Category: Album Reviews

Posted on by Lauren Katulka

“Time Has Come” – 1200 Techniques

1200 Techniques new EP Time Has Come won’t drop until the New Year, so I was thrilled to enjoy a preview stream this month. I remember being so excited by this act in the 90s. I hadn’t warmed to a lot of hip hop acts, but I found the way that they combined rapping with funk and soul so accessible.

A lot has changed since then. Hip hop has well and truly been embraced by the mainstream. I wondered whether 1200 Techniques could still feel as unique in the modern musical landscape. Time Has Come gave me the answers I was looking for.

The title track and single is the ideal opener, a great reflection on the 1200 Techniques journey. It is an excellent introduction to the band for new listeners and a catch-up for the rest of us. “Undress My Soul” is so sexy cool, and “Speed of Light” should pack the dance floors. By the time I got to the closing number, “Move On,” I was enjoying myself so much I didn’t mind hearing the standard version and the DJ Peril remix. The song’s a lovely bookend to “Time Has Come,” a track which looks forward and welcomes the next chapter of the 1200 Techniques story.

Time to work on solo projects and other endeavours has undoubtedly been good for 1200 Techniques. They seem to have a new creativity and energy that should delight long-time fans and help them find a brand new audience.

1200 Techniques’ Time Has Come EP hits stores on 23 January 2015.

Image used with permission from Paris is Patient

Posted on by Lauren Katulka

“Sucker” – Pluto Jonze

Sydney’s Pluto Jonze has offered up the perfect remedy to those mid-week blues with his latest EP Sucker. This recording has such positive energy, whether Pluto Jonze is inviting us to party when he’s gone (“Wear Purple at My Funeral”) or chow down in Asia (“Breakfast in Korea”). The title track “Sucker” is a bit more serious than the other songs on the EP, but I think we need numbers with such emotional heart to balance the recording.

“Sucker” is weird and wacky, but so much fun. It’s full of hooks and synths and all of that stuff that makes you smile. It’s unashamedly pop, but pop that loves to live left of the center. Think The Cars, Ween, or early Beck, but with that extra special something you just can’t put your finger on.

Pluto Jonze will kick off the Sucker launch shows in Melbourne tomorrow night.

4 December 2014 – Shebeen, Melbourne
6 December 2014 – Alhambra Lounge, Brisbane
13 December 2014 – Brighton Up Bar, Sydney

Image used with permission from Shake Appeal

Posted on by Lauren Katulka

“Understood” – Baychimo Kin

Baychimo Kin’s album Understood snuck up on me. I remember being sent the Soundcloud of the lead single “Marianne” a few weeks ago, listening to it, just not quite being able to get into it, so moving on. Then I was sent the video. It was animated and beautiful, but again the song didn’t quite resonate with me. Those persistent publicity folks then sent me an album stream. I know all too well not to judge a band by one song, so I slipped it on.

I still hadn’t made up my mind after the first listen, or the second, yet I found myself compelled to keep on playing it. There was something there, and somewhere around the third or fourth listen I got it. I can’t describe what “it” is, dear readers. I’m not really sure how this album got under my skin, or what it was that made the penny drop, but suddenly I found myself taking notes. I wrote down several adjectives: delicate, fragile, unique, special. The songs on Understood are all these things. You might not catch them on the first listen either, but I’m sure you will.

These songs are deceptively simple, but they get richer with each listen. The Melbourne band creates moods with the haunting vocals and beautiful instrumentation. I love the heartfelt romance of “Anna,” especially since the band can balance it with the edge of a track like “B Sting.” “Honey” might have a bit of an identity crisis, but I am right there now as it takes the listener through every movement. “You’ve Got a Hold Of Me” is such a striking closer. And “Marianne,” that song that I grappled with for so long is now one of my favourites. It was such a slow burner for me, but when I got it, boy did I get it.

I took some time to fully grasp Understood, but I think it’s one of the most original albums I’ve heard all year.

Image source: Baychimo Kin Bandcamp page

Posted on by Lauren Katulka

“Demokracy” – Citizen Kay

The Australian hip hop scene may be the strongest that it’s ever been in history. Where once there was a cultural cringe and artists were accused of simply copying the musicians in the United States, we’re realizing that many Australian hip hoppers have some really important, interesting things to say. Acts like Bliss N Eso and Hilltop Hoods dominate the charts, but personally the artist that’s impressed me most is Citizen Kay. As I listened to his long awaited mini-LP Demokracy today, I found myself falling even more in love with his music.

At eight tracks, the mini-LP tag is perfect. Far too long for an EP, too short for a regular album, Demokracy feels the ideal length. There are no filler tracks. Indeed, the first half have already been released as singles since the start of 2013. But the remaining four are definitely not just making up the numbers. While I already loved “Yes!,” “Raise a Glass,” “Manage,” and “Freedoom,” they were the songs that really confirmed to me that Citizen Kay is the real deal. “Chosen,” a collaboration with the velvety-voiced Benjamin Joseph, is particularly breathtaking. “Nice &” is such an unusual blend of cocktail jazz and rap. This is the real deal.

It’s Citizen Kay’s ability to move from party tracks to political songs to smooth romantic jams which I find most endearing. So many hip hop artists seem to exist in a box. They’re railing against the system or they’re hanging out with the honeys living large. Citizen Kay is unashamedly a hip hop act, but you gets the sense that he wants to push that label as far as he can. The result is a record that’s really diverse, but so well done that it works as a beautiful, complex whole. I feel like we’re only just starting to see the many facets of Citizen Kay.

Citizen Kay has two final shows to launch Demokracy. Catch him at Sydney’s Roller Den on November 28 on the CoLab Festival at Perth’s UWA on November 29.

Image used with permission from Shake Appeal

Posted on by Lauren Katulka

“Echoes in the Aviary” – Jane Tyrrell

Most Aussies know Jane Tyrrell as the voice of local hip hop outfit The Herd. However, with her debut solo album Echoes in the Aviary she’s showing that there’s much more to her than a sweet voice.

She has that of course, and it’s showcased beautifully on these songs. However, while I loved her work with The Herd I found it much more exciting to listen to her in solo mode. You get a sense that she’s able to stretch out and be all parts of herself with this release, rather than simply fitting in with what a band needs her to be. It’s an eclectic release, with songs that blend modern electronica and primitive, tribal beats. I found the title track dreamy and romantic, and I really connected with lyrics of “The Rush.” “Among the Bells” is just grandiose enough to sound like it could be the next James Bond theme.

The songs are introspective and personal, yet they remain accessible. It’s clear that Jane’s put her heart and soul into this record, and it’s hard to avoid getting swept up in her passion for the project. I’ve listened to Echoes in the Aviary a couple of times now and it’s richer with every listen.

Echoes in the Aviary is in stores now. Jane Tyrrell will launch the album with a show at Newtown Social Club on December 4 and another at Northcote Social Club on December 5.

Posted on by Lauren Katulka

“First Light” – The Twoks

I’ve got to tell you, the last few days have pretty much sucked. I’ve got the cold that I mentioned which is darkening my mood. And yesterday my mum’s cat, who she’d entrusted to my sister’s friend while she went overseas, went missing. Miss Prissy’s deaf, and about 40 minutes from home, so my thoughts are consumed with wondering about how the poor thing’s coping and whether we’ll be able to find her. Novacastrians, if you come across a pretty, small but adult, long-haired white cat, please shoot me off an email.

So needless to say, I needed something to break out of the funk, and I found it in the form of The Twoks and their recently released EP First Light. The Melbourne duo have created something really fabulous here. There’s a real ’80s pop vibe running through the songs, with their positivity and hooky melodies, but the addition of violins gives them a real twist. There was almost a Dave Matthews Band feel to the instrumentation whenever those fiddles kicked in.

The Twoks grabbed me with the opening song and title track “First Light,” a cheerful poppy number which just makes you feel good. I wasn’t quite feeling all the party chanting of “Hey,” but I’m making a mental note to give it another spin when my mood’s less dark. I was back on board for the breezy island ditty called “Hold On.” The lush layers of “Step Slide” are exquisite. By the closing number “My Place,” I wanted to reach for my hairbrush and dance around my living room.

The Twoks have such a great infectious energy. The songs are fabulous, anchored by the driving drumbeats of Mark Leahy and Xani Kolac’s angelic vocals and violin prowess. Her voice is sweet with just a hint of edge, a little like Susannah Hoffs of The Bangles. First Light was just what I needed to immerse myself in today.

If you like what you hear in that nifty widget, you can catch them at the following shows.

30 October 2014 – New Globe Theatre, Brisbane (supporting Ezekiel Ox)
31 October 2014 – Spotted Cow, Toowoomba (supporting Ezekiel Ox)
5 November 2014 – Brass Monkey, Cronulla (supporting Ezekiel Ox)
6 November 2014 – The Vanguard, Sydney (supporting Ezekiel Ox)
7 November 2014 – The Heritage Hotel, Wollongong (supporting Ezekiel Ox)
8 November 2014 – Bella Union, Melbourne (EP launch)
14 November 2014 – Grace Darling, Melbourne (supporting Ezekiel Ox)
20-23 November 2014 – Mullum Music Festival, Mullum
28 November 2014 – Yay Ya’s, Perth (supporting Ezekiel Ox)
5 December 2014 – The Wheatsheaf, Adelaide
13 December 2014 – Major Tom’s, Kyneton

Posted on by Lauren Katulka

David Campbell Sings John Bucchino – David Campbell & John Bucchino

Before David Campbell dazzled Australia with his turn as Johnny O’Keefe and his swinging standards, he was wowing crowds on Broadway. So it makes sense that he’s returned to musical theatre with his latest album, David Campbell Sings John Bucchino.

I consider myself a bit of a musical theatre nut, but I must admit that I wasn’t familiar with John Bucchino’s work. This album provides the perfect introduction to his music though. David didn’t simply take his songs and run with them. He enlisted John to play piano on all the tracks and the duo shares production credits.

There are a few other names in the album sleeve, but this album feels like a two-hander. If you were expecting big Broadway embellishments, you’d be disappointed. Personally I appreciate the simplicity of the delivery. Without frills, with only a tinkling piano as accompaniment, David’s voice and John’s lyrics shine. It’s a perfect marriage. Sometimes it can be difficult for an artist to inhabit someone else’s songs, but David’s connection to the material is obvious.

I felt invited into the intimate bond of these musicians as each track unfolded. I was captivated from the opening track “Sweet Dreams,” a tender ballad about a chance meeting between two broken-hearted souls and the different paths they ultimately take. It remains one of my favourite numbers on the album, but I was also swept away by the unbridled enthusiasm of “Taking the Wheel” and the romance of “Unexpressed.”

I don’t expect David Campbell Sings John Bucchino to set the charts on fire the way David’s swing albums did. He made a name for himself singing familiar songs, and it’s going to be tough to convince music lovers to work a little harder and embrace something new to them. But anyone who does will be richly rewarded, because the pairing of these stellar artists is truly something special.

Image used with permission from Jaden Social
Posted on by Lauren Katulka

“Chapter Seven” – Damien Leith

Generally there are two types of former Australian Idol contestants. There are the Guy Sebastians, the Matt Corbys, the Jess Mauboys. They’ve long since shaken off the reality show contestant tag and enjoyed continued success since their reality TV stint. And then there are the Kate DeAraugos, the Natalie Gaucis, the Luke Dickenses. They made it to the pointy end of the competition only to disappear from the musical landscape almost as quickly as they appeared. Somewhere in the middle is a performer like Damien Leith. He didn’t reach the dizzy heights of many of the show’s victors, but he’s refused to just fade away either. Instead he’s quietly devoted himself to his love of music. It might surprise you if you weren’t watching his career closely, but he’s just released his seventh album, aptly titled Chapter Seven.

I haven’t heard too much from Damien in the years since his win, but they’ve served him well. His distinctive soaring voice is in fine form, but he’s learned to reign in his falsetto and use it only for effect. I’m not sure whether that’s about Damien developing as an artist, or if he simply knows that he doesn’t need to deliver the big crowd-pleasing notes that inspire people to pick up the phone anymore. Either way, the vocal performances on Chapter Seven feel really natural and honest.

Damien has a real knack for writing solid songs that have something to say. None of them are catchy enough to really take off on the charts, but they reward the fan that takes the time to listen. “See You Again” captures the feelings of yearning that come from time on the road so eloquently. “I Can Stop You Crying” has such simple, gentle instrumentation which ensures the words aren’t overshadowed. “Faith in Me” is a beautiful song about personal strength.

It’s worth noting that the latter tracks I mentioned were written in collaboration with Joe Melson, the man behind many of Roy Orbison’s biggest hits. Damien’s long spoken of the way Roy influenced his career (and he recorded a tribute album to prove it), so it seems only fitting that these artists are now working together and creating stand-out material.

Damien Leith wears his heart on his sleeve, and that’s so compelling. It’s impossible not to like an artist that so freely shares himself with his audience. He may not be reaching the masses that he did during his time on Idol, but with Chapter Seven Damien rewards anyone that’s willing to listen.

Image used with permission from Jaden Social

Posted on by Lauren Katulka

“Farewell Fitzroy” – Busby Marou

It might be only November, but I’ve already found my summer soundtrack thanks to Busby Marou. I slipped their latest album Farewell Fitzroy on recently to motivate me with my weekend housework and before I knew it I’d listened to it five times.

From the opening track “My Second Mistake,” this is album is a really easy listen. I don’t mean that in a negative sense at all. It’s far from lazy, but it is accessible. It especially feels familiar to a fan like me. They’re certainly not going to alienate their faithful followers with this collection of songs.

The music is so organic, and matched with really insightful, witty songwriting that brings back the art of telling a story through lyrics. Acoustic guitar and those natural harmonies anchor every song. I think I said something similar when I reviewed the Toowoomba duo’s debut, but they’re not resting on their laurels. Keys, mandolin, harmonica, strings, and electric guitars play more of a part than I remember them doing on the first album, which felt like much more of a two-hander. They’ve certainly built on their signature sound, but there’s still that essential Busby Marou core.

I’m still trying to settle on a favourite song because there really are no filler tracks. If you pressed me though I might name “Leave It Up to Me” because it’s just got such a powerful emotional centre and vulnerability about it. I also never imagined Busby Marou would create a song as epic as “Wage a War.” It builds to something truly special.

I certainly expect to be naming different tracks as I fully absorb this album over the coming months. But even a few days into listening to it I know Busby Marou haven’t suffered from any second-album syndrome here. The band raised the bar so high with their debut, but they certainly match that effort with Farewell Fitzroy.

Posted on by Lauren Katulka

“Dames” – Molly Contogeorge

Sydney songstress Molly Contogeorge serves up another slice of girl power with her aptly titled new EP Dames.

You always hope an EP will open with a bang; this one opens with two. The first track “Bang Bang” drips sass. The horns give it a delightfully retro vibe that transports the listener to a retro speakeasy.

The next track “Bad Boy” is another girl power anthem that calls out all those men we find so alluring. Molly’s trademark piano anchors the upbeat number beautifully.

Molly shows us her softer, more vulnerable side with the stunning “Brother”. It’s jazzy, but it’s got a heartbreaking rawness to it that so many numbers of the genre lack. We’re not held at a distance here. Molly invites us in.

The title and final track “Dames” is a great bookend for this EP, as it takes us back to the big brassy sound and vintage feel of “Bang Bang”. After feeling emotionally sapped by “Brother”, I was looked for something to put a smile back on my face. “Dames” delivered in spades.

I had high hopes for this EP after enjoying Molly’s previous effort Glasshouse Living. This local dame definitely didn’t disappoint.

Image used with permission from Molly Contogeorge