Category: Reviews

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

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.