Category: Reviews

Posted on by Lauren Katulka

Anthony Callea @ Taronga Zoo, Sydney – 14 February 2015

I’ve always thought Anthony Callea was talented, but it took him covering the music of George Michael to turn me from casual admirer to a concert goer. The scheduling of his Twilight at Taronga concert on Valentine’s Day also didn’t hurt. The zoo’s one of my favourite places in the whole world, so the idea of spending the most romantic day of the year there, capped off by a concert was irresistible.

Sadly the weather gods didn’t realise just what a perfect evening it was supposed to be. My husband and I were soggy in ponchos, umbrellas overhead as we waited on the zoo’s concert lawns. Support act Caterina Torres provided a pleasant enough distraction from the gloomy weather. She’s got a lovely voice, but this Voice graduate never really wowed me. Her originals showed some real promise, and I appreciated her decision to play with only the accompaniment of a bandmate on acoustic guitar. However, her predictable covers of top 40 hits were a bit bland. I suppose you’ve got to appeal to the masses at this sort of show, but it all never got to the next gear for me.

It was almost as if the weather gods understood that Anthony Callea was the main event and that we should be focusing on him rather than the rain when he took the stage. We were treated with clear skies for his set chockfull of George Michael hits. I had a ball when I went and saw George a few years back, and I wondered whether Anthony could do the songs justice. I knew he had the voice for them, but I had a question mark over the charisma. However, he charmed the pants off me. His connection to these songs is evident, so you feel them just as deeply as you did when George sang them originally.

I felt a serious bout of déjà vu swooning over yet another gay man singing sexy songs like “Father Figure” and “Fastlove.” His version of “Kissing a Fool” could have stood to have been slowed down a little to capture the jazzy lounge feel of the original, but with just an hour and a quarter on the clock I guess sacrifices need to be made. Backing vocalist Susie Ahern was more than capable of taking over Mary J. Blige’s vocals for “As,” but again I was a little less enthusiastic about Caterina’s role in “I Knew You Were Waiting For Me.” Aretha Franklin’s soul shoes are big, but this version wasn’t a patch on the one Anthony laid down with Casey Donovan on the album.

Given the time restraints on a zoo concert, I wasn’t sure that we’d get an encore. But what an encore. The moment I heard the first strains of Wham!’s “I’m Your Man” I knew I couldn’t just settle for the chair dancing I’d been doing all night. I left my bag and husband behind and sprang down the front, joining the throng of people soaking up one last song. To experience one of my favourite George Michael songs so unexpectedly as it didn’t make Anthony’s recent album was such a fitting way to end one of the most fun, fabulous concert experiences I’ve had in some time.

Image source: Stephen Katulka

Posted on by Lauren Katulka

“Black Cat” – Deena

Brisbane-based chanteuse Deena shows her versatility in her sophomore album Black Cat. This release builds on the acoustic-folk sound that she showcased on her debut album Lone Wolf, with a full band helping her create something much bigger, grittier, darker, and bluesier.

The opening song “Cupid” is a steamy number that starts sultry before erupting with a cacophony of guitars. There’s a lot of that pattern in this album. I think I’m hearing something small and intimate, but somewhere along the way Deena takes a left turn and really lets loose. It’s as if her emotions can only be contained for so long before brimming and bubbling over. There so much good stuff on here, but Deena floored me with “Curve.” That song may have some of the most heartbreaking lyrics that I’ve ever heard.

If I had any criticism of the album, it’s that I could have done without the final track, a remix of “Uncut Diamonds II.” This electronic makeover doesn’t do the song any favours, and doesn’t seem to gel with the rest of the album. I suppose it shows another side of Deena, but it feels like a wasted exercise considering how good the other version is. That said, you’ve got to admire an artist that takes risks as Deena does, especially when so many of them pay off as they do on this album.

Black Cat hits stores on 13 February. Deena will promote its release with the following shows.

8 February 2015 – The Newsagency, Sydney
11 February 2015 – Cambridge Hotel, Newcastle (FREE)
12 February 2015 – The Publishers Hotel, Adelaide
13 February 2015 – The Vinyl, Adelaide
15 February 2015 – The Workers Club, Melbourne
18 February 2015 – Brisasia Festival, Brisbane
20 February 2015 – Queen St Mall, Brisbane (FREE)
8 March 2015 – Kettle & Tin, Paddington, Brisbane
15 March 2015 – The Brewery, Byron Bay
20 March 2015 – Black Bear Lodge, Brisbane

Posted on by Lauren Katulka

“Where Did You Come From?” – Darren Hanlon

Some albums grab you from the first notes, shaking you out of your world and demanding to be heard. You know it’s something special and you’re captivated from start to finish. Others sneak up on you, getting underneath your skin gradually until you realise that this album is far better than you ever imagined. Where Did You Come From?, the fifth studio album from Darren Hanlon, is that kind of album.

I initially thought it was just a sweet blend of country and folk. It was pleasant enough to listen to, but also likely to get buried amongst my massive pile of music before too long. And then I heard “Letter from an Australian Mining Town.” The fifth track, a tender slice of Australiana with all of the romance of the bush. Even if you haven’t been there you understand it. And that was when I thought “I get this. This is amazing. I need to go back to the other tracks and pay more attention.”

With my ears wide open I realised that while Darren’s music is fairly small, it shouldn’t be overlooked. Perhaps no song emphasises this point more than “My Love is an Ocean Away.” With only an acoustic guitar, Darren’s voice, and some quirky but poetic lyrics, it draws you in and proves how powerful something delicate can be. As someone who lived through a long-distance relationship, it struck a real chord.

So did “Halley’s Comet, 1986.” As he told the story I recalled my own experiences as a six-year-old, not really sure why we were all looking up at the stars and what we were waiting for, but doing it anyway.

Then there’s “Manhole Cover Tap,” which proves that anything can be a musical instrument. I’m not 100 percent sure whether real manholes were involved in the recording of this track, but I love its organic, back to basics feel. And I’m sure that Johnny Cash would have been proud to pen the rollicking country-rock of “The Chattanooga Shoot Shoot.”

Darren’s spent a lot of time in the United States, but he certainly hasn’t forgotten where he came from. Australian stories are at the heart of every one of these songs, and he sings them in a real Australian voice rather than that generic accent-free one so many performers use. It’s so refreshing to hear. As the first few tracks washed over me I didn’t expect to become so invested in Where Did You Come From? But I’ve found myself going back to it and giving it another spin for a couple of weeks now. It creeps up on you, and when it does it’s so rewarding.

Where Did You Come From? hits stores on March 2. Darren will celebrate the release of Where Did You Come From? with the following shows.

27 February – 1 March 2015 – Nannup Festival, Nannup
2 March 2015 – Mojos Bar, Fremantle
5 March 2015 – Republic Bar, Hobart
6-8 March 2015 – Panama Festival, Panama Forest
12 March 2015 – Railway Club, Darwin
20-22 March 2015 – Yackandandah Folk Festival, Yackandandah
24 March 2015 – Clarendon Guest House, Katoomba
25 March 2015 – Gallipoli Legions Club, Newcastle
26 March 2015 – Manning Bar, Sydney
27 March 2015 – Street Theatre, Canberra
28 March 2015 – Candelo Festival, Candelo
2 April 2015 – Jive Bar, Adelaide
3 April 2015 – Karova Lounge, Ballarat
9 April 2015 – The Spotted Cow, Toowoomba
10 April 2015 – The Zoo, Brisbane
11 April 2015 – Majestic Theatre, Pomona
17 April 2015 – The Corner Hotel, Melbourne

Image used with permission from Mucho Bravado

Posted on by Lauren Katulka

“Songs of Woe” – Kegan DeBoheme

Before writing this review I took a look at those I’d penned in 2011 and 2012 about the music from Kegan DeBoheme’s band The Gypsy Bangles. I remembered them as a bit of a rock and roll throwback, a remnant from music’s heyday. There are certainly elements of that in Kegan’s solo effort Songs of Woe, but this is more than just same old thing.

It’s interesting that The Gypsy Bangles recordings I listened to had just four tracks each. They gave a mere glimpse at an act. I wonder whether in Songs of Woe Kegan had more space to spread out creatively, or whether he’d have always done that if The Gypsy Bangles recordings were longer. At any rate, with 12 tracks to play with Songs of Woe is an album of more diversity. It’s also one that feels a lot more intimate. Kegan’s roughened voice is strong through this album, ably supported by the music rather than fighting through it as he sometimes did with the Gypsy Bangles. The instrumentation is just that bit simpler, and that draws you in.

Kegan’s love of classic rock still shines through, whether it’s on his covers of Jim Croce’s “Operator” and Rodriguez’s “Sugarman” (which is incidentally far better than the dancey version floating around the charts) or original songs that capture the period like “Flowers (For a Brother)” or “Where Has the Summer Gone?” Yet there other forces at play here. “Gone Tomorrow” and “Rose Painted Gold” feel as if they could sit comfortably on a grungy record from the 90s. Despite beginning a lot like a Steely Dan track, “The Setting Sun” sounds like what Dion might have done if he’d gone on to play with Alice in Chains. I really enjoyed the laidback acoustic jam of “Inner City Blues.”

Kegan DeBoheme might be without his Gypsy Bangles bandmates with his solo album, but the music has enough similarities to those earlier recordings to satisfy long-time fans. However, Songs of Woe isn’t just about doing the same old thing. It’s a bit rougher, rawer, and dare I say it, more honest. It’s far from the perfect record. Certain sections feel a bit derivative, and others are a slog. I’m still not sure whether we’re hearing Kegan or simply Kegan’s influences in his music, but I’m enjoying listening to the journey.

Songs of Woe is available now through Kegan DeBoheme’s Bandcamp page.

Posted on by Lauren Katulka

“Bay Sessions” – Bobby Alu

Bay Sessions by Bobby AluThe long weekend’s not here yet, but I’m already getting into that cruisy frame of mind thanks to Bobby Alu’s latest EP, Bay Sessions. I’m really glad that this is my first album review for the year, because this summery release is the ideal soundtrack for this time of year.

It begins with the laidback groove of “My Style,” which is something I imagine that Bob Marley might have laid down if he ever visited Motown. The tempo picks up a little in “Step.” Bobby’s as chilled as ever, but it’ll get your toes tapping.

The instrumental “Mana” references the positive spiritual force its title embodies. There’s no English translation for this term from the Pacific Islands, but if you listen to the track you’ll probably come close to understanding it. Incidentally, this song is the perfect kitchen soundtrack. It sounds weird, but I was grating carrot and zucchini for dinner last night and it was like I was at one with the music. Try it.

Bobby’s back on vocal duties for “The Day,” a gentle number about living in the moment. His ukulele is the only accompaniment for this beautifully intimate song. I struggle to pick a favourite on a recording that’s so solid, but “Something” might be it. It just feels so good: soulful and smooth and sassy.

The EP closes with “Tagi,” a Samoan chant Bobby remembers from his childhood. It’s a powerful number that sounds even more impressive when you realise Bobby doesn’t have any back-up musicians as the Samoan elders would have. It’s just him on his DIY island-style drum kit. Too cool.

I’m so passionate about this recording, so I’m thrilled that you can all hear it. Bobby is offering it for free download throughout the duration of the Bay Sessions tour. The full release will then be available for purchase at the tour’s conclusion. In keeping with Bobby’s generous spirit, the tour also features plenty of free shows too.

5 February 2015 – Prince of Wales, Bunbury (FREE)
6 February 2015 – Settlers Tavern, Margaret River (FREE)
7 February 2015 – The Odd Fellow, Fremantle
8 February 2015 – Clancy’s Fish Pub, Dunsborough (FREE)
13 February 2015 – Landsdowne Hotel, Chippendale
15 February 2015 – Moonshine Bar, Manly (FREE)
20 February 2015 – Motor Room, Brisbane (FREE)
22 February 2015 – Hotel Brunswick, Brunswick Heads (FREE)
1 March 2015 – Hoey Moey, Coffs Harbour (FREE)
4 March 2015 – Queen Victoria Market, Melbourne (FREE)
5 March 2015 – Shebeen, Melbourne
7 March 2015 – Sol Bar, Maroochydore
8 March 2015 –  Bleach Festival, Coolangatta (FREE)

Image used with permission from Heapsaflash

Posted on by Lauren Katulka

All But the Sun – Winterbourne

When I reviewed Winterbourne’s single “Cold” last month I swore that I’d track down a copy of the EP All But the Sun. I was so impressed with that song that there was a part of me that worried that perhaps I’d be disappointed. Winterbourne had set the bar so high. I needn’t have fretted. All But the Sun may be the best thing I’ve heard all year.

The EP opens with “Cold,” which was every bit as epic and beautiful as I remembered it. The energy was turned up several notches with “The Boy Prince,” a raucous number with a deliciously dark edge that reminded me a lot of something Mumford & Sons might release. I couldn’t help but thing of the English band from time to time as I listened to the rest of the songs, as there are a few similarities in the way their music builds, their lyrical sensibilities, and the lush harmonies. I could hear the longing in “Steady my Bones.” There was real palpable sadness in “Leaves” too. After so much sorrow the light of “Sunrise,” the closing track (or so I thought) was such sweet relief. It’s jubilant and uplifting, a dazzling conclusion.

I instantly ran to my stereo and started the EP again. And again. It reminded me of when I got Sigh no More, than first Mumford & Sons album, and I couldn’t stop listening to it. I’d play it in my home, need to go out and take it to my car stereo, bring it back in with me and whack it on again. Something tells me this EP is going to be much the same.

In my enthusiasm for these songs I didn’t actually realise that in a throwback to the ‘90s, there’s a hidden track. It’s wonderful too, full of spirit and folky energy. But of course.

EPs might be much smaller than full-length albums, but even so, there are usually weaker tracks. Not here. Every single song on All But the Sun is so very good. Winterbourne are such a quality band and I can’t wait to hear more from them.

Image source: Winterbourne Facebook page

Posted on by Lauren Katulka

“Local Football” – Sleepy Dreamers

Melbourne indie-folk act Sleepy Dreamers have done it again with their sophomore EP Local Football. It’s an unassuming name, but one which really captures the down to earth nature of this recording. It’s very raw, but endearingly so, with a back-to-basics approach to songwriting that really resonates with me. So few artists tell us stories through their songs any more.

It starts so strong with “Hunk,” a plaintive number that’s so real and raw that it still gives me chills, even though I’ve heard it several times now. Sleepy Dreamers refuses to let us dwell in the dark for too long though. The EP’s other single, “Bike Song” comes next, a uplifting, almost calypso-like ditty which makes me think of steamy summer days. All too often upbeat numbers are all about danceability, but this one has a strong emotional core that ensures it’s no throwaway track.

It’s a bit risky to put the two singles up front, but it’s a testimony to just how good the band are that the second half doesn’t drag. “Red Triangle” is another raw, emotive piece with some stunning harmonies. “Gold” continues the trend, but I think the official closing track “Sleep in Stone” might be my favorite. It’s got a delicateness about it, a real beauty that speaks so eloquently about a lost relationship.

I say official closing track, because there’s a bonus song at the end, “Feathers.” Its easy alt-country vibe doesn’t quite match the rest of the EP, so the bonus track tag makes sense. It’s a decent song, but it doesn’t leave the strong impression that “Sleep in Stone” does. I’d have been tempted to leave it off as the EP prior to this was such a cohesive, emotional unit. Sometimes less is more.

It might not be the perfect EP, but Local Football comes close enough. It’s available now on Bandcamp, iTunes and Spotify.

Image used with permission from Maths and Magic

Posted on by Lauren Katulka

“Time Has Come” – 1200 Techniques

1200 Techniques new EP Time Has Come won’t drop until the New Year, so I was thrilled to enjoy a preview stream this month. I remember being so excited by this act in the 90s. I hadn’t warmed to a lot of hip hop acts, but I found the way that they combined rapping with funk and soul so accessible.

A lot has changed since then. Hip hop has well and truly been embraced by the mainstream. I wondered whether 1200 Techniques could still feel as unique in the modern musical landscape. Time Has Come gave me the answers I was looking for.

The title track and single is the ideal opener, a great reflection on the 1200 Techniques journey. It is an excellent introduction to the band for new listeners and a catch-up for the rest of us. “Undress My Soul” is so sexy cool, and “Speed of Light” should pack the dance floors. By the time I got to the closing number, “Move On,” I was enjoying myself so much I didn’t mind hearing the standard version and the DJ Peril remix. The song’s a lovely bookend to “Time Has Come,” a track which looks forward and welcomes the next chapter of the 1200 Techniques story.

Time to work on solo projects and other endeavours has undoubtedly been good for 1200 Techniques. They seem to have a new creativity and energy that should delight long-time fans and help them find a brand new audience.

1200 Techniques’ Time Has Come EP hits stores on 23 January 2015.

Image used with permission from Paris is Patient

Posted on by Lauren Katulka

Pepa Knight @ Baker St., Gosford – 28 November 2014

As a Coastie it’s easy to get a bit Lizotte’s-focused. This venue has been pampering its guests with incredible food and exceptional entertainment for years. However, with the news of its impending closure it’s worth noticing that there are other venues around that mean you needn’t make the trip up or down the freeway to catch live music. Baker St. is just 10 minutes from my house, yet I didn’t know it existed until last week when I scored some tickets to see former Jinja Safari frontman and fellow Coastie Pepa Knight.

Not that Baker St. is a substitute for Lizotte’s. It caters for a much younger demographic, which is something I struggled with a little bit. I’m too old for places that don’t serve wine in the same room the band’s playing. I’m too old for places that require you to choose between having a great view of the band or sitting down. And I’m definitely too old for places where the main act doesn’t take the stage until after 10:30. But Baker St. isn’t attempting to appeal to people like me. Being there reminds me of the nights I used to spend at SJ’s in Newcastle or the Annandale in Sydney, when I was a young thing with boundless energy who didn’t need anything but a great band on stage and a drink in my hand.

Not that all the bands were great. Stream Lea kicked things off with what they describe on their Facebook page as “electronic, ambient, fun” music. I guess it was the first two, but my husband and I were having no fun. The young crowd seemed to get it, but my husband and I struggled with the music which seemed to lack melody and intelligible lyrics. Elwood Myre were a lot more to my tastes, an acoustic duo with alt-country leanings. Any act with a mandolin can easily win me over, even if they seemed a little too influenced by Dylan. They definitely have talent, so I’m sure with time they’ll find their own voice and seem like less of a cover band. Owen Rabbit came next. I wrote about his track “Police Car” back in July, and was really intrigued by his set. I can’t say that every number was to my tastes, but many of his electronic soundscapes were just so beautiful. It was different and original, and that earns serious points for me.

After all this music I was well and truly flagging by the time that Pepa Knight, or Central Coast Jesus as my husband likes to call him, took to the stage. It makes me feel very old when I realise I’d have already been in bed by the time an artist appears. I was determined to at least make it through a few songs, and the rush of energy that his set provided allowed me to do that. He has such a great calming presence, like a guru or yogi. The combination of his sitar and the trippy psychedelic light show, which would have been further enhanced if I’d invested in the 3D glasses, was mesmerising. Pepa and his band create something so beautiful, jubilant, and tribal that you can’t help but be swept up by it. I’m not sure the venue did him any favours though. He has such a big presence, he seemed a little out of place in this warehouse-like space. The people catching him at Mountain Sounds are in for a real treat; out communing with nature is where this music would really be at its best.

Needless to say, I didn’t make it through the set and I was dozing in the car as my very understanding husband drove me home. As I approach my mid-30s gigs like this aren’t quite for me, but I’m glad I got out of my comfort zone to see someone as talented as Pepa perform, even if for just a little while.

Image source: own photo

Posted on by Lauren Katulka

“Sucker” – Pluto Jonze

Sydney’s Pluto Jonze has offered up the perfect remedy to those mid-week blues with his latest EP Sucker. This recording has such positive energy, whether Pluto Jonze is inviting us to party when he’s gone (“Wear Purple at My Funeral”) or chow down in Asia (“Breakfast in Korea”). The title track “Sucker” is a bit more serious than the other songs on the EP, but I think we need numbers with such emotional heart to balance the recording.

“Sucker” is weird and wacky, but so much fun. It’s full of hooks and synths and all of that stuff that makes you smile. It’s unashamedly pop, but pop that loves to live left of the center. Think The Cars, Ween, or early Beck, but with that extra special something you just can’t put your finger on.

Pluto Jonze will kick off the Sucker launch shows in Melbourne tomorrow night.

4 December 2014 – Shebeen, Melbourne
6 December 2014 – Alhambra Lounge, Brisbane
13 December 2014 – Brighton Up Bar, Sydney

Image used with permission from Shake Appeal