Category: Reviews

Posted on by Lauren Katulka

“The World Has Gone Mad” – SonOfHarry

If you think you know the extent of Harry Cleverdon’s talents, think again. He’s best known for releasing sweet, chilled out numbers that dance around the folk, pop, and country genres. They win me over time and time again, but if I could make any criticism, they’re pretty safe. So I was excited to discover a new side of Harry’s talent through his new project SonOfHarry. He’s just released his debut album The World Has Gone Mad under the moniker, and it’s the furthest thing from safe that you can imagine.

At a time when so many artists seem to be focused on creating singles, it’s refreshing to see Harry bring us a concept album here. It’s clear he’s spent some time listening to Pink Floyd in his youth. Their influence comes through in the sonic soundscapes he creates, the brief musical interludes and snippets of audio recordings that support the longer works like “Alien” and “Can Not Be This Way.” These tracks could stand alone, but they’re so much richer for their place here. Then there are the tracks like “Paradise Pt 1” and “Paradise Pt 2,” and the title track broken into three parts and woven through the EP, longer works that explore themes and musical motifs in more depth.

The World Has Gone Mad really shows a different side of Harry’s talent. It’s edgier, more experimental, and bolder. He plays with genres we haven’t seen before like blues, rock, and jazz. The lyrics are edgier than we’ve heard from Harry too. I’m not just talking about the occasional explicit lyric, although I can’t imagine those making the cuts Harry’s released before. But these songs also contain some really thought-provoking and potentially polarising social commentary.

If you’ve only heard and loved the music Harry’s released as Harry Cleverdon, it might take you a little while to embrace SonOfHarry. But give it that time. The World Has Gone Mad is very different from Harry Cleverdon’s usual material, but it’s also very good.

Images used with permission from Kick Push PR

Posted on by Lauren Katulka

“AND ALL I LOVED, I LOVED ALONE” – Clinton Kane

Clinton Kane shows he’s one of the brightest stars on the scene with his powerful new EP, AND ALL I LOVED, I LOVED ALONE. Clinton wowed me with his track “PANIC ATTACK”, but I’ve fallen even more in love with his music after hearing this EP.

These five songs show Clinton’s talents as a songwriter, multi-instrumentalist, arranger, and co-producer, but most importantly they show his heart. From the gentle pop opener “DANCING ALL ALONE” to the pop-punk-influenced “MERRY GO ROUND” that closes this EP out, Clinton’s emotions sit close to the surface. His vocals are powerfully raw, his lyrics confrontingly honest, and it makes it such a special listen. And then there’s the sound, so sonically interesting and fresh. The press release says it features “glitchy beat-craft, electronic alchemy, alternative experimentation and unassuming pop ecstasy”; I’m not sure I could say it better. It’s creative and exciting and so incredibly addictive.

AND ALL I LOVED, I LOVED ALONE is out now. Trust me, you’ll want to listen to this one.

Image used with permission from Sony Music Australia

Posted on by Lauren Katulka

“23” – Archer

After wowing me with her single “Bittersweet” a few months ago, Archer has dropped her fabulous debut EP, 23. The five tracks encapsulate Archer’s experiences as a young woman navigating relationships and her journey to adulthood.

“The whole EP explores themes of nostalgia and reflection. I guess it was just a period of my life where I was feeling really reflective and it kind of came out in my music. It’s kind of like standing still and looking at the past and the future and recognising where you’ve come from and where you see yourself going,” Archer explained. “I’ve discussed 23 being a significant number. The name of the EP came from the fact that I was 18 when I first started releasing music and now I’m 23. Again it’s just me being nostalgic and thinking about all the time that has passed since dropping Malibu and all the things that have changed since being 18.”

This EP reminds us of the importance of quality over quantity. The five tracks clock in at just over 15 minutes. It’s short and, it’s got to be said, bittersweet. The first three songs are absolute bops, anchored by electronic beats and Archer’s confessional lyrics. I’m a long way from 23, but I really connected to her words. Just when you think you’ve got her pegged as an artist, she takes a left-turn with “Slowly,” a beautiful piano-based ballad that shows a much softer side. While the other tracks got me moving in my seat, this is the one that made me really sit up and take notice. The closing track “Overgrown” makes such a strong final statement. A genre-bending number with some of the EP’s most powerful lyrics (and that’s saying something), it leaves no doubt that Archer is a force to be reckoned with.

23 is out now.

Images used with permission from beehive

Posted on by Lauren Katulka

“Here They Come” – Eliza Hull

When you put your heart into music, when you lay your soul bare and let your listeners see all parts of yourself, I don’t think you can ever go wrong. That’s exactly what Eliza Hull has done with her new EP, Here They Come. You might remember me raving about the single “Running Underwater.” It set my expectations high, but the songs that support it on this five-track EP are every bit as strong.

It’s no coincidence that Eliza released Here They Come a few weeks ago on December 1, to coincide with International Day of People With Disability.

“I wanted to release the EP during the week of International Day of People With Disability because this record is about celebrating my disabled identity; it’s about all the parts of myself I hid away for so long because of stigma,” Eliza explained. “I also want to be the representation I was seeking as a disabled emerging musical artist.”

While these songs are bound to connect with listeners with disabilities who may have felt underrepresented or marginalised, I connected with this music on a purely human level. These are songs of struggle and strength, of acceptance and liberation. Eliza is a superb songwriter with an incredible voice, and that combination is showcased so powerfully here. She keeps the instrumentation simple, ensuring we can catch every important word she sings. Every song is a triumph, from the gentle piano ballad “Stay” to the epic slow burner, “Lilac Dreams.”

I’ve sat with this EP for a few days and I am falling more in love with every listen. It really is such a special release. I’ve been a fan of Eliza’s work for many years. It feels like everything she’s done before has been building towards this. Here They Come is out now. She’ll play the following shows next year to support its release.

20 January 2024 – Sydney Festival @ ACO Pier 2/3, Eora/Sydney
17 February 2024 – Town Folk Festival @ The Bridge Hotel, Dja Dja Wurrung Country/Castlemaine
23 February 2024 – Malthouse Theatre Outdoor Stage, Naarm/Melbourne
24 February 2024 – Cube Theatre, Wiradjuri Country/Wodonga
3 March 2024 – Mordi Festival @ Peter Scullin Reserve, Boonwurrung Country/Mordialloc

Main photo credit: Simon Browne

Posted on by Lauren Katulka

“Yasmin” – Malaika Mfalme

It’s been a long time since an album moved me like Yasmin. The debut from London-born, Tanzanian/Australian artist Malaika Mfalme, it’s a powerful collection of songs exploring love, loss, and healing.

Malaika said “I wrote Yasmin during a time of immense pain. While the world shut its doors and experienced the 2020 lockdowns, I was grieving my late partner. When I began writing it, I didn’t know it would turn into an album. It was my means of coping through writing about grief, loss, and then joy, healing and finally self-acceptance. Now I feel this album can help others move through that kind of pain, removing the taboo and shame Western society places on grief.”

I knew Yasmin was a special album from the moment I pressed play. Acknowledgements of country have become so commonplace that they can lose their meaning, so I was excited to hear Malaika’s take. Creating a beautiful soundscape for her heartfelt “Acknowledgement” helped it resonate and bridge the gap between the story of this land and Malaika’s own story. They explore their own connection to the land in “Mother,” a song which references the ultimate maternal figure, Mother Nature herself. In “Dream,” Malaika reflects on their first dream featuring their late partner. “Spirit” is quiet and beautifully vulnerable, a poignant moment birthed from the depths of sorrow.

“‘Spirit’ came from a deep time of grief, so I wanted to use repetition to create new meaning,” Malaika explained. “This repetition and call and response is significant in my African culture and in history, often using techniques like this to survive horror like slavery.”

“Imagine” and “Relief” are like companion pieces that lift the soul after the darkness. The first elevates the memories that bring comfort, the second is a powerful reminder of the importance of being loved and known, if only for a little while. “Good Man” sees Malaika, a trans/non-binary artist, reflecting on gender identity and the importance of manifesting it in the right way. ”Younger” completes another piece of the puzzle, like a musical letter to Malaika’s past self and the soul icons who helped them become the person they are today. It’s only fitting that the album’s final track is a tribute to Yasmin herself, the person who inspired this collection of music.

“Yasmin was an opera singer, and I was able to incorporate all of her friends in the song. All of us singing together was such an important healing process for all of us,” Malaika recalled. “The first verse is about the pain of her passing, the second is about letting her go, and the last is about remembering her.”

The first few times I listened to Yasmin I went in blind, with my ears and heart open. Without reading the press release, I could make my own meaning from these songs. I was instantly struck by their warmth and beauty. This album was inspired by darkness, but there’s light in even the most painful moments. Reading over Malaika’s notes has made me appreciate and love these songs even more than I thought was possible.

Yasmin is out now. Malaika will launch this exceptional album tomorrow night, December 14, at the Red Rattler Theatre in Eora/Marrickville. Tickets are available now from Humanitix.

Images used with permission from Good Intent

Posted on by Lauren Katulka

Dermot Kennedy @ Sydney Opera House Forecourt, Eora/Sydney – 7 December 2023

As an Aussie Dermot Kennedy fan, I’ve felt incredibly blessed by his time in our country. A few weeks ago, I got the opportunity to see him play at the Doss House, a venue so small he didn’t even need to use a microphone. After this acoustic teaser, I got to see him again last week in the Sydney Opera House forecourt. While the room he played in the Doss House would have been lucky to hold 50 people, the Opera House forecourt holds thousands. And he sold it out. Twice.

It’s a testament to the quality of Dermot’s music that it can work in any setting. In a place like the Doss House, you can reflect on those personal lyrics. At the Opera House forecourt, backed by a full band, his words become battle cries. They come from such a deep place, and I was thrilled to yell them out as Dermot encouraged us to sing louder. Dermot is a performer that sings from his gut. He leaves nothing on the stage, delivering passionate vocals that connect and resonate.

The night was a fitting farewell to the promotion for Dermot’s album Sonder. Songs from his sophomore LP book-ended the set. While “Blossom” ends the album, it was a fantastic opener. Those newer songs were balanced by the old favourites from Without Fear. The fans who’ve been there from the beginning were even treated to “Glory,” from his debut EP, Doves and Ravens.

While I hold my memories of the Doss House show so close, it was missing one major thing for me: my husband. It was so special to see this show with him, to sing along to songs like “Outnumbered” and “Homeward” as we held hands and thought about how far we’ve come. I also thought about how lucky we were to do this during “Better Days,” a lockdown anthem that has now become so life-affirming. Last time I saw Dermot was at an indoor venue, so I didn’t feel comfortable removing my mask. Sitting on the steps of the Opera House, enjoying this fabulous music, the pandemic was the last thing on my mind. Instead, I revelled in singing the song together, to paraphrase the lyrics.

After experiencing the intimacy of the Doss House, I marvelled at the numbers who’d gathered for this show. While I always prefer a small gig, there’s certainly something special about coming together with so many people who are passionate about an artist’s music. Hearing our voices, seeing the lights of our phones, watching us move together to the beats of these songs we all carry in our hearts, was special. Doing it at an iconic place like the Sydney Opera House was the icing on the cake of this fantastic tour. I’m sure I’m not the only one who’ll miss having Dermot in our country, but we take some comfort knowing that he had such a great time that he probably won’t stay away for too long.

Posted on by Lauren Katulka

Dermot Kennedy @ The Doss House, Talla-wo-la-dah/The Rocks – 17 November 2023

Ordinarily once an artist gets to the stage in their careers where they’re selling out the Opera House forecourt, you’ve missed the chance to catch them in an intimate venue. But Dermot Kennedy is no ordinary artist. He revels in playing in beautiful places, regularly announcing pop-up gigs that complement his paid shows around the world. Last night it was Sydney’s turn to witness one of these magical events when he played The Doss House in Talla-wo-la-dah/The Rocks.

I’m still pinching myself that I got the chance to see one of my favourite artists in such a special space. A beautiful sandstone building, you can feel the history seeping from the walls. To call it intimate is an understatement. We were told just 80 of us would get in, but once we were ushered through we discovered maybe about 40-50 of us would be in the same room as Dermot. The rest would have to be content in the courtyard, peeking through a window at the action inside. I have never been more excited to take my seat in the front row, maybe 30 centimetres away from the mic stand. What a stark difference from the last Dermot show I saw at the Hordern Pavilion!

Dermot was still five hours from gracing us with his presence at that point, but with wine and conversation flowing freely that time passed quickly. Soon enough we were told we could purchase one of the limited-edition Australian-exclusive copies of Dermot’s latest album Sonder and meet the man himself. He was as warm and sweet (and let’s face it, handsome) as I could have hoped for. And then we were settled in for our special acoustic performance.

And when I say acoustic, I mean acoustic. He did away with the mic stand, deciding it was unnecessary for a space like this. His guitar didn’t need plugging in either. This is as raw as music gets, and it was wonderful. You could have heard a pin drop as he launched into recently released single “Two Hearts.” I marvelled at how special it was to experience “For Island Fires and Family” like this, in such a quiet space. He always performs that song unaccompanied, but at the Hordern there was so much chatter impinging on the moment. But here, everyone was attentive, drinking in every word, every note. The more upbeat “Kiss Me” helped us find our voices. Or perhaps it was the trays of whiskey generously passed around. Either way, the singalong continued with “Outnumbered” before we ushered out into the night. While we were told entry would be first-come, first-served, Dermot wasn’t going to leave hundreds of people disappointed so he agreed to play another set for as many of those people who would fit inside. He’s just that kind of artist.

I feel so incredibly blessed that I got to see one of my favourite artists in such a beautiful space so up close and personal. And to share it with such wonderful people. Crowds that give their attention and respect to the artist are worth their weight in gold. Dermot has a few more pop-up shows before he kicks off his Australian tour. Like the show at The Doss House, I’m sure they’ll be incredible.

18 November 2023 – Music Farmers Record Store, Woolyungah/Wollongong (FREE)
18 November 2023 – La La La’s, Woolyungah/Wollongong (FREE)
19 November 2023 – The Royal, Bundi/Bondi Beach (FREE)
21 November 2023 – Jimmy O’Neill’s, Euro Yuroke/St Kilda (FREE)
22 November 2023 – Oh! Jean Records, Naarm/Melbourne (FREE)
22 November 2023 – Thornbury Picture House, Naarm/Melbourne (FREE)
24 November 2023 – Sidney Myer Music Bowl, Naarm/Melbourne
25 November 2023 – Spilt Milk Festival @ Exhibition Park, Ngunnawal/Canberra
26 November 2023 – Spilt Milk Festival @ Gold Coast Sports Precinct, Kombumerri/Gold Coast
2 December 2023 – Spilt Milk Festival @ Victoria Park, Wadawurrung/Ballarat
3 December 2023 – Spilt Milk Festival @ Claremont Showground, Boorloo/Perth
6 December 2023 – Opera House Forecourt, Eora/Sydney
7 December 2023 – Opera House Forecourt, Eora/Sydney (SOLD OUT)
8 December 2023 – Opera House Forecourt, Eora/Sydney (SOLD OUT)
10 December 2023 – Riverstage, Meeanjin/Brisbane

Image source: own photo

Posted on by Lauren Katulka

“Revision for Regrowth” – JK-47

Bundjalung artist JK-47’s long-awaited sophomore album Revision for Regrowth is one of the most ambitious albums I’ve heard in some time. It’s a concept album, one that plays with genre and while celebrating the power of hip hop as a storytelling medium. Its lyrics are some of the most powerful I’ve heard in a while. It’s a lot to take in, but it’s so good that it encourages repeat listens.

From the opening of “Introspect” you know this is no ordinary hip-hop album. Are they panflutes? And an angelic choir? They’re not a conventional backing for a rapper’s rhymes, but they elevate JK-47’s words in an unexpected way. JK-47 continues pushing the envelope, adding string sections, harps, and other instruments rarely associated with urban music into the mix. Then we hear the sounds of the bush and an Indigenous elder speaking in native language as “ReGrowth” opens, anchoring this music to country. The bold instrumentation of “Avalanche” wouldn’t sound out of place in a modern Broadway musical. The beautiful closer “Zuriel,” an ode to JK-47’s own family, features a gorgeous piano accompaniment that wouldn’t be out of place in a jazz composition.

The songs are introspective, personal and thoughtful ruminations about acknowledging the mistakes of the past, learning from them and moving forward as a better person. They speak of JK-47’s own experiences, but also universal human experiences that resonate so deeply.

“You realise you can’t do things the way you’ve been doing them because it’s not healthy but if you hadn’t lived the experience you wouldn’t have that perspective,” he explained. “When you cut something off you gotta learn how to regrow,”

The making of Revision for Regrowth was a truly collaborative process. JK-47 worked with his long-time creative partner and ARIA-Award winning hip-hop producer Jay Orient on every track. Their ties run deep, with the pair growing up as neighbours on the New South Wales coast. Education took them in different direction, but their love of music has brought them back together. This album also features special appearances from Tasman Keith, Adrian Eagle, Emily Wurrumara, Sachem, ECB Crew, and so many more. Their voices add energy and elevate the songs they’re involved in.

Revision for Regrowth is a triumph. It’s out now. Listen up.

Images used with permission from GYRO PR

Posted on by Lauren Katulka

“Never Thought of Growing Up” – Loretta

Loretta have put a big smile on my face today with the release of their long-awaited debut EP, Never Thought of Growing Up. Featuring the brilliant singles “All My Friends (Are Your Friends)” and “Wish I Could Show You,” it’s some of the best and most uplifting indie-pop you’ll hear.

When you introduce an EP with such good songs, sometimes the rest of the recording can fall flat. But Loretta have a real knack for creating anthemic, optimistic music that gets stuck in your head and under your skin. The Eora/Sydney-based band could easily have released “Hope You’re Happy” and “How to Swim” as singles, because they’re every bit as good. Clocking in at around a minute and a half each, Loretta also show versatility with the introductory track “What Do We Become” and the beautiful instrumental interlude, “Halfway Home”. Everything works so beautifully together here, like the pieces of a technicolour jigsaw.

I have been a Loretta fan for a while, and I love to see the way they’re evolving. Notice that I very carefully avoided the word maturing there, because this is a band that retains its youthful energy. This EP is called Never Thought of Growing Up for a reason! They may have a few years on the clock these days, but they still make music that feels so fresh and fun. Right now they’re just doing it better than ever.

After waiting so long for an EP, I just wish there was a little more here. At around 15 minutes, it’s definitely one of the shorter EPs I’ve listened to. However, as more artists start extending the format into mini-albums, it’s probably not a bad thing that Loretta leaves us wanting more. Never Thought of Growing Up certainly delivers quality over quantity. I just hope a full-length album isn’t too far away.

Never Thought of Growing Up is out today. Loretta are wasting no time and kicking off a national tour to celebrate its release tomorrow. There are still some tickets available, so what are you waiting for?

4 November 2023 – Yah Yah’s, Naarm/Melbourne
9 November 2023 – Stranded Bar, Meeanjin/Brisbane
17 November 2023 – Towradgi Beach Hotel, Woolyungah/Wollongong
23 November 2023 – Oxford Art Factory, Eora/Sydney
25 November 2023 – King Street, Mulubinba/Newcastle

Images used with permission from Good Intent

Posted on by Lauren Katulka

“Public Fun – Part 2” – Raging Hormones

On the release of Raging Hormones’ Public Fun – Part 1 EP earlier this year, I found myself hoping a sequel may be on the way. My dreams have been answered with the release of Public Fun – Part 2. And yes, it’s every bit as much fun as its predecessor.

Keen fans may have noticed Raging Hormones dropping singles from their latest EP every Friday for the last few weeks. However, now that they’re all out in the world it feels like the right time to celebrate them. While every song stands alone, listening to them together is such a treat. Just like the first Public Fun EP, this one goes hard. From the moment the drums and guitars come together to introduce “River of Ants,” the band has the power turned up to 11. It’s fast and frenetic and, there really is no better word for it, an awful lot of fun. I love the punky edge of “Milk Moustache” and couldn’t resist singing along to the big anthemic chorus of “Burning at Both Ends” before long. “Winnebago” is pure nostalgic joy and the closer “Guided by Vices” has such a cool attitude and snaky bassline.

With just five tracks, it’s all killer and no filler. However, with just five tracks it’s all over too quickly. There’s only one solution; to press play again. At least until the release of Part 3. Yes, I’m daring to dream again.

Public Fun – Part 2 was released today. Raging Hormones will celebrate its release in front of hometown fans at the Evelyn Hotel in Naarm/Fitzroy on November 10.

Main photo credit: Nick Manuell