Category: Reviews

Posted on by Lauren Katulka

“The Space Between” – Illy

I’ve spent most of this week crushing on The Space Between, Illy’s long-awaited sixth album. I’ve always loved the way he creates music which is so thoughtful and positive. This album’s his most introspective yet, with tracks offering a fascinating insight into his thoughts and experiences.

“The Space Between is about change. How much there is from one point to the next, and how those trips – not the destinations – define us,” he explained. “My music has always been about real life, and since last time we spoke, mine happened between albums, relationships, parties, therapy, triumphs, breakdowns, celebrations, mourning … all of it.

“I learnt a lot. About me and people around me. Who’s there for a good time, who’s there for a long time, and who was never really there at all. I learnt to keep it moving, but also to stop and appreciate where you’re at, because the one constant is change. I’m thankful for all of it. It all made this album.”

While this album isn’t as consistently upbeat as many of Illy’s other recordings, I think it’s the album we need right now when the world is so challenging. And while there’s some darker material, there are still definitely those moments to party! While I love what Illy creates solo, the collaborations on this album are really off the chain. While I have a soft spot for “Loose Ends” with G-Flip and “Lean on me” with Robinson, I think my favourite is the current single “Mirror,” featuring American singer-songwriter Wrabel. It’s so raw and powerful, a true indication of the diverse music Illy treats us to on this album.

Check out this song, but don’t stop there. The Space Between is out now.

Image used with permission from Sony Music Australia

Posted on by Lauren Katulka

“If I Leave You In the Fire” – Saint Lane

New Zealand-born, Gold Coast-based rapper Saint Lane shines brightly on his debut EP, If I Leave You In the Fire. This is an explosive debut, a collection of songs that proudly push genre boundaries and leave a strong impression on the listener.

If I Leave You In the Fire was written in the aftermath of the unexpected death of Saint Lane’s father. He describes this collection of songs as “a story of loss, grief and moving forward.”

“In 2019, my father died completely unexpectedly from acute pancreatitis with no previous health issues. I had less than an hour to make a decision for my dad to have a surgery to save his life, however he died during the surgery and I immediately felt a feeling beyond guilt,” he explained. “I felt solely responsible for the death of my dad and watching my family mourn. I believed I was to blame for our loss. The EP covers the stories and emotions of the most difficult time of my life.”

Grief is a personal and often private experience, but Saint Lane invites listeners in, encouraging them to process their own setbacks and pain along with him. The EP opener “The Fire” is a solid introduction, but the music hit the next level for me once the gospel choir kicked in, introducing the companion piece, “The Water.” This track is the EP standout for me, an uplifting work that explores the idea of rising up and moving forward with optimism.

I’ve raved about Queensland singer-songwriter Robbie Miller before, so I was thrilled to hear him collaborating on “When Did We Grow Up?” It’s got such a cool summery feel, which gives way to something darker as the tune fades out. The tonal shift seems a little jarring, but it reminds us that grief comes unexpectedly in waves. It also helps us easily move into the poignantly haunting fourth track, “The Family.” “Altar of the Heartless” is another sombre number, touching on addiction and depression. The weight is lifted with “Hickeys,” the optimistic closer which suggests better days ahead.

I love the way Saint Lane combines his rap with other influences. Adding the gospel choir, jazzy piano licks and horns, the breezy, folky strum of an acoustic guitar brings a new flavour to his sound. They make his rhymes so approachable from the first listen. I also appreciate his willingness to take risks. If I Leave You In the Fire is a ballsy debut, but that’s exactly what makes it so good.

Saint Lane is about to tour the country with Bootleg Rascal. Check him out at the following shows:

16 January 2021 – Woolly Mammoth, Brisbane
27 January 2021 – La La La’s, Wollongong
28 January 2021 – Kambri @ ANU, Canberra
29 January 2021 – Oxford Art Factory, Sydney
30 January 2021 – Rhythm Hut, Gosford
4 February 2021 – Pelly Bar, Frankston
5 February 2021 – Howler, Melbourne
6 February 2021 – Barwon Club, Geelong
7 February 2021 – Sooki Lounge, Belgrave
13 February 2021 – The Northern, Byron Bay
5 March 2021 – Miami Marketta, Gold Coast

Image used with permission from TMRW Music Group

Posted on by Lauren Katulka

“A Kingswood Christmas” – Kingswood

When I heard Aussie rock act Kingswood released a Christmas album, I wasn’t sure what to expect. The tracklist was traditional, but I was sure there had to be a modern, subversive twist. So I resisted for weeks, sticking to my reliable playlist of Christmas favourites rather than trying something new. Now that I’ve finally pressed play, I wonder why I didn’t do it sooner. A Kingswood Christmas is a festive feast of nostalgia.

From the opening piano notes of their jazzy take on “White Christmas” I realised I’d misjudged our Aussie rock legends. While their originals have rock edge, these Christmas covers pay loving homage to influences including Frank Sinatra, Bing Crosby, and Nat King Cole.

The piano is a strong presence throughout this album. It reminds me a lot of Vince Gauraldi and his A Charlie Brown Christmas soundtrack. It also gives these tunes a really festive feel. You can just imagine the lads from Kingswood singing around that piano on Christmas Day, with martinis in hand. The album moves from swinging tunes like “Let it Snow” and “Winter Wonderland” to more poignant moments such as “The Christmas Song” and “I’ll Be Home for Christmas.” While secular music dominates, Kingswood still found a place for traditional carols. Classic Christmas tunes like “O Holy Night” and “Silent Night” don’t usually do much for me, but Kingswood’s reverent versions are unexpectedly moving.

If all of that hasn’t convinced you to ditch Michael Buble this year and give our local lads a try, consider this. Profits from all sales of A Kingswood Christmas will benefit Beyond Blue’s Coronavirus Mental Wellbeing Support Service. Christmas is such a tough time for so many people, but the pandemic will no doubt make it harder. Knowing Kingswood are helping out puts another big tick beside this album for me.

A Kingswood Christmas is out now.


Image used with permission from Beehive PR

Posted on by Lauren Katulka

“Lost in Time” – Vivien Aisi

I’m not quite sure where I was when Cairns-based soul singer Vivien Aisi released her three singles this year, but I’m glad I’ve caught up with her debut EP Lost in Time. If like me this talent had passed you by, this five-track EP is the perfect introduction.

Vivien Aisi has a voice that can seemingly do anything. It sits beautifully in the fresh laid-back beat of the opening track “Kiss the Stars,” but sounds equally at home on an old-school soul track like “Yesterday.” I can imagine a classic diva like Dionne Warwick or Gladys Knight busting out this soulful ballad. A lesser artist might pale in comparison to these legends, but this was the track that reinforced to me just how good Vivien’s voice is.

As if her talents needed further reinforcing, Vivien turns her hand to jazz with “Nine to Five.” The mellow horns and that honey voice give this track such a cool vibe. So many EPs peter out, but not Lost in Time. It gains emotional traction with its poignant penultimate number “Just Leave.” Vivien’s voice is clear and composed, but there’s an undercurrent of pain in the lyrics there which is so compelling. If you’ve ever put on a brave face when a relationship falls apart, this is your song. The final number “Lost in Time” feels like a sister track to “Just Leave.” There’s a similar sadness to the lyrics, which is balanced beautifully with a funky electronic groove.

Lost in Time is such a solid debut which leaves me wanting more. It took me a little while to discover Vivian Aisi’s music, but I am so glad that I did. If you love what she does, catch her at the following venues.

16 December 2020 – Elixir Music Bar, Cairns
19 December 2020 – MusicView TV Showcase @ AJ Hackett, Cairns
31 December 2020 – White Party NYE @ Noori Beach Bar & Restaurant, Mission Beach

Images used with permission from Footstomp Music

Posted on by Lauren Katulka

“Revisions 2020” – Josh Pyke

When Josh Pyke released his album Rome a few months ago, I said it felt like the “musical equivalent of a big hug.” In such a tumultuous year, that was just what I needed. After keeping us waiting five years for a new studio album, I didn’t imagine we’d see a new recording quite so soon. Yet last month he dropped another nugget of goodness, his Revisions 2020 EP, and again we’re all better for it.

As the title suggests, Revisions 2020 isn’t quite new music. Instead, they’re B-sides from Rome which see him (mostly) reimagining his biggest hits. That might seem like a superfluous exercise on paper, but listening to it, it all makes perfect sense. There’s a certain ease in these recordings that comes because Josh knows these songs so well. Because he understands them so well, he instinctively knows how they can be improved or enhanced.

The orchestral swell of a choir adds gravitas to the powerful lyrics of “Middle of the Hill.” Slowing the song down lets us linger on each of those words a little longer, ensuring we grasp the story we might have missed on the cheery sounding folk version. The addition of Elana Stone on three of the five tracks is inspired. Her vocals are flawless, and you can sense the chemistry between them. Her inclusion gives Josh someone to play off. I can almost hear the smiles as they bring new magic to “Memories & Dust.” I’ve always felt a loneliness in “The Summer,” but with another voice in the mix it feels less so. Instead, this wistful song captures shared memories and a sense of togetherness. Elana sticks around for Josh’s take on The Jezabels’ “Endless Summer.” I love what they’ve done here. It’s a very different treatment as you might expect, but its soft sweetness is so beautiful. If you haven’t checked out Rome yet (and you really should) Josh reminds you why with his final track, a new take on its single “Doubting Thomas.”

This is all lovely stuff, the kind of EP sure to make you fall for Josh and these songs all over again. 2020 has been a hard year, but Josh Pyke’s music certainly eases the angst. If Rome left you wanting more, your prayers have been answered.

Images used with permission from Sony Music Australia

Posted on by Lauren Katulka

“Epiphonetics” – Shayne Cook

I’ve meant to write about Shayne Cook’s Epiphonetics for a while, but something always stopped me. I wrote at length how much the singles, “The Stawell Gift” and “Matters of the Heart” impressed me, so I wondered whether there was anything left to say. Yet something kept drawing me back to this album. The more I felt the pull, the more I realised I needed to tell you all what an amazing release this is.

“The Stawell Gift” and “Matters of the Heart” hinted at the eclectic sounds we might find on this album. The first is the album’s opener, a haunting track with a rock edge that instantly captivates you and makes you ache to hear more. “Matters of the Heart” is lighter and folkier. It comes much later, a sunny spot in the darkness which gives the listener a chance to catch their breath.

Listening to this album isn’t just about listening to a string of singles. Every song makes sense in its context. They’re personal tracks, exploring the life of Shayne Cook’s father, but you don’t need to know him to appreciate this music. With so many different sounds here, from the emotionally urgent, rock-tinged “Blood” to the tender “Restless Lovers,” there should be something for everyone to latch on to. While this album plays with different genres, Shayne’s voice is a compelling constant. It reminds me a little of Jeff Buckley’s, with its seemingly effortless ability to travel anywhere and touch the heart.

In the digital age, the way so many people listen to music has changed. They download the singles and discard the rest, they shuffle and skip and rarely sit with the album as a whole. Epiphonetics takes me back to a time before all that, a time when you’d press play or lower the stylus and immerse yourself in every song to come. I encourage you to press play on Epiphonetics and just let it be, experience each and every song in the order Shayne Cook intended. I know you won’t be disappointed.

Images used with permission from Annie Johnsson Publicity

Posted on by Lauren Katulka

“Home” – Ben Witkowski

2020 might have put us through the emotional wringer, but it’s been an incredible year for art. We might not have been able to see our favourite performers in the flesh, but the lockdown has forced many musicians to slow down and get introspective. That is a recipe for songwriting gold. “Home,” the debut EP from Melbourne singer-songwriter Ben Witkowski, is the latest lockdown-inspired release to capture my heart.

The EP’s name has two meanings for Ben. Of course, there is the physical place, the four walls that made us feel safe, yet imprisoned when the pandemic struck. But home is much more than that, as he explained.

“In 2020 I was feeling very lost with myself and my identity. I thought about the places where I felt most comfortable, relaxed, and the truest version of myself. These feelings didn’t necessarily come from when I thought about the house that I lived in. They were more from a whole range of experiences in my life. Experiences like when I was travelling and exploring through my incredible home country of Australia; when I was with my family, friends, and intimate relationships; and when I was discovering things about my identity by taking chances and embracing the adventure of life. With so many people taking 2020 to reassess what makes them truly feel at ‘home,’ everything just felt right to release these tracks together under that name.”

These folk songs are powerfully understated. The power comes not from big belty vocals or dramatic instrumental sounds, but from incredible, honest songwriting. Ben’s vocals are raw and heartfelt. His phrasing is deliberate, ensuring we don’t miss a word. His lyrics take center stage, cradled by beautiful piano melodies on “Who I Am” and “Rosemary,” by the delicate strains of an acoustic guitar on “Don’t Look Down.”

There’s no filler here. Every song on this five-track collection feels so cathartic. It gives voice to the experiences so many of us have had this year. It also showcases what a special talent Ben Witkowski is.

“Home” is available on all major digital platforms now.

Images used with permission from Ben Witkowski

Posted on by Lauren Katulka

“Icehouse Plays Flowers Live” – Icehouse

Icehouse released their debut album the year I was born, so it seems like they’ve always been a part of my life. I’m sure the tracks seeped into my subconscious as they blared from my parents’ radio. We didn’t own an Icehouse album though. While I liked them well enough, I didn’t consider myself a fan until I saw them support Hall & Oates in 2012. They blew the roof off the Sydney Entertainment Centre, outshining the headliners and making me appreciate them in a way I never had before. That’s how good this band is live, even now so many years past their heyday. So I was pretty excited to see Iva and the lads release a new live album to brighten up the horror that is 2020. Celebrating 40 years since the band released their debut album, Icehouse Plays Flowers Live delivers what it says on the tin, and then some.

It’s amazing to think this album was recorded at the St Kilda Music Festival on 9th February 2020. It doesn’t seem like so long ago, but listening to the rapturous crowd captured on this recording made me wistful. The band is so tight and Iva’s voice strong as they deliver those songs that made their first album one of the best debuts in history. Not just the big singles including “We Can Get Together,” “Walls,” and the iconic closer, “Great Southern Land,” but those album tracks that really deserve a spot on live sets. I wasn’t exaggerating when I told you there’s a little more to this live album though. Choice covers of David Bowie’s “The Jean Genie,” T. Rex’s “Get It On,” and Sex Pistols’ “Pretty Vacant,” three songs they used to play as an up-and-coming band, are an absolute joy.

If you’ve experienced Icehouse live, you know what a gift this album is. If you’re yet to have the pleasure, you’ll want to wrap your ears around this to understand what you’ve been missing all these years. Either way, let this album tide you over until gigs of this calibre return.

Images used with permission from Ferris Davies PRM

Posted on by Lauren Katulka

“Songs for a Long Walk” – Jack Davies & The Bush Chooks

I expected Jack Davies & The Bush Chooks to be a novelty act. The Western Australian band’s EP Songs for a Long Walk features tracks like “Loving You’s Like a Mouldy Cup of Tea” and “Half Frozen Beer.” However, I quickly learned this act shouldn’t be underestimated.

As those song titles suggest, there’s certainly humour in these tracks. The lyrics are infused with a uniquely Australian voice, that blokey one that speaks to the heart but uses laughs to make sure things never get too heavy. The walls come down completely on tracks like “Broken Glass” and the closer “Michael,” two powerful songs played straight for maximum impact.

These guys also sound like a serious band. This was my introduction to their music, but their folky sound felt instantly familiar to me. In a world where so much music is overproduced, there’s something so refreshing about a band that simply sounds like they’re jamming. There’s a warmth about the way the harmonica, piano, acoustic guitar, and other instruments come together. It’s so natural, so organic and comforting.

“Each time Jack brings the band a song, it’s like greeting an old friend you haven’t seen in a very long time; joyous, surprising, exciting and feels so right. Like a piece of you you didn’t realise you were missing,” explained one of the Bush Chooks, Elise Hiatt. “They’re raw, jangly and full of love. It’s our cup of tea made just the way we like it, mould and all. We hope it’s yours too.”

It most certainly is. Songs For A Long Walk is out now.

Image used with permission from Beehive PR

Posted on by Lauren Katulka

Greg Gould @ The Art House, Wyong – 9 October 2020

It has been far too long since I’ve posted a concert review. The last time I went seven months without a concert I was probably in my early teens. I’m not sure I’ve ever gone that long without going out somewhere fun and social, but my husband and I have been hermitting hard during the pandemic. I wasn’t sure what it’d take to give me the confidence to venture out, but The Art House nailed it with The Stage Door Cabaret Sessions.

Before I talk about the Greg Gould show, I want to let you know all about the excellent measures The Art House has in place. The show was limited to just 45 attendees. We sat at tables on the stage in our ticket bubbles, further apart than the minimum 1.5 metres required. That left plenty of space for the venue’s staff to walk to deliver drinks and plates of cheese and antipasto to our tables. You could order them from a pop-up bar in the loading dock or via SMS from our table. We loved this option as it let us avoid bar queues. We were allowed inside as soon as we arrived and exiting was staggered to help us all maintain that vital social distance when we left.

The tables on the stage weren’t the only thing topsy turvy for this show. We entered and exited via the stage door, rather than the main entrance. A red carpet laid out for us made us all feel like VIPs. We used the bathrooms in the dressing rooms rather than those in the foyer. These changes made this show feel so special and gave us a new perspective of the theatre we all love.

The show started with a speech from Art House executive director, Anne-Marie Heath welcoming us back to the theatre and explaining the tradition of the ghost light, a light that traditionally stays on while a theatre is unoccupied. The Art House’s ghost light has lit up the theatre for seven months as the staff cancelled and postponed shows. What a thrill to toast to the Art House as that light went out.

And what a show to open the Art House with. Greg Gould has such an incredible voice, which could really shine in this intimate setting. It was his show, showcasing music from his current covers album 1998 and a few other choice cuts, but his special guests Andrew Worboys and Melanie Lewin were every bit a part of the show. Andrew Worboys provided piano accompaniment but also showed off his own vocal chops when Greg decided to tinkle the ivories. Melanie sang with Greg on his cover of “How Do I Live” on this album, but she showed her talent singing the parts of some of Australia’s most acclaimed female vocalists including Tania Doko and Prinnie Stevens. Greg and Mel are old friends, and their chemistry on stage really made the night something special.

1998 was an exciting time for me. It was my first year of university, that time when I really felt I was leaving my childhood behind and discovering my independence. Listening to songs from that period is such a nostalgic experience. Greg’s covers are so clever. He gives each song a new identity without straying too far from what made it great. And he’ll always out-sing a Britney Spears! I particularly loved his versions of “Together Again” and “Buses and Trains.” And that TLC medley had me wanting to violate that covid-safe no singing rule!

The Art House is showcasing the talents of other Central Coast talents like Greg, Mel, and Andrew at its The Stage Door Cabaret Sessions every Friday and Saturday night for the next few weeks. Tickets are incredibly limited to keep the events covid-safe, but I thoroughly recommend them if you’re anywhere near the coast! Head to The Art House website for all the details.

Image source: Stephen Katulka