Category: Album Reviews

Posted on by Lauren Katulka

“Lake” – The Evening Cast

The Evening Cast might be a fledgling act, but their stellar debut EP Lake proves the Victorian band is a force to be reckoned.

This is a lush recording, with exquisite layered harmonies and rich orchestration. It takes some talent to ensure a big sound doesn’t become a mess of noise, but The Evening Cast are up to the challenge. No doubt they’ve been guided well by the production team of Joe Laporta (Bjork, Foo Fighters) and Marty Brown (Clare Bowditch, Art of Fighting). The skills of these supporting players make this disc seem more polished than most debuts.

I love the poetic lyrics and quirky romantic of the EP opener “Knots and Bows”. The poppy “Surprise” and “Heartbeat” are pure joy. Not that it’s all sweetness and light though. “No Stopping” shows a darker determination with its pounding pianos and earnest vocals. I really felt this one.

At seven tracks, Lake is much longer than most EPs. It feels more like a mini album than an EP. It’s a bit risky for a new act to take on such an ambitious release, but The Evening Cast are up to the challenge. There are no filler tracks here. Lake is an excellent debut that shows the promise of this exciting Aussie act.

Posted on by Lauren Katulka

The Magician’s Daughter – Mama Kin

I’ve sat down to write this review a few times. However the problem is, every time I slip The Magician’s Daughter into my stereo, I forget to make any notes. Not because there’s nothing noteworthy about Mama Kin’s sophomore effort, but because the music tends to take over.

My analytical brain is rendered defenseless against her haunting voice and uncanny knack for crafting a song. It seems wrong to dissect the album note by note or tune by tune. It’s much easier to just listen and appreciate it. And so I do, until next time that I intend to write the review and realise that I never did get around to taking those notes.

I really love this eclectic collection of songs. Mama seems to rail against being placed in any box. She serves up retro soul, gentle country, sultry blues, and more with ease, borrowing from whatever musical styles she deems best to tell her stories. The term “warrior songs” came to mind on one of the many occasions I’ve listened to The Magician’s Daughter, and I can’t seem to get rid of it. There’s a lot of feminine strength here, the strength of loving someone, of being a mother, of feeling loss and living through it. I was so struck by the tender intimacy in tracks like “Bosom of Our Bed” and “The River as She Runs,” the stoic pain of “Cherokee Boy,” and the explosive power of “The Fire.”

Mama Kin proves she’s a real musical force with her exquisite second album The Magician’s Daughter. It’s released across Australia on February 22.

Image source: Liveguide

Posted on by Lauren Katulka

Gofer Land – Mark Boulle and the Haba Dudes

After releasing a solo album a couple of years ago, Queensland’s Mark Boulle is back with his band mates for Haba Dudes album number five. On Gofer Land the outfit is billed as Mark Boulle and the Haba Dudes but make no mistake; this recording is still very much a band effort.

Mark Boulle’s ruggedly raw voice stands out front and centre, but the instruments really elevate it, whether they’re the swell of strings, a classic piano, or some simple hand claps. These elements help bring the songs Mark penned to life. They add gravity to the words, and realise Mark’s vision.

When you slip a Haba Dudes record on, you know you’ll be entertained. At 15 tracks Gofer Land is an ambitious album, but its diversity ensures that it doesn’t drag. The band seems to delight in delivering the unexpected.

The album starts with the laidback “Lovin in Your Mind,” a track which is as much fun to listen to as it seems like it was to perform. “Hurt U Again” is another of those numbers that feels like we’re listening to a jam session. I was thrilled to be taken along for the ride. More highlights come with the ultra-catchy “Take Me Slowly” and sultry “Animal Kingdom.” I was beginning to almost feel like I knew what to expect from the Haba Dudes, some gypsy music here, a little folk there, when they threw me for a loop with “Gypsy Man.” This track shows real fire with its rocking, reverby guitars.

I guess you never really know what to expect from the Haba Dudes. And that’s just why I like them, and their latest release Gofer Land.

Image source: Mark Boulle and the Haba Dudes Bandcamp page

Posted on by Lauren Katulka

“King of the Sun” – Jamie Hay

With the year drawing to a close, I expected I had heard all of the albums destined to make an impression on me in 2012. And then I started up King of the Sun by Jamie Hay.

It’s an album of pure heart, a collection of songs that’s raw and organic and poignantly stripped bare. With little more than an acoustic or slide guitar, sometimes a banjo, to keep time, Jamie’s vocals take center stage. There’s so much passion and soul in his roughened voice, it grabs you and forces you to listen until the last note.

King of the Sun is quintessentially Australian in many respects. Jamie’s songs reference local towns and use the word “mate” casually. They take place in pubs, not bars. But your average Aussie bloke wouldn’t share as much of himself as Jamie does here.

It’s hard to name standout tracks, because every one is so bloody good. I was still moved by “Rabbit Hole,” the single I heard months before. “The Gift of Years” also compels, an a capella track that is so striking and brave. It’s fitting though for an album that dares to be exposed.

I feel like I can’t say enough good things about King of the Sun, so perhaps I should just say this. I haven’t gone through my recent reviews and decided what album is my favourite of the year, but I’m not sure I need to. I’m pretty sure this is it.

Image source: Hobblehoy Bandcamp

Posted on by Lauren Katulka

“Red” – TV Snow

Perth pop-rock act TV Snow have overcome adversity to release their debut album Red.

The album was recorded at a time of great excitement for the band. They were travelling around the country and keen to build on the promise they’d shown on their debut EP. But just a day after recording wrapped, tragedy struck when their bassist Ben Linden was fatally attacked by a shark off Wedge Island.

It’s a harrowing story which makes listening to the album all the more poignant. A lesser band might never have released it, but I’m glad they did. The tracks show us a group that’s so cohesive, with tight vocal harmonies and a true understanding of how their instruments work together.

I’d be lying if I said it was perfect. The songs are fun to listen to, but they’re not really as dynamic as they might have been. Few cut through as the kind of tracks you want to hear again and again. I did love the optimism of “Boy Wonder,” and I appreciate the way the strings make “I Will Dance” come alive. However I’d be hard pressed to recall the melodies of most of the other songs. Rather than being a truly impressive collection of songs, Red is the kind of album you could slip on at your next barbeque without complaints.

It’s not perfect, but Red is a fun listen. It has none of the sadness that defines TV Snow’s career right now, and it’s a fitting celebration of Ben’s contribution to the band.

Red is available digitally now and in stores from January 4.

Image source: TV Snow website

Posted on by Lauren Katulka

Parx-e Volume 3

It’s been a little more than four years since the first Parx-e compilation found its way into my stereo. The second was released with little fanfare, but I’m thrilled to have a copy of the third installment keeping me company today.

The third Parx-e album is supersized, with two discs rather than the single CD the first delivered. I suppose there was just too much talent to cram onto one! The quality certainly hasn’t suffered, with Parx-e Volume 3 serving up an enticing and eclectic mix of Aussie and international indie acts.

It’s that variety that ensures that even at a couple of hours, the third Parx-e doesn’t feel like a slog. However it doesn’t feel like we’re jerked around between genres either. The Parx-e team must have made some killer mix tapes in their teens, because they know how to put together a diverse collection of music without jarring our ears. OK, so the metalbilly stylings of Black Hayet might have jarred me just a little bit, but I think that was the point!

I was thrilled to see some of my favourite independent Aussies like Bec Plath and Catherine Traicos featured. Just as the first album did, the latest Parx-e also introduced me to some new talents like pop-rockers Crossing Romeo and playful jazz pop chanteuse Rosaline Yuen. I’m sure I’ll find myself delving into the catalogues of many of the contributing musicians.

Go Go Sapien and Steph Hannah, two of the artists featured on the disc, will play a free show Brunswick’s The Penny Black on October 19 to launch Parx-e Volume 3. The album will be officially released and available for free through the Parx-e Zine website the following day.

Image source: Parx-e Zine

Posted on by Lauren Katulka

“Falling for You” – Carmichael

Queensland’s Carmichael introduces us to his brand of electro-pop with the EP Falling For You.

While it’s billed as an EP, the recording feels a lot more like an old school single. “Falling for You” is the centerpiece, with a standard version, an “alt version,” and three remixes. That focus on one track makes the others feel like B-sides simply supporting the title tune.

“Falling for You” is a solid number though, which undoubtedly deserves its time in the sun. I was particularly impressed with the lyrics, which are far more poetic than the words we find in the average floor filler.

The stripped back coda “Time” is an exquisite bridge between the lead single and Carmichael’s creative cover of “Tainted Love.” It takes real musical instincts to reinvent a song so dramatically. This chilled out but dark take is very clever.

I’m not one for remixes or reworkings at the best of times, so for me the five versions of “Falling for You” felt like overkill. However they do help us see the title tune in new lights.

With his Falling for You EP, Carmichael’s shown he’s got a natural feel for dance pop with heart. The recording doesn’t offer a lot of diversity, but it hints at just what this fledgling artist can do.

Posted on by Lauren Katulka

“Little Father Time” – We Are The Birdcage

We Are the Birdcage first captured my imagination in March with their sweet single “Two Left Feet.” They make good on the promise I heard there with their debut EP Little Father Time.

In six tracks, the Sydney duo firmly establishes their sound. It’s folky, with gorgeous harmonies at the fore. The music is simple, but it swells unexpectedly as the tunes hit their emotional crescendo. The whole thing is really beautiful, accessible and well-crafted with few rough edges. Critics might call it too gentle and cruisy, but there’s something so appealing about the sweetness most of the tracks convey.

Not that We Are the Birdcage are incapable of digging down and finding some extra grit. “Much Too Small” is my favourite song from the recording as taps into that emotional core and ups the intensity. That extra dirt is so compelling. I loved the other songs, but adored this.

I was enjoying Amanda’s K’s vocals so much that it was a bit jarring to hear the twosome switch things up for the closing track “Carry the Fire.” It’s a gorgeous song, but that dominant male voice doesn’t quite gel with the rest of the recording. That’s really the only blemish on this EP though. Little Father Time is a gorgeous journey through We Are the Birdcage, and a hint at the brilliance that’s yet to come.

Posted on by Lauren Katulka

“It’s An Endless Desire” – Penny Hewson

Melbourne songstress Penny Hewson charmed me with her single “This One’s For You,” so I was excited to see what she’d do with a longer format. With her album It’s an Endless Desire hitting stores today, we’ve all got the chance to find out.

The single opens the disc and proves to be one of its standout tracks. Its pop sensibility easily draws us in, hinting at more melodic gems to come.

If you were expecting an album full of those catchy whimsy-pop numbers from Penny, you’d probably be disappointed. Many of the songs are low-key, even a little sleepy, until you make an effort to really listen to them. It takes catching the lyrics of these well-crafted tunes to truly appreciate this album’s depth.

“This One’s for You” might be the album’s most accessible number, but there are plenty of other jewels to be found through it. I thought “My Apology” was achingly beautiful, and I loved the equal measures of sweetness and sorrow in “Most of All.” “Higher” is a glorious way to close out the album. This song’s my favourite, a restrained and beautifully crafted number that really hits the heart.

There are probably two ways to listen to It’s an Endless Desire. You could slip it on as a party’s winding down, or you’re nursing a hangover the next day. People that do will let the gentle tunes wash over and soothe them, never moving from the background. Or you could choose to look deeper, engage with the lyrics, and appreciate the way Penny’s sweet and pure voice swells against a piano, a trumpet, or a flute.

It’s an Endless Desire is a bit of a slow-burner, but it’s a beautiful album that becomes richer with every listen.

See Penny Hewson launching It’s an Endless Desire at The Empress Hotel in Fitzroy on August 31.

Posted on by Lauren Katulka

“Glasshouse Living” – Molly Contogeorge

It took just five songs for Sydney singer-songwriter Molly Contogeorge to knock my socks off with her new EP Glasshouse Living.

The disc opens with “Lead On, Lead On,” a self-assured track which acts as the perfect introduction for newcomers. Molly takes things down a notch with the title track, but it’s an easy groove rather than a sleeper. Just when I thought I might have Molly pegged she took me somewhere different with “Lock and Key.” This brassy number shows another side, with plenty of sass and conviction. But Molly’s not all edges. The following track “Why” is a lush ballad with a palpable ache. “Off I Go” plums similar territory, but in a more minimalist way. This song proves the power of a lone voice and a piano. Without all the noise around it, those heartfelt lyrics really have time to breath.

Glasshouse Living is an eclectic mix, but Molly’s piano playing and delicate voice, dripping in soul, anchor the tracks. They show her to be a dynamic and enigmatic musician. I can’t wait to hear more!

Image used with permission from Molly Contogeorge