Category: Album Reviews

Posted on by Lauren Katulka

“Tip of the Spear” – Pataphysics

It’s been several years since I checked in with the music of Melbourne-based hip hop artist Pataphysics. After so many years, his new album Tip of the Spear proves he’s still got a fire fuelling his creativity.

The old-school modem sounds of the opening “Prologue” are a little bit jarring, but they force you to pay attention. That’s so important when you listen to the music of Pataphysics, because he’s got a lot to say and a rapid-fire delivery. It’ll probably take a few spins of Tip of the Spear to catch everything, but when the music sounds this good you won’t mind. His rhymes are positive and inspiring and the music groovy and laidback, with hints of jazz and funk. Guest artists like Diego Villalta, Kaiit, Allysha Joy, and Aamer Rahman complement Pataphysics’ vision beautifully.

“Frames” is a favourite, with its exploration of the constants in an ever-evolving world. I love the positivity and optimism of “Today. “Shake the Roots” provides vital commentary on the modern financial landscapes, the haves and the have nots. “Cycle of Oppression,” which explores detention centres and our treatment of refugees may be one of the album’s most important tracks.

At 14 songs, including the bonus track, Tip of the Spear covers a lot of ground. Unlike so many lengthy albums though, it feels cohesive without any filler. It’s an important record that packs a powerful punch.

Tip of the Spear is out now.

Image used with permission from Pataphysics

Posted on by Lauren Katulka

“Higher Ground” – Reuben Koops

I had high hopes for Aussie expat Reuben Koops‘ music when I heard he’d been working with the likes of David Ryan Harris and William Bowden. Despite those lofty expectations, his new EP Higher Ground didn’t disappoint.

It feels good from the opener and title track, “Higher Ground,” an optimistic radio-friendly pop rocker that seems instantly familiar without being cliched. “Something to Believe In” is another crowd pleaser with just as much heart.

After a few upbeat numbers, Reuben Koops shows a softer side with “Lady on a Train.” It’s a beautiful reflection on those moments when you’re struck by someone, struggling to get the courage to try to make it something more. “You and I” is another tender ballad, a nostalgic number recalling young love and the way it can grow into something more.

“Labour of Love” kicks the energy up a notch. It’s a rollicking feelgood track that leaves no doubt Reuben Koops has a big future ahead of him.

I think a lot of people underestimate the skill that it takes to create music like this which is instantly accessible. There might not be a lot of sharp edges to the music Reuben’s making, but that’s part of its charm. Higher Ground certainly doesn’t challenge the ear, but sometimes it’s nice to hear a collection of songs that speak to you from the first listen, and only get richer with every subsequent spin.

Higher Ground by Reuben Koops is out now.

Image used with permission from Circa41

Posted on by Lauren Katulka

“Take Her” – Taylor Pfeiffer

When I slipped on Take Her, the new EP from Taylor Pfeiffer, I was struck by her sweet vocals and prowess on the banjo, a formidable combination for any country-crossover artist. I couldn’t help but think of another musical Taylor’s early material as I listened to her music. There’s a similar confessional nature to the songwriting, an innocence that’s so endearing.

The opening track “Beauty is the Beast” is a searing commentary on the modern obsession with our external beauty and a reminder of the importance of looking inside when evaluating ourselves and one another.

The title track “Take Her” reveals more colours to Taylor’s voice. I just love her little yodel and the quirk of this powerfully feminist song. This isn’t a tale of sorrow at a relationship’s demise; rather than wallowing, Taylor sings that “sometimes it feels good to be alone.”

There’s more of that strength in “Murder in the Dark.” What a powerful track this is, dark and brooding.

After the layered instrumentation of the previous tracks, the simplicity of “Make Today Count,” a duet with Matt Scullion, is so endearing. Their voices blend beautifully in this song about grabbing life with both hands.

“Romeo” is a sweet closer, the kind of song we might expect from a young performer like Taylor. However, while it’s expected, that doesn’t make it any less gratifying.

Taylor Pfeiffer is likely to draw comparisons to Taylor Swift which her pop-country songs, but that’s not a bad thing. We can only hope the future is as bright for this talented young Aussie. Take Her is available now from leading digital platforms and via mail order.

Posted on by Lauren Katulka

“I Saw Red” – Struggle With Glory/ Harry James Angus

Just a few weeks ago I was singing Harry James Angus’ praises, celebrating his innovative single “I Saw Red,” released through his Struggle With Glory project. Now after hearing the EP with the same name, I’m even more impressed.

To bring you up to speed, I Saw Red is an EP of gospel-jazz tracks inspired by Greek mythology. The music doesn’t just live on the recordings; it’s from the Struggle With Glory show Harry James Angus has showcased at theatres and will soon take to music and arts festivals around the country. This is no ordinary musical project. It’s not delivered as one, and it doesn’t sound like one either.

I Saw Red transports you to a different time, a time when jazz, soul, and blues came together for people in mourning and exultation. “Kill The Priest” has a morbid title, but it feels like a song of praise and positivity. It’s a beacon of light which juxtaposes beautifully with the darker title track. “Struggle With Glory” sounds like an old slave song, sorrowful and full of soul. “He Took The Fire” rounds out the EP, lifting us up just as we began. It’s a slow burner, but when the gospel choir and brass band kicks in you’ll be clapping along.

I Saw Red stands alone as a stellar collection of songs. But it also makes me intrigued about Harry James Angus and his Struggle With Glory show. Something tells me I’d appreciate these incredible songs even more in that context.

The I Saw Red EP is available now. Struggle With Glory will play the following events.

1 March 2018 – Perth Festival, Perth
14 & 15 March 2018 – Adelaide, Adelaide

Image used with permission from Riot House Publicity

Posted on by Lauren Katulka

“Monday Night” – Jazz Party

Jazz is a genre that’s been watered down a lot over the years. Jazz festivals have become playgrounds for artists who could more accurately be described as blues or soul acts. You rarely hear musicians scatting any more. True jazz might not be popular anymore, but Melbourne’s Jazz Party don’t seem to care about that. On their debut album Monday Night, it sounds like they’re having far too much fun to consider the opinion of the masses.

This album will transport you to a retro New Orleans speakeasy. It’s got a fantastic, infectious energy about it. The band manages to play with an unbridled frenetic sound which seems spontaneous, yet they’re the tightest bunch of musicians you’re likely to hear. From the heavy-handed honky-tonky piano to the brassy horns section, everything is just where it should be. Songwriter and leader of the band of eight Darcy McNulty says recording Monday Night was the most fun he’s ever had in a studio, and that shows. From opening track “Want a Baby,” this album leads you to the dancefloor and twirls you around until your feet are sore. I love Darcy’s Harry Connick Jnr-esque vocals, but the tracks featuring the sassy, soulful Loretta Miller on lead are probably my favourites. She’s a revelation on numbers like “Sleep” and “Magic Man.”

Monday Night is released on November 3. Jazz Party will launch it with shows around the country. If the album’s any indication, anyone attending these shows are in for one hell of a time.

11 November 2017 – The Croxton Bandroom, Melbourne
16 November 2017 – The Flamin’ Galah, Brisbane
16-19 November 2017 – Mullum Music Festival, Mullumbimby
24-26 November 2017 – Queenscliff Music Festival, Queenscliff
16-18 February 2018 – Riverboats Music Festival, Echuca-Moama

Posted on by Lauren Katulka

“Dancing With Mannequins” – Ra Ra Ruby

Pottsville Beach on New South Wales’ Far North Coast isn’t exactly a place the rest of the nation thinks of as a hive of musical talent, but it has birthed at least one Aussie act worth noticing: Ra Ra Ruby. The trio has just released its first EP Dancing With Mannequins, a collection of four songs that hint at their talent.

The opening track “She” bursts out of the gates with a flurry, instantly putting listeners on side. The follow-up “Undress” is such a sexy number, with its throbbing bass and provocative lyrics. “I Need a Woman” is another rock masterclass, the kind of song that sounds great on a record but is likely to be even better in the live arena. And then there’s “Pam,” which has a playful vibe reminiscent of The Kooks or The Wombats. It’s a great way to end this EP which with just four tracks is over way too soon.

Dancing With Mannequins is such great fun. Each number is bursting with energy, filled with frantic driving drums and singalong choruses. It all sounds a little raw, with the instruments perhaps turned up a little high for the vocals, but there’s something endearing about the imperfections. Hopefully we hear a lot more music from this promising local three-piece.

Dancing With Mannequins is out now.

Image used with permission from A&R Records

Posted on by Lauren Katulka

“Timber” – Liv Cartledge

Sometimes a single grabs you but the album or EP it comes from doesn’t live up to that promise. However, sometimes it takes a few more songs for you to really understand an artist and the longer release exceeds your expectations. I love when that happens, so I was thrilled to hear Liv Cartledge’s EP Timber.

It’s not that the single “Heard Your Name” didn’t impress me, because it did. I liked its cruisy vibe and I thought Liv’s voice has a really distinct huskiness to it. But if I heard an EP of five songs in the same vein, it might have become one of those pleasant background releases that I’d like well enough, but didn’t feel compelled by. However, Timber is such an intimate, special recording. Lyrically it lays everything bare. It’s at its best in its quieter moments, like “Running” and the title track, a sublime closer.

It was only on listening to Timber that I felt I got a real sense of who Liv Cartledge is. The soft husky tone I loved first is showcased well, but what impressed me most is her intimate and raw songwriting talents. She’s not afraid to show us who she is and what’s been through, and that’s powerful. There’s darkness, strength, fragility, and true beauty in this release.

Timber is out now. Liv is currently touring the EP around the country. You can still catch her at the following gigs.

12 October 2017 – Porch Light Sessions, Sydney
13 October 2017 – Parlour Show, Sydney
21 October 2017 – Swagger Music Festival, Wandiligong
3 November 2017 – Happy Wanderer Festival, Benalla
5 November 2017 – Parlour Show, Benalla
10 November 2017 – The Grace Emily, Adelaide
18 & 19 November 2017 – Brown Brothers, Milawa
24 November 2017 – The Taphouse, Bendigo

Image used with permission from Beehive PR

Posted on by Lauren Katulka

“California Dreaming” – Rick Price & Jack Jones

California Dreaming has been one of my most anticipated albums of the year. The idea of two of Australia’s best voices – Rick Price and Jack Jones – coming together really excited me. The track listing was superb, featuring songs I’ve known and loved all my life. But could it possibly match my expectations? It’s a big yes from me.

This album sounds just like it should, with Rick and Jack’s beautiful voices front and centre, but ably supported by a tight band and superb backing vocals. The covers are delivered with such heart and reverence. They’re not cookie cutters of the originals, which I appreciate, but they don’t veer too far away from the source material. I haven’t felt a cover of “Light My Fire” did justice to The Doors classic until now. Their take on “Both Sides Now,” by Joni Mitchell, is so moving. I didn’t quite expect the emotional punch “Desperado” delivered either. Then there are the tracks that are just good fun, like “Take It Easy” and “Running on Empty.” These guys might not have written the songs, but goodness they tell the stories convincingly. They also get the balance right; there are some heartbreakers here but also those songs that are just so much fun to sing along with.

This is the kind of album that the grandparents of Australia are going to dig. It’s the music they grew up with executed perfectly. I just hope more young people take a listen to it over family BBQs, because it really deserves to be heard. I’ve listened to a lot of albums of covers recently, and California Dreaming is one of the best.

Posted on by Lauren Katulka

“Bloodline” – Run Rabbit Run

Ordinarily when a band releases its EP, it’s finding its feet. Perhaps it feels too safe. If there are risks, they don’t always pay off. The sound might show promise, but often it’s not quite there. And then every now and then you hear an EP like Bloodline from Melbourne folk act Run Rabbit Run.

This is self-assured music that challenges the boundaries of folk. It’s bold, confident, and oh so good, right from the opening strains of “Into the Woods.” It’s a lushly layered track with an ethereal quality that instantly piqued my curiousity about what I might hear next. Its plaintive choir-like vocals really speak to the heart.

“Sticks” is a traditional rollicking folk ditty, a great ride that compels you to clap along to the driving drums and join in the “woah ohs.” “Old Soul” is stunning in its simplicity. All the right ingredients are here, a relatable narrative, powerful vocals enhanced when lead singer Casey Martin’s voice harmonises with his bandmates. As the music reaches its crescendo, it takes an unexpected musical turn; I didn’t expect it but I was so captivated I went along willingly.

We’re surprised again in “We Don’t Know What It’s Like,” when electric guitars take over from the banjos. Those modern instruments don’t normally find a role in such folky Americana fare, but in a brooding song like this they make perfect sense.

We’re taken on another journey with the final track “Lights.” It speaks so eloquently of the struggle to gain our independence, yet the draw we always feel to the past. At first the song is gentle, sparse and delicate, but it builds to a compelling climax.

Bloodline is a powerful EP. If this is what Run Rabbit Run can produce first up, I can only imagine the accomplished music these guys will make 10 or 20 years from now. See them on tour at the following shows this October and November.

7 October 2017 – The Hotel Metro, Adelaide
14 October 2017 – The Loft, Warrnambool
19 October 2017 – The Gasometer Hotel, Melbourne
12 November 2017 – World Vegan Day Festival, Melbourne
25 November 2017 – The Captain Cook Hotel, Sydney

Image used with permission from Beehive PR

Posted on by Lauren Katulka

“Anywhere With a Rooftop” – Patrick Wilson

Patrick Wilson shows an appreciation for the music that came before with his stellar EP Anywhere With a Rooftop. His beautiful, soulful voice soars throughout the collection of songs, complemented so well with a tight band of horns and fiddles and silky-smooth backup vocals from the Bare River Queens.

It’s called an EP but it seems more like a mini-album really, with seven tracks leaving no doubt about Patrick’s talent. The first two songs, “Nobody” and “One Single Moment,” are upbeat crowd-pleasers guaranteed to get your toes tapping.

It shifts gears with “Anywhere,” a lovely country ballad that shows the true breadth of Patrick’s artistry. While the previous songs had strong vocals, it wasn’t until listening to him crooning over this song that I truly understood just how good his voice is.

“Rosemary” is another real standout for me, an aching song of betrayal, so heartbreaking yet with just the right amount of restraint to keep its class. “Hide by the River,” the EP’s final song, proudly wears its classic influences on its sleeve, with lyrics referring to daddy with his shotgun seeking vengeance against his daughter’s suitor. The electric guitars help contemporise this musical Western.

Listening to Anywhere With a Rooftop, it struck me how old school it is. It’s a little bit soul, but in the purest sense. It’s a little bit country, but not as we understand the term now. There’s no hint of crossover here. Again, it’s pure, influenced by the greats. Patrick Wilson is a musical throwback in the very best sense of the word. Someone who reminds us of where music came from and why classic sounds are still celebrated today. When so many artists are following trends, it’s refreshing to hear an EP like Anywhere With a Rooftop which reminds true to its musical roots.

Anywhere With a Rooftop is released on September 22. Patrick will launch the EP with a hometown show at the Union Hotel, Brunswick, on October 7.

Image used with permission from This Much Talent