Category: Album Reviews

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

Posted on by Lauren Katulka

“Roadtrip Confessions” – Buffalo Tales

I must admit, when I heard Wes Carr was performing under the name of Buffalo Tales, I thought it was as wanky as the next person. However, as I listened to his first album under this new moniker, the shift made perfect sense.

Roadtrip Confessions isn’t a Wes Carr album. While I enjoyed the pop-rock material Wes released after winning the Australian Idol title, it’s markedly different from the music he’s making today. There’s a lot more heart and subtlety here. It’s not so radio-friendly, but that doesn’t mean it’s not accessible. It’s just not obvious or formulaic.

This album is beautifully balanced. One moment we’re thigh-slapping along to “Amsterdam”, the next we’re taken to a more tender, poignant place when he duets with Scottish folk songbird Rachel Sermanni on “Crazy Heart”. The shifts could have been jarring, but the gentle strumming of an acoustic guitar serves as an anchor for these beautiful songs.

It’s hard to single out songs on an album of such quality, but the introspective “Puppet Strings” and romantic “Tricks to Magik” are real highlights. The poetic, gorgeous lyrics of these numbers deserve to be listened to.

It’s interesting that Buffalo Tales’ has chosen to cover Leonard Cohen’s “Take This Waltz” and Rihanna’s “Diamonds”. They’re two very different songs, but they’re both interpreted so cleverly. It’s a good reminder that singing covers, as artists do on programs like The X Factor, The Voice, and Buffalo Tales’ big break Australian Idol, isn’t such a bad thing. Perhaps he hasn’t moved so far from his alter ego after all.

It’s unfortunate that the release of Roadtrip Confessions has been overshadowed by the media natterings about Wes Carr’s new name, because this album is one of the best I’ve heard in recent years.

Image used with permission from the Planetary Group

Posted on by Lauren Katulka

“Sandbox Love” – Von Stache

It’s been a long time coming, but Victorian one-woman electro-pop powerhouse Von Stache has finally treated us to her debut EP Sandbox Love. I reviewed the title track way back in December, and the songs that follow is don’t disappoint.

This is an EP which really celebrates that New Wave sound we all enjoyed in the 80s. It’s summery and joyous, but there’s an undercurrent of feminine rebellion there. Think Kim Wilde or the Go Gos. There’s a little darkness to it, but it’s balanced beautifully with saturated synths and an unashamedly pop energy which is guaranteed to make you smile.

While the title track was also the lead single, the supporting tracks don’t let the EP down. It works really well as a unit, with high energy and no filler. I guess that’s the beauty of a three-track EP, although I can’t help wishing for more!

Fans will undoubtedly get that when Von Stache launches Sandbox Love at the Barwon Club in Geelong on June 29.

Image source: Von Stache Facebook page

Posted on by Lauren Katulka

“To The Motel” – William Street Strikers

After treating us to a full album last year, Adelaide’s William Street Strikers have gone back to the short EP format for their latest release To the Motel. It’s an interesting tactic which allows them to focus their sound and produce a more crowd-pleasing release than their previous effort.

I enjoyed their full-length album Keep Left, but wondered whether it was too eclectic to appeal to the masses. To the Motel doesn’t take as many risks, which is both a blessing and a curse. After appreciating the daring of the album, this feels radio-friendly but a little safe. However the conviction of the band shines through.

This EP is all energy, but that’s not to say that it’s a frenetic EP. William Street Strikers know when to ease off the intensity, but driving drum beats and chunky guitar chords dominate. The title track starts the EP with a bang, leading us easily into the bluesy rebellion of “So Fukn Restless”. “Sure Baby” sees William Street Strikers taking the foot off the throttle a little bit, but there’s no losing the emotional intensity. The band makes sure their EP ends on a high with the rocking “Blind Fred E”.

To the Motel is an EP that’s accessible, with an energy that’s infectious. It shows a band that’s discovering their sound. Hopefully next time we’ll see William Street Strikers exploring it more completely on another album.

Image source: Music SA

Posted on by Lauren Katulka

“Cold Lights On Curious Minds” – Jordan Millar

Jordan Millar is one of those rare artists that I fell in love with at first note. “Walking on Me” was just so ridiculously catchy, and its follow-up “Maps” was every bit as impressive. I knew I’d love his latest album Cold Lights On Curious Minds, and I wasn’t disappointed.

“Maps” really is the perfect opener, as it sets the scene for an album that’s instantly accessible. It’s an easy blend of pop and folk, two genres that underpin many of the album’s tracks. Not that Jordan is a one-note pony. He shows more edge with “High Horse”, a bluesy tune which wears its heart on its sleeve. I also felt the helplessness and hurt in the moving “Guilty”. “Losing Hope” is a poignant number made that much more beautiful with Elle May’s angelic guest vocals.

“More Time, More Money” is a fitting closer for an album that features guest appearances from many of Jordan’s friends including Elle, his touring buddy Jack Carty, Australian Idol graduate Amali Ward, and acclaimed keyboardist Beau Golden. This track feels like a jam, a coming together of voices and hand claps and instruments that truly reflects the collaborative nature of Cold Lights On Curious Minds.

It might have been a group effort, but Jordan is the star here. His acoustic guitar chops drive the tracks, and his warm voice has an honest, organic quality that immediately draws you in. This album is a really easy listen. Some might criticise it for being too easy, too pleasant, but since when has that been a bad thing?

Image source: iTunes

Posted on by Lauren Katulka

“In Rico Glaciers” – Sons of Rico

The sophomore effort from Perth’s Sons of Rico was always guaranteed to put fun first. The band’s moniker was inspired by cult comedy classic Napoleon Dynamite, and their latest record playfully pays tribute to a cheesy Latin crooner. The good vibes are in abundance, but by the end I was left scratching my head.

Perhaps that confusion isn’t a bad thing. I admire Sons of Rico’s ambition. The album opener “Against the Grain” is a big bold start, and while the second track “I’m Not Thinking About You” gets a bit shouty at times, it makes its point. “In My Eyes” was a real highlight for me, with angelic harmonies combining with raw rock riffs.

And then the album takes a sharp left turn, abandoning its modern rock feel for something much more retro. “Just My Type” and “Adjustable Value” call to mind Electric Light Orchestra and Supertramp. Referencing such classic rock pioneers isn’t a bad thing at all. It just doesn’t gel with what came before.

I’m still not sure whether that’s a problem though. Sons of Rico might be a band still trying to work out what they want to be, or they could be an outfit that enjoys making music genre constraints. In any case what they do is damn good fun, with a bubbling energy that’s infectious. Perhaps that’s what matters most.

In Rico Glaciers hits stores on March 29. Sons of Rico will launch it at the following shows:

5 April 2013 – Amplifier Bar, Perth
6 April 2013 – Settler’s Tavern, Margaret River
11 April 2013 – Sol Bar, Maroochydore
12 April 2013 – Great Northern Hotel, Byron Bay
13 April 2013 – Alhambra, Brisbane
26 April 2013 – Revolution, Geelong
27 April 2013 – The Workers Club, Melbourne
2 May 2013 – Good God, Sydney
3 May 2013 – Hoey Moey, Coffs Harbour
4 May 2013 – Great Northern Hotel, Newcastle

Image source: JB Hi Fi