BMA Mag 430 Nov 20 2013

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You Am I booked for free Canberra NYE Party

#430NOVEMBER20 Fax: (02) 6257 4361 Mail: PO Box 713 Civic Square, ACT 2608 Publisher Scott Layne Allan Sko General Manager Allan Sko T: (02) 6257 4360 E: advertising@bmamag.com

Editor Ashley Thomson T: (02) 6257 4456 E: editorial@bmamag.com

Accounts Manager Fahim Shahnoor T: (02) 6247 4816 E: accounts@bmamag.com

Sub-Editor & Social Media Manager Jeremy Stevens Graphic Design Chris Halloran Film Editor Melissa Wellham NEXT ISSUE 431 OUT DEC 4 EDITORIAL DEADLINE NOV 25 ADVERTISING DEADLINE NOV 28 Published by Radar Media Pty Ltd ABN 76 097 301 730 BMA Magazine is independently owned and published.

Opinions expressed in BMA Magazine are not necessarily those of the editor, publisher or staff.

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Barcode Nightclub Closed After a very brief stint as Canberra’s newest LGBTIfriendly bar and club (which is a poor descriptor, as it implies that every other venue isn’t LGBTI-friendly) Barcode Nightclub has closed its doors as of Monday November 11.

Said the bar’s owners in a posting on the bar’s Facebook page, ‘While there will naturally be rumours and speculation about our closure, we gave our utmost to make Barcode a success, and had a great time having fun and making memories with you all.’ And so, Canberra’s LGBTI venue count is back to two: Cube and Tilleys, the former a reliable holdfast with a permanent place in BMA Magazine’s heart, the latter perhaps the most woefully underutilised venue in Canberra. Here’s wishing luck to the next people attempting to add a third to Canberra’s count.

We could use it.

BMA Magazine to Undergo Full Redesign It’s been several years since BMA Magazine’s current look was introduced, and the decision has been reached: a new look is on the way. A new logo, new layout, and new sections will all be parts of the project, but the scope of the redesign extends to every facet of the publication, all the way down to the page numbers, font, and focus. The tentative hope here at BMA is that we will be able to introduce the fully redesigned product in early 2014. So, dear readers, if you happen not to recognise the magazine sitting in your nearest stand, café, or bar next year, do us a favour and take a second glance, just in case.

Furthermore, if you have any suggestions as to what you’d like to see in the rejuvenated product, email editorial@ bmamag.com and give us your two cents.

Somebody was fired during the creation of this press shot for suggesting the use of imagination.

‘I’ll bet Shaq never signs things “Love, Shaq” because the B52s pretty much ruined that for him.’ - Gloria Fallon, @gloriafallon123

The iconic Aussie rock band will become the latest band to headline Canberra’s New Year’s Eve party this year on Tuesday December 31, 2013. Playing two sets, You Am I will appear alongside the Alex Gibson Duo and local seven-piece Tuchasoul in Civic Square, with music kicking off from 7pm. Tuchasoul will be ringing in the new year either side of the midnight fireworks, with You Am I playing either side of an earlier 9pm set of pyrotechnics. Over in Garema Place, ‘Bass in the Place’ will be returning once more, with Adelaide DJ Uberjak’d appearing alongside a raft of local DJs. Both events are alcohol free, so if you go along on the night and see alcohol, it’s an illusion. For more info, visit events.act.gov.au/nye.

are not generally associated: writing, poetry, NBA. University of Canberra has taken this remarkably simple lesson to heart in launching its ViceChancellor’s International Poetry Prize, which offers $15,000 to the winning entrant and a further $5,000 to a runner-up. ‘I would like this to become one of the most prestigious poetry prizes in the world, attracting and rewarding the finest writers,’ ViceChancellor Professor Stephen Parker said, and if that doesn’t deserve praise we at BMA don’t know what does. The prize will be judged by Australian poets Jennifer Harrison, Brook Emery, and Judith Beveridge, and British poet Philip Gross.

There are no prerequisites for entering, save that the poem be in English, unpublished, and 50 lines or less. So there are some prerequisites. To find out more about the competition, head to canberra.edu.au/ vcpoetryprize. Entries close Friday May 30, 2014.

University of Canberra Launches World Class Poetry Prize If you want to attract the best in any field, a sure-fire way is to offer to pay them. This is especially true of fields with which large sums of money

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FROM THE BOSSMAN When I had the pleasure of interviewing The Darkness on the eve of their 2012 Australian tour, frontman Justin Hawkins was bemoaning the loss of the album structure.

‘In this day and age, what is an album?’ he pondered. ‘We want a ten-track album, but that format isn’t relevant to the market any more. A small percentage of people will buy it in the format we want them to; they’ll get ten songs hand picked and carefully arranged so it’s a journey and all that stuff. Then everyone else will buy it off iTunes and get 14 tracks with bonuses and B-sides coming through the intraweb and they’ll make their own tracklist.’

It can be strongly argued that the picking and choosing of tracks via iTunes, YouTube or Microsoft HeadRape has killed the art of the sequential album. But not all hope is dead. There are still many musicians and listeners who understand the artistry of a well-sequenced long-player. Indeed, much of the talent I have interviewed – Bonobo, Roni Size and Iron Maiden to name but a few – speak at great length about the amount of time, stress, and love poured into getting the track listing just right.

Kendrick Lamar’s landmark good kid, m.A.A.d city is a masterpiece in storytelling. Yes, you can dip into Swimming Pools (Drank) – as any triple j listener can’t help but do – and could mistake it to be a typical party anthem celebrating a decadent alcohol-fuelled night. But within the album it comes after a fraught examination of ghetto life and instead tells a tale of regret and reformation. It would be the equivalent of popping into The Sopranos and seeing one of the main characters get shot. A cool stand alone scene, no doubt, but without the background and storytelling of what’s gone previously, you are denying yourself the ultimate emotional impact and weight.

YOU PISSED ME OFF! Care to immortalise your hatred in print? Send an email to editorial@bmamag.com and see your malicious bile circulated to thousands. [All entries contain original spellings.]

To the purveyors of the late90s fad of hidden tracks on albums, separated by giant chuncks of silence, your shitchickens have come home to roost. All those cds have been ripped by itunes with the silence embedded in the file. So because you were a cockhead a decade ago, everyone with a playlist fucking hates you and your shitty bimillenial nu-metal-rap-reggae band. everytime they check the ipod charge, then the cable, then turns it ‘off and on again’ someone who is a decent nice person is swearing pestilence upon your name.

Thanks to reality TV, the word ‘journey’ is possibly my most hated of terms, right next to ‘rollercoaster ride of emotion’ and ‘see you in court, Allan’, but the best albums do, as our man Justin suggests, take you on a journey.

We recently received a two-disc compilation of the best of WA music called Kiss My WAMi 2013 – a tidy collection – blessed with myriad genres including hip hop, folk, punk-ska and shitty-poptwee. Sequencing that would be a nightmare. As myself and Editor Ash confessed, we are often reluctant to put on broad compilation discs as the forced gelling of hip hop into handbag pasodoble can often not do either genres any favours.

Which leads me onto the art of the final track. If you enjoy an album like a sequential TV series, with its emotional peaks, troughs, twists, and turns, you know a good final track – like a good final episode – can make or break an album, or take an album from being great to spectacular. When done right, they compliment what’s come before whilst standing on their own feet. American singer-songwriter Jonathan Wilson’s slightly overlong Fanfare has a cracker of a final track in All the Way Down. It’s a thoughtful piece of melancholia with a beautiful looped guitar line that stays in your head long after the track has ended. On the opposite end of the spectrum we have Spanish techno producer Henry Saiz’s bombastic mix of Nodo 6 by Sistema which finishes the second disc of his Balance mix. It’s a banging techno monster that sends you off bristling with energy.

So I salute the artists who lose sleep over the track ordering, and work extra hard for that perfect final track. It makes a difference. The next issue of BMA Mag will be our last for 2013 and you best believe we’ll be working our patootie off to make a ‘final track’ that both stays with you and pumps you up.

ALLAN SKO - allan@bmamag.com

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WHO: James Teague WHAT: Acoustic Singer-Songwriter WHEN: Thu Nov 21 WHERE: The Front Gallery & Café

Melbourne singer-songwriter James Teague is about to embark on a late November tour, visiting places from Canberra to Newcastle to Mullumbimby along the way. With influences ranging from folk, country, blues, psych-rock, and pop, Teague’s sound is both familiar and distinct, setting him apart from the pack. Personal tales take on a poetic form, and make each gig a memorable experience.

Accompanying him on electric guitar will be Chris Liwanpo, and they’ll perform past work alongside more recent material. They’ll be playing before uplifting folk duo, Nice Verdes. Doors open at 7:30pm, with tickets $10, or $5 for concessions.

WHO: Women in Docs WHAT: Album Tour WHEN: Sat Nov 23 WHERE: The Street Theatre

Queensland’s Women in Docs are back! After a short hiatus, the indie folk-pop group have returned and are hitting the road with their first tour this size in four years. The whole tour is in preparation for their new album, Carousel, and will feature songs for the release, which is set to drop in February 2014. Having toured through North America, Europe, New Zealand, and Canada, and having performed at SXSW and the International Folk Festival in Germany, Women in Docs are clearly not a group to miss. Tickets are $25 or $20 for concessions + bf, and are available through thestreet.org.au.

WHO: Closure in Moscow WHAT: The Church of the Technochrist Tour WHEN: Thu Nov 28 WHERE: Transit Bar

There’s no doubt that Australian five-piece Closure in Moscow has been through a bit of a transformation in recent years, and now they’re coming to play Transit Bar to launch the first single, The Church of the Technochrist, from their sophomore album, Pink Lemonade. Produced in Melbourne by Tom Larkin, the band has got a huge slew of pre-order packs to go with the album – including a lizard costume and a Cadillac. Yup, a 1970 Cadillac Coupe DeVille.

Don’t miss one of our country’s finest genre-crossing bands taking the stage. Support from All the Colours and local guests. Tickets are $18.40 + bf through Oztix.

WHO: A Drone Coda WHAT: Single Launch WHEN: Thu Nov 28 & Thu Dec 5 WHERE: The Phoenix Bar & Transit Bar

It’s always a shame when work and commitments seem to get in the way of a week of great events. We’ve all had it. You end up feeling like you’ve missed out, not to mention feeling guilty for not supporting the city’s great talent. Luckily, local indie threepiece A Drone Coda are sorting this problem out. They’re launching their new single – the result of recordings with hellosQuare’s Shoeb Ahmad – on two consecutive Thursdays.

First at The Phoenix with Central West on Thu Nov 28, and then at Transit Bar with Golden Blonde and Spartak on Thu Dec 5. The shows kick off at 8:30pm and are both free.

WHO: Bec Sandridge WHAT: Wild Heart EP Tour WHEN: Sat Nov 30 WHERE: Smith’s Alternative

After having shared the stage with acts like Husky, Passenger, Andy Bull, Owl Eyes, and Adalita throughout Australia, the UK, and the US, Bec Sandridge is gearing up to release her new EP, Wild Heart.

The EP features six tracks influenced by adventure and loss, and takes us through places like Los Angeles, New York, and London.

Working alongside producers Mark Myers (The Middle East) and Tony Dupe (Holly Throsby), Sandridge has crafted a much more refined and articulate set of songs. With great trumpet lines and sweet piano melodies, this isn’t a gig to miss. Head on down at 7pm.

Tickets $10 from becsandridgemusic.eventbrite.com.

WHO: Lavers WHAT: Tuggeranong Arts Centre Opening WHEN: Sat Nov 30 WHERE: Tuggeranong Arts Centre

2013 may be coming to a close, but that doesn’t mean things are quieting down. Indie-folksters Lavers will be returning to the stage to open the newly-refurbished Tuggeranong Arts Centre. They’ll be joined by local dance troupe Fresh Funk, the Tuggeranong Ukulele Gang, and Zambesi Sounds. There’ll be interactive workshops for the kids, food and drinks, and the launch of a major outdoor sculpture exhibition, LAKESIDE – a project supported by the Centenary of Canberra, which features 15 works that have been crafted from recycled and reused materials. For more information, see tuggeranongarts.com. 11am–4pm, free entry.

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mel cerato Aaron Barrett, lead singer of American ska-punk band REEL BIG FISH, says he has a cold, so please excuse his stuffy voice. Given the hectic pace of his job, and passion, it’s no wonder he is feeling a little run down.

Reel Big Fish is in the middle of yet another tour, having released their eighth studio album Candy Coated Fury in July, and was keeping busy earlier this year with the US leg of the Vans Warped Tour. In fact, later this month, Reel Big Fish will grace our shores for the Australian leg of the Warped Tour, something Barrett is excited about.

After seeing the music industry change and develop for 20-plus years, Barrett discusses his thoughts on the community spirit of the scene.

‘I was thinking about this the other day. When you tour with other bands, you kinda have that connection to the band and the people,’ he says. ‘I mean, you can go on tour with a band, not see them for a year, and then pick up right where you left off. There is this sense of community among bands, I guess I would call it a brotherhood, even though there are men and women,’ he laughs.

The band and the audience feed each other the energy and it goes around and around like a carousel

‘It’s great for a band like us when we get to do something like the Warped tour,’ Barrett explains, ‘because we are on tour so much and we are usually doing our own headlining tour. When we get to be a part of a festival tour like this, it’s great for us ‘cause we actually get to see a lot of bands we like and never get to see.’

Forming in the early ‘90s, Barrett is the only original member in the ever-changing line-up of the band. Constant touring and earning a reputation as a fun, high-energy band has made Reel Big Fish one of the lucky few to outlast their peers and keep up with a fickle music scene.

‘We’ve been really lucky in that the music of Reel Big Fish seems to resonate with a younger audience, so every few years our audience seems to recycle down to the little brothers and sisters who were turned on to our music by older brother and sisters who go off to college and get into more serious music, like Dave Matthews Band or something,’ Barrett laughs. ‘Reel Big Fish is almost like a rite of passage for kids becoming teenagers. It makes us feel a lot older because of the young kids there, but at the same time it makes us feel great because we are still relevant, and those young kids make us feel young.’

Barrett continues: ‘I just think with the music we play, it’s fun skapunk music, you can’t help but have fun listening to it and moving to it. You can’t help but be moved by the music; it’s always fun playing with the band, and always fun having the crowd we have.

The band and the audience feed each other the energy and it goes around and around like a carousel all night long.

‘We never had any idea how big or how long this was going to last,’ he says. ‘All of us in the band feel so lucky that we are able to do what we do and bring a little joy and happiness to people for a couple of hours a night, and make people forget about their troubles and come and have a good time.’

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‘I think sometimes you can get that [sense of competition] in some of the younger bands. I think with the music industry the way it is these days, ‘specially with the internet and things like Facebook, Twitter, Instagram, and YouTube, you have all these different avenues to get your music out there,’ he says.

‘The pressure is really on the band now. I mean, it’s great if you have a record label to help propel your music and get it out to a lot of people, but I think what has happened with the invention of the internet and getting your music out there, it’s created this atmosphere of having the bands banding together. It’s a feeling of, “We are all in this together, we are all trying to get our music out there and we are all trying to make people happy with the art we are creating.” Me personally, I haven’t really felt a sense of competition, even from other bands. We are just people wanting to create music and get it out there and enjoying each other’s company and learning from one another.’

By the end of the interview, Barrett is starting to get ready with his band for their next show, patiently waiting for their turn to jump around onstage and get loose.

‘It’s a great crowd, good people, good bands, good tunes, good music, good atmosphere to be around,’ Barrett chirps happily. ‘The show just got started an hour ago so we have a few more hours before we go on. We’re going through a pre-show ritual that we do, where we usually sacrifice a chicken, drink some snake’s blood, and dance around each other. Actually, it’s usually just a lot of coffee and Redbull-drinking, and staying calm and mellow, and then once we hit the stage, every ounce of energy we leave out there for the audience.’

Dance your socks off with Reel Big Fish when they stop by Canberra as part of the Vans Warped Tour at Exhibition Park on Friday December 6. Tickets are $107.10 + bf through Oztix, gates open at 11am.

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ALL AGES Hey there, folks! Can you paint with all the colours of the wind? I’m looking out my window now and it’s an explosion of colour, Canberra rain really does wonders for flowers.

Neither TARDIS blue nor a big ball of wibbly-wobbly timey-wimey stuff, but this definitely comes close to the real thing – come and enjoy the Blockter Who: Time and Relative Dimensions in Skate presented by Varsity Derby League, and make sure you watch from a non-linear, non-subjective viewpoint. This Doctor Whothemed clash between the DisHonour Rollers and the Wards of the Skate will celebrate 50 years of our favourite time-traveller, and spectators are encouraged to dress up, as there will be prizes for best dressed! Get your tickets from Oztix for $13.30 + bf, and head down to Southern Cross Stadium, Tuggeranong, on Saturday November 23 at 5pm.

What’s your favourite colour? And for that matter, what’s your favourite city? If your answer to those questions is ‘Dallas’ and ‘Green’, then have I got a treat for you. Canadian singer-songwriter City and Colour is coming to Canberra on Monday December 2, and you won’t want to miss this musical feast for the ears. The National Convention Centre will light up at 7:30pm with the beautiful and dynamic sound of Dallas Green and a star-studded backing band including Matt Kelly, Jack Lawrence (of The Raconteurs and The Dead Weather), Dante Schwebel (of Hacienda) and Doug McGregor (of The Constantines). Tickets from Ticketmaster from $69.95 + bf.

There’s a pot of gold at the end of the rainbow … In much the very same way, there’s a colossal musical event you won’t want to miss at the end of this year – the Vans Warped Tour is coming back to Australia for the first time in over a decade, bringing with it a huge variety of big-name pop punk and hardcore acts such as Parkway Drive, The Used, New Found Glory, The Offspring, Tonight Alive, We Came As Romans, Reel Big Fish, Hands Like Houses, Buried in Verona, Hands of Mercy, The Amity Affliction, Confession, Man Overboard, Simple Plan, H2O, Mallory Knox, Veara, Millencolin, For All Those Sleeping, and RDGLDGRN. The event will be held at Exhibition Park on Friday December 6. Tickets are $107.10 + bf through the official website, vanswarpedtouraustralia.com.

Dress up as everybody’s favourite Christmas icon and become a Claus for a Cause with the Canberra Variety Santa Fun Run on Sunday Decmber 1. Follow the example of five-time Paralympian Richard Nicholson by joining this 5km costumed run starting and ending at Reconciliation Place below Old Parliament House.

Register online at varietysantafunrun.com.au/ACT for $15 (children) or $30 (adult), and help fundraise for mobility equipment for disadvantaged children.

Continuing in with holiday-themed events, prepare for Civic Square to light up in an explosion of colour and bedazzlement for the Lighting of the Christmas Tree. This 21-metre-high Christmas tree will be lit up on Friday December 6 between 7pm and 9pm, so bring your family and a picnic rug for Christmas carols and a visit from jolly old Santa.

That’s all from me, thanks everyone and I hope you enjoy these All Ages events.

Stay funky,

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VICKY CONSTABLE allagescolumn@gmail.com

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LOCALITY

YOU MADE MY DAY!

Far be it from this fortnightly print-based column to be a source of current affairs, but if you haven’t heard yet, The Phoenix Bar has almost doubled in size, and turns 20 this week. Celebrations commence on Thursday November 21 with Fun Machine, The Fuelers, and more playing from 9pm for free. The ramo continues on Friday November 22 from 8pm with Zoopagoo, Moochers Inc., Doctor Stovepipe and more, again for free. And things get serious on Saturday November 23 with The Phoenix’s All Day Birthday from 2pm, featuring The Fighting League, Mornings, Hence the Test Bed, and too many more to mention here. Head along to celebrate a place that has every right to be crowned Best Live Music Venue for the second year running at the MusicACT Music Awards, also on Saturday November 23.

Email editorial@bmamag.com to send a message of gratitude,

For those of you on the south side, Ojo Café and Bar runs an Open Mic Night every Thursday, including on Thursday November 21 from 7pm. A key act bolsters a night open to all comers. The little places in the north and south that run events like this – The Green Room, Pot Belly Bar, La De Da – are in many ways the bravest and best in town.

Kudos to them all.

my day. This was the first time we have organised the event (

Friday November 22 sees Metal Fiesta 4 hit The Basement, with Mytile Vey Lorth, Red Bee, Bronson, and others stinking up the joint from 8pm for a $20 door. If you’re more of a computer wizardry type, Blahnket’s latest coup comes in the form of Shigeto, who’ll be playing Digress Cocktail Bar with the regular crop of tremendously talented locals on Friday November 22, doors 9pm.

volunteering artists. Thanks again gentleman. Jarrod and Ben

warmth and generosity to the world at large. Aw. Dearest univerisity in The Can who teaches art, thanks for THE BEST YEAR OF MY LIFE! Waited 20 years to be able to afford to go, and you have been AWESOME! Methinks a few drinks tonight in your honour xo To Matt from Better Music and Gary from The Green Roomyour generous and outstanding support of Wodenstock made

the only music festival specifically for people with disabilities) and by you providing and setting up the equipment and mixing the sounds meant we had a totally professional set up for the

from The Woden School

Gorman House Arts Centre, BMA Magazine’s exceedingly pleasant home, continues its Sundays in the Park season on Sunday November 24 with Doctor Stovepipe. The afternoons in the sun begin at 3pm and entry is $5 to $15.

Thursday November 28 sees locals A Drone Coda launching their first single at The Phoenix Bar from 8:30pm, with Central West and Oxen. Strap yourself in for some moody, pasty, elbowy white people making noise.

Speaking of moody, pasty, elbowy white people, the Magpies City Club is hosting perhaps the most unapologetic collection of them on Friday November 29 for an event dubbed ALT. Cris Clucas, Orbis Tertius, Toggle, and many more will be playing from 8pm for an as yet unannounced door price. In all seriousness: good tunes there. And Magpies has you covered on Saturday November 30 too, with I Exist launching their third album From Darkness at the underground venue from 7pm. It’s a bargain at $10.

And finally, the Canberra Musicians Club is hosting The Bootleg Sessions on Monday December 2, with Reilly Fitzalan, Fossil Rabbit, and Aleister James confirmed so far. 8pm and free, as per usual.

And that’s everything local I care about.

ASHLEY THOMSON editorial@bmamag.com

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THAT PURE TAKE chiara grassia Sydney’s THE CROOKED FIDDLE BAND have just unleashed their second album, Moving Pieces of the Sea, a soundtrack for pixelated fight scenes, your dog-eared paperback fantasy, and your daydreams.

While recording took place in Chicago with the legendary Steve Albini (PJ Harvey, Nirvana), the We’re much more of the writing the soundtrack majority songwriting to some imaginary process was post-apocalyptical or done during a tour in fantastical scene Scandinavia.

‘It’s the fjords and lakes and rivers that give this one an oceanic quality,’ says drummer Joe Gould. While the songs brought in were fully formed, Gould says, ‘there was a bit of studio experimentation, particularly in giving it that breath, that cinematic flavour: we added more layers on top than we ever had before.’ The result is sprawling post-rock, interjected with a headspin of frantic violin and stop-start math drums. It’s loud.

Albini’s recording process – strictly non-digital – was vital for shaping the sound of Moving Pieces. ‘It was an interesting experience because it was completely analogue,’ Gould explains. ‘He doesn’t use any computers or anything like that. It’s literally just the sound of us in a room.’ Editing was a cut and paste affair, involving slicing up tape with a razor blade and physically sticking it together, forcing the band to be in the moment rather than worry about post-production. ‘It’s still quite a different experience from being in just about any other studio in the world,’ Gould says, ‘mainly because of that pure take, the analogue aesthetic.’ While the album mimics the intensity and vastness of its geographical backdrops, it allows space for the audience’s own interpretation. ‘We really think of ourselves as not much a reality kind of band than as a fantasy band,’ says Gould. ‘We’re much more writing the soundtrack to some imaginary post-apocalyptical or fantastical scene, as opposed to writing about our day to day lives.’

Drawing inspiration from a multitude of sources, including the humble podcast, helps the band craft their sonic visions. ‘When you hear our kind of epic tunes, they are based in some kind of narrative – we don’t always tell you, as a listener, what that narrative is,’ says Gould. ‘That idea of something like a podcast, where you’ll often get a narrative over an hour, or thereabouts, like the classic This American Life-style, 25-minute story – that’s more the scale of what we’re telling with the music, rather than a three-minute pop song.’ Even the album’s title is a pinched quote from explorer Jacques Cousteau. ‘The full title of the album – Moving Pieces of the Sea – comes from his letters,’ Gould explains, ‘talking about how the fish became moving pieces of the sea. It’s about that idea of all the small elements, like a school of fish, becoming something bigger, an almost intangibly large thing. Which I think is a nice little metaphor with what happens to all the elements we’re throwing in to the music.’

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The Crooked Fiddle Band will play The White Eagle Polish Club on Friday December 6 at 8pm. Support from Brass Knuckle Brass Band. Tickets from $8 through trybooking.com/DPYA.

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BAD HORSE alisha evans For some couples, living and working together would be a nightmare – but it’s a winning combination for Paul McDonald and Crystal Rose of CHARLIE HORSE. This isn’t to say the two always get along – guitarist McDonald says he argues with his wife all the time – but it works.

‘It’s weird – Charlie Horse is like our holiday, we treat the band as our creative outlet,’ he says. ‘It started out with just Crystal and I, and now we play music with friends.’

Life’s tough, life’s effin’ hard, it’s good and it’s bad and it’s everything

The pair has become well established in the music scene after meeting on New Year’s Day four years ago at the London Hotel in Balmain, when Crystal accidentally stepped on Paul’s dog Jack. Based in the Blue Mountains, something that began as a pastime has grown to become a band of five members with two albums under their belt. ‘At first we saw it as a hobby and didn’t care what people thought, and then someone suggested we do an album and a tour, and then another album and tour,’ he says. ‘It’s been a lot more intense than we thought it would be.’

Charlie Horse is currently touring with their latest album, Strange Passenger, which McDonald says is heavier and darker than their debut I Hope I’m Not a Monster. ‘This album we wrote with Crystal’s voice in mind, and we were trying to define who we are,’ he says. ‘We’ve found our feet a lot more, it’s a bit heavier and the lyrics are darker, but that doesn’t mean we’re a dark band.’

The band has been likened to PJ Harvey, Patti Smith, and Jack Ladder.

‘If you like PJ Harvey and electric Neil Young then you’ll like us,’ McDonald says. The band are also quick movers, having release their debut just last year – something which is helped by McDonald and Rose having a studio in their home. ‘We only have ourselves to blame if people don’t like our music, which is a nice place to be,’ McDonald says. ‘Our music hopefully speaks to people. Life’s tough, life’s effin’ hard, it’s good and it’s bad and it’s everything. We’re trying to convey our own experiences in our music, and hopefully someone will find a meaning in it.’

Less than a month ago, the couple were worried they might lose it all in the fires that tore through the area. After the evacuation, McDonald stayed behind to defend their home, which paid off – but unfortunately around 200 homes not far from them were lost.

Because of this lucky break, the band is able to continue their tour, and they’ll be in Canberra soon. McDonald loves playing in Canberra because people come up to them after the gig, buy them a beer, and chat about their favourite songs from the night. [Ed: And that, ladies and gentleman, is how you work a personals ad into an interview.]

Charlie Horse will play The Phoenix Bar on Saturday November 30 from 9:30pm. The Model School are supporting, and entry is free.

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sinead o’connell ‘What really gets to me is how people devalue the importance of music in our society,’ says MusicACT President Gil Miller, as he sips a glass of wine during our chat about this year’s MUSICACT MUSIC AWARDS (MAMAs). ‘Yep, it really baffles me.’

make it all happen are volunteers.’ This is why they charge a nomination fee for bands. It acts as somewhat of a donation (and incentive) to help try and keep the MAMAs from running a deficit.

With most of the 20 judges coming from interstate, Miller assures the decision making will be at its finest as a result. ‘We’ve gathered some great judges this year; some of them were with us last year too.

They’re people of the industry, they know what they’re doing and we respect them a lot. Otherwise we wouldn’t have asked them to judge!’ Miller continues, ‘It’s really just about getting people involved. Showing them what this city has to offer, what the artists can do and how bloody hard they work, and the MAMAs can do that. In fact it does more. It recognises the music industry in the ACT entirely and becomes a really incredible achievement.’

It’s really just about getting people involved. Showing them what this city has to offer, what the artists can do and how bloody hard they work

Of the many things Miller could tell you – from music legislation in the ACT to how angry it makes him that a venue should shut at 11pm because of one noise complaint – the one thing he truly brings home is the undeniable significance of the arts; a significance that should hold the weight of an entire community’s respect. 2013 will be the MAMAs’ second year running, a sequel, if you will, to a tremendously successful inaugural event in 2012. Prior to the MAMAs, MusicACT workshopped social media and electronic music production while campaigning for music advocacy issues. Though, Miller mentions, ‘MusicACT is not an events organisation. That’s something worth noting. We put on the MAMAs because we recognise the need to reward artists in our territory and to celebrate the effort of those who work exceptionally hard at creating an industry where, previously, it had struggled.’

So what do the MAMAs do? They recognise excellence in music in the ACT: let’s start there, for anyone that isn’t already aware of this esteemed event. Beyond that, however, this year the MAMAs have created somewhat of a legacy. The 2013 MAMAs are the first state/territory-based awards to sub-categorise Electronic Dance Music (EDM). In this way, as Miller says, ‘it gives the artists or producers a better opportunity to feel as though they fit into the genre exactly how they want to. There’s no blurred lines, something like this breaks down the barrier and lets the artists and the industry know that we take their music very seriously.’

Miller stops for a minute, reminiscing about last year’s fun at the MAMAs. ‘People were bumping into each other left right and centre. Saying how they’d heard of such and such but never had a chance to meet them, and how wonderful it was to all be in the same place celebrating the same thing.’ This anecdote in itself should make anyone want to go: it sounds like a high school reunion, minus the tossers and plus really talented, interesting people, and awesome music. So, just like last year, the MAMAs are being held at Albert Hall, and starting at 7pm sharp (but get there early). Championing the colours of this city and the ever-blooming buds of our territory’s music industry, it will be, to quote the organisation, ‘the ACT music industry’s night of nights,’ and they want you, in all your finery, to be a part of it.

To the contrary, a problem Miller did mention was the lack of affiliation with the Canberra Country Music Association. The MAMAs only has one Country category, but hopefully as of next year that genre will, like EDM, be more open to diversity.

In saying that, this year has already done exceptionally well in furthering the recognition of various musical persuasions, with 26 categories, up from 19 last year. Some of the categories include Best ACT Psychedelic Electronic Music Producer, Best ACT Choral/ Vocal Artist of 2013, and Best ACT Jazz Artist of 2013. Alongside these categories are five major awards that are publically voted, and several MusicACT-voted awards.

Before you move on, I’m going to recount something that came to light when winding up my chat with Miller. It’s about the MusicACT launch at Regatta Point two or so years ago. Everyone came together on the deck, the sun setting over Lake Burley Griffin, with music playing and champagne flowing, celebrating the conception of an organisation that was ready to champion not only the ACT, but music in the ACT specifically.

With 600 MusicACT members, 100 performers, and 26 categories, you really have to hand it to the volunteers that make this all happen. Yes, volunteers; you heard correct. ‘MusicACT isn’t a business,’ explains Miller. ‘It’s not for profit, and the people that

The 2013 MusicACT Music Awards are being held at Albert Hall on Saturday November 23, with doors opening 6:30pm for a 7pm start. Tickets are $45 and up + bf through musicact. com.au/mamas.

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What two better things to celebrate in one night? When it comes to the MAMAs, let’s not forget that behind every great event is a great organisation. We’ll see y’all at the MAMAs. Rock and roll.

@bmamag

So Shigeto has found a venue for his show on Friday November 22, after being shifted from Trinity. He’ll be playing at Digress Cocktail Lounge, after the backup venue Barcode closed its doors.

Drumassault, Yohann Strauss and Doppel w/Logo make up the local contingent as supporting acts.

The act Trinity have instead, who’ll be competing for your ears and moneytokens, is no slouch though. Acaddamy from Sydney will be bringing his brand of house and wicked remixes (check out his remix of Rudimental’s Baby) to Trinity, alongside Canberra locals Skin & Bones. Free before 10pm and $10 after.

Trinity Bar’s also playing host to DJ Snake on Friday December 6.

He plays the kind of music that gets you signed to Diplo’s label Mad Decent. It’s brash and fun trap music with a sly and knowing grin.

Case in point, his track Bird Machine which is built on a bird whistle sample. It’s $25 before 10pm.

The Clubhouse has two shows coming up to get excited about.

Saturday November 23 will be Current Value from Germany, whose style brings to mind slightly vague labels of drum ‘n’ bass, neurofunk, and dubstep. A more experimental, darker, balls-to-the-wall version of Noisia is probably it.

Jungle Jim (heh) from Melbourne plays on the Friday November 29, and I’m not quite sure how to describe his music (and I’m not really sure if ‘Melbourne Bangers’ is an adequate way to describe anything). It has a lot of driving low-end and hyperactive synths, but I like it, and I’d probably like it even more if I were pinging, hypothetically speaking, which seems to be what his music caters to. $20 on the door.

Doppel also features on the latest Burner Collective EP, Volume 4. If you haven’t already listened to it, do it. Volume 4 also features the talents of Sondrio, AUM Body, and Unfolding, and they all bring their A-game. Sondrio’s use of vocal samples and flute on Claudia works really well, Doppel’s track Precious Love might be 8:24 minutes long, but the swirling mix of house and trance doesn’t feel like it at all. AUM Body’s track Lie to Me reminds me of Blawan without that really annoying, constantly grinding sound, and the final track by Unfolding, She’s Come to Wake Me Up, is my favourite on Volume 4. Fuck yeah, Canberra.

A new release I’ve really been digging has been The Range’s Nonfiction. It’s a neat and tidy album, which isn’t to say it’s plain or vanilla, but it just works; nothing is out of place and the whole thing plays seamlessly. Nonfiction has a very pretty aesthetic built on soft pianos, shimmering synths, and molasses-like bass. The most striking feature is the use of vocal samples. While they largely speak of some lament, they don’t overpower the rest of the music, and seem like a natural extension of it.

On the other end of the spectrum, Hot Since 82’s new release Little Black Book is a masterclass in deep house (Hot Since 82 is one of the few deep house producers of whom it can be said has a distinctive sound), featuring originals, collaborations and some tight remixes.

Just when I thought I was getting over my deep house phase, this comes along.

DONG HYUN SUH

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DANCE THE DROP

One of the most prevalent first world social networking problems faced by generation Y is the relentless blockage of their Facebook inboxes with event invites. Scrolling through the endless sea of requests pummels polite and patient young adults with a wrecking ball of anxiety, gradually demolishing the walls that strengthen their independence and self-worth. The overwhelming responsibility to decide Yes, No, or Maybe to an unimaginable number of pool parties, club nights, and album launches is metamorphosing 20-somethings into time bombs. How many pickles launched in anger will our McDonald’s windows have to endure before someone stands up and yells ‘Enough!’? How awkwardly vexed will the hairstyles of today’s troubled youth have to become for online promoters to notice that they are screaming out for change? They won’t hide their angst behind Beats by Dre headphones for too much longer. If they click, do they not bleed? We will see you on the digital battlefield Mr Promoter, mice at the ready, trolls baying for your blood. History will remember this as the day that we stand up and fight for our right to be unbothered … CHARGE! Mad Decent is one of the coolest record labels on the planet. The US stable is home to heavy hitters like Major Lazer, Dillon Francis, and DJ Snake. The latter will be slithering into Trinity Bar on Friday December 6 with a sack full of early Christmas presents. The Momentum Festival, an underage initiative from the Kicks team, is being held on Friday December 13 (ooooh) at the UC Refectory. The strictly under-18s show is headlined by the Stafford Brothers and Will Sparks, with support from the Academy resident DJs. If you aren’t legally allowed to buy alcohol or cigarettes and enjoy a bit of banging commercial tuneage, this one’s for you!

U-Khan, the co-founder of Sydney underground party Charades, demolishes the Drop top five this week. Check him out on Soundcloud for some wicked mixes too.

Chaos In The CBD – 816 To Nunhead [Amadeus] – Two very close friends of mine that are now killing it in the UK just released this mad disco/house groover – a sure party starter.

David Gtronic – DEIMOS (MR. G OUT DUB) [Monique Musique] – When I think of RAW and downright sick house music, I immediately think of Mr. G. One of my favourite artists of the last couple of years who just makes sick cuts and every record he releases is a stomper.

Marcel Dettmann – Ductil [Ostgut Ton] – Sunday morning music, this twisty, weird record seems to create havoc when it comes on.

Martyn – Red Dancers [Monkeytown Records] – Undoubtedly one of the most creative and no-holds-barred producers who releases killer records that are all over the shop. This dubstep-ish acidtechno record is one of his best.

Trevino – Backtracking [The Nothing Special] – This record has been in almost every set of mine for the past couple of months. I don’t know why, but it’s pretty special to me and I’m pretty attached to it. Very solid release from Trevino aka Marcus Intalex.

TIM GALVIN - tim.galvin@live.com.au

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THE REALNESS Plenty to cover for this fortnight’s column, so without further delay let’s see what is going on locally, nationally, and overseas.

All aspiring MCs will want to keep Friday November 22 clear in their calendars. KP Records will be holding their Main Event night at ANU Bar. Main Event will give the opportunity for six up-and-coming MCs to go head to head against Elefant Traks’ recording artist The Tongue for a chance to win $1000. The night will also feature a live performance from The Tongue, plus local support acts. For more details on the battles and event, visit kokyprik.com.

Australia’s premier funk and soul outfit, The Bamboos, recently released their sixth studio album Fever in the Road. Where their previous album Medicine Man featured a raft of guest appearances, Fever in the Road relies more on the impressive vocal talent of group members Kylie Auldist and Ella Thompson. Still plenty of time to get this one on the Christmas wish list to enjoy over the summer.

Fans of beats and instrumental albums won’t be disappointed with Canberra beat-maker Unfolding’s latest offering, HEPTAHEDRAL. Unfolding has been busy crafting beats for years, and luckily for us, has decided to share his work with the outside world. He has crafted a nice blend between sample-based hip hop beats and electronica that is easy on the ear. Head to unfoldingmachines.bandcamp.com and download yourself a free copy today.

Brisbane crew Fundamental Elements recently released their latest EP, The Homecoming, available for free via fehiphop. bandcamp.com. Fundamental Elements consists of MCs Species and Pleura, and Gold Coast go-to man DJ Johnny Love on the cuts.

If you love that real boom bap then don’t sleep on their latest single, Independence.

It’s been a long time since Snoop Dogg has done anything that really got my attention. However, Snoopzilla has my attention on his latest project with modern funk machine Dam Funk. 7 Days of Funk sees the two LA natives join forces to dish up an ‘80s LA funk extravaganza. Think Roger Troutman, think Rick James, think thick Jheri curls, think 7 Days of Funk.

Either you get Jonwayne or you don’t. Not many would sit on the fence. Additionally, not many labels would have the balls to release an artist’s debut album with a zoomed-in picture of a cracker as the cover art. But Stones Throw Records have elephant balls and aren’t afraid to push boundaries. Finally the wait is over and his debut RAP ALBUM ONE is now available in all formats (except, ironically, on cassette this time around).

Over the last couple of months, Marco Polo has been leaking one gem after another from his forthcoming Port Authority 2: The Directors Cut project, via Soulspazm Records. The leaked tracks have been very impressive, kicking off with Astonishing featuring Large Professor, Inspectah Deck, OC, and Tragedy Khadafi.

Next there was 3-0-Clock featuring Organized Konfusion. Lastly there was West Coast Love featuring MC Eiht and King Tee. This is just a snippet of the amazing line-ups Marco has been able to get together for this project. Available in all formats by the time you read this column.

BERT POLE - bertpole@hotmail.com

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toby francis I was 13 years old when I first stumbled upon GUITAR WOLF. It was running close to midnight and I was trawling television channels in hopes of nudity. What I found was a Japanese rock ‘n’ roll zombie movie, Wild Zero, that blew both my mind and my load. The next morning I went on the hunt for as much Guitar Wolf as I could get my sticky little hands on. I found the band was older than I was, played fast and loose with both distortion and pyrotechnics, cared more about rock and roll than I cared about anything, and would be the single best discovery my 13-year-old self had made since late night TV tits. Guitar Wolf changed my life — even if it wasn’t in the largest of ways — and if you hazard your cash to see these excellent bastards, I guarantee you’ll be saying the same. (If only because their flaming mics burnt your eyebrows to cinders and they won’t grow back.)

First thing’s first, how did the film Wild Zero come to be? What are you talking about? It’s non-fiction! We fight like that all the time.

I’m so pleased that finally you all come to know who is protecting the planet earth.

What do you think it is about Wild Zero that has created such a cult following? Well, because it’s totally trashy.

Are there any plans for a sequel or even another film separate from Wild Zero? In the next film, we are going to time travel back to the old days in Japan to keep cutting the Samurai zombies with swords. Then, at the end, there’ll be a UFO, naturally.

The first Drum Wolf, Narita, left the band to become a fortune teller. Did he ever tell the band about their impending success?

Good question. He thought there was no future in the band and quit.

His fortune telling was completely wrong.

Most bands don’t stick around for 26 years. What do you think the secret to longevity in the music industry is? Sake power, pyramid power, eros power, outer-space power. Only those who are able to make full use of these powers for themselves can survive.

Your live shows are renowned for being chaotic – including pyrotechnics and destruction of instruments – have you ever been in any real danger from excited fans or haywire electronics?

Yes, lots of times. We’ve had any number of over-excited fans who’ve jumped up on the stage and done crazy stuff. I just bite their ear lobe gently to calm them down. It works. It seems like there are lots of politicians Canberra, so there are probably lots of people there who get really worked up.

You formed in 1987 but didn’t release an LP until 1993. Why did you wait so long? I was always reaching out all around looking for collaborators, but no one responded to us at all. We couldn’t face doing it ourselves as it was just too much of a hassle. In a period when everyone else in the world was ignoring us, only Memphis would gave us the time of day. So our first album was released in Memphis.

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Do you think waiting six years to release your first LP was beneficial or would you rather have released something earlier?

Six years! That long? I didn’t know. I wasn’t thinking of success, or becoming big at all. I thought we’d be lucky if we could just put an album out. I just wanted to play exciting live shows. That was all I was thinking back then.

Who were your influences when you were starting the band in 1987? Link Wray, Johnny Thunders, Elvis.

Who is your favourite band currently releasing albums?

None. 20 years ago, there were lots. Such as Teengenerate and The Devil Dogs.

How loud is too loud? The noise of chicks screaming at SEXPO. I’ve never actually been to SEXPO, but I’m sure that’s true.

What do you think of Miley Cyrus’ new look? Who? If the zombies ever rise and take over the world, what’s your plan? Becoming the Zombie Guitar Wolf and stomping with zombie punk. What else?

Who’d win in a fight between Batman and Superman and why?

When you think about how Batman wins his fights, no matter how you look at it Superman would win. But if Batman still wants to try, he’d have to ask Cat Woman to use her charms to seduce Superman.

Superman’s really so square, it actually might be a good plan.

Which motorbike is the best motorbike? Kawasaki Z2RS. Which questions are you sick of being asked in interviews? ‘What is rock music to you?’

Is Leonardo DiCaprio still in a dream at the end of Inception?

Absolutely he’s still in a dream. He gets stuck in a dream and gets really fat.

What Japanese meal should I try next time I order Japanese?

Natto (fermented soy beans). But don’t expect Natto to taste good.

You have to keep on eating it every morning until it you get used to it. Then one day you start to notice just a little of how delicious it is.

That small amount of awareness is what’s really important.

What’s the best video game of all time? Dig Dug. If you ever do make Wild Zero 2, can I be in it? (I’ll pay for my own flights and I’m not weird around fake blood.) You okay to do your hair in a topknot? Also, if you are a girl, there’ll probably be a sex scene with me. Are you okay with that, too?

Guitar Wolf will be bringing down The Basement on Wednesday December 4. Tickets are $28.60 + bf through Oztix, and doors open at 8pm. Supports TBA. DO IT!!!

@bmamag

METALISE There’s soooo much on over the next six weeks or so – it’s refreshing not to have to travel to see all these great shows happening right here in town!

German psych travellers Kadavar have been a real find for many in recent years with their ‘70s-inspired occult-flavoured rock ‘n’ roll, and they’re doing an Australian tour soon thanks to the fine folks at Heathen Skulls. The band is on tour with Swedish garage/ psych lords Blue Pills and we’re getting a show at the ANU Bar on Thursday November 28. You can grab a ticket at trybooking.com.

Also coming out from the USA thanks to Heathen Skulls is another visit from amazing instrumental three-piece Earthless, who seem to really enjoy coming over to play for us. They’re being joined by The Shrine who hail from California and play a pleasing blend of garageish skate rock with some cool, slower heavy riffs – see theshrine. bandcamp.com to check ‘em out. Along for this tour is the LONG overdue return of Wollongong’s favourite sons Tumbleweed, who released the cool Songs from the Other Side earlier this year. This show is happening at The Basement on New Year’s Day. So if you chose to give NYE chaos a miss, see 2014 in the right way with this killer show.

Friday November 22 will see The Basement host Metal Fiesta 4, which always brings a diverse array of quality metal to rumble

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the stage. Mytile Vey Lorth are well versed in testing the venue’s structural integrity and they headline a bill that includes Red Bee, Bronson, Hadal Maw, Inhuman Remnants, Wretch, and Immorium.

Doors at 8pm and a mere $20 entry.

Saturday November 23 at The Basement will have Toxicmen doing a ‘one last time’ show with Slew, Wolfpack, No Assumption, The Bastard Sons of Liberty, Reign of Terror, Miscreation, and Mangrove Jack. The Basement follow up on the following weekend with a show on Saturday November 30 with Psynonemous, Imperilment, Perpetual End, Hematic, Miscreation, and Nocturnal Hours. Then on Wednesday December 4 the venue hosts Guitar Wolf from Japan, which should be a hoot.

At the risk of some slight conflict of interest on my part, it’d be great to see a bunch of you come and watch I Exist launch their new record From Darkness on Saturday November 30 at the Magpies City Club with The Fighting League, Sumeru, and Hygiene too!

Let’s also not forget that on Wednesday December 11 we get Kylesa coming to town with Rise of Avenus and the aforementioned welcome return of OG line-up Looking Glass at the ANU Bar. You may as well pack a bag in the car and sleep in the car park as the next night, Thursday December 12, the ANU Bar plays host to USA legends Melvins and Helmet. That is one crap load of great shows to look forward to all within bus or cab ride from your house!

The Soundwave second announcement came and went. For me the standouts on the list were the welcome additions of Satyricon, Mastodon, The Dillinger Escape Plan, and the wholly unexpected delight of Uncle Acid & The Deadbeats. A bunch more bands to check out on the soundwavetouring.com homepage.

JOSH NIXON - doomtildeath@hotmail.com

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Another issue of BMA and another edition of Punk and Disorderly!

The year may be starting to come to an end, but the scene certainly isn’t. There’s still plenty to keep you punk-ass hooligans [Ed: Move that hyphen one word to the right and have some fun.] busy in the next few weeks.

If you’ve picked up this issue in time, you can catch New Zealanders Girls Pissing On Girls Pissing at The Magpies City Club on Thursday November 21. Kicking off at 8pm, they’ll be playing alongside Orlando Furious from Melbourne and local surf-punks Beach Slut, who will be playing their last show together.

Only a couple of days later on Saturday November 23, The Magpies City Club will play host to the City Underground Punk/Rock/ Hardcore Festival. The show will kick off at 5pm with an early set from Melbourne’s The Spasms, before continuing late into the night with sets from local bands Signs and Symbols, Harley Quinn, Reptile Park, Silver Lining, …Is Dead, and Home Burial from Sydney. Tickets are $7 + bf through EventFinder or $10 on the door on the night.

Queensland’s Manhunt and Adelaide’s Starvation will be stopping by the capital on Tuesday November 26 as part of their joint east coast tour. They’ll be supported by Sydney’s Controlled along with locals Hygiene and Eye Gouge for a great night of hardcore punk! The best part is it’s all ages, and held at the Majura Community Hall. Entry is $10.

On Friday November 29, Lecherous Gaze will be stopping in all the way from sunny California. They’ll be playing at The Phoenix with Gentleman from Melbourne and locals Hygiene.

Only two weeks away now is the Canberra stop of the Vans Warped Tour, with a massive line-up featuring punk and rock acts The Offspring, The Used, Simple Plan, New Found Glory, Tonight Alive, The Summer Set, Man Overboard, The Dangerous Summer, and more. It will all be going down on Friday November 6 at Exhibition Park and you can still grab tickets for $107.10 + bf through Oztix.

If you haven’t yet, make sure to jump onto the MusicACT website before Saturday November 23 and have a vote for the 2013 MusicACT Music Awards, which includes public voting for the categories of Best ACT Artist, Best ACT Live Performer, Best ACT Live Music Venue, and Best ACT Youth Artist. The awards will be presented at Albert Hall on Saturday November 23, including those in independently judged categories for Best ACT Rock Artist, Best ACT Indie or Alternative Artist, and most importantly, Best Heavy Artist (Punk, Hardcore, Metal). Tickets to the awards night are $45 + bf through the MusicACT website.

As always, don’t forget to tune into Haircuts & T-shirts on 2XXFM every Monday night at 9pm for a weekly update on all things punk and hardcore.

And that just about wraps up the third-ever instalment of Punk and Disorderly. Fun fact: three is a magic number. Until next time, stay lower-middle classy.

IAN McCARTHY

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Image credit: Dustin Rabin

baz ruddick Canadian singer-songwriter DALLAS GREEN is a man of varied taste and skill. With one foot in the aggressive world of fistpumping post-hardcore and another in the melodic stripped-back world of folk, for years Green has maintained a life of duality.

However, with his fourth album as CITY AND COLOUR released this year and Alexisonfire permanently disbanded, Green has been able to focus solely on his solo career. I spoke to a surprisingly relaxed Green an hour before he was to go on stage in Cleveland, Ohio, the delay down the line giving me that extra few seconds to appreciate the distance.

sounds and instrumentation and stuff like that, and as far as me as a singer, he really works me hard! He knows that if he has the faith in me, then I will finally get to the point where the vocal track will be where it’s got to be … From making the last record, Little Hell, we became really close. It made sense to go with someone I felt comfortable with.’

Foregoing the niceties and bullshit for a brief and frank chat, I heard about what it meant to disband Alexisonfire, collaborating with musical geniuses, and how to get the best out of yourself as a songwriter.

With Alexisonfire finally calling it quits last year, Green found himself with the crucial time he felt he needed for his own project.

‘In a way it was a relief – but I wouldn’t call it that exactly. I just felt, creatively, it was where I should be,’ he says. ‘It was nice to focus on one thing and it be where I felt like all my focus should be.

I felt like I would have been pushing the idea of Alexisonfire songs as opposed to the City and Colour songs, which were coming a lot more naturally.’

The first thing that struck me about Dallas Green was his bluntness. And I could understand it. It’s hard enough for people to talk to their mother for 15 minutes on the phone, let alone a man halfway across the world who wants to write about you. I wasn’t his friend and I didn’t feel like it, and that was refreshing. ‘What do you want to know about it?’ he responded as I probed for a general narrative about the new album. I had made my first mistake …

Having released three of the four City and Colour albums while still a full-time part of Alexisonfire, Green struggled with dividing his time and energy between the projects. ‘That was the only thing that was bothering me, was that instead of having two great things or one great thing, I had two things that were lacking – lacking a part of me. When I was focused on one thing, I was thinking about the other at the same time.’

For the first time ever, Green left his native Canada to record, winding up in Nashville, Tennessee, with legendary producer Alex Newport. ‘I just kind of wanted to be some place away from home to try something different,’ Green says. 12 days later, City and Colour’s The Hurry and the Harm was born. In order to round out the album, Green employed the help of a plethora of accomplished musicians, including Jack Lawrence of The Dead Weather, Bo Koster of My Morning Jacket, Matt Chamberlain of Pearl Jam, and James Gadson, who has played for the likes of Bill Withers and BB King. ‘I was hoping having these people that I had never met, but knew as players, could take my music in a different direction and sort of elevate the level of the song, and in turn make me want to do better. I think that was what happened,’ Green says. ‘Having them play my songs made me want to sing and play better than I ever have.’

Despite reports that Green was a man who was burnt out, worn out, and over his success as a solo artist, he assures me that with the release of The Hurry and the Harm, his love for songwriting and performing is at its previous level of intensity.

I have a hard time wondering if I think something I am doing is good enough or not

Despite being a solo enterprise, Green himself uses the validation of others to get the best out of himself as an artist. ‘I have a hard time wondering if I think something I am doing is good enough or not,’ he says. ‘I need someone else to be there and say, “Yes, that’s the one,” or, “No, you can do better.” ‘ A notorious self-doubter (as illustrated by the use of a pseudonym for his solo project) Green’s relationship with producer Alex Newport comes across as a Karate Kid and Mr Miyagi-esque affair. ‘He had a lot more faith in me then I had in myself,’ Green says. ‘He is really great at getting good

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‘I am totally and fully having a wonderful time performing now with a new band,’ he says. ‘Having all these new songs that we are working out live has totally renewed my love for singing and playing. It is where I am most comfortable.’

With the line dropping out six minutes shy of our allotted 15 minutes, I didn’t come close to being able to crack the exterior and get a sense of Dallas Green as a man.

But then again, 15 minutes wouldn’t have made any difference.

What I needed was a weekend. A long drive through the Canadian mountains, a few hours of understanding silence while fishing in a boat, an afternoon enjoying some brewskies by a fire – both us wearing flannelette shirts and trucker hats. Real bromantic shit where I could stroke his beard and ask about his childhood.

Then, and only then, do I feel that I would be qualified enough to extract the truth from his deep psyche, and murder him in print.

City and Colour will be playing Royal Theatre in Canberra on Monday December 2 at 7:30pm. Support from Husky. Tickets are $69.95 + bf through Ticketek.

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Fun Machine, Pocket Fox, Buck et al

by Adam Thomas

The Polish White Eagle Club 2013

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alistair erskine Nothing pleases more than a band that can live up to their name, and I EXIST really does. From the first moment you put their latest record From Darkness on, wave after wave of absolute noise crashes from your speakers. It’s the opposite of subtlety – classic riff after metal growl after smashing drum pattern envelopes the atmosphere around you, making I Exist tangibly present. It’s an outstanding experience, mesmerising if you let it be, unavoidable even if you don’t want to hear it. Catching up with a very excited and proud guitarist Aaron Osborne is the first step in trying to understand how they manage to pack so much balls-to-the-wall straight-up rock and roll into a modern day hardcore LP. ‘It comes from recognising that all that music comes from somewhere, and we are trying to be honest about all of the music we like and that made us want to make music ourselves. We don’t want to just sound like copies of the bands we get put on bills with, who we love playing with and love the music they make, but for us it’s very important to have elements of all of the music we have loved, and between the six of us, that is actually a lot of different loves. That’s why you will hear elements of Black Sabbath, Led Zeppelin, hair metal, everything in there, because we would completely be ignoring such a massive part of why we love music if we just left that stuff out.’

From Darkness is the band’s third full-length release, and its primary difference from its younger siblings is in the way the songs seem tempered to have consistent, driving levels and pacing throughout, as though it had a specific audience in mind, especially in the more face-melting parts.

Aaron explains, ‘Initially I write a lot of the basic riffs and take them to the band so they can work on parts. They bring their stuff back and we flesh it out together. We then had a really long period working out if what we had written for the album would work best live. We have three guitarists and in the past we would all have parts and layers where it definitely didn’t need it. It was confusing, we were trying too much, and we felt that we actually had to rearrange things for when we played them live later on.

So with this record, we just went, “If there is no reason for it, let’s chop it out,” and from a recording point of view, From Darkness was the most streamlined thing we have done, and that came from cutting out the bullshit, and getting our want for experimentation out before we went to the studio, and not while we were in it like we did in the past.’

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Interestingly for a modern day hardcore record, From Darkness has a few tracks that top the five-minute mark, even going so far as the virtually Hey Jude-esque title track to close the record.

Aaron muses on this for a while. ‘There are no rules we will have about song length. I completely understand that radio demands songs be no more than three and a half minutes long, but we aren’t a pop band, mainstream radio is never going to play us … And the hardcore and heavy radio stations aren’t going to care about track length. For us, it’s about whether something works – if your song is only good enough to last for a minute before it gets boring, then make that one a minute long and not a second more. If the idea you have can sustain being seven minutes long, then it would be wrong to cut it off early. That’s why there is a bit of a mix on this record, and we aren’t ashamed of that at all.’

If there is no reason for it, let’s chop it out

I Exist is back from the amazing experience of a European tour, where they managed to play 28 dates in 30 days. Aaron reminisces, ‘You never knew what venue was next – it could be a tiny dive bar, it could be an open air festival stage, it could be a youth centre. It was amazing to have to play shows and be on it every day. Even when you tour the east coast of Australia, that might be five gigs in eight days, so never quite like this. It was awesome.’ How did you guys manage to score that gig? ‘The catalyst was through a friend who works in band management and got in touch with Harm’s Way who were headlining the tour.

Normally you time to settle the nerves between each show, and so going out and having to do your best performance every day was mind-blowing, but super fun.’

In this day and age, cover art is often left out when transferring files to your phone. Regardless, From Darkness actually has some wonderful, iconic album art. Aaron’s voice perks up when asked about it. ‘One of our guitarists Sam had a print by the British artist called Richey Beckett, and we got in touch with him, and he gladly did the artwork for us. Patrick Galvin helped out with the layout of the rest of the stuff, and we are really happy with how it all looks!’

From Darkness, I Exist’s latest LP, gets released on the Friday November 29 on Resist Records, and the band will launch the record at the Magpies City Club on the Saturday November 30.

Doors 7pm. $10.

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E X H I B I T I O N I S T ARTS | ACT

THE BRITISH ARE COMING! luisa ryan Have you ever really wanted to go to a fancy European film festival, but were really put off by the thought of intimidating subtitles? [Ed: If that sounds like we’re looking for a reason to call you a moron, that’s because we are.] Well, this could be the film festival for you! [Ed: … you moron.] The inaugural BRITISH FILM FESTIVAL is hitting Canberra in just under a week with a schedule packed full of stories to suit every taste (insert joke about bland pommy food here).

Already host to the French, Spanish, Italian, Greek, and Israeli film festivals, Palace Cinema believes it is important to complement their foreign language stable with an English language equivalent, says Programming Director Kim Petalas. ‘There was no better festival to choose than the British Film Festival because they have such a long rich history of film culture.’

The very first festival sure has a lot of gems to offer up. Its program features icons of British cinema, such as Dame Judi Dench, Julia Walters, Jude Law, and Richard E. Grant. Adding to the all-star line up is our own Eric Bana, who will even be making an in-person appearance in Canberra for a special Q&A event on his film Closed Circuit.

Petalas explains that the festival is ‘bookended’ by two more commercial films: One Chance, the true story of the shy first winner of Britain’s Got Talent, directed by The Devil Wears Prada’s David Frankel; and Philomena, starring Dame Judi Dench and Steve Coogan.

But the festival highlights some of Britain’s quirky, special films too.

‘This is a festival we believe will be one of the major festivals on the

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Palace calendar for years to come,’ says Petalas, ‘and what we wanted to do was showcase strong, worthy films that potentially wouldn’t have the opportunity for a theatrical release in this territory.’

A real highlight will be the digitally re-mastered classics the festival is showcasing. The classic films featured this year were voted the top five British movies of all time by members of the British Film Institute.

Petalas first thought about presenting a British Film Festival one night at home, when he was watching Lindsay Anderson’s 1969 film, If …

‘I thought there was just so much terrific British cinema in the past, and because of the new digital technology and these films being re-mastered, we’ll be able to present all of these great films on the screen, and show them in the way that audiences saw them 30, 40, 50 years ago, and in the way that these filmmakers had intended these films to be seen.

‘I genuinely believe that this is going to be one of Palace Cinema’s key festivals on our festival calendar,’ says Petalas, ‘and I can’t wait to be able to present in 2014 and beyond some of the riches from British cinema in the past along with contemporary British cinema.’

We’ll see you all, and Eric Bana, there.

The inaugural British Film Festival will be screening at Palace Electric Cinema between Tuesday November 19 and Sunday December 1. See palacecinemas.com.au for info and ticketing.

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UNINHIBITED The National Library of Australia has more leather-bound books than Ron Burgundy, including one most certainly not included in his collection – a book bound in human skin. I learnt this oh-so-fun fact while on one of the library’s ‘Behind the Scenes’ tours.

Last column I told you that I’d take a Canberra tour on my return from the USA and report back. I chose this particular excursion because I was promised that I’d find out just how many levels below the ground the NLA went – my guess was four. It was also free.

The tour began in the foyer and main reading room before moving into areas you never get to see while pretending to study for exams.

One of our guides told us that we could tell when we were behind the scenes by looking at the floor: ‘If the floor is bad, you’re in a staff area,’ she said. I say ‘one of our guides’ because we had two; this was in case a tourist succumbed to claustrophobia and required an escort from the tombs back into daylight.

The first lower level room we visited was filled with a large portion of those leather-bound books and it smelt just like any other library, only more so. In fact, the smell was the equivalent of Orange Power air freshener as compared with an orange.

We were then taken into the tube room in which, until the end of the last century, a lone operator used a series of tubes (like they use at

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Woolies’ check outs) to receive and deliver book requests. The fact that one man operated these things, sometimes handling thousands of requests in a day, made me think of that old guy in the mailroom in The Hudsucker Proxy – the guy who could throw a letter into a pigeonhole from ten feet.

Nowadays, there are robots that scoot around to pick up and deliver books. The robots are wingless flat-topped drones on wheels and are all called Charlie. He may not surf but the fact Charlie knows his way around this book bunker is just as impressive. We didn’t get to see one in action unfortunately.

Next was the microfilm storage room, which is MASSIVE. The NLA doesn’t have every newspaper ever printed stored on microfilm, but if one of the guides had told me it did I would have totally believed it. I was surprised by the fact they still use microfilm because it’s a technology I associate with those old tumble copiers with the purple print and the intoxicating fumes.

Along with the microfilms, there are hundreds of actual newspapers, many shrink-wrapped for preservation – much like the Chronicles householders keep preserved on the lawns of Canberra.

Seemingly no sooner had we gone behind the scenes then we were back in the foyer with our journey complete. I was left well satisfied with the first hometown tour I’ve taken since I don’t know when, and I recommend it to all fans of the ‘Nash’. Good times.

Oh, and our guides told us the library goes two floors below ground.

But I’m pretty sure ASIO just requires them to say that.

Pete Huet petehuet@yahoo.com

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ARTISTPROFILE: Jonathan Webster

What do you do? I work primarily with painting, but sculpture and installation pieces make up a significant portion of my work.

When, how and why did you get into it? I was asked this question recently and I struggled to give a satisfying answer. It’s something I’ve always done. I began taking drawing lessons at the beginning of high school and by the time I was ready for uni it was all I wanted to do. There are some questions that can’t be answered with words – art is the way I can articulate these answers.

Who or what influences you as an artist? I spend a lot of time walking around Canberra. These walks and the Canberra environment have influenced the content and conceptual direction of my work for the last few years.

Of what are you proudest so far? My first solo show, Nooks and Crannies at CCAS Manuka, was pretty swell. I’m also chuffed to have learned the splits recently.

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What are your plans for the future? My long-term focus is on the journey of an artwork from nature to the studio to the gallery and back again (or from painting to sculpture to installation and back to painting). At the moment this has led me overseas, but it will lead me back again. I hope to always find new places to walk through.

What makes you laugh? My good friends and playing with dogs.

What pisses you off? Explaining how to use a computer. Crappy films that make no sense.

What about the local scene would you change? Canberra has a terrific art scene that’s relativity small, but the quality is excellent.

I would like people to see how great the scene can be rather than dismiss it for Sydney or Melbourne, towns that suffer from ‘homogeneous big-city bloat’.

Upcoming exhibitions? I’m packing my bags for a one-month residency in Beijing at Red Gate Gallery. Once back in Canberra I’ll be preparing for a show at ANCA Gallery called Ghost Forests, an examination of the introduced forests of Canberra, in April.

Contact Info: surfaceobjects.wordpress.com.

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Exploration has forever been one of mankind’s most innate compulsions. The need to broaden one’s horizons and to expand upon our perceived boundaries comes as naturally to us as the urge to kick an overly cosseted Springer Spaniel into the nearest disused canal.

But the great thinkers of my time and their many predecessors have long proven that exploration is not solely an external pursuit.

Careful consideration of human nature and how its perceptions and motivations are intertwined have both enhanced the very spirit and function of life itself, and enabled many of us to trade the livelihoods of others for plush, velour fireside slippers.

Kierkegaard, Bentham, and that rascal Marx all plied their trade during my time; meanwhile the likes of George Everest and Matthew Flinders insisted on frolicking around the globe to little or no effect.

It is only now, as I sit here in an opiate-addled fug, that I see how relative accomplishment in the physical and cerebral jurisdictions has been wholly upturned in the interim ‘twixt my time and yours.

It is clear that your mastery of the physical realm is unrivalled – from the deepest oceans to the very stars, it appears there is no sphere which your canny, groping fingers cannot tame nor molest.

That mankind be now capable of interplanetary travel is a discovery as astonishing to me as surely proper grammar must be to you.

I hear that there is now no part of Wales to which some intrepid traveller has not already laid claim. Just think about that: to willingly cohabit with the Welsh. Valour unmatched!

While I freely concede that great leaps have been made to achieve your undoubted supremacy of the physical world in comparison to the efforts of my own time, it must be abundantly obvious to all that you have readily ceded territory to the past in the survey of the cerebral, the conceptual, and the abstract.

One need only consider how Karl Stefanovic, a man who by all outwardly appearance is suffering from acute mental illness and the most severe delusion of his own worth, be not just tolerated in your society, but lauded!

David ‘Kochie’ Koch, another who in any civilised society would be ceremoniously immolated as a warning against inanity, stands shoulder to shoulder with international statesmen, political leaders, sporting heroes, while he himself attracts admiring glances from people who by extension must contribute as much to human progress as malaria.

Identity is now something created externally, not from within; the general public crave public attention and approval like never before. Validation from relative strangers carries more weight than counsel from sage elders, with those ardently exhibiting the most repulsive behaviour raised upon pedestals, while in any sane society they would be lashed to one of your phallic thunder tubes and blasted into space.

We can, nay, must do better. Put as much stock in genuine cultural enrichment and considered appraisal as we do in maddeningly offensive talent shows and blinkered predisposition and we may avoid the day when disruptive, loudmouthed frippery trumps amicable reflection. gideon foxington-smythe

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IN REVIEW

Triptych – A Trilogy of Works C Block Theatre, Gorman House Arts Centre Fri–Sat November 1–9 Thank goodness for Canberra Youth Theatre, with their commitment to and capacity for nurturing young theatre practitioners in Canberra. The excitement of a worthy vision being duly rewarded is palpable at Triptych, a three-play series of original works described as ‘a true manifestation of CYT living its mission’.

The three original plays, whilst admittedly successful to varying degrees in their artistic endeavours, are brimming with energy and creativity as they each explore what it is to be young, and aware of the burden that is finding your place in the world.

Inducing cantankerous jealousy, 16-year-old high (over) achiever Olivia Hewson penned the first play of the evening, Bona Mors.

A witty script, it re-imagined the gateway to the underworld as a child’s bedroom occupied by a lonely young reaper named Remy.

Young star Asha Cardillo hit all her comedic marks as Remy, despite at times fumbling with the wordy script. The portrayal of threeheaded dog Cerberus by the adorable Cullan Jeffs and Kian Hassan drew hearty and frequent laughs from the crowd, a feat made more impressive by the fact their performance was purely physical save for a few well placed barks and howls.

A 20-minute interval forced us out of the theatre in order to reset the stage for the next piece, as each distinct piece was to have its own elaborate set as designed by the gifted Cate Clelland. Fight or Flight skewed slightly older than Bona Mors, and was written by NIDA graduate Jessica Bellamy. It centred on a group of teens who were stuck either literally or figuratively up a hill after inadvertently activating a ticking egg, which traps them in the junk heap they find there. Putting a creepily post-apocalyptic spin on the pressures of choosing a path in life, this Breakfast Club-esque effort at times lapsed into cliché, but was bolstered by naturalistic staging from director Remy Graham and strong performances from Samuel Francis and Liam Varjavandi as hapless jocks Harry and Brent.

Progressing up another age category, the final and strongest piece of the evening, as performed by CYT’s young adult actors, was Run Rihanna! Run! Written by Lachlan Philpott and directed by Karla Conway, a clear artistic vision enabled an assured confidence in the cast and technical crew. Utilising only a scaffold, the clear stage allowed the exceptional performances from lead actors Ethan Gibson and Benjamin Russell to shine as they were granted freedom to truly command the stage.

The overall impression of the evening was one of discovery. If considering Tripytch a whole entity, the through-link of these diverse pieces was the insight into the development of young theatre practitioners.

Intimate and welcoming, these creative, original, bold performances invited us in for a rare peek at theatre’s future. alice McSHANE

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LITERATURE IN REVIEW Banana Girl Michele Lee [Transit Lounge; 2013]

Michele Lee converses with her 15-year-old self while she navigates the Melbourne theatre scene, the minefield of the online dating world, her immigrant family, and life in a sharehouse. Banana Girl is a memoir of a person barely stumbling into adulthood, a loosely connected series of anecdotes, bawdy stories, and family tales, as the author prepares to travel to Laos for an artistic residency.

Of all genres, creative non-fiction can be the most difficult to judge, especially when (as in this case) very little actually happens. Banana Girl is easy to read, thoughtful, humorous, and challenging, but it isn’t particularly active. The perils of writing a memoir before you’re 30.

What events occur bear no relation to anything like a plot: it’s merely day-to-day life, narrated.

It is a strange, drifting book; Lee proceeds aimlessly from encounter to encounter, slipping randomly into recollections of events years past, of people she used to know and places she used to live as she runs across them in the Melbourne streets. It’s tricky to connect to some of the people she describes, as almost all of her friends and lovers are hidden behind coy, descriptive nicknames: Husband, Cub, The Backpacker, the Big Chef.

Nevertheless, the streets and suburbs of Melbourne are painted in rich detail, landmarked by this sharehouse or that small independent playhouse and populated by a rotating crew of theatre kids and fuck-buddies. Lee is also quite open about her active sex life and multiple partners, a topic addressed without any shame

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and, to be frank, not much eroticism either. It’s a refreshingly blunt and matter-of-fact attitude, lacking apologies or any attempt to interrogate the topic.

Michele’s life in Melbourne seems at odds with her family in Canberra: her Hmong refugee parents and married, settled siblings providing a contrast to her colourful sharehouse and quirky friends, without being necessarily in conflict. The author claims the Banana Girl ‘isn’t a migrant daughter story per se’, and indeed, the topic isn’t dwelt on, but neither is the Hmong influence ever entirely absent from the narration.

Additionally, her memories of travelling through Laos and visiting extended family there are tinged with fond nostalgia.

My main issue with the book is not that it lacks action, but that it lacks direction and, at places, cohesiveness.

Banana Girl is thought-provoking and topical, but I’d love to see what this author can do in another few years. emma grist

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bit PARTS Jenni Kamarre Martiniello; 2013.

SACRED WHAT: Art Exhibition WHEN: Thu Nov 14–Sun Dec 1 WHERE: M16 Artspace Gallery 01 Curated by Benita Tunks, Sacred explores what is sacred for ten artists: Rachel Develin, Tina Fiveash, Gerald Jones, Mary Kayser, Fatima Killeen, Matthew Harding, Jenni Kemarre Martiniello, Amanda Stuart, Marcus Tatton and Bruce Tunks. The exhibition showcases a range of 3D and 2D media, and follows the artists as they contemplate loss and evaluate worth. Works were created over 12 months and the processes were captured on film. Conversations WITH Tunks provide an insight into the concepts behind each work, and the resulting documentary will be on display. Wednesday to Sunday, 12pm to 5pm.

TUGGERANONG FESTIVAL WHAT: Multi-Arts Festival WHEN: Sat Nov 23 WHERE: Multiple Venues This year’s Tuggeranong Festival will feature the inaugural Write it Up! and Hip Hop Live! events. Write it Up! will invite anyone to take to a 22-meter paste-up wall, with no experience required and all materials provided, and will raise the profile of Canberra’s street art community.

There’ll be live street art done through the day by locals such as Byrd and George Rose. Hip Hop Live! will happen all day, with local artists playing and performing tunes at Tuggeranong Skate Park ‘til 9pm. The whole festival has something for everyone and is a family event. You can see the full program at tuggeranongfestivalact.wordpress.com.

HOT TO TROT WHAT: Dance Showcase WHEN: Sat–Sun Nov 23–24 WHERE: QL2 Theatre, Gorman House Arts Centre

Image credit: Lorna Sim

QL2 Dance are presenting Hot To Trot for the fifteenth year, and will be bringing the heat to the dance floor in a display of moves from Canberra’s upcoming dance-makers. Hot To Trot helps develop the next generation of dance talent and choreographers under the guidance of QL2’s Ruth Osborne and local independent artists Dean Cross and Liz Lea. They challenge dancers to think outside the box, and find their own voice. Many of the dancers will be auditioning for, and have been accepted into university dance courses countrywide. The show kicks off at 7pm on both nights, with tickets available on the door.

MONSTERFEST WHAT: Cult Horror Film Festival WHEN: Sat Nov 23 and 30 WHERE: Greater Union, Manuka, and CIT Woden Cult cinema is coming to Canberra with Monsterfest 2013! As part of a nationwide 40th Anniversary tour of The Exorcist, Saturday November 23 will see Linda Blair introduce the famous horror film, then talk about its making in a Q&A after the screening. Blair will also be there to sign photographs for audience members. Then on Saturday November 30, there will be a 12-hour film festival at CIT’s Woden Campus from 3pm to 3am. Cult films like Kiss of the Damned, Anti-Social, and Big Ass Spider will be on show, plus there’ll be a bar, food, and a DJ. See monsterfest. com.au for more details.

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the word

on albums

and when taken in its entirety, this collection certainly doesn’t offer up anything resembling comfortable or ‘easy’ listening.

album of the issue body/head come apart [matador] While Sonic Youth may currently be no more, it feels as though Kim Gordon’s creative schedule has never been busier. Indeed, in the last 12 months alone she’s performed at the Yoko Ono-curated Meltdown festival in London, collaborated with drummer Ikue Mori, dabbled in independent film work, and found time to write her own memoirs as well. When Gordon initially debuted her new Body/Head noise guitar duo alongside longtime friend and collaborator Bill Nace with a bunch of gigs in New York at the end of last year, the performances were predominantly instrumental, with the duo playing against back-projected film footage.

In the wake of a self-titled EP earlier this year, this anticipated debut album, Coming Apart, documents considerable progression in the duo’s approach, with many of the ten tracks collected here almost resembling actual songs. Given the total absence of drums, and that all of the compositions have been recorded in a single take, with Gordon’s and Nace’s guitars then being panned respectively left and right in the mix, there’s a far more loose and free-flowing aesthetic here that often feels miles away from Sonic Youth, with Gordon’s almost free associative lyrics calling to mind echoes of Patti Smith at points. A sense of brooding atmosphere and catharsis also hangs heavily over much of the material,

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It isn’t hard to read too much into track titles like Last Mistress, as Gordon’s vocals build in intensity into yelps and tics against a relentless, circling guitar figure and a warm bleed of drones, the entire track almost resembling an open wound as it seethes with little respite in the tension levels. Everything Left meanwhile sees wordless treated vocal intonations looping alongside Gordon’s half-purred half-snarled lyrics, as crunchy noise bursts crackling against fretboard squeals and buzzes, in what’s easily one of the most deconstructed and stripped-down offerings to be found here. Elsewhere, Abstract makes the themes of separation even more explicit, with Gordon intoning, ‘I can only think of you in the abstract,’ over and over again, mantra-like against a storm of ebbing guitar embers and droning bass chords. The theme of femininity and female archetypes also recurs, whether as lover, housewife, or killer (see Murderess), with Aint seeing Gordon and Nace deconstructing Nina Simone’s Ain’t Got No, I Got Life into a nihilistic six-minute descent into guitar noise, that sees Simone’s original lyrics, ‘I’ve got my arms/ I’ve got my sex/ I’ve got my freedom,’ transposed into a far emptier and bleaker setting.

It’s easily one of the angriest moments here, but like the rest of this album, the rage feels contained. In many senses, it’s the 17-minute-long Frontal that offers up the centrepiece of this collection, an eerie yet hypnotic glide though brooding bass murmurs and howling, metallic guitar harmonics, even as Gordon’s panic-stricken vocals repeatedly intone, ‘You want to kill me,’ against an oceanic gauze of shifting feedback. While Coming Apart is likely to delight those who felt that Sonic Youth weren’t going far ‘out there’ enough during the last stages of their lifespan, it’s also a curiously accessible, almost lulling listen at times. It’s a collection that harks back to Gordon’s more experimental, open-ended no wave roots, bringing things full circle in the wake of Sonic Youth’s dissolution/ hiatus (watch this space). Highly recommended.

tumbleweed sounds from the other side [shock records] The year was 1995. The event was the second ever Hottest 100. Coming in at number 50, ahead of songs by such megastars as Sonic Youth and Dinosaur Jr., was Daddy Long Legs by a band from humble Wollongong. Tumbleweed’s fuzzy grunge sound spawned multiple releases and they gained a place in the nation’s rock archives as a support act for Nirvana’s 1992 Australian tour.

Their principal line-up collapsed in 1995 and Tumbleweed faded away in the early 2000s.

The band was drawn back from oblivion for a festival spot in 2009 and, 15 years since they were last in a studio, their signature line-up plugged into the amps to lay down one of this year’s great rock albums. Tracks are a mix of new creations and material from years past, which has been waiting in the shadows for its moment of glory. There are repeated all-night roadtrip themes, including Night Owl, with its ‘dance all night in a different State’ story.

Stylistically, the immediate impression is post-grunge with a strong Queens of the Stone Age flavour, but as Sounds from the Other Side progresses, the tone shifts to be more in keeping with ‘70s rock. Rhythms are riff propelled, built around a solid core of driving guitars. Special touches include letting the licks off the leash in the opener, Mandelbro, with guitars revving up repeatedly like quick taps on an accelerator pedal. Sweet Little Runaway has the pitch of the guitars rising in a steady arc. The slower, melodic Drop in the Ocean is a highlight with its wailing, undulating sound, and the disc is beautifully rounded off with the Pink Floyd-tinged stoner fantasy ESP, its guitars scaling psychedelic ladders. rory McCARTNEY

CHRIS DOWNTON

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public service broadcasting inform – educate – entertain [test card/rocket]

cyberne/dead/knellt 33333333333333333333333333333 [impulse records]

poliça shulamith [Mom & Pop Records]

The brainchild of London-based duo Willgoose Esquire and drummer Wrigglesworth (possibly not their real names), Public Service Broadcasting certainly has a different angle on live performance, with a slew of projected vintage news and documentary footage accompanying their loose-limbed instrumental tracks onstage. Indeed, their whole corduroy-clad aesthetic suggests two librarians pillaging the Pathe newsreel archives with glee. In the wake of several EPs, this debut album Inform – Educate – Entertain sees PSB raiding the Prelinger Archives, and then scattering the resulting blizzard of samples Coldcut-style against upbeat live instrumentation ranging from lulling krautrock grooves through to heavy rock flameout. There’s also the sense of PSB being respectful to the samples, rather than strictly playing things for laughs, with the opening title track setting the stage with a shimmering prog-funk jam that slots in utopian future-themed spoken samples against jagged guitar distortion. Signal 30 offers what’s easily this album’s most rocking moments, the overdriven guitars wandering from a Tarantino-esque slither into Fugazi territory against a storm of samples about the perils of drink driving.

Elsewhere, Lit Up sees a naval commander talking about ‘the whole sea lighting up like fairy lamps’, his phrase looping hypnotically against feathery guitars, and a blissful wash of ambient backing vocals.

Combining two Japanese metal bands and an Australian one in the same disc gives you two sushi rolls and one Chiko Roll, all with a liberal amount of chilli. There’s a pleasing disparity in styles, from the craziness of Cyberne (from Osaka), the experimental Dead (from Melbourne), and the more conventional (but still playful) Knellt (also from Osaka). The advantage of this style, with vocals either screamed or obscured so that they are generally unintelligible, is that it crosses international boundaries easily.

The cover art of Shulamith sets up an interesting mood. The back cover, in particular. It brings to mind Carrie, and the recent hubbub around the work of artist Petra Collins. There’s a strong statement of feminine strength, of crushing taboo, of not fearing all the body’s actions. It’s a big theme of this second record from the fine Minneapolis quartet.

Cyberne, purveyors of Japanese aggressive psycho-rhythm (mixing death metal and hardcore) lead off, with Deflush combining skin-flaying percussion, flashes of stroboscopic guitars, and the most incredible screams sustained at an amazing intensity. Occasional attempts at singing fail to break through the stormy surface. Zomist is the band’s highlight, with serpentine, hissing vocals and flares of melody interspersed with auditory violence.

The Aussies take a more inventive journey into sonic madness, again with an impressive emphasis on beating the hell out of the drum kit. Of All the People I Hate Most I Hate You MORE is a nine-minute odyssey, beginning with a relentless grinding rhythm at a funereal pace.

While this sort of sample-based fusion is well-explored territory in hip hop/electronic spheres, the integration of rock elements certainly adds a few fresh edges. Having said that, the instrumental backings are often so strong that the deployment of samples becomes obtrusive when divorced from the live visuals. It would be nice to see PSB let their arrangements breathe more.

Knellt take a more conventional line to their metal with a melodic approach to The 33 Unearthly. Singing Objects Into Existence starts with a surprisingly whimsical twangy guitar, before relapsing into the comfort zone of a reassuringly deep rumble. The Japanese reverence for serious drumming is reflected in band line-ups, with three drummers in the Cyberne order of battle and two drummers in Knellt. Merciless percussion is the feature of the album, so if you like your metal with a very heavy dose of the skins, then get into this.

chris downton

rory McCARTNEY

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We’ve seen a bunch of acts chock full of laptop-tapping lads obscured by the charisma of their strong female vocalist.

Some feel a little too constructed (Hello Metric!), a little too much like backing bands for future solo artists. Poliça are not in this category, as the sonics and the atmospherics are layered and intriguing on their own. But it’s the vocal presence of Channy Leaneagh that has kicked Poliça to the next level. I’m interested to read (and so often!) that this band is a reaction to not just the break up of her previous act, but Leaneagh’s marriage. On Poliça’s first and very good record Give You the Ghost her vocals were treated and tweaked beyond the point of comprehension, creating a nice distance. Leaneagh seemed an unlikely candidate for personal narratives.

On Shulamith, Leaneagh seems more comfortable to let the listener in, and this is a good thing.

Shulamith Firestone was a feminist author and first-wave radical, someone Leaneagh calls a mentor. Makes sense, for this is record about a woman seeking to reclaim ownership. Of her body, of the space around her, of her future. Too much?

Luckily you have some silken ‘80s-infused pop and R&B licks to make the medicine better. Sometimes this record risks slipping by too easily before a line or phrase, something bleak and telling, snaps you back to attention. glen martin

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nimble animal bleak moments [feral media]

nicola schultz soundtracks for carparks [independent]

While Brisbane-based musician Dom Stephens is possibly best known to date for his more beat-based Outerwaves project, and as a member of local folk band Oh Ye Denver Birds, his Nimble Animal guise sees him reaching further out into floaty synths and krautrock/prog-influenced electronics.

Ex-vocalist and bassist with band Swirl, Nicola Schultz has followed up her debut LP Union with an album which brings a change of style. Made in collaboration with guitarist Mickey Lewis and violinist Nicolas Lyon (who also supports Xavier Rudd), Nicola co-wrote all bar one song and did her own photographic work for the CD cover art.

In the wake of Nimble Animal’s debut album Dumb Dirge on Melbourne label Fallopian Tubes last year, this download-only followup on Feral Media, Bleak Moments, sees him adding considerable depth and scope to his sound. Contrary to the title, the six tracks collected here come across as warm, dreamy, and inviting more than anything else. Ghillie Forever at first suggests a shoegazer-oriented listen ahead, as layers of guitar distortion build into an orchestra of drones against fizzing, vapour-trail electronics, before fading out into a haze.

From there on, though, things soon start taking more unpredictable turns. The Sigh certainly lives up to its title, sending blurred out vocals gliding through cavernous layers of reverb against glacial synths and an almost hypnotic dark noise loop, before things suddenly take a lighter turn towards the sorts of serene analogue electronics you’d associate more with Stereolab or Broadcast. Title track Bleak Moments, meanwhile, sets the controls for the heart of the sun, as rippling synth arpeggios build into a kaleidoscopic wall of sound against the sorts of cosmic drones you’d be expecting a squat party to be blissing out to in ‘70s Dusseldorf. Mulled High then takes the krautrock baton and runs with it, taking things out on a gentle motorik glide that pays homage to the likes of Cluster and Harmonia. You can get Bleak Moments as a name your price download from feralmedia.bandcamp.com. chris downton

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This is an ephemeral, atmospheric body of work. 33 Lady unwraps itself slowly.

Embellished by strings, its trance-like state is only interrupted by stark cracks of percussion. The album includes a cover of Red Hot Chili Peppers’ Under the Bridge.

Nicola takes a laid-back song and gives it an even sleepier interpretation. It takes a while to fight your way through the cotton wool sounds before recognition strikes. There’s a bouncy synth rhythm underscoring Strong, Proud and Deadly, with quivering strings and sharp stabbing drumsticks creating a sinister vibe. Better tracks are Shine, the sprightly Chosen Key, and the exotic Grace with its unmistakable sitar twang and the slap of skin on hand drums. Wings Across Tomorrow is a highlight with its faster electro pop tone, and Nicola’s songs encompass styles that include world music, indie-folk and pop.

However, one feature that varies little through the track list is the style of singing. Her excessively breathy voice is a bit of an acquired taste. Although lyrics are generally upbeat with a spiritual bent, about the moments of passing beauty to be cherished during life, the vocals often sound rather mournful. There’s a surprise in the ‘bonus’ track Give Way to the Dragonfly by ‘Kumma Gutza’. Delivered by an anonymous male singer, this blues song about an amorous dragonfly with ‘big goggly eyes’ is another highlight. rory McCARTNEY

various artists cbgb: original motion picture soundtrack [omnivore recordings] No idea what the movie will be like, but the soundtrack, themed around bands that hurled themselves onto the grungy stage of hallowed New York venue CBGB in the 1970s, pinpoints one of the most exciting and innovative periods in alternative art.

Had it not been for the open-minded attitude and goodwill of CBGB owner Hilly Kristal, groundbreaking New York bands like The Ramones, Blondie, Television, and Talking Heads might never have coalesced in a scene that promoted an ethos of DIY creativity on American shores.

But it wasn’t mere coincidence that brought these bands together – this scene had been building for a while. This is why we find bands on the soundtrack like The Velvet Underground, The Stooges, and the New York Dolls, alongside The Dictators and the Dead Boys. Although each group had its own distinctive sound, it was the common desire to stir things up and not sound like The Eagles that was the holding glue. This soundtrack holds together as a snapshot of American underground music in a period spanning some 11 or so years, and doesn’t set out to provide a historical chronology.

This allows for some interesting inclusions, like a solo Joey Ramone song recorded shortly before his death in 2001, in which the singer reflects on his illness over three thrashy chords, and the elegantly melodic Careful from Television’s lesser known second album, Adventure.

It is a tad concerning that Patti Smith is absent, as her group was one of the leading lights on the New York scene, but when the Dead Boys kick out the jams on the sordid Caught with the Meat in Your Mouth, CBGB’s essential grime oozes through the speakers. dan bigna

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v

singles in focus by cody atkinson the ellis collective walk back down

love over gold fall to rise [Little Secret/Vitamin Records]

anna calvi one breath [domino/emi]

Melbourne singer-songwriter Lucie Thorne and songstress Pieta Brown from Iowa collaborate in this partnership under the Love Over Gold banner. Startlingly alike, they could be sisters, and its tricky telling them apart in their PR photo. They met during Pieta’s first Australian tour and their muses conspired that the pair should hit it off and create beautiful folk music. Lyrics revolve around the joy of life, hard choices, love, making a break and, in 350 Parts Per Million, the environment.

With One Breath, English singer-songwriter Anna Calvi already had a hard task ahead of her, given the virtually unanimous critical plaudits that greeted her 2011 self-titled debut. Throw on top of that Mercury and Brit award nominations, as well as the mentorship of Brian Eno, who described her on radio as ‘the biggest thing since Patti Smith.’

All songs are served up as a duo. Pieta’s crisp voice, with its sweet yet fragile quality, is complemented well by Lucie’s deeper, husky whisper. The brilliance of this pairing comes through especially well in Causeway. The album includes tracks written individually by each artist and written as a duo. Recorded in Iowa, the lyrics are sprinkled with references to Americana, like five and dime stores and prairies.

In opener When We Were Flying, the music comes slowly, like low-lying fog over a paddock. Gaps between the notes, like sunlight streaming between trees, provide space to contemplate the lyrics. Minimalist instrumentation lets their voices come to the fore, with sparse acoustic guitar and an understated electric guitar to accentuate the emotion.

The album does not state who plays what, but the electric vibe, sounding so fine in Holding No One, has all the character of Lucie Thorne on her Black Across the Field album. The one feature missing is the inclusion of more up-tempo tracks, which would give balance to the album and break up its dominant gossamer tone. rory McCARTNEY

While its predecessor was crafted over a period of two years, the 11 songs collected here were recorded and written during an intense period of just six weeks, something that could account for the sense of rawness and urgency captured. More than anything, this is a follow-up that sees Calvi pushing her already virtuosic vocal and guitar playing abilities to new levels outside of her comfort zone, as hinted by the title.

While I certainly see Mr Eno’s Patti Smith comparisons, the most vivid associations here for me were with PJ Harvey’s To Bring You My Love period, which saw her adding a new lushness and stylistic depth to her sound. Opening track Suddenly positively drips with atmosphere as the tension wound up by Calvi’s reverb-heavy, almost operatic vocal is suddenly released in a burst of crashing live drums and dirty fuzzbox guitars.

Piece by Piece meanwhile traces a leaner path, as mechanical sounding beats and wiry circular guitar figures create a strippeddown sense of funk, which nicely contrasts the swirl of vintage orchestration that arrives only to be disrupted immediately by a burst of distortion. Throw in wanders out into moodily cinematic orchestration and choral backing vocals (see the exquisite Bleed Into Me), and you’re left with one seriously impressive second album. chris downton

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This is, without a doubt, Matty Ellis’s finest song to date. The track sticks fat with Ellis’s standard bloke-folk approach, but with a touch more groove in the back of the track. It’s also about 40% catchier than it has any right being, like a parasite right in your ear. Okay, bad metaphor, but you get my point. (4.5 stars.)

taylor henderson borrow my heart Fuck, really? This is the best you can do? Don’t buy this song. Just don’t. It’s singer-songwriter pop by the numbers, where the singer is inherently replaceable and the songwriter doesn’t care as long as the cheque clears his account. It’s like the Kirk van Houten song Can I Borrow a Feeling? but it’s trying to be legit.

DON’T BUY THIS SONG. (0 stars.)

ausmuteants bad day Propulsive repetition driven by propulsive repetition driven by the repetition of everyday life. There are different movements here, but all are underwritten by that that damn guitar and drum line. Until it disappears (temporarily). Probably not everyone’s cup of tea, but it’s certainly mine. (4 stars.)

no joy second spine No Joy are pushing some fuzzy lo-fi pop here, and it’s pretty good. Reverb-laden vocals demand attention, but don’t sleep on the acoustic guitar line in the background. It’s not ground-breaking, but it’s good. It’s pleasant and a nice little listen. (3.5 stars.)

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the word

on films

WITH MELISSA WELLHAM

Okay, so it’s ages away yet, but can we take a moment to talk about how awesome X-Men: Days of Future Past is going to be? I mean, the cast alone! Patrick Stewart, Ian McKellen, Halle Berry (just forget about Catwoman for a second), Shawn Ashmore (Animorphs fans rejoice), Peter Dinklage, James McAvoy, Michael Fassbender, Ellen Page, Jennifer Lawrence (the world’s imaginary best friend), and … I’m out of words. Cast summary to be continued next week, that’s how good it is.

(Kidding. Maybe.)

quote of the issue ‘Come back married and divorced. The first idiot you find, go for it!’ – Corinne (Alice Pol), Fly Me To The Moon

mystery road

the butler

short term 12

Oh, look! A depressing Australian film set in the outback! There’s something you don’t see everyday. In all seriousness, while Mystery Road does conform to the classic stereotype of Australian film, it’s also bloody good.

The Butler, which could have been grand, touching, and memorable, is a disappointment – poorly acted, cheesy, and lacking the heart that should lie at the centre of a biopic like this. Cecil Gaines (Forest Whitaker) is a butler at the White House, serving presidents (from Eisenhower to Reagan) during the turbulent decades that saw the rise of the Civil Rights Movement and the Vietnam War.

From the perspective of the caretakers of a foster care facility, writer and director Destin Cretton offers a wonderfully authentic film about the families built from the fragments of broken homes in Short Term 12. Grace (Brie Larson) is the supervisor of a home for at-risk teenagers and is in a relationship with coworker Mason (John Gallagher Jr.), but a new arrival and a teen about to leave, Marcus (Keith Stanfield), force Grace to face her troubled past.

Writer and director Ivan Sen has crafted a moody, mesmerising thriller set in rural Australia.

Jay Swan (Aaron Pedersen) is a tight-lipped Indigenous detective with a troubled past, who is drawn back to his hometown to investigate the murder of a teenage girl. The town has a serious drug and alcohol problem, and Jay wants to help – but he is seen as a traitor by most of the Indigenous community, and looked down on by the white locals.

Mystery Road may not offer anything new as far as murder mystery plots are concerned, and the investigative complexities that can be seen in most thrillers are absent here. This is something subtler.

Instead, the film unravels the intricacies of the whodunit at the same pace as layers of Jay Swan’s character – not to mention the character of the community – are revealed.

What makes this a film a mustsee for genre fans – whether of thriller, noir, or Western, as it combines all three – is the striking visual style and understated performance from Pedersen. Strong performances from Hugo Weaving and Ryan Kwanten (lots of love should go to these stars for continuing to make Australian films) are just added bonuses. melissa wellham

50

For me, the most interesting sections were of Cecil butlering in the White House, which is a sad state of affairs for a film that also tackles important social issues. While a handful of scenes are moving and powerful, the rest of The Butler is about as lively and engaging as a large wet towel.

In fact, the best part is wondering who will be the next presidential cameo (John Cusack as Nixon!). Oprah Winfrey tries her darndest as Gloria, Cecil’s wife, but her role would have been better served in the hands of a more talented actor (or even a talented actor would do). The closing scenes, saturated in clichés, are hamfisted attempts to bring the story full circle, and quickly dispelled any goodwill I had generated towards the film during its rare high points.

At the end of The Butler, I resolved to seek out other, more engaging films that document the era, because it left me wanting so much more than what I’d just seen. megan McKEOUGH

Cretton lays the drama on thick, and serious issues are addressed, but most of the intensity is diffused with a wry smile, which matches the optimistic tone of the film.

Cretton creates a dynamic between the staff and how they approach each difficult situation with a sense of humour, while being aware of the consequences if they are unsuccessful. The biggest worry watching Short Term 12 is that it’s always one car accident away from completely manipulating your emotions with tragedy. Sometimes it feels like Cretton is slowly pulling back on a sucker punch, but he treats the story, characters, and audience with the utmost respect; life in foster care is tragic enough.

Larson gives an incredible performance and shares a lovely bond with Gallagher Jr. Stanfield is outstanding; all you need to do is look into his eyes to see a lifetime of hurt and anguish. For a film that tackles heavy issues, Short Term 12 is uplifting without being emotionally manipulative.

CAMERON WILLIAMS

@bmamag

thor: the dark world This follow-up to Thor takes place post-Avengers, and this rapidly expanding, interlocking, multi-film universe is become quite the thing to marvel at (allow me one pun). Thor (Chris Hemsworth) and his mighty hammer must once again restore peace to the nine realms, this time battling Malekith (Christopher Eccleston), a reawakened Dark Elf who seeks to destroy the universe with a dark force called the Aether. Of course, astrophysicist Jane Foster (Natalie Portman) manages to get embroiled in the whole mess, along with loopy sidekicks Darcy (Kat Dennings) and Eric (Stellan Skarsgård).

The Dark World isn’t immediately captivating, but once Thor turns to Loki for help (Tom Hiddleston, hooray!) the film starts to blossom. These brotherly interactions infuse some humour and life into what begins as a fairly hollow film, and Loki is the most fascinating character on offer here. In contrast, Portman doesn’t even appear to be trying, and her limp portrayal of Jane is disappointing, as is her lack of chemistry with Hemsworth (thankfully, Hemsworth and Hiddleston have it in spades). Asgard does look breathtaking in 3D, but while the 3D is enjoyable, it is hardly mandatory. While an enjoyable film, The Dark World isn’t as original or mind-boggling as hoped. The action sequences are solid, and Hemsworth has honed his portrayal of Thor, but it is missing that hearty bit of edge to really hammer it home (okay, two puns). megan McKEOUGH

fly me to the moon (un plan parfait) Fly Me To The Moon (French title: Un plan parfait) is a romantic comedy about living life with spontaneity. Somewhat ironically, it’s completely predictable. Isabelle’s (Diane Kruger) family is cursed: every first marriage has ended in divorce. So when she becomes engaged to the practically perfect Pierre, she devises a plan to help escape her fate. She will travel overseas, marry and divorce a complete stranger, and return home to live out her fairytale. But when Isabelle targets JeanYves (Dany Boon), a socially awkward travel writer, her perfect plan to marry perfect Pierre begins to unravel.

I am a sucker for rom-coms – and French rom-coms especially – but the script here has rather too much slapstick for my liking, and it’s delivered with all the subtlety of a sledgehammer. Un plan parfait is less of a perfect, Parisian, sugary macaroon of a romcom, and more like standard, Western white bread. The plot plays out exactly as you expect it to, and although there are some nice scenes of tourist scenery in Africa and Moscow, it’s nothing new. What saves the film completely is the individual charm of each Diane Kruger and Dany Boon – and the actually rather believable chemistry between them. Kruger is so lovely that you forgive her even though she’s doing a pretty horrible thing to poor JeanYves; and Boon as Jean-Yves is unutterably irritating, but you end up rooting for him anyway.

A sweet but unsurprising film. melissa wellham

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51

the word

on games

Puppeteer/Dead Trigger 2 Platform: PS3/iPhone, Android Developer: SCE Japan Studio/MADFINGER Games Length: 3–5hrs/1hr+ Verdict: Take or leave/Worth trying Keen to not let a good game go by, I was interested to see whether the PS3 title, Puppeteer, was as good as the critics claimed. I can certainly see why the game received such attention. The visuals are engrossing, the gameplay kooky, and the narration fruity. It’s every reviewer’s dream: a leftfield game with an A-grade execution.

Unfortunately, though, whether all this flare and style translates into an enjoyable playing session is another question.

Puppeteer is a game of extremes, ranging from aspects of brilliance to rather large flaws. Its greatest strength is how visually captivating it is. The whole game takes place on stage, with each new scene whirling and whizzing into place.

The game plays nicely on this theatrical theme. The settings and characters look crafted, the lights track and follow the main actors, the characters deliver lines like true thespians. There’s even an audience that cheers, boos, and cries along. It’s very engaging, if not entirely too manic at times. Unfortunately, the gameplay is second billing to the theatrics. Frequently you’re left sitting through predictable dialogue, waiting for your turn. When the gameplay does take centre stage, it lacks the same sparkle as the rest of the game.

The gameplay mechanics are tired, predominantly consisting of platforming clichés. The game also fails to offer much of a challenge, with most of the difficultly stemming from the how severely they punish some mistakes. Overall, this game is technically brilliant, but will probably leave most gamers empty.

Switching to the mobile scene, the second Dead Trigger was recently released on both iOS and Android. Although the game follows the classic ‘free download with in-app purchases’ model, it offers a solid experience without having to spend a dime. For a mobile game, Dead Trigger 2 does a great job of capturing the FPS experience. The controls are solid, with the auto-shoot feature being a good way to keep them sufficiently simple for the mobile screen. The game’s greatest weakness is its lack of variation. The levels are reused between missions and their unadventurous design leads to each feeling somewhat similar to one another. That said, in a mobile context, such faults are forgivable, and overall there’s more variation to be had here than in the first game. The mini-bosses are a nice added touch, although most of them just involve shooting more from a slightly farther distance. Overall, this game probably won’t blow you away. It is, however, a solid time filler. torben sko

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BLACKBOX If you own more than about four or five records (or LPs, as we called them in the olden days), chances are one of them has a Geffen label.

King of Hollywood: Inventing David Geffen (SBS1, Sun Nov 24, 9:35pm) is a rare portrait of the man behind the label – the agent, manager, and producer who has been behind some of the biggest careers over more than 40 years. And it features interviews with Yoko Ono, Cher, and Steven Spielberg, among others.

Other docos to check out include Songs of War: Music as Weapon (SBS1, Tue Nov 19, 2pm), Opening Shot 2: Suicide and Me (ABC2, Wed Dec 4, 9:30pm) which talks to three suicide survivors, Bill Bailey’s Jungle Hero (SBS1, Wed Nov 27, 7:30pm) in which the comedian retraces the steps of naturalist Alfred Russel Wallace through Asia, Korraiyn (NITV, Sun Nov 24, 8pm) about the Indigenous surfing titles, and Freedom Ride (NITV, Wed Nov 27, 8:30pm) which looks at the 2011 recreation of Charles Perkins’ infamous Freedom ride.

The term ‘event TV’ is oft bandied about and more so over the past few years as free-to-air networks struggle for relevancy. This time though it is an appropriate, if not understated description.

This Sunday, Dr Who fans, young and old across the world, will simultaneously tune in for the 50th Anniversary Special – Dr Who: The Day of the Doctor (ABC1, Sun Nov 24, 6:50am). Of course, the time difference means watching rage for a few hours after you get back from the pub. Keep drinking – the daleks are bound to freak you out more. Chez Blackbox will be regressing to childhood, and watching in snuggled up in jammies. And if you squint hard enough, Matt Smith kind of looks like a younger Jon Pertwee. For those less worried about the simulcast and more interested in the content, it will be repeated at 7:30pm followed by Dr Who – An Adventure in Space and Time (ABC1, Sun Nov 24, 8:45pm).

JJ Abrams’ latest action disaster series Revolution (WIN, Tue, 8:30pm) has finally hit free-to-air screens in Australia. Like everything the man touches, the series is being lauded, but really it’s just more of the same against a slightly different world. This time it’s about all modern technology blacking out and a band of freedom fighters fighting the oppressive militia, a story that’s never, ever been told before … Also airing into the summer break are Top Boy (ABC2, Mon Dec 2, 9:30pm), a new British drama about life on the edge in east London, Vampire Diaries spin-off The Originals (Go, Wed, 8:30pm), the second season of department store drama The Paradise (ABC1, Sat Dec 7, 7:30pm), the fifth season of Fringe (Go, Tue, 11:30pm), the final season of Weeds (WIN, Tue, 11:40pm), and The Walking Dead (SBS2, Tue Nov 19, 9:30pm) from the beginning.

There’s a plethora of retro flicks on the box including JFK (GEM, Fri Nov 22, 8:30pm), Superman II (Go, Sun Nov 24, 6pm), the one with the leather clad villains from Krypton, the original Total Recall (Prime, Sat Nov 23, 9pm), Top Gun (Prime, Fri Nov 22, 8:30pm), Twilight Zone The Movie (GEM, Mon Nov 25, 12:15am), Jailhouse Rock (GEM, Fri Nov 29, 12pm), Summer Holiday (GEM, Sat Nov 30, 9:30am), The Picasso Summer (GEM, Sat Nov 30, 2:20pm), and Casablanca (GEM, Sat Nov 30, 4:20pm) as well as some slightly newer fare such as District 9 (Go, Sun Nov 24, 9:30pm) and Finding Nemo (Prime, Sat Nov 23, 7pm).

TRACY HEFFERNAN tracyherrernan@bigpond.com @ChezBlackbox

@bmamag

the word on dvds

wentworth: The Complete Season one [shock]

Fringe: The Complete Fifth and Final Season [warner home video]

The Alan Partridge Collection [roadshow]

Remaking a cult TV show is tricky business. When Battlestar Galactica was rebooted in 2003 as a gritty space opera it silenced critics and quickly became one of the best shows of the last decade.

On the other hand, legendary UK ‘70s psy-ops drama The Prisoner was recently rebirthed in the US. It rapidly faded into obscurity on account of it being totally crap. Then there’s Prisoner, which surely ranks as the greatest cult show this country has ever produced.

Set in an all-female prison, it churned out nearly 700 episodes in the ‘80s and drew an obsessive following in the UK, US, and Canada, where it was known, with a degree of descriptive clarity bordering on genius, as Caged Women. This isn’t a direct remake or reboot as such, think of it more of an origin story of Bea Smith, the ruthless Queen of the prison.

This year, Breaking Bad and Dexter have proven the right and wrong ways, respectively, of calling it quits. The former had an internally logical – tragic, violent, necessary, pointless – end point. The latter was also tragic and pointless, but in very different ways. Though not a ratings hit or a critical darling, Fringe was one of the best examples of a niche show that knew its audience and played to its strengths. And it knew how to wind up.

Alan Partridge is one of the greatest comic creations of the last 20 years. Starting his life as an asinine, poorlyinformed sports commentator on satirical BBC radio show On The Hour, this quintessential, provincial buffoon has helmed at least three TV series, written a book and narrated the audio version (both are brilliant), and starred in a big-budget, proper film (Alpha Papa). Played by Steve Coogan, and created by Coogan and the unstoppable Armando Iannucci (The Thick of It, Veep), Partridge is a man stuck in an artificial world of his own creation. Forever railing against liberals, feminazis, bike riders, et al. from the salubrious comfort of regional radio, Partridge is the classic know-it-all. That Coogan has managed to extract this much from Partridge is testament not only to his performance, but to the transferability of satirising second-rung media personalities. We are now in an age of wall-to-wall Partridges, where marginally talented people are given free range to expound questionable analysis and yuck it up for the camera.

Wentworth opens with a terrified Smith (Danielle Cormack) entering prison for processing. Through flashbacks we learn she fought back an abusive partner, leaving a teenage daughter on the outside that she expects to see soon if only she keeps her nose clean. Over the standard cable drama ten episodes (it aired on Foxtel), Bea Smith transforms from abused wife to abusive.

Along the way, there’s paddy wagon fellatio, meth running, beatings, riots, and a shocking stabbing that sets the path of the entire series.

It was never a contender come awards season, but as a genre piece (sci-fi, alternate realities, aliens, mystery) it was never destined to be. The parameters were wide, but it was anchored with an understandable human urge; a father loses his son then develops a portal to a parallel universe, where he kidnaps the alternate son Peter Bishop (Joshua Jackson) and raises him as his own. Walter Bishop (John Noble) is an erratic, drugaddled, scientific genius, who lives with the guilt of his actions and the consequences of that trip to the other side, which had ripple effects through both universes, leading to periods of plot confusion that never delivered coherent outcomes (time paradoxes, the Peter/ God Machine). But we were promised it would all make sense, and for this to happen, the show jumps forward to 2036 where the ‘Observers’ (universe-hopping bald baddies) run a dystopia ripe to be overthrown.

You don’t need to be a fan or even care about Prisoner for Wentworth to work. It stands on its own merits: it’s modern, harsh, and pitched directly at the contemporary viewers with astute balance … the use of Archie Roach’s Walking Into Doors in a montage scene is a case in point. By steering well clear of mawkishness or irony, Wentworth avoids the pitfalls of the slavish or directionless reboot.

Fringe finished a different show to the one that started in 2006, and despite its missteps, major risks were taken with characters and plots. Not everything paid off, but somehow this final stretch made it all worthwhile. Despite all the monsters, universes, and time travel, it was a show grounded in family: Noble and Jackson helped it punch well above its weight. Watch this show for their interplay alone.

justin hook

justin hook

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The Alan Partridge Collection is, amazingly, the first time all of his shows have been released in Australia. His debut show Knowing Me, Knowing You sets the template: objectionable questions, no research, and threats of violence. Famously, he shot someone dead on this show, but looking back on it in a recent interview, Partridge wonders if the victim could have been a bit more careful.

This is the nub of this character – a chaos-creating fool who is never at fault.

The highpoint of it all is still the first series of I’m Alan Partridge.

It’s the point where the logic of Partridge collides with the reality of everyday life in a travel tavern and hanging out at petrol stations. I don’t say it often, but this is essential. justin hook

53

the word

Cracked Actor, Central West, Oxen The Polish White Eagle Club Friday November 1

on gigs

The Polish Club is rapidly becoming the go-to haunt for local bands launching their new releases. This makes sense; the Polo generally has good sound, cheap drinks, and a welcoming crowd. For a band launching new material, all three elements are critical in ensuring that everything goes as smoothly as possible.

Oxen had the pleasure of gracing the stage first, with their brand of apocalyptic post-punk setting the mood for the evening. It wasn’t a night for optimism, but that’s okay sometimes. A balance of emotions never hurt anyone.

Halfway through the set, a friend suggested that Oxen reminded them of Explosions in the Sky, which was apt but simplistic. The musicianship wasn’t always beyond reproach, but at all times they got their message across. Powerful yet haunting, the four-piece got it done when it needed to be done.

Central West is rapidly on their way to being something. That is not to say that they aren’t already something, but they’re on the way to being something good. Usually when you present something that’s different to everything else going on, people will either label you as being very good or very bad. At this stage, Central West falls in the former category, not the latter.

The first half of their set was primarily instrumental, with stuttering synths punctuating the sweeping piano and guitar lines. And, correct me if I’m mistaken, but I swear I saw a member of a band play a Playstation controller on stage as if it was a midi controller.

The second half of the set added vocals to the mix, and this is where Central West was at its strongest; where there was a counterpoint to their dynamic soundscapes. A band to watch out for.

Cracked Actor has been kicking around for a little while, serving as the primary musical output of frontman Sebastian Field.

Their debut EP, Solar Driftwood, gained praise from many quarters (including from the pages of this magazine), and rightfully so; it’s a document of well-constructed languid rock. Lemon On Your Lover marks the next evolution of Cracked Actor, a sense of moving forward. Jagged electronics play havoc with the melodies on display, in a good way.

This gig served to mark the continual progression of Cracked Actor.

They are not a band to get up and dance to, but one to patiently sit and listen to, to absorb the surrounding and the sound. Field’s vocals cut through the lush cacophony of sound laid below, providing a much needed balance to Cracked Actor’s sound.

One wishes, however, that Field would show more presence at the front of the stage, rather than being tucked away in a corner.

At times I found myself drifting throughout the set, a product perhaps of a strong start and finish, but not a huge problem in the grand scheme of things. The set was punctuated by the premiere of the Lemon On Your Lover video, which is quite beautiful if not a touch creepy.

This may not have been Cracked Actor’s best show, but it served to show who they are as a band and what they have in store with their forthcoming LP.

PHOTOS BY ADAM THOMAS

54

CODY ATKINSON

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the word

Little Scout, Bruges Transit Bar Saturday November 2

on gigs

We walked into a dead room. It’s not like we raced there early, but there was no one home.

It’s hard for any band to work an empty room. Hard for local bands trying to prove their worth, and for bands touring critically acclaimed albums. And it’s a bit sad to be a part of that empty room.

The local band, Bruges, play pop indie rock. There was a little edge there, but not much of one. It was clean and tight, but it didn’t draw my attention too much. I think I need to give them another shot at a different show.

Little Scout wAS playing the second last show of a national tour, launching their second album, Are You Life? And there were maybe 20 punters at best. At a free gig. On a Saturday night. If this concerned Little Scout, it didn’t show. Mel Tickle’s vocals rang out, and guitars sliced through the venue. The bass was a little heavy, but generally all seemed okay. Breathy female vocals seem to have been matched with folk pop in recent times; here they were matched with Spoon-like rockers.

Two young blokes said that they had travelled over 300km to get to the gig. Little Scout seemed to rise upon hearing this. The guys tried to get the crowd involved, but they had no takers. A couple of songs later, they were booted for being a little too enthusiastic. The band could do little but laugh at this. If anything, this gig at least answered the eternal question, ‘If a good gig happens and no one is there to see it, did it really happen?’ and did so in the affirmative.

CODY ATKINSON

the word

Mia Dyson, Liz Stringer & Jen Cloher, Julia Johnson The Abbey Sunday November 10

on gigs

PHOTO BY MARK TURNER

Local singer-songwriter Julia Johnson settled the punters early with her sweet, breathy voice and songs of regrets and nice surprises. Her funniest lyrics go, ‘have you ever made love on a geological anomaly?’ (about Lake George). Watching the intricate, plucking motion of her fingers was mesmerising. Having moved house that day, she’d only been able to find six CDs, from her car, for the merch stand. The format had Mia Dyson, Liz Stringer, and Jen Cloher all together for the whole show, ably supported by two bearded gents on bass and drums. They kicked off with Crazy Horse, led by Dyson, who’d written the song especially for the tour.

She took lead on electric guitar, with Stringer on rhythm electric and Cloher on rhythm acoustic. There were multiple mid-gig role changes as the ladies took turns in delivering their own songs. All possess powerful, emotive voices, and it was spine-tingling to hear them come together in the harmonies. The outstanding timbre of Stringer’s voice shone out in You Change Me, her special tour song.

Cloher sounded very Patti Smith, rocking out to Mount Beauty. She also impressed with Toothless Tiger, which she dedicated to Lou Reed. After a variety of odd venues on tour, the ladies were very impressed with The Abbey. Stringer added there were so many gigs they were losing their minds, ‘but in a good way’. During the encore, Dyson reminded the people that there was a dance floor up front.

After a dozen ladies dashed up to move to the music, Dyson ruefully added that she should have mentioned this earlier. Never mind, Mia, it was a thrill seeing three of the nation’s best female singersongwriters together on the one bill.

RORY McCARTNEY

56

@bmamag

ENTERTAINMENT GUIDE Wed Nov 20 - Fri Nov 22

Listings are a free community service. Email editorial@bmamag.com to have your events appear each issue.

Theatre

Film

Art Exhibitions

Secrets Every Smart Traveler Should Know

British Film Festival 2013

Cathy Franzi & Art Quilt Australia

CANBERRA ACADEMY OF DRAMATIC ART

wednesday november 20

The hills of Canberra by Franzi, and people, place, nation in quilts. 10am5pm (12-4pm, Sat).

CRAFT ACT CRAFT & DESIGN CENTRE

Connected Diversity/From Land to Sea Art by Helen Aitken Kuhnen. Opens Fri Oct 25, 6pm. 11am-5pm (-4pm, Sat).

BILK GALLERY

Something in the Way

A new musical comedy revue.

7:30pm. $15/20.

Trivia BAD!SLAM!NO! BIRTHDAY!BISCUIT! 8pm. Free.

THE PHOENIX BAR

Art by Stewart McDonald. Opens Wed Oct 23, 7-8pm. Open daily.

Art Exhibitions

Head Full of Flames

Cathy Franzi & Art Quilt Australia

SOJU GIRL

Punk in the nation’s capital, 19771992. 10am-5pm (12-5pm Sat-Sun).

Free.

CANBERRA MUSEUM AND GALLERY

Trigger Happy

Art by award-winning painter Ben Quilty.

12-5pm.

DRILL HALL GALLERY

CCAS Members Show

Opens Fri Nov 15, 6pm. 11am-5pm (10am-4pm, Sat). Free.

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Roy Jackson: Retrospective 1963–2013 Spanning 50 years of painting and drawing by Jackson. 12–5pm.

ANU DRILL HALL GALLERY

Things and Also Stuff

Art by Pam Bailey and Fiona Bolton.

8am–6pm. Free entry.

THE FRONT GALLERY AND CAFÉ

Film British Film Festival 2013

See britishfilmfestival.com.au for session details and tickets.

Art Exhibitions

Karaoke Rock Karaoke

The hills of Canberra by Franzi, and people, place, nation in quilts. 10am5pm (12-4pm, Sat).

CHARLIE BLACK

Self-Reflexion

PALACE ELECTRIC CINEMA

9pm-2am. Free entry.

Karaoke at The Inn

8pm-midnight. Free entry.

OLD CANBERRA INN

thursday november 21

The hills of Canberra by Franzi, and people, place, nation in quilts. 10am5pm (12-4pm, Sat).

CRAFT ACT CRAFT & DESIGN CENTRE

Connected Diversity/ From Land to Sea

Art by Helen Aitken Kuhnen. Opens Fri Oct 25, 6pm. 11am-5pm (-4pm, Sat).

BILK GALLERY

Something in the Way

Art by Stewart McDonald. Opens Wed Oct 23, 7-8pm. Open daily.

SOJU GIRL

Head Full of Flames

Punk in the nation’s capital, 1977-1992. 10am-5pm (12-5pm Sat-Sun). Free.

CANBERRA MUSEUM AND GALLERY

Trigger Happy

Art by award-winning painter Ben Quilty. 12-5pm.

DRILL HALL GALLERY

CCAS Members Show

Opens Fri Nov 15, 6pm. 11am-5pm (10am-4pm, Sat). Free.

Karaoke

With Ka-tere-oke. Win $50 cash and vouchers. 8:30pm.

P J O’REILLY’S (TUGGERANONG)

Live Music Rock-a-Polo

With The King Hits, Bad Pharmer, Bacon Cakes, and more. 8pm. $5/7.

THE POLISH WHITE EAGLE CLUB

Oscar Jimenez (Watussi) With DJ Paisa. 8pm. $10.

TBA

Nice Verdes

A fresh approach to original world folk music. With James Teague. 7:30pm. $5-10.

THE FRONT GALLERY AND CAFÉ

Chicago Charles & Dave 9:30pm. Free.

KING O’MALLEY’S IRISH PUB

High Focus Smoke My Tour

With Dirty Dike, Fliptrix, and more, for a night of hip hop. 7:30pm. $30 + bf thru Moshtix.

TRANSIT BAR

Open Mic Night

Hosted by Ben Chann, feat. Betty Altenburg. 7pm. Free.

OJO CAFE AND BAR

The Phoenix’s 20th Birthday

See britishfilmfestival.com.au for session details and tickets.

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Karaoke

Spanning 50 years of painting and drawing by Jackson. 12–5pm.

On The Town

With Carry On Karaoke. 9pm. Free entry.

Things and Also Stuff

Karaoke

THE FRONT GALLERY AND CAFÉ

DJ Paisa and DJ Mateo on the decks and percussion. 8:30pm til midnight. $5.

PALACE ELECTRIC CINEMA

Karaoke Wednesdays DIGRESS COCKTAIL BAR

Roy Jackson: Retrospective 1963–2013 ANU DRILL HALL GALLERY

Art by Pam Bailey and Fiona Bolton.

8am–6pm. Free entry.

friday november 22

With Fun Machine, The Pete and Fiete Band, The Fuelers. 9pm. Free.

Cathy Franzi & Art Quilt Australia

CRAFT ACT CRAFT & DESIGN CENTRE

Portraiture by mixed ability artists.

10am-4pm.

BELCONNEN ARTS CENTRE

Connected Diversity/ From Land to Sea

Art by Helen Aitken Kuhnen. Opens Fri Oct 25, 6pm. 11am-5pm (-4pm, Sat).

BILK GALLERY

Something in the Way

Art by Stewart McDonald. Opens Wed Oct 23, 7-8pm. Open daily.

SOJU GIRL

Head Full of Flames

Punk in the nation’s capital, 1977-1992. 10am-5pm (12-5pm Sat-Sun). Free.

CANBERRA MUSEUM AND GALLERY

Trigger Happy

Art by award-winning painter Ben Quilty. 12-5pm.

DRILL HALL GALLERY

CCAS Members Show

Opens Fri Nov 15, 6pm. 11am-5pm (10am-4pm, Sat). Free.

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Roy Jackson: Retrospective 1963–2013

Spanning 50 years of painting and drawing by Jackson. 12–5pm.

ANU DRILL HALL GALLERY

Things and Also Stuff

Art by Pam Bailey and Fiona Bolton.

8am–6pm. Free entry.

THE FRONT GALLERY AND CAFÉ

THE PHOENIX BAR

Noche Latina

THE ALCHEMY BAR

From 10pm. All welcome.

THE DURHAM

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57

ENTERTAINMENT GUIDE Fri Nov 22 - Sun Nov 24 friday november 22 (cont.)

Film British Film Festival 2013

See britishfilmfestival.com.au for session details and tickets.

PALACE ELECTRIC CINEMA

Karaoke Irish Club Karaoke Competition Canberra’s best karaoke singers can compete for $1000. 8pm til late.

CANBERRA IRISH CLUB

Live Music The Phoenix’s Birthday Continued

With Zoopagoo, Moochers Inc., Doctor Stovepipe. 8pm. Free.

THE PHOENIX BAR

Metal Fiesta 4

With Mytile Vey Lorth, Red Bee, Hadal Maw, Bronson and more. 8pm. $20.

THE BASEMENT

KNOX

Fijian-Rotuman singer-songwriter.

7:30pm. Door price TBA. THE FRONT GALLERY AND CAFÉ

Kooba

Live nine-piece band, with DJ Trent Richardson and DJ Spink. Doors 9pm.

MONKEYBAR

Live Acoustic Music

By Raw Gigs, every Friday from 5-7pm. Free.

MINI BAR

Mitch/Special K

5pm afternoon session/10pm band. Free.

KING O’MALLEY’S IRISH PUB

Rodger Bone 9pm. Free.

OLD CANBERRA INN

Shigeto (USA)

Blahnket Presents. Free before 10pm, $10 after.

Something Different

Film

Fright Night

British Film Festival 2013

With burlesque, magic, pole dancers, horror props, and prizes for best dressed. 6:30pm. $10.

AINSLIE FOOTBALL CLUB

Theatre Secrets Every Smart Traveler Should Know A new musical comedy revue.

7:30pm. $15/20.

CANBERRA ACADEMY OF DRAMATIC ART

saturday november 23

See britishfilmfestival.com.au for session details and tickets.

PALACE ELECTRIC CINEMA

sunday november 24 Art Exhibitions Things and Also Stuff

Live Music

Art by Pam Bailey and Fiona Bolton.

8am–6pm. Free entry.

Women in Docs

Self-Reflexion

8pm. $20/25 thru thestreet.org.au.

THE STREET THEATRE

The Phoenix’s All Day Birthday With The Fighting League, Mornings, Hence the Test Bed, and many, MANY more. From 2pm. Free.

THE PHOENIX BAR

Gravel Rash

THE FRONT GALLERY AND CAFÉ

Portraiture by mixed ability artists.

10am-4pm.

BELCONNEN ARTS CENTRE

Head Full of Flames

Punk in the nation’s capital, 1977-1992. 10am-5pm (12-5pm Sat-Sun). Free.

CANBERRA MUSEUM AND GALLERY

Art Exhibitions

9pm. Free.

Roy Jackson: Retrospective 1963–2013

Maiden Oz

Art by award-winning painter Ben Quilty. 12-5pm.

ANU BAR AND REFECTORY

Dance

Spanning 50 years of painting and drawing by Jackson. 12–5pm.

ANU DRILL HALL GALLERY

Things and Also Stuff

Art by Pam Bailey and Fiona Bolton.

8am–6pm. Free entry.

OLD CANBERRA INN

An Iron Maiden tribute. 8pm. $20 + bf through Moshtix.

The Big Guitar Gig

Guitarists from all over Canberra play for friends and family. 12-4pm. See mfe.org.au for more.

THE FRONT GALLERY AND CAFÉ

AINSLIE ARTS CENTRE

Cathy Franzi & Art Quilt Australia

On The Town

The hills of Canberra by Franzi, and people, place, nation in quilts. 10am5pm (12-4pm, Sat).

CRAFT ACT CRAFT & DESIGN CENTRE

Self-Reflexion

Portraiture by mixed ability artists.

10am-4pm.

BELCONNEN ARTS CENTRE

Connected Diversity/ From Land to Sea

Art by Helen Aitken Kuhnen. Opens Fri Oct 25, 6pm. 11am-5pm (-4pm, Sat).

BILK GALLERY

Something in the Way

Art by Stewart McDonald. Opens Wed Oct 23, 7-8pm. Open daily.

SOJU GIRL

Head Full of Flames

Urban Playground Presents

Trigger Happy

DRILL HALL GALLERY

Hot to Trot

Contemporary dance: physical, thoughtful, and fun. See ql2.org.au for sessions and tickets.

QL2 THEATRE

Film

Canberra’s hottest R&B Night.

Doors 10pm.

British Film Festival 2013

LOVE Saturdays

PALACE ELECTRIC CINEMA

ACADEMY NIGHTCLUB

Live Music

Retro Weekends

Davesway

MONKEYBAR

With Runamark. $10 entry all night.

Spinning your favourite retro tunes with DJ Sass and Tasha. Free entry. 9pm.

DIGRESS COCKTAIL BAR

Ben Reeve

10pm to late. Free.

KNIGHTSBRIDGE PENTHOUSE

Summer Cocktail Menu Launch DJ CrayJay, plus supports. 6pm. Free.

OJO CAFE AND BAR

See britishfilmfestival.com.au for session details and tickets.

2:30pm. Free.

OJO CAFE AND BAR

Sunday Afternoon Sessions

With Shane Graham. 4-7pm. Free entry.

CANBERRA IRISH CLUB

A Very Queer Birthday From 5pm. Free.

THE PHOENIX BAR

The Furbelows

Punk in the nation’s capital, 1977-1992. 10am-5pm (12-5pm Sat-Sun). Free.

Something Different

A 1930s party band. 6pm. $10.

Sundays in the Park

Trigger Happy

Christmas Twilight Market at BAC

Art by award-winning painter Ben Quilty. 12-5pm.

Art and Design Christmas Twilight Markets including wine and food.

1-6pm. Free.

Classic rock done right.

8:30pm to 12am.

Write It Up!

CAPO Fine Art Auction

Joel Sulman

TUGGERANONG ARTS CENTRE

DIGRESS COCKTAIL BAR

Main Event

An epic rap battle, presented by KP Records, feat. The Tongue. 8pm. $35.90 + bf thru Ticketel.

ANU BAR AND REFECTORY

Obsessions

CALWELL BAR N BISTRO

7:30pm. Free.

OJO CAFE AND BAR

Acaddamy (Syd)

Pang! House presents. 10pm. Door price TBA. TRINITY BAR

On The Town D’Opus

10pm to late. Free.

KNIGHTSBRIDGE PENTHOUSE

Raw FM 10 Year Anniversary ALIVE Fridays Presents. With Chris Fraser. $10 entry before midnight.

ACADEMY NIGHTCLUB

Retro Weekends

Spinning your favourite retro tunes with DJ Sass and Tasha. Free entry. 9pm.

CANBERRA MUSEUM AND GALLERY

DRILL HALL GALLERY

Be a part of street art. All paint and paste-ups supplied. 11am-9pm. Free.

CCAS Members Show

Opens Fri Nov 15, 6pm. 11am-5pm (10am-4pm, Sat). Free.

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Dance Hot to Trot

Contemporary dance: physical, thoughtful, and fun. See ql2.org.au for sessions and tickets.

QL2 THEATRE

BELCONNEN ARTS CENTRE

6:45-11pm. $95 + bf through capo.org.au.

CANBERRA MUSEUM AND GALLERY

DisHonour Rollers vs.

Wards of the Skate

Roller derby at its finest! 5pm doors. $10 + bf thru Oztix.

THE FRONT GALLERY AND CAFÉ

Stunning local talent in an intimate outdoor setting, w/ Doctor Stovepipe. 3pm. $5-15.

GORMAN HOUSE ARTS CENTRE

Irish Jam Session

Free traditional Irish music in the pub from late afternoon on into the night. Free.

KING O’MALLEY’S IRISH PUB

Positive Feedback Loop

With The Dave Williams Blues Band.

2pm. $5.

SMITH’S ALTERNATIVE

SOUTHERN CROSS STADIUM

Blue Yvie

MusicACT Annual Music Awards 2013

OLD CANBERRA INN

The MAMAs are back! See musicact. com.au/mamas for ongoing updates.

4pm. Free.

Sunday Best at A Bite to Eat

ALBERT HALL

With Beth n Ben: lyrical folk legends.

Happy hour and tapas. 5-7pm. Free.

Theatre

The Acoustic Sessions

Secrets Every Smart Traveler Should Know

A BITE TO EAT CAFE

Free live music from 2pm every Sunday.

IRON BAR

A new musical comedy revue.

7:30pm. $15/20.

CANBERRA ACADEMY OF DRAMATIC ART

DIGRESS COCKTAIL BAR

58

@bmamag

ENTERTAINMENT GUIDE Sun Nov 24 - Thu Nov 28 On The Town Free Pool Tables

Does exactly what it says on the packet.

From 2pm.

TRANSIT BAR

Workshops Canberra Music Workshop 7:30pm. Free.

HARMONIE GERMAN CLUB

monday november 25 Art Exhibitions Things and Also Stuff

Art by Pam Bailey and Fiona Bolton.

8am–6pm. Free entry.

THE FRONT GALLERY AND CAFÉ

Head Full of Flames

Punk in the nation’s capital, 1977-1992. 10am-5pm (12-5pm Sat-Sun). Free.

CANBERRA MUSEUM AND GALLERY

Something in the Way

Art by Stewart McDonald. Opens Wed Oct 23, 7-8pm. Open daily.

SOJU GIRL

Film

tuesday november 26 Art Exhibitions Things and Also Stuff

Art by Pam Bailey and Fiona Bolton.

8am–6pm. Free entry.

THE FRONT GALLERY AND CAFÉ

Cathy Franzi & Art Quilt Australia

The hills of Canberra by Franzi, and people, place, nation in quilts. 10am5pm (12-4pm, Sat).

CRAFT ACT CRAFT & DESIGN CENTRE

Head Full of Flames

Punk in the nation’s capital, 1977-1992. 10am-5pm (12-5pm Sat-Sun). Free.

CANBERRA MUSEUM AND GALLERY

Self-Reflexion

Trivia

Karaoke

Trivial Tuesdays

Karaoke Wednesdays

First prize $75 bar tab, second $50 Indian Affair restaurant voucher.

6:30pm. Free.

DIGRESS COCKTAIL BAR

Tuesday Pub Trivia

First prize $70 bar tab. 7:30pm.

Free entry.

O’NEILL’S IRISH PUB

Trivia

7:30pm. All welcome.

THE DURHAM

Nerd Trivia with Joel and Ali

Impact Comics Present. 7:30pm. Free.

THE PHOENIX BAR

wednesday november 27

Portraiture by mixed ability artists.

10am-4pm.

Art Exhibitions

Connected Diversity/ From Land to Sea

Art by Pam Bailey and Fiona Bolton.

8am–6pm. Free entry.

BELCONNEN ARTS CENTRE

Art by Helen Aitken Kuhnen. Opens Fri Oct 25, 6pm. 11am-5pm (-4pm, Sat).

BILK GALLERY

Comedy Open Mic ACTComedy

British Film Festival 2013

8pm. Free.

Things and Also Stuff

THE FRONT GALLERY AND CAFÉ

Head Full of Flames

Punk in the nation’s capital, 1977-1992. 10am-5pm (12-5pm Sat-Sun). Free.

CANBERRA MUSEUM AND GALLERY

Cathy Franzi & Art Quilt Australia

See britishfilmfestival.com.au for session details and tickets.

THE FRONT GALLERY AND CAFÉ

PALACE ELECTRIC CINEMA

Film

The hills of Canberra by Franzi, and people, place, nation in quilts. 10am5pm (12-4pm, Sat).

Live Music

British Film Festival 2013

Self-Reflexion

CIT Presents The Bootleg Sessions

PALACE ELECTRIC CINEMA

With Beneath The Surface, Mind The Gap, Spin Drift Saga, Maggie Jeffs.

8pm. Free.

THE PHOENIX BAR

Trivia Rainman’s Trivial Excuse

Transit trivia returms with your host Rainman. Book your table now on (02) 6162 0899. 7:30pm.

TRANSIT BAR

Workshops

See britishfilmfestival.com.au for session details and tickets.

Karaoke Karaoke Love

Croon and wail your heart out on the Transit stage. 9pm. Free.

TRANSIT BAR

Live Music Irish Jam Session

Free traditional Irish music in the pub from late afternoon on into the night. Free.

KING O’MALLEY’S IRISH PUB

Canberra Songwriters Workshop

Free for first-timers and under-18s are welcome with an adult. 6:30pm.

STATESMAN HOTEL

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CRAFT ACT CRAFT & DESIGN CENTRE

Portraiture by mixed ability artists.

10am-4pm.

BELCONNEN ARTS CENTRE

Connected Diversity/ From Land to Sea

Art by Helen Aitken Kuhnen. Opens Fri Oct 25, 6pm. 11am-5pm (-4pm, Sat).

BILK GALLERY

Trigger Happy

Art by award-winning painter Ben Quilty. 12-5pm.

DRILL HALL GALLERY

Film British Film Festival 2013

See britishfilmfestival.com.au for session details and tickets.

PALACE ELECTRIC CINEMA

With Carry On Karaoke. 9pm.

Free entry.

DIGRESS COCKTAIL BAR

Karaoke

From 10pm. All welcome.

THE DURHAM

Live Music Alison Avron

With Miss Little and Brendan Maclean.

7:30pm. Door price TBA. THE FRONT GALLERY AND CAFÉ

On The Town MIX106.3 Birthday Party

With Jason Singh, Dale Ryder, Brian Mannix, and more. 7:30pm. $45 thru theabbey.com.au.

THE ABBEY

thursday november 28 Art Exhibitions Trigger Happy

Art by award-winning painter Ben Quilty. 12-5pm.

DRILL HALL GALLERY

Head Full of Flames

Punk in the nation’s capital, 1977-1992. 10am-5pm (12-5pm Sat-Sun). Free.

CANBERRA MUSEUM AND GALLERY

Things and Also Stuff

Art by Pam Bailey and Fiona Bolton.

8am–6pm. Free entry.

THE FRONT GALLERY AND CAFÉ

Cathy Franzi & Art Quilt Australia

The hills of Canberra by Franzi, and people, place, nation in quilts. 10am5pm (12-4pm, Sat).

CRAFT ACT CRAFT & DESIGN CENTRE

Self-Reflexion

Portraiture by mixed ability artists.

10am-4pm.

BELCONNEN ARTS CENTRE

Connected Diversity/ From Land to Sea

Art by Helen Aitken Kuhnen. Opens Fri Oct 25, 6pm. 11am-5pm (-4pm, Sat).

BILK GALLERY

Small Works

A combined exhibition by selected artists. 10am-5pm (9am-5pm Sat/Sun).

BILK GALLERY

59

ENTERTAINMENT GUIDE Thu Nov 28 - Sun Dec 1 thursday november 28 (cont.)

Film British Film Festival 2013

See britishfilmfestival.com.au for session details and tickets.

PALACE ELECTRIC CINEMA

Karaoke Rock Karaoke

9pm-2am. Free entry.

CHARLIE BLACK

Karaoke at The Inn

8pm-midnight. Free entry.

OLD CANBERRA INN

Karaoke

With Ka-tere-oke. Win $50 cash and vouchers. 8:30pm.

P J O’REILLY’S (TUGGERANONG)

Live Music Central West

With A Drone Coda, Oxen.

8:30pm. Free.

THE PHOENIX BAR

Open Mic Night

friday november 29 Art Exhibitions Trigger Happy

Art by award-winning painter Ben Quilty. 12-5pm.

DRILL HALL GALLERY

Head Full of Flames

Punk in the nation’s capital, 1977-1992. 10am-5pm (12-5pm Sat-Sun). Free.

Film

D’Opus

Monsterfest

10pm to late. Free.

KNIGHTSBRIDGE PENTHOUSE

Havana Nights Presents

Canberra’s hottest Latino night, with DJ Trent Richardson and DJ Spink.

Doors 10pm.

MONKEYBAR

Retro Weekends

Spinning your favourite retro tunes with DJ Sass and Tasha. Free entry. 9pm.

12-hour grindhouse film festival. 3pm3am. See monsterfest.net.au for more.

CIT WODEN

British Film Festival 2013

See britishfilmfestival.com.au for session details and tickets.

PALACE ELECTRIC CINEMA

Live Music

DIGRESS COCKTAIL BAR

Charlie Horse

Art by Pam Bailey and Fiona Bolton.

8am–6pm. Free entry.

Something Different

THE PHOENIX BAR

Cathy Franzi & Art Quilt Australia

7:30pm.

CANBERRA MUSEUM AND GALLERY

Things and Also Stuff

THE FRONT GALLERY AND CAFÉ

Poetry Slam THE FRONT GALLERY AND CAFÉ

The hills of Canberra by Franzi, and people, place, nation in quilts. 10am5pm (12-4pm, Sat).

Workshops

Self-Reflexion

Workshop for young entrepreneurs, by Scissors Paper Pen. 6-8:30pm. Free.

CRAFT ACT CRAFT & DESIGN CENTRE

Portraiture by mixed ability artists. 10am-4pm.

Invent an Event

GORMAN HOUSE ARTS CENTRE

BELCONNEN ARTS CENTRE

Christmas Craft

Connected Diversity/ From Land to Sea

PLAYING FIELD STUDIO

Hosted by Ben Chann, feat. Matt Dunn.

7pm. Free.

Art by Helen Aitken Kuhnen. Opens Fri Oct 25, 6pm. 11am-5pm (-4pm, Sat).

Dennis Jaculli

Small Works

OJO CAFE AND BAR

On The Town

BILK GALLERY

With textile artist Vera Delova. 10am12pm. $8.

saturday november 30

With The Model School. 9pm. Free.

Zoopagoo

On a mission to play good music.

7:30pm. Door price TBA. THE FRONT GALLERY AND CAFÉ

I Exist

The From Darkness tour. 7pm. $10 door.

MAGPIES CITY CLUB

Breeze

Urban Playground presents, with DJ Esi, Noiz, Rokwidit, MC Amazing, and more.

Doors 10pm.

MONKEYBAR

Something Like This 10:30pm. Free.

KING O’MALLEY’S IRISH PUB

Lowrider

In My Arms tour. Guests TBA. 8pm. $20 + bf thru Moshtix.

A combined exhibition by selected artists. 10am-5pm (9am-5pm Sat/Sun).

Art Exhibitions

With Oscar. 9:30pm. Free.

Film

Art by award-winning painter Ben Quilty. 12-5pm.

On The Town

Kadavar

British Film Festival 2013

DRILL HALL GALLERY

Ced Nada

Head Full of Flames

10pm to late. Free.

KNIGHTSBRIDGE PENTHOUSE

7:30pm. Door price TBA.

THE FRONT GALLERY AND CAFÉ

“Mo”vember After Party KING O’MALLEY’S IRISH PUB

With Blue Pills and Tumbleweed. 8pm. $35 + bf through TryBooking.

ANU BAR AND REFECTORY

Closure in Moscow

With All the Colours, and more. 8pm. $18.40 + bf thru Oztix.

TRANSIT BAR

On The Town Noche Latina

DJ Paisa and DJ Mateo on the decks and percussion. 8:30pm til midnight. $5.

THE ALCHEMY BAR

Talks The Same Page Book Club

Featuring ‘Snake Bite’ by Christie Thompson. 6:30pm. Free.

SMITH’S ALTERNATIVE

Workshops Canberra Music Workshop

For amateur musos to jam or perform in a non-judgemental environment. 6:3010:30pm. Free.

HARMONIE GERMAN CLUB

BILK GALLERY

See britishfilmfestival.com.au for session details and tickets.

PALACE ELECTRIC CINEMA

Karaoke Irish Club Karaoke Competition Canberra’s best karaoke singers can compete for $1000. 8pm til late.

CANBERRA IRISH CLUB

Live Music Owen Campbell

One of Australia’s finest slide guitarists.

8pm. $25 + bf thru thestreet.org.au.

Punk in the nation’s capital, 1977-1992. 10am-5pm (12-5pm Sat-Sun). Free.

CANBERRA MUSEUM AND GALLERY

Things and Also Stuff

Art by Pam Bailey and Fiona Bolton.

8am–6pm. Free entry.

THE FRONT GALLERY AND CAFÉ

Cathy Franzi & Art Quilt Australia

The hills of Canberra by Franzi, and people, place, nation in quilts. 10am5pm (12-4pm, Sat).

CRAFT ACT CRAFT & DESIGN CENTRE

Self-Reflexion

TRANSIT BAR

Retro Weekends

Spinning your favourite retro tunes with DJ Sass and Tasha. Free entry. 9pm.

DIGRESS COCKTAIL BAR

Something Different Moulin Bruise

Roller Derby Grand Final double header.

Doors 3pm. $13/22 + bf thru Ticketek.

AIS ARENA

sunday december 1

Portraiture by mixed ability artists.

10am-4pm.

Art Exhibitions

Damien Leith

Connected Diversity/ From Land to Sea

Punk in the nation’s capital, 1977-1992. 10am-5pm (12-5pm Sat-Sun). Free.

THE ABBEY

BILK GALLERY

THE STREET THEATRE

Minh!

With support act TBA. 7:30pm. Free.

OJO CAFE AND BAR

Doors 6:30pm. Tickets $30/$75 dinner and show + bf thru theabbey.com.au.

BELCONNEN ARTS CENTRE

Art by Helen Aitken Kuhnen. Opens Fri Oct 25, 6pm. 11am-5pm (-4pm, Sat).

Live Acoustic Music

Small Works

MINI BAR

BILK GALLERY

By Raw Gigs, every Friday from 5-7pm. Free.

Chicago Charles/4th Degree 5pm afternoon session/10pm band. Free.

KING O’MALLEY’S IRISH PUB

A combined exhibition by selected artists. 10am-5pm (9am-5pm Sat/Sun).

Head Full of Flames

CANBERRA MUSEUM AND GALLERY

Trigger Happy

Art by award-winning painter Ben Quilty. 12-5pm.

DRILL HALL GALLERY

Things and Also Stuff

Art by Pam Bailey and Fiona Bolton.

8am–6pm. Free entry.

THE FRONT GALLERY AND CAFÉ

Self-Reflexion

9pm. Free.

Portraiture by mixed ability artists.

10am-4pm.

ALT

Small Works

Transvaal Diamond Syndicate OLD CANBERRA INN

With Cris Clucas, Orbis Tertius, Toggle, and more. 8pm. Door price TBA. MAGPIES CITY CLUB

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Trigger Happy

BELCONNEN ARTS CENTRE

A combined exhibition by selected artists. 10am-5pm (9am-5pm Sat/Sun).

BILK GALLERY

@bmamag

ENTERTAINMENT GUIDE Sun Dec 1 - Thu Dec 5 Film

Trivia

British Film Festival 2013

Rainman’s Trivial Excuse

See britishfilmfestival.com.au for session details and tickets.

PALACE ELECTRIC CINEMA

Live Music Acoustic Impressions Live music. 2:30pm. Free.

OJO CAFE AND BAR

David Christopher

7:30pm. Door price TBA.

THE FRONT GALLERY AND CAFÉ

Irish Jam Session

Free traditional Irish music in the pub from late afternoon on into the night. Free.

KING O’MALLEY’S IRISH PUB

Sunday Best at A Bite to Eat

With Devine Devilles: award-winning jazz/blues. Happy hour and tapas.

5-7pm. Free.

Transit trivia returms with your host Rainman. Book your table now on (02) 6162 0899. 7:30pm.

TRANSIT BAR

tuesday december 3 Art Exhibitions Head Full of Flames

Punk in the nation’s capital, 1977-1992. 10am-5pm (12-5pm Sat-Sun). Free.

CANBERRA MUSEUM AND GALLERY

Cathy Franzi & Art Quilt Australia

The hills of Canberra by Franzi, and people, place, nation in quilts. 10am5pm (12-4pm, Sat).

CRAFT ACT CRAFT & DESIGN CENTRE

A BITE TO EAT CAFE

Self-Reflexion

2013 National WIRED Band Comp Grand Final

Portraiture by mixed ability artists.

10am-4pm.

BELCONNEN ARTS CENTRE

CHARLIE BLACK

Small Works

2pm–late. $5 door.

4pm. Free.

A combined exhibition by selected artists. 10am-5pm (9am-5pm Sat/Sun).

OLD CANBERRA INN

BILK GALLERY

The Acoustic Sessions

Karaoke

IRON BAR

Karaoke Love

Dave Knight

Free live music from 2pm every Sunday.

On The Town Free Pool Tables

Does exactly what it says on the packet.

From 2pm.

TRANSIT BAR

monday december 2 Art Exhibitions Head Full of Flames

Punk in the nation’s capital, 1977-1992. 10am-5pm (12-5pm Sat-Sun). Free.

CANBERRA MUSEUM AND GALLERY

Things and Also Stuff

Art by Pam Bailey and Fiona Bolton.

8am–6pm. Free entry.

THE FRONT GALLERY AND CAFÉ

Live Music CMC Presents The Bootleg Sessions

With Reilly Fitzalan, Fossil Rabbit, Aleister James. 8pm. Free.

Croon and wail your heart out on the Transit stage. 9pm. Free.

TRANSIT BAR

Tuesday Pub Trivia

Andrew and Shannon’s Pub Trivia

Small Works

A combined exhibition by selected artists. 10am-5pm (9am-5pm Sat/Sun).

7:30pm. Free.

THE PHOENIX BAR

Trivia

BILK GALLERY

THE DURHAM

Art by award-winning painter Ben Quilty. 12-5pm.

Trigger Happy

7:30pm. All welcome.

DRILL HALL GALLERY

wednesday december 4

Cathy Franzi & Art Quilt Australia

Art Exhibitions

The hills of Canberra by Franzi, and people, place, nation in quilts. 10am5pm (12-4pm, Sat).

Trigger Happy

Art by award-winning painter Ben Quilty. 12-5pm.

CRAFT ACT CRAFT & DESIGN CENTRE

Self-Reflexion

DRILL HALL GALLERY

10am-4pm.

Cathy Franzi & Art Quilt Australia

BELCONNEN ARTS CENTRE

Karaoke

The hills of Canberra by Franzi, and people, place, nation in quilts. 10am5pm (12-4pm, Sat).

Karaoke

CRAFT ACT CRAFT & DESIGN CENTRE

With Ka-tere-oke. Win $50 cash and vouchers. 8:30pm.

Self-Reflexion

P J O’REILLY’S (TUGGERANONG)

Portraiture by mixed ability artists.

10am-4pm.

Rock Karaoke

BELCONNEN ARTS CENTRE

9pm-2am. Free entry.

CHARLIE BLACK

Head Full of Flames

Punk in the nation’s capital, 1977-1992. 10am-5pm (12-5pm Sat-Sun). Free.

Karaoke at The Inn

Small Works

Live Music

8pm-midnight. Free entry.

OLD CANBERRA INN

CANBERRA MUSEUM AND GALLERY

A combined exhibition by selected artists. 10am-5pm (9am-5pm Sat/Sun).

BILK GALLERY

Irish Jam Session

Karaoke

KING O’MALLEY’S IRISH PUB

Something Different

Karaoke

Polka Luka In-House Market

THE DURHAM

Open Mic Night

Hosted by Ben Chann. Showcasing local talents. 7pm. Free.

OJO CAFE AND BAR

Shaun Kirk

Karaoke Wednesdays

With Carry On Karaoke. 9pm.

Free entry.

Jewellery, cast resins objects, and homewares by Alex Freeman.

8am–6pm. Free entry.

Art Exhibitions

O’NEILL’S IRISH PUB

Live Music Free traditional Irish music in the pub from late afternoon on into the night. Free.

thursday december 5

First prize $70 bar tab. 7:30pm.

Free entry.

7:30pm. $10 + bf thru Moshtix/$15 at the door.

THE FRONT GALLERY AND CAFÉ

DIGRESS COCKTAIL BAR

A Drone Coda

With Golden Blonde and Spartak.

8pm. Free.

From 10pm. All welcome.

TRANSIT BAR

Live Music

On The Town

THE FRONT GALLERY AND CAFÉ

Pete Wild and the Ones

Noche Latina

Trivia

THE FRONT GALLERY AND CAFÉ

Trivial Tuesdays

First prize $75 bar tab, second $50 Indian Affair restaurant voucher.

6:30pm. Free.

DIGRESS COCKTAIL BAR

7:30pm. Door price TBA.

Something Different Polka Luka In-House Market Jewellery, cast resins objects, and homewares by Alex Freeman.

8am–6pm. Free entry.

THE FRONT GALLERY AND CAFÉ

THE PHOENIX BAR

DJ Paisa and DJ Mateo on the decks and percussion. 8:30pm til midnight. $5.

THE ALCHEMY BAR

Something Different Polka Luka In-House Market Jewellery, cast resins objects, and homewares by Alex Freeman.

8am–6pm. Free entry.

THE FRONT GALLERY AND CAFÉ

OUT

dec4

2013: The Year in Review, incl.

The Best albums of the year chuck palahniuk the melvins/helmet The Centenary reviewed ...and more!

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FIRST CONTACT SIDE A: BMA band profile

Aaron Peacey 0410381306 band.afternoon.shift@ gmail.com.au

Jenn Pacor Singer-songwriter avail. for originals/covers 0405618630

Adam Hole 0421023226

Johnny Roadkill Paulie 0408287672 paulie_mcmillan@live.com.au

Afternoon Shift 0402055314 Amphibian Sound PA Clare 0410308288 Annie & The Armadillos Annie (02) 61611078/ 0422076313 Aria Stone sax/flute/lute/ harmonica, singer-songwriter Aria 0411803343 Australian Songwriters Association Keiran (02) 62310433

Central West Where did your band name come from? It refers to the area west of the Blue Mountains. Leon likes how wide-eyed country kids get. Mark likes the sunsets out there.

Group members? Leon (drums, raps), Skye (piano, vocals), Mark (guitar, vocals), Paul (bass, Raspberry Pi), Reuben (keys/laptop, vocals).

Describe your sound: It can be quite dreamy and lush, but then noisy or bleak or heavy at times too – between the five of us we can make quite a wall of sound. We started as a jamband, so songs naturally formed into a crescendo-driven, post-rock kinda sound. But increasingly we’re playing songs that have different and more refined structures. One of the most enjoyable things is that we never decided on a genre, and hopefully never will. Leon hates crescendos.

Who are your influences, musical or otherwise? Old punk, minimalist piano, heaps of electronic music, art rock, hip hop, noise, glitch, whatever. Our music is probably way more ‘conventional’-sounding than our favourite artists.

What’s the most memorable experience you’ve had whilst performing? Playing stage-Tetris with five people on small stages is surprisingly satisfying, like packing a car-boot perfectly. Mark invariably ends up making himself bleed somehow on stage – this sounds tougher than it really is.

Of what are you proudest so far? Always the most recent song we’ve written!

What are your plans for the future? Milk Paul for all his brilliance before he buggers off to be with his wife in France.

Write more, record more, tour, y’know, band stuff!

Backbeat Drivers Steve 0422733974 backbeatdrivers.com Bat Country Communion, The Mel 0400405537

Bridge Between, The Cam 0431550005 Capital Dub Style Reggae/dub events Rafa 0406647296 Cole Bennetts Photography 0415982662 Danny V Danny 0413502428 Dawn Theory Nathan 0402845132 Danny 0413502428 Dorothy Jane Band, The Dorothy Jane 0411065189 dorothy-jane@dorothyjane.com Drumassault Dan 0406 375 997 FeralBlu Danny 0413502428

Fourth Degree Vic 0408477020 Gareth Dailey DJ/Electronica Gareth 0414215885 Groovalicious Corporate/ weddings/private functions 0448995158 Guy The Sound Guy Live & Studio Sound Engineer 0400585369 guy@guythesoundguy.com Haunted Attics band@hauntedatticsmusic.com

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Moots Huck 0419630721 Morning After, The Covers band Anthony 0402500843

Obsessions 0450 960 750 obsessions@grapevine.com.au

Fire on the Hill Aaron 0410381306 Lachlan 0400038388

Image credit: Adam Thomas

Missing Zero Hadrian 0424721907 hadrian.brand@live.com.au

Black Label Photography Kingsley 0438351007 blacklabelphotography.net

What pisses you off? Littering, exploitation, dickheads, I dunno, regular stuff.

Contact info: centralwest.bandcamp.com; facebook.com/ Decentralized.Westies.

Los Chavos Latin/ska/reggae Rafa 0406647296 Andy 0401572150

Mornings Jordan 0439907853

Feldons, The 0407 213 701

What are your upcoming gigs? Nov 26 at Smith’s, Nov 28 at Phoenix, Nov 30 at the Lass in Newcastle.

Kurt’s Metalworx (PA) 0417025792

Birds Love Fighting Gangbusters/DIY shows-bookings@ birdslovefighting.com

What makes you laugh? Mark laughs at jokes about bodily fluids. Skye laughs at cat videos. Leon laughs at Leon.

What about the local scene would you change? More mixed bills, eclectic line-ups, yeah! More cross-platform artistic collabs, yeah! Clearer reception on 2XXFM, yeah!

Kayo Marbilus facebook.com/kayomarbilus1

MuShu Jack 0414292567 mushu_band@hotmail.com

Painted Hearts, The Peter (02) 62486027 Polka Pigs Ian (02) 62315974 Rafe Morris 0416322763 Redletter Ben 0421414472 Redsun Rehearsal Studio Ralph 0404178996/ (02) 61621527 Rug, The Jol 0417273041 Sewer Sideshow Huck 0419630721 Simone & The Soothsayers Singing teacher Simone 62304828 Sorgonian Twins, The Mark 0428650549 Soundcity Rehearsal Studio Andrew 0401588884 STonKA Jamie 0422764482 stonka2615@gmail.com Strange Hour Events Dan 0411112075 Super Best Friends Sam White sam@imcmusic.net System Addict Jamie 0418398556 Tegan Northwood (Singing Teacher) 0410 769 144 Top Shelf Colin 0408631514

In The Flesh Scott 0410475703

Undersided, The Baz 0408468041

Itchy Triggers Alex 0414838480

Zoopagoo zoopagoo@gmail.com

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