BMA Mag 337 12 Nov 2009

empire of the sun

www.bmamag.com

DEADMAU5

TORI AMOS

#337NOV11

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Yep, it’s that time of year again, when stomach-churning tinsel and shiny plastic crap abounds.

For all our fellow Scrooges out there, we’ve a swag of pressies to throw your way. Send answers to

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editorial@bmamag.com and if it means one less Christmas shopping excursion this sanctimonious season, we’ll be happy.

1 Here Comes the Sun With a climate recognised as the best in Australia, the sunny coastal town of Port Macquarie will for the fifth year host Festival of the Sun at the beachside Sundowner Breakwall Tourist Park. This year’s entertainment includes some of Australia’s top acts mashed with the sounds of some of the country’s brightest stars. The cracking first lineup announcement includes Spiderbait, Little Birdy, The Beautiful Girls, Children Collide, Urthboy, Pez, Philadelphia Grand Jury, Bonjah, Chris Pickering and a whole heap more. Organisers are absolutely stoked about this year’s swag of marvellous Aussie talent amping up to grace the stage from Friday December 11 to 12. Festival of the Sun is BYO and an 18+ event. For more info head to www.fotsun.com. au. We’ve got one double pass to FOTS up for grabs. All you need do is tell us your ultimate festival lineup.

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and blues. She’s just about to release her third album A Fling With the King, and is playing The Front on Wednesday November 25. We’ve got five double passes to the gige. To score, tell us about your fav Australian female artist.

3 Bird Men The Mess Hall have just released their new album For the Birds.

Along with the narratives of the broken, the forgotten and the misunderstood that we have come to expect from The Mess Hall, the album has a swing flavour and an experimental feel.

It all comes together to create a cinematic album that paints pictures and tells stories all with a gritty kind of beauty. We have three copies to give away. Simply tell us about your messiest night.

2 Steel Away

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In her ten year career as a country singer-songwriter, Corrina Steel has emerged as a quiet achiever on the Australian musical scene. Comparisons with Emmylou Harris and Bonnie Raitt alone should make you sit up and take notice, as the woman can effortlessly tear up gospel, soul, country, swamp

The ’90s had Scream and I Know What You Did Last Summer, the early noughties had The Ring and other Japanese horror spins and then it kind of died. But to start off the new decade in horrific style comes Paranormal Activity. A young, middle class couple have just moved into their suburban dream

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home when they start to feel something’s not right. To find out what’s keeping them awake at night they begin filming the house while they sleep… expect some seriously chilling images.

We’ve got ten double in season passes to give away. To win, tell us your fear inducing tales.

5 Belly Up Renowned for their explosive live performance Newcastle sextet The Seabellies announce their long awaited return to touring, and they’re bringing their friends, LA band Eulogies, along for the ride. 2008 climaxed for The Seabellies with a blistering set in New York’s CMJ Festival and a series of shows across the USA where they befriended Eulogies. This will be the first run of dates for The Seabellies since commencing work with ARIA Award winning producer Wayne Connolly (Paul Dempsey) and they are looking forward to showcasing new material from their forthcoming album, Bye Limbo Lake. The tour stops

by Transit Bar on Saturday November 14. We’ve got five double passes and ten copies of Eulogies’ LP Here Anonymous to

bestow up you. All you need do is write a eulogy.

6 Anthemic Dance The first instalment of Anthems merely scratched the surface of epic throw-your-hands-in-theair dance-‘til-it hurts classics, so without further ado Ministry of Sound brings you Anthems II – picking right up where they left off with more of the most amazing, epic, and downright unforgettable tracks of our time. Remember when you fell in love with dance music? Was it dancing at full throttle atop a podium shaking your groove thing to Plump DJs’ Electric Disco, Basement Jaxx’s Rendez Vu or The Prodigy’s Firestarter?

Perhaps you were raving the night away in a field far, far away to Sash’s Encore Une Fois, or Robert Miles’ Children?

However it happened, whoever you were with and whenever it was, this is the album to bring all those unforgettable goose bump inducing moments flooding back. Relive the moments and remember why you fell in love with dance music. To score, tell us about your favourite dance fest.

They say dance is the hidden language of the soul – if this is the case then Friday nights are all about learning to say rude words. Is there no greater relief from the cerebral shackles of modern life than cutting some serious lunch on the floor? While girls are so rhythmically infused they could dance to the beat of their own heart, for men, like most things, it’s tricky. Strangled by their Straighty 180 collars and Blend It Like Beckham jeans, men love nothing more than to hover on the sides like out of work bodyguards, tapping along sheepishly, demonstrating that a fear of commitment isn’t limited to relationships. It wouldn’t hurt anyone to take dancing more seriously. Menfolk, listen up, put down the work boots and pick up the dancing shoes, the time for action is now – there’s murder on the dancefloor and it’s women kicking our arses. I realise this is part of the problem – we don’t have arses! The song says shake your money maker, not sit on your bad assets.

For most guys, dance isn’t their first language. Leave them standing long enough in a nightclub and eventually their screen saver will activate. This is called the Terry Two Step. First shuffle left / then shuffle right / your arms shouldn’t leave your sides all night. Repeat until magically laid. What happened to all the ones we learnt in high school? The heel/toe polka, the pride of erin, the Mexican hat dance?

It’s devolved into the Australian jacket dance, where blokes try and lure women by shifting around a stack of wallets. Break dancing will consist of tripping over as they walk to the bar while a frenzied pat down to find their keys will be offered up as the macarena. The song says shake it like a polaroid picture, not fiddle with it like a digital camera! If the dance floor is musical speed dating then you’ve got to put your best club foot forward.

Dancing is all smoke and mirror balls. Like a lot of things in life, when in doubt, just act like you know what you’re doing. On the dance floor I become captain busy, throwing shapes and jamming genres together like Crunkenstein, the line between irony and earnestness up and down like a stereo equaliser. Spinning and kicking, sliding and dipping – I’m a mime routine of a horny octopus making soup on a bouncy castle. I enjoy the thrill of not really knowing what I’m doing, but thinking that I may appear like I do; the cosmic sex bluff of throwing some Napoleon Dynamite VS Spike Jonze in the Praise You film clip super-spaz shapes with such rigour that they could be taken seriously, or better yet, sexily. Usually, this isn’t the case. I’ve been told that I make people around me dance out of time, like a rhythmic black hole. One girl said dancing with me was like being double bounced on a trampoline.

The urban discotheque can be intimidating. From the religious zest of the Nutbush to pro-am rockabilly swing dancers and all girl Kate Bush interpretive rock eisteddfods, men can be forgiven for feeling trapped inside a Broadway show where they’ve missed all the rehearsals. What’s that saying? Every Good Boy Deserves Funk.

Whatever your demographic I believe the mojo is within you, and there’s only one way to get it working again. Fellas, here’s a quick dance lesson from me: Move. Your. Fucking. Hips. If dance is the language of the soul, then it’s worth seeing what your soul has to say.

Sure, it might just be ‘shit...shit...shit’ but it’s still better than silence.

JUSTIN HEAZLEWOOD www.bedroomphilosopher.com Justin performs as The Bedroom Philosopher and writes for Frankie, Jmag and The Big Issue.

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Rub-A-Dub-Dub

3, 2, 1... summer festival season baby, yeah!

# 3 3 7 N O V 1 1 Fax: 02 6257 4361 Mail: PO Box 713 Civic Square, ACT 2608 Publisher Scott Layne General Manager & Advertising Manager Allan Sko T: 6257 4360 E: advertising@bmamag.com Editor Julia Winterflood T: 02 6257 4456 E: editorial@bmamag.com Accounts Manager Ashish Doshi T: 6247 4816 E: accounts@bmamag.com Sales Executive Danika Nayna T: 0408 657 939 Super Sub Editor Josh Brown Graphic Design Natalie Runko Exhibitionist Editor Naomi Milthorpe Film Editor Mark Russell Principle Photographers (The Flashbulb Posse) Andrew Mayo Nick Brightman John Hatfield NEXT ISSUE 338 OUT NOV 25 EDITORIAL DEADLINE NOV16 ADVERTISING DEADLINE NOV 19 Published by Radar Media Pty Ltd ABN 76 097 301 730 BMA is independently owned and published. Opinions expressed in BMA are not necessarily those of the editor, publisher or staff.

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There’s no denying dubstep is the it genre right now, so the longevity of the local scene might surprise you. Successful nights such as Shockwave started in ’06 and have brought international heavy weights Seven and recently Cotti, even the infamous Caspa played at the late club Toast. Local DJs Crooked Sound, Shifty Business, Faux Real, Aeon, Buick, Fourthstate and Skywalker have been spreading bass at Transit, Hippo, Knightsbridge, Tongue & Groove and HaHa Bar, but look out for uniVibes hosting the queen of dubstep Kito in December.

Sizzling Sabbath Sound Baked Sundays at Trinity Bar has become a Canberra institution. An institution that breeds messy afternoons in the sun with carafes of cocktails, sweaty butts and late Sunday nights soundtracked by the hottest acts, resulting in a killer hangover when you crawl into work on Monday. What’s not to love? The launch of Sound Baked Sundays’ third year is bringing the break-beat with Splitloop, Yolanda Be Cool and the finest locals from the ACT on Sunday November 15. Entry is free and so is the gourmet BBQ.

SxSW Film The South by Southwest Music Festival, held in Austin, Texas in March next year, is seeking Australian music film and documentary applications for its sister festival, the South by Southwest Film Festival and Conferences, held from March 12 to 21 2010. Submissions can be entered through the official SxSW website at sxsw.com/ film. The final deadline for film applications closes Friday December 11. For further info on SxSW film, contact Jess Kalucy at jessica@immedia.com.au .

Arabian Nights The Arab Film Festival is hitting the road for its inaugural national tour, and is stopping

by Arc from Friday November 13 to 14. The festival showcases the diversity and complexity of Arab film culture, and acts as a counterpoint to mainstream screen depictions of Arab communities. “The Arab community is massive and diverse, both in Australia and overseas,” says Mouna Zaylah, Co-Director of the festival, “and so are these stories and the Arab people’s experiences.”

For more info head to www. arabfilmfestival.com.au .

Cast away A decade ago, Castanets’ Ray Raposa was living on Greyhound buses while writing the songs that would become his first album. This December Castanets will be touring Oz for the first time, in support of his fifth album Texas Rose, The Thaw and The Beasts.

Starting in Canberra, Raposa will peddle his electro-flecked alt country along the East coast, stopping by The Front on Thursday December 17. For tickets and more info visit www. pastfuturespresents.com .

Pressure’s Off Traverse Poetry are presenting an open mic night of chilled poetic goodness at The Front on Friday November 27. After the excitement and energy of the ACT heat of the Australian Poetry Slam, why not head on down to The Front, grab a cold drink and spin your poetry without the pressure of a two minute time limit or judges. Prizes awarded for odd things. Free entry for everyone. traversepoetry.org .

Folkie Machinations The Justin Walshe Folk Machine are hitting the road to launch their new single Pockets Full of Gold. On Saturday November 14 at Filthy McFadden’s they’ll take you on a foot-stomping journey from the quiet introspection of folk to the wilds of gospelinfused country rock with feet firmly rooted in Australian soil. Adorned with three part harmonies to melt your heart and desert-bound slide guitar to melt your face, their epic yarns

deal with the idiosyncrasies of Australia’s past and the idiocy of Justin’s present.

AFTERPARTY? For Sure!

The official Foreshore afterparty will be the biggest kick on of the year. Fedde le Grand is coming back to Canberra to tear the roof off Academy until the early hours. Backed up by Ashley Feraude, Jamie Vale and Offtapia this is one afterparty not to miss. To make it buses are running directly from the event to the City.

Widget the BDO Watcher The lovable scamps of Big Day Out are proud as punch to introduce the Big Day Out Widget, a personalised and portable mini BDO website that lives on your webpage, blog and social networking page.

The Widget is free, easy to use and keeps you up to date with all the latest BDO news, music and videos. You can play tunes, check how many sleeps to go before the tour starts, get up to the minute updates via the blog and news feeds, check out videos, comps and more. To celebrate the launch of the Widget BDO are giving away a double pass to the fest, and all you have to do to win is pen a brief biography of your favourite BDO 2010 artist in 50 words or less. Just head to www. bigdayout.com/community/ widget.php, add the Widget, enter your band biography, then follow the prompts to share and post. Entries close Friday December 11.

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another

YOU PISSED ME OFF!

thing…

Stylish Beer is the final proof that we in the West have got things all wrong. Just like cigarette manufacturers in the immediate post-war period who promoted their menthol-infused wares in advertisements as aids to clearer breathing which were ‘good for the throat,’ the makers of ‘Stylish Beer,’ a brew of which I sampled a goodly amount on my recent flight to Madrid from Seoul, are spruiking said elixir as ‘for the benefit of young people.’ Now, you and I have known how good beer is for us for years, but it’s a fact that seems to have escaped the medical profession. At least the medical profession outside of South Korea. The reason, according to Stylish Beer’s manufacturers, for the promotion of health and vitality in Korea’s under-30s through the massive ingestion of their product is this – they’ve added fibre to it.

That’s right. Now, thanks to the diligent research of the men in white coats at Stylish Beer’s secret laboratories, drinking six cans of beer is the equivalent to eating an entire loaf of brown bread – quite literally, as Alanis Morrissette would have had it, a ‘best friend with benefits.’

And so I tucked in with confidence as we headed over the Russian Steppe towards Europe, the ingestion of fibre bolstered by a regular succession of splendid meals – I kid you not, if you’re thinking of heading to Europe, give Korean Air a whirl; their stringent excess baggage limits are only in place because you yourself will put on an extra stone whilst travelling with them, which is clearly another example of forward-thinking Korean enlightenment – and, before we knew it, we were descending through Dutch airspace in order to land at Amsterdam’s Schipol Airport in order to take on a few new passengers and spruce ourselves up.

Of course, since 9/11 air travel isn’t that simple anymore, Korean Air’s plan for our 90 minute stay in the Netherlands didn’t tally with mine at all. In the days before Osama a stop-off such as this would have merely constituted a chance for more duty free shopping in the airport or simply the opportunity to whet one’s whistle with another as-yet-never-tasted foreign beer. In 2009, you are merely herded into a ‘transit lounge’ (basically an inadequately-seated space with a toilet and a Coke machine) and told to sit quietly until it’s time to get back on the plane. The lady wife isn’t having this – we’ve just been sat down for ten hours after all, and really would like to take a thrombosis-smashing turn around the terminal – and luckily a friendly member of Korean’s ground staff has a plan.

“Pretend you need a cigarette,” she advises. “Someone will take you to a smoker’s area.”

A marvellous idea. Neither of us smoke, of course – in my new role as a healthily fibrous drinker I’m utterly opposed to anything that pollutes the system like fags – but moments later we’re out and about, being led to the small perspex-walled hut that constitutes Schipol’s smoker’s area. Luckily as adults we don’t need to be supervised, so once our attendant leaves us we are effectively loose in the airport. Off we go!

Except, due to the ‘transit lounge’ arrangement, and the fact there are no longer bewildered tourists (possibly insensible due to stylish beer), there’s nothing to do here. Everything has closed. And when we get back to the transit lounge all the seats are gone. Damn our enquiring minds…

Next time: The Prado Museum, and “I’m sorry Señor Adams, but your room has been let”… scott adams thirtyyearsofrnr@hotmail.com

Has someone yanked yer chain recently? Well send an email to editorial@bmamag.com and have your sweet vengeance.

And for the love of God, keep it brief! [All entries contain original spellings] to the dear person that stole my phone on halloween. best night of my life turned into the shittest, all because of you. you obviously have no conscious, no empathy towards other human beings, and you must have a really sick and perverted mind to send my parents pictures of my boyfriend. what the fuck is wrong with you? i hope you wake up in the morning and realise that your the scum of the earth, and i also hope that you know i think your a horrible waste of a child. find something better to do with your time scumbag, and may khama kick you little “wanna be cool” ass. fuck you, and may you enjoy my spongebob ringtone,

FROM THE BOSSMAN Saying goodbye is hard. Amusing, too, as far phone conversations go.

I’m often on the phone (I can feel the mobile-induced tumour pulsing as we speak; I call him George) which submits one to many different forms of goodbye. It’s amazing how much we struggle with this simple notion, even if it’s someone we know dearly, and will likely see that afternoon in the pub.

On one end of the scale, you have the non-hanger-uppers who don’t know how to end a conversation.

Them: So I’ll get that through to you by Monday then/Me: Perfect, thanks mate/Them: ………. / (some seconds later) Me: Uhhhh, anything else?/Them: No, no....../(some seconds later) Me: Uhhh, goodbye then?/Them: Yeah! Bye! On the other end of the scale are people who find it so hard to say goodbye that they hang up before the event (this is easily confused with good old fashioned rudeness).

Them: So I’ll get that through to you by Monday then/Me: Per… o, you’ve gone.

My par-tic-coo-lar malady in this instance is my unexplained and significant rise in the pitch of my voice. ‘Alright mate, good to talk to you, see you later, byeeee!’ There’s the booming conservationist who is loud and proud all the way through until a whispered ‘bye!’ is barely heard. Then there’s the last word: (‘alright mate’/‘alright mate’/‘see ya mate’/‘see ya mate’/‘bye/‘bye’/‘so long’/‘so long’/‘bye’/‘bye’/‘bye’/‘bye…)

Keep an ear out for it next time, you’ll be pleasantly amused at how much of a sensitive bunch we all are. And be sure to end your next conversation with a booming “I SAID GOOD DAY, SA!” Right, I’m off to give George what-for down the pub.

ALLAN “byeeee” SKO

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WHO: THE OUTRAGEOUSLY AWESOME FUN MACHINE WHAT: EP LAUNCH & LAWNBOWLS WHEN: THUR NOV 19, 7PMLATE WHERE: TURNER BOWLS CLUB

New cheeksters on the block Fun Machine are launching Turner Bowls into a flamboyant oblivion! This confetti volcano features a couple of rounds of bowls, your windswept hair combed fresh by honeybabes Ah! Pandita, and a silver service set from Fun Machine featuring tracks from their debut EP, More is More! They will be pulling out all stops to ensure traffic arrives early and arrives often.

To miss this night would be the truest of musical travesties, so bring your friends, their friends and a bucket of sand to replace divots. Free EP and sweets with entry! Details on www.myspace. com/morefunmachine !

WHO: THE GRATES, PHILLY JAYS, THE BOXER REBELLION AND MORE WHAT: PURPLE SNEAKERS NYE HOUSE PARTY WHERE: SYDNEY UNIVERSITY WHEN: THURS DEC 13

Purple Sneakers NYE House Party has announced its final lineup.

Joining the already bulging bill of The Grates, The Boxer Rebellion (UK), Baddies (UK), Ponytail (USA), Philadelphia Grand Jury, Red Riders, DZ, The Trivs, Chaingang, Young Heretics and Deep Sea Arcade are dancefloor destructors Shazam (Bang Gang 12 Inches), Beni (Kitsune), Astronomy Class (Elefant Tracks), Franki Chan (iheartcomix), Strangeways, PhDJ, Surecut Kids, and the Purple Sneakers DJs. First release tickets have already sold out. Tix available from www. purplesneakersnewyearseve.com. Keep checking the website for updates on the Purple Sneakers NYE Canberra to Sydney buses!

WHO: WEEKEND ESCAPEES WHAT: MUSIC AT THE CREEK WHERE: MAJOR’S CREEK IN BRAIDWOOD WHEN: FRI NOV 13 – SUN NOV 15

If you need an excuse to escape Canberra for a weekend and enjoy this amazing weather we’ve been experiencing lately, jump in the car and head east to the historic town of Braidwood. For three days, Braidwood’s Major’s Creek will be transformed into a hub of acoustic sounds, poetry and dance for the Music at the Creek festival. The fest is a modest, friendly and family-driven one. There are no famous people, rather a bunch of very talented entertainers and a huge list of activities to keep you occupied, all in the spirit of festivity and fun.

WHO: SONY & REV WHAT: GOSSIP AND FOO FIGHTERS ALBUM LAUNCHES WHERE: BAR 32 WHEN: FRI NOV 13, FRI NOV 20

Sony Music has jumped on the bandwagon with Canberra’s ever popular weekly alternative night REV to launch some awesome up and coming releases. This cosy arrangement gives Canberra kids a chance to score CDs and merchandise while dancing up a storm.

To kick it off this Friday 13, Rev will be launching the long awaited Foo Fighters’ Greatest Hits. On the following Friday, November 20, Gossip fans are in for a treat with copies of the Music for Men Deluxe Edition LP, which features remixes and a brand new unreleased track The Breakdown, up for grabs.

WHO: CIT PHOTOGRAPHY STUDENTS WHAT: 48-15 EXHIBITION WHERE: HIGH VOURT WHEN: OPENING WED DEC 2

48-15 is photographic extravaganza featuring photographs by the Bachelor of Design (Photography) students from the Canberra Institute of Technology. There are many captivating images ranging from portraiture, fashion, automotive, dance, food, wildlife and landscapes. The title of the exhibition represents the number of students that began in our first year. Three years on there are now 15 remaining emerging photographers. The exhibition will be launched by the 2008 AIPP Photographer of the Year, Mercury Megaloudis at the High Court of Australia, Parkes on Wednesday December 2 at 6.30pm. Entry is free and it’s open Monday to Friday 9.45am-4:00pm.

WHO: GEORGIA FAIR WHAT: ACOUSTIC/ALT FOLK WHERE: ANU BAR WHEN: WED NOV 25

Mahalo! We’re Jordan and Ben from Georgia Fair, hailing from Sydney’s Northern Beaches. We became mates through music and became inspired by legends such as Fleetwood Mac, Bob Dylan and Simon & Garfunkel. Our passion for music drove us to start writing and we’re very proud of our debut EP. Our music is described as acoustic/alternative folk. At the moment, it’s all about touring – we recently supported Oh Mercy and Washington on the QLD leg of the tour and last night supported John Mayer at his secret gig – definitely an early career highlight! Next on the cards – supporting Whitley, who’s stopping by ANU Bar on Wednesday November 25.

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steele-ing the spotlight josh brown Luke Steele strikes me as the kind of man who gets bored quite easily. That might explain his penchant for seeking out new and varied musical collaborators as often as, say, Lady Gaga changes outfits. Though if you saw Steele’s latest project, EMPIRE OF THE SUN, play at the Parklife Festival recently you’d be forgiven for arguing that Steele’s extravagant costume changes rival that of the American pop oddity. But I digress. The point is the man likes to change things up musically, whether it be within indie, mainstream or even, gasp, hip-hop circles.

Empire of the Sun, in case you’re unaware, make music that is at times comfortably cruisey electronica and others funked up, tripped out psychedelia. The eccentric duo is comprised of Steele and that mane-haired purveyor of delectable dance we’ve become particularly familiar with over the past few years – Nick Littlemore of Pnau. The pairing wasn’t hastily put together overnight, Steele informs me. “I first met Nick back in 2000,” he confirms, and after taking a few years to devote attention to their respective primary musical interests – Littlemore with the aforementioned Pnau and Steele with his band The Sleepy Jackson – the seeds of Empire of the Sun were sown with a collaboration. Steele elaborates, telling me that Littlemore wanted him to “sing on the Pnau track, With You Forever, and from that we realised that it was a bit of a waste not capitalising on our magical chemistry. That’s the way it started.”

Thankfully the duo didn’t call it quits after just the one song. The “magical chemistry” Steele describes managed to elicit an entire album’s worth of material that the pair christened Walking On a Dream. With the record being released in late I had to make 2008, it was only at the n’t did sure that I recent Parklife Festival, of murder one which Empire of the Sun the dancers with headlined, that patrons were lucky enough to catch my headpiece the first glimpse of exactly what the group’s live show would entail. It was a highly anticipated event, with rumours of the involvement of backup dancers, elaborate costumes and tigers and elephants setting the crowd abuzz with excited whispers. The stage was set for a bombastic debut performance, but there was just one problem – Nick Littlemore was nowhere to be found.

I think I smell a scoop, so I tread carefully as I press Steele for answers, keeping in mind that this could well be sensitive territory for the singer. “It was a bit disheartening at first,” he says of his partner’s no-show. “I don’t really know why he did it.” I offer that I’ve heard that Littlemore left so he could concentrate his efforts on completing the next Pnau record, leaving Steele in the lurch. “Yeah, that’s kind of the crux of it but it wasn’t negative,” he reveals. “It was more like ‘I’m going’ and that was that. It wasn’t malicious, it was kind of bizarre. I think he just needed to disappear.”

The desertion must have dealt a hefty blow to Steele’s confidence so close to the group’s live debut, surely? “Well, after two weeks of doing my best job as a full on alcoholic, I’d kind of gotten over it and took my father’s advice of ‘you’ve got to keep the show on the road’ and pretty much took it in my stride,” he says. “I didn’t really feel alone because there was a band and ten people on stage. It didn’t really take too long to get over it, a little heartbreak...” He trails off, leaving me simultaneously unconvinced by the sincerity of his response but full of admiration for his determination to

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perform for his fans with or without his bandmate.

Despite the absence of live animals in the Empire set at Parklife (tigers cost thousands of dollars a night to hire – who would have thought?), all reports suggest the tour was a smashing success.

“It was a great tour,” Steele affirms. “It took quite a few months to put it all together because it took on a theatre project kind of environment – dancers, narration with the music and visuals. [I had to work out] how the songs would be played and make sure that I didn’t murder one of the dancers with my headpiece,” he laughs.

“They’re so sharp, those things!”

If you didn’t get a chance to see Steele and company perform live at Parklife, you’ll have another chance when the band take to the stage at the ARIA awards in late November. The pair have been nominated in a whopping 11 categories (take that Gabriella Cilmi!), including Best Group, Single and Album of the Year. “I think it matters if you win something,” Steele says of all the recognition and fuss. “But if I get beaten by Jessica Mauboy then the whole thing is a joke!” he laughs. “Being nominated is great and confirmation of where the band – where I’m going. But you know these competitions sometimes – like when Sleepy got beaten by Delta every time it’s like ‘hey, she’s a babe, but how many awards does she need?!’”

Due to the bizarre and unreliable actions of one half of the duo, the future of Empire of the Sun as an entity is certainly not set in stone. Steele tells me that in terms of future plans he may “work on new Empire Stuff, new Sleepy stuff... but I could be playing the pokies in Germany next year for all I know, really.” It doesn’t sound like he’s too bothered by the uncertainty, but why should he be? The man has a project lined up with Daniel Johns under the moniker Hathaway/Palmer, and during the interview he plays me a garbled snippet of a song he recorded with sister Katy from Little Birdy just because “she was in town” and he delights in regaling me with tales of how he came to provide guest vocals for the opening track of rapper Jay-Z’s latest album (“My main man Jay called up and had a track which needed some vocals. I was going to fly to New York, but it was going to take too long. I did it at home, sent it over and he called me in the morning and loved it. It was a pretty jampacked 24 hours.” Indeed!). It really is anyone’s guess as to where Steele will end up next. But whether or not his mantelpiece is soon to be lined with pointy statues, it’s certain you’ll be hearing from Luke Steele, in one form or another, very soon.

Empire of the Sun will bring their elaborate live show to the Foreshore Summer Music Festival on Saturday November 28. Tickets through Ticketek, Moshtix, Qjump, Landspeed Records, Parliament Clothing and www. lexingtonmusic.com.au .

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ALL AGES Good day to you my friends. The only thing better than a good month stuffed to the brim with all ages gigs is a month stuffed to the brim with all ages gigs just as our tragic Canberra winter weather gets shoved violently away by the stinking heat, which is kindly presenting us with perfect evening giggoing temperatures. Get the hell out there! Love it!

I believe that I can say with complete confidence that everybody at some point or another has come across an artist or band that is capable of shooting feel-good vibes from your head to your toe from the very first song. Well, Jeff Lang undoubtedly wins the part of the ‘feel good musician’ for this fortnight. Give something new a try folks, you won’t regret it.

He’ll be at The Street Theatre on Saturday November 14 celebrating the launch of his uniquely brilliant new album Chimeradour, along with his special guest from Sydney, Leroy Lee. Student tickets are $25 otherwise the standard fee is $35 – to book tickets you can call 6247 1223. This gig is more than worth rocking up to The Street Theatre at 8pm; a perfect night out for a warm summer’s evening.

This is the very last chance that I’ll have to remind you all of Trackside Festival, the gates will open at 11am on Saturday November 28, so you’d better snatch up those tickets fast.

Consider this weather folks!

God, I get far too enthusiastic about nice weather. For just $85 per ticket plus a small booking fee, you can buy yourself a spectacular summer’s day with Hilltop Hoods, Parkway Drive, Tame Impala, Cassette Kids, Midnight Juggernauts and so many more. You can grab tickets from Moshtix, Ticketek or Oztix.

Canberran four-piece alternative/psychedelic/funk band AstroChem have gathered together quite the lineup for the launch of their brand spanking new EP on Saturday November 28. At the Woden Youth Centre for just $12 you’ll not only receive a free EP at the door, but you’ll be in the crowd to watch Canberran bands The Sodapops, Goatfish and West of the Sun. Doors open at 6pm, my dears. This is one alternative, psychedelic, jazzyfresh, bloody boppin’ gig. These bands will make you dance without the need of a shotgun pointed at your feet.

To grab your tickets for Boys of Summer early would very much be a wise move. The headlining band Every Time I Die all the way from the USA is enough to make tickets sell, but next year on Tuesday January 19 you can also see notorious Australian bands such as 50 Lions, Trap Them and Mary Jane Kelly. The 2010 Boys of Summer Tour will undoubtedly be Canberra’s finest metal/ rock/hardcore lineup of the year, and all they’re asking for is $25 + booking fee. I’m sure you are capable of scrounging it up in five and ten cent pieces. Come on, head on down to Landspeed Records, The Music Shop or grab your tickets from Moshtix, and don’t forget to thank the kind souls down at the Tuggeranong Youth Centre, they’re being quite the good hosts to you.

Finally, hotly-tipped Sardinian hardcore band Gold Kids are hitting the Majura Community Centre on Friday November 13 with Ghost Town, I Exist, Slowburn, Vera and Carcass Brains. $14 pre-sale from Oztix or $16 on the door.

NAOMI FROST allagescolumn@gmail.com

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This fortnight, Locality is pleased to plug the inaugural Think Tank Music Festival.

The festival will raise funds for the National Brain Injury Foundation, increase awareness of the dangers of drink driving and showcase 19 acts across two stages. Local acts include The Veebees, Australian Kingswood Factory, Looking Glass and Escape Syndrome.

Think Tank is being held at the UC Refectory from 3pm on Saturday November 14.

LOCALITY artist’s website.

Erstwhile Canberran Rafe Morris is headed back to our fair city (yes readers, they always come back…) for a night of awesome local music. Rafe will be playing with Drew Walky, Guillaume Soloacoustic and Dub Dub Goose at Macgregor Hall on Saturday November 14.

The party starts at 8pm and entry is $12/$8.

The Basement is the place to be for local rock and metal this fortnight. Scapegoat, Futility, Inside the Exterior and Tortured will be playing from 8pm on Friday November 13.

On Friday November 20, catch Reign of Terror and Machete alongside Earth (VIC) and Code of Lies (NSW). Be there at 9pm, entry is $10.

Get along to the Phoenix on Monday nights for the Bootlegs sessions. Drew Walky, Joe Oppenheimer, Fun Machine and James Fahy Trio (phoar! What a lineup. I’ll be having a few yeasty gargles to the cracking tunes of these ridiculously talented

folk for sure - Ed.) are playing on Monday November 16, and you can catch Greg Carlin, Rachel Cooper and Bec Taylor and the Kits on Monday November 23.

The music starts at 8pm and entry is free.

Domus Adultus is playing host to Sarah Daphne Foo, Blue 2 and Ah! Pandita on Thursday November 12, and Ruth O’Brien, Sally Holiday and Readable Graffiti on Thursday November 19. Domus Adultus is held at Hippo from 8pm and entry is $7/$5.

Have a great fortnight, kids!

CATHERINE JAMES locality.bma@hotmail.com

Ska merchants Winchester and rock upstarts Girl Sized Hands are joining forces on Friday November 13. The music starts from 9pm at The Pot Belly in Belconnen.

Our very own Voss and Hoodlum Shouts are playing with Melbourne’s Potential Falcon at their Canberra album launch at the Transit Bar. The fun starts at 8pm on Thursday November 12 and entry is free. Local indie legends The Trivs are playing with Brisbane’s Hungry Kids of Hungary, also at Transit. Be there from 8pm on Thursday November 19, entry is $10 on the door.

There are free gigs aplenty in the city this fortnight! Music in the City is being held in Garema Place every Friday in November, between 7 and 9.30pm. Catch Velvette on Friday November 13 and Los Chavos on Friday November 20. If you’d prefer to take in some tunes on your lunch break, check out Groovin’ in the City each weekday between 12.30 and 2pm. Highlights include Backbeat Drivers at Petrie Plaza on Friday November 13, Beth Monzo at Garema Place on Wednesday November 18, The Jason Recliners at Ainslie Avenue on Thursday November 19 and The Rooftop Revellers at Hobart Place on Friday November 20. Go to www.events.act.gov.au for the full program and links to each

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DANCE THE DROP MAU5 TRAP STAKY A rodent-infested recording studio is not the musical birthplace that springs to mind for one of the most iconic producers of recent times.

Maybe an infestation is a bit of a literary colouring, but a mouse did crawl into the computer of Joel Zimmerman, never to resurface. After this rather glum incident Zimmerman saw the irony and went on to use the abbreviated DEADMAU5 as his IRC login. The Canadian musician became one of the industry’s fastest rising stars and that name his iconic trademark.

“I have had some incredible years,” types the man via email, with answers that reveal the hardships of providing an in-depth response.

“The best highlight was probably winning the Juno in Canada, like the Grammys in Australia (never tuned in to the Logies?), for my album Random Album Title.”

When I play in Australia the fans are amazing and create one of the best atmospheres

Although Deadmau5’s personal demeanour has gone on to its own notoriety, it is his musical accolades that stand out.

In 2008 the producer was the highest new entry, at number 11, in the DJ Mag top 100, which is arguably the world’s most recognised poll. The same year Zimmerman was also the most awarded DJ in the Beatport Music Awards, a feat he followed up in 2009.

“Beatport is very much a DJ-led digital platform,” he says of the download site. “When I started to put my music out on Beatport I was doing a new style which connected with the DJs on there that obviously wanted a change in style that I was producing. With this shift in tastes I was in the right place at the right time and kept producing solid underground music that DJs loved and bought. There is no real secret formula.”

As his popularity soared so did his ego, until his head was too big to stay on his own shoulders and he needed a specially built Mau5head to survive. Well maybe not, but the answer to that question was left blank so one begins to wonder. It is known the red USB-powered Mau5 helmet with flashing LED eyes and big white smile first surfaced mid-2008. Zimmerman offered up the name of the manufacturer. “A guy called Warren Keiilor in Toronto who used to make stuff for the muppets,” he says. “This guy is so intelligent when putting together our technical requirements for the head and developing the new LED head.”

Last year Random Album Title successfully showcased Deadmau5’s biggest hits including Faxing Berlin and Not Exactly. For Lack of a Better Name is this year’s offering and, as is always his style, Zimmerman has chosen a diverse range of musical genres. He gears up for his third Australian tour in November and it is the crowds here that have made the biggest impact. “I don’t really look at the Australian scene,” he says. “All I know is that when I play in Australia the fans are amazing and create one of the best atmospheres. You guys are crazy and love a party, and the weather is good. In Europe it always rains!”

See Deadmau5 at Foreshore on Saturday November 28 at Commonwealth Place. Only limited final release tickets are still available.

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As I figuratively bowed over the Ed’s desk at BMA headquarters almost three months ago and dipped my jet black Ray Bans with a subtle “I’ll be back,” I never imagined that my hedonistic overseas hiatus would be over so soon. First of all, big ups to Staky for so ably stepping in as your gig guru. I have a funny feeling you will be hearing a lot from Miss Manson in the future.

I guess my journey can be summed by three of the items I managed to gumshoe past the militant lady in Australian customs – a bright orange G-string emblazoned with the Eiffel tower, a pink feathered Oktoberfest beer hat and memory stick full of wicked European space disco, the latter being a supremely convenient dance music segue.

PANG! What the hell was that noise? Oh, it’s only Jamie Lloyd and Deepchild shivering on our doorstep patiently awaiting their chance to headline the ghoulish Friday November 13 slot at Lot 33. The event marks the Canberra leg of Jamie’s Beware of the Light album tour, a must for you kids who like their house and techno as deep and groovy as a Nimbin dinner table conversation. Solid supports are Biggie, Gabriel Gilmour, Staky, Drew, Hubert and Cheese all for just 20 beans on the door.

Not one to pigeonhole themselves, the PANG crew are also hosting a monumental trance event on the following night featuring tYdi and Marlo. Reach for the lasers!

If neon euphoria ain’t your thing, why not fill your gurgling beer bellies with a menu of tasty broken beats at the next instalment of Bite Sized BBQ on Saturday November 14. What better place to hold the tune chowdown than at A Bite to Eat in Chifley; the two were simply made for each other like Jordan and any E grade celeb with moderate notoriety and a set of abdominal muscles. Your master chefs for the evening will include Shifty Business, DJC, Mkat, Escha, Tidy, Posar, Buick, Centaspike and Chils. Bon appétit!

There is nothing that truly slaps you in the face and yells “summer is here!” quite like the launch party for Sound Baked Sundays at Trinity Bar in Dickson. Even though the event never fails to coax the hibernating 20-somethings out of the woodwork for an afternoon of catch up cocktails on the sunset terrace, Friction and Lexington have generously bolstered the inaugural beef and brew soiree with UK break beat maestro Splitloop and Yolanda Be Cool, who headline an impressive local roster including Mikah (soon to be daddy) Freeman, Vance Musgrove, RyFy, D’Opus, Jemist and Michael O’Rourke. Mark Sunday November 15 in your Outlook calendar just so you can remember to start practicing your best sick voice for the following morning, ‘cough.’

Finally a reminder that the biggest date in 2009 is approaching faster than Marcus Einfeld toward a speed camera. The Foreshore Summer Music Festival is just around the corner so don’t forget to slip on your singlet, slop on some fake tan and slap on your Gucci sunglasses – it’s gonna be mega!

TIM GALVIN tim.galvin@live.com.au

albums we spent the longest on State of the Art. From conception, recording to mastering it took all of 18 months. We had a lot more to deal with than for our previous work such as a bigger budget, session musicians” and collaboration with renowned US rapper and producer, Pharaohe Monch, who has “been very influential” to the Hoods’ music.

UNDER PRESSURE SHAILLA VAN RAAD For an act that’s been around for more than ten years, the HILLTOP HOODS have conquered unforeseeable heights. MCs Suffa (Matt Lambert), Pressure (Daniel Smith) and DJ Debris (Barry Francis) met on the Adelaide music circuit and “started collaborating over mic and DJ nights.” MC Pressure admits that the group “never really had the intention to make our hip-hop a full time thing. It wasn’t until after 2004 that we started concentrating on it.”

MC Pressure is adamant We’re still very that this isn’t the last we passionate about hear from the trio. “We’re our art form still very passionate about our art form and we have plans of making another album,” he says. “We also want to take State of the Art to the US.” Obviously the Hilltop Hoods’ passion for developing Australian hip-hop is a reason for their longevity. If the group have their way, perhaps State of the Art will herald a new beginning; one which brings Australian hip-hop to the world stage.

The Hilltop Hoods will stop in Canberra on Saturday November 21 for the Trackside Festival at Thoroughbred Park. Tickets are available through Ticketek, Moshtix, Oztix and Landspeed Records.

Spitting out pertinent, feel-good but resonant lyrics coupled with some phat beats, Hilltop Hoods are a hip-hop act Australia can be proud of. MC Pressure says the changing landscape of Australian hip-hop has “developed its own identity, own sound and reflects our own community,” and through this the Hilltop Hoods have “changed as people, developed production-wise and created a more sophisticated sound.”

Despite developing musical maturity Hilltop Hoods never forget their core values. “We’ve never been a one message band; we rap about everything from the state of the music industry to tongue-in-cheek social commentary,” Pressure says. “Our attitude is also to be self-sufficient.

Because we started during a time when hip-hop was just emerging in Australia we have a do-it-yourself mentality… we don’t use any external producers or engineers.

Suffa and I write the lyrics to the tracks and we all have a say in the music. Sometimes it takes only a day to write an entire song and sometimes it takes much longer, we always change bits and pieces.”

Just having released their sixth album mid this year, State of the Art has already spat out two ARIA hit singles – Chase That Feeling and Still Standing. State of the Art is a masterpiece still taking the nation by storm, one hip wiggle at a time. MC Pressure explains the intricacy of creating such a production. “Out of all our

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EY TLEY HITL WHI GW ING ININ SHIN SH

NT LENT TALE H TA ITH WIT FE W RA RAFE

SHAILLA VAN RAAD

KATY HALL

Sometimes music can surprise you and upon hearing Laurence Greenwood’s first album, The Submarine, the one-man incarnation that originally formed WHITLEY plucked some sentimental elements in my beating heart.

Now, 2007 seems like a hazy distant memory in the horizon. Since then, the young singer-songwriter has been voted in Rolling Stone Magazine’s Top Ten Breaking Artist list and has sold out numerous shows across both Australia and the US, including the infamous South

by Southwest Festival in Texas. “South by Southwest was a bit of a mess,” he says. “I didn’t like it much; there were heaps of shit bands everywhere. I didn’t even get to see any good musicians, like Lou Reed, who I was hanging out to watch… but the US wasn’t all bad. One of my favourite experiences in America was when the car company made a mistake and gave us a twin turbo Volvo to drive around the country. We had a wild time.”

Maybe I’ll buy a truck and develop a nasty speed habit

Whitley has musical spice of warm country acoustics and flusters the ears of those romantically inclined with his poignant lyrics, which border on kitsch but never seem to cross that line. Since the release of The Submarine the lone maverick has gathered a band together and experimented with more instruments to create diversity and maturity in his music in new album, Go Forth, Find Mammoth.

Recently released in late October, Greenwood describes the album as “not exactly darker [than The Submarine] but definitely more diverse, more relaxed and more engaging. I named the album Go Forth, Find Mammoth because it’s a tongue in cheek reference to when humans used to be cavemen. We don’t use our frontal lobes enough and I’d like to encourage that. We need to realise that regardless of everything, we are still human and primal creatures…

“This album was different from my first album, in the way that it was recorded and created. With The Submarine we used clip tracks and added the drums last, this time we did the drums first and recorded instruments like the pump organ later.”

Greenwood is “always thinking about the next thing on the horizon,” and lately he feels like he “would love to make a record that’s sparser and totally ambient and instrumental.” Greenwood even has a “less commercial” project to occupy him after the Go Forth, Find Mammoth Tour, but on the other hand, he recognises things with Whitley can swing either way. “You never know what the future might bring; maybe I’ll buy a truck, develop a nasty speed habit and ride from here to Brisbane.”

Whitley will perform at the ANU Bar on Wednesday November 25. Tickets are available through Ticketek.

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“I started playing music the way everyone else starts – bassist in a band with my friends in high school,” says local musician RAFE MORRIS. “I picked up a guitar soon after when I saw the guitarist got more girls.” Once the frontman for the legendary band Dahahoo, Morris now returns with a different sound and a much less crowded stage. When asked which setup he favours, all the performer can say is “I don’t know if I have a preference.”

For anyone who has been in Canberra in the last five years it’s near impossible to have not heard of Dahahoo. The locals were renowned for their energetic sets and bare-no-boundaries lyrics. When I ask Morris about the split all he says is simply “the new songs I was writing just weren’t suited to a seven-piece ska band, so it was just time.”

Putting songs like Stop Fucking With Me (You Bitch) to bed, Morris’ music still has the humour. He has adopted an acoustic comedic style that follows in the footsteps of artists like Kimya Dawson and Darren Hanlon and singing about menstruation isn’t anything strange for the Canberran. In fact some further research finds a comment describing his song as “oozing the daggy Canberra vibe, with a smatter of strong Australian accent, and quirky lyrics bordering on the edge of politically incorrect.” But Morris is quick to admit that one of his main influences is Canberra itself. “I find that I can’t and don’t write songs when I live somewhere, I have to move around and spend my days doing very little. But there’s a lot of talent in this city; it’s infectious.”

There’s a lot of talent in this city; it’s infectious

The perfect time for people-watching and inspiration arrived when Morris packed a bag and spent the past year and a half on the road.

The constant change of scenery, from southeast Asia to teaching in the Czech Republic and backpacking solidly for a chunk of the time, proved useful and from it a debut album was born. “The best gigs are the ones you find when you’re walking around with your guitar on your back and enthusiastic people pull you into the bar and make you play songs for them,” he says. “But I had a pretty crazy time in Laos, playing for the Prime Minister and ten thousand of his friends at a socialist rally. Lao audiences don’t clap at the end of songs, they just stand there staring. It was pretty weird.”

Sadly for him, but luckily for us, home began to call and the man, the guitar and the lyrics have all returned home. With an evening full of new songs to sing, Morris is getting ready for what now lies ahead. “I’m looking forward to settling into a routine again, which is a very strange feeling. I’ve never looked forward to having a job before.”

Rafe Morris will play a show at McGregor Hall on Saturday November 14, with Dub Dub Goose and more.

INSATIABLE MUSIC APPETITE joe oppenheimer It’s rare for randoms to be ‘discovered’ these days. To do so, you need: a) talent, b) appeal and importantly c) some awesome, hardworking would-be-agent to think you’re the shiz. Far more common is the long suffering ‘unfamous’ – described by fans as ‘sooo good I can’t believe they’re not famous!’ but only known by a small community, for example Canberra’s Nigel McRae or James Fahy.

The Brisbane boys HUNGRY KIDS OF HUNGARY dominate the above checklist, and in doing so have fallen in with the seemingly inspired and proactive management and publicity crew, Mucho-Bravado.

This has enabled them to tour relentlessly the past few months, as well as gather an incredible posse of associations to shine benevolently upon their image, including the wonderful Tara Simmons and Drawn From Bees. Though they are but talented randoms, theirs is to entertain with exquisitely professional pop songs, enthusiastic homage and the charm of the unfamous.

Our name gets us a lot of attention

Guitarist and co-singer Dean was a lovely young man to chat to, confident and wordy – sadly, he’d called prematurely and those wellphrased answers were lost to the ether – but it’s easy to remember his general gist. HKoH were picked up by Mucho-Bravado during one of their Big Sound showcases held around Fortitude Valley, Brisbane late last year. This wasn’t too long after they’d performed together for the first time, being one of those bands that rigorously spend a good eight months rehearsing and writing before daring the stage. During this period they picked up their bizarro name, of which Dean said something like, “It gets us a lot of attention… we never really thought about it that much.” triple j aided HKoH in their wider discovery, which is sometimes all the blessing a group needs south of ‘Nesia. “There’s no secret to it... we put a song up on Unearthed and for some reason they liked it.”

Since radioplay it’s been tour, record, tour. The Hungry Kids have supported excellent headliners: (Little) Bertie Blackman and Little Birdy (Whitegirl), the latter being “probably the nicest people in the business that we’ve ever encountered.” This next time they get to headline themselves, which is essentially playing twice in a row – no, just joking, that was a play on words. Typically talented random, both Dean and keys/vocalist Kane have day jobs, meaning they’ll fly down the day of their Canberra gig and continue it from there. After a chuckle at the mention of a hungry kid’s carbon footprint, Dean says, “...the conversations definitely get weirder as the tour goes on.”

If you’d like to hear the most authentic pop of antiquity both written and performed today, then you’d best out and see the Kids. Or, if in is your thing, check out their kicking Old Money or Set It Right videos on YouTube. Remember, when it comes to K, it’s always: “The next one is going to be spectacular.”

Hungry Kids of Hungary will play a show with the Trivs at Transit Bar on Thursday November 19.

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Midsummer Graces I hope I die at the piano

josh brown In terms of acquiring interviews with musical royalty, it doesn’t get much bigger than this, folks. At least not for me. If I could go back in time a few years, interrupt my teenage self – who, at the time, was busy flogging From The Choirgirl Hotel harder than a jockey does his Melbourne Cup-winning steed – and tell him that one day I’d be interviewing the one and only TORI AMOS, I think I would have freaked out. Hell, I’m freaking out now. I had the honour of meeting Amos at a meet and greet she conducted on the Canberra leg of her last Australian tour and had my heart pretty much hanging out of my mouth the entire time. I recounted to her a personal experience of loneliness and insignificance that I felt as I stood atop the Empire State Building a couple of years ago, where everything suddenly seemed to make sense to me as I listened to her compelling 9/11-inspired track, I Can’t See New York. I was a blubbering mess. And that was just a conversation piece I came up with to fill up the two minutes it took for her to sign my Scarlet’s Walk poster and get a photo before she had to be whisked away by a burly security guard to prepare for the show. What chance in hell did I have to maintain an intelligent discussion with the Goddess of Piano for 20 whole minutes?

Thankfully, my nerves prove to be unfounded. Despite her reputation for at times being, shall we say, an eccentric interviewee (listen to her notorious chat with triple j’s Richard Kingsmill and you’ll see what I mean), Amos was in fine form the night we spoke. Her responses were direct and intelligent and her enthusiasm and warmth radiated down the phoneline, despite the fact she was calling from thousands of kilometres away.

Amos will soon be in the country to promote her latest record, her eleventh, entitled Midwinter Graces. It’s a Christmas record, which at first glance seems an odd choice for an artist of her calibre – a child prodigy who began playing piano at the age of three and one who has remained in the public eye for over two decades. Call me cynical, but aren’t Christmas records the domain of the over-the-hill and/or the mundane? Neither of which I would attribute to Amos. “Doug Morris, chairman of Universal Worldwide and the man who broke Little Earthquakes,” Amos explains, “said to me ‘look, with your background as a minister’s daughter and yet your feminist viewpoint and the fact you’ve made all this music and travelled the world, I’ve always wanted to know what you would present if you were going to do a seasonal record,’” she says, elaborating on the origins of the project. “He said ‘I’m hoping you’re going to write your own standards, do a different read and make some of the carols your own.’”

Midwinter Graces offers up a collection of 12 songs, evenly mixed between traditional carols and Amos’ own compositions. She reveals that she drew inspiration for the album from Charles Wesley, a leader of the Methodist movement who was known for his hymnwriting abilities. “He would take some of the songs from the bar room – sea shanties and drinking songs – he’d take hit folk melodies

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of the day and put Christology to it,” she says. “So what Doug was encouraging me to do was, ‘why don’t you do what they did and claim it back?’ And I said ‘you’re funny... you’re funny.’” Perhaps not as funny as the concept of a White Christmas-style album to us southern hemisphere dwellers, where a typical Christmas day is spent frolicking at the beach as opposed to making snowmen in the backyard. “Yes,” she laughs. “I was thinking about doing a Midsummer Graces for you guys instead.”

2009 has been quite the prolific year for Amos, with the release of Midwinter Graces following hot on the heels of its predecessor, Abnormally Attracted to Sin. Following this frenzy of creative activity, I ask how she manages to continue to find new inspiration after all this time. “I think the creative force is this endless well and if you’re able to tap into it and co-create, it’s a wonderful thing,” she says. And what happens if the creative well runs dry one day? “Well, I don’t know if it will run dry but I might just become old and then I hope that I will wilt and die at a piano. I’m serious!” she enthuses. “I just hope that I say ‘I need to take a little nap for a minute’ and then just rest my head on the Bösey and just fall asleep and that’s it.”

Considering Amos’ longevity in the music business, I put it to her that she must be an inspiration for the current crop of emerging leftof-centre female songwriters, including the likes of Regina Spektor, Amanda Palmer and Bat For Lashes. “It’s a wonderful place to be in because you can hold a space for the ones that are up-and-coming,” she says. “When I was making Under The Pink, my sophomore record, I wasn’t competing with people like Kate Bush or Joni Mitchell at that time. Those women were legends, you see; they’d already carved their place in history. I think my contemporaries would be more like Polly Harvey and Björk, women who were out in the early ‘90s and are still touring and making music. The ones you’re talking about are contemporaries for each other and we’re sort of like the big sisters.”

As our conversation comes to a close, I feel quite ecstatic with how it’s played out. I actually managed to carry out an intelligent discussion with one of my biggest musical idols without fainting or sounding too dorky! I think I kept it together pretty well, which is definitely an improvement on the last time we spoke at the meet and greet a couple of years ago. Speaking of which, one final question I have for her is how, considering her busy schedule, does she find the time to chat with her fans before most shows? “When you say ‘find the time,’ that’s bullshit, because I’m pretty busy,” she says. “You make the time. You get your ass up and do it – it’s about priorities and desire to connect with people. I have a desire to connect because it changes the whole show and my understanding of who I’m playing for. I learn a lot and it keeps me really grounded and from getting involved in that whole celebrity thing, which I think is dangerous because then you’re not a good channel anymore.”

Tori Amos will play at the Canberra Theatre on Sunday November 15.

Tickets can be purchased from www.canberratheatre.org.au .

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

40% fun and such an inspiring boss to have. Although I don’t really feel like he’s our boss. He gets along with all of us so well, sometimes he just feels like another dancer. What he has achieved in his career to date is remarkable, considering he has been artistic director for 18 years. That in itself is such an accomplishment. I think the biggest things I have learnt from him are to have patience in the rehearsal room when creating; if you give it time, space and energy, it will turn out how you imagined, sometimes even better than you imagined.

The second thing would be the level of respect and understanding he has for our culture and history. I have the utmost respect for him, as an artistic director, a choreographer and a person.”

THE FIRE BURNS ON carrington clarke When Isadora Duncan was once asked what one of her performances meant, she famously answered, “if I could tell you that, I wouldn’t have to dance it.” Contemporay dance is complicated, it’s expressive, it’s passionate and it’s powerful. I once heard contemperary dance compared to capers, with its bold and intense flavors, you either love it or hate it. When used inappropriately it can leave a bad taste in the mouth. However when used correctly, it can take a night from the bland to the spectacular.

My job has given me the opportunity to taste some of the best contemporary dance that Australia has to offer. Already this year we’ve seen a brilliant performance from the Sydney Dance Company, and Canberra audiences will soon have the opportunity to go on a journey through the ages with Bangarra’s FIRE: A RETROSPECTIVE. Young former Canberran, Daniel Riley Mckinley, joined the group at the end of 2006 and Fire will be his third time performing as a member in Canberra. Daniel has already achieved a great deal in his young life, having danced for Quantum Leap (the youth dance group that trains some of Canberra’s most promising dancers) before joining Bangarra’s Fire.

I had the chance to interview Daniel this week, to ask him a few questions about his latest project.

I asked Daniel about how familiar he was with Bangarra before joining the group. “I only found out about Bangarra in 2001 when I saw the company perform The Dreaming at the Canberra Theatre. I was enthralled and amazed at the performance and felt so inspired and connected to the culture that was being performed up on stage.”

This first taste of the magic of Bangarra set Daniel on the path to joining its ranks. ”I wanted to join the company as a dancer from that very first performance. I wanted to learn about my culture, work with Stephen and learn traditional dance from all corners of Australia. Luckily Stephen asked me to join at the end of 2006.”

The Stephen that Daniel refers to is Stephen Page, the artistic force behind Bangarra. Stephen has taken Bangarra from its relatively humble origins to a contemporary dance group of international standing. I asked Daniel what it was like to work with someone of that stature. “Stephen was the main reason I wanted to join Bangarra. He is great fun to work for and with. He’s 60% business,

I asked Daniel to single out a highlight from his time spent with Bangarra so far. “Too many to choose from! My first opening night at the Sydney Opera House was pretty special. Also performing at the Brooklyn Academy of Music in New York and sharing the stage with The Australian Ballet in Paris last year. My most recent highlight would have to be our ten day visit to North East Arnhem Land earlier this year. Stephen has taken so much inspiration for many of his shows from the land, the culture, the people and the stories up there, and it was amazing to spend that time within the community and become part of their extended family. It is such a special part of Australia and the community was so beautiful and welcoming to all of us. Even us lighter skinned ones!”

With their heavy touring around the world, I wondered if there was a difference in how audiences reacted to the performances. “It is different yes. Local audiences will always love Bangarra because they are so proud of what the company does, has done and what it stands for. They also feel a connectedness to it, being Australian and telling Indigenous Australian stories. To share our culture that we are immersed in here with ‘strangers’ from different cultures, land and countries is special. It feels amazing to share our culture that we are so proud of with outsiders. The international audiences I have performed for were in awe after the shows, I think they find it amazing that we can put our culture up on stage and represent it the way we do with such enthusiasm, respect and beautiful, professional results. “ This new production is a work which aims to celebrate all that Bangarra has achieved in the last 20 years. “Fire is a retrospective, so audiences can expect to experience the past 20 years on stage.

The way Stephen has put it together is fast and exciting, and it keeps moving. No time to dwell too long on the past, before you know it we are moving on. The audience might even catch their favourite section from a past Bangarra show. Another first for Bangarra is the use of projection, it’s used as another story telling tool and helps bring audiences flashes and images of the past 20 years, so they can reconnect with the past company and then connect with the current company on stage.”

I tried to get Daniel to give me some pointers on how to sell this show, and contemporary dance more generally, to a new audience. “I think contemporary dance is sometimes an easier way into the dance scene for audiences. A lot of people get bored quickly at the ballet (myself included), contemporary dance can be shorter, more confronting, more to the point, more exciting and make more of an impact. There’s not one style either which is the beauty of it, anything goes.”

Fire: A Retrospective is on for two nights only, from Friday November 20 to 21. Call 6275 2700 for bookings.

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ARTISTPROFILE: Tim dWYer

What do you do? Make a holy mess… fool around with video. This year I got into opening the source code of image and video files and inserting quotes from The Exorcist. More recently, I just finished touring with motivational force, John Kilduff.

When did you get into it? When I really think about it, most of the stuff I have done has been fairly ad-hoc and really chaotic. I used to swing by on last minute plans, which eventually led me to be involved with a fairly confused and self-destructive noise outfit a few years ago. I’m fairly entrenched in video now… and I am working fairly hard to expand on it.

Who or what influences you as an artist? Bad television, cheap satisfaction, VHS, Paul Sharits, John Kilduff, Paperrad, John Waters & Warhol’s films, Jack Chambers, Dan Graham, Chris Burden, Jim Roche, TV carnage, Magic Eye, Bum Creek, Toecutter, Edward Bernays, portals, IKKO, Sam going fucking crazy and crashing Steven’s car out

by Goulburn… this could go on forever…

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

Getting painter and performer John Kilduff out here has been a highlight for me. Actually, this year has been a pretty good year overall. I am making a lot of rubbish at the moment and it feels good.

I am inclined to think that the dumbest and most naïve stuff I make is what I can be proudest of.

What are your plans for the future? Mess around. I have some vague plans for travel, to skip town. That said I’m applying for residencies, so I will probably get locked down somewhere.

What makes you laugh? Almost everything.

What pisses you off? Too much already… But I’m tryin’ real hard to let go.

What’s your opinion of the local scene? It depends on the angle you see it from. I think there is support for a lot weird stuff all around the place, and people are doing excellent things. However, most people can get a bit stiff… You gotta make your own fun in this town and make stuff for yourself… otherwise you are fucked.

What are your upcoming performances/exhibitions? I am aiming to have a VHS album finished by the end of next year, a 7” vinyl released in the coming months, probably an exhibition or two, and some big trouble events along the way.

Contact Info timdwyerbabav@hotmail.com, www.vimeo. com/5966298

THREE-LEGGED ACE mary luckhurst Australia’s “three wise kings of musical satire” have only gotten geekier. Melbourne comedy act TRIPOD, have taken their musical parody shows and added a touch of magic, Dungeons and Dragonsstyle. One leg of the ’pod, Steven ‘Gatesy’ Gates paces around his bedroom whilst he entertains this writer.

Tripod have been working hard on Dungeons & Dragons: The Opera, which they will eventually take overseas. “We actually couldn’t call it Dungeons and Dragons because believe it or not, Oprah owns the name. We emailed them, but they haven’t replied.” When that show about dragons heads to the states, a law suit will not be invited.

D&D is of course a “serious” game – so a lot of research time has been necessary to write the story and create characters for the show. “Yes, of course. We had ‘research’ sessions. We played it one night and got a little too in to it. Just picture Yon on the floor being attacked by a dragon,” Gatesy says.

The three have always been noted as geeks at heart but with D&D, Scott Edgar (Scod) is the biggest geek of all. “The show pretty much follows and explores Scod’s life, from grade 5... and up,” says Gatesy – who hasn’t always been too confident with his D&D skills. “I tried to play it when I was in school, but all the statistics just freaked me out.”

The show’s biggest challenge will be “staying true to the role play, as well as keeping it entertaining.” Sadly, they will not be taking D&D out of Melbourne. There will be no mythical beasts to slay here, no potions... Instead Canberra are invited to join Yon, Scod and Gatesy on a Tripod adventure as a part of their Bottom Right-Hand Corner of Australia Tour. “Get ready to expect 100% pure un-watered down Tripod. Three guys and a microphone. It won’t be the normal type of audience but one where the audience can be passive.”

The show should make you laugh, cry and maybe wet yourself a little.

“It will also be a place to find out whether you and your partner are meant to be,” if, at the Tripod show, “you are laughing your guts out, and they just don’t get it,” says Gatesy, “dump them. It’s not going to work. If you both hate it, then there you go. You know you’re meant to be but you’re still stupid.”

Canberra has only so far met Tripod through the television and radio.

“I don’t think we’ve ever played [live] in Canberra before,” says Gatesy softly, before yelling down the line: “So don’t let us down Canberra or else!”

Having just re-checked his tour date, his voice goes gooey. “Love you Cairns. Oops. I meant Canberra.”

Tripod will play two shows on Friday November 13 and Saturday 14, at the Playhouse Theatre, CTC. Bookings phone 6275 2700.

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IN REVIEW

Vital LMTD by Last Man to Die Street Theatre, October 24– October 30 Vital LMTD, part of The Street Theatre’s Made in Canberra season, is a challenging piece - not the least because cross-arts can’t be viewed in the same way as a piece of theatre. Or a piece of art. Or a music performance.

Vital LMTD was made up of all these things and more, and although Last Man To Die’s intention was clearly expressed (“This is not a play”) the audience still tried to understand it as a piece of theatre.

Perhaps this is simply due to a lack of awareness about the crossarts form. Or because it was performed in a theatre.

LIGHTSABERS, WOOKIES AND X-WINGS, OH MY! adrian threadgould Charles Ross is an inspiration to manic, role-playing children in living rooms everywhere. He describes his ONE MAN STAR WARS TRILOGY as a “mime extravaganza” similar to a “child freaking out, playing in the schoolground”. It conjures up quite an image of our lonely hero on stage - frenetically spinning this way and that, bringing to life his imaginary friends (and ours) through voice and gesticulation alone. No props, no costumes - child’s play.

But it’s more than just some geeky thespian who loves the sound of his own voice... as a Lightsaber. Or at least this is what I try to stress to Ross - that this is a massive deal in terms of the translation of three of the most well-loved films ever - but he’s disarming in modest reply: “this has been shits and giggles in a lot of ways.” Yes, he feels he’s “part of something bigger”, “sauce to the goose” (figure that one out). But he admits “it’s nothing short of a fluky miracle that it even happened,” adding, “if I’d set out with the intention of doing what has occurred, I’m not sure it would have gone as well as if it organically unfolded.”

Vital LMTD explored ideas of life, death, science and creation using percussion, looped music, projected images, and of course, performers/creators Hanna Cormick, Benjamin Forster and Charles Martin. Cormick leads the show as actor/science experiment, and while the men seem slightly less confident as ‘actors’ they revel in their disciplines of visual art and music.

Without narrative in a traditional sense, Vital LMTD surges toward climaxes and slows to lulls, but it’s a challenging form. There is at times a gap between what the audience takes away and what the artists intended. That said, the technology is astounding, the show leaves you with plenty to think about, and the hybrid form is exciting, if not completely accessible.

I’m looking forward to what Last Man to Die will come up with next.

EMMA GIBSON

OK, so I’d gone a bit overboard with the whole ‘it’s the most important thing since the films were made’ angle. I guess I’m just another fanatic. But I take heart that I’m lost in the ranks of the many more devoted that come before me. Ross has been in close contact with a few of these Lucas Lovers - a scary thought as he even received an electronic fore-telling of doom from one of them.

Ross recalls its warning with a flourish: “The fact that I do this for a living, is evidence of the coming of the apocalypse.” Nothing short of universal destruction - that’s how important this is! “I didn’t think the end of the world would work out so well for me!... Me and The Four Dork-men of the Apocalypse,” Ross quips. Not that he takes this kind of ‘threat’ as indicative of the greater Star Wars fan community: “I’m not gonna get rolled by a bunch of geeks, I don’t think. Perhaps I’ll get ripped on the internet, but that’s about it.”

As swift and adept as Ross’ wit is, he can’t reenact every scene of a six hour epic. Ross says he relies on “the power of other people’s imagination to fill in the blanks... There’s a huge leap between the audience and myself.” Some scenes he’ll do, some he won’t, and he’ll change it up to keep it interesting from night to night (1200 shows and counting). If you’re a Star Wars fan, you know you need to see this show. If you’re not, and you’re hoping to follow the plot somehow... this is not the theatrical interpretation you’re looking for.

Ross brings his epic one man show to The Playhouse on Saturday November 14.

There’s two shows, one at 3pm and 7.30pm. Call 6275 2700 for bookings.

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films because the stakes are so high: life, death, integrity, honour and gaol. Everyone is out for themselves, which spawns such interesting characters and conflicts.”

But then there’s the matter of Floyd’s distinct love of situational humour, what could be considered the spine of his work. Floyd acknowledges its presence wholeheartedly. “The defining element is the sense of humour with which it tackles the gangster genre and the way the humour doesn’t undermine the tension and drama. The story and characters deliberately drift towards archetypes in some cases, but the characters are few and carefully chosen to weave a clever story and entertaining show”.

GOOD COP, BAD COP katy hall People who say that nothing ever happens in Canberra clearly aren’t looking hard enough. When I’m lucky enough to speak with Sam Floyd about his upcoming play, I realise that it’s happening everywhere, because people like him make it so. At 21 years of age, Floyd boasts an impressive resume. Seasoned circus performer and teacher, part time actor, student, company director and full time writer/producer of the latest theatre offering to appear as part of the Street’s Made In Canberra season, NOT AXEL HARRISON. Impersonating hit men, murder, crooked cops and loan sharks: it’s the recipe for the perfect tale, really. “The idea came from watching many, many gangster films. I find them the most entertaining of

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The third offering from Freshly Ground in less than two years, I’m reminded of a phrase my grandmother uses about there being no rest for the wicked, and begin to form images of a man bent over a laptop typing furiously for months on end. “It’s when you hit on a great premise,” Floyd explains. “That’s when the writing just flows.

That’s when it becomes easy and fun.” And as for running a theatre company as well? “Rewarding is the word, I think. The worst thing was the uphill battle starting out, gaining credibility from being unknown is a struggle, but it’s getting easier. The enjoyable part is reaping the rewards of your efforts.” Thankfully, co-directing with lead actor Tom Watson has eased things slightly for Floyd and helped him take on a new role. “I’m not acting in this one, for the first time in my career.”

“Scriptwriting is a natural progression from performing. I prefer scriptwriting over novel writing because it’s an extra level of control over what the audience sees. I don’t have to worry about the reader’s imagination ruining my work. Not everyone has comic timing; they might not be delivering the lines right”.

Not Axel Harrison will be showing from November 26 to December 5 at The Street Theatre, tickets $17, concession $12. For bookings call 6247 1223.

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off the plane smelling like a mixture of old cheese and new vomit; communal breakfasts in the hostel kitchen, trying not to make eye contact with thirty other smelly tourists; writing an overdue arts column from the safety of your room…

UNINHIBITED So many things are afoot in the Can right now. So it feels distinctly odd to be writing about them at a distance of approximately one bajillion kilometres away. Yes, dear reader, Uninhibited has traded the delights of the ACT in the Spring – the ACT Writer’s Centre Poetry Festival, the end of the university term and concomitant upswing in student drunkenness, visiting tourists Bangarra, One Man Star Wars, and Tripod, and our personal favourite, maddeningly allergenic pollens – for the chilly home of our travelling cousins in the north, Canada. Or Vancouver, more precisely.

Ah, travelling. Dontcha love it? 20 hours or more in transit; walking

Uninhibited will be uninhabited for around six weeks – first a tour of Vancouver and its perfections – punctuated by some much-needed (for us) academe in the form of an ‘interdisciplinary conference’.

Then to Austin, Texas where, in between some crucial and historyaltering research on marginalia, we will nibble daintily from the smorgasbord of country music on offer in the Live Music Capital Of The World™. And maybe have a breakfast burrito or two.* Anyway. To where we currently sit. Vancouver seems a wonderful place. There is a bar across the road. A bar! Which sells beer! And there’s another bar one block away! And one in between! It’s like what we imagine Heaven to be. And luckily for Uninhibited – as we are anticipating five weeks in America – Canadians do good beer. More to the point, there’s the allure of some interesting arts activity. For one, Granville Street’s Walk of Fame, which has stars – a la Hollywood Boulevarde – for all of Canadia’s brightest talents. Sarah McLachlan!

Michael Buble! BRYAN ADAMS! For second, and the excitement generated by these words can perhaps only truly be felt by Uninhibited, and a certain duo of cosmic monkeys known in our circle: EVIL DEAD: THE MUSICAL. Now, far be it for Uninhibited to dictate what you all should watch and enjoy in the arts. But, like the famous dictum that all men look better with beards, it’s a well-known fact that all works of art with zombies are better than those without. Evil Dead taking over the musical genre can only lead to awesome.

Canberra seems inordinately lacking in zombies, which is odd, considering the countrywide vilification we receive for munching on the achievements of the rest of Oz – and the look my public servant friends usually had after a day at the office…

Holy rotten flesh! There’s a new angle for a zombie movie.

We’ll call it Graduate Pogrom.

It’ll centre on a streetsmart young whippersnapper, fresh from university, who takes a grad position in a government department in Canberra, only to find that the incantation ‘policy, minutes, meeting’, said three times, followed by four incomprehensible acronyms, leads to the entire department craving grey-matter. It’ll be a smash hit of the summer!

Peace oot, ey!

NAOMI MILTHORPE exhibitionist@bmamag.com

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bit PARTS WHO: Mirramu Dance Company with David Pereira WHAT: River WHEN: November 21 @ 2.30pm and 8pm. November 22 @ 4pm WHERE: The Street Theatre, Childers Street Collaborating with sculptor Christine Simpson and cellist David Pereira, Mirramu Dance Company presents a topical and engaging performance that integrates dance, music and sculpture to express the silent voices of Australian waterways. To the sounds of the cello, sculpture fuses with contemporary dance as we witness the dying of the Darling River in this achingly beautiful work evoking the spirit of Henry Lawson’s sickly salt-spring stream. Featuring cellist David Pereira, and dancers Albert David, Jade Dewi Tyas Tunggal, Holly Diggle and guest artists, it is dramatic, inspiring and readily accessible. Tix $29/$23/$17/$13.

Call 6247 1223 for info and bookings.

WHO: All the ladies!

WHAT: ACT Women’s Grants program WHEN: Applications close December 7 WHERE: www.women.act.gov.au, or email women@act.gov.au The program is an initiative of the ACT governors to help improve the status of women in the ACT. The idea is all alright by me, but even better is the real juice: up to $100,000 in funding dosh to carry out programs, projects and events or to further capacity building for existing organisations. There are two pools, of which the niftiest for artists would prolly be the Special Projects pool. You can get funding of up to $15,000 per project to “support activities that progress one or more objectives of The ACT Women’s Plan.” But get crackin’ on your applications: they’re due at the start of December. For more deets and info call 6205 0515.

WHO: New exhibitions at M16 WHAT: Dwell and Outlet WHEN: ’til Sunday November 15 WHERE: M16 Artspace, 16 Mildura Street Fyshwick Helpful press release information! How Exhibitionist loves to quote you! 1. “Dwell is an exhibition that explores what goes on behind the backlit curtain, the shut door at night and the transient, temporary inhabitation of public places to reveal the quiet tension that exists in suburbia. With slight voyeuristic curiosity and her camera, Lauren Hewitt captures the inhabited spaces of our everyday lives.” And… 2. “Zoo Group creatively and strategically solve clients’ problems through creative thought and expression. Zoo wants to redirect this creativity to showcase the personalities behind the pieces. This is their creative outlet. Featuring a diverse range of media […], Outlet is sure to reveal the private faces of these public artists.”

WHO: Canberra playwrights WHAT: The Rep Logues Comp Booklet WHEN: Limited edition available now!

WHERE: Theatre 3 Congrats are in order to Exhibitionist writer Emma Gibson, who picked up first place in the 2009 Rep Logues competition. Press release speaks volumes: “In 2009 Canberra Rep STUDIO presented a different take on its previous competitions, included both Monologues and Duologues.

The winner was Emma Gibson with her entry Morally Bankrupt. Second prize was awarded to Marie Gordon for Molly Magee, with Peter Holland’s Samuel awarded third place. […] A limited edition booklet of the final scripts is available from Theatre 3 for $10 a copy.” Call 6257 1950 or drop in during business hours Monday to Friday to pick up a copy!

WHO: Canberra Symphony Orchestra WHAT: Symphony for Kids WHEN: November 22 @ 1.30pm and 3pm WHERE: Canberra Theatre Press releases all round this Bit Parts: “Now in its seventh year, Symphony for Kids still remains a popular favourite in the Playtime Season. Conducted by renowned musician Ian McLean and featuring the talents of Canberra Symphony Orchestra, Symphony for Kids is the perfect way to introduce little eats to the live sounds of the orchestra. During the concert, audience members will be introduced to each instrument and its sound and will be encouraged to interact and ask the musicians questions. Symphony for Kids was specially designed for children and features children’s favourite music pieces.”

While the reference to children as consumables is slightly alarming, the basic thrust of the argument is sound. Call 6275 2700 for details.

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WHO: Canberra Youth Theatre’s Teen Ensemble WHAT: Artists Unite WHEN: November 20 - 22 WHERE: C Block Theatre, Gorman House Artists Unite is the culmination of the work of CYT’s 2009 Teen Ensemble, featuring three short plays written by young playwrights from across the land, and directed by emerging directors from CYT. The program for this year features X by South Australian Sarah Dunn, The Trees by fellow SAer Alysha Herrmann, and representing the ACT, The Man With No Funny Bones by Edmund Hogan. Artists Unite will play at C Block from Friday November 20 to Sunday November 22, tickets are $15/$10. For info on the shows, call CYT on 6248 5057.

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unlucky enough to be tarred with the (gold lame) disco brush at the end of the ‘70s – respectability came tough.

REBEL, REBEL justin hook Disco. Surely the most reviled genre of popular music. I don’t remember burning parties of prog-rock, shoegaze or emo records along the lines of the infamous and disturbing Disco Demolition Night at a Chicago park in 1979. But then I’m no historian, so lay off. All I know is that if you were

Unfairly, LEO SAYER is often relegated into the ‘disco-pop type guy who had a few hits then disappeared’ column. But Sayer was like any other singer-songwriter looking for a break. He knew his way around a melody (You Make Me Feel Like Dancing), picked his covers carefully (Albert Hammond and Carol Bayer Sager’s When I Need Love) and is as There might be comfortable in front of a camera a death metal as he is behind the microphone. album in me yet But looks can be deceptive as Sayer explains. “I’m a rebel. I’ve always been a rebel and I love surprising people. But I’m looked upon as a very middle of the road artist, which honestly is the last thing I am. It’s just probably because I smile and I’m very nice to people.” It’s the only time during our conversation that the irrepressible and energetic recently naturalised Australian citizen sounds weary. But there is always an upside. “They seem to like me on Kerri-Anne.”

There’s an argument to be mounted that Sayer’s 1976 album Endless Flight is an overlooked classic of the singer-songwriter type. It’s a period he looks back fondly on. “I will say this – we always tried to work with the best musicians. Richard Perry [producer of everything from Beefheart to Streisand] surprised me because he knew all these great players and brought them into the studio. We had the best soul players – Larry Carlton (renowned jazz guitar boffin), Earl Slick (Bowie), Ray Parker (pre Jnr and Ghostbusters), Steve Gadd (Pauls McCartney & Simon). That’s why my records from that era stand up. Working with the best people in the industry stood me in good stead.”

But after the flood of commercial success came the inevitable drought. Sayer’s star faded and releases became rarer. Reflecting, Sayer isn’t particularly remorseful.

“Well, you know, I think it was basically a problem of continuity.

I like to think of myself in the Bob Dylan mould. I like to surprise people and make different records that never really follow or sound like the ones that came before.” And if you’ve been wrong-footed by the Dylan reference, hold on to your britches as Sayer enthuses about his new stuff. “I’m working on a new project that sounds distinctively urban.

Like Jill Scott meets Leo.” Seems there’s a surprise at every corner.

Unprompted, he concludes, “there might be a death metal album in me yet.” Don’t count it out – it’s not that much of a jump from L. Sayer to Slayer.

Catch Sayer at the Vikings Club on Saturday November 21.

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LO NG DISTANCE CALL BEN HERMANN When I speak to Adam Montgomery, bassist/vocalist for Melbourne punk-inspired rockers CALLING ALL CARS, it’s late on a Saturday afternoon and he’s just finished an all-ages afternoon show in the suburbs of Melbourne. The group is in the early stages of a 30-date tour of southeast Australia with After the Fall, in support of their new single Hold, Hold, Fire, which will also bring them through Canberra for the Trackside Festival later this month. Even though this is in addition to the two national tours they’ve polished off already this year with Butterfly Effect and Cog, Montgomery is surprisingly eager to get back on the road again. “I think, if anything, we’re enjoying touring even more than we were at the beginning of the year,” he says. “We’ll have done over 100 shows for the year by the time we finish. But we’re on our own tour now, and it’s great to play the smaller clubs, get closer to the crowds and get a bit sweatier.”

After the release of two EPs, the group has spent the small gaps in touring in the past year to record their debut LP with Shihad’s Tom Larkin in the producing role. “He’s great. Coming from a group like

Shihad, you can imagine how much experience he’s got. They’ve made every mistake and every right move you can think of. We’re a very young band, so he’s absolutely invaluable. But he’s a hard-arse in the studio. It’s gotta be perfect, or he won’t accept it.” But having to write songs or arrangements on the road and spend their precious non-touring time in the studio with months between recording sessions does still have its advantages, Montgomery suggests. “It’s not ideal – I’d certainly like to do the recording in one lot.

But the good thing is that we constantly have fresh ears for our music – we have the luxury of coming back months later and listening and changing things.”

We steal other people’s riders all the time.

We’re rider whores

Like so many young groups in the throes of recording their debut album, Calling All Cars are doing their best to reconcile the early sound of their former EPs with the direction they’ve taken since then, and especially in the last year of touring. “There’s actually only two songs on the album that we haven’t been already playing at our shows, so the album is already familiar to our fans and they like it,” he says.

“It’s definitely tougher than our old stuff, which had a greater punk influence. Our earlier work was just fast rock, but we’ve developed more variation now. Being able to play together more has allowed us to find our sound, find where we sit and generally write better songs.”

But as Montgomery admits, although they can “bitch and moan” about having to write on the road, record during all their free time and live much of their life in the van, “we get heaps of free beer, which is pretty cool,” he says. “We steal other people’s riders all the time. We’re rider whores, pretty much.”

You can catch Calling All Cars at the Trackside Festival on Saturday November 21. Tixthrough Landspeed Records, Ticketek, Moshtix and Oztix.

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KISS FROM A ROSE SHAUN BENNETT A bridge between the east and west, a movement into understanding both sides of a story and a driving force to understand the world. Sounds like up-and-coming Sydney folk artist BUD PETAL. Born in the Middle East and living in-between two worlds in the half-Arab, half-Jewish Israeli city of Haifa until he was ten, Petal has always been one to see both sides to every story. However, since moving to Sydney in 1993 he has broadened his horizons musically and culturally while maintaining his original Middle Eastern roots.

“When I lived in Israel I listened to music from Egypt, Lebanon and Israel but since I moved to Australia I have listened to more Western music,” Petal says. “I listen to anything now from jazz, rock to folk and blues. I’m really into folky jazz music at the moment, so that’s what I’m trying to do with my music.”

Playing music is my release from my study and work regimes

To add to his already diverse and mind-boggling upbringing, while he is not playing music he is at the University of New South Wales completing his doctorate in Philosophy and Linguistics. At this stage, you’re probably thinking he is the musical incarnation of Kevin Rudd but according to Petal he tries to keep his study and music separate. “I’m almost finished at uni now, so soon I’ll be able to focus completely on my music.”

In the meantime he divides his time between his music, study and working at the library at the University. “Playing music isn’t really a chore or a job for me, so that’s kind of my release from my usual study and work regimes at uni,” Petal says. “I also don’t watch TV so in a way all the things in my life kind of blend together but I try to keep them separate.”

Petal began playing guitar six years ago and has produced most of his own songs, making it a long but rewarding process. “It took me a while to form my own style on guitar as I spent the first few years on my own trying to work it out, but I’ve got much better at it now and I’m always learning,” Petal says.

It looks like Petal’s fans are in for a treat with the release of his debut album, Turtledoves & Oatstraws, which was recorded with producer Tony Dupé (Holly Throsby, Grand Salvo, Jack Ladder, et. al.) at his home studio. “Since I know what I want to do now with my music and my band is more together, it makes it easier and more enjoyable writing and playing music,” Petal says. This seems to be the case since Petal has got enough material already for another album. “There’s a few songs left over that we’ll bring out again. We’re starting the demos in a month or so but most of the songs are ready to go.” Enough education and mind power to rival Freud, East and West capabilities and a poet worthy of Bob Dylan… look out!

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Bud Petal will launch his album Turtledoves & Oatstraws at The Front Cafe and Gallery in Lyneham on Saturday November 21 at 8pm with Mr Fibby.

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KINGS & QUEENS KATHERINE QUINN When I think of blues music, I imagine the low growl of John Lee Hooker, the meandering bass lines of Muddy Waters or the primal howl of Jack White. So CORRINA STEEL, polite and articulate, with porcelain skin and an enviable mane of dark hair, seems an unlikely candidate to be churning out this raw, gritty music which sprang up amongst the poverty of America’s Deep South.

But Ms Steel is not to be underestimated. With ten years in the industry and two albums already under her belt, her forthcoming album, A Fling With the King, is a force to be reckoned with. She captures all the swagger of traditional blues with a distinct He thought I Australian twist, a might become touch of her country really shit hot roots and, refreshingly, a woman’s perspective. like Bonnie Raitt I ask her what it’s like being a beautiful woman in such a male-dominated genre. “The music world is a man’s world, no doubt,” she tells me. “But I’m just like ‘oh yeah, whatever boys.’ I’ve never let anything like that hold me back from doing what I wanted, that’s for sure.”

Corrina penned her latest album on a cattle station in rural New South Wales. “The landscape in Mississippi is not unlike Australia,” she says, and she’s speaking from personal experience, having visited the delta to take slide guitar lessons from legendary bluesman Kenny Brown.

“He was pretty keen to turn me into a really mean guitar player,” Corrina says of Kenny. “He thought I might become really shit hot like Bonnie Raitt. But at this stage in my life, I’m not into being a totally mean guitarist.”

She must have already learnt a lot though, both musically and professionally, given her extensive experience in the music industry. “It’s a mean industry, there’s no doubt,” Corrina admits.

“People have wanted to work with me and mould me into some sort of sellable thing, whereas I guess they know I mean business now. It has taken me a long time to get to that point though and to gain that sort of respect among my peers.” To anyone hoping to enter the music industry, she says “I think the most important thing is perseverance. You just really have to persevere.”

Well, Corrina’s hard work has definitely paid off, with A Fling With the King revealing itself to be a raw and soulful masterpiece – everything a blues album should be. It’s clear that Corrina loves what she does and I can just imagine her sitting on a verandah, playing slide guitar at the age of 85. “The life of a musician is extremely complicated because nothing’s certain and you don’t know where it’s going, or if it’s going anywhere at all,” she ponders. “But I have to keep doing what keeps me excited, otherwise I’d probably stop. I’m keen to start learning the piano next – there’s a lot to do, a lot to learn.”

You can catch Corinna’s live show The Front on Wednesday November 25. Tix are $10 on the door.

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charity gig

33

METALISE Hails and tortured wails. Not sure how the Australian Metal Awards turned out last weekend, be interested to know how Sadistik Exekution got along and I’ll publish the winners list in the end of year edition. Let me know how it was if you went!

Lamb of God, Devil Driver and Shadows Fall have sold out their first show at the Big Top in

Sydney on Saturday December 12 and have added a second licensed all ages show for Sunday December 13.

Porcupine Tree are coming back to Australia again in February with three Aussie shows in Brisbane, Melbourne and Sydney. The Sydney show is at the Enmore Theatre on Saturday February 6 and at the

Palace Theatre in Melbourne on Sunday February 7. Ticketek will provide their services for your tickets.

While in prog-ish territory, Les Claypool of Primus fame is doing some solo shows in December including an all ages show in Sydney on the Wednesday December 2 at the Enmore Theatre and an over 18s show at the Forum Theatre in Melbourne on Friday December 4. Check the info on his website, www.lesclaypool.com/tour/ .

Australia’s proponents of the finest Swedish death metal flavour Earth have a new album about to hit stores entitled

Fear of Tomorrow. The band is embarking on a national tour to support the record and the Canberra leg of that tour takes place on Friday November 20 at The Basement. Joining them are NSW band Code of Lies, Reign of Terror and Machete. The band then hit the Hume in the morning for a Harbour Cruise show the next day with Pod People and Anno Domini. I can’t wait to check the new record out as both The Bleeding Fields and Star Condemned were excellent.

Also at The Basement this weekend, Friday November 13 (cue werewolf howl) is a great bill featuring Scapegoat, Futility, Inside the Exterior and Tortured.

Adding to The local good time shows at the Basement, Friday November 27 is the band formerly known as Terrorust and Insidious Torture (Matty Skitz on drums) heading up from Melbourne to headline a super strong bill that includes Mytile Vey Lorth, Kill For Satan, Hell Itself and Forgery.

Portal, Blood Duster, Destroyer 666 and Captain Cleanoff are all announced on next year’s Maryland Death Fest, better known as MDF. Autopsy reforming for the show alone has me severely tossing up over that show and the amazing Roadburn lineup announced for Holland next year.

Portal has a new album out entitled Swarth and is the hellacious spawn of an utterly world class extreme metal act. The band are rumoured to be doing a Sydney show in February, so I’ll keep an ear out for the date. Congrats to the Aussies on what is the US’ absolute best underground metal festival lineup.

JOSH NIXON doomtildeath@hotmail.com NP: Equilibrium – Cathedral – Forrest of Equilibrium

34

HIGH TEA PETER KRBAVAC “I’m using the analogy of climbing K2,” JEFF MARTIN says of The Armada’s upcoming acoustic tour. “But I’m very confident that the three of us are going to pull it off. If we do, I would say collectively and individually it would be the most rewarding thing that we’ve done as artists in our careers.”

The man certainly isn’t exaggerating. Listening to him list the incredible amount of instruments the trio will be carting around the country for the 24-date trip, you can’t help but pity the poor roadies who’ll have to deal with it all. “Basically my guitar tech Kenny Watt is officially the world’s hardest working guitar tech,” Jeff agrees. “I think over the course of my career it’s getting close to 38/39 different tunings. That’s quite an accomplishment I guess, but it’s a fucking nightmare for Ken,” he laughs.

39 different guitar tunings is a fucking nightmare for my guitar tech

Following his 2006 solo LP and a couple of live records, The Armada once again sees Jeff heading a power trio after he disbanded his previous group The Tea Party in 2005. Originally a collaboration between Martin and Irish percussionist extraordinaire Wayne Sheehy (who’s played with the likes of Robert Palmer and Ronnie Wood), The Armada has expanded to a three-piece for live shows with Perth multi-instrumentalist Jay Cortez (previously of The Sleepy Jackson and End of Fashion) filling out the sound. “I can guarantee you that Australia’s never seen anything like this,” Jeff says. “It’s basically a combination of a live Dead Can Dance show meets Page and Plant Unleaded.”

Though his work has always been informed by his love of Indian and Middle Eastern music, Jeff explains that The Armada’s acoustic tour will heavily focus on the “world music aspect” of the band. This long held fascination began at a young age, when he heard an older cousin’s copy of Sgt Pepper’s… and was immediately struck by George Harrison’s sitar-led track Within You Without You. “I don’t know what your thoughts are, your personal philosophies on past lives, things like that,” Jeff says, “but something went on with me and I knew I heard that before. Everything was familiar.” From then onwards, the ten year old Jeff would travel from his hometown of Windsor, ON in Canada to Detroit every weekend to scour the city’s record stores for any LPs which featured a sitar on the cover.

“When The Tea Party began and we started travelling, I started slowly picking up these instruments from different parts of the world,” Jeff explains. “I instantly knew the scales, the tunings even, which is kind of inexplicable. I think that as far as rock and roll is concerned, the only way to move forward is using elements of world music,” he concludes.

“It’s not just a case of following the trends now and rehashing something that happened in the ‘70s – enough of that, move forward.”

Jeff Martin and The Armada play at the ANU Bar on Wednesday November 18. Tickets are available through Ticketek and Oztix.

35

the word

BLACKBOX

on games Keen on cementing the PS3 as the messiah of home entertainment, Sony recently announced the PlayTV – a dual HD TV tuner for the PS3. While the unit doesn’t really differ to many of the other set-top boxes out there, one thing that sets it apart is its ability to stream the footage to your PSP. Admittedly it’s not exactly the most useful of features, but at least you’ll never have to miss your favourite Simpsons punchline again, even if nature calls. Alternatively, Sony could just release some kind of colostomy bag add-on instead, thus ultimately eliminating the need to leave your room altogether. We can only see what the future holds.

Uncharted 2: Among Thieves Developer: Naughty Dog Publisher: Sony Computer Entertainment Length: 10hrs Platform: PS3 Score: 4 out of 5

Feeling like a perfect concoction of Assassin’s Creed, Far Cry and a good dose of classic Indiana Jones (we wouldn’t want to imply it’s anything like Crystal Skull, would we now?), the original Uncharted was a stunning game, and for better or worse, its predecessor follows very much in its grave-robbing footsteps.

As with the original, the first thing that will strike you about Uncharted 2 are its amazing visuals. Not only can you survey over a remarkably vast amount of scenery, the environments are also amazingly rich, featuring intricately constructed structures and diverse types of wildlife and vegetation. In this sense, the game definitely outdoes the first, as likewise it does in regards to the controls. The retarded tilt-based grenade system has been dropped in favour of a much simpler quick throw button, making grenade throwing a whole lot simpler. Likewise, you’re given a much better indication of what actually constitutes a safe ledge, meaning you won’t be needlessly dying nearly as much as you would have in the first.

Unfortunately, tweaks aside, the game doesn’t bring much else to the table. The gameplay is still very linear and while I’m not averse to that style of gameplay, having a bit more freedom could have helped to make a few of the navigation moments feel a little less contrived. Likewise, the gameplay elements themselves are mostly just a rehash from the first.

They’re still enjoyable, but there’s only so many times you can ascend a decrepit facade and still find it entertaining (spruced up graphics and all). The game also isn’t without its other foibles. For instance, it can have a nasty habit of restarting you quite far back after dying, which in the case of the great train sequence, does somewhat mar the action.

Criticisms aside though, there’s still a lot to love about this game, especially if you’re new to the series (and even if you aren’t, you’ll still enjoy seeing many of your favourite characters reappearing).

Unfortunately the game just doesn’t distinguish itself enough from the first, making it difficult to award it anything higher than 4 stars.

TORBEN SKO

36

The Blackbox guide to recognising that the end of the world is nigh* 1. The guide is littered with the words “season finale” (or “series finale” accompanied by “last ever” if it’s been axed). This fortnight’s end of season casualties include Australian Idol (SCTEN, Sun Nov 22, 7.30pm), Good News Week (SCTEN, Mon Nov 23, 8.30pm), NCIS (SCTEN, Tue Nov 24, 8.30pm), Celebrity Masterchef (SCTEN, Wed Nov 25, 7.30pm), Glee (SCTEN, Thu Nov 26, 7.30pm), RSPCA Animal Rescue (Prime, Tue Nov 17, 7.30pm) and Rove (SCTEN, Sun Nov 15, 9.30pm).

2. The words “fast-tracked” disappear from the commercial network schedules because TV execs don’t want to waste time, effort and money when it won’t help them sell advertising space.

3. You notice a lot of shows you’ve never heard of because even the networks who commissioned them aren’t willing to say they’re the best thing since sliced bread. The first of these is White Collar (SCTEN, Wed Nov 25, 8.30pm) – con artist captured by the FBI puts his skills to use for the powers of good at the FBI. If he was so skilled he probably would’ve evaded capture. Hint number two that it is dramalite – it stars Tiffani-Amber Thiessen whose last appearances of note were on Saved by the Bell and the old version of Beverly Hills 90210.

4. Every show, from the stupidest sitcom to the most serious drama, has a Christmas episode that is usually dripping with sentiment and hardly ever fits with the show’s ongoing narrative. The silly season starts with Talkin’ ‘bout Your Generation Christmas Special (SCTEN, Sun Nov 22, 6.30pm) and Rove Presents Hamish & Andy Regifted, Another Very Early Christmas Special (SCTEN, Mon Nov 23, 7.30pm). Surely it won’t be long before there’s a Christmas reality show (note to any young TV execs – you know where to send the royalties when you steal my idea).

5. WIN announces its summer of cricket. This season starts out with All Star Twenty20 (Sun Nov 22, time TBC) and features Ritchie Benaud (yay) and Shane Warne (boo) in the commentary team.

Auntie has moved the period drama into the 21st Century with Lillies (ABC1, Mon Nov 16, 8.30pm) set in ‘20s and ‘30s Liverpool against the backdrop of sectarianism in Britain.

Samson & Delilah (ABC1, Tue Nov 26, 9.30pm) has its TV premiere just in time for the IF Awards (SBS1, Thu Nov 19, 10pm). The awards season also includes the Walkely Awards (SBS1, Thu Nov 26, 10pm) for journalism.

SBS is trying to shoehorn as much Top Gear (SBS1, Mon 7.30pm, Fri 8.35pm), into their schedule as possible, (including a Winter Olympics special on Nov 16) before they have to hand over the reigns to WIN. Docos over the fortnight include Tank on the Moon (ABC1, Thu Nov 19, 9.35pm) about the Russian remote control robots that surveyed the moon decades before the US Mars Rover program, Secrets of the Freemasons (SBS1, Thu Nov 12, 9.35pm), What on Earth is Wrong with Gravity (SBS1, Tue Nov 24), Leanne Tander – Living the Dream (Prime, Sat Nov 14, 2pm) and The Magic of Audrey (ABC2, Sun Nov 15, 8.30pm) about the life of Audrey Hepburn.

TRACY HEFFERNAN tracyheffernan@bigpond.com *any true square-eyed addict knows that the end of the ratings season means certain death in the telly lifecycle and *gasp* venturing outside to interact with real people.

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the word

on albums

album of the week yo la tengo POPULAR SONGS [MATADOR] I like these guys for several reasons. Firstly, Ira Kaplan looks like a pre-pokevolved Kramer, or maybe Ray Romano if his mother boozed while pregnant. His scrunched up face is a treat to see live, especially framed by his electrified curls. Second, they’re consistently good and don’t waste time releasing albums. With 12 studio albums alongside a generous slew of EP’s; there’s a tonne of material for the keen to sift through. Popular Songs again shows off their ability to pen great pop tunes. Here to Fall being one of my favourite tracks of the year, is layered with strings, romantic lyrics and motown influence. While the first half is relaxed, the second half powers with crunchy guitars. Avalon or Someone Very Similar glows with vague optimism - a song to get you humming. The last three tracks are an epic trilogy (typical Yo La Tengo), with More Stars Than There Are In Heaven standing out, with repeating lyrics “We’ll walk hand in hand” providing a sweetly haunted feel. A treat for fans indeed, and I for one am glad they haven’t gone ass-up after all this time like so many of their peers. Buy it you clowns.

TRAVIS HEINRICH

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Atlas Sounds Logos [Remote Control] Atlas Sounds is the side project of Deerhunter’s Bradford Cox and Logos is his fifth release in the last 18 months. Ryan Adams, you have nothing on this man. Cox has an unerring ability to deliver skewered, wonky dream pop epics that gobble up motorik, indie noise, alt-rock and shoegaze without a trace of parody or cliché. Make no mistake, his influences are obvious but where others fail, Cox transcends his mental sketchpad to create utterly stunning modern hazy dream nuggets. And despite its side project status, Logos is no throwaway. Guest spots from Stereolab’s Laetitia Sadier and Animal Collective’s Panda Bear fit well – but it’s Cox who demands all the attention. Last years Microcastle was universally and rightfully hailed as one of the year’s best and Logos is up there.

Again. Wonder if he has anything ready for February. justin hook

Easy Star All-Stars Easy Star’s Lonely Hearts Dub Band [Easy Star Records] The Easy Star All-Stars are a presentday dub band whose musical versatility, instrumental prowess, fine vocal harmonies and superb rhythm section have seen them become a top international reggae act since debuting in 2003. Formed originally as the studio band for Easy Star Records in 1997, they remained a studio entity until releasing their first concept album in 2003. This was the complete dubbed-up versioning of Pink Floyd’s masterwork, Dark Side of the Moon. Easy Star’s Lonely Hearts Dub Band is their latest LP and like it’s Beatles’ template, it is a stroke of genius.

With guest vocalists like Luciano,

Frankie Paul, Max Romeo, Ranking Roger and the legendary U Roy contributing to the 13 tracks, Lonely Hearts will sit well amid your music collection, whether you’re a Beatles tragic, a Rasta or simply a reggae enthusiast.

singled out

with Dave Ruby Howe

SIMON HOBBS

White Denim Fits [Inertia] There are many ways to review music. I’m adopting the sounds-like method here.

Call me lazy.

OK, here goes. Sex Prayer is John Densmore via Tortoise. Which is as awful in actuality as it is on paper. Paint Yourself is part CSNY and part Royal Trux. In fact there’s a lot of Royal Trux on this album. Not literally, though.

Idiot. Everybody Somebody sounds like someone punched the fuck out of Cheap Trick and made them record on a one-track.

Massive point and joy deductions for reminding me of Eagles of Death Metal afterwards however.

I am unable to listen to this song again. Fuck it. This album’s a mess. I love it and hate it at the same time and at thoroughly different times. I’m confused.

These are confusing times.

JUSTIN HOOK

Potential Falcon Wings on Fire [Lost Rider Label] This is an unusual wee beastie, akin to indie pop with an alternative country vibe and occasional injections of the experimental. It’s pleasant to sit back and listen to, with themes revolving around hitting the turps and trying to win on (not always successfully). There are some unusual musical arrangements which make the CD stand out from the crowd, though not all of them add to the material. For Melinda is easily the CD highlight.

RORY MCCARTNEY

3OH!3 ft. Katy Perry Starstrukk [Warner] Sure, ragging on these arsewipes is like shooting fish in a really tiny barrel, but damn they deserve it. They spew their flaccid rhymes over some equally unappealing schlock ‘n’ horror electro beats, even managing to waste any lingering cred Katy Perry might’ve had from Hot & Cold.

50 Cent ft. Ne-Yo Baby By Me [Universal] 50 is a curious dude. Often caving into formulaic gangsta tracks, the dude does himself a disservice, squandering his own clear savvy and charisma. Baby

By Me treads the line between those two worlds, with Fiddy jocking plenty of swagger about his implied sexual potency over some pretty interesting production. I’ll take this over 3OH!3 any day.

Timbaland ft. Nelly Furtado & SoShy Morning After Dark [Universal] Following my serious Timbobinge of 2006, it’s been a pretty lousy run of material from the US beatsmith. And from this first taste of Shock Value 2 – which features Miley Cyrus and Nickelback no less – it’s looking like it’ll stay that way. There’s nothing too wrong with this. It jumps where you’d expect, the synths are super shiny, but it feels old already, nothing like the futuristic Timbaland of yesteryear.

the word on dvds

is anybody there? [hopscotch]

Old Crow Medicine Show Live at The Orange Peel and Tennessee Theatre [Nettwerk/Shock]

Set in a seaside English town in the late ‘80s, Is Anybody There? follows Edward, a tenyear-old boy whose parents have turned their house into a family-run retirement home. Edward is infatuated with death and the supernatural, obsessing over the final hours of each guest at the home, recording and repeatedly listening to their dying sounds.

When Clarence (Michael Caine), a surly, reclusive former magician reluctantly enters the home, what can only be described as a clichéd “unlikely friendship” slowly develops between the two. Edward’s obsession with the afterlife, along with his uncanny ability – quite common among ten-year-olds – to break things via a wayward soccer ball, initially clashes with Clarence’s constant internal grief for his estranged, now dead wife. Gradually, the two come to use each other as a form of counselling, and Edward’s sprouting interest in magic cements the bond between he and Clarence, who, by the second half of the film, is spiralling rapidly into the advanced stages of senility. The somewhat overdone ‘companions with large differences who come to learn from each other and thus become stronger’ relationship between the two is admittedly touching, but the most moving scenes are those involving Edward’s parents – his mother, exhausted yet endlessly devoted to her young and struggling retirement home; and his father, obviously in love with his wife and son, but whose fear of being suffocated by living in and running a retirement home manifests itself in sarcasm, coldness, and the pursuit of the home’s 18 year old part-time helper. Caine’s acting is as superb as ever, however the dialogue he’s given to work with is sporadic in quality and you feel that the writers have used his senility as an excuse for him to conveniently jump from subject to subject; from joy to grief, as the situation calls for. Is Anybody There? does provide a few laughs and a few tears, but falls short of its potential.

With their return to Australia imminent, it seems a good opportunity to give Old Crow Medicine Show’s recent live DVD a spin. Young men playing old time music – a combination of bluegrass, roots, folk and blues; for convenience’s sake, call it Americana – the Medicine Show have managed to garner surprisingly wide appeal, perhaps in part due to endorsements from Gillian Welch and Dave Rawlings as well as elder statesmen like Merle Haggard. Eschewing any extra features, this bare bones release presents the group in their element – onstage and in full flight. Featured are 20 songs cribbed from two performances in December last year in the intimate confines of The Orange Peel, North Carolina and at the larger Tennessee Theatre. The shows are documented simply and effectively; lingering frames of the group onstage, capturing the interplay between members, occasionally interspersed with atmospheric shots of America’s south. The Medicine Show maintain a blistering pace and, as evidenced by the torrent of sweat dripping down fiddle player Ketch Secor’s instrument, clearly push themselves to their physical limits. A great deal of the set comprises the trad-arrs the band are famous for and you can’t help but be swept along by the sheer propulsion of their frenetic readings.

The audience reciprocates, as raucous and energetic as any rock crowd – particularly one punter that the camera often returns to, who looks like he’s been caught mid-self-exorcism.

The group, however, are at their best when they delve into their own, generally more restrained, catalogue. I Hear Them All, a co-write with David Rawlings that clearly bears his influence, is a particular highlight, as is the wistful Caroline and the ragged, slow-burning Tennessee Pusher. A rollicking testament to Old Crow Medicine Show’s powerful live performances.

ben hermann

peter krbavac

gossip girl - season 2 [warner home video] In April last year New York Magazine – journal of choice for indolent and sarcastic hipsters – proclaimed Gossip Girl to be Best. Show. Ever. Sure, there were a few caveats and NY Mag has a tendency to ride cultural waves for all their worth and, okay, the show is a scarcely veiled doco of WASPY, rich Manhattanites.

But what the hey, Upper East Side teen angst was cool again!

It was a cultural juggernaut for the inattentive txt generation.

The overall ridiculousness of a bunch of image-obsessed New Yorkers grappling with who to sleep with next and how to deal with their meddling family was captivating. Whilst hardly an Austen-esque study of class and privilege there were some pretty universal themes on offer and as long as it’s hilariously over the top and looks good then I’m in. Season two opens with Nate (Chace Crawford) and Serena (Blake Lively) retreating in the Hamptons. Of course. Nate’s squiring an older woman. Of course. Everything is as it should be in Gossip World. It’s senior year and everyone is preoccupied with college – Yale in particular, not that Gossip Girl has ever been a beacon of scholarship but Yale is old money and Ivy League so it’d hardly impact their social lives.

Still, it’s a risk no one’s willing to take – so Columbia and NYU it is. Phew. Not sure any of these characters would survive outside a 5km radius of a Marc Jacobs store. Its zeitgeist moment may have passed – although S3 features serial teen drama guesters Sonic Youth looking for TV face time after Gilmour Girls finished up – and you could argue we all care a little less about well-sculpted moneyed up teens and more about keeping our jobs but Gossip Girl is unabashed, self aware, extreme-dialogued fun. The reason recessions don’t matter in this world is not that they’re immune – more that it’d totally bring us down. We don’t want that.

JUSTIN HOOK

39

the word

on films

WITH MARK RUSSELL

Well look who’s stepped onto the film page this issue – none other than the Abominable Sko-man himself. When he initially approached me about contributing I was sceptical.

“You’re a dance columnist, promoter, business owner, editor, journalist and sexual panther,” I said. “A one-trick pony if ever I saw one. What could you know about film?”

His 3000-word dissection of Godard had me partially swayed, but it was his word-perfect Britney Spears monologue from Crossroads that really convinced me. Here he is – straight out of the gate with two reviews. Behold, the majesty!

quote of the issue Michael Moore: “No one can tell me what a derivative is? Has anyone got anything they can tell me?”

Security Guard: “Yeah, stop makin’ movies!”

Capitalism, a Love Story

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the box I read an article on Cameron Crowe some time ago which asked ‘How much grace does one excellent film buy?’. It referred to Crowe’s excellent debut Almost Famous versus the litany of poo that followed it. Director Richard Kelly is at risk of having a similar article penned on himself.

Kelly – who will forever sport the prefix ‘From the man who brought you Donnie Darko’ – showed early signs of cracking with the woeful director’s cut of Darko, a “cut” that blasted away all the mystery with cannons of exposition. And he’s done it again with The Box. From a short story by Richard Matheson (author of I Am Legend, which was also turned into a cinematic excretion), the premise concerns a mysterious stranger doing his best Two Face impression (Frank Langella) offering restless couple Norma and Arthur Lewis (Cameron Diaz and James Marsden) a box with a button, and a choice; press it within 24 hours and you’ll receive a million dollars and someone you don’t know will die. Or don’t press it, whatevs.

The short story was succinct, but the film feels stretched.

Yes Kelly manages to summon moments of genuine eeriness, but it’s bogged by a very slow first half, excruciatingly serious performances and, worst of all, a few scenes of explanation that kills all mystery. And a twist would have been nice. Instead, we know exactly what’s going to happen half an hour before the end (hell, they practically tell us) paving the way for an agonising wait.

the time traveler’s wife Eric Bana is Henry DeTamble, a man afflicted with ‘fits’ of involuntary time travel. Though his destination is always random, Henry tends to return to events and locations that were important in his life. As the film’s title suggests, this is not just Henry’s story. The events he most commonly returns to concern Clare (Rachel McAdams), his ‘future’ wife.

Based on the novel by Audrey Niffenegger, The Time Traveler’s Wife utilises a strong concept in a tender and thought-provoking way. The romanticism of their courtship (handled very carefully considering Henry meets Clare when she’s very young) fades organically into the lonely reality of their relationship.

However it still doesn’t take things quite as far as it could, often getting a little simple when explaining its complexities. Every now and then Henry and Clare will sit down and say exactly what they’re thinking and feeling, rather than letting us decide through their actions. Bana always has a slight awkwardness about his performances and The Time Traveler’s Wife is no different.

He’s strong in some scenes but falls short of leading man status in many others. Rachel McAdams is as luminous as ever and excels in the occasional scenes where she’s asked to be more than something pretty to look at.

‘A short story is like a kiss in the dark from the stranger,’ wrote Stephen King. This is more like a awkward grope.

This is a very solid film without winning any awards. An innovative concept, good performances and enough emotion to please the saps without scaring the cynics; results in an entertaining watch and broad appeal.

allan sko

mark russell

capitalism: a love story Michael Moore. Love him or hate him – and many people do both – the “fat socialist weasel” (Team America’s words, not mine) is at least out there holding a magnifying glass to the wrongs of the world in the hope of setting them on fire. Capitalism sees Moore more bloated than usual, literally and metaphorically, but the film still manages to expose some severe wrongs. Moore has a knack of taking complicated subjects and simplifying them so even the dumbest audience (read: Americans) can understand. Here he uses the financial crisis as a soap box against capitalism.

Two things mar this film; its length, and the inevitable Moore stunts. Stunts of the past (free gun with a bank account, smuggling people across the Mexican border for medication) were both funny and poignant.

Here, when Moore sets out to ‘claim our tax dollars back from CEOs’ with a comedic swag bag, or goes to make a citizens’ arrest only to be stopped by well trained body guards, it’s pointless and ho-hum. In fact his targets get the better of him (see quote of the issue).

But this can be forgiven. He exposes a crooked judge wrongly sending kids to a privately owned juvenile hall (of which he was shareholder), poorly paid pilots, the deregulation that led to the GFC, how homeowners were enticed into taking out unaffordable debt, and the sickening “dead peasant tax”.

Worth a look then? Most certainly. You may wriggle in your seat towards the end, but you’ll have plenty of conversational fodder when you next consume coffee with friends. allan sko

the word

on gigs

Stonefest University of Canberra Saturday Octover 31 This year Stonefest took a little bit out to put a little back in, scrapping their usual two day format and rolling all the music and festivities into a grand total of 12 hours. Although not as big as in previous years, Stonefest did show that it had chosen quality over quantity!

Christening the Stonefest stage were Canberra’s own, The Trivs.

Despite the disappointing turn out in the early morning, these boys deserve an honourable mention for keeping those who were there on their feet. Keeping the morning local, the ACT acts continued with Super Best Friends, Hancock Basement and Ashleigh Mannix.

As the day got older, the crowds grew larger and the diversity of people within the grounds was an interesting mix of race, sex, species and... fruit? With the theme of Halloween, many came dressed up; witches, mimes, star troopers and even a giant banana were amongst those parading around in costume. Mother nature grew incredibly generous, offering summer sun and an abundance of burn to come. Thankfully for those who were keen to get out in the blistering rays, sunblock was never too far away.

Next up were acts Jerrico and MM9, which seemed odd to be watching so early in the day. However, the front row showed their enthusiasm by bellowing out passionate cries of support. Following that were Art Vs Science, who were also odd to watch early but seemed to have no problem gathering the usual dancing audience.

As it got hotter, many people found relief in the shady underpasses of the grounds. However for those who spent a few extra dollars on their ticket, a sanctuary of shade was promised. Many stated that there were many pluses of the VIP areas. These included access to free water, clean toilets, comfy couches and access to the balcony.

However the VIP area did have a downfall too, such as high beverage prices, no catering and no meet and greet opportunities.

After much moshing, screaming and dancing, the folk stylings of Josh Pyke was out and about on stage giving punters an opportunity to take it down a notch. British India, Children Collide and Birds of Tokyo were all good choice to have play consecutively; a constant flow of good rock and roll.

Thanks to Four Seasons Condoms, flavoured condoms were given out by the bucketload. You never know when you may need to pop one out, right? Instead of using the condoms for what they were initially designed for, they were instead made an interesting alternative to the festival beach ball.

If you were tired of the heat and the music wasn’t your thing, then the The Bally tent was the place to be. The La Petite Sideshow entertained those within with everything from juggling acts to the not-to-be-tried-at-home acts. Every show had a complete wow-factor.

Frenzal Rhomb, having recently returned to making noise only this year, still have an excellent stage craft. Ridiculously entertaining, their set was a fast-paced mix up. Following were main headline sensations The Living End, brilliantly impressing every audience member with their stage craft. Their performance was just as impressive as the last time they were here.

The Frenzal/Living End crowd proved only to be a tad violent. In a passionate rage many may have seen or felt the launching of shoes, articles of clothing and small people hurdle over them, over the barricades. Upon exiting the great festival, it was literally like a bomb had hit. It looked like a wasteland. Well – that’s a festival for you!

WORDS AND PHOTOS: MARY LUCKHURST

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GIG GUIDE Nov 11 - Nov 14 wednesday november 11 Arts

Domus Adultus

Sarah Daphne Foo, Blue 2 and Ah! Pandita. 8pm. $7/$5.

HIPPO LOUNGE

Live

Something Different

Gold Kids (Italy)

Guinness Worl Record Attempt

Exhibition by Zoo Group. Zoo Group creatively and strategically solve clients’ problems through creative thought and expression. Zoo wants to redirect this creativity to showcase the personalities behind the pieces. This is their creative outlet. Featuring a diverse range of media, Outlet is sure to reveal the private faces of these public artists.

Running until Nov 15.

Carry On Karaoke

Sardinian hardcore band, with Ghost Town (Gold Coast) I Exist, Slowburn, Vera and Carcass Brains. 14 pre-sale from www.oztix.com.au, $16 on the door. From 6pm, all ages.

Karaoke With Grant

Tortured

Dwell

Fresh from its successful season in Parramatta. www.arabfilmfestival. com.au .

The Private Face of Public Creativity: Outlet

M16 ARTSPACE

An exhibition by Lauren Hewitt. Dwell is an exhibition that explores what goes on behind the backlit curtain, the shut door at night and the transient, temporary inhabitation of public places to reveal the quiet tension that exists in suburbia. With slight voyeuristic curiosity and her camera, Lauren Hewitt captures the inhabited spaces of our everyday lives. Running until Nov 15.

M16 ARTSPACE

Live Owen Campbell

Something Different PJ O’REILLY’S, CIVIC

PJ O’REILLY’S, TUGGERANONG

friday november 13 Arts Arabian Film Festival

ARC CINEMA, NATIONAL FILM & SOUND ARCHIVE

Kutipitjaku Purti - Bush Tripping

MAJURA COMMUNITY CENTRE

With Futility, Scapegoat and Inside the Exterior.

THE BASEMENT

Alliance Française Jazz Night With Miroslav Bukovsky Sextet. 7pm to 9pm.

ALLIANCE FRANÇAISE

Billy Sheehan’s Bass Clinic

One of the world’s finest bass players.

Tix $15, available from Better Music, Phillip. 7.30pm.

SOUTHERN CROSS CLUB

Velvette

7-9.30pm.

First Canberra exhibition of paintings from Kayili Artists, from Patjarr, remote Western Australia.

GAREMA PLACE

Into the Light Exhibition Opening

Boonhorse

CHAPMAN GALLERY

Maureen Warner’s beautiful jewellery exhibition opens to the public.

Winchester

With Girl Sized Hands. 9pm.

POT BELLY BAR

With Scapegoat, Inside the Exterior and Futility. $10.

THE BASEMENT

Ice Dragons Dragon Boating Club attempts to break 151.5km paddling world record over 24 hours.

COMMONWEALTH PLACE

Raunch

Free entry if in fetish gear and prizes for best costumes. With DJ Matt Chavasse & burlesque troupe. cube nightclub

saturday november 14 Arts One Man Star Wars Trilogy

One man, 40 characters, three epic films. Written and performed by Charles Ross. 3pm and 7.30pm.

THE PLAYHOUSE

Inappropriate Use of Pencils

The opening of Lanyon Youth Centre’s exhibition. Live music, not so live nibbles and epic artworks.

MOGO RAW ART & BLUES

Dance Ladybird Lounge

A touch of cocktail groove and late night soul with Blake Budak and Jemist.

Dress with style. 7pm.

THE FRONT CAFE AND GALLERY

Mikelangelo

Corinbank Launch Party

Dance

Olivia Henderson

KNIGHTSBRIDGE PENTHOUSE

Ladyhawke

Cheese

Austen Tashus and Gary Who From 8.30pm.

Promising an eclectic mix of house, disco, dubstep, breaks and more. 8pm.

Music at the Creek

Bite Sized BBQ

THE PHOENIX PUB

THE FRONT CAFE AND GALLERY ANU BAR AND REFECTORY

Retro cheese.

Something Different

Jamie Lloyd and Deepchild

Karaoke Night

HOLY GRAIL, KINGSTON

thursday november 12 Dance Faux Real

Reppin’ Canberra drum ‘n’ bass and dubstep crew. Faux sure.

KNIGHTSBRIDGE PENTHOUSE

Ashley Feraude 9pm.

TRINITY BAR

Live Potential Falcon

Quirky indie rock-cum-country rock.

TRANSIT BAR

Dead Ants Rainbow Supported by Old Ace.

THE FRONT CAFE AND GALLERY

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TRANSIT BAR

Supports from Biggie, Gabriel Gilmour, Staky, Drew, Hubert and Cheese, all for just $20 on the door.

LOT 33

Rev

Canberra’s weekly alt club night. Rock/ indie/dance/punk/pop. Foo Fighters Greatest Hits Album Launch.

BAR 32

Nathan Frost

Jack of all trades.

KNIGHTSBRIDGE PENTHOUSE

Ha Ha Bar’s 1st Birthday

Ha ha celebrates their 1st b’day with crankin music and plenty of birthday cheers.

HA HA BAR, BELCONNEN

Onwards Trance DJ’s 21st Birthday THE FRONT CAFE AND GALLERY

THE PHOENIX PUB GALAXY NIGHTCLUB, CASINO CANBERRA GALAXY NIGHTCLUB, CASINO CANBERRA

One of the best small and friendly festivals on the Eastern seaboard. If you need an excuse to escape Canberra for a weekend and enjoy this amazing weather we’ve been experiencing lately, jump in the car and head east to the historic town of Braidwood. For three days, Braidwood’s Major’s Creek will be transformed into a hub of acoustic sounds, poetry and dance for the Music at the Creek festival. The fest is a modest, friendly and family-driven one.

There are no famous people, rather a bunch of very talented entertainers and a huge list of activities to keep you occupied, all in the spirit of festivity and fun. www.musicatthecreek.com .

Villainy

HIPPO LOUNGE

Presented by Canberra DnB and Dubstep. Come and have a bite, a beer, and a boogie! 7pm-9pm.

A BITE TO EAT CAFE

Frank Madrid

In the Candy Bar from 10pm.

ACADEMY NIGHTCLUB

Ashley Feraude

In the Main Room from 10.30pm.

ACADEMY NIGHTCLUB

Offtapia

In the Main Room from 1.30am.

ACADEMY NIGHTCLUB

Bicipital Groove 9pm.

TRINITY BAR

MAJORS CREEK RECREATION GROUND, NSW

Live

Tim Loydell and the Deckchairs

Global Battle of the Bands

$8 entry.

THE FRONT CAFE AND GALLERY

After Work Jazz From 5 to 8pm.

KING O’MALLEY’S, CIVIC

Featuring Point of View, Perpetual End and Corporate Takedown.

THE BASEMENT

GIG GUIDE Nov 14 - Nov 21 Think Tank Music Festival

monday november 16

Daysend, The Veebees, Looking Glass, Johnny Roadkill, Point of View, Paqman and more.

Live

The Sea Bellies

Bootlegs

UCU REFECTORY

With support from Eulogy.

TRANSIT BAR

Rafe Morris

With Drew Walky, Guillame (solo acoustic) and Dub Dub Goose. $12/$8.

8pm.

MACGREGOR HALL

Roland K and The Sinners

With Billy Goat and The Mongrels.

THE PHOENIX PUB

As Famous as The Moon CASINO CANBERRA

The Justin Walshe Folk Machine

With Drew Walky, Joe Oppenheimer, Fun Machine and James Fahy Trio. This will be tip top.

THE PHOENIX PUB

Something Different Drop In Meditation Classes

With Buddhist monk Kelsang Dornying.

Beginners welcome. $14 ($10 concession). 7.30pm.

WESLEY CENTRE, FORREST

tuesday november 17

THE PHOENIX PUB

Something Different THE FRONT CAFE AND GALLERY

thursday november 19 dance Faux Real

9pm.

Ry-Fy

MoTown comes to Galaxy featuring Beau Smith and the Detroit Dynamos.

8.30pm.

TRINITY BAR

A night of visual delight and sensational sounds. Feat. Tim Heaney, Steve Sobeski and more. $20. 8pm.

Live

Rev

DAY PLAY

Filthy’s Muso Night

ALLIANCE FRANÇAISE

sunday november 15 Arts Arc: Once Upon a Time in the West (1968, M)

Sergio Leone’s operatic Western epic, with Henry Fonda and Charles Bronson.

4.30pm.

ARC CINEMA, NATIONAL FILM & SOUND ARCHIVE

Something Different Comedy Night

THE FRONT CAFE AND GALLERY

Bad!Slam!No!Biscuit!

Bad poetry, oh noetry! There’ll be none of that.

THE PHOENIX PUB

Trivia Night

PHOENIX BAR, CIVIC

Fame Trivia

From 7:30-10:30pm

THE DURHAM, KINGSTON

Pot Belly Trivia

Dance

POT BELLY BAR, BELCONNEN

Sound Baked Sundays Launch Party

TRANSIT BAR, AKUNA ST, CIVIC

It hath returneth! Feat. Yolanda, Be Cool and Splitloop, and Mikah Freeman, Vance Musgrove and more!

TRINITY BAR

Carry-On Karaoke Trivia Night

PJ O’REILLY’S, TUGGERANONG

Trivia Night

HOLY GRAIL, KINGSTON

Kosmo’s Lounge

THE FRONT CAFE AND GALLERY

Live Tori Amos

Sinful Attraction Tour with special guests.

CANBERRA THEATRE CENTRE

wednesday november 18 Live Jeff Martin and the Armada

Live in the Sand Acoustic Tour. Tickets though Oztix.

ANU BAR AND REFECTORY

Mojo Juju

Azteknology

GALAXY NIGHTCLUB, CASINO CANBERRAS

THE FRONT CAFE AND GALLERY

GORMAN HOUSE

THE PLAYHOUSE

KNIGHTSBRIDGE PENTHOUSER

Adrian Deutsch from Red Riders

Gorman House Markets

Fire - A Retrospective

Bangarra Dance Theatre presents their latest work. ‘Til Nov 21.

Motown Night

Henry Padovani

FILTHY MCFADDEN’S

Arts

Dance

On her Last Day on Earth tour, with special guest Washington. Tix through Ticketek.

HELLENIC CLUB

friday november 20

Reppin’ Canberra drum ‘n’ bass and dubstep crew. Faux sure.

Live Kate Miller-Heidke

PJ O’REILLY’S, TUGGERANONG

Comedy Night

Fremantle’s folk-country extravaganza launch their new single Pockets Full of Gold.

FILTHY MCFADDEN’S

Karaoke With Grant

Beaujolais evening with the original guitarist of The Police. $45/$35.

8.15pm. Bookings: 6247 5027.

Hungry Kids of Hungary

Delivering pure pop goodness in a neat package of trademark, dual-harmony brilliance.

TRANSIT BAR

Domus Adultus

5 HEARD ST, MAWSON

Canberra’s weekly alt club night. Rock/ indie/dance/punk/pop. New Gossip LP, Music For Men Launch.

BAR 32

Schoolies

Bring the noise and have some fun this summer with schoolies at Mooseheads!

MOOSEHEADS PUB

Frankie Madrid

They tell us he’s world famous.

KNIGHTSBRIDGE PENTHOUSE

Ruth O’Brien, Sally Holiday and Readable Graffiti. 8pm. $7/$5 .

Live

Los Jovenes Del Tango

7-9.30pm.

HIPPO LOUNGE

$5 entry.

THE FRONT CAFE AND GALLERY

Fun Machine EP Launch

New cheeksters on the block Fun Machine are launching Turner Bowls into a flamboyant oblivion! This confetti volcano features a couple of rounds of bowls, your windswept hair combed fresh by honeybabes Ah! Pandita, and a silver service set from Fun Machine featuring tracks from their debut EP, More is More! They will be pulling out all stops to ensure traffic arrives early and arrives often. To miss this night would be the truest of musical travesties, so bring your friends, their friends and a bucket of sand to replace divots. Free EP and sweets with entry! Details on www.myspace.com/ morefunmachine !

Los Chavos GAREMA PLACE

Earth (Vic)

With Code of Lies (NSW), Reign of Terror and Machete. $10, 9pm.

THE BASEMENT

Leisa Keen

CASINO CANBERRA

turner bowls club

Something Different Carry On Karaoke PJ O’REILLY’S, CIVIC

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GIG GUIDE Nov 21 - Nov 25 saturday november 21 Arts River

Nathan Frost

Kosmo’s Lounge

KNIGHTSBRIDGE PENTHOUSE

Symphony for Kids

Jack of all trades.

Live

A topical and engaging performance that integrates dance, music and sculpture. Collaborating with sculptor Christine Simpson and cellist David Pereira, Mirramu Dance Company presents a topical and engaging performance that integrates dance, music and sculpture to express the silent voices of Australian waterways.

To the sounds of the cello, sculpture fuses with contemporary dance as we witness the dying of the Darling River in this achingly beautiful work evoking the spirit of Henry Lawson’s sickly salt-spring stream. Featuring cellist David Pereira, and dancers Albert David, Jade Dewi Tyas Tunggal, Holly Diggle and guest artists, it is dramatic, inspiring and readily accessible. Tix $29/$23/$17/$13. Call 6247 1223 for info and bookings. ‘Til Nov 22.

Radiostar

Dance

VIKINGS - THE AUDITORIUM

THE STREET THEATRE

With The Fighting League.

FILTHY MCFADDEN’S

Mr. Fibby and Bud Petal

THE FRONT CAFE AND GALLERY

Wild West Wheels

A rollerderby rodeo. With live music from The Fuellers. Tix from Felt and Smith’s Bookshop.

TUGGERANONG SOUTHERN CROSS STADIUM

Ashley Feraude From 10.30pm.

ACADEMY NIGHTCLUB

The King Hits

THE PHOENIX PUB

Leisa Keen Trio Leo Sayer

The disco king with a four-decade music career drops in to show off his brand new album.

DAY PLAY

TRINITY BAR

Gorman House Markets

Michael O’Rourke

In the Candy Bar from 10pm.

ACADEMY NIGHTCLUB

Hubert

GORMAN HOUSE

CANBERRA THEATRE CENTRE

ACADEMY NIGHTCLUB

Dance

Open Decks on the Deck

Ashley Feraude

Short films produced by people in our community.

THE FRONT CAFE AND GALLERY

Something Different Trivia Night

PHOENIX BAR, CIVIC

Fame Trivia

From 7:30-10:30pm

THE DURHAM, KINGSTON

Pot Belly Trivia

POT BELLY BAR, BELCONNEN

Carry-On Karaoke

PJ O’REILLY’S, TUGGERANONG

Trivia Night

HOLY GRAIL, KINGSTON

Jazz with Sophie Christopher Liam Budge supports.

THE FRONT CAFE AND GALLERY

wednesday november 25 Live

Greg Carlin, Rachel Cooper and Bec Taylor and the Kits.

THE PHOENIX PUB

Films at The Front

Trivia Night

live

Bootlegs

Arts

TRANSIT BAR, AKUNA ST, CIVIC

monday november 23

Whitley

On his Go Forth Find Mammoth tour.

With special guests The Brunettes. Tix through Ticketek.

ANU BAR AND REFECTORY

sunday november 22

From 2.30pm.

40 minute sets for whoever dares stepup! Turntables, CDJs & Serato setup overlooking the lake.

Now in its seventh year, Symphony for Kids still remains a popular favourite in the Playtime Season. Conducted by renowned musician Ian McLean and featuring the talents of Canberra Symphony Orchestra, Symphony for Kids is the perfect way to introduce little ears to the live sounds of the orchestra. During the concert, audience members will be introduced to each instrument and its sound and will be encouraged to interact and ask the musicians questions. Symphony for Kids was specially designed for children and features children’s favourite music pieces. Call 6275 2700 for details and bookings.

CASINO CANBERRA

Bicipital Groove 9pm.

tuesday november 24

THE FRONT CAFE AND GALLERY

Ry Cooder & Nick Lowe with Joachim Cooder

With special guest Juliette Commagere.

Tickets on sale Sept 25.

CANBERRA THEATRE CENTRE

5pm, then Scottie Fisher from 9pm.

Corrina Steel

TRINITY BAR

$10 on the door. Doors from 7.30pm.

THE FRONT CAFE AND GALLERY

HA HA BAR, BELCONNEN

OUT nov 25

falls festival lyrics born chairlift powderfinger …AND MORE

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SIDE A: BMA DJ profile

B-THAM

with a dash of electro.

Describe your sound?

Hardstyle technique on the turntables, with fat driving tribal techno crossed with jazz or house and unique vocals

Who are your influences, musical or otherwise? A big influence musically would be John Selway, Hugo (Italy) and Joris Voorn and career-wise it would be Roger Sanchez, Aston Shuffle and Mark Dynamix.

What’s the weirdest experience you’ve had whilst performing? Having a fire alarm go off in the club and everyone thinking it was a part of the music. I knew it wasn’t and until a bouncer came and asked me if it was a part of the music; they were none the wiser too. Everyone just kept on dancing and I wasn’t going to stop the music (as Rihanna says, “please don’t stop the music”). Luckily it was a false alarm, but it was at the peak of the night at 1am and I lost the whole dance floor due to the evacuation.

What’s your biggest achievement/proudest moment so far? Being a 2009 PANG! comp finalist and playing at Academy. Also being booked to play in Brisbane for a well known techno crew called SAMPLE. What are your plans for the future? Plans for the future are producing some fresh tracks and touring Australia. And also to gather a large following for our Soundtrap nights at Transit Bar in 2010 featuring myself and Mike G as residents with monthly guests.

What makes you laugh? iPod mixing stations. Gurning dancer at end of night: “I can DJ too. Did you want to come round to my house? I have got the raddest setup… it’s an iPod mixing station. Bring your iPod along and we can jam!” Hahahaha.

What pisses you off? Styles of music. Everyone likes to define music, but it is all personal taste. Style is what you make it when you’re playing to an audience. I play to the people.

What’s your opinion of the local scene? It’s small and complex, with so much potential to grow over the next couple of years! I love the community vibe of being able catch up with all your friends every time you go out.

What are your upcoming gigs? You can catch me on Saturdays at Northbar on Northbourne Avenue. Also catch me at Transit Bar monthly at the Soundtrap nights from 2010. I’m also being flown up for an end of summer party on Friday February 5 for the Sample crew at the 12 Lounge Bar in the Melbourne Hotel, Brisbane. ROAD TRIP! Contact Info dj.beetham@gmail.com, 0406 101 010

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FIRST CONTACT Aaron Peacey Aaron 0410 381 306 Adam Hole Adam 0421 023 226 Afternoon Shift Adam 0402 055 314 After Close Scotty 0412 742 682, afterclose@hotmail.com Alcove Mark 0410 112 522 Alice 0423 100 792 Allies ACT (Oxfam Group) alliesact@hotmail.com/ myspace.com/alliesact Amphibian Sound PA Clare 0410 308 288 Amplif5’d Classic rock covers band Joy 0407 200 428, joybarac-heath@hotmail.com Annie & the Armadillos Annie 6161 1078/0422 076 313 The Ashburys Dan Craddock 0419 626 903 Aria Stone, sax & flute, singer/ songwriter (guitar) Aria 0411 803 343 Australian Songwriters Association (Keiran Roberts) 6231 0433 Arythmia: Ben 0423 408 767/ arythmiamusic@gmail.com Backbeat Drivers Steve 0422 733 974, www.backbeatdrivers.com Big Boss Groove Andrew 0404 455 834, www.bigbossgroove.com.au Bill Quinn, Overheard Productions (compere/MC). 0413 000 086 Birds Love Fighting Gangbusters/DIY shows - bookings@birdslovefighting.com Black Label Photography Kingsley 0438 351 007 Blister Bug Stu 0408 617 791 Bridge Between, The Rachel 0412 598 138, thebridgebetween.com.au Bruce Stage mgr/consultant 6254 9857 Caution Horses Nigel 0417 211 580 Chris Harland Blues Band 0418 490 640 chrisharlandbluesband@yahoo.com.au Clear Vision Films rehearsals/film clips/stunts - 0438 647 281 wcoulton.clearvisionfilms.com Cole Bennetts Photography 0415 087 833/colebennetts@gmail.com Cris Clucas Cris 6262 5652 Crooked Dave 0421 508 467 Danny V Danny 6238 1673/0413 502 428 Dawn Theory Nathan 0402 845 132 D’Opus & Roshambo hifidelitystyles@yahoo.com DJs Madrid and Gordon 0417 433 971 DJ Latino Rogelio 0401 274 208 DJ Moises (RnB/Latin) 0402 497 835 or moises_lopez@hotmail DNA Vic 0408 477 020 Drumassault Kate 0414 236 323 Easy Mode Daz 0404 156 482, easymodeband@gmail.com Entity Chris 0412 027 894 Epic Flagon band@epicflagon.com Fighting Mongooses, The Adam 0402 055 314 Final Lies Dan 0413 784 941 final.lies@ gmail.com Final Warning Brendan 0422 809 552 Fire on the Hill Aaron 0410 381 306/ Lachlan 0400 038 388 4dead Peter 0401 006 551 Freeloaders, The Steve 0412 653 597 Friend or Enemy 6238 0083, www.myspace.com/friendorenemy Funk Shui Dave 0407 974 476 Gareth Hailey DJ & Electronica 0414 215 885 GiLF Kelly 0410 588 747, gilf.mail@gmail.com Guy The Sound Guy Guy Gibson live & studio sound engineer, own PA, 0400 585 369, guy@guythesoundguy.com HalfPast Chris 0412 115 594 Hancock Basement Tom 6257 5375, hancockbasement@hotmail.com Happy Hour Wendy 0406 375 096 Haunted Attics band@hauntedatticsmusic.com Heroines, The Belle417 453 811 (if room)

Email: belindaleadbeatter@hotmail.com Hitherto Paul 0408 425 636 Infra Retina Kyle 0437 137 775/Michael 0425 890 023/www.infra-retina.com In The Flesh Scott 0410 475 703 Inside the Exterior Nathan 0401 072 650 Itchy Triggers Andrew 0401 588 884 Jacqui Seczawa 0428 428 722 JDY Clothing 0405 648 288/ www.jdyclothing.com Jenn Pacor singer/songwriter avail. for originals & covers, 0405 618 630 Jim Boots 0417 211 580 Johnny Roadkill Paulie 0408 287 672, paulie_mcmillan@live.com.au Karismakatz DJ Gosper 0411 065 189/ dj@karismakatz.com Kayo Marbilus myspace.com/kayomarbilus Kurt’s Metalworx (PA) 0417 025 792 Little Smoke Dan 0411 112 075 Los Chavos Andy 0401 572 150 los.chavos@yahoo.com.au Manilla Green Herms 0404 848 462, contactus@manillagreen.com, Mario Brujo Gordon world/latin/ reggae/percussionist and DJ. 0405 820 895 Martin Bailey Audio Engineer 0423 566 093 Mercury Switch Lab Studios mercuryswitch@internode.on.net Missing Zero Hadrian Brand 0424 721 907 hadrian.brand@live.com.au Moots aspwinch@grapevine.com.au Huck 0419 630 721 MuShu Jack 0414 292 567, mushu_band@hotmail.com MyOnus myonusmusic@hotmail.com/ www.myspace.com/myonus No Retreat Simon 0411 155 680 Ocean Moses Nigel 0417 211 580 OneWayFare Chris 0418 496 448 Painted Hearts, The Peter 6248 6027 Phathom Chris 0422 888 700 The Pigs The Colonel 0422 412 752 Polka Pigs Ian 6231 5974 Premier Audio Simon 0412 331 876, premier_audio@hotmail.com Redletter Ben 0421 414 472 Redsun Rehearsal Studio Ralph 0404 178 996/6162 1527 Rhythm Party, The Ross 0416 010 680 Roger Bone Band Andy 0413 483 758 Rob Mac Project, The Melinda 0400 405 537 Rug, The Jol 0417 273 041 Samsara Samahdi 0431 083 776 Sansutra J-Ma 0403 476 350 Sealegs Imagery/Photograpghy Mary Luckhurst 0433 022 476 Simone Penkethman (Simone & The Soothsayers, Singing Teacher) 6230 4828 Soundcity Rehearsal Studio Andrew 0401 588 884 Solid Gold Peter 0421 131 887/ solid.gold@live.com.au Super Best Friends Matt 0438 228 748 Surrender Jordan 0439 907 853 Switch 3 Mick 0410 698 479 System Addict Jamie 0418 398 556 Taboo Bamboo Greg 0439 990 455 Tiger Bones & The Ferabul-Zers Danny feralbul@aapt.net.au Tim James Lucia 6282 3740, luciamurdoch@hotmail.com Top Shelf Colin 0408 631 514 Udo 0412 086 158 Undersided, The Baz 0408 468 041 Using Three Words Dan 0416 123 020, usingthreewords@hotmail.com Voodoo Doll Mark 0428 650 549 William Blakely Will 0414 910 014 Words for You writer/publicity/events Megan ph 6154 0927, megan@wordsforyou.com.au Zero Degrees and Falling Louis 0423 918 793

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