Category: Album Reviews

Posted on by Lauren Katulka

"Polarity" – The Bloodpoets

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With their debut album Polarity, The Bloodpoets have created an album that grabs hold of you and doesn’t let go until the final strains.

The opening track “Just In Time” bursts from the speakers, and the follow-up and first single “Borderline” is just as hard-hitting. This is the kind of music that demands to be turned up loud. But it’s not just the energy that appeals. They might be a band that rocks hard, but The Bloodpoets also have a strong pop sensibility. Their tunes are infectiously addictive. They’ve got their quirks to be sure, but I can imagine these melodic songs becoming mainstays of Triple M.

But there’s a lot more going on here than straight down-the-line energetic rock numbers. The natural humour of “Give It a Shot” is so refreshing. The dark instrumentation of “Straight Ahead” is interesting too. And the closer, “My Paradise” is an epic more ambitious than most would attempt on their debut album. The track is a risk, yet amazingly it works.

After playing Polarity for a few days I realised I’m actually going to see The Bloodpoets supporting The Badloves this weekend. I can’t wait to discover whether they can capture the energy of this disc in the live arena.

Polarity is in stores from October 3.

Image source: own scan

Posted on by Lauren Katulka

"Melting Moments" – Karen Jacobsen

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You may not recognise the name Karen Jacobsen, but chances are you’ve already heard her. She’s the one telling you to turn left in 100 metres on your GPS. And now, she’s released an album.

It may seem a little unexpected for a GPS voice to launch a singing career, but Karen’s actually a seasoned professional. She’s shared a stage with the likes of Norah Jones and Cyndi Lauper, and sung anthems at major sporting events across the United States. Now Karen’s stepping into the spotlight with the release of her album Melting Moments.

Karen’s voice is pure and sweet. Listening to her, I was reminded of The Corrs; there’s that same joy and optimism to the songs. There are very few edges here, although the opening track “Kissing Someone Else” does hint at a darker side. To some the lack of grit may seem like a flaw, but I think there’s something lovely about an album which lifts you up rather than dragging you down. The playful “Merry Go Round” is particularly captivating, while “So Fast” is another folk-tinged pop standout.

This is a really polished album. I was impressed to see Karen didn’t just add her pretty voice, but her production skills and songwriting prowess as well. Both are excellent. With Melting Moments, Karen Jacobsen shows us that her talents go far beyond directing traffic. Look out for the album in ABC shops from August 28.

Image source: ABC

Posted on by Lauren Katulka

"Wonder" – Lisa Mitchell

Lisa Mitchell first came to my attention as a contestant on Australian Idol. She didn’t shine in the constructed reality TV environment of cover versions and live performances, but there was something so compelling about her.

Lisa could have easily been swept up in the Idol machine. But instead she escaped the glare of the spotlight and worked quietly on honing her craft. The result is Wonder, her first full length album and a work of exceptional beauty.

The album shows how Lisa has blossomed and matured into an artist more accomplished than her years would suggest. She’s an artist of contradictions. There’s a whimsical playfulness about tunes like “Coin Laundry” and the smash hit, “Neopolitan Dreams.” Her childlike innocence is so compelling. But that doesn’t tell the complete story of Wonder. There are darker overtones to the sassy “So Jealous” and the haunting “Pirouette.” “Stevie” is spontaneous and fun, like witnessing a jam session between friends. The piano driven “Love Letter” is romantic without being twee.

Wonder never stalls or falters like so many albums. There are no filler tracks. Lisa has a knack for crafting songs that are personal and a little quirky, yet completely accessible. Put simply, this is one of the strongest debuts I’ve heard. If this is what Lisa Mitchell can create at 19, I can’t wait to see what comes next.

Images used with permission from Warner Music Australia

Posted on by Lauren Katulka

"Differently" – Cassie Davis

A few weeks ago I was concerned Cassie Davis may be a bit of a one-trick pony. While her brand of girl-power pop-rock was lots of fun, it started to sound a little samey after three similar singles. Now having heard her album Differently, I’m not the only one that’s changed her tune.

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Of course, there are girl-power pop-rock tracks galore. Fans won’t be disappointed there. But the album allows this bright new talent to showcase many more facets. “Mess of Mine” is delightfully dark. “Amazing” is a tender love song. The big brass notes of “Necessarily” would seem at home on any ska recording. “Do What I Do” is a little retro with a contemporary twist.

Cassie shows real depth here. Her voice is ballsy and powerful. She crafts commercial gems with the skill of a seasoned veteran. Differently is incredibly listenable from start to finish. It’s the kind of disc I can imagine singing along to in the privacy of my bedroom, hairbrush in hand. She might be a commercial artist, but by doing things a little differently, Cassie has created an album which stands out from the pack.

Image used with permission from Sony Music Australia

Posted on by Lauren Katulka

"The Bottom of the Lake" – Tinpan Orange

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One of the greatest perks of my job is getting a jump on amazing new music before the rest of the world. The latest disc to cross my desk and touch my heart is “The Bottom of the Lake” by Tinpan Orange.

I’d never heard of the band, but I was instantly drawn in by the whimsical cover art and the promise of mandolins and ukuleles. I’m always a sucker for instrumentation that’s a little left of centre.

This is one CD that didn’t just meet my expectations; it exceeded them. This is music that feels familiar, yet completely different from anything that inhabits radio. The sound is lush; not from studio wizardry but from the rich textured layering of instruments and vocals. For a three-piece, Tinpan Orange have one hell of a sound. Everything is perfectly measured: delicate, lilting, and warm.

Emily Lubitz is a real find, a siren with a voice so husky and inviting. Her brother Jesse’s songs didn’t gel with me as easily. I’m reminded of the way I felt when listening to george years ago, so enamoured with Katie Noonan that I struggled to appreciate Tyrone’s tracks. As with Tyrone Noonan, the songs with Jesse Lubitz up front aren’t bad. They just don’t thrill me in quite the same way.

That aside, it’s really hard to find fault with this album. It’s an exciting release, with elements of folk, jazz, and even a little flamenco. Like a patchwork quilt, no two pieces are quite the same, yet it all comes together as something magical and very special.

The Bottom of the Lake will hit record stores on August 17.

Image used with permission from Two Fish

Posted on by Lauren Katulka

"Red Leaf" by Shelley Harland

Shelley Harland’s debut album Red Leaf has found its home in my stereo for the past couple of weeks. I must admit that the first time I heard it the disc washed over me in a wave of pleasant. It was a lovely experience, but not one that compelled me to rush back.

Days passed before I gave it another spin, and then I had to give it another spin just to be sure, but I think I’ve got it. It’s not that this album isn’t accessible first time around, but it is one that gets a little richer with every listen. You need time to appreciate its understated charms.

There’s nothing flashy about Shelley’s music. In “Friday,” she’s singing about the way the drone of nine to five leaves us waiting for the weekend. In “Clouds Disappear” she recounts another ordinary day, with flat walkman batteries, trips to the laundromat, and TV dinners.

The music too is low-key. That organic sound is so appealing when everything on the radio seems to be produced and processed within an inch of its life. An acoustic guitar and a couple of strings leave plenty of room for the songs and Shelley’s ethereal voice to fill, and fill them they do.

On this album, Shelley Harland has proven herself to be a master craftsman of songs that are accessible, yet surprisingly complex. Red Leaf is a slow burner, but once it grabs you it doesn’t let go.

Image source: Shelley Harland MySpace

Posted on by Lauren Katulka

"Laser Graffiti" – The Galvatrons

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It’s a pretty gutsy move for a band to open an album with a full choir declaring “We’re here to save the world.” When these are the first lines of your debut album, it’s even riskier. Yet something about The Galvatrons makes you believe them.

Just like that dramatic opening, Laser Graffiti is an album impossible to ignore. Everything is big: the guitars, the synth chords, and ego. But that’s the point. This is a disc which takes its cues from Van Halen, Queen’s Flash Gordon soundtrack, and the pretentious hair bands of the 80s. Some might accuse it of being derivative, but it also sounds like nothing else on the modern music landscape.

The Galvatrons wear their influences and hearts on their sleeve. They may be flamboyant, but their unwavering belief in that vision encourages listeners to go along for the ride. The band captures our imagination with lyrics about driving the car too fast, staying out all night, and skipping school. Those familiar themes are so appealing to someone of my vintage who remembers hearing them first on Poison and Bon Jovi albums, and they might just inspire today’s rebellious teens.

The Galvatrons are either crazy or geniuses. No one makes a record like this today. Yet as the closing strains of the final track “Galaxy Destroyer” repeated the refrain, “We’re here to save the world,” I believed them. They won’t do it by reversing climate change or ending any wars. But The Galvatrons compel us to punch our fists in the air and remember how good music can feel, and that’s a start.

Image source: Cream; Newscom

Posted on by Lauren Katulka

"Inshalla" – Eskimo Joe

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Inshalla, the fourth album from Western Australian rockers Eskimo Joe, is sitting pretty at the top of the charts. Such a stunning debut is testimony to the band’s enduring popularity. The public’s faith hasn’t gone unrewarded, with the album delivering the goods from start to finish.

It kicks off with the current single, “Foreign Land,” a strong statement with its Eastern instrumentation and hook-laden chorus. The album doesn’t take its foot off the pedal, with the title track delivering another driving rock song. That’s what Eskimo does best, but this disc has its fair share of light and shade. “Don’t Let Me Down” is unexpectedly upbeat. “Please Elise” is another lighter slice, a love song with equal measures of desperation and cheek. “Childhood Behaviour” is earnest without being overblown, a completely convincing tale of a relationship moving from one phase to the next. Equally magnificent is the epic “Losing My Mind,” a breathtaking piece with pounding drums and relentless rhythms.

The world music influences are apparent throughout the album, adding texture without straying too far from Eskimo Joe’s reliable indie rock sensibility. The result is a disc that’s accessible on the first listen, yet a little richer with each subsequent spin.

A number one debut comes from hype and loyalty. But this is one album that deserves its dizzy ascent. Once word of mouth spreads, I’m sure it will maintain its place at the top of the charts for a few weeks yet.

Image source: Bauer-Griffin

Posted on by Lauren Katulka

"Sundancer" – The Fumes

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The Fumes are back with their sophomore album Sundancer. I must admit, before Sundancer crossed my desk, I hadn’t heard of the incredible Aussie rock duo. But this might just be the album to open up the ears of the Australian public and get them the recognition they so richly deserve.

Tunes like “Who Do You Love” and “Python for a Pillow” are straight down-the-line Aussie rock, with thumping chords, growling vocals, and a much bigger sound than you’d expect from a two-piece. These songs have such great energy on the playback, I can only imagine how they’d go off live.

But it’s when The Fumes take a step away from the mainstream sounds that their music really takes off. That’s when they show they’re much more than another pub rock outfit, derivative of Rose Tattoo or AC/DC. They find their own voice in the bluesier, more soulful numbers. “Slay the Liar” and “Cuddle up the Devil” possess the kind of cock-sure defiance I haven’t heard since The Cruel Sea. Quieter songs like “High City Lights” and “Sundancer” are so striking in their sparseness, giving us time to take a breath and revel in their beauty. And “Psychedelic Warlord” is just as much fun as the name suggests.

Sundancer is the kind of disc that hooks you from the first spin and grows richer with every listen. What a rare find.

Image source: own scan

Posted on by Lauren Katulka

My Year Without Sex – Soundtrack

My Year Without Sex sounds like it could be the latest gross-out comedy geared at frustrated American college kids. Instead it’s a heartwarming Australian film starring acclaimed actors Sacha Horler and Matt Day.

The film tells the story of Natalie, a mother of two who unexpectedly suffers a brain embolism. Physical exertion is out, and that includes sex. It’s a depressing premise, but one that the film never dwells on. The outstanding soundtrack reflects that, with Banarama’s girl anthem “Venus” standing alongside jaunty indie ditties like Little Birdy’s “You’re Beautiful” and Bob Evans’ “Don’t Walk Alone.”

The soundtrack isn’t without its dark moments. Emily Hayes’ acapella take on the gospel classic “Soon I Will Be Done” is gutwrenching, and El Perro Del Mar’s “Glory To The World” isn’t much cheerier. But these sad moments are fleeting, reminding us that the clouds always part to show sunshine.

The soundtrack to My Year Without Sex is a texturally rich album, with equal measures of light and shade. It takes a gifted director like Sarah Watt to make a film with illness at its core easy to watch. And it takes a gifted person to create a soundtrack inspired by such a dramatic muse so listenable.