Category: Reviews

Posted on by Lauren Katulka

“Stories” – At the Dakota

I rarely hear music coming out of the Northern Territory. I’m not sure whether that’s because there aren’t enough musicians up there, or because they just don’t filter down to us here in the southern states. But either way, I’m really glad I have been able to listen to one of the few bands bucking the trend, At the Dakota. This Northern Territory outfit have just released their debut EP Stories, and it’s one of the coolest recordings I’ve heard in some time.

It opens with “Peach Hat,” a summery, breezy song with rapid-fire vocals. I instantly warmed to its cool quirkiness. “Jonestown” showcases a mellower side of At the Dakota. I love its sexy blues groove. The title track “Stories” is another solid indie pop ditty, with some of the EP’s best lyrics. The EP closes with “Stumptail,” which won the People’s Choice – NT Song of the Year 2015. I can understand why. It’s got some of the most impassioned vocals on the EP, and a great sing-along chorus.

At the Dakota have a great energy, with a fantastic pop sensibility that never strays into the predictable. In just four songs they’ve won me over.

Stories is out now. To celebrate its release, At the Dakota are touring around the country next month. Catch them at the following venues.

1 October 2015 – Darwin Railway Club, Darwin
2 October 2015 – Ric’s Bar, Brisbane
3 October 2015 – Shamrock Hotel, Toowoomba
9 October 2015 – Grace Darling Hotel, Melbourne
17 October 2015 – Hotel Metropolitan, Adelaide
23 October 2015 – Four5Nine Bar, Perth
24 October 2015 – The Prince of Wales, Bunbury
31 October 2015 – Epilogue Lounge, Alice Springs
13 November 2015 – Discovery Darwin, Darwin (supporting The Rubens)

Image used with permission from RISH Publicity

Posted on by Lauren Katulka

“Songs Made in My Bedroom” – Kristafor Farrenkothen

I’m a firm believer that if the music is good enough, you don’t need fancy production. It’ll speak for itself, and perhaps even shine brighter because it’s not bogged down in studio trickery. Just because you can add an orchestra or overdubbing to a recording doesn’t mean you should. In fact only today I decided not to post about a song with some really strong lyrics because I felt it was lost in its production.

It’s interesting on a day like that, where I’m getting weary of songs sounding too big, that I should hear Kristafor Farrenkothen’s EP Songs I Made in My Bedroom. The fanciest thing about this music is Kristafor’s name attached to it. The EP is exactly what it says on the tin, a collection of songs recorded in his bedroom. But what songs they are.

There are just three, far less than any EP I’ve seen recorded in the studio. But every one is incredible. I was transfixed from start to finish. Normally I listen to music while I’m doing other things but I had to stop and hear every word of these tracks. I ordinarily take notes, but I didn’t want to get dragged out of the spell they’d put on me. And why should I attempt to capture how special they are when I could just share the EP and let you listen for yourself?

There are certainly rough edges here, as there are with any bedroom recording, but that doesn’t take away from the beauty of what Kristafor has created. This talented singer-songwriter has a really bright future ahead of him.

Posted on by Lauren Katulka

Les Miserables @ Capitol Theatre, 23 August 2015

Most of my concert reviews are about the performances of singers or bands. But after heading to Sydney to catch a performance of Les Miserables last weekend, I figured it was only right that I made time for a different kind of music review.

Ordinarily when I see a show I’m keen as mustard and my husband’s the slightly reluctant companion. It’s not that he doesn’t like music, but he’d generally rather have a night in with the stereo than see an artist in the flesh. However, when we learned Les Mis was coming to town, it was him who dragged me along. I’d seen the movie, again at his insistence, but it’s never been a musical that’s particularly resonated with me. But I couldn’t fail to be impressed with this latest production.

Where the most recent film adaptation was filled with big stars, the current Australian production has people who largely unknown outside the theatre world. The only name I recognised was the splendid Trevor Ashley playing Thénardier, and it took me some time to make the connection as I’m so used to seeing him in drag! Personally I think the lack of big names is a good thing for a couple of reasons. Firstly, it stops you getting pulled out of the story. These people can truly inhabit these characters because you’re never thinking about them being anywhere else. Also, clearly the creators were casting for talent over big names. I’m sure the creators of the Hollywood film could have found a stronger Javert, for example, but he likely wouldn’t have had the profile of Russell Crowe to get bums on seats.

The cast of this musical are stellar. I was floored by Simon Gleeson as Jean Valjean, who in my opinion might have done better than Hugh Jackman’s Oscar winning performance. Hayden Tee as Javert was every bit his equal. Kerrie Anne Greenland’s turn as Eponine was a much smaller role, but her performance of “On My Own” brought tears to my eyes. I can’t be sure which of the little boys played Gavroche when I saw it, but he was born to play that role. What a natural! It’s such a shame this production decided to omit “Little People”! It would had added even more poignancy to his untimely death.

The incredible cast were supported by a really beautiful set with excellent lighting effects that really brought the play to life. I wondered whether it would lose something for me being on the stage, without Hollywood special effects and that big budget, but it was so cleverly done. Javert’s death in particular was incredibly realistic.

I might not be as big a Les Mis fan as my husband, but I challenge anyone to be unmoved when the chorus of voices join in songs like “One More Day” and “Can You Hear the People Sing?” The current production of Les Miserables is a master stroke, and I’m so glad I was dragged along. If you’re living in Sydney and you’ve been considering going, don’t hesitate. You won’t be disappointed.

Posted on by Lauren Katulka

“twelvefour” – The Paper Kites

I’ve always enjoyed the singles I’ve heard from The Paper Kites, but it wasn’t until I received a stream of their new album twelvefour that I actually delved into one of their complete works. I’m so glad that I did.

The new album opens with “Electric Indigo,” easing us in to the recording with some familiarity. It was great to hear the single again, as it helped heighten my anticipation for what would come next.
What comes next is beautiful song after beautiful song. They’re so well crafted, with lush instrumentation and really superb lyrics.

I was particularly drawn to “Bleed Confusion,” a dreamy number about finding your place in a relationship. “Revelator Eyes” sounds like it’d make the perfect driving soundtrack, with its relentless beat and easy vocals. “Neon Crimson” is delicate and mesmerising for its minimalism. “Silent Cause” is another minimalist number, with little more than the strumming of an acoustic guitar and pretty harmonising vocals. Generally The Paper Kites have gone for songs with a slightly bigger sound this time around, which only makes the smaller numbers that much more engaging to me. “Too Late” is such a poignant, haunting end to this really special album.

Twelvefour is one of those albums you could put on at the end of a dinner party when you’re all sitting around drinking wine, wanting music that won’t interrupt the flow of conversation. It’s mellow and low-key, so you could put it in the background if you wanted to. But its songs deserve more than that. I put it on to work but found myself getting drawn out of what I was doing to listen to the lyrics. They’re superb. The album stream saw me chained to my desk, but I’d really love to put it on in the car where I could give it even more attention. I enjoy this album now, but something tells me I’m going to love it even more with every listen.

Twelvefour hits stores on August 28.

Posted on by Lauren Katulka

“Dirty Soul” – Ms Murphy

Ms Murphy was one of the standouts of season two of the Voice, but she’s been a little quiet in the years since. Apparently she released an EP last year to very little fanfare, but she looks set to get back in the spotlight with the release of her new album Dirty Soul.

Dirty Soul sees Ms Murphy putting her soulful stamp on an eclectic collection of songs. Some of the songs are soul standards delivered faithfully by the Sydney songbird. Others are more unusual choices, like cuts from Rolling Stones and Paul Kelly.

No matter what she’s working with, Ms Murphy gives every song an old school soul treatment, with big horns marrying beautifully with her big husky vocals. There’s a little bit of grittiness in this dirty soul; it would have been recorded at Stax rather than Motown if you catch my drift. But it was actually cut at Sydney’s REC Studios, all live, a treatment which gives the tracks a real spontaneous vibe.

I’m not sure I’ve ever heard “Ninety Nine and a Half Won’t Do,” but her energetic cover of The Wright Specials song is a real album standout. I don’t think I’ve ever heard a woman singing “When a Man Loves a Woman,” but I love the way Ms Murphy’s version flips the song. Her groovy version of “Express Yourself” put a bit smile on my face, as did her take on “Needle in a Haystack.” “I Just Want to Celebrate” is the perfect closer for such a feel good album.

Some might say that delivering an album full of cover songs is a bit safe, and in some ways it is. The familiarity of these songs makes the album instantly accessible, and I’m sure it’ll sell well in the lead-up to Father’s Day. But Ms Murphy is damn good at what she does, and working with songs of such quality is the perfect vehicle for showcasing her talents.

Dirty Soul hits stores on August 28, and it available for pre-order now. Ms Murphy will launch the album with a show at The Basement in Sydney on October 8 and a string of shows on Melbourne’s Chapel off Chapel (October 20-23).

Posted on by Lauren Katulka

“Cast of Yesterday” – Tim Wheatley

After waxing lyrical about his single “Valerie” last week, I could wait to dive into Tim Wheatley’s solo album Cast of Yesterday. I was not disappointed.

Just like “Valerie,” the album hooked me instantly with its opening track “The Heathen,” a sultry blues-country number with wailing harmonicas and a driving guitar beat. The second song “78 Benz” shifted gears, but grabbed me with its lyrics about freedom and trying to figure out your place in the world.

These two songs are just some of the highlights in this stellar body of work. I’d be remiss not to mention the modern country feel of the banjo-driven “Burning the Midnight Oil.” I marvelled at the way “Dumb Luck” could floor me in just over a minute, but its quiet stillness did just that. The soulful “The Messenger” is another standout.

But the thing is, there are no filler songs here. Everything is amazing, and I have a feeling my favourites are going to change depending on my mood. Each and every song stands up on its own, but together they create a picture of an artist who’s poised on the edge of greatness. I love the way Tim uses harmonicas and slide guitars and other underutilised instruments to add atmosphere. The way he blends country, folk, and blues is inspired. And there’s Tim’s sexy, husky voice and his incredible way with words. This is an artist who knows himself, who’s come out the other side of alter egos (Crooked Saint) and bands (Rushcutter, The Sparrows) and figured out the kind of music he needs to make. And it’s wonderful.

Cast of Yesterday is available for pre-order ahead of its August 28 release.

Posted on by Lauren Katulka

Jack Carty & Jordan Millar @ Venue 505, Sydney – 8 August 2015

The closure of Lizotte’s at Kincumber hit me hard. That venue spoiled me, got me used to seeing intimate shows and enjoying great food and wines while artists played. So I was thrilled to discover a similar vibe at Venue 505 in Surry Hills on Saturday night.

It wasn’t quite up to the standard of my beloved Lizotte’s, but this small room with comfy couches and tables for dining has real promise. It’s more about bar food than three-course menus, and my steak was rarer than I asked for. But the wine list was inspired and reasonably priced, especially by Sydney standards. You can’t book tables either, although arriving at 6 when doors opened there was no chance of missing out on a great spot.

As I get older it takes something special to lure me into the city. But I couldn’t resist the promise of Jack Carty and Jordan Millar playing “intimate and by request.” Jordan Millar’s album Cold Lights on Curious Minds was one of my favourite albums of 2013, and I loved Jack Carty’s set warming up for Josh Pyke last year. Having said that, I wouldn’t consider myself particularly familiar with their music. I’ve loved what I heard, but I certainly wasn’t hankering to hear particular tunes like the folks eager to write their favourite songs down and put them in the request box by the stage.

The thing is though, at a gig like this you don’t need to know the songs. It’s not like going to see some band they play on classic rock stations where everyone sings along. Especially in an intimate setting like Venue 505, these songs should be listened to, their lyrics heard. Jordan Miller was up first. I haven’t listened to his album in a while, but his set was a powerful reminder that I need to dig it out. There were a few songs I remembered from that recording, like “Rain on the Ground” and some new favourites to discover like “Advice from Beyonce.”

All of the Jack Carty songs I heard were new to me, but that was exciting. Really a show like this is the perfect introduction to musicians, because you’re going to hear a set that’s made up of the songs that fans love. I adored the solo sets both artists delivered, but true magic was made when Jordan joined Jack for the final tracks of the night. How wonderful to experience two such talented singer-songwriters, stripped back with just acoustic guitars, singing such beautiful songs.

And how wonderful to do it at such a great venue. It takes a lot to lure me to Sydney these days, but this show was well worth braving the cold of winter.

Image source: own photo

Posted on by Lauren Katulka

“Bad News” – Josue

Sydney soul singer Josue turned my head with his single “What’s On Your Mind” a couple of months ago. Now that I’ve been able to listen to his EP Bad News, I’m even more impressed.

Back in the ‘90s I remember a wave of exciting soul acts. Artists like Tevin Campbell, Jodeci, and R. Kelly really got me going. We’ve had the occasional act cut from a similar cloth since then. Bruno Mars and Justin Timberlake spring to mind. But they didn’t quite resonate with me. But Josue definitely does.

The single “What’s On Your Mind” reminded me of what got my attention in the first place, and made me hungry for more. The next song “Lex” is totally sexy and smooth. I didn’t mind the title track “Bad News,” but it paled in comparison to the next song, a raw duet “What Would You Say” featuring the vocal stylings of Annelise Johnson. “So Simple” sees Josue skirting the jazz genre, and doing it admirably. He’s back collaborating with the EP’s final track, “Summer Time” featuring Billy Green. It’s not a cover of the classic Gershwin tune, or even the Fresh Prince and DJ Jazzy Jeff colab. Instead it’s a brand new summer anthem which concludes with an awesome acapella break.

If you’ve hungered for the return of soul music, you won’t be disappointed by Josue’s Bad News.

Posted on by Lauren Katulka

“These Walls” – Anna Cordell

When I wake up in the morning, I don’t switch on the morning shows like so many Aussies. TV distracts my husband who commutes into the city, so instead I reach for music. Most often it’s too loud or obnoxious for the morning, but I try to persevere. However, this morning I found just the right music to gradually bring me into the Land of the Living. These Walls EP, from Melbourne songstress Anna Cordell.

You might remember me waxing lyrical about Anna’s single “I’ll Wait Here” a month or so ago. I was surprised to see that song’s not on the EP, but also excited because it meant I got to hear five brand new songs. Anna is an artist who really knows who she is. There isn’t a lot of variety in this recording in terms of sound, but each track gets its individuality because of the stories she tells. I love someone who goes beyond the standard tale of boy meet girl or girl loses boy with their music. Getting into specific stories about people and moments in time is the key to really engaging a listener, because they haven’t heard it all before.

I was particularly struck by the opening song “Michael,” which recalled a sweet childhood relationship, and “Blue Rose,” a poignant song about seeing beauty in our differences. The title track “These Walls” is a fitting end to this beautiful collection of songs.

Anna writes incredible folky songs, which are anchored beautifully by her angelic voice, the gentle strumming of a guitar, or the soar of a string line.

Anna Cordell’s These Walls EP is released today via Bandcamp. She’ll launch the EP with the following shows.

29 August 2015 – Little and Olver, Melbourne
3 October 2015 – Beyond Festival, Canberra
15 October 2015 – The Vanguard, Sydney

Posted on by Lauren Katulka

“Tales From the Sea” – The Lockhearts

I must admit, I wasn’t quite sure what to make of Tales From the Sea when it arrived in my mail box. The Lockhearts’ new album is spread over two volumes. On both covers there’s an octopus with a menacing glare. I wondered whether I was in for a concept album, or perhaps a collection of sea shanties. What I got what some of the best classic rock music I’ve heard in years.

The first volume opens with “Hope,” an uplifting number with a bluesy Black Crowes feel. I loved its chunky guitars and the story the lyrics told of a young woman struggling to make ends meet but filled with optimism and generosity. The album takes a different turn with “The Way to Thunder Road,” is a big ballsy song about rebellion and yearning for adventure. I loved the next song “The Game,” a breakup number which decides to be brutally scathing rather than curling up in a ball. “If Time Was On My Side” made me smile with its jangly, semi-acoustic feel, harmonica, and fatalistic lyrics.

I settled in for the second installment and was caught off guard. It starts with “Low,” a dark brooding number about being consumed by depression and hate. It’s a great track, but also one that I struggled to listen to after the lightness of part one. “Detonator” is another song which celebrates the darker side, a big loud expression of frustration that my teenage self would have eaten up. However, many years have passed since I felt angsty, and I was wondering whether volume II just wasn’t for me.

“Hush” changed my mind. It’s a companion piece to “If Time Was on My Side,” a love song set against the background of the end of the world. It might just be my favourite song on Tales of the Sea. It reminds me a little of a Van Halen number, with big wailing guitars and vocal harmonies, and these great apocalyptic lyrics. “Meet You There Again” follows on so perfectly from “Hush.” The end might be coming, but in this song The Lockhearts sing of the kind of love that transcends time and space. And when it’s delivered with such finesse, you believe it.

No one’s making music like Sydney band The Lockhearts anymore. The members grew up listening to The Doors, The Rolling Stones, and Led Zep and they proudly wear those influences on their sleeves. Throw in a little ’80s rock and you’re somewhere in the ballpark. But there are reasons why the songs of these classic bands lasted. The Lockhearts might feel like a little bit of a throwback, but creating music influenced by that which has stood the test of time can never be a bad thing.

Tales From The Sea is out now.