BMA Magazine #509 - Sep/Oct 2019

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[CONTENTS]

[Canberra’s

Guide]

Entertainment

#509

Sep/Oct

Brought to you by Uber Eats; when that chain to your computer insists there’s no other way

Mail: 36/97 Eastern Valley Way Belconnen, ACT 2617 Publisher Radar Media Pty Ltd

AMY SHARK

p. 16

General Manager Allan Sko T: (02) 6257 4360 E: advertising@bmamag.com Editor Allan Sko E: editorial@bmamag.com Accounts Manager Ashish Doshi T: (02) 6247 4816 E: accounts@bmamag.com Graphic Designer/Cover Design Tracy Ng Film Columnist Cam Williams Entertainment Guide Editor John Harvey

CANBERRA DRUMMERS DAY

p. 18

KATE MILLER-HEIDKE

p. 19

4-PAGE FESTIVAL LIFTOUT

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LOLCOL - DANE SIMPSON

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Social Media Manager Allan Sko Columnists Ruth O’Brien, Josh Nixon, Peter O’Rourke, Allan Sko Contributors Dane Simpson, Jessica Conway, Ruth O’Brien, Vince Leigh, Cara Lennon, John Harvey, Andrew Myers, Rory McCartney, Allan Sko NEXT ISSUE #510 OUT Thursday, 17 October EDITORIAL DEADLINE Friday, 4 October ADVERTISING DEADLINE Wednesday, 9 October ABN 76 097 301 730 BMA Magazine is independently owned and published. Opinions expressed in BMA Magazine are not necessarily those of the editor, publisher or staff.

TIM FERGUSON

ES 199 T 2 PAGE 10

LITERATURE IN REVIEW MUSIC REVIEWS FILM REVIEWS ENTERTAINMENT GUIDE

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FRAGMENTS

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GAME MASTERS

p. 41 p. 32 p. 34 p. 40 p. 44 @bmamag

my lovely partner Ruth agrees. She confessed to the, frankly adorable, trait of saying ‘bye’ multiple times, trailing off in volume with each utterance. Committed to the form, she will often continue ‘byes’ whilst drifting the phone further away from her mouth for added effect.

This woman is a pro, ladies and gentlemen.

Which all turns me to wondering... Why so sly at plying goodbyes?

FROM THE BOSSMAN

BY ALLAN SKO [ALLAN@BMAMAG.COM]

Some years ago, I wrote about our inability to successfully say goodbye, and it’s a topic I’d like to re-visit, inspired as I was by two recent encounters with the forgotten heroes of our society; Uber Eats drivers.

Of all the species that have roamed this big ol’ space-drifting rock, we would surely rank high in communication. True, dolphins have pulsing whistles that can travel great distances, and there’s a lot to be said for the fine art of meaningful poochucking indulged by our primate cousins. But for the ability to express complex, abstract ideas by stringing together a series of sounds, we’re second-to-none.

This being said, we tend to have a hell of a time saying goodbye. And I’m not talking about a teary-eyed final farewell.

I mean a straight up, simple ‘this conversation has reached its end’ goodbye.

With the amount of time I spend on the phone, I’m like a canary down the mines with the whole ‘do mobiles cause brain tumours’ debate. It’s through these myriad chats that I can ascertain that a good portion of us can be eloquent and erudite all conversation through - bubbling with wit and whimsy, conveying ideas with purpose and passion - but stumble as soon as we hit the crucial culling of conversation.

In the ceaseless self-analytical process so crucial to the levels of panic and anxiety unto which I am accustomed, I surmised it could be an unwitting power game. To be the first to declare ‘goodbye!’ is to be the one to have the power in the dialogue, to declare, “Your worth and entertainment value has ceased! Begone!” There are sectors of highpowered business rushing to hang up for this reason.

Between beloved work colleagues and family, however, it’s a more tentative game for, heaven forfend, if we were to offend. This is why - when ten sweat-inducing minutes from a piercing final deadline - I will allow my dear Dad (upon the fifth attempt to hang up) to enlighten me on the time he met Quentin Tarantino for the 17th time. I will never hang up on him because, in short, I love him and don’t want an abrupt ‘goodbye’ - no matter how valid the circumstances - to be misinterpreted as me not caring.

But I’ve revised this theory, and now point to the simple abruptness of the word. Much like ‘no’, ‘bye’ is short, sharp, and abrupt. It won’t do.

The Germans have it right with ‘auf wiedersehen’; that’s practically a sentence, winding a veritable tale of farewell.

So, if we change the word ‘bye’ to something softer and more rounded, we should be fine. I vote for ‘fluffy-bum’.

Needless to say, I tend to overthink these things. Anyway, I must be off for a brief lie down. I’ve just had a 20-minute mobile chat and have a ‘hot ear’.

Fluffy-bum!

There are many ways in which we falter.

Some people simply can’t say the word ‘goodbye’. The rhythm of the conversation builds up to that familiar end where the exchange of ‘byes!’ would take place, but instead it just... keeps...going: “OK then. That’s sorted.” /”Yeah. Nice one”’/”All done then.”/”Yeah”/”Yup”/”All doneskis”/”Done-a-rillo”/”Sure is done.”... Followed by an interminably long silence.

If someone doesn’t finally offer the first ‘bye!’ it can tear a black hole in the space-time continuum, leading to the offending party being sucked into conversational oblivion. I’ve lost three friends in this manner.

On the opposite end of the spectrum are those who perhaps know they can’t say goodbye, and instead abruptly hang up. Like the aforementioned Uber Eats drivers. Fuelled by delivered delicacies this deadline, on two occasions we received harried calls seeking our exact apartment location that, when given, was met with a sharp dial tone by way of farewell. An unsettling end to an otherwise cheery encounter, and a good way to tarnish a star rating.

And there are The Clingers (often family members) who find inexhaustable ways to extend the conversation right at the death, like a player hitting a miraculous last-minute goal to send the game into overtime: “OK then, bye!”/”Bye!”/”O! Quick thing; did I tell you I saw Jesus in Woolworths last week?”

I am not immune to such trappings. Despite being able to hold a lively conversation - ‘fruity tosser’ is the term bandied about the BMA office - come the end, something strange happens whereby my voice goes up a curious octave, like the letting of air out of a balloon: “OK, catch you soon! Byeeeeeeeeeeee!

In a further demonstration that we’re meant to be together, facebook.com/bmamagazine

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[HOT TIX]

Benny Eggmolesse / Beyond Comedy / Fri, 27 Sep / Beyond Q Books, Weston Creek Two-time national Deadly Funny Runner Up, Aboriginal comedian Benny Eggmolesse headlines Beyond Comedy, MC’d by Chris Ryan with supports from Josh Glass, Sarah Pam, Bill Makin, Dom Remis, and first timer Eve Cuthbertson. Benny’s quick wit and ferociously honest comedy has earned him numerous awards including runner up at 2018 ACT finals for RAW Comedy. Benny’s cultural heritage is at the core of his stand up and this will be a legendary night of laughs. Tickets $15 online or $20 at door unless sold out. trybooking.com/BEIBL

Running Scared / Freakish 5km run / Sat, 12 Oct / Lake Burley Griffin Ever watched a horror film and found yourself fruitlessly screaming at a dopey protagonist, “Just RUN AWAY, you fucking plum!” Well, now you can put your foot where your hoarse throat is with the first ever Running Scared 5km horror marathon. The scenic Lake Burley Griffin will be transformed into the stuff of nightmares with all your favourite - and reviled - horror tropes grasping at your fleeing footsies. And if you survive (A-MWA-HAHA-HAAAAA!) there a ghoulish after party where you can do the, wait for it... monster mash. Tix available from runscared.com.au

The Number 9 Blacktops/ Hot-rod rockabilly Tue, 15 Oct / The Basement, Belconnen Motorcycle rock’n’roll and hot-rod rockabilly from southern Illinois, USA. Rocking 12 countries over 20 world tours, the trio are endorsed by Gretsch Guitars, Fender Amplifiers, Bigsby Vibratos, O’douds Pomades, and Buffalo Trace Bourbon. The 9s have recorded with Southern Culture on the Skids, the Supersuckers, and supported the legendary Chuck Berry multiple times. As vocalist/guitarist “Skinny” Jim Rotramel says: “We play greasy rockabilly with witty lyrics. Songs about bourbon, truckers, and pretty gals. A good time guaranteed!” For more: facebook. com/9blacktops PAGE 12

UPCOMING EVENTS

Conflux 15 / Speculative fiction convention / Sat-Mon, 5-7 Oct / Gungahlin ACT Library Now in its 15th year, Conflux will offer an exciting variety of speculative fiction (science fiction, horror, fantasy), panels, talks, discussions, and workshops led by a diverse range of authors, artists, publishers, editors, fans, readers, and educators. Featuring guest of honour, Thoraiya Dyer, the Aurealis and Ditmar awardwinning Sydney-based writer and veterinarian, as well as New York Times best seller in fiction, Hugo Award winner, and Creative Consultant for Stargate: Universe, John Scalzi. For full program, and to register to attend, visit conflux.org.au

World Percussion Showcase / Sun, 13 Oct / Smith’s Alternative A celebration of hand drumming and percussion, featuring performances showcasing Afro-Latin, West African, AfroPeruvian, Brazilian and Chinese percussion - along with a good ol’ outdoor jam. There’s a stomping great set of performers, including Cuban Percussion School, Hit ‘n’ Miss, Rodrigo Percussion Graduating Class, Raio de Sol Canberra Community Samba Band, Canberra Prosperous Mountain Dragon, and Lion Dance. A great way to toetap away a Sunday afternoon. 2-4pm, tix from http://bit.ly/CBR_Smiths

The Crooked Fiddle Band / Chainsaw folk Fri, 18 Oct / Smith’s Alternative The ‘Fiddle’s long awaited third album Another Subtle Atom Bomb continues the acclaimed run set by Overgrown Tales and Moving Pieces Of The Sea. Previous albums were recorded in Chicago with the legendary Steve Albini. This time they call Australia home and, given the heavy subject matter, wanted the album to have an upfront sound, enlisting rock engineer Clayton Segelov (Camp Cope, Justice For The Damned, Shady Nasty, sleepmakeswaves).

The Fiddle fuse the fiery energies of Eastern European frantic fiddle, and warehouse party punk. Doors 9.30pm / $25 / smithsalternative.com/events/the-crooked-fiddle-band-61710 @bmamag

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I smile about every time. What in particular do you think is unique about the Canberra music scene and how has it helped foster the success you’re experiencing now?

LOCALITY

[THE WORD ON LOCAL MUSIC] WITH RUTH O’BRIEN. SEND YOUR GIGS AND INFO TO: [RUTHMVOBRIEN@GMAIL.COM]

Another month, another bunch of cool stuff made for, and by, Canberra talent! Let’s jump straight in!

On Saturday, 28 September, the ACT National Poetry Slam Finals will take place at Gorman House Arts Centre, Main Hall. Run and hosted by local slam legends, BAD!SLAM!NO!BISCUIT!, the night promises to be full of fun, hilarity, and silliness. The ACT winner will go on to compete in the finals in Sydney. It starts at 7:30pm and tix are $10 + bf. For more information and to book, go to Eventbrite or contact Ainslie & Gorman Arts Centres on 6182 0000.

Local supergroup Teen Jesus and The Jean Teasers will be back home on the 28th, after going on the road both as support act for Slowly Slowly, and for their own headline tour to promote recent single, See You In A Bit (I Still Care) [reviewed on page 36, no less - BOSSMAN AL]. They’ve had an incredible year; releasing two singles, aforementioned tours, and playing BigSound (with lines out the venue doors).I caught up with the rising stars to ask them about their recent success.

Ruth: What do you think are the main things that have lead to your ever-growing success in the industry?

TJ&TJT: As true Canberrans would know, we’ve been a band for quite a while now (three-ish years!) and it’s so nice seeing things start to pick up! One of the most recent things that has helped to push us along is joining forces with our beautiful, amazing manager, Shannen [Egan, of Turning Heads management, who we spoke to this issue - BOSSMAN AL]. Having another person able to take charge and push us forward has been a big blessing; we’ve had such a great chance to work on our performance and improve our songwriting. Bless her soul.

Ruth: A lot of the media I’ve read about you guys mentions your pride for our little capital city which, as a proud Canberran myself,

TJ&TJT: Because the Canberra music scene is such a close-knit and wholesome community, the support that emerging bands receive is unlike that of any other city. The fact that amazing Canberrans actually make the effort to consistently come out and support local bands makes it sooo much easier to get over the fear of playing onstage and dive in! We owe Canberra our lives.

Ruth: You’re wrapping up your headline tour in Canberra. What’s it like playing shows here compared to other cities around Australia?

TJ&TJT: Canberra will always be our favourite place to play! We couldn’t be anywhere near where we are today if it wasn’t for the endless support from Canberra audiences. Playing on the home turf is so lovely for us, and we always try and make them our best shows of the tour.

Teen Jesus’ show at the Polish Club on Saturday, 28 September is from 8pm-midnight and features support acts Helena Pop, Charlotte & The Harlots and Paint Store. Tickets are $15 + bf and can be bought online via Humantix. Did I mention it’s all ages? It’s all ages.

On Saturday, 5 October, East Row Rabble will be playing up a storm at the Old Canberra Inn. The Rabble deliver a slick mix of funk, ska, blues, and soul with heavenly horn lines that will get your booty shaking and your feet shuffling. Addressing a mixture of world issues and daily curiosities, Ben Drysdale’s songs explore the many, varied, and often conflicting elements of any situation with honesty, hope, and a little cheekiness. The gig is free and will also feature local roots rebel, Alec Randles.

Should you wish to keep kicking on, head over to Smith’s Alternative that evening from 9pm for some booty shakin’ tunes with Latin music band, FunkyTrop! The group have been a staple of the Canberra music scene since 2014 and bring to audiences a highly danceable show, merging funk and Afro-latin rhythms with modern music. This seven-piece band is sure to provide you with the boogie soundtrack you need to well and truly settle into your Saturday night. Tickets available at the door.

To celebrate the opening of the Tim Fairfax Learning Gallery and Studio at the National Gallery of Australia (NGA), the entire gallery is being transformed into an open studio where everyone is welcome to create and express themselves on Saturday, 12 October. There’ll be a program of tours, talks, performances, and storytelling throughout the day to help you deepen your understanding and appreciation of art. This event is totally free and on from 10am-5pm.

Also at NGA, should you want to catch the last performances of Duto Hardono’s In Harmonia Progressio work, as part of Contemporary Worlds: Indonesia exhibition, these will happen between 11am-12pm on three Saturdays: 28 September, 12 October, and 26 October. A live vocal performance of action and reaction that transforms language, evoking universal forms of human communication. Realised by a local choir throughout the Gallery, In Harmonia Progressio, creates new, improvised compositions with every performance.

Wow, once again, so many things on. Whoever said Canberra is boring?

Teen Jesus & The Jean Teasers - cool name, great sound, cracking live PAGE 14

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BMA BAND PROFILE

SARKY BASTARD

Three-piece Sarky Bastard have a slew of singles coming up to cap off 2019. So we grabbed a drum stool and got to know these charming, level-headed chaps.

Group members: Leighton Beman (bass, vocals) Jack Buchanan (guitar, vocals) Cam Hart (drums, vocals)

Describe your sound: For the strings, imagine a chainsaw shoved into an amp, operated by a bipedal Platyrrhini. Now turn that chainsaw on said bipedal Platyrrhini and you’ve got the screams. Have you seen 2001: A Space Odyssey?

Who/What are your influences, musical or otherwise?

None of us actually listen to “music”. But if we *HAD* to, I guess: The Cramps, Suckdog, DEVO, Show Me The Body, Daughters, Mac Demarco, Gojira, Oathbreaker, Slayer. Fun fact: none of us listen to the same music. In fact, we despise each others’ musical tastes.

What are some of the most memorable experiences you’ve had as an artist?

A few stick out. There was this one time (drummer) Cam snapped the ankle of his kick drum foot, the day before our first interstate show (he wouldn’t stop complaining about everything for a week).

Stand-out positive experiences would be supporting Nick Oliveri (QOTSA, Kyuss), SCABZ, and Hoon. There’s plenty more, and we’re keen to keep on keeping on!

Tell us about one of your proudest moments: The day we finally released our first album after sitting on it for eight months. Or when Cam bought his first ball gag. It’s a tie between the two.

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What are your plans for the future?

Currently, we’re in the process of recording singles and an album which will actually be released in a reasonable timeframe. Other than that we’re planning on playing more interstate shows. Maybe eat a bird.

What makes you laugh?

Lars Ulrich.

What pisses you off?

Lars Ulrich. Also people being creeps at gigs.

What about the Canberra scene/the music scene in general would you change?

More moshing. More venues. Less crowd-killing. More heavy music. More engagement within the scene. More big acts coming through Canberra. Louder amps. Maybe a Marshall. Maybe a wall of cabs. And a 30 piece drum-kit.

And a Gibson Les Paul.

What would you like to plug?

We’ve got some singles coming out over the next few months. Our first, Speedy Racecar, will be available in September.

And chikity-check this out: Facebook: https://www.facebook.com/ SarkyBastardBand Spotify: https://open.spotify.com/ artist/3DtWFXEoM06dCdimE5XrzM Youtube: https://www.youtube.com/channel/ UCMLavLFnK_xEROpJXlHUC-w Also, a big shout out to the bois HYMMNN, Paint Store & Moosk ;) Stay Tooned. More is coming.

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Keeps On Moving

By Jessica Conway

It can be rare for artists who hit “the big time” to remember the little guy – and by this I mean Canberra (and all the other so-called regional centres in this wide brown land).

Someone who absolutely does not fit in this category is Amy Shark.

Yes, I am talking about the singer/songwriter behind the ultimate passive-aggressive fuck-you anthem I Said Hi, the incredibly sweet love song Adore, and many more tracks that are so legitimately great it seems impossible to overplay them.

In case you’ve been living under a rock for the last month, Ms Shark is not only gracing Canberra with her talented presence but is doing a whole damn regional tour*!

“I think regional parts of Australia get absolutely rorted [when it comes to live music]”, Amy said over the phone.

“I take a lot of notice when people tell me they’ve driven some huge distance to come to a major city show, and people online are always asking when are you coming here and when are you going there – I had this gap in my schedule so I jumped at it.”

This is music to my ears (pardon the naff pun). Anyone else here done that damn Sydney drive dozens of times to catch bands at The Metro, The Enmore, The Opera House, Oxford Art Factory, and all those other Sydney music haunts?

Hearing Amy talk about touring, sharing her songs, and finding ways to connect with the audience is pure, infectious joy. She truly loves it. All of it. Even the boneaching fatigue and utterly discombobulating jet-lag of bouncing between Aus and LA. “Honestly, I’m addicted to songwriting, so it’s not a job for me, and the rest is just a bonus,” she says. “I never thought I’d be playing to these big rooms and have my music sound so great live and really enjoy every part of it. And even now, talking to you, I’m talking about something I love - I love every second of it. There are times that it’s really tiring, and there’s a lot of travel, and I’m exhausted. But I never take it for granted.”

This makes sense, as fame came later in life for this Aussie. Making herself an international name was never the goal.

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“I had it in my head that you’re only going to get signed if you’re 13,” Amy reveals. “So I thought that was over. But I was still writing songs and trying to be a songwriter more than anything. And then it just all happened very quickly. I also feel like I was in a massive training session my whole life, preparing for this.”

Even though her Night Thinker EP and debut album Love Monster have toured our major cities and the world, Amy says there is still so much to share.

“I’m looking forward to giving this regional tour the best of Night Thinker and Love Monster and just squeeze the last bit out of the first stages of my career, really.

“I play the same show to ten people as I do to 10,000. The show is so much fun, and it’s big – but it also has intimate parts,” Amy explains.

Given how easy it is to chat with Amy over the phone, it’s no great surprise (but an utter delight) to hear she loves having a bit of a gasbag between songs too.

“There are a lot of artists that really struggle with that side of performing, but that’s the part I really love,” she says.

“I love Blink because I love the banter on stage; I love Tegan and Sarah because they’re just hilarious. I went to shows wanting to know more about the artist, and a lot of the feedback from when I first started was that people appreciate hearing more about the songs and myself, so I just embrace that.

“I try and find a balance between playing as many songs as I can but also try and connect with everyone.”

P.S. Amy reckons Geelong has the best chicken burger she’s ever had. I reckon we can beat that. Let us know what your favourite burger and burger joint is – we may even try to get one delivered before her UC gig.

And Amy Shark will indeed be at the UC Refectory, banter and burger hopefully to hand, with supports Sly Withers and Eleanor Jacks. Tix are $66.26 from amyshark.com or moshtix.com.au *Author’s note: I generally have a mega issue with Canberra, which is only the freaking CAPITAL of the entire country (and also my hometown, so there may be bias) being called a regional city. I mean, we still get Win and Prime TV channels here for God’s sake! Can’t we upgrade to Nine and Seven like all the other big kids already?

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BMA’s Ruth O’Brien travels to Groove Warehouse to speak with overseer Gary France about the action-packed Canberra Drummers Day. If you’re a drummer in Canberra, or have any rhythmic bone in your body, there’s no other place you should be on Saturday, 12 October than Canberra Drummers Day at the Groove Warehouse in Hume!

The brainchild of renowned drummer and percussionist, Gary France, CDD is an opportunity for everyone from amateurs to professionals, the young and old, to come together and share a love of beats, sick or otherwise.

I recently spoke to Gary in depth about how he envisions the day. “We’re going to have a thing called Drum Karaoke,” he says. “We have over 100 songs, and people can sit down [at the drum kit on stage] and play their favourite song. Whether it’s something by U2 or The Beatles or a thrash metal band, or whatever”.

That alone is enough to get me along to this fabulous initiative…but wait! There’s more! CDD will feature clinics, workshops, demonstrations, and performances by some of the best drummers in the

country. These include Dave Goodman, Taylor Douglas, Ben Schumann, Katherine Bray, Peta Minter, Phil Measham, Jonathan Jones, Giorgio Rojas, Jamal Salem, and Simon Ert just to name a few. Many local upand-coming drummers will also feature on the day. Riley Morgan, drummer of Sputnik Sweetheart, is also scheduled to be involved, as is Canberra Community Samba band, Raio De Sol. All styles of drumming will be looked at from jazz to rock, world music to funk, pop, and everything in between. And with the pros listed above, you can

get all the advice and tips you need to begin, or continue, your own drumming journey, as well as sign up to classes, or learn about the amazing drummers coming through Canberra as the year progresses.

On top of that, there’ll be a raffle for thousands of dollars worth of door prizes (tickets for which can be bought online via the Groove Warehouse website), a sausage sizzle, and Kiddicussion (a workshop for kids to get involved).

The Groove Warehouse is a spectacle in itself. The retail section (which sells everything you could imagine and more to do with drumming) is located on the bottom level. Go up about 20 stairs* and you see the amazing space where 10+ drum kits are set up for classes to take place. Next to that is what Gary currently nicknames, “The Golden Room”. I have never seen so many cymbals and gongs in my life!

“We’re really a hybrid for the music profession”, states Gary. “Whether you’re playing, teaching, promoting, selling, researchin; we do it all here”.

Having been to the last Canberra Drummers Day in 2016, I can guarantee this is a great event to get along to for anybody with even a vague interest in drumming. Or music, generally.

At the heart of this event is Gary’s love of drumming and his will to share his passion with the wider community.

“This is about people experiencing the Groove Warehouse, experiencing all the things that we do. We’re not any one thing. We’re not just a school, we’re not just a store, we’re not just an events organisation. We reach out nationwide”, says Gary.

How lucky we are that he’s chosen to call Canberra home.

For more info, check out the website at groovewarehouse. com.au or drop them a line on 6260 2847. *While there isn’t an elevator to the 2nd floor, there is a chairlift to assist anybody who may require mobility assistance to experience the whole venue

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@bmamag

The first time I heard the magnificent dulcet tones of Kate Miller-Heidke was back in 2005 at the Woodford Folk Festival. Her soft yet beautifully controlled vocal stylings in her well-crafted, and often comical, pop tunes instantly made me a fan.

Then she performed a cover of Psycho Killer by The Talking Heads and holy effing hell! That voice. I knew that this wasn’t just another flash-in-the-pan act, and was sure this would not be the last time I would hear her name.

Fast-forward 14 years and Kate Miller-Heidke has gone on to lead a rich, varied, and successful career that most singer-songwriters only dream of.

In just this last year she’s written the score for the musical version of Muriel’s Wedding and represented Australia in the Eurovision Song Contest.

I recently chatted with the mega-star about her experiences.

“Eurovision was amazing. It was also incredibly intense and scary for lots of different reasons. I guess, at the time, it was so crazy that I couldn’t quite enjoy it,” admitted the singer.

“Whereas with Muriel’s Wedding, I got to sit in the audience and watch other people bring this work to life, and that was just an incredible thrill. I’ve never experienced that kind of buzz before without being onstage myself. I do feel really lucky and grateful that I’ve had such a lolly-bag of different projects to sink my teeth into. I feel very stimulated and challenged.”

As many will know, the song Kate performed at Eurovision, Zero Gravity, is about her struggle with post-natal depression after the birth of her son, Ernie. When asked about whether it was a conscious choice to publicly share these details about her private life, Kate said: “The song came before the decision to share those personal details. I’ve always been quite a private person.

“The song came out, and after that I just felt compelled to tell people what it was about.

And, I guess, I also had experienced the power and the release of other people talking about facebook.com/bmamagazine

Zero Gravity

Article by Ruth O’Brien

their feelings of depression. And that’s something that’s helped me, actually; just realising that I wasn’t as alone as I felt at the time.”

I asked Kate about the challenges of having a small child and being a creative professional. Most artists and creative-types, Kate included, need to find a state of “flow” to do their best work. For any artists in a similar situation, Kate says: “It’s impossible without childcare. Childcare sets you free.”

However, she says that for her and her husband Keir Nuttal (who is also her longtime musical collaborator) having Ernie has forced them both to be more efficient with their time.

“I’ve only got a certain amount of time to do the work,” she says. “But it is difficult. Your heart is kinda divided between your passion for your work and this new, all-consuming love”.

Kate knew early on that making people both laugh and cry was, for her, the sign of a good musician, and if she could, “do that for people then she’d definitely won”. After years of attending the Woodford Folk Festival herself as a kid, she learned the power of the novelty song. This for me is another thing that sets Kate MillerHeidke apart. Her quirk and sense-ofhumour comes through in many of her tunes but she admits they only really work live.

“From the start those kind of songs often seemed to hit their mark, [but] not so much on recordings. I think that’s what’s so special about them; they just exist in a live show so you have to come and see it to experience them.”

Kate is currently in “deep writing mode and preproduction mode for a new album. And part of this tour is going to be sneak previews of the new material”.

Audiences can expect to hear many old favourites of Kate’s, but also she’s keen to see which new songs resonate.

Tickets are on sale now for her show on Thursday 26th September at the Canberra Theatre. To book go to canberratheatrecentre.com.au or call 6275 2700.

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DANCE THE DROP [THE WORD ON DANCE MUSIC] WITH PETER “KAZUKI” O’ROURKE [CONTACT@KAZUKI.COM.AU]

A friend of mine in the music scene posted an interesting Instagram post the other day.

She was lamenting the contradictions of working as an internationally touring techno producer and live act during the climate crisis. She’d worked incredibly hard to get to the point where she and her co-producer are playing in front of thousands of people across Europe, hopping from festival to festival with some of the biggest names in the scene.

Later in the year my crew, Department of Late Nights, will be back at Wolf as well; we’ve got one of Melbourne’s finest in Steve Ward coming up to spin some tasty techno, with Department residents B-tham and Fourthstate, plus T:mo on support. Friday, 1 November is the date to circle. Get amongst it!

Fiction have now opened their upstairs space with the new bar Fact (fitting name). Most of the time it will be RnB and hip-hop, but keep an eye on their page for special events.

Yet, she can’t ignore what is happening to our environment during the unfolding climate crisis, and chronically unsustainable impact that the festival scene can have on our fragile planet.

Coming up this month, house music heads will want to check out Kormak on Friday, 27 September. He’s recently signed to Defected Records so grooves are definitely assured.

Excessive air travel, festival waste, and the cost of production (including some pretty nasty stuff in the mining of rare materials for making sound-systems and lasers) all undeniably have a cost to the environment, not to mention the travel of thousands of people to remote places in search of escapist hedonism.

And Leikeli47 will make her first appearance in Canberra, so if you dig some out-of-the-box left-field hip-hop you’ll want to be on the dancefloor come Friday, 4 October at Fiction.

It’s a hard one to reconcile, especially in the world of globally touring artists and the international culture of dance music.

Even as a small time Australian DJ, I sometimes feel a bit guilty in catching a flight down to Melbourne or Brisbane for a gig; my own contribution to the problem.

So what is dance music to do?

It’s not exactly the same to beam up a hologram of a DJ, streaming a set to a gig - that personal connection with the audience just can’t be replicated (and human connection is one of the things that makes a good dance party so special).

Maybe the answer is a complete slowdown - as with the rest of our lives. Maybe we don’t need to see the same internationals fly to Australia every year. Maybe it should be more of a special occasion to have these huge gigs, or not expect a DJ to play a full European circuit over a summer, with more regionalised and localised scenes.

You can take your pick at alternative hotspot Sideway, but highlights include: Saturday, 28 September is Pickle’s 4th birthday - expect rare cuts from Geo, Trm b, and FB Perimeter.

Sliding into October at Sideway, UK producers Assembly Code will be joined by Mia Sørlie, Silkwerm, and Ekzander for some brain-bending electronica for a special Sunday, 13 October show, while grime and UK garage fans better be at It’s a London Thing on Saturday, 19 October.

If you dig your heavier rave music, Melbourne’s Lockdown will be at Cube on Sunday, 6 October.

Finally, make sure you take Friday off work or uni in order to bug out on the Thursday, 24 October as Monkey Marc is bringing his Vital Sound album launch show to Canberra the night before.

Plenty to choose from. So may your dancing feet be merry, and your carbon footprint light.

Either way, as we feel the impact of the climate crisis get worse, everything will be affected by it - dance music included.

That said, onto lighter, less troublesome things.

The biggest gig this month of course is Escape Ferocity’s next warehouse party with Germany’s Extrawelt delighting the senses with some live techno at an “industrial location” on Saturday, 28 September. This crew have thrown some legendary parties with maximum vibes, and this will be no exception. Tickets are on sale now - one to tell your grandkids about.

A few choice gigs at Mr Wolf, and this one’s pretty sweet - in 2003 the biggest thing in dance music was breaks, and for Australia that meant Kid Kenobi. He’s still carrying the breaks torch and has been playing some huge parties around the country, and will be at Mr Wolf on Saturday, 18 October with the Headz Are Rolling crew, and some fine locals including Dubdeckerbuss, Fourthstate, Boomtze, and Rascal & Tidy.

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Breakbeat hero Kid Kenobi makes a long-awaited return to Canberra. 2003 fo’ life! @bmamag

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METALISE

[THE WORD ON METAL] WITH JOSH NIXON

Dr. Colossus have a new 7-inch out entitled 66&6 which weaves the tale of Rod and Todd Flanders taking a Sunday off church. The band have been steadily pulling big crowds around the country in support of the release and have put together a killer bill with Sydney’s Potion making a return to town just prior to going into the studio to record their debut album.

Lucifungus round out the bill having already played a leg of this tour down in Geelong and Melbourne recently. Aptly, they play Sunday, 6 October at Transit Bar for that one.

This is how Necrot dresses to visit their Nans.

So just imagine the live show...

Sunday, 29 September kicks off with a brutal dose of Californian death metal courtesy of Necrot. Their Blood Offerings album from a couple of years back was a real head kicker so the chance to catch the band on a headline tour of Australia at The Basement is very welcome indeed. The bill is stacked with Faceless Burial, Blight Worms, Vile Apparition and Ploughshare all on board. Sick show, get into it.

On Saturday, 19 October, The Transit hosts Sydney blasters Justice For The Damned as a part of a national package tour with Honest Crooks, Dregg and Caged Existence. This tour closes the chapter on the debut album touring cycle, for the Dragged Through The Dirt release.

Wolves in the Throneroom last visited The Basement back, I guess, around five years ago now, and thanks to Soundworks Direct they’re coming back there on the Monday, 2 December in a welcome piece of touring news.

Wednesday, 2 October at The Basement is one for the industrial fans with Combichrist and special guests Darkcell. Combichrist from the US were formed by Norwegian vocalist/guitarist Andy LePlagua in 2003 and I’m pretty sure Aussie fans have been waiting til now to get a chance to catch them live. The band released the One Fire record in June.

Darkcell are coming off the release of their fourth self titled album this year. Abrasive mid week delights await.

Dr. Colossus is, to my knowledge the only Simpsons-themed doom band doing the rounds. Of course, Okily Dokily - the Ned Flanders themed death metal band - are also coming to town soon.

But I digress.

Yawning Man will have you doing anything but this January in Canberra More eclectic but equally welcoming was the news that Yawning Man have announced their first Australian tour for January next year and will be dropping by the Transit Bar. Their 2005 Rock Formations record has long been a weird favourite of mine. To qualify that description, give it a spin yourself. This band are unique and dreamlike and I’m looking forward to that summer fun.

The Sun Burn Festival in Melbourne is relevant to the ACT in that three Canberra bands will be playing a key role in the weekend’s myriad activities.

Witchskull will be headlining the festival at The Tote on Saturday, 30 November, just a day ahead of going into Goat Sound Studios in Reservoir to begin tracking on album number three.

Pod People make their return as the co-headliner, along with members Brad and Dave playing in their fantastic two-piece Lucifungus.

And with Peeping Tom, Reaper, Potion, and many more on the bill, it’s well worth a Melbourne weekend.

Love your Simpsons-themed doom metal?

Then Dr. Colossus has you cov-diddly-ov’red PAGE 22

And that’s all the news that’s not fit for print.

Catch you next month. @bmamag

Back from the dead, Stonefest returns in 2019, bringing stacks of influential artists to the nation’s capital Prior to its hiatus, the festival saw names such as Xavier Rudd, Spiderbait, and British India, the latter returning to the line-up in 2019.

Which artists do you draw inspiration from?

At the moment: Japanese Breakfast, FRITZ, RAT!hammock, Clairo, and Elliott Smith mostly.

Stonefest is much more than a music festival; it celebrates Canberra’s vibrant music scene and brings like-minded people together. The line-up presents a blend of breakthrough artists, triple j Hottest 100 residents, and classic nostalgia acts. Stonefest is a trip down memory lane and a glimpse into the future all in one.

Who would be your dream collab?

Collaborating scares the absolute shit out of me so I’d rather just not subject anyone to that haha. I’d love to harmonise with Sharon Van Etten though.

You’ll leave feeling inspired, having connected with a bunch of like-minded people and bringing a whole stack of fresh new talent to add to your playlists.

Nestled amongst Aussie legends like Mallrat and Skegss, you may recognise a few friendly neighbourhood names. Canberra acts have been killing the game in recent times, and they’re well-represented. We caught up with CBR rock royalty - Moaning Lisa, Sputnik Sweetheart, and Teen Jesus and the Jean Teasers to discuss all things festival culture, vibrance, and bringing more live music goodness to the capital.

FRITZ ‘Jan 1’ will transform you to another noise-pop galaxy

What’s your dream festival lineup?

Wolf Alice, Japanese Breakfast, IDLES, Tyler, The Creator, Mitski, Blood Orange, Stella Donnelly, St Vincent, Cry Club, RAAVE TAPES, Coldplay.

And who are you most excited to catch on the Stonefest line-up?

Honestly, most of them! I’ve never seen Sputnik Sweetheart before so I’m really intrigued to check them out. I’m also quietly obsessed with Thelma Plum so I’m keen to have a dance and cry to her set. Also Cry Club because they are the best act in the whole world.

Go-to festival fashion?

What I wear on stage TBH. I always plan to try and get changed after a set but I never do.

What’s a festival fashion trend you never wanna see again?

Cultural appropriation.

Moaning Lisa.

Photo: Natalie Jurrjens Moaning Lisa.

Photo: Natalie Jurrjens

Where do you feel most inspired?

It could be anywhere, really, but it’s when I’m isolated. On public transport, home alone, with headphones on, so I can really be with my thoughts with minimal distractions to figure out how to express them artistically. facebook.com/bmamagazine

What can we expect from your Stonefest set?

Biiiiiig noise, lots of light and shade, and lots of dancing.

What would you like to see more of in the Canberra music scene?

Risk taking, rule breaking, people getting outside of their comfort zones, and continuing to push harder to improve.

What would you like to see less of?

Shitty venue owners who don’t understand or appreciate the scene; valuable medium-cap venues closing down. PAGE 23

What would you like to see less of?

Like we said, Canberra has a great music scene and the majority of people enjoy just having a good time and seeing the music, but there are still instances where people act inconsiderately and disrespectfully so that others start to feel unsafe. We actually experienced this at one of our early shows. If we could see less behaviour that causes people to feel uneasy and unsafe, then great.

Sputnik Sweetheart. Photo: Jack Gruber

Where do you feel most inspired?

When we sit down and there is a particular issue or idea that is sticking in our heads. It could be at home, in the studio, or in the shower, but if there’s something to write about, it all spills out very quickly.

Which artists do you draw inspiration from?

As a band, Wolf Alice would have to be our biggest inspiration at the moment. Not just their songwriting or sound, but also their attitude towards music. They are a very bold and brave band, creating music that they want to make on their own terms, not because someone is telling them to do it a particular way.

There are also some great Australian bands we all love and look up to such as Spacey Jane, The Grogans, These New South Wales, WAAX, and Tired Lion (to name a few).

Who would be your dream collab?

Genesis Owusu.

What’s your dream festival line-up?

Wolf Alice, Snail Mail, WAAX, The Strokes, Good Boy, Mac Demarco.

And who are you most excited to catch on the Stonefest line-up?

RAAVE TAPES, Moaning Lisa, Genesis Owusu, FRITZ and our BFFs Teen Jesus and the Jean Teasers.

Go-to festival fashion?

Something comfy with lots ‘n’ lots of glitter.

A festival fashion trend you never wanna see again?

Morph Suits.

Favourite place for a secret brunch?

We love Sweet Bones!! This is one of the only places that gets our mouths watering as well as suiting ALL of our dietary requirements.

Favourite place to drink?

Civic Pub is always a fan favourite of ours; and it’s not just so that Anna can absolutely destroy us at pool. It’s a very cosy space and we like it a lot.

Favourite place to dance?

88mph is definitely a classic for us. We like to mingle with the public service work parties that are constantly there and get down to Bananarama. Maybe also a bit of downstairs Mooseheads if we’re feeling extra fruity!

Favourite place to shop?

Phillip Salvos almost singlehandedly clothes all of us!

Definitely the fav Southside op shop. 10/10 from us.

Favourite space to be creative?

Smith’s Alternative is always a good option if you want a lovely space to work in. The brownies are amazing and the couches are top notch. You can also catch us having a cheeky band meeting at Grease Monkey to mix it up!

Favourite Canberra artists?

Where to begin! Canberra artists are ridiculously talented, and we love them all so much. Absolute favs include Sputnik Sweetheart, Groovy Daughter, and Paint Store.

Favourite thing about your Canberra audience?

We’ve been travelling around Australia for gigs a lot lately, but our favourite shows are always the ones on our home turf. Canberra crowds are so lovely, respectful, and supportive and we are eternally grateful for the start we’ve been given here.

What can we expect from your Stonefest set?

We’re putting out our first EP later this year so you guys are going to get a lil sneak peek of that.

What would you like to see more of in the Canberra music scene?

More people getting involved with the music scene.

Canberra is growing for music but we want everyone to be because it’s so much fun!

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Teen Jesus And The Jean Teasers. Photo: Claire Warren

@bmamag

Photo: Cath Connell

Creating the perfect blend of grit and glitter, Cry Club are making noise all over the country. Only forming in January 2018, the band has made some seriously big moves in the industry in a small amount of time.

it’s just our favourite bits of both. Each song is kind of like a sliding scale; if there’s pop at one end there may be full punk at the other. Each song grabs that slide and moves it to a certain point.

Ahead of their much-anticipated Stonefest set, we sat down with Heather to discuss all things festivals, fashion, finding inspiration and, of course, music! It’s a Tuesday afternoon and the duo have just finished playing a free show at Melbourne University. “Live music, a BBQ and free beers.”

Along with your unique sound, the band displays such vibrant stage presence, projecting so much energy and fun. What inspired you to create such a dynamic stage presence?

We draw inspiration from who we are as people. We have so much fun on stage, and that’s just as important as the songs themselves are. You can listen to a song on the radio or on your phone, but why then would you go and see a band if it was just them playing a song? You want more out of it. Between my theatre background and Jono’s variety of bands, we know what we want, and what we love, to see.

Given your newness, how much has your life changed in such a short period? And how have you had to adjust?

Rather than thinking about buying a house or managing my money, I am thinking about how I can invest it into the band.

We’ve moved to Melbourne to play more shows. Basically, our whole lives have changed. It’s been the most fulfilling thing in my entire life. I am in a much better headspace, have made some of the coolest friends, and am surrounded by the most amazing community.

Your band projects such a unique sound. How did this develop? And where did the inspiration come from?

It’s combination of things that we like to listen to, mixed with what’s currently on our mind. I really love pop music facebook.com/bmamagazine and Jono has spent his whole life in punk and hardcore. So,

JAPANESE WALLPAPER Familiarise yourself with his new track ‘Imaginary Friends’ in preparation for the release of his new album Glow which is out 18 October PAGE 25

And how do you channel that energy before going on stage? Do you have any pre-show rituals?

We are developing some. Our drummer Tina has introduced us to a really calm ritual, of playing a kind of bootleg scrabble game. This gets us into that mindset of being really focused, calm, and ready. We are also incorporating some stretches because I’m getting old and don’t want to hurt myself. We don’t do anything crazy and there’s no rushing around (unless I am running late to get ready). It’s high energy on stage because it’s low energy off stage.

You’ve recently started playing with a live drummer.

How’s that experience been?

OMG! It’s been an improvement in every single aspect of the band. It means we take more risks. She has expanded everything and brought her calm energy to the stage. I love her. Jono and I had fallen into a habit of not rehearsing our tracks ‘cos we knew the songs so well and we’d played them that many times. Having a drummer meant that we had to rehearse more, and it also meant we had another body of energy on stage. Having more energy on stage changes the way I perform cos I can turn around and say hi to Tina and I’m constantly thinking of how I can incorporate her into my performance.

NINAJIRACHI The Unearthed superstar burst into the music scene with her dreamy track ‘Pure Luck’ back in 2017

What are you excited about outside of music?

Jono and I are both nerds. I’m a bit late on the trend but I’ve started playing ‘Red Dead Redemption 2’. I’m not very good at it, but it’s nice to be really bad at something and learn.

Aside from that, I’m watching ‘Dexter’ lots and crocheting.

What was the last show you went to?

Alice Ivy in Melbourne, even though we just toured with her, we loved that experience so much, we just can’t get enough of her. We also recently saw Rainbow Chan play at the North Gong. It changed my whole life. It was incredible.

And who are you listening to at the moment?

Alice Ivy, 100 gecs (it’s super abrasive, not many people would like it), and WAAX. Describe your dream festival; the name, the overall vibe, the line-up: It would be called ‘Cryfest’, or ‘It’s Okay To Cry’, because I get very emotional at festivals. On the line-up would be: WAAX, Moaning Lisa, Bec Sandridge, Alice Ivy, Candy, Spaceface and The 1975 as the headliner.

And what would everyone be wearing?

Blue glitter, making sure its eco, biodegradable glitter.

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“Put into the world what you think is missing and make sure that you are looking out for other people while you do that.”

Speaking of fashion, I absolutely love the outfits you guys bring out on stage. They are so creative and fun.

Describe your fashion sense in three words?

Over the top.

Will we ever spot Cry Club on stage without the glitter tears?

I don’t think so. I think we will keep changing the colour.

Maybe we will get bored of it and it will evolve in the foreseeable future. But for now, we’ve got a lot we wanna explore with it.

And what’s one piece of fashion advice?

Commit. If you wanna wear something, do it and do it 100%.

What can we expect from your Stonefest set?

A lot of fun, and super rowdy. We wanna get the audience more involved, getting in amongst the crowd, making sure everyone feels included and safe and everyone gets to party with us.

And lastly, what’s one thing that you want listeners to take away from your music?

Put into the world what you think is missing and make sure that you are looking out for other people while you do that.

Stonefest will hit the University of Canberra on Saturday, 19 October. Tix $79.95 via stonefest.com.au

CERES Wear your heart on your sleeve and rock out to fan favourite ‘Viv In The Front Seat’

Stonefest 2019 Line-up British India, Ceres, Cry Club, Example (UK), FRITZ, Genesis Owusu, Japanese Wallpaper, Mallrat, Moaning Lisa, Ninajirachi, Pagan, RAAVE TAPES, RedHook, Sampa The Great, Skegss, Sputnik Sweetheart, Teen Jesus and the Jean Teasers, Thelma Plum, and Young Monks.

Words by Ella Hourigan @bmamag

facebook.com/bmamagazine

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Exhibitionist | Arts in the ACT

Ahhhh, great, I thought. What a brilliant way to spend a birthday.

“The good news is, the back up dancer for the Potbelleez didn’t show up, so I need you to go to the VIP tent and tell them that YOU are the backup dancer.”

You remember The Potbelleez, right? At the time, they were the headline act of this festival and were at their peak, smashing the charts with their hit song Don’t Hold Back.

As for me, I HAD a potbelly and could never in a million years pass as a backup dancer.

But I accepted the challenge. Maybe it was the dutch courage or maybe it was because I had no other option, but I strutted around to the VIP tent and told the young lady working behind the desk that I was, indeed, in all my girthy glory, the backup dancer for the Potbelleez. I cringed in anticipation.

WHEN IT’S YOUR BIRTHDAY, DON’T HOLD BACK

By Dane Simpson Before I was a comedian, I used to be a DJ. I performed at pubs and clubs, as well as music festivals. I received a phone call from a promoter named Jordan asking me to come over to Canberra and perform at a music festival. I couldn’t do it; it was the same day as my birthday and I wanted to be with friends.

Being my birthday, Jordan offered me a ticket to party at the festival for free. I accepted, and told my mates about the plan. They each bought their own tix and we set our car trip to CBR for that weekend.

On the journey we decided to have a few per drinks before the event. It was my birthday after all and we thought we could get our celebrations on early.

We turned up to the festival feeling great.

The rest of the guys went inside. I told them I would meet them as I went around to the Box Office to collect my free ticket.

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Only, the Box Office didn’t have a ticket. No worries, I thought. Jordan must have put the pass under a different name. So I gave him a quick call.

Jordan answered the phone with a sigh.

A sigh is never a good sign. I immediately knew something was wrong. His voice was slightly anxious.

“Hey man. I am so sorry… I forgot to get you a ticket, and it’s completely sold out.”

I told Jordan, “It’s my birthday and I drove all the way to Canberra for this! My mates have already gone inside. I really don’t know what to do!”

After a pause, he said: “Look, I’ll call you back in five minutes,” and hung up.

Feeling flat, I sat out the front of the festival, racking my brain.

Five minutes later my phone rang.

“Right... I have good news and I have bad news…” Jordan explained. “The bad news is there are no more tickets left and the venue will not allow any extra tickets to be given out.

Fortunately, she didn’t look up from her laptop and merely kept typing away with one hand whilst holding out an AAA (that’s Access All Areas, kids) lanyard.

Suddenly, she glanced up just before I took the pass and hesitated. She slightly pulled back, and in a fight-or-flight move, I grabbed the lanyard and did a quick spin on my heels that would impress Justin Timberlake.

I didn’t realise at the time, but Jordan had watched the whole thing play out and was laughing his ass off at this display. So Jordan took me backstage with my pass and I met the Potbelleez, in particular iKid, the lead singer. iKid enjoyed the story of how I got in to the festival so much he said I now HAD to dance during their performance.

An hour later I’m on stage, dancing with the Potbelleez, on my birthday, at a music festival. iKid eventually told me to leave because I was making him laugh too much with my excessive spinning.

Fake it til you make it.

And Dane Simpson will have you spinning around with more comedic stories at his new show Origins at The Civic Pub on Friday, 11 October, 8:30pm. Tix are $20 from trybooking.com/BEAON or civicpub.com.au/ @bmamag

Life Lessons with:

..

“Everyone finds something offensive if you talk long enough .”

In conversation with BMA Bossman Allan Sko about life and death. But mainly death.

heart, now I know it in my head’. If Aristotle said it then it must be a real thing.”

“There’s no point sitting in a wheelchair on stage and talking about the weather. There’s more fun to be had; there’s more creativity to be found by looking on the lighter side of things that are, on the face of it, terrifying.”

I mention this is similar to a writer/storyteller’s introduction to Joseph Campbell and Vogler’s The Hero’s Journey, which maps the narrative beats of nearly every story ever told.

So sayeth the frank and hilarious Tim Ferguson, the littleCanberran-that-could, Doug Anthony All Star who was good enough to take time out of his hectic schedule of movie-making, teaching at NYU, and touring, to chat ahead of his new The Street Theatre show A Fast Life On Wheels.

The show is heart-rending tale of a young boy who fights and fights and never gives up on his dreams. Nah, not really.

“It’s comedy, so it comes at you pretty hard and fast,” Tim says. “It’s about keep on rolling, living a fast life. But at the end of the day it’s built to make people feel better than they did when they walked in.

It’s still very much a Doug Anthony All Star, and a Canberran, so I don’t really worry too much about treading on toes. The main thing is fun, and laughing in the face of adversity. And Queanbeyan.”

But surely our dear Tim hasn’t ever spared even a passing thought to stepping on toes?

“Never. Unfortunately,” Tim dryly states. “From the Canberra busking days until now. I can’t really worry about audience feelings.

Everyone finds something offensive if you talk long enough.”

From here, Tim turns philosophical.

“It’s comedy’s business to point out the truth in a way that people may not have thought of,” he says. “So I talk about disability, sure, but I try to point out that disability is a bit like male pattern baldness; it’s doesn’t stop you from being able to do things. You’ll just never again make love.”

Tim is full of such lessons, which is hardly surprising.

“I’m one of the very few, if perhaps the only, teacher of narrative comedy in Australia,” he says. “People easily, and mistakenly, think we don’t need it or, even dumber, it can’t be taught. When I teach at NYU, the students have already been taught a bit of comedy.

Nobody argues.

“Whereas you can do any writing or screenwriting course in Australia and the chances are nobody will even mention comedy, even though it’s the most popular form on the screen. You look at the Melbourne Comedy Festival and it’s the biggest ticketed show in the country, and nobody thinks, ‘there might be something here to learn’. It’s really very odd. I’ve taught it in Canberra a few times.

And it’s great to see people leave with the beginnings of How To Make An Audience Laugh. There are tricks comedians use.”

“Yeah, Steve Kaplan has written a great book called The Comic Hero’s Journey which is effectively the Vogler/Campbell pattern,” Tim says.

“I was sitting there slapping my forehead. It’s like, when a classic hero hears the call they go, “No! I must stay here and look after my family!”

The Refusal To Call. Whereas a comic hero hears the call, you turn around, and they’ve already gone! There’s no discussion; the comic hero has LEFT THE BUILDING!” Casting aside the comedic text books for the term, talk turns back to Tim’s upcoming show, and its raison d’etre.

“If you’re going to be funny, you might as well be funny about something important, or else you’ll walk away having not learned anything. It’s like being given the minty wrapper without the minty.

“It’s important to talk about death, which is HILARIOUS,” Tim continues. “Death just keeps on giving. It’s the one thing everybody in the room agrees upon. Somebody once asked me what my epitaph should be. I think I’ll go for: “Here’s a funny thing...” That should do it. I imagine I won’t look too funny.

“Darkness is everybody’s friend when it comes to making an audience laugh. Most people don’t think about dark things very often, so the surprise it brings makes comedy much easier to engineer.”

I mention the Aussie gallows humour that many international comedians point out.

“Right!” Tim says. “Because we used to have them. There’s a cell, a Jungian memory, in the mind. We used to hang people. These days we just put them in the senate.”

Before stating his keenness to return to Canberra, I look to teacher Tim for a nifty way to end the article.

“The main thing,” he says, “is to never end a sentence with two exclamation marks!!”

Tim Ferguson’s Fast Life On Wheels rolls into The Street Theatre on Saturday, 19 October. Tix range from $44-49, and are available from thestreet.org.au/shows/tim-ferguson-fast-life-wheels

Do impart further wisdom, o mighty sage!

“There’s one that’s always useful, and it’s the Self-Referential Joke.

That’s where the punchline either confirms or negates the set up.

So the set up could be, “I wanted to change my mind... but then I reconsidered.” So it’s just a confirmation of changing your mind.

“Or you can do a negation: “I’d be patient... but it takes too long.”

So once you start playing with that, you start to recognise that these kinds of jokes are everywhere, and there’s a very simple rule.

And this can work with how characters work; comic characters are usually simplified and exaggerated. Nobody watches The Simpsons waiting for more depth from Homer.

“They’re really simple things. A lot of the time, I’ll just confirm that it’s a thing, and people will walk away saying, ‘I knew that in my facebook.com/bmamagazine

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@bmamag

Article By Jessica Conway

Fragments aims to start a conversation about mental health and the things that can influence it. It’s also about chipping away at the stigma that can stop people from getting help.

“When you’re feeling isolated and like your story isn’t spoken about, then it’s easy to feel like you’re not important, or you’re on the outside,” Shelly.

Director Shelly Higgs

The Street Theatre’s upcoming production Fragments is set to be a powerful and emotive show fuelled by Canberra’s next generation of actors.

The insightful script is the latest offering from local author and playwright Maura Pierlot, with eight intertwining stories giving a voice to struggles that can be so personal, yet somehow universal.

“All of the characters are searching for the same thing, that is connection. But none of them realise that,” Fragments Director Shelly Higgs said.

“The more we can do to integrate a whole lot of stories and different people the better, because then more people see themselves represented and think: ‘I’m not alone, I am part of something bigger, something seen’.”

Fragments is part of October’s Mental Health Month, and is aimed at everyone; school children, people who work with them, parents, adults, and everyone in between. Shelly hopes it’ll increase empathy among the wider community.

“You can be told something so many times and still not get it, but feeling something is different. Hopefully this production will help people feel some of these things, without having to personally go through them.”

This work shows the people that exist under conditions like depression or anxiety, as well as tumultuous journeys like discovering sexuality and gender-orientation. All of this exists in the context of high school and the immense pressure of living a picture-perfect life for social media.

“One of the characters, Reena (played by Erin Pierlot), is especially affected by social media – craving the positive affirmations from her growing number of followers. Her story highlights the impact this has on her self-esteem, who she is, compared to who she thinks she should be.

“Ultimately, this plays into her body dysmorphia and obsessive thoughts about being overweight. Again, it’s this disconnect between reality and what is perceived to be real.”

Another one of the stories depicts a desperate fight for internal survival as Nicky (played by Damon Baudin) tries to reconcile their gender. The reaction of their parents is that this is a condition that can and must be ‘cured’.

Writer Maura Pierlot

Shelly, a mother of four, said her kids will be seeing the show.

“Well, it’ll probably go over the head of my five-year-old,” Shelly quipped.

“Nicky is a wonderful character; gosh you feel for them,” Shelly says.

“But I think my eight, 10, and 13 year-olds will come. It’s important, especially for the elder two. Theatre has a powerful way of saying ‘you’re not alone’. If we can speak to these young minds early enough, maybe we can start broadening them, offering a different perspective and ways to talk about emerging issues before they reach crisis point.”

“We’re having a consultant work with us on that monologue as well because I think it’s imperative when you don’t have that experience to talk to people that do.”

Fragments plays at The Street Theatre from 23-27 October.

Tix range from $25-35 + bf and are available from thestreet. org.au/shows/fragments-maura-pierlot or 6247 1223

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Ensemble cast

PAGE 31

Exhibitionist | Arts in the ACT

How To Be An Antiracist

by Ibram X. Kendi [One World; 2019]

literally think there’s no racism anymore; it’s all been fixed. That racism is legit done and dusted and therefore EVERYONE NEEDS TO SHUT UP ABOUT IT. Oh, and stop writing laws that protect minorities because we don’t need those laws anymore, and if people of colour are disproportionally affected by things like wage and education gaps, it’s their own fault.

What is the opposite of racist? According to Ibram X. Kendi, it’s not the absence of racism, and the logic goes like this:

What? Just, what? Kendi is writing for Americans, about a feature of contemporary American politics, and this was the discussion I’d entered partway through. It also explained why Kendi took such pains to explain something I thought of as given: that racisms exists.

‘Not racist’ is a neutral position. You aren’t racist, but you aren’t necessarily doing anything to prevent racism. Neutral positions allow the status quo to continue. If the status quo is racist, ‘not racist’ becomes de facto racist.

Kendi goes on to run through the standard cast of isms for a book on identity politics—colourism, sexism, capitalism, colonialism— alternating theory with autobiography.

LITERATURE IN REVIEW WITH CARA LENNON

The real opposite of racist is antiracist.

Kendi puts a lot of time into defining terms like this in a way that struck me as nit-picky, even for an academic. Not racist, antiracist—people recognise the difference between action and inaction even if they aren’t using niche terminology to describe it.

But the more I read, the more I felt like was missing something, until I went and did my own research on a phrase I thought I understood: post racism.

Sounds like a utopian ideal, right? Something to reach for—and for many that’s what it is. But also there are a bunch people that

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He argues that the root cause of racism isn’t ignorance, it’s the deliberate self-interest of power (often economic) which exploits ignorance to make sure racism spreads. Changing attitudes alone won’t eradicate racism because power is self-protecting and there’re always going to be people with something to gain from racism, whether or not they know better.

Racist law and policy will always be a possibility even if equality is achieved, so Kendi’s antiracism means vigilance in spotting, dismantling, and preventing racist policy. Suddenly, insisting on specific terminology to differentiate between passive and active opposition to racism makes a lot more sense.

As a book it’s convoluted in places, and as a plan for action there are arguments to be made that targeting policy to change societal attitudes is horse-before-cart. But How to Be Antiracist is wide ranging with a lot of strong ideas, and the technical issues are distracting rather than detracting.

@bmamag

BMA PROFILE

Describe your practice: Turning Heads is an artist management service. The agency consists of one manager, myself, and a roster of three bands Teen Jesus and the Jean Teasers, The Lazy Susans, and Sputnik Sweetheart. We focus on artist development and support all aspects of the business side of their careers.

When, how, and why did you get into it?

I moved to Australia and straight to Canberra around five years ago! I fell in love with the contemporary music scene in Australia and decided to settle and pursue a career in it.

At first, I wasn’t quite sure on how to engage in the music industry without qualifications, so I began by taking my (not so great) camera that I purchased in Thailand and started taking photos at local live shows to get a feel of the community.

From then I launched a promotion/events platform and started booking local shows across various venues in Canberra which are now going now through CBR DIG. I began to really enjoy working with individual artists and bands on strategic planning, branding, and releasing.

I noticed that there wasn’t much third party artist representation here in the ACT and decided to launch the agency in January 2019. Since then, Turning Heads has successfully gained national recognition and has been able to export local artists to events such as BIGSOUND, Lost Paradise, Spilt Milk, Stonefest, Yours & Owls, and much more!

What ideas do you explore through your artist management?

We invest our time both emotionally and professionally. The whole idea is to invest, develop, and support an artist’s/ band’s career and work very closely on planning, pitching, and presenting their music to the rest of the world.

have dedicated myself completely to my work and will continue to build my skillsets and experience.

I’m also incredibly proud of Teen Jesus and the Jean Teasers’ showcase at BIGSOUND; they blew the roof off at their overcapacity performance in Brisbane at The Outpost.

What are your plans for the future?

My plans are to keep working on the development of the three bands I currently have on my roster. And hopefully, who knows... one day perhaps I can have other artist managers come on board and build the dream team!

What about the local scene would you change?

THIS IS A BIG QUESTION. I’ve worked very closely with the local scene for about two years now and this is something that comes up very regularly. I’d like to change the attitude towards venues, and for people to put more effort into going to local live shows.

It would be great to see more support from the local community.

More venues, more projects, more advocacy, more passion!

What are your upcoming performances/exhibitions?

The Lazy Susans - National Tour / Yours & Owls Festival / 3rd of October, sideway, Canberra Teen Jesus and the Jean Teasers - 28th of September, The Polish Club, See You In A Bit (I Still Care) single launch / 19th of October Stonefest / 23rd of November Spilt Milk / NYE Lost Paradise Sputnik Sweetheart - 19th of October Stonefest, UC / 23rd of November Spilt Milk / 9th of November Not Fest, Melbourne

Who/what influences you as an artist/manager?

The powerful and intelligent women within the music industry that I’ve met along the way in my career are certainly my main influencers.

Of what are you proudest so far?

I’m proud that I have been able to sustain and continue to achieve as an individual woman running her own music business in the music industry. It’s not an easy thing to do. There are a lot of barriers and a lot of people trying to drag you down. But I facebook.com/bmamagazine

PAGE 33

[ SINGLES, AND LOVIN’ IT - SINGLE REVIEWS] KING CAVALLI SHAKE IT [

]

New York-based music artist and writer King Cavalli has just released a follow-up to his last single Oceans of Emotions. Shake It is not what the title promises.

Sure, there are elements of dance, hip-hop, and a tincture of reggaeton, but Shake It is primarily a love song, RnB pop flavoured, sure, but a love song nonetheless. The ominous sounding introduction might even add to the idea of an all-out club floor extravaganza but is merely a setup for the main fare: a love song King Cavalli style.

There aren’t too many working parts to the track— a verse, chorus, post-chorus arrangement that loops twice, and its strength lies in the melodic flair and straight-up lyric. People will connect.

MAHMOOD KHAN ONE LINE DOWN [

]

Pakistani-born singer-songwriter and music producer Mahmood Khan has a strong list of achievements to his name: his first solo album has sold over 6 million copies, for starters. He is also the first Pakistani-born artist to crack the US world music radio stations.

Cracking those things is a mean feat for anybody. To add to this, in 2007 he came to Australia to study at the Sydney Film School and wound up recording a live album at the Sydney Opera House. Now that’s impressive. A track from this album, Like the River, was an ARIA pop hit. That’s almost as elusive as the US charts.

Although Khan describes his sound as world music meets pop, One Line Down is considerably more pop, or rather more pop-rock, than world. Mahmood’s distinct tones and vocal style contain restrained allusions to world music, however, the instrumentation and

TJ PATRICK ADELINA [

]

And they will also not easily forget the melody. Hooky as. This earworm stuff never ceases to amaze me. The first line of this track was still bouncing around in my head days after I was first exposed to it. This is perfect radio fodder, of course.

And the production helps also. It’s contemporary and quite shiny with all the requisite textures and swishes and studio wizardry in place.

Oceans of Emotions contained similar elements but it seems as if King Cavalli has created a more succinct and effective version of the same thing. Where Oceans invited comparisons to artists like J. Cole or Miguel, Shake It will more likely remind you of Jay Sean, Taio Cruz, or Jason Derulo. Not bad company as far as hitmakers go.

And that is surely the aim here. And why not? There is a celebratory tone to this track also which I imagine is not such an easy detail to communicate. But King Cavalli manages to do it and to execute it extremely well.

VINCE LEIGH

straightforward nature of this record feel more like Bruce Springsteen than Mahmood’s colleague and collaborator, the legendary Nusrat Fateh Ali Khan.

Nonetheless, this is an interesting release. Beneath the blanketing array of sounds, a classic configuration of drums, bass, piano, guitar, and sax, Mahmood utilises a simplistic yet effective arrangement of melodic parts to win us over. He does this quite effortlessly, a conjuration one barely knows they are experiencing.

There is a strain of spontaneous optimism running through this track that casts its spell efficiently and with a sense of sublime ease. After one listen the aforementioned labels seem even more benign than they are. The swells of sound are nicely produced, Mahmood’s performance riding the sonic wave at just the right level.

As Mahmood says about the track, “The song is about the joy in striving to achieve an inner balance in life ‘cos it is never great 100% of the time”. So true. And this small burst of world music rock pop joy is a splendid panacea for that [put simply, if you liked Cornershop’s Brimful of Asha, you’ll love this – BOSSMAN AL] VINCE LEIGH

Melbourne based singersongwriter TJ Patrick contributed his blues guitar sound to albums by such hip-hop luminaries as Urthboy, Drapht and the Hilltop Hoods. However, his new folk single Adelina is a long, long way from such urban and blues sounds.

Patrick mournfully calls her name, wondering if the effort of continuing to pursue her is worth the ache, singing: “Am I holding on too strong, to a flower dead and gone”.

A man still at the beginning of his musical career, he plans to release a debut EP which, along with Adelina, will feature the moody, atmospheric single Falling which was released just earlier this year.

RORY McCARTNEY

Echoing vocal hooks in the bridge boost the atmosphere of sadness and regret, but he still holds out hope, refusing to believe it is all over.

Adelina is folk with a trace of country, and Patrick’s early singles show much promise.

Adelina is a plea to the woman he loves, but whose relationship baggage will not let her commit to him. In letting him go, she has hurt them both.

Opening with a warm harmonica, lap steel guitars break out in sympathetic sighs, while the song progresses at a snappy pace.

PAGE 34

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PAGE 35

TEEN JESUS AND THE JEAN TEASERS SEE YOU IN A BIT (I STILL CARE) [

]

Following on from their breakthrough 90s alt-rock track I Like That You Like That, Teen Jesus And The Jean Teasers are back with their latest, See You In A Bit (I Still Care).

This is a pummeling dose of unapologetic nectarous post-punk which hints at a bright, sparkling future for this Canberra-based band.

Anna’s voice is in fine form, exposing a vulnerability which ascends to ethereal angst in the choruses to become undeniably mesmeric by the song’s conclusion.

When the chorus hook does arrive it veers close to a melodically sweet edge without succumbing to it entirely, giving the song an overall sense of distilment and apprehension, which is all part of the track’s charm.

PAGE 36

There are elements of dream pop here, most notably with the production, with the reverbs enhancing the performances, imbuing the track with an enigmatic flavour.

But there’s something else going on alongside it; a spark, a potent and splendidly articulated rock wildness that is quite impressive considering the collective age of the band.

The energy level is set from the minute the feedback subsides, with the guitar riff a precursor to the lament of the verse, all of which heightens the peaks of the chorus, most specifically at the tail end.

The arrangement makes use of these not entirely disparate parts the verse, the first pre-chorus, and the chorus itself - by relying on a half-time bridge that follows the second chorus to become a kind of sustained climactic rumination.

From here the song diffuses, adding yet another dimension to the mix, the band indulging in a surprising and invigorating finish to what is a confident and refreshingly captivating single.

Having already traversed the stages of Australia with some notable indie acts such as Spiderbait, Polish Club, Bleeding Knees Club, Hoodoo Gurus, Press Club, and Slowly Slowly on their recent national tour, Teen Jesus and the Jean Teasers look primed to scale the next level.

With See You In A Bit fitting ammunition for just that.

VINCE LEIGH

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PAGE 37

LITTLE WISE WANT IT ALL

[INDEPENDENT RELEASE]

[

]

Melbourne based singer-songwriter Sophie Klein, known under her stage name Little Wise, has a personal aim of “moving hearts with words and music”. After two EPs in 2012 and 2014 respectively, and her debut album Silver Birch in 2016, her sophomore Want It All is finally among us.

Opener Devil Off My Back melds soft folk sensibilities with a bit of power pop, Klein’s ethereal voice drifting dreamily on with a muffled delivery as she sings of the battle against the internal demons which challenge her self-confidence as an artist.

The bright and catchy It Doesn’t Work Like That has the immediate appeal common to the songwriter’s material.

The title track moves at a sedate pace, gradually gaining in strength as the song progresses. It expresses the excitement and diffidence faced by young adults as they gaze at the possibilities life presents, and the singer reworked the arrangement so that its delivery stretched across the width of her vocal range, thus giving the song a desperate vibe.

There is a shadowy aspect to the folksy Don’t Let It Go, gained through the use of backing vocals and echoed effects.

Coming Back For More has a bluesy edge courtesy of its fuzzy, thick-edged guitar work, while Marrying Kind advances slowly with its country feel and beautiful guitar reverb.

Restless illustrates Klein’s gift for expressing her emotions through the gentle beauty of her music and lyrics while Johanna represents her storytelling skills as she portrays life’s challenges. The album closes with the simple acoustic strummer Mamma.

Want it All is filled with beguiling vocal tones and varied, sparkling musicality. It has many moods, all of them carrying a special charm.

RORY McCARTNEY PAGE 38

PRESS CLUB WASTED ENERGY [HASSLE RECORDS]

[

]

Melbourne punk outfit Press Club first hit the airwaves with the 2017 single Headwreck, followed by the debut long player Late Teens in 2018.

Full of the creative urge, the band commenced writing its second album straight after the debut was finalised.

Themes of breaking free, finding yourself, and society’s need to change influenced the lyrics, and the songs are obviously arranged with live shows in mind, which the band regards as its raison d’etre. The album was recorded live to tape to capture that authentic gig vibe.

There is a real garage feel to Separate Houses as guitars create a fuzzy cloud around the strident voice of Natalie Foster.

The songs change pace, slowing towards its climax, as Foster’s vocals carry a desperate edge to them as she chants: ‘I keep on pretending that I am getting better’.

Foster injected a more personal edge in this release, including album highlight Thinking About You which recounts her experience of being stalked. She paints a vivid portrait of the invasion of her bedroom and her mind, and the deep distress this caused.

The Dead or Dying chorus lyrics struggle to be heard through the wall of crazed sound, while Chosen Ones, from whose lyrics the album title is drawn, crashes through with an aural assault of guitars and the stick strikes of drummer Frank Lees.

LLOYD SPIEGEL CUT AND RUN

[ONLY BLUES MUSIC]

[

]

Lloyd Spiegel started his love affair with the blues as a mere child, and has never stopped. After nine LPs, including the outstanding 2015 Double Live Set, Spiegel has launched Cut and Run. This represents the end of a trilogy of records, made over three years, with each one written during the touring of its predecessor. Each album was linked to the previous release, representing the fruit of the songwriter’s response to the questions he asked himself on his previous album.

There’s an irresistible rhythm to Any Second Now, with subtly echoed singing being eclipsed by crazy, wailing, groaning guitars. It is a powerful opening statement, that the man is here to rock.

Rattle Your Cage slows down to a strut, with fuzzy tones to the vocals and some down ‘n’ dirty guitar. The beckoning undertow of Tokyo Blues cannot be resisted, while Let Your Love Down is a slow mover, with wistful twanging guitars and a sultry mood.

Spiegel departs from the blues and enters country terriory with the faraway daydreamer Run. Track Her Down follows, employing a soulful tone with a laid-back, foot-tapping riff and subtle hints of brass as Spiegel contemplates the fact that being always on the move makes it hard to maintain relationships.

The band frequently avoids the musical simplicity of straight punk, injecting variety through shifts of pace as seen in Get Better.

Then it is a leap back into the blues with the sharp shooting The Hustle, followed by the rocking Mr Jenkins. The album closes with a personal portrait of the artist in the pure acoustic strummer Old Wounds.

There is a furious energy here, propelled by a vibe of anger and frustration, that is expressed through relentless music and frantic vocals. Delightfully unpolished, Press Club’s sophomore effort carries heaps of grunt.

Lyrics are often directed inwardly, with Spiegel in a solo conversation, as he selfanalyses and delivers messages to himself about love, his career, and life on the road.

Everywhere you look, the finger work is incredible and the musicality awesome.

RORY McCARTNEY

RORY McCARTNEY @bmamag

ALBUM IN

FOCUS

JOAN AS POLICE WOMAN JOANTHOLOGY

TAYLOR SWIFT LOVER

[REPUBLIC RECORDS]

[

]

Well, this is just all over the place.

Opening track I Forgot You Existed is a dull B-side-esque song held together with a standard trap beat.

Cruel Summer washes away that previous bad taste with pure pop catchiness and a soaring chorus.

Slow dance number Lover drags its feet and marks the first ballad of the album.

The Man is an empty husk of an empowering song with the uninspired lyrics. To whit: “’Cause if I was the man, I’d be the man”. It is apparent already at four songs in, this disc is 18 tracks of internet slang like “throwing shade” and “power moves”.

A brooding synth hums over The Archer though the song never quite goes anywhere.

Paper Rings is a fun track that could fit onto Swift’s extremely popular 2012 Red album.

A lazy trap beat plods on London Boy as Swift sings over lyrics that read like a diary entry of a teenager’s love of, well... boys from London…

Soon You’ll Get Better featuring The Dixie Chicks is a nice soft song but it’s about eight years too late for the collaboration of these top tier modern country artists.

You Need To Calm Down is an eye roll of white privilege released boldly as a single during Pride Month. The sugary and wince inducing Me! is still as forgettable as you saw on TV. If Lover was cut down from 18 songs to, say 12, the album would definitely be improved. But at the end of the day, Lover is just an hour-plus of tracks you’ve already heard before.

For what a great songstress Taylor Swift is, this is another stab at being relevant and trendy rather than stating talent.

ANDREW MYERS

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Joan Wasser began her musical trip as a violinist with US indie rockers The Dambuilders before moving onto various groups including the arty Antony and the Johnsons. She then launched out on her own, going solo under the stage name Joan as Police Woman.

Having released seven full length albums since 2006, Wasser has gifted her followers with the essence of her art in the three-disc, 43-track release Joanthology.

Not one to restrict her musical direction, Wasser’s style ranges widely from jazz, to rock, to pop, funk, and soul.

She can sound mainstream or unconventional, as seen in Eternal Flame.

In the theatrical jazz-rock My Gurl a lonely, tiptoeing piano accompanies Wasser’s languid vocals. The track picks up the pace as it proceeds, as skins and electric keys leap in to shore up the moody tale of the artist’s doppelganger.

There is an excursion into synth-pop in the curiously titled Valid Jagger, which engages with its syncopated percussion.

brighter moments too such as the bouncy alt-pop You Broke Me in Two. Wasser’s songwriting shines in such songs as Real Life where she takes a simple, everyday event and translates it into a palpable passion. She knows how to craft a slick sexuality too, as in the strutting track Whatever You Like. Wasser’s lyrics are so potent with emotion, so original in their expression. There is often an ethereal quality to her tone, yet she always maintains such presence in her songs.

Besides studio album selections, there are ten songs from a Live at the BBC session, plus two unreleased tracks.

The live disc includes The Classic which Wasser always delivers acapella, with only backing vocalists to boost the song.

Covers in the collection include a funky version of Public Enemy’s She Watch Channel Zero, Sonic Youth’s Sacred Trickster (which she sings with only hand claps and percussion for accompaniment), a beautifully minimalist rendition of Prince’s Kiss, and Talk Talk’s Myrrhman, whose stealthy pace fits right into Wasser’s style.

Whatever you listen to, a deep impression of her enormous talent as both a songwriter and a vocalist is bound to result.

RORY McCARTNEY

Steed morphs as it progresses, moving from a Bee Gees vibe, to super funky, to electro pop.

Songs are often dominated by a piano, but there are exceptions, such as Flash in which a gentle circular acoustic riff propels the song on its shadowy way.

Wasser can pour out the emotion powerfully in her slow songs, but there are PAGE 39

THE WORD ON

FILMS with Cameron Williams THE WALKING DEADPAN

Ghost Dog, Dead Man), uses the template of a zombie film to offer a running commentary on the constraints of films designed as mass entertainment.

to whatever they were obsessed with while alive. Naturally, there’s a scene with zombies lining the main street with their faces lit by smartphones.

It’s an overly self-aware film that thrives on its own self-awareness . Which,

While it’s easy to offer up the biggest ‘duh’ ever with the material, it never seems like Jarmusch is in it to make bleeding obvious statements.

There are multiple zombie films released each year; what the hell is there left to say?

In rural Centerville, USA, police officers Cliff (Bill Murray) and Ronnie (Adam Driver) hear a song on the radio called The Dead Don’t Die. When Cliff asks about the song, Ronnie replies: “It’s the theme song.”

Wait, what?

Soon, due to an environmental catastrophe, the dead rise from their graves and feast on the locals.

Ronnie’s response to the situation is that “none of it will end well”, due to the fact he knows full well how it ends because, of course, he’s read the script.

Wait, what? *** The Dead Don’t Die, the latest film from writer and director Jim Jarmusch (Paterson, Only Lovers Left Alive, Coffee and Cigarettes,

PAGE 40

really, is kinda the point.

The Dead Don’t Die is Jarmusch’s take on a cinematic universe with a huge cast, end-ofthe- world stakes, and self-referential humour; three elements that have become the lifeblood of mainstream cinema.

The Dead Don’t Die is a film within a film, and the zombie factor is a cover for Jarmusch to explore the quirks of the genre with mainstream sensibilities.

Swinton can decapitate zombies with a samurai sword because that’s what you do with the talents of esteemed, award-winning actors in these films. Driver’s character has a Star Wars keyring because you wink at the audience with a reference to his career in the franchise.

Moments of introspection do come from a recluse drifter played by Waits, who is like a doomsday poet. But The Dead Don’t Die is at its best when it’s poking fun at the fact it’s a goofy big event deconstruction of big event films. If you cringe at the thought of another zombie film, then The Dead Don’t Die is a zany genre trip.

The sizeable cast does not disappoint, with Murray and Driver joined

by Chloë Sevigny, Steve Buscemi, RZA, Tilda Swinton, Tom Waits, Danny Glover, Caleb Landry Jones, Rosie Perez, Carol Kane, and Selena Gomez.

A dry, meta-humour runs throughout the film and the cast revel in the knowledge that they are playing characters who are aware they’re in a zombie film.

Jarmusch presents the zombies in the most obvious allegorical way. Most of the flesheaters are drawn back @bmamag

,,

By Allan Sko DAMN, am I ever looking forward to this, well... exhibition is what it officially is, but I’d be more inclined to call it a spectacle.

A blessed six-month long showcase of the artistry, influence, and creative genius of the gaming media, achingly displayed over three majors areas, with big industry figure talks, workshops, and - most excitingly of all - over 80 playable games.

Originally curated by the ACMI in 2012, its initial success saw it tour to ten museums around the world, accruing over one million visitors. And now it’s where it belongs; Canberra.

I’m not the only one excited, as Matt Ravier, NFSA’s magnificently titled Chief Experience Officer, told me.

I’m really, really thrilled about it,” he says. “It’s a great export story. I’m not surprised it came from Australia as, working in the museum sector, we have such incredible expertise in the field, and also a thriving video game and design culture. We’re absolutely saying that games are on par with other mediums, and that the creativity is there, as is the cultural significance.”

Photo: Dorine Blaise (2015) Featuring all your faves: World of Warcraft, Critter Crunch, Sonic The Hedgehog, Dance Central 3, and Machinarium

It’s been updated with a lot of new games, a fresh look, and some Canberra content,” he continues. “If people did manage to catch it in 2012, they’ll still be surprised at this one.”

games as well,” Ravier continues. “So that’s one of my favourites.

It’s also a way to showcase some of the incredible talent we have right here in Canberra, that a lot of people aren’t aware of.”

Speaking on his favourites, Ravier hits upon the heart of the exhibition; it’s more than just a joust of joysticks.

The exhibition also offers an opportunity for those looking at a career in the industry.

“People who think they don’t like video games fall in love.

Luminosity from the UK is one of my favourites,” he regales.

“I’m completely hooked on it. It comes out of the UK. You’re this little girl solving puzzles, and the whole world is made out of cardboard, paper, glue... It’s so beautiful and so unexpected. The result is incredible craftsmanship in the old fashioned sense.

“Alongside this exhibition we’re getting both international designers and local talent to talk about their work, for those with a professional curiosity.”

“And that’s what we’re trying to do with this exhibition; show the breadth of games that exist; that they can connect with every one of us, even non-gamers. Worldwide, games are bigger than music and films combined. If you’re not a gamer, you don’t see the cultural significance and financial importance of it. Games can be a million different things. Take Florence, an interactive graphic novel, about a young woman falling in love and you help her navigate that relationship. It’s really compelling; it’s stories about people like you and I, and you relate to them in a way that you may not relate to, to... to Donkey Kong!” he laughs.

“I mention these indie games, but it’s full of all the iconic games we grew up with,” Ravier says. “Your Donkey Kong, and Sonic the Hedgehog, and Pacman. It’s in three section, so we have the arcade section complete with vintage cabinets from the late ‘70s so you can play Space Invaders as if you’re in Stranger Things,” he laughs.

Indeed, the gaming industry is increasingly attracting top writing, directing, and acting talent, as well as the vivant, where a new game is spoken of in the same revered tones as a new film by Quentin Tarantino.

“Some of these guys are household names, and are bigger than most film stars,” Ravier confirms.

Set to join these lofty ranks are some Canberrans, who are dazzling and delighting the industry.

“One of the Canberra games we’ve added to the show, because it’s so spectacular, is Submerged from Uppercuts Games,” Ravier says. “They’re part of the thriving indie game scene in the Capital.

They’ve created a world that’s entirely submerged in water. It’s a beautiful, infinite space to navigate with complete freedom and at your own pace. But with the advent of rising sea levels and global warming, it feels eerily close to home. facebook.com/bmamagazine “With a lot of subtlety you can tell really topical stories through

But this is not to say those keen for a waltz down memory lane will be left behind.

Spectacle aside, what makes the exhibition special is the purpose, the heart, driving it.

“I think a lot of parents and grandparents who are going for their kids to have a blast (quite literally, I pointlessly interject) are going to be amazed by the games that they see. And I think they’re going to find a common ground.

“It’s a show that strays purposely away from the more violent games. We want to be family friendly. We do want to have those robust conversations, and discussions about video games’ place in society, but we want to showcase the creativity, and the artistry, and the ability to address topics in a gentle way; not with guilt trips and bad news, but with really imaginative, positive takes on what an ideal society looks like. And that’s also the power of games; to inspire us to be better people.”

And you can be a better person when the Game Master Exhibition opens at the National Film & Sound Archive on Friday, 27 September (running through to March, 2020). Prices start at $12 ($50 for family pass) and are available from nfsa.gov.au/events/ game-masters-exhibition PAGE 41

[ENTERTAINMENT GUIDE] [ENTERTAINMENT ] PAGE GUIDE [POLL ] POSTER PRINT POLL POSTER PRINT PAGE Thu 22 Aug

Thursday 22 Aug

ARTS Metamorphosis Adapted by Steven Berkoff Featuring an all Canberra cast including Christopher Samuel Carroll, Ruth Pierloor, Dylan Van Den Berg, and Stefanie Lekkas. Shows until 31 Aug. Tix from venue website THE STREET THEATRE Annika Romeyn exhibition - Endurance Inspired by the personally significant site of Guerilla Bay, Yuin Country. Runs until 20 Sep MEGALO PRINT STUDIO & GALLERY

The Missing Lincolns Lost Album launch From 7pm. $10 on the door SMITH’S ALTERNATIVE Girls Rock! Canberra fundraiser Featuring The Buoys, Cry Club, Lady Denman, Lucy Sugerman and Peach Lane. From 6pm UC HUB

DANCE Rising Stars New up-and-coming DJs hit the decks, featuring the might of Woody, Theo, Alex Allen, Vivace, Haylee Karmer, Nue Dae, Bouncii, and Take-Tu MR WOLF

MAY 27 – JUNE 2 MAY 18TO – MAY 22 MORE bmamag.com/entertainment-guide FOR EVENTS MORE@EVENTS HEAD bmamag.

Oztix THE BASEMENT Signs & Symbols Counting in Colours album launch 8pm - Tix at the door The Polo

DANCE It’s a London Thing UK grime/garage/2-step covered with Big Ting Recordings (SYD) & MCs Dtech & Tukka D SIDEWAY BAR

Blanke Bass heavy house and EDM FICTION CLUB Saturday August 24

Wed Aug 28

DANCE

ARTS

AUTHOR TALK

Techno Thursdays Techno techno techno techno!

FICTION CLUB

Blood on the Dance Floor by Jacob Boehme Through a powerful blend of theatre, image, text and choreography, Boehme pays homage to their ceremonies whilst dissecting the politics of gay, Blak and poz identities (recommended for age 15+).

5pm & 8pm. Check the website to book TUGGERANONG ARTS CENTRE

Section Seven: Martial Order SIDEWAY BAR FRIDAY AUGUST 23

COMEDY Tommy Little Self-Diagnosed Genius After completing the world’s most gruelling marathon in Antarctica (with no previous experience), Tommy’s got a cracking story to share. Two shows at 6:45pm, and another at 8:30pm THE PLAYHOUSE The Song Company Mind Over Matter A zany and toonful chamber opera about two lifts and a computer virus in a bed of 1980s pop gold served up by five singers, two speakers, and four hands at one piano. 7:30pm.

Tix from venue THE STREET THEATRE LIVE PAGE 42

LIVE MUSIC Powder Blue - Flower Town single launch With supports The Narcissists, The Dirty Sunflowers, and Hedy Blaazer. 7:30pm – 11:30pm, $10, at the door THE FRONT Smoke Stack Rhino Doom Boogie single tour Support by Muddy Wolfe and Local Horror. 8pm TRANSIT BAR Red Hot Chili Peppers Tribute Show Performed by Chilly Willy, with Nirvana and Garbage tributes as support. 7pm – 9pm, tix from

SoundOut Series #3 Featuring Mahagonny “Qrt” (revealing sonic places), Lena Czerniawksa (drawing; Poland) Emilio Gordoa (vibraphone; Mexico/Germany), Josten Myburgh (electronics; Perth) Laura Altman (clarinet; Sydney) TRIO Alexander Hunter (viola de gamba; Canberra), Tony Osborne (vocal/electronics; Sydney), and Richard Johnson (wind instruments; Canberra).

7:30pm, $10/$20, at the door DRILL HALL GALLERY

TALKS Isaac Butterfield Why So Serious?

Explores our changing world.

With a fast-growing audience, Isaac’s commentary videos have had more than 60 million views.

7:30pm, tix from Moshtix KAMBRI PRECINCT

Shakespeare in Love Comedic theatrical tell of the Oscar winning film starring Gwyneth Paltrow and Joseph Fiennes. Running until 31 Aug with Saturday matinees. Tix from Canberra Theatre CANBERRA THEATRE

Thursday August 29

Evie Farrell, author of Backyard to Backpack: A Solo Mum, a Six Year Old and a Lifechanging Adventure In conversation with Evie will be Amanda Whitley, of HerCanberra. 6pm. RSVP: books@ paperchainbookstore.com.au or (02) 6295 6723 PAPERCHAIN BOOKSTORE

THEATRE The Good Doctor An adaptation of Anton Chekhov’s short stories for the stage, featuring a cast of memorable characters from an acting troupe plays out the stories as each scene is introduced. Runs until Sat 31 Aug. 7:30pm. Tix from stagecenta.com PERFORM AUSTRALIA STUDIOS

LIVE MUSIC Canberra DIG hosts Crop Up Sessions.

For your mid-week dose of music head over to have a listen to Eloria, Neko Pink, LIV LI and Pheno from 8pm. Tix available at the door for $10/$5.

SIDEWAY BAR

Friday 30 Aug

LIVE MUSIC Precipice #24 Every year a diverse range of improvisers from around Australia gather to collaborate in Canberra. Four opportunities to see extraordinary improvisation artists live. Tickets at the door (no late entrances). $15/$10 per show, or $20/$15 for the two Saturday shows. 7pm QL2 DANCE THEATRE Holy Serpent Melbourne doom quartet TRANSIT BAR

DANCE Wongo -Listen Out festival warm-up party FICTION CLUB Made By Tsuki, An audio/visual project based out of Sydney MR WOLF

COMEDY Beyond Comedy Andrew Bensley With MC Chris Ryan, supports from local stars Tanya Losanno, Taylor Coughtrie and Nick Daisy plus a first-time spot from Dave Gooley. Tickets $15 online or $20 at door unless sold out trybooking.com/BEIBL BEYOND Q BOOKS Saturday 31 Aug

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[ENTERTAINMENT GUIDE] [ENTERTAINMENT [POLL POSTERGUIDE PRINT] PAGE] LIVE MUSIC National Capital Allstars With Michael “Mikelangelo” Simic, Konrad Lenz, Netty Salazar, Beth Monzo, Bec Taylor, Chris Endrey & Broods. 8pm POLISH WHITE EAGLE CLUB Melting Pot Original and improvised funk, soul, jazz, and blues. Doors 8pm, start 8:30pm. Tix $18 conc/GA $20/$25 on thge door. newacton.com/ events to book MAKESHIFT, NEW ACTON, NISHI 3 BroKen Strings’s first headliner 3 BroKen Strings comes to Canberra for its first headlining show, with guests Hence the Testbed, Biilmann, Clarity of Chaos, Innaxis, and Axiomatic Theory. Tix from Oztix THE BASEMENT Precipice #24 Every year a diverse range of improvisers from around Australia gather to collaborate in Canberra. Four opportunities to see extraordinary improvisation artists live. Tickets at the door (no late entrances). $15/$10 per show, or $20/$15 for the two Saturday shows. 7pm & 9pm QL2 DANCE THEATRE The Great Wizard’s Ball A place for Potterheads to prance.

The ball is your chance to break out your most extravagant wizarding finery and dance the night away. From 7pm, tix from quizzicalley.com/greatwizardsball THE ABBEY FUNCTION CENTRE Tex Perkins and The Tennesse Four: The Man in Black The 10th anniversary of the Johnny Cash tribute tour. 8pm.

Tickets are $89.90-99.90 through the Canberra Theatre Centre website CANBERRA THEATRE Sugar3 ‘Party Crier’ single launch Indie-pop-rock Canberra fourpiece Sugar3 are launching their latest single Party Crier with 2410 Records stablemates Powder Blue and a solo set by Jaclyn from The Differs THE FRONT

PAGE 44

MAY 27 – JUNE 2 MAY 18 – MAY 22 MORE EVENTS @ bmamag.com/entertainment-guide

DANCE Le Doof with Steeplejack boss Harold Taking you through some weird electronica and techno ’s apocalyptic sound. With resident Big Data (formerly Bàobīng) SIDEWAY BAR

Bass heavy house and EDM FICTION CLUB

DANCE Cube Nightclub 14th birthday Feat. burlesque show, pole dancing performances, DJ Rawson on the decks, and debuchary aplenty CUBE NIGHTCLUB

Sunday 1 Sep

THEATRE

LIVE MUSIC

The Woman in the Window In Stalin’s Russia, the great poet Anna Ahkmatova is forbidden to write. In a future, denatured world, a young woman, Rachel, searches for what is missing in her life. .Fri Sep 6 – Sat Sep 21. Tix from venue website THEATRE 3, CANBERRA REP

Precipice #24 Every year a diverse range of improvisers from around Australia gather to collaborate in Canberra. Four opportunities to see extraordinary improvisation artists live. Tickets at the door (no late entrances). $15/$10 per show, or $20/$15 for the two Saturday shows. 7pm QL2 DANCE THEATRE Monday 2 Sep Tuesday 3 Sep LIVE MUSIC Jazz at The Lab - Miroslav Bukovsky/John Mackey Quintet: Miro’s Greatest Hits Music starts at 7.30 pm. Please book early at gpage40@bigpond. net.au. Seating limited to 80 THE LAB @ ANU, ACTON

TALKS Jacinta Price - Mind The Gap Info and bookinging from truearrowevents.com.au or the venue THE STREET THEATRE Wednesday 4 Sep Thursday 5 Sep Friday 6 Sep

LIVE MUSIC Seeker Lover Keeper Bring their ‘Wild Seeds’ album to the on Friday, 6 September. Tix are $65 + bf from the venue CANBERRA THEATRE

Saturday 7 Sep

LIVE MUSIC Jazz Haus Vocalist Kristin Berardi/Bassist Sam Anning CD Launch AUSTRIAN CLUB ’70s Tribute Night Including tributes to Led Zepplin, Queen, Kiss, David Bowie, Pink Floyd, Black Sabbath and more.

From 7pm THE BASEMENT

TALKS A Rational Fear Featuring Dan Ilic, Hobba, Mark Humphries, triple j Hack’s Shalailah Medhora, and Mike Bowers from The Guardian. Jokes about sad things, bad things and all things political from 7pm.

Tickets are $35 and can be found at http://www.thestreet.org.au.

THE STREET THEATRE

ARTS Handmade Markets Featuring many local artists, designers and makers across the board.

EXHIBITION PARK

Handmade Markets Featuring many local artists, designers and makers across the board.

EXHIBITION PARK Monday 9 Sep Tuesday 10 Sep Cradle of Filth On a special tour showcasing their 2nd full-length, 1998’s Cruelty & The Beast in full THE BASEMENT

ARTS Spinifex Gum THE PLAYHOUSE Wednesday 11 Sep Thursday 12 Sep

LIVE MUSIC AM Reruns — Self-titled album tour Melbourne modernist trio AM Reruns announces its debut selftitled LP. 8pm, tix on the door SIDEWAY BAR Friday 13 Sep

COMEDY Club Sandwich Comedy - Sarah Gaul and Jacinta Gregory Hosted by Chris Ryan and featuring RAW Comedy national finalists Tim Noon, EdwinTetlow and young musical comedian Ashy Kinsella. Tickets $10 students (must bring ID to door) and $15 adults, or $20 at the door TUGGERANONG ARTS CENTRE

DANCE 5 Years of Bassic tour Plenty of bush techno styles with Kase Kochen, ZigMon,

Sunday 8 Sep

DANCE

ARTS

LO’99 @bmamag

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ENTERTAINMENT GUIDE [ENTERTAINMENT ] ]] ] [[POLL GUIDE POSTER PRINT PAGE ENTERTAINMENT GUIDE [POLL POSTER PRINT PAGE]

MAY 27 – JUNE 2 MAY MORE EVENTS @ bmamag.com/entertainment-guide MAY1818– –MAY MAY2222 FOR MORE EVENTS HEAD TO bmamag.com/guide

LIVE MUSIC

THE FRONT

DANCE

National Capital Allstars With Michael “Mikelangelo” Simic, Konrad Lenz, Netty Salazar, Beth Monzo, Bec Taylor, Chris Endrey & Broods. 8pm POLISH WHITE EAGLE CLUB

DANCE

LO’99 Bass heavy house and EDM FICTION CLUB

things and all things political from 7pm. Tickets are $35 and can be found at http://www. thestreet.org.au.

THE STREET THEATRE

DANCE

ARTS

Cube Nightclub 14th birthday Feat. burlesque show, pole dancing performances, DJ Rawson on the decks, and debuchary aplenty CUBE NIGHTCLUB

Handmade Markets Featuring many local artists, designers and makers across the board.

EXHIBITION PARK

THEATRE

Sunday 8 Sep

The Woman in the Window In Stalin’s Russia, the great poet Anna Ahkmatova is forbidden to write. In a future, denatured world, a young woman, Rachel, searches for what is missing in her life. .Fri Sep 6 – Sat Sep 21.

Tix from venue website THEATRE 3, CANBERRA REP

ARTS

Saturday 7 Sep

Tuesday 10 Sep

LIVE MUSIC

Cradle of Filth On a special tour showcasing their 2nd full-length, 1998’s Cruelty & The Beast in full THE BASEMENT

Melting Pot Original and improvised funk, soul, jazz, and blues. Doors 8pm, start 8:30pm. Tix $18 conc/GA $20/$25 on thge door. newacton.com/events to book MAKESHIFT, NEW ACTON, NISHI 3 BroKen Strings’s first headliner 3 BroKen Strings comes to Canberra for its first headlining show, with guests Hence the Testbed, Biilmann, Clarity of Chaos, Innaxis, and Axiomatic Theory. Tix from Oztix THE BASEMENT Precipice #24 Every year a diverse range of improvisers from around Australia gather to collaborate in Canberra. Four opportunities to see extraordinary improvisation artists live. Tickets at the door (no late entrances). $15/$10 per show, or $20/$15 for the two Saturday shows. 7pm & 9pm QL2 DANCE THEATRE The Great Wizard’s Ball A place for Potterheads to prance. The ball is your chance to break out your most extravagant wizarding finery and dance the night away. From 7pm, tix from quizzicalley.com/greatwizardsball THE ABBEY FUNCTION CENTRE Tex Perkins and The Tennesse Four: The Man in Black The 10th anniversary of the Johnny Cash tribute tour. 8pm.

Tickets are $89.90-99.90 through the Canberra Theatre Centre website CANBERRA THEATRE Sugar3 ‘Party Crier’ single launch Indie-pop-rock Canberra fourPAGE 46 piece Sugar3 are launching their latest single Party Crier with 2410 Records stablemates Powder Blue and a solo set by

Le Doof with Steeplejack boss Harold Taking you through some weird electronica and techno ’s apocalyptic sound. With resident Big Data (formerly Bàobīng) SIDEWAY BAR

Sunday 1 Sep

LIVE MUSIC Precipice #24 Every year a diverse range of improvisers from around Australia gather to collaborate in Canberra. Four opportunities to see extraordinary improvisation artists live. Tickets at the door (no late entrances). $15/$10 per show, or $20/$15 for the two Saturday shows. 7pm QL2 DANCE THEATRE Monday 2 Sep Tuesday 3 Sep LIVE MUSIC Jazz at The Lab - Miroslav Bukovsky/John Mackey Quintet: Miro’s Greatest Hits Music starts at 7.30 pm. Please book early at gpage40@ bigpond.net.au. Seating limited to 80 THE LAB @ ANU, ACTON

TALKS Jacinta Price - Mind The Gap Info and bookinging from truearrowevents.com.au or the venue THE STREET THEATRE Wednesday 4 Sep

Jazz Haus Vocalist Kristin Berardi/Bassist Sam Anning CD Launch AUSTRIAN CLUB ’70s Tribute Night Including tributes to Led Zepplin, Queen, Kiss, David Bowie, Pink Floyd, Black Sabbath and more. From 7pm THE BASEMENT

Handmade Markets Featuring many local artists, designers and makers across the board.

EXHIBITION PARK Monday 9 Sep

ARTS Spinifex Gum THE PLAYHOUSE Wednesday 11 Sep Thursday 12 Sep

TALKS

Listings are a free community service.

Email editorial@bmamag.com to have your events appear each issue.

For up-to-date listings, visit bmamag.com/gigguide.

Thursday 5 Sep Friday 6 Sep

LIVE MUSIC Seeker Lover Keeper Bring their ‘Wild Seeds’ album to the on Friday, 6 September.

Tix are $65 + bf from the venue CANBERRA THEATRE

NEXT ISSUE: #494

OUT JUNE 7 A Rational Fear Featuring Dan Ilic, Hobba, Mark Humphries, triple j Hack’s Shalailah Medhora, and Mike Bowers from The Guardian.

LIVE MUSIC

@bmamag AM Reruns — Self-titled album tour Melbourne modernist trio AM

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