Category: Reviews

Posted on by Lauren Katulka

“Hold Yourself Down” – Dear Willow

Sunshine Coast artist Dear Willow creates music with a folky core and rock edge. In just four tracks, her EP Hold Yourself Down makes a big impression.

Her stunning lyrics are what made the biggest impression on me. They’re laced with emotion, confessional and clever. The songs feel a little like diary entries come to life. Opening track “Hold” is a show of strength, of gaining control of a relationship that’s veering off the rails. Current single “I Was Young” is a powerful rumination on personal growth and the power of coming into your own. “The City” is a delicate observation about the anonymity of urban life. “North of Winter” might be my favourite song on the album, a poetic reflection on a lost love.

As I listened to Dear Willow’s songs, I found myself thinking of singer-songwriters I loved growing up like Jann Arden and Lisa Loeb. Just like those women who captured my heart in those difficult teenage years, what Dear Willow does isn’t flashy or particularly complex. But there’s nothing wrong with music that’s straightforward in delivery when it moves your soul. Nothing wrong with it at all.

Hold Yourself Down is out now. Dear Willow will play a series of shows in her home state to support its release.

20 September 2018 – Tomcat, Brisbane
5 October 2018 – Solbar, Sunshine Coast
6 October 2018 – The Spring Soirée, Samford
19 October 2018 – Solbar, Sunshine Coast

Image used with permission from Firestarter Music

Posted on by Lauren Katulka

“Death & Taxes” – Gareth Leach

Gareth Leach hails from Echuca, but you wouldn’t know it listening to his new album Death & Taxes. His music feels like it comes from America’s Wild West. It’s country that veers to the left of centre, with a darkness that permeates every track.

The title track, “Death & Taxes,” sets the scene, with his lyrics about rubbing shoulders with the devil and spending time in a bottle. This is outlaw music, gritty, bluesy, deliciously rough and raw. The single “Turn Back Jimmy Creek” is a rollicking ode to the life of a travelling musician.

While the first two songs feel almost like Gareth is playing a role, “Better or Worse?” feels like it comes from a really personal place. Its emotional delivery leaves a big impression. It marks an emotional turning point for the album, with the following tracks like “Drink You Goodnight” and the unsettlingly nostalgic “Wayward Son” strip away the bravado. On the final track, “Raise Up Our Guns,” so much is stripped away that we’re left with just the bare bones, Gareth’s voice and an acoustic guitar. It’s simple but so effective. I enjoyed the album’s early tracks, but the back end is where stuff really gets interesting.

While Gareth’s voice and incredible songs are front and centre, I’d be remiss if I didn’t mention the extraordinary talents featured on this album. From the fantastic Gretta Ziller on backing vocals to Anthony McCormack on banjo and Shane Reilly on the pedal steel guitar, they help create the distinctive sound that sets this album apart.

At just eight tracks and a run-time of not even half an hour, my only complaint would be that Death & Taxes feels too short. But it’s a case of quality over quantity here folks. There’s something to be said for an artist that leaves you wanting more.

Death & Taxes is out now.

Posted on by Lauren Katulka

“Coming Home” – James Van Cooper

Sydney seems an unlikely breeding ground for Australia’s next alt-country star. In fact, James Van Cooper spent his formative years obsessing over hard rocking hairbands like Motley Crue and LA Guns. However, once he discovered his country-rock leanings, there was no looking back. He made a pilgrimage to Tamworth, where he connected with Aussie country royalty Bill Chambers, before heading for Nashville. His debut album Coming Home shows he’s soaked up some valuable lessons about country and its associated genres while developing a sound all his own.

The single “Passing Through” is the perfect opener for this album, an upbeat slice of country-rock that’s guaranteed to put a smile on your face. I’m a sucker for a country duet, and “Come Home” with Jaime Wyatt hits all the right notes for me. His roughened voice and her purer one contrast and complement one another so beautifully. The playful “Midnight Love” captures a moment in time so perfectly. “Goodbye My Friends” is rollicking good fun. “Lights Don’t Shine” has such a simple melody elevated by some of the album’s best lyrics. “Kew EQ” is probably the album’s simplest track. It’s very stripped back, with just an acoustic guitar accompanying James’ voice. But there’s something lovely about leaving us with that impression, of an artist simply standing on his own, letting his raw talent speak for itself.

Coming Home showcases the gifts of this talented young Aussie. James Van Cooper builds his tunes on a solid foundation of quality songwriting, real guitar prowess, and earthy vocals. He wears his influences on his sleeve, with tracks that play around with bluegrass, Americana, and traditional country. However, he’s bringing something fresh to the table. This album has the kind of crossover appeal you’ll find in works by Phillip Phillips, Jason Isbell, and Ryan Adams.

Coming Home drops today. James Van Cooper will celebrate its release with the following shows, supported by Axle Whitehead.

14 September 2018 – SLYFOX, Enmore (Album Launch)
15 September 2018 – Heritage Hotel, Bulli
22 September 2018 – Tamworth Hotel, Tamworth
5 October 2018 – Spotted Mallard, Brunswick
19 October 2018 – The Brass Monkey, Cronulla
27 October 2018 – The Stag & Hunter Hotel, Mayfield

Image used with permission from Rock This Country

Posted on by Lauren Katulka

“Sundown” – DIET.

DIET. might be one of our own, but there’s a decidedly British feel to their sophomore EP Sundown. It seems the Victorian five-piece, which formed in a ramshackle share house at the end of the Northern line of London’s Tube, hasn’t totally shaken off the influence of the Mother Country. That’s a very good thing.

There’s a confidence in the way the British bands play that imbues every track on Sundown. DIET. might play the pub circuit, but they’re got a great stadium rock sound. Surely graduating to those big venues is only a matter of time.

This EP had me punching my fist in the air in time with the drum beat from the opening track “Don’t Need It.” DIET. doesn’t take its foot off the accelerator for “Game Plan.” In fact, it keeps its foot firmly planted to the floor as we’re introduced to one stellar track after another.

The shimmery synths have a nostalgic feel that calls to mind The Cure and Tears for Fears. The electric guitars provide the rock edge. The powerful vocals from Ben O’Loughlin are so compelling.
They might not book stadiums yet, but if DIET. continues creating such accomplished music it’s only a matter of time. Until then, catch them at the following venues celebrating Sundown’s recent release.

4 September 2018 – Woolly Mammoth, Fortitude Valley (Official BIGSOUND Showcase)
5 September 2018 – GYROstream’s Hump Day Happy Hour @ The Valley Drive In, Fortitude Valley (BIGSOUND)
6 September 2018 – The Brightside, Fortitude Valley (Official BIGSOUND Showcase)
27 September 2018 – Evelyn Hotel, Melbourne
28 September 2018 – ‘Hills City’ at Corner Hotel Carpark, Melbourne
30 December 2018 – 1 January 2019 – NYE on the Hill, Gippsland

Posted on by Lauren Katulka

“Gotcha Covered” – The Screaming Jets

You might recall me getting excited about the release of The Screaming Jets’ new album Gotcha Covered. As a kid growing up in Newcastle, these guys were heroes to me. The track listing of Aussie rock classics was inspired, radio-friendly but full of curveballs. You might wonder why, since it’s been out for a couple of weeks now, I haven’t put down my thoughts until this moment. The simple answer is, I’ve been having too much fun listening to it.

All the Jets hallmarks are here: the driving drums, the chunky guitars, Dave Gleeson’s unmistakeable vocals. Add in an impressive collection of songs and you’ve got all the right ingredients for your next barbecue soundtrack.

It bounds out of the gate with a gritty, frenetic take on The Easybeats’ “Wedding Ring.” I love the extra dirt The Jets put on this one. Their take on Razor’s Edge might be my favourite track on an outstanding album. I’d forgotten how much I love this song; their punchy version was a great reminder. But then there’s “Overkill,” perhaps controversially my favourite Men at Work song, given such a great treatment. And then there’s “Errol,” a wonderful take on the Oz Crawl classic. The more I think about it, singling out just one track seems cruel.

“Shadow Boxer” was always going to be a natural fit for the band fronted by The Angels’ current lead singer. It works so well. “The Right Time” is another song which feels like it was made for the Newcastle rockers. The Jets even have a way of making songs I’ve never liked, like the Radiators’ questionable classic “Head” endearing!

Playing on the sacred ground here has some challenges. Risks are essential, but they don’t all pay off in my opinion. While I appreciate the intent of the swampy, bluesy “Darling It Hurts,” slowing down the tempo makes this incredible Paul Kelly track feel a little laboured. But then The Jets take a chance on an epic 14-minute take on “Guitar Band” to close the album, and you’re glad they did.

Gotcha Covered will make the perfect Father’s Day gift for your old man. Just don’t be surprised when you want a copy for yourself too.

The Screaming Jets are currently touring the nation with Boom Crash Opera. Here are all the remaining dates.

17 August 2018 – Kingsford Juniors, Sydney
18 August 2018 – Rooty Hill RSL, Rooty Hill
24 August 2018 – Parkwood Tavern, Gold Coast
25 August 2018 – Hamilton Hotel, Brisbane
31 August & 1 September 2018 – The Gov, Adelaide
7 September 2018 – Ravenswood Hotel, Ravenswood
8 September 2018 – Charles Hotel, Perth
14 September 2018 – Miranda Hotel, Sydney
15 September 2018 – Revesby Workers, Sydney

Image used with permission from Revolutions per Minute

Posted on by Lauren Katulka

Anthony Callea @ State Theatre, Sydney – 11 August 2018

In 2004, I voted for Casey Donovan. If you’d have told me then that I’d be making a trip into the city to see her Australian Idol competition Anthony Callea live, I would have laughed. It’s not that I didn’t think he was talented. His voice was always undeniable. But I didn’t quite connect to him as a performer.

I didn’t become an Anthony Callea fan until he released his album of George Michael covers in 2014. With every subsequent album release I became a little more of a fan. After arriving late to the party, it was a real thrill to see Anthony perform his ARIA Number 1 Hits in Concert show at the State Theatre in Sydney on the weekend.

While the concert celebrated Anthony’s last number one album, ARIA Number 1 Hits in Symphony, with the bulk of the show made up of those beloved covers, it was really a retrospective of his career. Original songs from recordings as early as his first EP were no doubt a real treat to the diehard fans who were there when it all began. For me, it gave me an opportunity to catch up on the music I missed.

While I appreciated the originals, Anthony’s excellent cover versions provided some of the show’s highlights. A stripped back mash-up of Whitney Houston hits “I Wanna Dance With Somebody” and “How Will I Know” performed with his childhood friends was really special. An unexpected take on Keith Urban’s “Tonight I Want to Cry,” a song that didn’t appear on any of the recent cover albums, brought tears to my eyes. And if you don’t get goosebumps when Anthony performs “The Prayer” I’d check for a pulse. I was also thrilled to hear a couple of those George Michael classics that converted me into a true fan. By the time “Freedom ‘90” came around, I was regretting my decision to buy seats in the circle. Bouncing around in my chair, near the sign that reminded us all standing up and dancing was strictly prohibited, I wished I was down the front in the thick of the action.

While the songs and Anthony’s incomparable voice took centre stage, his ease as an entertainer was what really struck me. He chatted easily with the crowd, regaling us with tales of his time in the music business. That included his time on Idol. When so many people shy away from acknowledging reality TV stints, his candour and appreciation for that experience was refreshing. Anthony apologised countless times for going off on tangents, but I don’t think any of us minded his rambling. If I want to hear someone simply sing, I’ll stay home and listen to the CD. I come to concerts for a real show, and those stories are such a key part of that.

As I sat on the train heading back to the Central Coast, I spotted several people wearing Pink! T-shirts, all smiles after seeing her perform at Qudos Arena. Her show was at the other end of the spectrum, a sell-out spectacular in a large arena. There were no such theatrics about Anthony’s show, unless you count his blingy clothes. But he didn’t need them. Some might say Pink! doesn’t either, that her voice and songs could stand up if all the fanfare was stripped away and that she simply puts on the kind of big show she does because she can. But I was reminded of something that Anthony said during the night, about how he loved Australian Idol for its simplicity. Our first TV singing show didn’t need use backing dancers or elaborate staging. What Anthony does now continues that tradition. In a world that constantly tries to up the entertainment factor, bringing a show back to an incredible voice, great songs, and a winning personality is so refreshing.

Anthony Callea wraps up his ARIA Number 1 Hits in Concert tour at the Palms at Crown in Melbourne on August 24.

Image source: Stephen Katulka

Posted on by Lauren Katulka

The Book of Mormon @ Lyric Theatre, Sydney

Ordinarily when I see a musical theatre production I can’t wait to tell you all about it. But more than a week has passed since I saw The Book of Mormon and I still haven’t put fingers to keyboard.

It’s certainly not because the production was disappointing. It’s up there with the best things I’ve seen on a stage.

It’s not that I was reluctant to recommend it, although it’s not a musical I’d suggest everyone see. Chatting to a saleswoman at one of the fashion boutiques, I learned there have been many walkouts. During one of the earliest numbers, when F-bombs and C-bombs starting flying, I wondered about my own decision to take my parents for their birthdays. However, when they raved about how much fun they were having at intermission, I realised my parents are made of tougher stuff than I imagined. It’s certainly not for the easily offended or sensitive ears, but if you buy tickets for a musical by the creators of South Park you probably have some idea whether you can handle it.

Perhaps I’ve hesitated because I’m not quite sure what to say beyond what you probably already know. Unless you’ve been hiding under a rock, you know The Book of Mormon follows the journey of some American Mormon missionaries keen to save the people of Uganda through the power of the Good Book. The thing is, I think that’s all you really need to know. The less you learn about the intricacies of the musical beyond that, the better. I found it so rewarding to see a production that surprised me. In the recent past the musical theatre scene has been dominated by retellings of popular stories like Aladdin and Mary Poppins and biopics charting the rise of legendary musicians like Carole King and Bobby Darin. I’ve enjoyed those musicals, but I also knew where they were going. Even something original like Kinky Boots had an air of predictability about it. True love and our hero’s dreams would always win in the end. But you’re never quite sure where The Book of Mormon will take you, and that’s exciting.

I do want to tell you The Book of Mormon is exceptionally funny. I mean proper laugh out loud from your belly kind of funny. It’s also a very good musical. Don’t underestimate it on that front because Trey Parker and Matt Stone are behind it. The songs are as well-crafted as any you’d find in a Broadway hit. The cast is exceptional, singing and dancing with the best of them. It was no fluke that this show won the Helpmann award for best musical last year, and that goes beyond the edgy comedy. Perhaps one of the key reasons is that this is a show with real heart. I cared about the characters. I was invested in the storyline.

The Book of Mormon is certainly a musical with the power to offend. The walkouts are proof positive of that. But true art plays on the edges. If you appreciate that, make sure you don’t miss The Book of Mormon.

The Book of Mormon is currently playing at the Lyric Theatre, in Sydney’s Star Casino. It will then travel to Brisbane and Adelaide.

Posted on by Lauren Katulka

“Love Monster” – Amy Shark

Amy Shark’s Love Monster may be the most anticipated Aussie album of the year. Every single she released quickly climbed the ARIA charts, attracting airplay and accolades along the way. Those songs set the bar so high, I wondered whether her debut LP could possibly match my expectations. But the Gold Coast singer-songwriter delivers here.

Love Monster was destined to be one of the biggest releases of the year, but its sound is refreshingly small and intimate. While Amy plays with beats and electronic sounds, she doesn’t overdo it. That ensures we can really hone in on the lyrics, which is where Love Monster really excels. The songs feel like diary entries, intimate confessions about relationships and moments in time that she’s sharing with us. Coupled with Amy’s honest vocal delivery, these songs move you. And isn’t that really the most important thing?

Every track here is so, so good. I didn’t quite expect that. When singles shine so brightly you expect the album they’re lifted from to contain some fillers. But I can honestly say that I love every track on Love Monster. I ordinarily pick out standouts and wax lyrical about them, but singling songs out would seem unfair to the ones I didn’t mention. I will say that I was pleasantly surprised by “Psycho,” the song she recorded with Mark Hoppus of Blink-182. I can hear the Blink-182 influence, but it’s restrained in this delicate number. I’ve always been a sucker for a great duet, and this is a great duet.

Love Monster is a beautiful album, raw, real, and relatable. It’s in stores and all your favourite digital retailers now. She’s touring almost everywhere over the coming months. Here are all the dates you need!

3 August 2018 – Osheaga, Montreal
4 August 2018 – Lollapalooza, Chicago
24 August 2018 – HQ, Adelaide (SOLD OUT)
25 August 2018 – Metropolis, Fremantle (SOLD OUT)
30 & 31 August 2018 – The Forum, Melbourne (SOLD OUT)
1 & 2 September 2018 – Enmore Theatre, Sydney (Limited tickets for 2nd)
6 & 7 September 2018 – The Tivoli, Brisbane (Limited tickets for 6th)
8 September 2018 – Nightquarter, Gold Coast
13 September 2018 – Powerstation, Auckland
14 September 2018 – Foundry, Christchurch
15 September 2018 – Hunter Lounge, Wellington
21 September 2018 – Life is Beautiful, Las Vegas
23 September 2018 – Wonder Ballroom, Portland
24 September 2018 – Neptune, Seattle
25 September 2018 – Imperial, Vancouver
26 September 2018 – Capital Ballroom, Victoria
28 September 2018 – Great American Music Hall, San Francisco
1 October 2018 – House of Blues, San Diego
2 October 2018 – El Rey, Los Angeles
5 October 2018 – Amsterdam Bar & Hall, St. Paul
8 October 2018 – Paradise Rock Club, Boston
10 October 2018 – Underground Arts, Philadelphia
12 October 2018 – Irving Plaza, New York
13 October 2018 – Danforth Music Hall, Toronto
3 November 2018 – This That Festival, Newcastle
16 January 2019 – Knust, Hamburg
17 January 2019 – Festsaal Kreuzberg, Berlin
19 January 2019 – Strom, Munich
20 January 2019 – Plaza, Zurich
21 January 2019 – Nachtleben, Frankfurt
23 January 2019 – Luxor, Cologne
24 January 2019 – Badaboum, Paris
25 January 2019 – Paradiso, Amsterdam
27 January 2019 – Rotonde Botanique, Brussels
29 January 2019 – O2 Institute 3, Birmingham
30 January 2019 – Heaven, London
1 February 2019 – Gorilla, Manchester

Image used with permission from Sony Music Australia

Posted on by Lauren Katulka

“Two Sides” – Legs Electric

Legs Electric makes big, ballsy rock in the tradition of Rose Tattoo and Led Zeppelin. It’s a space we don’t often see women occupying, but their music is a welcome addition to the genre. The Perth act’s new five-track EP Two Sides perfectly showcases their hard-hitting signature sound.

“Dark Paradise” shows these women mean business. This retro number doesn’t take a step backwards or a foot off the throttle. I love its big chunky guitar chords and powerful vocals. “Wanna Riot” takes us from the ’70s to the ’80s, with rebellious lyrics and unbridled passion. It’ll have you punching your fists in the air in no time. There’s more of that rebellion with every biting lyrics of “Shine Right Through.” The drums and bass anchor this track which builds to a crescendo of wailing guitars and vocals. “Strange Addiction” is perhaps the simplest song on the EP. It doesn’t have a lot in terms of lyrics content, but it makes up for that with its driving sound which will have you banging your head in time to the driving beat. “Kingdom” makes a strong final statement. There’s more attitude, great harmonies, and those big chunky guitars that are Legs Electric’s trademarks.

If I have any criticism it’s that Two Sides is a little one-note. There isn’t a lot of light and shade. Legs Electric’s EP rocks hard from start to finish. However, if you’re a fan of unflinching rock music, you’re not going to mind that one bit.

Two Sides is available now from all your favourite digital outlets. Legs Electric are currently playing shows around the country to support its release. See them at the following venues.

27 July 2018 – Rad Bar, Wollongong
28 July 2018 – Last Chance Rock & Roll Bar, Melbourne
29 July 2018 – Whole Lotta Love Bar, Brunswick East

Image used with permission from Firestarter Music

Posted on by Lauren Katulka

“Songs From The Village” – Jess + Matt

The X Factor Australia is becoming a distant memory and I’ve forgotten most of the acts that graced its stage over the years. But not Jess + Matt, who charmed me with their beautiful harmonies, their folky sound, and the romance of their real-life relationship. Something special happens when people in love make music together and that goes double when they’ve got some serious music taste. Over the years they’ve released covers and originals, which didn’t all hit the mark for me. Songs From The Village is the album I’ve been waiting for them to make, a celebration of classic folk music.

This album starts so strong with a jubilant version of “The Times They Are A-Changing.” Their take on “The Boxer,” the second track is another stunner. It builds to an epic vocal crescendo that makes your heart soar. The danger with bringing us so many folk songs though is that the music can become background. It’s admittedly a very gentle record, and there are a few slow spots. However, whenever it starts getting a bit sleepy, Jess + Matt deliver a knockout. Their rollicking version of “Don’t Think Twice, It’s All Right,” hits all the right notes. “Leaving on a Jet Plane” is so special. Jess + Matt are at their best when they get to play off against one another as they do here. It’s so beautiful and believable. Their version of “Both Sides Now” is exquisite.

Jess + Matt are such talented vocalists with an innate musical sensibility. They clearly have fantastic music taste and they know what will work well for their voices. They’re also such natural storytellers, ensuring their takes on songs from Simon and Garfunkel, Bob Dylan, and other American folk pioneers don’t feel like pale imitations. I had high expectations for this release. While I wasn’t wowed by every song, there’s plenty here to get excited about.

Songs From The Village is in stores now. Follow Jess + Matt on Facebook to learn about their pop-up appearances promoting the album.