Category: Reviews

Posted on by Lauren Katulka

Thirsty Merc @ Lizotte’s, Newcastle – 16 November 2018

I first saw Thirsty Merc way back in 2004, when they supported Maroon 5 at the Gaelic Club. Incidentally Maroon 5 were bland, failing to excite me the way their debut album Songs About Jane did. I became an instant Thirsty Merc fan though. I’ve seen them countless times over the last 14 years, but I think last Friday’s show at Lizotte’s might just be the best.

Owen Campbell warmed up the stage, delivering a stellar set of swampy blues. Brian Lizotte had given him a big wrap before he stepped out, and he certainly lived up to that hype. Originals made up the bulk of his set, but they were so good that it didn’t matter that we couldn’t sing along. While the originals slayed, a cover of Van Morrison’s “Crazy Love” was a real highlight for those of us in the know. As I listened to Owen play I noticed there was none of the murmur that normally hums in a room while support acts play. I think most of us were as transfixed as I was on his set. Either that or they were just too busy filling their face with some of Lizotte’s legendary food.

I might not have used my voice much during Owen Campbell’s set, but I made up for it during Thirsty Merc’s. What a treat it was for long-time fans like me. “Undivided Love,” a personal favourite my husband and I can’t remember hearing live, came out early. Another favourite we never expect to hear, “Build A Bridge” was delivered with such passion. A crowd request for “Tommy and Krista” was another highlight. A slowed-down version of “My Completeness” revealed the tenderness of the lyrics. Not that there wasn’t anything for casual radio fans though. Thirsty Merc delivered hits like “In the Summertime” and “20 Good Reasons” with just as much gusto as the more obscure numbers.

I joked to my husband as we left that it’s almost as if the band had intel on exactly what he’d want to hear. A killer set takes you a long way towards a great show. But there was something more at play. Rai told us how much he loves Lizotte’s, so maybe the joy that comes from playing a favourite venue played a part. Perhaps the lads are simply enjoying playing a bit more now they’re not touring as relentlessly as they used to. Whatever the case, I’m so glad I caught the show. If you haven’t seen Thirsty Merc before or it’s been a while between shows, check them out on their Summer 2018 tour. Right now it seems they’re better than ever.

23 November 2018 – SS&A Club, Albury
24 November 2018 – Mulwala Ski Club, Mulwala
25 November 2018 – One Electric Day Festival, Werribee
30 November 2018 – O’Donoghues, Emu Plains
1 December 2018 – Bathurst RSL, Bathurst
7 December 2018 – Moruya Waterfront Hotel Motel, Moruya
14 December 2018 – Days of Summer, Chelsea Heights (with Daryl Braithwaite)
15 December 2018 – The Palms @ Crown Melbourne
Southbank (with Daryl Braithwaite)
28 December 2018 – Laurieton United Services Club, Laurieton
29 December 2018 – Moonee Beach Tavern, Moonee Beach
30 December 2018 – Coolangatta Hotel, Coolangatta
31 December 2018 – The Ville Resort-Casino, Townsville

Image source: Stephen Katulka

Posted on by Lauren Katulka

“Baby It’s Christmas” – David Campbell

I read somewhere recently that once Halloween is over, it’s time to embrace the festive season. I haven’t trimmed my tree yet, but I’m almost done with Christmas shopping (yes, I’m one of those stupid organised people) and I’ve been happily blasting David Campbell’s new holiday album, Baby It’s Christmas since its release a couple of weeks ago.

I honestly wonder why it’s taken so long for DC to release a Christmas album. His performances at the Melbourne Carols by Candlelight are among the show’s highlights each year. And I’ve always seen him as our answer to Michael Buble, an artist who regularly tops the Aussie charts each year with his own Christmas release. He’s got a similar old-school sensibility, with bucket loads of charisma and a smooth, effortless voice.

Baby It’s Christmas is a wonderful collection of seasonal favourites delivered flawlessly. Cheery opening track “Holly Jolly Christmas” sets the scene, putting a smile on your face before the swinging title track, “Baby It’s Christmas,” penned by our own Rick Price, kicks in. Originals are always a bit risky on a Christmas album, but this one already feels like a classic. Anyone who loved David’s Swing Sessions albums will appreciate the inclusion of classic material in a similar vein like Dean Martin’s “I’ve Got My Love to Keep Me Warm” and Harry Connick Jnr’s “When My Heart Finds Christmas.” Most of the album keeps things light, with upbeat favourites like “Jingle Bells,” “Rockin’ Around the Christmas Tree,” and “It’s The Most Wonderful Time of the Year.” But purists will appreciate the inclusion of some traditional carols. Tracks like his gospel-inspired “Silent Night” and “O Come All Ye Faithful” let DC really showcase his vocal prowess.

I think Michael Buble’s Christmas album is getting a little tired after seven years. I think it’s about time his annual silly season stint at number one came to an end. Baby It’s Christmas is a worthy successor. It’s in stores and your favourite digital outlets now.

Image used with permission from Sony Music Australia

Posted on by Lauren Katulka

“Canyon Songs” – Slow Fades

Slow Fades showcase a classic sound and songwriting skills with their new EP Canyon Songs.

This six-track EP is a new release out of Melbourne, but it wouldn’t surprise me if it was penned in Laurel Canyon in the 1970s. Did the guys from Slow Fades manage to time travel and rub shoulders with talents like Carole King, Neil Young, and the Eagles? I can’t confirm or deny it. References to Aussie icons like eucalyptus root this music here at home, but the classic blend of piano, drums, and jangly guitar gives these songs a great Americana feel.

Vocalist and key songwriter Ben Birchall has an easy vocal style which reminds me a little of Tom Petty or Bob Dylan. The lyrics too have a similar poetic appeal to those created by these artists. These “Canyon Songs” are full of those lines that you chew on, turning them over and marvelling at them before something equally as impressive catches your ear.

Six tracks doesn’t give us a lot of time to get to know Slow Fades, but this EP really serves as a great introduction. It’s got upbeat crowd pleasers like opening track “Leave the Canyon” and more subdued, introspective numbers like “Vikings.” “Fall, Fall, Fall” oozes regrets, while “My Damn Life” celebrates existence. It’s all about balance.

Canyon Songs feels a bit of a throwback, but that’s far from a bad thing. It’s available today. Slow Fades will play a hometown launch show at the Thornbury Theatre on November 25.

Image used with permission from RiSH Publicity

Posted on by Lauren Katulka

Nathan Cavaleri @ The Rhythm Hut, Gosford – 4 November 2018

When Lizotte’s closed the doors of the “cubbyhouse” in Kincumber around three and a half years ago, I worried the Central Coast might start missing out on shows. I don’t mind driving up and down the Pacific Highway if I need to, but there’s something so lovely about seeing gigs close to home. Rather than missing out though, other venues have stepped up to fill the void. Laycock Street Theatre is securing more musicians, and Wyong’s built The Art House. These venues are wonderful, but they don’t quite have that welcoming, comforting quality a night out at Lizotte’s had. So last night I was thrilled to discover a venue that does: The Rhythm Hut.

I’ve been intending to visit this Gosford arts space for some time, but the stars never quite aligned. When I was offered a pair of tickets for the Nathan Cavaleri show last night, I couldn’t refuse. The Rhythm Hut isn’t like most music venues. You feel like you’re heading towards someone’s house for a backyard barbeque rather than performance space as you walk down the steps to its outdoor patio area bordered by succulents. Inside there are mismatched couches at the back and along the sides and pillows and beanbags around the front near the stage. One half of the bar is for drinks, like the local Six Strings beers and decent wine served in real glasses, while the other serves hearty dishes and desserts. Last night it was vegetarian or chicken paella and brownies, but I hear the menu changes depending on what the volunteers make.

That’s right: volunteers. The Rhythm Hut is a non-profit performance space. When it’s not hosting local and international musicians, there are open mic nights and drumming workshops. Everyone seems to know everyone, and even if you’re a newcomer you’ll feel you’re going home part of the community. The hosts encourage the audience to make new friends between acts. So it seemed totally natural that I got chatting to the gentleman next to me and his adorable long-haired chihuahua. He wasn’t even the only dog enjoying the music.

This unique space really was the perfect venue for this show. Support act Dylan Wright might have gotten swallowed up in a larger venue, but here you could have heard a pin drop as he delivered his spine-tingling folky tunes. His original songs were outstanding, but I couldn’t help smiling at his slowed-down take on Rick James’ “Super Freak.” I was excited to see Nathan, but I must admit I was a little disappointed when his set ended. I snapped up his EP so I can listen more. I’m an instant fan.

Nathan Cavaleri has been out of the spotlight in recent years, but when I was growing up he was a household name, the cute kid who had leukemia and a natural gift for the guitar. It’s a gift that has taken him all over the world and seen him share bills with BB King, Elton John, Robert Plant, and Jimmy Page, to name but a few. As you can imagine, now all grown-up Nathan has some stories to tell. While there were the superstar anecdotes, he wasn’t afraid to reveal more personal tales of his battles with anxiety, depression, and self-doubt.

The stories helped punctuate a set that was truly something special. With good mate Kenny by his side, Nathan left no doubt that the guitar skills he showcased as a kid on numerous TV shows haven’t gone anywhere. In fact, he might play even better now, combining his natural flair with a dirtier blues sensibility. Originals sat comfortable among tributes to his influences, including Ben Harper, Fleetwood Mac, and of course, the great BB King. They were played with such joy and the whole crowd responded, whether they were nodding their heads from their seats or dancing with wild abandon around the sides of the venue.

Last night Nathan Cavaleri put on one of those performances that just feels good for the soul. I can’t imagine a better venue for this show or to wrap up his “Demons” tour. It felt like a house party, one of those nights where someone has a guitar and starts to jam spontaneously. Except as we all know, Nathan is much handier with an axe than your average party guest.

Image source: Stephen Katulka

Posted on by Lauren Katulka

“Griefers” – As a Rival

Diamonds are created under pressure. It’s true in the world of science, but it’s often the case in the music industry too. A lesser band might have crumbled when challenged to complete 50 demos in a two-month period. But Melbourne punk rock act As a Rival thrived under the pressure, creating a rich collection of songs that honed their craft and helped them evolve their sound. Only the 12 best made it to their new album Griefers.

Having so many superb songs to select from ensures this album is one of absolute quality. No tracks feel like fillers. Every one is a stand out, from the bold opening track “Broken Compass” to the politically-charged closing number “Divide Us.” The anthemic single “What We Got” remains one of my favourite tracks, but it faces stiff competition from “Atom Bomb” and “Head in the Clouds.” Ask me next week after a few more listens and I might tell you I’m into something else, such is the quality of these tracks. Each one smacks you in the face with its frenetic drumming and big chunky guitar chords. They’re so insightfully written, with lyrics brought to life by the powerful vocals of frontman Pete Cerni.

Griefers is an album you just can’t ignore. It barely takes its foot off the pedal, whisking you along on a wild ride that you’ll want to take again and again. Forget about what you’ve heard about that Difficult Second Album Syndrome. As a Rival make it look easy here.

Griefers is available from your favourite digital retailers today.

Image used with permission from Collision Course

Posted on by Lauren Katulka

“To Love You” – Glades

It seems like forever ago that Sydney band Glades burst onto the scene with their track “Drive.” Now two years later they’re showcasing their addictive electronic pop sound on their debut album To Love You.

“Nervous Energy” is the perfect introduction to this collection of songs, with lush electronic layering, powerful and emotional vocals, and a clap-along beat. Glades are so skilled at creating upbeat alt-pop ditties that put a smile on your face, whether they’re spreading positivity in a song like “Do Right” or dissing someone in “Not About You.” Tracks like “80 Miles” and “Neon Buzz” are real charmers, with the rebellious, romantic spirit that will take even the oldest listeners back to those heady days of first love.

Electronic sounds dominate To Love You, but as the songs become more intimate and subdued, so does Glades sound. The final two tracks, “Better Love” and “Through to You” are stripped back and organic, with pianos and gentle acoustic guitars replacing the special effects. They’re powerful reminders that Glades don’t need heavy production to make an impact.

To Love You has been a long time coming, but its release today has been worth waiting for. It’s perfect pop for the new millennium, with a fresh sound anchored by real heart. Glades will play the following shows to celebrate its release.

24 November 2018 – Corner Hotel, Melbourne
30 November 2018 – Jack Rabbit Slims, Perth
1 December 2018 – Jive, Adelaide
6 December 2018 – Metro Theatre, Sydney
7 December 2018 – Woolly Mammoth, Brisbane

Image used with permission from Warner Music Australia

Posted on by Lauren Katulka

“Restless Noise” – Loser

Loser creates the kind of rock music purists yearn for. It’s rough and ready, with fuzzy guitars, rebellious lyrics, and anthemic choruses that compel you to sing along and stamp your feet. Their first offering, Restless Noise, is a short and sweet EP. But with just five songs, they prove they’re a force to be reckoned with.

Of course, that should come as no surprise to anyone who knows about Loser’s pedigree. They might be a new band, but the members have served their time with Apart From This, Grim Rhythm, The Smith Street Band, and The Bennies. These guys know their shit.

“Phase Me,” one of two singles, kicks the EP off, introducing us to the band’s knack for crafting a killer riff. It’s an easy entry, not quite as aggressive as many of Loser’s songs, an accessible track that primes us for more. The title track goes a little harder, taking us but we’re ready for those hard-hitting drums and F-bombs now. “Vacation” eases the foot off the pedal a little bit, giving us a chance to catch our breath before another aural assault, the EP’s other stellar single, “Loser.” Final track “Some Say” takes us home. The choruses are gentle, but that chorus reminds us of just what these lads are capable of.

The guys from Loser already proved their talents with other bands, but put them together and magic happens. They’re creating the kind of killer alt-rock I haven’t heard since the ‘90s. These five tracks have me wanting more. Restless Noise is out now.

Image used with permission from Deathproof PR

Posted on by Lauren Katulka

“Atlas Shoulders” – Pierce Brothers

I’ve been waxing lyrical about the Pierce Brothers since 2014, waiting not so patiently for the Melbourne siblings to release their debut album. Those EPs just never felt long enough; I wanted something to really sink my teeth into. My patience has been rewarded with the release of Atlas Shoulders.

As a music fan, it’s only natural to want an album early, but there’s something to be said for Jack and Pat Pierce’s slow and steady approach. They’ve developed as artists, taking the time to get the balance right and create a sound that’s folky, yet bold, yet somehow never overproduced.

The first half of Atlas Shoulders is perfect road trip or BBQ music. A harsher critic might suggest its mellow vibes start to get a little samey, but I don’t think there’s anything wrong with laidback music that sounds this good. Songs like “Lovers Trip” and the single “Back End Roads” are so well crafted.

While I enjoyed the first portion of the album, it really picked up for me in the second half. All too often albums start feeling fatigued here, but this is where you’ll find some of Atlas Shoulders’ grittier material. The road trip has been marred by some arguments, the love stories are going sour. Mistakes were made, there are regrets. All that is fodder for some really powerful music. Songs like “Reckless Hearts and Restless Hands” and “Love You Broke” stop you in your tracks and stir your spirit. They wake you up and reinforce the true talent of this sibling duo. By the time you reach “Hold On,” there’s no doubt that the wait for the Pierce Brothers album has been worthwhile. Yes, they can create folky music that sounds good, but stay a little longer and you’ll hear some tracks that do more than delight the ear; they move every part of you.

Atlas Shoulders is in all good music stores today. The Pierce Brothers will play shows around the country to celebrate its release before supporting Rodriguez in February.

9 November 2018 – The Forum, Melbourne
16 November 2018 – Oxford Arts Factory, Sydney
17 November 2018 – The Zoo, Brisbane
9 February 2019 – Sirromet Wines, Mt Cotton (with Rodriguez, Xavier Rudd, Busby Marou, and Alice Skye)
16 February 2019 – Rochford Wines, Yarra Valley (with Rodriguez, Xavier Rudd, Busby Marou, and Alice Skye)
23 February 2019 – Peter Lehmann Wines, Barossa Valley (with Rodriguez, Xavier Rudd, Busby Marou, and Alice Skye)

Image used with permission from Warner Music Australia

Posted on by Lauren Katulka

“Lab Experiments Vol. 2” – Cookin’ on 3 Burners

Sequels have a bad reputation. They’re often released as a desperate attempt to cash in on the success of the first creative endeavour, yet they typically pale in comparison to the original. For every The Godfather Part II there’s a dozen disasters like Jaws: The Revenge or Speed 2: Cruise Control. So it’s only natural to approach Lab Experiments Vol. 2 with a healthy degree of scepticism. Thankfully Melbourne’s favourite funksters Cookin’ on 3 Burners deliver the goods.

It bursts out of the gates with a joyous explosion of Hammond organ chords with the instrumental single “The Jump Off.” The flip side of that double A-side, “Warning,” comes next, with guest vocalist Kait delivering plenty of sass. “Howler” surprises, a darkly dramatic instrumental which could serve as the soundtrack to your Halloween parties. It’s an unexpected detour, but I appreciate that Cookin’ on 3 Burners keeps us on our toes. “Force of Nature” has such a great Motown groove, with Fallon Williams’ gritty yet soulful lead vocals backed by a choir of gospel angels. Longtime collaborator Kylie Auldist is back with the Burners for the soulful “One of the Ones.” Magic always happens when these guys get together, and this track is no exception. Closing number “Garden of Freedom” is made so much sweeter with the addition of The Meltdown’s cooler than cool frontman Simon Burke.

Cookin’ on 3 Burners have such an incredible sound, which builds on soul and funk traditions and makes them feel so fresh. But it’s those collaborations that really make Lab Experiments Vol. 2 so special. Rubbing shoulders with the right people elevates their sound, ensuring Lab Experiments Vol. 2 is a sequel worth spending your money on.

Lab Experiments Vol. 2 is released today.

Image used with permission from This Much Talent

Posted on by Lauren Katulka

“Ashfield Skyline” – Family Fold

There’s not a lot of flash about Ashfield Skyline, the sophomore album from Family Fold. It’s an album full of the kind of pleasant pop-rock music that most of us don’t pay too much attention to. It sounds nice enough, but without big vocals or edge we let it fade into the background. I must admit, I fell into that trap myself at first. I listened almost all the way through while I was working on other things, enjoying myself but deciding the album didn’t grab me enough to warrant a review. It actually took the final track “Greater Union” to really wake me up and force me to properly listen not just to this number but the rest of the record.

That song is still my favourite, a beautiful ballad with poetic lyrics and some of the most powerful vocals on Ashfield Skyline. But on that first half-listen missed how heartbreaking songs like “Crying in the Carwash” and “Brother’s Name,” about life without Family Fold’s singer-songwriter Paul Andrews’ late brother, are. I missed the humour in tracks like “Saturday Night, No Fever” and “Big Wedding.” I had so much fun listening to “Let Go” that I got up out of my desk chair and had a spontaneous boogie in my home office.

It’s fitting that the image of a heart graces the cover of Ashfield Skyline. These songs might fly under the radar, but together they form an album that has the power to move any listener that really taps into them. Something tells me that matters more to Family Fold than whether or not big media pays attention.

Ashfield Skyline is out now. Family Fold will officially launch the album at The Union Hotel in Newtown on November 25.

Image used with permission from Revolutions Per Minute