Category: Reviews

Posted on by Lauren Katulka

“M.o.D” – Josue

When Sydney soul singer Josue released his first EP Bad News in 2015, I thought he was the second coming of Tevin Campbell. I loved his voice and the way he was making music that took me back to my teenage years. However, he’s decided to shake things up with his new 3-tracker, M.o.D.

Josue tells us that M.o.D can mean anything we want it to. “Mind over Distractions. Money overruns Dreams. Music over Drama” he helpfully suggests in the press release. But M.o.D is also the name of Josue’s brother and producer of this EP. His influence has taken everything I loved about Josue’s music but given it a fresh edge.

The single “Stay” is so smooth. Its instrumentation recalls an old jazz club, but the electro beats give it a more contemporary feel. “Million” is so bold, charged with energy. I love the way Josue’s soulful voice pairs with the wailing electric guitars. Josue goes out with a bang with “Erase the Sun.” He actually wrote this song when he was just 17 years old but it feels incredibly mature. It’s political, ambitious, and more than a little trippy.

As I listened to this EP I found myself thinking not of Tevin Campbell but favourite 90s act Maxwell, who took classic soul and created soundscapes around it. However, where Maxwell loved to sing about love and romance, Josue isn’t afraid to tackle grittier subject matter. He takes some real risks on M.o.D. but they all pay off.

Image used with permission from Stimulated Media

Posted on by Lauren Katulka

“Dragonfly” – Kasey Chambers

Kasey Chambers is something of a quiet achiever in the Australian music industry. She pops onto the radar every now and then with big singles like “The Captain,” “Not Pretty Enough,” and “Barricades and Brickwalls,” but there’s not a lot of fanfare when she releases albums. However, when they’re full of quality songs like her 11th studio album Dragonfly, there really ought to be.

You might assume that at number 11 Kasey might be running out of steam. Yet Dragonfly shows she’s still a singer-songwriter with plenty to say. There are 19 different tracks on the album in all (“Ain’t No Little Girl” is given two separate treatments). I’ve felt shorter albums than this drag, but the songs are all of such quality I can’t imagine what she could have left out. The album was recorded in two separate sessions – the Sing Sing Sessions were conducted under the guidance of Paul Kelly while the Foggy Mountain Sessions sees Kasey’s brother Nash at the helm. Despite the two different locations and producers, the album comes together beautifully as a cohesive whole.

“Pompeii” is the perfect introduction to this album, a banjo-driven number with a traditional country sound and sublime harmonies from Kasey and her backing band. It sets the scene for an album that has a classic sound deeply rooted in the country music upon which Kasey was raised. I love the gospel-tinged fun of “Golden Rails” and the old Southern blues feel of “Shackle & Chain.”

However, I feel Kasey is at her best when she’s baring her soul. “Ain’t No Little Girl” is powerful stuff which hit this female writer hard. The title track is another master stroke, with intimate lyrics which are so moving.

She’s just as compelling whether she’s telling the story of someone else, like in the exquisite “Behind the Eyes of Henri Young” or the haunting “Annabelle,” or her own story with great humour and a country twang in “Talkin’ Baby Blues.”

Dragonfly features collaborations with a first-class collection of musicians. While she shines in solo mode, duets like “Romeo & Juliet” with Fance Voy and “If We Had a Child” with Keith Urban are some of the album’s highlights. Other tracks like “Jonestown” and “Satellite” aren’t listed as duets, but the strong presence of other voices that complement Kasey’s so beautifully make them feel as if they are.

Dragonfly is released today. Kasey will celebrate its release with a string of shows around the country.

26 January 2017 – West Tamworth Leagues Club, West Tamworth (with Bernard Fanning)
9 February 2017 – Botanic Park, Adelaide (with James Taylor and Bernard Fanning)
10 February 2017 – Taronga Zoo, Mosman (with Thelma Plum)
11 February 2017 – Sirromet Wines, Mt Cotton (with James Taylor and Bernard Fanning)
12 February 2017 – Hope Estate Winery, Pokolbin (with James Taylor and Bernard Fanning)
14 February 2017 – Orange Ex Services Club, Orange (with Bernard Fanning)
15 February 2017 – Albury Entertainment Centre, Albury (with Bernard Fanning)
17 February 2017 – Eastbank Centre, Shepparton (with Bernard Fanning)
18 February 2017 – Ulumbarra Theatre, Bendigo (with Bernard Fanning)
19 February 2017 – Lakeside Wendouree, Ballarat (with Bernard Fanning)
21 February 2017 – Canberra Theatre Centre, Canberra (with Bernard Fanning)
22 February 2017 – Anita’s Theatre, Thirroul (with Bernard Fanning)
24 February 2017 – Empire Theatre, Toowoomba (with Bernard Fanning)
25 February 2017 – Saraton Theatre, Grafton (with Bernard Fanning)

Posted on by Lauren Katulka

“Being” EP – Millington

“Being” was one of the songs that really stuck with me last year, as much for its playful good vibes as its unexpectedly grotesque music video. So when this Melbourne-based Millington’s EP hit my inbox, I couldn’t want to give it a listen.

Listening to “Believe” again reminded me just how much I love the song. Without the film clip distracting me, I noticed little nuances about it that I hadn’t before. It’s such a solid little folk-pop song. “Tweet” shows a jazzier side of Millington’s music. I half expected him to start scatting in this very cool track. The raw emotional opening of “Spark in the Dust” really drew me in. I’d heard hints of Millington’s rasp before, but that lovely rough part of his voice is used to great effect in this song, where it’s complemented by the resonant hum of a didgeridoo. “Love Handles” is pure pop fun. “Sleep Tight” is the most stripped back song on the album, a mellow reggae-tinged number that is ideal for lazy Saturdays. Fittingly considering it’s the title track, Being gets another outing with the Kitchen Sink Remix closing the EP. Personally I’m not sure I needed this quirky take, but it does bring another complexion to the EP’s big single.

The Being EP is released on January 21. See Millington playing songs from his EP at the following Victorian gigs.

15 January 2017 – Mordy Supper Club, Mordialloc
21 January 2017 – Bella Union, Carlton (EP Launch)
29 January 2017 – Godskitchen, Mornington
3 February 2017 – The Cally, Wonthaggi

Image used with permission from This Much Talent

Posted on by Lauren Katulka

Ross Wilson @ Ettalong Diggers, Ettalong Beach – 27 December 2016

After an unexpected death in the family a couple of weeks ago, my family has been having a fairly tough time. We needed some fun, but even Christmas couldn’t seem to pull us out of our funk. Last night at Ettalong Diggers, Ross Wilson managed to do what the silly season couldn’t and put a smile on the faces of my parents, my husband, and myself.
Ross Wilson gives a masterclass in the art of performing. He doesn’t rely on bells and whistles, just great music and a superb backing band. At times I found myself marvelling at the prowess of his keyboardist and guitarist. However, while they’re good they never overshadowed the main man, a man who has created countless hits in his solo career and time with Daddy Cool and Mondo Rock. All of the biggies were performed in Ross Wilson’s own inimitable style over two sets.

Ross Wilson is the kind of performer that just makes you feel good. His loud shirt was every bit as bold as his presence on stage. And that voice, it’s lost nothing over the years. He had us captivated in powerful numbers like “Touch of Paradise” and on our feet with “Come Back Again,” “Hi Honey Ho,” “Cool World,” and of course, “Eagle Rock.” I’m not sure there’s anything more Australian than being at a club dancing around to the Daddy Cool smash.

I always think music finds you at the time you need it. At a terrible time for my family, a night out with the musical gifts and generous stage presence of Ross Wilson was just what the doctor ordered.

Image source: own photo

Posted on by Lauren Katulka

“Silhouettes of Song” – Murry Rhodes

Just in time for Christmas, the Territory’s own Murry Rhodes has released his debut album Silhouettes of Song.

Murry is a relative newcomer to the music industry, having worked most his life as an electrician in the Outback. He honed his craft traveling across the country for the last two years, playing everywhere from cocktail bars to caravan parks. This album draws on that experience. When you’re there to entertain a crowd that doesn’t know who you are, you typically play covers, and they make up the bulk of this release.

I was drawn in from the first song, a flawless cover of Bob Dylan’s “Blowin’ In the Wind.” Some covers reminded me of all that I loved about the original, like his take on “Hallelujah.” So many people have covered this song over the years, but his version was every bit as good as the best I’ve heard. I haven’t listened to “Seven Spanish Angels” in years; this version brought tears to my eyes. Other tracks made me see the songs in a new way. For example, I don’t think I’d heard the pain and struggle in “Drift Away” before. There were a couple of missteps for me though. “Makin’ Whoopee” and “Hey Good Lookin’” probably went down a treat in the country’s piano bars. They seem effortless, perhaps too effortless. There’s nothing to fault per se, but they don’t quite stir me in the same way as some of the more unconventional choices.

Murry has included two original songs here, and they really showcase his gift as a songwriter. These two numbers are as powerful as any of the more established songs included on this release. “Lifetime,” which reflects on the impact of depression as the years pass, is particularly moving.

Murry Rhodes has a voice that is so rich and beautiful. It’s not a perfect voice, but one that drips with emotion. It adds extra weight to this already stellar collection of songs. I love that this is a minimalist album; with just a man and his piano the songs have the right amount of room to breathe. The instrument isn’t just used as accompaniment either. There are moments where his skills on the keys shine, as they should. Murry Rhodes is a complete artist, not just a singer that plays a little piano. He might be late to the music game, but I’m thrilled he’s downed electrical tools and decided to share his gift with us.

Silhouettes of Song is out now. Murry Rhodes will play Darwin at the Hub in Palmerston on December 23 and 30.

Posted on by Lauren Katulka

“Friends for Christmas” – John Farnham & Olivia Newton-John

It’s officially the silly season, a time when we can unashamedly enjoy a little schmaltz and sweetness. We get both in abundance in Friends for Christmas, a new holiday release from good pals and Aussie legends John Farnham and Olivia Newton-John.

This is the ideal album to slip on while you’re trimming your tree or entertaining the family on Christmas Day. It’s merry, joyful, and full of cheer. Old favourites like “It’s Beginning to Look a Lot Like Christmas” and “Santa Claus is Coming to Town” are delivered with childlike enthusiasm. But for me the real standouts are the songs that allow these two incredible voices to soar. You can’t help but be captivated by more traditional choices like “The Little Drummer Boy” and the closing number, “Hark the Herald Angels Sing.” “Have Yourself a Merry Little Christmas” hits all the right notes; it’s tender and so exquisitely executed.

There’s no disputing the talent of these artists. Separately they’re amazing, but listening to them harmonise and feed off one another’s energy takes things to another level. When they get together, magic happens. And isn’t that what Christmas is all about?

Friends for Christmas is in stores now.

Posted on by Lauren Katulka

“Better Hold On” – Tullara

Tullara shows she’s an artist that’s impossible to pigeonhole with her debut EP Better Hold On.

I thought I had her pegged with the opening track “Too Many.” It’s a jaunty folk song, complete with a fiddle, an acoustic guitar, and a banjo. I imagined she was something like the second-coming of Jewel, but with a richer, huskier voice that reminded me a little of Dido.

But when I heard “Jailbreak” I knew I was wrong. It’s a wild, bluesy ride, with a funky bass line and killer vocals from Tullara. It’s as far from folk as you can get, the kind of rock star turn you’d expect a tough chick to deliver in a dark, sweaty pub with sticky floors.

That frenetic performance took my breath away, yet I wondered whether it was all a dream as I listened to the delicate “No Time.” It’s a calm folk song, delivered with the resignation of someone self-aware enough to understand a relationship is just not working.

“Five Weeks” sees Tullara shifting gears again. It’s entirely instrumental, with a real international flavour. It transported me to the bazaars of India in minutes.

The final track “Six Months” might be my favourite. It’s also perhaps the most intimate and stripped back we hear Tullara. The lyrics are vulnerable and given space to breathe with just an acoustic guitar to keep time. It’s a heartbreaking exploration of lost love that most of us will find so painfully familiar.

Tullara shows that she’s an artist with so much in her back pocket. She goes where the music takes her, and hopes her listeners will come along for the ride. I’m only too happy to follow.

Better Hold On is currently available from digital outlets. Tullara is touring the country to support its release. Here are her remaining dates.

8 December 2016 – The Milk Factory, Brisbane
9 December 2016 – Leche Café, Yamba
10 December 2016 – 63 First Ave, Sawtell
11 December 2016 – Stag & Hunter, Newcastle
26 December 2016 – 1 January 2017 – Woodford Folk Festival, Woodford

Image used with permission from the A&R Department

Posted on by Lauren Katulka

Aladdin @ Capitol Theatre, Sydney – 1 December 2016

I didn’t really want to see Aladdin. I imagined I’d feel a little like I did when I saw Mary Poppins, disconnected from the experience and wishing I could see it through a child’s eyes. Longing for magic. However, I’m thrilled my husband wanted to see it to celebrate his birthday, because it turned out to be one of the best nights I’ve enjoyed at the theatre.

In the movie, we were left waiting until Aladdin rubbed the lamp to meet the scene-stealing Genie. In the musical version he’s our faithful guide, explaining what was to come and taking us to the magical land of Agrabah. It was a visual feast from the get go, with dancing ladies and muscly men with swords twirling about.

In the midst of it all was an Aladdin, who was soon on the run from the law. I remember marvelling at this scene as a kid, and was impressed with the way it came to life on the stage. Animation allows you to do so much that I worried we’d lose some of the sparkle in the real world, but the clever choreography sucked me right in.

Some things were changed to make the transition to the stage. Iago lost his feathers and became a short-statured man with the voice of Gilbert Gottfried. Abu the monkey was nowhere to be seen, with Aladdin instead relying on the support of his good-hearted “street rat” pals. Robin Williams was larger than life as the Genie in the film version, but Michael James Scott made the role his own. He was an absolute scream, with a killer voice to boot.

I was sceptical about whether Aladdin could whisk me up in its magic, but by the time our hero and Princess Jasmine boarded their magic carpet I was in raptures. While the movie impressed me, those flat images on a screen couldn’t hold a candle to the sight of our young couple taking flight with only the stars and moon to illuminate their path.

By the time the cast took their final bows I couldn’t believe I’d been in the theatre for a couple of hours. It flew by. What a fast-paced, funny, and truly magical experience. Aladdin isn’t just for kids. It’s for the kid that still exists inside us all.

Posted on by Lauren Katulka

“Two Degrees” – Illy

I consider myself open to most musical genres, but I haven’t really listened to a lot of rap since the 90s. I had fun with acts like Salt-N-Pepa and The Fugees, but then the genre evolved, as most do, and I felt left behind. It seemed rap was either about the struggle of people from the “wrong side of the tracks” or about the excess of those living it large. Neither type of rap resonated with me, so I found myself listening to the genre less and less. And then came Illy.

It’s hard to believe, considering how Illy seems to have burst onto the scene a relatively short time ago, but his newie Two Degrees is actually his fifth studio album. It’s a highly anticipated release considering the way Australia’s responded to singles like “Papercuts” and “Catch 22.” It’s the strength of those singles that have taken it to number one on debut. But it’s the strength of the other songs that’s going to get people talking and keep it on the charts for many weeks to come.

My favourite songs are the ones where Illy collaborates with other artists. I think he does some of his best work when he has someone to bounce off. The chemistry he has with the artists he’s handpicked here elevates these tracks. “Hazard to Myself,” a collaboration with Sir the Baptist, is so playful and irreverent. “Oh My,” with Jenna McDougall, feels like a summer anthem. “Extra Extra,” featuring Mike Waters, is pure feelgood joy.

While these songs make me smile, some of the album’s most poignant moments come when Illy’s working alone. “Truce” feels very personal, with powerful lyrics that pack a serious emotional punch. The closing track “Highway” is such a perfect way to finish the album. This song closes this chapter in the Illy story by looking forward to the future.

Illy is a rapper, but his music is so much more than that. He effortlessly fuses his rhymes with pop, dance, and electronic sounds to broaden its appeal and make it accessible to people like myself who don’t spend a lot of time listening to rap. If like me you’ve moved away from rap music, Two Degrees encourages you to dip your toe back in to the genre. You won’t be disappointed.

Image used with permission from Warner Music Australia

Posted on by Lauren Katulka

“The Housefox Sessions” – Pepperhead

Some of the best rock outfits have been featured groups of guys with a woman out front. Perhaps it’s that these women are forging a path in a male dominated genre, but they seem to have an extra bit of grit and fire about them. Pepperhead frontwoman Louisa Thomas picks up where the likes of Suze de Marchi and Sarah McLeod left off.

She owns every track on The Housefox Sessions EP, a collection of songs recorded at Housefox Studios on Sydney’s Northern Beaches. When I think of the Northern Beaches, I think of privilege and a little pretension, but there’s none of that artifice about this recording.

Opening track “Angels & Demons” is a straight-up rock gem, all heart and soul. It’s followed up by the single “See Through You,” a track which adds a little more punk and rebellion to Pepperhead’s rock sound. If you’re not punching the air by the end, I’m a poor judge. “Superhero” sees Pepperhead shifting gears slightly, with gentle verses contrasting with its explosive chorus. The closer, “Unresolved,” is a frenetic piece of power-punk clocking in at just a little more than two minutes. It’s the kind of song that takes your breath away, before making you feel like you want to experience it all again.

The Housefox Sessions might have been recorded in a professional studio, but it feels more like something cut in a garage or live at a gig in a sweaty pub. There’s an irresistible energy about the way Pepperhead plays, with Louisa a commanding presence well supported by this tight unit of players. In just four tracks, Pepperhead shows enough to suggest it could be the next big thing.

Image used with permission from The A & R Department