BMA Magazine 433 - Jan 29 2014

ad space

2

@bmamag

ad space

facebook.com/bmamagazine

3

ad space

4

@bmamag

ad space

facebook.com/bmamagazine

5

ad space

6

@bmamag

ad space

facebook.com/bmamagazine

7

ad space

8

@bmamag

ad space

facebook.com/bmamagazine

9

ad space

10

@bmamag

ad space

facebook.com/bmamagazine

11

Inaugural West Bank Festival to Proceed Unheeded

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 434 OUT FEBRUARY 12 EDITORIAL DEADLINE FEBRUARY 3 ADVERTISING DEADLINE FEBRUARY 6 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.

12

and networking opportunities, directly linking writers and publishers. The deadline for the EEP is Thursday May 1 and the AAWR’s deadline is Friday May 30. You can find out more and apply at m16artspace.com.au.

Write, Curate, Create Art: Profit

The Sydney Entertainment Centre, which has hosted worldclass events for over 30 years, has undergone an exciting name change. It’s now the Qantas Credit Union Arena. Roll that around your teeth. Mmm, fiscal.

It’s for a reason, though. As SEC General Manager Steve Hevern explained, Qantas Credit Union had helped ensure there would be a major entertainment venue in the Sydney CBD for the majority of the time that the new International Convention Centre Sydney was under construction. Then the representative for Qantas Credit Union walked up onto the dais and sucked out his soul like a Dementor. Ha, jk.

Long live credit unions. The sooner we grant them basic human rights the better.

M16 Artspace has announced new prizes to cater to aspiring artists, curators and arts writers with budding talent and firm intentions. The Emerging Exhibition Prize (or EEP!) will be given to emerging artists and curators, with winners receiving mentorship in the development and presentation of an exhibition at M16 Artspace.

The Aspiring Arts Writers Residency (AAWR) will provide a local emerging arts writer with the opportunity to develop their craft, aiding the growth of critical writing around contemporary art in Canberra by providing participants with a studio, professional development and mentorship

Sydney Entertainment Centre Sells Name, Soul (Not Really)

Are you the Li’l Hilltop Hoods Urban Achiever?

Someone seems to have broken into the vaults of the Hilltop Hoods’ unassailable hip hop tower and parted them from $10,000 of their hard-earned.

To what end? Well, potentially yours. The 2014 Hilltop Hoods Initiative will award $10k to one emerging hip hop or soul artist, with the money to go directly towards funding the manufacturing, release and promotion of a debut album.

The prize pack also includes

Selfies are better with friends.

Long live The Polish Australian White Eagle Club. #433JANUARY29

The recently and politically incorrectly christened “West Bank Cultural Precinct”, named for being west of Sullivan’s Creek and encompassing The Polish Australian White Eagle Club, The Australian Croatian Club and Alliance Française, will play host to the inaugural West Bank Festival this February. After a fire at The Polish Club in the early hours of Tuesday January 21 gutted the club’s kitchen area, there was concern that the damage would take the venue out of action.

This may still be the case, but Nigel McRae of the Canberra Musicians Club has advised that new management at the adjacent Turner Bowls Club (aka Wests Rugby Union Club, aka Canberra Southern Cross Club Turner) has stepped in as a backup, and the Bowls Club may well continue to act as a functioning venue thenceforth.

So the West Bank Cultural Precinct has grown, not shrunk, as a result of this calamity. As we await news of the extent of the damage to The Polish Club (which will not be known until the building has been made safe for entry by hazmat personnel due to asbestos), the West Bank Festival can always use extra pairs of hands. If you’re interested in volunteering for the festival, which takes place Fri–Sun February 14–16, email ourcmc@ gmail.com. Alternatively you can pre-purchase tickets via trybooking.com/EEBZ.

legal advice for general or specific career advice. The winner will be chosen by a panel including Canberra’s own Hau Latukefu and Queensland’s Tommy Illfigga. Applications are open now, closing Tuesday February 25, and you can find out more and apply at apraamcos.com.au. The winner will be announced in March.

@bmamag

FROM THE BOSSMAN We received a press release the other day declaring that the Sydney Entertainment Centre is now to be known as the Qantas Credit Union Arena. Whilst I don’t begrudge the mutual benefit to Qantas and the former SEC this deal will no doubt provide, it all seems a bit of a shame. I know the corporate renaming of arenas and tournaments and basically anything that has a financial pulse is hardly new – In fact, Shakespeare’s The Globe in London was called Mrs Miggins’ Pie Shop Theatre for a brief time, although I may be confusing history with Blackadder here – but the extent to which it’s happening leaves one cloying for the past.

It’s perfectly easy to understand why it happens. If someone offered you a cheque for a gasquillion dollars to stick their company name over your abode, you’d be hard-pressed to say no. Conversely, if putting your company name across said abode leads to more sales, more money and thus a better product down the line, what could possibly be the harm?

But it all just seems so, well … commercial. There was a time when sportsmen and women played purely for the pride of representing their home and for the thrill of the game. And of course they still do. But when your rugby players are talking about KPIs like they’re a business executive and your cricket 20-20 teams are being referred to as “franchises” and it is all happening within the Maxi-Pad Super Absorbent Arena, something’s gone slightly awry. And that’s all before getting into the rampant match-fixing and doping.

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 idiot in the Canberra hospital who should have been the last 2013 Darwin award winner. How was it that you actually sounded proud when telling people why you ended up in hospital? How drunk, stupid, or fucked up must you have been to lack the situational awareness to notice a car with boat trailer backing over you? It was bad enough having to share a hospital room with you, but having to listen to you talk about your exploits as if it was some phenomenal party trick was embarrassing. You didn’t give a shit about anyone else in the room trying to recover, did you? This isn’t a bunch of mates coming around to play xbox and get stoned. It was about people visiting to show their support to help people recover after serious illness and trauma. Listening to your late night whinging about how the nurses would disconnect your pain killer for the night if you wanted a cigarette was a real demonstration of manly character. It’s great to know that after such an intense medical trauma your immediate plans are to spend the coming weeks “baked.” Perhaps you can make your way to another boat ramp and finish the job properly. Remember, what doesn’t kill you, probably just needs another chance. A couple of hours after you were discharged I thought maybe I was being a dick and being too hard on you. Turns out I wasn’t. Everyone was visibly happier when you left and we had a real night’s sleep. You’re a disgrace, you’re boring, you need a freakin’ mute button and you pissed me off.

I fondly remember – as I’m sure many proud ACT-ians do – the days when Canberra Stadium was called Bruce. Now there was a fine Aussie name for the capital city’s main performance arena.

Yes, it was named after the suburb in which it resides – which was in turn named after Viscount Stanley Melbourne Bruce, the eighth Prime Minister of Australia and the first Chancellor of the ANU – but the name still gave the place a personality. It felt friendly. Homely. And nothing could bring a more patriotic tear to a magazine’s eye than to write the sentence, ‘AC/DC Plays at Bruce Stadium’. Doesn’t get more Aussie than that.

It was with great joy that I told my English friends that our local stadium was called Bruce. “Piss off, you muppet,” they would usually retort. “No it’s not. It’s probably something like the Vegemite Presents New Extra Dark Spread Arena or some bollocks.”

“No, I’m telling you, it’s really called Bruce.”

“Piss off, you muppet.”

If a stadium has to go the fiscal route of a naming sponsor it could at least go for something that could provide some mirth.

Some years ago, Canberra Stadium was on the hunt for such a partnership. I was gunning for the Australian National University Stadium, not only because it is a fine upstanding institution (though I’m a UC lad myself) but that – giggling schoolboy that I am – the acronym would have spelt ANUS. And nothing would bring more of a different kind of tear to the eye than writing, “AC/ DC Plays at ANUS”.

All this being said, congrats to Qantas and the former SEC; I’m sure you’ll use the money wisely. For now I must away. I have a call coming through from a gentleman’s service wanting to know how much it would cost to rename BMA’s Bands, Music, Arts acronym to Big Manly Action. A tenner should do it.

ALLAN SKO - allan@bmamag.com

facebook.com/bmamagazine

13

14

WHO: Kerbside Collection WHAT: Album launch WHEN: Wed Jan 29 + Thu Jan 30 WHERE: Hippo Co. + Smith’s Alternative

Do you ever fancy just going on a little musical adventure?

Well Kerbside Collection is bringing it to you this time. With a sound that throws itself back to the ‘60s and ‘70s music of the Californian west coast – Wes Montgomery, George Benson and Grant Green – this instrumental group from the sunny city of Brisbane know how to throw down a groove or two, and they’re playing two shows in Canberra.

They’re both launch shows for their 2013 album, Mind the Curb, so no excuses – get down to either for an 8pm start. $5 at Hippo Co, $10 at Smith’s.

WHO: Sparrow-Folk WHAT: Album launch WHEN: Fri Jan 31 WHERE: The RUC, Turner (turner bowls club)

Canberrans Sparrow-Folk have slowly but surely been making a name for themselves. Initially starting the band just for fun, Fox (Catherine Crowley) and Lark (Juliet Moody) have had their hobby transform into something much more grand. Now, after winning the ACT heats of ABC’s Exhumed competition and refining their live show, they’re finally ready to launch their debut album – The Fox and the Lark – and you can close out January by celebrating with them. Get down there at 7:30pm to make sure you don’t miss out. They’ll be joined by The Cashews, Bec Taylor and Adam Shirley. Tickets are available through trybooking.com or at the door.

WHO: Lime and Steel WHAT: Live music WHEN: Sat Feb 8 WHERE: The Front Gallery & Café

“I had seven banjos and a dodgy sprinkler … well, it’s one way to fight a bushfire!” says Paddy Connor, banjo picker for bluegrass-folk-rock band Lime and Steel. The group had their recording delayed when bushfires hit the Blue Mountains last year. Thankfully, Connor and the band were safe – as were his banjos – and this year sees Lime and Steel hitting the road with their harmonies, thumping bass, and fiddle to bring their music back around the country. Lime and Steel will be playing from 7:30pm, and will be joined by the talented Laura Zarb and Vendulkar from the Miss Chiefs. $10 on the door.

WHO: Dale Huddleston & The Riverbank Band WHAT: National Multicultural Festival Indigenous Showcase WHEN: Sat Feb 8 WHERE: Stage 7, Petrie Plaza

Forming in Canberra in 1990, Dale Huddleston & The Riverbank Band have performed regularly in Koori communities throughout Australia, and toured across country and folk circuits, supporting artists like Yothu Yindi, Paul Kelly, Uncle Jimmy Little, Shane Howard, Troy Cassar Daley, Jessica Mauboy and more. If that’s not enough to sell you, they were nominated for Band of the Year at the Deadlys in 2011, and have produced two acclaimed and original albums. Now they’re set to perform as part of the National Multicultural Festival’s Indigenous Showcase. The event starts at 8:30pm, so head down and get yourself a good spot.

WHO: The Veil, Tortured, Claret Ash, and more!

WHAT: With Heavy Heart: Kurt’s Birthday Bash WHEN: Sat Feb 8 WHERE: The Basement

Kurt Neist, the sound man at everyone’s favourite metal venue, The Basement, had a heart attack this year. You’d think this would be debilitating, throwing everything off course a bit – but instead, he’s celebrating life by throwing an absolutely legendary party. Most of us could probably learn something from this. With a huge line-up of talented acts – The Veil, Tortured, Claret Ash, Mephistopheles, Summonus, Hematic, Law of the Tongue, CHUD and Sorathian Dawn – it’s going to be a huge night. Tickets are $15, if you prepurchase or pay at the door. Kurt’s Birthday Bash kicks off at 8pm – get yourself down there.

WHO: Crisis Alert WHAT: Album launch WHEN: Sun Feb 9 WHERE: Commonwealth Park

It’s not that often bands travel all the way from Adelaide to play our fine capital, nor is it often that they line up a gig in Commonwealth Park. But that’s exactly what’s happening here. All the way from the southern state, Crisis Alert is set to bring their style of early ‘80s hardcore to Canberra next month. For fans of bands like Minor Threat, SS Decontrol, Void and Jerry’s Kids, this gig is a must see – and to top it off, it’s all ages, so the under-18 fans can go. Be down there early for a 4pm start and see Crisis Alert launch their new LP, Urban Decay.

@bmamag

LOCALITY

Congratulations, you guys! We made it through January! Well, almost.

Before we farewell the first month of the year, Sparrow-Folk will launch their debut album, The Fox and The Lark, at Turner Bowls Club on Friday January 31 from 7pm. The night promises plenty of guests – including The Cashews, Bec Taylor and Brian Taylor – with MC duties from ABC Radio’s Adam Shirley. Get your ukulele and cheekiness fix for just $15 at the door. If you like your folk with a little bit more rock ‘n’ roll, the appearance of The Burley Griffin and Jack Livingston at The Phoenix on Monday February 3 should take care of your cravings. The first act kicks off at 8pm.

The National Multicultural Festival springs to life between Fri–Sun February 7–9, and even though it’s Canberra tradition to mock its place as our Annual Celebration of Food on a Stick, it is also a great occasion to catch some fantastic local acts, including Los Chavos, Alinta Barlow, Hung Parliament, Dale Huddleston and the Riverbank Band, Trumpet Club, Raio de Sol and Stik N Move (well, they’re from Queanbeyan, but near enough). Grab a copy of the program from multiculturalfestival.com.au. Of course, we can’t forget the major event’s little sister – the Canberra Fringe Festival, running from Thu–Sun February 6–9. It all starts with an opening gala that includes Amy Jenkins and a freshly composed piece from Cameron Smith (from Moochers Inc., The Brass Knuckle Brass Band, The Black Hat Band … basically, he has his fingers in a lot of pies). The following evening, sets from Little Mac and the Monster Men and The Steptones will accompany the beautiful performers of DIE FRINGE BURLESK! Then there’s little bit of Dr Stovepipe to entertain the kiddies, and a closing performance from Beth n Ben, complete with full eight-piece band. Find more details at facebook. com/fringecanberra2014.

The biggest local music story lately has been the fire at The Polish Australian White Eagle Club in Turner, which cemented itself over the last few years as an integral part of the local live music scene. At the time of writing, many details are still unclear. Those I’ve spoken to from the club say they’ve been informed that it was confined to the kitchen, and are hopeful they can re-open sooner rather than later, but due to exposed asbestos in the affected area they were unable to get inside to evaluate damage. Fingers crossed that this fantastic venue is up and running soon, and if the suspicions of arson prove true they catch the blighters responsible. In the meantime, most gigs booked have been moved to the Turner Bowls Club.

There have been rumblings over the last few weeks about an exciting new event to pencil into your calendar: the inaugural West Bank Festival, designed by Canberra Musicians Club as a showcase for local musical talent across every genre. The shows scheduled at The Polish Club as part of the festival have also been tentatively moved to Turner Bowls Club, with other sets being hosted by the Australian Croatian Club and the Alliance Française. Early bird tickets are available until Friday February 7. To find out more, direct your nearest internet browser to canberramusiciansclub.org.au.

NONI DOLL @NoniDoll

facebook.com/bmamagazine

15

chiara grassia Sometimes Canberra’s creative scene feels like a well-kept secret. Underneath student life and public service day jobs, there’s a throbbing arts scene treading the line between public and private – after hours readings at Smith’s, house shows in the outer north, packed poetry slams in a nondescript pub. Over the past few years, Canberra has been changing. You can feel it – the secret is slowly leaking out. Which makes it the perfect time for the Canberra FRINGE FESTIVAL to make its triumphant return to the annual Multicultural Festival – especially with rambunctious founder Jorian Gardner back in the director’s seat, curating a program that reflects and celebrates the growth of this city.

It’s been four years since Gardner has been at the helm of the Fringe, and he’s happy to dive back into it. “To be quite honest with you, I’m just doing what we always used to do, which is a cross-section of art forms,” he says. “Everything from dance to live music to theatre to performance art installations. We’ve always had a local focus, but this time I’m pleased that most of it is local.” The crop of talent has been so overwhelming that Gardner has had to turn plenty of people away, a task he admits is difficult. “I could fill two weeks and ten other venues, that’s how big it could be.”

In particular, Gardner is excited to bring cult acts such as In Canberra Tonight and Bad!Slam!No!Biscuit! into the Fringe’s spotlight. “In Canberra Tonight has popped up in the last 12 months or so, and people love them, so we thought we’d provide them an opportunity for a larger audience to see them. It’s free, it’s in Civic Square and the [public] can get a taste of what the show’s like,” says Gardner. “It’s great to expose those guys to a wider audience, because unless you pay 30 dollars for a ticket and go to Parliament House or wherever they’re doing the show – if you don’t know about it, you wouldn’t go. You have to kind of know that it’s on.

“The first hour is going to hit you in the face,” Gardner says confidently, as he enthusiastically lists off the diverse range of performers, sounding particularly proud of the strong local element. The festival kicks off on Thursday February 6 at 6pm in Civic Square, with a smorgasbord of acts, including music, poetry, stand-up, burlesque and a massive brass band. Two subcultures that are prominent in Canberra – spoken word/poetry and burlesque – are well represented that night, as well as in the overall program, with the latter closing out the Thursday night.

“I always do a big burlesque for the opening night, and this time we’ve got one called ‘Die Fringe Burlesk!’ That’s going to a huge night,” says Gardner. “The last one was really successful, but the point is that I had to fly in a whole bunch of performers from all over the country to do that show. This time round, we’ve only got one interstate act, because we don’t need it. All the burlesque

16

performers are here. Some of the best poets we have in the country are here in Canberra. All this talent in Canberra, we don’t have to import any of it.”

The rest of the festival’s four-day run is jam-packed with music, comedy and theatre, spliced alongside the Multicultural Festival’s festivities. “[The Fringe] complements the Multicultural Festival,” says Gardner. “All these artists are from Canberra, and just because they might not identify with a particular cultural group except for being Canberran, they should still be able to participate.” Offbeat events like the National Hecklers Competition give the wandering punter another option, while new addition Fringe Kids caters for an entirely different crowd.

Running all day Saturday, the designated area will feature Doctor Stovepipe’s ZO-OLIGY animal show, storytelling, face painting and a kids-only parade.

All this talent in Canberra, we don’t have to import any of it

The Fringe’s theatre components are set to delight and challenge, with intimate, interactive and experimental performances. Fringe favourite and sole exception to the free event rule, Theatre in a Car, is back with new play, The Serpent’s Tale, directed by Joe Woodward. “Shadow House Theatre can be a little dark sometimes,” warns Gardner. “People have gone running screaming from the car halfway through the show. If you are claustrophobic, it’s probably not recommended, because it’s very in your face – but it’s great.” Chenoeh Miller’s theatrical work Today I, Tomorrow You will be performed against a backdrop of graffiti art to an audience of up to 40 at Canberra Museum and Gallery. Split between three locations in Civic is Barb Barnett’s Territory: An Adventure in Three Parts, Choose Your Own. “There’s a few other things dotted around the place,” notes Gardner. “A few surprises.”

With government funding locked in for the next four years, Gardner is positive regarding the Fringe’s future.

“This is the eleventh year now, it’s going to go until it’s 15. Now for any festival in Canberra, that’s a long time. There’s a history of bringing festivals in and kicking them in the guts, and this one has somehow stayed alive in one form or another.” Although the Fringe is his baby, Gardner says he’s happy – and looking forward to – letting go of the project and seeing it flourish under someone else’s reign. “Hopefully I can show people what you can do in Civic Square, and then I don’t have to do it.”

Fringe Festival runs from Thu–Sun February 6–9, in conjunction with the Multicultural Festival, at Civic Square and nearby locations. All events are free, except for Theatre In A Car. For more details and full program, check out multiculturalfestival.com.au.

@bmamag

ALL AGES Hey folks! I hope you’re all well and feeling as delicious as one should, being young, free and in the middle of this fine Australian summer (help me please, I appear to be melting).

Attention class clowns of Canberra, your dawning day is before you! Behold: Class Clowns 2014. The Class Clowns Competition is the brainchild of the Melbourne International Comedy Festival and gives you a chance to win $1,500 for yourself and a $1,000 workshop package for your school. To enter, you must be 14–18 years old and have an original act that goes for three to five minutes (limit of up to three people in your act). Sketch acts, stand-up, parody and musical comedy are all welcome. Firstly, register yourself/your group online at comedyfestival.com.au to secure your place at the ACT heat, which is on Friday March 14. The day starts with a two hour workshop/rehearsal with a pro comedian to help perfect your act.

Performances are judged and state winners will go through to the national grand final in Melbourne on Thursday April 3.

Introducing Lemuria, a trio from Buffalo, NY, who have managed to bridge the perpetually awkward gap between indie pop and punk rock as smoothly as a baby’s bottom. How they did it, no one knows (some think musical talent, others think black magic). Supporting band Kissing Booth represent Australia, more specifically Melbourne, where they hail from. Be there as they spread their magical pop sound waves into the air. You can catch them both at the Magpies City Club on Wednesday February 5. Tickets are $28.60 + bf and are available online through Oztix.

Who doesn’t love petting animals and eating so much carnival food that you feel sick on the spinning teacup ride? No one! That’s why the Royal Canberra Show is perfect for you. We can expect Exhibition Park to put on its festive carnival show pantaloons from Fri–Sun February 21–23. Tickets are $10 for a child (six to 15 years old) and $15 for full-time students. Tickets will be available on the door, and pre-purchase tickets are available online from Ticketek and ActewAGL assist stores in Civic or Fyshwick. Pre-purchase tickets include free Action bus travel to and from the show.

Forever Young Entertainment would like to present to you Bounce Music Festival. Bounce is a strictly under-18s event, which brings to you acts such as Ruby Rose, Slice n Dice, Miracle, DJ Ziggy, DJ Rush, Strangeways DJs, KG, Rocamic, The Fighting League, Jon Bling, DJ Karma, J Swiss, Yiannis and Ned Philpot. If that doesn’t take your fancy, there will also be waterslides, rides, foam pits, a skateboard park, powder paint, a photo booth, soccer tournaments, girls styling suites, VIP areas and food and drink stalls. Bounce will be at Stage 88 on Saturday March 22.

First release tickets are $30 + bf and VIP tickets are $100 + bf, which allow privileges such as express festival entry, a VIP goody bag and access to the VIP service area, which includes complimentary food and drink and a meet and greet with performers. All tickets are available online at Moshtix. Please note that this will be a 100% drug and alcohol-free event enforced by hired security. For more information visit bounceu18.com.au.

Cheers, ANDIE EGAN allagescolumn@gmail.com

facebook.com/bmamagazine

17

alisha evans Touring with English rock legends Muse was a highlight of 2013 for alt rockers BIRDS OF TOKYO, and drummer Adam Weston says it was a different experience playing at indoor arenas instead of the festivals they’re used to.

“Initially we were quite fearful, because it was our first time as a support act,” he says. “We were worried people would boo us, but it was quite the opposite, people were familiar with us and were singing along. We were blown away from night one.”

The band “got on the sauce” with Muse after some of the shows and were stoked to discover that despite their fame, the Muse guys are down to earth.

Before Birds of Tokyo head off to the United States to tour their latest album, March Fires, they are doing four shows in Oz – one of which happens to be in Canberra on Thursday February 13. Birds will be pulling out older tracks and changing up some of their other songs for the Aussie gigs. Weston says they wanted the tour to be more extensive, but couldn’t fit in any more shows before they’re due in the USA. “There was no way we could turn our backs on playing some shows in Oz and we’re all looking forward to it.”

Despite being around since 2004, the band is treating their US shows and promo work as a new beginning. “We’ll concentrate on shows and travel,” Weston says. “‘Lanterns’ is doing the rounds on radio over there at the moment, so we need to scurry over there and start showing face.”

For the past two years, the guys have spent half of each year in Los Angeles working on and recording tracks, and Weston is hoping they’ll have time to do that in 2014 as well.

“The band is sitting on a tonne of ideas that we need to flesh out,” he says. “We’re in a really good frame of mind at the moment, and we see each record as being reactionary to the one it preceded.

The next record will probably be completely different again, and we’re really looking forward to coming up with more creative ideas. We might have a new record ready to go by 2015.”

Their latest album, March Fires, is unique in that it was written as one piece rather than individual songs like the first three records, says Weston. “Our earlier albums suffered from every song trying to be a single. With March Fires, we didn’t want to pressure ourselves with writing crafty pop music, but the songs that seem seamless were underneath a son of bitch to write,” he says.

“Sometimes the more simplistic you try to make song writing, the more difficult it can become.”

Turning ten this year means the band are established and happier to experiment with their sound. “[We] like most bands when they start out [played] faster, louder and more aggressively to make

18

an impact live – now we feel a lot more comfortable branching out and trying different things,” Weston says. “The first few years the primary goal was to have people move, now we want to have them move, sing along and have people think. Recently we’ve been more comfortable to work with the people we want to, to get what we want and need from our music.”

We started out pretty rocky … but we do heavy in a different way now

That doesn’t mean the guys have forgotten how it all began: the members were originally from or based in Perth back in 2004. Guitarist Adam Spark asked singer Ian Kenny to work on a studio project; they then gave the demo to Weston to lay down some drums. “At this point, we knew it could be more than studio work,” says Weston. They nabbed bass player Anthony Jackson from Weston’s current band, got a set of songs together, and started doing shows.

“We were doing shows before we had a name, and played under different names for the first few shows,” he says. “Even Birds of Tokyo we were going to change. We gigged hard for two or three years just like other local bands before we got a break. To us, it’s not been an overnight thing.”

In 2007, Glenn Sarangapany joined on keys, and in 2011 Ian Berney replaced Jackson on bass. Weston says triple j and other community radio stations were wonderfully supportive. Some of the band members were playing in other projects up until last year, but the commitments of Birds of Tokyo became too much.

“We have always remained fiercely independent,” Weston says.

“We had no management for the first couple of years and each cycle we treat as our last. To a lot of people, we’re considered a household name due to commercial radio thrashing our songs.”

Weston is quite right in saying this, because their single ‘Lanterns’ went triple platinum and was the most played song on Australian radio for the first six months of 2013.

Their sound has changed since they were just mates who lived a few streets away from each other, hung out, drank a lot and listened to music, says Weston.

“We started out pretty rocky and [by] no means have we taken our foot off the pedal,” he says, “but we do heavy in a different way now. Our music is wide and atmospheric, the guitars are not as hard edged, they’re more fuzzy.”

Birds of Tokyo will be at the UC Refectory on Thursday February 13, with support from Glass Towers. Tickets are $51 + bf for GA or $39.80 for students + bf through Oztix, and doors open at 8pm.

@bmamag

Here we are again. It was a bit of a slow start, but the punk scene is now officially back into full swing (or maybe full mosh?). The last couple of weeks have been full of great shows and the year is only just getting started. Here we go.

On Saturday February 1, Mornings will be releasing their new EP, Liquid Ill, at Transit Bar. They will be supported by Sydney industrialpunk duo Box of Fuck (BXF) and the electronic sounds of Calico Cat. Kicking off at 8pm, entry on the night will be $5 on the door before 9pm, and $10 after.

New York’s Lemuria will be stopping by the Magpies Club on tour with Melbourne’s Kissing Booth on Wednesday February 5. They will also be joined by Pinch Hitter from Sydney and locals Oxen and Sex Noises. Canberra’s youth are in luck because this show will indeed be ALL AGES! Tickets are $28.60 + bf through Oztix.

Thursday February 6 will see Queensland’s Columbus taking over The Basement in Belconnen on their Miles Between Us Tour. Fellow Queenslanders Malibu Stacy will be joining them along with local support from No Assumption, Revellers, Arrivals and Azim Zain.

The night will be kicking off at 8pm with a $12 cover charge.

Local hardcore punk favourites No Assumption have been announced as support for Aussie legends Frenzal Rhomb when they stop by Zierholz @ UC on Saturday February 15.

Frenzal Rhomb is working on a set that will include all 35 secret tracks from Not So Tough Now, hopefully in their desired order.

Tickets for this show are $28.60 + bf from the UC Live! ticket shop or through Oztix.

Friends of recently deceased Nicholas Sofer-Schreiber, affectionately known as the “Ginger Ninja”, are organising a show at The Phoenix on Saturday April 26. The aim of the show will be to raise money for a festival in memory of Nicholas, who was a passionate and fun-loving member of the punk community and will be sorely missed.

They’re currently looking for people who are willing to donate their time as performers or volunteers, or something for raffle or auction.

If you’re keen to help out you can contact craig@ruffnready.com.au.

Also don’t forget to tune into Haircuts & T-shirts on 2XX every Monday night at 9:30pm for a dose of the best punk, hardcore and Americana music from local and touring artists.

I would also just like to give a quick shout-out to our beloved editor Ash, whose reign at BMA is unfortunately coming to an end. This is the man who had enough foresight to bring back our punk column, and enough blind faith to put it in the hands of a scrappy, unreliable hooligan such as myself. So you know, thanks and sorry and stuff.

That’s it for now. There’s a lot more great stuff coming our way soon, but you’ll have to wait until the next issue for that. Until then, go to shows and drink and mosh. I’ll see you there.

IAN McCARTHY

facebook.com/bmamagazine

19

SMOKO, SWEARING AND ALL THE STRANGEST SONGS

HAVE A BENNIE AND CALM DOWN

baz ruddick

ian McCARTHY

After two decades of serenading the nation with their crass stylings, the filthy boys of FRENZAL RHOMB have reached a place very few bands do. With a bizarre form of twisted humility, they have regressed to a stage where they kind of aren’t really a band most of the time. I spoke to Lindsay McDougall about where Frenzal are at now, the punk rock community, the annoying times of Abbott and how they get away with touring the same shitty album for three fucking years.

The crazy sounds and party-hard attitude of THE BENNIES are becoming increasingly familiar in the minds of Australians. 2013 was a massive year for the Melbourne natives, including several tours in multiple countries and the release of two separate records. The Bennies’ bassist, Craig Selak, interrupted an evening shower to speak with us about the band’s ck cro a It sounded like hectic 2013 of shit, so we decided and their plans for the we’d just throw someyear to come. thing out there that

Divided between Sydney, Adelaide and Melbourne, the boys seldom get together these days. As Lindsay puts it: “There isn’t much point in doing it to try and earn a living”, so when they do, it’s just because they want to hang out, drink beer and swear at people.

The Bennies spent last year touring seemingly non-stop, something most bands would probably find stressful and tiring – although Selak seems unperturbed by the experience. “Normally it’s just a couple of midweek days of freaking out doing non-tour stuff and then back out,” he says, “so not really a whole lot of time. But to be honest, going on tour is way more fun than being back anyway.”

We are like the ghosts of punk – we die and we regenerate younger and younger

Despite irregular shows and very little radio play, Frenzal Rhomb’s presence in the hearts and minds of our youth is as strong as ever. “It’s like this phantom thing,” Lindsay says. “We are like the ghosts of punk – we die and we regenerate younger and younger. I think it might have something to do with the fact that we swear a lot in our songs!” Fs and Cs aside, Frenzal’s social commentary and political messages are just as important as their foul language. “The trick is you get them in with the swear words and then you try and teach them stuff with still really ridiculous songs.”

While many of Frenzal’s more political and socially charged songs were born in the discontent of the Howard years, these songs have found further meaning and relevance today. “As we discovered, it doesn’t matter which government we have, they still fucking hate refugees … Getting rid of one arsehole and putting another arsehole in power isn’t helping war-stricken people on boats,” Lindsay says.

“Maybe we need to renegotiate and rejig our protests to more specific causes, like people being allowed to stay alive. If it wasn’t for people actually being in trouble, it would be quite funny. It’s a farce.”

While technically touring the Smoko at the Pet Food Factory album (again boys?!), by putting bass player Tom in charge of the set, Frenzal fans will potentially be treated to any one of a billion songs written in the boys’ 20-year history as a band. “Tommy knows every single song ever written, so sometimes he pulls out the strangest songs!” Lindsay says. “He always says that there is someone on his side of stage yelling out songs, and he says, ‘Well, we better play them!’ I am starting to think maybe he has learnt how to throw his voice, and it is just him yelling out ‘Play ‘Dugadugabowbow’!’ Either way, it will be a much randomised set list, possibly with a few Billy Joel songs.”

Frenzal Rhomb will be swearing at people and playing some damn good music at Zierholz @ UC on Saturday February 15. Doors open at 8pm, with support from I Exist and No Assumption. Tickets are $28.60 + bf through Oztix.

20

couldn’t have happened

This is no surprise, of course, with the band having had the opportunity to tour overseas last year in Japan, China, Singapore and Malaysia. Japan is a particular hotspot for The Bennies – they’ve released three records in the country and toured there twice. “I guess with more population and stuff more people can get into different stuff,” he says of the band’s overseas support. “That’s probably what it comes down to … In Australia, ska is not really popular, so it’s good to go overseas and play to people who appreciate it.”

In November, The Bennies released their second full-length album, Rainbows in Space. However Selak admits that the impressive claim in the album’s liner notes – that it was recorded “live in one room with no overdubs” – is completely false. “We were flicking through other record sleeves and there were ones that were making all kinds of claims about how they had been recorded … a lot of the time it sounded like a crock of shit, so we decided we’d just throw something out there that couldn’t have happened.”

Aside from that, though, Selak sounds happy with the album’s reception. “It kind of feels like it’s been out for a lot longer, which is generally a good sign,” he says. “People are familiar with the tunes …

It’s just a great feeling to know that something you’ve worked really hard on is being picked up by plenty of people who are really diggin’ it.”

The Bennies have big plans for the year ahead as well. They’ve already gone to work on their next release. “Last year we put out a seven-inch early in the year and managed to get the full album out later in the year,” says Selak. “So this year the plan is to do another full-length album and put it out about the same time.” Selak doesn’t seem to find the idea of another busy year daunting either. “It’s all good fun. There’s nothing wrong with being busy doing stuff you love.”

The Bennies will be bringing the party to The Phoenix on Thursday March 13. Support from Rather be Dead, and tickets are $5 on the door.

@bmamag

DANCE THE DROP

If you have a serious appetite for becoming a superstar club DJ, it is important that you adopt the correct persona in your promotional photograph. “Civilians” don’t want to see another version of their dreary selves leering back at them through the event poster; they want to see an everyday hero with a little bit of crazy in their eyes.

They want a peoples’ champion who can be trusted to fill the void in-between their mundane trips to the bar and toilet with slightlymore-than-forgettable musical magic.

Genders achieve this in different ways. For the gents, the scale has two distinct extremes. At one end of the spectrum is the “serious thinking man”. Wearing mostly black, he dons a simple straight-facestaring-off-into-the-distance expression that is extremely common in techno, trance and progressive circles. The serious thinking man is rarely found standing, preferring instead to sit with his hands tightly clasped – a symbol of his poignant introspection.

At the other extreme is the more recently popular “unstoppable funboy”. The polar opposite of “serious thinking man” prefers furry purple shoes, a sideways fluoro yellow cap, lens-free black-rimmed glasses and a bowtie. The unstoppable funboy is almost always snapped mid-jump and/or sporting a wacky facial expression that makes you question how any human could possibly be that surprised and excited at the same time.

Girls sit within a much tighter range, but it is by their own design.

They love to look good and feel sexy. Unfortunately, this potent mix can lead to what I like to call the “hey there, big boy” persona. You’ll know you’ve taken one of these if the front row at your gig is full of slobbering guys more interested in your chest than what is coming up next on your playlist. Kudos to all of the ladies out there who let their music do the talking instead of “doing a Havana Brown”.

When is the last time you went to a proper rave? Months? Years?

Never? Exogenesis has all of the right ingredients to quench your thirst. The epic two-room underground party is being held at the Canberra Indoor Rock Climbing Centre on Saturday February 8.

The monstrous line-up is headlined by Italian psytrance don GND Machines alongside local and interstate legends. Tickets are available from Landspeed Records.

Over the next few months, we will be chatting with some of the industry elite about hot issues in the dance music community.

First up is local all-rounder Offtapia giving us his opinion on “the warm-up set”.

“It’s often the last skill you learn when you are coming up as a beginner, and from a promoters point of view, it is the most important. This is why you always see experienced DJs warming up for big acts,” says Offtapia. “Setting up a vibe for the main act is such a crucial element that some big name artists bring a warm-up DJ on tour with them. My advice to up-and-comers is to come out to as many gigs as possible and see how a night progresses from deep, funky music into ‘hands in the air’ peak time stuff. It’s the flow that matters most. Learn it well and you will increase your chances of being booked for better slots.”

TIM GALVIN tim.galvin@live.com.au

facebook.com/bmamagazine

21

METALISE LURED BY THE LAPTOP zoya patel Danny Harley did not always call sunny Brisbane home – in fact, he’s one of Canberra’s former treasures. “I lived there for two or three years in Chapman. And then we moved to Brisbane because our house burnt down in the Canberra fires,” Harley says, not sounding particularly traumatised by the incident. “I went to Stromlo High School – used to kick it at I really came back to the Woden Plaza.” ing eth som g atin idea of cre

unique or [making] sounds that other people don’t have or wouldn’t create

Clearly the move was good for his creativity, because Harley’s solo project, THE KITS STRING TANGLE, has been making significant waves over the past 12 months. His breakout single, ‘Given the Chance’, made him a triple j 2014 Next Crop artist, securing him a spot at the Byron Bay Falls Festival this year.

The momentum has continued to build, with his February national tour selling out shows within seven days of sales, and new dates added to compensate. When asked how he feels about the sudden success, Harley is stoked and humble at the same time. “It’s weird, like, I’ve been in bands for three years, and playing the same venues and smaller venues and struggling to get ticket sales, and I just can’t really explain what’s happening! But it’s surreal, it’s really good.”

The Kite String Tangle produces electronic music with haunting vocals and ambient melodies, in the vein of artists such as James Blake or Mount Kimbie. Harley assembles numerous sounds and samples that won’t be found anywhere else, including environmental recordings like streams, or sticks, or even just people in public spaces. “There’s always a pretty heavy mix of organic versus electronic aspects,” Harley says of his music. “I use a program called Ableton, which is really cool and I’m happy to give it a massive plug. Because programs I had used previously were very functional and were built to sort of record as if it were a tape machine, whereas this is a new take on a music program where it’s really creative and designed for creating music rather than just recording it.”

Harley is confident with electronic music programs, having completed a degree in pop music (“yep, that is a degree – a Bachelor of Pop Music”), with a heavy focus on engineering and production.

Interestingly, it was jazz guitar that occupied Harley initially, before he was lured by the laptop towards electronic music. “I really came back to the idea of creating something unique or [making] sounds that other people don’t have or wouldn’t create, because there’s just so many different paths you can take on a laptop,” he explains.

Unconventionally, The Kite String Tangle will be releasing an EP after the February tour, with plans to release a full length album sometime in 2014. First, though, Harley will head over to the States to play a showcase at SXSW, as well as some headline shows.

Catch The Kite String Tangle at Transit Bar on Thursday February 13. Doors 8pm, and tickets are $16.50 + bf through Moshtix. Support from Kilter.

22

Bit of a rough start to the year for sludge fans, with Eyehategod cancelling their Australian tour hours before boarding – due either to flights not being booked, if the band are to be taken at their word, or the travel agent making a mistake, if Heathen Skulls are to be believed. Either way – no tour and no replacement tour, so all boo, no woo there.

More tragic was the news last week of the passing of Oliver Withöft, who was one of the driving forces behind Century Media Records.

Young at 49, Withöft was forced to scale back his involvement in the label last year due to a heart condition that ultimately took his life.

Since the label’s inception in 1988, he was involved in signing and supporting bands from Satyricon to In Flames to Strapping Young Lad, among hundreds of others. Vale’ Oliver.

Havok from the US of A are here on Friday January 31, and will have their thrash amped up to 11 at The Basement in Belconnen. The supports are going to be Gutter Tactic, No Assumption, Bricks and Basement vets CHUD. The show will kick off at 9pm and $30 is a good price for a brutal night of entertainment.

The Basement also has a big weekend on Thursday February 6, with Columbus, Revellers, No Assumption and Azim Zain for 12 bucks.

Friday February 7 is Jova, Red Gazelle and Aviate Jetpack. Saturday February 8 is long-time Basement soundman Kurt’s birthday bash under the banner of With Heavy Hearts. Huge line-up of great bands including Sorathan Dawn, Tortured, CHUD, Mephistopheles, Summonus, Claret Ash, The Veil, Law Of The Tongue and Hematic.

Big news on the metal festival front that doesn’t involve the juggernaut tentacles of Soundwave touring – we’re having a second Obscene Extreme festival in Australia this year, and it’s expanding to three shows on three nights in March.

The three shows take place at the Reverence Hotel, The Corner Hotel and The Bendigo Hotel on March 7, 8 and 9 respectively.

The full line-up at present is Burst, Festering Drippage, Pregnancy, Ironhawk, Disintegrator, Sewercide, Rort, Wretch, Jig-Ai, Cripple Bastards, Hacked to Chunks, Diploid, New Blood, Doubled Over, Nowyourefucked, Super Fun Happy Slide, Kromosom, Doom, Shackles, The Kill, Ether Rag, Captain Cleanoff, Filth and Headless Death.

There will be multiple sets from a few of the bands, and tickets and other info will be forthcoming soon.

On the local front, this all means that we have a Canberra sideshow booked at The Basement on Thursday March 6 featuring Cripple Bastards and Jig-Ai, and I would suggest that Wretch would be a good candidate to play that show too. Italy’s Cripple Bastards have been around for well over 20 years, and there’s a new album out in mid-February through Relapse Records entitled Nero In Metastasi.

JOSH NIXON doomtildeath@hotmail.com

@bmamag

THE REALNESS Are you an aspiring Australian hip hop artist? Either running solo or in a group, or are you more comfortable with the soul ballads?

Are you planning on dropping that debut album but having trouble raising the funds? Well, the Hilltop Hoods Initiative might be the perfect avenue to explore. One lucky emerging artist or group will have the opportunity to win a prize pack valued at up to $10,000, to assist with funding costs for their debut album.

Applications can be entered now, with entries closing on Tuesday February 25. For more information, visit apra-amcos.com.au.

All you bedroom MPC maestros, don’t panic, I’ve got you guys and girls covered too. The Australasian Beatmaker Invitational is now open for applications, with entries closing Monday February 3. Shortlisted finalists will get a chance to showcase their beats to some of Australia’s finest producers, plus special international guest judge DJ House Shoes. For further details and information, visit grindin.net.

UK-based label Blunted Astronaut has hit the ground running in 2014. They have continued with their winning formula from last year, re-enlisting DJ DOOM to drop another certified head-nodder. This time around, DJ DOOM has teamed up with Blacastan of Demigodz fame and D.I.T.C. alumni O.C. for the track ‘Deep Breath’. This serves as a nice teaser for DJ DOOM and Blacastan’s full-length, which is in the works. It’s a big call, but I’m going out on a limb and saying this

facebook.com/bmamagazine

track will be popping up on a few best-of lists come December. You may also want to check out DJ DOOM’s Temple of Doom cassetteonly project. Limited to 300 copies, DJ DOOM assembled a who’s who of the underground for this project. Peep some of the guest artists dropping verses: Grand Daddy I.U., John Robinson, Prince Po, Large Professor, Krumbsnatcha and J-Ro of The Alkaholiks. Of course, Blacastan also shows up on a track or two.

While we are on the topic of DOOM, it wouldn’t be appropriate to forget about the Metal-Faced Villain himself, MF DOOM. The masked villain has put together a special double cassette of his classic album, Operation Doomsday. Not content with just rereleasing the album on tape, he has put together a metal box set (fitting) which includes two cassettes. The first cassette contains Operation Doomsday with the original album cover art by Lord Scotch 79. The second tape contains all of the instrumentals, B-sides and alternate versions that didn’t make the original album.

Head over to rappcats.com to pre-order.

The Dirty Science crew have dropped The Warning Tape (free download) in the lead-up to the debut album from Dag Savage, the collaboration between Exile and Johaz. The Warning Tape features guest appearances from fellow Dirty Science members, including Blu, Aloe Blacc and more. Be on the lookout for their debut album, E&J, when it drops later this year.

Oakland duo Zion I recently released a digital EP, Masters of Ceremony, via their Bandcamp page: zionicrew.bandcamp.com.

Zumbi and Amp Live have decided to take it back to the roots of the culture, focusing on the MC’s role to energise and invigorate the listener. I’ll let you be the judge on that one.

BERT POLE bertpole@hotmail.com

23

cody atkinson As Dennis Duffy said in prominent TV documentary 30 Rock, “Technology is cyclical”. With that in mind, it is easy to acknowledge the rise of the humble cassette from obsolescence over the past few years. Yes, the once-loved indestructible music carriage medium is back to claim its moment in the sun. It might not have the best sound quality, be practical to use or be cost effective, but every dog has its day. Again. Cody Atkinson looks at why.

Name? The Compact Cassette aka Cassette Tape aka Cassette aka Tape aka Tapez aka Dirt McGirt aka Joe Bananas … wait, I got stuck on Ol’ Dirty Bastard aliases.

Age? 50 years old.

Location? Mostly in the back of op shops nationwide, or in your local independent record store. Prominent across Bandcamp pages and Etsy stores.

The once-loved indestructible music carriage medium is back to claim its moment in the sun

Wait, how did they come back into vogue? Like most trends, it was mainly a product of the quality of releases put out on the cassettes rather than the medium itself. The DIY punk/indie scene embraces, well, DIY spirit, and there really isn’t anything that typifies DIY music more than the humble cassette. [Ed: the boutique label hip hop scene is also embracing the format.]

Like the mixtape, you mean? Yeah, there’s a bit of that out there, including companies that put your own MP3 mixtape list onto cassettes for you.

You can pay people to make your own mixtape for you? Yep, probably more DNFYAGSETDIFYWETCS (Do Nothing For Yourself And Get Someone Else To Do It For You While Embracing The Capitalist System) than true DIY. I remember mixtapes. The thing you gave to impress people you liked, yeah? Correct, there was nothing like a painstakingly recorded mixtape of awesome songs from the radio that always seemed to include the announcer’s voiceover at the start and end of songs. And no pain like seeing them chuck it in the bin five seconds later.

Tough childhood. So are there really bands putting stuff out on cassette? Indeed. For a while there has been a stream of bands putting out releases on cassettes (e.g. the first two Wavves and Ariel

24

Pink albums were cassette only) and it has ramped up in the last year or so. Bands like Perfect Pussy and Cream Juice have released cassettes without releasing full-lengths on CD, and they are being fated in the music scene in the US like crazy. It’s grown so much that Cassette Store Day was started last year.

Cassette Store Day? Was that like Record Store Day? Yep, just like Record Store Day but even more alternative and underground. It makes Record Store Day look positively mainstream.

How did it go down? Quietly. Turns out there’s not many cassette shops.

What’s a cassette? You really waited all this time to ask this key question? The question that underpins this whole article?

Yeah, I didn’t want to look like a fool. What’s a cassette?

Cassettes are somewhat indestructible yet surprisingly fragile music storage devices that have been the perennial alternative to the major music medium (first vinyl, then CDs). Their major selling point was their portability, and the introduction of digital music was the first nail in their coffin. They also warp badly in the heat, have a tendency to get jammed and hiss a lot.

What’s the best cassette of all time? Well, that’s a subjective question, but here’s an objective answer: a mix of full copies of The Go-Betweens’ Spring Hill Fair and Before Hollywood that was filled out with The Saints’ I’m Stranded. I don’t think it was an “official” release.

How do you play cassettes? On pre-1998 cars, old hi-fi systems, non broken-down walkmen or on an old school boombox. Cassette players aren’t really being made anymore, so if you don’t have one, they are hard to come by.

Does this mean the 100% Hits Best of 1998 tape that I found at my mum’s house is now worth like $50? Nope, it’s still worthless.

Just like always.

What’s the future look like for cassettes? Niche at best.

Cassettes will retain their perpetual retro appeal, and provide plenty of memories for those of us who grew up with them.

And they remain one of the most effective physical release formats for small batch music, particularly experimental music, due to their low cost. But they are nearly totally impracticable in 2014. Who knows, maybe all CDs will self destruct sometime in 2015, and cassettes will regain their spot on the mantle as the second most popular music medium.

However I wouldn’t bet on it.

@bmamag

ad space

facebook.com/bmamagazine

25

26

@bmamag

ad space

facebook.com/bmamagazine

27

28

@bmamag

ad space

facebook.com/bmamagazine

29

30

@bmamag

ad space

facebook.com/bmamagazine

31

32

@bmamag

ad space

facebook.com/bmamagazine

33

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

I am a man upon the land, 2013, mixed media, 69 cm diameter. Image credit: Brenton McGeachie

ARTS | ACT

ARTISTPROFILE: Julie Bradley

What do you do? I am a visual artist working from my studio at M16 Artspace and I make works on paper and collages about connections in the natural world.

When, how and why did you get into it? I blame that first excellent set of Derwent coloured pencils I received in primary school for the lifelong obsession with drawing. My grandmother taught me to draw accurately and directly from life when I was a little girl. I became an artist because it gave me a sense of self and a place to think and be quiet. You might say escape, but it was more than that. Being an artist is like living in another land. Mind you, the artist’s life can be pretty exciting too – and the parties are great!

Who or what influences you as an artist? The person who most influenced me as I was beginning my practice was my friend and

34

mentor Jorg Schmiesser – without a doubt. Today the influences on my work come from various places, particularly writing and music.

Words are potent catalysts for my ideas and images. The natural world continues to inspire me daily.

Of what are you proudest so far? My daughter and artist Jacqueline Bradley, who walks the artist’s journey with me.

What are your plans for the future? Refine, consolidate and extend my art practice. Simplify my life.

What makes you laugh? Cheesy Australian comedians and my two kittens.

What pisses you off? Injustice.

What about the local scene would you change? We have an extraordinarily vibrant art scene here – long may it continue!

Upcoming exhibitions? Corpus at Form Gallery in May. Contact Info: julie.bradley8@gmail.com; juliebradley.com.au.

@bmamag

ad space

facebook.com/bmamagazine

35

E

X

H

I

B

I

T

I

O

N

I

S

T

any ol’ show if you’re prepared to bring your chops, help pack up the stage and empty the bins. Since then, we’ve been treated to nights of musical chaos right across the genre spectrum.

UNINHIBITED As your favourite li’l street press goes to print, we’re yet to understand how much damage has been sustained by The Polish Club. Early indications suggest the fire that ripped through the kitchen, apparently coating O’Connor in “the smell of burnt pork knuckle”, was bad. Bad enough to suggest that the Polo could be in very real danger.

Better historians than I will tell you that community clubs in this city have a history of trouble. They’re run by independent boards with varied opinions, attached in many cases to migrant groups when established last century as sanctuaries and places to display culture, and they tend to occupy choice real estate. Some of the best real estate in town.

You’ll note that many naysayers are pointing fingers about the terms of the fire at the Polo. There’ll be nothing in this piece to fan that chatter. Instead, I’m keen to talk about what the Polo has become, and why losing it would be heartbreaking.

The Polo was good enough to take a punt on the Canberra Musicians Club and put on shows that other venues were too scared to host.

A few years back the nascent club was looking for options on the cheap, and the loss of Macgregor Hall in Acton solidified the push toward the Polo. The CMC is seen as an organisation favouring the folkier tip of the sonic iceberg, but in reality they’ll help out with

36

The Croatian Club next door and the Alliance Française nearby caught a whiff of the action (and maybe heard a little about the increased financial traffic over the bar), and have started hosting shows.

You may have seen early posters advertising the first “West Bank Festival”, a three-day event in those three venues. We’re unsure if that will proceed. But, as with everything in this column, we remain hopeful.

Gigs at the Polo became a success, and other rooms wanted a piece of the Polish pizza pie, meaning that artists had even more stages to ply their noisy craft upon. You know how hard it is to get a venue to take on new work? It’s well hard. The success of the Polo is hugely significant.

So what was The Polish Club to performers? I can’t speak for everyone, but for myself and those I’ve shared the stage with, the Polo was a joy. Big enough for your album launch, compelling enough as a place to have a crowd regardless of who was playing, interesting enough to make your night that little bit stranger and better.

The often bemused staff are a treat. As is the Zywiec, the Pierogi, the stage and the way the room sounds. I hope the damage is treatable and the will to rebuild is strong. The Polish Club is irreplaceable.

GLEN MARTIN glenpetermartin@gmail.com

@bmamag

A R T | C O M E DY | D A N C E | L I T E R AT U R E | T H E AT R E

“The hottest place in Hell is reserved for those who remain neutral in times of great moral conflict,” so said Dr Martin Luther King, Jr. If Dr King is correct in his assessment, then the people of Canberra must have willingly sat aside as the Christians were fed to the lions, as Christ himself was flagellated to near-death, as Spicks and Specks was commissioned for yet another series. Well, I hope you’re happy.

I have experienced heat in many forms – the hasty consumption of a piping hot Cornish pasty, the hot breath of the Law upon my neck, the flushed embarrassment of having been witnessed delivering a textbook German suplex to a meddlesome old lady – but never have I been made to suffer the interminable temperatures thrust upon your fair city in recent weeks.

I took small comfort from the confirmation that I have been delivered here justly (the rampant heat obviously a Divine clarion call to stem your moral ill-discipline), but as the 40-plus figures compelled me to remove my double-breasted tweed blazer for as many as ten minutes, the addling effect through my bowler hat forced me to consider your theorem of “global warming” as chief explanation for the raining hellfire.

As I understand it, a great celestial conservatory has been erected around the planet. Constituted largely from noxious gases and vested interests, this glasshouse prohibits the escape of heat while encouraging an exodus of demonstrable reason, resulting in a range of unusual climactic conditions which manifest themselves in the marked increase of overly vexed, voluble and voluminous talkback radio participants.

It seems to me a heady gamble to mortgage one’s future and the future of all mankind upon the notion that those who stand to benefit most from the status quo are precisely those who should be entrusted with forging an alternate course. Would you assign the task of draining wetlands to a unionised movement of duplicitous amphibians? No, sir, you would not.

Your predicament seems even more unfathomable, as the fraudulent amphibians rely upon the wetlands for their very survival, whereas those in power are as reliant upon the absence of fire and flood as the rest of us.

For the admittedly stretched analogy to be truly reflective, the double-dealing amphibians would be more accurately portrayed as portly dormice, underhandedly nurturing the wetlands while simultaneously calling for them to be drained, whilst they themselves fail to acknowledge they lack both the buoyancy and swimming certificates of any rank to ultimately profit from their rodential idiocy.

I see no escape. From a religious perspective, this is godly judgement cast down thanks to your steadfast refusal to free Nelson Mandela, and you will burn. From a scientific standpoint, the established rejection of science itself demands that you burn.

During my travels to Queensland, I spied a charming summation of its weather – that it is “Beautiful one day, perfect the next.” I fear a more accurate description will soon be: “Unconscionably scalding one day, inescapable furnace of doom the next.” gideon foxington-smythe

facebook.com/bmamagazine

37

E

X

H

I

B

I

T

I

O

N

I

S

T

bit PARTS

By Sarah Nathan-Truesdale.

PLUCKED WHAT: ANU School of Art Exhibition WHEN: Mon Jan 20–Fri Feb 7 WHERE: gallery@BCS Sometimes it’s not the veterans of the artistic community that impress and surprise, but the up-and-coming artists and students who are still finding their feet. Plucked is a selection of artworks from the Australian National University School of Art 2013 Graduation Exhibition. Every year, gallery@bcs selects four graduating artists from a department of the School of Art to work on a group show together. This year sees the Photography and Media Arts department getting the spotlight, with Ashleigh Clayton, Tiffany Roweth, Sarah Nathan-Truesdale, and Sophie Penkethman-Young taking part. Mon–Fri, 10am–4pm. Entry is free.

STILLS | FRAGMENTS | LANDSCAPES WHAT: Art Exhibition WHEN: Wed Jan 29–Sun Feb 16 WHERE: Belconnen Arts Centre

By Louise Curham.

Focusing on urban landscapes and experimenting with the ideas of stillness and movement, Stills | Fragments | Landscapes is the latest collaboration between filmmaker/visual artist Louise Curham and artist filmmaker Jo Law. As an exhibition, it takes landscape paintings and places them in within the form of a moving image. It’s a series of screen works that extend traditional artistic boundaries, and is not to be missed. The official opening is at 5:30pm on Friday January 31.

You can meet the artists on Sunday February 9 at 2pm, but for regular hours, the Belconnen Arts Centre is open Tue–Sun, 10am–4pm. Free.

THE FRINGE OPENING NIGHT WHAT: Cameron Smith and In Canberra Tonight WHEN: Thu Feb 6 WHERE: Civic Square Could you possibly want more? From 6:30pm, you can witness a brand new work from local composer and musician Cameron Smith, commissioned especially for the Fringe 2014 opening. With more brass than Future Music Festival gates, it’ll open the Fringe with so much style you won’t know what to do. Then at 8pm in Civic Square, check out the spectacle that is In Canberra Tonight! Watch as host Chris Endrey (Fun Machine) brings together a hilarious forum with co-producer Meg O’Connell (ANU Arts Revue, 2XX FM) and some of the strongest talent from around Canberra. Both events are free, so head along!

TODAY I, TOMORROW YOU WHAT: Interactive Live Art: WHEN: Fri Feb 7 + Sat Feb 8 WHERE: Canberra Museum and Gallery As part of Fringe 2014, and in association with Little Dove Theatre Art and CMAG, Today I, Tomorrow You is coming to Canberra. Directed

by Chenoeh Miller, it is an interactive theatre art installation, running for 30 minutes, that encourages the audience to destroy barriers and express themselves. Focusing on the acknowledgement of the power of being seen “and of being loved because one exists”, the performance will take place – thanks to CMAG – in front of spray art works by Sidney Nolan. Head down at 7:30pm or 8:30pm to witness what is sure to be one of the most creative events during the festival.

38

@bmamag

A R T | C O M E DY | D A N C E | L I T E R AT U R E | T H E AT R E

LITERATURE IN REVIEW The Book Thief Marcus Zusak [Pan-Macmillan; 2005]

In 1939, on her way to a foster home outside of Munich, Liesel Meminger steals a book from the gravediggers who are burying her brother. It’s her first theft, her first book, and her first encounter with Death, but not her last. In her new home with Hans and Rosa Hubermann, she learns to take solace in books – some gifts, some stolen, some she writes herself – as war rolls over Europe. Death, who wistfully narrates his encounters with this ordinary little girl, has never been busier.

The Book Thief is a risky proposition in format, in language and in topic. The Grim Reaper as the point-of-view character, a sympathetic slice-of-life in Nazi Germany, a disjointed narrative that relies heavily on flashbacks and spoils the ending in the first 20 pages: in the hands of a less capable author, this almost 600-page novel could have been a disaster. But Zusak has managed something remarkable. The Book Thief is a unique and moving reading experience, with elegant, evocative writing, lively characters, and an ending that is no less heartbreaking for being promised well in advance.

The narration by Death might have been a gimmick, but instead it’s strangely compelling. This Death is a gentle, tired presence – distractable and given to tangents – who sees humans in an array of muted colours and tells Liesel’s story in a rambling progression of intensely tactile descriptions, disjointed scenes and mesmerising, poetic language. Death is haunted by humans and desperate for a distraction from his endless work, and so he tells the little joys

facebook.com/bmamagazine

and triumphs of Liesel’s life – her struggle to learn to read and the delight she takes in books. But the war is unavoidable, and when her foster parents shelter a Jewish man named Max in the family’s basement, Liesel’s world becomes a very complicated place.

Liesel’s relationship with books and her relationship with the people in her world are deftly intertwined in the narrative: her gentle fosterfather Hans teaches her to read, encourages her and gives her strength. With Max, the Jewish fist-fighter, she learns to tell h er own stories, to make meaning for herself, and together they write a book on painted-over pages of Mein Kampf. Her irascible best friend Rudy becomes her partner-in-crime in larceny, encouraging her to steal and helping her to hide the evidence, and she makes an unlikely ally in the grieving wife of the town’s mayor, who allows Liesel to steal from her library and gifts her with a dictionary and thesaurus to encourage her.

While it’s not a book without flaws and it’s certainly not an easy read, The Book Thief is an affecting and sophisticated novel, well worth reading before you see the film this month. emma grist

39

the word

on albums

james vincent McMORROW post tropical [Vagrant Records]

various artists spice rack [cinnamon records]

cate le bon mug museum [Turnstile]

Shaking off the indie folk of 2010 debut Early in the Morning, James Vincent McMorrow has taken a step – well, more like several steps, or perhaps a leisurely stroll – onto new ground, establishing himself as an electronica aficionado with Post Tropical.

An indie record label sampler is like a box of chocolates … especially one featuring a band called Sweet Shoppe put out by a label called Cinnamon Records.

This alt-folk artist may be from Wales and occasionally record in Welsh, but the third LP from now LA-based Cate Le Bon is all in English. That doesn’t mean that there aren’t frequent challenges in deciphering the lyrics due to her breathy, dreamy singing style. Light and airy, Le Bon’s work brings the bounce and playfulness of a balloon on a string.

Delicate strings, rippling synths and spectral mandolins are encompassed in the minimalist instrumentation. A balance is struck between soft tranquillity and crashing crescendos. The quiet moments contrast against the power of the sound overflowing, such as with the swelling of the horns on the captivating ‘Gold’. McMorrow successfully uses silence to his benefit.

Percussion – subtle, yet atmospheric – varies throughout, from snare rolls on ‘The Lakes’ to handclaps on ‘Glacier’.

Morrow’s silken voice is undeniably the backbone to the album, utilised both as narration and as an instrument. The layered harmonies are kept spacious and light, resulting in a hymnal sound I can only label as white boy gospel. On tracks such as standout ‘Red Dust’, McMorrow’s croons appear exclusively gentle, but transform into howls that display a pure strength in delivery: “My hands don’t feel like their own/ I need someone to love/ I need someone to hold.” The lyricism there is simple, for sure, but its heartbreaking honesty makes it one of most grappling moments on the LP. Comparisons to Bon Iver were inevitable; both have a lilting falsetto that demands an emotional response, abundant facial hair and near ultimate control over their work (McMorrow produced, wrote and played all of the instruments on the album). Yet McMorrow has moulded an album that is distinctly his own. Post Tropical is an entrancing electronica sanctuary, bursting with intricacies and sentiment to get lost in. angela christian-Wilkes

40

In celebration of their one-year anniversary as a label, Cinnamon Records have released Spice Rack, a selection of past and upcoming releases on the label. Spice Rack covers a dozen tracks by seven artists across a wide variety of genres, from punk to country. Yes, country.

Like all label samplers, the quality is highly variable throughout, and due to the quite varied nature of the genres on show the flow is a bit halting from track to track.

Put it this way: jumping from Sex Noises’ furious shouts to Mikey Shanahan’s country crooning is unconventional to say the least.

And the leap back to Alphamale’s processed and plucked guitars is positively jarring. But it certainly grabs attention.

There’s nothing on here that’s not solid, and some material exceeds expectations.

The Sweet Shoppe songs shine through, backing up their EP release of late last year.

Sweet Shoppe find a good balance between aggression and restraint on both their tracks, and there’s even a hint of jangle on ‘Streets (Deep Heat)’.

Elsewhere, the two California Girls tracks surprise – given their previously unknown background – including their cover of Beach Slut’s ‘Jacob’s Song’. And Mornings’ forthcoming Liquid Ill EP looks to be shaping up well given the two tracks on Spice Rack, especially the slow burn of ‘Don’t Wait Up’.

For a measly fiver, it’s a good introduction to a fair chunk of the Canberra music scene in 2014, and a purposeful collection of a bunch of bands starting to make some noise.

Opener ‘I Can’t Help You’ immediately grabs your attention with its intricate twangy guitar melody, while echo effects lend a sleepy quality to Le Bon’s singing. Another highlight is ‘Sisters’, carrying a rock vibe with its fast, retro organ sound. It is difficult to ignore ‘Duke’ or only half listen to the track as background music. Its complex structure, with haphazard melodies, has the clever effect of clawing back the attention of the listener, as the ear is drawn to each variation in the song. On the other hand, the soporific ‘I Think I Knew’, in which Le Bon is joined in a duet by an equally sluggish male vocal, is a yawn. Even the injection of bright, rippling keys cannot prevent it from sounding mournful. The aptly named ‘Wild’ stands out from the other tracks due to its strident delivery. Slow-paced, shadowy keys create an air of suspense in ‘Mirror Me’, while ‘Cuckoo Through the Walls’ combines circular key patterns with discordant guitars. Aspects of some songs, especially the keyboards, bring to mind the similarly quirky work of NZ female duo Flying Scribble.

Mug Museum is an intriguing album, which delivers unusual but appealing melodies and unconventional arrangements as its best features. Le Bon’s vocal style is the polarising factor, either enticing or annoying the listener. rory McCARTNEY

cody atkinson

@bmamag

steelswarm the ultimate offering EP [independent]

toy join the dots [Heavenly/PIAS]

the ancients night bus [chapter records]

Sydney trio SteelSwarm offer up a refreshingly old school take on thrash metal – there are no death metal growls here, let alone folktronica flourishes or modern production folderols – and their The Ultimate Offering EP is something of a breath of fresh air, if for that reason alone.

Brighton-based indie rock five-piece Toy have been touted by a fair section of the UK music press as one of the country’s potential new stars – a position that’s also been aided by plaudits from friends and tour mates The Horrors. A scant year on from the band’s self-titled debut, this second album, Join The Dots, sees Toy following an aesthetic progression that’s in many senses very similar to that aforementioned band.

Indeed, the 11 tracks collected here see the band’s krautrock and psychedelic-indebted influences being stretched to fit a much broader canvas.

Sometimes the most interesting thing about a record is its sphere of influence.

While a Coldplay record could be defined by a very simple Venn diagram, there are others which seem to pick melodic and sonic elements almost out of a collective memory. Perhaps the actual elements of that memory never existed, but circulate like a Chinese whisper. Like remembering Degrassi Junior High to be awesome, or banana Paddle Pops as the apogee of modern desserts. Neither is entirely true, but they seem true.

However, the good news is that, beyond the no frills nature of their delivery, the band has delivered a quartet of very handy mid-eighties-styled thrash tunes, each with something to recommend it, even if none of the four really scream “CLASSIC!” at you.

For reasons known to themselves, the best two tracks come last; ‘Ever Rest’ is a nice example of that much maligned beast, the thrash ballad, whilst ‘The Underworld Awaits’ is a tasty heads-down chugger of the sort Exodus used to excel at all those years ago. The title track and ‘Inheritor’ round out the package, with tracks both offering plenty of vitality and excitement without ever sending the listener into paroxysms of neck-bothering delight.

There are gripes, of course – the production on all four tracks is a little dry, leaving guitarist and singer Dane Simms’ voice sounding exposed in places, but that’s a technicality rather than a real deficiency, which will easily be patched up in the hands of more experienced studio personnel – and overall, the material is still a little too derivative of classic period Metallica and Megadeth.

As an opening statement of intent, this will certainly do, thank you very much. But I for one hope that this doesn’t turn out to be SteelSwarm’s ultimate offering, and if I’m any judge, I’m sure it won’t be. Good stuff. scott adams

Opening track ‘Conductor’ hints at the increased levels of ambition here, kicking things off with a spectacular seven-minutelong motorik rock excursion that suggests some meeting point between The Cure and Neu!; the precise mechanism of the snares perfectly keeps pace with the walls of shoegaze guitars. ‘You Won’t Be The Same’ meanwhile heads out into far more loose and jangly psyche-rock territory that calls to mind Tame Impala trading notes with The Jesus and Mary Chain.

Elsewhere, title track ‘Join the Dots’ sends things hurtling off into a six-minute ride through stratospheric guitar noise, mechanical tribal drumming and snarled overdriven vocals that’s easily the most straight-out ferocious moment to be found here. Perhaps more than anything else, the added hugeness of the band’s sound here hints at their desire to play bigger venues as much as any added confidence – something that this album seems more than qualified to enable. Beneath all of the added layers and production polish, though, there’s the occasional sense that Toy are still building towards their real peak. Still, this is a very strong second album that often threatens greatness. chris downton

facebook.com/bmamagazine

The Ancients’ third record reminds me of things I can’t quite place. It’s pop in the way several Chapter Records label-mates do pop, but twisted. Its many parts might be broken down into standard offset jangle, cruisy psychewave and imagined ‘80s soundtracks, but those terms are all as meaningless as they seem. Instead, a better way to describe this sterling effort is to call it a collection of clever, idiosyncratic pop gems with loads of vibe.

If you cast an eye over interviews with singer and guitarist Jonothan Mitchell, you could assume that he’s an odd cat.

Amusingly nutty. The video for the outstanding single ‘Hey Now’ hints at this too. And this is the vibe I get from the record as a whole – something classic, just left of the dial. The timing is a bit different, the wit super dry.

If anything holds this album back, it’s in that same quality that makes it so intriguing – the otherness creates a veneer, and it’s tough to really engage with the record. It lacks that Malkmusian or Dick Diver-esque flash of heart that elevates great tunes into great tunes that affect you. Still, this is a fine record. glen martin

41

gold panda reprise EP [Liberator]

painted palms forever [Polyvinyl Records]

oliver tank slow motion music [create/control]

UK-based electronic producer Gold Panda’s second album, Half Of Where You Live, was easily one of 2013’s biggest left field dance highlights – its 11 tracks seeing Derwin Schlecker taking his predominantly vocal-less productions to even greater levels of depth and detail. Six months on and this six-track download-only EP offers up a companion piece, collecting together remixes of both album tracks ‘Community’ and ‘Reprise’.

Cousins Reese Donohue and Chris Prudhomme, collectively known as Painted Palms, pull together modern electronic elements with ‘60s surf ambience on their debut album, Forever. Floating by on washes of fuzzy synths and melodic hooks, it swallows the listener into a psychedelic summer dream.

When Sydney-based electronic producer Oliver Tank released his 2011 debut EP, Dreams, it proved to be a serious launching pad to a much wider audience, with its glitchpop oriented tracks winning FBi Radio’s Northern Lights competition and enabling Tank to perform at Iceland’s Airwaves Festival. In the wake of the international press acclaim that subsequently surrounded Dreams, three years on, this second EP from Tank, Slow Motion Music, arrives on the heels of him honing his live performance as tour support for the likes of Bonobo, Megan Washington and Lana Del Rey.

As a remix companion exercise, it can’t help but come across as a bit of a missed opportunity given that it focuses on just two tracks, and it doesn’t take long before repetition begins to set in. Indeed, this feels more like a DJ tool than anything else, and thankfully, the quality of the remixes here is fairly strong. Fort Romeau’s remix of ‘Community’ takes things off into eight minutes of lithe tech-house in a reworking that throws the emphasis on hypnotically rolling bass lines and crisp snare syncopation, whilst still allowing the spectacularly detailed floaty melodic layers of the original to shine through. While it’s easily one of the more inspired moments here, the same unfortunately can’t be said of the demo version of the same track, which while adding some satisfying grittiness, doesn’t really differ much from the (also included) original album version much at all.

Thankfully, it’s Schlecker himself who provides another of this EP’s standout highlights. ‘If U Knew’, a reworking of ‘Reprise’, throws the focus on airy space, allowing the original’s ghostly female soul vocal loops plenty of room to trail like smoke against slow jazzy snares, vinyl crackle and fragments of Asian instrumentation, before tight woodblock rhythms power things to a moody close. chris downton

42

Opener ‘Too High’ is deliciously catchy, tugging in the listener on waves of sweet pop. However, on ‘Here It Comes’, the territory already feels walked upon. This is the album’s downfall: many of the songs lack sharp enough edges to define themselves against one another.

The upfront rhythms on ‘Spinning Signs’ echo Mark Ronson and his Business Intl., and ‘Soft Hammer’, with its gentle harmonies and Beach Boy tone, is a tropical-tasting highlight. The album is steeped in tales of misunderstood youth and the feeling of being directionless regarding identity and girls. Self-absorbed and, as a consequence, relatable, this is notable on the title track: “I’ve been watching the days bleed together/ There are so many days I don’t remember/ Feeling like I just can’t hang on to myself.”

The acoustic ‘Angels’ aids with recovery; the fragility of the subject feels direct and not disguised behind a happy jam. Soft, sweet and a much needed contrast to its predecessors, it finishes Forever well by not pumping out more of the same.

Painted Palms have solidly established their sound with Forever. They are by no means lacking in the ability to create good music. However, Forever’s impact would last longer if they had cut back on the filler, leaving behind the magnetism of its stronger tracks. It’s an undeniably enjoyable listen; just don’t let it pass you by in a haze of angst and reverb. angela christian-Wilkes

While many have made comparisons to James Blake, the seven tracks collected here see Tank applying an approach that’s considerably less fractured, and more oriented towards lush downbeat opulence, as hinted by the title.

There’s also a distinct atmosphere of blurred melancholy to much of this EP, with opening track ‘Stay’ seeing Fawn Myers’ delicate vocals almost bleeding into a backdrop of slow woodblock rhythms, forlorn pianos and ghostly, treated string arrangements. If the aforementioned track carries a hint of CFCF’s woozy slow motion crawl, ‘You Never Know’ ventures further out into spacious minimalism, allowing Hayden Calnin’s rich vocal harmonies plenty of room to ring out over a backdrop of moody, distorted synth chords and the skeletal pulse of woodblock percussion.

In many ways, it’s emblematic of the sweeping, emotive atmospheres that Tank is aiming for here, with the territory staked out being far more geared towards late night headphone listening than a packed club (though Tank’s probably got that angle well covered too). A refined follow-up that more than lives up to the hype spawned by Dreams. chris downton

@bmamag

v

singles in focus by cody atkinson Container ‘Slush’

sumie sumie [Bella Union]

reverend horton heat rev [victory records]

This self-titled effort is the debut album from Swedish folk artist Sandra Sumie Nagano. She was lucky to be born with the voice of an angel, soft and haunting with all the sharpness and delicacy of crystal. Her vocals are firmly bracketed by the simplicity of the basic guitar accompaniment, which borders on stark.

Turn up the bass! Turn up the treble! It’s a psychobilly freakout! Yup, the Reverend (Jim Heath to his, erm, “mom”) is back, and the good news is he’s back to his blistering best!

Nagano’s gentle rotating acoustic guitar patterns cradle her singing in the opener ‘Spells You’, switching to an alternating pattern in ‘Never Wanted to Be’. There is limited variation in application of the guitar and instrumental add-ons are restricted to Dustin O’Halloran’s piano in ‘Sailor Friends’, Gyda Valtysdottir’s cello in ‘Speed Into’ and Iden Reinhart’s violin in ‘Midnight Glories’.

This limitation is a shame, as simple strings can really add fire to the edge of her voice.

There’s a lot of power in a single held note or the placing of extra emphasis on words, but these techniques are underutilised, being limited to album highlights ‘Burden of Ease’ and ‘Show Talked Windows’. In the main, songs are delivered in the flat, emotion-lite style of Indianapolis folk artists Lily and Madeleine Jurkiewicz.

Recorded in the studio of German pianist Nils Frahm, producer Dustin O’Halloran has given the album a somewhat sterile feel.

Despite the crisply delivered lyrics, song themes are difficult to navigate without the aid of a Tom Tom. Taken individually, each song is a thing of beauty. However, there is not enough variation between tracks and, listened to as an album, it starts to sound the same. Best enjoyed in moderation, Sumie is a prime example of how a great voice will only take you so far, without some equally great music behind it. rory McCARTNEY

facebook.com/bmamagazine

REV is a glorious, exhilarating mixture of (for the most part) fast-paced rockabilly guitar, quick surf guitar, big fat, speedy double bass twanging and (you guessed it) breakneck drumming – all guaranteed to get you dancing (or at least nodding your head appreciatively), especially on infectious fun tracks like ‘Zombie Dumb’ or ‘Let Me Teach You How to Eat’. However, when Heat and his compadres Jimbo Wallace (bass) and Scott Churilla (drums) drop the pace a little, as they do on the marvellous ‘Spooky Boots’, the fun levels increase even higher as the three musicians relax and show off their impressive chops. The Reverend is a fine guitarist, and some of his lead playing on REV is absolutely stellar, but he’s absolutely happy to drop into the pocket and riff away rhythmically when a song requires less flash and more oomph – the mark of a great player, in my book.

Of course, this retro rockin’ doesn’t just extend to the look and the sounds – lyrically, the good Reverend is rooted in 1950s America too, so if you believe everything The Guardian tells you, there are moments (probably mostly in ‘Let Me Teach …’) where you’ll be shaking your fist at his “conservative” views on gender equality.

But hey, The Guardian isn’t always the firmest in its grip on yer actual reality, ya dig? Me? I like the world the Reverend lives in, and his guitar speaks the truth to me, oh yes sir. Hallelujah! scott adams

‘Slush’ is the wrong title for this song.

This is sharp. This is cutting. This is abrasive. I’ll be honest, I struggled to get through the first 30 seconds, but it’s worth it. Some people will call this an early contender for song of the year, some will call it one of the worst songs they’ve ever heard. There’s very little ground in the middle. 4 stars.

Liars ‘Mess on a Mission’ Liars keep pushing in the noise/dance direction, with a bit more of a focus on the dance part of the equation.

Angus Andrew’s trademark vocals are all over this, but a four to the floor beat underwrites the whole joint. One of the first Liars songs that could be dropped in a club. 4 stars.

A Sunny Day in Glasgow

‘In Love With Useless (The Timeless Geometry In The Tradition Of Passing)’

A Sunny Day in Glasgow return to their roots of incredibly long song titles. ‘In Love With Useless’ is a solid slice of dream-pop crossed with glitch dance. The result is both oddly disjointed and hypnotic at the same time. I’d say more, but the title took all the room up. 4 stars.

Kim Cesarion ‘Undressed’ This is a pop song that sounds like the other pop songs. Another pop song about a guy imploring a girl to get naked after she gets drunk/ starstruck. Ho hum. It feels like this is a flavour of the month: Eurodance and sleaze. This song, musically and lyrically, is the anti-Lorde, the antiBeck-circa Midnite Vultures, where status symbols are clamoured for and irony is absent. 1 star.

43

the word

on films

WITH MELISSA WELLHAM

Oh, the Oscar nominations are here! Who would’ve thought we’d ever see the day when Matthew McConaughey was nominated for best actor in a leading role? Or be credible in any capacity?

(Okay, okay, that’s mean.

But did you guys SEE Ghosts of Girlfriends Past?) And in the Actress in a Leading Role category, I’d love to see Cate Blanchett win for Blue Jasmine. What a star.

quote of the issue “If your eyes could speak, what would they say?” – Max Vandenburg (Ben Schnetzer), The Book Thief

the book thief

her

philomena

The Book Thief is about two hours long. For approximately the last hour of the film, I oscillated between tearing up, sniffling and shedding more significant tears.

During my screening of Her, someone’s phone let out a bleep. The cinemagoer couldn’t stand to be disconnected for two hours. Writer and director Spike Jonze taps into our desire for companionship, and how technology can satisfy that need. Leaving your phone on at the movies is just the beginning of a growing obsession that’s analysed beautifully in Her.

Philomena is a quintessential British crowd-pleaser. It stars Judi Dench and Steve Coogan.

It’s directed by Stephen Frears, director of The Queen. It’s an oddball buddy comedy with a bit of deeper pathos. It’s based on a true story.

Based on the beloved and best-selling book by Markus Zusak, The Book Thief tells the story of a girl named Liesel (Sophie Nélisse) who is sent to live with a foster family in Germany, during World War II. She slowly warms to her new parents Hans (Geoffrey Rush) and Rosa (Emily Watson), and is only slightly aware of the rising tide of Nazism in her city. That is, until her new family starts harbouring Max (Ben Schnetzer), a Jewish man on the run. It’s a film narrated by an omniscient Death (Roger Allam) that tells a story about life.

The book is a young adult novel, for all ages. The film, however, struggles to hit the same ageless appeal. It is perhaps too long for children, and the more simplistic metaphors, visual or otherwise, are likely to grate on adults.

But the likeable nature of the leading characters – Liesel, Hans, Rosa and Max – means you are invested from the get go in their happiness and survival. The film is a moving look at life in Nazi Germany, from a perspective that’s not often explored.

The Book Thief is an aboveaverage film. But it doesn’t quite fulfil the promise of an exceptional book. melissa wellham

Los Angeles in the future is a peaceful city where writer Theodore Twombly (Joaquin Phoenix) develops a relationship with an intelligent operating system named Samantha (voiced by Scarlett Johansson). A man falls in love with a computer. A tricky concept to execute, but the perfect kind of crazy for Jonze, who has made a career out of wrangling odd ideas with ease. Her is more perceptive of a timeline not too far away, and doesn’t get side-tracked.

It defines everything that’s great about science fiction; when done right, it provides the platform to ponder what it means to be a human being.

Johansson is only present in voice and her delicate performance draws you into the intimacy of the relationship.

Phoenix is endearing without veering into the creepy side of his character’s personality (remember, he’s in love with a microchip) which is forever present, like trap waiting to catch the actor.

Like the two main characters, romance and science fiction are infused magnificently in Her. CAMERON WILLIAMS

44

And what a true story! It’s got it all: evil nuns, a great fire, intercontinental travel, and the search for a lost son. Philomena Lee (Judi Dench) looks back on her life – and is haunted by the child she gave birth to out of wedlock, who she gave up to (evil) nuns. Following church doctrine, she signed a contract saying she would never attempt to find the boy. But years later, Philomena decides she wants to find her son, and recruits the help of the cynical former journalist Martin Sixsmith (Steve Coogan).

Dench and Coogan deliver flawless performances, which is to be expected; despite the serious subject matter, it is still heartwarming, humorous and charming. But what makes this film work is the story on which it’s based. The director, cast and crew should be celebrated for the fact that they didn’t attempt anything too outrageous in their craft that would get in the way of Philomena’s story.

The film slowly reveals, piece by piece, the devastating consequences of the Catholic Church’s antiquated attitude.

Lee is still a believer by the end of the story, but members of the audience might never trust a nun again. melissa wellham

@bmamag

the wolf of wall street

jack ryan: shadow recruit

Don’t confuse Martin Scorsese’s The Wolf of Wall Street for a commentary on the great American pastime of greed. Based on the memoir of real-life stock broker Jordan Belfort (Leonardo DiCaprio), it’s a lavish brag designed to put you in the businessman’s swanky shoes.

With many of the great action franchises languishing and Bond on a break, there are slim pickings as far as action heroes are concerned – and sadly Jack Ryan: Shadow Recruit is not the film to deliver.

Scorsese is calling the shots, but Belfort’s character is the gatekeeper of the narrative.

Scorsese and screenwriter Terence Winter commit to portraying Belfort as a guy who is narrating the story with a misguided sense of pride. The hedonism on show is brazen, but captured perfectly in all its ugliness. As the behaviour spirals out of control, the comedy hits its stride. Scorsese and Winter ensure a black heart beats with every laugh. Sadly, there are comedic detours that run too long. Compound them and you’ve got a runtime that softens the blow of Scorsese’s punchy direction.

DiCaprio is smug and ferocious, the ultimate Wall Street yuppie that would make Gordon Gekko yelp. The supporting cast further personifies the WASP (White Anglo-Saxon Protestants) gone wild madness of the film – especially Jonah Hill who plays Belfort’s business partner, and Matthew McConaughey in another scenestealing performance.

Although Scorsese overindulges as much as his subject, in the cinematic jungle, The Wolf of Wall Street proves he’s still the king.

Directed by Kenneth Branagh and starring Chris Pine (of Star Trek), Keira Knightley, Kevin Costner, and Branagh himself, one might expect Jack Ryan to bring something fresh and new.

Sadly, this never eventuates.

Pine plays Jack Ryan, Wall Street analyst and CIA operative, who is thrown in the deep end on a trip to Moscow to uncover a Russian plot to sabotage the US economy, with mentor (Costner) and fiancée (Knightley) in tow.

Pine is adequate but unexciting as Jack Ryan, with neither the charisma nor the appeal required for the role, and Knightley is – to be polite – an odd choice for love interest (I won’t even get started on her American accent). Branagh’s direction is hardly memorable, except though he saves the most inspired shots for himself, as bad guy Cherevin.

To be fair, after a dull introductory 45 minutes, the film does find its feet, and once rolling is a decent action film – but never did I truly feel as though I was being taken on a ride, nor that there was any real, edge-of-my-seat danger. A tidy cameo by Baryshnikov is about all that got me excited in this truly forgettable film.

MEGAN McKEOUGH

CAMERON WILLIAMS

facebook.com/bmamagazine

45

the word on dvds

The Sunnyboy [Madman] In the rough and tumble of the early ‘80s pup-pop scene, The Sunnyboys seemed destined for big things. Singer/ guitarist Jeremy Oxley was a tall, handsome focal point for the band. They looked good on Countdown. Their debut album is rightly considered an Australian classic – packed full of well-constructed catchy rock-pop songs; ‘Alone With You’ sounds like an afternoon breeze on a stinking hot summer’s day. But behind it all, Oxley’s behaviour was erratic, especially when he drank, taunting the audience and fellow bandmates with giant walls of feedback. Eventually The Sunnyboys split, and Oxley’s real descent began at the hands of schizophrenia.

Cue years of alcohol abuse, ballooning weight, meandering and struggling to make any reliable connection with the outside world. At one grim point he is chased by police and institutionalised at the request of his family. Understandably, this still burns. At various times during this fly-on-the-wall type doco, Oxley denies he has schizophrenia, acknowledges it, then claims there is no such disorder. At the same time, he never seems fully at ease with his past as a rock star, and whenever he plays the guitar or sings, it’s a distant shadow of his past, almost as if he is mocking his talents.

Even sadder, medication has created a slow meaty drawl.

But as the fog lifts with the tireless assistance of his wife, Mary, Oxley agrees to reform the original line-up with the support of his brother and Sunnyboy bassist, Peter. At this point, another Jeremy Oxley emerges – that distinctive voice is clear again and his guitar skills are, frankly, stunning. Yet despite the positive ending and imposing physical stature, an air of fragility lingers over Oxley – perhaps a reminder that you don’t “fix” mental illnesses, you manage them as best you can.

46

justin hook

The Stone Roses: Made of Stone [Madman] I have no compunction when walking out of gigs early.

Whether it’s weighing up the last bus home or a $100 cab fare, or boredom (Radiohead), hunger (Bob Dylan) or general distraction (Bob Dylan, again) there’s nothing wrong with legging it. One notable gig was The Stone Roses in late 1995 at Wembley Arena. The band, already on their downward spiral, had the ignominy of following the Manic Street Preachers – playing their first show since the disappearance and presumed suicide of guitarist Richey Edwards.

Supporting a mediocre album (Second Coming), The Stone Roses were dreary. Four months later, guitarist John Squires quit and the band was as good as over.

Bickering between Squires and Brown continued at full speed for the rest of the ‘90s and all the ‘00s, and any talk of a reunion was routinely and understandably kiboshed. Until 2011, when the band faced a roomful of journos – never their best friends – and put on a show of revelry and friendship as if the last 15 years hadn’t happened. This is where Made of Stone starts, the beginning of The Stone Roses Mk II. Shane Meadows (This Is England) was given unlimited access by the band throughout the first months of their reunion. What emerges is a true fan’s perspective – objectivity isn’t his goal. As such, it’s almost impossible to not get swept up in the excitement, especially as context-free, attention-sapping concert footage is kept to a minimum. A detailed, but not overly comprehensive history of the band is woven, and in line with Film Structure 101, the disruption at the end of the second act (Reni storming off stage, Brown calling him a cunt) only makes the third act’s triumphant home town show more gratifying. I doubt anyone walked out of that Manchester show early. justin hook

The Rolling Stones: Sweet Summer Sun: Hyde Park Live [Shock] Halfway through this Hyde Park show that commemorates The Rolling Stones’ 50th year, Mick Jagger reminds the crowd that it is four decades to the day since they last played the iconic central London park. As if to confirm his ageless bona fides, Jagger wiggles onstage wearing the same long white shirt that a considerably younger man once wore. It fits perfectly.

That’s the thing about The Rolling Stones – not much really changes, not body shape, certainly not the songs. In fact, we have become so accustomed to seeing the Stones roll out their Greatest Hits show – Keef with fag in mouth, Jagger still jumping like a hyena, Charlie stoic as ever, Ron still the new guy – that we forget they can actually still play. That they don’t phone it in any more. So with that as the baseline to judge against, you have to admit this show in the summer of 2013 was pretty special. Audiences in the UK aren’t as easily swayed as Australian crowds, and as local(ish) boys made very good, there’s a certain amount of pressure on the band to celebrate in style. They deliver a supremely competent set with no flameouts.

Having said that, Jagger is beginning to sound like a drunk karaoke Jagger impersonator; he still sounds like Jagger should sound, but control is slipping. The real treat is Mick Taylor returning for a song – the jammy ‘Midnight Rambler’.

For those ten minutes, The Rolling Stones become a more purposeful unit and shades of the early ‘70s shine through.

If only Taylor could stay. Far superior to the Scorsese effort a few years back, Sweet Summer Sun is the best representation of late-era, possibly last-era, Stones in a setting (lawns, thousands of ego-stroking fans) where they are most comfortable. justin hook

@bmamag

the word

Yes, I’m Leaving, The Fighting League, Shaking Hell, Mornings Smith’s Alternative Friday January 17

on gigs

Either Canberra’s not built for summer or I’m not. Day after day of scorching heat. All that comes to mind when confronted with unrelenting heat is fuzzy punk/noise rock. Call it a hangover from my youth.

Mornings came prepared for the warmer weather, donning shorts for their opening set. Led ably by frontman Jordan Rodger, Mornings punched through their songs with a sense of aggression.

They seem most comfortable at their loudest, at their most furious points. It was certainly a display that builds anticipation for their upcoming EP release.

Shaking Hell took to the stage and let their intent be known immediately, thrashing away with their two guitars/no bass/drums setup. Their Sonic Youth-influenced name provided a slight tell for the direction of their set, which was heavy on intertwined guitars and pedal gazing.

There was even a Thurston Moore-esque guitar change through the set, with Ian Rogers making a guitar change only for it to fall apart in his arms five seconds into the next song.

But Shaking Hell, for a new band, played a surprisingly imaginative and coherent set. Subtle shifts in tempo and intensity ran throughout, with the at times atonal vocals blending into the guitars being shredded halfway into the next day.

I feel like I rave about The Fighting League every other week, so I’ll get it out of the way early. Yes, they are a good live band. No, they are not to everyone’s tastes. But go see them. Just do it.

A standard The Fighting League show (like this one was) will have: 25 references to them being from Canberra, ten calls of “We’re the kings of the Capital!”, 14 crotch grabs, six wads of spit, three songs done shirtless and one killer closer in ‘Guys You Want To Be’. Nothing more, nothing less. They’ll make you laugh a bit, they’ll make you nod your head in time with the beat. You can’t really ask for much more.

Headliners Yes, I’m Leaving kept the fury consistent from the getgo. They are loud. Unashamedly so. But you can make all the noise in the world and it won’t amount to anything if you’re no good.

Fortunately, Yes, I’m Leaving is very good. Below the waves of aggression and noise are very good songs; they’re well-written and conceived. Coming off the back of the release of their third album Mission Bulb, Yes, I’m Leaving are showing that they can push a bit beyond the noise and repetition of their first two albums. Billy Burke’s vocals, whilst mostly shouted with authority, softened at times and carried bits of the melody. Not all of the time, but enough to keep it interesting.

And that was their strength on the night: enough diversity to keep the attention of the audience. When their set finished, Yes, I’m Leaving didn’t even have enough time to put down their instruments before the call for an encore came – one which they eagerly obliged.

PHOTOS BY MEGAN LEAHY

Noise/punk shows are tough sells at sit-down gigs, but all four bands were able to keep the audience engaged throughout the night.

Gigs like this one follow a simple formula, but one that’s hard to get right; good songs played well, and nothing more.

CODY ATKINSON

facebook.com/bmamagazine

47

the word

Holy Eucharist Line Label Launch (Tim Pearce, Matthew Elias, Crmwll, Northumberland, Stenxh) The Phoenix Bar Saturday January 11

on gigs

When a new Canberra label is born, local music enthusiasts turn out from miles around to witness its birth. So it was on Saturday January 11 at The Phoenix Bar, when Canberra’s newest label, Holy Eucharist Line, launched their Spring/Summer 2014 catalogue.

The dreamchild of Becki Whitton (of Crmwll and Aphir), Sam Andrews (also of Crmwll and Stenxh) and Oscar Condon, Holy Eucharist Line, or HEL, have established an eclectic roster, which was reflected in the line-up on Saturday night.

The Phoenix steadily filled up as Tim Pearce took to the stage to serenade the audience with his gravelly, croony guitar-driven ballads. With a Springsteen-meets-Oasis vibe, Pearce was met with enthusiasm by the crowd.

Taking us to somewhere completely different was Stenxh (pronounced ‘stench’, I believe), who took the stage for what felt like an extended jam of R&B/electronica. The combination of guitar, drums, and electronic loops was dreamy and ambient, but at times repetitive. The acoustics of the newly refurbished Phoenix limited the impact of Stenxh’s otherwise intricate and immersive music – I would recommend grabbing a copy of their debut LP, The Stenxhographer, to enjoy their tunes to the fullest potential.

Following Stenxh was a period of maybe half an hour, during which teenage duo Northumberland set up and experienced sound issues.

As there was no one announcing bands – and no clear way of telling whether each time the duo burst into song, they were starting their set or still sound checking – this period brought the evening to a grinding halt, and it was inevitable that the audience was lost for a moment or two.

When they finally did start playing, Northumberland were charming and talented beyond their years – though again, their melodies were drowned out somewhat by the noise and bustle of The Phoenix, which by this point was totally packed.

Crmwll took to the stage next to rabid applause, and they didn’t fail to deliver. Frontwoman/HEL founder Becki Whitton is captivating on stage, with her charisma coming through both via dynamic vocals and her stage banter. Joined onstage by Sam Andrews on guitar, and featuring guest appearances from Stenxh members Alex Yoon and Hannah De-Feyter on drums and bass respectively, the sound was full and well-developed.

Every time I see these guys, I leave incredibly impressed with the uniqueness of their sound, and Saturday was no exception.

Rounding out the night was Matthew Elias, an interstater whose raw, haunting vocals were complemented by stripped-back guitar. Elias’ sound was the perfect foundation for the layered lyrics in his songs (check out his Bandcamp for an excellent recording of ‘Black Grouse & Willow Ptarmigan’). His set was a great end to an evening of varied musical styles and genres.

PHOTOS BY ERICA HURRELL

48

By the time I stumbled home in the early hours, it was clear that Holy Eucharist Line are going to be contenders in the Canberra music scene with their diverse roster of talent. Each band had a new release available on the night and from the HEL website – supporting local musicians has never been so easy, or so rewarding.

ZOYA PATEL

@bmamag

ad space

‘Crmwll’ by Erica Hurrell; The Phoenix Bar, Saturday January 11, 2014. facebook.com/bmamagazine

49

ENTERTAINMENT GUIDE Wed Jan 29 - Sat Feb 1

Listings are a free community service. Email editorial@bmamag.com to have your events appear each issue. wednesday january 29

Art Exhibitions Stills I Fragments I Landscapes Art by Louise Curham & Jo Law. 10am–4pm. Free.

BELCONNEN ARTS CENTRE

MASH UP – GLUE UP

An exhibition by Alex Asch, Mariana del Castillo, Ham Darroch and Tara Shield. 11am–5pm.

CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

Plucked

Works from the ANU School of Art 2013 Graduation Exhibition. 10am–4pm.

GALLERY@BCS

Future Proof

A super mega art exhibition, with everyone, by everyone. Opens Fri Dec 6, 6pm. 11am-5pm (10am-4pm, S

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Live Music

Live Music

Kim Churchill

The globetrotting south coast singer songwriter returns. 8pm. $12 + bf thru Moshtix.

Alive Fridays presents Rave Radio

The King Hits

Havok

TRANSIT BAR

With The Professor, Dr Stovepipe.

9pm. $5.

THE PHOENIX BAR

Thursday Long Play

THE BASEMENT

Kerbside Collection

Debut album launch. With Mind the Curb. 8pm. $10.

HIPPO BAR

thursday january 30 Art Exhibitions Stills I Fragments I Landscapes

Art by Louise Curham & Jo Law. 10am–4pm. Free.

BELCONNEN ARTS CENTRE

MASH UP – GLUE UP

An exhibition by Alex Asch, Mariana del Castillo, Ham Darroch and Tara Shield.

11am–5pm.

CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

Plucked

Works from the ANU School of Art 2013 Graduation Exhibition. 10am–4pm.

GALLERY@BCS

Future Proof

A super mega art exhibition, with everyone, by everyone. Opens Fri Dec 6, 6pm. 11am-5pm (10am-4pm, S

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

50

9pm. $10 before midnight.

ACADEMY NIGHTCLUB

With Chud, Bricks, No Assumption, Gutter Tactic. Doors 8pm. Door price TBA. THE BASEMENT

Doors open 7pm for a sunset start. See nfsa.gov.au/arc for tickets.

ARC CINEMA

Live Music Mornings CD Launch

Canberrans Mornings launches their latest release. 8pm. Door price TBA. TRANSIT BAR

Teen Skank Parade

With Bricks, …Is Dead. 9:30pm. $5.

THE PHOENIX BAR

With Jordan Tarento Trio (jazz/groove).

5–7:30pm. Free.

A. Baker Fridays

The Familiars

Mitch/4th Degree

THE BASEMENT

KING O’MALLEY’S IRISH PUB

Matt Dent

On The Town

THE DUXTON

HOTEL HOTEL

With The Vanns. Doors 8pm.

Door price TBA.

The Advocates 9:30pm. Free.

Debut album launch. With Mind the Curb. 8pm. $15.

With Immorium, Na Maza, Imperilment.

Doors 8pm. $15.

The Umbrellas of Cherbourg (PG)

THE STREET THEATRE

Solo, intimate, and close up. 8pm. $50 + bf thru thestreet.org.au.

The CMC Presents …

Chronolyth

GALLERY@BCS

Cat Power

Live Music

SMITH’S ALTERNATIVE

Film

Works from the ANU School of Art 2013 Graduation Exhibition. 10am–4pm.

KING O’MALLEY’S IRISH PUB

Waterford and friends. 7:30pm. Free.

Plucked

Kerbside Collection SMITH’S ALTERNATIVE

Theatre Peppa Pig

10am, 12:30pm, 4pm. $29.90–54.90 + bf thru canberraticketing.com.au.

CANBERRA THEATRE CENTRE

friday january 31 Art Exhibitions Future Proof

A super mega art exhibition, with everyone, by everyone. Opens Fri Dec 6, 6pm. 11am-5pm (10am-4pm, S

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Stills I Fragments I Landscapes Art by Louise Curham & Jo Law. 10am–4pm. Free.

BELCONNEN ARTS CENTRE

Farming Without Fences

How Aborigines made Australia, by Helen S. Tiernan. 10am–4pm. Free.

BELCONNEN ARTS CENTRE

MASH UP – GLUE UP

An exhibition by Alex Asch, Mariana del Castillo, Ham Darroch and Tara Shield. 11am–5pm.

CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

With Beth n Ben. 5–8pm. Free.

A. BAKER

5pm afternoon session/10pm band. Free.

Havana Nights

Canberra’s hottest Latino night. DJ Trent Richardson and DJ Spink. 9pm.

MONKEYBAR

Theatre Peppa Pig

10am, 12:30pm, 4pm. $29.90–54.90 + bf thru canberraticketing.com.au.

CANBERRA THEATRE CENTRE

saturday february 1

Music, Lunch

With Dylan Hekimian (ACT live performer and youth artist of 2013).

12–2pm. Free.

MOCAN & GREEN GROUT

8–11pm. Free.

Special K

10:30pm. Free.

KING O’MALLEY’S IRISH PUB

Back to The Front

Postponed until March 2014.

THE FRONT GALLERY AND CAFÉ

On The Town DJ Norm

9pm–12am. Free.

THE LOFT AT DUXTON

Love Saturdays

With Jono Fernandez. 9pm. $10 all night.

Art Exhibitions

ACADEMY NIGHTCLUB

Future Proof

Canberra’s hottest R&B night. 10pm.

A super mega art exhibition, with everyone, by everyone. Opens Fri Dec 6, 6pm. 11am-5pm (10am-4pm, S

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Stills I Fragments I Landscapes Art by Louise Curham & Jo Law. 10am–4pm. Free.

BELCONNEN ARTS CENTRE

Farming Without Fences

Urban Playground Presents MONKEYBAR

Something Different Fash ‘n’ Treasure

Fashion and treasures market, clothes and much more. 10am-3pm. $3.

EXHIBITION PARK IN CANBERRA (EPIC)

Theatre

How Aborigines made Australia, by Helen S. Tiernan. 10am–4pm. Free.

Peppa Pig

MASH UP – GLUE UP

CANBERRA THEATRE CENTRE

BELCONNEN ARTS CENTRE

An exhibition by Alex Asch, Mariana del Castillo, Ham Darroch and Tara Shield. 11am–5pm.

10am, 12:30pm, 4pm. $29.90–54.90 + bf thru canberraticketing.com.au.

CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

@bmamag

ENTERTAINMENT GUIDE Sun Feb 2 - Tue Feb 4 sunday february 2 Art Exhibitions Stills I Fragments I Landscapes

Something Different Super Bowl XLVIII

Live on the big screen. 10am. Free.

KING O’MALLEY’S IRISH PUB

Art by Louise Curham & Jo Law. 10am–4pm. Free.

Trivia

Farming Without Fences

Transit trivia returns with your host Rainman. Book now on (02) 6162 0899. 7pm. Free.

BELCONNEN ARTS CENTRE

How Aborigines made Australia, by Helen S. Tiernan. 10am–4pm. Free.

BELCONNEN ARTS CENTRE

MASH UP – GLUE UP

Rainman’s Trivial Excuse

TRANSIT BAR

tuesday february 4

An exhibition by Alex Asch, Mariana del Castillo, Ham Darroch and Tara Shield. 11am–5pm.

Art Exhibitions

Live Music

Works from the ANU School of Art 2013 Graduation Exhibition. 10am–4pm.

CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

The KNiKi

With the Mike Beale Project.

4-7pm. Free.

CANBERRA IRISH CLUB

The Acoustic Sessions With Minh Ha. 2-4pm. Free.

IRON BAR

Nick Rigby

Plucked

GALLERY@BCS

Future Proof

A super mega art exhibition, with everyone, by everyone. Opens Fri Dec 6, 6pm. 11am-5pm (10am-4pm, S

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Stills I Fragments I Landscapes

THE DUXTON

Art by Louise Curham & Jo Law. 10am–4pm. Free.

Irish Jam Session

Farming Without Fences

3–6pm. Free.

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

KING O’MALLEY’S IRISH PUB

BELCONNEN ARTS CENTRE

How Aborigines made Australia, by Helen S. Tiernan. 10am–4pm. Free.

BELCONNEN ARTS CENTRE

Leah Flanagan and Mick Daley

Comedy

THE FRONT GALLERY AND CAFÉ

Akmal – Trial & Error

Postponed indefinitely.

On The Town Ashley Feraude 5–10pm. Free.

THE LOFT AT DUXTON

Sunday Sipper

With DJs Anjay, Brother J and Degg.

1–7:30pm. Free.

NEWACTON COURTYARD

Workshops COZYMO Mandolin Learning Group

A one-semester program from Sun Feb 2, 4–5pm. Call 0421 043 082 for more info.

HELLENIC CLUB (CIVIC)

monday february 3

See Akmal try out new content for an upcoming tour. $25 + bf thru canberraticketing.com.au.

THE COURTYARD STUDIO

Karaoke Karaoke Love

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

TRANSIT BAR

Live Music Brother Be

Four-piece rock band with an acoustic soul. With Marina Marina and Man & Minx. 7:30pm.

THE FRONT GALLERY AND CAFÉ

Trivia

Art Exhibitions

Andrew and Shannon’s Pub Trivia

Plucked

THE PHOENIX BAR

Works from the ANU School of Art 2013 Graduation Exhibition. 10am–4pm.

GALLERY@BCS

Live Music Moon Day

With Mr Michael on violin and decks.

5–7:30pm. Free.

7:30pm. Free.

Workshops Music Craft for 5-8 Years

See mfe.org.au for booking and information. 5pm.

AINSLIE ARTS CENTRE

HOTEL HOTEL

CMC presents The Bootleg Sessions

Prom, The Burley Griffin, Dirty Harry’s, Alice Cottee, Jack Livingston. 8pm. Free.

THE PHOENIX BAR

facebook.com/bmamagazine

51

ENTERTAINMENT GUIDE Wed Feb 5 - Fri Feb 7 wednesday february 5 Art Exhibitions Plucked

Works from the ANU School of Art 2013 Graduation Exhibition. 10am–4pm.

GALLERY@BCS

Future Proof

A super mega art exhibition, with everyone, by everyone. Opens Fri Dec 6, 6pm. 11am-5pm (10am-4pm, S

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

thursday february 6 Art Exhibitions Works from the ANU School of Art 2013 Graduation Exhibition. 10am–4pm.

Workshops

Ungus Ungus Ungus

Future Proof

Free course in music production.

Call (02) 6140 4990 for more info.

6:30-7:30pm.

Plucked

GALLERY@BCS

A super mega art exhibition, with everyone, by everyone. Opens Fri Dec 6, 6pm. 11am-5pm (10am-4pm, S

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

BELCONNEN ARTS CENTRE

CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

An exhibition by Alex Asch, Mariana del Castillo, Ham Darroch and Tara Shield. 11am–5pm.

CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

Farming Without Fences

How Aborigines made Australia, by Helen S. Tiernan. 10am–4pm. Free.

BELCONNEN ARTS CENTRE

Comedy Akmal – Trial & Error

See Akmal try out new content for an upcoming tour. $25 + bf thru canberraticketing.com.au.

THE COURTYARD STUDIO

Live Music Paul Greene

Postponed until February 12.

THE FRONT GALLERY AND CAFÉ

Mitch/Oscar

5pm afternoon session/10pm band. Free.

Heather Brenchley

MASH UP – GLUE UP

Live Music

Nick Rigby

THE LOFT AT DUXTON

Stills I Fragments I Landscapes Art by Louise Curham & Jo Law. 10am–4pm. Free.

On The Town 9pm–12am. Free.

Introduction to Abelton Live

GUNGAHLIN LIBRARY

friday february 7

Exhibition by local artist. 11am–5pm.

Art Exhibitions

Stills I Fragments I Landscapes

Works from the ANU School of Art 2013 Graduation Exhibition. 10am–4pm.

Art by Louise Curham & Jo Law. 10am–4pm. Free.

BELCONNEN ARTS CENTRE

MASH UP – GLUE UP

An exhibition by Alex Asch, Mariana del Castillo, Ham Darroch and Tara Shield. 11am–5pm.

CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

Farming Without Fences

How Aborigines made Australia, by Helen S. Tiernan. 10am–4pm. Free.

BELCONNEN ARTS CENTRE

Comedy Akmal – Trial & Error

See Akmal try out new content for an upcoming tour. $25 + bf thru canberraticketing.com.au.

THE COURTYARD STUDIO

Live Music Pigeon

EP launch, with Back Back Forward Punch and Wall Flower. 8pm. $10 + bf thru Mosthix.

TRANSIT BAR

Thursday Long Play

With Aidan Lowe Trio (jazz/groove).

5–7:30pm. Free.

HOTEL HOTEL

Columbus

With Revellers, No Assumption, Azim Zain. Doors 8pm. $12.

Plucked

GALLERY@BCS

Future Proof

A super mega art exhibition, with everyone, by everyone. Opens Fri Dec 6, 6pm. 11am-5pm (10am-4pm, S

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Heather Brenchley

Exhibition by local artist. 11am–5pm.

CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

Stills I Fragments I Landscapes Art by Louise Curham & Jo Law. 10am–4pm. Free.

BELCONNEN ARTS CENTRE

MASH UP – GLUE UP

An exhibition by Alex Asch, Mariana del Castillo, Ham Darroch and Tara Shield. 11am–5pm.

CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

Farming Without Fences

How Aborigines made Australia, by Helen S. Tiernan. 10am–4pm. Free.

KING O’MALLEY’S IRISH PUB

Psychedelic gypsy prog-rock.

With NOZL and Brass Knuckle Brass Band. 7:30pm.

THE FRONT GALLERY AND CAFÉ

Alive Fridays presents Reece Low 9pm. $10 before midnight.

ACADEMY NIGHTCLUB

Francois Houle

SoundOut 2014 presents an int’l recording clarinettist. 7:30pm. $15/20 door.

SMITH’S ALTERNATIVE

Jova

With Red Gazelle, Activate Jetpack.

Doors 8pm. $10.

THE BASEMENT

A. Baker Fridays

With Jay Boats Trio (funk & soul).

5–8pm. Free.

NEWACTON COURTYARD

SoundOut 2014

Festival of free improvisation, free jazz, and experimental music. See canberrarep.org.au for tix.

VARIOUS LOCATIONS

On The Town Official Multicultural Festival Afterparty

With DJ Donbear, Eddy Caceras, Subsdance Dance performances. 9pm.

MONKEYBAR

Luc Baker

9pm–12am. Free.

THE LOFT AT DUXTON

BELCONNEN ARTS CENTRE

Comedy Akmal – Trial & Error

See Akmal try out new content for an upcoming tour. $25 + bf thru canberraticketing.com.au.

THE COURTYARD STUDIO

THE BASEMENT

Blood Shed Remains (Austria) With Trainwreck. 9pm. $5.

THE PHOENIX BAR

Chicago Charles & Dave 9:30pm. Free.

KING O’MALLEY’S IRISH PUB

52

@bmamag

ENTERTAINMENT GUIDE Sat Feb 8 - Wed Feb 12 saturday february 8

Official Multicultural Festival Afterparty

Sunday Sipper

MONKEYBAR

NEWACTON COURTYARD

Art Exhibitions

With D.Minus, A-gee Ortiz, Glamourosas Samba Girls & UMG Allstars. 10pm.

Future Proof

Chrome

11am-5pm (10am-4pm, S

CANBERRA CONTEMPORARY ART SPACE (GORMAN HOUSE)

Heather Brenchley

Exhibition by local artist. 11am–5pm.

CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

Stills I Fragments I Landscapes Art by Louise Curham & Jo Law. 10am–4pm. Free.

BELCONNEN ARTS CENTRE

New location. Resident DJs playing industrial, dark electronic and alternative. 9pm. $10.

NV NIGHTCLUB

DJ Norm

8–11pm. Free.

THE DUXTON

sunday february 9

MASH UP – GLUE UP

Art Exhibitions

CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

Heather Brenchley

11am–5pm.

Farming Without Fences

How Aborigines made Australia, by Helen S. Tiernan. 10am–4pm. Free.

BELCONNEN ARTS CENTRE

Comedy Akmal – Trial & Error

See Akmal try out new content for an upcoming tour. $25 + bf thru canberraticketing.com.au.

THE COURTYARD STUDIO

Exhibition by local artist. 11am–5pm.

CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

Stills I Fragments I Landscapes 10am–4pm. Free.

BELCONNEN ARTS CENTRE

MASH UP – GLUE UP 11am–5pm.

CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

Farming Without Fences 10am–4pm. Free.

BELCONNEN ARTS CENTRE

Film

Comedy

Wrong Side of the Road (M)

Akmal – Trial & Error

Doors open 7pm for a sunset start. See nfsa.gov.au/arc for tickets.

ARC CINEMA

Live Music Lime and Steel

With Vendulka. 7:30pm. $10.

THE FRONT GALLERY AND CAFÉ

The Fuelers Reject Show 8:30pm. $5.

THE PHOENIX BAR

With Heavy Heart

Kurt’s birthday, with Soriathan Dawn, Mephistopheles, Law of the Tongue and more. 8pm. $15.

THE BASEMENT

Music, Lunch

Xavier Dunn (MAMA Best ACT Folk Artist). 12–2pm. Free.

MOCAN & GREEN GROUT

On The Town Love Saturdays

With Runamark. 9pm. $10 all night.

ACADEMY NIGHTCLUB

$25 + bf.

THE COURTYARD STUDIO

Live Music Irish Jam Session

Free traditional Irish musicians in the pub from late afternoon. Free.

KING O’MALLEY’S IRISH PUB

Molly Contogeorge

7:30pm. Door price TBA.

THE FRONT GALLERY AND CAFÉ

The Fringe Grand Finale Concert

Karaoke

With DJs Goldfinger, Sub Detonator Sound System, Ashley Feraude.

1–7:30pm. Free.

Karaoke Love 9pm. Free.

TRANSIT BAR

Something Different

Live Music

Lotus Wonderland

Music at Midday

CANBERRA THEATRE CENTRE

CANBERRA THEATRE CENTRE

Multicultural Festival Closing Show. 7:30pm. $38–108 + bf thru canberraticketing.com.au.

Free charity concert with the RMC Band. 11am & 12:30pm. Gold coin donation.

Workshops

Trivia

COZYMO Mandolin Learning Group

Trivia and Careers with Bondy and Kiers

A one-semester program from Sun Feb 2, 4–5pm. Call 0421 043 082 for more info.

7:30pm. Free.

THE PHOENIX BAR

Workshops

HELLENIC CLUB (CIVIC)

Learn to Sing in Two Days

monday february 10

Discover the voice within you.

Email info@singingseminar.com for an info pack.

Live Music

TBA

2XX LocalnLive Presents Bootleg Sessions

Music Craft for 5-8 Years

See mfe.org.au for booking and information. 5pm.

With Wallflower, Fossil Rabbit, Faux Faux Amis, Bottle Brush. 8pm. Free.

AINSLIE ARTS CENTRE

THE PHOENIX BAR

Moon Day

wednesday february 12

With Mr Michael on violin and decks.

5–7:30pm. Free.

HOTEL HOTEL

Art Exhibitions

Trivia

Farming Without Fences

Rainman’s Trivial Excuse

BELCONNEN ARTS CENTRE

10am–4pm. Free.

Transit trivia returns with your host Rainman. Book now on (02) 6162 0899. 7pm. Free.

Heather Brenchley

Exhibition by local artist. 11am–5pm.

CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

TRANSIT BAR

MASH UP – GLUE UP

tuesday february 11

11am–5pm.

CANBERRA CONTEMPORARY ARTS SPACE (MANUKA)

Art Exhibitions

Comedy

Farming Without Fences

With Beth n Ben and many more. From 2pm to 7pm. Free.

10am–4pm. Free.

The Acoustic Sessions

Stills I Fragments I Landscapes

IRON BAR

BELCONNEN ARTS CENTRE

CIVIC SQUARE

With The Night Café. 2-4pm. Free.

Nick Rigby

3–6pm. Free.

THE DUXTON

On The Town Ashley Feraude 5–10pm. Free.

Akmal – Trial & Error

BELCONNEN ARTS CENTRE

10am–4pm. Free.

See Akmal try out new content for an upcoming tour. $25 + bf thru canberraticketing.com.au.

THE COURTYARD STUDIO

Comedy

Live Music

Akmal – Trial & Error

Paul Greene

See Akmal try out new content for an upcoming tour. $25 + bf thru canberraticketing.com.au.

THE COURTYARD STUDIO

THE LOFT AT DUXTON

Top-rung emerging songwriter. 7:30pm.

Door price TBA. THE FRONT GALLERY AND CAFÉ

Tilian (USA)

8pm. Door price TBA. THE BASEMENT

OUT

FEB12

john butler The chaser the artist’s shed the hundred swords ...and more!

facebook.com/bmamagazine

53

the word

SIDE A: BMA band profile

on games

Killzone: Shadow Fall Platform: PS4 Developer: Guerrilla Games Length: 10 hrs+ Verdict: Worth grabbing I had my doubts about Killzone.

The early reviews weren’t overly favourable and the previous instalment was disappointing. But despite my fears, I can say that Shadow Fall is the best game in the Killzone series.

One of the most notable areas of improvement is the gameplay.

Taking a cue from the likes of Call of Duty, enemies are quicker to kill, but deadlier when alive.

Choosing to then differentiate itself from CoD, the over-the-top action scenes have been scaled back, as have the annoying endless enemies sections. In light of these changes, the game moves quicker and is less frustrating than previous titles. Another notable gameplay tweak is the addition of a drone buddy that allows you to shock your foes. This element greatly influences the gameplay and, for the most part, works well.

Some complain that it makes the game too easy, but on the harder difficulty the game still offers a solid challenge.

That said, the pacing of the game is a little erratic, with some of the earlier parts presenting the greatest challenge. And while I would have liked to be pushed more by the end of the game, overall the gameplay remained satisfying. Unfortunately, the same cannot be said for the story.

Despite having two endings (not as in alternative endings, but rather sequential), the game’s finish is terrible. There’s no end boss, and the storyline (which for the most part isn’t too bad for an action game) just fizzles out with little closure. Given the game didn’t ship with a multiplayer mode, one can only assume that such oversights were the result of a launch-title deadline. Luckily, the game has since had its multiplayer mode added. As testament to the quality of the combat, this online mode is very enjoyable. Of course, even if you have completed the game on hard, there’s still a steep learning curve to be climbed here. However, making the process more enjoyable is the inclusion of challenges. After about an hour, I had completed about 30 of them, with there being 1500 to complete.

Of course, a Killzone review wouldn’t be complete without mentioning the graphics, which are spectacular. While we probably tend to place too much focus on graphics, in Killzone it adds grandeur, sets the atmosphere and provides perspective. You feel like part of a bigger – and at times foreboding – world. For example, there’s a moment where you descend hundreds of feet below the city of New Helghan, making you realise how it’s a huge, twisted mess of metal and concrete – not all that dissimilar to old-school Belco. With most of the next-gen launch titles being poorly received, Killzone is worth checking out. The single player is solid, if a bit disappointing, and the multiplayer is great.

Brother Be Where did your band name come from? Our dreamy frontman Mike. He SMS’d his mate “brother ill be late”. The words “brother” and “be” stood out, so he proceeded to perform under that name.

Group members? Sammy (drums, vox), Netty (bass, percussion, vox), Alan (guitar, vox) and Mike (lead vox, guitar).

Describe your sound: Folk rock? Have a listen to our music on the links below and you can tell us.

Who are your influences, musical or otherwise? Alan loves anything from Steel Panther to S Club 7 (definitely not an influence on Brother Be), but a lot of the songs by Mike stem from listening to Elliott Smith, Wilco and Dan Sultan.

What’s the most memorable experience you’ve had whilst performing? Playing at the ANU Food Coop’s Acoustic Soup night. It was a solid crowd, and by the end of the first song we had the whole crowd on the dance floor, where they stayed until we finished. We were buzzing for days.

Of what are you proudest so far? In December 2013 we had our 30th gig, which coincided with The Phoenix’s birthday. We also performed at the Annandale last year which was great.

What are your plans for the future? In the first half of the year we will be recording a single and making a music video.

We’ll be pushing the single, which will be included on our first EP which will be released in the second half of this year.

What makes you laugh? Probably Netty and Alan’s onstage antics. As great as Alan is on the guitar, he tells an average story and either chooses to ignore the best time to finish it or just isn’t fully aware that the time has now past. This is where Netty steps in. As Alan’s partner, she can really say anything she wants to shut him up and it usually works.

What pisses you off? Maybe if we were all holding ice creams and someone took them we wouldn’t be very happy.

What about the local scene would you change? Gigs in houses and little mini backyard festivals really help build a musical community, and the Canberra Musician’s Club has done a great job with their Backyard Backanalias to this end.

We’d love to see more events created along these lines to help improve and strengthen the local scene.

What are your upcoming gigs? Tue Feb 4 – The Front, Sat Feb 8 – Harmonie German Club.

Contact info: brotherbe.music@gmail.com; facebook.com/ brotherbemusic; reverbnation.com/brotherbemusic.

torben sko

54

@bmamag

ad space

facebook.com/bmamagazine

55

ad space

56

@bmamag