Category: Reviews

Posted on by Lauren Katulka

“Chords” – Tim Guy

Tim Guy’s fifth studio album has been a long time coming. I reviewed one of its singles, “St Petersburg” way back in June. However the album Chords drops today and it’s been worth the wait.

The first thing that struck me was how easy Chords is to listen to. On my first listen I didn’t even take any notes because I was too busy enjoying it. The Soundcloud link I received tagged it as pop, country rock, and folk rock, which gives you an idea of the album’s diversity. But there’s a lovely warm organic quality to all the songs that helps unify them.

It was so great to hear “St Petersburg” again. I enjoy it as much as I did when I wrote about it all those months ago. The alt-country feel and story behind the lyrics of “The Rambler” really sucked me in. “Electric Heart” is another highlight, with its slide guitar and clap-along rhythm. The retro feel of “Mixed Up Mind” and funky disco-esque groove of “It’s the Weekend!” add more colour to an already eclectic album.

As I mentioned, this is Tim’s fifth studio effort, and that experience anchors this recording. He approaches every song with confidence, no matter what genre he’s flirting with. This is an accomplished effort from one of Australia’s real unsung talents.

Chords is available now from Tim Guy’s Bandcamp page. He’ll play the following launch shows to support its release.

11 November 2015 – The Toff in Town, Melbourne
25 November 2015 – Crown & Sceptre, Adelaide
5 December 2015 – Bearded Tit, Sydney

Posted on by Lauren Katulka

“Limbo” – Bad Pony

I’ve had one of those mornings where I’ve spent time chasing my tail answering emails which forced me to go back to work that I thought was behind me. It’s only just gone 9, but I feel like I’ve lost the head start I needed to get the mountain of work I have waiting for me under control.

In amongst the frustration, I thought it would be the perfect time to listen to Bad Pony’s Limbo EP. Every one of the singles I’d listened to put a smile on my face, so I hoped it might temper some of the aggravation I felt.

This five-track EP showed me that Bad Pony are much more than the party band I’d pegged them as. The EP leads with the singles, “Michael Moore,” “Down to You,” and “White Russian.” Listening to them all together like this was a wonderful reminder of just how much I’m digging this band. But then the EP takes a turn and shows Bad Pony can do darkness just as well. The title track “Limbo” is so poignant. The delicate first verse, before the guitars kick in, took my breath away, but it builds beautifully after that. This is a song that packs a real emotional punch. The desperation of closing track “Guard Down” really struck a nerve on this morning where I’m feeling less than chipper.

I liked what I knew of Bad Pony, but the Limbo EP has turned that like to love. It’s a lovely little taster of what this band is all about that has me hanging out for more.

Bad Pony are currently touring the EP all around the East Coast. Here are the places you can still see them play.

16 October 2015 – Beach Hotel, Byron Bay
17 October 2015 – The Farm, Byron Bay
18 October 2015 – Sounds of Sunday @ Broadbeach Tavern, Gold Coast
6 November 2015 – Moonshine Bar, Manly
19-22 November 2015 – Australian Music Week, Cronulla
28 November 2015 – The Roxbury Hotel, Glebe
4 December 2015 – The Pier, Port Macquarie
5 December 2015 – The Small Ballroom, Newcastle
31 December 2015 – New Year’s Eve, Sydney Harbour

Posted on by Lauren Katulka

“That Low and Lonesome Sound” – Garrett Kato

I’d hoped with the unseasonally warm weather we’ve been experiencing, I might have seen the last of the colds that have plagued me this winter. However, it seems there was one left in the season, as I’m sitting here congested, achy, and generally feeling miserable. When I feel this way, I look for the musical equivalent of chicken soup. Something nourishing, soothing, and mellow. I found just what I was looking for in That Low and Lonesome Sound, the latest album from Garrett Kato.

Garrett was born in Canada, but he relocated to Byron Bay when he was 23 so I think we can officially claim him as our own now. That’s a good thing too, because his album is one of those ones I really want to write about.

It couldn’t help but note similarities between the music Garrett makes and that of his current touring mate and fellow Byron resident Pete Murray. Perhaps there’s something in the water, because both artists have a similar low-key grooviness about them, and husky, hypnotic vocals. Garrett seems a little more willing to play with genre though, which I find really exciting. I loved the psychedelic touch in “Trouble Will Find Me,” and the folky stillness of “Arkansas.” The intimacy of “More Than Love” really struck me. The closing track “I Wonder Why,” a poignant duet, was the cherry on top of a stunning album.

I listened to That Low and Lonesome Sound in my lounge room, but I really want to take it outside my home and whack it on my car stereo. It feels like the perfect driving soundtrack, a collection of songs that are mellow, organic, with driving drum beats designed to get you to your destination.

That Low and Lonesome Sound is available now. You can see Garrett Kato supporting Pete Murray at venues all around Australia through October, November, and December.

Posted on by Lauren Katulka

“Inner Western” – Dan Lethbridge

When I receive an album for review, I always try to give the whole thing at least one spin. I know that it might take time for the music to gel with me, and that the first songs aren’t always the ones I connect with. This morning, while listening to Inner Western, the new album from Dan Lethbridge, I was really glad of the policy.

The album opens with a single, “It All Will Start To Splinter.” Opening with a single is usually a great way to hook a listener in. However, while I appreciated the poetry of the lyrics, it just didn’t click for me. I enjoyed the more melodic alt-country tracks that followed, but I still wasn’t hooked. Then I heard “Wait Another Day.” It’s one of those songs that stops you in your tracks. With gentle violins and such tenderness, that was the song that got me.

After hearing “Wait Another Day” I figured it was worth giving Inner Western another listen. I found I appreciated the tracks that much more. I responded to the romantic warmth of “I Want You With Me.” “Everybody Says,” a dreamy duet with The Audreys’ Taasha Coates is another standout. The old school jazz club vibe of the closing track “Do No Harm” is also really special.

Dan has a real knack for storytelling through his songs. They’re not the most polished pieces, and his voice isn’t the strongest, but there’s a great beauty in his words that really resonated with me. The simple music arrangements punctuated by a slide guitar here, some strings there, support the songs beautifully.

Inner Western might be a slow burner, but it’s an album which rewards the patient listener. Dan Lethbridge will treat hometown fans to its songs at the Melbourne launch at Shadow Electric on October 10.

Posted on by Lauren Katulka

“Change Colours” – Reece Mastin

I’ve watched the career of Reece Mastin with some interest since he burst onto the music scene through The X Factor in 2011. I always regarded him as one of our more interesting winners, a kid who seemed more at home taking on the classic rock of Aerosmith or subverting modern pop gems like “I Kissed a Girl” than making music for the masses. Yet when he took out the title he started to release the musical equivalent of McDonalds. It sold well – you can’t deny the appeal of his number one singles – but it was ultimately unsatisfying. I couldn’t help but wonder whether Reece was making the music he wanted to make or what the record company wanted him to do to appeal to tweens and teens.

2015 seems to be the dawn of a new age for Reece Mastin. He split with Sony and signed a deal with independent label Social Family Records. He enlisted soulful singer Mahalia Barnes as his manager and began hanging out with her dad and Aussie music royalty Jimmy Barnes. And he recorded Change Colours, which is the album I always knew he had in him.

The opening track “Lockdown” announces the new direction beautifully. The music hits hard; it’s an epic, emotional rock number with an old-school soul twist. Jimmy’s influence is obvious in songs like this, “Right Out of Me,” and “You Gotta Go,” which features Mr Barnes doing “backup vocals” as only Barnesy can. Songs like “You Could Be Wild” and “I Don’t Love You Anymore” show Reece still has a snack for creating a hit, but his heartfelt delivery gives them more emotional punch than his other commercial hits. You can tell he really believes in these songs. The sexy blues influenced “Caged Paradise” is another highlight. “Even Angels Cry” shows Reece at his most stripped back, and it’s wonderful. It’s already become a fan favourite, after being voted the next single by Reece’s Twitter fans. The final number and title track “Change Colours” is one of the album’s darkest songs and one of its quietest, but perhaps its most powerful.

Change Colours isn’t like the other Reece Mastin albums, and that’s exactly why it’s so special. It showcases the work of a young artist that is releasing music he believes in, perhaps for the first time. If you’ve dismissed him as just another reality show winner, it’s probably time to rethink your stance.

Change Colours hits stores on October 9. Reece will support its release with the following instores all around the country.

9 October 2015 – World Square, Sydney (5 pm)
10 October 2015 – Stockland Wetherill Park, Sydney (11 am)
11 October 2015 – The Pines, Doncaster East, Melbourne (10:30 am)
11 October 2015 – Stockland Wendouree, Ballarat (2 pm)
13 October 2015 – Brookfield Place, Perth (4 pm)
14 October 2015 – St Mary’s Sound, St Mary’s (4 pm)
15 October 2015 – Stockland Shellharbour, Wollongong (6 pm)
17 October 2015 – Stockland Burleigh Heads, Gold Coast (10:30 am)
17 October 2015 – Brookside Centre, Brisbane (2 pm)
18 October 2015 – Sanity Hinkler Central, Bundaberg (2:30 pm)

Posted on by Lauren Katulka

“Til Night Meets the Sun” – Loren Kate

After being so impressed with “When You Leave” last week, I couldn’t wait to hear the rest of Loren Kate’s EP Til Night Meets the Sun. My expectations were high considering the strength of the single, but this recording is truly something special.

The opening track “Silver and Gold” sets the scene a deeply personal country-folk number that shares memories of Loren’s childhood. The stories continue with “This Heart of Mine,” a poignant song about moving on after heartache. “Rollin’ Wheel” is a powerful glimpse into what goes on behind the scenes of a relationship on the brink of separation. Its emotions are palpable. “When You Leave” was already familiar to me, and I’m still in love with it. It feels like it belongs here. So often singles stand head and shoulders above the other tracks; they’re the obviously commercial choice that everyone loves. But that doesn’t happen here, due to the strength of this entire EP. After remembering the past on “Silver and Gold,” it makes sense to look forward with the EP’s title track and its closing number, “Til Night Meets the Sun.” It’s got a real quiet strength about it as Loren talks about her resolve for the future.

I love the organic arrangements of these songs. With acoustic guitars and violins the songs sound warm but understated. They give the tracks space to breathe, ensuring we can hear every lyric. As we should when an artist spins such gorgeous stories. There are no frills or tricks here. I imagine the songs would sound the same if we heard Loren jamming with friends at a party, or on the stage of some intimate Australian pub. Remember, you can do just that when she travels around the country on her EP tour next month.

Til Night Meets the Sun will be available on October 9.

Image source: Soundcloud

Posted on by Lauren Katulka

’80s Mania @ West Leagues, Newcastle – 20 September 2015

I’ve been meaning to write this article for the last few days, but somehow the time slipped away and it was dinner before I knew it. So I’m trying a different strategy today and writing it first. Paid work can wait. On Sunday night I headed to my old stomping ground of Newcastle to catch the ‘80s Mania show.

If you missed the memo, ‘80s Mania has seen Cutting Crew, Paul Young, Nik Kershaw, and Go West winding their around Aussie RSLs and delighting those of us who refuse to let go of one of music’s most entertaining decades. Now when I say we had Cutting Crew and Go West I use the term a little loosely. There were just a couple of members of these British acts, but the main talent was still with us and a super-tight band of young things helped make up the numbers. I’m not sure where they found these guys, but they did a wonderful job of slotting in with whichever act they accompanied at the time.

Cutting Crew kicked off the night with an explosive set. Nick Van Eede is a proper ‘80s star, with vintage moves like the one where you go down to your knees when you’re overcome with emotion and the one where you point out to the audience, convincing the girls that you’re singing right to them. It was as cheesy as it sounded, but it was so easy to get swept up in it. I don’t remember people waxing lyrical about guitarist Gareth Moulton in the ‘80s, but he blew me away. A song called “Till the Money Run$ Out” from a brand new album let us all know that Cutting Crew are more than just a nostalgia act. “(I Just) Died in Your Arms Tonight” was the song we all came to hear, and it delivered. A cover of REM’s “The One I Love” was an unexpected but incredible closer.

Paul Young followed, and after seeing him with Tony Hadley at the same venue a few years ago my expectations were low. I was glad of this, because it saved me being disappointed. Don’t get me wrong. Paul Young has so much charm. His songs, including “Every Time You Go Away” and “Love of the Common People,” were probably the strongest of the night. I knew every one, and sang along enthusiastically, both because I love them and because Paul just can’t cut it vocally any more. His voice lacks the range it used to have, and even the notes he can reach don’t sound nearly as strong as they did decades ago. On a night of such incredible acts, his failings really showed.

For the final portion of the night Nik Kershaw joined forces with Go West. A cover of “Everybody Wants to Rule the World” opened a set which was a real mixed bag. They tended to play a cover together, then one act would go off to rest while the other treated us to their originals, before teaming up for another joint number. I was only born in 1980 so I didn’t know all of the songs, but they were performed so well that it didn’t matter. I’d actually seen Go West a few years back (also with Tony Hadley, because where he goes I follow), and they were every bit as good as I remember. The big hits “We Close Our Eyes” and “King of Wishful Thinking” were so much fun, but anything sounds good when Peter Cox is singing it. Nik Kershaw surprised me in the best possible way. I’d forgotten how much I love “The Riddle,” and “Wouldn’t It Be Good” took me right back to my childhood. “Sex On Fire” was an unlikely closer for these two ‘80s acts, but it was so much fun I don’t think anyone minded that it was a few decades after the shows themes.

According to Facebook, the organisers are already hard at work on ‘80s Mania 2016. After all the fun of this year’s event, I’ll be there with bells on.

Image source: Stephen Katulka

Posted on by Lauren Katulka

“In Purple” – Ocean Alley

I hear an awful lot of music in my line of work, so when something different hits my inbox my ears prick up. That’s why I’m really responding to Ocean Alley and their sophomore EP In Purple.

They first caught my attention with the recent single “Muddy Water,” the final track of the EP. This strong track makes the ideal closer to this six-track collection, but there’s plenty to delight before it hits.

“Muddy Water” had a surf rock sound which only hinted at reggae and psychedelic sounds. They’re much more prominent on the other tracks, and I don’t just mean because one’s called “Space Goat” (despite seemingly having little to do with livestock). The songs are full of sexy grooves and infectious hooks. I appreciate party songs like “Twisted” and “Those Daze” most, but couldn’t help appreciating the daring of the epic “Sleepwalking.”

In Purple is a little rough around the edges, but I think its rawness is endearing. It adds a sense of authenticity that’s missing in many more polished recordings. Ocean Alley are currently touring the EP around the country. You can catch them at the following venues.

17 September 2015 – The Brightside, Brisbane
19 September 2015 – Great Northern, Byron Bay (FREE)
20 September 2015 – Sounds of Sunday, Gold Coast (FREE)
25 September 2015 – Uni Bar, Wollongong
2 October 2015 – The Evelyn, Melbourne
15 October 2015 – Oxford Arts Factory, Sydney

Posted on by Lauren Katulka

Richard Clapton @ Laycock Street Theatre, Wyoming – 13 September 2015

When Lizotte’s at Kincumber closed its doors, I started to worry that the Central Coast might start missing out on shows. The older I get, the lazier I get, and the more it takes to compel me to head to Sydney or Newcastle for a show. However, it seems that the loss of Lizotte’s has been Laycock Street Theatre’s gain. This small theatre in Wyoming has been hosting some of Australia’s best talents over the recent months, yet a lack of promotion means I’m usually the last to know. I actually stumbled across the news that Richard Clapton was heading our way just a couple of weeks ago.

Richard’s always been one of my favourite performers, so I couldn’t resist checking his Lonesome Voyager tour. It was billed as an opportunity to see Richard up close and personal, to hear the songs that made him a legend and the stories behind them. Honestly on that score I was a little disappointed. It seems Richard’s heyday passed in a heady blur, so he’s a little vague on the details of many of the songs’ origins. However, there was probably drugs or alcohol or both involved in their inception. The stories he recounted were cheeky and hilarious, but I didn’t quite get the insight into the music I was looking for.

What I did relish was the chance to see Richard Clapton and his guitarist pal playing acoustically. I’ve seen Richard perform more times than I can count on my fingers, but this was my first opportunity to hear him without a full band, back-up singers, and the like. With just an acoustic guitar or two depending on the song, beautiful numbers like “Best Years of Our Lives,” “Blue Bay Blues,” and the final encore, “Goodbye Tiger” were shown in all their glory. There were no real surprises in the set. I’ve seen him play virtually the same songs most times I’ve seen him. He’s one of those artists who knows what his fans want and delivers it. However, while I’d heard these songs so many times before, the acoustic treatment helped me appreciate them in a new way.

With the show starting at 7 pm and no support act, we were all done and dusted by a little after 8:30 pm. I must admit, it felt weird to go home and have time to watch The X Factor before bed, but it was also kind of nice. What a thrill to have such a musical legend play so close to home, then send us on our way before we started to get drowsy. Hopefully there are more of these “old people gigs,” as my husband put it, at Laycock to come.

Image source: Richard Clapton’s Facebook page

Posted on by Lauren Katulka

Joshua Radin @ Metro Theatre, Sydney – 10 September 2015

Last Thursday I went to those concerts that put me on a real high. I’ll be honest with you and admit that I’m still on that high so many days later. I don’t think I’ll ever be able to write about this evening impartially, but I might just have calmed down enough to come off as more of a music blogger and less of a teenage girl. I might be in my mid-thirties, but that part of me is always going to come out when I see Joshua Radin, especially when I do it VIP.

When Joshua announced he would offer VIP tickets for his latest Australian tour, the first in more than four years, I jumped at them. I couldn’t wait to meet this singer-songwriter that I’ve admired for his entire career, but I wasn’t quite prepared for how special the experience would be. Around 30 die-hard fans were ushered into the Metro at a little after five to see Joshua standing on stage, playing one of my favourite songs “Closer,” from the first album. Joshua told us that he wanted to treat us to stuff we wouldn’t hear at the main show, which I really appreciated. The six-song soundcheck was more than generous. “Vegetable Car,” my husband’s favourite song which Joshua pulled out on the request of another fan despite being unsure whether he could remember the lyrics, was another highlight. It was also thrilling to hear a couple of brand new, unrecorded songs. I didn’t take any photos; it was one of those times where you just want to soak things in and have them just for you.

We were told we could get three pieces of merchandise signed, which equated to six for me because I brought my husband along. However, Joshua was actually happy to sign whatever we had, so those posters we were handed as we walked in also earned his signature. He took his time chatting to everyone individually, really paying attention to what we were saying and engaging us all. We never felt rushed, and we all felt special. I was so glad to be able to tell him what his album Wax Wings meant to me, and tickled pink when he complimented me on my skirt.

After the meet and greet we were shown a special VIP section of the Metro where we could sit for the evening. The plush seats and excellent view from those seats added further value to those VIP tickets, as did the company. I swear I’ve never been to a show with such wonderful people. We chatted with such interesting folks, not just about Joshua about our careers and families and other music we loved. They definitely made the time between acts feel much shorter.

Tara Favell was the first of those acts, a sweet young country-pop singer with a sparkly guitar. Her original songs reminded me a little of early Taylor Swift, and I felt for her when I spotted people near the front playing on their phones. Note to music lovers: if you want to stand near a stage, maybe give the artists the respect to at least appear to be paying attention. Her cover versions of “Thinking About Loud” and “I’m Yours” engaged the crowd a little more, but sadly their minds seemed to be elsewhere.

David Lazarus had an easier time of things. Frankly he was a gorgeous man, and that always helps at a show when most of the crowd are female. But his stories about the love he has for his sisters had every girl in the place swooning. He had a great rich tone, and serious guitar chops. His closing medley of popular songs old and new had everyone cheering. I became an instant fan, and plan on checking out more of his music.

But Joshua Radin was the man we all came to see. Despite being here to promote his album Onward and Sideways, his set took on a journey through his entire catalogue. In fact if anything it was heaviest on his debut album, after fans at the soundcheck told him they’d love to hear the early material. I sat in raptures, hanging onto his every word as he explained the circumstances behind the songs and listening to them with new understanding. After a backing band that felt too big for his songs last tour, it was refreshing to see him playing with just two other musicians. They gave the music the right amount of intimacy. My favourite Joshua Radin song “You’ve Got Growing Up To Do” was a real highlight, but “Winter,” “Only You,” and the jubilant” Belong” was also really special. Hell, the whole concert was special. His cover of “Don’t Think Twice It’s Alright,” the first song he learned to play on a guitar, capped things off beautifully.

I left the Metro bouncing off the walls and I still feel those same butterflies as I write about that night. Joshua assured us he’ll return sooner next time, and I can only hope he keeps his word. Because personally, I’m ready to see the show again.

Image source: Stephen Katulka