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# 3 9 5 M AY 2 3

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Expecting Tim Burton’s new film to be good? Me neither! Turn to p. 42 and count the reasons it sucks! # 3 9 5 M A Y 2 3 Fax: 02 6257 4361 Mail: PO Box 713 Civic Square, ACT 2608 Publisher Scott Layne Allan Sko General Manager Allan Sko T: 6257 4360 E: advertising@bmamag.com Advertising Manager Elisa Sko T: 6257 4360 E: sales@bmamag.com

Editor Ashley Thomson T: 02 6257 4456 E: editorial@bmamag.com Accounts Manager Yu Xie T: 02 6247 4816 E: accounts@bmamag.com Super Sub-Editor Josh Brown/Sophia McDonald Graphic Design Marley Exhibitionist Editor Ashley Thomson E: editorial@bmamag.com Film Editor Melissa Wellham NEXT ISSUE 396 OUT JUNE 13 EDITORIAL DEADLINE JUNE 3 ADVERTISING DEADLINE JUNE 7 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.

Musicians will use any excuse for a party and the opening of Canberra’s newest studio I Am Merloc Studios was all the opportunity that the region’s biggest bands needed to put together the The Sam Sessions. Fondly named after studio owner Sam King, The Sam Sessions is a musical tribute of epic proportions spilling over the first weekend of June. Split into two distinctly different evenings, Friday June 1 is a series of electric performances at the Polish Club followed by a blissful acoustic evening on Saturday June 2 at Corroboree Park Hall, Ainslie. Each act on the bill has been lucky enough to record music with Sam. The first night features The Missing Lincolns, Cracked Actor, Pocket Fox and Fun Machine, and the second, The Ellis Collective, Julia & The Deep Sea Sirens, Mr Fibby and Dr Stovepipe. Tickets for each evening are $15 with doors opening at 7.30pm.

The Paperback Sessions at Smiths Alternative Bookshop Smiths Alternative Bookshop has been a quiet fixture in Canberra for more than 30 years. If you’ve ever walked between The Wig and Pen and The Phoenix you’ve walked past it; if you’ve ever gone looking for a rare book you’ve probably ended up there; if you’ve been keeping an eye on Canberra’s cultural calendar you’ve noticed more and more events being held there. Smiths’ has become a spot for a quiet tipple and a promoter has decided to capitalise on this by launching a series of winter gigs under the moniker The Paperback Sessions. The series’ inaugural gig sees Brendan Gallagher (of Karma County) appearing Friday June 8 at 8pm. Bookings essential, call (02) 6249 7790.

The Garema Place Ice Rink Courtesy of the folks at Canberra CBD Ltd, Actew AGL

Van She/Nikon Music Video Competition Idea of Happiness is the first single and title track from Van She’s upcoming second album, and they’ve collaborated with Nikon to bring us the Idea of Happiness Video Competition. Using a remix of the single by Sebastian the challenge is to come up not with a video for the song but with a concept in one of three formats – mood board, teaser video or treatment. The only directive beyond that: you have to riff on the idea of happiness. So what do you stand to win? Not much really. Just kidding. You get to bring your idea to life with the help of an established international video director using the brand new Nikon 1 camera system. Oh, and you also win a brand new Nikon 1 J1 camera too. Helping you create your video will be video director Clemens Habicht and the finished video will be distributed by Modular Recordings and Nikon Australia via their press and

social media teams. Head to this website for all the details, www.modularpeople.com/ vanshecomp.

Moneykat Launch at Hippo Bar MoneyKat is an international hip hop trio comprising Omar Musa (Queanbeyan), Mighty Joe (California) and Ishu (Melbourne). They just launched their debut self-titled album which has gained significant triple j play, was triple j Hip Hop Show Album of the Week and received outstanding reviews in street press around the country. After a highly successful Melbourne launch, they are about to launch the album in Canberra at Hippo Bar on Saturday June 2. Supported by soul singer/rapper Candice Monique (M-Phazes, The Optics) and DJ sets by Ishu and accompanied by live drummer Chad Blaster, it will be a show full of energy and heavy grooves. 9pm. $5/$10.

Congratulations to Julia and The Deep Sea Sirens! Julia Johnson of local act Julia and The Deep Sea Sirens has won the ACT section of the triple j Unearthed Song Summit comp. She’s won a spot at an exclusive songwriting master class with Adalita and Gotye at Song Summit in Sydney later this month. JDSS’ second album Family Pets is an absolute stunner, so if you haven’t given it a spin be sure to pick up a copy from local record stores or find it online at www.jdss.com.au.

From Under the Waves to The Wall, this man’s played on every great local track... ever.

The Sam Sessions Celebrate Canberra’s Newest Recording Studio

and the ACT Government the Garema Place ice rink will be back this year, and it’ll be even bigger. The rink officially opens Friday June 29 and runs to Sunday July 29. This year the organisers are promising family discounts, movies on Saturday nights, themed cultural Sundays (featuring Scandinavia, India and Germany), a party lounge for hire (call 0427 630 865), fashion shows and a special offer for kidlets under five who can skate for free with a paying adult. Keep an eye on www. inthecitycanberra.com.au for ticketing and opening times.

FROM THE BOSSMAN The annual study of the cold’s polarising effect on the populous never ceases to delight me. For some it’s like a slap across a warm arse with a cold fish and, despite its regularity, is as much a shock as a Ned Stark haircut (nice little Game of Thrones reference for you there). For others it’s a time to excitedly crack out the winter wardrobe and embrace the rosy setting of a warm pub, with the quaff of mead tasting all the heartier as a result (the fact that they are drinking mead at all is probably the first thing that should be brought into focus). I, very happily, fall into the latter category. Canberra Cold – for surely it deserves its own title case capitals – is an undeniably bracing creature in possession of the power to turn one layer of clothing into four with a slick click of the frosty fingers, and the ability to summon the kind of exaggerated facial expressions usually reserved for a particularly gay panto*. One of the aspects I adore and admire most about Canberra is its ability to split itself into four very distinct seasons. As well as bestowing upon the populace the simplicity of a variety of climates and the complexity of adorning different fashions, it also harbours a nifty memory-recall effect. To whit, I took my little daughter to an epic indoor play gym in Nicholls yesterday (Let’s Play, highly recommended for child and adult alike) which was extremely reminiscent of a similar hive of activity I revelled in as a child back in England. The instant memory recall to my childhood saw me tear around the arena, occasionally with my daughter in tow, with more gusto than was probably healthy for a man of my years.

YOU PISSED ME OFF! Has someone yanked yer chain recently? Well send an email to editorial@bmamag.com and have your sweet vengeance. And for the love of God, keep it brief! [All entries contain original spellings] To the army of Catholic school girls who invade the city on a weekly basis baring their braced teeth and waving red buckets at strangers, I wish you would jam those buckets on your heads and run headlong at one another until every last ounce of godliness or misplaced charitable affectation came slithering out of your bloodied noses. Fuck. Off. All my smoker friends, my dear stupid smoker friends, dear blind retarded backwards-ass fuckwit smoker friends. You’re fucking morons. It’s not wrong that you should have to stand away from people, buildings and drinking areas. It’s not wrong your habit is so expensive. It wouldn’t be wrong if the entire tobacco industry collapsed tomorrow due to a sudden acknowledgment by global governmental systems that tobacco is a horrid, harmful substance so pervasive and expensive to society that its current legal status is a joke. Don’t ever act like you have grounds for indignation; you don’t. Also parents should be penalised for having fatty fat fat kids. It’s child abuse. To Tim Burton: the fuck, dude? THE FUCK.

Canberra’s winter – indeed, all its seasons – has a similar memory notching effect. As well as stretching back to chilly England winters, the first few days of Canberra Cold (using the caps again solidifies the effect you see; if I can use it once more before the column is out, it officially becomes a thing) summons memories of all Canberra winters past. The fact that I pull out exactly the same hot line in beige jumpers and moth-raped trousers that first dazzled and delighted people back in 2005 probably helps with this effect, but we’re not here to explore my tenuous grip on the world of fashion. It is not like the temperate sweaty malaise to be found in other areas of the country; places where the term ‘seasons’ refers to different types of BBQ sauce and barometers go from ‘hot’ to ‘farkin’ hot’. Brisbane Cold is as close to a perfect oxymoron as you can get, or describes a mythical creature northern parents use to scare their children into good behaviour (“You better eat your broccoli, Little Timmy, or else the Brisbane Cold will getcha!” // “Stop being silly, Dad... You know there’s no such thing.”) With no markers to tell the seasons apart, it’s no wonder they wander around looking confused half the time. No, Brisbane Cold isn’t a thing. Canberra Cold is a thing (Ding! Three references; it is now). And despite its ability to carve snot moustaches out of your nasal effluent – a particular good winter look for women I have to say – such a distinctly striking feature, along with all the wonderful things like nights snuggled in with a book or out with your friends, makes winter in Canberra wonderful. And if you hate it, then doesn’t it make the warmth all the more blessed when it does return? ALLAN “WINTER IS COMING” SKO - allan@bmamag.com *by gay I, of course, mean lively

WHO: Trio Dali WHAT: Chamber music trio WHEN: Thurs May 24 WHERE: Llewellyn Hall, ANU School of Music

Young, glamorous and very French, Trio Dali are taking the chamber music world by storm. The new kids on the block have already turned heads from Osaka to Frankfurt with original and compelling performances and now they’re making their Australian debut. From Gordon Kerry to Maurice Ravel, Trio Dali tackle new and old works head-on with fresh eyes and open minds. They’re also not afraid to be a bit different—they’re named after a Chinese marble, not a Spanish artist, after all—but they embody both: strong, polished, highly original and very beautiful. For more info head to www.musicaviva. com.au/triodali. 7pm.

WHO: Ganga Giri WHAT: Didgeridoo virtuoso WHEN: Sat May 26 WHERE: Transit Bar

Renowned didgeridoo virtuoso Ganga Giri and his world electronic fusion band are set to launch a new visual projection show on their upcoming Get It Started Tour. Produced in conjunction with Australian/Serbian VJ and artist Meltstation, the show features footage captured by Ganga on his travels in Australia and around the world. It’s a pumping percussive style driven by his technique as a drummer, percussionist vocalist and producer. The sound is a unique mix of dancehall, reggae, electro, Indigenous, bass and world flavours that meld to create an energising and explosive dancefloor celebration. 5pm. $15 thru Moshtix.

WHO: Brendan Gallagher WHAT: The Paperback Sessions WHEN: Fri Jun 8 WHERE: Smiths Alternative Bookshop

Playing at the inaugural Paperback Sessions is two-time ARIA winner Brendan Gallagher of Karma County fame. He’s produced more than 20 albums including Karma County’s ARIA-winning Into The Land Of Promise (2000) and Jimmy Little’s ARIA-winning classic Messenger (1999). His songs have also featured in films like Somersault, Clubland and The Boys Are Back. During his 30-year career Gallagher has recorded with the likes of David Bowie, Jimmy Little and Kylie Minogue. Paperback Sessions will see more great acts perform amidst the books this winter so keep an eye on www. smithsbooks.com.au. Bookings essential. Call 62474459. $20.

WHO: 15 bands WHAT: Festival 15 WHEN: Fri June 15 WHERE: The Basement

Festival 15 is a local music showcase of 15 bands playing a 15 minute set across two stages on June 15 which will cost punters the miserly sum of—you guessed it—15 bucks. This year the festival has joined with the annual motor neuron disease fundraiser, which will see all proceeds going to MND NSW to provide support and information to people with all types of MND, their family and carers in NSW, the ACT and the NT. The bands playing Festival 15 are Wretch, Clay Pidgeons, Toxicmen, Johnny Roadkill, Burlesque, Hover Kong, ZZG, Riley Cathedral, Chuffs, Avascular Necrosis, Law Of The Tongue, Castilia Lane, 28 Field Of Dreams, Prison Train and Revellers. 8pm.

WHO: The Last Prom WHAT: Canberran musical thinktank’s brainchild WHEN: Sat June 16 WHERE: The Polish White Eagle Club, Turner

The Last Prom is a hyper-melodramatic indie pop band set to transform the school auditorium environs of The Polish White Eagle Club into an alternate world. Each show sees The Antichrist and The Four Horseman of the Apocalypse band together to end the world. The Antichrist recreates the Horseman into a pop band and combines apocalypse with the ultimate life-affirming experience: the high-school dance! The audience is invited to dress to the themes of Prom Night and End Of The World. Check out their blog (www.thelastprom.com) for costume ideas. Supported by Space Party and more. $10 door. 8pm.

WHO: Southerly Change WHAT: A richly textured musical experience WHEN: Sat May 26 WHERE: The Front

Originally four mates, Southerly Change consists of anything between a simple guitar, vocals and hand percussion set-up to an eight-piece group with horn section, guitars, drum kit, percussion, bass and harmonica. This versatility extends to the music’s aesthetics, with the drummers training in Ghana, the horn section training in jazz, the heavy blues influence of the harmonica and the simple guitar and lyrical melodies of singer-songwriter Ben Fowler combining beautifully. Many of the musicians have played at festivals such as Woodford, the Folkie and Corinbank. Supported by Nick Combe and Sophie Chapman of Dub Dub Goose. 8pm. $10.

ALL AGES Hey there folks, I know last issue I was going with the whole pirate theme but in preparation for writing in this issue, school work has drilled into my mind and in particular my English Shakespeare school work. I must admit, it’s a lot harder for my mind to think in Elizabethan speech than in a pirate voice (I still find it weird that “loved” ever rhymed with “proved”). So when school pressures run high, what do I do? Revert to comedy and look up lame Shakespeare jokes, obviously. So Shakespeare walked into a bar. “Get out!” said the barman. “You’re Bard!” Nyahaha, soothes the pain. Music gigs have been as scarce as King Lear’s sanity this time round. Thankfully I found enough arts/performing arts events to go round for all. It’s seems appropriate that I mention Bell Shakespeare’s

production of Macbeth is coming to The Playhouse from Thursday May 17 to Saturday June 2. If you ever wondered why your English teacher became an English teacher (To be, or not to be…an English teacher?), watching this play in the intended medium might give you a very good understanding of why they did. Tickets range from $33-$130 and can be bought from www.canberratheatrecentre.com. au or by calling (02) 6275 2700. The Tuggeranong Rotary Youth Art Award competition is currently running again, and the closing date draws nearer. This competitions is open to any artists aged 15-25. There is a maximum of two artworks per entrant and all mediums may be submitted for entry. Prizes consist of $2000 for the overall winner and vouchers for the Tuggeranong Arts Centre, Aarwun Gallery and Photoaccess. Submissions are due to the Tuggeranong Arts Centre Gallery by Wednesday May 30. There are also incentives for entrants whose work is in digital media form from the Academy of Interactive Entertainment. For further details you can contact Gallery Coordinator Narelle Phillips at narelle.phillips@tuggeranongarts. com.au or on (02) 6293 1443. Registration forms can be found at www.tuggeranongarts.com/g_competitions.html. I imagine my Shakespeare joke at the beginning of the column would be hard to beat but something gives me a feeling the folks at the Melbourne International Comedy Festival Road Show probably could. Probably. But if you’re interested to know for sure keep either Friday May 25 or Saturday May 26 free for its visit to Canberra Theatre. Tickets for an adult cost $44.90 + bf and $39.90 + bf for concession and can be bought on www. canberratheatrecentre.com.au or by calling (02) 6275 2700. (Warning: this show may contain material not suitable for children 15 years and under.) Plainly put, plays were Shakespeare’s thing, but if your taste in theatre doesn’t lie there don’t worry because Phoenix Player’s: How To Succeed In Business Without Really Trying is at the ANU Arts Centre until Saturday May 26. The play follows a New York window washer, J. Pierrepont Finch, who has ambitions to climb the corporate ladder, and a self-help book that promises to help him do so. Tickets range from $25-$35 + bf and can be bought online at www. canberrarep.org.au. I’d like to leave with another themed joke: McDonald’s are introducing a new Shakespearethemed burger inspired by the Bard’s famous Scottish tragedy: the McBeth. ANDIE EGAN allagescolumn@gmail.com

LOCALITY

Because this is a local column the White Eagle Polish Club is Canberra’s best venue and The Sam Sessions (Part 1), Friday June 1, will be the most especially local event of the year until Part 2 the following day. I urge you to go to both and especially the first.

This column is not my column. It belonged to our departed editor, Julia Winterflood, and I took it over. There’s been feedback indicating this column’s format should be altered to one it had years ago: a list of the best upcoming shows in Canberra emphasising local produce. I see the sense in that. The alternative would be more personal. Personal columns have a tendency towards purplish sentimentality and insider comments. They are the kind you earn, a pinnacle at which you settle after establishing yourself as someone to whom people will listen regardless of what you say. I’m not that person and I don’t think BMA can afford to be that type of magazine. BMA Magazine was established four years after I was born. Since then it’s grown into a strong reliable fortnightly publication. A lot of its writers are people who aided that growth; previous editors and managers. Every one had a vision for this magazine that affected what it is today. I contributed to BMA for two years prior to becoming editor 14 days ago. I too have ideas about what this magazine is and what it can be. As it stands every issue of BMA contains between five and ten feature articles focusing on musicians operating in or touring Canberra. An equal number in our Exhibitionist section focus on art or theatre in the ACT. There are seven columns by dedicated columnists, seven album reviews, three film reviews and the same number of reviewed DVDs. Editorial—this editorial—is the heart of a music magazine. Photography, graphic design and focus all are based on the premise that the words they highlight are worth reading. But there is no reason a piece of journalism published in the pages of BMA should not best the editorial in any publication in Australia or abroad. Music journalism flourishes online because passionate writers flock to websites like Pitchfork, able to contribute from anywhere and see their work read by millions, but at BMA we are Canberran, our contributors are Canberran and thousands of our magazines are distributed throughout the ACT every fortnight. Our writers aren’t paid. More importantly their only exposure is in our readership. Those are the terms under which anyone writes for BMA. I wrote under them because it challenged me, rewarded me, kept me listening to new music and kept me writing. It was the only job at which I maintained a constant level of professionalism and quality and when a pursuit begets self-improvement you shouldn’t abandon it. I haven’t. I hope something of this quality is what led to this job. I want the words written in this magazine to be purposeful and important. Last issue our first 2000-word feature was published. This is a statement of purpose: I want more. ASHLEY THOMSON - editorial@bmamag.com

DANCE THE DROP

Where has the long heralded art of songwriting gone? I understand that dance music isn’t exactly a meaningful pedestal from which to preach intelligible wordsmithing but enough is enough. We are in a cut and paste era where phrases like ‘poppin bottles’, ‘you so fine’, ‘get on the floor’ and ‘get yo hands up’ are brainlessly laundered through shallow club hits. Attending a modern day club is like watching a DVD with the commentary switched on. We’re just being told what’s happening in front of us. Yes, you are a sexy bitch and yes, you just did shots but let’s go back to destroying our brains with alcohol and not erasing our intelligence via lowest common denominator lyrics penned by lazy music producers.

A great way to circumvent this particular first world problem is to avoid vocals altogether, and what better genre to embrace the dub than good old fashioned techno. Kult are back at Clubhouse on Friday May 25 with an exclusive Canberra vs. Sydney techno battle event to finally set in stone who plays the rarest exclusive underground German promo white label unreleased techno records. In Sydney’s corner are the undefeated legend of the ones and twos, the granddad of getting’ down, John Ferris and punchy newcomer Tall Timba. Canberra is represented by local layerers Loose Cannon, Choc St Clair, B-Tham and Kazuki, which doesn’t really seem like a fair fight to me! Sounding like he could be one of Chris Rock’s DJ pseudonyms, Chrissy Criss (UK) touches down at Clubhouse on Saturday June 2 for the next installment of TJS. The night also brings together one of the dopest support line-ups in recent history, with Typhonic (SYD/ ACT), Karton, Buick, Para, Rabid Mungkeys (Tidy and Centaspike), MRNP and Zerosis all rounding off a kick ass event for drum and bass heads alike. Trinity Bar also have a couple of cool events coming up in June. Fresh from posing for even more ‘duck face’ promo shots, Suave club don Steve Play swaggers up to the decks on Friday June 15 with a bag of ‘hands in the air’ trouse anthems. Fans of watching music happen won’t want to miss Aussie superstar Sampology’s ‘Super Visual Apocalypse’ tour on Saturday June 23; hell, I would go just because of the awesome ‘John Maclean-esque’ event poster. Yippee kai-ay motherfucker! With the cold nights rolling in, we need super hot records to keep us toasty and warm. The following are my favourite club bumpers for the month of June: Conway - Moonwalk, Dem Slackers - Schlingel (Peking Duk Mix), Herve - Better Than A BMX and a classic blast from the past which has been popping up in a lot of big name progressive sets of late, James Harcourt - Unpleasant Surprise (Popof Mix). Now that festival season is officially over, it’s time to hang up your embarrassing costume and get out there and support your local clubs. See you on the dance floor! TIM GALVIN tim.galvin@live.com.au

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

opportunity to the burlesque performers while at the same time getting the balance and skill mix right at the shows.” Rosy adds, “We aim to have a very diverse selection of performers within the festival to showcase our whole genre of performance art. So there is classic bump ‘n’ grind, circus burlesque, neo-burlesque, fetish and everything in between!” Dolores and Rosy are both stalwarts of Australia’s burlesque scene, having performed extensively nationally and internationally before realising there was a ravenous demand in Australia for a unifying, large-scale festival. Both are fascinated with ‘the art of tease’ but were initially drawn to the art form for different reasons.

THE AUSTRALIAN BURLESQUE FESTIVAL BEN HERMANN

“Burlesque was an extension of my love for a 1950s aesthetic,” says Dolores. “I have always been drawn to old Hollywood glamour, pin-up and styling prior to the early 1960s. I discovered burlesque through my love of peeling through old pin-up and ‘girly’ magazines from a by-gone era. I was fascinated by the striptease girls and wanted to explore their stage life a little more.”

It’s an oft-quoted saying that you always want what you can’t have. Though more commonly quipped in reference to the more narcissistic or attention-seeking among us, there is no denying we can all become charmed, intrigued and even infatuated at times with the mystery of something that is just beyond our reach; be it an idea, an achievement, another human’s love, or in the case of THE AUSTRALIAN BURLESQUE FESTIVAL, the curvaceous female form.

Rosy’s inspiration was more elemental. Coming from a background in classical ballet and musical theatre she “stumbled” on burlesque whilst living in Sydney in 2006. “The thing that really spoke to me was the independence that burlesque artists have, where you are all at once not just a performer but a director, choreographer, costume designer and much more,” she explains. “It opened up a whole world of self-exploration and creativity for me.”

“The reason we have seen such a revival [of burlesque] is that in today’s world we are bombarded with a constant stream of hypersexualisation, from the media, advertising and pop music,” says Rosy Rabbit, Australian burlesque darling and producer and co-founder of the ABF. “The nude body is no longer exciting or taboo. So perhaps we yearn for something more. We want to be teased and seduced. To renew the mystique and beauty of the human form and celebrate it in all its glory.”

But what of the audiences? Burlesque performers enjoy the physical performance, the history, the costumes and the creativity of the art form. Considering that images and videos of naked and semi-naked women in every imaginable (and unimaginable) state are available to us at the click of a mouse – not to mention blasted at us from billboards and magazine pages – is it the aesthetic of burlesque itself that draws audiences rather than its risqué element?

Rosy, together with producer and co-founder of the ABF Dolores Daiquiri, founded the festival in 2010 with Sapphira and Chaz Royal. The festival performed to sell-out crowds in both 2010 and 2011 and in 2012 returns with a headline line-up including four international burlesque performers and six local stars. “Australia was in desperate need of a burlesque festival as no one was doing it here. It was about time we followed in the footsteps of the rest of the world,” says Dolores of the festival’s origins. Rosy suggests that she and Dolores simply wanted to give their fellow performers “something to look forward to, a platform to extend themselves creatively and to unite our community.” Over its ten nights in six cities, the festival will host more than 80 performers, all of whom were accepted by application process. The four international headliners—Anna Fur Laxis (UK), Coco Framboise (Canada), Loulou D’Vill (Finland) and Peekaboo Pointe (USA)—were familiar to Rosy and Dolores previously, however it was a mammoth task for the pair to select local talent. “We painstakingly reviewed every single one of the applicants, which takes days.” says Dolores. “We need to make sure we give as much

“I think people love burlesque because it’s fun, theatrical, naughty, sassy, glamourous and extremely entertaining if done right,” claims Dolores. “Our audience has always been incredibly diverse,” says Rosy. “We do attract quite a lot of burlesque newcomers simply because we are the biggest event on the burlesque calendar. We have never had any complaints about the entertainment and have received rave reviews for our shows.” But Dolores explains there is still some misunderstanding as to the true nature of burlesque. “Movies like Burlesque have both helped and hindered what people expect.” Some people may expect more of a cabaret experience rather than a show focused primarily on striptease and “garment removal, peeling layers in an attempt to leave the audience wanting more.” The portrayal Rosy and Dolores give is certainly far from the sleazy performance that Burlesque fans might be hoping for or expecting but that’s not to say it’s appropriate for general viewing. “If no nobody was shocked,” adds Dolores, “then we would be missing the point entirely!” The Australian Burlesque Festival will teasing up a storm at Erindale Theatre, Wanniassa, on Friday June 22 at 8pm. Tickets are $55/$65 + bf from www.australianburlesquefest.com or through Moshtix.

The formula for a Dr Sketchy’s night is simple – two models will be wandering around, posing for a few minutes at a time while the audience are invited to sketch, broken up with a few burlesque routines and competitions for the sketches. Happening on Friday June 1 at the Tuggeranong Arts Centre, all the tickets for the inaugural event have almost been snapped up. However, there’s going to be plenty more happening this year and next.

THE NAME’S BOND, JAMES BO-HEY! UP HERE! chIARA GRASSI Canberra’s burlesque scene has been bubbling along nicely over the past few years, with various performances and bazaars cropping up every few months. Now there’s another delicious burlesque event to your calendar, as DR SKETCHY’S ANTI-ART SCHOOL opens in Canberra. An extension of the school established in Brooklyn, the school boasts a blend of the theatrical with the traditional, with models posing for life-drawing and burlesque performances scattered throughout the night. “They’re all over the world,” says Miss Kitka, manager of Miss Kitka’s House of Burlesque. “It just seemed liked time. And Canberra’s got enough of a burlesque following now.”

“It’s going to be a regular event. I’m looking to do four this year, and expanding that to six next year,” says Miss Kitka ambitiously. While the basic concept remains, the themes will be different each time. The first is a James Bond-esque extravaganza titled It’s A Private Affair. The night will feature models Cherry Blossom, who’ll also perform, and Anne Duffy. “They’re not naked,” she confirms, adding, “some will go down to pasties, just their breasts, but we encourage our models to dress up in the theme and the performances are within the theme as well. The second one we are doing in July is called Into The Flesh, with a slightly different type of theme.” And Dr Sketchy’s is open to all sorts. “It covers all genres – it has a burlesque element to it but I’m open to MCs who don’t necessarily do burlesque, singers, anything,” says Miss Kitka, encouraging those who are keen to get involved to get in touch with her. And if you’re no dab hand at the pencil, then you can still don your 007-inspired finest and skip along to the night, where you’ll be treated to canapés, drinks and eye candy. “The main focus of the night it to have the models posing, some music playing, buy some drinks, have something to eat and sketch beautiful looking girls,” says Miss Kitka. “It’s anti-art in the way that it doesn’t have to conform to stereotypes, and embrace everything.” Dr Sketchy’s Anti-Art School opens to its pupils Friday June 1, 6pm, at Tuggeranong Arts Centre and tickets are $20 + bf through Moshtix. To get involved, contact Miss Kitka at drsketchycanberra@hotmail.com.

we were in a privileged position to be able to follow him around so closely and to see what he was going through. I guess in a lot of ways he knew his time was limited and that he was beyond the things that had happened in the past and he could see it more clearly and was much more understanding of it now.” Lowenstein continues, “You get caught between being a compassionate friend and human being as well as having a desire to document – which is what Rowland wanted. You have to be pretty tough to keep the cameras rolling in a lot of situations. It was a dilemma but we discussed it with his friends and family and ultimately a lot of material we did get at the hospital towards the end we decided not to put it in.”

THE LAST BIRTHDAY PARTY JUSTIN HOOK Rowland S Howard died in late 2009 of liver cancer mere months after the release of his second critically acclaimed solo album Pop Crimes. It seemed a cruel hoax that a man finally at peace with his past and redirecting energy to the future was gone just as he was exerting a degree of control over his life. Behind the scenes it appeared he knew his future was to be brief. He reportedly hurried through the production of Pop Crimes to ensure it was finished while he still had the chance. During this time, filmmakers Richard Lowenstein and Lynn-Maree Milburn were following the former Birthday Party and Boys Next Door guitarist gathering footage for a documentary. Yet even in failing health, Howard displayed a quiet dignity and willingness to throw his life open to the cameras. As Milburn explains, “We felt very aware that

AUTOLUMINESCENT came about after Lowenstein and Milburn’s infamous ‘80s Melbourne post-punk ‘rock’ movie Dogs In Space was reissued. It was Howard who approached the pair. As Lowenstein explains, “We started rolling as soon as we could and followed him straight away, to the hospital and so on. Unfortunately he was very sick and we obviously didn’t get as much as much as we would have liked to at that stage of his life.” Amazingly, reams of footage from the early ‘80s were available offering a comprehensive aspect so often missing in this sort of documentary. Lowenstein continues, “We were very lucky in finding some of those old archival interviews when his spirits were very high. It was sad that as he was embarking on making the film he got sicker and sicker.” Nevertheless, Milburn is glad they captured a truly unique and beloved individual. “Still seeing the resolve, dignity, imagination and humour… it was incredible that everything was still all there.” Autoluminescent has unfortunately left cinemas but is available for rental or purchase on DVD.

IN REVIEW Henry Rollins The Street Theatre Sunday May 6

Just under half way through Henry Rollins’ three-hour set he recounted the moments immediately preceding the day of his 50th birthday in February last year. He went into a diner in New York and ordered a tuna sandwich and a cup of coffee. As he waited for his food, he speculated on what significance, if any, should be placed on this moment. Then, as he recalled, “my sandwich came, my coffee came and I turned 50.” Like so many elements of Rollins’ 30-plus years as a public figure, the reaching of his half-century passed seamlessly; an understated milestone negotiated with minimal sentimentality but not without thought. “As I sat there, I realised that I want to still be doing this [spoken word] for the next 50 years. This is what I do and this is what I’m going to keep doing.” For those present, or anyone who has seen Rollins live, such a prospect is not only welcome but appears extremely likely. Rollins fronted the stage for three continuous hours: shoulders square to the audience and leaning forward firmly on one foot as though it was 1985 and he was fending off 100 sweatsoaked Black Flag fans. On this topic, Rollins speaks with nostalgic fondness and selfdeprecation: he recalled the group’s first tour to Australia, his first encounter with Vegemite and a violent encounter at a rowdy North Melbourne show that led to him almost losing his hand due to infection. But the tales of his current life as a non-stop travelling workaholic, or in his words “a work slut,” were the most enjoyable. From his work with National Geographic to his hard-fought-for trip to North Korea, Rollins exhibits himself as having not only an absolutely passionate thirst for knowledge and understanding but a similarly passionate desire to dispense it. And it is this side of Henry Rollins’ character that is burning ever brighter as he ages. The two constants of his performance were the regular derision of his home country’s political and social shortcomings—in particular the widespread and subconsciously encouraged apathy of its population—and his expressed faith in the ability of the audience and others to bring about positive change in the world (such expressions of faith he self-proclaimed his “Kumbaya moments”). From the USA’s imperial quest for economic and military hegemony to racism, sexism, homophobia, apathy, xenophobia and a long laundry list of others, Rollins has set his sights on educating and inspiring others and is willing to spend the rest of his life talking, travelling and working to help catalyse social change. “I’m angry, and I’m impatient,” he admitted. “I don’t want to die with unfinished business. I want the victory lap.” BEN HERMANN

all very strong characters they don’t just work within the settings they were placed in historically but in other settings too. I think a lot of Beatles tribute bands do things very faithfully but the audiences are hungry, or I think that they are going to be after seeing this show.”

NO COVER JULIA WINTERFLOOD Just over two years ago four John, Paul, George and Ringo lookalikes, also brilliant actors and musicians in their own right, were touring the world as The Beatles Experience. To audiences of young and old they belted out a narrative-driven show that gave life to the Hamburg days, the Cabin shows of ’63, the BBC tour of the UK and Scotland, the psychedelic trip to India and the genius of Sergeant Pepper’s. A couple of years down the track and The Beatles Experience has evolved into The Beatle Boys; they’ve a new George and Paul, a new show—CLIFF JOINS THE BEATLES!—and an entirely new ethos. Says Chris Frazer, who plays John, “The Beatle Boys are going to take The Beatles and put them into new scenarios. Because they’re

Cliff Joins The Beatles! is an intriguing concept indeed. While Beatlemania On Tour stuck to the historical script, the new show is based entirely on fantasy and plays off the old ‘what if?’. Explains Frazer, “The ‘what if?’ is that back in ’69 when The Beatles were in the studio and arguing and tearing each other apart but still obviously creating amazing music, the element that would possibly bring them back and get them focused was a third party.” The third party is Cliff Richard who, at the time, had just broken up with The Shadows and was recording down the hall from The Beatles at Abbey Road Studios. John Lennon once said that until Cliff Richard and The Shadows there wasn’t any decent rock ‘n’ roll being made in the UK. Of all the singers to join a Beatles rehearsal at Abbey Road, which the show covers in the first half, and then join them on a fantasy second tour of Australia, which it covers in the second, Cliff would be the one. The man who wrote the show and who plays Cliff Richard is Australian entertainer Marty Rhone. He’s had a pretty astounding career, which kicked off with a tour of Oz with The Stones in ’66. Says Frazer, “everyone on the stage is a strong singer so you get all the harmonies as you would on the records, strong and true. Everything The Beatles could do is brought really strongly to the stage.” If you’re a true Beatles fan the chance to be a fly on the wall at Abbey Road and a punter in the audience at a fantasy tour is one you’d be a right royal geezer to miss. Cliff Joins The Beatles! will have you rockin’ and a-rollin’ on Saturday June 9 at the Canberra Theatre Centre. Tickets are available through the website, www.canberratheatrecentre.com.au.

and fancy affairs. As of next month, however, Andrew Hollands and his staff are changing it up and playing host to a variety of different events, ranging from dinner shows to live music. “Wedding season comes to an end mid-May so we were like, ‘Well, we’ve got a lot of time that we have spare, maybe we should diversify the venue and utilise it for some cool music events and stuff’,” says Andrew excitedly. “I reckon we’ll get a whole lot more interest, everyone will see the room and see how serious we are… It’s a massive setup.” Andrew has been involved in Canberra’s hospitality scene since 1998 as a trained chef and restaurant manager but this is the first time he had entered the scene of live music events.

A DOWN-TOWN ABBEY MEL CERATO Home to a 100-year-old organ from London, Canberra’s stunning function venue THE ABBEY is usually associated with weddings

To lend a hand with the organisation and promotion he sought the help of music festival aficionado Jane Rowe. “Obviously with Andrew being a chef, the dinner and show market is really important to us. Great food and great music in a great venue, that is kind of where we see our niche in Canberra,” Jane says. “Instead of specifically targeting one demographic, we are going to move out a little bit and sort of have a go.” By changing up the different types of performances and events, Andrew hopes to broaden The Abbey’s public appeal, as well as discover what type of music works well in such an amazing venue. “For the first little while, we are going to hit a few demographics and see where our market is,” Andrew explains. A versatile place, The Abbey is undergoing a transformation as Canberra’s newest live music venue with fresh furniture including funky lounges and ottomans, and a high-grade sound and lighting system has just been set up. Acts will range from various genres of live music, to comedy, burlesque and everything in-between. “[Jane is booking] more and more acts every day and it would be great to do something different every week [but] at the moment we are looking at three [gigs] a month depending on availabilities,” Andrew says. “Weddings are still a priority, and we’ve got a lot of those booked [for the rest of the year].” The Abbey at Federation Square, O’Hanlon Place, Nicholls is bringing country music darlings Aleyce Simmonds and Kristy Cox as their first show on Friday June 8 and a dinner show with Renee Geyer on Sunday July 22, 6pm. For enquiries and bookings phone (02) 62302905.

ARTISTPROFILE: Laine Stewart

What do you do? Mostly I paint. Occasionally I do other things like make painted objects and environments of varying dimensions, perform, draw or interact with others in my artworks. When did you get into it? It’s always been something I’ve done, though I guess starting art school in 2005 was a significant step towards committing to it as a lifelong pursuit.

BEAUTY WILL SAVE THE WORLD

Who or what influences you as an artist? Everything and everyone,

SINEAD O’Connell

answer either, it’s true.

ROGER WOODWARD, world class classical pianist, on describing the frame of mind one reaches to play a century old composition in front of the world’s seasoned critics: “Musicians train themselves from the earliest years to clear their mind of extraneous thoughts before they sing or perform as they quietly focus on centering themselves into the other world of music. The physics of this self-induced state of inner calm ignites when combined with the chemistry of a live audience, resulting in a unique sharing experience that is capable of taking the participants on an inspirational musical journey.”

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

Woodward has endless things to say of music and existence and the ethereal in-between. The topic of his craft he equates to a timeless romance between man and instrument. “A deep sense of loyalty is as important to the great works of art as to an instrument because these entities are not abstract but living things that resonate deeply within our being. Love of one’s instrument is as important as a compassionate view of the world and the careful nurturing of a responsible attitude to one’s fellow beings. However, this same feeling also embraces a daily routine. Practice because you want to and not because you have to. I practice every day because I would otherwise die without the life-giving essence the immortal works of art confide… I believe Dostoyevsky was absolutely right when he reminded us ‘beauty will save the world’. As I look up into the vast starry expanse from which I came I wonder at the miracle that I can carry the melodies of Bach, Mozart, Chopin and Debussy inside me.” It was the music of Johann Sebastian Bach, in particular, the Great Mass in B minor and St Matthew Passion that inspired Woodward’s career in classical music. “Different stages of creative growth spring to mind but a primal experience was hearing Bach organ works at the age of seven, after which there was no looking back.”

from the smallest degree to the largest. That’s not just a cop-out

Probably surviving art school through ‘til the end of Honours and still loving what I’m doing. What are your plans for the future? Studying traditional art forms in India later this year for a couple of months. Then Masters. What makes you laugh? Most things! Even when they’re not really funny they usually are in retrospect or with the right amount of objective distance, then everything’s pretty absurd, really. What pisses you off? When people talk over each other! Why can’t people just wait a minute and listen? That’s the worst, that and all exponential variations on this theme. What’s your opinion of the local scene? It’s incredibly warm and supportive and engaging. And we have a lot of very talented artists in this town. Upcoming exhibitions? intromiTTransmit, from Thursday May 31 to Sunday June 17 at M16 Artspace in Griffith. Contact Info laine.la.libellule@gmail.com

We spoke of his routine and from where the inspiration for unparalleled dedication emerges. “It’s hard to define exactly what takes place inside one’s soul except that is a place where I hear music resonating… A sense of flow guides the droplets of sound into eddies, swirling streams or torrents as the river flows… As the great pianist Arthur Rubinstein once remarked, ‘It took me a lifetime to master a handful of pieces’, and he was right.” Woodward’s words ultimately speak for themselves, as does his sound, which in many respects are mere translations of these very thoughts. I leave you with one last insight from the master: “When I make music it is the only time my soul can soar or find the celestial repose it seeks. When I make music I feel completely free to journey beyond known worlds.” Roger Woodward will appear one night only at Canberra Theatre Centre, Thursday June 7, 7:30pm. Tickets are $29-$69. Call (02) 62752700 or visit www.canberratheatrecentre.com.au.

bit PARTS WHO: Human Rights Arts and Film Festival WHAT: International documentary films WHEN: Mon May 28 - Sun May 30 WHERE: National Film and Sound Archive Now in its fifth year, the Human Rights Arts and Film Festival celebrates artists who have chosen to explore complex issues of human rights. The festival’s stop at the National Film and Sound Archive this year showcases three films over three days. The first is Jon Shenk’s The Island President, a documentary following the Maldivian President on his journey to take on the UN, combating climate change in order to stop his nation from sinking under the sea. Our School explores progress amidst tradition, presenting a tale of three Roma ‘gypsy’ children trying to find acceptance in a Romanian city school as the government begins to attempt to integrate their population. And finally, Adam Pesce’s Splinters is a film about the evolution of indigenous surfing in Papua New Guinea and the first national competition, which brings tribal rivalry and gender inequalities to a head. Visit www.hraff.org.au/ city/canberra for more details.

WHO: Canberra Region Feltmakers WHAT: Metamorphosis WHEN: Wed May 23 - Sun May 27 WHERE: CSIRO Discovery Centre Metamorphosis, an exhibition of work by members of the Canberra Region Feltmakers, explores the making of felt in response to contemporary issues and materials. The results vary from wearable to entirely fanciful. Feltmakers have created works for the exhibition using merino, alpaca, silk and man-made fibres. An old chair rescued from the tip has been given a fresh felt coating inspired by the wing of a butterfly. Metamorphosis will be opened by Julie Ryder at 7pm on Wednesday May 23. The exhibition continues 10am–4pm daily until Sunday May 27 with fashion parades at 12:30pm on Saturday and Sunday and a colourful bazaar for shopping. For further information contact Jennie Curtis on 0410539150 or email media@crfelters.org.au. WHO: Bertolt Brecht’s life in one sitting WHAT: Brecht: Bilbao and Beyond WHEN: Fri Jun 1 – Sun Jun 3 WHERE: The Street Theatre Chuck Mallet and John Muirhead, two silver-haired gents with more than a century of theatre experience between them, channel the fiery scorn and barking laughter of Brecht’s spirit in this wickedly entertaining cabaret on Brecht’s life playing at The Street. Brecht: Bilbao and Beyond is an evocation of the life of German playwright Bertolt Brecht using his songs, poems, stories, and plays. His message remained the same throughout his life: concern for the underdog and condemnation of the overlord. There are Kurt Weill tunes, scenes from his plays and excerpts from his statements at the House Un-American Activities Committee in 1947. Call 6247 1223 for bookings or visit www.thestreet.org.au. $25/$19. WHO: Glass Five-Year-Olds WHAT: Canberra Glassworks Turns Five! WHEN: Sat May 26 & Sun May 27 WHERE: Canberra Glassworks, Kingston It’s been five years since the Canberra Glassworks opened so join them for a fun-filled weekend. They’re throwing open their doors and letting you in behind the scenes. Try your hand at engraving a Giant Glass Birthday Card, see the artists’ studios and send the kids round on a Kids Only Tour. To engage kids from every age group there’ll be goodie bags, craft activities and Passports to the Past. And don’t miss the highlight of the weekend – the winning designs in the Kids Design Competition being created by teams of artists. The first 120 families will receive a special gift for Mum from Aesop. See www. canberraglassworks.com for more details. 10am-4pm. Free.

WHO: Frank Moorhouse, Tony Birch and Favel Parrett WHAT: Miles Franklin Shortlist Authors Meet and Greet WHEN: Tue May 29 WHERE: National Library of Australia Established by writer Miles Franklin to support and encourage authors of Australian literature, the Miles Franklin Literary Award is Australia’s oldest and most prestigious literary prize. The Trust Company as Trustee of the Miles Franklin Literary Award in conjunction with the National Library of Australia is pleased to invite you to meet the 2012 shortlisted authors at the National Library of Australia. Meet shortlisted authors Frank Moorhouse (Cold Light), Tony Birch (Blood) and Favel Parrett (Past the Shadows) at an evening celebrating Australian writing. The whole thing’s free (they’re even doing a free book signing) but bookings are essential. Call 62621271 or visit www.events.nla.gov.au to make a booking.

WHO: Miss Kitka’s House of Burlesque WHAT: Jungle Fever WHEN: Sat June 9, 7pm WHERE: Canberra Irish Club Enter if you dare into the Jungle of Aphrodisia that is ruled by Queen Kitka and her band of Kitka Kittens. Come along and support Canberra’s latest Burlesque Graduates along with some familiar faces from the local Burlesque scene. Expect some cheeky go-go kittens and saucy explorers in search of the strange and exotic species unique to Aphrodisia. Wear your finest safari suit to the show, with giveaways to those who make the biggest effort to dress up. Pasties will be for sale at the show and we will be raising money for the Burlesque Historical Society on each night. Tickets are $30$35 + bf through Moshtix. 6pm. Free.

PUTTING THE ‘BEST’ IN ‘BESTIALITY’

BAZ RUDDICK

The last couple of years have seen the resurgence of a sound popularly classified as indie folk. No band has seen such rapid success as BOY & BEAR. In two short years the boys went from playing ‘soul destroying’ covers and working 9-to-5s to taking up support slots and playing shows both here and abroad. I spoke to Dave Hosking, front man of Boy & Bear, about song writing, hard work, unexpected success and hazy English nights partying with songstress Laura Marling. After receiving radio play through triple j Unearthed for solo work, Dave Hosking teamed up with cover band mate Jake Tarasenko to record Mexican Mavis. Within a month of seeing further radio play, Boy & Bear took off. 2010 was a sink or swim year for the band, filling many support slots and touring extensively without any records actually released. “The band as a group had done around six shows together. In 2010 we ended up doing 120 shows. We had one song out when we hit the road… At the end of January we had less than a day off. We went to Byron Bay, did the EP, played with Angus and Julia Stone and then went back to the UK with Laura Marling… It was hard work but that year really payed dividends. Splendour 2010! It was a real ‘holy fuck’ moment.”

With live shows it’s about those moments which blow your head off. People have to be shocked out

While it is far too easy for upcoming bands to ride an early wave of success only to burn out and fall into mediocrity, Boy & Bear rely on their strong live show to keep the fans coming. “There are a lot of bands playing sort of pedestrian indie folk. It’s one thing to get up and play guitar well and sing well. Doing those things really isn’t enough. With live shows it’s about those moments which blow your head off. People have to be shocked out. It’s really important to surprise people and not just play through your songs. You have to bribe them with a journey.” I asked Dave how he explains their success. “I think that it’s really important that when it matters you have to pull out your big guns… In a period of about four months between triple j playing the song and the shows we were doing, we were starting to build a reputation as a good live band. That was just from working our arses off.” And what about those rock ‘n’ roll nights throwing TVs through hotel windows with Laura Marling and her rowdy crew? “Laura is pretty disciplined! She had a couple of nights on the piss. Not so drunken rock and roll but when we were in Bristol everyone just got pissed in this beautiful pub. It was sort of this English haze of smoke over everything. People were smoking weed. It was a bit of a rock ‘n’ roll moment. They kept the pub open for us.”

Boy & Bear are playing ANU Bar Friday June 1 with The Jungle Giants and Tin Sparrow. The show kicks off at 8pm and tickets are $41.05 + bf through Moshtix or Ticketek. O, the choice!

line-up comprises of slide guitar, rhythm guitar, banjo, violin, bass, drums, keys and a voice ‘with the emotion and power of five decades bottled up in two’.

INSPIRING NOTHING BURGUNDY

Sinead O’Connell

I chatted on the phone with Bex the founder and frontwoman of emerging nu-folk band RUBY BOOTS the other day as she strolled through the streets of Perth watching “a punch-up between two bogans about to happen.” Avoiding the chaos, she began explaining her opinion about the semantics surrounding genres for emerging bands. Like many, Ruby Boots rejects the notion of genres and their often confined limitations in the industry. Bex however admitted, “It’s cliché to say. No, we didn’t start out thinking we were of a particular label but it’s just how it happens. Quite organically. First it started off with me and the instrumentation involved. But with the way my voice sounds—which by the way is not something I can conjure up (it’s got a country twang)—it all evolved into a sound that happened naturally.” Ruby Boots are the image of resurgence in the exceptionality that is trad-roots. Blurring norms with chain-gang chants, bluesy acoustics, honky-tonk piano and western swing chimes, not to mention the accompaniment of folk-pop and ‘alt-country’. Their

I’m watching a punch-up between two bogans about to happen

With influences like The Waifs, Dolly Parton, Stevie Nicks and Bob Dylan it’s no wonder their voice—although somewhat familiar a sound—is a perfect arrangement of Joan Baez meets Laura Marling. Wise Up is definitely a favourite of mine. It’s the kind of acoustic splendor that you crave on a Sunday morning as you sit with your coffee and enjoy the new day with attempted warmth. Quite unexpectedly they are a combined source of energy, giving listeners strength through sound. The coming year is promising for Bex. She heads to America for five weeks following the commencement of her Australian tour in May, lingering in Memphis and Nashville with producers while featuring at the American Music Association Festival and Conference. Does she sport spare time? “For me spare time is just time being filled up with something else… like working on a CD.” What’s better than spending your time devoted to something you’re overwhelmingly passionate about? For her and the rest of the team, “song writing to recording and drawing inspiration is a process permanently varied, constantly forming in different ways.” She described it as being “kind of like building a story.” I think of Ruby Boots with that same sentiment in mind now. They too are building their own story, a great one at that, an incredible read that no one should miss out on. Ruby Boots walk all over Transit Bar Thursday May 24, 8pm, with locals The Wedded Bliss and The Ellis Collective supporting. Tickets are $9 + bf through Mosthix and the show kicks off at 5pm.

FAR FROM WHITE NOISE

BECAUSE DEATH IS WHAT COUNTRY NEEDS

ALISTAIR ERSKINE

baz ruddick

Newcastle’s CHARGE GROUP have released one of the albums of the year – an experimental dichotomy of indie freneticism, ambient instrumentals and traditional pub rock. I caught up with band leader Matt Blackman, before they head down to Canberra to play at The Street Theatre.

Picture this: seven guys stomping, bashing, shaking and singing the shit out of the place. A rhythmic tour de force with the chugga chugga of a train and the howling sadness of a western wind across a midnight desert.

“To get the sound we have now, we have been whittling down the things we like and the things that work for us as a band. It’s as much a reaction about how monotonous and bland on the radio is these days—and here we are doing really doing well compared to say America— but it really is something we really felt inspired to do given the musical climate we found ourselves in.”

We are pretty loud when we play live – not in a brutal way but in a Mogwai kind of way

Their record does fly across many tones, textures and tempos, and also the volume levels aren’t the most standard – how does this marvellously ambitious record translate live? “Actually it’s not too far removed from the album but when we play, well, we are pretty loud when we play live – not in a brutal way but more like in a Mogwai kind of way, with gentle droney moments and then explosions. We normally play pubs and general rock venues, but we are really keen on playing at The Street Theatre – Shoeb who is putting on that show has been talking about it for a while. “Playing live is such an different beats all the time – sometimes you have an audience that is hugely attentive and you can hear a pin drop, other times the pub or hall you are in is a big raucous barn to tame. With the differences in environments, to do each space justice requires a combination of working to your strengths and what I’ve always liked about seeing a band isn’t faithful recreation but re-interpretation to work with the space and the mood and the immediate response. I always get a bit swept by moments whether I’m in the crowd or on the stage; it’s the best part of live music.” With their recorded work, they have put out some vinyl, CDs and digital copies which they are selling through the online service Bandcamp. How has the experience been for Charge Group using this popular new service? “I’m surprised when other bands aren’t doing it – it’s so functional and user friendly and it simplifies things in ways that I previously couldn’t imagine. It’s usually so difficult to ask people to sign up for mailing lists and even in other ways it’s just so easy to interact with your fans – we can see where they are from, let them know if we are touring and allow them to contact us which makes it so different to the experience of being in a band even ten years ago. It’s an amazing new era!” Charge Group will play The Street with Joe McKee and Hoodlum Shouts, Saturday June 9, 8pm. Tickets are $15 through www.thestreet.org.au or call (02) 6247 1223.

Four years old, three albums and a couple of international tours under their belts, GRAVEYARD TRAIN have sold out shows across the country with their achingly awesome horror country. I spoke to front man Nick while the remaining members of the band played a silent game of Uno, rolling down the highway to Warrnambool. Four years ago Graveyard Train was but a dream that popped into the head of Nick en route to his bar job in Melbourne. “The other guys happened to just be at the pub at the same time and I sort of just pitched the idea of a horror country band at them. It was a pretty ridiculous band to start with. Half the guys didn’t play instruments. One of the guys plays a hammer and chain and another guy plays the washboard. It was pretty random. Obviously over the last four years it has developed quite a lot. Everyone can play something.”

Country music really fucked itself

Despite being a bunch of white middle-class guys the Graveyard Train boys have uniquely and successfully tapped into the psyche of a zombie cowboy in order to create a perfect country sound that is so awesome and chilling you immediately want to ride your horse into the midnight desert and go ghost hunting. “We always had this horror country idea so lyrically the parameters were always going to be kind of dark and stormy sort of stuff. On some of the older albums it was a bit sloppier and we had mummies and vampires and werewolves and all that kind of horror stuff… Now it is more about the human condition. There are a lot of songs about death and the idea of not having a soul. I’m not really interested in writing broken-hearted country because that isn’t me. I may as well write about shit that concerns me—like the end of my awesome life.” Although proclaiming themselves a country band, Graveyard Train far from fit the bill of the cringingly over-produced modern day country artists. “We have been up to the Tamworth Country Music Festival like three times but it’s sad because the bulk of the music up there is just that schlick modern shit. “We go down really well up there and we have a bit of a following but there are also dudes up there who think we aren’t playing country music because we aren’t like that schlick sound. The Rhinestones came in and it all went to shit. Unfortunately that’s popular country music. That’s what is big in America and Australia as well… Country really fucked itself.” Bring your chaps and your spurs to Canberra Southern Cross Club Saturday June 7 for an old fashion hoedown. Tickets are $20 + bf. Call 02 62837200 for details and bookings.

[The new EP is]

LEGIBLE VANDALISM julia winterflood The first time I saw ex-Canberran now Melbournian trio READABLE GRAFFITI was at the February ’11 Summer Rhythm Festival. I was hooked from the get go, dancing immediately. Up front was a tall, Spanish-looking man with a long curly mane and ski goggles on his forehead. He was flanked by two white guys on synths, guitar and drum machine. Their sound and look was unlike anything I’d heard or seen in the ‘Berra. “We’re in the street press but you’re not impressed,” sang the frontman with a haughty swagger. I am the street press and I am impressed, I thought as I danced like a loon. Readable Graffiti’s second EP, Male Mood Swings, has just been released. Opener and first single Feathers kicks off with a super catchy synth melody and simple beats, and crescendos in an exultant chorus of lushly layered, deftly executed and totally danceable electro pop. It’s awash with killer hooks, vibrant beats and shimmering synths and if it doesn’t get you moving I don’t know what will. And that’s just the first track.

“It’s music that suits something to show a certain mood. It’s the grandkids that I party music. It’s for was cool when I was warming up for your young Friday night out. Put it on and have a little boogie and be a bit silly,” says frontman Buttons Machiavelli with a charming grin. Laced throughout the EP are droll little lines that never fail to elicit a wry smile. “I tell myself I’m cool,” Buttons sings flagrantly on Street Press; a frontman who doesn’t take himself too seriously is a rare beast. His rich and resonant voice carried by the dizzyingly danceable sonic pallet produced by Christian Graffiti and Chris Readable is a combination that will hopefully see Male Mood Swings blasted in clubs and kitchens nationwide. But for the moment the lads are just relieved it’s finally out there. “A few of the songs are nearly two years old now so it’s just really good to be able to get them out and have them recorded for posterity. You know, something to show the grandkids that I was cool when I was young,” Buttons says deadpan. “Once you put it out there you just have to let it go. You don’t know where it’s going to go or who’s going to hear it. But it’s just a really nice feeling to let it go.” They’ll be letting the EP go in a big way when they launch it at Transit and they’ve invited local MC Stateovmind, winner of this year’s Groovin the Moo Unearthed comp, and Melbourne mate Super Magic Hats to help them. Says Buttons of the latter support, “He’s a one man band. He’s got a whole table of electronic toys so hopefully it’ll get people in the mood. And then we’ll come on and rock out and hopefully get people having a boogie.” I’d bet my life on it. Dance your arse off at Readable Graffiti’s EP launch at Transit Bar on Saturday June 2. Tix are $10 on the door. Male Mood Swings is available on iTunes, some good record stores, and by hitting ‘em up on Facebook.

VIVID PIVOT

FLIPPIN’ THE BIRD

JAMES FAHY

ZOE PLEASANTS

They’re shape-shifting virtuosos, they work hard and they’re open to suggestion. “We’re a versatile bunch of guys. I can wear lipstick. I look good in spandex.” PVT don’t leave an avenue unexplored on their dense albums or their powerful live show. Even if you’re staring fixedly at the stage—as I can guarantee you will be, your ears having succumbed to a sort of aural anisocoria as they feverishly try to parse what’s happening to the air—you won’t believe it’s just the three of them.

Judging by the line-up for their next Big Bang Saturday gig, someone at Digress Lounge is both astute and has great taste in music. They have invited Ben Walsh and Bobby Singh to perform. Probably better known for providing the high energy beats of the acclaimed live drum and bass outfit The Bird, Ben and Bobby will be revealing a mellower, more chilled side of themselves for this gig through the soulful, global grooves of their musical incarnation GROOVELANDS SOUNDSYSTEM. Groovelands Soundsytem is an electronic duo —it’s just Ben and Bobby— featuring percussion and a couple of DJ decks. Ben is half percussionist, half DJ and Bobby predominately plays the tabla, a traditional Indian drum.

PVT formed as improexplorers in Sydney, lashing together their combined virtuosities into a kind of Battles-meets-Grizzly Bear raft. Said raft floats along on syncopated beats from the kind of drummer who composes left-field, progressive dance in between eight-hour rehearsals. They’re not all jazz-math, though – their hearts shine through all the polyrhythmic magic on songs O Soundtrack My Heart and Church With No Magic.

We’re a versatile bunch of guys. I can wear lipstick. I look good in spandex

The latest, as-yet-unreleased album might rein in the madness a little. “The big focus for us was to have a lot more space in the music, so it’s not as ridiculous as the last record [Church With No Magic] in terms of ‘we’ll need six more hands to do this’.” On the other hand, the Opera House has challenged them to outdo themselves. “Learning an entire new album and having a small orchestra to transcribe and arrange for wasn’t enough,” relays Laurence, one of the twain Pike brothers who founded PVT. “They just said ‘Oh, could you do a light show as well?’” It doesn’t sound like they’re worried. The PVT work ethic brings them together in a small room somewhere in Sydney for week-long stretches of full-time, intensive practice. It’s essential to the band’s signature spandex-tight composition but it’s not always easy. “I’ve never enjoyed rehearsing,” he confesses. “I mean, it’s fun when it all comes together in rehearsal and we think ‘Cool, we can do this, we can play this live’, but no, it’s… you know, it’s really hard work.” If anything, the pressure will manifest as motivation. “I think it’s healthy to push people, it really is. That’s when you get good things happening. It would be easy for us just to play a record, you know?” He pauses, reconsidering for a moment. “I mean, you know, it’s not easy at all but it’s exciting for us because it’s an opportunity to up our game.” It’s a game that’s already had them handpicked by Brian Eno for the first Vivid LIVE festival and selected by Sydney’s FBi radio as Album of the Decade. You’ll just have to be at the Opera House’s Vivid LIVE to catch it. “I sort of assume someone will film it but assumption is the mother of all fuckups, so maybe I should make sure that my mum has a camcorder there at the very least.” PVT’s show will be something special. Don’t miss it at the Sydney Opera House Opera Theatre, Friday May 25, 8pm, tickets $39 +bf at www.sydneyoperahouse.com or on (02) 9250 7777.

I play from the heart and the audience resonates with what I’m feeling

I caught up with the engaging and energetic Ben after he’d spent a weekend hibernating at his bush retreat near Byron Bay. “I like to get away, outside the cities and hang out with species other than humans sometimes,” he told me. The project, as Ben calls it, gives Ben and Bobby a chance to experiment with a musical repertoire that doesn’t really fit with The Bird. “We wrote a lot of music from Bobby’s background – he’s Punjabi... and Bobby and I are huge fans of traditional music. We love Armenian duduk music, Balkan gypsy music, we wanted to make a really great music dance project together so that’s what we’ve been doing.” Whether he is playing with The Bird or Groovelands, Ben’s motivation for performing his music is the same. “It’s so much fun making people dance” he says. “Sometimes with a project you make people listen, sometimes you make them watch, sometimes you make them sleep,” he laughs, “but making people dance is a great part about being a drummer.” Ben talks about how an audience amplifies what is on stage. “If someone’s a little bit egotistical then egotism is amplified, if someone’s angry then anger gets amplified.” But Ben really loves what he does. “I play from the heart and the audience resonates with what I’m feeling as a human being.” And trust me, Ben’s energy is infectious. I remember the first time I saw The Bird, probably ten years ago now. It was New Years Eve and I was at the Woodford Folk Festival by myself because my thenboyfriend had drunk too much ‘herbal tea’ and crashed out in our tent. The Bird came on stage and I lost myself in their tribal rhythms, catchy grooves and Ben’s energy; I ended up having a great night. So Digress Lounge is providing an amazing opportunity to experience two very fine percussionists. This is the first time they’ve played in Canberra; they don’t often play as Groovelands, their primary focus being The Bird; and this isn’t their typical type of venue. I can’t recommend them highly enough. Groovelands Soundsystem are bringing the beat to Digress Lounge Saturday June 2, 8:30pm, supported by Gab Glimour and Hiero IX. Tickets

THE REALNESS Anticipation is a hell of a dirty mistress. Considering I’ve been waiting for two particular new records for way too long and the fact that they are finally both being released in the same week, well sir, ma’am, one could say I am so excited I just might do a sex wee all over these here BMA pages. I’ve resisted listening to tracks, snippets, excerpts and the like as much as I could in the hope that I could finally sit down with both records and devour them like a greedy virgin in one listen. Yes peoples, El-Producto is back with not one, oh no, but two albums this May! First up is his long awaited third solo album proper (not counting other side projects). Cancer for Cure has been gathering buzz for a minute now and all reports are that it is most stellar. [Ed: see Album of the Issue, p. 40.] Featuring Mr. Muthafuckin’ eXquire, Danny Brown, Killer Mike, Despot and Nick Diamonds, you know El-P always come correct with the guest choices. Expect a heavy artillery of sonic warfare blended into those more beautiful and subtle moments. Lyrically El-P is reportedly at the top of his game, like one would expect from a true veteran. Bring it on, can’t wait to hear it! Top ten material? I better not be disappointed! And if that’s not enough for your greedy ears El-P has also produced the entire new Killer Mike record R.A.P. Music which is also due out this week. Mike has always been completely underrated and been grinding away for years releasing quality (but slept on) solo records. Teaming up with El-P was an inspired choice and reportedly they’ve used Ice Cube’s AmeriKKKa’s Most Wanted and old Bomb Squad production as a template. The album features Bun B, T.I., Trouble, Scar and Emily Panic! T.I. over an El-P beat? Oooohh wee! Another must have for 2012 in a year that is piling up with quality releases. Melbourne rascal Maundz is prepping the release of his second album Zero which is due for release on Crate Cartel records (with Obese distribution) on Friday May 25. As part of the Crate Cartel collective, Maundz has been making some major noise over the past few years and has received big ups from the likes of the Hoods and Drapht. Zero is produced entirely by rising beat machine Wik and features a great collaboration line-up, including the ever excellent Action Bronson, Drapht, Vents, Sesta, Brad Strut, Bias B and the Crate Cartel crew. Looking forward to this one. Cop it when it drops. Dilla’s mum, MaDukes has just released a statement that a new posthumous project from the late J.Dilla is on the way. Rebirth of Detroit will feature the likes of Phat Kat, Guilty Simpson, Danny Brown plus more over a mammoth total of 25 unreleased tracks and unheard beats from the Dilla vaults. Jump online to check out the awesome promo video for the album. As stated by MaDukes: “This will bring together artists that have drifted away from one another and haven’t been able to work with each other lately. It’s a healing process for the city.” Simply awesome! To hear music from all these releases and more, tune to The Antidote on 2XX 98.3FM every Tuesday night from 9.30pm. Stream at www.2xxfm.com.au . ROSHAMBO AKA CED NADA - roshambizzle@yahoo.com.au

NO SIERRA LEONIANS WERE HARMED josh brown Shara Worden, owner of the positively angelic voice behind American chamber folk act MY BRIGHTEST DIAMOND, is no stranger to Australian shores. Her upcoming stint as one of many jewels in the resplendent Sydney-based Vivid LIVE Festival line-up marks her third tour down under and her second appearance at the festival. Last time round, Worden’s presence at the 2010 edition of the event was special for a couple of reasons; it was at the behest of two of her musical idols, curators Laurie Anderson and Lou Reed, and she was in the final stages of her first pregnancy. “I was huge!” she laughs. “Yeah, that was the last full show that I did [before giving birth]. I couldn’t really walk that well.”

It’s such a wonderful treat for me to be in a different role… it flexes a different part of your brain

It’s also worth reminiscing a little about Worden’s very first trip here in 2008. She opened for one of her fellow countrymen also on his first tour of Australia, a then-upcoming indie folk singer (you may have heard of him), Sufjan Stevens, who coincidentally also happens to be on the bill for Vivid this year. In what was too good an opportunity to pass up, I attempted to plant an idea in Worden’s head: how about Stevens joining her on stage to bust out an encore of Impossible Soul, the 25-minute long closer on his last album that she contributed guest vocals to? A reasonable request, surely. “Yeah! That would be fun. I’ve never sung that with him live. It’d be crazy,” she muses. Collaborating is somewhat of a recurring theme when it comes to Worden’s musical output, which is certainly not restricted purely to her work in My Brightest Diamond. In addition to working with Stevens, she’s also appeared on tracks by the likes of David Byrne, Fatboy Slim, Owen Pallett and The Decemberists to name a few. With this tendency for frequent experimentation, does she consider herself a restless creative spirit? “A curious one,” she counters, after a moment’s hesitation. “Right now I’m working on the music for a play [and] I’m gonna be in another Matthew Barney film in the fall. It’s such a wonderful treat for me to be in a different role and it flexes a different part of your brain.” Hearing Worden namedrop Matthew Barney immediately sets my mind racing. That connection leaves her just one small degree of separation away from Barney’s wife, the Icelandic avant pop queen Björk. Now there’s an idea for a collaboration. “Yeah, I mean she’s amazing but what would you do? You’d just stand there and watch her!” Worden laughs. A genuinely humble response; little does she realise her own live performances tend to have the exact same effect on her audiences. She is a truly unique talent with a voice to behold; catch My Brightest Diamond at Vivid LIVE and you’ll see what I mean. My Brightest Diamond play the Vivid LIVE Festival at Sydney Opera House on Sunday May 27. Tickets cost a meagre $45 + bf and are available from www.vividlive.sydneyoperahouse.com.

METALISE Huge weekend of metal coming up in Canberra with Tim ‘Ripper’ Owens Friday May 25 at The Basement and Metal Fiesta 2 featuring House of Thumbs, King Parrot, Amodus, Dark Nemesis, Frankenbok, Inside the Exterior, Na Maza, Our Last Enemy, Psynonemous, Tortured and Wretch at The Basement on Saturday the 26. If you need a hair of the dog or just more ear canal bludgeoning then Sunday May 27 offers up Law Of The Tongue, Mammon and Canberra Cannons. USA thrash metallers Warbringer announced an Aussie tour for early October last week and included on the run of shows is a 18+ Canberra show Wednesday October 10 at The Basement in Belconnen. Also playing are Canberra’s Tortured, Nekrofeist and Festering Drippage. Also announced last week but sadly sans a Canberra date are Swedish grind merchants Nasum who are playing a national tour with Tasmania’s Psycroptic. The dates are for August with shows at The Hi-Fi in Brisbane, Sydney and Melbourne. (The HiFi have franchised out to all three cities in the last year.) The Sydney show is Saturday August 18 and Melbourne’s Sunday August 19. In case you were wondering what happened to French band Hypno5e last week, the band cancelled their Aussie tour due to health issues with guitarist Jo. Johnny Roadkill have an EP to launch at The Basement on Saturday June 2 with locals Perpetual End, Mad Charlie and Viginia Killstyxx in tow. Futility launch their second full-length album The View From Here at The Basement on Saturday June 9 to follow up their 2009 self-titled album. After spending 12 months recording the album in guitarist (and The Basement’s stalwart sound engineer) Kurt’s home studio, the album is ready for release from the Tactical Solutoins Records label. Along for the show is Sydney bands Myraeth and Katabasis and locals Tranquil Deception. Futility also have a pretty full dance card coming up in support of the record and you can read up on activities on their facebook site, www.facebook.com/futilitydoom. Steel Panther announced and sold out their Sydney and Melbourne dates in the last fortnight but if you can eBay a ticket to the Friday October 5 show at The Big Top in Sydney or The Palace in Melbourne on Sunday October 7 then good one. He of the hat, Les Paul and long locks is coming back for another Aussie tour too. Yes, Slash of Guns ‘n’ Roses, Velvet Revolver and Snake Pit is back in August with a Sydney Entertainment Centre show on Saturday August 25. Blood Duster have completed tracking on their latest full length at Goatsound studios. The album is aimed to be out in time for Bastardfest this year. The band also plays this year’s High Voltage Festival on Saturday June 30 with Macabre, Hobbs, Angel Of Death, Depression, Earth and Captain Cleanoff. On the more hardcore side of things, don’t forget that Hardcore 2012 has it’s 18+ and AA show coming up at The Hi-Fi in Sydney headlined by Terror and tickets are on sale now. Also the Poison City Weekender kick-off announcements were made last week for the September event in Melbourne with headliners Rival Schools and tonnes more. Unkle K’s Band of the week: Negative Standards – www.negativestandards.bandcamp.com/album/ JOSH NIXON doomtildeath@hotmail.com

ALTOGETHER: RESISTANCE IS?

THE ANTI-SIESTA RETURNS

CARRIE Gibson

carrie gibson

The View From Here, the ensuing release from Canberra doom band FUTILITY, is set to astound The Basement on Saturday June 9 where it will be unleashed on the ears of avid punters. Formed in 2007 the band has gripped the goat by the horns and dedicated a mammoth amount of energy to see their music take shape in a more articulate manner this time around.

In November 2011 a new breed of festival was born – a festival amplified by the reigning of the blast beat and ridden on the backs of the bruised and bloodied bodies of the moshpit.

The people come out of the cracks

With complexities and unpredictabilities lavished throughout the record, the four-piece are convinced that the latest album will persuade even the most unlikely of consumers. The composition of the latest offering has been described as a fully formed, heavy as heavy can be sound with oodles of unexpected changes designed to stick harder and heavier in your throat than ever before. The latest release is stronger than anything the band has endeavored to create in the past, encapsulating the idea of death and loss in their sound with assertive vivacity to say the very least. It is a feat for which the band spent many months in serious preparation before the pending release. With the talents of Kurt Neist driving the sound engineering aspect of the enterprise, the band were in indisputable form to offer a compelling and fundamental piece of work. “There was significant preparation on structure in the beginning,” states vocalist Brendan De Bear as we discuss the importance of the DIY aspect with the band. ‘We wanted the control over our music and the ability to do things over time. With members like Kurt we are lucky enough to have the long term passion to see it done.” That passion has seen much scrupulousness with the music, ensuring the band had everything they wanted rupturing from this album. And rupture it does; with sheer determination being the driving point for the four-piece, The View From Here is projected to sweep over the crowds this winter at a ruthless pace. The band will liberate The View From Here beginning in June, with a unique home appearance at The Basement supported by long term ‘mates’ Tranquil Deception, Myraeth and Central Coasts. “It’s a place in which we all congregate and observe the cavernous jaws of desolation. Punters will be privy to a set consisting of the album in its entirety, starkly delivered to punters with many live spectacles to boot,” boasts Brendan De Bear. The band then embarks on an interstate tour for several shows, showcasing the aptitude and skill for which they are renowned. “Futility have always been very well received interstate, particularly Sydney. The people come out of the cracks and really enjoy the music,” adds Brendan. The band march with one purpose this year as they continue to introduce Australia to the sombre and savage sounds of Futility. Futility launch their new album at The Basement Saturday June 9, 8pm, with Tranquil Deception, Myraeth and Central Coasts. $10 on the door.

Created by the highly regarded Shananigans Entertainment, METAL FIESTA already sits a stone above the rest. Based in Canberra, the mini-festival covers all genres of heavy metal over two stages and consists of both local and interstate bands. “I put these shows on because I love live music. I started Shananigans Entertainment purely for that reason,” comments Shananigans CEO Ben Crawford. “Canberra and Australia have some of the greatest and most talented bands and shows such as Metal Fiesta are a great way for bands to get their music out there and expand their fan bases.” To grace the stages of Metal Fiesta is no easy feat. Bands must be of the highest calibre, offering unique, supreme musicianship, a standard headliner Frankenbok have no hesitation claiming. “We are on fire at the moment, touring on the back of our latest album [The End of All You Know], so it will be a raucous affair It’ll be a raucous with lots of beards!” they affair with lots laugh. “We really enjoy playing to the crowds in of beards Canberra – Melbourne is so saturated with metal. Bands always competing for punters with the multitude of venues, yet in Canberra all the metal heads congregate at the one venue. That’s The Basement and it’s great.” Shananigans Entertainment are renowned for compiling some of the most thrilling line-ups of both interstate and local acts. This opinion is shared by Canberra band Inside the Exterior. “The line-up is sick!” shouts vocalist Todd Howard. “Canberra provides a really good base for us. The Basement is always a great night out for a show, we have just introduced a new guitarist [Chris Glennie] who is shredding it up front, we have some new tracks and will be bringing a quality brutal set to the Fiesta.” Co-headlining with Frankenbok is Sydney’s Our Last Enemy. Vocalist Oliver Fogwell adds to the regard bands have for the Canberra scene. “We always get a good response in Canberra and we love playing there, fans show us their Our Last Enemy tattoos at every show in the ACT. The Basement staff are always really helpful and hospitable – we can’t wait for Metal Fiesta. It’s the last show of our Wolves of Perigord tour and will be very special as we are playing some of the new songs from the album just for the Canberra fans!” Unacquainted with the Canberra crowds is Melbourne’s King Parrot and after speaking with vocalist Matt Young the band are aiming for an unpolished, stripped back set of thrash and grind. Be sure to don the colours and head out for a great night of heavy metal. Get along to the Metal Fiesta II at The Basement, Belconnen, Saturday May 26, featuring Frankenbok, Our Last Enemy, House of Thumbs, King Parrot, Inside The Exterior and more! 8pm, $20 on the door.

We can allow

EXCLAMATION NONNEGOTIABLE ALISTAIR ERSKINE I have never had a chance to go to the National Folk Festival as Easter is a time that my interstate parents would lasso me home with offers of Easter eggs, warmer climates and the ‘it would be nice to see you’ factor. So as much as I can talk to people about what goes on at the Folkie, I don’t actually know what goes on there. But if I had to guess, Melbourne’s FLAP! would be there, whipping a bunch of hirsute stoutfilled vagabonds into a twirl of dancing, clapping and laughter.

ba-bas,” but rest assured Flap! to just be he put me in my place. “In Flap! terms of evolution, like everything in our dotage I like to keep my musical life in discreet packages. We are all in other bands and that allows us to exercise some of the parts of our lives that you need to write music about in those projects, and as such we can allow Flap! to just be Flap!” Flap! occupy a space that I find quite unusual, niche and original, but Eamon slaps that notion down as well. “We are really heavily influenced by bands such as The Band Who Knew Too Much and The Hoodangers. The difference is that we are more verse-chorus-verse than those guys. But we love to draw on what’s come before, right down to the sauciness and cheekiness of the lyrics – English Folk has traditionally been really racy and its that type of thing that we love to use as I really don’t get to apply that to any of my other bands.” Flap! will play The Front on Wednesday May 30, 8pm. Tickets are $12 on the door with guests TBA.

Having just released their second album A Great Day For The Race, Flap! are on their way back to Canberra and I caught up with trumpet player and singer Eamon McNelis, and kicked off by asking about their new record. “We recorded the first album in a house, not a studio, and while that was good there is something so amazing about being in a professional space to record your music. You play and it has this great knock on effect, everyone in the band steps up and it sounds like the band is really in synch and clicking and it just sounds so much better than it did before!” I posed to Eamon that I don’t think that the new Flap! stuff is that different to their old stuff, which is hardly a bad thing, but does a band that treads the strange line between traditional folk and traditional jazz wrapped up in a comedic carnival atmosphere actually have much scope for evolution. Eamon countered, “Well actually on this new record everything is a little slower.” Now sadly for print media he explained this by mouthing examples of the horn parts on the new album, as opposed to the old ones, clearly demonstrating the tempo shift of the new songs through a series of “Ba-ba-ba-

the word

on albums

album of the issue

el-producto cancer for cure [fat possum]

Former Company Flow linchpin El-P (real name Jaime Meline) set the bar pretty damn high with his preceding 2007 solo collection I’ll Sleep When You’re Dead, which saw the likes of Cat Power and The Mars Volta making appearances amidst some of his densest and most ambitious work yet. Leaving five years between artist albums has certainly set the expectation levels to almost ridiculous heights but with this third solo album Cancer For Cure El-P masterfully continues to prove why he’s one of the most significant figures currently operating in hip hop. As someone just as comfortable behind the mic as manning the mixing board he’s certainly a double threat. Immediately obvious from the very outset on the 12 tracks here is the heightened intensity of the sonic backdrops, which shift from dark film-score synths, dystopian electro and broken blues-soul right through to more familiar boom-bap structures without ever sounding forced.

El-P’s signature dense aggressive MC flow comes across as more focused and head-spinningly detailed than ever here, with the usual dose of underlying urban cynicism proving that misanthropy and eloquence can be a lethal combination in his hands.

M Ward wasteland companion [bella union]

the futureheads rant [liberator]

M Ward is a reliable guy. When he writes a song, you know it’s going to be good. He builds them out of strong chords, one after the other, usually classic progressions with one or two inspired taste-makers to keep you guessing. He records them in that way that seems simple, that no-one else gets right: ten guitars in a beautiful wash, nothing in the way, always something new for the ears.

After ten years and four albums, this latest collection from English pop post-punk four-piece The Futureheads sees them trying something distinctly different. While the title at first suggests some of their most barbed invective yet, this latest album sees them ditching their instruments entirely for a completely a capella track listing that takes in voice-only reworkings of their back catalogue, classic English folk songs and a smattering of pop covers including Black Eyed Peas’ Meet Me Halfway and Sparks’ Number One Song In Heaven. While it sounds like a radical shift at first, the fact that all four members have always shared vocal duties means this isn’t as much of a stretch as you might think.

Wasteland Companion has the poetry, the construction, the flow, and the emotion of a record you’ll replay until it’s worn and broken.

In fact, there’s often so much going on here simultaneously that it’s near impossible to take everything in at once. Works Everytime sees the protagonist using substances to willingly insulate himself from society, literally buying himself off-planet in a Philip K Dick-esque twist against a paranoiac backdrop of eerie minor key synths. For My Upstairs Neighbour meanwhile seems to be based around the police harassment that follows the murder of someone in El-P’s apartment complex, though given the layers of dense metaphors it’s almost impossible to separate truth from fiction.

Don’t get the wrong idea: this isn’t a safe record.

As is customary by now with El-P, Cancer For Cure is hardly lightweight listening but then again you’d be foolish to expect anything less from an artist this focused and in control of his talents.

That being said, the YouTube-itnow recommendation goes to I Get Ideas, for cherry-picking the very best of his time with Zooey Deschanel as She and Him and spinning pleasure for us out of whole cloth.

CHRIS DOWNTON

james fahy

He starts honest and quiet; lurches into a pop-hit that’ll be reprised late in the second half; dredges the crazed media-era melancholy of the lonely; and outdoes himself on final track Pure Joy. It is what it sounds like, which is a bigger deal than you might think. He’s not seeking to conjure joy inside you (though he might, anyway) and he’s not sublimating it in a dopamineactivating beat. He manages to unironically explain without a self-deprecating shrug, “Ain’t no other way to say what this feeling is/ pure joy.”

What’s especially curious is that The Futureheads have actually made me like a BEP song for the first time (shh) with their stripped-back reworking of Meet Me Halfway recasting the original as an eerily uncertain soul wander that calls to mind one of Bloc Party’s more introspective moments. The new versions of the band’s own songs also manage to highlight interesting new angles amidst the doo-wop-meets-barbershop harmonies, the re-take on Robot in particular revealing just how much Devo-esque tension was lurking beneath the original. There are echoes of The Beta Band’s leftfield folk to be found also in the cover of traditional song The Keeper. While Rant might confuse some fans, this is a mostly inspired sidestep. Chris downton

mark stewart the politics of envy [emi music] The opening line of opening track Vanity Kills proclaims, “I’m not impressed by your decadence,” and to me this quite literally sums up my impression of Mark Stewart’s egregious post-punk electronic mindbomb, The Politics of Envy. The album looks amazing on paper. The creased promotional endorsement is bursting with a long list of well-respected collaborators including Lee ‘Scratch’ Perry, Richard Hell, Douglas Hart, Keith Levene and Daddy G, who have all lent their various and diverse talents to the project. I really wanted to like this album but it tries too hard to casually meld the pruriently protesting guitars of seventies rock with the soulless synthesisers of modern electronic music and ends up sounding more like a cinema soundtrack than a ‘sit-andlisten’ timeless long-player. The Simpsons taught us via Homer’s ghastly self-made mass production vehicle ‘The Homer’ that having too many aspects and features does not necessarily mean that a product will be desirable and the same principle exists here. There are too many layers of production masking Stewart’s (lets be honest) mediocre vocal performance but maybe this was intentional. There are some highlights though, tracks like Gang War, Codex and Want ensure that the middle portion of the album is very listenable, although as a whole The Politics of Envy is definitely for hardcore fans only. tim galvin

the cramps file under sacred music: early singles 1978-1981 [munster records] I pulled a stunt in a long gone day job that involved proudly informing the room I had found the perfect song to describe a dysfunctional work environment, and proceeded to blast The Trashmen’s oddball 1963 garage hit Surfin’ Bird. A strange song but one that rocks out in an altogether satisfying way. When it found its way into the hands of Ohio rock ‘n’ roll obsessives The Cramps in 1977, the weirdness factor was upped a notch with the song stretched out to accentuate absurd gurgles over trashy guitars, all of which was completely meaningful and meaningless at the same time. This pretty much sums up The Cramps’ aesthetic. On stage, vocalist Lux Interior liked to strut around in tight leather trousers and high heels while behind him the band looked like cast members from a John Waters movie. The look fit the music which is an off-centre, totally sexual take on early rock ‘n’ roll and kinda sounds like punk rock but wants to connect the dots between the purified strains of Charlie Feathers’ rockabilly with the garage enthusiasm of The Sonics and the boundary pushing freedom of 1970s punk. This collection provides an essential overview of the band’s formative years and includes both A and B-sides of ten early singles. Check out Human Fly recorded in 1977 and produced by no less a genius than Alex Chilton. Lux Interior sounds a bit creepy and he might just blow your mind. DAN BIGNA

nick fanciulli balance 21 [balance music]

shady lane built guilt [rice is nice]

“You’re listening to Balance 21, mixed by Nick Fan-Choo-Lee.” Thanks Pete Tong. I have a very short memory so it helps that you come in every five minutes to remind me. I loathe the repetitious anti-piracy blurbs that extirpate modern day dance music promotional albums. For Fanciulli’s contribution to the Balance series, I’m willing to cut them a little slack. Nick Fanciulli is the king of progressive groove, the Englishman has a knack for building and maintaining layers of sound that have you wondering how you got that far into the mix without a noticeable change in feel, and I love that. The best a progressive compilation can wish to achieve is to lose its listeners in the journey and Fanciulli does this with ease.

Shady Lane is the project which gives expression to the alter ego of troubadour Jordy Lane. You may have been lucky to catch Jordy playing at The Street in support of such maestros as Jeff Lang. Well if you did, this album is NOTHING like his solo folk-blues style. The band takes the zany music of Richard in Your Mind, of which Jordy is also a member, and goes way beyond that in terms of experimentation and tapping into the vibrations of other dimensions. Opener Easybeast projects a mood rather than a message, with a vibe like gently lapping waves.

Disc one is a little lacking in momentum, the tracks blending almost too well which gives it a kind of ‘warm up’ feel but this is exactly what Fanciulli intended. It isn’t until the kick drums of Gianni Callipari’s Whybee introduce the second part of the mix that you start to realise that Fanciulli has you exactly where he wants you. The compilation starts to make sense. The first 27 tracks get you locked into a groove, deer in the headlights, eyes on the swinging pocket watch. Once hypnosis is confirmed, Fanciulli brings it home with a bunch of amazing records from his own label. Clio’s Mister Nice, Radio Slave’s Grindhouse (Nick Fanciulli Mix) and Chapel’s Westworld (Skylark Mix). Touché, Mr Fanciulli. Tim galvin

CD highlight Convenient FaceHinge goes all funky, with a semi-dance beat over a short wave radio buzz effect and munchkin squeals. The Richard in Your Mind influence comes through strongly in Gwimnoddles, a flighty navel gazer topped with the elegant tones of a Farfisa organ. What Future dreams on with notes that drop like stones into a still pool while Mother Mountain Rabbit beeps and squelches like the soundtrack to an extremely arty ‘60s sci-fi flick. The CD is emblazoned with colourful fungi, a naughty hint that you might want to imbibe some of these before pressing Play. The songs feature false endings and dramatic shifts in melody. Consciousness-expanding – well, maybe. Challenging your notions of electro-pop – definitely. However, you really have to have the right taste to take on this daring style. RORY McCARTNEY

the word

on films

WITH MELISSA WELLHAM

There is nothing movie producers seem to love more than franchises, sequels and re-makes. According to some statistics, in 2011 a record number of 27 sequels were released in Hollywood. That’s a lot of films using the same characters, similar shtick and probably quite comparable storylines for audiences to watch. It’s almost refreshing (if not to see a truly original film) then to see a film from eons ago that hasn’t been substantially altered but still stands up. Take a bow, Beauty and the Beast.

quote of the issue Beast (Robby Benson): “I want to do something for her. But what?” Cogsworth (David Ogden Stiers): “Well, there’s the usual things: flowers, chocolates, promises you don’t intend to keep…” Beauty and the Beast

beauty and the beast

dark shadows

The first ever animated film to be nominated for a Best Picture Oscar way back when, Beauty and the Beast has now been re-released on the silver screen in dazzling 3D.

Fans of the cult soap opera circa late 1960s will no doubt be disappointed by this camp and uneven adaptation. Newcomers going in expecting director Tim Burton to be back on form at last will be even more disappointed.

An obvious moneymaking scheme, you might say. An unnecessary re-release, perhaps. Well, you’d be right about the obvious moneymaking part, but Beauty and the Beast is still such a joy to watch that it doesn’t feel unnecessary at all. Truly fantastic films deserve to be shown to a new generation and despite the 3D being nothing notable, Beauty and the Beast should appeal to a new generation of kids who have been immunised to impressive graphics by films like Avatar because of the magical story. I’ll be honest: some aspects of the tale have dated somewhat. The whole ‘Belle being a victim of Stockholm syndrome when she falls in love with the Beast because she’s actually his prisoner and he has decreed she can never see her father again’ is just one example. However, the songs are as enchanting as ever, the colours are even more vibrant and while I didn’t really notice the 3D while watching the film I’ve no doubt that the digital cleaning-up that concurrently occurred made the animation much brighter. At the heart of it, Beauty and the Beast is still a lovely story. The film feels just as timeless as it did 21 years ago. melissa wellham

Dark Shadows follows Barnabas Collins, a cursed vampire who was buried by a scorned witch for almost 200 years and finally unearthed in 1972. He returns to his once decadent family home— stumbling through an era he is unfamiliar with—and meets the misfits that now inhabit the Collins mansion and hijinks ensue. Boring hijinks. There’s a stupid love story as well, a thoroughly unconvincing one not worth elaborating on. The tone doesn’t seem to know what it is (dark? funny? edgy?) and the script jumps around (remaining consistently unengaging and dull throughout). Johnny Depp (as Barnabas) sleepwalks through the film and the rest of the cast is just as useless – which is a shame as there is a lot of talent here (Eva Green as witch Angelique, Helena Bonham Carter as a depressed psychiatrist, Michelle Pfeiffer as the strong-willed matriarch). There are some enjoyable moments here but unfortunately they are far too few. Overall, Dark Shadows was a disappointment, as the film could have been a wonderfully fun dark comedy if Burton hadn’t mishandled it so horribly. At least it’s not as bad as Alice in Wonderland. Megan mckeough

salmon fishing in the yemen Salmon Fishing in the Yemen, based on the novel of the same name by Paul Torday, has a pretty bizarre premise for a film that is so grounded in reality and humanity. Fred Jones (Ewan McGregor) is a man who finds it difficult to connect with other people – he has Asperger’s syndrome – but has no problem connecting with fish. He is the British government’s expert in fisheries and is perfectly content in his comfortable life. But his existence is shaken up when Harriet Chetwode-Talbot (Emily Blunt) approaches him on behalf of a wealthy Yemeni sheikh (Amr Waked) for help with a project to introduce salmon fishing to the arid Yemen. The task is basically impossible and what follows is an upstream battle against the odds – a story about faith and fishing and proving the impossible possible. The film swings between lightheartedness and melodrama and the endless metaphors about fishing and faith become irritating pretty quickly. Despite the narrative flaws, McGregor and Blunt have real chemistry, which makes Salmon Fishing in the Yemen a lot more enjoyable than it would have been otherwise. It’s a comedy of incompatible personalities and the everlikeable Blunt is a good match for the dry, sardonic McGregor. I don’t think anyone will fall for this film hook, line and sinker; but you’ll enjoy it if the only bait you need is a feel good ending. MELISSA WELLHAM

the word on dvds

YOU DON’T KNOW JACK [WARNER HOME VIDEO] At some point over the past couple of decades Al Pacino the Oscar-winning actor became Al Pacino the hammy scene-chewer par excellence. Every over-enunciated line and extravagant gesticulation was a reminder of a talent in recess. Even his silence was noisy. Which makes You Don’t Know Jack—where he plays infamous euthanasia supporter Dr Jack Kevorkian—a revelation. This HBO produced doco-drama focuses on the final 20 years of Kevorkian’s life when the former pathologist started his program of assisted-suicide, all the while mounting battles with the Michigan legislature, pro-lifers, the Christian conservative movement and anyone unlucky enough to cross his path. He was a stubborn old man who desperately wanted a societywide debate on the benefit of terminating the lives of those who were suffering. Initially, his arrests fell over because he was acting outside the law. When the laws changed he goaded the authorities to arrest him assuming no conviction would stand. He was wrong and in 1999 was convicted of second degree homicide after administering a lethal dose during a 60 Minutes profile – a key difference in that all previous assisted suicides were patient led. Kevorkian represented himself unsuccessfully and spent over eight years in prison. Pacino delivers a pedantic and inscrutable performance capturing the intensity of a complex and controversial figure but never overplaying his hand. His restraint is disarming. Danny Huston as Geoffrey Fieger, Kevorkian’s equally controversial lawyer/friend, provides plenty of spark. It’s a brilliant and odd coupling that propels a deliberately glum and cold-looking film. It tackles— not hectors—a difficult subject with sensitivity and maturity, leaving many questions sensibly unanswered. JUSTIN HOOK

Civilization – Is The West History? [ROADSHOW] Few modern historians attract more mockery and derision than Niall Ferguson. There’s little doubt the puppy-faced, Oxford-educated, Paul Krugman-baiting, dogmatically pro-imperialist and stridently capitalist author is a talented presenter but one wonders if his mojo hasn’t deserted him. Ferguson’s central thesis is replete with attention-grabbing hollowness: the progress of civilisation can be traced to six ‘killer-apps’ – medicine, property, consumerism, competition, science and work. The ‘success’ of Western civilisation over restern civilisation (yes, he uses that groan-inducing phrase) can be traced to how it has used these killer apps. As a gimmick it lacks precision and never does he ponder their interconnectedness; resultantly he veers all over the map. In the science episode he spends half his time pondering the Ottoman and Hapsburg Empires barely joining the dots to science. The competition episode plants the seed of its own destruction by openly admitting pre-Industrial Revolution Chinese dominance came to an end due to selfinflicted wounds (destroying its naval fleet) not the lack of interest in the spice trade. In one mystifying instance he even gets stuck into Ghandi for not appreciating the British annexation of his home country. Ferguson’s input should always be welcomed and his capacity for research and ability to corral evidence and examples is a guilty pleasure, much like his accent. But his analysis and conclusions are bogus and the attempt to put a hip, modern blanket over Eurocentrism really hasn’t come together. Deliriously antagonistic as ever, Ferguson’s latest addition struggles to match the rigour of Kenneth Clark or David Landes. JUSTIN HOOK

THE DEBT [UNIVERSAL/SONY] The heart of this time-shifting spy drama is deceit – more specifically how lies can ensnare well-intentioned people. Admittedly, it’s not the most novel of ideas but there’s plenty to work with. Especially when you roll in the Cold War, Mossad and a Nazi who was also a vile experimental physician, just in case being a war criminal wasn’t enough. In 1965 three Israeli spies (Rachel, Stefan and David) are deep in East Germany piecing together a plan to kidnap and transport the bad doctor (Dieter) to Israel to be put on trial. Around 30 years later the agents—now equally scarred both physically and mentally by an unspoken secret—are brought together in terse circumstances to put an end to three decades of deceit. The dance around plot lines is deliberate. It would be unfair to divulge too much though you can rest assured whatever nuance there is in the film, and it does provide some gut churning moments, it gets somewhat lost in the vortex of cartoon character villainy. Dieter (Jesper Christensen) taunts, teases and spits while the young Mossad agents Sam Worthington, Jennifer Chastain and Martin Csokas valiantly underplay their situation and struggle with Israeli accents; except for Sam who just gave up altogether. Also somewhat lost is the narrative, which jumps around early on before settling in then jumping around again, all the while serving no particular purpose other than audience confusion. Based on a 2007 Israeli film, the pitch for this remake feels misjudged. At times it wants to be a big budget thriller akin to Spielberg’s Munich and other times a smaller more considered Cold War drama like The Lives of Others. The middle ground is enjoyable, but not as gripping as it should be. JUSTIN HOOK

the word

on games

Realm of the Mad God Platform: PC Developer: Spry Fox Length: ∞ Verdict: Play it! Having mostly avoided World of Warcraft since its inception back in 2004, I would be remiss in trying to analyse what makes it so popular, but I can make some simple guesses as to why none of its many competitors ever manage to unseat it: the underlying gameplay is always very similar. Each game has huge 3D worlds, enormous skill trees, a fairly staid gameplay style and a prohibitively complicated and steep learning curve which the player is required to push through before being able to actually enjoy the game. Enter Realm of the Mad God; a free-to-play, cooperative, retro-styled bullet-hell MMO, aiming to remove the traditional learning curve and throw the player directly into the action. This game has a minimal storyline, simple graphics and an easy control system, allowing you to concentrate immediately on slaying monsters, and best of all to start playing you only need to head to the website (www.realmofthemadgod.com).

Playing Realm of the Mad God for the first time starts you in the ‘Nexus’, a sort of safe zone within the game where players can purchase new goods and trade with other players. It is here that you get a sense of the number of players within the game, as the Nexus is always so full that it is difficult to identify where your own character is within the roiling mass of pixelated characters. From the Nexus you jump into one of the Mad God’s ‘Realms’, where the real game begins as you hunt and get hunted in return by swarms of seemingly never ending monsters. Core to the experience (as you would expect in an MMO) is cooperation with other characters, and there is an immense satisfaction of having a team of players spontaneously assemble and start steamrolling enemies en masse. Once you and your fellow players kill enough monsters, the Mad God himself will be enraged enough to transport you to his castle where you will need to work together with your anonymous comrades to take him down. Of interest is the fact that death here is permanent. Once death occurs you get a score based on your performance and then need to start back at experience level one. This might infuriate some players who really like building up their characters over time but it does mean that there is always a level playing field in the game and grinding away for hours doesn’t mean you leave your fellow players far behind in capability. Realm of the Mad God has been developed by Spry Fox, producers of the highly successful iOS game Triple Town, and before being released ‘officially’ last July was in open Beta for over a year. It is most likely too niche to be displacing the big MMO’s such as WoW, but given how popular its servers are a year after ‘official’ release, it doesn’t look like it’s going anywhere. PETER DAVIS

BLACKBOX Pour the champagne cocktails, pull out the fondue pot and get your best Eurotrash on. It’s Eurovision time! If you’re a devotee there are the semi-finals (SBS1, Fri-Sat May 25-27, 8:30pm) and The Road to Azerbaijan with Julia Zemiro (SBS1, Fri-Sat May 25-27, 7:30pm). But the Eurovision Final (SBS1, Sun May 27, 7:30pm) where you get to hear them say ‘[Small European nation ending in -stan] – no points’, is definitely the main event. This year the entry du jour is the emotional ballad and host nation Azerbaijan has led the charge. As always there’s a good share of trashy dance tracks and novelty entries from countries trying not to make it through. The UK has sent Englebert Humperdink; the token hard rock track comes from Slovakia who have opened a portal to the late ‘80s; and Austria look like an industrial version of the Revenge of the Nerds finale. Sweden’s Loreen may be the favourite but Blackbox points go to Montenegro’s Rambo Amadeus. There’s a donkey in the film clip. You have to give points for a donkey. Elsewhere it’s all about bikies: Bikie Wars: Brothers in Arms (SCTEN, Tue, 8:30pm) continues and Sons of Anarchy (One, Wed May 23, 9:40pm) has a start date. Insight (SBS1, Tue Jun 5, 8:30pm) is getting into the act and there’s even a bikie-themed episode of CSI (GEM, Sat May 26, 10:30pm). New shows this week include Shaun Micallef’s Mad As Hell (ABC1, Fri May 25, 8pm) a round up of the week’s news Micallef-style,

the most inventive talent show Bollywood Star (SBS1, Sat Jun 9, 7:30pm) with the prize of Bollywood stardom, Archer (ABC2, Tue, 9pm) an animated spy comedy, new Fringe (Go!, Mon May 28, 10:30pm), Sanctuary (ABC2, Tue Jun 5, 9:25pm) and Downton Abbey (Prime, Sun, 8:30pm). Docos to check out include Sunday Best: We Were Here (ABC2, Sun Jun 3, 8:30pm) about AIDS in the ‘80s, The Truth About Child Brides (ABC2, Wed May 30, 9:30pm) and The Story of Wales (SBS1, Fri Jun 1, 8:30pm). There are some great shows airing in the US at the moment starting with the jaw-dropping second season of Game of Thrones on Fox. There are also a couple of newbies that will hopefully get some free-to-air investment. Girls is an enthralling drama about four twenty-somethings in NYC. It straddles the timeline between Gossip Girl and Sex and the City (11, Fri, 9:40pm) but is grittier and pushes more boundaries. Veep is a US adaptation of The Thick of It starring Julia Louis-Dreyfus as the Vice President. The new season US shows were announced last week and include comedies The Neighbours about a gated community where aliens reside and dramas 666 Park Avenue about a haunted NYC apartment building, Zero Hour, starring Anthony Edwards as the editor of a skeptics mag, and Arrow, based on DC Comics character. New Australian projects include Aunty’s This Christmas, a six-part comedy about an anti-Christmas family to air (you guessed it) in the lead up to Christmas, Mr &Mrs Murder a 13-part comedy crime series starring Shaun Micallef and Kat Stewart for SCTEN which has just been funded by Screen Australia and a telemovie of Peter Temple’s The Broken Shore. TRACY HEFFERNAN tracyherrernan@bigpond.com @ChezBlackbox

the word

Effigy Entertainment presents Synthesis Transit Bar Saturday April 28

on gigs

Upon hearing that Effigy were presenting an evening of poetry slam followed by music spanning acoustic to acid-electronic my reaction was as sundry as the line-up. What was the motive behind this anomalous collection of acts? As I was soon to discover this was a night which showcased the impressive diversity of local creative talent like no other I’ve witnessed. I’m ashamed to admit that before that night I’d never attended a poetry slam. I can’t think of a better way to be introduced to this potent hybrid art-form of lyrical expression and emotive performance. My lack of prior exposure might have hindered my acuity but all seven artists enlightened me to the undefinable uniqueness that is the essence and beauty of performance poetry. The silence within the appropriately dim-lit bar was shattered as Jason Andrews spat the words of American artist Saul Williams to a captivated crowd. His energy-filled hip hop style was driven by such a fiery, candid passion that I found myself continuously resisting the urge to cry out in solidarity. The atmosphere was dramatically altered as Brian O’Biri Asare recited his original material, of which both the story-like content and style were efficaciously visual and deeply moving. His subtle body language and verbal nuances were all that were necessary to maximise the impact of his poetry, which at some points was literally spine-tingling. VJ Caitlin Welch’s original short films were effective here, providing a visual representation of themes exploring human vulnerability and the delicacy of life. First-time slammer Ellie Malbon’s emotionally charged theatrical enactment flowed as organically as her euphonious words, instantly charming us all. Seasoned poet Andrew Galan delivered a set of priceless crowd-pleasers riddled with satire heightened by his deadpan expression. Anna Potter led the crowd into the musical realm with sweet, soulful melodies carried on heavenly guitar chords. Her lyrics echoed the passion and poetry of the performers preceding and were sung with an angelic yet undeniably strong voice consistently belying her youth. A smooth transition from acoustic to electronic came in the form of Gabriel Gilmour and the Gojiberry Jam, where bouncy basslines and dubby beats were accompanied by blissful electronic guitar and soaring violin. Anyone who was lucky enough to catch these guys warming up for Opiuo will agree they are among the most talented and conceptually interesting groups to enjoy. What we were treated to next transcends the available diction required to accurately and justly describe it in terms of musical style, quality and entertainment value. Listening to Electrocado was like giving my brain a therapeutic massage and my whole body an ephemeral vacation to a sensory paradise. An extensive range of genres were seamlessly interwoven into a colourful, sonic tapestry, which amply satiated musical appetites of every variety. A flawless balance of psy, electro, glitch and prog was speckled with video game bleeps and cosmic sound bites to create a perfect high-energy fusion. The room became a blur of arms and feet and one continuous grin seemed to stretch across the face of the dancing mass.

PHOTOS: adam thomas

If there’s one prevailing feeling I left with that evening (besides the ache of my severely abused feet), it was an overwhelming sense of pride and affection for every one of the performing individuals and the local creative community they represented. And also a resolution to never, ever again question a line-up organised by Canberra’s finest entertainment pioneers. Great work as usual, guys. GRETA KATE-GILMOUR

the word

The Darkness, Fun Machine ANU Bar Thursday May 10

on gigs

When cocaine-fuelled wrong headedness first robbed us of The Darkness in 2006, the world undoubtedly became a poorer place. Despite the fact that the various warring parties (bassist Frankie Poullain aside) went to work on other infinitely lesser projects (probably not even worthy of mention here), this was scant reward for the possibility that we would no longer be able to hear the team that brought us such sonic delights as Dinnerlady Arms ever again. Money talks, of course, (or at the very least it focuses otherwise preoccupied minds), and so six years after the great schism the brothers Hawkins find themselves reconciled and ready to rock us like the proverbial hurricane. They take the ANU stage on a mild Thursday evening in May, every inch the reconquering heroes despite the fact the band has never trod Canberran boards before and proceed to deliver a blindingly entertaining set drawing from both their pre-split LPs as well as a smattering of new material. Despite obviously suffering from a lack of familiarity the band do enough to suggest that the third Darkness album, which will apparently rejoice in the title Hot Cakes when it eventually emerges, will be a worthy successor to Permission to Land and One Way Ticket to Hell… and Back. But we’re not worried about that tonight – we happy rockers assembled in front of the ANU stage come show time. No, we are here to see whether Justin Hawkins’ voice is as good live as we’ve heard and whether they are as entertaining a band as legend decrees. The answer to both questions is an unreserved ‘yes’, as the band crashes through high octane renditions of classics like Friday Night, Growing on Me, Love is Only a Feeling and Giving Up in suitably exuberant style, rolling back the years to the early noughties with a fire and passion found surely lacking in many of today’s contemporary ‘rock’ outfits. Justin Hawkins’ voice defies belief throughout – that storied, piercing falsetto hitting the target time and again. The pipes work in concert with a superior guitar technique that peels off solo after jaw-dropping solo with an ease and grace that will have any viewing axe exponents feeling sorely inadequate. Justin’s brother Dan is no slacker in this department either, though he keeps mainly to locking in the rhythmic punch with amusing four-stringer Poullain and the oft-unsung rhythm machine that is drummer Ed Graham. Hawkins seems a little reticent at first in his role as frontman, ignoring the crowd as the stage is plunged into darkness between songs. After a couple of selections this shyness, real or perceived, dissipates and he strikes an easy rapport with the crowd that continues throughout the rest of the evening.

PHOTOS: Martin Ollman

Effortlessly charming, he leads both band and audience through a celebration of all things eighties and hard rock, without ever slipping into the sort of hipster-pleasing post-modern irony that retro acts such as his always flirt with. This is no Steel Pantherstyle comedy turn. The Darkness are a serious hard rock act that happens to possess a wicked sense of humour, and there’s a gulf of difference between the two. Whatever. Such philosophizing is rendered pointless when the band launches into a suitably crushing take on Love on the Rocks With No Ice to round out proceedings tonight, the band exiting the stage under cover of (natch) darkness in triumph and leaving the sweaty, slavering crowd baying for more. An unqualified triumph. SCOTT ADAMS

the word

Groovin the Moo The Meadows, University of Canberra Sunday May 13

on gigs

For the third year triple j regional festival Groovin the Moo invaded the lawns of the University of Canberra. It didn’t sell out but that made for a comfortable crowd, a short wait for drinks and not too much jumping up and down in the toilet queue. And for the third year, Canberra freakishly snap-froze and the festival day was colder than the contents of Tony Abbott’s budgy smugglers. But did that stop teenage girls from busting out the denim undies and side-boob-revealing racer backs, or their male counterparts from sporting the lids-off summer look? Ha! Their stubborn nature is stronger than the icy wind itself! They can’t be blamed, but I hope you all got a flu shot. First up at San Cisco’s set the small, early crowd was uplifting with everyone around me singing along to Awkward and looking whimsically happy. Leaving half of my ‘reliable’ group to report on Big Scary (“They were fucking awesome!”) I found my way into the ‘drinking area’—some kind of simulated free-range habitat separate from the rest of the public—to catch Victorian five-piece Gold Fields from the edge of the Moolin Rouge tent. Frontman Mark announced that they were “having technical difficulties and will be back in five minutes.” Mhmmm. This not-so-good start was voided by a live instrumental rendition of Underworld’s Born Slippy. Holy Obscure Cover, Batman, I’ve never heard anything like it! Followed by a guitar-heavy version of Moves, it felt like the beginning of an incredible day of music. Matt Corby was expectedly magnificent and dreamy, even though he looked like a homeless man, and The Maccabees played some perfectly tempered lunch-time rock. Next was Andrew WK who disappointingly made a ridiculous scene onstage. It was like someone pointing their finger and sticking their tongue out at my 16-year-old self. Proclaiming into the microphone, “I’m not a musician, I’m just a partier!” Andrew WK proceeding to head-bang on a keyboard and scream along to a backing track… it was some seriously stupid shit. 360 had one of the largest crowds of the day at the Moolin Rouge tent and definitely delivered musically but had a battle going on with people in the front trying to fight each other. Boy, does he like to drop the C-bomb. Beni had acrobatic dancers wearing pleather onesies and played a set suited to 4am in Kings Cross instead of the gorgeous house tunes on his latest album. And while Wavves brought the sun down with happy surfy tunes in the tent, Public Enemy kinda brought the darkness. It was disappointing to hear them sounding jumpy, devoid of rhythm and just ‘off’. At least the ten minutes of preaching at the end about racism was sort of nostalgic. Kimbra’s bright, multi-coloured dress, songbird voice and lovely performance attitude was a welcoming change-up. But the two of highpoints of the whole day really capped it off. The Swedish electro-house newcomer Adrian Lux played beautifully, sticking with his original tunes and remixes that we’ve all come to love recently, finishing with a long remix of Teenage Crime.

PHOTOS: MARTIN OLLMAN

Then, where Adrian kept the crowd upbeat with the softer side of electro-house, Digitalism closed with a deep, heavy, laser-filled version. They were so professional, so experienced, so… German. It was the best possible ending to the biggest mix ‘n’ match of music, outfits and ages – just what makes Groovin the Moo such a funny day. You’re never disappointed if you’re always laughing! DANIKA NAYNA

GIG GUIDE May 23 - May 27 Wednesday may 23

Dance Nathan Kleyn

Arts

KNIGHTSBRIDGE PENTHOUSE

Exhibition - UK Frederick Opening of new works by U.K. Frederick. 6pm. Free.

CANBERRA CONTEMPORARY ARTS SPACE - MANUKA

Pearl Versus the World

Presented by Jigsaw Theatre and CTC. COURTYARD STUDIO, CTC

I Love You, Bro

Cube Thursdays

9pm ‘til 5am with DJ Pete. Two for one drinks ‘til 11pm plus free pool all night long. CUBE NIGHTCLUB

Wicked Whiskers

Featuring Tit For Tat. Putting class in your glass. 8pm start, free entry. HIPPO LOUNGE

This stunning work delves into the mind of a teenage chat toom junkie.

Live

Macbeth

CANBERRA THEATRE CENTRE

Bell Shakespeare presents William Shakespeare’s Macbeth. Tix through Canberra Theatre Centre.

Comedy Melbourne International Comedy Festival DANCE

Melbourne International Comedy Festival

Purple Sneakers

KING O’MALLEY’S, CIVIC

Adam “Noimportant” Hadley’s Farwell

Sebastian McFox

LIVE

THE PHOENIX PUB

CANBERRA THEATRE CENTRE

Latino Wednesdays 9pm.

MONKEY BAR

Muso’s Jam Night

All you need to bring is your instruments and friends.

P J O’REILLY’S, TUGGERANONG

Something Different Trivia at The Duxton

Beer or no beer? 7:30pm THE DUXTON

Karaoke

From 10pm.

THE DURHAM

Transit Trivia

Flex your noggin. Table bookings essential. 7.30pm start. TRANSIT BAR

Thursday may 24 Arts Exhibition - New Works

Open Decks

Live

KNIGHTSBRIDGE PENTHOUSE

THE CLUBHOUSE

Only the King

Spin it to win it, minus the winning.

Something Like This From 10pm.

THE DURHAM

Jasmine Beth

Beth has a warm, enticing vocal style. Supported by Jane Sage. 8pm, $10. THE FRONT GALLERY AND CAFE

Ruby Boots

The Wise Up Tour with The Wedded Bliss and The Ellis Collective. Tix $9 + bf through Moshtix. 8pm. TRANSIT BAR

Dead Letter Circus

With Fair to Midland (USA) and Twelve Foot Ninja. Tix through Oztix.

HUW DAVIES GALLERY

Arc - Pickpocket (M)

Part of the Robert Bresson restrospective. 2pm.

ARC CINEMA NATIONAL FILM & SOUND ARCHIVE

HIPPO LOUNGE

Live

Havana Nights

Southside Sessions

MONKEY BAR

P J O’REILLY’S, TUGGERANONG

Feat. One Night in Dominican Republic with dance shows by Subsdance. 9pm.

Feat. Knights of the Spatchcock, Critical Monkey, The Glaciers. 9pm till late.

Tim “Ripper” Owens

Urban Playground

THE BASEMENT

MONKEY BAR

With HazMat and more. $40 presale, $50 on the door, $100 VIP.

Charles Chatain

Live music at PJ O’Reilly’s. 8pm til late. Free P J O’REILLY’S, CIVIC

A Tale of Two Cities

Feat. DJs Karma, Jswiss, Hypnotic. 10pm.

Ganga Giri

8pm, presale from Moshtix. TRANSIT BAR

Metal Fiesta 2

Matt Dent

Oscar

An evening of cocktails, burlesque, comedy and drag. Feat. Deb Delicious, Tammy Paks and more. 7pm. KREMLIN BAR

THE CLUBHOUSE

Singer/songwriter au naturale for your listening pleasure. 6pm. Free. CHARLIE BLACKS

Special K

KING O’MALLEY’S, CIVIC

friday may 25

Art by Josephine Starrs and Leon Cmielewski

CANBERRA CONTEMPORARY ART SPACE - GORMAN HOUSE

Poetry Slam

THE BASEMENT

KING O’MALLEY’S, CIVIC

Yoko Oh No

Outcome, Batpiss, Rather Be Dead. THE PHOENIX PUB

SubSquad Presents KPC

When poets collide! 7:30pm. Free.

Kurk Kokane, Pop The Hatch, Kombat, presented by SubSquad.

Normie Rowe

Southerly Change

THE FRONT GALLERY AND CAFE

Australian music legend for one night only. CASINO CANBERRA

3rd Exit

From 10pm.

THE DURHAM

THE CLUBHOUSE

A richly textured musical experience. Supported by Nick Combe and Sophie Chapman. 8pm, $10. THE FRONT GALLERY AND CAFE

Smooth Operators

Exhibition - Reside

Los Capitanes

Canberra’s best party band live in Galaxy Nightclub.

CANBERRA CONTEMPORARY ART SPACE - GORMAN HOUSE

WODEN YOUTH CENTRE

Something Different

Art by Rachel Bowak.

Rest For The Wicked album tour w. C.O.F.F.I.N. and more. 6pm-10pm. $10.

Three Exhibition Openings

Rachel Bowak, Andrew Moynihan, and Josephine Starrs & Leon Cmielewski. 6pm. Free.

THE STREET THEATRE

Tempo Theatre presents JB Priestley’s classic tale. 62752700.

This stunning work delves into the mind of a teenage chat toom junkie.

An Inspector Calls

Macbeth

BELCONNEN COMMUNITY CENTRE

Bell Shakespeare presents William Shakespeare’s Macbeth. Tix through Canberra Theatre Centre.

Pearl Versus the World

Arc - Let The Bullets Fly (MA15+)

CANBERRA CONTEMPORARY ART SPACE - GORMAN HOUSE

ARC CINEMA NATIONAL FILM & SOUND ARCHIVE

Celebrity Sex Tape + Princi

Alev

I Love You, Bro

Part of a showcase of the best new Hong Kong film. 7pm.

P J O’REILLY’S, TUGGERANONG

Jemist

Something Different

CANBERRA CONTEMPORARY ART SPACE - GORMAN HOUSE

CANBERRA THEATRE CENTRE

Performing from 8-10pm followed by resident DJ.

10pm ‘til 5am with DJs Matt & Pete. 2-for-1 drinks, free entry until 11pm.

11 bands, 2 stages. Feat. Frankenbok, Our Last Enemy, House of Thumbs and more. $20.

HUW DAVIES GALLERY

Exhibition by Samuel Townsend until June 10. Free.

The Crunch

A Sydney Vs Canberra techno event presented by Kult.

ZIERHOLZ @ UC

Exhibition - Incompatible Elements

Exhibition - Postcards from Texas

Cube Saturdays CUBE NIGHTCLUB

Arts

COURTYARD STUDIO, CTC

Dance

HIPPO LOUNGE

Exhibition - Noble Conquest

Presented by Jigsaw Theatre and CTC.

CANBERRA THEATRE CENTRE

KNIGHTSBRIDGE PENTHOUSE

CANBERRA CONTEMPORARY ARTS SPACE - MANUKA

Pearl Versus the World

TRANSIT BAR

Roadshow! Bookings: 6275 2700.

HE’S LEAVING US! HE’S LEAVING US! CANBERRA WILL MOURN! MOOOOOOURN! 9pm. Love you Hads x

Art by UK Frederick. Til June 3. Free.

Exhibition by Christine Rufflet until June 10. Free.

ARC CINEMA NATIONAL FILM & SOUND ARCHIVE

COMEDY

CANBERRA THEATRE CENTRE

Bell Shakespeare presents William Shakespeare’s Macbeth. Tix through Canberra Theatre Centre.

Charles and Dave

Arc - Let The Bullets Fly (MA15+)

Roadshow! Bookings: 6275 2700.

Your favourite late late late night indie disco. 8pm, free entry.

THE STREET THEATRE

Bell Shakespeare presents William Shakespeare’s Macbeth. Tix through Canberra Theatre Centre.

COURTYARD STUDIO, CTC

Exhibition - Handful of Stew Art by Andrew Moynihan.

I Love You, Bro

THE STREET THEATRE

saturday may 26 Arts Arc - Pickpocket/The Trial of Joan of Arc (M) Part of the Robert Bresson restrospective. 4.30pm.

ARC CINEMA NATIONAL FILM & SOUND ARCHIVE

CASINO CANBERRA

Sunday Sessions at The Duxton Live music from 3pm. Free. THE DUXTON

Karaoke

P J O’REILLY’S, CIVIC

AIE Open Day

3D Animation, Games, VFX and more. 10am-3pm. Free. ACADEMY OF INTERACTIVE ENTERTAINMENT

An Inspector Calls

Tempo Theatre presents JB Priestley’s classic tale. 62752700. BELCONNEN COMMUNITY CENTRE

Pearl Versus the World

Presented by Jigsaw Theatre and CTC. COURTYARD STUDIO, CTC

I Love You, Bro

sunday may 27 Arts Arc - The Viral Factor (MA15+) ARC CINEMA NATIONAL FILM & SOUND ARCHIVE

THE STREET THEATRE

GIG GUIDE May 27 - May 31 An Inspector Calls

Tempo Theatre presents JB Priestley’s classic tale. 62752700. BELCONNEN COMMUNITY CENTRE

Pearl Versus the World

Presented by Jigsaw Theatre and CTC. COURTYARD STUDIO, CTC

Arc - Mouchette (M)

Part of the Robert Bresson restrospective. 4.30pm.

ARC CINEMA, NATIONAL FILM & SOUND ARCHIVE

Macbeth

Bell Shakespeare presents William Shakespeare’s Macbeth. Tix through Canberra Theatre Centre.

Dance Biscuits

Post-weekend sounds from Ryz, Peekz, Kimosabi, Steve On Weekends and more. 9pm, free. TRANSIT BAR

THE FRONT GALLERY AND CAFE

THE PHOENIX PUB

Monday night trivia. Be in it to win a $100 bar tab. KING O’MALLEY’S, CIVIC

tuesday may 29 Arts

THE GEORGE HARCOURT INN

Irish Jam Session

Traditional Irish music.

KING O’MALLEY’S, CIVIC

Poetry in the Pub 3pm.

THE PHOENIX PUB

Law of the Tongue

Mammon, Canberra Cannons, 8pm. THE PHOENIX PUB

Something Different Sunday Arvo Trivia From 2.30pm. THE DURHAM

monday may 28 Arts Macbeth

Bell Shakespeare presents William Shakespeare’s Macbeth. Tix through Canberra Theatre Centre. CANBERRA THEATRE CENTRE

An Inspector Calls

Tempo Theatre presents JB Priestley’s classic tale. 62752700. BELCONNEN COMMUNITY CENTRE

Macbeth

Bell Shakespeare presents William Shakespeare’s Macbeth. Tix through Canberra Theatre Centre. CANBERRA THEATRE CENTRE

Exhibition - Incompatible Elements

Art by Josephine Starrs and Leon Cmielewski

CANBERRA CONTEMPORARY ART SPACE GORMAN HOUSE

Exhibition - Reside Art by Rachel Bowak.

CANBERRA CONTEMPORARY ART SPACE GORMAN HOUSE

Exhibition - animal

Fleshy and bold photographs by Spiro Miralis document his friends and lovers in his own space. THE PHOTOGRAPHY ROOM

An Inspector Calls

Tempo Theatre presents JB Priestley’s classic tale. 62752700. BELCONNEN COMMUNITY CENTRE

Influenced by ‘20s prohibition-era dance bands but with a hip modern groove. 8pm. $12.

Trivia Night

Something Different

THE PHOENIX PUB

Trivia at The Duxton

7.30pm.

The Miles Franklin Shortlisted Authors

Beer or no beer? 7:30pm THE DUXTON

Includes book signing. Frank Moorhouse, Tony Birch and Favel Parrett. 6pm, free. events.nla.gov.au

Karaoke

Fame Trivia

Flex your noggin. Table bookings essential. 7.30pm start.

NATIONAL LIBRARY OF AUSTRALIA

7.30pm. DIGRESS

From 10pm.

THE DURHAM

Transit Trivia TRANSIT BAR

Meet Miles Franklin Shortlisted Authors Frank Moorhouse, Tony Birch and Favel Parrett. 6pm. Free. Bookings essential. NATIONAL LIBRARY OF AUSTRALIA

Fame Trivia From 7.30pm. THE DURHAM

wednesday may 30 Arts

Thursday may 31 Arts Macbeth

Bell Shakespeare presents William Shakespeare’s Macbeth. CANBERRA THEATRE CENTRE

Exhibition - Incompatible Elements

CANBERRA CONTEMPORARY ART SPACE GORMAN HOUSE

Macbeth

Exhibition - Reside

CANBERRA THEATRE CENTRE

Exhibition - animal

Bell Shakespeare presents William Shakespeare’s Macbeth.

Exhibition - Incompatible Elements

CANBERRA CONTEMPORARY ART SPACE GORMAN HOUSE

Exhibition - Reside Art by Rachel Bowak.

CANBERRA CONTEMPORARY ART SPACE GORMAN HOUSE

Exhibition - animal

THE PHOTOGRAPHY ROOM

CANBERRA CONTEMPORARY ART SPACE GORMAN HOUSE THE PHOTOGRAPHY ROOM

An Inspector Calls

Tempo Theatre presents JB Priestley’s classic tale. 62752700. BELCONNEN COMMUNITY CENTRE

Pearl Versus the World

Presented by Jigsaw Theatre and CTC. COURTYARD STUDIO, CTC

Exhibition - Handful of Stew

An Inspector Calls

CANBERRA CONTEMPORARY ART SPACE GORMAN HOUSE

Exhibition - Handful of Stew

BELCONNEN COMMUNITY CENTRE

Part of the Robert Bresson restrospective. 2pm.

COURTYARD STUDIO, CTC

Art by Andrew Moynihan.

CANBERRA CONTEMPORARY ART SPACE GORMAN HOUSE

Karaoke

COURTYARD STUDIO, CTC

Karaoke Love

Croon and wail your heart out on the Transit stage. 9pm start. TRANSIT BAR

THE PHOENIX PUB

Presented by Jigsaw Theatre and CTC.

Pearl Versus the World

Presented by Jigsaw Theatre and CTC.

P J O’REILLY’S, TUGGERANONG

Something Different

Owen Campbell, Fire on the Hill, PJ Junior and the Soul Pimps, The Poetic Knights. 8pm.

CUBE NIGHTCLUB

1-4pm.

April’s Caravan Presents

All you need to bring is your instruments and friends.

CIT Presents The Bootleg Sessions

Trivia at King O’Malley’s

The Chess Club

KING O’MALLEY’S, CIVIC

Flap!

Dance

Live

Muso’s Jam Night

Traditional Irish music.

Live

Something Different

10pm ‘til late with DJ TJ. Free entry, free pool and discounted drinks.

Live

Irish Jam Session

The Phoenix Quiz & Drag Bingo. 7.30pm.

CANBERRA THEATRE CENTRE

Hospitality Sundays

Live

Tempo Theatre presents JB Priestley’s classic tale. 62752700.

Arc - Mouchette (M)

Exhibition - Handful of Stew

ARC CINEMA NATIONAL FILM & SOUND ARCHIVE

CANBERRA CONTEMPORARY ART SPACE GORMAN HOUSE

Dance Latino Wednesdays From 9pm. Free. MONKEY BAR

Dance Wicked Whiskers

Featuring Tit For Tat. Putting class in your glass. 8pm start, free entry. HIPPO LOUNGE

GIG GUIDE May 31 - June 2 Ashley Feraude

Exhibition - Reside

Kiwi G

Exhibition - Reside

DJ Craze: Slow Roast Records Tour

CANBERRA CONTEMPORARY ART SPACE GORMAN HOUSE

P J O’REILLY’S, CIVIC

An Inspector Calls

KNIGHTSBRIDGE PENTHOUSE

The 3 x DMC champion lays waste to Transit Bar. 8pm, presale from Moshtix. TRANSIT BAR

Cube Thursdays

Art by Rachel Bowak.

Dr. Sketchy’s

Artists draw glamorous underground performers in an atmosphere of boozy conviviality. Moshtix.

9pm ‘til 5am with DJ Pete. Two for one drinks ‘til 11pm plus free pool all night long.

TUGGERANONG ARTS CENTRE

Live

THE PHOTOGRAPHY ROOM

CUBE NIGHTCLUB

Joel Harrison

Exhibition - animal

Fleshy and bold photographs by Spiro Miralis document his friends and lovers in his own space.

An Inspector Calls

Live music.

Tempo Theatre presents JB Priestley’s classic tale. 62752700.

Feel The Noize

Pearl Versus the World

KING O’MALLEY’S, CIVIC THE CLUBHOUSE

Los Chavos

BELCONNEN COMMUNITY CENTRE

Presented by Jigsaw Theatre and CTC. COURTYARD STUDIO, CTC

Tim Gretschke. 9pm.

Exhibition - Handful of Stew

Liam McKahey and The Bodies

CANBERRA CONTEMPORARY ART SPACE GORMAN HOUSE

THE PHOENIX PUB

An Irish, Spanish and Australian combo with songs of love, loss, opiates and trains. 8pm. $10. THE FRONT GALLERY AND CAFE

Art by Andrew Moynihan.

Special K

THE DURHAM

Friday june 1 Arts Macbeth

Bell Shakespeare presents William Shakespeare’s Macbeth. CANBERRA THEATRE CENTRE

Exhibition - Incompatible Elements

CANBERRA CONTEMPORARY ART SPACE GORMAN HOUSE

Top Shelf

Tempo Theatre presents JB Priestley’s classic tale. 62752700.

Synergy

Pearl Versus the World

KING O’MALLEY’S, CIVIC

Jack Donaghy’s favourite concept at work. THE CLUBHOUSE

Boy and Bear

Remembering the Mexican tour. ANU BAR AND REFECTORY

The Bridge Between Live music.

CASINO CANBERRA

Live @ BAC

Unwind on the first Friday of each month to local acoustic music. BELCONNEN THEATRE

Liz Martin

Supported by The Wedded Bliss. 8pm. $12. THE FRONT GALLERY AND CAFE

saturday june 2

From 10pm.

Arts

Shifting The Paradigm, Acacia, Psynonemous

Arc - Life Without Principle (M)

Tech-metal at it’s best. $10 on the door. 8pm. THE BASEMENT

Havana Nights

Feat. DJ Trent Richardson. 9pm. MONKEY BAR

Part of a showcase of the best new Hong Kong film. 7.30pm. ARC CINEMA NATIONAL FILM & SOUND ARCHIVE

Macbeth

Bell Shakespeare presents William Shakespeare’s Macbeth.

The Sam Sessions - Part One

CANBERRA THEATRE CENTRE

WHITE EAGLE POLISH CLUB

CANBERRA CONTEMPORARY ART SPACE GORMAN HOUSE

A night for Sam King w. The Missing Lincolns, Cracked Actor, Pocket Fox, Fun Machine. 7:30pm. $15.

CANBERRA CONTEMPORARY ART SPACE GORMAN HOUSE

Live music.

Live

Kenny P

Acoustic from 9pm.

Live music at PJ O’Reilly’s. 8pm til late. Free

Exhibition - Incompatible Elements

BELCONNEN COMMUNITY CENTRE

Presented by Jigsaw Theatre and CTC. COURTYARD STUDIO, CTC

Arc - L’Argent (M)

Part of the Robert Bresson restrospective. 4.30pm.

ARC CINEMA NATIONAL FILM & SOUND ARCHIVE

Dance Cube Saturdays

10pm ‘til 5am with DJs Matt & Pete. Two for one drinks and free entry until 11pm. CUBE NIGHTCLUB

Live The Acca Daiquiris Live music.

CASINO CANBERRA

Chris O’Connor & Guitar Cases

Blues guitar expert at work. 8pm. $12. THE FRONT GALLERY AND CAFE

Groove Dot Com From 10pm.

THE DURHAM

Urban Playground

Feat. DJs Karma, Jswiss. 10pm. MONKEY BAR

Johnny Roadkill

With Perpetual End, Mad Charlie & Virginia Killstyxx. 8pm. $10 on the door. THE BASEMENT

Seekae

Full live show w. Ced Nada, Celebrity Sex Tape and more. $15 before 10pm. TRINITY BAR

GIG GUIDE June 2 - June 8 The Sam Sessions - Part Two With The Ellis Collective, Julia & the Deep Sea Sirens, Mr. Fibby, Dr. Stovepipe. 7:30pm. $15.

CORROBOREE PARK COMMUNITY HALL

Something Different Sunday Arvo Trivia From 2.30pm. THE DURHAM

Special K

KING O’MALLEY’S, CIVIC

monday june 4

Crissy Criss

Arts

Groovelands Soundsystem

Exhibition - Incompatible Elements

Bobby Singh and Ben Walsh unite for a percussive electronica event w. Glab Glimour & Hiero-IX. 8pm.

Art by Josephine Starrs and Leon Cmielewski

Readable Graffiti

Exhibition - Handful of Stew

DIGRESS

Super Magic Hats, Stateovmind and Architect DJs in support. Tix $10 on the door. 8pm. TRANSIT BAR

CANBERRA CONTEMPORARY ART SPACE GORMAN HOUSE

Art by Andrew Moynihan.

CANBERRA CONTEMPORARY ART SPACE GORMAN HOUSE

Dusker

Karaoke

THE PHOENIX PUB

Karaoke Love

Supported by Yae Tiger. 9.30pm. Free.

Something Different Sunday Sessions at The Duxton

The ten minute play festival for secondary students. Register online. CANBERRA THEATRE CENTRE

Exhibition - Incompatible Elements

Art by Josephine Starrs and Leon Cmielewski

CANBERRA CONTEMPORARY ART SPACE GORMAN HOUSE

BBC Radio 1, UK, DJ presented by True Jungle Souljahs. THE CLUBHOUSE

Fast+Fresh

Croon and wail your heart out on the Transit stage. 9pm start. TRANSIT BAR

Exhibition - Reside Art by Rachel Bowak.

CANBERRA CONTEMPORARY ART SPACE GORMAN HOUSE

Exhibition - Noble Conquest

Exhibition by Christine Rufflet until June 10. Free. HUW DAVIES GALLERY

Live Kenny P

Acoustic from 9pm. THE DURHAM

The Hussy Hicks

The Postcards and Previews Tour. Supported by Beth ‘n’ Ben. Call 62498453 for details. THE FRONT GALLERY AND CAFE

Roger Woodward

Internationally renowned classical pianist. Bookings 62752700. Tickets $29-$69. CANBERRA THEATRE CENTRE

Charles and Dave Live music.

KING O’MALLEY’S, CIVIC

Feel The Noize

Live

Youngsta (Rinse, Tempa) feat. MC Toast.

The Wolfgang Folk Quartet Live folk music.

THE FRONT GALLERY AND CAFE

Something Different

THE CLUBHOUSE

Graveyard Train

Hollow album tour. Grim horror country w. Cash Savage and the Last Drinks. 62837200. $20 + bf. SOUTHERN CROSS CLUB

Trivia at The Duxton

friday june 8

Live music from 3pm. Free.

Live

Beer or no beer? 7:30pm

Fash ‘n’ Treasure

CMC Presents The Bootleg Sessions

Karaoke

Arts

THE DURHAM

Exhibition - Postcards from Texas

THE DUXTON

A smorgasboard of kitsch old stuff! O, the smells! 10am-3pm. $3. EXHIBITION PARK

sunday june 3 Arts Arc - Life Without Principle (M)

Part of a showcase of the best new Hong Kong film. 2pm.

THE DUXTON

James Fahy Trio, Matthew SimpsonMorgan. 8pm. Free.

Part of a showcase of the best new Hong Kong film. 4.30pm. ARC CINEMA NATIONAL FILM & SOUND ARCHIVE

Exhibition - Incompatible Elements

CANBERRA CONTEMPORARY ART SPACE GORMAN HOUSE

Exhibition - Reside

CANBERRA CONTEMPORARY ART SPACE GORMAN HOUSE

Exhibition - New Works

CANBERRA CONTEMPORARY ARTS SPACE - MANUKA

Exhibition - Noble Conquest HUW DAVIES GALLERY

Exhibition - Handful of Stew

CANBERRA CONTEMPORARY ART SPACE GORMAN HOUSE

Dance Hospitality Sundays

10pm ‘til late with DJ TJ. Free entry, free pool and discounted drinks. CUBE NIGHTCLUB

Live Magic Rob Universe

A musical journey into the mystic world of medieval tales. Supported by Neon Honey. 4pm. $7. THE FRONT GALLERY AND CAFE

Leanne Melmoth 1-4pm.

THE GEORGE HARCOURT INN

Irish Jam Session

Traditional Irish music.

KING O’MALLEY’S, CIVIC

Trivia at The Duxton

THE PHOENIX PUB

Beer or no beer? 7:30pm

Something Different

Transit Trivia

Trivia at King O’Malley’s

Monday night trivia. Be in it to win a $100 bar tab.

THE DUXTON

Flex your noggin. Table bookings essential. 7.30pm start. TRANSIT BAR

KING O’MALLEY’S, CIVIC

ARC CINEMA NATIONAL FILM & SOUND ARCHIVE

Arc - Gallants (MA15+)

From 10pm.

tuesday june 5 Arts Fast+Fresh

The ten minute play festival for secondary students. Register online. CANBERRA THEATRE CENTRE

Exhibition - Reside

CANBERRA CONTEMPORARY ART SPACE GORMAN HOUSE

Exhibition - Noble Conquest HUW DAVIES GALLERY

thursday june 7 ARts Arc - Let The Bullets Fly (MA15+)

Something Different Fame Trivia From 7.30pm. THE DURHAM

Trivia Night 7.30pm.

THE PHOENIX PUB

Fame Trivia 7.30pm. DIGRESS

wednesday june 6 Arts Exhibition - Handful of Stew

Art by Andrew Moynihan.

CANBERRA CONTEMPORARY ART SPACE GORMAN HOUSE

Fast+Fresh

The ten minute play festival for secondary students. Register online. CANBERRA THEATRE CENTRE

Exhibition - Incompatible Elements

Exhibition - Reside

Exhibition by Samuel Townsend until June 10. Free. HUW DAVIES GALLERY

Fast+Fresh

KING O’MALLEY’S, CIVIC

Art by Andrew Moynihan.

Exhibition - Postcards from Texas

ARC CINEMA NATIONAL FILM & SOUND ARCHIVE

Live Traditional Irish music.

Exhibition - Handful of Stew

Art by Josephine Starrs and Leon Cmielewski

Exhibition - Handful of Stew

Irish Jam Session

HUW DAVIES GALLERY

Part of a showcase of the best new Hong Kong film. 2pm.

Exhibition - Postcards from Texas HUW DAVIES GALLERY

Exhibition by Samuel Townsend until June 10. Free.

Art by Andrew Moynihan.

CANBERRA CONTEMPORARY ART SPACE GORMAN HOUSE

The ten minute play festival for secondary students. Register online. CANBERRA THEATRE CENTRE

Exhibition - Incompatible Elements

Art by Josephine Starrs and Leon Cmielewski

CANBERRA CONTEMPORARY ART SPACE GORMAN HOUSE

Exhibition - Reside Art by Rachel Bowak.

CANBERRA CONTEMPORARY ART SPACE GORMAN HOUSE

Exhibition - Noble Conquest

Exhibition by Christine Rufflet until June 10. Free. HUW DAVIES GALLERY

Dance Cube Thursdays

9pm ‘til 5am with DJ Pete. Two for one drinks ‘til 11pm plus free pool all night long. CUBE NIGHTCLUB

CANBERRA CONTEMPORARY ART SPACE GORMAN HOUSE

Art by Rachel Bowak.

CANBERRA CONTEMPORARY ART SPACE GORMAN HOUSE

Exhibition - Noble Conquest

Exhibition by Christine Rufflet until June 10. Free. HUW DAVIES GALLERY

Live Panama Jim Trio Live music.

CASINO CANBERRA

Special K

From 10pm.

THE DURHAM

Brendan Gallagher

Two-time ARIA winner of Karma County. 8pm. $20. Pre-sale tickets: www. smithsbooks.com.au SMITH’S ALTERNATIVE BOOKSHOP

The Aston Shuffle DJs

What a way to celebrate the Queen’s B’day! $10 before 10pm. TRINITY BAR

The Poetic Knights, Stonka & Bloodline

All local rockers put on a damn good night of rock ‘n roll! THE BASEMENT

Parachute Youth Tix through Moshtix. ZIERHOLZ @ UC

GIG GUIDE June 8 - June 13 Guy Sebastian

The Armageddon Tour. Tix on sale through the venue. CANBERRA THEATRE CENTRE

Aleyce Simmonds, Kristy Cox and Luke Dickens

Soothing sounds from Canberra’s newest music venue. $25. Doors open 6pm. 62302905. THE ABBEY, FEDERATION SQUARE

Something Different

Exhibition - Reside

SOMETHING DIFFERENT

Sunday Sessions at The Duxton Live music from 3pm. Free.

CANBERRA CONTEMPORARY ART SPACE GORMAN HOUSE

Wednesdays at the Wall

Jungle Fever

Live

HONKYTONKS

THE DUXTON

Miss Kitka’s House of Burlesque presents! Tix thru Moshtix or on the door. 7pm.

PERISHER, SNOWY MOUNTAINS

Ladies’ Night

Canberra’s hottest latino night. Free entry and champagne before 11pm. Doors 9pm. MONKEY BAR

Killing the Sound Live music.

KING O’MALLEY’S, CIVIC

saturday june 9 Arts Exhibition - Noble Conquest

Exhibition by Christine Rufflet until June 10. Free. HUW DAVIES GALLERY

Exhibition - Postcards from Texas

Exhibition by Samuel Townsend until June 10. Free. HUW DAVIES GALLERY

Exhibition - Handful of Stew Art by Andrew Moynihan.

CANBERRA CONTEMPORARY ART SPACE GORMAN HOUSE

Exhibition - Incompatible Elements

CANBERRA CONTEMPORARY ART SPACE GORMAN HOUSE

Exhibition - Reside Art by Rachel Bowak.

CANBERRA CONTEMPORARY ART SPACE GORMAN HOUSE

Live Oscar

Live music.

KING O’MALLEY’S, CIVIC

The Grande Dames Live music.

CASINO CANBERRA

Futility Album Launch

Exceptional doom metal with Myraeth, Katabasis & Tranquil Deception. 8pm. $10 on the door. THE BASEMENT

Charge Group

With Joe McKee (of Snowman) and Hoodlum Shouts. 8pm. $15. THE STREET THEATRE

Glovecats

SubSquad presents. THE CLUBHOUSE

THE ABBEY, FEDERATION SQUARE

Perisher Snowy Mountains of Music

Arts

Something Different

Exhibition - Noble Conquest

Trivia at King O’Malley’s

HUW DAVIES GALLERY

KING O’MALLEY’S, CIVIC

Exhibition by Christine Rufflet until June 10. Free.

Exhibition by Samuel Townsend until June 10. Free.

Angela’s Kitchen

PERISHER, SNOWY MOUNTAINS

THE STREET THEATRE

Monday night trivia. Be in it to win a $100 bar tab.

Exhibition - Postcards from Texas

Exhibition - Handful of Stew Art by Andrew Moynihan.

CANBERRA CONTEMPORARY ART SPACE GORMAN HOUSE

The Underground Ark

tuesday june 12

A play by Brooce Hoogendoorn. CANBERRA THEATRE CENTRE

HUW DAVIES GALLERY

Arts

Exhibition - Handful of Stew

Angela’s Kitchen

Exhibition - Incompatible Elements

THE STREET THEATRE

CANBERRA CONTEMPORARY ART SPACE GORMAN HOUSE

Arc - Gallants (MA15+)

Part of a showcase of the best new Hong Kong film. 2pm. ARC CINEMA NATIONAL FILM & SOUND ARCHIVE

Exhibition - Incompatible Elements

CANBERRA CONTEMPORARY ART SPACE GORMAN HOUSE

Exhibition - Reside

CANBERRA CONTEMPORARY ART SPACE GORMAN HOUSE

Live

One-man show w. extraordinaire actor Paul Capsis. Bookings 62471223 or www.thestreet.org.au. $25-$35

Art by Josephine Starrs and Leon Cmielewski

Exhibition - Handful of Stew

Exhibition - Reside

Art by Andrew Moynihan.

Art by Rachel Bowak.

CANBERRA CONTEMPORARY ART SPACE GORMAN HOUSE

Exhibition - Incompatible Elements

Live

Art by Josephine Starrs and Leon Cmielewski

Jon Stevens & Nick Barker

Exhibition - Reside

SOUTHERN CROSS CLUB

CANBERRA CONTEMPORARY ART SPACE GORMAN HOUSE

Art by Rachel Bowak.

Aussie rock legends live. Book thru www.cscc.com.au. 6:30pm/8:30pm. $35 show/$69 dinner + show.

Trio Agogo with special guests

Irish Jam Session

CANBERRA CONTEMPORARY ART SPACE GORMAN HOUSE

KING O’MALLEY’S, CIVIC

Live

THE FRONT GALLERY AND CAFE

Irish Jam Session

Something Different

KING O’MALLEY’S, CIVIC

Trivia at The Duxton

The frontier of Australian Soul music, Darwin’s premier live funk and roots act. $10.

Something Different

THE DUXTON

Fame Trivia

Beer or no beer? 7:30pm

Perisher Snowy Mountains of Music

THE DURHAM

Traditional Irish music.

Jordan Miller

25-year-old songwriter with a world of talent. 7:30pm. THE FRONT GALLERY AND CAFE

The NEO

THE FRONT GALLERY AND CAFE

The Black Seeds, Nicky Momba’s Bustamento, Marshall Okell, Afro Moses. PERISHER, SNOWY MOUNTAINS

Something Different

Traditional Irish music.

Three of Australia’s finest exponents of Brazilian music 7.30pm. $10/$5 conc.

Beer or no beer? 7:30pm

Trivia at The Duxton

From 7.30pm.

THE DUXTON

Trivia Night

Flex your noggin. Table bookings essential. 7.30pm start.

7.30pm.

THE PHOENIX PUB

Transit Trivia TRANSIT BAR

Fame Trivia 7.30pm. DIGRESS

Jungle Fever

Miss Kitka’s House of Burlesque presents! Tix thru Moshtix or on the door. 7pm. CANBERRA IRISH CLUB

Sunday Arvo Trivia From 2.30pm. THE DURHAM

Monday june 11 Arts Exhibition - Handful of Stew Art by Andrew Moynihan.

CANBERRA CONTEMPORARY ART SPACE - GORMAN HOUSE

Nite Society pres. Elizabeth Rose

Art by Josephine Starrs and Leon Cmielewski

Launch with PhDJ (Syd). Visit www. facebook.com/nitesociety

wednesday june 13

One-man show w. extraordinaire actor Paul Capsis. Bookings 62471223 or www.thestreet.org.au. $25-$35

sunday june 10

The Black Seeds, Nicky Momba’s Bustamento, Marshall Okell, Afro Moses. PERISHER, SNOWY MOUNTAINS

Perisher Snowy Mountains of Music

Arts

CANBERRA IRISH CLUB

Mahalia Barnes & the Soul Mates

Supported by Anthony Dellamarta. 6:30pm. $20 presale/$25 door.

Andy Mullens, Charles White, Steven Morrison demonstrate typography. Free.

The Black Seeds, Nicky Momba’s Bustamento, Marshall Okell, Afro Moses.

Perisher Snowy Mountains of Music The Black Seeds, Nicky Momba’s Bustamento, Marshall Okell, Afro Moses.

Art by Rachel Bowak.

Exhibition - Incompatible Elements

CANBERRA CONTEMPORARY ART SPACE - GORMAN HOUSE

OUT

may23

ROCKWIZ THE DANDY WARHOLS FRENZAL RHOMB THE LAST PROM SAMPOLOGY ...and more!

TRANSIT BAR

FIRST CONTACT

SIDE A: BMA band profile

Oscillating JAK Where did your band name come from? JAK are my initials and I thought ‘Oscillating’ was a really cool word and musical effect to boot. Group members? The group member is myself. I’m primarily a vocalist but have had a crash-course in production in the creation of my upcoming album, DisAMBIGuation. Describe your sound: Electro-soul-pop! Computer-derived music with layers of funk and soul all wrapped up in a pure pop bubble. Some of the songs on the album have more jazz and even classical tones but the overall vibe is quite poppy. Who are your influences, musical or otherwise? Sia, Led Zeppelin, Emele Sande, Ella Fitzgerald, Duke Ellington, Mahalia Jackson, John Martyn, Jack White, Mary J Blige, oh my gosh – I could go on and on. What’s the weirdest experience you’ve had while performing? Watching all the staff at the hospital where I work crowd into a patient’s room to listen to my music online – hospitals can be a pretty dim place and it was awesome to see all the nurses and the patient bopping their head it! What’s your biggest achievement/proudest moment so far? So far, having three songs hit the top 25 of the triple j Unearthed pop charts. But Oscillating JAK is such a new venture that I’m hoping this is just the tip of the iceberg. What are your plans for the future? Finishing off the studio album. I’m applying for grants and funding to have the album professionally mastered. I hope to have a beautiful, complex album that reaches people! What makes you laugh? Toilet humour. What pisses you off? Computer malfunctions, losing things, morning shifts, racism, injustice – that kind of stuff. What’s your opinion of the local scene? So much talent it makes my head spin! And I love that despite the fact that Canberra is a small city there is always something interesting going on in the music scene. What are your upcoming gigs? No gigs. But if any readers want a freecopy of Oscillating JAK’s 6-tracks demo they should ‘like’ our Facebook page and send me a private email with their address. They’ll receive a demo in the mail! Contact info: Visit www.wix.com/oscjak/music or email osc.jak@gmail.com

Aaron Peacey Aaron 0410 381 306 Activate Jetpack activatejetpack@ hotmail.com Adam Hole Adam 0421 023 226 Afternoon Shift Adam 0402 055 314 After Close Scotty 0412 742 682, afterclose@hotmail.com Alcove Mark 0410 112 522 Alice 0423 100 792 Allies ACT (Oxfam Group) alliesact@hotmail.com/ myspace.com/alliesact Amphibian Sound PA Clare 0410 308 288 Amplif5’d Classic rock covers band Joy 0407 200 428, joybarac-heath@hotmail.com Annie & the Armadillos Annie 6161 1078/0422 076 313 The Ashburys Dan Craddock 0419 626 903 Aria Stone, sax & flute, singer/ songwriter (guitar) Aria 0411 803 343 Australian Songwriters Association (Keiran Roberts) 6231 0433 Arythmia: Ben 0423 408 767/ arythmiamusic@gmail.com Backbeat Drivers Steve 0422 733 974, www.backbeatdrivers.com Big Boss Groove Andrew 0404 455 834, www.bigbossgroove.com.au Birds Love Fighting Gangbusters/DIY shows - bookings@birdslovefighting.com Black Label Photography Kingsley 0438 351 007 Blister Bug Stu 0408 617 791 Bridge Between, The Rachel 0412 598 138, thebridgebetween.com.au Bruce Stage mgr/consultant 6254 9857 Capital Dub Style - Reggae/Dub Events + DJs facebook.com/CapitalDubStyle Rafa 0406 647 296 Caution Horses Nigel 0417 211 580 Chris Harland Blues Band 0418 490 640 chrisharlandbluesband@yahoo.com.au Clear Vision Films rehearsals/film clips/stunts - 0438 647 281 wcoulton.clearvisionfilms.com Cole Bennetts Photography 0415 982 662 /colebennetts.com Cris Clucas Cris 6262 5652 Crooked Dave 0421 508 467 Danny V Danny 6238 1673/0413 502 428 Dawn Theory Nathan 0402 845 132 D’Opus & Roshambo hifidelitystyles@yahoo.com DJs Madrid and Gordon 0417 433 971 DJ Latino Rogelio 0401 274 208 DJ Moises (RnB/Latin) 0402 497 835 or moises_lopez@hotmail DNA Vic 0408 477 020 Drumassault Kate 0414 236 323 Easy Mode Daz 0404 156 482, easymodeband@gmail.com Entity Chris 0412 027 894 Epic Flagon band@epicflagon.com Fighting Mongooses, The Adam 0402 055 314 Final Warning Brendan 0422 809 552 Fire on the Hill Aaron 0410 381 306/ Lachlan 0400 038 388 4dead Peter 0401 006 551 Freeloaders, The Steve 0412 653 597 Friend or Enemy 6238 0083, www.myspace.com/friendorenemy Gareth Hailey DJ & Electronica 0414 215 885 GiLF Kelly 0410 588 747, gilf.mail@gmail.com Groovalicious Corporate/Weddings/ Private functions 0448 995 158 groovalicious@y7mail.com Guy The Sound Guy live & studio sound engineer, 0400 585 369, guy@ guythesoundguy.com HalfPast Chris 0412 115 594 Hancock Basement Tom 6257 5375, hancockbasement@hotmail.com Happy Hour Wendy 0406 375 096 Haunted Attics band@hauntedatticsmusic.com Hitherto Paul 0408 425 636

In The Flesh Scott 0410 475 703 Inside the Exterior Nathan 0401 072 650 Itchy Triggers Andrew 0401 588 884 Jacqui Seczawa 0428 428 722 JDY Clothing 0405 648 288/ www.jdyclothing.com Jenn Pacor singer/songwriter avail. for originals & covers, 0405 618 630 Jim Boots 0417 211 580 Johnny Roadkill Paulie 0408 287 672, paulie_mcmillan@live.com.au Karismakatz DJ Gosper 0411 065 189/ dj@karismakatz.com Kayo Marbilus myspace.com/kayomarbilus Kurt’s Metalworx (PA) 0417 025 792 Little Smoke Sam 0411 112 075 Los Chavos Latin-Ska-Reggae facebook.com/loschavosmusic Rafa 0406 647 296 Andy 0401 572 150 Manilla Green Herms 0404 848 462, contactus@manillagreen.com, Mario Brujo Gordon world/latin/ reggae/percussionist and DJ. 0405 820 895 Martin Bailey Audio Engineer 0423 566 093 Words for You: writer/publicity/events Megan ph 6154 0927, megan@wordsforyou.com.au Mercury Switch Lab Studios mercuryswitch@internode.on.net Missing Zero Hadrian Brand 0424 721 907 hadrian.brand@live.com.au Moots aspwinch@grapevine.com.au Huck 0419 630 721 MuShu Jack 0414 292 567, mushu_band@hotmail.com MyOnus myonusmusic@hotmail.com/ www.myspace.com/myonus No Retreat Simon 0411 155 680 Ocean Moses Nigel 0417 211 580 OneWayFare Chris 0418 496 448 Painted Hearts, The Peter 6248 6027 Phathom Chris 0422 888 700 The Pigs The Colonel 0422 412 752 Polka Pigs Ian 6231 5974 Premier Audio Simon 0412 331 876, premier_audio@hotmail.com Rafe Morris 0416 322 763 Redletter Ben 0421 414 472 Redsun Rehearsal Studio Ralph 0404 178 996/6162 1527 Rhythm Party, The Ross 0416 010 680 Rob Mac Project, The Melinda 0400 405 537 Rug, The Jol 0417 273 041 Samsara Samahdi 0431 083 776 Sansutra J-Ma 0403 476 350 Simone Penkethman (Simone & The Soothsayers, Singing Teacher) 6230 4828 Soundcity Rehearsal Studio Andrew 0401 588 884 Solid Gold Peter 0421 131 887/ solid.gold@live.com.au Super Best Friends Matt 0438 228 748 Surrender Jordan 0439 907 853 Switch 3 Mick 0410 698 479 System Addict Jamie 0418 398 556 The Morning After (covers band) Anthony 0402 500 843/ myspace.com/themorningaftercovers Tiger Bones & The Ferabul-Zers Danny feralbul@aapt.net.au Tim James Lucia 6282 3740, LUCIAMURDOCH@hotmail.com Top Shelf Colin 0408 631 514 Transmission Nowhere Emilie 0421 953 519/myspace.com/ transmissionnowhere Udo 0412 086 158 Undersided, The Baz 0408 468 041 Using Three Words Dan 0416 123 020, usingthreewords@hotmail.com Voodoo Doll Mark 0428 650 549 William Blakely Will 0414 910 014 Zero Degrees and Falling Louis 0423 918 793 Zwish 0411 022 907