in The Devil Wears Prada I have adored her. How she turned in a performance as a materialistic corporate climbing ‘clacker’ and followed it up with a young version of Queen Victoria is astounding. There is range and then there is Emily Blunt. In her latest film she is on form more than ever, playing out the evolution of an alcoholic, voyeuristic mess turned murder detective. Although I still refuse to see Edge of Tomorrow…

quote of the issue

“… I’m afraid of myself.” Emily Blunt (Rachel Watson), Girl On The Train

THE MAGNIFICENT SEVEN Yeeee hawwww! It’s Western remake time! Quick draws! Bar brawls! Knife fights! Wanted posters! Equine stunts! Card tricks! Ridiculous body count! A sharpshooter named ‘Goodnight Robicheaux’! This Wild West is off its fun chops! To the plot! Seeking some prime country to mine for gold, big bad Bartholomew Bogue (Peter Sarsgaard) and his morally piss-poor posse wreak violent and bloody havoc on the timid townsfolk of Rose Creek (cue Bogue’s use of a bogus visual metaphor). Shortly afterwards, widow Emma Cullen (J-Law doppelganger Haley Bennett) enlists the services of bounty hunter Sam Chisolm (badass Denzel Washington) to recruit a motley crew of badassery (population: seven) to avenge the fallen and win back the town’s freedom from the clutches of those dastardly Black Hats. Directed by Antoine Fuqua (Training Day, The Equalizer) The Magnificent Seven is a ‘Russian Dolls’ remake – it’s based on the 1960 film of the same name starring Steve McQueen, which in turn is based on Japanese auteur Akira Kurosawa’s 1954 classic, Seven Samurai. For film score fanatics, this is one of the late James Horner’s final credited scores, with the 1960 film’s famous theme tune (a.k.a. the tune from the VB ads) bringing up the credits.

MISS PEREGRINE’S HOME FOR PECULIAR CHILDREN In very typical Tim Burton fashion, the thematic-aesthetic pendulum of Miss Peregrine swings ever so exuberantly between OMG and WTF. Eyeballchomping baddies, time loops, and doll-like children who have gnashing teeth hidden beneath a Shirley Temple wig is the order of the day. Typical teen misfit, Jake (Asa Butterfield) has a close relationship with his kindly, storytelling, seemingly senile grandfather (Terence Stamp). When Jake visits his grandfather one night, he is met with a scene of terrible supernatural violence. His grandfather implores him to unravel the mystery of his past in order to discover and stop the culprit. Jake then winds up travelling across the world to Wales with his unsupportive father (Chris O’Dowd), where he meets the children of the titular home. Here, things start to get really weird… Miss Peregrine (based on a novel by Ransom Riggs) closely resembles a kind of kids’ X-Men: each child in the home has a ‘peculiarity’ that prevents them living freely in society. Eva Green is both suitably brusque and benevolent as Miss Peregrine, even though her primary purpose is expository. Allison Janney, Judi Dench and Samuel L Jackson also star.

What the film lacks in originality and perhaps ‘magnificence’, it makes up for in goodies vs. baddies Western trope enjoyment. The star-studded cast is having a blast (often literally) – why not join them?

While the guanopsychotic final act of the film detracts from the quirky and quaint vibe of the former two-thirds, the production design of the film is at times truly Burtonspectacular, with some stunning visual effects. A diverting flick for the school holidays.

MAJELLA CARMODY

CAPTAIN FANTASTIC Captain Fantastic sounds like a comic book adaption – and maybe that will trick a few punters into ticket sales. The title might seem at odds with this ‘crunchy’, slightly-left-ofcentre comedy-drama, but the character at the centre of Captain Fantastic is something of a hero. Ben (a sweet and subtle performance from Viggo Mortensen) is a dad raising his six ‘philosopher king’ kids – in the tradition of Plato – in the middle of the Pacific Northwest forest. They collect rainwater, hunt for their food with bows and arrows, and rock climb in the rain in order to keep fit. He wants to turn his children into adults who can survive the world … As long as that doesn’t mean the outside world, with its smartphones and social media and political apathy. And then, Ben’s wife – and the mother of his children – dies. The family must leave their paradise behind, and travel into the outside world. Along the way everyone learns some important life lessons, because it wouldn’t be a much-better-than-average American comedy-drama without them. The script is sweet, moving, and surprisingly nuanced; and the performances are solid from the entire cast – including the neverending supply of children. Viggo Mortensen carries the film, but stalwart Frank Langella and upand-comer George MacKay do their share of heavy lifting. The moral at the core of Captain Fantastic is one of moderation – but it will make you want move to the mountains. MELISSA WELLHAM

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GIRL ON THE TRAIN

SNOWDEN

Gas-lighting, domestic abuse, power and voyeurism are the central themes for the film adaptation of Paula Hawkins’ 2015 bestselling novel.

I cried at the end of Oliver Stone’s JFK. I can own that. Stone had articulated the outrage and confusion felt by so many people after Kennedy’s assassination, and converted those feelings into a rousing call to arms for the country’s left wing. It was an impassioned cry for truth and transparency from citizens, increasingly alienated from their government.

Rachel Watson (Emily Blunt) has lost her job and (seemingly) caused the dissolution of her marriage. Self-medicating with alcohol, she rides the train to New York every day and spies on her ex-husband (Justin Theroux) and his new wife (Rebecca Ferguson) as it passes by. When another woman Megan (Haley Bennett) goes missing, Rachel is drawn into a web of manipulation and controlling behaviour as she tries to put her life back together and uncover how and why Megan disappeared. Girl On The Train premiered in the US during Domestic Violence Awareness week and demonstrates how insidious this particular form of violence against women can be. The victims in the film are deeply flawed characters themselves and are pitted against the other female characters by the men in positions of power around them. As members of the audience, we are treated to an ‘aerial’ view of the inception of domestic violence through to its bloody end. The women in this film are messed up and commit a lot of woman-on-woman crime. This film permits these women’s actions without excusing them. The victims of domestic violence are often guilty of their own crimes. Most often this is due to the manipulations and abuses they are subjected to and victimised by. EMMA ROBINSON

Snowden, however, contains no such call to arms. Inspired by Edward Snowden’s chilling NSA revelations in 2013, we learn a lot about Snowden as a character. Joseph Gordon-Levitt eases into Snowden’s posture and voice, showing again his talent for adapting nuance into his performances. Stone is more fascinated with Snowden and the reason he chose to reveal such sensitive classified information, as opposed to the information itself and what it means for people all over the world. It’s taken as reality fairly easily as the film progresses, and we never truly comprehend the weight of the fact that the US government is spying on everyone, all the time. Parts of this film made me cringe, and I think it’s due to Stone’s tenuous grasp on IT and internet culture itself. The cheesy dubstep that plays as Snowden solves a complex IT task did not help, neither did the presence of Nicolas “The Walking Meme” Cage, who provides nothing for this film. I wanted Google Chrome, and instead Stone gave us Internet Explorer. Alas. PAT JOHNSON

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Questioning Martin Shkreli

It’s no secret that the greatest living comic book villain of our times is Martin Shkreli, who goes by the alias of ‘Pharma Bro’. What hope does humanity have against this mischievous evil? Can Cody Atkinson protect the world from his conniving douchebaggery? Frankly we should all remain sceptial, but let’s entertain the idea. CODY ATKINSON Hey, what are you writing about Shkreli for? Isn’t he a braying shitheel? Hey, people can be two things at once. Someone can be involved in music AND be a braying shitheel. Hell, for some it may be encouraged. From all evidence at hand, Shkreli might be both. But isn’t he the “Pharma Bro”? Yep, that’s the guy. For the uninitiated, Martin Shkreli rose to prominence as the quintessential “Pharma Bro”, and perhaps the only publicly known one. Shkreli’s company Turing Pharmaceuticals bought the exclusive manufacturing rights to Daraprim, a drug used to treat toxoplasmosis, which is sometimes a side effect of chemotherapy or HIV/AIDS. For no discernible reason other than the blatant pursuit of profits, Turing increased the price of Daraprim from $13.50 per pill to $750, angering pretty much all of America. And a fair chunk of the rest of the world too. Turns out people don’t take nicely to ransoming sick people, hey? Wow. And that’s not all. Shkreli has since also been arrested for securities fraud and conspiracy to commit securities fraud, relating to his dealings with his other businesses such as Retrophin. Federal investigators called his crimes like a “Ponzi Scheme”. On these charges, Shkreli faces up to 20 years in jail and whilst waiting for his trial he mostly just chills on Twitter trolling people from his overpriced apartment. So, the question remains: why are you writing about Martin Shkreli in a music publication, and not Shitbags Monthly? Well, along with his quite clearly questionable behaviour, Martin Shkreli has become intertwined in the music industry to the degree that very few accused white collar criminals have before. What is Shkreli’s involvement in the music game? For such a seemingly shallow person, it seems Shkreli might be one of the most influential people in the business side of the music biz.

bottom of the Atlantic Ocean. It equally could be any of these options. It’s really Schroedinger’s Wu-Tang album, an album that both exists and ceases to exist at any given time. Right, so what else has he done? Well, he offered to bail out Bobby Shmurda from jail, but who hasn’t offered to post bond for a rapper on Twitter before. I did it three times before breakfast today. That’s how the rap game works now, son. Anyway, Shkreli’s offer was thwarted when he was arrested himself. It’s not at all a surprise that no one publicly offered to post Shkreli’s bond – which is also how the game works when you do terrible shit to people! Not a surprise at all… I mean, did he think about dropping a critically acclaimed album before he was arrested? If you want to get bailed out by a rich bro, that’s critical. Shkreli really should have been across this. In his defence, he gave an interview to HipHopDX stating that he could record an album if he wanted, and he’s written a lot of good songs before. He suggested he could definitely do it, and pay Drake, Lil Wayne and Timbaland to contribute, with a budget up to $5 million. But, as mentioned above, he’s a braying shitheel and it could all be bullshit. So what else did he do that was musically related? Well, it was revealed at the time of his arrest that Shkreli was the major investor in US hardcore/emo label Collect Records, run by Geoff Rickly (lead singer of Thursday) who has a fair bit of rep in that scene. Collect Records had, over the last few years, eked out a prominent spot in the US scene of the same name. The label had even splashed out on a couple of bigger name signings, such as critically acclaimed band The Hotelier.

Who hasn’t offered to post bond for a rapper on Twitter before? I did it three times before breakfast today

Most influential? Yeah. Like, remember when this column wrote about that Wu-Tang Clan album, Once Upon A Time In Shaolin, that only one copy was made of? And that copy was going to be sold for millions of dollars, and withheld from the public for the next 88 years? Well, if you do remember (and even if you don’t), Shkreli was the one to buy it. For two million dollars. Likely with money either gotten from morally or ethically bankrupt business practices. And once it was publicly disclosed, Wu-Tang tried to distance themselves from him, as much as they humanly could, anyway.

Yeah, well that makes sense… And then Shkreli half-heartedly (or half-jokingly) threatened to destroy the album for the disrespect that RZA showed to him after his identity as the buyer was revealed. Not to mention the shade that Ghostface Killah flung in his direction.

So Shkreli might not even be a hip-hop fan? Or even if he is, he’s probably a bigger hardcore guy, but that doesn’t play to the public image as well. It’s like this guy is obsessed with his public image or something.

So back to the label… Once the news of the arrest broke, the owner of the label, Rickly immediately distanced himself from Shkreli like almost everyone else would. But, once the news about Shkreli’s investment in the label spread, and his money dried up, the label began to slowly die. In a recent interview with Pitchfork, Rickly said that he thought the label could find other investors, but as Shkreli stayed in the news cycle, the label’s connection just wouldn’t go away. When he spoke to his lawyer to dissolve Collect, the lawyer said, “You’re small enough to just stop doing stuff. Just stop doing stuff.” So Collect stopped doing stuff? Yep. The label just died. And Shkreli keeps being a public arsehole. Great bands struggle to make a living, yet the Pharma Bro just gets a bigger megaphone.

So no one will listen to the Wu-Tang album? Maybe. Who knows. He’s probably throwing it on at a party right now. Or it’s at the

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Autumn, Chaoswarrior, Lions of the Underground, Ghosts of Pandora Woden Youth Centre Friday September 30

on gigs

Known for its all ages shows in Canberra, the Woden Youth Centre has been a staple in the local music scene. September’s Between the Lines event featured Sydney bands Ghosts of Pandora and Chaoswarrier, and local bands Lions of the Underground and Autumn. Sydney’s Ghosts of Pandora opened the evening playing a set that determined the mood for the night to come. Locals Lions of the Underground played songs that were the epitome of everything you love about punk/hardcore music. Watching them play, you would never guess they’re a new band on the scene. Chaoswarrier came out swinging their sound and keeping the crowd on their feet.

PHOTO BY GABBY MARSHALL

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Finally, local favourites Autumn headlined the night, showcasing songs that Canberra has come to know and love. A recent lineup change has only made them stronger and tighter. Performing an old track that they wrote at the Youth Centre, this band grew up coming to all ages shows here, and it was a rite of passage for them to headline Between the Lines. Canberra has been without all ages shows since the closing of the Magpies Club in September last year, a real shame as these shows have a sense of family and community. I hope Between the Lines at the Woden Youth Centre is a sign of things to come in the all ages scene. All ages shows are where the next generation of fans and bands come from. Between the Lines’ September show was just the beginning and I’m excited for the future of the Woden Youth Centre. GABBY MARSHALL

The Ocean Party, Big White, Ear Ache The Phoenix Thursday September 29

on gigs

Each time I happen to see Ear Ache, the more impressive they are. It’s a simple set-up, and a simple sound, but the execution is rock solid. The local two-piece lands somewhere between shoegaze, slowcore and indie, but man does it sound good. Big White, on the back of their debut album Teenage Dreams, seem like five Sydneysiders who just want to create guitar pop fun. And that’s exactly what they did in front of an ever building crowd. There’s something oddly endearing about their set. A bit of ‘90s disaffectedness and intelligent lyricism punched through the hooks, such as on their track ‘I Can’t Tell’. Their set was accessible and engaging without being cloying, really heavy on bright melodies but with a bit of substance behind it.

PHOTO BY MEGAN LEAHY

Halfway through The Ocean Party’s set, a compadre leans over and says, “Fuck this is good.” They weren’t telling a lie – this was really, really good. If you haven’t seen The Ocean Party and you live in Canberra, it’s not for lack of opportunity, as they seem to be here every couple of months. And each time they play, they deliver a phenomenal set of distinctively Australian indie-pop with just a twang of country in there. They’ve clearly hit the spot where, as a band, they can mess around on stage and still not miss a note. Playing tunes mostly off their brand new record Restless, the sixpiece tread the delicate line between breezy and downcast, without overplaying either side. All six shared vocal duties on the night, climaxing in the corker that is ‘Deluded’. What a choon. Rumour has it that both touring bands kicked on at Dolce until close, performing the rare double that few touring bands can complete. CODY ATKINSON

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on gigs

The Hugo Lee Band Rhythm and Blooms Festival (Floriade Stage 88) Tuesday September 28 The second day of the ANU School of Music’s Rhythm and Blooms Festival at Floriade pulled the typical summer holiday crowd of families enjoying tulips and, thanks to The Hugo Lee Band, some smooth jazz fusion. The Hugo Lee Band opened their set with Kenny Garrett’s ‘Sing a Song of Songs’. They didn’t do anything radical with the arrangement but they sounded great. Daniel Faber’s drums and Jack Schwenke’s bass drove the number with just a hint of rock, which lent itself well to the composition. The PA guy was rocking out, enjoying the set and doing a great job on the mix, while the rest of the audience relaxed in the sun. The second tune, Miles Davis’ ‘Nardis’ opened with Lee playing the head on his soprano Sax and the band swirling around him freely. The tune then kicked in as funk fusion, highlighted by Ben Forte’s somewhat aggressive jazz funk guitar solo and Schwenke’s bass solo that turned disco for a while – it was a lot of fun. A couple of tunes in and The Hugo Lee Band played a jazz funk version of ‘Smells Like Teen Spirit’. It’s not until I wrote that sentence that I began to see just how absurd it is. Some in the audience noticed and were excited by the song choice. They finished the set with two originals, ‘Stars and Rain’ and ‘Damage Control’. The band seemed to lose some of its edge for these tracks, but the playing was still superb with very competent jazz soloing. Hugo Lee’s playing was upbeat and his tone exciting, a must see for Canberra jazz fusion fans. JOE DOLEZAL

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ANU Experimental Music Studio, ANU Music Engagement Program Rhythm and Blooms Festival (Floriade Stage 88) Tuesday September 27 Floriade’s Rhythm and Blooms Festival got off to a great start with audience participation, sing-alongs and avant-garde graphic score interpretations. The festival kicked off on a sunny public holiday with mostly families with children in attendance. This suited the ANU Music Engagement Program, whose intent is “… to encourage the music making of others through singing and/or instrumental engagement to promote wellbeing and social harmony”. They handed out lyric sheets and a few kids got on stage for their first song, ‘I Like Aeroplane Jelly’. Sadly, their set didn’t translate well to the big stage. They sang in big voices that would have been perfect for an acoustic gig but instead grated through the Stage 88 PA. Parents sat through the cacophony, concentrating mostly on their phones. The ANU Experimental Music Studio set up guitars, organ, synth, banjo and percussion. They then invited the audience to help compose graphic scores for their set. A dozen children volunteered and the ensemble ran a well organised workshop while the audience enjoyed the sunshine. They opened their set with an untitled graphic score by Olivia. The children joined in the performance with percussion and vocals while the ensemble interpreted the children’s scores with thoughtfulness and integrity. The pieces were short, tight and melodic with creative titles such as ‘It’s Raining Tacos’, ‘The Frozen Song’ and ‘The Monster’. Alexander Hunt, on banjo, led proceedings but each member was given equal voice. All seemed on the lookout for the end of each piece, careful not to overplay. Ironically, the ANU Experimental Music Studio engaged the audience more successfully than the Music Engagement Program, even some of the resting parents lowered their phones to listen. JOE DOLEZAL

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Orsome Welles, Tundrel, Hallucinatorium The Basement Saturday September 24

on gigs

Hallucinatorium performed first. With a small legion of younger fans and parents in the front row, they performed surprisingly well and they are clearly influenced by Sabbath in sound. These fresh young enthusiasts have a stoner doom sound; with a female singer (Jess), whose sultry rock voice and characteristics on stage reminded me of a very young Chrissy Amphlett. I was impressed with the cohesion of the guitarists with the drummer, and if this band keeps gigging they will become extremely good. It was also a real pleasure to see them stay for the entire night after their set and watch the other bands. Tundrel played next and with so many new younger people in the room their six-song set was well placed – the new crowd was engaged the entire time. They mixed their set list really well, placing some of their older songs in with the newest ones, and as always these long-term personal favourites sounded fantastic. It was great to see new faces enjoying them as much as me. I’m still hanging for their new album release due very soon.

PHOTO BY SAM INGHAM

Orsome Welles headlined and closed the evening. I was really eager to see these guys perform again. They debuted their new song ‘Build a World’ – lyrically rich, it’s about being obsessed with making a selfchange. I struggle to believe they have only existed on stage for two years – they are so comfortable as a unit and their singer Michael is so vocally rich, calm and skilled. With their heavy progressive sound and style, it’s easy to see why big names such as Trivuum, Seether, Twelve Foot Ninja and Ne Obliviscaris have had them perform at their shows. Definitely a band to get along and enjoy whenever you see their name on the bill. SAM INGHAM

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Tangents The Street Theatre Saturday September 24

on gigs

Reducing Tangents to a simple signifier such as “good” doesn’t feel like it does them justice. Just like the five-piece seems to ask a lot of the crowd to process the noise going on around them. That’s not a bad thing, especially if you don’t mind being challenged every now and again with what you watch or listen to. Their set fell somewhere between the familiar and the avant-garde. Think of a mix of modern jazz and IDM (pardon the cliché), of analogue forms meeting newer explorations of them. For a less wanky, verbose comparison, think The Necks meet Four Tet. Most on stage had conventional instruments, but also had ways of significantly modifying their output. This was largely accomplished by Ollie Brown, former collaborator with Aphex Twin, sitting behind a laptop keyed into the various outputs. Numerous pedals were deployed throughout the night, creating different sonic textures around the rock solid drumming of Evan Dorrian. The melodic parts were largely driven by the keyboards of Adrian Lim-Klumpes, the former member of Pivot and Triosk.

PHOTO BY MEGAN LEAHY

Local man-around-town Shoeb Ahmed added flourishes on guitar, contributing colour to the surrounds more than anything. Anchoring the band was veteran cellist Peter Hollo, who provided a solid base for the quintet. The night was presented in two hour-ish long “movements”, largely (and loosely) comprising of their most recent album Stateless. Tracks from the album were drawn out and contracted at will, subtly shifting around. Overall, Tangents delivered a performance of impressive imagination and execution. CODY ATKINSON

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SAFIA, Set Mo, Running Touch UC Refectory Friday September 23

on gigs

SAFIA kicked off their album tour at UC Refectory, in front of an enthusiastic hometown crowd. Despite arriving what I thought was early, I only caught the last song of Running Touch, a masked multi-instrumentalist who is currently making his mark on Triple J Unearthed. A short time later Set Mo hit the stage, soaking up and reflecting back the crowd’s enthusiasm. They played a short set which featured their single from last year, ‘White Dress’, a couple of RÜFÜS songs and finished with their new single. After Set Mo, SAFIA kept us waiting. People jostled for position and the crowd started to become restless. But then the boys casually stepped onto the stage in front of a dazzling light and video display, and opened with ‘My Love is Gone’. The crowd loved it. Next they played ‘Make Them Wheels Roll’, then ‘Home’. “This is the first night of our album tour,” said singer Ben Woolner, “and you are the first people to hear many of these songs live.” They sounded great: crisp, full of depth and character, and easy to dance to. “We thought we’d treat our hometown that has treated us so well,” Woolner continued.

PHOTO BY MARTIN OLLMAN

I’ve watched SAFIA’s live show evolve over the last year or so. They’ve always had the basic elements right, but this show took everything up to another level. And the boys seemed more comfortable and confident on stage as well. They are still appreciative of their fans, but they don’t seem as surprised as they did a year ago that so many of us turned up. They played most of the songs off their album; I particularly enjoyed ‘Bye Bye’, which sounded amazing live. ZOE PLEASANTS

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Deborah Conway and Willy Zygier National Film and Sound Archive Friday September 16

on gigs

The National Film and Sound Archive proved an idiosyncratic yet fitting venue for Deborah Conway and Willy Zygier to introduce their album, Everybody’s Begging, and pay homage to her solo debut, String of Pearls. Zygier, in a tuxedo – his resonator an accessory as much as a musical weapon – quipped with the audience, “So they used to cut up dead bodies here? Gives a whole new meaning to dying on stage!” The long-time musical collaborators, and husband and wife, glided effortlessly through their latest material; Conway’s voice and presence remain commanding as ever. The sell-out crowd sat hypnotised as the album played in full. Conway dedicated the final track, ‘Serpent’s Tooth’, to all the people in the room who had ever had anything to do with teenagers. A woman in my row wept openly as the song came to a close. After intermission the band returned and took us back to 1991. Longtime fans reveled in the nostalgia and retelling of this important Australian record. The performance illustrated the perennial quality of these sometimes whimsical, but ultimately beautifully crafted works, now 25-years-old.

PHOTO BY MARK TURNER (Photographed elsewhere.)

‘Buried Treasure’ was dedicated to Conway’s great aunt Dolly, who relocated to Perth from Melbourne alone at age 91, and ‘It’s Only The Beginning’ was charmingly prefaced with the story of Conway and Zygier’s first meeting. ‘Under My Skin’ maintained the hard and fast energy of the original recording, while ‘White Roses’ quietly stunned. Conway strummed her guitar in solitude, before the band regrouped midway through a hauntingly powerful rendition of the title track. A standing ovation retrieved the band for an electric encore of ‘Man Overboard’ by Do-Re-Mi. SAMUEL TOWNSEND

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Camp Cope, Cayetana, Moaning Lisa Transit Bar Wednesday September 14

on gigs

Right before their big win at the National Campus Band Comp, local indie rock prodigies Moaning Lisa added some numbers to their fan base at this crowded gig. The (mostly) all-girl, all-punk line-up drew Canberra’s feminist and punk crowds out of the woodwork, but it was Moaning Lisa who rallied the audience with singles ‘Comfortable’ and ‘Inadequacy’, plus a cool cover of ‘Cannonball’ by The Breeders. Another highlight was seeing them scream excitedly in a corner of the bar when ‘Comfortable’ debuted on Triple J. If you haven’t already, now’s the time to check ‘em out. Philadelphia-based punk rock trio Cayetana without a doubt played louder than anyone else on the bill, so much so that my ears were deafened for a few days afterwards – these are the lengths we go to for punk. The group powered through their catalogue and flogged us with everything this scene is about, throwing themselves into ‘Serious Things Are Stupid’, ‘Black Hills’ and ‘Dirty Laundry’.

PHOTO BY LOZDOGPHOTOG

Apparently Camp Cope vocalist and guitarist Georgia Maq was fighting against a sore throat, but you could hardly tell in her delivery. Australia’s latest punk rock sensation played a slew of their songs with precision, including powerful renditions of ‘Done’, ‘Jet Fuel Can’t Melt Steel Beams’ and for the finale, an emotional ‘Lost (Season One)’. Unfortunately, a sore throat stood in the way of Canberra getting an encore, despite big cheers and chants. Rising for the occasion, drummer and all-round legend Sarah ‘Thomo’ Thompson skolled her beer for us instead. After a killer set, it was unfortunate to hear some groans around the bar, but there were just as many punters approaching the talent to thank them, have a chat and share a few drinks too – and that’s what it’s all about, ay. ANDREW NARDI

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Postmodern Jukebox Llewellyn Hall Saturday September 10

on gigs

The night’s promise was, “the coolest party that Frank Sinatra would have gone to back in the forties.” With this kind of hype, the significant pool of songs (the group release a new song every week), and the promise of a large crew of performers, there were some high expectations for the evening. This was reflected in attendance – ticket prices had obviously not deterred the audience as the venue was near capacity. We were introduced to ‘Scott Bradlee’s’ Postmodern Jukebox by MC LaVance. Musical highlights during the opening included ‘Roar’ and ‘Not The Only One’. MC LaVance maintained the commentary throughout the evening, keeping the party vibe alive. While introducing Outkast’s ‘Hey Ya’, he exclaimed that the vocalist “had been left out of The 1945,” and whilst the dancers appeared to be having fun during this cover, it didn’t come off as well as others in the set.

(Photographed elsewhere.)

A tap-dance battle against the drummer mid-set to The Addams Family theme broke things up nicely, and a medley that included Jackson 5 and Queen ticked off a few more songs. Two of the performers playing the one bass for a solo during ‘All About That Bass’ showed off more musicianship. The best songs were saved for the second half as they pulled out ‘Toxic’, ‘Creep’, ‘Sweet Child o’ Mine’ and an Aussie crowd pleaser in ‘Waltzing Matilda.’ They had us up dancing by the end of the evening. Although it was a pleasant night and a fine display of musicianship, at points in the performance it appeared a little too polished or soulless and not quite as authentic as it would have been in 1940s USA. Nevertheless, I would probably go again as they did announce they will be back next year. JARROD MCGRATH

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L- Fresh the Lion, Omar Musa, Sukhjit Transit Bar Friday September 9

on gigs

Sukhjit summoned the punters with some a cappella singing, getting them finger snapping in time. After intimidating more people to come to the front, she entertained with a mix of song, spoken word poetry and comedy. The stories she related had important messages about multiculturalism and body image. There was plenty of audience participation, including call and response singing and a little role playing. One guy enjoyed it so much he had to be reminded later on that he was not part of the show. Omar Musa, with DJ D’Opus in support, laid some smooth rubber with his rapping, riding on a black top of powerful beats. The energised crowd raised and lowered their arms vigorously to Musa’s tales which, while relating troubling issues like racism, were still full of strength and hope. Later on, D’Opus dropped the bass a few thousand feet, sending subterranean vibrations through the room. The stark lyrics of ‘The Razor’s Edge’ ended bluntly with “And I too became afraid”, but a cameo appearance by Roshambo sweetened the set near its end.

PHOTO BY VICTOR TAWAGI

Supporting vocalist Mirrah hyped the crowd before L-Fresh The Lion kicked off, delivering a good selection from his debut LP and the recently released Become. The contrast between the raw power of the early songs and the evolved nature of the new ones, requiring more samples at gigs, was apparent. L-Fresh has a personal investment in his shows, explaining his musical evolution and paying homage to his ancestors. Songs varied from the politically charged ‘Get Mine’, to the humorous (but still carrying a serious message about cultural respect) ‘Hold Up’, to the spiritual ‘Pray for Me’ with Mirrah so soulful in the chorus. A few Bollywood inspired moves added sparkle to the performance. RORY MCCARTNEY

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on gigs

Boris The Blade, Disentombed, Honest Crooks, The Sign of Four The Basement Monday September 5 It’s not often that big bands hit our shores outside of festivals, but on the odd occasion they do, it becomes a rare treat for music lovers. The Suicide Silence tour has been no exception, touring the country with Grave, Boris The Blade and Disentombed, they have been laying waste to all of our major cities. Seeing as Canberra missed the bill, Boris The Blade and Disentombed decided to pay us a visit. Livening up the small back room, they were joined by The Sign of Four and Honest Crooks. Starting off the evening, The Sign of Four pumped their chaotic sample-filled brutality and showed Canberra why they are definitely worth keeping an eye on. Honest Crooks then jumped up and made their mark, playing the slam that Canberra has been craving. It also seems to me that these guys have become quite accustomed to our little city, seeing as they play here more often than some other Canberra bands. Disentombed invoked their slam, which made the crowd bang their heads so hard that I wasn’t quite sure everyone still had a neck.

PHOTO BY GABBY MARSHALL

Finally, Boris The Blade hit the stage, playing tunes that we all knew and loved. Finishing off the night, they played a new track and then called the crowd for a wild wall of death. The night’s vibe was very sluggish in parts, mostly due to it being a Monday, but it was good to see that this didn’t stop everybody moving and enjoying themselves. The sound and lighting matched the high expectation that The Basement has set. All in all, it was a great reminder that heavy music is still going strong. JOSH ROBERTSON

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ENTERTAINMENT GUIDE October 12 – October 15

Listings are a free community service. Email editorial@bmamag.com to have your events appear each issue. WEDNESDAY OCTOBER 12

ART EXHIBITIONS Dissections

Layered portraits from the collection. 10am. Free. Until 27 Nov. NATIONAL PORTRAIT GALLERY

The Waterhouse Natural Science Art Prize 2016 On show until 13 Nov.

NATIONAL ARCHIVES OF AUSTRALIA

Noisy Nights

Collaborative concerts and activity in Canberra. THE FRONT GALLERY AND CAFÉ

TALKS Future Possible: text futures 6pm. $15/10 includes a drink. GORMAN HOUSE ARTS CENTRE

THURSDAY OCTOBER 13

The Environmental Film Festival Australia Info at effa.org.au.

PALACE ELECTRIC CINEMA

Japanese Film Festival 2016 14-23 Oct.

CAPITOL THEATRE MANUKA

LIVE MUSIC Special K

9.30pm. Free.

KING O’MALLEY’S IRISH PUB

Lay About

COMEDY

Oslow

ANCA GALLERY

Kitty Flanagan

THE PHOENIX BAR

By Jacob England. Until 16 Oct.

As It Is & the unbearable lightness of seeing

Two exhibitions from 29 Sep-16 Oct. M16 ARTSPACE

Finding the Essence

All New Whitey McWhiteboard Show. 7.30pm. 4-9 Oct. 11-15 Oct.

With Hannahband, Agency & Eadie & The Doodles. 9pm. $10/$5.

Friday Night Live – 8 Ball Aitken

THE COURTYARD STUDIO

8pm. Free

FILM

Illworths

HARMONIE GERMAN CLUB

Environmental Film Festival Australia

Fresh hip hop people - with Jedbrii, Lash, Finn Filfy and JOOKS, Silicone Slave, Keegz and more 8pm,

She walked in and pulled out a chair

PALACE ELECTRIC CINEMA

Finn

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

11-30 Oct. The insights to be gained from moments of stillness and close observation. FORM STUDIO & GALLERY

Info at effa.org.au.

TRANSIT BAR

Finding the Essence

11-30 Oct. The insights to be gained from moments of stillness and close observation. FORM STUDIO & GALLERY

She walked in and pulled out a chair By Dioni Salas. Until Oct 29.

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Seeking Refuge Exhibition 6-29 Oct. 6pm.

TUGGERANONG ARTS CENTRE

Equus Homo

6-29 Oct. 6pm. Free.

TUGGERANONG ARTS CENTRE

Traces, The Map Project, In Memory & Pivotal Free entry. 14 Oct-6 Nov.

BELCONNEN ARTS CENTRE

Fresh Glass

15 Sep-30 Oct. Studio glass vessels and sculpture with fresh botanical installations. CANBERRA GLASSWORKS

Free entry. 8:30pm.

COMEDY

AUSTRALIAN WAR MEMORIAL

Hit and Run Duo

Kitty Flanagan

Equus Homo

LIVE MUSIC

CANBERRA IRISH CLUB

TUGGERANONG ARTS CENTRE

Amanda Delaney Duo

Seeking Refuge Exhibition

9pm. Free.

KING O’MALLEY’S IRISH PUB

TUGGERANONG ARTS CENTRE

Capes

By Dioni Salas. Until Oct 29.

6-29 Oct. 6pm. Free. 6-29 Oct. 6pm.

Fresh Glass

15 Sep-30 Oct. Studio glass vessels and sculpture with fresh botanical installations. CANBERRA GLASSWORKS

Veterans Film Festival

Tickets at veteransfilmfestival.com.

9pm. $10/$5. Horace Bones, Signs & Symbols & Northbourne Flats. THE PHOENIX BAR

Darlow

Sep 20-Oct 12.

PALACE ELECTRIC CINEMA

LIVE MUSIC Lunchtime Live

Every Wed from 12.40pm-1.20pm. WESLEY UNITING CHURCH

Hannah’s Farewell

With Mondecreen, PAINTonPAINT and Jason Recliner. 7.30pm. $5. THE PHOENIX BAR

Horrorshow

If You Know What I Mean Tour. With B Wise. 8pm. TRANSIT BAR

I’m from here, I’m from there Opens 6.30pm 7 Oct-29 Oct. TUGGERANONG ARTS CENTRE

End of Semester Concert $5. 7.30pm.

17 Sep-16 Oct. 9am-5pm. COMMONWEALTH PARK

ROSE COTTAGE

Inspired by David McAllister, Artistic Director of the Australian Ballet. 1pm/3pm. Free. NATIONAL PORTRAIT GALLERY

AVIARY ROOFTOP BAR

Tickets at veteransfilmfestival.com. AUSTRALIAN WAR MEMORIAL

SOMETHING DIFFERENT

Environmental Film Festival Australia

Poetry Readings

PALACE ELECTRIC CINEMA

The Song Company: Strange Fruit

MANNING CLARK HOUSE

14-23 Oct.

WESLEY UNITING CHURCH

Share music, stories, comedy, circus tricks or antics. 7pm. Free. With special guests.

THE STREET THEATRE

Beethoven 4th Piano Concerto With Dr Neal Peres Da Costa. Info at australianhaydn.com.au. UNIVERSITY HOUSE

6pm.

ON THE TOWN The Thursday Games

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

Japanese Film Festival 2016

Art Underground Wide Open Mic Night

CAPITOL THEATRE MANUKA

BEYOND Q

SATURDAY OCTOBER 15 ART EXHIBITIONS

Zeke’s Lunchbox

Dissections

And Terhor Exhibition Launch. LOBROW GALLERY & BAR

Oktoberfest

Free. 18+. 12pm onwards. ANU BAR AND REFECTORY

FRIDAY OCTOBER 14

Improvised comedy and acting by Lightbulb Improv. 7pm. $15/$10. SMITH’S ALTERNATIVE

FILM Veterans Film Festival

Tickets at veteransfilmfestival.com. AUSTRALIAN WAR MEMORIAL

facebook.com/bmamagazine

Info at effa.org.au.

7.30pm.

AVIARY ROOFTOP BAR

Switched On

Floriade 2016

Dances for David

Classic rock and blues. 8pm. Free. More information at bandmix.com.au/ mac11943/

Veterans Film Festival

SOMETHING DIFFERENT

SMITH’S ALTERNATIVE

DANCE

Rock Or Be Rocked

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

COMEDY

Mental Health Week. 7pm. Info at mieact.org.au.

NATIONAL PORTRAIT GALLERY

Emma Louise

ANU SCHOOL OF MUSIC

Stories are US

THE COURTYARD STUDIO

With the Griffyn Ensemble.

FILM

Tickets at snip.ly/EmmaLouiseCan. Support from Fractures. 7:30pm. $39.

The Lavazza Italian Film Festival

Castles of Refuge

Fridays From Five

Transposition

FILM

All New Whitey McWhiteboard Show. 7.30pm. 4-9 Oct. 11-15 Oct.

ON THE TOWN

TRANSIT BAR

THE PLAYHOUSE

7pm. Free.

Victorian troubadour, supported by Alec Randles and more 8pm, free.

DANCE 7.30pm.

CHISHOLM TAVERN

Layered portraits from the collection. 10am. Free. Until 27 Nov. NATIONAL PORTRAIT GALLERY

The Waterhouse Natural Science Art Prize 2016 On show until 13 Nov.

NATIONAL ARCHIVES OF AUSTRALIA

Lay About

By Jacob England. Until 16 Oct. ANCA GALLERY

As It Is & the unbearable lightness of seeing

Two exhibitions from 29 Sep-16 Oct. M16 ARTSPACE

Terhor & Zeke Exhibition Launch 6pm. Free. 13-30 Oct.

LOBROW GALLERY & BAR

LIVE MUSIC 4th Degree 10pm. Free.

KING O’MALLEY’S IRISH PUB

The Vacant Lot

With Red Red Krovvy, New Age Group & Little Lunch. 9pm. $10/$5. THE PHOENIX BAR

I’m from here, I’m from there Opens 6.30pm 7 Oct-29 Oct. TUGGERANONG ARTS CENTRE

Johnny Reynolds Blues Band

2pm. $3$/5. Canberra Blues Society Jam. HARMONIE GERMAN CLUB

Matthew Fagan: Lord of the Strings! Classical, pop and rock covers on unique 10-string guitar! 4pm. $25/$20/$10. SMITH’S ALTERNATIVE

Jack Colwell

With Julia Johnson.

SMITH’S ALTERNATIVE

The Hard Aches Live music.

TRANSIT BAR

Castles of Refuge

With the Griffyn Ensemble.

NATIONAL PORTRAIT GALLERY

ENTERTAINMENT GUIDE October 15 – October 22 SATURDAY OCTOBER 15 LIVE MUSIC

LIVE MUSIC Cielle Montgomery & James Church

Rock Or Be Rocked

Folk/Americana from Cooma’s own Welch and Rawlings. 5-7pm. Free entry.

THE BURNS CLUB

Irish Jam Session

8pm. Free.

James McCusker Orchestra 3.35pm.

STAGE 88

ON THE TOWN HELIX 001 with HI LIFE 7pm. $5.

LOBROW GALLERY & BAR

SOMETHING DIFFERENT Floriade Dogs Day Out

Bring your dog to raise money for Guide Dogs ACT/NSW. COMMONWEALTH PARK

A BITE TO EAT CAFE

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

Breaking Point

With Whitefall, Silver Lining, Psionic Tide & Lions of the Underground. 6pm. $15. THE BASEMENT

Aviary Live Sessions

3pm. Free. Local musicians step in to entertain us for a Sunday Session. Beer & Cider specials. AVIARY ROOFTOP BAR

Fragrance-filled courtyard

2pm. $20/ $10/$5. www.agac.com.au

Toddlers’ Prom

AINSLIE ARTS CENTRE

6.30pm.

10am. $6 children, $10 adults, $20 family.

Historical Tour

11am. Free guided tour of the 101-year-old Kingston Power House. CANBERRA GLASSWORKS

Gardening for Renters

10am. Tips and tricks that will keep your landlord happy.

Baroque Lute Music of Sylvius Leopold Weiss WESLEY UNITING CHURCH

Lisa Richards

A Light From The Other Side tour. SMITH’S ALTERNATIVE

MONDAY OCTOBER 17

The Waterhouse Natural Science Art Prize 2016 On show until 13 Nov.

NATIONAL ARCHIVES OF AUSTRALIA

Chicago Charles 9pm. Free.

KING O’MALLEY’S IRISH PUB

Seeking Refuge Exhibition

ON THE TOWN

TUGGERANONG ARTS CENTRE

The Thursday Games

6-29 Oct. 6pm.

Terhor & Zeke Exhibition Launch 6pm. Free. 13-30 Oct.

LOBROW GALLERY & BAR

Finding the Essence

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

FRIDAY OCTOBER 21

11-30 Oct. The insights to be gained from moments of stillness and close observation.

LIVE MUSIC

She walked in and pulled out a chair

With The Real Thing. Tickets at ticketek.

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

The Jezabels

FORM STUDIO & GALLERY

By Dioni Salas. Until Oct 29.

Equus Homo

6-29 Oct. 6pm. Free.

TUGGERANONG ARTS CENTRE

Traces, The Map Project, In Memory & Pivotal Free entry. 14 Oct-6 Nov.

Hot Chocolate

CANBERRA SOUTHERN CROSS CLUB (WODEN)

Tickets at frntr.co/JezabelsCan. ANU BAR AND REFECTORY

The Gypsy Scholars

8pm. $10. With String Elephants & Helena Pop. THE PHOENIX BAR

BELCONNEN ARTS CENTRE

Oscar

FILM

KING O’MALLEY’S IRISH PUB

Japanese Film Festival 2016 14-23 Oct.

CAPITOL THEATRE MANUKA

9.30pm. Free.

Benny’s Send Off

With The King Hits. 12am. THE PHOENIX BAR

The 45 Sessions

JC, Adverse, DJ Fib, Pactman & Jayo. 8pm.

CANBERRA ENVIRONMENT AND SUSTAINABILITY RESOURCE CENTRE

LIVE MUSIC

Remember Bach One Day Festival

CMC Presents The Bootleg Sessions

Lunchtime Live

OLD CANBERRA INN

Every Wed from 12.40pm-1.20pm.

Kingfisha

THE PHOENIX BAR

WESLEY UNITING CHURCH

The Delta Riggs

Bringing the party back home for a run of shows. TRANSIT BAR

Workshop, masterclasses, concert. 10am-4pm. WESLEY UNITING CHURCH

Floriade 2016

17 Sep-16 Oct. 9am-5pm. COMMONWEALTH PARK

WORKSHOPS Mother Tongue Spoken Word

Poetry workshops and a showcase for performers. Free. TUGGERANONG ARTS CENTRE

Making Non-Dairy Milks

1:30pm. Evangeline Lam will demonstrate how to make dairy-free milks. CANBERRA ENVIRONMENT AND SUSTAINABILITY RESOURCE CENTRE

8pm. Free.

On Air

Dutch recorder virtuoso Walter Van Hauwe. 6pm. WESLEY UNITING CHURCH

SOMETHING DIFFERENT Producers Toolkit 6pm. $20/$25.

GORMAN HOUSE ARTS CENTRE

TALKS Launch: Only in Australia

Free. 5.30pm. Launched by Senator David Leyonhjelm and introduced by its editor Dr William Coleman. MUSE: FOOD, WINE, BOOKS

SUNDAY OCTOBER 16 ART EXHIBITIONS Tough & Tender: Exhibition

Tough & Tender reveals emotional vulnerability and yearning for connection. 10am. Free. NATIONAL PORTRAIT GALLERY

DANCE Dances for David

Inspired by David McAllister, Artistic Director of the Australian Ballet. 1pm/3pm. Free. NATIONAL PORTRAIT GALLERY

FILM Japanese Film Festival 2016 14-23 Oct.

CAPITOL THEATRE MANUKA

TUESDAY OCTOBER 18

ACADEMY NIGHTCLUB

I’m from here, I’m from there Opens 6.30pm 7 Oct-29 Oct.

Diesel

Tickets at thestreet.org.au or 6247 1223. THE STREET THEATRE

TUGGERANONG ARTS CENTRE

Hinterlandt

Collected Resonances

With Oliver Downes. 7pm. SMITH’S ALTERNATIVE

AINSLIE ARTS CENTRE

ON THE TOWN

8pm. $5.

Peter Bibby & Melody Pool

Tickets at spinningtopmusic.com. THE FRONT GALLERY AND CAFÉ

ON THE TOWN Stone & Wood Tap Takeover

The producers of Australia’s finest beers take over Transit Bar’s hallowed beer taps with six of the TRANSIT BAR

KARAOKE

SOMETHING DIFFERENT

#KaraokeLove

BAD!SLAM!NO!BISCUIT!

Fridays From Five

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

SOMETHING DIFFERENT ANU Open School of Music Info Night Performances from staff, students and world renowned accordionist James Crabb. 4.30pm-7.30pm. Free. ANU SCHOOL OF MUSIC

9pm. Free entry.

8pm.

TRANSIT BAR

THE PHOENIX BAR

TRIVIA

THEATRE

ART EXHIBITIONS

ANU Film Group Presents:

Othello

Fresh Glass

Movie Trivia With Adam & Henry. 7.30pm. THE PHOENIX BAR

WEDNESDAY OCTOBER 19 ART EXHIBITIONS Fresh Glass

15 Sep-30 Oct. Studio glass vessels and sculpture with fresh botanical installations. CANBERRA GLASSWORKS

Dissections

Layered portraits from the collection. 10am. Free. Until 27 Nov.

Active Galactic Tour around the country from September.

NATIONAL PORTRAIT GALLERY

14-22 Oct.

CANBERRA THEATRE CENTRE

THURSDAY OCTOBER 20 LIVE MUSIC She-Riff: Vol 3

Featuring Wandering Ghosts, Betty Alto, Second Sun and Georgia Bennett 8pm, $5 before 9pm/$10 after. TRANSIT BAR

The Black Swamp

With Imperilment, Psionic Tide & Beast Impalor. 7pm. $10.

SATURDAY OCTOBER 22

15 Sep-30 Oct. Studio glass vessels and sculpture with fresh botanical installations. CANBERRA GLASSWORKS

The Waterhouse Natural Science Art Prize 2016 On show until 13 Nov.

NATIONAL ARCHIVES OF AUSTRALIA

Seeking Refuge Exhibition 6-29 Oct. 6pm.

TUGGERANONG ARTS CENTRE

Terhor & Zeke Exhibition Launch 6pm. Free. 13-30 Oct.

LOBROW GALLERY & BAR

THE BASEMENT

Bonus Round w/ Pickle

Playfulsound, FB Perimeter & Honeysuckle. $5. THE PHOENIX BAR

@bmamag

ENTERTAINMENT GUIDE October 22 – October 27 SATURDAY OCTOBER 22 ART EXHIBITIONS Finding the Essence

11-30 Oct. The insights to be gained from moments of stillness and close observation. FORM STUDIO & GALLERY

She walked in and pulled out a chair By Dioni Salas. Until Oct 29.

The Normal Heart 8pm. 21-29 Oct.

CANBERRA THEATRE CENTRE

WORKSHOPS

SUNDAY OCTOBER 23 ART EXHIBITIONS The Big Draw

Traces, The Map Project, In Memory & Pivotal Free entry. 14 Oct-6 Nov.

BELCONNEN ARTS CENTRE

COMEDY Matt Okine

7.30pm & 9pm.

THE STREET THEATRE

FILM Japanese Film Festival 2016

Celebrating drawing. 1pm.

NATIONAL PORTRAIT GALLERY

LIVE MUSIC Will Campbell

Acoustic vocals covers and originals. 5pm-7pm. Free entry. A BITE TO EAT CAFE

Kate Ceberano and Paul Grabowsky $55 - $59. 4pm/7.30pm. thestreet.org.au. THE STREET THEATRE

Irish Jam Session

CAPITOL THEATRE MANUKA

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

LIVE MUSIC

Evensong

Bennett Bowtell & Urquhart CMAC

NATIONAL PORTRAIT GALLERY

14-23 Oct.

8pm. $15/$22.

HARMONIE GERMAN CLUB

I’m from here, I’m from there

KING O’MALLEY’S IRISH PUB

Choral music. 4pm. Free.

Aviary Live Sessions

3pm. Free. Local musicians step in to entertain us for a Sunday Session. Beer & Cider specials.

Opens 6.30pm 7 Oct-29 Oct.

AVIARY ROOFTOP BAR

Sunhaus

Gorgeously rhythmic and sassy.

TUGGERANONG ARTS CENTRE

Launch their new EP ‘Bobby’ supported by House of Strangers and Moaning Lisa 8pm, $10. TRANSIT BAR

Regurgitator

Human Distribution Tour. Tickets at oztix.com.au. UC REFECTORY

Evensong

Choral music. 4pm. Free.

NATIONAL PORTRAIT GALLERY

Stacks of Wax II

Funk & Soul Sessions. 9pm. THE PHOENIX BAR

Heuristic

10pm. Free.

KING O’MALLEY’S IRISH PUB

The Spring Fling $15/$12/$10.

HARMONIE GERMAN CLUB

SOMETHING DIFFERENT Canberra Drummers Day

Caiti Baker

OLD CANBERRA INN

SOMETHING DIFFERENT George Gittoes ‘Blood Mystic’ Book Launch

Free. 3.15pm. Part-memoir and partartistic journal of George’s extraordinary life. NATIONAL PORTRAIT GALLERY

Canberra Potters Open Day

10am-4pm. Demonstrations, Have-ago, Raku firings, Open Studios, Soup and Bowl stall and more. WATSON ARTS CENTRE

TALKS Launch: Rupture

Susan Varga’s Rupture charts the recovery from a stroke. 2pm. Free. MUSE: FOOD, WINE, BOOKS

LIVE MUSIC

Canberra Roller Derby League Save the dates. Info at crdl.com.au.

2XX Local n Live - The Bootleg Sessions

Historical Tour

THE PHOENIX BAR

VARIOUS LOCATIONS

11am. Free guided tour of the 101-year-old Kingston Power House. CANBERRA GLASSWORKS

CAPO Auction and Masked Soirée 6.45pm. 134 Canberra artists.

WESLEY UNITING CHURCH

Impact Records Presents Nerd Trivia with Joel THE PHOENIX BAR

WEDNESDAY OCTOBER 26 ART EXHIBITIONS Equus Homo

6-29 Oct. 6pm. Free.

TUGGERANONG ARTS CENTRE

Every Wed from 12.40pm-1.20pm.

I’m from here, I’m from there Opens 6.30pm 7 Oct-29 Oct. TUGGERANONG ARTS CENTRE

THEATRE The Normal Heart 8pm. 21-29 Oct.

CANBERRA THEATRE CENTRE

THURSDAY OCTOBER 27

Traces, The Map Project, In Memory & Pivotal

FILM

BELCONNEN ARTS CENTRE

7pm. Free. A documentary film exploring the life and legacy of Ngunnawal Elder Aunty Agnes Shea.

Free entry. 14 Oct-6 Nov.

Fresh Glass

15 Sep-30 Oct. Studio glass vessels and sculpture with fresh botanical installations. CANBERRA GLASSWORKS

Seeking Refuge Exhibition 6-29 Oct. 6pm.

TUGGERANONG ARTS CENTRE

The Waterhouse Natural Science Art Prize 2016 On show until 13 Nov.

NATIONAL ARCHIVES OF AUSTRALIA

Terhor & Zeke Exhibition Launch 6pm. Free. 13-30 Oct.

LOBROW GALLERY & BAR

Finding the Essence

11-30 Oct. The insights to be gained from moments of stillness and close observation. FORM STUDIO & GALLERY

She walked in and pulled out a chair By Dioni Salas. Until Oct 29.

Footprints on our Land

TUGGERANONG ARTS CENTRE

Saint-Saëns’ Samson et Dalila

Captured live from Opéra Bastille, Paris, Oct 13, 2016. PALACE ELECTRIC CINEMA

LIVE MUSIC Joker

One of the illest UK producers of low end frequencies makes his debut visit to Canberra 8pm, presale TRANSIT BAR

Black Springs

Waterford Miners Little Lunch. 9pm. $10/$5. THE PHOENIX BAR

Caiti Baker

Gorgeously rhythmic and sassy. THE FRONT GALLERY AND CAFÉ

ON THE TOWN

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Nik Rigby

COMEDY

The Thursday Games

Comedy In The Pub

Comedy Gong Night. 7.30pm. Free. THE PHOENIX BAR

9pm. Free.

KING O’MALLEY’S IRISH PUB

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

FILM

SOMETHING DIFFERENT

BBC First British Film Festival

Lakeside Live: Life Drawing

25 Oct-16 Nov.

PALACE ELECTRIC CINEMA

A monthly life drawing session for artists with basic to advanced level experience. $25 + drink. TUGGERANONG ARTS CENTRE

Producers Toolkit 6pm. $20/$25.

GORMAN HOUSE ARTS CENTRE

FILM Saint-Saëns’ Samson et Dalila

CANBERRA THEATRE CENTRE

Lunchtime Live

TRIVIA

SOMETHING DIFFERENT

THEATRE 14-22 Oct.

TRANSIT BAR

Up and coming artists. 8pm. Free.

CANBERRA MUSEUM AND GALLERY

Othello

PALACE ELECTRIC CINEMA

MONDAY OCTOBER 24

Celebrating Canberra’s drummers. 10am. THE GROOVE WAREHOUSE

Captured live from Opéra Bastille, Paris, Oct 13, 2016.

LIVE MUSIC

TUGGERANONG ARTS CENTRE

Poetry workshops and a showcase for performers. Free.

Saint-Saëns’ Samson et Dalila

#KaraokeLove

9pm. Free entry.

Equus Homo

TUGGERANONG ARTS CENTRE

KARAOKE

Mother Tongue Spoken Word

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

6-29 Oct. 6pm. Free.

TUESDAY OCTOBER 25

Captured live from Opéra Bastille, Paris, Oct 13, 2016. PALACE ELECTRIC CINEMA

facebook.com/bmamagazine

ENTERTAINMENT GUIDE October 27 – November 2 THURSDAY OCTOBER 27 THEATRE Antigone

8pm. 27-29 Oct. THE PLAYHOUSE

FRIDAY OCTOBER 28 FILM Bellini’s Norma

Captured live from Covent Garden, London, Sep 26, 2016. PALACE ELECTRIC CINEMA

Saint-Saëns’ Samson et Dalila

Captured live from Opéra Bastille, Paris, Oct 13, 2016. PALACE ELECTRIC CINEMA

Terhor & Zeke Exhibition Launch

SOMETHING DIFFERENT

LOBROW GALLERY & BAR

Historical Tour

11am. Free guided tour of the 101-year-old Kingston Power House.

Producers Toolkit

6pm. Free. 13-30 Oct.

Finding the Essence

CANBERRA GLASSWORKS

She walked in and pulled out a chair

Antigone

FILM

THE PLAYHOUSE

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

The Normal Heart

Russian Ressurection Film Festival

CANBERRA THEATRE CENTRE

CAPITOL THEATRE MANUKA

WORKSHOPS

Captured live from Covent Garden, London, Sep 26, 2016.

FORM STUDIO & GALLERY

By Dioni Salas. Until Oct 29.

COMEDY Rosie Waterland

One-woman show My Life On The Couch (With Vodka). Bookings at thestreet.org.au. THE STREET THEATRE

DANCE

Morrissey

Dances for David

ROYAL THEATRE

Friday Night Live – Chasin’ the Train 8pm. $15/$22.

HARMONIE GERMAN CLUB

Superheist

Inspired by David McAllister, Artistic Director of the Australian Ballet. 1pm/3pm. Free. NATIONAL PORTRAIT GALLERY

FILM

With Segression.

Bellini’s Norma

D’Opus & Roshambo

Launching their new release ‘Mayday’, supported by Suavess, Jedbrii, Lash, Faux Real & Chemi-cal. 8pm.

PALACE ELECTRIC CINEMA

Metropolis

Saint-Saëns’ Samson et Dalila

THE BASEMENT

TRANSIT BAR

10pm. Free.

KING O’MALLEY’S IRISH PUB

THEATRE 8pm. 27-29 Oct. 8pm. 21-29 Oct.

Mother Tongue Spoken Word

Poetry workshops and a showcase for performers. Free. TUGGERANONG ARTS CENTRE

SUNDAY OCTOBER 30

NATIONAL PORTRAIT GALLERY

Captured live from Covent Garden, London, Sep 26, 2016.

Bellini’s Norma

PALACE ELECTRIC CINEMA

Saint-Saëns’ Samson et Dalila

Captured live from Opéra Bastille, Paris, Oct 13, 2016. PALACE ELECTRIC CINEMA

PALACE ELECTRIC CINEMA

With guests. 9pm. THE PHOENIX BAR

LIVE MUSIC

Kristy Cox & Jerry Salley

I’m from here, I’m from there

Gabby Williams

THE ABBEY

Opens 6.30pm 7 Oct-29 Oct. TUGGERANONG ARTS CENTRE

ON THE TOWN

Pretty Bones

Fridays From Five

TRANSIT BAR

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

With Signs & Symbols and Psionic Tide 8pm, $5 before 9pm / $10 after.

Delta Goodrem

AVIARY ROOFTOP BAR

THEATRE

Nightmare On East Row: An 80’s Halloween Show

KING O’MALLEY’S IRISH PUB

THE PHOENIX BAR

SATURDAY OCTOBER 29 ART EXHIBITIONS Equus Homo

6-29 Oct. 6pm. Free.

TUGGERANONG ARTS CENTRE

Traces, The Map Project, In Memory & Pivotal Free entry. 14 Oct-6 Nov.

BELCONNEN ARTS CENTRE

Fresh Glass

15 Sep-30 Oct. Studio glass vessels and sculpture with fresh botanical installations. CANBERRA GLASSWORKS

Seeking Refuge Exhibition

Thundamentals

Featuring Pez and Mallrat. 8pm. Tickets from Oztix.

SOMETHING DIFFERENT Drag Camp

Learn everything you need to know about the art of drag. 6.30pm. Free. TUGGERANONG ARTS CENTRE

TRIVIA The Phoenix Quiz 7.30pm.

THE PHOENIX BAR

WEDNESDAY NOVEMBER 2

Free entry. 14 Oct-6 Nov.

BELCONNEN ARTS CENTRE

The Waterhouse Natural Science Art Prize 2016

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

On show until 13 Nov.

Claude Hay

FILM

$15/$17. Tickets at Oztix. HARMONIE GERMAN CLUB

Piano Recital for music therapy research With Robert Schmidli. 6pm.

NATIONAL ARCHIVES OF AUSTRALIA

BBC First British Film Festival 25 Oct-16 Nov.

PALACE ELECTRIC CINEMA

Russian Ressurection Film Festival

CHROME - Halloween special

SOMETHING DIFFERENT

CAPITOL THEATRE MANUKA

Question Time: Laura Tingle

Captured live from Covent Garden, London, Sep 26, 2016.

9pm. $5/$10. DJs playing dark electronic, alternative, industrial music. THE BASEMENT

Rock Or Be Rocked

Classic rock and blues. 8pm. Free. More information at bandmix.com.au/ mac11943/ DURHAM CASTLE ARMS

Lady’s Mantle 25th Anniversary Concert 7pm.

WESLEY UNITING CHURCH

The Waterhouse Natural Science Art Prize 2016

Day of the Dead Vs. Halloween

NATIONAL ARCHIVES OF AUSTRALIA

OLD CANBERRA INN

THE GODS CAFE

UC REFECTORY

ON THE TOWN

On show until 13 Nov.

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

WESLEY UNITING CHURCH

6-29 Oct. 6pm.

TUGGERANONG ARTS CENTRE

TRANSIT BAR

Traces, The Map Project, In Memory & Pivotal

3pm. Free. Local musicians step in to entertain us for a Sunday Session. Beer & Cider specials.

Irish Jam Session

7pm. $10. With Revellers, Moaning Lisa, Elk Locker, Zen Haircuts, Green Bricks & NeedleDick.

9pm. Free entry.

Aviary Live Sessions

AIS ARENA

THE PLAYHOUSE

#KaraokeLove

ART EXHIBITIONS

A BITE TO EAT CAFE

Tickets at Ticketek.

8pm. 27-29 Oct.

KARAOKE

Alternative jazz acoustic covers and originals. 5pm-7pm. Free entry.

AVIARY ROOFTOP BAR

Antigone

PALACE ELECTRIC CINEMA

Jazz at the Gods

BBC First British Film Festival

Captured live from Opéra Bastille, Paris, Oct 13, 2016.

Bellini’s Norma

Dances for David

Inspired by David McAllister, Artistic Director of the Australian Ballet. 1pm/3pm. Free.

FILM

PALACE ELECTRIC CINEMA

1-6 Nov.

LIVE MUSIC

Captured live from Covent Garden, London, Sep 26, 2016. 25 Oct-16 Nov.

TUESDAY NOVEMBER 1

DANCE

The Filthy Teens

6:30pm for 8pm start. $25/$15/$75.

GORMAN HOUSE ARTS CENTRE

11-30 Oct. The insights to be gained from moments of stillness and close observation.

LIVE MUSIC Tickets at ticketek.

6pm. $20/$25.

$5 Tacos, Facepainting & $12 Margaritas.

Nikki Anderson gets her clipboard out for an interrogation of Laura Tingle. 3pm. $10. MUSE: FOOD, WINE, BOOKS

MONDAY OCTOBER 31

1-6 Nov.

Bellini’s Norma

PALACE ELECTRIC CINEMA

Jumpcuts

Local Independent Short Films. 7.30pm. THE PHOENIX BAR

LIVE MUSIC

FILM

Lunchtime Live

Bellini’s Norma

WESLEY UNITING CHURCH

Captured live from Covent Garden, London, Sep 26, 2016. PALACE ELECTRIC CINEMA

LIVE MUSIC CIT Presents The Bootleg Sessions 8pm. Free entry.

THE PHOENIX BAR

Every Wed from 12.40pm-1.20pm.

Matt Ottingnon’s Tough Tenors Meals from 6pm. Music at 7.30pm. Bookings essential at thegodscafe@ gmail.com. $22/$15. THE GODS CAFE

Paul Kelly & Camille O’Sullivan 2-4 Nov. Bookings at canberratheatrecentre.com.au. CANBERRA THEATRE CENTRE

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ENTERTAINMENT GUIDE November 2 – November 8 The Popular Pet Show Exhibition launch party!

THEATRE

ON THE TOWN

NATIONAL PORTRAIT GALLERY

Anthems and Angels: The Compassion Plays

Gay Cliche

Nick Murray

THEATRE

GORMAN HOUSE ARTS CENTRE

THE FRONT GALLERY AND CAFÉ

Anthems and Angels: The Compassion Plays

WEDNESDAY NOVEMBER 2 FILM 8pm. $5. With Ben Camden.

SOMETHING DIFFERENT Drag Camp

Learn everything you need to know about the art of drag. 6.30pm. Free. TUGGERANONG ARTS CENTRE

THEATRE Anthems and Angels: The Compassion Plays 7.30pm. $20.

GORMAN HOUSE ARTS CENTRE

THURSDAY NOVEMBER 3 FILM Russian Ressurection Film Festival 1-6 Nov.

With Megan Washington. 6-9pm. $25.

7.30pm. $20.

GORMAN HOUSE ARTS CENTRE

FRIDAY NOVEMBER 4 DANCE Fresh Faced Funk

Urban dance performance showcasing new works. $20/$15. TUGGERANONG ARTS CENTRE

FILM Russian Ressurection Film Festival 1-6 Nov.

CAPITOL THEATRE MANUKA

LIVE MUSIC

All girl lineup - 50% of door proceeds going to Mental Illness Education ACT 8pm, $10 on the door.

7.30pm. $20.

TRANSIT BAR

SATURDAY NOVEMBER 5 SUNDAY NOVEMBER 6

ART EXHIBITIONS Traces, The Map Project, In Memory & Pivotal

DANCE

BELCONNEN ARTS CENTRE

Urban dance performance showcasing new works. $20/$15.

Fresh Faced Funk

Free entry. 14 Oct-6 Nov.

The Popular Pet Show

TUGGERANONG ARTS CENTRE

Portraits of famous and obscure Australians and their pets. 4 Nov- 13 Mar. $10/$8.

Smooth translation

11am/12.15pm/1.30pm. Free. NATIONAL PORTRAIT GALLERY

NATIONAL PORTRAIT GALLERY

The Waterhouse Natural Science Art Prize 2016

FILM

NATIONAL ARCHIVES OF AUSTRALIA

Russian Ressurection Film Festival

On show until 13 Nov.

1-6 Nov.

DANCE

CAPITOL THEATRE MANUKA

Fresh Faced Funk

Urban dance performance showcasing new works. $20/$15.

LIVE MUSIC 1960’s soul jazz. 5pm-7pm. Free entry.

CAPITOL THEATRE MANUKA

Disco Dub Time Machine

TUGGERANONG ARTS CENTRE

Blue not fix

LIVE MUSIC

THE PHOENIX BAR

Smooth translation

Chris Cain

11am/12.15pm/1.30pm. Free.

A BITE TO EAT CAFE

NATIONAL PORTRAIT GALLERY

HARMONIE GERMAN CLUB

FILM

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

BBC First British Film Festival

Aviary Live Sessions

The Laurels

Launch their new album ‘Sonicology’ 8pm, presale via Moshtix. TRANSIT BAR

Paul Kelly & Camille O’Sullivan 2-4 Nov. Bookings at canberratheatrecentre.com.au. CANBERRA THEATRE CENTRE

Dos Locos 9pm. Free.

KING O’MALLEY’S IRISH PUB

The Dandy Warhols

Info at metropolistouring.com. ANU BAR AND REFECTORY

Hard Lok & The Bolters

With Dubba Rukki. 9pm. $10/5. 8pm. $40.

Lakeside at 5

Live music. $10. 5pm.

TUGGERANONG ARTS CENTRE

Oscar

9.30pm. Free.

KING O’MALLEY’S IRISH PUB

Hot Potato Band

A night of massive horns and brass, and plenty of boogie - supported by Melbourne’s amazing The Seve TRANSIT BAR

Paul Kelly & Camille O’Sullivan

Irish Jam Session

KING O’MALLEY’S IRISH PUB

25 Oct-16 Nov.

PALACE ELECTRIC CINEMA

Russian Ressurection Film Festival

3pm. Free. Local musicians step in to entertain us for a Sunday Session. Beer & Cider specials. AVIARY ROOFTOP BAR

The Cool

1-6 Nov.

10pm. Free.

CAPITOL THEATRE MANUKA

KING O’MALLEY’S IRISH PUB

LIVE MUSIC

MONDAY NOVEMBER 7

Topnovil & Revellers

SOMETHING DIFFERENT

CANBERRA THEATRE CENTRE

With Maggot, Skinpin, Rukus, Cockbelch, UTI, Needledick, Greenbricks & Cow-Tongued. 4pm. $10.

ON THE TOWN

Fiona Boyes

6pm. $20/$25.

The Thursday Games

Fridays From Five

9pm.

THE PHOENIX BAR

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

SOMETHING DIFFERENT Drag Camp

Learn everything you need to know about the art of drag. 6.30pm. Free.

2-4 Nov. Bookings at canberratheatrecentre.com.au.

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

SOMETHING DIFFERENT Handbag House Party 7.30pm.

TUGGERANONG ARTS CENTRE

THE PHOENIX BAR

Producers Toolkit

GORMAN HOUSE ARTS CENTRE

8pm.

HARMONIE GERMAN CLUB

Bleu: Paris on a Spring evening

WEDNESDAY NOVEMBER 8

5.30pm. Concert in support of the Alliance Française de Canberra Building Fund and the Wesley Music Centre.

KARAOKE

Concert Bleu, “Paris on a Spring Evening”

9pm. Free entry.

WESLEY MUSIC CENTRE

#KaraokeLove

Showcasing composers with a Paris connection.

TRANSIT BAR

WESLEY UNITING CHURCH

OUT

OCT 12

PAUL KELLY KNOWS HOW TO WRITE SONGS AND HE DOES SO ON MOST DAYS THE JEZABELS ARE SO HARD FOR CANBERRA BILL BAILEY ATE ALL OF BERNARD’S BEES

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SIDE A: BMA BAND PROFILE

FIRST CONTACT 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

SALLY CHICANE Group members: Kristy (vocals/guitar), Mick (guitar/vocals), Andrew a.k.a. “Big Wes” (bass), Nunezy (drums). Where did your band name come from? Kristy came up with Chicane and thought it would be a cool name for a band. Mick added the “Sally” as there’s already an artist called “Chicane”. Now everyone thinks Kristy is Sally. Describe your sound. Alternative rock, art punk, apparently ‘90s sounding, hopefully not Dad rock! Who are your influences, musical or otherwise? Pretty Girls Make Graves, Divinyls, Smashing Pumpkins, Nine Inch Nails, Talking Heads, Primus, Iron Maiden, Motörhead and The Butterfly Effect. It was supposed to be two per bandmember but somehow there is nine there. What’s the most memorable experience you’ve had whilst performing? Kristy: Not with Sally Chicane, but with a previous band back in Darwin in the ‘90s, we were playing out in the bush with some fire twirlers performing in front of us. One of them accidentally let go of their poi and it flew over the fence and started a large grass fire, which went up really quickly in the Darwin dry season. Of what are you proudest so far? The release of our debut EP Consumption. We were plagued with a terrible set of circumstances including health scares and we managed to track it in two days in December 2015, when Infidel Studios were kind enough to fit us in. What are your plans for the future? We’re doing a video for our new single ‘TTFU’ in the next month. Other than that, we plan to record more music, play more shows and try and get people to hear our music. We also want to help generate more performance opportunities for up and coming original artists in the Canberra scene.

Aria Stone sax/flute/lute/ harmonica, singer-songwriter Aria 0411803343 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? Nunezy. He is the self-proclaimed clown of the band and always has something hilarious to say at band practice. Fun fact is that Kristy and Nunezy used to play in a band together over ten years ago in Darwin. They moved to Canberra separately and reconnected through music. The other half of the band are Canberra born and bred.

Drumassault Dan 0406 375 997

What pisses you off? The abundance of people who would prefer to go and see cover bands rather than original bands. People who say, “I like all kinds of music!” because this clearly means they just don’t get music at all. (Both of these questions answered exclusively by Kristy and do not necessarily represent the views of Sally Chicane.)

Fourth Degree Vic 0408477020

What about the local scene would you change? Not much, the scene is great, Canberra has venues for original bands to play at! In Darwin, as in many small towns, there were no original shows unless you put your own on. What are your upcoming gigs? Saturday November 12 at The Basement. Charity gig for domestic violence awareness. Contact details: sallychicane@gmail.com, sallychicane.com, facebook.com/sallychicane, soundcloud.com/sally-chicane

Feldons, The 0407 213 701 Fire on the Hill Aaron 0410381306 Lachlan 0400038388 Gareth Dailey DJ/Electronica Gareth 0414215885 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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