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Doc'n Roll Festival

Sat, 5 Nov

Doc'n Roll: Music is My Boyfriend: A Film About The Hidden Cameras + Q&A

The Hidden Cameras burst onto the Toronto music scene in the early 2000s with an irresistible combination of pop and queer sensibilities. Via songs ranging from haunted, aching ballads to foot-stomping anthems, the band’s outrageous stage shows packed sweaty dance bars, art museums and even churches. Fronted by singer-songwriter Joel Gibb, the ensemble continues its musical provocations to this day, with Berlin as its centre of gravity. MUSIC IS MY BOYFRIEND chronicles the early days of The Hidden Cameras. Combining interviews with original members, behind-the-scenes footage during a recording session and rarely-seen 16mm film of two of their legendary live church shows, the film is at once a love note to a beloved band and a time capsule of the city’s raucous, vivacious queer underground scene in the early days of the 21st century. A Miracle and The Making of A Miracle A MIRACLE is queer indie pop band The Hidden Cameras’ first-ever music video. Shot on Super 8 by Toronto filmmaker Laura Cowell, the video features members of the band and friends on a bed, set to the gorgeous Hidden Cameras song “A Miracle” from their debut album Ecce Homo. The short’s second part, THE MAKING OF A MIRACLE, is a brief behind-the-scenes documentary shot two-fisted-style by Toronto filmmaker Robert Kennedy (two-fisted because Kennedy is wielding a film camera in one hand, and a video camera in the other). The result is a unique composite of the two media that documents the energy, fun and excitement of the music video shoot.

Fri, 11 Nov

Doc'n Roll: A Film About Studio Electrophonique

The golden age of Sheffield pop had its first stirrings in the hollow, death-marked era of Threads, Thatcher and mass redundancy. The cultural landscape was one of dole-nourished musical manifestos and self-assembled synthesisers sent through the post. Pop music pilgrims arriving in Sheffield may struggle to locate its landmark sites. They are unheralded and unmarked, yet still emit a faint looped analogue pulse for those devoted enough to seek them out: the attic room in Lemont Road, Totley where Cabaret Voltaire first assembled, the house on Stanhope Road, Intake where Pulp’s single 'Babies' came from, the condemned dead end in Barber Terrace where ABC conjured glamour out of margarine sandwiches and pure imagination. The most secret and sacred of all these signless places, however, is the Ballifield council-estate semi that housed Studio Electrophonique, the home studio owned by Ken Patten: panel beater, fly fisherman, water skier and midwife at the birth of electronic music in the North. Now vacant, 32 Handsworth Grange Crescent, across from The Everest pub, is where the first recordings were made for early incarnations of the bands that became The Human League, ABC, Heaven 17, Def Leppard, Clock DVA and Pulp. Not to mention the more esoteric and rarer sounds of The Electric Armpits, The Naughtiest Girl Was a Monitor and Systematic Annex, whose track 'Death Trades' was recorded at Ken's in 1984 yet failed to arouse the interest of those compiling Now That's What I Call Music 4. Ken’s work never attracted the attention of the masses and, by the time the landmark albums Dare and Lexicon of Love started to shift units, the bands had all bought yachts - or at least gold lamé suits - and Ken had shifted back to his own unit, knocking out dents in a garage beneath the Wicker Arches.

Sat, 12 Nov

Doc'n Roll: Age of Rage: The Australian Punk Revolution + zoom director Q&A

When the first wave of punk broke Australian shores in the 1970s, it was met with a fierce embrace that continues to reverberate today. Adopted and adapted with fearsome intensity by disenfranchised, pre-globalisation Australian kids as a challenge to the isolation and cultural vacuity of mainstream Australia, punk Down Under was a DIY counterculture – a profound, visceral critique of late 20th-century capitalism. Australian punk chose values and agendas that for many have become lifelong, and its revolution full of rage, angst and defiance has evolved. AGE OF RAGE shows that while some still stand at the edges of society, others have re-engaged, bringing their punk values with them.

The End

That's it for now.
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