Category: Album Reviews

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.

Posted on by Lauren Katulka

“61-615” – O’Shea

I’ve been listening to O’Shea’s new album 61-615 for the past two weeks now. I start taking notes to write a review, but invariably I find myself losing myself in the music rather than analysing it. Perhaps that’s as it should be.

This album has all the polish you’d expect from a duo now based in Nashville. It’s also got a greater cross-over appeal than many of the recordings we hear from Australian country acts. It’s not that this duo is ashamed of its country roots, but the recording isn’t alienating to people like me who don’t consider themselves country music fans.

The album opens with “Start Over,” the lead single that reached the top spot on the Australian country music charts. Listening to it now, in the context of the album, I’m struck by its power, which hasn’t diminished with subsequent listens. The song sets the tone for an album that isn’t afraid to tackle some big emotions.

“Just Got Real” is one of those emotional songs that really strikes a chord with me. Its astute lyrics about the start of a relationship and the flood of emotions that come with it take the listener back to times in their own lives they stood on the precipice of something great, yet frightening. “I Will Not Give Up,” a song of real grit, determination, and beauty, also packs a real emotional punch.

O’Shea seems most comfortable with the big, emotive ballads, but songs like “Karaoke and Carona” show this duo knows how to have some fun. This playful song, which sounds like it deserves to be played in a Southern dive bar, is a real standout. A cover of Little River Band’s “Playing to Win” with guest vocals from Aussie The Wolfe Brothers and Travis Collins, is also bags of fun.

While the guest performances are welcome, I love the interplay of O’Shea’s voices most. That connection that comes with being a real couple translates into something special whenever they’re singing together, whether it’s on a playful upbeat number or a song with a bit more emotional meat.

It’s a shame we’ve lost O’Shea to the United States, but it seems the twosome hasn’t forgotten its roots. O’Shea is back in Australia to support the album’s release with the following shows. 61-615 is in stores now.

28 July 2017 – Leadbelly, Newtown
29 July 2017 – Centro CBD, Wollongong
30 July 2017 – Live n Cookin’ at Lizottes, Newcastle
3 August 2017 – Black Bear Lodge, Brisbane
4-11 August 2017 – Tunes in the Tropics, Fiji
12 August 2017 – Mt Isa Rodeo, Mt Isa

Posted on by Lauren Katulka

“Billy Billy” – Donnarumma

The musicians from Adelaide band Donnarumma are no shrinking violets. The music they create is bold and confident. It forces you to pay attention, with big brassy hooks and driving drumbeats. With their new EP Billy Billy, they show why they should be on your radar.

The single “Love Your Man” kicks things off in all its unapologetic glory. “Into The Moss” keeps the energy levels up. Its jazzy Latin vibe had me grooving in my seat. “The Anxious Dance” is epic in the best possible way, very left of center but delightful because of its difference. Speaking of difference, it’s rare that we hear a song as brutally honest “All Night Long.” I love its rebellious heart. With the title track “Billy Billy,” Donnarumma closes its EP with a bang. “This is the end” frontman Louis Donnarumma sings, and for the EP that’s true. But for Donnarumma, I have a feeling things are only just beginning.

Billy Billy drops on June 30. Donnarumma will tour the EP next month.

1 July 2017 – Grace Emily Hotel, Adelaide
7 July 2017 – Whole Lotta Love, Melbourne
13 July 2017 – Rad Bar, Wollongong
14 July 2017 – The Townie, Sydney (FREE)

Image used with permission from On the Map PR

Posted on by Lauren Katulka

“King of Me” – The Lyrical

When I reviewed The Lyrical’s single “Fuck It All,” it was a Monday. That song and the day met in perfect harmony. Now it’s another Monday and I’m here preparing to write another Lyrical review, this time for his EP King of Me. There’s a lovely symmetry about that.

“Fuck It All” happens to be the opening track of this EP. It still strikes a chord with me so many months later. I love its cheery rebellion and reggae vibes. The single was such a standout for me, I wondered whether The Lyrical could sustain the momentum. However, King of Me is one of the best EPs I’ve heard in some time.

It features collaborations with some of my favourite female voices: Jac Stone on “Cheating” and Sahara Beck on the toe-tapper “Old Revolver.” I love the way their sweet voices juxtapose with The Lyrical’s gruffer masculine tone.

This EP has a whole lot of wisdom in its rapid-fire lyrics. “Teach Me” showcases The Lyrical’s commitment to making music that does much more than please the ears. As he says in that song, “I feel I’ve got a bigger purpose here than to entertain.” He does that too though, with music that sits comfortably alongside the offerings of John Butler and The Black Eyed Peas. Like these entertainers, he wants to tackle the big things, but he knows we’ll need it coated with amazing music to swallow it.

In just five tracks, The Lyrical shows he’s a really special performer, a gifted lyrical poet ready to engage hearts and minds. King of Me is released on June 16.

Image used with permission from Minor Major

Posted on by Lauren Katulka

“Gold Mess” – Elli Schoen

I absolutely love finding strong, relatable female voices. One of the latest to strike a chord with me is Elli Schoen, a singer-songwriter from Fremantle who’s just released her new EP Gold Mess.

The EP explores themes of growing up and moving on, whether it’s from romantic relationships in “Hard Heart” or from the family home in “Mumma.” I especially love the EP’s title track and our introduction to the EP, “Gold Mess.” Its lyrics about attraction that’s wrong despite feeling so right should resonate with most listeners.

Elli has such a beautiful, rich tone that sounds even stronger with the heavy drum beats that drive these tracks forward. She also knows how to pen a lyric that’s poetic, yet instantly accessible to the listener. In just four tracks, she’s won me over.

Gold Mess is out now. Elli Schoen is currently touring the recording. You can still catch her at the following shows.

6 May 2017 – The Firestation, Busselton
11 May 2017 – The Astor Theatre, s/ Tash Sultana
20 May 2017 – Babushka, s/ Airling
21 May 2017 – Mojos Bar, s/ Airling
25 May 2017 – The Marly Bar, Sydney
26 May 2017 – Bistroteque, Brisbane
27 May 2017 – The Worker’s Club, Melbourne
5 June 2017 – State of the Art Festival, Perth

Posted on by Lauren Katulka

“Motel” – Emilee South

I discovered Emilee South last year when she released her Halloween single “Howl.” I loved her sultry vocals and the song’s dirty, bluesy feel. There are more stunning vocals and vintage sounds with the release of Emilee’s new album, Motel.

Motel opens with a bold, rockabilly number “My Baby (Don’t Return My Calls).” This track is rollicking good fun and a wonderful way to set the stage for this retro-inspired album. The latest single “Old Flame” feels like pure vintage country. I could imagine it easily slipping into the set of Patsy Cline or Rosemary Clooney. “Howl” makes even more sense when it’s here beside its companion songs.

Emilee South is an old soul with a handle on classic rock, country, and soul sounds, but there’s also something fresh about what she does. The lyrics have a little bit more bite than the vintage-inspired music she was clearly influenced by. She’s no shy violet or damsel in distress, as she reminds us in songs like “Watch Out” and “Bad Things I Do.”

Motel drops on May 11. Emilee will launch the album with a show at The Gasometer Hotel in Collingwood on May 13.

Image used with permission from Emilee South