Category: Album Reviews

Posted on by Lauren Katulka

“Gifted in Gold” – Dan Vogl

Winter weather is here, but Melbourne’s Dan Vogl has brightened my day with his debut EP, Gifted in Gold.

It might be his first offering, but Dan’s music has an appealing polish about it. While acclaimed Joel Quatermain has no doubt worked his magic, Dan’s own skill at creating ear-pleasing indie-pop can’t be overstated. His songs are so irresistibly catchy, with singalong choruses and toe-tapping beats. Vocally he reminds me of Gavin Degraw and Eric Hutchinson; there’s a compelling warmth to his delivery that matches the feel-good music perfectly. His songwriting is also top-notch, whether he’s being romantic in “Carousel” or “Poppy,” the songs that book-end this EP, or lamenting the daily grind the title track.

Gifted in Gold goes down easily. It’s the sort of EP you enjoy from the get go and want to listen to again as soon as it’s over. It’s the perfect introduction to Dan Vogl’s work and enticing glimpse into his potential. Dan will celebrate its release with an intimate show at The Penny Black on August 30.

Image used with permission from Good Intent

Posted on by Lauren Katulka

“Now I’m Ready to Start” – Sinclaire

Just a few weeks ago I was waxing lyrical about Sinclaire’s single “It’s Not Enough,” eagerly anticipating their EP. This Sydney band set the bar so high with that release. Could I possibly love the EP as much? The answer is a resounding hell yes.

Frankly, Now I’m Ready to Start has been what’s kept me sane over the last few days of work. I can’t remember the last time I took a day off and burn-out has well and truly set in. But this EP has lifted me up with its incredible songs.

According to front man Michael Cross, the songs draw from his own “mistakes, insecurities, and negative personality traits.” Those big issues provide the perfect fodder for songs that really connect with the listener. There’s a darkness to the lyrics, but Sinclaire wraps them up in such feelgood packages, with retro synths and driving drumbeats encouraging you to get up and dance your way out of the gloom. I can hear influences of The National, Phoenix, and our own Gang of Youths in the music. Yet the deeply personal nature of these songs ensures they retain their own identity.

Now I’m Ready to Start has just five songs, just enough to ensure each one is outstanding. Just enough to leave us wanting more. Sinclaire will officially launch Now I’m Ready to Start with two launch shows next month. Catch them at Greaser in Brisbane on August 1 and The Chippo Hotel in Sydney on August 3.

Image used with permission from Good Intent

Posted on by Lauren Katulka

“Gracefield Avenue” – Fields

She might be based in Perth now, but Fields’ music beats with an Irish heart. There’s a little Celtic yodel in her vocals and an intensity in the acoustic guitars anchoring half the tracks that takes me to Ireland. It’s no accident that her new EP is called Gracefield Avenue, after the Dublin street she grew up on. That title track is a beautiful nostalgic snapshot of youth which builds to a stirring stomp-along climax. It sets the scene for an EP that doesn’t shy away from sharing the artist’s story.

“Promises” is heart-breakingly raw as Fields’ reminisces about a relationship gone wrong. Her vocals are always on point, but they’re so strong here. You can hear her pain with every note.

I got to know “Neverland” when it was released as a single last year. I’m so glad this unique song has earned a place here. The EP provides a fantastic opportunity to revisit this unique song, which moves from a haunting delicate ditty to a frenetic acoustic-guitar that sweeps the listener up in its romance.

“Like That” showcases Fields at her most exposed, both musically and lyrically. With a sparse piano accompaniment and a small choir of angelic backing vocalists for support, her story of feeling love for someone, but not the romantic kind, is so affecting.

I’ve always appreciated Fields’ ethereal vocals, but with this release she’s shown some serious song writing chops. It’s an intimate, emotionally powerful EP that takes just four songs to make a real impression. See Fields showcasing songs from Gracefield Avenue at the following gigs here and abroad.

29 June 2019 – Stop the Violence, Sunflowers for Cara fundraiser, Burlington Hotel, Bunbury
3 August 2019 – The Workman’s Club, Dublin

Image used with permission from Firestarter Music

Posted on by Lauren Katulka

“In Bloom” – Maggie Slater

Sometimes an album connects with you from the first note, firing off the neurons in your brain that make you immediately fall fast. Others take a little longer. When I hit play on In Bloom, the debut EP from Maggie Slater, I thought it was lovely stuff. Nice and folky, the sort of pleasant music that would provide a good background for my morning work. But I didn’t get those neurons firing. Not right away.

Then I heard “Ballerina,” a poignant song about not feeling good enough in a relationship, about being lifted up by others and discovering your self-worth. It changed everything. I got it, and suddenly Maggie Slater’s music moved from the background into focus.

“Ballerina” is a standout song, but the whole of EP is really something special. It paints a moving portrait of a woman coming to terms with herself and her relationships with other people. It’s unflinchingly intimate, with lyrics that often feel like diary confessions, from the playful “Time Warp” and “Dog” to heavier moments in “Ballerina” and “I Want You.” “Grow” is the perfect closer, a track which encapsulates the EP’s theme of evolving and being “in bloom.”

Maggie Slater’s music suggests that so many of us, she’s still figuring it out. However, that’s precisely why it resonated so deeply with me. It’s very easy to appreciate her music on a surface level; she sings like a bird and her folk-pop-rock sound is very accessible. However, she’s also proved herself to be a master storyteller with a knack for crafting lyrics that really speak to the heart. In Bloom is a beautiful debut from this exciting singer-songwriter from Far North Queensland.

In Bloom is available on all your favourite digital platforms now. Catch her at the Neck of the Woods Music Festival in Townsville on June 29 and 30.

Image used with permission from Hot Off the Press

Posted on by Lauren Katulka

“Lonely Leaves” – PLTS

I love writing a music blog, but sometimes it’s a struggle. Sometimes you just want to listen to the album that’s currently revving you rather than sorting through the press releases and delving into the unknown. And sometimes you find a recording like Lonely Leaves, a release that’s so good that it makes you forget all about that thing you thought you wanted to listen to for the umpteenth time.

I’ve played Lonely Leaves for the last couple of days straight without putting my fingers to the keyboard. Why? Because once I did I’d have to move on, start sorting through the press releases and delving into the unknown again. Now this is the album that’s currently revving me.

Byron Bay band PLTS call Lonely Leaves an EP, but at seven tracks it feels more like a mini album. The songs explore feelings of nostalgia. Heartbreak and longing bookends the EP with “Without You” and the title track. But PLTS also know how to lift you up. “Young Ones” is an anthemic stadium rock banger about our youth. “A Play About the Ocean” soars. The frenetic energy in “August” perfectly captures a moment in time. The sombre “Silhouettes” is even more poignant coming after such an explosive track.

I’m waxing lyrical over these songs because there are no fillers. I’m hitting repeat constantly because there are no fillers. This is incredible stuff, accessible from the first listen but just a little more special with every subsequent play.

Lonely Leaves is out now. After recently supporting Dear Seattle, PLTS will headline their first shows in a year with a performance at Brisbane’s Black Bear Lodge on June 1 and another gig at Sydney’s OAF Gallery Bar on June 13.

Image used with permission from Macro Music

Posted on by Lauren Katulka

“Back in the Swing” – David Campbell

It’s no coincidence that David Campbell’s new album Back in the Swing dropped just before Mother’s Day. It’s just the sort of thing mums and grandmas across the country would love, the old standards delivered faithfully by one of Australia’s favourite breakfast TV personalities. This album is all that, but so much more.

Mother’s Day releases often feel coldly calculated. Put together a collection of songs Mum would love, get some inoffensive act to sing them, and wait for the cash to roll in. They’re pleasing enough to listen to, but they typically lack the heart and soul David puts into this and every one of his recordings. There’s an irresistible energy about his cover of “Buona Sera” and a flirty playfulness in his take on “Come Fly With Me.” “I Can’t Help Myself (Sugar Pie Honey Bunch)” isn’t a natural choice for an album of standards, but his jazzy version makes so much sense. I’m not sure anyone has recorded a more powerful rendition of “For Once in My Life.” But me, his cover of “In the Wee Small Hours of the Morning,” recorded with Aussie rock legend Ian Moss, is the standout. Their voices compliment one another beautifully and they feed off one another so well.

Mother’s Day might be over for the year, but Back in the Swing is actually climbing the charts again. It currently sits at number 10, three weeks after its release. Those strong continued sales are a testament to this album’s enduring appeal. It’s not just one for the mums, although I’m sure they’ll love it too.

Image used with permission from Sony Music Australia

Posted on by Lauren Katulka

“Million Lives” – Julie Kember

Julie Kember’s album Million Lives resonates with truth. Her voice has a seasoned wisdom in it, a break that betrays some pain, a lightness that shows she’s still full of optimism about what’s to come. She’s more than a singer, she’s a storyteller who wears her heart on her sleeve with this stunning collection of songs.

Julie has taken home country music awards, but elements of rock and blues add flavour for listeners like myself who don’t always warm to the genre. It’s that voice though that really captivated me from the first notes of the opening track “Lived a Million Lives.” Upbeat numbers like “Ain’t No Love Affair,” “Can’t Go Back,” and “Long Way Round take us to an outback honky-tonk bar. But it’s the more reflective moments, tracks like “Order You Now,” “Mary Go Round,” and “Can I Wear Your Dress” that show Julie’s quiet power. She’s so compelling in these moments where the material is just a little rawer and more emotional.

A proud Western Australian, Julie will officially launch Million Lives with a show at The Aardvark in Fremantle on April 25. Million Lives is out now.

Image used with permission from Firestarter Music

Posted on by Lauren Katulka

“The Kite Machine” – The Kite Machine

Proving that the best things take time, The Kite Machine has just released their long-awaited debut album. Their self-titled LP has been three years in the making, but it’s certainly worth the wait.

This is one of those albums that took me by surprise. I thought I knew what I was in for when I head the classic pop-rock sound of opening track “The Only One.” It was instantly accessible with chunky guitar riffs and singalong chorus. What fun! “Charlotte” brings a little more funk though, with a dirty bass line, jazzy sections, a wild guitar solo, and a sprinkling of falsetto vocals for good measure. While I enjoyed the easy listenability of “The Only One,” this was the track that made me sit up and take notice.

Once my ears were locked in, they didn’t lose focus. The Kite Machine kept surprising me, proving they’re far more than the radio-friendly band I took them for. Instrumental tracks are so rare on contemporary albums, but I’m glad The Kite Machine aren’t afraid of going their own way. “Larry The Bird” is a killer take which bridges “Charlotte” and the groovy “Top of the Hill” beautifully. “Walls” is a fantastic ballad, a summery chill-out tune that gives us all a moment to catch our breath before The Kite Machine amps up again with “Makeshifter,” “All in My Head,” and “Sinister Sound.” They’re such bold, energetic tracks, with great grooves that keep you on your toes. The Kite Machine reminded me again that they’re capable of taking it easy with “Paper Plains.” It’s even more subdued than “Walls,” the kind of track that sneaks up on you and gets underneath your skin without your realising it. It’s a thing of understated beauty, another moment to catch your breath before The Kite Machine bring it on home with “The Crook and the Skank.”

For fans of the band, The Kite Machine’s self-titled debut is the perfect reward for their patience. But for newcomers to their sound like me, it’s the ideal introduction. Just ten tracks has made me a fan. If you are too, you can catch the band playing a string of East Coast shows in the coming weeks.

26 April 2019 – Geddes Lane Ballroom, Melbourne
27 April 2019 – Mt Beauty Music Fest
16 May 2019 – The Marlborough Hotel, Newtown
17 May 2019 – Howlin Wolf, Wollongong
1 June 2019 – Karova Lounge, Ballarat
7 June 2019 – Halls Gap Hotel, Halls Gap
14 June 2019 – Barwon Club Hotel, South Geelong

Image used with permission from The Right Profile

Posted on by Lauren Katulka

“What We’re Fighting For” – Patrick James

Patrick James first came on my radar in 2012. He was supporting one of my favourite American singer-songwriters, Howie Day. Yet despite my excitement for the headliner, he won me over with his acoustic guitar tunes. He’s a very different performer today, one whose sound is more piano pop than guitar-driven folk, but I think he’s making some of the best music of his career.

I was instantly smitten with “Up” the lead single from his recently released EP What We’re Fighting For, praising its polished sound and mature lyrics. What I didn’t realise at the time is that it’s one piece of a puzzle. The term concept album, or even concept EP, has fallen out of favour in recent years, but I’m struggling for another way to describe this album. “Up” gave me a snippet of the dynamic of a relationship. The EP creates a more complete picture, exploring the hardships of life and love, but also that idea that both are worth fighting for. Giving up might seem easier at times, but Patrick and his partner aren’t prepared to surrender to the challenges.

I love every song on this EP. Singling them out doesn’t seem right though, because they really work best as part of a more complete recording. Each one is intimate and personal. The heart that roots each and every song makes What We’re Fighting For so compelling.

What We’re Fighting For is out now. Patrick will showcase its tracks with shows in the East Coast capitals next month.

6 April 2019 – The Lansdowne, Sydney
12 April 2019 – Workers Club, Melbourne
18 April 2019 – Black Bear Lodge, Brisbane

Image used with permission from GYRO PR

Posted on by Lauren Katulka

“The 2070s” – GEM

My dad used to say to me that you know you’re getting old when the songs you grew up with get the electronic treatment. Something tells me he’d hate The2070s, the new album from Australian DJ and producer GEM. But he’s not the target demographic. While this album might make my father cringe, its songs might be just what young people need to discover these classic tunes.

I’m not as precious about classic tunes the way my dad is. I think it’s exciting to hear where music can go. New interpretations can make a track feel fresh and encourage you to appreciate it in a new way. These songs are often radically different from the originals, and the risks don’t always work. I felt like the emotion of “Wild World” and “Fly Like an Eagle” got a little lost in the treatment. But there’s enough here that does impress to make it worth a listen. Elaskia’s tender take on Al Green’s “Let’s Stay Together” is beautiful. Jesse Oneill’s cover of The Eagles’ “New Kid in Town” is also a stunner. I can imagine GEM’s shimmery reinterpretation of The Rolling Stones’ “Miss You” packing out dancefloors. The poptastic cover of “Burning Love” with Victoria on vocals is pure joy.

I also appreciate that GEM is introducing us to new voices here. She’s worked with vocalists who grew up in her community in country New South Wales. GEM’s own input is also important. At a time when 98 percent of music producers are male, it’s wonderful to see a talented female making her mark.

Open your ears and mind to The 2070s. It builds on a base of quality music and takes it in a fresh new direction. It’s out now.