BMA Magazine 489 - 18 January 2017

COVER LINE INSIDE: INFO

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AINSLIE AD + SPACE GORMAN

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THE DICKSON TRADIES NEW YEARS EVE

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THE GREEN SHED

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THE TOP 50 CANBERRA SONGS OF 2016 AS CHOSEN BY BMA MAGAZINE

This issue of BMA Magazine was painstakingly written in front of a live audience #489Jan/Feb Fax: (02) 6257 4361 Mail: PO Box 713 Civic Square, ACT 2608 Publisher 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

Sub-Editor Sarah Naughton Graphic Design Andrew Nardi Cover artwork by Rosy Wilson Film Editor Emma Robinson Entertainment Guide Nicola Sheville NEXT ISSUE 490 OUT February 15 EDITORIAL DEADLINE February 3 ADVERTISING DEADLINE February 9 Published by Radar Media Pty Ltd ABN 76 097 301 730 BMA Magazine is independently owned and published. Opinions expressed in BMA Magazine are not necessarily those of the editor, publisher or staff.

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Earlier in January, our editor Andrew Nardi got really bored and decided to put together a list of what he thought were the top Canberra songs of 2016. He compiled the list using triple J Unearthed, and he posted it on Facebook where it generated a whole lot of traction (at least, compared to our usual Facebook posts, which are known for accumulating diddlysquat in social media numbers).

It was a spur of the moment decision and he didn’t really put a lot of thought into it. This is a very good news article.

But people were so pleased to be able to listen to some very good Canberra talent, that we’ll probably continue this trend in future years, probably with a proper poll and some form of actual democracy (and not just the opinion of one guy).

It should be noted that this list had some ground rules. Each artist was allowed only one entry, or one song (their best song), to paint a picture of how many talented musicians that we actually have in Canberra.

Secondly, the songs included in this list were all uploaded to triple J Unearthed in 2016. Unearthed is an online platform for emerging bands to share their work. As such, this list does not include some of Canberra’s established artists, who are now signed to labels, and it does not include musicians who did not upload music to triple J Unearthed in 2016.

For that reason, there are many fantastic Canberra artists who released music last year and who are not included on this list – Wives, California Girls, Thunderbolt City, Slow Turismo, Hoodlum Shouts, Hands Like Houses, Peking Duk and SAFIA to name a few.

We at BMA Magazine hope that this list will give our readers an idea of just how much creative talent we have in Canberra.

We are a relatively smaller Australian city, but we are a

very cool one. Our skills are something to be recognised and celebrated, first and foremost by the people who live here.

We hope this list encourages you to make 2017 the year you support local music, and make Canberra’s music scene one to rival the rest.

Finally, it makes sense that we say congratulations to Moaning Lisa! Despite the fact that the list is biased towards one guy, many of BMA’s contributors agree that the top spot is well deserved. And of course, congratulations to all of the artists and to everyone in the local music community who makes their music possible in some way – the venues, the recording studios, the sound and lighting crews, the whole shabam.

If you would like to listen to these songs as a playlist, you need only find the link on our Facebook page.

21. Reuben Ingall and David Finnigan – ‘Music to Shoot Climate Activists To’ 22. Donut$ – ‘Fuck The World’ 23. Guyy & The Fox – ‘Runaway’ 24. Azim Zain and His Lovely Bones – ‘My Aching Bones’ 25. Helena Pop – ‘Naked’ 26. PAINTonPAINT – ‘Wine Dark Sea’ 27. Pocket Fox – ‘Kingdom Come’ 28. Omar Musa – ‘LAK$A’ 29. PJ Michael & The Banditas – ‘Leave a Light On’ 30. The Gypsy Scholars – ‘Daydream Author’ 31. LAVERS – ‘Stars On Parade’ 32. Room – ‘Real’ 33. Lash – ‘Save The Drama’ 34. Kirklandd – ‘We On’ (feat.

Genesis Owusu)

1. Moaning Lisa – ‘Comfortable’

35. Yoko Oh No – ‘White Commodore’

2. Young Monks – ‘Bad Bad Freddy’

36. Jack Biilmann – ‘Don’t Complain’

3. Genesis Owusu – ‘Drive Slow’

37. Sara Flint – ‘Poisoned Minds’

4. Teen Jesus and the Jean Teasers – ‘Crime Scene’

38. truples. – ‘Fools’

5. Coda Conduct – ‘Usually I’m Cool’ (feat. Jimblah)

39. Whitefall – ‘Dreamweaver’

6. Duck Duck Ghost – ‘Indy’ 7. Glitoris – ‘Paradise’

41. The Spindrift Saga – ‘Batsh!t Bay’

8. LTC – ‘Next In Line’

42. Brother Be – ‘Sick Kids’

9. D’Opus & Roshambo – ‘Brush You Off’ (feat. Lash & Jedbrii)

43. The Barren Spinsters – ‘Heart’s Just Not In This Anymore’

10. East Row Rabble – ‘Strawberries & Cream’ 11. Sally Chicane – ‘Consumption’

40. Loud So Clear – ‘I Got You’

44. Hi Life – ‘When I Get To The Club’ 45. Skin & Bones – ‘Gravity’

12. Sketch Method – ‘Razy Lacism’

46. Blanke – ‘Blow Up’

13. Foreign Kings – ‘Over The Edge’

48. Patrick McKinney – ‘Want You To Know’

14. The Lowlands – ‘Release Me’ 15. Happy Axe – ‘Oblivious Objects’

47. Wallflower – ‘Could It Be’

49. Jack Biilmann & The Bronze Whalers – ‘Candle’ 50. Capes – ‘Excitement’

16. GhostNoises – ‘Beat That Habit’ 17. Aphir – ‘No Muse’ 18. TOYO – ‘Wonderlust’ 19. Tak-Un-Da – ‘Sex So Good’ 20. Despite Eviction – ‘Thirteen’

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FROM THE BOSSMAN Welcome, my Friends, to a brave new year. It seems a lot of us were happy to see 2016 in our proverbial rearview mirror. Death (both celebrity or otherwise), break-ups, the buildings of walls – both literal and metaphorical – spoke to a year of sadness, loss, and fear.

What the hell is this? This wasn’t here before? Where did the other thing go? The ’Person Who Pissed Me Off’ bit? That was funny. Bring it back. And what’s that peacock doing there? What does that have to do with anything? What have you done?!

Mine wasn’t great. I reached a moment of despair and anger. There was scope to retreat into that darkness. Instead, I decided to write a stupidly honest series on my Facebook page, with the “pithily” titled The Sadsack’s Guide On Switching Sadness To Gladness (because even when hurt, I can’t deny my love for overt alliteration).

Okay, first of all, it’s not a peacock, it’s a … actually, I guess it’s a peacock. But little known fact: it’s actually BMA’s mascot, and has been for years. It’s the Exhibitionist bird, representing Canberra arts – probably. Go look at page 32 and you’ll see the bird, the same bird that’s been there for every issue of BMA since forever. But if this is the ‘Editor’s Blab’, and I’m the editor, why haven’t I put a photo of myself there instead? But I have. All BMA editors become this bird, you see.

This is an extract. We’ll put the whole piece online. Maybe it will help. Maybe it will make you think less of me. But I’m willing to take that risk.

Sadness To Gladness #4 – Be Honest, or How I Learned To Stop Worrying and Love The Aplomb Anyway; my marriage suffered a trauma years ago. We were diagnosed with PTSD a year after the fact, but were never treated.

In that time, our little one didn’t sleep for more than two hours for a whole year. In short, we were tortured. And it changed us.

To my eternal regret, I coped by retreating into my vices and became an addict. When you’re an addict, you become a lying, sneaky, conniving bastard to those you love the most; hiding away the thing you need that you know is wrong, but will get you through the day. You hate yourself for it; Guilt festers inside you like a tumour. And it is a huge part of the break up of said marriage. I will always carry that with me.

Secondly, I haven’t gotten rid of ‘You Pissed Me Off’, just replaced it temporarily because we don’t seem to get any submissions.

People don’t express rage anymore, they just bottle it all up. Also, I’ve always wanted to say things to you. So this is me doing that.

Anyway. Welcome to our first issue of 2017. You may have noticed our front cover is a beautiful artwork of New York City.

This was painted by Rosy Wilson, one of seven Canberra artists we have featured in this issue to celebrate our city’s rich and diverse arts scene. Go check it out on page 36.

Is there anything else I needed to say? No. Enjoy the magazine.

ANDREW NARDI - editorial@bmamag.com

After the split - after years of lying - after Brexit and Trump got in on bald-faced non-truths, my brain twigged … Honesty. That shall be my mantra from now on. Fear and anxiety kept me back from telling the truth. We are expected, we are raised even (with good intention), to be perfect. You must be perfect to land that job, to be enrolled in that university, to find that partner. And so we hide our defects. But you’re as sad as your secrets.

We ALL have defects. All of us. That’s what makes us human; what binds us. What makes us beautiful. And when you start to talk openly about them – not with malice or bitterness, but with frankness and calm – something magic happens.

I made the decision to be more honest on Facebook recently. I was prepared for criticism, for scorn, for people to think less of me or weak. Instead, I was met with unbridled love, compassion, and support. Sure, there are probably those who criticise, but I don’t worry about them. And nor should you. Because I realised how lucky I was to have the community of beautiful people I had. From there, new and wondrous pathways opened as a result.

When you are depressed/sad/anxious, the LAST thing you want to do is be open. The spectre of Fear clasps at hands and heart, and all you want to do is vanish into a dark corner.

But tell Fear to fuck right off. Give it a go. It is incredibly hard to keep sad when you are met with so much love.

It’s a new year. We all have hurt and defects. But they don’t define you. They are part of getting you to the person you are to be. Match Hate with Love. Forgive. And look after each other this year, yeah?

ALLAN SKO - allan@bmamag.com

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WHO: TY DOLLA $IGN WHAT: TOUR WHEN: WED JAN 25 WHERE: ANU BAR

Born Tyrone Griffin Jr., Ty Dolla $ign is a major superstar in the combined worlds of hip-hop and R&B. His new LP Campaign marks his first full-length release since 2015’s breakthrough debut album, Free TC. His propulsion into headphones around the world has been fuelled by a series of hit singles including ‘Blasé (feat. Future & Rae Sremmurd)’, ‘Saved (Feat. E-40)’, and features on Kanye West’s ‘Fade’, Chance The Rapper’s ‘Blessings’ and YG’s ‘Toot It and Boot It’. Tickets are $69.90 + bf via Moshtix. Starts at 7:30pm.

WHO: JAMES SOUTHWELL BAND WHAT: TOUR WHEN: FRI FEB 3 WHERE: THE BASEMENT

James Southwell is bringing his “A+”, “all-star band” to Canberra to mark the release of his brand-new album, The Dockside Sessions (Where The Wind Blows). A milestone in his blistering blues/funk journey, the album comes from James’ deep love of blues infused funk and rock ‘n’ roll. Joining Southwell onstage will be New Orleans bass player Charlie Wooton, Australian drummer Mark Kennedy, Dylan Harding on percussion, Kate DeAraugo on backing vocals, and the founding member of Chain, guitarist Phil Manning. Supported

by Harry Brus, Marji Curran Band and The Feldons. $20 on the door.

WHO: THE GOOCH PALMS WHAT: TOUR WHEN: FRI FEB 10 WHERE: THE PHOENIX

Australia’s king and queen of “shit-pop”, The Gooch Palms are back in Australia embarking on their second national tour in less than six months, which kicked off in Brisbane on NYE. To celebrate their return, the Novocastrians have unveiled a stellar cover of fellow Novos, Silverchair’s ‘Tomorrow’, and added a couple of extra shows, including one in little ol’ Canby. The Gooches came to Canberra last year, and their show was one of the more talked about ones around town, so you won’t want to miss this. Guests TBA. 9pm. $15 on the door.

WHO: ANN VRIEND WHAT: TOUR WHEN: SUN FEB 12 WHERE: SMITH’S ALTERNATIVE

Canadian soul/pop songstress Ann Vriend is returning to her honorary second home of Australia for her annual summer tour.

Bringing her award-winning band Rooster Davis Group back with her, the sultry songwriter will be traversing to the nation’s capital.

Showcasing new material from her as-yet-untitled EP – due for release in early 2017 – AV will also be jammin’ out audience favourites from her current release For The People In The Mean Time, plus a few back catalog selections. Starts at 7pm. Tickets are $20 from smithsalternative.com.

WHO: CHASE THE SUN WHAT: SINGLE TOUR WHEN: SUN FEB 19 WHERE: HARMONIE GERMAN CLUB

It’s been five years since Sydney-based blues-funk-rock power trio Chase The Sun released new music or hit the road. Summer 2017 sees the blues boys back in business on both fronts. After being handpicked as the support for American hard rockers Black Stone Cherry for their April 2017 Australian tour, Chase The Sun are happy to announce a new single ‘Live It Up’ and a large run of tour dates, including one in Canberra. They’re playing at the Harmonie German Club at 5:30pm on Sunday February 19. It’s only $5 on the door, too!

WHO: ASTA WHAT: EP TOUR WHEN: THU FEB 23 WHERE: ANU BAR

It’s no surprise why Asta’s latest single ‘Shine’ was added to rotation on triple j – the funky track proves that Asta is on top of the pop game in Australia. With shining piano chords and a sense of self-assured pop, ‘Shine’ is undeniably living up to its name. Having now announced the Shine EP, Asta is coming to Canberra to show us why she’s on track to becoming Australia’s next big sensation. She’s dropping by ANU Bar on Thursday Friday 23 at 8pm. Tickets are $20 + bf via Moshtix.

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LOCALITY

Jesus Christ. It’s not even the end of summer and we’re already farewelling another stalwart of the Canberra scene? This time it’s the trumpet strumpet Cameron Smith, who’s played with Moochers Inc, Trumpet Club, East Row Rabble … seriously, this list could go on for days, but right now I’m going to focus on his last gig with the outrageously popular Brass Knuckle Brass Band. They’ll be playing two free sets at Smith’s Alternative on Thursday January 26 from 3pm, with plenty of opportunity for those daring enough to try their signature cocktail. Don’t miss this one – it’ll be the most fun farewell you’ve ever been to.

The Phoenix have got some killer local line ups for The Bootleg Sessions over the coming weeks. On Monday January 23 from 7pm, 2XX LocalnLive are bringing you sets from MickAy, Davey Smiles, Hallucinatorium and Psionic Tide, who will also be launching their new EP, Exosphere. On Monday February 6, there’s sets from The Pretty Bones, Sally Chicane and Telephones for Eyes. As always, entry is free but you’re gonna chuck a donation into the bucket as it goes around, because you’re not a jerk.

If you like your tunes mixed in with words that don’t have music, BAD!SLAM!NO!BISCUIT! will be bringing poetry back to The Phoenix for 2017, complete with a feature spot from Pocket Fox’s Luciana Harrison. Her sweet folky sound will be a significant contrast at an event known for being more than a little shouty, in the best way possible. It’s all happening on Wednesday January 18 from 7:30pm, and entry is free.

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If you like to party, but like to occasionally disrupt that with some chilled out but slightly unsettling vibes, head to Smith’s Alternative on Friday January 27 from 7pm. You’ll be up on your feet for MONDECREEN and their funk-filled hip-hop sounds, then blissed out by the sounds of Happy Axe’s acoustic/electronic fusion, then impressed by the sheer scope of genres that GhostNoises plays with. Entry is $15.

Head to The Basement in Belconnen on Friday January 20 for a night of “droney, swampy blues, hard livin’ and punk debauchery” – I simply had to quote what was in the release, because I dare you to devise a more inviting description. From 8pm, you can catch Bleach It Clean, Sally Chicane, Organic Mechanic and Telephones for Eyes, and entry will only set you back $10.

If there’s anything we need more of in 2017, it’s sex, Shakespeare, punk rock and revolt, and that’s all available in abundance in Shadow House Party, a joint production of Shadow House PITS, Acoustic Theatre and Krewd. Performance art to knock your socks off, a cast full of awesome women, and crankin’ guitars. What more could you ask for? It’s on until Saturday January 21 at Canberra Theatre Centre’s Courtyard Studio, with tickets maxing out at $39 for full blown adults.

2016 was a tough year, but you know what? We also saw a lot of great bands rise up in those 12 months, and I’m really optimistic about what the year ahead is going to bring. With that in mind, get out there and find your new favourite band, Canberra!

NONI DOLL NONIJDOLL@GMAIL.COM @NONIDOLL

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YOUNG JEANIUSES ELEANOR HORN

Photo by Sophia Dolferus, Sophia Photography

This week BMA was lucky enough to chat with one of Canberra’s hottest new acts. TEEN JESUS AND THE JEAN TEASERS was born last August, have already landed a spot at Googfest ’17, and are preparing to record an EP this coming month. And in case you weren’t already feeling inadequate, they’re 15-years-old. What have you done lately?

It’s very loud

TJJT already have two bangers on their Unearthed page, ‘Crime Scene’ and ‘Guessing Game’, the former ranking at #4 on BMA’s Top 50 Canberra songs of 2016. But despite their quick success, Teen Jesus and the Jean Teasers came from humble beginnings. “We had a sleepover and we watched School of Rock and were like, ‘let’s form a band! Jaida doesn’t play an instrument, but she has large hands, so put her on bass guitar!’”

Jaida, Anna, Pip, Scarlett and Neve come from musical backgrounds, and are talented beyond their years. They each bring something unique to the band, combining different styles with ‘90s grunge influences, creating something both new and nostalgic.

“I love the music that’s out at the moment, really – but there has been a lot of the same stuff … We’re trying to bring in [more] classic rock.”

From the Steiner School Spring Fair to ANU Bar, Teen Jesus and the Jean Teasers aren’t wasting any time. “I think we’ve played nearly every venue in Canberra.” “We play live a lot – we’ve actually had a few headline gigs recently … It’s kind of a shock, because we saw ourselves [as] the support act.”

Needless to say, they are “very, very excited” about Googfest – a Canberra festival showcasing the best of local talent. “[It was] a big surprise to us … Not just us playing, but the experience will be super good. Even if we weren’t playing I’d still be excited to go!”

But it hasn’t gone to the girls’ heads, and they’re quick to thank all those who’ve helped them. “The Canberra music scene is probably the most supportive music scene ever. The venues in Canberra let us play [even though] we’re underage … We’re so young, our parents have to come to all the gigs. We’re so thankful. It’s given us an amazing opportunity … I would imagine that [venues in other cities] wouldn’t go out of their way to help a teenage band, but here they do.”

They also want to give a shout out to all the people who work at local venues – looking at you, sound guy at The Basement. But Teen Jesus and the Jean Teasers shouldn’t be too modest, because they sure as hell wouldn’t have gotten this far if they weren’t good. They want to be a girl band that’s loud, angry and outspoken, honouring the ‘90s riot grrrl scene, and citing local legends Glitoris as one of their main influences. Already oozing with talent (and girl power), Teen Jesus and the Jean Teasers are a force to be reckoned with.

Teen Jesus and the Jean Teasers play at Googfest at Googong’s Rockley Oval on Saturday February 4. The line-up also features Lucy Sugerman, Slow Turismo, Young Monks and Sneaky Sound System. Runs from 5–9pm. Entry is free and for all ages.

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IT’S JUST THE BOYS SHARONA LIN If you were a kid in the ‘90s, like I was, you might remember HUMAN NATURE – a quartet of devilishly good-looking, smoothvoiced Australian guys with hits like ‘Wishes’ and ‘Everytime You Cry’ (ft. good old John Farnham). And if you do remember Human Nature, you might be surprised, like I was, to find out that Human Nature are still performing together. That’s no comment on their talent or music, but boy bands generally have a shelf life – Australia’s other ‘90s boy band, Savage Garden, made it eight years before disbanding (Daniel Jones never enjoyed public attention or scrutiny). So it’s heartening to know that over 25 years on, Human Nature are still together – and are in fact a critically acclaimed staple on We realised it’s not the Las Vegas circuit, such a bad word, where they perform boy band Motown-inspired shows.

What do they attribute to their longevity? One quarter of Human Nature, Toby Allen, fills me in. “A couple things: the fact that we all loved singing – that’s something that has remained with us all this time. We were also mates in high school, where we started singing together. And I think that friendship we had, and still have, has been like the core of what has kept us together, because we really like each other as people, and we love performing together. I guess they’ve been our strongest assets.”

Performing away from Australia in Las Vegas, where they have a residency, they’ve moved away from the boy band label somewhat (they’re in their 40’s now, at the older end of ‘boys’). But Allen says that being a boy band is an integral part of who they are. “In our current show (The Ultimate Jukebox Tour) we go back and have a lot of fun with the fact that we were a boy band in the ‘90s. We used to fight being called a boy band back in the day, but it was such a potent era of music. We felt we were different, we weren’t manufactured, we were friends in high school, we sort of fought against that in the early days, but then we realised it’s not such a bad word, boy band.”

The Ultimate Jukebox Tour will be one of the longest shows the group have done to date, featuring two hours of music that has inspired the band across their career, from ‘50s jukebox to the present day, and they’re excited to bring it home. “We actually love the fact that in Australia we get to do some of our original music, because over here [in the U.S.], people don’t know a lot of that music, so we don’t get to perform some of those hits.” Allen is also excited for the VIP Soundcheck Meet and Greets, where fans can go backstage and meet the band. “To come back to Australia and be able to sing all of these old hits that we have, and meet our fans, is really cool. I’m looking forward to that.”

Human Nature come to the AIS Arena on Friday February 10 at 8pm. Tickets start from $91.65 + bf via Ticketek.

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NOW IS THE WINTER JARROD MCGRATH The Central Coast’s WINTERBOURNE have an interesting history that is only going to get more exciting. The duo (although this could soon be history too with a third member being added for this upcoming tour), have two great EPs, a strong live show developed through regular performing and are about to embark on recording their debut album. Their beginning is humbling with early performances taking place at Sydney’s Pitt St Mall. Jordan Brady explains that he and James Draper were “just starting out with the music stuff and it was somewhere to play and something to do on the weekends.” Choosing this setting has proven valuable for the group. “People who see us there come to shows and it’s a really good conversion because people think they have found us on the street and get very excited.”

Their solid fanbase have since watched the group go on to support The Rubens on a national tour. Jordan cites this tour and their EPs as highlights, as well as selling out the Oxford Art Factory. “To do a headline show there in front of 500 people was friggin’ awesome.”

The next step will be the debut album. “The plan is to get straight into the studio in March and April and be ready for release in maybe August or September. We’ve just been writing so when we get into the studio we’re ready to go.” The upcoming tour is a chance for the group to trial some of the possible songs for the album. “It’s a fresh sound for us and we’re keen to give them a go. We’re gonna try and play as many old ones as we can too, ‘cos the temptation is to just play all new songs because we like playing them so much.”

We’re always one upping ourselves a little bit

Adding to the possibilities for the album is the decision to add a third member for this tour. James met Josh in England and then, “ten years later we discovered we lived around the corner from one another and were both in bands. He’s an awesome cello slash keys player and we needed some cello and keys, so it made sense to bring him along for the tour.” As well as expanding their live sound, it has created song writing options. “Normally we’re writing songs thinking about how we’re going to manage to get that sound live, whereas now we’ve got it.”

More exciting than the evolving success of Winterbourne is their musical development. Their diverse sound has always made me curious about their influences. “When we met we were heavily into rock and listening to AC/DC, The Living End and Green Day. Then we started listening to the classics like The Beatles and Simon & Garfunkel. Stereophonics from the UK are a big influence and Hey Rosetta have a sound that we’d like to have. We mix and match from all different places.” Be part of the evolution and check out their new stuff at The Front. “We love playing The Front, it has such a cool vibe.”

Winterbourne play The Front in Lyneham on Thursday February 9 from 8pm.

Tickets are $23.50 through Oztix.

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NO MERCY FOR THE BULLIES SHARONA LIN JACK COLWELL does not like to be pigeonholed. I find this out when I ask him about the Australian pop scene. “I wouldn’t say that I’m a pop musician – when I think of Australian pop music, I think of someone like Kylie Snow, or even ELKI or Asta.” So exactly what kind of musician is he? “I don’t think I have a particular genre I’d like to represent. I would say that I’m a solo artist and I like writing songs that appeal to me, and I think that it can be limiting to just write in a certain style.” Wary of locking himself into a certain genre or style, Colwell embraces an eclectic mix of influences, including PJ Harvey, Björk and Tori Amos – artists who for the most part, defy categorisation.

His mini-tour in support of new single ‘Seek the Wild’ features artists from ELKI to Hoodlum Shouts to Oranges. After a national tour in 2016, the three-date mini-tour is just a quick spin around the southeastern capital cities, just a taste of Jack Colwell – “something I can manage,” he says. The tour will hit Melbourne (with Hoodlum Shouts and Warplane), Sydney (with ELKI and Okin n’t] are gs son ese [Th Osan) and Canberra shown back to the (with Julia Johnson m the perpetrator for and Oranges). And he n ow ir the at to look has hopes for another actions national tour in 2017.

Colwell also recently released charity single ‘No Mercy’, a rallying cry against homophobia in the wake of the death of Queensland teenager Tyrone Unsworth, who committed suicide after being bullied for his sexuality. “Around that time, there were a lot of inflammatory comments directed at Safe Schools and at the queer community,” Colwell explains. These events made him reflect back on his personal experiences with homophobia, bullying and his sexuality. “It’s for everyone across the queer spectrum, and maybe not just in the queer spectrum, but in minorities that have a challenging time coming to terms with who they are, or the things that they have to overcome.”

“The song is about pointing the finger the other way, because in a lot of these songs, we’re made out to be victims because of who we are, and it isn’t shown back to the perpetrator for them to look at their own actions. ‘No Mercy’ is pointing the finger back at the bullies and trying to make them question their own actions.” Proceeds from the song go to QLife, a national telephone and web counselling service for LGBTQI people, families and friends. The political nature of the song might not please everyone, but Colwell isn’t concerned with that. “I’d say music is less political now than it used to be … it was most political in the ‘70s or ‘90s, with people like Patti Smith or Fiona Apple. I feel like a lot of people make music that is pleasing, they want to please people, and that is the sole purpose of a lot of music – especially Australian music.”

Jack Colwell comes to Gorman Arts Centre on Saturday January 28 at 7pm.

Oranges and Julia Johnson in support. Tickets are $15 + bf via agac.com.au.

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THE REALNESS What up Canberra? Welcome to 2017! What is there to say about 2016? Yeah sure, some famous people died and Trump got elected and Brexit and all that … The world changes, people die. It’s a harsh and at times sad reality but it’s the truth. Talking all this ‘woe is us’ chat just takes away from recognising the good shit that happened in 2016. And good shit there was.

If you’re a hip-hop fan in the Capital in 2016 you were (and most likely still are) lucky enough to be a part of one of the freshest, original and tight-knit hip-hop scenes in the country. In 2016 you would have seen some of the sweatiest, most rowdy and generally bangin’ hip-hop sets from Canberrans for Canberrans you’ll probably ever see and you probably never paid more than 15 bucks to do so.

And in 2016 you got the opportunity to catch proper icons like Vince Staples, Danny Brown, Black Milk and House Shoes without even leaving town. So yeah, 2016 was a good year. A great year, even. And now we get to start fresh and do it all again in 2017.

If you need proof of just how big CBR hip-hop is getting, just know that Genesis Owusu has absolutely cemented his reputation as one of CBR’s finest exports. Owusu is clearly on the positive vibe train into 2017 as he’s just been nominated as Triple J’s Unearthed artist for the Sydney leg of Laneway Festival on Saturday February 4. This is one you will have to leave town for but tix are still available, so cop for your chance to see Owusu rep in the big smoke alongside A.B. Original, Clams Casino, Mick Jenkins, Sampa the Great and Young Thug.

Dozo Domo is also coming in hot in the New Year as a regular hip hop event for 2017 at Akiba on Sunday arvos. The first instalment has already past us, but if their first line-up, featuring the likes of Donut$, p a r k s, Swift Taylor and Jedbrii is anything to go by, this one will be around for a while.

Sticking with the freshness, stalwart of the CBR scene Indighost is basically straight up promising his ILLumiNATION album is gonna be hitting the airwaves sometime early this year. Indighost has been doing his bit for a minute now so I can’t wait to see how this one turns out. Finally, big name Ty Dolla $ign is swingin’ through ANU Bar on Wednesday January 25 in support of new album The Campaign. Given the date there’s plenty of opportunity to get messed up and not have to worry about the consequences the next day. Tickets are likely to run on this one so don’t sleep and hit up Moshtix early.

BRADY MCMULLEN realness.bma@gmail.com

THAT’S A SPICY BURRITO! NONI DOLL

BOOTLEG RASCAL are easily one of Australia’s most genre-defying bands, and drummer Jack Gray is pretty excited about getting back to the capital and play at one of their favourite local venues – they’re gearing up for a big one. “We’ve played [at Transit Bar] a few times no w… and I think the last one sold out, which was unreal. I’m pretty sure it was on a weeknight as well! We try and stop off whenever we can or if we’re passing by, we usually stop in,” he says.

When you look at the size of the tour they’re doing, crossing state lines all across the country, it’s easy to feel lucky that they’ve been able to squeeze us in. “We’re doing about 11 shows over 3 weeks, which is pretty hectic. There’s a few other artists like Gold Member and Lyall Moloney who are also jumping on the back of the tour.

We did another one of these last summer, and it was unreal,” Gray recalls. “It was basically just a group of mates touring around, throwing parties all over Australia. We just want everyone to come, see some live music, and generally a few of the members of each band will do a DJ set afterwards to keep it kicking on ‘til the early hours of the morning.”

If someone from Zambrero reads this, could you please increase your hot sauce range?

One of the things Bootleg Rascal are known for is their refusal to fit into a box musically. What makes them so rebellious in an industry fuelled by strict radio music formats? “It’s kind of a mix of stuff. I think it’s because individually we all listen to so much music that’s not all the same. I like a lot of slower stuff, like trip hop. And of course, we love a lot of old school stuff like Snoop Dogg … but yeah, we listen to so much different music and I think that’s the main thing that pushes through,” Gray suggests. “There’s a Bootleg style somewhere buried in it, but for the most part it’s a pretty good mix of stuff … I think Carlos’ voice is very defiant and sounds its own, so if anything you’ll hear Carlos’ voice and kind of put it into place for you.”

Given that the band describe themselves as “burrito-slingin’ dub monsters”, it seems right to get their opinion on one particular Braddon original. “That’s tough, because Zambrero don’t have a great selection of hot sauce. That’s my one thing,” Gray says seriously. “Other than that, I think they’re very fresh. If someone from Zambrero reads this, could you please increase your hot sauce range?”

Bootleg Rascal will be playing at Transit Bar as part of Sureshaker’s ‘Shake ‘N’ Bake 2017’ Tour on Friday January 20 with Gold Member and Lyall Moloney from 8pm. Tickets are $15 + bf through Moshtix.

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DANCE THE DROP

This has been one of those summers where it feels both insanely busy and completely chill at the same time. A seemingly endless list of parties in clubs, houses and outdoors. And with those relaxed times and warm weather, everyone is always up for a kick-on.

However, beware young clubber – the perfect kick-on is a dark art, with decisions that must be juggled with a heap of tiny factors that may change what had once been an awesome night into a chore.

Invariably there will be some point in the night after the headlining act when there’s a cry of ‘all back to mine’. Sometimes it won’t be until the final DJ has dropped their very last track and a crowd is milling about outside scabbing cigarettes from each other. In some ways, this is the fodder for the best kick-on, with the energy of the club fuelling the need to keep partying.

The first rule is to have someone’s place who’s both got a way to continue the tunage (a DJ’s house with decent decks is the preferred option), and is also happy to have their mates, their mate’s mates, and other assorted randoms to still be hanging out in the loungeroom or backyard discussing the finer points of rolling a spliff or proposing unrealistic political solutions until well into the morning (or afternoon and next evening). A cranky person who was happy to be best mates with everyone on the dancefloor but wants to be in bed when the sun comes up is not the best option.

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The next rule is making the decision of whether it’s worth it. Sure, you’re having fun now and you’re still buzzed, but will you feel that way in an hour after an awkward taxi ride? Do you have the stamina to keep partying, and is the after-hours location close enough to your side of town if you need to bail?

Finally, there’s a point where you need to leave. If you’re falling asleep and the cute girl/guy you were talking to has gone home and you’re considering spending the last of your cash to just stay up for another few hours … maybe it’s time to call it quits. On the other hand, if the sun is well and truly up and your best mate has just rocked up with another case of cold cheap lager from First Choice, then by all means, the day is yours!

Literal underground bar Suke Suke is starting something new this weekend, following the tech house and disco trend (and what a great sound that is!) with a new night on Saturday January 21, with help from Sydney crew OWT. Canberra’s Double Agent and Gate Five are bringing the vibes. Meanwhile, Mr Wolf has a massive booking with Germany’s Kolsch performing some melodic techno that night – I’ve heard good things from the Sydney show, hopefully it’s the same for Canberra! Drum and bass crew Headz are Rolling have cooked something up for Saturday January 28 at Transit Bar, with Sydney selectors Dauntless and Fuj. DJ Thera will be spinning a careerspanning classics set at Hard Envy at Cube on Friday February 3, while on Saturday February 4 new techno night Beat Repeat is back at La De Da. The last one was a ripper, so give these guys your support. Finally later in February on Friday the 17th, my crew Department of Late Nights is teaming up with Sydney clubnight Spice for a warehouse party, headlined by Robbie Lowe and Murat Kilic – tickets available at Resident Advisor.

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

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I

I

HAYDEN FRITZLAFF James Hunt is calling from a department store in Sydney during a rare week off from touring with his chart-topping indie dance trio, RÜFÜS. “This is my first foray into the Christmas shopping for this year,” he says. “I haven’t got a game plan yet. I’m kind of vaguely walking around David Jones looking at things. Really, I’ve got to go home and do some research then come in and smash it out.” Going home is something he and his bandmates have done sparingly over the past eighteen months, a period that’s seen them touring Australia, Europe and the U.S. (three times no less), off the back of their sophomore album, Bloom.

Fuck

going to the U.S., maybe California. But the details have to be figured out. That’s kind of our general vague plan at this point.”

Hunt, along with bandmates Tyrone Lindqvist and Jon George still have a string of tour dates to get through before they can return to the studio proper. A regional tour, in the works since the early days of the Bloom promotional cycle, is finally coming around, and it’ll see the band hitting venues in places that don’t often get to experience Rüfüs live.

“We’re gong to bring the full production, the full live show,” says Hunt. “We’re doing places like Cairns where the venue size means we’re going to be cramming a lot of gear into a small space. There’s a cool kind of excitement about that. Like Canberra has always been fun. Our second or third ever live show was at – what was it called – this really small club where we crammed all our gear on the stage. There are people in Canberra who’ve come to every single show we’ve done down there. It’ll be nice to bring it back for them.”

structural decisions, let’s just let it happen naturally

“While you’re playing shows every night, you do get a bit accustomed to it,” says Hunt. “It becomes more normal for you, the craziness of what’s happening. The reaction on peoples face and watching them is still amazing, but you adapt to it in a sense. Having a week away, I’ve been reflecting on the last few years. You go ‘holy shit, this is so surreal’, this is a really crazy thing to be doing, to have this kind of effect on people.

And you see it, in the shows, people crying during ‘Innerbloom’, such emotional reactions, it’s pretty ridiculous really.”

‘Innerbloom’, is Bloom’s epic nine-minute closer. It’s a sprawling sonic adventure for Rüfüs, who are usually accustomed to pumping out more radio-friendly material. For the band, the song has taken on a life of its own. “We kind of just went ‘fuck structural decisions, let’s just let it happen naturally’,” says Hunt when I ask him how the band found the freedom to let themselves stretch out on a song like that. “It was a kind of cool experiment. Seeing the results has been really inspiring for all of us.”

If their track record in the studio is anything to go by, more sonic experiments are on the way for LP number three. It seems that, just like Hunt’s approach to Christmas shopping, the writing process is all about absorbing ideas over time, then coming up with a game plan to channel them into something new. “To begin with it’s just listening, just absorbing, being open,” he says. “The next step would be us discussing what we like, this new record we heard, why we love the drum programming in it, or why we like the feel of it or the structure of the songs are inspiring or whatever.”

It’s refreshing to see big acts like Rüfüs (and Boy & Bear in 2016) taking their shows into smaller cities. Coming off the back of five ARIA nods, Rüfüs would have had every excuse to skip over Canberra. “It’s pretty crazy thinking that,” says Hunt. “Because when we’re in that zone discussing what we want to do musically we’re not discussing any accolades or anything, so that kind of just comes from left-field and you’re like ‘oh, sick, that’s pretty cool’.”

But for a week at least, Rüfüs are taking some time to recuperate ahead of another jam-packed year of touring. “We work pretty hard,” says Hunt. “We don’t want to go overly indulgent with holiday time. But now I’m back in a space where I’m discovering a lot of new music again. It’s really important I think to refresh, refresh your inspiration, not work yourself to the bone. I haven’t just been listening to the same old stuff I have in my library. I think that’s kind of the first step, going out and getting some different vibes, seeing where you’re at.”

Rüfüs are hitting UC Refectory on Friday February 17. Tickets are $61.20 + bf through Oztix.

“With recording, we like to put ourselves out of our comfort zone a little bit. For Bloom we went to Berlin for about six months and kind of took in the musical influences of that place, threw ourselves in the deep end. For the next one we are thinking of

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METALISE Happy n’yeah folks! Hope you had a good festival period and saw the celebrity rapture that was 2016 out in style. The new music of 2017 is already underway, including offerings from 3/4 locals (the other 1/4 being a Melbournite) Mental Cavity. Their eight song self-titled EP had a track featured on Triple J’s first edition of The Racket for the year. The band is three members of I Exist plus long-time local contributor Rohan Todd on guitar, and the EP shows off a batch of short sharp blends of early 90’s death metal, doom, sludge and a hardcore edge, and is well worth a visit to Bandcamp for a sus.

If by “hardcore” you thought I meant breakdowns and feelings, well, not that sorta “hardcore”. For those seeking something in that more modern appropriation of the genre, then the ANU Bar on Saturday January 28 will feature all the breakdowns and feelings you can muster. Queensland, Australia’s ravenously successful The Amity Affliction are coming and bringing Hellions and Ocean Grove.

On Friday January 27, head to the Basement for full tilt brutal and a four-band bill with Flaming Wreckage headlining with Temtris, Renegade Peacock and Cannibalistic Humanoid Underground Dwellers, or CHUD kicking off with their own brand of uber brute.

If you’re looking for some slower tempos and a more straight up headbang, then the Transit Bar is your venue. Friday January 27 is the return home show for Witchskull, playing in support of stunning Victorian outfits Holy Serpent. The Skull will be fresh from doing some last minute overdubs from their session in New York with Billy Anderson late last year at Goatsound Studios and beginning to mix the new material in earnest. The Serpent will no doubt be playing material from their stunning 2016 album Temples, which, if you’ve not yet heard, then you have some homework to do prior to the show. Spoiler: it’s amazeballs.

WITHERING, GROWING DAVID WIECHNIK

After bursting onto the music scene in early 2015 with their first single, ‘Speak in Tongues’, Sydney melodic metalcore band LIKE ROYALS are set to embark on their biggest tour yet. The tour will not only flaunt their new single ‘Wither Away’, a gritty and personal song that confronts the battle between addiction and sobriety, but also continue to take the band’s sound in a new direction.

“When we released our first EP [2015’s To Whom It May Concern] we had six songs that were each representative of different subgenres in metal,” lead singer Landon Kirk said. “We didn’t know what direction we wanted to take our sound in, and even coming out of that experience, we were still undecided, but I think we’re getting to where we can find our true sound and pick up some new fans along the way.”

‘Wither Away’ touches on the personal experiences of Kirk (who wrote the lyrics), as he has previously faced his own demons with addiction. “All of my lyrics are usually about something that’s personal and real to me,” he said. “This is something a lot people can relate to as well, since addiction can affect anyone.”

The local extravaganza that is Shananigans Entertainment, are celebrating a decade of decibels with two nights of shows on Fri– Sat February 17–18 respectively. There are a bunch of old mates reforming for the occasion too.

After getting sober last year, Kirk felt he was in the right mental state to confront his former demons through his music and had a new perspective on how his problems had been affecting every aspect of his life before his moment of clarity. “When you’re in deep with alcohol and drugs, you don’t realise they only temporarily mend things,” he admitted. “I had to step back and say that, ‘this isn’t real life’ so, I decided to write a song that touches base with people who still struggle with their problems every day.”

The Friday night lineup is fittingly headed up by Frankenbok, who I reckon must have featured at least once annually for every 10 years of Shenanigans Bills, abled and abetted by House of Thumbs, The Vee Bees, Law of The Tongue (DD pulling a double shift), Johnny Roadkill, Na Maza, Knights of The Spatchcock, Variodivers, Tundrel, Noveaux, Kid Presentable, Wesley and the Crushers and Idiot Dog Brain kicking off.

Since playing a gig with Brave Today a few months ago at the Highway Bar in Sydney, Kirk said his band were interested in hitting the road with their new mates, but nothing was ever planned out.

“Everything just kind of evolved,” he said when asked about how the tour was put together. “They were so good when we played with them a few months ago, so we’re super stoked to get on the road with those boys … It’s going to be awesome.”

The Saturday is headed up with the reformation of iNsuRge with Witchgrinder, Red Bee, Penguin, Rick Dangerous and the Silkie Bantams, Spoil, Renegade Peacock, I Am Duckeye, Hence The Testbed, Prodigy tribute Fat Jilted Experience, System Addict, Brother Be, Leisure Suit Lenny and Johnathan Devoy. Huge!

As for what the future holds in store for Like Royals, Kirk revealed the band has eight songs in pre-production at present, with more in the works. “Our plan is to keep writing and release another EP this year,” he revealed. “We’re going to write a bunch more songs then sit down and pick the best six out of the lot and see what are have.

We’re very excited.”

Also amazeballs is the lineup for two stellar events over three nights of various metal flavours, coming up in one week in February at the Basement. Wednesday February 15 is the Thrash, Blast & Grind Festival which I will cover in more detail next issue. It’s a huge touring festival organised by Young from King Parrot, who bring Psycroptic, Revocation, Whoretopsy and Black Rheno on the Canberra leg of the madness.

See you at the bar, then the pit, respectively.

JOSH NIXON doomtildeath@hotmail.com

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When you’re in deep with alcohol and drugs, you don’t realise they only temporarily mend things

Like Royals will play The Basement on Saturday January 28 at 8pm. Supported

by Brave Today, Lions of the Underground and Whitefall. Entry is $15.

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THRASH ‘EM,

BLAST ‘EM,

GR IND ‘EM

CARRIE GIBSON

Now, not a band known to ever slow down – take us through 2017’s Thrash, Blast & Grind Fest. I understand this was a brain child between yourself and Dave Haley [Psycroptic]. “Yes, Dave and I are always talking about something and knowing that we hadn’t toured together since 2013. Recently when both bands were in North America we played together and had a great time catching up. We knew we wanted to do something more together. Adding some great bands into the mix such as America’s Revocation and Australia’s Whoretopsy and Black Rheno, the lineup has a lot of diversity within the ‘Extreme’ realm, we’re looking forward to playing an do we s The reason awesome tour. You don’t always get y ver are rs these tou to tour with great friends.”

The smell of salt was in the air – not 100% sure if it was the coastal breeze or the King Parrot moshpit, however the evercharming Matt Young of Melbourne’s KING PARROT and I took some time to chat last December, regaling the antics of the band’s last European tour with Prong, Obituary and Exodus, titled, The Battle of the Bays. The experience, the crowds and of course the antics on the bus … “Sometimes it got out of control and shit got a little stupid, but I turn a bit of a blind eye unless it is so stupid I have to intervene,” he laughs.

King Parrot are back in the country after this extensive European tour. Hundreds of stories I’m sure have now been born, however what were some of the highlights real and very true, Knowing that Australia is now for you? “I guess the whole thing was it’s not about making without an annual festival – how a bit of a highlight,” Matt starts, “Being money vital are these types of tours to the able to tour with bands that we look up to Australian heavy metal landscape? and have seen playing and building their “Very important. The reasons we do these tours are very real and careers for the last thirty years was definitely an opportunity very true, it’s not about making money – it’s just about having for us being thrown into the mix.” Being on the road with such great experiences and putting on a great show for the crowds. prestigious bands in territory the Aussie outfit had yet to tame, We’ll see how the first one goes and see if it works.”

Matt admits that it was all a bit surreal – “We played in places like Romania and Hungary and I had to kick myself at points and ask ‘Wow, are we really playing in fucking Romania?’” he exclaims.

“When we started doing this band we had no intention of doing anything like that and the opportunity to play in these places with bands such as these was incredible.” The Eastern European crowds really took to the music on display during the band’s tour, and are described by Matt as incredibly passionate and energetic. “Some places in Western Europe, the crowds are really ‘stand-offish’.

That kind of makes it difficult to feed off the crowd. Like one night in Munich for example, we played and fuck it pissed me off! The crowd just stood there, arms folded. I love the people of Germany but their audience participation leaves a lot to be desired,” he laughs.

The European tour was called The Battle of the Bays, which was a very cool title, yet the only battle injury we saw was Slatts’ and his giant kiss of death on the side of his body … “Probably one of the times I should have intervened,” Matt admits with a chuckle. “We posted a video of this stage dive on our Instagram. It was fucking pathetic, worst stage dive I’ve ever seen. He just went straight into the barrier at full force and ate a whole lot of shit. The bruise is pretty horrific.”

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King Parrot had an absolute stellar 2016, had the band hit any milestones last year? “We’ve toured Europe a lot and I think that was something that eluded us earlier in our career as we were spending a lot more time in North America – it was our goal to play Europe more. 2016 was a huge accomplishment, playing with bands such as Soulfly and Obituary and Exodus, which was a great opportunity to get the band established over there and build a fan base.” It was noted by Matt that it has taken a huge amount of work to build a fan base over the other side of the world; it takes more than a couple of tours to earn your stripes. However now seeing the growth for King Parrot abroad, the band are extremely excited for 2017.

King Parrot come to Canberra for the Thrash, Blast & Grind Festival Tour on Wednesday February 15. It’s at The Basement and starts at 7pm. The line-up also includes Psycroptic, Revocation, Whoretopsy and Black Rheno.

Tickets are $38.80 via Oztix.

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Hello my devoted readers (all four of you), it’s so good to be back in 2017. We shouted out some absolute bangers last year, and saw the formation of some incredible local acts. This year the Canberra music scene is going to absolutely kill it. But that’s enough autofellatio for now (just kidding, I can’t get enough), so let’s dive into some choice gigs happening through January and February.

Starting the rounds at Transit Bar – on Saturday January 21 they’ll be hosting The Feldons, Wesley & The Crushers, The Postmasters and Michael Misa. The Feldons will be serving up some tasty morsels of mod/Britpop – a little odd considering they’re local – while Wesley & The Crushers describe themselves as funky space rock. Who could resist that? On Thursday February 9, you’ll find Aussie music veteran Jimmy Kyle, a.k.a. Chasing Ghosts. The alt punk rock frontman has played hundreds of shows around the country – and the world – and will be supported on the night by Sydney grunge act The Dead Love.

And on Thursday February 16, you’ll find DRI, Wolfpack, Vee Bees and Kid Presentable. Punk. Hardcore. ANGRY. Speaking of angry – for those of you wanting to relive your painful teenage years, The Amity Affliction are hitting up ANU Bar on Saturday January 28, on a regional tour to celebrate the release of This Could Be Heartbreak.

Up north side, Telephones for Eyes (ambient, bluesy rock), Sally Chicane (alt rock, but super versatile), Organic Mechanic (reminiscent of old school hard rock) and Bleach It Clean (grunge, punk and dank) are hitting up The Basement on Friday January 20.

On Thursday January 26, The Basement is also hosting official very cool dudes The Front Bottoms, who are visiting our humble little city all the way from New Jersey. The indie punk rockers are known for putting on energetic, immersive shows; if you’re looking for a good time, check them out (or call me).

But don’t tire yourself out, because just two days later, Saturday January 28 is carnage in Canberra. It’s Saralisse versus Beast Impalor and Triple Kill versus Stone Sovereign in a fight to the (metaphorical) death. Yeah, ok, maybe this isn’t strictly ‘punk’ (is anything I write about?), but Saralisse describe themselves as Wollongong based fantasy/folk metal – and isn’t that something we all want to see?

And all the way from New Orleans, on February 3 James Southwell Band featuring Charlie Wooton will be filling The Basement with their funk and blues infused rock and roll. Their new album The Dockside Sessions (Where The Wind Blows) was recorded at the famous Dockside Studio in Maurice, Louisiana. Sounds like a pretty sweet gig, especially if you’re someone’s dad.

Forgive the brief explanations, but it’s a new year and there are many, many upcoming gigs that deserve a shout out. And let’s face it, if my column were longer than 500 words, you probably wouldn’t read it. Shit, I probably wouldn’t read it. I’m a columnist, not bloody Victor Hugo.

Until next month. \nn/ ELEANOR HORN e.trs.horn@gmail.com

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WHAT’S THE PLAN, FELLAS JARROD MCGRATH Those lucky enough to have caught New Jersey’s THE FRONT BOTTOMS in Canberra when they supported The Smith Street Band, know how much their live show rocks. Those who missed out now get a second chance when they bring their headline show to us this Australia Day. Singer/guitarist Brian Sella revealed some of the party plot to me, highlighting along the way why the band keep reaching new heights in their career.

“It was pretty wild. The Smithies took us to Perth last time but there are a few cities we haven’t been to on this tour, so we’re just trying to take it all in.” Hitting every capital city except Darwin, the group are keen to experience more of Oz. “It will be summer for you guys so I wanna do some cliff jumping and go swimming. We’re definitely going to do a couple of shoeys.” Canberra is lucky enough to have them here on Australia Day. “Our tour manager told us about Australia Day and that it’s gonna be a wild party so that is cool.”

Their most recent album Back on Top saw the group reach new heights in their recording history. “The whole reason that album came out sounding a little more poppy is ‘cos we got signed to Fueled By Ramen and we had already written the album, so we were like, let’s just try and take some time to record it.

We went out to LA and spent some time in a studio out there, which was amazing and definitely an experience that I’d never thought I’d get to have; making an album with a major label. I was just trying to make it sound the way that I thought that album should sound, those songs and that point of my life. That’s kind of the reason. It wasn’t thought out too much,” Shella says. “I’m trying to build a catalogue as an artist. I’m trying to have a couple of awesome albums that sound different from each other, that come together and make a nice little catalogue.”

We’re big into the raffles dude; we’ll raffle off some underpants or something like that

Having started themselves as a two-piece, I was curious about their part in the decision for The Hard Aches to support the tour. “The label in Australia sent us a bunch of bands and were like these are cool bands, and then The Smithies sent us a bunch of bands – and they’ve got their ear to the ground and know cool stuff. The Hard Aches were on both of those lists. Then we asked The Smithies ‘how are they, you know, are they cool’, and they gave us the OK. It’ll be nice to go to a new place and make new friends.” Besides the awesome music, we may be lucky enough to experience a Front Bottoms raffle similar to a recent show in London where one fan scored a guitar. “That kid who won that guitar; he paid five bucks for like a Les Paul Gibson guitar and then we took all that money and gave it to a refuge that needed it. That’s like a win-win for everyone, so we’re gonna definitely do some stuff like that over there.”

The Front Bottoms come to The Basement on Thursday January 26 at 8pm.

Support from The Hard Aches. Tickets are $49.50 + bf via Oztix.

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There will be a mix of the classics that everyone loves and a good smash of Chrome

JETS STILL FIRING JARROD MCGRATH For a lot of us, THE STREAMING JETS are that 90’s band known for classic songs such as ‘Better’, ‘Helping Hand’ and their cover of Nick Cave’s ‘Shivers’. But don’t then go thinking that this upcoming tour will just be a nostalgic rendition of these past classics performed by aging musicians in a quest to top up their bank balances. The group will in fact be promoting their excellent 2016 release Chrome. The album has some solid riffs and hard rock amongst a couple of ballads, demonstrating the Jets are still fine purveyors of Aussie rock.

no difference. If you’re a real fan of rock it doesn’t matter where they come from.” When asked his favourite place to play Paul was diplomatic, advising he liked all the shows and with a laugh added, “When was the last time we played Canberra?” I was actually curious to know this, and in particular the venue, as I’m sure it would have been somewhere quite different to The Basement where they will this time around. Testament to the hard touring the group have been doing, with a laugh Paul’s response was, “ah mate you’re pushing it,” and he could only remember that it was about a year ago. It’s great to see The Basement getting a variety of shows and this one promises to be another great night.

The Screaming Jet bring the Chromozone tour to The Basement on Saturday February 4 at 8pm. Tickets are $45.90 through Oztix.

After discussing how our Christmas preparations were going, I investigated the songwriting process for Chrome with guitarist Paul Woseen. “Dave and I decided we wanted to make a new record and Dave said, you write it and I’ll sing it. A couple of songs I’d had sitting there for a while but the majority were done a couple of months before we went into the studio.” As it had been eight years between albums I thought there may have been more to the process, but Paul explained how the songwriting was very similar to previous albums.

“I play the songs for the boys on acoustic and just get feedback and see which ones they like. If everyone didn’t say, ‘yeah that’s worth working on,’ then it got tossed.” With that long a gap between albums and some heavier riffs than I remembered the Jets for, I also thought Paul may have had time to draw inspiration from certain artists, but he explained that he tries “to avoid that so I don’t pinch shit.” This certainly paid off for the group with Chrome making the top 30 of the ARIA charts.

The group is now up to its third tour for Chrome, which was released in May last year. They certainly prove they are a hardworking band, taking their show to a large portion of our country. As far as playing in so many different towns, Paul explained that, “Everyone gets into it.

There may be a bit more rum drinking in the country but apart from that there’s

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PLANET OF SOUND Planet of Sound is our column celebrating the wide history of music, our favourite musicians, genres, movements, bands and artists, and how they have impacted our lives. In this month’s entry, resident BMA writer Dan Bigna does away with a depressing 2016 and attempts to rediscover joy through music.

By all reasonable standards the general consensus, at least according to the people I’ve spoken to, is that 2016 was a pretty shit year. In part because we lost major recording artists like David Bowie, Leonard Cohen and Prince. I’ve also noticed that that girl who once brightened up my day busking Pixies songs down at Cooleman Court is no longer around and last year things went way off the rails politically (Donald Trump, Pauline Hanson and a bunch of other horribleness).

So, I’ve made the decision to make 2017 a tad more positive, based on my desire for good quality locally produced beer, better relations with the female species and the ongoing need for good quality music, whether intimate folk or extreme guitar noise.

Things got off to a so-so start last week when I made a regular trip into Big W looking for band t-shirts that I guiltily accept were most likely produced in some slave factory, but that I nevertheless need as suitable summer attire if we are talking about rock music classics like The Clash, Sex Pistols or the aforementioned David Bowie. A Big W sales assistant asked, while I was checking out Iron Maiden t-shirts, if I required some help and then casually wondered whether the Clash t-shirt I was wearing represented some kind of fake desire to be cool or did I actually like the band. I responded in deadpan voice that I was quite keen on the 1979 London Calling album and this is why I was wearing the t-shirt. I didn’t mention that even though I enjoyed wearing clothing purchased at a low, low price, I wondered what Clash vocalist Joe Strummer would have thought about its slave factory origins.

All their songs put a spring in my step and almost make me love the world

But this column is supposed to be about all things positive for the new year and a lot of that is connected to cultural activity that brings pleasure. My situation immediately improved when The Rolling Stones in Mono box set turned up on my doorstep. I have followed the written arguments supplemented with close listening and concluded that records in mono do actually sound wonderful (something which the likes of Phil Spector and Brian Wilson had brought to my attention some time ago, as well as those fantastic Beatles and Bob Dylan reissues). Consequently, I have been delving into the Rolling Stones set that includes all albums from the beginning through to the first two masterpieces Beggars Banquet and Let It Bleed. The title track of the latter sounds even raunchier in mono if that could be possible, and hard hitting sound aside, the rapid musical progression is also incredible considering that it took a few short years for the Stones to move

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from covering the cutesy Temptations song ‘My Girl’ to the sexual overload of ‘Stray Cat Blues’ – much happiness can be found right there.

A more innocent joy can be located in the ecstasy of pop music that pushes all the buttons. Each year, a lot of indie rock does the rounds – most of it instantly forgettable – but then there are superb bands from Denver, Colorado like Apples in Stereo who have not released an album since 2010 but I feel just that little bit better about the state of the world and my place in it whenever I listen to them. Taking inspiration from likely suspects The Beatles, Beach Boys and lesser known pop auters such as Emmit Rhodes, Apples in Stereo rejected the teen angst grunge vibe of the mid 1990s opting instead for a downright cheery disposition with the sunshine pop found on tasty albums Tone Soul Evolution and New Magnetic Wonder. The latter showcases breezy electropop without the need for the kind of overblown theatrics often accompanying the latest teen sensation trending on gossip websites. Apples in Stereo are way too cool for that bullshit because they focus on the songs rather than the image – and all their songs put a spring in my step and almost make me love the world.

‘Radiation’ is the standout track on New Magnetic Wonder because its infectious tune is tied to a joyous sentiment in the chorus as follows: “you gotta get back to the place you can believe in / you gotta get back to that place that you know you’re gonna see your friends again.” This song is a fine example of art washing away the crap and allowing for good vibes to shine through while making me feel a bit connected and, dare I say, almost sensual. Next time I’m engaged in some bedroom activities of the fun kind I will be sure to blast this song at full volume while thinking that as long as good art like this is around everything will turn out alright.

DAN BIGNA

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REOPENING THE

SONGBOOK: VANDA AND YOUNG ON MY MIND

RORY MCCARTNEY Songwriters Harry Vanda and George Young were members of Australian band The Easybeats, which made it big with the iconic feel good song ‘Friday on My Mind’. They went on to write songs for a range of artists and produced early albums for AC/DC including Dirty Deeds Done Dirt Cheap. Their honour roll incudes such great songs as ‘Falling in Love Again’, ‘Evie (Parts 1,2 & 3)’, ‘Hey St Peter’, ‘Down Among the Dead Men’, ‘Love Is In The Air’, ‘Pasadena’, ‘The Love Game’, ‘Standing In The Rain’, ‘I Hate The Music’ and ‘Yesterday’s Hero’.

ready for a split from Elmtree as they were moving away from the radio friendly songs he preferred. “The man told me to go to Alberts Studios the next day, where Napier-Bell sat behind the piano and started playing ‘Pasadena’. I could not believe this had happened to me.” By a fluke, Napier-Bell had been given the job by Alberts Studios of finding the right voice for ‘Pasadena’, which had been written by Vanda and Young.

Later on, JPY was in an enviable position, being able to window shop from the Vanda and Young catalogue. “The only problem was that I was such a fan that I found it very hard to say no to any of One of the leading beneficiaries of their material was their songs.” He was constantly impressed by their creativity. “If I JOHN PAUL YOUNG (JPY), who was a mainstay of the local pop had not been guided on how to sing ‘Love is in the Air’, it would not scene in the 1970’s and was best known for ‘Love is in the Air’. have been as big a hit, or maybe a hit at all.” There is a narrative Now he and his Allstar band are on the road with the VANDA AND component to the songbook show, with some slides too, and some YOUNG SONGBOOK tour. of the stories JPY relates may be surprises to longtime fans.

The idea for the show had been quietly burning away for years.

Working with Vanda and Young could be an unusual experience.

As JPY said, “It’s been sleeping in the back of our minds for a “They were so clever with their recording work that you never long, long time. It came to fruition because my keyboard player, knew if what you were playing was going to end up on the record.

Warren Morgan, was doing another album with another couple of They would go and tweak things and sometimes re-record things, Aztecs and Phil Manning from Chain, and so you were not 100 percent sure they were looking around for material.

If I had not been guided on how much of that track you did.”

Warren decided he would do a cover how to sing ‘Love is in the The set list will range widely over the of ‘Down Among the Dead Men’ and he Air’, it would not have been Vanda and Young material and will would sometimes play it during our sound as big a hit, or maybe a hit also include ‘Long Way to the Top’, checks. It gave me the idea that we should celebrating Vanda and Young’s link to at all do it as well.” the AC/DC albums because, “While From that one song, the idea developed as JPY was keen to revive they did not write the songs, George and Harry’s fingerprints are a lot of very good songs that people are not hearing any more. all over AC/DC, as the big guiding hand in those early days.”

As one of the most successful exponents of their writing, JPY is JPY fully appreciates the gifts he has been given by the talent of a natural choice to showcase Vanda and Young’s material. Also, Vanda and Young. “Every time I do the show I have this amazing there is certain symmetry to The Allstar Band playing the music. epiphany of looking at all the things these guys have done and I The band was not put together just for this tour, but has been the am so happy, so excited and so lucky to be a part of their success. support band for JPY since the early ‘80s, with some members It is such a testament to the hard work they put in to the early being involved since the start of his career. years in the ‘70s when they were in London, just hunkered down, JPY’s first song from the Vanda and Young stable was ‘Pasadena’, writing songs, doing sessions and even doing backing vocals on which came to him by sheer luck. He was playing with the band the Jesus Christ Superstar album, which became such a hit around Elmtree from Liverpool and another band they gigged with, called the world.”

Pyramid, had a song ‘Pasadena’, which JPY believed they had not John Paul Young and The Allstar Band cover the Vanda and Young recorded (they did but it was never released) and which he fell in Songbook at Canberra Playhouse at 8pm Saturday February 18. Tickets love with. “I was approached one night at the final gig at the old $89 + bf. See canberratheatrecentre.com.au for details.

Liverpool Town Hall by a man (Simon Napier-Bell) with a cigar in his mouth who asked, ‘would you like to make a record?’”. JPY was

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inspired rockers, coloured with gritty harmonica from a number of key collaborators and the penetrative percussive beat set by long-term member Rob Hirst. The album is notable for some revved up covers from the likes of Creedence Clearwater Revival, Cream and delta blues kingpin Robert Johnson.

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SWAMP STOMPIN’ BLUES DAN BIGNA BACKSLIDERS open their 14th album Heathen Songbook with rockin’ blues stomper ‘First World Eyes’, which clearly reveals the attuned social consciousness of vocalist/guitarist Dom Turner with its chorus refrain, “what’s a life worth in the third world these days?” This is not unusual for Turner, who has keenly expressed social justice issues alongside insightful personal observations across a lengthy career with Backsliders. Heathen Songbook overflows with delta blues

It’s I was interested to learn more social justice and about the choice of covers social injustice and asked Dom Turner about the inclusion of Johnson’s ‘Me and the Devil Blues’ and the rollicking swamp rock of John Fogerty’s ‘Run through the Jungle’ on the new album. “The band on the very first album primarily did versions of Robert Johnson songs,” Turner says.

“So in terms of a key influence on the band over 30 years, throughout its various changes and songwriting periods, there’s always been the music of Robert Johnson as well as the music from North Mississippi like Mississippi Fred McDowell. As for the ‘Run through the Jungle’ cover, our drummer Rob Hirst is a huge fan of Creedence Clearwater Revival and I’ve always loved the swampy feel of their songs.”

Backsliders consistently release albums every two or so years and Turner describes the process as ‘natural and organic’ when the time is right to meet up with main collaborator Hirst to record some songs.

In this respect, the songs on Heathen Songbook sound effortless, which is what one might expect from these two consummate songwriters and performers who draw upon the blues roots of the Mississippi delta that would go on to inspire primal electric exponents of the form like Junior Kimbrough and R.L. Burnside with whom Turner also shares an affinity.

But the various influences are carefully transformed by Backsliders into original creations tied to the Australian experience. In live performance, improvisation also plays a role in transforming the songs into something unique. “Improvisation is a huge part of the band’s sound, again drawing back to the music of North Mississippi and delta blues, the two most influential forms on the band,” Turner says. “These rely very heavily, particularly in live performance, on improvisation and how a song moves in time and structure that will then vary from night to night in a live performance situation, and that’s something that we draw upon in terms of creativity. We actually work up songs for new albums in improvisational sessions.” Those new songs will often convey keenly felt social issues. “It’s more about social justice and social injustice and that’s the approach that I personally take to lyrics. I have other narrative style approaches as well, at times drawing on my influences which are generally blues artists and my heroes from early blues periods and their lives. However, over the last 10 or so years, I’ve worked off an approach influenced by Leadbelly who in the last 10 years of his life used to read the newspaper each day and write songs based on what he’d read. There is something appealing about that approach.”

Backsliders will play at the Tuggeranong Arts Centre on Saturday February 4 at 7pm. Support from Alison Penney and Dave Blanken. Tickets are $45 via TryBooking.

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THE HOW AND WHY JARROD MCGRATH “BMA. Wow, it’s been a while.” BERNARD FANNING’s response to my introduction set the tone for the interview as he continually demonstrated his solid knowledge of the Australian music scene. His upcoming 2017 tour with Kasey Chambers is further testimony to his contribution to Australian music; he explained the relationship between the two artists.

it’s on national radio and you’ve got a song that people all over Australia know and like, and you’ve only ever played it at your local sports club to probably eight of your friends.”

Further Oz music knowledge was had when Bernard cleared up an interesting story from earlier in 2016 involving ‘a feud’ between himself and Jimmy Barnes. “He sent me a text when my album was about to come out saying congrats on your new record and just “Over the past 10 years we’ve ended up making quite a bit of saying g’day. He texted that to my old mobile number. So he sent music together. I played and sang as part of her band on one it to this other guy who replied and of her records and then she came and wrote, ‘who is this, what do you want? sang on my record.” Referring to Kasey’s You’d be assassinated If you do this again, this is the second Bittersweet record, Bernard explains how time you’ve done this, I’m going to he was a “General dogs’ body in her band”, if you did that to call the cops’,” he recalls. “In the end contributing guitar, piano, harmonica and nes Bar my Jim the story played out in the media vocals. Despite the various collaborations like I’d told Jimmy Barnes to fuck off, he says there had never been long term which is absolutely 100% not the case – we’re friends. He rang me plans to tour together. “I honestly can’t even remember how when he eventually got my number and said, do you mind if I put we got talking about it and how we organised it. It just made this online, and I was like yeah it’s hilarious. And then of course, sense. There is a lot of stuff that gets put together by agents the media being the media didn’t actually read what he had to say but this was more of a matter of ‘let’s just go on the road and see – they just made all these assumptions and tried to make it into a what happens’.” The tour will take in rural towns such as Albury fucking controversy.” and Orange and fortunately for us, Canberra. When discussing performing in such locations Bernard said, “That’s fun, I’m kind of Despite having only released Civil Dusk in 2016, Bernard has the excited about that.” follow-up, Brutal Dawn, almost finished. This will be the quickest succession between albums in his career and he explained that Having had a long career, I was curious about who Bernard there were “More stories to be told. Civil Dusk was about decisions admires. “Being a bit older, you’re more tempted to look at people and consequences and how they impact over long periods of time. who have come before you. I think you just collect more people Don’t get me wrong, I’m not trying to pretend that it’s high art that you look up to.” Having just played as part of the tribute to or anything, but it’s not a small concept, or something coverable Crowded House at the ARIAs, Bernard identified Neil Finn as an entirely within those ten songs.” influence. “Someone like that who has written really top quality pop and rock songs over three decades is certainly someone to The follow up will include some songs that were recorded for aspire to. That idea of not giving in and going, ‘fuck it I’m just Civil Dusk but didn’t make that record, as well as his continued going to write whatever I can get on the radio’. To try and keep the exploration of the theme. Whilst some reports anticipate the quality up and maintain the dedication to songwriting as a craft.” album to be available in February, Bernard advised that it will Even before being asked about new artists, Bernard added, “A probably be more like April. “I probably bullshitted in a few genuine mistake of some old codgers is that they don’t keep up interviews about it being ready in February.” Either way I imagine with what is going on.” He identified the Wilson Pickers as a new we will get a taste of some of it when he performs in February. artist he enjoys, as well as “Julia Jacklin, she’s a gun, she’s the best But don’t expect any vintage Powderfinger tunes. When I asked songwriter I’ve heard in ages.” about the worth of my Transfusion EP (“Mate I think they’re worth more like three or four hundred bucks now. Hang onto it, man.”), He had some great advice to new artists. “Get a band of people and if there was any chance of hearing ‘Reap What You Sow’, his around you that are prepared to have no money and sleep in the response was “Yeah two chances, none and fuck all.” same room and drive overnight, save on accommodation and just work really hard and play to as many people as possible,” he says.

Bernard Fanning and Kasey Chambers will be coming to Canberra “I think that’s what is missing from a lot of young artists now. What Theatre Centre on Tuesday February 21. Tickets are $92.15 + bf via happens in Australia is, you can make a good recording at home canberratheatrecentre.com.au. and then send it to Richard Kingsmill, he likes it and then suddenly

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

LOOKING THROUGH A GLASS ONION SHARONA LIN I told you about the fool on the hill I tell you man he living there still Well here’s another place you can be Listen to me JOHN WATERS was never a particularly huge JOHN LENNON fan. That might seem strange, considering his John Lennon show, THROUGH A GLASS ONION, is celebrating its 25th anniversary this year. But to hear him tell it, it all just sort of happened. All Waters wanted was to do a show, any show with music that he could take on the road. “I didn’t want something with all the bells and whistles, I wanted something that was more about communicating with an audience. So I thought, how could I do that, and what would be a good vehicle for that?” The only thing that came to mind was John Lennon.

“It was ‘92, so it had been twelve years since Lennon had died, and I thought: there hasn’t really been any shows written about him, maybe I could do something along the lines of Lennon and his songs and life.

And gradually the concept came to me.” He wrote and rehearsed the show in just six weeks and debuted it in Sydney; “It turned out to strike a chord with audiences, and it went on to bigger and better things.”

In the quarter century since, the show has changed somewhat, but the gist is the same: Waters sings and plays guitar, and Stewart D’Arietta accompanies him. The music is stripped back and songs are set in a monologue, delivered in a John Lennon voice – “I don’t dress like him though,” Waters adds. “I don’t wear the glasses.” Through a Glass Onion runs through Lennon’s life, including his mother and her death, his children, and of course, his assassination. “A lot of the time, the audience turns up expecting a happy clappy Beatles cover act, and that’s not what this is,” Waters says. “It’s much darker, and more theatrical, in terms of asking the audience to imagine things for themselves.” Audiences are constantly surprised, “a little puzzled,” particularly when the show begins with gunshots, at the moment of Lennon’s murder in 1980, three weeks after the release of what would be his final album (in conjunction with Yoko Ono), Double Fantasy.

Our life together is so precious together We have grown – we have grown Although our love is still special Let’s take a chance and fly away somewhere alone “His lyrics are very personal and taken from his real life,” Waters says, and that’s why the show works: “there’s a strong emotional content.”

Most recently, Waters has fleshed out the story of Lennon’s mother and the tragic way she died: “It really helps with the song ‘Julia’, from the White Album – it has a lot more emotional impact.

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When I cannot sing my heart I can only speak my mind, Julia Through a Glass Onion doesn’t shy away from depicting the darker, more controversial parts of Lennon’s life – he was a genius, but hardly a saint. Still, the show doesn’t cover everything – it is only an hour and a half long, after all. “There are always aspects I’ve neglected to detail in full: the relationship with his son Julian is one I don’t really deal with that much,” Waters explains. Julian had a combative relationship with his father – he has previously called John a “hypocrite” for promoting love and peace in the world, explaining to the Daily Telegraph, “He could never show it to the people who supposedly meant the most to him: his wife and son.” Sean, John’s son with Yoko Ono, was the preferred son, and Waters obliquely references these relationships in the monologue with the song ‘Beautiful Boy’, with his John Lennon character saying: “I know I’ve done it all wrong before.” “There’s a hint there that he was a neglectful father to Julian, which he was – that was the height of his fame, that was the height of his wanting to get on the road and do other things.” In fact, Cynthia and John were hidden from the public, the thinking at the time being that young female fans wouldn’t find a married star as attractive as a single, childless one.

Out on the ocean sailing away I can hardly wait To see you come of age But I guess we’ll both just have to be patient Through a Glass Onion started as an unlicensed show performed by “two guys from Australia,” so getting the show licensed by Yoko Ono and the Lennon estate was a major milestone for the show. “Having performed the show without any permission, we trod a fine line of: is it just two guys doing songs? In which case, you don’t really need it – or is it a show where the songs are an integral part of the show? The latter is actually true.” With licensing, Through a Glass Onion became a world show, “not just an Australian show.” After all these years, Waters doesn’t claim to have any special knowledge or expertise about the man: “I still don’t know everything about John Lennon. I’m just an actor and singer that does a show about him. I’m not an expert by any stretch of the imagination.” Despite that, Through a Glass Onion is still going strong, 25 years later.

Fixing a hole in the ocean Trying to make a dove-tail joint-yeah Looking through a glass onion Lennon: Through A Glass Onion comes to The Playhouse on Friday February 17. Tickets are $55 + bf via canberratheatrecentre.com.au.

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Frederick Blondy (piano) and Xavier Charles (clarinet) will be an exciting highlight at the festival, coming from a rich background in improvised music in Europe. “They explore the minimalist free improvisational sound world of delicacy and timbre to bring an astounding quality of performance to the festival,” Johnson said.

“Along with them we have Norwegian bassist Christian Meaas Svendsen, whose solo work is brilliant. The astounding Mia Zabelka and Irene Kepl from Austria on violins, the ever-creative Radio Cegeste on electronics from New Zealand, and the home-grown Psithurism saxophone trio are a must hear and see, to name just a few.”

SOUNDOUT, ONE, TWO… KAROLINA FIRMAN

Photo by Peter Gunnushkin

SOUNDOUT is an international festival of free improvisation, free jazz and experimental music. 2017 marks the eighth year of the festival, and the eighth year of celebrating a range of musical styles and expressions. BMA recently spoke to Richard Johnson, the director of SoundOut, about the festival’s plans and goals for its 2017 event.

“The annual SoundOut Festival is special in so many ways, but the thing that stands out is the opportunity for audiences in this southeast region of Australia and the ACT to hear some of the best musicians in the field of free improvisation, from around the world and Australia,” Johnson said. “It provides a window into the zeitgeist of what is happening in these music [scenes]. There is no other festival like it – some may come close, but SoundOut is unique.”

The festival also has a great line-up of artists from around the world. The French trio, RHRR, of Guylaine Cosseron (vocals),

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For those that are new to this kind of festival, Johnson advises that the best way to start is “to come along to the festival and experience the music up close and personal, as it is the experiential side to music that is the most visceral. I would also suggest searching the web for free improvisation and free jazz, as this will provide a great resource to evolve tastes for those who are interested.”

The SoundOut festival has been experiencing some difficulties in recent years, as they haven’t received any funding from the local government. As such they have had to seek crowdfunding through a GoFundMe campaign, which can be found at gofundme.com/ soundout-festival-2017.

Johnson says there are other ways to help out with the festival as well, “people can get involved by volunteering for the festival by contacting vortexrec@gmail.com. Otherwise you can ask whether there are opportunities to volunteer in the performances.”

SoundOut Festival 2017 is due to run from Sat–Sun February 4–5 at the ANU Drill Hall Gallery. Tickets are available at the door for $30, or $20 for a four-hour session. For more information, visit soundout2017.blogspot.com.au.

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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

IN REVIEW

Hardly Working by Poncho Circus Gorman Arts Centre Saturday January 14

and moving into our two main performers rocking up for work – obviously the worse for wear after a big week. Both reach for the office nectar of the gods, coffee. After imbuing an unhealthy amount of caffeine and feeling a whole lot better about themselves, the lads launch themselves into a brew room juggling act that transforms into crazy acrobatics including dual backwards somersaults off the office kitchen table.

After a visit from the boss (a literal puppet, sounding like many middle management bosses I have heard) and his sycophantic offsider, the boys load up some work for the day until disaster strikes. The power goes out. Tasked with completing their work without computers, the boss heads off to a liquid lunch with the parting words of “Get that work done!”

Photo by Mark Turner

This week saw the return of Poncho Circus to the stage with their brand-new show, Hardly Working. Set in a public service workplace, this show sees the escapades of two office workers and what happens when the cat is away, and the devil moves in on some idle hands.

This show is the brainchild of two Canberrans, Jake Silvestro and Lachlan Sukroo. Both trained at Warehouse Circus and were founding members of Poncho Circus. Jake is currently contracted to Circus Oz and Lachlan has graduated from the National Institute of Circus Arts. Performers are Lachlan, Piri Goodman and Ian Richardson who are studying at NICA and you can see the quality that is coming out of this institution.

The show opens with the office cleaner tending to the office

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What then transpires is a mad collection of acrobatics, site gags, groaningly funny humour, a juggling bun-fight at the OK Corral and more giggles than you should be able to fit into a show. There are so many good routines. Cigar box juggling, club jugging, strong man work and acrobatics. It is little wonder that the performers are literally sweat drenched by the end.

The show culminates with an amazing Chinese Climbing Pole routine that finds the boys with one remaining disconnected power cable.

When connected, the office power comes back to life and the show ends comedically with that ever-constant ringing phone and blackout.

The show is touring WA with the Fringe Festival and we wish them the very best from Canberra! If you ever want to see what Canberra Circus can produce, and be thoroughly entertained and gobsmacked by the physical and comedic skills a circus show can provide, go to Hardly Working. You won’t be sorry you did.

MARK TURNER

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C A N B E R R A’ S A R T S C E N E ARTISTPROFILE: ROSY WILSON

What do you do? I paint large, vibrant, semi-realistic cityscape paintings. I also work by day as a graduate architect and interior designer.

When, how and why did you get into it? Art was my favourite subject all through school but it wasn’t until a few years after I finished my architecture degrees that I picked it up again for a creative outlet and a rainy day hobby. There’s something really enjoyable and rewarding about starting with a blank canvas and an idea in my head and watching the artwork come to life with each layer. After a couple of paintings, I started selling through gallery representation and then people started asking for commissioned pieces, so it quickly became a side business. I took a break from commissions in 2016 to focus on creating my first solo exhibition.

Who/what influences you as an artist? Through studying architecture and doing some travelling, I started to become really interested in urban design and how architecture fits within the built environment in the public realm. I find it fascinating how there are iconic buildings around the world that are so easily recognisable in a photo or painting but the buildings around those can just blend into the background. All the paintings in my ‘citified’ series have iconic architecture which identifies the city. I like to create active scenes with people and cars and anything unique to that particular city to capture the feeling of the place. I exaggerate the colours to add more vibrancy and energy. The reason why cityscapes are my favourite subject to paint is that the viewer can imagine themselves in the painting, walking down that street for example. Maybe it’s a place they have been before and it evokes special memories for them too.

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Of what are you proudest so far? Putting together a solo art exhibition is a bucket list item for me, so I’m looking forward to that coming up soon. It also feels really special to now have my art in several people’s homes.

What are your plans for the future? To keep growing my portfolio of artworks – I already have ideas for my next series. I would love to do more travel for inspiration and also paint live in city squares one day. I also plan on growing my side business to include interior design services as well.

What makes you laugh? Pelicans, penguins, the funny questions kids ask, and Michael Macintyre’s stand-up comedy.

What pisses you off? Swooping magpies – I’ve had a few bad experiences! I would like the older magpies to pass down to their young that the humans aren’t dangerous so that I don’t get swooped on my bike every season.

What about the local scene would you change? I think Canberra has a really good art scene. There seems to be a lot of opportunity for emerging as well as established artists to show their work. It would be great to have some bigger events though, for example a large art show where potentially hundreds of fine artists can exhibit their work together as an exciting public event and a chance for locals to buy original art from Canberrans.

What are your upcoming performances/exhibitions? ‘Citified’ solo art exhibition Fri–Sun January 20–22, Anvil Studio & Gallery, The Hamlet, 16 Lonsdale St, Braddon.

Contact info: rosywilsonstudio.com, facebook.com/ rosywilsonstudio, instagram.com/rosywilsonstudio, info@ rosywilsonstudio.com

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ARTISTPROFILE: KEN ECCLES

What do you do? I paint, using acrylics on canvas.

When, how and why did you get into it? We all love art, don’t we?

We all seek out things that artists have expressed that resonate with us? I just wanted to cut out the middle man and save myself the hunt by producing works that I knew expressed my point of view.

Who/what influences you as an artist? People who are avid students of the human condition. People who seek to inform themselves and others by those studies and, in doing so, hopefully contribute to a more enlightened, inclusive society. People like Jane Elliott (of ‘Blue Eyes/Brown Eyes’ fame) and Alfred Kinsey (lead researcher and author of the Kinsey Reports). Closer to home, I’m influenced by artists of all genres and friends who dare to express themselves with respect and fidelity, often in spite of withering pressure to conform to a faceless, beige, ‘societal norm’.

What pisses you off? Wilful ignorance. Confirmation bias. The vogue practice of expressing uneducated offence as if it were somehow as legitimate as an informed opinion.

What makes you laugh? The things that piss me off also make me laugh, because of the absurdity and level of triviality required to truly ‘sell’ that offence. Also, pratfalls. Pratfalls make me laugh.

Especially when they’re my own, because they serve to keep me humble and remind me that life isn’t all about brow-furrowing, world-changing, thoughts and actions.

Ken Eccles, ‘Boots 1’

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What are your plans for the future? I’d like to put together a body of painted works over the next 12–18 months that challenge the observer to acknowledge their own interpretation and assumptions about the people who are the subjects of the paintings.

I’d like people to be aware of their own biases as a result of interacting with these works, in order to dispel or harness those biases. And as a result, have more respectful, engaged and enriching interactions with their fellow human beings.

Bias isn’t necessarily a bad thing, don’t get me wrong. It’s been very handy in our evolution to categorise things as more or less valuable to our survival (poisonous/good to eat, wants to kill me, etc.). But it’s far less valuable in our social evolution. We categorise relentlessly and attribute more or less value based on that, which restricts us from seeing value in people not like us, unless we’re very mindful of our own biases.

I’d love to hear from anyone who may be interested in collaborating with me by being a subject of a painting incorporating those elements that people may make assumptions about. I’d love to hear from anyone who might like to be part of a project that challenges people to acknowledge their own assumptions about their fellow human beings.

What about the local scene would you change? At street level, artists of all genres are mutually supportive and collaborative in my experience, so I wouldn’t change anything.

Contact info: facebook.com/IconArtCanberra

Ken Eccles, ‘The Control Paradox 2’

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C A N B E R R A’ S A R T S C E N E ARTISTPROFILE: PENELOPE BOYD

whenever I hand over a portrait commission. As I paint children, I feel I have a huge responsibility to the parents to capture the personality as well as the likeness of their kids.

What are your plans for the future?

What do you do?

I’m a visual artist with a focus on figurative and portrait painting. I usually paint with acrylics on board in a realistic style, particularly my child portrait commissions, though my personal work is a little looser.

When, how and why did you get into it?

I had always dabbled with art; my older sister was artistic and growing up I was driven to keep pace with her abilities. I started painting after I had my first child as a way to build creativity around my new life as a parent, but didn’t start a consistent practice until about 2011.

Who/what influences you as an artist?

There are a number of artistic influences, including Michael Borremans, Gerhard Richter, Claerwen James and Cherry Hood. A lot of my personal work is an exploration of the fragility of memory, both personal and collective, which probably stems in part from my psych studies, as well as observations of my own children.

Of what are you proudest so far?

Winning the Cliftons Art Prize in 2014. It was a $10,000 prize and assured me that I was on the right track. I’m also really proud

To keep painting as much as possible, to exhibit my personal work and hopefully participate in a residency somewhere remote with big views. Landscapes and seascapes are popping up in my work a bit lately.

What makes you laugh?

I stupidly adopted a kitten who provides a lot of entertainment lately.

What pisses you off?

Ongoing repetitive strain injuries that stop me from painting as much as I’d like.

What about the local scene would you change?

Cuts to arts funding is limiting opportunities for all artists; I’m hopeful that the creative community can overcome this.

Contact info: Email: penelopeboydart@gmail.com Website: penelopeboyd.com Instagram: @penelopeboydart Facebook: facebook.com/penelopeboydart

Left, Top: Penelope Boyd, ‘The pink is nice’, 2016, 45 x 60cm Left, Bottom: Penelope Boyd, ‘It’s all in the wrist’, 2016, 35.3 x 52cm Right: Penelope Boyd, ‘Wait for it’, 2016, 45 x 60cm

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ARTISTPROFILE: LYNDAL KAREN What do you do?

I draw, paint, do street art and take the occasional photo.

When, how and why did you get into it?

Like most kids, I started scribbling when I was young. It’s all slowly evolved from there. I don’t have a particular reason for creating things, it just feels more natural to be doing it than to not. With my photography, it’s about documenting the abandoned places I explore, and the adventure that comes with that. As for street art, I love contrasting the existing scene with bright, girly colours. It’s all in good fun.

What are your plans for the future?

Take part in exhibitions, make more artist friends, try more mediums and figure out how to finish my website.

What makes you laugh?

Puns, mostly, and great shows like Black Books and Firefly.

What pisses you off?

When you meet someone new and they ask you the question “What do you do?” and capsicum.

What about the local scene would you change?

I would love for there to be more of things; more exhibitions, more collaboration, more events. It’s definitely something that artists and organisers need to work together to achieve. After all, we do live in the nation’s capital, let’s amp up the excitement … Please?

Who/what influences you as an artist?

What are your upcoming performances/exhibitions?

Street artists like Houl and Abyss, traditional tattoos, magazines like No Cure, and the fabulous artists I follow on Instagram are some of many influences. Ultimately, there is also the desire to try, make and do.

None planned yet, however I hope to change that soon.

Of what are you proudest so far?

As strange as it might seem, I’m proud of my blog on Tumblr. It’s not very cohesive but I’ve documented so many different mediums and projects on it. It’s a little like time travelling through my evolution as an artist and person.

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Contact info: Instagram: @lyndalkaren Facebook: Lyndal Karen Tumblr: lyndalkaren.tumblr.com

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C A N B E R R A’ S A R T S C E N E ARTISTPROFILE: DROSS

separate series of photographic work from these trips as a way of documenting them.

What makes you laugh?

What do you do?

Some of the graffiti written in underground storm drains.

I explore and photograph abandoned buildings and underground storm water drains.

What pisses you off?

When, how and why did you get into it?

A few years ago, a friend and I went out in search of finding something new to photograph. That night we found and entered an abandoned warehouse, morgue and office block. To this day that is still one of the most memorable nights of my life.

Who/what influences you as an artist?

Light cast across unique and interesting structures that most people don’t see inside of. I also love seeing photos and writings from other urban explorers like dsankt, Steve Duncan, Anna Arinova and Australian hero, Jisoe.

Of what are you proudest so far?

All the great people that I’ve meet because of urban exploring. While this hobby/life style is largely based on the location, as cliché as it sounds, it’s really the people you’re with and the journey to get there that make it so much fun.

What are your plans for the future?

Losing a shot roll of film in a field of grass while security are searching for you.

What about the local scene would you change?

A larger one would be great. Canberra doesn’t have a huge urban exploration scene. I think this is partly due to the fast development of areas, meaning buildings are rarely abandoned for long here.

Most of our drains are round concrete pipe, which becomes repetitive. Melbourne and Sydney’s convict built brick drains are far more interesting to explore. Having said that, Canberra does have some beautiful decaying structures. If you go out and search for them.

What are your upcoming performances/exhibitions?

None currently but hopefully some in the not too distant future.

Contact info: Instagram: @dross____ Blog of drain quotes: drain-quotes.tumblr.com

Travel with my camera and photograph all the amazing abandoned places in the world. I would also really like to start making

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ARTISTPROFILE: IAN DUDLEY What do you do?

I produce expressive portraits through painting, pastels, street art, digital art and technology such as laser etching. Sometimes I’ll mix it up with typography and large scale murals, depending on the project. I also put on a lot of art exhibitions and events with friends, as I enjoy bringing people together to experience the end product.

When, how and why did you get into it?

I’ve been painting since I was a young child. After finishing college, I took a trip to London and spent some time exploring art institutions such as the Tate Modern, National Gallery and the Courtauld Gallery.

I was particularly inspired by imagery that stirs emotion through expression and use of vibrant colour. I then began studying graphic design at the University of Canberra, which opened my eyes to new possibilities through digital technologies. I also love the social element of sharing creative work with the public, so I opened a studio in Braddon a few months ago to facilitate this.

Who/what influences you as an artist?

I’m greatly influenced by people who carve their own path in life, taking risks and chasing their dreams for something they believe in.

The people who are redefining our cultural landscape. Some of my favourite Australian artists and designers include Gemma O’Brien, Rone, Anthony Lister, W$YK, George Rose, Tom Skeehan and my sister Juliette Dudley.

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Of what are you proudest so far?

I recently produced a large mural for Question, which represents the United Nations global goals for sustainable development. It was a collaborative project with my friend Anna Trundle. The artwork is set to be included in this year’s Enlighten Festival.

What are your plans for the future?

I’m currently wrapping up my Uni studies, while planning a few more exhibitions, zine launches and other events.

What makes you laugh?

Some of the ridiculous clickbait I see on social media makes me laugh. E.g. You’ll never believe what happens next…

What pisses you off?

People who vandalise public artwork. It’s also annoying when people whinge about there being ‘nothing to do’ in Canberra.

What about the local scene would you change?

I would like to see more Canberra creatives engaging in local events, even if it’s just by attending. There’s a lot of great things happening right now.

What are your upcoming performances/exhibitions?

I’m currently working on my debut solo exhibition, scheduled for April this year.

Contact info: iandudley.com

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C A N B E R R A’ S A R T S C E N E ARTISTPROFILE: AKELA BONES

What are your plans for the future?

Stitching many more nipples in bed and curating visual art exhibitions at Smith’s Alternative Gallery.

What do you do?

What makes you laugh?

I make breast shaped purses with nipples on ‘em.

Puns sung as pop song lyrics. And my mum. i.e. I’m a beweaver, I couldn’t leave her if I trrrrried (Monkees). I weave my warp back and forth (Willow Smith).

When, how and why did you get into it?

I got into it when I was studying at the local School of Art in the textiles department. Students had the opportunity to design a product to exhibit at POD gallery in 2015. At the time, I was really disgusted by media, my body and expectations of gender. In an effort to create something a bit silly, a tad controversial and still meet the criteria, I came up with ‘Bustiez’. I hoped that users of my product could become advocates and have conversations about bodies, censorship or discuss their own breast tales; whether female, male, trans, cis or non-binary people. Bustiez are for every people!

Who/what influences you as an artist?

Current social and political issues, ideas of gender and identity.

The ‘Free the Nipple’ movement and censorship online, as well as prominent news readers dissing parents for breastfeeding publicly – all topics that have helped birth Bustiez.

What pisses you off?

People staring into their phones when you’re talking to them. I love eye contact.

What about the local scene would you change?

I think we are pretty lucky in Canberra to have such a supportive arts community, if I could change anything it would be making art even more accessible to the general public through workshops. I want people to understand the work that goes into what they buy, and the importance of supporting local makers.

What are your upcoming performances/exhibitions?

I will be showcasing my work as part of RAW’s CUSP exhibition on Thursday February 2 at Belconnen Arts Centre, and following that my work will be available at Smith’s Alternative!

Of what are you proudest so far?

Contact info:

Definitely when my WASPish father (whom I love dearly) was asking me about my work and said the term “tittybag” out loud; in that moment I felt that I had achieved what I had set out to do.

akelabones@gmail.com Facebook – Akela Bones

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

LITERATURE IN REVIEW

The Nix Nathan Hill [Picador; 2016]

Samuel Anderson is your quintessential loser. His students don’t respect him, he’s in love with an unavailable woman, he’s a decade overdue to write a book and he’s already spent the advance. He’s also a compulsive crier, sobbing at the drop of a hat.

Why are loser-protagonists a thing? Not your Peter Parkers, the inherently heroic everymen quietly waiting for the right spider; I speak of the earnest, woundable losers that are continually stepped on and punished for being feckless. Think Quoyle of The Shipping News, or the unnamed narrator of Fight Club. The people who keep putting their hand out hoping this time it will be cake, no matter how many times they’re handed a turd full of razors. They’re comedic – if you find that sort of thing funny and don’t just want to shake them until their teeth rattle. But then there’s the payoff. Sooner or later, these characters always snap, and when they do someone deserving gets a bitchslap of comeuppance. Not only does this resolve previous frustrations at their doormat-like behaviour, it’s vicarious.

Haven’t we all been handed an unexpected razorturd at one time or another?

Samuel winds up for a bitchslap almost immediately, when his mother’s lawyer tries to guilt him into testifying about what a wonderful mother she was, in spite of her having abandoned him as a child. Our loser steps up right away with a plan to revenge himself on her for ruining his childhood, while jumpstarting his writing career – an exposè on the lifetime of sketchy decisions that led to her predicament facing assault charges. And so kicks off a chain of events that drags up family demons across continents and generations, from the global recession, the 1968 Chicago riots, to pre-WWII Norway.

The Nix is immersive. Samuel’s research for the exposé leads to a series of overlapping character portraits, of family, childhood friends, stray hippies, cops, obsessive gamers. Hill demonstrates that to have a compelling plot, you don’t need to commit the Dan Brown of peopling it with unconvincing cardboard cut-outs. Hill has clearly done his own research in crafting believable characters and settings. His tactic of describing behaviour without necessarily naming the associated problem will likely be rewarding for readers who like to puzzle things out for themselves. There are a couple of blindsides too, which is impressive, given how frequently we see family drama depicted in just about every genre and medium.

There’s a touch of the political, some blink-andyou’ll-miss-it Marxism, some rote criticisms of capitalism and the media.

Allen Ginsberg wanders around going ‘ommmm’.

Come for the excellent characterisation; stick around as momentum builds to a genuinely exciting climax.

CARA LENNON

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bit PARTS PARADISE LOST WHAT: Theatre production WHEN: Thu–Sat Jan 26–28 WHERE: Belconnen Arts Centre Lucifer awakes, shrouded in flame, his beauty ravaged, his berth in Heaven lost forever. Defeated and condemned, the unwilling Lord of Hell turns his attention to the new world, and the open battleground for man’s soul: for what cannot be won by strength of arms, can yet be corrupted by temptation. Yes, we’re a Satanists’ magazine now. But really, that’s the plot to John Milton’s Paradise Lost, which has been rearticulated

by Canberra-based Irish theatre artist Christopher Samuel Carroll.

This visceral one man show reignites Milton’s epic masterpiece in all its bizarre beauty. Check belconnenartscentre.com.au for starting times.

Tickets start at $28.

QL2 TRAINING PROGRAMS ENROLMENT DAY WHAT: Dance workshop WHEN: Mon Jan 30 WHERE: QL2 Dance QL2’s dance classes develop skills and ignite creativity, so you can be part of their projects. It goes like this: you join a training program, a series of weekly classes designed to build choreographic awareness, creative capacity and confidence, dance technique, strength, alignment, fitness, and awareness of stylistic traditions and directions.

The program is for ages 8–20+. Enrolment Day is on Monday January 30. That’s when you can discuss the programs, sign up for a program of classes and pay for the term. Artistic Director Ruth Osborne will be there, along with some of the 2017 teachers. Drop in any time between 3pm and 6:30pm.

RAW CANBERRA PRESENTS CUSP WHAT: Arts showcase WHEN: Thu Feb 2 WHERE: Belconnen Arts Centre You know when you feel like going out and doing something, but you can’t decide what you want to do? Like, ugh, do I feel like being in a gallery, or near a stage, or next to a catwalk? That’s where CUSP comes into play. It’s a showcase of 30 artists from around Canberra, but there’s no specific theme – these artists are fashion designers, hair and makeup artists, musicians, visual artists, performers … pretty much anything that comes under ‘art’. It’s a good excuse to get out and see what Canberra’s creative arts industry is getting up to. Tickets are $20 + bf through RAWartists. org/canberra/cusp or $25 at the door. It opens at 6:30pm.

BUILD UP; BREAK DOWN WHAT: Art exhibition WHEN: Until Sun Feb 5 WHERE: Australian National Botanic Gallery

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Three local Canberra glass artists present Buils Up; Break Down, an exhibition that aims to reinvigorate the viewer’s connection with nature and open their minds to new ways of thinking about and appreciating the natural world. Sui Jackson, Debra Jurss and Christine Atkins all look to nature for inspiration for their works and are interested in communicating to people through their artworks. This exhibition is held in conjunction with (r)evolve, the Ausglass conference currently being held in Canberra. The combination of artworks by these artists promises to provide a dialogue of comments about water, land and plants that will delight all nature lovers who see them. Entry is free.

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the word

on albums

Instead, Woman’s appeal comes from its beautiful, sparkling production, its inviting nature, and the depth of its heart. It’s perhaps the only album to come close to Daft Punk’s Discovery, in terms of providing a genre spanning mix of dance tracks that exemplify the richness of the French touch sound while also touting a sweet message about finding love on the dancefloor.

album of the issue JUSTICE WOMAN [ED BANGER / BECAUSE MUSIC] Justice have had a wild career. The Parisian duo, Xavier de Rosnay and Gaspard Augé, started out as mere graphic designers. In 2003, they entered a competition to remix English band Simian’s song ‘Never Be Alone’. Their remix came in second place, but it caught the attention of Pedro Winter, the French label head who had previously managed Daft Punk. That remix? You might know it now as the internationally popular ‘We Are Your Friends’ (“You’ll never be alone again, well come on…”).

That was their first production; the tracks that followed cemented their place as an era-defining electronic act, and one of the original pioneers of the EDM phenomenon. ‘Waters of Nazareth’ dropped in 2005, and it sounded like it was playing through a stereo that someone had kicked off a building. Fans of techno, rock, pop and metal came to adore Justice for this unique sound palette – a mix of heavily distorted bass synths, disco strings and French touch.

Their debut album Cross is heralded as one of the greatest electro house albums ever produced, sporting classics like ‘D.A.N.C.E.’, ‘Phantom Pt. II’ and ‘Genesis’.

Since dominating arenas with their rock ‘n’ roll brand of electronic dance music in 2008 and again following the release of their divisive sophomore album Audio, Video, Disco in 2011, Justice have now given us their third offering, Woman.

The album is less electro and more disco, with less rock to match.

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Don’t take this as Justice having lost their affinity for big, bewildering sounds, however. Indeed the reason Justice associate their band with the Christian cross is not for any religious reason, but because they want their music to have the same impact as a loud, booming organ filling out a tall French cathedral. Uncoincidentally, the majority of Woman’s tracks imitate grand opuses performed by an orchestra, reaching for the five-to-sixminute mark and getting lost in a maze of furious guitars, organ-like synths and heavenly strings. ‘Randy’, and in particular its mid-song breakdown, is perhaps the most satisfying instance of this.

The opening track ‘Safe And Sound’ is arguably the album’s best. A melodious choir propels the album into action, continuously building its catchy, entrancing refrain with a string section, and then a funky electric bass, and then everything all at once. One of the dancier songs, ‘Alakazam !’ adopts a less organic approach, proving that electronic music still has the power to enchant – in a way responding to Daft Punk’s Thomas Bangalter’s assertion that “when you know how a magic trick is done, it’s so depressing.” The anomalous ‘Heavy Metal’ takes this one step further, painting a medieval, Dracula-esque landscape out of an electric guitar-like harpsichord.

This gets to the heart of why I love this album: it offers a wealth of visual delights for the synesthete. It’s a cohesive blend of more traditional dance songs like ‘Pleasure’, ‘Fire’ and ‘Love S.O.S.’, with more experimental work such as ‘Chorus’ and the angelic ‘Close Call’. Every song is like a dancefloor hymn that carries with it an abstract love story; each is a striking example of the power of dance music to do more than simply fill a club. This stuff is magic.

THE XX I SEE YOU [YOUNG TURKS] If Coexist was The xx stripping back to their bare, distinctive core, then the follow up I See You must be their way of putting some (albeit synthetic) flesh back on the bones.

Nowhere is this more evident than on lead single ‘On Hold’, where the club-inspired sample work that Jamie xx perfected on solo album In Colour meets classic xx motoric and Romy Madley Croft’s confiding vocals. The affront of such a heavy reliance on vocal samples softens with repeat listens though, letting The xx’s songwriting shine through.

The shadow of In Colour looms over most of I See You, with the opening horn stabs of ‘Dangerous’ possessing a FIFA Street flair that had no place with the subdued, introverted xx of old. But even though the music is self-assured (bordering on joyous at times), the band members themselves show signs of more gradual change. “I don’t know what this is / but it doesn’t feel wrong,” sings Romy on ‘Say Something Loving’, evoking the same kind of willingness that Kevin Parker did on Currents – an understanding that change is an inevitable force that can be met passively or head on. The xx choose the latter, though not without self-doubt (“the thrill of affection / it feels so unfamiliar,” sings Oliver Sim on the same song).

‘A Violent Noise’ is a return to the spacious, dotted crotchet guitar pop that took the xx worldwide in the late 2000’s, and Romy’s expansive ballad ‘Performance’ features the most specific, nuanced lyricism of any xx record. It’s clear that this is not the same xx that dug their heels in against the spotlight half a decade ago. This time they’ve come willingly.

HAYDEN FRITZLAFF

ANDREW NARDI

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TORI AMOS SONGS FOR PELE: 20TH ANNIVERSARY EDITION [ATLANTIC]

DROPKICK MURPHYS 11 SHORT STORIES OF PAIN AND GLORY [BORN AND BRED]

With the critically acclaimed Little Earthquakes (1992) and the commercially successful Under the Pink (1994) under her belt, Tori Amos managed the impossible with the release of Boys For Pele (1996).

The artist, at the very peak of her powers, plunged headfirst down the rabbit hole on a quest to explore mythology, spirituality and self-actualisation: “This album has been the journey to my own fire.”

Known for being the Celtic punk rock band from Massachusetts, the Dropkick Murphys have been making music for over twenty years, and 11 Short Stories of Pain and Glory will be their ninth studio album release.

The name of the album complies with the 11 tracks featured on the album, each telling a different story, from memories to relationships and even world news events.

The epic record opens with ‘Beauty Queen / Horses’; sonic surrealism at Amos’ meandering best. The track harnesses the atmosphere of the Irish church where much of the album was recorded, providing layers of static texture that ultimately set the tone for the remaining 17 songs, all produced by Amos and recorded by Mark Hawley (the pair married two years later).

Standouts include ‘Caught a Lite Sneeze’, ‘Marianne’, ‘Muhammad My Friend’, and ‘Father Lucifer’; a look at Amos’ desire to connect with her “shadow side” after using Ayahuasca (the Amazonian plant responsible for altering states of perception), “I asked to meet the prince of darkness … and I finally realised that Lucifer is a woman, wears white and drives an ice-cream truck.”

The third single, ‘Professional Widow’, reached #1 worldwide with the Arman van Helden (‘It’s Got to Be Big’) remix.

The original, supposedly about Courtney Love, instead captures Amos in true form, howling alongside a thumping harpsichord, “Honey bring it close to my lips, yes.” The 20th anniversary edition of Boys for Pele features 21 bonus tracks, including a handful of previously unreleased material; ‘To The Fair Motormaids Of Japan’ is bound to re-whet the appetites of Toriphiles and fans alike. Long live Pele.

SAMUEL TOWNSEND

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A light dusting of punk rock can be heard through a few songs, and whilst many of the tracks consist of a background packed with heavy guitars and fast rhythms, it surprisingly isn’t heavy music. The uplifting spirit that is heard through the chanting lyrics and bagpipes seems to bring it out of the dark and moody music that some might associate with punk rock. In fact, this album is more stadium rock if anything. Over the layers of brooding electric guitars and men yelling out lyrics, there’s the faint sound of an acoustic guitar, which somehow gives the album a feeling of happiness and tranquillity.

There is one track in particular that is extremely reminiscent of the early AC/DC years. With the echo of bagpipes ringing throughout the track, ‘Blood’ is a mix of old-school rock and roll drumming patterns, embellished with the sound of indie and alternate rock chords. The heavy guitars sweep through and back the humming of bagpipes, creating a unique sound that is rarely heard. Overall, this is a very enjoyable album. Sometimes people say that rock music is dead. Just listen to this album and you would think otherwise. A must listen if you love rock and roll.

MORGAN HAIN

KINGFISHA OFFERED IT UP [ABC MUSIC] Not your average reggae band, Kingfisha brings strong dub credentials to broadcast a signature sound that brings the cool rhythms of reggae together with contemporary electronic elements. The Brisbane five-piece formed half a decade ago and overlaid Jamaican vibes with keyboards in their 2012, self-titled debut long player.

Offered It Up follows on from the band’s virgin offering. Rather than the usual bright reggae sound, the emphasis is on a much smoother tone that delivers chill out messages rather than a dance groove. That said, there is less of the subdued mod of the debut, with a more up-tempo feel to the new record, courtesy of a few faster rhythms and the injection of brass. While the core band is strong on a guitar-synth balance, this album benefits from the collaboration of guest musicians to add trumpet/ trombone and percussion highlights. Opener ‘Hold It’ weaves in funk elements with soulful vocals and a percussive line that invites bodies to move. It’s a complete roots package. Keys glimmer in the rear, with the brass cutting in sharply for effect.

The buzzing bass intro of ‘Dirty Man’ joins the dots for the whole length of the track.

A strong reggae rhythm is married up with a softer, more electro vibe. A jazzy guitar interlude and some layered vocal harmonies complete the palette. Synths star in ‘Left It’, with an electronic trilling and a chunky, shuffling beat, laser gun effects and vocals echoing up from a deep well. While ‘The Gold’ possesses the most catchy tune, the title track intrigues with compressed sounds squeezed out to match a floating vocal, which spreads and echoes off into the distance. It is one of the coolest, most atmospheric songs in the album.

RORY MCCARTNEY

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album in focus

SOUNDGARDEN BADMOTORFINGER – 25TH ANNIVERSARY EDITION [A&M RECORDS] If you happened to be a Seattle indie band releasing an album in 1991, you would find yourself competing for attention with some pretty decent, in some cases groundbreaking, material from fellow Pacific Northwest outfits like Mudhoney and some melodic punk band called Nirvana. But if your band happened to be Soundgarden, you didn’t have too much to worry about.

When Badmotorfinger appeared that year, Soundgarden had well and truly established themselves in the Seattle indie scene with the downtuned heaviness of the Screaming Life EP on Sub Pop, as that label was on the verge of becoming an international phenomenon. The band had also recorded two semi decent albums that showcased an, at times, potent blend of early ‘70s heavy psych rock and proto punk, and epic scale hard rock in the vein of Zeppelin and Sabbath. Album number two Louder than Love had also appeared on major label A&M with the flow-on effect of expanding attention on the Seattle music scene more than doing the band itself any great favours, as the sound at times bordered on hard rock pastiche.

But any fears that Soundgarden would be forever known as bombastic Led Zeppelin clones were laid to rest on Badmotorfinger. Opening track ‘Rusty Cage’, with its galloping punk rock rhythm and heavy bottom end, reined

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in the theatrics and suggested a commitment to authentic sonic exploration that the growing legions of Seattle grunge fans would have appreciated given the proclivity of Generation Xers for highly functioning bullshit detectors. ‘Rusty Cage’ would later be covered by Johnny Cash and his stripped back bluesy take revealed an enticing musical range and genuine emotional expression that are integral components of good songwriting.

Badmotorfinger is certainly a dynamic album that reveals expansive dimensions to hard rock when the basic template is placed in the right hands. This becomes immediately apparent on the standout track ‘Jesus Christ Pose’, which incorporates piercing guitar feedback into a beautifully sculpted burst of rage. The impact of rapidly shifting rhythms within a densely compressed ball of melodic energy is extreme – this is one of the standout tracks in 1990s alternative music and the key song on the album around which the others orbit. But an intense vibe is established from the onset and hits peaks with the furious punk rock on such a track as ‘Face Pollution’ with downer atmospherics on ‘Searching with my Good Eye Closed’ providing a potent counterpoint.

As with most ‘deluxe’ reissues these days, the bonus disc of outtakes is more interesting than compelling, merely confirming that the final versions are the best ones. The standout of significance on this package is the sound, with attentive remastering making it considerably more powerful.

Digital mastering to CD on many original releases was often thin and compressed, but the sound is now fleshed out with greater instrumental warmth and an enhanced dynamic range shining through. This was also the case with the Nirvana reissues a few years back, which made a case for a sonic overhaul of other key albums in the grunge canon. As for Soundgarden, the songwriting got even better on next album Superunknown but Badmotorfinger is certainly on the high merit list in the grunge class of ’91.

DAN BIGNA

WALLIS BIRD HOME [MOUNT SILVER] The fifth studio album by Irish singer Wallis Bird is quite a different beast to her 2014 LP Architect. One was created in a distracted rush, when Bird was in the midst of emotional turmoil, while Home came together in a slower, more organised fashion, when the artist felt that all was right in the world for her. This change of vibe comes through in the quality of the tracks, with Bird playing most of the instruments herself.

The record is characterised by both the frankness of Bird in talking about her life and emotions, and an incredible diversity in song styles, demonstrating the restless creativity of a singer who refuses to get comfortable with just one approach to her music, but is constantly experimenting. The distance between songs is stark. In the title track, Bird employs an a capella approach to express her innermost feelings, in a situation where she felt that only the purity of a song without instrumental backing would suffice. In the very next song ‘Love’, she surrounds herself with a DIY choir of friends, recruited with the promise that “I’d cook for them and get them drunk”.

Opener ‘Change’ is a highlight, with an intensity born of soulful vocals, spaced piano notes and a rhythm with a curious biological quality. The power of her voice punches through in full throttle diva style (think P!nk) in ‘Control’, while ‘Pass the Darkness’ stands out with rippling synths, frantic, over-the-top strings and singing that is more vocalisation than delivering lyrics. Inspired by her partner as muse, and assisted in production by Marcus Wuest, who taught her all she knows about recording, Home brings both Bird and her listeners into a special place.

RORY MCCARTNEY

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KING GIZZARD & THE LIZARD WIZARD FLYING MICROTONAL BANANA [FLIGHTLESS] It’s no secret that King Gizzard & The Lizard Wizard are one of the most prolific Australian bands. The Melbourne septet have recorded nine albums since their debut in 2012 and Flying Microtonal Banana is the first of four albums the band plans to release in 2017. Inspired by microtones, which are any musical intervals smaller than a semitone, the album features all modified instruments.

King Gizzard’s ninth effort contains all of the calculated chaos that they have become known for. Swirling psychedelic effects rush around each track as the band move in and out of various grooves. What sets Flying Microtonal Banana apart from the band’s other records is the distinct Middle Eastern flavour that their microtonal experiments provide. Although influences from a number of different genres shine through on the album, it is this influence that burns the brightest.

King Gizzard begin the album with ‘Rattlesnake’, which is very reminiscent of their 2014 record, I’m In Your Mind Fuzz. The drums and bass keep a constant groove in which guitar, vocals and harmonica weave psychedelic sounds around. ‘Melting’ sees the band produce a sinister jazz vibe, with ‘Billabong Valley’ being equal parts Middle Eastern and Wild West ballad. The band also touch on doom metal with sluggish, wahinfused guitars on ‘Doom City’.

It is hard to believe any other band in Australia could pull an album like this off, and while King Gizzard should be recognised for their audacity, some parts on the album become too much. A creative peak for the band without question, but not as catchy as previous efforts.

THOMAS SPILLANE

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GUY SEBASTIAN PART 1 EP [SONY MUSIC]

DAWES WE’RE ALL GONNA DIE [HUB]

This is a slight change from the usual pop music that is delivered by Guy Sebastian; this six-track EP is very electronic, something that we haven’t really heard from Guy before. After eight studio albums, competing in song contests and having a television judging gig, you’d think he’d be extremely busy, although somehow he has managed to squeeze out six new tracks for us.

We’re All Gonna Die is the cheerful title of the fifth long player from US alt-rockers Dawes. Dawes emerged following a line-up change in the outfit, with the (equally obscure) title of Simon Dawes. It’s a very American band in every sense of the word, from the place names in the lyrics to a style that mixes rock with a little alt-country and a touch of folk. Its 2015 release All Your Favorite Bands was very conventional, soft-sell and unremarkable, folk tinted indie-rock. However, somewhere along the road since then, the band created a new, more diverting twist to its sound, with a flair for injecting more attitude and character into songs.

Pumped full of soulful RnB rhythms, the fast-paced ticking of a closed high hat and a smooth bass line are the building blocks for most of the album. With a new angle on music, this collection of tracks is laced with elements of electronica that emit a futuristic vibe. Whilst giving the songs a simple feel, elements of keyboard, piano, and electronic drums have been layered to create a more sophisticated sound, similar to that of the late ‘90s and early ‘00s RnB. Whilst the tracks on this EP insist on having techno overdriven dubstep at the core of the music’s motivation, the track ‘Set In Stone’ throws all of that out the window.

Although it consists of the same RnB rhythm that flows through the album, this is a ballad that builds throughout the song from a slow piano, up to a simple drum beat with a few backing vocals. Guy’s seemingly unedited vocals have created a track that is overflowing with raw emotion and it works very well, even though it doesn’t contain many different sounds. There are some cool tracks featured on Part 1 EP, and sure enough in the future we’ll probably get a Part 2 EP. MORGAN HAIN

A strong buzz morphs into a fuzzy melody in opener ‘One of Us’, its springy rhythm joined by trash can stomps and vocal overlaps.

Vibrations echo out into space in the title track, advancing at a slow metronome tick to swooning keys and airy, high pitched singing. Complex, it has varied musical hooks emerging from surprising directions.

The smooth delivery enables a calm approach to our inevitable mortal fate.

There’s a furry ticking at the heart of ‘Roll With the Punches’, exploring the two-sided coin of how you can have very negative feelings towards those you love. ‘Picture of a Man’ is frosted with pocks, tocks and burbles, plus sharp female backing vocals.

Dawes explores the deeper questions of life and relationships through clever, sometimes quirky lyrics. These speak most clearly in highlight track ‘Five Miles Away’.

As the closer, with its tipsy jazzy piano and schmoozy brass fadeouts, it’s safe to say that Dawes has reemerged with an arty melodic sense that may open “doors” to new followers.

RORY MCCARTNEY

49

BLEACH GIRLS HI! [RARE FINDS]

SWEET JEAN MONDAY TO FRIDAY [ABC MUSIC]

UNITY FLOORS LIFE ADMIN [POPFRENZY]

The origin of Bleach Girls lies in a mutual love of Kombi vans, punk rock and sunshine.

Hailing from Byron Bay, the duo used to wave to each other when their Kombi vans broke down. Upon meeting, the duo discovered they had a mutual affinity for music. After five years of talking about it, they formed Bleach Girls. Drummer Fi Fi Bleach and guitarist Micky Bleach jammed 20 songs in their garage, set out on a tour of Bali and returned to record their debut EP.

Melbourne folk-pop duo Sweet Jean features the combined talents of Sime Nugent and Alice Keath. Nugent has also had solo releases and time in bands such as Sedan and bluegrass specialists The Wilson Pickers, while Keath appeared with Paul Kelly in the Shakespeare tribute album Seven Sonnets and a Song. Sweet Jean made its debut in 2013 with the album Dear Departure and its second release sees shifts in both song material and sonic direction.

Disdaining bigger band formats, longtime collaborators Gus Hunt and Henry Gosling prefer the creative simplicity of the duo guitar and drums format. They know that a noisy twosome can produce a much bigger sound than its diminutive composition suggests. They first launched their grungy, garage pitch with the 2011 EP Women’s Golf, succeeded by 2013 long player Exotic Goldfish Blues. Their sophomore continues the quest, but with a more urgent, disheveled aspect to it.

While the debut LP was about other people and other places, Monday to Friday aims to bring the focus closer to themselves, while still retaining the freedom to be able to change the topic from the intimacy of romance to the wonder of staring into the night sky, awed by the fact that humans have sent up a spacecraft to land on a comet. The sound has also changed noticeably from the debut, which held a crisp, airy sound with a strong folk feel and a hint of alt-country.

The sophomore LP sees a switch in balance, from heavy acoustic to heavy keyboards which, together with a new approach to production, has given the new LP a greater indie vibe. Synths feature strongly through the track list, with more prominent electric guitars.

First impressions are of a raw enthusiasm, where vigor replaces a high gloss finish.

Themes follow a similar vibe, lacking in seriousness and varying from eccentric love songs to non-love songs with random themes, such as ‘Young Professionals’ where “they’re doing yoga on their lunch breaks”. There’s a beery belligerence to the rough-edged vocals of Hunt in ‘Moving to Melbourne’, with the rawness underlining the honesty of the lyrics. This is a tale of urban dissatisfaction where shifting house to Melbourne is made to sound like a prison sentence. A similarly lo-fi approach to ‘Give and Take’ adopts a punkish vitality and demonstrates how the right arrangement of a limited range of simple lyrics can work well.

The pair has a keen ear for uncomplicated, but appealing rhythms and melodies, all served up with the beautiful, strongly projected vocals of Keath. Harmonies are also a key feature of the record, inspired by the singing of Nugent’s Irish ancestors. ‘Slow’ matches dreamy vibes and glowing synths, but the most notable tracks come early on, in the shape of ‘Everything Changes’ with its simple yet hypnotic plucked guitar pattern, and ‘Main Street’ with its alluring four-part keyboard arrangement.

‘Harsh Truths’ is a brief filler with echo glazed, cryptic vocals accompanied by a simple keyboard tune. It marks the dividing line between the two halves of the album, followed up by CD highlight ‘Cost of Living’, which revels in wild guitar play, chalkboard squeal-like, and recklessly repeated lyrics.

‘Life Admin’ stands out too, thanks to catchy, thick fingered guitar notes, sudden tempo shifts and a fuzzy, frenzied sprint to the finish. It’s a fresh, unpretentious release, selling nothing and asking nothing of the listener other than that they rock on!

RORY MCCARTNEY

RORY MCCARTNEY

Hi! sees the Bleach Girls wearing their fun punk rock influences on their sleeves. Fi Fi’s constantly upbeat drums keep the whole record lively with Mickey’s guitar unashamedly borrowing from punk’s less-is-more power chord progressions. A cheeky vibe permeates the EP with Mickey’s guitar solos adding a surfy aspect. ‘No Fun’ and ‘Hell No’ both serve up tremolo-soaked guitar leads that transport you to sunshine.

Most tracks progress into slacker-inspired lyrics chanted with a mischievous gusto.

“I suck, you suck, and we don’t give a fuck”, Fi Fi and Mickey proudly shout on ‘I Suck You Suck’ in a style that is unequivocally Ramones. Fi Fi’s infectiously playful melodies are some that are guaranteed to stick between your ears for days.

Despite their catchiness, there isn’t much separating Bleach Girls from their contemporaries. The longest songs on Hi! barely makes it over two minutes, and the instrumentals of each track are very similar.

Bleach Girls might not be reinventing the wheel, but they’re doing a great job of keeping it rolling.

THOMAS SPILLANE

50

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RED SEA BATTLESCAR [GUITAR BABY]

SAMPHA PROCESS [YOUNG TURKS]

MISTER OTT SINGLE SHOT [ART AS CATHARSIS]

A prog rock band with a difference, Red Sea may just change your notion of what the genre is all about, stretching its borders to include an exciting new sound. They have only been a cohesive unit for about a year, but the Sydney outfit’s debut EP demonstrates that they are keen to be noticed, and should be! The debut EP was captured at Guitar Baby studios, but mixed

by Rick Will who has helped hone the output of such legends as Nine Inch Nails.

Regardless of whether you know who Sampha is, you’ve probably unknowingly had his soft silky voice enter your ears before. The London-based electronic soul artist has been featured on tracks by the likes of SBTRKT, Frank Ocean, Drake and Kanye West. On his debut album Process, his soulful capabilities are finally on full display.

Mister Ott is the brainchild of Sydney-based saxophonist Matt Ottignon. Capitalising on vast inspiration he found touring Ethiopia, the New Zealand-born musician assembled some of Sydney’s best jazz players to form something else entirely.

Red Sea’s music combines Titanic scale guitars with the full throttle vocals of frontwoman Erica Bowron. It’s a scene where the vocals take on the formidable guitar-drum combos, and sometimes win.

Her voice scales astral heights, sounding positively operatic at times. This is not completely surprising, in the light of Bowron’s music theatre roots. The opening title track proves this straight out, as it is surprising how Bowron easily dominates the rock frenzy behind her. It’s a voice that comes from a position of power, always steely and rising to a scream for effect as required.

‘Caravan’ takes a more conventional approach, with a nice balance between the singing and some very attractive guitar play.

It’s in the longer track ‘Lose Your Head’ that the band best demonstrates its prog rock credentials. There’s a little male-female vocal interplay and you can sense the music growing in strength, to industrial quality.

With its career still in its infancy, there is a lot of potential here – the band showing a strong melodic presence with room for growth. Hopefully there’s more, including a debut long player, not too far away.

RORY MCCARTNEY

Much of the album is centred around a more difficult time in Sampha’s life as he found himself moving in and out of his childhood home while his mother battled cancer, ultimately passing away. Because of these themes, Process showcases a depth and complexity that is often hard to come by in modern soul music. Tracks like the single ‘Blood on Me’ and ‘Kora Sings’ create a sense of desperate urgency with their combination of simple rhythms, intricate harmonies and despondent, sometimes paranoid lyrics. These moments juxtapose beautifully with fragile, stripped back moments like ‘Take Me Inside’ and ‘(No One Knows Me) Like The Piano’, a (ahem) pianodriven ballad dedicated to the intimacy he feels with his own music. In it he sings, “No one knows me like the piano in my mother’s home,” leaving the listener all but flattened under a nostalgia for simpler times.

The dreamy synth bells of the final track, ‘What Couldn’t I Be?’ offer an appropriately bittersweet closing to the album. Despite his more melancholic moments, Sampha seems to take solace in the fact that one “can always come home”. It is exciting to see an artist who has lingered in the background for so long, finally release such an impressively cohesive album of their own.

IAN MCCARTHY

Led by Ottignon’s saxophone, the sextet seamlessly blend together to create a psychedelic dimension of funky jazz sounds.

Drummer, Dan Kennedy, and bassist, Eden Ottignon, lay down thick beats on each track that bring to mind Kendrick Lamar’s 2015 jazz/funk opus To Pimp A Butterfly. From there pianist, Daniel Pliner, and guitarist, Ben Panucci, weave soft and melodic timbres in and out of each other, finally leaving room for saxophonist, Ottignon, and trumpeter, Ellen Kirkwood, to inject their blazing horns across the final sonic layer.

Musically, Mister Ott moves like a dashing insect that you just can’t pin under your thumb. They not only draw inspiration from Ethiopian jazz, but meld this effortlessly with ‘50s/‘60s funk, soul and culture in general. The title track, with its anticipating bass and cheeky brass lines, sounds like it could have been a discarded theme song from a ‘60s Bond film. ‘Snakebite’ is the most modern sounding track on the album with Pliner’s opening synth reminiscent of an ‘80s arcade game. However, this soon gives way to Panucci’s creeping guitar which sounds lifted from a Sergio Leone spaghetti-western.

The musicianship on Single Shot is utterly flawless. This enables Mister Ott to become limitless in their style and influence. Single Shot is the repackaging of a vast array of influences into an instrumental album that never tires.

THOMAS SPILLANE

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51

v

singles in focus WITH CODY ATKINSON PVT ‘MORNING MIST, ROCK ISLAND BEND’

KNOCKED LOOSE LAUGH TRACKS [PURE NOISE] After releasing singles ‘Oblivious Peak’ and ‘Deadringer’, Knocked Loose showed that this album was something to notice.

With a beautiful mix of catchy riffs and hardhitting beatdown, it’s easy to see why this album has taken off so well. To accompany those catchy riffs, there are some tasty electronic samples, amazing drum work and an incredible flow. These eleven tracks are easy to just play on repeat. The tracks don’t drag on too long either; with the longest almost hitting the four-minute mark, I found myself wishing some would never end. That said, I’m glad ‘Laugh Tracks’ brings the album to a perfect close, because I don’t think my neck could cope with any more movement.

Every track blew me out of the water, with a few standouts: ‘Counting Worms’ would turn the most reserved person into a thrashing manic and ‘Oblivious Peak’ is a great first point of contact to show you what you can expect for the next 30 odd minutes.

I can’t say these guys have branched out from a lot of other beatdown bands but they seem to know how to work well together.

It’s hard to stand out in beatdown; lots of bands tend to have similar styles and blend in with the rest. However, Laugh Tracks adds a nice metalcore flow and is an album that I feel is going to be remembered for a long time, not just because of its aggressiveness and catchy riffs, but because Knocked Loose have showed that they are a band that should not be overlooked. This album laid the foundation for them to come over to Australia, landing in Canberra on Sunday January 22 at The Basement. The only thing that can top this album is their next release, which is the only reason I didn’t give it 5 stars. I would even recommend my grandmother listen to this album.

JOSH ROBERTSON

52

THE SINKING TEETH SONGS FROM THE BOTTOM OF THE LAKE [INDEPENDENT RELEASE] The Sinking Teeth hail from a gritty pawn shop in the heart of Brunswick. Beginning as a passion project for bassist Julian Doan and guitarist Nick Manuell, the band quickly became a serious project with a dedicated following. The Sinking Teeth released their first EP, White Water in late 2013 followed by a country-wide tour supporting notable acts such as Violent Soho, Bodyjar and Jimmy Eat World. Songs From The Bottom Of The Lake is the Melbourne punks’ debut album.

Heavy and fast throughout, Manuell’s vocals change across the post-hardcore record.

From angsty whine to angry scream to even fragile singing on closer ‘The Bottom Of The Lake’, he draws inspiration from many different hardcore vocalists. Manuell also creates dynamics across each track with his guitar playing, as it travels from Interpolinspired single-note lines to distorted dissonant chords akin to At The Drive-In. Drummer Adrian Van Bloom plays fairly simply on the record, but always effectively.

It is evident he understands that with punk, less is usually more.

Although a debut album to be proud of, Songs From The Bottom Of The Lake is not perfect. Where The Sinking Teeth fall down is a lack of variety on the album.

Not unlike other albums in the genre, the tracks start to bleed into each other and sound the same. By the end of the record it seems an idea of it could have been grasped from opener ‘Good Grief’. Despite this, The Sinking Teeth are a new band worth looking out for.

THOMAS SPILLANE

It’s not much of a single – it goes for nine pulsating minutes. But ‘Blue Monday’ was seven-and-a-half minutes long, so don’t judge too early. The beat drops about halfway into ‘Morning Mist’, and it’s well worth hanging around for – equally creepy and captivating and catchy. PVT have managed to pivot yet again to a new direction.

THE MAGNETIC FIELDS ‘BIG ENOUGH FOR BOTH OF US’ Stephin Merritt produces some of the most depressing happy music you’re likely to hear.

Catchy, bouncing earworms about being sad and lonely, at least at times. ‘Big Enough For Both Of Us’ is unabashedly cute in parts, but it’s well balanced in its delivery with the picking strings adding a touch of depth that most would ignore.

SLEAFORD MODS ‘BHS’ Describing Sleaford Mods isn’t the easiest thing to do, but I guess they combine a punk-ish social realism with super minimal beats, reflecting the realism of modern Britain and the people that live there.

But how does ‘BHS’ sound? It sounds catchy, a tale of social greed that is something you could sing along to, which is a tough ask for even the best going around.

TRAIN ‘PLAY THAT SONG’ TRAIN ARE STILL ALIVE PEOPLE! I’m not saying this as a good or a bad thing, more as a statement of surprise. Who knew fucking Train were still around? BTW, this song is terrible. Just terrible.

This is really fucking bad. It’s like the smartarse kid in music class playing it in the back on keyboards, but fucking up a classic. Do not listen to this. Trust me.

@bmamag

?

Questioning Summer Fun

CODY ATKINSON So you were at the Falls Festival in Lorne, yeah? Yeah, I was there this year, and was there last year.

There was a fire last year right? Didn’t it have to be moved? Yeah, if the 2015 Falls Festival was marked by the move to Mt Duneed due to ravenous bushfires along the Surf Coast, then the 2016 festival will largely be remembered for the crowd crush on day three. With somewhere up to 90 people injured, some seriously.

The “falls” part of the Falls Festival name refers to the Erskine Falls, a hilly, forested park about 15 minutes out of the town of Lorne itself.

The stages itself were confined to a relatively small space, with the Grand Theatre perched above the Valley Stage, which encompassed the main amphitheatre. To attempt to combat sound bleed between the stages, organisers closed off much of the downhill side of the Grand Theatre, save for two steep and narrow dirt hills that acted as entry/exit points. Even before the crush occurred, I witnessed people slipping down these rampways throughout the festival, with dirt and rocks sliding from under their feet.

OK, that doesn’t sound like the greatest environment. Let me clarify: I wasn’t there at the time of the crush. My contingent made the call before DMA’S started that a shower was far more important than seeing Sydney’s finest Oasis rip-off project, for which there would be a massive crowd. Our target was London Grammar, but only loosely, and we were 12 minutes late for the start of that set.

This lateness was perhaps the best thing that happened to us all festival. The start of London Grammer dovetailed perfectly with the end of DMA’S – with the latter finishing at 9:50pm and the former starting then.

That’s when the crowd crush happened, right? Your hatred of DMA’S saved you?

More or less. Normally I’d probably watch them, but I was feeling pretty ill and dirty.

It was an easy choice to make regardless.

But it’s not the first time Falls has been held on that site. Yeah, it’s the 24th anniversary of Falls in Lorne. There may have been some layout differences over time, but it has more or less run smoothly for decades. It can’t be said it was an obvious oversight by the organisers, but more a concordance of all the worst-case scenarios for marginal risks.

It’s not the first time that a crowd crush has happened at a festival… Indeed, the 2001 Big Day Out was marked by the death of Jessica Michalk, who died after a crowd crush in Sydney. And in 2000 at the Roskilde Festival, nine people died as people rushed towards the stage as Pearl Jam started their set. Whilst not completely unusual, it is still pretty rare to happen these days, due to increased safety standards around running a festival.

But crowd crushes aren’t the only bad things to happen this festival season. Indeed. There are reports of several sexual assaults at the Tasmanian edition of Falls, which is more surprising that it is being publicly reported on than occurring. A spokesperson for Women’s Legal Service Tasmania told The Guardian Australia that while the behaviour was criminally entitled and absolutely not on, it was positive that it was being reported to the police, and that the police were taking the reports seriously.

Even if you are being responsible, it doesn’t mean that you are in a bubble

That’s lucky you’re such a judgemental fuckwit. When we entered the festival site we were greeted by security and ambos tending to several people, and to temporary barriers being speedily erected around the Grand Theatre. I overheard a punter ask a medic carrying someone on a stretcher, covered bar their feet, if the person was still alive, with the medic simply replying “yeah”. However, until the next morning I had no idea truly what had happened. Indeed, beyond signs that the Grand Theatre was closed for the rest of the night, and due to somewhat spotty mobile reception, those who weren’t there were somewhat in the dark beyond the fact that something had happened.

Right, OK. Speaking to an on-site tradie the next night, we found out that they had been called up to the site at 8am the next morning to open the downhill side of the tent, and to cover the dusty walkways with strong hessian paths. News articles later suggested that this was done at the behest of WorkSafe Vic, which makes at least this writer wonder how this was considered a safe situation in the first place.

Hmm… This is before going into the role of the other punters leaving DMA’S. Not all punters are model citizens, and indeed there were reports of some shouting out to just push people forward to

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get out of the tent. Again; I wasn’t there, and I can’t confirm that, but considering the behaviour of some during the festival, it isn’t entirely surprising that it would happen. However, many of the reports from those who were injured suggest that the crowd was moving out at a constant pace and the pile-ups started with people going at a relatively normal pace.

And other stuff… There was also at least one fatal overdose during the summer festival season – a mere fraction of the roughly 1,400 who die from overdoses each year. There were also several near-fatal incidents at music events over the summer. While I’m no expert in pharmacology, several experts have suggested that safe pill testing may significantly reduce the risk of fatalities among young Australian festival goers. Which, you know, would be a really good public policy position if it was correct.

So the answer is not to go to festivals or gigs or do anything remotely fun? No. You should do fun things. But you gotta remember that things can occasionally go wrong. That if you are going all out, then bad shit will occasionally find you. And even if you are being responsible, it doesn’t mean that you are in a bubble in such an environment.

You mean? That when you head out there is always risk involved.

Occasionally including things that you haven’t ever considered before. Risk surrounds us on a day-to-day basis, and there’s often not much we can do about it other than to think with our heads and embrace common sense. There’s no reason to shirk away from all fun, and to shut everything down. But, when you’re in an environment that has the potential to become unsafe, perhaps take a step back and a breath before proceeding, if possible.

53

the word

on films

WITH EMMA ROBINSON

Coming of age books and movies of my childhood are still among my favourite things to re-watch. This month’s Edge of Seventeen brought on some excellent nostalgic feelings (despite it being distinctly of its time) of how hideously awkward being a teenager is. Love affairs with delightful and somewhat bashful teens such as Erwin (Hayden Szeto) can offset some of the agony of growing up as this movie demonstrates without resorting to cliché.

Now if you’ll excuse me I’m off to re-read/watch Looking For Alibrandi.

quote of the issue “There are two types of people in the world. The people who naturally excel at life. And the people who hope all those people die in a big explosion.” – Hailee Steinfeld (Nadine), The Edge Of Seventeen

THE EDGE OF SEVENTEEN Coming of age movies are among my favourite sub-genres.

They come in a variety of styles (if you want a comparison that will provoke lengthy conversation, try 1986’s Stand

By Me and 2015’s The Diary Of A Teenage Girl) and, when done well, give audiences that ‘oh my God, I know that feeling’ moment.

The Edge Of Seventeen stars Hailee Steinfeld (who came to fame with True Grit) as Nadine, a high school junior who, like so many other teenagers, has had a crappy time of it. Levels of crap rise to near unbearable heights when her best (and only) friend Krista (Haley Lu Richardson) starts dating her aggravatingly high achieving brother Darian (Blake Jenner). Some questionable decision-making follows, commentated by the superb Woody Harrelson in the supporting roles he does so well, and Nadine has the sobering realisation that she is not the centre of the universe.

Director Kelly Fernon Craig deals with this well-trodden subject matter with a healthy blend of compassion for Nadine without shying away from her obvious flaws. Like so many teenagers, Nadine is angsty, opinionated, and self-absorbed but also endearingly awkward and willing to learn from her mistakes.

Nadine realises if she is having a ‘it’s hard to be alive’ moment, there is a good chance others feel this way too. Knowing one is not unique in their suffering is both sobering and empowering.

Fab movie.

EMMA ROBINSON

54

LA LA LAND

ALLIED

Sometimes extreme emotion compels you to sing and dance (even if you don’t have the staggering dual talents of Ginger Rogers and Fred Astaire).

Directed by Robert Zemeckis, Allied is the story of American spy Max Vatan (Brad Pitt), who is sent on a deadly mission behind enemy lines to Casablanca (yep, they went there) in 1942. There, he meets French Resistance fighter Marianne Beausejour (Marion Cotillard). They fall in love, but the pressures of war soon test their relationship.

Mia (Emma Stone) and Sebastian (Ryan Gosling) are struggling in their chosen artistic fields in a city that demands either absolute success or failure. As the demands placed on them rapidly increase it becomes clear they will have to choose between a life in the spotlight or true love.

There is a compelling argument to be made regarding the value of escapism, particularly in musicals. The contemporary challenges currently facing the globe (the not so insignificant spectre of climate change and the new leader of the free world lacking any common sense) are depressing to say the least.

Musicals have provided an outlet for this for decades – several of the most famous ones were eagerly consumed during the Great Depression. We need our stories, they are a necessary and essential coping mechanism, especially during times of turbulence and struggle.

Stone and Gosling are not exceptional singers and dancers, a point that has been noted by several film critics. Personally, I don’t think this detracts from the overall appeal of the film – this is a story about ordinary people who are struck by the urge to sing and dance their way through life.

La La Land is nothing new but it is a film to reignite the next generation’s love of musicals.

If you were to judge this movie based on its promotional posters in Australia – featuring Pitt and Cotillard walking hand in hand, a fiery explosion at their backs – you might assume that this was another Mr & Mrs Smith.

You know, that spy action flick where Pitt and Angelina Jolie fell in love on screen and off, right before he and Jennifer Aniston divorced … Gee, wonder why the Allied distributors went with that marketing angle, in the light of Pitt’s second divorce? I guess we will never know.

But this is no Mr & Mrs Smith. The glamorous and aesthetically-pleasing Allied wants to conquer ‘epic war romance’ territory, but manages to stake its flag somewhere around ‘meh, I guess I’d see it on a swelteringly hot day when the skin is melting off my bones, so I can sit in an air-conditioned cinema for a few hours’.

It’s not terrible, but it’s nothing to write home (or even write a review) about. Which might be why these 235 odd words focussed quite a bit on the movie poster…

MELISSA WELLHAM

EMMA ROBINSON

@bmamag

JACKIE

PASSENGERS

The story of president John F Kennedy’s rise to power as well as his tragic death has been well documented. What is not as well documented is the concurrent story of his (some might say long suffering) wife Jackie Onassis Kennedy.

Is it wrong to expect more substance in a sci-fi blockbuster? The genre itself is traditionally revered as one of ideas, speculation, and the exploration of the consequences of technological innovation.

Sure, Passengers boasts some impressive special effects, contributing to an overall slick and stylish production (the aesthetics of the interior of the spaceship seems to be the lovechild of a futuristic IKEA and an Apple Store). But the film seems to balk at its own premise, and in so doing, largely shirks the key responsibilities of the genre.

Natalie Portman stars as the titular character in this semi auto-biographical role that takes place in the grief-stricken week following her husband’s assassination. While consoling her two small children and managing her own devastation, the former first lady comes to the realisation that how she conducts herself in the next week, in and out of the public eye, will leave an indelible mark on her husband’s legacy.

Political commentator Annabel Crabb notes in her 2014 book The Wife Drought that domestic arrangements have a direct effect on professional advancements – having a spouse who dedicates their lives to maintaining the home front is a potent professional and economic asset. JFK, indeed all the American presidents, could not have enjoyed their varying levels of power and success without their first ladies. Jackie Kennedy was no exception.

The impossible was asked of her – caring for her children while preserving her husband’s political mark all the while trying not to succumb to grief. And she did so with her trademark grace and style.

Also, the aesthetic appeal of this film cannot be over-stated – Jackie had some killer outfits. A slow burning yet compelling film.

EMMA ROBINSON

Passengers details the journey of the starship Avalon as it carries 5,000 pod-hibernating would-be settlers to the new colony planet, Homestead II. It’s not all smooth sailing however – the starship suffers damage “navigating” an asteroid field, resulting in the premature awakening of convenient engineer, Jim Preston (Chris Pratt). Preston soon discovers that he’s the only one awake on the ship – 90 years early, with no way of reversing the situation. Despite the company of a chirpy android (Michael Sheen), Preston’s loneliness soon becomes unbearable, leading him to consider waking fellow passenger, Aurora Lane (Jennifer Lawrence).

Unlike Denis Villeneuve’s recent sci-fi film Arrival, which offered emotional depth, intelligence and entertainment in equal measure, Passengers forgoes the opportunity to unpack a decision of striking ethical complexity aided by a sharper screenplay, for a kind of film that may as well have been renamed Attractive People in Space.

MAJELLA CARMODY

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on gigs

PHOTOS BY MEGAN LEAHY PHOTO BY MEGAN LEAHY

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@bmamag

Falls Music & Arts Festival Lorne (VIC) Wed–Sat December 28–31 Review Writing 101 advises to always start at the start of a gig, and end at the end. Pretty simple, hey? But the most important thing at the Lorne leg of Falls 2016 happened smack bang in the middle, and it’s impossible to start anywhere else. This issue of BMA goes into more depth elsewhere, but the crowd crush on the end of the third day was the singular defining feature of the event. It shaped the days to come, how the festival will be remembered in future years – and perhaps even how the festival will run in the future. So, a brief few minutes in between DMA’S and London Grammar will likely have more ink spilled about it than the actual music of the dozens of other bands combined, and for just cause.

I arrived a day late at the festival after an unplanned vomiting tour of some of the most picturesque Victorian towns on offer, thanks to some dodgy mayo at a café in the middle of nowhere. It meant I missed a chance to see a lifelong idol in Grandmaster Flash, and the ability to eat solid food for the next few days. The lack of Flash probably disappointed me more.

Day two saw only one stage open, but by the time that late replacement Golden Features hit the stage the crowd was certainly there. Despite only being added to the bill days before, a rapturous response met the EDM master behind the mask, with some perhaps peaking a little early. After a little while my group drifted off to explore the site, and somehow stumbled on a heavy metal mariachi band. You know shit’s real when even the mariachi music is fucking metal.

Festival favourites for a long time, Fat Freddy’s Drop were tasked with keeping things simmering without boiling over. The band, resplendent with a costume-changing horn section, hit their mark with their somewhat unique brand of rock-stained dub.

There’s something oddly familiar about Broods, even if one hasn’t seen them before. Largely pulling from the same sonic playbook of the CHVRCHES strain of emotional pop, Broods showed some real high moments, but much of the set blended into the rest, with time starting to blur together. Or maybe I was just feeling nauseous again.

Not many artists have successfully navigated a career left turn like Donald Glover has in the last two years. Glover, a.k.a.

Childish Gambino, went from being a rising hip-hop star and ensemble sitcom star, to being a future funk master and awardwinning showrunner. Gambino’s set was largely split into two components; those more familiar with his early work like ‘3005’ and ‘Sober’, and those whose minds were blown by “Awaken, My Love!”.

Walking in with less of an idea of his back-catalogue than others present, it was definitely his latter work that impressed more than the former. I mean, how does a guy (and his rock tight band) even muster up the courage to attempt being a modern P-Funk?

Gambino’s voice shone throughout the set, but really it was the band (and the tight material) that brought the party.

Day three came on like a rush. I knew I was going to like Dumb Punts pretty early; they were the punks smashing beers at the campsite playing ‘(I’m) Stranded’. Good fucking areas. But I didn’t think they’d actually be that good as they were as a band. With a classic power trio set up, the Punts blended some quirky garage-punk songwriting with killer riffs and pretty solid execution. Even though they had a short set, they more than made the most of it.

I have to give a shout-out to Canberra locals the The Stevenson Experience, who got perhaps the best reception of any comedy act at the festival. And it wasn’t token applause or perhaps bribery; the twins were legitimately hilarious. Tired Lion know how to slay a tune, ‘90s style. I mean Kim Deal howling out front style. A little bit sludgy in parts, Tired Lion still worked best when the choruses were a little poppy, and the rest was a little vague. But it was a very good set by a band on the up-and-up.

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Australian hip-hop is undergoing a renaissance right now, and at the forefront of this is one Remi Kolawole. Of all the artists at the festival, none did a better job of engaging the crowd or making them turn on their side than Remi and Sensible J. With a flow that even the Murray would envy, Remi didn’t seem to stumble for a second during his set.

It was some time after this that the crush occurred, with scores of people being injured, and a stage being closed for the rest of the night.

Over the rest of the festival people would be walking around with fresh bandages and splints, but you couldn’t ignore that there was a definite “before” and “after”, or at least after everyone found out.

Violent Soho, a.k.a. the boys from Mansfield, are firmly established; a legit festival drawcard. But they might work a little better in a smaller enclosed environment. And maybe some juice was sucked out of the crowd from the tent incident, but the response wasn’t at 100% for the Brisbanites. But, if you want dumb fun and to forget the haters, there’s certainly worse choices than to see a Soho set.

Waking up on NYE, I’m relatively sure that I heard Hockey Dad kicking on from the sanctity of my nylon room. But they still rocked up on time for their set; albeit with a vom bucket for safety. Coming straight outta the ‘Gong, the duo impressed with poppy garage rock and the occasional strategic spew. There were hooks all across their short set, but it was the people that were cheering for vomit that will stay a memory for years to come.

I knew practically nothing about Good Boy before seeing them play, other than sharing a couple of words back at the campsite. The Bundaberg-come-Brisbane trio won the early punters over with idiosyncratic indie rock, energetic yet melodic and a whole lot of fun at the same time. You’ll probably hear more from them in the years to come, and I won’t be the first to say it.

Parquet Courts didn’t really match with everyone else on the bill, but for about an hour it really didn’t matter. Set off by a touch-andtype intro, Parquet Courts set out on a voyage of true rock and roll that few bands can pull off. I cannot emphasise how good they were, no matter what flowery phrase I utilise. Although the crowd was a little thin, everyone I ran into later were talking about how good they were. Maybe they were a little arthouse for something like Falls, but I didn’t see many better things in 2016. They are a number one rock and roll band, very bloody good in song-craft and delivery.

During Remi’s set the day before, he said that we all had to see Baro the next day. The few of us that took the tip were richly rewarded with a set of tight, live band backed hip-hop. A little later in the day Pond blew the crowd away with their set of psych-rock. Nick Allbrook and co. certainly have something good going, even if it is a little less than focused at times.

After their comeback it was always unsure how The Avalanches would translate live, being a two-piece studio concern with sample heavy and sonically rich tracks. Neither one of the remaining two members were noted singers, and even if they were the material was so dense that they needed back-up to pull it off. And, as a result, they called in the re-enforcements to give the songs a bit more verve; namely Spank Rock, Eliza Wolfgramm and local Oscar Key Sung.

All the hits were there, nearly in perfect order. ‘Frankie Sinatra’ was dragged out early with Spank Rock doing a very solid job.

Oldies ‘Avalanche Rock’ and ‘Flight Tonight’ followed, and the mood was joyous throughout. It was nearly a karaoke version of the Avalanches, but it didn’t matter. The songs were so good it didn’t matter anyway. As midnight hit and the band blew confetti cannons into the crowd, everything seemed to align as alright in the world, no matter how hack-riddled that sounds. ‘Since I Left You’ followed the ceremonies, and the crowd went as wild as they should. Maybe 2017 wouldn’t be as bad as 2016 was after all.

CODY ATKINSON

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Tim Rogers, The Lowlands Smith’s Alternative Monday January 9

on gigs

Handpicked by the headliner as the support, The Lowlands have slowly been developing as one of the more promising local acts in the past 12 months. Although down a member on the night, the temporary two-piece impressed with a series of lengthy ballads, occasionally interspersed with jazzy interludes. On a night of good storytelling, the band certainly didn’t let the team down with their set.

The dictionary defines a “raconteur” as a person who tells anecdotes in a skilful and amusing way, and a reviewer who refers to dictionary definitions through a review as a “hack”. So, as it stands after the night in question, Tim Rogers is definitely the former, and I’m definitely the latter.

Tim Rogers, the frontman of You Am I and many other going concerns over the years, isn’t just a singer-songwriter. The art of banter is oft the centrepiece of a set without accompaniment, and Rogers might be one of the finest exponents, with stories often melding into song.

The last time Rogers was in Canberra he was at the Canberra Theatre; this time he did a double show in a venue a fraction of the size; a favour for Smith’s. The intimate venue worked well for Rogers, who interacted with the audience including a dog in the back row.

PHOTO BY MEGAN LEAHY

Rogers played all the classics, or the “Berlin Hearts” as he called them. ‘Purple Sneakers’, ‘Jaimme’s Got A Gal’, ‘If We Can’t Get It Together’ – the songs you heard if you grew up through the ‘90s, or have been on a roadtrip with anyone who did. The execution without a full band is different – the voice shines through a little more, the lyrics resonate a little longer. And in such a cosy venue, that made it all the more personal.

CODY ATKINSON

Wallis Bird, Moaning Lisa, Tessa Devine, Happy Axe The Phoenix Wednesday December 21

the word

There was an extraordinary array of pre-Christmas female talent at The Phoenix on December 21. Happy Axe kicked off in what was a night of mainly one-person bands. She wove together vocal overlaps, violin, a saw played with a bow and electronica in eerie combinations. Happy Axe has to be at the forefront of the more experimental local musical scene.

on gigs

Tessa Devine was a surprise inclusion on the line-up. There literally were bells on her toes (a foot powered tambourine). Devine used a foot-stop drum made from a thick textbook, guitar and two mics to create wonderful music. Her voice was most impressive, coming in powerful bursts that brought to mind Toni Childs.

Local four-piece Moaning Lisa injected the louder, rock element. They weave together songs of youthful angst, highlighting relationship stereotypes and the many pressures and demands brought to bear on young adults. The band weaves strong vocal harmonies, with Charlotte Versegi providing the sultry, rebellious angle and Hayley Manwaring rocking it up, including a cover of Hole’s ‘Malibu’.

PHOTO BY JAY BLACK

(Photographed elsewhere.)

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Headliner Wallis Bird brims with confidence and energy, starting with an acapella rendition of ‘Home’ from her new LP. She engaged with the audience quickly with her free-flowing, humorous patter, challenging anyone leaving with a “where ya goin?”. Performing on a small wooden platform, Bird used its percussive qualities, incredible loops of her voice and taps on the mic to recreate the sound of her latest record. Abandoning the guitar, she hammered out the rhythm with stomps on the platform and hand claps, before leaving the stage to continue the footwork on the floor, getting the audience to provide the supporting handclaps and some vocal harmony support.

It was masterful!

RORY MCCARTNEY

@bmamag

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Cell Block 69, Slow Turismo ANU Stadium Saturday December 17

on gigs

For a crowd dressed ready (fluoro clothing and ‘choose life’ shirts abounded) for the Canberra 80’s musical institution, locals Slow Turisimo drew many in to investigate with a great sound fitting the evening.

At the voiceover “welcome to ANU Stadium”, the excitable sold-out crowd flocked to Cell Block 69’s opener, ABC’s ‘Poison Arrow’. Following a welcoming sermon to the starving faithful by resplendent lead Duane LeCorey-Michaels, ‘Hungry Like The Wolf’ satisfied like Chicken Gourmet in the wee hours. They crossed the Atlantic to the powerful female vocals of ‘Gloria’ delivered with stylistic 80’s dance. After expert delivery of Talking Heads, came icons INXS and George Michael. They remained “faithful” to the video clip here with shades, leather, denim and tan acoustic guitar.

This mimicry continued throughout the night and is a major reason this show is more than a cover band.

PHOTO BY GEOFFREY DUNN

(Photographed at The Basement, 16/12/2016.)

The next theme was an 80’s inspired drum beat medley comprising of ‘Modern Love’, ‘Wild Wild West’ and ‘Footloose’, taking the dance floor to a frenzy. Corey Spellings’ ‘Jump’ guitar solo was a splendid prelude to what would be unleashed in the second set. The Purple One opened a powerful return. ‘1999’ was followed by The Cure’s ‘Close To Me’ (closet included) and Billy Idol’s ‘Rebel Yell’. A turn in mood occurred with Kate Bush’s ‘Running Up That Hill’ before a return to fun with Freddie Mercury’s vacuum cleaner and Cher’s cannon riding. Both highlights! Europe’s ‘Final Countdown’, a 90’s megamix and regular encore ‘You’re The Voice’ was a superb close.

With ANU Refectory closing in 2017, we eagerly anticipate Cell Block’s triumphant return to a new stadium.

JARROD MCGRATH AND THE DECK

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Dallas Frasca, Foreign Kings Transit Bar Friday December 16

on gigs

Touring to support their new EP Dirt Buzz, Dallas Frasca graced the stage of Canberra’s own Transit Bar and took no prisoners. Bringing everything to the stage, the band had the crowd writhing in the palm of their hand. Locked and loaded with heavy, blues inspired riffs and a scream to rival that of Janis Joplin, Dallas Frasca came, saw and conquered.

Hometown heroes Foreign Kings opened for the Melbourne band and did not disappoint, as they rarely do. Their first show since Oktoberfest at ANU, the five-piece powerhouse assured everybody they had not lost it. Lead vocalist, Justin Croke, had the crowd entertained during and in-between songs with classic onstage banter. Their tight rhythm section and shredding pair of guitarists were the perfect ingredients to set the mood for the main act.

(Photographed elsewhere.)

Stepping onto the stage with two less members, it was hard to believe Dallas Frasca packed more punch than the opening act.

Pacing up and down, on and off stage, the eponymous lead vocalist looked out onto the crowd as if planning when to strike. A few songs in she eventually did and cut the music. Under the belief that the crowd was not moving enough, Frasca took it upon herself to give them a lesson. The confidence to command a crowd like Frasca is not seen everyday. She made outliers jump into the mosh and commanded everybody to crouch down on the ground, slowly rising as she lifted the music. The song then kicked back into gear and the band continued their reign of rebellion.

THOMAS SPILLANE

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Keith Urban, Carrie Underwood GIO Stadium Saturday December 10

on gigs

It’s a novelty to have big name acts come to town, and with Keith Urban playing GIO Stadium last weekend, it seemed like a novelty for him too. Similarly, it’s unusual to see supporting artists who are as accomplished as Carrie Underwood. Underwood sang hits ‘Jesus Take the Wheel’ and ‘Something in the Water’, and emphasised that the crowd was “gonna see Keith Urban tonight!” Prior to Urban taking the stage, the drinks line was an hour and 45 minutes long but yielded none of the advertised ice creams.

Keith Urban began promptly, demonstrating his respect for his fans’ time. After playing two classic bangers, he spent 15 minutes talking to the crowd and reading their signs aloud. As he has done in the past, Urban acknowledged long distances travelled by many attendees and thanked the crowd for using some of their limited resources to see his concert.

Urban brought a casual and fun vibe to the night. He played from a large variety of his albums, and many songs were played note for note, including solos. Underwood returned to perform the co-released single ‘The Fighter’. Three-quarters of the way through the evening, Urban moved to a secondary stage positioned towards the back of the stadium for the enjoyment of those in the stands. As would seem to be standard for him, he signed and gave away a guitar he played from his range.

PHOTO BY KELSEY ANNE DRABSCH

While Urban fans are diverse and in this instance included tweens and retirees as well as people from the country and city, a disappointing margin of young adults were disorderly and aggressive. This is inconsistent with other country acts in the region and Urban’s previous performances.

GRACE FLANAGAN

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Josh Pyke and Bob Evans The Street Theatre Saturday December 10

on gigs

The fact that this show was sold out over a month before the performance is testimony to both Canberra’s love of Josh and Bob and an increasing dedication to live music. Gone are the days of being able to decide on the day and grab your tickets on the door; if you really want to see an act then go buy those tickets early folks. The duo expressed their appreciation for the quick ticket purchasing, as well as their pleasure in performing at the Street Theatre for the first time (particularly Bob who told us he is “more used to playing in toilets”). The stage contained a large floor rug and two side tables next to the two mic stands and kind of looked like your grandmother’s lounge/dining room.

The performance unfolded according to this setting and these two had such great charisma that it was like watching two brothers catching up for a family jam at Christmas. Their relaxed banter between songs provided plenty of humour and amusement amongst the excellent display of singer/songwriter rock they are famous for.

They alternated performing each other’s songs and started the set strong with ‘Forever Song’ and ‘Nowhere Without You’ coming in early.

PHOTO BY BOBBY HENDRY (Photographed elsewhere.)

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They gave us their new songs written for this tour before a game of scissors-paper-rock to decide which artist got to leave the stage before the interlude and drink the rider. Josh won, leaving Bob to give us two songs solo. Besides ‘Middle of the Hill’ and ‘Lines on Palms’ (sung by Bob) the second set was not as strong. However, their cover of The Beatles’ ‘Two of Us’ as the closer in their encore was fitting for this excellent evening of collaboration.

JARROD MCGRATH

@bmamag

the word

The Monkees Llewellyn Hall Friday December 9

on gigs

If you could sing ‘Oh No No No’, then you qualified to provide backing vocals at The Monkees show at Llewellyn Hall. Trouble was, you had stiff competition from the several hundred other people wanting to get in on the act in ‘Last Train to Clarkesville’ at this good times, good memories event. Fifty years is a long time and only Peter Tork and Mickey Dolenz from the original group, with a five-piece backing band which included Donenz’s sister Coco, were present.

However, this did not matter to those who remembered the band and its songs from the long running TV show (on in black and white in Australia at the time).

(Photographed elsewhere.)

Apart from the well-known hits, The Monkees played selections from their recent Good Times LP. While the new songs came from writers as diverse as Carol King and members of Weezer and Death Cab For Cutie, the vibe stayed true to The Monkees’ original approach, with bright, catchy tunes in the ‘60s style. There were two drum kits, one for the supporting percussionist and one reserved for Dolenz, so we had two drummers hammering away in some songs.

Tork showed that he has not lost his flair with the guitar, and he is no mean picker on the banjo either. The set list revealed the full breadth of The Monkees’ material, not obvious from their better known tunes, and there was a strong psychedelic bracket early in the second half of the show. The late Davy Jones was remembered, with a vocal track of his singing being used as the core of ‘Daydream Believer’, with backing from Tork, Dolenz and most of the punters in the hall.

RORY MCCARTNEY

the word

on gigs

A Very 80’s Christmas Party! with Flux Capacitor The Basement Friday December 9 So maybe Canberra is starting to get a tradition of musical gettogethers for the festive season that revolve around hits from the past (and more precisely, that awesomely tragic and fab era of the 1980’s). Given that Cell Block 69 has cemented its position as a local tradition with sold-out shows and expansion to other venues, it is a clever move by Flux Capacitor to develop a similar concept. Approaching this evening with this mindset, I was a little disappointed. Nevertheless, there were still some great points to the night.

Essentially it meant that Belconnen somewhat had its own King O’Malley’s, or Civic nightlife experience. It was good business for The Basement with quite a few punters in the doors early and drinking up. Flux Capacitor hit the stage relatively early but the crowd were ready, and they immediately had us dancing to openers ‘99 Luftballoons’ and ‘White Wedding’. The five-piece had a solid sound but with keyboards and female vocals, I was expecting more electro pop and maybe some more tragic rarities as opposed to many of the standard pub classics we got over the night.

Sure, classics such as ‘Jesse’s Girl’ and ‘Livin’ on a Prayer’ are popular and well known but we can hear these from many other covers bands on a regular Saturday night. Roxette’s ‘The Look’, Madonna’s ‘Material Girl’ and Pseudo Echo’s ‘Funky Town’ were more on point with what I had anticipated for this evening and were highlights.

Regardless of set analysis, there was plenty of dancing and sing-alongs, some good costumes, catch-ups with friends and even more dancing post band performance and midnight. Like any good night out on the town, but in Belco.

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JARROD MCGRATH

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Fairgrounds Festival Berry Showgrounds Fri–Sat December 2–3

on gigs

In only its second year, Fairgrounds Festival is quickly establishing itself as one of the better boutique festivals going.

Surely by now everyone knows that The Drones can belt out a bloody good live set, right? I don’t need to spend much time talking about Gareth Liddard’s vicious vocals, or angst-ridden guitar strokes. Or how Fiona tends to face Christian Strybosch as she plays, looking for small cues. Or even how they can whip up such a fury from such an innocuous start. Best to keep it brief instead.

Rodriguez, going on the suddenly swelling crowd and freshly bought t-shirts on shoulders, was the main draw for the weekend. Maybe it was the bands surrounding him, but the set felt like a touch of a letdown, with the originals interspersed with flattish covers. If you want multiphase psych-garage dirges with occasional 10-secondlong solo breaks, then King Gizzard & The Lizard Wizard have you sorted. This is not a negative thing – most bands can’t do one thing well, and the thing that the eighty trillion Gizmasters do on stage is a particularly good thing.

Middle Kids and Julia Jacklin got day two off to a very pleasant and languid start, with the latter in particular an early highlight. Jacklin has burst onto the scene in recent months, and on this afternoon, it is quite easy to see why; a little bit pop, a little rock and a little country.

Straight outta Philly, Sheer Mag certainly know what to do with a good riff. Like the love child of 70’s arena rock and punk, the fivepiece cut cool with a bit of an edge, and blow away the cobwebs that anyone was feeling from the night before. Running through material from their three EPs, their set was anchored by the killer vocal performance from Tina Halliday – the balance to the epic riffitude.

With a band behind her resplendent in matching tuxedos and bolo ties, Angel Olsen hit the stage and worked on winning everyone over. It wasn’t a hard task; My Woman was one of the best albums of 2016, and her earlier stuff isn’t much worse. Olsen impressed with a set of hybrid indie-folk-country, and enough variation to keep things interesting throughout. Oh, and ‘Shut Up Kiss Me’ is a bloody belter of a song, and anyone who disagrees is wrong.

“It’s never, ever been this hot in Canada.” Japandroids stood on stage, melting away. In between wiping sweat from their eyes, the Canadian duo tried their best to melt faces with their energetic rock. Japandroids said they hadn’t played in the daylight in three years; but they probably haven’t played any bad sets in that time either. Earnest lyricism is sometimes hard to handle on its own, but the two pale men matched it well with kicking riffs.

Sarah Blasko has passed through several different phases in her career, as her popularity has grown throughout. Blasko proudly displayed her pop sensibilities, tempered by some smart arrangements to stop becoming saccharine.

PHOTOS BY MEGAN LEAHY PHOTO BY MEGAN LEAHY

As day turned into night (WORDPLAY), the heat started to draw out of the day. Swedish handsome man The Tallest Man On Earth crooned his way through a set of atypical guitar pop. With bits of folk shining through it was a little bit of a come down, but perhaps a welcome one. Closing a two-day festival is sometimes a tough ask, but Jagwar Ma seemed to know how to proceed with ease. I’m not their biggest fan, but even I was won over a little with their energetic indie dance, whilst those who remained danced throughout.

After two days, and feeling exhausted, the crowd trundled away from the Showgrounds, some trying to keep the party alive.

Fairgrounds might just be onto something if it can keep its early charm.

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CODY ATKINSON

@bmamag

ENTERTAINMENT GUIDE January 18 – January 21

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

WEDNESDAY JANUARY 18

THURSDAY JANUARY 19

ART EXHIBITIONS

COMEDY

Versailles: Treasures from the Palace

LolPol with Danny Bensley

9 Dec-17 Apr. Extravagant treasures from the Palace of Versailles are coming to Australia.

NATIONAL GALLERY OF AUSTRALIA

College Create

Support from Liv Sparrow and Cy Fahey.

8pm. $7 online, $10 at the door.

POLIT BAR & LOUNGE

LIVE MUSIC

A curated exhibiton of stand-out works

by Canberran college students. Free.

Dec 8 - Jan 28.

Hard Cover

Iconic Australian Houses

NATIONAL ARCHIVES OF AUSTRALIA

Launching debut EP ‘Show Me’.

Support from Philipp Malong. 9pm. $8/$10.

LIVE MUSIC

Silentia

TUGGERANONG ARTS CENTRE

The exhibition continues until 13 Mar.

McKenna Faith

20-year-old country music singer/ songwriter from Northern California.

THE FRONT GALLERY AND CAFÉ

Monoceros

Support from Hallucinatorium and Wesley & The Crushers. 7:30pm. $10.

THE BASEMENT

Kenta Hayashi

Loop pedal ninja. Support from Water Copy. 6:30pm. $10/$15.

SMITH’S ALTERNATIVE

ON THE TOWN $10 Express Lunch

The Jerk Off ... Second Coming! Jerky and acoustic juices. 6pm.

THE BASEMENT

The Lowlands

Support from Guyy, Wandering Ghosts.

8pm. Free.

TRANSIT BAR

Lyn Dale and Diversity 5:30pm.

THE DICKSON TRADIES

Married Man

With Greta Now, and local band TBC. 9pm. $10/$5.

THE PHOENIX BAR

ON THE TOWN

UNI PUB

SOMETHING DIFFERENT

THE BASEMENT

Aethër

Info at thebasement.com.au.

ANVIL DESIGN STUDIO

Bleach it Clean

By Lucy Palmer. In conjunction with (r)evolve, Ausglass Conference 2017.

Jan 19 - Feb 5.

Support from Sally Chicane, Organic Mechanic, Telephones For Eyes. 8pm. $10.

The Earth Element: Life’s Fragility

UNI PUB

M16 ARTSPACE

5pm/10pm. Free.

KING O’MALLEY’S IRISH PUB

The Ians

With Faux Faux Amis, Eadie and the Doodles. 9pm. $10/$5.

THE PHOENIX BAR

Mr. Tim’s Mini Musical Performances

Student’s from Mr. Tim’s holiday program perform their own original musical. 1pm. Free.

TUGGERANONG HYPERDOME CENTRECOURT

Lyn Dale and Diversity 11pm.

THE BURNS CLUB

ON THE TOWN

TRANSIT BAR

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

AVIARY ROOFTOP BAR

BELCONNEN ARTS CENTRE

NATIONAL PORTRAIT GALLERY

Shadow House Party

THEATRE

Mr. Tim’s Mini Musical Holiday Program

Shadow House Party

TUGGERANONG ARTS CENTRE

Mini-theatre festival featuring new feminist rock musical Ophelia’s Shadow. 7:30pm. $39.

THE COURTYARD STUDIO

WORKSHOPS Mr. Tim’s Mini Musical Holiday Program 9.30am-4pm. $125 per student.

TUGGERANONG ARTS CENTRE

School Holiday Program for kids

Jan 9-25. From $96- $250. Info at canberrapotters.com.au.

WATSON ARTS CENTRE

9.30am-4pm. $125 per student.

FRIDAY JANUARY 20 ART EXHIBITIONS Citified by Rosy Wilson

Solo exhibition capturing iconic cities from New York to Rome. Opens Fri Jan 20 at 6pm.

ANVIL DESIGN STUDIO

LIVE MUSIC

Shadow House Party

Mini-theatre festival featuring new feminist rock musical Ophelia’s Shadow. 7:30pm. $39.

THE COURTYARD STUDIO

9.30am-4pm. $125 per student.

TUGGERANONG ARTS CENTRE

SATURDAY JANUARY 21

TRANSIT BAR

Live at the Tradies

Visit thetradies.com.au to find out who’s playing every Thurs-Sat.

Lyn Dale and Diversity VIKINGS CLUB (ERINDALE)

Icon

10:30pm. Free.

KING O’MALLEY’S IRISH PUB

Winter Wilson

With Lowlands. 7pm. $22.

CANBERRA IRISH CLUB

Split Feed

With Jacob, Elk Locker, Lost Coast.

9pm. $10/$5.

THE PHOENIX BAR

Robot Citizen, Lady K, Altercate (Neko Nation, Syd). 7pm. $5.

LOBROW GALLERY & BAR

Vault High Flyers

Canberra’s best DJs every Saturday.

Free from 10pm.

UNI PUB

ART EXHIBITIONS Iconic Australian Houses

SOMETHING DIFFERENT

The exhibition continues until 13 Mar.

Paws for Art

Intrinsic Properties, Inherent Vice

NATIONAL PORTRAIT GALLERY

NATIONAL ARCHIVES OF AUSTRALIA

BELCONNEN ARTS CENTRE

Bryna Bambury, Nikki Chopra, Eliya Nikki Cohen, Chelsea Kalogiannidis, Holly Tranter. Jan 19 - Feb 5.

M16 ARTSPACE

facebook.com/bmamagazine

With Wesley and the Crushers, The Postmasters, Michael Misa. 8pm. Free.

VAMP

Intersections

THE FRONT GALLERY AND CAFÉ

The Feldons

Mr. Tim’s Mini Musical Holiday Program

James Bennett 8pm.

8pm.

ON THE TOWN

Support from Lyall Moloney, Gold Member, Shaker DJs. 3pm.

TRANSIT BAR

Tommy Castles

WORKSHOPS

Glass exhibition with Stevie Fieldsend, Michaela Gleave, Anna McMahon and more. Jan 21 - Mar 5. Free

Bootleg Rascal

LIVE MUSIC

9pm.

BAD!SLAM!NO!BISCUIT!

THEATRE

CANBERRA THEATRE CENTRE

Creatures of the Night

POLIT BAR & LOUNGE

WORKSHOPS

Tickets at australianballet.com.au.

THE DICKSON TRADIES

Get a taste of Christopher Samuel Carrol’s exciting new work. 6pm. Free.

NATIONAL LIBRARY OF AUSTRALIA

The Nutcracker

SOMETHING DIFFERENT Burlesque and fire twirling performances. Live music by the Josh Knoop Trio. 5pm. Free.

12.30pm. Free.

DANCE

THE BASEMENT

Open Rehearsal Paradise Lost

The Sell – A Curator’s View

BELCONNEN ARTS CENTRE

An ambient depressive black metal five piece.

Fridays From Five

THE COURTYARD STUDIO

ANU Glass Workshop graduates.

Dec 8 - Jan 28.

$10 Express Lunch

Salacious entertainment, laughs and prizes! 8pm. Free.

TALKS

Ontogenesis

Deadspace

The Thursday Games

Mini-theatre festival featuring new feminist rock musical Ophelia’s Shadow. 7:30pm. $39.

TUGGERANONG ARTS CENTRE

ACADEMY NIGHTCLUB

THEATRE

THE PHOENIX BAR

A curated exhibiton of stand-out works

by Canberran college students. Free.

Dec 8 - Jan 28.

THE FRONT GALLERY AND CAFÉ

Fun and Games with Tammy Paks

Poetry slam. 7:30pm.

College Create

9pm.

Pizza and a soft drink for $10. 12pm2pm. Tue-Fri.

AVIARY ROOFTOP BAR

By Marilyn Stretton. Jan 19 - Feb 5.

SCNDL

Top 40 Party Tracks + Student prices.

Free from 10pm.

Crazy ass games including tournaments and prizes, and all things Sangria & FUN. 5pm. Free.

M16 ARTSPACE

Natalie Prevello Duo

THE BASEMENT

GG (Georgia Ginnivan)

Hump Day

TRANSIT BAR

The Swamp Stompers

Jason Hart/Oscar

SMITH’S ALTERNATIVE

Citified by Rosy Wilson

Solo exhibition capturing iconic cities from New York to Rome. Opens Fri Jan 20 at 6pm.

SMITH’S ALTERNATIVE

5pm. Free.

KING O’MALLEY’S IRISH PUB

Vault Thursdays

Get over the hump with drink specials after 5pm.

8pm.

9pm. Free.

Pizza and a soft drink for $10. 12pm2pm. Tue-Fri. TRANSIT BAR

Tommy Castles

Bring your dog for some outdoor arty fun with live music, drawing, stalls and more! 11am. Free.

THEATRE Shadow House Party

Mini-theatre festival featuring new feminist rock musical Ophelia’s Shadow. 7:30pm. $39.

THE COURTYARD STUDIO

63

ENTERTAINMENT GUIDE January 21 – January 28 SATURDAY JANUARY 21 WORKSHOPS School Holiday Program for kids

Jan 9-25. From $96- $250. Info at canberrapotters.com.au.

WATSON ARTS CENTRE

SUNDAY JANUARY 22 ART EXHIBITIONS

DANCE

LIVE MUSIC

THEATRE

The Nutcracker

Ty Dolla $ign

Paradise Lost

CANBERRA THEATRE CENTRE

ANU BAR

Tickets at australianballet.com.au.

KARAOKE

ON THE TOWN

#KaraokeLove

Drezo

TRANSIT BAR

ACADEMY NIGHTCLUB

9pm. Free entry.

ON THE TOWN $10 Express Lunch

Ontogenesis

Pizza and a soft drink for $10. 12pm2pm. Tue-Fri.

BELCONNEN ARTS CENTRE

SOMETHING DIFFERENT

ANU Glass Workshop graduates. Jan 21 - Mar 5. Free.

Citified by Rosy Wilson

Solo exhibition capturing iconic cities from New York to Rome. Opens Fri Jan 20 at 6pm.

ANVIL DESIGN STUDIO

DANCE

More info at dollasignworld.com.

TRANSIT BAR

Hip Hop Holiday

Info at tuggeranongarts.com.

TUGGERANONG ARTS CENTRE

TALKS From Raskols to We Cut Heads

9pm. $15 + bf.

John Milton’s work adapted by Christopher Samuel Carroll. $28. Times at belconnenartscentre.com.au.

BELCONNEN ARTS CENTRE

FRIDAY JANUARY 27

Hump Day

ART EXHIBITIONS

TRANSIT BAR

Intrinsic Properties, Inherent Vice

Get over the hump with drink specials after 5pm.

SOMETHING DIFFERENT Fun and Games with Tammy Paks

Salacious entertainment, laughs and prizes! 8pm. Free.

POLIT BAR & LOUNGE

Glass exhibition with Stevie Fieldsend, Michaela Gleave, Anna McMahon and more. Jan 21 - Mar 5. Free BELCONNEN ARTS CENTRE

Climbing Equipment 1-3

Local artist Jac Bradley’s installation.

Live music. 5pm. Free.

NATIONAL PORTRAIT GALLERY

WORKSHOPS

LIVE MUSIC

School Holiday Program for kids

T-Pain

WATSON ARTS CENTRE

ACADEMY NIGHTCLUB

Jan 9-25. From $96- $250. Info at canberrapotters.com.au.

Live for the first time in Canberra.

Support from The UMG Allstarz. 9pm. $55 + bf via Moshtix.

Tickets at australianballet.com.au.

Stephen Dupont’s Artists Books. 6pm.

Free.

CANBERRA THEATRE CENTRE

NATIONAL LIBRARY OF AUSTRALIA

LIVE MUSIC

TRIVIA

Introductory Intensive Course

Heuristic

Aviary Live Sessions

The Phoenix Quiz

WATSON ARTS CENTRE

KING O’MALLEY’S IRISH PUB

THE PHOENIX BAR

Ausglass Conference Professional Workshops. Info at canberraglassworks. com. Jan 27 - Feb 5.

The Nutcracker

3pm. Free. Local musicians step in to entertain us for a Sunday Session. Beer & Cider specials.

7.30pm.

AVIARY ROOFTOP BAR

WORKSHOPS

Stick To Your Guns

School Holiday Ceramic Puppetry Class

With Knocked Loose, Relentless, Reactions & Honest Crooks. 8pm. $44.90.

THE BASEMENT

Irish Jam Session

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

KING O’MALLEY’S IRISH PUB

MONDAY JANUARY 23 DANCE The Nutcracker

Tickets at australianballet.com.au.

CANBERRA THEATRE CENTRE

LIVE MUSIC 2XX LocalNLive present The Bootleg Sessions With Psionic Tide, Hallucinatorium, Davey Smiles, Mickay. 8pm. Free.

9 am – 1 pm. $250.

WATSON ARTS CENTRE

Introductory Intensive Course 9.30am-4pm. $320.

WATSON ARTS CENTRE

A Home for Un-Loved Animals Create art using recycled soft toy animals. 10am. Free.

TUGGERANONG ARTS CENTRE

WEDNESDAY JANUARY 25 ART EXHIBITIONS College Create

Introductory Intensive Course 9.30am-4pm. $320.

WATSON ARTS CENTRE

TUESDAY JANUARY 24 ART EXHIBITIONS Intrinsic Properties, Inherent Vice

Glass exhibition with Stevie Fieldsend, Michaela Gleave, Anna McMahon and more. Jan 21 - Mar 5. Free BELCONNEN ARTS CENTRE

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LIVE MUSIC Chicago Charles

9pm. Free.

BELCONNEN ARTS CENTRE

Bryna Bambury, Nikki Chopra, Eliya Nikki Cohen, Chelsea Kalogiannidis, Holly Tranter. Jan 19 - Feb 5.

M16 ARTSPACE

Aethër

By Lucy Palmer. In conjunction with (r)evolve, Ausglass Conference 2017.

Jan 19 - Feb 5.

M16 ARTSPACE

The Earth Element: Life’s Fragility

By Marilyn Stretton. Jan 19 - Feb 5.

Uni Pub After Work Wind Down

Live acoustic musicians from 5pm for after work drinks. Free Entry from 5pm.

UNI PUB

Sophie Edwards 5pm. Free.

UNI PUB

Go As Your m8!

Helena Pop, Oranges, Eadie and the Doodles. Dress as your friend please.

8pm. $10/$5 with costume.

LOBROW GALLERY & BAR

Holy Serpent & Witchskull

Summer Sounds – A World of Music

TRANSIT BAR

Celebration of contemporary rhythms from around the world. 1pm. $40/$80.

FOUR WINDS

The Front Bottoms

Support from The Hard Aches. 8pm.

Tickets are $49.50 at oztix.com.au.

THE BASEMENT

Vault Thursdays UNI PUB

The Thursday Games

Crazy ass games including tournaments and prizes, and all things Sangria & FUN. 5pm. Free.

AVIARY ROOFTOP BAR

$10 Express Lunch

Pizza and a soft drink for $10. 12pm2pm. Tue-Fri. TRANSIT BAR

Australia Day

Double plugger toss with prizes, beers, burgers and Hottest 100. Free from 12pm.

UNI PUB

M16 ARTSPACE

Hottest 100 and Cold Ones

COMEDY

AVIARY ROOFTOP BAR

Open Mic Comedy Night

SOMETHING DIFFERENT

THE PHOENIX BAR

GABS Hottest 100 Aussie Craft Beers

8pm. Free.

10pm. Free.

KING O’MALLEY’S IRISH PUB

Top 40 Party Tracks + Student prices.

Free from 10pm.

Intersections

WORKSHOPS

THURSDAY JANUARY 26

Ontogenesis

TUGGERANONG ARTS CENTRE

SOMETHING DIFFERENT

TUGGERANONG ARTS CENTRE

CANBERRA GLASSWORKS

ON THE TOWN

ANU Glass Workshop graduates.

Jan 21 - Mar 5. Free.

Info at tuggeranongarts.com.

(r)evolve

A curated exhibiton of stand-out works

by Canberran college students. Free.

Dec 8 - Jan 28.

THE PHOENIX BAR

Hip Hop Holiday

9.30am-4pm. $320.

Free.

Countdown from 12.30pm.

BENTSPOKE BREWING CO.

8pm. Info at transitbar.com.au.

ON THE TOWN Fridays From Five

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

AVIARY ROOFTOP BAR

SOMETHING DIFFERENT Arabian Nights

Featuring Serpent Dancer Ronicka.

8pm. $18 + bf.

POLIT BAR & LOUNGE

THEATRE Paradise Lost

John Milton’s work adapted by Christopher Samuel Carroll. $28. Times at belconnenartscentre.com.au.

BELCONNEN ARTS CENTRE

SATURDAY JANUARY 28 ART EXHIBITIONS Ontogenesis

ANU Glass Workshop graduates.

Jan 21 - Mar 5. Free.

BELCONNEN ARTS CENTRE

Intersections

Bryna Bambury, Nikki Chopra, Eliya Nikki Cohen, Chelsea Kalogiannidis, Holly Tranter. Jan 19 - Feb 5.

M16 ARTSPACE

Aethër

By Lucy Palmer. In conjunction with (r)evolve, Ausglass Conference 2017.

Jan 19 - Feb 5.

M16 ARTSPACE

@bmamag

ENTERTAINMENT GUIDE January 28 – February 4 SATURDAY JANUARY 28

MONDAY JANUARY 30

ART EXHIBITIONS

LIVE MUSIC

Defining Moments

Aviary Live Sessions

CANBERRA GLASSWORKS

AVIARY ROOFTOP BAR

Guest Curator: Aimee Frodsham.

Artists: Matthew Curtis and Harriet Schwarzrock. Jan 26 - Mar 26.

The Earth Element: Life’s Fragility

By Marilyn Stretton. Jan 19 - Feb 5.

M16 ARTSPACE

3pm. Free. Local musicians step in to entertain us for a Sunday Session. Beer & Cider specials.

Like Royals

Moaning Lisa

4th Degree

10:30pm. Free.

KING O’MALLEY’S IRISH PUB

The Ocean Party

With Milk Teddy, Jordan Ireland, Hot Palms. 9pm. $10.

THE PHOENIX BAR

The Amity Affliction

With Hellions and Ocean Grove. Tickets are $55 + bf via Moshtix. 8pm.

ANU BAR

Jack Colwell

With special guests. 7pm. $15 via eventbrite or $20 at door.

GORMAN HOUSE ARTS CENTRE

Live at the Tradies

Visit thetradies.com.au to find out who’s playing every Thurs-Sat. THE DICKSON TRADIES

ON THE TOWN Vault High Flyers

Canberra’s best DJs every Saturday.

Free from 10pm.

UNI PUB

Headz Are Rolling presents D&B With Dauntless, Fuj, Centaspike. 9pm. $10.

TRANSIT BAR

KING O’MALLEY’S IRISH PUB

The Bootleg Sessions. 8pm. Free.

THE PHOENIX BAR

TUESDAY JANUARY 31 ART EXHIBITIONS Intrinsic Properties, Inherent Vice

Glass exhibition with Stevie Fieldsend, Michaela Gleave, Anna McMahon and more. Jan 21 - Mar 5. Free BELCONNEN ARTS CENTRE

(r)evolve

Ausglass Conference Professional Workshops. Info at canberraglassworks. com. Jan 27 - Feb 5.

CANBERRA GLASSWORKS

ART EXHIBITIONS 3 Memories, 3 Animals and a Hunk of Wax

TUGGERANONG ARTS CENTRE

Climbing Equipment 1-3

Local artist Jac Bradley’s installation.

Live music. 5pm. Free.

NATIONAL PORTRAIT GALLERY

LIVE MUSIC James Southwell Band feat.

Charlie Wooton

Support from Harry Brus, Marji Curran, The Feldons. $20.

THE BASEMENT

Reflections on animals, death, experience and curiosity by Julia Higgs.

Opens Thu Feb 2 @ 6pm. Free.

Friday Night Fiesta

Finlandia Hymn

5pm/10pm. Free.

TUGGERANONG ARTS CENTRE

Los Chavos. 9pm. $10.

THE PHOENIX BAR

Cam / Oscar

PHOTOACCESS

The Crossbones

Full throttle rockabilly, psychobilly and rock. 8pm. Free.

TRIVIA

Sara Flint & Sophie Edwards

Nerd Trivia with Joel Barkam

Move up to the views

Capital Soul Club

7:30pm.

THE PHOENIX BAR

WEDNESDAY FEBRUARY 1 ART EXHIBITIONS The Earth Element: Life’s Fragility

By Marilyn Stretton. Jan 19 - Feb 5.

M16 ARTSPACE

Ontogenesis

BELCONNEN ARTS CENTRE

Bryna Bambury, Nikki Chopra, Eliya Nikki Cohen, Chelsea Kalogiannidis, Holly Tranter. Jan 19 - Feb 5.

By Lucy Palmer. In conjunction with (r)evolve, Ausglass Conference 2017.

Jan 19 - Feb 5.

TUGGERANONG ARTS CENTRE

THURSDAY FEBRUARY 2

Textiles by Gabriella Tagliapietra. Opens Thu Feb 2 @ 6pm. Free.

HARMONIE GERMAN CLUB

THEATRE

Create art using recycled soft toy animals. 10am. Free.

CANBERRA GLASSWORKS

Seek

Textiles by Gabriella Tagliapietra. Opens Thu Feb 2 @ 6pm. Free.

M16 ARTSPACE

A Home for Un-Loved Animals

Ausglass Conference Professional Workshops. Info at canberraglassworks. com. Jan 27 - Feb 5.

BELCONNEN ARTS CENTRE

Seek

LOBROW GALLERY & BAR

WORKSHOPS

(r)evolve

Glass exhibition with Stevie Fieldsend, Michaela Gleave, Anna McMahon and more. Jan 21 - Mar 5. Free

TRANSIT BAR

9pm. Free entry.

Intersections

BELCONNEN ARTS CENTRE

Salacious entertainment, laughs and prizes! 8pm. Free.

#KaraokeLove

High Brow at the Lobrow

John Milton’s work adapted by Christopher Samuel Carroll. $28. Times at belconnenartscentre.com.au.

Fun and Games with Tammy Paks

KING O’MALLEY’S IRISH PUB

ANU Glass Workshop graduates.

Jan 21 - Mar 5. Free.

Paradise Lost

Intrinsic Properties, Inherent Vice

Documented performance pieces by Anja Loughhead. Opening Thu Feb 2. Free.

KARAOKE

SOMETHING DIFFERENT Canberra’s best burlesque. Camilla Cream, Jazida, Mandy Bandersnatch + more! 8pm. $22/$11.

SOMETHING DIFFERENT

Irish Jam Session

The Secret Life of Pets

LIVE MUSIC

ART EXHIBITIONS

WORKSHOPS

THE BASEMENT

FRIDAY FEBRUARY 3

TRANSIT BAR

POLIT BAR & LOUNGE

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

NATIONAL PORTRAIT GALLERY

Get over the hump with drink specials after 5pm.

Info at thebasement.com.au.

FILM See the Secret Life of Pets (rated G) screened in the Gallery’s theatre. 3pm.

Free.

Hump Day

Aethër

M16 ARTSPACE

Defining Moments

TUGGERANONG ARTS CENTRE

Large scale photos by David Flanagan, exploring the outer areas of Northern Canberra. Opening 6pm Thu Feb 2.

PHOTOACCESS

LIVE MUSIC Cool Sounds

With Pregnancy, Earache, Little Lunch.

8pm. $10/$5.

THE PHOENIX BAR

Dos Locos

5pm. Free.

UNI PUB

Deep funk and northern soul. 9pm.

Free.

TRANSIT BAR

ON THE TOWN Fridays From Five

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

AVIARY ROOFTOP BAR

$10 Express Lunch

9pm. Free.

Pizza and a soft drink for $10. 12pm2pm. Tue-Fri.

Scabz

The Red Room

TRANSIT BAR

POLIT BAR & LOUNGE

KING O’MALLEY’S IRISH PUB

With Eadie and the Doodles, Terrible People. 8pm. Free.

Lyn Dale and Diversity 5:30pm.

THE DICKSON TRADIES

TRANSIT BAR

Latin inspired DJ and dancing. 9pm. $10.

SATURDAY FEBRUARY 4

ON THE TOWN

ART EXHIBITIONS

Vault Thursdays

The Earth Element: Life’s Fragility

Top 40 Party Tracks + Student prices.

Free from 10pm.

By Marilyn Stretton. Jan 19 - Feb 5.

M16 ARTSPACE

Guest Curator: Aimee Frodsham.

Artists: Matthew Curtis and Harriet Schwarzrock. Jan 26 - 26 Mar 26.

UNI PUB

FILM

AVIARY ROOFTOP BAR

Reflections on animals, death, experience and curiosity by Julia Higgs.

Opens Thu Feb 2 @ 6pm. Free.

SOMETHING DIFFERENT

Ontogenesis

CANBERRA GLASSWORKS

Jumpcuts

Local independent short films. 7:30pm.

Free.

THE PHOENIX BAR

ON THE TOWN $10 Express Lunch

Pizza and a soft drink for $10. 12pm2pm. Tue-Fri. TRANSIT BAR

The Thursday Games

Crazy ass games including tournaments and prizes, and all things Sangria & FUN. 5pm. Free.

RAW Canberra presents CUSP 30+ of Canberra’s best in fashion, music, visual + performing arts and photography. 6:30pm. $20/$25.

BELCONNEN ARTS CENTRE

TALKS Shooting the Picture

Will changes in technology spell the end of traditional press photography?

5:30pm. $15.

NATIONAL LIBRARY OF AUSTRALIA

facebook.com/bmamagazine

3 Memories, 3 Animals and a Hunk of Wax

TUGGERANONG ARTS CENTRE

ANU Glass Workshop graduates.

Jan 21 - Mar 5. Free.

BELCONNEN ARTS CENTRE

Finlandia Hymn

Documented performance pieces by Anja Loughhead. Opening Thu Feb 2. Free.

PHOTOACCESS

Intersections

Bryna Bambury, Nikki Chopra, Eliya Nikki Cohen, Chelsea Kalogiannidis, Holly Tranter. Jan 19 - Feb 5.

M16 ARTSPACE

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ENTERTAINMENT GUIDE February 4 – February 10 SATURDAY FEBRUARY 4 ART EXHIBITIONS Aethër

By Lucy Palmer. In conjunction with (r)evolve, Ausglass Conference 2017.

Jan 19 - Feb 5.

M16 ARTSPACE

Defining Moments

26 Jan - 26 Mar. Guest Curator: Aimee Frodsham. Artists: Matthew Curtis and Harriet Schwarzrock.

CANBERRA GLASSWORKS

COMEDY Puppetry of the Penis

Probably not one for the kids. $49.90 via canberratheatrecentre.com.au.

LIVE MUSIC Irish Jam Session

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

KING O’MALLEY’S IRISH PUB

Aviary Live Sessions

SoundOut 2017

Defining Moments

Festival of free improvisation, free jazz and experimental music. 1-5pm, 7-11:30pm. $30/$20 entry.

ANU DRILL HALL GALLERY

Jessica Baker

Country/folk style singer songwriter.

5-7pm. Free.

A BITE TO EAT CAFE

Irish Jam Session

LIVE MUSIC

KING O’MALLEY’S IRISH PUB

Sneaky Sound System, Young Monks, Slow Turismo, TJJT, Lucy Sugerman.

Free. 5pm.

Intrinsic Properties, Inherent Vice

Glass exhibition with Stevie Fieldsend, Michaela Gleave, Anna McMahon and more. Jan 21 - Mar 5. Free.

AVIARY ROOFTOP BAR

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

MONDAY FEBRUARY 6

ROCKLEY OVAL, GOOGONG

ART EXHIBITIONS

Orbis Tertius

Seek

BELCONNEN ARTS CENTRE

Move up to the views

Large scale photos by David Flanagan, exploring the outer areas of Northern Canberra.

PHOTOACCESS

ON THE TOWN Get over the hump with drink specials after 5pm.

TRANSIT BAR

SOMETHING DIFFERENT Fun and Games with Tammy Paks

Salacious entertainment, laughs and prizes! 8pm. Free.

KING O’MALLEY’S IRISH PUB

CMC Presents The Bootleg Sessions

THEATRE

Heathen Songbook Album Release Tour.

7pm. $45.

8pm. Free.

THE PHOENIX BAR

TUGGERANONG ARTS CENTRE

SoundOut 2017

Festival of free improvisation, free jazz and experimental music. 1-5pm, 7-11:30pm. $30/$20 entry.

ANU DRILL HALL GALLERY

The Screaming Jets

Chromozone tour. Info at thebasementcanberra.com.au.

THE BASEMENT

With Heavy Heart IV

Doom metal. With Cruciform, The Eternal, The Veil, Futility. 8pm.

TRANSIT BAR

TUESDAY FEBRUARY 7 ART EXHIBITIONS 3 Memories, 3 Animals and a Hunk of Wax

Reflections on animals, death, experience and curiosity by Julia Higgs.

Free.

TUGGERANONG ARTS CENTRE

Ontogenesis

ANU Glass Workshop graduates.

Jan 21 - Mar 5. Free.

TRANSIT BAR

ON THE TOWN Vault Thursdays

Crazy ass games including tournaments and prizes, and all things Sangria & FUN. 5pm. Free.

AVIARY ROOFTOP BAR

$10 Express Lunch

Pizza and a soft drink for $10. 12pm2pm. Tue-Fri. TRANSIT BAR

Hump Day

LIVE MUSIC

Backsliders

8pm. $12 + bf via Moshtix.

The Thursday Games

CANBERRA GLASSWORKS

The Mighty Yak 10:30pm. Free.

Chasing Ghosts & The Dead Love

UNI PUB

Textiles by Gabriella Tagliapietra. Free.

TUGGERANONG ARTS CENTRE

9pm. Free.

Top 40 Party Tracks + Student prices.

Free from 10pm.

Guest Curator: Aimee Frodsham.

Artists: Matthew Curtis and Harriet Schwarzrock. Jan 26 - Mar 26.

With Wesley and the Crushers, Dr El Suavo. 9pm. $10/$5.

THE PHOENIX BAR

Natalie Prevedello Duo KING O’MALLEY’S IRISH PUB

ART EXHIBITIONS

3pm. Free. Local musicians step in to entertain us for a Sunday Session. Beer & Cider specials.

THE PLAYHOUSE

Googfest

WEDNESDAY FEBRUARY 8

POLIT BAR & LOUNGE

THEATRE Pip Utton: Churchill

Pip Utton’s play about Winston Churchill. 8pm. $45 + bf via thestreet.org.au.

THE STREET THEATRE

FRIDAY FEBRUARY 10 LIVE MUSIC Country Affair

Pip Utton: Churchill

Pip Utton’s play about Winston Churchill. 8pm. $45 + bf via thestreet. org.au.

THE STREET THEATRE

Gypsy-swing style tunes with local band Doctor Stovepipe. 5pm. Free.

NATIONAL PORTRAIT GALLERY

The Gooch Palms

With guests. 9pm. $15.

THE PHOENIX BAR

Tess / Special K

WORKSHOPS

5pm/10pm. Free.

A Home for Un-Loved Animals Create art using recycled soft toy animals. 10am. Free.

KING O’MALLEY’S IRISH PUB

The Hillbilly Goats

Hillbilly roots, bluegrass and old time blues. 8pm. Free,

TUGGERANONG ARTS CENTRE

HARMONIE GERMAN CLUB

THURSDAY FEBRUARY 9

Amy Jenkins & AMAX 5pm. Free.

UNI PUB

ON THE TOWN

BELCONNEN ARTS CENTRE

ART EXHIBITIONS

Vault High Flyers

Finlandia Hymn

Documented performance pieces by Anja Loughhead. Free.

Seek

The Ultimate Jukebox tour. Tickets at ticketek.

TUGGERANONG ARTS CENTRE

Lisa Richards

Canberra’s best DJs every Saturday.

Free from 10pm.

UNI PUB

WORKSHOPS (r)evolve

Ausglass Conference Professional Workshops. Info at canberraglassworks. com. 27 Jan-5 Feb. CANBERRA GLASSWORKS

SUNDAY FEBRUARY 5 ART EXHIBITIONS Intrinsic Properties, Inherent Vice

PHOTOACCESS

#KaraokeLove

LIVE MUSIC

TRANSIT BAR

ON THE TOWN Pizza and a soft drink for $10. 12pm2pm. Tue-Fri. TRANSIT BAR

THEATRE Pip Utton: Churchill

BELCONNEN ARTS CENTRE

THE STREET THEATRE

Lost Horizons: Frank Capra’s America

TRIVIA

NATIONAL FILM AND SOUND ARCHIVE

The Phoenix Quiz

Move up to the views

THE PHOENIX BAR

PHOTOACCESS

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M16 ARTSPACE

Winterbourne

8pm. $23.50 via Oztix.

THE FRONT GALLERY AND CAFÉ

AIS ARENA

Info at smithsalternative.com.

SMITH’S ALTERNATIVE

ON THE TOWN Fridays From Five

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

AVIARY ROOFTOP BAR

$10 Express Lunch

Pip Utton’s play about Winston Churchill. 8pm. $45 + bf via thestreet.org.au.

Large scale photos by David Flanagan, exploring Northern Canberra.

Orpheus Island

By Kurt Brereton. Feb 9 - Feb 26.

Glass exhibition with Stevie Fieldsend, Michaela Gleave, Anna McMahon and more. Jan 21 – Mar 5. Free.

Book at trybooking.com/nfwv.

Textiles by Gabriella Tagliapietra. Free.

KARAOKE 9pm. Free entry.

Human Nature

7.30pm.

OUT

FEB 15

THE LIVING END PROVE THEY ARE STILL LIVING SUZI QUATRO WINS OUR HEART KATE MILLER-HEIDKE GETS CAUGHT IN THE CROWD ... AND SURVIVES BMA MAKES A TASTEFUL JOKE

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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

WESLEY AND THE CRUSHERS Group members: Phizz Calligeros (vocals/melodica), Goo Calligeros (vocals/guitar), Andrew “Big Wes” Brown (bass), Pete Martel (drums).

Where did your band name come from?

Wes: An empty bottle.

Phizz: The name Wesley and The Crushers was my idea. None of us knew there was an American band with the same name at the time and now I feel like we’re stuck with it. It’s always hard to come up with a band name that everyone in the band likes, but one thing we all agreed on was that some kind of Star Trek reference would be good.

Describe your sound…

Goo: Space funk rock.

Wes: It’s like Grandma’s gumbo of goodness. And an empty bottle.

Pete: It’s a mixture of progressive and heavy rock.

Who are your influences, musical or otherwise?

Phizz: The Doors, George Clinton, Kate Bush…

Goo: Frank Zappa, Jimmy Page, David Byrne…

Wes: Lemmy, Lemmy, an empty bottle.

Pete: John Densmore, Michael “Mike D” Diamond, Brad Wilk…

What’s the most memorable experience you’ve had whilst performing?

Wes: Phizz walking off stage right in the middle of song so he could chat up a girl he noticed in the crowd … And an empty bottle.

Of what are you proudest so far?

Goo: I’m most proud of our chemistry.

Wes: An empty bottle.

Pete: Our songs. Everything, really…

What are your plans for the future?

Goo: The new album [Area 51 Revisited, release date TBA].

Wes: An empty bottle.

Pete: Yeah, the new album.

What makes you laugh?

Goo: Hot dogs of the future.

Wes: An empty bottle.

Pete: Political correctness.

What pisses you off?

Wes: Phizz walking off stage right in the middle of song so he could chat up a girl he noticed in the crowd … And an empty bottle.

Pete: Gyms … and political correctness.

What about the local scene would you change?

Goo: More venues for original bands.

Wes: An empty bottle.

Pete: More venues for original bands.

What is the Secret Of The Gherkin?

Goo: Nobody knows for sure.

Wes: An empty bottle.

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

What are your upcoming gigs? Wednesday January 18 at The Basement in Belconnen. We don’t tend to plan too far ahead, so check out our Facebook page to stay up-to-date…

In The Flesh Scott 0410475703

Top Shelf Colin 0408631514

Itchy Triggers Alex 0414838480

Contact info: Phizz Calligeros on wallsthobos@gmail.com. Check out facebook.com/CrushersBand for more info.

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

Undersided, The Baz 0408468041

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