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#341 FEB3

Depeche Mode approved

Julia & the Deep Sea Sirens sail into Corinbank

The Bamboos WOMAD for it!

Templestowe putting Canberra metal on the map

Also online: DJ Chuckie and Margaret Helen King







Why Do You Skip

Like 10,000 spoons when all you need is a knife

# 3 4 1 F E B 3 Fax: 02 6257 4361 Mail: PO Box 713 Civic Square, ACT 2608 Publisher Scott Layne General Manager & Advertising Manager Allan Sko T: 6257 4360 E: Editor Julia Winterflood T: 02 6257 4456 E: Accounts Manager Ashish Doshi T: 6247 4816 E: Sales Executive Danika Nayna T: 0408 657 939 E: Super Sub Editor Josh Brown Graphic Design Natalie Runko Exhibitionist Editor Naomi Milthorpe Film Editor Mark Russell Principal Photographers (The Flashbulb Posse) Andrew Mayo Nick Brightman NEXT ISSUE 342 OUT FEB 17 EDITORIAL DEADLINE FEB 8 ADVERTISING DEADLINE FEB 11 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.


Canberra promoters Party By Jake will be bringing more style to the Capital in 2010 with their new monthly event dubbed Heartbeat. The stylish event will be launched at Transit Bar on Saturday February 27, and will kick off the new year by launching upstart Sydney street-fashion label Pete Versus Toby (merch giveaways on the night) and featuring DJs including disco demon U-Go-B (Modular/Syd), party-jammers Deckhead DJs (Syd) plus a host of local stars including Staky and Party By Jake DJs. For more info, contact partybyjake@, partybyjake, partybyjake, and find Party By Jake on facebook.

Shadowy Subject Into the Shadows is an independently and locally made film that reveals how the mega-multiplexes squashed your friendly local independent cinema. It features film industry executives making jaw-dropping statements in a film they would never put into a multiplex. Ever inventive, filmmakers are looking at new ways of getting Australian films to Australian audiences by bypassing the mainstream industry. It screens at Arc Cinema on Saturday Feb 6 at 2pm and on Thursday Feb 18 at 7pm.

GONE TROPPO The 18th annual Movie Extra Tropfest will be shown at Commonwealth Park on Sunday February 21 to the largest live audience outside Sydney. As the largest short film festival in the world, Tropfest is recognised for its enormous contribution to the development of the Australian film industry by providing unique platforms for emerging filmmakers. Tropfest 2010 is proudly hosted by the ACT Government and will commence at 3pm with DJs followed by the screening of the Tropfest Jr finalists short

filmmaking competition open to kids aged 15 and younger. The program continues with more live entertainment culminating in the Tropfest film screening from 7.30pm.

Disco Biscuits Freshly Baked Biscuits will feature some of Canberra’s hottest talent playing only the newest beats. Team Wing take the inaugural Rave o’ Clock New Music Hour, a whole hour of strictly the freshest tunes that will be recorded live for streaming until the next FBB. Expect a host of brand new Team Wing remixes, plus original material from Sølsta and a live collaboration between Proze (Melb) and Ryz. It’s all happening on Friday February 5 at Mercury Bar and is only $5 all night.

Wandering Gypsy Sydney’s multi-award winning singer/songwriter Snez has never been afraid to bare her soul to an audience. Indeed, it’s what she does, and her accolades and awards are proof that she does it well. With her first studio album Gypsy Soul out through Regal Records, Snez gets up close and personal with two shows in the ACT. Snez will be at The Phoenix on Monday February 8 and at The Front on Thursday February 11. For more info head to www. .

Random Variables Back to storm the stage once again with their electrifying amalgamation of rock/metal/ prog on Saturday Feb 13 will be the ever intensifying Entropy Within. Returning to one of their much-loved cities, Entropy Within will be performing epic tracks from their upcoming album One Long Year. They’re just one of the awe-inspiring bands performing as a part of Muddslide on Saturday Feb 13 at PJ O’Reilly’s. For more info head to entropywithin .

CrEAMY goodness Shenanigans 3, A Dummy’s Guide to Creamy Goodness, will hit The Basement on Friday February 12 and will feature eight bands, two stages, a DJ, merch stalls and a special burlesque performance from Miss Kitka’s House of Burlesque. Melbourne band Voltera and Sydney band Our Last Enemy will be joining local boys Penguin, Variodivers, Na Maza, Johnny Roadkill, Inside the Exterior and Spoil to make this one hell of a good night. Doors at 8pm.

Saint clare and The Black Sea Gentleman The lights will be dimmed for an intimate evening of romance and seduction as the illustrious Mikelangelo (pictured) joins the golden-voiced Saint Clare for an evening of lullabies and love songs at The Front on Monday February 15 at 8pm. The show features original songs and duets written by Mikelangelo and Saint Clare, performed on guitar, piano, melodica and glockenspiel. These enchanting lullabies will transport you into a world of wonderful things, where melancholy gives rise to an enduring sense of hope and optimism. Mikelangelo has toured the world as a star of the Olivier-award winning La Clique, and has risen to great national and international profile with his group The Black Sea Gentlemen. Tickets $20/$15.

VINTAGE JUSTIN: NOVEMBER 2007 After my Pop passed away this year I found myself wearing his clothes. This was nothing new. Back in 1998, when I first discovered op shopping, I realised I had an exclusive treasure trove right under my nose. During a regular weekend jaunt to Nan & Pop’s ©, I asked politely if I could inspect their wardrobe, and with the excitement of one passing through the Staff Only door at Salvos, I initiated a gangly, late teens version of dress ups. Whenever a fellow vintage freak complimented me on my retro jacket, it was with great pride that I said it was my Pop’s. At times it was a little awkward, as Pop was still wearing it at the time. Adorned in a full set of his clothes, I strolled through Melbourne one brisk winter morning, like a soldier of nostalgia, trying to blend in with the past. Top: Safari jacket, dark green, pure wool from New Zealand. Bottom: dark green, flared suit trousers. Shirt: pale lime green, poly/cotton blend. Singlet: Bonds, athletic. Socks: knee length bus driver style. Underpants: yes, underpants. They were a pair of cheap generic boxers that Nan had bought, but he’d never worn. The clothes made me feel safe, purposeful, loved. He was a quiet man who never said “I love you.” But what an impoverished upbringing had economised from his language, he made up for with a generous smile and patient ear. There are days when the loneliness really hits me, and I find myself scuttling through the sand layers of my mind to find my fondest memories of him… I’m six and it’s a breezy, summery day and we’re walking along the beach. This was our walk. These were our times. We’d do it regularly. Pop would plod along at a steady pace, watching me sprint ahead and poke around in the sand. I’d run back and find his large, warm hand. Constant shift work had not allowed him to have this kind of time with his own children. This must have been such a joy! I wear his shirts like a hug. When I first got them, they still smelt like the cool linen stillness of Nan and Pop’s cupboard. Now they’ve been through the wash a few times, but the cloth still connects with my blood. I am reminded of my love for my family, and this man who would be a father figure to me. Wearing his clothes makes me feel strangely complete. Like an animal returning to the place it was born. The truth is I’ve been wearing dead people’s clothes for years. There are those who scoff and hang cruelly on the edge of second hand shops, dabbling their toe in the dust-ridden air, daring each other to go in. What twisted expression could I evoke with tales of my grandfather’s undergarments keeping me snug at night. I wouldn’t want them to understand – they would be clumsy with such sadness, dropping it on the hard floor of their hearts. My friend in Hobart said his father had just passed away and he, too, had taken to wearing his underwear and socks. He didn’t offer an explanation. He didn’t need to. In this global shopfront/virtual techno-paddock world, sometimes we need to walk like kings and wear our memories like flags. JUSTIN HEAZLEWOOD Justin performs as The Bedroom Philosopher and writes for Frankie, Jmag and The Big Issue.






Where’s your local? By which I mean, of course, your public house of habitual patronage. Not a club which you turn up at after work on Friday for a cheap middy and a tilt at the meat raffle, but a living, breathing hostelry that’s the centre of a community, a stepping off point for adventures, a safe, welcoming haven on the completion of same… a home away from home with, as the blessed Alanis might say, benefits. A long time ago, in a galaxy 12,000 miles away, we drank so frequently we were allowed two locals – one, the Coach and Horses (which you’ll remember, doubtless, from my accounts of happenings there the day England beat Germany 5-1 in Munich) for our Monday to Saturday imbibemental activities, and the other, every single Sunday, rain or shine, The Pegasus. The Pegasus was legendary. It was run by the benevolent dictatorship of publican Ted Rehill, a man for whom most patronly behaviour was in order as long as it was accompanied by the clarion call of the till ring. Ted was assisted behind the bar by John the barman, a man so dry that atrophy would best describe his sense of humour and, most importantly, behind the wheels of steel, spinning the platters that mattered, every sing – god dammit, you get the picture – DJ Steve Wilkes. If Ted was the steel-fisted brains behind the operation, and John its baleful sober-eyed general factotum, then DJ Steve was its seething, febrile yet always jocular and accommodating soul. He’d play anything. Got the latest Venom album? Yeah mate, bring it down. Soft Cell? No problem. Somehow, he’d even obtained a promo copy of a Jimmy Barnes single which he delighted in informing us ‘wasn’t even released yet’ for the entire year he played the thing. All this was accompanied by the reckless consumption of industrial amounts of Tennants Pilsner, Bass Bitter and (and I realise this may come as a shock to our younger readers, suckled on the teat since birth with so-called Alcopops) real Jack Daniels and Coca Cola from separate bottles, over a period of about five years – I got these here gin blossoms for a reason sir, oh yes… At its height the pub attracted a crowd from miles around, all keen to sample the frankly momentous tunage, Steve’s inimitable hosting style and the competitively-priced ales. Oh, and the fact that on any given Sunday members of Marillion, Iron Maiden or Jeff Beck or Gary Moore were likely to be out in the back room jamming with the pub’s resident ‘I coulda been a contender’-style local hero, the inimitable Les Payne. But I’ve digressed. The reason I’m blathering on about this is twofold (and therefore qualify as reasons plural, before you decide to get all hotfingered on your gooseberries, or whatever they’re called). A Facebook group in honour of Sunday Nights at the Peg has started up, roughly simultaneous with me finding, amongst my personal effects at a time of extreme upheaval, a compilation tape called, simply, Sunday Night at the Peg. Oh, the delicious, Stingesque synchronicity… Anyways, this tape is 90 minutes of pure class. Pop Will Eat Itself, Stone Roses, The House of Love, The Smiths, Carter USM, Adamski, EMF, Stereo MCs, The Wonderstuff, The Shamen, The Charlatans, Inspiral Carpets, The Beloved, Moby, Orbital, New Order, Morrissey, Electronic, Depeche Mode and The Levellers. Jeez what a lineup. Tell ya what, drop a line to the usual address and I’ll run you up a copy (in digital form, natch) and you can listen to it to get in the mood when I tell you about the time I won a Ford Escort in the pub raffle… scott adams


Has someone yanked yer chain recently? Well send an email to and have your sweet vengeance. And for the love of God, keep it brief! [All entries contain original spellings] To all the people who catch an ACTION bus and don’t give up their seat for an older lady, elderly person, pregnant lady or person with a disability – YOU PISS ME OFF!! I don’t know if it is selfishness, rudeness, ignorance or the fact that people are just caught up in their own busy little world to notice anything around them, but can we all just be a bit more conscious of other people around us? It’s not that hard. The next time I see an able bodied person ignore the aforementioned people I’m going to abuse the sh*t out of you. You have been warned. To the lazy slags who always say ‘I’m going to write a You Pissed Me Off about that’ but never actually do, you piss me off, dammit. Why the lack of hate, Canberra? Why ignore the simplest way to get your words printed 10,000 times over? You used to be so irate, hilariously illiterate and preposterously blasphemous, but now I’m having to fill this space myself. So get pissed off already and write to me for chrissakes! - Ed.

FROM THE BOSSMAN Leave Brodburger alone. Jebus, I don’t know what’s wrong with the authorities that preside over this town. Actually, yes I do. We all do. As soon as someone dares to do something interesting, unique or entertaining in an attempt to show off their unique human skills and thus breathe some life and personality into this sometimes flaccid city, it’s time for the ‘authorities’ to step in. The attempt to morph the beloved food van into a toilet block plays out as an all-too-familiar scene round these parts. INT. Miscellaneous Bureaucrats Office. “Have you heard about this Brodburger sir?” “No, Jenkins, what is it?” “It’s a red food van, sir, in Bowen Park run by ex chefs. Extremely popular, it seems, it’s become somewhat of a Canberra icon over the past few months.” <slams hand on the desk> “It must be stopped, Jenkins! How dare they bring something interesting to this town! This is Canberra, dammit, Caaaaaanberraaaaa!” <tears shirt open… probably> “Yes, sir. On it right away sir. Seems a shame, but at least it will distract people from the fact it took us the best part of a year to install simple benches in Civic.” “Is that mustard on the corner of your mouth, Jenkins?” Canberra’s growing, and with that growth comes problems, so why don’t you go and fix one of those and leave the good stuff alone, huh? That goes for our live music venues too, but more on that later. ALLAN “I’LL POUND YOU LIKE YESTERDAY’S BEEF” SKO





WHO: VOSS WHAT: An excellent local band, for free WHEN: Sat Feb 6 WHERE: Phoenix pub

I love Canberra and Canberra’s music scene, really I do. There’s this unspoken rule (which I’m speaking about) that you have to pretend it’s all really grand and never say a bad word about it. It’s like being a parent I guess, and that said, some local gigs feel like you’re watching your child plough his bike face first into a gutter. As of recent though, your untalented kid has shed some pounds. New birds such as DD’Goose, Assassins 88 and Kasha (to name a few) are making things interesting, however Voss are the ones nobody will shut up about. Go see why.

WHO: The Ronnie Johns Good Times Campfire Jamboree Half Hour Show WHAT: An awesome TV show in stage form WHEN: Sun Feb 21 WHERE: Canberra Theatre Centre

Whenever I see a shooting star, I press my eyelids together and wish that anyone who publicly quotes the “Look at moi” line from Kath and Kim would be instantly water boarded. Not only is it a disgustingly overrated show, it takes away from good Australian comedy such as The Ronnie Johns Half Hour. If it was up to me, Heath Franklin’s Chopper impersonation would be mandatory viewing in kindergarten. And if religion makes you vomit blood, they do a delightfully blasphemous Jesus. That stuff’s always fun. But yes, the show has finally been transmogrified into stage form. Get your belly shakes on.


Everybody knows smoking is cool. It gets you babes, money and adds years to your life. Aside from smoking, the only thing that hypnotises the babes is dad puns. It was only a matter of time until someone combined these two aspects to create a wondrous band name, possibly mankind’s greatest invention (get bent penicillin). Welcome The Dunhill Blues, a sextuplet (hello ladies) from Sydney who have everyone blabbing. Imagine garage rockin’ rhythm and blues doused with your old pals keys, trumpet and sax. Well you stop that imagining! They’ll be playing tunes direct to your face for free at The Phoenix. Case solved.

WHO: You alongside an assortment of cultural goodies WHAT: Mother nature Festival WHERE: Rose Cottage WHEN: SAT Feb 20 – SUN FEB 21

Kurt Cobain once said “Mother Nature is a whore”. Dead wrong, champ. Maybe you were too busy shooting horse and gunning your face off to realise that Mother Nature is in fact the rad bitch that grew your opium poppies. I suggest putting a request for leave in, and see if they’ll let your ghost out of hell so you can come celebrate her instead of being a goof. The beautiful Rose Cottage is the venue, hosting a huuuge array of snazzy dance music, as well as various activities, workshops and the soon to be famous Sunday Pool Party. Come bask in the sun at this genius festival.

WHO: Effigy Entertainment WHAT: Kasey Taylor (PORTUGAL) (Vapour Recordings) & Phil K (MEL) (Audio Therapy) WHEN: Sat Feb 20 WHERE: Hippo bar

So that head launch thing E. Honda does – can he fly? I’m not sure if Effigy Entertainment can answer, but what I do know is that they’re back in 2010 and aren’t wasting time filling your face with gigs. Phil K (who can fly) co-headlines the event with Kasey Taylor. Phil’s got technical mastery coming out the wazoo, earning his place as one of the world’s top 10 DJs, while Kasey is celebrating his 25th year of spinning people right round, round round. Come to this up close and personal shindig (only 100 tix available) and hundred hand slap with the best of us. Have you tried doing it? It hurts.

WHO: DJ Chuckie WHAT: A truly righteous DJ WHERE: Academy Nightclub WHEN: Fri Feb 19

I’m totally gay for art. I also highly respect art appreciation - but sometimes it can go a little too far. Take the Matthew Harding art appreciation club for example. Daily meetings are held outside Devlin’s Chemist, on Harding’s work itself, in Garema Place. As myth goes, the club president actually stole System Of A Down’s album Steal This Album. Getting too involved so deeply is unhealthy, so I offer an antidote. There’s this gnarly DJ by the name of Chuckie playing around the corner. He’s fingered Lil’ Jon, David Guetta and Fatman Scoops’ pies, all with his excellent hip-hop influenced style. Go get a live taste of his forthcoming album!


TIM GALVIN Society could learn a lot from German producer and music manipulator Alex Ridha, aka BOYS NOIZE. He has managed to bring together two of the most emulous groups of genre warriors known to man; the internet blog-surfing hipsters and the techno-deifying minimal chin-strokers. Usually dichotomised by a figurative Berlin wall of keyboard heroics, the former enemies have bonded over their love of his loopy futuristic disco. Everybody loves Boys Noize. Juggling his time between jet-setting superstar DJ and BNR label boss, I managed to catch Alex at home having just returned from some much needed R&R in Puerto Rico. “My holiday was great and I am really relaxed,” he says. “It’s something I like to do every year. My studio was a mess when I came back though – I had to spend the first three days cleaning it up and re-cabling all my equipment!” As the flux capacitor carries my journalistic Delorian back to the 1980s, we peer through his window in Hamburg to observe the period that shaped the young star into the fire breathing juggernaut he is today, a stature he can thank his brother for. “He was ten years older than me and when he was 17-18, in the mid-‘80s, I used to sit around and listen to all his records, like house and techno and stuff, not really knowing what it was but knowing that I liked it,” Alex explains. “I started buying my own records at about 13 – all the things I loved from my childhood and it just went from there.”

I never do a remix for someone I don’t like

At only 27 years of age, Alex has already been a figurehead in the German techno movement for a whole decade, but alas he is not comfortable with the term ‘the Doogie Howser of Dance.’ “I don’t really feel old now. I mean, I have been through a few generations of music with a lot of things that have come and gone but I guess I was always that guy – y’know, the youngest guy in the club, but now I have a 16-year-old producing for my label so it makes me feel a little older,” he laughs. After dabbling in hip-hop and disco, his move in 2003 at age 20 to the bright lights and dark beats of Berlin was the critical metamorphosis in his career as this was where the real genesis of the Boys Noize brand originated. “DJ-wise I have always had the same attitude towards music – the same style and substance to my music,” he says. “When I moved to Berlin


I started playing around on my laptop and making beats. I ended up getting a small studio together so it was really where Boys Noize was born.” Spying a new Boys Noize remix on Beatport is enough to make any respectable music fan soil their skinny leg jeans and Alex has had the incredible fortune to remain exclusive in his attitude towards who he twiddles knobs for. “It’s actually really hard to choose sometimes. I mean I have always only picked to work with artists I really like – I never do a remix for someone I don’t like. I was really happy in 2006 when I heard that Martin Gore from Depeche Mode was a big Boys Noize fan and I was contacted to do a remix for them. I also always do remixes for friends like Para One, Mr Oizo if they ask me to.” His studio prowess eventually caught the ear of the Black Eyed Peas, who singled him out to collaborate on their latest album, which was a massive surprise for the Berliner. “That kind of came out of nowhere!” he exclaims. “I found out that was a huge fan of my music and they asked me to send some beats over for their album. I sent about three or four of them and they really liked one so they put it on the CD. They are very smart about what they do – they travel to Europe and try to find new and exciting sounds and I was one of the people they decided to work with.” The release of Alex’s first album Oi Oi Oi in 2007 cemented his hold of the electronic indie disco crown, so when he unleashed the follow up, a throbbing club techno leviathan titled Power this year, some critics were quick to question the change in mood. “It has always been the case for me. It’s like giving someone a little card, a current update of where you are musically right then. I always start fresh with all my music, different sounds, different drum patterns and new ideas so it’s like a fresh attitude.” With no surprise, he tells me that returning to our great southern land after a five year hiatus is an exciting proposition, mainly due to his eye-opening experience in 2005. “Australia is incredible,” he says. “I was so amazed when I came here last time and everybody was rocking out really hard to my music and they knew it so well. It was not on radio or TV and wasn’t really even promoted here but obviously other DJs were playing it and that was fantastic. It’s what it is all about, so that was really nice.” Boys Noize is playing at the UC Refectory on Friday February 26, along with Cheese, Hubert and Offtapia. Tickets through QJump and Landspeed Records.


ALL AGES Festivals, festivals, festivals! Enjoy summer while it lasts, my lovelies… On Friday February 5 the National Multicultural Festival begins. Until Sunday February 7, each stroll through the city will treat you to delectable authentic cuisines from every corner of the globe, petite stalls for the browsing and free live entertainment. What a grand way to brush off the filth of Australia Day! On opening night you’ll have the chance to see contemporary Australian artists Deni Hines, Melinda Schneider, Paulini and Emma Donovan on the stage in Garema Place. Countless performers will entertain you over the weekend on three main stages in Garema Place, Petrie Plaza and Akuna Street. A performance not to be missed on the Sunday in Petrie Plaza at 4.30pm is that of The Sodapops, a homegrown funk/ pop fusion band that I’m sure will not only make you dance but will light that festive fire in your belly. On the 7th you can be a part of celebrations in honor of the upcoming Chinese New Year. For more festivities or information visit . Also on Sunday February 7 is Capital City Hardcore, featuring a gut-wrenching lineup of bands including Dead Kings, I Exist, Vera, Reigner, Atlantis Awaits and Observer. This is all happening at Canberra’s newest all ages venue The Warehouse, Capital City Hardcore being their debut all ages gig. You can buy your tickets at 1pm when the doors open, it costs only $10 AND there will be a meat/ vegan friendly BBQ!


The Corinbank Festival is exactly what this summer needs. This spectacular three day music festival from Friday-Sunday February 26-28 also happens to be a two night sleepover at the Corin Forest Mountain Resort, one of the most beautiful locations in the state! What could be better than camping in the middle of nowhere after performances by artists You Am I, Clare Bowditch, Ash Grunwald, Urthboy, Astronomy Class, Dallas Frasca, Batucada Sound Machine and Tijuana Cartel, just to name a few. All up, the festival will feature over 30 brilliant artists to suit all tastes, not including workshops and activities ranging from bushwalking to belly dancing. Weekend passes started selling for $165+BF but ticket prices are rising as the date draws nearer. For just a slice of the magic, buy a day ticket from $35+BF. Children under 16 get in ‘free’… with a $5 BF. Be sure to go on the right day for what you want to see. For the three day program go to and for tickets go to Every ticket sold will plant one tree! As previously mentioned, until the end of February the National Film and Sound Archive are bringing back their popular outdoor film screenings in the NFSA’s peaceful courtyard. Dirty Dancing, a romantic classic by Emile Ardolino, will be screening on Saturday February 6 to celebrate the life of Patrick Swayze. And on Saturday February 13 you can see The Lost Boys, a horror movie based on two teenage boys and a shitload of teenage vampires. This 1987 film was a creation of Joel Schumacher, the American director who brought you Batman Forever, Batman & Robin and The Number 23. You hear that Twatlight fans? There is a GOOD vampire film for you to live for. So run along kiddies, tickets cost $8 for concession and $10 full price. Dig in! NAOMI FROST


February is upon us once again, and this month’s To Do List just keeps on growing. Locality would like to remind the procrastinators amongst you to head online and buy your Corinbank tickets (and you had better get in quickly, as all of the first and second release tix have already sold out). Valentine’s Day rears its red cardboard head this month, so it’s time to either plan a sickeningly lovely surprise for whichever boy or girl you have a heart-on for, or decry the tradition as a load of commercial nonsense (preferably loudly, and on public transport). And, of course, remember to make a trip to the 2010 National Multicultural Festival, held in Civic from Friday-Sunday February 5-7, to enjoy the free entertainment and eat some stupidly good food. If you’re strapped for cash and you love local music, head along to the free Global Concert in Garema Place on Friday February 5. The concert will launch this year’s Multicultural Festival and the lineup includes some great local acts. DJ Gosper and The KarismaKatz will be at their bluesy best from 5pm, Clankenstein will present their unique brand of Balkan honky-tonk from 5.40pm and jazz duo Anton Wurzer and Lachlan Coventry will play some original compositions from 6.10pm. I should probably also mention that this gig coincides with the Multicultural Night Markets, so really it’s a no-brainer. On Saturday February 6, locals Waterford and Voss will play alongside Sydney five-piece Dusker. The music starts at The Phoenix from 9pm and entry is free. If your ideal lineup is less ‘indie’ and more ‘screamy, head to Bar 32 on Wednesday February 10. Locals Vera, Jerkstore and Hoodlum Shouts are playing with NSW’s Bare Arms and Italy’s Milvains. Doors open at 7pm and entry is $8. Birds Love Fighting, Canberra’s facilitators of the finest in indie music, present another instalment of Gangbusters on Wednesday February 3. This month, locals Kasha, Girl Sized Hands, Killing Birds and Ah! Pandita vie for your affection. Gangbusters kicks off at 9pm at Bar 32 and entry is $5 at the door. You can also catch Killing Birds at Bar 32 on Thursday February 11, when they play alongside local duo Assassins 88. The gig doubles as a launch party for a new photo zine, We Are Not Obscene. The fun starts at 8pm, entry is free and a zine will set you back $6. The team at Locality has been sifting through the hundreds of ACT entries on the triple j Unearthed website and this fortnight we’ve discovered more standout artists. We’re currently listening to local four-piece Waterford’s Unearthed tracks, Waldeningstone, Painted and Sails & Raft. Waterford manages to make music that’s both cruisey and rousing at the same time. It’s catchy and poppy indie rock, and we’re big fans. To listen to these tracks, head to www. and search for Waterford. You can also select the Advanced Search option and opt to view every act from the ACT. While you’re online, we recommend taking an extra couple of minutes and registering as a member. Registration is free and it enables you to rate and review each track you listen to. So head to the site, give yourself a devastatingly witty username and create some buzz about Canberra music. Have a lovely fortnight, boys and girls. ‘Til next time, CATHERINE JAMES

So und the Sire ns katherine quinn Amongst the hustle and bustle of Cafe Essen, it’s easy to spot Julia Johnson. She looks like some kind of ethereal creature, with wide blue eyes and long strawberry blonde hair hanging in a shimmering curtain down her back. It’s appropriate, then, that she is the frontwoman for Canberra-based folk band JULIA AND THE DEEP SEA SIRENS. After a rough year, with three band members leaving in what Julia calls the “mass exodus” that Melbourne attracts, this talented songstress is once again backed by a full band and set to play Corinbank at the end of February. “I don’t know if we’ve ever played to an audience as big as Corinbank,” Julia admits, with obvious excitement. “I’m really looking forward to it – I’ll have to make sure I don’t have embarrassing stage banter!” Entertaining stage antics are something that Julia is known for, and she says she’s always felt comfortable on stage. “I can be so nervous that I’m afraid to go up to someone I already know in a bar, but in The Phoenix I’ve yelled at people before – I told someone to shut the fuck up in the middle of one of our songs once! It’s hard being a quiet band; you can’t always get over the top of people’s conversations.”

I told someone to shut the fuck up in the middle of one of our songs once!

Nonetheless, Julia tells me she loves playing smaller venues, and regularly performs at The Front and The Phoenix. I ask her when she first knew she wanted to be a musician, and she replies, “I was in a musical when I was in Year 11, which made me realise ‘oh, the singing in the shower is actually good enough to do in front of people!’” After making someone cry at an early performance (not by yelling at them, don’t worry – it was a sad song!), Julia recognised she could develop a connection with the audience through her songwriting. “I was pretty much sold at that point,” she says, and confesses, “it was a break up song, but the relationship was only like a fortnight. I felt fine, and I got a good song out of it!” While she aims to write emotive music, she tells me, “I don’t like to evoke the same emotions as every other love song or break up song. I think if you look at it from your most personal perspective possible, then that’s the only way you can find an original angle to come from.” It’s clear that there is a bright future ahead for this Canberra lass – but don’t worry, she’s not going anywhere (at least in terms of geographical location)! “I feel like at the moment the Canberra scene is on the cusp of something. In the future we’ll look back on the scene today and say ‘wow, that was a really amazing time for Canberra music.’ I want to stick around and be part of it, and see what happens.” Catch Julia and the Deep Sea Sirens at the Corinbank Festival on Friday February 26. Tickets through Greentix.


DANCE THE DROP The futuristic wonderland of 20ten is upon us and although we haven’t been enslaved by sentient beings or destroyed by our own sun, with the eye-popping array of gigs in our not too distant future another much more apparent apocalyptic destiny confronts our youth – death by partying. River Phoenix, I’m looking at you. Summer is already bursting with more oomph than the swept forward emo helmet of an angsty hipster and we drag our sweaty selves forward into the first quarter of the year possessed with the need to forget the worries of the working week and fling ourselves head first into the clubbing calendar… I am bound by law to finish that sentence with ‘not literally.’ I’ll start with Chuckie. What is there to say about this man that hasn’t already been said about Jessica Alba’s underpants. If you love good Dirty Dutch house music, do not miss his one and only Canberra show on Friday February 19 at ALLIANCE @ Academy. Let the bass kick! By god this is a great month for us beat junkies in the nation’s capital. After their stellar Jaytech gig, Effigy are bringing my personal favourite Phil K back to Canberra on Saturday February 20 to play a 100 ticket only intimate show at Hippo Bar. If you miss this then… well, you don’t really like dance music do you? Tix are available on the door for the ridiculous price of $10 and supports include Fourthstate, Beat-It, Gabriel Gilmour, Yohan Strauss and Andy Roberts. Kids, it’s time to get those bright orange knee-high tassle boots that you never thought you would wear again out of the wardrobe because the rave kings of Canberra, Lighter Massive, are back with yet another large scale event at the UC Refectory on Saturday February 20. Mark EG (UK), Log:One & Wragg (UK), Thera (NL), Louk (UK) plus interstate and local supports round off a monumental lineup of fist pumping proportions. Tickets available from the usual places. PANG! seem to be busier than Tiger Woods’ attorney, pumping out a fresh round of gigs at a rate that would make Dr Richard Jordan Gatling turn over in his grave. Firstly, we all know Hubert is quite the philanthropist, and Thursday February 18 he teams up with the lovely SEAO team to bring us another free party at the HaHa Bar featuring Dutch maestro Bart B More, get on board! Secondly we have everyone’s favourite German, Boys Noize, taking over the UC Refectory on Friday February 26 alongside AJAX (Syd), The Aston Shuffle and newcomers The Swiss (live, Adel). Tickets are on sale now! For all you DJs out there who love to support the local scene, there are a lot of Australian producers out there dropping absolute fire at the moment. Check out new releases by Two Fresh, DCUP, Nick Thayer and Dave Winnel for some true blue club destroying electro mayhem. Until next time, dance like no one is watching… unless that person is Jason Coleman. TIM GALVIN



Church of Rock


katy hall

ben hermann

For everyone who has ever heard of a band called THE CHURCH, which I like to think most Australians have, there’s a lot to be said for them.

You’d be hard pressed to find a group more suited to a world music festival than THE BAMBOOS. Led by New Zealand-born Lance Ferguson and now based in Melbourne, the group have been laying down their tunes of deep funk and soul, mixed with lashings of hip-hop and old school breaks for nigh on a decade now, picking up vocalist Kylie Auldist along the way. Having seen off 2009 with an electric latenight performance at the Falls Festival, Ferguson and the group sound more than ready to take on the WOMADelaide world music festival this March. “The ability to do two sets at one festival is amazing,” says Ferguson. “With these events we usually get in, do our set, then leave. This time we have a set on Saturday, then another on Monday, so we’ll be able to stick around and hang out.”

Their best known track, Under The Milky Way, has often been called one of Australia’s best songs of all time, and like only a small handful of other Australian artists, their music has stood a test of relevancy and dating that never strips them of meaning or pleasure. “The Church is described in negatives. We didn’t want to be punk, we didn’t want to be political, we grew our hair long and wore paisley shirts,” explains lead singer Steve Kilby. “Looking at video clips from bands that were around at the same time, you can laugh at their haircuts, or the really bad use of keyboards, and in ways it often takes away from their sound. As a band we just never listened to any of that because we knew exactly what we didn’t like.”

Canberra was never open to my ideas; I had to flee

Celebrating their 30th year together, and the major success of their latest release Untitled #23 ( named it one of the best albums of all time), the band are returning to their home territory of Canberra, and allegedly, the birthplace of The Church. “Let me set the record straight about Canberra, once and for all,” says Kilby. “I grew up there and so did Peter [Koppes, guitarist], and we both lived there until we were about 20. We played in a band called Baby Grande for a while, that was our Canberra band. We both moved to Sydney, and that’s where The Church was formed.” Seeming fairly adamant and almost protective of this fact, Kilby plainly states “Canberra was never open to my ideas; I had to flee. It was good because it helped me focus my thoughts. The sterility forced me to concentrate, because there was nothing to do and no one to do it with. The Church would never have been accepted there in 1980.” Since fleeing the capital, the band has managed to amass 23 LPs, work on solo projects, and in Kilby’s case, become an accomplished poet and artist. With almost all of their contemporaries either long split or only occasionally on the road when a reunion tour is called for, the band’s innate sensibility of the product and not the timeline is rather incredible. “We’ve always been a very intuitive band,” Kilby admits. “No one ever gives direction, and actually, our music couldn’t take direction. When I wrote Under the Milky Way, no one thought of it as a hit, it was only when the record company saw potential in it. People say ‘you should write another song like that,’ but in a way that was how I learnt my lesson artistically, from just letting things flow. And for us, there’s never really been a point in taking time off,” he states simply. “We’re still productive. No one wanted to break up, so we didn’t.” Catch The Church at Tilley’s Devine Café on Wednesday February 17. Tickets from the venue for $38 + BF.


Along with their multi-set performance at Australia’s largest world music festival, March will also see the group release their fourth album, suitably titled 4 on Tru Thoughts. Having started out in 2000 as an instrumental group whose live performance showcased sprawling, improvised jams, the group gradually took on more of a songwriting and lyric-based focus, culminating in the permanent addition of Auldist to the group. “The new album will definitely be reflective of the song-based approach that we’ve gradually adopted over the years,” says Ferguson. “Our songs are all three to four minutes long, but they’re all segued with hip-hop drum beats, which allows us to get through a lot of material. It’s much better than just playing a smaller amount of really extensive songs with lots of solos and jams – I think that can get really boring.”

Really extensive songs with lots of solos and jams can get really boring

The group’s style, coupled with their roots as a jam band of sorts, has also seen them chosen in the past as the backing band for artists such as Eddie Bo, Syl Johnson and Eddie Floyd; experiences which Ferguson admits can be strangely eye-opening. “Obviously, simply by playing with them, you hope to soak up as much of their experience as possible,” he admits. “There aren’t really any negative aspects, but sometimes the promoters will get an old artist out and give them a list of songs to play. Sometimes these artists haven’t seen or played the songs in 20 or 30 years and they don’t actually know how the song goes. It’s not a negative thing, but eye-opening.” So with WOMAD, a new album, another European tour planned for June and their sights set as well on North America and Japan, The Bamboos look like they’ve hit their stride at rather an opportune moment. “We’re looking forward to all of it,” says Ferguson. “Some crowds are bigger than others, but if you sell tickets and people are there, the vibe is good whether you’re playing in Berlin or in Adelaide.” The Bamboos will play sets at WOMADelaide, Adelaide, on Saturday March 6 and Monday March 8. Tickets from Their new album 4 will be out on Monday March 29 on Tru Thoughts, distributed by Fuse.


E X H I B I T I O N I S T Old Owl Eyes Is Back (Bart Cummings) by James Brennan (Winner 2009 Bald Archy Prize)

BALD-FACED CHIARA GRASSIA Cultural oddity and social satire, THE BALD ARCHY PRIZE, is currently in its 17th year, continuing to poke fun at the rigid formalities of Australia’s gigantic art competition the Archibald Prize. Bald Archy founder Peter Batey is still as enthusiastic as ever about the exhibition. Well over a hundred entries are expected this year, with Batey eagerly looking forward to viewing them all. “Of course,” he chirps down the phone line, “it’s like Christmas.” The Bald Archy is shaping into a graphic representation of Australian history from its beginnings in the mid-’90s, right down to this year’s entries. “When you see them all together it’s quite a remarkable collection,” Batey muses. “In actual fact, the exhibition each year is a snapshot of Australian life, of Australian society.” One of the main differences of the Bald Archy, compared to its more serious step-sibling the Archibald, is that the artist does not need to personally know their subject, nor need their permission to create their work. This could potentially bubble into a horrid disaster, but Batey confirms there have been no complaints from any of the array of people featured in the portraits. It’s all just a part of good old Australian larrikinism. Subjects have ranged from political figures to entertainers, anyone famous enough to spark interest from the artist. Last year’s winner, Old Owl Eyes Is Back by James Brennan, featured racing icon Bart Cummings, his eyebrows growing well up into his perfectly coiffed white hair. Whoever the subject, opinions are encouraged. The artist “must have something to say about person they are painting.” Originating from The Festival Of Fun, also founded by Batey, in the small NSW country town of Coolac, the rascally Bald Archy has snuck its way into the world of Australian art culture. “It was only really an invention of a small country town arts festival,” Batey says, noting that it stemmed from a lack of art exhibitions in small towns. Every year the Bald Archy exhibition travels the nation, reaching towns that


would not normally get access to an exhibition of its nature, including Bowral and West Wyalong. The reactions each year, Batey confirms, are incredibly positive. “It’s fascinating watching people go in and you know which ones they vote for. They’ll stand around laughing at a picture of the Opposition. “The exhibition is only an extension of what The Bulletin used to do, and Smiths Weekly, which were both loaded with pictorial satire,” says Batey, giving a nod to the history of Australia’s appreciation for satirical humour. “It’s entertaining art. It’s about art, it is querying about art... It’s not really about political comment at all. It’s basically about celebrities or just well known personalities.” The dose of humour is all part of the exhibition’s charm, attracting loyal followers, art aficionados, and the everyday ‘man off the street’ to wander in and have a squiz at the paintings. With all participants encouraged, the artistic nature of the portraits is diverse. “It’s a mixture of things. There are some pretty experienced illustrators or newspaper caricaturists and all the way down to Sunday afternoon painters.” Of course, there will always be entrants of a more aggressive political nature, which distracts from the playful tone. “It’s also very difficult in an exhibition like this, it does allow for political comment,” agrees Batey. “It goes with the current political territory.” Mentioning that in the past there has been an overload of a particular subject, such as Pauline Hanson or John Howard, Batey suggests that “many of these are not done in the spirit of the competition... Most of them don’t get in because, who cares?” Arguably the most provoking element of the contest, the myth of the Bald Archy’s judging panel, is still circulating, baffling the public. The infamous boast that the contest’s main, and only, judge is a cockatoo named Maude, is still ruffling feathers over a decade on. Batey finds it “fascinating that people still believe it”, though clearly the joke may still be lost on some. “There was a young reporter who came here for an interview, who spent three hours trying to interview the cockatoo. I kept saying, ‘Mate, it’s just a cockatoo. Ask me questions because I can channel what she’s thinking.’ “The other interesting thing is that there are a lot of people who don’t have a sense of humour. People you’d never imagine, including artists. Some of the conversations I’ve had with artists have gone on... hour and a half, two hours, about how it’s impossible for a cockatoo to judge a prize. It’s no more impossible than the entire board of directors, at the Art Gallery of NSW. They’re business men, what do they know?” The exhibition will travel to Canberra in February and March, in conjunction with the Multicultural Festival, where the public can view the entries before the winner is announced later in Sydney. With last year dishing up a whole heap of media frenzy and perfect targets for the competition, who knows who’ll end up hanging in the exhibition this year? The Bald Archy Prize shows at the Watson Arts Centre, Aspinall Street Watson, from February 5 to March 8. Open daily 10 ‘til 4pm. Entry $3. Check out for details.


What do you do? I’m a choreographer, performer, teacher, and am now Artistic Director for Canberra Dance Theatre, and Artistic Associate for Ql2 Centre for Youth Dance

GOD ONLY KNOWS NAOMI MILTHORPE A snappy beat, a jangly keyboard, a horn section, and an affable, fasttalking cabaret MC – it’s a classic beginning in musical theatre. But in Andrew Hackwill’s new musical opening at the Tuggeranong Arts Centre, there’s a twist: the host is St Peter, the holder of the keys to the pearly gates, and “things aren’t all that happy here in Heaven.” THE DEPARTMENT OF HEAVEN is an entirely new and original musical written by Hackwill and directed by Lainie Hart. The conceit of the work is that Heaven is like a government department, and St Peter is the chief of staff. Unfortunately for us humans, God is getting pretty sick of us all – and of his job. He’s ready to retire, and is about to pull the pin on the “incredible experiment we call the human race.” Meanwhile, St Peter has lost the keys to Heaven – inside of which, are a host of A-list historical figures, from Rasputin to Robin Hood. The spark that ignited The Department of Heaven came from costume designer Christine Pawlicki. The idea was to put on a funny, intimate show, “loaded with historical figures” and “something that the audience could find familiar,” essentially so “she could go nuts with the costuming,” says Hackwill. “Where do you set a show with figures spanning two thousand years?” asks Hackwill. “Well, the answer, of course, was Heaven.” The result is a show with “instant appeal,” argues Hackwill. “There are 17 very funny, very clever songs, and a very funny plot to connect them.” “It’s a lovely opportunity,” says director Lainie Hart. “One of the opportunities is that you have these historical figures that people feel connected to. It’s the opportunity to make something a little bit unexpected, a bit more flamboyant.” It’s also a show that is designed to appeal to it’s audience: we of the nation’s capital. “It’s a language and a sense of humour that’s very Australian,” says Hart. “One of the important things about this show is it’s come from the perspective of a person who wants to be entertained,” says Hackwill, arguing that putting on a play from a foreign country that’s 50 years old seems pretty irrelevant to Canberran audiences.

When did you get into it? When I was seven, over 30 years ago. I began with ballet and we travelled widely as a family so I found an interest in other cultural dance forms. I began a degree at Macquarie Uni before going to London Contemporary Dance School. From there I worked with a number of cross cultural companies before beginning my own work. Who or what influences you as an artist? Other artists, travel travel travel, and the Indian forms I work with – Bharata Natyam, Kalariapayttu and Chauu. What’s your biggest achievement so far? A commission from the London Royal Opera House in 2007 and my solo tours. What are your plans for the future? I am looking forward to being based in Canberra this year and working with CDT and QL2. I am also continuing my work at the National Film and Sound Archive as I am developing a new work for premiere at this year’s Edinburgh Festival. What makes you laugh? Funny moments in class and rehearsals. My nephews. Outrageous friends. What pisses you off? Bad manners. Small minded people. Bad use of space in class! What’s your opinion of the local scene? Exciting. Can’t wait to find out and see more of it. Some really exciting artists, some of whom I have been lucky enough to work with. What are your upcoming performances/exhibitions? Not sure as yet. But the Edinburgh Festival for the new work 120 Birds is all encompassing at present. Contact Info: For Canberra Dance Theatre: info@ / 0435 025365 For QL2 Centre for Youth Dance: / 02 6247 3103

Hence conflating Heaven with a government department. “There’d be enough public servants to understand the departmental humour.” One of the structural jokes of the show is that, in order to distract God from retiring, St Peter brings in a consultant to reorg the department. When you need to make a bang and a crash, who better than Thor – Norse God of Thunder? “His plan is to turn the department into a cabaret venue,” says Hackwill, “to entertain God.” So the host of Heaven – Alexander the Great, Lady Godiva, Queen Bess – present a “chocolate box” of cabaret songs, says Hart, designed to entertain the Heavenly Father – and the show’s Canberran audiences. “It’s outrageous, it’s controversial, and no, it had not been sanctioned by Rome,” says Hackwill. “Yet.” The Department of Heaven plays at the Tuggeranong Arts Centre from February 10 to 13. For bookings and information call 6293 1443.














Monica Paton - Drama III


AUSTRALIA’S (YOUTH) GOT TALENT EMMA GIBSON On January 15, 20 talented youngsters from across the country converged in the capital to take part in the AUSTRALIAN TALENTED YOUTH project - a mentoring program for young artists in a range of areas, including music, dance, visual art, creative writing, film production and drama. ANU’s Dr Jolanta Gallagher developed the project in 2007 after she noticed that many emerging artists were geographically, socially and artistically isolated. “I’d noticed it on various visits to more remote Australia. Young artists didn’t have access to high quality mentorship and resources and felt isolated in communities,” she says. This year’s students, aged between 15 and 19, come from far-flung regions like Kalgoorlie and Karratha in WA, to the tiny Cabbage Tree Creek in Victoria. Through partnerships with local organisations, including the ANU and The Street Theatre, students pair up with wellknown artists including pianist Dr Geoffrey Lancaster, singer Louise Page, theatre practitioner Fiona Atkin, jazz musician John Mackey and filmmaker Che Baker. “The uniqueness of this program lies in, first of all, the number of creative arts involved, and in the fact that students need to collaborate across disciplines. It’s not just a pocket of dance, music or visual arts it’s a full production,” Dr Gallagher says. Speaking of production, as the culmination of the project, participants worked together over ten days to present a multi-arts performance at The Street Theatre on January 25, which highlighted their talents in writing, music, drama, visual art, dance and film. And through the process, they learn valuable skills and gain greater confidence as they pursue their artistic career. Students have already been putting their new experience to use, with two dance students staging integrated or multi-arts performances in their communities to support bushfire victims in Victoria and Western Australia in 2009. An estimated 300–500 people attended the shows and made donations. “We’re very proud of our alumni. Following this project, two students were accepted into the renowned Cirque Du Soleil - one recently performed in New York. We’ve got an Indigenous student who was accepted into the dance program at WAAPA and has collaborated with Bangarra Dance Theatre,” Dr Gallagher says.


Previous students from the Australian Talented Youth project have continued studies in their various disciplines, and many have returned to Canberra to enrol at ANU and the University of Canberra. Five visual artists who participated in the project were accepted to the ANU School of Arts - three of them on scholarships, and six entered the ANU School of Music. “We expect a similar thing will happen with this intake, and we always get positive feedback,” Dr Gallagher says. “It’s a hugely encouraging event. Young people get the skills, expertise and confidence to excel in their field. The Australian Talented Youth project propels young people to the heights of artistic achievement.”








UNINHIBITED For some reason – new year’s resolutions of participation, involvement, or just plain “I have to do something or else I might shoot my own foot off” boredom - we at Exhibitionist have in the last few weeks come in for a carpet-bombing of submission requests. Not, mind you, from companies wanting to hock their wares, but from writers wanting to see their work in print. And it takes us back to that auspicious day that we of Uninhibited first trepidatiously submitted a review to BMA, back in the salad days of 2001.








Oh, it was a glorious time! Pre-9/11, pre-GFC, pre-climate change according to Tony Abbott… the world was innocent, and so was Uninhibited. Back then, we were but a babe in playland, a chubby 19-year-old typing with fat fingers a review of a play performed by the then uber-fringe, uber-emerging company, Bohemian Productions. The play was called The Mischief Sense, and was penned by some upstart rapscallion called David Finnigan. It was a crime caper, a bit Guy Ritchie-ish (back in the good old days before it became apparent that Guy Ritchie is what we like to call a ‘plonker’ or, more often, a ‘douche’), and was being produced at the Currong Theatre at Gorman House.* We submitted our review, and soon afterwards were welcomed into the bosom of BMA. We attended our first musical festival as a VIP, bumping into Brendan Cowell in line for the portaloos at Homebake. For years we wrote CD reviews and interviewed shooting stars of the 1988 Australian music scene, such as Steve Kilbey and Tim Finn. And every so often we’d sneak in an article about a local theatre show. And in the blink of an eye, it seemed, it was 2006 and BMA introduced Theatre Column. Meanwhile, other media outlets were contracting. Magazines shut down. Newspapers changed their focus from local to global. Editors moved. Local artists hustled to get elusive editorial copy. And with Exhibitionist, BMA again opened its ever-loving arms. Bless. Now, to unearth the buried point of this lengthy ramble down memory lane: that first review, the review that set us on the whirlwind course to editorial superstardom**, was never published. But the basic impetus that set us writing that review – the need to engage with the arts, and with our peers, in a direct (and public) way – was, in the end, worth it. Even if, as we often used to say, it ends up wrapping your fish and chips, the review is a powerful thing. It can lead us down an unfamiliar path and guide us to a new place. It’s a map. And for Uninhibited, it’s been a hell of a journey. NAOMI MILTHORPE *If you don’t know where the Currong Theatre is, it’s because several years ago it was invaded by the dames of the Embroiderer’s Guild. Bitches. ** Or rather, on course to frantically typing on a 12-year old PC, for a column that should have been in seven days ago…


bit PARTS WHO: Everyman Theatre WHAT: Musical of Musicals (The Musical!) WHEN: One night only: Friday February 5 WHERE: Courtyard Studio, CTC Rarely if ever in the theatre world do you get a chance to go back to see the same show, especially in this town. Luckily (for this writer at least) Everyman has bucked the trend and brought back for one night only, in response to an overwhelming popular demand, their hit musical Musical of Musicals (The Musical!). A spoof of five distinctive musical styles, the show sees ingénue June threatened by her evil landlord because she can’t pay the rent. Will the handsome leading man come to her rescue? Who knows?

WHO: Free Rain Theatre Company WHAT: Lloyd Beckmann, Beekeeper WHEN: Thursday 18 – Sunday 21 February @ 7.30pm WHERE: Courtyard Studio, CTC Lloyd Beckmann, Beekeeper is a new play, devised by director Kelly Soames and performer Tim Stitz, that grapples with themes such as aging, genealogy, inheritance and loss. Quoting again: “Weary from a day tending his beehives, Lloyd blusters into his fernery and happens upon a bunch of eager beekeeping enthusiasts. He invites them into his modest grannie flat to teach them a thing or two about life, the land and beekeeping.” It also has an aroma design, with the audience’s senses piqued by the smells of paw-paw, cologne and baby powder. See it at The Courtyard Studio. Find out the details and book tickets at www. .

WHO: Nicholas Folland WHAT: without reason WHEN: Until Sat Feb 13 WHERE: Canberra Contemporary Art Space, Gorman House Quoting from Wendy Walker’s Becalmed: the art of going nowhere in the work of Nicholas Folland: “Folland says that he wanted ‘to create something very comfortable (and therefore familiar), that has taken on a life of its own. Through familiarity, the bathroom is a place of calm, of flowing water and dreaming in the bath, but in Raft, the elements have become the stuff of nightmares - too out of control to be comfortable.’” Check out Folland’s exhibition at CCAS, without reason, in conjunction with Alexander Boynes’s after dark and Lucy Quinn’s trepidation, on until Sat February 13. Entry is completely free: .


METALISE Hail fans of the brutal. Nile must like it here, ‘cause they’re not only giving us a new album soon in the form of Those Whom The Gods Detest, but they’re also coming back for what I think is their third Aussie tour. Also along for the ride are US black metallers Abigail Williams who will be mercilessly divining the winds of hate from their new album In the Shadow Of A Thousand Suns on their first Aussie jaunt. As if that wasn’t enough brutal for your buck, throw in Florida death stalwarts Hate Eternal to open proceedings on the back of their Fury and Flames record. The tour will cross closest to ACT fans in Sydney at The Factory on Friday May 28 and is a licensed all ages show. Tickets on sale at and Utopia Records if you’re up in Sydney doing some record shopping. Also returning this year is Machine Head for a run of shows in March. Details are light on at the moment, but the show closest to us is at the Big Top, Luna Park in Sydney on Sunday March 28 and will be licensed all ages. Tickets through Ticketmaster. Cemetery Urn have made a welcome return to the recording studio and are about to drop their new album Southern Sign Ritual on the Blackart Productions label. Keep an eye out on the band’s MySpace for release dates and point of purchase info – cemeteryurn . The UK’s Paradise Lost have postponed their Sydney Metro show that was to be this Saturday February 6. The show has now been slated for Monday April 26 and tickets for the Saturday February 6 will be honoured. They’re still bringing Norway’s Sirenia, a gothic metal band who blend death and extreme metal influences with symphonic atmospheres and female vocals in the form of Spanish X-Factor contestant Ailyn. Neil Hamburger is supporting Faith No More on their upcoming sideshows to the Soundwave tour. Should be interesting to see how that goes down! If you’re in Sydney on Saturday February 6 and doom isn’t your cup of tea, don’t forget Queensland’s, and arguably Australia’s, most infamous extremists Portal are at the Bald Faced Stag (knowing these guys, one of them will likely be wearing a bald faced stag) promoting their stunning new album Swarth. Also along are Ulcerate (NZ), Beyond Terror Beyond Grace and Daemon Foetal Harvest. That’s a big night well worth a hit up the Hume. Don’t forget locally over the next two weeks are two stunning international shows of our own at The Basement. Thursday February 11 is the Birushanah (Japan), Whitehorse (Melbourne) and Pod People show. Tuesday February 23 is Wolves In The Throneroom (USA), Monarch (France) and Black Widow/Blarke Beyer (Melbourne). JOSH NIXON Josh np: Face in a Night Time Mirror Pt 2 – Wolves in the Throne Room – Diadem of 12 Stars


THE REALNESS Blood, Sweat, Tear s... Metal stephen samara TEMPLESTOWE are a band that have superseded expectation and doubt. Formed in 2007, they have gradually taken the huge steps necessary to get the attention that they, as talented musicians, deserve. October 2009 saw the band release their debut full length album, Cimmerian. “The album has been named in several Top 10 lists for 2009 in the media – most notably by triple j’s ‘The Racket’ program,” says Jon Hocking, the band’s vocalist. “In a worldwide list that included such names as Mastodon, Megadeth and Alice in Chains, Cimmerian took out spot number 10 and was only one of two Australian albums to make the list. For a self-financed, unsigned debut album recorded by the band and mixed in Canberra, we were incredibly humbled by that.”

Canberra does have quite a large metal following

Indeed, not being signed to a label certainly hasn’t held the lads from Canberra back. In fact, if anything, it’s produced a certain kind of work and musical ethic (if not a productive form of aggression) that is quite evident on the album. One minor setback in the band’s progression and in the recording process of Cimmerian was the departure of two of their members, including original vocalist Andy. “We had to audition new members and then have them learn and record the new parts which was incredibly time consuming. That being said, the process was incredibly exciting. Being able to hear your songs come to fruition is always a rewarding process.” Templestowe have been part of the rise in Canberra metal in the last few years, alongside great bands like Aeon of Horus, Alchemist, Infinitum, Kill for Satan and Forgery. “There are a lot of great Canberra metal bands in the scene at the moment,” Jon says. “A lot of the bands are incredibly dedicated to doing things right and as a result we’re seeing a lot of great albums coming out and a lot of bands flourishing outside of Canberra. The reality is Canberra does have quite a large metal following and we’ve seen that at various gigs throughout the last year or two. When you put in the effort to put a strong bill together and give promotion a very hard push, the punters do show up.” So what does 2010 hold in store for Templestowe? “2010 is basically a year of touring for the band,” Jon says. “In the first half of 2010 we’ll be travelling to Perth, Brisbane and Adelaide as well as to Sydney and Melbourne a number of times. It’s a difficult process, especially since some of these cities we’ve never played before. It’s always hard to reconcile costs versus exposure but it’s something we all believe necessary to further the band.” With what can only be described as a significant and potent debut release behind them, plus the dedication and blood/sweat/tears philosophy, Canberra can only expect great things from one of their finest metal exports, Templestowe. Catch Templestowe at The Basement on Friday February 26 with Melbourne’s Humonic and Canberra’s own Tortured and Forgery.

Famed label Ostgut Ton has announced plans to release a mix album in conjunction with forward thinking Berlin-based dubstep night Sub:stance. Featuring a slab of material from Scuba’s incredible Hotflush label, expect dense yet danceable heaters from Ramadanman, Shackleton, Joy Orbison, Shortstuff, Pangaea, Untold, Joker, Mount Kimbie and more. Sub:stance is available from Monday January 25. Workaholic Statik Selectah is back with his third producer LP 100 Proof (The Hangover) through his Showoff imprint and as expected it features all the heavyweights – think Bun B, Lil Fame, Saigon, Sean Price, Freeway, Havoc, Smif-N-Wessun, Royce Da 5’9, Reks, Styles P, Talib Kweli, Evidence, Souls Of Mischief… yeah, you get the drift! Speaking of heavily anticipated, the mighty Strong Arm Steady crew return with their second LP on the much loved (and forever dope) Stones Throw label. In Search of Stoney Jackson is entirely produced by Madlib. Sprinkle on top an all-star guest lineup from the likes of Talib Kweli, Phonte, Evidence, Oh No, Planet Asia and Guilty Simpson and can’t it just be out now already? In the face of the economic crisis and evaporation of distribution companies Australia-wide, a number of artists have turned to putting new releases up for free download on – so why not get busy and support. Crate Cartel’s Geko has unleashed his The Appointment release which is now up for grabs. It is predominantly produced by Doc Savage with some bonus Jase remixes throw in for good measure. There will also be a limited run of pressed copies and the release is a pre-course to the Crate Cartel Radio compilation out early 2010. G-Force & Sparts have also put up their brand new Powerlines release for free. Featuring guests Mol One, Haunts, Maundz and Thorts and a mix of exclusive beats from WIK, Blazin Marty and Xcise as well as some jacked favourites, the fellas have ensured it bangs from start to end. It’s available now as well. Staying down Melb way, Fatty Phew, Alter Ego and DJ Bogues have teamed up for a five track EP entitled Best Things In Life Are Free which will be available for free download from Monday February 1. Newcomer Alter Ego apparently lays down the beats with a definite Premier, Stoupe and Pete Rock influence, so it sounds really nice and with Phew on the mic it is 100% guaranteed. Heading back to dubstep/bass music territory, online sites Fact Magazine and XLR8R are constantly uploading free and essential mixes from the likes of Bullion, Deadboy, Shortstuff, Greena, Hyetal and many, many more. If you want to keep up with the ever-changing, exciting bass music scene in the UK and beyond, then get downloading. On the live front, Saturday February 20 sees the free Summer Rooftop Party pop-off on the roof of YHA (above Transit Bar) with D’Opus & Roshambo, Wax Lyrical, Truth Benders, Smith Brothers and many more supplying the summer sounds. And just in case you’ve had your head up your clacker, the legendary Lupe Fiasco hits the UC Bar on Saturday February 27 with Koolism, Horrorshow, Katalyst and D’Opus & Roshambo in support – tickets are selling fast, so don’t snooze and lose peoples. To hear music from all the above releases and more, tune to The Antidote on 2XX 98.3FM from 9:30 – 11pm every Tuesday night. ROSHAMBO


the word


on games 2010 already? Maybe this could finally be the year of the first crotchbased peripheral. However, before we get ahead of ourselves, let’s quickly discuss ‘09. Despite releasing the Wii-Plus (thus finally allowing their console to function the way it always should have), Nintendo failed to offer much to the serious gamer. At the other end of the table, the 360 and PS3 largely just spat sequels out, most of which stuck so close to their proven, money-making formulas, it was hard to tell if anyone had even worked on them. That said, there were definitely some highlights in there, including the glorious Wipeout Fury and the awesome Modern Warfare 2. Thanks in large part to its excellent co-op mode, it’s the latter that takes my game of the year nod. While Arkham Asylum, along with its great action system and originality, definitely deserve a nod too, if we stick to hours then MW2 definitely takes it (along with at least a day of my life too). So on to this year, which will hopefully see the release of the 360’s Project Natal – a system allowing you to use gestures to control the game. Sound familiar? Unlike the Wii, Microsoft informs us that we’ll be able to use almost any arbitrary movement, using our entire body. Personally, given who we’re dealing with here, I’ll make my decision when I’ve tried it for myself. Sony, not to be outdone, will also be releasing their own camera-based system, however, without the benefit of using a camera that can determine depth, like Natal’s can, I predict it to have about as much success as the six-axis accelerometer. For the PC owners, there’s a new Sixsense controller coming out which is being integrated into Valve’s engine (among others) and some companies (as well as myself) are even experimenting with camera-based tracking. So all up we can expect our interaction to get a whole lot more interactive (and probably even a lot more three dimensional). Games-wise, it seems sequels still reign as king. The highlights included (partially, locally made) Bioshock 2, Halo Reach, GT5, Final Fantasy XIII, Dead Rising 2, Mass Effect 2, Mario Galaxy 2 and Zelda [fill-in-number]. Luckily, it seems some originality still exists too, with the promise of Heavy Rain, a game boasting a massively dynamic storyline, and MAG, a shooter supporting up to 256 players, coming out too.

Touchmaster 3 Published by: Warner Developed by: Hijinx Studios / Midway Games Platform: DS Rating: Don’t bother Playing Style: Short bursts Length: 30+ mins So onto the review and given we’re short on space, I’ll keep this quick. Touchmaster 3 is lame. Like almost every other game on the DS, it consists of a collection of mini-games. It distinguishes itself by making the challenges a little more sophisticated than usual. Unfortunately, the result is that many of them just feel overly complicated, meaning overall, the game just feels more like work than it’s worth. TORBEN SKO


The music documentary is certainly a dangerous project – it requires a high level of skill to balance the need to provide new and interesting information to established fans with the desire to also make the documentary accessible to those outside of the tribe of musical trainspotters. This task becomes much harder when the doco tries to take on the entirety of popular music. Long Way to the Top did a decent job with the Australian industry a few years ago. Seven Ages of Rock (ABC1, Thu, 8.30pm) has had some good moments but it backed itself into a corner by dividing music history into genres. In particular the punk episode, which spent most of the hour banging on about The Sex Pistols with small mentions of The Ramones, The Damned and Patti Smith thrown in. What about Iggy Pop or The New York Dolls or the two decades that followed? Punk music didn’t just die when John Lydon formed PIL. Similarly the metal ep had the same usual suspects – Deep Purple, Black Sabbath, Led Zeppelin, Judas Priest – and ended with Metallica’s Black Album, which a certain BMA columnist is bound to take issue with. Left of the Dial (alternative) airs Thu Feb 11 and What the World is Waiting For (British indie) Thu Feb 18. If your musical knowledge goes beyond Nirvana and Oasis, you may be disappointed. Just saying. The new shows are coming from all angles without too many surprises, seeing as the network publicity machines have been plugging late January advertising gaps with lengthy promos. One which you may remember is The Good Wife (SCTEN, Sun Feb 7, 8.30pm), the Juliana Marguiles and Chris Noth drama about the life of a politician’s wife after a scandal (it’s the promo where Noth cops quite a healthy slap). Like Damages before it, it demands your attention just to work out what is going on but the emotion is raw and the struggle of the embarrassed wife getting a foothold in a legal career drags you in. Let’s face it, nobody would believe it if a wronged woman rose to be Secretary of State. Other new shows to look out for include Ross Noble’s Australian Trip (SCTEN, Mon Feb 8, 10pm) – fashioned on the highly successful Billy Connolly tours, Royal Pains (Prime, Mon, 10.30pm) – which after the over the top backstory ends up with a doctor (Mark Feuerstein – Cliff from The West Wing) contracted to treat the royalty of The Hamptons, Doctor Who: The End of Time (ABC1, Sun Feb 14, 7.30pm) – the tenth Doctor’s final journey, Monty Python: Almost the Truth (The Lawyers Cut) (ABC1, Sun Feb 14, 8.35pm), Poh’s Kitchen (ABC1, Wed Feb 17, 6.30pm) – featuring the runner up from that cooking show, Sleuth 101 (ABC1, Fri Feb 12, 8pm) – auntie’s new whodunit with Cal Wilson, Let Freedom Sing: How music inspired the civil rights movement (ABC2, Sun Feb 7, 7.30pm), Durham County (ABC2, Tue Feb 9, 8.40pm) – a small town murder mystery, a post-millennial Twin Peaks. Among the shows returning for new seasons this fortnight are NCIS (SCTEN, Tue Feb 9, 8.30pm), NCIS: Los Angeles (SCTEN, Tue Feb 9, 9.30pm), 24 (7TWO, Tue, 8.30pm), Heroes (7TWO, Thu, 9.30pm), 30 Rock (Prime, Mon, 11.30pm), Gangs of Oz (Prime, Wed Feb 3, 9.30pm), Family Guy (Prime, Thu Feb 4, 10.30pm), Collectors (ABC1, Sun Feb 7, 6.30pm). TRACY HEFFERNAN

the word

No shirt? Tick! Oversized faux-Mexican straw hat? Tick! Am I a yahoo who would lose to Grimace in a chromosome race? Tick! They are the annoying underwater Mario levels of society. Let’s not forget the other 50% of our population now. So what’s with this hipster side-mullet haircut all these girls are getting? You know it, the one where one half of a long set of hair is basically lopped off. Sophie Delesio-chic? A silly fad I guess (at least Sophie was a two-hit wonder). But as I’m no fashion guru, I’ll scamp away from this one.

on gigs

I sound frightfully jaded about the day, but it’s a feeling that coincides with a child like enthusiasm for it all. Pouring through the gates alongside the masses, deciding whether or not to pat the sniffer dogs and getting your bigboy drinking wrist band quickly ignite your lust for the event. Karnivool (wow is that ever a bad band name) were the first band I laid my peepers upon. It was a decent set for a morning band, however the sound on the main stage was deplorable (and remained so throughout the day), thus it was a bit hard to judge. Mastodon followed with a double neck guitar, a flying V and what looked like a backyard-job face tattoo? It would be too easy to rag on them, but to be honest I quite enjoyed a few tracks. A quick peek into the Boiler Room revealed that it was filled with yahoos, so off to the smaller stages I went. The Temper Trap and Passion Pit both suffered the same fate. Both good, and as tight as a nun’s cunt- but not enough frills to distract from the 40 degree heat. Girl Talk had hips moving, but it’s all too predictable if you’ve seen him before. A consequence of this horribly recycled lineup.


The Horrors turned the boiling sun into freezing rain ten minutes in to their gig and ended their set five songs in due to technical issues (they were the band I was most keen to see, Mother Nature can get F’d in the A), but the heat was back almost straight away, ready for the biggest crowd of the day - Dizzee Rascal. Not the greatest sound yet again, but he did swear a lot in between songs. People enjoy that. Lily Allen followed, doing the whole ‘all men are bastards’ thing - but at least she was wearing teeny pants. The Mars Volta hammed out an impressive set later, however my face rendezvoused with a guy’s dreadlocks a few times. Now excuse my sailor’s mouth, but having shit covered dicks all up in my grille isn’t exactly my cup of tea. Cedric Bixler-Zavala, THE MARS VOLTA


The 100th Big Day Out Olympic Park, Sydney Saturday January 23 A chipper weatherman smugly announced that 43 degrees was the day’s prediction. Already sweating in early Sydney hours, I sagged a little. As I was only prepared with the baggage of dealing with Muse it was now apparent that I was expecting twins. I knew right then and there how Helen Keller felt (most likely worse though, but hey - it’s not a competition). Furthermore, moist spoonfuls of fruit soon followed into my facehole. I knew all too well that this healthy breakfast is my redundant attempt at breaking even with Dr. Bingedrink’s inevitable prescription for the day. A multivitamin (aka placebo) later and I’m on the train for Olympic Park. The train on the way there is when you first start to remember what you’ve got yourself into again. It’s the dolled-up stereotypes planted on seats around you, both the male and female variety. Granted yes, not all who attend are stains (the vast majority are delightful), but it’s the vocal minority that barnacle on your memory.

As the sun dipped, Powderfinger took to the stage. They’re not ‘bad’ per se, just very bland. And I just can’t trust a contemporary band that 50-year-olds like. ‘Better safe than sorry’ rock ’n’ roll. Muse closed the main stage with lasers, heavy breathing in between words and deeply scientific lyrics. They are the best. To make it even better, the Jet guy came out and did a number with them. Golly gosh, together at last. After what felt like nine hours, they finished and some fireworks started for some reason. It was the 100th BDO apparently, but why the Fantasia soundtrack was playing is still a mystery. I was faced, double-visioned, with an ordeal at this point. The only two bands left were Groove Armada and Fear Factory. The lesser of two evils I believe is the term. It was like the movie Sophie’s Choice - except I wanted the Nazis to kill both my children. I chose to see the latter band, being that it would be funnier. There were guitars, songs about cyborgs I think and best of all - pissed off girlfriends, obviously forced there by their boyfriends. It almost made up for the $17 I paid for a beer and a taco earlier. Leaving tiresome, covered in dirt and looking like Oscar Wilde after a bush doof - I overheard on the train that Wil Anderson got busted by sniffer dogs. That was the nightcap I needed really. It was a grand day indeed, one that I’ll most likely endure again. Oh and Peaches got her tits out. TRAVIS HEINRICH


the word

on albums

album of the week voss the inland sea [independent]

It’s a proud feeling having a local band justifiably take out Album of the Week. Eager eyes awaited this first album after a slew of hypnotising gigs, and unlike your weekend dad - it doesn’t disappoint. Canberra has a great pulse of rusty folk streaming through its veins, one that’s mainly seen in older circles and can sometimes bypass us whippersnappers. Voss triumphantly sound both aged and youthful, pouring some frankly dazzling lyrics into streaks of narrative and crunchy, grubby guitars. It’s highly emotive in sections, without coming off feeling overly forced. The verses are often quite delicate, dusted with violin and some clever harmonies, with heavier sections that come and punch your face off. I’m a bit iffy with comparisons, but I guess they could sit aside The Drones, Magnolia Electric Co. and Dirty Three. For someone with a prosthetic hand, singman Owen Carroll does a tidy job with the words, breathing out spooky post-colonial anthems for the wandering madman. And daaamn, the packaging is tremendous; I would drink its bath water. You can get it from Landspeed or Smiths Bookshop in the city, and good news people – their MySpace says they’re single. TRAVIS HEINRICH


adelle Hello Sane Age Sins [Serotonin]

boys noize POWER [BNR]

brakes Rock Is Dodelijk [FAT CAT]

Behind the sweet name Adelle lies a mad symphony of vicious rock. This is the second offering from the four-piece band from Queensland and it’s a goodie. The emphasis is definitely on the heavy side but there’s a pleasing variety in the presentation of the various tracks, from fast and jagged in Under the Spotlight to the ballad Spider Fingers. The opening track, a CD highlight, employs a blues approach with a grumbling, slow bass.

Power, the very aptly titled follow up to Oi Oi Oi,heralds a distinct transition in sound for German producer/DJ Boys Noize. His debut effort was brimming with strummy indiedisco and modish techno, a long way from the futuristic bleepy robotica of Power.

Akin to their studio efforts, Rock Is Dodelijk is a lovely swift, sharp kick to the face. The British band’s usual manic, rapid songs are wrapped in a vigorous energy that will instantly seep through your speakers. Spitting out songs every few minutes or so in his signature nasally deadpan snarl, singer (and sometime British Sea Patrol-er) Eamon Hamilton’s voice may be confronting to newcomers to the band. But ultimately it’s his vocals and sharp tongued humour that lifts Brakes from the hoards of other indie bands with jagged guitar riffs and an ironic stance.

At the other end of the scale, the emotional torment of The Informant is emphasised by a guitar that screams like the pulling of finger nails. The powerful and confronting lyrics are frequently enigmatic, leaving much to the listener’s interpretation. What is certain is that the images employed by Adelle to impart their message read like a stroll along the top shelf of the thriller section of the video shop: mutiny, hostage situations, executions and home invasions. The most shocking image is that of crashing into a wedding procession in They’ve Said Triage. Clever lyrics appear in Vella Lavella as in “I’ll leave my memoirs in the frost on your windscreen”. In Get the Gak (song titles are often as a big a riddle as the lyrics) the vocal treatment to the chorus has a Beastie Boys quality to it. Adelle is sure to make heads bang with this one. RORY MCCARTNEY

Contrast is a wonderful thing though, and this collection of Dalek karaoke really shows off the depth of his ability. After a good listen in the headphones, the first thing you notice about the album is that it really sounds good; each individual track exuding the same fullness and energy. This makes the whole package feel much more whole rather than just a forced mish-mash of production work. The journey takes us through a myriad of substance, up and down, light and dark, welcoming and dismissive like spending a day as Keith Richards’ other half. Highlights include the evolving vocoded monster Transmission, the downtempo Nerve and darkly evil Kontact Me. Fans of ‘that remix of Bloc Party’ may feel a little alienated by Power due to its lurid inaccessibility, but ironically this is also its most endearing quality, a definite middle finger to mainstream club music. TIM GALVIN

Spread over two concerts, the first half dedicated to a gig in hometown Brighton, the second in Germany, the album loses no stamina over the 20 tracks. Launching with the hysteric Hi How Are You, the first half of the album is splattered with songs from their debut Give Blood. Five second yelping wonder Comma Comma Full Stop marks the end of the first concert, before the band jumps into another live rendition of Hey Hey, a sturdy rock song. Later songs such as Don’t Take Me To Space (Man) with the candid refrain of “I don’t care that this world’s corrupted/I don’t want to be abducted”, prove that the band haven’t lost their peculiarity, while dipping into a softer side. Finishing with their cover of country staple Jackson, the first live album is a well recorded offering from the fantastic Brakes. CHIARA GRASSIA

singled out

with Dave Ruby Howe

the clientele BONFIRES ON THE HEATH [popfrenzy] Friends, take trouble to hear this loveliest of long players. A grand deliverance of aesthetic joy from cover to end stanza, Bonfires on the Heath is the stereo renaissance seeped from the fingers of The Clientele those new (new) romantics from Hampshire. Musically, each song is a nod to the pop intelligentsia of the last 40 years from Arthur Lee and LOVE right up to Fleet Foxes. One could say the lyrics are the major achievements upon Bonfires on the Heath and this should be so as it is common knowledge the band hold prose and poetry dear to the idea of the band - all collectively voting earlier on that it was ok to be influenced by Surrealist poetry but not ok to have any shouting or any blues guitar solos; an agreement that has served them well. The lyrics are all abstract and metaphorical, odes to the common lusting for normality yet dirges that revel in the complete abnormality of the poet’s life and imagination. Singer Alasdair Maclean does each word every justice with his sweet eerie voice and the rest of the band seem to inhale and exhale the music around it The Clientele are certainly a band for the poets and Bonfires on the Heath should be enjoyed with a bottle of red wine and a book of Eliot’s best. TIM bocquet

lady gaga the fame monster [interscope] Just because your dress sense consists of whacking a baking tray on your arse, a bra made of tulips and a gingerbread house for a hat – doesn’t make you an edgy pop culture icon. Just because you have the attention of the world’s media – doesn’t make you worthwhile. Just because you copied Madonna’s shock and bore media management campaign – doesn’t make you savvy. Just because your songs sound good on the radio – doesn’t mean this is pop. The Fame Monster looks and sounds like a quickie to capitalise on GaGa’s chart ascendancy and fill a gap in the market. At a swift eight tracks and under 35 minutes it’s tailor made for short attention spans. Bad Romance starts things poorly sinking with sub-Poker Face-sims; probably one of the worst of the album. Alejandro is her La Isla Bonita moment; as a Madonna rip-off it works just fine. The ass end delivers a couple of dance pop nuggets – but it all feels nastily pedestrian especially for an album nominally about the shallowness of fame. GaGa has spent virtually every minute of her career reminding us she is first and foremost a visual proposition and undoubtedly these songs would get some sort of life on stage. But as it is, The Fame Monster sounds like an excuse to run out a few b-sides and loose tracks and give her a reason to flash her vag to the world. Again. Like she needs a reason. justin hook

the twerps - Self titled & Dick Diver - Arcs Up [chapter music] From the embarrassment of riches on offer, Melbourne’s always adventurous Chapter Music label has selected a couple of the most talked about local groups for the first two instalments in their new EP series, which feature a seven inch single accompanied by a CD of extra tracks. The Twerps present a ragged take on the already none-too-polished Flying Nun blueprint, with former Batrider axeist Julia MacFarlane adding her splintered, highly melodic leads to proceedings. The whole thing drifts along in a haze of shimmering, reverb-heavy guitars and languid vocals, with irresistible pop pearlers Good Advice and Fly Away standing out as particular highlights. Superb. By contrast, the highly-touted Dick Diver take a more studied, (marginally) more polished approach which isn’t as immediately engaging. The rhythm section - bassist Al Montfort (UV Race/ Straightjacket Nation) and drummer Steph Hughs, (ex Children Collide/current Triple J presenter) - is tight, the beats snappy, the guitars are clean and spikey, vocals to the fore, the lyrics brought into focus. As with The Twerps, shafts of The Go-Betweens’ celebrated ‘striped sunlight sound’ filter down on Dick Diver, but there’s also a definite country vein running through Arcs Up. The quality on offer here is sure to drag suburban indie-pop hermits away from their collection of flexi-discs long enough to head down to the local record store for copies of these limited run sevens. You should, too. PETER krbavac

Iyaz Replay [Warner] Who the hell is Iyaz? Fucked if I know. But let’s just consider him 2010’s version of Kevin Lyttle, so he’ll disappear in about three minutes.

LMFAO Shots [UMG] I’ve said all that really needs to be said about the colossal douches known as LMFAO so ragging on them further is all but meaningless. But Shots is just so goddamn dreadful that I’d put my head through a brick wall just to let you know that, and one day soon these dipshits will be debunked from their shuttershade encrusted throne when the Frat kids graduate. Until then, I can wait.

Yeasayer O.N.E. [Spunk] On the back of Ambling Alp comes newie single O.N.E. packing more of the band’s gift for delightful electronic oddities. Mixing offkilter synths, drum circles and screwed vocals, it’s like an Animal Collective you’ll (actually) dance to! (You clearly didn’t catch me cutting rug at their Enmore gig Dave - Ed.). 2010 is surely the year for these clever Brooklynites to hit the big time.

Ellie Goulding Starry Eyed [Parlophone] In the blink of an eye UK charmstress Ellie Goulding has gone from pub troubadour to indie pop princess with a major label deal. She owes a bit to the golden touch of synth-whiz producer Starsmith who’s sprinkled all sorts of magic over Ellie’s latest and strongest single, Starry Eyed. Whirring electronics, cut up vox and hooks galore, this is brilliant stuff.


the word

on films


If you’re hearing a slight ringing in your ears as you read this page, don’t be alarmed. This sound is merely the last of Mr Sko’s and my happy thoughts, shaking around forlornly in the hollow wells of our souls. ‘Twas a bleak crop of films this issue. We learned about death in war, the death of innocence and the death of humanity. All this was handled with varying degrees of success and subtlety and (at least with my films) produced some fascinating cinema. Nevertheless, I’m going to have endless nightmares about poorlyreared children growing up to become cannibalistic suicide bombers. I need a hug.

quote of the issue “All I know is the child is my warrant and if he is not the word of God, then God never spoke.” Man (Viggo Mortensen) The Road


the hurt locker


the road

As far as tense cinema experiences go, The Hurt Locker is up there. In fact it would be damn near impossible to sit through a screening without at least once finding your hands reaching out (seemingly of their own accord) to fix a fearful grip on the post-mix-soaked cup-holders either side of your seat. The film depicts the everyday lives of soldiers who disable booby-trap bombs in Iraq. The work itself is heart-palpitating stuff and director Kathryn Bigelow has no problem sending echoes of this out into the cinema-going public. She drops us into a world where gung-ho soldier William James (Jeremy Renner) joins Bravo company near the end of their tour of duty. He’s there replacing the former team leader (Guy Pearce) who was killed in an explosion. The others in the unit are a little less than happy with James’ cowboy style, in particular Sergeant Sanborn (Anthony Mackie); who feels this is exactly the sort of behaviour that will get someone else killed.

In Harlem, overweight, illiterate teen Claireece “Precious” Jones (Gabourey Sidibe) – pregnant with her second child by insidious circumstances and forever stalked by her hate-filled mother (Mo’nique) – is invited to enrol in alternative school to learn the imporatance of writing.

Not having read the original novel by Cormac McCarthy, it’s hard to comment on the difficulty of making a film out of this story, but I’m gonna do it anyway. It’s phenomenal that such a sparse plot maintains so much tension. Throughout our journey as a father (Viggo Mortensen) and his son (Kodi Smit-McPhee) wade through a post-apocalyptic hell towards some faint dream of hope on the coast; director John Hillcoat keeps us on the hook. He tweaks our empathy beautifully and we walk out feeling tired, hungry, cold, and horrified at what our species can do to each other.

This is brutal, and yet simultaneously subtle filmmaking. Writer Mark Boal crafts the characters as beautiful rough drafts – open to change and who grow with the story. This is most clear with William James himself. Our changing perceptions of his character take this film out of the realm of the ordinary war tale into something a little more special. We hate and love him with similar passion, and are brought round to his way of thinking almost in spite of ourselves. Renner plays him with a gentle hand, adding impact to what could easily have been pure ham.

This said, Precious has profound, well-crafted scenes; a head hit leading to a bed-bound memory resonates particularly harshly. The central performances are strong, culminating in a powerful scene at the social worker’s office between newcomer Sidibe and Golden Globe winner Mo’nique. The fact Oprah Winfrey (producer), Mariah Carey and Lenny Kravitz sacrifice glamour for realism to be involved shows this story means a lot, and its adaptation to the screen should be admired. Add the central performances and this makes Precious worth watching despite it narrative flaws. Definitely not a first date flick, though.

For this one, maybe bring a stressball along with your usual snacks. mark russell

Based on novel Push by Sapphire, this bleak tale of a put upon girl needs telling; this voiceless person needs a voice. Like the magnificent Last Ride, Precious explores the effects of abusive parents. But where the former had an assured sense of purpose, tone and style, with Precious director Lee Daniels sometimes seems caught. Fantasy scenes – Precious as a celebrity – should have been cut or fleshed out. Where similarly bleak offerings Dancer in the Dark and Pan’s Labyrinth saw fantasy woven expertly into the fabric of the story, here they feel dropped in to break tension. And the voiceover’s exclusion would let the film tell itself.


Mortensen is brilliant, epitomising ‘haggard’ from the inside out. Smit-McPhee is slightly less inspiring but still provides many strong and intense moments. The rest of the cast is mainly bit-parts, which occupy various stages of a sliding scale of quality. There’s no real single antagonist, because the world itself has become the enemy. The ash, the cold, the constant and everpresent death – not to mention the fact that cannibalism is the most common delivery tool for this end – keep us captivated and uncomfortable. Overall, The Road isn’t up to the adaptation of other McCarthy novel No Country For Old Men but that’s an especially high bar considering the team behind that film. It’s too bleak to be really enjoyed by any but the most pessimistic of audience members but will impress with its atmosphere, and the longlingering mood. mark russell

the word on dvds

roxy music MORE THAN THIS [isis productions] It’s hard to imagine how futuristic and otherworldly Roxy Music were in the early 1970s. Go ahead – try it. See, told you so. They fell from the sky perfectly formed with the exhilarating Virginia Plain – a song as fresh today as it was jarring back then. The quintessential art-school band, Roxy were the oddest of combinations: aloof, effete, intellectual, glamorous, explorative, inventive, droll and pompous. A band that swung effortlessly between loving, sincere homages to classic Hollywood actors (2HB) and odes to fucking inflatable dolls (In Every Dream A Heartache). More Than This is a relatively straight down the line, chronological history of Roxy told by all key participants in relative candour. Bryan Ferry is smoky and gorgeously dishevelled, Brian Eno is hilarious, Phil Manazenara is some sort of bug-eyed genius, Andy McKay has a lovely flat and Paul Thompson was a bricklayer. The power struggle between Bryan and Brian changed the path of the band (and music) forever. But as Eno acknowledges, it was Ferry’s outfit and his departure was entirely organic. At 90 minutes, there’s a nagging feeling a much bigger story remains untold, especially from Ferry’s perspective. He ruthlessly guided the band from art-punk, through ‘70s glam, to cod-disco, then smooth AOR pop and finally back to skronk-pop (WTF is skronk-pop? You’re just making this shit up now aren’t you? - Ed.) with their recent nearly-fullyreformed concerts overcoming some serious egos and intraband infractions on the way. Yet he presents as a relaxed dandy. No doubt he is – but that’s just the surface. As usual, the music is the bigger story. Tantalising, yet incomplete. JUSTIN HOOK

dogs in space [umbrella] I’ve been very much enjoying the current ABC music doco Seven Ages of Rock, but when it came to the punk music revolution of the 1970s, the usual suspects were casually trotted out. Of course bands like The Sex Pistols, The Clash and Television get the juices flowing, but what about seminal Australian artists like The Saints and Radio Birdman, who spearheaded a golden age of musical creativity? Further down the track, non-Countdown embracing bands from the late 1970s such as The Primitive Calculators, Boys Next Door and Thrush and the Cunts could really get those juices flowing. And this is kinda what Dogs in Space, the superb 1986 feature length debut from Richard Lowenstein, is all about. It has only recently arrived on DVD, and both the packaging and bonus mini-feature on the super vibrant post-punk Australian scene are excellent. Furthermore, I can now toss out a well worn video cassette copy, and finally embrace pristine digital. The film is set in inner city Melbourne in the late 1970s and covers a fertile period sometimes described as the ‘little band scene,’ which valued authentic self-expression over commercial appeal. The ‘little’ part of the equation was perceived as the appropriate antidote to pernicious mainstream influence and Lowenstein avoids spoon feeding viewers the standard quick fix, instead focussing on the punk engendered Australian counterculture in all its fastpaced, hilarious and often absurd glory. The late Michael Hutchence turns in a suitably unselfconscious performance as the lead singer of semi-fictional band Dogs in Space. His character Sam, who is based on the very real Sam Sejavka from obscure avantgarage band The Ears, strikes a desirable chord from the onset through his mostly comical but ultimately tragic attempts at countercultural salvation. Human empathy in rough times is the basic theme, but this movie is intrinsically tied to the music, and the accompanying soundtrack is absolutely killer. DAN BIGNA

North by Northwest – 50th Anniversary Edition [Warner Home Video] In North by Northwest, Hitchcock was aiming for a light and breezy frolic flick; a stark reaction against the heavy symbolism he was so fond of. 50 years on, it’s fair to say he succeeded and failed in equal measure. The film is regarded as one of the best ever made – it’s the perfect synthesis of Cold War spy drama, mismatched love story, a classic case of mistaken identity, wry humour, sparkling dialogue and iconic imagery. Two in particular stand the test of time easily over 50 years on – Cary Grant (as Roger Thornhill or George Kaplan, depending on who is calling) being run down by an ominous and tenacious crop duster in an empty field and an epic cat-and-mouse set piece on Mt Rushmore. Unlike most films half a century old, North by Northwest barely shows its age. The darting, grid-like opening credits designed by the legendary legend Saul Bass remain breathtaking and timeless – a point not lost on the Mad Men production team, who have played an obvious homage with their own falling man version . The deference extends even further with Grant as Thornhill playing the quintessential Madison Avenue advertising executive. Grant breezes effortlessly through the film in a haze of confusion, righteous indignation and flirtation in one of his defining and most beloved roles. James Mason is at his hammy best as his foil (Phillip Vandamm), the man orchestrating the elaborate hit job… knifings at the United Nations, forced drink driving incidents dressed up as accidents and the crop duster, amongst other things. The harder Thornhill argues his innocence, the guiltier he appears. It’s a simple conceit played beautifully in a taught, fast-paced but not overbearing way. This 50th Anniversary edition includes an entire disc of worthwhile and illuminating extras – but the film itself is the main attraction. It’s the gold standard. JUSTIN HOOK


GIG GUIDE Feb 3 - Feb 8 wednesday february 3 arts without reason

Exhibition by Nicholas Folland. Until Feb 13.


The Two Brians

A joint exhibition of photography by Brian Stewart and Brian Rope. THE GOD’S CAFE AND BAR

Live Wednesday Lunchtime Live

With the cast of Singin’ in the Rain, Free Rain Theatre Company. $2 entry. Refreshments $1. WESLEY MUSIC CENTRE

Jazz in the City With The Lethals. HIPPO LOUNGE


Strangeways DJs

Super happy fun party times. TRANSIT BAR

Tom Tomz and Fidel Maestro TRANSIT BAR

Nathan Frost

He’ll cool you down. 9pm. HIPPO LOUNGE

Live No Turning Back (Netherlands)

With Battletruk (Perth) Relentless (Syd), I Exist and Eye-Gouge. From 8pm. BAR 32

The Beez (Germany)

With special guest Ashley Mannix.


Cash prizes, 2 for 1 basic spirits and tap beer, and free pool. DJ Peter Doree from 11pm.


O Yeah!

Fame Trivia

Do you know lots of stuff about nothing? Come on down every Wednesday from 6pm. P J O’REILLY’S, CIVIC

thursday february 4 arts Gateux in the Ghetto

A film about the underbelly of hospitality. A night of groovy tunes, canapes and cocktails. 7pm, free THE FRONT CAFE AND GALLERY

Dance Mercury Switch

Music for your hot summer nights. KNIGHTSBRIDGE PENTHOUSE

friday february 5 arts


DJ Frank Madrid and Mario Gordon 9pm, $10.


Live David Pereira Cello Series

Bald Archy Prize 2010


An eclectic and unique sound, drawing on diverse styles. $10, 7pm. THE FRONT CAFE AND GALLERY

Live Evil

Presenting a night of classic heavy metal. $15, 8pm. ANU BAR AND REFECTORY

Global Concert

Multicultural Festival launch feat. DJ Gosper and The KarismaKatz and more. From 5pm. GAREMA PLACE

All Guns Blazing

With Mad Charlie, Johnny Roadkill and Too Late Escape. $10.

An exhibition of portraits of humour, dark satire, light comedy and caricature. ‘Til March 8.


Musical of Musicals (The Musical!)



Back by popular demand! A spoof of five distinctive musical styles. COURTYARD STUDIO, CTC

Dance Two Fresh + Frew

It’s Pang!’s third birthday! With Hubert vs Mikah Freeman, Cheese, Offtapia and more. 10pm, $20. LOT 33


He of the silky smooth skin.


Freshly Baked Biscuits

The Biscuits Crew kick off the year in style, with delightful dollops of musical delicacies. $5, 9pm MERCURY BAR


DJ Matt & burlesque dancers – free entry if in theme and the chance to win tickets to Mardi Gras.

Katt Beames & The SoulaR Sky

An eclectic mix of live music, comedians and loads of giveaways. Kicks off at 8.


Something Different

Moulin Cube

PJ’s Variety Night

Captain, My Captain



Something Different


Feat. The Paper Scissors, Cuthbert and the Nightwalkers, Hancock Basement, Hoodlum Shouts and more.

Feat. Karton, Miss Universe, DFP, Alistair, Not You and Jemist.

Advance ticket purchase 0404 499 348 or 6227 0949 or email .


Featuring Kasha, Ah Pandita, Girl Sized Hands and Killing Birds. 9pm, $5. . BAR 32

Ug Beats

Tom Piper & Snob Scrilla Soundsystem

On the Radcake Freshness Tour. ACADEMY NIGHTCLUB

Vinyl Only

Choice selected prime cuts of wax. TRANSIT BAR


Feat. Gabriel Gilmour, Scottie Fisher, Sammy Tee and Ovid. $10, 9pm. HIPPO LOUNGE

Candy Cube

10 ‘til 5 with DJs Peter Dorree and Matt Chavasse. CUBE NIGHTCLUB

Live Standing Waves



Bright eyes and harmonies. With Waterford and Voss. 8pm. THE PHOENIX PUB

Krave Metal

With Forgery, Nemesphyxia, Unholy Vendetta, Blind Eyed Gods and more. $5, 8pm. KRAVE NIGHTCLUB


With Futility, Red Bee and Barbarian. $10. THE BASEMENT

Something Different Carry-On Karaoke

Every Saturday, from 9.30pm. P J O’REILLY’S, CIVIC

saturday february 6

Arc Outdoor Screening: Dirty Dancing (1987)

Say goodbye to Swayze under the stars with the now-cult ‘end of innocence’ film. 7pm. ARC CINEMA, NATIONAL FILM & SOUND ARCHIVE

Dance Chrome

Chrome is back. The first instalment features the Chrome resident DJs. 9pm, $6. HOLY GRAIL, CIVIC

sunday february 7 Dance Cube Sunday

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

monday february 8 live Capital City Hardcore

Feat. Dead Kings, I Exist, Vera, Reigner, Atlantis Awaits and Observer. 1pm, $10. AA.





Music for your hot summer nights.

The Bridge Between

GIG GUIDE Feb 8 - Feb 16 Snez

Sydney’s multi-award winning singer/ songwriter. THE PHOENIX PUB

Strangeways DJs

Super happy fun party times. TRANSIT BAR

Tom Tomz & Fidel Maestro TRANSIT BAR

tuesday february 9 something different Fame Trivia

Do you know lots of stuff about nothing? Come on down every Monday from 6pm. P J O’REILLY’S, CIVIC

TNT: Karaoke Dynamite TRANSIT BAR

Comedy Open Mic Night

Come and see some of Canberra’s newest and more seasoned comedians. 7.45pm, free. THE FRONT CAFE AND GALLERY

wednesday february 10 live Wednesday Lunchtime Live

DJ Cheese

He’s got all the hits for free.

BAR 32



Something Different $5 Night @ Transit

DJs Tori Mac & Robbie. Free entry until 11pm and discounted drinks. He’s real cool.

We Are Not Obscene Zine Launch

With Killing Birds and Assassins 88. 8pm, free, zines $6. BAR 32

Robin Casinader

Of Dave Graney & the Coral Snakes and The Wreckery fame. 7.30pm, $5. THE FRONT CAFE AND GALLERY

Catherine Traicos

Redolent in parts of PJ Harvey and Gillian Welch. 8pm. HIPPO LOUNGE


Sydney’s multi-award winning singer/ songwriter. THE FRONT CAFE AND GALLERY

Jazz in the City Italian punk rock, with Bare Arms (Syd), Hoodlum Shouts, Vera and Jerkstore. 7pm, $8.

Girl Thing



Milvains (Italy)



Birushanah (Japan)


Retro delicious goodness for eyes and ears.


Canberra Philharmonic presents Joseph and the Amazing Technicolor Dreamcoat. $2 entry. WESLEY MUSIC CENTRE


Sludgely Japanese doom at its finest, with Whitehorse (Melbourne) and Pod People. Doors, 8pm. $10.

Something Different PJ’s Variety Night

An eclectic mix of live music, comedians and loads of giveaways. Kicks off at 8. P J O’REILLY’S, CIVIC


Cash prizes, 2 for 1 basic spirits and tap beer, and free pool. DJ Peter Doree from 11pm.



Cinema under the stars: The Lost Boys



Join Andy as he opens the pages of an eclectic song book. With Yatu Widders and Holden Caulfield. 6pm.

Shenanigans 3

A Dummy’s Guide to Creamy Goodness. Eight bands, two stages, a DJ, merch and more. 8pm. THE BASEMENT

live Nathan Frost

Music for your hot summer nights. KNIGHTSBRIDGE PENTHOUSE

Party on after the weekend’s over with DJ TJ from 10 ‘til late. Free pool.




Hospitality Night feat. UniVibes DJs TRANSIT BAR

Live Mikelangelo and Saint Clare

An intimate evening of romance and seduction . 8pm. $20, $15 concession.


He of the silky smooth skin.




tuesday february 16

Mike G, B-Tham, and more. TRANSIT BAR

Candy Cube

something different


He’s real cool.

Do you know lots of stuff about nothing? Come on down every Monday from 6pm.

Sax on Decks

TNT: Karaoke Dynamite

10 ‘til 5 with DJs Peter Dorree and Matt Chavasse.

With Ashley Feraude featuring live saxophone.



Lee Buss & J. Marshall

Something Like This

Music for your hot summer nights.

Cube Sunday

Two brothers, new to a small coastal town, find friendship in two very different peer groups. 7pm.




Arc Outdoor Screening: The Lost Boys (1987)


monday february 15

Fall in love on the dance floor.



Arc Cinema’s ‘Cinema Under the Stars’ returns in Summer with outdoor screenings of old favourites.


saturday february 13

Walykumunu Palaynma - Paint Right Way

thursday february 11

Every Saturday, from 9.30pm.

Andy Star

Nathan Frost

New paintings from Papulankutja. Until Thursday March 4.


Carry-On Karaoke



With Escape Syndrome, Entropy Within, Perpetual End, Brave Empire and more. 3pm, $10.


Fame Trivia

Do you know lots of stuff about nothing? Come on down every Wednesday from 6pm.

Muddslide 2010

Something Different


friday february 12


Nathan Frost

2 for 1 pizzas all day. Get fed and watered and still have change for pool. Result. TRANSIT BAR

The Dunhill Blues

Fame Trivia




OUT feb 17

lupe fiasco pavement katie noonan jonathan boulet dub dub goose …AND MORE


FIRST CONTACT SIDE A: BMA artist profile

Tim Maloney

Group Members? I play a bunch of solo and group gigs. On a solo day it’s just me, my guitar and the loop pedal. On other days I’m lucky enough to share the stage with some other great musos including Pat Elsley (drums), Zach Whittaker (bass) and Dan Miller (guitar), to name a few. Describe your sound: Catchy pop with a bit of rock thrown in for good measure. I think the key to a good song is something that’s easy to sing and gets stuck in your head. Who are your influences, musical or otherwise? I grew up listening to a mix of The Beatles, Paul Kelly, Silverchair and Nirvana so style-wise I hope I’ve learnt a little from each of them. I’ve also learnt a bundle just by playing with other musos. Hearing someone else put their slant on one of my own songs feels almost like a musical rebirth. What’s the weirdest experience you’ve had whilst performing? Not exactly weird but I played a solo gig a couple of years back where something happened to the mixer and the guitar sound just dropped out. Thankfully some random guy in the pub had a trombone, jumped on stage and played out the rest of the track with me – just vocals and trombone. What’s your biggest achievement/proudest moment so far? I’m pretty stoked with finally getting a collection of songs together onto a CD. What are your plans for the future? Release the CD Midnight, play a bunch of gigs and keep writing. But in the spirit of the new year let’s also say eat less, exercise more, develop a vice and then give it up. What makes you laugh? People who laugh easily make me laugh. Best kind of people to be around. What pisses you off? Movie ticket prices. What’s your opinion of the local scene? I think the local music scene has a lot to offer but needs support to be able to take it to the next level. What are your upcoming gigs? Friday Feb 12, 8pm @ The Potbelly Bar, Monday Feb 22, 8pm @ The Phoenix and more in the following months. Contact Info:, musicbymaloney


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BMA Magazine 341 Feb 04 2010  

Canberra's FREE Entertainment Guide

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