Category: Album Reviews

Posted on by Lauren Katulka

“One Thousand Origami Birds” – Jack Carty

I’ve been a Jack Carty fan ever since his debut EP Wine & Consequence passed across my desk. So I’m thrilled to see the artist he’s grown in to, as showcased by his stunning first long player, One Thousand Origami Birds.

Opening up the cardboard sleeve, you know you’re in for something special. It’s beautifully illustrated with those titular origami birds swarming over landscapes. With the rise of digital media cover art has all but been forgotten, but my inner vinylphile laps up this sort of effort. It really sets the tone for an album that’s a cut above.

The laidback folky sound I fell in love with has been built upon here. It’s still driven by the gentle plucking of an acoustic guitar, but the clever use of strings and brass adds fullness and life. “Grey Sky” is the sort of soaring epic that I can imagine hearing on a Damien Rice disc. “Them There Hills” was another stand-out for me. It seems so simple with its acoustic guitar picking and foot stomping, but it stirred me like an old blues song. The soundscapes Jack paints are matched by earnest, poetic lyrics.

Anyone who’s been reading my blog for a while knows I have a soft spot for acoustic guitar loving songwriting folky musicians. But even I can admit there’s a glut of them. With One Thousand Origami Birds Jack Carty’s proven he has the stuff to stand out from the pack. This album is truly something special.

Posted on by Lauren Katulka

“When the Lights are Low” – Earl Cole

Mothers Day mustn’t be too far away, as we’re starting to be bombarded with the kind of mellow music designed to make mums everywhere swoon. Adding his voice to the mix is Perth crooner Earl Cole with his third album When the Lights are Low.

The album follows the tried and true formula followed by so many artists these days; take a collection of time honored classics and remind your listeners why these songs are so special. Michael Buble, David Campbell, and Rod Stewart have all done it many times, so why should we listen to Earl?

Happily there are a few reasons to give this local version a spin. The collection of tracks here is something special, with a few well known classics sitting alongside those that may be unfamiliar to modern audiences. It’s not the same old thing that we’ve heard on every disc of this ilk, and that variety is refreshing. Clearly Earl is a man who really knows this music, rather than one who chooses to sing what has become popular.

He’s also someone who has a real passion for the material. He’s performed these songs for years, and the confidence that comes from that intimate knowledge of the music really shines through. He sings with a real reverence for the originals, never pushing the envelope or attempting to make them hip. Some may argue that you shouldn’t cover a song if you can’t bring something new to it, but I’m not so sure.

Ballads are clearly Earl’s strength, but so many of them strung together makes the album a bit sleepy in places. I wish there were more upbeat numbers like the standouts, “Orange Colored Sky” and “I’ve Got the World on a String,” to bring a bit more lightness to the disc.

If you’ve never warmed to the music celebrated by Michael Buble, David Campbell, and performers of their ilk, there’s probably little on When the Lights are Low to change your mind. But then again, I don’t think Earl made the album for you. He knows his market, and he knows the mums of Australia are going to love this.

You can listen to samples of the album and order it through Earl Cole’s website.

Image source: Earl Cole website

Posted on by Lauren Katulka

“Circus Girl” – Susanna Carman

After listening to Susanna Carman’s new album Circus Girl several times, I’m thrilled the New Yorker decided to settle here in Australia. She creates folk music that is truly stunning, with touches of Joni Mitchell and Shawn Colvin, along with her own sweet, unique voice.

The album is beautiful in its simplicity. Most tracks only need an acoustic guitar to propel them, and even when a few more instruments are added to the mix they never overpower the tunes. There’s a time and place for a wall of sound, but these songs don’t need the extra embellishment.

With such organic presentation we can really focus on the lyrics and the stories Susanna Carman tells. “Half Of You” may be the most profound song I’ve heard about the love that flows between a woman, her partner, and her new child. The imagery of songs like “Magdalena’s Lover” and the title track is also gorgeous. As someone who gets revved by beautiful lyrics, this album really excited me.

Circus Girl is the kind of album you could easily put on as a dinner party wears down. It has just the right mellow feel, and could so easily slip into the background if you weren’t paying attention. However the more I listen to it the more I appreciate its layers and depth. Susanna Carman has created something truly special here. Look for it in stores on April 2 or preorder your copy from her website.

Posted on by Lauren Katulka

“Into The Eyes of Those Who Sleep” – The Ovals

Over the last four years Melbourne band The Ovals has built a steady following for their brand of psychedelic rock. That attention is only bound to intensify with the release of the band’s new EP Into The Eyes of Those Who Sleep.

The band is clearly comfortable in this genre; they create the kind of kaleidoscopic atmosphere that takes us back to the mid-60s. They understand about light and shade, they know how to build and song and move us just where they want us.

But I can’t help feeling like I’ve heard it all before, like I’m listening to a band that spent too much time listening to early Pink Floyd records. Perhaps I’m a bit biased as I always found those early Syd Barrett recordings lacking, but I hear the same aimlessness in The Ovals music. It’s almost as if they’re also trying to figure out exactly who they want to be, just like Pink Floyd were all those years ago.

And similarly, I can hear great potential there. In places there’s the magic that comes from four musicians that really know how to play. I can imagine that’s only heightened when the Melbourne act takes to the stage. Into The Eyes of Those Who Sleep is a good stepping stone for a band that could be something special.

The Ovals will launch their new EP at The Cherry Bar before taking it to the other East Coast capitals. You can see them at the following venues.

25 March 2011 – Cherry Bar, Melbourne
1 April 2011 – X&Y Bar, Brisbane
8 April 2011 – Oxford Arts Gallery, Sydney

Image used with permission from Show Off Services

Posted on by Lauren Katulka

Drawn From Bees Take on North America

Like many Aussies I wasn’t familiar with the music of Drawn from Bees, but this Brisbane band is making some real waves in North America with dates approaching at Canadian Music Week and South by Southwest.

Their EP Cautionary Tales for the Lionhearted will get an American release on March 1, which is sure to elevate their profile here and abroad. I gave the recording a few spins this afternoon and found it to be really mature, sophisticated stuff. The band harmonizes beautifully, and creates an amazing atmosphere which reminds me of Radiohead without the slit-your-wrists factor. While there’s certainly some darkness here, it never feels as gloomy and labored as the music the British band typically produced. The jangly guitars and rich melodies give these songs a warmth that elevates them out of the doldrums. I particularly loved “Stand Against the Storm,” which has shades of Talking Heads to it, and “Picture Show,” which builds so beautifully to a stirring crescendo.

Tunes from the EP and a few extras are available through Drawn From Bees’ MySpace page. If you like what you hear, make sure you check out what the band can do in the flesh at the following shows here and abroad!

18 February 2011 – 34B (above Spectrum), Sydney
5 March 2011 – The Manhattan Room, Philadelphia
6 March 2011 – Howlers, Pittsburgh
7 March 2011 – Euclid Tavern, Cleveland
8 March 2011 – Pearl St Grill, Buffalo
10 March 2011 – Canadian Music Week @ Bread & Circus, Toronto
12 March 2011 – Canadian Music Week @ Horseshoe Tavern, Toronto
13 March 2011 – Aussie BBQ @ Bowery Ballroom, New York
15 March 2011 – Cactus Instore, Houston
16 March 2011 – SXSW Party @ International Psych-Out, Austin
16 March 2011 – SXSW Party @ Aussie’s Bar & Grill, Austin
17 March 2011 – SXSW Party @ Dart International Music House, Austin
20 March 2011 – Dan Electro’s Guitar Bar, Houston
21 March 2011 – Reggie’s Music Joint, Chicago
22 March 2011 – Elbo Room, Chicago
24 March 2011 – Hennessey’s Hooley House, Boston
25 March 2011 – Hank’s Saloon, Brooklyn

Posted on by Lauren Katulka

“Double Crosser” – The Level Spirits

The Level Spirits first came to my attention last month with their fantastic new single “Take It Out.” Now that I’ve given their debut album Double Crosser a few spins, I’m thrilled to discover that this killer cut is no fluke.

The Level Spirits deliver good old-fashioned rock and roll. There are elements of blues, country, and rockabilly in the mix, which only add to the fun. Rather than sounding like a musical throwback, The Level Spirits present themselves as retro cool.

Lead singer Molly Jean Morrison anchors The Level Spirits’ contemporary image. She cuts a striking image with her flame-red hair, ballsy vocals, and sassy delivery. It’s hard to believe that The Level Spirits is Molly Jean’s first band, as she sings with a natural ease that suggests years in the biz. Her time in the world of burlesque has clearly served her well; she brings a raw sexuality to the band that’s really exciting.

The raucous opener and title track “Double Crosser” grabs you by the throat, demanding you to listen to what’s coming up next. And what follows is the kind of music you might expect to hear in a smoky juke joint. It’s always upbeat, but some deliciously dark lyrics add an extra layer. “Psycho For Your Love” and “Not as Much” were real highlights for me, but I daresay I’ll find a few more favourites the more I listen to the record.

The only disappointment for me was the closer, “Taste of the Same.” While it’s a solid track, it feels so much more modern and, dare I say it, generic than what had come before. I’m of the school of thought where albums should be whole, cohesive units, and this song just didn’t gel with the rest of the tunes.

Still, there’s an awful lot to dig about Double Crosser. There’s so much life to it, I’d love to see what these guys can do on stage. Sadly they’re only playing in Melbourne at this point, including their album launch at The Tote this Friday. If you’re a local, I strongly suggest you check it out!

Posted on by Lauren Katulka

“Mighty Big Light” – Steve Parkin

I didn’t know a lot about Steve Parkin when he joined Josh Pyke, Kav Temperley, and Kevin Mitchell in Basement Birds. And so when his solo album Mighty Big Light passed my desk, I expected the sort of mellow and introspective acoustic tunes this super group delivered. What I got instead was an album much richer, and much more interesting.

I really liked Basement Birds, but their music was so low key that it almost faded into the background. I was thrilled to see Steve Parkin take things up several notches here. It opens with the pared back “Lost Highway,” but then takes us to much bigger places. The soaring string section makes “California” feel a bit more epic, and “I Won’t Be” has the kind of grandeur I’d expect from 1970s Pink Floyd.

The eclectic tunes can make the disc feel a bit uneven at times, more like a disparate collection of songs than a cohesive unit. But on the flip side, we never get bored! Steve Parkin’s no musical newcomer, and his experience informs what each song needs. Listening to Mighty Big Light feels like a journey; you can’t always predict what’s coming up ahead, but it’s still a great ride.

I instantly liked Mighty Big Light, but I have a feeling I’m going to grow to love this complex disc the more I listen to it. Look for it in stores this April.

Image used with permission from Riot House Publicity

Posted on by Lauren Katulka

“Our Horse is Dead” – Heartbreak Club

After watching hours of devastating news footage from Queensland floods, I wanted a pick-me-up. After looking at the cover of Heartbreak Club’s Our Horse is Dead, with its whipped My Little Pony-esque cartoon, I knew that album was just what I needed.

And so on an afternoon where so much is going wrong in the world outside, I lapped up Heartbreak Club’s feel-good blend of pop and punk. There’s a lot of artists blending those genres in the industry these days, but Heartbreak Club certainly creates tunes that are a cut above the rest. It’s really intelligent stuff, with a few literary references waiting for those willing to listen to a lyric, and an intriguing willingness to experiment with genre.

That eclecticism is hinted at in the opener “Are You Leaving Me?” Its boisterous brass called to mind old school ska bands like the Mighty Mighty Bosstones and They Might Be Giants. But Our Horse is Dead really hits its strides with “Viva La Mala Fortuna,” a rollicking, fist-pumping ball of sunshine and synthesisers.

From this point the album which was enjoyable, if a little run of the mill, really kicks in. Heartbreak Club begin to show us what they can do, displaying the originality and depth which separates them from their contemporaries. “Depths Unseen” is a real revelation, a quirky confession of love with stirring strings, brass, the works. If you’re going to profess such intense emotions, why not do it in grand style? The stripped back treatment and playful lyrics makes the endearing “Jeepers!” another highlight.

With Our Horse is Dead Heartbreak Club delivers an album which is always solid, and often great. Listening to it makes you feel good, but it’d be a mistake to dismiss these guys as just another formulaic pop-punk act.

Posted on by Lauren Katulka

“Hearts Still Beating” – Leone Western

Hold on to your ears and prepare to listen to the tunes from Melbourne two-piece, Leone Western. This is a band that breaks the mould, which makes their EP Hearts Still Beating a thrilling but challenging listen.

There’s a real lack of polish to these guys, which is both a blessing and a curse. There’s a certain appeal to that emotional rawness, but sometimes I wished the edges were a bit smoother. The guitars are fuzzy and dirty like some grungy garage band. Wailing chords are surprisingly paired with tinny 80s style synthesisers. The combination isn’t always a harmonious one, but I have to give the band credit for trying something new.

Clearly this is an outfit still trying to figure out their sound, but it seems like they’re enjoying doing it. “Les Vagrant” is a delightfully quirky piece of retro pop, and the darker “White Pony” features some amazing vocals. With such an eclectic collection of tunes I’m not sure anyone will like every number, but there’s bound to be something here you’ll latch on to.

That makes Hearts Still Beating a great introduction to Leone Western.  It might be a bit rough around the edges, but it shows a band with a unique sound and a lot of potential.

Image source: Leone Western MySpace