Category: Album Reviews

Posted on by Lauren Katulka

A Flower in the Weeds – Joe Mungovan

Joe Mungovan has been one of my favourite musical finds for the year. I raved about his sexy, summery singles “Give Me Your Love” and “Lemon + Lime,” so was delighted to wrap my ears around his debut album, A Flower in the Weeds. My expectations were high, but this collection of cool, romantic ditties is just what the doctor ordered.

Like so many great albums, A Flower in the Weeds was inspired by a great love. It was the kind of connection that bridges distance, that takes hold and refuses to let go even when logic tells you that you should.

“I met a girl while on tour in Europe back in 2019. She cut my hair at 4 am after my show in Berlin, and ended up traveling around Europe with me for the remaining shows. I flew back to Australia after the tour ended a few months later and moved into a house in Kangaroo Valley to start writing an album. I didn’t know if I would ever see her again,” he explained, setting the scene.

But of course, he did. She came to Australia for a carefree summer. They were inseparable, road-tripped along the East Coast, soaking up the sun and sipping wine by campfires. It was all going swimmingly, until the pandemic hit, she returned home and Joe resumed writing this album.

A Flower in the Weeds is a beautiful snapshot of a relationship unfolding. Most tracks focus on the time he spent with “the one that got away,” recreating intimate moments in Germany and Australia. Others are full of longing. He pleads for her to come back and be next to him in “Stella.” He waits for fleeting phone contact and remarks on the gulf between time zones in “Autumn Sun.” The closing track “What Should I Do With All This Love?” brought a tear to my eye.

As someone who’s lived through one, I know how bittersweet long-distance relationships can be. The highs are glorious, but that separation can be torture. I can’t even imagine the extra level of pressure the pandemic has put on couples who live on opposite sides of the world. Joe captures all of those emotions so beautifully. If, like me, you’ve ever loved someone who lives far away you’ll find this collection of songs so relatable. If you’ve never been there, I guarantee you’ll still get swept up in the romance.

A Flower in the Weeds is out now. Joe plans to tour the album around the country next year. Until then, Kiama locals can catch him at Little Betty’s tonight and New Year’s Eve.

Images used with permission from Beehive PR

Posted on by Lauren Katulka

“ASTON” – ASTON

If there was ever a song that suits a Monday that’s come around far too quickly, it’s “Middle Fingers,” the opening track from ASTON’s recently released self-titled EP. So full of sass and catchy AF, it’s a fantastic track about unapologetically showing your truth.

“Middle Fingers” is fantastic, but I’ll be surprised if you want to stop listening when it’s done. Every song on this release is a catchy pop banger. But we shouldn’t be surprised, as ASTON has an impressive resume writing songs for Evie Irie, Cosmos Midnight, and K-pop act AESPA. It’s no coincidence that this five-track EP has spawned three singles. “Middle Fingers” leads into this trio: “Firebomb,” “Girl is A Gun,” and “Killer Queen.” They’re all addictive, with great energy and personal lyrics. After three singles, you might expect this EP to go out with a whimper, but the final track “Heartbreak Club” is perhaps ASTON’s most relatable. It’s an interesting bookend. “Middle Fingers” was all bravado, but with this song we see glimpses of vulnerability. At least when she’s not talking about fucking some things up!

“The EP is all about growth. Find yourself to lose yourself to find yourself all over again,” ASTON explained. “This is the unofficial official guide to discovering and reminding yourself who the fuck you really are!”

For superb pop music without the saccharine, take a listen to ASTON’s self-titled debut EP.

Images used with permission from Revolutions per Minute

Posted on by Lauren Katulka

“Armageddon” – Between You & Me

I’ve been sitting on Between You & Me’s new album Armageddon since September, just waiting for the moment when I could encourage all of you to take a listen. I’ve had it on regular rotation since it landed in my inbox, turning to it whenever I needed to energise my day or exorcise my demons. The high-energy pop-punk tracks make me nostalgic for that time in the late ‘90s and early ‘00s when bands like Blink-182, Green Day, and Good Charlotte ruled the airwaves. The bands that make that kind of music seem few and far between these days, but I’m glad Australia has Between You & Me flying the flag.

Like a movie that grips you in front of the screen, Armageddon moves along at an exciting pace. With just 10 tracks and all but one clocking in under four minutes, you never get the chance to get bored here. There’s no filler here either. The tracks are ridiculously catchy. The powerful vocals from frontman Jake Wilton are so compelling. The band is right there supporting him with big punky guitar chords, driving drums, and cool bass simmering under the surface. These guys are so tight. Some might argue that punk should be a little messier than this, but it’s a joy to listen to.

Opening track “Pleased to Meet You” is a great introduction for the uninitiated, bold and ballsy with a chorus that encourages you to yell along. The single “Deadbeat” first turned me onto this band, and it’s lost none of its self-deprecating charm since the first time I heard it. These plenty of angsty material here to satisfy your inner emo kid, including “Goldfish” and “Supervillain.” Those darker moments are balanced with more optimistic numbers like “Change” and “Better Days.” “Go To Hell,” a collaboration with female-fronted contemporaries Yours Truly is a real treat for fans of the local scene. The album closes with the title track, the only song on the album stretching past the 4-minute mark. It’s the album’s most ambitious track, an epic rock number that gives a hint that this band can do even more than we’re hearing.

What Between You & Me have laid down on Armageddon is so much fun, but they’ve also left me excited about what their next step might be. With a three-year gap between this album and their debut effort, hopefully they won’t leave us waiting too long for the follow-up.


Images used with permission from Hopeless Records and Habit Music Co.

Posted on by Lauren Katulka

“Holding On For My Life” – Harry J Hart

Sounding like the musical lovechild of Lenny Kravitz and Third Eye Blind frontman Stephan Jenkins, Harry J Hart has won me over with his debut EP Holding On For My Life. The title gives an indication of the emotion behind this release.

This EP grips you from the first track “Who We Are.” The atmospheric opening chords draw listeners in, ensuring we’re invested once those dark and relatable lyrics start. The chorus with its crunchy guitar chords and Harry’s stellar falsetto is brilliant. The track sets the bar high, but Harry continues delivering with five more songs. Six tracks is ambitious for a debut EP, but I can’t imagine leaving one behind. The current single “No Goodbye” lifts the energy and encourages you to hang on for the ride. The heaviest track on the album, the way the drums and electric guitars combine with Harry’s fervent vocals is really something special. Harry doesn’t take his foot off the pedal for “Come Back Down.” There’s even a guitar solo. I could wax lyrical about every number on this EP, but I’d much rather you discover them for yourself.

The songs on Holding On For My Life sound raw, but in the best possible way. The imperfections add authenticity to these tracks that clearly come from a very honest place. I hope Harry never gets those edges smoothed out, because what’s here really connects. Holding On For My Life is a really solid EP that hints at great things to come. Harry will celebrate its release with a show tomorrow, November 12, at O’Skulligans in Brisbane.

Images used with permission from Footstomp Music

Posted on by Lauren Katulka

“The Hour Between Us” – Anna Smyrk

A quick scan of my blog revealed I’ve followed Anna Smyrk’s career since 2013. She’s achieved so much in that time, moving from her home in regional Victoria to far-flung places including Cambodia, the Philippines, and the Solomon Islands, and recently serving as a consultant for the World Health Organization. Despite all the changes in her life, music has been a constant. After being based in Papua New Guinea assisting with the COVID-19 vaccine rollout, she’s back on home soil for the release of her third EP, The Hour Between Us, which I honestly believe is her best yet.

It’s a timely release which Anna describes as “a record about all the things that keep us apart and all the things that bring us together.” That content is so poignant right now as we all come back together and adjust to a new kind of normal. Anna’s always had a knack for songwriting and it’s beautifully realised here. Her sound has evolved though into one more confident and edgy. “Song from the 36th Floor” shows us the gentle folk balladeer is still in there, but new elements of rock and indie pop give most of the tracks a bolder sound.

I was on board from the release of the opening track “Human Condition” a few months ago, and I’m thrilled to hear this EP features more songs in that vein. There’s a poppier vibe to the next track “You Break It, You Bought It” one of three songs about long-distance love on this EP. With “Song from the 36th Floor” and the current single “Daylight Saving,” they beautifully capture the longing, pain, and uncertainty that often accompanies loving someone who you’re frequently separated from. As someone who married a guy on the other side of the world, they really resonate with me. Many of the songs plumb painful content, as you might expect for an EP featuring songs developed during the pandemic, but Anna leaves us with hope. The final track “Wallace Street” is a heart-warming ballad about finding love within the crumbling walls of a Melbourne share house.

The Hour Between Us really reflects the world right now, but I think it’ll be one of those recordings I return to long after the pandemic feels fresh. I’ve always loved Anna’s music, but she’s taken her sound to another level with this release. The Hour Between Us is out now.

Image used with permission from This Much Talent; credit: Giulia McGauran

Posted on by Lauren Katulka

“Sloppy Seconds” – Bootleg Rascal

If there was any doubt that summer is on its way, Bootleg Rascal have just dropped their ultra-cool new album, Sloppy Seconds. If you’ve followed this blog for any period of time, you’re already familiar with their good vibes. The many recent singles always left me wanting a bit more, so this album is a real treat.

I must admit, I was taken aback when I spied the tracklist and saw the opening track was called “Albo.” Was this an ode to the opposition leader in the vein of The Whitlams’ Gough? Not quite. Instead “Albo” is an opening message recorded by Anthony Albanese himself, reminding us to support Aussie music. Brilliant!

As the album’s title suggests, the tracks here aren’t exactly new. The tagline calls it a “reimagined album.” I think of it as more like a greatest hits on steroids. The best songs from Bootleg Rascal’s earlier releases Asleep in the Machine, Psychotica, and Collaborations of Very Isolated Delinquents “19 receive new makeovers. I’ve enjoyed listening to these new recordings, then going back to the original source material and marvelling at the way they’ve improved the songs. Spoiler alert, they have every single time. These old favourites join recent singles including “Therapy” and “All About You.”

Despite drawing tracks from so many different sources, Sloppy Seconds is a really cohesive album because Bootleg Rascal have such a clear and distinct sound. The preview stream I received labelled it as reggaeton, but I’m not sure you can sum these guys up so neatly with a genre label. It’s music that transports me to summer days, sitting around the pool with a drink in hand and my mates by my side. It’s super catchy, the kind of music that you just want to keep listening to. If you’re not already familiar with Bootleg Rascal, Sloppy Seconds is the perfect introduction. If you already know what’s up, you already know you’re in for a good time.

Sloppy Seconds drops today. To celebrate its release, Bootleg Rascal are hitting the road for a massive tour all around the mainland. Frankly, this is the most ambitious tour schedule I’ve seen in more than a year! If you want to be a part of it, get your tickets now because they probably won’t last long:

19 November 2021 – Woolly Mammoth, Brisbane
26 November 2021 – Indi Bar, Perth
27 November 2021 – Settlers Tavern, Margaret River
28 November 2021 – The Aardvark, Fremantle
4 December 2021 – Miami Marketta, Gold Coast
10 December 2021 – Jive Bar, Adelaide
11 & 12 December 2021 – Kill the Dinosaurs, Port Elliot
15 January 2022 – Beach Hotel, Byron Bay
22 January 2022 – Howler, Melbourne
23 January 2022 – Sooki Lounge, Belgrave
28 January 2022 – Old Bundy Tavern, Bundaberg
29 January 2022 – The Leichhardt Hotel, Rockhampton
5 February 2022 – Solbar, Maroochydore
17 February 2022 La La La’s, Wollongong
18 February 2022 – Oxford Art Factory, Sydney
19 February 2022 – UC Hub, Canberra

Images used with permission from Good Intent

Posted on by Lauren Katulka

“Judas Tree” – Gretta Ziller

“I don’t want to do the same thing twice,” Gretta Ziller says in the press release for her sophomore studio album Judas Tree. The album is more than just a departure from the gentle folky sound of her debut, Queen of Boomtown. It’s also an album that deftly explores genres. One thing’s for sure, you won’t get bored listening to this one.

Gretta embraces her country roots but you couldn’t really call Judas Tree a country album. You hear glimpses of it in the gentle slide guitar notes of the opening track “5, 4, 3, 2, 1” and the rebellious nature of “Cinder Ash & Ruin.” But Gretta prefers to pair her country influences with swampy blues and classic rock sounds. It gives her music a bit more edge than the tracks so many female country artists release today. Not that she can completely resist the pull of pop music. “Stockholm” is an energetic guitar-pop banger. Despite the crunchy guitar opening, “Damage Done” is also rooted firmly in the pop space. Many of the tracks show Gretta’s strength, but she’s not afraid of letting her vulnerability shine through on the gentle acoustic guitar ballad “Jericho” and the poignant closer “Dear Love Letter.” Just when you think you’ve got Gretta pegged, she changes direction, showing you yet another side of her talent.

One thing that struck me listening to Judas Tree was just how powerful Gretta’s voice is. Sonically it’s commanding, standing tall even among lushly layered instrumentation. But that strong voice also comes through in her songwriting. It’s some of the best I’ve heard, honest and so relatable. Her voice anchors these songs, ensuring that no matter what genre she’s playing with, it’s unmistakeably Gretta Ziller.

Judas Tree is out now. Catch Gretta live at one of her upcoming shows:

24 October 2021 – Commonfolk Coffee, Mornington (with Clint Wilson)
26 March 2022 – Country by the River, Murray Bridge

Images used with permission from Revolutions per Minute

Posted on by Lauren Katulka

“Spilt T” – Talitha Jae

Talitha Jae’s EP Spilt T is a collection of songs that has snuck up on me. I was immediately struck by the warm, welcoming tone of her voice. This Cairns-based artist is so easy to listen to. But the more I listened to this EP, the more I appreciated her music.

“Chasing My Tail” is a laidback tune with a jazzy brass section. I can imagine her playing it in the corner of a coffee house. It’s the kind of music that’s so soothing and chill, and it wouldn’t disrupt the punters who just want to enjoy a latte. I enjoyed it on that level the first few times, but then I really listened to the lyrics and found the heartache. That was the turning point for me. Every song sounds so inviting. Her voice sounds clear as a bell against the honky-tonk piano and fiddle of the country-tinged “Ambiguity.” It anchors the stripped-back ballad “Slow.” But the lyrics of these songs, and others on the EP tell deeper, more complex stories than the fairly straightforward music.

Talitha Jae has a lovely voice to listen to, but I think the voice that comes through in her songwriting is what elevates Spilt T above a nice collection of songs to something truly special. Whether she’s getting vulnerable in a vintage country ballad like “Butterflies & Anxiety” or sassy in the final track “I’m Done,” she puts herself in this music. It took me a little while to properly appreciate what Talitha Jae’s laid down here, but I’m so glad I spent the time getting to know her music.


Image used with permission from AAA Entertainment

Posted on by Lauren Katulka

“We Must Be Dreaming” – Outer South

Melbourne’s Outer South captured my heart last year with the singles “By the Morning” and “Home,” so I was thrilled to wrap my ears around their debut album, We Must Be Dreaming. It’s an apt title for this dreamy collection of indie-folk tracks. With the reality of the pandemic looming large for so many of us, drifting off with Outer South is a great option.

Opening with “By the Morning” reminded me of all the reasons why I love this band. It sounds like a modern lullaby, tender and calming. By the time the first new-to-me track “Half Way” began, I was already in such a blissful, receptive state. Outer South delivered more of what I love with the other tracks, warm acoustic tones overlayed with gentle electric guitars, sublime vocals, lyrics that run like short vignettes, giving us a glimpse at relationships we don’t know but feel a part of for a time. The lyrics of “Everything’s Alright,” which explore the idea of pretending life’s okay, really resonated right now. “Drag” starts off so subtle but builds to a gorgeous crescendo of longing. It’s so easy to get swept away by this music.

With just seven tracks and a runtime of a little more than half an hour, We Must Be Dreaming is the definition of short and sweet. By being selective about their material, Outer South ensures every song on this album is special. If you find yourself wanting more, just remember you can always hit play again.

Images used with permission from Outer South

Posted on by Lauren Katulka

“3” – Ngaiire

It’s been five years since Ngaiire delivered her outstanding sophomore album Blastoma, but she’s finally graced us with another LP, the aptly named 3. That’s a long time between releases in the music world, but perfection takes time. Her latest release is a thoughtful collection of music that’s impressed me every bit as much as the tunes that came before.

Ngaiire introduces us to her vocal chops with the lush title track. The album takes a left turn with “Shiver,” a cool soul-pop number with bounces along with an infectious rhythm. Beats give many of these tracks a fresh poppy feel. I found myself grooving along to tunes like “Takeover” and “Moonshine.” Just when you think you’ve figured the album out, she takes another left turn, stripping away the beats for the piano-driven, spoken word beauty of “Akura.” She follows it up with “Him,” a modern gospel anthem that shows another side of this talented performer.

Ngaiire is an artist who loves surprising us. I swear I heard the distinctive sound alert for train announcements layered under Ngaiire’s vocals in “Shoestring.” And why not? Her sound is complex but never confused. It can be out of the box, but delivered with such confidence that you happily go along for the ride. And it’s all anchored by that incredible voice, dripping with soul, an honest expression of her heart. So many singers these days push their vocals, as if they want to prove to us that they can sing all the notes and do all the runs. Ngaiire is a lot more understated, ensuring that it’s her message that takes centre stage rather than the notes she hits.

Ngaiire set such a high bar for herself with Blastoma, but 3 is every bit as good. If you loved the music that came before, you’re going to adore this. If you’re yet to discover how special Ngaiire is, there’s no time like the present. Unless this nasty virus gets in the way, Ngaiire will tour 3 around Australia and New Zealand later this year. Here are all the dates you need:

5 November 2021 – Altar Bar, Hobart
6 November 2021 – The Croxton, Melbourne
7 November 2021 – Theatre Royal, Castlemaine
12 November 2021 – City Recital Hall, Sydney
18 November 2021 – The Gov, Adelaide
19 November 2021 – The Rosemount Hotel, Perth
25 November 2021 – The Tuning Fork, Auckland
26 November 2021 – Meow, Wellington
4 December 2021 – UC Hub, Canberra
13 January 2022 – The Triffid, Brisbane

Images used with permission from Remote Control Records; main photo credit: Dan Segal