Category: Reviews

Posted on by Lauren Katulka

“Tall Tales” – The Perch Creek Family Jugband

The Perch Creek Family Jugband takes us back to a simpler time with their latest album Tall Tales.

Against a modern music landscape their unusual sound is a real revelation. It borrows elements of country, jazz, folk, and blues and blends them together in an exciting cacophony of sound. The instrumentation is lush and organic, with a harmonica, fiddles, piano, banjo, mandolin, and even the saw and xylophone working together in unexpected harmony.

The instruments give The Perch Creek Family Jugband’s music a great old-timey base, but the vocals and quirky lyrics provide a little modern flair. I love the way the family shares around the vocal duties. All the voices are so capable, and their various tones give the songs unique flavours. The individual vocals are strong, but when they combine on numbers like “Nobody Knows You When You’re Down and Out” and “Goodnight Irene” the harmonies are sublime.

At 15 tracks Tall Tales is a fairly lengthy album, but the variety of the songs ensures it never drags. Despite their wild differences there’s not a bad one amongst them. The upbeat singalong qualities of “The Good Old Mountain Dew” put a particularly wide smile on my face, and who could resist their stellar rendition of Cab Calloway’s “Minnie the Moocher”? The gentle strains of the final song “Matilda’s Lullaby” puts the album to bed nicely.

Tall Tales is 15 tracks of fabulous fun. The Perch Creek Family Jugband are taking the musical path less travelled, but when they produce an album of such quality it’s hard to argue with their unique approach.

Posted on by Lauren Katulka

“Sins of the Blessed” – Transvaal Diamond Syndicate

Brisbane based blues act Transvaal Diamond Syndicate grab us by the throat and don’t let go with their new album Sins of the Blessed.

It opens with the explosive “Devil on my Shoulder,” a foot stomping opening gem driven by its big slide guitar, and never really takes its foot from the throttle. The following track “I’m Your Ticket” is similarly compelling with its snarling sexiness. The third song “Blackwater” shows a different, softer side of the band. While its gentle groove takes things down a notch, it’s every bit as powerful as the high energy numbers that came before. It gives the album some real balance, allowing us a moment to catch our breath. More great numbers followed it, particularly the Charlie Daniels-esque “Pistols at Dawn” and the closing number “Cold-Hearted Killer.” This upbeat number with its throbbing bass line has a sinister underbelly which is so delicious.

At just seven tracks Sins of the Blessed is very short for an album. It’s too long for an EP, but very brief by modern album standards. However I think Transvaal Diamond Syndicate has done the right thing here. By choosing fewer tracks of real quality the Brisbane act has avoided the dreaded fillers that plague so many recordings. What’s included is swampy, gutsy, down and dirty, with a much bigger, ballsier sound than you’d expect a two-piece to deliver.

Posted on by Lauren Katulka

“Peace, Love, Rock ‘n Roll” – The Gypsy Bangles

Sydney blues-rock act The Gypsy Bangles are back with their brand new EP Peace, Love, Rock ‘n Roll.

The EP’s title is very accurate as the band’s sounds takes us back to the era of free love. It hasn’t evolved a great deal between this recording and their previous release Women & Whiskey, but you know what they say about sticking to a good thing.

And The Gypsy Bangles sound is a very good thing. Again the band grabbed me from the get-go with the EP’s ballsy opening track “Pay Your Dues.” It’s defiant and bold, and a whole lot of fun. The following track “The Old Oak” sees The Gypsy Bangles easing their foot from the throttle a little to create the kind of epic rock ballad that reminded me of Led Zeppelin. I can just imagine how this dramatic but measured song would captivate a live crowd. The Gypsy Bangles followed this tune with another slow-burning song called “Heroin.” It’s a powerful look at addiction, with poignant lyrics underpinned by driving piano and drums. The four-tracker is beautifully balanced by another upbeat number, the closing song “Frustrated.” It was the perfect way to bring the EP home, with its rollicking sing-along chorus and the rich intermingling of the Hammond organ and electric guitars. These instruments create a vintage sound which is still so sweet after all these decades.

The Gypsy Bangles are a throwback to the past, but with so much modern music forgotten almost as soon as it arrives I don’t think that’s a bad thing. They value lyrics and sound over image and flash, and that’s refreshing. They haven’t reinvented the wheel, but in Peace, Love, and Rock ‘n Roll The Gypsy Bangles have created another solid EP.

Peace, Love, Rock ‘n Roll is available to pre-order from The Gypsy Bangles Bandcamp page ahead of its official release in May.

Posted on by Lauren Katulka

Roger Waters’ “The Wall” @ Allphones Arena, Sydney – 15 February 2012

I was introduced to The Wall in Mrs Pengilly’s year nine English class. We were learning about the poems of Robert Frost, and she decided that Pink Floyd’s trippy rock opera had parallels to his “Mending Wall.” I still think it was a bit of a stretch, but I’m thrilled that she helped me discover such an incredible body of work.

I held The Wall very closely for the next few years. In my darkest teenage moments it made me feel less isolated and misunderstood. As I listen back to it now it’s a little frightening to think how much I identified with Pink Floyd’s concept album, but there’s still something about those two discs and the accompanying film that resonates with me.

And it was that something that took me to Sydney’s Allphones Arena on Wednesday night to witness Roger Waters performing the piece in the flesh, so to speak. As I looked at the T-shirts of the faithful fans gathered outside the venue I realised nine years has passed since I last caught his act. However the years have not wearied him.

I’m not someone who typically sees those big spectacle shows. Give me a few guys with guitars and I’m a happy woman. But this production blew my mind. I expected a lot. Pink Floyd set the standard for this kind of thing all those years ago. But I wasn’t prepared for exactly how thrilling this show was. It was a visual feast, with exploding airplanes, flying pigs, oversized puppets, pyrotechnics, and of course, that wall. The projections beamed onto those bricks were like nothing I’ve ever seen.

While the production was slick, it wasn’t all about the gloss. Roger Waters clearly still believes in this piece, and he performed it with everything he had. He inhabited his Pink role, only breaking the fourth wall now and again to remind us how grateful he was for our attendance and love. His voice is still superb, and his band matched him. Replicating David Gilmour’s guitar solo in “Comfortably Numb” is a feat, but the appointed guitarist came close. Seeing present day Roger accompanying his 1980-self on “Mother” was breathtaking. I also loved seeing those personal favourites like “One Of My Turns” and “Nobody Home,” the tracks I’d never hear at an ordinary Pink Floyd or Roger Waters show. Closing the show with “Waltzing Matilda” once those bricks had toppled might have been corny, but it was still a lot of fun.

The show was the perfect marriage of music and theatre. I’ve never seen anything like it. It’s early days yet, but it just may prove to be the concert of the year.

Image source: Stephen Katulka

Posted on by Lauren Katulka

Hall and Oates @ Entertainment Centre, Sydney – 8 February 2012

We’ve all got expectations when we step inside a venue to see a live band. When we’re lucky, they’re met. When we’re really lucky, they’re exceeded. And when the act falls short, it’s bitterly disappointing. I felt a little of all these emotions when I headed to Sydney’s Entertainment Centre on Wednesday to catch the big 80s double bill of Icehouse and Hall and Oates.

It’s amazing that way that a band can get under your skin without you really noticing. I thought Icehouse would be good to see, but I didn’t expect to be swept away by them. But after just a few bars of “We Can Get Together,” I pumping my fists and singing along in full voice. The band started strong and didn’t take their foot off the gas pedal. The years have not wearied them, but the addition of young singer-songwriter Michael Paynter has given them a youthful injection. Hearing him take the bulk of the vocals on “Man of Colours” was one of the set’s real highlights. I also loved the souped up version of “Miss Divine,” one of those childhood favourites I’d all but forgotten. We were given a little early Oates when John stepped out to play along with “Electric Blue,” the song he cowrote all those years ago. And no Aussie could be unmoved in a crowd singing along to “Great Southern Land.”

After such a great set from Icehouse I was pumped up for an incredible show. However quickly I became deflated. Hall and Oates were performing “Maneater” and I should have been swept away, but it wasn’t. The sound was a mess. Where was that crisp audio Icehouse enjoyed? When you’ve got eight musicians up on stage this needs to be spot on, or else it becomes jumbled. So many squeaking microphones is unforgivable at a concert of this calibre. The sound seemed to distract the band a bit; for the first few songs I noticed Daryl Hall gesturing to turn this up or this down. Things settled somewhat, but the music never sounded as good as it did for the support.

But the show’s sound wasn’t the only disappointment. Sadly for much of the set it seemed Hall and Oates were merely going through the motions. Daryl commented before “She’s Gone” that it was one of the few songs that still feels great after so many outings. His passion for that number showed. Earlier in the night I wondered whether he still had his voice, as notes were shortened and phrasing lazy. “She’s Gone” showed it’s all still there when he wants to use it. It just seems most of the time he can’t be bothered.

It seems many of Hall and Oates’ tunes don’t feel as good to Darryl Hall now. He delivered them by the numbers, without the fire and passion laid down on the original recordings. He gave us everything in some numbers. “Sara Smile” sounded as fresh as a daisy, and the extended jam on “I Can’t Go For That” was magic. I was dancing up a storm come “You Make My Dreams Come True.” Yet “Maneater,” “Out of Touch,” “Adult Education” and countless others were only half baked. To be fair Oates did his part admirably, but this band has always been the Daryl Hall show, and if he’s not on the experience is lacklustre.

A night with the songs of Hall and Oates is never a bad time. They’ve written some of the world’s best soul pop numbers, and they’re always enjoyable. I was also impressed that all of those big hits were represented. It was one of the best set lists I’ve ever witnessed on paper. However the glimpses of brilliance only made me ache for the show that might have been.

Image source: Stephen Katulka

Posted on by Lauren Katulka

“Eclectica” – The Levitators

The Levitators have served up one of the most diverse collections of songs I’ve heard in some time with their new EP Eclectica.

The unusual blend of sounds ensures there’s something for everyone here. I found the mix of genres intriguing and innovative. However an act that takes so many risks is never going to hit the mark all the time.

I found this EP really uneven. I embraced the big horns and bold blend of soul, Latin, and hip hop in the opening track “Once Again.” The very funky follow-up “Sunshine in my Juice” had me reaching for my dancing shoes. But for every inspiring number there was something that fell short for me. Some tunes seemed aimless, while others with a clearer vision appeared like they were trying too hard. Some of those songs might work better in a party or a club, but in my quiet little home they just didn’t gel.

Personally I feel The Levitators are at their best when they’re embracing melody and building upon their soulful voices. However I’m sure someone with different tastes might disagree with me. On paper a 50% strike rate is barely a pass. However that analysis would sell this EP short. Eclectica shows a band with a tremendous amount of promise and an innovative approach to music making which makes listening to them really exciting. You’re never sure what twist they’ll take next. The Levitators don’t always get it right, but when they do it’s really special.

Posted on by Lauren Katulka

Busby Marou & Georgia Fair @ Lizotte’s, Newcastle – 29 January 2012

I was lucky enough to catch Busby Marou and Georgia Fair last night as their 5 Rocks tour made its final pitstop at Newcastle’s Lizotte’s. A night out at Lizotte’s always feels indulgent, and when it’s married with performances from two of Australia’s most promising up and coming acts it’s made even more exciting.
I’ve been casually following Georgia Fair’s career for the last couple of years now, and I was thrilled to see how much they’ve grown. The banter with the crowd still feels a bit stilted, but all that awkwardness melts away once the music starts. The lads complement one another so beautifully, both with their instruments and their voices, and it’s a pleasure to witness. I can’t recall observing a crowd so hushed during a support act’s set in some time.

I loved Georgia Fair, but Busby Marou took the energy levels up a notch. They haven’t been on the national scene for very long, but their performance felt so comfortable and easy. Again we were treated to some incredible harmonies and a stunning meeting of instruments. I’ve loved the duo’s songs since I heard their self-titled debut album last year, but they took on extra meaning with the explanations Tom gave. I was thrilled to hear all my favourite cuts from the album, but out of my skin excited to hear them cover “Girls Just Wanna Have Fun.” It seems the cover came about on Triple J’s Like a Version sessions, but I hadn’t heard it before. What an introduction to its existence though. I thought I might have bounced out of my seat with joy.

My Dad often bemoans the state of modern music and longs for the glory days of the 60s and 70s. Yet after watching the performance even he concedes that with bands like Busby Marou and Georgia Fair around, the future of our local scene is in very safe hands.

Image source: Stephen Katulka

Posted on by Lauren Katulka

“Keep Left” – William Street Strikers

After releasing a couple of EPs, William Street Strikers are showing us what they can do with a longer format with the release of their debut album Keep Left.

The disc’s title is an appropriate one, as this is a disc which refuses to play it safe. It’s a very eclectic collection of tunes, one which some people may accuse of being too eclectic. After all, as they’re so different there’s bound to be a few that won’t resonate with every listener. However by offering such a variety of music, William Street Strikers has also ensured there’s something for everybody.

Personally I find it hard to resist the bold brass of the ska influenced “Madboy.” The laidback summery pop of “Sinking in Quicksand” seems quite simple, but there’s something about it that kept me coming back for more. The cruisy beach vibe of “Let It Go” makes it another great summer anthem. While it didn’t make me smile wide like my other standout tracks, it’d be remiss of me to neglect mentioning the closing number, “Forget Your Bible.” This is such a well crafted song with incredible lyrics. If this is a sign of what these Adelaide lads are capable of we should hear a lot more from them in future.

The long play format has allowed William Street Strikers to stretch out a little more. In some instances they might have experimented a little too much, but there’s still a lot to admire here. Keep Left is a disc with boundless enthusiasm and energy, and while it’s not perfect that combination makes it a compelling listen.

Image source: William Street Strikers website

Posted on by Lauren Katulka

“Let’s Go” – David Campbell

I expected the kind of merry Christmas and happy New Year that all the greeting cards tell us everyone receives, but I didn’t get it this festive season. On December 25 my Grandma had a bad fall, which led to her admission to hospital the day later. Also on Boxing Day my Mam, my mum’s stepmother, found herself in hospital too. While Grandma’s still resting up, Mam passed away. We had her funeral yesterday. Consequently the season which is ordinarily so festive was stressful and sad.

Of course I turned to music, this time the 80s pop showcased on David Campbell’s latest covers album Let’s Go. We have a rule in my family never to buy ourselves anything in the lead up to Christmas, so I was a bit late getting my hands on it. But goodness it was worth the wait.

This is the David Campbell album I’ve been waiting for. Anyone who knows me knows the 80s is my decade, and David’s done it justice. Some clever arrangements see the tunes feeling fresh, although they’re not so different as to alienate the diehard fans.

Funnily enough the album features many of the 80s tracks my husband and I had discussed prior to its release. David equals Tony Hadley’s silky smooth vocals on “True.” Adam Ant’s “Goody Two Shoes” has just the right amount of pep, while “You Make My Dreams Come True” should put a smile on anyone’s face. I’ll say this; David Campbell has impeccable taste.

In some cases he’s even done the unthinkable and bettered the originals. The arrangement of “Missing You” brings out the gutwrenching heart of the lyrics like John Waite’s version never did. I must have heard “Come On Eileen” a million times on radio, yet David’s version has so much energy that I find myself hitting repeat.

This is one of those albums that begs for a sequel, just as we saw with his Swing Sessions. I’m not sure whether I’ll get my wish, but I’m certainly in for an amazing show when David Campbell hits town later this year!

Image source: David Campbell Facebook page

Posted on by Lauren Katulka

“Women & Whiskey” – The Gypsy Bangles

With just four tracks Sydney’s The Gypsy Bangles manage to transport us back to music’s heyday. Their debut EP Women & Whiskey channels a simpler time, before auto-tuning and sampling. And I love it.

It’s so refreshing to hear the band’s earthy, bluesy sound and rich, raspy vocals. The music is free and spontaneous. You get the sense listening to it that it’s just what you’d hear if The Gypsy Bangles were jamming in front of you.

The EP bursts out of the gate with its title track. It took me to one of the iconic rock festivals of the late 60s with its easy rock groove. It really sets the tone for the disc, and is probably its strongest track. But that shouldn’t take nothing away from the other songs. I particularly love the driving guitars of “Dark Haired Woman,” which are reminiscent of Cream or Deep Purple. “Love and Light” winds down softly, easing us back home to the tenteens or whatever we’re calling it. Thankfully we can always give the disc another spin and return to that world of classic rock The Gypsy Bangles have created.

Physical copies of the disc have sold out, but it will be re-released shortly. Until that time you can hear Women & Whiskey through The Gypsy Bangles Bandcamp page.

Image source: The Gypsy Bangles Bandcamp page