Category: Album Reviews

Posted on by Lauren Katulka

“Seven Years” – Matt Joe Gow

It’s been seven years since Melbourne-based singer-songwriter Matt Joe Gow released his first solo album The Messenger. He joined a band and suffered some health complaints that took him away from the industry for a while, but now he’s back with a collection of solo songs penned during his hiatus, appropriately called Seven Years.

Seven years is a long time for an album to gestate. The luxury of time has allowed Matt Joe to put together 12 beautiful songs. There are no filler tracks or numbers that don’t feel like they fit. This is quality work that is instantly accessible, with a great Americana feel that puts you right at ease. Think Ryan Adams meets Bruce Springsteen with an Aussie bent.

The first song and lead single “I’m Your Man,” charmed me, raising my anticipating for what was to come. The following song “Running on Time” is a great upbeat number which had me tapping my feet. It’s the ideal song for a Friday, making me think of raucous nights out in bars with great bands and beer flowing.

While Seven Years has its fair share of positivity, Matt Joe Gow has a knack for creating heartbreakers. “Bottle It Up, Pass It On,” is a stunning song about the end of a relationship where both parties still feel so much. The raw power of “Right By You” also packs an emotional punch. I love the poignant way the closing track “Bye” captures a moment.

Ordinarily when I’m listening to albums for review I comment on the handful of songs that really move me. As I listened to Seven Years I noticed I was taking notes about every song. That’s a testament to just how special this album is.

Seven Years will be released on October 20. He will play the following upcoming shows in Australia and New Zealand.

14 October 2016 – Rochester Hotel, Fitzroy (Ryan Adams Tribute Night)
15 October 2016 – Out On The Weekend Festival, Melbourne
20 October 2016 – Melbourne Festival, The Toff, Melbourne (supporting Grant Lee Phillips)
22 October 2016 – Melbourne Festival, The Toff, Melbourne (supporting Grant Lee Phillips)
5 November 2016 – The Spotted Mallard, Brunswick, Vic (Album launch)
18 November 2016 – Cromwell Gold n’ Notes Hoedown, Cromwell
19 November 2016 – Dog With Two Tails, Dunedin
20 November 2016 – The Starfish Cafe, Dunedin
1 December 2016 – Unicorn Hotel, Sydney
16 December 2016 – Ric’s Bar, Brisbane

Image used with permission from Matt Joe Gow

Posted on by Lauren Katulka

“Backbone” – Anthony Callea

I’ve always admired Anthony Callea’s voice but I didn’t become a fan until he released his album Ladies and Gentlemen: The Songs of George Michael a few years ago. I loved George’s originals, but I found myself hearing the songs in a new way with Anthony’s release. So I was excited to see him tackling covers again on his latest album Backbone.

It’d be unfair to call this simply an album of covers though. Perhaps the term concept album would be more accurate. This collection is all about getting to the essence of each song, stripping away the bells and whistles of production and discovering its bare bones.

The approach brings out the beauty and depth in songs that once seemed like throwaway fluff, like Britney Spears’ “Sometimes” and Bananarama’s “Love in the First Degree.” The overproduction is gone, replaced for the most part with piano, Anthony’s voice, some backing vocals to support it, and those lyrics that are better than we all remembered them.

This album isn’t just about guilty pleasures, although they’re well represented. Other songs like “Man in the Mirror” and “We Belong” were already strong on their release. However, his versions do magnify the impact of the lyrics which sees them strike a little closer to the heart. Queen set the bar very high with another true classic, “Somebody to Love,” but the acapella version included here is one of the Backbone’s highlights. Steve Winwood’s “Higher Love” is another standout. The subtle sax line in is a delicious throwback to the original, although the stripped back delivery makes it brand new.

The only original song, the title track “Backbone,” is beautiful and honest. However, it seems a little out of place on this concept album, not because it’s not a cover but because it has a fuller sound that doesn’t quite gel with the other more organically treated tracks. Just a fraction more restraint would have made all the difference.

One slight mistep doesn’t make Backbone any less enjoyable though. For pop music lovers like me, it’s a real gem that breathes new life into so many songs that have a special place in my heart. With a focus on lyrics and feeling, in many cases Anthony has improved on the originals. When we’re talking about songs so beloved, that’s no small feat.

Backbone hits stores on September 16. Anthony will support its release with the following shows.

23 September 2016 – Revesby Workers Club, Revesby
24 September 2016 – The Cube, Campbelltown
30 September 2016 – The Palms at Crown, Melbourne

Posted on by Lauren Katulka

“The Quick & The Dead” – The Quick & The Dead

I thought I knew what to expect from The Quick & The Dead’s self-titled album. The band’s name conjures images of the Wild West which the album cover does little to dispel. And they hail from Glenrowan, the site of Ned Kelly’s last stand. The intro planted me firmly in the territory of outlaws, but this wasn’t quite the concept album I’d hoped for.

While there were some fiddles and Western allusions in the song’s second track, “Chapter I,” its crunchy electric guitar chords took me out of the Western setting. While some tracks, like the standout “Chapter II” feel like they’ve come from the Wild West, others would sit more comfortably in a sweaty Australian pub.

It took me a while to reconcile what I was actually hearing with the music I expected. I appreciated the easy blues lick of “Fighter (Water From Stone)” and the lyrics of “Saint” really resonated. The music throughout was solid, the vocals capable. However, I confess, I found it difficult to keep up with the album’s ambition at times.

The listener is taken on such a wild journey, from the jangly country-folk of “Chapter II” to a hard-rocking track like “Stone Cold Bones” straight after it. Then it’s not too long before River is joining the band for some rapid-fire rapping in “Riddle.” This album never gets boring, but the listening experience can be a bit jarring at times.

The Quick & The Dead show a lot of potential in this album. There are even flashes of brilliance. But I fear this Victorian band may have tried to do too much here. I can never fault a band for taking risks, even if some of them don’t pay off. In time I’m sure we’ll see The Quick & The Dead honing its sound, playing on its strengths, and producing a more cohesive album.

The Quick & The Dead is released on September 1.

Posted on by Lauren Katulka

“Grow Up/Grow Down” – The Peeks

With The Peeks winding down their Grow Up/Grow Down tour, I figured it was about time I sat down and listened to the album that shares its name. I adored the most recent single “Wanaka,” so my expectations were high for this release. The Melbourne indie folk act does not disappoint.

I love the way the band goes beyond the usual acoustic guitar strumming we hear on so many folk albums, adding gentle strings to a track like “Postman” and some brass to “Don’t Tell Your Mama.” The latter song is a real standout, with guest vocals from the sublime Annabelle Kay. This rollicking country-folk gem compelled me to tap my toes and clap my hands in time to the beat. Annabelle returns again later in the album for the poignant “Aubergine Sewing Machine.” “Night Owl” is another master stroke. I love the way it starts so small, then builds into an almost orchestral crescendo before melting away.

Grow Up/Grow Down is full of music that feels so good to listen to. It’s calming, folky, acoustic, organic heaven, perfect for slipping on during a lazy day or when you need a break from the hustle and bustle of life. The lyrics are insightful and poetic and Fraser Henry’s voice is always on point. His soaring falsetto is especially affecting.

Grow Up/Grow Down is available now.

Posted on by Lauren Katulka

“Belong” – The Evening Cast

I’ve been closely following The Evening Cast’s career since they released their debut EP Lake in 2013. The Victorian band rarely puts a foot wrong, and that tradition has continued with the release of their first album Belong.

This album has everything I’ve always loved about The Evening Cast. The harmonies are sublime and there’s a gorgeous Australian feel to the songs, with their references to familiar places and effortless feel.

It’s just an album that feels good to listen to, hooking you in from the first notes of the gorgeous opening track “Ride With Me.” I was already familiar with “Gang of Fools,” the lead single, but I think it sounds even better within the context of this album. “Water” is one of my favourite songs on Belong. Its delicate opening, with some of the most vulnerable and relatable lyrics I’ve heard in some time, grabbed me from the get go. I also adore “South Coast,” with its beautiful words that speak to the yearning to escape so many of us feel from time to time. “Clover” is a beautiful way to finish. It’s a track with real heart and soul, and some of the most powerful vocals on the album.

So many bands struggle to make the transition from EPs to full-length album, but there are no evident teething problems here. Every song is so special in its own right. I already loved The Evening Cast, but with the release of this album I think I’ve fallen a little deeper.

Belong is in stores now.

Posted on by Lauren Katulka

“Beneath the Surface” – December Baby

When I hit play on Beneath the Surface, the debut EP from December Baby, I was instantly struck by her beautiful, delicate voice. However, as I listened closely to this five-track collection I found so much more to appreciate.

December Baby’s music is folky with an accessible pop sensibility. Think Aimee Mann, Sarah Bareilles, and Feist, all artists that December Baby proudly cites as influences. But she’s got her own stories to tell, and she tells them beautifully through these songs.

The opener “You’re My Rock” is impossible to dislike, an upbeat declaration of love. It doesn’t break any new ground, but it’s a lot of fun. I felt the longing in “If You’d Only,” a sweet song about promising the earth to an object of affection. “Jimmy Choos,” with its bitey lyrics savaging “mean, shallow girls,” is the standout for me. I love the way December Baby’s sweet vocals and the upbeat melody juxtapose with the cutting words. There’s a dramatic flair in “This Way” that really appeals to me. “Not Okay” is beautiful in its honesty. It’s probably the most ambitious track on the EP, with blues passages, poppier moments, and stripped back movements all sitting side by side. The transitions aren’t always seamless, but its fearlessness makes a strong statement at the end of this EP.

On a casual listen, December Baby’s music is poppy and pleasant. However, tune into the lyrics and as the EP’s name suggests, there’s a lot more going on beneath the surface.

Beneath the Surface is released today and available from iTunes. December Baby will announce concerts to celebrate the EP’s release soon.

Image used with permission from December Baby

Posted on by Lauren Katulka

“Tribe” – Bearfoot

If summer is but a distant memory and you’re cursing the winter chill, wrap your ears around Tribe, the recently released EP from Sunshine Coast reggae act Bearfoot.

The first track “Could Be Worse” is the ideal introduction to this band, a cruisy cut about looking on the brighter side of life. I couldn’t help but think of Stevie Wonder’s “Master Blaster” when listening to “Impolite.” There’s a shared melodic sensibility there, but the perceptive, socially aware lyrics help ensure this song occupies its own space. “Dreamer,” sees Bearfoot in a more relaxed space. It’s so catchy and laidback, it reminds me of hanging around a beer garden in the middle of summer. I was well and feeling the reggae vibes by the time “One Drop” came on, with its lyrics reminding listeners that “Reggae never hurt anyone.” “Babylon” is the closing track, a smart number which reminds the listener Bearfoot is much more than just a party band.

Bearfoot’s laidback summery vibe is perfect antidote to the chilly winter weather. It’s positive music, with clever rapid-fire vocals and irresistible brassy hook. In a music scene where good reggae acts are a rarity, what they’re doing stands apart. I hadn’t heard of Bearfoot before, but after hearing this EP they’re definitely on my radar.

Bearfoot is currently on tour. Here are the remaining places you can see the Queensland reggae group play.

29 July 2016 – Miami Marketta, Gold Coast
5 August 2016 – First Fridays Noosa Junction, Noosa
14 August 2016 – Peregian Originals, Peregian Beach
19 August 2016 – The Motor Room @ Boundary St Hotel, Brisbane
21 August 2016 – Hotel Brunswick Sunday Session, Brunswick Heads
9 September 2016 – Solbar, Maroochydore
30 September 2016 – Caloundra Music Festival, Caloundra
2 October 2016 – Triffid Roots Festival, Brisbane

Image used with permission from Call & Response

Posted on by Lauren Katulka

“Commands” – Amanda Merdzan

Ever since the lead single last September, I’ve been anticipating the release of Aussie ex-pat Amanda Merdzan’s EP Commands. The singles signalled a new sound for Amanda’s music, and I was keen to see how it would play out in a larger collection of songs. With the release of Commands, all the pieces fall together.

The most recent single “Glow” introduces the EP beautifully. It’s such a strong opening number, with its beautiful string arrangement and introspective lyrics.

“All of You” is the EP’s edgiest track, a pledge to love after another has left the object of her affection’s heart in tatters. Again the lyrics are right on point, although the vocal effects take a little of the heart out of the song in my opinion.

That theme of standing on the precipice of love, prepared to jump continues on the EP’s first single “Matter,” although the touch is a little more delicate this time. The gentle treatment with a more stripped back sonic arrangement suits this song’s sweetness. She sings for so many women wrapped up in infatuation when she repeats the line “I know that I can get carried away.”

The ebb and flow of feelings associated with old loves is tackled beautifully in “Flame.”

“Bury the Rest” ends the EP on such a strong note. It makes a powerful statement about moving forward, with pounding drums supporting the potent lyrics beautifully.

It’s so exciting to witness Amanda’s evolution. While sonically this lush electronically charged music is very different from the earnest folk Amanda created when I first encountered her, that heart that first drew me to her music remains. Commands may be Amanda’s most intimate work to date, with songs exploring the challenges in hiding a same-sex relationship, the complications in disclosing the truth, and the breakdown of a friendship. These are very specific events, but Amanda tackles them in such a relatable way. I may not have lived through her stories, but I’ve certainly felt the emotions she draws on.

Commands is released independently today. It’s available on through various online retailers and streaming services including Spotify and iTunes.

Posted on by Lauren Katulka

“One For Sorry, Two For Joy” – Brightly

The very best albums, in my opinion, are the ones where artists lay their souls bare. Where they strip back all the artifice and leave themselves exposed and vulnerable. It’s rare to hear music that’s as raw as all that, but that’s just what we get on One For Sorry, Two For Joy, the stunning new album from London-based Aussie Brightly.

Brightly recorded the songs in an isolated cabin in Iceland during a harsh winter. I liked thinking about that background as I listened to the music, because the ice and snow seems so perfectly suited to these tracks. They have such a lush sound, with synths that wrap around Brightly haunting voice.

However rich the music is though, it never steals focus from the lyrics which are the true centrepiece of this album. I enjoyed listening to each song after reading the information about them Brightly penned for ToneDeaf last month. I found learning the background of each number made the listening experience that much more powerful.

“Rugby” contains some of the rawest, most honest lyrics I’ve ever heard, delivered in the way that only someone who’s lived the story can. The title track “One For Sorrow, Two For Joy (Beginnings & Endings)” is like a sucker punch. This poignant number deals with the death of a close friend after a music festival. Brightly originally wrote the song 10 years ago and has been tweaking it ever since to make sure it sounds just right. “Bury Us In Fruit Jars” was another song that really floored me. It tells the story of an arson attack at a gay bar in Los Angeles in 1973 and is especially powerful in the wake of the Orlando shooting at Pulse. “Oceans,” one of the lighter numbers on the album, is truly uplifting.

This album has so much heart. Its themes of death and loss are dealt with so thoughtfully. It’s intimate and vulnerable and everything the best albums should be.

One For Sorry, Two for Joy is available for digital download now. If you’re in London, you can catch Brightly launching it at The Social on July 15. Hopefully it won’t be too long before he’s back on home soil and we get some local shows.

Posted on by Lauren Katulka

“Thieves” – Tracy McNeil & The GoodLife

From the moment the opening strains of “The Valley” wafted through my speakers, I knew I was going to like Thieves, the latest album from Tracy McNeil & The GoodLife. It’s one of those tracks that is so easy to listen to, an accomplished country-folk song with a poetic turn of phrase and seemingly effortless harmonies. I instantly warmed to Tracy’s rich husky voice and the use of the pedal steel guitar.

I didn’t realise it at the time, but this song was the ideal introduction to what this band does. Because song after song I was willingly taken on a journey, into moments captured so perfectly by the band. We’ve all been to those places before, the first sparks of love, a relationship that’s hard to move on from, loss that hits us hard. So many lyrics and songs struck a chord with me. “Wait On You” felt painfully familiar. I was so touched by “Ashes,” a song Tracy penned in memory of her late father, Wayne “Mac” McNeil. She plays his 1968 Gibson Hummingbird on the track, adding extra poignancy to a song steeped in so much emotion. After so much heartache, the joy of “Finer Side” is a lovely way to close the album. Lead guitarist Dan Parsons duets with Tracy on this bluesy number.

Thieves already seems like a classic album despite being days from its release. It’s an accomplished piece of work full of music that feels like coming home. Just like the very best classics, I’m sure I’ll be playing it for years to come.

Thieves is released on July 1. Tracy McNeil & The GoodLife will support its release with the following shows.

30 June 2016 – Union Hotel, Newtown
1 July 2016 – The Stag and Hunter, Newcastle
2 July 2016 – The Grand Junction Hotel, Maitland
3 July 2016 – Marrickville Bowling Club, Marrickville
8 July 2016 – Baha Tacos, Rye
10 July 2016 – Westernport Hotel, San Remo
14 July 2016 – Lefty’s Old Time Music Hall, Brisbane
15 July 2016 – Night Quarter Markets, Gold Coast
17 July 2016 – The Triffid, Brisbane
22 July 2016 – Tanswell Hotel, Beechworth
23 July 2016 – Major Tom’s, Kyneton
31 July 2016 – Old Hepburn Hotel, Hepburn Springs
12 August 2016 – The Wheatsheaf Hotel, Thebarton
15 October 2016 – Akoostik Music Festival, Wingham

Image used with permission from Annie Johnsson Publicity