Category: Album Reviews

Posted on by Lauren Katulka

“So She Says” – Mark Boulle

I first fell for the tunes of Mark Boulle through his work with the Haba Dudes, so I approached his solo effort So She Says with great interest. Happily this solo endeavor doesn’t disappoint.

With this album Mark’s been able to flex his creative muscles in a new way. You can’t completely take the gypsy out of his sound. “Gold Coast” in particularly feels like it could have been lifted from a Haba Dudes record. But in general the sound is a bit more mainstream with its blend of pop, rock, and blues.

At his heart Mark is a songwriter. His vocals aren’t the prettiest, but the truth in the words he writes give the songs a real beauty. I loved the relatable story of “On the Brink,” which tells the tale of a girl feeling like her life just isn’t what she wants. I felt the heart in “Sweeter Deeper,” and found the jaunty melody of the title track irresistible. The Tender “Hold Your Head Up” is a beautiful closer with a great take home message of keeping courage when you’re feeling up against it all.

These heartfelt tunes are matched with a bare bones treatment. It was cut at Mark’s Gold Coast home, and that lack of studio frills really serves the songs well. That rawness allows the lyrics to come to the fore, and that’s where he really excels. I think a studio might swallow these songs up. So She Says is an album with some rough edges, but that’s one of its real strengths.

Image source: CD Baby

Posted on by Lauren Katulka

“Ghosts of the Past” – Eskimo Joe

I came to Eskimo Joe a bit later in the game. I was always aware of their music through the radio, but it wasn’t until the release of Inshalla that I really connected with the band. So I was pretty excited to see what they served up with their newie, Ghosts of the Past. The single “Love is a Drug” set the bar high, but sadly I’ve got mixed feelings about the disc.

It’s really hard to put my finger on exactly why I haven’t connected with this recording. It sounds gorgeous. Eskimo Joe are a talented trio, and they’re probably incapable of making bad, or even mediocre, music. This disc is really piano rich, and that gives the album an epic feel. It helps the music soar and elevates it beyond the guitar-rock the band used to deliver.

And there are some really great songs here. “Gave it All Away” is such a strong opener, with its big rock sounds and crashing drums. I loved the quirkyness of “Echo,” which has one of the most unusual and compelling melodies I’ve heard in some time. The title track seems destined to become a single. It’s got just the right combination of rocking riffs and melodic hooks to appeal to the MMM set.

A lot of the disc is quite big, but I prefer it when it’s less grandiose. The alt-country feel of “Just Don’t Feel,” with its acoustic guitars and rich strings, was like a breath of fresh air. And I was initially struck by the simplicity of the closer “Sky’s on Fire.” The initial portion feels like it was recorded on an eight-track in a bedroom. That lack of polish gave it a real truth, so I was disappointed when this track too became big.

Frankly I could listen to an album of the small stuff, and that might be where my problem with Ghosts of the Past lies. This album sounds incredible, but such refinement comes at the expense of some soul. The lyrics are really strong, but it’s difficult to focus on them with so much else going on. It’s interesting that Eskimo Joe gave fans a preview of this album with an acoustic tour. Personally I think that stripped back delivery would have made these songs much more compelling than the wall of sound the band’s offered here. Ghosts of the Past is far from a bad album, but it’s not quite the record it could have been.

Image source: Eskimo Joe website

Posted on by Lauren Katulka

“Yearlings” – Dead Letter Chorus

I’ve been having a love affair with Dead Letter Chorus all year, happily devouring each single released as I awaited the release of their sophomore album Yearlings. With the big day still a week away, I was thrilled to sample it before it hit stores.

My expectations were very high, but Yearlings met them. It had me from midway through the first track “Covered in Snow.” The sound was just so lush and rich, with stunning harmonies and epic notes behind it. This track really set the standard, but there was more goodness to come.

I loved the quietness of tunes like “Underdog” and “Gently Weeping,” songs that were so intimate and beautifully crafted. “The Changing Tides” moved me with its heartfelt lyrics, and it was good to hear the playful single “Run Wild” without that annoying Toyota ad behind it!

The only disappointment for me came with the closer, “Edge of Town.” It’s not that this soothing alt-country lullaby was a bad track, but it made the album sort of peter out. I hoped to be stirred by the disc one more time, but instead I was left wondering “Is that it?”

The good thing about an album though is that you can always replay it if the ending doesn’t quite hit the spot. And I’ve played it many times, savouring the ethereal sweetness of Gabrielle Huber’s voice, the quiet strength of her band mate Cameron Potts’ vocals, and the gorgeous music they make with the rest of the Dead Letter Chorus. Yearlings isn’t the perfect album, but it comes awfully close to it.

Yearlings hits stores on August 26.

Posted on by Lauren Katulka

“GoodTimes” – Eagle and the Worm

GoodTimes is one of those albums that immediately raises your expectations. The title of this Eagle and the Worm album promises positivity, and for the most part it delivers.

I must admit though, I wasn’t really sure when the opener “Summer Song” played out. Its name sounds upbeat and optimistic, but the tune while accomplished was also a bit more atmospheric and inaccessible than I’d imagined it. I could appreciate it as a standalone song, but it seemed like a really strange choice.

Thankfully things heated up with the second track, “Futureman.” Its summery feel, lazy slide guitar, and warm brass tones were exactly what I imagined when I saw the album’s title. “All I Know” continued that party vibe. It felt exactly like the sort of tune you might bust out after a few tequilas.

For me the disc took a turn for the worse with “Not Coming Home.” It really felt a bit too psychedelic for the rest of the recording. Perhaps it was intended to represent the point of the party where certain guests are dropping acid, but just as it’s hard to relate to someone else’s trip it was all a bit inaccessible for me.

“1 to the 4” brought the album back for me. It’s that perfect end of the party slow dance song, where after some liquid courage you finally find yourself in the arms of that person you’ve been eyeing all night.

GoodTimes is one of the most evocative albums I’ve heard in some time. Its tunes take me to places and evoke feelings, and that’s really a cool thing. But it’s sad that it kind of drifts off at the end. Perhaps that’s just representative of the way most parties turn out, but it seems a band should be able to sustain themselves on an album without resorting to fillers, particularly when it’s just ten tracks long.

Despite that though, I love this album’s organic, spontaneous feel. It was recorded in bedrooms and loungerooms, and that really shows. It’s a bit rough in places, but that makes it feel very honest.

I can imagine GoodTimes becoming my summer soundtrack. I don’t even like that season, but there’s an energy about this music that has me craving it.

Posted on by Lauren Katulka

“Roslyn” – Rackets and Fives

Western Australia seems to have the market cornered on interesting folky music. From more established acts like John Butler Trio and The Waifs to newer discoveries like Tim Nelson and the Infidels, I’m finding a lot to like out west. And now a new name has caught my attention, as this week I learned about Rackets and Fives and their album Roslyn.

This disc is really ambitious. There are tunes here that are so removed from anything else I’m hearing lately, and that’s really exciting. I must admit, I found a difficult to latch onto it at first, but the more I listened to it the more I liked it.

Roslyn certainly isn’t a perfect album. It lacks a certain cohesiveness. An album can be eclectic but still feel like a complete unit, but this one seemed more like a disparate collection of songs. Some tracks didn’t quite hit the mark for me, yet others bowled me over. And when you can get that latter reaction from several songs on a debut, independent release, I think that’s admirable.

“Ellis Island” was the one that first made me sit up and really pay attention. The strings really lifted it into a new place that was so exciting. I was similarly moved by another internationally titled track, “London Town.” It started out haunting, with a quiet power that grew with an amazing intensity as the track unfolded. “Storm Surge” was rollicking good fun, with some of the most exquisite harmonies I’ve ever heard. And “The Confederate Gold Stand-Off Saga” is as epic a closer as its name suggests. It takes you right back in time with its furious fiddles and ominous lyrics.

As I write about these tunes now I’m getting excited about them again, which really tells you a lot about their quality. With Roslyn Rackets and Fives might not have made the perfect album, but they’ve shown they’re a band with an awful lot of potential.

Image source: Rackets and Fives Bandcamp page

Posted on by Lauren Katulka

“I Know This Now” – Timothy Nelson & The Infidels

After being impressed by several singles, I couldn’t wait to sink my teeth into I Know This Now, the debut album from Timothy Nelson and The Infidels. It’s been a disc I’ve anticipated for several months, so I can only but imagine how folks in the outfit’s home state of Western Australia have felt. However thankfully for us all, it’s been worth the wait.

Timothy Nelson is far from a household name, but he’s been carving out a solid career in WA over the past five years. There he sells out venues, he earns top support slots, and he’s even won the WAMi for song of the year twice. Not bad for an artist who’s only just turned 21.

Given his tender years, I think this album has been worth waiting for. It’s given the long player a very accomplished feel. There’s an easiness to it, an awareness of craft, that we don’t often see in a debut. Don’t mistake that skill for artificial polish though. It’s folk with a little bit of rock edge that comes from Tim’s earnest vocals. The lyrics are also exceptional, as we might expect in an artist lauded for his songwriting. The songs are approachable, but the use of harmonicas and lap steel guitars ensures the music still feels unique.

I wrote more notes about this collection of songs than I think I’ve done all year. That’s a testimony to their quality. There really are no filler tracks here, and just when I thought I’d found my favourite I heard another determined to change my mind. At this point I think “All For the Good of Love” might have the title. Its lyrics were amazing, and these words and the fairly minimal instrumentation helped me feel this song to the core. That sort of connection is pretty special. But I also loved the Whitlam-esque piano driven quirk of “You Don’t Know What You’re Waiting For,” the romantic modern waltz “Speak The Truth in Love,” and the irresistibly hooky “Let Her Go,” which had me singing along with the chorus well before the end of the song.

Timothy Nelson & the Infidels may just be one of Western Australia’s best kept secrets. Thank goodness the rest of Australia is finally able to discover this talented band.

Posted on by Lauren Katulka

“Blood Thinner” – Jordie Lane

I’ve been enjoying a lot of back-to-basics music lately, but few artists strip things back as much as Jordie Lane on his sophomore effort, Blood Thinner.

Jordie recorded the disc in hotel rooms and basements on a four-track machine, with whatever instruments he could get his hands upon. His acoustic guitar and harmonica drive these tracks, but they’re complemented by all manner of unusual music makers, including wine glasses and Tupperware containers. It sounds quirky in principle, but the result is an album that feels far from gimmicky.

With this release Jordie presents himself as a troubadour in the vein of the dearly departed Tim Buckley. There’s a similar emotional core to this music, but I also hear overtones of Neil Young and Bob Dylan in there. He’s an old soul, whether he’s writing music that feels wiser than his years or separating his CD into sides A and B.

The songs are an easy marriage of folk and blues, gentle and unadorned. The simple recording process captures a moment in time, and you really hear that immediacy in the tunes. “Thin My Blood” takes me to an open desert highway, a scene where the world whizzes by from a car window. The title of “On the Net Till Morn” seems very modern, but the track itself takes its sound right back to the birth of blues. I also loved “Not From Round Here,” a gorgeous tale of isolation exquisitely told with just a little finger-picking on the guitar and some plaintive lyrics.

There’s a real beauty to Blood Thinner that I think might only be realised after a few listens. But from that first spin there’s a truth and a talent to what Jordie Lane does. If you’re impressed by this disc, or just keen to discover what it’s all about, you can see Jordie in the flesh on his upcoming tour. It kicks off in Ararat on Thursday and travels all the way around the country.

21 July 2011 – Ararat Hotel Red Room, Ararat
22 July 2011 – Harvester Moon, Bellarine
23 July 2011 – Baby Black Café, Bacchus Marsh
24 July 2011 – Lot 19, Castlemaine
27 July 2011 – Front Gallery, Canberra
28 July 2011 – Wickham Park Hotel, Newcastle
29 July 2011 – The Vanguard, Sydney
30 July 2011 – Grand Junction Hotel, Maitland
31 July 2011 – Lizottes, Kincumber
4 August 2011 – Beetle Bar, Brisbane
5 August 2011 – Joe’s Waterhole, Eumundi
6 August 2011 – Mullum Civic Hall, Mullumbimby
11 August 2011 – Westernport Hotel, San Remo
12 August 2011 – Corner Hotel, Melbourne
13 August 2011 – Barwon Heads Bowling Club, Barwon Heads
14 August 2011 – Old Hepburn Hotel, Daylesford
17 August 2011 – The Loft, Warrnambool
18 August 2011 – The Wheatsheaf, Adelaide
19 August 2011 – Indi Bar, Scarborough
20 August 2011 – Norfolk Basement, Fremantle
21 August 2011 – Settlers Tavern, Margaret River
7 September 2011 – Deck Bar, Darwin
8 September 2011 – Mindle Beach Markets, Mindle Beach
9 September 2011 – Darwin Railway Club, Somerville Gardens
10 Setember 2011 – Jabiru Mahbilil Festival, Jabiru
11 September 2011 – Darwin Sailing Club, Darwin

Image source: JB Hi-Fi website

Posted on by Lauren Katulka

“Traitor” – Inland Sea

It took just five tracks for Brisbane’s Inland Sea to make a massive impression on me. Their debut EP Traitor is truly something special.

The gorgeous harmonies are what struck me first. Perhaps that’s not surprising, as more than half of the band of ten (yes, I said ten) are vocalists. Their voices come together beautifully, creating a wall of sound the likes of which aren’t often heard.

I was also impressed that a band of ten could create music which didn’t sound cluttered or overdone. Everyone in Inland Sea seems to know their place, and they ensure the mix never gets too complicated.

This feels like the sort of music that hippies might have made while they were communing with nature in some rural setting. Rather than feeling dated, it has that organic and joyful quality to it that I associate with that time period. It’s pure and innocent, with its uplifting lyrics about hearts beating together and jangly folk sound. It feels spontaneous too, as if it came about in a jam session rather than a hard slog in the studio.

Every song is a standout, a tune that draws you in and speaks to the heart. I must have played this disc five or six times today, and I’m still not ready to take it out of my stereo. This EP will be a hard act to follow, but I’m really psyched to see what Inland Sea can create next.

Posted on by Lauren Katulka

“Busby Marou” – Busby Marou

The charming music just keeps finding its way onto my desk. Busby Marou wowed me with their version of “Better Be Home Soon” on He Will Have His Way, and I was impressed when I heard my first taste of their original material with the single “Biding My Time.” So my expectations were high when Busby Marou’s self-titled album album crossed my desk. Perhaps not so surprisingly, this Queensland-based duo has delivered just what I hoped they would.

This is really is back to basics music, without frills or gimmicks. In a world where Lady Gaga reigns supreme, that organic approach to music is really like a breath of fresh air. It makes this disc feel instantly familiar. It uses elements we know but don’t hear enough of these days; simple but beautiful harmonies, the driving force of an acoustic guitar, and honest lyrics that paint moving stories.

It’s a really assured debut album. Busby Marou may not have recorded a full-length disc before, but they know their craft and their instruments. It’s very polished, but not in the artificial way we see so often in the music industry. It’s just really good.

Ordinarily I have instant favourites when I listen to a disc, but it hasn’t worked that way for me this time around. I found myself appreciating the way the voices melded together in one song, the faultless guitar picking in another, but it really all works as a cohesive collection of music rather than a series of obvious singles.

Busby Marou’s self-titled album is quite simply one of the best recordings I’ve heard all year. Seek it out; I promise you won’t be disappointed.

Busby Marou hits record stores today.

Posted on by Lauren Katulka

“Talk The Night Away” – Daniel Lee Kendall

Daniel Lee Kendall impressed me with his debut EP Lost in the Moment, so I had high hopes for his follow-up, Talk The Night Away. Happily, the Central Coast singer-songwriter didn’t disappoint.

Again Daniel charms us with his folky organic music, but it’s better the second time around. He’s grown as an artist. Where some of the pleasantly soothing tunes got a little sleepy in his first EP, here we see more focus on hooks and melody.

I adore the acoustic rhythms of “My Love to Be.” The driving beat is perfect for road trips. It could be Mondayitis talking, but it makes jumping in my car, taking off down the freeway, and seeing where I end up sound pretty tempting. “Gone” is one of the most heartbreakingly honest songs about love gone wrong that I’ve heard. When a musician can create something so powerful with only his acoustic guitar and his words, it’s something special. “Never Changing” is a perfect closer, a playful, laidback musing on life that is reminiscent of Ben Harper or early Jack Johnson.

With Talk The Night Away, Daniel Lee Kendall has made good on the promise he showed with that first EP. Bring on the long-player; five tracks just isn’t enough to satisfy!