Ben Hermann

The Fighting League

ONE FIGHT AT A TIME

It's been almost two years since Canberra's self-proclaimed 'tropical punks', THE FIGHTING LEAGUE, released their debut LP Tropical Paradise. Now, with a new EP under their belt and a second LP in the works, their renowned descriptor is tragically no more, with the group's frontman Dominic Death citing a pique in influence on popular clothing manufacturers as the primary factor in abandoning the label. 'Yes, “tropical” is officially dead, which is extremely sad,' he says. 'See, General Pants, places like that, they came and saw The Fighting League and they saw what we were doing. Big, big corporations came and saw our style and saw what we'd done and they've been marketing that ever since. So we're not doing it anymore. We're just gonna be straight-up Canberra punks. We are Canberra punks. That's our sound.'

With a new self-imposed identity may come a new musical focus. Tropical Paradise was a stripped-back, raw album on which the band sought to reproduce the energy and anticipation of a live show, and which BMA Editor Ashley Thomson described as 'discordant and melancholy, packed with life and growling youth.' It was produced by Bruce Callaway – former member of The Saints and producer of Ed Kuepper and The Triffids – and drew stark comparison with early garage, punk and new wave groups, including The Clash, Stiff Little Fingers, Gang of Four, The New York Dolls, and The Buzzcocks. The group hasn't consciously changed musical directions, nor has it drifted away from its focus on the energy and immediacy of a live sound, but Dom admits that this isn't the primary focus of their second album.

'With our first album, it [the live sound] kind of just happened because we recorded it live anyway. With this album we're trying to take a different approach and just try and work on the actual songs a little bit more and the actual recording of it. We're not really sure how we're going to do it yet, but it will probably be less live than last time.'

Callaway produced the group's recent EP, but Dom says the group is undecided whether they'll call upon his expertise for the album. In any event, he says the group has learned an immeasurable amount from Callway, especially when it comes to songwriting.

'The most important thing we learned from Bruce is that you have to put a lot of time and effort into the music,' Dom says. 'And we did do that [on Tropical Paradise]. But in retrospect, there were a lot of things we wanted to change. Not the recordings, but the songs themselves. But in the end, we just wanted to get it out there as soon as possible, and we were definitely still happy with it.'

The Fighting League's clean, punk-driven, bluesy, and often jangle songs might have listeners believe the members are directly influenced by many of the above-listed bands, together with, perhaps, a healthy dose of The Minutemen, Wire, and The Dickies. Yet the group's style is the result of a well-fitting confluence of styles, each provided by different band members.

'We're just influenced by every single bit of music we listen to. I'm influenced by new bands I see more than old bands… Actually, that's a lie, I just made that up,' Dom admits, going on: 'I think our sound is unique because every single one of us has a different style we like playing. I like different music to Carey. Andy likes different music to the rest of us. Joel listens to hip hop. Alex likes, just, fuckin' weird music. When all those elements are combined, it makes an original sound. That's what I like about our band, and I think that's what people like about our band.'

Although such differing tastes inevitably lead to creative differences, Dom sees this as no different to the group's usual dynamic, and ultimately healthy for their musical development. 'It happens all the time [creative differences], but that's the same with anything, you know. Carey will say something like “Dubrovnik's the capital of Serbia” and I'll say “Fucking bullshit it is”. The same thing happens with our music. But once we keep on playing through it, we can all see that it's all for the greater good of the music. You know, the truth always comes out.'

But what of being 'Canberra punks'? Although the group was explicit in its detailing of the characteristics of 'tropical punks', it is clear that being 'Canberra punk' isn't so complicated. 'Yeah, mainly just living in Canberra and not being part of some wanky scene,' Dom says. He goes on to explain how, although there are many benefits of Canberra's musical community being so close-knit, bands are sometimes too hesitant to criticise each other, which can prevent the improvement potentially brought on by competition and open criticism. Ultimately though, he is part of the Canberra scene – a fact the group confronts every time the venture outside the territory. 'They [other cities] definitely judge us, but that's mainly because I'm always saying that their cities are shit,' Dom says. 'But also, to be on a particular scene, you've gotta be cool, and to know and be seen with certain people. But we're already cool. We're on the Canberra scene, so we're ultimately cool.'

The Fighting League play at Bizoo-Ka Fest: the launch of the retrospective book of Bizoo 'The Best, the Worst & the Trash that Never Made It' at The Front Gallery and Café on Friday May 24 at 7:30pm (bands from 9pm). They will be joined by Bad Pharmer (launching their EP) and Dead DJ Joke, as well as spoken word poets. Entry is $10. 

Thursday

ANY GIVEN THURSDAY

'All we can say is that this did happen. You can sit around a table and discuss the reasons and political ramifications of it all day, but that doesn't change the fact that all these lives need to go on and need to be rebuilt.’ It's a blunt but effective reminder of the individual toll of terrorist attacks by Nathan O'Keefe, who appears in THURSDAY, a co-production between Brink Productions and English Touring Theatre inspired by the story of Adelaide woman Gill Hicks who lost her legs in the 2005 London bombings.

Written by UK playwright Bryony Lavery and directed by Australian Chris Drummond, the play came about after Drummond saw Hicks interviewed on Andrew Denton's Enough Rope. '[Chris] saw her and realised how amazing her story was,' O'Keefe explains. 'The events changed Gill not just physically, but also opened up this amazing woman that was sitting inside her. It unlocked something inside of her, and Chris saw that and wanted to explore that as a piece of fictional theatre based on true events.'

The play follows nine unrelated characters, all of whom have their lives changed when they 'step onto that bus, or onto that train', as O'Keefe describes. The story then follows their post-7/7 lives, based loosely on Hicks' own recovery and meeting of the people who saved her life.

O'Keefe plays Ryan, a young man who wakes up on Thursday with his fiancé, having proposed only the night before. As each other character wakes up and performs their daily routine, the play sets a comic tone against its tragic backdrop; a fitting reflection of life, in O'Keefe's eyes. 'Bryony has an amazing way of putting huge amounts of humour in these very tragic plays of hers,' he says. 'It's a fact of life that as much trauma and tragedy as we can endure, they're often interspersed in a heartbeat by these extremely funny events.'

Like so many documentaries, commentary, film, music and visual art that has been inspired by various events since 9/11, Thursday addresses the ability of humans to be both violent and compassionate toward complete strangers. However, O'Keefe explains that Hicks' story provides a more unique perspective of the personal experience.

'I'm sure that what is going to be taken away from this play is unique for everybody,' O'Keefe says. 'But it's about all of us. It's about the random events in our lives that can make us stronger, or can break us. Ideally, I'd like people to realise that there's a choice. Gill – death was the easy choice for her, but she chose life. We all have that choice, and it doesn't always require a tragedy for us to make that decision.'

Brink Productions and English Touring Theatre's Thursday is at The Playhouse from Wed-Sat March 20-23. Tickets are $50+ through canberratheatrecentre.com.au.

[Image credit: Chris Herzfeld]

The Secret River

@ The Playhouse, Canberra Theatre Centre, Thu-Sun February 14-17

In the last scene of Act 1 of Sydney Theatre Company's The Secret River, the freed English convict William Thornhill sits with his family and white settler acquaintances on the banks of the Hawkesbury River, solemnly gazing into the distant wilderness as they sing, with ambivalent nostalgia, a folk song from their native England. As they sit, the Dharug Aboriginal people, on whose land they have chosen to settle, enter the stage as a group and walk slowly around them, themselves singing their own sombre folk song, equally as oblivious of the Thornhill as he is of them. It is the most gripping, most powerful scene of the production, portraying with such great simplicity the tragic confrontation that will inevitably befall Thornhill's group and the Dharug people: two communities, two cultures, and two histories, all of which reflect so many shared values but which, although briefly acknowledged, are ultimately overpowered by fear, ignorance, and irreconcilable principles of land ownership.

This portrayal of the perspectives of both Thornhill (and through him, the English settlers), as well as the Dharug people, is perhaps the most apparent change that writer Andrew Bovell (When the Rain Stops Falling, Speaking in Tongues) and director Neil Armfield (Summer of the Seventeenth Doll) made when adapting Kate Grenville's 2005 award-winning work of historical fiction. The production was the first to be commissioned by Cate Blanchett and Andrew Upton upon their taking up the post of co-artistic directors at STC, and has been the company's largest and most ambitious project during their tenure. Both believed Grenville's exploration of race relations between English settlers (mainly ex-convicts) and the Aboriginal people of the Hawkesbury River in the early 19th century was an important and compelling story to be adapted for theatre. Yet to tell story only from Thornhill's perspective (as Grenville's novel does) would be, in Upton's words, 'a waste of the broader narrative scope of the theatrical form'.

Indeed, Armfield and Bovell have explored the narrative scope of the theatrical form to a degree that is not commonly possible. At their disposal was a creative team which included, among a large host of others, Artistic Associate Stephen Page (current Artistic Director of Bangarra Dance Theatre), Set Designer Stephen Curtis, and music director Iain Grandage, together with a 19-strong cast including Nathaniel Dean, Anita Hegh, Ursula Yovich (Australia, The Sapphires), Daniel Henshall (Snowtown), Trevor Jamieson, (Namitjira, Ngaparti-ngaparti), Judith McGrath (All Saints), Colin Moody, and Bruce Spence.

The play begins in the early, rough days of the colony of NSW, with a newly-freed Thornhill (Dean) persuading his wife Sal (Anita Hegh) to agree to his dream of settling and farming (and therefore owning) a patch of land on a bend in the Hawkesbury River – 'the shape of my thumb', he describes proudly – which he came across when working for Thomas Blackwood (Colin Moody).

Thornhill is already aware of the 'natives' in the area, but seeks to assuage Sal's fear by explaining that they are an explorative, nomadic people who will 'move on' soon enough. As the family settles their camp, clears land and plant crops, we are introduced to the area's motley crew of eccentric settlers: the quiet Blackwood, who seeks peaceful rapprochement with the Dharug people and advises Thornhill he needs to 'give a little, take a little'; the drab, dry spinster Mrs Herring (McGrath); and the sadistic, hostile Smasher Sullivan (Jeremy Sims), who sees the Aboriginal people as no better than any animal.

Through increasingly regular contact with the Dharug people – encouraged by friendship between each group's unprejudiced children – Thornhill begins to appreciate the closeness of his own values and those of the Dharug: family, friendship, humour. Even the fidgety, anxious Sal befriends two of the Dharug women – played mischievously and entertainingly by Miranda Tapsell and Ethel-Anne Gundy. Unfortunately, Thornhill also appreciates their shared sense of belonging to a piece of land. As it becomes apparent that neither side has any intention of 'moving on', he and the other settlers face the realisation that things cannot continue as they are.

Each cast member gives an outstanding performance – in particular Sims' fiendish Smasher Sullivan, whose mere presence on stage quickly becomes menacingly unnerving – however it is Yovich's gentle narration, Grandages' haunting cello and piano, and the set's rudimentary, canvas-draped expanse of smoke, ash, and eucalypt branches, that starkly evoke the allure, the danger, the infiniteness, and the beauty of the Australian wilderness. The audience is transported to and immersed in a Hawkesbury which is truly on the frontier.

As the violence, depravation and desperation of Thornhill's past rises to the surface, we are presented with someone who – like the landscape around him – can be both generous and caring, and harshly unforgiving. While the ensuing moral failing by Thornhill and the violence against the Dharug is foreshadowed from the play's beginning, it is the circumstances that lead to it which are portrayed so memorably: the dreams of people unjustly rejected by their own country; the struggle by the Aboriginal people to understand and cope with ruthless settlers; the attempts by each side to understand and accommodate the other; and, most tragically, the sense that things could have easily turned out differently and that the fact that they didn't has impacted damningly upon Australian society until the current time.

Productions of such a scale, such ambition, and such great talent as The Secret River are rarely undertaken. That STC chose to do so for a story that encapsulates so many aspects – both good and bad – of our history and our national psyche, will no doubt prove a much-celebrated highlight of not only the Upton-Blanchett years at STC, but Australian theatre as a whole, for many years to come.

BEN HERMANN

The Famous Spiegeltent

CEN-TENT-ARY FUN

Since the late 19th century, spiegeltents have travelled throughout Europe and the world, used as travelling venues for everything from food and wine tasting, to dance halls, to comedy festivals, to theatre, circus and cabaret performances. Built of a frame of wood and elaborately decorated with mirrors, canvas, leaded glass, velvet and brocade, the tents themselves have become as much of an attraction as the performers and festivals they host. One of the most infamous, and certainly the most elaborately designed spiegeltents, is the aptly-titled THE FAMOUS SPIEGELTENT, built in Belgium in 1920 and currently owned and operated by ex-Canberrans David Bates and his wife Michele d'Arbela, who will be bringing it to the ACT for the first time this March as part of the Centenary of Canberra celebrations.

'We both went to high school in Canberra and Canberra is where we both became interested in music and theatre,' says Bates, who prior to his departure from Canberra in 1989 owned and operated the P.I.T.S. (Pie in the Sky) Theatre and Bar at the Canberra Rex. 'We've had a desire to bring the Spiegeltent to Canberra for a long time, and finally decided that if there was ever a good occasion, this [the Centenary of Canberra] was it.’

The tent is usually surrounded by an outdoor area – the Spiegel Garden – where people can sit, drink, eat, relax, and sometimes enjoy smaller performances prior to or after the main performances within the tent. 'I'm a big believer that a show doesn't begin when the curtain goes up, but when a person walks in the door, or even when they buy the ticket,' Bates says. 'I believe the Spiegel Garden epitomises that experience.’

Although the tents can theoretically host anything, The Famous Spiegeltent, under Bates' curatorship, has focused on music, new circus, burlesque, vaudeville and cabaret. The artists performing during each season at a particular location is decided purely by Bates – 'It's just got to do with my own personal tastes. It's very nepotistic, to tell the truth' – however, he usually tries to choose a number of local artists who are an appropriate artistic fit for the tent. For the tent's Canberra debut this March, Bates has collected a number of infamous Canberran and ex-Canberran acts, including Paul McDermott, Mikelangelo & The Black Sea Gentlemen, The Gadflys, The Naughty Rhythms, and Cell Block 69. 'Usually though, the word of mouth and the tent's reputation is what brings people in,' Bates explains. 'People might not know the artists, but they trust the reputation of the tent and they know the types of acts it will host.'

The Famous Spiegel Tent and Garden will be in the Senate Rose Garden from Fri-Sun March 1-24. Tickets for individual events vary, visit spiegeltent.net or canberra100.com.au for more information.

TOP FIVE ALBUMS OF 2012 Ben Hermann

BEN HERMANN – CONTRIBUTOR

5. Rufus Wainwright – Out of the Game [Polydor/Decca]

Although easily dismissed as an attempt to play it safe after a number of years of ambivalently received releases, Out of the Game shows that Wainwright's talent isn't confined to the indulgent, camp, orchestral pop of his early recordings. It's difficult to determine the degree to which Mark Ronson's production duties influenced the gluttony of ‘70s guitar licks, Motown-like female backing vocals and formalised song structures, but in any case it's great fun to hear Rufus Light let his hair down and enjoy a little indulgent flippancy.

4. Grizzly Bear – Shields [Warp]

After 2009's universally lauded Veckatimest, Grizzly Bear fans were no doubt pensive as to what they could expect from Shields. Yet with seemingly effortless, graceful aplomb, the Brooklyn four-piece have delivered an album so rich, so layered, so ethereal and, at the same time, so strangely catchy. Chris Taylor's magnificent production allows the beautifully constructed elements of each song to demand attention, meaning that while easily accessible on its first listen, Shields will reward listeners over time as only a dense, esoteric work would usually be able.

3. Passion Pit – Gossamer [Columbia]

There's nothing quite like the torrents of conflicting emotions experienced when listening to Passion Pit. The group's synth-laden, sickly sweet electro-pop triggers the flood of endorphins that is expected to accompany such dizzyingly infectious songwriting; simultaneously, Michael Angelakos's lyrics – dealing with depression, alcoholism, loneliness, mental illness and drugs – bring you to tears with compassion. The sincerity of Angelakos's lyrics are often willfully ignored by fans and critics, but there is no doubt that Gossamer is a heartbreaking reflection of a troubled soul and the unsuccessful attempts to pretend that everything is alright.

2. Dirty Projectors – Swing Lo Magellan [Domino]

There was no doubt a sea of would-be Dirty Projectors fans that had been waiting many years for Swing Lo Magellan. That is, waiting for the same unpredictable, playful, gratuitous pomp for which Dave Longstreth has become renowned, but without all the wank. This album certainly won't draw fans that Longstreth would resent, but the off-beat rhythms, unbalanced melodies and confounding lyrics have been refined just enough to create an album that, just as you're about to abandon it in exacerbated frustration, winks back at you to let you know that it's only joking.

1. Amanda Palmer & The Grand Theft Orchestra – Theatre is Evil [8 Ft. Records]

Epic, melodramatic, sprawling, bombastic and all the while so confidently cool – there are too many adjectives ascribable to Amanda 'Fucking' Palmer's Kickstarter-funded opus, yet none that truly do it justice. From the seven-minute opener Smile (Pictures or it Didn't Happen), to the balls-out radio favourite Do it with a Rockstar, to the tender, heart-wrenching ballads of the album's second half, Palmer has created a mosaic of resplendent anthems that, while traversing a variety of styles and influences, complement each other beautifully. The domineering layers of synth alongside Palmer's angsty new wave/goth vocals give the album a late-‘70s/early-‘80s shtick. However, it is the textured, inventive and at times cacophonic orchestral arrangements that make this album the goat amongst so many, many sheep.

Toulouse Lautrec

Everyone who has visited Paris will recognise the work of Henri de Toulouse-Lautrec – bright, bold, sensational posters advertising the Moulin Rouge and various other infamous Parisian cabaret halls and nightclubs of the late 19th century. Slathered across the walls of almost every souvenir shop – particularly in and around Montmartre – they portray a Paris in the midst of the Belle Epoque; a playful, carefree and exciting Paris, no longer troubled by the political turmoil of the previous decades and unaware of the brutal century about to dawn. Yet, these instantly recognisable posters do not truly reflect the world that Toulouse-Lautrec inhabited, as visitors to the National Gallery of Australia's summer exhibition, TOULOUSE LAUTREC: PARIS & THE MOULIN ROUGE, will experience.

'His posters are really different. Even the colours are different, they're all primary colours – red, white, blue. They're designed to smack you in the face and to convince you to go along to the Moulin Rouge or some other nightclub,' says Simeran Maxwell, Assistant Curator at the NGA, who was heavily involved in bringing many of the exhibition's pieces to Australia. 'His paintings, on the other hand, when you look at them, there's a bit of pain in almost all of them. It's quite touching that he could see through the bright lights of Paris and see that people weren't doing so well.'

The exhibition will feature over 120 pieces, including an extensive range of Toulouse-Lautrec works already owned by the NGA, a large number of paper works bought specifically for the exhibition and loans from 35 international collections. Although a great proportion of the exhibition focuses on Toulouse-Lautrec's cabaret-inspired works, the collection is as close as you can come to a 'retrospective' of an artist who died at the age of 36.

'We did break it down into thematic groups and some of the themes are very small – they're just pockets in his life,' Maxwell says. 'The biggest theme in the show is definitely the cabaret, because he sort of got involved in that part of the Parisian highlight. He focused all his attention there. But we wanted to show the other aspects of his work; for example, he was an amazing portrait artist. He painted many character studies of his friends and cronies that he used to hang out with. He also had some famous, favourite models. We have a whole section devoted to Carmen Gaudin, who he loved. It's nice to see how he kind of got a bit stuck on people.'

Toulouse-Lautrec was raised in rural southern France, the son of aristocratic parents who encouraged his painting once they realised his talent. He suffered a severe congenital bone disease – greatly suspected to be a result of his parents being first cousins – which, coupled with breaking his right and left thigh bones at the ages of 13 and 14 respectively, left him stunted and ill-proportioned, with the torso of an adult and the legs of a child. Expressionism was taking off in Paris during his early years, yet his obsession with figures meant he was drawn to the faces and physique of his friends and fellow rural dwellers – explored in the exhibition's first room, which focuses on his student days. Later on, it would be the characters of the cabarets and nightclubs he frequented with which he would become infatuated. 'He was looking at Degas' work; he was looking at the Impressionists without actually being an Impressionist. He painted gardens early on, but there are always included figures,' Maxwell says.

It was this infatuation with figures and characters that would draw Toulouse-Lautrec to paint the myriad of prostitutes and dancers he encountered on his ventures through the Paris nightlife. The fourth room of the exhibition, Houses of Tolerance, is dedicated to Toulouse-Lautrec's studies of prostitutes in the brothels he would visit. He also painted many famous dancers of the period (mostly redheads, many of whom he would often become obsessed with) such as La Goulue, depicting not their glamour or infamy, but the loneliness and boredom they experienced in stark contrast to their public perception.

It was only later that he started producing his now-famous posters for the establishments at which his subjects performed. 'Artists like Artiste Bruant and Jane Avril, they would ask Toulouse-Lautrec to make these posters for them and then advertise them wherever they were dancing,' Maxwell explains. 'They were designed so the titles of different places could be overlaid on the poster and used multiplied times.'

The exhibition will mark the beginning of the Centenary of Canberra celebrations and, although superficially an exhibition of a 19th century French artist may not strike as the most relevant choice, it accentuates the international stature of Canberra's cultural institutions. 'We wanted to do a show that showcased some of the work we owned, which we've done,' says Maxwell. 'The show reflects so much of our own collection, but also the gallery's associations and where we stand as a Canberra gallery in an international arena. But you'll see, when our other two exhibitions for next year are announced, that we've gone for all blockbusters. We've really pulled out all the stops.'

Toulouse-Lautrec: Paris & The Moulin Rouge will run at the National Gallery of Australia from Fri Dec14-Tue Apr 2. Tickets for the exhibition will be timed and are sold in half-hour sessions from 10am each day. Tickets are available from Ticketek or at the NGA information desk. 

Private Lives

Toby Truslove has been making some wardrobe alterations. Just under a month into the Belvoir Street Theatre's seven-week sold out season of Noel Coward's iconic play PRIVATE LIVES, Truslove has broken his foot. Aside from having his mobility significantly impeded during a brilliant Sydney spring, a number of scenes have required some moulding. 'There's a fight scene and some chasing. They don't really work with a broken foot,' he says. 'So we changed it around a bit and did some blocking. I now have a car at one point and a cane. My cast is quite big, though. It's like a moon boot. I look a bit like Iron Man. Or at least the leg part.'

Truslove plays Victor in Coward's classic romp about two divorcees who re-marry and, by accident, end up staying at the same hotel during their respective honeymoons. The play's pace, acerbic wit and subject matter of divorce – which although becoming less taboo over time has simultaneously become more relevant and relatable – has made it a beloved comedy since its premiere in 1930, remaining one of Coward's most well-known and favoured pieces. Truslove's character, Victor, is the new husband of Amanda, who has recently been divorced from Elyot, who himself is now re-married to Sybil.

Coward famously wrote the parts of the two divorcees (Elyot and Amanda) for himself and Gertrude Lawrence, leaving Victor and Sybil as almost minor characters. Nonetheless, the role of Victor has been played by a slew of renowned actors, including Laurence Olivier in the original production. 'I'm not sure if there are recordings of that production, but I think it would freak me out to see Lawrence in a role I'm preparing for. Coward gave himself all the best lines, so the actors playing Victor have always had to bring their own strength to the character,' Truslove explains. 'There are lots of stories about Laurence telling Coward that he needed to give Victor more funny lines. But everyone can relate to or identify with Victor a bit. He's a sweetheart. A guy who's in love with someone who is out of his league and he knows it. He knows he's done well for himself but he knows the relationship is probably doomed.'

The production usually gives directors and wardrobe and set designers a great opportunity to indulge in bold ‘30s fashions and interior design, yet Ralph Myers (in his first directing role since becoming Artistic Director at Belvoir) has taken a minimalist approach to the play, encouraging the actors and audience to focus on the dialogue without being distracted by clothing, sets and props. 'I read it in school and I remember it being such a terribly British play,' says Truslove, 'so it was interesting to come to the rehearsal room and to be told we're going to strip it right back to see what's at the heart of the play and what the words say. "No nice jackets, no cigarettes. None of that," Ralph said. "We're going to do it like no one else has done. It's going to be the raw material. Just words to make it come to life,"’ Truslove recalls.

Myers became Belvoir's Artistic Director in 2009 at the tender age of 30, stepping into the prestigious and rather large shoes of the acclaimed Neil Armfield. His age, together with his background in design rather than directing, meant his appointment sparked much controversy and attention throughout Sydney's theatre scene. Now in the director's chair, Truslove suggests Myers was itching to sink his teeth into a production and, in a sense, address his critics. 'He was excited and nervous in equal parts because there was a sense that people were lining up to take a shot at him,' Truslove recalls. 'We read it through for about a day and Ralph then just said, "Let's start acting it out. Let's get off our arses and start doing it!" You could see him aching to get into it and that comes out in the play. He had a particular vision of what he wanted and he's pulled it off brilliantly. Everyone loves it. Even the die-hard Coward fans who have seen it a hundred times and who love all the British pomp that goes along with it – they love it.'

Yet despite the play's age and notoriety among theatre fans, Truslove admits the cast and crew are never able to predict, night-to-night, the audience's reaction to different lines or jokes. 'It's a weird magic,’ he explains. 'You try to figure it out and point to what the audience will do and sometimes you think, "This is a cracker of a line" and then no one will laugh. Then they'll laugh at a different line and you just think, "Really? You thought that was funny?" It's the biggest mistake to make. As soon as you plan for a moment to receive laughter, that's when they won't laugh.’ While the audience's sense of humour may be difficult to predict, Truslove agrees that soaring divorce rates have made the play more relevant as time has passed. ‘To me, these characters are very modern,’ he suggests. 'Elyot and Amanda, they're incredibly contemporary and recognisable characters. The way they relate and their attitudes to marriage; they're very brave and very modern.'

Belvoir's Private Lives is on at the Canberra Theatre Centre from Wed Nov 21- Sat Nov 24 at 8pm (Saturday November 24 matinee also at 2pm). Tickets range from $39-$73 + bf and are available from canberratheatrecentre.com.au.  

Our Shadows Pass Only Once

IN THE SHADOW OF A DOUBT

When we look back on our past selves, it is all too common for us to cringe and feel embarrassed by what we wore, what we thought and the things we did. We often forget, however, that our present selves are a product of the collective experiences and manifestations – both good and bad – of who we once were. So it is that ten days out from the opening night of his new production, OUR SHADOWS PASS ONLY ONCE, Canberra writer David Temme reflects on the script's difficult three-year development.

‘No, none really whatsoever,’ Temme says of the final production's resemblance to its original conception three years ago. ‘The original piece got thrown away fairly quickly. It was a matter of the piece continually evolving into something that I wasn't 100% sure what it was. Through continuous re-writing and thinking and putting things together and throwing things away, it has finally developed into what it has developed into. I have looked back at some of the earlier drafts and shuddered. It's just terrible.’

The production was developed through the Street Theatre's HIVE writer's program and will be performed as part of The Street's five-month Made in Canberra season. Through 15 individually themed vignettes, the production follows the degradation of two relationships and the inevitable fallout of falling in and out of love and our own questioning of how we see others and how we believe they see us.

‘The original concept of forgiveness has stayed in there, but I realised that I couldn't really sustain that for a whole script,’ Temme says. ‘It's pushed far more towards love now; if you loved someone or if someone was in love with you, how much hurt that could inflict on someone. So it's pushed far more towards that, but it still has a line of forgiveness running through it.’

During the final phases of the script's development, director Andrew Holmes began working with Temme to tighten up elements of the script and ensure it was at a production-ready stage. Holmes has been working predominantly as a dramaturge in the HIVE writer's program, but after 'bugging' The Street Theatre's Artistic Director/CEO Caroline Stacey for some directing work, Stacey saw similarities between Temme's script and Holmes' preferred style of theatre. ‘I have a passion for choral works and choral texts and the way multiple voices can work in pieces, particularly in poetic-style theatre,’ Holmes says. ‘David's text, I think, is poetic and has a multi-text angle and multi-voice angle.’

Temme explains that Holmes' assistance during the final stages of the script's development not only helped polish the script, but gave him guidance for his future writing endeavours. ‘It really helped take out some of the things that weren't necessary and showed me what I had to do to give [the script] to Andrew as a director, to give it a more dramatic shape than it currently had.’

The final cut of Our Shadows Pass Only Once follows its subjects via 15 themed vignettes, each with its own thematically-inspired soundtrack created by Shoeb Ahmad of hellosQuare Recordings. Temme explains that he had not originally set out to tell his characters' stories through vignettes, but he found that it was ultimately the most effective means of exploring the characters and the play's themes. ‘For quite a while I was still writing in the whole “Scene 1, Scene 2, Scene 3” structure but it wasn't really working,’ he says. ‘I wasn't really able to explore deep enough within the relationships. Creating the vignettes and by giving each a title like Love or Dreams, it gave me a focus point that the scene would talk about. It worked really well with my way of shifting focus and shifting style and points of view between characters continuously.’

Holmes adds that the use of vignettes which shift across timeframes and perspectives grants the audience a more unique and involved experience. ‘What's really interesting is that we have 15 episodes that occur between two different relationships and they're out of a possible 20,000 that might have occurred. So practically, to see 15 out of 20,000, it makes the audience think what else we may be missing in these characters’ lives and their journeys. Having the audience piece together the missing bits, to me, that's a really interesting thing for them.’

Throughout the 15 vignettes, live video feed is used to produce a further alternative perspective for the audience. Temme draws a comparison with Steven Soderbergh's Sex, Lies, and Videotape, explaining that the live feed is a means of interrogating personal relationships and exploring personal conversations and intimate confessions in a documented sense. 'The play, to me, is very much about how we see each other and ourselves when we're in a relationship and how we then think other people see us.’ Holmes adds, ‘In a theatrical environment, the audience is seeing us and the characters from our perspective, but then providing various camera angles it is then giving the audience another angle from which to see the characters or to communicate with them.'

It's clear that Temme has invested a significant amount of physical and emotional energy into the production. Such a complex and untraditional work – both thematically and practically – would have drained even a seasoned writer and director, let alone an up-and-coming local. Discussing potential future projects, Holmes suggests Temme write ‘something funny.’ 'I want to. I'm not sure I'm wired the right way, but I'd love to,’ Temme says. 'Something for kids, maybe.'

Our Shadows Pass Only Once plays at The Street Theatre from Thu-Fri October 11-19, 8pm. Tickets$20/$22/$25 available on (02) 6247 1223 or from thestreet.org.au. 

The Wharf Revue

BEYOND A JOKE

Despite being a beloved institution of Sydney Theatre Company since the early naughties, it took The Wharf Revue until 2010 to finally bring their inimitable brand of musical political satire to Canberra. Unsurprisingly, Canberrans embraced the show almost possessively and The Wharf has returned at every chance. This October they bring RED WHARF: BEYOND THE RINGS OF SATIRE to The Playhouse – a performance taking aim at all up-to-the-minute political targets in sketches such as ‘The Same Sex Marriage of Figaro,’ ‘The Peter Slipper Handicap,’ and ‘The Trial of the Heretic Flannery of Padua Before the Collegium of Rome.’

‘We also do a Star Wars send-up with the Liberal Party going over to the Dark Side, which is one of my favourites. I also like the same sex marriage sketch. We haven't dealt with that issue before. And I get to dress up as a woman,’ says Phillip Scott, The Wharf's musical director who, together with Drew Forsythe and Jonathan Biggins, has written and performed the show since its inception. For almost ten years, the cast has consisted of the three writers – Forsythe, Biggins and Scott – accompanied by a regularly rotating female actor. This time around, Biggins was unable to appear, allowing new recruit Josh Quong Tart (Home and Away) to join the gang. Many will also be pleased that Amanda Bishop (At Home with Julia) will once again be joining the lads.

During The Wharf's previous trips to Canberra, both Forsythe and Biggins have expressed their gratitude for the endless source of material that Federal politicians give The Wharf for their shows; every year they seem to exceed ever-growing expectations of just how much farce and rhetorical slapstick they can produce.

‘I think certainly politicians seemed to have abandoned their idea of “the big picture” and the public good for the sake of short-term political gains,' says Scott of the perceived demise of public political debate and policy. ‘I think it's driven by the 24/7 media cycle – people are not all that impressed with the constant belittling of each other and the personality politics. Luckily, that's the sort of thing we have a go at,' Scott explains, before clarifying that the 24/7 news cycle is not always beneficial for The Wharf's productions. ‘The hardest part is that our shows go for around three and a half months, so we have to pick things that won't completely go out of the public awareness before it ends.’

The Wharf Revue does not traditionally perform impressions of politicians, instead finding some kind of ‘theatrical model,’ as Scott says, in which to place the politicians. ‘But having said that, there are catchphrases that you've just got to quote,’ Scott says. ‘They make it very easy for us by repeating these things all the time – but it's certainly very boring.’

The Wharf Revue's Red Wharf: Beyond the Rings of Satire shows at The Playhouse, Canberra Theatre Centre from Tuesday-Saturday October 23-27, 8pm. Tickets are $45-$53 + bf, available on (02) 6275 2700 or canberratheatrecentre.com.au. 

The Canberra International Film Festival

Trimming The Festival Fat

The great revolutions in technology over the last decade or two have contributed to an increasing democratisation of the film industry. As a result, although perhaps to a lesser degree, the relative affordability of equipment, software and means of distributing film means the ability to create a piece of cinema is available to a significantly greater portion of would-be filmmakers. While this is great for cinema fans, it no doubt makes the work of people such as Simon Weaving, Artistic Director of THE CANBERRA INTERNATIONAL FILM FESTIVAL, just that little bit more challenging – but always rewarding.

‘I go to [Cannes Film Festival] each year. Basically, there are two sides to Cannes,’ he says, reflecting on his process of selecting films for each year's festival. ‘There's the red carpet Cannes – the dress-up, sexy Cannes. Then there's the working side of Cannes, which is a marketplace. I get a booklet the size of a telephone directory with upwards of 1,000 movies listed for screening. I see as many as I can – usually 60 films over 12 days – and have a whole bunch of meetings with distributors. Then I get a whole bunch of DVDs to wade through. I see around 300 films during the process.’

The product of this mammoth task is a collection of 60 films – comedies, dramas, thrillers, documentaries, art-house and horrors – which will screen over 11 days and 12 nights in Canberra at Dendy Cinema and the National Film & Sound Archive's Arc Cinema. Weaving admits that selecting an appropriate mix of different genres is ‘a huge balancing act’ and has chosen to open and close the festival this year with Scottish and Australian comedies, The Angels' Share and Save Yer Legs, respectively. ‘The last three years the opening nights were pretty serious and hard going,’ he recalls. ‘The first year I was involved we got the Australian premiere of The Hurt Locker and the year after that, Fair Game. Last year we had Gus Van Sant's film Restless, which is an amazing film, but it meant a teary opening night party. This year I was determined to get a comedy to kick off the festival.’

Weaving also explains that when choosing films for the festival he generally does not look for film which is simply amusing, moving or contains a good story. Instead, he looks for a particular aesthetic used to convey these qualities which is in itself specific to the big screen. ‘What I look for is really, really strong storytelling that I call cinematic,’ he explains. ‘I look for directors who are using the grammar of cinema to tell their story. I'm not a great fan of people just talking endlessly in a room. I'm looking not just for strong stories but also beautiful cinema.’

International film has sometimes suffered from tacky stereotyping. This is most evident in Australia, whose geographic isolation once reflected – and contributed to – its cultural isolation. Although the programming of SBS was once considered to consist of nothing more than dramatic, risqué European black-and-whites, it has, over time, assisted the education of Australians of foreign film. ‘My view is that over the last 10-15 years the general population's understanding of foreign cinema has changed dramatically,’ Weaving says. ‘There's a lot more good quality movies being distributed in Australia and I think people are much more aware of the kind of cinema they'll see [at an international film festival].’

The year's program will also feature six documentaries, which range in subject from the poignant Shadows of Liberty, looking at the impact of corporate control over the media , to the hilarious, if slightly absurd, Room 237, a look at the many bizarre interpretations of Stanley Kubrick's The Shining. The popularity and quality of documentaries is yet again a testament to the effect that technology and accessibility is having on the film industry. ‘People are interested in the truth about the world. It's such a complicated world and there's so much going on. There are so many people who are just grabbing a camera and digging around and finding things to make film about,’ Weaving comments.

Weaving also discusses documentary The Imposter, which he admits is one of his favourite films of this year's program. It tells the story of a con-man who in the ‘90s convinced a Texan family that he was their teenage son who had been missing for four years. ‘It's such an amazing film. The director [Bart Layton] is actually reinventing aspects of the documentary, like the recreations you see on crime shows – but the recreation process he's using is so cinematic and exciting. It plays like a thriller and you cannot believe that this is all actually true.’

Although Weaving speaks with such enthusiasm of the festival's program, the quality and diversity of films on offer creates some curiosity as to those which didn't make it. But then, unless there's the chance of watching almost a film a day every year, audiences should trust that the program on offer is the best of them. As Weaving confirms, ‘Whittling down over 300 films to 60 – you're guaranteed to get a good collection of films.’

TransACT presents the 16th Canberra International Film Festival at Dendy Cinema and the National Film & Sound Archive's Arc Cinema from Wednesday October 3-Sunday November 11. For upcoming pricing and session details, check canberrafilmfestival.com.au

Lore

One Somersault Later

It's been eight years since former Canberran Cate Shortland's Somersault – the story of a young Canberran girl running away to the frosty streets of Jindabyne – renewed the Australian cinema-going public's faith in the world-quality potential of Australian film. Somersault picked up an unprecedented 13 AFI Awards out of its 15 nominations and propelled Shortland to national and international acclaim. Eight years on, Shortland has returned with LORE, a film adapted from the second of three short stories which make up Rachel Seiffert's novel The Dark Room, which addresses the psyche of Germany's population during the Second World War. A monumental change of subject matter and pace for Shortland, to say the least.

'As soon as I read The Dark Room, I was very attached to it, to the ideas and the images,' Shortland says. 'I loved the way the story was incredibly intimate but commented on big 20th century questions. Not only for Germans but for all countries dealing with past atrocities, Australia included.' The film is set in Germany in the spring of 1945. Lore is a young girl whose Nazi father and mother have been imprisoned by American and Russian force. With her younger brothers and sister, Lore travels 900km from Bavaria to Germany's north to reach the safety of her grandmother.

'I was really scared of the material as the prospective of the story is so different. We are telling the story from the perpetrators' perspective,' Shortland says. Shortland also explains that the difficulty of Lore initially made her hesitant to approach it, originally preferring one of the other two stories that make up The Dark Room. 'Actually I fought to make the last story, Micha, because it felt safer,' she explains. 'It is a contemporary story and Micha is a 'good German' fighting to find out the truth. There is the familiar triumph of good over evil. Of redemption. In Lore it is far more complex'.

In stark contrast to Somersault – a film written by Shortland and filmed on home soil – Lore was shot in Germany, in German and with German actors whom Shortland communicated with only with the help of translators. Shortland undertook extensive research before making the film, holding workshops in Berlin with former members of the Hitler Youth and the German Girls League. She also spoke to her husband's German Jewish grandmother, photos of whom as a young girl in Berlin were used in the film. However, Shortland explains that the hardest part of Lore was the sheer proximity of the filming to its subject matter.

'The difficult part of making this film was that the story felt so real, the victims very close to us. At times it did feel overwhelming as we shot in Jewish houses taken off their families in the 1930s. The armaments factor was manned by slave labor, many of whom were children. This is always around you.'

Lore is currently screening at Greater Union Manuka.

Regurgitator

No Country For Old Cocksuckers

The concept of the ‘album tour’ (a tour to play an album start to end – usually an acclaimed album from a band's earlier years) has inspired an increasing amount of long-running and recently-reformed bands to return to the touring circuit and give their fans an experience previously only contemplated, preceded wistfully with, ‘wouldn't it be amazing if...’

In 2009, The Pixies undertook an international tour of the institutional Doolittle and since then Australia has received, among others, Public Enemy's Fear of a Black Planet. Locally, The Living End has announced a comprehensive retrospective tour and, perhaps less notably, last year Area-7 gave fans the complete Bitter & Twisted on a ferry as it sailed around Sydney Harbour. Now, on the eve of their 20th birthday, Brisbane's most infamous keytar enthusiasts, REGURGITATOR, are embarking on a tour to play their two most beloved albums – 1996's Tu-Plang and 1997's Unit – back-to-back.

‘About eight songs we haven't played for 10 years, and there's probably a good reason for that,’ says the group's boyishly recognisable frontman and founding member Quan Yeomans. 'But I have to relearn all our songs every time we rehearse anyway because I have a brain like a sieve. We have had to work on them and we're still in the process of working out how to do a few of them, backing track-wise.’

While the album tour is a means of giving fans a chance to relive a particular time and associated memories, as well as giving groups a (for now) fresh alternative to the standard touring setlist, it's also an acknowledgement, in an era of iTunes playlists, Spotify and burgeoning singles downloads, that there is something unique and worthwhile in a full-length album; a nucleus of songs with some form of collegiate theme, tone, story and sound. But like all memories, past events may become romanticised in our minds and there's the chance that the memory will be spoilt by reliving the treasured experience with fresh eyes. However, as Yeomans points out, there's always a need to recognise, acknowledge and celebrate your past achievements, however you might view them now.

‘I have an appreciation for the distance in time [since the albums were written] and I realise it was a younger version of myself. I remember what made me write them and I still appreciate a lot of them,’ he says. 'But at the time of writing them I was actually extremely critical and sensitive of how crap it was. With time, that becomes easier. After ten years I could listen to those albums and realise that they were appropriate for their time. And they still work, and they're still fun to play. I still get a kick out of it. It's kind of fun because it's so surreal and so odd.’

Yeomans doesn't remember exactly why or how the group decided to tour the two albums. They performed Unit in its entirety at 2011's Falls Festival and have since decided to couple that with Tu-Plang. ‘I don't know what the motivation really was. You get to a point in your career and you realise it's been 19 years and you think about digging out the old tracks. We've been thinking about it for a couple of years,’ Yeomans explains. He additionally agrees that the tour could be a form of cleansing and a means of allowing the group to move on creatively – no doubt a good thing. Although Tu-Plang and Unit remain unchallenged as the group's great triumphs, 1999's …Art and 2001's Eduardo and Rodriguez Wage War on T-Wrecks still gained them relatively strong support. However, they hit something of a creative rip in the mid-naughties with the less-than-notable Mish Mash! and 2007's Love and Paranoia, an album Yeomans told The Vine in 2010 he felt ‘slightly embarrassed’ about.

Yeomans has since dabbled in some solo work but admits it's not his forte. ‘I'm really not that great an entertainer on my own,’ he says. ‘I find it really daunting. I'd like to collaborate, but I don't have enough time. I look back at the solo record, and I just piss myself listening to the lyrics I was writing.’ Nowadays, although Regurgitator is back touring and he is hoping the group begins writing again soon, he explains that he's already burning the candle at both ends. ‘Lately my time's been taken up with animating. I've been doing 15-hour days just animating, and Ben [Ely] has been doing a lot of gallery work. Recently, I've been commissioned to do a film clip for Bertie Blackman. It's just so full-on, animating for even only a 3.5-minute scene. After I finish a project I always tell myself I'm never going to do it again!’ Yeomans is now also a Melbournian, having moved south only a few years ago. However, he denies that this has had any effect on his creative direction. ‘I'm not really one of these people who immerse themselves in the culture of a city so much.’ he says. ‘Melbourne is such a locked-down city that I've found myself able to work really well. Because it's so cold, it's conducive to staying indoors.’

Melbourne, solo projects, galleries. It might sound like the ‘Gurge's quirky, computer nerd charm and purveyor of all things strange and different has faded. Yet their choice of supports for the Tu-Plang/Unit tour suggests otherwise. The group will be joined by Beijing's Hedgehog and Indonesia's Senyawa. In true Regurgitator style, they were chosen not to achieve any type of cohesive theme or to present similar musical styles for the tour, but merely because they were great groups who had caught the attention of Yeomans, Ely and drummer Peter Kostic. ‘I've never actually met them. I've seen them play and was just blown away that I felt we had to ask them. I'm excited and it's going to be a great tour, regardless of how good our little nostalgia trip ends up being.'

Regurgitator plays at Zierholz @ UC on Thursday October 4, 8pm, supported by Senyawa and Hedgehog. Tickets are $39.80 from Oztix.

Local Feats

Why Not Here?

You could be forgiven for thinking that the concept of a retrospective of Canberra-made feature films is more than a little over-ambitious. Yet Canberra's feature film history, like so many facets of Canberra's character, exists modestly below the surface of Canberra's collective popular memory; known and appreciated by those who seek it out but never large enough to break into mainstream consciousness. Yet that is something which LOCAL FEATS: A RETROSPECTIVE OF LOCAL FEATURE FILMS intends to change. Curated by Canberra Short Film Festival Director Christian Doran, the retrospective will present ten Canberra-made feature films created between 1971 and 2000 over the coming months at Kendall Lane Theatre, NewActon.

‘The idea started from a single question on Facebook: “Have any feature films been made in Canberra?”’ says Doran of the retrospective's inspiration. ‘Within hours there were 108 replies. Not 108 films, but people asked the right questions and we all slowly worked out who, what when, where and why. There ended up being 18 official feature films made in Canberra.’

Finding that the National Film and Sound Archive (NFSA) had only one of these films in their vaults, Doran proceeded to hunt down the 18 films - ‘like being on a noir trail of intrigue’ - and submit them to the NFSA. NewActon offered the intimate Kendall Lane Theatre as a venue to screen the films, the Canberra Short Film Festival offered its partnership and Local Feats was born.

To give audiences some insight into each film and its history, each screening will be accompanied with a talk from the director (as well as a short film); the only exception being the retrospective's launch of Thursday August 16 – 1971's The Demonstrator, directed by Warwick Freeman. Freeman, now in his late 70s, lives in Brisbane but passed on some notes for Doran to read out to the audience. The film follows a young left-leaning activist who organises a number of protests in order to disrupt a south-east Asian security conference being held in Canberra and hosted by his father, the Minister for Defence. ‘It is definitely my favourite because it surprised me with a decent storyline, high production value and social message,’ Doran says. ‘One thing we [Canberrans] don't do enough of is politics! Ridiculous, I know, but Canberra has a niche there that not many of us have used. That makes The Demonstrator a great look at something we know a lot about. Contrary to that sentiment, think about how many films are made in New York City. Those stories could be told anywhere in the world; they don't need to be about the city itself, just interesting characters doing interesting things. Why can't those films be told in Canberra?’

Local Feats will screen a Canberra-made feature film every second Thursday until Thursday December 20 at Kendall Lane Theatre, NewActon. Sessions at 6pm and 9pm. Tickets are $15 ($5 of which goes to the film's maker) and available at www.newacton.com.au/localfeats

Boy Girl Wall

We'll Have To Go – Through It

‘Evolved, mutated, twisted, turned and changed; from four pages to seven, from 45 to two. It even changes from evening to evening, depending on what the audience is finding funny,’ says Lucas Stibbard, star of the one-man show BOY GIRL WALL, regarding the ongoing changes to the production since it debuted in Brisbane in 2009 and subsequently toured to sell-out seasons in Adelaide, Sydney and Melbourne. ‘Sure, there are still jokes that occasionally go sideways – a few risqué and salty jokes that the audience isn't always completely taken with – but we get rid of the bad vibes. With a bit of drumming, a bit of stage burning; we exorcise the demons.’

The production follows Thom and Alethea, two neighbours in an apartment block in the West End whose lives, in a state of despair, are brought together by the very wall that separates them. Stibbard plays 25 characters assisted only by a stick of chalk, a sock puppet and musician-composer Neridah Waters, who contributes sound effects from side-stage using a xylophone and soundboard.

It all sounds a little bit twee and a little bit rom-com in a very dry, Wes Anderson fashion. But Stibbard, while not displeased with the comparison, denies this is the case. ‘Well, firstly, it's like a pre-rom-com. There’s definitely a lot of 'com', but the show’s pretty much – if not completely – over by the time the 'rom' begins,’ he says. ‘I'm a big Wes Anderson fan, but he's basically Chekhov for America – a group of intellectual people complaining about their situation in a really funny way.’

The production was written by Stibbard and Matthew Ryan; two members of The Escapists, an acclaimed group of four Brisbane independent theatre makers (Waters and Jonathon Oxlade round out the group). The group is noted for its challenges to traditional approaches to theatre and storytelling. Again, an influence is suggested – this time Bertold Brecht – and again it is denied. Again, not without pleasure. ‘I'm a huge fan of Brecht. You cannot look at modern theatre without doing so in the context of how it is an influence of or reaction to what Brecht did,’ Stibbard says. ‘But he took epic theatre and politicised and turned it into didactic theatre whose purpose was education as much as it was entertainment. This show is discursive and episodic, but not epic. With Brecht's plays, you put all the parts together and you'll end up with a message like “war is bad” or something similar. This isn't like that. From this play you'll probably get the message that you should do something with your life that you enjoy.’

Boy Girl Wall is showing at the Street Theatre from Wednesday August 22-Saturday September 1. Book tickets by calling (02) 6247 1223 or visit www.thestreet.org

Australia Day

Very Unaustralian, That

For a writer and comedian who specialises in comic political satire, taking aim at one of Australia's most sacred and controversial national celebrations is not only a fitting task, but a task that would surely be taken to with ravenous enthusiasm. It's unsurprising, then, that after 12 years of writing for Sydney Theatre Company's infamous political comedy revue, The Wharf Revue, and a number of years spent as an Australia Day Ambassador, Jonathan Biggins has used his first independent full-length play, AUSTRALIA DAY, to lampoon that very national institution.

In the small (fictional) country town of Coriole, the members of the Australia Day committee are having difficulty exactly what it is they are celebrating. Kaeng Chan plays Chester, the Australian-born Vietnamese school teacher, representing Australia's rooted multiculturalism.

‘Jonathan's experiences were more in the country towns, so it's probably more reflective of their celebrations and what they do, says Chan. ‘But it's a social commentary on Australia in general.’

Alongside Chester on Coriole's Committee is the Liberal Mayor, the CWA rep, a Mayor hopeful, a bigoted builder and a Greens Councillor. Having had what sounds like a fairly standard upbringing in Perth, Chan related strongly to the character of Chester and his having to constantly remind others that, despite his ancestry, he is no less Australian. ‘When I first read the script, I thought “Geez, this character is very similar to me in terms of his humour, and how he handles aggressive prejudice and the innocent but completely wrong observations of people who aren't familiar with his background”,’ says Chan. ‘It's nice to be a part of a play that so accurately portrays the ethnic Australians; the “Asian Australians”. Even nowadays in the arts and especially on TV, the portrayal of other cultures can be a bit hit and miss.’

The production's set was designed by Richard Roberts and was intended to evoke many memories of Australia Day ceremonies of old. ‘It's amazing, you actually feel like you're stepping back into your old primary school's hall,’ says Chan. Rehearsals, as well, were aimed at developing the characters organically so they were believable and recognisable. ‘The main script was established but we had a lot of input into our individual characters. The ownership allowed us to make them as we knew them,’ he says.

Yet, for a production that lambasts one of the nation's most cherished national holidays, it has received very little, if no, discernible criticism. ‘I don't know of any but I can't see it happening because it's such a fun play to watch,’ says Chan. ‘Even the people who come in with a bit of skepticism will find something amusing. Whether they think it's just absurd or they see a bit of themselves in the characters they always enjoy it.’

Sydney Theatre Company and Melbourne Theatre Company present Australia Day at The Playhouse, Canberra Theatre Centre, from Wednesday August 29 – Saturday September 1. Tickets from Canberra Ticketing on (02) 6275 2700 or www.canberratheatrecentre.com.au

BRB, Pataphysics

@ Digress Cocktail Bar, Saturday July 28

It could have been considered a most unusual event, if it weren't for the fact that each of its elements were so distinctively at odds, so completely non-germane to each other, that it seemed the only explanation could be that the force of some higher, interventionist power was responsible for bringing together such a mismatched concoction. On a clear and still bitterly cold Saturday night in Canberra, a cocktail lounge which shares its space with an Indian/Italian fusion restaurant hosted a producer/MC/multi-instrumentalist group self-described as 'soulful guerilla hip hop'. Bordered above and on all sides by the dark, empty offices which, for five days a week, are home to various Government departments, punters sipped frosty mojitos while a long-haired trumpeter waxed lyrical about the Zapatistas and then complimented the venue for its 'awesome' Tandoori Prawn Arrabbiata. So it was that Pataphysics' show at Digress Cocktail Bar was, in fact, an event seemingly appropriate for the varied, experimental style of the group in question.

To back up, the night began with a poetry slam featuring a number of local participants. Although your otherwise-occupied author missed these early performances, from all accounts it was a great display of Canberra's burgeoning poetry/spoken word scene.

Hosting the evening's ceremonies was Canberra-based MC BRB, who preceded Pataphysics' performance with a set of his original material showcasing his various influences and abilities. Originally from New Jersey, the rhythms of Run-DMC and Beastie Boys underscore much of his music, although its driving force was the engaging, sometimes complex and often involved narrative he weaved over his breaks. His direct, honest messages may have been inspired by contemporary social or political issues, but were just as often taken from his own worldly experiences, whether they be his gaol time for drug dealing, near-misses with death, or most recently his battle with cancer which he only just survived. His beats were infectious, however BRB's appeal was in his wisdom, his avuncular story-telling and his stark earnestness that made his performances so immersive.

The night's stars – Melbourne's Pataphysics – are a group who would rarely come across as unpolished. Across two lengthy sets, they first soothed, then charmed, then energised and finally incited the audience with their understated mix of soft jazz, spoken word, downtempo electronica and hip hop; all generated by the multi-instrumentalist, multi-lingual Pat Marks, his trumpet and his band, consisting of a guitarist and one laptop-armed beat-master.

The group used their first set to gently warm up. Much of the crowd remained seated in the shadows while Marks dabbled in some subdued trumpet and sultry rapping over understated, ambient trip-hop beats. Alongside Marks' often politically-focused yet grounded lyrics, they exuded Thievery Corporation's sense of ultra-cool rebellion, sans the pretence.

The boys gradually increased the tempo and the boldness of their music, announcing a break between sets just as the audience was starting to fill the dance floor. Thankfully, the break between sets enthused the crowd rather than leaving them flat, and for the entirety of the second set Pataphysics had almost the entire venue – bar staff included – on the dance floor as they gave an ecstatic display of their jazz, funk and hip hop credentials. The intimacy of the venue was well-suited to Marks' charismatic and sincere crowd engagement, with the absence of the usual demarcations between crowd/stage/band creating a warm, fuzzy sense of connectedness between crowd and performers. But then, Marks seems like he could bring out the best in a crowd in any setting – even without the mojitos and Tandoori Prawn Arrabbiata.

Album Of The Issue

Every year there is one album which, coming from a group either ensconced in, associated with, or at the very least strongly influenced by a traditionally non-mainstream scene (in this case punk), captures the imagination - and with it the unconditional adoration - of the alternative world's music critics. Pitchfork gushes uncontrollably; the music press, generally, breaks into hysterical worship. Last year it was Fucked Up's David Comes to Life; this year, it's Celebration Rock.

Japandroids, for their part, capture the imagination because they bring to their music a raw, fuzzy blend of rock and punk that evokes acts from Springsteen and Petty through to The Bronx and At the Drive-In, alongside an extremely rare combination of wisdom, sincerity, urgency and optimism. Both members of the duo - guitarist Brian King and drummer David Prowse - are 29; the age around which so many musicians make their last-ditch effort to make a critically successful record before throwing in the towel (in fact, this is where the group was at before releasing 2009's Post-Nothing). But instead of engaging in navel-gazing of their current predicament or morbidly pontificating their future, they look back to grasp the energy, spontaneity and emotional peaks and troughs of their youth. King is not concerned with nostalgia or reminiscence, but with seizing the day, sucking every last piece of marrow out of the bone of his youth. On paper, his lyrics are clichéd and amateurish, if not also cringe-inducingly sentimental – particularly on The Nights of Wine and Roses, Adrenaline Nightshift or Younger Us, where King sings, “Remember saying things like ‘we'll sleep when we're dead’/and thinking this feeling was never gonna end/remember that night you were already in bed, said ‘fuck it’, got up to drink with me instead!” Yet when screamed by King over fuzzy guitars, surplus feedback and what must be a respectable collection of low-fi and delay pedals – their youthful optimism wasn't the only thing they collected on their return to the ‘90s – King exudes such confidence and earnestness that you don't feel the need to question his message. This is perhaps the group's greatest strength – planted attitudinally for the moment between The Vaccines and The Hold Steady, Japandroids are old enough to know better, but are still too young to care.

Ngapartji Ngapartji one

Cold War In The Family

Between 1955 and 1963 the British conducted a number of nuclear tests in the Maralinga Desert near Woomera, South Australia. Despite an initial 'cleanup' in 1967, in 1985 it was conceded that significant radiation hazards existed in the area. In 1994, nearly 40 years after the tests began, the Australian Government acknowledged the severe effect the tests had on the Aboriginal owners of the land and paid $13.5 million in compensation to the local Maralinga Tjarutja people.

"It was probably Australia's first worst-kept secret," says Trevor Jamieson who, in Big hART's NGAPARTJI NGAPARTJI ONE, narrates his family's history in the Maralinga area, their first encounters with non-Indigenous Australians and the religious missions, and their experiences during the Cold War and the fallout of the Maralinga testing. "It's a topic that a lot of people have never known about," he says. "Many Australians haven't even heard of the British coming here to test atomic bombs in their backyard during the Cold War."

Written by Jamieson and Big hART's Creative Director Scott Rankin, the production was awarded the 2008 Deadly Award for Most Outstanding Achievement in Film, TV and Theatre, with Jamieson also winning the 2008 Sydney Theatre Award for Best Actor in a Lead Role.

"My side was to look at the storytelling of the families out in the dessert," Jamieson says of the creative development of the production by him and Rankin. "I went out and sat down with the elders and got the testimonies of the people who actually witnessed [the nuclear testing]." The play also weaves in the parallel experience of a Japanese woman who experienced the atomic bombing of Hiroshima and the Cold War experiences of an Australian soldier. "It's written so each of the three stories reflect each other and is interwoven so people understand how nuclear testing has affected a lot of people in different parts of the world," he says.

In a style that has become popularly associated with Rankin and Jamieson, Ngapartji Ngapartji one mixes traditional storytelling, tragedy, humour, pop-culture references and direct audience participation to both entertain and educate audiences about the history of Indigenous Australians; a style Canberra audiences will recognise from Big hART's Namatjira. The use of visual artists onstage, painting in the background during Jamieson's storytelling also originated with Ngapartji Ngapartji one, Jamieson saying that despite not being actors, many of the artists love the new experience. "They always ring up and ask when we're touring the show again," he says.

Early on in the play, Jamieson teaches the audience to speak some Pitjantjatjara by taking them through a rendition of Kata, Alipiri, Muti, Tjina (Heads, Shoulders, Knees and Toes) and explaining the importance of language to Indigenous Australians and the speed at which many languages are dying.

"It's a struggle, but the only reason is modern technology," Jamieson says. "My family only came out of the dessert 50 years ago and the younger generations are still adapting to change. Technology and exposure to western culture dilutes our language and cultures, but in some ways it keeps our stories alive. We have videos and iPhones and apps to help us record our stories and ensure they continue. The language is still strong out on the land but it's a constant struggle to ensure it survives once it becomes exposed to the western world."

The production is also just one part of Big hART's Ngapartji Ngapartji project based in Alice Springs, which aims to reengage marginalised Indigenous communities.

"There's a whole many different levels to the project – engaging with young people and making small films," Jamieson explains, "but also talking to the elders about the life of the town, what happened in the old days. We're trying to join the gaps between young and old. We also go into the prison system and sit down with people and teach them music. All of it is aimed at bringing to the community a sense of culture and the ability to tell stories in a theatrical way."

Ngapartji Ngapartji one is an incredibly personal story for Jamieson. Throughout our conversation he constantly draws attention to the temporal proximity of the events of the play and the fact that they occurred in the lifetimes of a majority of the audience. Recounting, night after night, the story of his family's suffering not simply from exposure to western society, but from exposure to one of the most destructive forces ever created by humans, is clearly unlike any other performance.

"Each time I come back to it, it's always hard. To come back and read it again, you think of all those emotions and they slowly come back to you," Jamieson says; and then, "Look, it's just bloody hard," he says, sighing tiredly, as though the thought of the story itself can take the energy out of him. "There are points in the show that it's really hard for me to go back to. I've got all these old feelings – the displacement of my family; what's happened to my family. For people to be brave like my family were and to lose people like they did, they're still suffering post-trauma. These are my people. They've just got incredible strength and I don't know how they do it."

Ngapartji Ngpartji one will show at The Playhouse at Canberra Theatre Centre from Wed-Sat July 25-28. Tickets from Canberra Ticketing: (02) 6275 2700 or www.canberratheatrecentre.com.au

The Australian Chamber Orchestra

The End Is Nigh

When the AUSTRALIAN CHAMBER ORCHESTRA goes on tour this July to perform Messiaen's Quartet for the End of Time and Schubert's Trout Quintet, it will take on both the blessing and burden that inevitably accompany the performance of well-known classical favourites.

"They're two very well-known and popular pieces of music, and deservingly so," says Helena Rathbone, the principal second violin of the ACO and Director and Leader of ACO's second ensemble, ACO2, which sources musicians from the Emerging Artists Program. "It makes it a treat to perform such well-known pieces. But at the same time, it's also difficult. Everyone knows what they sound like, and they all have their favourite recordings, so they all have preconceptions of what they hope or think it will sound like."

Joining Rathbone and three other ACO Principals will be Artistic Director of the Australian National Academy of Music and clarinetist Paul Dean, as well as Palestinian-Israeli pianist Saleem Ashkar. Although relatively young, Ashkar is revered globally in the classical music community. He first began playing piano in Nazareth at the age of six when his father traded the family's car for an old piano because it 'looked nice'. Although no one in his family could play, a visit from his uncle gave him the appetite for piano that would lead to him study abroad in Europe and eventually to make his debut at Carnegie Hall at the age of just 22. Askhar regularly speaks of the mesmerising effect that music had on him as a child, and this is an experience that Rathbone regularly enjoys through her work with ACO2 and the Australian Youth Orchestra.

"Working with the ACO and people like Paul Dean and Saleem Ashkar, while also working with the younger and emerging orchestras absolutely gives me the best of both worlds," she says. "Working with young people is just so refreshing and energising. You see their enthusiasm and their need and desire to lean and absorb as much as possible. Trout is actually only the second Schubert I've played so it's new to me. It was the same experience that younger musicians have; playing something for the first time with a fresh, wide-eyed approach. It brings you back down to earth and reminds you why you began playing music."

Despite how younger generations may perceive classical music musicians and aficionados, Rathbone insists that life on the road for all musicians is fairly similar at the end of the day. "Musicians are always pretty good partiers," she explains. "You don't get off stage until ten or so and you have so much adrenalin running through your body that you need to wind down somehow."

The Australian Chamber Orchestra presents Schubert’s Trout Quintet and Messaien’s Quartet for the End of Time at Llewellyn Hall, ANU, on Saturday July 21, 8pm. $42-89 through Ticketek.

Brecht: Bilbao and Beyond

At The Street Theatre, Saturday June 3

Some musical or theatrical performances require no knowledge of the production's subject or context to be understood, enjoyed and remembered. Others require so much prior knowledge that anyone lacking a complete anthological understanding of the subject matter shouldn't even bother. Brecht: Bilbao and Beyond lies halfway between these extremes. Knowledge of the plays, poems, stories and songs of Bertolt Brecht – the eccentric German writer and theatre director of the early 20th century – grants viewers vastly greater appreciation of this production than their less informed counterparts. Yet, either way, the sheer talent, charm and effortless charisma of Chuck Mallett and John Muirhead keep the audience submissively enthralled as the duo recount, in cabaret-like fashion, the life, times and artistic highlights of Brecht. 

Mallett (a Detroit-born pianist and former vocal student of Sergei Rachmaninoff) and Muirhead (a Melbourne-born actor) met and worked in London's West End for almost half a century before moving (returning, in Muirhead's case) to Australia a decade ago. After assembling shows comprised of songs and stories chronicling the lives and works of Noel Coward and Irving Berlin for private audiences in South Melbourne and Bermagui, the pair undertook a similar project for Brecht.

The production follows, more or less, the course of Brecht's life; his birth in Bavaria, his most prosperous and successful years in Weimar-era Berlin, his travels throughout Europe during the early years of Nazism and later to the US during WWII, and finally his return to Berlin during the Cold War. Unsurprisingly for an artist living through such an epoch, Brecht's eccentricity and avant-garde theatrical methods are underpinned by his Marxist politics and pessimism towards humanity.

A majority of the production's music is written by Mallett, whose piano compositions accompany Muirhead's part-musical, part-spoken word performance of a miscellany of Brecht's work. Muirhead switches regularly between the character of Brecht or one of Brecht's own characters, while Mallett remains behind the piano, regularly addressing the audience (or Muirhead) to recount a particular event or period of Brecht's life.

While Muirhead and Mallett's performances are irresistibly enthralling, the disjointedness between Muirhead's character changes, excerpts of Brecht's work, Mallett's music, and overall chronology of Brecht's life can become disorientating. Yet, whether intended or not, it is this effect of which Brecht would have been most proud. A vanguard of theatrical deconstruction or 'defamiliarisation', Brecht sought to amuse and provoke audiences by challenging audience's traditional expectations of, and relationship with, theatre performances.

Regardless of their intentions, at the end of the day, it is through Muirhead's perfect caricatures and Mallett's brilliant musicianship that the pair ultimately do great service to a 20th century icon. 

The Land Of Yes & The Land Of No

The Soul Of Society's Signs And Scaffolding

Since Rafael Bonachela was appointed Artistic Director of Sydney Dance Company in 2009, Canberra audiences have been treated to a number of his productions, including We Unfold in 2010 and in 2011 Between Breath and Form, a double-bill of his previously separate works 6 Breaths and LANDforms. However, perhaps the most anticipated of his productions since joining Sydney Dance Company, Bonachela has now remounted his renowned 2009 production THE LAND OF YES AND THE LAND OF NO. The production was produced by Bonachela Dance Company and debuted at the Ludwigsburg Festival, Germany, in 2009. It was Bonachela's first collaboration with composer Ezio Bosso (who Bonachela went on to collaborate with on a number of productions, including those mentioned above) and toured extensively to critical acclaim through Europe and the UK. However, SDC's production is not a replica of the original and Bonachela says that he enjoyed being able to re-visit the production.

"It was originally choreographed for six dancers and now there are ten," says Bonachela. "The group sections in particular I've taken the opportunity to play with. Having more dancers gives you more opportunities and options. You can change the pace of the work as you have more people to play with. The sections where there is a solo, a duo or a trio I haven't changed as they are very intimate moments, but the larger group movements I've played around with."

Joining Bonachela for the new production are lighting designer Guy Hoare, costume designer Theo Clinkard and, notably, set designer Alan McDonald whose work regularly appears in feature films, most recently The Best Exotic Marigold Hotel. He has also designed a number of Kylie Minogue's touring sets. McDonald's work has brought one of the biggest changes to the production, which was relatively minimalist previously and is now "bigger and better," in the words of Bonachela. McDonald's set is a brilliant display of neon tubing which frames the dancers against a back wall of solid, changing colour which, Bonachela explains, "is essentially like insulation. It's also a representation of architecture or scaffolding. It's a huge element of the work." Bonachela says he and McDonald became close friends when he was in charge of Bonachela Dance Company in London, which was a relatively small scale operation compared to the feature film work that McDonald was accustomed to. "Every time I was doing something in London he would come in and help out then go back to making movies," Bonachela says. "I told him, 'I can pay you, but not as much as Kylie'. He's an amazing designer and I certainly wouldn't have been able to get someone of his stature on board if I wasn't friends with him."

Working with Clinkard and Hoare, Bonachela says that he and McDonald would discuss their ideas for the show and would then speak to the others about their conceptual suggestions for the costumes or lighting. "Alan gave Theo and Guy very clear directions about what he wanted. Alan and I would have conversations about the set and the production and then we'd speak to Guy and Theo. It was very collaborative," he says.

The production is said to be concerned with the way everyday signs and symbols affect our actions and influence us. Rather than a Baudrillard-inspired comment on meaning and simulation, the work explores the rules, regulations and directions that guide or rule our everyday lives and how unconsciously we are controlled by them. Bonachela explains the title came from Bosso's childhood home in Italy. Bosso recounted the story during the production's very early conceptual development when the two were brainstorming themes. His family house had areas called 'The Land of Yes' where Bosso and his siblings could "go crazy and mess around," and areas called 'The Land of No' where they had to behave and be quiet. An apt metaphor, Bonachela decided, for society and the way that people's actions – most notably those actions which they believe they are undertaking freely or even rebelliously – are in fact carried out within a strict framework of conformity and obedience. Bonachela was so taken by this idea that it became the central treatise for the production. "It was a very poetic way of explaining what you're allowed to do and what you're not allowed to do," says Bonachela.

"Some sort of order is needed but sometimes it can go too far. In some places it's mayhem; people don't follow any rules and the government has no control over people. So you do need some signs and rules. But you need the right balance between the two. Nowadays, we get up in the morning and we don't realise we're being told what to do every second," he says. "It is different in every country, for sure. Australia is a country where there are a lot of rules. Soon I feel you won't be able to breath without permission. It's when you challenge certain rules that things happen you never thought were possible."

The Land Of Yes & The Land Of No plays at Canberra Theatre from Thu-Sat June 28-30 at 7.30pm. Tickets are available $30-$63 +bf through www.canberratheatre.org.au or by calling (02) 6275 2700.

The Last Prom

The Antichrist Just Hijacked The High School Dance 

When THE LAST PROM first appeared as part of 2011's You Are Here festival at Smith Dick – the appropriately-named, then-empty shopfront in the bus interchange (formerly home to Dick Smith) – the concept of both the band and the event had not fully crystallised. At that show, punters were encouraged to dress up in the twin themes of 'Prom Night' and 'The End of the World' and a host of local acts performed, with the evening being closed by the eponymous group The Last Prom. A little over a year on, founder and helmsman of both group and event, Nick Delatovic (The Missing Lincolns, Cracked Actor) reflects on the subsequent conceptual development of The Last Prom.

"We were blessed at that show. The crowd was great in developing their characters. The bill was all excellent Canberra bands but it was designed to be a super-eclectic mix and super-abrasive," he says. "Although I'd sat down and fleshed out the concept beforehand, that first show was very much a gig with a costume theme and a slight narrative. Since then I've wanted to keep pushing it."

'Pushing it' is a slight disservice to Delatovic's development of The Last Prom from its 2011 inception to its 2012 manifestation. In 2012 The Last Prom will stage four events, each themed around one of the Four Horsemen of the Apocalypse. A famine-themed show took place earlier this year and this month's show at the White Eagle Polish Club will be pestilence and 'nuclear winter' themed. According to Delatovic, the third show – war-themed – will most likely take place in September at The Front, with the final show – "a huge cross-art theatrical pop-opera" – being held in November. The Last Prom's blog (www.thelastprom.com) sets the scene for each show in the form of dramatic, sweeping narrative; not only a means of promotion and entertainment but, as Delatovic says, a means of "getting the audience excited and being part of the story before the show." As before, audience members are invited to dress in theme and they should prepare themselves for a show where they will be subjected to a duet of grandiose pop music and immersive narrative.

"We're ultimately moving towards our final show where there won't be any support acts. It will go for an hour and will completely delineate the concept," Delatovic says. "The one thing that worked for [the You Are Here show] was that it was very short. I want intense emotion again at all these shows. Not only from the band but also from the crowd."

Intense emotion, you may have guessed, is a pivotal element of The Last Prom. The idea of the band and its narrative concept – the latter born "close on the heels" of the former – both sprung from Delatovic's desire for a grand emotional venture where there would be no place for restraint, inhibitions or hipster-esque irony.

"I wanted to put a band together that was very melodramatic and did melodramatic pop music in big, sweeping ballads. I needed an excuse to go over the top with emotions," he says. "It was a very cherry-picked band. I had an idea of the music I wanted it to be and I went to the people I knew could do it. Luckily they all said ‘Yes’ and once I had that all locked down I just needed lyrical and musical content that could take me to the required level. I just came up with the two most melodramatic concepts I could, which were high school and the end of the world, and I put them together."

The aforementioned "cherry-picked" members include Julia of Julia and the Deep Sea Sirens, together with notaries from a number of other local groups. The premise for the group and their shows is that the Antichrist and the Four Horsemen have joined forces to end the world. In the words of the group, "since the Antichrist is a fixated pop music fan and a hopeless romantic, he has recreated the Horsemen into a pop band and combined the world-ending ritual into his idea of the ultimate life-affirming experience, the high school dance."

Delatovic explains that the pop focus has taken centre stage this year, with all shows now purely pop-music driven and with all support acts being "accessible, fun and dance-oriented." In the same vein, The Last Prom is designed to encourage people to completely lose their inhibitions; to submit to the physical enjoyment of the music for the time of the show. "While you're there, you're there to fully engage with the event," Delatovic says. However, the physical submission to celestial pop ballads is coupled with the ongoing narrative of The Last Prom. Delatovic admits he's fan of musicals but denies The Last Prom could be described as such. "At the heart of it, the band is playing a set," he says. "But the audience members can engage with it as music and performance and costume, or the story as well." He cites a number of concept albums and rock operas but concludes there aren't many from which you can discern a clear story just by listening to the lyrics. "For years I've wanted to see if you could write stories that express themselves purely through pop songs. We're concentrating on making sure the songs are strong enough but we're also trying to write a show where even if you don't speak English you can follow the character story."

The Last Prom's Nuclear Winter Ball will be held at the White Eagle Polish Club, Turner, on Saturday June 16 from 8pm-11pm, with Space Party and more supporting. Tickets $10 on the door.

The Last Prom

What If The Antichrist Hijacked Your High School Dance?

When THE LAST PROM first appeared as part of 2011's You Are Here festival at Smith Dick – the appropriately-named, then-empty shopfront in the bus interchange (formerly home to Dick Smith) – the concept of both the band and the event had not fully crystallised. At that show, punters were encouraged to dress up in the twin themes of 'Prom Night' and 'The End of the World' and a host of local acts performed, with the evening being closed by the eponymous group The Last Prom. A little over a year on, founder and helmsman of both group and event, Nick Delatovic (The Missing Lincolns, Cracked Actor) reflects on the subsequent conceptual development of The Last Prom.

"We were blessed at that show. The crowd was great in developing their characters. The bill was all excellent Canberra bands but it was designed to be a super-eclectic mix and super-abrasive," he says. "Although I'd sat down and fleshed out the concept beforehand, that first show was very much a gig with a costume theme and a slight narrative. Since then I've wanted to keep pushing it."

'Pushing it' is a slight disservice to Delatovic's development of The Last Prom from its 2011 inception to its 2012 manifestation. In 2012 the Last Prom will stage four events, each themed around one of the Four Horsemen of the Apocalypse. A famine-themed show took place earlier this year and this month's show at the White Eagle Polish Club will be pestilence and 'nuclear winter' themed. According to Delatovic, the third show – war-themed – will most likely take place in September at The Front, with the final show – "a huge cross-art theatrical pop-opera" – being held in November. The Last Prom's blog (www.thelastprom.com) sets the scene for each show in the form of dramatic, sweeping narrative; not only a means of promotion and entertainment but, as Delatovic says, a means of "getting the audience excited and being part of the story before the show." As before, audience members are invited to dress in theme and they should prepare themselves for a show where they will be subjected to a duet of grandiose pop music and immersive narrative.

"We're ultimately moving towards our final show where there won't be any support acts. It will go for an hour and will completely delineate the concept," Delatovic says. "The one thing that worked for [the You Are Here show] was that it was very short. I want intense emotion again at all these shows. Not only from the band but also from the crowd."

Intense emotion, you may have guessed, is a pivotal element of The Last Prom. The idea of the band and its narrative concept – the latter born "close on the heels" of the former – both sprung from Delatovic's desire for a grand emotional venture where there would be no place for restraint, inhibitions or hipster-esque irony.

"I wanted to put a band together that was very melodramatic and did melodramatic pop music in big, sweeping ballads. I needed an excuse to go over the top with emotions," he says. "It was a very cherry-picked band. I had an idea of the music I wanted it to be and I went to the people I knew could do it. Luckily they all said yes and once I had that all locked down I just needed lyrical and musical content that could take me to the required level. I just came up with the two most melodramatic concepts I could, which were high school and the end of the world, and I put them together."

The aforementioned "cherry-picked" members include Julia of Julia and the Deep Sea Sirens, together with notaries from a number of other local groups. The premise for the group and their shows is that the Antichrist and the Four Horsemen have joined forces to end the world. In the words of the group, "since the Antichrist is a fixated pop music fan and a hopeless romantic, he has recreated the Horsemen into a pop band and combined the world-ending ritual into his idea of the ultimate life-affirming experience, the high school dance."

Delatovic explains that the pop focus has taken centre stage this year, with all shows now purely pop-music driven and with all support acts being "accessible, fun and dance-oriented." In the same vein, The Last Prom is designed to encourage people to completely lose their inhibitions; to submit to the physical enjoyment of the music for the time of the show. "While you're there, you're there to fully engage with the event," Delatovic says. However, the physical submission to celestial pop ballads is coupled with the ongoing narrative of The Last Prom. Delatovic admits he's fan of musicals but denies The Last Prom could be described as such. "At the heart of it, the band is playing a set," he says. "But the audience members can engage with it as music and performance and costume, or the story as well." He cites a number of concept albums and rock operas but concludes there aren't many from which you can discern a clear story just by listening to the lyrics. "For years I've wanted to see if you could write stories that express themselves purely through pop songs. We're concentrating on making sure the songs are strong enough but we're also trying to write a show where even if you don't speak English you can follow the character story."

The Last Prom's Nuclear Winter Ball will be held at the White Eagle Polish Club, Turner Shops, on Saturday June 16 from 8pm-11pm, with Space Party and more supporting. Tickets $10 on the door.

The Land Of Yes & The Land Of No

The Soul Of Society's Signs And Scaffolding

Since Rafael Bonachela was appointed Artistic Director of Sydney Dance Company in 2009, Canberra audiences have been treated to a number of his productions, including We Unfold in 2010, and in 2011 Between Breath and Form, a double-bill of his previously separate works 6 Breaths and LANDforms. However, perhaps the most anticipated of his productions since joining Sydney Dance Company, Bonachela has now remounted his renowned 2009 production THE LAND OF YES & THE LAND OF NO. The production was produced by Bonachela Dance Company and debuted in Germany in 2009. It was Bonachela's first collaboration with composer Ezio Bosso (whose score also accompanies the above productions) and toured extensively through Europe and the UK. However, SDC's production is not a replica of the original.

"It was originally choreographed for six dancers and now there are ten," says Bonachela. "The group sections in particular I've taken the opportunity to play with. Having more dancers gives you more opportunities and options. The sections where there is a solo, a duo or a trio I haven't changed, as they are very intimate moments, but the larger group movements I've played around with."

Joining Bonachela for the new production are lighting designer Guy Hoare, costume designer Theo Clinkard and, notably, set designer Alan McDonald whose work regularly appears in feature films. He has also designed a number of Kylie Minogue's touring sets. "Alan gave Theo and Guy very clear directions about what he wanted. Alan and I would have conversations about the set and the production and then we'd speak to Guy and Theo. It was very collaborative," he says.

The production is concerned with the way everyday signs and symbols affect our actions and influence us. Bonachela explains the title came from Bosso's childhood home; a story he recounted during the production's very early conceptual development. His house had areas called 'The Land of Yes' where Bosso and his siblings could go crazy and mess around, and areas called 'The Land of No' where they had to behave and be quiet. An apt metaphor, Bonachela decided, for society. An apt theme, as well, for the production.

"Some sort of order is needed, but sometimes it can go too far. We get up in the morning and we don't realise we're being told what to do every second," he says. "Australia is a country where there are a lot of rules. Soon I feel you won't be able to breath without permission. In some places it's mayhem so you do need some signs and rules. But it's when you challenge certain rules that things happen you never thought were possible."

The Land Of Yes & The Land Of No plays at Canberra Theatre from Thu-Sat June 28-30 at 7:30pm. Tickets are available $30-$63 +bf through www.canberratheatre.org.au or by calling (02) 6275 2700.

Henry Rollins

The Street Theatre, Sunday May 6

Just under half way through Henry Rollins' three hour set he recounted the moments immediately preceding the day of his 50th birthday in February last year. He went into a diner in New York and ordered a tuna sandwich and a cup of coffee. As he waited for his food, he speculated on what, if any, significance should be placed on this moment. Then, as he recalled, "my sandwich came, my coffee came and I turned 50."  

Like so many elements of Rollins' 30-plus years as a public figure, the reaching of his half-century passed seamlessly; an understated milestone negotiated with minimal sentimentality but not without thought. "As I sat there, I realised that I want to still be doing this [spoken word] for the next 50 years. This is what I do and this is what I'm going to keep doing."

For those present, or anyone who has seen Rollins live, such a prospect is not only welcome but appears extremely likely. Rollins fronted the stage for three continuous hours: shoulders square to the audience and leaning forward firmly on one foot as though it was 1985 and he was fending off 100 sweat-soaked Black Flag fans. 

On this topic, Rollins speaks with nostalgic fondness and self-deprecation: he recalled the group's first tour to Australia, his first encounter with Vegemite and a violent encounter at a rowdy North Melbourne show that led to him almost losing his hand due to infection.

But the tales of his current life as a non-stop travelling workaholic, or in his words “a work slut,” were the most enjoyable. From his work with National Geographic to his hard-fought-for trip to North Korea, Rollins exhibits himself as having not only an absolutely passionate thirst for knowledge and understanding but a similarly passionate desire to dispense it. And it is this side of Rollins' character that is burning ever brighter as he ages. 

The two constants of his performance were the regular derision of his home country's political and social shortcomings—in particular the widespread and subconsciously encouraged apathy of its population—and his expressed faith in the ability of the audience and others to bring about positive change in the world (such expressions of faith he self-proclaimed his “Kumbaya moments”). From the USA's imperial quest for economic and military hegemony to racism, sexism, homophobia, apathy, xenophobia and a long laundry list of others, Rollins has set his sights on educating and inspiring others and is willing to spend the rest of his life talking, travelling and working to help catalyse social change. "I'm angry, and I'm impatient," he admitted. "I don't want to die with unfinished business. I want the victory lap."

The Australian Burlesque Festival

It's an oft-quoted saying that you always want what you can't have. Though more commonly quipped in reference to the more narcissistic or attention-seeking among us, there is no denying we can all become charmed, intrigued and even infatuated at times with the mystery of something that is just beyond our reach; whether it be an idea, an achievement, another human's love, or in the case of THE AUSTRALIAN BURLESQUE FESTIVAL, the curvaceous female form.

“The reason we have seen such a revival [of burlesque] is that in today's world we are bombarded with a constant stream of hyper-sexualisation, from the media, advertising and pop music,” says Rosy Rabbit, Australian burlesque darling and producer and co-founder of the ABF. "The nude body is no longer exciting or taboo. So perhaps we yearn for something more. We want to be teased and seduced. To renew the mystique and beauty of the human form and celebrate it in all its glory."

Rosy, together with producer and co-founder of the ABF Dolores Daiquiri, founded the festival in 2010 with Sapphira and Chaz Royal. The festival performed to sell-out crowds in both 2010 and 2011 and in 2012 returns with a headline line-up including four international burlesque performers and six local stars. "Australia was in desperate need of a burlesque festival as no one was doing it here. It was about time we followed in the footsteps of the rest of the world," says Dolores of the festival's origins. Rosy suggests that she and Dolores simply wanted to give their fellow performers “something to look forward to, a platform to extend themselves creatively and to unite our community."

Over its ten nights in six cities, the festival will host more than 80 performers, all of whom were accepted by application process. The four international headliners—Anna Fur Laxis (UK), Coco Framboise (Canada), Loulou D'Vill (Finland) and Peekaboo Pointe (USA)—were familiar to Rosy and Dolores previously, however it was a mammoth task for the pair to select local talent. "We painstakingly reviewed every single one of the applicants, which takes days." says Dolores. "We need to make sure we give as much opportunity to the burlesque performers while at the same time getting the balance and skill mix right at the shows."

Rosy adds, "We aim to have a very diverse selection of performers within the festival to showcase our whole genre of performance art. So there is classic bump 'n' grind, circus burlesque, neo-burlesque, fetish and everything in between!"

Dolores and Rosy are both stalwarts of Australia's burlesque scene, having performed extensively nationally and internationally before realising there was a ravenous demand in Australia for a unifying, large-scale festival. Both are fascinated with 'the art of tease' but were initially drawn to the art form for different reasons.

"Burlesque was an extension of my love for a 1950s aesthetic," says Dolores. "I have always been drawn to old Hollywood glamour, pin-up and styling prior to the early 1960s. I discovered burlesque through my love of peeling through old pin-up and 'girly' magazines from a by-gone era. I was fascinated by the striptease girls and wanted to explore their stage life a little more."

Rosy's inspiration was more elemental. Coming from a background in classical ballet and musical theatre she "stumbled" on burlesque whilst living in Sydney in 2006. "The thing that really spoke to me was the independence that burlesque artists have, where you are all at once not just a performer but a director, choreographer, costume designer and much more," she explains. "It opened up a whole world of self-exploration and creativity for me."

But what of the audiences? Burlesque performers enjoy the physical performance, the history, the costumes and the creativity of the art form. Considering that images and videos of naked and semi-naked women in every imaginable (and unimaginable) state are available to us at the click of a mouse – not to mention blasted at us from billboards and magazine pages – is it the aesthetic of burlesque itself that draws audiences rather than its risqué element?

"I think people love burlesque because it's fun, theatrical, naughty, sassy, glamourous and extremely entertaining if done right," claims Dolores. "Our audience has always been incredibly diverse," says Rosy. "We do attract quite a lot of burlesque newcomers simply because we are the biggest event on the burlesque calendar. We have never had any complaints about the entertainment and have received rave reviews for our shows."

But Dolores explains there is still some misunderstanding as to the true nature of burlesque. "Movies like Burlesque have both helped and hindered what people expect." Some people may expect more of a cabaret experience rather than a show focused primarily on striptease and "garment removal, peeling layers in an attempt to leave the audience wanting more." The portrayal Rosy and Dolores give is certainly far from the sleazy performance that Burlesque fans might be hoping for or expecting but that's not to say it's appropriate for general viewing.

"If no nobody was shocked," adds Dolores, "then we would be missing the point entirely!"

The Australian Burlesque Festival will teasing up a storm at Erindale Theatre, Wanniassa, on Friday June 22 at 8pm. Tickets are $55/$65 + bf from www.australianburlesquefest.com or through Moshtix.

I Love You, Bro

Those Three Little Words (And 'Bro')

In 2007 a 14-year-old boy from Manchester was charged with inciting his own murder after convincing another boy of 16 to attempt to kill him with a six-inch knife. Over the course of nine months the boy known as 'Johnny' posed as six different online characters to ensnare and manipulate the older boy 'Mark', eventually convincing him that Johnny was a Government spy who needed killing.

Melbourne's Adam Cass was so enthralled by the mysterious tale of love, lies and deception that he turned the story into the award-winning one-man play I LOVE YOU, BRO. The play premiered at the 2007 Melbourne Fringe Festival and went on to receive extensive acclaim throughout the UK including at the 2008 Edinburgh Fringe Festival.

"The whole script is extremely complex. It's 30 pages of words with around 15 different characters and voices," says Brisbane's Leon Cain, the actor tasked with playing Johnny, Mark and Johnny's various characters in director David Berthold's production of the play. "But probably the most difficult thing for me first time around was just the pressure of what it means to do a one-man play; to keep an audience enthralled for a whole hour and ten minutes."

Johnny's tale and the circumstances of his meticulously planned 'suicide' have both bewildered and captivated onlookers since they were made public in 2007. His manipulation of Mark, albeit cruel, is often overshadowed by the public interest in the mind of a boy who appeared so lost, lonely and powerless that he turned to the internet as a means of creating his own reality.

"I have more sympathy than frustration for Johnny because in a weird, twisted way, Johnny's intentions are still meant in a good way, or at least he sincerely sees it that way in his own mind," says Cain. "I think audiences as well are drawn to Johnny because of his desire for intimacy. He has a big heart and loves completely. But as an outsider you can see that he is still young and doesn't really know what love is."

The current production opened in 2010 with La Boite Theatre Company in Brisbane. The initial season was extended due to popular demand and its success resulted in the decision to take it on a 24-show tour in 2012. Cain says that he undertook a lot of research when preparing for the role of Johnny. Berthold would let him try his own approach initially and then ‘mould’ his performance to bring out the complexity of Johnny and his enigmatic psyche. "The strongest emotion that Johnny draws from you is sheer bewilderment in the way his mind works and what he actually does, especially considering his age."

I Love You, Bro plays at The Street Theatre from Tue-Sat May 15-26. Tickets are $25-$35, available through The Street’s website or by calling 02 6247 1223.

Through A Looking Glass

Canberra Youth Theatre
Thursday-Saturday March 22-31

Part traditional theatre, part interactive art, part treasure hunt, part surreal retrospective, Through A Looking Glass is a liberating experience for audiences. A self-described “story in nine parts” celebrating 40 years of the beloved Canberra Youth Theatre, TALG was devised by and stars 14–16 year olds, a group obviously still bursting with the boundless imagination of childhood but with enough emotional and creative maturity to refine and direct their ideas effectively. 

Upon arrival, audience members were given a map and asked to wait in CYT's foyer, where miscellaneous props and bric-a-brac were set out on wall-to-wall shelves; each object representing a year of the company's history and accompanied by a small tag detailing the productions of that year. Upon entering the theatre and sitting, the audience is met by characters pontificating about the theatre, imagining and story-telling, while in the background a motley crew of characters and creatures escape from a large CYT ‘storage’ box and exit the theatre. 

Other characters then inform us that the props and objects of the history's theatre we'd seen in the foyer had disappeared, and invited the audience, using their map, to explore the nine ‘worlds’ that had been brought to life across the grounds of Gorman House and retrieve the missing pieces of CYT's history.

Throughout the halls, courtyards and terraces of Gorman House during the fading twilight the audience explores the nine ‘worlds’ – interactive theatre installations, each reflecting a particular theme or narrative and each hosting a number of the recently-escaped CYT characters. The sets of each world were elaborate and meticulously prepared, and their setting within the building's otherwise-occupied hallways and offices was slightly surreal, as though you had actually been transported into some type of parallel Gorman House Bizarro world. 

However, it was the young cast's ability to stay in character and maintain a semi-constant dialogue between themselves and with constantly arriving and departing groups of audience members that was most impressive. Breaking the fourth wall, the cast's bold engagement with the audience not only made the feeling that you were entering another world even starker, but also exhibited the confidence of CYT's young performers.

Once back in the theatre proper, the audience is met with Eve, a young girl waking to find her room filled with the now-familiar characters of the production's ‘worlds’. As Eve attempts to understand what the characters want and why they are in her room, the true meaning of Eve's plight – and that of the audience's own choose-your-own-adventure – is revealed.

TALG, while all too easy to categorise as cutely entertaining, exhibits the great potential of CYT's younger members. Conceptually it is inventive and refreshing, while thematically it pays great tribute to individual creativity and imagination, all the while giving a respectful nod to CYT's past.

Midsummer Lovin'

When Scottish playwright David Greig and his collaborator Gordon McIntyre were contemplating how to title the play that would eventually become MIDSUMMER (A PLAY WITH SONGS), they sought to draw attention to the musical element of the production while simultaneously avoiding the chance that it be confused with a musical or an opera.

“We were keen not to be described as a musical, simply because I think had we been described as a musical people might have been disappointed by it,” Greig says. “Whereas a play with songs gave us a bit of leeway. In truth, the play is much more concerned with playing with the genre of Hollywood Romantic Comedy. That’s really its roots.”

The play’s script was written by Greig, the songs by Scottish singer/songwriter McIntyre of indie group Ballboy. Set in a rainy Edinburgh in midsummer, it follows Helena, a divorce lawyer, and Bob, a shady low level criminal – two 30-somethings who meet at a wine bar and enjoy a lustful night together. Within hours of parting ways, the hungover pair meet again by chance and make a spontaneous decision to spend the $25,000 that Bob was en route to deliver to a petty gangster.

The play received extensive acclaim after its debut at 2009’s Edinburgh Festival Fringe, and has since gone on to play in Ireland, Canada, the USA and now Australia. It has also been translated for productions in Germany, Quebec, Portugal and Brazil.

“That’s been a huge surprise to me since Gordon and I genuinely thought we were making it for about 2000 Ballboy fans in Edinburgh,” Greig says, speaking of his and McIntyre’s ongoing disbelief with the production’s success. “I genuinely made it because I was a fan of Gordon’s music and I wanted to make a play for other fans of Gordon’s music. Walking up to the Sydney Opera House, clutching our ukuleles and our grubby plastic bag full of props, I thought ‘what the hell has happened here? This wasn’t supposed to be how it went. This was supposed to be on for two weeks in a studio theatre in Edinburgh one wet November’.”

Greig and McIntyre worked together for a long time fleshing out the storylines and the characters of Bob and Helena, much of which was inspired by the experiences of the writers and actors themselves. Greig has said previously that the play’s advantage over, and distinguishing point from, musicals is that while in musicals the songs help tell the story itself, in Midsummer, the songs act as a means of conveying the thoughts and feelings of the characters, thereby giving the audience a greater insight into the minds of the characters. McIntyre began writing the songs once the pair had a basic idea of the characters and the plot, shortly after which Greig wrote the script in a “short, intense writing burst”, as he describes it. As he wrote more of the script, he came up with new song ideas that he would put to McIntyre.

“During that burst I rang Gordon up a couple of times to say things like ‘I need a song entitled Japanese Rope Bondage and I need it tomorrow morning’, which he responded to with commendable promptness and aplomb,” he explains.

Since its debut the two person cast of Bob (Matthew Pidgeon) and Helena (Cora Bissett, who was awarded the Stage Award for Best Actress at the 2009 Edinburgh Festival) has remained the same. After so many performances, Greig admits that the way the characters are portrayed has changed, albeit unintentionally.

“The roles haven’t changed but the performances have become much darker and richer and deeper. I describe it as like when you make a chilli and it’s delicious,” he says. “But if you leave it overnight on the stove top, the next day it’s just better. It’s not that you’ve done anything in particular, or added any new ingredient. It’s just become more complex as all the flavours mingle. Every time we do the show it gets better, I think. Matt and Cora bring more and more of themselves to it.”

The characters and their adventures were borne of the stories – both personal and secondhand – of Greig, McIntyre, Pidgeon, Bissett and the production’s designer Georgia. Greig describes how the group would sit around and tell their stories to each other, with most of the more embarrassing anecdotes finding their way into the script. “We were – when we made the show – all hovering around 35, the midsummer age. So we’d all been where Helena and Bob have been. I stole stories left, right and centre. I think that’s why the script has the ring of truth,” Greig suggests. “But writers can be very cruel. It can’t be nice for an actor to tell you an embarrassing story about a wedding, when drunk, and then come into rehearsal the next morning to find it’s in the script.”

Although all audiences have connected with either Bob or Helena, or their situations, to some degree, Greig finds it interesting that each audience will draw more from one character than from another.

“The reactions are subtly different in each place though,” he says. “In Australia a lot more of the audience see it as Bob’s story. Elsewhere it’s tended to be Helena’s story more. I don’t know why that is. Sympathy for the underdog, maybe?”

Canberra Theatre Centre presents the Traverse Theatre Company Production of Midsummer (a play with songs) from Wednesday-Saturday March 28-31 at The Playhouse. Tickets from Canberra Ticketing or www.canberratheatrecentre.com.au .

Los Capitanes

WICKED GROOVES

When Canberra’s favourite sons LOS CAPITANES return home for a long overdue launch of their latest album Rest for the Wicked this March, they’ll bring with them not only the slick ska, punk and reggae beats that have brought them nation-wide love in a decidedly post-ska and post- err, punk, era, but also a taste of their new material which vocalist Tim Kent says is a natural product of the group’s various influences.

“These days, we’re sort of more of a hip-hop type band,” Kent says. “Most of the guys, including me, are completely addicted to hip-hop. Half the band has always been ‘jazz’, and half ‘punk’. Hip-hop is the type of music that really unites us. We’re moving away from that double-time punk stuff. It’s still very important to us, and has undeniably shaped us, but Reel Big Fish aren’t really on my iPod much these days,” he says. “It’s not like I feel we’ve outgrown it. But, you know, music is a journey,” Kent adds, with a mocking touch of sarcasm. “We’ll definitely be dropping a few new tunes next week. It’s been over a year since we’ve written and played a new song, so we’re really excited.”

Although the group’s musical influences are gradually changing, Kent seems to suggest that the most important change is in their desire to create a more coherent collection of music. The group journeyed to the coast for a week in January to lock themselves in a house, play music, and get drunk at the beach in what Kent describes as “sonic boot camp.”

“It was a good chance for us to sit down and talk about what we’ve been listening to and what type of music we want to create,” he says. “Rather than just haphazardly throwing tracks down and calling it progressive, we want to make everything on our next album more deliberate and more musical."

Comparing the work to their recent Rest for the Wicked, Kent says the band is more comfortable with itself now than when recording RFTW. “We want to take a page out of the hip-hop book and keep things simple. The last album was a bit coming of age. We felt like we had something to prove; there were lots of odysseys. We’re a bit more mature now. We don’t feel like we have to ride our bike with no hands.”

So did the group ever see themselves lasting this long? For a band who began playing together in high school, they’ve done incredibly well to survive the post-school, post-uni pressures that often bring an end to such projects.

“I think if we thought it was gonna be a long term thing we wouldn’t have picked such a shitty band name,” Kent says. “School was over and we thought ‘fuck it, we might as well keep going’. I just woke up and it was eight years later.”

Los Capitanes play Enlighten on Saturday March 3 alongside Eagle and the Worm, Damn Fine Gentlemen and The Blue Ruins. The show has free entry, runs from 6.30-11pm in the Western Zone in the Parliamentary Triangle.

Summer Of The Seventeenth Doll

SUMMER DAYS, DRIFTING AWAY

There’s a remarkable sense of appropriateness – some may say destiny – surrounding Neil Armfield’s decision to direct one of the most iconic pieces of Australian theatre, Ray Lawler’s SUMMER OF THE SEVENTEENTH DOLL, as his first piece after retiring as Artistic Director at Belvoir St Theatre. The play premiered in 1955, the year of Armfield’s birth, and follows two Queensland cane field workers who, for 17 years, have returned to Carlton to enjoy five months with city girls Nancy and Olive. Upon returning for the seventeenth summer it is revealed that Nancy has recently married, and the remaining characters are left to face the growing realisation that good things don’t last forever. So was it these themes that inspired Armfield to direct ‘The Doll’ after, yes, 17 years at Belvoir?

“It was a play that a lot of people had said they’d like to see me make,” says Lawler. “But I wasn’t sure what I could bring to it in production that could make it fresh. Ralph [Myers, Belvoir’s new Assistant Director] asked me to do it. I read the script, and the play revealed itself in a way that showed my memory had shattered it. I rang up Robyn [Nevin] and asked if she would play Emma. Once she said she wanted to, that was it. We decided to do it.”

Lawler – now 91 – received worldwide acclaim after the play’s national and international success in the late ‘50s. He re-visited the script in 1977 when he returned to Australia to adapt it into a trilogy, and this time around has worked with Armfield in tinkering certain aspects.

“At first it seemed to me a bit bizarre and problematic. You know, it’s a great play, it’s proved itself. You don’t want an old writer tinkering with it,” he says. “But every one of the changes he made improved it. I realised that when the play took off in the ‘50s it was rushed into publication. The early published editions were just a record of what had been put together for those early performances. But doing it this time, it gave Ray an opportunity to make it a stand-alone play. There was a whole lot of stuff he wanted to change and develop.”

The play is renowned as a coming-of-age piece for Australian theatre; a work that was pioneering, and significant in bringing Australians out of their age of innocence. As Armfield explains, “For Australian audiences it was the shock of seeing themselves on stage. It was the power of the theatre to mirror the lives of the audiences in such a deep and playful way, which was new for Australian theatre and its audiences,” he says.

Summer of the Seventeenth Doll performs from March 14-17 at The Playhouse. Tickets from Canberra Ticketing or canberratheatrecentre.com.au

Cockroach

A NEW APPROACH TO COCKROACH

‘Bold’, ‘controversial’ and ‘challenging’ are not words people might traditionally associate with youth theatre. However, when Karla Conway – Artistic Director of Canberra Youth Theatre’s production of COCKROACH – was invited by The Australian Theatre for Young People to tour the work to Sydney and Melbourne, it was a great validation of not only the cast and team’s hard work, but the demand for works of such a confronting nature.

“It was controversial in the sense that the boldness of the show was a shock to people in terms of what their perception of youth theatre is or was,” Conway says. “There was a small part of the audience that really struggled with the nature of the material, feeling like it was too challenging for teenagers; that the things that happen in the play don’t actually exist for teenagers in the real world.”

The play, written by UK playwright Sam Holcroft, is set in a semi-dystopian England, where a group of teenagers are suffering through detention in their high school biology lab. A bloody war is raging outside, and as the teenage boys are gradually taken to fight in the conflict, the remaining females begin to confront a potentially male-less future.

One review of a Scottish production of the work described the plot as “a radical feminist answer to Lord of the Flies”. Although understanding, Conway is sceptical of putting too much of a feminist bent on the story.

“There are strengths in the female characters for sure. They have to develop skills to adapt, skills to be resilient. They cannot rely on their stronger boyfriends and males and other boys in the school, because they’re gone,” she says. “The Lord of the Flies reference I always find funny, because it’s as though no adults exist, whereas in this play a very present adult exists, which is their teacher. She is trying to inspire hope and guidance in them through what seems to be a really, inevitably dismal situation for them.”

CYT performed a season of the work in 2011, shortly after which it received nominations for a number of awards in The Canberra Area Theatre Awards, and was subsequently asked to go on tour.

“What the success of the work has shown is that there are a lot of people in Canberra who want this type of work. The artists here at CYT are wanting to do roles that are hard, that are challenging,” Conway says. “I think there is a perception of youth theatre as cute kids in over-sized consumes. But that’s not the nature of theatre with young people today. It may have been in the past, but it isn’t anymore.” 

Cockroach shows at C Block Theatre, Gorman House Arts Centre on Thursday-Friday February 23-24 at 7pm. Tickets are $15 from www.cytc.net .

Former BMA Mag Editor Ben Hermann Top Ten Albums 2011

10. WU LYF - Go Tell Fire to the Mountain [LYF]
Manchester boys World Unite Lucifer Youth Foundation (aka WU LYF) served up an admirable debut LP of anthemic, scraggly indie-rock where thinly layered crescendos and fuzzy guitars, coupled with echos of laddish Britpop snarl, brought to mind the mongrel child of The Libertines and Animal Collective.
Also receives the award for: Best band name.

9. Bluejuice - Company [Dew Process]
Stickin' it to the haters, the pranksters have once again exceeded expectations; writing an album of gloriously kitsch piano-driven modern pop that pays homage to everyone and everything, from Billy Joel and Phil Collins to Spoon, LCD Soundsystem, '80s synth and classic motown harmonies. Easily listenable and sensationaly enjoyable from start to finish, no album has so easily put a smile on my face this year.

"Man, Bluejuice is soooo overrated, they're, like, such a Triple j band."

Cheer up dickhead, and have some fun.

Also receives the award for: Best video (Act Yr Age).

8. The Vaccines - What Did You Expect from The Vaccines? [Columbia]
Justin Young's charmingly hypnotic vocals are satiating on their own. That they tower over endearingly catchy four-chord melodies makes you want to jump around like you were watching The Dickies back in '82. Nothing is more refreshing than the complete sincerity and confidence of the group's simple lyricism, highlighted by the daydream love song Norgaard.
Also receives the award for: Best lyrics (Norgaard).

7. The Horrors - Skying [XL]
The Horrors' transmogrification continues, seeing the former goth-punkers continue (vaguely) down the shoegaze path of 2009's Primary Colours. This time around they dabble in a little ambience, a smattering of dream pop, a healthy peppering of meandering psychedelia, and dress it all up synth-laden guitar pop. It sounds confusing, I know. But it wouldn't be The Horrors if it wasn't.
Also receives the award for: Most appropriate album title.

6. Elbow - Build a Rocket Boys! [Fiction/Polydor]
Understated and self-effacing, Build a Rocket Boys! is a warm, gorgeous album that is so modest in its brilliance that you have to listen to it over and over again just to remind yourself that yes, it is that good.
Also receives the award for: Most attractive album cover.

5. TV on the Radio - Nine Types of Light [Interscope]
Sure, it's no Dear Science, but Nine Types of Light shouldn't disappoint most TV on the Radio fans.  True to form, the Brooklynites oscillate from brooding, dub-tinged soul, to blasting, jazz-coated punk numbers like Repetition, Caffeinated Consciousness and the elevating opener Second Song.
Also receives the award for: Best live performance (at Melbourne's Harvest Festival).

4. Jay-Z/Kanye West - Watch the Throne [Def Jam]
Watch the Throne is not an album that you have to understand or 'relate to', to enjoy. Flawless production, big beats and some very, very expensive sampling, it far surpasses the wet dreams of even the biggest Jay-Z/Kanye fans. It's Jay-Z. And Kanye. What were you expecting? Stop struggling, turn it up, and enjoy.
Also receives the award for: Best songs for singing by middle class white boys from Canberra (Illest Motherfucker Alive, Niggas in Paris and That's My Bitch, par example).

3. PJ Harvey - Let England Shake [Island/Vagrant]
Rounding out a stellar year for the Brits, Britain's first lady of rock delivered a politically-minded state of the nation that initially alienated some fans, but brought them back soon enough with its pure musical brilliance. Branded as the first great 'war' album, PJ pulls off a rich, poignant masterpiece unlike anything she, or anyone else for that matter, has created before.
Also receives the award for: Most deserving award-winner (Mercury Music Prize).

2. The Kills - Blood Pressures [Domino Records] PICTURED
Blood Pressures is enjoyable enough as a grungy, punky, lo-fi blues-rock album, but its place in my number two is in large part due to the presence of, by far and away, my favourite track of 2011 - the beautiful, heart-wrenching, spine-tingling The Last Goodbye. Save this one for the big break-up. You'll need it.
Also receives the award for: Best ping-pong ball sample (Heart is a Beating Drum).

1. Fucked Up - David Comes to Life [Matador]
David Comes to Life is a testament to what a band can achieve when it writes and performs without any boundaries. A true magnum opus, David Comes to Life churns out 18 tracks across four 'Acts', following the factory drone David as he meets, falls in love with, and (possibly) kills his soul mate.  Deep, complex and moving, the Toronto hardcore seven-piece have delivered a concept album that may well go down as one of the most original, adventurous and accomplished rock productions of the decade. Despite the length, there is no filler on DCTL. Each rich, messy song is layered upon the next, and the album snowballs into a rollicking, dense mass that's difficult to escape. That a band like Fucked Up committed so whole-heartedly to an album like this is admirable, yet unsurprising. Their achievement in pulling it off is almost without comparison.
Also receives the award for: Most ambitious release.

BMA Magazine Albums of 2011, Fucked Up - David Comes to Life

[Matador]

David Comes to Life is a testament to what a band can achieve when it writes and performs truly without boundaries and with intent to defy expectations and genre stereotypes. A true magnum opus, David Comes to Life churns out 18 tracks across four 'Acts', following the factory drone David as he meets, falls in love with, loses, and (possibly) kills his soul mate. Deep, complex and moving, the Toronto hardcore seven-piece have delivered a concept album – brave souls may even dare label it a rock opera – that may well go down as one of the most original, adventurous and accomplished rock productions of the decade. Although Damian Abraham's distinctive growl is as animalistic as ever, DCTL is musically more accessible than the group's previous work, seeing the band make an uncharacteristic, but seemingly determined leap from the basement to the stadium. Indeed, Abraham's harsh roar is the only element that maintains DCTL's 'hardcore' label at times, yet the album is so enamouring that few Fucked Up fans have been heard to complain. Despite the length, there is no filler on DCTL. Each rich, messy song is layered upon the next, and the album snowballs into a rollicking, dense mass that is difficult to escape. That a band like Fucked Up committed so wholeheartedly to an album like this is admirable, yet unsurprising. Their achievement in pulling it off is almost without comparison.

Lavers_

Unless you've had your head buried in a few feet of beautiful Canberra clay topsoil this year, you will have undoubtedly noticed the Lavers boys doing the rounds of Canberra's live music venues. Alongside their non-stop gigging, the locals spent much of 2011 writing, recording and mixing their debut EP The Street Is A Symphony. Originally recorded for a small fortune at a Gold Coast studio, the lads were unhappy with the result and re-recorded much of it over two days at a warehouse in Albion Park. The product is a polished, but not over-refined collection of infectious pop-rock tracks that is a true testament to the effort the group has put into its songwriting and performing in the past year.

Heavily Britpop influenced, with smatterings of folk and a small pinch of indie rock (kind of inevitable these days, really), The Street is A Symphony displays the diversity of the boys' repertoire, together with their ability to play a tight, well-rehearsed set while still giving their songs a good dose of character and without sounding artificially polished. Having been together for barely two years, the group still sounds to be exploring the particular styles that it feels most comfortable with.  However, the trio's obvious talent – and Dom Lavers' entrancing dulcet tones in particular – suggest a bright future for the group, especially as they gain even greater confidence and certainty in their direction.

Mikelangelo and The Black Sea Gentlemen

SADDLE UP

Canberra-formed MIKELANGELO AND THE BLACK SEA GENTLEMEN have experienced a veritable profusion of adventures in the ten years since their premiere performances at The Street Theatre. Having tirelessly toured their notoriously macabre brand of ‘Kabaret Noir’ throughout Australia and Europe, the boys are returning to The Street Theatre this December with their new show Ten Long Years in the Saddle, exhibiting a collection of songs from the group’s career, including “many songs that haven’t seen the light of day for some time”, according to lead man Mikelangelo.

Looking back on ten years of assumed characters, darkly comedic cabaret, deeply layered musical arrangements, swooning violins and alarmingly well-honed vignettes and storytelling, Mikelangelo pinpoints the Sziget Festival in Budapest, Hungary and serenading Bob Hawke at last year’s Woodford Folk Festival as two highlights of the decade. “He has very soft skin,” Mikelangelo says. “I stroked his cheek and sung him the lines ‘Sodomy is not just for animals, human flesh is not just for cannibals’.”

Alongside Mikelangelo, The Black Sea Gentlemen comprise ‘Rufino the Catalan Casanova’, ‘The Great Muldavio’, ‘Guido Libido’ and ‘Little Ivan’. Coupled with foreign audiences and stories of past lives in Europe, some parts of their act can sometimes be lost in translation.

“It’s difficult maintaining the character offstage, particularly when your friends may be there laughing in the background,” Mikelangelo says. “Talking to European fans can get a little uncomfortable when someone is convinced you are from a specific province in Romania or wants to know about the town you grew up in on the Black Sea. Any relationship between performer and fan is always a bit weird anyway, so best to not take it too seriously.”

Although forming and playing their first shows in Canberra, the group are now spread up and down the eastern seaboard and get together for a few intensive rehearsals each year in which they arrange songs which Mikelangelo, for the most part, brings already formed. “The theatrical side of the group is as important as the music,” Mikelangelo says, “and we will often work with a theatre director on this, developing stories, character pieces and visual scenes.”

Mikelangelo goes on to describe his creative process, even citing contemporary pop culture as an influence. “I have an overactive imagination, and there is always a steady flow of ideas jostling for attenuating in my feverish brain,” he says. “I’m enjoying the third series of True Blood at the moment; they really know how to push the line about as far as possible with the gore, sex, emotional abuse and supernatural weirdness, while still managing to make a totally entertaining soap opera.”

Mikelangelo and The Black Sea Gentlemen will perform at The Street Theatre on Thursday, Friday and Sunday December 8, 9 and 11. Tickets from thestreet.org.au .

Nick Cave

[Cave’s] always in your sphere of influence, whether you like it or not; his presence as a performer is incomparable.

There could perhaps be few other people in contemporary Australian music history so difficult to write an introduction for than NICK CAVE. Musician, rebel, poet, author, vanguard, visual artist, screenwriter, actor, legend; such an intimidating and overwhelming list of achievements, influences and attributes led ARIA Award committee chairman Ed St John, on Cave’s induction into the ARIA Hall of Fame, to describe him as “…an Australian artist like Sidney Nolan is an Australian artist – beyond comparison, beyond genre, beyond dispute.”

It’s no surprise then that triple j chose Cave as the subject of their newest – and biggest thus far – tribute show series. The national broadcaster’s institutional radio station has previously held tribute shows for Australian music icons such as The Go-Betweens and AC/DC and in 2009, triple j’s Paul Kelly – Before Too Long tribute CD/DVD received the ARIA for Best Original Soundtrack/Cast/Show Album. According to the station, they received relentless requests from listeners and fans to tour these lauded shows. And so became Straight To You: triple j’s Tribute to Nick Cave, which will tour eight cities this November (including a stop by the Royal Theatre) and host an impressive line-up including Abbe May, Adalita, Sparkadia’s Alex Burnett, Bertie Blackman, Dan Sultan, Bluejuice’s Jake Stone, Kram, Lisa Mitchell, Muscles, Urthboy, Johnny Mackay and Lanie Lane.

The diverse list of musicians lining up to honour Cave is a testament to the influence not only of his music, but his personality and presence.

“I remember my cousin buying Let Love In and seeing the intense cover art,” says Jake Stone of his first encounter with Cave and his music. “I still think Do You Love Me? is one of his best songs. At the time I was listening to a lot of alternative rock and metal. Cave was more melodic, and more goth. He definitely hasn’t influenced Bluejuice musically, not in the slightest. But he’s just there in your life, as an iconic Australian performer. He’s always in your sphere of influence, whether you like it or not; his presence as a performer is incomparable.”

Bertie Blackman’s first memory of Cave is a little more nostalgic. “I was about seven. I was with my niece’s mother, who is my half-brother’s ex-wife. I was in the car with her and we were driving to the coast at Bundeena from Sydney,” Blackman says. “Kimberly was a huge Nick Cave fan and she was blaring his music really loud. I remember hearing The Ship Song. It was a rainy day, and I was gazing out into the wilderness as it played. It was one of my first feelings of nostalgia as a child. It’s one of those great moments that you never forget about as an adult.”

Blackman goes on to speak of her influence by Cave. As with Stone, she struggles to identify a direct musical influence.

“His personality is astounding, it comes through in everything he does,” she says. “His lyrics are a massive part of his music. I really love words and really labour over them and love stories. Because of that, his words in particular are really important to me. The moral endings, the tales of the soul and other evils, they have really affected me.”

Of the endless number of Australian and international musicians that cite Cave as an influence, a considerable proportion refer in particular to Cave’s work during the late ‘70s and ‘80s – the years of The Birthday Party and the early incarnation of The Bad Seeds. It was these years, when the rebellious, transient Cave and his group moved to London and then West Berlin – long before they were accepted by the music establishment and entertained the thought of collaborations with ex-soapie stars – that their strident exploration of musical horizons had perhaps the most profound effect on Australian music.

“That period was very important because of their complete rejection of important Australian cultural landmarks,” says Stone, of Cave’s legacy in general and in particular on Bluejuice. “They seemed to be saying to the mainstream ‘this is what you see as the pinnacle of cultural achievement, but we see it as shit, and we’re rejecting it to make our own way forward.’ That type of mentality is very important for Bluejuice, because rejecting common perceptions of cultural sophistication is very important for us.”

As would be expected, there was some hard bargaining involved in attributing Cave’s songs to the performers involved in the show. The show’s musical director Cameron Bruce (band member for Paul Kelly and Washington) took on the role of diplomat and negotiator when deciding who would perform what.

“I was going to do Do You Love Me?, but for certain reasons I can’t. It was going to be a bossa nova version, with some musical theatre. The song I’m doing won’t be quite so amazing, but it’s still pretty good.” Similarly, Blackman’s preferences changed during the creative process. “When I accepted the invitation to be part of the tour, I said I’d only do it if I could do certain songs. One of those was The Ship Song, but that was before the Opera House launched their tourism project version of it, so I decided not to do it. I wanted to do something individual and surprising.”

Straight To You: triple j’s Tribute to Nick Cave stops by the Royal Theatre on Wednesday November 16. Tickets cost $61.15 + bf and can be purchased through Ticketek.

King Cannons

People are realising they need something more from music.

Luke Yeoward likes to keep things in perspective. During our obligatory pre-interview small talk, he mentions that he has a swathe of interviews ahead of him. I offer my sympathies. “Yeah, well it’s better than laying bricks,” he says. An unsurprising sentiment from the frontman of Melbourne’s street punk/rock sextet KING CANNONS, whose music, in both substance and form, takes significant inspiration from the working class affiliations of Springsteen, The Clash and late ‘70s 2 Tone.

The group has recently returned from their national tour supporting The Living End – “such a professional unit, their skill and level of musicianship is just fantastic,” says Yeoward – and are in the process of recording and mixing the last few tracks for their debut LP, due out early 2012. The group’s debut EP granted them modest exposure, with its tracks Take the Rock and Teenage Dreams receiving appreciable airplay on triple j.

“I think the album is much more mature than anything on the EP,” Yeoward says. “To me it speaks volumes to the EP. The EP is like kindergarten, at least in terms of recording quality and quality of the songs. The album is less politics and more storytelling, more honesty. You have to let those natural progressions happen. As a creative person, you can’t switch directions easily; you just have to write what you feel.”

The group engaged Shihad drummer Tom Larkin to produce the album, who helped the band strengthen their songwriting, rather than trying to change its direction. This was an important quality, especially when working with a group recording their first album – a process which Yeoward admits was “exhausting” but again, almost feeling guilty for attributing any negative tone to the experience, quickly qualifies that it’s “a walk in the park compared to some lines of work.”

“Tom gets our vibe, and that’s more important than anyone’s track record. If it feels good, and the producer understands the passion and integrity in our music, then they’re the right choice.”

Coming back to the group’s influences I suggest to Yeoward that there seems to be a small but noticeable, and slowly growing, number of groups taking inspiration from Springsteen, and more particularly his Darkness on the Edge of Town period. Yeoward draws out a contemplated “hmmm”, before refuting. “I don’t know of too many that come close to The Boss at all. To be honest, I feel like there are few bands at all, let alone now,” he says, before acknowledging the likelihood of a Springsteen resurgence. “There’s so much arty, indie electro stuff around that’s weird for the sake of being weird. It has a high turnover rate and poor quality of songs. I guess there’s maybe a resurgence of people who want something real and that they can emotionally connect to. People are realising they need something more from music, and it’s something a lot of music can’t give them.”

King Cannons play at Transit Bar on Saturday November 5, supported by Jackson Firebird and The Strums. Tickets cost $10 + bf and can be purchased via Moshtix.

POKING FUN AT POLLIES

When, in their tenth year THE WHARF REVUE finally made their first trip to Canberra at the start of 2010 with their lauded production Pennies From Kevin, the whole week's shows sold out and the group returned for a second week. They seemed to have previously underestimated Canberrans' insatiable craving for raucous political satire, so it's good to see they're not making that same mistake again, bringing their new production Debt Defying Acts! to The Playhouse this October.

A comedy/musical group developed by Drew Forsythe, Phillip Scott and Jonathan Biggins - and this time around joined by At Home with Julia's Amanda Bishop, The Wharf Revue's productions are renowned for their incisive, cutting musical sketches which take aim at anyone and everyone in the national and international political and related spheres.

"It's funny to say that a week is a long time in politics. A lot of the issues have remained the same," says Biggins, of the topics that receive the greatest air time in Australian politics. "We've been banging on about the same stuff – war on terror, climate change and boat people – for 11 years now.”

The personalities involved, on the other hand, do change. Pennies from Kevin was written prior to Abbot taking charge of the Opposition, and (obviously) while Rudd was still in power. Although Abbot is an endless well of jokes for any sketch writer, Gillard is less so, according to Biggins.

"The interesting thing is, Julia Gillard is not actually that funny, although Amanda Bishop does a great impression of her. Rudd and Downer, on the other hand, were gifts that kept on giving. But how could you do Nicola Rox? Would you want to? We try to get the ones that are easy to have a bit of fun with."

Canberrans' ravenous devouring of Pennies from Kevin may perhaps be reflective of the public's growing alienation with political debate and reporting; a disaffection that has grown exponentially during the Gillard/Abbot year(s). "The 24 hour news cycle has been very damaging to the political process," says Biggins. "Like Lindsay Tanner talks about in Sideshow, the quality of political reporting in this country is absolutely abysmal."

Thankfully The Wharf Revue, in trusted fashion, will give all offenders a good serving this October. "We have Rudd in a Phantom of the Opera type sketch – he steals Julia and takes her away. We also look at Gillard's continuous focus groups from the view of the French Revolutionaries," Biggins explains. "You know, 'Hmm, should we storm the Bastille?', 'I don't know, let's create a focus group to discuss it'. If everything was run through a focus group nothing would ever get done."

The Wharf Revue's Debt Defying Acts! performs at The Playhouse, Canberra Theatre Centre, from Tuesday October 18 to Saturday October 22. Tickets are available through canberratheatrecentre.com.au for $43/$35 concession.

The Drones

REAL LIVE EXPERIENCE

"Well, like any gig, you tend to remember the good bits, because it's more fun." Gareth Liddiard – frontman of blues/rock quartet The Drones – admits that his memory has a habit of retaining only those parts of a show which, whether it be out of distinction or vanity, are worthy of retention. The group has recently released A Thousand Mistakes, a live DVD with over four and a half hours of footage, and Liddiard sounds glad of the experience that compiling the DVD has afforded him; namely, of reliving so many live shows as they actually occurred.

"The gigs are peppered with good bits and shit bits. If we didn't have the footage, I'd probably just remember the good bits, but it's great to have it all there."

A Thousand Mistakes includes a selection of rare live footage filmed between 2005 and 2010 and a full show recorded in 2010 at Melbourne's The East Brunswick Club. The group also recorded an intimate live session at a warehouse in Fairfield, Victoria, inviting Hammond organist and keyboard player Steve Hesketh to play some of the group's popular, but rarely performed tracks. Or, as Liddiard describes them, "the ugly little step sisters that don't fit in”.

Although Hesketh won't be joining the group when they tour A Thousand Mistakes, including a jaunt by the ANU in early October, Liddiard says they still plan to base their playlist around some of the group's older, less-played favourites. "A lot of those songs are songs we can't, from a practical perspective, do live because of the personnel or equipment needed," he says. "However, we are going to base the tour on those [the Fairfield Warehouse Sessions] set lists as much as we can."

The group's most recent LP, 2008's Havilah clocked up a swagger of critical acclaim, including a nomination for the J Award's Album of the Year. Since then the group has done little writing; first Havilah's tour, followed by Liddiard's solo tour, followed by the recording and compilation of the DVD which Liddiard describes as "the biggest head-fuck”.

"During the whole DVD process we were out of our comfort zone. With albums, we know what we need to do at each stage of the process and know who to call for a certain result. The whole film thing was an alien process. It was multi-tiered, multilayered and, for the most part, very technical and quite boring and wearing."

As for the upcoming tour, Liddiard says that watching hours of the group's live footage in all its raw, unedited glory hasn't made him more self-conscious during their shows. "Not myself, but as a band, I can see things that your member of the general public wouldn't. I'm more like a coach, always having higher standards and higher expectations."

The Drones play the ANU Bar on Friday October 7, with support from Adalita. Tickets are $28+bf from Ticketek.

A NEW PERSPECTIVE

Australians are well known and proud of their healthy disrespect of anything resembling authority or superiority. In no other regard is this more apparent than in our treatment of politicians who are labeled as anything from cowardly and arrogant, to liars and cheats (on a good day, that is). MP, the new production by Alana Valentine (Run Rabbit Run, Parramatta Girls) which will have its premier at The Street Theatre this October, goes some way in revealing some of the unknown and under-appreciated problems faced by lesser-known politicians as a matter of daily routine.

The production follows shadow back-bencher Ava Turner MP (played by Geraldine Turner), and her attempts to gain justice for one of her constituents, and in the process reveals the politics, strategy, moral quandaries and power-plays ingrained in the parliamentary process.

"It's about the type of MP who is regarded as a strong local member type who is not your flashy front-bencher,” says Andrea Close, who plays a number of roles in the production, including a journalist, a high level public servant, a waitress and two different mothers. "It's about all the other people in the House of Reps who don't get their names in the news a lot. It looks at the work they do, and the good side of what politicians do."

When Valentine was commissioned by The Street Theatre three years ago to write MP, she had intended to address primarily the role of and issues relevant to female politicians in Canberra, but ended up focusing more on the effects of emotions, rather than gender, in politics.

"She wanted to focus on a human being; a person, who happened to be an MP, who happened to be a female MP. It's a story about people, and what people go through and their emotions that affect other people,” says Close.

Valentine interviewed a host of politicians and journalists prior to writing, including Julie Bishop, Kate Lundy, Annabel Crabb, Virginia Haussegger, and a great number of public servants who didn't wish to be named. Most of the events portrayed in MP actually occurred, but they are not the types of events that gained so much (if any) public exposure. As Close explains, MP has taken regular events from the stories of these women, and placed them in a dramatic context to highlight the underlying issues.

"Each character in this play shows a level of recklessness by stepping over the line to create change, and that's what gives it its dramatic edge," she says. "What we see in politics is the absolute tip of the iceberg and there's so much underneath the surface that's thankless and we don't know about. I think that politicians are often taken for granted in that respect. They're not appreciated for just how much work they've done."

MP plays at The Street Theatre from Saturday October 1 – Saturday October 15. Tickets are $49 from thestreet.org.au .

Dan Luscombe

A MEETING OF MINDS

"Any chances of us writing some music together on this tour have been blown away by the distraction of the AFL finals." Such is the scarcity of sporting references by musicians during interviews that this throw-away line by Dan Luscombe (The Drones) is both refreshing and, at first, pleasantly surprising.

But then, it's not entirely unexpected, given the plethora of laconic responses and non-sequiturs that pepper Luscombe's comments during our discussion of his current tour with Augie March's Glenn Richards.

Having been friends and quasi-collaborators for many years, Luscombe and Richards have finally decided to hit the bitumen together, performing songs from Richards' 2010 album Glimjack. Although Glimjack was released as a solo record by Richards, the album was still partly collaborative; thus leading the way for the pair's current tour together.

"Glenn sent a bunch of tunes to me which he'd recorded at home, and I got to work thinking about what, if anything, I could bring to them. He did all the hard work with the songs. He built the house and I chose the cushions." As for taking requests from the audience for other Augie numbers, the pair have been known to have a go at most behests, whether their effort be sincere or in jest.

"So far we've been pretty accommodating" says Luscombe. "If I don't know a tune, Glenn just plays it anyway and I blunder along with it until the person who request it starts to cry."

The pair met for the first time at one of the Church's infamous ‘Last Ever’ shows, both having been supports with their respected bands of the time (Augie March and The Black-Eyed Susans). They've toured in support of each other's groups and now finally have the chance to tour together in their own right.

"We've been close friends for over ten years now and have spoken on and off over that time about making music together. Our timetables finally presented us with that opportunity so we grabbed it. We're very easy in each other's company and figured out our dynamic years ago. That dynamic is essentially 'two drunk old women arguing over a winning bingo card'.”

Glimjack was well-received both by Augie March fans and non-fans alike upon its release last year. Richards' choir-boy vocals come across no less tranquillising than on his previous work, however the album doesn't have the silky, saccharine tone of Augie March.

Richards has said that Luscombe has helped him perform songs closer to what he would have preferred to write with Augie March, yet once again Luscombe is evasive when probed to elaborate.  "Well, I'm currently touring with him and if he said the opposite I'd spike his food with meat. He's a vegetarian, see. But the only aspect that I think I'm providing that Augie can't is just difference. Different smells. Different shit jokes. A difference approach to whinging."

Dan Luscombe and Glenn Richards play at Transit Bar on Sunday September 18, supported by Mike Noga. Tickets are available through Moshtix for $23.30.

2010 ANU ARTS REVUE

2010's inaugural ANU ARTS REVUE was, by all accounts, a resounding triumph on all imaginable fronts. Far from what may be expected to result from the lacklustre 'she'll be right' nonchalant attitude ascribed to most BA students, the production was a professional, tightly-scripted affair to the last detail. As one reviewer put it, the 2010 crew "…succeeded in creating a show that was brilliantly witty, original and entertaining, and which at the same time struck the perfect balance between Arts-centric comedy and comedy that could be appreciated by your regular, off-the-street Canberran."

Such a precedent is undeniably altitudinous, but was it at all unfair or burdensome for this year's cast and crew? On a crisp spring afternoon in Glebe Park, Sal Withnell (this year's co-director alongside Carl Reinecke) explains how the Arts Revue 2011 is certainly no Room on Fire or Aha Shake Heartbreak.

"I wouldn't say it was like second album pressure, but we were aware that we did something pretty special last year," she says. "Even though a lot of the people that were involved last year are involved again this year, we don't see the productions as connected in any particular way. They're really different shows. But at the end of the day, it's all the same vibe – we're just a bunch of students procrastinating from our Arts degrees. We did put a lot more thought into the timetabling of it. But then, we're all Arts students, so it's all done the night before. Not matter how much planning we do, it's always a last-minute rush, but always a lot of fun."

Alongside Withnell and Reinecke are Bec Taylor (of Fun Machine fame) as musical director, Sham Sara as producer, and a cast of 16. Last year's director, Meg O'Connell is not involved this time around, having been busy with her production at this year's Edinburgh Fringe Festival. As Withnell explains, aside from what the crew learned from last year, the context of the show is still much the same: a faculty that until last year had no revue despite - ironically enough - having an army of students with all the time in the world on their hands.

"I think what we learnt the most from last year's performance is that people definitely loved the songs, so we've put a lot more emphasis on music this year," Withnell says. "Last year we had a running vibe of a cabaret show; this year we have a completely different focus, which I think is a bit brighter."

On the topic of music, this year's Revue is said to be a 60/40 split between skits and music, with several of the musical numbers being original songs written by Taylor and her crew of musicians.

"The new musical numbers are pretty cool and we're really excited about them," gushes Withnell. "Bec Taylor is just so good at what she does, so we wanted to use her as much as possible. Everyone is going to be pretty impressed with what she pulls off."

Another departure from last year's production is the content and subject matter of the skits and musical numbers. 2010's revue threw out a relatively equal balance of skits accessible to both students and non-students (especially in comparison to the revues of other faculties). Yet, with last year's skits all but exhausting the myriad of stereotypical perceptions of Arts students, this year the writers took a more inclusive approach to their targets.

"We tried to avoid doing direct lecture-bashing and things that only Arts students would understand. We tried to go off-campus a lot more this year," Withnell explains. "A lot of our skits this year are just generally funny things that could happen anywhere. They're not ANU-specific. I mean, the Arts faculty is so big that we might as well make jokes about anything – we don't need to have a hot lecturer skit. Besides, it's hard to get the whole cast to agree on who the hot lecturer is, so we just canned it."

And then, of course, there's the particular social or political bent that your off-the-street audience member would – not unjustifiably – expect from an Arts Revue. Putting aside Withnell's comment that all participants must be Bolsheviks (in jest, I assume...), she speaks to the mostly impartial tone of the production.

"I think it's pretty well balanced. We look at stereotypes a lot, and we give as much as we get. We try to be pretty objective about that sort of stuff. It's all fairly democratic,” she instructs. And as far as risqué or touchy topics go?

"Yeah, we've been pretty careful not to put in material that is too controversial; we don't want to isolate members of society. However, I don't really hold back all that much in the script-writing. I think the more abuse the better. People want to go and be entertained for two hours. It's not a coffee at Tilley's, it's a theatre show."

ANU Arts Revue plays at the Courtyard Studio (Canberra Theatre Centre) from Friday September 30 to Sunday October 2. All evening sessions have sold out. Tickets for 2pm sessions on Saturday 1 and Sunday 2 October are available from Canberra Theatre Centre for $20/$15.

SEX, SINGLEDOM AND THE STAGE

Every person in their twenties or thirties has a friend like Jezebel: a smart, gorgeous, young professional woman who spends her time shopping, drinking cocktails and Sauv Blanc and generally succeeding in every aspect of her life except for love. The story may sound familiar both personally and fictionally, but the distinguishing aspect of Fiona Sprott's OFTEN I FIND THAT I'M NAKED is its bleak and brutal, yet tragically comedic honesty. The production follows Jezebel – played by Jo Thomas – through her often misdirected and ill-fated search for love.

"Yes, I did really relate to the character and understand her plight and the situation she's in," says Thomas, of her initial attraction to the role. "Mostly though, I really like the idea of putting women's stories on stage. We tend to see a lot more male stories in both theatre and film. This is a female lead in a female story, and I thought that was really important."

Thomas' male on-stage counterpart Sam Clark performs under the directorship of Shane Anthony, and the entire production is accompanied by a live music soundtrack performed by James Dobinson.

Comparisons between Often I Find… and Sex and the City are inevitable, yet Thomas explains that Jezebel's character is perhaps a little more realistic than Carrie and her sisterhood.

"I think that if you took the 70 dirtiest minutes of SATC and crammed it into one piece, this is what it would be," says Thomas. "There's a lot of concern for Jezebel's sexual exploits, but there's a greater examination of her genuine search for love and the recklessness with which she does it and the loneliness and true sadness that a lot of people experience from this. On top of that – although we don't beat people over the head with it – the show looks at Australians' use of alcohol as a crutch in these sorts of situations. Jezebel tends to deal with her problems with a shot of gin or a cocktail."

Stories such as Jezebel's beggar the question of the nature of intimate male-female relationships in the modern Western world. When technology offers people so many greater opportunities to meet and contact new people, why do so many – both male and female – have trouble finding 'the one'?

"It's a really interesting question," says Thomas. "I was looking at the ABS, and almost 40% of Australian adults are single. It's a combination of things, I think. Financially, women don't have to marry if they don't want to, because we are financially independent. But also, I think both men and women are confused because, with women's greater equality, both sexes don't seem to know how relationships work anymore."

Often I Find That I'm Naked plays at The Street Theatre on Friday September 9 and Saturday September 10. Tickets are $30/$28 concession, and are available through thestreet.org.au .

Namatjira

Like that of many artists, the story ALBERT NAMATJIRA is one of hope and inspiration, but also tragedy and despair. One of Australia’s most acclaimed artists of all time – as well as being one of the founders of contemporary Indigenous Australian art – Namatjira’s renowned watercolour landscapes taught non-Indigenous Australians of the true beauty of their own country, at a time when many still yearned for the lush, European countryside. Namatjira was one of the first indigenous people to become an Australian citizen, and at the height of his wealth was helping to support over 600 members of his community. Yet he was also forbidden to own land, lost two of his children to malnutrition, was incarcerated for the crime of supplying alcohol to an Aboriginal person, and eventually died of pneumonia, broke, at the age of 57.

It is this grand, immersive story that writer and co-director Scott Rankin tells in BIG hART’s extraordinary production Namatjira, showing at The Playhouse this September. The production follows Namatjira, played by Trevor Jamieson, from cradle to grave, with Derik Lynch playing a host of supporting roles, from Namatjira’s wife Rubina, to a snooty Melbourne art love, to the young Queen Elizabeth. But perhaps most impressive is the physical backdrop to Lynch and Jamieson’s narration – as they act out Namatjira’s story, his descendants from Western Aranda country, and third general watercolour artists, create a floor-to-ceiling chalk mural of his country, and Robert Hannaford appears at the beginning and end of each act, working on a portrait of Jamieson.

It is this use of Namatjira’s kin that first inspired Rankin to produce what would eventually become the play. “Trevor [Jamieson] and I were touring another production, Ngapartji Ngapartji, and we’d introduce an artist on stage who was a kind grandson of Albert,” he says. “The audience would ‘ohh’ and ‘ahhh’ and it was clear there was a strong recognition of the story. As we looked into it, it became clear there were many contemporary issues contained in the story and it could provide a prism through which we could see our world and relationships between indigenous and non-indigenous people today.”

Rankin continues, “Having the family on stage drawing was the starting point of the piece. It informed everything from first design and music ideas to the pace and meditative feel of the show’s beginning.”

Although already deeply familiar with Namatjira’s story, Jamieson and Rankin prepared for the production by spending time with his family, and coming to grips with the details of the lives and relationship of Namatjira and his mentor Rex Battarbee.

“There were many, many details of his life that were both eye opening and shocking to discover,” says Rankin. “This was the same with Rex Battarbee, the other main character that Trevor plays and the man who taught watercolour to Albert. The preparation came in the form of meeting the family and sitting and painting with them. Trying to come to an understanding of the feel of art making and the pace of Albert’s life.”

While Jamieson is undeniably the centre of the production, Lynch’s performance in his myriad roles has received acclaim throughout the show’s existence. Rankin explains that not only was Lynch undeniably able to deliver the passion, drama and humour required for a diverse array of characters, but the very concept of having one actor play a number of roles was inimical to the storytelling experience.

“One of the reasons theatre can be so dull is that it insults the intelligence of the audience by not leaving enough work for them to do,” explains Rankin. “Both Trevor and Derik play many different characters, darting very swiftly in and out of narrative moments that invite the audience on a big, fast-moving journey.”

Having had two sell-out seasons in Sydney and Melbourne, Namatjira is clearly being well-received, whether this is in fact by people who are already familiar with the man and the story, or by those of the most recent generations who are experiencing it for the first time.

“There is an intense new interest in his work from a new generation and a reawakening of an old familiar affection,” Rankin notes. “The exhibition that runs alongside the performance piece is selling well, so people seem to be identifying with the art as if reacquainting themselves with a long lost treasure.”

Namatjira will show at The Playhouse, Canberra Theatre Centre, from September 14-17. Tickets range from $25-53 from Canberra Ticketing and www.canberratheatrecentre.com.au

FRED SMITH

DESERT SOUNDS

When civilian peace monitor, former diplomat and part-time folk musician Fred Smith (real name Iian Campbell Smith) last played at The Playhouse in January 2010, he was backed by the 20-voice Spooking Men's Chorale, singing Queen covers and songs about power tools. Since then, Smith has spent 18 dusty months in Afghanistan, working on behalf of the Australian Government to build relationships with tribal leaders and improve co-operation and understanding between the local community and the Coalition Forces. His journeys and experiences were the inspiration for his new album Dust of Uruzgan, which he will launch at the Playhouse this September.

Working in Afghanistan doesn't allow for regular periods of thoughtful contemplation and reflection. However, Smith explains that the sentiments and ideas behind the tracks on Dust of Uruzgan would develop in his subconscious, and release themselves later on.

"All the melodies and basic ideas for the songs bust down the door when I was trying to sleep or get some work done," Smith says. "Life over there is busy – like 12-14 hour work days. So you don't really have time to feel your feelings. I finished most of the songs during periods of leave and they would come pretty quick, so they'd been bubbling away at the back of my brain and were a way of processing it all." He goes on, "But then that's what music is for – to help people feel their feelings – which is not really what soldiers are trained to do, or diplomats for that matter."

Whenever Smith had the chance, he would play at BBQs and other events around the Coalition bases in Tarin Kowt. Smith tells of how he formed a group with an Australian quartermaster and a Dutch nurse with a beautiful voice, and another with a group of Afghans in preparation for Afghan New Years. Practicing with the latter group showed Smith the difference between his own and the Afghan music cultures.

"It took some adjustment to play with the Afghans because their musical tradition is so different from ours," Smith says. "Western music is all about melodies over chord changes whereas their songs power along in the same chord which is neither a major nor a minor. What we had in common though is a feeling for rhythm and an appetite for the release and community that music brings."

Smith's work is renowned as a rather heavy mixture of thoughtful and often dark lyricism with a stark streak of black humour. Dust of Uruzgan is no different, exemplifying the thin line that separates tragedy and comedy. "You laugh hard over there," Smith says. "It's a bunch of guys pissing around in the desert trying to do a difficult job - perfect material for slapstick. It's hilarious, and then all of a sudden it isn't. And there's a lot to deal with emotionally, and not much time to deal with it."

Fred Smith launches Dust of Uruzgan on Saturday September 3 at The Playhouse, with Liz Frenchman. Tickets from Canberra Theatre Centre for $39, or $34 concession.

HOME AND HERITAGE

Bangarra Dance Theatre has never shied away from confronting difficult questions and issues faced by Aboriginal people in Australia in the current era. The company's latest production, BELONG is no different, exhibiting two new works from Stephen Page and Elma Kris that seek to address the place of Aboriginal people in Australian society, and in particular what it means to be Aboriginal in the 21st century.

Canberra local Daniel Riley, who made his choreographic debut for Bangarra with his work Riley from last year's acclaimed of earth & sky has returned to perform in Belong. He explains his personal experience with retracing his bloodline and connecting with his traditional culture, the issues that Stephen Page draws out in his work ID.

"One of the main reasons I wanted to join Bangarra was to connect with my heritage and learn about my culture," he says. "I knew I had Aboriginal blood and heritage when I was younger, but I was too young to fully comprehend what it meant. It's one thing to say 'yes I am an Aboriginal', but it's another to feel it from the inside out, rather than the outside in. And that's something that comes with time, acceptance and maturity."

In a similar vein, Torres Strait Islander Elma Kris, in his work About explores the stories, customs and sense of identity that are passed down through families and generations. It's these stories and customs, Riley explains, that go a long way to explaining what it means to be Aboriginal in the 21st century.

"Personally, I think it's a sense of belonging, and connection to something much larger than yourself. I enjoy being a medium to pass on the old stories to the audience and I feel responsibility in making sure the culture and stories aren't lost in this modern, 21st century high-tech world."

Amongst his extensive international touring with both Bangarra Dance Theatre and the Australian Ballet, Riley remembers in particular a visit to Ottawa, Canada, in 2008, where he held a workshop for local indigenous kids.

"They absolutely blew me away with their passion for their culture. It was great to see them be so involved in traditional practices from their country," he says.

It's this sense of awareness, pride, and honour, that Riley also sees as being the most important message that Belong conveys, and crucial to the building and continuation of Aboriginal history, culture and understanding in Australia.

"Belong portrays that as Indigenous people, we are proud of our heritage, no matter how dark or fair our skin colour, no matter where we grew up. It's about who you decide to be and what you decide to connect to and how you do it, not what other people label you as."

Belong will play at the Canberra Theatre on Friday September 2 and Saturday September 3. Tickets are from $39, from The Canberra Theatre Centre.

Meet Me In The Middle Of The Air

It takes a musician of great confidence yet great humility to entrust their work to another musician for interpretation and re-creation; to allow their songs to be reassembled, their stories re-told, and the accompanying emotions completely reinvented. It's no great surprise then that one of Australia's most beloved musicians, Paul Kelly, did exactly that - handing over to acclaimed composer and pianist Paul Grabowsky a collection of his most spiritual and biblical-themed songs to be re-written by Grabowsky for performance by a group of over 19 musicians. The result, MEET ME IN THE MIDDLE OF THE AIR, is a "secular revival meeting" (in the words of Grabowsky), seeing Kelly's songs, as re-written by Grabowsky, performed by himself, Grabowsky, the Australian Art Orchestra, the Choir With No Name and – sharing lead vocal duties with Kelly – the renowned Bull sisters, Vika and Linda.

Vika and Linda have worked with Kelly in various capacities for over 20 years, and have performed both as backing vocalists (first coming to prominence with Joe Camilleri's band The Black Sorrows) and singers in their own right. Collaboration on such a large scale, however, is a first for them both. "We haven't sung with an orchestra before, apart from Carols in the Domain," says Linda, "and this is completely different. Their arrangements [the AAO] are dense and the time signatures change a lot. You really have to concentrate to know when to come in." Vika continues, "Yeah, it's definitely daunting, but you just have to do your homework and learn your songs. At first I thought I wouldn't be heard, with that many people on stage, but they're such amazing musicians that nothing at all is lost in the sound. One second it will be really loud, and the next, you'll be able to hear a pin drop."

The production was first performed at the Adelaide Cabaret Festival in 2006, and has since toured Melbourne's Hamer Hall and the Sydney Opera House – not a bad sojourn, for a concert premised on spiritual and biblical songs written by an Atheist rock/folk musician and subsequently infused with Cuban salsa, reggae, dixieland and gospel arrangements.

"Paul [Kelly] took his songs to Paul [Grabowsky], and Paul [G] rearranged them, and wrote the parts for the chorus and the orchestras," says Vika, explaining the writing and collaboration process. "Grabowsky sent everyone a tape or CD with what he'd written, then Vika and I came in and workshopped it with the two Pauls. We all sat around Paul's piano and decided how to attack it."

Kelly is said to have baulked at some of Grabowsky's arrangements initially, but ultimately trusted his vision and that of the AAO, who were not hesitant to make their opinions heard during the process.

"The first time we worked with them [the AAO] was at the Adelaide Cabaret Festival, the first time we did the show," says Linda. "They're really naughty but really fantastic. They're rather mischievous and certainly vocal about their ideas, but they're extremely talented to match. It's one thing to have an opinion, and another to be able to pull it off."

"Worse than bloody rock musicians, I'd say!" adds Vika.

Vika and Linda first met Kelly when working with Archie Roach in the late 1980s. They've since collaborated with Kelly in a variety of forms, from singing as backing vocalists on his albums and on tour, to having him produce their records, and performing his songs in their own band. In Meet Me In The Middle Of The Air, however, the girls share lead vocals with Paul, a role which has given Kelly's songs a new release, but which was also, understandably, a somewhat scary prospect for Linda and Vika.

"We've worked with Paul a lot before, but normally we back him up in his band. This is a bit heavier a role, it's a little nerve-racking," says Linda. "Paul's very good though, in that he'll give you a song and let you have a bash at it. We'll have a conversation about where we want the song to go, but he'll let you interpret it in your own way, and give you advice." Vika goes on, "Sometimes I sit down and think 'Oh shit, I'm singing Paul's songs and he's right there. I better not fuck it up!' But then, I remind myself that he wouldn't have asked us to sing with him if he didn't think we could do the job."

Despite their long relationship, neither Vika nor Linda can put their finger on a standout memory of Kelly. Instead, it has been Kelly's influence on their careers and their own songwriting that has made the greatest impression on the sisters. "He's just been so open to sharing his songs with us and giving us his beautiful music over the years," says Linda.

"It's funny, the thing I love the most, and that I'll always remember, is sitting around a table and writing songs with him," says Vika. "He loves food, so perhaps that's part of it; his kids running around the table, us all eating lunch, having a few beers and writing some songs – that's my fondest memory."

Meet Me In The Middle Of The Air plays at The Canberra Theatre on Friday 29 July. Tickets, sadly, are sold out.

A MEETING OF MUSICAL MINDS

It takes a musician of great confidence yet great humility to entrust their work to another musician for interpretation and re-creation; to allow their songs to be reassembled, their stories re-told, and the accompanying emotions completely reinvented. It's no great surprise then that one of Australia's most beloved musicians, Paul Kelly, did exactly that - handing over to acclaimed composer and pianist Paul Grabowsky a collection of his most spiritual and biblical-themed songs to be re-written by Grabowsky for performance by a group of over 19 musicians. The result, MEET ME IN THE MIDDLE OF THE AIR, is a "secular revival meeting" (in the words of Grabowsky), seeing Kelly's songs, as re-written by Grabowsky, performed by himself, Grabowsky, the Australian Art Orchestra, the Choir With No Name and – sharing lead vocal duties with Kelly – the renowned Bull sisters, Vika and Linda.

Vika and Linda have worked with Kelly in various capacities for over 20 years, and have performed both as backing vocalists (first coming to prominence with Joe Camilleri's band The Black Sorrows) and singers in their own right. Collaboration on such a large scale, however, is a first for them both. "We haven't sung with an orchestra before, apart from Carols in the Domain," says Linda, "and this is completely different. Their arrangements [the AAO] are dense and the time signatures change a lot. You really have to concentrate to know when to come in." Vika continues, "Yeah, it's definitely daunting, but you just have to do your homework and learn your songs. At first I thought I wouldn't be heard, with that many people on stage, but they're such amazing musicians that nothing at all is lost in the sound. One second it will be really loud, and the next, you'll be able to hear a pin drop."

The production was first performed at the Adelaide Cabaret Festival in 2006, and has since toured Melbourne's Hamer Hall and the Sydney Opera House – not a bad sojourn, for a concert premised on spiritual and biblical songs written by an Atheist rock/folk musician and subsequently infused with Cuban salsa, reggae, dixieland and gospel arrangements.

"Paul [Kelly] took his songs to Paul [Grabowsky], and Paul [G] rearranged them, and wrote the parts for the chorus and the orchestras," says Vika, explaining the writing and collaboration process. "Grabowsky sent everyone a tape or CD with what he'd written, then Vika and I came in and workshopped it with the two Pauls. We all sat around Paul's piano and decided how to attack it."

Kelly is said to have baulked at some of Grabowsky's arrangements initially, but ultimately trusted his vision and that of the AAO, who were not hesitant to make their opinions heard during the process.

"The first time we worked with them [the AAO] was at the Adelaide Cabaret Festival, the first time we did the show," says Linda. "They're really naughty but really fantastic. They're rather mischievous and certainly vocal about their ideas, but they're extremely talented to match. It's one thing to have an opinion, and another to be able to pull it off."

"Worse than bloody rock musicians, I'd say!" adds Vika.

Vika and Linda first met Kelly when working with Archie Roach in the late 1980s. They've since collaborated with Kelly in a variety of forms, from singing as backing vocalists on his albums and on tour, to having him produce their records, and performing his songs in their own band. In Meet Me In The Middle Of The Air, however, the girls share lead vocals with Paul, a role which has given Kelly's songs a new release, but which was also, understandably, a somewhat scary prospect for Linda and Vika.

"We've worked with Paul a lot before, but normally we back him up in his band. This is a bit heavier a role, it's a little nerve-racking," says Linda. "Paul's very good though, in that he'll give you a song and let you have a bash at it. We'll have a conversation about where we want the song to go, but he'll let you interpret it in your own way, and give you advice." Vika goes on, "Sometimes I sit down and think 'Oh shit, I'm singing Paul's songs and he's right there. I better not fuck it up!' But then, I remind myself that he wouldn't have asked us to sing with him if he didn't think we could do the job."

Despite their long relationship, neither Vika nor Linda can put their finger on a standout memory of Kelly. Instead, it has been Kelly's influence on their careers and their own songwriting that has made the greatest impression on the sisters. "He's just been so open to sharing his songs with us and giving us his beautiful music over the years," says Linda.

"It's funny, the thing I love the most, and that I'll always remember, is sitting around a table and writing songs with him," says Vika. "He loves food, so perhaps that's part of it; his kids running around the table, us all eating lunch, having a few beers and writing some songs – that's my fondest memory."

Meet Me In The Middle Of The Air plays at The Canberra Theatre on Friday 29 July. Tickets, sadly, are sold out.

NO USE FOR A NAME

NAMELESS NOSTALGIA

The late ‘80s were riveting times for California. Not only was their former Governor busy playing house in much of Latin America, but the underground punk scene that had grown from the ashes of the ‘70s punk explosion was itself giving birth to groups who would become the bricks and mortar of the global ‘90s bubblegum-punk phenomenon. One such group, NO USE FOR A NAME, formed in San Jose in 1987, would go on to embody in all its glory the SoCal punk style, becoming one of the stalwart bands of Fat Mike's monolithic Fat Wreck Chords, and moving – like the scene itself – from hardcore, anti-authoritarian disposition to a greater concern with partying and relationships.

Almost 25 years later, the group is still – albeit after numerous line-up changes – touring the globe, including a quick swing by the ANU Bar with fellow old-timers Frenzal Rhomb later this month. Ahead of recording their tenth record, frontman Tony Sly says that their new material harks back to the group's earlier days.

"Our new drummer [Mad Caddies' Boz Rivera] is super influential; he makes me want to smash my guitar. I'm getting some angst back in my life I think. I've been listening to tonnes of old punk rock and remember the feeling of the old days of going to shows, the smell of clove cigarettes and leather, paying $1.50 for gas, the first George Bush era, that was my punk era."

Sly, like a litany of other ageing rockers, has been dabbling in some solo acoustic work in the last five years; a factor that he says has influenced his songwriting as well as his perspective on NUFAN. "At first it blew me away because I was in complete control and could do anything I wanted to do. Then I missed the punk, the rock, and all the friends on the road. We really feel closer as a unit now after Matt's [NUFAN bassist] five month hospital stay, so right now I'm 100% No Use, fully committed to the future whatever that may hold."

Although the group's Australian touring will in part be in partnership with the Frenzal boys, Sly notes that the group doesn't always tour with groups of the same generation. "We mix it up,” he says. "I like watching new bands that are good because one, it makes me want to get up there and have some healthy competition and try to blow them away, and two, it's good for me as a songwriter to hear other good songwriters sing and play. It's influential when you get home, you become a fan of the band hopefully."

But of course, supports may not mean much to many NUFAN fans; a Short Stack support slot probably wouldn't dampen their support base much. "Yeah, of course, the loyal fans are still there in the front at every show," Sly says, "always yelling ‘Feeding the fire!’ and throwing up on us. I love it."

 No Use For A Name and Frenzal Rhomb are playing ANU Bar on Friday July 29 . Tickets are $35.95, and are available from Ticketek.

MINI GRAFF: "Privacy"

New Zealand born and Sydney based street artist MINI GRAFF remembers clearly her first experience with street art; one that would impact upon her not only the playfulness of the art form, but also its vast audience. "It was a third year art project requiring the capturing of a dialogue between the artist/artwork and the viewer," she says. "I screen printed and pasted around the city a series of posters with a 1800 number on them with a prompt to call if the viewer responded to the content of the posters. The campaign worked and I had a phone bill of more than $300 worth of calls to pay!"

On show at Megalo Print Studio and Gallery from Thursday July 7 to Saturday July 23 is Mini's latest exhibition Privacy, a collection of screen prints using the gallery's very own, and it seems, much sought after, printing table. "Large, poster prints are my preferred medium of communication currently," Mini says. "Megalo has a printing table ['The One-Arm Bandit'] which is my preferred production tool."

As with many street artists, Mini uses sardonic parody, cutting satire, and an acid wit to comment on a range of social issues; not uncommonly the relentless intrusion of corporate marketing throughout private and personal spaces, and the transformation of lifeless and repetitive urban landscapes into engaging aesthetic experiences.

Despite most street artists' sincere intentions, winning over those who consider the medium nothing more than glorified vandalism is an ongoing battle. "There are several exhibitions on at the moment that appear to be working to educate the public about the art form," Mini says. "MAY'S Lane, as part of the MAY'S Lane Street Art Project in Sydney is a terrific example of a successful marriage of street art and local community support."

Household familiarity with street art has grown exponentially over recent years, thanks in no small part to the exposure of artists such as Banksy. Exit Through the Gift Shop depicted the abominable commercialisation of a movement that grew itself from a desire to collectivise and de-commodify art. For her part, Mini is not phased by such a perceived trend. "It seems inevitable that the commercial world will take from any sub-culture, as a means to tap into that demographic,” she acknowledges. "Street art seems to have settled into being another 'style' of communication employed by commercial designers. However, the adoption of this style has not diminished my desire to work in this way."

Derisive of conformity as it may be, street art itself is not immune to accusations of exclusivity and conceit. Mini recounts reactions to several pieces of artwork referencing Australia's favourite punching bag. "In one recent collaborative poster work, we made reference to 'Bogans'. A few days later, the 3X2 metre poster artwork had scrawled across it 'Better BOGAN than wanker'. Another response to a small bogan poster was 'Don't paint all Bogans with the same brush'. Quite articulate responses, really."

Privacy will open at Megalo Print Studio and Gallery on Thursday July 7 from 6 - 8pm. The exhibition continues until Saturday July 23. 

Fun Machine - Desert Creatures - [Independent]

Since the release of their debut EP More is More! in‘09, local pop/rock/soul/funk outfit Fun Machine have become something of the ‘it’ band of Canberra - the band that always play a great set; the band that always pull the type of crowd that everyone wants to be a part of. As faras local releases go then, it’s fair to say that Desert Creatures has been eagerly anticipated by those aware of its approach; fans desperateto finally experience at will the sweat-soaked adrenaline surge that accompanies a Fun Machine show. Desert Creatures will, for the most part, satiate those with such a craving. FM are, unfortunately (or fortunately), a group whose on-stage charisma, presence and infectious energy will forever be difficult to replicate in the studio. Yet the quality recording/mastering has meant that flagship tracks such as Toxic and Ah Te give the listener the same tingly rush of blood of a live performance.

Most satisfying, however,is the group’s maturity and development in song writing. Their live shows succeed without doubt in exhibiting their tenacity for energetic, funklace drock, yet the more refined subtleties of Wichita or Coming With Muskets would often belost on a live audience. More than studio cuts of their live repertoire, Desert Creatures isa bold statement of the group’s potential. It’s being launched atthe White Eagle Polish Club in O’Connor on Saturday June 18.

Fun Machine

THEY GOT DA FUN(K)

There are but a mere handful of musical acts in this country that have the power to draw every punter in a venue onto the dance floor, regardless of night of the week, size of the crowd, alcohol consumption of said crowd or actual size of the dance floor. 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, sipping on a Golden Ale at The Phoenix on a bitterly cold May evening.

Joined beside her by fellow band members Chris Endrey (guitar) and Ramsay Nuthall (bassist), 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 that we all have the same attitude and acceptance to song-writing, 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 2009 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."

"What we realised, more than last time, was that there's a huge difference between writing songs and playing songs, and actually recording songs," adds Taylor. "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."

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 their second EP 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.

Propagandhi

I think the core values have stayed consistent, and we're proud of that

A Quarter Century of Propagandhi

Ben Hermann

For those unfamiliar with Canadian punk, and quasi-metal outfit PROPAGANDHI, founding member and frontman Chris Hannah might not be the type of interviewee one would expect. Polite, softly-spoken and eloquent, his manner seems at odds with that of the thrashing, black-capped, singleted man that fans see on stage.

But then, Propagandhi have never been a group given to pretence. Now in their 25th year, the group has stuck strongly to their beliefs and values, usually concerned with a range of topics from American imperialism and capitalism to veganism, sexism, homophobia, racism and various other anarchist causes.

In 2009, the group released their fifth album, Supporting Caste, and as with their previous two albums, Potemkin City Limits and Today's Empires, Tomorrow's Ashes, it is more influenced by hardcore punk and metal than their earlier work. Their message, however, hasn't changed.

"I think the core values have stayed consistent, and we're proud of that," Hannah says. "It's not a conscious decision. You might cringe at the lyrics [of their early albums], but I'm pretty happy about not being mortified by my values and politics as a young person. I would hope that our politics or world view is more refined now, having spent a lot more time with people who are affected by the things we sing about, instead of just having abstract opinions."

Between the release of their 1996 album Less Talk, More Rock and 2001's Today's Empires Tomorrow's Ashes, the group left SoCal monolith Fat Wreck Chords to form their own label G7 Welcoming Committee Records. Although their split with Fat Wreck was amicable, it's clear there were signs of insurmountable differences building between the ethos of the group and Fat Mike's leviathan label. "We were just moving further and further away from each other culturally, and we felt that Fat Mike wasn't super-stoked with what we were doing anyway," Hannah says. And then came Fat Mike's fervent Punkvoter campaign, which came to be regarded as a proxy for Democratic campaigning. "To be honest, Mike's a really nice guy, but I'll never forgive him for dragging [independent, four-time Presidential candidate] Ralph Nader's name through the mud and discouraging people from supporting that third option. That screwed America. That was the last chance, and they helped fuck it over for America, and in doing so they fucked it over for the whole world."

Now, having attained their quarter century, Propagandhi's fan base is slowly ageing and although Hannah admits he isn't too sure of the demographic of his fans, the group feels that they're continually building a greater legion of followers. "I haven't put too much thought or effort into discovering who is listening to us," he says. "Whoever it is, the fan base seems to be self-regenerating. Every time we put out a new record, everyone who liked the previous record doesn't like it. But it always seems there are slightly more people into that eland than there was on the previous record."

Propagandhi play at the ANU Bar on Tuesday May 24.

Between Breath and Form

In 2009, choreographer Rafael Bonachela gave dance audiences We Unfold - his first production as Artistic Director for the Sydney Dance Company and his first in collaboration with composer Ezio Bosso. We Unfold toured globally to widespread acclaim, giving Bonachela his first major success with SDC and also signalling Bonachela and Bosso as one of the contemporary dance world's newest and greatest collaborations.

Bonachela and Bosso will return to the Canberra Theatre Centre this May with SDC's BETWEEN BREATH AND FORM as part of its world premier tour season. The production is a double-bill featuring 6 Breaths and LANDforms; two productions which Bonachela describes as being "very different in flavour, so we thought they would complement each other very well."

The collaboration between Bonachela and Bosso is just beginning to hit its stride, at the beginning of what could potentially be a long-standing, renowned relationship. Nonetheless, it begs the question of whether the two artists see themselves now as almost intrinsically linked.

"I hope that Ezio and I will find ourselves working together again many times and I believe that when we do we will continue to discover and share inspiration from many aspects of humanity and beauty yet to be discovered in this world" Bonachela says.

As with We Unfold, Bonachela and Bosso have taken an organic approach to the productions' creative development, encouraging improvisation and the creation of a complimentary, symbiotic relationship between Bonachela's choreography and Bosso's composition. "There is no formula as such between Ezio and me" Bonachela says. "Sometimes the idea for the dance comes before the music and informs the score very strongly and the work is then born out of this strong idea and the music follows."

Bonachela admits that since the success of We Unfold, he has approached his work with greater confidence and a sense of freedom, but stops short of conceding that this this confidence, or his position as Artistic Director, has significantly altered his work. "I'm more confident because I know so much about Sydney and Australia and my new life now" he says. "But also I have gathered together a fantastic ensemble of dancers during my two years as Artistic Director and they inspire incredible confidence and pride. But you have to remember that when I wear my 'choreographer' hat and go into the studio with the music and the dancers, I am in a different world to that of Artistic Director in many ways. That world takes over for that time of creation where I always want to make the best piece I have ever made."

Between Breath and Form will play at the Canberra Theatre Centre from May 5-7. Tickets available from Canberra Theatre Centre.

Against Me!

AGAINST THE GRAIN

It's been an eventful couple of years for Florida punkers AGAINST ME!. Between a near-continuous touring schedule, losing their long-serving drummer Warren Oakes, releasing two albums on their first major label, Sire Records, and thereafter being dropped by said record company, it's fair to say that founding member and frontman Tom Gabel has had much to carry on his shoulders. "I think that good or bad, with any change, whether or not it's comfortable, it can only be beneficial to songwriting," he says. "Especially for myself, for whom writing is cathartic and relaxing."

The plethora of factors weighing on the band took its toll in late 2010, when the group was forced to cancel their Australian tour for White Crosses - their final release on Sire Records and second with prolific producer Butch Vig. After a few months to recuperate, the band have embarked on yet another hectic touring schedule for 2011, bringing them to the ANU this May.

Speaking to Gabel about the group's split with Sire Records, it's obvious that the group is fairly nonplussed with the affair; it being more of a matter of circumstance than anything else. "It's complicated and boring, to be frank" Gabel says. "In a nutshell our contract was finished, and Sire were doing a lot of cut-backs, in the process of which they fired all the people we were working with - our publicist, our A&R person, they all got sacked and we were worried we would just be lost in the mix."

During their time on Sire Records, releasing last year's White Crosses and 2007's New Wave, the group also released The Original Cowboy on their previous label - the SoCal monolith Fat Wreck Chords. The album is a collection of demos and unreleased songs from their recording sessions prior to their second album As the Eternal Cowboy, and the group will be release an equivalent for 2005's Searching for a Former Clarity in May. Nonetheless, Gabel has discounted returning to the label for their next album. "I don't think so, it's kind of weird going back," he says. "It's nice that the future's wide open. We're still in the mindset of touring White Crosses, and have recorded a quick EP between tours that will come out in a month or so. However, we're not really sure what the next record will be like, so we haven't really started thinking about labels yet either."

As for retrieving Butch Vig again for production duties, Gabel is similarly non-committal. "I think it depends on the songs," he says. "It's rare to find someone who you trust as an artist and whose opinion you're willing to use as a basis to compromise and change your songs. We felt lucky that we found that in Butch, and we really enjoy working with him. So I'd love to have him again, but it also depends on his schedule. He's a very busy man, you know…"

Against Me! will play at the ANU Bar on Friday May 6. Tix through Ticketek.

National Folk Festival -- The Majestic

National Folk Festival 2011

LIFE BEGINS AT 45!

It's an oft-muttered observation among seasoned locals that Autumn and Spring see our wonderful city at its best. Indeed, at this very moment Canberrans are enjoying the onset of the former - the mountains of foliage that have flourished brilliantly under seven months of drought-breaking rains are now turning vibrant shades of yellow, orange and red; the nights are turning crisp and cosy; direct sunlight is welcomed rather than cursed; microwaved doughnuts take on a whole new meaning; and of, course, with Easter comes THE NATIONAL FOLK FESTIVAL. The musical ensalda mixta and hijinks that the NFF always guarantees its patrons will be more than enough excitement for some, but others will be a little extra thrilled to see the return for the second year of The Majestic - the NFF's testament to the weird and wonderful; to music, theatre and other miscellaneous performances lying somewhat closer to the no-mans-land of what the NFF would usually serve up.

Never one to shy away from coordinational masochism, the spectacular Adam Hadley has returned as The Majestic's Artistic Director. Obviously encouraged by the fact that during The Majestic's 2010 debut his "hair didn't fall out" and "nothing caught on fire", Hadley and the team have expanded The Majestic for 2011, allowing for more acts and - importantly - a larger crowd.

"We can fit more people in the tent!" he says. "The weird little mutant Majestic village is expanding, so as well as The Majestic, the chain tent and the Lola the Gypsy Caravan from last year, we also have the wonderful circus venue The Bally, and some great stalls. The circus program is expanding as well to include The Circus Firemen doing an hour show, as well as variety vaudeville show Circus Hokum." This expansion will no doubt be sound relief to many revellers - last year the staged reached capacity on several occasions, surpassing even the greatest expectations of organisers. "I manned the doors along with the stage management crew for those nights, and it was pretty heart-breaking to have to turn people away," Hadley says. "However, the wonderful Mark Robinson who owns The Majestic tent is building us all new and exciting seating, so we should be able to fit 100-plus extra people into the same size tent, meaning the same crazy dancing and circus can go on, while still keeping those intimate moments."

Once again, local talent will play a big part of The Majestic, with Julia & The Deep Sea Sirens, Drew Walky, The Wedded Bliss, Hashemoto, and Rafe & The Well Dressed all gracing the stage over the weekend. "Also Midnight Mayhem", adds Hadley, "Matty Ellis doing 'The Band Broke Up', and also Bad!Slam!No!Biscuit!"

From beyond our borders will come The Crooked Fiddle Band, Bygone Error and, for their first time in Canberra, Flap! (pictured above) - a group self-described as sounding like "a bunch of travelling musicians from olden day rural American who somehow found a time machine and ended up at a Kylie Minogue concert."

The group's ever-gorgeous frontwoman and vocalist Jess Guille is especially looking forward to their performance at the NFF, citing festivals as her ideal gig experience. "There is something about the vibe of a festival crowd - they are already in the mode to giving themselves over to the fun," she says.

The group's heady influence of 1920s jazz, English folk, Trinidadian calypso, coupled with vocals of a distinctly Australian timbre is the product of the diverse number of projects its members are involved in. Vocalist and trumpeter Eamon McNelis is involved in Zulray and City City City; double bassist Mark Elton with C.W. Stoneking; drummer Ben Hendry with Shane Warne the Musical; and Don Stewart with The Band Who Knew Too Much.

Despite such an array of styles to incorporate, Guille says that there are rarely creative differences within the group. "Every new idea is only an extension of 'our sound', so it kinda flows," she says, adding that their versatility and diversity allowing them to master various types of audiences. "The difference between playing to a sit-down crowd of serious jazz lovers is fairly separated from the drunken happy dancing crowds we play to a fair bit. All my bandmates are very accomplished improvisers so it makes for some very unpredictable happenings!"

Such versatility will no doubt come in handy when performing at The Majestic. Although perceived by some as 'the new kid on the block' (the NFF is now in its 45th year), Hadley points out that it wasn't necessarily just the whippersnappers suckling at the NFF's newest teat last year. "I think it gave a lot of people, especially younger people, who feel a bit lost at the festival a place to go… although primarily thought of as a 'youthish' (it's a word) venue, the age range and audience demographic was huge," Hadley says. In addition to the eclectic make-up of the crowd, punters may also be treated to those magical moments that can never be planned. "One of my highlights from last year was when Matty Ellis' guitar stopped working with the PA so he clambered into the audience and played a song acoustically while the sound crew fixed everything," Hadley recalls. "The Majestic has been at the festival for years in spirit, it's just all of the weird bits and pieces have been scooped up and crammed in a circus big top."

The 2011 National Folk Festival will be held from 21-25 April at Exhibition Park. Program and tickets are available at www.folkfestival.asn.au .

Flickerfest 2011: 20th Anniversary [Madman]

Let’s face it – people’s desire for on-screen entertainment is increasing at the same fast rate at which the individual time periods which they have to watch such entertainment in (and not to mention their attention spans) seems to be decreasing. Now, let’s assume that this proposition, while being vastly generalising and speculative, contains at least a sliver of merit – while some of the television produced today surpasses even the best of film in its quality, short film as well is challenging traditional film in both quality and recognition. It’s great to see then, that as part of Flickerfest’s 20^th anniversary celebrations, they’ve released a two disc DVD featuring some of the most successful films that have featured in the festival of late. All the films contained in this set – both Australian and international – have received major international recognition, including BAFTA and Academy awards, and nominations at festivals such as Sundance, Cannes and Venice; this speaks volumes not only to the quality of the films themselves, but also to the calibre of entries received year after year by Flickerfest.

As Australia’s only competitive international short film festival, and one that has become globally recognised for the films it showcases, it is the Australian films and directors featured on this DVD that are particularly pleasing; for their entertainment value as well as timely reminders of the high standards Australians regularly achieve in the short film world. There is Hannah Hilliard’s Franswa Sharl, which succeeds so easily in being charming, funny and touching – the three characteristics many would believe to be the holy trinity of short film success. Then there are offerings from now legendary Australian directors including David Michod (Animal Kingdom), Warwick Thornton (Samson and Delilah) and Cate Shortland (Somersault). Great view – especially when you’re short on time.

Shaun Tan's The Lost Thing at Flickerfest

It was 1991, in the proudly urban yet urbane surrounds of Balmain High School that Flickerfest made its entry into Australia’s short film festival scene. In the past 20 years, it has grown steadily to become Australia’s only competitive international short film festival, renowned globally as one of the main festivals on the world circuit; indeed, in the past ten years it has gained accredited status from both the Academy of Motion Picture Arts and Sciences and the British Academy of Film and Television Arts.

It’s a rather appropriate credit to the quality of the festival’s entries then that in the midst of celebrating its 20^th anniversary (2011’s festival was held in Sydney in January, and is currently touring, arriving in Canberra later this month), one of this year’s features – The Lost Thing by Andrew Ruhemann and the nationally beloved SHAUN TAN – picked up the Academy Award for Best Animated Short Film. Tan, an author and illustrator with a strong background in science fiction, best known for his award-winning children’s books The Red Tree, The Arrival and of course The Lost Thing is not the type you can readily imagine gracing the stage of the Oscars. Yet Tan, imbued with the childlike curiosity and playfulness that has endeared his books to children and adults alike, used his trip to Grauman’s Chinese Theater to “investigate another world”, as he described it.

“I have to say that I did not find the Academy itself to be a detached institution, but actually very friendly, open and inviting – there was a good spirit behind all of their events, including the Oscars,” he says. “I got the sense that people in that industry generally enjoy their work, and were there to celebrate a passion… so our team felt a strong affinity in that sense, just hanging out with other storytellers. The glitz and glamour – the excessive, almost religious glorification of what is often modest and sincere work – is a whole other separate thing, largely imposed by another publicity industry.”

The Lost Thing follows a boy who, in a quasi-dystopian Australian future, discovers a bizarre looking creature while out collecting bottle tops at the beach. Noticing that it is lost, but also that others either don’t see it, are indifferent to it, or are unwilling to take notice of it, the boy takes it under his care, determined to find a home for it. Originally published in 2000, Sophie Byrne (producer) and Ruhemann (co-director) first approached Tan in 2001, eventually convincing him that the book could be adapted in a way that gave justice to the identity of the book. Tan admits that after the film adaptation of The Lost Thing, the film potential of a book or illustration “will, I’m sure, be in the back of my mind now whenever I pick up a pencil,” and that his “film-making experience offers a broader conceptual palette, should the right ideas come along.” It is unlikely, however, that his catalogue of work to now will be prone to adaptation. “Some would work and others would not,” he says. “Or to be more precise, you could adapt all of them, but in many cases it would require a radical revision of the narrative, because my story-telling style is actually quite slow, subtle, non-dramatic and makes great use of silence and stillness – qualities not so ideal in the medium of film. Even The Lost Thing, although one of my more conventional narratives, presented many problems because qualities of slowness, disengagement and apathy are actually essential themes of the story. Yet it still has to be entertaining for a sustained 15 minute period; it was a real balancing act.”

Much of Tan’s work, and particularly those mentioned above, have become infamous for their ability to be, at least notionally, children’s books, yet still appeal equally to adult audiences. Tan’s work often addresses deep, complex subject matters such as alienation, anxiety and depression, yet through their playfulness and the characters’ sense of wonder, convey an uplifting sense of discovery and hope.

“I think if I did not practice anything artistic on a regular basis then yes, it would be very difficult to tap into that thread [of innocence and playfulness] which runs all the way back to early childhood. I think any kind of art, music, writing etc, either making it or engaging as an audience, is a great antidote to the apathy and pragmatism that can afflict the world of adult worries and responsibilities. More importantly, it makes a bridge between adult experience and childhood innocence – the intersection of both is, for me, the ideal state of being, to examine mature wisdom in a playful way.”

Shortly after winning his Academy Award, Tan was asked why Australia often performed particularly well in the short film categories, to which he responded that Australia doesn’t have an “existing tradition” in these areas. The reason as well, it might be, that festivals such as Flickerfest have attracted the passion and creativity to flourish so greatly.

“I think we will probably maintain a pretty diverse outlook, that seems to be a part of the Australian spirit – helped along by a long history of multiculturalism, by which I mean the influx of ideas as well as people,” he says. “There is also a very personal, modest ‘backyard’ experimentation to a lot of Australian creative work, which seems to resist stylistic standardisation of the kind you see in the US, Britain and Europe, where I feel there are more recognisable national styles. I even think The Lost Thing expresses some of this thematically in its own subtle way – that we antipodeans, washed up on a distant shore, are rather hard to categorise! I hope it stays that way.”

Flickerfest will screen at Dendy Cinema over Saturday-Sunday March 26-27. Featured will be the ‘Best of Australian Shorts’ and ‘Best of International’ programs. For more information and tickets, visit www.dendy.com.au .

Blast!

In recent years, the popularity of poetry in all its forms has flourished throughout Australia, creating a number of new thriving scenes and cultures that were barely a blip on the radar a decade ago. Whether it’s Australia’s now dominant domestic hip-hop scene, or the near endless number of poetry nights, jams, slams, and other related festivities, it seems Australians are finally catching on to a trend that has already swamped Europe and
North America.

This March, the Canberra Theatre Centre will play host to one such event, BLAST!, which will showcase some of Australia’s brightest and most exciting actors, MCs, comedians, rappers, beatboxers and poets. One such performer is Emilie Zoey Baker, a published award winning poet and poetry slam champion, and currently the Education Officer for Australian Poetry (formerly the Australian Poetry Centre). Unsurprisingly, she is very excited about the increased popularity of poetry in all its forms
in Australia.

“Australia is the new kid on the block in the international slam world. The Australian Poetry Slam has only been running for four years and it’s like a drooling toddler, still quite literally finding its feet, its poets and its audiences,” she says.

The idea of a poetry slam is hard to describe to people who haven’t witnessed one, but not nearly as difficult as conveying the atmosphere and excitement that it involves for both participants and audience members. Indeed, being until recently a relatively under-publicised art form that is purely live and whose true nature is difficult to communicate through radio, TV or other forms, may be the very reason for its initially slow growth. “Slamming is a mix of theatre, performance art, poetry and comedy, and when writing a slam poem you are writing with an actually ‘sitting in front of you’ audience in mind,” Baker says. “You must think about how to say certain lines, when to pause, when to add your MC Hammer moves and how to finish with a bang. Slam is judged by the audience – generally, random members are chosen and they hold up scorecards out of ten – so you are writing for them, not yourself.”

Last year Baker won the Slam Review as part of the 2010 Berlin International Literature Festival. No small feat in itself, Baker’s achievement is even more inspiring considering she is also the first Australian ever to compete in the Festival. “It was really nerve-wracking,” she admits. “I ended the set with a poem about Lleyton Hewitt and other sports celebrities. They had no idea what I was talking about, but as it was an international slam, there were competitors from all over the world and each did a poem in their native tongue.”

Also performing at Blast! will be Queanbeyan’s very own Omar Musa, who has recently returned from performing at the Jaipur Literature Festival in India, and will shortly be recording his sophomore hip-hop album in the USA. Musa, who has travelled to all corners of the world in his capacity as both rapper and poet, embodies the very talent, enthusiasm and determination that is seeing hip-hop, poetry and slams become genuine competitors with other art forms. “He’s brilliant,” says Baker. “His poems are like really well planted gardens – a perfect blend of hearty vegetables, scented herbs and fabulous colours. A garden for the ears.”

The performers of Blast! will no doubt have been attracted to their respective forms of poetry and performance for different reasons, however Baker explains her own interest in poetry and slams as you might hear an addict speak of their habit. She tells of the night she first experienced a live poetry reading, where “the poets were mad, exciting, sexy, energetic and politically incorrect. There was an electricity that seemed to physically vibrate in the air.” She goes on, “The instant gratification of poetry performance is what becomes addictive. It’s a risk to have your poetry leave home at such a young age, straight into the ears of complete strangers. Poems written for the stage – particularly slam poems – must be able to withstand loud noises, communicate quickly to an audience and get tough if need be.”

Baker has been involved in an endless list of slams, festivals and various other poetry-related events for years now, and she explains that the scene will continue to grow in strength so long as the excitement of poetry and literature is taught to children. Last year, for example, Baker coordinated the first ever Victorian teen slam OutLoud. The event included a recycled themed category, where teens chose a classic or contemporary poem and did a cover version of it. “I think by re-inventing it [poetry] constantly is what will spark youth interest,” Baker explains. “Poetry still has a stale reputation and it’s hard working with schools on writing and performing as no one has ever heard of slams in some parts of the states, whereas in the UK it’s included in the curriculum! My goal is to try and do that here; to build it from the ground up, to reinvigorate the way poetry is perceived. It’s cool!”

Blast! will take place at the Canberra Theatre Centre on Friday March 18. It will feature a mouth-watering line-up of young entertainers including Omar Musa, Ben Pobjie, Lesson MC, Emilie Zoey Baker, Mark Lloyd, Kodak, Indigo, Adam Hadley and DJ Rush. The all ages show will begin at 5pm in The Playhouse and will be followed by a Q&A session. The over 18 performance will be held in the Link Bar at 9pm. Tickets for adults/under-15s are $25/$20.

The Streets - Computers and Blues - [679]

If Computers and Blues is indeed ‘the final Streets album’, then it would be hard to deny that – regardless of your opinion of Mike Skinner’s coupe de grace – he has made his exit with delightfully refined aplomb. Skinner’s had his share of highs and lows over the last four albums, yet he’s decided not to go out in a blaze of awe-inspiring glory, and nor is he slamming down the phone and storming out in a huff. Instead, he’s leaving after some gentle yet heartfelt reminiscence, a bright-eyed view of the future, a warm hug and, as you would expect from Skinner, a cheeky wink as he walks off into - the sunset.

Skinner’s inclination for earnestness and experimentation has always seen him walk a fine line between critical acclaim and alienation of his fans, but it’s unlikely that Computers and Blues will ruffle too many feathers.

Most notably though, is Skinner’s concern not just for the now, but for the future. You can hear it in the poppy electronic hooks that are laced through the album, at times making it sound more like Moby, Kanye or even The Roots. But you know that it’s not just a coincidence when he sings about it - from Puzzled by People to the modern day perils of facebook relationship management on omg.

It’s been fun, Mike. Please say it ain’t so.

ben hermann

Ben Hermann's Top 10 Albums of 2010

10. The John Steel Singers – Tangalooma [Dew Process]

With a modest repertoire of social anthropologically-themed, indie-pop gems already in the bag, along with Robert Forster on production duties, it was no surprise that Tangalooma proved a loveable treat. However, it’s the ‘filler’ which truly impresses.

9. The Gaslight Anthem – American Slang [SideOneDummy]

Yet another group introducing Springsteen to a new generation, the Gaslight Anthem’s uncanny invocation of the classic Jersey Shore sound reached new heights on American Slang. Poetic, nostalgic and irrefutably rockin’.

8. Angus & Julia Stone – Down the Way [EMI]

The Stones endeared themselves to many with their ‘Frankie-in-musical-form’ debut A Book Like This, however it was the deeper, enchanting nourishment that Down the Way offered which cemented their status as Australian folk-pop royalty.

7. The National – High Violet [4AD]

Matt Berninger’s witty, self-deprecating lyrics seem to strike closer to the bone than ever before on High Violet. The group’s songwriting as well has never been more lovingly dark, layered or rewarding.

6. Antony and the Johnsons – Swanlights [Secretly Canadian]

Experimenting with exotic, surreal tones and even the odd slather of shoegaze-style reverb, Antony Hegarty and his group departed from the somewhat morbid, confronting themes of The Crying Light for this discernibly more hope-inspired offering.

5. Holy Fuck – Latin [Young Turks]

I usually hate any form of experimental, quasi-industrial post-rock electronica-wank garbage. …But I love this.

4. Danny and the Champions of the World – Streets of Our Time [Loose Music]

Somewhere between Dylan, Neil Young, Ryan Adams and lead singer Danny Wilson’s own Grand Drive, Streets of Our Time pays beautiful, touching, yet sprightly homage to the trials and tribulations of ageing. There’s a banjo, too!

3. Cloud Control – Bliss Release [Ivy League]

Not only the undisputed winner of the ‘most appropriate album title of the year’ award, Bliss Release’s take on The Smiths, crossed with some afrobeat chanting and beautiful Go-Betweens style harmonies revealed Cloud Control as Australia’s newest musical prodigies.

2. Grinderman – Grinderman 2 [Mute Records]

Grinderman’s first album sounded a little too similar to the Birthday Party for some Cave fans, so it was pleasing that on this, their second release, the scratchy, lo-fi guitar was toned down a little and Ellis’ notoriously haunting bouzouki was given a greater role to play. Most satisfying though is Cave’s sleazy, violent humour, which has rarely seen better days.

1. Arcade Fire – The Suburbs [Merge]

The Springsteen influences of Montreal’s finest baroque pop septet were finally placed centre stage in this earnest, bittersweet ode to life in the ‘burbs. Moving away from the epic, complex arrangements that characterised their former albums, they’ve created instead a sprawling, understated opus more consistent and ultimately more moving than their previous work.

Ballets Russes

It's difficult to quantify or qualify exactly the impact that BALLETS RUSSES (French for “Russian ballet”) had on the development of 20th century art, except to say that it was, from its outset, enormous and historically irreversible. The company formed in 1909, and in its infamous first two decades - under the directorship of Sergei Diaghilev - radically transformed the direction of dance, music and art in Europe. To celebrate the centenary of its foundation, the National Gallery of Australia is hosting Ballets Russes: the art of costume, which will showcase a selection from the Gallery's extensive collection of Ballets Russes costumes.

In 1973 the NGA was still in its youthful, formative years, seeking to establish itself as a nationally and internationally renowned institution. The Gallery's first director, James Mollison, was actively building the collection on all fronts, particularly focusing on modernist influences, when the chance arose to purchase a considerable number of costumes from the Ballets Russes.

"He had an interest in theatre arts, and how modern art could impact on decorative arts and design" says Dr Robert Bell, the NGA's Senior Curator of Decorative Arts and Design, and curator of the Ballets Russes exhibition.

"From around 1968, Ballets Russes had come back into prominence. There were a lot of sales going on in London, and he [Mollison] decided the NGA would make a bid at one of the last big auctions. We were successful in about 400 of the auction lots, and those pieces formed the basis of the collection."

In 1976 the gallery made another substantial purchase and, along with steady acquisitions over the past three decades, subsequently became one of the world's most renowned holders of Ballets Russes costumes.

"Nothing has been loaned for this exhibition - everything is owned by the NGA" explains Bell. "We have chosen about 150 costumes, but unfortunately not everything is in displayable condition. […] We had to make some hard decisions about which costumes we could have restored for this exhibition. The exhibition represents 24 ballets, so we've selected one or two costumes from each."

The Ballets Russes is most famous not only for its lavish costumes, but also for the artistic collaboration behind each ballet's production. Choreographers, composers, artists and dancers all contributed to each production, with notable participants including famed choreographers Mikhail Fokine and Vaslav Nijinsky, composers such as Igor Stravinsky, and visual artists including Picasso, Chanel, Matisse and Leon Bakst. At the beginning of the 20th century, painting and other visual arts had well surpassed dance as the most progressive and avant-garde art movements. Not only did Ballets Russes' decorative artists and composers produce groundbreaking pieces, but Diaghilev reinvigorated ballet as a progressive art form, in particular through his use of male dancers as prominent characters.

"One of the major legacies of the ballet in its first 20 years was to bring ballet out into the world of modern art" explains Bell. "It hadn't been part of that world until 1909. By involving people like Picasso and Matisse, and combining that with avant-garde music and experimental choreography, they really placed themselves in the front line of modern experimentation in the arts."

Although the exhibition focuses primarily on the costumes, it is also provides a broader look at the Ballets Russes' history and artistic inspiration.

"Stylistically, you'll see how the ballet responded to the fashion and interests of the time" says Bell. "From the very beginning, when there was a lot of historical revival and Orientalism, up to the end, when there was more modernism and a lot of influences from the Russian revolution. The exhibition also has drawings, photographs, and some of the music associated with the ballet. We've also created a small theatre at the entrance where you can see a film of the ballet when it came to Australia in the 1940s."

The ballet briefly dissolved in 1929 upon the death of Diaghilev, but was revived shortly afterwards, touring until the aftermath of WWII. From around this time, dancers and choreographers began departing to various points around the world, often setting up their own dance studios and companies, the most notable of which being the founding of the New York City Ballet by Ballets Russes choreographer George Balanchine.

"The ballet came to Australia three times in the 40s, and made a huge impact" says Bell. "Some of the people involved with the ballet stayed in Australia and went on to have a huge impact on Australian dance. The Australian Ballet, in a way, has its genesis back in the Ballets Russes."

It's difficult to imagine one company or production nowadays having a similar impact to that of the Ballets Russes between 1909 and the 1950s. However, as Bell suggests, it may simply be that such an impact may not be as noticeable as the Ballets Russes' stark shake-up of the arts in the early 20th century.

"I think that a single theatre company nowadays couldn't have the same impact as the ballet" he speculates. "But that's not to say the some of the movements won't. The smaller, experimental theatre and dance companies, as well as urban dance, street art, art installations - they all contribute to new ways of thinking and self expression."

The exhibition Ballet Russes: The art of costume opens at the National Gallery of Australia on Friday December 10 and continues until Sunday March 20. Check out www.nga.gov.au for visiting details.

ALBUM OF THE ISSUE Julia and The Deep Sea Sirens - Family Pets [Independent]

There are many elements of Family Pets that one could point to as being responsible for its immersive, captivating quality. It could be the autoharp, double bass, or cello, which give the songs a sprawling, overwhelming character, and the listener the sensation that they’re lost at sea (or lost in the thoughts of a lost lover…).

Or it could be the velvet-fisted percussion which is used with such precision that its absence is just as powerful as its presence.

It could also be the sweet guitar, the ditty-ing banjo, or the beautifully evocative production.

But to be fair, Family Pets would not have the irresistible temptation of a dark, lost love if it weren’t for Julia Johnson’s disarmingly angelic yet equally haunting voice. When she sings you feel not so much like a sympathetic listener, but a part of the story. Such is the effect of Ms Johnson’s vocals that listening to her not only makes you yearn for, but experience as though real a lifetime of love, loss, and every ounce of feeling that goes along with it.

The Lost Thing [Madman]

Even if the name Shaun Tan isn’t familiar to you, it’s more than likely that his illustrations will be. As the author and illustrator of acclaimed (and extensively awarded) children’s books The Arrival, The Red Tree, The Lost Thing, and most recently Tales from Outer Suburbia, Tan’s distinguishably quirky and often disturbing illustrations (he cites Tim Burton, Stanley Kubrick, Francis Bacon and Sidney Nolan as influences) have endeared him to his adult fans almost more so than his younger fans. The Lost Thing has now been adapted into a 15 minute short film, using a mixture of computer generated imagery (CGI) and 2D hand painted elements. Its production cannot be faulted, with Tan and his small team giving great justice to the illustrations of the original publication. Set in a dystopian Melbourne, The Lost Thing follows a young boy who, when collecting bottle tops at the beach one day, stumbles upon a monstrous, bright red, half machine, half octopus-type creature who appears to be lost and out of place. The boy searches for the creature’s owner or home, but meets only indifference from everyone whose help he seeks. Like many of Tan’s works, the story deals starkly with themes of alienation, migration and depression, but still leaves the audience/reader with a strong feeling of hope. Most notable in the short film is Tan’s expansion of the ‘world’ of dystopian Melbourne beyond that which, as Tan admits, “could not be entirely expressed within the confines of the original 32 page book.” Alongside the film itself, the DVD contains Tan’s audio commentary, some deleted scenes, and an interview with Tan, as well as the small hardback book What Miscellaneous Abnormality is That? – the book which makes an appearance in the film itself and which includes a collection of Tan’s black and white sketches of creatures appearing in the film. A great buy, methinks!

Rapskallion

In the seven months or so since they packed out ‘The Majestic’ stage at this year’s National Folk Festival, RAPSKALLION have covered a lot of ground. Which is no surprise, really, considering the type of rag-tag, gypsy cabaret-cum-travelling carnival outfit that they pride themselves on being. After only recently returning from an extensive European tour and about to embark on their own ‘When the Wine Kicks In’ national tour, Fingal Capaldi (accordion, guitar, vocals, mandolin, general mischief maker) reflects on the months that have just passed. “It was amazing, and Berlin was especially incredible,” he says. “We played the Fusion Festival, which is held on an old Russian air force base. The stages are set up in the underground air force hangers, and so it’s like a cabaret at the end of the world.”

Fingal explains that, as could be expected for any type of music, the reception the group receives differs between countries “depending on their particular cultural bent,” but that overall, their type of music lends itself to a fairly predictable audience response. “The music we play is fun music and it’s party music. People go a bit crazy wherever we are, especially if there’s a bar. So yeah, generally speaking, people are up for a party no matter where you are in the world.”

The ‘skallion’s music could be described in many ways – cabaret, gypsy, punk, oom-pa, polka, blues, tango and almost any other type of music renowned for getting people on their feet and dancing, coupled commonly with a sideshow of circus performers and vaudeville theatrics. So although the group hardly appears to be in want of creative flair or dramatic inspiration, Fingal explains that Europe nonetheless proved to be the flirtatious muse that musicians of all inclinations find her to be. “Our inspiration does come from particular types of music, but it certainly is improved by new places and experiences. I really improved my French accordion sound while we were over there. As well as that, it’s a really established scene they’ve got, especially in terms of the theatrical stuff and the street performing, and that certainly made an impression on us.”

With so much time on the road, the group has found precious little time to write or record a new album. After returning from Europe, the group split up and went camping separately, each to write and create some tunes to bring back to the group. After their national tour comes to a close, they plan to head back to Melbourne to crack on with the new album. “It’s been almost two years since the last one,” explains Fingal. “It’s along similar lines for sure, but a lot more rhapsodic. It’s evolved into something way more interesting than it originally was. We want to make it way more bent and left-field.”

Rapskallion play at the Phoenix on Wednesday December 8. In support will be Mr Fibby.

When the Rain Stops Falling

It's Alice Springs in the year 2039. A fish falls from the sky and lands at the feet of Gabriel York, a young man in the middle of a search for his missing, and probably dead, father. This is strange enough in itself, except that eighty years earlier, his grandfather predicted that in 2039 fish would fall from the sky - heralding a great flood that would overcome the human race.

Thus begins When the Rain Stops Falling, the most recent play from writer Andrew Bovell. The play has received endless acclaim both domestically and internationally since its debut in Adelaide in 2008. This month Canberra audiences will finally get a chance to experience the beautifully funny, sad and cryptic production before it ends its run in Alice Springs in only a few weeks time.

Most notably, the play has received grand reviews for its stunning audio and visual production. Bovell wrote the script in collaboration with and simultaneously to the set design by Hossein Valamanesh, lighting by Niklas Pajanti and piano score by Quentin Grant.

"In the early days, we all sat around together and did a lot of improvising", explains the play's director Chris Drummond, a week out from the show's Canberra debut. "Andrew was in the middle of all of that – he took our ideas and went and turned them into a play. It's an unusual production in that a lot of it existed before the script did. But we wanted the set and the score to do more than just interpret Andrew's play – we wanted the script, the music, and the design to be one big conversation. My role in it all was to be the conduit to weave it all into one clear, coherent production."

Bovell will be familiar to most as the writer of Speaking in Tongues, his most successful play to date, adapted in 2001 for the film Lantana. Undoubtedly, some audience members will come to the show with Lantana as the only yardstick against which they will judge When the Rain Stops Falling. However, Drummond downplays any expectations people may have when seeing a production directly linked with such a lauded film.

"To be honest, I can't say what's actually going on in people's heads", he admits. "Ultimately though, regardless of any expectations, I think they'll notice the similarities, and in that respect, all comparisons will be very favourable. In all Andrew's stories it takes a while for the pieces to fall in place, and this is the case here also."

Speaking of film, I push Drummond to speculate on the chances of When the Rain… ever being made into a film. Speaking in Tongues performed incredibly well prior to being turned into Lantana, however with the swag of awards When the Rain... has picked up, along with productions of the script being produced in Auckland, London, New York and Germany, it's fair to say that it has met, if not surpassed the success of Speaking in Tongues.

"I think that one day it will definitely become a film. As a theatre director I've never considered asking Andrew about it, but I know he's been approached from a number of people. For the moment I don't think he's ready to do it because he's got other projects that he's focussing on. But one day, we will see it."

The play's aforementioned production across the globe speaks strongly to the universality of its messages and themes, and the skill of Bovell in communicating these in such a uniquely Australian context. So often Australian art – predominantly cinema, theatre, literature and music – suffers from the catch-22 of either being branded as overly influenced by its North American or European counterparts, or conversely being “Australian” to such a degree that its international appeal is limited. When the Rain… however, has defied this tradition by addressing themes and messages that are universally appreciable, doing so in a beautiful, uniquely Australian setting without having recourse to the kitsch, tacky elements of Australian “identity” that (we think) endear us to foreign audiences.

"There are certain things that Australians will appreciate more, in particular with regard to the geography", Drummond says. "Australians understand that you can go to the Coorong and have only three families living in the space of 90 km, and that in such a huge, vast area you will still only run into people you know. In Europe, they don't appreciate the reality of that – they think it's just coincidence. However the themes, the stories and the characters are all universally appreciable, and that's the play's strongest drawcard."

One such theme is the ability to acknowledge the link between past and future; the realisation that the past must be used as a lesson in order to change the world for the better. "That particular theme definitely struck me and has resonated strongly with me throughout the play's life" Drummond says. "The play was written in the post-September 11, War in Iraq era. It was a pretty despairing and depressing time. The play responds to that despair, and stresses that the pattern of life must be changed in order to not repeat history; to respond to the past and live a different life in the future. It's very eloquent in conveying that, in a way that only Bovell can accomplish"

When the Rain Stops Falling plays at the Playhouse from Wednesday November 10 to Saturday November 13. Tickets available from the Canberra Theatre Centre.

ALBUM OF THE ISSUE Antony and the Johnsons - Swanlights [Spunk]

Antony Hegarty’s haunting, overwhelming vocals and his collaborator’s ability to craft beautifully disarming songs from simple arrangements has meant that both have rarely needed to dabble in indulgent experimentation to engulf the listener with the intimately powerful emotions present within Hegarty’s lyrics. However, on the sprawling and at times dense Swanlights, new depth is added to Hegarty’s always resplendent chamber pop style via delicately placed layers of percussion, alongside some minor, yet conspicuous experimentation with shoegaze-style reverb. Thankfully, the group’s discipline means that the exotic, surreal tones they’ve toyed with on Swanlights have been masterfully executed; the only possible criticism being that at times these moments, if anything, have the potential to over-stimulate. Alongside this, the album is discernibly more hopeful and optimistic than its austere, confronting predecessor, The Crying Light - a departure which, while saying nothing of quality, is likely to please as many fans as it will disappoint. It’s hard to say whether Swanlights will imbed itself in the minds of listeners in the same way that The Crying Light did, but its immediate impact is sure to be just as deep.

The Aston Shuffle Crowned ITM #1

O snap!

They only finally went and did it.

Rumbling inevitably towards top glory over the past fews years by inching up the charts, Canberra's very own The Aston Shuffle have finally scaled the mountain, and planted their synthy flag on the ITM #1 poll.

The news comes just as new single Your Love has been tearing up the clubs, radio (including triple j) and just about anything else that's tear-upable.

BMA would like to extend its hearty congrats to the lads.

In the meantime, enjoy this from our friends at ITM:

"As we settle into a new decade the nation has raised its voice in support of change, with the 2010 inthemix50 poll receiving a major shake up this year. Not only does the list of top 50 DJs in the country - as voted by the club going public - feature a whole host of new faces, but 2010’s poll also marks the birth of a brand new winner at #1! Continuing their ascent to the top of the local dance scene, Canberra’s favourite sons The Aston Shuffle are the new champions of the inthemix50, taking out top honours in their home state of ACT and rising from #3 in 2009.

The Astons boys were crowned the new rulers of the inthemix50 in grand style as the dance music scene’s big night on the town moved to its new home at Sydney’s best-kept-secret, LO-FI in Darlinghurst. As well as a new location, the awards found a new host in 2010, roping in the ever excitable Chris Taylor to helm the night, with the Chaser gang member conquering the crowd and poking the ribs of the dance scene’s elite players.

Back to the awards themselves, last year’s champ tyDi may’ve lost the crown but he’s by no means disappeared, falling just one place to #2 which is turn pushes last year’s place-holder Andy Murphy to #3. Queensland’s sibling duo The Stafford Brothers bump up to fourth place, and rounding out the top five with a big move this year is none other than Sydney double-act Bag Raiders, who’ve clearly consolidated on a year of hard work behind the decks and in the studio with the strong showing not just on the national countdown but also locally. They take out the title of NSW’s favourite DJs from long-time king Ajax.

Elsewhere in the chart new blood reigns supreme with Melbourne whiz Heath Renata shooting like a bullet into sixth place, up an impressive 55 spots the list from last year, while the likes of Havana Brown, Jus Haus and T-Rek coming in strong. If there’s one noticeable trend in the national inthemix50 chart it’s the popularity boom for hard-dance DJs, with the local hard favourites like Bioweapon and Toneshifterz roaring into the upper reaches. Marking it a golden year for the genre, it also carried over into the festival gongs, with NSW punters voting hard dance spectacular Defqon.1 their favourite. Debuting in 2009, Defqon.1 blew away fans’ expectations with a big lineup and an even bigger production element. This award should make Defqon.1’s second Australian outing even more special as the fireworks go off this weekend.

As well as the new winner amongst NSW festivals, there’s a changing of the guard in other states with the indie-meets-everything-else Splendour In The Grass taking the Queensland gong in its first year up north, while the support for Stereosonic went wild with the summer festival taking out awards in both Victoria and Western Australia, but beaten to the post by the mighty Future Music Festival in South Australia. With the Stereosonic love flowing out this year we’ve also got a new #1 in the international DJ category, with 2010 Stereosonic headliner Tiesto climbing back to the top spot after trading blows with fellow Dutchman Armin van Buuren last year.

Continuing the theme of change this year’s inthemix50 saw the debut of two new categories. Firstly with Favourite Track, where voters chose their favourite dance originals or remixes from the last year. The competition was fierce and of course diverse with the likes of Pendulum, Bag Raiders and tyDi making the top five, but the honours went to the year’s most unmistakable crossover hit ‘We No Speak Americano’ from the Sydney dream-team of Yolanda Be Cool & DCUP.

With inthemix turning an incredible 10 years old in 2010, there’s been a lot of reflection on the past decade’s events in Australian dance music, which led us to the launch of this year’s other new field; the Lifetime Achievement award. Designed to recognise and celebrate important and influential people in the local dance community, voting for this category was conducted by industry figures, and those insiders gave the nod to the kingpin behind Future Entertainment, Mark James. Having been in the game for well over 20 years, his company Future Entertainment was launched in 1993 and is one of Australia’s most successful event promoters, having revolutionised the local festival market with brands like Summadayze and Future Music Festival.

Whew! That’s a massive outcome for all involved and an even bigger year for the inthemix50 itself with a staggering tally of 65,000 votes in total for the 2010 competition. Our rundown can’t really do the whole glorious thing justice, so head on over to the inthemix50 2010 results page to take it all in and find out who ended up where this year! Thanks for voting and we’ll see you in 2011.


FULL RESULTS ONLINE NOW AT INTHEMIX.COM.AU/50

Little Red - Midnight Remember [Liberation]

Midnight Remember might be the most surprisingly exceptional album of 2010. Not because we were expecting a poor album from Little Red, but because on this, their sophomore LP, they’ve abandoned almost completely the ‘50s-rock, Happy Days guise that brought them so much success on their 2008 debut. But then again, the ‘50s shtick would have worn off soon enough, and the group’s courage in breaking cleanly from the style they perfected so well has paid off immensely. Midnight Remember explores a vast spectrum of rock-orientated styles; beginning with poppy, quasi-electro indie that brings to mind Phoenix and elements of Cut Copy, it then works its way through Van Morrison-influenced jazz and blues, a flourish of steady indie numbers, and climaxes in a whirlwind of The Pogues, Dylan, and REM-influenced brilliance. Word is the group was experimenting with dance beats and diverse instrumentation prior to their debut, but didn’t have the confidence to pull it off. Well, if they didn’t then, they certainly do now. Even if Midnight Remember doesn’t please everyone, it sets the group in good stead for what can only be an even more breathtaking third album.

Arcade Fire - The Suburbs [EMI]

After their universally acclaimed debut Funeral and its contentious follow-up Neon Bible, fans and critics speculated endlessly the direction that Montreal’s baroque pop septet would take on their third album. To the surprise of many, the group has not gone back to basics, nor have they tried to build on the epic, complex arrangements that characterised the highlights of their first two albums. Instead, The Suburbs is, initially, rather unassuming. Against a restrained spectrum of indie pop songwriting, Win Butler’s lyrics are less poetic and less aggressive, but infinitely more relatable. In contrast to the escapism of Funeral and the brazen, accusatory tone of Neon Bible, The Suburbs, like its eponym, is ultimately more engaging because its thematic reference points are firmly rooted in the day-to-day world its listeners live in. The arrangements are  well considered and not too busy, but manage nonetheless to evoke a broader assortment of emotions than their previous work, encapsulating beautifully the world of urban sprawl in all its sterile, nostalgic, bitter-sweet glory. The Suburbs could easily have ended up as sentimental fluff, but instead may be the group’s crowning achievement thus far.

Hard-Ons - Alfalfa Males Once Summer is Done Conform or Die [Cool Bananas]

The very title of this album reveals much of what has made the Hard-Ons the enduring punk legends of 28 years that they are – the obscurity; the commercial infeasibility; the humour; and of course the middle finger raised directly at mainstream culture.

Fans will no doubt ‘umm’ and ‘aaahh’ about the pros and cons of this record compared to the group’s previous work, but overall it is simply a Hard-Ons record as anyone might imagine one. Notably however, the album does not adhere to one particular style, as their two previous works have sought to do. Whereas those albums were each dedicated (broadly) to one of the group’s notoriously divergent styles – from bubblegum power pop to black, thrash metal – Alfalfa Males nestles them (and everything in between) side by side. This constant fluctuation in style itself is enough to keep you listening.

The ensuing maelstrom – spanning 19 tracks in 40 minutes – is certainly no different to anything the group has created before, and this is what makes it so enjoyable. This is a group that is playing the music they like, because they like playing it, and for fans they know like it. Nothing sounds forced, and because the group only ever writes, rehearses or records when they have the creative desire to, they still play music with the same freshness, energy, and vision they had in 1982.

Dan Banks Band

As far as musicians with do-it-yourself ethics go, Dan Banks is a near-archetypal example. As well as being the founding member for the Canberra-formed now Melbourne-based DAN BANKS BAND, he is also their publicist, manager, website developer, tour organiser, and distribution representative. And on top of that, he’s also just helped produce, engineer, and master the group’s debut album, the first single for which they’ll be launching at Transit Bar this August. The album is a blend of folk, blues, reggae, and French jazz, showcasing the group’s immersive blend of styles that saw them win the Canberra and District Music Award for best Folk Act in 2007.

“The album turned out exactly as I’d hope, which is not your standard result,” Banks says, when asked how the album compared to his initial vision of it. “I had a really clear idea of what I thought it was gonna be like, and I definitely became a bit of a control freak at times. I spoke to some informed people about whether to get a producer in, and decided I didn’t need one.”

One of the “informed people” of which Banks speaks is John Butler. Several years ago, Banks took part in John Butler’s The Seed program, after being chosen as one of the 20 participants out of an application pool of 16,000. The initiative is aimed at helping out self-managed artists who need a leg up.

“I asked him about getting in touch with a producer to produce our first album. He asked me ‘do you need help song-writing?’, and I said ‘no’; he asked me if I needed ‘help arranging’, and I said ‘no’; so he said ‘well, you can be the producer then’.”

As well as traversing a melange of styles, the group works with an array of different musicians – an element which gives them their distinctive flavour. Their single launch at Transit Bar alone will include a horn section, mandolin, banjo, melodica, two drummers, and several special guests. Strangely however, the song-writing process isn’t as difficult as one may anticipate, as Banks explains. “I don’t want to sound wanky, but it’s a very organic process,” Banks says [sounding wanky… ha! – AL]. “The different influences come from each musician rather than from the song itself. I’ll have a chat with the musicians before we jam a song to tell them the story behind it and the vibe I’m envisioning, and we just go for it. They’re all extremely talented and very intuitive.”

Song-writing aside, the group is primarily focussed for the moment on their single release, but with a view to the long term future. “We’d really like to get into the regional and remote areas, and get on more festivals,” Banks says. “But we really just want to get on the national stage and make a good contribution to the Australian music scene. I’ve never been in this to conquer the world.”

Dan Banks Band will be launching their single She Got Me at Transit Bar on Saturday August 14. You can grab a copy of the single on iTunes… RIGHT NOW!

The Last Days of Chez Nous and Love Lust and Lies

In 1976, a 26 year-old Gillian Armstrong released Smokes and Lollies, a documentary looking at the lives of Kerry, Josie and Diana – three 14 year-old working class girls from suburban Adelaide. The documentary's soulful, yet honest, portrayal of the girls and their lives captured the hearts and imaginations of many Australians and provided a stark portrayal of Australia's social and cultural fabric of the time. Armstrong went on to film the girls over the ensuing years, releasing 14's Good 18's Better (1980), Bingo Bridesmaids and Braces (1988) and Not Fourteen Again (1996). Now, 14 years since she last visited these women, Armstrong has released Love Lust & Lies, the fifth documentary in the series, which will have its Canberra premier this August at the National Film and Sound Archive's Arc Cinema. 

The documentary will be screened as part of Arc Cinema's regular program of Australian films, a program which Quentin Turnour, NFSA's chief programmer describes as "running both contemporary and historic films and documentaries, as part of the archive's role to preserve and display Australia's history." As Turnour suggests, Arc Cinema's screening of Australian films generally focuses on classics, films which are rarely seen, or contemporary films which or only given limited release.

"A lot of films don't get to Canberra, because it's a small city with a limited number of screens," Turnour says. "We were aware Armstrong's new film wouldn't get here, so we offered to run it. Not only would it allow us to show other films in the series which haven't been shown in a while, but it would also allow us to show a new print of The Last Days of Chez Nous [Armstrong's fictional Australian drama of 1992], which we haven't shown in Canberra yet."

In July and August, Arc Cinema will also screen a variety of Australian films from the late 1950s and early 1960s. As with many contemporary Australian films, films of this period, such as Frank Zinnemann's classic The Sundowners were a controversial mix of Hollywood influence and storytelling, alongside supposed depictions of Australian culture and identity. And as with contemporary Australian film, the line between what was a true reflection of Australian life, and what was mere romanticising for the sake of Hollywood acclaim, was quite blurred.

Importantly, however, films of this period were the last to be made before Australian film's hiatus (with close to no films being produced between 1960-1966) and then its re-birth in the 1960s and 1970s, of which Armstrong was integrally a part. By experiencing films of the 50s alongside Armstrong's productions, audiences will observe the dramatic shift in style and influence of Australian filmmakers between generations.

"Armstrong is important because she was part of that first generation who were brought up with an awareness of just how bad things were in the Australian film industry," says Turnour. "[She] went to AFTRS' (Australian Film Television and Radio School) first ever class, and was one of the very first people to get formal film training. You see films from the 50s and 60s, and the drought that followed, and then you see the re-building of our film industry by people like Armstrong and others in her generation, during the 70s."

Armstrong is widely known for her period dramas, including My Brilliant Career, Little Women, and Charlotte Gray. However, it is her depiction of Australian life – particularly the role of women – which has been her greatest contribution to Australian cinema. "Armstrong has always used the documentaries and Kerry, Josie and Diana to chart the impact that feminism has had on Australian society," Turnour says. "Importantly, her films show, over time, how some aspects of feminism have become deeply integrated into Australian life, whereas in some ways, things haven't changed."

Armstrong's focus on female subject matters has also set her apart in her international features. Her films constantly depict female heroines and protagonists in very strong roles and – like her documentaries – aim to capture the mood of a particular period through the lives, identity and experiences of particular women.

"Only 5% of Hollywood films are directed by women. Even in Iran, 25% are directed by women," Turnour points out. "Armstrong's films are quite unusual, in an Australian or Hollywood context, as they show women in strong roles - not in chick-flick roles - and often in unusual historical circumstances."

Another Australian film to be shown in the coming months at Arc will be Andrew Lancaster's new film, Accidents Happen. A coming of age film starring Geena Davis, it is set in 1980s US but was shot entirely in northern Sydney. As well as gaining acclaim throughout the US and Australia, it again reflects the particular dynamic of Australian cinema and its North American counterpart.

"Back in the 50s and 60s, there were lots of American films shot and set in Australia. Now, we have an Australian film which was written and shot in Australia, but set in the US, so again the whole idea of what an 'Australian' film is, is brought into question," Turnour says. "Controversy over the depiction of Australian identity is something that certainly never goes away."

The Last Days of Chez Nous and Love Lust and Lies will screen at Arc Cinema on Saturday August 7 at 2pm and 4pm respectively. At 5:30pm Armstrong will join audiences in conversation about both films and her career. For more information on other Australian films screening at Arc in July and August, visit http://www.nfsa.afc.gov.au/whats_on/arc

Against Me! - White Crosses [Sire]

3 out of 5

White Crosses, the fifth album from Florida’s favourite punk rockers, barely misses a beat in taking up where 2007’s major label debut New Wave left off. Purist Against Me! fans will describe this as a continuation of the group’s downward spiral into bland, commercial radio rock. Others – who don’t judge every AM album against the yardstick of their infamous debut Reinventing Axl Rose – will consider White Crosses a commendable strengthening of the group’s slowly maturing pop-glazed arena rock; initially less impressive than New Wave, but ultimately a necessary reconciliation of the group’s former strident punk ethos with their new direction.

As with New Wave, White Crosses was produced by Butch Vig. The resulting near-flawless production value showcases the group’s steadfast confidence in their new sound without hiding behind the street cred attributed to low-fi production as they have previously done. During the standout moments of the album this confidence suggests a group quickly approaching the musical terrain currently dominated by east coast Springsteen enthusiasts such as the Hold Steady and Gaslight Anthem. At its worst, it reveals a group who can be unimaginative, repetitive, and already resorting to a shtick for sentimental nostalgia. As with their previous two albums, White Crosses is a solid effort, but is ultimately better at creating anticipation for their future work rather than excitement for their current.

The Man In Black

The board room at the Canberra Theatre Centre contains a long, wide table made to seat at least ten people. Usually, it would dominate the room. But today, sitting in one corner, is Tex Perkins – tall, dauntingly solid, and with a dark tanned skin, his presence fills the room. Once we’ve begun speaking, it becomes increasingly evident that, unlike those who seem to have been ravaged and exhausted by years of living the rock musician lifestyle and all that goes along with it, Perkins has become hardened and grown; someone whose character has become a juxtaposition of their decadent, wild side – a side forged and lived mostly in their youth, but still burning brightly – and alongside it, their current life as a family man, pragmatist, and, in Perkins’ case, theatre performer.

So it’s no surprise that his depiction of Johnny Cash in the musical theatre production THE MAN IN BLACK, soon to make its way to Canberra, has enthralled audiences the country over, gaining continuously extended runs in many cities. The show sees ‘Tex Perkins and the Tennessee Four,’ along with Rachael Tidd (as the infamous June Carter), portray the life of the legendary ‘man in black’ via a mixture of theatre and legendary Cash songs (usually about 25 of them, Perkins says).

Perkins gained the role after what he describes as “one of those beautiful, fortuitous moments”: less than 24 hours after asking his manager to find him a project that would get him to Melbourne for a couple of months, he was offered the role of Cash. Fortuitous it certainly was for Perkins, but even more so for the producers. They, like most, knew Perkins as the domineering frontman of acts like the Beasts of Bourbon and the Cruel Sea, but were unaware of how great a role Cash played in Perkins’ musical career. “They weren’t aware that my first band, [Tex Deadly and] the Dum Dums – at one stage, half our set was Johnny Cash. I learned my craft doing Johnny Cash, so it’s like home turf to me.” At this point, it was the late ‘70s and early ‘80s, Perkins was a teenager living in Brisbane and, like most teenagers, was attracted to the more basic elements of Cash’s music. “It was appealing because it had funny, bad-arse lyrics about killing people, drinking whiskey and taking drugs,” Perkins says. “But it was also very simple music – it seemed achievable to us. It wasn’t complicated and that was very attractive to a 17 year old punk kid.”

28 years later, the songs still resonate with Perkins, but on a different level. Perkins admits that nowadays, the one element of Cash’s life and music that he relates to the most is the conflict between the life of a travelling rock musician and the life of a family man. “Which was great, because that’s the basis of the show,” says Perkins. “It’s about the supposed contradiction, or duality of the fact that Cash was a God fearing, flag waving family man, versus the fact that he was a drug addicted, outlaw country singer that liked to sing about shooting cocaine and shooting his wife.” But like Cash, Perkins is still drawn to the dark humour within otherwise morbid subject matters. “Even though there are some really beautiful, serious moments, there’s a lot of humour in the show,” he says. “And that’s in keeping with the spirit of Cash’s songs. Even the songs that aren’t particularly comedic, you can tell there’s a real wit in the writing.”

Although he can now relate to Cash more than ever and play his songs better than ever, Perkins admits that the show certainly hasn’t been without its challenges. “Well, there are some quite specific disciplines you have to learn about doing a theatre show. Even though this show’s fairly simple, there are still rules to the theatre, and I had to learn those.” So as Perkins came to terms with singing someone’s else’s songs repetitively for months on end (he laughingly concedes that an unfortunate by-product of playing Cash is that he no longer listens to him), he slowly mastered the ability to engage crowds in a manner quite different to that which he was used to.

“I’d always wondered how actors can do repeated takes and bring something fresh and real each time,” he says. “I’ve learned the many subtleties of how you can say a scripted line; how saying something quickly or slowly, with pauses or different emphases can create such a dramatic effect, especially when 1000 people are listening to every single thing you’re saying.”

Along with the Tennessee Four, Perkins is joined by Rachael Tidd whose recent history is strongly theatre-based, but whose career first began as a saxophonist in a jazz big-band. “Having both the musical and theatrical background means she’s been invaluable to the show on many levels,” says Perkins. “Especially in the early stages, when the script we’d been given was a bit dry and we were spending days rehearsing it and working it into a state where we were happy with it, she was absolutely vital.”

So how does Perkins feel now? Still playing Cash songs, with scripted interludes; his life, like the show, seems to be repeating itself, albeit with greater attention to detail and subtlety. “When we went back to Brisbane to play, I thought ‘here I am again, playing Cash. Surely I’ve progressed past this!’” he says, laughing. “But it’s been a beautiful full circle; a beautiful, but scary full circle.”

The Man in Black runs at the Canberra Theatre from Wednesday June 30 to Saturday July 3. Tickets to all shows are sold out.

Mojo Juju & The Snake Oil Merchants

Since their formation four years ago, Melburnian blues/jazz/cabaret outfit MOJO JUJU & THE SNAKE OIL MERCHANTS have experienced a groundswell of change. After releasing their debut, self-titled album several years back, and embarking on several thoroughly extensive tours of the country, the group went through a rather large lineup change prior to the recording of their recently-released second album, Sellin’ You Salvation. Prior to setting off on yet another expedition across our fine nation which will bring them by Canberra later this month, I ask Mojo Juju – the group’s founding member and lead singer/guitarist – how the recording of Sellin’ You Salvation compared  to the creation of their very well-received debut effort.

“For the first album, we went in and did it in a couple of weeks in a room all together,” she says. “This album, however, was painstakingly meticulous in its crafting. It took two years to write this record, and there were a lot of tears shed, and punches thrown, in the process.”

While she assures me that her references to tears and punches are to some degree metaphorical, it’s unsurprising that Sellin’ You Salvation did not come about easily. The group’s previous album mixed dark, brooding Tom Waits-style blues with rapturous gypsy dance rhythms and Slavic folklore-type storytelling. Sellin’ You Salvation, by contrast, takes the jazz, cabaret and big-band influences that were barely a footnote on their debut, and balloons them out into the album’s raison d’être, and in the process transforming their sound from that of a Gypsy dancehall to 1920s New York.

“I think it’s always where I was heading and where I intended to go” says Mojo Juju, when I comment on the album’s dominant horn section and the extent to which, at times, listeners might think they’re actually listening to the soundtrack to Chicago. “The first album happened when I was putting the band together. Since then we’ve solidified the identity of the band, and now we have more of an idea of who we are and where we’re going. The lineup’s changed a lot, but we’ve finetuned our sound. I didn’t have access to horn players before, but I have them now, so I was able to do what I wanted.”

It’s not surprising that the group has chosen the musical path as reflected on Sellin’ You Salvation. Mojo Juju and her brother (T-Bone, the group’s trumpeter) are the grandchildren of jazz musicians, and children of singers, who immersed them in jazz festivals and jazz culture from a very early age. “I grew up with a really romantic fascination of the decadence of the inter-war years. People lived their lives with real immediacy,” she says. “The music was often played by people who were oppressed, but they still lived excessive and decadent lives. My appreciation of that type of lifestyle and attitude I think really comes across in our music.”

Mojo Juju & The Snake Oil Merchants play a free show at the Phoenix on Friday May 28. Joining them will be Kira Puru & The Very Geordie Malones, and Frankie Valentine.

Shorter+Sweeter

When you consider the vast spectrum of arts and creative enterprises, from cinema, theatre, music, visual art and writing, to journalism, photography, dance or even cooking, it wouldn’t be unreasonable to deduce that theatre is the only medium which has thus far not succumbed to vicious homogenisation and commodification. Whether it be due to its defining ‘live’ nature, or perhaps even its supporters’ spirited defence of theatre culture from reality television producers, it seems that theatre has, unlike most other art forms, protected itself from being raped of the very imagination and emotion from which its beauty derives, primed for marketing to the lowest common denominator and prepared for ready consumption in whichever prime-time slot or tabloid rag proves most convenient.

However, that’s not to say that theatre has not, to some degree, adapted itself, in order to be accessible to the shortened attention spans that our convenience-seeking society has inevitably produced. Short+Sweet, Australia’s very own (and also the world’s largest) short play festival, has shown, in its nine-year history, that plays do not need to be 120 minutes long to draw out inspiration, emotion and feeling from their audiences. And this year, six of the best entries from recent years of the festival will tour as SHORTER+SWEETER, showing audiences the incredible brilliance that theatre can produce in only 10 minutes.

“The best thing about short plays, is that it forces writers, actors and directors to be disciplined and not be indulgent and waste time,” says Alex Broun, the current Artistic Director of Short+Sweet. “In Short+Sweet, writers must value every word, directors every moment, and actors every breath.”

First conceived by Mark Cleary of the Newtown Theatre in Sydney, the Short+Sweet festival receives more than 1500 entries from all around the world each year, the only condition of entry being that the play must be less than 10 minutes in running time. Over 100 of these are then chosen to be produced for that year’s season. While the festival provides a new form of theatre in itself, it also provides a platform for less experienced writers, actors and directors to display their work, and to provide an environment where these less experienced artists can learn from, and be supported by those who are more established.

Shorter+Sweeter will showcase six of the most popular plays from recent years of the festival, including Broun’s very own 10,000 Cigarettes, David Sharpe’s Mandragora, Richard Graham’s Trough, Jane Miller’s Perfect Stillness, Cerise de Gelder’s Hi, it’s me, I’m on the train, Jonathon Gavin’s Sleepless Night, and Gregory Hardigan’s 49 stories about Brian Mackenzie, each of which, Broun assures me, has the ability to move you as much as any traditional length play. “It’s tough to choose a favourite,” says Broun of Shorter+Sweeter’s productions, “but for sheer originality I’d have to say 49 stories about Brian Mackenzie, which is unlike anything I have ever seen.” Quite a resounding judgment, for someone who has seen literally thousands of ten minute plays in his lifetime. “It is as moving, profound and deeply human as any full-length play and communicated with such simplicity and beauty.”

Like more traditional-length plays as well, Short+Sweet entries cover most conceivable topics. “There are certainly themes that re-occur from year to year – heaven and hell, satires on Shakespeare, homages to Waiting for Godot. And there are sometimes current trends – we had a lot of anti-Howard plays for a while, a lot of refugee plays after the Tampa incident, and every year we get plays about indigenous issues. The great thing about the festival is that we can be so topical,” says Broun.

But what of character development? Atmosphere? Tension? Empathy with the characters? Immersion of the audience into the world of the play? Don’t these things take more than 10 minutes to truly construct?

“The reality is that life has sped up, audiences are smarter, more sophisticated and can absorb information at a much quicker rate.” claims Broun. “They don’t need all the set up – you can just jump straight to the knockout punch,” he says. “So much theatre tries to pretend that cinema, television, MTV, Facebook, Twitter and YouTube were never invented. In our fast-paced, time-poor modern world I really believe ten minute theatre is the answer.” Timely advice indeed, especially for those who sat through over two hours of John Bell’s King Lear on the weekend, when they could easily have been at home catching up on the latest season of The Big Bang Theory or out shotting cock-sucking cowboys at Tongue and Groove.

However, even when the topic of Tropfest is raised – the cinema equivalent to Short+Sweet, Broun admits – Broun successfully defends the festival from any suggestion that critics may see Short+Sweet as a simplification, or dumbing-down of theatre.

“Tropfest seems a little mired in the gag or twist flick, whereas we’ve found in Short+Sweet that ten minute plays can also be complex, dark, profound, even moving. It’s about making the less obvious choices, taking a risk, pushing the boundaries of the form – I think that’s something Tropfest could take a look at!”  But ultimately, Broun concludes, Short+Sweet is a microcosm of theatre as a whole, and the incorruptible power and beauty inherent within it.

“It has re-affirmed my unwavering belief in the power of theatre,” says Broun. “The powers of actors on stage – with only characters, words and a story – to transcend life, and capture it, in one, poetic moment.”

Shorter+Sweeter runs at the Playhouse from May 25-29. Tickets $35/$30 from Canberra Ticketing or www.canberratheatrecentre.com.au

Shout Out Louds - Work [Dew Process]

The cover artwork for Shout Out Louds’ previous albums Howl Howl Gaff Gaff, and Our Ill Wills, although poles apart in style, were immersive and contemplative, nodding suggestively at the sugar-sweet, yet often complex indie-pop gems that were contained therein. The cover artwork for Work, however, shows the group in black and white, instruments in hand, staring deadly at the camera. A touch narcissistic, it also creates a moment of awkward tension for the listener, who wanders who has stolen the warmth from the eyes of these gorgeous Swedish folk.

And that’s how much of Work feels compared to their previous…um, work. It’s recognisable as Shout Out Louds and, even for a group of such slender age plugging away at their third release, shows them confident and uncannily able to evoke in the listener, at points, the angst of the depths of their heart. Their penchant for Cure-like refrains and ‘80s post-punk structures is as strong and polished as ever, but Adam Olenius’ vocals sound hollow and vacant. Even the title, Work, hints at the banality of routine, as though the group is going through the motions, rather than (ironically enough), working hard to dig deep and really exhume the feelings and emotions which gave their pop licks such heart and soul. The album is certainly no back-step, but for those who saw in them greater potential, will be a little disappointing.

We Unfold

In late 2008, Raphael Bonachela was in his native Europe and working with composer Ezio Bosso, when he was offered the appointment of Artistic Director for the Sydney Dance Company. Bonachela didn't realise it then, but his work with Bosso at the time, and the ensuing rushed move to Australia to begin his new post, would become the major influence for Sydney Dance Company's new production We Unfold.

We Unfold is Bonachela's first as Artistic Director, and explores themes of fear, the unknown, discovery, and the emotions felt as we search for meaning in new experiences. For Bonachela, the production – and in particular his choice of Bosso's Symphony No. 1 – is a natural consequence of his experiences of recent years. "There are so many connections between my life, the production, and the music," Bonachela says. "It is my first piece as Artistic Director [of Sydney Dance Company], and it's Bosso's first symphony; I was moving across the world, across the oceans, and the title of the symphony is Oceans One."

As the title, We Unfold, suggests, the production looks to illustrate not how a particular person, but how everyone, in one way or another, opens themselves up and reveals themselves to each other. Whether this 'unfolding' is an act akin to a flower blossoming or conversely like an outburst of rage catalysed by a certain event, it is an experience which is deeply personal, but at the same time inevitably revealing to those around us. During rehearsal, Bonachela challenged the dancers' reluctance to open up to each other and to connect as much as possible with what they were attempting to convey. "When you're dealing with a choreographer like me, who's out there to open up a dialogue, there will always be hard and emotionally challenging moments for the dancers," he says. "My work is not a narrative, it is not pantomime, and it is not some Disney-like production. It is about everyday life and ordinary people. It is about feelings everyone can open up to. The dancers improvised to a lot of different ideas and a lot of different music to reach those genuine feelings. The production is not esoteric at all. It may sound like it isn't. That's not the sought of production I do."

Such improvisation may also been seen as the production evolves over numerous performances. Canberra will only be its second audience (after its Sydney debut), and its first chance to 'breath' and take on a greater life of its own. "After Canberra, we go to Venice, then to Shanghai, then keep going," says Bonachela. "We've already started changing things, but we just do what we feel is right and hope for success. For me, Canberra is exciting, as it's the beginning of the development."

We Unfold runs from May 5-8 at the Playhouse, CTC. Tickets $50/$43/$35.

Spoon

It’s difficult to know what was going through Britt Daniel’s mind during the early months of 2009 as he wrote and recorded snippets of demos which would later form the majority of his group’s next album. As frontman and founding member of Austin indie-pop outfit SPOON, it would be fair to speculate that he was meticulously dissecting the group’s 2007 release, Gagagagaga, for the distinct element which set it apart from its five predecessors. Gagagagaga did, after all, bring the group huge commercial success and widespread exposure – a deserving reward for a group who had struggled to gain anything beyond niche critical acclaim since their founding in 1993. But then again, the fact that Spoon released so many stunning yet critically underachieving albums without ever shirking their musical identity shows that they never have been too worried about unearthing the secret to commercial recognition.

So it’s no surprise, ultimately, that their latest effort, Transference, departs somewhat from the slick charisma of Gagagagaga. The album offers tracks which are refined and raw – at points bordering on minimalism – allowing what sounds like aggression or simmering resentment on the part of Daniels to shine through without being drowned out by over-production. “The way a lot of these songs came about is that they were demos, and when that happens, it’s not going to be as ‘produced,’” says Jim Eno, the group’s drummer and, alongside Daniel, the only remaining founding member. “Whenever you want to work with a producer, and they hear a demo, they just want to re-record it. Britt was capturing great takes at his house by himself. Sonically, they were good, and we felt they needed to be used. We didn’t spend much time, relatively, in the studio, because we really wanted to use Britt’s stuff.”

Such a simple yet effective approach to writing and recording could explain much of Spoon’s appeal to listeners fed up with jumbled, over-rehearsed songwriting. “We have never really tended to come up with songs by ‘jamming.’ On this album in particular, I think we traded ‘feel’ for ‘slickness.’ I think ultimately this album just doesn’t have the machine sound of previous albums.”

But far from parting with every stylistic mantra the group had assumed in the past, Transference does, nonetheless, sound very much like a ‘Spoon’ album, despite those elements whose presence will undoubtedly take some fans and critics by surprise. “I think we do have a particular sound,” says Eno, speculatively, although his fans would never have considered it a point open to debate. “It’s pretty interesting, after seven records, to think that other bands sound like us. We don’t try consciously to have a ‘sound,’ it’s just elements that we prefer. It’s Britt’s songs and Britt’s vocals, which is the obvious part. But it’s also about having tight drums and sparse arrangements. Spoon have only ever used things if they add to a song. There’s never any miscellaneous stuff in our work.”

Spoon plays at the Groovin’ the Moo festival on Sunday May 9 at the University of Canberra. Tickets through Moshtix.

Public Opinion Afro Orchestra

Touring with a group of 20 musicians isn’t an easy thing to do, as Zvi Belling will tell you. As bassist and founding member for Melburnian Afrobeat group PUBLIC OPINION AFRO ORCHESTRA, Belling has helmed a group who has risen from obscurity to national acclaim and international demand in their mere 12 months in existence. Funnily enough though, when the group make their appearance at the Gum Ball Festival in the Hunter Valley this May, their debutant status will be more a result of their logistical complexities than a lack of demand. “We did have discussions with Gum Ball last year, when we’d just formed,” says Belling. “We were quite flattered at that stage, but the logistics of getting such a huge band together at such short notice was too difficult.”

The group has recently released their debut LP, Do Anything Go Anywhere, a rampant mix of Afrobeat, funk, hip-hop and soul which was recorded partially in Australia and partially in South Africa and Nigeria, where several of the core members recorded their collaborative jamming with local hip-hop stars and musicians. “Our desire isn’t necessarily to record and collaborate with people in other parts of the world,” says Belling, when asked whether such travel-cum-recording trips will be a mainstay tool of the group in preserving their distinctive style. “But we think the process of featuring guest artists is very important. On our next album, it’s likely that a lot of the guest artists will be Australian.”

The Afrobeat movement sprouted during the 1970s in Africa, when jazz and funk began to fuse with traditional African percussion and vocal styles. However, it was the political edge inherent in the Afrobeat music and its scene which gave the music both its passionate energy and lasting appeal. “The political and musical elements of Afrobeat are intertwined and can’t be separated,” says Belling, of whether the group’s Afrobeat influence has been more political or musical. “The two come packaged and we’ve been very conscious of that. We’ve sung about issues in Africa, but the trick for us is to make it relevant for us, as we all live in Australia.” But while Afrobeat is spreading its wings in many other parts of the world, Australia is, in Belling’s eyes, falling behind. “I think globally, in the last five to ten years, there’s definitely been a rebirth of Afrobeat; it’s really blossomed,” he says. “But Australia is really slow to catch on. Fortunately though, people are really receptive to the sound, so I think that it will gradually grow at a faster and faster pace here.”

Australian Afrobeat fans should hope, therefore, that festivals around the nation follow the lead of Gum Ball and WOMAD in hosting groups like POAO. As Belling points out, festivals are currently one of the only ways for the group to get out of Melbourne. “Many clubs aren’t big enough for us, so festivals are really our only opportunity to open ourselves up to new audiences.”

The Gum Ball Festival is on over Friday-Saturday May 28-29 in Belford, Hunter Valley, featuring the Basics, Tijuana Cartel and many more. More info at www.thegumball.com.au.

Angus and Julia Stone - Down the Way [EMI]

After endearing themselves to the hearts of so many with their 2007 debut LP A Book Like This, Australia’s favourite brother-sister duo have, with this sophomore effort, succeeded in creating a folk-pop opus to match, if not surpass, their debut. The Stones have survived the dreaded second album curse by, most notably, taking their (almost sickly) sweet, quasi-freak folk inclinations and adorning them with more substantial, complex and involved instrumentals inclusive of drums, banjos, piano, and fuzzy guitars. With such strategic developments, the pair – but most notably Julia – sound less doting, and parts of A Book Like This now sound like the naïve angst of a 13 year-old girl in comparison. The vocals are as enchanting as ever (although the constant alternation between songs sung by Angus and those by Julia may be irritating to some), but they’re now enriched with a deep, nourishing undergrowth to their standard acoustic foliage. This gives the album a tone which is at times surreal and at times electrifying, but overall undoubtedly more confident, mature and – most importantly – more lasting.

The Walworth Farce

National Folk Festival

You might remember that late last year somewhat of a brouhaha arose after the sudden, secrecy-shrouded axing of the Multicultural Festival’s Fringe Festival. For the sake of editorial efficiency, it suffices to say that the ACT Government, to its credit, subsequently threw the NATIONAL FOLK FESTIVAL a bit of extra dosh along with the words “go forth and placate these mischievous scoundrels, who naught but bother us with demands of greater arts funding, and more commonly the head of Mr Hargreaves!” And so it is that this year’s National Folk Festival will see the addition of ‘The Majestic’ – not just a mere extra stage, but a venue, a world in itself, which seeks to “celebrate the weird and wonderful borderlands” of the Folk Festival. And no better man could have been chosen for the job of Artistic Advisor for The Majestic than Adam Hadley who, after being involved with running the former Fringe Festival for many years (whose 11 years at the Folk Festival puts him in the position, as he describes it, of being “not part of the old guard, but no spring chicken”) and whose involvement and accomplishment of all things theatrical and musical in and around Canberra is too extensive to fit within these here pages, make him the most natural – nay, the only natural – choice for such a position. “My aim for The Majestic has been to take the chaotic flavour of the fringe, to engage the audience as a community within the festival through workshops, and to present them with a diverse program of music, circus, poetry, and lunacy,” says Hadley, of his strategy in deciding on The Majestic’s rationale. “The Folk Festival has always had a strong fringe element, and I have seen this as a great opportunity to formalise this element, and give it a place to allow the performers to truly perform.”

To this end, The Majestic will host a veritable Jacobean feast of bands, cabaret and vaudeville-inspired groups, theatre performers and circus acts. However, the chain of reasoning which begins with the aim of creating a ‘fringe’ type of vibe, and ends with circus performers and vaudeville acts, isn’t necessarily the inevitable one. Even once The Majestic’s identity was decided upon, the mammoth task of organising the groups which would espouse this identity still remained. “An important thing I considered was that all of the acts I was booking somehow belonged to a continuum, that they had a strong grounding in a tradition and were interested in running workshops,” says Hadley.

One of the lucky groups chosen to pursue this destiny for The Majestic is Melbourne’s very own vaudeville bohemians, Rapskallion. Consisting of seven musicians and two scantily clad circus/cabaret performers, Rapskallion have floated to the top of Melbourne’s bubbling gypsy/jazz scene in recent years with their mix of quirky lyrics and rustic, rowdy and romantic accordion-driven dance tunes, backed by junkyard drums, mandolin, violins, trumpets, trombones, guitars and a swagger of other music-making devices. Speaking with guitarist and Rapskallion spokesman Fingal ahead of their appearance at the Folk Festival, it’s obvious that Hadley couldn’t have chosen a more fitting group for The Majestic’s debut.

“We have always had a flair for theatrical dress, and most of us are involved in one way or another with theatre,” says Fingal. “Although music is our major passion, the theatrics allow for added creative spontaneity, and we have always appreciated the need for scantily clad dancing girls.” Having witnessed in recent years the plethora of groups influenced by gypsy or eastern European music and theatrics begs the question as to the reason for this scene’s rapid expansion. “I think that people relate to the passionate, romantic and creative elements of these forms of entertainment. If you go out to see a band or act that embodies these elements, you know you’re in for more than just a gig, and more a timeless experience,” says Fingal; a sentiment which Hadley shares, but with certain qualifications.

“It differs very strongly from band to band,” says Hadley, of different group’s specific musical influences. “Culture-wise, it is difficult, because there are obviously two major sides to it – the romantic culture of living on the road, playing music for food, and living a fun-loving life outside society as much as possible. And then there is the reality that the large majority of us come from relatively middle class Australian families, and in reality the Roma are a displaced people, subject to poverty and mistreatment that we will most likely never know.” Ironically, for Rapskallion, it seems that it was western, middle class society which brought them, at a young age, the inspiration that would eventually lead them to where they currently lie on the musical/cultural spectrum. “Rapskallion is made up of a renegade bunch of travelling musical misfits,” says Fingal. “But importantly, we grew up in the time of the Muppets, who are, in my belief, the greatest exponents of late 20^th century vaudeville, so I think that had a profound effect on all of us from an early age. The rest has just been an organic and natural progression.”

For Hadley as well, The Majestic represents an event of natural progression. “I feel like I’ve been working towards this for ten years,” he says. “I have probably smashed my shins on a few hurdles, but will most definitely be carrying my bobsled across the finish line on Monday April 5, while the German team slow claps me.”

The Majestic stage will run at the National Folk Festival from Thursday-Monday April 1-5. Alongside workshops and theatrical and circus acts, the Majestic stage will host Emma Dean, Rapskallion, Lolo Lovina, Doc Jones & the Lechery Orchestra, Abbie Cardwell, Doctor Stovepipe, Mr Fibby, The Ellis Collective, Voss and many more.

Bluejuice

It’s an oft-quoted criticism of the instant-messaging phenomenon, the ability to both express and identify irony and sarcasm is hindered, if not completely disabled. Over the phone, vocal intonations and pauses can help express such rhetorical devices, but the absence of facial expressions and body language still swathe the conversation in a degree of uncertainty. And so it is that, when speaking with BLUEJUICE vocalist Jake Stone, you’re never too sure whether he’s speaking from the heart, or simply taking the piss. It’s not made easier by the fact that Bluejuice are renowned for never taking themselves too seriously. So, unsure as to the tact I should utilise with Stone, I fall back on the reliable ‘vanilla’ interview question, asking Jake whether the group is exhausted after their epic touring schedule in 2009, only to back it up with the ‘(Ain’t) Telling the Truth’ tour, which will bring them to the ANU this April. “We’re fuckin’ tired, but we’d miss it if we were gone,” says Jake. “We’re like this guy I’m watching making fish and chips right now. He’s both financially, creatively, and professionally successful, but probably very tired as well. We’re not that different.”

The group’s sophomore effort of 2009, Head of the Hawk, stunned and impressed critics and fans alike, departing from their debut’s rag-tag combination of punk and hip-hop and embracing stadium pop rock sensibilities with open arms. “We’re not trying to be more commercial,” says Stone. “It’s deliberate that we want to be on as many radio stations as possible, but we’re not sitting in the studio thinking ‘how can I shape this emotion to impress Nova radio listeners?’”

While the group seems to have hit upon a good thing with Broken Leg, they won’t be sticking religiously to that particular pop recipe. “We wanna be like Ween. They get accorded a lot of freedom because they don’t have to uphold a particular sound. We’re trying to make a point of not being a good original band, but good mimics. Being a mimic allows you to shape things in a very artistic way. Broken Leg is just a condensed form of all these stadium rock songs. My goal is to make these reductions of popular culture.” He elaborates a little more, after some prompting. “At the moment we’re doing the mid-‘80s, that Phil Collins, ‘85-‘87 period. I wanna push it back a bit further though, onto the end of post-punk, when the Police were pushing over into the new wave and into what would become the ‘80s sound.”

Lastly, he goes on to decry the extreme banality of the avant-garde wannabes – the indie scene. “I wanna be a reverse punk. Everyone just tries to be more alternative these days. I actually wanna be more pop and straight-laced. I wanna do Huey Lewis rock n roll. If you deny a song like The Power of Love you’re lying to yourself, and you should lighten the fuck up.”

Bluejuice play at the ANU Bar on Thursday April 15, with support from the Holidays. Tickets from Ticketek.

Voss

Taking their name from Patrick White’s epic novel based on a Prussian explorer and naturalist, Canberra group VOSS are not the literary-influenced bohemian-chic wannabes that one might expect from a group with such an eponymous title. Rather, the five local musicians, who describe themselves as being “folk sometimes and sometimes more rock and roll, but mostly something in between,” are merely seeking to explore their personal musical trajectories and inclinations to the greatest degree possible. While their recently released debut LP The Inland Sea – which was recorded locally and engineered by Sam King – dealt deliberately, like their eponym, with themes of travel and landscape, the group are hardly likely to stick to their alt-country formula, regardless of the attention it’s been attracting of late.

“The album’s definitely good, and we’re really happy with it, but it’s perhaps not as good as we could do now,” says lyricist, vocalist and guitarist Owen Carroll, ahead of the group’s performances at the National Folk Festival and their east coast tour with Brisbane lads Cascadeer. We’re sounding a lot bigger and better at the moment, so we might not necessarily stick with the exact same style, just for the sake of it. But that’s obviously something we’ll all decide on along the way.”

The group – consisting of an often varying combination of guitar, bass, drums, banjo and violin – have charmed many fans with their swirling, searing blend of country-folk and rock, which is at times sweet and endearing and at other times harsh and unforgiving. With more recording already in their sights, Carroll suggests that while the group’s sound may change, this is more due to their greater confidence rather than a conscious decision to shift styles. “We know more about what we want to sound like and what we’re comfortable about playing,” says Carroll. “We’re a lot less nervous, and have a better idea about what we want to say. The first album was just a collection of songs, but the music we write from now on will be a little bit stranger and a little less straightforward. Not necessarily experimental, but a little more diverse, and with a little more contrast.” However, this doesn’t necessarily mean you’ll be seeing a nine-piece Voss on stage anytime soon. “We’d like to add more instruments, but not in a touring sense; only on the record. It’s hard enough to play shows with five people as it is already.”

What’s more exciting for the group than any chamber-folk explorations is their approaching tour with Brisbane group Cascadeer, taking them beyond the ACT borders for the first time. “We’re pretty nervous. I feel like it shouldn’t be happening – it still feels like we’re not a real band,” laughs Carroll. “Cascadeer are awesome though. They’re like us, but better. They have a French horn, accordion, bass and a couple of banjos. The whole kit and caboodle.”

Voss play at 3pm on Friday April 2 and at 5pm on Saturday April 3 at the Majestic Fringe Stage of the National Folk Festival. They will also play alongside Cascadeer (Bris) and Epithets (Bris) at Transit Bar on Thursday April 8.

Toy Symphony

For Australian playwright and director Michael Gow, the very process of writing and creating is just as intriguing and topical, just as filled with ecstasy, drama and despair as the events and themes with which the writing process seeks to deal. Best known for his 1986 play Away and shortly to retire from his post of Artistic Director for Queensland Theatre Company, his latest work Toy Symphony explores the mind of a writer in the midst of a creative crisis.

Toy Symphony was first released in 2007 – at the time over 10 years since his previous full-length work – and immediately attracted extensive critical acclaim, picking up Best New Australian Work at the 2008 Helpmann Awards, and five gongs at the 2007 Sydney Theatre Awards. Re-opening for a new season and a new cast at the Queensland Theatre Company, the production will come to Canberra this March, with Chris Pitman playing the central protagonist, Roland Henning.

Henning is a writer struggling with writers' block, desperately trying to make sense of the mess his mind is in. As Henning seeks help from his therapist Nina, the audience is thrown into the depths of his psyche, where Henning attempts to come to terms with the real-life experiences which gave rise to his artistic tendencies. Toy Symphony is widely regarded as being a very autobiographic piece for Gow, and significantly reflective of his own internal struggles during the writing process.

"All the events happened, but not the way they happen in the play," says Gow, shortly ahead of the production's Canberra debut. "Writers often take an actual event and play 'what if' with it. What if I said what I was thinking at a funeral? What if I acted on thinking an acting student was attractive?" Gow admits as well that Toy Symphony is a play that could only have been written at this stage in his career, but primarily because "it was an attempt to take apparently irreconcilable material and find a form that could encompass it."

Many critics have regarded the play as like a puzzle – a patchwork of meanings and events which the audience member may only put together days after watching the piece and – fittingly enough – through the use of their own creative imagination. As real-life characters from Henning's past, as well as mythical or historical figures appear on stage as part of Henning's internal dialogue, the audience is treated to an endearing mix of magical and outstandingly authentic elements.

"I think it's about someone who runs into a patch of life that gets rougher and rougher," says Gow, when asked if the play's message will reach beyond those with artistic inclinations. "They learn to stop trying to control things and just ride it out. I think everyone can relate to that."

The play's original production cast Richard Roxburgh as Henning – a role for which he won Best Actor at the 2007 Sydney Theatre Awards. Although these may seem like big shoes to fill for Pitman, he points to Gow and the script itself as support enough for taking on the role of Henning post-Roxburgh.

"Michael Gow has illuminated an incredibly complex character in Roland Henning," says Pitman. "It has certainly been a challenge to colour in his many flaws and charms but because Michael is such an emotionally powerful writer, I haven't really needed to look further than the script."

The play runs for over 150 minutes, with the character of Henning not leaving the stage during that time. Coupled with constant jumps between present-day Henning and Henning as a young boy, Pitman's role demanded a huge degree of focus and poise. However, Henning's character is so well crafted that Pitman admits it has been easy to immerse himself in the character's world.

"Playing the central role in the play and not leaving the stage does require a focus and energy but once I'm out there I am in the world of the play until I'm spat out the other end," says Pitman. "I play Henning as an adult, and as an eleven year old boy without any costume change, so one of the great challenges in rehearsal was how to slide from the adult to the child and back again, without throwing the audience out of the story. But to see him as an adult and a child gives the audience a chance to understand and sympathise with him when he spirals into a path of self-destruction."

Appropriately enough, Toy Symphony, a play dealing with a writer's fear that he may never be able to write or create again, is continuing to grasp audiences around the nation just as Gow himself is retiring from Queensland Theatre Company with the express desire to place more time and energy into his writing.

"Like Away, people have seen this as a redemptive play," says Gow of the many connections critics have made between the play and Gow's previous productions, as well as with Gow's own life. "But for me Away is about death and is neither optimistic nor pessimistic. Like Toy Symphony, it's about how meaningless it all is, but still worth the trip.”

Toy Symphony runs at the Playhouse from March 16-20. Tickets from Canberra Theatre.

Jonathan Boulet - Jonathan Boulet [Modular]

You’d be hard-pressed to find any triple j listening indie pop-tarts in Australia who didn’t know the distinctive opening notes of A Community Service Announcement – the first single of Jonathan Boulet’s infatuating debut album. The fact that A Community Service Announcement – the album’s most accessible, but far from most immersive, track – is the last on the record reflects appropriately the modest assuredness of this potential laureate. Recorded by himself in his Castle Hills garage, Boulet has conjured an intriguing mélange of pop stylings which have the potential to both seduce and infuriate the listener. Boulet’s charm is that his determination and conviction, coupled with his creative curiosity, allow him to write songs ranging from beautiful acoustic odes, to electronica, disco-tinged indie treasures, to near-experimentalist jungle-pop, to name but a few of the album’s movements. Conversely, his ability to infuriate is rooted in the almost suffocating positivity of each song. Despite the diversity of styles on the album, the overwhelming “life-affirming” tone and “unbridled optimism” (as articulated in his bio – I couldn’t have said it better) of every single moment of the album makes you feel like you’re being forced to spend 45 minutes with a group of psychopathically joyous teenagers fresh from World Youth Day. However, luckily for Boulet, there is the slightest, teasing, sense of a darker and more intriguing side to his character, and that alone is enough to make him one to keep an eye on.

Mr Fibby

Jonathan Boulet

Surfer Blood - Astro Coast [Kanine]

From Palm Beach, Florida, psychedelic popsters Surfer Blood encapsulate almost everything that your average indie armchair critic would love and hate about a new group. Firstly, they’ve got a deliciously ironic name which on first glance might appear to be a veiled wish they’d like to see visited upon the beautiful, carefree, but ultimately shallow surf jocks who inhabit their hometown. Until, of course, you realise that musically, the album pays huge tribute to the surf rock legacy of The Beach Boys, and thematically, it draws great inspiration from the lifestyle and ideals of the beach culture which their name suggests they may resent. Most importantly, however, the boys have a matchless gift of crafting a sound which is distinctively their own, while simultaneously wearing their influences proudly on their sleeves, thereby giving their listeners the choice to either love them for their originality or hate them for their shameless inspiration, depending on their mood. Everyone from Animal Collective and Weezer to the Shins, Silversun Pickups and Vampire Weekend can be heard amongst these fuzzy pop treasures, but ultimately it’s every song’s overwhelming sense of cheerfulness which makes this album.

Anti-Flag

Fred Smith

Reel Big Fish

Pennies From Kevin

DVDevotee Is Anybody There?

Set in a seaside English town in the late '80s, Is Anybody There? follows Edward, a ten year old boy whose parents have turned their house into a family-run retirement home. Edward is infatuated with death and the supernatural, obsessing over the final hours of each guest at the home, recording and repeatedly listening to their dying sounds which he records via a tape recorder under their bed. When Clarence (Michael Caine), a surly, reclusive former magician reluctantly enters the home, what can only be described as a clichéd "unlikely friendship" slowly develops between the two. Edward's obsession with the afterlife, along with his uncanny ability - quite common among ten year olds - to break things via a wayward soccer ball, initially clashes with Clarence's constant internal grief for his estranged, now dead wife. Gradually, the two come to use each other as a form of counselling, and Edward's sprouting interest in magic cements the bond between he and Clarence, who, by the second half of the film, is spiralling rapidly into the advanced stages of senility. The somewhat overdone 'companions with large differences who come to learn from each other and thus become stronger' relationship between the two is admittedly touching, but the most moving scenes are those involving Edward's parents - his mother, exhausted yet endlessly devoted to her young and struggling retirement home; and his father, obviously in love with his wife and son, but whose fear of being suffocated by living in and running a retirement home manifests itself in sarcasm, coldness, and the pursuit of the home's 18 year old part-time helper. Caine's acting is as superb as ever, however the dialogue he's given to work with is sporadic in quality and you feel that the writers have used his senility as an excuse for him to conveniently jump from subject to subject; from joy to grief, as the situation calls for. Is Anybody There? does provide a few laughs and a few tears, but falls short of its potential.

Calling All Cars

When I speak to Adam Montgomery, bassist/vocalist for Melbourne punk-inspired rockers CALLING ALL CARS, it's late on a Saturday afternoon and he's just finished an all-ages afternoon show in the suburbs of Melbourne. The group is in the early stages of a 30-date tour of southeast Australia with After the Fall, in support of their new single Hold, Hold, Fire, which will also bring them through Canberra for the Trackside Festival in late November. Even though this is in addition to the two national tours they've polished off already this year with Butterfly Effect and Cog, Montgomery is surprisingly eager to get back on the road again. "I think, if anything, we're enjoying touring even more than we were at the beginning of the year," he says. "We'll have done over 100 shows for the year by the time we finish. But we're on our own tour now, and it's great to play the smaller clubs, get closer to the crowds and get a bit sweatier."

After the release of two EPs, the group has spent the small gaps in touring in the past year to record their debut LP with Shihad's Tom Larkin in the producing role. "He's great. Coming from a group like Shihad, you can imagine how much experience he's got. They've made every mistake and every right move you can think of. We're a very young band, so he's absolutely invaluable. But he's a hard-arse in the studio. It's gotta be perfect, or he won't accept it." But having to write songs or arrangements on the road and spend their precious non-touring time in the studio with months between recording sessions does still have its advantages, Montgomery suggests. "It's not ideal - I'd certainly like to do the recording in one lot. But the good thing is that we constantly have fresh ears for our music - we have the luxury of coming back months later and listening and changing things."

Like so many young groups in the throes of recording their debut album, Calling All Cars are doing their best to reconcile the early sound of their former EPs with the direction they've taken since then, and especially in the last year of touring. "There's actually only two songs on the album that we haven't been already playing at our shows, so the album is already familiar to our fans and they like it," he says. "It's definitely tougher than our old stuff, which had a greater punk influence. Our earlier work was just fast rock, but we've developed more variation now. Being able to play together more has allowed us to find our sound, find where we sit and generally write better songs." But as Montgomery admits, although they can "bitch and moan" about having to write on the road, record during all their free time and live much of their life in the van, "we get heaps of free beer, which is pretty cool," he says. "We steal other people's riders all the time. We're rider whores, pretty much."

You can catch Calling All Cars at the Trackside Festival on Saturday November 21. Tickets can still be purchased through Landspeed Records, Ticketek, Moshtix and Oztix.

Bluejuice - Head of the Hawk

Here's my review prologue: Vitriol - yes, it was a brilliant song, and no, I'm not sure if the group could ever make something like it again. But that stroke of absolute genius shouldn't allow us to compare all their proceeding work against such an unfairly high yardstick. I mean, even after Exerciser, Rhubarb put out some pretty good stuff, didn't they? I'm fairly sure they did. At any rate, the point of this gratuitously long introduction is that although none of the tracks on Head of the Hawk quite match Vitiriol, the album as a whole places Problems well and truly in the shadows.

The boys have focussed here much more on their endearing pop sensibilities and lyrical finesse , crafting an album that might be less aggressive, but at the same time is more focussed, less floundering, and as a result it lands a much harder punch. Gone is the excessive bravado of Problems, and instead they've dished up pure pop pay-dirt. What remains is an album that will stay in your CD player for many more months, and in your head for much longer.

The Living End

Thanks to such modern developments as internet downloading, MySpace, MP3 players and - if all else fails - the pimpin' sound system rigged up at Woden bus interchange, we live in an age where new and potentially exciting music constantly saturates our ears. We can indulge in new music whenever we feel the urge, and gone are the days of having to listen to Dude Ranch over and over until I - oh, I mean the collective 'we' - scrounged together $25 to buy another album (one with maybe a few less gay jokes). But even in an era of single-serve, quick-dispose plastic musical acts, there are still groups who stay on the scene and gain our undivided attention. Sometimes it's out of a sense of commitment, sometimes out of sentimentality, or, in the case of THE LIVING END, simply because they continue to grace us consistently with stellar music untarnished by the shallow panache of whimsical music trends and fashionistic scenester posers. And although I can't guarantee that there'll be no posers at Stonefest this October, I can guarantee you that the Living End will be there to help you rock out and feel less guilty about those white canvas slip-ons and faux-flannel slim-fit shirt you bought from Cotton On the day before.

The group is in the midst of a string of New Zealand dates when I catch up with Scott Owen, the group's loveable giant and double bass master. Ever keen for a chat and likely to chew your ear off, he quips about the group's recent extensive tour of the UK and their upcoming return to mainland Europe. "It's different, but many of the crowd favourites are the same because our following over there is pretty loyal and I get the impression most of the fans have all of our records," he says. "But overall it's just a blast to be in that part of the world and to experience the different cultures."

The group released their fifth full-length, White Noise, in July of last year. After Modern Artillery and State of Emergency, two albums laden with solid tracks but little musical exploration, White Noise marked a slight shift towards a heavier focus, keeping their fans on their toes and reminding the industry why they've been around for so long. "It felt like the harder sound, that we found in ourselves and explored for this record, was always there, but we'd never really tapped into it before," Owen says. "But I think it's definitely something we will continue in the future." Owen admits that the group has as yet not begun writing for their next album, yet it would appear that any upcoming material will see them broaden their horizons, with Owen stating that the group will continue to move beyond their traditional rockabilly influences to "many different styles." Hell, with Owen suggesting that Wilco and the Raconteurs are the most played albums in the tour van at the moment, no one can be sure what to expect.

Yet while their albums may diversify and evolve, their reputation as one of Australia's greatest live acts is unlikely to change. While some acts seem to rely on people's devotion and love of their music to get through a show, the Living End seem to treat every show like it was their first - never taking the audience for granted, always giving every last ounce of energy they have, and never failing to electrify the crowd into a manic frenzy. And who could ever forget that song. While many groups with seminal, almost institutional songs appear to weary of playing them, no such signs of weariness or boredom appear on the boys' faces when they bust out that song at every single show. "It's a funny question, because there are times when we don't really feel like playing it," Owen mentions. "But it always gets such a great response that it's hard for us not to get enthusiastic about it." Here here.

And even after so many years of touring, Owen seems lacking in any of the disillusionment or feelings of monotony that are prone to overcome groups of such age and experience. "Touring definitely has its ups and downs," he says, "but the buzz from playing every night and seeing the world by far outweighs the negative aspect of being away from home and living out of a suitcase."

With the group now having been firmly cemented in the Australian music scene for well over a decade, it's hard to see them fading away or breaking apart any time soon. Although members of some groups often have vague desires to explore other career paths, begin families or - god forbid - begin solo careers, Owen admits that he and the lads are still committed 100% to the group. And with such a bonza string of albums and high-selling tours under their belts, why wouldn't they? "For the moment we want nothing more than to get our band across to as many people as possible," he says. "I think we can stand the test of time. I feel that between the three of us there is so much diversity in our taste that we still have a lot of records in us."

The Living End are part of the sumptuous Stonefest lineup. The festival takes place at the University of Canberra on Saturday October 31. Tickets through Ticketek.

Casual Projects

It's very late on an unseasonably chilling September Tuesday when I speak to Munro Melano, keyboardist for erstwhile post-genre mega outfit CASUAL PROJECTS. Ahead of what is likely to be a springtime of writing, recording and touring for the group, I'm keen to hear Munro's thoughts on the year that's passed; a year that's seen the group move to Melbourne, see through an epic national tour and even make time for a brief foray over to North America, where they popped by the South By Southwest Festival and performed a showcase gig at Canadian Music Week. "It's been a great year, especially moving to Melbourne. Since four of us went overseas for a few months, we're still getting used to Melbourne and are kind of having to go through the early stages twice," says Munro.

Since releasing their sophomore LP No Rest in May 2008, the group has snapped up successive International Songwriting Competition awards, had their award-winning videos flogged on Rage and Channel V, and even had their video for Move Along pick up the Best Indie Video award at this year's St Kilda Film Festival. With the prospect of a third album hitting the shelves in early 2010, many might wander about the direction the boys might be taking in their current writing periods, especially considering the loss of a few members due to their relocation.

Although being known for their seamless alchemy of hip-hop, rock, jazz and funk, Munro suggests that this winning formula won't necessarily last forever. "I'm pretty excited about our next album," he says. "I'd be disappointed if we just have the singer doing the chorus and the rappers doing the rapping sections, as we've done before. We've lost the horn section, so it might be a bit more synth-heavy, but that might also be because I've stocked up on a few more synths since we moved here," he says, chuckling a little, before elaborating a little more on the group's ongoing evolution. "We've changed, but not because of the move. Just because groups always change. And of course, your musical influences change. Just this week I've been listening to Jay-Z, which I never would have done in the past. When we started, I never would have checked out gangsta stuff like that. The way you feel after listening to Jay-Z is very different to after listening to my older influences, like Arrested Development."

But of course, before we can hear Munro going all keyboard-gangsta on us, the group will knuckle down for some diligent writing and touring, including a trip to Canberra in early October. "I'm really excited to come back and see what's been going on in Canberra. We need to find someone to support us and having been away from the scene for almost a year now, Julz and I are kind of excited about doing some MySpace searching to see what's cropped up in Canberra recently." You heard the man, kids. Get ya skates on!

Have just uploaded a new track Music onto their triple j Unearthed site.

After The Fall

It's been four years since Central Coast rockers AFTER THE FALL released their last album - 2005's Always Forever Now. And although it might seem like only yesterday that t.A.T.u. dropped Dangerous and Moving and Barbara Bush was explaining how life at the Houston Astrodome in the aftermath of Hurricane Katrina was actually an improvement in lifestyle and "working very well" for the underprivileged of New Orleans, for the lads of ATF it's been a tumultuous four years of success, disappointment and redemptive hard work. Now with a new album, [In] Exile, to bequeath to their starved fans and a slot on the Trackside lineup to boot, it looks like the harsh, cold times of the group are, suitably enough, coming to an end.

"We toured Always Forever Now for two years and during that time we didn't do much writing at all," explains frontman Ben Windsor, chronicling and explaining the time gap between releases. "After that we didn't really know what we were doing direction-wise. We were dropped by our label [Festival Mushroom] and didn't know if we would make it. This new record was completely self-funded by us, so we were pretty much indie in the true sense of the word."

The product? [In] Exile - an album which sees the boys place greater faith in their ability to sooth, rather than in their aural force. But it almost didn't turn out that way. After being dropped, the group hit the studio with fountains of undirected vitriol that might have delivered us an album more like Chocolate Starfish and the Hot Dog Flavoured Water. "We wrote lots of really angry rock songs at the start," says Windsor. "But when we went back and looked at them, it was just hilarious; it wasn't us at all." So they regrouped, regained their composure and began writing songs like Scotland Yard and the album's first single, Desire, where caressing "doo doo" back-ups and less abrasive drums are key departures from their previous style. "On this album we focussed on more of a drum and bass groove with catchy guitars and atmospheric sounds," says Windsor. And so while the distorted power riffs take somewhat of a back seat and Windsor's vocal chords sound like they're still getting used to living up to the task of being a more primary focal point of the music, overall the mood and tone of [In] Exile is nevertheless a far cry from their past work.

For the moment, however, the group is focussed on touring and the comprehensive trip around the country that awaits them. "We are a live band though, first and foremost," says Windsor, almost like a qualifier to the lengthy discussion we've just had about the group's recording process. "That's what we're good at. After touring you come home and you just have daytime TV. How many times can you really watch a guy sell you the Shamwowl?"

After the Fall play at the Trackside Festival on Saturday November 21 alongside Hilltop Hoods, Karnivool, Midnight Juggernauts and a whole swagger load more. Tickets through Moshtix

Something in the Water

Something in the Water opens with a message, dedicating the documentary "to all the people from the west coast who chose to sing instead of surf, or play an instrument instead of a ball sport," and from this point you get a general idea of the direction it's taking. The documentary aims to study and explain "an Australian music phenomenon" - specifically, the explosion of quality acts from Western Australia, primarily since 2000. It begins back in the 1970s and '80s, looking at groups like the Scientists and the Triffids - the stated founders of the Perth music scene. It then wafts about for a while, eventually landing us in the mid '90s with the emergence of Jebediah - the group who revived the scene, brought about a renaissance in music culture amongst the sandgropers, and effectively moulded the current generation of artists who have saturated our ears for the past nine years (Eskimo Joe, Gyroscope, the Sleepy Jackson, the Panics, End of Fashion, Little Birdy and the Waifs, to name but a few). To give away the secret, the documentary comes to the conclusion that all the conditions which once inhibited - and in some cases still inhibit - a culture of musical creativity in Perth - an absence of labels, isolation, a small population and a self-proclaimed redneck, backward culture - have ended up fertilising a strong, united, supportive and unique music scene. The documentary is enjoyable and fun, especially the early, more historical sections. But on reflection, you feel like there wasn't a lot of insight and revelation that couldn't be deduced by anyone with a little musical common sense (conservatism breeds rebellion?! No way!). There are some great interviewees, but they're all much more impressive in the full interviews, which are included as an extra on the disc. An interesting watch overall, but hardly groundbreaking.

Jay Reatard - Watch Me Fall

Reminiscent of Jack Torrance's demise in the final scenes of The Shining, the cover artwork for Watch Me Fall depicts a slightly deranged Reatard, hunched over, cold, with a pine hedge behind his right shoulder and a cloud of mist arising behind his left. With the release of Watch Me Fall, Reatard, like Torrance, may well become further estranged from those who once loved him; although which party did the most to catalyse the process of alienation it is hard to say. Reatard fans of old would have noticed the gradual shift in sound from his days with The Reatards and The Lost Sounds - when mangled fuzz, gritty low-fi punk and an overdose of synthesizers would engulf vocals and melodies in a wave of noise - to the strikingly more poppy inclination of his Matador Singles '08. However, with simplicity and charm still his greatest tools, Reatard has now crafted an album that is just as captivating as any of his past work. The song structures are basic and pop definitely his reference point, but thankfully Reatard's overwhelming character is channeled gushingly through his chiseling, bratty, yet charismatic vocals and delightfully sardonic, cynical and sometimes depressive lyrics. Chin up, Torrance.

Watchmen

Directed by Zack Snyder (of 300 infamy) and adapted from the graphic novel by Alan Moore and David Gibbons, Watchmen follows the lives of the 'Watchmen' (funny, that) - a group of former superheroes who, after gaining recognition in the 1940s, subsequently help the USA to win the war in Vietnam and thus change the course of the Cold War. Now, in a dystopian 1985, their vigilante activities have been outlawed and most members live hugely disparate lifestyles. When one of the original members of the superhero team - the violent, misogynistic 'Comedian' (played by Jeffrey Dean Morgan) - is murdered, the volatile loner Rorschach (Jackie Earle Haley) gains the impression that someone is attempting to eliminate all former Watchmen. The film is compelling in its earlier moments, most notably the stunning opening credits where Snyder recreates the history of the superheroes' formation, their actions and their subsequent decline in a brilliant, compelling montage set to the tune of The Times They Are a-Changin'.

However almost immediately after the murder of the Comedian, when Rorschach begins attempting to reform the Watchmen in order to investigate a possible plot against them all, every scene feels rushed, making them often confusing. Snyder attempts to squash in far too much background, action, plot twists and character development into what is - at 160 minutes - a relatively small amount of time. Unluckily for Snyder, the film would also have come across as far more interesting for its dark exploration of the lives of pariah superheroes, themselves struggling with issues of identity and purpose, had audiences not so recently experienced the exceptional production of The Dark Knight. The result is that, although still engaging and impressive, the film is a vast underachievement compared to its potential. The two-disc special edition contains a plethora of extras, but as usual, nothing you would give more than a quick glance over.

Nick Cave: The Exhibition

In the photo Euchrid's Crib, we see a boyish Nick Cave sitting upright on his narrow bed in West Berlin, circa 1985. His head is an explosion of long, thick black hair, almost obscuring the pen he's clutching in his mouth as he reaches for a book on a nearby shelf. He has a notebook open on his lap, and surrounding his bed in his shoebox room are mountains of books, artwork, scribbled notes and newspapers, with lyrics sticky-taped to the wall alongside photos and locks of hair. Although taken over 20 years ago, the photo captures the true essence of what Nick Cave: The Exhibition seeks to portray - namely, the creative process of one of the greatest Australian artists of the past century.

The exhibition invites visitors to explore the mind of Cave via original photos, as well as lyric sheets, notebooks, artwork, souvenirs, books and videos, and to give us a glimpse of the stories and tales behind his music. And although these products of Cave's psyche may now be tidied, structured and labeled for our viewing pleasure, in a sense their state is reflective of Cave's life and mind now, compared to that of West Berlin in 1985; a life and mind which may have become more ordered and stable, but certainly no less creative, captivating or enigmatic.

The exhibition first took root when curator Janine Barrand travelled to Brighton in 2003 to discuss with Cave the possibility of staging an exhibition based on his creative history. It was to be about Cave 'the artist', rather than a chronological, This Is Your Life type of project.

"To do a show like this involves an incredible amount of trust," Barrand says, when discussing her first few meetings with Cave. "He really got on board when he realised he could choose the songs that he wanted to explain the history of, and that he could imagine that it wouldn't be simply biographical, but that it would be about something which is very important to him, which is his creative endeavour and his role as an artist."

The result is that there is no particular chronological or thematic order to the exhibition. In the centre of the main room lies Cave's 'office', symbolic, says Barrand, of Cave's mind, with all the snapshots of his work existing around it. "Visitors who come should realise that it's a bit chaotic, that there is no real beginning or end. That's because when you work with a contemporary performer, they're still creating their work. It's a living theme, hence this almost labyrinth-like design."

Accompanying many of the exhibits are pink slips of paper or 'voice boxes', where Cave gives brief explanations of the inspiration behind his lyrics or other displays, whether it be his first encounter with his wife, or the story of how he came into the possession of a bright pink handbag with 'Kylie' emblazoned on it. As Barrand points out, this gives the visitor two perspectives - "you've got my version of events, then you've got Nick's version of events alongside it." Additionally, peppered amongst all the exhibits are 50 small framed pictures of things or people, chosen by Cave, which have inspired him. Unlike the other pieces on display, these have no explanation or even labels; a penguin here, Johnny Cash there, Quasimodo to the left, and so on. So while at times the explanation of Cave's work might make you feel like your curiosity and voyeurism into Cave's mentality has almost tainted his appealing mystery - almost as though you've just been told how a magician does his tricks - these unexplained additions ensure we realise that perhaps not every dark corner of his mind has been explored.

But then, of course, these could be red herrings, designed by Cave to throw us off course. While there is always a subtle slash of jet-black humour lurking beneath his lyrics and prose, Barrand explains that in person Cave is more forward with his wit. "He's got an absolutely wonderful sense of humour, and I guess that was a bit surprising when we worked together. When you see him perform, he's in your face and very dominating, but when you work with him he's full of ideas, creative, and always very funny."

With Canberra as the exhibition's final stop, Barrand has also been able to witness the effect it has had on its visitors, whether they be devoted fans of old or people who simply know him as 'that guy that did the song with Kylie'. One of the most intriguing insights presented by the exhibition is that of Cave as a manic list-writer and drafter; as someone whose art is not formed in a brief moment of spontaneous genius, but is edited, honed and revised.  "What I found most interesting about the whole experience was that Cave became almost a source of inspiration for people," Barrand explains.

"People would come up to me and say 'wow, I write a notebook like that'. So the exhibition has encouraged other people's creativity as well, and made it possible for them to imagine their own writing."

It's almost impossible not to come away from the exhibition with a different impression of Cave. A man who might have come across as a dark, intimidating character and crazed artist now seems less daunting; a hardworking, organised artist, possibly more normal than you thought before. But then again, it could be that Nick Cave is not more like us than we had previously thought, but that we are all much more like Nick Cave.

Nick Cave: The Exhibition is at the National Library of Australia until November 29.

Art vs Science

When I speak to Dan Mac - guitarist, keyboardist and vocalist for Australia's burgeoning electro darlings ART VS SCIENCE - it's just after midday and his hoarse, croaky voice and intermittent yawning are evidence of the previous night's show and its proceeding celebrations. "We should be in Geelong, or at least on our way, but we're still in Ballarat," he mutters with a slight chuckle. "Everyone is still sleeping... I'm so hungover. It was a good show though. It was rowdy, but not too rowdy. It was just right." Although the group has had to constantly placate the feverish, junky-like cravings of a listening public who have only demanded more of the three-piece dance-rockers since their rise to prominence shortly before 2008's Splendour in the Grass festival, they've taken the sudden rise to recognition gracefully in their stride.

As their name suggests, the song-writing process for Art vs Science relies not only on the instinctive, imaginative expression of personal emotions and feelings, but also incorporates elements of observation and deduction, honing their sound according to other people's responses to it. "We want to write songs that people can get into and enjoy the very first time they see us," Dan admits. "We try to write songs that you don't have to learn. It might be risky to be repetitive and catchy, to be one-dimensional, but we try to make up for that with the creativity and originality within our music."

With their self-titled EP having been lapped up by the electro/dance-rock community, the release of their debut LP will be much anticipated. Although they've been together for barely 18 months and have been labeled by critics as a fly-by-night one trick pony, Dan conveys not even a flake of nervousness regarding the writing process for a whole album. "It's going well," he says declaratively. "We have about five or six cassette tapes full of strange noises and big beats. Now we've gotta sit down and throw them all together into some sort of pop song format." Dan goes on to explain that he's purchased a vocoder (voice distorter/synthesiser) but that aside from that, the group will remain a 'live' band, refraining from the use of laptops, backing tracks and pre-recordings. "We come from a rock background and in that scene having a backing track would seem like cheating. A lot of bands doing the dance-rock thing have come from DJ backgrounds, so for them, adding extra drums, synths and loops is just a natural progression."

So when Art vs Science come to town later this month, pop along to the ANU and prepare to get rowdy. Despite Dan's intimation that it is actually possible for a crowd to become too rowdy, it's obvious he prefers activity over passivity. "Some crowds have too many indie types. We've been told that if they're nodding their heads, then that's a positive sign...but it's still not that fun."

Catch Art vs Science at the ANU Bar on Wednesday August 26. Tickets can be purchased through qjump.com.au.

Harvey Milk

Just in time for the release of Gus Van Sant’s much anticipated film Milk comes The Times of Harvey Milk, an Academy Award- winning documentary following the story of the first openly gay person elected to office in California. The documentary tracks Milk’s life as a political campaigner, from his triumphant grass-roots campaigning to his brutal assassination by fellow San Fran supervisor Dan White. These events and the “Twinkle Defence” trial that followed united an entire city, first in mourning and then in violent rage. The story is one of communities and values in conflict, told with humour and compassion. Thanks to Shock, we have five copies of this doco - released on February 14 - to give away. To get your grassy fingers on one, tell us the name of the actor who plays Harvey Milk in Gus Van Sant’s picture.

Valentino

My Bloody Valentino
Coming to our humble city limits this February – and more specifically, the Canberra Theatre –is David Tydd’s Valentino. Playing appropriately over the nights of February 13 and 14, Valentino is the story of the man who defined what it was to be a Hollywood star, and who introduced Latin dance to the West. The play is set in the roaring ‘20s silent movie-era Hollywood, and at a time when almost anything goes. Starring Tiffani Wood, Katie Underwood, Normie Rowe and Michael Miziner, this is sure to be one for the lovers!

Dukes of Windsor

Put Up Ya Dukes!
After the success of their breathtaking singles The Others, It’s A War, and Get It, Dukes of Windsor will be getting back in the van in 2009 for a national tour in support of their upcoming single Runaway. Taken from the Dukes’ major label debut Minus, Runaway reflects a sense of escapism set amongst flowing synth textures, punchy bass lines, an insistent rhythm, and no doubt a lot of fluro. Hitting the road in March with Western Australian rockers The Dirty Secrets, the boys will drop by Transit Bar on Thursday March 26 for a free show. Get it?

Tropfest

Tropic of Canberra
This February will see Tropfest once again attract droves of Canberrans to Commonwealth park for a mouth-watering banquet of short films, and no doubt the chance for us all to pretend we actually know anything about cinema, brie and red wine. To meet the requirements of an ever-increasing crowd and demands for a better quality outdoor movie viewing experience, this year’s Tropfest will have a new ticketed premium seating area, innovating catering, and pre-order hampers. Tropfest 09 will commence at 2pm on Sunday February 22, with live entertainment from 4pm and the screening of this year’s finalists from 7:30pm.

Carnival in the City

Machine Translations
Canberrans are in for a tasty treat on Saturday February 14, with Carnival in the City bringing residents a Latino music explosion as part of the National Multicultural Festival. Batucada Sound Machine, along with ARIA-nominated Watussi, will treat punters to a delicious mix of Brazilian, Cuban, afro-beat rhythms, tango, nova bossa, Hispanic hip-hop, rap, salsa, and dub. Kicking off at 2pm, Carnival in the City will also see more than fifty percussionists and dancers making their way through the streets of civic, with the evening concluding at Academy with an afterparty featuring DJs Russ Dewbury, Chocolate Escobar, Man About Town, Ashley Feraude and Frank Madrid. So if you’re in the mood for a wee taste of Latin this summer, head down to Garema Place on February 14 - and bring that special someone with you, you cheeky monkey, you.

The Sunpilots

Staring at the Sun
The Sunpilots have been flying high since the launch of their debut album Living Receiver, a wee tad over six months ago. It’s picked up an ‘Indie Album of the Year’ and two ‘Indie Album of the Week’ awards, and has spawned a number one most added song to Australian radio, an iTunes Single of the Week and a top 100 most-played track. Hmm, seems Living Receiver has been getting around a bit. If you’ve indulged in a bit of Sunpilots lovin’, you better get yourself checked out. Just to be sure, you know. But not to be deterred by claims of being a lover to the whole population, the group is about to embark on their March of the Drones tour, in support of their third single Drones. The group will hit Transit Bar on April 4, so start savin’ those pennies (for beer of course, cause the show’s free).

David Campbell

Oh Davey Boy…
International playboy and all-round entertainer David Campbell has featured on television programs, starred in musical theatre, wooed crowds in New York in his own cabaret shows, recorded two Top 10 albums and sold out a concert tour from coast to coast. But there’s still one more notch that Campbell would like to have on that long belt of his: Canberra. The handsome young crooner will heading our way on March 21 for a performance at the Canberra Theatre , where he will undoubtedly send us all weak at the knees. And how couldn’t he? With the recent release of the much anticipated Good Lovin’, encapsulating that up-tempo, positive sense of unlimited possibilities that typified the ‘60s, David Campbell’s new album “encourages us to party like it’s 1968” [Ed – BMA presumes that David Campbell’s management is not referring to the Tet Offensive and the resulting amplification of violent anti-war protests, nor the riots which proceeded the assassination of Martin Luther King Jr, nor the student riots in Paris or Rome. BMA accepts no responsibility for any misinterpretation of this invitation to party].

INAPPROPRIATE TOUGH GUY

WHAT: PUNK ROCK DUO
WHERE: THE FRONT, LYNEHAM
WHEN: SUN FEB 15

Patto and Jem, best known as the (lower) bass player and drummer from Fire Witch step out of their comfort zone and try their hand at some punk rock ditties. Well, their take on punk rock which, like most things they do, pays little attention to the norm. The musical connection these two have as duo Inappropriate Tough Guy Behaviour is undeniable and unrelenting, having played together since high school and amassed over 200 shows together in various parts of the globe. In the tradition of their former unit they continue to blur the line between improvisation and calculated mayhem. Staunchly independent, the boys are hitting the road yet again, in support of their long-awaited debut 12”/CD record (out via WeEmptyRooms). They’ll stop by The Front Café, Lyneham, for an all-ages show at 3pm on Sunday February 15, with support from Sparrow Head.

Canberra Contemporary Art Space

WHAT: EXHIBITION FEAST
WHERE: CCAS GORMAN HOUSE
WHEN: FRI FEB 6

Multicultural fever has hit Canberra and it seems that no one is immune! Even the Canberra Contemporary Art Space is set to cover the globe this month with exhibitions by artists born in Mexico, Poland and Tonga. In the CCAS Mainspace, Brisbane-based photographer Maurice Ortega mixes the iconic Mickey Mouse with comic book stylings to express ideas of assimilation and masculinity in massive black and white photographs. Next door in the Middlespace, Izabela Pluta from Sydney shows a series photographs that are about the meaning of homeland and being stuck between places. Meanwhile, in the Cube, ANU Art School graduate Tevita Havea presents an impressive installation that refers to Islander mythology and ancient rituals of tattooing and scarification. The three exhibitions are at CCAS Gorman House and only a short walk from the food and fun at the Multicultural Festival. The opening night with all the artists is on Friday February 6 from 6pm. It’s the first CCAS exhibition opening for 2009, so be sure come on over and check it out!

THE MISSING LINCOLNS

WHAT: INDIE POP DARLINGS
WHERE: LANDSPEED RECORDS
WHEN: NOW

One of Canberra’s most-loved musical pioneers, The Missing Lincolns are less pop chameleons than they are pop cockroaches. They are indie-pop lifers who’ve faced down every fad, trend, and NME-sanctioned movement, and gotten strong. The thrill of their raw and loud live show has been an open secret amongst Canberra gig-goers for years now – the band are known to spend as much time in the crowd as onstage, hungry for attention and desperate to push the party out of bounds. Such populist aspirations are the fuel behind their new LP Righteous Noise. The album is the band’s radio opus – a record with unfettered pop imagination, double-dipped strings, horns, banjos and soul singers. The album was recorded in Canberra, mastered by Steve Smart, and includes guest appearances from members of Julia and The Deep Sea Sirens, The Cherry Marines, Cool Weapon, The Andi & George Band, Mr. Fibby, and Quagmire. The album is a mere $20 and is available from Landpseed. So why are you still reading? Go on, get!

JOHN SELWAY

WHAT: LLIK LLIK LLIK GUEST DJ
WHERE: TRANSIT BAR
WHEN: FRI FEB 20

Transit Bar’s monthly night of disco, tech-house, techno, and all-round debauchery, Llik Llik Llik, has grown to become a much-favoured night out for Canberra’s sparkly young creatures. As though the night didn’t need any more glitterati shtick, February 20 will see it host one of the world’s most prolific producers, John Selway. Hailing from New York, Selway has been making records since the early ’90s, with notable achievements including his contributions to the early productions of Deep Dish and his minimal techno label CSM. From his intelligent electro-funk sensibilities, to his synth-rock ballads and improvisational eclecticism, Selway has created one of the most stylistically wide ranging bodies of work in the world of electronic dance music. And in case that gem ain’t enough to satisfy your tenacious appetite, local talents Alex McLeod, Biggie, Gabriel Gilmour and Nick Smith will also be there to razzle-dazzle your socks off. Entry is free, so you’ve got no reason to go hungry!

THE BEDROOM PHILOSOPHER

WHAT: FOLK COMEDY GENIUS
WHERE: FRONT CAFE, LYNEHAM
WHEN: THURS FEB 19

Experimental folk-comedian The Bedroom Philosopher (AKA Justin Heazlewood) returns to his old haunt to usher in the arrival of new album Brown & Orange. The handsome chap will be performing his hilarious show at the Front Cafe as well as O-week, and speaking at the commencement ceremony as a former graduate of University of Canberra. The new album features Wow Wow’s Song, the film clip recently featured on the front page of YouTube, securing 20,000 views. A criminally catchy chorus, double bass and rollicking Aztec drums help create the ultimate Home-School-Hey-Jude-Bolivian-Mod-Sesame-Street-Party feel. It’s the second single from The Bedroom Philosopher’s new album Brown & Orange (released Feb 7 through MGM) which is being touted as a musically rich, hilariously unhinged and blazingly original journey into the haphazard ego of this faithfully eccentric folkstar. Catch the man in action on February 19 at the Front Café, Lyneham. 8:30pm kick off, and entry is a measly $10.

THE BURLESQUE HOUR

WHAT: RAUNCHY DECADENCE
WHERE: STREET THEATRE
WHEN: FEB 10 -1 4

Hot on the heels of a rollicking world tour and direct from the Sydney Opera House, the raunchy smash hit The Burlesque Hour is stopping by Canberra this February. A non-stop salacious panorama of raucous, risqué, and razor-sharp acts have created a frenzy around the world, with London’s The Times describing it as “the sublime to the subversive, the hot to the hilarious…outrageous and unforgettable.” The show stars internationall-acclaimed queen of the cabaret Bizarre Moira Finucane, Japanese butoh dancer and shock cabaret artiste Yumi Umiumare, circus and burlesque star Azaria Universe, and a host of others. Part circus, part showgirl, part striptease, music hall and gothic mayhem, this bizarre night of entertainment will have you begging for more. There is allegedly some nudity and partial nudity, so if your kidlets are not yet old enough to get into MA+ movies by themselves,  you best leave them at home. The show runs from February 10 – 14. Tickets from Tuesday-Thursday are $23/$29, and Saturday tickets are $35.

Bloody Humans

Bloody Humans

BMA Band Profile

Where did your band name come from?
Blood·y [bluhd-ee]
1. Stained or covered with blood: a bloody handkerchief.
3. Characterized by bloodshed: bloody battle; a bloody rule.
4. Inclined to bloodshed; bloodthirsty: a bloody dictator.
6. Slang. (used as an intensifier): a bloody shame; a bloody nuisance.
Hu·man [hyu-man]
1. A member of the genus Homo and especially of the species Homosapiens.
2. Subject to or indicative of the weaknesses, imperfections, and fragility associated with humans: a mistake that shows he’s only human; human frailty.A member of the genus Homo and especially of the species H. sapiens.

Group members:
Robbie Bob Baxter: guitar/vox, Stevie G: keys/harp/vox, Lukey “Bloody” Mess: guitar/vox, Billy Baker: drums/vox, J-Ha “Argh Me Harties” Jones: bass/vox.

Describe your sound:
Prog/concrete/grime.

Who are your influences, musical or otherwise?
Humans and a bunch of arts and music created by them/us.

What’s the weirdest experience you’ve had whilst performing?
The audience committing genocide and the milk spilling all over our socks!

What’s your biggest achievement/proudest moment so far?
Being able to perform with and support people of this country’s incredible ancient culture and inviting the community and community organisations to get involved in gigs.

What are your plans for the future?
Get educated…

What makes you laugh?
Dog scraps, fancy cars and the Southern Cross Club catch-phrase “Supporting Christian Values.”

What pisses you off?
Broad question… Heaps of shit, but mostly illogical human behaviour. Selves included.

What’s your opinion of the local scene?
Excited, frustrated and confused. The diversity is good… but ‘scenes’ are fucked!

What are your upcoming gigs?
Propagandhi with Outcome Unknown, Jandemarra Wall and Pete Swain. There will also be various social service info stalls, art works by Dollar ‘nor Dime and catering by My Rainbow Dreams veg café. February 20. COOL!

Contact info:
bloodyhumans@gmail.com

Propagandhi

A dear friend of mine and fellow BMA contributor recently advised me in a rather melancholy and downcast tone to never interview my heroes. I wouldn’t consider Chris Hannah, founding member of Canadian punk legends PROPAGANDHI a hero (as I don’t really have any), but he is a musician who I respect and admire many folds more than any other. From their 1993 debut How To Clean Everything, to Less Talk, More Rock, Today’s Empires Tomorrow Ashes, and 2005’s Potemkin City Limits, Propagandhi have provided fans not only with great punk-rock music, but also a level of lyrical insight, commentary and humour far more refreshing and engaging than the vague metaphors and ambiguous symbolism provided by other ‘political’ music groups.

On the even of the group’s first tour to Australia in 11 years, Hannah admits that after 22 years of advocating against sexism, diets based on cruelty to animals, racism, homophobia, capitalism and religion, the only area in which the group’s motivation has waned is in the obligation to sell themselves. “To get out and do the things like tour and engage in massive pres-related things, that motivation has waned.” Hannah then goes on to describe how despite what some consider an increasing politicisation of youth and the music industry since the turn of the millennium, the group has ironically felt more marginalised by this politicisation. “Around the time of the whole ‘punkvoter’ campaign in 2004, we felt very marginalised” Hannah admits. “Bands were encouraging kids to get out and be political and vote against Bush, but at the same time these bands are playing the Warped Tour in support of shoe companies who make a majority of their shoes in sweatshops overseas. This type of activism didn’t resonate with us and we felt like we didn’t belong.”

The groups’ new album to be released in March, Supporting Caste is described by Hannah as a mixture of their past three albums, “but still a little different, as we have a second guitar player.” Supporting Caste will no doubt contain the same biting satire and outspoken political commentary as their previous albums, and once again advocate vegetarian and vegan lifestyles – an aspect of their lyrics which receives the most negative feedback. “If you question people’s dietary habits, they get very upset about it. It’s the same as if you question people’s religion and patriotism. If you question people consuming animals, people get very defensive. Part of what we are interested in as a group and individuals is meaning, and the repercussions that your meaning can have for the rest of society. I think it’s important for us to question assumptions, rather than just accept them as given.”

Growing up in a patriotic, military Canadian family, Hannah himself was first politicised by the lyrics of a punk band. Although he believes that his parents’ values and his are now more closely aligned than they have been for a long time, he points out that discovering a different value system as a youth was incredibly eye-opening. “When I discovered Millions of Dead Cops when I was 14, I read their lyrics and then held up their version of the world to the one I was brought up to believe in. Theirs resonated with myself and reality much more than the version I’d previously believed in and had been brought up to believe.” In a world heading for environmental disaster, and a country parts of which are slipping into a culture of ultra-patriotism more than ever, the time for a Propagandhi tour may never be more appropriate.

Propagandhi play an all ages show  at the Weston Creek Community Centre on Friday February 20. Support will come in the form of Bloody Humans, Outcome Unknown and Jandemarra Wall. Tickets from Landspeed and bluemurder.com.au

The Nines

From acclaimed producer John August (The Corpse Bride, Charlie and the Chocolate Factory) comes The Nines, a compelling and mysterious journey through the mind of an actor, a videogame designer, and a screenwriter. But what is it that links all three? I’ve been told that it isn’t vanity, neuroticism or peanut M&Ms. Ryan Reynolds, Hope Davis, and Melissa McCarthy star in these three short films which fit together in different, sometimes overlapping stories to form a single part-narrative, part-commentary on the highs and lows of reality in Hollywood. Thanks to Madman Entertainment, we have two copies of this DVD to give away. To pry one from our sticky fingers, tell us your favourite nine letter word. For those who miss out, you can pick up a copy for $29.95 from your nearest quality retailer. Tally Ho!

Resin Dogs

Breaking the mould, blurring the boundaries, and generally subverting the status quo, Resin Dogs have continually set their own rules and carved a unique niche in the global scene as one of Australia’s most renowned and respected crossover hip-hop music exports. After the success of their 2007 album More comes More or Less (Hydrofunk Records/MGM). The original tracks that came out of More have been remixed by producers including Plutonic Lab, Two Fresh (Kid Kenobi and his brother Hugga Thugg), Chasm and DeNorthwood, to create an album which, like all Resin Dogs releases, is both unique and engaging. We have two copies of this slick piece of wax to give away. To snap one up, tell us which year Resin Dogs formed. If you’re still gasping for more, you can get along to Corinbank to catch the boys live!

Finucane and Smith’s The Burlesque Hour

Hot on the heels of a world tour, and direct from the Sydney Opera House, comes Finucane and Smith’s The Burlesque Hour. Recommended only for those over 16 due a bit o’ raunchy nudity, this non-stop panorama of raucous, risqué and razor-sharp acts has created a frenzy from Hong Kong to London, Tokyo to, dare I say it, Toowoomba. Consisting of equal parts circus, sideshow, showgirl, striptease, music hall, gothic spectacle and general mayhem, this show has been hailed the world over as truly unforgettable. We have two red-hot double passes to give away, along with two pairs of his or hers embroidered Burlesque Hour underpants. To get your delicious thighs into them, tell us your favourite Burlesque-themed song, film, or TV show. As for the rest of you, be sure to get along to The Street Theatre from February 10 to 14.

My Bloody Valentine 3D

Based on the 1981 horror flick that Quentin Tarantino has labelled “the best slasher movie of all time”, My Bloody Valentine 3D is set to give couples an extraordinary 3D treat when released by Hoyts Distribituion this February 12. Ten years ago, a tragedy changed the town of Harmony forever. Tom Hanniger, an inexperienced coal miner, caused an accident in the tunnels that trapped and killed five men and sent the only survivor, Harry Warden, into a permanent coma. Then, on Valentine’s Day exactly one year later, Harry Warden came to and brutally murdered 22 people with a pickaxe before being killed. Ten years later, Tom Hanniger returns to Harmony on Valentine’s Day, still haunted by the deaths he caused. But tonight, after years of peace, something of Harmony’s dark past has returned. Wearing a miner’s mask and armed with a pickaxe, an unstoppable killer is on the loose. We’ve got 20 double passes to this emotional rollercoaster to disperse at our will. To get one for you and your lovely significant other, tell us your favourite piece of slasher-flick trivia.

The Edge of Heaven

In the same vein as movies such as Babel, Syriana and Traffic, comes the latest Hyperlink flick The Edge of Heaven. Directed by Fatih Akin (Head On) and awarded Best Screenplay at the 2007 Cannes Film Festival, The Edge of Heaven is a powerful and thought-provoking meditation on the great divide which exists between different cultures, generations and people. Featuring a powerful performance from the legendary Grand Dame of German Cinema, Hanna Schygulla, the movie follows the different lives and experiences of father, son, mother, daughter, and the gulf between Germany and Turkey, between the West and Islam, and between repentance and forgiveness. Most suckers will have to pick up this heart-wrenching DVD for $29.95, but thanks to Madman Entertainment, we have two shiny copies to throw at gracious readers. To get your fix, tell us your favourite Hyperlink film.

EAGLEHAWK MUSIC FESTIVAL

WHAT: THREE DAY MUSIC FESTIVAL
WHERE: EAGLEHAWK HOTEL, FEDERAL HIGHWAY
WHEN: FRI JAN 31 - FEB 1

Local legend holds that the Eaglehawk region got its name when founding father J. Edgar Hoochimama saw a mythical bird surfing the thermals high above the earth, hunting for children. Replacing the annual child sacrifice to the great hawk-spirit is the first ever Eaglehawke music festival. Three days of some of the nation’s finest rock, country, blues, folk and jazz artists, as well as the hospitality of local volunteers and the kind folks at the Eaglehawke Hotel which ought to sell you on the region. Artists include Sharon Lane, Legless, Sean Hale, The Fry Brothers, End of Days, 3rd Strike, Julia & The Deep Sea Sirens, and many more. Tickets can be purloined from Landspeed , the Music Shop, or at the door. So venture just outside the city limits and kick start this local festival on its way to becoming a major regional attraction.

Fringe Festival 09

Fringe Festival 09

Welcome to Fringe ’09 – The National Multicultural Fringe and Festival Club.

With hundreds of performers over nine nights, our feature this year is the great music our fine city produces – with a few blow-ins thrown in just to prove that other states and territories can do it well, too!

Bands take to the stage every night in various genres from rock to country, bluegrass to funk; there are local groups-made-good like Casual Projects, Roshambo and D’opus, Omar Musa and The Cashews (just to name but a few) and there are hot interstate acts such as The Crooked Fiddle Band, The Snowdroppers, Erin Black and the Pageturners and Triple J Unearthed winner, the songbird with a steel stringed guitar, Abbie Cardwell. Then there’s Aussie music legend Dave Graney playing with his band The Lurid Yellow Mist – he’s in a category all by himself.

Theatre-wise our “Court @ Fringe” program, features a premiere work by Canberra Youth Theatre Six Billion Love, Little Girl Lost in the Devil’s Black Beard from rapidly rising performance band Mr Fibby, the return of our popular show from last year by Centrepiece Theatre, Hot Audio Wallpaper, and sick circus in Le Petite Sideshow. Watch out for Shadow House Pits performing our third instalment of Theatre in a Car - Dying Love, Reflections of Love on the Windscreen of a Car directed by Joe Woodward; and don’t forget to visit our international stencil art exhibition Your Kid Can’t Do This at the ACT Legislative Assembly, first floor gallery.

Then there is A Stacked Deck – Fringe’s three day celebration and salute to the art form that is Burlesque presented by the Magnicent Liberté Bell and Gale &Valance. Turn the pages, see the biggest bringing together of burlesque performers ever seen - and join in, too, with workshops galore…

Thanks to all our sponsors, in particular the ACT Government through the National Multicultural Festival, DFO, and our media partners CityNews, and the only other mag not to wipe ya bum with, BMA.

Come enjoy. Fringe is (mostly) FREE,

FREE, FREE, I TELLS YA!!!

Jorian Gardner
Director

Check out the Fringe Festival Liftout Guide in the new issue of BMA out now or view it in the online version of the magazine .

Lucinda Williams @ Canberra Theatre Saturday April 4

Honey to the B
Lucinda Williams will be coming down under for the first time in over 16 years in April 2009, taking her solid road band Buick 6 with her on her Little Honey Tour, Little Honey also being the name of Williams’ newly released album. The tour will cross the east coast of with shows in Melbourne, Canberra, Sydney, Brisbane and Byron bay. 2009 will be the 30th anniversary of her first recording. Little Honey is the follow up to the Grammy-nominated and critically acclaimed West in 2007. Lucinda will be in Canberra on Saturday April 4, playing at the Canberra Theatre. To book call Canberra Ticketing: 6275 2700 or go to www.canberratheatre.org.au .

Something With Numbers @ ANU Thursday March 12

Our Days are Numbered
Having just returned from a Brooklyn recording studio where they’ve banged out album number three, Central Coast rockers Something With Numbers are back on tour doing their energetic, melodic rock thang. The cracking new disc is called Engineering the Soul, featuring the new single We’ll Fight - a dynamic call to arms infused with bombastic horns and a typically epic chorus. The lads hit the ANU on March 12, and you can politely ask for tickets through www.oztix.com.au . While you’re at it, have a look at the We’ll Fight vid on youtube for tips on how to raise an angry mob using just one catchy rock song.

Free Stuff

Giveaways are open to A.C.T. residents and residents of the surrounding N.S.W. region. Be sure to include your name, phone number and address. Most giveaways will need to be collected from the always tidy BMA office.

Funny stuff and free stuff. Send your answers and love-letters to the editor . Hugs and kisses….

My Kinda Guy
Twentieth Century Fox Home Entertainment, in all their worldly wisdom, and in an attempt to quell your salacious appetites for hilarity, have just released Family Guy Season Seven. Featuring deleted scenes, commentaries, featurettes and more, the DVD set includes the season’s 12 episodes, as well as the show’s 100th episode. With guest appearances from Drew Barrymore, Neil Patrick Harris, Adam Carolla, Williem Dafoe and Simon Cowell, Season Seven is leaps and bounds above the quality of Season Six, and probably a kazillion times better than any of the other previous seasons. To get ya mits on one of seven copies and decide for yourself whether this is needless hyperbole, tell us the name of the actor who provides the voice of Chris Griffin.
send it in

The Roots
Show Us Your Roots is a hilarious, fast-paced poke at multicultural Australia - how the things which appear to differentiate us are invariably the very things which make us the same. Join host Mick Molloy, who combines the scruffy appeal of a laid back larrikin and the acid tongue of the world’s toughest critic; Tahir, widely known for his performances on Thank God You’re Here and Pizza; Cuban born George Smilovici, the only comedian to top the Australian and New Zealand music charts and USA comedy charts with his hilarious hit monologue I’m Tuff; Green Faces runner-up Brian Chandler; The Axis Of Awesome (Good News Week); plus five talented young ethnic comedians with their cutting-edge, humorous stories about growing up in multicultural Australia. Multiculturalism and taking the mickey out of yourself: the two things that make Australia great, and the two main ingredients of Show Us Your Roots. We’ve got five double passes for Show Us Your Roots on February 7 at the Canberra Theatre . To nab one, tell us about your favourite root.
send it in

Stayin’ Alive
For the 22nd consecutive year, the superstars of WWE have come together for Survivor Series. Its unique five-on-five elimination matches have always been favourites among WWE fans, and 2008’s Survivor Series will see some unique teams built, and many of the biggest superstars in WWE look to leave an indelible mark on the sports-entertainment landscape. Thanks to Shock, we have five copies of Survivor Series 2008 to suplex in your general direction. To hammer one down, tell us the former name of the WWE, and why it was forced to change its name.
send it in

DDA
Like music? Think CDs aren’t cutting it with the age-old disk-in-a-case-with-some-pictures format? Like more variety? And fun? And value for money? And material possessions? After probing the gaps between traditional CD ownership of a physical music product, and the extra multimedia diversity yet cant-hold-it in-my-hands nature of online music, D:Net Media are offering a compromise: The DDA. With a DDA, you get a hot new album in USB format, complete with lyrics, liner notes, artwork, and access to the D:Net Media System, where you can network with other people who swear by Sneaky Sound System to entertain guests. All for the price of a CD! Initial DDA releases include albums by Sneaky Sound System, Gurrumul, Grafton Primary and Skipping Girl Vinegar. To get your paws on a shiny new DDA from D:Net Media, simply tell us what the letters USB stand for.
send it in

Sword of Alexander
Ninjas, aliens, the sword of Alexander the Great and a villain that can turn into a plague of locusts. Sounds like some dusty ancient history textbook, right? Wrong! It’s Japanese director Tsutsumi Yukihiko’s hilarious pisstake period piece Sword of Alexander. It follows the adventures of wandering swordsman Yorozu Genkuro as he journeys his lanky frame through an impossible genre-clashing world of satirical mayhem, rescuing the beautiful Princess Mai along the way. Oh yeah, and fighting aliens who want to take over the world, but I wont bore you with the historically accurate details. If you want to get your lighting-fast ninja hands on one of the two copies we’re giving away courtesy of Madman Entertainment, tell us the name of the ancient Greek ninja prince whose sword Yorozu Genkuro uses to slash his way to victory. Or alternatively, infiltrate our office and take the darn thing using ninja stealth [Ed- Please don't do that. We're terrible with people. Much less ninjas]. Choose wisely.
send it in

Luka Bloom @ Tilley’s Devine Café April 4 - 6

I Live on the Second Floor
Charming Irish troubadour Luka Bloom has knocked up a brand new album, simply titled Eleven Songs. Breaking his recent penchant for recording at home, Bloom took his world-weary guitar and entered a professional Dublin studio to craft this new addition to an already rich back catalogue. With the album in the can, Luka Bloom returns to our shores for his ninth Australian tour, including a stunning three dates at Tilley’s Devine Café running April 4 to 6. A solo performer of exhilarating talent and impassioned delivery, Bloom is not to be missed. Tickets on sale now through www.ticketek.com.au .

Dylan Moran @ The Royal Theatre Friday April 3

More from Moran
Ranting, unkempt comic genius Dylan Moran is probably best known for his role as Bernard Black in the hit TV series Black Books, but as those who caught his last two Australian tours know, the man is downright spitefully brilliant at stand-up as well. Tour number three, the What It Is tour, sees Moran romping his absurd yet razor-sharp rants across the stage of the Royal Theatre on April 3. A quick stop at www.ticketek.com.au will sort you out for tickets, but be quick: the last two Australian tours were total sell outs.

Big O Festival @ ANU Refectory March 3

O Yeah!
If one had to find a positive side to a brand new university year getting under way, it’s the triumphant drunken bang of O Week. It’s both a welcoming celebration of new opportunities and possibilities and a sad farewell to summer holidays, and this year the Big O festival is going to make it one to remember. Catch a stellar musical line-up featuring The Music, The Fratellis, Ben Lee, Bluejuice, Yves Klein Blue and Cassette Kids at the ANU refectory on March 3. Tickets through www.ticketek.com.au , www.qjump.com.au or the good folks at Landspeed Records .

Futility

BMA Band Profile

Futility

Where did your band name come from?
We actually had lyrics for some of the songs before we settled on a band name.  The name pretty much reflects lyrical content.

Group Members:
Brendan (Deviant Plan, Machete) Vocals/Bass; Nafe (Psychrist, Infinitum) Guitar/vocals; Kurt (Reign Of Terror, Soundguy@The Basement) Guitar; Duncan (Band whore) Drums/Beer;

Describe your sound:
Oppressive melodic doom metal.  Only fatter.

Who are your influences, musical or otherwise?
Metal, but particularly the melodic and melancholic variety. A lot of Opeth, Katatonia, Swallow the sun, Cult of Luna, Gojira, Rapture, and of course the masters, My Dying Bride.

What’s the weirdest experience you’ve had whilst performing?
(Duncan) I think I saw Nathan smile on stage once. That was odd. It could have been gas I suppose.
(Nafe) Performing what?

What’s your biggest achievement/proudest moment so far?
Playing the Under a Blue Moon (gothic festival) gig in Sydney to a surprisingly great response: a packed, receptive house and lots of positive interest afterwards. At the moment it almost feels as if we go down a lot better away from home.  Also having just sent our album off for pressing is a pretty big deal for us!

What are your plans for the future?
More gigs. Get the album disseminated as much as possible before recording another one.  Nafe wants to be an astronaut.

What makes you laugh?
Organising a gig for the same day that Duncan’s partner is supposed to give birth.
(Nafe) Nothing! We’re dark and brutal and filled with hatred

What pisses you off?
The thought that we might have to miss the gig.

(Nafe) Everything! We’re dark and brutal and filled with hatred

What’s your opinion of the local scene?
The heavy music scene in Canberra is going great: there are really frequent gigs by great bands (international acts, but also top notch local acts). What is noticable, though, is the lack of venues that are open to this style of music. The Basement is carrying a huge load at the moment (particularly since the Green Room closed). As much as we love the joint, it would be nice to see other venues opening their doors.  (Kurt, who does sound at The Basement) No it wouldn’t!

What are your upcoming gigs?
CD Launch, Feb 7 at The Basement. Somewhere in Goulburn, March 7.  Supporting The Eternal (‘cept they pulled out) March 28

Contact Info:
myspace.com/futilitycanberra We’ll get around to doing a real website at some stage, but for now there are some demo tracks on myspace for people to check out.

The Cat Empire @ The Royal Theatre Sunday March 1

Empire of the Sun Cat
The Cat Empire, they of the boisterous greetings (Hello yourself, geez), and the big brass, ah, trumpets, and the insanely danceable grooves, are back. Yes, that’s right. Back. The evidence trail is as incriminating as it is sexy: 1) A man was spotted, in Melbourne, sporting a hat. A good hat. Expensive. 2) The band has announced a new Australian tour. What’s more, there are rumours of new material on the boil, and it promises to be soul-scorchingly hot! Get down to the Royal Theatre (via Ticketek ) on March 1 and check ‘em out.

NIKKITA MC

WHAT: ARSE-SHAKIN HIP HOP
WHERE: MERCURY BAR
WHEN: FRI FEB 13

Mercury Bar will get its groove on this February when Nikkita MC, Convict and Rhyme Ministers hit the joint for a night of funky bass-driven, crowd-yellin’ hip hop. Launching the Ruff Craft mixtape as well as Nikkita’s Hypothesis mixtape, the lads have, in the last year, raised the bar far above your common mixtape standard, bringing swagger, relevance and though-provoking head-knodding beats to your ears. Nikkita’s Hypothesis mixtape was released earlier this year as a dual CD alongside Elefant Tracks MC The Tongue and is comprised purely of original material. Entry to this red hot boot-scootin’ event is a mere $10, yet for a further 10 clams you’ll also get both the Ruff Craft and Nikkita’s mixtapes. How’s that for ya! Doors open 8pm.

CLIMATE ACTION SUMMIT

WHAT: COMMUNITY ACTION on CLIMATE CHANGE
WHERE: PARLIAMENT HOUSE
WHEN: TUES FEB 3

On the first day of Parliament, February 3, Australia’s Climate Action Summit will hold a large peacfeul community demonstration. Thousands of orgdinary Australians are expected to attend the event, encircling Parliament in a human chain of defiance. Compelled to action by the recent announcement from Rudd that Australia will only commit to a token 5% emissions reduction target under his lead, community action groups and unlikely activists from around the nation are heading to the capital to demand the strong and urgent climate action that Rudd promised during his election.  The community rally will be followed by speakers including Georgina Woods and a video message from Tim Flannery, as well as performances by 11-piece costume junkies The Bakery and gypsy six-piece Lola Lovina.  The rally will begin at 8am.

LEGLESS

WHAT: ZOMBIE GIRL PUNK
WHERE: EAGLEHAWK MUSIC FESTIVAL
WHEN: FRI JAN 31 - FEB 1

All-girl punk rock concept band Legless are coming to our sleepy, gentle city to play the Eaglehawk Music Festival. They’re also zombies. All of them. Not alive. One is dressed as a nurse, one as a bride, one as a police woman, and one as a school girl, but all of the dead variety. Legless have taken their zombie punk village-people-in-reverse formula across Australia and even over to East Timor, where the band entertained our troops, bless their stagnant hearts. Influenced by Kiss, The Village People, AC/DC, Alice Cooper and the Sex Pistols, Legless use strong harmonies over a wall of crunching guitars, yet are not too proud to chase a catchy hook. If the idea of zombie girls in character playing high-octane punk rock appeals to your twisted sense of humor, then you’re a creep. But if you can tee it up with your parole officer, head five minutes north of Canberra to the Eaglehawke Music Festival on the Federal highway. Alternatively, you can also catch them at the Hush Club, Woden, on Sunday February 1 at 2pm.

PURPLE SNEAKERS

WHAT: FASHION STARE-FEST, SNOGGING
WHERE: TRANSIT BAR
WHEN: FRIDAY JAN 30

There are many different kinds of indie kid, and all are welcome at Purple Sneakers’ debut Canberra club night. That’s right, Sydney’s longest running indie club, Purple Sneakers, will be bringing their achingly hip DJs down to Canberra once a month to get indie kids’ pointy elbows moving and brittle, malnourished hips shaking. That hip shaking thing might be involuntary, but the elbows will definitely be due to the glorious indie tunes raining down on the dance floor, as if from indie heaven - where the rooms all have shoe racks with space for 200 pairs, organised by colour, and Jarvis Cocker licks your face every night before you fall asleep. So if you’re underweight, well-dressed, and love underground credibility but aren’t prepared to sacrifice social interaction to get it, come on down to Purple Sneakers at Transit Bar. It’s free, and everyone there knows you’re cool. Why else would you be there? To win a five day pass to indie heaven, simply send us in your top 150 bands that will never make a second album. Otherwise, get your booty down to Purple Sneakers!

CHEW FU PHAT, DJ MONEYSHOT

WHAT: TRINITY SOUND BAKED SUNDAYS
WHERE: (TRINITY) BAR
WHEN: SUNDAYS, BEGINNING JAN 25

Trinity Bar is about to add extra sizzle to your summer with Sound Baked Sundays. Every Sunday afternoon you can find local DJs pumping a blend of soul, hip hop, disco and funk tunes through the Trinity beer garden while you lap up the summer rays and sip on some of the best cocktails in town. Be entertained, enjoy the sun and feast on the gourmet BBQ for the very competitive price of FREE. The party happens every Sunday from 2pm, so get down early and fit some serious Sunday-arvo hanging out into your weekend schedule.Then, as the sun goes down, the beats will rise. From twilight the party pumps it up a notch or five and the dance floor becomes a haven for a final boogie as we say goodbye to the weekend. Once a month, Sound Baked Sundays transforms into the biggest Sunday party in town. This Sunday, January 25, you can catch international mash-up kings, Chew Fu Phat (Brooklyn Zoo, NY) and DJ Moneyshot (UK, Ninja Tunes Solid Steel).

Last Trinity Block Party EVAR

Party Pooper
This week brought the news that last weekend’s Trinity Block Party will be the last of its kind in Canberra. The organisers announced with great regret that government pressure, bureaucracy, and noise restrictions have made the event unsustainable and that it will not be going ahead in 2010. Despite having raised over $18,000 for charity since 2007, as well as providing a reason for young Canberrans to stay in town at a time of year when most of them are coast-bound, it seems that the once-a-year event which finishes at 10pm was a little too much of a burden for the government and noise-sensitive locals. See yourself in the Nation’s Capital? The ACT Government doesn’t seem to want us to.

FOLKUS ROOM

WHAT: SATURDAY AFTERNOON JAZZ
WHERE: FOLKUS ROOM, MAWSON
WHEN: SAT DEC 20

The Folkus Room has been in oporation for 18 months and is providing a venue for local, national and international artists to perform in an intimate setting. Saturday afternoon jazz was added to the program in May of this year and has featured some of Canberra’s, Australia’s and the world’s best jazz musicians. Join the folk at the Folkus Room on Saturday December 20 at 2pm for the final Jazz afternoon for 2008, featuring the Brass Monkeys (made up of members of Kooky Fandango and Spectrum Big Band), who have formed for a one off dixieland and funk extraveganza. Also on the program is Turner’s Antidote and Frequently Asked Questions. The Folkus Room is based at the Serbian Club, 5 Heard St Mawson. Great music, great food, great fun. For more info, visit www.thefolkus.org.au .

Propagandhi @ Weston Creek Community Centre Friday February 20

Be the Change You Want to See in the World
Canadian punks Propagandhi are finally dragging their politically-charged rock arses back to Australia. It has only been 11 years since they last turned themselves loose upon us, meaning most of their fans from that era will have to get a baby-sitter if they want to come out and see them this time they come through town.
Was the group lazy? Did they not care? Maybe they crave forgiveness. You can give it to them when they swing by the Weston Creek Community Centre for an all ages show on Friday February 20. Tickets are on sale from December 12 from Landspeed Records and www.bluemurder.com.au .

AGENCY DUB COLLECTIVE

WHAT: DOUBLE BILL REUNION SHOW
WHERE: TRANSIT BAR
WHEN: SAT DEC 27

Since their humble beginnings in Canberra as an experimental dub fusion band in 1999, those dub-addled extremists Agency Dub Collective have released six albums in and undergone numerous line-up changes – at last count about 18 band members had passed through the Dub Collective ranks. Founding member and current guitarist Rondos came up with the crazy idea for a reunion show: Why not put the original line-up back together and have two different line-ups of Agency Dub Collective play together on the same bill? The resulting reunion show will feature two line-ups of Agency Dub Collective – the original line-up from 2000, dubbing classic tracks from their very first underground release, Seventh Listen, and the current line-up dropping their freshest dub and dancehall tunes, tracks from the 2008 album $O$ and beyond. The night will also feature special guest DJ Dub Ninja, direct from Japan, with a set of his signature original dub/reggae/roots compositions.

The Woohoo Revue @ The Phoenix Wednesday December 17

Gypsy Voodoo Phoenix
Modern gypsy band, The Woohoo Revue, are a Melbourne six piece who, despite forming only this year, have quickly risen to be a favourite amongst Melbourne punters and festival goers. Their debut album Dear Animals, just like their live shows, is an energetic and exciting experience for all involved.

The Woohoo Revue are set to release the new album and go out on a national tour, which will bring them by Canberra on Wednesday December 17 at the Phoenix from 8:30. Joining them will be the elegant gypsy and cabaret-inspired locals, Mr Fibby. And what’s more it’s free, so get ya skates on!

BOYS OF SUMMER TOUR

WHAT: HARDCORE PUNK FEST
WHERE: ALBERT HALL
WHEN: TUE JAN 20

2009 will see the return of one of the country’s most loved single-stage festivals. Since its inception, the Boys of Summer tour has played host to some of the biggest local and international hardcore, punk and rock acts, and this year it will once again make its way across this vast brown nation of ours, with none other than Carpathian, Comeback Kid, Verse and Against in tow. Leading the charge will be Melbourne straight-edge hardcore group Carpathian who, after recently ripping through the UK and Europe alongside label mates Parkway Drive, have returned to Australia with more passion and a more brutal sound. Following closely will be Canadian hardcore lads Comeback Kid, US group Verse (playing Australia for the first time ever) and Brisbane boys Against. The Boys of Summer Tour will stop by the Albert Hall on Tuesday January 20 for an all ages show. Tickets from www.moshtix.com , Landspeed Records and The Music Shop.

Wiley @ Meche Nightclub Wednesday January 21

Grime Wave Sweeps the Nation
The UK Grime Lord, Wiley, will be arriving on our shores this January. Wiley is debatably the most influential Grime artist in the UK, influencing almost every artist in the scene. He cultivated the young talent of the likes of JME, Skepta, Doctor, Jammer and Dizzee Rascal. His track Wearing My Rolex off his new album See Clear Now (out January 17) has been a massive hit with audiences in both in the UK and Australia. He will be in Canberra on Wednesday January 21 at Meche nightclub.

ichamps top Triple J Unearthed dance charts

ichamps
The last time iriver took to the streets to scout out some hot young talent as part of their I’ve Made It award, they came up with the Dukes of Windsor. This time, they’ve dug up a Melbournian electro trio by the name of Bipolar Badwise. Growing up together, these plucky lads of a mere 19 years have also recently topped Triple J’s Unearthed dance charts, with their track Entwined reaching number one and Sacrifice achieving a number two spot. Be sure to add these guys to  your iriver, as they’re bound to be popping up again come 2009!

Sunchaser @ The Pot Belly Friday December 19

Chasing the Sun
Friday December 19 will see a mouth-watering trio of musical acts storm the Potbelly Bar to help bring you some Christmas cheer. Modern rock gurus Sunchaser, who recently took out the Songwriter of the Year Award and third place in the rock/indie genre of the 2008 Australian Songwriting Association awards in Sydney, will be joinded by Melbourne indie darlings Last Note Foundation, as well as reggae/folk outfit Quinn Band. With Christmas only days away and much jovial spirit going around, these groups are sure to prove a treat.

Days Like This festival announce further line up

Mamma Always Told Me…
The Days Like This festival has just announced five more acts to join the already massive line up. The new additions will include Mr Scruff, A Guy Called Gerald, Radioslave and Mike Monday. They will join Fat Freddy’s Drop, Public Enemy, Sharon Jones & The Dap-kings, Morcheeba, South Rakkas Crew, Katalyst, Ro Sham Bo, Deepchild, and many more. It goes from 12pm to 10pm on Sunday January 4 at the Entertainment Quarter, Moore Park in Sydney, where the bands will be playing across four stages. Tickets are on sale now at www.moshtix.com.au or phone 1300 GET TIX, or pic some up wherever you get your moshtix tickets (Hint: Landspeed).

Frankie Wants Out @ Transit Bar Friday January 9

Frankie Wants Out
Melbourne’s nine-piece swing kings, Frankie Wants Out, will be returning to Canberra this January to show off their new album Prohibition. Influenced heavily by the music of the New York dance halls of the 20s and 30s, as well as taking influence from more modern acts such as Royal Crown Revue, Big Bad Voodoo Daddy and Cherry Poppin’ Daddies, the group had the entire floor of the Greenroom swingin’ and groovin’ last time they were here in 2007. This time, it will be Transit Bar that gets the special treatment, with the whole shebang going down on Friday January 9.

CELLBLOCK 69

WHAT: REALLY GREAT ROCK. REALLY.
WHERE: ANU BAR
WHEN: TUE DEC 23

Rock music heavyweights Cell Block 68, though quite slim to look at, have not hit Australian shores since their last visit here.  So it’s with cautiously anticipatory joy that they return for just two shows.  Cell Block 69  bring their renowned Stadium Spectacular to the ANU Bar this festive season featuring all of their most memorable hits, mostly made famous by other so called “artists”. Critics are hailing the new line-up as great, really, really great with one music industry commentator saying, “great. really, really great”.  With the 90s fast approaching, this may be the last chance to see Cell Block 69 in their heyday or it may not, only time will tell, although watches tell time so they might know as well. I’m not sure. I’m not a scientist but I’ve got great rippled abs to die for.  Australians audiences are in for an extra treat this summer as White Leather, the all-girl hair metal dream trio join Cell Block 69 as special guests. The handsome lads will hit the ANU on December 23 with special guests White Leather.

Free Stuff

Giveaways are open to A.C.T. residents and residents of the surrounding N.S.W. region. Be sure to include your name, phone number and address. Most giveaways will need to be collected from the always tidy BMA office.

Funny stuff and free stuff. Send your answers and love-letters to the editor. Hugs and kisses….

Imagine That!
Playing the role of the quirky ‘Murray the Manager’ in Flight of the Conchords, actor and comedian Rhys Darby has not only just finished recording Season 2 of Flight of the Conhords, snapped up a supporting role in Jim Carrey’s new movie Yes Man and feature in Richard Curtis’ (Notting Hill) new movie The Boat That Rocked, but has also just released his own live stand-up DVD, Imagine That. Thanks to Warner Music, we have five copies to give away. If you be wanting a piece of Darby action, tell us your favourite Murray one-liner from Flight of the Conchords.
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No Rest for the Wicked
If you’re like me, and spend Christmas eve restlessly looking forward to gauging yourself on ham and booze at your parents’ expense, and are looking for something to take your mind off your agitated anticipation, then you can head down to Transit Bar on Akuna Street to catch two of Canberra’s hottest acts, Casual Projects and D’Opus & Roshambo. With Casual Projects’ first single Move Along from their 2008 album No Rest winning a place in the top 15 songs of the International Songs Writing Competition, and D’Opus & Roshambo’s The Switch receiving ever-increasing airplay around the nation, Christmas eve’s Seasonal Beats Christmas Party sure to one mighty fiesta. To celebrate, the handsome lads have furnished us with a copy of both The Switch and No Rest to give away to some plucky little devil. To grab them, tell us the name of D’Opus & Roshambo’s newest single.
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Control Your Rage
Over the last two decades, hundreds of guest programmers from Australia and abroad have settled into the Rage sofa to pick out a feast of their music to broadcast to a nation of bleary-eyed night-owls. The new Rage Most Chosen DVD collects 40 of the most popular clips from Rage’s history, producing as a result some type of audio-visual offering likely to impress even the most discerning music nerd. Some are chosen repeatedly for technically admiration, many are picked for love of the song itself, plenty are picked for amusement rather than enjoyment, and the odd one might even sneak in for reasons of sheer titillation. If you’d like us to deliver personally to you one of the three copies we have here, thanks to Universal Music, tell us your most hated video clip and why.
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Tastes Like Chicken
When you think “old-school stop-motion animation and fast-paced satire that is useful for getting rid of those boring friends with no sense of humour”, which TV show first comes to mind? That’s right, Robot Chicken. Action figures find new life as players in frenetic sketch-comedy vignettes that skewer TV, movies, music and celebrity. It’s a brand of television especially formulated for the Attention Deficit Disorder generation. Rude, crude, and clever, this is the long awaited third season of pop culture parody from Matt Seinrech and Seth Green, available merely weeks after its release in the USA! To snag one of the three copies we have, thanks to Madman Entertainment, simply tell us the name of another television program which Seth Green provides voice-overs for. The rest of you will have to go buy one yourself – out now for $34.95.
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Good Bush. Bad Bush. Mighty Boosh.
Whether it be a shamozle of scintillating shambles or organised chaos, the new live DVD of The Mighty Boosh is probably the funniest thing you will see this year (along with, of course, all the other fine comedy DVDs featured in this section…). This live performances brings together the entire ensemble of characters from the original BBC series, as they perform on stage in a singing and dancing extravaganza. See all the characters from the cult show as they parade about in front of your naked eyes. That’s right – naked! Thanks to Universal, we have seven copies to throw in your general direction, just so long as you can tell us which two actors from da Boosh are related in real life.
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Flash-dance mixed with MC Hammer shit
Think breakdancing died in the eighties? Think again. And maybe some more. Jumping continents and crossing cultures, the basic moves from the eighties have developed into a highly sophisticated and unimaginably acrobatic dance form. Documentary Planet B-Boy takes us inside the international, underground b-boy scene happening today in Japan, France, Germany, South Korea, and the United States. Meet the five of the best b-boy crews from around the globe and follow their stories as they prepare to face off at the Battle of the Year - one of the most prestigious b-boy events in the world. For any old pleb sucker, this doco will set you back $24.95, but thanks to Deveedeeatron, the omnipotent God of DVDs and shoehorns (aka Madman Entertainment), we have three copies to give away. To savour one of these fruits from our benevolent overlord, simply tell us the name of your favourite breakdancing-focussed video clip.
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Stop that Monkeying Around!
Beginning back in the day, when Saturday morning meant quality kids’ TV, and not half-naked pseudo-lesbian 15 year olds prancing about in lace outfits to computer-generated ‘pop’ (*cough*) music, is Lancelot Link, Secret Chimp. From 1970 to 1972, this comedy thriller with an all-monkey cast saw its cheeky characters get around in the latest fashions (of the time), accompanied by hilarious (notice absence of sarcastic cough) scripts and kooky storylines. You will be thrilled by the charming secret agent Lancelot Link and Mata Hairi, the sensual seductress as they take down the bad guys, Baron Von Butcher and Creto, his chauffer. And you would hope so to, as it is the most expensive children’s TV show ever mad. Yikes! To have your way with one of five copies we have, thanks to Shock, tell us the name of Link’s ‘swinging’ monkey band.
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iChamps
Hitting the streets to unearth the next crop of undiscovered Australian talent, iriver has recently announced the winners of their I’ve Made It award. Continuing the success of iriver’s previous initiative, which unleased the hugely successful Dukes of Windsor onto the airwaves, iriver has just awarded first place in the music category to Melbournian three-piece Bipolar Badwise. Influenced by first-wave electro groups like Depeche Mode, New Order and Pet Shop Boys, and recently topping the Triple J Unearthed dance charts with their tracks Entwined and Sacrifice, these boys are massively talented, and definitely one to watch for in the future. To celebrate the iriver’s discovery of these first wave electro revivalists, we have one hot little iriver E100 loaded up with the group’s tracks, to giveaway. To snap it up, tell us your favourite first wave electro group.
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Firestarter
Hot off the heels of The Fiery Furnaces’ critically acclaimed Widow City, comes Remember, a jaw-dropping double-disc live album. Remember captures the high energy, intricate complexity, amazing vocal acrobatics and technical musicianship that defines a Fiery Furnaces performance. Collecting songs from their entire catalogue and performances across the globe since 2005, this is a highly unique collection. The group has even left out a track-listing, creating a competition for listeners to guess the exact names of songs and their order, which can often be hard to decipher, as the group go to great lengths to create versions of their tracks which differ greatly from album to album and tour to tour. We have three copies to give away. To relieve us of one of the three copies we’ve been slung, tell us the name of the Christmas-themed movie which features a menacing furnace.
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Good Hustle
From the people who gave you Spooks and Life on Mars, comes the third season of Hustle, the story of much loved UK con artists whose game plan is to line their pockets with the fortunes of the amoral and undeserving. Experts in the art of the ‘grifter’, when Mickey (Adrian Lester), Albert (Robert Vaughn), Ash (Robert Glenister), Stacie (Jaime Murray) and Danny (Marc Warren) are in town the con is definitely on, as the quintet dream up endless new ways to liberate the corrupt of their cash. Thanks to Hopscotch Entertainment, we have three copies of the complete third season of Hustle (released December 11) to giveaway. To learn the art of the ‘grifter’, tell us your greatest personal story of being conned.
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The Casino Rumblers - Rumble in the Urban Jungle

“Anyone who’s into psychobilly really digs what we do, but some of the traditional rockabilly people don’t like it so much.” Although touting quiffs, a double bass, and heavy influences from traditional ‘50s-era rockabilly, Sydney six-piece THE CASINO RUMBLERS have laden their sound with a notorious mix of horns and distortion which has set them apart from almost every genre with which they could be associated.

Coming to Canberra this December for the Rock for RADD mini-festival, lead vocalist and double-bassist Dave Bean points out that the group has never tried to fit into one particular scene, whether it be rockabilly, psychobilly, punk, ska, or hardcore. “Basically, we see ourselves as being like no other group because we have that heavier edge. It does scare a lot of people away who are really into those scenes, especially the rockabilly folk” Bean says. “But I think we have to stay true to where the group is going and who our influences are. In our opinion, you have to not play for a scene.”

Describing themselves as having a “bitch-slapping, bone-crushing double bass, vocals straight from the belly of the beast, some obsessive guitar riffs, vein-ripping, eye-popping brass and a fucking psycho drummer”, the Casino Rumblers have always had a slightly heavier edge than other similarly-styled groups. Although being strongly comparable to international acts like Nekromantix, Tiger Army and the Horrorpops, as well as local groups such as Zombie Ghost Train or even the Louisville Sluggers, their new EP Seeing Scars, the follow up to their recent LP See How It’s Gonna End…, is once again a move away from their older style.

“It definitely got heavier” Bean admits. “The different musicians in the group played a huge part – just putting the songs together with new group members changed the sound completely. I’ve always been into metal and punk and hardcore as well as rockabilly stuff, so I guess we kind of just explored that side of our influences, which we’d been listening to a lot more recently.” However, the fact that the group is so openly flexible in their influences and style has allowed them to appeal to a diverse range of crowds, and supporting acts from Reel Big Fish to the Misfits. “Some of the big groups are absolute arseholes, but the Misfits were so nice and incredibly awesome” Bean says. “The first two shows of the tour they thought we were just another support group and didn’t really talk to us. But on the third night they came up to us and said we were great, and for the rest of the tour they watched every one of our sets – it was bloody awesome.”

Although Bean doesn’t mention exactly what type of crowd the boys are able to evoke the greatest reaction from, he seems to imply that the ability for brass-influenced groups – whether they be ska, or just horn-infused rock – will always struggle to survive and remain dominant in any scene, due to the impracticalities of maintaining such a large group. “I think it’s too hard for a lot of bands to have that many members, which is why I think a lot of groups don’t grasp onto it” he says. “As the saying goes, two’s company and three’s a crowd, so when you get six people touring together, it gets rather difficult. So I can understand that it’s not the type of thing that a lot of groups really latch on to.” The drive from Sydney is only couple of hours, so let’s hope the boys make it down in one piece.

The Casino Rumblers will headline the Rock for RADD festival at the Holy Grail, Civic, on Saturday December 20. Joining them will be the Rumjacks, The Vee Bees, All Guns Blazing, Escape Syndrome, Gasma, and many more. Doors open at 2pm and entry is a mere $15!

Free Stuff

Giveaways are open to A.C.T. residents and residents of the surrounding N.S.W. region. Be sure to include your name, phone number and address. Most giveaways will need to be collected from the always tidy BMA office.

As always, read the squiggly lines below and send your answers to the editor.

Confucius Says…
Kid Confucius has been tearing up the mainstream since 2001 with their mix of soul, rock, and pop music. Their last album Stripes strove to bring back motown soul and succeeded wildly. Their latest release, The Let Go, has also been greeted with open arms. This reinvention of the band brings them no farther from soul, but indefinitely closer to mainstream rock. The first single from the album, Good Luck, became the most added alternative track to Australian radio during the last week of August and is heralded as a new beginning for the band. Their new sound has been described as ‘garage soul’ and sees a fusion of boisterous guitars, roomy drums, distorted horns and overdriven and ballsy vocals. They are currently touring in support of their new album and will be playing the Transit Bar on December 6. We have three copies of their new album to give away if you can answer one simple question. What record label are these guys currently signed with?
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Next Exit
From Hopscotch Entertainment, we have a DVD collection consisting of the movies Bad Lieutenant and Last Exit to Brooklyn. Bad Lieutenant follows a police officer who seems to have lost all morality, with the only thing differing him from the criminals being his thirst for justice. His only real show of compassion emerges when he comes into contact with a nun who has been raped and yet has forgiven her attackers. His focus then goes to the seeking of vengeance. Last Exit to Brooklyn, based on the novel by Hubert Selby Jr, is a dark, brutal and gritty feature focusing on several residents of 1950s Brooklyn as they struggle to survive amid social turmoil, desperation and poverty. Released on November 6, we have two packs to give away, thanks to Hopscotch Entertainment, who have also recently put out Mongol (November 20) and Sukiyaki Western Django (October). To gobble up one of these bad boys, tell us, in the movie Bad Lieutenant, who plays the part of the raped nun?
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Fugitive Pieces
Opening recently at Dendy Canberra Centre, Fugitive Pieces tells the story of Jacok Beer, a man whose life is transformed by his childhood experiences during WWII. The moving production follows Jakob from when his parents are killed by Nazi soldiers in 1942, to his smuggling out of Poland to Greece, his emigration to Canada, and the lessons he learns as he finally begins to live in the moment and to accept love when it is offered to him. The film is based on the beloved and best-selling novel by Canadian poet Anne Michael and was directed by Jeremy Podeswa, known also for his work on Six Feet Under. Recently winning the Most Popular Film award at the Sydney International Film Festival, Fugitive Pieces is a truly moving story with sensuous grace. We have six double passes to give away, so to nab one, simply tell us whether you’d rather live in Poland, Greece or Canada.
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Suck in that gut!
With two hit singles drawing the attention of dance-lovers to the talented and beer-guzzling (we can only assume) ways of The Potbelleez, the arrival of their debut self-titled album is sure to cause nothing short of traffic-stopping celebrations throughout the streets of our land. Their burgeoning track, Don’t Hold Back combines Dave & Jonny’s punchy electro-laced beats, guitar-licked sonics and Ilan’s captivating vocals. It spent an incredible 17 weeks at No.1 in the ARIA dance charts and 29 weeks in the ARIA Top 40 singles chart. The single also went platinum, selling over 100,000 units – gaining them three ARIA nominations for 2008, in the categories of ‘Highest Selling Single’, ‘Breakthrough Artist – Single’ and ‘Best Dance Release’. Seriously, how could you not want a copy of this album? Unless you’re some kind of crazed foosball player with a bad haircut, tell us when the Potbelleez last played in Canberra, and we’ll do our best to send to you via carrier-pigeon one of the five copies of their album which we currently have hanging up in the BMA vegie-patch as crow-scarers.
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Everybody Must Get Stoned
When you’re told to come up with the name of an English rock band, I’m sure most of you would have something to say about The Stones. One of the world’s longest running rock bands, The Rolling Stones recently had a documentary made about them, Shine a Light, by Oscar award winning director Martin Scorsese. While some of you may view Mick Jagger and Keith Richards as older than the dinosaurs, the performance of the band has done anything but gotten tamer. The film includes footage from two of their 2006 performances, as well as some from earlier in the band’s career. Jack White, Buddy Guy and Christina Aguilera also make appearances, alongside the boys. If you’d like to get a hold of one of five copies of Shine a Light, tell us, in what year was the album Let It Bleed released?
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Ridgy Didge
It’s seems that it’s almost time again to wrap up ’08 and bring in ’09, and we here at BMA have found no better way to bring in the New Year than with a trip up to Peats Ridge for Australia’s first ever major event completely run on renewable energy. The Peats Ridge Festival kicks off on December 29 and keeps on rolling through to January 1. To keep you all entertained, there will be an endless line up of acts including Kid Confucius, The Devoted Few, Filastine, Salmonella Dub, Geoffrey Gurrumul Yunupingu, Jon Cleary, The Temper Trap, Mamadou Diabete, Hermitude, Bluejuice, The Temper Trap and many more. If you think you could possibly lose interest in the music, there will also be a banquet of markets, stalls, a children’s festival and many other amusements. The third and final release of tickets is on sale right now, but if that sounds like too much troube, we have two double passes to give away. To get your hands on them you just have to answer one question. What was the major award given to the event by the NSW Government?
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TUGGERANONG SKATE FESTIVAL

WHAT: WHEELS, BANDS AND GOOD TIMES
WHERE: TUGGERANONG SKATE PARK
WHEN: SUN NOV 30

As to some extent a ‘fringe’ to the Tuggeranong Community Festival, the Rollin’ To Summer Youth Festival will transform the Tuggeranong skate park into a pseudo-Warped Tour on Sunday November 30. The day will kick off at 9am with the skate competition, followed by a performance by the Wheelers – a high-contact sport for young people and adults who use wheelchairs – and will conclude with the BMX competition in the afternoon. Local metal heavyweights Gasma will punish the ears of punters throughout the day, but in case that ain’t enough for you, then you can catch Melbournites the Nation Blue, House Vs Hurrican and Twelve Foot Ninja, and DJ Jowie, whippin’ up their hooks from 6pm. With the Nation Blue fast becoming one of Australia’s foremost punk/hardcore groups, and having recently been jetting about Brazil, Japan and America, they will undoubtedly inject a healthy dose of snarling fury into the day’s events. The who caboodle will last from 9am – 8:30pm and best of all, it’s free!

Calling All Cars @ Transit Bar Wednesday December 17

Attention Rev-Heads
Calling All Cars have just finished wrapping up their tour supporting Birds of Tokyo, as well as playing the main support slot for The Getaway Plan. This punk rock band has just finished a year of touring and now plan to wrap up the next two months with a tour of their own. Starting on November 21 their tour of Australia will be running until December 27, with a stop by Transit Bar on December 17. If you can’t wait to get your hands on some music by these guys, their new EP Animal was recently released to much acclaim.

Canberra Contemporary Art Space accepting exhibition proposals - Deadline December 18

Calling All Artists…And Such
Attention Canberra creatives: Canberra Contemporary Art Space wants exhibition proposals for next year at its popular artist-run gallery in Manuka. Individual artists or groups are invited to make proposals for exhibitions which could potentially be held in 2009. As this is an artist-run space you will have to be available to install and mind your two-week exhibition and pay a $500 gallery rental fee. If you have a great idea for an exhibition and can meet these requirements then now is the time to submit an application! Put together your CV, a one page description of the project along with installation requirements and five images of examples of your artwork. Don’t forget to include your name and contact details and then snail mail to Yolande Norris, Program Manager, Canberra Contemporary Art Space, PO Box 885, Civic Square, ACT 2608. If you have any questions you can drop an email to yolande@ccas.com.au . Proposals need to be received by December 18 and successful applicants will be notified by mail early in the new year.

Hard ACT To Follow CD project

A Hard ACT To Follow
While Australia has a large amount of budding musicians, there is little support of any who do not fit into the genre of pop music. Any of the harder music such as rock and punk, has been neglected. That is why the project, Hard ACT To Follow has been put into action. The idea is that a number of live acts in the ACT will be recorded and put onto a compilation cd in order to create more of a buzz about local bands who are struggling to make it in the mainstream obsessed world we live in. Bands in the ACT who play these genres and wish to be a part of the project can submit an application to www.hardact.com.au .

Zine Fair @ ACT Writer’s Centre, Gorman House Saturday January 31

We’ve Zine it Coming
While I’m sure many of you attended the chilly zine fair in June, I’m sure you won’t be disappointed to find out that another will be hosted by the ACT Writer’s Centre on Saturday January 31 at Gorman House. While we’re not sure as of yet, the word is that it will be quite similar to the previous event. If that is the case, we can expect a band or two to show up and provide us with plenty of music while we wander around trying to find the latest local artists. Registration is free, but if you would like to rent a table from the Centre, the cost is $10 (at the last event a table seemed to have grown legs and walked off), however it is free if you are willing to bring and set up your own. Get your crayons out!

Josh Pyke with Cloud Control @ ANU Bar Saturday February 28

The Roof is Afire
If you can think of any person who has cruised around Sydney Harbour in a giant guitar boat, you are a better man than I. That’s right, ARIA award winning artist Josh Pyke is the subject of our discussion, with his new album Chimney’s Afire taking up the number one spot on the Australian charts. If some of you failed to get my pun on the guitar boat, Pyke had a custom boat made for his music video Make You Happy, which has been nominated for Music Video of the Year. He is going to be touring Australia with Sydney four-piece Cloud Control. They will be in Canberra on February 28 at the ANU Bar and tickets are on sale on December 1.

The Bluffhearts

The Bluffhearts

BMA Band Profile

Band Name:
The Bluffhearts.

Where did your band name come from?
Sometimes a bluff is just a bluff. Other times, you may be bluffing that you are bluffing. People that gamble like this with love are Bluffhearts.

Group Members:
Naomi Bluffheart (vocals/spoons/kazoo), Luke Bluffheart (guitar/harmonica), Melanie Bluffheart (drums), Matt Bluffheart (stand-up bass), Matt Bluffheart (slide guitar), Jon Bluffheart (banjo).

Describe your sound:
Like Norah Jones, if she inhaled a bottle of whisky and passed out in front of a honky-tonk.
Who are your influences, musical or otherwise?

Whisky, hangovers resulting from the overconsumption of said whisky, Hank Williams, Courtney Love, love.
What’s the weirdest experience you’ve had whilst performing?
Certainly the time we were playing at Wembley with Hank, and he popped backstage for a line and we said ‘Hank! You’re a professional! Get some help! You should know your own lyrics by now!’ That could’ve been a dream.

What’s your biggest achievement/proudest moment so far?
Hearing the crowd sing back to us at our first ever gig, and then getting a standing ovation. It felt like the closing moments of Walk The Line. Except it was at The Phoenix, not in a prison.

What are your plans for the future?
To play Tamworth and record our debut album, Tales Of The Bluffhearts.

What makes you laugh?
The ‘newsbars’ on Sunrise. Jonboy’s reasons for being late. Naomi’s drinking problem.

What pisses you off?
When you specifically ask someone to stop on their way home from work to get some things for breakfast the next morning, and you wake up to find they forgot the tequila.

What’s your opinion of the local scene?
Far superior to the one in Yass.

What are your upcoming gigs?
Friday November 28 at the Street Theatre at 6pm.

Friday December 19 at the Front, Lyneham, with the Big Score, the Missing Lincolns, and One Foot in the Gravy.

Contact Info:
Luke Bluffheart – 0410 983 450.

Scott Burns @ Transit Bar Saturday December 20

Oooh, You Burn!
Sydney based rap and hip-hop artist Scott Burns has been around for a number of years and has recently released his debut album Day 1, which features a host of hip-hop’s brightest such as A-love, Chasm and Sereck from Celsius. Triple J picked up a few of the tracks for their ever growing collection and feedback on the album has been tremendous. It seems that this new album will be another great add to your collection. On another note, Burns is throwing launch parties across Australia and will be passing by Canberra on December 20 at Transit Bar with guests That’s Them, Alikeminds, Gabi and Loulou and Dj’s Buick and Bom.

V Festival on March 28 to April 5

The Big V
V Festival started out three years ago as a two show festival in the Gold Coast and Sydney. They now have expanded to Melbourne and Perth as well. This wild spread has brought in many talented acts and in 2009, V Fest will have the pleasure of hosting The Killers, Snow Patrol and Kaiser Chiefs as well as Australian bands The Temper Trap and Canyons, among many others. The festival will be rockin’ out from March 28 up until April 5. You can currently get tickets from Virgin Mobile on presale, and as of November 28 you can purchase tickets from Ticketmaster as well. For more info, visit www.vfestival.com.au .

Karin Maier exhibition @ The Front Gallery, Lyneham November 26 to December 2

30 Days Later
Canberra artist Karin Maier recently delved into the idea of digitally sharing her art through applications such as facebook in her project 30 Days of Give and Take. Her acceptance of the idea that physical work can be shared over the internet led her to travelling to Japan to showcase her work. As well as completing a piece of artwork each day for 30 days, Maier documented both her trip to Japan as well as her artistic process while she was creating the works. Her show is set to be launched at the Front Gallery, Lyneham from November 26 up until December 2.

Sukiyaki Western Django (Hopscotch Entertainment)

After watching Sukiyaki Western Django , I was rather bemused as to what to make of it. The meticulous fight scenes and kitschy sense of humour were entertaining well enough, but I didn’t think that the movie would stay in my thoughts much afterwards. But then all of a sudden I realised I wanted to watch it again, and it’s this subconscious curiosity that Sukiyaki Western Django plants in the mind of the reader, which makes it so clever.

Directed by Takashi Miike ( Ichi the Killer, Audition ), the film follows two Japanese clans, the Genji and Heike, who are warring over rumours of gold in a poor mountain town. When a talented, yet scarred and cynical gunman enters the town, both sides attempt to lure him into their respective clans. A brash, sometimes ridiculous, but overall interesting mix of classic Spaghetti Western and brutal Samurai styles, the movie has incredible fight sequences, stunning scenery, and almost elegant cross-culture costuming. As we follow the lone gunman through the town, we are drawn into the stories of the townspeople and the warring clans, and the numerous histories of love, lust, betrayal, and revenge which are brought to the fore as both sides vie for power of the town and its gold. The main drawback of this movie, however, is Miike’s decision to have all the characters speak in English with extremely strong, and purposefully entertaining, Japanese accents, such that subtitles are required to follow the dialogue properly. While this does add to the kitschy tone of the movie which Miike was obviously aiming for, it makes the characters rather distant instead of endearing, leaving you with a feeling that you want to care more about the characters, but just can’t. And so you’re left with a movie with an engaging story, visual aesthetic and characters you’re convinced you could love…eventually…if only you watch it one more time.

Mogwai, Tony Allen, Gary Numan, Black Mountain, Of Montreal, The Drones, The Church and You Am I @ Golden Plains Festival on from March 7-9 2009

A Golden Shower
In case the smorgasbord of summer festivals hasn’t yet turned you into a blabbering mess of desire and excitement, then the first announcement of the Golden Plains festival may well tip you over the edge. Returning for its third year, and on the back of winning Best Festival at the recent Australian Festival Awards, 2009’s Golden Plains will give on a platter to you, dear reader, none other than the likes of Mogwai, Tony Allen, Gary Numan (did you know he’s also a pilot?), Black Mountain, Of Montreal, The Drones, The Church and You Am I, to name but a few. Held at the Meredith Supernatural Ampitheatre, Meredith, Victoria, from March 7-9 2009, this is one deserving of your coin.

CASSETTE KIDS

WHAT: INDIE RADNESS
WHERE: TRANSIT BAR
WHEN: THURS NOV 20

Those deliciously indie-dance trendoids, Cassette Kids, will rip up the Transit Bar later this month when they pass through Canberra on their 15-date national tour to celebrate the release of their recently-released mini-album, We Are. Live, Cassette Kids’ explosive indie guitar fuzz causes sweat-drenched hysteria, as captivating vocalist Katrina Noorbergen stamps and stomps her way around stage, hollering through a blur of blonde hair. Noorbergen is backed by three strapping gents, chiming in with dizzying lead guitar effects, impetuous bass solos and gappoling drums. Perhaps the hardest-working band in Sydney, they have already clocked up innumerable gigs both locally and nationally and their burgeoning reputation has seen them support some of the hottest international and homegrown talent. The group’s tour bus will pass by Transit Bar on Thursday November 20. Entry is free.

Mojo Juju & The Snake Oil Merchants @ The Phoenix, Wednesday October 1

“Canberrans, you have been bureaucratised up the arse!” I’d been standing in line outside the Phoenix for close to an hour, in the process missing local supports Mr Fibby, when Very Difficult To Pronounce, Mojo Juju’s megaphone-wielding co-vocalist came outside in an effort to convince those still waiting to enter that there was no reason for us to miss the show. “As far as I’m concerned, this person here manning the door is only one person; but you are many people. So when I count to three, all you have to do is move forward as one group and, before you know it, you will be inside.” He counted to three. The crowd didn’t move. Whether it was due to many patrons’ respect and loyalty towards the Phoenix and its proprietors, or indeed, as Very Difficult To Pronounce suggested, due to the instinctive fear of authority held by so many Canberrans, is hard to tell. Either way, Very Difficult To Pronounce returned indoors, dismayed in part by our passivity but also in part by the fact that we were on the verge of missing an incredible live performance.

I got inside during Mojo Juju’s second song, by which stage the Phoenix’ vastly over-capacity crowd had squashed, wriggled and squirmed its way into the stage area. When most groups would still be warming into their set, Mojo Juju had already stirred the crowd into a frenzy of maniacal delight. On the group’s recordings, Mojo Juju and the Snake Oil Merchants sound like a strongly gypsy-influenced, sultry incarnation of Tom Waits. Mojo Juju, the group’s lead-woman, has vocals that could both melt and terrify even the most seasoned blues aficionado, while much of the instrumentation – including accordion, trombone, banjo, harmonica, guitar and wide plethora of percussion – lurks subtly in the background, showing its full force only in small, teasing explosions, like in the final seconds of Public Announcement. However, during their shows, the songs begin in their usually delicate manner, only to gradually morph into a much faster, Gogol Bordello-styled flurry of speed, sweat, and a hundred voices roaring.

And so it was that, for just over an hour, an atmosphere of festivity, explosive furore and togetherness took over the Phoenix, as the group’s charisma entranced, almost hypnotised, a wide-eyed crowd whose appetite for Mojo Juju’s music grew only more ravenous as the night proceeded. Akira Weller-Wong, the boyishly handsome, bare-footed trombonist stumbled regularly into the crowd, becoming a danger to many punters’ beer as he climbed upon railings, tables and chairs, using his horn to blast away almost any skerrick of dust or cobwebs from the Phoenix’ interiors. Throughout, as well as between, many of their songs, the group was almost theatrical, with members painting each other with lipstick, all the while Very Difficult To Pronounce keeping the crowd engaged with his compelling, and never mundane banter, announcing at one stage that “we must no longer hate these people who tell us that we are different. Instead we will love them and at all times carry around a small bottle of aloe vera, for them to rub on their sore, red necks.”

At most other stages, the demarcation between the crowd and the group’s seven members was often blurry, as the surging, dancing audience spilled over into the band area and its members would be forced to rise above on chairs, like some type of vanguard group leading the audience to musical revolution. Much to the audience’s sorrow, the group finally closed their set, leaving people with a spine-tingling, climaxing rendition of The Warning, with the crowd shouting themselves hoarse with the never-ending “laaa, la la la la la la laaaa.” Upon leaving, people looked almost like they’d just woken from a dazzling, Alice In Wonderland-type delirium, knowing only that they’d just experienced an ecstatic expulsion of energy, while witnessing one of the most amazing, alluring and underrated bands in Australia.

Peats Ridge Festival Dec 29 - Jan 1

For Peats Sake!
Quick becoming a major player in the NYE festival field, the Peats Ridge Festival have just released their third and final release of tickets. Running from Monday December 29 to Thursday January 1 at Glenworth Valley NSW, this year’s festival will host a Jacobean feast of acts, including Salmonella Dub, ARIA award winning Geoffrey Gurrumul Yunipingu, Jon Cleary, Frightened Rabbit, Mamadou Diabate, Hermitude, Bluejuice, the Fumes, The Temper Trap, King Tide, Snop Scrilla, Cloud Control, The Hands, Skipping Girl Vinegar and many, many more, including a final announcement on November 17. The Festival will also feature roving performers and site installations, an array of workshops, markets and food stalls, a Healing Haven of Bliss area, an Ecoliving Village and the Indigenous Boardi Space. Both season and day passes are available, so go get yourself sorted, OK?

BARREL OF MONKEYS

WHAT: ROCK FAREWELL
WHERE: THE BASEMENT
WHEN: SAT NOV 15

Canberra’s most loved cross-dressing weirdos, Barrel of Monkeys, are returning on Saturday November 15 at the Basement, for a John Farnham-style farewell show. After slipping out of the scene quietly almost 18 months ago, the band have decided to play one last show to appease the appetites of fans and haters alike. “Basically we didn’t feel as if we had put closure on the Barrel of Monkeys saga, and secretly I think we are all in need of little ego stroking” explained bassist Chris Gwilt. The night will feature interstate acts Voltera (Melb), Soma (Syd) and LA-bound, Sydney band, Our Last Enemy, who are heading to the US next year to record their debut album with renowned industrial metal producer Christian Olde Wolbers (Fear Factory, Threat Signal, Mnemic, Bleed The Sky, God Forbid). Also playing on the night are local heavyweights and renowned sex-addicts Gasma. So come along for a night of debaucherous hyperactivity and send these irrepressible monkey boys off in style.

Relief in Sight – Australia’s International Disaster Response in Pictures on Nov 26 - Dec 30 @ Tuggeranong Hypdedome and Westfield Woden

What a Relief!
A moving photographic exhibition will soon be coming through Canberra, opening a window on Australia’s international disaster response in the Asia Pacific region. Relief in Sight – Australia’s International Disaster Response in Pictures, will pass through Canberra between November 26 and December 30, with exhibitions at Tuggeranong Hypdedome (November 26– December 12) and Westfield Woden (December 16 – 30). The exhibition is an initiative of the Australian Agency for International Development (AusAID) and associated NG partners, and is comprised of 68 compelling and confronting photographs that capture the impact of natural disasters and other humanitarian emergencies as well as offering an insight into the crucial role of Australian aid workers and volunteers in the initial response and longer-term rebuilding process. The success of this exhibition has seen its tour continue for over two years, so be sure to get along and support this eye-opening display.

SHOCKWAVE II

WHAT: DUBSTEP NIGHT
WHERE: MERCURY BAR
WHEN: SAT NOV 28

Canberra’s premier dubstep event, Shockwave, will return to Canberra this November to once again send a rumble through Canberra’s dry turf. Shockwave II is set to cause a ruckus, bringing together Canberra’s best DJs and MCs, along with a cast of very special guests, including Bec Paton, Buick, Crooked Sound System, Bowl and Scissors and Harlequin MC. Bec Paton has been drawing increasing attention in the Australian Dubstep scene recently, mentioning, when invited to play Shockwave II, that “I have so much dope new stuff that I can play…” The sound system has been boosted and refined and will produce maximum pressure and chestplate ‘bizness’. Make no mistake, you will feel the air moving. Shockwave II will go down at Mercury Bar, Northbourne Avenue, on November 28. Entry is $5 before 10pm.

Oceans All Boiled Into Sky @ The Street Theatre Nov 26-29

A Steamy Affair
This November, Serious Theatre will transform the Street Theatre into a living room from the 1950s, where you will be able to re-live the ecstasy of radio-play broadcasts in the all-live radio drama Oceans All Boiled Into Sky. The creation of David Finnigan, this road trip/coming of age story is set in the nation’s capital after the Earth’s oceans have boiled into clouds of steam. Year 11 student Mack Finch is preparing for his driving test when he is kidnapped by a priest and co-opted into a desperate band of guerrillas, being forced not only to face the horrors of the steam-apocalypse, but also to face his own feelings for the girl who rejected him at his Year 10 Formal. So come on and join director Barb Barnett and a team of actors, animators and visual artists on this journey from the dragonfly-plagued jungle of the Tuggeranong Parkway to the terrifying heights of Black Mountain. The show’s stint will run from November 26-29 at the Street Theatre.

Chris Isaak @ AIS Arena Tuesday March 17

Baby Come Back
Legendary Californian singer/songwriter Chris Isaak is set to continue his long-running love affair with Australian audiences with a March 2009 national concert tour announced recently. That’s right, love affair. He’s talking to you, you sexy thang. The San Franciscan native has just released a brand new album Live In Australia (Universal Music), recorded during his Best Of Tour in 2006. Known for his wonderfully entertaining stage presence, the charismatic performer and his band of 20 years is recognised by such classics such as Wicked Game, Baby Did A Bad Bad Thing, Somebody’s Crying and Blue Hotel. Live In Australia is no less intoxicating with its mix of humour, good times and great songs. The suave crooner will play at the AIS Arena on Tuesday March 17.

The Boat People, The Seabellies and Washington @ Transit Bar Thursday December 4

Three Bands in a Boat
After strutting their stuff off-shore in some of the music industry’s most exciting cities and venues,  this December will see The Boat People, The Seabellies and Washington return to Australia and unite for their collective ‘Home Sweet Home Tour’. 2008 has seen the return of The Boat People, launching their second album Chandeliers earlier this year, on the back of the successful, infectious first single Awkward Orchid Orchard.
The second half of the year, in particular, has seen the band leap to the forefront of the Australian indie music scene with endless and near-flawless reviews of the single, the album and their charismatic live shows. Washington, meanwhile, has just released her debut single Clementine, as well as picking up the ‘Jazz Vocal of the Year’ award at this year’s Bell Awards. The tour will float by Transit Bar on Thursday December 4.

Free Stuff

Giveaways are open to A.C.T. residents and residents of the surrounding N.S.W. region. Be sure to include your name, phone number and address. Most giveaways will need to be collected from the always tidy BMA office.

No funny stuff (not with my jokes…), just free stuff. Send your answers and love-letters to the editor. Hugs and kisses.

Sonic Animation
It’s that time of year again folks. Get out your short shorts, slap on some fluro zinc, and start doing squats each morning in preparation for this Summer’s assortment of dance music festivals. Kicking it off with a blitzkrieg-style “kapow!” is Stereosonic08. The freshest music festival showcasing the best electronic dance music and beyond, Stereosonic08 will be a music and digital arts extravaganza which promises to deliver the best sun-drenched festival. Performing for your insatiable desires will be an army of acts, including Sneaky Sound System, Paul Van Dyk, Carl Cox, Booka Shade (pictured), Infected Mushroom, Midnight Juggernauts, Faker, Pnau, Crookers, Kaz James, Carl Kennedy, Infusion, TV Rock, and a swagger-load more. We have two double passes to give away for any of the Sydney shows (Satellites v1.0 and v2.0 on Saturday November 22 and Satellites v3.0 and v4.0 on Friday November 28). To grab one, tell us which of these four Satellite performances you would like to attend, and why.
send it in

Suck in that gut!
With two hit singles drawing the attention of dance-lovers to the talented and beer-guzzling (we can only assume) ways of The Potbelleez, the arrival of their debut self-titled album is sure to cause nothing short of traffic-stopping celebrations throughout the streets of our land. Their burgeoning track, Don’t Hold Back combines Dave & Jonny’s punchy electro-laced beats, guitar-licked sonics and Ilan’s captivating vocals. It spent an incredible 17 weeks at No.1 in the ARIA dance charts and 29 weeks in the ARIA Top 40 singles chart. The single also went platinum, selling over 100,000 units – gaining them three ARIA nominations for 2008, in the categories of ‘Highest Selling Single’, ‘Breakthrough Artist – Single’ and ‘Best Dance Release’. Seriously, how could you not want a copy of this album? Unless you’re some kind of crazed foosball player with a bad haircut, tell us when the Potbelleez last played in Canberra, and we’ll do our best to send to you via carrier-pigeon one of the five copies of their album which we currently have hanging up in the BMA vegie-patch as crow-scarers.
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Teen Spirit
Going beyond the typical stereotypes of adolescence and its associated characters, the Sundance Film Festival hit American Teen follows five teenagers facing the reality of high school. From the to-die-for guy to the queen bee, the jock, the music freak and the geek, this movie is filled with drama and The Breakfast Club-reminiscent discoveries to boot. American Teen sees the usual insecurities, cliques, jealousies, struggles with the future, and heartbreaks, but this time for five very different points of views. Screening only at the movies from November 27, BMA has five double passes to give away, thanks to our good friends at Paramount Vantage. If you’d like to take your high school sweetheart along to this flick for a bit of back-seat necking, simply tell us your favourite stereotype.
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Get Up And Go
Melbourne’s punk progs The Go Set have just released their fourth album Rising, solidifying their reputation as one of Australia’s budding punk thoroughbreds. With its founding members brought up on everything from traditional Celtic and folk music to early seventies punk rock, and with a voice for political insight and social conscience, the Go Set have trod a remarkable journey over the past years. Recorded with Jonathon Burnside (The Melvins, NOFX, Sleeping Jackson), Rising sees the group once again polishing their folk and Celtic-tinged punk which has drawn comparison with The Pogues, The Clash, Midnight Oil, Billy Bragg and Radio Birdman. Forays are also made into the realms of reggae and ska, showing the band’s desire to constantly breath fresh air into their diverse catalogue. We have four copies of Rising to give away to you plucky young things. To grab one, tell us the name of another punk group who is similarly Celtic-inclined.
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The Giveaway We Had to Have
A wickedly clever musical on the life and times of Paul Keating, Keating!  has taken Australia by storm, enjoying sold-out seasons, receiving numerous awards, rave reviews and standing ovations. Part French farce, part Greek tragedy, and all Australian history, “the country soul opera we had to have” transports you back to a time less politically grey as it charts the rise, fall and rise again of an antique clock collector from Bankstown. Thanks to Madman Entertainment, we’ve got five DVD packs to throw at all you people craving some political nostalgia. The packs also contain The War Room, looking at Bill Clinton’s campaign for office, and Running With Arnold, a doco about Mr Schwarzenegger’s running for California Governor. To snap up  a pack, tell whether you think Paul Keating has realised that he is no longer Prime Minister.
send it in

The Young and the Wrestlers at Dendy November 20

The Young and the Wrestlers
A Canberra-created documentary following a group of Canberran professional wrestlers will screen this November at Dendy Cinemas in the Canberra Centre. The Young and the Wrestlers is directed by David Farrell who, a little while back, saw a wrestling poster in Civic and realised that although he was a wrestling fan, he had no idea there was a wrestling community in Canberra. After befriending some of the Canberran members of the Pro Wrestling Alliance (PWA), David proposed filming them for three months, which then ballooned out to more than six months as more and more drama unfolded in the lead up to Clash in the Capital – the biggest show of the year. This extremely engaging and intriguing look into the little-known, but extremely thriving, wrestling scene in Canberra will premiere on November 20, with sessions at 6:30pm and 9:30pm.

Starfish Hill

BMA Band Profile

Starfish Hill

Where did your band name come from?

When Tim and Lach were trying to think up band names they decided they wanted to base it on a funny story. The one they settled on is a little promiscuous. But basically, it involved Hill and someone disappointingly un-energetic. We’ll leave the rest up to your imagination.

Group Members?
Tim Dyer (vocals/guitar), Richard White (bass), Frank Aloe (drums)
And currently seeking a new lead guitarist as our old guitarist Lachlan recently left.

Describe your sound:
Somewhere between Something With Numbers, Smashing Pumpkins, and the way Powderfinger sounded two albums ago.

Who are your influences, musical or otherwise?
Musically we have all been influenced differently. Large influences include U2, The Cranberries, Mars Volta, Rise Against and the Chili Peppers. Also, our song All These Years has a very Middle Eastern, Arabian feel. While overseas Tim spent some time in Turkey, part of which was spent around campfires jamming with some local Arab guitarists. He learnt local tunes and while All These Years doesn’t exhibit the authentic guitar work he learnt, it’s got a straightforward Arabian pop-driven feel. Something to mix it up.

What’s the weirdest experience you’ve had whilst performing?
Big granny panties got thrown on stage once, but I think it was meant as a joke. Either that or it’s nice to see we had some of the older ladies loving us too. One of Tim’s guitar strings broke and flicked up and put a nice little cut across Richards’s neck. It scared the hell out of him.

What’s your biggest achievement/proudest moment so far?
We managed to win the Upstep band competition against five of Canberra’s best, such as The Magic Hands, Rubycon, My Onus, Stigmata and Alone With You. Also, Starfish Hill made it to the finals of the National Campus Band Comp but unfortunately lost by what was apparently only five points to our good friends Rubycon.

What are your plans for the future?
We’ll be heading into the recording studio very soon! Beyond that we hope to secure some nice support gigs and spread ourselves around Sydney and Melbourne. Also, we’re on the look out for a new guitarist in the near future.

What makes you laugh?
The ‘You pissed me off section’ in BMA.

What pisses you off?
Metal bands that love themselves.

What’s your opinion of the local scene?
It’s been growing well over the last few years. Venues like Bar 32, Transit Bar and events like Gangbusters and Filth are really helping it to develop. Right now it’s fun but not incredible.

What are your upcoming gigs?
We’re playing ANU Oktoberfest on October 23 with Carnation  - on their EP tour with Haunted Attics and Rubycon.

Contact Info:
Email: starfishhill@hotmail.com , www.myspace.com/starfishhill . Ph: 0422 725 457

JEN CLOHER

WHAT: COUNTRY FOLK
WHERE: THE FRONT, LYNEHAM
WHEN: SAT NOV 22

It’s been almost two years since Australia heard anything from that delightful siren Jen Cloher, but this November she will return with her band The Endless Sea, to co-headline a run of intimate shows with fellow Melbournian (and siren, no doubt), Laura Jean. Over the past year, Jen has been writing her sophomore LP, scheduled for release in early 2009. Recorded live over seven days at Woodstock Studios Melbourne, the album was engineered by Paul McKercher (Augie March, Sarah Blasko) and produced by Laura and Jen Cloher. Drawing on the powerful guitar driven sounds they have developed in their live shows, the first single Hidden Hands sits on the brink of discomfort with Cloher’s confessional vocal delivery offset to angular guitar noise, a pounding rhythm section, bold brass arrangements and an apocalyptic choir. So to get all your apocalypse/siren fixes, head along to the Front Gallery and Café, Lyneham, on Saturday November 22 at 7:00pm. Tickets on the door.

Xavier Rudd - Music’s Xavier

Xavier Rudd

When I speak to XAVIER RUDD , he sounds as relaxed and calm as he does whenever he is seen on TV, heard on the radio, or indeed experienced live. To hear his cool, soothing voice coming through the line was therefore somewhat as a surprise, considering that his latest album, Dark Shades of Blue is a notably darker record than any of his previous work. Returning to Canberra this November, Rudd will be able to showcase his slightly new direction, which, he points out, is more of a change of emphasis within the songs rather than an overall change in mood. “I wouldn’t say it’s a lot darker than any of its predecessors. It’s not an album of darkness because I’m depressed or anything like that. I think we’ve just captured the darkness a bit better. My songwriting covers a lot of different spectrums, emotionally, and I think that this one is no different.”

Dark Shades of Blue was mixed by Joe Barresi, who has produced albums for Tool, The Butterfly Effect, Queens of the Stone Age and Bad Religion. Such bands would not be considered traditional bed-fellows with an artist like Rudd, however he points out that it was Barresi’s ability to make the album sound less artificial and almost less polished, that led him to partner with the hard rock/alternative-oriented producer. “I was always a big fan of the production on Tool records”, Rudd admits. “He did 10,000 Days, and that was amazing. He came and saw us in LA and we had a bit of a chat and he was keen to mix the music, and I realised that he could get that ‘live’ album feel that I’ve been looking for.” Ironically, Dark Shades of Blue has actually pleased Rudd more than his previous albums, which, when he describes them, makes them sound almost as practice-runs for the sound he has created on the new album. “I love the tone of the new album. I love the whole thing. It’s taken me a few recordings to achieve what I’ve wanted to achieve. On every album I’ve learned from the previous one how to do things and also how to do things a little better.”

Of course, one must also remember that, like all musicians, Rudd’s music may well be influenced by his surroundings, which now largely consist of tour buses, hotels, and airports, rather than the quiet life he lived 10 years ago. “I think the positives of touring still outweigh the negatives. You get run-down and sick, but at the same time I’ve always felt lucky to do what I do. I came from a small town where I was spending a lot of time on my own. To get out in the world and be in cities all the time and around a lot of people all the time was very different.”

When Rudd returns to Canberra this time, he’ll also be bringing along drummer/percussionist Dave Tolley, who recorded with Rudd on Dark Shades of Blue and who has been touring with Rudd for the past year and a half. “Dave is the fist person I’ve toured with full-time. He’s great – he’s such a beautiful soul and we’ve really connected. There haven’t been many times where we’ve disagreed. It’s a very free-flowing musical relationship.”

Xavier Rudd will play at the Canberra Uni Refectory on Monday November 3. Joining him will be Dallas Frasca. Tickets from Ticketek .

GATHERING 3

WHAT: PSY TRANCE MANIA
WHERE: MERCURY BAR
WHEN: FRI NOV 14

Sideproject has audaciously decided to extend its fifth birthday celebrations into November, with their next event, Gathering 3. This time, some excellent psy trance and progressive music from across Australia will be pumped out for your enjoyment. For the first time, we welcome Spliffun (UP Records, Byron Bay) to Canberra. In addition, he will be joined by UP Records boss Alex from Sydney, who will be performing a DJ set that showcases the richness of the UP Records sound. Joining them will be top quality local DJs Jahla (DJ), Psytata (DJ), and Eukali (DJ), with Disect and Aneurysm performing live sets. Smooth sound will be provided by none other than the Servants of Sound crew, there will be lighting provided by Azza and SoS and decor will be provided by Sideproject. Candles, fruit, incense, chupa chups, glowstix, great vibes, great atmosphere, great people. What more could you want in a night out? The whole shindig goes down on Friday November 14 at Mercury Bar. Entry is now a reduced $15 on the door!

HELLOWEEN

WHAT: METAL HEAVEN
WHERE: THE BASEMENT
WHEN: SAT NOV 8

The carnage returns! If you were hoping that this Halloween it would once again be safe to roam the streets of Belconnen without succumbing to the temptingly evil delights wafting up the stairs from The Basement, then you will be sorely disappointed. On November 8, the Helloween festival will return to The Basement for its second coming, this time featuring an army of the Dark Lord’s musicians, including Mytile Vey Lorth, Templestowe, System Addict, Machette, Barbarian, Taliesin, Inside the Exterior, The Devilz Work, Tortured and Reign of Terror. Like last year, it will be fancy dress, so be sure to bring your best Helloween clobber. There will be a BBQ fired up out the back, and festivities will get going at 12:30pm on Saturday November 8. Entry is $20.

Woelv and LLoyde & Michael @ The Front Thursday November 27

Woelv and LLoyde & Michael
Two North American underground favourites, Woelv and Lloyde & Michael, will be taking on the Canberra folk scene in November. Woelv is a French Canadian folk musician. Her name is Genevieve Castree but she goes under the name Woelv when playing her enchanting music. Lloyde & Michael are a two piece band with floaty pop songs that makes their appeal a gently creeping, unstoppable force. Don’t be fooled by their name, the band consists of a male and a female! Being defined as ‘dusty desert folk’, Lloyde & Michael alongside Woelv are gearing up for Australia and will be passing through Canberra on November 27. Tickets are $15 and the Front Gallery in Lyneham is where the action will go down.

MARK DYNAMIX

WHAT: DJ SUPERSTAR
WHERE: MONKEY BAR
WHEN: SAT NOV 8

One of Australia’s most prominent and significant DJs, Mark Dynamix, is returning to the nation’s capital for a night of thumping beats and glorious house at Monkey Bar this November 8. Dynamix, or MDX as he is also known, has been DJing since 1993 and in that time has pumped out 27 mix CDs and eight original releases. Now residing in Berlin, MDX’s recent performances have seen a larger injection of deeper minimal sound with some more aggressive percussive techno beats. He has also recently launched a totally independent label, Long Distance Recordings, which allows for electronic experimentation in minimal and tech styles, and aims to pair up Australian artists with producers overseas, thus forging a stronger bond between the Australian and European dance scenes. MDX plays at Monkey Bar on Saturday November 8. Doors open at 9pm and entry is $10.

BELCONNEN COMMUNITY FESTIVAL

WHAT: YOUTH AND SUSTAINABILITY EXTRAVAGANZA
WHERE: BELCONNEN LIBRARY COURTYARD
WHEN: SAT NOV 15

Although for a majority of the year the Belconnen Library Courtyard doesn’t see much action aside from a few scallywag skateboarders or possibly a couple of delightfully cute bookworms sneaking a crafty pash, on November 15 it will for the second time be transformed into a carnival playground of free food, free activities and live bands for Block Party 2, as a party of this year’s Belconnen Community Festival. Among the feast of free demos and competitions will be a performance by renowned graffiti artists Kurt Laurenson, boxing and wrestling demos, a chalk drawing competition, and, in case that all sounds a little too healthy and active for you, a Donut King donut-eating competition. The community festival as a whole will also focus on the Future Footprints Sustainability Expo, focussing on how communities as a whole can tackle environmental and sustainability issues. There will also be performances by Kash Boys, Mykaphobic, Epic Flaggan, the Magic Hands and Los Chivos. The revelry will go from 12pm to 7pm on Saturday November 15 at the Belconnen Library courtyard.

Avalon Drive @ Transit Bar Wednesday December 3

Avalon Drive
First was their self-titled EP which consisted of addictive songs that would be stuck in your head for weeks. Next was The City of Burnt Out Lights EP which had kick-ass songs that kept you coming back for more. Now Avalon Drive have released their latest EP, The View From Afar. This album is made up of their usual pop/rock penchant, but with a bigger sound and production. The View From Afar is in stores now and Avalon Drive will be here on December 3 at the Transit Bar to give you a taste of their latest stuff. Entry is free so be sure not to miss them and get ready for another load of new infectious songs that really will be haunting you long after you’ve first heard them.

Rogerthat and Casual Projects @ ANU Bar Friday November 14

Roger that, Rogerthat
After an eventful tour through the UK, Rogerthat have won the hearts of many fans through their high energy shows and psychedelic sounds. Having toured with groups including Spiderbait, Butterfingers, The Black Seeds and Custom Kings, their November 14 ANU show will see them joined by our own Casual Projects. The show will present a chance to hear their latest EP, Tangerine Bird. Recorded in a self-made shipping container-cum-studio, the EP comprises a mash of electric blues, reggae-rock and a slightly twisted psychedelic sound.

Allstars Acoustic Festival @ Gorman House Saturday November 8

Recreating the Traditional Festival Experience
The Allstars Acoustic Festival is nearly here, where you can catch local notables The O’Hooligans, Hasemoto, Dr Stovepipe, The Wedded Bliss, The Cashews, Mr Fibby (pictured) and The Ellis Collective, all amongst the snug surrounds of Gorman House. There will be eager crowds, relaxing environments, cold beers, snags and a smorgasbord of food, but strictly no amps! Saturday November 8 is the date to circle, kicking off at 6pm for the barbie, and then the acoustic guitars will begin strumming from 7pm. Tickets are $20 and are on sale now, so get your loose change together and relax at the festival in your most comfortable pair of cons (usually the ones with the holes throughout them). Converse Allstars are showing us Canberrans an acoustic festival to remember.

The John Steel Singers @ Transit Bar Wednesday November 19

The John Steel Singers
After their national tour with The Grates throughout October, The John Steel Singers couldn’t get enough of the road and have now announced they will be hitting it again with their very own headlining tour, beginning early December. The band will be travelling with their new EP The John Steel Singers: In Colour (released November 1), and will meet a different set of supporting acts in each town they play. The John Steel Singers will be in Canberra on Wednesday November 19 at the Transit Bar. Entry is free, kidlets.

The Veronicas @ The Royal Theatre Saturday February 21

Home Sweet Home
The Veronicas are coming home. February ’09 will see Australia’s favourite twins touring through Newcastle, Brisbane, Sydney, Wollongong, Canberra, Melbourne, Adelaide and Perth. The Revenge is Sweeter tour is The Veronicas’ longest tour since 2006, and to make things even more exciting, hitting the road alongside the pined-over pair are Metro Station and Short Stack. Canberra will be spoiled with this pop rock tour on February 21 at the Royal Theatre. Tickets go on sale October 28 and are predicted to sell out quickly so say to your mum “hook me up” and get ready to shake it!

Free Stuff

Giveaways are open to A.C.T. residents and residents of the surrounding N.S.W. region. Be sure to include your name, phone number and address. Most giveaways will need to be collected from the always tidy BMA office.

Listen, it’s not like we have nothing better to do than write witty intros to the giveaway section all day. You know the drill - get to it and send your answers to the editor .

What a Bloody Pyker
Not content with the spoils of his debut ARIA Award-winning LP Memories & Dust, Josh Pyke has returned with his sophomore effort Chimney’s Afire, and in doing so has cemented his reputation as one of Australia’s most compelling singer/songwriters. Chimney’s Afire is the cry whalers would make when they harpooned a whale and a plume of blood and water spurted out of its blowhole into the air. “It’s a horrifying, brutal image, but the actual language is evocative and quite amazing,” Pyke says of the phrase’s influence upon his new album. While sales of Chimney’s Afire in Japan are expected to dwarf those of any other Australian album released there, Pyke’s honing of melody, quirky song structuring and lyrical intrigue since Memories & Dust has made his new ‘un a critically acclaimed success domestically also. We’ve got three copies of the album to give away to any would-be seafarers. To grab one, tell us the highest position that one of Pyke’s songs has made it into on triple j’s Hottest 100.
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Bunch of Suckers
1958 was the beginning of one of the biggest revolutions in lollipop history, when a Spanish confectionary pioneer, Eric Bernat, decided he wanted to create a ‘sweet on a fork’. The result of this Einstein-like vision was the famous Chupa Chup, known across the world today. While originally there were only seven flavours of Chupa Chup, the delectable range gradually grew to a whopping 127 flavours that are sucked and gobbled by tongues and cheeks on every continent on the globe. Towards the mid-’90s Chupa Chups even sent out a request to cosmonauts at the Mir Space Station and they became the first lollipop sent to space. And now Chupa Chups is celebrating its birthday – the big five-o. To mark this milestone in candy history, Chupa Chups will create laneways in Melbourne and Sydney that are to be dubbed ‘Chupa Chups Lane’. You can help celebrate their 50th by getting your own luscious lips around one of these royal sweets. We have two big tubs to give away, so to get your hands on one tell us what are Australia’s two most popular flavours?
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Oh-oh, Spaghetti-O!
Sukiyaki Western Django is a classic spaghetti western film combined with a Japanese genre and BMA has three copies that you can get your hands on. The movie follows two clans clashing after the Genipei War several hundred years ago, and it’s an epic tale involving dirty tricks, betrayal, blood, love and greed. Takashi Miike, the director of Ichi the Killer and Children of the Lost Souls, wrote and directed this movie. Said to be one of his wildest films yet, this cult-beckoning movie is made up with beautifully colourful production and carefully constructed cinematography. So if you’ve been hanging out for some astonishing and exciting fight scenes, or maybe just like the tasty sound of a spaghetti western film, then get your free copy by telling us whether you anticipate Sukiyaki Western Django to be a historically accurate film.
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Break Down My Shitty Wall!
Mongol is a stunning historical movie that depicts the early years of Genghis Khan, a fearless and inspiring leader who united the many groups in Mongolia. Focussing on the development of this amazing man and the relationship with his wife, this movie incorporates beautiful landscapes, shockingly stark battle scenes and an astonishing story line of triumph, love, and survival. Like Bill & Ted, you too can get taken back to the distant period of history, by winning one of three copies of this spectacular movie. To win this little nugget of a time capsule, presented in a very stylish back-slip case with foil embossing, tell BMA who directed this movie.
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Behind Crimson Eyes @ Transit Bar Wednesday November 12

Behind Crimson Eyes
Behind Crimson Eyes have been focusing on writing and recording for the past 12 months and have now finally mastered their new single Addicted which will be available from iTunes on November 8. A Revolution For Despair revealed the dark side of Behind Crimson Eyes, but next year will see their more light-hearted side, as their thick eyeliner turns thin. In addition to Addicted, Behind Crimson Eyes have also told us to expect an album out March 2009. We told them we also have a magazine out in March 2009. Two, actually, which is one more thing that you guys, so how do you like them apples, huh? They didn’t seem to care. And with good cause. Catch the boys on tour this November as they venture up and down the east coast. They’ll be at the Transit Bar on Wednesday November 12. Entry is free, but don’t get too excited young ’uns, because it’s only 18+.

Ronan/Ronan @ Serbian Club’s Folkus Room Saturday October 18

The French Are Coming
Banjo player and singer of French outfit Fils de Teuphu, Ronan Guittier is making the long haul from his quaint French village of Montreuil to Australia to perform his solo show Ronan/Ronan and to launch his new albums Copie/Colle. With 26 shows scheduled for his Australian road trip, including an appearance at the Serbian Club’s Folkus Room  on Saturday October 18, Ronan will undoubtedly dazzle and charm his audiences with his infamously joyous bric-a-brac of colour, turntable decks, children’s toys, and full box of treasures, while experimenting all the time with his acoustic instruments and loop pedal. With his warm smile, a cheeky look and a loaded shelf, Ronan/Ronan, the true one-man orchestra, will wind you up like a clock!

Alan Braxe - Braxe with a vengence

Alan Braxe

The success of a major single or album all too often has a pacifying effect on a musician or group, as all of a sudden they are being assured by major labels, publicists and managers that they can do no wrong, that every nugget they pop from their tight rear ends is worth its weight in gold. For French electro producer ALAN BRAXE (real name Alain Queme) however, the success of Music Sounds Better With You – his 1998 collaboration with Benjamin Diamond and Thomas Bangalter under the guise of Stardust – only made him more determined to avoid the burden of major label contracts, instead forming his own label Vulture Music. “That song was one of the reasons I started my label. At that time I had a lot of offers from companies for doing similar songs over and over. I decided instead to focus on what I wanted to do. That song made me realise more than ever that some people just want you to write the same stuff over and over.”

For much of his career, Braxe has focussed on creating his own tracks, re-mixing and producing, however the past two years have seen him put on the cloak of touring DJ, travelling the world and, this month, Australia, bringing his good self to Stonefest’s Arena stage this October. As a well accomplished and respected producer/re-mixer, Braxe’s decision to begin DJing was met by some confusion, but also, for the most part, pleasant surprise by most of his fans. “I decided to DJ because I thought I was focussing too much on producing and I was fed up with being locked in my studio. It’s very exciting and I like it a lot. It’s a great way to meet people, and a great way to perform. When I DJ I play a lot of different stuff. A bit of my own stuff, but mostly stuff from other producers. I like to play techno, house and deep house. It depends mostly though on the mood of the club.”

After starting his own label with a view to creative freedom, it’s no surprise that Braxe’s re-mixing credentials reflect the high degree of attention he receives from major artists, while at the same time not making him look like a field-playing jock within the electronic music profession. Having re-mixed acts including Goldfrapp, Jamiroquai, Justice and Björk, Braxe admits that the music he enjoys re-mixing is of the kind which is flexible, yet not too much like his own. “I like a really good vocal in the original mix. I’m not really excited about remixing house or dance music. I like to remix pop and hip-hop and basically any music which is not dance.

ypically, if you have to remix a club track, it’s very hard to remix it because it’s already a club track, so you don’t know exactly what to do with it. I prefer to remix a down-tempo or rock track, because I’m actually adding the dance music value, and that makes it more exciting.”

2008 has seen Braxe release his new singles Addicted and Nightwatcher and after the experience of world-touring added to his assortment of professions, Braxe seems more than ever to be driven by the different reactions his – and others’ – music provokes from audiences. “The music being played in clubs now is quite similar all around the world; Melbourne, Paris, Sydney, New York. In Europe people are more shy than they are in Australia. The interesting difference in the dance community around the world is the people rather than the music.”

Alan Braxe will play from 2:30-4:00am at the Arena stage at Stonefest, on Friday October 31 at the University of Canberra.

Jen Cloher @ The Front Gallery and Café on Saturday November 22

867-5309/Jenny (Cloher)
It’s been almost two years since Australia saw or heard from Jen Cloher. But now, like the return of a sweet child thought to be lost, Cloher has announced that she will be touring with her band, The Endless Sea, to co-headline a run of intimate dates with fellow Melbournian Laura Jean. Over the past 12 months, Jen has been writing material for her sophomore LP, scheduled for release in early 2009, and will be sure to give punters a few tasty samples when she pops into The Front Gallery and Café on Saturday November 22. Renowned for captivating and powerful shows, everyone will be wanting her number after this night.

12th Canberra International Film Festival @ Dendy’s and National Film & Sound Archives ‘Arc’ Wednesday October 29

An International Flavour
Wednesday October 29 will see the launch of the 12th Canberra International Film Festival, kicking off a 12-day celebration of cinema that will feature 75 screenings of 41 films from 20 countries, including 16 Australian Premiers. Presented at Dendy’s stunning cinemas and the National Film & Sound Archives ‘Arc’ venue, the festival features everything from romantic comedies, dramas, and documentaries, to thrillers, and even an Australian horror flick. One feature likely to excite readers is Arc’s screening of Julian Schnabel’s Lou Reed’s Berlin. This musical theatre version of Reed’s 1973 rock-opera album Berlin, which confused and alienated fans when released, grew over time to become adored and accepted by fans and critics. The festival wraps up on Sunday November 9.

St Jerome’s Laneway Festival tickets on sale Monday October 27

A Seedy Back Alley
If there are times when you’ve been chucking up your guts in the alley joining King O’Malley’s and Academy and decided that the experience would be even more enjoyable if you had some live music playing nearby, then St Jerome’s Laneway Festival might be right up your alley.  Heading to Perth for the first ever time, as well as its usual ports of Brisbane, Melbourne, Adelaide and Sydney, 2009’s offerings have just been announced, and will include the delectable offerings of Girl Talk, Stereolab, Architecture in Helsinki, The Hold Steady, The Drones, Cut Off Your Hands, Four Tet, Tame Impala, El Guincho,  The Temper Trap, The John Steel Singers, and many more. Tickets go on sale on Monday October 27, so start saving those pennies!

Irrelevant all-ages show @ Tuggeranong Youth Centre Saturday November 6

A Notable Lack of Relevance
One of Sydney’s foremost post-hardcore groups of the current era, Irrelevant, have just announced an upcoming tour in support of their forthcoming album New Guilt. Gearing up for an all-ages show at the Tuggeranong Youth Centre on Saturday November 6, New Guilt was produced by Brian McTernan (Hot Water Music, Thrice, Senses Fail and The Bled), and is an ambitious effort in combining the brutal purity of the bands’ 2001 EP Reflecting and Refracting, the fierce musicality of their 2005 debut Ascension, and the maturity that comes with a menacing decade of dedication to the road. With shows at the ol’ TYC becoming increasingly renowned, this night is sure to be a top one.

THE BAND BROKE UP

WHAT: LOCAL MUSOS GOING SOLO
WHERE: THE FRONT
WHEN: OCT 21, 28 & NOV 4

If all of a sudden – all at once – all of Canberra’s best bands went belly up, what would be left? Most probably an amazing array of extraordinary solo artists. This concept of solo performances from key members from some of the Capital’s most respected lineups is being brought to The Front Cafe throughout October and November in The Band Broke Up, a residency hosted by The Ellis Collective’s own front man Matty Ellis. Each night in a quiet lamp-lit room will be four individual members from acts including The O’Hooligans, The Andi & George Band, The Wedded Bliss, Julia & The Deep Sea Sirens, The Cashews, Dr Stovepipe, Fire On The Hill and Mr Fibby, passing a single guitar between them, exchanging the stories behind their songs and playing into the evening. The first of these four unique shows kicked off on Tuesday October 14, and there are three more shows scheduled for October 21, October 28 and November 4. All shows begin at 7:30pm sharp and entry is $5 or by donation.

The Longest Day

BMA BAND PROFILE

Band Name:
The Longest Day.

Where did your band name come from?
The Summer Solstice – the longest day of the year.

Group Members:
Brad and Jay. Between us, we play a variety of instruments, including guitars, basses, keys, drums, glockenspiel, xylophone, and samples/loops. For live gigs we’ve recently started playing with Greg and Marc from Sydney band Underlapper.

Describe your sound:
File under post-rock, space rock, shoegaze, lo-fi; time, space, echo and reverb.

Who are your influences, musical or otherwise?
Musically, bands like Flying Saucer Attack, Sigur Rós, Ride, My Bloody Valentine, The Underground Lovers, Mogwai, Pink Floyd, and early Hunters and Collectors.

What’s the weirdest experience you’ve had whilst performing?
The fact that we’re actually playing in a room full of people who like the noise we make. Always humbling. Every single time.

What’s your biggest achievement/proudest moment so far?
Finding out that Night Falls was on the Japanese HMV e-catalogue was pretty cool. But really, considering we recorded our first album completely for ourselves and then gave it away to anyone who wanted a copy, the fact that we’ve now released three full-length albums, and that people seem to like them is something we’re INCREDIBLY proud of.

What are your plans for the future?
To make a fourth album, and to keep our ears open for stuff that moves us. To keep exploring and learning.

What makes you laugh?
At the moment, stuff like Garth Marenghi’s Darkplace, Arrested Development, I’m Alan Partridge, Saxondale, Man to Man with Dean Learner, and Snuff Box. And each other’s ability to find quotes relevant in daily life from all of these shows.

What pisses you off?
Arrogance, people who stand on escalators, naked short selling, and Dixieland jazz.

What’s your opinion of the local scene?
There’s some pretty cool stuff out there. But it’s been healthier, the loss of places like Toast and the on-again-off-again nature of the Green Room hasn’t helped. But hopefully it’s on the way back. Signs are good.

Contact Info:
www.thelongestday.com.au or www.myspace.com/thelongestdaymusic ought to do it. The website also has an email address, so feel free to channel your verbal abuse in that direction.

APRIL MAIZE AND QUINN BAND

WHAT: MELBOURNE FOLKERS
WHERE: THE PHOENIX
WHEN: SAT OCT 25

Two of Melbourne’s most promising up-and-coming bands are joining forces to present a truly eclectic tour around the southern states of Australia this October. The Humpback Trail Tour, consisting of April Maze and Quinn Band, will stop by the Phoenix on Saturday October 25, showcasing the groups’ complimentary styles of smokin’ folk, reggae and soulful roots. Being described as a mix between John Butler Trio and Carus, and the legendary reggae flavour of the Wailers, Quinn Band invite smooth grooves with an impassioned dance vibe, combining social and political themes with a strong focus on humanity. April Maize likewise have a deep songwriting focus, melding together a soulful combination of impressive instrumentation using the likes of guitar, cello, charango, lap steel, congas, drums, and didge. Local favourites The Cashews will be supports for the evening, with festivities kicking off at 8:30pm.

ALT-KIDS

WHAT: REV’S SECOND B-DAY
WHERE: BAR 32
WHEN: FRI OCT 24

It seems like only yesterday that Canberra’s youth were delighting at the opening of another alternative-oriented music night, in an otherwise dance/doof/rubbish-dominated club scene. But time flies when you’re having fun (and listening to Bloc Party), according to the old adage, and so it is with great joy and rapture that Bar 32’s indie/rock/punk/pop night, Rev, has reached its second birthday. And to celebrate, the organisers are throwing a decadent, debaucherous, dare I say Eyes Wide Shut-style soirée featuring a full DJ set by none other than The Vines. If the thought of rocking out on Bar 32’s creaking floors to a DJ set performed by one of Australia’s most notoriously wild rock groups doesn’t put you in heat, then there’ll also be performances by Alice (live) in the upstairs room, DJs performing on both levels throughout the night, and a lucky door prize consisting of an Epiphone Les Paul. What’s better is that this whole shindig will cost you nothing more than the usual price of $5, with the revelry kicking off from 9pm.

PINKY BEECROFT

WHAT: WRY MOFO
WHERE: GREENROOM
WHEN: SAT OCT 25

If you’ve ever caught one of Pinky Beecroft’s appearances on The Glasshouse or Spicks and Specks, you will have noticed that the infamous former frontman for the even more infamous Machine Gun Fellatio is an incredibly captivating, intelligent and wryly amusing individual and musician. Since his departure from MGF, Beecroft has been exploring a plethora of musical directions, recently teaming up with The White Russians. Together, Pinky Beecroft & The White Russians are in the process of launching their debut album Somethin’ Somewhere Better, and will be coming to the Greenroom this October to give Canberrans a healthy dose of their musical offerings. While still wry, catchy, and funny, Pinky’s new musical direction is more delicate, fascinating and genuine than MGF’s tits-out, glitzy, and blinding madness. Pinky Beecroft & The White Russians will playaly at the Greenroom on Saturday October 25. Doors open at 8pm and tickets are $12 plus booking fee, available from moshtix.

Free Stuff

Giveaways are open to A.C.T. residents and residents of the surrounding N.S.W. region. Be sure to include your name, phone number and address. Most giveaways will need to be collected from the always tidy BMA office.

It’s time to deck yourself out in your best hypercolour t-shirts and score some stuff for free. Sling down an answer to the questions provided, and whip it off to editor . And your stomach will get that warm fuziness that only getting something for nothing can create.

Kiss On The Nose?
One of the world’s best-know ventriloquists, David Strassman, is soon to part ways with one of his most popular sidekicks, Ted E Bare. Tragically, the much adored Ted E Bare is announcing his showbiz retirement, reportedly due to the constant pressure from publicity, paparazzi, and dangerously obsessive fans. However, before Strassman and Ted E Bare give each other their goodbyes, they’re embarking on a mammoth farewell tour in dedication of everyone’s favourite soft and cuddly guy, with an epic six-night stint at the Playhouse. We have five double passes to Strassman’s show on Sunday November 2. To snap one up, tell us the name of another of Strassman’s characters.
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The Spring Offensive
Spring is here, the time of year when all people with a good amount of grey stuff between their ears attempt to impose upon others their respective wishes. In keeping with this tradition, Dew Process have just announced their Spring Sampler Campaign. For a limited time only, purchase from Sanity or Leading Edge Music the latest albums from The Grates, The Living End, The Panics, Whitley, Yves Klein Blue, Dropkick Murphys, Dr Dog, Tokyo Police Club, Delta Spirit, Tilly and the Wall or Port O’Brien, and you will receive an 11-track sampler featuring one track from each of these artists. To help out this attempt to impose upon you such a luscious buffet of tunes, we have a prize pack consisting of all the latest albums by each of these artists. If you feel like such a decadent feast is the sort of thing that might get your rocks off, tell us which of the above bands utilises tap-dancing in their music.
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Pinky and Your Brain
As the frontman and primary songwriter of Machine Gun Fellatio, Pinky Beecroft was the core stabiliser and creative juggernaut who led the group to veritable infamy, controversy, nudity, and, somewhere in between, 140,000 album sales. After leaving the group in 2005, Pinky teamed up with The White Russians, allowing him to explore different musical avenues which were unavailable in MGF. Pinky Beecroft & The White Russians’ debut album Somethin’ Somewhere Better has just hit the shelves, with Pinky admitting that influences on the album were far from limited. “I was actually trying to re-create Cold Chisel’s East, but with Angus & Julia Stone both playing the role of Jimmy Barnes,” Pinky says. The group is stopping over at the Greenroom on October 25 to tout the album’s release, and in celebration, we’ve got three copies of Somethin’ Somewhere Better to give away. If you like the sound of this offer, simply tell us the name of the Cohen brothers-created character who loved his White Russians.
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Sewing the Seeds
New Zealand’s most prolific dub/reggae/funk kings The Black Seeds have conjured up yet another blitzing album, Solid Ground. With a 10-member band who master a plethora of instruments from saxophone, bongos, keyboards and the wood block, Solid Ground sees the group at their strongest, reflecting the maturity, style and ingenuity that they’ve developed over their previous four albums. We have two copies of Solid Ground to give away to y’all. If perchance you enjoy a bit of dub/reggae/funk infusion, tell us from which city The Black Seeds hail.
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THE HEADHUNTERS

WHAT: FUNK GODS
WHERE: WODEN SOUTHERN CROSS CLUB
WHEN: FRI OCT 24

Herbie Hancock may have drifted gradually away from the Headhunters back in the ‘80s, but the legendary godfathers of funk and fusion have been forging ahead for the past two decades, and are making their first trip to Australia this October. The Headhunters will feature on their Australian tour funk-drummer extraordinaire Mike Clark, master percussionist Bill Summers, and the amazing Jerry Z on hammond organ and bass. Most notably, the tour will also see the group collaborate with Australian composer Marc Mittag, who first met Headhunters’ drummer Mike Clark in New York during a recording session. Marc Mittag and the Headhunters will play at the Southern Cross Club, Woden, on Thursday October 23 and Friday October 24. Tickets for the dinner and show are $75 (kicking off at 7pm), and tickets for the show only (starting at 8:30pm) are $35.

DOOF DOOF FANS

WHAT: SIDE PROJECT FIFTH B-DAY
WHERE: MERCURY BAR
WHEN: FRI OCT 24

On Friday October 24, Sideproject celebrates its fifth birthday and a full five years of doof doof music with Gathering 2 at the Mercury Bar. Sideproject has always liked to celebrate birthdays in style and this event is no exception.  Featuring a two hour live set from Psyboriginal (Sydney), one of Australia’s leading psy-trance artists, as well as sets from locals M3ow, Ugly Bunyip, Hoops, Psyentology, Tarik and Alamout, this event is one not to be missed.  And just in case destroying your ears with the loudest, duffiest breaks isn’t enough to have you itching, there will also be crystal clear sound from PA Sime and a big lighting show by Toby, Azza and Dave, along with psychedelic decor from the Sideproject crew. Extras include free sure-to-be-needed chupa chups, glowsticks, fruit, candles, incense and the positive vibe you have come to expect.  Entry is $20 on the door and copies of Psyboriginal’s new album, Unleashed, can be purchased for the reduced price of $15. The action starts at 8pm. Capacity is limited. Arrive early to avoid disappointment.

All Tomorrow’s Parties Festival with Nick Cave & The Bad Seeds, The Saints, Spiritualized, James Blood Ulmers, Harmonia, Fuck Buttons, The Stabs and more.

Festival First
Aaaah, October. It’s that time of year when every music-lover’s credit card balance dips exponentially into the red, as almost every week yet another festival releases tickets to be bought with haste and panic by desperate punters seemingly within minutes of their release. One event which is sure to have already broken the bladders of many music connoisseurs is the announcement of Australia’s very first All Tomorrow’s Parties festival. A concept which began in the UK, All Tomorrow’s Parties is a boutique festival that invites an artist or band to headline the event and then handpick their favourite performers to play alongside them. And who better to kick off Australia’s inaugural ATP than Nick Cave & The Bad Seeds, who have chosen an incredible selection of classic acts, including The Saints, Spiritualized, James Blood Ulmers, Harmonia, Fuck Buttons, the Stabs, and many more. The event will be pass through Mt. Buller Ski Resort on January 9 and 10, before heading up to Cockatoo Island on January 17 and 18, and then finishing up at Brisbane’s Powerhouse between January 12 and 16. Get ya skates on!

Mary Jane Kelly @ Tuggeranong Youth Centre Saturday November 15

White Light, White Streets
It’s been a long time coming but finally Mary Jane Kelly have announced the release of their debut album Our Streets Turn White.  They describe themselves as just four best friends hanging out, but they are much more, consisting of a self-confessed melodramatic frontman, a heavy metal-loving steakhouse- employee guitarist, a refrigerator mechanic/bass player and a 17 year old drummer who is still in school. Boasting an energetic and unique live show, this tour will not fail to live up to the hype. Having shared the stage with such iconic bands as A Wilhelm Scream, Lifetime, Bring Me The Horizon, The Ghost Inside, Parkway Drive, Miles Away, I Killed The Prom Queen, Irrelevant, Carpathian, Break Even and many more, Mary Jane Kelly are a band to watch. So all you youngsters make sure you’re at Tuggers Youth Centre on November 15, tickets are $20 at the door.

Love Earth Gathering @ Garema Place Saturday October 4

By Your Powers Combined
For all you tree-hugging hippies out there, get on your bikes and get yourself down to Garema Place in the Civic Centre this October 4 for the Love Earth Gathering. The event is promoting awareness of the climate change crisis and what we can do to lower our carbon foot print. The concerned citizens of Canberra are calling on your help to change the planet. Love Earth Gathering will aim to encourage the world to adopt a vegetarian/vegan lifestyle so as to reduce greenhouse gas emissions and like the mighty green super heroes they are, save the world. And don’t forget the free vegetarian lunch included. Go veg, Go green, save the world.

Hermitude @ Transit Bar Wednesday 29 October

Herman’s Hermits
After the overwhelming success of Hermitude’s last album Threads, the group has have just announced their new Threadbare Tour. Hermitude consists of Luke Dubber (aka Luke Dus) and Angus Stuart (aka Elgusto) and are currently based in the Blue Mountains. Partnering up with Horrorshow, whose debut album The Grey Space saw them cause the biggest buzz in the hip-hop scene this year, Hermitude will be hitting the road and coming to Canberra on October 29, and you will have no excuse not be there; it’s a free show! That’s right, all you cheap arses out there, you’ve got no excuse! So get yourselves down to the Transit Bar on the 29th.

Never Land Conservation Council Dinner @ DeVine Function Centre Friday October 17

The Earth is Turning
The Conservation Council’s biggest annual fundraising event, the Now or Never Land Conservation Council Dinner, is fast approaching. The dinner will be held at DeVine Function Centre on Friday October 17, and will undoubtedly be an evening of fine food, wine and entertainment, along with special guest speaker Peter Garret (Commonwealth Minister for the Environment, Heritage and the Arts and one of Oz’s best rockers), a live auction, lucky door prizes, a raffle, and live entertainment from the Andi and George Band. So bring your friends, family, and colleagues along, schmucks! Tickets are $900 for a table of ten, ecoACTivist tickets $85, early bird tickets (until Sep 30) $90, and regular tickets (from Oct 1) $100. Tickets include a pre dinner drink, canapés and a three course meal.

Youth Group and theredsunband with Laura Imbruglia in Canberra Thursday November 6

Fun In The Sun
Those fabulous Sydney lovelies, Youth Group and theredsunband, are about to kick off on a huge 18 date co-headlining tour. The two bands have been close ever since theredsunband supported Youth Group six years ago at the Hopetoun Hotel. Armed with a 1952 Australian penny, frontwoman of theredsunband Sarah Kelly, and lead singer of Youth Group Toby Martin, met at Erskineville Oval to flip the coin to decide which of the bands would headline on their upcoming tour. They will be visiting our humble city on November 6 and will be supported by Laura Imbruglia. The bands will be sharing a bus, gear and beer, so be sure not to miss it. It’s gonna be hot.

April Maze and Quinn Band @ The Phoenix Saturday October 25

Lost In The Maze
April Maze and Quinn Band are two of the hottest up and coming bands to come out of Melbourne, and they’re joining forces for a whirlwind mini tour of the Australia’s southern states to promote their new releases, with a quick stop-over in the ‘berr later this month. Co-headlining, these bands compliment each other’s style perfectly, with both boasting an original mix of folk, acoustic, reggae and soulful roots.  Plus, its all for a good cause,  namely, to raise awareness of the plight of the marine and coastal environment in the Kimberly region. So pencil it in for October 25 at The Pheonix, y’all. Think of Nemo.

New APRA AMOCS website

Aprca Cadabra
APRA AMCOS is the place to be for Aussie songwriters and composers. A hub of information about song writing,  copyright, plus all the latest industry news and events, all delivered via a vibrant, easy-to-use site. The site features easy-to-use navigation, an industry events calendar, improved functionality, and easy access to online facilities for members and clients. So all you budding artists and composers, make sure you visit the new site at www.apra-amcos.com.au .

Pomomofo @ Transit Bar Saturday November 1

Mofo On A Motorcycle
Our favourite electropop wolves, Pomomofo, have just announced their new tour.  Pomomofo are preparing to head off in order to celebrate the release of their second EP In Super VGA on the In Super VGA tour. Pomomofo started off writing chaotic tunes and won the Jim Beam state band competition.  Now, boasting an energetic live show and a myriad of witty lyrics this is sure to be one for the diary. Having played strong supports alongside Cornelius, The Presets, Midnight Juggernauts and Sneaky Sound System, you know now they are a band to keep an eye on.  No excuses.  Pomomofo will be playing at the Transit Bar on November 1.

Charlie Greaser

BMA Band Profile

Where did your band name come from?
It was coined in San Jose California from a pomade tin ‘American Greaser Supplies’. I wore so much of it that the girls called me ‘Charlie Greaser’, not to be confused with ‘tattoo Charlie’, a friend.

Group Members:
Charlie Tizzard (vocals and guitar), Beau Nestor (drums) and Dave Bean on upright bass (also of the Casino Rumblers).

Describe your sound:
Loud Rock N Roll with rockabilly/psychobilly roots and a punk edge.

Who are your influences, musical or otherwise?
Elvis, Eddie Cochran, traditional hotrods, Stray Cats, Sex Pistols, the Bronx, Reverend Horton Heat, Nekromantix, the Peacocks, my family, motorcycles, share cropping and donuts.

What’s the weirdest experience you’ve had whilst performing?
I was accidentally set on fire by a fire twirling burlesque dancer in Las Vegas.

What’s your biggest achievement/proudest moment so far?
Recording at Sun Studios in Memphis, where Elvis was discovered. Either that or fitting a whole cheeseburger in my mouth.

What are your plans for the future?
We are putting out an EP of older unreleased songs on October 4, then a full-length album next year with a tour to follow. The Burn the World EP features songs recorded at Sun Studio in Memphis and my recording studio back here. We will also be supporting KC and the Moonshine Band from Canada this November in Canberra, Sydney and Wollongong.

What makes you laugh?
Getting into trouble, people hurting themselves and life.

What pisses you off?
People with no sense of humour; people who tell you ‘you can’t do that’ all the time and horses.

What’s your opinion of the local scene?
The Canberra scene is going through another quiet cycle.

What are your upcoming gigs?
October 4: EP Release at the Basement with Sin City.November 14: ACT, the Basement with KC and the Moonshine Band (Canada).
November 15: Sydney, The Lansdowne Hotel with KC and the Moonshine Band (Canada).
November 16: Wollongong, the Oxford Tavern with KC and the Moonshine Band (Canada).
Contact Info: charlie [at] greaserville [dot] com or www.myspace.com/charliegreaser

Byron Bay Arts and Music Festival CANCELLED

Every Cloud…
The Byron Bay Arts and Music Festival has been cancelled. That’s right my friends, due to a cranky local council the show will not go on. With an epic line-up including Franz Ferdinand, The Hives, The Cat Empire, The Kooks, The Grates, Gomez, Faker, Tegan and Sara, Donavon Frankenreiter, and Soko, it was sure to be a great time. But in seemingly unrelated news, Brisbane’s Sunset Sounds has just been announced! To be held on the same dates! Featuring an extraordinary line-up stretched over two days including The Hives, The Cat Empire, The Kooks, Tegan and Sara, Sharon Jones and The Dap-kings, Gomez, Soko, Yves Klein Blue, Franz Ferdinand, The Grates, Santogold, Donavon Frankenreiter, Ash Grunwald, CW Stoneking, and I Heart Hiroshima.

Free Stuff

Giveaways are open to A.C.T. residents and residents of the surrounding N.S.W. region. Be sure to include your name, phone number and address. Most giveaways will need to be collected from the always tidy BMA office.

It’s time to deck yourself out in your best hypercolour t-shirts and score some stuff for free. Sling down an answer to the questions provided, and whip it off to editor . And your stomach will get that warm fuziness that only getting something for nothing can create.

Got Any Gum?
Gumby, the lovable green clay humanoid is back! That’s right, we’ve got three copies of the box set, Gumby Volume Two – The ’80s up for grabs. Gumby’s adventures have enthralled and captured the hearts of young and old alike since the ’50s. This box set features all available episodes of Gumby from the ’80s and includes the Emmy Award-winning documentary Gumby Dharma as well as an episode guide with foreword written by Art Clokey’s son Joe. So crack out the Play Do and prepare to release your inner child. With the help of his friends Pokey, Prickle and Goo, Gumby spread a message of friendship and compassion, so get ready to be swept away into a world of fantasy that only Gumby could create. This set is an essential addition to your collection for anyone who was touched by our favourite little green man. To win tell us, what was the name of Gumby’s younger sister?
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The Streets of London
With three albums under his belt, our favourite crazy Pom, The Streets, aka Mike Skinner has just released his new brand spanking new album Everything Is Borrowed. Described as having ‘the sound of an inner monologue’ Everything Is Borrowed is all about peaceful, optimistic and positive vibes. This new album is a breath of fresh air for Skinner’s fans, following the darker vibes from his previous albums. Mike Skinner has made an album that will console the lonely and bring a smile to the saddest visage. So if you sad sods are up for it, BMA has five copies up for grabs. To get your grubby little mitts on these bad boys, tell us, what is the name of The Streets’ first album?
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There Goes My Hero(es)
It’s a bird! It’s a plane! No, its Heroes – Season 2! BMA has three copies lying around the office just waiting for one of you to get your greasy little hands on. Heroes is an epic drama that tells the story of a bunch of ordinary people who discover they have amazing superpowers after a total eclipse plunges the world into darkness, seemingly calling on a number of supernatural forces. The first season of Heroes was much acclaimed, receiving numerous awards and award nominations. So come on, rejoin the super revolution. In season two you will experience all the new twists and turns, all in one four-disc set which includes every gripping episode from season two. The set includes many exclusive bonus features that reveal the untold stories that were never aired, and an alternate ending to the season finale. To win, just tell us which hero has the ability to manipulate electricity?
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Beating Around the Bush
If you were worried that dense, high-quality script-writing with emotional depth and powerful drama might be making a come-back and in the process eclipsing the swag of quality teen comedies of the past decade, then fear not. From Howard Deutch, director of The Whole Ten Yards and Pretty in Pink, My Best Friends Girl tells the touching, yet comedically tragic tale of Dustin (Jason Biggs) who, after being dumped after only five weeks by his dream girl Alexis (Kate Hudson), turns to his best friend Tank, who specialises in giving the ex-girlfriends of freshly-shafted guys a dating experience so horrible (horrible yet hilarious, remember), that they run gratefully back into the arms of their former blokes. If you thought American Pie, Superbad, and The X Files: I Want to Believe were outrageous, side-splitting comedies, then you’ll love My Best Friend’s Girl. If you and your ICBM hook-up of last Saturday would like to score one of ten double passes to this flick so you can neck in the back row, simply tell us the most shameful thing you’ve done to try to change the mind of an exie.
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Under The Sea
Sealab 2021 sees our favourite gang of misfits investigate underwater colonisation. With nearly no morals or professionalism, it is easy to mistake the animated underwater headquarters for the BMA office, and we’ve got three copies of Sealab Vol 3 up for grabs. With the same loveable characters from past seasons such as Captain Hazel “Hank” Murphy (who leaves after the fourth episode to fight in the ‘Great Spice Wars’, to be replaced by Captain Bellerophon “Tornado” Shanks after replying to a help wanted sign), the token dumb blonde Debbie DuPuree who claims that being a filthy whore is all she knows, Derek “Stormy” Waters, the station’s resident pretty boy who loves a great coleslaw, Doctor Quentin Q. Quinn, token black guy and the smartest of the lot, Jodene Sparks the sarcastic and seemingly crippled radio operator, and let’s not forget the macho man, wannabe Latin lover Marco Rodrigo Diaz de Vivar Gabriel Garcia Marquez. So if you’re a fan from way back, write in and tell us what is the name of the chubby little boy who talks in Dolphin noises and is the target of never ending fat jokes? And no, the answer is not Kevin Rudd.
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The Hands @ Transit Bar Thursday October 9

All Hands
Australia’s most celebrated keyboard playing brothers, The Hands have just announced that they will grace the nation’s capital with their presence, with a gig at the Transit Bar on October 9. Clayton and Lachlan Doley are Australia’s original soul, funk and pop brothers. Born and bred Adelaide boys, it has not been an easy road for The Hands, both teaching themselves to play until Clayton moved to Sydney where he met Jackie Orszaczky who soon became the boys’ mentor. Soon enough, Clayton could not reach the demand for his talents and that’s where brother Lachlan came in. The boys have played alongside such legendary artists as Kasey Chambers, The Whitlams, Powderfinger, Jimmy Barnes, Billy Thorpe, Jon Stevens, Richard Clapton, Silverchair, The Beautiful Girls, Diesel, Karma County, and Jodi Phillis. The brothers garner much respect from their peers, fans and music critiques alike, so be sure not to miss it.

The Holidays - Everyday should be a holiday

The Holidays

“We didn’t realise how popular Little Red are. Every show has been packed out with young girls…our age…wait, no, I mean we’re all hooked up. Trust me, we’re well-behaved.” Even if Simon Jones, lead vocalist and rhythm guitarist for Sydney indie-pop quartet THE HOLIDAYS , has just shot himself in the foot by prematurely disappointing Canberra’s young single dames with his ‘no touchy-touchy’ status, he can probably take solace in the fact that any female fans lost have been replaced by hordes of strapping young blokes itching to throw themselves into the veritable ball-less pit that a show by The Holidays produces.

When I speak to Simon, The Holidays are on a short break, resting up between their tour with Melbourne sex-kittens Little Red and their approaching tour with Yves Klein Blue, which will bring them to the ANU Bar this October. “We’ve never toured with them (YKB) before, but we’ve hung out with them,” Simon says. “Personally, they’re on the same wave-length as us, and musically, they sit fairly well with us as well.” And without the distracting thought of picking up muffin-top groupies in Union Court after the show, the boys will also have plenty of time to plug their new EP When The Ship Goes Down, which is due to be released shortly after their stop-over in Canberra.

Produced by Wayne Connolly (The Vines, Josh Pyke) and mastered by John Davis (Kaiser Chiefs, The Ting Tings, Bloc Party), Simon points out that it is much more reflective of the group’s real sound than their first EP. “ The first EP was pretty early on for us. We were really new and it was our way of introducing ourselves, but we weren’t happy with the way it sounded and it didn’t really represent what we could do. We wanted this EP to sound 30 percent bigger. The first EP was the initial sound of the band. This EP actually reflects us as developed musicians.”

Musically, When The Ship Goes Down is dripping with indie-pop sensibility, with cleverly-styled hooks designed to be infectious and catchy, but still listenable and interesting after more than a couple of listens. However, the strong, clear lyrical theme of the EP, centred around relationships both found and lost, puts the group above the rest of the colossal indie landfill, whose lyrics seems often superficial and flippant. “We play songs the way we think they would sound the best, but I also try to write songs that are about something,” Simon admits. “They’re not just a bunch of words with a catchy line or something. I wanted to confine this EP to human relationships. I like the idea of picking something small and really taking it apart with lyrics, as opposed to trying to cover too much ground.”

While this may sound like Simon is bordering on the edge of creating an introverted, self-indulgent album, the open, inclusive tone of the lyrics make them more touching and relatable than any potential journey of self-exploration. “I’m really into the song-writing of people like Elvis Costello, who have the social observation style, where things don’t necessarily happen to you, but are happening to people around you, universal things.”  The group have now started writing for their debut LP and Simon admits that he won’t necessarily be taking the thematic concentration of When The Ship Goes Down to their next release. “It was just the mind-frame I was in when writing this EP,” Simon suggests. “I don’t think it will be something we carry on in the future.”

The Holidays will play alongside Yves Klein Blue on Saturday October 4 at the ANU Bar. Get involved!

Free Stuff

Giveaways are open to A.C.T. residents and residents of the surrounding N.S.W. region. Be sure to include your name, phone number and address. Most giveaways will need to be collected from the always tidy BMA office.

No funny stuff, just free stuff. Send your answers to the editor

Yacult
Taking out third place in the Audience Awards at last year’s Melbourne‘s International Film Festival, selected for Toronto’s 2008 Hot Docs, and nominated for Best Documentary in the upcoming 2008 AFI Awards, Beyond Our Ken provides an exploration of the anatomy, ambiguity and intrigue of Australian ‘cult’ KENJA Communications. Long considered to be a dangerous and secretive group, KENJA has gained increased attention in past years due to its alleged similarities to Scientology, legal action against founding member Ken Dyers for sexual abuse, and the highly-publicised debacle surrounding former member Cornelia Rau. In 2006, only a year before Dyers took his own life, Luke Walker and Melissa Maclean were given unrestricted access to KENJA’s spiritual evolvement centre, where they recorded the daily activities of the organisation and conducted revealing interviews with past and present members, along with founders Dyer and Jan Hamilton. We have five copies of this hot doco to give away to any disaffected, vulnerable readers. To snap one up, simply tell us which well-known group got its name from a cult located (at its cessation) in Guyana.
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Crafty Cuts
“What’s this?“ I hear you mutter. “A beer festival-cum-patchwork and tea-cosy fair?“ No, my dear friend. While crochet lovers and connoisseurs of the finest teas for arrowroot-dunking are more than welcome, Canberra’s first ever Craft Beer Festival will aim to bring to the startling attention of Canberra’s inhabitants’ tastebuds the quality and diversity of Australia’s finest micro-breweries. The dream of Samara Fuss (Head Brewer of The Schwartz Brewery) and Daniel Gaul of Olim’s Hotel, the day will run from 10am till late with stalls from Baron’s Brewing Schwartz, Little Creatures, Matilda Bay, Coopers, Snowy Mountains, Zierholz, and many, many more. And in case that’s not enough to have you shouting “where’re my pants?!”, there will also be local gourmet food producers in attendance, an appearance by enduring Sydney rockers The Choirboys, and all profits raised will go to supporting the ACT Eden Monaro Cancer Support Group. We’ve got two passes to this extravaganza to give away, along with four six-packs of Baron’s Brewing Wattle Original Ale.  Baron’s Brewing is Australia’s largest independent craft brewer, and this ale has won several awards. To snag one, tell us your greatest story of drunkeness. Being BMA staff, it will probably take a lot to impress us on this one…
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She-Devils
Sydney’s “fresher than Flavor Flav” psychcedelic electropop monkeys Van She have just released their debut LP V to both critical anticipation and vast crowds of confused, neon-clad, post-punk shoegazers. As a part of some conniving get-rich-quick scheme, they’ve decided to embark on an extensive national tour to support its release and will be swinging by the ANU Bar on September 24, supported by The Lost Valentinos. Uniting the twin tonics of live indie and DJ electro into one tasty alcopop infusion, V was written in Berry and recorded in London, where it was mixed by Jim Abbiss (Massive Attack, DJ Shadow, Arctic Monkeys) and has already had trendoids and prog rock-wannabies alike salivating over their singles Strangers, Cat & The Eye and Changes. If you’d like to acquire one of three double passes to their Canberra performance, burn all of your favourite big-letter neon v-necks and then send us an e mail.
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Chemical Addiction
For the past 15 years, The Chemical Brothers have provided the soundtrack to many a memorable night of youthful debauchery. Whether it be the music of choice for a big night on the gear, or the soothing tunes for a day-after comedown, Tom and Ed’s tunes have undoubtedly imbedded themselves in our collective memories. Now, the duo are releasing Brotherhood, a 2 CD ‘best of’, documenting their years in the spotlight. The first disc collects the boys’ greatest tracks from their time in existence, while the second disc contains all ten tracks from their Electric Battle Weapon project, a series of special mixes they have recorded since 1996. Far from being a money-grabbing follow-up to their Singles 93-03 release of a few years back, Brotherhood is a much more comprehensive anthology of the group’s legacy. We have five copies of this delicious little package to give away. To get your sticky mitts on one, tell us one of the names of the Chemical Brothers’ former manifestations.
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ARTY-TYPES

WHAT: CCAS MEMBERS EXHIBITION 2008
WHERE: CCAS MANUKA
WHEN: SEPTEMBER 25 - OCTOBER 5

Every year, the Canberra Contemporary Art Space likes to hand the power back to the people and invite all of its members to show what they are made of in the infamous Members Exhibition. You’ll find no art-snobbery here - all entries get exhibited and there is a strict theme to keep everyone on the level. The result is an exhibition that’s crammed to the rafters with amazing, inventive and often hilarious artwork.This year, in keeping with THAT local flower festival, the exhibition theme is The Garden of Good and Evil. Yes, there will be lovely paintings of flowers and odes to the springtime for those who like that sort of thing, but other interpretations will be far broader, with undoubtedly some inclusions based upon original ‘it’ couple Eve and Adam and their dealings with the devil in the most famous garden of all. Best of all, you can foster your very own art collection as everything in the exhibition is for sale at the set bargain price of $100! The Garden of Good and Evil opens at 6pm on Thursday September 25 at CCAS Manuka so come along and  have a squiz.

You Am I @ ANU Bar Saturday November 13

You Am I, I Am Yours
You Am I will be returning to the ANU Bar on November 13 as part of their Let’s Be Dreadful tour, bringing with them their new LP Dilettantes, released on September 13. The group has had an uncharacteristically long break from the Australian live circuit due to US touring commitments and the recording of the new album, which has been described as “more open, more varied and filled with all the colours of the You Am I rainbow.” In support on the tour will be Perth’s Tame Impala, who will be using the tour to show off their debut EP. Tickets are on sale now from ANU Union.

JOHN MACKEY

WHAT: JAZZ MAN ALONGSIDE LOCALS
WHERE: STREET THEATRE
WHEN: SATURDAY SEPTEMBER 20

The Street Theatre is set to transform its humble floors into a mini jazz festival on September 20, hosting John Mackey Behind the Scenes. The evening will showcase original compositions by Mackey, fused with classics from the greatest names in music and performed by some of today’s budding jazz professionals. Split into three sessions, the night will run from 8pm until midnight. Session one will see Mackey performing with The Austin Benjamin Trio, whose sound is a synthesis of influences from modern jazz, electronica, rock and folk with a strong base of acoustic. Session two will feature The John Mackey Trio, with Eric Ajaye mastering the bass and Mark Sutton working the drums. In the final session, Mackey will team up with The GSB, a contemporary fusion group blending elements of jazz rock, jazz fusion and hard bop, who produce the most exciting jazz showmanship of the contemporary era. Tickets can be bought for the whole night or for individual sessions, and things will begin warming up from 7pm with some laid-back jazz piano in the foyer.

Sky Pictures launch Double A music video @ Monkey Bar Friday 19 September

Battery Charging
Newly-established Canberra production juggernauts Sky Pictures, founded by locals Adam Lynch and Hassan Bajway, will be painting the city blue this September 19 when they launch the music video Up n Down by Canberra hip-hop artist Double A. The launch will represent the fruits of many years of hard work by Double A, as well exemplifying his work in the local Canberra community. The launch will begin at 7pm at Monkey Bar, 128 Bunda Stree, Civic.

Ian Moss @ Southern Cross Club Thursday October 30

Rolling Moss Gathers No Stones
The relentless ex-Cold Chisel guitarist Ian Moss will be hitting our streets very soon, bringing along timeless vixen Wendy Matthews and Sydney six-piece vocal group Tempus in tow. The Never Say Never tour, stopping by the Southern Cross Club on October 30, will give Mossy a tremendous platform to showcase material from his new album, which is said to draw on influences including Al Green, Otis Redding and Creedence Clearwater Revival. Matthews as well will be giving fans a taste of her recent material, along with – this writer hopes – a moving rendition of The Day You Went Away.

Screen It registrations close September 26

Screen It (Just Screen It)
If you’re of primary or secondary school age, have a keen hankering for making films, and have ever pondered exactly what that oft-spoken but rarely-defined enigma of ‘Australian Identity’ actually is, then this year’s Screen It competition is right up your alley. Screen It is designed to encourage imagination and inventiveness in Australia’s young film-makers, with participants this year being asked to create works around the theme of ‘Australian Identity’. Entrants may enter a work into one of three categories, with winners bagging a prize pack worth over $500. Registrations close on September 26, so get ya skates on! See www.acmi.net.au/screenit for more info.

Amity Affliction @ Tuggeranong Community Centre Sunday October 19

The Amity Affliction Severs Ties, But Not With Canberra
Brisbane’s hardcore boys The Amity Affliction have just finished recording their debut LP Severed Ties and are hitting the tarmac to spread its rampaging beats and thrashing guitars throughout the nation. The album will hit the shelves on October 4 via Boomtown Records, with the lads stopping by the Tuggeranong Community Centre for an all ages afternoon show on October 19.

Byron Bay Arts & Music Festival @ Belongil Fields January 7-8 2009

B yron Bay Arts & Music Festival
Byron Bay’s insatiable appetite for music festivals has spawned the triumphant return after 12 years of the Byron Bay Arts & Music Festival on January 7-8 2009 at Belongil Fields. Currently, the festival will be adorned by a plethora of acts fresh from their performances at The Falls Festival, including Franz Ferdinand, The Hives, The Cat Empire, The Kooks, The Grates, Gomez, Faker, Tegan and Sara, Donavon Frankenreiter, Soko, and many, many more. Tickets for Lorne’s Falls Festival have sold out already, so if you wanna catch these quality acts, this festival is the place to be!

Law & Disorder @ The Street Theatre Sunday September 28

Law & Disorder
Los Angeles’ comedy improvisation stars, Dan O’Connor (Seinfeld, The Tonight Show) and Edi Patterson-O’Connor (Groundlings) are bringing their incredibly arresting and entertaining Impro Theatre performance Law & Disorder to the Street Theatre on September 28, hoping to entice more than just your average theatre-goers. The pair is aiming to re-create and investigate several fully-improvised crimes, inspired by audience suggestions. Only fifty seats are available. Please form an orderly queue.

WAYNE LOTEK

WHAT: UK RAPPER AND PRODUCER
WHERE: TRANSIT BAR
WHEN: SATURDAY SEPTEMBER 27

If you thought Saturday nights at Transit couldn’t turn into a more eclectic mix of all-sorts (or were worried that they were becoming less so), then fear not! On September 27, the UK’s Wayne ‘Lotek’ Bennet will grace the stage, dishing up a glutenous serving of hip hop, dancehall and dub tunes in support of his new single Control Alt Delete and solo album REBEL HIFI. Now a rapper and producer, Lotek left school early to make a career as a studio master in London, where he eventually met up with and collaborated extensively with Roots Manuva, forming his own group Lotek Hi-Fi in 2002.  Joining Lotek will be the Australian-Sri-Lankan MC Pataphysics, a Tamil and Singhalese-speaking trumpet player, sonic landscaper and rhythmic sound shaper. An authentic multi-tasker, he raps deal with everything from local and international politics, indigenous resistance and dreaming, to eastern philosophy, existence and spirituality. Kapow!

The Trivs

BMA Band Profile

Where did your band name come from?
Someone once told us that ‘Trivs’ means ‘to be doing fine’ in Swedish, which we like to believe, but never looked into it. We probably should check on that…

Group members:
Miller Rouse: frontman, Michael Bones: leads, Byron Fay: baritones, Daniel Gaffney: kicks and hits.

Describe your sound:
Well, if Slayer and the Bee Gee’s had a love child, and that child decided not to follow in its parents footsteps, you’d be getting close.

Who are your influences, musical or otherwise?
The Strokes, Arctic Monkeys, Bloc Party, David Attenborough and William Shatner.

What’s the weirdest experience you’ve had whilst performing?
We once played in a tiny bathroom at a house party… stinks.

What’s your biggest achievement/proudest moment so far?
Last week we had a sound check… but we have also supported three national touring acts in three months (Mercy Arms, Skybombers and Calling All Cars) as well as breaking into the top ten on the triple j Unearthed charts… but mostly we’re thrilled that people come to see us play.

What are your plans for the future?
Making squillions of squids. Hmmm. Being in rehab by 2012… and possibly some recording and radio play in between.

What makes you laugh?
The fact that parents aren’t allowed to take photos of their kids at soccer games, but Ronald McDonald is still allowed to hang out with those kids unsupervised… seems a bit funny… *awkward silence*…

What pisses you off?
Nickelback cover bands…and Nickelback.

What’s your opinion of the local scene?
It’s pretty good! We are having heaps of fun playing with and checking out great local bands like The Magic Hands, The James Fahy Trio, Like Foxes and Rasputnik.

What are your upcoming gigs?
September 25, The Filth @ Transit Bar with Fait Accompli, AKA Shaker and The Bungalow, October 23, Gangbusters 1st BIRTHDAY FUNDRAISER @ Bar 32, October 30, Lansdowne Hotel (Syd) with The Fights and Assemblage Point, November 20, headlining Gangbusters @ Bar 32 with The Fights and Like Foxes.

Contact Info:
http://www.mypsace.com/thetrivs , http://www.triplejunearthed.com/thetrivs , The Trivs are on facebook: the Group (updates and information), the Fan page (if you love us). Management & Bookings contact: Duncan Brown, duncan [dot] brown228 [at] gmail [dot] com

Sin City @ The Basement Saturday October 4

Come All Ye Sinners
Canberra is still reeling from last time Sin City were in town and now Melbourne’s kings and queen of rock are back to take it to the next level. Armed with a swag of new songs and fresh from tours with Sham 69 (UK), X and The Hell City Glamours, don’t miss one of Australia’s best live acts in their last Canberra visit for 2008. Sin City will be hitting The Basement on Saturday October 4, and joining them will be local legends Charlie Greaser, who will also be launching their new EP, NSW punk sensations Throwaway Kids, oi-boys All in Brawn and rock ‘n’ roll girls Sister Scarlette. Put that in ya diary, scum!

Save your hearing - Hearing Awareness Week

Come Again?
Can you hear me, dear reader? Well, if you’re the whorish social butterfly of Canberra’s live music and clubbing scene that we expect you to be, then you may suffer, either now or in the future, from Noise Induced Hearing Loss (NIHL) – one of the hot-topics in this year’s recently-passed Hearing Awareness Week. Antony Payn, director of Ear Plug, a leading Australian producer of custom moulded earplugs, points out that NIHL is particularly relevant to music-loving types such as ourselves. The lesson? Take care of your ears, beloved readers. Hit up www.earplugonline.com.au for more info.

Global Gathering coming to Perth, Melbourne, Sydney and Brisbane

Global Gathering
November will see one of the world’s biggest international music festivals, Global Gathering, making its way through Perth, Melbourne, Sydney and Brisbane. The lineup currently sees legendary robot-fetish dancers Kraftwerk leading a motley crew of starts, including Mark Ronson, Fischerspooner, Sasha, Above & Beyond, Felix Da Housecat, LA Riots, The Orb and Larry Tee. Tickets are on sale now.

TIM LOYDELL AND THE DECKCHAIRS

WHAT: BRISBANE ROOTS DARLINGS
WHERE: ANU BAR SATURDAY SEPTEMBER 27
WHEN: SATURDAY SEPTEMBER 27

Us oldies know all too well how quickly time flies, and once you reach my our age, the years seem to fly past like WRXs in late-night Braddon. So it’s quite an achievement that Tim Loydell and the Deckchairs, after meeting less than a year ago at university, have already played The Brisbane Festival, The Woodford Folk Festival, and The Wonderland Festival, alongside Angus and Julia Stone. But the good news for you, estranged lover, is that these roots-Gods-to-be will be stopping by the ANU Bar on September 27 on their All Hands on Deck tour to show off their debut offering Some Strangers Ship. The EP, coming in at over 35 minutes, is more of mini album, shows a group whose musical maturity and song-writing depth is not reflected in their age. Joining these brigands will be Ooh La La, a gritty rock ‘n’ roll ensemble who boasts proudly to have bonded over “blues and brandy, funk and wine, jamming and gin.” Part of the proceeds of this tour will be going towards Red Cross Australia, so get along, folk!

Sunflower @ The Greenroom Saturday October 4

Sunflower Blooms
Sewing the seeds of crunch-heavy grooves in the nutrient-rich soil of emotional intensity and fed with the nourishing fertiliser of double-neck guitar work, one of Brisbane’s soon-to-be-big rock groups, Sunflower, will be making their debut appearance in Canberra at The Greenroom on October 4 to promote their single Ready as well as giving fans a cheeky peak at their upcoming debut album, which was recorded with producer/engineer Jeff Lovejoy (Powderfinger, Tex Perkins). Supporting Sunflower will be Fistful of Nothing, Super FLORENCE Jam, and Please to Jive You.

National Campus Band Competition - One time at band camp…

National Campus Band Competition

There is any army of callous sceptics around who would claim that in the age of internet-bred rock stars and bedroom-spawned Pro-tools recordings, the utility of band competitions is descending quicker than the integrity of Guy Ritchie’s filmmaking credentials. However, to attend any of the heats of the NATIONAL CAMPUS BAND COMPETITION (NCBC) is to bare witness to the raw, sweaty, uncensored spectacle of live performances by aspiring rock stars; something which cannot be judged or experienced via the medium of even the most polished, wanked-up MySpace site. The NCBC is now the largest live band competition in the southern hemisphere, with past winners and entrants including the talent-dripping likes of Eskimo Joe, The Vines, Jebediah, George, Grinspoon, Waikiki, Frenzal Rhomb, 78 Saab, Augie March and The Vasco Era. With ACT heats to be held in late September, organiser John Hunter points out that bands are set to gain a lot of experience through participation in the event, regardless of whether they make it through to the finals. “Last year we had video media students there and they videoed it all. We had up to five cameras on each band and they would get their bracket recorded with sound and video,” John explains. “The bands also get excellent feedback from the judges. We have three industry professionals judging and they give bands feedback on their bracket and they can then use that to improve.”

The NCBC has been running on Australian university and TAFE campuses across the country for 18 years, with over 1000 bands from over 80 institutions competing each year. This year Canberra has also won the rights to host the national finals in November – a notable achievement, considering it is only the second time in the competition’s history that it has reached our city. John hopes this will give the ACT an opportunity to reproduce the rock and roll atmosphere that last year’s ACT finalists Rubycon, who came runners-up in the national finals, experienced. “Rubycon thought it was just such a rock star type of thing to be a part of. They came back thinking that the winning band [Will Stoker and the Embers] were great, and they were just so impressed with all the royal treatment. I’m really hoping to reproduce that in Canberra – to put on a good show and give them the rock star lifestyle.” And just in case all those would-be Kid Rocks generate a little bit too much hot air, John is endeavouring to make the 2008 National Finals a carbon-neutral event by offsetting the travel of all bands coming to the ACT, and purchasing green power for the gig and any other measures necessary to ensure a sustainable Competition.

This year the national finalists will once again be competing, like kittens for the next facebook-featured lolcat photo, for a huge cash prize and the much-valued record company attention, with ACT finalists also competing for a gig at this year’s Stonefest festival. As usual, John expects the competition to be very tough, with Canberra’s stock of young talent seeming to be increasing exponentially by the year. “I think Canberra definitely manages to produce some pretty good quality acts,” John admits. “I was really impressed last year. I think we had fewer bands than previous years, but nevertheless we had a really good depth of talent, with such a great range of genres. I’m thinking this year that it will be even bigger than last year.”

The NCBC ACT heats will be held at 7pm on September 18 at the CIT Music Industry Centre, Phillip Campus, and at 3pm on September 20 at UCU. The ACT Final will be held on September 25 at CIT MIC and the National Final on October 23 at MIC. Get involved you whipper-snappers!

DEAD LETTER CIRCUS

WHAT: BRISBANE ALT-ROCKERS
WHERE: THE GREENROOM
WHEN: FRIDAY SEPTEMBER 19

Fast becoming the sweethearts of Brisbane’s humid alt-rock scene, Dead Letter Circus are dripping with success of late. With their new single Reaction seemingly flooding the triple j airwaves and their debut EP of 2007 recently being released in Japan to much critical acclaim (along, most likely, with hordes of screaming school girls), the boys will return with Poseidon-like force to the Greenroom this September in order to flog the new single and road-test new material from their upcoming debut LP. Likened to the Mars Volta, and with influences ranging from Portishead to Faith No More and Muse, the group’s blend of modern rock tunes, infatuating melodies and deliriously delay-socked guitars has set them well apart from their prog-rock contemporaries since their foundations in 2005. Their shtick comes not from any cavalier mish-mashing of copious amounts of different genres, but rather from their flair for dissecting every other rock genre and transplanting its most supreme virtues into one little gold nugget of a tune. The lads will be playing on September 19 and will be joined by budding rockers Many Machines on Nine and recently-resurrected locals Me the Conqueror.

MIAMI HORROR

WHAT: MIXING EXTRAORDINAIRE
WHERE: MONKEY BAR
WHEN: SATURDAY SEPTEMBER 20

Melbourne’s psychodelic mix-man Miami Horror has been unable to do any wrong of late. Currently producing beats for fellow Melbournites Gameboy/Gamegirl, the promising DJ/Producer is set to release his EP The Bravado in November and will be rocking da house at the Monkey Bar on September 20, previewing his undoubtedly red-hot tracks. He has described the EP as being “the epic, missionary 80s disco soundtrack of summer/spring/winter/autumn” and it will no doubt prove to be nourishingly satisfying for fans who have so far lapped up his remixes of acts such as PNAU, Datarock, Faker, Grafton Primary, Soft Tigers, The Dirty Secrets, Midnight Juggernauts, Stardust, and Tegan and Sarah. Despite the tsunami of electro-oriented music that has smashed through Australia’s music industry in the past couple of years, Miami Horror has nevertheless been able to set himself apart with his deliciously distinct electro sound which has been described on his MySpace has “Daft Punk rolling with Prince,” a brew that will be surely blow the socks off any would-be disco-rave punter.

Tuggeranong Arts Centre – Inaugural Young Independent Filmmaker’s Award

Tuggeranong Arts Centre – Inaugural Young Independent Filmmaker’s Award
The Tuggeranong Arts Centre is once again giving a handy step-up to local arts-inclined youth with the addition of a new award to its dynamic array of youth events and ongoing programs. Like a small child from a cannon, The Inaugural Young Independent Filmmaker’s Award will be launched this November, and is intended to target filmmakers at different levels of education. Entry forms are now available and can be scavenged from www.tuggeranongarts.com .

Grafton Primary - An Eon of Neon

Grafton Primary

It seems that so many promising groups who venture into our deceivingly quiet city become somewhat put off by an unluckily poor attendance at their shows, or perhaps even the cold weather. Hell, some of them are so pretentious and conceited that, despite having a near-packed venue, they’ll still complain that the guy who works at the bar “looks too hip-hop”. In addition, as Pete K brought to my attention just last week, other musicians, like Nick Cave, despite having an overwhelming ability to pack any venue in Canberra, may nevertheless choose to journey to our modest metropolitan only twice in the space of a 30 year career because, well, they’re too busy growing moustaches or doing anything else. So while too many of them choose to leave Canberra off their touring schedule for years to come, others, such as GRAFTON PRIMARY , tenaciously work to build up their fan base by returning to the ’berra with consistently more impressive live performances on each visit. And so, after playing several progressively more electric and packed shows at Transit over the past couple of years, followed by several larger supports for Midnight Juggernauts and Faker, Australia’s newest darlings of electronica will be returning this September as one of the headliners of Sony’s In the Mix Top 50 Party.

As fate may have it, the boys’ debut full-length Eon will be released on the same day as their Canberra show. Much-anticipated by fans and critics alike, it is expected to be one of the year’s largest and greatest dance records from a group that has, over recent years, broken the mould of what popular dance music should sound and look like. While the group was keen to develop their sound and lyrical genius beyond that displayed on their 2007 EP Relativity, Benjamin Garden (synth/keytar/vocals) admits that their extensive touring of late was a strong influence on the new album. “The album is definitely a reflection of our shows, which have influenced our sound. Playing live, which we do much more often now, is obviously very different to just sitting around in the studio. When we write, we don’t directly think about how the song will sound live, but simply playing live has influenced us. Having done all the mixing on the new album ourselves, I think it sounds more polished than the EP, but it’s still stuff that might work better live.” While Grafton Primary were once self-confessed obsessive producers, hesitant to make the leap between loungeroom perfection and the studio and stage, they now seem to have struck a stunning balance between their decadent production tendencies and their live sound.

2007’s Relativity captured both the attention and imaginations of many dance-inclined fans with its overwhelmingly confident fusion of ’80s synth madness, classic pop infectiousness and celestially orchestrated lyrics. While dance music of late has so often been associated with bleached-haired, tanned youngsters in short shorts, white slip-ons and v-neck fluoro t-shirts, Grafton Primary is one of many groups in Australia

determined to reclaim dance music from the grasps of its current fashionistic, shallow possessors. Their live performances during recent years was one factor present in their musical development between Relativity and Eon, however the group also strove for greater diversity in their songwriting. “The greater diversity reflects the way the songs have been written. There was a much wider range of influences and inspiration. There are many distinct ways of writing songs, and we use a lot of them. Sometimes Josh will come up with stuff himself, sometimes I’ll come up with music ideas and he’ll put lyrics over the top, and sometimes we’ll just start with a blank page and work something out together.”

This diversity is easy to hear on Eon; not only has the group had to maintain listeners’ interest for a whole album, but there is an increased degree of seriousness on top of their usually cheerful tone. “It’s certainly a bit darker and not as blunt and happy as Relativity,” Garden admits. “Our sound is evolving all the time.” However, not only has the group’s development come about due to greater influences, but their use of different musical mediums has greatly expanded the potential for their diversification and advancement. “Originally we didn’t even play live,” Garden says. “We just wrote songs in the loungeroom with a computer and a keyboard. Then we added the keytar later. Now we’re even considering getting some guitar and bass onto some of our songs.

lthough that won’t be immediately. For the moment, the multimedia foundation is working pretty well for us.”
Lyrically as well, Grafton Primary have crafted out a unique niche for themselves. Using their motto ‘educate, innovate, liberate’, their lyrical union of love, science, maths and desire often contains a sly undercurrent of seriousness in their seemingly tongue-in-cheek use of educational imagery and academic allusions. “Josh is definitely the expert at talking about those academic sort of things, as he’s the one who comes up with a lot of the imagery. But yes, I think music is a good way of conveying a message,” Garden says. So while you might become infatuated with Grafton Primary’s entrancingly divine sound, chances are that you’re only getting half the potential experience if you ignore their beautifully poetic lyrics. Like their music, the group’s lyrics seem to reflect a belief that communicating a worthwhile message can be done without being preachy, self-righteous and overly serious. “There’s definitely room and potential for legitimate education in music, including in ours. Sometimes it’s good to have a bit of meaning behind things, whatever the music is like.”

Grafton Primary will play at the Sony In The Mix Top 50 party at the ANU Refectory on Saturday 13 September. Tix are $45+bf from the ANU Bar, Landspeed Records, Stocks, and inthemix.com.au . Nick Cave will not be appearing. The band independently release Eon is out September 13, distributed by MGM.

UPSTEP 2008 Band Competition - Step Up

UPSTEP 2008 Band Competition

“I have been told that working with bands can be challenging, but we have had nothing but positive experiences.” Larissa Tyler might not be working with Chris Martin or Pete Doherty, but it’s still nice to know that Canberra’s budding musicians limit the emulation of their respective musical idols to their song-writing prowess and do not extend it to their hollow, conceited personalities. As co-director, alongside her daughter Samantha, of the inaugural UPSTEP 2008 BAND COMPETITION , it’s obvious that Tyler has learned a lot from organising this event over the past year.

Aimed at showcasing the region’s young talent while raising money for local charities and causes, the vision of Upstep was the creation of Tyler’s daughter Samantha, who wanted to hold an entertaining event while making a difference. “Samantha has been passionate toward human rights issues since the age of 8,” Tyler explains. “Upstep was an idea inspired by Sam’s desire to make a difference to her world by contributing toward humanitarian causes. After developing the concept, we spent 16 months working toward our event goals, a journey that has taught us a great deal about the challenges young musicians face here within the ACT. Upstep re-shaped as we recognised a need, and decided there was a lot we could do here in support of our youth and emerging artists.”

Each year Upstep will choose one worthy local cause to receive the funds raised by their activities and profits. This year, with the support of independent music label Hardrush Music, Tyler and her daughter have chosen the Canberra Hospital Paediatric Ward. “Choosing a charity has been a challenge for Sam and I, as there is so much we would love to do, so it’s difficult to choose just one cause. For 2009, we chose a cause that we felt both the community and our entrants would identify with.”

This year, the six finalists – consisting of The Magic Hands, MyOnus, Starfish Hill, Rubycon, Distance Fallen and Alone With You – will be competing for a $6,000 grand prize and, although there will only be one winner, Tyler hopes that simply taking part in Upstep will enhance the knowledge and know-how of the participating bands. “We would like to see Upstep as an annual event cultivating and showcasing original material from young musicians within our local region. We want all of our entrants to walk away from the competition with experience, and skills relevant both to the industry today and for life.” Although this year there will only be one competition category, which itself will host bands from a diverse milieu of genres, Tyler is hoping to expand the competition’s scope in the future. “This year, our six finalists range from pop-rock to punk rock, to indie, alternative, dance-electro and metal. Our solo performer, Tabitha Omaji will perform soul, so we have an interesting mixture for everyone to enjoy,” Tyler says. “However next year, if we get the support we need, we would like to extend Upstep to a second category for original solo songwriters.”

However, it seems that supporting local bands and raising much-needed funs for worthy causes aren’t the only rewarding memories produced by organising this year’s Upstep competition. “Learning that one of our band members had lost 11 kilos for our Competition Finals was a fond memory. Being the only single guy in the band, he figured it just had to be done. The Biggest Loser has nothing on Upstep – I think we have outdone ourselves here!”

The Upstep Stage Two Concert and Competition Finals will be held on Friday September 12 at the Southern Cross Club Woden, from 7pm. Entry is $12. For more info head to www.upstep.info .

The Hot Five @ The Cacophony Space, Manuka, Tuesday August 26

As part of 2008’s Canberra Living Artists Week, the concept for the Hot Five was to have Canberra’s leading comedians give the best five minutes of hilarity they could muster over two consecutive nights. And my Lord, was there a lot of hilarity. Canberra’s live comedy community has been slowly gaining momentum over the past couple of years, much due to the hard and persistent work of a small group of dedicated individuals, and this evening it was evident that Canberra’s comedians are finally receiving the attention that they deserve. Tonight was the second night of the Hot Five’s run and so, although the comedians may have been building on the buzz and adrenaline of the previous night’s performance, a few chats with fans who had come the night before assured me that both nights were as stand-out in quality as the other.

The Cacophony Space, with its walls replete with the art of local workers, was packed to the brim, with fans not only filling up every available seat, but also sitting in aisles and forming a large standing crowd at the back of the room. The Stevenson Experience opened the night with an incredibly funny and polished two-man musical experience that would have nearly made Flight of the Conchords look like a bland episode of Everybody Loves Raymond, and none of the acts thenceforth fell below the high bar which these boys set.

While Jasper’s off-centre strategy of revolving his entire set around the multiple uses or non-uses of a walking stick didn’t gain too much reaction at first, the crowd quickly warmed to his absurdist edge. As much as I’d like to mention every comedian who gave an outstanding performance this evening, the fact that everyone greatly impressed means I unfortunately do not have enough space.

Switch 3 - In threes

Switch 3

Speaking to Mick Hoorweg, bassist for Canberra rockers SWITCH 3 on the eve of the release of their debut album Calm Before - out September 12, with their launch at The Greenroom on September 13 - you get the

impression that the group is utterly comfortable with where they are and what they’ve produced – a refreshing sign that their sense of achievement is based upon what they have already created, and not simply on how it will be received by music critics. “We’re really happy with the way it turned out,” Hoorweg says. “Tight time constraints meant we had to follow a pretty rigorous schedule in the studio, but that added pressure helped us remain focused. At the end of the day, it was great fun - which is what really counts.”

Teaming up again with producer Anton Hagop, who has worked with acts including Powderfinger, Missy Higgins and Silverchair, as well as working with Switch 3 on their 2005 EP Memories Fade, Hoorweg

suggests that the relationship was a nice balance between strict independence and constructive guidance. “Anton totally understood the direction we wanted to go in with the new material. He didn’t try to change anything stylistically, but certainly helped resolve some of the more esoteric elements.”

Beginning in 2002, Switch 3 have survived for quite a respectable period of time, especially as they are now split between Canberra and Brisbane. They have stated openly that Calm Before will to some extent represent a shift in focus from their older material and will be more mature, but nevertheless Hoorweg sees this as simply a reflection of the past years which does not represent a solidified path for their future creations. “When Switch 3 first started, we were all at different stages musically and in our lives. As a young band, it was amazing just jamming and coming up with songs,” Hoorweg admits. “We’ve now found that blend of light and shade that works for us. As we continue to grow both personally and musically over the coming years, there’s no doubt things will keep evolving.”

Switch 3 have declared that as a band they do not wish to feign concern or compassion, wishing only to explore the darker crevasses and quieter moments of life where character is solidified from within. Although this seems to come from a sense of alienation from the sense of transparent insincerity present in so much rock, punk and pop, it may also be influenced by the determination and attitude of Japan’s music communities, which they boys experienced first-hand when touring there several years ago. “Japanese bands are consummate professionals. They have ability in spades without any attitude,” Hoorweg beams. “Everyone is there to put on a good show. There wasn’t a single person that couldn’t play like a demon, and they all had ridiculously tight acts. It was really inspiring. There are bands out there who sing about certain topics because it’s fashionable. They write a bunch of lyrics in the hope that it’ll sell albums, not because they believe in what they’re saying.”

Regardless of what has been or what will come about in the future, Switch 3 sound confident enough to take anything and everything in their stride. Brimming with excitement about the release of Calm Before, they nevertheless retain an uplifting sense of perspective about the whole experience. “We are constantly planning out the future. Switch 3 is a vehicle for us all to experience what life has to offer: travel, art, creativity, meeting people, friends. The band isn’t something we do, it’s something we are.”

Switch 3 launch Calm Before at The Greenroom on Saturday September 13 with Monster Elephante and Zero Degrees and Falling. Doors 8pm, entry $12.

Muph & Plutonic / D’Opus & Roshambo @ Transit Bar, Wednesday August 27

I have mixed feelings about arriving at Transit Bar at 9pm on a cold Wednesday night and having to wait in line in the cold for 20 minutes before gaining my way into the packed, bustling crowd in the bar below. At first I feel frustrated and almost angered by having to line up to gain entry to a venue which, until recently, would rarely, if ever, have drawn a crowd requiring a line; a venue which I sometimes loved as much for its reliable and consistent offering of quality, fee-free music as I did for the diverse characters which it seemed to attract. However, after calming down, I became excited about the fact that Canberrans are becoming ever more willing and desirous to come and doggedly support local and interstate acts – even on a cold Wednesday night.

Not too long after I found myself a nice vantage point in the pool table area, (which due to the large crowd, was now becoming far too packed to allow any pool playing), D’Opus & Roshambo launched onto the stage in front of a crowd that was already starving for something to dance to. The quality of the duo’s live shows, in combination with the electric atmosphere and intimate nature of the show would have made it hard for them to disappoint anyone. The charismatic, stage-dominating Roshambo was never off the mark, and D’Opus slickly laid down his polished, bouncing beats in the manner which local punters would have come to expect. While the group’s Million Dollar Bill, which has been receiving high rotation on Triple J, received a rapturous response, the crowd nevertheless jumped along to every beat the boys produced during the whole set, proving that both their songs and their live performance are all up to the quality of their single.

When Muph & Plutonic, alongside the genius of DJ Bones, took the stage, the heat in the bar was reaching summer levels with condensation rolling down the walls and beginning to drip from the ceiling. Although it seemed like everyone in the venue was trying to dance, the amount of people trying to get as close as they could to the stage often meant that the dance floor took on the surge-like effect of a dense moshpit. However, unlike a moshpit that becomes so tight that no one can move, the crowd never stopped dancing along to Muph & Plutonic’s tight set and never stopped doing the ‘party up in here’ hands-in-the-air move. Once again, the intimacy of the venue worked to the group’s advantage, with Muph strongly engaging, and sometimes even casually chatting to the crowd between songs and really nurturing the amazingly fun vibe that only a place like Transit could produce. The group’s performance was incredibly glossy, being both flawless while at the same time seeming relaxed and not too formulaic. If there was a flaw to be found in this set, it would only be that despite the dazzling and sweaty performance, the crowd was still left wanting even more – a testament to the outstanding performances of both the punters and performers this evening.

The Herd / The Last Kinection @ ANU Bar, Friday August 8

When I arrived at the bursting ANU bar, The Last Kinection had just launched into their set, supported by a crowd that was loud enough, keen enough and rowdy enough to suggest that these guys were in fact the headlining act. The Last Kinection have been somewhat of an underrated presence in Australia’s hip-hop scene over the past years, receiving a large amount of critical acclaim and stellar live reviews, but never really infiltrating the realm of household familiarity in the world of alternative music. After seeing them live, it’s hard to believe that their presence in the Australian music scene hasn’t become more dominant. Using their indigenous backgrounds and experiences as inspiration for much of their songwriting, TLK’s stylish and bouncing hip-hop style is given extra strength by the sense of purpose and determination conveyed through their lyrics. Although the group maintained their energy and engagement admiringly consistently throughout their set, the peak definitely came shortly before its end with the group’s infamous anthem Still Call Oz Home, a poignant yet passionate adaptation of the much-loved Australian gem.

Most of the sold-out crowd had packed into the refectory area by the time The Herd came on stage. Although everyone was seemingly crammed in shoulder-to-shoulder, there was a little fluidity within the crowd, as everyone managed slowly to create a little bit of dancing space around themselves in anticipation of what was to come. The group had somewhat of a false start, caused apparently by a mixture of technical problems and a missing group member, but as soon as they eventually launched into 2020, their recent radio favourite and opening track from their new album Summerland, every person in the building was bopping about and chanting along in a manner reminiscent of many of the Herd’s standout live performances.

Like TLK, the Herd’s set was outstandingly strong the whole way through, although at an even higher intensity than the former. There weren’t any surprise inclusions or exclusions from their set, however they performed an altered, latin, Rhythms Del Mundo-esque version of 77%. While it was fun to see them playing around with their music so creatively and interestingly, as well as it being understandable that they may be tired of playing this staple at every show, I’m sure that many fans – myself included – were a little disappointed at being unable to shout until their throats were hoarse to a usually epic live song.
Overall, highlights were hard to pick, but the electric energy that bolted through the crowd during Unpredictable was particularly memorable. Sold out shows at the ANU rarely disappoint, however as usual, The Herd put on a performance that, as hard as it would have been, still managed to surpass many expectations.

Unwritten Law - The Future Is Unwritten

Unwritten Law

“We’re like a super Reese’s Pieces – four great tastes that taste great together!” After Googling ‘Reese’s Pieces’, I find out that Pat ‘PK’ Kim, bassist for Californian pop-punk rockers UNWRITTEN LAW , is talking about a brand of candy-covered chocolate with peanut butter. I then have to assume that he’s drawing attention to the diverse yet complementary nature of the group’s members (as Reese’s Chocolate Peanut Butter Cups are often sold in packets of four different flavours), rather than the possibility that, like the Peanut Butter Cups, they were referenced in Spielberg’s ET.

However, Unwritten Law will hardly be in need of any blockbuster endorsements when they return to Australia this August. The group has always had a distinguishably large following in Australia – leading to the release of several Australia-only live albums and singles – a fact which Kim attributes to their constantly progressive nature. “I feel the Australians appreciate the fact that we’ve never been a band to follow the latest trends or whatever happens to be ‘hot’ at the moment. It’s quite apparent that all our albums have a personality of their own. What our fans always expect from us is the unexpected… now put that on your toast!”

Last year the group released The Hit List, somewhat of a ‘best of’, except that all the songs were re-recorded for its release, a fact Kim admits was originally attributable to legal hurdles. “Being that our whore-asses were on like four different major labels, it made it impossible for us to get the licensing for all the songs from all the labels. Basically we found a loop-hole that allowed us to re-record all the songs for us to be able to put out a proper ‘best of’ record.”

Although jumping through legal fire-rings doesn’t often bear much fruit for people caught in the midst of contractual manacles, on this occasion the group realised that re-recording their older tracks injected new life and creativity into the band. “I especially enjoyed it because it let me put my stamp on some of the older tracks that I was not a part of originally. Even though I didn’t play on the first three albums [previous to 1997, Kim played bass for funk-punkers and current UL tour buddies Sprung Monkey], I have been playing them live with the boys for almost a decade and I’ve adopted those old songs as my own, so it was cool to put my vibe into those tracks.”

Unwritten Law broke into mainstream success with their 1998 self-titled album, which spawned singles such as Lonesome, Cailin, Teenage Suicide and Holiday. Their 2002 follow-up effort Elva built on this success, whilst at the same time reaching out to a much broader fan base through their employment of a well-developed and rather deep rock sound - exhibited most notably on the album’s standout single Seein’ Red. Along with their musical evolution, the group has also undergone almost constant line-up changes, however Kim suggests that these have often helped the band in the long term. “In a way, it’s kept us on our toes and put us in a mind frame that we think ‘hey, don’t get too fuckin’ comfortable where you are, ’cause you never know when the ride is gonna end’. When you get too comfortable, you get lazy.”

Although founding member and drummer Wade Youman was ejected from the group in 2003, and the group’s 2005 LP Here’s to the Mourning didn’t capitalise fully on Elva’s success, Kim seems optimistic that the group will grow evermore from the experience of the past couple of years. “Sometimes I feel like a snake, in that we shed our skin and we reveal a more vibrant shade of us. Every change we’ve had in this band - whether it was a member or a label or a style - I compare it to like shedding a skin. It’s painful at first but afterwards you heal.”

Unwritten Law are now playing at the Weston Creek Community Hall (Parkinson Street, Weston, behind the Cooleman Court Shopping Centre) on Saturday August 9. Supports are Sprung Monkey (US), Elora Danan (Perth) locals Zero Degrees and Falling. Doors 6.30pm, all ages. Tickets on the door and via moshtix.com.au . Tickets already purchased are valid at the new venue.

THE HERD - Your Head Will Nod

Your Head Will Nod: To The Groove, To The Message

“You’re trying to point me in a particular direction aren’t you?!”

Jane Tyrrell, former guest vocalist and now permanent member of compelling Aussie hip-hoppers THE HERD chuckles a little under her breath when I ask her whether she thinks the group’s clever, yet often blunt and confronting political commentary, makes them exceptional among the Australian hip-hop scene.
“It’s always hard to say that you’re exceptional, but I think we are,” she finally adds. “The fact that we discuss political and social issues does make us more engaging.”

Although some musicians and fans may consider it somewhat of a faux pas for a group to refer to themselves as exceptional, it’s nevertheless a deserved label for a group who has been uncompromising in their musical creativity, and social and political commentary. From the single which first brought them to the airwaves, Scallops, to their recent hit The King is Dead, The Herd were among the first Australian hip-hop groups to wear their Australian heritage (and accents) proudly on their sleeves, in the process bringing to life a scene and genre which had previously experienced troubles deviating from its North American counterparts’ obsession with bling, girls, cars and money. Returning to Canberra this August in support of their new album Summerland, The Herd’s determination and energy will undoubtedly ensure that this is a night not to be missed.

Although Summerland is the first album for which Tyrrell has been a permanent member of The Herd, she is sure that the quality of songwriting and creativity is on yet a higher level than their past releases. The group’s previous two albums, An Elephant Never Forgets and The Sun Never Sets, wedged them solidly into the headspace of many Australian music fans, not only for the lyrically confronting stance of songs like 77% (which, in the wake of the Tampa crisis in 2001, declared that 77% of Australians were racist), but also for their ability to infuse their hip-hop with a host of sometimes delicate, sometimes harsher musical influences.
“I look at Summerland as being a step up from The Sun Never Sets,” Tyrrell admits. “We’re all more mature. We used to outsource a lot of creativity, but this time we just focused on the band and the diversity within us to create the music.”
As expected from an inspired musician, Tyrrell mentions that the group did not set out with a particular “album” in mind when they began recording, but rather allowed the tone to set itself throughout the recording process. “It’s always complicated with eight personalities and eight points of view, but it was a very organic process, all things considered. The idea you generally have at the start splits up into something else and then that splits up into something else and that pattern keeps going.”

Although Tyrrell is not a major lyric-writer for the group, she assures that the members’ rather consensual political views made songwriting as robust as ever before. “It’s strange, because you’d think that across eight people there would be clashes of political opinion, but I guess we all ended up together because we’re coming from the same place, so to speak. I’ve never witnessed or been involved in any clash of social or political view [within the band]. We’re all pretty unified in that way.”

owever, Tyrrell also admits that it was a little strange to be entering the group as the only female after the release of two highly successful albums. Although unsure exactly as to whether, or indeed how, she may have changed the group dynamics, she seems confident of the benefits her feminine influence introduced. “I think the things I wanted to explore were the sort of things they [the boys] wouldn’t want to talk about, but I think they found it good to have a female around. Especially when they got upset and argued, I think I sometimes helped calm them down,” she says, laughing.

With the new album finally out, the drive shows no sign of letting up. The Summerland tour will see them bring a new edge to their live performance in the form of animated backdrops, an element Tyrrell played a major role in. “I’m trying to use the style I’ve had a lot of experience with [which she later adds is printmaking and etching] to compliment the tracks. I look at what a particular song is discussing and try to accentuate that through an image; for example a visual landscape. We generally rave on between songs, so I guess I’m trying to illustrate that as well.”

Tyrrell goes on to add that the electric, bouncing live shows for which The Herd have become well known and much beloved help to reach out to different types of fans. “We get a lot of emails from people saying that we’re like a voice for them,” Tyrrell says. “But we also get people who come and dance to us at shows and then leave a message on our website, and it’s obvious that they’ve completely misunderstood the lyrics or just overlooked the major message. But I think we can have an effect subliminally. A lot of people will like us because of the music and our live shows, but like a lot of music, they might gradually come to understand the message and the lyrics over a period of time.”

With much of the Australian hip-hop and alternative music scenes seemingly in the palm of their hand, The Herd appear to have the valour, energy and motivation to continue to push their musical and lyrical boundaries. Their allure and uniqueness has come through their originality and willingness to confront, and pass, boundaries unmet by others, and so it is understandable that their only frustration seems to be when these characteristics are overlooked or cheapened. “I get annoyed when people try to put us in a box, or don’t understand us and don’t dig deeper into what we’re doing,” Tyrrell says. “We don’t always get the response that we’d like.”

The Herd play at the ANU Bar on Friday August 8, with special guests The Last Kinection and Horrowshow. Tickets are on sale now from Ticketek for $27.70 plus booking fee. New album Summerland is out now on Elefant Traks through Inertia.

The Gaslight Anthem - What a gas!

“I think old people like us because we’ve very supportive of the elderly and their rights. We walk ladies across the street all the time.” It might be obvious that Brian Fallon, lead vocalist/guitarist for New Jersey’s most recently exported punk act THE GASLIGHT ANTHEM , is trying to give me a bit of a stir-up for asking him on his thoughts about his group being described as a ‘mature’ punk group. However, I then realise that if any punk group would be more than happy to help the geriatrics across the road, it would be The Gaslight Anthem. “I think punk is for everyone and at the moment we draw fans from the ages of 15 to 50. We’re for everyone. No exclusions.”

Coming to Australia for the first time in the coming weeks as a part of their year-long support of their 2007 debut release Sink or Swim, the group’s lyrics might sound a little different, a fact which Fallon attributes to their desire to keep their music in the ‘present’, in a sense. “Sink or Swim was a snapshot of a time in our lives. The songs mean a lot of new things and some of the same things to us,” Fallon says. “However, sometimes live, the lyrics are slightly altered to better describe the immediate as well. We’re very proud of that record but we’re at a totally different place than when we recorded it. Back then there were some ‘lean times’.”

The group’s music has been lauded by critics and fans alike for its refined yet complex punk style, which takes strong influences from musicians such as Tom Waits, Wilson Pickett, Joe Strummer and, most notably, Bruce Springsteen. Although the slightly folk tinge of their music has brought many comparisons with Against Me!, Fallon suggests that their differences should be quite obvious to the discerning listener. “Well, we both mixed punk and rock, but they took more of a folk/country-meets hardcore punk like Crass, whereas I’ve never listened to Crass or Hank Williams in my life,” Fallon admits. “We’re more Mitch Ryder, Ben E. King-meets-The Clash. We have a more romantic sound. They are the fighters and we’re the lovers.” The group’s music is also regularly

compared to the supposedly distinctive New Jersey sound, however when I admit my ignorance of this particular sound to Fallon, once again I’m met with an answer which, although slightly sarcastic, hints slightly at a deeper meaning. “The New Jersey ‘sound’ is really just car horns and fire trucks… we talk about our scene because it’s where we’re from and we’re proud of that. We’ve got great history.”

Since the release of Sink or Swim, the group has also released an EP entitled Senor and the Queen which, much like the group’s past music, was obviously created from and for a particular moment of time, specifically a hot, love-filled New Jersey summer. “The EP is about romance, and it just happened to take place in New Jersey because that’s where I was. Our new record mentions California quite a bit, because again, that’s where I was. You write about what you know and what you see. It’s that simple.”

The most exciting aspect of The Gaslight Anthem is undoubtedly the feeling I get from Fallon that the group’s constant new experiences will never cease to provide song-writing fodder for a group whose music and lyrics are fresh and engaging. The group might not know where they’re going, but they seem to know what they’re looking for. “We’re on the train to Stax Records territory,” Fallon says. “To quote Joe Strummer, we’re looking for that ‘great jazz note to take down the walls of Jericho’.”

The Gaslight Anthem play the Greenroom on Thursday July 31. They will be joined by Melbourne lads A Death in the Family and locals Lamexcuse. Tickets are on sale from Moshtix and Landspeed. Sink or Swin is out now on Resist Records

Hadouken! - New and improved

As hordes of sauced girls and boys line up for their bourbon-and-Cokes at this year’s Splendour in the Grass Festival and sadly comment about Rudd’s notorious alcopop tax, the words being sung by HADOUKEN! lead vocalist James Smith on a nearby stage might spark a second thought for this predominantly dreaded tax. “There’s this perception that if you’re not drinking, then it’s a bad thing or a real shame,” Smith says. “It’s just so embedded in our culture.” Also addressing issues such as youth consumerism, musical commercialism and relationships, the Leeds-based group’s debut album Music For An Accelerated Culture is both lyrically and musically a vast melting pot of styles and influences. And so although blunt condemnation of mild-altering substances isn’t the type of thing you’d expect to hear out of the mouth of a musician whose audience is slathered in masses of fluoro attire and paraphernalia, questioning and breaking down barriers – both music and social – is one of the most important aspects which has seen Hadouken! sweep like a destructive twister through the UK music scene.

Taking influences from electronica, punk, new rave and grime, Hadouken! have been a slap in the face of a culture and scene which, in their opinion, has become rather complacent in recent years. “Dance-influenced music sounds really good at the moment. There’s been so much guitar music lately and it feels like it’s been pretty exhausted. We feel that dance music hasn’t been explored enough recently and that you should constantly look for things which are capable of being explored,” Smith says. Although Smith makes clear his belief that musical creation should always be concerned with legitimate creation rather than mere replication, he also suggests that it is the originality of a musical style that helps build the unique sense of ownership and relationship with it by fans. “When you make something new, that’s when people really relate to it, because it’s from their time,” Smith says. “As much as I enjoy all the music from the ’60s and respect it, I can’t say that I actually relate to it.”

Taking the title of their debut record Music For An Accelerated Culture from the title of Douglas Coupland’s 1990 book Generation X: Tales For An Accelerated Culture, Smith says that it was the phrase in particular, rather than the subject matter of Coupland’s book, which really resonated with the group. “The idea of an accelerated culture just feels so true. We’ve had a whole digital revolution since that book was written and now we’re living in a digital age, so it is our whole world which has become accelerated.”

The group released several singles and mix tapes between their formation in 2006 and the release of their debut album earlier this year. Now, less than six months since the release of Music…, Smith says that they are already writing for their sophomore effort. “Our creative process is quite impulsive in that we don’t map out where we’re going. However, now that we’ve started the writing, it’s obvious that [then next album] will be even more dance-oriented than the others. It’s gonna take a lot of influence from what I grew up with – jungle and garage. You might also hear some old funk and hip-hop records being pillaged as well.” So although Smith admits that, like most songwriters, he writes about what he observes and experiences, almost every sentence he utters reflects his thirst for constant originality and creation. “If you’re doing something similar to what’s been done before, then it’s a real shame. If you want to make something, you have to constantly make sure that that is indeed what you’re doing.”

Hadouken! play at Splendour In The Grass, August 2 and 3 in Byron Bay. They will also play at the Forum in Sydney on Wednesday August 6. Music for an Accelerated Culture is out now on Warner Music.

Strung Out - No strings attached

“I can write you a song if you like dude. I’ll bust it out so quick - you’ll be able to impress everyone.” This is definitely a first for me, but not something totally surprising or outrageous, so I tell Chris Aiken that I might take him up on his offer when STRUNG OUT return to the ANU in July alongside fellow So-Cal punkers No Use For A Name. Although Aiken - bassist for Strung Out for nearly a decade now - admits that he’s spent most of his day “just doin’ the usual stuff, playing guitar [and] getting high,” he comes across as a person who never ceases to be grateful for and motivated by the success of the group, who, in their 16th year, are still filling larger venues and selling more records than ever. “We just try to keep putting out better music and to make sure we keep satisfying ourselves,” Aiken says. “The band’s been around for so long. We’ve seen so many other bands get really big and just fall off the planet, so we want to make sure we keep doing it right.”

Starting out in 1992 on the extreme fringes of LA’s urban sprawl, Strung Out were one of the first groups signed to what is now one of the world’s foremost punk labels, Fat Wreck Chords. The group’s first two albums, Another Day In Paradise and Suburban Teenage Wasteland Blues, established them as one of the leading pop/skate punk groups of southern California. The punk and hardcore scenes that had been brewing quietly below California’s sun-scorched bitumen during the ‘80s were beginning to capture the commercial limelight and groups on labels like Fat Wreck Chords and Epitaph began bringing punk back to the mainstream.

However, their 1998 effort Twisted By Design was injected with a much larger dose of heavy metal influences than their previous releases, a trend which, upon entering the band, Aiken was more than willing to embrace and amplify including on last year’s release Blackhawks Over Los Angeles. “A few albums back a few of us went back to our roots of thrash metal – Pantera, Slayer, King Diamond, stuff like that. As a whole I think we like that sort of stuff, but Jason [Cruz, lead singer] still loves Dylan, so we’re not completely metal-influenced. We’ve also been getting into a lot of new stuff like Coldplay and the Killers. We’re all just thirsty for music and not content to listen to the same stuff all the time. New music keeps us fresh.”

It’s not surprising, then, that Aiken also admits to being more favourably disposed to the group’s most recent concoctions than their early work. “Of course, we have to play everything, because the kids still wanna hear the old stuff. But we also have to keep it fresh and interesting for ourselves. I like playing the newer stuff because it’s challenging. Playing a song like Mind Of My Own - it’s fun, but we’ve played it thousands of times.”

The group’s members all have other occupations which keep them engaged for the short periods of the year that they’re not touring - from working in the movie business to Motor-cross, poetry and acting - but after more than 15 years and still appearing to be on the ascent, Strung Out’s members don’t seem to have any intention of backing down any time soon. “It’s definitely the number one thing in our lives now,” Aiken says.

“We have this band and it’s our job. We’re so lucky, being able to travel the world and eat all different types of foods.” And speaking of food, Aiken leaves me with one last message to their Australian fans. “Tell everyone that we’ll see them in the arvo, getting pissed on Coopers and eatin’ meat pies, ya cunts!”

Strung Out will be tearing up the ANU Bar floor in a Coopers-induced explosion on Sunday July 13, alongside No Use For A Name and local boys Lamexcuse. Tickets from Ticketek and the ANU Union.

No Use For A Name - Endless, namless

“We get a lot of people that like to get drunk. Yeah, we get a lot of drinkers.” At first, I hardly think twice about this seemingly bland and unpresumptuous comment by NO USE FOR A NAME lead man Tony Sly.

However, I gradually detect the strong cynicism in many of his comments. After 20 years leading the seminal So-Cal skate-punk group, it’s understandable that he might view a large proportion of contemporary punk music as manufactured, commercial and, well, downright soft, in comparison to his 1988 standards. After all, even Fat Mike, the founder of record label Fat Wreck Chords, who NUFAN have been signed to since 1993, declared almost eight years ago that “the kids who used to live on beer and speed now want their fries and coke.” “Every time a band gets influences from another band, there’s a trickle-down effect and the scene seems to become saturated,” Sly says. “There are bands that are even influenced by Yellowcard now. I mean, being influenced by Yellowcard? I don’t even know what that means.”

However, unlike the plethora of groups that are willing to admit defeat and retreat to the occupation of armchair critics, NUFAN are continuing to do what they’ve been doing for the past 20 years with, if anything, even more determination than ever before. Returning to Australia again this July to promote the release of their 9th and latest album, The Feel Good Record of the Year, Sly suggests that their fan base, like their musical style, is still evolving, with most shows a good mix of older and newer fans. “We get a good mix of people,” Sly says. “With old songs, usually it’s just one old person yelling out to hear the old songs, and the other 500 people don’t know what they’re talking about.”

The group’s last effort, 2005’s Keep Them Confused, had a strong political leaning to it - a presence not often felt on many NUFAN albums. Sly admits that, while writing fresh music is still challenging, the age and experience of the band lends itself to a much greater wealth of musical inspiration. “On that album [Keep Them Confused], a lot of songs were written during the 2004 election campaign and in the context of an escalating war in Iraq. A lot of our older albums were not socially or politically charged. We realised that it’s pretty easy to write about things that make you angry. Bad Religion has always done it, and they have some of the greatest lyrics I’ve read.” However, Sly also notes that this type of discontent is not a purely exogenous force, with personal circumstances also contributing to his changing perspectives on the world.

“We have kids now, so you begin to think about their life instead of yours. You become more worried about that future than ever before, because you feel more worried and sorry for them than you do for yourself.”

Over the past 20 years, NUFAN has fluctuated in their So-Cal punk style between both poppy and hardcore oriented songwriting. However, it could well be their allegiance to, and honing of, their core skate-punk style, which they helped forge during the early ‘90s, that has allowed them to remain relevant during the various trends in punk music during the past two decades. “I can’t help it, really” Sly concedes. “When I write something and sing it, it seems to sound a certain way. It seems you can never get away from yourself, no matter how hard you try.”

No Use For A Name will be joining fellow So-Cal punkers Strung Out at the ANU Bar on Sunday July 13. Tix from Ticketek.

Four Year Strong - Strength in Numbers

FOUR YEAR STRONG ’s guitarist/vocalist Dan O’Connor sounds like the typical middle-American, suburban-raised ‘alternative’ type whose character is always stereotypically portrayed in B-grade
American teen movies. He’s probably a skateboarder, the grungy guitarist, or the pot-smoking hacky-sack player who somehow manages to bag the popular, likes-alternative-guys-but-never-knew-it
cheerleader by the end of the film. He uses the word cool a lot, talks about hangin’ out, and, at one stage, even pronounces that he’s “super-excited”. But it’s undoubtedly this influence of suburban pop-culture mediocrity blended with the restless dissent against it that is so unique and engaging about Four Year Strong’s style. With such a similar love/hate relationship for the complacent hum of the suburbs, I’m sure Four Year Strong will feel quite at home with Canberra’s crowd when they hit The Venue in June in support of their debut record Rise or Die Trying.

Listening to Four Year Strong is like eating toast with vegemite and honey. The combination of opposing tastes should have you stumbling for the nearest toilet or pot plant, yet you find yourself mysteriously seduced by the delectable treat that is suggestive of neither of the ingredients. Pantera-styled double-kick drums and thrashing guitars reminiscent of Agnostic Front are laced with the sweet, beautiful, romantic vocals of a Motion City Soundtrack album. “We just wrote what we would like to hear. We just write a combination of our favourite music,” O’Connor says.

Several years ago the group decided to recruit a keyboardist, adding another distinguishing element to their already unique style. “We just thought our music was crazy and wondered what we could do that was radical to add into the mix. We wanted someone to take on the front-man persona and to be able to combine this with the synth role, to bring a higher energy to the show.” As the group is not a MySpace-driven overnight success, the occurrences of which are increasing exponentially nowadays, their debut LP Die or Rise Trying is a combination of a diverse range of the band’s musical history. “It was a culmination of songs that we wrote over almost a three year period,” O’Connor says. “When the band first started we wrote almost the same type of music. Over time we explored different genres.”

However, while Four Year Strong are now able to revel in the glory of a successful debut album, critical acclaim from Rolling Stone and Alternative Press, as well as an extended jaunt on this year’s Warped Tour, the band went through many years of playing small-scale Massachusetts dives before signing onto Decaydence Records (founded by Pete Wentz of Fall Out Boy). “You don’t change as a group when you sign to a label like this. It’s more the extra support you get from other groups. The bands all help each other out and a lot of kids have discovered us through them.”

Like most bands who claim to have never dreamt of moving on from their hometown venues or limited interstate tours, Four Year Strong are overwhelmed at the prospect of an Australian tour. “None of us have ever been to Australia before,” O’Connor admits. “I don’t have a set goal for where I want the band to go, because I never thought we’d get this far. Everything from now is just the icing on the cake.”

Four Year Strong play a licensed, all-ages show at The Venue, Erindale on Friday June 6 with Rex Banner and Slowburn. Tickets from www.moshtix.com.au and Moshtix outlets (Landspeed, The Music Shop). Get amongst it!

Against Me! / Crime in Stereo @ The Greenroom, Sunday April 27

This show was the first time I’d been to the Greenroom since its timely return to Phillip. The last show I’d been to before its closure was Frankie Wants Out - it had been a Friday night and the Melbourne swing/big band group had the crowd burning up the dancefloor like it was a 1920s New York dancehall flouting Prohibition. The suavely dressed nostalgia addicts of that show couldn’t have proven a greater contrast to the black-clad, tattoo-coated army of here-and-now punks who swarmed to The Greenroom this rainy Sunday afternoon to see the eventual return of Against Me! to our city.

Against Me!’s support act for the Australian leg of their tour were Canadian melodic hardcore act Crime in Stereo and, although most of the crowd were still downstairs in O’Sheas swilling beer and whisky for most of their set, the group gave a solid performance to those who were willing to sit in patience in the upstairs alcohol-free area. It was obvious that Crime in Stereo has yet to build up an extensive fan base in Australia, and although they had a couple of people jumping along in front of the stage, their rather formulaic metalcore riffs and oscillating soft/loud vocals didn’t offer the crowd anything that we don’t already have within our shores.

By contrast, about ten minutes before Against Me! were to begin their set, O’Sheas had been abandoned like a sinking ship, with the crowd migrating upstairs and packing out the room. When the group finally took the stage, opening with one of their newbie favourites Up the Cuts, the floor erupted into a frenzy of jolting bodies flailing about madly, with the moshpit being transformed into a sweaty, dripping cake of hair, skin and flab in less than three minutes. Until the end of the end, the band and the crowd fed off each other’s energy. The beginning of the group’s set was all New Wave tracks, with the crowd shouting themselves hoarse to the “ba ba ba da da da” part of Thrash Unreal and the “protest song” chant of White People for Peace. While the rest of the set was also dominated by new tracks, the crowd’s energy never waned, lapping up every second of buzzing guitar they could sink their teeth into. When the group launched into old favourites like Sink, Florida Sink or Pints of Guinness Make You Strong, their passion seemed to transcend to an even higher level of force. The group closed their night with the legendary We Laugh at Danger (and Break all the Rules) and although both crowd and band seemed exhausted, the smiling faces on both sides of the crowd barrier showed only too well the electricity that had been created in the previous hour.

Bluejuice - Blue’s Clues

“It wasn’t a conscious thing. I was hungover one day.” From the very beginning, I had a feeling that speaking with Jake Stone, one half of BLUEJUICE ’s MC team, was going to be a good experience. Like the band, he’s playful and mischievous, but you know there’s always a more serious message or subtle taunt lurking beneath. As he describes the inspiration for the less-than-serious cover to the group’s 2007 hip-hop/punk/funk success Problems, it’s obvious that this half mocking, half sober attitude resonates throughout everything the band does. “We were supposed to do a really good photo shoot, but because I was hungover I thought I’d just wear a sweater and undies to look foul. Then they suggested I lose the shirt as well and suddenly Steve stripped down to his undies as well. It wasn’t planned, but it summed up the feel of the band and what we’re trying to do.”

Returning to the Transit Bar in May for the Less Talk, More Problems tour with fellow Sydney hipsters Paper Scissors, Stone admits that during the song-writing process a strong focus is placed upon creating music which will come off well in a live setting. “All we do is rehearse live. We don’t rehearse or demo with a computer; everything we do is focused on the live performance. We’ve never been a band that has known how to do anything else except put on a good live show.” However, while the group’s monolithic anthem Vitriol never seems to fail in sweeping a crowd up into a veritable frenzy of sweaty, floor-shaking hop-bopping, Stone seems to only wish that all their tracks could have the same nuclear fallout effect.

“You’d have to be really bitter and jaded to get sick of playing a song like that – it’s way too fun and really gets the crowd excited. But I’m sick of it being the only song that’s doing that crazily well. The others are doing well, but I’m really excited about writing something that’s as popular as that again.”

Comprised of five members whose music tastes range from indie, punk and commercial pop to funk, soul, jazz and electronica, the broad spectrum of influences that go into making the cocktail that is Bluejuice seems like a mix that would leave you feeling on top of the world. However, as Stone points out, it has been the group’s shared sense of humour and attitude that has acted as the secret adhesive which keeps them together and directs them musically. “The reason we’re all friends is our sense of humour, and I’m glad it’s obvious to the listener that the group has a very stated aim of not taking themselves too seriously”, Stone says. “One thing we all had in common was that we all saw that the indie scene in Sydney was getting a bit too serious for its own good. There are too many chin-strokers around, too much exclusivity and ambition and we all found it unnecessarily cruel. We just wanted to go all out and make people dance; we didn’t want to exclude anyone.”

Stone is quick to mention that their touring buddies Paper Scissors certainly aren’t of the indie elite of which he has just admonished, but nevertheless admits that they do have their share of indie fans. “They are a bit more indie than us, but I think that’s good, because I think people see us as just a triple j band, so we get more indie fans coming to see us. It’s not easy to distinguish the groups of fans though. I think indie crowds are just triple j crowds anyway. They just like to think that they’re not. “

Bluejuice will be setting fire to the Transit Bar dancefloor with fellow Sydney indie-slicks Paper Scissors and Purple Sneakers DJs on Friday May 16. Entry is free. The lad’s debut LP Problems is out now.

Paper Scissors - Scissors, Paper, ROCK!

I sat looking confused at PAPER SCISSORS’ bio the day before I was scheduled to speak to frontman Jai Daniel Pyne. “Hmm, ‘post-indie’…” I thought to myself. “I must really be losing touch.” I like to think that I’m mostly ‘down’ with the hip slang and colloquialisms that all the kids are using these days, but I was certain that this phrase ‘post-indie’ had never before been seen by my eyes or heard by my ears. After clumsily and half-embarrassingly asking Pyne to clarify, I’m relieved when he assures me, laughingly, that it’s not a common term. “No, I just made it up, actually. I put it in our bio and I hope it starts getting used. I’m claiming it right now!” he says. “I put it in there to take the piss because I think indie is such an oxymoronic, redundant term. It’s so dumb and doesn’t really mean that much these days. I guess I wanted to make it sound like we were trying to go a bit beyond that genre.” Whether indie, post-indie, or something just as obscure, what we can be sure of is that Paper Scissors will be displaying their oxymoronically-styled brand of Sydney rock at Transit Bar in mid-May as a part of their Less Talk, More Problems tour with mischievous lads Bluejuice at their sides.

After sauntering their way into the limelight in 2006 with their track We Don’t Walk from The Paper Scissors EP, the group released their debut effort Less Talk, More Paper Scissors in 2007, again with a colossal single hit, this time in the form of Yamanote Line. While the album has received much critical acclaim within the alternative circles of the east coast, Pyne claims that it’s still far from what he would consider a perfect album. “I’m happy with it as a first album. I know the next one will be much better, because we’ve learned a lot from it,” he says. “I still listen to it and all I hear are the mistakes, you know?” While the title of the album may evoke comparisons with other similarly-titled releases (Propagandhi, anyone?), Pyne admits that this was in part the purpose of going with such a title. “It’s sort of just a phrase that me and a bunch of friends use at work to take the piss. To just say, ‘get on with it’. We wanted to have something a bit brash that made people take notice. Although some of the stuff I write about is serious, overall our aesthetic and mindset is kind of not taking ourselves too seriously.”

People would be forgiven for speculating that a tour combining Paper Scissors and Bluejuice wouldn’t turn out to be the greatest idea in the world. However, while somewhat musically different, the brazenness of both live shows and the attitude both groups take towards crowd interaction seem, in the end, to make them a veritably suited pair. “They’re pretty full-throttle and very high energy. We can get to that point sometimes, but we’re a bit more dynamic in that some of our songs are a bit quieter,” Pyne admits. “But we’re the same in that both bands try to really get the fans involved, unlike a lot of indie bands out there. We both realise that the biggest part of music is giving something to the crowd and getting something back from them.”

Paper Scissors will be safely cutting outside the musical lines on Friday May 16 at the Transit Bar. Joining them will be fellow Sydney pranksters Bluejuice and the Purple Sneakers DJs. Entry is free.

Against Me! - What Are You Rebelling Against?

“Why didn’t our last appearance at the Greenroom end well? You mean because James got knocked down by too many people being on the stage? That kind of shit happens, it doesn’t mean you stop going to a city.” Well, not for more than two years, anyway. 26 months and two Australian tours later, AGAINST ME! return to Canberra for somewhat of a ‘take two’ of their electric, sweaty, chaotic and unfortunately brief February 2006 appearance at The Greenroom. As I read through founding member and frontman Tom Gabel’s responses – which range from impatiently terse to elaborately resentful – to my emailed questions, it is clear that his harshly honest, outspoken opinions are still burning as bright as ever.

Against Me! are a wet dream for any exclusive, underground-loving, ‘I knew them before they sold out’ punk fan who’s looking for a juicy new victim to sink their teeth into. Beginning in 1997 in the form of Tom Gabel and a humble acoustic guitar, Against Me! gradually grew to a two piece, with the release of their self-titled EP (often know as Acoustic EP) and Crimes As Forgiven By, before releasing what many regard as their seminal recording, Reinventing Axl Rose, in 2001, now with the help of a full band and electric guitars. Their progress from there to the present day, and latest offering New Wave, has reflected a gradual move away from the raw, stripped-back, folk undertones of their earlier work towards a fuller, more standard punk rock sound.

Long-term fans may be quick to criticise the perceived paint-by-numbers descent into rock homogeneity, however Gabel isn’t quite so happy when people try to trivialise his musical development. “We’re not just talking about records here, we’re talking about my life. Each record happened at a certain period of time in my life, and I can look at my life and see the course of events that led me from one place to the next.”

New Wave, while musically distinctive from past records, nevertheless exhibits the strong ‘political’ threads present, and often adored, in all of Against Me!’s songs. White People for Peace is hard to misinterpret on a superficial level, while Americans Abroad takes a cynical yet poignant glance at Western economic expansionism and touring bands’ places within that. “I don’t perceive my role as a musician and political commentator. I like to play guitar and I have a big mouth and lots of opinions. I’m trying to make connections with people, let people know that it’s okay to be who they are, to think the way they think, that they aren’t alone in the world.” Gabel’s anarchist tendencies have been more than apparent in past songs such as Baby, I’m an Anarchist and Burn, however he’s quick to point out that this should hardly be an element for fans to associate around. “I consider myself a human being. I don’t need politics to give myself an identity. I agree with an anarchist’s philosophy, but it doesn’t completely encompass who I am as a person.”

Coming off the back of a tour with Foo Fighters, it’s clear that Against Me! are proud of the progress they’ve made since playing at parties and in basements (although Gabel points out that playing in basements and Laundromats is somewhat of a fan-developed myth about the band’s past, as “I’ve only ever played in one Laundromat. We’re from Florida, where there are no basements as the water level is too high”). “I’m proud of the records we’ve made, I’m proud of all the bands we’ve shared the stage with. I think continuing to play music is an achievement in itself. That’s good enough for me. I just want to make people sing and dance.”

Against Me! will make their triumphant return to The Greenroom on Sunday April 27 for a NON-licensed all ages show. In support will be the almighty Crime in Stereo. Tickets from Moshtix.

Midnight Juggernauts / Grafton Primary / Magic Hands @ UC Refectory, Friday March 7

I arrived at the University of Canberra on a bus from Civic with three friends and a stomach full of Happy’s Chinese and several bottles of wine. Magic Hands were playing when we got into the Refectory but I had trouble deciding what I should make of them and figured that a Smirnoff might settle my head and allow me to make a more rational judgment than my friends, who had concluded that “any lead singer who wears a t-shirt with a scarf is a knob,” and promptly made their way to the outside seating area. The band had a devoted group of followers cheering them on for much of their set and the way they were able to bounce off each others’ energy made me think they would probably do a very good job of engaging a much larger audience. Their electronic tinge made them interesting and fun to bop along to, but they seemed unwilling to capitalise on this element to its full potential, being quite content to sound like another indie/rock/pop/Strokes/scarf-people covers group.

Grafton Primary, conversely, is a group who I am convinced is incapable of putting on a show that comes anywhere close to being bland or mundane. I’d seen the group numerous times before at Transit and never been disappointed or left wanting. To lump the group in with the broader electro or synth-wave movement would do an injustice to their tight, chiseled and intricate melodies and would unwarrantedly fail to distinguish them from the vast monolith of groups who sound like they’re trying to write the next bad-arse, doof-doof club hit. Grafton Primary are so fucking cool because you get the impression that they really don’t give a shit about the wider music scene, a sense that is driven home by Joshua Garden’s knack of having the crowd eating out of the palm of his hand, the whole time maintaining a somewhat deadpan, seemingly cavalier, stage presence.

Although it would have been incredibly hard in my mind for Midnight Juggernauts to surpass Grafton Primary’s extraordinary performance, once they took the stage it was obvious that this was the group that everyone had come to see and that the crowd was going to make it a great 80 minutes, whether or not the band had similar intentions. Thankfully, the group is unlikely to have disappointed too many people. In many ways the performance was quite similar to any other they’ve done over the past six months, but this is a group whose naturally colossal, galactic sound means that they can fill a room with explosive energy without even trying too hard. My stomach may not have been too happy being jolted around while full of Chinese food, but every other part of my body was left tingling and electrified after two blissful performances.