Category: Reviews

Posted on by Lauren Katulka

“Psalm IV: Den Sista Sorgen” – Lindsay Phillips

Folk’s one of my favourite genres, but I don’t often hear a voice that brings something new to the mix. Lindsay Phillips does that with songs that he dubs Gothic folk on his new album Psalm IV: Den Sista Sorgen.

I could imagine a king’s servant playing this sort of stuff in a medieval court. There’s a real romance about the songs, which make reference to royalty, honour, and sacrifice. The lyrics are truly poetic. Lindsay’s rich deep voice is also something I haven’t heard from a lot of folk singers. The opening song “Two Princes” drew me in immediately. “Mourning of a Golden Age” also really resonated with me. It painted such a vivid picture in my mind when I heard it.

I do love stripped back songs anchored by the strum of an acoustic guitar. However, as the album wore on I found myself wanting to hear a little bit more, some light and shade, some variation. While the lyrics were so well crafted the melodies started to feel a little samey.

Psalm IV: Den Sista Sorgen is a bit of a snowflake in the modern folk scene. I appreciate its uniqueness, and it shows Lindsay Phillips has certainly got talent. But I think I would have loved it more as an EP. As a full-length album, there’s just not enough variety to keep me interested.

Psalm IV: Den Sista Sorgen is available now from Lindsay Phillips’ Bandcamp page.

Image source: Lindsay Phillips Bandcamp page

Posted on by Lauren Katulka

Screaming Jets @ The Entrance Leagues Club, Bateau Bay – 7 November 2015

As a girl growing up in Newcastle, the Screaming Jets are an integral part of my music DNA. An underage show at the Cambridge was one of my earliest concert experiences without my parents, and like so many Novacastrians, I’ll never forget the show after the ticker-tape parade celebrating the Knights’ first grand final victory. I must have seen more than 20 Screaming Jets shows at pubs and clubs in my late teens and early 20s, so I was pretty excited to break the drought with a show at The Entrance Leagues on Saturday night.

Despite living on the Coast for the last decade, I’d never actually been to The Entrance Leagues for a gig. The venue was one of those ones that took me back to the early 90s though. There were no frills about it, and the wind was blowing just the right way from the beer garden to add the smoky ambience ‘90s shows always had. We had to stand, something I haven’t done at a gig in years, but I couldn’t imagine watching a show like this sitting down.

Local band The Radics kicked off the night with a fun set that set the evening’s tone. I heard a lot of ‘90s influences in their music, a little Matchbox Twenty, a little Third Eye Blind, a little Goo Goo Dolls. Their brand of pleasing pop-rock with a little bit of edge went down a treat with me, largely due to the charisma of frontman Blake Wares. An energetic cover of INXS’ “New Sensation” and an epic take on “Another Brick in the Wall (Part 2)” won over the crowd.

After The Radics it was time for Massive to take the stage. These guys seemed like they’d stepped right out of the 80s, with big hair and big, ballsy rock music. It was turned up to 11 from start to finish, and the crowd responded enthusiastically. Personally I thought they were a little too much, but my husband rushed to merch stand to pick up their CD after the set. I will concede that they were the perfect warm-up for the Jets though.

With the audience feeling amped up, the Screaming Jets were always going to have an easy job. This crowd was ready to rock, and this classic Aussie act obliged. Before I get into the nitty gritty, I’d be remiss if I didn’t comment on the poor sound quality on the night. I’d been slightly put off during the support acts, but figured it might right itself when the main act rolled around. A band like the Screaming Jets really needs good sound. There’s a place for fuzz and distortion in the rock and roll world, but take it too far and it becomes painful to hear. It was a good thing I knew all the words to many of these songs, because otherwise I would have had no idea what Dave Gleeson was singing.

The Jets delivered though, despite bearing little resemblance to the band I saw decades ago. Dave Gleeson out front and bassist Paul Woseen were the only ones I remembered. However, the new guns have been schooled in these songs and, sound issues aside, the band rocked just as hard as they did all those years ago. Dave Gleeson is still one of the most exciting performers I’ve ever seen on a stage. While I enjoyed him fronting The Angels, hearing him sing these songs feels right. Age has not wearied any of these guys, and hearing them play songs like “Healing Hand,” “C’mon,” and the always explosive “Better” took me back to my youth.

Things weren’t quite the same as they were in the ‘90s though. Trying to look around people’s smartphones as they snapped photos of the show got old really fast. Back in the day we were far too caught up in the music to do that. Back in the day, I was also proud of typically being the only girl in the centre of a very raucous front row. The crowd were still enthusiastic, but they didn’t go nearly as hard as they did all those years ago. I’ve mellowed with them though. I never would have dreamed of being a few feet back from the stage in the 90s. And when my husband alerted me to the time, during the encore, I never would have agreed that it was getting late and left just before the end. Perhaps if the sound quality was better I would have put up more of a fight, but I was happy to hear some of “Rocking in the Free World” in the foyer while my husband collected his umbrella. I insisted I’d keep my husband company on the way home, but I think I was snoozing before we made it out of the car park.

I certainly don’t have the staying power that I once did, but thankfully the Screaming Jets do. I shouldn’t leave it so long before I catch them again, but I’ll be praying for a better sound tech next time we cross paths.

Image source: Stephen Katulka

Posted on by Lauren Katulka

“Brisneyland” – MofoIsDead

I’ve gotten into the habit of listening to a little music and blogging while I work on other projects. It’s usually a good way for me to figure out what floats my boat and what’s getting binned, so I can make sure this blog gets updated without my other deadlined work getting neglected. Usually the music works in the background. I might get drawn out for a moment or two, but rarely does it steal focus from the other things I’m doing.

And then there’s Brisneyland, the new EP from Brisbane’s alternative rock act MofoIsDead. This is the sort of recording that refuses to fade into the background or be ignored. It’s anthemic, epic, and loud. Or at least it should be. Listening to it at a decent volume while I attempted to focus on something else just didn’t feel right.

So I gave up trying to do anything else and just listened to the music. I love the way this band plays with light and shade. They can turn it up, and they invariably do. But before the chunky guitar riffs kick in on opening track “Plutocracy,” there’s a delicate violin. When we’re not treated to driving drums and blisteringly fast guitar licks there are moments of quiet reflection, space for the songs to breathe. “Mournography” is a beautiful instrumental number, a tribute to vocalist Paul Galagher’s best friend who passed away during the recording of “Brisneyland.” Paul’s vocals deserve a special mention. He’s got one of the strongest rock voices I’ve heard in some time, and it elevates these already strong songs into the stratosphere.

Brisneyland drops on November 20. Look out for it, because it’s an absolute cracker.

Image used with permission from Collision Course

Posted on by Lauren Katulka

Jazz in the Vines @ Tyrell’s Vineyard, Pokolbin – 31 October 2015

With a new concert looming tomorrow, I figured it was about time that I sat down to write about this year’s Jazz in the Vines. After missing last year’s event because my usual Jazz companions (the parents) were gallivanting around the world, I was determined to not miss this year’s. Not even the grey skies and threat of rain could dampen my enthusiasm.

With my parents doing more world travelling, I lost my regular ride. Thankfully Rover’s Coaches were there to oblige. I can’t recommend them enough. We travelled to the vineyards in such comfort that my husband slept the majority of the way.

The Wobbly Boot Jazz Band provided the perfect soundtrack for us to track down my high school friend and acquaint ourselves with the venue. These guys are Jazz stalwarts, always consistent in the old-school jazz they deliver. They’re a reminder of where the festival began, before it started genre hopping.

One thing I noticed as I browsed the stalls was the lack of wine options. I’m not sure if this was new this year or the last, but last time I attended Jazz in the Vines we had major winemakers like Peterson’s Champagne House and Tamburlaine Organic Wines represented. I can’t blame Tyrell’s for wanting the monopoly, given that Jazz is held on its land, but it was a little disappointing to have our options narrowed. I will concede though that the Tyrell’s wine was delicious. I don’t normally drink their stuff, but I sampled the semillon, the bubbles, and a white blend called Part & Parcel and they were all heavenly. The lines also didn’t seem to get as long as I thought they might, although if Jazz was held on a beautiful sunny say I can see that becoming an issue.

As we settled in for the day organisers informed us that sadly next year’s would be the last ever Jazz in the Vines. It promises to go out with a bang, but I really wish it didn’t have to go out at all. It’s the only festival I bother with these days. There’s always something wonderful on the bill, and the relaxed atmosphere just can’t be beat. I’m really going to miss it.

So there was a tinge of sadness as we settled in to watch the Royal Australian Navy Band. These guys are always so tight, performing a set mostly made up of standards with military precision. Unexpected covers of “Supercalifragilisticexpialidocious” and “I Want to Be Like You” from The Jungle Book added real colour to their performance.

Bruce Mathiske is such an accomplished guitarist that it’s impossible not to be impressed by what he does. When he brought George Golla on to the stage with him, we knew we were in the presence of greatness. However, three acts in I was kind of waiting for a break from the mellow. Or perhaps the rain that had started to come down was souring my mood. Either way, things were lovely but I was waiting for them to kick up a notch.

It seems I was waiting for Steve Clisby. Funnily enough, I was one of the only Aussies who wasn’t besotted with him on The Voice. I thought he played a little too safe, and I could see some limitations to his vocals. But when I saw him live, I wasn’t worried about any of that stuff. There’s this easy way about his performance style that wins a crowd over from the get go. Perhaps it also helped that here he was singing the songs he wanted to sing, rather than those given to him by the network. Although he did acknowledge his Voice past with his now famous cover of “Walking in Memphis.” I didn’t expect to enjoy Steve Clisby as much as I did, but after some fairly sleepy acts I was really impressed.

It wouldn’t feel like Jazz in the Vines without James Morrison, and once again he didn’t disappoint us. This time around he seemed to take a back seat though, giving his young singers an opportunity to shine. There weren’t the big trumpet solos I was used to. He even spent a little time on keys. Rather than attempting to be the star, he sang the praises of his vocalists. I was thrilled to see former Australian Idol contestant Roxane LeBrasse back with him, as she was a few years ago. The Voice alum Glenn Cunningham was there too, proving he’s well and truly moved on from being Delta Goodrem’s back-up singer. He was so much stronger than I remember him on the show, whether because he’s got more experience as a frontman under his belt or he’s now singing songs that he believes in a little more. I hadn’t heard of Evelyn Duprai but she was also phenomenal. I’ve seen James Morrison in the spotlight, so I really enjoyed watching him as part of one of the best soul ensembles I’ve seen.

Ross Wilson was the act I really wanted to see, and he put on the performance of the day. He drew from his entire back catalogue, helping the crowd forget about that relentless rain with classics like “Come Said the Boy,” “Come Back Again,” and my personal favourite “Cool World.” He has such charisma to match those amazing songs. By the time he brought out “Eagle Rock,” the whole crowd was singing along enthusiastically.

Honestly, it’s a shame that Ross Wilson didn’t end the show. We heard some time earlier that Angry Anderson, who was scheduled to front closing act John Morrison’s Heavy Metal Jazz Orchestra, had come off his bike and wouldn’t make it to the show. Sadly without Angry, this act seemed really just like your average jazz band. That’s fine at the start of the day, but a little lacklustre at the end when we’re all ready to party. I really hoped there’d be some edge, some jazzy covers of heavy metal hits perhaps, but I was bored. If I were the organisers, I would have rejigged the bill so this technically fantastic but ultimately uninspiring act wasn’t our final taste of Jazz in the Vines 2015.

As we packed up and headed for the gates I was stopped with my mostly full bottle of wine and told to surrender it. Given how frustrated I was, I figured I’d sound off about that here too. In hindsight I probably should have hidden it away in my bag and tried to sneak through, but I hadn’t really thought it would be an issue. I think this sort of policy simply encourages people to down the bottles of wine they have to ensure their money isn’t wasted. I was getting on a bus, but I could have just as easily been getting behind the wheel. Surely it’s more responsible to let people take their wine with them to consume it later, rather than guzzling it at the gate. I know rules are rules, but I’m not sure this policy is the best thought out.

This year’s Jazz in the Vines wasn’t perfect, but even a less than perfect day at Jazz is better than a day at most festivals. I’ll be back in 2016 with bells on, keen to help this beloved Hunter event go out with a bang.

Posted on by Lauren Katulka

“Home Movies” – Kevin Dolan

After hearing Kevin Dolan’s song “Modern Times” a week ago, I couldn’t wait to listen to EP it was lifted from, Home Movies. I’ve played it twice this morning, and it’s proven to be just the music I needed to hear to wind down on a Friday.

Actually, it’s just the sort of music I like to hear at any time. This six-track collection has everything I loved about the single but that bit more. You can enjoy a song on its own for what it is, but when you hear an EP like this you start feeling like you’re getting to know the artist.

As you might expect from an EP penned by an Irishman living in Australia, themes of displacement and longing run through Home Movies. Beautiful songs like “Gone” and the EP’s closer “The Station,” in which Kevin sings with only his acoustic guitar as support, really resonated with me. But there’s a much cheekier side to his music too which he showcases on the Gaelic blues track “Fairytale Blues #3.” I’m not quite sure how the musical influences of this song marry so well, but he manages to pull it off.

Home Movies is real, raw, and beautiful. Kevin Dolan’s husky voice isn’t perfect, but his flaws make this recording feel that much more honest and compelling. He’s a storyteller, the kind of artist we don’t hear enough of these days. Home Movies is a wonderful introduction to his music.

Home Movies is available on November 1. Kevin Dolan will support it with a show at Melbourne’s Bar Open on November 15.

Posted on by Lauren Katulka

“Preparing for Flight” – Dan Flynn and the State of Things

Melbourne singer-songwriter Dan Flynn has shed the Major Chord moniker behind and joined new outfit, the State of Things. They’ve just released a new album called Preparing for Flight.

From the opening number “Heavy Lies the Crown,” where he sings “Come walk with me,” Dan Flynn invites listeners into his world, and I followed gladly. I felt hypnotised by his rich soothing voice and the gentle acoustic guitars that anchored each song. I loved the organic arrangements, and fell for the way his voice harmonises with Meabh Friel. The gentle, folky sounds of this album were just what I needed to hear on this lazy Sunday.

But then I realised there was a little more going on that I’d first thought. While listening to sweet songs where Dan compares someone’s love to a “Blanket in the Snow” and creates beautiful mental images of “Sunny Autumn Weather,” it’s easy to miss the darker underbelly of much of Dan’s music. It’s not long before the sunny autumn weather turns stormy. “Apocalyptic Love Song” might sound as sweet and tender as any romantic ditty, but the end of days setting makes it very different from any other love song. “The State of Things” takes us out of our immediate frustrations to explore some of today’s most pressing social and environmental issues.

Preparing for Flight might sound on the surface like so much mellow folk music, but delve a little deeper and you’ll find songs which aren’t afraid to explore the shadows. It gets richer with each and every listen.

Preparing for Flight is available now from most digital outlets. If you’d prefer a physical copy, you can order yours through Dan Flynn’s Bandcamp page.

Image used with permission from Dan Flynn

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.