Category: Album Reviews

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

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