Category: Reviews

Posted on by Lauren Katulka

“Understood” – Baychimo Kin

Baychimo Kin’s album Understood snuck up on me. I remember being sent the Soundcloud of the lead single “Marianne” a few weeks ago, listening to it, just not quite being able to get into it, so moving on. Then I was sent the video. It was animated and beautiful, but again the song didn’t quite resonate with me. Those persistent publicity folks then sent me an album stream. I know all too well not to judge a band by one song, so I slipped it on.

I still hadn’t made up my mind after the first listen, or the second, yet I found myself compelled to keep on playing it. There was something there, and somewhere around the third or fourth listen I got it. I can’t describe what “it” is, dear readers. I’m not really sure how this album got under my skin, or what it was that made the penny drop, but suddenly I found myself taking notes. I wrote down several adjectives: delicate, fragile, unique, special. The songs on Understood are all these things. You might not catch them on the first listen either, but I’m sure you will.

These songs are deceptively simple, but they get richer with each listen. The Melbourne band creates moods with the haunting vocals and beautiful instrumentation. I love the heartfelt romance of “Anna,” especially since the band can balance it with the edge of a track like “B Sting.” “Honey” might have a bit of an identity crisis, but I am right there now as it takes the listener through every movement. “You’ve Got a Hold Of Me” is such a striking closer. And “Marianne,” that song that I grappled with for so long is now one of my favourites. It was such a slow burner for me, but when I got it, boy did I get it.

I took some time to fully grasp Understood, but I think it’s one of the most original albums I’ve heard all year.

Image source: Baychimo Kin Bandcamp page

Posted on by Lauren Katulka

“Demokracy” – Citizen Kay

The Australian hip hop scene may be the strongest that it’s ever been in history. Where once there was a cultural cringe and artists were accused of simply copying the musicians in the United States, we’re realizing that many Australian hip hoppers have some really important, interesting things to say. Acts like Bliss N Eso and Hilltop Hoods dominate the charts, but personally the artist that’s impressed me most is Citizen Kay. As I listened to his long awaited mini-LP Demokracy today, I found myself falling even more in love with his music.

At eight tracks, the mini-LP tag is perfect. Far too long for an EP, too short for a regular album, Demokracy feels the ideal length. There are no filler tracks. Indeed, the first half have already been released as singles since the start of 2013. But the remaining four are definitely not just making up the numbers. While I already loved “Yes!,” “Raise a Glass,” “Manage,” and “Freedoom,” they were the songs that really confirmed to me that Citizen Kay is the real deal. “Chosen,” a collaboration with the velvety-voiced Benjamin Joseph, is particularly breathtaking. “Nice &” is such an unusual blend of cocktail jazz and rap. This is the real deal.

It’s Citizen Kay’s ability to move from party tracks to political songs to smooth romantic jams which I find most endearing. So many hip hop artists seem to exist in a box. They’re railing against the system or they’re hanging out with the honeys living large. Citizen Kay is unashamedly a hip hop act, but you gets the sense that he wants to push that label as far as he can. The result is a record that’s really diverse, but so well done that it works as a beautiful, complex whole. I feel like we’re only just starting to see the many facets of Citizen Kay.

Citizen Kay has two final shows to launch Demokracy. Catch him at Sydney’s Roller Den on November 28 on the CoLab Festival at Perth’s UWA on November 29.

Image used with permission from Shake Appeal

Posted on by Lauren Katulka

Tori Amos @ City Recital Hall, Sydney – 20 November 2014

I thought I was going to resist the lure of Tori Amos tickets this time. I’d been spending too much on big-ticket concerts, the inevitable Christmas splurge was looming, and the last few of her albums hadn’t struck me the way that her earlier material had. But then a by-request show at the intimate City Recital Hall was announced and all of my calm, rational decision making flew out the window. When I was rewarded with front row seats in the closest box to the stage, it felt like confirmation that I’d made the right call. I wish I had some photos to show you just how close I was to the incomparable Tori, but considering that I listened to the “no cameras” warning on the back of the ticket you’ll just have to take my word for it. But I’m getting ahead of myself.

Before Tori we were treated to the musical stylings of Melbourne singer-songwriter Matt Walters. Now you might remember me gushing about Matt’s music way back in 2009 and 2010. He sort of fell off my radar in recent years, but I was so excited to see him doing his thing in the flesh, all stripped back with just an acoustic guitar and his incredible voice. He effortlessly moved from husky masculine tones to a soaring falsetto, and sang lyrics that I really connected with. I was in raptures, and actually kind of disappointed when he announced his last song. His set must have been six or seven songs long but it felt far too short for me, even though it meant we were that bit closer to Tori.

There’s such a wonderful energy about Tori Amos. I’ve seen her live a few times now and I’m always struck by her presence. Always a woman of few words, preferring to let her music speak, there was a little more banter between her and the crowd than I’ve seen at recent shows. Perhaps it was the intimacy of the venue, which holds only around 1200 people, that helped the walls come down.

The good people of Sydney didn’t disappoint when it came to helping Tori create the perfect set list. I was thrilled to hear “Putting the Damage On,” one of the five songs I submitted through her website, and “Northern Lad” and “Cooling,” the two songs I thought probably should have made my top five after I hit send, on the set list. Hearing those songs that have such a special place in my heart performed in person brought tears to my eyes. She also made me remember how much I loved tracks like “The Power of Orange Knickers” and “Sleeps with Butterflies,” even though I haven’t listened to The Beekeeper in ages.

I’m not sure I’ve ever seen Tori having as much fun on stage as she did last night. Cheeky songs like her cover of Rick Springfield’s “Jesse’s Girl,” “She’s Your Cocaine,” “Raspberry Swirl,” and that breakthrough single “Cornflake Girl” were all delivered with such joy and pure abandonment. She fed off the beautiful people in the crowd who gave her so much love all night. I sometimes found myself watching them, dancing in their seats, rapturous, punching their fists in the air. I sort of wish I was down there with them, even though I had such a great bird’s eye view.

When you’re asked to submit a list of songs you want to hear, it’s hard to walk away without wishing you heard a little more of them. But having said that, I think this was the most well-rounded, exciting, and satisfying Tori Amos show I’ve been to. Too often I’ve felt like I’ve heard more of the new album than I wanted to, at the expense of that rich back catalogue. Last night, not one song from Unrepentant Geraldines made the cut. It was a concert not for promotion, but for connecting with and giving back to the people who’ve been there from the beginning. I feel so privileged to have been a part of it.

Posted on by Lauren Katulka

“Echoes in the Aviary” – Jane Tyrrell

Most Aussies know Jane Tyrrell as the voice of local hip hop outfit The Herd. However, with her debut solo album Echoes in the Aviary she’s showing that there’s much more to her than a sweet voice.

She has that of course, and it’s showcased beautifully on these songs. However, while I loved her work with The Herd I found it much more exciting to listen to her in solo mode. You get a sense that she’s able to stretch out and be all parts of herself with this release, rather than simply fitting in with what a band needs her to be. It’s an eclectic release, with songs that blend modern electronica and primitive, tribal beats. I found the title track dreamy and romantic, and I really connected with lyrics of “The Rush.” “Among the Bells” is just grandiose enough to sound like it could be the next James Bond theme.

The songs are introspective and personal, yet they remain accessible. It’s clear that Jane’s put her heart and soul into this record, and it’s hard to avoid getting swept up in her passion for the project. I’ve listened to Echoes in the Aviary a couple of times now and it’s richer with every listen.

Echoes in the Aviary is in stores now. Jane Tyrrell will launch the album with a show at Newtown Social Club on December 4 and another at Northcote Social Club on December 5.

Posted on by Lauren Katulka

“First Light” – The Twoks

I’ve got to tell you, the last few days have pretty much sucked. I’ve got the cold that I mentioned which is darkening my mood. And yesterday my mum’s cat, who she’d entrusted to my sister’s friend while she went overseas, went missing. Miss Prissy’s deaf, and about 40 minutes from home, so my thoughts are consumed with wondering about how the poor thing’s coping and whether we’ll be able to find her. Novacastrians, if you come across a pretty, small but adult, long-haired white cat, please shoot me off an email.

So needless to say, I needed something to break out of the funk, and I found it in the form of The Twoks and their recently released EP First Light. The Melbourne duo have created something really fabulous here. There’s a real ’80s pop vibe running through the songs, with their positivity and hooky melodies, but the addition of violins gives them a real twist. There was almost a Dave Matthews Band feel to the instrumentation whenever those fiddles kicked in.

The Twoks grabbed me with the opening song and title track “First Light,” a cheerful poppy number which just makes you feel good. I wasn’t quite feeling all the party chanting of “Hey,” but I’m making a mental note to give it another spin when my mood’s less dark. I was back on board for the breezy island ditty called “Hold On.” The lush layers of “Step Slide” are exquisite. By the closing number “My Place,” I wanted to reach for my hairbrush and dance around my living room.

The Twoks have such a great infectious energy. The songs are fabulous, anchored by the driving drumbeats of Mark Leahy and Xani Kolac’s angelic vocals and violin prowess. Her voice is sweet with just a hint of edge, a little like Susannah Hoffs of The Bangles. First Light was just what I needed to immerse myself in today.

If you like what you hear in that nifty widget, you can catch them at the following shows.

30 October 2014 – New Globe Theatre, Brisbane (supporting Ezekiel Ox)
31 October 2014 – Spotted Cow, Toowoomba (supporting Ezekiel Ox)
5 November 2014 – Brass Monkey, Cronulla (supporting Ezekiel Ox)
6 November 2014 – The Vanguard, Sydney (supporting Ezekiel Ox)
7 November 2014 – The Heritage Hotel, Wollongong (supporting Ezekiel Ox)
8 November 2014 – Bella Union, Melbourne (EP launch)
14 November 2014 – Grace Darling, Melbourne (supporting Ezekiel Ox)
20-23 November 2014 – Mullum Music Festival, Mullum
28 November 2014 – Yay Ya’s, Perth (supporting Ezekiel Ox)
5 December 2014 – The Wheatsheaf, Adelaide
13 December 2014 – Major Tom’s, Kyneton

Posted on by Lauren Katulka

Thirsty Merc @ Lizotte’s, Kincumber – 16 October 2014

It was bittersweet driving to Lizotte’s last night. As I sat in my car outside the train station, waiting to collect my husband, I heard the news on the radio that “The Cubbyhouse” would close its doors in April. Long-term readers will know how much I adore this venue. A night out at Lizotte’s always feels like a treat. The food is amazing, the wine is good, the service friendly, and the entertainment top notch. I’ve been lucky enough to see artists like Jimmy Barnes, Amos Lee, Daryl Braithwaite, Richard Clapton, and Darren Percival there, in surroundings that are so beautifully intimate. The Newcastle arm will remain, and I’ll look forward to attending shows there, but I will miss this place terribly. How wonderful it was to have a venue which could attract such stellar talent and bring it to music lovers in such relaxed surrounds just 15 minutes from my home.

All those thoughts of how much I’d miss it ran through my head last night as I did my best to soak it all in. I savoured my wine, the crispy tempura prawn entrée, and the always impressive battered flathead and chunky chips. The combination of seafood and pinot grigio put me in a chilled space for the appearance of support act Simon Meli. I didn’t even mind that I was sitting behind a pole which prevented me taking decent photos. I was just excited to see this Voice alum stripped back with just an acoustic guitar, and performing the originals we didn’t get to experience on the show. I’m not sure if he’s improved since his time on the show or whether the TV didn’t do him justice, but his voice blew me away. There’s such a rich, warm quality to it. On The Voice I was impressed by his showmanship, but I didn’t feel he was one of the program’s strongest vocalists. After seeing what he can do just sitting on a stool, playing a guitar, I think perhaps I underestimated him. I loved his originals, but his closing cover of “Ramble On” was the highlight.

Then it was Thirsty Merc’s turn to take the stage. It’s been such a long time since I saw them play, and they took me on a real trip down memory lane with their set. It was so cool hearing how they breathed new life into their material. So often an acoustic show delivers the same songs with quieter instruments, but Thirsty Merc took the opportunity to play around and make those early songs something new. I won’t lie, it wasn’t always successful. I felt the slowed-down version of “My Completeness” was sleepy, with none of the spark of the original. But with great risk comes great reward. “Katie Q” was a bit of a filler track on the band’s first album, but the jazzier live version had me tapping my feet. “Emancipate Myself,” the song that turned me on to the band all those years ago, and “Build a Bridge” were also real highlights.

This show had me feeling nostalgic, but it was about so much more than rehashing the past. Thirsty Merc might be closing the door to the first ten years of their life, but the inventiveness they showed in this set prove there’s still plenty of life in this Aussie band.

Image source: Thirsty Merc Facebook page

Posted on by Lauren Katulka

Queen & Adam Lambert @ AllPhones Arena, Sydney – 26 August 2014

The chatter about Queen and Adam Lambert’s Australian tour started before tickets even went on sale. People were concerned about the former American Idol contestant being unable to step into the legendary Freddie Mercury’s shoes. Some unkind folks even suggested that it was shameless attempt to cash in on his legacy. I remember reading an interview with Adam at the time, and his words stuck with me. He said “If there’s somebody out there that feels really strongly that this isn’t the same Queen then don’t come. But if you don’t come you’re going to miss one hell of a show.”

The folks who filled up AllPhones Arena were certainly ready for the show. There was a buzz in the air, an enthusiasm that doesn’t often come when a band is missing a force like Freddie. But the thing is, while Freddie wasn’t there, Adam Lambert was, and he is exceptional.

That’s something I’ve always known. While I enjoyed his electro-pop singles, he first caught my eye on American Idol, where he showed a real depth and intensity, and a mean set of pipes. They were on full display at this show. Freddie had one of the best voices in the biz, and while Adam’s isn’t quite as rich he certainly hit all the right notes. That is an achievement in itself. His charisma really struck me though. If he felt daunted stepping into Freddie’s shoes, he didn’t show it. He didn’t try to be Freddie, but instead seemed confident in his own ability to entertain a crowd. He was sexy, naughty, and captivating. I was entranced.

Fittingly, Freddie was still a force at this show. It always felt a little off to me when I saw INXS perform over the years and they didn’t mention Michael Hutchence. But Freddie’s spirit was a key part of this concert. A tear came to my eye when he joined Brian May, thanks to the magic of video, in an exquisite stripped back version of “Love of My Life.” He was back again for “Bohemian Rhapsody,” which was always going to be a tough ask without the benefits of studio wizardry. Interlaying live vocals with archived video was so smart.

Not that the concert was perfect. I could have done without some of the more obscure numbers like “Dragon Attack” and “Tie Your Mother Down,” and when the guitars amped up the sound got a bit fuzzy. I wonder whether it might have been crisper if we weren’t in the nosebleed seats, but other rock greater like Roger Waters manage to get the sound right throughout this expansive venue.

Yet even with the flaws, a night with Queen is a whole lot of fun. I was hypnotised by Adam’s performance of “Who Wants to Live Forever.” I wondered how they might pull off one of my favourites, “Under Pressure,” without Freddie or Bowie, but Roger Taylor made an admirable stand-in. Joining the crowd in those iconic handclaps that anchor “Radio Gaga” was so much fun.

For what it’s worth, I never had any doubt that this show was going to be worthwhile. I’ve been an Adam Lambert fan from the get go, and Roger Taylor and Brian May are such stellar musicians. Anyone who boldly declares that Queen was simply a Freddie showcase is missing the point. His death leaves a gaping hole in the band, it’s true, but I feel so glad that the remaining members decided to regroup and continue to share their music with us. To have these songs die along with Freddie, to miss out on that live experience, would have been a great shame.

Image source: own photo

Posted on by Lauren Katulka

Strictly Ballroom The Musical @ Lyric Theatre, Sydney – 1 August 2014

I’m not the type who enerally returns to the movie theatre time and time again to see a film, but as a kid in the 90s I remember doing that with Strictly Ballroom. It was the first time I’d seen a movie more than once on its release, but I ended up going three times: with my school friends, with my parents, and finally with my grandmother. I might have been getting desperate to find someone else who hadn’t seen it at that point. It came at an important part of my life. I was just beginning to get an idea of what love was, and I was a passionate dancer. Perhaps I saw a little of myself in Fran, the not-so-popular girl who could get under the dashing Scott Hastings’ skin. I was also dazzled by the colour and artistry. We hadn’t seen Baz Luhrmann films before, so his vision was something brand new.

For some reason I’d resisted seeing the musical at Star City, or The Star as I believe it’s called now, for a while. Maybe I was content to preserve the memory I have of that film. However, the lure of two-for-one tickets proved too great and I found myself amongst the crowd early this month.

I’m so glad I took a chance on this. In putting the film in stage, Baz has had a chance to play with his first film again. Where songs simply facilitated the dance on the screen, they came to the fore in this new production. New numbers were added and were largely successful, with clever lyrics and arrangements. The set was so clever, effortlessly changing from a dance studio to the back of Fran’s house to the colourful dance competitions. The production steered away from big names, and they performed admirably. Thomas Lacey didn’t have the same raw charisma as Paul Mercurio, but he was likeable enough. When I’d seen the stills of Phoebe Panaretos I thought perhaps she was too beautiful to play Fran, but she was suitably frumped up early which made her transformation even more striking. I was more impressed with the supporting players though. Fernando Riva as Fran’s father had a raspy voice to die for and killer flamenco moves and Rohan Browne as the hilariously sloshed Ken Railings. It didn’t deviate too much from the movie, but there was just enough here to make things feel all brand new.

Strictly Ballroom the Musical wasn’t perfect, but it managed to capture the essence of the film. Above all it was fun, a cacophony of music, tulle, and colour. And there’s nothing wrong with that.

Posted on by Lauren Katulka

Josh Pyke @ Cessnock Performing Arts Centre, Cessnock – 28 June 2014

The first time I saw Josh Pyke live was an outdoor blues festival. The rain started up just before his set, and I remember shivering with a plastic bag over my head as I tried to wipe the water from my glasses and watch him in action. What a difference a few years makes. Last Saturday I was seeing him again, but tucked up warm and dry in the wonderfully intimate Cessnock Performing Arts Centre.

I must admit, before this tour I didn’t realise Cessnock had a performing arts centre. What an underutilised space it is, with excellent acoustics, comfy seats, and wine in the foyer. It was the ideal setting for such a show like this, where well-crafted songs were at the fore.

The first came from Jack Carty, a performer I’ve always loved but until this point had never seen live before. What a talent he is. Most of the audience probably had no clue who he was, but they were hushed. Such is the power of this captivating singer-songwriter. With just an acoustic guitar, an incredible voice, and songs written with such poetic lyrics, he captivated us all. His set seemed to fly by.

Josh was there to promote his latest album, The Beginning and the End of Everything, an intimate recording which suited this setting perfectly. Apparently last time he had the full band in tow, but this time it was just Josh, an acoustic guitar, and looping machines to add some extra depth. This is an added dimension I’d never seen from Josh, and it was fascinated watching him at work. He treated us to choice cuts from his new album, but carefully balanced them with old favourites. It was wonderful to have Jack back on stage for a fabulously fun rendition of “Make You Happy.” Josh’s beautiful version of “Blackbird” made me wish I’d invested in tickets to that White Album concert.

I’ve seen Josh perform a few times now, and he never fails to disappoint. In fact, I think he might be getting even better.

Image source: Stephen Katulka

Posted on by Lauren Katulka

Melanie Safka @ Lizotte’s Newcastle, 22 June 2014

When I was a kid, we didn’t have massive children’s acts like The Wiggles and Hi-5. Children’s entertainment wasn’t really a thing, so we sought out our own songs that resonated. For me it was “Butterfly Ball” by Roger Glover, “House on Pooh Corner” by Loggins and Messina, and perhaps most importantly, “Alexander Beetle” by Melanie Safka. There were no convenient CDs or digital version in those days either. Playing it was a bit of a production. We’d beg Dad to bring out his copy of Candles in the Rain and he’d remind us that we had to stand still so the stylus didn’t jump. So we’d keep our feet planted while we made those little beetle noises and sang along to the beautiful tale of a runaway bug. As I grew older I discovered more Melanie music, but that song was always one I held a little bit closer to the rest. And it was that song that took me to Lizotte’s, Newcastle, on 22 June.

I’d told myself that “Alexander Beetle” was such a small song really that I wasn’t going to hear it. I was going to be happy with the big hits and whatever else she decided to play. And I probably would have been. There’s a wonderful aura about Melanie. She’s so warm and giving, and her voice has lost little over the years. Her band is stellar, especially her son Beau. His incredible guitar talents might only be matched by how sweet he is looking out for his mother.

I was so happy just soaking it all up in the intimacy of Lizotte’s, and then she asked us what we’d like to hear. “Alexander Beetle!” yelled out a voice from a few tables away, and a few other voices joined the chorus. It seems I wasn’t the only one so touched by that little song. A hand flew to my mouth in surprise, and my heart soared as I realised it was going to happen. I was going to hear that song live that had meant so much to me. Do you know what that feeling’s like? I sang along as I fought back happy tears and decided it didn’t matter what else happened; this was already an incredible show.

I told myself I didn’t care what else happened, but I guess there was a part of me that would have been disappointed had I not heard the hits. They were all there, “Look What They’ve Done to My Song Ma,” the delightful “Brand New Key,” her incredible cover of “Ruby Tuesday,” and the jubilant “Candles in the Rain,” sounding so perfect. I gained a new appreciation for these songs as Melanie told us tales of their history.

Melanie plays those songs because she knows we want to hear them. She’s such a generous, giving performer. But she’s also quick to tell you that she hasn’t been idle over the last few decades. Her set included a smattering of new songs too, with lyrics so thick with wisdom. She lamented the way radio is only interesting in playing young shit, and listening to her new material I had to agree with her. She’s an artist that still has so much to give to anyone willing to listen. Who needs radio though? Hearing her incredible songs, new and old, come alive in such a small venue was so much sweeter.

Image source: own photo