Category: Album Reviews

Posted on by Lauren Katulka

“Should I Be” – Michelle Serret-Cursio

Just in time for Mother’s Day, Melbourne songstress Michelle Serret-Cursio has released her debut album Should I Be. Her name might not be familiar to you but her face probably is. Michelle’s been a lead vocalist on Dancing with the Stars for years, and she also performed as part of Team Joel on the first season of The Voice. She’s also provided backing vocals for some of the country’s brightest talents including Tina Arena, John Farnham, and Olivia Newton-John.

Michelle’s skills as a vocalist are undeniable. She effortlessly puts her stamp on mum-friendly favourites like “I Will Always Love You,” “Crying,” “Tennessee Waltz,” and “My Heart Will Go On.” Singing in other languages in the Celine Dion smash, her take on “Crying,” and “La Vie En Rose” also doesn’t seem to phase her.

But it’s when Michelle steps away from the covers that I feel she really excels. The ballsy title track shows much more personality than the predictable numbers mums are sure to love. I’m not as enamoured with the dancy “Here I Stand,” which feels just a little too electronic to gel with the rest of the album, but I’ve got to admire that she’s doing something different.

I’m not sure whether Should I Be will cut through enough to see Michelle move away from life as a back-up singer or TV performer, but it should put smiles on the faces of any mums lucky to receive it this Mother’s Day. And that might be good enough.

Image used with permission from McGill Publicity

Posted on by Lauren Katulka

“Bossa Nova Baby” – Juliana Areias

I love hearing all kinds of music, so when Perth-based Brazilian jazz singer Juliana Areias sent me her first original album, Bossa Nova Baby, I was thrilled to dive right in.

It’s interesting listening to an album that’s almost exclusively in Portuguese, the universal language of bossa nova. I’m ordinarily a person that clings on to lyrics. Without that, I had to stop and think about how the music made me feel.

That evolved for me the more I listened to Bossa Nova Baby. I found myself enjoying the songs, which made me shake my hips and tap my toes. However, there was a little voice in my head saying “Gee it’s a little loungey.”

It’s a criticism we’ve heard countless times on those musical reality shows. Artists are told that they don’t want to sound like a lounge act, and we all accept this as being universally true. But the more I found myself enjoying these songs, I wondered whether loungey really is all that bad.

Juliana transported me to a lounge in an exotic holiday destination. As I listened to her songs I imagined myself sipping a cocktail, watching her and a brass band play as all of my troubles melted away. Upbeat tracks like “Missão” and “Maré Cheia” make me want to salsa around my lounge room. However, with tracks like “Inocência,” Juliana wears her heart on her sleeve. I wasn’t sure quite what she was singing about, but the sadness the song conveyed came through despite the language barrier. I also loved the vibe of the only English-language song “Night in Takapuna.” Its flute is such a beautiful accompaniment for Juliana’s pure voice.

Bossa Nova Baby might be a little loungey, but I’d be happy to visit any lounge where Juliana Areias played.

Image source: Juliana Areias Soundcloud page

Posted on by Lauren Katulka

“Through the Forest” – Benny Walker

I was captivated by Benny Walker when I heard his single “The Fool” a few weeks ago. Now that I’ve had the chance to listen to his latest album Through the Forest in its entirety I’m completely enamoured.

The title track is such a stunning introduction to this album. It feels epic and important, forcing you to sit up and pay attention. The following track, “Time,” sees the album settling into a gentler groove yet Benny somehow does that without losing intensity. It feels so seasoned, remarkably so for just his second album. Every song is exquisite and expertly crafted, so it’s so hard to pick favourites. But I loved the soulful sexiness of “Don’t Cut Me Down,” with its brassy instrumentation and Benny’s effortless falsetto. “No Refunds,” a song of longing for a love gone wrong, nearly brought me to tears.

They just don’t make music like this anymore. Through the Forest reminded me of a great album from an artist the calibre of Bruce Springsteen, The Eagles, or Tom Petty. It has such a cool blend of rock, country, blues, and folk. My only complaint is that at just nine songs, it felt over far too soon.

Through the Forest is released on March 6 through Black Murphy Records. Remember that Benny’s supporting the album with the following shows.

7 March 2015 – Moama Bowling Club, Moama
13 March 2015 – Twilight at Taronga Zoo, Sydney (supporting Dan Sultan)
27 March 2015 – Darwin Railway Club, Darwin
28 March 2015 – The Arnhem Club, Nhulunbuy
9 April 2015 – Skukum Lounge @ The Junk Bar, Brisbane
10 April 2015 – Thornbury Theatre, Melbourne
12 April 2015 – Newtown Social Club, Sydney
18 April 2015 – Suttons House of Music, Ballarat
19 April 2015 – The Wheatsheaf Hotel, Adelaide
24-26 April 2015 – Mount Beauty Music Festival, Mount Beauty
1 May 2015 – Beaches Hotel, Thirroul
3 May 2015 – Rhythm Hut, Gosford
6 May 2015 – Mothers Milk, Sawtell
10 May 2015 – Redcliffe On the Murray, Pinjarra

Image used with permission from Chrissie Vincent Publicity

Posted on by Lauren Katulka

“Gareth Jay” – Gareth Jay

It’s been a little while since I’ve heard any really great new blues music. You know the stuff, the music that feeds you soul and bubbles over with passion and heart. So I was really excited to stumble across the self-titled EP from Sydney’s Gareth Jay.

The opening track “Fiend” had me from its intro with its acoustic guitar and rich harmonica. Once his husky voice entered the mix I was sold. This song just oozes sex.

The follow-up number, “Crave,” kept me enamoured. If the lost love this song was written about didn’t go back to Gareth after hearing it she’s crazy. I think I’d forgive almost anything if anyone was inspired to write a song like this for me.

The heartbreak continues with “It’s Not Me, It’s You.” It covers familiar ground but Gareth is so talented that it feels fresh.

“Why Don’t You Just” feels like it’s come out of America’s Deep South rather than the streets of Sydney. It’s swampy and raw and oh so good.
The closing track “Tempt Me” has a real organic, spontaneous energy. It feels like the sort of thing you might expect Gareth to improvise on stage with his bandmates, unpolished and honest.

After listening to all five tracks I had to play them again. And then again. What a wonderful introduction to this talented musician. I expect massive things when Gareth Jay releases his first full-length album this May.

Posted on by Lauren Katulka

“Black Cat” – Deena

Brisbane-based chanteuse Deena shows her versatility in her sophomore album Black Cat. This release builds on the acoustic-folk sound that she showcased on her debut album Lone Wolf, with a full band helping her create something much bigger, grittier, darker, and bluesier.

The opening song “Cupid” is a steamy number that starts sultry before erupting with a cacophony of guitars. There’s a lot of that pattern in this album. I think I’m hearing something small and intimate, but somewhere along the way Deena takes a left turn and really lets loose. It’s as if her emotions can only be contained for so long before brimming and bubbling over. There so much good stuff on here, but Deena floored me with “Curve.” That song may have some of the most heartbreaking lyrics that I’ve ever heard.

If I had any criticism of the album, it’s that I could have done without the final track, a remix of “Uncut Diamonds II.” This electronic makeover doesn’t do the song any favours, and doesn’t seem to gel with the rest of the album. I suppose it shows another side of Deena, but it feels like a wasted exercise considering how good the other version is. That said, you’ve got to admire an artist that takes risks as Deena does, especially when so many of them pay off as they do on this album.

Black Cat hits stores on 13 February. Deena will promote its release with the following shows.

8 February 2015 – The Newsagency, Sydney
11 February 2015 – Cambridge Hotel, Newcastle (FREE)
12 February 2015 – The Publishers Hotel, Adelaide
13 February 2015 – The Vinyl, Adelaide
15 February 2015 – The Workers Club, Melbourne
18 February 2015 – Brisasia Festival, Brisbane
20 February 2015 – Queen St Mall, Brisbane (FREE)
8 March 2015 – Kettle & Tin, Paddington, Brisbane
15 March 2015 – The Brewery, Byron Bay
20 March 2015 – Black Bear Lodge, Brisbane

Posted on by Lauren Katulka

“Where Did You Come From?” – Darren Hanlon

Some albums grab you from the first notes, shaking you out of your world and demanding to be heard. You know it’s something special and you’re captivated from start to finish. Others sneak up on you, getting underneath your skin gradually until you realise that this album is far better than you ever imagined. Where Did You Come From?, the fifth studio album from Darren Hanlon, is that kind of album.

I initially thought it was just a sweet blend of country and folk. It was pleasant enough to listen to, but also likely to get buried amongst my massive pile of music before too long. And then I heard “Letter from an Australian Mining Town.” The fifth track, a tender slice of Australiana with all of the romance of the bush. Even if you haven’t been there you understand it. And that was when I thought “I get this. This is amazing. I need to go back to the other tracks and pay more attention.”

With my ears wide open I realised that while Darren’s music is fairly small, it shouldn’t be overlooked. Perhaps no song emphasises this point more than “My Love is an Ocean Away.” With only an acoustic guitar, Darren’s voice, and some quirky but poetic lyrics, it draws you in and proves how powerful something delicate can be. As someone who lived through a long-distance relationship, it struck a real chord.

So did “Halley’s Comet, 1986.” As he told the story I recalled my own experiences as a six-year-old, not really sure why we were all looking up at the stars and what we were waiting for, but doing it anyway.

Then there’s “Manhole Cover Tap,” which proves that anything can be a musical instrument. I’m not 100 percent sure whether real manholes were involved in the recording of this track, but I love its organic, back to basics feel. And I’m sure that Johnny Cash would have been proud to pen the rollicking country-rock of “The Chattanooga Shoot Shoot.”

Darren’s spent a lot of time in the United States, but he certainly hasn’t forgotten where he came from. Australian stories are at the heart of every one of these songs, and he sings them in a real Australian voice rather than that generic accent-free one so many performers use. It’s so refreshing to hear. As the first few tracks washed over me I didn’t expect to become so invested in Where Did You Come From? But I’ve found myself going back to it and giving it another spin for a couple of weeks now. It creeps up on you, and when it does it’s so rewarding.

Where Did You Come From? hits stores on March 2. Darren will celebrate the release of Where Did You Come From? with the following shows.

27 February – 1 March 2015 – Nannup Festival, Nannup
2 March 2015 – Mojos Bar, Fremantle
5 March 2015 – Republic Bar, Hobart
6-8 March 2015 – Panama Festival, Panama Forest
12 March 2015 – Railway Club, Darwin
20-22 March 2015 – Yackandandah Folk Festival, Yackandandah
24 March 2015 – Clarendon Guest House, Katoomba
25 March 2015 – Gallipoli Legions Club, Newcastle
26 March 2015 – Manning Bar, Sydney
27 March 2015 – Street Theatre, Canberra
28 March 2015 – Candelo Festival, Candelo
2 April 2015 – Jive Bar, Adelaide
3 April 2015 – Karova Lounge, Ballarat
9 April 2015 – The Spotted Cow, Toowoomba
10 April 2015 – The Zoo, Brisbane
11 April 2015 – Majestic Theatre, Pomona
17 April 2015 – The Corner Hotel, Melbourne

Image used with permission from Mucho Bravado

Posted on by Lauren Katulka

“Songs of Woe” – Kegan DeBoheme

Before writing this review I took a look at those I’d penned in 2011 and 2012 about the music from Kegan DeBoheme’s band The Gypsy Bangles. I remembered them as a bit of a rock and roll throwback, a remnant from music’s heyday. There are certainly elements of that in Kegan’s solo effort Songs of Woe, but this is more than just same old thing.

It’s interesting that The Gypsy Bangles recordings I listened to had just four tracks each. They gave a mere glimpse at an act. I wonder whether in Songs of Woe Kegan had more space to spread out creatively, or whether he’d have always done that if The Gypsy Bangles recordings were longer. At any rate, with 12 tracks to play with Songs of Woe is an album of more diversity. It’s also one that feels a lot more intimate. Kegan’s roughened voice is strong through this album, ably supported by the music rather than fighting through it as he sometimes did with the Gypsy Bangles. The instrumentation is just that bit simpler, and that draws you in.

Kegan’s love of classic rock still shines through, whether it’s on his covers of Jim Croce’s “Operator” and Rodriguez’s “Sugarman” (which is incidentally far better than the dancey version floating around the charts) or original songs that capture the period like “Flowers (For a Brother)” or “Where Has the Summer Gone?” Yet there other forces at play here. “Gone Tomorrow” and “Rose Painted Gold” feel as if they could sit comfortably on a grungy record from the 90s. Despite beginning a lot like a Steely Dan track, “The Setting Sun” sounds like what Dion might have done if he’d gone on to play with Alice in Chains. I really enjoyed the laidback acoustic jam of “Inner City Blues.”

Kegan DeBoheme might be without his Gypsy Bangles bandmates with his solo album, but the music has enough similarities to those earlier recordings to satisfy long-time fans. However, Songs of Woe isn’t just about doing the same old thing. It’s a bit rougher, rawer, and dare I say it, more honest. It’s far from the perfect record. Certain sections feel a bit derivative, and others are a slog. I’m still not sure whether we’re hearing Kegan or simply Kegan’s influences in his music, but I’m enjoying listening to the journey.

Songs of Woe is available now through Kegan DeBoheme’s Bandcamp page.

Posted on by Lauren Katulka

“Bay Sessions” – Bobby Alu

Bay Sessions by Bobby AluThe long weekend’s not here yet, but I’m already getting into that cruisy frame of mind thanks to Bobby Alu’s latest EP, Bay Sessions. I’m really glad that this is my first album review for the year, because this summery release is the ideal soundtrack for this time of year.

It begins with the laidback groove of “My Style,” which is something I imagine that Bob Marley might have laid down if he ever visited Motown. The tempo picks up a little in “Step.” Bobby’s as chilled as ever, but it’ll get your toes tapping.

The instrumental “Mana” references the positive spiritual force its title embodies. There’s no English translation for this term from the Pacific Islands, but if you listen to the track you’ll probably come close to understanding it. Incidentally, this song is the perfect kitchen soundtrack. It sounds weird, but I was grating carrot and zucchini for dinner last night and it was like I was at one with the music. Try it.

Bobby’s back on vocal duties for “The Day,” a gentle number about living in the moment. His ukulele is the only accompaniment for this beautifully intimate song. I struggle to pick a favourite on a recording that’s so solid, but “Something” might be it. It just feels so good: soulful and smooth and sassy.

The EP closes with “Tagi,” a Samoan chant Bobby remembers from his childhood. It’s a powerful number that sounds even more impressive when you realise Bobby doesn’t have any back-up musicians as the Samoan elders would have. It’s just him on his DIY island-style drum kit. Too cool.

I’m so passionate about this recording, so I’m thrilled that you can all hear it. Bobby is offering it for free download throughout the duration of the Bay Sessions tour. The full release will then be available for purchase at the tour’s conclusion. In keeping with Bobby’s generous spirit, the tour also features plenty of free shows too.

5 February 2015 – Prince of Wales, Bunbury (FREE)
6 February 2015 – Settlers Tavern, Margaret River (FREE)
7 February 2015 – The Odd Fellow, Fremantle
8 February 2015 – Clancy’s Fish Pub, Dunsborough (FREE)
13 February 2015 – Landsdowne Hotel, Chippendale
15 February 2015 – Moonshine Bar, Manly (FREE)
20 February 2015 – Motor Room, Brisbane (FREE)
22 February 2015 – Hotel Brunswick, Brunswick Heads (FREE)
1 March 2015 – Hoey Moey, Coffs Harbour (FREE)
4 March 2015 – Queen Victoria Market, Melbourne (FREE)
5 March 2015 – Shebeen, Melbourne
7 March 2015 – Sol Bar, Maroochydore
8 March 2015 –  Bleach Festival, Coolangatta (FREE)

Image used with permission from Heapsaflash

Posted on by Lauren Katulka

All But the Sun – Winterbourne

When I reviewed Winterbourne’s single “Cold” last month I swore that I’d track down a copy of the EP All But the Sun. I was so impressed with that song that there was a part of me that worried that perhaps I’d be disappointed. Winterbourne had set the bar so high. I needn’t have fretted. All But the Sun may be the best thing I’ve heard all year.

The EP opens with “Cold,” which was every bit as epic and beautiful as I remembered it. The energy was turned up several notches with “The Boy Prince,” a raucous number with a deliciously dark edge that reminded me a lot of something Mumford & Sons might release. I couldn’t help but thing of the English band from time to time as I listened to the rest of the songs, as there are a few similarities in the way their music builds, their lyrical sensibilities, and the lush harmonies. I could hear the longing in “Steady my Bones.” There was real palpable sadness in “Leaves” too. After so much sorrow the light of “Sunrise,” the closing track (or so I thought) was such sweet relief. It’s jubilant and uplifting, a dazzling conclusion.

I instantly ran to my stereo and started the EP again. And again. It reminded me of when I got Sigh no More, than first Mumford & Sons album, and I couldn’t stop listening to it. I’d play it in my home, need to go out and take it to my car stereo, bring it back in with me and whack it on again. Something tells me this EP is going to be much the same.

In my enthusiasm for these songs I didn’t actually realise that in a throwback to the ‘90s, there’s a hidden track. It’s wonderful too, full of spirit and folky energy. But of course.

EPs might be much smaller than full-length albums, but even so, there are usually weaker tracks. Not here. Every single song on All But the Sun is so very good. Winterbourne are such a quality band and I can’t wait to hear more from them.

Image source: Winterbourne Facebook page

Posted on by Lauren Katulka

“Local Football” – Sleepy Dreamers

Melbourne indie-folk act Sleepy Dreamers have done it again with their sophomore EP Local Football. It’s an unassuming name, but one which really captures the down to earth nature of this recording. It’s very raw, but endearingly so, with a back-to-basics approach to songwriting that really resonates with me. So few artists tell us stories through their songs any more.

It starts so strong with “Hunk,” a plaintive number that’s so real and raw that it still gives me chills, even though I’ve heard it several times now. Sleepy Dreamers refuses to let us dwell in the dark for too long though. The EP’s other single, “Bike Song” comes next, a uplifting, almost calypso-like ditty which makes me think of steamy summer days. All too often upbeat numbers are all about danceability, but this one has a strong emotional core that ensures it’s no throwaway track.

It’s a bit risky to put the two singles up front, but it’s a testimony to just how good the band are that the second half doesn’t drag. “Red Triangle” is another raw, emotive piece with some stunning harmonies. “Gold” continues the trend, but I think the official closing track “Sleep in Stone” might be my favorite. It’s got a delicateness about it, a real beauty that speaks so eloquently about a lost relationship.

I say official closing track, because there’s a bonus song at the end, “Feathers.” Its easy alt-country vibe doesn’t quite match the rest of the EP, so the bonus track tag makes sense. It’s a decent song, but it doesn’t leave the strong impression that “Sleep in Stone” does. I’d have been tempted to leave it off as the EP prior to this was such a cohesive, emotional unit. Sometimes less is more.

It might not be the perfect EP, but Local Football comes close enough. It’s available now on Bandcamp, iTunes and Spotify.

Image used with permission from Maths and Magic