BMA Magazine 474 - 21 October 2015

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FIX AND MAKE AT HOTEL HOTEL

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METAL AD SPACE FIESTA 8

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THE GREEN SHED

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GROOVIN THE ANU NOVEMBER

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CANBERRA INTERNATIONAL FILM FEST

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BUSKING CHAMPIONSHIPS

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The Nutcracker, one of the world’s most beloved ballets.

MORE THAN A FEELING – COLLECTED WORKS 2016

Month-to-month resuscitation. # 4 74 O C T O B E R 2 1 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 Jeremy Stevens T: (02) 6257 4456 E: editorial@bmamag.com

Accounts Manager Ashish Doshi T: (02) 6247 4816

The Canberra Theatre Centre has just announced its jampacked lineup for Collected Works 2016, and it includes some of the nation’s best theatre and dance companies to boot. This year’s lineup – as Canberra Theatre Centre’s director Bruce Carmichael puts it – is all about “the creation of feeling”. What kinds of feelings, you ask? The good kinds.

Collected Works 2016 will add a new venue into the mix, The Famous Spiegeltent, which will sit in Civic Square next February and March. The new venue will host La Clique, the cabaret show that will launch Collected Works 2016 with its roster of charismatic performers, practiced in the dark arts of magic, burlesque, acrobatics and death-defying aerial feats.

Among the plays and productions on show, audiences will enjoy an adaptation of Emily Brontë’s gothic masterpiece, Wuthering Heights.

Dance lovers can look forward to Sydney Dance Company’s CounterMove, Bangarra Dance Theatre’s OUR land people stories and Queensland Ballet’s

To top it off, marking 400 years since Shakespeare’s death, Bell Shakespeare are preparing productions of both Romeo And Juliet and Othello.

The lineup doesn’t end there however, so for more information and for ticketing details, visit canberratheatrecentre.com.au.

VIVA LA REVOLUTION! Sick of being ignored? It’s time to wake up and smell the horseshit – governments suck.

No matter how hard they try (or don’t try), they can never represent and cater to the interests of all Australians. But maybe the people can rise up and represent themselves?

That’s why Bullet Train for Canberra Founder Tim Böhm is hosting a seminar on ‘How To Start and Register an ACT Political Party’.

With almost a year until the next ACT election, this seminar will cover everything from building a party from scratch, to getting noticed by local media, to building an army of volunteers. Speakers include ‘preference whisperer’ and political strategist Glenn Druery and CityNews online editor and former RiotACT owner John Griffiths.

The seminar is set for Thursday December 3, 5pm–9pm at the Pavilion Hotel. For more information, visit HowToBeHeard2016.com.au.

QUESTIONS FOR A CAUSE – OXFAM’S SYRIA APPEAL In case you haven’t been keeping up with the news, Syria has had it really tough over the last four years.

With such a long conflict, and over 12 million people affected by the crisis, the rest of the world really ought to lend a helping hand in any way that we can.

It might not be much, but you can help out just a little bit by attending an upcoming Oxfam fundraising trivia night to raise money for Oxfam’s Syria appeal.

To be held on Thursday November 19 at King O’Malley’s and starting from 6pm, all money raised from ticket sales and the event will go directly to Oxfam’s Syria appeal to help provide access to food, water and sanitation.

Tickets are just $20. There’ll be free food, cheap drinks and prizes to giveaway as well. For more information about the event, find it on Facebook, and to keep up with Oxfam’s work in Syria, visit oxfam.org.au/my/ donate/syria-crisis.

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Sub-Editor & Social Media Manager Andrew Nardi Graphic Design Chris Halloran Film Editor Emma Robinson NEXT ISSUE 475 OUT November 18 EDITORIAL DEADLINE Nov 9 ADVERTISING DEADLINE Nov 12 Published by Radar Media Pty Ltd ABN 76 097 301 730 BMA Magazine is independently owned and published.

Opinions expressed in BMA Magazine are not necessarily those of the editor, publisher or staff.

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FROM THE BOSSMAN I’ve always been a big fan of origin stories* so in honour of Canberra Beer Week happening on Nov 5 - 11 (guide at the back) I have tracked down the untold story of a true Aussie legend which I tell to you, the lucky reader, right now...

There was a time in bars and pubs where the spilling of a drink was a dour, melancholy occasion.

A spilled drink was akin to a death. All that liquid promise tumbling out, never to touch human lip. The tragedy was almost too sharp to bear for some. The collective tenancy of a watering hole would live in fear of the sound of a glass spilling its yeasty contents. For as that noise echoed into the newfound silence of the bar, you knew that behind it lay the cow-like glassy eyed stare and trembling lip of the spiller, a sad sight striking terror and pity in the hearts of patrons, making them clutch their tankard just that bit tighter in response as precious suds silently sunk coffin-like into the sodden carpet.

“What a bloody waste,” men would mutter under their breath solemnly, and sip from their own brew in sad contemplation.

It was like this for many a dark decade. But before long, Rusty Tom was to step in and change everything.

YOU PISSED ME OFF! Care to immortalise your hatred in print? Send an email to editorial@bmamag.com and see your malicious bile circulated to thousands. [All entries contain original spellings.] take your fucking feet down off the bus seat you stupid drongo. if you’re on the bus and there’s a space next to you, that’s not a cue to rest your leg across your knee, or spread your legs like you’re god’s gift to women, you overcompensating macho fuckwit. put your leg down. close your legs. your balls do not need that much space, and if they do, you should go and see a fucking doctor – for more than your intolerable and vomitinducing personality. yeah, we get it, you’re only doing it because you hate people, people suck. you’re such a special snowflake and no one truly understands you, etc. once you get through puberty, have a good hard think about your life attitudes. if you hate people that much, just don’t catch a fucking bus and free up two seats you dickhead.

Not many people know of Rusty Tom. Some dispute that’s even his name or that, like some beer-soaked Keyser Söze, he even exists. But whoever this suds-swilling sage be, their contribution to club culture is invaluable.

It’s said to have happened many a year ago. Rusty was a rooted regular rooted in a regular spot in the corner of The Horn and Shaft pub. He wouldn’t say much. In fact, he wouldn’t speak at all.

But he was always there. Watching. Sipping. Mainly sipping.

Then, on one fateful day, a glass fell, ringing its ill shrill of embarrassment as liquid pride spilled to the floor. The air, as it did, was beginning to turn sour until suddenly, Rusty “felt a feeling”. Onlookers later said it was as if Ol’ Rust had become possessed; like a spirit or some other force filled his whole body.

It seemed to start in the pit of his guts, swelling rapidly, rising up through his chest and into his throat, growing in intensity and pressure. By the time it reached his mouth, this entity - this energy - had taken the shape of a single word. Unable to contain it, Ol’ Rust opened his mouth and let fly:

CANBERRA REP - DON’T DRESS FOR DINNER

“Taxi!” he roared to the silent bar.

The silence hung heavy for a half second more as the universe held its breath.

Then, as one, the bar roared with laughter, beams of positive vibes ricocheting across rafter and back down into the merry din.

It was a joyous celebration like no other.

From that day on the atmosphere in a busy pub was preserved.

No longer would embarrassment and melancholy reign when a frothy brew was felled, for the pub patrons and bar staff alike knew the unifying call of“Taxi!” was soon to follow.

Whatever became of ol’ Rusty no one knows. Some say he died of alcohol poisoning. Some say he moved to Germany. Others say he now trains penguins to surf in France, but we tend not to pay those types much mind. But wherever he went, we owe him a debt of gratitude. So be sure to raise a glass to the spirit of Old Rusty this Beer Week.

And never you mind if you spill it.

ALLAN SKO - allan@bmamag.com * “You mean like the time Shaun Timmins booted that 35m field goal in the 83rd minute to win Game 1 for the Blues in 2004, Boss?”

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WHO: PASSERINE WHAT: EP TOUR WHEN: FRI OCT 23 WHERE: TRANSIT BAR

Passerine describe themselves as a ‘galactic soul breaks project’ from Melbourne. Pretty cool. Apparently they spent all winter hibernating in a studio, which is possibly in space by the sounds of it. They say that their creative process is the modern day version of scribbling down lyrics on a napkin, which is impressive because I’ve tried it and writing on napkins is pretty difficult. What they mean by that though, is that their front-lady Phoebe wrote the lyrics for ‘Look Up’ rather sporadically into her iPhone, i.e. a modern day napkin. Supported by Mondecreen, starts at 8pm, entry is free!

WHO: THE GO SET WHAT: ALBUM TOUR WHEN: SAT OCT 24 WHERE: TRANSIT BAR

The Go Set are a band that go hard – you can just tell from their name. They’re a folk-punk band that have been around since 2002, and they’re about to release their seventh studio album, titled Rolling Sound, which is a name that goes similarly as hard. Turns out they’ve also filmed all those years of touring, and they’ve packaged a documentary in their new album to celebrate some 1,200 gigs in over 22 countries. Can this band go any harder? Supported by Crooked Face, Topnovil and Revenants. Starts at 7pm. Tickets are $15.30 through Oztix.

WHO: HANNAH CAMERON WHAT: ALBUM TOUR WHEN: FRI OCT 30 WHERE: SMITH’S ALTERNATIVE BOOKSTORE

If you need proof that Hannah Cameron is a brilliant storyteller, know that her debut album is titled Blow My House Down. It could be a concept album about the little pig that submitted to the overwhelming recklessness of the big, bad wolf. I mean, it’s probably not. But it could be. More seriously though, Cameron writes some great, intimate, honest, and jazz-influenced tunes, and you’ll be kicking yourself if you don’t head along and catch her show. She won James Morrison’s Generations in Jazz Vocal Scholarship, okay? She’s good. Starts at 7pm. Pay entry at the door.

WHO: MUSTERED COURAGE WHAT: ALBUM TOUR WHEN: FRI OCT 30 WHERE: TRANSIT BAR

Did you know that you can’t say Mustered Courage without sounding like you’re saying “mustard courage”? Not that that should be your biggest concern – you should be excited that Mustard—err, Mustered Courage are back from their successful U.S. tour, also sporting an ARIA nomination and ready to launch their major-label debut album White Lies & Melodies. What a great achievement for Mustard—err, Mustered Courage. You should go and bask in their courage at Transit Bar, for just $15 + bf through Moshtix. The gig will begin at 8pm. I’m keen as mustard!

WHO: LEE KERNAGHAN WHAT: TOUR WHEN: FRI OCT 30 WHERE: CANBERRA THEATRE

Is Canberra a little bit country? You bet it is. You see those homes along the gum trees? Lots of plum trees? Sheep or two? A kangaroo? Clothesline out the back? Verandah out the front?! I could go on, but if I did you would miss Lee Kernaghan, iconic Australian country music star, whose concert series ‘The Songs & The Stories In Concert’ features an intimate unplugged performance and songs from his chart-topping album, Spirit of the Anzacs. So get out of that old rocking chair! It kicks off at 8pm. Tickets start from $69.90 through canberratheatrecentre.com.au.

WHO: EAST ROW RABBLE WHAT: BAND LAUNCH WHEN: FRI NOV 13 WHERE: POLISH WHITE EAGLE CLUB

After six years with folk, roots, and reggae outfit Beth ‘n’ Ben, Ben Drysdale is launching his new outfit East Row Rabble alongside Brass Knuckle Brass Band, Massive Sherlock and Bellaquair. With members from BKBB, Moochers Inc. and After Hollywood, East Row Rabble delivers a slick mix of funk, ska, blues and soul with heavenly horn lines that are promised to get your booty shakin’.

Beth ‘n’ Ben fans and newcomers alike are saying that they are really digging the new vibe, so why not give it a squiz? Starts at 8pm. Tickets are $20.

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GUS MCCUBBING Since 1993, the tiny village of Majors Creek – located in the Southern Tablelands region of NSW, near Braidwood – has enjoyed a brief population spike as its annual folk festival, the MAJORS CREEK FESTIVAL, takes place. While the festival went on hiatus during 2012 and 2013, it returned last year under a new core group of organisers led by Ros Hales and Hannah Gillespie, whose father, Peter Gillespie, played an instrumental role in putting the show together for over 20 years.

“That’s kind of our ethos as well: to engage with the whole spectrum of age groups and folks, so that it’s got somewhere to go when we’re all old and tired and done with it.”

BMA spoke to Hannah about her experiences both as a festivalgoer and performer in the past, and more recently as an organiser.

Alongside Heath Cullen, the major acts for this year are Kate Burke and Ruth Hazleton, Women In Docs, and The Timbers. Gillespie calls Kate Burke and Ruth Hazleton, currently touring their fifth album Declaration, a more traditional folk act.

“The previous committee, the Braidwood Folk Club, ran the festival for 20-something years, and then they just ran out of steam,” Gillespie says.

Headlining the festival for the second time in a row is Heath Cullen, who Gillespie says is back by popular demand.

“He just had a cracking reaction to his show last year, so he’s back headlining again.”

You’ll see from our lineup that there’s the usual Canberra suspects

“I don’t mean that what they were doing was getting tired, it was just that they personally were a bit exhausted, because it’s such a big job, and they didn’t have any new blood on the committee for some time. They made a difficult decision to not keep running the festival, and so for two years it didn’t run.”

Reflecting upon the 2014 festival, Gillespie says that the new organising committee inevitably ran into some difficulties on the weekend: “Like all things, you don’t realise how much work it’s going to be.”

However, with one successful event under their belt already, Gillespie says that the 2015 Majors Creek Folk Festival has been a far smoother project to organise.

“We had a little bit of sponsorship and a little bit of support from the Braidwood Folk Club [in 2014], but really we were just flying by the seat of our pants in relation to pulling it off and having the capital to cover it,” Gillespie says.

“It was nerve-wracking but very successful, and we were able to cover it and save some for this year … so we’re in a much better position in that sense. If it’s rained out, or something like that happens, we’ve kinda got a little more buffer.”

So, with this generation in mind, will there be any noticeable change in the vibe of the festival for regular attendees?

“In some respects I think there would be,” Gillespie begins, “because we’re moving – not away from traditional folk stuff – but just trying to capture the more contemporary movement towards modern folk.

“There’s lots of interest in bluegrass-type styles and other things like that. We’ve got a lot of bands that tour on the folk festival circuits, but we’re trying to introduce space for younger bands and up-and-coming bands to try and be a part of the festival circuit as well,” Gillespie says.

“So they’ll play alongside artists who you would traditionally find at a folk festival of this kind of size. Hopefully there’s a bit of a mixture – some new stuff to hear, plus some old stuff they’ll be familiar with.

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“They played when they were youngsters at Majors Creek Festival – a blog’s just been written about that, where Ruth talks about being at the festival when she was 20, in the early days, and really just starting out that festival music career,” Gillespie explains.

“So it’s really nice to have them back, they’ve got a lot of history with the festival.”

Meanwhile, the organisers turned to Women In Docs after conducting a Facebook poll that left them flooded with requests for the Queensland duo. The Timbers, she continues, are a great party-folk band from Adelaide. “We’ve got them doing our endof-the-night dance sets, so they’ll get everyone up and dancing – they’re a young and energetic bunch of lads,” she says.

Turning to the new crop of artists performing, Gillespie says that festivalgoers should definitely make time to see Melbourne band DASH, as well as the Sydney four-piece Echo Deer.

Finally, it appears that any Canberrans unfamiliar with the festival should nevertheless recognise at least a few names on the roster.

“You’ll see from our line-up that there’s the usual Canberra suspects: Moochers Inc., Den Hanrahan and the Rum Runners, Ben Drysdale, Doctor Stovepipe, and The Fuelers – you can’t have a festival without The Fuelers!” On that note, Gillespie reminds me just how easy it is for Canberra locals to get up to Majors Creek.

“It’s so close to Canberra – it’s an hour and 20 minutes maximum to get out here, and it’s a beautiful part of the world,” she says.

“Just come and relax, set your tent up and don’t worry about doing anything for the weekend. Camping is free and everything’s right here on the ground … you can wander around the village as well.

You can go to the pub and watch shows there, or go over to the church.

“The village itself only has around 200 people living here, so it kind of explodes for three days once a year to maybe 2000 people,” Gillespie says. “People are very supportive of it, but if the local community wasn’t so engaged, it would be very difficult to do.”

The Majors Creek Festival will take place from Fri–Sun November 20–22. All tickets are $100 or less and include free camping. For further details, including how to get to Majors Creek, visit majorscreekfestival.org/tickets.

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NARA CANDLE FESTIVAL

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LOCALITY

To kick off their Radiothon for 2015, 2XXFM’s Local ‘n’ Live are hosting the Bootleg Sessions at The Phoenix on Monday November 2. From 8pm, you’ll be able to catch The Missing Lincolns, Tom Woodward, DJ Coolio Desgracias and GhostNoises, and get involved in their massive CD raffle. Entry may be free, but be sure to bring along a whole tonne of cash to chuck in, because 2XXFM is absolutely one of the biggest supporters of local music here in the capital.

Rather than twiddling his thumbs after Beth ‘n’ Ben wrapped up, Ben Drysdale has been getting a new ragtag bunch together; on Friday November 13 at the Polish Club, he’ll be introducing Canberra to East Row Rabble. They promise a night full of fresh tunes that stretch across funk, ska, blues and soul, with plenty of familiar faces from other local outfits. The party kicks off at 8pm, with supporting sets from Brass Knuckle Brass Band, Massive Sherlock and Bellaquair. Full price tickets sit at $20, concessions at $15 and CMC members get in for $10.

Glitoris are on a roll at the moment, dropping singles and breaking from their usually reclusive existence by playing their second gig in a month at ANU Bar on Friday October 23 from 8pm. Snatch and Jessie George will be joining them, with 10% of ticket sales going to Australian Marriage Equality. Said tickets are $15.85 + bf from Ticketek, and you’ll want to snap them up super quick – the chances of tickets available at the door are slim to none!

To mark the release of his debut album, With The People, Citizen Kay is doing a massive tour around Australia and taking Coda Conduct for the ride. They’ll be making a hometown pit stop at ANU Bar on Friday October 30 from 8pm, which will be a must for any lover of killer hip-hop. Tickets are available through Ticketek for $18.91 + bf, and early purchasing will make all the difference, as this is sure to be a particularly popular evening.

For an evening of ethereal, aural bliss, don’t miss Cracked Actor, Happy Axe and Queensland’s Outside the Academy (including former Canberran, Nick Peddle) on Friday October 30 at the Polish Club from 8pm. Entry is $12, concessions are $10, and CMC members pay $8, but the beautiful tunes you’ll be enjoying? Priceless.

If you’re looking to discover Canberra’s newest young artists, head along to the CIT School Stars Band Competition on Thursday November 5 at CIT Woden. From 6pm, a bunch of local bands will battle it out for prizes including studio time, CIT scholarships, and gift vouchers, and all artists will receive a DVD of their performance.

Registrations for acts are open until Monday October 26, so search for the event on Facebook to sign up, and for more details on the line-up once registrations have closed.

Another month has gone, and that means Groovin’ the ANU will return to ANU Bar on Friday November 20 from 8pm, with sets from Orbis Tertius, Jason Maynard, Elk Locker, and Wesley and the Crushers. As always, you’ll be treated to all these sets for free, with some cheeky specials behind the bar as an added bonus.

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WORKING ON HIS ROAR ANGELA CHRISTIAN-WILKES When I spoke with L-FRESH THE LION, he was on the cusp of a hectic weekend. Calling from Sydney, he was about to head to Wagga Wagga’s Fusions Festival the next day to kick off his national tour, before catching a 2:30am train to Melbourne to Run For Refugees.

Despite the busy times ahead, he seemed relaxed yet excited, ready to take his new single around the country.

Although carrying an immensely current political message, the roots of ‘Get Mine’ lie in personal history. “The song itself was something that has definitely been brewing for a long, long time – we’re talking probably the course of my life, really,” L-Fresh reveals.

“A lot of the things I talk about in the song are based on experiences and things that I have felt for a long time. It was actually quite hard to write, because a lot of those experiences I tend to suppress, because they’re not positive ones. It’s sometimes challenging to recall them because I don’t want to recall them.” From the negative aspects of creating the track comes a statement message, pertinent to many Australians: “I am just as valuable as the next man, woman or child, despite my cultural and religious background.”

I am just as valuable as the next man, woman or child, despite my cultural and religious background

Much of L-Fresh’s ability to communicate effectively in his art has arisen from his consistent work in the community sector. “In the years I have been doing it, they have gone hand in hand, and it’s been a great balance. They’ve both informed each other and imbued each other in really positive ways.” After eight years of employment however, the demands and pressures of music have him turning to it as a fulltime endeavour. “That’s not to say I won’t continue to operate in the space of service,” he is quick to acknowledge. “I think that’s important and I will always do that.”

Moving gritty content into an upbeat onstage environment isn’t a difficult process for L-Fresh, supported by his ongoing positivity.

“Ultimately that comes through in the music as a whole. It comes through into the live show,” he says. “My band and I, my team and I, we resonate that energy. We do that subconsciously, but we also do it consciously as well. It’s something that we want to put out when we have a show … it’s just in the innate essence of us as performers to communicate positivity, despite being able to talk about heavy topics.”

Throughout our conversation, he speaks eloquently about many heavy topics, including music as an agent for political change, issues regarding merit and race in Australia and the policing of Australian identity. Thoughtful and aware, but never shying away from the truth, L-Fresh embodies this stance not just onstage, but on record and online as well. It is this that will see crowds flocking to his show and his name dropping off tongues well into the future.

Get doused in good vibes by L-Fresh and his crew at Transit Bar on Saturday November 7 at 8pm. Supported by Philly. Tickets are $15.30 through Oztix.

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be released on Friday October 30. Bad Neighbour is chock-a-block full of credibility, with artists like MF DOOM, Aloe Blacc, Dam Funk, Mayer Hawthorne, Anderson Paak and Hodgy Beats.

THE REALNESS Welcome back to the Realness. I took a bit of a leave of absence last issue, but that just means there’s heaps to catch up on. Coming off last month’s bumper run of shows, you might think this month could be light on, but that’s just not Canberra.

It’s a good news day when you realise that your favourite Canberra street press is testing a monthly issue out (that’s us!). It’s also a good news day when you read that Goldlink has announced Friday November 13 as the release date for his debut album, And After That, We Didn’t Talk.

It’s an even better news day when you’re told that there’s new Madlib on the way, though. Stones Throw stalwart MED, Madlib and Blu have all joined up for a new album, Bad Neighbour, which will

The proverbial water-skiing squirrel at the end of this good news broadcast? The release of a posthumous J Dilla record. Dillatronic is released on Friday October 30, featuring over 40 rare instrumentals focusing on Jay Dee’s electronic influences.

I know that it’s been out since late last month, but since I haven’t been able to write about it yet, I’m just going to go ahead and pretend like Hau’s The No End Theory has only just come out. Hau’s years of experience and quality show up everywhere, as he keeps it personal but also heaps relatable the whole way through. The Queanbeyan and former Koolism MC’s debut solo record features supports from names such as NZ MCs Che Fu and P-money, Oddisee, and local man LTC, and is the first non-Remi release off Remi’s new label, House of Beige. You can cop at Landspeed or digitally. If you do go the digital route, potentially cop that sampler vinyl at Hauie’s Bandcamp too? Damnnnnn.

This next month is also stacked with a host of massive gigs. First up is Dylan Joel’s Authentic Lemonade Launch tour at Transit, Wednesday October 21. For fans of Aussie hip-hop, Joel brings something reminiscent to the table while still keeping it fresh.

There’s no doubt that Canberra man Citizen Kay is coming off a crazy year. Fresh off Demokracy’s nomination for an ARIA and Air Independent Music Award, the Canberra local will be doing his thing with Coda Conduct on Friday October 30 at ANU Bar. Then, on the very next day, Saturday October 31, Tuka is playing Transit in support of his third solo album outside the Thundamentals, Life Death Time Eternal. Keep an eye out for supports. Tix $30 online or at the door.

If you still haven’t had enough, Western Sydney MC L-Fresh the Lion will also be in town on Saturday November 7. L-Fresh will bring his politically charged raps to Transit for a measly $15.

Real hip-hop will also be in town with underground legend Oddisee returning to the Nash Cap’s Transit Bar. On Saturday November 21, Oddisee will come back to launch his latest album, The Good Fight.

No supports announced as of yet, so keep a lookout.

BRADY MCMULLEN realness.bma@gmail.com

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PATRICK CUNNEEN After witnessing the sudden rise of THE ANSAH BROTHERS – the collaborative hip-hop project of Canberra brothers CITIZEN KAY and GENESIS OWUSU – it would seem that finding creative talent in the nation’s capital has never been easier.

Together, these Canberra talents have created a platform to build on one another’s skills. Their collaborative project, The Ansah Brothers, has received glowing reviews from triple j listeners and members of the hip-hop community alike. With all of their work tirelessly created and recorded in their home, the brothers’ first EP release Polaroid has seen their family name become a hip-hop brand in both Canberra and across the nation. According to Kofi, the project has also helped to shape the independent work of both artists.

It’s been years of convincing myself that I’m not going to be following a path of mediocrity

Born in Ghana and having lived in Canberra since the age of two, 17-year-old Canberra hip-hop artist Kofi Owusu-Ansah – a.k.a.

Genesis Owusu – sealed himself a place among the top five finalists in triple j’s Unearthed High competition during August of this year. Out of 1,280 songs entered by 850 artists in high schools and colleges across the nation, Kofi found himself among the country’s top youngest talents. Entering less than a week before the competition’s closing date, his track ‘The Day After Valentine’s’ shot straight to the top of the competition charts. Perth duo Mosquito Coast may have won the comp, but that hasn’t caused any drawbacks for Genesis Owusu’s musical prospects. Kofi has a deep passion for music and a natural ability with words, and this shows on ‘The Day After Valentine’s’. After a number of gigs and performances in venues across the city, the rapper has by no means stumbled into the scene with little work.

“I mean, obviously it feels so cool having all this attention and love thrown at me from all directions. Finally getting solid recognition for my work feels really natural. It’s such a cool and exciting thing,” Kofi says. “But I guess I’ve been preparing myself for this for so long – it’s been years of convincing myself that I’m not going to be following a path of mediocrity. So when these things started to happen, it just felt right.”

Even with all the attention he has received however, Kofi says it hasn’t changed his sense of who he is, or his goals. “It also kinda forces me to humble myself a bit though, and remember not to get carried away,” he says. “You’re not a superstar just ‘cause you get a few radio plays. Rather than letting it get to my head, I’ve gotta use it as a motivator to actually get to that superstar status.”

Arguably, Kofi’s brother and fellow hip-hop talent Kojo OwusuAnsah – a.k.a. Citizen Kay – has already achieved that superstar status. The witty, free-flowing rap displayed on his album Demokracy has seen Kojo grab attention from musicians both nationally and overseas. He’s supported homegrown acts like Seth Sentry, as well as international stars like Wiz Khalifa and Ice Cube. After a successful debut tour, Demokracy received positive reviews in the United States, with St. Louis radio broadcaster KDHX featuring it as their album of the week.

“Those are the moments when I have the most gratitude to the people who support my music! It’s such a unique and mind-blowing feeling to know people would go out of their way and spend their money on seeing me,” Kojo says of his recent tour, which took him all over the country.

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“Not only does it add to the portfolio and the musical résumé, but its such a good place for me to experiment and show my versatility as an artist,” Kofi says. “If you listen to Polaroid and then go back and listen to my solo stuff, the majority of it will sound completely different from one another.”

The Ansah Brothers recently received $3,000 from Ford Australia to financially assist their music careers, which they put to filming a video clip for their track ‘Never Learn’. Kofi says that exposure to the music industry from a young age – combined with the connections he made through his brother – has helped him reach such accomplishments. In 2013, he rapped alongside his brother at Groovin the Moo, performing a song from their collaborative project, their self-titled track, ‘Ansah Brothers’.

Two years on, with his brother starting to climb into the ranks of the music industry, Kojo says he couldn’t be more encouraging towards Genesis Owusu. “I’m proud to see him making a name for himself and on his own accord,” Kojo says. “I’m always inspired to make music and work on Ansah Brothers stuff, and this all definitely brings our joint project up another notch – having both of us get spotlight in our solo careers.”

Kojo has also passed on his experience in navigating the music industry, for which Kofi says he is extremely thankful. “From more of an industry perspective, it’s crazy helpful having someone – let alone a brother – who has years more experience than you, to help out and guide you through shady areas in the music industry, in terms of labels and agents.”

Even with Mosquito Coast taking out the Unearthed High competition, there’s no reason to think Genesis Owusu has lost track of his goals. When asked if he has changed his views on his career, he replied simply: “Nope. No way. Only gotten stronger.”

There’s no doubt: with the recent spotlight and exposure he has received, Genesis Owusu’s musical career has only just begun.

Keep an eye out for Genesis Owusu and Ansah Brothers shows by following their pages on Facebook. In the meantime, why not pen Citizen Kay’s With The People Tour into your calendar? It’s coming to ANU Bar on Friday October 30. Doors open at 8pm. Support by Coda Conduct. Tickets are $18.91 + bf through Ticketek.

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CANBERRA MUSICIANS WORKSHOP

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DANCE THE DROP

With the weather definitely warmer (and the pollen in the air), Canberra is coming out of its winter slumber. And what better way to celebrate than a four-day festival, less than two hours from the city? Dragon Dreaming Festival takes place this weekend, and if you’ve never been, this is definitely the one to check out this weekend. Set in a beautiful location near Wee Jasper, the festival is on a private property on Lake Burrinjuck. Into drum ‘n’ bass, glitch or deep house? They’ve got you covered. They’ll also cover techno, trance, psy, down-tempo, reggae, rock, and even electro-swing, all across three stages.

As any decent festival should have, there’s heaps of other stuff to do beyond the dancefloor, with live art sessions and workshops, acrobats, fire-dancers, esoteric talks, a healing space and plenty of markets for food, clothes and coffee (I reckon the best coffee you’ll have is at an outdoor electronic music festival). There’s also a lake to go swimming in if you can brace the cold water! Apparently there’s even a pop-up hair salon…

Oh, and there’s also a 1920s gangster theme party on the Sunday night – bring your own bootleg liquor (I’ll also be spinning some techno on Sunday, so come and say hi if you’re around!). It will run from Fri–Mon October 23–26. Details at dragondreaming.net.

As BMA is currently trialling a monthly format, this column will now be covering events for the next month. However, there are always plenty of gigs only announced a few weeks beforehand, so be sure to check online for a fortnightly update of what’s happening around town.

If you’re stuck in the city and can’t go festivaling (is that a word?) there’s still plenty of fun to be had. On Friday October 23, Academy are hosting house and electro producer Motez (named ‘producer of the year’ by tastemakers Stoney Roads) – $15, and support from Nostalgia, Hudak and Amastro. Also that night, Mr Wolf has 23-year-old New York producer Jai Wolf spinning his unique blend of glitchy electronica – catch him supported by Veneris, Bakgat and Exposure. The following weekend, the club will host rising star Saint WKND with his mixture of deep, tech and house beats. Support includes YoYo DJs, Skinny and Hello-Hallo – $10 before 11:30pm.

On Friday November 6, Academy presents the notorious masked bounce/EDM duo, Slice N Dice for a hectic show – $10 before 11pm.

On Saturday November 7, Box Cutter presents another Lime in the Coconut party, this one in a sneaky outdoor location with two secret Melbourne headliners! Even better, it’s free – check online for details. Also that night, get raving at The Basement, where Hard Envy are celebrating their second birthday (awesome work to Dan and the team!) with Italian hardcore legends Art of Fighting and their side project, Meccano Twins. Support includes Capital Punishment, Toon & Raziel, Guerrilla Warfare, The soundsmith and Jorgo.

The following weekend, Fri–Sun November 13–15, Squared Senses are putting on a two-day outdoor party. There are too many artists to mention, but expect a tasty line-up of house, techno, DnB, psytrance and everything in between. And if you like your darkpsy (who doesn’t?) there’s a wicked party happening on Saturday November 21 around Canberra – keep your ears to the underground and you’ll find it!

Until next time, groovers.

PETER ‘KAZUKI’ O’ROURKE contact@kazuki.com.au

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METALISE Wretch has steadily built up a meaty catalogue of filthy material, which will culminate fittingly on Friday the 13th of November.

Their new album, the aptly titled Tirades, is an explosive piece of well-produced grindcore that balances the polish you want from a modern recording with the suitable brutal abrasiveness that is essential in a killer grindcore record. The band have added a bass guitar to the maelstrom in recent times, the addition filling out their sound to full bag-tearing merciless effect. After the killer grind night at Transit last week for the Captain Cleanoff show, Transit will also host the album launch that comes with a killer all-Aussie bill. Order of Chaos from Melbourne have been around for 17 odd years and feature Blood Duster and ex-King Parrot blast maniac Matt Rizzo on drums. Their death-grind combination is as vital as ever. Point 17 have arisen from a hibernation and feature stalwart metal warriors of the Canberra scene, including Bradley O’Shea on vokills from Kill for Satan and Geoff Bailey (ex-Dehuman and Infinitum) on guitar, one of the best metal shredders we’ve ever had. Dead River Runs Dry from Sydney round out the bill for a show that is going to be an absolute ripper.

If you’d like to get a preview of the band ahead of that show, the Space Bong Australian tour hits The Basement on Friday October 23 with Tombsealer and Mammon as well. The new Space Bong record is suitably epic, give it a go!

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Of course, Halloween at Belconnen’s home of heavy – The Basement – is an absolute massive night this year, with the eighth instalment of Metal Fiesta. With something for all heavy music fans on offer, there is a stellar bill of local and interstate talent, including the most mighty Lord, the welcome regular visit from Frankenbok and a very enticing chance to hear some highly anticipated new music from The Levitation Hex’s forthcoming album. Throw in Dawn Heist, Lo!, Noveaux, Claret Ash, Immorium, Perpetual End, CHUD and Forstora, and what’s not to like? Saturday October 31 – no excuses.

Also announced at The Basement in December is Ne Obliviscaris, heading back to display what they’ve learnt touring the world off of their rapturously received LP Citadel. On a slew of big festivals, they’ve been everywhere, man: Asia, the Middle East and Europe. And they’re bringing special guests PLINI along for the show on Sunday December 6. Tickets from Oztix right now.

So now that we’re trying monthly columns for a while, please mail me as soon as you book a show. I don’t want to miss your stuff, so I need a long lead-time to capture your show and record deets. Just a heads up, the new Looking Glass record has surpassed all locally produced music I’ve heard in a long time. It was recorded at Infidel Studios. The minute it drops, you’ve gotta listen to it – stunning.

JOSH NIXON doomtildeath@hotmail.com

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It’s a well-known celebration of life and what is important

they have; Latin music being only “salsa” or African music being only traditional djembe playing. There is so much rich and amazing music that is generated by the historical meetings of these two continents and we want people to know that it exists.

DAY OF THE DEAD JEREMY STEVENS The Mexican holiday known as the Day of the Dead can be traced back to the Aztec empire, and this November, Los Chavos and organiser Rafael Florez are bringing Canberra its own DAY OF THE DEAD festival – complete with live music, dance, food, craft stalls, face painting, and more. We caught up with Rafael to chat about the festival, its origins, and other cultures.

What is the Day of the Dead festival about?

The traditional Mexican holiday of Day of the Dead is about reflecting and celebrating friends and family who have died. Its origins date back 3000 years to the Aztec empire; today it’s a well-known celebration of life and what is important. Our festival pays respect to this celebration and taps into its colourful essence and the powerful visual content to inspire us and showcase amazing bands and dancers. The festival is a two day event that brings in bands and dancers from around Australia, all focused on exploring the connections between Latin America and Africa.

What made you decide to put the event on?

When people think of music and dance from these parts of the world, there is a tendency to overlook the complexities and connections that

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What do you hope people take away from the event?

We hope that people come for the great party vibes and leave with some larger concept that “world music” is much more sophisticated and nuanced than is generally perceived. We want people to be blown away by the costumes, the rhythms and the energy that each group will bring.

What aspects of African and Latin American culture would you like to bring to Canberra?

The musical roots stem from the drum and the voice, but this year we are proud to be showcasing more dance groups than before; especially the Afro-Brazilian dance and performance known as “Maracatu” which has its origins in the carnival parades that slaves performed in the 19th century.

What would you suggest for people wanting to explore those cultures further?

For us, it’s more about giving people a glimpse into the variety of what exists out there in the world; as with all good things (like Canberra!), it sometimes takes a little time and research to really find the gems.

Mainstream popular music will always have more of an audience and coverage than this type of music and dance, which is exactly why we are so excited to showcase it and provide a platform for people to access it.

Canberra’s Day of the Dead festival will go down on Friday November 6 at Teatro Vivaldi (ANU) from 6pm, and on Saturday November 7 at The Croatian Club (Turner) from 4pm. Tickets can be booked through trybooking.com/JHCZ.

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friendly locals Hygiene. Seeing as they’ve all come so far, they deserve a warm Phoenix welcome. Please don’t forget earplugs.

Or do. Hygiene are well worth the tinnitus. (Ed: Real talk – tinnitus sucks, look after your ears, folks).

On Friday October 23, we have the soft punk supergroup Eadie & the Doodles at the Polish Eagle Club, accompanied by Waterford and Great Earthquake – the perfect Friday evening wind-down.

With the loss of the great punk landmark Magpies City Club still raw, we must now look to the future – one I hope will honour the legacy of the Magpies. Magpies for me was one of the few places in Canberra that made me feel as though I could have walked in wearing a Foals t-shirt and a Groovin’ the Moo wristband, and still felt welcome. I had friends in wheelchairs, older relatives and shoegaze fans all warmly welcomed into the ranks of bruised and sweaty bodies. And now with limited venues still allowing heavy music, we are forced into the dawning of a new era where once again alternative and hardcore punk will be brought together to grace the same stages; hopefully with the same warm, sweaty and welcoming arms as Magpies always held out to us. Now to help ease the transition: On a somewhat less musical note, local photographer and hardcore supporter of the punk scene Mikhaila Jurkiewiecz will be holding an exhibition at the ANU School of Art on the Wednesday October 21, showing her portraits of young creatives in Canberra. So if seeing your favourite musicians on stage isn’t enough, come check out some of her seriously beautiful work and maybe see some familiar faces.

You are then allowed a small break to mentally (and physically) prepare for the Hank Wood & The Hammerheads Canberra part of their tour on Monday October 26 at Crossroads, where punk lords Overmen bless us again with their presence alongside UTK and Dickiebirds, which will not be a night to be missed.

Thursday November 5, local favourites Bobby Kill and Passive Smoke are playing at the Phoenix and to continue the run of great shows there this month, Thunderbolt City shake down the place on Saturday November 7 in support of Teaser Pony releasing their debut EP, along with a soul-touching set by California Girls. Topping off this great run is Kakariko, Odlaw, Wet Dream and the noise punk kings Primary Colours on Saturday November 14.

Finally, to finish a big month, a little something special they’ve been saving up at the Basement for Sunday November 22 is the great Ambleside, who are doing their east coast tour with Pridelands and Stepson, supported on the night by the great Starrats.

Enjoy. Get out. Support all punk.

RUBY TURNNIDGE rubymaudet@gmail.com

Then on Thursday October 22, Californian psychedelic punks Lecherous Gaze grace our humble city along with Frown and

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ELEANOR HORN COLD CHISEL are back, baby, with the release of their eighth studio album, The Perfect Crime. The album was just released on Friday October 2, and coincides with the first gig on their One Night Stand national tour. BMA chatted with bassist Phil Small about the new album and the band’s upcoming tour.

As one of the greatest Aussie rock bands of all time, Cold Chisel are flagging The Perfect Crime as their most rock ‘n’ roll album yet.

Double the rock for the price of one, the album is ever inspired by the classics. “I’m always influenced by the golden age of rock that I grew up in. Zeppelin, Beatles and Hendrix.

From my perspective, my writing has hardened up from previous work,” Phil says.

“We didn’t set out with a plan, it just turned out this way. We all write independently and bring our songs into the studio. Then the band puts the Chisel sound into the mix,” Phil says. “It just turned out to be a really cohesive album with a distinct sound that we’re all really pleased with.”

The release of the album kicks off Cold Chisel’s One Night Stand tour. The tour was created as a response to the reaction the band received for the gigs they played to honour Sydney’s Entertainment Centre. With an overwhelming demand from the public, it was decided that it was time for Cold Chisel to embark on a new tour. “It’s an honour and a privilege to still be touring after all these years.

Chisel has so many great songs that our fans identify with.”

It’s going to be huge

Cold Chisel have released two albums in recent years, after a 14-year break. The Perfect Crime’s predecessor, No Plans (2012) was the first album to come from the band since drummer Steve Prestwich’s passing in 2011.

“The passing of Steve affected all of us deeply during recording No Plans,” Phil says. “It was so different without Steve, and beyond finishing the album we’d started recording with Steve in 2010, we had nothing concrete for the future. Touring No Plans with Charley, we gradually got into a groove again. The Perfect Crime reflects the groove that’s evolved with Charley.”

And in the groove, they damn well are. The Perfect Crime shows off the band’s versatility, showcasing a variety of different musical styles including jazz, rockabilly, pop, Latino, and bloody disco. Phil says that out of all these styles, he had the most fun experimenting with the song ‘Mexican Wedding’, his co-write with Don Walker and Ian Moss. “[‘Mexican Wedding’] was so different from my original song. Ian came up with that guitar sound that triggered the Mexicali lyrics Don wrote, and I’m really happy with the end result.”

Despite the band’s experimentation with style, the tracks for The Perfect Crime were laid down quickly and seemingly effortlessly.

“Recording is always hard, but the songs came together quicker and easier than before,” Phil says. “Having Kevin Shirley there for a set amount of time means we can’t muck around and Kevin is really into the band. Kevin knows how to get the best out of each individual and then work his magic at the desk.”

Multifaceted as it is, The Perfect Crime is cohesive and inspired.

The album sounds deliberate and thought-out, but apparently this had less to do with planning, and more to do with good oldfashioned talent and chemistry.

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The One Night Stand tour will run from October until December. As a band known for their live performances, you can count on Chisel to give fans a night they won’t forget in a hurry.

“We love to play live and no two shows are the same. We’ve got several new set lists with some old songs from the vault, plus some new songs from Perfect Crime and the songs we have to play to keep the fans happy,” Phil promises.

The idea behind One Night Stand is that the band will perform in each location for one night only – another way of ensuring they never repeat themselves, and to keep the shows interesting.

Another unique aspect of the One Night Stand tour is some of the locations Chisel have chosen to play at, including Hanging Rock and Australian wineries.

“It’s good to mix it up and challenge the band and crew to put on a great show. Outdoor venues are great for fans, but a challenge for our sound people, so we have the best people in our crew.”

Fans may remember the gigs Cold Chisel played with Grinspoon, and they’ll undoubtedly be pleased to hear that Grinspoon have taken a hiatus from their hiatus, joining Chisel as guests for seven shows on the tour. “Grinspoon rock, so they’re a good fit. They have attitude and they’re not intimidated to be on the bill with us.”

One Night Stand has big shoes to fill after Chisel’s 2011 Light the Nitro tour, which was one of the largest-scale tours ever from an Australian band. But no fan will leave a gig disappointed, and the guys fully intend to up the ante this year.

“We have three female backing singers on board, Mahalia Barnes, Jade Macrae and Juanita Tippens,” Phil says. “We also have a new direction for lighting and production. It’s going to be huge.”

Catch Cold Chisel on their One Night Stand tour from October to December.

For tickets and prices, check out the ‘tour’ section at coldchisel.com.

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Imagine you have one page to try to get the attention of the people who hold your musical future in their hands. Welcome to the world of music press releases. If you write for a mag like BMA, you inevitability get sent a tonne of press releases, both good and bad. So let Cody Atkinson take you through the magical kingdom of press releases, and some classic examples that have come through the BMA mailboxes in the last couple of years.

OH NO, THE ASSES ARE OUT TO GET US! WHO WILL SAVE US FROM THE ASSES?!

Unfortunately I can’t tell you, but I am worried.

Press releases? So what’s the deal with them?

So there must be constant themes that shit people off every now and again?

The whole concept of the press release is simultaneously daunting and tedious. To get people-who-matter’s attention, you have to sell yourself to them, like another used car salesman in a never-ending TV ad break. You have to use phrases like:

My biggest pet peeve right now is claiming that the band is a triple j Unearthed artist. There are approximately one billion triple j Unearthed artists. It takes about 18 minutes to become a triple j Unearthed artist.

“It’s the blistering new single...”

“One of the most exciting young artists...”

“Ease you into summer or guide you through a night on the town...”

“Purple monkey dishwasher...”

“There is meaning and purpose here...”

But what if you are getting played on the actual triple j, or even other radio stations?

Right, so do they matter?

The press release still matters because it’s the key way that people that “matter” (note: these people don’t really matter, because we’re often included on this list, and you know, we don’t matter) can find out about artists quickly, without using – y’know – the internet. Like a written speed date, but with the added advantage of middlemen and posties!

Yeah, you can absolutely include that, because that’s an actual thing. REAL THINGS MATTER. You can even maybe include a relevant quote or two from someone with some authority. Really, any authority – just as long as it’s not your mate Johnno who reckons your tunez are “SICCCCCKKK BRAHHH”, attributed to Twitter of course. Probably the same deal for family members and band members as well. Nepotism usually doesn’t do well with antiauthoritarian types, unless it’s dripping with irony and is served with a flat white.

You have to sell yourself to them, like another used car salesman

EVERYTHING IS BETTER WITH POSTIES! And they’re nearly fucking mandatory, even if everyone involved in the process hates them.

Can you release music without doing a press release?

Absolutely, but it helps if people know who you are in the first place. Boards of Canada can get away with releasing an album via cross-continental scavenger hunt and advanced code, but most bands can’t. OR CAN THEY?!

Okay smart guy, what would your advice be?

Yeah, don’t send out pointless press releases. Recently BMA got a presser from a very prominent Australian female pop singer breathlessly announcing that her latest song had just reached number 38 on the ARIA charts. NUMBER 38!

Honestly, for a good press release you can go one of three ways. Firstly, you can be funny, treating this terrible, mutually demeaning process just like it should be – with a minimum of respect and a maximum of contempt. Aphex Twin dominated this with his brilliant Syro presser, which looked back at his career start in the early 1780s and ‘90s, and his position as a celebrated and influential electronic fartist. To be honest, it’s probably a better read than this column, so just go read that instead.

Secondly, you can be informative about your band/song/album, and describe what it is trying to be and how it came about. Finally, if for some reason you can’t be either of the above, be succinct.

Keep it to a couple of paragraphs, mention upcoming shows and release dates, and include a picture for us writers who like pretty things.

WOOOOOOOOOOOOOO ALRIGHT! YEAH! THIRTY FUCKING EIGHT!

I feel like we’ve been building up to this. What’s the best press release you’ve read?

After the champagne settled in the BMA offices, we wondered why the fuck we had to get a third shitty press release about this shitty, shitty song. Fucking waste of the paper that it was printed on.

Undoubtedly the greatest music press release that has crossed my hands or keyboard in the last few years is one by a Melbourne psych band, The Grand Rapids, who dropped an utterly ridiculous press release, including lines like:

I imagine there are some strange references in some press releases?

“Brian’s Got a Rubber Soul takes a schizophrenic look at Brian Wilson’s fear of the British invasion through the eyes of 8th Century monks at the approach of the marauding Norsemen.”

What’s the one thing you shouldn’t do in a press release?

Don’t blatantly lie. The biggest mistake you can make is to claim something about your album/song that just isn’t true. If Steve Albini didn’t produce your single, don’t say that he did. Jonny Greenwood didn’t get back to you about playing guitar, so don’t say that he guested on the third track. Google can make an easy fool out of you, especially when you make big claims.

You said you receive a lot of them...

How did you know? Right now, on my desk (full disclosure – I don’t have a desk. INDUSTRY SECRETS!), there’s a press release that talks about “the ‘ass-epidemic’ currently plaguing the music industry”.

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Ladies and gentlemen, I will never write a sentence that good, and nor will you.

@bmamag

MAJOR’S CREEK FESTIVAL

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

SILVER LININGS JEREMY STEVENS Birthdays are a big thing. How could they not be? They’re a celebration of the day someone or something started to exist. A celebration of existence and all that has come before. In the case of the TUGGERANONG ARTS CENTRE, its 25th birthday is a chance for people to celebrate everything that it has achieved over the past two and a half decades, and to look to the future, preparing for what we can only hope is another mammoth 25 years of art and creativity.

The Tuggeranong Community Arts Association was incorporated in March of 1990, but it wasn’t until 1998 when the Tuggeranong Arts Centre was built, giving the association a space it could call its own.

Julian Hobba, the Creative Producer of the SILVER LININGS program, says that through his research, he developed a strong idea of what the association had done really well throughout its history, and that Silver Linings was always going to focus on the community.

“The emphasis is on access, participation, people getting involved, and coming and having a try,” says Hobba. “In the early days, especially in the ‘90s, there was no money, it was all just people getting together – it was a newish community, suburbs were just kind of springing up – and people were just getting together over the course of three or four weeks and making a heap of artworks, and putting them together as parts of community festivals or floats for the Canberra Festival. It was just a real DIY community engaged practice and aesthetic.”

The program launched for the centre’s birthday, Silver Linings, is full of countless events designed to involve everyone and help them celebrate in style – recognising, in the process, all that it has done for the local community and art around Tuggeranong. There will be art workshops for kids and adults all throughout October, film screenings – with films coming from countries such as Brazil, Nepal, and Israel – and the Phat n’ Layzee Picnic, which will take place on Saturday October 31. It’s an event that intends to buck the notion that Tuggeranong is the lazy and fat suburb of the ACT, and it’ll feature drawing classes, zine making, and more, with some great music going on at the same time.

“We’re doing a heap of stuff that’s building towards the last day of the festival which is the 7th of November,” Hobba says, “which is a big day on the lakefront adjacent to the centre, where we’ll have a big art

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installation set up on the lawn, together with a big fire sculpture that’s got 50 masks cast from faces of people who are from Tuggeranong.”

This is part of the Silvery Moon Festival and the Universe Alight art installation, the culmination of the Silver Linings program. The Silvery Moon Festival is also running alongside free dance workshops of various kinds, ranging from Bollywood to Bushdance. Along with costume-making tutorials for participants, they’ll help people get ready for the big night, where they’ll get a chance to show off everything they’ve learnt.

“The thing about the art installation is it’s themed the universe, so the sun sculpture sits at the centre,” says Hobba. “And we’re encouraging people to make or contribute a piece of art to the installation, so it will kind of be as big as the involvement from people.”

When asked what he hopes people will take away from Silver Linings, Hobba’s focus is squarely on the idea of encouraging participation and artistic expression within the community.

“A sense that anyone in the community has the right and the facilities to express themselves creatively,” he says. “That art is a means of community building and that community art can also be great art.”

But further to that, the festival serves as a platform for which Tuggeranong and the arts community can look to the future and think about where to go next. “What do they want Tuggeranong town centre to be like? What role do they want the arts to play in their community?

What do they think the centre should be doing 25 years from now?”

These are the questions Hobba hopes will be asked and thought about, but one thing is for sure – the community focus of the centre is likely to stick around. “When you look at Tuggeranong – and I’m not an absolute expert – of any of the institutions that are down there, it’s probably one of the most consistent players in the community over 25 years. It’s defined the culture of the place.”

It sounds to us like that’s definite reason to celebrate.

Silver Linings runs from Wednesday October 28 to Saturday November 7, where it will culminate in the Silvery Moon Festival on the Saturday night.

To find out more, head on over to tuggeranongarts.com and check out the full program.

@bmamag

CIRQUE DU SOLEIL

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all know and love, delivered to you live in one classy and glamorous evening. Of course,” he says, “it wouldn’t be a cabaret without a bit of dancing and showmanship and razzle dazzle!”

The cabarets have no particular story line to them, but this adds to the audience’s overall enjoyment, giving the shows scope to provide a little something for everyone. “Both shows are accessible to a range of tastes. They will have something for the musical aficionado, but will also appeal to those whose interests are more general,” says Clelland.

FREE-RAIN CABARET CLAUDIA TILLEY If you live in Canberra, then you know at times you can be a bit short on ideas for nights out. It happens to us all. But the song and dance of cabaret, from a range of stage and film productions, is something many people overlook – which is a shame, as it’s often a more direct and intimate experience for the audience. Such is the case with Free-Rain Theatre’s two new productions, BUZZING BROADWAY and A TASTE OF TINSELTOWN. “[Buzzing Broadway] focuses on the music, songs and legends associated with Broadway musicals, particularly exploring the ‘modern’ era of the musical from the time of the landmark musicals, Les Misèrables and The Phantom of the Opera,” says Cate Clelland, director of both shows. “The second cabaret [A Taste of Tinseltown] takes us to Hollywood, beginning the journey much earlier with The Wizard of Oz, focusing on the movies and the songs we identify with, as well as on key musical films and a few Hollywood legends.”

Fraser Findlay, a performer in A Taste of Tinseltown, describes the evening as “both new and familiar music from the movies we

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“The performance style will be very direct with performers quite close to the audience, so that performer and audience should be able to ‘connect’ and even interact with each other.”

Although many musical numbers will be familiar, it is clear Clelland isn’t afraid to play around with the classics to create a fresh show.

“We hope there will be a few surprises,” she says. “For instance, we don’t have Elvis to sing ‘I Can’t Help Falling in Love’, so we will present it in a beautiful ensemble version.”

And as for what Clelland and the Free-Rain Theatre team hope audiences will take away from the shows?

“We hope audiences will hear and see some of their favourite numbers – some of these presented in a new way – and hopefully discover some new favourites,” concludes Clelland. “Above all, we hope that this will be a personal and entertaining evening for audiences, who will experience performers singing directly to and for them.”

Buzzing Broadway will run from Friday October 30–Sunday November 1, and A Taste of Tinseltown will run between Wednesday November 4– Saturday November 7. Both shows will be held at The Courtyard Studio. See freeraintheatre.com for more info.

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STEPHEN FRY AND DANNY BHOY

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all over, Grassia has pulled talents from Melbourne, Sydney, and Brisbane to volunteer. She has received a great response to the callout for mentors.

COMES TO CANBERRA! KEREN NICHOLSON Against the odds, rock ‘n’ roll has seen heroines emerge time and time again – Joan Jett, Patti Smith, and even our own Brody Dalle and Isabella Manfredi. In an industry still dominated by men, women are forging ahead, grooming the next generation of female musicians in rock ‘n’ roll camps across the world.

One such woman, Chiara Grassia of Canberra, is set to establish the first GIRLS ROCK! camp in Canberra this coming summer, all while dueling with a Sociology Honours thesis. After receiving a 2015 YWCA Great Ydeas Small Grant, Grassia headed to the States to visit three well-established music summer camps earlier this year.

Grassia volunteered and gained insight into the running of the camps with a view of bringing this global movement to Australia for the first time. And now, Girls Rock! Canberra will be hosted at the Ainslie Arts Centre, Mon–Sat January 11–16.

After her successful pitch to Ainslie and Gorman Arts Centres, Grassia began contacting people, researching, and pulling together a small organisational team. It has taken a year for the camp to take shape. Grassia says she was attracted to the heritage of the program and the DIY ethics. With strong expressions of support coming from

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Although the camps have inspirational roots with Rock ‘n’ Roll High in Melbourne, they were largely born of the Riot Grrrl scene of the Northwest, of which the first camp ran in Portland, Oregon in 2001. While the movement has expanded globally, each camp is independently run and they carry the same mandate – to empower girls aged 10 to 17 through music, encouraging creativity and fostering teamwork and leadership skills.

Girls Rock! Canberra is a Monday-to-Friday, nine-to-five holiday camp.

Girls will arrive as strangers, pick an instrument, form a band, write songs, and then perform. Typically, the days will include instrument instruction and band practice in the afternoon. There will be bands playing during lunchtime. Creative workshops on offer throughout the week include screen-printing band t-shirts, zine making, self-defense classes, applying loud voices, music history, songwriting, and vocal coaching.

The camps run annually in the States. Here in Australia, Grassia is looking to grow a national network, forming a community and fostering an inclusive atmosphere for young girls. The space will feel like a different world – non-apologetic, inspiring confidence, no jealousy, and no hierarchy – just support. The hope is that these girls will find band mates, which is particularly significant in Canberra, where early connections can be limited due to a dearth in underage venues. Grassia has already seen Canberra parents express interest in the program, and as registrations start rolling in, this great school holiday program is sure to grow wings.

Interested in signing up? Got gear or goods to donate to Girls Rock! Canberra?

Contact Girls Rock! Canberra via Facebook or through girlsrockaustralia.com.

Want to help out, boys? Come and be a roadie!

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

ARTS | ACT

Sabrina Baker

Of what are you proudest so far? Managing to get everything together for this exhibition, whilst holding down a fulltime job and working out how to write a coherent artist statement.

What do you do? I make art, I look at art, and I work at an art gallery.

I live and breathe art. Which makes me a very lucky person.

What are your plans for the future? Take this show interstate, make some new art and subsequently eat a lot of two-minute noodles.

When, how and why did you get into it? I’ve always loved art and stuck googly eyes and glitter on everything growing up. I never stopped and ended up at art school, where I went through a white period, but I’m back into colour again. The rest is history.

What makes you laugh? @sarasheeplady on Instagram.

Who or what influences you as an artist? Currently I’m pretty interested in how we communicate, how we’re increasingly turning to visual languages through emojis, Instagram, etc., and how that affects our ability to communicate effectively.

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What pisses you off? Mosquitoes.

What about the local scene would you change? I would encourage more people to buy art; there isn’t a huge culture of it in Canberra.

Upcoming exhibitions? I have a solo show, ‘Pack and Unpack’, opening at ANCA on Wednesday October 21.

Contact Info: sabrinabaker.com.au, sabrina.baker3@gmail.com

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FASH N TREASURE

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If it seems all too familiar, recall it was storyteller Akira Kurosawa who once said: “Human beings share the same common problems.”

Familiarity, at the right dosage, is compelling. Even if you’ve seen it all before, you probably haven’t seen it like this, through the patina of late ‘80s Japan.

JAPANESE FILM FESTIVAL ANDREW CONG “A cassette tape is a magnetic tape recording format used for spooled audio playback,” the title card read. Laughter rang out from the audience at the opening night of the JAPANESE FILM FESTIVAL. The film we had just watched was Initiation Love, a boy-meets-girl rom-com romp set in Japan in 1987. It ended, tongue-in-cheek, with a montage glossary of the 1980s: “Mixtapes were a thing in the 1980s,” it explained, matter-of-factly. One depressingly suspects there is a 13-year-old teen somewhere in the world googling ‘cassette tape’.

It is July 1987 in Shizuoka City, Japan. Suzuki (Shota Matsuda) is Boy – a fat, bespectacled mathematician. Boy’s life is completely turned on its head by Girl, Mayu (Atsuko Maeda), Boy’s Manic Pixie Dream Girl and Zooey Deschanel stand-in. Boy and Girl fall in love.

Boy, however, must move to Tokyo for his job. Turns out Boy and Girl’s love doesn’t travel so well. Boy meets Girl No. 2, hottie at head office, Miyako (Fumino Kimura). They’re forced to work overtime in the office together … oh, Boy!

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Initiation Love was also a hit with Japanese audiences, for its shattering twist ending. A title card at the start of the film implores viewers not to spoil the ending for their friends. A viral marketing trick at least as old as 1960, when Hitchcock drawled to filmgoers: “I insist that you do not tell your friends the little, tiny, horrifying secrets of Psycho after you see it.” Suzuki and Mayu, on their first date, both profess to loving Hitchcock mysteries: a hat-tip, perhaps, to the master of mystery – and marketing. The ending to Initiation Love could have been a moment drawn from Wong Kar Wai’s Chungking Express, with an implosion of love, space, and time. Rest assured, saying that has given nothing away.

The jewel of the Japanese Film Festival is a Kon Ichikawa retrospective playing in Sydney and Melbourne, but sadly, not in Canberra. Kon Ichikawa ranks among Japan’s best directors and is known for his bitingly satirical films about Japanese society.

Also playing at the Japanese Film Festival is Miss Hokusai, a Japanese anime based around O-Ei, the daughter of ukiyo-e artist Katsushika Hokusai. Mr Hokusai is the instantly recognisable artist of the print ‘The Great Wave off Kanagawa’, part of his ‘Thirty-Six Views of Mount Fuji’ series. The film swings the focus on Miss Hokusai through an amusing series of fictional and fantastical vignettes portraying O-Ei’s life and times. Fittingly for its subject, the film is beautifully and exquisitely animated.

The Japanese Film Festival ran from October 14–18 in Canberra at the Capitol Theatre, Manuka, and will run in other state capitals from Wednesday October 21 to Sunday December 6. See more info at japanesefilmfestival.net.

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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 history before inviting them into the fold. The ensemble is certainly not what you would expect – breaking misconceptions especially in terms of its composition. ‘Wind symphony’ conjures visuals of an older group of artists. However, a flick through photos on their website reveals them to be fairly young.

CANBERRA WIND SYMPHONY RORY MCCARTNEY They say nature abhors a vacuum and will rush in to fill the void.

After many years with army bands, including acting as musical director for performances by such artists as John Farnham, Missy Higgins and Guy Sebastian, both in Australia and in conflict zones overseas, Geoff Grey recognised a musical vacuum in Canberra.

While the capital had bands and orchestras to fulfil every need from metal to Mozart, it had no wind ensemble. Together with professional flautist Sarah Nielsen, he co-formed the CANBERRA WIND SYMPHONY, with Grey as artistic director and chief conductor.

Asked why, Grey relates, “Canberra did not have this type of ensemble with its fantastic dynamism – with enormous clarity across 40 players. People are familiar with orchestras, but not with this combination of the elements of brass, woodwind and percussion. It creates a sound like no other.”

Formed just earlier this year, Grey did his recruiting through the musos network, looking for quality players and researching their

“There’s a good body of great players in their late 20s to early 30s, including those who went through the older style Canberra School of Music,” Grey says. The 55 players in the roster are usually tied to more than one ensemble, so the symphony times its performances (about six a year) to avoid diary clashes.

While there is a strong band base in local high schools, this is yet to serve as a natural feeder group for the ensemble. “It’s a quantum leap to the symphony and the pathway of music in Canberra, though the band program has not matured over the years, because there is a gap at the tertiary level.” Grey points out that the whole musical approach differs as the ensemble is like an orchestra with one instrument per part – to get absolute clarity in the piece – whereas bands have lots of kids playing the same part.

The choice of music is also not what you would expect. “It’s not big band music, as that’s an era-specific sound. It’s not popular tunes and it’s not classical either. This type of ensemble is only a century old and uses 20th to 21st century music,” Grey says. Technically demanding and melodically beautiful, its material comes from composers as young as 30, with pieces that will sound fresh to the ear. It’s a vibrant sound you probably have not encountered before.

The Canberra Wind Symphony’s next performance is a special remembrance-themed show on Remembrance Day, Wednesday November 11 at 7:30pm in the Church of St Andrew, Forrest. Ticket details are at canberrawindsymphony.com.au/tickets, with some proceeds going to BeyondBlue.

MUSIC FOR CANBERRA

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THE CHAIN BRIDGE

Photo by Peter Hislop

people, and I thought there was a lot of place in there for audio and music to really kick it along. I looked at this script and I thought, ‘Wow, I’ll be in this one if possible!’”

SETH ROBINSON “It’s about people, it’s about families. It’s an Australian story. It’s not about the facts of the war, it’s more about how people deal with the facts, how they invent history.”

Vennonen is not only a veteran of the Canberra theatre scene, but has cut his teeth working in radio and sound mixing ¬– a vocation that eventually saw him come to work in late-night radio-improv shows. Now, his forte is in taking sounds – some so regular as a dripping tap – and transforming them into something new.

“In this one, I’m going about things differently, taking sounds and using them in different contexts, or attaching them to different characters. I’m hoping to do that with the music,” Vennonen says.

“We’re using the Hungarian composer named Györgi Ligeti. I want to find some choice Ligeti moments, then warp, twist and munch them together in a way that becomes an organic thing. Sound is like plastic or clay – it’s not ethereal, it’s a plastic art, so, I think of it very much like pottery.”

Over the last three years, Tom Davis, local playwright and political scientist, has crafted a piece set to bring something new and powerful to the Street Theatre stage. THE CHAIN BRIDGE dives into the lives of Imre and his family, recounting his parents’ trials as WWII refugees, and the way their experience has shaped not only their lives, but also those of their children and future generations still to come. In Davis’ words, it was his goal to “write a play that I’d want to watch”. It’s a story that spans eight decades, and employs the work of sound designer Kimmo Vennonen to create an experience that hits home on every level, both “macro and micro”. BMA spoke with Vennonen to learn about the nuances of creating a project like The Chain Bridge.

Vennonen’s work undoubtedly creates an atmosphere that builds upon the foundation of the narrative, however it goes a step further as well. The Chain Bridge spans 80 years, an epic leap in time that might not have been possible to capture without the immersive audio experience.

“When I read it, I thought it was an incredible script. It was an epic, filmic script,” Vennonen says. “It was about the Holocaust and about

The Chain Bridge is running at the Street Theatre from Sat–Sun November 21–29. Standard tickets are $39 + bf, with concession prices available. For more information, visit thestreet.org.au.

STRATHNAIRN ARTS

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“The epic scale gave me scope. I could work in both the macros and the micros if I wanted to. I could work with silence and I could work with noise. I got the whole spectrum in there,” Vennonen says. “Also, there are repeating themes and motifs in it, like water and a train that keeps coming up. These weren’t things that were in the script, they were one’s that I came up with later, as the project grew and evolved.”

JAZZ AT THE GODS

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LITERATURE IN REVIEW The Story of the Good American Victor Kline [Frances Allen; 2015]

“I’m feeling stuck, Joe… I’m at the crossroads of life.”

Picture this: a small crowd gathered in Pitt Street Mall listening to a shoeshine tell the story of a homeless man, a billionaire, and the woman they both loved. The story of how he, Joe Starling, went from being the CEO of Neverending.com and billionaire Pete A. Vanderveer’s right hand man, to a homeless man and street performer.

The title is a play on the The Story of the Good Samaritan, but Kline cleverly avoids any preachiness by balancing Joe’s pithy insight – “Each according to his bounty … [you] give what you can” – with humour and wit. Joe’s gentle, unassuming manner draws the reader in and creates a sense of intimacy that allows the story to flow effortlessly. It is a well-thought approach to engaging the reader in issues of social justice. Thought provoking, but subtle. Tick.

Some parts of Joe’s tale are more believable than others. Joe’s tutelage as an actor, for example, is lifted from personal experience (Kline has been a playwright, theatre director and actor), while a chance encounter in Las Vegas feels a little too neat. That said, fate is a central theme of this modern-day parable, so the odd improbable moment is forgivable. Like Joe, you’re better for having rolled with the punches.

Where The Story of the Good American falters is in its portrayal of Joe’s relationship with Katherine, the woman both he and Pete love. Admittedly, Katherine and Pete exist to drive the plot and while this doesn’t detract from Kline’s message, you would expect Joe’s

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feelings for Katherine to be a little more convincing given how much she shapes the course of his life.

By contrast, the camaraderie between Joe and fellow homeless man Arthur T. Arthurson is a highlight because it feels so much more real. “As a freshman bum, I was very pleased to hear the words of this senior … He wished me all the best in my new career as a bum.”

Kline skilfully turns an amusing lesson on how to be homeless into a powerful message about the simple act of giving. He tackles issues of social justice, particularly homelessness, with grace and honesty. Pete’s epiphany in Sri Lanka, at a home for people dying from leprosy, questions what ‘big business’ might be able to achieve through philanthropy, while on a smaller scale, Joe’s and Arthur’s interdependence for survival symbolises what it means to love your neighbour as yourself.

From the opening scene, Joe shows us how “everyone is always just one decision away from changing the world.”

Because he believes it, the audience does too. A light-hearted yet inspiring read about one person’s potential to change so many lives.

And yes, that person could be you.

SHU-LING CHUA

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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

Instead, we watch Ophelia try to carve out a space for herself in a male-dominated world. As the play goes on, she’s slowly brutalised by the men in her life. Ridgway believes Ophelia is a character that is still relevant to the women of today, who are victims to prejudice and violence.

AN AFTERNOON WITH OPHELIA ELEANOR HORN Bell Shakespeare is here to rectify your stuffy, classroom memories of HAMLET, with a dynamic, exciting production that theatre lovers and loathers alike should see. Matilda Ridgway, playing Ophelia, took the time to talk to us about the production.

Ridgway says this is “a Hamlet for 2015”. It’s a production that’s clear, fast-paced and female-heavy, featuring four women in the cast. The majority of Hamlet takes place in one location: the castle of Elsinore. This production, set in an “otherworldly” 2015, has been inspired by Scandi-noir cinema, and Shakespeare’s own Globe Theatre, allowing for “moments of magic”, like sudden appearances and exits.

Despite its age, Hamlet is a play that is still relevant today. “It’s constantly examining who we are as human beings,” Ridgway says.

The setting isn’t the only aspect of Hamlet that’s been brought into the new millennium, however – Ophelia has received a modern twist, too. “I knew that [I] wasn’t going to play her as the female ingénue who gets the ‘crushed flower’ motif … that was never going to be something that I could do.”

These consequences of a male-dominated history are explored in Virginia Woolf’s A Room of One’s Own, acknowledging that women have served as juxtapositions to or plot devices for superior male characters. These modern theories in turn influence modern interpretations of literature.

Ridgway agrees, and explains that she wanted to make Ophelia interesting, funny and strong – a worthy match for Hamlet – in a performance that asks people to look at the inherent misogyny and violence, both in the play and society. Hamlet also toys with reproduction versus destruction, a theme that comes full circle when Fortinbras – played by a woman in this production – becomes Queen at the end of the play.

“Harold Bloom referred to [Hamlet] as the ‘great humanist tragedy’ … examining what it is to be a human being,” Ridgway says. “It’s about our struggle and what we’re here to do.” Ridgway compares Hamlet to a Ben Wishaw, or a Dylan Moran, “A guy who’s got brilliant intellect, and is stuck in this world being demanded by a ghost of his father to avenge him.”

According to Ridgway, this production of Hamlet ultimately asks, “What if I put you in [the play]? How would you respond? What would you do? [You’re] not a titan, not a hero – just a person.”

Bell Shakespeare’s Hamlet is showing at The Playhouse from Thursday October 15 until Saturday October 24. Tickets can be purchased at canberratheatrecentre.com.au. Standard price is $75 + bf, with concession prices available.

THE STREET THEATRE - JAZZ GROVE MOTHERSHIP ORCHESTRA

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bit PARTS NARA CANDLE FESTIVAL WHAT: Japanese Culture Festival WHEN: Sat Oct 24 WHERE: Canberra Nara Peace Park & Lennox Gardens Need a romantic place to go for a date? Then just let good ol’ grandpa BMA tell you young kids what’s hot. This weekend, 2,000 candles will be lit at the 13th annual Canberra Nara Candle Festival. The festival celebrates the 22nd year of the sister city relationship shared between Canberra and Nara, Japan, which is in itself pretty damn cute. There’ll be traditional Japanese music and various arts and crafts activities such as calligraphy, lantern making, origami, ikebana, and kite flying.

There’ll also be some tasty Japanese cuisine, markets, stalls, traditional Japanese games and a martial arts demonstration. It starts at 4:30pm and runs ‘til 9pm. For more info, visit events.act.gov.au/nara.

CHOCOLAT MON AMOUR WHAT: Chocolate, fashion, dance WHEN: Sat Oct 31 WHERE: Alliance Française de Canberra Parlez-vous français? Whether or not you can speak French, there’s every reason to check out Chocolat Mon Amour, an evening of chocolate, fashion and dance hosted by the Alliance Française de Canberra, which is Canberra’s committee for teaching French, located in Turner. The chocolate will be supplied by local chocolatier (I had no idea this was an occupation, but someone’s gotta make that delicious chocolate!), Robyn Rowe. Ticket funds are going towards repairing the Alliance Française building, so you’ll also be doing some good by attending. And a free glass of champagne is promised, so you can’t really go wrong. It will kick off at 6:30pm. Tickets are $50 via afcanberra.sslsvc.com.

CANBERRA POTTERS’ SOCIETY OPEN DAY 2015 WHAT: Pottery WHEN: Sun Nov 1 WHERE: Watson Arts Centre You’re a potter, Harry. At least, you could be, if you joined the Canberra Potters’ Society. The open day will feature a number of crafty demonstrations, including throwing, turning, pulling handles, making a teapot, ikebana, brushwork, plating up, raku firing, and something called the ‘Iron Potter Challenge’. I dunno what that is exactly, but it sounds extreme. That’s not all though, because there’ll also be live music, tours, a children’s table, market stalls, a raffle, a member’s exhibition and – get this – you can trade ‘pizza for a plate’ and ‘soup for a bowl’. I like a potter with a sense of humour. Starts at 1pm. More info at canberrapotters.com.au.

JAZZ IN CONCERT AT THE GODS WHAT: Jazz WHEN: Wed Nov 4 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: the Eric Ajaye Trio – or ‘Phingerprintz’ – will be performing at The Gods Café & Bar in the ANU Arts Centre. With Eric Ajaye on bass, Damian Slingsby on piano and Steve Richards 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 calling 6248 5538 or by emailing thegodscafe@gmail.com. Tickets are $22 or $15 for concession.

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AD DYLAN SPACE

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the word

on albums

album of the issue KADAVAR BERLIN [NUCLEAR BLAST] Going by the cultivated retro vibe surrounding this band, it would seem that German three-piece Kadavar is forever situated in the early 1970s. The long hair and even longer beards might suggest lost in the wilderness backup musicians for the Allman Brothers Band during those legendary 1971 concerts at the Fillmore East, although it is somewhat unlikely that a bunch of scraggly hippies would stay with long established metal label Nuclear Blast to release their third – and arguably finest – album to date. But then Nuclear Blast seems an unusual choice of label anyway for a band whose music is firmly rooted in a proto-punk world inhabited by the likes of Hawkwind, Pentagram and Sabbath, considering Kadavar has such bands as Abomination and Cradle of Filth as label mates.

There is, however, little doubt that the music on Berlin is hard-hitting in all the right places and when opening track ‘Lord of the Sky’ roared into life first listen through, I immediately reached for a bunch of Stooges and MC5 records. I felt the same after seeing them perform at the ANU Bar in late 2013, where Kadavar played tighter and with less overt Sabbath references than on their sophomore album Abra Kadavar. All the same, the trebly production, throbbing bass, cranked guitars and pulsating hard

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blues boogie made for a funky, retro-infused adventure on that record.

On Berlin, the band simply kick out the jams as on enticing riff-fest ‘Stolen Dreams’ but with a tad less looseness.

This is what the MC5 did in 1969 when the sunshine and flowers vibe of the San Francisco scene was starting to burn out and restless music fans were searching for raw rock ‘n’ roll to get some kicks. Back then, drawn-out cosmic exploration was being steadily replaced with music that was taut and concise and more in line with the original ‘50s rockers. Bands were also shrinking in size to reflect this more intensely condensed sound, as with Cream and the Jimi Hendrix Experience.

This is the realm Kadavar feel most comfortable in. In other words, the band has its shit sorted and rips through the album with barely a pause for breath.

Heavy riffing with a deep-fried melody works its magic on ‘Thousand Miles Away From Home’ and a sexed-up raunch seeps into wah-wah enhanced guitar solos on ‘Pale Blue Eyes’. But then ‘The Old Man’ kinda sounds like Iron Maiden when Paul Di’Anno was vocalist, and ‘See the World With Your Own Eyes’ is classic 1970s hard rock of the classy melody attached to rockin’ riff variety, so we are not talking about a onedimensional focus here – particularly when first rate Judas Priest/Scorpions moves seep through ‘Into the Night’.

Touchstones include the fabulous Hawkwind tune ‘Motorhead’, Monster Magnet circa Dopes to Infinity and The Stooges’ ‘Raw Power’.

Bonus track ‘Reich Der Traume’ is the most intriguing, as the guitars are given a rest and the band tries out a more relaxed groove. The wide-open spaces between the notes sound a lot more like what their counterparts were coming up with in the golden age of German psychedelic music, or maybe Led Zeppelin on ‘No Quarter’. This track provides an enjoyable counterpoint to the sonic mayhem preceding it and is a fitting finale to a bunch of sounds from the wrong side of the tracks.

DAN BIGNA

PHILADELPHIA GRAND JURY SUMMER OF DOOM [NORMAL PEOPLE MAKING HITS] It’s six years later, and Sydney band Philadelphia Grand Jury have just released their second album Summer of Doom.

They’re back to their original line-up: Joel Beeson on bass, keyboard and guitar, Simon Berckelman on vocals and guitar, and Dan Williams on drums. Following ten days of writing and recording throughout Berlin, they’ve teamed up again with producer Tim Whitten (Powderfinger, Augie March, The Go-Betweens) and finally released the follow-up to 2009’s Hope Is For Hopers.

The indie pop/rock sound is slightly different from their first album, but old fans will catch on quick. It’s dark, yet light, with a lot of synth work in the background, but otherwise almost completely free of computer trickery. The band stated that if Berckelman couldn’t sing it perfectly intune, then it stayed out-of-tune. The vocals stay fairly harmonious, but a bit of polishing certainly wouldn’t have had a negative effect on further developing the album.

‘Crashing and Burning II’ is most reminiscent of old Philly Jays – upbeat, with a great intro bassline and drums, singing about how “you only learn when you crash and you burn and that’s exciting”. Other highlights include ‘Get Happy Again’ – a reply to John Steel Singers’ song ‘Happy Before’ – and ‘Sugar In My Diet’, which features a Pixies-ish beginning, subtle lyrics about addiction and woozy keyboards.

A change in mood and pace comes with the lonely, acoustic sounding ‘Better Send Someone’, which slows the album down.

Turns out Summer of Doom isn’t all doom and gloom – it’s generally upbeat and sweet.

If you’re a fan of the three-piece or of indie rock with pop and psych influences, give it a go.

SABRINA ANTONAKOS

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DEERHUNTER FADING FRONTIER [4AD]

DARWIN DEEZ DOUBLE DOWN [LUCKY NUMBER MUSIC]

OBAID PRAHELIKA 1/PRAHELIKA 2 [INDEPENDENT RELEASE]

You’d be hard pressed to find a band as constantly brilliant as Deerhunter. It’s not enough that each of their studio albums easily rank as one of the best albums of the year they were released, or that their mini-albums – especially Fluorescent Grey – are refined excellence. Also consider that the solo outputs of songwriters Bradford Cox and Lockett Pundt (Atlas Sounds and Lotus Plaza respectively) are candidates for a number of ‘best of’ lists. And though their most recent album Monomania was hardly a dip in quality, it certainly had an unusually harsh and bitter edge to it, making it their least enjoyable so far. Fading Frontier makes it very obvious, very early, that Deerhunter has taken a step back into the familiar. Back into the dream pop, back into the floating arpeggios, back into the Microcastle era.

After two excellent albums (especially the second, because it included a specific mention of Canberra, which almost gave 2013 me a heart attack mid-listen), Darwin Deez had a lot to live up to. Unfortunately, their 2015 offering Double Down isn’t up to par; the same meditative lyrics are still offset by buzzing guitar riffs and that quirky, madcap tempo, but this time, there’s a distinctly nasty undertone that strays very far from pastel-coated endearment. The bitterness that underscores this album clashes jarringly with its idiosyncratic presentation and synth-backed contemplation. It makes the whimsy that Darwin Deez rely on so heavily taste off, like it’s been packaged up and has sat, festering, on a supermarket shelf for a day or so too long.

Bangladeshi singer-songwriter Obaidur Rahman has struck a new direction in his nation’s music scene, adopting a Western approach to recording by creating and self-producing his twin debut EP releases, in which he played all the instruments himself.

While the exotic script on the CDs conjure images of the sub-continent, there are no ethnic music traits on display. Rather, Obaid’s acoustic-centred material – which draws inspiration from Western-orientated ‘80s rock and pop – has all the hallmarks of a contemporary Australian alt-folk/pop artist.

Opening track ‘All The Same’ ambles out the gates, sounding like a Deerhunter Greatest Hits collection. The only noticeable difference is that the lyrics seem way more direct nowadays. Cox has made it clear that his serious car accident last year forced him to reassess his life and be more direct – something the very next track, the breezy, electronica-tinged ‘Living My Life’ makes abundantly clear. For the bulk of the remaining songs, Deerhunter are in no great rush to get anywhere – languid would be the word. Even ‘Ad Astra’ – Pundt’s solo contribution to the album – is a slow daze, gorgeous, uplifting, but no ‘Desire Lines’.

Lead single ‘Snakeskin’ is the anomaly, wrong-footing anyone expecting a sprightly, forceful 37 minutes. Couldn’t be happier that there’s more Deerhunter music in the world.

JUSTIN HOOK

Part of the comedown is the migration in the song lyrics. The best Darwin Deez songs were always, always the ones that lyrically combined clinical things like atomic terminology and biological references with the more typically incomprehensible – usually, and to greatest effect, love.

‘Melange Mining Co.’ is the closest we get to this on Double Down, but it never quite reaches the ruminant wit of ‘DNA’ off their first album, or ‘Redshift’ off their second.

The others just feel like wading through a giant marshmallow of self-pity, with some weirdly archaic views of women thrown in, which are, in a word, gross.

Double Down still has the unique sound and catchy beats that worked so well on 2010’s ‘Radar Detector’, but it lacks the thematic coherence of earlier titles, and instead feels like a winding road trip with no plan, no map, and a dude in the driver’s seat who refuses to ask for directions. Oh well – at least I can listen to their earlier albums on the drive.

INDIGO TRAIL

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Of the pair, Prahelika 1 holds a stronger appeal of more sprightly tracks and complex arrangements, with internal shifts in song moods. It contains a tantalising array of melodies, with sparkling opener ‘Ekakitto’ (translating as ‘Solitude’) as the disk highlight. Intricate, interweaved guitar tunes spark off each other in ‘Melancholy Evermore’. The strong strumming in ‘Guilt’ is softened by tambourine kisses while ‘Stillness’ showcases Obaid’s more multidirectional material, with its fluctuating, rhythmic patterns. While there is a calmer demeanour to Prahelika 2, dark themes lurk not far below the surface.

Plucked notes float like dust motes in the air in ‘Abstract’ while a shadowy bass introduces rock sensibilities into ‘Savage’.

‘Paranoid’ (nothing like the Sabbath song) stands out with its heightened passion coming through clearly in the vocals. The churning emotions that underlie Obaid’s songwriting are illustrated by the image, created by the singer, of a blazing, shattered heart, which is common to both EPs. While comparisons are difficult, the overall vibe is not dissimilar to Gurrumul, and while the lyrics are impenetrable, the rhythms translate easily into any language.

RORY MCCARTNEY

49

RYAN ADAMS 1989 [PAX AMERICANA RECORDING COMPANY] If you like Taylor Swift, you should listen to Ryan Adams’ version of 1989, because the same songs you’ve been listening to for months now suddenly sound different, and the experience is vaguely like revisiting a book you haven’t read in years, or catching up with an old friend. If you don’t like Taylor Swift, you should also listen to Ryan Adams’ version of 1989, because it proves what a tonne of us have known for a while now – that 1989 is an extremely well-written and well-made album, capable of withstanding total restructuring and still retaining its candid emotional core.

Generally speaking, the best songs off this 1989 are the songs I’m not as fond of in their Taylor Swift form (I’m not including ‘Out of the Woods’ in this because that song could be played by a monkey with a theremin and it would still be a masterpiece). ‘Bad Blood’, ‘All You Had To Do Was Stay’ and ‘Shake It Off’ are all relatively formulaic in their initial editions, but here, all three become pensive and wistful. The transformation for ‘Blank Space’ is the best though, and if you hear only one song from the album, let it be this one. The Taylor Swift version of ‘Blank Space’ is a brilliantly crafted parody of the media’s interpretation of Swift herself – that she’s a hopeless romantic who uses boyfriends solely as fuel for her Break Up Song 4000 machine – but the Ryan Adams creation is something very different. It does what all the best covers do and, through changing very little, reveals a completely different angle. It’s fragile and melancholy and, honestly, spellbinding.

I was going to list other songs worth singling out, but then I realised I would’ve just listed the entire album, so go click open that YouTube tab and do yourself a favour.

INDIGO TRAIL

50

TIM HAINES EP [INDEPENDENT RELEASE] Despite his parents’ best attempts to set their son up (from age five) as a classical violinist, Tim Haines ran off the rails. He dabbled in folk and jazz guitar before surrendering to the urge to become a singer-songwriter, even to the extent of doing a thesis on lyrics at uni. Now he’s doing a mini-tour to launch his (somewhat unimaginatively titled) debut EP, including a gig at the relaunch of Smith’s Alternative (reportedly reopening Monday October 26 – hurrah!).

Not the type to just seduce with a few fancy chords, Haines uses music to tell his story.

It’s heart-on-the-sleeve-style folk-pop in which the lyrics dominate the music. The exception is an instrumental devoted to Warren Ellis of The Dirty Three, and that artist’s injection of the violin into alternative music. In ‘Three’, a tentative whistle and random, spaced plucks lead into a sighing violin/guitar dialogue, which mixes bright and mournful tones that circle like birds.

Poignant, but not everyone’s cup of tea.

Rather, it’s in the lyrics where Haines shines, expressing both a love of the music that drives his life and a diffident romanticism.

‘When I Was Thinking of Her’ is a pensive love song, juggling mixed emotions of hope and uncertainty with a whistle injecting a wobbly note of cheerfulness. CD highlight ‘From Tokyo’ strikes a brighter note, with simple but clear snapshots of modest, romantic thrills. A soft background sighing fills the spaces around the words and music. The track ends so eloquently with “how I wish that was now”. ‘I Don’t Want to Die For No Reason’ – with a female duet in the chorus – possesses a mournful beauty.

Alternately hopeful and solemn, the lovelorn should relate well to Haines’ work.

RORY MCCARTNEY

CHVRCHES EVERY OPEN EYE [LIBERATOR MUSIC/GOODBYE RECORDS] Given the solid success of their debut album The Bones of What You Believe, it appeared that Scottish synth outfit CHVRCHES would have to bring the big guns in to match the expectations they had previously set before them. Opener ‘Never Ending Circles’ punches through immediately with tumbling circles of synths punctuated with bursts of breathy vocal samples, matching the urgency stretching through Lauren Mayberry’s vocals. It is immediately evocative of their debut’s forerunner ‘Gun’. ‘Leave A Trace’ continues this emotive screw-you trend – the trembling beats stripped to reveal new abilities from Mayberry as she abseils from great heights to softer inflections. Every Open Eye has shifted CHVRCHES’ rhythm so that the majority of its tracks shatter through, colliding together to swiftly pull the record along. Unfortunately, the change of pace paired with a simpler approach to production means slower numbers such as ‘High Enough to Carry Me’ and ‘Down Side of Me’ create a strange imbalance. The springy yet bittersweet pop of ‘Empty Threat’ sits awkwardly between the two but stands alone as an album highlight. As per usual, the group have a solid grasp of dynamics, which is especially noticeable on ‘Clearest Blue’ as it brims over. ‘Make Them Gold’ uses the compositional elements of a CHVRCHES track to mimic classic ‘80s ballads – it sounds tacky, but it feels glorious.

Every Open Eye consolidates the strength and flexibility of CHVRCHES, however its weaker moments mean it doesn’t sit as cleanly as their stellar debut. More explicit emotional energy and a lighter hand on production will be what sets Every Open Eye apart from the rest of their discography, whilst the band’s steady hold on their own sound will be what continues to set them apart from everyone else currently in electro-pop.

ANGELA CHRISTIAN-WILKES

@bmamag

v

singles in focus

BY CODY ATKINSON TEETH OF THE SEA ‘FIELD PUNISHMENT’’

OUTLAND BROTHERS GOD IS DRUNK IN CHARGE [INDEPENDENT RELEASE]

ALI BARTER AB/EP [RONNIE RECORDS]

This album’s creation was a minor miracle in itself. Three blokes met in London, found they were all from South Australia, and started capturing songs back home in a straw bale studio. Things fell apart and recording ceased for a passage of years, until they reconvened in a mudbrick cottage to finish the LP. The resulting debut is alt-country in style with an emphasis on the bizarre – but surprisingly popular – horrorcountry genre.

The past few years have been a time of dedication and consistency for Ali Barter, as she applied herself to many a genre – rock, pop, punk and country amongst them. Now, she may very well stand at a tipping point in her musical career, with AB/EP holding the potential to propel her into greater spaces – or send her diving nose-first. Thankfully, the third release from the singer-songwriter points to the former, revealing an artist who is more ready than ever to seize the attention of audiences across the country.

Songs advance with an intensity and rhythmic force that will snatch away the unwary, like an undertow. Lead track ‘And God Wept the Ocean’ is a menacing, mourning song in a rich arrangement with a beguiling guitar line that is buffed by solemn horns, coming with an eerie whine.

While it’s about unrequited love, the CD draws its seemingly sacrilegious title from the lyrics of this haunting piece. However, it’s just a form of the oft-raised query: if God intervenes in the world, why are things so awry (forgetting that most woes are man-made)? Alternatively slow and smoky, then bright and twangy, ‘The Bowing Song’ also has a threatening mood, with danger lurking just out of view. Disk highlight ‘If I Ever’ is lo-fi folk-pop, bent around a sweet plucked theme, enhanced by harmonies from Catherine Wright and decorated with chimes. ‘Before the Last Cigarette’ casts a long, mysterious shadow, while ‘If the End Should Come Tonight’ matches catchy keyboard undulations with raucous, scratchy guitars. The funny ‘Goodnight Satan’ takes pity on the prince of darkness, who has been outclassed by the Christians and overshadowed by new forms of mischief. The best material comes heavily frontloaded in this collection, which couples inventive songwriting with an eccentric, but captivating musical sense.

RORY MCCARTNEY

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‘Blood’ is a captivating start. Languid effects evoke parallels to movie soundtracks before the burst of the chorus pushes through, powerful yet unforced. Sitting next to the nostalgia of the opener, ‘Hypercolour’ doses out suave charisma. The underlying groove of the track demonstrates a fine-tuning to Barter’s earlier recordings, producing a solid rock tenor. This isn’t achieved to the same extent on the verses of ‘I Ask For So Little’ – unfortunate given the mesmerising quality of its chorus. The edges of ‘If You Go’ have been blended so much that the bulk of the song is indistinct, meaning its most alluring moments lie outside of the fuzz. The postchorus is flooded with a pulsing bassline whilst the crunchy breakdown is a needed twist. Whilst the bulk of the EP utilises a heavy hand with dynamics, ‘If You Go’ keeps things simple. Soft humming and minimal strumming draw attention to the delicacy and strength of Barter’s central vocals.

AB/EP successfully combines her previous experimentation with various influences into a uniform sound that simultaneously shows great breadth. Theatrical yet understated, emotional yet never unsubtle, AB/EP is the perfect appetiser to both the summer and Ali Barter’s inevitable breakthrough.

Sometimes you come across a song that you just get, but you can’t really explain why. ‘Field Punishment’ has bits of dance, splashes of brass and touches of post-rock, but it’s ultimately its own beast, shifting and sliding across six voiceless minutes. One to put on in the background, on endless repeat.

THE DRONES ‘TAMAN SHUD’’ Fuck, Gareth Liddiard can write a decent lyric or two. Like most good Drones songs, there’s abrasiveness on ‘Taman Shud’, but more so with the words than the music. The nervy guitars dance all around this thing, with a deep bass rumble disturbing the tense atmosphere. When a band sounds like this, they’re worth paying attention to.

URTHBOY FEAT. BERTIE BLACKMAN ‘LONG LOUD HOURS’’ Not many hip-hop songs are about a helicopter-initiated gaol break, but Urthboy doesn’t always abide by expectations. When he gets going, Urthboy delivers a flow that few can match; but it feels like the pace is deliberately restrained here, perhaps a product of the restrained production.

P!NK ‘TODAY’S THE DAY’ This song, which is actually being bought by human beings in Australia, is a theme for a U.S. talk show. Let’s all take a second to think about this.

Bland, broad, aspirational pop, but that’s kinda the brief for this type of thing. Let’s all forget that this happened, okay?

ANGELA CHRISTIAN-WILKES

51

the word

on films

WITH EMMA ROBINSON

What can I say about Ridley Scott? Well, many things actually, like how directors should leave beloved creations alone and that the George Lucas effect is to be avoided like the drunk grope-y person at a party (please stop, you are ruining things), but that topic has been thoroughly canvassed and I’m running out of space. So instead, I will say don’t write Ridley Scott off, he has delivered a film that makes the perils of space seem funny. We all make mistakes and we all deserve to be forgiven, mostly.

quote of the issue “I don’t want to come off as arrogant here, but I’m the greatest botanist on this planet.” Mark Watney (Matt Damon), The Martian

BLACK MASS

MISS YOU ALREADY

THE INTERN

Black Mass is a bleak, gritty, true crime film that showcases Johnny Depp at his best.

I really don’t like the term ‘chick flick’. It unnecessarily segregates films into what people will enjoy according to their gender, which is becoming increasingly irrelevant. Labeling a film a ‘chick flick’ needlessly alienates a large portion of its potential audience.

Down with this saying!

My dad’s preferred film genres are documentary and based-ontrue-stories-and-please-deargod-no-chick-flicks-thank-youvery-much. So when he told me he was interested in seeing The Intern starring none other than Hollywood’s saccharine doe-eyed Oscar-winning-warbler Anne Hathaway and an ageing Robert De Niro, I was like, “You talkin’ to me?” Over my initial shock, armed with choc-tops and flanked by a couple of ‘seniors’ (a.k.a. my parents), the sceptic in me soon melted away as I found myself rather enjoying the film. It’s comfy, fun and – shock, horror! – even quite moving.

Scott Cooper directs this story of James “Whitey” Bulger (Depp), an Irish criminal in 1970–80’s southern Boston. Approached

by FBI agent John Connelly (Joel Edgerton) with an offer to become an informant on the Italian mafia, he goes on to become an infamous gangster in the USA. Depp is back at the top of his game, acting the sociopathic gangster very believably. The film runs on the deterioration of relationships and the increase in paranoia – the inevitable fall from glory – for both Bulger and Connelly. Shown particularly well in a dinner scene at the agent’s house, Bulger creates an uneasy atmosphere when he ‘jokes’ about how if you tell him your secret family recipe, then what are you going to spill next?

The acting can’t be faulted, although some background characters remain underdeveloped – maybe because someone is getting killed off every ten minutes. How many times do we really need to see an informant murdered to understand the violent, sociopathic and ultimately hypocritical character of Whitey Bulger? The movie is slightly too long, and runs the risk of starting to lose the viewers’ attention, but it does manage to finish up before it becomes a chore.

A little more attention to script and the impact of the more dramatic events in the film would have raised it to better heights. Fortunately, Depp and co.’s acting pulls the film through.

52

SABRINA ANTONAKOS

Miss You Already has clearly been marketed as a film for women, which is not to say it cannot be enjoyed by a large cross-section of people. The story centers on childhood besties Milly (Toni Collette) and Jess (Drew Barrymore), whose friendship has endured well into adulthood. This partnership is put through the ringer when Milly is diagnosed with breast cancer. While everyone flocks to Milly’s side, Jess tries to balance the competing priorities of becoming pregnant and caring for her friend.

Man or woman, most people can relate to the dilemma of trying to simultaneously be a good best friend and partner.

The intimacy one has with their childhood bestie sometimes cannot compete with the love one has for a life partner and trying to balance these devotions is tricky at best.

This film is not without its flaws – it does succumb to some of the clichés employed by filmmakers when dealing with the subject matter of cancer (a good example of how NOT to do this is Me and Earl and the Dying Girl). Nevertheless, it has some genuinely funny and moving moments. Don’t forget tissues.

EMMA ROBINSON

The premise: Jules Austin (Hathaway), a very busy CEO of a highly successful start-up fashion company who rides a bike through her office to save time, somehow agrees to incorporate a seniors’ internship programme into her business.

Enter retired widower, Ben Whitaker (the simply wonderful De Niro), who signs up for the gig with a view of keeping busy and engaged in his later years.

While The Intern is a mostly formulaic youth/experience friendship story with a side of cheese and a frustrating ending, it surprisingly more than scratches the surface of themes like the inevitable loneliness of ageing and the fear of existing without purpose, along with some timely messages about unplugging from technology every once in a while to reconnect with your loved ones.

Even my dad, the über-critic of this genre, chatted happily about the film over coffee afterwards.

An enjoyable Sunday afternoon flick for all generations.

MAJELLA CARMODY

@bmamag

THE MARTIAN

LEARNING TO DRIVE

When Gravity graced our silver screens in 2013 as one of the most stressful films of the year (in a good way), film geeks thought to themselves: “Here is a trail blazer – expect to see more films that stress the point that space is freaking vast and scary.”

Upon viewing this film, my low level of excitement transported me to a moment earlier in the day when I was drinking a glass of water whilst staring at the wall in my kitchen. Learning To Drive is a palatable yet ultimately forgettable film, much like water except thoroughly unnecessary to our survival.

Lo and behold, Ridley Scott presents us with The Martian.

Moviegoers have been a little bit leery of Ridley Scott in recent years, as some of his films have been a little… off (how does the creator of Alien go on to make Prometheus?!). What sets this film apart – making it deserving of a place in this new subgenre – is that it looks at a nearimpossible-to-survive scenario and makes it genuinely funny without making light of it.

Mark Watney (Matt Damon) is left stranded on Mars when his fellow astronauts believe him to have died in a storm. What follows is Watney’s methodical attempts to keep himself sane and alive, including making daily log recordings on how much he despises disco music (actually, I thought ‘I Will Survive’ was the perfect backdrop to a vista of Mars) and using poop to fertilise his potato crops.

Like Gravity, The Martian is light on plot, and like Gravity, it doesn’t matter. The Martian is visually magnificent and surprisingly funny. Matt Damon is engaging and the film doesn’t heap too much attention on him.

Excellent supporting cast too.

EMMA ROBINSON

Based upon an article in The New Yorker (how typical) by Katha Pollitt, Learning To Drive follows Wendy (Patricia Clarkson) after a messy divorce, taking driving lessons from Darwan (Ben Kingsley) in order to discover a new sense of independence.

The film oscillates between Darwan and Wendy, drawing contrasts between the life of a Sikh immigrant in Queens and a privileged middle-aged white woman in Manhattan.

Clarkson, surprisingly, fails to evoke any interest or empathy for her side of the story – the issues of inner-city living pale in significance when Darwan reveals his past in his home country. An inoffensive ‘sisters are doin’ it for themselves’ brand of feminist narrative feels tired, and Darwin’s inclusion in the film initially feels like we are made to stock hope in a mystical, foreign character archetype. Thankfully, Kingsley brings a fully realised and multi-dimensional character to the fore, making Darwan perhaps the only saving grace of this film.

If you’d like to make a mildly racist member of your family less so, take them to see this film. Don’t fear; they won’t be challenged.

PATRICK JOHNSON

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53

the word on dvds

THE FLASH – SEASON 1 [WARNER HOME VIDEO]

GOTHAM – SEASON 1 [WARNER HOME VIDEO]

UTOPIA – SEASON 2 [ROADSHOW]

Even though drama – especially the cable variety – has gone through a well-publicised coming of age over the last decade or so, there is one genre that has yet to succumb to the Sturm und Drang. As shows like Breaking Bad, The Sopranos and The Wire were redefining drama on TV, the superhero was being reborn and rebooted on the big screen, rather than the small screen (Batman, Iron Man, The Hulk, et al.). Instead, TV superheroes tended to play to their strengths – simple, comic book fun and a little bit self-aware. Smallville contemplated depth but knew its limits. Heroes – not strictly a comic book adaption, but part of the genre nonetheless – was invigorating before it bloated and lost control. And even though it’s early days, The Flash is one of the most enjoyable hours of escapist TV. Because it delivers on its remit – give a character a unique ability, surround him with an interesting, fully formed supporting cast, throw in villains, a mad scientist in a wheelchair (Tom Cavanaugh) and most importantly, have fun throwing all those elements around.

With the conclusion of the Nolan trilogy still fresh – it was only three years ago – and another Caped Crusader film scheduled to open in a little under six months’ time, this time with Superman on board, you’d be right to question the need for more Batman in our lives. Does he deserve this much screen time?

The cover art for season two of Utopia pretty much replicates the first season; the only major difference is a slight change in the angle of the group shot and a different background colour.

You could say the same applies to the show itself – not much has really changed. The federal government department in charge of infrastructure still struggles valiantly with halfbaked ideas and schizophrenic expectations from their political leaders. But for all intents and purposes, the return season delivers more of the same – corporate satire.

It’s still outrageously funny and infuriatingly familiar for anyone (un)lucky enough to work in the bureaucracy, but don’t be fooled into thinking this is merely gentle ribbing of public servants. If anything, it presents them as modern day saints, somehow still delivering proposals and policies from thought bubbles and media grabs.

Barry Allen (Grant Gustin) is a forensic cop, who in an early bit of obvious foreshadowing has a habit of running late. That is until a Large Hadron Collider-type device goes a little bit wrong and sends a wave of mutant, scientific catastrophes out across Central City. Though the meltdown doesn’t obliterate the city, some people – like Barry – are rearranged and become metahumans. Barry will now never be late for anything. Like all superheroes though, The Flash needs someone to bounce off, and eventually Captain Cold (Wentworth Miller) and Heat Wave (Dominic Purcell) arrive fit for purpose. The scale of this superhero universe is made clear early on; not only is The Flash a spin off of Arrow, but we also see a Gorilla Grodd reference in the very first episode.

Fortunately, this is a show that feels supremely confident in its book roots.

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JUSTIN HOOK

Gotham is an origin story, but redirects its attention from the focal vigilante lawman (Batman) to one of his biggest antagonists (Oswald Cobblepot, a.k.a. The Penguin), and the badged lawmen – especially James Gordon (Ben McKenzie).

This approach makes perfect sense. As noted above, Batman feels a little too overfamiliar at the moment, but the superhero vs. villain comic book world is plenty big enough to support a full-length TV series or two.

But the real challenge for this show is maintaining interest whilst audiences wait for the inevitable to happen – the young Bruce Wayne to become Batman and the ancillary players to become fully-fledged villains (Penguin), or public heroes (Commissioner Gordon).

There is also the very damaging impact of this sort of prequel – but not really – in trying to figure out if a minor character will end up being someone more notable and colourful. Who will be the Joker for example? Or Harley Quinn? Gotham shows its eponymous city as a hive of corruption and degradation and there is a huge gap between what a multi-million dollar film budget can achieve and what a 22-episode network budget can. That means that the flashy parts can look cheap and the grimy parts freshly decorated.

That’s not a unique fault though; many TV shows look awful.

Initially, Gotham seemed like a poorly timed cash-in. But after a shaky first couple of episodes it settles into an enjoyable rhythm, neither camp nor dour.

Though Jada Pinkett-Smith as scheming crime boss Fish Mooney certainly pushes credulity to Adam West-lengths.

JUSTIN HOOK

This time around it becomes painfully obvious that Utopia is an office satire and the morons are actually the ones circling the servants. Sound bites get turned into national strategies.

But it’s not the policy officers or departmental executives dreaming up, hare-brained schemes; it’s the leaders.

Which made the timing of the recent leadership spill all the more devilish. Like it or not, the political cycle often becomes an untameable beast – and Utopia shows the impacts at an agency level, where highly educated people make crazy work decisions because they have to. The world this show inhabits will be familiar to anyone in public or private service, from the grand folly of consultants delivering cookie cutter analysis, to office shenanigans, to pointless meetings. As before, the befuddled Tony (Rob Sitch) fails to make any sense of his orders or his staff, but thankfully, he plays it hapless – not hopeless. Lord knows in this fictional setting many will recognise, we need hope.

JUSTIN HOOK

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55

the word

on gigs

The Basics, Young Monks Transit Bar Thursday October 15 Last time The Basics played Canberra, it was hard not to walk away impressed and buzzing. It was absolutely incredible, full of energy and fresh new tunes. But this time around, something wasn’t quite right.

Young Monks played first, seemingly with a devil-may-care attitude to the show at hand. Their mix of covers and originals showed promise, indicating they’d be worth watching, but their immaturity and harder style didn’t fit with the headliner. Plus, their joke of playing ‘Somebody That I Used To Know’ with the man behind it in the room was a total clanger.

While there were a number of stellar high points (they covered ‘Wipe Out’ to open; ‘The Lucky Country’ was amazing, as usual), the setlist The Basics put together didn’t really gel. Even crowd favourite ‘Just Hold On’ lacked vigour, and the tease of playing the opening riff of ‘So Hard For You’ without following through to the song was intensely disappointing. The set also suffered technical issues, although when Tim Heath’s guitar stopped working, it led to some brilliant improvisation from Wally De Backer and Kris Schroeder, in the form of an impromptu cover of ‘Stand By Me’.

PHOTO BY CYBELE MALINOWSKI

But overall, it felt like a night of mild contempt, from the musical jibes of the opening act, to the noisy dickheads playing pool that didn’t pay to get in. Towards the end, the crowd started thinning out as if they too had just stopped caring. It hurts to say that this gig wasn’t as amazing as its predecessor. It was good, not great. If only we could pinpoint just what went wrong…

NONI DOLL

the word

on gigs

PHOTO BY HUGO & MARIE

Conrad Sewell, Avalanche City Transit Bar Wednesday October 7 Kiwi singer Avalanche City (better known to his family as Dave Baxter) warmed the eager crowd, who had formed a respectably sized queue down the street before doors opened. Armed with an acoustic guitar and stomp drum, he showed why his brand of folkpop is so popular in NZ. There were cute love songs aplenty, strong chords and pretty melodies, with ‘Little Fires’ a highlight. While not the night’s drawcard, his music was not unknown, with a few punters singing along.

Success in the mainstream charts and ARIA nominations fresh out from the muffin tray ensured a sold-out show for Conrad Sewell. So, did the act match the hype? Well, actually, it did!

Sewell’s voice is gobsmackingly good. Backed by only a guitarist and a keyboard player, his voice, which is capable of leaping tall buildings, came across as less androgynous than in his recorded material. No stranger to stadium-sized audiences, his relaxed stage presence formed an easy bond with the crowd. Sewell is capable of contracting his attention down to a single punter – one hand gently on her hair, singing directly to her. He appreciated the small performance space and reduced backing, saying that it brought out the pure form of the songs, which had only been written with the aid of a piano. New songs like ‘She’ showed that Sewell can throw together pop songs with substance. Capable of improvising a song on the spot, he threw together some lyrics about the Canberra gig, served up to a bluesy melody. There was also some shameless selfpromotion regarding his ARIA song of the year nomination for ‘Start Again’. That’s okay, however – it’s a worthy entry.

RORY MCCARTNEY

56

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BRITISH INDIA

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57

the word

Art School Ball ANU School of Art Saturday October 10

on gigs

Upon walking in, I was gifted some fairy bread and a jam doughnut, which is certainly a different way to start the night. The Art School Ball has been kicking for a few years now, combining the best of the local scene with select touring acts to create a chaotic atmosphere where people let loose a little more than normal. With three stages, a tonne of people and too many bands to cover in this review, there’s nothing else really like the Art School Ball that happens in Canberra.

I’ve written about Mind Blanks a bit lately, but I’ll say it one more time – if you haven’t checked them out yet, you’re missing out. On the night, Pete’s vocals were nearly totally lost, and there was the occasional fuck-up, but the tunes that they had on display were just great, with long, washy guitar jams.

Gus McGrath’s California Girls project has been kicking around for a couple of years now, but the Art School Ball felt like the high-water mark to date. It’s always a pretty great sign to see a crowd eating out of a performer’s hand, and California Girls totally had the crowd under his control for his entire set. With New Order-esque guitars breaking through drum machines and keyboard melodies, California Girls left it all on stage, in the shadow of the Art School library, and the crowd loved him for it.

As the night slowly got looser and looser, everything seemed to melt more into one. There was a spot on one of the walkways where you could hear the music from all three of the stages. While disorientated by the sound, the sights around seemed to get stranger too. I swear there was a guy dressed like an eggplant, and another like a banana. A man holding radishes and another with a trident. I can promise you that I wasn’t dreaming.

With the Fem Tech stage pounding in the background, Angie’s voice and swirling guitar fought with the 140-bpm bass drum, but more or less won the day. Angie’s set was all about sprawling guitars and staunch vocal delivery, but it grabbed the attention of the few punters who made the effort.

Speaking of the Fem Tech room, it was certainly a different experience, but a very bloody good one. Smoke and laser lights filled the room, and people filtered in and out the door periodically, dancing until they needed a smoke.

Bobby Kill also gets a fair run from time-to-time in these pages, and with fair reason. The man with guitar, drum and looping machines can seemingly knock out a good set in his sleep. Not that he was sleeping on the night, or at least I couldn’t tell if he was.

Straight Arrows occupy strange real estate as a band. Led by Sydney producer Owen Penglis, they might be Australia’s best-kept secret, especially as a live band. With a fuzzed-out take on ‘60s garage rock, Straight Arrows projected a take-no-prisoners sound, with people either with them or dancing in the smoke-filled Fem Tech room. Or both, depending on the direction of the wind.

PHOTOS BY MEGAN LEAHY

When Straight Arrows came out on stage, they came carrying about 60 rolls of toilet paper, for seemingly no reason. But halfway through the set, they flung one into the crowd and it began. A massive toilet papering of the Art School facilities commenced, with the crowd going wild with rolls of the white stuff, battling the sound of the stonking riffs in the air. What a chaotic – yet fitting – note to finish the night on.

CODY ATKINSON

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LEE KERNAGHAN

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59

the word

on gigs

Glitoris, The Ansah Brothers, Venus Mantrap The Polish Club Friday October 2 The Canberra crowd truly experienced exactly what it was like to have Glitoris in their face at the band’s latest gig.

Drag act Venus Mantrap oozed potential, delivering an awesome performance and warming up the audience with a final, almost ‘undragging’ act where wigs and boobs were removed and all was exposed. Then came The Ansah Brothers who, as a rap duo, were an odd choice for a punk rock gig, but managed to impress and keep the energy flowing for the main event.

Then in all their glittery glory came Glitoris. The punk rockers filled the stage with energy and commanded the attention of their fans with their unique sound and badass personalities. The ladies played from their distinct catalogue and hugely impressed with their track ‘What A Cunt’, in which each member of the band improvised a rant on something that’s pissed them off. This time, the song featured a jumped-up techie and a favourite ranting topic – the government.

They then struck out with the famous Buffy theme song to comment on the fact that the actor who had played Xander Harris in the show had recently been arrested for domestic abuse.

And finally came the single that everyone was there to see, ‘Disgrace’. The performance did not disappoint and the new single showed what these guys are made of, proving once and for all exactly how talented they are. The gig was a truly awesome experience and Glitoris definitely have a long road of success ahead.

NICOLA SHEVILLE

the word

on gigs

The Bon Scotts, The Gypsy Scholars The Front Gallery Saturday October 17 The Gypsy Scholars kicked off this night of folk music with a set showcasing their multi-instrumentation, excellent song writing and youthful exuberance. The vocal harmonies were beautiful and were especially evident in a cover of The Zutons ‘Valerie.’ Their mash-up of MGMT’s ‘Kids’ with alt-J’s ‘Breezeblocks’ was another innovative cover they performed for us. By the closing track this young Canberra band had some people up dancing and had impressed the rest (proving why The Bon Scotts had asked them to support).

As the six members of Melbourne’s The Bon Scotts took to the ‘stage’ there was a feeling that this show would be bigger than this intimate venue indicated. With coordinated black attire they launched into their set with somewhat of a coordinated abandon and horn player Jim Thomas immediately started his frenetic dancing. A few audience members had cleared some of the couches there for the ‘more chilled’ acts The Front usually hosts, and were dancing away as well. It was the mix of intimacy and energy that made this an awesome evening of live music. Backing vocals were clearly audible despite no mics, the snare drum was covered in a tea towel to reduce the enthusiastic beats of drummer Phil Schinbein and singer/guitarist Damien Sutton asked the audience to be his sound engineers as he checked his guitar’s volume. Even the bar tender’s cocktail shaking between songs was audible and prompted the band to quote ‘Hey Ya’. Highlights of the set included new single ‘Good Times’ and the crowd-clapping rhythmic pleaser ‘The Kids are Coming’. Despite not performing some of my favourite tracks, the band have a live show that, in the Oz music landscape, should be as well-known as the death of their namesake.

60

JARROD MCGRATH

@bmamag

ENTERTAINMENT GUIDE October 21 - October 22

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

WEDNESDAY OCTOBER 21

ART EXHIBITIONS Within These Walls

By Janet Angus. Until October 24. Mon - Fri 9am - 5:30pm Sat 9am - 1pm. Free.

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

New but Nah

Opens 8 Oct. Runs 8-25 Oct. M16 ARTSPACE

Spun

THEATRE Clone

Daramalan Theatre Company. 7.30pm.

Tickets at daramalan.act.edu.au.

DARAMALAN COLLEGE

Bell Shakespeare’s Hamlet 13-24 Oct.

THE PLAYHOUSE

The Art of Shakespeare 8-23 Oct.

PARLIAMENTARY TRIANGLE

TRIVIA

8 Oct-1 Nov.

Tranny Trivia

Macquarie Digital Portraiture Award 2015

POLIT BAR & LOUNGE

NISHI GALLERY

Free. Until Apr 2016.

NATIONAL PORTRAIT GALLERY

Michael Buzacott Sculpture 25 Sep - 1 Nov.

DRILL HALL GALLERY

Painting in Paris

Until October 25. Weds- Sun 11am5pm. Free.

CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

Paintings from Arrente country and Aotearoa Opens 8 Oct 6PM. Runs 8 - 25 Oct.

Glamour & Song questions. 8pm.

Book Online.

WORKSHOPS Look. Listen. Lead.

Leadership workshop. 9.30AM. $45.

Bookings at 6102 7070 or bookings@npg.gov.au.

NATIONAL PORTRAIT GALLERY

THURSDAY OCTOBER 22 COMEDY

The Distant Warriors

Short, Fast & Funny Comedy Night

CANBERRA GLASSWORKS

CIT MUSIC INDUSTRY CENTRE

M16 ARTSPACE

ANZAC Centenary exhibition inspired

by Indigenous and Maori soldiers. 9 Sp- 19 Nov.

Kon Kudo

Canberra based photographer and circus performer.

Local comedians perform their best short sets. $10/$5 concession.

7:30pm.

DANCE

Desperate thirst

Imperial Russian Ballet Co. Swan Lake

HONKYTONKS

Opens 8 Oct. Runs 8-25 Oct.

7.30PM.

M16 ARTSPACE

CANBERRA THEATRE CENTRE

New Work

LIVE MUSIC

CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

Hard Cover

Opens 6pm 15 Oct-25.

COMEDY

9pm. Free.

KING O’MALLEY’S IRISH PUB

Dallas Frasca

Carl Barron - Drinking With A Fork

With Renegade Peacock & Critical Monkee. $15 at moshtix.

CANBERRA THEATRE CENTRE

Lecherous Gaze

DANCE

THE PHOENIX BAR

8PM. 13-27 Oct.

THE BASEMENT

With Frown & Hygiene. 9pm. $5.

Imperial Russian Ballet Co. Swan Lake

SOMETHING DIFFERENT

CANBERRA THEATRE CENTRE

Booking only 0404364820. 5-7pm.

SOMETHING DIFFERENT

Men Inc

7.30PM.

Fashion and Fantasy

12 Sep-22 Nov. Collectors talk Wed 23 Sep at 1PM. CANBERRA MUSEUM AND GALLERY

Speed Talking

12pm. Free for members.

ALLIANCE FRANÇAISE

Tarot Card Reading POLIT BAR & LOUNGE

Every Thurs 5pm. Grooming, style and entertainment for the versatile man. Info @ qtcanberra.com.au/b QT CANBERRA HOTEL

Canberra PAX Warm Up Game Dev showcase.

RELOAD BAR & GAMES

BAD!SLAM!NO!BISCUIT!

THEATRE

THE PHOENIX BAR

Clone

Poetry. 8pm. Free.

TALKS

Daramalan Theatre Company. 7.30pm.

Tickets at daramalan.act.edu.au.

DARAMALAN COLLEGE

Janet Hawley with Wendy Whiteley

10.30AM. Free. Bookings essential 6102 7070 or bookings@npg.gov.au NATIONAL PORTRAIT GALLERY

facebook.com/bmamagazine

61

ENTERTAINMENT GUIDE October 23 - October 28 FRIDAY OCTOBER 23 ART EXHIBITIONS Within These Walls

By Janet Angus. Until October 24. Mon - Fri 9am - 5:30pm Sat 9am - 1pm. Free.

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

COMEDY Neel Kolhatkar

Live (Comedy Night GA Seated). 7pm.

Tickets $29 + BF from oztix.com.au UC REFECTORY

SATURDAY OCTOBER 24 ART EXHIBITIONS Within These Walls

By Janet Angus. Until October 24. Mon - Fri 9am - 5:30pm Sat 9am - 1pm. Free.

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

New but Nah

Opens 8 Oct. Runs 8-25 Oct. M16 ARTSPACE

Spun

8 Oct-1 Nov.

NISHI GALLERY

Michael Buzacott Sculpture

Castlecomer

SOMETHING DIFFERENT

THE PHOENIX BAR

Blues & W(h)ine

With Mondecreen. 9.30pm. $10.

Bach & Weiss on the Lute

6.30pm. Tickets at trybooking.com.

WESLEY MUSIC CENTRE

Sound Bites 7PM. $15.

ANU BAR AND REFECTORY

Halo Reach 2V2 Tournament

Carl Barron - Drinking With A Fork

Gaming tournament.

RELOAD BAR & GAMES

SOMETHING DIFFERENT

FILM Café Cinéma

Painting in Paris

LENNOX GARDENS DISTRICT PARK

5.30pm. Le Prenom. $12.

TUESDAY OCTOBER 27 COMEDY

Canberra Nara Candle Festival

Until October 25. Weds- Sun 11am5pm. Free.

POLIT BAR & LOUNGE

ON THE TOWN

25 Sep - 1 Nov.

DRILL HALL GALLERY

Blues & half price wine. www.politbar.co.

4.30pm.

Fashion and Fantasy

8PM. 13-27 Oct.

CANBERRA THEATRE CENTRE

KARAOKE Karaoke Salon

8PM. Book online at politbar.co.

POLIT BAR & LOUNGE

12 Sep-22 Nov. Collectors talk Wed 23 Sep at 1PM.

Karaoke Love

CANBERRA MUSEUM AND GALLERY

TRANSIT BAR

Rock or Be Rocked

Macquarie Digital Portraiture Award 2015

Back to the Future 2015

LIVE MUSIC

CHISHOLM TAVERN

NATIONAL PORTRAIT GALLERY

THE BASEMENT

Out to Lunch

ALLIANCE FRANÇAISE

LIVE MUSIC Free. Rock covers. 8PM.

Matt Dent/Oscar

5pm afternoon session/10pm Band. Free.

KING O’MALLEY’S IRISH PUB

Space Bong

CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

Free. Until Apr 2016.

Oceans Apart, Oceans Between Until 21. Tues - Fri 11am - 5pm, Sat 10am - 4pm. Free.

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Prizes for best dressed. $12.50 at stickytickets.com.au. 8pm.

Oh Happy Day - Plan To Celebrate

ALLIANCE FRANÇAISE

NATIONAL PORTRAIT GALLERY

14 Aug- 15 Nov. Free.

NATIONAL PORTRAIT GALLERY

The Greatest Story Never Told 11am. Tickets at eventbrite.com.au.

Johnny Cash The Concert

Paintings from Arrente country and Aotearoa

OLD PARLIAMENT HOUSE

THE STREET THEATRE

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

POLIT BAR & LOUNGE

Tappy Hour

$4.50 tap beers and free bar snack with acoustic tunes. 4:30pm. Free.

THE BASEMENT

Last Leaves & Waterford New single out soon.

THE POLISH WHITE EAGLE CLUB

ON THE TOWN Happy Hour

Every Fri to 6PM.

POLIT BAR & LOUNGE

SOMETHING DIFFERENT

Opens 8 Oct 6PM. Runs 8 - 25 Oct. M16 ARTSPACE

Heroes and Villains: Strutt’s Australia

William Strutt’s Collections.

Until 15 Nov.

NATIONAL LIBRARY OF AUSTRALIA

Selected Works

Until 21. Tues - Fri 11am - 5pm, Sat 10am - 4pm. Free.

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

THEATRE Crescendo

7.30pm. Tickets at thestreet.org.au.

THE STREET THEATRE

13-24 Oct.

THEATRE Crescendo

7.30pm. Tickets at thestreet.org.au.

THE STREET THEATRE

Clone

Daramalan Theatre Company. 7.30pm.

Tickets at daramalan.act.edu.au.

DARAMALAN COLLEGE

Frankenstein

BELCONNEN COMMUNITY CENTRE

Nerd Trivia with Joel and Ali

Presented by Impact Records. 7:30pm.

WORKSHOPS

M16 ARTSPACE

Make Your Own Paperweight

Impact Present Nerd Trivia with Joel & Ali

Opens 8 Oct. Runs 8-25 Oct.

The Barbed Maze

Until Nov 21. Tues - Fri 11am - 5pm, Sat 10am - 4pm. Free.

10am. $70.

CANBERRA GLASSWORKS

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

New Work

Opens 6pm 15 Oct-25.

SUNDAY OCTOBER 25 LIVE MUSIC

Matt Dent

QUESTACON

THEATRE

Desperate thirst

Carl Barron - Drinking With A Fork

6pm. $10. Adults only.

ALLIANCE FRANÇAISE

THE PLAYHOUSE

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

The Future is Now: Sci Night

12pm. Members free.

TRIVIA

Bell Shakespeare’s Hamlet

COMEDY

GAREMA PLACE

Book club

DARAMALAN COLLEGE

Daramalan Theatre Company. 7.30pm.

Tickets at daramalan.act.edu.au.

ANU ARTS CENTRE

6am-3pm.

Free for members. 12pm.

27 Oct-31 Oct. 7.30pm. Tickets at lexxproductions.com.au.

The Greatest Story Never Told Lock Up Your Boss

Book Club

Clone

CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

6.30pm. Tickets at eventbrite.com.au.

AINSLIE ARTS CENTRE

SOMETHING DIFFERENT

Bare: Degrees of undress

Feat. Daniel Thompson, Stuie French & The Tennessee Studs. Bookings at thestreet.org.au.

12.30PM. $5 at the door.

Free party and events fair presented bu Handmade Canberra and Hustle&Scout.

1pm. Free.

With Tomb Sealer, Wretch & Mammon doors. 8pm.

THE BASEMENT

Karaoke. 9pm. Free entry.

8PM. 13-27 Oct.

CANBERRA THEATRE CENTRE

LIVE MUSIC Byrne & Kelly 8pm.

THE STREET THEATRE

Special K

Irish Jam Session

KING O’MALLEY’S IRISH PUB

Awesome Aussie Roots Music. 3pm.

WILBUR’S CAFE BAR

Wesley Music Scholars Spring Concert 3pm.

WESLEY MUSIC CENTRE

MONDAY OCTOBER 26

10.30pm. Free.

LIVE MUSIC

Tappy Hour

CIT Presents The Bootleg Sessions

KING O’MALLEY’S IRISH PUB

$4.50 tap beers and free bar snack with acoustic tunes. 4:30pm. Free.

THE BASEMENT

With Beneath Benetta, Mister Monday, Ruth O’Brien & Jessica Horton.

8pm. Free.

THE PHOENIX BAR

7.30pm.

THE PHOENIX BAR

WEDNESDAY OCTOBER 28 ART EXHIBITIONS Spun

8 Oct-1 Nov.

NISHI GALLERY

Michael Buzacott Sculpture 25 Sep - 1 Nov.

DRILL HALL GALLERY

Macquarie Digital Portraiture Award 2015 Free. Until Apr 2016.

NATIONAL PORTRAIT GALLERY

Oceans Apart, Oceans Between Until 21. Tues - Fri 11am - 5pm, Sat 10am - 4pm. Free.

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

The Distant Warriors

ANZAC Centenary exhibition inspired

by Indigenous and Maori soldiers. 9 Sp- 19 Nov. CANBERRA GLASSWORKS

THE PHOENIX BAR

62

@bmamag

ENTERTAINMENT GUIDE October 28 - October 31 WEDNESDAY OCTOBER 28 Selected Works

Until 21. Tues - Fri 11am - 5pm, Sat 10am - 4pm. Free.

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

The Barbed Maze

Until Nov 21. Tues - Fri 11am - 5pm, Sat 10am - 4pm. Free.

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

ON THE TOWN

Words on a Wire

Chicago Charles & Danger Dave

$5. agac.com.au.

GORMAN HOUSE ARTS CENTRE

Heroes and Villains: Strutt’s Australia

KING O’MALLEY’S IRISH PUB

TALKS

NATIONAL LIBRARY OF AUSTRALIA

SOMETHING DIFFERENT

Helen Milner

9pm. Free.

Silver Linings

Art, workshops, dance tutorials & more.

28 Oct-7 Nov. Tuggernongarts.com.

TUGGERANONG ARTS CENTRE

Leaving No-one Behind. Can Australia be a Truly Digital Nation? 1PM. Free.

Bookings at 6262 1271.

NATIONAL LIBRARY OF AUSTRALIA

Tarot Card Reading

THEATRE

POLIT BAR & LOUNGE

Crescendo

Men Inc

THE STREET THEATRE

GORMAN HOUSE ARTS CENTRE

Every Thurs 5pm. Grooming, style and entertainment for the versatile man. Info @ qtcanberra.com.au/b

LIVE MUSIC

Speed Talking: Evening Session

BELCONNEN COMMUNITY CENTRE

FILM Cultural Reels

Joan Rivers: A Piece of Work.

12.30pm. $5.

Check Your Head

Your monthly dose of beats, rhymes and life. 9pm. $5.

THE PHOENIX BAR

SOMETHING DIFFERENT Silver Linings

Art, workshops, dance tutorials & more.

28 Oct-7 Nov. Tuggernongarts.com.

TUGGERANONG ARTS CENTRE

Fashion and Fantasy

12 Sep-22 Nov. Collectors talk Wed 23 Sep at 1PM. CANBERRA MUSEUM AND GALLERY

Social Deception night

2 Rooms and a Boom & Spyfall.

6:30pm.

RELOAD BAR & GAMES

THEATRE Frankenstein

27 Oct-31 Oct. 7.30pm. Tickets at lexxproductions.com.au.

BELCONNEN COMMUNITY CENTRE

TRIVIA Tranny Trivia

Glamour & Song questions. 8pm.

Book Online.

POLIT BAR & LOUNGE

THURSDAY OCTOBER 29 ART EXHIBITIONS Interior/Exterior

Booking only 0404364820. 5-7pm.

QT CANBERRA HOTEL

Free for members. 5PM. ALLIANCE FRANÇAISE

Shaken and Stirred

Burlesque and cabaret. 7:30pm. $20.

POLIT BAR & LOUNGE

THEATRE Frankenstein

27 Oct-31 Oct. 7.30pm. Tickets at lexxproductions.com.au.

BELCONNEN COMMUNITY CENTRE

FRIDAY OCTOBER 30 LIVE MUSIC MozartMANIA!

THE COURTYARD STUDIO

Boris The Blade

With A Night In Texas & To The Grave.

Tickets $15 at oztix.

THE BASEMENT

Mustered Courage

8pm. Musteredcourage.com.

TRANSIT BAR

Afternoon Session/Itchy Triggers.

5pm Afternoon session/10pm band. Free.

KING O’MALLEY’S IRISH PUB

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

Retro Invasion

LIVE MUSIC

THE RUC (TURNER)

A Night of Blues (Blues Bands)

Gaming tournament.

Canberra’s finest blues musicians come together for a night of blues. 7:30pm. $10/$5 concession.

AINSLIE ARTS CENTRE

Clowns

With Cosmic Kahuna, Sketch Method.

9pm. $5.

THE PHOENIX BAR

B5761626572 Art exhibition.

M16 ARTSPACE

Spun

8 Oct-1 Nov.

NISHI GALLERY

Michael Buzacott Sculpture 25 Sep - 1 Nov.

DRILL HALL GALLERY

Knees: Terraformation Division Nov 8. Weds- Sun 11am- 5pm. Free.

CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

By Louisa Giffard.

M16 ARTSPACE

Macquarie Digital Portraiture Award 2015 NATIONAL PORTRAIT GALLERY

Oceans Apart, Oceans Between Until 21. Tues - Fri 11am - 5pm, Sat 10am - 4pm. Free.

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Bare: Degrees of undress

Red Brick: Glimpses of Perfect Suburbia

By Thea Katauskas M16 ARTSPACE

Selected Works

Until 21. Tues - Fri 11am - 5pm, Sat 10am - 4pm. Free.

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

The Barbed Maze

Until Nov 21. Tues - Fri 11am - 5pm, Sat 10am - 4pm. Free.

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

FILM The Adventures of Priscille Queen of the Dese Film screening. 3pm.

NATIONAL PORTRAIT GALLERY

LIVE MUSIC Young Monks

With Monsterpiece & Rats in Oxford.

9.30pm. $10.

THE PHOENIX BAR

MozartMANIA!

Oct 30 Champange Night. Oct 31 Banquet Night. Nov 1 Twilight Champagne Supper. Book at carlrafferty@bigpond.com ALBERT HALL

Buzzing Broadway

Bookings at canberraticketing.com.au or 6275 2700.

THE COURTYARD STUDIO

Metal Fiesta 8

5PM. Tickets available from oztix.com.au.

THE BASEMENT

ON THE TOWN Oscar

10pm. Free.

KING O’MALLEY’S IRISH PUB

14 Aug- 15 Nov. Free.

Night of the Living Dead

Screens

RELOAD BAR & GAMES

NATIONAL PORTRAIT GALLERY

Until Dec 5. Mon - Fri 9am - 5:30pm Sat 9am - 1pm. Free.

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

DJ Black Temple. 6.30pm.

LoL World Finals Screening 11pm

RELOAD BAR & GAMES

Halloween

Lucky’s Halloween. 7-9pm includes $5 basics, beer, house wine and sparkling alongside $10 cocktails.

QT CANBERRA HOTEL

ON THE TOWN

Art exhibition.

M16 ARTSPACE

ART EXHIBITIONS

Free. Until Apr 2016.

Bookings at canberraticketing.com.au or 6275 2700.

POLIT BAR & LOUNGE

B5761626572

SATURDAY OCTOBER 31

Buzzing Broadway

ALBERT HALL

Red Brick: Glimpses of Perfect Suburbia M16 ARTSPACE

27 Oct-31 Oct. 7.30pm. Tickets at lexxproductions.com.au.

Interior/Exterior

Robbie Mann Plays Stride Piano

By Thea Katauskas

Frankenstein

Oct 30 Champange Night. Oct 31 Banquet Night. Nov 1 Twilight Champagne Supper. Book at carlrafferty@bigpond.com

By Louisa Giffard.

M16 ARTSPACE

7.30pm. Tickets at thestreet.org.au.

William Strutt’s Collections.

Until 15 Nov.

Retro Music. 7pm. Adult and family tickets available.

DOTA Spring Cup RELOAD BAR & GAMES

Happy Hour

Every Fri to 6PM.

POLIT BAR & LOUNGE

SOMETHING DIFFERENT Silver Linings

Art, workshops, dance tutorials & more.

28 Oct-7 Nov. Tuggernongarts.com.

TUGGERANONG ARTS CENTRE

facebook.com/bmamagazine

63

ENTERTAINMENT GUIDE October 31 - November 7 SATURDAY OCTOBER 31 SOMETHING DIFFERENT Canberra Zombie Walk 2015

3:30pm. Free. Gold Coin Donation.

LAKE BURLEY GRIFFIN

Silver Linings

Art, workshops, dance tutorials & more.

28 Oct-7 Nov. Tuggernongarts.com.

TUGGERANONG ARTS CENTRE

Fashion and Fantasy

12 Sep-22 Nov. Collectors talk Wed 23 Sep at 1PM. CANBERRA MUSEUM AND GALLERY

Canberra Zombie Walk

3.30PM. Supporting the Brain Foundation.

THE DECK (REGATTA POINT)

Choclat, mon amour

International Chocolate Fair.

6.30PM. $50.

ALLIANCE FRANÇAISE

SOMETHING DIFFERENT Silver Linings

Art, workshops, dance tutorials & more.

28 Oct-7 Nov. Tuggernongarts.com.

TUGGERANONG ARTS CENTRE

Blues & W(h)ine

Blues & half price wine. www.politbar.co.

POLIT BAR & LOUNGE

TUESDAY NOVEMBER 3 KARAOKE Karaoke Salon

8PM. Book online at politbar.co.

POLIT BAR & LOUNGE

LIVE MUSIC

By Thea Katauskas M16 ARTSPACE

COMEDY Schnitz and Giggles

Improv comedy sketch night.

6:30pm. $10.

12pm-4pm. Info at qtcanberra.com.au. $49 includes wine & nibbles. Ladies in red heels get a free coc QT CANBERRA HOTEL

THE STREET THEATRE

Bob Log III 8pm. $10.

THE PHOENIX BAR

A Taste of Tinseltown

POLIT BAR & LOUNGE

THE GODS CAFE

12pm. Book at politbar.co.

Silver Linings

Art, workshops, dance tutorials & more.

28 Oct-7 Nov. Tuggernongarts.com.

RELOAD BAR & GAMES

The Phoenix Quiz

SOMETHING DIFFERENT

THE PHOENIX BAR

Fashion and Fantasy

Trivia. 7.30pm.

WEDNESDAY NOVEMBER 4

HARMONIE GERMAN CLUB

Until Nov 21. Tues - Fri 11am - 5pm, Sat 10am - 4pm. Free.

The Barbed Maze

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

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

The Waifs

Art exhibition.

B5761626572

Beautiful You tour. With Mia Dyson.

Tickets from canberratheatrecentre. com.au.

M16 ARTSPACE

SOMETHING DIFFERENT

Interior/Exterior

Silver Linings

Art, workshops, dance tutorials & more.

28 Oct-7 Nov. Tuggernongarts.com.

TUGGERANONG ARTS CENTRE

MONDAY NOVEMBER 2

Knees: Terraformation Division Nov 8. Weds- Sun 11am- 5pm. Free.

CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

By Louisa Giffard.

M16 ARTSPACE

Macquarie Digital Portraiture Award 2015 Free. Until Apr 2016.

NATIONAL PORTRAIT GALLERY

Oceans Apart, Oceans Between

LIVE MUSIC

Until 21. Tues - Fri 11am - 5pm, Sat 10am - 4pm. Free.

2XX Local n Live - The Bootleg Sessions

Screens

Up and coming artists. 8pm. Free.

THE PHOENIX BAR

ON THE TOWN

TRIVIA

ART EXHIBITIONS

NATIONAL THEATRE (BRAIDWOOD)

Eric Ajaye Trio & Phingerprintz. 7.30pm.

Call of Duty Tournament

Carnival Road: Pro Blues and Roots Jam

KING O’MALLEY’S IRISH PUB

THE COURTYARD STUDIO

TUGGERANONG ARTS CENTRE

ALBERT HALL

Irish Jam Session

Every Thurs 5pm. Grooming, style and entertainment for the versatile man. Info @ qtcanberra.com.au/b QT CANBERRA HOTEL

FRIDAY NOVEMBER 6

Geek Pop Singer-Songwriter

Featuring James Muller. 7:30pm.

Make Your Own Paperweight

2pm.

Men Inc

LIVE MUSIC

Jazz at the Gods

MozartMANIA!

Art, workshops, dance tutorials & more.

28 Oct-7 Nov. Tuggernongarts.com.

DIGRESS COCKTAIL BAR

Giddy Up Melbourne Cup!

Oct 30 Champange Night. Oct 31 Banquet Night. Nov 1 Twilight Champagne Supper. Book at carlrafferty@bigpond.com

POLIT BAR & LOUNGE

TUGGERANONG ARTS CENTRE

WORKSHOPS

LIVE MUSIC

Booking only 0404364820. 5-7pm.

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

SOMETHING DIFFERENT

SUNDAY NOVEMBER 1

Tarot Card Reading Silver Linings

Until 21. Tues - Fri 11am - 5pm, Sat 10am - 4pm. Free.

BELCONNEN COMMUNITY CENTRE

CANBERRA GLASSWORKS

POLIT BAR & LOUNGE

Selected Works

Bookings at canberraticketing.com.au or 6275 2700.

10am. $70.

$45.

Jazzgroove Mothership Orchestra

Melbourne Cup

27 Oct-31 Oct. 7.30pm. Tickets at lexxproductions.com.au.

Red Brick: Glimpses of Perfect Suburbia

“Murder in The House” Who Dunnit Game Night

AINSLIE ARTS CENTRE

Crescendo

Frankenstein

CANBERRA GLASSWORKS

SOMETHING DIFFERENT

LIVE MUSIC

12.30PM. $5 at the door.

ON THE TOWN

THE STREET THEATRE

ANZAC Centenary exhibition inspired

by Indigenous and Maori soldiers. 9 Sp- 19 Nov.

Out to Lunch

THEATRE 7.30pm. Tickets at thestreet.org.au.

The Distant Warriors

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Until Dec 5. Mon - Fri 9am - 5:30pm Sat 9am - 1pm. Free.

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Gaming tournament.

12 Sep-22 Nov. Collectors talk Wed 23 Sep at 1PM.

Meri Amber live performance

RELOAD BAR & GAMES

Matt Dent 5pm.

HOPSCOTCH BAR

A Taste of Tinseltown

Bookings at canberraticketing.com.au or 6275 2700.

THE COURTYARD STUDIO

Icon

10pm. Free.

KING O’MALLEY’S IRISH PUB

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

POLIT BAR & LOUNGE

Punk Vs. Metal: Team Metal

With Imperilment, Na Maza, Black Mountain, Chud. Team Punk: The Bastards, Inebriator, Cockbelch, Sew THE BASEMENT

ON THE TOWN

CANBERRA MUSEUM AND GALLERY

Happy Hour

Silver Linings

POLIT BAR & LOUNGE

Art, workshops, dance tutorials & more.

28 Oct-7 Nov. Tuggernongarts.com.

TUGGERANONG ARTS CENTRE

TRIVIA Tranny Trivia

Glamour & Song questions. 8pm.

Book Online.

POLIT BAR & LOUNGE

THURSDAY NOVEMBER 5 LIVE MUSIC T.V.

With Bobby Kill, The Newsletters & Passive Smoke. 9pm. $5.

THE PHOENIX BAR

School Stars

Band competition for school-aged musicians. 6pm. Free.

Every Fri to 6PM.

SOMETHING DIFFERENT Silver Linings

Art, workshops, dance tutorials & more.

28 Oct-7 Nov. Tuggernongarts.com.

TUGGERANONG ARTS CENTRE

Day of the Dead

Live bands, food stalls, arts & crafts, facepainting.

TEATRO VIVALDI

SATURDAY NOVEMBER 7 ART EXHIBITIONS The Barbed Maze

Until Nov 21. Tues - Fri 11am - 5pm, Sat 10am - 4pm. Free.

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

CIT MUSIC INDUSTRY CENTRE

B5761626572

A Taste of Tinseltown

M16 ARTSPACE

Bookings at canberraticketing.com.au or 6275 2700.

THE COURTYARD STUDIO

Art exhibition.

Knees: Terraformation Division Nov 8. Weds- Sun 11am- 5pm. Free.

Dos Locos

CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

KING O’MALLEY’S IRISH PUB

Interior/Exterior

Silentia

M16 ARTSPACE

9pm. Free.

8pm. Free.

By Louisa Giffard.

THE BASEMENT

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ENTERTAINMENT GUIDE November 7 - Nov 12 SATURDAY NOVEMBER 7 Macquarie Digital Portraiture Award 2015

Hard Envy

With Art Of Fighters and Meccano Twins. 8pm. $25.

MONDAY NOVEMBER 9

THE BASEMENT

LIVE MUSIC

Free. Until Apr 2016.

NATIONAL PORTRAIT GALLERY

ON THE TOWN

Bare: Degrees of undress

Day of the Dead

Canberra Musicians Club- The Bootleg Sessions

14 Aug- 15 Nov. Free.

NATIONAL PORTRAIT GALLERY

Oceans Apart, Oceans Between Until 21. Tues - Fri 11am - 5pm, Sat 10am - 4pm. Free.

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Screens

Until Dec 5. Mon - Fri 9am - 5:30pm Sat 9am - 1pm. Free.

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Heroes and Villains: Strutt’s Australia

William Strutt’s Collections.

Until 15 Nov.

NATIONAL LIBRARY OF AUSTRALIA

Red Brick: Glimpses of Perfect Suburbia

By Thea Katauskas M16 ARTSPACE

Selected Works

Until 21. Tues - Fri 11am - 5pm, Sat 10am - 4pm. Free.

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

COMEDY Matt Okine

The Other Guy. 8pm.

THE STREET THEATRE

FILM

Live bands, food stalls, arts & crafts, facepainting.

THE POLISH WHITE EAGLE CLUB

SOMETHING DIFFERENT

Fashion and Fantasy

Blues & W(h)ine

12 Sep-22 Nov. Collectors talk Wed 23 Sep at 1PM. CANBERRA MUSEUM AND GALLERY

Silver Linings

Art, workshops, dance tutorials & more.

28 Oct-7 Nov. Tuggernongarts.com.

TUGGERANONG ARTS CENTRE

WESLEY UNITING CHURCH

Teaser Pony

With Thunderbolt City & California Girls.

9.30pm. $5.

THE PHOENIX BAR

A Taste of Tinseltown

Bookings at canberraticketing.com.au or 6275 2700.

THE COURTYARD STUDIO

4th Degree

10.30pm. Free.

KING O’MALLEY’S IRISH PUB

Red Brick: Glimpses of Perfect Suburbia

By Thea Katauskas M16 ARTSPACE

Selected Works

Until 21. Tues - Fri 11am - 5pm, Sat 10am - 4pm. Free.

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

COMEDY

POLIT BAR & LOUNGE

Schnitz and Giggles

TUESDAY NOVEMBER 10

Improv comedy sketch night.

6:30pm. $10.

DIGRESS COCKTAIL BAR

FILM

Karaoke Salon

25 April

EXHIBITION PARK IN CANBERRA (EPIC)

POLIT BAR & LOUNGE

WORKSHOPS

TRIVIA

Fix and Make Market

Trivia and Beers with Bondy and Kiers

Launching the Fix and Make program.

10am-2pm, Nishi Gallery.

HOTEL HOTEL

SUNDAY NOVEMBER 8 LIVE MUSIC Irish Jam Session

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

Awesome Aussie Roots Music. 3pm.

6PM.

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

10am - 3pm. 7 Feb, 21 Mar, 11 Apr, 9 May, 13 June, 15 Aug, 19 Sep & 7 Nov. Entry $3.

NATIONAL PORTRAIT GALLERY

The Song Company

Blues & half price wine. www.politbar.co.

Until Dec 5. Mon - Fri 9am - 5:30pm Sat 9am - 1pm. Free.

KARAOKE

Fash N’ Treasure

Charlie’s Country

LIVE MUSIC

THE PHOENIX BAR

SOMETHING DIFFERENT

KING O’MALLEY’S IRISH PUB

Film screening. 3pm.

With Dave, String Elephants, The Blue Angel & Dr. Wiedermann & Guyy.

8pm. Free.

Screens

Matt Dent

8PM. Book online at politbar.co.

Film. Wed 6pm. Thurs 2.30pm.

ARC CINEMA

Culture Reels

7.30pm.

The Kingdom of Dreams and Madness. $10/$5. agac.com.au.

GORMAN HOUSE ARTS CENTRE

LIVE MUSIC

THE PHOENIX BAR

WEDNESDAY NOVEMBER 11

The Nuclear Family

With Primary Colours & Ape Farm.

9pm. $5.

THE PHOENIX BAR

ART EXHIBITIONS

SOMETHING DIFFERENT

The Barbed Maze

Until Nov 21. Tues - Fri 11am - 5pm, Sat 10am - 4pm. Free.

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

B5761626572

Fashion and Fantasy

12 Sep-22 Nov. Collectors talk Wed 23 Sep at 1PM. CANBERRA MUSEUM AND GALLERY

WILBUR’S CAFE BAR

Art exhibition.

TRIVIA

ON THE TOWN

Interior/Exterior

Tranny Trivia

Burlesque Bazaar - The Irving Klaw Edition

M16 ARTSPACE

Teaming up with Fire & Ice & the Basement. $5 entry.

THE BASEMENT

SOMETHING DIFFERENT Children of the 1860s

2pm. Free. Bookings essential on 02 612 7070 or bookings@npg.gov.au.

NATIONAL PORTRAIT GALLERY

Burlesque Bazaar

Irving Klaw edition. 11am. $5.

THE BASEMENT

M16 ARTSPACE

By Louisa Giffard.

Macquarie Digital Portraiture Award 2015 Free. Until Apr 2016.

NATIONAL PORTRAIT GALLERY

Oceans Apart, Oceans Between Until 21. Tues - Fri 11am - 5pm, Sat 10am - 4pm. Free.

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

The Distant Warriors

ANZAC Centenary exhibition inspired

by Indigenous and Maori soldiers. 9 Sp- 19 Nov.

Glamour & Song questions. 8pm.

Book Online.

POLIT BAR & LOUNGE

THURSDAY NOVEMBER 12 FILM 25 April

Film. Wed 6pm. Thurs 2.30pm.

ARC CINEMA

The Assassin

Thurs 8.15pm. Fri 11am.

ARC CINEMA

CANBERRA GLASSWORKS

OUT

NOV 18

ON CLOSING CANBERRA VENUES QUESTIONING ...AND MORE!

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FIRST CONTACT SIDE A: BMA BAND PROFILE

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

Afternoon Shift 0402055314

Kayo Marbilus facebook.com/kayomarbilus1

Amphibian Sound PA Clare 0410308288

Kurt’s Metalworx (PA) 0417025792

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

THE FREEMEN Where did your band name come from? We were initially called Morgan and The Freemen but as we got more and more serious and self-conscious of the fact that it made us sound like a bit of a joke, we had to unfortunately part ways with our creative partner Morgan.

Group members? Nick (vocals), Daniel (lead guitar), Josh (rhythm guitar, keyboards), Gaya (drums) and Itamar (bass).

Describe your sound: Funky, spunky, chunky and somehow simultaneously smooth indie-rock.

Who are your influences, musical or otherwise?

Throughout the group, they’re relatively disparate, but let’s say Blood Sugar Sex Magik-era Red Hot Chili Peppers, Franz Ferdinand, The Smiths, Radiohead …

What’s the most memorable experience you’ve had whilst performing? Probably the overly aggressive moshing to some of our relatively subdued songs at BCS Bashers.

Of what are you proudest so far? Most definitely our recently released debut EP/mini-album, Get Free. We recorded all seven tracks at Hi-Hat Studios earlier this year and it contains a total spectrum of funked-up, poptimistic, rocked-up, mellowed-out tunes.

What makes you laugh? Our vocalist Nick’s surprisingly good ‘60s soulful affectation that he occasionally takes on at practice. It should be incredibly annoying and disruptive, yet it always brings us to tears.

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 Drumassault Dan 0406 375 997 Feldons, The 0407 213 701

What about the local scene would you change? It has probably been said a thousand times, but we’ll say it again: make it friendlier to underage bands! It is darn difficult to snag a gig.

Fire on the Hill Aaron 0410381306 Lachlan 0400038388

What are your upcoming gigs? CIT School Stars on Thursday November 5, Wodenstock on Thursday November 26.

Gareth Dailey DJ/Electronica Gareth 0414215885

Contact info: thefreemencanberra.bandcamp.com, facebook.com/morganandthefreemen, thefreemenband1@ gmail.com, soundcloud.com/morgan-and-the-freemen Photo by Courtney Green.

Fourth Degree Vic 0408477020

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

Los Chavos Latin/ska/reggae Rafa 0406647296 Andy 0401572150 Merloc - Recording Studio, Watson. Sam King: 0430484363. sam@ merlocrecords.com Missing Zero Hadrian 0424721907 hadrian.brand@live.com.au Morning After, The Covers band Anthony 0402500843 Mornings Jordan 0439907853 Obsessions 0450 960 750 obsessions@grapevine.com.au Painted Hearts, The Peter (02) 62486027 Polka Pigs Ian (02) 62315974 Rafe Morris 0416322763 Redletter Ben 0421414472 Redsun Rehearsal Studio Ralph 0404178996/ (02) 61621527 Rug, The Jol 0417273041 Sewer Sideshow Huck 0419630721 Simone & The Soothsayers Singing teacher Simone 62304828 Sorgonian Twins, The Mark 0428650549 Soundcity Rehearsal Studio Andrew 0401588884 STonKA Jamie 0422764482 stonka2615@gmail.com Strange Hour Events Dan 0411112075 Super Best Friends Greg greg@gunfever.com.au System Addict Jamie 0418398556

Haunted Attics band@hauntedatticsmusic.com

Tegan Northwood (Singing Teacher) 0410 769 144

In The Flesh Scott 0410475703

Top Shelf Colin 0408631514

Itchy Triggers Alex 0414838480

Undersided, The Baz 0408468041

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

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Johnny Roadkill Paulie 0408287672 paulie_mcmillan@live.com.au

Zoopagoo zoopagoo@gmail.com

@bmamag

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1

BEER CALENDAR ENDS

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Canberra Beer Week is set to galvanise the increasing interest in craft beer within Australia by bringing the best Australian and international brewers and breweries to the nation’s capital.

Now in its third year, Canberra Beer Week

with new ones. With talks, education

is growing bigger and stronger than ever

sessions, meet-the-brewer chats and brewery

with approx 50 events at 20 venues across

tours, there is every opportunity to learn

the city.

about the wonderful world of beer.

Canberra loves a good festival, and this

Many venues have tap takeovers, meal

promises to be a great one with events

deals and music for you to gather with

ranging from degustation meals and

friends and good ales. And the marquee

food and beer matching, to beer-related

event of the Beer Day Out is the perfect

pub quizzes and fairground-attraction-style

chance to experience all the beer diversity

games.

under one roof.

There is so much to craft beer; there’s

We’ve worked really hard to bring you a

something for everyone. The folk at

taste of the best of craft beer, so get out

Canberra Beer Week are encouraging

amongst it and discover why some of us

beer-lovers to visit different venues, to enjoy

are calling this capital city, ‘Canbeera’.

their favourite style of beer, and experiment

CHEERS, Kate Blackhurst and Anthony Young [Event co-ordinators] info@canberrabeerweek.com

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Tap Takeovers...all week long Australia has a rich and diverse brewing scene and we’re very proud of it. With hundreds of beers from across the country (and the Tasman), it could be tough to get round to tasting them all. So we’ve made it easier for you with Tap Takeovers across the city.

Several venues will host beers from a particular brewery, state, or country. Pubs and bars have temporarily lent their taps out to some of the finest Australian and

international breweries. Discerning punters will have the opportunity to travel the beer world without leaving town. Check out the CBW website for specifics M

VICTORIAN TAP TAKEOVER Durham Castle Arms: 2 Jardine St, Kingston

Prickly Moses, Exit Brewing, Killer Sprocket, Cavalier Brewing, Southern Bay Brewing. WHEN: All week, COST: Free

WA TAP TAKEOVER Transit Bar: 7 Akuna St, Canberra

WHEN:

BRIDGE ROAD TAP TAKEOVER The Duxton: Macpherson St, O’Connor

WHEN:

Including Feral, Little Creatures and Nail & Mash breweries.

All week, COST: Free Bridge Road and Beechworth tap takeover and meal deal.

All week, COST: Free

PANHEAD CUSTOM ALES TAP TAKEOVER One of New Zealand’s best craft brewers controls the taps at Debacle.

WHEN: All week, COST: Free Debacle: 24 Lonsdale St, Braddon VOTE YOUR GOAT The Meating Room: 45 Liardet St, Weston Creek

Vote for your favourite Mountain Goat beer from one of Australia’s largest craft breweries, based in Richmond Victoria. WHEN: All week, COST: Free

BRITISH INVASION TAP TAKEOVER The George Harcourt: 3 Gold Creek Rd, Nicholls

The George Harcourt turns 14 taps over to Australian and imported British-style ales. WHEN: All week, COST: Free

TWO BIRDS TAP TAKEOVER Grease Monkey: 19 Lonsdale St, Braddon

Come along and sample some of the great beers from the Two Birds Brewery, Spotswood Victoria. WHEN: All week, COST: Free

DIFFERENT EVERY DAY King O’Malley’s: 131 City Walk, Canberra

A different craft beer available every day, live music, quizzes, and foodmatching deals; check website for details.WHEN: All week, COST: Free

YOUNG HENRYS TAP TAKEOVER Honkytonks: 17 Garema Pl, Canberra

Young Henrys of Enmore, Sydney bring their great craft beers to Honkytonks for a great collaboration. WHEN: All week, COST: Free

PRICKLY MOSES TAP TAKEOVER Pot Belly: 5/26 Weedon Cl, Belconnen

Nine taps at The Pot Belly will be taken over by Prickly Moses’ handcrafted beers from Victoria. WHEN: 5–7 November, COST: Free

RODENBACH TAP TAKEOVER Pot Belly: 5/26 Weedon Cl, Belconnen

Exclusive event, Rodenbach and La Sirène food pairing experience on Sunday 8 November. potbellybar.com.au WHEN: 8–10 November, COST: Free

HAWTHORN BREWERY TAP TAKEOVER A Bite to Eat: 8 Chifley Pl, Chifley

A Bite to Eat’s four taps will be taken over by Hawthorn Brewery, Victoria.

WHEN: All week, COST: Free

DIFFERENT EVERY DAY Limestone Café & Bar: Terminal Building Canberra Airport

A different craft beer available every day at Limestone during Canberra Beer Week. WHEN: All week, COST: Free

DIFFERENT EVERY DAY BentSpoke: 48/38 Mort St, Braddon

A different beer every day. Try every BentSpoke beer during Canberra Beer Week, go in the draw to win a BentSpoke Draughters membership with $500 credit. WHEN: All week, COST: Free

CANBERRA BEER WEEK

POT BELLY BAR -HALF, HORI OR VERT?

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THU 5 November MOUNTAIN GOAT The Dock Kingston Foreshore 81 Giles St, Kingston

Meet the brewer as Mountain Goat releases their latest in-breed. limestonecafebar.com.au

AIRWAVES Limestone Café & Bar Terminal Building Canberra Airport

Great music and craft beers in the terminal.

GRAPE V GRAIN V JUICE Lake George Hotel 20 Gibraltar St, Bungendore NSW

Five-course degustation dinner with matching wine (Otway Wines), beer (Prickly Moses) and cider (Willie Smith’s Cider).

CRAFT BEER FIGHT CLUB Durham Castle Arms Green Square, 2 Jardine St, Kingston

NSW Young Henrys versus WA Feral Brewing

BOILERMAKER SPECIAL Hippo Co 1/17 Garema Pl, Canberra

Hippo Co is collaborating with Batch Brewing to create an exclusive Boilermaker Special.

SUMMER ALE Old Canberra Inn 195 Mouat St, Lyneham

Official launch of PACT’s latest release; a Summer Ale just in time for the start of the summer season.

GUIDED TOUR AND SAMPLE BAR Walt & Burley 70/17 Eastlake Parade, Kingston Foreshore

Guided tour and sample bar.

VICTORIAN BEER VS WINE DEGUSTATION Eightysix Restaurant Elouera St, Mode 3 Building Braddon

Eight courses matched with beer from La Sirène and wine from Toolangi, Jamsheed, and Luke Lambert.

SMALL ACRES CYDER AND PORK DINNER Pod Food 12 Beltana Rd, Pialligo

Four courses with snacks.

GUIDED TOUR AND SAMPLE BAR BentSpoke 48/38 Mort St, Braddon

A guided tour and tasting including a Sample Bar with four BentSpoke beers.

MATSO’S BEERS FROM BROOME Nishi 25 Edinburgh Ave, New Acton

Evening of tasting, talks and canapés match with Matso’s beers from Broome, WA.

WHEN:

Thursday 5 November 5–8pm

WHEN:

Thursday 5 November

WHEN:

Thursday 5 November 7–11pm

COST:

Contact venue

COST:

Contact the venue

CONTACT:

(02) 6239 6333

CONTACT:

(02) 6247 1350

COST:

CONTACT:

$69

(02) 6238 1260

WHEN:

COST:

CONTACT:

Thursday 5 November 6.30–11pm

Four schooners for $30

(02) 6295 1769

WHEN:

COST:

CONTACT:

Thursday 5 November

Contact venue

(02) 6247 7555

WHEN:

Thursday 5 November

COST:

—

CONTACT:

(02) 6134 6000

WHEN:

COST:

CONTACT:

Thursday 5 November

Contact venue

(02) 6239 6648

WHEN:

Thursday 5 November, 7–11pm

WHEN:

Thursday 5 November 6pm

WHEN:

Thursday 5 November

COST:

CONTACT:

$150

(02) 6161 8686

COST:

$120 per person

COST:

$25

CONTACT:

(02) 6257 3388

CONTACT:

(02) 6257 5220

BEER DAY OUT

WHEN:

COST:

CONTACT:

Thursday 5 November

Contact venue

(02) 6198 3300

@bmamag

BEER DAY OUT Former Transport Depot, Kingston

Beer Day Out 2015 will showcase over 30 Australian and international craft breweries – enjoy a range of beer and cider with entertainment, food matching and information sessions.

WHEN: Friday 6 November 4–9pm COST: See website CONTACT: beerdayout.com.au

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SAT 7 November R DAY OUT Former Transport Depot, Kingston

Beer Day Out 2015 will showcase over 30 Australian and international craftreweries – enjoy a range of beer and cider with entertainment, food matching and information sessions.

WHEN:

Saturday 7 November 12–6pm

COST:

See website

CONTACT:

beerdayout.com.au

BEER DIVA IN THE HOUSE Old Parliament House 18 King George Terrace, Parkes

Beer diva Kirrily Waldron hosts an evening of beer and food matching where she will talk you through several beers matched with light food options and snacks created by our chef. Knocks your hops off.

AFTER THE BEER DAY OUT Durham Castle Arms Green Square, 2 Jardine St, Kingston

After the Beer Day Out, continue the craft experience by soaking up some great Victorian tap beers. Live music from 10pm.

COMPARISONS AND TASTINGS Wig & Pen Llewellyn Hall, William Herbert Pl, Canberra

Come along and enjoy a tour of our brewery followed by a session of international beer tastings, showcasing and exploring the unique flavours of some of the world’s most influential brewing nations.

WHEN:

Saturday 7 November 7–9pm

WHEN:

Saturday 7 November 6pm onwards

WHEN:

Saturday 7 November All day

COST:

CONTACT:

$60

(02) 6270 8222

COST:

CONTACT:

$16 ribs & $5 wings

(02) 6295 1769

COST:

CONTACT:

Contact venue

(02) 6248 0171

KING O MALLEYS

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SUN 8 November MOUNTAIN GOAT AND BRIDGE ROAD SUNDAY LUNCH Pod Food 12 Beltana Rd, Pialligo

Four-course menu with snacks and matched beer from Mountain Goat Brewery and Bridge Road Brewery.

BUBBLES, BEER AND HIGH TEA Durham Castle Arms Green Square, 2 Jardine St, Kingston

Join Bec Lock from Rocks Brewing and Bryan Martin from Ravensworth Vineyard.

RODENBACH AND LA SIRÈNE MASTERCLASS The Pot Belly 5/26 Weedon Cl, Belconnen

La Sirène and Rodenbach Masterclass. Beer education, tasting and food pairing.

SIDESHOW ALLEY Grease Monkey 19 Lonsdale St, Braddon

An afternoon of fun and fairground-attraction style amusements, with Two Birds Beer on the side.

GUIDED TOUR AND SAMPLE BAR BentSpoke 48/38 Mort St, Braddon

A guided tour and tasting including a Sample Bar with four BentSpoke beers.

MEET THE BREWER The Duxton Macpherson St, O’Connor

Chat to the brewers behind Bridge Road Brewery of Beechworth.

WHEN:

Sunday 8 November

WHEN:

Sunday 8 November 12–5pm

WHEN:

Sunday 8 November

WHEN:

Sunday 8 November 1.30pm onwards

WHEN:

Sunday 8 November

WHEN:

Sunday 8 November Midday–2pm

COST:

$120 per person

COST:

Packages start at $70 for four people.

COST:

$95

COST:

Contact venue

COST:

$25

COST:

Contact venue

CONTACT:

(02) 6257 3388

CONTACT:

(02) 6295 1769

CONTACT:

potbellybar.com.au

CONTACT:

(02) 6174 1401

CONTACT:

(02) 6257 5220

CONTACT:

(02) 6162 0799

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MON 9 November BROOKLYN BREWING Hopscotch 2612, 5 Lonsdale St, Braddon

Brooklyn Brewing comes to Braddon, enjoy a tasting class with matching USA-styled food.

COFFEE AND BEER DINNER Highgate Lane Highgate Ln, Kingston

Coffee and beer dinner at Highgate Lane.

GUIDED TOUR AND SAMPLE BAR BentSpoke 48/38 Mort St, Braddon

A guided tour and tasting including a Sample Bar with four BentSpoke beers.

WHEN:

Monday 9 November 7pm

WHEN:

Monday 9 November

WHEN:

Monday 9 November

COST:

$49.90

COST:

Contact the venue

COST:

$25

CONTACT:

(02) 6107 3030

CONTACT:

(02) 6260 7263

CONTACT:

(02) 6257 5220

TUE 10 November BEER DEGUSTATION Pulp Kitchen 1 Wakefield Gdn, Ainslie

Pulp Kitchen is teaming up with Pirate Life Brewing for a night of beer and food.

GUIDED TOUR AND SAMPLE BAR BentSpoke 48/38 Mort St, Braddon

A guided tour and tasting including a Sample Bar with four BentSpoke beers.

WHEN:

Tuesday 10 November 6pm onwards

WHEN:

Tuesday 10 November

❤ MINT

COST:

Contact the venue

COST:

$25

CONTACT:

(02) 6257 4334

CONTACT:

(02) 6257 5220

BAR GORMAN HOUSE ❤

BEER AND A PIZZA [$12 during Beer Week, 5-11 Nov] Local beers and good tunes in the Mint Garden, hosting live music on THU, FRI, and SAT. On Friday nights see local BMA Magazine supported talents, and try our new cocktail menu plus daily specials. $10 pizzas and cool bar food.

MINT BAR Gorman House Arts Centre Batman St, Braddon

BEER CALENDAR STARTS

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WED 11 November @bmamag

BREWERY TOUR AND LUNCH Zierholz 7/19–25 Kembla St, Fyshwick

Brewery tour and beer tasting with Zierholz brewers.

PADDLE AND A PLATE The Dock 81 Giles St, Kingston

Beer and food matching with Matilda Bay Brewing Company.

MOO & BREW Durham Castle Arms 2 Jardine St, Kingston

Enjoy a beer + burger and vote for your favourite style of beer.

GUIDED TOUR AND SAMPLE BAR BentSpoke 48/38 Mort St, Braddon

A guided tour and tasting including a Sample Bar with four BentSpoke beers.

MODUS OPERANDI TAP TAKEOVER Old Canberra Inn 195 Mouat St, Lyneham

Modus Operandi tap takeover.

WHEN:

COST:

Wednesday 11 November Contact the brewery 11am–3pm

WHEN:

COST:

Wednesday 11 November Contact venue 5–8pm

WHEN:

COST:

Wednesday 11 November $20 All day

WHEN:

COST:

Wednesday 11 November $25

WHEN:

COST:

Wednesday 11 November Contact venue All day

CONTACT:

(02) 6162 0710

CONTACT:

(02) 6239 6333

CONTACT:

(02) 6295 1769

CONTACT:

(02) 6257 5220

CONTACT:

(02) 6134 6000

WAD SPACE

Patrons of Beer Day Out