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THREE07 August 07.08


bma magazine 

bma magazine 

FREE STUFF It’s time to deck yourself out in your best hobo wares and score some stuff for free. Sling down an answer to the questions provided, and whip it off to: And the Goddess of Freeness may shine upon you. Robot Chicken Episode 1: The Taking of the Piss

Arguably the funniest of the recent Star Wars spoofs, Seth Green takes his beloved plasticised pop culture explosion that is skit-show Robot Chicken and goes far over into the dark side of The Force! The snappy sketch comedy aims its satirical X-Wing squadron squarely at Star Wars’ exhaust port, allowing you to enjoy the taste of Admiral Ackbar’s cereal, fear Jedi George Bush, and see Vader and Jar Jar reunited! Amazingly, this is approved by Lucasfilm, and after you see how firmly the boot is stuck in, you’ll ponder too. Thanks to Madman, we have three copies to give away. To win, tell us your least favourite thing about the Star Wars franchise. Sesame Street: “Old School!” Rappers and hip-hop artists in general love talking about “old school”; taking it back there, sounding like it, and so forth. But it doesn’t get more old school – in every glowing sense of the term – than Sesame Street; the early years. For almost four decades, Big Bird and his friends have taught children and their parents “how to get to Sesame Street”, picking up handy hints on letters, numbers, and friendship along the way. For the first time in the history of the series, fans can own a piece of pop culture with the release of

rare and classic footage. We have three copies to give away thanks to Madman. For your chance to get really old school, tell us an embarrassing tale from your childhood. ‘Avin’ it Large Last June saw the release of a new mix CD from Bristol’s Outlaws on Love Recordings, the brilliantly titled It’s Not French, But It’s F*cking ‘Aving It. Jammed with 54 tracks, it’s a schizophrenic genre-mash of epic proportions, featuring everyone from Franz Ferdinand and The Cure to Cut La Rock and Fatboy Slim, Bondo De Role and Utah Saints to Harry Belafonte and The Supremes – plus the added bonus of Chemical Brothers obscurity Acid Children. A true Outlaws’ night out on the tiles. One of the star acts on the acclaimed Modular DJ Agency (run by super hip Modular Records) alongside Bang Gang and Van She Tech, 2008 will see the Outlaws playing residencies at Starfuckers in Sydney and Massive Attack’s club Tube in Bristol, plus a homecoming gig at the Glastonbury Festival. Remixes for The Presets, Tricky, Toecutter and Cassette Kids are already in the bag, original material is on the way, and rumour has it they’ll return to the airwaves, following their cult Friday night show on London’s Kiss FM. “So good they should be locked away for a very long time,” exclaimed Mixmag; “Somewhere between Soulwax and Coldcut,” mused IDJ; “A nighon perfect party album!” gushed The Sunday Telegraph. To win a copy and judge for yourself, tell us five tracks that would appear on your ultimate mix CD. Gordon Ramsay Kitchen Nightmares Series 2 Rancid food, arrogant head chefs, and dangerously dirty kitchens… these are just some of the horrors that await celebrated chef Gordon Ramsay in Ramsay’s Kitchen Nightmares Series Two. Toned down from the American series, Ramsay still exudes the fire and phlegm the world has come to love him for, but in this series compliments it with a wry intelligence for the unfortunates of the UK. Here, Ramsay attempt to save eight restaurants from financial ruin. With his passion for food and infamous lack of patience with sloppy standards

in the kitchen, he spares no one in his pursuit of restaurant excellence. We have five copies to give away, thanks to the beautiful folk at Shock. To win, tell us about a personal kitchen nightmare you’ve experienced. Kitchen Nightmares USA: Series 1

We know by now that internationally acclaimed hothead chef Ramsay hates dirty kitchens, and sloppy standards. We know he enjoys indulging in a litany of bad language to get his point across. With this, the American incarnation of his restaurant nip/tuck series, we discover something else; he hates Americans. Not exuding anywhere near the kind of patience for his British compatriots, Ramsay lets fly at a slew of hapless (and useless) Yanks in an attempt to drill into them solid restaurant standards and much needed business acumen. If you like Ramsay in shouty-sweary mode, or simply dislike the fine people of America, you’ll love this. Thanks to Shock, we have five copies to giveaway. To win, tell us the worst restaurant you’ve been to.

STRUTH BE TOLD MUSIC NEWS: Pete Doherty is attempting to sue Wikipedia over misinformation written about him, by him, during a bender. He claims there should be more control over people ‘like him’ editing the online encyclopaedia. “You need a license to drive but not to be a historian it seems. Panda bugle ice cream,” he said, before collapsing. Beck has reinvented himself once again with a re-release of Odelay. Fans say it’s the best thing he’s done since Odelay Rage Against The Machine have reformed, no longer able to stifl e their musical mission to tear down capitalism. Also, they needed the money. Following on from Regurgitator’s ‘Band in a Bubble’, Mariah Carey is going to record her next album in a bubble – as she only wants to breathe her own oxygen siphoned from underground caves in Bolivia. Oasis will be releasing their own version of the retro arcade space game Galaga. In the game the ship will be replaced by their heads, and the alien ships replaced by music journalists telling them that they’ve gone shit. Jack Johnson has formed a side project with U2’s The Edge. Jack said in an interview “I’m really excited, I’ve never written songs with edge before.” Radiohead have been attacked over the recent ‘giving away’ of their album over the internet. Says one angry Canberra muso: “they’re like the JB Hi-Fi of the music world. How are us smaller bands supposed to compete with their prices?” He suggested that the Radiohead website be renamed ‘Crazy Thom’s’. Bobby Mcferrin has reissued a cover of his ’80s hit Don’t Worry Be Happy. The new version contains the updated lyric “Worry, we’re fucked”. It’s the fi rst track from theAn Inconvenient Truth soundtrack. Melbourne Mayor John So has formed an unlikely hip-hop partnership with former Olympic cyclist Kathy Watt, called So What. Jet have been taken into custody over possession of stolen chords. Police say that Nick Chester was found in a Melbourne airport with a bag containing chords from several bands including AC/DC, Iggy Pop and The Kinks. Jet’s management claims that it’s perfectly innocent and that the band were just ‘borrowing’ them for rehearsals. AC/DC guitarist Angus Young claims he awoke to fi nd several power chords missing from his power chord drawer. Local talent showcase Indyfest is rumoured to be seeking funding from the Irwin Foundation. It’s rumoured that the concert will be renamed Bindifest. JUSTIN HEAZLEWOOD

NEWS Gang of Turkeys Behold. Gangbusters, the lair of the rock and/or roll has now legitimately taken hold of every Thursday at Bar 32 from now until doomsday. For the coming months there’ll be a host of interstate bands, the occasional international act and a platoon of local headlines and supports! All including the likes of Variodivers, Margaret Helen King (pictured), The Cherry Marines, Hancock Basement, The Trivs, Stepping Stone, MOTO (Detroit), New Estate, Crayon Fields, Ohana and much, much more! The fun won’t end at midnight either, as the dance fl oor opens up for some indie and alternate/tive twirling, forever twirling - so stick about to party with the bands. Check out www.birdslovefi for more. Masters of Ceremony Ah, those incorrigible Resist Records cats are at it again, bringing the musical delights of the US to our lil’ ol’ town. Ceremony are a full scale musical riot spawned from the rotting corpse of Bay Area California hardcore, recalling the early days of hardcore when the genre was defi ned by pessimism, misery, and was a true haven for the downtrodden. Heralded by many as one of the best hardcore/punk bands to surface in the last decade, this September and October will see the group make their fi rst trip to Australia in support of their brand new albumStill, Nothing Moves You. They’ll play an all ages show at the Tuggeranong Youth Centre on Saturday September 27. Next of Kin In my day, half a million hits on myspace meant something completely different than what it does today, but in my day penny-farthing’s were the main mode of transport for wealthy businessmen, pork traders, chimney sweeps and street urchins alike. Kindred have been getting a name for themselves since forming in late 2006, a fact that can be measured by the amount of ‘hits’ to a certain social networking website mentioned earlier, and the ever-larger crowds who attend their self-confessed hard rock with metal edged-shows. Exordium, their debut EP, has just been released and you’ll be able to test their genre defi nitions and discuss the merits of social networking at The Greenroom, this Friday August 8 along with Melodyssey. Maiden Voyage Having just taken out triple j’s Unearthed Fuse Music Competition, Melbourne songwriter Eva Popov is hitting the road to support Dirtbird on their album launch tour, and will be making her live debut in Canberra-town. Citing infl uences such as Feist, Leonard Cohen, Smog, Gillian Welch, Clare Bowditch, the Dirty Three and Joni Mitchell, the sparse beauty of Eva’s songs has won her acclaim far and wide. She’ll come prepared with her

freshly-release debut LP Me the Sea & Stars - “a treasure chest of charming, melodic and mesmerising tunes.” triple j - to draw from, as well as a batch of fresh tunes up her sleeve. With Jamie-Leigh Basic rounding out the bill, it’ll be an evening of raw, moving and beautiful music. Catch them at the The Folkus Room (Serbian Club, Heard Street Mawson) on Friday August 15 from 8pm. $15/12 entry. Bakesale Homebake, everyone’s favourite home-fried festival, returns for 2008 to The Domain in Sydney on Saturday December 6 – this year with the theme “Peace In The Park.” Line-up wise, leading the old guard are Crowded House (pictured), Died Pretty and the Headless Chickens. If dance is your thing, there's Sneaky Sound System, Cut Copy, PNAU, The Potbelleez, Bag Raiders and Infusion. More of a hip-hop head? Then cop Bliss n Eso, Snob Scrilla, Pegz and Drapht in ya grill. British India lead the youthful upstart charge, with The Getaway Plan, Sparkadia and Little Red close behind. Then there’s also Gabriella Cilmi, Kasey Chambers and Shane Nicholson, Karnivool, The Vines, You Am I, Bluejuice, Dash & Will and the sheers raw power of the Eddy Current Suppression Ring, plus more to be announced. Tickets from or 1300 762 545, Ticketek outlets, Landspeed Records, and . Turn to the Left! Turn to the Right! Many years ago I lived in Perth. But you don’t see me bare-chested, swanking around the joint in lurid goldfi sh fl ares, invisible top hats and revolver wrist bands. In all fairness, you don’t see the sand-groping End of Fashion do that either, and all the poorer we are for it. What you will see in coming months is a fl urry of activity from Justin Burford and co. For example, they have a new Magoo-produced album dropping in late September called Book of Lies. Having not heard it, I can only surmise there will be songs and vocals on it, possibly in the vein of that track of theirs a few years back that was heaps popular and got played on the radio all the time. Ah, those were the days. Word on the junket vine, however, is that the new songs are more angular, so you’d best bring scissors to their September 17 Canberra show at the ANU Bar, kids. Look Ma, No Label! A troika of young Australian independent artists - The Boat People, mcArtney and The Dawn Collective - will thunder into the Transit Bar on Thursday August 14. All three acts pride themselves on their independence and motivation to make their careers, without the use of slimy majors. You can read about The Boaties later on, so we’ll update you on the other two. Sydney’s mcArtney is riding high on a wave of LA radio airplay, following his win for best song on an Australian music sampler at MUSEXPO. Meanwhile, following three highly-regarded EPs, The Dawn Collective have just completed their full length album produced by Tim Whitten (The Panics, Gersey) and Tony Dupe (Holly Throsby, Jack Ladder). Now you’re up to speed, head down to the Transit. Free entry, you dogs!


YOU PISSED ME OFF Has someone yanked yer chain recently? Well, send an email to and have your sweet vengeance. And for the love of God, keep it brief! ALL ENTRIES CONTAIN GENUINE SPELLINGS.

Great Train Journeys of the World: Part Three The platform at Leamington Spa looked like one of those simulations the emergency services undertake every now and then to reassure the public that they are up to the task if a disaster occurs in ‘real life’. Bodies lay strewn all over the concrete, their owners manfully struggling to retain consciousness for just long enough to get onto the freedom train to a weekend of debauchery. At this stage me and the ginger ninja, though severely debilitated, would have been classed as ‘walking wounded’ and, slightly buoyed by the recent infusion of a couple of slugs of ice cold electric lemonade, we climbed aboard. I’m guessing here, but I’m thinking the time was about 3.30 in the afternoon, and there wasn’t a person left on the special who wasn’t insensible due to an over-indulgence of whatever. Jim was in his element, bonding with anyone who crossed his path, whilst I sat, minding the bags, ingesting the Diamond White and staring determinedly at fixed points in the middle distance to try and take my mind off things. Not long now, I kept telling myself. Just hold on, and soon you’ll be with people who can help you… When we got to the festival Jim and I wished each other well, promising to meet up sometime during the weekend. The trip from the station to the site had taken nearly as long as the train journey, during which time my system had recovered and, as I strode purposefully onto the site, AAA laminate dangling round my neck, it would be true to say that I felt like a new man. 1996 was, for me at least, a time before the advent of mobile telephony, and it took an hour more to hook up with my compadres in the sprawling backstage area. Many of them had already been here for a day, having journeyed up early to see David Bowie on the Thursday night, and some of them already wore the haunted looks of people already too long on the lash. I soon found out why. “There’s a free bar – open 24 hours a day – for production people,” muttered my mate Dax, gesturing to a tent absolutely heaving with what looked like every roadie in Western Europe. As he gestured, the contents of his plastic glass escaped their moorings, depositing themselves all over a girl who I recognised to be a PR girl for Warner Music.

To all the people that live in canberra... stop complaining about the winter weather! its canberra for fucks sake..what more do you expect living here? MOVE if you dont like it. put some clothes on, use the heater that is freely available in every house and get the fuck over it.. =) I decided to visit your establishment on the fact that your restaurant seems to be consistently packed, I was severely mistaken. I wanted a pizza and decided to finally visit your well known pizzeria. I ordered the No.7 with ham and bocconcini hoping to receive a pizza worth the $20 you charged me, but i was VERY sadly mistaken. The pizza i received was mediocre at best. It contained undercooked chicken, no visible ham products and the cheese (including anything that might resemble mozzarella” in bottled sauce form that made me want to vomit from the first bite, in fact, i could not finish this terrible monstrosity you call a pizza and spewed around 30 minutes later. You people disgust me, you call this food? I have not felt this bad EVER after eating even a domino’s or pizza hut pizza but this piece of crap actually made me vomit. You

act like a classy joint so why don’t you make food that is somewhat edible? Because you don’t know what the hell you are doing. The people you employ obviously have never made a pizza in their lives so why the hell are you charging me $20 for this crap? Honestly, if i were in your position i would fire everyone in that joint and start fresh with someone who knows how to cook!. It’s simple, sell EDIBLE food or piss off somewhere else and sell your second rate crap on the side of a highway somewhere. I will from now on actively boycott your crap shack at every opportunity. YOU PISSED ME OFF! This is to a small group of regulars at a certian inner-city pub…YOU PISSED ME OFF… Why is it that after having a drink or two before I catch a bus home that I get a bad feeling that I’m not welcome? Is it because I drink alone and therefore someone that should be ignored or made fun of? For many years I thought that this was one of the only pubs in Canberra where all sorts could meet and enjoy a drink or two. I’m hoping that this is not the case and I guess that for those few who have made me feel unwelcome…. You pissed me off.

FROM THE BOSSMAN My good friends, the pissed-stained y-fronts of rock ‘n’ roll are hanging particularly loose this morning.

“It doesn’t matter,” continued Dax, now pointing in the opposite direction. “There are showers over there as well, love. Go and freshen yourself up.”

You find me, at time of penning this particular fortnight’s random smatterings, painfully hunched over my computer console, having just returned from Splendour in the Grass after an epic 12-hour straight drive back from Byron Bay in order to get this - yes, this very tome you currently clutch in your trembling fingers - out to the extremely good looking people of Canberra and beyond.

Oh dear. I had arranged to stay in the Winnebago belonging to two men from the company responsible for hauling the gear worldwide for bands such as Kiss and The Rolling Stones, and I’d been told that somehow they’d managed to drive the thing into the backstage compound, only 500 feet from the bar. This was going to be a long weekend…

It's not pretty, but it's the price you occasionally pay for choosing to operate in this industry. A film of an as-yet-unnamed-by-man substance currently covers my face. My ever-observant Accounts Manager was only too keen to point out my violently trembling fingers as I handed him a contact detail with, what I foolishly presumed to be, a hand of pure iron.

I found the RV – it wasn’t difficult, as it was the only one in the area that came complete with two men taking an afternoon nap on the roof – and, dumping my bags, I returned to the fray. Not only was the bar free, but it had CCTV coverage of what was going on on the main stage which meant that you quite literally didn’t need to leave the hospitality tent for the entire weekend, should you have been so minded - which my boss Maria was. I am, however, made of sterner stuff – of which more when Great Train Journeys of the World continues next issue.

My stomach is a litany of bad diet decisions - a veritable mad scientist's bubbling beaker of filth - and one peanut away from internal combustion. And I can actually smell the colour purple. It’s safe to assume I’ve shaved at least a few days off my life expectancy over the weekend. So why do it? Because I love you and, dammit, these are the kinds of lengths I'm willing to go through.


O yes, my pretties; these proverbial y-fronts have plenty more stains where they came from.


bma :: Issue307 "bma:your bi-weekly chuckle." Published by Radar Media Pty Ltd | ABN 76 097 301 730

bma is independently owned and published Opinions expressed in bma are not necessarily those of the editor, publisher or staff.

Fax: 02 6257 4361 Mail: PO Box 713 Civic Square, ACT 2608 Publisher Scott Layne General Manager & Advertising Manager Allan Sko: T: (02) 6257 4360 E: Editor Peter Krbavac: T: (02) 6257 4456 E: Accounts Manager Fahim Shahnoor : T: (02) 6247 4816 E:

Super Sub Editor Julia Winterflood Graphic Design Jessica Condi Film Editor Mark Russell Principal Photographers (The Flashbulb Posse) Andrew Mayo/Nick Brightman/John Hatfield Issue 308 Out August 21 Editorial Deadline August 8 Advertising Deadline August 14

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Finnish born drum ‘n bass DJ and producer DJ Muffler, or Konsta Mikkonen to his lederhosen-sporting bank manager, is a man of many guises. Having also operated under the names Konsta, Constant, Unknown Soldier, Axis Of Evil and Alloy, Muffler’s tearing, energy-infused brand o’ D&B has seen him picked up by prominent labels such as Moving Shadow, Hospital, Commercial Suicide, Formation, Urban Takeover and his own Sighco Recordings. At the sickeningly young age of 22, Mikkonen already sees himself splitting time between London and Tallinn, and touring the world. Producing since the age of 9, he enjoyed early releases in 1999-2000 on the Urban Takeover label when most of us were playing with our propeller caps, and has gone on to release over 50 vinyl singles and two CD albums in a short time. As a DJ he is dynamic, trademarked by his fast double-drop mixing skills, and dubplate heavy selection, so that every set is sure to be laced with the latest cuts from himself and other producers. The man will bring the noise to Canberra this August, ensuring no plaster remains on Mercury Bar’s shiny new interior. ALLAN SKO Brigitte Handley & The Dark Shadows are a Sydney based all-lass three-piece who proudly thrash out a sound described as “defiant punk with a dark edge”. And what's life with a thick slab of that, eh? Unsurprisingly, the feisty Brigitte Handley fronts the Dark Shadows on vocals and guitar, with the irrepressible Carly Chalker thumping on the bass, and minx Nerida Wu keeping time in fine style on the drums. The trio have shared the stage with a string of impressive names – including Mad Sin and Black Rebel Motorcycle Club – and have just returned from a successful West Coast tour of the USA and Canada, where they played 27 shows in 30 days. Touting their new debut EP Stand Off – released through Revel Yell Music, Japan and distributed through MGM Distribution – the girls are on fiery form and playing with more gusto than ever before. Catch ‘em in Canberra this month, supported by Hytest and Charlie Greaser. $10, 8pm start. ALLAN SKO


Voltera, like Voltron, are more than the sum of their parts. Unlike Voltron, they aren’t a giant mecha robot made out of metal cats. But, as they say in show business, animation’s loss is industrial metal’s gain. The band are taking time out from playing the Vans Warped Tour and opening for legends like KMFDM to make a quick sojourn to The Basement (2 Cohen St. Belconnen) on Friday August 15. For one smurf (that’s my new word for a $10 note) you’ll get Voltera, Na Maza, Corgi Crisis and Our Last Enemy. Our Last Enemy are from Sydney as well, so you know they’re good. If you need something to wash all that metal down with, fear not, because the Jager Girls are going to be there with free giveaways! Voltera one, Voltron nil! LUKE MCGRATH


Any band that lists Spiritualized, Will Oldham and You Am I (Sound as Ever-era … hopefully) as influences are onto something. They also draw inspiration from many other bands, but you’ll need to speak to them in person to find that out. Or maybe throw yourself into their sprawling, ambitious double album Junk, on which there are 26 songs! That’s more than My Bloody Valentine have ever recorded (unchecked fact) and about the same amount Ryan Adams uploads weekly (probably true). Not to be confused with ‘80s punk/country rockers The Gun Club, this Brisbane-based, internationally road-hardened society are particularly restless and avid genre hoppers - you name it, and these multi-instrumental type guys will be able to play it. And if that sounds like a challenge to yell out random song names played by other artists at future gigs, then so be it. They seem like capable lads and any band that gets its start at open mic gigs should be well versed in the adroitly worded heckler put down. So drink up and heckle on folks, The Gin Club are in town. JUSTIN HOOK

Despite their warm 'n' fuzzy presence in the Canberra music scene since 2004, The Cashews have only now finally recorded their first full length album. It was recorded old-schoolstyle, around one microphone, live in a living room - capturing that distinctive and quirky WHO THE CASHEWS Cashew essence. To launch it, they’ve planned a giant two-stage bonanza on Saturday August 16, also featuring The Big Score, Cam & Ry, Chanel Cole, Alice Cottee, Dubba Rukki, WHAT LAUNCHING The Ellis Collective, Hashemoto, Julia and the Deep Sea Sirens, Margaret Helen King, Mr SMALL PONDS Fibby, Mutley Sniggers (by proxy), Ocean Moses, Sanjiva De Silva, Andy Walker (One Foot in the Gravy) and The Wedded Bliss, all performing a Cashews cover as well as some of WHERE 13TH CANB SCOUT their own tunes. All that, plus circus, tableaux, colouring in and the construction of a GIANT HALL, O'CONNOR CASHEW PAPER MACHE STATUE! So for a veritable smorgasbord of the wonderful talent we have in this small pond - Canberra - come along to the Small Ponds album launch at the WHEN SAT AUG 16 13th Canberra Scout Hall, Macarthur Ave, O’Connor, presented by The Canberra Musicians Club. From 4pm to 10.30pm, $10/$5 entry.


And so the juggernaut rolls on… WeEmptyRooms and Broke Me Records, the loons behind such face-melting tours as Birushanah, Palm and Ryokuchi, are proud to announce that Japanese hardcore/crust fiends Realized will be visiting our shores this month. The band hail from the northern Japanese city of Sapporo. Based around famed venue Klub Counter Action, the Sapporo hardcore scene has been thriving since the mid ‘80s, producing the likes of Face of Change, Spitfire and Knucklehead. While taking their cues from the traditions of hardcore and crust, Realized go beyond the usually limited structures of these genres - their arrangements are densely layered, precisely executed and frequently build towards epic crescendos. Despite possessing a brutal set of lungs, vocalist Fuji has a distinctly feminine, Iggy/Bowie-esque presence that provides an engaging focal point. Having cut their teeth with supports for the likes of The Locust and Insect Warfare, they’ll hit The Greenroom with Dad They Broke Me, Inappropriate Tough Guy Behaviour and Assassins on August 15. Be sure to pick up a limited-edish cassette of their long out-of-print second album, too. Hit for more info.

7 Akuna St

Canberra City


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Cecilia Pattison-Levi

THE LIVING END have emerged from a career-ending crisis to produce their best album yet, and they’re hitting the road with newfound energy and a mission to enjoy life to its fullest. Fans of both good ol' rock 'n' roll and rockabilly rejoiced when the band blasted onto the national airwaves with 1997’s anthemic Prisoner Of Society. The band - vocalist/guitarist Chris Cheney, bassist Scott Owen and, since 2002, Andy Strachan on drums - began a decade long cycle of delivering fantastic albums and touring. But the wheels almost fell off with all this success and stress; physically and creatively exhausted, and on the verge of ending it all, The Living End looked within and subsequently created the best album of their career. Already hailed by critics as the album the band was destined to make, White Noise has been described as "a mighty paean to all that is right and true in rock ’n’ roll" by J-Mag. “It’s a damn shame that we have been kept out of the top spot,” says Scott, reffering to the album's number two debut in the ARIA charts behind the Mamma Mia! soundtrack. “We are still being held hostage by ABBA. I mean, ABBA. But I guess we should be glad that we are at number two, we are selling our records and we still have an audience eager to hear our new tracks. That is a good thing.” White Noise is an album that not even the band were sure would ever be made. “We were pretty burnt out by the end of the last tour,” says Scott. “Chris even entertained thoughts of whether he’d had enough of it all together. We were looking at the prospect of finishing the tour and getting straight back into the rehearsal room, making new songs for another album, so that the cycle could start over again. The idea did get pretty daunting. We ended up having a big break from each other - from the band. When we did get back in the rehearsal room, all the excitement and enthusiasm came back and set us on the right track of making an album we are really proud of - and we think that it is the best record that we have made.” “I know it sounds like a bit of a fable,” Scott continues, “but after the break, Chris, as main songwriter, had lots of lyrics and they were a little darker. Then we started to work on the music. Chris came out with a couple of riffs. We spent a week in this tiny studio in Melbourne doing these rough demos, and at the end of it, we had such an unbelievable feeling that we had just made some really good songs.

"I remember having this feeling of ‘we’ve done something really good’. Then we worked on making the music more rock with a variety of beats. But the hardest song to pin down was White Noise. Chris had this killer chorus, but it took us a while to blend it into a song; it was great when we finished it. We realised we had some great songs, and a truck load of songs to choose from as well, so it was a nice position to be in when making a new album – to have so many songs to pick from.” Touring is now The Living End’s big focus. They will be embarking on a national tour throughout September and October, taking in regional and capital cities across Australia, as well as the Summer Sonic festival in Japan and Splendour in the Grass in Byron Bay. “We’re so confident with these new songs,” says Scott. “They all sound so good live. They all feel so good to play live and we thrive on getting up and playing every night. We’re hanging to get out there and get into the zone of playing every night. And we’re playing better and better each night. “Our longevity as a band is really important to us. The last thing we want is to disappear up our own arseholes. We need to stay relevant, valid and make a future in music. The thought that things might have been over after the last tour, well, that was a big slap across the face actually - thinking there really could be a lifespan to this band. But I think it really hit home how much the band means to us. The thought of losing it was such a bad prospect that it really cemented how much we appreciate it, like it and enjoy it.” The Living End’s amazing live shows have given them a fierce reputation for putting on gigs of the highest standard. "We needed to re-focus on playing live. We love playing live," Scott iterates. "And, the focus now is touring and getting the new songs and album out there. We will be playing Splendour, then we are off to Japan to play a festival. Man!" he exclaims, "it is intense and fanatical over there. The Japanese music fans are so passionate about their music - it's a great and crazy experience to play there. Then we will set off around the nation in September and October. We are really looking forward to that. We want to really enjoy what we are doing now and be the best we can absolutely be. There’s a lot of juice in the tank. And the fact that that song White Noise has had such a great reaction has given us a real confidence boost. We just want everybody to hear the rest of the record now!” White Noise is out now on Dew Process/Universal. The Living End play at Trackside on November 22, alongside Cut Copy, The Panics, Bliss n Eso, British India, Bluejuice and more. Tickets on sale August 21.

“We want to really enjoy what we are doing now, and be the best we can absolutely be. There’s a lot of juice in the tank”

We’re Not Gonna Give Up, ’ Til The End, ’Til The End!

bma magazine 13


Raindrops keep falling on my head, but it's not as great as Mr Bacharach suggests - in fact, it's quite unpleasant. As I fall to my knees and cry to the skies, “Please, dear God, please stop this cold!” I realise that it’s not all that bad. You see boys and girls, it’s all just a big test from the funk gods. Anything that may affect you negatively in any way at all is just a test. A challenge, if you will, and let me tell you, one too many tests for this particular boy this week. ’Nuff Said. ’N-E-WAYS. There’s a rumble in the jungle, commotion in the ocean, etcetera, due to the fact that there are a few very good shows coming up to support. First thing's first, some important news for all you mid-‘90s SoCal punk aficionados: due to licensing reasons, Californian pop-rockers Unwritten Law have announced a venue change for their Canberra show. The show, scheduled for Saturday August 9 at The Venue, will now be held the Weston Creek Community Hall (Parkinson Street, Weston, behind the Cooleman Court Shopping Centre), on the same date. They’ll be supported by fellow Californian’s Sprung Monkey, Perth’s Elora Danan and, just announced, local favourites Zero Degrees and Falling. Considering the size of the line-up, it’s an early start with doors at 6.30pm, so don’t have a rager on Friday! All tickets that have already been purchased are valid at the new venue, and tickets for the show are still available online at or on the door. Friday August 8 brings us over to Woden Youth Centre to experience a few from out of town. This is going to be a monster night, featuring Adelle, Is for Real (both hailing from the Central Coast) and locals Alone With You. This event is to prerelease copies of Adelle’s highly anticipated Hello Sane Age Sins as part of The Stranger You Woke Up Next To… tour. Bring all your friends boys and girls, and their friends too if you want. Get into a few bands you don’t usually get the chance to see, ’cause it’s these sorts of shows that leave you wanting more. Don’t move your dial; August 15 brings another joyous occasion for those of you that are ‘under age’. Fistful of Nothing will be releasing their debut album People Of The 5th Dimension at Woden Youth Centre. After almost a year in the works, People Of The 5th Dimension will be released under a new band name. That’s right, it’s an album launch/name change! Get out your fi nest cutlery and fold your best linen. It’s time to get excited. For a mere $5 the album can be yours to own. Buy on credit card and the guitarist will sell you naked shots of him practicing guitar - for a limited time only. The launch will feature a bill that will boast such names as David Brown (metal infl uenced hardcore), Pleased To Jive You (genii) and the return of Canberra’s lost love, electronic sweethearts Paqman, who will be coming back to Canberra for this special occasion. It’s going to be well massive. For more details and to listen to some of the tracks visit fi stfulofnothing . Do what you got to do, just be there. Ordinarily, Canberra’s approaching festival season would illicit nothing but much teeth-gnashing from anyone under 18, but that’s where Trackside rides in triumphantly. It’s back for a second year, returning to Thoroughbred Park at the Canberra Racecourse on Saturday November 22. This year boasts cover stars The Living End, Cut Copy, The Panics, Bliss n Eso, British India, Sparkadia, Something with Numbers, Muph & Plutonic, Carpathian, Bluejuice, Grafton Primary, Little Red, Hell City Glamours and the return of local AA favourites Los Capitanes. Tickets go on sale August 21 from Landspeed, Stocks, and Ticketek outlets. Last year sold out and saw many a shattered punter missing out, so the lesson there is GET IN EARLY! That’s it for another edition. Stay warm, JOSH MOLONY


Errrgggg. I’m sick. My nose is running (better go catch it then!), I have a goon hangover, PLUS I have really unsexy bed hair and mascara all over my eyes like I’m a panda that has been punched in the face. So excuse the lack of pleasantries (and that exciting visual), and be thankful for this delivery of local news that has been excruciatingly extracted from the depths, with all of my might.

one I mean. This year though, it’s looking pretty darn awesome indeed, with Floriade NightFest lined up for fi ve nights during the fl ower fest. The schedule includes outdoor fi lm screenings, night markets, local gourmet food and wine, roving entertainers, live music, and in keeping with the theme of the column, the stylish NightFest Glow Bar. The nights run through September 24 to 28, and tickets are available from www.fl Bands wanting to participate in November’s Helloween lineup should contact Jamie on 0418

398 556. They’re seeking lovely locals of the rock/punk/metal/ whatever persuasion to perform. “Defi ant punk with a dark edge” is how they’re described - others just prefer rockabilly - but in any case, Sydneysiders Brigette Handley and the Dark Shadows are heading to Canberra, fresh off the tour bus in the US. Catch them at the ANU Bar on August 15 with Charlie Greaser and other guests. Doors are at 8pm. Beloved Canberra act Switch 3 will be cracking out a one-off show as they prepare to tackle the Asian market with their

debut album Calm Before. “We’re excited about the future and level of interest that’s coming out of Asia,” says drummer Evan Dorrian in a recent press release. “It’s not every day you get the opportunity to be a part of such a massive market!” Catch ‘em before they go at The Greenroom on Saturday September 13 with Fistful of Nothing and Zero Degrees and Falling. Tix $12 from www. . CAZ DENNES

The guys at Megafauna are super-excited to have added The Nation Blue to the 15-act festival. Long-time Melbourne favourites, The Nation Blue will be a delight for many a Canberran who hasn’t yet had the chance to witness their stunning live set. You can check them out via the Megafauna Festival Facebook and Myspace pages. Remember, all proceeds from the show benefi t the stellar work of the Australian Cancer Research Foundation. Also on the bill are Cuthbert and the Night Walkers (Syd), Hytest (‘Gong), and locals Casual Projects, Pod People, Hancock Basement, Super Best Friends, Boonhorse (ex LOG), Penguin and Tres Terros Cuntos. Canberra’s favourite new festival, Trackside, is celebrating its second birthday in a big way – back again this November. The day is November 22, and will play host to over 16 acts who will pass through the ACT for the all ages licensed event. Tickets will be going on sale on August 21, and they’ll be $79 plus BF. You can grab them from Landspeed Records, Stocks,, and Ticketek. NB: There will be carnival rides, international food, a comedy stage, PWA wrestlers, and... more bars! As I’ve oft established in this fair column, Floriade is not my most favourite event of the year. Don’t get me wrong. It’s pretty, and I heart fl owers, but I think the slow-paced geriatrics have made me feel somewhat trapped and claustrophobic from time to time, and I guess really I’m just jealous that I’m too old to climb upon that weird sculpture thing that’s near the lake. You know the bma magazine 15

DANCE: THE DROP This cold weather’s good for one thing at least – “I swear, offi cer, my jaw’s only moving this much because I’m cold.” Hello again dance chickens. Much to get through this edish. And God bless those end of year festivals. Following news that Foreshore will be delighting us with The Presets, it now emerges that Cut Copy will be gracing the Trackside main stage come Saturday November 22. Another major tour that Canberra was cruelly ignored for earlier this year, it’s a joy to know we won’t miss the splendours of their excellent LP In Ghost Colours played for us live. The full Trackside line-up can gleaned on pages 2 and 3 of this ‘ere rag. Tix go on sale August 21, are $79 plus booking fee and are available from Landspeed Records, Stocks, and Ticketek. The inthemix Top 50 Party is back again, and this year is shaping up to be a big ‘un. Taking place over two rooms at the ANU on Saturday September 13, the line-up includes <deep breath> the return of the mighty Infusion, Grafton Primary (launching their highly anticipated new album Eon), Melbourne’s Nick Thayer and G.L.O.V.E.S, Hubert feat MC Darkwing, Karton, Fourthstate, Danielsan, Typhonic, James Dela Cruz (erstwhile Avalanches man), D’Opus & Roshambo, Alikeminds and Dazed & Flawlezz <gasp>. Tix are $45 plus booking fee and are available from, Landspeed Records and Stocks stores. Monkey Bar has been going bananas of late (boom-tish!), with the performance roster thickening by the week. August sees no less than fi ve notable acts snuggle into the fi rst fl oor level club’s refurbed confi nes.August 9 sees the mighty Bag Raiders pop in for a set. 15 clams for that one. On August 15, “Sydney’s undisputed heavyweight champion latino DJ” Don Juan pops in to hot things up, with a best dressed and “sexy dance” competition for those so inclined. $10 entry. Still at Monkey, Ex-Canberran love merchant Rob Kay will spin up a storm on August 16, with Paul Wheeler playing live accompanying trumpet for something a little different. $10 for that ‘un. A week later on August 23 and the Nocturnals make a stopover. And to close off the month in fi ne style,Club Junque of Chinese Laundry fame makes a August 30 appearance. $10. All shows (minus Don Juan) are supported by resident DJs Kiz, Tim Galvin and Trent Richardson. Dave Scully and co have fi red up a new dubstep night, entitled Shockwave. “We are dedicated to bring to Canberra the best dubstep vibrations and welcome you to come along and check out the sound that is rocking the world,” keen-bean Scully enthused. The fi rst instalment hitsMercury Bar (along Northbourne Avenue) on Friday August 15, with Miss Universe, Crooked Sound System and Fourthstate on the cut, and Harlequin MC on the mic. $5, or free before 10pm. There will be giveaways too, including Benga’s landmark album Diary of an Afro Warrior, and Box of Dub 2 (Soul Jazz Records), plus mix CDs, t-shirts and stickers. For a free Crooked mix, jump onto . The Finnish drum ‘n’ bass meister Muffl ershould ensure a very enjoyable evening of energy-ridden beats ‘n’ bass is had at Mercury Bar come Friday August 22. His DJ sets are something to behold, a fast-paced affair trademarked by fast double-drop mixing skills and dubplate-heavy selection. And jump onto his myspace page; any man able to move seven lasses to strip to the waist and each bear a different letter of your moniker on their slender behinds to spell out your name has gotta be doing something right in my book. $15 entry, with Benjammin’, The Crunch, Karton, Escha, Buick and Dred in support. Brewster B will grace the next Bleep @ Transit Bar on Friday August 15. Ronnie Gordon, Mig.L, Bruisa and Alex McLeod vs Nick Smith will be in support and, as with all things Transit, it’s free entry. Pow. And that, my dear jaw-shudderers, is it for another fortnight. And remember, during this time of year wrap up warm. Just because it’s 4am, you’re sporting your Borat mankini, and you feel perfectly warm doesn’t mean you are. ALLAN “OOO, ME GIBLETS” SKO

“It’s become a bit of a freight train heading down down to techelectro town”

Tim Galvin


Stu Tyson’s parents weren’t murdered in an alleyway in Gotham City, he wasn’t shuttled to earth from an exploding planet and he most certainly wasn’t exposed to radioactive ooze (that we know of ). It was simply subjection to music that evolved this mild-mannered citizen into the polyphonous overlord that we know today as BASS KLEPH. His achievements span all mediums in that he is a successful DJ, producer, and head of Vacation Records, which has led to a busy year for the young virtuoso. “It’s become a bit of a freight train heading down down to tech-electro town. At the moment I’m really loving music with a lot of energy; something jackin’ and bouncy that really gives you a workout on the dance fl oor. It’s always a lot of fun experimenting with new ideas and sounds, but I think now I have a much better idea of what I really want and like.” His unique sound has led to a string of successful releases such as Coup D’etat, Bump Uglies and more recently Helium, which all push the same punchy wobble tech vibe whose genre is harder to pin down than the Great Khali. “From a marketing perspective there are good and bad points about that. I couldn’t imagine doing it any other way though. I just do whatever I feel like and write the music that I think is cool. I think if I did it another way, it wouldn’t be very fun. Sometimes I’ll hear something -old or new - and think 'wow, that’s really cool,' and I’ll become infl uenced by it. On the other hand, more often, I hear something I don’t like and that obviously makes me steer away from sounding like that too. Especially if I’ve heard something too often and it is starting to feel overdone.” His approach to performing has also shifted over the years, incorporating new world technology and old world party-rocking experience. “I’ve been using Serato Scratch for around two years and I could never go back to regular CDs or vinyl now. This software enables me to fi nd the songs I want so much faster than before, have double copies of every song, and get nutty with heaps of loops and cue points. I also love the effects and options on the Pioneer DJM800. Between these and the CDJs I tend to get pretty busy. I like to just let my instinct guide me and go with the ideas and options I have as they come. This often results in all sorts of crazy mixes, re-edits and mash-ups. I love that side of DJing. These days a lot of DJs play the same songs, so plain old beat matching just doesn’t cut it anymore. I am also considering bringing my own additional FX units along with me soon, too. They may even turn up on this tour.” His label Vacation Records - with an impressive roster of fresh artists such as fRew, Tommy Trash, Stupid Fresh and local lads Karton - is going from strength to strength in 2008, with bigger plans on the horizon. “Well, so far we’ve put out a bunch of tunes and our fi rst music video. We’re now releasing our fi rst annual mix CD compilation, and have a 14 date Australian/New Zealand tour organised to celebrate. The rest of the year is chock full of more singles already, and I’ll soon be starting work on an artist album too.” It seems it’s all in a days work for Stu, who promises that everyone who comes along to the show can expect to “wear out their sneakers, lose their voice, stay up all night, and come home smelling funny and feeling great.” Bass Kleph and fRew hit Canberra on The Vacation Tour, playing Pang! at Lot 33 on Friday August 15. From 10pm, $20 entry. But wait! Get in before midnight for $10 entry and $3 basic spirits at every Pang! party in August.

"Albums are not as expected from performers unless there’s a conceptual thread that holds it together"

Elf Tranzporter

Tranzport is Arranged Peter Krbavac

Elf Tranzporter. While the name may conjure up images of Shetland ponies towing miniature buggies, any Oz hip-hop head worth their salt will know better. ELF TRANZPORTER, or Marlon Porter to his accountant, was one of the founding members of one of Australia’s seminal underground hip-hop acts, MetaBass‘n’Breath. Since the group disbanded at the turn on the century, Elf has kept himself busy with a laundry list of musical projects, most notably as a member of both the infamous Combat Wombat and an off-shore member of the San Fran-based crew Heavyweight Dub Champion (in which he nestles alongside the likes of KRS ONE and WuTang’s Killer Priest). In his downtime, Elf regularly conducts workshops, sharing his skills and passion for music tutoring disadvantaged and high-risk youth in primary schools, juvenile justice centres and community events, as well as refugee communities throughout Australia. Somehow, the man managed to find time in his bustling schedule to release his debut solo album Ethereal Lotus Fleet in October last year. Though the idea of a solo release had been bouncing around in Elf’s head since MetaBass's demise, other projects took precedence and the LP “came back into focus just a few years ago. I think it was February ’05 when I first recorded something for the album. "The hard part wasn’t the material on it as much as the idea of putting a bunch of connected material out as a single work," he continues. "There’s a conceptual thread that runs through that album, and I think that was the only reason to put out an album rather than just putting out a song whenever you do a song. Things have changed, there’re so many more options and albums are not as expected from performers unless there’s a conceptual thread that holds it together.” The LP’s evocative title stems from the collaborators Elf has worked alongside. “‘Fleet’ conjures a floating alignment, and that’s basically what it is, rather than calling it a crew. Collaborators and allies sharing a vision.

“The word fleet definitely sums up my experience in Melbourne,” he continues.“When I moved here I was working with a few different crews like Red Eyes and True Live and the original Illzilla. It related to this vision I had of the lotus as a symbol of the human soul and of collective endeavour, because you’ve got many petals on one lotus. Basically, I saw a fleet of lotuses flying towards earth from some land, which I guess would be the creative landscape, coming into the earth’s atmosphere and sending down soundsystems to usher in the new dawn. “In a lot of ways, the way this album’s held together is that I was mainly working with DJ Wasabi,” he explains, “but I was also working with Count Bounce, Mista Savona, Monkey Marc from Combat Wombat and Custom. It was fun bringing the same song from one producer to the other and having various inputs on it. I thought it worked really well, ‘cause these people got to work together through the vision that I was pushing.” As for his Canberra appearance, the man explains he’s “coming with a little fleet; it involves DJ TakaCo, she’s just gotten into DJing and is doing a really fine job at just creating energy onstage and adding a lot of sonic textures; then there’s Jad and Bassman from Kahibaloo - Bassman’s been running with TZU on their last tour. …also two of the MCs from Culture Connect, Mista Monk, and Hopefully VJ will come down. It should be really fun, it should be a party. It’s just another kind of, what would you call it, a branch of a fleet…” We both rack our brains for the correct word. “We’ll both go on the naval dictionary on Google,” he laughs. “Unit? Sub-unit… “It’s a pretty rockin’ incarnation of what I believe in with live performance,” he enthuses, returning to the main thrust of our conversation. “Make sure there’s a bit of exploration and spontaneity along with tight, intuitive, creative… laser beams,” he laughs, slightly sarcastically I think. Elf Tranzporter headlines Heavyweight Invasion, a hip-hop, reggae and dancehall bonanza at the Transit Bar on Saturday August 9. The bill also features Chant Down Sound and Dizzy Dee (Melb), Tribe of Kings (USA) and Capital Dub Style DJs. From 8pm, free entry.

“Music should always be in a state of flux of some kind… most great artists are the ones who constantly tried to expand their sound or tried to find new ways of saying things”

The Soundtrack of their Lives

Dan Bigna

There is a thriving impulse at work within the ranks of Australian experimental group PIVOT. This comes across on a website listing some of the band’s favourite keyboard music featuring, along with usual suspects like Brian Eno, names such as David Bowie and Pink Floyd, both of whom were major selling artists who at times came up with some pretty compelling stuff. It might also be the case that the inclination to transform existing forms is mandatory for anyone who truly cares about the creative act. This notion certainly comes across on Pivot’s second album O Soundtrack My Heart, which features a charged collection of well organised instrumental constructions involving laptop, guitar and percussion. The album has been picked up by reputable UK label Warp, joining other colourful artefacts from purveyors of otherworldly sonics such as Aphex Twin and Battles. In this respect, Pivot percussionist Laurence Pike is quite content with the label’s interest in the band. “When we finished the album we were very happy with it, and we thought it could have a place at Warp,” Pike says. “Back in the '90s when we were all going through uni and high school, the kind of stuff the label was putting out was just so consistently different and pioneering, and all those records from groups like Aphex Twin, Autechre and Boards of Canada were like listening to something from another planet.” From this varied miasma, the allencompassing term post-rock could be applied to Pivot’s music, perhaps due to the band’s focused approach to shifting, yet fluid textures, but Pike wonders about that tag. “I find that the kind of bands coined with the post-rock label are generally versed in lots of different kinds of music, and they’re just trying to find their way in the world like everyone else. I guess it’s about making music that doesn’t fit neatly into categories like indie, electronic or rock. We don’t really think much about those kinds of labels. We just do what we do.” Pike is more content with Pivot’s proclivity for experimentation. “Music should always be in a state of flux of some kind, and in hindsight, most great artists are the ones who constantly tried to expand their sound or tried to find new ways of saying things. At heart, we are an experimental band. But it’s not like we sit down and go, ‘right, we have to make this music as weird and as challenging as possible’. It’s just the nature of the music we make that happens to be inherently experimental.” Given this outlook, John McEntire as choice of producer was a good one. McEntire’s claim to fame comes from his ongoing commitment to such luminaries as Tortoise and The Sea and Cake, both of whom have accentuated a highly detailed approach to music-making that incorporates a range of musical styles in the best post-punk tradition. “It wasn’t an obvious choice like, ‘let’s get post-rock poster boy John McEntire to produce our record’, or anything like that,” Pike says. “I think it was genuinely more to do with the fact that we liked the sound on a lot of his records. But there is no denying that Tortoise was a big influence, and their music really turned my head around.” That inspiration has filtered into Pivot’s opened-up songwriting process. “We generate things from all sorts of places, either starting with electronics or jamming and then recording, and then pulling it all apart and putting it back together. There is a period of construction and a cycle that repeats on itself, until we’ve got something definitive.” O Soundtrack My Heart is out August 9 on Warp via Inertia. Pivot launch the LP at the Oxford Art Factory, Sydney, on Friday August 8 with Fabulous Diamonds (Melbourne) and Kirin J Callinan.

METALISE What’s a Metalise in the past, like, two years without starting off with an international tour headline? Well this month I’m sure that this is belated, but a welcome reminder that this time it’s grind lords Pig Destroyer setting out on their maiden voyage and again keeping me broke. There’s three shows in range for Canberra thrashers in a tour that I’m a bit peeved we missed out on, considering the extent of the shows – i.e. if Hobart gets a show, then bloody so should we! However, Sydney’s Gaelic Club, Saturday October 25 along with Terrorust, Beyond Terror Beyond Grace and a special guest whom I believe to be Agents of Abhorrence - I’ll confi rm next column a( ccording to that most trusted of sources, the internet, it looks like there'll be no Agents - ED). There’s two Melbourne shows, one at the Hi Fi with Blood Duster, Terrorust PIG DESTROYER and Fuck...I’m Dead on Friday October 24 and another Thursday October 30 at the Arty (Arthouse Hotel, North Melbourne) with Gray Daturas (interesting choice), Roskopp and The Kill. Woo - perpetual financial embarrassment as the international caravan of metallic carnage continues! Slaughterfest is on this weekend at The Basement in Belconnen and whilst I’ve written of it already, there’s been a late scratching due to the unfortunate limb breakage in Adelaide’s Space Bong. They’ve been replaced duly and the bill is now Blood Duster, Pod People, Ebolie, Roadside Burial and Clagg. 15 dollars will gain entry to this show on Friday August 8. As some may have heard on the triple j Full Metal Racket show last week (before that lucky arsehole Andrew Haug buggered off to Wacken... God that guy has some frequent fl yers), with any luck Fuller will bring copies of the new Pod People album Mons Animae Mortuorum ("Mountain of the Souls of the Dead" in Latin) ahead of its offi cial Australian release onAugust 9. Pod People will also play Megafauna Festival on Saturday October 11 along with Looking Glass and the band that until a few weeks ago were know as LOG, but are now going by the moniker Boonhorse as recent personnel changes have altered the band’s sound. More on Megafauna soon. Frankenbok have a new EP entitled The Last Ditch Redemption, which is apparently a concept EP about a journey in madness in which redemption can only be attained in helping those who cannot help themselves. This follows on the heels of their Murder of Songs album they put out recently and to celebrate, they’re hitting the road as they always do and dropping by town Friday August 22 at The Greenroom. They’ll be joined by Mytile Vey Lorth, Rake Sodomy and Point 17 More big shows coming up in Canberra down the track include the Chaos ACT III at The Basement, with Excruciate (QLD), Ebolie (NSW), Mytile Vey Lorth (ACT), Synpernium (NSW), People Die (QLD), Infi nitum(ACT), Corpsickle (NSW) and Aeon Of Horus (ACT). This huge show is coming up on Friday November 24 for a mere $15. I’m not one for classifi ed ads, but this is one I couldn’t pass up for you guys. In the market for a new guitar? How about one of Jeff Haneman’s personal 2008 Signature models? Don’t ask me how, but I have a connection in camp Slayer now and if you want one you, can have one signed if you like - for around $2,500 AUD depending on what the dollar is worth today. If you’re serious, you can email me at doomtildeath@ and I can hook you up. JOSH NP: My Aftermath – Gigantic Brain – The Invasion Discography

Takin' Stock Wit' Frankenbok

“If you truly love metal it will infect every part of your being and it will never leave. No fucking compromise!” Luke McGrath Unless you are well into your Oz metal, if you know the name FRANKENBOK at all, it’s because you heard their cover of Madison Avenue’s Don’t Call Me Baby back in 2001. While I’m sure it did them no favours within the metal community, the song was good fun, garnered them significant attention at the time and heightened expectation for what they would do next. And so what did the five-piece from Melbourne do next? Well, despite several line-up changes, injuries and different labels, they stuck to their guns and continued making fistpumping metal. But do they still play Don’t Call Me Baby? “That track gave a lot of people the impression that Frankenbok is a joke band,” recaps new vocalist Dan McDougall. “This has never been true, and the new line-up is out to totally destroy this perception of the band. And in regards to playing it live – come see us play and you’ll find out!” After waiting out much of 2007 while guitarist Aaron Butler’s leg healed after a skateboarding accident, this renowned live outfit have been chomping at the bit to “tear each and every stage a new corn chute” and promote both last year’s album Murder Of Songs and new EP The Last Ditch Redemption. This latest tour will see them leaving few stones unturned. “Frankenbok has always made sure that their tours were rather extensive, and this time around we are making no exceptions,” says Dan. “I wanna play in as many places as possible; I don’t care if there are 5 or 500 people, we will always put on a killer show for anyone who cares to listen. Our plan is to go to all of these places and then do it all again. And again. And again! It’s the only way to build a fan base in this country if you’re a metal band. I am also from a country town and I remember how farkin’ cool it was when bands from Melbourne would come down and play.” Of course, every upside has its down, and a lengthy tour schedule like Frankenbok’s is no exception. “Do you know what ‘van-gut’ is?” Dan laughs. “Well, spend 12 hours in a van and eat nothing but junk food and you’ll soon know what it’s like!” No one, perhaps least the band, would have predicted it, but Frankenbok have become elder statesmen of metal. There are few other ways to describe a band that, over their 11-year existence, has played with Slayer, Fear Factory, Machine Head and made five (count ’em) appearances at Canberra’s own Metal For The Brain festival. Surely Frankenbok have picked up a few things about the dark art of metal they’d like to share – any tips for the young ‘uns? “The point I would like to get across to young metal heads is to not just listen to what is going on now, but look back through the entire history of metal,” says Dan sagely. “Raid your old man’s collection and seek out the originators, then move on through to the present day. And never fucking give up no matter how hard it gets! If you truly love metal it will infect every part of your being and it will never leave. No fucking compromise!” Frankenbok will be melting faces at The Greenroom, Philip on Friday August 22 with Mytile Vey Lorth, Rake Sodomy and Point 17, performing songs from across their whole catalogue including both their latest album Murder Of Songs and EP The Last Ditch Redemption (both out through Prime Cuts). Make a fist and then extend your pinkie and pointer finger. Raise your arm high, bang head, repeat.

“Every change we’ve had in this band, whether it was a member or a label or a style, I compare it to shedding a skin. It’s painful at first but afterwards you heal”

The Future is Unwritten

Ben Hermann

“We’re like a super Reese’s Pieces – four great tastes that taste great together!” After Googling ‘Reese’s Pieces’, I find out that Pat ‘PK’ Kim, bassist for Californian pop-punk rockers UNWRITTEN LAW, is talking about a brand of candy-covered chocolate with peanut butter. I then have to assume that he’s drawing attention to the diverse yet complementary nature of the group’s members (as Reese’s Chocolate Peanut Butter Cups are often sold in packets of four different flavours), rather than the possibility that, like the Peanut Butter Cups, they were referenced in Spielberg’s ET. However, Unwritten Law will hardly be in need of any blockbuster endorsements when they return to Australia this August. The group has always had a distinguishably large following in Australia – leading to the release of several Australia-only live albums and singles – a fact which Kim attributes to their constantly progressive nature. “I feel the Australians appreciate the fact that we’ve never been a band to follow the latest trends or whatever happens to be ‘hot’ at the moment. It’s quite apparent that all our albums have a personality of their own. What our fans always expect from us is the unexpected… now put that on your toast!” Last year the group released The Hit List, somewhat of a ‘best of’, except that all the songs were re-recorded for its release, a fact Kim admits was originally attributable to legal hurdles. “Being that our whore-asses were on like four different major labels, it made it impossible for us to get the licensing for all the songs from all the labels. Basically we found a loophole that allowed us to re-record all the songs for us to be able to put out a proper ‘best of’ record.” Although jumping through legal fire-rings doesn’t often bear much fruit for people caught in the midst of contractual manacles, on this occasion the group realised that re-recording their older tracks injected new life and creativity into the band. “I especially enjoyed it because it let me put my stamp on some of the older tracks that I was not a part of originally. Even though I didn’t play on the first three albums [previous to 1997, Kim played bass for funk-punkers and current UL tour buddies Sprung Monkey], I have been playing them live with the boys for almost a decade and I’ve adopted those old songs as my own, so it was cool to put my vibe into those tracks.” Unwritten Law broke into mainstream success with their 1998 self-titled album, which spawned singles such as Lonesome, Cailin, Teenage Suicide and Holiday. Their 2002 follow-up effort Elva built on this success, whilst at the same time reaching out to a much broader fan base through their employment of a well-developed and rather deep rock sound - exhibited most notably on the album’s standout single Seein’ Red. Along with their musical evolution, the group has also undergone almost constant line-up changes, however Kim suggests that these have often helped the band in the long term. “In a way, it’s kept us on our toes and put us in a mind frame that we think ‘hey, don’t get too fuckin’ comfortable where you are, ’cause you never know when the ride is gonna end’. When you get too comfortable, you get lazy.” Although founding member and drummer Wade Youman was ejected from the group in 2003, and the group’s 2005 LP Here’s to the Mourning didn’t capitalise fully on Elva’s success, Kim seems optimistic that the group will grow evermore from the experience of the past couple of years. “Sometimes I feel like a snake, in that we shed our skin and we reveal a more vibrant shade of us. Every change we’ve had in this band - whether it was a member or a label or a style - I compare it to like shedding a skin. It’s painful at first but afterwards you heal.” Unwritten Law are now playing at the Weston Creek Community Hall (Parkinson Street, Weston, behind the Cooleman Court Shopping Centre) on Saturday August 9. Supports are Sprung Monkey (US), Elora Danan (Perth) locals Zero Degrees and Falling. Doors 6.30pm, all ages. Tickets on the door and via . Tickets already purchased are valid at the new venue.

Prepare to Meet Thy Doom “…On this album we’ve gone to make the heaviest music we’ve ever made, but to call it ‘heavy metal’ or whatever makes the whole thing sound a bit limited” Scott Adams So here we are, a Thursday afternoon in the nation’s capital. As is my wont, I’m standing at the bar in my favourite watering hole, picking my nose and casually sipping on the requested pint of Stella whilst attending to the cryptic crossword. This goes on for ten minutes, myself wrestling with four across (pseudo Danish wordsmith sounds like footwear 4, 5), whilst the staff dissects limes and we both listen to The Meters and Faker. Idyllic? Possibly not, but close enough. And then Josh Nixon, erstwhile hard rock journo of this parish AND guitarist with Canberra metal stalwarts POD PEOPLE wanders into the place and everything changes. I’d like to say that this is a result of the man’s magnetic personality, but it isn’t. Everything changes because he’s come into the pub and placed a set of headphones on my ears. And now, thanks to the gift of said technology, my world is full of Pod People, quite possibly the best Australian extreme metal band ever to break free of the Marsupium and flood our ears with their lead-lined sludge in the name of rock and roll. I’m calling it ‘lead-lined sludge’ because ‘doom’ seems too narrow a name for the genre that The Pods always get billeted to… So, Josh – what is doom? “I don’t know. And it’s really funny, because everyone thinks Pod People is a doom band – which we’re not – but what can you do? This is the third interview today I’ve been involved with where I’ve been asked that question, so that’s obviously an important question that people want the answer to because everyone has asked me the same thing… But I have to just ask the question back – what is doom?” Before I get involved in this circular debate, I suggest that ‘doom’, in its modern incarnation, is simply what old fuckers like me refer to as ‘true’ heavy metal? “You know as well as I do that there’s something in that, but Pod People is about more than just a genre or anything like that. We do our music, and on this album we’ve gone to make the heaviest music we’ve ever made, but to call it ‘heavy metal’ or whatever makes the whole thing sound a bit limited. For this album we did set out to record the heaviest music we’ve ever done. But I think it’s still wrong to call it out-and-out metal.” OK Josh, we’ll leave it at that. All I will say, independent of your thoughts is that if you, the listener, want to term this as doom metal, or just heavy metal, or whatever, then be my guest – but it’s imperative that you call it something, because that means you’ve been listening, and that is the least you owe to one of Canberra’s most important outfits. And if you haven’t yet encountered them, get down to Slaughterfest and do yourself a favour this weekend. The Basement hosts Slaughterfest on Friday August 8, featuring Pod People, Looking Glass, Blood Duster and Space Bong. $15 entry. Pod People’s LP Mons Animae Mortuorum is out on CD/vinyl from August 9 through Goatsound

Chamber Music “I wanted to go back to the music that inspired me when I was younger and back to that sound and style where I come from”

Cecilia Pattison-Levi Returning to play in Canberra with husband Shane Nicholson, KASEY CHAMBERS thinks she has “made the best record of her life with the love of her life”. That album is Rattlin’ Bones. “When we started out making this record it really was a personal thing,” says Kasey. “It wasn’t one that we thought would end up on the charts or anything like that. Obviously you hope people like it, but it means more because we were expecting less than ever. I was a bit worried about making an album or doing something creative together. I postponed it and postponed it. I kept saying that I was busy with other projects – and that is true – because I was unsure how we would work together and if we would work together well.” But by drawing on both their songwriting talents, past experiences and unique voices, Kasey and Shane created Rattlin’ Bones. “I have never done anything like it before,” says Kasey. “It was very satisfying to be creative together and write some really great songs. We recorded the album live and didn’t want to have that over-produced sound. I wanted the songs to sound like they do when I sing them in the loungeroom at home. I wanted to go back to the roots of the music a lot more, the real organic sounds and more traditional ways of making records. I wanted to go back to the music that inspired me when I was younger and back to that sound and style where I come from.” This record is far closer to the sort of music that Kasey and Shane listen to when in the comforts of the confines of their home on the central coast of NSW. “I’ve always made records in a reasonably live fashion,” Kasey explains, “but this one was a lot more live – we really went into the studio, set up in one room, and played the songs.” Rattlin’ Bones has been a phenomenal success both commercially and critically. It’s clear that the creators are more than happy with the end product as well. “Shane is writing, he writes all the time, but who knows where that will take him?” says Kasey. “We’re not writing together, but when we first started talking about making this record, it really was going to be a one-off thing; just a bit of fun for us personally. But now, having gone through the process and even when we started the process, it really works for us - and I really enjoyed it. We connected on a creative level and maybe it is something we could do more of in the future.” When it comes to performing live, Kasey, Shane, and her father Bill have been touring acoustically, as a band, and performing together and alone. “It’s been great,” says Kasey. “Playing acoustically with dad and Shane has been really great because it makes all the songs really fresh for me again, especially my songs from The Captain and Barricades & Brickwalls. It makes the songs a little bit different for me. We will be playing a mixed set in Canberra. We will play the songs from Rattlin’ Bones with the band that made the album, and we'll mix it up with acoustic performances and solo songs. We are really looking forward to being back in Canberra again!” Rattlin’ Bones is out now on Liberation. Chambers, Nicholson and band perform at The Royal Theatre on Friday August 15.

Band Overboard! “Out of necessity we had to find a different dynamic for the band and it turned out to be one that’s really positive” Julia Winterflood The band bio: it’s usually derivative drivel that lists nothing more than record sales, awards and acts supported. So when I found a heartfelt confession from Robin Waters, one of two singer/songwriters of Brissie’s THE BOAT PEOPLE enclosed in my promo copy of new album Chandeliers, it was like the time at the farmer’s markets when I was informed by a smiling gypsy that the black sticky rice I’d just bought from her was in fact the very last one. In their bio Waters writes about how once, at a gig, fellow songman James O’Brien introduced As If I Could from Chandeliers with something along the lines of, “I used to think that if you’re careful enough you can avoid hurting someone, but it turns out you can always hurt them”. Waters was shocked to hear something so personal, which he hadn’t heard from his friend before, in front of an audience of strangers. “It’s a good indicator of how your relationship to a song changes all the time, and even with the person playing it,” he muses. “Songs are like friends in a way; your relationship changes with your friends, and some of them change to the point where you’re not friends anymore and some of them change to the point where you get to see a completely different side to them.” One would hope that this side is a good side, but it sounds like it. The dynamic duo of Waters and O’Brien is definitely a winning combo – while O’Brien’s vocals are defiant, strong and joyously melodic, Waters’ voice is quiet and contemplative. O’Brien’s songs are relatively straightforward, whereas Waters’ lyrics are delightfully obscure yet reminiscent of the sharpest observation poetry; ‘quirky’ is the tag most readily attached by reviewers. Says Waters, “Out of necessity we had to find a different dynamic for the band and it turned out to be one that’s really positive.” Positivity seems to be arriving by the boat load for these four mates from high school. The clip for the first single from the new LP, Awkward Orchid Orchard, is gradually becoming one of those clips; it contains 52 visual references to bands (two hands playing the black keys on a keyboard, a flying spoon, and a Beetle being chased by a cop car are a few examples), and they’re even running a comp on the website ( to see who can pick ’em all. The clip was made by Paul Underwood, a close friend from high school who pursued design. “It’s actually really nice having someone who does design do videos, because [when] working with filmmakers, their ultimate thing would be to make a feature film which is mainly about storytelling. With a music video I don’t necessarily think it’s as much about storytelling, it’s more like a piece of static artwork that has movement in it. I know that’s oxymoronic, but we want ours to be just one concept with variations. He’s been really good at translating our quirky eye.” Get your quirk on at Transit Bar on Saturday August 16. The Boaties’ shipmates are Sydneysiders The Dawn Collective and mcArtney. Chandeliers is out now on Shock.



SUN 14th September



“Us four girls have been friends forever; we’re kinda like sisters… Day one, year seven, making stupid jokes”


Chiara Grassia Probably one of the most mundane questions a band gets asked is ‘how did you form’? So I start with that. “Us four girls have been friends forever; we’re kinda like sisters,” says Sophie McGinn, guitarist for kickin’ Sydney band TEENAGERS IN TOKYO. The girls bonded quickly: “Day one, year seven, making stupid jokes. We weren’t in a band in high school, but maybe we should have been; would have helped with playing our instruments.” The band started “once we hit uni, a couple of years in.” After having friends who were in bands, the girls decided to form their own one, starting out with “jamming, learning to play and write basic stuff.” The line-up was completed with the band recruiting drummer Rudy, who’s stuck with them for “over 18 months. It’s been great, just gelled.” Their recent trip to the UK and Europe turned out to be a surreal daze. “It went really well; it’s really bizarre reading stuff back about it now. So good, considering we’ve never played overseas before.” UK label Back Yard Recordings snapped them up, and Sophie noticed the difference. “Here in Australia, it was up to us if something had to happen. [Being on the label] other people are just as excited about our music as we are. Amazing, having an actual label just for us.” The single Very Vampr released in the UK has “done really well”, with Sophie mentioning that the song’s video clip "is played in-between pop clips in the morning before school. It’s not a huge, huge fanbase, but it’s defi nitely growing." She pauses, “very removed."

August/September THE HERD FRI Aug 8

WED Aug 20

Though it may seem Teenagers In Tokyo’s success is only recent, with the band selling out shows overseas while having only released one EP, Sophie confi rms that this is not actually the case. “We’ve been together for quite a while (three years, from early 2005) and we’ve worked at it for a very long time, so we shouldn’t be too surprised.” She recalls the days of “being dragged to rehearsal after work.

TUES Sept 2

“We used producer Jono Marsh, who engineered a lot of the tracks,” says Sophie about the recording of their debut EP, noting it was good to “hear someone understand the sorts of sounds we wanted. It went really well. It was a stretched out process, originally demos and to get some tracks recorded.” But the band picked up the fact that they could “actually do this kind of thing. It all kinda worked in the end.”

FRI Sept 5

Wrapping up their last tour of Australia in August, Teenagers In Tokyo will be heading to the studio to record their debut album. “We really just want to knuckle down. These shows will be really good in the sense that we can test out a couple of the tracks, test run some songs, then get back in the studio, depending on how we are with the stuff - we’re quite hard on ourselves. We want to make a good one. The main focus at the moment is fi guring out who’ll produce it. That’ll infl uence the sound; it’s a major decision, whether we record it here or overseas.” The songs they’ve concocted for their debut so far are “a bit darker than our EP, but still got that dance-y quality. I hope we have a bit of variety; we don’t want it to be too similar. Mix it up a bit. Have the catchy songs and have a bit more luscious sounding ones too. Be experimental with sounds.” Teenagers in Tokyo head to the Transit Bar on Saturday August 16, with ample support from Canberra kingpins Hancock Basement and the Purple Sneakers DJs. Free entry! Their self-titled debut EP is out now on Pavement Entertainment, through Inertia distribution.

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There’s a Foxtel ad running across the networks at the moment, tugging at the heart strings and placing television at the centre of family history. While Blackbox is always quick to admonish those who utter the phrase ‘I don’t own a television’ to prove that they are somehow intellectually or culturally superior, making the jump that the development of viewing technology from the black and white set in the loungeroom to Foxtel’s digital incarnation is central to family life is a bit hard to swallow. What is interesting to ponder is how we survived before the invention of the video recorder and other machinery that let the viewer decide when they watch a show – a world where if you missed the penultimate episode, you had to wait for the network to replay it or it was lost to you forever. These days if your digital recorder missed it, the DVD collection is probably only a few weeks away from hitting the shelves (except if it’s Daria, but surely MTV will see the error of their ways soon). Over the past couple of years, there has been much techno-babble about multi-platform delivery but, apart from a few thousand three minute YouTube videos and illegal file-sharing programs, what this has really meant is yet another marketplace for content. Whether you order your DVDs or buy content direct from the web, it comes at a cost. In Australia, free-to-air programming has remained the domain of your television set. Sure, there is software you can add to watch television on your computer, but really you’re just turning your LCD screen into a telly. That all changed this week when good old Auntie launched iView. Although the name smacks of mass-consumerism, the site is a hub of free streaming content. Sure, if you want the programs for posterity, you still need to pay – after all, what would ABC shops and centres do if they couldn’t plug DVDs of the station’s programs – but if you missed the show, you can sit at your computer and watch the entire episode for free. Well, as long as you have an up-to-date system and lots of bandwidth. It doesn’t really work with a five-tear-old system and a wireless connection. And you also need a fairly hefty plan – a half hour episode of The Hollowmen uses about 130MB. As well as Catchup, which includes the previous week’s eps of Dr Who (ABC1, Sun, 7.30pm), The Hollowmen (ABC1, Wed, 9.30pm) and Double the Fist (ABC2, Thu, 9.30pm), there’s news, kids shows, docos, arts shows and yes, even a streaming selection of stuff available from ABC shops and centres. Elsewhere this fortnight, as predicted, it’s wall-to-wall Olympics or filler. While Prime has the main game from mid-morning to late evening, the SBS schedule is overfi lling with team sport and other Olympic stuff guaranteed to be a ratings loser, such as handball and table tennis Ever ones to get in on the act without getting in on the act, SCTEN are fi lling their schedule withThe Simpsons D’Ohlympics (Tue, 7.30pm) - which is just Simpsons episodes vaguely related to competition - and movie reruns. The good news is that fi lms such asSerenity (SCTEN, Tue Aug 19, 9.30pm) feature among the Star Wars reruns – The Empire Strikes Back (SCTEN, Sat Aug 23, 10.30pm) and a rundown on the new animated feature Introducing Star Wars: The Clone Wars (SCTEN, Fri Aug 8, 9.50pm). Over at WIN, it’s a case of how much CSI is too much, with the schedule featuring CSI Miami (WIN, Mon, 8.30pm and Wed, 8.30pm), CSI New York (WIN, Wed, 9.30pm) and CSI: Crime Scene Investigation (WIN, Mon, 9.30pm). It also gives them a chance to ride out the poorly rating Canal Road (WIN, Mon – Wed, 10.30pm). Over at Auntie they’ve taken The Hollowmen off while The Olympics are on – it returns in a new timeslot Wednesday August 29, 9pm. The programming is so thin on the ground during the Olympics that many of the networks are crowing about their post-Olympic wares including US cop drama Flashpoint (WIN), new Dancing with the Stars (Prime) featuring the likes of Red Symons and boxer Danny Green, the Aussie version of Japan’s Hole in the Wall (WIN) and the cop drama penned by the team behind Underbelly, The Strip (Prime). The much-lauded Perfect Day trilogy, which looks at three points in the lives of a group of friends, begins with The Millennium (ABC, Sun, Aug 17) and ABC2 goes live to the theatre for Keating! The Musical (ABC2 Wed Aug 20 8pm). TRACY HEFFERNAN

"It’s got that sense of undergoing a total change in identity, which everybody can relate to at some stage in their life. Kind of like Extreme Makeover…"


Caitlin Croucher Oh come on, who doesn’t like to occasionally watch a costumed man stand outside his loved one’s house, singing and dancing, wearing a Charlie Chaplin-esque hat and warbling a set of well-trained opera lungs? Matthew Robinson, Australian opera singer, musician, and darkbrowed young performer-man is certainly partial to a bit of a whistle. All right, he’s only got one song as the character of Freddy in the musical tea party that is to be Opera Australia’s latest production of Lerner and Loewe’s musical MY FAIR LADY (the stage adaptation of George Bernard Shaw’s classic play Pygmalion), but it’s a really good song. And let’s face it, sometimes that’s all you really need to snag a lady. I can’t tell you if Freddy gets the girl in the end. You’ll just have to wait and see the show. Actually, it’s a four million dollar show, he tells me. It’s got elaborately frilly costumes, musical numbers and a lot of dancing. Now all you need is a monocle and a date. It’s a classic musical/tear jerker/dance bonanza set in Edwardian London with a lot of lines like 'I do say old chap' and 'pollywaffl e' (accuracy of actual lines is disputable). Your mother probably forced you to watch it once in high school. The stage version tells the story of Eliza Doolittle (Taryn Fiebig), doing a very convincing cockney accent, and an old professor guy called Henry Higgins (Richard E. Grant. He was in Spice World. Need we say more?) who says rather a lot of big words and then just to make a point sings them too. It’s your basic run-of-the-mill boy (or old academic man) meets young, poor, dirty-but-attractive flower selling woman and decides he is going to use her as his very own linguistic experiment to see if he can’t convince upper-class English society that this peasant is actually a well-spoken princess in disguise. Of course hilarity, romance and a phonograph ensue. There’s the complication of Freddy, (played in this latest stage version by Matthew Robinson), a young debonair cad besotted by Eliza and John Wood, that guy from Blue Heelers, who plays Eliza’s father. Awesome. Matthew Robinson is pretty sold on his part in Opera Australia’s production. “Freddy is a man who’s not afraid to say what he feels!” He explains. What about the rest of the characters? “My Fair Lady is a musical that explores complex relationships between men and women after all. Well, controlling men and basically destitute women… The issues between men and women are really eternal,” Matthew believes. “You know, it’s that whole idea that ‘men are from Mars, women are from Venus’. It’s a very universal love story.” Some may consider My Fair Lady to be a musical of rather ancient proportions, considering it’s been on Broadway since 1956, but Matthew thinks the show is a timeless classic that can be enjoyed by even the most jaded of our shoe-gazing youth. “It’s got that sense of undergoing a total change in identity, which everybody can relate to at some stage in their life. Kind of like Extreme Makeover…” As for the production value, he assures me that the set design defi nitely won’t disappoint. “You can smell every bit of that four million dollars.” Stop hyperventilating with excitement already. My Fair Lady will be on at The Canberra Theatre from the August 9 to 24. Tickets are available through Canberra Ticketing. Phone: 02 6275 2700 or 1800 802 025

THEATRE COLUMN Some pundits might say that Melbourne is the home of theatre in Australia. To those pundits I say ‘Pish! Melbourne is merely the home of cheap dumplings, overpriced gin, small beer, and crazy ladies who talk to cats. Despite its evident merits and many beauties, I’m going back to sunny Canberra after my fabulous holiday, and were you to come you would be amazed by some of our theatre sights!’ To wit: Compagnie Philippe Genty. Ok, this is a visitor but seriously. Get to it. Lands End (Les Fins Des Terres) is likely to be mind-blowing. Genty is a master. Lands End deals in secret emotions and hidden histories, in dreams and magic. Hell, I’m going and there’s a threat of puppets. Compagnie Philippe Genty and Arts Projects Australia present Lands End (Les Fins Des Terres) at The Playhouse, Thursday August 20 to Saturday August 23 @ 8pm. Matinee Saturday @ 2pm. Tickets for the U27s are only $35 which is utterly bargainous for blue-ribbon theatre. Call Canberra Ticketing on 6275 2700 or check out the website at . Jigsaw Theatre Company, one of Canberra’s glorious shining lights. Last year they wowed the stage with the Canbs Critics’ Circle Awardwinning Emma’s Dynasty. This month upcoming they’re mounting a new show titled The Red Shoe, adapted from the multi-award-winninggenerally-supposed-to-be-awesome novel by Ursula Dubosarsky. Dubosarsky’s novel is set in Sydney in 1954 and maps familial secrets and the need for redemption. The Petrov affair, the Cold War, the aftermath of WW2 and, quite obviously, Hans Christian Anderson are writ large across the sprawling story. Adaptor-director (and all-round sparkler) Kate Shearer’s production blends traditional theatre with video design by Rolando Ramos, drawing on newsreels, documentaries and home movies from the National Film and Sound Archive. Also a bunch of ace N.C. performers are in it: Naomi Brouwer, Kate Sherman, Andrea Close, PJ Williams, Caroline O’Brien. Rad. In keeping with Jigsaw’s main philosophy it’s a show for youngish people but “anyone over the age of ten” will likely be enthralled. Jigsaw presents The Red Shoe by Ursula Dubosarsky, adapted and directed by Kate Shearer. The Street Theatre, Thursday August 28 – Saturday September 9. Mon & Tues 10.30 & 1pm, Wed – Fri 10.30am & 7.30pm, Sat 7.30pm. Tix $15/$12, $50 family ticket. For info and bookings call the Street B.O. on 6247 1223. Canberra Dramatics, who seem fabulously prolifi c with their second show of the year hitting the ’Berra stage in a matter of… minutes. Mrs Holt opens TONIGHT at Street 2, running ’til Saturday August 16. The show takes the widowed (or is she? conspiracy theorists battle!) Zara Holt, old, cranky, en-nursing-homed and irrelevant, creakingly coming to terms with a world she no longer understands. Bless. Written by hometown boy Trevar Alan Chilver, Mrs Holt continues the Dramatics’ work at bringing local writing to the stage. Canberra Dramatics presents Mrs Holt at Street 2, Thursday August 7 to Saturday August 16 @ 7.30pm. Matinee Saturday August 16 @ 2pm. Tix $22/$16, $12 tix on Tuesday 12th. Phone the Street B.O. for details and bookings. Finally, Tempo are auditioning for their next prod, Andrew ‘Lantana’ Bovell’s After Dinner. The details are on OffPrompt but briefl y, the show is on in November, the auditions are on next Saturday (August 16), there’s several parts for lads and ladies in their 30ish’s, and to book an audition time, call Matt on 0401 720 798 or email . That’s it. Enough. Have I proved Canberra worthy of the crown? Ah, fuck it then. NAOMI MILTHORPE CORRECTION: Last time, Theatre Column mistakenly assumed, and mistakenly informed you, our gentle readers, that Freshly Ground’s A Fair Arrangement starts at 8pm. THIS IS INCORRECT. Turn up at 8, you’ll be too late. The show, on at the QL2 Theatre at Gorman House, starts at 7.30pm.


WITH DAVE RUBY HOWE Madonna Give It 2 Me (Warner) Instead of going in for another round of botox, Madonna gets her new makeover from Pharrell. The Neptunes prince does his best at sanding and grinding Madonna into something vaguely interesting, going all out with stuttered beats and that rave-tastic synth, but alas, nothing can save this one from the junk-heap. MGMT Electric Feel (Sony BMG) So everyone is into MGMT. Your little sister, your friends, and your parents probably boogie to it too. Don’t fret. It’s no ones fault. It’s just really really great music. This particular cut of undeniable neo-disco is basically unstoppable. From the tumbling bass grooves, to the killer chorus, you just can’t fi ght it. It’s huge. And rightfully so. Midnight Juggernauts Into The Galaxy (Siberia/EMI) Sure, reheating singles seems to be the move of choice for our favourite Australian electro stars, but it’s kind of hard to fault the Juggers in this instance. Into The Galaxy remains the swirling, sparkling, super-dope astro-jam it was last year. And the glut of new remixes from the likes of Metronomy, Chateau Marmont and Grandmaster Freaking Flash (!) certainly don’t hurt. Mystery Jets Two Doors Down (Speak n Spell) Holy cow. I haven’t said that in ages. But this is defs worth dusting off forgotten early-'90s speak for. If, like me, you thought that their previous gem of a single, Young Love, was a shot right at the heart of pop, then Two Doors Down is like tears of joy streaming from the eyes the pop Messiah. Impossibly awesome. And impossible to hate. Potbelleez Are You With Me (UMA) No. The Pussycat Dolls When I Grow Up (UMA) Do girls really dream of this sort of thing? I guess I just didn’t realise that getting double-teamed by a pair of bouncers while you’re coked out of your brain on the Sunset Strip was right up there with winning an Oscar or curing cancer. Thanks for the wake up call Hepatitis-cat Dolls! Albert Hammond Jr ¿Cómo Te Llama? (Rough Trade/Remote Control) Albert is the high-Strat wearing lead guitarist from The Strokes, in case that whole new garage rock thing passed you by. And if it did, then don’t bother reading any further because this falls somewhere between

his band and um, tedium. Sure there are some neat melodic hooks, the riffs are as metronomic as ever and there are things resembling songs on this release - as opposed to Hammond’s faltering debut - but ¿Cómo Te Llama? (Spanish for "Sorry about the cancelled tour") lacks spark and a unifying feeling, sounding exactly like the swiftly recorded disc it is. The Boss Americana is a crunchy pop rocker, a million miles away from the East Village and all the better for it. It’s also the most energetic track on a relaxed, almost lethargic, album. Elsewhere, cod reggae sidles up against moody instrumentals, strings, kinetic new wave romps and the inevitable Strokes throwaways. Gawd – there’s nothing worse than getting to the end of an album and struggling to remember anything about it, despite it being fresh in your memory. Who knows, maybe it’s a grower. Or maybe I’ll forget all about it and just listen to Bee Thousand again. JUSTIN HOOK DubXanne Police In Dub (Echo Beach/Inertia) Remember The Police, that bleached-blonde trio of musicians that blended the sounds of reggae, jazz and punk so successfully throughout the '80s? DubXanne as a project emerged from a chance meeting of Echo Beach honcho Nicolai Beverungen and drummer Stewart Copeland in LA. Years of negotiations with management and publishing companies later, The Police In Dub is available. 13 classic Police chartbusters are versioned here in a fi ne dub stylee by Germany’s Okada Allstars and some boss guest toasters, including Ranking Roger (The Beat), Big Youth, and Earl 16 (Leftfi eld/Dreadzone). Brilliant! SIMON HOBBS Foxboro Hot Tubs Stop Drop And Roll (Jingle Town Records/Warner) There’s something familiar about this '60s-style garage rock band. I defi nitely know that voice… Enough mystery! Foxboro Hot Tubs are actually a six-man side-project for Green Day. The idea to record these 12 eight-track stompers under a nom de plume came from late nights and many bottles of wine. This must’ve been great fun to record for the princes of pop-punk and you can hear elements of, and infl uences from, such bands as The Kinks, The Strokes and The White Stripes. Surprisingly Good. SIMON HOBBS The Go Set A Journey For A Nation (Karvin/MGM) Victoria’s five-piece paddy-punks The Go Set are constantly touring, both here in their home country and internationally. When do they fi nd time to write and record? This is their third long-player, showing the band has matured as a songwriting unit and Journey For A Nation is undoubtedly their best work yet. Combining the folk elements of accordion, bagpipes and mandolin with distorted punk guitars, Weddings Parties Anything legend

Mick Thomas was the perfect choice for the production chair. The 12 tracks, refl ecting the album’s title, address Australian history, culture and society while the sociopolitical and working class ethos of their songwriting shines through. SIMON HOBBS Jewel Perfectly Clear (Universal) Perfectly Clear may just be the best album Jewel has yet released - and I have liked all of them - and it will draw back fans from her fi rst album Pieces Of Me. This new album instantly captures every aspect of this musician that I’ve enjoyed for so many years. It’s sweet, romantic, occasionally funny, and always the unique document of one unique woman. Jewel has stated that she was inspired by Linda Ronstadt’s Heart Like A Wheel when creating this album: a collection of less than a dozen songs that you can fully appreciate and absorb in one sitting. There isn’t any fi ller or fat on this album; each song was clearly approached with all the care and emotion they deserved. The hooks are immediate, the production is gentle and not at all intrusive and the songwriting is the same blend of quirky self-deprication and insightful gravitas that I’ve come to expect from Jewel. CECILIA PATTISON-LEVI Martha Wainwright I Know You’re Married But I’ve Got Feelings Too (Shock) Martha Wainwright’s value is her voice – the way it glides, growls and soars all over the place, seemingly cracking mid-vowel only to assertively reform at the last minute. Her self-titled release was engaging, light on the studio trickery and opulence that invariably weighs down her big brother Rufus. It’s clear that on I Know You’re Married But I’ve Got Feelings Too, Martha is a convert: Big is better. Stevie Nicks big. Highly compressed, studio session player instrumentation type big. There are saccharine guitar fl ourishes and fi lls where there used to be space. Where before you could hear the crack of Martha’s voice and space and intimacy fi lled the songs, now it’s all sheen, density and robustness. In places it works (You Cheated Me and Comin’ Tonight) but usually it’s

annoying, all the more frustrating if you are aware of her enormous ability to capture attention through the simplest of couplets and chords. The pair of covers feel tacked on and unnecessary; See Emily Play (Pink Floyd) is rather psych-lite and Love Is A Stranger (Eurhythmics) is a leaden blunt hammer – complete with ’80s horn and Dick Dale soloing replacing the sinister and menace of the original. Why? Who the fuck knows. Well, I bet Brad Albetta does. As Martha’s new husband and frequent musical collaborator, Albetta has really stepped up to and beyond the plate, packing this release full of noise and clutter. Still, the Wainwrights do like to keep it in the family and if it all goes ass up in fi ve years time – Martha will just write a scathing, acrimonious tune about it. JUSTIN HOOK Mudhoney Superfuzz Bigmuff (Deluxe Edition) (Sub Pop) When Nirvana hit the charts in 1991 with the Nevermind album, grunge quickly became the most convenient buzz word to describe the band’s music, although the term was a bit misleading. Grunge was supposed to be about raw, sonic leakage that bore little resemblance to the pristine gloss of usual chart toppers. But producer Butch Vig brought a metallic sheen to Nevermind that in some ways cleaned up any lingering grunginess, and helped that album to the top of the pops. However, little of this bothered Mudhoney, who represented the grunge aesthetic more vigorously than just about any other band from the Pacifi c North West in the late 1980s, and whose distortion drenched nuggets encapsulated the desire felt by many aware teenagers to escape from the conformist mould of mainstream society. Where Nirvana mixed up the melodic sensibilities of bands like The Beatles and Cheap Trick with the raging intensity of American hardcore, Mudhoney looked further back to the teen-scream of 1960s garage punk. Superfuzz Bigmuff, originally released in 1991, is a superlative example of this expanded outlook, featuring some of the band’s earliest and most signifi cant recordings. Back then, Mudhoney hit the ground running with the menacing growl of early single Sweet Young Thing Ain’t Sweet No More, but it was the b-side Touch Me I’m Sick that became

Melodyssey The Two Windows (MGM) Who’da thunk it? Who’da thunk that as 2008 tilts its eyes down the hill and sprints off towards 2009 that the best heavy music in the world would be emanating from the Sunshine Coast? You read that right. You may never have heard of Melodyssey, but – if there’s any justice in this crazy world we live in – that’ll all change soon. Put simply, it’s a long time since these ears have been invigorated quite so violently by a ‘new’ band, and, praise be, that band happens to be vaguely local to us here in the antipodes. Put even more simply, if you love, dammit even if you only have a passing interest in this thing we love called ROCK!! you must own this record. It’s not heavy metal in the traditional studs and dandruff sense – there are no harmony leads or double kick fi lls here, but hell, if Placebo, Coheed and Cambria, At the Drive-In or Dream Theater get your juices flowing, then you’ll struggle to get this out of your music delivery system once it’s slotted in. And, in Lance Howard, this band possesses one of those special rock voices that don’t come along too often. Stunning. NAMBUCCO ‘TALENT SCOUT’ DELIRIA

something of an anthem for the dropout generation. This deluxe version of Superfuzz Bigmuff, with an added bunch of bonus live tracks and demos, also features attentive remastering that increases by tenfold the potency of the messy, yet glorious noise on offer. DAN BIGNA The Offspring Rise and Fall, Rage and Grace (Columbia) The Offspring: Vacuous and facile, outdated and tedious. SCOTT ADAMS

Paul Weller 22 Dreams (Shock) English songsmith Weller comes to us here with 22 Dreams, his ninth solo effort – and a mixed bag it is too. Early signs are good, as opener Light Nights, a storming piece of English modernist folk music, is as good as anything the man has put his name to since he folded The Jam in another lifetime. Showcasing his smokey, Steve Winwood-style vocals perfectly, this is the sort of stuff we want and need from Weller. The title track follows this up, all stax horns and Humble Pie soulrock sensibility, and you, the listener, are starting to think ‘we could be onto something here…’ But whilst what comes next is good – his best work for ten years, in all probability, it’s too scattershot, too disjointed to make this a truly satisfying listen. This is actually a good thing as far as Weller’s development as an artist is concerned – everything he’s done, the excellent covers album Studio 150 aside, in the last decade has been stodgily dependable, so the at times explosive unpredictability here is interesting, to say the least – but it means that unless you’re a committed fan, this may be a touch too much for you. SCOTT ADAMS Thea Gilmore Liejacker (Fullfill) I have followed Thea Gilmore’s career from her first amazing album Burning Dorothy that she released at the age of 16. She has just released her eighth album and, boy, what a change. She has grown up under my nose; Liejacker is a mature, dark and more brutally honest album, in the wake of a series of troubling events in Gilmore’s life. She is really the best singer songwriter to come out of Britain in the last decade. Liejacker is an album of music that echoes in the heart, lingering long after you’ve finished listening to it. The combination of musical collaboration and harrowingly candid lyrics complement and develop the record, reaching out to the active listener. Highly recommended! I shall know no other God. CECILIA PATTISON-LEVI

theredsunband The Shiralee (Enchanted Recordings/Shock) Honestly it’s surprising this band is still going. Perennial also-rans, revelling in low key fuzz, plodding tempos and breathy vocals, theredsunband seem as underdone as a pair of black Hi-Top Cons purchased for $3 at the Fake Markets on Nanjing Road. You know – the ones that fall apart after a couple of weeks. Mangled, inappropriate metaphors aside, The Shiralee is a great album. Honestly. A cursory understanding of the band’s history paints picture so bleak and versed in near disaster and total misfortune it's hard not to be astonished they can even be bothered writing songs any more. Glad they do though. Down to a core duo of sisters Sarah and Lizzie, this long delayed follow up to Peapod easily outshines its predecessor with sharper hooks, stronger melodies and a sense of cohesion I always felt the band lacked. Sarah’s delivery doesn’t sound so apologetic anymore, but it retains the sense of unforgiving despair that is nowhere near as stultifying as descriptions elsewhere suggest – think Caroline Kennedy of similarly and sadly ignored locals The Plums. Not a misstep in sight, The Shiralee is a success that should get more attention than it probably will. JUSTIN HOOK Various Dub Anthology (Wagram Music/Creative Vibes) Dub emerged over 40 years ago when in 1967 DJ Rudy Redwood broadcast, accidentally, the instrumental version of one of the first reggae tracks. The public was amazed. Legendary Jamaican producer Duke Reid and pioneering sound engineer King Tubby advanced the sound, amplifying the bass and dropping the vocals in and out utilising reverb and other effects. Since then, it’s evolved to embrace many styles and influences. This four-disk collection isn’t exhaustive, representing only a small part of the dub nebula, so each disk concentrates on a different facet of the dub movement: These being dub roots, international dub, french dub and new school. Comprehensive. SIMON HOBBS Various Dutty Bass Vol. Two (Hardwax/Central Station) It’s the second in this Reggae mix CD series put together by DJ K Note. Regarding this fresh mix, he says his intention was “to broaden the boundaries of music on this mix and include a bit of mainstream music that has links to the fortified dancehall reggae sound.” Couldn’t put it better myself, as mixed among the more contemporary artists are a few older classics, such as Sister Nancy’s Bam Bam and Shabba Ranks’ Caan Dun. Other artists slipped into the mix include Toney Rebel, Beenie Man, Nelly Furtado, Lady Saw, Capleton and Shaggy. Inconsistent. SIMON HOBBS

Celebrated Summer “It is strange to have a top ten album in Holland, but it has happened. We played in Holland and it was a great vibe” Cecilia Pattison-Levi

PETE MURRAY is arguably one of Australia’s most favourite homegrown artists. He has just released his third album Summer At Eureka, which he recorded and produced at his home studio in Byron Bay. Other than being jealous at hearing about the fine weather in Byron, BMA talked to Pete about his new album and national tour around Australia. Pete Murray and his band The Stonemasons (Andy Sylvio, Ben McCarthey and Jonathan Zion) have announced they’re hitting the road for a national tour in August and September. Following the critically acclaimed releases of albums Feeler and See The Sun, Pete released his much anticipated third album in May, so the band is heading out for an extensive national tour that will include all capital cities and extend into regional areas. After a few years away, Pete and his band are itching to get back on the road. “Yeah, we are really looking forward to the tour,” he says. “We are getting together in Melbourne for a few days to really start rehearsing the songs from the new album. But we are playing really well together as we have been touring and playing in Europe over their summer”. On its first week of release, Summer At Eureka topped the charts here in Australia and it has been steadily climbing the charts in the UK and Europe. “We have had a lot of success over there,” says Pete. “It is strange to have a top ten album in Holland, but it has happened. We played a festival in Holland and it was a great vibe. But we want to really get back on the road here and let people hear the new album live.” The album is a real leap for Pete in terms of his songwriting, which is just getting better and better. From the moment you hear the funky piano riff on Chance To Say Goodbye, you know his writing is coming from a different place. “The origin of the song was not about my dad,” says Pete. “I was filling up with fuel in Lismore and I was looking at this rainbow over a church and there was a funeral going on. I thought what a beautiful day to die and be buried. So I wondered about that funeral and the person who was special to others and what their life meant. That’s what inspired the song. “The rest of the album has a bright, positive atmosphere to it,” Pete comments. “Living in Byron is great with the family and the studio. It gave me space to write and record. It is great to be producing my own music for the first time. I think my songwriting has matured and I think the production and mixes of the songs are better and suited to me and my music. One of the things I wanted to do as a producer was to capture that creative spark you feel as a song is being written, and that’s exactly what you hear on Summer At Eureka." It is surely what you hear from this outstanding album. Pete Murray and The Stonemasons play the ANU Bar on Wednesday August 20 with Gin Wigmore. Summer At Eureka is out now on Sony/BMG.

Cell Out

With Mark Russell; check out his XXX-files, they’re further out there than the truth.

Jet, I don’t know if you noticed, but you’re still punching and kicking people on screen. Now I’m not complaining, and I didn’t really believe your whole “I’ll never do another martial arts fi lm again,” line – but you do realise you’re still doing them, right? To plagiarise and bastardise a Jeff Foxworthy shtick: If your character strikes a pose every time they meet someone…you might be a kung-fu action star. Keep the high kicks coming Mr Li, but stop the lies. X-Files: I Want to Believe First up, that’s a shit subtitle. And in a time-honoured review tradition, I’m going to use my incredible powers of wordplay to turn it against the fi lm. Observe... I want to believe that David Duchovny’s smirk is a selfdeprecating nod at the absurdity of the words coming out of his mouth. This would be exactly the kind of reaction we have come to expect from his brilliant character Hank Moody on Californication. Hank wouldn’t stand for this crap. He’d set one foot onto the set, make some comment about Scully’s ass getting fat over the time away from the show, then he’d promptly piss on the script.

The Savages

“You want to learn kung-fu?” <hits Jason with a staff> “That called strike. Tomorrow learn block.” Lu Yan (Jackie Chan) The Forbidden Kingdom

I want to believe that the occasional moments where they’ve butchered plausibility enough that we’re surrounded by hilarious ham are intentional. This is meant to be funny, right? No one could honestly think that three nuns coming to an operating room window at a moment of high tension is going to get anything but a laugh. If the plot points on display here were mentioned with a straight face at a pitch meeting, surely there would be more furrowed brows than a group audition for ‘The Rock’ stunt doubles. I want to believe that because I didn’t see a lot of the show, I missed some vital bits in the fi lm, played out in the subtle in-jokes. There was some core information that fl ew straight past me and, had I picked up on it, this would have been bearable – nay – enjoyable.

The Savages, while not exactly a cheery fi lm, is exceptional and well worth a look - something different amongst the blockbusters and action adventures of late. This low-key but affecting film tells the story of siblings Wendy (Laura Linney) and Jon (Philip Seymour Hoffman), who learn that their previously abusive father (Philip Bosco) is suffering from dementia and needs constant care. After moving him to a nursing facility near Jon’s home, the pair deal with his impending mental and physical decline while struggling with their own unresolved emotional issues, past family confl icts and guilty consciences

Writer and director Tamara Jenkins creates a well-rounded story full of fl awed yet understandable characters and believable dialogue, and presents it beautifully on fi lm.The Savages is somewhat akin in tone to Lars and the Real Girl, although not as uplifting in its conclusion or quirky in nature. Dealing with the somewhat unexplored subject of caring for an elderly parent, the fi lm is extremely thought-provoking and many scenes make one feel thoroughly uneasy, as Wendy and Jon take care of the father who seldom took proper care of them. The fi lm tackles several interesting and relevant issues, while never

The Forbidden Kingdom

But the best bit – what we bought our tickets for – is the scene where the two of them fi ght. Chan’s frenetic, effervescent and comedic stylings matched against Li’s crisp technical proficiency. Throw in Yuen Wo-Ping’s dynamic choreography and you’ve got the action highlight of the fi lm. It holds very little point story-wise because (psssst, I’ll let you in on a secret) they’re both good guys. And this irrelevancy is a good bit of allegory for the fi lm as a whole. Like the greats of the Hong Kong industry, The Forbidden Kingdom’s story is as much a bridge between the action scenes as it is a careful pairing of wellmotivated characters and plot points. Michael Angarano plays Jason Tripitikas (his surname a subtle nod to the young monk Tripitaka of the Journey to the West or Monkey legend, on which this fi lm is loosely based),

Ever since Jet Li ignited onto the screen in Shaolin Temple, we’ve been waiting to see a pairing with Jackie ‘I’ve-done-a-million-awesome-HongKong-films’ Chan. The Once Upon A Time In China series catapulted Li onto the world stage and he’s spent the next 15 odd years bouncing between Hollywood and Hong Kong. In all this time we were yet to see these greats gracing the same bit of celluloid – till now. The Forbidden Kingdom is part Neverending Story, part The Karate Kid and part big-name balancing act. It’s all done very diplomatically – the names are delivered in a weird acrostic-poem style in the credits so no one is above the other, and neither star has an obviously larger slice of screen-time or plot focus.

But most of all I want to believe that someone behind this project - hopefully, but not necessarily, writer/ director Chris Carter - believed this film was crucial. Someone thought it would shed some light on underdeveloped parts of the X-files mythology and it just had to be made. Cause otherwise this is just a shamefully weak cash-in on an outdated TV show. I want to believe all of this, but I don’t. I’m a cynical bastard and I don’t believe The X-Files crew need to keep looking for proof; it’s right here, in the pudding.

MARK RUSSELL seeming preachy or unrealistic. Seymour Hoffman and Linney turn in seamless performances as usual, but Bosco as their father is particularly brilliant. The touching score is a tad reminiscent of Eternal Sunshine of the Spotless Mind, and enhances the story wonderfully. Though it isn’t something I would watch again, The Savages is poignant and realistic, well acted and intimately directed.


a kung-fu obsessed kid from South Boston. He’s sucked back to medieval China where martial arts and magic rule the day. He has to return a mystical staff to the Monkey King (Jet Li) with the help of Lu Yan (Jackie Chan), a monk (also played by Li) and a hot mandolin-playing broad (Yifei Liu) who constantly, and very annoyingly, refers to herself in the third person. This is light fun that could have benefi ted from either strengthening the story or forgetting about it in favour of more fi ght scenes. A passable debut for the action star match up, but hopefully we’ll see them again in something slightly better.



Strung Out/No Use for a Name/Lamexcuse @ ANU Bar, Sunday July 13 It’s not often that a tour is organised with two such high-profile and long-lasting acts as this night’s show had on offer. With a crowd obviously much older than the well-groomed mob that you might see at a Parkway Drive show, it seemed that anyone who had even an ounce of love for ’90s skate punk had shown up to the ANU to suck up all that was on offer. Lamexcuse kicked the night off with a set which was well up to the standard that local crowds would have come to expect from them. Luckily, it seemed people’s sheer excitement at the prospect of having NUFAN as the second band on the bill drew many fans away from the black hole-like pool tables at the rear of the refectory and up to the stage area, creating a larger crowd than an opening Canberra band often draws at such an event. After seemingly being able to stick my tongue out and actually lick the excitement in the air just before No Use for a Name hit the stage, it was surprising that it took several songs before a full-blown mosh pit erupted. However when the bodies began to flail, the slam-circling didn’t stop until NUFAN left the stage. With seasoned, now-balding veterans of NUFAN’s heyday leading the way in the pit, decked out in big shorts and Bad Religion t-shirts, it was quite a stark contrast to the skinny-jean clad, hair-straightened, eye-lined crew that most people would be used to nowadays. The group moved their way steadily through a set which had a rather even mix of old and new offerings, including a charged rendition of super-oldie favourite Feeding the Fire. Although there was a failed attempt at Iron Maiden’s The Trooper (which Strung Out’s Chris Aicken was allegedly meant to join them for), the group was constantly full of spirits and energy at least as high, if not greater than they have exhibited on any of their previous tours. When Strung Out hit the stage and opened with Firecracker, the opening track to their 1995 release Suburban Teenage Wasteland Blues, it was obvious that, like NUFAN, despite having the opportunity to flog a recently-released album to their fans, they were more concerned with putting on a show that not only would they enjoy, but which would excite their fans as well. They bounced through a repertoire even more slathered in old tunes than NUFAN, with a surprisingly large dose of tracks from their late ‘90s album Twisted By Design. Along with a churning cover of INXS’s Don’t Change, the set never ceased to have the crowd singing, jumping and dancing along. However, what was most notable about both NUFAN and Strung Out’s performances was the significant degree of graciousness that both bands exhibited. These were bands that were happy enough to play in front of crowds that were in love with their music and who, after so many years, were still coming out to scream and dance along to their music on a cold Sunday night in Canberra. It’s very rare to see a show where not only is the demographic of the crowd such that a large proportion of them moved on from the cliqueiness and scenesterism that is endemic in youth crowds, but where the band as well seems unworried about making a particular impression or selling t-shirts or CDs. When both of these elements are present at one show, you’re left with an atmosphere of fun, excitement, and genuineness unlike almost any gig you’ve been to before. BEN HERMANN


"I just hope that [the album] goes well so that I don’t have a cry!"

Back for Seconds Josh Brown

The dreaded sophomore release. There are few things that strike fear into the hearts of musicians as much as the phrase ‘second album syndrome.’ Patience Hodgson, singer from Brisbane outfit THE GRATES, laughs nervously as I probe deep to uncover the difficulties the band encountered on their way to completing recently released second album Teeth Lost, Hearts Won. “I definitely had a bit of second album syndrome myself,” she admits. “I found it hard at times to be able to write lyrics and do something that I was really happy with. There were definitely periods like that,” she agrees. “There were also times that we just got sick of each other and had to be like ‘You know what? Let’s just have a month off.’” Fear not, Grates fans, for tensions were always short-lived. “The good thing is that all the arguments we had were born out of passion or frustration for not being able to write a song,” Hodgson clarifies. “I wasn’t fighting with John [Patterson, guitars]or Alana [Skyring, drums] because I didn’t like them – it was all purely based around the music.” Teeth Lost, Hearts Won has been described in some critical circles as ‘angsty, but fun,’ which is a sentiment Hodgson agrees with. She is quick to point out, however, that the angst level on the finished product is nowhere near that of the album’s early incarnations. “When I listen back to the demos we had for this album it was possibly even more angsty before we went and recorded it,” she recollects. Better known for her onstage hyperactivity and quirky attire rather than for her serious side, it wasn’t long before the fun started creeping back into the recording process for Hodgson. “When we went into the studio we had a chance to take a step back and put in little bits of flare here and there that were more fun. We were able to add in little bits of instruments, like we stuck in a bit of glock, and it’s so funny that even having a small amount of glockenspiel in a song can all of a sudden change some bits that may be heading towards something a little bit angsty into something that’s a little bit sentimental,” she reveals. “It’s about that balance of putting these two separate types of sound or two different types of emotions and letting them play with each other.” Though traditionally a formidable obstacle for most bands to overcome, the Grates’ second album seems only to have empowered the band. Teeth Lost, Hearts Won walks a fine line between old and new. It maintains the same light-hearted fun and catchiness that the band has made their name on, while at the same time maturing and exploring new territory. But at the end of the day, it all comes down to personal satisfaction for Hodgson. “Everyone wanted to make something that they could be proud of. I’m very proud of it because I’ve invested that emotional interest,” she beams. “I just hope that it goes well so that I don’t have a cry!” Somehow, I don’t think Ms Hodgson or her bandmates will need to reach for the tissue box anytime soon. The Grates play alongside Grinspoon, The Dandy Warhols, Faker, Regurgitator, The Drones and many more at Stonefest, October 31 and November 1 at the University of Canberra. General admission tickets are $80.30, available from all Ticketek outlets,, and Landspeed Records. UC Alumni and UCU Life Member tickets are $60 plus booking fee, available only from the UCU Print Shop. UC/ANU/CIT student tickets are $52.80 plus booking fee, also available from the UCU Print Shop. Teeth Lost, Hearts Won is out now through Dew Process/UMA.


Mr Fibby

Where did your band name come from? We are to be named from the one legged Viennese alcoholic and confidence trickster Dr Herge Trentino Fibbet Group members: Borracio (fabulous hair and cello), Seraphina (violin and taking Borracio from behind), Zavi (guitar and all of the rest), Not Important (mouth noises and being punched in the ear) Describe your sound: Baba Yaga’s baby shower being molested by Piazzolla’s chauffeur. Who are your influences, musical or otherwise? Gogol Bordello, Masada, Animaalia Vasarat, Mojo JuJu & The Snake Oil Merchants, Monsieur Camembert, Mikelangelo & The Black Sea Gentlemen, Mustafio, anyone who is spending much of their time travelling on mule drawn caravan drinking whiskey in full clown make up alone. What’s the weirdest experience you’ve had whilst performing? We have play fun card game Bible Marathon in car from tour and discover that John the Baptists job was to be Baptist. What’s your biggest achievement/proudest moment so far? We have very strange blonde girl make us feel very rock and roll when she hits me in ear during gig. What are your plans for the future? Play gigs, learn more broken English, find wives. What makes you laugh? The slapstick comedy – when in doubt just hit your head on something, the funny it doe snot stop, haha! What pisses you off? Crazy blonde ear punching bitches. What’s your opinion of the local scene? Too many gadjos but other than that local music scene is very dropping things as if they are too hot. Canberra is most definite off the hook for music and for theatre and for fun all of the time. People who are bored here are dumb. What are your upcoming gigs? We are to be appearing at The Merry Muse with wonderful Sydney magicians The Crooked Fiddle Band which be on this very Friday August 8, at most auspicious time of 8pm. You will come, you will dance, we will have great time! And of course on Saturday August 16 we will be at the Cashews Album Launch with a bajillion of other of Canberra’s fine bands to celebrate our favourite nuts! Contact info: Not Important phone is 0422 977 315

FIRST CONTACT: Write your band’s name as well as the name and phone number of the person to contact (limit of two contacts ie. phone and email) and send $5 (cheque or money order made to Bands, Music, Action) to bma: PO Box 713, Civic Square, ACT, 2608. For your $5 you’ll stay on the register until you request removal. Changes to listings also cost $5. Aaron Peacey Aaron 0410 381 306 Afternoon Shift Adam 0402 055 314 After Close Scotty 0412 742 682, Alcove Mark 0410 112 522 Alice 0423 100 792 Allies ACT (Oxfam Group) Amphibian Sound PA Clare 0410 308 288 Annie & the Armadillos Annette 6161 1078/0422 076 313 The Ashburys Dan Craddock 0419 626 903 Aria Stone singer/songwriter(guitar), sax & flute Aria 0411 803 343 Australian Kingswood Factory Sharon 0412 334 467 Australian Songwriters Association (Keiran Roberts) 6231 0433 Arythmia: Ben 0423 408 767/ Backbeat Drivers Steve 0422 733 974, Bastards Jamie 0424 857 282/ Big Boss Groove Andrew 0404 455 834, Birds Love Fighting Gangbusters/DIY shows - Blister Bug Stu 0408 617 791 Bridge Between, The Rachel 0412 598 138, Bruce Stage mgr/consultant 6254 9857 Casual Projects Julian 0401 016 885 Catchpenny Nathan 0402 845 132 Caution Horses Nigel 0417 211 580 CD and Website Design Brendan 0404 042 574 Chuffs, The Glenn 0413 697 546 Cold Heart Projects Andrew 6294 5450 Cole Bennetts Photography 0415 087 833/ Colourful Racing Identities Josh 0410 135 605 Cool Weapon Luke 0410 983 450/ Josh 0412 863 019 Cris Clucas Cris 6262 5652 Crooked Dave 0421 508 467 Cumulonimbus Matt 0412 508 425 Dahahoo Rafe 0416 322 763 Dance With Amps Marcus 0421 691 332 Danny V Danny 6238 1673/0413 502 428 DayTrippers, The Reidar 0414 808 677, (dp) New Media Artists Mal 0414 295 297 DOGACT, Paulie 0408 287 672. DJ & the Karismakatz DJ Gosper 0411 065 189/ DJs Madrid and Gordon 0417 433 971 DJ/MC Bootcamp Donte 9267 3655 DJ Latino Rogelio 0401 274 208 DJ Moises (RnB/Latin) 0402 497 835 or moises_lopez@hotmail DNA Vic 0408 477 020 Drumassault Kate 0414 236 323 Dubba Rukki Jim 0409 660 745 Easy Mode Daz 0404 156 482,, myspace. com/easymodeband Entity Chris 0412 027 894 Epic Flagon EYE Fighting Mongooses, The Adam 0402 055 314 Final Warning Brendan 0422 809 552 Fire on the Hill Aaron 0410 381 306/ Dan 0410 480 321 FirePigs, The Danny 6238 1673/0413 502 428 4dead Peter 0401 006 551 Freeloaders, The Steve 0412 653 597 Friend or Enemy 6238 0083, Funk Shui Dave 0407 974 476 Gareth Hailey DJ & Electronica 0414 215 885 GiLF Kelly 0410 588 747, Guff Damian 6230 2767 HalfPast Chris 0412 115 594 Hancock Basement Tom 6257 5375, Happy Hour Wendy 0406 375 096, Haunted Attics Hitherto Paul 0408 425 636 Adam Hole Adam 0421 023 226

Infra Retina Kyle 0437 137 775/Michael 0430 353 893/ In The Flesh Scott 0410 475 703 Inside the Exterior Nathan 0401 072 650 Itchy Triggers Andrew 0401 588 884 Jacqui Seczawa 0428 428 722 JDY Clothing 0405 648 288/ Jenn Pacor singer/songwriter avail. for originals & covers, 0405 618 630 Jennifer Versatile singer looking for band; 0422 158 362 Jim Boots 0417 211 580 Kurt's Metalworx (PA) 0417 025 792 Lenders, The Tim 6247 2076 Little Smoke Sam 0411 112 075 Los Capitanes Tim 0421 842 247 Los Chavos Jules 0413 223 573 Manilla Green Herms 0404 848 462,, Martin Bailey Audio Engineer 0423 566 093 Malumba Dan 6253 5150 MC Kayo Marbilus 0405 648 288, www.myspace. com/kayo_marbilus, Meatbee Ben 0417 492 560 Missing Zero Hadrian Brand 0424 721 907/ Murder Meal Combo Anthony 0419 630 721 MuShu Jack 0414 292 567, Myriad Kath 6253 8318 MyOnus Neptune's Necklace Mark 6253 1048 No Retreat Simon 0411 155 680 Ocean Moses Nigel 0417 211 580 OneWayFare Chris 0418 496 448 Painted Hearts, The Peter 6248 6027 Para 0402 277 007 Petra Elliott Petra 0410 290 660 Phathom Chris 0422 888 700 The Pigs The Colonel 0422 412 752 Polka Pigs Ian 6231 5974 Premier Audio Simon 0412 331 876, Queanbeyan Music & Electronics 6299 1020 Redletter Ben 0421 414 472 Redsun Rehearsal Studio Ralph 0404 178 996/6162 1527 Rhythm Party, The Ross 0416 010 680 Roger Bone Band Andy 0413 483 758 Rob Mac Project, The Melinda 0400 405 537 Rug, The Jol 0417 273 041 Samsara Samahdi 0431 083 776 Sansutra J-Ma 0403 476 350 Sara Vancea Sara 6247 9899 Seditious Intent Toby 0419 971 547 Sindablok Duncan 0424 642 156 Simone Penkethman (Simone & The Soothsayers, Singing Teacher) 6230 4828 Soundcity Rehearsal Studio Andrew 0401 588 884 Solid Gold Peter 0421 131 887/ Stalker and Liife Darren 0413 229 049 strong like sam Luke 0423 762 812 Super Best Friends Matt 0438 228 748 Surrender Jordan 0439 907 853 Switch 3 Mick 0410 698 479 System Addict Jamie 0418 398 556 Taboo Bamboo Greg 0439 990 455 That ‘80s Band Ty 0417 265 013 The Morning After (covers band) Anthony 0402 500 843/ Tim James Lucia 6282 3740, 0413 609 832, Top Shelf Colin 0408 631 514 Transmission Nowhere Emilie 0421 953 519/ TRS Udo 0412 086 158 Undersided, The Baz 0408 468 041 Using Three Words Dan 0416 123 020, Voodoo Doll Mark 0428 650 549 William Blakely Will 0414 910 014 Woden Youth Centre Jeremy 6282 3037 Zeitgeist www.zeitgeist.xwave Zero Degrees and Falling Louis 0423 918 793 Zwish 0411 022 907


ARTS _____________ ARC Cinema: Ordet (PG) Carl Dreyer’s masterpiece, based on Kaj Munk’s classic tale of religious faith and its effect on two families. 7:30pm ARC CINEMA, NATIONAL FILM & SOUND ARCHIVE, ACTON Della Jackson's Free Big Envelopes Runs til 10th Aug CCAS, FURNEAUX ST, MANUKA Mrs Holt A thought provoking and funny play about generational differences. Runs til 16th Aug, 7:30pm. For dates and tix call 6247 1223. $22/16 STREET THEATRE, CANBERRA CITY Australian Journeys A photomedia exploration of three political narratives by Barb Smith. Til 11th Aug TUGGERANONG ARTS CENTRE Resonant Sites (Chris Fortescue) & Low and Lone (Starlie Geikie) Photographic exhibition, continues til 23rd Aug CCAS, GORMAN HOUSE Ainslie Artc Centre Classes Including drumming and percussion, electric bass guitar, clarinet, flute, string swing, tarantella and singing group classes. Until 9th Dec. Info 6230 7190 AINSLIE ARTS CENTRE Icon and Archive Photography of the World Wars AUSTRALIAN WAR MEMORIAL Canberra Dance Theatre 30th Anniversary A spectacular celebration of the many forms of dance. 'til Nov 23 CANBERRA DANCE THEATRE Mountain Huts By Night A photographic exhibition by Eve Conroy. Til 18th Aug BUNGENDORE WOOD WORKS GALLERY Traces of Italy Until 15th Sept WATSON ARTS CENTRE Richard Larter Works from 1996 to 2003 SOLANDER GALLERY

DANCE _____________ Michael O'Rourke Smooth vibes, fun times KNIGHTSBRIDGE PENTHOUSE Trash Thursdays ACADEMY Blast From The Past Tunes from the ’80s and ’90s MINQUE, FRANKLIN ST, MANUKA One Love Reggae Sessions HIPPO BAR, GAREMA PL, CIVIC

LIVE _____________ Mark Seymour The acclaimed singer/songwriter, following up his successful 18 years with Hunters & Collectors with a vibrant solo career. Tix $28, 8:30pm, dinner and show $68, 7pm. 6283 7288 SOUTHERN CROSS CLUB, WODEN Gangbusters: From The South If you enjoy the likes of Dappled Cities, you'll enjoy this. With The Red Line Is Them and Go Go Second Chance Virgins. $5 BAR 32

THURSDAY AUGUST 7 Ripping Dylans, King Jack & The Hands A ripping Sydneysider invasion. Free entry TRANSIT BAR, AKUNA ST, CIVIC Where To Now Acoustic duo making their O'Malley's debut. From 9pm KING O'MALLEY'S, CIVIC Live Music With Mitch, from 9:30pm THE DURHAM CASTLE ARMS, KINGSTON

SOMETHING DIFFERENT _____________ Canberra's Festival of Swing Three days, four nights, five bands and a whooole lotta dancing. for more info. Runs Aug 7 - 10 VARIOUS LOCATIONS Guitar Hero Comp Win your round, advance to the next level and win Peado's Greenroom Cash. Doors 7pm, comp 8pm, free, 2-4-1 jagerbombs till 8pm THE GREENROOM, PHILLIP Braddon Brainbuster Trivia 6pm rego, 6.30pm start. Beer/ food vouchers, cash prizes to win THE BRADDON CLUB Carry On Karaoke PJ O'REILLY'S, CIVIC Basement Pool Comp THE BASEMENT, BELCONNEN Karaoke with a Twist PJ O'REILLY'S, TUGGERANONG FRIDAY AUGUST 8

ARTS _____________ An Exhibition of Atomic Art Local artist David Mankey displays screen-printed works of the structure of silicon crystal atoms whem magnified many millions of times. Til 20th Aug FRONT CAFE, LYNEHAM The Silver Light Curated by Julian Laffan, 'til Aug 9 MEGALO PRINT STUDIO & GALLERY Student Day: Bell Shakespeare Education Actors lead a workshop for secondary student. 6262 1271 NATIONAL LIBRARY OF AUSTRALIA Kumamoto Artpolis: Architecture Through Communication An exhibition of contemporary Japanese architecture UNIVERSITY OF CANBERRA, LEVEL A, BUILDING 7, BRUCE

friday AUGUST 8 Havana Nights Tropical rhythms and passionate dancing, 8:30pm MONKEY BAR, BUNDA ST, CIVIC After Work Beats With DJ Jemist, playing beats so fine they'll make you sweat harder than a plateful of oysters TRANSIT BAR, AKUNA ST, CIVIC Cheese Retro doomilstic funk featuring Pornstylus and Jemist TRANSIT BAR, AKUNA ST, CIVIC Friday Night Mix Up With DJ Craig PJ O'REILLY'S, TUGGERANONG

LIVE _____________ Melodyssey According to our own Scott Adams, rock in the vein of "Placebo, Coheed and Cambria, At The Drive-In and Dream Theatre". With Kindred. $10 + bf presale (Moshtix) or $15 on the door THE GREENROOM, PHILLIP Slaughterfest II A night of metal, extreme and otherwise, with Blood Duster (VIC), Pod People, Ebolie (NSW), Roadside Burial and Clagg (VIC). 2pm start, $15 THE BASEMENT, BELCONNEN Queen Juanita & The Zydeco Cowboys As fun as it sounds. From 6:30pm SOUL BAR, WODEN The Gin Club A Brisbane blend of rock, pop, folk, blues, country, psych, prog, slowcore and everything in between, with The Julian Abrahams Band and Sydney's Katie Elder in support. $15, 8pm THE GREENROOM, PHILLIP Crooked Fiddle Band High-octane gypsy, Celtic, Appalachian madness, with Mr Fibby in support. $15/12 MERRY MUSE, POLISH WHITE EAGLE CLUB, TURNER Heuristic From 10pm KING O'MALLEY'S, CIVIC Live Band With Lincoln rocking from 10pm THE DURHAM CASTLE ARMS

SOMETHING DIFFERENT _____________ Dita Hollywood Live Drag Show From 11pm CUBE NIGHTCLUB, CIVIC

DANCE _____________

saturday AUGUST 9

Frankie Madrid Funkin' it up KNIGHTSBRIDGE PENTHOUSE Ashley Feraude Spinning a soundtrack of soulful tunes.From 6 to 9pm BINARA ONE (CROWN PLAZA HOTEL) Souled Out Fridays R&B with DJs Daz, Nate, Adam MINQUE, FRANKLIN ST, MANUKA Candy Bar Fridays From 4:30pm, half price grog, with Sean Kelly later in the eve CANDY BAR, ACADEMY, CIVIC Mish Mash Fridays Selected sounds for selected people. From 10pm ACADEMY, CIVIC

ARTS _____________ Arc Cinema: I'm No Angel (15+) Come up and see Cary Grant in Mae West’s first and very risqué star vehicle. New print. 4:30pm ARC CINEMA, NATIONAL FILM & SOUND ARCHIVE, ACTON Arc Cinema: THX1138 (PG) He may be making utter bollocks now, but George Lucas’ debut feature, a dystopian sci-fi starring Robert Duvall, is a cult classic. New print. 7:30pm ARC CINEMA, NATIONAL FILM & SOUND ARCHIVE, ACTON

SATURDAY AUGUST 9 Archibald Prize 2008 $2 entry. Runs until 17th Aug GOULBURN REGIONAL ART GALLERY Canberra Photographic Society Until the 31st of Aug STRATHNAIRN HOMESTEAD GALLERY Bryan Dawe - Interval Melbourne artist specialising in projected images wrapped around the female form PHOTOACCESS HUW DAVIES GALLERY, MANUKA ARTS CENTRE Chris Morrison - Compressed 8 min widespread projection of 14,000 digital images PHOTOACCESS HUW DAVIES GALLERY, MANUKA ARTS CENTRE

DAY PLAY _____________ Gorman House Markets GORMAN HOUSE Burley Griffin Antique Centre KINGSTON FORESHORE

DANCE _____________ Bag Raiders The beloved house and electro masters hit town. With supports Kiz, Tim Galvin and Trent Richardson. $15 MONKEY BAR, BUNDA ST, CIVIC Capital Dub Funk A massive night featuring the excellent Elf Tranzporter, Tribe of Kings (US) and Chant Down Sound. Free entry TRANSIT BAR, AKUNA ST, CIVIC Shamus On the Wild Weekends CD tour with supports Ashley Feraude, Pred, Rexy, Mile and Tim Galvin ACADEMY, CIVIC D'Opus Playing hip-hop with a lick o' soul 'n' funk KNIGHTSBRIDGE PENTHOUSE Ashley Feraude BINARA ONE, CROWN PLAZA HOTEL Jazz Sessions Smooth jazz, wine tastings. 2pm MINQUE, FRANKLIN ST, MANUKA

LIVE _____________ Unwritten Law (NB: VENUE CHANGE) The SoCal punk giants descend, playing an all ages show with special guests Sprung Monkey WESTON CREEK COMMUNITY HALL Mudpuppy With supports Noise Cartel and special guests. $10 THE BASEMENT, BELCONNEN MGT From a Dream Wolfgang Muthspiel, Slava Grigoryan and Ralph Towner come together for this special show. Playing tonight and tomorrow. 6275 2700 TILLEY'S, LYNEHAM Agent 86 One of Canberra's most popular covers band, from 10:30pm KING O'MALLEY'S, CIVIC Heuristic $8 cocktails from 4-10pm THE DURHAM CASTLE ARMS, KINGSTON Mr Fibby & Crooked Fiddle Band THE PHOENIX, EAST ROW, CIVIC

GIG GUIDE August 9 - 20 SUNDAY august 10

TUESDAY august 12

thursday august 14

friday august 15

DAY PLAY _____________


DANCE _____________

DANCE _____________

Old Bus Depot Markets KINGSTON Burley Griffin Antique Centre KINGSTON FORESHORE Tuggeranong Homestead Markets TUGGERANONG HOMESTEAD

Fame Trivia From 7:30-10:30pm. Book early to avoid disappointment by calling 6295 1769 THE DURHAM CASTLE ARMS, KINGSTON Pot Belly Trivia Every Tuesday POT BELLY BAR Carry-On Karaoke Win $1000. Yes, $1000 TRANSIT BAR, AKUNA ST, CIVIC Trivia Night $100 cash prize PJ O'REILLY'S, TUGGERANONG WEDNESDAY august 13

D'Opus Funk, soul, hip-hop from 9:30pm THE DURHAM CASTLE ARMS, KINGSTON Scotty Fischer KNIGHTSBRIDGE PENTHOUSE Trash Thursdays ACADEMY Ashley Feraude KNIGHTSBRIDGE PENTHOUSE Blast From The Past Re-live your favourite tunes from the ’80s and ’90s MINQUE, FRANKLIN ST, CIVIC

DANCE _____________

The Boat People Touting their new album. With supports from the ever reliable The Dawn Collective and mcArtney. Free entry TRANSIT BAR, AKUNA ST, CIVIC Gangbusters: Variodivers Local rock/prog/eclectic pop favs, with The Cherry Marines and Margaret Helen King. $5 BAR 32 KarismaKatz From 7.30pm, $5 entry THE FRONT CAFE, LYNEHAM Ben Ransom All the way from Sydney KING O'MALLEY'S, CIVIC

Pang: Bass Kleph & Frew On the Vacation Records tour, touting their new mix CD Wish You Were Here. $20, 10pm doors LOT 33, KENNEDY ST, KINGSTON After Work Drinks 5pm, with Jemist, followed by... TRANSIT BAR, AKUNA ST, CIVIC Bleep: Brewster B (Melb) Playing a brilliantly accessible patchwork of steppy breaks, ragga, drum 'n' bass and electro twisted beats. With supports Alex McLeod vs Nick Smith, Mig L, Bruisa and Ronnie Gordon. Free entry TRANSIT BAR, AKUNA ST, CIVIC Hook N Sling The Sydney born Ministry of Sound fav returns ACADEMY, CIVIC Shockwave Canberra's newest dubstep night, featuring Miss Universe, Crooked Sound System and Fourthstate. Hosted by MC Harlequin. Free B4 10pm, $5 after. Doors 8pm MERCURY BAR, CIVIC Don Juan Sydney's undisputed heavyweight champion latino DJ stops by for a night of dancing and Latino vibes. $10 MONKEY BAR, BUNDA ST, CIVIC Jemist KNIGHTSBRIDGE PENTHOUSE Ashley Feraude BINARA ONE (CROWN PLAZA HOTEL) Souled Out Fridays: DJ D Special guest DJ D drops in, with supports Daz, Nate, Adam MINQUE, FRANKLIN ST, CIVIC Havana Nights From 8.30pm MONKEY BAR, BUNDA ST, CIVIC Friday Night Mix Up With DJ Craig PJ O'REILLY'S, TUGGERANONG Candy Bar Fridays From 4:30pm, free champagne for the ladies until 6pm, half price grog, with DJ Sean Kelly later in the eve ACADEMY, CIVIC Mish Mash Fridays Selected sounds for selected people. From 10pm ACADEMY, CIVIC

DANCE _____________ Sunday Playground: Random Soul Chill out on the Astro deck or misbehave on the dancefloor. $3 Coronas and finger food throughout the afternoon MINQUE, FRANKLIN ST, MANUKA

LIVE _____________ MGT From a Dream Internationally acclaimed guitarists Wolfgang Muthspiel, Slava Grigoryan and Ralph Towner come together for this special show. 6275 2700 TILLEY'S, LYNEHAM Irish Jam Session From 5pm KING O'MALLEY'S, CIVIC MONDAY august 11

ARTS _____________ Shine A sample of studio work by second year photography Design students. Runs til 11th Aug CITSA CAFE YALA, REID CAMPUS

DANCE _____________ Hospitality Night With Mikah Freeman & guests TRANSIT BAR, AKUNA ST, CIVIC Bootleg Sessions Local musos bustin' it out THE PHOENIX, EAST ROW, CIVIC tuesday august 12

LIVE _____________ Chuse Jazz Tuesdays New regular jazz night, with The Andy Campbell Band (6pm) and Casual "Soul" Project (9pm). $5 (TRINITY) BAR, DICKSON Musical Madness @ Filthy's Dubba Rukki, Scott James, Ben Drysdale, One Foot in the Gravy FILTHY McFADDEN'S, KINGSTON ASA Wax Lyrical Sessions THE PHOENIX, EAST ROW, CIVIC

Caribbean Vibes Recharge from 8.30pm MONKEY BAR, BUNDA ST, CIVIC

LIVE _____________ Aaron Peacey THE PHOENIX, EAST ROW, CIVIC

SOMETHING DIFFERENT _____________ Comedy Night Featuring Kale Bogdanovs, Emo Willis, Georgie B, Jay Sullivan (MC), Geoff Setty and Toby Halligan. Free THE FRONT CAFE, LYNEHAM Fame Trivia PJ O'REILLY'S, CIVIC Trivia Night ACT RUGBY UNION CLUB Carry-On Karaoke From 9:30pm. $1000 grand prize THE DURHAM CASTLE ARMS, Pecha Kucha A meeting of local creative minds. KNIGHTSBRIDGE PENTHOUSE $5 Night TRANSIT BAR, AKUNA ST, CIVIC thursday august 14

ARTS _____________ Arc Cinema: Turkey Shoot (M) Brian Trenchard-Smith’s cult ‘Ozploitation’ shocker. Introduced by producer Antony I. Ginnane. 7:30pm ARC CINEMA, NATIONAL FILM & SOUND ARCHIVE, ACTON Carmel McCrow: Natures Veils Exhibition continues til 24th Aug CCAS, FURNEAUX ST, MANUKA

LIVE _____________

SOMETHING DIFFERENT _____________ Guitar Hero Comp Win your round, advance to the next level and win Peado's Greenroom Cash to spend on whatever you like at the bar. Doors 7pm, comp starts at 8pm, free, 2-4-1 jagerbombs till 8pm THE GREENROOM, PHILLIP Braddon Brainbuster Trivia 6pm rego, 6.30pm start. Beer/ food vouchers, cash prizes to win THE BRADDON CLUB Basement Pool Comp THE BASEMENT, BELCONNEN Karaoke with a Twist PJ O'REILLY'S, TUGGERANONG Carry on Karaoke PJ O'REILLY'S, CIVIC friday august 15

ARTS _____________ Australian National Eisteddford - Choirs Division Choirs do bloody battle ANU SCHOOL OF MUSIC, LLEWELLYN HALL, ACTON

saturday august 16

Saturday august 16

tuesday august 19

LIVE _____________

ARTS _____________

LIVE _____________

LIVE _____________

Kasey Chambers & Shane Nicholson The awesome country twosome return to dazzle and delight Canberra. With Ryan Bingham in support. Tix $61.40 from Ticketek 132 849 ROYAL THEATRE, CIVIC VAMP Dark pop, industrial, electro, gothic, metal with DJs Robot and Evil Chris. From 9pm HOLY GRAIL, CIVIC Brigitte Handley & The Dark Shadows Punk with a dark edge from the Sydney all-chick trio, with supports Hytest and Charlie Greaser. $10, doors 8pm ANU BAR, ACTON Voltera A fundraiser for bar lass Nikki, with supports Our Last Enemy, Na Maza, Corgi Crisis, plus the Jager Girls. $10 THE BASEMENT, BELCONNEN KarismaKatz Plus DJ. From 5pm SOUL BAR, WODEN Dirtbird, Eva Popov and Jamie-Leigh Basic A triple bill of raw, moving and beautiful folk. $15/12 FOLKUS ROOM, SERBIAN CULTURAL CLUB, MAWSON Realized Japanese hardcore, with supports Dad They Broke Me, Inappropriate Tough Guy Behaviour and Assassins. $15 THE GREENROOM, PHILLIP KarismaKatz From 5pm THE SOUL BAR, WODEN Live Band From 10pm THE DURHAM CASTLE ARMS, Casual Sets Pub rock with a twist KING O'MALLEY'S, CIVIC Lunasa An Irish Pub-style Music Session OLD GOULBURN BREWERY Rev BAR 32

Arc Cinema: Z (18+) Costas-Gavas’s classic political conspiracy thriller, with Yves Montand. Imported print. 4:30pm ARC CINEMA, NATIONAL FILM & SOUND ARCHIVE, ACTON Arc Cinema: Still Light/ Stellet Licht (18+) Carlos Reygadas’ moving Cannes winner looks at the spiritual life of the Menonites communities of Mexico. Canberra premiere. 7:30pm ARC CINEMA, NATIONAL FILM & SOUND ARCHIVE, ACTON Big Things in Store Limited oppotunity to view the Memorial's storage area AUSTRALIAN WAR MEMORIAL

Teenagersintokyo Glistening 'n' jagged indie pop, with the beloved Purple Sneaker DJs. Free entry TRANSIT BAR, AKUNA ST, CIVIC The Cashews Launching new album Small Ponds with over 15 supports (check tidbits page 10 for details). $10/5, 4pm start SCOUT HALL, MACARTHUR AVE, O'CONNOR Breakneck Speed With Liberation Front, All In Brawl, Outcome Unknown and Toxicmen. $10 THE BASEMENT, BELCONNEN Black Creek Songs on wine and women. Supported by Newcastle's Head of State and Light Noise. $10 THE GREENROOM, PHILLIP Curious Fate Pub rock KING O'MALLEY'S, CIVIC Live Band 10pm, $8 cocktails from 4pm THE DURHAM CASTLE ARMS, KINGSTON DirtBird THE PHOENIX, EAST ROW, CIVIC Sunday august 17

Chuse Jazz Tuesdays New regular jazz night, with Kooky Fandango. $5 beer/wine and free cheese! (TRINITY) BAR, DICKSON Kent Eastwood No Dirty Harry jokes here, just the urban licks of Sydney singersongwriter Eastwood. With support from Cathy Petocz THE FRONT CAFE, LYNEHAM Musical Madness @ Filthy's Featuring The Bridge Between, Margaret Helen King and Julia and Deep Sea Sirens FILTHY McFADDEN'S, KINGSTON

friday august 15

SOMETHING DIFFERENT _____________ Dita Hollywood Live Drag Show From 11pm CUBE NIGHTCLUB, CIVIC

DAY PLAY _____________ Gorman House Markets GORMAN HOUSE Burley Griffin Antique Centre KINGSTON FORESHORE

DANCE _____________ Rob Kay He of Cabin Crew and Aviators fame, with Paul Wheeler live on trumpet, and Kiz, Tim Galvin and Trent Richardson in support. $10 MONKEY BAR, BUNDA ST, CIVIC Latin Night Presented by Brujo Gordon, enjoy Latin music from Canberra and Sydney DJs, and sassy salsa dancing and entertainment PAPARAZZI, FRANKLIN ST, MANUKA Downtown Brown KNIGHTSBRIDGE PENTHOUSE Chris Fraser Ripping it up, with supports Ashley Feraude, Pred, Rexy, Mile and Tim Galvin ACADEMY, CIVIC Jemist Canberra's one man sound system throb merchant (TRINITY) BAR, DICKSON Ashley Feraude BINARA ONE, CROWN PLAZA HOTEL


DAY PLAY _____________ Tuggeranong Homestead Markets TUGGERANONG HOMESTEAD

DANCE _____________ Sunday Playground Chill out on the Astro deck or misbehave on the dancefloor. $3 Coronas, and free finger food MINQUE, FRANKLIN ST, MANUKA


ARTS _____________ Lands End: Compagnie Philippe Genty An intriguing mix of puppetry, illusion, mime and dance, where audiences are taken on a poetic journey through a dreamlike landscape. Tix $60/53/35 (U27) from 6275 2700 THE PLAYHOUSE, CANBERRA THEATRE CENTRE, CIVIC

DANCE _____________

LIVE _____________


Irish Jam Session From 5pm KING O'MALLEY'S, CIVIC


monday august 18

DANCE _____________ Bootleg Sessions Local musos bustin' it out THE PHOENIX, EAST ROW, CIVIC Hospitality Night With Mikah Freeman & guests TRANSIT BAR, AKUNA ST, CIVIC

Fame Trivia PJ O'REILLY'S, CIVIC $5 Night TRANSIT BAR, AKUNA ST, CIVIC Carry-On Karaoke From 9:30pm. $1000 grand prize DURHAM CASTLE ARMS

LIVE _____________ Wedded Bliss THE PHOENIX, EAST ROW, CIVIC


There Will Be Blood (Walt Disney Studios)

ZZ Top â&#x20AC;&#x201C; Live From Texas (Sony BMG)

Director Paul Thomas Anderson makes marathon fi lms B( oogie Nights, Magnolia) that challenge, amuse and shock. With There Will Be Blood, he tells the story of one manâ&#x20AC;&#x2122;s lust for oil and money at the turn of the 20th Century. Daniel Plainview (played brilliantly by Daniel Day Lewis) discovers gold, and then oil, and all of the riches they bring. Informed by Paul Sunday (Paul Dano) about a gushing oil well, Plainview grabs both business partner and son and makes his way to the black gold and their fortune. While digging, he butts heads with religious zealot Eli Sunday (also Paul Dano). There Will Be Blood is about religion, money and greed. Repeated viewings of this fi lm have given me a slightly different perspective and while many would tell you itâ&#x20AC;&#x2122;s about the devil (Plainview) fi ghting â&#x20AC;&#x2DC;Godâ&#x20AC;&#x2122; (Eli), my perspective is that this fi lm represents a similar concept but in reverse; â&#x20AC;&#x2DC;Godâ&#x20AC;&#x2122; is actually Plainview, who constructs and destructs at will, and won't brook the devilâ&#x20AC;&#x2122;s false idols in Eli. Granted, he is cruel and will destroy all in his path, but his will shall be done, or heâ&#x20AC;&#x2122;ll make sure itâ&#x20AC;&#x2122;s fâ&#x20AC;&#x2122;n well done. There Will Be Blood is quite simply one of the most riveting fi lms ever made, with a stand-out performance from one of the greats. With Daniel Day Lewis we see an actor playing a role that quite easily could have become a caricature, but is instead a living, breathing villain - or hero, depending on your perspective - that snorts and cavorts his way through three amazing hours. The support cast are excellent, particularly Dillon Freasier as HW (Plainviewâ&#x20AC;&#x2122;s son), and Paul Dano has never been better than as the smarmy reverend Eli Sunday - every time he and Day Lewis are on screen together, the celluoid crackles. The only extra feature is a 15 minute look at archival footage of the time. Do not miss this movie, you wonâ&#x20AC;&#x2122;t see many better.

So you think you know ZZ Top? Youâ&#x20AC;&#x2122;ve heard a few of their songs on the radio, most likely seen Legs on Rage, and can easily peg the â&#x20AC;&#x2DC;80s cheese band as a gimmick, what with the biker beards, hot rods and hogs, and innuendo grins. Itâ&#x20AC;&#x2122;s almost reasonable. And utter drivel. ZZ Top are one of the tightest, most primal, fearsome, dusty rock bands ever to roll out of the desert and have been playing as an inspired blues-infused unit for nearly 40 years. Their breakthrough album Tres Hombres is a glorious classic - it crackles with summer intensity and warmth in a way few quarter century-old albums do. They had critical respect before commercial, kinda lost the plot and sagged a little post-MTV years, but they have always blazed and bruised on stage. This performance was recorded in their home state last year and covers every stage of their fascinating career â&#x20AC;&#x201C; the early whorehouse shuffl e ofLa Grange, the two-for-one classic of Waitinâ&#x20AC;&#x2122; For The Bus/Jesus Just Left Chicago and yes, Legs, which shorn of itâ&#x20AC;&#x2122;s studio gloss is actually a pretty decent song. The close up fi lming of the band is astonishing, revealing fully their astounding simplicity and grasp of dynamics â&#x20AC;&#x201C; for a gig at major venue, youâ&#x20AC;&#x2122;d be forgiven for thinking it was recorded at a 200 seater. Sound is similarly intimate and intense. And for those who were unaware, this DVD readily explains why Billy Gibbons is widely regarded as one of the fi nest no-nonsense blues guitarists around. There are a couple of extra tracks and a poker game that sits well with ZZ Top iconography â&#x20AC;&#x201C; but really, itâ&#x20AC;&#x2122;s the music we came for. They are all too easily forgotten living legends, outstripping the emotion, honesty and class of similar era pretenders from across the pond. Live From Texas is a reminder of why they still matter, and with the recent signing to Rick Rubinâ&#x20AC;&#x2122;s American Recordings, a late career rebirth is surely just around the corner. Of course, they will always be that little olâ&#x20AC;&#x2122; band from Texas, the true pioneers and originators of desert rock.






American Hardcore: The History of American Punk Rock 1980 - 1986 (Sony Picture Classics) Thereâ&#x20AC;&#x2122;s a telling moment in this impressive documentary survey of the American hardcore music scene where vocalist H.R. from seminal US band Bad Brains is being interviewed outdoors on a bright, sunny day, and, while the dreadlocked vocalist is refl ecting upon the liberating effects of punk music, various well-dressed participants in what looks like a wedding party proceed behind him. At that moment, the juxtaposition between mainstream conventions and the explosive attack on complacency that defi ned the hardcore scene is placed in sharp focus. Hardcore music was a predominantly US movement that was not only a sharp, fast and loud response to ďŹ&#x201A;imsy new-wave pop, but also represented a rallying cry against institutionalised authority, that by its very nature has always worked against free creative expression. This is suggested by various references to the dangerously conservative Reagan administration that introduce Paul Rachmanâ&#x20AC;&#x2122;s debut documentary. This engaging chronicle showcases a loose collective of punk bands that formed around the same time as the similarly reactionary New York based no-wave scene in the late 1970s. Early bands such as Black Flag and Bad Brains compacted bucket loads of noise, razor-sharp rifďŹ ng and the essential punk DIY ethos into short angry blasts that were more about an expression of raw energy than pristine artistic endeavour. In keeping with these dimensions, Rachman, whose main inspiration for the documentary was the Steven Blush book American Hardcore: A Tribal History, favours a fast, choppy editing style. Interviews with major players such as Henry Rollins and Ian MacKaye from Minor Threat/Fugazi are interspersed with a whole bunch of killer live footage that mostly reveals intense speed and volume. There is also much evidence of uninhibited stage diving and exuberant audiences often in close proximity to the stage, confi rming that a key component of the hardcore scene, to break down the barrier between audience and performer, was actually put into practice. Rachmanâ&#x20AC;&#x2122;s narrative moves along at a cracking pace and there is nothing resembling a dull moment in sight. The soundtrack is also worth checking out. DAN BIGNA

BMA Mag 307 07 Aug 2008  
BMA Mag 307 07 Aug 2008  

Canberra's FREE Entertainment Guide