Category: Album Reviews

Posted on by Lauren Katulka

“Inner Western” – Dan Lethbridge

When I receive an album for review, I always try to give the whole thing at least one spin. I know that it might take time for the music to gel with me, and that the first songs aren’t always the ones I connect with. This morning, while listening to Inner Western, the new album from Dan Lethbridge, I was really glad of the policy.

The album opens with a single, “It All Will Start To Splinter.” Opening with a single is usually a great way to hook a listener in. However, while I appreciated the poetry of the lyrics, it just didn’t click for me. I enjoyed the more melodic alt-country tracks that followed, but I still wasn’t hooked. Then I heard “Wait Another Day.” It’s one of those songs that stops you in your tracks. With gentle violins and such tenderness, that was the song that got me.

After hearing “Wait Another Day” I figured it was worth giving Inner Western another listen. I found I appreciated the tracks that much more. I responded to the romantic warmth of “I Want You With Me.” “Everybody Says,” a dreamy duet with The Audreys’ Taasha Coates is another standout. The old school jazz club vibe of the closing track “Do No Harm” is also really special.

Dan has a real knack for storytelling through his songs. They’re not the most polished pieces, and his voice isn’t the strongest, but there’s a great beauty in his words that really resonated with me. The simple music arrangements punctuated by a slide guitar here, some strings there, support the songs beautifully.

Inner Western might be a slow burner, but it’s an album which rewards the patient listener. Dan Lethbridge will treat hometown fans to its songs at the Melbourne launch at Shadow Electric on October 10.

Posted on by Lauren Katulka

“Change Colours” – Reece Mastin

I’ve watched the career of Reece Mastin with some interest since he burst onto the music scene through The X Factor in 2011. I always regarded him as one of our more interesting winners, a kid who seemed more at home taking on the classic rock of Aerosmith or subverting modern pop gems like “I Kissed a Girl” than making music for the masses. Yet when he took out the title he started to release the musical equivalent of McDonalds. It sold well – you can’t deny the appeal of his number one singles – but it was ultimately unsatisfying. I couldn’t help but wonder whether Reece was making the music he wanted to make or what the record company wanted him to do to appeal to tweens and teens.

2015 seems to be the dawn of a new age for Reece Mastin. He split with Sony and signed a deal with independent label Social Family Records. He enlisted soulful singer Mahalia Barnes as his manager and began hanging out with her dad and Aussie music royalty Jimmy Barnes. And he recorded Change Colours, which is the album I always knew he had in him.

The opening track “Lockdown” announces the new direction beautifully. The music hits hard; it’s an epic, emotional rock number with an old-school soul twist. Jimmy’s influence is obvious in songs like this, “Right Out of Me,” and “You Gotta Go,” which features Mr Barnes doing “backup vocals” as only Barnesy can. Songs like “You Could Be Wild” and “I Don’t Love You Anymore” show Reece still has a snack for creating a hit, but his heartfelt delivery gives them more emotional punch than his other commercial hits. You can tell he really believes in these songs. The sexy blues influenced “Caged Paradise” is another highlight. “Even Angels Cry” shows Reece at his most stripped back, and it’s wonderful. It’s already become a fan favourite, after being voted the next single by Reece’s Twitter fans. The final number and title track “Change Colours” is one of the album’s darkest songs and one of its quietest, but perhaps its most powerful.

Change Colours isn’t like the other Reece Mastin albums, and that’s exactly why it’s so special. It showcases the work of a young artist that is releasing music he believes in, perhaps for the first time. If you’ve dismissed him as just another reality show winner, it’s probably time to rethink your stance.

Change Colours hits stores on October 9. Reece will support its release with the following instores all around the country.

9 October 2015 – World Square, Sydney (5 pm)
10 October 2015 – Stockland Wetherill Park, Sydney (11 am)
11 October 2015 – The Pines, Doncaster East, Melbourne (10:30 am)
11 October 2015 – Stockland Wendouree, Ballarat (2 pm)
13 October 2015 – Brookfield Place, Perth (4 pm)
14 October 2015 – St Mary’s Sound, St Mary’s (4 pm)
15 October 2015 – Stockland Shellharbour, Wollongong (6 pm)
17 October 2015 – Stockland Burleigh Heads, Gold Coast (10:30 am)
17 October 2015 – Brookside Centre, Brisbane (2 pm)
18 October 2015 – Sanity Hinkler Central, Bundaberg (2:30 pm)

Posted on by Lauren Katulka

“Til Night Meets the Sun” – Loren Kate

After being so impressed with “When You Leave” last week, I couldn’t wait to hear the rest of Loren Kate’s EP Til Night Meets the Sun. My expectations were high considering the strength of the single, but this recording is truly something special.

The opening track “Silver and Gold” sets the scene a deeply personal country-folk number that shares memories of Loren’s childhood. The stories continue with “This Heart of Mine,” a poignant song about moving on after heartache. “Rollin’ Wheel” is a powerful glimpse into what goes on behind the scenes of a relationship on the brink of separation. Its emotions are palpable. “When You Leave” was already familiar to me, and I’m still in love with it. It feels like it belongs here. So often singles stand head and shoulders above the other tracks; they’re the obviously commercial choice that everyone loves. But that doesn’t happen here, due to the strength of this entire EP. After remembering the past on “Silver and Gold,” it makes sense to look forward with the EP’s title track and its closing number, “Til Night Meets the Sun.” It’s got a real quiet strength about it as Loren talks about her resolve for the future.

I love the organic arrangements of these songs. With acoustic guitars and violins the songs sound warm but understated. They give the tracks space to breathe, ensuring we can hear every lyric. As we should when an artist spins such gorgeous stories. There are no frills or tricks here. I imagine the songs would sound the same if we heard Loren jamming with friends at a party, or on the stage of some intimate Australian pub. Remember, you can do just that when she travels around the country on her EP tour next month.

Til Night Meets the Sun will be available on October 9.

Image source: Soundcloud

Posted on by Lauren Katulka

“In Purple” – Ocean Alley

I hear an awful lot of music in my line of work, so when something different hits my inbox my ears prick up. That’s why I’m really responding to Ocean Alley and their sophomore EP In Purple.

They first caught my attention with the recent single “Muddy Water,” the final track of the EP. This strong track makes the ideal closer to this six-track collection, but there’s plenty to delight before it hits.

“Muddy Water” had a surf rock sound which only hinted at reggae and psychedelic sounds. They’re much more prominent on the other tracks, and I don’t just mean because one’s called “Space Goat” (despite seemingly having little to do with livestock). The songs are full of sexy grooves and infectious hooks. I appreciate party songs like “Twisted” and “Those Daze” most, but couldn’t help appreciating the daring of the epic “Sleepwalking.”

In Purple is a little rough around the edges, but I think its rawness is endearing. It adds a sense of authenticity that’s missing in many more polished recordings. Ocean Alley are currently touring the EP around the country. You can catch them at the following venues.

17 September 2015 – The Brightside, Brisbane
19 September 2015 – Great Northern, Byron Bay (FREE)
20 September 2015 – Sounds of Sunday, Gold Coast (FREE)
25 September 2015 – Uni Bar, Wollongong
2 October 2015 – The Evelyn, Melbourne
15 October 2015 – Oxford Arts Factory, Sydney

Posted on by Lauren Katulka

“Stories” – At the Dakota

I rarely hear music coming out of the Northern Territory. I’m not sure whether that’s because there aren’t enough musicians up there, or because they just don’t filter down to us here in the southern states. But either way, I’m really glad I have been able to listen to one of the few bands bucking the trend, At the Dakota. This Northern Territory outfit have just released their debut EP Stories, and it’s one of the coolest recordings I’ve heard in some time.

It opens with “Peach Hat,” a summery, breezy song with rapid-fire vocals. I instantly warmed to its cool quirkiness. “Jonestown” showcases a mellower side of At the Dakota. I love its sexy blues groove. The title track “Stories” is another solid indie pop ditty, with some of the EP’s best lyrics. The EP closes with “Stumptail,” which won the People’s Choice – NT Song of the Year 2015. I can understand why. It’s got some of the most impassioned vocals on the EP, and a great sing-along chorus.

At the Dakota have a great energy, with a fantastic pop sensibility that never strays into the predictable. In just four songs they’ve won me over.

Stories is out now. To celebrate its release, At the Dakota are touring around the country next month. Catch them at the following venues.

1 October 2015 – Darwin Railway Club, Darwin
2 October 2015 – Ric’s Bar, Brisbane
3 October 2015 – Shamrock Hotel, Toowoomba
9 October 2015 – Grace Darling Hotel, Melbourne
17 October 2015 – Hotel Metropolitan, Adelaide
23 October 2015 – Four5Nine Bar, Perth
24 October 2015 – The Prince of Wales, Bunbury
31 October 2015 – Epilogue Lounge, Alice Springs
13 November 2015 – Discovery Darwin, Darwin (supporting The Rubens)

Image used with permission from RISH Publicity

Posted on by Lauren Katulka

“Songs Made in My Bedroom” – Kristafor Farrenkothen

I’m a firm believer that if the music is good enough, you don’t need fancy production. It’ll speak for itself, and perhaps even shine brighter because it’s not bogged down in studio trickery. Just because you can add an orchestra or overdubbing to a recording doesn’t mean you should. In fact only today I decided not to post about a song with some really strong lyrics because I felt it was lost in its production.

It’s interesting on a day like that, where I’m getting weary of songs sounding too big, that I should hear Kristafor Farrenkothen’s EP Songs I Made in My Bedroom. The fanciest thing about this music is Kristafor’s name attached to it. The EP is exactly what it says on the tin, a collection of songs recorded in his bedroom. But what songs they are.

There are just three, far less than any EP I’ve seen recorded in the studio. But every one is incredible. I was transfixed from start to finish. Normally I listen to music while I’m doing other things but I had to stop and hear every word of these tracks. I ordinarily take notes, but I didn’t want to get dragged out of the spell they’d put on me. And why should I attempt to capture how special they are when I could just share the EP and let you listen for yourself?

There are certainly rough edges here, as there are with any bedroom recording, but that doesn’t take away from the beauty of what Kristafor has created. This talented singer-songwriter has a really bright future ahead of him.

Posted on by Lauren Katulka

“twelvefour” – The Paper Kites

I’ve always enjoyed the singles I’ve heard from The Paper Kites, but it wasn’t until I received a stream of their new album twelvefour that I actually delved into one of their complete works. I’m so glad that I did.

The new album opens with “Electric Indigo,” easing us in to the recording with some familiarity. It was great to hear the single again, as it helped heighten my anticipation for what would come next.
What comes next is beautiful song after beautiful song. They’re so well crafted, with lush instrumentation and really superb lyrics.

I was particularly drawn to “Bleed Confusion,” a dreamy number about finding your place in a relationship. “Revelator Eyes” sounds like it’d make the perfect driving soundtrack, with its relentless beat and easy vocals. “Neon Crimson” is delicate and mesmerising for its minimalism. “Silent Cause” is another minimalist number, with little more than the strumming of an acoustic guitar and pretty harmonising vocals. Generally The Paper Kites have gone for songs with a slightly bigger sound this time around, which only makes the smaller numbers that much more engaging to me. “Too Late” is such a poignant, haunting end to this really special album.

Twelvefour is one of those albums you could put on at the end of a dinner party when you’re all sitting around drinking wine, wanting music that won’t interrupt the flow of conversation. It’s mellow and low-key, so you could put it in the background if you wanted to. But its songs deserve more than that. I put it on to work but found myself getting drawn out of what I was doing to listen to the lyrics. They’re superb. The album stream saw me chained to my desk, but I’d really love to put it on in the car where I could give it even more attention. I enjoy this album now, but something tells me I’m going to love it even more with every listen.

Twelvefour hits stores on August 28.

Posted on by Lauren Katulka

“Dirty Soul” – Ms Murphy

Ms Murphy was one of the standouts of season two of the Voice, but she’s been a little quiet in the years since. Apparently she released an EP last year to very little fanfare, but she looks set to get back in the spotlight with the release of her new album Dirty Soul.

Dirty Soul sees Ms Murphy putting her soulful stamp on an eclectic collection of songs. Some of the songs are soul standards delivered faithfully by the Sydney songbird. Others are more unusual choices, like cuts from Rolling Stones and Paul Kelly.

No matter what she’s working with, Ms Murphy gives every song an old school soul treatment, with big horns marrying beautifully with her big husky vocals. There’s a little bit of grittiness in this dirty soul; it would have been recorded at Stax rather than Motown if you catch my drift. But it was actually cut at Sydney’s REC Studios, all live, a treatment which gives the tracks a real spontaneous vibe.

I’m not sure I’ve ever heard “Ninety Nine and a Half Won’t Do,” but her energetic cover of The Wright Specials song is a real album standout. I don’t think I’ve ever heard a woman singing “When a Man Loves a Woman,” but I love the way Ms Murphy’s version flips the song. Her groovy version of “Express Yourself” put a bit smile on my face, as did her take on “Needle in a Haystack.” “I Just Want to Celebrate” is the perfect closer for such a feel good album.

Some might say that delivering an album full of cover songs is a bit safe, and in some ways it is. The familiarity of these songs makes the album instantly accessible, and I’m sure it’ll sell well in the lead-up to Father’s Day. But Ms Murphy is damn good at what she does, and working with songs of such quality is the perfect vehicle for showcasing her talents.

Dirty Soul hits stores on August 28, and it available for pre-order now. Ms Murphy will launch the album with a show at The Basement in Sydney on October 8 and a string of shows on Melbourne’s Chapel off Chapel (October 20-23).

Posted on by Lauren Katulka

“Cast of Yesterday” – Tim Wheatley

After waxing lyrical about his single “Valerie” last week, I could wait to dive into Tim Wheatley’s solo album Cast of Yesterday. I was not disappointed.

Just like “Valerie,” the album hooked me instantly with its opening track “The Heathen,” a sultry blues-country number with wailing harmonicas and a driving guitar beat. The second song “78 Benz” shifted gears, but grabbed me with its lyrics about freedom and trying to figure out your place in the world.

These two songs are just some of the highlights in this stellar body of work. I’d be remiss not to mention the modern country feel of the banjo-driven “Burning the Midnight Oil.” I marvelled at the way “Dumb Luck” could floor me in just over a minute, but its quiet stillness did just that. The soulful “The Messenger” is another standout.

But the thing is, there are no filler songs here. Everything is amazing, and I have a feeling my favourites are going to change depending on my mood. Each and every song stands up on its own, but together they create a picture of an artist who’s poised on the edge of greatness. I love the way Tim uses harmonicas and slide guitars and other underutilised instruments to add atmosphere. The way he blends country, folk, and blues is inspired. And there’s Tim’s sexy, husky voice and his incredible way with words. This is an artist who knows himself, who’s come out the other side of alter egos (Crooked Saint) and bands (Rushcutter, The Sparrows) and figured out the kind of music he needs to make. And it’s wonderful.

Cast of Yesterday is available for pre-order ahead of its August 28 release.

Posted on by Lauren Katulka

“Bad News” – Josue

Sydney soul singer Josue turned my head with his single “What’s On Your Mind” a couple of months ago. Now that I’ve been able to listen to his EP Bad News, I’m even more impressed.

Back in the ‘90s I remember a wave of exciting soul acts. Artists like Tevin Campbell, Jodeci, and R. Kelly really got me going. We’ve had the occasional act cut from a similar cloth since then. Bruno Mars and Justin Timberlake spring to mind. But they didn’t quite resonate with me. But Josue definitely does.

The single “What’s On Your Mind” reminded me of what got my attention in the first place, and made me hungry for more. The next song “Lex” is totally sexy and smooth. I didn’t mind the title track “Bad News,” but it paled in comparison to the next song, a raw duet “What Would You Say” featuring the vocal stylings of Annelise Johnson. “So Simple” sees Josue skirting the jazz genre, and doing it admirably. He’s back collaborating with the EP’s final track, “Summer Time” featuring Billy Green. It’s not a cover of the classic Gershwin tune, or even the Fresh Prince and DJ Jazzy Jeff colab. Instead it’s a brand new summer anthem which concludes with an awesome acapella break.

If you’ve hungered for the return of soul music, you won’t be disappointed by Josue’s Bad News.