Page 1





kid kenob

post race eve p nt

i & mc shu


ba rock tha ss kleph, emily scott and more our hous e!






You want it? We’ve got it. Send answers to


5 and you too could bask in the glory of free stuff.


1 Shower of Power Lynx have just released a new range of shower gels and fragrances designed to kick off your big night, pep you up or cure that sore and sorry head. A hot and spicy fragrance, Fever is for when you need to get in the mood to party and fire up your senses. For when you’re completely knackered but the party’s still raging, Shock combines the stimulating effects of eucalyptus, lush bamboo and wild mint leaf. And finally, as the shower time answer to Berocca, Lynx presents Anti-Hangover, for when you feel like a dead man walking but need to look like a million bucks. It’s a sharp, refreshing fragrance with notes of citrus and ginger. To score one of five packs containing each fragrance and shower gel, tell us about your worst hangover ever, and your favourite cure. www. .

2 If Only Ben Rynderman has led a chameleonic existence in Australia’s music industry for many years. Some will know him as a pianist and keyboard player of the highest calibre, and many may know him from his current incarnation as General Manager of foundational Australian hip-hop label Obese Records. Most, however will know him as Benza – producer, mixer, DJ. His new album If, released on Monday October 12, oozes sophistication, yet remains entirely humble – inviting the


2 listener to step beyond their preconceived sonic notions into an unforgettable aural experience. We’re giving away two copies, and all you have to do to win is tell us about your best chameleonic experience.

3 Comedy DVD Spree The anticipated follow up to Danny Bhoy’s 2007 debut DVD Live at The Opera House is Live at the Athenaeum, Melbourne’s historic theare. The show promises more memorable tales from the globe–trotting Scotsman in his finest performance yet. As possibly the most travelled comedian in the world, he describes sometimes in painfully funny detail the less glamorous side of a comedian’s life on the road. Tim Minchin’s Ready For This? has enthralled audiences across Australia and around the world and is now available to own on DVD. The show contains new songs, new rants, a nine minute beat poem about a hippy, and just enough of his acclaimed Dark Side and So Rock stuff to keep the old fans from rioting. We’ve got five copies of each DVD to throw your way. To score send us your favourite joke.

4 4 in da klub One of Australia’s favorite club DJs, producers and remixers, Kid Kenobi has upped the ante yet again by launching his own record label, aptly named Klub Kids. The two disc compilation titled Klub Kids 01 features music from Herve, Fake Blood, Deadmau5, Two Fresh, Crookers, The Presets, Dizzie Rascal, South Rakkas Crew, Jackson Jackson, The Prodigy, Tone Loc, Armand Van Helden, P-Money and Kid Konobi himself on the first disc, while the Dub Disc sees Kid Kenobi delving into one of his favorite musical styles – dub, and features artists such as Stanton Warriors and more. We’re giving away five copies of Klub Kids 01 as well as a major prize pack including a copy of the LP and a limited edition t-shirt designed by the Kid himself. To win, send us an image of your favourite t-shirt.

5 The Road To Never Never Stone Bros. is a deadly new comedy from writer/director Richard J Frankland and is screening at Arc Cinema, at the National Film and Sound Archives, on Saturday October 3 at 2pm. Stone Bros. is the

6 first feature length indigenous comedy to hit Australian cinemas. It’s an irrepressible, character driven adventure about a guy named Eddie wanting to reconnect with his blackfella roots. Featuring Luke Carroll (Australian Rules), Leon Burchill (Lacey, Koori’s in the Mist), Valentino Del Toro (Fool’s Gold, Gabriel) and David Page (award winning resident composer for Bangarra Dance Company), all bringing their own unique personality to the road movie escapade. We have five doubles to give away to the Arc screening. To win, tell us your best road story.

6 Off With The Fairies The Fairies are delighted to announce their very magical concert, Fairytales and Nursery Rhymes, which will float into Canberra on Tuesday October 13 at Canberra Theatre. The popular children’s series is aired on Channel 7, at 3.30pm on weekdays. Harmony, Rhapsody, Barnaby and Wizzy will introduce Fairy Princess Minuet during the stage show. We’re giving away two family passes to the show. To win, tell us a fairytale. For more information, head to .

A while back I was contacted by the inventor of the Golden Gaytime’s ‘people’ after hearing my song on JJJ. While in Adelaide I arranged an interview with the inventor. Here is part one of the story: Most of us have had a Golden Gaytime moment. You’re at the milk bar, clutching Australia’s most iconic ice cream. The shopkeeper eyeballs you. At the last minute you lose your nerve and end up grabbing milk, bread and a newspaper with the yellow sliver tucked sheepishly underneath. You race out of the shop and down an alley. You rip off the wrapper and bite into the delicious soft combo of toffee and biscuit crumbs, free from retribution. Being a long-term fan of the treat with the timeless design and hilarious name, I once wrote a song about it that got played on the radio. I was contacted by the creator’s ‘people’ saying that he’d like a copy. I obliged, asking in return to interview the mysterious John Milton at his home in Adelaide. In a brilliant twist, the creator of the Golden Gaytime turns out to be the most laid-back Aussie bloke I’ve ever met. With silver hair, stern expression and laconic humour, the man who now runs a car spray-boothing business sits poolside chain smoking and speaking matter of factly about ice cream production. “Back in the late ‘60s they were really experimenting to see what people wanted. The Golden Gaytime was based on an ice cream that was vanilla with a chocolate coating on it. When the ice cream was removed from the mould and still warm we tried to apply the remnants of peanuts left over from Max Noblets (Nobby’s) peanut factory in Adelaide. It used to stick in your teeth so that wasn’t too good. For a fleeting time we started to apply Coco Pops or Rice Bubbles. That didn’t work either.” When John realised that broken biscuit pieces were being thrown out at the factory down the road, he made a connection. “We supplied a lot of butter oil for their Yo-Yo biscuits. It was a matter of the driver coming back and saying ‘what are they gonna do with all those waste biscuits’? So I said ‘let’s take a look at it.’” The biscuit pieces were then blown onto the warm chocolate giving us the ice cream we know today. In this sense the Golden Gaytime was eco friendly well before its time. “It was all experimental. We were just fiddling with food. We used to go and play in the laboratories and see what we could mess up next. We had two doctors in there and yeah it was fun. It kept you thinking.” When I first contacted John, his tone was one of bemusement that the Golden Gaytime could have had such a lasting impact. Throughout the interview he is defiantly modest about his iced legacy. “The Gaytime just evolved. It wasn’t anything special at the time that you’d beat drums about. It was just another ice cream on another stick. You know, the humdrum of what you do daily it wasn’t anything we thought was gonna save the world, it was just bringing out another line. Understand what the people want and give it to them. We were happy when we produced a line that was successful. You couldn’t sit back there and pamper with your ego, all you did was get on and produce the next line. I don’t think it was so much pride as intrigue. It was only supposed to last three months.” To be concluded… JUSTIN HEAZLEWOOD Justin performs as The Bedroom Philosopher and writes for Frankie, Jmag and The Big Issue.


Joe Who?

Passing it to the left # 3 3 4 S E P 3 0 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: Editor Julia Winterflood T: 02 6257 4456 E: Accounts Manager Ashish Doshi T: 6247 4816 E: Sales Executive Danika Nayna T: 0408 657 939 Graphic Design Hannah Bourke Exhibitionist Editor Naomi Milthorpe Film Editor Mark Russell Principle Photographers (The Flashbulb Posse) Andrew Mayo Nick Brightman John Hatfield NEXT ISSUE 335 OUT OCT 14 EDITORIAL DEADLINE OCT 5 ADVERTISING DEADLINE OCT 8 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.


Joe Oppenheimer is one of Canberra’s most magnificent musical geniuses. You may have seen him play his astounding array of ditties, ballads, covers and audience participation numbers at Bootlegs or Pedestrian Orchestra, the weekly Wednesday open mic night at 18 Peddar St, O’Connor. But if not, dear readers, heed this call and witness the Oppenheimer experience at one of his upcoming gigs. Pedestrian Orchestra will be showcasing its musical magic at Dragon Dreaming in the Fire Tent. Joe will also be a part of The Speakeasy Fringe Club at The Street on Wednesday October 14 and Saturday October 17. And finally, he’s on the Domus Adultus bill at Hippo on Thursday October 15. Be sure to look to the skies for his first EP, the working title of which is Don’t Sterotypecast Me! landing in mid-November.

Hasta la victoria siempre! In the film The Motorcycle Diaries, Che Guevara recounts adventures he, and best friend Alberto Granado, had while crossing South America by motorcycle in the early ‘50s. Walter Salles directs a beautiful script from Jose Rivera and it stars Rodrigo De la Serna and Gael García Bernal as the young Che. To celebrate the release of Steven Soderbergh’s CHE: Part One and CHE: Part Two, Dendy Cinemas are screening the film on Sunday October 11 at 3pm. Tix available at the box office or by phone, or head to www. .

Filthy’s? Gorgeous Original live music is back at Filthy McFadden’s Irish Pub in Kingston. Filthy’s has ripped its partitions out and put a monster PA in. Every Saturday from 9.30 local and interstate acts will play three sets and it’s always free entry. There’s also a musos night (enquiries 6239

5303) every second Tuesday with Thursday and Friday music nights to come. Check the webpage for what’s on at www. and for band bookings email phoenixgigs@ .

I Just Wanna Wish You Well The Wishing Well are a Melbourne band who create spellbinding sounds to produce a rich tapestry of mesmerizing folk, pop and rock. They’re introducing their unique blend of violin driven folk rock when they visit Canberra on Thursday October 1 at The Front Gallery and Café, with Little Sister in tow.

Kasha In Canberra band Kasha have announced Saturday October 17 as the launch date for their highly anticipated debut EP five songs for sunstroke. It is going to be a huge night at MacGregor Hall, Acton. The killer lineup will feature Sydney indie heavyweights Ghoul, local favourites Hoodlum Shouts, innovative three piece Fats Homicide and to top it off Kasha’s thrilling live show. The night will be presented by CMC who will run a bar on the night. Don’t miss this one.

big day out 2010 Big Day Out needs not a word of introduction; you all know it’s Australia’s biggest travelling festival. Here’s the first lineup announcement. Internationals include Muse, , Lily Allen, Groove Armada, The Mars Volta, Dizzee Rascal, Ladyhawke, Peaches, Kasabian, Mastadon and The Decemebrists, and Ozzies include Powderfinger, Eskimo Joe, Grinspoon, Karnivool, Magic Dirt, Lisa Mitchell and more. Sydney BDO is on Friday Jan 22 (tix on sale Wed Oct 7), and Melbourne on Tuesday Jan 26 2010 (tix on sale Fri Oct 9). For more info hit www.bigdayout. com .

Dream Brother The countdown is over! This October long weekend immerse yourself in the three-day music, arts and food extravaganza that is Dragon Dreaming Festival. The organisers would like to reminf festival-goers that pets and campfires are strictly not permitted (there will be specially designated fireplaces). Bring a bag of barely worn clobber as the Colossal Clothes Swap Clothes Line is making a triumphant return. Sunday evening will be a fancy dress and mad hats debacle - adding a touch of formality with extra sparkles, body paint, feathers and shenanigans to the Main Night. Head to www.dragondreaming. net for all the info.

On Your Marks Adding to the already stellar Trackside lineup comes three of the Southern Hemisphere’s brightest stars. The magnificent pomp and brutality of metalheads Parkway Drive (pictured) will prove once again why they’re putting Australia on the world map. The hypnotic melodies of psychedelic rockers Tame Impala will have hands and hips a-swaying. And New Zealand’s Cut Off Your Hands will prove they can more than cut it in the live arena. Add to this the Purple Sneakers DJs, more bars, PWA Pro Wrestling, carnival rides, an international food fair, market stalls and much more, and you’ve got yourself one helluva party. Tickets are on sale from Landspeed Records, Moshtix, Ticketek and OzTix websites and are $85 + booking fee. Trackside; miss it, miss out.





In between reminiscing about how we met our respective spouses through The Levellers, I was keen to speak to Jon Sevink about his band’s new outing, the gargantuan Letters From the Underground. It’s an album that has completely refreshed my love for the band, an album that weaves all the things that make The Levellers special – the no-frills punk fury, Sevink’s own spirallingly labyrinthine fiddle playing, lyrics that make you think, make you smile, the whole gamut – but it’s also an album that sounds, for those very reasons, unlike much of the band’s output over the last ten years or so. The new album, to me, in fact, is the best thing the band has done since 1991’s Levelling the Land; Behold a Pale Rider in particular sounds like ‘classic Levellers.’ How do the band go about recording an album in 2009 – is there pressure to stick to a ‘recognisable’ sound for the fans, or is that sound unavoidable given the resources at the band’s disposal? And do albums really matter in 2009 when such a strong touring band as The Levellers could just post a few new songs on their website and then go out on the road regardless? “Letters From the Underground is a record for the fans really. We wanted to get back to the ‘positive message/tunes to dance to’ style of our older songs. Yes, these days we do post new stuff up on the web and go touring regardless of having a new album out, but we’re old (!) and still love putting a body of work together as an album. And yes, I think albums still matter, it’s the best way to spend 40 minutes. Well, one of the best!” I’m loathe to keep returning to the ‘soundtrack of our lives’ theme, but it’s a valid one, especially for a band that maintains such close links with its fans. Does it feel strange to have that level of interaction with so many people across the globe, an influence even? And does responsibility come with that influence? “I’m very proud to have been part of what we’ve done over the last 20 years, it’s been a lot of fun and on the whole I’ve always had positive feedback from people. As far as responsibility goes, I only feel I have a moral responsibility as a human being to live my life in peace and spread love.” Fine words from a fine man. Anyways, the end of the page is looming, and if I’m not to get cut off in my prime I’d better start thinking about putting a stop to all this rosey-tinted loveliness and start winding things up. Mr. Sevink, anything else you’d like the denizens of Australia’s liveliest city to know about this splendid record? “It rocks! Before I go, I have a statement to read out… Ahemm... “To the people of Canberra, and indeed all the people of Australia, I would like to apologise on behalf of The Levellers for never having toured in your country. It is shameful, unforgivable and something we are not proud of. If anybody reading this knows of a way of bringing us over to play, we would love to hear from you… if you see Leo Gribbon again can you tell him he owes me a tenner?” That last bit was a little comment for me, concerning the man who used to co-manage the band, and whom I spent many hours drinking heavily with in the days before we entered the business – there are some stories there people – but they’ll have to wait for another day. scott adams

Has someone yanked yer chain recently? Well send an email to and have your sweet vengeance. And for the love of God, keep it brief! [All entries contain original spellings] To the short man in the bar at Charlotte Pass. Maybe my mum pushed in front of you, maybe she didn’t, either way its pretty clear that she didn’t mean to and besides everyone got their hot chocolate in the end. Was it really necessary to swear at her in front of my little sisters? Did you really need to approach her afterwards and abuse her about it? Her hot chocolate went cold because she was in the toilets crying. You made my mother cry you cunt! I hope it made you feel tall. To all the retarded middle aged inhabitants of the inner north that fail dismally at simple tasks like ordering a coffee, you piss me off, every, single weekend. When your friendly and attentive wait staff tells you we’re out of something, don’t respond with “seriously?” Do you think I’d say it just to see your dumb as fuck reaction? It’s great that you earn a small fortune and drive a Subaru, but just because I don’t doesn’t make me a lesser person. I can spit in your coffee so try being polite some time.

FROM THE BOSSMAN And for once I wasn’t the only one feeling dusty. The dirt storms we had recently marked a week when unkempt window washers across the land made so much money they were briefly listed on the ASX 200, every second car owner returned to find a variety of inventive swear words and matching crude genitalia lovingly finger-painted on their vehicle, and I failed at making a dust-angel in the UC car park (the dust angel itself was a vision of form and function. I just failed in general). It also marked a delightful division between us noble Canberrans and ‘those’ Sydney types. For us, the dust storm came and went. We coughed a little. We blew our nose. We got on with it. But Sydney broadcasters treated it like Godzilla had just strolled into town. The air hung heavy with hyperbole as ‘Dust Bowl 2009: Where were you?’ dominated 80% of the programme. There was even ‘eye-witness footage’ from the most toothless family in the Eastern ‘burbs, where they diligently documented the dust rolling in thus making everything slightly darker. “It’s like, y’know, some kind of blackness, or summin” the expert commentary spake. The Canberra coverage amounted to the newsreader throwing to the weatherman: “Bit dusty today, eh Ron?” “Awwww ‘reckon.” And that was about it. These big city types with their balls all shiny, eh? I don’t know. ALLAN “DUSTY SPRINGFIELD” SKO




Musical master Matt Rowan heads south from the Big Apple to grace the decks at Hippo Bar for one very special night. Great people, great cocktails, and above all else, amazing music. Normally found playing at Bunker or Chinese Laundry, this is a rare chance to experience one of Matt’s legendary sets in an intimate party environment, right here in the ACT. He’ll be able supported by the local legend Peekz, Gabriel Gilmour and Yohan Strauss. Less than 100 tickets will be available on the door so get in early to avoid missing out on what will be an incredible night.


This is a call to arms for all budding and future karaoke superstars. Transit Bar needs your vocal stylings for its new karaoke competition held every Tuesday night. TNT - Karaoke Dynamite is the perfect way to shed the stress of work, unleash your hidden talents and possibly win BIG! Each week they’ll be giving away a $50 bar tab to the most talented, entertaining or gutsiest vocalist, with each finalist invited back for the Grand Final on Tuesday October 27, where the winner will take home the special Grand Dynamite Karaoke Prize. So bring your voicebox, cheer squad and best dance moves to Transit from 9pm every Tuesday.


On Tuesday October 13 Melbourne’s Michael Beach will bring his sparse, intense, and beautiful live set to The Front as part of his 2009 Australian Springtime tour. Joined by local indie popsters Margaret Helen King, and folk songstress Julia Johnson and The Deep Sea Sirens, it promises to be an eclectic showcase of songwriting prowess and engaging performance. This will be Michael Beach’s first trip to Canberra away from his band Electric Jellyfish, and will be a great combination of new musical experiences and local favourites. The show starts at 7.30pm and is $8 on the door.


Final Lies are out to make a name for themselves on the hardcore scene. With catchy hooks, chunky riffs, pounding beats, dynamic vocals and lyrics that inspire hope, their music sets itself apart from the crowd. Having recorded their first EP in the middle of the year, the band is now releasing it for $5 at two shows only. Catch them at Tuggeranong Youth Centre on Thursday October 15 when they support Break Even, along with Vera and I Exist, or at their 18+ CD launch at The Basement on Friday October 16, supported by Corporate Takedown and Escape Syndrome!


Canberra progressive thrash-metallers Templestowe return with their debut album Cimmerian. The album is set for independent release on Saturday October 10 in both hard copy digipak and digitally via iTunes, eMusic and Amazon. To celebrate the release the band has teamed up with Melbourne experimental rockers Five Star Prison Cell, thrashers In Malice’s Wake and local death metal exponents Tortured. The four bands will thrash it out at The Basement in Belconnen on October 10. Doors open at 8pm. Entry is just $10 or $25 with a copy of Templestowe’s debut Cimmerian.


If you’re aged between 16–22 years and have a story to tell, then we want to hear from you. Your story can be created in any form of media: text, video or audio, just as long as it covers your experiences about life in Australia outside of the major centres of Sydney, Melbourne, Brisbane or Perth. The 40 best stories will be presented on the ABC through ABC Radio, triple j and au, and winners will also be invited to attend the Heywire Forum in Canberra in February 2010. Enter at .




katy hall


The word veteran is not one to be used lightly on the music scene, but when it comes to KID KENOBI few other titles seem to fit. On the dance scene for well over a decade, Kenobi’s rise to fame has been a long journey. “It’s only been in the last couple of years that I’ve started thinking of it as my profession,” he concedes. “When I started I wasn’t filled with aspirations, it was just solely for the love of it and I guess that’s never changed, so it took a while for me to realise the situation had.”

For a woman who has grown up near the “beach, surf and sea” on her native Gold Coast, EMILY SCOTT could be classified as the typical Australian sex symbol export. Emily was crowned as the ‘Sexiest Aussie Babe’ by FHM Australia in February 2007, has appeared in Robbie Williams’ infamous Rock DJ video and was the face of Lipton Ice Tea for a period as well as being a famous swimsuit model for magazines like Playboy and Maxim. It seemed there was no sex pot this woman did not have her fingers in. “I’ve always been a creative person,” she says. “When you’re like that you can’t help but pursue different interests.”

With a long running collaboration with Ministry of Sound, and the unforgettable shows with MC Shureshock that have covered the nation several times over, it seems Kenobi is never one to tire from the scene. “A lot of my friends don’t go out anymore,” he laughs. “But even when the scene changes, it’s still the same. The faces and the music change, but that essence that people chase, that always remains the same; that’s why people go out and that’s why I play. There’s been this influx of DJs in the last couple of years and some of them are coming from an angle of just wanting to be famous or impress their friends; and it’s not about the music or the crowd, it’s about them and just playing chart music to get a crowd. But, if they’re just waiting for the next song and they don’t know where they’re coming from, how will they know where they’re going?”

When I started I wasn’t filled with aspirations, it was just solely for the love of it and I guess that’s never changed

With all the wisdom of the industry, Kenobi has no intention of resting on his laurels. Recently starting his own label, Klub Kids, Kenobi is turning to a completely new side of the world he’s known for so long. “In your own career you can forget where you come from and how hard it can be to get there,” he says. “I’m finally in a position to start using that and start helping people. Discovering new artists and seeing this blossoming talent and being in a position to push that and foster it is just amazing. I’m not into elitism or criticising; it’s just good to be in a position where I can be positive about what I promote.” With Klub Kids coming to fruition, Kenobi is busier than ever. “I always wanted to do something more than be a DJ,” he reveals. “This is starting all over again; it’s awful, but in a really nice way. I thought it would be pretty straightforward and easy, but of course it’s totally different. I feel like I haven’t stopped moving in months.” As the background noise is filled with the beeps of a supermarket, I see what he means. “It doesn’t mean I won’t still be playing though, I love it so much and playing at Parliament House is always great. You grow up watching it on the news but you never expect to play there.” Kid Kenobi headlines Our House at Old Parliament House, which’ll be raging on Melbourne Cup Day, Tuesday November 3. There’ll be free buses for ticket holders direct from the racecourse from 5pm-11pm. Our House has a strictly limited capacity and will sell out! Tickets on sale now from qjump., Landspeed Records and Parliament Clothing for $29.95 + BF.


Fortunately Emily has many other talents up her sleeve, aside from being a sex icon –besides being a Design graduate and a former Olympic gymnast, Emily now is an up and coming tough house DJ. Emily still finds it difficult, though, to separate the stigma of her modelling career from her music. “Music and modelling are two separate parts of my life, but the press doesn’t see it that way,” she says. “I don’t have a choice but now I just take everything with a grain of salt. I now have more time to dedicate myself to my music and I want to make that my focus.”

Music and modelling are two separate parts of my life

The seed of musical awareness was spawned when Emily worked on the Gold Coast, where she lived before moving to London, when her focus was still on modelling. “I started getting into DJing when doing lighting at a club on the Gold Coast,” she recalls. “One of my friends taught me to beat mix on vinyl. I didn’t get too serious about it until I moved to England and that was when I started my DJ career.” Emily has recently relocated back to Sydney and is “always listening to, buying and editing music.” She’s now putting a greater emphasis on avidly “always learning” music and production. “In the future,” Emily describes, “I want to invest more time in music. I want to be able to expand my knowledge and skills and make some tracks.” Emily’s music style is heavily influenced by many different DJs but her attitude is to “keep my music style as alive, fresh and fun as possible.” Emily explains that “I try to make music as something that makes people feel ‘up.’ I don’t like monotony, so I mix a lot of different genres together—from techno, house to electro-house.” Emily is now on a national tour of Australia and is very excited at being able to bring the party to the people. “For this tour I’ve been going around pretty much everywhere… I’ll be going to Indonesia next month on tour there. The tour doesn’t have a name yet, but as long as I’m getting out there and playing, I’m happy.” There is no doubt this tour will be both a musical and visual feat, judging from the positive feedback of Emily Scott’s ever-expanding fanbase. Emily Scott joins Kid Kenobi, Bass Kleph and more at Our House on Tuesday November 3 at Old Parliament House. Tickets on sale now from au, Landspeed Records and Parliament Clothing for $29.95 + BF.


ALL AGES Hey kids! This is my last ever All Ages column for you guys! I hope you’ve enjoyed reading as much as I have keeping you up to date on everything that’s going on around town. Remember to always keep having fun and keep supporting Canberra’s music industry and hopefully it’ll catch up to the rest of Australia (fingers crossed!). Reminding all you rap-core fans out there to check out Deez Nuts when they hit up the Woden Basketball Stadium on Tuesday October 6. Forming after the sad split of metal-core group I Killed the Prom Queen, JJ Peters joined forces with Stu, Sean Kennedy and Ty and have ever since been Aus’ favourite rap-core lads. Joining them will be Miles Away, Antagonist AD, In Trenches and Blkout! Friday October 9 will see Terror, Stick to Your Guns and Against taking the stage at the Tuggeranong Youth Centre. Terror are one of America’s most popular hardcore punk/metal-core bands at the moment and with the demand from us Aussies to bring their relentlessly touring arses down here, the lads have decided that now is the time for it! With their frontman Scott Vogel bringing crazy amounts of energy and enthusiasm, Terror are a band that you’d be kicking yourself to miss. Stick to Your Guns are Orange County’s hardcore homeboys who, since forming in 2004, have created for themselves a reputation of positive lyrics and straightedge creed. Since the 2008 release of Comes From the Heart, the SXHC (straightedge hardcore) lads have created themselves hordes of fans all over the world. So make sure you get down and check it out. And some big news on the Trackside front, Parkway Drive, Tame Impala and Cut off Your Hands have all been added to the already brilliant lineup of Hilltop Hoods, Karnivool, Midnight Juggernauts, The Mess Hall, Drapht, Miami Horror (live), After The Fall, The Basics, Cassette Kids, Calling All Cars, The Galvatrons, Low Budget, Hercules In NY, Purple Sneakers DJs (PhDJ, Ben Lucid and M.I.T) and the triple j Unearthed winner! Parkway Drive are undoubtedly Australia’s most popular metalcore band and after just finishing their massive headlining tour, the lads are about to re-hit Canberra just for the Tracky Festival (yeah, I made a new nickname). As well as Parkway, Tame Impala are Perth’s local psychedelic rock three-piece who are going to bring a bit of sunshine and happiness into our lives, or so they hope! And lastly (in my opinion, the most exciting addition to the lineup, but shh, don’t tell Parkway that! Heh) Cut Off Your Hands are New Zealand’s very own indie post-punk band. Originally known as the Shaky Hands, Cut Off Your Hands have fast created themselves a huge array of fans and a brilliant brand of eclectic indie post-punk tunes. So make sure you grab your tickets, if you haven’t already, and get on down because this is sure to be the biggest Tracky Festival (hehe) ever! 50 Lions frontman Oscar McCall is the brother of Parkway Drive frontman Winston McCall, so we know that they have at least one good thing going for them! Having been named after a poker machine at the local pokies, 50 Lions are Byron Bay hardcore punk locals looking to make some good music and have a good time along the way. In light of the release of their new album, Where Life Expires in this coming October, the boys are hitting the road along with Trapped Under Ice. So get on down to the Tuggeranong Youth Centre on Sunday November 26 at 4pm. That’s all from me kids! Keep partying and keep having fun! Catch ya!



The Bright Side of Aggression SS FAUST Perth’s BREAK EVEN have only been around for four years, but in that time they’ve experienced almost everything that being in a band has to offer – from the highs to the lows and beyond. They’ve put out two releases and toured the country with some of the finest names in local and international hardcore. On what was an overcast day in both Perth and Canberra, I spoke to vocalist Mark Bowden about the new album, The Bright Side, the tour and the band in general. The hardcore scene in Perth started with a band called Rupture and now, in the internet age, bands are popping up everywhere, promoting themselves on Myspace and gaining access to a larger audience. “The Perth music scene is good, there’s a whole bunch of bands out there,” says Mark. “My cousin got me into the music and took me to my first local show. I met a few friends and that’s really how the band got started.” Recently, Break Even supported Raised Fist on the first leg of their recent Australian tour. “I could tell from the show there was a different crowd there, apart from the normal hardcore people we play to,” says Mark. “It was lots of fun. The crowd was really enthusiastic.” Tragically, in November We put as of 2008 guitarist Rowan much heart Willoughby took his own life, into the album leaving a hole in the band, the of his friends and the as we could lives Australian hardcore scene. But

Break Even didn’t give up. “The band continued when we had a jam in the December holidays,” Mark recalls. “We knew we could still do something and we ended up writing an album as a four-piece. We’re tighter together both friendship-wise and band-wise. It’s definitely made the band want to succeed more in wanting to play music to new people and see new places.”

Break Even’s latest album, The Bright Side, is a testament to the bright side in everything – even sorrow. “We put as much heart into the album as we could,” Mark says. “It’s hardcore, so there will always be strong feelings and a strong sound there. It’s just the music we play. It’s how we deal with things in life.” The album is a legacy, a message that shines as bright as the stage lights they play under and a message that will never be forgotten. The band’s last show in Canberra was at the Weston Creek Community Centre a week or so after the album came out. Mark seems positive about their next show: “We’ve been looking forward to it ever since we left last time. A lot of people were singing along at the Weston Creek show and now that the album is out we hope to get a bigger and better response at the next Canberra gig.” Break Even are such a passionate, inspiring band that it’s not hard to foresee great things on the horizon from the four young Perth guys. Don’t miss out on Break Even at Tuggeranong Youth Centre on the Thursday October 15. Supports include I Exist, Vera and Final Lies.


Locality is pleased to announce that we have yet another fortnight filled with lovely music (made by equally lovely musos). Beyond Q Bookstore in Curtin is putting on a series of midafternoon gigs this fortnight. Catch Greg Carlin on Saturday October 3, Peter Harrison on Sunday October 4, Fun Machine on Saturday October 10 and John Harkins on Sunday

LOCALITY October 11. Be there at 2pm to grab a coffee, browse the bookshelves and support some original local artists.

Local lads The Trivs are playing with Tom Ugly (Syd) when they come to Canberra to promote their EP. Catch both bands at Transit Bar from 8pm on Thursday October 1. Entry is free, so get in early!

Canberra’s own country and roots specialists The Wedded Bliss are putting on two free gigs this fortnight, bless their hearts! On Friday October 9, the boys are playing during Happy Hour at Old Parliament House, starting at 6pm. On Tuesday October 13 you can catch the Bliss at Garema Place in Civic for an open-air set at 12pm. Birds Love Fighting Records are putting on another great night of indie music at Bar 32. This month’s Gangbusters will feature locals Cat Cat and Silver Spine Trio and Melbourne’s Tic Toc Tokyo. Entry is just $5 and the fun starts at 9pm on Thursday October 1.

The second and final fundraiser for Megafauna 2009 is being held at The Basement on Thursday October 1. Minifauna #2 will feature sets from The Red Vest, Looking Glass and one-man rock band Lesuire Suit Lenny. Tix are $10 on the door and proceeds from the resulting Megafauna Festival will go to the Australian Cancer Research Foundation. If you have a free afternoon this fortnight, head into the city and support the 2009 Tilt Busking Festival. The festival runs until Sunday October 11 and each day, between 11am and 3pm, the streets of Civic will be lined with musos, performance artists and assorted creative types. The mighty Bootlegs and the divine Domus Adultus are back again this fortnight, with typically packed lineups. On Monday October 5 Bootlegs will feature Phil Crowder, Drew Walky, Amber Nicholls, Little Sister and The Camels. On Monday October 12 the lineup includes Jason Recliner, Blue 2, Margaret Helen King and Readable Graffiti. The Bootlegs are on at Phoenix from 8pm, and entry is free. On Thursday October 1, Domus Adultus brings us Jason Recliner, Duncan Sergeant, Manouche a Trois (Melb) and Arythmia. Playing on Thursday October 8 are Jacquie Nicole, Sean Smeaton, Matt Dent and The Real Men and Ah! Pandita. Domus Adultus is on at Hippo from 8pm and entry is $7/$5. Kasha have announced Saturday October 17 as the launch date for their highly anticipated debut EP five songs for sunstroke. It ‘s going to be a huge night at MacGregor Hall, Acton. The lineup features Sydney indie heavyweights Ghoul, locals Hoodlum Shouts, innovative three-piece Fats Homicide and Kasha’s thrilling live show. That’s it from us for another issue! Have a great fortnight and tune in next time for more local music news. CATHERINE JAMES



DANCE THE DROP Apparently Australia is known as ‘the land of the long weekend.’ What utter jive! It has been almost four months since we celebrated the Queen’s Birthday with a Monday off and now I am counting the days ‘til Labour Day! Finally it approaches and the decisive question remains – what to do? As is the norm in the ACT there is sure to be a mass exodus of kids heading to Parklife. And to be fair, that is what I normally do. However this year, with so many acts from the lineup having played in Canberra already, and more to come, I can’t justify the trip up. Claude Von Stroke is one of Parklife’s headliners who will be in Canberra the weekend of the festival. Transit Bar presents the Dirty Bird head honcho at their night Full Frequency on Friday October 2. His recent album Bird Brain hatches on Monday October 19 (see what I did there), but you can get some of its early releases now including Beat That Bird and The Greasy Beat (feat. Bootsy Collins). Presale tix are available for $15 from Moshtix and local talent on the night includes Mikah Freeman, Ronnie Gordon, Bobbin, Biggie and Staky. I think most dance music purveyors staying in C-town this long weekend are likely to head bush for the much anticipated Dragon Dreaming Festival (Saturday Oct 3 – Monday October 5). The diverse lineup stretches across four stages, each area with a differing musical and artistic theme. As with past years the focus isn’t only on music; there will be an outdoor cinema plus an array of markets and workshops. However if you’re keen to hear some beats be sure to check out Biggie, Crooked Sound System, Jude May, Aneurysm and Gabriel Gilmore. For more information on camping and ticketing visit . The other awesome facet of a long weekend is the subsequent four day working week. As you may have realised Friday October 9 will transpire very quickly which means the wait for the next instalment of Llik Llik Llik will not seem as long. After the huge success of Kazu Kimura the Llikers have lined up their next international, German techno phänomen Butch (real name Bülent Gürler). After his critically acclaimed debut album, Papillon, received rave reviews following its release last year Butch will no doubt have some epically choice techno for us to enjoy. Supports are Club Junque (Chinese Laundry, SYD), Scottie Fischer, Gabriel Gilmour, Staky, Biggie and Bobbin. The following evening is the launch of new progressive night Effigy at Hippo Lounge. Due to Hippo’s intimate capacity only a hundred or so punters will get the chance to see Sydney house stalwart Matt Rowan up close and personal. Rowan gained international prominence after his track Tomorrow, written with former Canberran Jaytech, was featured on Dave Seaman’s Renaissance Master’s Series. The local lineup will feature Peekz, Gabriel Gilmour and Yohan Strauss. Tix are $10 on the door. Mi favorito… I am going to go out on a limb here and suggest the pick of the fortnight will be the new night at Hippo on Saturday October 10. The tunes will be deep and the atmosphere will be inviting. Nothing like a cheeky martini, smooth mixing and good company. P.S. Don’t forget about Foreshore tix, November is now only a month out! STAKY







There is something in the air in Sweden. The country is home to more dance music luminaries than it is to Eurovision pop idols, and that’s saying something. At only 24 JOHN DAHLBÄCK has earned his place alongside other Nordic notables such as Eric Prydz and Axwell. Interestingly the well known ‘House Mafia’ are not where he draws his inspiration. “It’s funny, I don’t think of other producers as major influences on me,” says a stoic Dahlbäck as he prepares for his upcoming Australian tour. “I maybe like one track, but no specific producers.”

For most people my age there are a group of maybe five artists which first sharply turned our heads towards dance music. The list includes the likes of Groove Armada, The Chemical Brothers, Fatboy Slim, Daft Punk and, of course, the decisive BASEMENT JAXX. The UK house duo fervently rose to prominence in the late ‘90s with a string of infectious hits including Bingo Bango, Romeo and of course Where’s Your Head At. On the cusp of their fifth studio release, Scars, I chatted to Felix Buxton about Yoko Ono, a decade of hits and all things Basement Jaxx.

How then did such a young prodigy get introduced to the world of electronic music at only 15? His first release came out on vinyl when most other kids his age were more concerned about the impending release of Playstation2. “My cousin Jesper was a pioneer of house music in Sweden and he first introduced me to dance music,” Dahlbäck remembers. “I was lucky because my father had a studio at home and I had the privilege of using that from an early age. I would just go in and try to make sounds on his computer.” Jesper and his cousin continued to make techno influenced tracks under the moniker Hugg & Pepp. Yet it wasn’t until Dahlbäck founded his own label, Pickadoll, in 2000 that his production work began to achieve worldwide recognition. “I had a few labels before this one, but they were all with other people,” he says. “I wanted my own label for original music so I could choose tracks myself that I think really stick out.”

It was edgy and unusual, just like the music I was making

With artists including Style of Eye, Sebastian Léger and Zoo Brazil all putting out releases on his imprint, Dahlbäck has come to see Pickadoll as the greatest measure of his own success. “In Swedish ‘pickadoll’ means ‘gun,’” Dahlbäck explains. “I chose it because it was edgy and unusual to me at the time, just like the music I was making. The logo is great; it shows a girl licking a gun. It all fits together.” Australians have their first ever chance to catch John Dahlbäck in action this summer as he helps headline the Stereosonic tour. Fortunately Canberrans won’t miss out as Dahlbäck was also in the first round announcement of the Foreshore lineup. The Swede only has positive comments about the scene down under. “I have heard it is crazy good!” says Dahlbäck. “I have worked with Tommy Trash before, after I met him in Amsterdam, and I think that Australian music focuses a lot more on melodies. Over here everything is a lot more minimal. Australian music is not afraid of using more vocals which I really like.” After Dahlbäck’s track Everywhere featured on John Course’s disc of the 2008 Ministry of Sound Annual compilation, his impending tour has been highly anticipated for some time. “I am just going to play a bunch of new tracks from my next album to really showcase me and my music!” he enthuses. Catch John Dahlbäck at Commonwealth Park at this year’s Foreshore on Saturday November 28. Third release tickets are still available from Moshtix.


“As the name suggests, Scars is about a darker place we were in when we started writing the album,” says a reflective Buxton in the midst of a dutifully long day promoting the album. “There was a lot of friction in both of our lives, in relationships and outside of that. We have been around for a while and we have suffered ten years of bruises and scars and this is where we are now and this is what the album reflects.” Despite the ominous nature of the title of their latest release, Basement Jaxx have returned to a refreshingly catchy sound. 2006’s Crazy Itch Radio was a not-so-well-executed attempt at the illusive concept album (an introspective comment on the top 40… ahem). Scars offers a series of well executed collaborations. The most interesting of which undoubtedly involves avante-garde artist Yoko Ono.

We have suffered ten years of bruises and scars and this is where we are now

“We didn’t have a general plan of attack to talk to Yoko,” says Buxton. “I mean we had seen or read somewhere that she was a fan of our music, so we knew it wasn’t beyond our reach. Many years ago we bumped into her manager at a party so we were able to contact him again. I felt like I had a connection with her. To be honest I wanted to speak to her about life and the universe. She became prominent in the love generation and we started making waves in the acid house generation. During both periods there was a lot of social change. For example in our time the violence stopped so much in the football terraces. I felt there were a lot of parallels.” As with their previous albums Felix and Simon Ratcliffe (the Jaxx’s other limb) have clearly ensured Scars resonates both visually and aurally. “We knew we wanted the cover to feature certain imagery such as the future and the desert,” Buxton describes. “We also wanted it to be neither human nor beast, just clashes of matter. Matt Maitland did the design of our new album and I think he did a great job in turning our vision to reality. Matt did the art for our second album Rooty and has also done the art for the second part release of Scars [Basement Jaxx are still to release some down tempo tunes that didn’t make the cut on the original album]. Basically Matt really understands the Basement Jaxx aesthetic.” Can we expect a Basement Jaxx tour announced soon? Maybe… “We’ll maybe come down to Australia in February next year. Hopefully we get some offers from the big festivals.” Fingers crossed. Scars is out now on XL recordings via Remote Control. For free MP3s head to .



For local filmmakers, the Parlour Wine Room’s Canberra & Region Competition offers $1000 in prize money, as does the National Youth Competition, which supports filmmakers under 25. The University of Canberra’s National Schools Competition offers $500 cash and $500 worth of Madman DVDs for the winner. While there’s no final tally just yet, last year’s festival received more than 300 entries, so the festival team and judges will have their work cut out for them. Kris already has his favourites.

SHORT CUTS emma gibson “I’m watching 140-odd short films at the moment,” says Kris Kerehona. “It’s like a degustation—tiny, delicious bite sized morsels that you don’t get sick of.” The ex-chef, who swapped his apron and chopping block for a camera, is talking about the CANBERRA SHORT FILM FESTIVAL. He’s currently reviewing the entries, and while this might seem like a great job, he reckons it has its challenges. “It was easy last year to separate the good entries from the average. But this year, there are so many really good quality films that we might have trouble deciding,” Kerehona says. This year, the Canberra Short Film Festival promises something for every one. Now in its 14th year, the festival is a national competition and Canberra’s biggest short film festival. The festival’s beginnings were humble—a screening of Australianmade shorts as part of the Canberra International Film Festival in 1996. It was so popular that it branched out into a solo festival in 1999. Since then it’s changed hands several times, with Marisa Martin from EOR media handing over the reigns to Silversun Pictures two years ago. The Canberra Short Film Festival has four categories. The National Competition carries a prize of $2000 and is usually the most heavily contested category.


“If there was ever a perfect short film, I’ve found it,” he says with a smile. “The story centres around a girl who discovers an uncle she never knew she had, and his relationship with the rest of the family.” Another of his favourites is an entry in the schools category. Four boys living in a remote community show us their favourite places, like the fishing hole. “It’s like an invitation into an enclosed world,” Kerehona says. He says there’s also an outstanding film about a father and daughter who live out in the bush, where the daughter is locked in a box every night (Til 3 Knocks, pictured, produced by Wendi Graham and directed by Noah Norton). “It’s a period piece with the most amazing art direction. I can’t tell you the ending, but it’s not what you’ll expect and I can’t believe how good it is.” So how are the finalists chosen? “When we judge, we look at the story—that’s probably most important. Then cinematography, acting, editing, and sound. For example, if a film has inferior sound, it probably won’t make the final program. But if it tells an amazing story there’s a level of forgiveness in our judging.” This year’s judges include Monica Penders from ScreenACT, Paul Kirwan, a visual effects expert who has worked on the likes of Transformers and Lord of the Rings, and last year’s winner, Simon Weaving. Kris says this year also marks a change in the way the judging process works. “In the past, we invited interstate judges,” he explains. “But I thought, it’s our festival—can’t we judge our own competition locally? So we decided of course we can—look at the talent we’ve got here. Canberra is a very strong documentarymaking city, and some great short films are being made. Continued on page 22


What do you do? I work in dance and aerial dance theatre, choreographing, producing and teaching. I am artistic director of Janine Ayres Aerial Dance (JAAD) and Dance and Aerial Studios (DNA). When did you get into it? I started dancing when I was six and started working professionally in the field when I was 24. Who or what influences you as an artist? Many people have influenced me as an artist and as a person. The major people that have influenced me include Mark Gordon, Anne Somes, Helen Herbertson, Joe Woodward, and Elizabeth Dalman. The most important influence in my life artistically and otherwise is my husband Karl Heath. What’s your biggest achievement/proudest moment so far? This is a hard one to choose from because I have been blessed with many. But the two that really stand out are graduating with a Post Graduate Diploma in Choreography from VCA without having done an undergrad, and teaching some of the cast from Varekai dance classes onstage under the Big Top. What are your plans for the future? It’s a surprise and a secret, so much so that even I don’t know! What makes you laugh? My husband, my friends and my students, but mostly my student teachers as they are constantly having little epiphanies in regard to dance and the greater landscape of the arts. They make me laugh every day! And I love them for it! What pisses you off? People that are afraid to keep going and find any excuse to give up.

Continued from page 21 “Canberra’s time has come. It’s no longer a hobbyist film making city. Of all the filmmakers I know here, there’s still a couple hundred more I’m yet to meet. And these filmmakers manage without the level of investments and grants that other states have.” He says the festival is a great opportunity for aspiring filmmakers and audiences alike. “Day-to-day life can be mundane, but at the Canberra Short Film Festival you get a really different experience of life, with a cross section of genres,” Kerehona says. “I think short films change you as a person. For filmmakers, they make you realise, ‘Hey, I can do that!’ Or you can at least aim for it.” Many of the films screened at the Canberra Short Film Festival have gone on to bigger and better things. Last year, Simon Weaving’s film Ascension made the top five at Tropfest. Other films have gone on to Flickerfest, Sydney Film Festival and St Kilda Film Festival. What can audiences expect? “This year is our best year for films so far. And that’s not me trying to sell the festival. I’m 100 per cent promising.” You can direct you complaints to Kris if you disagree, but he’s confident you won’t. “There really is something for every one. It’s a good mix of comedy, drama, horror and animation. The competition is fierce.” Ticket holders for the final night get entry into a VIP pre-screening party at Dendy, with free cocktails. That’s right. A $15 ticket gets you free cocktails thanks to Jameson, and you get to be part of the glam and glitzy film premiere styled party. One final tip—make sure you get your tickets early. Last year’s final screening sold out and all the other category screenings were near full capacity. Tickets go on sale at Dendy the week before the festival. The Canberra Short Film Festival runs from 15–17 October at Dendy Cinema, Canberra Centre. More info at .

What’s your opinion of the local scene? Much like any other: there is good and there is bad. Canberra is my home, I was born here, so my loyalties are always going to be to my home town. What are your upcoming performances? The House That Jack Built, part of the Made in Canberra season at The Street Theatre, October 7 to 9. Bookings can be made at or 6247 1223. The show is high energy aerial dance that embraces house music and the culture of house parties. It is an experimental piece of theatre, not for the faint-hearted. It is quite funny and a little bit naughty! Ok, a lot naughty. Which is why it is rated 15 years and over. Contact Info: Dance and Aerial Studios, .


CIRCUS OZ monique suna Former Canberra local Jeremy Davies has yearned for the moment when CIRCUS OZ would once again grace the humble city he once called home. “Canberra is the light at the end of the tunnel, it is the close of our tour and we are all looking forward to performing there at last... you don’t realise how original Canberra people are until you move out. Canberra is a circus place.” He states his exuberance in much the same sentiment as Dorothy surely felt upon first arriving in Oz, “It will be nice to come to a place that loves freaks and left wing nuts!” Left wing is right. Circus Oz is renowned for their humanitarian efforts and have, for many years, dealt with tolerance, diversity and general human kindness. Since June 2002, Circus Oz has raised nearly $250, 000 in donations, supporting refugees and asylum seekers. “There is a big pull to work together,” says Davies. “We organise community workshops, outreach programs for indigenous folk. Every opportunity to jump aboard we take and sometimes incorporate it into our shows. Once I received feedback asking, ‘What was with all the left wing crap?’ but each show is different to the last.” The acrobat and humanitarian says that his desire to perform sprung from long years as an unsatisfied student at Turner Primary. “I wasn’t very good at school,” says Davies. “I acted up. One frustrated teacher actually yelled at me one day, ‘why don’t you spend your life as a clown?’ and I thought why not? After that I started busking with my guitar, played at The Street Theatre, sang, tumbled, but it wasn’t until I was 20 that I took it up seriously.” Since his awkward days as an up and coming performer, Davies has achieved much. He has toured puppetry to 42nd Street New York, been a member of Canberra’s Warehouse Circus, and co-founded the circus company Kronic. He can also be found running Melbourne’s major independent circus training space at Blue Circus Studios. Every Circus Oz year is different. Barely Contained has been described as “a manic comic cyclone of absurd acrobatics and nonstop action”, with tumbling, duo juggle, chair balancing, teeterboard, hoop diving, group bike and amazing aerial rope performances. It promises to be a fantastic night out for all. Certainly for Jeremy Davies who may just to find there is no place like home. Circus Oz: Barely Contained hits the Canberra Theatre stage from October 7 to 10. Performances at 1.30 and 7.30pm. Tix from $28-$55. Visit















“By having an all female cast, it meant that the audience could see past the misogyny and judge characters on their actions, not necessarily their gender,” says St. Claire. “Bianca (Kate’s sister) is happy to play the game, whereas Kate is defiant of that throughout the entire play, and in the setting Marion’s created, the audience can see that come to life really effectively”.

IF THE SHREW FITS katy hall When it comes to tales of love and woe, Shakespeare is the master of them all. From vague high school memories I have of THE TAMING OF THE SHREW, there were several structural problems: the first being no clear definition of love, and for any woman with a strain of feminism, the play can come off an abomination. “It’s definitely a difficult play,” concedes Lotte St. Claire, who has stepped up to fill the boots of the shrew herself, Kate. “It’s difficult as a woman being in that play.” If there’s one theatre company likely to take Shakespeare’s misogyny and turn it on its head it’s Bell Shakespeare Company, and with seasoned director Marion Potts behind the wheel, it’s sure to be an interesting ride. An all female cast and the setting of a gentlemen’s club is just the beginning, with the story set for a complete transformation as well.

“This is a play about the mistreatment of women, but, it’s also about the relationships between men and women. The relationship between Petruchio and Kate is quite different to what a lot of people think it to be,” says St. Claire. “He is a radical, but he gives her the opportunity to change, and I think that’s what she wants. It’s only when she marries Petruchio that she decides to stop banging her head against a wall and enjoy her life and find some happiness.” When Shakespeare is involved, there are always set to be unexpected twists. The tragedy that you think to be the tragedy is in fact not the real tragedy at all and there’s always a hint of irony. “What few people ever saw was that Kate is the antagonist to the end, but Bianca has become the shrew,” argues St. Claire. “Marriage has made Bianca a shrew, but freed Kate and made her a compassionate wife and person overall. I definitely think there’s a lot of misunderstanding surrounding The Taming of the Shrew.” The optimism and belief which St Claire has for the production could make even the biggest sceptic run for the ticket booth. Heading out on a national tour, the ladies of Bell Shakespeare are certain to tame audiences around the country. Bell Shakespeare presents The Taming of the Shrew, directed by Marion Potts. Tuesday October 6 to Saturday October 17. Tix $30 - $60. To book call 6275 2700 or head to .
















Amadeus Presented by 4MBS Classic FM, The Playhouse, CTC, September 8-9

In 18th Century Vienna, one composer stands above the rest: court composer for the Emperor of Austria, Antonio Salieri. Heard of him? No? What about the puerile, sniggering young upstart who crawls into his life - a bloke named Wolfgang Amadeus Mozart? Amadeus is dramatic, heightened, almost operatic in its grandeur and the two lead characters stretch towards exaggeration. Salieri is virtuous but mediocre; Mozart is lecherous, feckless, and a musical genius. Director Tama Matheson has done a great job bringing this grandiose story to the stage. While at times the script is a little over the top, the story is fascinating; the cast did a fantastic job and it’s a well-realised production. Salieri is a man all too aware of his own limitations. While technically proficient, he lacks the natural skill of Mozart, and his compositions are histrionic, without passion. Andrew McFarlane plays his character with precision, at times an object of our pity, despised, or all too understandable. Mozart (Dash Kruck, having a lot of fun), with apparently little effort, hears music in his head and simply transcribes it. He is a genius, sure, but he’s also a little off-putting. The set, what little there is, is striking. The stage is more or less empty, save a raised platform at times used for a throne and a few other set pieces moved on and off the stage. Each piece - elaborate curved chairs, graceful tables, a mini grand piano - is detailed and adds to the mood and the time period. Sure, this is a play about music, but also much more. It’s about envy. It’s about jealousy. It’s about what it drives us, and how even the most virtuous man may be corrupted. Emma Gibson


UN I N H I B I T E D Here at Uninhibited we do sometimes enjoy a shameless paddle in the shallow end of the pompous pool, splashing around, covering ourselves in our own wank, unable to pull our finger out of our own fundament, etcetera etcetera. Such occasional lapses are unavoidable in this line of work. But last week, feeling somewhat guilty over the previous column’s fiesta del onanismo, I got to talking with playwright and artsmaker David Finnigan about this line of work – most specifically, its responsibilities. Finnigan is one of the organizers of the Crack Theatre Festival at this year’s This Is Not Art. He had invited Uninhibited to take part in a Crack forum called The Review Review, to discuss the place of the reviewer in arts culture. After my initial elation at being one of the chosen, I realised I wouldn’t be able to go. Poo. But we had the discussion anyway, just Finig and I, while I changed the poster display at work. F: How do you approach reviewing? N: The way I see it is that the reviewer reaps many benefits. We get free art, our eyes opened to new and exciting creations and creators; to see lithe, attractive young bodies moving around on stages; free wine and canapés; the chance to meet interesting people who also enjoy free wine, canapés, and lithe bodies. Despite our collective unsavouriness, both physically and emotionally, creative people much more intelligent and hot than we hang around and on our latest judgment and occasionally bone us. Tis a good life. F: I’m sure. N: But as a sage once said, with great power comes great responsibility. F: …?! N: Who are you writing the review for? The artist or the audience? Ideally, the aim of both in making or enjoying art is the same – but sometimes it isn’t, which is where you get into pickles. F: Hmm… N: What is the purpose of your review? To recommend, to instruct, to chastise? Is it simply to entertain – or worse, to distract – to fill the columnspace of a newspaper or blog which in turn fuels the capitalist system by allowing advertisements to be necessary? F: Uhh… N: You have to consider the (not to be patronising) – F: Not at all. N: – level of the artist. Are they just starting out, and should therefore be encouraged in their efforts (even if they fall short of perfect)? Are they older, wiser, and should therefore know better? And the work: is it something entirely new or is it a reinterpretation of someone else’s? Where are you publishing it? Who is your readership, and what is their level of engagement with the work about which you are writing? Is it your job to disseminate the latest developments, or simply to judge? There are so many ramifications… F: [walks off, yawning] NAOMI MILTHORPE


bit PARTS WHO: Paprika Balkanicus WHAT: East Coast Tour WHEN: Sunday October 11 WHERE: The Street Theatre Paprika Balkanicus are Europe’s number one selling world music act, and are no less popular here. They’ve toured with Cat Empire and played at Womadelaide, Glastonbury, the Melbourne Festival and at the Sydney Opera House. Last time they were in the Can, Paprika Balkanicus had audiences literally dancing in the aisles with their blend of traditional and gypsy styles from Eastern Europe. You can catch them at The Street for one night only on Sunday October 11. Tix are $30/$28/$25 and can be purchased by calling The Street on 6247 1223.

WHO: Melbourne Opera WHAT: Puccini’s Tosca WHEN: One night only: Saturday October 17 @ 8pm WHERE: Canberra Theatre Centre Puccini’s opera is set in Rome during that heady era – the Napoleonic – and, like most good operas, is a tale of passion and doomed love. Acclaimed soprano Antoinette Halloran is debuting in the title role and says: “performing Tosca is a dream come true for me and it is great to be making my debut in such a difficult role amongst friends”. The Melbourne Opera production, directed by Hugh Halliday and conducted by Greg Hocking, is touring the show to Canberra for one night only and tickets range from a measly $21 to a slightly more operatic $89. Call 6275 2700 to book.

WHO: Writers, actors, etcetera WHAT: Canberra Repertory’s The ‘Logue comp WHEN: Performances Friday 16, Saturday 17 and Sunday 18 October WHERE: Theatre 3, Ellery Crescent Rep’s competition to showcase local writers and actors is a couple of years old now – it began as a monologue competition, graduated to duologues, and now, under the brolly term The Logue, includes both. Organised by Rob de Fries and Megs Skillicorn, the comp is judged by you – that is, the audience. Says de Fries: “The end result will be a show with a very good collection of short works, both funny and serious. The audience and judging-panel are one and the same… you all have opinions - so bring them along.” The winner will receive a cash prize. Deets? Call 6257 1950. WHO: The Street’s Made in Canberra and Northern Rivers Performing Arts WHAT: Hoods by Angela Beitzen WHEN: Tuesday October 6 to Saturday October 11 @ 7.30pm WHERE: The Street Theatre Angela Beitzen’s funny, gripping, physical and poetic play sees two actors – Canberra’s Jamie O’Connell and Lismore’s Elizabeth Haslam – playing multiple roles, in a production that runs through backstreets and over train tracks in order to tell untold stories. Two hoods discover an old Commodore and relive the story of three children left in a car. Directed by Bridget Balodis, this CanberraLismore co-pro between The Street and NORPA makes its Canberra premiere as part of the Made in Canberra season. Tickets $20/$15.

WHO: Tykes WHAT: CYT Spring Holiday and Term 4 workshops WHEN: Like it says… WHERE: Gorman House and Belconnen Arts Centre

WHO: Maryann Mussared WHAT: READ WHEN: ‘Til Tuesday October 6, Tuesday to Sunday 10–6pm WHERE: Belconnen Arts Centre, Emu Bank Belconnen

Canberra Youth Theatre has announced its Spring Holiday drama workshop for ten to 12 year olds, from Tuesday October 6 to 9, in which participants will go on a magical journey to solve problems ‘faced by the Magical Mythical Creatures Society’. Meanwhile, if your breadroll needs occupation for the rest of the school year, there are also CYT Term 4 drama workshops at the new Belco Arts Centre, on Wednesday and Thursday afternoons. For information about either of these workshop programs call CYT on 6248 5057 or head to their website.

READ is an exhibition of installation work created by Belconnen artist Maryann Mussared, in which books are transformed into sculptural objects. READ is a continuation of Mussared’s exploration of the impact of technology in our lives, and runs at the swank new Belco Arts Centre until Tuesday October 6.




Riddled with conjunctivitis and obviously still suffering somewhat from the crippling shyness that inflicted her as a child, Sydney singer songwriter CATHERINE TRAICOS takes the time out of her busy morning to converse with this budding journalist about love, lyrics and the October launch of her new album The Amazing.

In 2008 JAIMI FAULKNER won Australian Blues/Roots Performer of the Year (band category) and went on to represent Australia in the International Blues Challenge in Memphis. Although continuously on the go, playing up to 200 shows a year, he’s had time to draw breath and lay down some tracks for his new Kiss and Ride album. I caught up with him as part of his album tour.

Having two relatively awkward people trying to conduct an interview with each other can be an excruciating experience. However, after a few stilted starts and squirm-worthy silences, we both found that our shared anxiety was indeed creating common ground. “I’m a lot less shy than I used to be. I would get really bad stage fright and I forced myself into a thicker skin,” reveals Traicos.

There is a lot of beauty in the world The Amazing definitely is an accurate way of describing Catherine Traicos, who didn’t pick up a guitar until she was 20, ten years ago. “I knew how to play the piano, but no one else in my family was musical. I would wear headphones as not to disturb my parents. I didn’t think I was worthy musically, but I couldn’t not try,” Traicos sighs as she looks back upon those uncomfortable early days. “My first songs were all about relationships. I settled on music because it was accessible and I wanted to express myself. My inspiration found me. I was in a destructive relationship, [but] Radiohead opened my eyes up to inner beauty. There is a lot of beauty in the world and I really appreciate it when people draw you to that beauty,” she proclaims. “All my songs are inevitably about me, my experiences and emotions I have felt. Love drives people.” Far from being unworthy, Traicos has touched many a person with her own sweet and unique sound. “Your songs get caught in my head” and “Gone is my new theme song” (Gone being the star song of her debut) are just two of the many positive responses she has received from listeners. “It’s nice when people respond to things,” she laughs. When asked to describe how The Amazing differs from the ‘08 release of Gone Traicos is silent for quite some time before answering. “I’m much more comfortable in the studio than last time; these songs were all written coherently relating to the same theme. Before, I was trying to be someone else. Now there’s Nick and he’s amazing.” Traicos refers to producer/engineer Nick Huggins who largely helped in the development of The Amazing through his connection to the Pocket Full of Stones studio in Richmond. Traicos also mentions how the two of them met. “I knew Nick’s brother in Perth and a friend told me to go and watch Nick perform. I was, wow...” she trails off. In her effort to promote The Amazing, Catherine Traicos will be landing in Canberra for the very first time. She will be playing at The Front on Saturday October 3.

“It’s been a whirlwind year,” Jaimi says. “I only got back to Oz about a week ago and now I’m heading up the east coast!” On his recent fourth European tour he played 25 shows in Germany and one in London. “I’ve had people drive hundreds of kilometres to see my shows in Europe, which is crazy, and most of the time it’s due to what they hear on MySpace or YouTube.” Asked if music covers the cost of touring, Jaimi replies “for the last five years I’ve been lucky to be able to live off the music I make. But I remember days when I used to wash dishes and work as a telemarketer to cover costs. I gotta say, I don’t miss those days, but it’s given me a strong respect for dishpigs and telemarketers all over the world!” Quizzed about travel experiences, Jaimi recalls the best was “meeting the legendary Al Green at his church in Memphis and watching him preach for three hours while a gospel choir backed him. The worst was my tour to Tasmania this year when half the band, including myself, got the Swine flu. We had to drive hundreds of kilometres around Tassie, coughing and shivering.”

I remember days when I used to wash dishes and work as a telemarketer to cover costs

I ask Jaimi how he found representing Australia at the International Blues Challenge. “It was a lot of fun and opened up a lot of doors for me in Europe, funnily enough,” he reveals. “To represent Australia in Memphis, which is steeped in blues and soul history, was a big thrill and an honour.” Touring has exposed Jaimi to legendary performers and music styles, including the sounds from the south in the early ‘60s, that have influenced his own music. “I’d always been into blues while growing up, but had never explored soul music that deeply,” he says. “I took away the ‘call and response’ style backing vocals that feature on Kiss and Ride. Pretty much all of Kiss and Ride was written on the road, on napkins in diners or train tickets on long hauls through Germany. Experiencing new things on the road leads to song ideas. Kiss and Ride is kind of like reading through an old diary.” While frequently performing solo, Jaimi has formed an impressive lineup to support him for the Kiss and Ride tour, including Daniel Farrugia (drums), Tim Keegan (bass) and Berish Bilander (keys), who’ve all supported him in the past. Jaimi will appear at the Chisholm Tavern on Friday October 16 – and it’s a free gig!




When I ask BRIAN CAMPEAU whether or not his Canadian roots are to account for the imagery used in the video for the beautiful song Montreal and for the artwork of new album Mostly Winter Sometimes Spring, my naivety shows like an American in Paris. After Brian reveals that the director of the video was essentially trying to swindle him into giving money he never had, he adds, “on the outset I think [the director] put a lot of stereotypes in, with the idea in mind that Canada is like a fridge, and that we’re all lumberjacks.” I’m also told that the album artwork was “by an Australian and I just told him that I wanted the artwork to be stark.” Though the wintery artwork successfully portrays “stark,” Brian’s music is anything but. Greatly impressing the likes of people like triple j’s Vijay Khurana with his 2006 debut, Two Faces, Brian has once more produced an album with experimental finesse; this time he conceptually performed one instrument per song, including melodica, glockenspiel and even a sitar, among others. Brian explains, “the last album was a lot more electronic and what I was trying to get across to people was that I wanted to make things differently. For this album again I wanted to do something different (and different from what I do live) but I didn’t want to recreate the electronic aspect. I figured one instrument per song would be the way to go.”

I figured one instrument per song would be the way to go

Beyond the conceptual and experimental approach, Brian has a talent for writing emotive melodic songs. Comparisons with Nick Drake, Bon Iver and Angus and Julia Stone are made fairly. Whether or not this makes Brian a ‘folk-type’ musician is debatable, as he contemplates. “I don’t think I fit into any sort of category apart from experimental. In terms of comparing myself to say, José González, I don’t really consider myself folk. I would say I’ve got more in common with jazz, even though I wouldn’t call myself a jazz instrumentalist in any way.” Since the multi-instrumentalist performs in a number of bands and musicians (his cover of Björk’s Army of Me, with Elana Stone, is an accomplished slow rendering of the original), it’s understandable that he would consider himself experimental before anything else. Brian adds that he’s just as experimental on stage as he is in the studio. “I approach the guitar from a very think-outside-the-box angle; I’ll scratch the strings, hit the guitar percussively, rather than just strumming a few chords.” He’s also encouraged drummer, Nicola Ossher, to hit pots and pans. Ironically, as we enter spring and people crawl out of hibernation to see live acts again, Brian is currently touring to launch Mostly Winter Sometimes Spring. Though not exclusively folk-driven, Brian Campeau plays The Folkus Room on Sunday October 4. Enquire about admission via .



AFTER THE EXILE BEN HERMANN It’s been four years since Central Coast rockers AFTER THE FALL released their last album – 2005’s Always Forever Now. And although it might seem like only yesterday that t.A.T.u. dropped Dangerous and Moving and Barbara Bush was explaining how life at the Houston Astrodome in the aftermath of Hurricane Katrina was actually an improvement in lifestyle and “working very well” for the underprivileged of New Orleans, for the lads of ATF it’s been a tumultuous four years of success, disappointment and redemptive hard work. Now with a new album, [In] Exile, to bequeath to their starved fans and a slot on the Trackside lineup to boot, it looks like the harsh, cold times of the group are, suitably enough, coming to an end. “We toured Always Forever Now for two years and during that time we didn’t do much writing at all,” explains frontman Ben Windsor, chronicling and explaining the time gap between releases. “After that we didn’t really know what we were doing direction-wise. We were dropped by our label [Festival Mushroom] and didn’t know if we would make it. This new record was completely self-funded by us, so we were pretty much indie in the true sense of the word.”

How many times can you really watch a guy sell you the Shamwow?

The product? [In] Exile – an album which sees the boys place greater faith in their ability to sooth, rather than in their aural force. But it almost didn’t turn out that way. After being dropped, the group hit the studio with fountains of undirected vitriol that might have delivered us an album more like Chocolate Starfish and the Hot Dog Flavoured Water. “We wrote lots of really angry rock songs at the start,” says Windsor. “But when we went back and looked at them, it was just hilarious; it wasn’t us at all.” So they regrouped, regained their composure and began writing songs like Scotland Yard and the album’s first single, Desire, where caressing “doo doo” back-ups and less abrasive drums are key departures from their previous style. “On this album we focussed on more of a drum and bass groove with catchy guitars and atmospheric sounds,” says Windsor. And so while the distorted power riffs take somewhat of a back seat and Windsor’s vocal chords sound like they’re still getting used to living up to the task of being a more primary focal point of the music, overall the mood and tone of [In] Exile is nevertheless a far cry from their past work. For the moment, however, the group is focussed on touring and the comprehensive trip around the country that awaits them. “We are a live band though, first and foremost,” says Windsor, almost like a qualifier to the lengthy discussion we’ve just had about the group’s recording process. “That’s what we’re good at. After touring you come home and you just have daytime TV. How many times can you really watch a guy sell you the ShamWow!?”


After the Fall play at the Trackside Festival on Saturday November 21 alongside Hilltop Hoods, Karnivool, Midnight Juggernauts and a whole swagger load more. Tickets through Moshtix.



tron barkley

“We haven’t been an actual band for a very long time,” spits FRENZAL RHOMB’s Jason Whalley. “Gordy moved to Melbourne in the ‘90s and because, politically... Lindsay’s actually a Liberal voter. He’s been voting Liberal every election since he could vote. So there’s a big political divide. Between the two of us we have some pretty feisty arguments.” I pause, taken aback. Lindsay, a closet conservative? The man who once put together the compilation Rock Against Howard and whose anti-Coalition tirades on the Jay and the Doctor segment on triple j shook the nation? I stutter my surprise to Jay, but he merely says, “yeah, a lot of people don’t know that about Frenzal Rhomb. But there you go, you got the scoop.” Head spinning, I resolve to press on. So, you’re playing Stonefest next month. How does that feel? “We’ve been stinging to play Stonefest for years and years and we’ve never been asked, so this is really a highlight in the career of Frenzal Rhomb. We’re all very excited about it.” I ask Jay what he thinks of the rest of the Stonefest lineup, but he admits he doesn’t actually know who else is playing. I decide to change the subject, but Jay sounds a bit distracted and I realise he is browsing the Stonefest site as we speak. “Birds of Tokyo... they’re good... oh, Josh Pyke, cool,” Jay drones, without enthusiasm. I can’t really imagine him kicking back to some Josh Pyke. After all, this is a man whose closest attempt at a romantic ballad featured the lines, “I know that if we had a smoke we’d start anew / If I could have another cone with you.” Frenzal just don’t do love songs.

A lot of people don’t know that about Frenzal. You got the scoop

I’m interested to know if the band have mellowed since their younger, wilder days. Is the “gambling, vomit and sleeping in the bin” ethos still a big part of the band? “We’re much more mature these days,” says Jay with a touch of whimsy. “It’s more like gambling, vomit and just resting for a short time in the bin, before going on to our palatial mansions down by the Sydney Harbour.” Although it’s been three years since their last effort, Forever Malcolm Young, Jay is careful not to acknowledge any anticipation that may have been building among Frenzal’s solid fanbase. “Against popular demand, we are actually going to do another record,” he says. “Our last tour went quite well and it re-enthused the band, so we’re trying to write a new album at the moment. It’s proving a little difficult, because Gordy lives in Melbourne and Tom lives in Adelaide, so it’s mainly an online thing where we Skype each other and sort of play riffs to each other in front of the little webcams.” Right, I see. But you used to be more, erm... tight-knit, kinda... “More of a band? [laughs ruefully] We’ve been doing it like this for a long time, because, y’know... we don’t actually like each other.” What a shame. They showed such promise. You can catch Frenzal at Stonefest at the University of Canberra on Saturday October 31. Tickets through Ticketek.

Boss sounds to wreck the town, here comes another Punk and Ska news column. There’ll be plenty of wreckin’ going on this month, with a heap of hardcore gigs hitting the ‘berra, so let’s get straight to it. First up, on Tuesday October 6 it’s the Sike Your Mind Tour, going down at the Southern Cross Woden Basketball Stadium and featuring Deez Nuts, Miles Away, Antagonist AD, In Trenches and Blkout!.

Then on Friday October 9 Slamfest! hits The Basement. This killer gig pits the paddy-punk of Sydney’s Rumjacks against the folk-rockin’ punk of Melbourne’s Hornswagglers. Joining them will be local scrappers Hoodlum Shouts and All In Brawl. Also on Friday October 9, across town at the Tuggeranong Youth Centre, the always uncompromising Terror will be joined by Stick To Your Guns and Against (AA). Local punk/metal act Final Lies have their debut CD out this month and two tracks are already generating interest, ranked #3 and #5 on the current triple j Unearthed punk chart. They have two launch shows lined up – Thursday October 15 at Tuggeranong Youth Centre with Westralian’s Break Even, on their The Bright Side Tour, together with I Exist and Vera (AA) and then Friday October 16 at The Basement with Escape Syndrome and Corporate Takedown (18+). The second of the three Slamfest! events to take place this month will be going off on Friday October 23 at the ANU Bar. Germany’s hardcore heroes The Spermbirds team up with Mid Youth Crisis, A.V.O. and I Exist (18+). Then it’s back to The Basement, on Friday October 30 where Slamfest! presents another Halloween Misfits Tribute show, once again featuring The Toxic Men and this time joined by Oxygen Thief, Buttnugget and Johnny Roadkill. It’s time we returned to the rhythm-o-matic skank of the sound of ska. Firstly, shock news with BBC6 Music announcing that Prince Buster has experienced a stroke (though his manager has not yet confirmed that this has happened). Not much detail, but Gaz Mayall (The Trojans/ Gaz’s Rockin’ Records) recently said during an interview, “he’s stuck in Miami with health problems, I don’t know what’s going on…”. New York City’s ska ambassadors The Slackers have announced a new collection titled Lost & Found. The set will include “redos, remixes and new rarities” from the band’s catalogue dating from 1998 to 2007. No release date for the record has been announced yet. Finally, New York crust-punk-metal-ska act Leftover Crack are coming to Australia, bringing their catalogue of two LPs, three EPs and a handful of split releases with some of punk’s most influential artists. All the controversial antics that surround LC aside, the band has always sent a clear message of anti- racism, anti-sexism and anti-homophobia while still finding a way to be offensive to a government they don’t see eye to eye with. Unfortunately not all the band can make it to Australia. Stepping in is guest guitarist Frank D (Star Fucking Hipsters), who’s hinted at playing songs off their catalogue as well as pre-LC, Choking Victim. The Crack Rock Steady kings will not make it to Canberra but local crackers should get to The Arthouse in Melbourne (Sunday November 15 [18+]) or the Bald Faced Stag in Sydney (Monday November 16 [Lic/AA]). Tickets go on sale Monday September 28 through Moshtix. Oi Oi that’s yer lot! SIMON HOBBS Next deadline is Monday October 19. Send news, views, gig promos and abuse to .




It’s very late on an unseasonably chilling September Tuesday when I speak to Munro Melano, keyboardist for erstwhile postgenre mega outfit CASUAL

PROJECTS. Ahead of what is likely to be a springtime of writing, recording and touring for the group, I’m keen to hear Munro’s thoughts on the year

that’s passed; a year that’s seen releasing their sophomore LP the group move to Melbourne, No Rest in May 2008, the group see through an epic national has snapped up successive tour and even make time for International Songwriting a brief foray over to North Competition awards, had their America, where they popped award-winning videos flogged by the South By Southwest on Rage and Channel V, and even Festival and performed a had their video for Move Along showcase gig at Canadian pick up Music Week. “It’s the Best The way you feel been a great year, Indie ning liste r afte especially moving Video to Jay-Z is very to Melbourne. award at different to listening this year’s Since four of us to Arrested went overseas St Kilda Development for a few months, Film we’re still getting Festival. used to Melbourne and are kind With the prospect of a third of having to go through the early album hitting the shelves in early stages twice,” says Munro. Since 2010, many might wander about the direction the boys might be taking in their current writing periods, especially considering the loss of a few members due to their relocation. Although being known for their seamless alchemy of hip-hop, rock, jazz and funk, Munro suggests that this winning formula won’t necessarily last forever. “I’m pretty excited about our next album,” he says. “I’d be disappointed if we just have the singer doing the chorus and the rappers doing the rapping sections, as we’ve done before. We’ve lost the horn section, so it might be a bit more synth-heavy, but that might also be because I’ve stocked up on a few more synths since we moved here,” he says, chuckling a little, before elaborating a little more on the group’s ongoing evolution. “We’ve changed, but not because of the move. Just because groups always change. And of course, your musical influences change. Just this week I’ve been listening to Jay-Z, which I never would have done in the past. When we started, I never would have checked out gangsta stuff like that. “The way you feel after listening to Jay-Z is very different to after listening to my older influences, like Arrested Development.” Cash Proj play an AA free gig at Garema Place on Friday October 16, kicking off at 12.30. They’re also hitting up Transit Bar on Saturday October 17.


HARD ROCK STAR KATY HALL While some careers commence with hopes of superstardom and fame, others, like that of New Zealand legends PUMICE, begin more humbly. “When I was 16 my friend Sugar Jon could play guitar and had an amp, so we borrowed his neighbour’s drum kit and presto! I became a musician,” says Stefan Neville, the longest serving and currently only member of the band. He hails from Hamilton and after years on the road this Kiwi is finally heading Canberra’s way. “I swallowed that whole punk anyone-can-do-it thing from about 12-years-old,” he says. “I had a good gang of friends and we formed new bands every week that were based on some brilliant idiotic idea… Pumice was just one of those bands.” 18 years later, Neville continues to forge ahead. His original blend of uncomplicated, experimental folk, mixed with lo-fi recordings has lead him across the Tasman to take part in TINA’s Sound Summit Festival, held over the first weekend in October in Newcastle. Neville will also be a guest panellist on the “Lo-fi in a digital era” discussion. “I don’t even know what lo-fi is,” Neville exclaims. “If it’s about fidelity it seems irrelevant to making good music. If it’s about an aesthetic then that seems irrelevant to making good music too. The ‘lo-fi’ label reeks of smug patronising industry people implying it’s wrong or weird to do things like overdub intercom static onto a folk song, but to me that’s part of making good music. I like being able to record at home, in my own space, in my own way. To try things out on your own terms and not have to pay for the privilege. Make a good record – I don’t care how you do it.”

I like being able to record at home, in my own space, in my own way

With over 40 recordings to their name since their 1991 formation, the band has gone from duo, to trio, to quintet and now in its current state of solo act. “Pumice has felt old recently, it needs a rest,” Neville contemplates. “I don’t even have a home a lot of the time and my stuff is in storage. There’s a suitcase full of cassettes and boxes of quarter inch tape reels and another suitcase of CD-Rs.” Though, having said that, Neville admits that the years of performing in a multitude of environments have led to new experiences. “I have a newfound indifference to playing,” he says. “It’s not that it’s not important; it’s just that it’s not everything. I set up and play and do my best and if things go wrong I’m not devastated. If they go well I don’t think I’m all cool either. It’s led to a more reckless approach too, which brings greater surprises. I’m still constantly surprised with how far I’ve come with it. This is the first time I’ve ever had my flight costs covered by someone else and the first time I will stay in a hotel as part of my fee… It’s pretty flash. I’m not going to get used to it.” Pumice will play at The Front Café and Gallery in Lyneham on Friday October 9 with The Pollen Trio. Tix $7 on the door. .


THE REALNESS There’s been a massive slew on dope new overseas releases dropping lately or just on the horizon so I thought it would be worthwhile mentioning some of the highlights, so let’s get to it! The big homie Jay-Z has dropped his much anticipated Blueprint 3 LP and while it has its share of highlights, it’s certainly one of his weakest albums, especially in comparison to the almighty Black Album, Blueprint 1 or even his conceptual American Gangsta LP. Predominantly produced by No I.D (dope!) and Kanye West (with his old pull beats out of storage, ass), it’s a strange album which lacks overall cohesiveness. Hove gives shine to the current block of future stars such as Kid Cudi, J. Cole and Drake, but doesn’t really show any new progression of his own. Still, the album is solid and worthy of a listen and it has def grown on me with repeated listens. Other production also comes courtesy of Timbaland (lazy!), Al Shux (future star!) and The Neptunes (*cough*). Speaking of Kid Cudi, he’s just dropped his 808 and Heartbreaksesque solo LP Man on the Moon: End of Days and it’s actually pretty nice. Emile, Kanye, Ratatat and others provide spacey out-of-thisworld epic soundscapes for Cudi to get his ‘emo’ on, which he does quite convincingly and (mostly) without too much cheese. The guests all compliment Cudi perfectly and he’s succeeded in creating a highly original debut LP; one of the more interesting listens of the year to be sure. Krs-One and Buckshot have teamed up on Duck Down for their new Survival Skills LP and it is the niceness. Apart from its hilariously bad album cover, there’s not much else to criticise and Black Milk, 9th Wonder, Illmind, Nottz, Marco Polo and other boom-bap beat specialists lay down a barrage of heat for the two legends to spit game. And, they compliment each other perfectly. Highly recommended. Also out now on Duck Down is the new LP from Brooklyn native Skyzoo. He’s also been blessed by the likes of Cyrus The Great, Eric G, Black Milk, Illmind, Nottz and 9th Wonder with some brilliant production which he makes the most of over 16 varied tunes. While he’s not the most dynamic MC on the mic, he’s certainly worth checking out, so put this one on your list too. Brother Ali’s newy US is again sheer class and another near-perfect notch in the belt for him. Again Ant handles the beats and they are brilliant – check the beautiful You Say (Puppy Love) for example. Ali keeps going from strength to strength. Everyone’s fave emcee Ghostface is back again with Ghostdini – The Wizard Of Poetry in Emerald City. Haha, a magnificent album title indeed. Ghost has gone and messed around and made a soul/ r‘n’b flavoured LP better than most r‘n’b cats. It’s smooth, hilarious and heartfelt (in a Ghostface kinda way). The album features Lloyd, John Legend, Estelle, Raheem DeVaughn and others, as well as beats from Justice League, Grind Music, Scott Storch and Xtreme. And I can’t end this column without mentioning another new Wu release – the long-awaited Only Built for Cuban Linx 2 from Raekwon. I don’t throw the ‘c’ word around much, but quite frankly, it is just that. A modern ‘classic,’ reminiscent of that vintage Wu-sound. Golden era beats from RZA, Marley Marl, J.Dilla, Pete Rock, The Alchemist etc set the vibe perfectly. Rae is on form, Ghostface kills it and the majority of the Wu-Clan pop up for good measure. Album of the year so far, most definitely. To hear tunes from all the above and more, tune to The Antidote, Tues nights from 9:30pm on 2XX 98.3FM.



the word


on games Now I remember why I stopped playing PC games – they’re a pain in the arse. Sure, controllers will never supersede the mouse, but if the console vs PC war was to be won on a single issue, it would be ease-of-use. Your Dad can probably cope matching the colours of the component cable to the back of the TV, but ask him if he wants spherical harmonic lighting on and he’ll probably just blindly stare back at you. So while Batman: Arkham Asylum is a great game, I can’t help but think I could have saved myself some hassle by just playing it on a console instead.

Batman: Arkham Asylum Publisher: Eidos Interactive Developer: Rocksteady Studios Length: 15 – 25hrs Rating: 4.5

Since talk of Hamill voicing of the Joker started, Arkham has been highly anticipated. Luckily, so far it’s been well received, with even the hilariously cynical Yahtzee (creator of Zero Punctuation) liking it. Why? Execute a 10+ hit combo and you’ll soon understand. Yes indeed the best feature of Arkham is its combat system, which shies away from the typical move-based approach. Simply pick the next chump to eat a knuckle sandwich and Batman kindly obliges using an acrobatic arsenal of backward somersaults and flying heel kicks. Throw in a few skillful elements and a stylish slow-mo finish and you’ll soon be moistening up the next time you stumble across a pack of unfortunate goons. However, have a gun throw into the mix and suddenly you’ll be befriending the crevasses, as a you pick off your opponents one-by-one, before raining some B-man beat-downs on that final, unfortunate bastard. Top the whole thing off with an orchestral soundtrack and you’ve got yourself a truly awesome Batman experience. The rest of the game also does well to embrace the Batman universe. Many of your favourite characters pop up, most notably of which is the Scarecrow. Sending Batman into periods of madness, Scarecrow’s moments really standout, even if the actual gameplay that accompanies them is more frustrating than enjoyable. The bat gadgetry also plays a key role, including a forensics mode - a mode more commonly known as cheating in other games. Likewise, there are Riddler puzzles, challenges and other additional crap to keep you entertained for hours. Unfortunately there are still some sources of annoyance. At times the controls can feel a bit awkward and frustratingly (as is also the case with the video settings) they can’t be changed in-game (damn PCs!) Similarly, the action can get repetitive, some of the cutscenes are a bit stale and the storyline as a whole is pretty tenuous even by Batman’s standards. Despite these flaws, Arkham still provides a very enjoyable experience, akin to an adult version of Legend of Zelda, slingshot ‘n all. While maybe missing the mark as a classic, it’s definitely worth a play, old chum. TORBEN SKO

Finally the show Go won’t shut up about has made it to air. Whether The Vampire Diaries (Go, Mon, 8.30pm) warrants all the hype is the bigger question. All the evidence points to a lamer version of Buffy/ Angel/Twilight with just a bit more teen angst; not only is it based on a teen novel series, the creative team behind it is headed by Kevin Williamson of Dawson’s Creek fame. If you’re looking for a vampire theme, seek out True Blood (Showcase, Tue, 8.30pm). Unfortunately at the moment you’ll need to purchase either cable or the DVD (or visit mates who’ve shelled out). Over at Prime, the hype is flowing for the ‘fast tracked’ (wish they’d get over that) FlashForward (Prime, Mon, 8.30pm). With the pilot airing in the US just days before press time, critics there have likened it to Lost – asking substantially more questions than it answers with the potential to go completely off on a tangent at any moment. Having said that, the idea that the whole world will get a glimpse six months into its collective future is intriguing. Blackbox predicts sitting in Chez Blackbox writing about the new season shows for 2010 (and if Santa’s feeling generous, watching previews on a very big plasma). Also on the must watch list for teen drama addicts (and lovers of musical theatre) is Glee (SCTEN). While Glee definitely has the potential to overdo it with a Technicolor overload not seen since the ‘70s, the wisecracking antics of Jane Lynch as the school’s cheerleading coach (and arch-enemy of the Glee Club) saves it from itself. Not worth seeking out but watchable in a pinch. The latest reality show to go Aussie is The Secret Millionaire (WIN, Thu Oct 8, 9.30pm). It’s hosted by big Russ(ell Crowe) but it will be interesting to see who parts with their hard-earned. Rockwiz (SBS1, Sat Oct 3, 9.20pm) kicks off its new season with American singer/songwriter Victoria Williams and Henry Wagons, leader of Melbourne-based country rock sextet, Wagons. The Denton-produced Hungry Beast (ABC2, Wed, 9pm) features 19 newcomers to the world of telly (Blackbox advertised the talent call earlier in the year) who are charged with telling us all something we don’t know. As well as the half hour of TV, there’s also daily web content at . The promo material for Dead Famous (ABC1, Thu Oct 8, 8.30pm) warns Blackbox to seek legal advice before saying much about the doco that features analysis of Melbourne’s infamous gangland war. So, instead of incurring the wrath of BMA’s (really enormous) legal department or landing on some defamation hitlist, Blackbox will simply say: watch it. Collectors (ABC1, Fri Oct 9, 8pm) celebrates its 200th episode this fortnight with collections of TV memorabilia, cocktail paraphernalia, Kinder Surprises and the ABC’s own heritage collection. Other docos to seek out include Inside the Vatican (SBS1, Fri Oct 2 7,.35pm) which looks at everyday life and work within the world’s smallest independent state, Manhunters (SBS1, Fri Oct 2, 10pm) about British women finding men in the Caribbean, The Mysterious Death of Cleopatra (ABC1, Tue Oct 13, 8.30pm) and for the foodies The Wild Gourmets (ABC1, Sat Oct 17, 6pm). Sad news of the week – United States of Tara (ABC1, Wed Oct 14, 9.30pm) winds up its first season. TRACY HEFFERNAN


the word

on albums

album of the week joe gideon and the shark harum scarum [bronzerat] You realise you’ve been transported to a strange land. Stranded with your unashamedly pathological tour guide, Joe Gideon, you fear but ache for what lies ahead. Harum Scarum, the opener, casts a spell. This mystic troubadour has a rawness and conviction in him that draws you in and scares the heck outta you simultaneously. He is the biographer of characters tragic and inspirational and a scathing self-critic. His lyrics turn your head – reflections of purpose mixed with futility, somehow leaving you with faith in a mad mad world. This is a personal album – introspective, vindictive, a rite of passage. Joe might be speaking to you directly, such is his vocal style of storyteller and foreteller. The songs seem like vehicles through which he narrates; the band occasionally wrenching away like a separate entity reclaiming and reminding its mouthpiece that it is not to be outdone. The sound is deep and bold blues rock. Shifting from rolling and haunting to uplifting with gospel backings provided by his sister Viva, ‘The Shark’; it’s like a rattlesnake armed with a wink and a nod. Ladies and gentlemen, I give you… Harum Scarum. ADRIAN THREADGOULD


discovery lp [xl/remote control]

way no way way no way [independent]

singled out

Vampire Weekend’s Rostam Batmanglij and Ra Ra Riot’s Wes Miles marry Miles’ concept of an all-synth band and Bat’s idea of handclaps over snares, creating an ethereal modern day reggae record. My enjoyment of it, like many things in life, relies on how drunk I am. Sober, it’s an enjoyable half an hour romp. A few drinks in, however, I’ll be bleating ‘Ooo baby baby baaaaaaabe!’ to the chorus of the earnest Can You Discover?, airkeyboarding to the blippy melody of Swing Tree, and revelling in the Jackson Five I Want You Back cover, a track as fun and delightful as it is ludicrous. You’ll love or hate this, so do yourself a favour and find out.

It’s not often that a debut EP hits your ears and feels completely whole; a bit like first loves, they don’t often run smoothly. Austin’s Way No Way have that feel of the early 2000’s that so many bands chase but few ever make it back to. Their melancholy romance mixes with a darker side to pop on stand outs Meltdown and Stab the Bats. While not overwhelmingly explorative, it’s sincere, and shows there’s plenty worth listening to.

Black Eyed Peas Meet Me Halfway [UMA]


future of the left Travels With Myself And Another [xl/Remote Control] You want shouty, jagged, sweatsoaked, jaw clenching, engorged vein, melodic power rock? And you also like pithy agit prop lyrics all about the system and that sort of stuff? Well put down your Nickleback bootlegs and Third Eye Blind re-issues because Future of the Left are back with album number B. Future Of The Left are the cult band di rigueur. Rising from the ashes of McKlusky and Jawback they make exactly the sort of music you’d expect from a trio of well read, jumped up Welshmen. They represent the uncompromising, piquant ying to Super Furry Animal’s fruity strawberry fuzz yang. As one of the best tracks – Land Of My Formers – exclaims “They only get under your skin if you let them”. And they do. justin hook

katy hall

with Dave Ruby Howe

Is the mainstream record buying public fucking drunk or something? Because you’d have to be pretty damn loaded to enjoy this. For reals, this is utter trash. Fergie sounds like, scratch that, IS some washed up ‘90s diva, and’s electro affections sound like nonsense. When will the hurting stop?

Ophelia of the Spirits The Secret Garden [The Little Labe]

Empire Of The Sun Without You [EMI]

Could this be the voice of the angels when they come to take you ? If so, I’m ready to go right now! The fancy title is a pseudonym for Angela Little, who’s siren’s call would lure any sailor onto the rocks. Simple yet alluring keyboard melodies feature in all songs, trickling down to create a wraithlike atmosphere. These are punctuated for dramatic effect by a screaming guitar in Leave a Light On and by a raging fiddle in Greedy. Her voice weaves a wide range of emotions: passion, hope, wonder, doubt and even a chillingly vengeful tone, positively dripping with revenge. I was blown away by the sheer beauty of this EP.

Ladyhawke Magic [Modular]

rory mccartney

It’s no secret that I’m a sucker for the works of Luke Steele. Dude is like a modern version of Brian Wilson, a little crazier but no less ambitious in his perfectly constructed pop gems. As such, he’s prone to the overblown, but thankfully he keeps the reigns on this new version of Without You, keeping it simple (ish) and turning up the cruise-boat summer vibe. Nice.

The ‘hawke would lose some points for sheer single overload if this new (and thankfully last) single from her album wasn’t so damn great. But um, maybe work on some new material now? KTHXBAI.

Taylor Swift You Belong With Me [UMA] No, it’s not because of any post-Kanye sympathy or even my unflinching love for banjos, I genuinely like this song and moreover, Taylor Swift. She’s talented, people. She really is. And even though this is blushing country stuff, it’s hooky, pointed and overall, undeniably endearing. So there. Did I just jump the shark?

the word on dvds

vicky cristina barcelona

Ringo Starr and The Roundheads: Live

gimme shelter

Watching a Woody Allen film is often like watching Monty Python’s The Meaning of Life on repeat, although the former is more focussed on capturing the eruption of emotional turbulence within seemingly ordinary people who are nevertheless afflicted with various existential neuroses. At times, Allen’s characters are attuned to the absurdity of human existence to the extent that considerable effort is devoted to its negation through the fulfilment of desire which is sometimes futile and destructive. This essence flows through Vicky Cristina Barcelona, which explores a slightly subversive romanticism in a well constructed, sharply paced and often hilarious manner. It seems as if Allen has turned the quality tap back on after his other minor masterpiece in recent times, Match Point. That one featured a compelling narrative and included the considerable talents of Scarlett Johansson who reappears as a suitably sultry persona in Vicky Cristina Barcelona. Although Match Point was gripping in an almost Alfred Hitchcock kind of way, the basic premise was quite simple – some people are lucky and some are not. Similarly, the veils Allen throws across Vicky Cristina Barcelona, in the form of an unfolding human drama that explores the intricacies of preserving passion in relationships, mask another very simple yet fascinating idea. This is something along the lines of how things turn out for a passionate, artistically-minded Spaniard who likes having threesomes with women he comes across in daily life, and what can happen to those who decide at certain moments to explore innermost desires. Allen tackles his movie with a talented cast who achieve the right mix of fatalism and exuberance, with the striking beauty of Barcelona as a main backdrop.

In a world of limitless Beatlesrelated ephemera, this would surely rank as one of the more dispensable artefacts – honestly, a set of bobblehead dolls or a pair of Yellow Submarine shoelaces would have been preferable. Originally recorded in 2005, four years down the track it has obviously been decided that the world is now sufficiently prepared for this release. As one expects, the focus – right down to the Roundheads bassist sporting a Höfner 500/1 – is on Starr’s time with the Fabs. Indeed, the set only cribs three tracks from Starr’s post-1973 output – which seems to have been restricted almost exclusively to good natured 12 bar blues boogies. Even his recent tunes are steeped in the past; the title track from Starr’s then latest studio LP Choose Love is built on a riff not dissimilar to Taxman, while the lyrics, with couplets like “The long and winding road is more than a song/ Tomorrow never knows what goes on,” continue The Beatles’ tradition of playful self-referencing. Elsewhere, for no particular reason, Starr’s occasional bandmate Colin Hay of Men at Work fame emerges for a rendition of Who Can it Be Now? The songs are, give or take, an extended guitar solo, presented more or less exactly as they were on record, with any grit – such as that on the Marc Bolaninspired Back Off Boogaloo – smoothed away. Starr, both hands seemingly frozen into a permanent peace sign, doesn’t so much command the stage as bob about it and while the man – undoubtedly one of the most underestimated drummers in rock history – still looks at home behind a Ludwig four-piece, on the few occasions he does ascend the drum riser he’s merely doubling the Roundheads’ sticksman – a great shame. Pleasant, certainly, but hardly essential.

About midway through this sharp and revealing depiction of the Rolling Stones’ explosive 1969 US tour, the band is filmed at the famous Muscle Shoals studio listening to a playback of the recently recorded Wild Horses that eventually appeared in sensuous glory on the Sticky Fingers album. The Maysles brothers’ camera surveys the studio and settles on a serenely smiling Keith Richards with well worn python skin boots resting on the mixing desk, listening to a first-rate recording take from a band that was then hitting its creative peak. With the inclusion of such moments, Gimme Shelter probably deserves classic status within the music documentary genre, as artifice is stripped away from The Stones who come to reflect the volatile late 1960s. The filmmakers ensure that a proper insight is gained into the touring realities of the self-proclaimed greatest rock ‘n’ roll band in the world, amidst the splintering postpsychedelic culture of the late ‘60s. The doco comes on hard at the onset with a super octane version of Jumpin’ Jack Flash and with Mick Jagger decked out in his satanic majesties outfit that added to the heavy vibes on this infamous US tour. The band turns out some blistering rock ‘n’ roll throughout with Keith Richards looking as cool as he ever would, and the sexually charged Ike and Tina Turner as the Stones’ support. In the guise of some kind of mischievous imp, Jagger introduces American fans to the possibility of decadence as a path to salvation. It all culminates in the apocalyptic Altamont gig of 1969 which flashed warnings about an over-ripened counterculture and culminated in the killing of a spectator. This was chillingly captured on film by the doco makers who also include the Stones members’ saddened and weary responses. At the end, Jagger projects bewilderment, but also projects a determination to go on.

Dan Bigna

peter krbavac

Dan Bigna


the word

on films


I’m the first one to complain about Hollywood formula romantic comedies but I gotta tell ya, I’ve had my fill of indie love for a while. After (500) Days of Summer and Paper Heart, if I see one more person fall in love based on another’s music tastes, I’m going to beat them to death with their Converse All Stars. I’ll tie their hands to their vinyl collection so they can’t strum a tender riff, or brush away their fringe, for fear of disrupting a Joy Division original pressing. I swear... Who am I kidding? I still get all misty-eyed remembering how Natalie Portman changed my life with The Shins. Pass me the Roy Orbison Ray Bans.

quote of the issue “The following is a work of fiction. Any resemblance to persons living or dead is purely coincidental. Especially you Jenny Beckman. Bitch.” Opening credits, (500) Days of Summer


(500) Days of summer


paper heart

Buyer beware, going into this film thinking it’s a romantic comedy is like going into Bill and Ted’s Excellent Adventure expecting a sci-fi: its core plot fits the genre, but the intention is completely different. (500) Days of Summer is the story of Tom (Joseph Gordon-Levitt), whose banal existence working for a greeting card company is thrown into disrepair upon meeting Summer (Zooey Deschanel). From here we alternate between heartbreak and happiness, jumping everywhere over the five hundred day timeline of their relationship.

Ten reasons not to see Fame:

Mockumentary is a genre that commands an incredible subtlety of performance. Since this seemed a little too easy, Paper Heart has added the element of having almost every actor playing themselves.

‘Indie twee’ is harsh but oh-sofair to describe this interesting film from music video director Marc Webb. It’s all cool songs, obscure references and endless cardigans; in the successful tradition of Garden State et al. There’s more here than paint by numbers quirkiness but whenever things get a little too straight-laced, the filmmakers promptly throw in a cutaway sequence or spontaneous dance number. These are quite well-handled, even if they do occasionally detract from the main drawcards of the film - being the performances of Gordon-Levitt and Deschanel. We see their characters in the murky part of a relationship too often to describe what they have as chemistry but that’s kind of the point; and they’re great by themselves. Good word of mouth about this film is travelling as quickly as someone can safely run in skinny-leg jeans, and it’s certainly worth it for a good dose of the jaded romantic. Naturally, it also comes readybuilt with a great soundtrack.

1. The lack of plot. A bunch of teenagers attend a respected performing arts high school. Some dance. Some sing, or do other stuff. That’s actually the whole plot. 2. The sheer number of characters – quantity ain’t always quality. I realised about two thirds of the way through that I had no idea what any of their names were. I still don’t know what some of their names are. 3. Character development – or rather, the large gaping holes where character development should be. Shouldn’t there be some development, especially in a film that is supposed to be a ‘coming of age’ story? Each character is shallower than the last, and none have any real back story... or current story. 4. The style. Fame feels like one long montage, but one with zero emotional depth. 5. The timeline. The film is divided into each year of high school, and crams four years into two hours – so you never know how much time has passed between each scene. Has it been two months? Two days? Luckily, you soon stop caring. 6. The dance sequences. They’re good. Really good. Unfortunately, this makes everything else look even more pointless in comparison. 7. Corny monologues and exchanges that actually make you cringe. 8. The lack of an amazing end performance. 9. The fact that the end credit sequence is more fun and entertaining than most of the film. 10. Do you really need another?1



The film is presented as comedienne/actress Charlyne Yi’s study of her own refusal to believe in love. She travels the country with director/producer Nicholas Jasenovec (played very charismatically on screen by Jake M Johnson) interviewing people about their thoughts and experiences on the subject in an effort to understand the concept better. Somewhere along the way, she starts up a relationship of her own with Juno/Superbad actor Michael Cera. This becomes the framework for the rest of the ‘documentary’. There are definitely a lot of great moments to Paper Heart and some really superb acting from the central performers. The main problem is that it’s too hard to get sucked into Yi and Cera’s blossoming love. They are believable but the serendipitous nature of the scenario isn’t. This is because if they don’t get together – there is no documentary. If you take away this story then all you have is Yi and Johnson driving around with very little focus or cohesion and only the slim ‘what does love mean to you’ question to tie things together. It’s also fairly ironic that Yi is too closed off and distant for us to ever truly fall in love with her. An interesting concept that could have been something special with a little more work. MARK RUSSELL

the word

on gigs

Alice Cooper/Electric Mary Royal Theatre Wednesday August 26 Veteran Melbourne hard rockers Electric Mary are being touted in pages elsewhere as “Australia’s best rock band,” whilst vocalist Rusty Brown, in the very same organ (the UK’s Classic Rock) describes the band’s music as “rock ‘n’ roll the way it used to taste,” which is strange, because my friend Berenice, who stumbled across the band whilst minding her own business waiting for “the King of Schlock Rock” (© the Canberra Times) to appear, described herself as “feeling sick” after being subjected to what felt like “being forced into one of those big rollercoasters against your will” after suffering at the hands of the band for three quarters of an hour. Who’s telling the truth? I’ll let you decide, whilst noting that the Transit Bar still had a fair few Cooper-bound punters throwing down pints when the support band were on. Still, you can’t like everything, can you? And feelings of nausea are soon forgotten once Alice and his band appear on the tastefully designed stage. Last time out, at a two-thirds full AIS in support of his excellent Along Came A Spider elpee, Mr Furnier was a massive disappointment – but here, in a chock-full, smaller arena and aided by a far better sound, everything the man does makes sense. We’re witnessing the Theatre of Death tour, so – you’ve guessed it – there’s a lot of blood for your buck on offer, with Alice himself dying every thirty minutes or so by a variety of methods for the duration of the show. Back in the day many critics claimed that the ‘shocking’ nature of the Alice Cooper live experience was merely an artifice to paper over the paucity of musical fare on offer, but here, when every song is a bona fide rock classic, there’s no such quibbling. I’ve seen Alice, ooh, 15 times or so in the last 20 years, and I can honestly say that the version of Department of Youth to which the Canberra faithful were treated to tonight was as good as any I’ve seen, anywhere in the world, in that time – whilst other old chestnuts such as Eighteen and Only Women Bleed sounded revitalised in their new setting. It’s hard breathing life into a set largely made up of songs older than many (but not most – the high ticket price means this is a birthday treat only for the young fans that are in attendance) people in the audience, but this incarnation of the Alice Cooper Band, tonight comprised of long-time bassist Chuck Garric, former Megadeth drummer Jimmy DeGrasso and guitarists Damon Johnson (he’s played with Faith Hill!) and Kerri Kelli (he’s played in versions of every ‘80s LA hair metal band, ever!) is more than up to the task and whilst of course Alice Cooper is the star of the show, none of the band (especially shapemeister Kelli, who never misses a note despite being a study in perpetual motion) miss an opportunity to stamp their personality on proceedings. Not surprisingly for a man with a career in its fifth decade (is it really 40 years since Pretties for You was released?) Cooper has had an up-and-down time of things but now, after spending most of the new millennium teetering on the edge of the dumpster, he’s back (the man behind the mask) and, it would seem, back on the rise. Along Came a Spider pointed the way, Theater of Death has taken up the challenge – the future is bright again for the Prince of Darkness. He may not be 18 anymore – and WE like it. Nambucco ‘Black Juju’ Deliria


GIG GUIDE Sept 30 - Oct 4 wednesday september 30 Arts Undertow: FIRST 2009 Launch

Annual anthology of UC students’ work. 1.15pm. UC CO-OP BOOKSHOP

Portraits + Architecture

An exhibition exploring creative process and identity. Until November 15. NATIONAL PORTRAIT GALLERY

Headspace 9

Fame Trivia


Karaoke Night


thursday october 1 Arts

Drawings from Indochina

By Helmut Loofs-Wissowa. Until Oct 15.

Copy Cat: Fakes Forgeries and Appropriations CCAS Members Show. Until Oct 4.


Live JW Sparrow’s EP Launch With Tiiny Vipers (US) and Guy Blackman. $10, 8pm.


Vorn Doolette & Andrew Walker Live at the Phoenix. Free entry. THE PHOENIX PUB

Live Jazz

Live music every Wednesday lunchtime at Biginelli Espresso. 12.45-2.15pm. ANU SCHOOL OF MUSIC

Wednesday Lunchtime Live

Talented young pianists perform the works of Rollin, Pescetti, Bach, Beethoven and more.


Indie, alt, dance and electro with residents Skullss, Veda, Celebrity Sextape, Relay and M.E.R. $5.



Girl Thing with DJ Tori Mac

BAR 32

Nathan Frost knightsbridge


Ladies only from 9. The boys can join in after 1am.







Pyramid Tour featuring the Trivs.

Canberra’s weekly alternative club night with two levels of DJs playing rock/ indie/dance/punk/pop.

Minifauna #2

Downtown Brown

Johno Zilber & The Feldons

Tom Ugly EP tour TRANSIT BAR

Final fundraiser for Megafauna featuring The Red Vest, Looking Glass & Leisure Suit Lenny. THE BASEMENT

The Wishing Well

Supported by Little Sister.


Domus Adultus

Featuring Jason Recliner, Duncan Sergeant, Manouche a Trois (Melb) & Arythmia. HIPPO LOUNGE

The Culprits



Birds Love Fighting Records present indie bands Cat Cat, Silver Spine Trio & Tic Toc Tokyo.

Charles Chatain

Something Different Nick Cave: The Reader

Discover what Nick Cave has on his bookshelf. Bookings: 6262 1271 or nla. . NATIONAL LIBRARY OF AUSTRALIA

‘Hot Five’ Comedy Competition

Late Night Laughs

Part of the Tilt Comedy Festival. P J O’REILLY’S, CIVIC


DJs Peter Dorree and Matt Chavasse.




Part of the Tilt Comedy Festival. Part of the Tilt Comedy Festival.

friday october 2

Chrome’s Salem, Slealth.Elf & MetaVirus joined by American spooky dance outfit God Module.

Full Frequency presents US house and techno producer Claude VonStroke. $15. Tix through Moshtix.

Explores the motifs in the artwork of four sisters.

Something Different


Chrome feat. God Module


Claude Von Stroke




Karaoke With Grant

Four Sisters Exhibition Opening

BAR 32

2 pizzas and a pint $15 all day. Get fed and watered and still have change for pool. Result.


Candy Cube


$5 Night @ Transit

Carry On Karaoke



OBEY Shepard Fairey Posters



driven adventure about a guy named Eddie wanting to reconnect with his blackfella roots.

The opening of Aida Tomescu’s first major survey exhibition. DRILL HALL GALLERY, ANU

25 of Fairey’s posters, best known for his iconic poster Obama/Hope. Until Jan 17.

Cash prizes and 2 for 1 basic spirits and tap beer. DJ Peter Dorree from 11pm – 5am with FREE pool.

Aida Tomescu: Paintings and Drawings

Self identities - making connections. Exhibition of student self portraits. ‘Til Nov 15. NATIONAL PORTRAIT GALLERY



Live at the Phoenix. Free entry. THE PHOENIX PUB


Live at Filthy’s. Free Entry.



Dan Banks Band

Contemporary folk, blues and roots band from Melbourne showing off their new material. $10 entry. THE FRONT GALLERY AND CAFE

Adam Hole and Marji Curran ORIENTAL HOTEL



Special K


After Work Jazz From 5 to 8pm


Something Different Blink Comedy Singles Night

Enjoy the lighter side of dating! Part of the Tilt Comedy Festival. CASINO CANBERRA

saturday october 3 Arts Arc: Stone Bros.

Stone Bros. is a deadly new comedy from writer/director Richard J Frankland. It’s the first feature length indigenous comedy to hit Australian cinemas. It’s an irrepressible, character


On their Head of the Hawk tour, with The Jezabels. Tix through Ticketek. ANU BAR AND REFECTORY

Spicy Fruit Chutney TUROSS TAVERN

Catherine Traicos

The Amazing national tour.





DAY PLAY Gorman House Markets GORMAN HOUSE

sunday october 4 Arts Swan Lake

Presented by the Imperial Russian Ballet Company. Bookings: 6275 2700. CANBERRA THEATRE CENTRE

Dance Cube Sunday

Party on after the weekend is over with DJ TJ from 10 ‘til late. Free pool. CUBE NIGHTCLUB

GIG GUIDE Oct 4 - Oct 10 Chuse Jazz Tuesdays




On their Seizures tour, with special guests Regular John. www.kisschasy. com .

Something Different

Canberra’s newest electronic jam night. Bring laptops etc, CD samples etc. .

Hecklers Competition

Late Night Laughs

Greg Carlin



Open up your pipes and murder the classics for your chance to win big.



Greg Carlin performs live while you grab a coffee and browse the bookshelves.

Peter Harrison

Part of the Tilt Comedy Festival.

TNT: Tuesday Night Tunes (Karaoke)


Part of the Tilt Comedy Festival TRANSIT BAR

Fame Trivia


Karaoke Night


Peter Harrison performs live while you grab a coffee and browse the bookshelves.


The Wedded Bliss

From 7:30-10:30pm


Dan Banks Band

Pot Belly Trivia

Hoods by Angela Beitzen


Trivia Night


Live at the Phoenix. Free entry.

The Woohoo Review Gypsy Rock.


Dragon Dreaming Festival

Three days of music, arts, food, cinema, and a whole lot more! Until Monday Oct 5. . check website for locational

monday october 5 live Bootleg Sessions


tuesday october 6

Trivia Night


Fame Trivia


Trivia Night


wednesday october 7 Arts

Maryann Mussared



Hoods by Angela Beitzen

Presented by The Street’s Made in Canberra and Northern Rivers Performing Arts. THE STREET THEATRE

Live Deez Nutz

With Miles Away, Antagonist AD, In Trenches and Blkout!.


Live 60’s influenced rock from Melbourne that love to jive and vamp.

Cash prizes and 2 for 1 basic spirits and tap beer. CUBE NIGHTCLUB knightsbridge

The Rumjacks

Punk at the basement with The Rumjacks, Honswagglers, All in Brawl and Hoodlum Chaps.


Supported by Pollen Trio.



Make their fourth trip to Australia, with Orange County’s Stick To Your Guns and Brisbane’s Against . TUGGERANONG YOUTH CENTRE



Three geezers boldly go where no amphibious landing craft has gone before. $5 entry.

The Wedded Bliss

Domus Adultus

Diesel: Hits and Blues Tour


Free live entertainment during happy hour at Old Parliament house. OLD PARLIAMENT HOUSE

Joel and Shredder



Something Different

Live at the Phoenix. Free entry.

Live Jazz

Live music every Wednesday lunchtime at Biginelli Espresso. 12.45-2.15pm. ANU SCHOOL OF MUSIC

Ladies Sing

With Kara Youngentob, Diana Baldry and Alice Cottee. Entry by donation. THE FRONT GALLERY AND CAFE



Circus Oz

Barely contained.


Drop Bears

Something Different Circus Oz

Barely contained.

Barely contained.


‘Hot Five’ Comedy Competition

With Australia’s number 1 Kevin Rudd impersonator: Anthony Ackroyd.


Part of the Tilt Comedy Festival. P J O’REILLY’S, CIVIC

friday october 9

Something Different


Filthy’s Muso Night


Captain My Captain

Circus Oz



Legendary Aussie rocker Diesel embarks on a national tour. Tickets $30.

THE canberra centre

Trivia Night

Black Cobra


Featuring Jacquie Nicole, Sean Smeaton, Matt Dent and the Real Men & Ah! Pandita.



Fats Homicide

Presented by Bell Shakespeare.

Canberra’s weekly alternative club night with two levels of DJs playing rock/ indie/dance/punk/pop.


Hoods by Angela Beitzen

The Taming of the Shrew









Presented by The Street’s Made in Canberra and Northern Rivers Performing Arts.

Germany’s Butch brings chunky techno to Transit.

Presented by The Street’s Made in Canberra and Northern Rivers Performing Arts.

Let’s Paint TV

Live Australian tour with John Kilduff.

Llik Llik Llik feat. Butch

Fearless Vampire Killers

Faux Real

Arts An exhibition of installation work in which books are transformed into sculptures.

thursday october 8


Arts Hoods by Angela Beitzen

Presented by The Street’s Made in Canberra and Northern Rivers Performing Arts. THE STREET THEATRE

The Big Comedy Festival Finale CASINO CANBERRA

saturday october 10 Arts Hoods by Angela Beitzen

Presented by The Street’s Made in Canberra and Northern Rivers Performing Arts. THE STREET THEATRE


GIG GUIDE Oct 10 - Oct 14 Templestowe Album Launch

Dance Effigy presents Matt Rowan

Sydney-sider Matt Rowan heads south for a very special night in the ACT. HIPPO LOUNGE

Candy Cube

With Five Star Prison Cell, In Malice’s Wake and Tortured. Entry $10/$25 with Templestowe Digipak. THE BASEMENT

The Trivs

Supported by Girl Sized Hands. Gold coin entry.

With DJs Peter Dorree and Matt Chavasse.



Black Ice

Strangeways DJs

Classics/mashes/remixes/A-more/Bmore/C-more/Pop. TRANSIT BAR


Something Different

monday october 12 live Bootleg Sessions


tuesday october 13 live Paprika Balkanicus

Something Different Jumptown Swing

Learn how to lindy hop and swing. No experience or partner required. $12 per class. HARMONIE GERMAN CLUB

TNT: Tuesday Night Tunes (Karaoke)

Open up your pipes and murder the classics for your chance to win big. TRANSIT BAR

Trivia Night



Europe’s number one selling world music act visit Canberra on their east coast tour.

BAR 32


John Harkins

Pot Belly Trivia


Gorman House Markets


Circus Oz.

Barely contained

Indie, alt, dance and electro with residents Skullss, Veda, Celebrity Sextape, Relay and M.E.R. $5. knightsbridge



sunday october 11

Where’s Jarome

Live at the Phoenix with Hoodlum Shouts & Haunted Attics. Free entry.


Big Daddy Esch with Cris Clucas

Ruth Maddison pushes the boundaries of her photographic practice in content and technique.


Ruth Maddison: There is a Time



Irish Jam Session



Shannon Noll & The Screaming Jets

Hip Hop is Here 09

An eclectic showcase of songwriting prowess and engaging performance.


Chuse Jazz Tuesdays

Party on through the end of the weekend with DJ T and free pool. CUBE NIGHTCLUB

OUT oct 14

stonefest gomez

deadmau5 oh mercy

kate millerheidke



wednesday october 14

Deline Briscoe, The Medics & Radical Son join forces for a unique collaborative east coast tour.



Cube Sunday

Trivia Night





See two of Australia’s biggest live acts on one night during their Dirty Rocking Scoundrels Tour.

Hoods by Angela Beitzen

Nothing but raw hip hop pumping through the night.

Trivia Night





Fun Machine perform live while you grab a coffee and browse the bookshelves.

Presented by The Street’s Made in Canberra and Northern Rivers Performing Arts.

From 7:30-10:30pm

John Harkins performs live while you grab a coffee and browse the bookshelves.

The Wedded Bliss

Fun Machine

Fame Trivia

Free open-air set.


Groundswell Tour 09


Speakeasy Fringe Club

Local, original contemporary music... but not as we know it. THE STREET THEATRE


SIDE A: BMA band profile

Loud So Clear

Where did your band name come from? Loud So Clear is an At The Drive In lyric and was inspired from one of their live shows. Four songs in, they walked off stage because the crowd were going nuts! The band claimed they weren’t a soundtrack to violence, however we think it was the raw enthusiasm from the band that inspired us to create energy to the same effect at our live shows. Group Members? Chunky (vocals/witch’s hat), Gruz (guitars/vocals), Tommy (bass) and Nak (drums). Describe your sound? Harder edge alt rock with a few subtle blues influences. The aim is to cause ears to burst, limbs to implode and eyeballs to spontaneously combust. Who are your influences? Pearl Jam, Faith No More, At The Drive In, QOTSA, Led Zep, RATM and Blue Bottle Kiss. But artists like Dan Auerbach, Jack White and Jamie Hutchings (Blue Bottle Kiss) inspire us lyrically. What’s the weirdest experience you’ve had whilst performing? Seeing some punters perform the electric boogaloo, just like the old ‘80s breakdancing arm wave... which strangely mixed well with our typical style mosh movements. What’s your biggest achievement/proudest moment so far? Releasing our first EP and getting our song CiKWA on Canberra’s one and only Hard ACT to Follow. compilation What are your plans for the future? Getting our self-titled EP out to as many punters as possible and playing more shows in and out of Canberra. Longer term would be to get back into a studio. What makes you laugh? Tom’s West Country accent and his tales of his tractor are bound to get anyone laughing. “They will they were they was.” What pisses you off? Reality TV, The Ting Tings, boat shoes, guys wearing pink t-shirts with popped collars. What’s your opinion of the local scene? Great bands and plenty of them! Unfortunately there’s a severe lack of venues and the general public doesn’t realise the musical talent that this city holds. What are your upcoming gigs? We’ve got plans to tour around the east coast. More Canberra acts are being finalised as we speak. Contact Info: Nathan on 0403 563 800 or email .


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, Alcove Mark 0410 112 522 Alice 0423 100 792 Allies ACT (Oxfam Group) Amphibian Sound PA Clare 0410 308 288 Amplif5’d Classic rock covers band Joy 0407 200 428, 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/ Backbeat Drivers Steve 0422 733 974, Big Boss Groove Andrew 0404 455 834, Birds Love Fighting Gangbusters/DIY shows - Black Label Photography Kingsley 0438 351 007 Blister Bug Stu 0408 617 791 Bridge Between, The Rachel 0412 598 138, Bruce Stage mgr/consultant 6254 9857 Caution Horses Nigel 0417 211 580 Chris Harland Blues Band 0418 490 640 Clear Vision Films rehearsals/film clips/stunts - 0438 647 281 Cole Bennetts Photography 0415 087 833/ 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 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, Entity Chris 0412 027 894 Epic Flagon Final Lies Dan 0413 784 941 final.lies@ Fighting Mongooses, The Adam 0402 055 314 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, Funk Shui Dave 0407 974 476 Gareth Hailey DJ & Electronica 0414 215 885 GiLF Kelly 0410 588 747, HalfPast Chris 0412 115 594 Hancock Basement Tom 6257 5375, Happy Hour Wendy 0406 375 096 Haunted Attics The Heroines Belle 0417 453 811, Hitherto Paul 0408 425 636 Infra Retina Kyle 0437 137 775/Michael

0425 890 023/ 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/ Jenn Pacor singer/songwriter avail. for originals & covers, 0405 618 630 Jim Boots 0417 211 580 Johnny Roadkill Paulie 0408 287 672, Karismakatz DJ Gosper 0411 065 189/ Kayo Marbilus Kurt’s Metalworx (PA) 0417 025 792 Little Smoke Sam 0411 112 075 Los Chavos Andy 0401 572 150 Manilla Green Herms 0404 848 462,, Mario Brujo Gordon world/latin/ reggae/percussionist and DJ. 0405 820 895 Martin Bailey Audio Engineer 0423 566 093 Mercury Switch Lab Studios Missing Zero Hadrian Brand 0424 721 907 Moots Huck 0419 630 721 MuShu Jack 0414 292 567, 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, 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 Simone Penkethman (Simone & The Soothsayers, Singing Teacher) 6230 4828 Soundcity Rehearsal Studio Andrew 0401 588 884 Solid Gold Peter 0421 131 887/ 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 The Morning After (covers band) Anthony 0402 500 843/ Tiger Bones & The Ferabul-Zers Danny Tim James Lucia 6282 3740, Top Shelf Colin 0408 631 514 Transmission Nowhere Emilie 0421 953 519/ transmissionnowhere Udo 0412 086 158 Undersided, The Baz 0408 468 041 Using Three Words Dan 0416 123 020, Voodoo Doll Mark 0428 650 549 William Blakely Will 0414 910 014 Zero Degrees and Falling Louis 0423 918 793 Zwish 0411 022 907



BMA Mag 334 01 Oct 2009  

Canberra's FREE Entertainment Guide

Read more
Read more
Similar to
Popular now
Just for you