Category: Album Reviews

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

Posted on by Lauren Katulka

“Behind the Stars” – Paul Greene & the Other Colors

There’s not a lot of flash or fanfare to Paul Greene. When he releases a new album the industry barely murmurs. Yet he continues to be one of Australia’s most consistent singer-songwriters.

The rest of the music world might not be making a lot of noise about Paul’s latest album Behind the Stars, but the disc has taken up permanent residence in my stereo. It’s one of those albums that makes you want to press play again the moment that the final track ends.

I was surprised by the opening title track; it’s very different to that easy pop rock I associate with Paul Greene. That difference isn’t a bad thing though. It’s a beautiful tune, with haunting vocals and lovely lush orchestration. After that somewhat experimental number, Behind the Stars settles into a more familiar feel. Don’t mistake that familiar feel for being middle of the road. It’s a gift to create music so instantly accessible.

I found myself writing copious notes about the tracks as they washed over me. I noted the great bluesy groove of “Her Minor Key,” the striking simplicity of the romantic “Enough of You,” the no frills John Cougar Mellencamp vibe of “What You’ve Got Goin’ On,” and the cheerful mood “Bad Luck Lately” put me in.

But then I realised I could say something positive about every single track on the disc. There are no fillers here; it’s just a good honest album jam packed with good honest song writing and genuine talent. Behind the Stars is another solid stunner from Paul Greene.

Posted on by Lauren Katulka

“The Cat & The Fiddle” – Tomas Strode & The Tour Guides

I needed some cheering up this week. I’ve been battling a cold for far too long, and it’s leaving me tired and cranky. Tomas Strode & The Tour Guides managed to lighten my mood with their charming new EP The Cat & The Fiddle.

The opening title track charmed me from the get go. I loved the way the rough vocals contrasted with the song’s fairytale imagery and sweet harmonies. It captivated me from start to finish, and I couldn’t wait to hear what came next.

The problem with setting the bar so high though is that it’s difficult to hit it again. The remaining four tracks were definitely enjoyable. I loved the sweetly whimsical lyrics, which referenced nursery rhymes and children’s games. The music was also adorable, with traditional instruments complemented by real toys. But none of the songs quite captured the same magic as the opener.

Tomas Strode & The Tour Guides create really interesting music which takes the listener back to a simpler time. At its best it’s stellar, and when it’s less than that it’s still gorgeous. I’m not sure whether one of their songs will enchant me the way “The Cat & The Fiddle” did, but I look forward to hearing more of their stuff to find out!

The Cat & The Fiddle EP is available through Tomas Strode & The Tour Guides’ Bandcamp page. Victorians can see Tomas Strode & The Tour Guides launching the EP with an expanded eight-piece band at Fitzroy’s Evelyn Hotel on May 20.

Image source: Tomas Strode & The Tour Guides Bandcamp page

Posted on by Lauren Katulka

“The Grey Pelican” – Andrew Drummond

Sydney singer-songwriter Andrew Drummond charmed me this week with his new EP The Grey Pelican.

There’s nothing fancy here, but the five tracks are beautifully crafted. Andrew’s voice reminds me a little of Tim Freedman’s, although the anchoring presence of the acoustic guitar gives the music a very different feel from The Whitlams back catalogue.

The strong lyrics really struck me. I was so glad they were printed in the liner notes so I could pore over them. The words aren’t particularly pretty, but there’s an honesty about them that helps the songs pack a real emotional punch. The subject matter is very dark at times but it’s framed in such a clever way that we never feel bogged down.

The opening track “Morning Light” is a gentle introduction to Andrew’s music, beautifully built but paled by the haunting “Solitary Space” that followed. “I Can Feel You” is a particularly poignant name for the third song, as I truly could feel all the emotions that come with losing a loved one as Andrew sang about it. “Wander Aimless” was perhaps the weakest track, with repetition that started to feel tired towards the end rather than driving the point home. However the EP was definitely redeemed with the closing number “Northern Poet.” It’s such a gentle and poignant song, but sometimes the best numbers aren’t the ones that scream the loudest.

The Grey Pelican isn’t perfect, but it moved me. Andrew Drummond should be proud of these five songs. I look forward to seeing what comes next.

Posted on by Lauren Katulka

“Tall Tales” – The Perch Creek Family Jugband

The Perch Creek Family Jugband takes us back to a simpler time with their latest album Tall Tales.

Against a modern music landscape their unusual sound is a real revelation. It borrows elements of country, jazz, folk, and blues and blends them together in an exciting cacophony of sound. The instrumentation is lush and organic, with a harmonica, fiddles, piano, banjo, mandolin, and even the saw and xylophone working together in unexpected harmony.

The instruments give The Perch Creek Family Jugband’s music a great old-timey base, but the vocals and quirky lyrics provide a little modern flair. I love the way the family shares around the vocal duties. All the voices are so capable, and their various tones give the songs unique flavours. The individual vocals are strong, but when they combine on numbers like “Nobody Knows You When You’re Down and Out” and “Goodnight Irene” the harmonies are sublime.

At 15 tracks Tall Tales is a fairly lengthy album, but the variety of the songs ensures it never drags. Despite their wild differences there’s not a bad one amongst them. The upbeat singalong qualities of “The Good Old Mountain Dew” put a particularly wide smile on my face, and who could resist their stellar rendition of Cab Calloway’s “Minnie the Moocher”? The gentle strains of the final song “Matilda’s Lullaby” puts the album to bed nicely.

Tall Tales is 15 tracks of fabulous fun. The Perch Creek Family Jugband are taking the musical path less travelled, but when they produce an album of such quality it’s hard to argue with their unique approach.

Posted on by Lauren Katulka

“Sins of the Blessed” – Transvaal Diamond Syndicate

Brisbane based blues act Transvaal Diamond Syndicate grab us by the throat and don’t let go with their new album Sins of the Blessed.

It opens with the explosive “Devil on my Shoulder,” a foot stomping opening gem driven by its big slide guitar, and never really takes its foot from the throttle. The following track “I’m Your Ticket” is similarly compelling with its snarling sexiness. The third song “Blackwater” shows a different, softer side of the band. While its gentle groove takes things down a notch, it’s every bit as powerful as the high energy numbers that came before. It gives the album some real balance, allowing us a moment to catch our breath. More great numbers followed it, particularly the Charlie Daniels-esque “Pistols at Dawn” and the closing number “Cold-Hearted Killer.” This upbeat number with its throbbing bass line has a sinister underbelly which is so delicious.

At just seven tracks Sins of the Blessed is very short for an album. It’s too long for an EP, but very brief by modern album standards. However I think Transvaal Diamond Syndicate has done the right thing here. By choosing fewer tracks of real quality the Brisbane act has avoided the dreaded fillers that plague so many recordings. What’s included is swampy, gutsy, down and dirty, with a much bigger, ballsier sound than you’d expect a two-piece to deliver.