BMA Magazine 481 - 11 May 2016

COVER LINE INSIDE: INFO

2

@bmamag

CANBERRA ROLLER DERBY LEAGUE

facebook.com/bmamagazine

3

AD SPACE

4

@bmamag

facebook.com/bmamagazine

5

DAVID BOWIE TRIBUTE NIGHT

6

@bmamag

facebook.com/bmamagazine

7

SCREEN ACT

8

@bmamag

PALACE AD SPACE CINEMAS

facebook.com/bmamagazine

9

THE DICKSON TRADIES

10

@bmamag

THEAD GREEN SPACE SHED

facebook.com/bmamagazine

11

ACT ARTS FUNDING APPLICATIONS NOW OPEN CODA CONDUCT KNOW A THING OR TWO ABOUT THE MALE BUTTOCKS

BMA Mag printed an article on Beyoncé? Pfft, boycott that shit. # 4 8 1 M a y 1 1 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 Andrew Nardi T: (02) 6257 4456 E: editorial@bmamag.com

Accounts Manager Ashish Doshi T: (02) 6247 4816 E: accounts@bmamag.com

Graphic Design Chris Halloran Film Editor Emma Robinson

We love Erica and Sally here at BMA. There really isn’t a fresher breath of air in the Australian hip-hop scene than these two ladies, doing their thang locally and nationally. So it’s only natural that we’d start rubbing our chops together as soon as Canberran hip-hop duo Coda Conduct drop a new track, a new video, or better still, a new track-and-video combo.

That’s why today is a good day.

Coda Conduct just put out ‘Click Clack (Front N Back)’. Let’s get this out of the way quickly – this track is a celebration of the male booty, something that the music industry desperately needs. The clip features one of Sydney’s best male dance crews, plenty of visual puns and references, and a cameo from Triple J presenter Matt Okine (because of course it does).

The clip humorously reinforces the themes of representation, gender, sexuality and objectification in the music industry, which Coda Conduct navigate so skillfully. Also, it’s about dudes’ butts.

This track heralds the first taste of the girls’ upcoming EP, with the production handled

by Newcastle beatmaker Jayteehazard, who’s worked with the likes of Hilltop Hoods, Briggs, Urthboy and The Funkoars. Check it out on the YouTubes or via Coda Conduct’s Facebook page.

ArtsACT are about to roll out their project funding for 2017. What does this mean, exactly? Well, you see, the ACT government offers project funding once a year. The funding supports the development of artists at all stages of their careers. But this funding is for 2017, y’hear? You can’t just be like, “I bad want money now.

Me sick. So pick please me, Mr Kurns.” I know it would be great to say that, but listen here: this funding only supports arts activities that start and finish within the 2017 calendar year. That’s just the way it is.

Also, you should probably say something a little more meaningful and informed. You can card read better than that.

So what exactly are they looking for? Well, all applications will be considered against the ACT Arts Policy, and against the purpose of the ACT Arts Fund, ‘to be a diverse and dynamic arts ecology valued locally, nationally and globally’.

You might wanna read up on that.

If you’re interested, you should know that applications are open to individuals, groups and arts organisations. Community organisations wishing to undertake projects with a professional artist are also encouraged to apply.

For more information and to start researching for your application, visit arts.act.gov. au. Applications close Friday June 10.

MAJORS CREEK FESTIVAL TAKING ALL FOLKS Do you play in a band, or solo? Do you play folk/roots, Celtic, bluegrass, jazz, blues, Americana or something else?

Do you consider yourself, ‘good’? Then you might just have a shot at landing yourself on the line-up of Majors Creek Festival. You may recall some of the stand-out performers from 2015: The Timbers, Heath Cullen, Kate Burke and Ruth Hazleton, The April Maze and Women in Docs. Just think! Your band’s name could be sitting in a similar list with similarly good bands!

And if you’re worried that the competition will be tough, don’t be. Majors Creek Festival is one of the friendliest small festivals on the eastern seaboard and a place where people enjoy rubbing shoulders with their musical heroes around the village or in one of the concert venues.

For interviews and further information, contact festival director Hannah Gillespie at majorscreekfestival@gmail. com. Majors Creek is situated near Braidwood, about 1 hour and 15 minutes out of Canberra.

The festival will be held between Fri–Sun Nov 11–13.

That leaves you and your band with just under six months to get your performance together!

Whoa! Better hit the practice room, dudes! Applications close Tuesday May 31.

NEXT ISSUE 482 OUT June 8 EDITORIAL DEADLINE May 27 ADVERTISING DEADLINE June 2 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

Coda Conduct make the faces we should all make when we think about butts.

@bmamag

FROM THE BOSSMAN Jim Jefferies recently played to a joyful sold out Royal Theatre audience. Jefferies’ is a deeply funny and insightful person, a man who uses c-bombs like Da Vinci uses paint and who ne’er shies away from a taboo topic. His mere name, let alone his material, tends to bring up the notion of ‘being offended’.

A lot of people dedicate large portions of their lives to finding things offensive. There are many times where this is understandable.

Anything on the nose digs up memories you’d best forget. But some tend to cast their net as wide as possible, to find juicy morsels of offense to fill the void of an otherwise empty life. Jefferies’ recent show got me to thinking of an old article and a similar issue.

Longtime readers will know that some time ago, I saw an AdNews headline that stated, ‘Penis billboard draws complaint’. The article concerned a delicate churchgoing fellow who complained about the word ‘Penis’ being printed in 1200 point high font over a main highway in Melbourne. The ad was for the upcoming Puppetry of the Penis show; the complaint read thusly: ‘We teach our children to behave civilly and use words appropriately.

This billboard offends against this dignity by thrusting the male genital part into the public arena for entertainment and laughs...

Since the billboard is on our route to the city, to church, and to numerous other events, we cannot avoid it without taking considerable detours. This is seriously impinging on our freedom of movement. It is clearly visible from places we have been invited to with our children for special events. We are reluctant to expose our children to it for that length of time, so it is affecting our freedom to participate. We would like it to be removed.’

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.]

Anyone who says ‘just saying’ at the end of what they just said is a fucking moron. I know you were just saying, you just said it. And is that really the summary point to your comment? ‘I’m just talking for no reason, fuck me, right?’

Well guess what? I was just shitting. Just breathing. Who fucking cares? If you’re going to conclude your discourse by immediately dismissing it as having no point then why the fuck are you talking?

Does speaking/typing help oxygenate your blood and stop you from falling into a coma? In which case, shut the fuck up. Because honestly you’re already half way there.

Or is ‘just saying’ your conclusion because you believe what you’ve said is so poignant, so accurate, so down-to-earth common sensey that ‘just saying’ is the only way to bring it home without being the sort of twat that finishes something off with ‘nuff said’ or ‘end of story’. Well guess what? You’re still a twat.

But unlike the usually miss-informed discussion-killing DailyTelegraph-comment-thread-filling freedom for me fuck you minihitlers who choose to end their statements with ‘nuff said’ (from you? fuckin’ oath) or ‘end of story’ (ffs) you at least have the capacity to realise that your point is still just your own and is therefore open to dismissal. Although why you choose to dismiss it yourself in conclusion is still fucking puzzling. #justsayin’ #endofstory #takinselfiesonthetoilet

This poor bastard is driving an extra 45 minutes out of his way simply because he doesn’t want to see the word penis. Not an actual penis, you understand, but the word penis. And let’s not even get into the clear sexual frustration on display by the curious words choices – Thrusting? Exposed? Length? Oh dear.

To know a person who is in the constant grip of finding the most minor things offensive must be the most infuriating walk-oneggshells kind of relationship you would have to endure. You wouldn’t know whether to slap ‘em, or give them a big, long hug and say, ‘Shhhhh... There, there... It’s going to be OK.’ For our poor 45-minute-detour-penis-guy, here’s a more to-the-point version of that letter: ‘Dear Ad Standard Board, I have recently seen a billboard for a show that uses a word that I am uncomfortable with. Having been inflicted with a staunch religious upbringing and being indoctrinated to believe that the male organ is in fact the instrument of Beelzebub himself, I have shied away from any education, or indeed interaction, with the subject since the age of five. Now, as a result of having my own children who I love and care for and wish to protect, I find myself ill-equipped to deal with this confronting scenario. As such, I am writing to please ask for assistance in this matter. How can I approach my children and teach them about the concept of a penis? For currently I am hopelessly ill-equipped and am doomed to slowly see my children be denied any education on the matter, which will likely result in them developing deep-seated emotional issues tied to the mystique of sex as they grow older, and will see them penning angry letters with curious word choices like thrusting and exposed.

Yours sincerely, 45-minute-detour-penis-guy.’

ALLAN SKO - allan@bmamag.com

facebook.com/bmamagazine

13

14

WHO: I SET MY FRIENDS ON FIRE WHAT: TOUR WHEN: FRI MAY 13 WHERE: THE BASEMENT

Nah, this isn’t a confession by a self-professed pyromaniac. It’s the experimental metalcore band from Florida – sorry ‘10s kids, only ‘00s kids will remember. I Set My Friends On Fire shot to fame in 2008 with the release of their debut album You Can’t Spell Slaughter Without Laughter. You might also remember them if you were part of the “MySpace generation”. Yeah, it was a different time then. Just look at their haircuts there. Look at them. Now, they’ve announced a Canberra show, with support from Awaken I Am and Bayharbour. Kicks off at 8pm. Tickets are $24 via Oztix.

WHO: OLD MAN LUEDECKE WHAT: TOUR WHEN: SAT MAY 14 WHERE: POLISH WHITE EAGLE CLUB

Old Man Luedecke ain’t what he used to be. Mostly ‘cos he’s got a new album now, called Domestic Eccentric, and he’s rockin’ it right outta Canada and straight down under. The Old Man is hailed as a folk/country master – yes, as opposed to just a regular old musician.

I suppose you hit master status as soon as you record your album in a cabin in the Nova Scotia woods like this guy did. He also built the cabin himself, from rough-sawn lumber, no less. Once you’ve shown that much dedication, you’re pretty much the living embodiment of folk.

Catch him at 8pm.

WHO: A WILHELM SCREAM WHAT: TOUR WHEN: WED MAY 25 WHERE: THE BASEMENT

Do you know what a Wilhelm scream is? It’s when someone yells “nooooo!” when they fall off a cliff in a movie, or when someone tells you that they’re actually your father, or something. In this case though, A Wilhelm Scream are one of the most creatively engaging and thoroughly fun bands in punk. Hailing from Massachusetts, they’re recognised internationally for their downright energetic and, well, frankly exhausting live shows. Sounds like a good Wednesday gig for you to ride out the rest of your week with, right? Support from The Decline, Nerdlinger and The Revellers. $35.20 via Oztix. Will you miss it? Nooooo! You won’t.

WHO: MOTEZ WHAT: TOUR WHEN: FRI MAY 27 WHERE: MR WOLF

Motez has been bouncing around Australia’s electronic scene for donkeys, but it’s only now the Adelaide producer has started to make some ripples on the airwaves and into our eardrums. He dropped ‘Down Like This’ earlier this year –a cool, get-down-and-out-of-myway-unless-you-wanna-groove house track featuring the supreme rapping powerhouse that is Tkay Maidza. That song blew up on its own, but now Motez has dropped The Vibe EP, and he’s giving it the tour treatment. Tally-ho, I say. His show at Mr Wolf will feature support from Skin & Bones, Sondrio and Bakgat. Gets going at 10pm.

WHAT: THE NEXT MOVEMENT WHEN: FRI JUN 17 WHERE: TRANSIT BAR

If there ever was a day to celebrate Canberra hip-hop, this would come close to being the definitive event of the year. The Next Movement and All City Hip Hop are presenting a collaborative performance featuring all of your favourite tracks performed live

by Jimmy Pike, Jedbrii, The Ansah Brothers (Citizen Kay and Genesis Owusu), Tak-Un-Da and Kirklandd, joined by DJ iLL Gato. You can also catch Nix & Pat Pypfa dropping their fresh, six-track debut EP Venture Capital, with support from Tycoptic, Jacquie Lomas and Capslock Collective. $10 entry, 8pm start. Get in there and show your support for the local scene!

WHO: BURROWS WHAT: TOUR WHEN: SAT JUN 18 WHERE: THE STREET THEATRE

Burrows are a nu-folk band from our own little city. They enjoy playing music and falling asleep together in ditches. They didn’t just come out of nowhere, either – they’re made up of members from some of Canberra’s favourite bands including Cracked Actor, Mr Fibby, The Ellis Collective and Margaret Helen King. They’re faithfully led by the brilliant melodies of frontman Sam King, who you may know for his self-built recording studio in Canberra, Merloc Studios. With warm guitar, weightless vocal harmonies, cello, and the one-off addition of a choir, this show is sure to be something special. Support from Happy Axe. Cost and start time TBA.

@bmamag

TRANSIT AD SPACE BAR

facebook.com/bmamagazine

15

CLAUDIA TILLEY A little folk, a pinch of psychedelic, some hella gospel sounds and you’ve got EDWARD SHARPE AND THE MAGNETIC ZEROS. The band have just released their fourth studio album, titled PersonA – this time without the notable singer Jade Castrinos, who left the band in 2014.

The audience is first drawn in to the band’s new musical experience through the album’s cover art. It is a painting by their guitarist Christian Letts, and over the painting is the band’s name, however “Edward Sharpe And” has been crossed out in red painted lines. It suggests the phasing out of the crafted character Edward Sharpe, and the proposal of a new direction and sound for the musical collective.

“We are very individualistic musicians, yet we are able to lock ourselves and interlock with other musicians,” commented Ebert.

He goes on to give an analogy about the flexibility a musician needs when working in a band, “We have to change ourselves just a little bit at times … one song is one landscape, so you gotta be a tree, and another one is another landscape, so you gotta be a cactus.”

This time, the band is without Jade Castrinos, who sang and wrote music with them for seven years. Controversy arose when it became unclear whether Castrinos was booted from ES&TMZ, or if she left after being asked by the band to take a tour off.

Whatever the reason for her leaving, Ebert spoke calmly about the situation. “When you want to be somewhere else or something “It signifies the destruction of the façade is not quite clicking anymore, it can and the entire myth of the persona that One song is one landscape, always be a positive thing to change the performer supposedly wears,” said Alex so you gotta be a tree, and it up.” The pair met in 2008 outside a Ebert, lead singer of the band. He goes on coffee shop; from there, they began another one is another to explain that any performer is their truer writing and playing music together. a gott you self when they are liberated – for Ebert, landscape, so They surrounded themselves with this is when he is in midst of performing a be a cactus a group of local musicians and thus song. In a philosophical manner (which is Edward Sharpe and The Magnetic always in the underlay of his tone), Ebert says that, “Unless you Zeros came to be. When asked how parting ways with Jade really let yourself go and you get to the place that people call ‘the Castrinos changed the dynamics and sounds of the band, Ebert zone’, where you don’t really have a personality but you simply replied, “I miss what we always wanted it to be. We were never let it flow through you, then you can’t really access the full scope really able to bring it there … so we parted ways.” He continued, of your being.” This notion is confronted in PersonA, as well as “I think the result of that is a band that feels no sense of anything themes of death and rebirth. other then the music, and not a lot of social blockage … freedom to express, without the sense you are going to upset someone.”

Ebert describes death as being a “transcendent thing”. He elaborates, “A couple of our band members’ fathers died during From the beginning ’til now, ES&TMZ have changed from an the making of the album and a couple of us had kids.” That theme amateur group and grown into a proficient and professional band. of rebirth comes alive in tracks ‘Somewhere’ and ‘Lullaby’, and it’s Ebert originally began making music in a band called Ima Robot; highlighted by a strong, grounded sense of love for one’s children. after that fell through he locked himself away with no internet or But ‘Let It Down’ deals with the emotions of losing a loved one. “I phone and began conjuring up the messianic figure we now know think I am more open to more ideas,” Ebert said about his personal as Edward Sharpe. He eventually recruited up to 15 musicians, all growth as a musician. “I don’t have to be preoccupied with one of whom hit the road with him and toured the US in a thing, I seem to be able to grasp all concepts at once.” communal van.

Interestingly, PersonA was the first album the band wrote But it hasn’t always been a bed of roses for Ebert: the release of together as a group. “When we wrote, we really wrote all of each his own album in 2011, titled Alexander, did not pick up much speed other’s presence,” said Ebert. “It was like working as one brain, it in the industry. “You’re not always batting a thousand,” admits was brilliant. Everyone left their worries at the door and we just Ebert, “I mean, we just recorded a song that the chorus had eluded went for it.” ES&TMZ currently consists of ten members – a large me for, shit, now a year and a half … I just couldn’t figure it out, so amount to have in one studio, let alone to write alongside. This is we all just sat around the piano and figured it. It was awesome.” what makes the band so unique, however: with a large group, they Edward Sharpe and The Magnetic Zeros will be touring the US ’til the end of have the creative freedom and flexibility to experiment with lots August, before a short but sweet European tour. Plans are currently in the of different sounds.

16

works for an Australian tour. In the meantime, go check out PersonA, and let yourself be immersed in their soulful sound.

@bmamag

For The Cat Empire, having a sound that’s difficult to classify means also disliking labels altogether. “We live in an age of categories,” Riebl says. “This new album has a really vibrant feel and really represents what the band is – it has a tropical disco edge. It’s straightforward music, but it’s a bit of a mystery to how it all works. It’s definitely the strangest album to date.”

Apparently, after every album, Riebl always says that it’s his last. “I’m a very slow songwriter, so that takes a while, and then recording, and then touring – so it ends up being a whole year. It’s a really big ordeal, but tours are gonna be a lot of fun.”

GLORY TO THE EMPIRE KAROLINA FIRMAN For those who’ve been living under a rock, THE CAT EMPIRE are a Melbourneborn band that defy definition – their music has numerous stylistic influences including but not limited to jazz, funk and rock. They started playing in 1999, and have had a number of members over the years, with the most recent line-up consisting of Felix Riebl (percussion and vocals), Harry James Angus (trumpet and vocals), Will Hull-Brown (drums), Jamshid “Jumps” Khadiwhala (decks, percussion), Ollie McGill (keyboard and backing vocals), and Ryan Monro (bass and backing vocals).

They’ve had something of a successful career too, playing at the opening ceremony at the Commonwealth Games in 2006 and in the same year playing 45 shows in over 12 countries – and that number has only continued to rise since then (incidentally, that is still 12 more countries in which I’ve played, a number that is still sitting at a solid zero). More recently, their sixth studio album Rising With The Sun debuted at number one on the ARIA charts. I was lucky enough to chat with one of the co-founders Felix Riebl, about the new album and the band in general.

AD SPACE

facebook.com/bmamagazine

For a band with such a full-grown history, it’s no surprise that Riebl has a list of accomplishments to smile back on. “We started out playing at small jazz bars and thought, ‘wouldn’t it be cool to play somewhere where people had to stand up?’ Then we eventually moved to venues with thousands of people. We played at a diverse range of shows when we were younger, and that’s really stayed with us,” he reflects. “It’s amazing to see a sea of faces, with so many people engaged with what you’re saying, so we’re just gonna keep playing and doing our thing.”

We thought, ‘wouldn’t it be cool to play somewhere where people had to stand up?’

The Cat Empire are planning their trip to Canberra, and I couldn’t help but ask Riebl what his favourite part of our city is. “I like to go to the National Gallery, but the music scene is good and the crowds too – so many people want to hear our music.” It just goes to show: how bad can Canberra be if a member of The Cat Empire likes it here?

The Cat Empire are playing at Canberra Theatre on Sunday May 22 at 8pm.

Tickets are $64.90 + bf through canberratheatrecentre.com.au.

OLD MAN LUEDEKE

17

LOCALITY

I’ve spent the last month away from Canberra, stuck in my parents’ house, five hours from the capital. I don’t like to make these columns personal beyond the flippant, but you should know that this month’s column isn’t just a run-down of local gigs. It’s my strange little love letter to a city I adore and a note of gratitude to those Canberrans who keep it kicking with their commitment to keeping its local flavour alive.

On Saturday May 14, Smith’s Alternative will be playing host to live electronic beats, improvisation and video projections, thanks to violin/cello/KAOSS/sundry trio Ample-Sample, and the visually enhanced work of Gate Five. Tickets are $15, online or at the door, and promise a multi-sense-tickling evening of experimentation and

exploration of the joys that arise when technology and music cuddle up with a mug of hot cocoa. Proceedings commence at 10:30pm.

If there’s one thing everyone should know about Canberran music, it’s that the cheeky uke-toting Sparrow-Folk have a tendency to sell out their shows very quickly. If you like your tunes accompanied with a giggle, they’re playing The Street Theatre, Thu–Sat May 19–21, with a prompt 7:30pm start. Tickets are $30 at thestreet.org.au and will fly out fast!

Bang! Beng! Bing! Bong! Bung! may sound like a bunch of nonsense, but it’s actually a showcase of emerging local talent, stepping out of their cocoons and testing their wings on a stage, often for the first time. It’s on at Smith’s Alternative from 7pm on Tuesday May 24, and will feature short sets from The Blue Angel and Doctor Wiedermann, Claire Louise, Tom Brodrick, Moaning Lisa, and one more artist TBA. Tickets are $5 on the door, with a surprise special guest also promised.

If there is one gig that you should not miss and you should probably be booking for right now, it’s UPPER CUTS, Brass Knuckle Brass Band’s live hiphop mixtape at Transit Bar on Saturday May 21 from 8pm. Not only will one of Canberra’s best bands be hitting the stage, they’ll be joined by some more names you should be totally keen for: Coda Conduct, The Ansah Brothers, Hayds and Roshambo. And PAINT on PAINT and Jedbrii are doing support?

This is a treat so good that it’s basically Christmas. Open your browser right now and go to transitbar.com.au, because this is going to be one hell of a show. Word will get around fast, and you do not want to be That Idiot Who Missed That Amazing Gig. Have you still got that Transit Bar tab open? Good. That means you can also book for when Citizen Kay and Genesis Owusu play there on Saturday June 4 at 8pm. Tickets are $15 + bf via Moshtix, and I have to be honest, these guys are two of Canberra’s most solid acts, not just in hip-hop, but right across the board. Be there, and don’t be late.

The words “frog”, “sock” and “going off” spring to mind.

So while I’m away, be sure to give Canberra’s local scene my love, dear reader. She’s always keen for a cuddle.

NONI DOLL NONIJDOLL@GMAIL.COM @NONIDOLL

18

@bmamag

THE VINYL BUG IAN MCCARTHY It was roughly a year ago when I last caught up with SLOW TURISMO, although everyone immediately acknowledges that it feels like much longer. When we last spoke, the band was gearing up to release their debut EP. Twelve months on, the EP already feels like a distant memory amidst a blur of interstate shows, Triple J airplay, and support spots for the likes of Saskwatch and Kingswood; the icing on the cake being the recent release of new single ‘Falter’ and a video clip to accompany.

Created by Alex Dray, the video clip for ‘Falter’ is something of which the band is immensely proud. Said Sam Conway (vocals and guitar), “It was really nice for us. We struggle ‘cause clips are just really hard. It’s not a medium that any of us have got our heads around. It was really good to be able to unload it onto him and send him the lyrics. He came up with the idea and everything and yeah, we really liked it.”

Since its release, the video has received some very positive attention, not least of which being its addition to the rotation of the ABC’s late night music program, Rage. “We were pretty stoked about it,” Sam said about the achievement, before Louis Montgomery (bass and keys) added, “Still haven’t been up late enough to watch it.” Max Conway (vocals and guitar) then explained, “We’ve actually been away playing shows every weekend and we go, ‘Alright, tonight we’re staying up, 4AM’ … we got really close last week.”

Alright, tonight we’re staying up, 4AM … we got really close last week

The theme that popped up most consistently throughout my chat with Slow Turismo was there newfound obsession with vinyl – the gentle fuzz of Muddy Waters and Fleetwood Mac providing accompaniment throughout the interview. “For ages it was just that real trendy thing to do, and I think we were a bit skeptical of it. Then we were running out of ideas for Riley [Conway, drums]’s 21st – he’s got a little pad back where he’s staying and it was like, ‘Oh, we should get him a little record player and some speakers’,” Sam explained. “Getting him that and then finding him some records, we were all like, ‘I want these’. So pretty much straight away, we started buying records for ourselves and now instead of watching shitty TV and talking over the top of it, we put on records.”

JAZZ AT THE GODS

The band’s new interest also has the potential to change the way they distribute their music in the future. With their last EP only being available as a digital download, Sam Conway explains, “I think the thing is that people want that physical thing. And there’s something about, you know, with vinyl you get so much more artwork and stuff.

It’s all just big and so obvious, and then you’ve got the download card with it as well.”

Slow Turismo are supporting Borneo alongside Northbourne Flats at Transit Bar on Thursday May 26. Kicks off at 9pm, tickets start at $5 on the door.

facebook.com/bmamagazine

19

THE REALNESS RIP innanet rap, I barely knew thee. The genocide that was Kylie Jenner and Lil Yachty and the hyper-reality of Drake’s ‘Views’ are representative of the kind of music we’ve seen come to the fore online this past month.

Regardless of what you think about his song, or Drake’s music in general, ‘Views’ and Lil Yachty represent a climate where an album almost entirely about being famous can go to number one and a dude can link up with a chick almost purely because she is famous and get more attention than anyone.

It once felt like the internet was the saviour of the independent hi-hop artist, but no longer. The overshadowing of these artists in the same virtual space by releases which, in substance, have more in common with a Pitbull record, is something I’ve only really taken stock of over the past week. That said, not all hope is lost; there’s still plenty of real, local hip-hop going on this month to check out…

Saturday May 21 will see Brass Knuckle Brass Band take over Transit for Upper Cuts, which will see BKBB link up with some of the CBR’s most recognisable MCs. Featuring the likes of Coda Conduct, The Ansah Brothers, Hayds and Roshambo, BKBB will be laying down tracks from A Tribe Called Quest, Notorious B.I.G. and the Hilltop Hoods plus others. With the homie Jedbrii on the support tip, this night is set be something else.

Speaking of Ansah Bros, following the release of new single ‘Drive Slow’ last month, Genesis Owusu will join his brother Citizen Kay on the Our World tour at Transit on Saturday June 4. It’s pretty hard to avoid writing about at least one of these two every month, because they are both so active locally and both are increasingly getting the national and international recognition that a hustle this sustained deserves. Following on from the US release of Citizen Kay’s album With the People, this set of shows is set to be huge, both in terms of the event and for both these blokes as MCs. Recent tour buddy of Citizen Kay, Dylan Joel, is also stopping

by Transit once again on Thursday June 9 as part of his Still Sippin’ tour. Supports are yet to be announced so keep an eye out. You can also keep an eye out on FB and Transit’s website for an idea on where to cop tickets.

Breaking up the run of gigs at Transit, Urthboy will swing

by Academy on Friday June 10. Supporting his ‘Second Heartbeat’, the Elefant Tracks MC will be joined by his label mate L-Fresh the Lion and the vocal escapades of Okenyo.

BRADY MCMULLEN realness.bma@gmail.com

20

@bmamag

MOLLY MCLAUGHLIN While writing his fifth solo album, aptly titled The Past Beats Inside Me Like A Second Heartbeat, URTHBOY – or Tim Levinson to his mum – spent some time finding a place for himself and his family within Australia’s wider historical context. He recently dropped the video for ‘Daughter of The Light’, a tribute to his mum from the album, which features a shot in its final seconds of her sitting across a table from her son, smiling. Behind the camera, and beneath the surface of the song, there was a lot more going on.

“I just really liked the women who ended up being on the album; I’m a big fan of their work. To me, it’s a no brainer that there are incredible female artists out there and that just makes me want to work with them as equals.”

Through The Herd, Elefant Tracks and his solo career, Levinson has had a hand in shaping the Australian hip-hop scene since the early 2000s, but for him it has always been wholly about the music.

“I’ve never been involved in the music business because of the business. It’s always been the art that keeps me inspired and interested and involved,” he says. “I will never be a suit, I’m just not into it, but I do love working behind the scenes as a manager on other artists’ stuff. With Horrorshow and Joyride and Hermitude, I love watching them do their thing and seeing it all come to life. It’s pretty fun.”

“We were doing the shot and I could tell that she was quite nervous and overwhelmed by the experience,” he says. “When I first sat opposite her and we performed the song, I could see in her eyes that she was welling up, but the camera didn’t capture that because it was shot from the side. Even if it was just a personal moment between us, it was a There are incredible beautiful moment.”

female artists out there and that just makes me want to work with them as equals

Levinson began researching for The Past Beats Inside Me Like A Second Heartbeat at the National Film and Sound Archive in Canberra. Initially, he planned five EPs that would span specific historical periods, but the end result is more tightly linked and intensely personal than any of his previous work.

“I feel like there’s a billion stories that are underneath the surface of our history even today, and we need Australians writing those stories,” he says. “That gave the project a bit more focus; I became focused on finding stuff about us. I’m interested in stories and the way that they resonate.”

Songs like ‘Hey Juanita’, ‘Long Loud Hours’ and ‘Rushing Through Me’ tell tales from Australian history that many Australians have never heard before. With the overarching presence of his daughter Jetta also felt throughout the album, it’s obvious that Levinson wanted to tell a new story of his own too.

“I’ve never felt at home with the culture of misogyny, but recently I’ve learnt a lot as I’ve listened to different perspectives,” he says.

“I wanted to honestly engage with that. Songs like ‘Little Girl’s Dad’ are a lot more potent because I have a daughter in my life. There’s nothing about a world where she has limitations imposed on her because of her gender that I am comfortable with, so it’s important to tell her what I think.”

The Past Beats Inside Me Like A Second Heartbeat is packed full of diverse and unexpected collaborations. Among them is the regular feature from Jane Tyrell, but also Bertie Blackman, Kira Puru and Okenyo – all of which reflect Levinson’s dual role as both a rapper and a music industry insider through his work at label Elefant Tracks.

facebook.com/bmamagazine

Yet again Levinson reflects on the past and the future, but this time of hip-hop and music more generally.

He is inspired by the voices of young, Australian musicians who are breaking the rules.

“Musically, the thing that excites me are artists like B Wise, Sampa the Great, Okenyo and Ecca Vandal that are coming up from nowhere and creating their own thing,” he says. “There’s a great sort of energy around them. These artists are intriguing because they’re not musically weighed down by their past. They’re coming up with new ideas and they’re changing the ground that we walk on.”

Urthboy is about to embark on his biggest national tour to date – with young guns Okenyo and L-Fresh the Lion – and is looking forward to loosening the grip of perfection on the album in a live setting. He last visited Canberra three years ago and explains that the Second Heartbeat tour will be different this time – not only because of the show itself (featuring three additional vocalists and a DJ), but also because his aim has always been the same.

“Live is where music breathes,” he says. “You get swept up in the audience’s enthusiasm and the hairs on the back of your neck stand up if you do it right. There’s only one word I want people to walk away with and that’s a sense of joy. I don’t really care about everything else. You want to talk real stuff and have heavy songs and be dark and be light and be everything, but I want people to feel joy, that’s all.”

Urthboy will play at Academy on Friday June 10 at 8pm, supported by Okenyo and L-Fresh The Lion. Tickets are $25 + bf through Moshtix.

21

URTHBOY

STAND-UP CITIZEN SETH ROBINSON CITIZEN KAY – a.k.a. Kojo Ansah, CBR’s most wanted – has had a colossal year. He released his sophomore album With The People, which received rave reviews, and set off a pair of kickin’ singles; ‘Wax On Wax Off’ and ‘Life Gives You Lemons’. What’s more, Kay has officially reached veteran status on the live circuit, touring with the likes of Illy, Wiz Khalifa, Earl Sweatshirt & Danny Brown, Run the Jewels, Ice Cube, Public Enemy and Seth Sentry. Now, Citizen Kay is warming up for the ‘Our World’ tour, which will see him headline across the country.

I learnt a lot about my Dad and our family by [interviewing him for the album]

“I was pretty nervous about releasing the album, but honestly, it was great,” he says. “The reception was what I hoped for, but not what I expected. I was expecting an awesome reception for the up-tempo stuff, and it got that, but a lot of the feedback I got personally was for the more intimate tracks, which was absolutely what I wanted. I was nervous about putting those on the album, but those songs meant the most to me, so that was awesome to hear.”

But Ansah is quick to acknowledge that With the People’s success is partly owed to the album’s producer. “I worked with a guy named Ben Garden, who produced pretty much the whole album. We worked twelve songs to the point where they were the best we thought we could get them,” he explains. “I was doing a lot of the production before that, and honestly it’s a lot to try to do the production and write as well – you lose sense of what sounds good anymore, so it’s awesome having that second pair of ears. There’s one song in particular, where I interview my Dad. I didn’t know that’s what the song would turn out to be, but I’ve wanted to do that concept for about two years. It wasn’t until we wrote the instrumental for that, that I was like ‘this is the song’. The interview itself went for a good twenty minutes, and I had to cut it down to about three, but I learnt a lot about my Dad and our family by doing that.”

To celebrate the success of With the People, and to get a little more home grown hip-hop happening around the nation, Citizen Kay is about to hit the road on the ‘Our World’ tour, which will see him hitting cities up the coast, including a stop in his hometown. He’ll also take his little brother Genesis Owusu along for the ride, eager to share some of his industry know-how and spread the love.

“I’ve found that doing headline shows, you have to be in a particular headspace before you go on, which is really different from touring as a supporting act. I’ve done enough supports now that it’s super cruisey and I absolutely love it, because I’ve got the hang of it. I think headlines will come eventually, and ultimately it’s all about the audience and the vibe anyway.”

22

Citizen Kay hits up Transit Bar on Saturday May 21 for Upper Cuts, where Brass Knuckle Brass Band are doing a live hip-hop mixtape with The Ansah Brothers, Coda Conduct, Hayds and Roshambo. Support by PAINT on PAINT and Jedbrii.

Starts at 8pm, tickets are $12 on the door. He’ll perform at Transit Bar again for his ‘Our World’ tour on Saturday June 4 at 8pm. Tickets are $15 + bf via Moshtix.

Support by Genesis Owusu.

@bmamag

CODY ATKINSON The year is 2016. We are witnessing a time where any person can connect directly with their artistic obsession and it is TERRIBLE. Are all people the worst, or is it just some of them? The actual worst person, Cody Atkinson, is here to find out.

Nope. Not being suckered in. NOT FALLING FOR THAT TRICK AGAIN. One bout of online abuse by rabid fans is enough for me.

I mean, did you see what the hashtag Beyhive did to the guy who wrote a sarcastic piece about how she wore similar clothes to J.Lo?

What’s the Beyhive?

No?

The Beyhive is the name that Beyoncé fans give themselves, probably because Bey sounds like bee.

That’s not that bad a name...

So, for one off-handed piece of pretty tame satire, he was sent homophobic slurs, death threats and abuse directed at his family.

DEATH FUCKING THREATS. For saying that a dress someone wore looked like a dress someone else wore earlier.

Certainly better than Directioners or Belibers or Tay Tay Fan Fans.

Surely some of these other fan bases are just as … invested?

Right, so they have a good name. What’s wrong with the Beyhive then?

Yeah, they absolutely seem to be. Beliebers sent hate to Selena Gomez because she had the temerity to date Justin Bieber, stealing him away from them (all of them, all at once). Directioners have attacked almost every figure in the Western Hemisphere, including former members of OD. And Tay Tay Fan Fans will probably attack me for calling them “Tay Tay Fan Fans”. But that’s their actual name. You can cite that on Wikipedia and everything.

Well, the Beyhive has gone on the forefront after the release of Beyoncé’s new album, attacking a woman over social media that may have allegedly had an affair with Jay Z, but also maybe didn’t have an affair with him.

Wait, what?

Fandom isn’t necessarily meant to be a semi-religious experience

You see, Beyoncé dropped a lyric in a track referring to “Becky with the good hair”. Then a lady named Rachel Roy made a comment about having “good hair” on an Instagram post. Just after that, one of the more prominent fans of Beyoncé put 2 and 85,346,748,674,867 together and deduced that this meant the two had an affair. I’m sure there’s more backstory here, but it’s crazy enough as it is for me.

It just seems like these fan groups are … ritualised hate societies?

I’m sure the intentions are good, but the end results are vicious.

Being a fan isn’t a bad thing...

Then a bunch of Behivers starting to flood comments on her Insta and Twitter feeds. Some really nasty stuff – threats of abuse, death threats, slut-shaming and the like. And also a metric shittonne of lemon emojis for some reason.

Not at all. But fandom isn’t necessarily meant to be a semireligious experience where the followers hang off every word of their chosen idol and take it as gospel. I mean, I love Pavement, but that means I listen to their music a bit, and defend the contributions of Spiral Stairs to randoms at pubs. (‘DATE WITH IKEA’ IS A RAD FUCKING SONG! ‘TWO STATES’ IS SOLID AT THE VERY MINIMUM!) But I’m not going to threaten anyone if they disagree.

Because the album is called Lemonade?

So why do these groups do this?

Ah, that makes sense. At some point the Beyhive (I get money each time I use that word) started attacking Roy’s daughter, because it’s totally fair game for internet randoms to attacks someone’s daughter for something their mother may or may not have done. Then some in the Beyhive started abusing popular American TV chef Rachel Ray, believing that she was the one having an affair with Jay Z, because they can’t tell the difference between Ray and Roy apparently.

I’m no psychologist, but it seems the instantaneous connection of so many people with similar beliefs creates an echo chamber, and normalises some of the more irrational aspects of the fandom. A light-hearted joke can turn if pushed enough, and an inside joke can seem downright evil to others not in on it. And I’m sure fans in ICQ chat rooms and in record shops were just as nasty back in the day, but they didn’t have a direct line to the people they were insulting.

Holy fuck, when did being fans of something become a ritualistic cult? I mean what the actual fuck, people.

So like a self-perpetual cycle of hate, thinking that they are serving a greater cause?

It’s not a great sign for modern communication.

Yeah, maybe. Not a psychologist, as above. I think the critical take-away here is that you shouldn’t ever send death threats to someone you don’t know, even if you are joking, and if you do send threats over the internet (which you shouldn’t do), don’t send them to the wrong fucking person. Also, that you can love something without fighting to the death over it. And also words on the internet mean the same as they do in real life.

[grabs popcorn] Then what happened?

BTW, have you even listened to Lemonade yet?

No. I have not. Give me an hour or so.

[One hour later] Are you done yet?

Yeah.

What did you think?

Welcome to “Old Man Writes About Things” …

Get off my lawn (yells at cloud).

And where should people send threats about you now?

Please don’t.

facebook.com/bmamagazine

23

DANCE THE DROP

It looks like our fair city has its own Keep Canberra Open campaign starting up, and with good reason too. A bill is due to be brought before the Legislative Assembly, which would set out three options for a venue’s last drinks: service ends at 3am with current fees; a 300 per cent increase in fees to get a 4am licence; or a fee increase of up to 500 per cent to stay open ‘til 5am, which is the current closing time.

These changes are expensive, and despite the perception that nightclubs are a licence to make money (they aren’t if they are music venues, as opposed to gambling venues), a move to $163,000 a year rather than $27,238 a year to stay open until 5am would cripple most clubs if they wanted to continue late trading. Sure, they’re not lock-outs, but this has a flow on effect to the owners, staff, artists and patrons, and also changes the core flow of a club night – squishing it into a smaller and smaller space of time. Earlier headliners and no option for a kick-on at Cube until sunrise? No thanks. Show your support at keepcanberraopen.com.au.

Most of Canberra’s best gigs seem to happen on Fridays, and May 13 is a packed one. First up is the next Department of Late Nights techno night at Digress, featuring Mike Callendar (Melbourne) of Revolver fame. Forthstate, B-Tham and Kazuki (yours truly) in support. Also that night, Mickey Kojak is travelling down from Sydney to play some house music at Mr Wolf, joined by locals Skinny, Mulkmulk and Yoyo DJs. Hard dance fans will undoubtedly be at Cube for Hard Envy, where an oldskool classic lineup will keep you raving until dawn with Weaver, John Ferris, Hardforce and Amber Savage – awesome! Cassie Bear, Loose Cannon and Capital Punishment represent the locals. Also that night, Academy hosts some heavyweights from Melbourne, with Orkestrated & Lulu bringing their minimal bounce sound to the room.

Saturday May 14 sees the Funky Pleasure crew bringing some creative, live electronic beatmaking to Smith’s Alternative with Ample Sample and Gate Five. On Thursday May 19, Honeysuckle are at Digress as always, with Mason and Siren, and Winston Reed the following week. It’s free entry, so no excuses not to be there.

Friday May 20 brings the awesome Sydney collective Motorik Vibe Council to Mr Wolf – this label and sound crew push some seriously cool sounds, go and check it out! If you like heavier sounds, Academy has favourites Slice n Dice returning with some club weapons.

Junglists should head over to The Basement in Belconnen on Saturday May 21, as Breakneck Entertainment are bringing The Upbeats to our city on their De-Evolution tour. The evening will indeed be massive, with Centaspike, Daschwood, Jayem, Ncrypt, Rascal, Tidy, Transforma and Zodiac in support across two rooms.

The DnB action continues the following week on Friday May 27 at Digress, as Headz Are Rolling present Amoss, along with Dauntless, Centapsike, Tidy and Biscuit Bytes. If you prefer some bassline house, Mr Wolf presents Adelaide’s Motez to their stage, while indie electro house rockers Bag Raiders return to Academy – definitely set to be a big one!

Saturday May 28 is looking pretty quiet as of publication date (maybe I’ll throw a rave then to make up for it),while the following Saturday is large, with Herzeloyde & Ventures at Mr Wolf, and Trance Capital presenting The Digital Dreamerz & Exis at Academy. Saturday June 4, Department of Late Nights returns again, this time with Sydney legend Simon Caldwell. See you under the lasers.

24

PETER ‘KAZUKI’ O’ROURKE contact@kazuki.com.au

@bmamag

facebook.com/bmamagazine

25

METALISE Our small berg has always punched above its weight in terms of quality per ounce of its heavy material. In the last 12 months alone, we’ve enjoyed world class releases from Witchskull, The Levitation Hex, Looking Glass and our own grindcore maniacs Wretch. The latter’s album Tirades cemented the band’s reputation after performing at Australia’s leg of the world’s craziest grind festival Obscene Extreme when it came through Australia a couple of years back.

Now the guys are on the cusp of their first European tour and it couldn’t happen to a nicer bunch of blokes. The festival is on at its home base in the Czech Republic in July over three days of non-stop outdoor, mad moshing, stage diving insanity inspired by the 69 odd bands including Rotten Sound, Insect Warfare, Lockup, Sodom, Brujeria, Cattle Decapitation, Extreme Noise Terror and Melt Banana, to name but a few. This is a great payday and showcase for guys like Nathan Youngberg, who has been putting in services for local metal for 20 years.

To see them off, The Basement in Belconnen is hosting a delightfully depraved and diverse R-rated show – Smutfest – on Friday June 10, with a seven-band bill made up of Sydney and local bands, featuring many flavours of brutal. Wretch headline the gig ahead of their European tour with Claret Ash, Disintegrator, Mytile Vey Lorth, Skinpin, Drain Life and Cockbelch. Pop along and help the guys sharpen their tools for their Euro assault.

Witchskull produced my album of the year last year, and in another example of great long-time hard work turning into a good news story for local heavy music, the ACT Government Arts Fund have funded the recording of their second album in none other than New York City in Q3 this year. As exciting as the prospect of going to record in a major studio in the Big Apple is, further good news is that the album will be recorded by the venerable master soundscaper, Billy Anderson. Anderson’s work from genre-defining acts like Sleep in the early ‘90s through to recent album of the year efforts with Pallbearer are well-documented, and there will be a documentary made to record the occasion to boot.

The Levitation Hex ripped the Transit Bar a new one launching their excellent Cohesion record a few weeks back and are now steadily undertaking a domestic tour from Perth to Sydney and most places in between, including regional dates in May and SA in June, before coming back in September with Malice Wake ahead of a planned European assault next year. Their album is available on vinyl through their German label High Roller if you’re into the wax.

Both Witchskull and The Levitation Hex, as well as Pod People and I Exist – among many, many other punk and metal bands – have all had the covers of their albums graced with the talents of amazing Sydney-by-way-of-Orange artist, Glenn “Glenno” Smith. He’s done internationally recognised work for artists including Frenzal Rhomb, Blood Duster, Acid King, Municipal Waste and regular work on Unbelievably Bad zine. He has an exhibition and will be spinning brutal tunes at Lobrow Gallery & Bar, Level 2, 181 City Walk on Friday May 20, from 6pm ‘til midnight and it’s free. Check it.

JOSH NIXON doomtildeath@hotmail.com

SMUTFEST

26

@bmamag

facebook.com/bmamagazine

27

Best Friends, Nerdlinger, Wolfpack, Dividers, Revellers, Helena Pop, Sketch Method and BDSM. Getting out of bed before 7pm on a Saturday may not seem very punk, but make sure you get down there by 5 – it’ll be worth it, trust me.

Winter is just around the corner (in most places, for Canberra it’s already here and has been for a while), but it looks like things are only going to get cooler (in both senses of the term). It may be freezing over, but we have some shows that are so good they’re worth bracing the weather.

Saturday May 14 we have a huge line-up coming to The Phoenix Pub – all in one, the perfect combination of Ebolagoldfish, Super

The next night we have the butter on the bread of Canberra’s punk scene Disparo! bringing their Fastcore Forever Sleep Never tour to our humble Belconnen Basement, and along with them, everyone’s favourite punk invertebrates Blight Worms, as well as what has been described as “the best fast punk Black Sabbath cover band in Canberra”, Fight Milk. It’s on Sunday May 15, so treat your Saturday hangover to a little Sunday hair of the dog, see the sights of glorious Belconnen and enjoy some beautiful bands.

One of Melbourne’s best Fear Like Us are running their new album Succour around and bringing it to The Phoenix on Thursday May 19 and along with it the incomparable punk duo Hannahband, who have also recently released a new album Quitting Will Improve Your Health. Dickiebirds are providing the local support, alongside the highly anticipated debut of Jimmy Marchet’s (Fight Milk, Monoceros, Office Jerk, Rather Be Dead) solo project, Jim Dusty.

Missouri mudblowers Lumpy & The Dumpers – who are self-tagged on Bandcamp as “slime” – are coming to Canberra on Saturday May 21 to destroy what’s left of the Lacklustre HQ lounge room. Cheering from the sidelines, we have some of the capital’s best and brightest: The New Age Group, The Dickiebirds, and Lower Body (if that doesn’t mean anything to you now, it sure will after you see it). Get there early to score a nice spot to stand on the couch.

On Saturday May 28, The Phoenix brings you a semi-short and super sweet line-up of Canberra classics, Agency and Yoko Oh No, who are one of the most energetic and exciting punk bands to come out of Canberra in the past few years, in support of the four-man ACT rock punk sweethearts, Hoodlum Shouts.

(Last-minute update: this tour has been cancelled. Stay tuned for further updates.)

Little jangly soul punks The Sugarcanes hit The Phoenix on Thursday June 2 with one of my favourite loud noise-making Melbourne trios Loose Tooth, as well as local rock champs The King Hits.

RUBY TURNNIDGE rubymaudet@gmail.com

28

@bmamag

KAROLINA FIRMAN Growing up in Canberra, starting a band, getting some airplay and taking it on the road are no easy feats. But that’s what Canberraborn, now Melbourne band HOODLUM SHOUTS are doing – plugging away at their music and doing their own thing in the Australian music landscape since 2008.

With a sound that sits somewhere on the spectrum between grunge and alt-country, they released their debut LP Young Man Old Man in 2012, and are on the cusp of releasing their sophomore effort, Heat Island, on May 20. Not only that, but they’re already straight into touring it. According to the band’s drummer, Josh Leyshon, “this tour has been like trying to herd cats.” While the boys were zipping around the country launching their new LP, I caught up with Josh to talk about their sound, the new LP, their true hometown and everything in between.

First thing’s first – where did the name ‘Hoodlum Shouts’ come from? Turns out they got it from their own song ‘Hoodlum Settlers’, in the hopes that “it would get confused with Hilltop Hoods and we’d be on all the triple j festivals.” Nice one, fellas. Unfortunately, Josh can’t admit that that idea has entirely worked out. “Back to the drawing board,” he says.

I’ve got no idea how things have changed on that level. We’ve been fairly sheltered and have been running quietly in the background between the last album and this one. We are part of a small industry, or rather, community – a very small cog, in fact. So we don’t have the experience to comment on industry-level changes that don’t really effect us directly.”

Discussing Heat Island, I asked Josh about the themes behind the new album. “It’s an album of love letters to the earth. Every song is an allegory about our future – our pale, red dot – especially the love songs,” he says. “That’s not true, only partly. The illustration was done by the immensely talented Indigo O’Rourke – it really suited the themes on some songs.”

And what about their songwriting process? “Usually, it’s been the lot of us in a room together, just thrashing it out until something happens. This new approach seemed to work really well. I think Sam [Leyshon, vocalist] had more time to think about ideas and not have to scream over the rest of us to be heard. It was a more collaborative effort with lyrics also – I wrote a few and so did Mike, and it came together very naturally.”

This tour has been like trying to herd cats

Let’s just get this one out of the way: are Hoodlum Shouts a Canberra or a Melbourne band? “We’ve been split between the two cities for most of our time,” says Josh. “We all come from Canberra, but three-quarters of us are in Melbourne now. We’re not in the business of comparing cities. Canberra pumps out great music and art for a small city – the TV Colours album ruled. Melbourne is a bloody wonderful city that has a deep music and arts culture.

People there really fight to keep it happening. It must ruin a lot of lives, bank accounts, relationships and livers.”

Like a growing number of Aussie bands, Hoodlum Shouts were discovered on triple j Unearthed. I asked Josh what it was like to be picked up by the national radio broadcaster, and if the love is still there for small local bands. “Triple j have been very kind to play our songs over the years. It was a nice bit of luck to have them pick up on it all the way back then,” Josh reflects. “To be honest,

facebook.com/bmamagazine

Josh also speaks fondly of collaborating with their producer on the new album. “It was an absolute joy to work with engineer and producer Mike Deslandes,” he says. “Mike had a real interest in recording us and he understands what we are on about. He was very much the fifth member in this project.”

Overall, it sounds like everything is turning up peaches and cream for the Canbourne/Melberra boys. “The studio was a great experience and we’re really looking forward to the shows.” Well, it sounds like Josh is not so much looking forward to managing the band on tour, especially his brother Sam. “I’m starting a new business called Sam Leyshon Management, solely to manage my brother. It’ll help the whole family.”

Unfortunately, due to personal reasons, Hoodlum Shouts have had to cancel the rest of their tour. The new album, Heat Island, will be released on Friday May 20 on Poison Records.

29

TANK FULL OF AIR JUSTIN HOOK Most artists and bands bristle about being labelled something they are not. But few bands have suffered the way AIR SUPPLY have.

The Australian duo – Russell Hitchcock (vocals) and Graham Russell (guitar) – became synonymous with the dreaded genre-tag ‘soft rock’.

Songs like ‘Lost in Love’ and ‘All Out of Love’ became radio staples but deep down, the band just wrote really tight harmonies, not a million miles away form the Walker Brothers or The Hollies.

Put it this way – it’s They’ve said, ‘please been an awkward fit for don’t tell anyone we like the band, as Hitchcock you because we’ll get explains from his home so much crap’. I’d never base in Atlanta, Georgia, “It certainly has. If you bust them. label someone ‘soft rock’, people get an impression without seeing or hearing you. We have never considered ourselves to be a soft rock band. Ever. Recordingwise, I can see why people get that, but our shows are rock and roll shows.”

And like most Australian bands that came up through the ’70s, they had to prove their mettle on the live circuit. “It’s always something that amused me a bit further down the road. When we started, we’d be on the same bill as Midnight Oil or AC/DC. In those days, there was a sense of camaraderie. Everyone was just happy to be playing music for a living. I don’t know when it all changed, but there came a time when if you weren’t playing a specific type of music, you weren’t cool.

‘You’re Air Supply, you’re soft rock – you suck’.”

Air Supply are about to embark on their first major tour in 40 years, going from extreme north (Darwin) to far south (Hobart) and looking back on their four decades together. Both are content, regardless of the snipes. “First of all, we didn’t really know what we were doing when it all started. We figured maybe two or three years would be good if we could last that long.”

“Every few years we look at each other and say, ‘wow, can you believe this is still happening?’ It’s a cliché, but without the fans there’d be nothing for us. And we still think we have a lot of gas in the tank.”

Hitchcock is especially proud of never bending to trends or record label demands. “We never succumbed to that kind of pressure. It would have been easier to do something that was in vogue – we just wanted to play our music the way we always have. We’ve got nothing to prove anymore, I’m just enjoying life.”

And a few secrete admirers to boot. “I’ve got a good half a dozen friends who are in very high profile metal bands. And they’ve said, ‘please don’t tell anyone we like you because we’ll get so much crap’.

I’d never bust them. I just enjoy the fact I get to do what we do every night – and don’t have to get a real job.”

30

Air Supply take over Llewellyn Hall at ANU, Saturday June 11 at 7pm. Tickets start at $83.29 + bf through Ticketek.

@bmamag

facebook.com/bmamagazine

31

ANNA RIDDEL The jazz musicians are descending from far and wide this June long weekend. If live jazz is your thing, you’ll be delighted to know that The Street Theatre is hosting a teaser version of their now established CAPITAL JAZZ PROJECT.

It turned out that at the same time, Mulatu’s London-based agents were trying to find a contact for Black Jesus Experience in Melbourne. All the while, the Melbourne band were actually in Ethiopia, playing at a club owned by Mulatu’s nephew.

First held in 2011, this festival has become a biennial staple for Canberra music lovers. It was due to popular demand that The Street Theatre decided to throw a mini version of the festival this year. Of course, that’s only mini in length – not in line-up.

The massive bill over four nights includes the crème de la crème of Australian jazz musicians, including award-winning producer, pianist and composer, STU HUNTER. But the festival will also host one international jazz great, MULATU ASTATKE, renowned as the father of Ethio-jazz.

Born in Ethiopia in 1943, Mulatu’s parents sent him to Wales to study engineering in the late 1950s. Instead, he graduated with a music degree from Trinity College of Music in London. From there, Mulatu went on become the first student from Africa to be enrolled at Berklee College of Music in Boston. When Mulatu returned to Ethiopia after nearly a decade abroad in the UK and USA, he arrived with a new style of music that he termed Ethiojazz – a now widely popular style in the UK and USA (as well as Ethiopia). This hybrid style combined Mulatu’s musical upbringing in Africa with his education and experience in the golden era of jazz in London and the USA.

It’s not every day that the founder of an entire genre of music comes to town. But so it is that Mulatu Astatke will play alongside Melbourne-based band BLACK JESUS EXPERIENCE at this year’s Capital Jazz Project. I spoke to Black Jesus Experience band leader Peter Harper about the unique style of Ethio-jazz and of his experience meeting Mulatu.

Harper’s first experience of African music came through his father, whom in 1963 was teaching the navy band in Ethiopia. Now an established musician himself, this early influence has deeply infiltrated his psyche and style. “Ethiopian music is based around five different forms of pentatonic scales,” Harper explains. “The thing that makes the music so sophisticated is firstly the rhythm, and then the intonation and embellishments. There aren’t just several rhythms going at once, but several time signatures: a three-four running along a four-four, or three-four running along a seven-four – it’s so sophisticated. And it works, it’s entrancing.”

Since establishing Black Jesus Experience, the band has gone on to record and collaborate extensively with Mulatu. Harper recounted how the uncanny union of musicians unfolded. “We were in Ethiopia with Black Jesus Experience in 2009, playing at a jazz club in Addis Ababa called Harlem Jazz,” he recalls. “We wanted to meet Mulatu; it was one of our aims. Then the owner of the club said to us, ‘You should meet my uncle.’ I asked him who his uncle was and he replied, ‘Mulatu Astatke’.”

32

Over the years, Mulatu’s style of Ethio-jazz has received affirming nods from key figures in the music industry. Some of his works are still sampled even today, on tracks by such artists as Nas and Damian Marley (‘As We Enter’), Cut Chemist (‘East Side’) and even Kanye West (producing for Common, ‘The Game’). It’s no surprise that Mulatu also has a long history of collaborating with other musicians. A virtuoso on vibraphones, Mulatu played with Duke Ellington in the ’70s.

Luckily for Australians, Mulatu has been working closely with Melbourne-based Ethio-jazz band Black Jesus Experience since 2009. Indeed, when the band play with Mulatu, they know they are in the presence of greatness. “We show one hundred percent respect to Mulatu,” Harper says. “He is the father of Ethio-jazz. We respect his influences and his teachings, but he wants us to be ourselves. We are a collective. We are a collaboration. We respect his music and we make it come to life.”

Black Jesus Experience is a collaboration of musicians from Melbourne whose diverse backgrounds are the essence of the band. They draw the audience to the edge of their seat and into the palm of their hand. The rhythms make dancing irresistible. This is what happens when musicians mix traditional Ethiopian song with jazz, funk, hip-hop and rap. Like how Mulatu mixed traditional

@bmamag

Ethipoian music with jazz, Black Jesus Experience creates a unique sound from their different backgrounds. With saxophone, trumpet, guitar, drums, two rap artists and the lead singer (hailing originally from Ethiopia), the band is made of five different nationalities, and this is all celebrated in their music.

According to Harper, the influence of Mulatu goes past the live performances. “Any music the band now writes is written for ourselves, but always with Mulatu in mind, even if he is not there,” he says, acknowledging the connection the band shares with Mulatu. “We have a great friendship now, Mulatu is a fine man, a positive and creative man.” Together they have had multiple recordings and more than once toured Europe, the UK, Australia, New Zealand and Ethiopia. In 2013, Mulatu with the Black Jesus Experience were named best national tour by The Age.

be a subtext, but this is about the movement from one place to another – the definition of [the word] migration.”

So what does this all sound like? Imagine a film score that is not background music, but that actually tells the story. One such clever composition can be experienced during the opening scene to the first Matrix film. One of the film’s special features (if you can find it) challenges the viewer to watch the scene with only the music (and without sound effects and dialogue). The fascinating result was that the composers wrote most of the sound effects into the film score; oboes and drums are used in place of sound effects. In a way, that is Stu Hunter’s Migration (without the science-fiction story, of course). Hunter draws from his vast influences to create a work that will draw the listener in and to the edge of their seat.

From the creator of a genre, to Australian blood forging new bounds, an exciting addition to the Capital Jazz Project’s line-up is the prolific keys player and composer Stu Hunter. Born in Jersey before moving to Australia and spending his teen years right here in Canberra, then back to Sydney and New York, Hunter has delved into countless genres. Hunter’s third and most recent album The Migration first debuted at this year’s Sydney festival. In June, it will be presented at The Street Theatre as part of the Capital Jazz Project. What’s more, Hunter will bring with him a score of Australian jazz musicians.

In that sense, it’s a composition written for the audience. “I want the person I’m listening to to draw me in … so that’s what I try to do when I write and lead an ensemble; I want that to be at the core.

The thing I want most from the music is to move the audience. I want them to feel deeply.”

“Constant feedback is that there is a really visual experience from listening to the music, like playing out adventures or storylines in the listener’s mind as it’s happening. The music evokes these pictures and a fantasy world in my mind; they co-exist.”

For anyone interested in stunning music, storytelling and a moving experience by a collaboration of some of Australia’s best musicians, this is a festival not to be missed.

Throughout the suite, the audience will be held captivated by Hunter’s influences and travels – everything from groove bases to rocking tenor saxophone, clarinets that invoke Klezmer-style music, to delicate vocal tones that extend as the music grows.

The ability to gather this calibre of With a tonne of muso’s on stage, musicians, to rehearse the work for The thing I want most Hunter’s band is a force of nature. four days with an extra two days of from the music is to “Despite being highly constructed, the recording before touring the album piece will be different by nature every nationally is a testament to more than move the audience. time, because there are improvisational just the work, but to the respect that to m the t I wan elements,” Hunter says of his band’s Hunter elicits amongst other musicians. ply dee l fee performance piece. “The musicians have Make no mistake, this will be a huge an incredible craft of improvisation and night of big sounds and moving music. also generating tone and being able to express themselves on And of course, Mulatu Astatke and the Black Jesus Experience are their instrument … this really is an ensemble piece.” set to give the audience a night of music that they will remember The Migration tells a story, but what that story conveys is up to for a long time to come. A packed stage will include a pulsing horn the listener. The images created by Hunter’s exquisite ability to section, rap, the luring vocals of the lead singer, drums and above compose and create pictures through music have been widely all – bringing it together – the genius of Mulatu on vibraphone. The reflected upon by the composer. Indeed, it was my first comment audience will be lead through a profound night of unforgettable to him about the work. music.

The word ‘Migration’ is a topical concept at the moment. Hunter comments that this piece takes the meaning literally. “It means to move from one place to another. The story could be unfolding over a day or year or lifetime,” he says. “People leap to [the idea of] immigration and may have strong feelings about that. That may

facebook.com/bmamagazine

The Capital Jazz Project will take place from Fri–Mon May 10–13. Stu Hunter will perform on Saturday June 11 at 8pm. Tickets start at $35. Mulatu Astatke and the Black Jesus Experience will perform on Monday June 13 at 6pm.

Tickets are $49. All tickets can be purchased via thestreet.org.au. This article was commissioned by The Street Theatre for BMA Magazine.

33

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

ENTER THE LITTLE SHOP OF HORRORS CHENOEH MILLER

Photo by Jeff Busby

“I know Seymour’s the greatest / But I’m dating a semi-sadist / So I’ve got a black eye / And my arm’s in a cast / Still, that Seymour’s a cutie / Well, if not, he’s got inner beauty.”

Going to the theatre is more often than not so tedious that the highlight is the interval when you get the chance to escape and see how much wine you can guzzle in twenty minutes. Sometimes, it’s so difficult to stay awake that you’re forced to replace wine for coffee.

Many of the classics are done with such little innovation that one is left wondering why these people even bother. Sometimes you just want a theatre experience to grab you by the throat and gobble you up. Enter LITTLE SHOP OF HORRORS. This horror/comedy/rock musical is a one-of-a-kind classic that is inevitably entertaining because of its dark humour and brilliantly absurd characters. And you get to see a giant plant eating actors – what’s not to like?!* If you don’t know it, this is the story: Seymour Krelbourn works in a flower shop where he is constantly told by his boss what a loser he is.

One day, Seymour discovers an interesting new plant that he names Audrey 2, after his coworker crush. He soon discovers that Audrey 2 grows more when given human blood, so he goes about sourcing bodies for the plant to eat. And there are some brilliantly nasty characters to choose from. Amidst the weird violence grows a love story between Seymour and the deceivingly dithery Audrey 1. It’s an all singing, all dancing, bloodbath spectacular not to be missed.

I chatted with Brent Hill, who plays the downtrodden Seymour in Little Shop of Horrors, which is showing at Canberra Theatre Centre later this month. Hill is an actor who has learned to take risks – the best kind of actor. A few years ago, he sought out French master clown Philippe Gaulier as a mentor. Through Gaulier, Hill became bolder by taking more personal, artistic risks, and he learned how better to “take the work seriously, not necessarily yourself”. He mentions that for amateurs playing the role, “it will be tempting to play for camp and low comedy; don’t. The script keeps its tongue firmly in cheek, so the actors should not. Play with simplicity, honesty and sweetness – even when events are at their most outlandish.” It’s like watching stand-up comedians who are vessels for the material, they’re so much more entertaining than those who are trying to be funny.

I asked Brent how training with Gaulier informed his preparation for the role of Seymour. “In this production, I play Seymour as a 200-yearold lobster reincarnated from Genghis Khan.” I like this guy already.

demonstration of ego and disconnect that is seen in so much theatre. “[You have a choice to] work either as a team, or as a collection of soloists. I’ve done both and the unified team will be the more rewarding experience every time,” he says. It is exactly this kind of thinking that makes good theatre enjoyable to watch.

Last year, there was a production of Little Shop of Horrors on Broadway with Jake Gyllenhaal as Seymour, opposite Ellen Greene from the 1986 film reprising her role of Audrey (she’s now 65!). I asked Brent why he thinks the show is still such a hit. He says that Alan Menkin (composer) and Howard Ashman (writer) took what was “essentially an intriguing, extended Twilight Zone faustian morality tale and added brilliant music. It’s a modern age fable that explores dark themes integral to the human condition; how far would you go in order to get what you want? Would you remain in a codependent relationship, particularly with a plant? Are we aware of the reality of a situation while fixating on the fantasy of it? And it does so in a light and joyful way.”

I find Seymour and Audrey to be two of the most delightful characters in literature. The film with Rick Moranis, Ellen Greene and Steve Martin (as Audrey’s violent dentist boyfriend) is one of the best films ever. But the play is really something special, and it’s a treat to see actors bring these characters to life. Audrey and Seymour have delightful trajectories of self-discovery. “I love his evolution as a person – his growth, his strength, and in his own discovery of these things. He’s got a big heart, and it’s wonderful to see how he deals with these swiftly arising complications,” says Brent.

I asked Brent what his idea of a nightmare was, to which he responded, “A 200-year-old lobster reincarnated from Genghis Khan.” I can’t even begin to imagine how both Brent’s nightmare and character inspiration makes any kind of sense, but it’s just that kind of serious nonsense that makes this show such a gem. Definitely go and see it. A civilised sipping of vino at interval is highly likely. *The one thing not to like could be that there is a giant plant puppet involved. As someone who avidly dislikes puppets, this play is usually an exception. Perhaps because the puppet doesn’t take himself too seriously.

Little Shop of Horrors is showing at Canberra Theatre Centre from Wed–Sun May 25–29. Ticketing details are available from canberratheatrecentre.com.au.

Brent is one of those actors who understands the importance of the ensemble, and he works from that place rather than the tedious

34

@bmamag

IMPRO ACT

AD SPACE

facebook.com/bmamagazine

35

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

ANYTHING BUT A MESS MORGAN HAIN When it comes to big-name Aussie comedians, there’s a few that come to mind. Adam Hills, Dave Hughes, Kitty Flanagan. And then of course there’s PETER HELLIAR. With a two-decade career of standup under his belt, Peter has been on the comedy circuit for a while, and shows no signs of slowing down anytime soon. If his new show ONE HOT MESS is anything like his previous shows, then the hourlong comedy will have audiences laughing until their sides hurt.

“All of my shows are usually about my life, or what’s going on in and around my life,” he says. “I haven’t done a new show for about two years, so I’ve allowed for my life to change a little bit, because the past couple of shows have felt a bit the same.”

Focusing in on the interesting names that he pulls for his shows, Peter is not one to fall behind on the latest terms that are popular amongst youth. Using slang and abbreviations to create eye-catching titles for his shows, Peter is also able to convey his comedy through them, with One Hot Mess derived from the modern day term ‘hot mess’.

“It’s a thing that people say, and I think it’s usually aimed at women, which I find amusing. I kind of like the idea that sometimes I use terms I don’t quite understand, or that I don’t quite get right.” Peter describes his show title as a smart combination of a play on pop culture and himself. “It’s a modern term, but used in a slightly incorrect way. I’m one person, sarcastically I’m hot, and I’m definitely messy.”

From a young age, Peter was always interested in comedy. At fifteen he started thinking seriously about it as something to do. But that wasn’t before trying his hand at a vast range of jobs that would eventually not work out as he had planned. Although it would seem like Peter was always destined to be a stand-up comedian from the start, that’s not exactly the case. “I had the idea of being a cartoonist at one stage, then a journalist. When I was really young I wanted to be a zoo keeper, but then I discovered that I didn’t really like handling animals.”

Keeping his shows fresh and taking inspiration from pop culture, Peter described how he formulates new jokes around his life, hot topics and the latest crazes. Centred on topical and historical events, he has something for everyone. Peter explained to me that keeping up with the things going on in the world is key when it comes to his new material. “I remember doing material when text messaging first became a thing. These days, doing material about text messaging would be a bit passé. I had to explain what text messaging was to

36

people. I remember doing a bit on DVD commentaries, but then thinking, well I don’t know if people will know what DVD commentaries are yet.” Of course, the idea of new terms and evolving technology still translates into today’s material. “You don’t want to be too far ahead of the audience, you kind of want to be on the same page.”

“I’m glad that people see that there’s still substance and intelligence in talking about everyday things,” Peter remarked as I told him that a newspaper had described his comedy as ‘wit merged with intelligence’. “Sometimes people want you to talk about more serious issues – well, there’s a lot of comedians doing that, and it’s not really my forte.”

Of all the things to make jokes of, Peter realises that giving his comedy a personal touch will make it easier to resonate with his audience. In discussing some popular topics, he also takes on board some of the larger issues at hand, like marriage equality, family matters and diversity. “I think, for me, the big issues are marriage, and making a marriage work and trying to raise kids. Those are the biggest issues in the world for me,” Peter reflects. “It’s really just the people around me, I think. My family, people at work, conversations I’m having. I guess it’s those people who kind of provide the influences for my material.”

After all these years of performing and television appearances, Peter admits that he does still get a bit nervous when it comes to performing new material. With a happy-go-lucky attitude like his though, you would kind of almost imagine that being nervous would be the last thing on his mind. “Usually around August I start coming up with half-ideas of what I want to become jokes. I’ll go out and do about twenty minutes somewhere, and it might be, you know, new material. It can be a bit nerve-racking. It’s probably the hardest point of it, I think.”

“You’ll learn very little if you’re coming to my shows – it’s more escapism,” Peter says. “I know people pay good money to come see my shows, and they’ve chosen my show over someone else’s, which is flattering. I take it seriously and I want it to be fun and an escape from reality.”

Peter Helliar’s new show One Hot Mess comes to Canberra on Fri–Sat June 3–4. Tickets are $42 + bf and are available through canberratheatrecentre.com.au.

@bmamag

CENTURY COMEDY AD SPACE ENTERTAINMENT

facebook.com/bmamagazine

37

E

X

H

I

B

I

T

I

O

N

I

S

T

him a worldwide sensation, when the MICHAEL JACKSON HIStory show rocks into town in June. Complete with dancers and band, the show will celebrate MJ’s career from early hits with the Jackson 5 onwards, as performed by MJ impersonator Dantanio, whose love of the star grew into an obsession to personally match every aspect of MJ’s singing and dancing.

LET HIM BACK IN YOUR HEART RORY MCCARTNEY Prince’s sudden passing brings to mind the similarly untimely death of another musical genius, Michael Jackson. The greats live on through their fans and Canberra devotees of the man with one glove will have the chance to relive the songs, dances and flair that made

Dantanio explained his lifelong devotion to the MJ phenomenon.

“My first encounter with Michael Jackson was at age nine with ‘Billie Jean’. I love all the songs, but I really enjoy Billie Jean for its personal content,” he explains. “I have been preparing and practicing since the age of nine. That’s over 25 years to date.” Dantanio held a dream, in that he wanted to recreate MJ’s art in the hope that he could give fans the chance to experience the man’s magic and genius live. Then, in 2014, he had the opportunity to take the lead in one of the world’s biggest MJ tribute shows.

An incredible body of effort goes into getting every detail right in the show, which has run for seven years and evolved on many levels, specifically in the set list and showmanship. Dantanio says, “We prepare and rehearse from a month to two months before the show.” There are 11 cast members on stage, four from Australia (including the musical director and guitarist), five from South Africa, one Canadian and one Kiwi. While the show gives a chronological history of MJ, “The music is so biographical that a narrative is not needed. The music is central to every message.”

Copying MJ’s unique vocal style is no easy feat as Dantanio explain, “‘They Don’t Care About Us’ is challenging because of the chest note vocal style.”

Recreating all the famous moves, including the Moonwalk and Thriller dance requires a similar technical excellence. While it’s easy to guess many of the songs to be included in the show, there are numbers the audience may least expect, which provide an extra insight into the breadth of MJ’s music.

“We sometimes add ‘Dirty Diana’ for the rock element that the fans know Michael Jackson was known for.” Of course no MJ show would be complete without the atmosphere provided by some over the top razzamatazz. Asked about the special effects, Dantanio elaborates, “It is filled with wonder and magic. The lights shown in coordination with the sound spectrum is spectacular.”

Michael Jackson HIStory is on for one night only, Sunday June 26 at 8pm at The Playhouse. Ticket price details at canberratheatrecentre.com.au.

38

@bmamag

THE STREET AD SPACE THEATRE

facebook.com/bmamagazine

39

E

X

H

I

B

I

T

I

O

N

I

S

T

Starting out in drag, Bianca’s act evolved into stand-up. Much preferring talking into a microphone than performing a lip sync number, she adds, “being in drag allows me to get away with murder as a comedian. If I’d be on stage dressed as a boy saying the things I say, I’d be called a hateful fag. But when I do it in a wig and a dress they call me hysterical.”

In addition to Not Today Satan, Hurricane Bianca – a feature comedy by Matt Kugelman – is premiering in the very near future (hurricanebianca.com). But despite an international stand up tour and a film, Bianca has even bigger plans…

ANY CLOWN CAN RUN FOR PRESIDENT ELEANOR HORN Expect the unexpected from BIANCA DEL RIO’s new stand-up show NOT TODAY SATAN. Many will know Bianca from her stint on the sixth season of RuPaul’s Drag Race (which she sailed through and won, by the way). Since then, the insult comic has toured the world with her ‘Rolodex of Hate’ tour (being “trapped with a bunch of insane drag queens for six weeks gave [her] endless material”), and is now returning down under with her new show.

Now, don’t be intimidated by the phrase ‘insult comic’ – you may be given a hard time, but Bianca’s quick to point out that she’s the biggest joke there is.

“If you’re willing to be self-deprecating, it puts other people at ease and they don’t take it so seriously when you make jokes about them.

People just need to lighten the fuck up. There’s enough serious and depressing stuff in our everyday lives. Leave that shit outside and have a drink with me while we laugh for an hour and have a good time.”

CANBERRA REP

40

“Presidency of the United States. Donald Trump has proven that it’s possible for any clown to run for president.”

As an entertainer, it’s clear how versatile Bianca is, and she’s just one of the queens who are broadening the image of drag.“ The fact that I’m even talking to you guys proves that drag has come a long way. For me to have this amazing opportunity performing sold-out comedy shows around the globe shows that the world is ready for something else,” she says. “I credit [RuPaul’s Drag Race] for exposing various forms of drag to mainstream society. Before [RuPaul’s Drag Race], you had to go to a club to see drag queens, but now it’s right there on television and the internet for millions to see. The more people are exposed to, the more understanding and accepting they become. So I’m willing to expose myself to everyone across the world … Strictly for the benefit of society, of course.”

If you haven’t already bought a ticket for Not Today Satan, I don’t know what to tell you, man. This is something you won’t want to miss.“ I hope all of you are ready to have a few drinks with me and lots of laughs.”

Catch Bianca’s Not Today Satan at Canberra Theatre Centre on Tuesday May 24 at 7:30pm. Tickets start at $53.40 + bf from canberratheatrecentre.com.au.

THE STREET THEATRE

@bmamag

FASH N TREASURE

facebook.com/bmamagazine

41

E

X

H

I

B

I

T

I

O

N

I

S

T

LAUGHIN’ AND DANCIN’ RORY MCCARTNEY

Photo by Peter Greig

The SYDNEY DANCE COMPANY is on the road again with its latest production COUNTERMOVE. The double bill presents a mix of the dramatic in the new Australian production Lux Tenebris (Light in Darkness), and the humorous in the latest version of the comic Cacti. BMA spoke about the show with Nick Wales, who composed the music for Lux Tenebris and who also collaborated with Sarah Blasko in her two most recent LPs. Created by SDC Director Rafael Bonachela, Lux Tenebris explores the relationship between light and darkness. Watching the previews, it’s impossible not to be awed by the sheer energy and coordination required of the dancers. Wales explains, “It’s pretty edgy and the soundtrack is dark, mysterious and filmic in a way. The space is cut up by lots of amazing lighting configurations, with the dancers sometimes being in darkness and sometimes moving through shafts of light.”

In this deep and dark work, the dancers have to get their timing just right, to avoid collisions. While mainly a team effort, there are solos in the middle of the piece and a couple of beautiful duets by Charmaine Yap and Todd Sutherland.

Wales talks with pride about the soundtrack he’s created for the work. “Rafael gave me cues for the dance, comprising an electronic, sexual, primal mood. I had to find a balance between all these pieces, and used references to urban electronic music. While it draws on that, it does not sound like clubbing music.” Wales recorded sounds including Korean monks, Ethiopian religious processions, ice swishing in a drink and even the atmosphere of Pluto (using sound on a NASA website). Wales wanted to find beauty in darkness because, “dark things don’t always have to be scary, while light can be too blinding.”

The other half of CounterMove, Cacti screams out its eccentricity and humour. Unlike much dance, this is a genuinely laugh-out-loud performance. “It’s so hilarious and such a feel good piece.” Swedish choreographer Alexander Ekman’s work actually pokes fun at contemporary dance. “It’s satirical and has an irreverence towards high art, including in the narration.” A spectacular piece, the dancers employ their props in unique ways and the soundtrack plays a major role in the piece. Far from Lux Tenebris’ electronica, the show features a string quartet live on stage. The dancers also add to the soundtrack, banging away at the wooden islands that imprison them.

Wales sums it up, “The great contrast between the works makes for a great night of contemporary dance. While Lux Tenebris is very physical and choreographic, Cacti is dance theatre with a strong comic aspect.”

The Sydney Dance Company’s production of CounterMove will grace the stage of Canberra Theatre at 7:30pm from Thu–Sat May 19–21. Ticket price details at canberratheatrecentre.com.au.

42

@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

SHOW ME HOW YOU BURLESQUE KAROLINA FIRMAN Burlesque is a lot of fun, but to the unacquainted, it can also be a little daunting. As Canberra is set to host its leg of the AUSTRALIAN BURLESQUE FESTIVAL, it’s also a good time to get our heads around the fun. For that purpose, I spoke to long-time burlesque performer, advocate for the art form and founder of the festival, Dolores Daiquiri.

Let’s start off by breaking down some misconceptions about burlesque. Daiquiri is quick to note that burlesque means ‘to mock’ – it is a parody that can be interpreted in many ways, through striptease, comedy, slapstick and more. For the most part however, burlesque involves the tasteful removal of garments through a choreographed routine. “There is generally no full-frontal nudity. It’s all tongue-in-cheek and a little bit of naughty fun,” she says. “Every act is unique in its delivery, ranging from classic, showgirl, circus, comedy and the downright wacky. Put it this way, burlesque is not the movie Burlesque. There is so much more to the art form and that is why our audiences keep coming back. You never know what you’ll get.”

It was around 2009 when Daiquiri co-founded the festival, which has seen its share of success over the years. “We started small in the beginning, with shows only in Melbourne and Sydney – so we could test the waters, so to speak. We were not sure how the festival would be received,” she reflects. “But the shows sold out and were a great success. Since then, the festival has grown exponentially with 2016 set to be the biggest year, with 12 shows and eight cities. I have single-handed produced the festival since 2014 and am proud to say the festival has grown from strength to strength.”

But how exactly does one go about getting involved in burlesque, to start ‘shaking your stuff’? “My best advice is to learn the craft before you hit the stage. Take lessons, attend classes, go to as many burlesque shows as possible and understand the history of burlesque,” she advises. “Don’t produce shows until you have a good grasp of the industry and at least two years of experience on stage.

Know who your peers are and who the seasoned professionals are.

And make sure it’s for you.”

And after 15 years, what keeps Daiquiri so fascinated with the art form? “The adrenaline rush I get from being up on that stage is second to none. I like to entertain people and see them smile, react, laugh and just enjoy themselves,” she says. “It’s fantasy; burlesque takes you away from reality and the humdrum of life. It’s a moment I get to share with the audience. A fleeting moment of excitement and joy.”

The Australian Burlesque Festival comes to The Abbey on Friday June 17.

Tickets start at $60 + bf at theabbey.com.au. Dinner options are available.

facebook.com/bmamagazine

43

E

X

H

I

B

I

T

I

O

N

I

S

T

LITERATURE IN REVIEW Ice Letters Susan Errington [Vintage Books Australia; 2016]

Why do we retell war stories over and over? Most of them aren’t that different at heart. Conflict, tragedy, the spectre of peace.

Presumably because as species we’re prone to repeating our mistakes. Retelling them in fiction or non-fiction should help us remember to not make the same mistakes again. Also, war is a versatile subject. War can be gritty, exciting, tragic, heroic, glamorised. In Susan Errington’s Ice Letters, war is the enemy. The protagonists are pacifists, disheartened by the loss of life in World War I and bemused by continued support for the war in the city of Adelaide.

It starts promisingly. Our attractive heroine Dora Somerville enters and is established as intellectually independent, with the courage to grapple with complicated moral issues. Then her boyfriend shoves off to Antarctica and she swiftly latches onto the nearest jerk, letting his politics dictate her actions for most of the book.

I’m over-simplifying it. The jerk in question isn’t just overbearing, there’s fairly strong undertones of psychological abuse in the relationship. However, it means that when Dora is drawn towards some questionable activism, we don’t know how culpable she is for the otherwise unlikely choices she’s making. As a result, it feels as though we’re cheated of seeing her genuinely negotiate the moral and political questions the book sets up. The plot arc is more or less subsumed by the love triangle, one side of which is Dora’s battle of wills with the aforementioned jerk, and the other being letterwriting to her absent boyfriend.

How does it work as a romance, then? Not especially well. Dora and her boyfriend Daniel Bone are stoics, who connect best through sex and work. Put them on separate continents trying to communicate through letters that can never be sent, and what chemistry they have ceases to be compelling. The letters assist with telling the individual stories of the two lovers, but the romance never really takes off.

Of the whole novel, Daniel’s boy’s-own-adventure style Antarctic trek works the best. While it’s thematically linked to the main plot (everyone on the mission is either a pacifist, a war veteran, or just terribly violent), it stands apart. The men are isolated with the demons they brought along, and there are some suspenseful moments as the situation breaks down.

I wanted to like this novel, because questions of civil disobedience – when it’s appropriate, what it achieves, how far is too far or not far enough – are always relevant. But there’s no new insight here. War is bad. Violence begets violence. The messages are worthy, but they aren’t delivered in a way that’s engrossing, and in the end it’s hard to be sympathetic with characters that aren’t allowed many sympathetic moments with each other.

CARA LENNON

44

@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

NATIONAL FILM & SOUND ARCHIVE WE ALL SCREAM FOR ICE CREAM KAROLINA FIRMAN “The best ice cream in the world.” That’s the declaration made by Dennis Koorey, who is the country business manager for Mövenpick Australasia.

For those of you unfamiliar with Swiss ice cream, Mövenpick is an ice cream company that started in Zurich in 1948, and is one of the most popular ice cream brands across the world. What this means is that their crème brûlée ice cream is perhaps the tastiest dessert I have ever had the pleasure of savouring, and that’s saying quite a bit – as my sweet tooth is about two inches wide.

Mövenpick Ice Cream Boutique is a new venue that’s just opened up on the Kingston Foreshore (otherwise known as ‘hipster hotspot’ #2). Other than ice cream, they offer a variety of sweet treats, from waffles, milkshakes, macaroons, sorbets and more. They had their grand opening on Thursday April 7, where they showcased a selection of their tantalising range.

The store is managed by husband and wife team Siddharth Mahabal and Aneeta Singh, who are by all accounts ecstatic to be running a Swiss ice creamery in the capital. When I asked Mr Koorey what made Mövenpick ice cream so special, he told me that that it came down to three factors: the way that its made, as in, “it’s ice cream for chefs, made by chefs”; the quality of its ingredients, which are sourced very carefully and exactingly (like Bourbon vanilla pods from the tropical forests of Madagascar, and cocoa beans from the Maracaibo region of Venezuela); and the way that its sold, in that you know that what you’re getting is quality.

I was lucky enough to go along, and I brought with me two malingers (otherwise known as my best friend and girlfriend), who advertised themselves as ‘taste remembers’. What did my taste malingers remembers, remember? Well, the best friend remembered that he still hated raspberry (he rediscovered this as he tried their fizzy raspberry drink, which he then passed onto the girlfriend). Also, technically they were the first people in Australia to try the new pistachio flavour, even before Mr Koorey – an act that earned them a small degree of ire (faked as it was).

That said, the ice cream, macaroons and milkshakes that I did try were delectable. So if you have a sweet tooth, whether its two inches wide (like mine) or two miles long (like my malingers), then it must be reassuring news that all of your sweetest fantasies are but a short journey away.

Mövenpick Kingston is open seven days a week from 11am–10pm. It’s located at 154, 43 Eastlake Parade, Kingston ACT 2604.

facebook.com/bmamagazine

45

youarehere | inreview

IN REVIEW Coin Operated Poetry Box Verity Lane Friday April 15

You Are Here’s Friday night event, Everything at Once and All Together, more than lived up to its ambitious name. Packed with DJs, live music, street art, dance and all kinds of experimental performance art, Verity Lane – a small space in Canberra’s CBD – was transformed into an immersive and otherworldly experience.

However, it was one of the more unassuming installations, Amelia Filmer-Sankey’s Coin Operated Poetry Box, which attracted a sizeable crowd early in the evening.

Coin Operated Poetry Box was a unique interaction between the solitary pursuit of writing poetry and the collaborative medium of performance art. Filmer-Sankey dispensed poems on request from a glass and wooden box, inside which the décor resembled a 1950s office in miniature. The box initially caused some confusion but soon began running smoothly after some hand signals from the artist.

The audience waited patiently in line to request a poem with the provided order form, choosing from categories including Dystopian Australian, History of Religion, Women and Work, and Lust + Love and Living.

Filmer-Sankey’s written instructions were simple: Wait for Coin Operated Poetry Box to process your order and administer to your poetry needs, Receive words, Go on with your life. Of course, this was not as easy as it sounds. After receiving an order form, Filmer-Sankey typed a short fragment of poetry onto a photo and also provided a longer prepared poem; “fickle/like eggs/that break/ before water”, read one of the photos. The poems were brief but intriguing, all the more because they provoked a dialogue about the necessary but under-valued role of art in modern society. While some of the audience glanced at their poems before moving onto another performance, others remained transfixed by the words and Filmer-Sankey herself.

Coin Operated Poetry Box also featured an information panel about Hope Verity Fitzhardinge, Verity Lane’s namesake, who opened Verity Hewitt’s Bookshop in East Row on April 1st, 1938. According to her biography, “from second-hand books, [Verity Hewitt’s Bookshop] expanded to sell new books, prints and artefacts, and to hold art exhibitions. Unsuccessful financially, it became a ‘pool of light’ for the book-starved community, reflecting the friendliness of its owner, who delivered library books by sulky.” This information added to the anachronistic impression of Coin Operated Poetry Box, its humble approach to art almost out of place in 2016.

IN REVIEW Broken Bathtub Sunday April 17

When was the last time you had a bath? Mine was over a year ago.

When was the last time you had a bath in view of an audience?

Never. Siobhan O’Loughlin provides a different answer. She had a bath in front of twenty people in Broken Bathtub. What’s more, the bathtub was outdoors.

This segment focused on the intersection between private lives and communal experience by juxtaposing theatrical pieces and residential spaces. Set in a residential home in the suburb of O’Connor, O’Loughlin’s performance was part of the Let’s Stay in Tonight segment of the You Are Here festival.

Broken Bathtub was inspired by O’Loughlin’s experience recovering after a bike accident in 2014. After this accident, in which she broke her hand, she mustered up the courage to ask friends if she could use their bathtubs. O’Loughlin’s piece discusses the vulnerability, sadness and gratitude that she felt during this time. Regularly performed to an audience of 6–8 people, or however many could fit into the bathroom, O’Loughlin used the space to ask audience members to help her wash and share their own experiences.

O’Loughlin’s tub was located in the backyard, where audience members crouched around the bathtub on milk crates and blankets.

It rained intermittently throughout the performance, resulting in audience members having to hold up umbrellas and huddle underneath tarps supplied by You Are Here volunteers. It was only when the rain began to seep through the tarps that it was decided to relocate the performance indoors.

What the rain highlighted was the realism of O’Loughlin’s storytelling. She paused intermittingly to ask about the rain and if everyone was okay. Between her pausing and continuing her memoir, there was no change in her demeanour. This encouraged the perception that she was being genuine in her performance, rather than playing a theatrical persona. The rain emphasised O’Loughlin’s resilient, caring and charismatic personality.

O’Loughlin delivered an intimate performance. Throughout Broken Bathtub, she asked audience members to help her bathe. Her own nakedness and the honesty of her reflections inspired the audience to share their own intimate experiences. Individuals discussed their own broken bones, reflected on whom they might call if they needed help, and shared the last time they’d cried amongst other people.

O’Loughlin facilitated these intimate confessions with great skill and expertly entwined them into her own story.

It is clear from the success of You Are Here that contemporary Canberra, while no longer book-starved, is still in need of community events that provide a space for innovative and engaging art. By dispensing poetry in the midst of our everyday lives, Coin Operated Poetry Box was one small but successful contribution to this aim.

O’Loughlin’s courage to be naked in a bathtub, her willingness to expose herself to vulnerability and sadness was inspiring and worth getting caught in the rain for. The honest and self-reflective nature of her questions turned the piece from an individual performance into a dialogue, as if we were all naked in the bathtub together.

MOLLY MCLAUGHLIN

ROSE MAURICE

Express Media’s Buzzcuts program is presented in Canberra in partnership with Scissors Paper Pen and You Are Here. Visit buzzcuts.org.au for more.

46

Express Media’s Buzzcuts program is presented in Canberra in partnership with Scissors Paper Pen and You Are Here. Visit buzzcuts.org.au for more.

@bmamag

youarehere | inreview

IN REVIEW

IN REVIEW

On the last day of You Are Here, the festival united children and children at heart with the classic art project, Exquisite Corpse. Set amongst other arts and crafts in The Club, Exquisite Corpse was run

by Mary Popo.

For most people, walking and talking are everyday activities that are as instinctive as breathing. As part of You Are Here, Brisbane-based artist Salma Osman created The Philosopher’s Walk in order to probe this connection and encourage the audience to reflect on how and why walking can affect our thoughts. On Saturday, a small group met Osman outside The Club on Northbourne Avenue to join her for a walk around the inner city of Canberra.

Exquisite Corpse The Club Sunday April 17

Exquisite Corpse is the name given to a collectively assembled image, commonly a person. Traditionally, one person would begin the image – for example, the head – fold the piece of paper over and pass it on to the next person. This person would then draw the next part of the image, fold the paper again and pass it on. At the end, the paper is unfolded and the image revealed, usually with a few chuckles at the ridiculous result.

Popo was inspired to run this workshop by a dinner party she attended. At this party, her and her friends reminisced about doing Exquisite Corpse when they were in primary school. Getting paper and pens out, they then spent the rest of the evening creating weird and fantastic creatures. Popo thought it would be an excellent addition to the You Are Here festival.

On Sunday, the audience was comprised mainly of families and children. While none of the events at the You Are Here festival are designed specifically for children, most of them are child-friendly, as this workshop was!

The workshop was initially limited by audience participation.

There were small numbers and a few of the participants were disinterested in collaborative drawing. For example, I asked one child if he would like to work on a drawing with me but he responded with an affirmative ‘no’; he preferred to work on his own landscape. I admired his honesty.

Once we gained momentum and more adults and children got involved, the creative juices began to flow. The workshop saw an interesting dynamic of adults and children working together to create weird and wonderful bodies. The result was an array of rainbow hair, pineapple-shaped torsos, tentacles as feet and detailed socks. Oh, and someone smuggled glitter into the mix.

While the workshop was intended to be a renaissance for primary school art classes and for a mature audience, Popo’s workshop was quirky and filled with childish sass. The corpses that were created were colourful and sweet. I would recommend an afternoon of Exquisite Corpse to anyone who says they can’t draw because, as I learnt, an artist’s worst critic is not himself or herself, it’s the sixyear-old sitting next to them.

ROSE MAURICE Express Media’s Buzzcuts program is presented in Canberra in partnership with Scissors Paper Pen and You Are Here. Visit buzzcuts.org.au for more.

The Philosopher’s Walk The Club Sunday April 16

Osman designed The Philosopher’s Walk with a straightforward structure but loose guidelines as to what the audience should contribute or take away from the event. After relocating to a shady spot under some eucalyptus trees, she divided the group into pairs who then walked together around the city with one person talking for ten minutes about anything they chose, and the other actively listening but refraining from comment or interpretation. Next, everyone wrote and reflected on the encounter and what had been said, before sharing with their partner and the group. The whole exercise was repeated so each person was able to both speak and listen.

For an audience of self-described introverts, the acts of talking and listening each for ten minutes at a time were challenging but ultimately rewarding. Due to the nature of The Philosopher’s Walk, Osman played the role of a facilitator and the audience members became integral to the event, resulting in a unique, intimate and immersive experience for each individual. The audience had conversations that ranged from pop culture and high art to parenting and the purpose of work, and ideas evolved and were consolidated over the ten minutes that each person spoke. Both the walking and writing reinforced the physicality of philosophy, tying intangible concepts to real-world actions.

The practice of active listening was key to the success of The Philosopher’s Walk, emphasising the value of a skill that is often lacking in our modern lives. Without distractions and with the undivided attention of another person, it was interesting to learn what ideas could be possible simply by listening. Similarly, the audience rediscovered the beauty of walking for pleasure rather than to arrive at a destination, and shared stories that demonstrated a common desire for reflection. Cars and other pedestrians rushed past, but the audience of The Philosopher’s Walk became almost completely absorbed in talking and listening.

In the age-old tradition of philosophical thought, The Philosopher’s Walk raised more questions than answers and left many sentences unfinished and ideas unformed, but that was all part of the experience. Osman blurred the barriers between artist, audience, mind and body, and allowed The Philosopher’s Walk to develop organically into a thought-provoking and authentic event.

MOLLY MCLAUGHLIN Express Media’s Buzzcuts program is presented in Canberra in partnership with Scissors Paper Pen and You Are Here. Visit buzzcuts.org.au for more.

facebook.com/bmamagazine

47

E

X

H

I

B

I

T

I

O

N

I

S

T

bit PARTS SCARE FACTOR WHAT: Ghost tour WHEN: Fri May 13, Fri May 20 WHERE: National Film & Sound Archive Did you know the National Film & Sound Archive is one of Canberra’s most haunted buildings? Gather ‘round, ye children. The building was formerly the Institute of Anatomy for more than 50 years; it housed human skeletons, animal specimens, and it was the site of scientific experiments. Commonly reported ghost sightings include a little girl that pops out through a grate in the old theatrette, and poltergeist activity where the old laboratories used to be. Sign up for a ghost tour for $14 at TryBooking.com, and you’ll also catch a screening of some quality Australian horror films – Howling III on May 13 and Scare Campaign (plus a Q&A with the director) on May 20.

ESSENTIAL INDEPENDENTS: AMERICAN CINEMA, NOW WHAT: Independent film festival WHEN: Wed May 18–We Jun 1 WHERE: Palace Cinemas A lot of countries pass their film festivals through Canberra. Spain, Japan, Italy, Saudi Arabia. And look, we may give America a lot of shit, but in reality, they’ve got their fair share of passionate, independent filmmakers, just like any other country. And just like any other country again, American filmmakers have got a lot of their own culture to unpack, explore and discuss with the rest of the world. So it only makes sense that we would have Essential Independents: American Cinema, Now bringing such films to Canberra as I Smile Back and Jane Got A Gun, plus a list of other quality films you can read about at palacecinemas.com.au.

BENEATH THE BULA SMILE WHAT: Photography exhibition WHEN: Fri May 20–Sat Jun 18 WHERE: Tuggeranong Arts Centre Emerging photographer Eva Schroeder presents Beneath the Bula Smile, a photographic story reflecting time spent as a photography intern at the UN Women’s office in Fiji. Schroeder documents the faces of a small number of female market vendors and the reality beneath their smiles. These women occupy freestanding, one-room dwellings that provide shelter for large groups of female vendors in Fiji’s Suva Markets. They seek accommodation after a long days’ trade and face the pressures of economic survival along with the fear of robbery and assault. Their stories will be shared when the exhibition opens at Tuggeranong Arts Centre on Friday May 20 at 6pm. Entry is free.

AKMAL WHAT: Comedy WHEN: Fri Jul 22 WHERE: The Abbey Known for his incredible ability to deal with hot topics in a hilarious and slightly offensive way, Akmal promises to deliver a show that is punctual and jam-packed with words … some of which he will be using for the first time. One of Australia’s most respected and accomplished comics, Akmal draws on his Arabic heritage, his experiences immigrating to Australia at the age of 11, and his disillusionment with religion and the modern world to deliver a stand-up show that is fresh, honest and ridiculously funny. You’re on your own finding tickets, but here’s a hint: they’re $45 and available from theabbey.com.au.

48

@bmamag

THE BUNKER AD SPACE COMEDY

facebook.com/bmamagazine

49

the word

on albums

atmospheric intro involving a cosmic keyboard pulse.

Black Mountain also make use of vintage synthesizers on IV, which bring to mind Sabbath’s 1973 opus Sabbath Bloody Sabbath. That album was panned by some critics for having introduced synthesizers into a successful guitar/drums/ bass template, but it is in fact one of their finest efforts for that very reason. Similarly, on IV, the synths add otherworldly colours to the guitar grunge and the music is all the more expansive for it.

album of the issue BLACK MOUNTAIN IV [JAGJAGUWAR] Overt melodrama in rock ‘n’ roll is a winner with bands such as Black Mountain and Heron Oblivion. These bands celebrate a psychedelic golden age, which is a million miles away from the latest teen sensation preferring surface over substance. Some reviews of this latest Black Mountain album IV – with its obvious retro-sounding title – have namechecked former craftsmen of the dramatic arts like Black Sabbath and Pink Floyd, and the proto-punk psychedelia on offer does make you pine for the good old days depicted in movies like Almost Famous, when heaviosity in music wasn’t merely the preserve of some poorly defined, underground subculture but a rock music staple that consistently took bands like Led Zeppelin to the top of the charts.

Industrial riffage from the likes of Black Sabbath was a driving force on Black Mountain’s 2004 self-titled debut album, which induced paroxysms of joy in this listener because it sounded like the real deal, from a band that referenced the past without succumbing to it. Black Mountain made its mark with freshened riffs and genuine feeling, particularly when Amber Webber’s affecting vocals shone through. Sabbath also released an album titled Volume 4 in 1972, and the intense riffs on that album’s opening track ‘Wheels of Confusion’ match the weighty efforts on this album’s opening song ‘Mothers of the Sun’, which kick in after an

50

The band makes good use of keyboards on such a track as ‘You Can Dream’, which broadens the sonic palette without upsetting the heavy vibes. The combined instrumentation conjures circular psychedelic ripples with Amber Webber and Stephen McBean’s harmonised voices accentuating potent theatre, which recalls Pink Floyd in their grandiose phase. It’s almost certain Black Mountain listened extensively to panoramic Pink Floyd albums like Wish You Were Here and The Wall while this album was being assembled. There are melodic traces of Roger Water’s ‘Young Lust’ on this album’s third track ‘Defector’, but the absence of egotistical heavy-handedness is where the two songs part ways, as Black Mountain is more than happy to reference its own accomplishments.

The musical progression from the compressed stoner-psych of the first classic Black Mountain album to IV becomes immediately apparent as the heavy riffing on that first long player has been incorporated into the progressive textures of second album In the Future and the tighter melodies on Wilderness Heart. On IV, the band cherry-picks the best parts from these previous albums and the outcome is an enticing psychedelic swirl with gorgeous melodies, as on ‘Crucify Me’. An ongoing soft/loud dynamic superbly heightens the drama, making this Black Mountain’s finest album to date. Perhaps it is unfair to keep mentioning the past whenever thoughts turn to this band, because it shoots into the stratosphere on its own terms. Nevertheless, the wild ride with its many reference points is all part of the fun.

POLIÇA UNITED CRUSHERS [POD/INERTIA] From the first moment that clean, almost entirely unfiltered vocals burst to the front in the middle of album opener ‘Summer Please’, you’re made explicitly aware that United Crushers is a new kind of Poliça album. The hyper processed, reverb soaked vocals that typified their first and second albums have been stripped back to the barest traces on most tracks, leaving vocalist Channing Leaneagh sounding the most honest and exposed she ever has. The effects are still there – especially on tracks like ‘Berlin’ and ‘Wedding’, where Leaneagh sounds like a robot choir – but for Poliça, it may as well be an acoustic album.

United Crushers comes on the heels of Channing Leaneagh’s marriage to founding member Ryan Olson and the birth of their son in October last year, but it does not reveal a more centred, settled lyrical tone for the band as you may expect. Album closer ‘Lose You’ is a heartbreaking and desperate plea to an uninterested lover to stay around, and ‘Melting Block’ is a paranoid portrait of suburban life, “every man a sheep in wolf”. ‘Summer Please’ best typifies the lyrics of this album in it’s nihilism, “Whatcha wanna be when you’re big enough to see it’s all shit […] I’ve got mine, I’ll be fine.”

Leaneagh has said, “I saw this album as my last chance. I’m not saying it actually is, but that’s where my head was at. I wanted it to have a ‘final paper’ feel. I wanted it to be our best work, because who knows what happens next.” And that definitely holds true in United Crushers. It’s Poliça’s best, most focused album yet and hopefully not their last.

ALEX MORRIS

DAN BIGNA

@bmamag

FELIX RIEBL LONELY TRUTH [MY SHORE PRODUCTIONS]

MARISSA NADLER STRANGERS [SACRED BONES RECORDS]

A$AP FERG ALWAYS STRIVE AND PROSPER [RCA RECORDS]

Belter known as band leader and co-founder of the ultra-vivacious, super danceable Cat Empire and the composer of music for major Australian festival spectaculars, Felix Riebl uses his solo career to communicate the more serious side of his songwriting.

Following a debut solo LP in 2011, his EP Lonely Truth is a bookmark between his first release and another album due out this year.

Like the songs he wrote for The Cat Empire, his EP displays cross-genre song styles.

However, the mood is more thoughtful and the tempo down a few notches. What it does share in common with The Cat Empire songs are the superb vocal tones and an ear for very appealing rhythms.

New, eclectic, dark. These are just a few words that could describe this album. To say the least, this album is probably the furthest thing from what you would hear on the radio. Marissa Nadler is well known for being a part of the gothic music scene in the US. Having accumulated a career spanning twelve years, she has now formulated her seventh album, Strangers. Previously, her music was known for having themes of heartbreak – the addition of universal themes on this new album will no doubt broaden her audience.

Harlem attitude packed up, rolled up and is just awaiting you to light it up right here in A$AP Ferg’s latest delivery, Always Strive And Prosper. Boasting a richness of hip-hop, trap, dubstep and all-star guests, this is a masterful release and is bound to appeal to the hip-hop and EDM crowds alike.

The EP is a thicker musical soup than Riebl’s debut, moving away from the relative simplicity and crispness of that release. The opener ‘Lonely Truth’ was recovered from a mislaid recording session. Riebl deliberately chose not to re-record it for the EP, but retained the original take to take advantage of its boisterous spontaneity. With strong fingered piano, sharp drum strikes and equally tempered guitar, it starts slowly, before blossoming, squeezing out the light between the notes as it advances. It’s all bound up with bold trumpet and a fullbodied chorus from the choir. Disk highlight ‘Crocodiles’ adopts a more straight-laced delivery, evoking the colour of our near neighbour Timor Leste. Coming with a political message and veiled references to deals done over access to resources, the gritty verses are calmed by a floating chorus. ‘What Did I Learn’ is a street smart drama cast in music instead of celluloid, while the spaced-out sounds of ‘Frankie Valli’ are corseted by ribs of brass and a ribbon of cello.

RORY MCCARTNEY

facebook.com/bmamagazine

The music executed on this album gives the listener the feeling of floating through a dream. Drifting psychedelic vibes are a composition of slow drum beats and arpeggio stylings from acoustic guitars.

Light piano melodies contrast with menacing, ghostly echoes of Marissa’s voice, giving the album its rare and original sound. Among the easy listening tunes, a hint of distortion can be heard on heavy guitar strums, which are etched into many of the tracks.

What could only be defined as an indie rock ballad, ‘Janie In Love’ stands out from the rest. Whilst retaining the album’s dreamy echoes and indie rock themes, it builds up from slow European-inspired guitar strums, and quickly evolves into a notable melody, involving low-pitched groans from an electric guitar. The track is reminiscent of soft rock juxtaposed with a hint of ’70s glam rock, taking advantage of its slow, soulful rhythms.

Strangers is a memorable album. It sounds unlike anything found in today’s mainstream music. Sometimes you need a break from the norm.

Among the beloved A$AP Mob (Rocky, Twelvyy), Ferg stands out for his brash, boisterous and biting raps but also his ability to step back and bring in orchestral detail (‘Beautiful People’ feat. Chuck D & Mama Ferg) and soul-empowering samples.

Skrillex brings the buzzing, violent angles of drum and shattered vocals that instantly define anything he touches in ‘Hungry Ham’.

Not the highlight of this sophomore album, but it’s bound to appeal to dubstep fans.

‘Let It Bang’ is a family tale in echoey, ghostly sample land. Schoolboy Q features, but the whole track centres on telling the story of Ferg’s “crackhead uncle”, “moving dope” and making good in the end. The dark refrain, “let it bang” ends with a shotgun blast. It’s violent, but you’ll find yourself nodding along, whether you want to or not.

‘Swipe Life’, featuring hip-hop icon Rick Ross, is gritty and echoes Kanye and Nas doing ‘Classic’. Tinkly keyboards, punchy, shared refrains, violent references to rollies, bitches and chains – it’s hip-hop life 101, so you’ll either worship it or you’ll roll your eyes and move on. Just don’t switch off – A$AP Ferg is going to reach his diamondencrusted fingers directly out and grip you to his heart. He’s going to invite you straight into Harlem and keep you riding shotgun from first to last track. Ride.

CAT WOODS

MORGAN HAIN

51

album in focus

VARIOUS PUNK 45: CHAOS IN THE CITY OF ANGELS AND DEVILS – PUNK IN LOS ANGELES 1977-81 [SOUL JAZZ] The Soul Jazz label has turned out another first rate instalment in its ongoing Punk 45 compilation series, this time focusing on Los Angeles.

Punk rock in LA was thrashier and closer in sound and politics to UK punk than the experimental stuff happening in places like Cleveland, Akron and New York, where the rock ‘n’ roll primitivism of The Ramones was initially considered by some as an avant-art project. Given that Los Angeles was inhabited by major players in the mainstream entertainment industry, it makes sense that the underground music scene there would emphasise individual self expression and radical politics to provoke an antiestablishment alternative to mediocre entertainment and conservative social views.

Penelope Spheeris’ startlingly candid 1981 documentary on LA punk and hardcore The Decline of Western Civilisation explored what it meant to live life on the edge with no trace of fakery, and a number of bands featured in the doco such as The Germs and X can be found on this collection of hyper energised DIY art that blasts into life with archetypal hardcore track, ‘Out of Vogue’ from The Middle Class. This song says everything it needs to say with superb concision and rough aesthetics across its one-minute running time.

Even so, Los Angeles punk was often highly melodic, with ’60s garage rock as a notable predecessor when it first became apparent that brazen attitude mattered just as much as musical technique. ‘We’re Desperate’ from Los Angeles band X is a classic slice of punk rock, but is also damn hummable with its urgent vocal refrain, “we’re desperate/ get used to it.” The greatest garage band of all, The Stooges, makes an appearance here with ‘I Got a Right’, a tasty slice of scuzzy proto-punk originally recorded in 1972, which laid the groundwork for all the primal mayhem that came after. Its appearance as a single in 1977 on miniscule label Siamese Dogs fits right in with manic punk rock nuggets like ‘A Life of Crime’ from The Weirdos and The Urinals’ 54-second oddity, ‘I’m White and Middle Class’.

The rejection of mainstream power structures also extended to gender relations; one of the great things about punk rock was the dismissal of male-dominated sexuality in rock ‘n’ roll through an expressive female empowerment. Female vocalists like Alice Bag from The Bags and Exene Cervenka in X confronted audiences with a defiant stance that music fans might not have been used to.

UK folk duo Phillip Henry and Hannah Martin met up as members of alt-folk outfit The Roots Union in 2009. When that band shut up shop, Henry (whose interests extended to classical Indian guitar and the sounds of the American south) joined forces with fiddle-singer Martin. The pair made themselves busy on the folk circuit and wider genre shows including Glastonbury, before releasing a debut album Singing The Bones in 2011. Having gained a number of British gongs as ‘best folk duo’, 2016 sees the pair embarking on an international tour, including Australia, and the release of a third long player.

The other cool thing that happened was a proliferation of homegrown record labels, designers, fanzines and all the other creative stuff that comes with supporting and promoting an underground scene. The comprehensive liner notes provide a good amount of detail about this with record label Dangerhouse and Greg Shaw’s record store and label Bomp! emerging as significant players by releasing 45 singles from bands without a hope in hell of entering the charts, but doing so to promote good art and many great songs from tiny labels are included here. One killer track is The Germs’ 1977 What Records? single ‘Forming’, which has vocalist Darby Crash apathetically mumbling over a loose, rubbery rhythm and crude melody for most of the song and then exclaiming at the end, “whoever would buy this shit is a fucking jerk.” Well, this shit definitely worked for me as I knocked over a bookshelf while pogo dancing around the living room.

Martin’s pure voice cuts cleanly through the lyrics of the opening title track, a song which uniquely merges Celtic vibes of moss encrusted crosses with a hint of Eastern guitar from Henry. Like most of their material, the track is unhurried, leaving ample time to appreciate the fine turn of voice and expert fingers on the instruments.

‘Stones’ sees a weaving of Henry’s Americana fascination into the guitar/ mandolin, while in ‘Tonight’ Martin’s haunting singing is underscored by Henry’s expert harmonica playing, in which he converts a random buzzing into a rollicking tune with sea shanty sensibilities. Henry takes his turn too, with lead vocals in ‘Yarrow Mill’, while his musical partner applies a light frosting of fiddle to the track. Fiddle and mandolin play snakes and ladders in the instrumental ‘December’, while Martin needs no accompaniment as her voice rises and dives, swallow-like, in the following number ‘January’. Not your average folk outfit, their themes are steeped in the place names and pastimes of Old Blighty, but their music draws on the wider world.

DAN BIGNA

52

PHILLIP HENRY & HANNAH MARTIN WATERSHED [DRAGONFLY ROOTS]

RORY MCCARTNEY

@bmamag

YEASAYER AMEN & GOODBYE [CREATE/CONTROL]

TACOCAT LOST TIME [HARDLY ART RECORDS]

Art rock/dance Brooklyn trio Yeasayer decamped from urban life to a remote farm in the Catskill Mountains to record their latest album, Amen & Goodbye. Far from an idyll, storms left gullies of water between shed and studio and chickens roamed freely.

While the chickens weren’t conducive to innovation in the studio, discovering a collection of exotic string instruments in the farm studio opened up a new approach to the record. A wicked storm wiped out much of the analogue recording that had initially been laid down. The salvaged remains provided a foundation to rebuild the album that felt truer to Yeasayer means and method. Enter percussion expert and producer, Joey Waronker (drummer for Beck and R.E.M, amongst others).

Lost Time is the newest, freshest and all-around best offering yet from poppunk quartet Tacocat. The album is short – seriously, it’s not even 30 minutes long – sharp and, most importantly, whip-smart.

Tacocat have never shied away from feminist anthems, but on Lost Time they’ve taken it to the next level. The album’s lead track, ‘Dana Katherine Scully’, is the perfect starting point: a song about the groundbreaking lead female character in The X-Files, it instantly establishes the album’s combo of a playful and stern tone.

As the chorus says, “the truth is out there/ but so am I.” Now, I – a completely unbiased source who just happened to watch all 200+ episodes of The X-Files last year – happen to think this is the greatest song yet known to man and should be sent into space in one of those records filled with information for the aliens. Ditch the Mozart and the Stravinsky, odes to Scully’s “shoulder pads and no-nonsense attitude” are way more important.

While “Amen & Goodbye” could sound like a somber salute to humanity, the harmonious and soaring vocals that rise from ‘I Am Chemistry’, ‘Silly Me’ and ‘Prophecy Gun’ indicate there is a fragile and beautiful hope in art and humanity. ‘I Am Chemistry’ is an easy pick for the first single to be released, with a catchiness and accessibility that will attract electro and indie rock lovers both. There’s an echo of Joy Division in the bassline and guitar play on ‘Cold Night’.

The twangy guitars on ‘Silly Me’ are joined by ’80s arcade game bleeps and united in echoey The Rapture-style harmonies.

Ferris Bueller would have loved it. Most fun breakup song ever.

Odd Blood was an album of hidden treasures that only really revealed its worth over numerous listens. Similarly, Amen & Goodbye can really only be unpacked and its strange objects polished and held up to the light to be revealed for the shiny, rare beauties they are. Amen for the prolonged wait resulting in this gem. Let’s hope it’s not goodbye for too long, Yeasayer.

CAT WOODS

facebook.com/bmamagazine

The whole record is saturated with a ’90s vibe that extends beyond the opener, and it doesn’t relent or disappoint once. From the merciless bubblegum rock of ‘You Can’t Fire Me, I Quit’ to the hilarious(ly accurate) ‘Men Explain Things To Me’, Tacocat access culturally relevant issues through pithy, witty lyrics, kaleidoscopic guitar and fast, unrelenting drums. The album spins into your ears and there it stays, going around and around but never getting boring.

In the end, there’s no other way to say it – Lost Time is just damn cool listening.

INDIGO TRAIL

THE WEEPING WILLOWS BEFORE DARKNESS COMES A-CALLIN’ [INDEPENDENT RELEASE] Alt-country duo The Weeping Willows first donned the black and turned out its debut collection of gothic rural anthems in 2012 with Till The North Wind Blows. The band then achieved its treasured goal of recording in the US, recruited some hired help in LA and – taking up the graveyard shovels once more – presented their sophomore release Before Darkness Comes A-Callin’.

The opening track immediately connects the thought dots with the silky singing of Taasha Coates from The Audreys. However, the honeyed voice here belongs to Laura Coates. Laura is well teamed with her partner and musical compatriot Andy Wrigglesworth, with their vocal styles combining so well in the duets that make up this release. The simple, appealing melodies are full of rustic rhythms to get your shroud, smoothing digits jerking in time. But the music generally proceeds at a respectfully sedate pace, as appropriate to the solemn song themes; so anyone hoping for funereal hoedown music will be disappointed. Not all songs revolve around death, although ‘Travellin’ Man’ keeps to the overall theme of departures of one kind or another.

Notable tracks include the spooky ‘Devil’s Road’, the cheeky banjo and great stretched harmonies in ‘The Pale Rider’ and the faster paced ‘River of Gold’. However, the highlight has to be the closer, ‘When the Sun Comes Down’. A gospel style call and response, a cappella song, it truly lets the seductive power of the duo’s vocal combinations shine through. A solid second release by a band that invites you to join them as they wait, “Stuck in line in the queue to the mighty, big sky”.

RORY MCCARTNEY

53

LUCIANBLOMKAMP BAD FAITH [NOLAN MUSIC]

ROBERT NASH THE GHOST OF YOUR OLD LOVE [INDEPENDENT RELEASE]

DOUCHKA TOGETHER [NOWADAYS RECORDS]

If the apocalypse was very gradually setting in and you were falling in love at the same time, what would it sound like? Alternately heartbreaking strings and (vaguely Massive Attack) echoey drums, melodic angel-voiced songs and an undertone of menace and machines. Give me some leeway – I am just imagining this.

In search of an international music career, singer-songwriter Robert Nash traveled to London and released his EP Shooting In The Dark way back in 2007. It has been a long time coming, but now back in Sydney he has recorded a debut long player. The self-produced material was captured in his home studio and mixed by Paul McKercher, who has also worked with You Am I and Augie March.

A graphic designer in his pre-DJ life, French electro-synth-pop wunderkind Douchka channels his natural ability to borrow the basic shapes and patterns from French EDM pioneers Daft Punk and Justice, but to add his own signature.

If you like romantic, dramatic, electronic sounds that harmonise into the ideal soundtrack for both falling in love, facing the final days, and perhaps painting, writing or designing, where you don’t need anything massively distracting as accompaniment, get thee to the church of Lucianblomkamp.

Bad Faith is the latest LP from the talented Melbourne producer. Kicking off with Decay, each track flows seamlessly into the next. No jarring “What the…?” moments.

Let’s face it – not often can you, or do you, listen to a full LP without skipping to the single-worthy favourites these days. Having said that, if you’re going to do any favourite picking, ‘Comfort’ is a hum-along, pullingthe-heartstrings affair, while ‘Eleven & 22’ enters with an Aphex Twin-worthy robotbrained synth sound that segues into layers of percussive excursions. It’s deep, lush and lovely, and it will have you tapping your toes and shuffling your hips in your chair.

This isn’t club music. This is smart, emotionally rich and mature electronic music that will find a home in graphic design and artistic studio workplaces… and then the world, if there is justice and talent that truly deserves receiving a wide audience.

Prepare to be moved, but don’t be surprised if you find yourself getting a bit teary.

And if you don’t end up designing an app to this, then you’re likely to hear it as the soundtrack to a locally produced arthouse film sometime soon. You’ll be hearing this name much more.

Nash’s EP was a stripped back affair; just acoustic guitar with his sleepy-toned vocals, with minimalist keys on ‘Runaway Train’. His folk-pop LP is a more ambitious product; while he played most of the instruments himself, the album was the result of international collaboration, with horns recorded in the UK, strings in Russia and drums in the US. Nash has learnt a lot and developed his style in the intervening years, with a more polished and nuanced vocal style that adds character to his music. ‘Arms Around the Moon’ is more upbeat than his legacy material, with drums adding to the spirit and energy of the song. ‘Fairground’ goes up another notch again, with the attractive low-pitch/high-pitch pattern to its core tune, and brass at its close. While the more upbeat songs grab attention, Nash is really a specialist in more delicate tunes, which express the themes of the upside and downside of love in this heart on his sleeve release. There’s something of Josh Pyke in the sprightly strumming patterns and the sentiments behind the lyrics of ‘Leaves are Falling’, while there’s a special fluid quality to the rippling patterns of strings and guitar in ‘Fragments of the Morning’.

RORY MCCARTNEY

‘Together’ kicks off the six-song EP. It sets the tone for laid-back, synth-fingerclicking and echoey sounds with singalong harmonies. This is Sunday morning listening done with Gallic cool. Depending on how much champagne you consumed on Saturday night, you could fool yourself you’ve woken up in Marseilles.

‘Don’t Leave’ has a Simian Mobile Disco flavour – if you’re into them, or Justice, this will be right up your alley. Squelchy sounds, lovelorn pleas delivered in a brokenhearted-robot Mellotron voice. You’ll have the line “Please don’t leave me, girl,” repeating in your head for days. You’ve been warned.

It’s not all bouncy synthesizer, though.

There’s a good sprinkling of classic instrumentation and punchy drum beats for good balance. Douchka is a Red Bull Music Academy graduate, having completed the course in Tokyo in 2014 and played at several international music festivals from Pitchfork to The Sound You Need.

Just as particular typefaces or graphic design shapes and forms hark back to classic shapes of an era, Douchka crafts a modern and singular tribute to ’70s and ’80s R&B (listen to ‘Infinity’ featuring Lucid) and ’80s Euro disco, and he makes it entirely palatable for 2016.

This is his second EP out through Nowadays Records. So Frenchy, so chic, indeed. Get your hands on it.

CAT WOODS

CAT WOODS

54

@bmamag

v

singles in focus

BY CODY ATKINSON DEERHOOF ‘PLASTIC THRILLS’

MIKE ELRINGTON TWO LUCKY STARS [ONLY BLUES MUSIC]

DEFTONES GORE [REPRISE RECORDS]

Ex-athlete, roots singer-songwriter Mike Elrington has been involved in seven long players over his 15 years in the music business. Whether going solo or as part of the Melbourne-based three-piece The Advocates (not to be confused by the Canberra band with that title), Elrington is well known for his forthright opinions and gritty songs honed on the biter edge of his own experiences with the soulless side of the music industry and his personal battle with the demons of mental illness. Seeking a new tack to his music, Two Lucky Stars is his first solidly acoustic album.

Where have you been all this time, Deftones? We missed you. So much, in fact, we’re going to forgive the less-thanmasterful releases you’ve accidentally let sneak under the quality control benchmark.

The purely acoustic ‘Still in Love With You’ kicks off with random string strikes that compose themselves into a catchy blues melody. There are bourbon-tinted vocals to match, crafted by Elrington with drawn-out and rough-edged tones that end on the lyrics “with you”, morphed into a wolf’s howl.

The tempo climbs and other instruments and backing vocals add depth and complexity in the crisp collation of riffs and licks that is ‘Better Days’. The tune changes like heat haze ripples over a summer heated road. In an album full of powerful vocals and incredible musicianship, the swamp rocker ‘Build You Up to Let You Down’ bleeds out with red, raw emotion. Notable covers include the Sam and Dave song ‘Hold On I’m Coming’ and ‘Where Did You Sleep Last Night’ (captured live at St Kilda’s Esplanade Hotel) with its incredible, storming construction of fingerpicking. Guitar and violin perform an elegant waltz in the title track but, in an album filled with goodies, ‘Jennifer’ stands out with its rock edged sound enriched by keys and strings.

RORY MCCARTNEY

facebook.com/bmamagazine

The eighth album is a return to form. Don’t take my word for it, though. Even the first track ‘Prayers/Triangles’ is going to elicit a sigh of relief and ecstasy in the first minute alone. You know this is classic Deftones.

Thick, muscular percussion and the singular harmonic power of frontman Chino Moreno.

‘Acid Hologram’ kicks in the super angular, thunder-rolling guitars and bass for the metal-minded. By track three, the shouty Chino is released. It doesn’t have the guttwisting, heart pounding intensity of the ballad-meets-drums tone of much of Gore.

If White Pony was your last outing, this isn’t a mile removed. It promises consistency, which has been the missing element in the Deftones formula thus far.

Chino Moreno has admitted in interviews that he’s most excited to bring ‘Hearts/ Wires’ to the live audience. Kicking off with ’80s synth and an echoey guitar might lead you to relax and think, “ah, a Daryl Braithwaite intermission. Nice.” Fortunately, this isn’t Horses. The jagged guitars and tinkly, Tool-in-Ænima-era effects kick in and send you into a dreamscape, a forest of sound. This is the depth and dichotomy of dark/light and heavy/harmonic that Deftones have owned since emerging from the shadows of alternative metal experimenters Korn and Sepultura in the ’90s.

Not purely for the longtime fans though, if this is the first Deftones album you hear, it will be one of the best and definitely a good introduction. If you want proof, pick these three for trial: ‘Prayers/Triangles’, ‘Phantom Bride’, ‘Acid Hologram’.

CAT WOODS

You probably need this in your life. I don’t know who you are, and I don’t really care. This is a good song – empirically, not subjectively.

Deerhoof make good music, and maybe more importantly they make interesting music. Rock and roll and all the good stuff. This is a good song.

Its name is ‘Plastic Thrills’. You should listen to it.

LIBRARY SIESTA ‘MY VALENTINE’ I’ve never heard of Library Siesta before, but there’s one riff here that’s just killer. Worth the price of admission on its own. But there’s more to ‘My Valentine’ than that, a ‘90s-esque indie rocker with some nice bloody guitar work in there and a chorus that isn’t afraid to cede to it.

PIKELET ‘THE NEIGHBOUR’S GRASS’ Back to being a solo effort, Pikelet just keeps putting out solid music. There are woozy, rhythmic dreamscapes at play, punctuated with an at times urgent delivery, but never forceful.

Pikelet’s voice remains the star of the show here, but more like a delicate gold thread weaving through a tapestry than anything else.

LITTLE MIX (FEAT. JASON DERULO) ‘SECRET LOVE SONG’ This is a perfectly inoffensive song.

You could play it in front of your inoffensive friends, recommend it to your inoffensive family members, listen as your inoffensive co-workers praise it around the coffee pod machine. As such, it may be the single most evil force in the universe.

Someone help us all.

55

the word

on films

WITH EMMA ROBINSON

Here is a fun game: would you like to find out what your hacker name is? Just take the colour of your shirt and add to it your opinion of Scarlett Johansson being cast as Kusanagi in Ghost In The Shell (in case you’re curious, mine is Flannelette Bollocks).

No doubt Johansson has established mad nerd cred as an Avenger whilst generally having excellent box office pull, which no doubt led to this casting genius. Black Widow?

Absolutely. But the lead in a uniquely Japanese story? A total whitewash.

quote of the issue “You know what’s about to happen. Do you really wanna punch your way out of this?” – Scarlett Johansson (Natasha Romanoff), Captain America: Civil War

CAPTAIN AMERICA: CIVIL WAR

THE HUNTSMAN: WINTER’S WAR

After 10+ films, the Marvel franchise has definitively proven itself as a juggernaut in modern Hollywood. Its carefully woven universe has captured a variety of different audiences, from blockbusters like The Avengers films, all the way to Netflixbased series like Daredevil and Jessica Jones.

The Huntsman: Winter’s War, the mostly unwanted sequel to 2012’s Snow White and the Huntsman, is a pretty bad movie – but, somehow, that incoherency works.

Captain America: Civil War is a veritable feast of well-known superheroes, and consequently, a long parade of Christmas presents you’ll have to buy your kids this year. Whereas DC’s Batman Vs Superman: Dawn of Justice was an overlong, painfully transparent attempt

by Warner Bros to piggyback off the success of the Marvel films, Civil War builds upon an already firmly established cinematic universe and provides a flashy, kinetic two-and-a-half hours of pure fun. It also provides a reasonable amount of depth to the relationship between Iron Man and Captain America, serving as a light allegorical commentary of the nature of libertarianism in today’s political world.

And Jesus Christ, Spider-Man is finally in the MCU. Thank God. After Sony’s clueless re-contextualisation of the character, Spidey is finally in the capable hands of producer Kevin Feige and actor Tom Holland.

All the while lining up more multimillion-dollar dominoes to knock down, Civil War entertains the hell out of you, even if none of it feels particularly momentous.

I’m still hanging out for Marvel to kick it into next gear, and provide filmgoers a piece of cinema that can truly be considered a classic.

56

PAT JOHNSON

The unforgiveable part is the story, which feels as though someone ripped up a Velcro strip from iconic works of fantasy and then clobbered together whatever stuck. The fight scenes resemble a cropped Nolan movie on fast-forward: it’s dark, there are a lot of fists, but I don’t know where they’re going or to whom they belong. Also, Jessica Chastain and Chris Hemsworth try Scottish accents apparently without ever hearing any.

However, this film isn’t all terrible – it’s emotion saves the day. It mightn’t be very legible, but this movie really cares about how its characters feel, which is oddly refreshing – it’s the thing that saves this movie from a one-star eye-roll.

The other saving grace is that this movie respects its female characters. It feels contradictory to say a movie objectively sucks and has loads of issues, but is also simultaneously a feminist film. However, with Emily Blunt, Charlize Theron and Jessica Chastain all doing their best with pretty dynamic roles, it earns the moniker. Watching this, I often felt like the filmgoer’s version of a damsel in distress, stuck in a weird story I couldn’t escape from – but I was rescued. And, I was rescued by the women. That would be a pretty cool blueprint for the future.

INDIGO TRAIL

EDDIE THE EAGLE Well, folks – it’s now less than 100 days until the Rio Olympic Games, so it’s high time to start ramping up your Olympic spirit – all together now!

Directed by Dexter Fletcher (Spike from 1990s TV show The Press Gang), Eddie the Eagle is loosely based on the true story of Michael “Eddie the Eagle” Edwards (Taron Edgerton, Kingsman: The Secret Service), who – after failing to qualify for the 1984 Winter Olympics in the downhill skiing event – became the first competitor to represent Great Britain in the perilous 70-metre ski-jumping event at the 1988 Calgary Winter Olympic Games.

A delightful, ‘80s-synth soundtrack accompanies many an underdog montage throughout the film: the naïve optimism and sheer determination of the awkward central protagonist is infectious, which gradually melts even the gruff disillusionment of his reluctant (and fictional) mentor, Bronson Peary (Hugh Jackman).

The motto of the Modern Olympic Games (‘Faster. Higher.

Stronger.’) is certainly front and centre here, as Eddie attempts to conquer some terrifying feats of athleticism, with very little experience and at high risk of extreme and devastating injury.

If you enjoyed Disney’s 1993 film Cool Runnings, about the first Jamaican bobsled team (who, coincidentally, also competed at the 1988 Calgary Winter Games), you’re guaranteed to be charmed

by Eddie. Just like the real Eddie Edwards, this film is an uplifting crowd-pleaser, where real triumph lies in perseverance, passion and pure heart.

MAJELLA CARMODY

@bmamag

MIDNIGHT SPECIAL

THE JUNGLE BOOK

In a small county in Texas, TV stations broadcast an amber alert for a kidnapped young boy.

Meanwhile, in the dead of night, a battered sedan hounds along the back roads between small cities. The young boy (Jaeden Lieberher) reads comics with a flashlight in the back seat, and the two men in the front seats (Michael Shannon and Joel Edgerton) discuss their undisclosed destination in low voices.

George Lucas, once upon a time, had this to say on filmmaking: “You’re telling a story using tools, not using tools to tell a story.”

This is a philosophy that director of The Jungle Book Jon Favreau (who also brought us both Iron Man movies and 2014’s Chef) has applied to his latest film with great precision and finesse.

The Jungle Book is an excellent example of how technology and digital effects should always be subservient to a good story and not the other way around (director Michael Bay should really take note of this).

It’s at this point in the story that you are thrown spinning into Midnight Special – a sci-fi thriller road movie, reminiscent of ’70s Spielberg and the work of director J.J. Abrams.

It’s my personal opinion that the less you know about this film, the more you’ll enjoy it. What I can tell you is that the cast deliver terrific performances (also including Kirsten Dunst and Adam Driver), and the script by director Jeff Nichols heralds a new wave of sci-fi storytelling, using a kitchen sink realism to tether the everyday to the fantastical world of speculative science fiction.

My major gripe with this film is that it isn’t quite specific enough with its plot. While the story drip-feeds information to increase tension, this slow-build throughout the movie doesn’t amount to enough of a payoff, and may leave more invested viewers a little disappointed.

However; tonally, Midnight Special is terrific, and hopefully will inspire more filmmakers to draw inspiration from a largely forgotten area of science-fiction filmmaking.

PAT JOHNSON

Mowgli (newcomer Neel Sethi) must leave the wolves who raised him when the menacing tiger Shere Khan (possible next James Bond Idris Elba) begins his campaign of fear and intimidation. Aided by kind but stern Bagheera (the dulcet toned Ben Kingsley) and wise cracking Baloo (Bill Murray once again showing his comic relief chops), Mowgli makes his way through the jungle getting into rollicking adventures.

Favreau effectively balances humour and menace in this classic tale – Baloo delights with his lacksadaisical remarks while King Louis (Christopher Walken – this is a seriously star studded cast) effects an ever-growing fear. All in all, a film that is highly respectful of the source material by Rudyard Kipling whilst bringing a modern, Life of Pi style edge to the cinematography.

Also, fans of the 1967 Disney version needn’t despair – not all the songs were cut.

EMMA ROBINSON

facebook.com/bmamagazine

57

the word on dvds

STAR WARS: THE FORCE AWAKENS [DISNEY] Now that the dust has settled, the gate receipts tallied up (a touch over $2 billion, thank you very much) and the spoilers revealed – it’s a convenient time to look at this seventh instalment in the Star Wars galaxy. Like most things, the passage of time smooths the harsh edges. You don’t need a synopsis of the film in this review; you’ve probably already seen it. So let’s look at the expanded package – the film, its context, the docos, the extras.

Reaction to this film has been strange. For every fan marvelling at a decent Star Wars again, there were another ten waiting in line to knock it down, pick faults, criticise casting and declare it a carbon copy of the ’77 original. Strange that the fans who so desperately wanted this franchise to be ‘rescued’ were the first to push the victim back into the ocean so close to the shore. Because the reality is, The Force Awakens is a very good action film, hitting the right beats when it needs to and winking (not too subtly) at its ancestors.

And though it was good to see most of the old crew back, the most noticeable return was one that is hard to define – the vibe. It felt, looked and sounded … right. As the special feature doco shows, J.J. Abrams used real sets where possible. This meant the Millennium Falcon was rebuilt, by carpenters whose parents worked on the original.

It also meant original designs and artwork were revisited and incorporated. Even the camera angles and tracking shots were recycled! Boom tish.

There is no way The Force Awakens could have been all things to all people, but it achieved the impossible – it delivered on decades of pent up anticipation and plotted a path to an expanded Star Wars movie universe where a sense of order and balance (the creative type) was restored.

JUSTIN HOOK

58

GAME OF THRONES – THE COMPLETE FIFTH SEASON [ROADSHOW/ WARNER HOME VIDEO] With new episodes of Game of Thrones hitting airwaves in recent weeks, it’s worth noting the current sixth season has a production budget of US$100 million. But the staggering amount of money HBO are ploughing into this show will be easily recouped, because at the moment, Game of Thrones can do no wrong. Whether it’s killing off major characters or draping scenes in casual misogyny, incest or rape, nothing seems to be slowing it down. And slowing down is a key phrase for this fifth season – many fans felt it was a meandering, slow and – dare I say it – boring instalment.

Nothing could be further from the truth.

It’s true that the show has always struggled with weaving manifold plotlines, characters and action into a coherent 60 minutes of television, but there’s never been an issue with confusion – more so with pace.

It felt like it moved too fast, like you were always rubbernecking the previous scene. This outing feels a little more leisurely, though there’s nothing at all relaxing about Game of Thrones.

Whether it’s Tyrion on the run, Daenerys struggling with power or Jon Snow making fateful alliances – things are still absolutely happening. Indeed, this is the season where fan wish fulfilment is ramped up high, with the dragons in full flight and White Walkers in full fight.

Frankly, it played like one of the best seasons so far, especially when you throw in shit-riddled Cersei’s walk of shame. There really is no pleasant way to talk about this show.

Most shows begin to wobble as they hit their fifth year, but Game of Thrones is as supremely confident as ever.

Dialogue and performances are better than ever (especially Lena Headey) and it can still expertly control the pop cultural zeitgeist (hello/goodbye/hello? Jon Snow) to its benefit. This is big budget, big TV done to near-perfection.

JUSTIN HOOK

JEREMY SCOTT: THE PEOPLE’S DESIGNER [MADMAN] Katy Perry, Miley Cyrus, Lady Gaga, Paris Hilton. Is it the most trash-tacular party on earth?

No, it’s just some of the fans who turn up in Jeremy Scott: The People’s Designer. While this didn’t receive the hype of Dior & I or The September Issue, it’s nonetheless a fashion documentary worth watching if you love the process, the personalities, the celebrity cameos and the story of an underdog-made-king.

Scott is the designer who put gold wings on Adidas sneakers, attached teddy bears to handbags, turned Spongebob into a sweater and cheezels into a ball gown. Was this all anti-fashion? Not at all. From his own label, he was coaxed across to Moschino where he made his mark with his own spitfire, creative madness. Indeed, it was Moschino himself who made a headpiece out of small teddy bears, and borrowed generously from pop culture to inspire and create his futuristic and extraordinary fashions. He was pop art before pop art. Growing up in suburban Missouri, Scott was accustomed to having barriers to his aspirations at every turn, and it is this that makes him such a force of nature, both personally and in his career.

The film doesn’t have a climactic arc like Dior & I. Scott isn’t under pressure as a new face on a very prestigious label with the eyes of editorial powerhouses glaring into his eye sockets. There’s ambition, there’s hilarious oneliners (watch Scott talking to the Missouri cows) and there’s genuine insight into the creative process and the amount of personal grit and vulnerability on show, as these ideas eventuate in a runway parade for the world to judge. Harshly, as it so often happens.

One for fashion fans, pop culture followers, and anyone who’s ever desired to wear Spongebob Squarepants on their chest with a pair of winged high-top sneakers.

CAT WOODS

@bmamag

the word

Winston Surfshirt, Ville, Room Aviary Rooftop Sunday May 1

on gigs

It’s cold – windy, hold-on-to-your-hats, hope-you-brought-a-sweater cold – in the Aviary Rooftop on Sunday afternoon. But the staff are still chipper, the sun casts its orange hue over the water and into the room, and there are still plenty of people who have come to see Room, Ville and Winston Surfshirt perform in the intimate space.

Having been to the same place only a month ago, it’s hard not to compare the chilly afternoon to warmer times, especially as the sun sets and the wind picks up, rattling the heaters and sending empty drinks flying.

Still, as long as you’ve strategically placed yourself near a heater, it’s a great evening. The venue team know how to put a setlist together; each of the artists have a distinctive style, but they complement each other perfectly. The duo that is Room play a fun mix of music, including some covers that would be at home on a So Fresh CD. Despite looking like they belong in a high school classroom, they’re clearly at ease on stage, and are a great opening act.

Ville mixes it up a bit more again, featuring several different guests who bring brass, rap and vocals to his music at various points through his set. He’s well-loved by the crowd, and gets the dancefloor going: there’s one guy who might be very drunk, or might just be really feeling the vibe, dancing all night long.

PHOTO BY SHARONA LIN

And of course, Winston Surfshirt. The Sydney band plays to a small but rambunctious audience – that great flow, easygoing beat, and of course, their stage presence making for a satisfying end to the week.

SHARONA LIN

the word

on gigs

Hawthorne Heights, Mest, London Calling, Hey Reckless The Basement Sunday April 24 Seeing the double bill of Hawthorne Heights and Mest, you’d be forgiven for thinking you were back in 2006, at the height of the emo and pop-punk wave. This time ten years ago, Hawthorne Heights had just released their second album, If Only You Were Lonely, and Mest would still be touring with Photographs.

It’s not 2006 and emo nor pop-punk are at the top of the charts anymore – but that doesn’t faze the members of Hawthorne Heights or Mest, who have been touring together for three months; the Basement in Canberra is their final stop.

It’s clear the band members are close friends now, one calling out banter on stage while the other jokingly heckles from sidestage.

That makes the show a surprisingly cheerful, upbeat affair, even when Hawthorne Heights pulls out a classic like ‘Ohio Is For Lovers’ (“cut my wrists and black my eyes/so I can fall asleep or die”) from their debut album. There’s something beautifully self-indulgent to a lot of their music. That’s not a value judgment on the emo genre, either – the band clearly love what they do, and they’re good at it too. The punters love them too, and the emo band is signing and taking photos with fans even as Mest begin their set.

PHOTO BY GABBY MARSHALL

Bringing to the stage the infectious energy of the pop punk era, Mest start with a song from their latest album, Broken Down, and play a healthy mix of songs old and new.

Neither band might be as popular as they once were, but they have staying power (both have been around for 15 years now) and can still put on a great show.

facebook.com/bmamagazine

SHARONA LIN

59

the word

on gigs

Groovin The Moo University of Canberra Sunday April 24 You people know what Groovin The Moo is by now. Fifteen thousand people at UC, broadly a triple j sound – this thing is not only now long established, but also wildly popular. There’s a fair chance that if you’re reading this now, you were probably there.

The bill was seemingly stacked heavily in the morning, with a long list of stellar local talent. The local crowd was in force in support of LTC, who showed some solid chops early. Notionally a rapper, the set blended through radio-friendly R&B and rap, displaying some rocksolid delivery along the way.

Who loves a good guitar solo? Harts, that’s who. A solo artist playing as a two-piece live, Harts channelled guitar gods past, with thick ladling of funk over the top. Perhaps the highlight was his tribute to his late mentor Prince at the end of his set, which was delivered just right.

With possibly the biggest band (number-of-members-wise) on stage all day, Ngaiire let rip with a fine set of down-with-it soul. What I’m trying to say here is that she can sing, and she can write a decent bloody song or two.

DZ Deathrays aren’t about the rebellion, more about being rumbustious. Few Australian bands can exude as much energy as the (now) three-piece showed on the day. Whilst they suffered a few technical hiccups, DZ still showed that they slay as hard as they did when they first broke out 8 years ago. It’s hard to put in a bad show when you have corkers like ‘The Mess Up’ and ‘No Sleep’ up your sleeve, and DZ were in no danger of doing that.

Sometimes it’s good to be a local, and I’m pretty sure it’s never been any better for SAFIA than this particular Sunday afternoon, with practically every one of the 30,000 eyeballs and earholes focusing their way. From the safety of the back, it looked like little less than a religious experience for the crowd, with one punter suitably moved to kit off in honour of the three Canberrans. SAFIA’s smooth, downtempo, electronic anthems might be better suited to smaller confines (and they’re not really my thing if truth be told), but they certainly got the crowd going.

A couple of years ago, if you had predicted that an ’80s-inspired band would be one of the more fun festival live experiences going around, I probably would have poured my drink on you. But, here we are, and more importantly here Client Liaison are, with their funky new jack sound. With a stage adorned by water coolers, Client Liaison lifted the festival to a new level, led ably by frontman Monte Morgan. Good headband and lycra areas.

There aren’t many rappers around wired like Danny Brown, which makes him a bit of a must-see for hip-hop fans. Brown’s high-pitch, rapid-fire delivery caused me to slip in and out of the moment, but what I got was pretty good. The bar was set high by Remi earlier in the day, but Brown certainly met it.

PHOTOS BY MEGAN LEAHY

Ratatat have been kicking around long enough that they have two mini-generations of fans – those emboldened by ‘Seventeen Years’ and ‘Classics’ more than a decade ago, and those discovering them through ‘Cream On Chrome’ play on triple j recently. With what was left of the cold festival goers at their feet, the Brooklyn two-piece had the opportunity to play to both sides, and play well. Somehow, Ratatat’s hip-hop future-funk still sounds as, well, futuristic as it did a decade ago when it first dropped. With dual guitars blazing, it provided a true climax to a long day.

CODY ATKINSON

60

@bmamag

the word

on gigs

Groovin The Moo University of Canberra Sunday April 24 Canberra’s leg of Groovin The Moo kicked off on a clear, crisp day that promised an awesome time for the thousands of festival-goers to the completely sold-out event.

With an incredibly strong lineup waiting for music fans, Groovin the Moo put on a massive show. For a festival that constantly delivers immensely talented musicians and a great time, this year’s festival did not disappoint.

Emma Louise played a strong set for a packed mosh pit, with vocals as colourful as her vibrant jumpsuit. Her set comprised of a myriad of fun, catchy tunes like her latest single ‘Underflow’ and the renowned ‘Jungle’. Fans of the singer were given an impressive and emotive show as she powered through an awesome setlist for a responsive audience.

Moving on over to the Moolin Rouge tent came indie rockers British India. The Melbourne boys oozed talent and charisma throughout their set, which was comprised of songs both new and old, including ‘Suddenly’ and ‘Plastic Souvenirs’, followed by an energetic, exciting cover of Rage Against The Machine’s ‘Killing in the Name’ that had the audience headbanging and thrashing around.

Up next were Canberra’s very own SAFIA, who have made leaps and bounds in the music scene since their Groovin The Moo competition win in 2012. From the moment the trio hit the stage, the massive crowd that had gathered went crazy for them. With energy that only comes from playing on your home ground, the boys nailed a strong, engaging set that got everyone on their feet and proved to Canberra crowds that SAFIA have truly earned every bit of success that they have achieved.

Hailing from the USA, Twenty One Pilots as one of the few headliners played an incredible set. Their eclectic mix of rap, punk, pop punk and reggae mixed with one of the highest energy performances of the day hooked even the newest listeners with ease. The pair drew huge crowds, and for the finale both singer (Tyler Joseph) and drummer (Josh Dun) crowdsurfed, Dun bringing with him a portable drum for their last song of the night.

Next up were Triple J Hottest 100 winners The Rubens, whose set was hugely successful, particularly given the mix of thousands of drunk young people and one of the hottest singles of the past year.

A huge highlight of the day was the inspired Chalkboard Tent, organised by The Well at UC, which invited musically talented festival-goers to sign up on the chalkboard out front to play a small set. The chalkboard filled up quickly and gave audiences the chance to be a part of the festival’s entertainment for a short while.

Overall, Groovin The Moo’s 2016 Canberra leg was hugely triumphant and proved once and for all that if you give Canberrans the chance to partake in the music scene, they will do so with flourish.

NICOLA SHEVILLE

PHOTOS BY LACHIE TOWNSEND

facebook.com/bmamagazine

61

the word

Matt Corby, Vera Blue, Friday April 22 Llewellyn Hall Monday April 18

on gigs

Vera Blue opened with her pretty serious set of pipes – at times reminiscent of Hannah Reid’s impressive vocal presence. It was truly a loss if you didn’t arrive in time for the support. She covered the Gorillaz’ ‘Feel Good Inc’ and performed her Triple J Like A Version, Jack Barrett’s ‘Breathe Life’. As she played ‘Turn’, a new original, she slowed it down and we heard a hint of her country-folk NSW roots.

Matt Corby made a smooth entry. Opening with ‘Belly Side Up’, he was definitely in his own universe. There was a lack of eye contact – then some movement, and he grabbed a flute. A small smirk let us know he was enjoying himself.

Corby did get a little more intimate throughout the set and became casual with ‘Knife Edge’, ‘Do You No Harm’, ‘Resolution’ and ‘Wrong Man’. The time spent away in Berry, NSW experimenting with and perfecting his latest release has clearly cemented Corby’s songwriting identity in gospel, jazz and dirty blues sensibilities.

His musicianship and band of talented support were enviable, yet understated. Corby and his band did appear to be playing more to each other than for us.

PHOTO BY DALE WOWK

Corby gave us a no-nonsense encore, simply stating, “I tricked you good,” as he wandered back on stage. No surprises, two more songs, which was appreciated on a school night. Finally, he walked from the stage giving thumbs up to the sound of a hall full of delighted young women.

I can say Corby has come into his own after trashing an entire album and shit-canning his experience on Idol, to produce Telluric and front up for a wholesome tour. He is talented, particular, and for the most part, relaxed in his performance.

KEREN NICHOLSON

the word

on gigs

Tuka, Hayds, Alphamama, Soul Benefits ANU Bar Friday April 15 Tuka’s Don’t Wait Up Tour is not your average hip-hop gig, but then again the Blue Mountains MC is not your average rapper. Tuka is best known as one third of Thundamentals, but is currently touring in support of his latest solo EP Alive Death Time Eternal, a live version of his third solo album. He brought along a live band to show off his genre-defying style, including Alphamama who was especially impressive doubling as a support act and soaring backing vocalist.

The show covered most of LDTE, as well as highlights of Tuka’s previous albums, Thundamentals classics like ‘Smiles Don’t Lie’ and crowd favourite ‘Big Jet Plane’, Tuka’s Like A Version cover by Angus & Julia Stone. Tuka bounced all over place, literally and figuratively; touching on family, friendship and even asking the crowd to “make some noise for the universe,” before jumping down into the front rows for a group hug. His introspective lyrics were juxtaposed with beats that made the crowd dance, and an effortless flow, reflecting the inherent contradiction of a rapper who deals in vulnerability rather than arrogance.

PHOTO BY MOLLY MCLAUGHLIN

Despite a relatively small crowd at ANU Bar, Tuka assured us that Canberra hip-hop was stronger than ever, and his enthusiasm and cheesy grin easily made up for the lack of numbers. According to Tuka, this will be his last solo tour for the foreseeable future as he heads into the studio to work on the upcoming Thundamentals album. If this show was any indication, hip-hop better be paying attention.

MOLLY MCLAUGHLIN

62

@bmamag

the word

on gigs

Caligula’s Horse, Chaos Divine, Tundrel The Basement Saturday April 16 Having scheduled two separate events, only 125 tickets were on sale for this intimate but quickly sold out-gig in The Basement’s back red room.

Tundrel took to the stage at 8:40pm, performing four of their tracks from their 2015 debut album Tundrel Tomes: Vol. 1, as well as a new, unreleased song titled ‘Sleep’ – a number from their upcoming second album. Tundrel are popular Canberra locals with a style that is like ’70s alternative rock with obvious melodic grunge influences.

These guys have only been performing on stage together as Tundrel for about three-and-a-half years, but collectively they have over 20 years of stage experience, with previous and other bands between them. They are a cohesive and skilled band on stage, and Jason has a loud, powerful voice that holds long, strong notes clearly. When he gets on stage, he morphs from a humble, quiet, shy being into a powerful vocalist, whose personal presence on stage transports him to a place where no one else exists. He has the ability to project a lot of emotion into his vocals, which makes you stop, listen and feel the meaning behind every song.

Every time these guys perform, they become even more natural at it, and are a pleasure to listen to. The crowd was clearly engaged throughout their set, as they called for an encore – they definitely made some new fans at this gig.

Next to perform were a Perth five-piece called Chaos Divine.

Currently touring with Caligula’s Horse, this was their first performance in Canberra and wow! They practically stunned the crowd with their unique style. Predominantly a prog rock/heavy metal band, these guys are worth seeing at any opportunity.

Their history is not a short one, either – performing previously at Soundwave and the Big Day Out, they’ve supported big bands such as Slayer, Mastodon and Fear Factory.

These guys were so easily comfortable on stage; with nearly ten years together, their skills and well-performed experience were evident. With an easy and charismatic stage presence (and a wine glass in hand), their vocalist David has a beautiful rock voice with versatile, long, soaring vocals that easily reached the people in the back row of a packed room.

After Chaos Divine, the crowd energy increased immensely.

Headlining the night was Caligula’s Horse, a five-piece alternative prog rock band from Brisbane. The crowd roared for these guys as they took to the stage.

TOP PHOTO BY NATHAN J LESTER, OTHER PHOTOS BY PETER MACKENZIE

Their fourth time in Canberra and their sixth year touring together, they are easily becoming a powerhouse band. Their vocalist Jim has a strong stage presence and has the ability to conduct and influence the crowd. Delivering an hour-long set of high energy, the packed crowd continually bouncing in time to the heavy guitars. Musically, their style has a complexity that morphs their songs from funk to melodic prog, which dives into rock before ripping into metal sequences. Jim also has a strong emotional voice, and I can easily see why Jason from Tundrel is vocally influenced and awed by this band.

With two encores called for, the crowd received a momentous stage dive during ‘The City Has No Empathy’ – Jim easily pleased every punter in the room. The chemistry was infectious; it was plain to see that Canberra is in love with this band.

SAM INGHAM

facebook.com/bmamagazine

63

the word

on gigs

Happy Axe x GhostNoises The Club Wednesday April 13 On Wednesday April 13, Canberra welcomed back the ever eclectic and inspiring assortment of performances and performers that make up the You Are Here festival. On its first night, You Are Here presented the first time collaboration of Canberra musicians Emma Kelly and Liam White. Performing under the name Happy Axe x Ghost Noises, Kelly (Happy Axe) and White (Ghost Noises), produced an eclectic mixture of ambient chamber/trip-hop and world-hip, indie-pop loop fusion.* Happy Axe and Ghost Noises performed in The Club, this year’s main venue. Situated on Northbourne Avenue, The Club is a well-lit space filled with milk crates and the comfortable chairs and couches that your grandma used to own (you know, the ones you were actually allowed to sit on). The environment was overall welcoming.

White and Kelly heightened the environment’s warmth by greeting audience members at the door as if welcoming each person into their own home for a private, intimate gig.

Their staging was also intimate and somewhat informal. Rather than facing the audience, the two performers faced each other.

This created a sense of the two artists performing with and to one another. Friendly banter between songs not only demonstrated their awareness of the audience but also invited the audience to share the experience with them. Their continual looking up and smiling displayed a sweet satisfaction in their shared performance.

The two young musicians performed an excellent set that blended bittersweet lyrics and a strong beat with a harmony of vocals and violin. While White claimed that his only contribution was adding “beats to everything” the two musicians worked extremely well together. Kelly’s violin and handsaw was expertly looped as were White’s drumbeats and piano melodies. Their vocal harmony was also exceedingly strong and complimented the beautiful lyrics.

The sizeable audience shared Kelly and White’s enthusiasm for the eclectic music. The audience produced a strong acclamation after each song and their only reservation was that the set was not long enough. Yet this was easily forgiven because of the collaboration’s newness. The audience were happy to share this wonderful experience.

Happy Axe and Ghost Noises’ collaboration thankfully won’t be their last. Their performance highlighted one of the key strengths of You Are Here’s festival: promoting and supporting emerging artists.

Kelly and White are eager to write more songs, perform more gigs and even release an EP together.

Until then, check out their recording of ‘Sad Rise’ on SoundCloud: soundcloud.com/youbli. *This has now become my new favourite genre of music.

ROSE MAURICE Express Media’s Buzzcuts program is presented in Canberra in partnership with Scissors Paper Pen and You Are Here. Visit buzzcuts.org.au for more.

PHOTOS BY ADAM THOMAS

64

@bmamag

ENTERTAINMENT GUIDE May 11 – May 15

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

WEDNESDAY MAY 11

ART EXHIBITIONS Here & There, Constructure & BioMimetic May exhibitions. April 29 – May 22.

Free entry.

BELCONNEN ARTS CENTRE

Divergence

3-22 May. Multiple artists. Official opening 5 May at 6pm.

FORM STUDIO & GALLERY

Australian Treasures Art Exhibition

Visitors Centre Gallery. Australian animals, plants, and landscapes through art. Free entry.

AUSTRALIAN NATIONAL BOTANIC GARDENS

WORKSHOPS General French Courses

FRIDAY MAY 13

6 Apr - 2 Jul.

LIVE MUSIC

French Courses for Kids

Castlecomer

ALLIANCE FRANÇAISE

6 Apr - 2 Jul.

ALLIANCE FRANÇAISE

THURSDAY MAY 12 LIVE MUSIC Little May

Tickets at moshtix.

Launching their new single ‘The Noise’.

8pm. Presale via Moshtix.

TRANSIT BAR

Live music. 7pm. Free.

CANBERRA IRISH CLUB

HARMONIE GERMAN CLUB

Four-piece folk band from Melbourne.

8pm. Free.

AINSLIE ARTS CENTRE

Tim Rogers

Boogie Down

CANBERRA THEATRE CENTRE

NATIONAL PORTRAIT GALLERY

TRANSIT BAR

ON THE TOWN

With Babyfreeze and Coolio De Gracias.

9pm. $10/5.

Hump Day

Get over the hump with drink specials after 5pm.

TRANSIT BAR

TRIVIA Tranny Trivia

Glamour & Song questions. 8pm. Book Online.

POLIT BAR & LOUNGE

THE PHOENIX BAR

Joined by Davey Lane. 8pm. $44.50.

Eric Burdon

7.30pm. $79.90 – 89.90. Eric Burdon and the Animals.

CANBERRA THEATRE CENTRE

I Set My Friends On Fire

With Awaken I Am. Tickets via Oztix.

8pm.

ON THE TOWN

THE BASEMENT

The Thursday Games

Tributes to Deep Purple and Whitesnake. $20 at the door. 8pm.

Crazy Ass Games including tournaments and prizes, and all things Sangria & FUN. 5pm. Free.

Live Evil Presents...

THE BASEMENT

Carnival Road with the Faumuis

Chicago Charles & Danger Dave

7.30pm. Carnival road unplugged will delight with their original tunes.

KING O’MALLEY’S IRISH PUB

Icon

AVIARY ROOFTOP BAR

9pm. Free.

THE BURNS CLUB

10pm. Free.

KING O’MALLEY’S IRISH PUB

ON THE TOWN Mike Callander

Supports include B-tham, Fourthstate, Kazuki. $15 before 11pm, $20 after.

DIGRESS COCKTAIL BAR

Night at the Museum: Passion 6pm. 18+. $10 entry. Tickets at nma.gov.au.

NATIONAL MUSEUM OF AUSTRALIA

Fridays From Five

DJs spinning Old Skool, Hip Hop, R&B. Free from 5pm.

With Sean Woodland. 7.30pm. $16.50.

Cabaret! Burlesque! Circus!

Childhood Dreams & Fairytale Queens.

8pm. One night only – The new production from Sophie deLightful.

POLIT BAR & LOUNGE

Childhood Dreams & Fairytale Queens

Cabaret. 8pm. The new production from one of Melbourne’s most exciting and ambitious cabaret stars.

POLIT BAR & LOUNGE

LIVE MUSIC Ebolagoldfish

With loads of guests. 5pm. $10.

THE PHOENIX BAR

Calum Howarth

Live music. 7pm. Free.

CANBERRA IRISH CLUB

Evensong

Choral music. 4pm. Free.

NATIONAL PORTRAIT GALLERY

Basically Beethoven

Classical music open mic. Free. 3pm.

MUSE: FOOD, WINE, BOOKS

90’s Tribute Night 7.30pm.

THE BASEMENT

The Dettas

7.30pm. Come see why this pumped up duo are filling the floor every show!

THE BURNS CLUB

Old Man Leudecke $20/15/10. 8pm.

THE POLISH WHITE EAGLE CLUB

ON THE TOWN Oscar

10pm. Free.

KING O’MALLEY’S IRISH PUB

AVIARY ROOFTOP BAR

SOMETHING DIFFERENT

SOMETHING DIFFERENT

Canberra Roller Derby League

Art Underground Wide Open Mic Night

VARIOUS LOCATIONS

Share music, stories, comedy, circus tricks or antics. 7pm. Free. With special guests.

BEYOND Q

SATURDAY MAY 14 ART EXHIBITIONS Here & There, Constructure & BioMimetic May exhibitions. April 29 – May 22.

Free entry.

Save the dates. Info at crdl.com.au.

Surly Griffins Vs. Red Bellied Black Hearts Tickets at crdl.com.au. 6pm.

SOUTHERN CROSS STADIUM

SUNDAY MAY 15 LIVE MUSIC Irish Jam Session

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

KING O’MALLEY’S IRISH PUB

BELCONNEN ARTS CENTRE

Evensong

Divergence

NATIONAL PORTRAIT GALLERY

3-22 May. Multiple artists. Official opening 5 May at 6pm.

FORM STUDIO & GALLERY

Australian Treasures Art Exhibition

Visitors Centre Gallery. Australian animals, plants, and landscapes through art. Free entry.

AUSTRALIAN NATIONAL BOTANIC GARDENS

facebook.com/bmamagazine

David Smiedt

DANCE

Calum Howarth

Confluence (feat. Cracked Actor & Happy Axe)

Sugar Fed Leopards

COMEDY

THE PHOENIX BAR

Alanna & Alicia

DJ Fib, Jayo, and more laying down the ills of ill hip hop. 8pm. Free entry.

NATIONAL PORTRAIT GALLERY

GINNINDERRA LABOR CLUB

9pm. $10/$15.

Mysterious Eyes

Arthur Boyd portraits from 1945. 10am.

Free. 4 May - 14 Aug.

Arthur Boyd portraits from 1945. 10am.

Free. 4 May - 14 Aug.

The Fuelers

ANU BAR AND REFECTORY

7.30pm. $15/$10.

Mysterious Eyes

Choral music. 4pm. Free.

Alanna & Alicia

Four-piece folk band from Melbourne.

4pm. $10.

SMITH’S ALTERNATIVE

The Merlotones

Smooth tones and fresh interpretations of jazz classics. 5-7pm. Free.

A BITE TO EAT CAFE

65

ENTERTAINMENT GUIDE May 15 – May 22 SUNDAY MAY 15 LIVE MUSIC Canberra Blues Society Jam

TRIVIA

TALKS

Chris Endry’s Dress Up Trivia

Feminartsy

THE PHOENIX BAR

GORMAN HOUSE ARTS CENTRE

7.30pm.

Black Hat Band. 2pm. $5/$3.

WEDNESDAY MAY 18

HARMONIE GERMAN CLUB

Irish Jam Session

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

KING O’MALLEY’S IRISH PUB

Coast & Ocean

ART EXHIBITIONS Here & There, Constructure & BioMimetic

With Amy Jenkins, Josh Veneers & Bec Prior. 3pm. Free entry.

May exhibitions. April 29 – May 22.

Free entry.

Disparo!

Divergence

AVIARY ROOFTOP BAR

SATURDAY MAY 21

7pm. $10 at the door. agac.com.au.

ART EXHIBITIONS

THEATRE

Here & There, Constructure & BioMimetic

Mario

Part opera, part musical theatre, Mario tells the story of washed up Hollywood superstar Mario Lanza.

CANBERRA THEATRE CENTRE

FRIDAY MAY 20

BELCONNEN ARTS CENTRE

May exhibitions. April 29 – May 22.

Free entry.

BELCONNEN ARTS CENTRE

Divergence

3-22 May. Multiple artists. Official opening 5 May at 6pm.

FORM STUDIO & GALLERY

Australian Treasures Art Exhibition

Visitors Centre Gallery. Australian animals, plants, and landscapes through art. Free entry.

With Blight Worms, Fight Milk and Panic Burst. $10. 5pm.

3-22 May. Multiple artists. Official opening 5 May at 6pm.

LIVE MUSIC

FORM STUDIO & GALLERY

Romeo

Live music. 7pm. Free.

ON THE TOWN

Australian Treasures Art Exhibition

CANBERRA IRISH CLUB

AUSTRALIAN NATIONAL BOTANIC GARDENS

The Cool

Mysterious Eyes

THE BASEMENT

Eurovision Superfan Party 5.30pm. Entry by donation.

Visitors Centre Gallery. Australian animals, plants, and landscapes through art. Free entry.

NATIONAL FILM AND SOUND ARCHIVES

AUSTRALIAN NATIONAL BOTANIC GARDENS

TALKS

Mysterious Eyes

10pm. Free.

KING O’MALLEY’S IRISH PUB

Finn

LIVE MUSIC

Rock Or Be Rocked

Upper Cuts

CHISHOLM TAVERN

Rosalie Ham - The Dressmaker

NATIONAL PORTRAIT GALLERY

OJO CAFE AND BAR

MUSE: FOOD, WINE, BOOKS

ON THE TOWN

9pm. $10/5.

THEATRE

Hump Day

So Fresh

As part of You Are Here. Free. 7pm.

THE CLUB

MONDAY MAY 16

Get over the hump with drink specials after 5pm.

TRANSIT BAR

SOMETHING DIFFERENT

8pm. Free.

PROM

THE PHOENIX BAR

Dead Singer Band

Chris Harland Blues Duo

CANBERRA IRISH CLUB

Finn

Lycanthrope

Lok Up Your Daughters

With guests. 8pm. $10 at the door.

The Bootleg Sessions

WORKSHOPS

THE PHOENIX BAR

General French Courses

John Kennedy’s 68 Comeback Special

SOMETHING DIFFERENT

ALLIANCE FRANÇAISE

Firsts: Guided Walking Tour

Audio stories by Izzy Roberts-Orr. As part of You Are Here. 3pm. Free.

THE CLUB

THEATRE So Fresh

As part of You Are Here. Free. 7pm.

THE CLUB

TUESDAY MAY 17 KARAOKE Karaoke Salon

8PM. Book online at politbar.co.

POLIT BAR & LOUNGE

#KaraokeLove 9pm. Free entry.

TRANSIT BAR

LIVE MUSIC The Entourage

Feat. Jimmy Pike, Jedbrii, The Ansah Bros and more. Doors at 8pm.

TRANSIT BAR

Nix & Pat Psyfa

Official launch for debut EP. Feat DJ Krumb. Doors 8pm.

TRANSIT BAR

Collected Resonances 8pm. $5.

AINSLIE ARTS CENTRE

66

6 Apr - 2 Jul.

French Courses for Kids 6 Apr - 2 Jul.

ALLIANCE FRANÇAISE

THURSDAY MAY 19

THE BASEMENT

9pm on the 19th. 10.30pm on the 28th. Free.

KING O’MALLEY’S IRISH PUB

Fear Like Us

With Hannahband, Dickiebirds & Jim Dusty. 9pm. $10/5.

THE PHOENIX BAR

The Undermines

THE PHOENIX BAR

The Idea Of North

Percey and Mikey Duo

7:30pm.

IRON BAR

ON THE TOWN Fridays From Five

Club 30-50 presents

Special K

9.30pm. $5.

Rumshack

LOL Pol

LIVE MUSIC

DURHAM CASTLE ARMS

Groove Session concert tour. 4pm and 8pm. Tickets from $29 and up.

THE POLISH WHITE EAGLE CLUB

DJs spinning Old Skool, Hip Hop, R&B. Free from 5pm.

POLIT BAR & LOUNGE

8.30pm.

With the Black Horses. 8pm. $15/10/5.

COMEDY $7/$10. Bookings recommended. politbar.co

Live music. 7pm. Free.

7.30pm. Champion guitar work, blazing blues songs fantastic show!

THE PHOENIX BAR

8pm. Free entry.

TRANSIT BAR

Romeo

THE BASEMENT

BAD!SLAM!NO!BISCUIT!

LIVE MUSIC

Brass Knuckle Brass Band do a live hip hop mixtape. With Coda Conduct, The Ansah Brothers, Hayds and Roshambo.

Support by PAINT on PAINT and Jedbrii.

8pm. Presale tix are $10.

$25 at the door. 8.30pm.

THE BURNS CLUB

8pm.

NATIONAL PORTRAIT GALLERY

8.30pm.

Arthur Boyd portraits from 1945. 10am.

Free. 4 May - 14 Aug.

Seen the movie? Now meet the author.

3pm.

Arthur Boyd portraits from 1945. 10am.

Free. 4 May - 14 Aug.

AVIARY ROOFTOP BAR

A Purple Tribute to Prince. 7pm.

Featuring Melbourne DJ Steve T. Tix $20.

POLIT BAR & LOUNGE

SOMETHING DIFFERENT

THE STREET THEATRE

7.30pm. These guys have started to take over this town – come find out how!

THE BURNS CLUB

Sons of Sun

8pm. $25/20/15.

THE POLISH WHITE EAGLE CLUB

THEATRE Mario

Part opera, part musical theatre, Mario tells the story of washed up Hollywood superstar Mario Lanza.

CANBERRA THEATRE CENTRE

SUNDAY MAY 22

Jen Crawford

Poetry book launch. 7.30pm.

MANNING CLARK HOUSE

SciNight– Sperms and Germs

Scientifically transmitted information.

6pm. Adults only. $10 at the door.

QUESTACON

LIVE MUSIC Irish Jam Session

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

The Salt Room

KING O’MALLEY’S IRISH PUB

GORMAN HOUSE ARTS CENTRE

Originals with a few covers thrown in to the mix in an acoustic. 5-7pm. Free.

7.30pm. $10/$5.

Baju

TRANSIT BAR

THEATRE

A BITE TO EAT CAFE

ON THE TOWN

North Vs South: The Battle of Canberra

8pm. Tix $64.90 + bf via canberratheatrecentre.com.au.

Some of that Detroit rock, with Cub Calloway & The Revolutionaries. 8pm, free entry.

The Thursday Games

Crazy Ass Games including tournaments and prizes, and all things Sangria & FUN. 5pm. Free.

AVIARY ROOFTOP BAR

Theatresports. $20/$15. Tickets at thestreet.org.au.

THE STREET THEATRE

Mario

Part opera, part musical theatre, Mario tells the story of washed up Hollywood superstar Mario Lanza.

The Cat Empire

CANBERRA THEATRE CENTRE

Ben Kelly

With Mireille, Richard Murray & Bec Prior. 3pm. Free.

AVIARY ROOFTOP BAR

CANBERRA THEATRE CENTRE

@bmamag

ENTERTAINMENT GUIDE May 22 – June 1 SUNDAY MAY 22 SOMETHING DIFFERENT Drawn In

Draw while listening to Bella Groove Jazz duo. 1pm. Free.

NATIONAL PORTRAIT GALLERY

Tom Dusevic – Whole Wild World

Walkley-award winning journalist Tom Dusevic turns his investigative eye to his 70s childhood. 3pm.

MUSE: FOOD, WINE, BOOKS

WORKSHOPS

ON THE TOWN Hump Day

Get over the hump with drink specials after 5pm.

TRANSIT BAR

THEATRE Little Shop of Horrors

A lovesick hero. A bloodthirsty plant.

A mouthwatering musical. $74.90 and up.

6 Apr - 2 Jul.

The Bootleg Sessions

8pm. Free entry.

THE PHOENIX BAR

TUESDAY MAY 24 COMEDY Bianca Del Rio: Not Today Satan

ALLIANCE FRANÇAISE

French Courses for Kids ALLIANCE FRANÇAISE

THURSDAY MAY 26

With No Stars and Tom Woodward.

8pm.

THE POLISH WHITE EAGLE CLUB

KING O’MALLEY’S IRISH PUB

Borneo

DJs spinning Old Skool, Hip Hop, R&B. Free from 5pm.

AVIARY ROOFTOP BAR

Oscar

10pm. Free.

KING O’MALLEY’S IRISH PUB

A lovesick hero. A bloodthirsty plant.

A mouthwatering musical. Tix start at $74.90.

CANBERRA THEATRE CENTRE

SATURDAY MAY 28 ART EXHIBITIONS

CANBERRA THEATRE CENTRE

ON THE TOWN

KARAOKE

The Thursday Games

Visitors Centre Gallery. Australian animals, plants, and landscapes through art. Free entry.

#KaraokeLove 9pm. Free entry.

TRANSIT BAR

THE PHOENIX BAR

Crazy Ass Games including tournaments and prizes, and all things Sangria & FUN. 5pm. Free.

AVIARY ROOFTOP BAR

AUSTRALIAN NATIONAL BOTANIC GARDENS

Mysterious Eyes

Arthur Boyd portraits from 1945. 10am.

Free. 4 May - 14 Aug.

SOMETHING DIFFERENT

Tris and Travis Trivia: Sex, Drugs Rockn’roll

Shaken and Stirred

LIVE MUSIC

POLIT BAR & LOUNGE

Carole King: The Songbook Of Her Life

THE PHOENIX BAR

WEDNESDAY MAY 25 ART EXHIBITIONS Australian Treasures Art Exhibition

Visitors Centre Gallery. Australian animals, plants, and landscapes through art. Free entry.

AUSTRALIAN NATIONAL BOTANIC GARDENS

Mysterious Eyes

Arthur Boyd portraits from 1945. 10am.

Free. 4 May - 14 Aug. NATIONAL PORTRAIT GALLERY

COMEDY Comedy Gong Night 7.30pm.

THE PHOENIX BAR

LIVE MUSIC A Wilhelm Scream

With guests TBA. Tickets via oztix. 8pm.

THE BASEMENT

Burlesque and cabaret. 7:30pm. $20. politbar.co

THEATRE Little Shop of Horrors

A lovesick hero. A bloodthirsty plant.

A mouthwatering musical. Tix start at $74.90.

CANBERRA THEATRE CENTRE

FRIDAY MAY 27 LIVE MUSIC Profile Duo

Live music. 7pm. Free.

CANBERRA IRISH CLUB

Heart Beach & Low Talk

Joined by No Stars and Tom Woodward. $15 full/ $12 concession/$10 CMC members. 8pm.

THE POLISH WHITE EAGLE CLUB

Friday Night Fiesta

With Los Chavos & friends. 9pm. $10/5.

THE PHOENIX BAR

House of Strangers EP Launch

After Hollywood is reborn as House of Strangers, and they’ll be launching their new EP. 8pm. Tickets on the door.

TRANSIT BAR

A lovesick hero. A bloodthirsty plant.

A mouthwatering musical. Tix start at $74.90.

CANBERRA THEATRE CENTRE

SUNDAY MAY 29 LIVE MUSIC Irish Jam Session

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

KING O’MALLEY’S IRISH PUB

Josh Veneris

With Amy Jenkins, James Kelly & Sara Flint. 3pm. Free.

AVIARY ROOFTOP BAR

THEATRE Little Shop of Horrors

A lovesick hero. A bloodthirsty plant.

A mouthwatering musical. Tix start at $74.90.

CANBERRA THEATRE CENTRE

MONDAY MAY 30

Australian Treasures Art Exhibition

TRIVIA

7.30pm.

Little Shop of Horrors

Fridays From Five

With Slow Turismo & Northbourne Flats.

9pm. $10/5.

Bianca Del Rio is back with her fiercely funny stand up masterpiece. Tix start at $53.90 + bf. 7:30pm.

THEATRE

ACADEMY NIGHTCLUB

Little Shop of Horrors

9pm. Free.

8pm. $15/$10.

$20 + bf via Moshtix. 9pm.

Vienna Salon

Amand Delaney Duo

AINSLIE ARTS CENTRE AINSLIE ARTS CENTRE

Heart Beach and Low Talk

THEATRE

UNIVERSITY HOUSE

From 7.30pm. $15/$10.

THE BASEMENT

LIVE MUSIC Chamber music from classical Vienna for flute and strings. 7pm. $30-$55.

Canberra Obscura: Art Party Canberra Obscura

8pm. $10 entry.

Bag Raiders

General French Courses

SOMETHING DIFFERENT

Empire Rise

WORKSHOPS

ACT WRITERS CENTRE

LIVE MUSIC

THE BURNS CLUB

ON THE TOWN

6 Apr - 2 Jul.

MONDAY MAY 23

7.30pm. A Burns club favourite solo act with his fine voice and great guitar work.

CANBERRA THEATRE CENTRE

Diving In (Memoir) with Biff Ward 1pm.

Calum Howarth

NATIONAL PORTRAIT GALLERY

LIVE MUSIC The Bootleg Sessions 8pm. Free entry.

THE PHOENIX BAR

Being as an Ocean 8pm.

THE BASEMENT

TUESDAY MAY 31 KARAOKE

Feel the earth move under your feet during the ultimate Carole King tribute.

8pm. $69.90 – 79.90

#KaraokeLove

Special K

TRIVIA

KING O’MALLEY’S IRISH PUB

Impact Present Nerd Trivia with Joel & Ali

CANBERRA THEATRE CENTRE

9pm on the 19th. 10.30pm on the 28th. Free.

Profile Duo

Live music. 7pm. Free.

CANBERRA IRISH CLUB

Burrumbuttock Hay Runners

Drought relief concert featuring The Feldons, Tara Louise Duo, Betty Alto, Urban Drover and Ben Chan. 7pm. $20.

HARMONIE GERMAN CLUB

Capital Aggression

With Despite Eviction, Johnny Roadkill, Tensions Arise, Knights of the Spatchcock & Hence the Testbed. 7pm.

THE BASEMENT

Tully on Tully

Launch their new EP ‘Miles Away’, supported by Wallflower 8pm, presale via Oztix.

TRANSIT BAR

Terry Batau

9pm. Free entry.

TRANSIT BAR

7.30pm.

THE PHOENIX BAR

WEDNESDAY JUNE 1 ART EXHIBITIONS Australian Treasures Art Exhibition

Visitors Centre Gallery. Australian animals, plants, and landscapes through art. Free entry.

AUSTRALIAN NATIONAL BOTANIC GARDENS

Mysterious Eyes

Arthur Boyd portraits from 1945. 10am.

Free. 4 May - 14 Aug. NATIONAL PORTRAIT GALLERY

7.30pm. Returning for another great show from this Sydney solo artist continuing a lifetime tour!

THE BURNS CLUB

facebook.com/bmamagazine

67

ENTERTAINMENT GUIDE June 2 – June 17 THURSDAY JUNE 2 LIVE MUSIC The Sugarcanes

With Loose Tooth & The King Hits. 9pm. $10/5.

THE PHOENIX BAR

Sorrel Nation

With Vendulka and Maxo. 8pm, free entry.

TRANSIT BAR

ON THE TOWN The Thursday Games

Crazy Ass Games including tournaments and prizes, and all things Sangria & FUN. 5pm. Free.

AVIARY ROOFTOP BAR

FRIDAY JUNE 3 COMEDY Peter Helliar

One Hot Mess. 7.30pm. $42.

CANBERRA THEATRE CENTRE

LIVE MUSIC Copy and Paste Duo

7.30pm. Don’t miss these local legends!

THE BURNS CLUB

LIVE MUSIC Multiplicity

ART EXHIBITIONS

ART EXHIBITIONS

Cassidy’s Ceili

Mysterious Eyes

Arthur Boyd portraits from 1945. 10am.

Free. 4 May - 14 Aug.

Mysterious Eyes

NATIONAL PORTRAIT GALLERY

NATIONAL PORTRAIT GALLERY

THE BASEMENT

7.30pm. A Canberra favourite since for ever – don’t miss the delightful tones of this great Irish band.

THE BURNS CLUB

Heuristic

10.30pm. Free.

KING O’MALLEY’S IRISH PUB

Shining Bird

With Brother Be. 9.30pm. $10.

THE PHOENIX BAR

Citizen Kay

One of Tuggeranong’s favourite exports, supported by Triple J’s Unearthed High standout Genesis Owusu.

TRANSIT BAR

Sound and Fury: Cold Winter Hot Party

8pm. $20/$37. Tickets at eventbrite. com.au. Performances artists in a party format.

NISHI GALLERY

Campaign Season RP opener Scouting Parties Roleplaying opener.

PIALLIGO REDWOOD FOREST

SUNDAY JUNE 5

10pm. Free.

KING O’MALLEY’S IRISH PUB

Birth Write Beats, Vol IV

Live music producer battles. Four producers, three rounds, one winner.

8pm. $5.

LOBROW GALLERY & BAR

The Gypsy Scholars 9pm. $10/5.

THE PHOENIX BAR

Philadelphia Grand Jury

Present ’So You Think You Can Philly Jays?’ - here’s your chance to sing with the band! 8pm, presale via Moshtix.

TRANSIT BAR

DJs spinning Old Skool, Hip Hop, R&B. Free from 5pm.

AVIARY ROOFTOP BAR

SATURDAY JUNE 4

Arthur Boyd portraits from 1945. 10am.

Free. 4 May - 14 Aug. NATIONAL PORTRAIT GALLERY

Australian Treasures Art Exhibition

Visitors Centre Gallery. Australian animals, plants, and landscapes through art. Free entry.

AUSTRALIAN NATIONAL BOTANIC GARDENS

COMEDY Peter Helliar

One Hot Mess. 7.30pm. $42.

CANBERRA THEATRE CENTRE

68

AUSTRALIAN NATIONAL BOTANIC GARDENS

AUSTRALIAN NATIONAL BOTANIC GARDENS

Visitors Centre Gallery. Australian animals, plants, and landscapes through art. Free entry.

Visitors Centre Gallery. Australian animals, plants, and landscapes through art. Free entry.

WORKSHOPS

COMEDY

Focus on the Short Story with Theresa Layton

Daniel Townes

ACT WRITERS CENTRE

GINNINDERRA LABOR CLUB

7.30pm.

THURSDAY JUNE 9 LIVE MUSIC

With local supports. 7.30pm. Tickets $16.50 at the door.

LIVE MUSIC Halcyon Drive

Ciggie Witch

Launch their new EP ‘Untethered’, supported by Brother Be and String Elephants. 8pm, presale via Musicglue.

THE PHOENIX BAR

The Vee Bees

With Wives & Zone Out. 9pm. $5.

Confluence feat. Sophie Hutchings

7.30pm. Tickets $15/$10. Info at agac.com.au.

AINSLIE ARTS CENTRE

Dylan Joel

TRANSIT BAR

With White Knuckle Fever & Minor Surgery. 9.30pm. $10.

THE PHOENIX BAR

SUNDAY JUNE 12 LIVE MUSIC

Tickets at oztix. Special guests TBA. 8pm.

ON THE TOWN

Rick Dangerous & The Silkie Bantams

Irish Jam Session

Crazy Ass Games including tournaments and prizes, and all things Sangria & FUN. 5pm. Free.

LIVE MUSIC Jeff Martin

THE BASEMENT

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

KING O’MALLEY’S IRISH PUB

TRANSIT BAR

The Thursday Games

AVIARY ROOFTOP BAR

FRIDAY JUNE 10

WORKSHOPS Diving In (Memoir) with Biff Ward 1pm.

ACT WRITERS CENTRE

MONDAY JUNE 6

LIVE MUSIC Under Lok & Key 9pm. $10/5.

THE PHOENIX BAR

Mikelangelo & the Black Sea Gentleman 8pm.

The Bootleg Sessions

Smutfest

8pm. Free entry.

THE PHOENIX BAR

TUESDAY JUNE 7 KARAOKE #KaraokeLove 9pm. Free entry.

TRANSIT BAR

LIVE MUSIC Jazz at the Gods

THE POLISH WHITE EAGLE CLUB

7pm. Info at facebook.com/ events/177343932658777/ THE BASEMENT

ADKOB

Tickets at oztix. Special guests TBA. 8pm.

THE BASEMENT

Rock Or Be Rocked

Classic rock and blues. 8pm. Free.

More information at bandmix.com.au/ mac11943/ ROSE COTTAGE

ON THE TOWN

Meals from 6pm. Music at 7:30pm.

Bookings essential. $22/$15.

Fridays From Five

TRIVIA

AVIARY ROOFTOP BAR

THE GODS CAFE

The Phoenix Quiz 7.30pm.

THE PHOENIX BAR

8pm, presale via Moshtix.

TRANSIT BAR

TUEDSDAY JUNE 14 KARAOKE #KaraokeLove

9pm. Free entry.

LIVE MUSIC

ART EXHIBITIONS Mysterious Eyes

Australian Treasures Art Exhibition

Drops by Canberra on his Still Sippin’ tour 8pm, presale via Moshtix.

ON THE TOWN Fridays From Five

Arthur Boyd portraits from 1945. 10am.

Free. 4 May - 14 Aug.

Australian Treasures Art Exhibition

SOMETHING DIFFERENT

Punk rock. 8pm.

Itchy Triggers

SATURDAY JUNE 11

A night of diverse music culture.

7.30pm.

Glitoris

THE POLISH WHITE EAGLE CLUB

WEDNESDAY JUNE 8

DJs spinning Old Skool, Hip Hop, R&B. Free from 5pm.

SOMETHING DIFFERENT

TRANSIT BAR

WEDNESDAY JUNE 15 ART EXHIBITIONS Mysterious Eyes

Arthur Boyd portraits from 1945. 10am.

Free. 4 May - 14 Aug. NATIONAL PORTRAIT GALLERY

LIVE MUSIC The Funkoars

On the cusp of unleashing their new album, Trials, Hons, and Sesta return to Transit Bar 8pm, presale via Moshtix.

TRANSIT BAR

THURSDAY JUNE 16 ON THE TOWN The Thursday Games

Crazy Ass Games including tournaments and prizes, and all things Sangria & FUN. 5pm. Free.

AVIARY ROOFTOP BAR

FRIDAY JUNE 17

Art Underground Wide Open Mic Night

ON THE TOWN

BEYOND Q

DJs spinning Old Skool, Hip Hop, R&B. Free from 5pm.

Share music, stories, comedy, circus tricks or antics. 7pm. Free. With special guests.

Fridays From Five

AVIARY ROOFTOP BAR

@bmamag

ENTERTAINMENT GUIDE June 17 – July 25 FRIDAY JUNE 17

THURSDAY JUNE 23

THURSDAY JUNE 30

TUESDAY JULY 12

THEATRE

TALKS

SOMETHING DIFFERENT

North Vs South: The Battle of Canberra

Dr Bidda Jones: Chief Scientist RSPCA

7.30pm.

Theatresports. $20/$15. Tickets at thestreet.org.au.

THE STREET THEATRE

SATURDAY JUNE 18 ART EXHIBITIONS Mysterious Eyes

Arthur Boyd portraits from 1945. 10am.

Free. 4 May - 14 Aug.

6pm. Free entry, bookings essential.

Dark Intelligence

7.15pm. Full details coming soon at facebook.com/ events/1264461916901735/.

THE BASEMENT

Collected Resonances 8pm. $5.

AINSLIE ARTS CENTRE

SUNDAY JUNE 19 WORKSHOPS Diving In (Memoir) with Biff Ward 1pm.

ACT WRITERS CENTRE

TUESDAY JUNE 21

FRIDAY JUNE 24 ON THE TOWN Fridays From Five

DJs spinning Old Skool, Hip Hop, R&B. Free from 5pm.

AVIARY ROOFTOP BAR

SATURDAY JUNE 25 SOMETHING DIFFERENT Canberra Roller Derby League

#KaraokeLove 9pm. Free entry.

TRANSIT BAR

WEDNESDAY JUNE 22 WORKSHOPS

TRANSIT BAR

SATURDAY JULY 2

FRIDAY JULY 15

LIVE MUSIC

LIVE MUSIC

Rock Or Be Rocked

Rock Or Be Rocked

8pm. Free.

THE BURNS CLUB

SOMETHING DIFFERENT

Classic rock and blues. 8pm. Free.

More information at bandmix.com.au/ mac11943/ ROSE COTTAGE

Federal Election Night

“Let’s rock ‘n’ roll with K. Rudd &... um...others” 7.30pm. Help us celebrate Polit Bar’s 3rd Anniversary.

POLIT BAR & LOUNGE

TUESDAY JULY 19 KARAOKE #KaraokeLove 9pm. Free entry.

TUESDAY JULY 5

VARIOUS LOCATIONS

TRANSIT BAR

THEATRE

KARAOKE

North Vs South: The Battle of Canberra

#KaraokeLove

9pm. Free entry.

TALKS

THE STREET THEATRE

LIVE MUSIC

George Megalogenis: Wither Australia

Jazz at the Gods

NATIONAL LIBRARY OF AUSTRALIA

Theatresports. $20/$15. Tickets at thestreet.org.au.

TUESDAY JUNE 28 KARAOKE #KaraokeLove 9pm. Free entry.

WEDNESDAY JUNE 29 ART EXHIBITIONS Mysterious Eyes

NATIONAL PORTRAIT GALLERY

LIVE MUSIC

ACT WRITERS CENTRE

Farewell tour. Tickets at Moshtix.

The Beards

ANU BAR AND REFECTORY

WEDNESDAY JULY 20

TRANSIT BAR

Manning Clarke lecture. 6pm.

Meals from 6pm. Music at 7:30pm.

Bookings essential. $22/$15.

WORKSHOPS

THE GODS CAFE

Focus on the Short Story with Theresa Layton

WEDNESDAY JULY 6

7.30pm.

ACT WRITERS CENTRE

WORKSHOPS Focus on the Short Story with Theresa Layton

7.30pm.

ACT WRITERS CENTRE

Arthur Boyd portraits from 1945. 10am.

Free. 4 May - 14 Aug.

Focus on the Short Story with Theresa Layton 7.30pm.

MANNING CLARK HOUSE

Save the dates. Info at crdl.com.au.

TRANSIT BAR

KARAOKE

#KaraokeLove

9pm. Free entry.

MANNING CLARK HOUSE

NATIONAL PORTRAIT GALLERY

LIVE MUSIC

Poetry Readings

KARAOKE

Akmal

THE ABBEY

SOMETHING DIFFERENT

Share music, stories, comedy, circus tricks or antics. 7pm. Free. With special guests.

BEYOND Q

COMEDY 8pm. $45. Tickets at theabbey.com.au.

FRIDAY JULY 8

Art Underground Wide Open Mic Night

FRIDAY JULY 22

MONDAY JULY 25 LIVE MUSIC Musical Afternoon of Opera: Fleur Millar 3pm. Opera.

MANNING CLARK HOUSE

OUT

JUN 8

HALCYON DRIVE SHOW US THEIR STREET CRED BURROWS EMERGE FROM THE DIRT GOOCH PALMS’ NAME IS NOT THAT GROSS KARNIVOOL MAINTAIN THEIR UNCHANGING FAN BASE

facebook.com/bmamagazine

69

SIDE A: BMA BAND PROFILE

FIRST CONTACT Aaron Peacey 0410381306 band.afternoon.shift@ gmail.com.au Adam Hole 0421023226 Afternoon Shift 0402055314

Kayo Marbilus facebook.com/kayomarbilus1

Amphibian Sound PA Clare 0410308288

Kurt’s Metalworx (PA) 0417025792

Annie & The Armadillos Annie (02) 61611078/ 0422076313

SAMI COOKE Describe your sound. I’m a singer/songwriter/entertainer catering to all-age groups. Having a pop, folk and country sound, I travel Australia singing three shows each week in pubs and clubs.

Who are your influences, musical or otherwise? Delta Goodrem has always been my inspiration, since I began singing when I was 12. I also love Queen for their musical experimentation in songs.

What’s the most memorable experience you’ve had whilst performing? I perform on average 100 solo performances each year, but I have to say that one venue I performed at really stuck in my head. I was up in Mackay performing to a really captive audience when people jumped out of the crowd with their instruments and backed me! I then found out that I was in a room full of musicians, which was great!

Phil Emmanuel was one of them. It was pretty great to have an entire room stand up to applaud at the end of a show.

Of what are you proudest so far? There is nothing better for an artist to look out in the audience and see people singing my original songs or even requesting them!

I have to say my proudest moment is this year. After touring Australia for three years in a row, I took my music overseas to New Zealand in February, and I’m about to embark on my very own six-week Canadian tour in July. It really shows that hard work does pay off!

What are your plans for the future? I love my job, so my plan for the future is to continue traveling and performing. I am also studying professional writing and editing so that can assist with my music career. After I complete that course, I will study graphics design to continue my own website and posters. My dream is to get on a show like Getaway and my motto is “You can never dream too big”!

What makes you laugh? Blonde moments… I have a lot of them!

What pisses you off? Annoying people. I work with the public so I get a lot of them, aha.

What about the local scene would you change? To help get Australian independent artists like myself singing pop and country to get on commercial radio. They say that they only play ‘known’ artists, but I have toured a lot and pretty much the only way to get ‘known’ is to get a break.

What are your upcoming gigs? I’m hosting and performing at the Burrumbuttock Hay Runners drought relief concert at Harmonie German Club on Saturday May 28.

Contact info: SamiCooke.com.au, facebook.com/SAMI. official.music, youtube.com/user/coyote921996, twitter. com/Samimusicpage, h4m.739 (Snapchat), Sami_Cooke (Instagram).

70

Johnny Roadkill Paulie 0408287672 paulie_mcmillan@live.com.au

Aria Stone sax/flute/lute/ harmonica, singer-songwriter Aria 0411803343 Australian Songwriters Association Keiran (02) 62310433 Back to the Eighties Ty Emerson 0418 544 014 Backbeat Drivers Steve 0422733974 backbeatdrivers.com Birds Love Fighting Gangbusters/DIY shows-bookings@ birdslovefighting.com Black Label Photography Kingsley 0438351007 blacklabelphotography.net Bridge Between, The Cam 0431550005 Chris Harland Blues Band, The Chris 0418 490 649 chrisharlandbluesband @gmail.com Cole Bennetts Photography 0415982662 Danny V Danny 0413502428 Dawn Theory Nathan 0402845132 Danny 0413502428 Dorothy Jane Band, The Dorothy Jane 0411065189 dorothy-jane@dorothyjane.com Drumassault Dan 0406 375 997 Feldons, The 0407 213 701 Fire on the Hill Aaron 0410381306 Lachlan 0400038388 Fourth Degree Vic 0408477020 Gareth Dailey DJ/Electronica Gareth 0414215885 Groovalicious Corporate/ weddings/private functions 0448995158 Guy The Sound Guy Live & Studio Sound Engineer 0400585369 guy@guythesoundguy.com

Los Chavos Latin/ska/reggae Rafa 0406647296 Andy 0401572150 Merloc - Recording Studio, Watson. Sam King: 0430484363. sam@ merlocrecords.com Missing Zero Hadrian 0424721907 hadrian.brand@live.com.au Morning After, The Covers band Anthony 0402500843 Mornings Jordan 0439907853 Obsessions 0450 960 750 obsessions@grapevine.com.au Painted Hearts, The Peter (02) 62486027 Polka Pigs Ian (02) 62315974 Rafe Morris 0416322763 Redletter Ben 0421414472 Redsun Rehearsal Studio Ralph 0404178996/ (02) 61621527 Rug, The Jol 0417273041 Sewer Sideshow Huck 0419630721 Simone & The Soothsayers Singing teacher Simone 62304828 Sorgonian Twins, The Mark 0428650549 Soundcity Rehearsal Studio Andrew 0401588884 STonKA Jamie 0422764482 stonka2615@gmail.com Strange Hour Events Dan 0411112075 Super Best Friends Greg greg@gunfever.com.au System Addict Jamie 0418398556

Haunted Attics band@hauntedatticsmusic.com

Tegan Northwood (Singing Teacher) 0410 769 144

In The Flesh Scott 0410475703

Top Shelf Colin 0408631514

Itchy Triggers Alex 0414838480

Undersided, The Baz 0408468041

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

Zoopagoo zoopagoo@gmail.com

@bmamag

MUSICAD FOR SPACE CANBERRA

facebook.com/bmamagazine

71

TROYE SIVAN

72

@bmamag