Category: Album Reviews

Posted on by Lauren Katulka

“Adam & Brooke” – Adam Eckersley & Brooke McClymont

All too often duets albums are released by performers who are friends rather than lovers. They have a certain camaraderie, but any love songs they sing don’t quite ring true. So it’s refreshing to hear Adam & Brooke, the new album by real-life lovebirds Adam Eckersley and Brooke McClymont.

I’m far from the biggest country music fan, but this album quickly won me over. I was smitten by the single “Train Wreck” on its release, but as I listened I discovered there are so many great songs on this album. They explore the good times and the hard times, the sexy times and the struggles. It seems this duo can do everything, from playful tracks like “Love on the Loose” to beautiful ballads like “Smooth.” Stripped back tunes like “Not How I Feel” and “Glad” are particularly affecting.

Separately these country artists have fantastic voices, but the chemistry when they harmonise is off the charts. But this album’s beauty is about more than pretty notes. There’s real truth behind the songs, and that’s so compelling. You hear the yearning, the passion, and the love they have for one another coming through in these powerful tracks.

Between them, Adam Eckersley and Brooke McClymont have 12 Golden Guitars, two APRA awards, and two ARIAs. I wouldn’t be surprised if they add to their already bulging trophy cases with this release. It’s just that good.

Adam & Brooke is in stores now. The talented twosome is currently playing shows together around the country. Here are all the remaining dates.

2 March 2018 – Armidale Ex Serviceman’s Club, Armidale
3 March 2018 – Southwest Rocks Country Club, Southwest Rocks
8 March 2018 – Leftys Old Time Music Hall, Brisbane
9 March 2018 – Lone Star Tavern, Gold Coast
10 March 2018 – South Acacia Ridge Sports Club, Brisbane South
16 & 17 March 2018 – The Pelican Playhouse, Grafton
6 April 2018 – Young Services Club, Young
7 April 2018 – Civic Theatre, Wagga Wagga
12 April 2018 – Toff in Town, Melbourne
13 April 2018 – York on Lilydale, Mt Evelyn
14 April 2018 – Gateway Hotel, Geelong
26 April 2018 – Brass Monkey, Cronulla
27 April 2018 – Leadbelly, Newtown
29 April 2018 – Oaks Hotel, Albion Park Rail
11 May 2018 – Brothers Leagues, Cairns
12 May 2018 – Dalrymple Hotel, Townsville
13 May 2018 – Mt Pleasant, Mackay
15 May 2018 – Glenmore Tavern, Rockhampton
16 May 2018 – Hervey Road Tavern, Gladstone
17 May 2018 – Melbourne Hotel, Bundaberg
18 May 2018 – Caloundra RSL, Caloundra
19 May 2018 – Highfields Tavern, Toowoomba
31 May 2018 – Coomealla Club, Dareton
1 June 2018 – Wheatsheaf Hotel, Adelaide
3 June 2018 – Boston Bay Wines, Port Lincoln
6 June 2018 – Ceduna Memorial Hall, Ceduna
10 June 2018 – Mumballup Tavern, Donnybrook
14 June 2018 – Settler’s Tavern, Margaret River
15 June 2018 – Prince of Wales Hotel, Bunbury
16 June 2018 – Odd Fellow, Fremantle
19 June 2018 – Kalgoorlie Hotel, Kalgoorlie
22 June 2018 – Musicians Club, Broken Hill
23 June 2018 – Cobar Bowling & Golf Club, Cobar
29 June 2018 – Woodburn Evans Head RSL, Evans Head
30 June 2018 – Bush to Bay Music Festival, Hervey Bay
7 July 2018 – Dubbo RSL, Dubbo

Image used with permission from Universal Music Australia

Posted on by Lauren Katulka

“Let’s Talk Monday” – Ayla

Australia seems full of strong female voices at the moment, from the commercial acts like Jessica Mauboy and Dami Im to more alternative artists like Montaigne and Camp Cope. Ayla is another name we can add to the list. She’d impressed me with her singles, but I feel I’ve got a deeper appreciation of her music on listening to her new EP Let’s Talk Monday.

The first track, “Shallow End,” drew me in immediately. It’s such a strong start, with soaring vocals and driving drums. “Like the Other Kids” speaks to anyone who’s felt they didn’t fit in. The next track “Cry Honey Cry” is smouldering and oh so cool.

After some big, bold numbers, the delicate “Used Furniture” helps give Let’s Talk Monday some balance. This delicate portrait of a relationship may be my favourite song on the album. It’s just exquisite. “Porcelain Doll” is a powerful song about the struggle of moving on. The lyrics are so on point here. “Too Cool for June” is such a beautiful way to end the EP, a bittersweet tale of resignation of lost love, wistful but wise.

There’s a quiet power about what Ayla does. Her tone is so rich, pure and haunting. I could listen to her sing the phone book, but the personal, intimate songs on this EP are much better than that. She bares her soul through this collection of songs, and that makes her work so compelling.

Let’s Talk Monday is out now. Ayla is currently launching it with shows around the country. You can see her at Melbourne’s Penny Black on January 19 or Sydney’s OAF Gallery Bar on January 20.


Image used with permission from Mucho Bravado

Posted on by Lauren Katulka

“Accomplice One” – Tommy Emmanuel

Tommy Emmanuel has been regarded as one of our greatest guitarists for as long as I can remember. Any album he releases is worth listening to because he’s just that good. So how do you improve on that? When you’ve set the bar so high, how do you release a body of work that can stand above the rest? You get together some of your talented musician friends and jam on some of the world’s best songs. Turn on the recording equipment and the rest will take care of itself. That’s exactly what happens with Accomplice One, the latest release from our local guitar hero.

Tommy Emmanuel has assembled a who’s who of talent here, from relative newcomers like Jason Isbell to true legends like Ricky Skaggs and Mark Knopfler. It’s hard to pick stand-outs among the collection of country and folk tunes here. Each song feels special, like real magic has been captured like we’ll never hear again. There is such energy to these songs, the kind of spontaneity that comes from like musical minds come together. Tommy was never known as a singer, although he lends his voice to many of the numbers. I won’t say his vocals will ever set the world on fire, but they get the job done. Other tracks are instrumental, allowing the always exceptional talents of Tommy and his famous friends to take the spotlight. I do have a soft spot for the laidback “(Sittin’ On) Dock of the Bay,” one of several numbers recorded with J.D. Simo and the unique take on Madonna’s “Borderline” with Amanda Shires. “The Duke’s Message,” with vocals from Suzy Bogguss, is such a beautiful way to wrap up this recording.

Accomplice One isn’t just an album for Tommy Emmanuel fans or country music fans. It’s essential listening for all music fans. Accomplice One hits stores and digital outlets on January 19.

Image used with permission from Sony Music Australia

Posted on by Lauren Katulka

“Soul Mumma” – Rochelle Pitt Watson

Rochelle Pitt Watson first hit my radar during her time on the X Factor. Those sorts of shows are a great way to gain exposure, but they don’t really tell you a lot about a musician. I feel like I hadn’t really met Rochelle until I listened to her new EP Soul Mumma.

On a gloomy day here in NSW, the great grooves and the textures of Rochelle’s vocals on the opening track “Should We” are like sunshine. But listen a little closer and you’ll hear this is more than just a funky song. Its politically charged lyrics are inspiring. This is soul music the way the pioneers like Sam Cooke and Marvin Gaye intended it to be.

“I Believe” has a great gospel vibe. Fittingly, Rochelle’s powerhouse vocals take it to church. “Challenge the Exclusion” is a hard-hitting title, but Rochelle takes a softly-softly approach with this song. It’s thematically powerful, but it speaks of unity rather than division and mutiny. It’s a beautiful ballad that moves the heart and mind. “Jimbaraal” is the most hard-hitting track on the album, a swampy, bluesy number with a driving drum and bass beat and squealing guitars. “Resilience” has a great reggae-inspired groove and more dynamite vocals and lyrics. It’s everything Rochelle does best.

The final track “Maudie” is beautiful, a tender track which seems to tell a very personal story. It’s so delicate compared to other the EP’s other songs, with Rochelle reining in her vocals and letting the lyrics do the talking. It’s such a simple but powerful love song that speaks to the heart.

Rochelle Pitt Watson’s Soul Mumma tackles some important issues with the insight her Indigenous heritage affords. Those issues can be confronting, but Rochelle’s sublime vocals and groovy sound help the message go down easily. It’s an EP which shows that really introduces us to the reality TV graduate, proving that she has much more than a killer voice on her side.

Image used with permission from August MGMT

Posted on by Lauren Katulka

“What We Do” – Lou Scarrs

As the guitarist for Money for Rope, Lou Scarrs appeared to be at the top of his game. The band played Glastonbury and South by Southwest, to say nothing of the leading festivals here in Australia. But he risked it all to follow his own musical vision and go solo. If he felt any nerves, they don’t seem to show in his first EP, What We Do.

The music of this EP reminds me a little of the sounds of Robbie Williams or the Kaiser Chiefs. There are vocal similarities with both these British acts, but also a similar rebellious attitude and cockiness that makes Lou’s music irresistible.

The EP bursts out of the gate with the bold title track. I love the deep thumping drums and confident lyrics. “All I Ever Knew” is brooding and intense, and above all totally compelling. “Lapdog” is a song of such strength, an anthem for emotional independence. Lou Scarrs keeps his foot on the pedal for the closing track “Measure Up.” It’s got a similar anthemic quality that’s so satisfying.

The songs of “What We Do” are punchy, with all tracks around that magic three-minute mark. It takes considerable skill to create tracks in that perfect pop form, but this is more than the disposable pop so many commercial radio stations flog. Elements of rock and electronica influence this music, helping it sound fresh and dynamic. Lyrically it’s also so strong. In just four tracks, Lou Scarrs has left his mark.

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