bma mag 372 may 25 2011

AUSTRALIAN BURLESQUEFESTIVAL

Can-cans into the ‘Bra

FUN MACHINEDesert Creatures feature!

#372MAY25

www.bmamag.com

BRINGING CANBERRA HIP-HOP TO THE WORLD

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Fax: 02 6257 4361Mail: PO Box 713 Civic Square, ACT 2608

Publisher Scott Layne Allan SkoGeneral Manager Allan Sko T: 6257 4360E: [email protected] Manager Paul Foley T: 6257 4360E: [email protected]

Editor Julia Winterflood T: 02 6257 4456E: [email protected]

Accounts Manager Ashish Doshi T: 02 6247 4816E: [email protected]

Super Sub-Editor Zoya Patel

Graphic Design Cole Bennetts

Exhibitionist Editor Julia Winterflood E: [email protected]

Film Editor Melissa WellhamNEXT ISSUE 373 OUT JUNE 15 EDITORIAL DEADLINE JUNE 6 ADVERTISING DEADLINE JUNE 9

Published by Radar Media Pty Ltd ABN 76 097 301 730 BMA is independently owned and published. Opinions expressed in BMA are not necessarily those of the editor, publisher or staff.

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Something about the weather... # 3 7 2 M A Y 2 5

ReconciliAcT HosTs CoMing TogeTherReconciliACT’s Coming Together event to honour National Sorry Day will be an evening of engaging discussion with people from across the ANU community involved in Indigenous Studies and Reconciliation. Happening on Thursday May 26 at the Food Co-op on Childers St (between The Street Theatre and Uni Lodge) from 7pm, there will be tasty veg food, live local music provided by James Fahy and others and warm and welcoming company. National Sorry Day is an Australia-wide observance held on May 26 each year. The day gives people the chance to come together and share the steps towards healing for the Stolen Generations, their families and communities. Tix are $7 for students and Co-op members and $8 for others. For more information on National Sorry Day, visit nsdc.org.au .

THe Shed SeSSionSMusic meets art on the first and third Sunday each month with live music in the great atmosphere of the gallery/studio spaces of The Artists Shed in Queanbeyan. Whether you enjoy folk, country, jazz, blues, vocal harmonies, solo singer/songwriters, you will love Q-Town’s newest venue. The Shed is fast becoming a popular haunt of many musicians in the region as well as local residents and artists. Canberra region wines are available and entry is by paper note donation. The Artists Shed is at 14 Foster Street, Queanbeyan, and is open from 2pm on the first and third Sunday of every month. For more info call Ros Hales on 0438 768 754 or email [email protected] .

ironhide AT BAR 32

The scorching debut release of progressive tech metal bastards Ironhide has now been unleashed upon the world.

Spawned in Brisbane in late 2009, the five-piece, dual vocal crew have melded punk vibes and post metal influences into a technical metal maelstrom. Barely a moment’s respite from the word go, Create/Collapse/Repeat’s seething sounds cover ground that is harsh yet compelling. Shards of melody intertwine through dissonant guitars, hyperactive drums blast their way to victory, and tricky bass lines pulse sporadically while two razor-sharp vocal chords lead the charge. Catch Ironhide live at Bar 32 on Wed June 1. ironhidemetal.com .

climATe cHAnge Bridge WAlkSome words from the ANU Environment Collective: Canberra! Come for a walk. Yes. Come for a leisurely walk on Sunday June 5 at 1.30pm. Yes, a leisurely walk across Commonwealth Bridge on Sunday June 5 at 1.30. Yes! A leisurely walk from Regatta Point across Commonwealth Bridge to Parliament House, carnivale style with bands and jumping castles and puppets and rollerskates and thousands of other Canberrans. A leisurely walk from Regatta Point across Commonwealth Bridge carnivale style to Parliament House to say something about climate change. Yes! We need to take action. Canberra: say yes to action on climate change!

MAndAlA AT THe mARAm

Fast emerging alt rock group Mandala are bursting onto the scene after much anticipation.

Merging a diverse and original experience, the group’s consistency in producing big riffs, melodic vocal lines, ambient and thought provoking instrumental sections as well as driving, intricate beats establishes them as a potent and memorable force. Mandala unleash at The Maram with heavyweights Beneath a Broken Sky and Eyes to the Sky on Wednesday June 8. Be sure not to miss them.

The YeArlingS AT THe FRonT

The Yearlings’ (pictured) songs rock sweet and slow, like a chair on an old wooden porch. Robyn Chalklen and Chris Parkinson have been writing and performing together for ten years, since first crossing paths at The Tamworth Country Music Festival in 2000. Reminiscent of the great alt country Americana genre, but born out of Adelaide, The Yearlings’ sound is all their own. They have performed at numerous festivals across the country and their music was selected for Claudia Karvan’s award-winning TV series Love My Way. The Yearlings released their fourth studio album Sweet Runaway late last year which has since been hailed as one of the best roots releases of 2010. Known and loved for their beautiful harmonies and intimate performances, on this tour The Yearlings are joined by Kasey Chambers’ drummer BJ Barker and are supported by divine Brisbane duo Laneway. They’ll be enchanting The Front on Wednesday June 1. $10 at the door.

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Has someone yanked yer chain recently? Well send an email to [email protected] and have your sweet vengeance. And for the love of God, keep it brief! [All entries contain original spellings]

YOUPISSEDME OFF!

Well butter my crumpets and call me Roger… A very warm ‘Pip pip’ from Ol’ Blightey my dear readers, where I am currently holidaying with the fam for the purposes of attending an old friend’s wedding. As such, this is an ickle fun-size holiday edition of From the Bossman, with a full, sordid tour diary to come next issue.

Although a proud Canberran born and bred (and you don’t get many of those), I spent my formative years in England and it’s been eight long years since I’ve been back. A lot has changed – there’s now only 37 quid knocking about in the entire country; there’s a national air of smugness about the cricket; and all my old teachers are… well… old. And a lot hasn’t – pubs still have wonderfully ridiculous names (The Ox and Teacup, The Pent Up Aggression, The Bum-swizzler); the English brand drizzly rain covers everything in a light film; and people’s teeth look like one of those wooden sign posts pointing you to 17 different locations in opposite directions.

More next ish you lovely people you, where we will see me grappling with the joys of a 24 hour plane trip with a five-month-old child (all the while trying to get responsibly pissed on the complimentary booze), narrowly avoid falling into a canal and at least seven other things. Until then stay well, stay warm and stay awesome.

ALLAN SKO - [email protected]

FROM THEBOSSMAN

To the elderly bitch sitting next to me at the classical concert, YOU PISSED ME OFF!! Not only did you loudly clear your throat every two minutes (you didn’t even attempt to keep it quiet, and I don’t think you were actually sick), but you also whispered audibly to your husband several times, yawned, looked at your watch, and like some kind of floating buoy, you never sat still, instead constantly bobbing to look left, right, up, down and over your shoulder and rocking forwards and backwards in your seat. Finally, you made an unbelievable racket BRUSHING FUCKING LINT OFF YOUR SKIRT FOR TWO MINUTES. Did you need to do that RIGHT this minute? The room was quiet and well-behaved - EXCEPT FOR YOU! Learn some general concert etiquette and actually HEAR yourself.

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“He’s done fucking what?”

“He’s thinking he lost it in the pub last week. Hasn’t seen it since.” I take a deep breath and go through the whole bank account story, interrupted with weakening frequency by expletives bellowed into the earpiece from a by now apoplectic Rhona. “What the fucking hell do I pay you for, Micky?” I’m too polite to point out that I haven’t been formally paid, as in monetary reimbursement for services rendered being forwarded to my bank account, for nearly three months now. That would be too much to point out at this point, I decide. “Are you sober?”

“Of course.”

“Is he?”

“Well, he’s upright.”

“It’s still early. Get him in the car and get up to town. Get him to Declan Beamish’s office. I’ll meet you there.” Declan Beamish is Rhona’s accountant come fixer. Obviously he’s not so good at his job that he was able to stop me from stealing away with the funds from the sale of the Edgeware Road love nest, but he’s a bit of a hard nut in the old school tradition. He wouldn’t hurt a fly himself, you understand, but he knows literally hundreds of blokes that would – and he’s got something on all of them. I get off the phone, removed the bottle of Jack from Micky’s trembling hands and usher him out into the deepening gloom. “We’re off for a little drive Bobby. We’ve got to go and see Rhona.”

I don’t tell him that Beamish is involved. I don’t know the full story but something happened between these two in ‘the good old days’ that has left an indelible stain on Bobby. He becomes agitated at the very mention of the man. God alone knows how I’ll get him into Declan’s office. 80 minutes later we are in London. Micky, who for the whole journey has been taking surreptitious swigs from a hip flask, is a little unsteady on arrival, and the mixture of his refreshed state and the dark means that he has no idea where we are when I usher him into the accountant’s plush Chelsea offices. This all changes when we get into the inner sanctum.

“What the fuck’s he doing here?” he yelps as he realises where he is, before making a bee line for a Godhammer gold disc that’s hanging on Beamish’s wall. He fails to see a coffee table between him and the wall however, and crashes to the floor, clutching his shin and slurring a succession of swear words that would make a sailor blush. “Good to see you, Bobby. I hear you’ve had a spot of bother?” There’s no answer, and Rhona seems to take malicious glee in making me go through the whole thing again to Beamish, highlighting my role in the whole sorry mess. Declan looks at me, but addresses Bobby, who is now lying prostrate on a fur rug beneath his Gold Disc. “Do you remember, Bobby, around the time of Godhammer 3? Before we went to America we played a couple of shows for an Israeli shipping magnate in Tel Aviv. After the US tour Wayne had arranged a show in Dubai for you, but I knew you’d all have trouble getting in to the Emirates with an Israeli stamp in your passports, so I took the liberty of having a duplicate made for you, which I’ve kept up to date ever since. You can take that to Denmark.” He hands the document – forged, obviously – to me with a wolfish grin. “Would you like a wee drink, Micky?” Micky wakes up.

Next time – against all the odds, we get to the airport.

SCOtt ADAMS - [email protected]

and another thing…

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WHO: UC GRAPHIC DESIGN GRADUATES WHAT: TASTE TEST WHEN: FRI MAy 27 WHERE: BUILDING 24, UNIVERSITy DRIVE SOUTH, UC

WHO: KISSESWHAT: CHILLWAVEWHEN: SAT JUNE 11WHERE: TRINITy BAR

WHO: HELMETWHAT: SEMINAL HARD ROCKERSWHEN: THURS JUNE 30WHERE: ANU BAR

WHO: SIREN, THE HOTTEST NEW BAR TO HIT THE ‘BURBSWHAT: NEW BAR OPENING IN GUNGAHLINWHEN: OPENING FRI JULy 1WHERE: CORNER OF ANTHONy ROLFE AVE AND GOzzARD ST, GUNGAHLIN

WHO: SUNSET RIOT, TONK, zAWMBEEz, ACTIVATE JETPACKWHAT: HARD ROCK QUADWHEN: FRI MAy 27WHERE: ANU BAR, 8PM, ANU STUDENTS FREE, $10 REGULAR PUNTERS

WHO: AzARI & IIIWHAT: MOODy ELECTRONICA WHEN: SAT JUNE 4WHERE: TRINITy BAR

University of Canberra students are offering a taste of their fine designs and gourmet visuals before they enter the world as fully fledged design connoisseurs. Come along and see what the latest generation of graphic designers have to offer. Every year graduating students from the graphic design course at UC hold an exhibition to showcase their achievements and work from their previous years of study. The concept of Taste Test is that the general public and the design field can come and get a taste of what the newest graphic design graduates from the University of Canberra have to offer.

It’s a hot summer night in LA. Jesse Kivel strums a chord of his guitar. Zinzi Edmundson returns fire with her Roland. He starts to sing: “Don’t start, wasting a day for my love.” She joins in: “I feel… a certain appeal is enough.” The harmony is as electric as it is romantic. This is Kissess, who are about to hit Australian shores for the first time. How they stand apart from countless other chillwave-rs is that they are first and foremost a dynamic band capable of constantly switching gears live. Kivel usually opens proceedings with the line “Are you ready to have a dancin’ good time?” We sure are.

Seminal hard rock band Helmet released their seventh full length, Seeing Eye Dog, in September last year. After sold out tours of the US and Europe, the LA post-hardcore rockers are gearing up to head back to Australia for the first time in three years. The new album is one of the band’s most uncompromising and ambitious releases, embodying the classic and utterly unique Helmet sound and pushing it into regions the band has never before explored. Says frontman Page Hamilton, “I can’t stand the sound and anti-human feel of edited rock music. Humans playing music will always be better than chop shop rock…”. Tix through Ticketek.

It’s been a long wait for Gungahlin residents but Siren will be more than worth it. Featuring unique mod Oz cuisine and a diverse drinks menu, live music and DJs, it will offer Gungahlin residents a tops night close to home. Siren will be open seven days for breakfast, lunch and dinner from 7am ‘til late. Before they launch, they’re giving you the chance to have a cocktail named after you. Go to sirenbar.com.au to upload the name and recipe of your cocktail then get your mates to like it on facebook. If you win, they’ll also shout a night of free cocktails for you and three friends. That’ll score you a few brownie points now won’t it?

Sunset Riot boast more energy than a box of Red Bull and with their ear piercing guitars they’ll have you dressing in double denim in no time. Along for the ride are local legends Tonk who are no strangers to mayhem, and as they’ve only played one show lately (which you can read about on page 39), get ready for a strange feeling in your pants. Also gracing the stage are Zawmbeez, hard rockers specialising in smacking you in the face with big vocals and engaging smiles. And last but not least are handsome lads Activate Jetpack, who indulge in a lighter form of rock; some may call it pop rock, we call it eye candy.

Azari & III have been announced to perform for the first time in Australia as part of the Vivid Live Festival, and they’re taking the time to stop by the nation’s capital while they’re here. Sounding like a combination of New York in ‘79, Chicago in ‘86 and the world in the future, the Canadian quartet embody one of the most exciting new directions in dance music with their sizzling update of classic house and electro pop that is unbeatable in the discotheque and unstoppable in your dreams. Catch their unique blend of moody electronica, dark yet hooky vocal choruses and analog-thick rhythms at Trinno. Nice.

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PALiMAH PANiCHittime is inexorable. it sneaks up on you, with ageless fingers that meticulously add minute details to your body and mind every second of every day. Years are flexible - they can stretch on and on, or the weeks can stumble over themselves in youth’s exuberance - but time is always in control, quietly judgmental and forever changing. it will make you forget who you were 42,075,904 heartbeats ago, and bring it all back in a moment of clarity 13,062,812 heartbeats later.

D’OPUS AND ROSHAMBO know what it is. A formidable producer and ferocious emcee respectively, they are stalwarts of the Australian hip-hop scene, the toast of our fair capital city.

Roshambo was immediately personable, warmly welcoming and witty, whereas D’Opus stayed more restrained - still friendly, but decidedly set on delivering insightful comments in a quietly authoritative manner. Both are highly respected in the Canberran musical community.

Past Time is their newest record, and it explores what it means to live and grow, to battle inevitable frustrations and to move on, and define yourself by what is happening all around you. it’s already been critically well received, turning up in unlikely places like Marie Clare with emphatic reviews.

“i reckon [Past Time] is just a really good aural representation of Ross [D’Opus] and i. i think the most important thing with music is that you should be representing who you are and where you’re at, at any given point in time,” says Roshambo, pausing every so often to glance at D’Opus.

D’Opus pauses and weighs up his words before saying anything.

“it’s 360 degrees us. it’s got funk in there, it’s got honesty, and it’s got real stories from our lives, new production… some stupid humour, and

our realities. Everything we like and are into.”

in terms of what’s different and special about it - we’re pretty different and unique people, i like to think. So the sound is going to be reflective of that. We try something new, not just Aussie hip-hop. i think the guys that are doing really well in Aussie hip-hop are the ones that aren’t necessarily just doing hip-hop. We didn’t try to make it sound like anything, so in doing that, it’s sort of outgrown us. We’re just happy to have it out.”

When asked about their feelings on the current hyper-musical state, Roshambo responds incisively. “it’s just the nature of the business. there’s so much music now; there’s so much access to music. Every week, there’s new blogs going out, with people downloading their albums. it’s harder to stay relevant. You just have to use the interwebs to promote. that’s the sort of things that artists have to do themselves; there’s more reach if people can see that the artist has a presence rather than just being an entity. that’s why Kanye West is on twitter.”

D’Opus agrees, with an addendum - “it’s like the blink of an eye. to think that three year’s work comes and goes just like that… [We’re] finding it difficult to do everything ourselves. it’s just us two doing this!

“What i’m saying is that we don’t have a major label looking after us. We don’t have any financial backing. We’ve got our own label. We’re the CEOs of the label, we’re the typists and the publicists and the bookkeepers and we book our own shows and we’re the musicians. On top of the fact that we have jobs and lives outside of this… sometimes it’s just like ‘How the fuck do we manage to do this?’”

Despite the critical reception Past Time has garnered in a very short release time, D’Opus had some reservations about their own efforts to spread it.

“it seems that it hasn’t sunk in yet. i don’t think everyone knows that it’s out. We have been holding back a bit before opening the floodgates, so to speak, for a few cogs to click in before we go nuts, but it’s going through a few cracks already.”

Some of the press it’s been in, we previously hadn’t had a chance to target. if two people see it in Marie Clare and buy it, that’s two more people that might not otherwise have heard it. But sometimes we just have to stop and think… We’re doing really well for just two guys doing this.”

Keeping true to their album’s theme, D’Opus and Roshambo reflected on their status in the musical scene. “We’ve learnt a lot of lessons in the past, where we’ve spent too much on one thing and not enough on the other. So we’re hedging our bets, waiting to see what happens, but because we don’t have a marketing budget or a plan, we’ve just got to roll with the punches.

“We are still always learning about how we can work better and more efficiently, but we’ve definitely got a process locked down and always work together very collaboratively. When we first started out we were still getting to know one another, testing the waters and it was more just about putting raps to beats. Nowadays we are more into writing songs, which extend beyond the simple verse-chorus-verse structure. We’ve spent over six years together in the studio, so we understand how the other works, and push each other to try new ideas and step outside of our comfort zones. We just try to be ready to react. We’re not lucky, but there’re a lot of other people that aren’t as lucky.”

D’Opus and Roshambo will be launching Past time at Transit Bar on Saturday June 4. It’s $10 on the door, and doors open at 8pm.

We just try to be ready to react. We’re not lucky, but there’re a lot of other people that aren’t as lucky

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Infinite Past Times

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ALL AGESFrom one successful tour to the next, in its 13th year running, the Melbourne international Comedy Festival Roadshow is on its way back to the capital this year presenting you with such fine comic minds as Dave Williams, DeAnne Smith, Roisin Conaty, Sean Patton, Die Roten Punkte, tommy Little, Sammy J, Randy, Harley Breen, Justin Hamilton, Mike Wilmot, Marina Franklin, Bob Franklin, Sam Simmons and more. It is said that the line-up may vary slightly depending on the venue, so check out comedyfestival.com.au for specifics. To our delight the laughter inducing mass shall be doing two performances at the Canberra theatre Centre, one on Friday May 27 and another on Saturday May 28, both performances beginning at 8pm. Unfortunately for some, this has

been made a 15+ event only. Tickets cost $39.90 from Canberra Ticketing. This line-up will make you chuckle until your cheeks hurt. So come along for your ultimate comedy fix.

Fresh Canberran rock/metal five-piece Perpetual End are joining forces with local funk/metal act Psychic Asylum for a unique duo line-up at the tuggeranong Youth Centre on Friday May 27. Doors will open to the public at 6.30pm where you can purchase your tickets for just $10.

The Tuggeranong Youth Centre seem to be diving back on board the all ages gig guide, and just in the nick of time. The weather is currently at its prime for gigs like this! You can sweat your arses

off, and get right in among the masses of people in the mosh pit without getting claustrophobic, but rather cosy. On Wednesday June 15 five-piece metal crew Emmure are coming all the way from Queens, New York for their Speaker of the Dead Australian tour. With special guests Shinto Katana and Dream on Dreamer from Sydney, and rising local acts Reigner and Knives to the throne, Emmure will hit the stage of the tuggeranong Youth Centre, and word has it that there may be more local acts to be announced closer to the date. Tickets are $27 (+bf) from Moshtix. Doors at 6pm.

Central Coast pop-punk threesome Short Stack (those boys with the hair, who rock up at Sanity stores every few months just to validate their popularity with the help of a queue of squealing girls), are hitting the Royal theatre as part of the This is Bat Country tour. Joining them on Saturday July 23 will be Sydney pop-punk bands Heroes for Hire and Because they Can (all of whom also have impressive hair, almost identical to that of the pancake boys). Tickets are $60 (+bf) through Ticketek. Take your pick, my friends. We’ve got entertainment of all sorts for you to choose from this time around and plenty more to come next issue.

NAOMi [email protected]

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LOCALITYMikelangelo and The Tin Star are releasing their debut The Surf ‘n’ Western Sounds Of… at Tilley’s on Saturday June 18. I caught up with the great Mikelangelo himself to talk Westerns, instrumental guitar music and, of course, good old Canberra town.

How did your magnificent self and The Tin Star find each other? In 2000 I returned to live in Canberra for two years and had a part time band with Pete Olsen and Fiete Geier called The Dalmatian Coast Surf Lifesavers Association. Fast-forward to 2009 and we all found ourselves in Melbourne with a strong desire to play music together again. Add our fabulous bass player Gareth Hill to the mix, and The Tin Star was born.

Would you kindly divulge a little about your love of instrumental guitar music of the ‘50s and ‘60s? How does it make you feel? There was an old record in my father’s collection - Al Caiola’s Solid Gold Guitar – that was very influential on me. I was barely out of nappies when I used to listen to Al’s smooth tremolo tones. They took me to another world, the thrilling western tunes, the dreamy late night Latino numbers, and the cool go-go tracks (that were great for jumping up and down on the bed to). So, how does music like that make me feel? It’s the soundtrack I hear in my head as I walk down the street.

And how about your relationship with Canberra town and your ups and downs within it? I have always had a good relationship with Canberra, and love coming back to play shows and to record. Obviously, it’s easy to outgrow the size of the city, but that can happen anywhere. Such a huge part of making music is touring and taking your work to new audiences, which is exciting, but I must say that coming back to Canberra and seeing some faces who have been at my shows for 20 years is an amazing feeling.

What’s your favourite Western of all time? That’s a tough call. It’s a showdown between High Noon and Once Upon A Time In The West, both brilliant films. I think High Noon has to win the gunfight, there simply is no other Western with such drawn out tension, it unfolds in real time and it is a harrowing insight into humanity and people pushed to the edge for what they believe in. It’s also one of the few Westerns with good female characters (and it’s based on a story called The Tin Star).

And finally a little spiel about the launch. What can the good folk of C-Town expect on this cold, cold night in June? I always try to make every show memorable, and of course extra work goes into an album launch. The Tin Star are in great form, I really couldn’t wish for a better rock ’n’ roll band. And we have a cavalcade of great guests including Rufino (from my other band The Black Sea Gentlemen), Fred Smith and Liz Frencham, Konrad Lenz and of course the wonderful Saint Clare and her go-go dancers Go Girl Gadget Go Go!

JULiA WiNtERFLOOD [email protected]

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Everything is in 3D these days, seriously, take a walk through Garema Place and that homeless guy asking for change looks like he is coming straight at you. It’s almost as though you could reach out and touch him through the lenses of your three hundred dollar Ray Bans. Academy are jumping on the extra dimensional bandwagon with an exciting event in 3D, starring young trance don Marlo on Friday May 27. Glasses will be provided but the popcorn is on you!

If you ‘liked 3D before it was cool’, maybe the Purple Sneakers party is more your style. The crazy party cult is back at transit Bar on the very same night supported by floppy-haired disc defilers PhDJ, Architect DJs, Minou, Esteban, Less than three and Lucky Punk. Those who won’t conform to a cover charge will be pleased to know that this event is free entry!

Disciples of click will be gathering at the Clubhouse on thursday May 26 for the opening night of a new techno event called Digital. Freshly trimmed chin hair will be stroked red raw to the future sounds of local talent including Mikey G, Kazuki, Forthstate and Alex Cleary and Kiron. Don’t forget to bring a pen and paper as you are sure to receive a thorough spiritual education in proper underground tunes.

Just a quick warning, I hope you have enough sick days saved up for June because the party calendar is filling up quicker than Chris Lilley’s swear jar. Academy’s guest list for the month includes BKCA (Basskleph & Chris Arnott) and Emily Scott on Friday June 3, Chris Fraser in Raw FM CD Launch mode on Saturday June 4, monumentally awesome electro punks Lazrtag at Young Blood on Friday June 10, and tommy trash headlining the Ministry of Sound annual tour on Friday June 17... I feel my fake morning cough coming on already.

If you still haven’t worked out where you will be spending your June long weekend, look no further than trinity Bar on Sunday June 12. Management have secured the services of, not one, but two massive international headliners to completely ruin your Monday. Techno wizard Jesper Dahlback (SWE) will be appearing alongside evil brain mashers the Proxy (RUS) ably supported by local heroes Peking Duk, Offtapia, Cheese, Dept Of Defiance, Shaolin, PrinCi and Eldred. The cover charge is... wait! Who cares! Just go!

I think you will all agree that it’s ‘tip a kettle of hot water over your windscreen in the morning’ cold at the moment, and we all know who is to blame, the bloody snowy mountains. If, on your way to exact vengeance on the selfishly frosty peaks, you wish to warm up to some hot electronic beats then make sure to stop past the Banjo Patterson inn in Jindabyne for the ski season opening party on Saturday June 11, featuring some of Canberra’s best DJs including Hubert, Offtapia and Peking Duk.

tiM [email protected]

DANCETHE DROP

facebook.com/trinitybarcanberra

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tiM GALViNThe life of a superstar DJ is quite arduous. I mean, there’s all the pesky overseas travel, all the annoying industry accolades and, of course, the unruly die-hard fans who just won’t stop telling you how good you are every single day. Australian DJ/producer extraordinaire Stu Tyson aka BASS KLEPH is a survivor - even when faced with all of these nauseating obstacles he is still persevering for the love of his chosen art form, and by golly, is he doing well for himself.

“I travel quite a bit these days. Since the start of 2011 alone, I’ve already DJd all over USA, Canada, South Africa, Germany, UK, and Russia,” he says. “The recent tour in USA/Canada was great. Playing in New York, LA, and Vegas was fun, but Denver and San Diego were the highlights! Even more recently I had some very fun shows in South Africa, and a wicked gig at Ministry of Sound in London.”

In previous years his production success was primarily contained within our borders. Everything changed back in 2006 when Tyson

My sound has changed a lot over the years, and I feel only now has it really found itself

LIVING THE HIGH LIFE

(along with Aussie collaborator, Nick Thayer) took out Best Remix at the UK Breakspoll awards. The ensuing years were a veritable renaissance period for the young Aussie, who became an international star, one who has just added yet another Beatport Number One to his ever increasing mantle. “I was as surprised as I was excited when it happened. The track I’ll Be OK also hit number one, and that gave me two number ones in less than a year. There were a few champagnes had that night!”

Bass Kleph’s club shows are always a mind-boggling mix of forward thinking sounds and uber-cool technology. His latest live project is the exciting BKCA collaboration with fellow tech producer Chris Arnott, who is coming along with Tyson on his upcoming Australian tour. “Chris and I used to play together in a band years ago. So BKCA is a reunion of our writing. It fuses both of our styles at a point somewhere between a band and dance music. Currently it features just the two of us. Chris on vocals and effects, and myself on Ableton and machine. Although we are looking to eventually expand it into a full, traditional band setup.”

The tour is not only a homecoming for Tyson, it also supports the release of his latest digital project Bass Kleph: Presents, a collection of new and unreleased solo material and selected remix work. “I wanted to make a package that says, ‘this is Bass Kleph’. Up until now, you’ve only been able to have my separate songs, or a DJ mix that was full of other peoples’ tracks. My sound has changed a lot over the years, and I feel only now has it really found itself. So I want to be able to share that with everyone.”

BKCA will be hitting up Academy on Friday June 3. Ticket info is available from www.basskleph.com .

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

MORE THAN A MOVIEZOE PLEASANtSTHE HUMAN RIGHTS ARTS AND FILM FESTIVAL (HRAFF) is bringing its touring film program to Canberra, over four days, from Thursday May 26 to Sunday May 29. The aim of this festival is to get as many of us as possible thinking and talking about human rights issues. A lofty aim indeed, particularly when, while most of us would readily acknowledge the importance of these issues, given the choice between watching a film on the hopelessness of the human condition, or staying home to watch yet another episode of our favourite reality cooking show, we’re likely to go with the mindless fun. But of all the stereotypes that HRAFF wants to challenge, the first one is our assumption that human rights films are depressing, indignant lectures about something we can do little to affect.

To do this HRAFF is showcasing four of the best films from its Melbourne festival at the National Film and Sound Archive’s Arc cinema. The films are the drama Hands Up, and three documentaries, 12th and Delaware, Enemies of the People, and War Don Don. I asked Jess O’Callaghan, the festival’s touring manager, where the idea came from to use a film festival as a vehicle for raising awareness about human rights. “The festival was started four years ago by a group of uni students in Melbourne” she explained, “with the idea of using film and art as an effective way to present complex human rights issues and to get people thinking about them in depth. Life’s not straight forward and using art, you’ve got the space to flesh out the issues a bit more.”

The festival starts on Thursday evening with Hands Up, a charming French drama, which tackles the immigration debate in contemporary France using children as the main protagonists. Jess enthuses that it is “a very good film” which HRAFF likes for its message of hope.

Next up, on Friday evening, is 12th and Delaware, a documentary about America’s most intractable internal conflict, the abortion debate. Located on opposite sides of a street corner in Fort Pierce, Florida are an abortion clinic and a pro-life group. The documentary observes this situation and allows viewers to draw their own conclusions about this ideological battleground. On Saturday

evening the festival is showing Enemies of the People,a Cambodian documentary in which the filmmaker, Thet Sambath, is on a personal quest to discover the truth behind why his family died in the notorious Killing Fields of Cambodia’s brutal Khmer Rouge regime. The film took Sambath ten years to make and as Jess describes, “it takes you on an amazing journey as you watch the filmmaker almost befriend the guy responsible for murdering his family.”

The final film of the festival, to be shown on Sunday afternoon, is War Don Don, the debut film from filmmaker Rebecca Richman Cohen. This film takes us to Sierra Leone, in the aftermath of the country’s devastating civil war, and inside

the United Nations Special Court to witness the trial of accused war criminal Issa Sesay, a commander in the rebel Revolutionary United Front army. I spoke to Rebecca, who is currently on the road making her next film, about War Don Don. The idea for the film came about when Rebecca, a Harvard Law School graduate, was working at the Special Court in Sierra Leone for three months, as an intern on the defence team for another case. “Family and friends were taken aback that I was working to defend a war criminal,” Rebecca explains, “and I found myself explaining that if you believe in justice and the rule of law then you need to provide everyone, no matter how heinous their crime, with a vigorous defence.”

Rebecca didn’t go to law school with the idea of becoming a filmmaker, although she had previously worked with Michael Moore as an assistant editor on Fahrenheit 911. But in Sierra Leone she found a story worth telling. And she also found that “as a lawyer your obligation is to your client, but as a filmmaker your obligation is to the audience. You are less conflicted and able to tell the story in a more balance way.”

While researching this story, I came across a previous interview with Rebecca where she talked about the legal process shown in War Don Don as having an important role in reconciling and repairing the trauma left after conflict. In particular, she talked about the danger, without these processes, of war crimes perpetrators being dehumanised, that is being painted as less than human.

Reading this, I was struck by the parallels between the issues discussed in the film and the recent death of Bin Laden. When I broached this with Rebecca she was more circumspect. She pointed out that “the trial at the centre of War Don Don occurred after the conflict had ended whereas it is arguable that Bin Laden was killed in combat.” But she also talked about “the huge relief Americans felt at the death of Bin Laden” which I found interesting. Yep, it’s complicated and there are many perspectives to be had. But I loved that this exchange was a realisation of HRAFF’s aims: I was grappling with the complexities of human rights issues and it felt a lot more engaging than a passive ride with reality cooking!

The Human Rights Arts and Film Festival is showing at the National Film and Sound Archive from Thursday May 26 to Sunday May 29. Check HRAFF’s website for more details and session times at hraff.org.au .

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HAVANA NIGHTSSiNEAD O’CONNELLOn a blissful night in Havana, smoking Cuban cigars and drinking some of the world’s finest rum, an idea was born for international award-winning theatre creator/writer/director, Toby Gough. Despite having worked with musical legends like Pavarotti and Bono, Gough admitted it is undoubtedly the cast of THE BAR AT BUENA VISTA, his latest production, which has influenced and inspired him the most. Working with these incredibly talented grandfathers of Cuban music is like “walking with giants” he says. “You learn the secrets from the original masters.”

This remarkable tribute pays homage to the unique vitality of downtown Havana with heated salsa and rhythms of exotic jazz infused with Cuban folk music. The celebrated cast is lead by the majestic vocals of Reynaldo Creagh, the 94-year-old singer who

is one of Cuba’s last remaining legends, alongside 86-year-old Maracaibo, the “multi-instrumentalist extraordinaire,” and 85-year-old piano master, Maestro “Hands of Gold” Rubalcaba from the acclaimed Afro-Cuban All Stars.

From satirising Madonna’s adoption scandal in Malawi, to being smuggled into Sarajevo through a sewer tunnel, Toby Gough has literally “risked his life for art,” says ABC radio host Richard Fidler. Gough declares, “The arts gives people a lifeline... it gives people a voice for expressing who they are.” For him, theatre and the arts send a “message for people who have dreams, not to give up hope, and to never believe that the flowers of your life have passed you by.” It’s about “celebrating in the moment” and “descarga” – an expression of the inner self through improvisation. As such, he maintains that The Bar at Buena Vista, as well as being a source of passion and romance, is also about the history and the intoxicating people and culture of Cuba.

His other Cuban shows include Lady Salsa, Hemingway’s Havana, Havana Rumba! and Miami Libre. At the Edinburgh Festival, he directs a world music theatre venue, The World at St.Georges West, in collaboration with Brian Cox and Peter Gabriel, which won the Spirit Of The Festival award in 2008. Gough once traced his father’s ancestry to merchant seaman off the coast of Malacca. Now, in the same vain he coins himself as “following in that tradition, of pursuing beauty on the high seas.”

At The Bar at Buena Vista we’re expected to smile, laugh and dance to sensational Cuban beats, but most of all we’re expected to have a glorious night with new and old friends at a local bar in Havana.

the Bar at Buena Vista is showing at The Canberra Theatre on Saturday June 11. Tickets and pricing information are available through canberratheatrecentre.com.au .

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TITS ‘N’ ALLKGWhile I might think I have evolved socially and intellectually since puberty, I would have to admit that I’d have trouble sitting in the audience of the upcoming AUSTRALIAN BURLESQUE FESTIVAL not turning a hazy shade of beetroot or tittering (!) nervously at the sight of vigorously twirling nipple tassles on a pair of bare, jiggling fun bags. But luckily for perennial juveniles such as myself, burlesque itself has progressed considerably since its early years of controversy and intrigue, as Melbourne-based burlesque performer, singer and songwriter Sapphira told BMA: “Social standards have changed. In the 1800s, it was scandalous, now it’s more of an intellectual process with music and costume. There are a lot of different styles mixed with striptease and a wider scope to experiment.”

In fact, Australian burlesque has become particularly known for its more thoughtful performances. Says Sapphira’s provocative pal, Dolores Daiquiri: “A lot of girls in Australia today have a lot of comedy and parody in their routine. They put a lot of effort into telling a story. It’s very theatrical. Back then, it was pure striptease, now it’s a different performance.” The term burlesque actually derives from the Italian word burla, meaning a joke or mockery. Back in the 17th century it was used to describe literature, theatre or music that parodied other work. Only in the 1860s did burlesque become popularly associated with comic striptease in the cabaret clubs of Europe and the US.

It may have seemed odd when post femme-lib women in the 1990s started happily donning the fishnets and corsets again to learn the salacious art of striptease. To this, Sapphira offers this insight: “We have equal opportunity, but we’ve lost touch of the glamour and of feeling sensual. It’s like we’ve come full circle. We’ve left the ‘50s behind and we’ve had this opportunity to work. Now, we’ve come back to reclaim our sensuality. Getting dressed up in corsets immediately makes you feel great. The performing aspect is also really empowering…. It’s a very powerful position rather than a submissive role.”

And new dimensions keep emerging in the recent burlesque revival. “Music is a big influence,” says saucy Sapphira. “People are performing to Garbage, Nine Inch Nails, Buster Rhymes and crazy popular music. There’s even a new trend called ‘boylesque’ with male strippers... it’s hilarious.” The Australian Burlesque Festival is actually going to feature such cock-sure (!) man ‘formers. Organised by Sapphira, Dolores Daiquiri and Rosy Rabbit, the ABF tour is heading to two new destinations this year, Canberra and Hobart, after a sell-out year in 2010. The actual Festival will take place in Melbourne and Sydney complete with showcases and workshops including, yes, a nipple tassle tutorial.

Catch all the titillation of the ABF when it can-cans its way into the Canberra Irish Club on Saturday June 4. Doors open 8pm. Tix through Mosthix.

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SLAM ONE DOWNGLEN MARtiNEach Saturday morning for the next few months, you’ll be able to drop in to Lyneham’s Front Café and Gallery and meet your local poet. Sat behind a desk containing a laptop, a long black and a pile of notes is Julian Fleetwood, writer, organiser of the TRAVERSE POETRy SLAM evenings, and poet in residence at the now iconic Lyneham hub. “The deal is that I get free coffee and in exchange I write poetry and attempt to elevate the space, make it a bit more… poetic.”

Fleetwood’s role as house bard complements a suite of activities he’s been involved with for some time. Starting as a Creative Writing major at ANU, his early plan was to create prose. “I didn’t want to do poetry, I wanted to write short stories, but I tried poetry and found that it was a great way to express something less narrative-driven.”

Fleetwood and a bunch of his colleagues decided to produce a literary journal called Block and to launch the first issue a performance night was hosted at The Front. “The launch was a chance for us to perform the pieces, get feedback, put that back into our writing, and it went really well.”

Buoyed by the success, Fleetwood gained an Arts ACT grant and founded the Traverse Poetry project. Its aim is to promote cross-media workshops and events for poets. The Traverse Poetry Slam is now a regular must-see night within the Canberra arts community.

“With slam poetry, your focus is on maintaining the audience’s attention – it needs to grab people, and for that you need to appeal widely. You need to make your work accessible. And you need to have good rhythm. The basic format of slam poetry is that the subject is picked from the audience and the poets respond for no more than two or three minutes. The Front is conducive to people being attentive, which promotes a friendly environment.”

In that regard Traverse nights are the genteel yin to the roughhouse yang of the Bad!Slam!No!Biscuit! events. “We’re not opposites,” says Fleetwood, who collaborates with the Bad!Slam! crew. “But it’s a good thing to have the two events. Bad!Slam! is more about being loud and exciting.”

But that’s not to say that passions don’t run high at Traverse evenings. “About three years ago we had a bit of fight at a Traverse event.” And what was the fight over? “Aesthetics! ‘This poetry is meaningless!’, that kinda fight! A highlight in the history of Traverse!”

The next Traverse Poetry Slam’s theme is Autumn. It’s happening at The Front on Friday May 27 from 7.30pm. Head to traversepoetry.org for more info.

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Inner Worlds: Portraits and PsychologyCurated by Dr Christopher Chapman the National Portrait Gallery, Fri May 6 – Sun July 24

The National Portrait Gallery’s exhibition Inner Worlds: Portraits and Psychology is comprised of works which show the many facets and faces of one person, as well as portraits of pioneers in the medical field and anonymous works by patients undergoing mental health treatment. The images we see are vigorous; they share a sense of immediacy, appearing as confessionals, fables and memories.

The aftermath of WWII was not only the wreckage of modern warfare but also a dismal attitude towards modern life. Artists, world over, drew, painted and sculpted with a new moral code; honesty is ugly and ugly is good.

Sidney Nolan’s work, Head of a soldier, 1942, took the front cover of psychiatrist Reginald Ellery’s study Psychiatric Aspects of Modern Warfare, where the text and Nolan’s image clearly refer to the inextricable link between war and damaged psychology. Nolan has used segments of flat colour and deliberately warped the dimensions of the sitter’s face.

Eyes as a symbol are plentiful in the exhibition, perhaps because they convey the double meaning of to watch and of being observed. So, if the eyes are the window to the soul then artists such as Nolan, Albert Tucker and Joy Hester inhabit a world not unlike the shape-shifting landscapes of C.S Lewis. These three artists use searching eyes as a visual cue for feelings of convalescence and trauma.

Two paintings in the final room dwarf the viewer, with their size and emotional energy. Dale Frank’s Self portrait, 1983, has been termed a psychological self portrait, where a mental state is captured rather than the sitter. The paint is layered thickly forming one large whirlpool, its darkness broken by shards of yellow and green. The work echoes the spiraling sky of Vincent Van Gogh’s Starry Night, 1889.

The works demonstrate that memory and a sense of self can be fractured. Importantly Inner Worlds shows that there is no such thing as a static human condition.

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A RT I ST PROFiLE: CJ BowerbirdWhat do you do? I am a performance poet.

When did you get into it? I have written armchair poetry sporadically throughout my life, but I began performing verse two years ago when I stumbled across Julian Fleetwood’s monthly Traverse Poetry slam.

Who or what influences you as an artist? I am strongly influenced by my stage of life, resulting in writing a lot of pining poems about growing up in the ‘70s and ‘80s and why being middle aged sucks. I am inspired by American performers such as Rives, Big Poppa E, Sage Francis, Emily Kagan Trenchard, Robbie Q. Telfer, Andrea Gibson and Anis Mogjani. Tim Minchin is a big name Australian influence, but I also love the work of Luka Haralampou and Emilie Zoe Baker.

What’s your biggest achievement/proudest moment so far? Performing in the 2010 Australian Poetry Slam final at Sydney Theatre, coincidentally on the set for Uncle Vanya, in front of 400 people who had paid to hear poetry performed for them.

What are your plans for the future? I am working on the perfect poem to win the 2011 Australian Poetry Slam. Longer term, I am developing the concept of a 45-60 minute small cast play in performance verse. The best slam poems are complete two to three minute stories. I want to take this concept further into a more developed tale while retaining the rhythm and music of poetry.

What makes you laugh? I laugh easily and at nearly anything.

I am giggling now, and these answers are not even a little bit humourous.

What pisses you off? I am an unjustifiably optimistic person and rarely get pissed off. I am annoyed when people performing at an open mic gig don’t show respect to the other performers by staying after their piece, keeping quiet and listening. Fortunately, I don’t often see that in Canberra.

What’s your opinion of the local scene? I am amazed with Canberra right now – there is so much going on performance-wise that it is hard to keep up. There is a large group of enthusiastic and supportive artists, listeners and publicans keeping the whole art landscape alive. One recent and very successful example, the You Are Here Festival, set my brain on fire.

In the poetry scene, a very strong and committed group of writers and performers are continually doing new things. It is a very supportive and welcoming group which is keeping the page turning for performance poetry in the ACT. In particular, Traverse Poetry, Bad!Slam!No!Biscuit! and Smiths Alternative Bookshop are havens for verse.

What are your upcoming projects? I will continue performing at the monthly Bad!Slam!No!Biscuit! and Traverse Poetry gigs.

Contact info:

cjbowerbird.blogspot.com

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WHO: Ursula Yovich WHAT: Magpie BluesWHEN: Sat June 4WHERE: the Street theatre

Ursula Yovich brings her deeply personal unadorned cabaret show Magpie Blues to Canberra direct from a season at the Sydney Opera House as part of the Message Sticks Festival. this moving musical account of growing up in the Northern territory with a mother from Arnhem Land and a Serbian father features a mix of Yovich’s own new songs and musical influences from her past. Drawing upon her unique cultural background, Magpie Blues is inspired by Yovich’s totem, the magpie, a songbird whose black and white feathers reflect the black and white heritage of Yovich herself. Ursula has spent much of her life coming to terms with her dual cultural heritage, and it’s this journey (both literal and spiritual) that lies at the heart of the show. tix through the venue.

WHO: Artists and DJsWHAT: Cold Sweats launch WHEN: thurs May 26, 6pmWHERE: Lonsdale Street Roasters, Braddon

Lonsdale Street Roasters is proud to present their inaugural exhibition featuring local artists. This night will celebrate the inception of Lonsdale Street Roasters as a public art space. Installations will feature beers, deer and all things wintry including snowboards and skis. The night is set to give you cold sweats of anticipation for the winter ahead and kicks off at 6pm with two local DJs, cheap beer and cider from Monteiths including their new winter ale to get you feeling all warm and fuzzy while it gets chilly outside. So embrace the cold, put on a few kilos for insulation and enjoy this winter wonderland.

WHO: Belconnen GalleryWHAT: Expressions of interest to exhibit in 2012WHEN: Open nowWHERE: [email protected]

The Belconnen Gallery presents a range of exhibitions by artists of all abilities and backgrounds, at extremely affordable hire rates. It is committed to showcasing a range of works that reflects the richness and diversity of Belconnen and its links to Canberra, Australia and the world. Our goal is excellence in the presentation of the work. It’s open 9-4.30pm weekdays and has well equipped lighting and hanging systems, and is in a high traffic area of the Belconnen Community Centre, with over 10,000 visitors annually. If you are interested in exhibiting, contact curator Ben Drysdale at [email protected] or on 02 6264 0232 (Wed afternoons 1-5pm).

WHO: You, if you’re under 25WHAT: National Young Writers’ MonthWHEN: Now until thurs June 30WHERE: expressmedia.org.au/nywm and beyond!

National Young Writers’ Month is a month of youth-led activities in the ACT, across Australia and online, looking to help anyone under 25 to set their own writing goals and achieve them. To help with that, the NYWM website has a blog, forums, interviews, articles, writing exercises, multimedia, competitions and more. Meanwhile, in the pipeline offline are some free events, including workshops, with the first set for Sunday May 29 at the ACT Writers Centre. For further details, check out expressmedia.org.au/nywm, search for them on Facebook or follow @NYWM on Twitter. Other questions or workshop reservations, email the ACT Ambassador: [email protected] .

WHO: Deep thinking artists WHAT: Inner Worlds: Portraits & PsychologyWHEN: Now until Sun July 24WHERE: National Portrait Gallery

Inner Worlds explores key moments of connection between portraiture and psychology in Australia since the early 20th century. It brings together portraits and depictions of faces and figures created in the 1940s by Albert Tucker, Sidney Nolan and Joy Hester that reflect psychological trauma; an interest they shared with psychologist Reginald Spencer Ellery. Portraits and imaginary faces created by mental health patients in the 1950s and 1960s collected by Dr Eric Cunningham Dax reveal unique experiences of the mind, and experimental self portraits and figure studies by Dale Frank, Anne Ferran and Mike Parr from the 1980s and 1990s explore machinations of the mind.

WHO: Paul HayWHAT: Box of TricksWHEN: Opening 6pm Friday May 27. Running ‘til Sat July 2 WHERE: Canberra Contemporary Art Space, Gorman House

Just like Frankenstein’s monster, Paul Hay’s sculptures form an animated body of work. Found objects and everyday materials organically meld until you can’t tell what has been found and what has been made. There is a wheelbarrow and a grand piano, tactile wood, bright red paint and smooth metal. Despite disparate elements, Hay’s sculptures make up a seamless body of work, each component simultaneously operating as part of the whole and competing for the viewer’s undivided attention. Hay’s sculptures are mischievous – it isn’t hard to imagine them moving while your back is turned. And each sculpture has its own intriguing story to tell. You can’t help but feel for them.


bit PARTS

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ZOYA PAtELJoan Wasser, also know as JOAN AS POLICE WOMAN, is impossible not to like – speaking to me from Brooklyn, while still on tour since February this year, Wasser sounds chilled out, calm, and completely at ease with the world. Much like her music, in fact, which is soulful, swoony, and always surprising, with her strong, deep vocals turning each tune into an addictive masterpiece.

Despite having been on the road for months without a break, Wasser couldn’t be happier with her new album The Deep Field, and the reception it’s received. “I love that it’s out, and I also love that people like it. The fact that people dig it really helps me out!”

The album is filled with amazing songs, but in particular, The Magic hits all the right notes, and comes

with a bizarre and wonderful film clip as well. Written and directed by a Welsh man, Ben Reed, the video depicts a day in the life of Wasser, complete with two huge body-builders, wearing very little clothing and basically behaving like her toy boys.

“Explaining the concept [of the clip] would be a little bit difficult, because it really is an absurdist video,” Wasser laughs. “I was looking through treatments for the video, and I was like, for lack of a better word, ‘boring, boring’, and then I got this video treatment, and I was like ‘oh my god!’ The video’s ridiculous, I just wanted to laugh!”

She could never pick a favourite track off the album though. “Even now I’m behind the times. I still think of albums as a collection of songs, and they make sense together, you know?”

Fans of Joan As Police Woman will probably know all about Wasser’s incredible musical history – she was the girlfriend of Jeff Buckley when he tragically drowned in 1997, and has collaborated with a tonne of different musicians and artists over the years on projects numbering far into the double digits. Are things still as good in the music world now as they were in the ‘90s? “Well, obviously things are different,” Wasser muses. “Because of the whole age of computers. But the fact is, great music is being made all the time. Creativity is never going to change. What you can do and the tools we have will change, but creativity is always going to be there.”

Now that she’s primarily a solo artist, does she miss the thrill of working with other musicians? “I worked on other people’s work for a long time before I even considered writing my own songs, and that was extremely rewarding and really enriching,” Wasser explains. “There’s really nothing like being able to sing your own songs, though. It’s really special, and I just love doing it, it’s a blast. It’s just fun making music in whatever way!”

Joan As Police Woman will be crooning at The Street Theatre on Thursday June 2. Doors open at 8pm, and tickets are $59/$55 concession, available through thestreet.org.au .

Creativity is never going to change. What you can do and the tools we have will change, but creativity is always going to be there

LAWLESS AND LOVING ITKAtiE CUNNiNGHAMMelbourne songstress OWL EyES is willing to suffer for her art. Fresh from filming the clip to her latest single Raiders, she’s been through the works. “It was beautiful hell,” she explains. “I was sick and it was such an early start, five o’ clock, it was at Mt Macedon so it was freezing cold and I got attacked by mosquitoes and I’m allergic. But it was beautiful!”

But not one to let a little thing like nature stand in her way; at a mere 20 years of age, Owl Eyes (Brooke Adammo) has already carved out a serious place for herself in the music industry. Lately, she’s been supporting indie dreamboats Darwin Deez on their Groovin The Moo sideshow tour, collaborated with hip-hop’s Illy on the track It

Can Wait and released her first EP Faces last year to resounding awe, with another to come in July. The music she makes fits her moniker perfectly - it’s dreamy, fantasy pop about werewolves and moonlight that, as she sees it, reflects that “cute, mysterious element of the owl.” Clearly, the musical process is one that flows easily for Adammo - who along with producer Jan Skubieszewski, thrashed out her five song EP in just five days.

Some may remember Adammo from her brief stint on, Australian Idol. Just 17 at the time, she reflects back on her time on the show as “just one of those things you do when you’re a teenager. I feel like I’ve had to work a bit harder to prove myself because of it, but it’s made me stronger in the decisions I make.” But never fear, Owl Eyes is forging her own aural path. Adammo says she’s influenced by “strong female artists that have visual aspects as well as musical, but I’m also inspired by hip-hop beats, more atmospheric stuff.” And while the lady sure is pretty (she’ll no doubt be gracing a Yen or Frankie cover sometime soon), she’s intent on making music with, as she puts it, “substance”.

Yet resisting the temptation to gloat about her actually completely unfair combination of angelic voice and looks, Adammo says she’s still adjusting to her growing success, stating “it’s funny when I do a gig now and I have people singing along.” But with her forthcoming Australian tour (complete with endorsement by the overlords of cool, Purple Sneakers) and relentless triple j airplay, it’s no doubt something she’ll have to get used to.

So the odd mosquito slap aside, what can we expect from the forthcoming Owl Eyes clip? “It’s kind of a story book,” Adammo explains. “Like I’m a character, I’m a little bit crazy protecting myself with a bow and arrow, wearing a cape, running around in the forest. Mayhem, but it was fun!” Sounds like a total hoot.

Owl Eyes will be causing crowds to swoon at Transit Bar on Thursday June 2, with Fun Machine in support. Doors open at 8pm, and tickets are $13.10, available through Moshtix.

I was sick and it was such an early start, five o’clock, it was at Mt. Macedon so it was freezing cold and I got attacked by mosquitoes and I’m allergic. But it was beautiful!

MOONLIGHT AND MYSTERIES

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DUNCAN FELtONThe early days of being a musician are exciting times, full of first experiences. For local singer/songwriter/dude-with-a-guitar PETE AKHURST, the firsts have been coming with increasing frequency: first music video, first support slots, first interstate and overseas shows, and the upcoming launch of his first EP Footprints.

When I meet him for his first face-to-face interview, Pete is affable and relaxed, as you might guess from his tunes, and he’s about to head off to Sydney to finish his first music video for Sister, one of four tracks on Footprints. “The EP’s been about four years in the making,” Pete tells me. “I started writing it when I was living in Sydney when I was 15, not thinking that anything would come of it…

just writing for the sake of realising that I could write a song.”

Despite his young age, he seems to have realised it, with songs that invite comparisons to Paul Dempsey and Jack Johnson. Likewise, and as his self-produced, self-funded EP attests, Pete says he’s happy to see

how far he can go solo. “Other people have done it: Tallest Man on Earth, City and Color…like anything it evolves, but the original step, I kind of just want to be able to do it by myself, just look back and be like ‘alright, cool, I’ve done that, let’s evolve’.”

Indeed, over the past few years he’s already been evolving into someone worth checking out, as you’ll know if you’ve seen him gigging around town and supporting the likes of Ash Grunwald, Whitley and the late, great Dutch Tilders. He even did a mini-tour in Dubai, simply because, he says “a chick over there heard my stuff and she really liked it.”

As for his EP’s gradual gestation, Pete says, “it’s me making something that I’m happy to share with other people. More importantly, it’s just something that I’m really happy with, because I’m the biggest pessimist when it comes to my stuff.” He likens Footprints to “looking at an old journal… remembering where I was when I wrote those particular songs.” With upbeat opener Puppets, the more sombre Too Much Too Soon, sibling homage Sister, and the closing title track, it’s an EP largely inspired by and focussed on family and other relationships.

Of course there are plenty more first experiences ahead for Pete: plans of touring North America, an open-mic tour of Melbourne and a digital EP in spring. But for now, there’s his launch at The Front.

“It’ll be a long time coming,” he says, “for me anyway, and for other people that have been around since the start.” For everyone else, Pete tells me, “It’ll be a party full of nice tunes and warm people.” As Canberra grows ever chillier, sounds like maybe this show should be your first frosty Friday night choice.

Catch Pete Akhurst with special guest Isaac Graham (Sydney) at The Front Gallery and Café on Friday June 3 at 7pm. Tickets are $10 at the door.

[The EP] is just something that I’m really happy with, because I’m the biggest pessimist when it comes to my stuff

A FIRST TIME FOR EVERYTHING

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BEN HERMANNThere are but a mere handful of acts in this country that have the power to draw every punter onto the dancefloor, regardless of night of the week, size of the crowd, alcohol consumption or size of the dancefloor. Luckily for us, local self-described “soulpopaluminiumfoil” group FUN MACHINE are one such act. With a style that seems to defy classification - other than, perhaps, simply being outrageously fun - they are one of the most aptly named groups around.

“I think what makes most of our shows so great is that we obviously enjoy playing with each other so much, and that’s really infectious for the crowd,” says drummer Bec Taylor. Along with Chris Endrey (guitar) and Ramsay Nuthall (bass), the group’s diverse, yet

complimentary characters and influences are obvious: Endrey, with his knitted Argyle sweater; Taylor, with her thick, woollen poncho, and Nuthall, with his giant bright orange and yellow checkered overcoat with matching orange shoes. “I think the fact we all have the same attitude and acceptance to songwriting, as

well as everything else, is what helps us,” says Nuthall. “We’ll never say something like ‘Bec, I don’t think that’s very Fun Machine’. It’s kind of hard to unify all our characteristics.”

The group has had a stellar past 18 months, winning the Foreshore SoundSearch competition, the ACT National Campus Bands Competition, and most recently appearing at the Canberra leg of Groovin The Moo. In ‘09 they released their debut EP More is More! at a packed-out Turner Bowls Club, and this June they’ll be releasing their second EP Desert Creatures, just a few skips up the road at the Polish White Eagle Club. Recorded at Studio 303, the group was much more focussed on achieving a particular outcome this time around. “We had a much greater idea of what we wanted out of this recording process, but the most difficult part was that we just had so much music that we wanted to record,” says Endrey. “We had so much material, and so many ideas, that we often got to the point where we’d have to take a break and walk around outside to think of some words to go with the music.”

“With our first EP, we were just happy to have created the EP. This time around, we were actually able to be honest, and say ‘no, we’re not happy with that recording’, if that was the case”, says Taylor. Most importantly of all however, the group hasn’t departed from their superbly infectious, addictive pop melange. “We certainly don’t want to make a particular Fun Machine ‘sound’,” says Endrey. “We throw the Fun Machine picnic rug pretty wide in terms of the types of music and styles we incorporate.”

Fun Machine are launching Desert Creatures at the Polish White Eagle Club on Saturday June 18. Julia and The Deep Sea Sirens and infamous loons nozl, along with a swag of other eccentrics, will be along for the ride.

THEY GOT DA FUN(K)

We throw the Fun Machine picnic rug pretty wide in terms of the types of music and styles we incorporate

30

Your favourite rapper’s favourite rapper, Elzhi has just done a tribute to your own favourite rapper, Nas, with his homage to the classic Illmatic LP. He isn’t the first MC to pay homage to this timeless hip-hop artefact but his original take is sure to up the ante for future tributes.

Bias B has been working hard of late. He released his graffiti tribute album Aerosol Era last year and is now back with Biaslife, his fifth solo album. Released on Wordburner and distributed by Obese Records, Biaslife further cemented Bias as one of this country’s true innovators and dedicated wordsmiths. Joining him are seasoned artists and regular Bias collaborators like Lazy Grey, Len One, Bigfoot and Ciecmate, alongside the much-hyped (and deservedly so) talent of Fluent Form, Maundz and Eloquor. Production mastery comes from Lazy Grey, DJ Bonez, Doc Felix, the Statesmen, Aux One, Geko and Discourse.

Hot on the heels of the debut LP from Briggs, the Hoods’ Golden Era imprint brings the sophomore record by Vents to the table. Entitled Marked For Death, Vents continues both his run of Steven Segal album titles and working with trials on the production boards. Sesta and Hilltop Hoods turn up on guest duties and DJ Adfu supplies the wax manipulation on the cut.

Syllabolix heavyweights Hunter and Mortar have teamed up for

THE REALNESS

Fear and Loathing. During the making of the album, both artists have undergone life changing afflictions and been battling serious illness. Fuelled by their passion for hip-hop and the desire to create and share their music and message, they have brought Fear and Loathing to the table - an album chronicling their epic journey. Joining Hunter and Mortar on the album are fellow SBX stalwarts Dazastah, Optamus, Layla and Graphic. Hilltop Hoods also show up on Bat Country and the album is produced by Mortar.

Heading overseas and there’s some noteworthy new releases worth checking out. Edo.G is back with his new solo LP A Face In The Crowd on Envision. He is joined by Bishop Lamont, Slaine, Def Jef, Chali 2na and more. Production comes from a dream line-up of DJ Premier, Statik Selektah, M-Phazes, Explicit One and Young Cee.

Mr. Smooooooth himself, aka J. Rawls has just released his The Hip-Hop Affect album on Greenstreets. Rawls always brings the soul on the beats and he is joined by Oh No, Diamond D, Kev Brown, Sadat X, Rhymefest, Fat Jon, El Da Sensei, Edo.G, Casual and many more.

Old school heads will remember the long lost album from Large Professor and Neek the Exotic. Well, seemingly out of nowhere, they are back with Still On The Hustle, a new album on Distrolord. Large Pro produces the record, alongside beats from Marco Polo and Lord Finesse. One of my favourites, Joell Ortiz also turns up on the guest tip. Moving to the more leftfield side of things is the upcoming album from New Jersey based Memory tapes. His new album is entitled Player Piano and is due out on Carpark Records in July. Finally this month is the news that UK bass music producer Sbtrkt is set to release his self titled debut album through the ever reliable Young turks on tuesday June 28.

[email protected]

31

METALISEOK, so by now the Soundwave Revolution juggernaut is in full effect with the entire line-up. Deep, deep breath - Van Halen, Alice Cooper, Bad Religion, Panic! At the Disco, Machine Head, Hole, Danzig, the Used, All time Low, Sum 41, Alter Bridge, Yellowcard, thursday, Cro-Mags, Sisters Of Mercy, Dashboard Confessional, Set Your Goals, Devin townsend Project, Story Of the Year, the Damned things, Steel Panther, Gojira, Hatebreed, Four Year Strong, Every time i Die, Funeral For A Friend, Hellogoodbye, Madina Lake, Destroy Rebuild Until God Shows, Unearth, Face to Face, Hellyeah, times Of Grace, Relient K, Whitechapel, Versaemerge, Zebrahead, terrible things, Kevin Devine Band, the Dangerous Summer, Kvelertak, Hollywood Undead, Skindred, Watain, We Are the Ocean, this Providence, the Pretty Reckless, the Swellers, Make Do And Mend, Black Veil Brides, the Acacia Strain, in this Moment, Street Dogs, Young Guns, We Are the in Crowd, the Word Alive, Holy Grail, Framing Hanley, Attack! Attack!. It’s a ridiculous bill isn’t it? Tickets are $140 plus booking fee, and are on sale as this issue hits the grim, frostbitten streets of Canberra.

Glam fans have been hitting social media sites with news that a Motley Crue, Whitesnake and Poison tour is happening. October/November is the time - keep your calendar free.

Encircling Sea have had a busy start to the year on tours with 4 Dead and Unearthly trance. The band are heading out on the road for a headline tour and hit ANU Bar on Saturday June 4.

Blind Guardian have announced an all ages show in Sydney in September to celebrate their new record At the Edge of Time. the Factory theatre on Friday September 30 is the date, and Black Majesty and Eyefear have the support duties.

Doomriders have announced their first Australian tour and for a nice change, fans won’t have to drive to Sydney to catch the shows. The Boston, MA four-piece that includes alumni of Converge, Clouds, Cast iron Hike and Disappearer hit New Zealand and Australia for nine dates, and the Canberra show hits town Monday July 25. Along for the whole tour are locals i Exist, who will have released their second full length album, ii: the Broken Passage through Resist Records. Speaking of which, I Exist’s album launch will go down on Saturday June 25 at the Basement in Belconnen with Anchors, Loveshy and Disavow.

Slaughterfest iV is on in Sydney on Saturday July 30 this year and once again a big old bag of diversity and extremity is served up by the good folks at Grindhead and 666 Entertainment. Fuck…i’m Dead, Looking Glass, Roadside Burial, Summonus, Deathcage, Mother Mars, Ether Rad, Red Bee, Agonhymn, Burial Chamber, Arrowhead, Rock N Roll Weapon, Fat Guy Wears Mystic Wolf Shirt and Van comprise the stellar all-Aussie line-up. Entry is $20 and the first 100 payers get a free sampler CD. the Sandringham Hotel in Newtown is the venue.

Unkle K’s band of the week: Let the Night Roar – for fans of Lair of the Minotaur, later Entombed and High On Fire.

m yspace.com/#!/tualatin

JOSH [email protected]

32

PALiMAH PANiCHitKARNIVOOL are Australia’s finest thinking man’s moshing music. these leviathan progsters represent a new Honours class of talent – particularly in Australia – that are taking their craft to new places. With labyrinthine song structures that are embellished with mechanically precise musicianship, Karnivool have surprisingly risen quickly in a largely by-numbers scene.

Bassist, Jon Stockman, was easy to talk to; he ignored the many times i tripped over words, providing answers that were sometimes funny and always considered. He brought up the reason for the sole Australian tour this year almost immediately: “We needed to get out and service the country,” he joked. “But we really want to dedicate this year to our writing and getting as many songs as ready as we can. We’re spending a fair bit of time at the studio at the moment, just trying to get new material for the upcoming album that we plan to release as soon as it’s finished, and, um, we’re sort of just beavering away.”

it’s a slow process, but it’s one that we seem to have a better grip on this time, i think, so hopefully it won’t take as long for that reason.”

Stockman was seemingly very eager to discuss the new album and the genesis of

ideas for it; a disguised excitement coloured his tone whenever he talked about Karnivool’s new material.

“the last record that we did was very much about us writing stuff in a room, and getting a sound to come out from that way. it’s a bit early to say at this stage, but the stuff that we have at the moment has come from, um, riffs that have been written while on tour… Like waiting around in rooms before shows, there might be an acoustic in the room, or in our hotel rooms – just recording them on our phones or just writing them down.”

Despite the freakish cohesion and seamless nature of their records, especially Sound Awake, Stockman says the imposition of themes and strict sound concepts on albums can strangle creativity. “We’ve never really gone for a certain sound. the albums are sort of like a snapshot to where we were at that time. You can run the risk of losing the spark and creativity if you think about it too much.

“Jamming with each other is what we did a lot [on Sound Awake]. Also, changing instruments is good – i’ll sometimes play the guitar… just to come at things from a different angle. Someone

can come in with a drum part, or a bass part or an electronic thing. Sometimes we’ll have a pre-conceived part or idea that we’ll write and plan to write, and we plan to totally go beyond; to go into places we’ve not gone into before with this one. We have ideas in mind that don’t start from a traditionally musical way – to incorporate samples and stuff...”

Stockman recalled the latest Canberra ANU Bar performance with a good-humoured reaction, despite what he discovered shortly after it: “it was a really intense show. it was quite a seething crowd. At the end of the night, someone took a photo and sent it to me – it was like broken glass and blood on the floor… i don’t know where that came from.

“We’ve always enjoyed playing Canberra, because it’s different to the other places we play. All places we play are different to each other, but [in Canberra] it’s a very appreciative audience for the love of music.

“And we’re finding that going overseas is doing really well. they’ve sort of really taken to us, and that’s really good, because obviously it’s so expensive to be doing it in the first place… it’s started to not be as financially disembowelling as it can be. it was really positive. A lot of the room sizes were smaller, but most of them were sold out or close to; next time we go back over, hopefully we’ll play larger venues. it’s a new and exciting experience, and we love playing anywhere.

“We mostly get a great reaction; people tend to get involved in the energy that we try to put off. But there was a gig in tampa… there seemed to be a couple of people that didn’t want us to be there… i think we filmed a guy. it was pretty funny, because we haven’t really come across that in a long time; it was a bit of a novelty.”

Stockman says Karnivool will try and take some new material on tour with them. “We’ll hopefully take one or two songs with us. We’ll try to get them in some kind of form that’s playable live; hopefully in their finished form. But if not, it’s just a good forum to road test songs anyway.

“it’s good to see how the songs work in a live format, because it’s more obvious if you play something live if it works or if it doesn’t. Not necessarily just from how the crowd reacts, but also from how we’re playing it.

“More than anything, we’ve got a few more influences and interests, and we’ve been exposed to other music and there’s a lot of important things that have happened in the world since the last time… we’ll hopefully be able to channel those experiences into something that has its own identity away from our other stuff; away from Sound Awake or Themata.”

Karnivool will be bringing their mosh madness to ANU Bar on Wednesday Jun 15. Tickets are through Ticketek, for a lousy $51.45.

At the end of the night, someone took a photo and sent it to me – it was like broken glass and blood on the floor… i don’t know where that came from

34

TerATorniS BACk FroM exTinCTion[Unsigned]

Sydney thrash band Teratornis have put a lot of effort into their first EP, Back from Extinction. Taking the style and the attitude of the ‘80s thrash metal scene to a 21st century extreme, the four tracks show the formation of a sound akin to its progenitor scene, albeit with a unique (and uniquely Australian) twist.

From the first track Rise From the Tombs, introduced by twin guitar riffage and a Lycanthian opening howl, the four lads are doing it the thrash way, their way. Shredding through to Notomelus and Teratornis, it’s clear to see that they’ve put hard work into recording and mixing it properly and putting technical elements in that keep the riffs interesting. The music is played at breakneck speed at times, with a big percussion sound keeping it all together.

Not only are the songs great but the feel of the album is upbeat, heavy and enjoyable. There could be no better way of describing this than saying that it gives a shameless nod to the old days, but moves on from where they left off. The band have the potential to progress from this EP and create an even more advanced and more enjoyable sound. Thrash never died – it’s still well and truly alive in bands like Teratornis and their peers in the thrash underground, and that’s where any avid metalhead should cast their eyes, ears and horns.

StEPHEN SAMARA

TriAl kennedY living UndeSigned [mgm]

Since their formation in 2002, Melbournians Trial Kennedy, have been the dark horse of Australian garage rock. I have long admired their ability to throw together some great licks in killer melodic rock songs. They gained some radio attention with their debut New Manic Art, but still remained under the radar. This, their second album, should help them gain the attention they deserve.

Opening with ever accelerating locomotive-like drum beats, Sally begins with soft vocals before the full-on volume crashes in after the intro. The guys weave in tick-tock clock-like notes at the end, before the track collapses in a crackling radio fade out.

Strange Behaviour, the first single released from the album, has been enjoying some airplay. It is the highlight of a collection filled with great tracks, with its grand vocal harmonies and a super catchy melodic line. Exology has opening riffs worthy of Gyroscope and soaring vocals in the same class as Birds of Tokyo. But this is no copy band, as Trial Kennedy have a distinctive sound all their own. Best of Tomorrow enthrals with its overlapping vocal arrangements and the slower pace of My Own displays the quality of Tim Morrison’s voice. There’s a lot of youthful angst tied up in this collection, as exemplified by Arrest Room with its powerful cries of grief, establishing a spooky, mysterious atmosphere. I loved it!

RORY McCARtNEY

oTher liveS TAMer AniMAlS [TBd RecoRds/PlAy iT AgAin sAm]

Because they are still relatively unknown I feel compelled to compare Other Lives to a bunch of bands like Bowerbirds, Sigur Rós and old Arcade Fire. But in time Tamer Animals will be the bar other albums are matched against. This band holds their own. Employing a foreboding, almost Celtic influence with orchestral beauty, the second album is pretty cohesive, layered with French horn, piano, guitar, organ, cello, clarinet… Listed together it sounds like it could be a song salad. But the songs are written well and make you feel a little like you’re sitting in the dungeon of a castle, the walls lit dimly by candles. To that end it could be considered a concept album, which is why Arcade Fire’s debut comes to mind. At the core though, Other Lives are probably more like Interpol, lyrically and vocally. There’s a sad hopelessness in lines like “Solitary motion in the wake of an avalanche. Deer in the headlights, there goes a weaker one.” If someone accused Other Lives of taking themselves too seriously I wouldn’t disagree. And really that’s when comparisons to The National (made by many a journo already) appear generous. Sure the often flat, deep male vocals offset the beautiful orchestral arrangements, but The National know when to have fun.

They’re not doing anything strikingly new but Other Lives have put a lot of thought into the development of Tamer Animals. Spin this one on a wintry day..

PEtER ROSEWARNE

on albums

the word

album of the issued’opUS And roShAMBo

pAST TiMe [ineRTiA]

yes, D’Opus and Roshambo are Australian. yes, they are

a hip-hop act. No – they are not Australian hip-hop. In

fact, they’re not anything in particular. They’re conscious

without being maudlin, funny without being indulgent

and skilful without being exhausting. Past Time carries

the theme of time passing, growing and learning and

coming to terms with the past while still looking forward to

the future. Roshambo is no push over; his storytelling

is captivating at points and his skills on the mic prove

undeniable on cuts like Action Montage. The way he executes

a track without excessive reliance on technique is

enlightening, especially when his peers are too often leaning

on empty rhyme schemes. D’Opus is the dopest. As a

producer, he weaves together erudite samples and classic

boom-bap production that positively brims with

enthusiasm, surging under and over Roshambo’s clever

sixteens. It’s not just enough that the production sparkles

– it’s that it has a certain funk, a specific heavyset factor that

keeps the toes tap dancing and the neck sore. His cuts are

truly ill, but he shows a rare tendency for restraint.

Truly ill.

PALIMAH PANICHIT

35

BeYonCe rUn The World (girlS) [sony Bmg]

Pon de Floor was grating enough without Beyonce diva-stomping all over it. What’s her deal anyway? Is having a confusingly punctuated female empowerment mutant dancehall anthem her idea of being edgy? Bring back Kelly Rowland and the other one.

Blood orAnge dinner [TeRRiBle RecoRds]

Apparently bored with being an indie quirkster as Lightspeed Champion, Dev Hynes is once again working under his Blood Orange moniker and his first offish single Dinner is a real gem. Thick bass bobs in and out of the headphones as Dev goes all sad eyed ‘90s R&B with washed synths and stuttered drum machine beats. It’s pretty great.

CAlvin hArriS BoUnCe FT. keliS [sony Bmg]

Though the Bounce part of this is probably too literal, the backing track suits Kelis pretty well. Though she’s better than Calvin himself, her voice is pretty flimsy, so the busy production glosses over her thinnest parts. Other than that, this is essentially Calvin Harris becoming the white Afrojack.

dAvid gUeTTA Where deM girlS AT FT. Flo ridA & niCki MinAj [emi]

Nicki Minaj can do much better than this. David Guetta evidently can’t stop making Sexy Bitch over and over again. And Flo Rida, well, he’s just a lucky motherfucker.

U.d.o. rev-rApTor [AFm RecoRds]

What is there to say about a man whose voice has been lending itself to classic heavy metal since before many of us were born? In many ways Herr D has become an institution of AC/DC-esque proportions.

Rev-Raptor, the man’s 13th solo outing ticks every single one of the boxes required to make it classic Udo. There are fast necksnappers (the title track), there are brooding metal epics (Fairy Tales of Victory is an excellent example of the genre), there are poppy sing-along numbers (True Born Winners), and there are heroic ballads (I Give as Good as I Get). There’s even an anthem to a sleepy Surrey commuter town (Leatherhead). It’s all very metal, with excellent production... so why can’t I get more worked up about this record?

Udo Dirkschneider is a legend, one of the true greats of metal. But he doesn’t seem to be able to muster a whole lot of inspiration for Rev-Raptor. Were this same album to be released by a no-name German metal band, there’s a strong chance it would disappear without trace (or even be openly laughed at) due to the dearth of truly memorable material within its grooves. But it’s from the house of Dirkschneider, so it’s worthy of respect at least. Have a listen, for sure – you’ll love it, at least the first couple of times you hear it – but think carefully about purchasing, because this album’s strictly for diehard fans only.

NAMBUCCO DELiRiA

UnderlApper SoFTlY hArBoUred [HellosQUARe/FeRAl mediA]

Sydney sweet electronica-ey post rock sextet Underlapper made a splash with their gorgeous début disc Red Spring a few years ago, gigged consistently and then seemingly disappeared. Luckily for us, they were locked in some kind of sunny studio writing and recording this album.

Within the first two songs, you hear soft female guest vocals, noodle-y sax, skittish cymbals and manic chanting, on top of the guitars and boxes that the band are known for. And the vibe is sunny - for what it’s worth, post-rock will always have a kind of lamenting grind, but the progressions on Softly Harboured are replete with lashings of hope, resolution, and regret-less reflection.

There’s some rich Peter Hollo guest cello on there, and even when the vocals get a bit Tucker B’s style rambunctious, you don’t get a sense of dread, instead awash with the dynamic soundscapes the band creates.

And make no mistake – this is completely a band. At any time at least four instruments are played, the electronics being an enhancement, not a cheat.

Vocally heavier than their first album, Underlapper’s music now has a different taste, adding an element of colloquialism to their previously friendly prettiness. Still, perfect for early weekend mornings wrapped in a doona sitting near the heater, looking out into the garden as the new day’s sun glistens the frost.

DARCY WiGRAM

Urge overkill roCk & roll SUBMArine [Uo RecoRds]

Urge Overkill were the ultimate ‘90s anomaly. Whilst their peers were obsessively dredging the depths of angst and celebrating failure – Nash, King and Blackie were celebrating in chiffon, champagne and anthemic stadium-ready power chords. They stood out because they looked ridiculous and acted even more so. It was an act and they shamelessly flaunted the emptiness of rock and roll preening and swagger. They were beyond irony. They were hated by the scene, especially by Steve Albini.

Yet beneath all that coiffured bluster was a tightly-coiled rock/power-pop band in the classic ‘70s radio way. 1993’s Saturation was their brief commercial peak and barely two years later heroin had all but destroyed them; check out Exit The Dragon if in need of a harrowing lost classic. And so, five years into a largely ignored reformation they’ve released their first set of new songs in a generation.

Neither as grotesquely bleak as Dragon nor as vacuously luminescent as Saturation, this is the sound of a band well at terms with their place in music history. The strut is proudly on display (Mason/Dixon) and the mid-tempo windows down thumper returns (The Valiant).

There’re some fallow spots, but this is much better than anyone had the right to expect.

JUStiN HOOK

singled outWitH DAVE RUBY HOWE

36

on filmsWITH

MELISSA WELLHAM

the word

WATer For elephAnTS

Water for Elephants is an old-fashioned love story. Based on the novel of the same name, veterinary school student Jacob (Twilight’s brooding vampire Robert Pattinson, here a brooding human) takes to the road after the death of his parents. He ends up traveling with a circus, and becoming an elephant trainer. Complications arise when he falls in love with Marlena (Reese Witherspoon) the beautiful but damaged wife of August (Christoph Waltz), the cruel and complicated owner of the circus.

This is Pattinson’s first real opportunity to prove himself outside of the Twilight franchise and associated angsty teen films – which is unfortunate, because he is still not given a particularly complex role. What makes Water for Elephants worth watching are the beautiful costumes and lavish set design. Being set in a circus means there’s obviously a lot of potential for imaginative and indulgent art direction; and being set in a depression era circus adds an attractive atmosphere of debauchery and decay.

It’s a shame that with so much visual stimulation, what is boring to watch on screen is the love triangle. Rarely has there been less chemistry between two characters than between Witherspoon and Pattinson. And when the entire story hangs on their undeniable passion, that’s a problem. It’s not that the actors aren’t trying; it’s just that you can’t force chemistry. You know what they say: you

can lead an elephant to water, but…

MELiSSA WELLHAM

inSidioUS

Insidious is both creepy and utterly ridiculous. I won’t lie – I hid under the sleeve of my coat for the first half. However, I also exclaimed “What the hell?” and laughed out loud during much of the second half.

Josh (Patrick Wilson) and Renai (Rose Byrne) are devastated when their son, Dalton, falls into a medically mysterious coma. Imagine how they feel when they’re informed that the strange occurrences that have also started happening aren’t a result of their house being haunted, but of their son being haunted (or almost haunted, or the object of attempted hauntings, or whatever).

The tone starts off wonderfully – the opening sequence feels like horror films of yore, and the music is great. At this point, everything is still subtle and unexplained (albeit slightly Paranormal Activity 2ish). Then, director James Wan decides to cast aside any attempts at genuine suspense and creepiness in favour of obvious scares, ridiculous exposition and horror clichés.

Overall, there are some good scares, but also too many eye-roll moments to make it a good horror film. There are some great funny moments, but they feel tonally strange. Insidious must have done something right though – later that night I thought my fan was a wax figure with a shotgun, and I kept thinking I heard eerie whistling or women crying. So it gets an extra star for that.

MEGAN MCKEOUGH

SoUrCe Code

The second feature film from Duncan Jones (David Bowie’s son, though his greater claim to fame may be his direction of 2009’s Moon), Source Code is an action-thriller which follows Captain Colter Stevens (Jake Gyllenhaal) – a soldier who wakes up inside the body of another man, and discovers that his assignment is to stop a terrorist attack.

It’s revealed that Colter Stevens is, in fact, inside an experimental Government program called the Source Code, which allows a participant to cross over into another man’s body for the last eight minutes of his life. Our protagonist is required to re-live the last eight minutes again and again (and again), to discover the bomber on his train. Along the way Colter deals with his Daddy issues and falls in love (with Michelle Monaghan). It’s a very action-packed eight minutes.

Source Code is not the film I expected from Jones for his second foray into filmmaking, but that doesn’t make it a bad film. Despite being more action and less arthouse than Moon, Source Code still works – if you’re willing to suspend any and all disbelief, that is. The premise is poorly revealed, the ‘science’ in this science fiction is basically just fantasy, and there are so many plot holes one wonders how the film doesn’t disintegrate entirely.

But Gyllenhaal is charming, the story is engaging, and the romantic sub-plot adds a nice human touch. Although not smart, Source Code has heart.

MELiSSA WELLHAM

quote of the issue

Sometimes you don’t see heartbreak coming. you think

that you can trust another person implicitly and then – bam! They turn out to be

someone completely different from who you expected. I

am, of course, talking about the relationship between an

individual and their favourite director. I felt this shock

recently, after watching Duncan Jones’ latest movie, Source

Code. His debut film, Moon, was a subtle, psychological

science fiction. Source Code is the Hollywoodified version of such a film: not-so-subtle, pseudo-psychological. I’ll get

over the disappointment in time. But Duncan Jones is going

to have to work hard to win back my adoration.

“This is not time travel. This is time re-assignment.” dr. rutledge (jeffrey Wright), Source Code

37

The AMeriCAn [UniveRsAl]

It’s fair to say many people expected something quite different when this film was released. It sure looked like a big-budget noir thriller, with early clips suggesting a lo-fi, Bourne-on-a-European-holiday type action vibe. And sure enough, that’s exactly how the first ten minutes play out with multiple deaths in the Swedish snow and a small portion of skulduggery on the side. But looks can be deceiving and after Jack (Clooney) ties up a few loose ends it’s off to Italy. For one last job. Is there any other sort in the assassination game?

In the central Italian highlands, Jack lives spartanly all the while, assembling a rifle from pipes in old garages in between some very perfunctory bed play with a local hooker. Jack eventually realises something might be amiss and that the last job might just be him. In terms of plot, The American doesn’t translate well onto paper. Visually and onto the screen, it’s another matter altogether. It’s a sumptuous, if lethargic, treat.

The poster offers the first hint, playing homage to those iconic Italian film promos from the ‘60s. Then there’s the director – Anton Corbijn, the famed moody and minimalist black and white photographer who is helming his second film after the austere Ian Curtis biopic, Control. Corbijn is a man in love with setting up shots, framing scenes to capture mystery rather than letting loose with the predictable. Throughout the film there is a studied sense of space. Symmetry plays a big part but its root causes are mystifying – is Jack looking for balance or does he think he already has it? Cryptically, it is left hanging. Whatever the reason, The American is a noir thriller belonging to another age. It also confirms Corbijn as a filmmaker with acres of promise, patience and a visual palate that’s second to none.

JUStiN HOOK

gArY TAnk CoMMAnder – S1 [THe comedy UniT]

Set in Scotland and following the lives of four soldiers from the fictional 104th Royal Tank Regiment of the British Army, this show aims to show the personal side of soldiers – both when at home and when deployed. It mostly takes the form of a traditional sitcom; however it is interspersed with one-on-one interviews and video clips, which help to give a complete picture of the thoughts and actions of the soldiers. Of particular hilarity are the YouTube clips shown at the start of each episode, showing the soldiers having a bit of fun while deployed. Most notably, the unit lip synching and dancing to Lady Gaga’s Telephone. Creator, writer and main character Greg McHugh said he wrote the show partly because, “We hear lots about the death of troops, sadly, but we never hear about the more human side or lighter side.” This lighter side is definitely shown throughout the season as the boys in the unit face covering for the fire brigade for a day, deal with an American General who wants to get them drunk, participate in a debate at a uni, attempt to buy Gary’s dad an oven and are put on guard duty on Gary’s birthday.

Throughout the season, between the funny banter that goes on between Gary and his unit, there is a subtext of camaraderie and support. Gary, along with other main characters, Jacko, Charlie and Adam, spend almost every waking moment together, as a normal army unit would, during which time they fight with each other, muck around, laugh and deal with personal issues. Despite the lack of tank commanding that actually occurs in the show, Gary Tank Commander is a lighthearted look at life in the army and is definitely worth a watch!

CLARE BUttERFiELD

TrUe Blood – S3 [WARneR Home video]

After a few seasons of success, every TV show runs the risk of over-baking the cake; ambitious storylines overestimating the talent of the cast, recycled plots, zanier plot twists or mysterious new characters. The best shows have a defined aesthetic and stick to it religiously. The near-perfect Deadwood stumbled in its third season by losing focus and introducing characters that didn’t deliver. Battlestar Galactica struggled to tie-up complex metaphysical threads in an uncomplicated manner angering many.

True Blood approached its third season as a show that overcame its genre-specific roots – Southern vampires on the make – to be a genuine cultural talking point, thanks largely to a production team who labour under no misunderstandings; they know the show is meant to be schlocky entertainment that looks fantastic and they deliver as much. The socio-political undercurrent of earlier seasons has been toned down, and the swampy gothic inter-species drama has been ramped up. Indeed series creator Alan Ball laughs off the allegorical interpretations of the show. Sometimes a vampire is just a vampire. And sometimes a gothic period drama is an angsty gore and sex-soaked passion play. Only now with werewolves.

There’s little point delving into the arcane plotting other than to say Bill (Stephen Moyer) and Sookie (Anna Paquin) are slowly subsumed into a broader, swampier mix despite a late season marriage. Many – myself included – are grateful for less Sookie.

This series gave HBO their best audience figures ever. Creatively and commercially, True Blood continues to confound those ‘it’s just Twilight for grown-ups’ critics.

JUStiN HOOK

on dvds

the word

38

Chez Blackbox is (en)raptured by Sons of Anarchy (One, Wed, 10.30pm). The US drama about the original chapter of the fictional Sons of Anarchy motorcycle club has brilliant characterisation, well thought out scripts, just the right amount of violence and a sprinkling of moral ambiguity. Blackbox will be waiting patiently on the couch, Buffy survival kit at the ready, watching Sons of Anarchy, True Blood and Treme (if the two latter shows ever get picked up on free-to-air). When better than the apocalypse than to dream of square-eyed heaven?

Biggest disappointment of the new season offerings has got to be Jersey Shore. Sure, it’s great for caricatures, but it’s not even mildly funny or even entertaining in a morbid sort of way. It’s just sad. Really sad.

The jury’s still out on Amazing Race Australia (Prime, Mon, 8.30pm). Australians just aren’t as whiney as Americans and the teams are a little too contrived. Farmers who haven’t left Australia – please…

And there are more new shows including Outcasts (ABC1, Sat May 28, 8.30pm) a new British sci-fi drama that follows a group of pioneers building a new settlement on the planet Caparthia, Thorne (ABC1, Fri May 27, 8.30pm), which puts the crime novels of Mark Billingham on the box, The Kennedys (ABC1, Sun, 8.30pm) with Katie Holmes trying to play the first lady with the same facial expressions she used as Joey in Dawson’s Creek. The Young Ones (ABC2, Tue Jun 14) which takes six celebrities from the ‘70s and sends them to live as they would have in the ‘70s, as well as new seasons of Hustle (Fri Jun 3, 9.20pm), Deadwood (ABC2, Mon Jun 6, 9.30pm) and The Tudors (ABC2, Fri Jun 10, 9.15pm).

In recent times, Auntie has almost cornered the market on the 20th century biopic, including the brilliant Paper Giants, which chronicled the creation of Cleo. Keen to be involved in a story that involves them, WIN will air the as yet unnamed mini-series about Kerry Packer’s other creation, World Series Cricket.

Later in May, 7TWO will start airing reruns of The Bill. Unfortunately they are picking it up from series 15, long past the point of soap opera. Take it back to series one – with cockney conmen, DI Burnside and DI Tosh Lyons.

Docos to check out include Murundak – Songs of Freedom (SBS, Saturday May 28, 10.05pm), which follows the Black Arm Band and features Indigenous music legends such as Archie Roach, Bart Willoughby, Jimmy Little and Ruby Hunter; Recipe for Murder (ABC1, Thu May 26, 8.35pm), which takes us back to 1950s Sydney where women were adding rat poison to cakes and cups of tea and feeding it to their murder victims; and Jump! (SBS1, Tue Jun 7, 10pm), which looks at the world of competitive jump rope.

Catalyst (ABC1, Thu Jun 2, 8pm) is always a good source of quirky amusement and this week the ultimate in why? Mathematicians have finally found God’s algorithm – the fewest number of moves it takes to solve Rubik’s cube.

Don’t miss Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean (ABC2, Sat May 28, 8.30pm), A Quiet Word with Richard. E. Grant (ABC1, Sat Jun 4, 9.30pm), and Artscape: Bryan Ferry in Conversation with Virginia Trioli (ABC2, Tue Jun14, 8.30pm).

tRACY HEFFERNAN [email protected]

BLACKBOXMagickaDeveloper: Arrowhead Game Studios Platforms: Windows Length: 1-5hrs Price: $10 Rating: Don’t bother

I was very close to not bothering with this review. It wasn’t because I’m lazy, nor was it due to any particular objection to Magicka’s game-play per se, but rather its inability to work at all. Admittedly the single player probably would have worked from the get go, but really this isn’t the kind of game you play on your own, and if it is you need to get out more, mate. Having committed to the multiplayer, we proceeded to

piss about for roughly an hour before the game finally decided to play ball. Unbeknownst to us, the idea of searching for a mate’s server or specifying their IP address was apparently a foolish one, the game instead requiring us to exit and invite each other from there... obviously.

Terrible networking aside, I had higher hopes for the game-play, which for the most part is pretty fun with you being, “Oh, just wait the screen went black. Um, is yours black too?”, with us at this point having chosen to use a third party chat tool. “No? No worries, I’ll just relaunch the game and... oh, I can still hear the audio from my old game, despite the game now being quite clearly closed. Never mind, how frustrating can a loud, continuous drone be?”

So, as I was saying, the game-play is quite fun, with you being able to... “What? The game appears to have crashed. I don’t suppose you closed the server mate?” The reply: “no, it just tends to quit at the end of each chapter”. I mean what the hell?

So Magicka sucks, right? Well, yes, and you’d be forgiven if you stopped reading at this point. That said, the game does possess some redeeming features, or at least feature. The combat sees you combining eight different elements (ten if you include steam and ice) into various different magic spells. With each element being assigned to a different key you can quickly dish out a plethora of different tricks on not just your opponents, but friends. Experimenting with all the various options in the beginning is pretty entertaining. Unfortunately, you’ll eventually settle upon three or four key moves, at which point needing to bash out a combo each time just becomes tiresome, particularly when there are over a dozen keys and buttons at play.

With regards to its RPG nature; the game features minimal upgrading and levelling up. Whilst I theoretically like the idea of a stripped back game, in practise it translates to a rather lacklustre experience, devoid of any lasting appeal. Nothing feels like it has a purpose, especially given that you’re not here for the storyline. Sure, there are a few pop-culture references scattered along the way, but they’re not nearly enough to save this badly made, mediocre game.

tORBEN SKO

on games

the word

39

on gigs

the word

hell City glamours / Tonk / johno and the Trannies Transit Bar Sat May 7

BMA presented Hell City Glamours at the diverse music venue, Transit Bar, with Johno and The Trannies opening. The four-piece Canberra line-up went well considering their jam that afternoon was the only warm up they’d had in over a year since the 2010 Belco Bowl Jam. Yes, there’s some affiliation with most of the band being skateboarders and the majority of the crowd at Transit definitely had that flavour. Imagine the security guard’s disdain when trying to implement the new ‘no hats’ rule while tunes like Alcos, 32 Foot (concrete full pipe) and Good I Deaf were belted out in dirty skate rock fashion.

The Trannies had a reasonable crowd for first band up, and it was a little too early to perhaps be as rowdy as they wanted, but fun none the less. Bass player Tim kept everyone informed as to what level of excitedness was warranted given what song it was, and how many were left. Of course the finale was Shit the Bed!.

I had heard a little, but really hadn’t seen Canberra band Tonk close up before. With the reputation I’d heard of them playing alongside the likes of Airborne, I was slightly surprised at the cleaner rock/metal flavour they had compared to the previous set.

Getting in touch with the audience, lead singer Jinks took advantage of the lack of any barrier around the stage to walk and hang out with those at the front of the floor. The vibe was pretty chilled but the crowd was growing.

No stranger to Transit Bar, Sydney’s five-piece outfit, Hell City Glamours were comprised of gold-toothed lead singer and Hagstrom Viking guitar player, Oscar, followed by guitarist Mo, drummer Robbie, and bass player Jono (not to be confused with Johno of the aforementioned Trannies).

HCG’s first gig in Canberra was in 2005 with 92 payers. It felt good to be in black jeans and Vans. Oscar threatened to put the free on-entry raffle tickets down his pants for some poor punter to draw.

Sadly, the more civilised option of drawing from the hat was taken and two lucky audience members walked away with skateboard proddy thanks to Shifty’s Skateshop and Half Arsed.

Opening with the fast paced The Money, things were heating up. No animosity though. Unfortunately at some stage the surge came forward into Oscar’s mike stand, splitting his lip and the bridge of his nose. It didn’t faze him in the slightest, a cheeky quip about OH&S directed to the Transit owner and the songs continued to flow.

You can’t beat harmonica. What followed, including Jono’s sojourn to play bass right in the middle of the mellow mosh, was classic Hell City that would tickle any glam rock fan’s whiskers.

Classic ender White Trash closed the set, and for some reason I can’t remember if there was an encore or not. Top notch! Experienced bands combined with a great venue spawned a decent night of mayhem for all concerned.

LUKE BROWN

phoToS: lUke BroWn

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on gigs

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groovin The Moo UC Meadows Sunday May 8

It’s hard not to begin a review of Canberra’s second GTM with a trite analysis of the weather, but how can one not comment on such a faultless, crisp and clear Autumn day. With only a hint of an Antarctic wind portending a bitterly glacial night ahead, the prevailing festival fashion of denim short-shorts and not much else might almost have been justified. As is de rigeur, local acts kicked off the day. The most notable of which was rainbow-winged, gold-sequined, war-painted Fun Machine, who certainly lived up to their name. The Canberra trio’s ‘jungle pop’ sound was somewhat reminiscent of Machine Gun Fellatio: playful but without the cheese.

The first band to gather a crowd at the Moo was Sydney indie pop outfit The Holidays. Sounding notably professional thanks to their own sound man seeing to front-of-house duties, the four-piece fused their electronic and live elements perfectly. Off the back of an overseas blitz, including a debut appearance at Austin’s SXSW, The Jezebels also proved to be consummate professionals setting the mood instantly with a shimmering wash of melancholy sounds. Frontwoman Hayley Mary’s polished voice over Nik Kaloer’s hypnotic rolling drums could almost be equated with the other-worldly perfection of Florence and the Machine.

The triple j darlings’ top-shelf act made a stark contrast to Sydney hip-hop duo Horrorshow, who regrettably started off sounding like they were performing in a bucket, thanks to a semi-dormant in-house sound man. The muddy, uneven vocals backed up by beats that just weren’t loud enough only improved slightly throughout the show. With Drapht proclaiming during his set that “Horrorshow are the future of Australian hip-hop”, it was a cruel irony to sound like they were performing through ye ole grammar phone. The moral of that story: it pays to have your own sound tech, a trend we saw continue throughout the day. Perhaps the only criticism tarring the fantastic live music revolution that has happened around the UC campus, is that even with such a fantastic technical and ergonomic showbiz aesthetic, it feels like a couple stones are missing atop the pyramid.

The first international act on the GTM line-up, New York-based Darwin Deez introduced some refreshing comic relief with his hilariously choreographed interpretive dance interludes, one of which was to Enya’s Sail Away. The set wasn’t exactly polished, with some pretty loose drumming, lazy guitar strumming and very laissez-faire vocal delivery, but Darwin Smith and his merry gang more than made up for it with their whimsical charm and playful irreverence. Cheekily calling out, “What’s up, Cranberry?!” the gangly, curly-haired frontman launched into a Star Wars-influenced geek rap, which sat perfectly amidst his quirky pop numbers.

Another highlight of the day went to Sampology’s AVDJ set in the Moolin Rouge tent. The fuzzy-haired Brisbane youngster was shredding it, not merely as a shithot scratch DJ, but also using Serato Video SL to mash-up YouTube snippets of Charlie Sheen’s recent outrage, clips of Evil Dead, The Mighty Boosh, Total Recall, Tron Legacy and many more pop culture references. It was sheer genius. The musical and visual elements built up with perfect symmetry, showing amazing thoughtfulness and planning. It was painful to tear ourselves away from the climactic end of Sampology’s aptly-named Super Visual Monster Mash to check out Datarock on the Udder Stage. The Norwegian electro rock band have definitely earned their stripes with widespread acclaim for their debut album Datarock Datarock and sophomore release Red, but the over-exuberant performance by the red tracksuited outfit seemed almost a little forced and derivative. Still, Computer

phoToS: jereMY BeASleY jereMYBeASleY.CoM.AU

41

on gigs

the word

Camp Love sounded as cheeky and fun as ever, even if most of the instrumentation was on a backing track.

A few recycled cans = discounted drinks later, it was with some anticipation a noticeably older, more distinguished cross-section of the day’s patrons gathered for Brighton-based sextet The Go! Team. Considering their Mercury prize-nominated debut, Thunder, Lightning, Strike, was produced solely by Ian Parton before a band even existed, the Team gave a consistent performance. Lead vocalist Ninja was full of energy and charm, but it was Chi Fukami Taylor whose voice resonated with more elegance. Without much distinction between songs, aesthetically the live act was a very different beast to their sample-heavy, early recordings.

Seminal rap heroes House of Pain, however, was a real high point, delivering a funked up set with a full live band fronted by MCs Danny Boy and Everlast. While they did perform What It’s Like from the latter MC’s solo career, it was the group’s other Grammy-nominated track Jump Around everyone went berserk for. Canberra boys The Aston Shuffle also didn’t disappoint their hordes of local fans, spinning a banging, clubby set, featuring tunes from their debut album along with many of their high profile remixes. Back outside, in the capital for the first time, surfer throwbacks The Drums played a pretty much note-perfect set, apart from singer Jonathan Pierce, who appeared to be drunkenly hamming up his performance.

Although it was impossible not to hear the driving, anthemic onslaught of Aussie festival favourites Art vs Science, sadly we just couldn’t contort ourselves enough to really see what was transpiring on stage. It was at this point those new-fangled viewing screens (which puzzlingly were at GTM last year) would have been useful. Later, the unusual, moody sounds of Gotye were a twinkling refreshment, but perhaps one better caught solo to allow the freedom to rightfully carry an audience to a distant, mystic realm. Then, whilst the wombats most Canberrans are accustomed to litter the Kings Highway, stiff and adorned with a fluoroscent pink X, it was the Liverpool natives stopping traffic on Ginninderra Drive, with everyone keen to check out this foreign breed. The cheeky, playful onstage banter of frontman Mathew Murphy combined with an irresistible flow of catchy, uplifting anthems, left us wondering if these furry friends really were from the cold, miserable motherland.

Fearing frostbite, we didn’t ponder long, and soon found ourselves witnessing the audio/visual spectacle of Unkle. With a great British stage show aesthetic reminiscent of Primal Scream, myriad guest vocalists appeared morphing on the screen behind the band. It wasn’t a large crowd, but a world-class show nonetheless.

Opening with the classic Prodigy remix of Method Man’s Release Yo Delf, Bliss n Eso were by far the biggest pack-pullers of the night. Love ‘em or hate ‘em, there is no denying their status as one of the biggest acts in Australia right now, evident by the proportion of their stage set-up. From the onset the crowd were chanting the obligatory “Hell yeah… fuck yeahs” made even easier to follow with ten foot letters spelling out the lyrics. This eventually got a little tiresome, but the trio were impressive with Bliss killing it on the beatbox and DJ Izm cutting up a storm. Afterwards, it was strange seeing half the crowd disappear as headliners Cut Copy took the stage. Melbourne’s synth-pop exports are a much improved band from their early days, now able to faithfully recreate their ‘80s influenced electro pop live. Finally, Drapht’s major hits Rapunzel and Jimmy Recard kept our heads nodding, but we were already shamelessly fantasising about the car heater and ugg boots. It seems most of the 16,000 strong punters were too, as many streamed out the gates with Drapht still soldiering through his encore. The mass exodus, however, was in no way a reflection of an event defeated by The Bra’s notoriously bitter climes, but the inadequately dressed youngsters in danger of losing major limb function.

tHE KARUNAS

phoToS: jereMY BeASleY jereMYBeASleY.CoM.AU

42

GIG GUIDE May 25 - May 28WedneSdAY MAY 25

Arts

varilaku: pacific Arts from the Solomon islanvarilaku brings together the finest traditional arts from the solomons.nATionAl gAlleRy oF AUsTRAliAThe edgeAn exhibition of sculptural works by 12 emerging and established canberra region artists.Belconnen ARTs cenTReUncontainedUncontained presents bite size portions of craft and design. may 20 - June 18.cRAFT AcTi Am My own Wife“one of the most extraordinary pieces of theatre written in the last few decades.” THe sTReeT THeATRe

Live

Micky Moon and the Missiles 7:30pm, $5.THe FRonT cAFe And gAlleRypegzBombs Away tour. Tix through Ticketek. AnU BAR And ReFecToRy

something Different

Fame TriviaRegister at the bar by 6pm Wednesdays!TRAnsiT BARFame Trivia Free entry fantastic prizes, bookings are essential. 6pm. P J o’Reilly’s, civic

ThUrSdAY MAY 26

Arts

Cold Sweats Art launch6pm.lonsdAle sTReeT RoAsTeRs2011 human rights Arts and Film FestivalHands Up (2010, 18+). 7pm. ARc cinemA, nATionAl Film & soUnd ARcHivevarilaku: pacific Arts from the Solomon islanvarilaku brings together the finest traditional arts from the solomons.nATionAl gAlleRy oF AUsTRAliAThe edgeAn exhibition of sculptural works by 12 emerging and established canberra region artists.Belconnen ARTs cenTReUncontainedUncontained presents bite size portions of craft and design. may 20 - June 18.cRAFT AcTi Am My own Wife“one of the most extraordinary pieces of theatre written in the last few decades.” THe sTReeT THeATReharvest – dierdre pearceThe third Harvest award exhibition in the series highlights the work of artist dierdre Pearce.cRAFT AcThalf SpaceAn exhibition of paintings by ishak masukor. opening 6pm.cAnBeRRA conTemPoRARy ARTs sPAce - mAnUKA

DAnce

TimberKnigHTsBRidge PenTHoUse

Live

jebediahThe Kosciuszko tour. Tix on sale now. jebediah.net .AnU BAR And ReFecToRyopen Thursdays by univibesstudent musicians making your beer that much better. 2pm - 6pm.AnU BAR And ReFecToRyden hanrahan & Mick daley7:30pm $12/$10 conc.THe FRonT cAFe And gAlleRyunijamyoung, genius musicians casually jamming with an electronic producer.Union coURT, AnUA French Butler Called SmithBrisbane world music fusion band return, able supported by dub dub goose and James Fahy. $10. TRAnsiT BARopen Mic night9pm, Free.PoT Belly BARrebound SlapdownWith mushmellow, West of the sun. 9pm, free.THe PHoeniX PUB

something Different

Sketch Clubevery Thursday 10:00am–1:00pm - and it’s FRee!Belconnen ARTs cenTRekaraoke 8.30pm till 11pm followed by dJ Kiz till 5am.cUBe nigHTclUB

FridAY MAY 27

Arts

paul hay - Box of TricksJust like Frankenstein’s monster, Paul Hay’s sculptures form an animated body of work.cAnBeRRA conTemPoRARy ART sPAce - goRmAn HoUseUC graphic design graduates - Taste Test come along and see what the latest generation of graphic designers have to offer.Uc2011 human rights Arts and Film Festival12th and delaware (2009, 18+). 7pm.ARc cinemA, nATionAl Film & soUnd ARcHivevarilaku: pacific Arts from the Solomon islanvarilaku brings together the finest traditional arts from the solomons.nATionAl gAlleRy oF AUsTRAliAThe edgeAn exhibition of sculptural works by 12 emerging and established canberra region artists.Belconnen ARTs cenTRei Am My own Wife“one of the most extraordinary pieces of theatre written in the last few decades.” THe sTReeT THeATReharvest – dierdre pearceThe third Harvest award exhibition in the series highlights the work of artist dierdre Pearce.cRAFT AcT

Box of Trickssculptures by Paul Hay. opening 6pm. cAnBeRRA conTemPoRARy ART sPAce - goRmAn HoUseregards to the FamilyPhotographic installation and video by debra Porch. opening 6pm.cAnBeRRA conTemPoRARy ART sPAce - goRmAn HoUse

comeDy

Melbourne intnl Comedy Festival roadshowBookings through the venue. cAnBeRRA THeATRe cenTRe

DAnce

purple Sneakers djsWarm it up Kris with the Purple sneakers and have it laaaaaarge! Free entry.TRAnsiT BARrevcanberra’s weekly indie/Alt/dance Party every Friday.BAR 32Academy Fridays students in canberra presents maRlo and a night of 3d visuals.AcAdemy nigHTclUBForeplay Fridays 9pm till 5am with dJ’s matt & Pete. Two for one drinks & free entry until 11pm.cUBe nigHTclUB

Live

Friday night Acoustic seriesFeaturing ‘luke o’shea’ solo (‘luke o’shea & medicine Wheel’/sydney). 8pm, FRee entry.HARmonie geRmAn clUBTonkdoors at 7.30pm. AnU BAR And ReFecToRyFir Croi5pm – 7.30pm. King o’mAlley’s, civic

SATUrdAY MAY 28

Arts

2011 human rights Arts and Film Festivalenemies of the People (2009, 18+). 7pm. ARc cinemA, nATionAl Film & soUnd ARcHivevarilaku: pacific Arts from the Solomon islanvarilaku brings together the finest traditional arts from the solomons.nATionAl gAlleRy oF AUsTRAliAThe edgeAn exhibition of sculptural works by 12 emerging and established canberra region artists.Belconnen ARTs cenTRei Am My own Wife“one of the most extraordinary pieces of theatre written in the last few decades.” THe sTReeT THeATReeric rohmer’s Six Moral Talesmy night With maud (1969, 18+). 4.30pm. ARc cinemA, nATionAl Film & soUnd ARcHiveharvest – dierdre pearceThe third Harvest award exhibition in the series highlights the work of artist dierdre Pearce.cRAFT AcT

comeDy

Melbourne intnl Comedy Festival roadshowBookings through the venue. cAnBeRRA THeATRe cenTRe

DAnce

Strictly partymercury switch presents nothing but party music. Free entry.TRAnsiT BARAshley FeruadeKnigHTsBRidge PenTHoUseCube Saturdays10pm till 5am with dJ’s matt & Pete. Two for one drinks & free entry until 11pm.cUBe nigHTclUBAcademy Saturdays with predAcAdemy nigHTclUB

Live

Blanket Blog presentsFeat. Prize (syd, space is the place), Fence Tompkins [syd], one Talk, smack Kerouac. 10pm - 5am.THe clUBHoUseunvibes’ eccentric jacket house party2 cranking stages. Hundreds of whack jackets. in a house. 8pm. members only, $10 at door.23 AnTill sT, dicKsonheartbreak Club (Mel)With Rubix cuba (syd), 9.30pm.THe PHoeniX PUB

SUndAY MAY 29

Arts

2011 human rights Arts and Film FestivalWar don don (2010, 18+). 2pm. ARc cinemA, nATionAl Film & soUnd ARcHivevarilaku: pacific Arts from the Solomon islanvarilaku brings together the finest traditional arts from the solomons.nATionAl gAlleRy oF AUsTRAliAThe edgeAn exhibition of sculptural works by 12 emerging and established canberra region artists.Belconnen ARTs cenTRe

Live

The optionalsWith Wil Wagner, open Pinata. 8pm, free.THe PHoeniX PUBlive Sundays Bon chat, Bon Rat, Raw city Rukus, Waterford, sodapops, Teddy Trouble, elisha Bones. 2pm, free.TRiniTy BARFir Croi5pm – 7.30pm. King o’mAlley’s, civicSunday Best 5-7pm, free.A BiTe To eAT cAFe

something Different

phoenix Flea MarketA bizarre bazaar of bric-a-brac and bits and bobs. it’s a garage sale in a pub! Free set up. 12-5.THe PHoeniX PUB

44

GIG GUIDE May 30 - June 05MondAY MAY 30

DAnce

hospitality: nurse Your WoundsWeekend workers unite and join forces to rock the monday night party at Transit Bar.TRAnsiT BAR

Live

The Bootleg SessionsFt. Alinta Barlow, dan Wolsner, Jason Recliner & The Blue Ruins. 8pm.THe PHoeniX PUB

TUeSdAY MAY 31

DAnce

karaoke loveWhere retired singers return to the stage more times than John Farnham.TRAnsiT BAR

WedneSdAY jUne 01

Live

AnU jazzmonthly jazz night showcasing school of music jazz students. AnU scHool oF mUsicThe Yearlings + laneway7:30pm, $10.THe FRonT cAFe And gAlleRyThe eastern (nZ)With The lavans, Beth n Ben and simone Penkethman. 8pm. THe PHoeniX PUB

something Different

open Mic Comedy night8pm, free.PoT Belly BARFame Trivia Free entry fantastic prizes, bookings are essential. 6pm. P J o’Reilly’s, civicComedy Club Featuring Karl chandler (melbourne) plus supports. 8pm, $10 from www.comedyact.com.au or at door.civic PUBFame Triviamake sure you register your team by 6pm every Wednesday at the bar to test your knowledge.TRAnsiT BAR

ThUrSdAY jUne 02

Arts

Arc: Tsui harkdangerous encounters - First Kind. 7pm. ARc cinemA, nATionAl Film & soUnd ARcHive

DAnce

univibes exam partyFeat. Banging techno, prog, house and dubstep. Free entry for members. $5 non-members. From 10pm.THe clUBHoUseTimberKnigHTsBRidge PenTHoUse

Live

MiC night Ft. Fire on The hill7.30pm, entry $5. mic venUe, ciT soUTHsidejoan as police Womanshe joins the dots between Billie Holiday and Joni. 8pm. Tix through the venue. THe sTReeT THeATReopen Thursdays by univibesstudent musicians making your beer that much better. 2pm - 6pm.AnU BAR And ReFecToRyjaime robbie reyne 7.30pm, $8.THe FRonT cAFe And gAlleRyunijamyoung, genius musicians casually jamming with an electronic producer.Union coURT, AnUCrash The Curb9pm. THe PHoeniX PUBowl eyes - raiders Tour W/ Fun machine. $10 + BF Presale through moshtix.TRAnsiT BAR

FridAY jUne 03

DAnce

local effigycanberra struts its best techno and prog. This is good. From 10.30pm.THe clUBHoUseBiscaBass Kleph and chris Arnott, with emily scott. AcAdemy nigHTclUB

White partyUv dancefloor, Uv nightclub, bring your glow. dress white for free entry. mooseHeAds PUBjemistKnigHTsBRidge PenTHoUseSoul B in it original beats, breaks and wax plates from Buick and his motley crew of seasoned crate diggers.TRAnsiT BAR

Live

ClassixxW/ offtapia, Princi vs Hazan, Andrea Kay, chicago House Party, styles & Hyde. 8pm, free/$15 after 10TRiniTy BARpete Akhurst debut ep launchWith special guest isaac graham. $10 entry. 7pm. THe FRonT cAFe And gAlleRy

SATUrdAY jUne 04

Arts

Magpie BluesUrsula yovich brings her deeply personal unadorned cabaret show magpie Blues to canberra.THe sTReeT THeATReeric rohmer’s Six Moral TalesThe collector (1967, 18+). 4.30pm. ARc cinemA, nATionAl Film & soUnd ARcHive

DAnce

AshleyKnigHTsBRidge PenTHoUse

Live

d’opus & roshambo launch past Timesupported by canb’s hip-hop elite: Raw city Ruckus, convict, Rock steady dJs and more. $10. TRAnsiT BARM.o.r.[italy/Sydney] ep launchmaster of Ribongia, cd, t-shirt and art give-aways and very wonky fun-time beats. 10pm-5am.THe clUBHoUseAzari & iiiAzari & iii are performing for the first time in Aus as part of the vivid live Festival.TRiniTy BARkooky Fandango cAsino cAnBeRRAThe king hitsWith Bacon cakes, 9.30pm.THe PHoeniX PUB

SUndAY jUne 05

Arts

eric rohmer’s Six Moral Talesclaire’s Knee (1970, Pg). 2pm. ARc cinemA, nATionAl Film & soUnd ARcHiveArc: Tsui harkonce Upon a Time in china (1991, m). 4.30pm. ARc cinemA, nATionAl Film & soUnd ARcHive

Live

i love My place FestivalFeat. The cashews and Freshwater. Art, demonstrations, gallery talks and more. 10-1pm. Free. nATionAl mUseUm oF AUsTRAliAThe leafs7.30pm.THe FRonT cAFe And gAlleRySalacious Sunday Solo SlamFt. emma dryden, monka, matt skinner, and John lollback. 2.30pm. 64 BURn sTReeT, doWneR

something Different


MondAY jUne 06

DAnce

hospitality MondaysFor all the weekend workers out there, with plenty of good tunes, good vibes and good company.TRAnsiT BAR

Live

The Big Score BootlegsFt. greg carlin, magic Rob, Pocket Fox, & Big score. 8pm. THe PHoeniX PUB

TUeSdAY jUne 07

something Different

karaoke loveTuesday nights bring plenty of opportunities for you to showcase your talent.TRAnsiT BAR

45

GIG GUIDE June 05 - June 15

EXHiBitiONiSt’S SECOND BiRtHDAY

FRENzAL RHOMB

LAMB

WAGONS ...AND MORE!

OUt jUNE15

WedneSdAY jUne 08

Live

gigmund Freud presented By dream damageTv colours, The Fighting league and Teddy Trouble. 9pm. THe PHoeniX PUB

something Different

Fame Triviamake sure you register your team by 6pm every Wednesday at the bar to test your knowledge.TRAnsiT BAR

ThUrSdAY jUne 09

Arts

restorationAn exhibition of paintings by James lieutenant. opening 6pm. cAnBeRRA conTemPoRARy ARTs sPAce - mAnUKAi’m hans Christian Anderson7.30pm.THe sTReeT THeATReArc: Tsui harkonce Upon a Time in china (1991, m). 2pm.ARc cinemA, nATionAl Film & soUnd ARcHiveArc: Tsui harkZu - Warriors From the magic mountain (1983, mA15+). 7pm. ARc cinemA, nATionAl Film & soUnd ARcHive

DAnce

Ced nadaKnigHTsBRidge PenTHoUse

Live

Brothers grimm & The Blue Murders Proper blues styles to shake your groin to. $12 on the door.TRAnsiT BARopen Thursdays by univibesstudent musicians making your beer that much better. 2pm - 6pm.AnU BAR And ReFecToRyunijamyoung, genius musicians casually jamming with an electronic producer.Union coURT, AnUThe FiretreeThe Firetree are an independent band from Byron Bay, Australia. 7:30pm, $10.THe FRonT cAFe And gAlleRy

Waterford lavers. 9pm. THe PHoeniX PUB

FridAY jUne 10

Arts

i’m hans Christian Anderson7.30pm.THe sTReeT THeATRe

DAnce

llik llik llik Proper dance music geared for the floor. Free entry. TRAnsiT BARYoung Blood presents lazrtagWith Peking duk. AcAdemy nigHTclUBjemistKnigHTsBRidge PenTHoUse

SATUrdAY jUne 11

Arts

eric rohmer’s Six Moral Taleslove in The Afternoon (1972, 18+). 4.30pm. ARc cinemA, nATionAl Film & soUnd ARcHivei’m hans Christian Anderson7.30pm.THe sTReeT THeATRe

DAnce

Architect djs 100% party-starter action from canberra’s famed indie crew. Free entry. TRAnsiT BARnathan FrostKnigHTsBRidge PenTHoUse

Live

The Bar at Buena vistaThe grandfathers of cuban music are back! Bookings through the cTc. cAnBeRRA THeATRe cenTRekisses Kisses, chillwave band from l.A.TRiniTy BARhannah gillespieA vivid compendium of story and emotions, vignettes both joyful and bitter. 8pm, $10.THe FRonT cAFe And gAlleRyjulia and The deep Sea SirensWith Ranger spacey (sydney) and mushu (sydney). 9.30pm. THe PHoeniX PUB

SUndAY jUne 12

Arts

i’m hans Christian Anderson6pm.THe sTReeT THeATReArc: Tsui harkBlade (1995, mA15+). 2pm. ARc cinemA, nATionAl Film & soUnd ARcHive

Live

per purpose (Brisbane)With Ranger spacey (sydney) and mushu (sydney). 9.30pm. THe PHoeniX PUBpang! presents proxy With Jesper dahlback, Peking duK. 4pm, $20 before 8pm.TRAnsiT BARFrankie Wants out don’t miss one of Australia’s most talked about outfits. TRAnsiT BAR

something Different


MondAY jUne 13

Arts

hospitality MondaysFor all the weekend workers out there, with plenty of good tunes, good vibes and good company.TRAnsiT BAR

Live

The Bootleg SessionsFt. Pete Akhurst, glen Harvey, The Rebound slapdown, & shaun Kirk. 8pm. THe PHoeniX PUB

something Different

Fame Trivia Free entry fantastic prizes, bookings are essential. 6pm. P J o’Reilly’s, civic

TUeSdAY jUne 14

Arts

The last emperorAn exquisite ballet from the liaoning Ballet company. 4 performances only. cAnBeRRA THeATRe cenTRei’m hans Christian Anderson6pm.THe sTReeT THeATRe

something Different

karaoke loveTuesday nights bring plenty of opportunities for you to showcase your talent.TRAnsiT BAR

WedneSdAY jUne 15

Arts

Bad!Slam!no!Bicuit! poetry Slam7.30pm. THe PHoeniX PUBThe last emperorAn exquisite ballet from the liaoning Ballet company. 4 performances only. cAnBeRRA THeATRe cenTRei’m hans Christian Anderson7.30pm.THe sTReeT THeATRe

Live

emmurespeaker of the dead oz tour. With shintokatana, dream on dreamer and more. Tix through moshtix. TUggeRAnong yoUTH cenTRekarnivoolWith shockone and over Reactor. Tix through Ticketek. AnU BAR And ReFecToRyForce de Funk Mahoud and Sidney These stars join forces to bring the house down to celebrate sidney’s 21st Birthday. 7:30pm, Free.THe FRonT cAFe And gAlleRy

something Different

Fame Triviamake sure you register your team by 6pm every Wednesday at the bar to test your knowledge.TRAnsiT BAR

46

SIDE A: BMA BAND PROFiLE

nozlWhere did your band name come from? Compressed Nozzle. We are sponsored by nozl Health Care and nozl Securities PTY.

Group members? Tom Harwood (vocals and organ), Richard de Ferranti (guitar), Paul Marsh (bass), Anthony Irving (drums).

Describe your sound: Deeply perverted and sensual. Avant-garde pomp reggae rock and sauce.

Who are your influences, musical or otherwise? Screaming Jay Hawkins, Frank Zappa, Lee Scratch Perry, Parliafunkadelicment, Coltrane, Mongolian monks.

What’s the weirdest experience you’ve had whilst performing? Man eating organ.

What’s your biggest achievement/proudest moment so far? People dancing at our first gig. We like the dancing people.

What are your plans for the future? Lots of lovely gigs. Lots of new songs. Maybe a horn section to play the secret horns lines we have written down

What makes you laugh? Being described as “like Devo but older” at The Phoenix.

What pisses you off? The anti-nozl movement in the ACT. Statements by Bent Turbbsen to the effect that nozl is a political organisation. We are not. Neither is the nozl Youth Wing or the nozl Separatist Party (ain’t nothing but a party!).

What’s your opinion of the local scene? We were disappointed to be crushed by a tower crane when we played at the MacGregor Hall last week. There are some great bands and lots of nice muso types, but it is always a pity that music becomes so compartmentalised. That’s why the totally free Pedestrian Orchestra was so fine.

What are your upcoming gigs? Fun Machine Desert Creatures EP launch on Saturday June 18, at the White Eagle Polish Club, O’Connor.

Dragon Dreaming Festival 2011, September 30 - October 3.

Your house party or event. Contact us, we’re a cheap date!

Contact info:

myspace.com/nozlnozl

[email protected]

FIRST CONTACTAaron Peacey Aaron 0410 381 306Activate Jetpack [email protected] Hole Adam 0421 023 226Afternoon Shift Adam 0402 055 314After Close Scotty 0412 742 682, [email protected] Mark 0410 112 522Alice 0423 100 792Allies ACt (Oxfam Group) [email protected]/ myspace.com/alliesactAmphibian Sound PA Clare 0410 308 288Amplif5’d Classic rock covers bandJoy 0407 200 428, [email protected] & the Armadillos Annie 6161 1078/0422 076 313the Ashburys Dan Craddock 0419 626 903Aria Stone, sax & flute, singer/songwriter (guitar) Aria 0411 803 343Australian Songwriters Association (Keiran Roberts) 6231 0433Arythmia: Ben 0423 408 767/[email protected] Drivers Steve 0422 733 974, www.backbeatdrivers.comBig Boss Groove Andrew 0404 455 834, www.bigbossgroove.com.auBirds Love Fighting Gangbusters/DIY shows - [email protected] Label Photography Kingsley 0438 351 007Blister Bug Stu 0408 617 791Bridge Between, the Rachel 0412 598 138, thebridgebetween.com.auBruce Stage mgr/consultant 6254 9857Caution Horses Nigel 0417 211 580Chris Harland Blues Band 0418 490 [email protected] Vision Films rehearsals/film clips/stunts - 0438 647 281wcoulton.clearvisionfilms.com Cole Bennetts Photography 0415 982 662 /colebennetts.comCris Clucas Cris 6262 5652Crooked Dave 0421 508 467Danny V Danny 6238 1673/0413 502 428Dawn theory Nathan 0402 845 132D’Opus & Roshambo [email protected] Madrid and Gordon 0417 433 971DJ Latino Rogelio 0401 274 208DJ Moises (RnB/Latin) 0402 497 835 or moises_lopez@hotmailDNA Vic 0408 477 020Drumassault Kate 0414 236 323Easy Mode Daz 0404 156 482, [email protected] Chris 0412 027 894Epic Flagon [email protected] Mongooses, the Adam 0402 055 314Final Warning Brendan 0422 809 552Fire on the Hill Aaron 0410 381 306/Lachlan 0400 038 3884dead Peter 0401 006 551Freeloaders, the Steve 0412 653 597Friend or Enemy 6238 0083,www.myspace.com/friendorenemyFunk Shui Dave 0407 974 476Gareth Hailey DJ & Electronica 0414 215 885GiLF Kelly 0410 588 747, [email protected] Groovalicious Corporate/Weddings/Private functions 0448 995 158 [email protected] Guy the Sound Guy live & studio sound engineer, 0400 585 369, [email protected] Chris 0412 115 594Hancock Basement Tom 6257 5375, [email protected] Hour Wendy 0406 375 096Haunted Attics [email protected] Paul 0408 425 636in the Flesh Scott 0410 475 703inside the Exterior Nathan 0401 072 650

itchy triggers Andrew 0401 588 884Jacqui Seczawa 0428 428 722JDY Clothing 0405 648 288/www.jdyclothing.comJenn Pacor singer/songwriter avail. for originals & covers, 0405 618 630 Jim Boots 0417 211 580Johnny Roadkill Paulie 0408 287 672, [email protected] DJ Gosper 0411 065 189/[email protected] Marbilus myspace.com/kayomarbilusKurt’s Metalworx (PA) 0417 025 792Little Smoke Sam 0411 112 075Los Chavos Andy 0401 572 [email protected] Green Herms 0404 848 462, [email protected], Mario Brujo Gordon world/latin/reggae/percussionist and DJ. 0405 820 895Martin Bailey Audio Engineer 0423 566 093 Words for You: writer/publicity/events Megan ph 6154 0927,[email protected] Switch Lab Studios [email protected] Zero Hadrian Brand 0424 721 [email protected] [email protected] Huck 0419 630 721MuShu Jack 0414 292 567, [email protected] [email protected]/www.myspace.com/myonusNo Retreat Simon 0411 155 680 Ocean Moses Nigel 0417 211 580OneWayFare Chris 0418 496 448Painted Hearts, the Peter 6248 6027Phathom Chris 0422 888 700the Pigs The Colonel 0422 412 752Polka Pigs Ian 6231 5974Premier Audio Simon 0412 331 876, [email protected] Rafe Morris 0416 322 763Redletter Ben 0421 414 472Redsun Rehearsal StudioRalph 0404 178 996/6162 1527Rhythm Party, the Ross 0416 010 680Roger Bone Band Andy 0413 483 758Rob Mac Project, the Melinda 0400 405 537Rug, the Jol 0417 273 041Samsara Samahdi 0431 083 776Sansutra J-Ma 0403 476 350 Simone Penkethman (Simone & The Soothsayers, Singing Teacher) 6230 4828Soundcity Rehearsal Studio Andrew 0401 588 884Solid Gold Peter 0421 131 887/[email protected] Best Friends Matt 0438 228 748Surrender Jordan 0439 907 853Switch 3 Mick 0410 698 479System Addict Jamie 0418 398 556the Morning After (covers band)Anthony 0402 500 843/ myspace.com/themorningaftercoverstiger Bones & the Ferabul-Zers Danny [email protected] James Lucia 6282 3740, [email protected] Shelf Colin 0408 631 514transmission Nowhere Emilie 0421 953 519/myspace.com/transmissionnowhereUdo 0412 086 158Undersided, the Baz 0408 468 041Using three Words Dan 0416 123 020, [email protected] Doll Mark 0428 650 549William Blakely Will 0414 910 014Zero Degrees and Falling Louis 0423 918 793Zwish 0411 022 907

bma mag 372 may 25 2011

Documents

artists shed

national sorry day

julia winterflood t

live music

shed sessionsmusic

live local music

manager paul foley t

manager ashish doshi