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4 We’re back and ready to hit you in the face with free stuff. Send answers to
firstname.lastname@example.org for some sweet, sweet lovin’, streetpress style.
1 going solo The Soloist is the emotional, heart-warming true story about the redemptive power of music for two lost souls. It centres on the relationship between a Los Angeles journalist and a once prolific classical musician, who through illness has fallen on hard times and is now living down and out on Los Angeles’ Skid Row. The bonding power of music comes to the fore when Journalist Steve Lopez (Robert Downey Jr) discovers Nathaniel Anthony Ayers (Jamie Foxx), a former classical music prodigy, busking on the streets with his two-string violin. We have seven copies of the DVD to fling your way. To win, tell us about the best busker you’ve ever seen.
2 manly shanties Fred Smith. Many deadpan men in black. Crazy eh? But god it actually works! It all started in the session bar at the National Folk Festival. You can imagine the rest. Well, just in case you
can’t, they made an award winning CD together called Urban Sea Shanties, so you don’t miss out on this poignant hilarity from a unique songwriter and his mates. Fred Smith, along with a Canberra band including Ted from The Fuelers, is bringing the odd but much loved Spooky Men’s Chorale to our fair town for one night only on Friday January 29 at The Playhouse. To celebrate, we’ve got their CD and a very spooky T-shirt to give away. To win, tell us Fred’s hometown (and your T size) for your chance to be a Spooky Man in your own lounge room.
3 Here Comes September
4 EURO Flicks
Madman proudly presents the DVD release of The September Issue, the revealing and intimate documentary that explores the highs and lows, the teamwork and the tantrums that go into the creation of Vogue Magazine’s iconic, annual September issue. The film takes viewers beyond the gloss and glamour and delves deep into the sacrosanct world of the globe’s most influential tastemakers. We have five copies for you fashion hungry pumpkins. To score, all you need do is send us a pic of the wost (or best) get up ever.
The Windows on Europe Film Festival returns for its fourth season, bringing a dazzling program of award winning films to screens across Australia and NZ. This year the festival takes cinema lovers on a tour across 17 countries, with films spanning drama, romance, thriller, comedy and documentary. The program reflects a great mix from the past five years, and also includes a few older European classics. We have five doubles to any sesh of the fest (excluding opening and closing nights). To win, tell us your fav Euro flick.
VINTAGE JUSTIN: October 2007. What’s that saying? ‘There’s always someone better off than you.’ No, that’s not it. But you know what I mean – ‘there’s always going to be someone ahead of you being more successful.’ Hmmm. That’s a bit clumsy. I think it was one of my Nan’s sayings. ‘You’ve got nothing.’ Yeah, that’s it. Admittedly she wasn’t well at the time and was saying it to everyone, but it rang true yesterday. I went around to my friend Josh’s house to watch DVDs. In a boldly idiosyncratic gesture, I grabbed some leftover kangaroo steak (it’s the new beef) and vegetables and put them in a plastic bag with intent to cook over at his house. I added butter, salt and parsley to the potatoes, shook them around, and dished up. Josh popped on The Boosh series two. I chewed and chewed, but suddenly everything tasted desperately plain. I was already plum jealous of Noel Fielding and Julian Barratt. Series one had firmly established itself as a groundbreaking, aggressively playful, genre-bending maelstrom of whimsical, cerebral dialogue, pseudo schlock horror, boldly surreal plotlines, dangerously accomplished music and two of the coolest, most likable and effortlessly hilarious stars since The Goodies and Monty Python’s love children formed a spinoff that only screened on the channel of your dreams. And now, the bastards have gotten better. As I watched the dramatically natural progression in script and music production values, my face grew as pink as my steak, a mixture of rage and embarrassment. Another friend had once spoken of this experience. The concept of enjoying a piece of art so much it made you depressed, at the realisation that under no circumstances will you ever be able to create something as good. (His weakness had been the film Magnolia, which he could not bring himself to take out of its plastic cover. He hadn’t even watched it, based on the inkling that it could destroy him.) This theory could be criticised as being pathetically defeatist and self-obsessed. Why on earth would you make someone else’s artistic triumph all about yourself? Surely part of the basic quality of life is being able to spectate comfortably from the couch of perspective eating a warm meal of self-assuredness? Surely. Surely no one is that needlessly insecure and fallible. Yep. Captain Jealous and Inferiority Boy were in full swing. I suddenly felt real lame. The Boosh was so funny, clever and aesthetically on the pulse that it ripped through the library of my mental back catalogue like a cyclonic psychedelic tidal wave of English brilliance, leaving my meagre writings and primitive songs sodden and scuffed. They had made the art that I would have made if I was them! For God’s sake. Think about that! As if their characters and unassuming dialect isn’t enough, even their music is better than mine – AND MUSIC ISN’T EVEN THEIR GENRE! That’s just… rude. There’s always going to be someone more successful than you. Whether it’s that band, that actor, that guy at work, that cousin – it’s a universal law, right down to Pluto getting jealous of Earth because its bigger and more popular. At the very least it makes us realise that we’re always striving to improve ourselves, and are generally just needy little egomaniacs. Was that the point? I’ve forgotten. I’ve gone wrong. I’ve gone wrong in the mind tank. JUSTIN HEAZLEWOOD www.bedroomphilosopher.com Justin performs as The Bedroom Philosopher and writes for Frankie, Jmag and The Big Issue.
BAM! Get a new decade up ya!
# 3 4 0 J A N 2 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: email@example.com Editor Julia Winterflood T: 02 6257 4456 E: firstname.lastname@example.org Accounts Manager Ashish Doshi T: 6247 4816 E: email@example.com Sales Executive Danika Nayna T: 0408 657 939 E: firstname.lastname@example.org Super Sub Editor Josh Brown Graphic Design Natalie Runko Exhibitionist Editor Naomi Milthorpe Film Editor Mark Russell Principal Photographers (The Flashbulb Posse) Andrew Mayo Nick Brightman NEXT ISSUE 341 OUT FEB 3 EDITORIAL DEADLINE JAN 25 ADVERTISING DEADLINE JAN 28 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.
Sydney five-piece Dusker bring their bright eyes and harmonies to Canberra for the very first time, playing Phoenix on Saturday February 6. Drawing artfully from folk and indie rock influences, they have a nest full of buzzy songs gearing up to promote and showcase their latest EP We Flew Into The Updraft. Headlining are local indie rockers and selfprofessed mongrels Waterford, and opening the evening is Voss, who are folk sometimes and sometimes more rock and roll, but mostly something in between. It all kicks off at 8pm and entry is absolutely free.
Local Love Ever been looking for that needle in a haystack local EP or album of that band you saw last Friday but now can’t find it amongst Lady Gaga and Led Zep? Look no further! Renowned local DIY record labels Birds Love Fighting Records and Hellosquare Recordings have a front counter display at Smith’s Alternative Bookshop, Alinga St. Fabric and card CD sleeves sit snug amongst the coffee and books and you may find gems such as Spartak, The Gashes, JW Sparrow & the Miner Birds, Pollen/Austin Benjamin Trio and Klumpes Ahmad, plus more as the collection grows this year.
Back to the Future Australia’s award-winning Future Music Festival gears up to take 2010 by storm with another all-star lineup of the planet’s hottest music artists including The Prodigy, Empire Of The Sun, Franz Ferdinand, Booka Shade, John Digweed, Sven Vath, David Guetta, Erick Morillo, Dubfire and more. Celebrating the ultimate sounds of tomorrow and today, this grandiose event is a ten hour sonic boom and rivals any major festival experience on the planet. The festival tours the nation in March to coincide
with the Sydney Mardi Gras, boasting seven genre-busting arenas, each identifiably unique in theme, structure and aesthetics, featuring over sixty outstanding live artists from around the globe and blending some of the biggest names in electronic music with the brightest stars of hip-hop, pop, indie and beyond. It’s happening in Sydney on Saturday March 6 at Randwick Racecourse. For more info head to futuremusicfestival.com.au. We’ll see you there, disco pups!
I Party, Therefore I Am Party By Jake is a culture for the stylish - a way of life for the indie dance music lovers and fashion savvy party folk of Canberra. Get to know Party By Jake. They will throw parties that are not just about the DJ, but also about the people on the dance floor, the clothes they wear and the minds that pioneer style. Their premier event Heartbeat will launch at Transit Bar, date TBA. This monthly party will involve some of the coolest breakthrough DJs and street fashion labels Australia has to offer. Stay in the loop and join the Party By Jake facebook page and twitter... if you’re into that sort of thing. Party By Jake = a way of life.
Hey, Frenchie! Gold Coast band A French Butler Called Smith are heading to Canberra on their national album launch tour of their debut album The Milkdrop Circus. Their music is an original blend of Latin, funk, gypsy and world roots that is guaranteed to get you up dancing and leave you in a pool of sweat by the end of the night. They’re playing The Front on Wednesday January 20. 8pm, $10 entry.
We’re Jammin’ Following its successful debut in 2009, the Australia Day Jam returns for another year with more rocking Canberra bands to provide an awesome atmosphere for Australia Day in Commonwealth Park. Local bands Hancock Basement,
Zero Degrees and Falling and Los Capitanes will take to Stage 88 in Commonwealth Park to entertain the crowd on Tuesday January 26. The BMX bandits of Monster Park will again feature to provide hours of entertainment, conducting BMX and skating demos and clinics for patrons, with some pro skaters. Fun for all the family, so come on down.
Giddy Up! Their debut LP Harum Scarum was BMA’s Album of the Week back in September and also came in at #4 on your humble Editor’s Top 10 Albums of 2009. Now Joe Gideon & The Shark are touring Australia, and you can bet your sweet bippy we’re excited. They’re stopping by The Sandringham Hotel in Newtown (yep, the one that God drinks down at) on Thursday February 18. JG&TS dispense a roaring set of dark, edgy blues-infused rock, with fantastical, complex and often hilarious spoken word narratives. Gideon plays guitar, dreams stories and speaks/ sings, his lyrics a morass of fifth year psych papers and real-life pulp fiction. His kid sister Viva, aka The Shark, plays drums, piano, effects and vocals, often all at the same time. As Adrian Threadgould esposed in his Album of the Week review, “it’s like a rattlesnake armed with a wink and a nod.” Let’s hope their bite is as big as a shark’s.
YOU PISSED ME OFF!
May I take this opportunity to welcome you to 2010. No? Well, I’m going to anyway, and what a year it promises to be. Stryper are coming to Australia, which would be excitement enough were it not for the fact that 2010 is a World Cup year AND an Ashes year – one is already clutching one’s breeches with excitement, and one hasn’t even taken into account the fact that the boy Sko is getting married this year, with all the inherent ‘buck’s’ madness that will entail… Will there be a sober day in 2021? I mean 2010, sorry – I’m typing this, in the middle of a heatwave, already several cans to the good although it isn’t even halfway through the first Dog Watch, and the digits occasionally lag behind the brain. But enough of this expectant salivation. In the hurly-burly of 2009’s end, with its tales of seed-fuelled anarchy in the skies and all the other standard-issue goodwill to all men going on roundabouts, your correspondent completely neglected to tell you about a remarkable album that had been seeping into his brain since before he’d commenced his epic sojourn in the motherland; to whit, Revisions by American prog-metallists 3. Not, of course, to be confused with the popular mobile communications providores, 3 are actually a monstrous confection centred around guitarist/songsmith Joey Eppard, and Revisions is a fresh look at some of their earlier work in a newly-recorded light (hence the title – keep up!). Now as regular consumers of this column will know, I’ve been listening to music for more years than any of you care to remember, and I can’t think that I’ve ever heard the likes of this before. In terms that the young people will unnerstan’, this is an album that comes on like a snakier, sleeker Coheed and Cambria (which shouldn’t come as a surprise, I suppose, when you discover that Eppard’s percussive sibling, Josh, played drums for said progressive maestros): but that only goes some way to filling you in on what’s going on here. Opener Anyone Human proves that you can, remarkably, combine Tool with Toto to devastating effect, whilst its follow up, the insanely divine The Better Half, nicks the chorus from Blink 182’s All the Small Things and tacks it on to another gorgeous piece of ‘80s teen-flick soundtrackerama in a way that’ll have you rolling up your jacket sleeves to the elbow and gyrating, Thriller-like, in the streets. There really aren’t words enough to describe the splendiferocity on offer on Revisions. Like Kerplunk – or indeed any board game from the Milton Bradley stables – there’s something to appeal to all comers, whether they be aged eight or 80, and lovers of the good stuff all over the Nation’s Capital should be heading to their music emporium of choice NOW to partake of its Ambrosial goodness. Don’t miss out. And once again, please accept my apologies for the tardiness of this information. There. I’ve nearly made it through to the end of 2010’s first instalment of AAT, and all without a drop of the booze sullying the keyboard. Is this a good omen? I’m no Delphic purveyor of prophecy but I’d like to think so. And so, with the percussive, flamenco stylings of 3’s Lexicon of Extremism providing a suitably hard driving, not to say dramatic soundtrack, can I just welcome you once more to the first year of a new decade. It’s going, I think, to be massive. Let’s go to work! scott adams email@example.com
Has someone yanked yer chain recently? Well send an email to firstname.lastname@example.org and have your sweet vengeance. And for the love of God, keep it brief! [All entries contain original spellings] Dear ex-housemates, Thanks so much for deciding to move out in the last few weeks of submitting my thesis, that was fucking excellent. I would also like to thank you for taking all of the accounts in the house with you because it was cheaper for you to do that- not only did I get everything cut off, had to spend 100 hours on my mobile to fucking gas and phone companies, but I also have to re-pay the set up fees I paid when we had the accounts set up in the first place. Extra thanks for having PDAs in the loungeroom when I broke up with my boyfriend earlier in the year, and thanks for taking over the house in general- as a couple, I guess you were entitled to it. I hope that you live happily fucking ever after in your mundane fucking pointless existence.
FROM THE BOSSMAN So what is this, like, the ‘10s or something? The oh-tens? The tweens? I’ll say this now, don’t you fucking come at me with the ‘tweens’. I will hurt you, sir. The ‘tens’ are the decade time forgot, so we’re currently lounging in some kind of terminology limbo. Once we get to the ‘20s we’re right back on track again. ‘30s, ‘40s, ‘50s… we know the score there. So much so each decade of the 1900s has its own epithet; the roaring ‘20s; the swinging ‘60s; the forgotten ‘40s (as they’re known in Germany). So welcome, one and all, to the ‘vaguely defined ‘10s’. I can see us all now in the far future – slack of jowl and turkey-necked, face like a crab’s bus ticket, little Tarquil* resting patiently on the knee for his weekly visit to pop-pop, watching as we cast a misty eye back to this time. “Ahhhh yes Tarquil,” we’ll cry in gravelled voice, casting a hand across the sky to paint an invisible landscape. “I remember the vaguely defined ‘10s alright. Actually no, I don’t.” Good to have you back, you gorgeous creatures. Let’s make this decade one to half-remember. ALLAN “HEY AL, ENJOYING THE TWEENS SO FAR?” “IMA KILL YOU!” SKO *one thing’s for certain; names will get increasingly stupid as time wears on.
WHO: Live Evil WHAT: Heavy metal tribute band WHEN: Fri Feb 5 WHERE: ANU Bar
Remember the ‘70s? When Smoke On The Water was new and peace and freedom were within reach? You do? Well, it is time to relive the decade with your life’s metal soundtrack. You missed that era? Then come and glimpse the atmosphere you missed. Canberra based tribute band Live Evil promise rousing anthems with extravagant drum and guitar solos that will have you bringing out all your air instruments. Playing hits from AC/DC to ZZ Top (with Iron Maiden, Deep Purple, Dio, Judas Priest, Ozzy Osbourne, Rainbow and Black Sabbath in between). Dust off your cut-off denim jacket, don some tight jeans and relive the past. Tickets are $15. JESSICA CONWAY
WHO: Diego Guerrero WHAT: Flamenco, Bossa, Tango, Cuban Son WHEN: Sat JAN 30 WHERE: The Playhouse
Some music pulls on your emotions like a doll by a puppeteer’s hand, and Diego Guerrero has a way with strings. The Spaniard, accompanied by a top notch Latin and jazz quintet, will create a canvas of musical contrast lifting flamenco’s mood with the vibrant and raw sounds of Cuban Rumba. Guerrero is supported by Brazilian singer Alda Rezende and Canberran quartet Los Jovenes Del Tango. The audience will be treated to what is promised to be an unforgettable tango by Canberran duo Gary and Yuko. Tickets are $45 and concessions and under 27s are $35. JESSICA CONWAY
WHO: Fred Smith & the Spooky Men’s Chorale WHAT: Sea shanties girt by humour WHEN: FRI jan 29 WHERE: The Playhouse
The last time I attended the Folk Festival, I was rudely awoken one morning (after killing my body with alcohol) by a small boy in a fairy costume palming a sausage. Now, the last time Fred Smith attended the Folk Festival, he performed a triumphant gig to over 2,000 keen chaps alongside all 20 members of the Spooky Men’s Chorale - your dad’s knickers probably got thrown on stage. Imagine dying on a life raft - but it’s fun! Chuck some rock, swamp and innovative humour in there and you have a gig from Canberra’s favourite gentleman to attend. TRAVIS HEINRICH
WHO: Good samaritans and film lovers WHAT: Sherlock Holmes fundraiser WHEN: wed Jan 27, 6pm for a 6.30pm start WHERE: Dendy
Feeling like a film and doing something good at the same time? One Canberra girl is raising funds for the Indian Ocean Project, which will see her help the impoverished women and children of India. The aim is to help the world’s most vulnerable people to become empowered and educated, as education and empowerment are the best tools in the fight against poverty. And to help, all you have to do is see the latest Guy Ritchie film, Sherlock Holmes. Tickets are $16 and can be bought in advance or on the night (includes nibbles before the film).
WHO: YOU, you scamp! WHAT: O YEAH! WHEN: WED FEB WHERE: University of Canberra
Toga parties are so last year. In 2010 the hottest date for your O Week diary is O Yeah! at UC. To celebrate the launch of UC Live, they’re hosting this totally free one day festival from 11am-3pm. Headliners are none other than Sydney delights The Paper Scissors (pictured), with support slots being filled by Cuthbert and the Nightwalkers, locals Hancock Basement and Hoodlum Shouts, and Strangeways DJs for all the dancing in between. There’ll be food, fun and sun as well - so what better way to get yourself into the academic swing than by heading to O Yeah? KATY HALL
WHO: You, you delightful Canberrans! WHAT: Multicultural Festival WHEN: 5-7 February WHERE: Garema Place and Akuna Street
Once again, the stinking hot month of February rolls around, and brings the delightful Multicultural Festival with it. This year it’s short and sweet, with three days of non-stop music, dancing, and of course, eating taking over the city and carparks once again. The opening night slot has been saved for four incredibly talented lasses; Deni Hines, Melinda Schneider, Emma Donovan and Paulini. If you’re really feeling daring, learn to belly dance or salsa the night away, with one of the free workshops on offer. For more information check out www.multiculturalfestival.com.au, as there’s bound to be something for everyone. KATY HALL
h c u o T n e d l Go justin hook From where he’s sitting, POWDERFINGER guitarist Ian Haug sees clouds on the horizon. “Yeah, I’m watching a massive hailstorm coming in. It’s gonna be a good one.” With their career swiftly approaching the two decade mark, Powderfinger are facing the first serious rumours of going their separate ways. But evidence suggests the exact opposite. The recently released seventh album Golden Rule isn’t a valedictory last lap around for the true believers – it’s the sound of a band re-energised, re-focused and relaxed. And in-between shooting promos amongst 30,000 firecracker-throwing mad Thais in Chiang Mai, headlining Homebake and co-headlining the Big Day Out (their seventh appearance) this coming summer, this is not the sight of a band taking it easy. Clearly, Powderfinger have settled into their roles as near-elder statesmen of the Australian music scene, happy to do whatever pleases them, as Haug explains, “Yeah, it’s good. We’re in the fortunate position where we don’t even give demos to the record company or anything like that. They pretty much trust us doing what we’re doing. We certainly don’t follow fashions and I don’t know that we set fashions – we just do whatever we feel is right for a particular song and when we do look at the bigger picture all we do is try to make songs work together as an album.”
We certainly don’t follow fashions
In this case it meant getting Nick DiDia (Pearl Jam, Neil Young, Local H) back into the fold after a five year, two album absence. The result is a more focussed collection of songs, and a demonstrable step up from 2007’s meandering and tired Dream Days at the Hotel Existence. Haug suggests DiDia is more than just a little bit responsible for that. “He encourages us to push the envelope a bit more. He’s pretty quick to decide when something’s not working, committing to things early rather than saying ‘we’ll record that and work it out later… let’s work it out now.’ It means you don’t end up recording just to wait and see what happens.” It also meant that many of the rhythm tracks also made their way onto the final cut untouched, lending the album an “out-of-control-ness” according to Haug. DiDia also imposed a sense of discipline for the band, encouraging them to rely on gut instinct. “You wanna make something fresh, and we certainly feel that listening to it ourselves we figured that if we enjoyed listening to it – then other people would too. He [DiDia] knows where we’re heading and he won’t let us repeat ourselves.” Of course there are natural limitations. “We’re not going to go all hip-hop on our audience. That’s not what we’re good at.”
Golden Rule also revels in some other classicist rock moves. Firstly, Haug looks at the album in two distinct halves. “Yeah, totally old school, like two sides of vinyl. It has a longer gap in the middle and that’s sort of where side two starts.” It’s therefore not surprising to learn Haug is a devoted vinyl fan. “I’ve always liked vinyl. It’s something substantial you can hold and has decent sized artwork that you can put on your wall. Or whatever. Oh and picture discs – I love them!” Powderfinger’s last three records have been released on vinyl and, by the sounds of it, the band are hopeful they’ll get around to releasing their back catalogue on vinyl at some stage in the near future. The other classic element of Golden Rule is somewhat related – the album artwork. That gorgeous opaque, liquid distilled, washedout bird is the work of legendary British graphic designer Storm Thorgerson, who has created some of the most iconic album covers of all time. Start with Pink Floyd’s Dark Side of the Moon and work your way through Peter Gabriel’s melting face on 3 to Led Zeppelin’s Houses of the Holy and, well, you get the idea. Haug enthuses, “you know we’ve had quite a lucky run on this record. We had just finished making the record and he [Thorgerson] was having an exhibition in Brisbane and a couple of us went along and we thought we should just ask him if he’s interested… it can’t hurt to ask after all. But he doesn’t just do it for anyone. So his offsider came out and hung with us for a while to see where we were coming from, then we got sent shitloads of emails with different ideas.” The band collectively voted, as is the norm with everything within Powderfinger Inc., and settled on the psychedelic bird as “it one was one of the more restrained options” which is something of a win considering Thorgerson’s preferences for the overblown. Indeed, as Haug continues, “one of the concepts he was pushing us towards was a massive junk made of rubbish and we thought ‘fuck, that’s gonna be expensive’ and he kept on talking about this ‘controlled random’ thing in the emails, whatever the fuck that means! We weren’t really sure we understood what he was talking about.” But like the music, they are ecstatic with the results, and besides there eventually is a point of no return – “you can’t decide that you don’t like it after you’ve committed.” And that really is Powderfinger in 2009 – willing to take some measured risks, but knowing exactly what works and how to achieve it. Powderfinger are playing the Big Day Out, which is held at Sydney Olympic Park over Friday and Saturday January 22-23. Tickets have sold out!
ALL AGES Happy New Year, dumplings! It seems that 2010 has taken off spectacularly, although unfortunately I cannot say the same about Canberra’s all ages scene at this point in time. It seems that the Boys of Summer Tour brutally smashed open the heavy doors to the 2010 all ages music scene, just to find an empty room. It’s like devouring a delicious Kinder egg with the promise of a constructive toy to follow it, but finding that the egg is hollow, not a toy to be found. Quite deceiving. Luckily Canberra got a more than explosive close to 2009 with festivals like Trackside, Schools Out for Summer and The Summer Rhythm Festival. To ease the pain of January’s music scene, there are many outdoor events planned across Canberra over the next few weeks (with a few snippets of music here and there). The National Film and Sound Archive are bringing back their Summer Outdoor Film Screenings for 2010, due to popular demand. All throughout January and February they’ll be screening a number of classic films in their delightful art deco courtyard every Saturday night. First up on Saturday January 23 you’ll have the chance to see David Lynch’s 1990 film Wild at Heart and on Saturday January 30 you can witness New York Stories, on this night you will see three short films by three of New York’s most acclaimed directors; Woody Allen, Francis Ford Coppola and Martin Scorsese. Allen’s film Oedipus Wreaks has been dubbed one of his finest creations. You will also see Coppola’s Life Without Zoe and Scorsese’s film Life Lessons. These outdoor screenings are a lovely way to spend a Saturday summer’s night. Tickets for each night cost $10 full price and $8 for concession. Of course, as everybody knows, Australia Day is fast approaching. As usual the annual Australia Day Live Concert will be on Monday January 25 at Federation Mall, this year featuring artists Cassie Davis, Ian Moss and Bertie Blackman, with more artists to be announced. This is, as expected, a free event. But don’t let this fool you, if you plan on eating there you’ll wind up paying a good $20 anyway. My suggestion is take your own food and drinks! The entertainment starts at 6pm. If this concert isn’t quite your thing, there is another free Australia Day event just for you. On Tuesday January 26 at Stage 88, Commonwealth Park you can spend your day at the Australia Day Jam in a slightly more energetic atmosphere in the company of Hancock Basement, Los Capitanes and Zero Degrees and Falling, not to mention the skate and BMX demonstrations. And now for the big news… a BRAND NEW ALL AGES VENUE is opening! The Warehouse in Fyshwick is putting itself up as an all ages venue! Their first order of business being to host Capital City Hardcore, a mind blowing hardcore lineup featuring Dead Kings, I Exist, Vera, Reigner, Atlantis Awaits and Observer. Hardcore fans simply cannot miss this lineup. Be there on Sunday February 7 at 1pm, with $10 to buy your tickets at the door. Just to make this deal a little bit sweeter, there is a ‘meat/vegan friendly BBQ.’ Finally a new venue! Perhaps this is a new era for Canberra’s all ages music scene. Time to rejoice, my friends. Hallelujah! Naomi Frost email@example.com
Happy New Year, boys and girls! I trust that you all had a suitably festive and memorable New Year’s Eve. I managed to fit in beer and local music at Pyjamanalia, carbohydrates and fireworks in Garema Place and atrocious improvised cocktails at a friend’s house party. It was the greatest. The Canberra Musicians Club’s NYE event, Pyjamanalia, was a laidback and lovely affair. I was there long enough to see sets by locals Night Parrots, Drew Walky, The Bluffhearts and Cuddlefish, and drink beer on picnic blankets with assorted cool people. If this sounds like your cup of tea, keep an ear out for Backyard Backanalia events throughout 2010. You’ll need to be a CMC member to get the lowdown on when/where each one is being held, so sign up now and be in the loop. Membership costs $50/$20 and you can get all the latest info at www.canberramusiciansclub.org.au . So far, January has been hot. As in, really freaking hot. Thankfully the great minds behind Liquidfest have come up with the perfect antidote: a music festival and a pool party rolled into one. There will be live music from Canberran acts Friend or Enemy and Steady the Fall, as well as Queanbeyan’s own No Assumption, YBD and Corporate Takedown. Liquidfest is on at Queanbeyan Pool on Saturday January 30. The fun starts at 6pm and entry is a very reasonable $10.
Back on this side of the border, The Basement is hosting a night of local rock and metal on Saturday January 30. The lineup includes Paulie the Water Tiger, Na Maza, Tranquil Deception and Robert the Bruce. Entry is $10 and the music kicks off at 9pm. The patriots and public-holiday-aficionados among you will already know that Tuesday January 26 is Australia Day. There’s a ton of free stuff happening around town on the day, including this year’s Australia Day Jam at Stage 88. The gig will showcase great local bands and death-defying skateboarding and BMX stunts. You can catch Hancock Basement at 3pm, Zero Degrees and Falling at 4pm and Los Capitanes at 5pm. Head to www.australiaday.org.au for full details on the day’s events. We at Locality love triple j Unearthed and have downloaded tonnes of great music from the Unearthed website since it was launched. This fortnight I’ve had local lass Cathy Petocz’s song Sylvia on repeat. It’s a sparse and melancholy recording and the understated piano complements Cathy’s vocals nicely. To listen to this track and two others like it, head to www.triplejunearthed.com and search for Cathy Petocz. You can also select the Advanced Search option and opt to view every act from the ACT. The site is a great source of free music, and each time you download or review a track it boosts the artist’s profile, so get online and get clicking. We love local music, and we want to showcase the best of Canberra’s talent in 2010. Email your music news to us and we’ll do our darndest to make your business everyone else’s business. Keep watching this space and have a great year. CATHERINE JAMES firstname.lastname@example.org
DANCE THE DROP There is no time to lament the happenings around town during BMA’s hiatus with loads of quality gigs looming across the coming fortnight. After a recent plethora of successful international gigs the LollyGag crew have decided to set the bar even higher with their inaugural event of twenty ten. Japanese techno master Kazu Kimura returns to Llik Llik Llik on
Saturday January 23 following his booming July set last year. If that isn’t reason enough to hit up Transit, the boys have also secured the services of the legendary Robert Babicz. Babicz is set to perform one of his ‘very live’ sets that involves “playing live for the moment, not for reproduction.” Luke Ellis will make the trip from Wagga to add further weight to the
lineup, in addition to residents Alex McLeod, Biggie and Gabe Gilmour. Make sure you also checkout Sam Turnbull making his Llik debut. With the Xmas/New Year holiday fresh in everyone’s mind it is hard to believe we are on the cusp of another day off. Each year Australia Day evokes unrivalled national pride and also gives rise to obligatory parties and BBQs. After a widely applauded decision to shake up their security staff Pang! will launch the Capital’s festivities on Monday January 25 at Lot 33. The sudden rise of disco as a prominent dance genre over
the past few years has pushed a new group of artists into the limelight. Aeroplane (Belgium) is arguably the best example and Vito de Luca, one half of the troupe, will lay down their signature melodic beats much to the delight of their musically savvy fans. The very strong local lineup includes Hubert, Celebrity Sex Tape, Cheese vs Offtapia and Biggie vs Scottie Fischer. At Transit Bar on Australia Day Pyramid and Strangeways are hosting the best of the formal Australia Day affairs. Their triple j Hottest 100 Shindig includes a countdown of the previous year’s top tracks as voted by the j’s demographic, as well as Strangeways celebs behind the decks. Later in the evening MC Harlequin will return to Academy following his raucous foam party unveiling. Harlequin is set to be joined by Ashley Feraude, Sean Kelly and D’Opus. Ministry of Sound has launched the first of their tours for the year with a high voltage ‘house’ focus. The Jacked Tour featuring Afrojack and Wolfgang Gartner hits Canberra with the help of Pang! on Saturday January 30. Afrojack started making tunes at the age of 11, well before he entered the realm of clubland. Recent hits include his remix of Chuckie and Silvio Ecomo’s Moombah as well as his remix of Hill and Spencer’s Cool. Gartner’s career has been equally illustrious with six number ones on Beatport. com. This party is sure to be huge. The well used ‘get in early’ tip certainly applies. The same night in Civic, Academy has invited Germany’s Malente to perform. Keep an ear out for his recent hit I Like It which uses the recognisable hook from KC & The Sunshine Band’s That’s the Way. Academy residents Bricksta and Staky will also be in tow. mi favorito… Kazu Kimura’s last visit to Canberra was my standout set of last year. Needless to say with the addition of Robert ‘Fabicz’ Babicz this gig is not to be missed. STAKY email@example.com
THE BEAT GOES ON
THE CIRCUS OF LIFE
SHAILLA VAN RAAD
The hard working, multi-talented ASH GRUNWALD will be here for the Corinbank Festival and he’s bringing with him a new live band. New bandmates Benny Owen and Kanchana Karunaratna provide the beat to Grunwald’s authentic blues sound, with both electronic and acoustic elements. “Benny and Kanchana are really good, especially Benny. He’s a really good hype-up man,” Grunwald says. “He plays the car door. And Kanchana, he’s basically DJing, but he’s also a percussionist, so he plays African percussion.” The live sound of this new configuration has been recorded, fresh and original at a Fremantle pub, on the new album Live at the Fly By Night, which will be launched at Corinbank.
BABYLON CIRCUS are a ten-piece French ska and reggae outfit that have explored the longitude and latitude of this planet for over 15 years. So statements such as “music is a universal language. You create a link with people with music” are very much expected. Founded in 1995 in Lyon, France by David and Manuel, the band has grown from its conception although still keep their main original idea. David explains that “creating this band was like a dream of a child. Manuel and I had the same dream – to travel with music. Music would be our passport to the world. As more time passes our dream comes true more and more.”
After many years of asking drummers to “play more simply,” Grunwald decided that a drum kit was not what he required. What he originally wanted from blues was not the beats, but the soul. “I like the function of things and blues was the most soulful thing that I could find,” he explains. “I just loved it and that’s what I was drawn to, so that’s what I got into.” He insists that he is not just a fan of vintage music, but the oldest, most authentic blues gave him the vehicle to express himself. He wants to make something new and different, which is the reason for his recent and ongoing collaborations with hip-hop producers, such as Trials from the Funkoars and Countbounce of TZU.
It’s always what’s in the beat department that’s got me excited
Inspired by Beck, who successfully fused hip-fop with folk, Grunwald sees percussion as the perfect way to fuse his blues sound with that of other musicians, and after hooking up with some top notch hip-hop producers, he’s on a roll. “Those are the grooves that get your head nodding – it’s always what’s in the beat department that’s got me excited. It’s a bit easier than that, than trying to talk a drummer into sounding like beats. Just get beats!” On the subject of festivals, Grunwald is very enthusiastic. He’s looking forward to checking out what Corinbank has to offer, and he’s confident in the show he has to put on. “My style of music has been very influenced by playing festivals,” he says. “It started off as a really laidback bluesy kind of thing, but it just kept getting higher energy, more party-style.” Having spent a long time working with the authentic blues sound and playing live professionally, collaborations such as the Fish Out Of Water album allow Ash to flex his creativity, as does working with his new band. It’s no sharp departure from where he started, but I get a sense of endless exploration. “We just wanted to document it; the live interplay between the guys, because we might change and end up doing something else.” What Grunwald is bringing to Corinbank could be just another brief moment in what has been a very interesting career. Grunwald will play as part of the Corinbank Festival lineup, held from Friday-Sunday February 26-28. For ticket details, check out the Festival’s website.
The days of going to “gigs on a moped, as we had no other form of transportation” are now over for David. Laughing, he recalls also that “I carried the guitar between my front legs and we found a way to borrow most of the other equipment because we really wanted to play.”
We aspire to be musical conquerors
After David and Manuel’s fateful decision to play music together, the band grew in size, expanding to nine members over the years including Jo (guitar), Olivier (keys), Yannick (drums), Manu (bass), Clemensito (trombone), Laurent (trumpet) and Rimbaud (accordion, sax). “During our 15 years together the state of mind of the band itself has changed. We’ve always been evolving, we want more. We are curious, we have open ears and everywhere we go we listen to different types of music so when we make music we can create something unique. We try to create our own musical language.” During their time together Babylon Circus have achieved their dream to bring their music to the world, playing in countries such as Syria and Australia and releasing four albums with Sony Entertainment. Their new album, La Belle Etoile translates to ‘the beautiful star’,a is a very poignant and celebratory piece of music. David expands on this, “this album has opened a lot of windows. It is a very emotionally expressive album because it is very close to the heart. This album is about speaking to the hearts not the minds of people. We spoke about things we never usually speak about. It’s an album that is very poetic, it’s about telling stories and this is our ultimate vision. We understand that the story doesn’t end – that the end belongs to the people who listen to the album.” The band love touring and visiting Australia and different cities and cultures. “We aspire to be musical conquerors. We want to talk to the world if it will listen. It is important to understand that our century is violent. We want people to realise this. We want people to be walking forward with us and not watching their feet, but instead be walking forward and watching the world.” Babylon Circus will be playing at the WOMAdelaide Festival, held between Friday-Sunday March 5-8. Tickets available through the festival’s website.
E X H I B I T I O N I S T
Forsythe. And so what can we expect by way of a Rudd-lambasting? “In Pennies from Kevin we’ve used a Harry Potter parody for Rudd and his team. It’s the perfect analogy, because he’s such a goody two-shoes. The Harry Potter stories were just riddled with analogies to pick up and apply to his party. ‘That which must not be mentioned’ is the deficit and ‘he who must not be mentioned’ is John Howard. We also have a group of Indian students, Michelle Obama as Diana Ross, and KD Wong.”
KNOCKING ON KEVIN’S DOOR BEN HERMANN With telecast sketch comedy in Australia now a mere shell of its incisive, audacious and creative former self, it’s reassuring to know that groups like The Wharf Revue have wholeheartedly taken up the responsibility of mocking those who people often feel they should respect and obey. PENNIES FROM KEVIN is the 16th production in ten years by The Wharf Revue – a comedy/musical group developed by Drew Forsythe, Phillip Scott and Jonathan Biggins whose productions contain short musical sketches, ranging from the dark and morbid to the hilariously absurd, lampooning a host of national and international political personalities. Now, it’s understandable that the concept of a comedy-sketch musical satirising political figures might sound to some like a pinko wank-fest extravaganza, and the sort of production that would have Miranda Devine or David Barnett scrambling for their keyboards to decry the pretentious arrogance of latte-sipping, elitist Liberals in Australian culture. But not so. As Drew Forsythe points out, the group pulls no punches when deciding which interest group to attack in their shows. “I think we have quite a broad appeal”, Forsythe says. “We’re like the cartoons in the daily papers. We stir people up and make them laugh. We tend to be without fear or favour for who we target. Our audiences are getting younger, which is a positive sign that younger people are becoming more politicised, but we attract people from both sides of politics. Bronwyn Bishop is a regular audience member.” The group’s formative years were, suitably enough, spent imitating and deriding the character of Howard and his government. Now, with a Prime Minister less disposed to nurturing zealous patriotism and apathy but more disposed to somehow making even his most fervent supporters want to give him a good ol’ fashioned flushing to take that annoying smirk off his face, the group is no less full of ideas. “Basically, whoever is sticking their head up at any particular moment is in the firing line. All politicians do it in a way which opens them up to ridicule, and we set upon it in great delight” says
As for the Opposition, Abbot receives a brief panning, in a scene which was originally written prior to his successful leadership challenge and which had to be changed after Turnbull was ousted. The rise of Abbot, a figure who in some respects epitomises every positive and negative aspect of Australian politics – the character, the entertainment, and the tragic charade – calls into question the continuously self-emulating nature of Australian politics. “I think it’s always been pretty rife with farce”, suggests Forsythe. “If anything, I think there was a time where it was becoming a bit bland. We miss characters like Paul Keating, but luckily he keeps having things to say on almost any subject, so as a character he’s a great mouthpiece to use to attack other people. But yes, I think Abbot will be perfect for us. He, like many personalities in Australian politics, is a mixture of vitriol and vaudeville.” Pennies from Kevin also features one sketch featuring a midget Nazi Pope, which raises the question of the role of absurdity and controversy in the group’s writing and the extent to which they appear to, or in some cases quite consciously, ‘cross the line’. As Forsythe points out, the sketches provoking the largest audience reaction are, understandably, those dealing with issues almost inherently divisive. This time around, that ticket was taken by a sketch dissecting the social and political role and status of Palestinians in Jerusalem. “That’s tended to divide audiences the most” Forsythe admits. “Some people have told us that it’s not on, that it isn’t right to do it. Other times, huge portions of the audience cheer. Whatever hits a raw nerve, which cuts close to the bone, is going to attract a large response.” But such controversy isn’t always so predictable, and what Forsythe and his co-writers have at times predicted would spark the furor of some audience members hasn’t always met with the reaction they expected. “A few years back, we had a sketch featuring Robert Mugabe, which we thought was close to crossing the line into tastelessness”, Forsythe recounts. “We had a group of people singing as the Harare Gospel Choir, and they were gradually being shot as they were singing. We thought people might find it crude, but everyone laughed and loved it. It just shows that sometimes the sketches that get the most laughs are those with the deepest, most powerful messages, no matter how dark the reality may be.” Visiting Canberra now for the first time, The Wharf Revue will undoubtedly prove a hit with the city’s majority of bourgeois lefties. “It’s ironic we haven’t been here until now, and I’m not sure why it is”, quips Forsythe. I guess Howard’s character really did rub off on them. Pennies From Kevin plays at the CTC from Tuesday 9 to Saturday 13 February @ 8pm. Tix from $35 to $45. Info and bookings call 6275 2700 or head to www.canberratheatre.org.au .
Arthur Boyd in his studio at Bundanon 1993 by Adam Knott (b. 1966) gelatin silver photograph Gift of Richard King 2008 Donated through the Australian Government’s Cultural Gifts Program
OI, OI, OI!
As a former diplomat and civilian peace monitor, FRED SMITH (real name Iian Campbell Smith) has experienced life, love and misadventure in many parts of the world. When such a background is considered in the context of a comedic streak and a side career as a folk musician spanning well over a decade, his eventual collaboration with the Spooky Men’s Chorale – a folk choir comprised of 20 male singers who sing everything from songs about power tools to Queen covers – seems more than appropriate. Performing with the Chorale at The Playhouse later this month to exhibit the resulting album Urban Sea Shanties, Smith explains the tumultuous process of recording an album backed by such a large choir.
The National Portrait Gallery is the family album of our nation, putting faces to the names of the people who have shaped Australia. With the 50th anniversary of the Australian of the Year Awards falling this year, the National Portrait Gallery is joining forces with the National Australia Day Council, who facilitate the award, for a flip through that album. Their joint project, AUSTRALIAN OF THE YEAR - INSPIRING A NATION, is our chance to join them.
“The recording was amazing, but a bit of a rollercoaster ride. Which is what you expect when you have to get 20 guys into a studio. Most of them live in the Blue Mountains, but some of them live in Perth, so the album was recorded in different sessions all over the place,” says Smith. “I wrote the songs, and a lot of the texture came from my writing, but with the group it’s so much richer. They’ve got a great sense of humour, and that’s what brought us together in the first place. Steve Taverner’s [lead member of the Chorale] ideas and production and vision of what can be made is much bigger than mine. But I also had to learn to let go of my songs more easily.” The initial spark between Smith and the Spooky Men’s Chorale was borne several years ago at the Folk Festival when, after a few pints and one hour of rehearsal, Smith and the group performed a rollicking impromptu show that signaled their obvious suitability for each other. “It just went off, it was a natural fit. We went on stage and it just absolutely rocked,” says Smith. “A year later we packed out one of the 200-seater stages, and in 2009 we were in front of 2,000 people.” Several years and many recording sessions after their first performance, Smith and the group released Urban Sea Shanties, exhibiting both acts at their finest, and winning the 2009 National Film and Sound Archive National Folk Recording Award. Although the album’s title may appear ironic, Smith points out that it’s a serious reflection of the lifestyles and ideals of people who share the spirit of traditional sea shanty singers, but who don’t necessarily live on or by the ocean. “The songs have a similar style, but the narratives change,” explains Smith. “I evolved musically playing in places like Phoenix and Wig and Pen, which have that old-fashioned Irish feel, so it’s natural to sing drinking songs. But the songs also come from my experiences from all over the world. In many respects it’s a world travel album. But most importantly it’s also about exploring life – exploring life through travel and misadventure.” Fred Smith and The Spooky Men’s Chorale perform on Friday January 29 at the Playhouse. Tix from www.canberratheatrecentre.com.au .
The first Australian of the Year Award was given in 1960, yet the National Portrait Gallery wasn’t founded until 1994, and only became a collecting institution in 1998. Since it began acquiring portraits, the NPG has developed a collection that represents many of those names on the list of previous award recipients. To date, over half of these influential men and women can be see in the drawings, paintings and photographs of the Portrait Gallery’s permanent collection, with this number continuing to grow. While many countries around the world give out national awards of some kind, the Australian of the Year Awards are unique in both the way in which they are managed and the fact that awardees are selected from all areas of society and all walks of life. Naturally, the award has become a way of gauging the political and cultural climate of the time. Previous recipients include entrepreneurial types, such as Dick Smith, achievers in the arts, like painter Arthur Boyd (pictured) or Oz music icon John Farnham, and of course legendary sportsmen and women, including Cathy Freeman and Mark Taylor. In 2009 the award was handed to respected Indigenous advocate and academic Professor Mick Dodson, who used it as an opportunity to question the appropriateness of celebrating Australia Day on January 26, a painful anniversary for many Indigenous Australians. This month Dodson will be immortalised in the NPG collection, when his portrait by photographer Ricky Maynard arrives to be put on display, just days before the 2010 recipient is announced. Australian of the Year – Inspiring a Nation will walk Gallery visitors through a who’s who spanning 50 years of the award’s history. The introductory gallery will host a collection of works on paper, such as photographs and drawings, that are not often seen due to their fragile nature. Then, throughout the permanent collection galleries, the portraits depicting former Australians of the Year will be clearly flagged for visitors to identify. It’s a great chance to look at the Portrait Gallery collection in a different light, thinking about the influence this diverse group of men and women has had in shaping Australia as a nation. Australian of the Year – Inspiring a Nation is on show at the National Portrait Gallery from February 22 – April 26.
ARTISTPROFILE: Azaria Universe
What do you do? I trained as a circus performer, here in Australia and also in Russia at The Moscow Circus School. The work I produce lies somewhere between physical theatre, burlesque and radical performance art. When did you get into it? I saw a Serbian acrobat do a standing backsalt during a summer dance school in New Zealand. I was 14 and was instantaneously obsessed with learning everything I could to become a physical performer. Who or what influences you as an artist? The works I have been creating and performing with The Burlesque Hour have become a kind of bibliography of my experience over the last 17 years. The themes usually get back to war, sex, death, love in the end. I also draw from old carnival traditions, circus and variety acts from yesteryear, nostalgic notions recreated. What’s your biggest achievement/proudest moment so far? Within the show, I think our triumphant tour of Eastern Europe; the audiences were absolutely beside themselves over the show. People screamed, jumped to their feet and mobbed us after the show. The show is very passionate and it was a match for the people we met over there. What are your plans for the future? The Burlesque Hour keeps me busy baby! After we come to Canberra we hit the international airports! The Burlesque Hour plays Madrid, Shanghai, London, Japan, Hong Kong and maybe even Montreal. My pearls are packed! What makes you laugh? The many comical situations that arise from touring and performing with your best mates year in, year out. The ludicrous nature of it all. Be it the looks we share at the airport after two hours sleep with 200kg of check in luggage, or some backstage debacle usually involving a costume malfunction and split second timing with everyone working to get the next performer on stage. What pisses you off? Whaling, violence, racism, drivers who don’t indicate. What’s your opinion of Canberra? It seems to me to be thriving, a vibrant close knit scene that knows how to throw an event and isn’t afraid to attend one! What are your upcoming performances? The Burlesque Hour, playing at the Street Theatre from Thursday February 11.
PHOTO: Heidrun Lohr
Contact Info: see our clip on www.moirafinucane.com .
2. Hit the National Institutions on King Edward Terrace
UN I N H I B I T E D The title of the premiere 2010 Uninhibited might be something along the lines of the classic, 1995 post-Tarantino crime-caper Things To Do In Denver When You’re Dead (the memorably-named Andy Garcia vehicle featuring one of the more memorable Gabrielle Anwar performances saving, of course, for The Three Musketeers, Burn Notice, and that episode of 90210 where she’s an ice-skater and Brandon has that growth on his face): Things To Do In Canberra When You’re Broke Unfortunately, though I had a list of ten things I was going to do, I only got to three, because a day after I started compiling the list I got a temp job and had to drop all creative events and activities for some utterly crucial filing. But boo ya to me for getting a third done! I deserve a prize. Money, perhaps? Send your cheques to Exhibitionist, c/o BMA. And by cheques I mean non-sequential $20 notes. 1. Go For A Walk Around The Lake Yeah, yeah, I know. It sounds like since I quit smoking I’m on a crazy virtue kick where I talk about how my body is a temple and I only put pure foods into it, but seriously. It’s free. It burns at least an hour if you walk as slowly as I do, and even more if you take your friends with you and gossip about boys and makeup and pillow fights and mortgages and whatever girls do together. Like I would know.
Or K.E.T. NatStuts, as I’m trying to bring into common usage. If we get enough people to use the abbreviation, it COULD eventually make its way into the OED! Just like OED! Anyway. I headed – hid? – to the NPG. There you will find sweet free air-con, a flip-load of great portraits and perhaps – dare I say it? – some new facts to break through the après-New Years brainmelt. They have free parking and a big orange snot ball-lookin’ sculpture out the front, which I quite like. If you’re less poor than I am you could buy a coffee at the cafeteria. The cafeteria has chairs which look like they came from Ikea. IT’S LIKE HEAVEN. Unfortunately I didn’t get to any of the other NatStuts, but you could also try the NLA, with their Ballets Russes exhibition on until the end of January, or if you feel like splurging, shell out the $2 to get into the Museum of Australian Democracy at Old Parliament House. While you’re doing all this you could take a turn about the Rose Gardens, throw eggs at unsuspecting public servants, or prankishly change the signage to confuse already confused tourists trying to park… O, the possibilities! CAUTION: K.E.T. surfing is not for the uninitiated. Beware of the lures of Questacon which is FLIPPIN’ $18 FOR ADULTS, and the NGA, where they charge you to see poxy ‘masterpieces’ from Paris (as if we care about hacks like Van Gogh)… 3. Order The Ikea Catalogue And Dream Of What You Could Buy If Only You Had The Money. No, seriously. It’s free. And it’s like crack. It’s like free crack! Only more addictive. See – that’s how I quit smoking. NAOMI MILTHORPE firstname.lastname@example.org
bit PARTS WHO: Linda Robertson and Lorraine Lewitzka WHAT: Life Drawing 3 and Lunch Orders WHEN: January 15-31 2010, 11am-5pm daily WHERE: Paintbox Fine Art Gallery, Lonsdale St Braddon Nudes. Food. Nudes and food. Food nude. Eating food while nude. THERE IS NOTHING BETTER. And now at Paintbox there are NUDES and FOOD (or rather, paintings thereof) by the lovely artistes Linda Robertson and Lorraine Lewitzka. Linda Robertson’s Life Drawing 3 reflects the theatrical nature of her dancer subjects; Robertson is interested in depicting the internal, emotional landscape of form. Meanwhile, Lorraine Lewitzka’s Lunch Orders are timeless glimpses into the lives of her subjects, narratives of ordinary people doing everyday things. These lovely exhibitions are on until the end of January and are completely free.
WHO: Canberra Youth Theatre WHAT: Semester One Workshops WHEN: Enrolments close February 5 WHERE: Canberra Youth Theatre, Gorman House Canberra Youth Theatre’s Semester One Workshop Program is filling fast. They only allow a maximum of 16 participants in the workshops, so if you want to enrol your tyke, get yo skates on. There are workshops for littles aged seven up to old farting teenagers, with a focus on acting and storytelling. Enrolment forms are available in brochure form, on the website at www.cytc.net, or else you can email email@example.com for any further information. But remember to get in before Friday February 5, or else there’ll be hell to pay! WHO: Carl Rafferty WHAT: Opera by Candlelight WHEN: Thursday Jan 28 and Friday Jan 29 WHERE: Teatro Vivaldi, ANU Fabulous food, the ambience of Canberra’s showbiz restaurant, and the privilege of enjoying a private performance of selections from Canberra’s favourite concert Opera by Candlelight. You will enjoy arias, duets and instrumental pieces while you dine at Teatro Vivaldi. Alright, that’s a quote from the press release. But still. BOO YA. How could you get anything better? WHAT’S MORE… Teatro Vivaldi are giving a Valentine’s Day dinner for two, valued at $200, as a door prize on each night of Opera by Candlelight. Can’t argue with that.
WHO: Dramatic types WHAT: NIDA Summer On Tour Program WHEN: January 25-31 WHERE: Canberra Theatre Centre Ever felt like becoming an actor? Or count yourself as a thesp but want to brush up on your technique? Well, the good folk at NIDA (National Institute of Dramatic Art) have a touring program coming to town. The courses give adults and young’uns the chance to access the expertise of experienced profs in theatre, film and television. There are fullweek courses or, if you’re employed (weird for an actor, but still), intensive weekend workshops. At a good few hundred a pop it’s a bit spensy – but what price do you put on fame and glory and cover shoots for aspirational magazines? Check out the website at www.nida.edu. au to download the application form and get all the deets.
WHO: You WHAT: DNA Dance and Aerial Classes WHEN: Term 1 starts February 1 WHERE: DNA Studios, Gorman House
WHO: Talented, artistic non-voters WHAT: College Express WHEN: Open daily ‘til January 31 WHERE: Belconnen Arts Centre
If you, like me, spent the entirety of Christmas eating/lying on the couch with the blinds down, cowering/recovering from hangovers using the time-honoured hair of the dog method, then perhaps you, like me, will have started to resemble the proverbial Christmas Ham. Well, what better way to shave off slices from fatty haunches – and totally not in a cannibalistic way – than shakin’ yo booty in dance class? DNA Dance and Aerial Studios offer classes for tykes as well as two-left-footed adults, with classes in ballet, jazz, aerial and open acrobatics. Check out all the details at www.danceaerial.com.au or call the office on 6247 3150. C’mon! Move it!
College Express is an independently-curated, fresh and exuberant survey of Year 11 and Year 12 work from three local Belconnen colleges: Hawker, Lake Ginninderra and Radford. The exhibition is a partnership between Belconnen Arts Centre and the education sector and forms part of the community outreach program of the arts centre. While you’re at Belco, consider checking out their other foyer installation, Libertea, Maternitea, Realitea, on ‘til February 9, which celebrates the 20th year of the Majura Women’s Group Backyard Projects.
ROLAND S HOWARD
On the morning of Wednesday December 30 2009, ROLAND S HOWARD died at Melbourne’s Austin Hospital from liver cancer. In a career spanning more than 30 years, Rowland wrote some of Australia’s best contemporary music. He was 50.
I get the feeling that BERTIE BLACKMAN is the sort of person who struggles to sit still for long periods of time. One glance through the Sydneysider’s back catalogue would leave the casual observer wondering if the three albums credited to her name were in actual fact written by three completely different artists. Over the past six years the singer has gone from creating soothing folk ballads on her debut LP to embracing the electric guitar and her inner rock chick on Black, her sophomore effort. Blackman’s latest offering, 2009’s Secrets and Lies, signals another change, being a predominately electronic-influenced and poppy affair. Just don’t make the mistake of asking her why she decided to change things up once again.
In 1978, the young Nick Cave was so impressed by the younger Rowland’s songwriting that Nick invited him to join The Boys Next Door. Rowland had already written Shivers for his previous band, the Young Charlatans. The Boys Next Door made it a hit. In Rowland, The Boys had a lead guitarist and a driving force. They soon renamed themselves The Birthday Party and moved to London. The Birthday Party’s tragicomedy stood in stark contrast to London’s skinny ties and skinnier guitars. Rowland’s guitar echoed and The most important thing about music should twanged – The Six Strings That be that it expresses Drew Blood, indeed. Yet, almost some kind of humanity as quickly as The Birthday Party began, in 1983 they ended amid personality clashes exacerbated by drugs and alcohol. Rowland embarked on a series of collaborations, too many to list here in full. In Crime & The City Solution, his guitars sparred with Simon Bonney’s vocals to spellbinding effect. Rowland’s next band, These Immortal Souls, was his most avant-garde. They released two albums, Get Lost (Don’t Lie) in 1987 and I’m Never Gonna Die Again in 1992. As well as playing guitar, Rowland sung lead, setting the precedent for his later solo albums. In 1999, Rowland released Teenage Snuff Film to critical and fan acclaim. He struggled with his health for the next decade, but continued to write and play music – he even added production credits to his name. Pop Crimes was recorded on the fly as Rowland’s illness took a turn for the worse. The album came out on Friday October 16 2009. Trevor Block of Mess+Noise wrote, “This collection is not a return to form. He’s never lost it.” Rowland’s opus garnered lukewarm reviews from the mainstream media upon its release. Now, Pop Crimes is tipped to win the Australian Music Prize. In an interview with the Melbourne Age, Rowland said that “the most important thing about music should be that it expresses some kind of humanity.” Even as Rowland’s body failed him, he held onto his humanity. It’s imbued in every line of his Ave Maria. If in any doubt about the intrinsic nature of Rowland’s art and his humanity, consider this – he died with a plectrum in his pocket. The last time Rowland played Canberra was Wednesday, September 19 2007 at ANU. He was supporting The Beasts of Bourbon. Most people remember it as the gig where Tex Perkins vomited onstage. I wasn’t there. If I recall correctly, I was presenting SINGED at Community Radio 2XX. BMA’s own Dan Bigna described Rowland’s set as “slow-burning intensity”. Amen, sir. Paul Kelloway will pay tribute to Rowland in a future edition of SINGED on 2XX, 98.3 FM.
“It’s driving me absolutely insane because I don’t really have an answer. I don’t know!” Blackman exclaims. “I just did it. I didn’t think about it.” But as the interview progresses, the reason behind her constant musical evolution becomes a little clearer. “I don’t like to repeat myself or do the same thing twice,” she explains, adding, “I hate being the same as other people.”
I hate being the same as other people
Regardless of the style of music Blackman chooses to play, the one constant that remains throughout her work is her striking voice. It’s unsurprising to hear, then, that she tries to take good care of it while on the road. “At the end of a tour I’ll party and have a couple of glasses of wine,” she admits. “When you first start playing gigs, you party but when you’re working a full on schedule your body can’t actually take it. So you either fix up a few things or you just end up a wreck.” Blackman’s resolve to continually experiment with new musical styles has certainly kept things interesting for her fans, but has simultaneously made constructing setlists an absolute nightmare. How could the tender songs of her debut possibly gel together with more recent upbeat singles like Thump to form a cohesive live show? “I’ve been touring Secrets and Lies so I basically just play songs from that,” she answers. And what happens if a fan of her earlier work puts in a request for one of the classics? “I try to translate a few in, but [it’s hard] because the band lineup isn’t a rock ‘n’ roll lineup. Some of the songs don’t really feel comfortable, but I’ll get there. I’ll figure out how to put it all together.” That said, Blackman doesn’t appear to be too concerned with the task of reformatting old material. “In a way it’s selfish, but I’m just really enjoying playing some new music that I’ve just written. It’s nice to have some fresh things to discover and explore when you’re on stage,” she confesses. Given her track record, I’d say that Blackman’s fans will definitely have something fresh to explore come time to write album number four. Bertie is a part of the lineup for the Australia Day Live concert, held at Parliament House on Monday January 25.
METALISE Brutal 2010 greetings thrashers. The Metal column is going to be ramping up to beyond 11 this year and we will be looking to feature as much local content as we can cram into the pages each fortnight. So make sure the minute you book your shows, launch your wares, secure that international support or anything else noteworthy to the
local heavies, you flick an email to firstname.lastname@example.org and I’ll make sure all and sundry are well informed. It’s been just insane for international heavy bands the last 12 months and this year is no different with Big Day Out and Soundwave bringing some of the biggest bands in heavy
out to Oz. From Mastodon and Fear Factory at the BDO through to Baroness, Isis and eleventy other heavy acts on Soundwave, your summer metal tour dollar spend needs to be well informed. Fortunately there are even a couple of international brandishers of the heavy coming through town in the coming weeks. First up at The Basement in Belconnen on Thursday February 11 is Japan’s almighty Birushanah coming back for their third or fourth Australian tour and welcome they are having thoroughly tested the structural integrity of The Pot
Belly last time around. Joining them on the Australian tour is the rejuvenated monstrosity that is Melbourne’s Whitehorse. One of Australian music’s most extreme and uncompromising acts, the band last blew through town as a part of the final Metal For The Brain. Pod People are also going to join in the good times to round out the colours of the doom rainbow, so be there Thursday February 11 for that one. I love when you get wonderful surprise combination bills in your home town. Also hitting The Basement on Tuesday February 23 in Belconnen is probably one of the heaviest bills of the year. The unrelenting darkness of stunning US act Wolves In The Throne Room will haunt the collective conscious of those in attendance this night. Since their 2006 opus Diadem of 12 Stars (A Shimmering Radiance), the band have established themselves at the forefront of the US black metal scene offering something with a more complex atmosphere than the bulk of black metal imitators, culminating in 2008’s Black Crusade album showing that nihilism is alive and unwell stateside. Joining them on the tour is a band that delivered perhaps one of the most stunning performances I have seen in recent times last year, France’s Monarch. If you missed out last time, then you NEED to see and hear their vocals to believe the power of vocalist Emilie Bresson to believe it. Robert McManus of Australian band The Grey Daturas (also this tour’s support Blarke Beyer/Black Widow) has joined Monarch as their new fulltime drummer. 4 Dead are also making their comeback to the live circuit with Dead Kings bass player Morgan and Stockholm Syndrome/Fatura Della Morte drummer Jon revealing some songs from their forthcoming album due mid year. JOSH NIXON email@example.com
N GUN G GU ING OKIN SMOK SM
UNDERSEL LING THE DREA M
Punk musicians aren’t generally the type of people likely to craft a magnum opus late in their careers, or at the very least not in the punk genre. Some, like Joe Strummer, delve into the roots of their musical influences and create sprawling reggae and world music masterpieces. Others, like Henry Rollins, turn to spoken word to explore and express their politics and beliefs with an intricacy and clarity that is hard to achieve in a two minute punk rock song. Others, like Johnny Rotten… um, well, they sell cheese. ANTI-FLAG, for their part, are by no means on their way to forging a legacy close to any of the aforementioned prodigies, but with The People or the Gun, their ninth album since their inception in 1988, they’ve exhumed a threatening furor not seen for many years, and which they’re sure to let fly at the Soundwave Festivals this February.
In early 2008 EDDY CURRENT SUPPRESSION RING’s Primary Colours album nestled in the ARIA Top Ten with little fanfare. They went on to win the Australian Music Prize in early 2009 (and a lazy $30,000 on the side) and they have garnered rave reviews from jaded critics and fans alike for their incendiary, all action, all-in live shows.
I’m very much a fan of the ‘stay the fuck out of my way’ method
“This is a record that really speaks to me, because it’s just four guys in a room cranking out songs,” says drummer and founding member Pat Thetic. “Before, we had huge studios and lots of producers and texture and thickness to the sound, but we got sick of that. I’m very much a fan of the ‘stay the fuck out of my way’ method, and that’s what we used.” The ‘before’ that Thetic refers to is the four years they spent with RCA records, releasing 2006’s For Blood and Empire and 2008’s The Bright Lights of America, and their four years at Fat Wreck Chords, where they released three of their most reputable pieces, Underground Network, Mobilize and The Terror State. “I like to be independent and not to have to explain myself all the time,” explains Thetic. “The major label experience was interesting, but I’m glad it’s over.” And with their return to a smaller record label (relatively, at least), the group has returned to form at a time when, ironically, their native government shows signs of being the most progressive in all of the band’s existence. “That’s true,” says Thetic, “but the left in the US can get very lazy. They think that just because they’ve got someone like Obama elected, they can go back to watching TV. And because of that, he doesn’t have nearly as much momentum or support that he needs and that many thought he would have. People got burned out fighting Bush, but it’s not like Obama will change everything necessarily.” Fittingly then, that the rawness and rage beneath The People or the Gun, in harking back to the group’s early works like Die for the Government and Their System Doesn’t Work For You reminds us that, in many ways, nothing has changed. “We’re still against enforcing democracy, which is still happening,” says Thetic. “We’re still against invading countries, still against holding developing nations hostage to our market-driven economy, and still anti-power, all of which are endemic in Western politics.” Anti-Flag will tear up the Soundwave Festivals across Australia, including at Sydney’s Eastern Creek Raceway on Sunday February 21. Tickets from Ticketek.
But according to guitarist Eddy Current (Mikey Young) pulling little more than a handful of people at their first gig in Newcastle was still a surprise. “We thought maybe 50 people would turn up, but there was a couple of hundred people there and everyone was really nice and friendly.” This isn’t record company spin attempting to sell a gritty, gee-whiz, DIY, garage band ethos. It’s the sound of a self-made band truly doing their own thing, their own way. “We’re pretty lazy tourers but we had a night off in Sydney and thought ‘let’s go do something different.’ I guess we just don’t know if people know about us in those sorts of cities. It helps we’re on triple j.” At this stage, Mikey is starting to sound apologetic for their success, but in reality it’s most likely just selfpreservation. “I think I have a bit of a habit of underselling ourselves, being a bit back-footed and not realising we are popular. We just try to shelter ourselves to keep our heads in check, make sure we don’t get too cocky.”
We try to shelter ourselves to keep our heads in check, make sure we don’t get too cocky.”
There’s a non-confected simplicity about ECSR, a raw honesty that runs through everything they do. The band don’t have any management structure to speak of with Mikey playing the role of booking agent and general band manager, but as they grow the guitarist’s ability to multitask is being challenged. “It’s been good and I’m pretty proud of how far we have gone with that attitude, but to be honest with a new album coming out in March there’s gonna be more pressure to put on a proper tour. Plus, we want to go to America this year and I’m beginning to realise I will need help with this.” By now, I’m pretty sure I’ve nailed the equation explaining ECSR’s success; Fun + Loose = Good/Success. Mikey, roughly, agrees. “We’ve all got jobs and different interests and the band has never been a fulltime concern. We’ll do a national tour with the new album, but unless there’s a reason like that – we can never find the time. We’ve never tried to make it a career or overplay it. Even though we can make some money off it we still treat it as a hobby and I think if we maintain that fun is more important than any other aspect, we’ll be safe. I try not to think about what we’re doing, why we’re doing so well. I want it to remain a mystery.” Well, there goes my equation. Eddy Current Suppression Ring are a part of the now sold out Sydney Laneway Festival, to be held at the Sydney College of the Arts on Sunday January 31.
THE REALNESS Welcome to 2010 and if last year was anything to go by, then this year should be an incredible year for music with exciting new sounds and styles likely to be created, morphed and then shattered again just as quickly. In 2010 look for artists like Joy Orbison, Untold, Darkstar, Instra:Mental and L-Vis 1990 to keep pushing boundaries and pave new ground. In fact, my column this year is also undergoing a bit of expansion to meet my growing interest in dub-influenced bass music (dubstep, ukfunky, techno and house-excursions) – but fear not purists, there will still be hip-hop news and info aplenty. The legendary lyricist from Detroit, Elzhi has just offered up a free downloadable mixtape entitled The Leftovers UnMixtedtape which features a slew of dope unreleased, promotional and rare gems produced by the likes of Black Milk, Oh No and DJ Dez. The release is unmastered with a ‘straight outta the studio’ raw vibe but still sounds fresh and dynamic, plus it is full of killer Elzhi quotables so you can’t go wrong. Check it out at elzhi.com . Jumping over to the UK and everyone will be aware of the prolific Fabric nightclub and its associated label famed for its varied and versatile mix-CD release series. Fabric has been supporting the underground bass music scene for a few years now and now is set to unleash its first major compilation with a showcase of unreleased tracks from producers who have been exciting Fabric staff over
the past 12 months. The Elevator Music LP will document what Fabric staff believe is “a really exciting time” in dance music and the compilation features a collection of tunes from the developing bass music sound from the likes of Martyn, Starkey, Shortstuff, Untold, Julio Bashmore, Caspa + Rusko and many more. The album ranges from “bumping sub-heavy house through to various styles of dubstep.” More Fabric news is that they’ve just released their mammoth 50th addition to their mix-CD series catalogue with the amazing Martyn at the helm. Readers of this publication will know that Martyn’s Great Lengths was my favourite release for 2009 so I’m mega-hyped to hear his mix. The Dutch DJ/producer has pushed the selections into more housey dub-based territory with a versatile mix that starts off with Hudson Mohawke and moves through selections from Zomby, Altered Natives, Kode9, Cooly G, Actress, 2562 and then rounds out with Dorian Concept. Can’t wait to hear the mix in its entirety. More Fabric news (yes they are THAT on point at the moment) is that the next FabricLive mix will be helmed by forward-thinking d’n’b producers D-Bridge and Instra:Mental. D-Bridge explains their sound the best: “there was no space in drum and bass, it was just running 20 breaks on top of each other, so we thought about what we could do, because what we were making was quite minimalist in some ways; we decided not to fill the gaps.” The mix will feature new and exclusive tunes from Vaccine, Consequence, Distance, Alix Perez, Scuba, Pearson Sound and of course D-Bridge and Instra:Mental. Sure fire future music! To hear music from all these releases and more, tune to The Antidote on 2XX 98.3FM every Tues night from 9:30 – 11pm. Stream the show at www.2xxfm.org.au . ROSHAMBO firstname.lastname@example.org
Tekken 6 Platform: PS3, 360 Developer: Namco Bandai Publisher: Namco Bandai Length: 5+ Rating: 2.5 out of 5
As an avid Tekken fan, I’d been looking forward to 6 for some time now. Unfortunately, my initial impressions weren’t great. Firstly, without installing the game (using a tucked away option), you’ll be faced with some long load times. But don’t go thinking they’re worth it. They’re like that so you can watch a bunch of pigs fly out of a truck at the start of the round - a feature that’s apparently meant to enhance your gaming experience. Whilst we’re talking about pointless features, one must mention the character customisation. Sure, the Japanese love the shit, as does probably your little sister, but personally I don’t care, especially when it means that no one outfit looks particularly stunning. On that matter, the rest of the game’s visuals aren’t much better. Sure, they’re not terrible, but for a game which only displays two characters most of the time, I’d expect better. However, the game’s single worst feature is the end boss, Azazel, who makes the previously over-powered end boss, Jinpanchi, look balanced in comparison. In Namco’s infinite wisdom, they didn’t think it would be the least bit frustrating to create a boss that could take off half your health with a single move, magically teleport into the air just as you got the bastard on the ground, or block any of your attacks, even when the dickhead isn’t even facing you. As such, fighting him (or should I say it) could just as easily be replaced by a random number generator, where you only win when the chosen number doesn’t theoretically exist. Gameplay-wise, Tekken continues to trip up. To my surprise, the main tournament mode has been removed, replaced by a somewhat lacklustre, side scrolling scenario mode. Admittedly, this mode does contain a miniature Tournament, however the individual storylines aren’t as fleshed out as they were in the past. Instead, the focus has been placed on the storyline about Lars and Alisa. Not surprisingly, when you try to include about 40 characters in a storyline, not only does it become massively confusing, it also tends to suck balls. In regards to the versus mode, it’s pretty much the same old, only that they’ve decided to include an extra menu at the end of the fight, and make you reselect random, if that’s what you chose previously. Whilst a few extra key strokes is pretty minor, it gets annoying and makes you wonder if they even tried playing their own game. Whilst I did eventually get into the scenario mode, if all you’re here is to beat the crap out of your mate, you might be better off sticking with 5, that’s unless you really have your heart set on doing it with a fast-moving, fat guy (potentially Tekken’s least plausible character to date *cough*). TORBEN SKO
Welcome to summer television 2010. When we left you last year Canberra was enjoying the retro glory of the new Go! channel and settling in to a round of non-ratings summer delights. Then, very quietly, just before Christmas a new digital channel hit our screens. No, not ABC3 with a very dated looking Heartbreak High (ABC3, Mon-Fri, 8.30pm), but, with little fanfare, Canberra was introduced to Seven Two on Prime. And yes, the same level of thought that went into the moniker is reflected in the programming. While Go! is aimed squarely at an audience under 45 (retro cool mixed with vampire chic, and the better reality shows), 7Two (Blackbox is hereby shortening to save column inches) is all over the place with the likes of Mother and Son (7Two, Mon-Fri, 7pm) followed by I Survived a Japanese Gameshow (7Two, Wed, 7.30pm). The lineup includes Tin Man (7Two, Tue, 8.30pm) – the reimagining of the Wizard of Oz with Zooey Deschanel, Not Going Out (7Two, Mon, 9pm) – a less quirky Spaced, and Reaper (7Two, Tue, 8.30pm) – about a soul sold to the devil. It does also promise Benidorm, a comedy from the writers of the Catherine Tate Show, set in a Spanish resort and a Christian Slater drama My Own Worst Enemy alongside reruns of The Sopranos, Six Feet Under and the remnants of Rome. Hit of the summer is The Fixer (SBS1, Mon, 10pm), undercover cops, spies and assassins given the British treatment was always a recipe for success. A new series starts January 25. Taking the Flak (ABC2, Thu, 10pm) – the foreign correspondent comedy, and Teenage Kicks (ABC2, Mon, 8pm) starring Ade Edmonson all make for reliable viewing. Also look out for Durham County (ABC2, Tue Feb 2, 8.35pm) – a Canadian serial killer drama starring Dawn of the Dead’s Justin Louis and Breaking Bad (ABC2, Fri, 9.30pm), the latest Emmy Awardwinning drug dealing drama in Auntie’s lineup. The Cleveland Show (SCTEN, Wed, 8.30pm) is a grower – like King of the Hill (7Two, Sun, 7.30pm). Futurama (SCTEN, Wed, 8pm) winds up January 20, The Simpsons (SCTEN, Wed, 9pm) and a double dose of Californication (SCTEN, Wed, 9.30pm) round out the lineup. While we’re all waiting for the traditional ratings period, some quality shows are back including Big Love (SBS1, Tue, 8.30pm), The Office (SCTEN, Thu, 8pm), Rules of Engagement (SCTEN, Thu, 7.30pm) and Spicks and Specks (ABC1, Wed Feb 3, 8.30pm). Docs to look out for include Thriller in Manila (SBS1, Tue Jan 26, 10.05pm) about the famed bout between Muhammad Ali and Joe Frazier, The Naked Lentil (SBS1, Thu Jan 28, 8.30pm) which follows the fight to save the unconventional Melbourne restaurant Lentil as Anything, Unexplained (SBS1, Sun, 7.30pm) – an investigation into historical paranormal events with history buff Tony Robinson, True Horror (SBS1, Sun, 8.30pm) which focuses on the origins of werewolves, Frankenstein and Dracula, The Great Wall of China (ABC1, Mon Feb 1, 8.40pm) without the rabbits, Kevin McLeod’s Grand Tour (ABC1, Tue Feb 2, 8.30pm) in which Grand Designs host explores the historic buildings of Europe, Mystery Skulls of Palau (ABC1, Tue Feb 2, 9.30pm), The Matilda Candidate (ABC1, Tue Jan 26, 9.35pm) – about the man who tried to win a Senate seat based on making Waltzing Matilda the national anthem, Inside the Great Magazines (ABC1, Thu Jan 21, 9.30pm) and Before Too Long: triple j’s Tribute to Paul Kelly (ABC2, Tue Jan 26, 8.30pm). TRACY HEFFERNAN email@example.com
Balance Presents Electric 05 Mixed by Emerson Todd [eq recordings]
album of the week surfer blood astro coast [kanine]
From Palm Beach, Florida, psychedelic popsters Surfer Blood encapsulate almost everything that your average indie armchair critic would love and hate about a new group. Firstly, they’ve got a deliciously ironic name which on first glance might appear to be a veiled wish they’d like to see visited upon the beautiful, carefree, but ultimately shallow surf jocks who inhabit their hometown. Until, of course, you realise that musically, the album pays huge tribute to the surf rock legacy of The Beach Boys, and thematically, it draws great inspiration from the lifestyle and ideals of the beach culture which their name suggests they may resent. Most importantly, however, the boys have a matchless gift of crafting a sound which is distinctively their own, while simultaneously wearing their influences proudly on their sleeves, thereby giving their listeners the choice to either love them for their originality or hate them for their shameless inspiration, depending on their mood. Everyone from Animal Collective and Weezer to the Shins, Silversun Pickups and Vampire Weekend can be heard amongst these fuzzy pop treasures, but ultimately it’s every song’s overwhelming sense of cheerfulness which makes this album. BEN HERMANN
From the opening few records alone, you can tell that Emerson Todd is an extremely experienced audio engineer, his bio impressively lauding that he has previously twiddled knobs for marquee Aussie groups The Presets and Pnau to name drop but a few. His other day job is as an internationally successful techno DJ/Producer and the latest in the famed Balance series is a fitting platform for him to display a seamless progression of deep sounds which welcome you like a warm fireplace and frothy cocoa. Electric 05 is one of those true journey albums that will have you staring in disbelief at the LCD panel on your stereo wondering how it is that the mix has progressed through five tracks without you noticing a thing. The lush opening of the album is smoother than Larry Emdur at an old peoples home, with killer records like Doomwork - Fresh and Oxia & Nicolas Masseyeff Trying Out really setting a great foundation for the latter half. Here, Emerson uses one of his own productions (Jacob) as a fork in the road, guiding the mix down a techier path from that point, with bouncy numbers from Guy Gerber and Gavin Herlihy injecting a bit of much needed ‘jack’ into its veins. Fans of minimal (and I mean MINIMAL) will enjoy the journey, although I guess I could compare this CD to Canberra. It is beautiful in parts but there really isn’t that much happening. tim galvin
midlake the courage of others [bella union]
nirvana live at reading [geffen]
Not straying too far from their sophomoric landmark The Trials of Van Occupanther may have seemed like a smart choice, once more giving tribute to the old Americana style Fleetwood Mac sound. Somehow, though, Midlake’s third LP already feels outdated. Had this been my first listen to Midlake I may have loved it. But as a fan it comes as a disappointment. Many songs start out promisingly but fall into mediocrity. For one thing (and this is perhaps my biggest gripe), Children of the Ground sounds way too much like Roscoe. In other songs beautiful instrumentation is brief and drowned out by capricious electric guitar and monotone vocals. What’s the go, Midlake? I know you’re all sad this time but are you bored too?
It is not always the case that a live album adds a great deal to the catalogue of any band unless an unexplored dimension is revealed. With this in mind, there is nothing particularly revelatory on this major label recording of Nirvana tearing it up at the 1992 Reading Festival, but it sure is one hell of a good summation of a focused body of work, and serves to remind that at its heart, Nirvana was all about no-frills punk rock of a somewhat awesome kind.
A return to their more Flaming Lips-like debut may have proven more satisfying. In the past, whenever Midlake has focussed on percussion or experimentation they have produced lasting and unique material (see earlier songs Bandits, Young Bride and Kingfish Pies). This is noticeably absent on The Courage of Others like two front teeth missing from the mouth of a kid named Keith. Nonetheless, we are still provided pop folk which seems to have fallen off many radars of late. Songs like Fortune recall Nick Drake’s Bryter Layter and Rulers, Ruling All Things is almost Grateful Deadian. This is a quiet retreat from the spotlight. PETER ROSEWARNE
The Reading gig was performed when the band was at its musical peak. Grunge was all over the place in 1992, and the rapturously received Nevermind album released the previous year had revealed a band that enjoyed The Beatles as much as 1980s hardcore. This album opens with a blistering attempt at Nevermind track Breed, and the pace never slackens. It also becomes clear that the crowd love every minute of it. What I particularly like about the album is the sheer confidence on display which strengthens the sound, and also genuine engagement with the audience in the best punk tradition. Sound quality is good, and Kurt Cobain gives his vocal chords a thorough shredding to match the whirlwind distortion and frenetic pace on intense tracks like Lithium and Negative Creep. This album is also a valuable historical document of a time when first-rate punk rock oozed onto the charts. dan bigna
with Dave Ruby Howe
wig wam Non Stop Rock ‘n’ Roll [Riot/Frontiers] Those of you with elephantine memories may well remember Norway’s Wig Wam from their triumphant Eurovision Song Contest entry from 2005, the fabulous Bon Jovi pastiche In My Dreams; but it matters not one whit if you don’t – the words Eurovision, Bon and Jovi tell you everything you need to know. Actually they don’t. Well, not entirely. Walls Come Down, the album’s second track, actually brings to mind the superbly classy, heavy melodic rock of Swedes Europe, especially the fine, full-throated vocals of singer Glam, whilst the title track does a good job of replicating the gods of this kinda mullarkey, the ever huge Whitesnake; and in Chasing Rainbows the band attempts, largely successfully, to join the musical dots between Queen, Aerosmith, Judas Priest and Tesla in under four minutes flat – no mean feat. It’s not all barefaced tributing, of course, though the name of the game with WW is undoubtedly eighties nostalgia; You need to be supremely talented to even get in the same post code as Edward Van Halen (and there are a lot of nods to the man from guitarist Teeny throughout the album), and the band give just enough vent to these talents over and beyond mere apeage to warrant repeated listens – not just to spot the influence, but to enjoy the show as a whole. Enjoy this for what it is and you’ll have an absolute ball. scott adams
robbie williams Reality Killed the Video Star [virgin] Robbie Williams is in a quandary. Reality Killed the Video Star is his putative comeback album. That’s how he’s been talking it up. Only it’s not – as he acknowledges quite explicitly (“don’t call it a comeback”) on the wan, subDepeche Mode Violator-era Last Days of Disco. Williams is also making amends for his poorly received, and admittedly poorly conceived, written and executed Rudebox in 2006 by turning in a dozen songs that try to balance his early millennium stadium juggernaut and well, growing old. But Williams still lives in the world where a £20m fall in his fortunes not only warrants media attention but is not considered fatal. And where joke marriage proposals on idiot radio stations is considered a classy promotional tactic. He wants to be taken seriously. He doesn’t want to be taken seriously. He wonders what people in the next century will think about him (Superblind). But he’s just havin’ a larf, right? He’s a scamp, puncturing his public persona and mucking about with the media. Give over. This would be furtive ground in other hands, where flights of fancy are matched equally with incisive wit and genuine soul searching; not here though. Williams is so bloody hamfisted. Reality... doesn’t feel like a glimpse inside the muddled mind of a charming and skilled entertainer. It’s buffoonery being passed off as pop music. The only thing Robbie Williams continues to skewer is the last vestiges of his talent. justin hook
vampire weekend contra [remote control/xl] The girl on the cover says it all, really. The epitome of Upper West Side; young, pretty, inoffensive, and wearing Ralph Lauren. Contra fits the mould she sets perfectly. An incredibly smooth transition from debut to sophmore, it’s like they’ve minded their p’s and q’s, and ensured as not to offend anyone along the way, keeping their polite, preppy reps in tact, yet still keeping you hooked for the next track. Contra is one of the few albums of late that really sits on the fence. If you out and out hate it, there’s plenty of ammunition for your argument. White Sky is possibly the most blatant Paul Simon rip off they’ve made so far; but if you love it, there are moments like Run, which offer glimmerings of a Vampire Weekend that have graduated from Columbia and put down the encyclopedias they surely have lying around in the recording studio. It’s in its intricacies that their sound becomes more than Gossip Girl music and stands up once again, on its own. One sound is always clashing against another, Koenig’s delightfully woven lyrics hit their head against calypso, reggaeton, synth-pop, afro-pop, and all the sounds we never thought we’d hear preps embracing. Their sampling and borrowing from all genres is what separates them from the pack as thoughtful musicians, not unoriginal. It’s why their debut worked, why Discovery and The Very Best worked, and why Contra will gradually melt you and work brilliantly as well. katy hall
David Guetta ft. Kid Cudi Memories [EMI] Gawd damn, isn’t this just a gigantic waste of Kid Cudi’s time? He and Guetta couldn’t chalk up a decent chorus to disguise the subterranean dance cheese junk on show here. Bring a CPR kit to Good Vibes – Kid Cudi’s flatlined.
Owl City Fireflies [UMA] On behalf of Jimmy Tamberello and Ben Gibbard, I’m serving you, Owl City, with a whopper of a lawsuit for plagiarising the fuck out of The Postal Service you twee little dick.
The Swiss Bubble Bath [Modular] Kudos for the disco history lesson, Modular, but damn, can’t we grab some of the, I don’t know, interesting and fun parts of the era to go with it? That is all.
Uffie MCs Can Kiss [Ed Banger] Too little and years too late, Uffie’s comeback single lands with a dreary thud. And that’s unfortunate, because there was promise behind the lolita looks and wonky rhymes. But when Rye Rye, Amanda Blank and even bloody Ke$ha are around doing this steez so well, why bother with Uffie?
WITH MARK RUSSELL
Nothing says “welcome to the New Year” like experiences that make the previous 12 months seem… a little weak. First two films I’ve reviewed this year and both would have easily made it into my top ten of last year had they been out a month earlier. Maybe I’m feeling refreshed from the time off. Maybe I had just a little bit too much fun on NYE and my judgement’s impaired. But Fantastic Mr Fox and Up in the Air reminded me why I do this. Perhaps it was just George Clooney’s rugged charm coming through in both. Bring on 2010!
quote of the issue
“I’m like my mother. I stereotype, it’s faster.” Ryan Bingham (George Clooney) Up in the Air
fantastic mr fox
up in the air
Oi! <whistles> You there! Down here. Stop staring incredulous at the three stars for “posbly awsmest movee eva!!!! LOL” Well settle down and let me explain.
It’s hard to avoid attaching the most obvious superlative to this film but in the end, ‘fantastic’ wouldn’t do it justice anyway. Fantastic Mr Fox is phenomenal. It refuses to put a foot wrong, but instead sings along with consummate ease. Everything is just as it should be so what follows is really just a list of the elements of cinema.
George Clooney plays Ryan Bingham, a man whose life is defined by waiting lounges and swipe cards. Ryan measures his existence in frequent flyer miles and corporate loyalty points, flying the faux-friendly skies firing people for companies who don’t want to do it themselves. He’s got a knack for wielding the chopping block for many reasons, not least of all because he considers the alienation it requires to be a perk.
I’m a writing/dialogue/plot focused reviewer, and while that doesn’t win me many friends amongst Gen Z, I can sleep at night. Avatar’s dialogue is, frankly, terrible. The voiceover, delivered via the medium of a spoken diary, is one of the laziest forms of storytelling you can employ. The storyline, whilst noble and socially important, is basically a retelling of Pocahontas. Conversation between characters can be clunky and preachy, and possibly the worst of all… unobtainium? Really? Did you have to call it something so skull-fuckingly obvious? Yet despite all this, Avatar is still a wonderful film that simply must be experienced in 3D. Every scene is exquisitely composed and filled with visual wonder and delight. When Jake Sully ventures into the dense Pandora jungle – bounding over trees and scaling the floating mountains – you feel completely immersed, summoning a wonder felt when first watching Star Wars as a youngling. I can see why it’s grossed a billion dollars plus. This will sweep the award ceremonies; I just wished more care and skill on the script. Ol’ Jim Cameron is a passionate man with a point to make, and I can see why he dumbs his film down to appeal to as many people as possible. But this unfortunate sacrifice prevents the film being our generation’s Star Wars.
The look – director Wes Anderson makes the vintage stop-motion style seem like it was designed specifically for him. The movement, the incredible attention to detail and overall aesthetic are a pleasure to watch and are pushed to their limit. The cast – when you’re packing a couple of leads like George Clooney and Meryl Streep, things are looking good. On top of their rich vocal talents, we also get brilliant support from the likes of Jason Schwartzman, Michael Gambon and Bill Murray; as well as a great cameo from Owen Wilson. The story/tone/structure/ timing – are all superb. Anderson and co-writer Noah Baumbach’s adaptation of the classic Roald Dahl story sparkles with wit, comedy and character. They bring the fox’s <ahem> tale of a battle with three evil farmers to the screen intact. The whole experience reeks of fun and every beat is punctuated with a wide smile from us. This is a great cinematic experience. It perfectly fits the mould Dahl sculpted with his fiction – dark and twisted in a way only children will truly get. Straight out of the gate, this will be a highlight of the year. mark russell
There is a (very) small amount of honour in what he does and Ryan feels it’s compromised when young hotshot Natalie Keener (Anna Kendrick) swans in, proposing the terminations be done via webcam. Ryan and Natalie hit the circuit so he can show her the error of her ways. Perhaps Natalie’s influence can crack his shell – maybe even encourage Ryan to make ‘casual stopover’ woman Alex (Vera Farmiga) into something more. Jason Reitman directs his third feature with the same precise eye and comedic timing he brought to Thank You For Smoking and Juno. It’s funny, sharp and biting, yet has just enough sweetness to impress. As with Reitman’s earlier efforts, it’s also relevant and timely, providing a great commentary on corporate America in the wake of the Global Financial Crisis. Clooney is perfect and Farmiga furthers the great promise she showed in The Departed and The Boy In The Striped Pyjamas, even keeping up with George in a charisma contest. There are the slightest hiccups in pacing and Jason Bateman is surprisingly underwhelming as Ryan’s boss but otherwise – this is a helluva film. mark russell
the word on dvds
dead snow [madman]
robot chicken 4 [madman]
In the tradition of formulaic ‘hor-coms’ like Evil Dead and An American Werewolf in Paris comes this tongue in cheek Norwegian bloodbath directed by Tommy Wirkola, whose irrevocable style is evidently influenced by the ghost of mid-‘80s Peter Jackson. Død snø, or Dead Snow to those south of the Norwegian border, begins with a group of young oversexed medical students travelling to a remote cabin in the snow-covered wilderness, equipped only with a snowmobile, beer and a desire to procreate.
Stop-motion animated figurines acting out quick-fire sketches rife with pop culture and played out via extreme violence, swearing and the prerequisite chronic flatulence. For its seeming childishness, it’s a terrifically clever concept that gives creators Seth Green and his “less famous companion” Matthew Senreich a blank canvas onto which they can paint just about anything. Smurfs inciting war with Snorks because they keep “smurfing their turds” in their lake? You got it. A T-Pain krunk-rap on Jim Henson classic Dark Crystal (Dark Cristal)? You betcha. Nick Cage in the action thriller Rear Window 2? Diggidy-dog.
As the man himself admits at least once during this intriguing doco, Mike Tyson has some real issues. Tyson is a slippery piece of filmmaking. Director/ producer James Toback treads lightly around one of the most controversial figures in modern sport. Pointing the camera solely at Tyson’s beaten-up, ghoulishly-inked head means there’s little wriggle room for the subject or the audience. The doco uses a relatively simple linear narrative with Tyson starting his youth spent on the streets of Brooklyn dealing drugs to time in the clink to superstardom and then the fall.
The jovial opening scenes of the splatter fest highly contrast the latter events as clearly as blood on snow, a theme used throughout the movie as a technique to underscore the forced transformation of each character from innocent collegiate to crimson-faced axe-wielding zombie killer. The real turning point is introduced with the arrival of a mysterious stranger, bearing a sure-fire holiday buzz kill in the form of the local legend of Colonel Herzog and his band of evil Nazi defectors who, after the downfall of the Third Reich had disappeared into the surrounding mountains along with a bevy of gold. The tension is built with a series of ‘bang crash’ jumping moments fuelled by teasing glimpses of shadowy figures in the night, who by all experience are moving way too fast in the deep snow, but I digress that realism is not on the menu in this particular eatery. From this moment on, a veritable smorgasbord of brain matter, bedraggled innards and haemoglobin is removed from each of the unhappy campers in increasingly entertaining and outlandish death scenes. Any horror flick that manages to include things like fishing hook surgery, intestinal abseiling and a bit of chainsaw amputation and can still proffer some genuine belly laughs definitely deserves some credit. tim galvin
Season four is a pleasing return to form. The sharpness and consistent chuckles of early episodes are back, and the list of guest voices boggle the mind: Seth MacFarlene (Family Guy), Joss Wheden (Buffy), Frank Moore (Battlestar Galactica), Hulk Hogan, Van Damme, Simon Pegg, Mark Hamill, The Hoff, Neil Patrick Harris… it goes on. Some of the sketches can meander though - with a few of the particularly Americanised scenes lost in translation - and the pop culture nature of the show means you either know the reference and get it, or it flies over your head. As a lot of the comedy relies on previous knowledge rather that timeless scripting, it may leave some puzzled. But not this little black duck. The aforementioned Nick Cage and Dark Crystal rap are particularly brilliant (wellwritten, spot-on, and with a certain timeless charm), a malfunctioning Batmobile, Jean-Claude Van Damm in Gone With the Wind and the season intro which sees our hapless creative duo on the search for a new job are among some of the many highlights. And if you don’t find a sketch funny, hell, there’s another few hundred to go. Sit back, blaze up, enjoy. allan sko
As normally happens in stories like this, a grizzly old man (Cus D’Amato) recognises raw talent and succeeds brilliantly in taming the animal. The young boxer’s relationship with D’Amato is more fatherson than trainer-head basher protégé and Tyson is visibly emotional when recalling his years under D’Amato’s wing. It’s touching, but it’s about here that I began to feel I was being manipulated. The man is a convicted rapist after all. But gradually a redemptive arc emerges and Tyson the man emerges out of Tyson the monster. He’s reconciled with his past and relishing a future inconceivable 15 years ago – at the height of Tyson’s infamy. On that count, good on him. He doesn’t walk away from his sins although some details are contested. Elsewhere we get to relive the classic quips; “I want to rip out his heart and feed it to him. I want to eat his children” or this searing riposte “I eat your asshole alive you bitch. I’ll fuck you ‘til you love me, faggot.” As I said before, issues. Stock fight footage is utilised to brilliant effect and whilst uncomfortable viewing in parts, Tyson at the very least puts some sort of back-story to the headlines. JUSTIN HOOK
GIG GUIDE Jan 20 - Jan 26 wednesday january 20 Arts Life Drawing 3
An exhibition by Linda Robertson. Reflects the theatrical nature of her dancer subjects. ‘Til Jan 31 PAINTBOX FINE ART GALLERY
An exhibition by Lorraine Lewitzka. Timeless glimpses into the lives of her subjects. ‘Til Jan 31. PAINTBOX FINE ART GALLERY
Fresh and exuberant survey of Year 11 and 12 work from three Belconnen colleges. ‘Til Jan 31. BELCONNEN ARTS CENTRE
Live A French Butler Called Smith
Gold Coast band A French Butler Called Smith are heading to Canberra on their national album launch tour of their debut album The Milkdrop Circus. Their music is an original blend of Latin, funk, gypsy and world roots that is guaranteed to get you up dancing and leave you in a pool of sweat by the end of the night. They’re playing The Front on Wednesday January 20. 8pm, $10 entry.
Strangeways Club Night
DJ Bucky Free
Kazu Kimura + Robert Babicz
Presented by LLIK LLIK LLIK. Free before 10pm, $10 after. TRANSIT BAR
Live Leanne Melmoth
Leanne Melmoth stops at the King-O, touring her debut album Perfect Day. 9pm-1am. KING O’MALLEY’S, CIVIC
Phrase (live) TRANSIT BAR
Been drinking bong water lately? That’s a sign that you need to go outside, kiddo. Sometimes Canberra can seem as much fun as tongue kissing John Goodman, but occasionally, international musicians accidentally book Canberra. So this is where I force your attention to the wondrous Joanna Newsom, the harp shredding queen of freak folk. Now, you may not know the name (her music is not on any Tony Hawk soundtracks, sorry Cheech), but I assure you she is the eel’s hips. She is phenomenal to say the least, and is playing on your door step. Tickets are only 44 clams! To book call 6275 2700. You simply must go. Trust me.
Live The Cool
KING O’MALLEY’S, CIVIC
Their second gig for 2010 at The Front with a special guest. 7.30pm, $5. THE FRONT CAFE AND GALLERY
With special guests. $10. THE BASEMENT
saturday january 23
Arc Outdoor Screening: Wild at Heart (1990)
Sailor Ripley (Nicolas Cage) is out on parole, grabs his girl and gets on the road. 7pm.
Comedy at PJ’s
Do you know lots of stuff about nothing? Come on down every Wednesday from 6pm. P J O’REILLY’S, CIVIC
Every Wednesday, from 9.30pm. P J O’REILLY’S, CIVIC
thursday january 21 Arts Arc: Easy Rider (1969, M)
The definitive outsider film of the ‘60s, in a new print for its 40th anniversary. With Peter Fonda, Dennis Hopper and Jack Nicholson. 7pm. ARC CINEMA, NATIONAL FILM & SOUND ARCHIVE
P J O’REILLY’S, CIVIC
Cash prizes, 2 for 1 basic spirits and tap beer, and free pool. DJ Peter Doree from 11pm. CUBE NIGHTCLUB
friday january 22 dance Australia Gay
Party on after the weekend’s over with DJ TJ from 10 ‘til late. Free pool. CUBE NIGHTCLUB
Something Different Irish Jam Session
Come and have a fiddle from 5. KING O’MALLEY’S, CIVIC
ARC CINEMA, NATIONAL FILM & SOUND ARCHIVE
THE FRONT CAFE AND GALLERY
Arc: Easy Rider (1969, M)
The definitive outsider film of the ‘60s, in a new print for its 40th anniversary. With Peter Fonda, Dennis Hopper and Jack Nicholson. 4.30pm.
The Wedded Bliss
ARC CINEMA, NATIONAL FILM & SOUND ARCHIVE
A night of music and comedy hosted by the Stevenson Experience and ft. Cherie Kotek. 8pm, $5.
Pint + Pizza Night
sunday january 24
10 ‘til 5 with DJs Peter Dorree and Matt Chavasse. CUBE NIGHTCLUB
One Love $10, 9pm.
Ashley Feraude and MC Harelequin
monday january 25 dance Hospitality Night feat. UniVibes DJs
Vito de Luca (Aeroplane)
With Hubert, Celebrity Sex Tape, Cheese vs Offtapia and Biggie vs Scottie Fisher. LOT 33
tuesday january 26 dance Australia Day Live 2010
With Sean Kelly and D’Opus. Tix on the door.
Throw another sanga on the barbie and celebrate Aussie Day with a free concert on the lawns of PH.
Australia Day Jam
Dance the night away in your beachiest gear. MOOSEHEADS PUB
Hancock Basement, Los Capitanes, Zero Degree and Falling, plus skateboarding and BMX demos.
DJ Matt & local drag queens, free entry if in theme plus the chance to WIN a cruiser surfboard. 9pm.
Easy listening, easy on the eyes. KNIGHTSBRIDGE PENTHOUSE
JJJ Hottest 100 Party
Leisa Keen Trio
Presented by Pyramid and Strangeways. Includes a countdown of the previous year’s top tracks as voted by the j’s demographic, as well as Strangeways celebs behind the decks. TRANSIT BAR
GIG GUIDE Jan 27 - Jan 31 wednesday january 27 live Liam Budge
THE FRONT CAFE AND GALLERY
something different Karaoke
Cash prizes, 2 for 1 basic spirits and tap beer, and free pool. DJ Peter Doree from 11pm. CUBE NIGHTCLUB
Sweet deals. TRANSIT BAR
Do you know lots of stuff about nothing? Come on down every Wednesday from 6pm. P J O’REILLY’S, CIVIC
thursday january 28 dance D’Opus
Local DJ night. TRANSIT BAR
Charming, witty and good looking. KNIGHTSBRIDGE PENTHOUSE
Live Charles Chatain
dance Friday Nights with Frank Madrid
Every Wednesday, from 9.30pm.
sunday january 31
With Jemist and Tony Oates. A night of funk, soul and reggae on wax.
40th anniversary restored print of the American classic. 4.30pm.
Akuna Social Club
KarismaKatz Duo CASINO CANBERRA
Arc: Easy Rider (1969, M)
ARC CINEMA, NATIONAL FILM & SOUND ARCHIVE
Jack of all trades.
Party on after the weekend’s over with DJ TJ from 10 ‘til late. Free pool.
The Bridge Between
KING O’MALLEY’S, CIVIC
Rhythm Project Trio
Opera by Candlelight
KING O’MALLEY’S, CIVIC
Arias, duets and instrumental pieces while you dine. TEATRO VIVALDI
Fred Smith and the Spooky Men’s Chorale
Fred Smith has paired up with some blokes from the Blue Mountains to launch Urban Sea Shanties. THE PLAYHOUSE
macgregor hall, acton
Dub Dub Goose CD Launch
Bonjah are touring this summer promoting their brand new single Colours around Australia. Fresh from supporting The Beautiful Girls, G Love & Special Sauce and playing major festivals including Woodford, Peats Ridge & Pyramid Rock festivals. With supports from Ryan Meeking & The Few and Coby Grant. This will also be your last chance for a while to see Bonjah live as they are beginning work on their second album and touring the USA & Japan soon. $10.
He of the silky smooth skin. $5, 9pm.
Opera by Candlelight
P J O’REILLY’S, CIVIC
Arias, duets and instrumental pieces while you dine.
With Staky and DJ Bricksta. Tix available at the door. D’Opus in the Candybar.
Three on a Tree
KING O’MALLEY’S, CIVIC
10 ‘til 5 with DJs Peter Dorree and Matt Chavasse.
friday january 29
Something Different Pint + Pizza Night
Arias, duets and instrumental pieces while you dine.
saturday january 30 arts Arc Outdoor Screening: New York Story (1989)
New York’s three most famous directors; three short film stories about the city that has defined their filmmaking. 7pm.
ARC CINEMA, NATIONAL FILM & SOUND ARCHIVE
Dance Chairman Wow + Fidel Maestro DJ Set TRANSIT BAR
Summer bliss with a music festival AND pool party rolled into one. QUEANBEYAN POOL
Local Rock and Metal Night
RP3 are a stripped back 3 piece that combine folk and jazz with rhythm and syncopated blues. 7.30pm. THE FRONT CAFE AND GALLERY
The Bridge Between Duo THE BRADDON CLUB
Feat. Paulie the Water Tiger, Na Maza, Tranquil Deceptio and Robert the Bruce. $10, 9pm.
Diego Guerrero & Friends
KING O’MALLEY’S, CIVIC
Irish Jam Session
Come and have a fiddle from 5pm.
Some music pulls on your emotions like a doll by a puppeteers hand, and Diego Guerrero has a way with strings. The Spaniard, accompanied by a top notch Latin and jazz quintet, will create a canvas of musical contrast lifting flamenco’s mood with the vibrant and raw sounds of Cuban Rumba. Guerrero is supported by Brazilian singer Alda Rezende and Canberran quartet Los Jovenes Del Tango. The audience will be treated to what is promised to be an unforgettable tango by Canberran duo Gary and Yuko. Tickets are $45 and concessions and under 27s are $35. Bookings: 6275 2700. THE PLAYHOUSE
Paulie the Water Tiger With Na Maza, Robert the Bruce, Tranquil Deception and The Heroines. $10. THE BASEMENT
OUT dec 9
mothernature festival womadelaide yeasayer angus and Julia stone …AND MORE