Category: Album Reviews

Posted on by Lauren Katulka

“ARIA Number 1 Hits in Symphony” – Anthony Callea

I must admit, I don’t follow the singles charts as much as I used to. Perhaps it’s the nostalgia that comes with old age, but I remember growing up listening to the charts on the radio, recording song after song because every one was a winner. Now I see what’s charting and wonder who or earth is buying that. It seems Anthony Callea has a similar affection for the good old days when browsing the track listing of his latest album ARIA Number 1 Hits in Symphony.

The album celebrates Anthony’s favourite singles that topped the ARIA charts. Most of the tracks come from the late ‘80s and ‘90s, although Anthony does dabble in more recent musical history with his covers of “All of Me,” “Someone Like You,” and “Bleeding Love.” Thankfully he’s given “Despacito” a wide berth. The more recent covers are songs that could have been written in another time, beautiful ballads that suit this album’s mellow feel. Don’t confuse mellow with sleepy though. John Foreman should be applauded for his magical arrangements of these songs. The Melbourne Symphony Orchestra execute his arrangements flawlessly. Then there’s Anthony’s sublime voice in the centre of it all. What a voice he has, powerful and rich. If anything I think it’s only gotten better over the years.

It’s interesting that Anthony has chosen to release this album which has such a layered, rich sound as his follow-up to Backbone, an album which stripped back the production. While they’re very different albums, both contain see Anthony breathing new life into some excellent source material, putting his own stamp on the songs while remaining faithful to the original. And just like Backbone, I wouldn’t be surprised if this one goes to the top of the charts.

ARIA Number 1 Hits in Symphony is in stores now.

6 July 2018 – Dunstan Playhouse, Adelaide
7 July 2018 – Astor Theatre, Perth
27 & 28 July 2018 – The Palms at Crown, Melbourne
3 August 2018 – The Tivoli, Brisbane
4 August 2018 – The Star, Gold Coast
11 August 2018 – State Theatre, Sydney

Image used with permission from Sony Music Australia

Posted on by Lauren Katulka

“Subtitles for X, Y, Z” – CREO

There’s been no dipping toes into water for Sydney band CREO. Their debut EP Subtitles for X, Y, Z is a gutsy effort that leaves no doubt about their talent or commitment to their craft.

I was almost lulled in to the EP by “Behind the Beat.” Almost. While it starts out at a simmer, it’s not long before the band’s passion boils over. “Give Me Yours” is similarly strong, with desperate vocals and driving drums contrasting with some shimmery retro synths. These two powerful songs lead into the single and title track “Subtitles for X, Y, Z” beautifully. I was a big fan of this song when I first heard it, but I think I might like it even better on hearing it now with the support of the EP’s other tracks. It makes so much sense.

While CREO seem most comfortable with the volume and emotion turned up to 11, they’re also smart enough to understand the value of light and shade. While “June” doesn’t have quite the same impact as the other numbers on the EP, it shows the band’s depth and gives listeners and moment to reflect. The EP’s closing track, “Too Many Thousand & 16” is also relatively subdued compared to some of the EP’s other songs. However, its epic chorus ensures this song doesn’t fade into the background. It’s a fitting end to an EP that demands your attention.

And with Subtitles for X, Y, Z, CREO have got mine. This is an EP which builds on the singles and shows they’re a band with a unique voice and a belief in their craft. It’s an irresistible combination which will hopefully see them go far. It’s available from all your favourite digital retailers, including Spotify and iTunes. If you like what you hear, get along to one of the band’s upcoming shows. They’re all free, so there’s no excuse for staying home!

20 October 2017 – The Penny Black, Melbourne
22 October 2017 – Cherry Bar, Melbourne
3 November 2017 – Transit Bar, Canberra
5 November 2017 – North Gong, Wollongong
10 November 2017 – The Northern, Byron Bay
11 November 2017 – Rics Bar, Brisbane
12 November 2017 – The Cambridge Warehouse, Newcastle

Image used with permission from Rare Finds

Posted on by Lauren Katulka

“When They Play That Song” – Lisa Mitchell

When Lisa Mitchell appeared on Australian Idol, she often seemed out of her element performing cover versions. She’s revelled in producing her own original music since her stint on reality TV. Her voice was always unique, her sound constantly evolving as she played with music and lyrics. So it’s interesting that with her latest EP, When They Play That Song, Lisa has turned her attention back to cover songs.

While this EP is something I never thought she’d do, Lisa is a very different artist to the teenager we met on Australian Idol. She’s had time to play with her sound and evolve as a musician, and that helps her approach these covers with a confidence rarely seen during her time on reality TV.

The five tracks she’s chosen are interesting. Placebo’s “Every Me and Every You” and Phantom Planet’s “California” already had a healthy dose of indie cred, while the Spice Girls’ “Stop” and The Cardigans’ “Lovefool” are as mainstream as you can get. “Cruel to Be Kind” by Nick Lowe comes from a very different time than the ‘90s anthems on this release, but it makes sense here. Lisa approaches all the songs with a delicate touch. She needs little more than an acoustic guitar and her sweet, whispery voice to bring them to life. I appreciate the minimalist approach which lets us hear the nuances in lyrics that might have been drowned out by production in the originals.

This is an exciting EP that helps us hear something different in the songs Lisa has recorded. Something tells me if we saw her on Idol now, playing the sort of covers she’s now capable of, she might have been able to win the whole thing.

When They Play That Song is released on September 15. Lisa will play some Parlour gigs around Victoria before heading to the United Kingdom and Europe for more shows.

Image used with permission from Parlophone

Posted on by Lauren Katulka

“In Colour” – King Social

King Social’s fans had such faith in the Townsville band that they donated nearly $28,000 through PledgeMusic for the debut album. The sum was more than any other Aussie act had ever raised through crowdfunding. The gesture humbled King Social and made this five-piece determined to create the best debut possible. With In Colour, King Social might just have achieved its goal.

What a great sound King Social has. Combining silky soulful vocals with rapid-fire rhymes isn’t anything new, but few bands achieve this mix as confidently as King Social. This band also has such a big, tight sound, it’s incredible to think there are just five members of the group.

In Colour bursts out of the gate with “Dance On Your Grave.” It’s such a funky number that’s all attitude. King Social are in their element with party music like this and other floor fillers like “Down With This” and “Watch Out.”

While those upbeat numbers are flawless, King Colour are one of those rare bands that seem just as comfortable when slowing things down. “She’s Gone” is a beautiful ballad about lost love. The single “Lemonade” continues to resonate with all its parental wisdom. King Social is such a tight band, even when it’s letting loose with wailing electric guitars, but it’s refreshing to hear the sound stripped back on the dreamy closer “I Had a Dream.” This is one of those acts that can truly do it all.

In Colour is in stores now. King Social is currently touring around the country. Here are the remaining dates.

9 September 2017 – New Globe Theatre, Brisbane
10 September 2017 – The Bearded Dragon, Tamborine
23 September 2017 – Longreach Cup, Longreach
29 & 30 September 2017 – Caloundra Music Festival, Caloundra
1 October 2017 – The Salt House, Cairns
21 October 2017 – Darwin Railway Club, Darwin
25 November 2017 – Brews & Barbie Bash, Toowoomba
8 December 2017 – King’s Christmas, Townsville

Image used with permission from King Social

Posted on by Lauren Katulka

“Ghost Melodies” – Dan Flynn

The older I get, the faster time seems to pass. Two years felt like an eternity when I was younger, but now it seems to pass in the blink of an eye. When time appears to pass so quickly, hearing the music an artist you enjoyed a couple of years ago is making now can seem jarring. But as I’ve learned listening to Ghost Melodies, the latest effort from Dan Flynn, evolution can be a good thing.

I must admit, this isn’t an album I immediately warmed to. Dan’s mellow folky sounds seemed to be buried underneath synthesizers, and I wasn’t sure how I felt about. The electronic sounds seemed at odds with his hushed, soothing voice, and I wasn’t sure how I felt about it. Yet I found myself coming back to Ghost Melodies. It’s taken me about a week, but I think I’m on board.

That’s not to say that every song is a success for me. The opening songs, “Get Ready for a Fight” and “Everything He Does” still haven’t revved me. The music has such an energetic pop feel that Dan’s gentle vocals don’t quite match. But then with “Across the Wire,” a more mellow, dramatic number, I think everything fell into place. The following song, “This Too Shall Pass,” has a great groove reminiscent of The Temper Trap that I also love.

Dan hasn’t abandoned his folk roots completely. The songs still have a folk undercurrent, although often that gets lost in the instrumentation. “One Eye Open” is a return to the finger-picking acoustic driven songwriting I first fell in love with though. The Johnny Cash-inspired “Man I Have Become” is similarly stripped back. These songs have such a nostalgic feel, and I’m thankful for their inclusion, even if they don’t quite seem like they fit on this album.

“Last Waltz,” the final track on Ghost Melodies, is another daring left turn, a simplistic love song that you might imagine your grandparents slow dancing to. It’s an interesting progression from “This One’s For You.” On the surface, the two songs don’t seem to have a lot in common: one a lush synthesized charmer driven with big booming drums, the other much more restrained and nostalgic. However, at their core they’re both waltzes. Once you make peace with that, the juxtaposition makes so much sense.

Dan Flynn takes some real risks with Ghost Melodies. The results don’t always resonate with me, but when the gambles pay off it’s so rewarding. Listening to this album can be challenging, but I’d rather that than hearing something that plays it too safe. Ghost Melodies is available from September 15.

Image used with permission from Dan Flynn

Posted on by Lauren Katulka

“Go Farther in Lightness” – Gang of Youths

I often feel a little out of step with the rest of the music-buying public. I’m always excited when an Aussie act tops the chart, but it’s rarely what I happen to be listening to at the time. However, I’ve been listening to an advance stream of Gang of Youths’ Go Farther in Lightness for the last couple of weeks now. So when I saw the album at number one this week, there was a little added satisfaction.

I’m thrilled to see this album doing so well because it’s so very good. It’s ambitious, as the best albums tend to be. At 16 tracks, it’s a lot to digest. That’s my excuse for not writing about it until now. It took me that long to gather my thoughts and put them together into something legible. Because this album really is a trip. Few other records would be brave enough to open with a song like “Fear and Trembling,” which starts as a simple, stripped back piano ballad before building into a fists-in-the-air piece of power-rock. But that really sets the tone for what this collection of music is all about.

Gang of Youths is so good at making those bold, confident rock songs, but there’s so much more to this band. Just when you start thinking you’ve got things figured out, the album throws you a curveball like the classically-inspired instrumental “Le Symbolique” or the epic ode “Achilles Come Down.” Introspective ballads like “Persevere” and the poignant title track also give you time to catch your breath after some of the high-octane rock songs. Your only choice is really to hang on as the band twists and turns.

An album so eclectic could easily become muddled or lack coherency, but somehow Go Farther in Lightness all works. It shows Gang of Youths to be one of the most exciting bands in Australian music today. See them at the following shows in Australia and abroad.

1 September 2017 – The Tivoli, Brisbane (SOLD OUT)
6 September 2017 – Festival Hall, Melbourne (ALL AGES)
8 September 2017 – Hordern Pavilion, Sydney (ALL AGES)
13 September 2017 – Odeon Theatre, Hobart (ALL AGES)
15 September 2017 – Thebarton Theatre, Adelaide (ALL AGES)
16 September 2017 – Metropolis Fremantle, Fremantle
9 October 2017 – La Boule Noire, Paris
10 October 2017 – Sugar Factory, Amsterdam
11 October 2017 – Musik & Frieden, Berlin
12 October 2017 – Ampere, Munich
13 October 2017 – Artheater, Cologne
15 October 2017 – Exchange, Bristol
16 October 2017 – Headrow House, Leeds
17 October 2017 – Stereo, Glasgow
18 October 2017 – Gullivers, Manchester
19 October 2017 – Electric Ballroom, London

Image used with permission from Sony Music Australia/Verge

Posted on by Lauren Katulka

“Daydreaming” – Hunter deBlanc

Spend enough time in Australia and we’ll claim you as our own. We don’t care that Keith Urban is a Kiwi living in Tennessee or that Barry Gibb is a Brit who divides his time between Florida and Buckinghamshire. So perhaps it’s not so surprising that by the time he completed his first contract entertaining crowds in the Pacific Jewel’s piano bar, Hunter deBlanc’s local fans were already calling him an honourary Aussie. With another P&O stint coming soon after the release of his new EP Daydreaming, the Australian fan base of this Louisiana native is sure to grow.

At a time when concept albums have gone out of vogue, Daydreaming proudly owns the title, exploring themes of day, night, time, and space. “Dawn” is a clever introduction, an instrumental number which seamlessly weaves together melodies from the rest of the EP, like the overture of a musical but so much more modern. “Breaking Out” is one of the strongest tracks in my opinion, an infectiously catchy song about leaving society’s expectations behind and chasing your dreams. The calypso flavour of “When the Sun Goes Down” is the perfect antidote for the gloomy Australian winter weather still lingering. The next song, “Back 4 More,” is a real pop gem which Hunter explores with four different versions on this release. Each one reveals a different side to the song, but my favourite is the stripped back take that closes Daydreaming. Without all the studio wizardry, it’s much more emotionally charged than the remixes or even the original version. If you’re not listening closely, “Night Noises V2” seems almost like a Halloween novelty, with its references to skeletons and spiders and samples from vintage horror films. It can be appreciated on that level, but tune in to those lyrics and you’ll discover this introspective song is so much richer. After several upbeat power-pop tracks, the romantic “Daydreamer” really stood out to me. It’s such a gorgeous song, with an easy groove and some of the EP’s most poetic lyrics. Starting with “Dawn,” it’s only fitting that we later hear “Dusk,” which serves as the EP’s outro. It lasts for only a little more than a minute, but this slice of piano-pop perfection leaves an enduring impression.

Daydreaming challenges the notion that concept albums have had their day. The themes are explored thoughtfully and the songs fit together so cohesively. I’d heard many of these tracks before through Hunter’s Spotify page, but I’ve grown to appreciate them more hearing them in the context of this EP. Hunter builds on the piano skills he showcased to local audiences on the Pacific Jewel, using them as a launch pad for sonically complex electronic soundscapes. He also shows that while he can perform a cover like nobody’s business, his songwriting skills shouldn’t be underestimated.

Pre-order your physical copy of Daydreaming through pre-order through Hunter’s website. He’ll launch the EP for hometown fans at Lafayette’s Feed & Seed on September 8 before returning to Australia. Aussie music lovers can catch Hunter on the Pacific Aria for four months from September 22.


Image used with permission from Hunter deBlanc

Posted on by Lauren Katulka

“Backroads” – Ollie Brown

I need to ease myself into a Monday. It takes some gentle prodding to get me going. I’ve found just what I need though with Ollie Brown’s beautiful new EP Backroads.

Honestly I can’t tell you how many times I’ve listened to it this morning. There are just four tracks, so the number is probably quite high. I just know that whenever the last song, “Don’t Call,” fades out I’m ready to do it all again.

Backroads has got such a lovely folk-Americana feel to it. Think acoustic guitars, slide guitars, and easy vocals. It goes down so easily. “Backroads,” the title track and current single, gives you a little taste of what I’m talking about.

It’s such a great song, but in my opinion it’s not even the best the EP has to offer. For me that honour goes to “Blame It On the Moon,” the perfect road trip soundtrack with its driving beat and singalong chorus. Or perhaps “Halfway Home,” with its poetic lyrics and gentle piano. Either way, Sydney-based Ollie has created some really special songs on this EP which he says “is the most open and honest” he’s ever been.

Ollie Brown releases Backroads on October 8.

Posted on by Lauren Katulka

“Live at the Sydney Opera House” – Kate Miller-Heidke

I see a lot of shows, but the ones at the Sydney Opera House backed by the Sydney Symphony Orchestra are always the most special. I’ve seen several over the years by diverse artists like Ben Folds, Conchita Wurst, and most recently Praying for Time, a star-studded tribute to David Campbell. On those nights I wish I often wish I could freeze the moment, because the music I’m listening to is invariably that good. Kate Miller-Heidke has in a way, releasing her new album Live at the Sydney Opera House today.

Kate Miller-Heidke has always been one of Australia’s most special performers. She has the voice of an angel, a quirky sense of humour, such talent for songwriting and composing. All that is showcased here with a set that celebrates the breadth of her artistry. The big singles like “Words,” “Caught In the Crowd?” “Can’t Shake It,” and the closer, “Last Day on Earth” are all here of course, reminding us just how much we loved them when they were on the charts. “O Vertigo,” the title track of her fourth album and one of my favourite songs from Kate, is a masterclass in vocal technique. Tracks like “You’ve Underestimated Me, Dude” and “Are You Fucking Kidding Me?” are every bit as biting as they should be. I was also thrilled to hear a few songs from The Rabbits, an opera Kate composed for children, made the cut.

Kate’s voice is perfectly on point through this album, but it’s the contributions of the Sydney Symphony Orchestra that take her songs to the next level. Her music is already dramatic, and the swell of the orchestra gives it that extra degree of gravitas. I’d heard most of the songs on this album before, but this album made me appreciate them that much more.

As someone who wasn’t at this show, I’m so glad Kate Miller-Heidke has chosen to share it with fans around the country. If you were there, this album makes the perfect souvenir of what was clearly a special night.

Image used with permission from Revolutions per Minute

Posted on by Lauren Katulka

“Beautiful: A Tribute to Carole King” – Various Artists

With the stage musical Beautiful opening in Sydney next month, it seems Australia is falling in love with Carole King all over again. Carole King covers were sung at the recent Helpmann Awards, and now we have the release of Beautiful: A Tribute to Carole King, featuring some of the best-known names in the Aussie music industry.

Covers albums like this are always a bit uneven. Invariably some performances shine brighter than others. Sometimes treatments are right on the money, and other times they can leave you just a little cold. However, when you’re working with the music of someone as talented as Carole, you’re already ahead of the game in my opinion.

This album probably has more standout performances than the average album of its type. It starts with Esther Hannaford’s performance of “Beautiful,” a track that reminds you exactly why she scored the coveted lead in the stage production. There’s an earthiness about her voice that’s so reminiscent of Carole’s own unique tone. It was only a few months ago that Vika Bull was performing the songs of Tapestry live, so it’s unsurprising that her versions of “(You Make Me Feel Like A) Natural Woman” and “The Loco-Motion” (which also features her sister Linda), are first class. Dami Im, ever the consummate professional, delivers a knock-out blow with “Will You Still Love Me Tomorrow,” capturing the love and uncertainty in those lyrics beautifully. I haven’t heard much from Jack Jones and Stan Walker in recent years, but their versions of “No Easy Way Down” and “Way Over Yonder” respectively reminded me how much I’ve always loved what they do. Excellent.

Not every cut is a hit though. As I listened to Guy Sebastian’s version of “You’ve Got a Friend” I was reminded how much I enjoy James Taylor’s more introspective take. There’s just a little too much going on here for my taste. But keep in mind, I’m in the minority of people who prefer Carole King’s version of “(You Make Me Feel Like A) Natural Woman” to Aretha Franklin’s. There’s no denying the man can sing. Ditto the boys from Human Nature, who are among the best male vocalists this country has produced. However, their take on “One Fine Day” takes the song’s already kitschy vibe to the extreme. It’s lost its heart somewhere in the treatment and it’s a real shame. “I Feel The Earth Move” just feels like the wrong song for Samantha Jade. I’m not sure what I would have given her, but with such strong instrumentation her delicate voice gets a little lost.

It’s not a perfect homage to Carole King, but there are some really special moments on Beautiful: A Tribute to Carole King. It also serves as a timely reminder just how good Carole’s music is.

Beautiful: A Tribute to Carole King is in stores now.