Category: Reviews

Posted on by Lauren Katulka

Jazz in the Vines @ Pokolbin, 29 October 2011

Australia’s festival calendar is always crowded, but every year I make time to take in at least one: Jazz in the Vines. Anyone who’s been knows why. You can always count on exceptional tunes, superb food and wine, and some of the friendliest music lovers you could ever meet. This year’s was a little greyer than usual, but that did nothing to dampen the spirits of all involved.

I arrived to the traditional jazz stylings of the NSW Police Band. They were such a tight outfit, and perfect for easing us in to the day. Their classic jazz tunes were a natural warm-up for Feel the Manouche featuring living legend George Washingmachine. Again this was a classic jazz set punctuated by the tunes of Cole Porter and the like. However the unlikely blend of violin, double bass, and piano accordion brought a lovely gypsy flavour to the music. It was mellow but stunning, a great backdrop for a casual lunch and a few glasses of wine.

The intensity picked up with Weird Assembly, an exciting ten-piece who played big brassy soulful grooves. I really enjoyed their sound, particularly the gutsy rasp of vocalist and sometimes saxophonist David Weir. Sadly his enthusiasm came off a little desperate at times. The Jazz in the Vines crowd certainly isn’t too shy to dance if they want to. The repeated pleas for more participation started to grate.

Lisa Hunt proved that when the moment is right, the punters will groove. She closed the festival a few years back, and with Saturday’s set she proved that excellent set was no fluke. She had the throng on its feet with her Motown and disco heavy performance. Perhaps The Four Tops and Thelma Houston numbers weren’t jazz, but no one seemed to mind one bit. While she performed admirably as a solo act the moment when she called on three audience members to serve as her Supremes was a real highlight. One girl’s killer vocals even threatened to upstage Ms Hunt’s!

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Posted on by Lauren Katulka

The Vasco Era – The Vasco Era

Last week The Vasco Era released their third album, a self titled effort that marks their independent debut. It’s impressive to hear the Melbourne band are going it alone, but on listening to it I wonder whether they need that record company guidance.

It all started out so promisingly with the opening track “Nah Nah Nah.” I loved the crunchy guitars and all those delicious melodic hooks. The vocals weren’t pretty, but I warmed to their Dylanesque charm. You get the sense that Sid O’Neil means what he sings, and that authenticity initially compelled me.

But as the disc wore on, the elements that were initially fun started to grate. All too often those impassioned vocals and wailing guitars just started to create a whole lot of noise. The band is at its best when it’s reined in. The stripped back “Chemicals Run Out,” for example, is stunning. But all too often the music is too unrestrained, and then it hurt my ears.

This album shows The Vasco Era are a band with a whole lot of potential, but they need to learn what works best for them, and what is merely self indulgent.

Posted on by Lauren Katulka

“Home” – Adrian Deutsch

Adrian Deutsch serves up something different with his new solo effort Home. It’s a far cry from the music he created with the now defunct Sydney rock band Red Riders, but that’s just why I like it.

In his press release Adrian tells readers the album came about a time when he was turning away from the indie rock he’d made a living from. Instead he found himself inspired by the sounds of Steely Dan, Hall and Oates, Michael McDonald, and other more mainstream fare. I could certainly hear the Steely Dan coming through from the opening strains of “Follow the Dream.” I also detected a touch of Elvis Costello in “For You, The War.”

But rather than sounding derivative, Adrian’s used the best elements from his favourite acts to inspire his sound. It’s all very smooth, with a great melodic focus. That makes the tunes instantly accessible, although there are more layers than the average Top 40 pop song. You can dig as deep as you like here. It’s easy to appreciate the quirky melody of “The Arms of America,” or the sheer joy of “By the Hand.” But listen to the lyrics and you’ll develop an even more profound sense of what Adrian’s trying to do.

Your average Top 40 artist wouldn’t dare take Adrian’s risks either. It’s eclectic, with some really interesting choices. “Yr Philosopher” really comes out of left field. It’s so deliciously dark and dramatic. The maudlin “Nothing I Can Do” is also an interesting choice, particularly for a parting track. However it’s such an achingly beautiful tune. Perhaps on such a diverse record it’s only fitting that even the final song sees the disc making a sharp left turn.

I liked Home from the first listen, but I have a feeling I’m going to embrace it even more weeks or even months from now. This is really smart music, and it sounds amazing. That’s a pretty heady combination.

Posted on by Lauren Katulka

Wollombi Music Festival @ Wollombi, 17 September 2011

I read a news report recently that said people are turning away from music festivals these days. They’re frustrated by high prices and out of control crowds, the folks more interested in indulging in drink and drugs than listening to the music. They commented that these days people seemed more concerned with being seen and appearing cool than enjoying the event. Clearly none of the people surveyed had been to the Wollombi Music Festival.

Rachael BradyI don’t blame them, because until the weekend neither had I. It’s not a festival that attracts big name international acts, or even the local household names. It doesn’t get effusive write-ups in the media. But it’s a great little event with a whole lot of heart.

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Posted on by Lauren Katulka

Jimmy Barnes @ Lizotte’s – 14 September, 2011

As I get older, it takes something really special to lure me out of home during the week. But the promise of Jimmy Barnes playing at Lizotte’s on Thursday night was so irresistible that even I couldn’t refuse.

I’ve seen Jimmy many times over the years, but never in a place so intimate. If you’ve never been to the Central Coast venue known affectionately as “The Cubby House” it’s hard to imagine just how small it is. Seeing someone there is almost like seeing them at a private party with friends.

I was smiling before anyone even graced the stage, with my belly full of Lizotte’s tasty soft shell crab and delicious herby battered fish. But that smile got even wider when Mahalia Barnes was introduced as our support act. Jimmy’s daughter is always good value, and I lapped up her soulful set. Her modern take on “You Are My Sunshine” was a real highlight, as was the closer which saw Jimmy make an early appearance to sing with his daughter. The name of the song escapes me, but I was singing along in earnest.

It wasn’t too long before the Aussie legend was back on the stage with Mahalia and band in tow. He delivered a surprising set, but one that suited this venue perfectly. Anyone who came hoping to hear Jimmy’s greatest hits might have been disappointed. “Khe Sahn” and “Working Class Man” were notably absent, although he did treat us to a few Chisel and solo singles. The focus though was on songs that shone acoustically, especially those from one of my favourite Barnesy albums, Flesh and Wood. To hear some of my favourite cuts from that recording, especially “Guilty” and “Brother of Mine” was really special. Personally I enjoyed the opportunity to hear some of the songs that don’t usually get a work-out in the live arena; I’ve heard him sing the big numbers enough times at other shows.

The intimate setting made this show very personal. Where normally Jimmy moves quickly from track to track to please the punters, here he felt he could stop and talk to us about the songs a little more. I really appreciated that interaction. One of the most poignant moments of the night came when he stopped to talk about Steve Prestwich before performing one of his late mate’s songs, “When the War is Over” with Mr Percival on guest vocals. I also particularly loved his left of center closer, his version of “Love Me Tender,” again from Flesh and Wood, rather than a more predictable choice.

There are plenty of opportunities to see Jimmy rocking out. I’m thrilled that this week I got to see another side of this Australian music legend.

Image source: Stephen Katulka

Posted on by Lauren Katulka

“Nightfall” – Bec Plath

When she’s not keeping company with The Bloodpoets, Bec Plath is creating incredibly moving music as a solo artist. Her EP Unrequited was one of my favourite releases of 2010, and I was thrilled to see her follow it up with another stunner in Nightfall.

There are just four tracks on this short player, which makes it a bit bittersweet. I was captivated from the opener “Obsession,” a song driven by a dark Tori Amos-esque pounding piano. It could easily become too gloomy, but it’s balanced beautifully with its strong melodic core. “What I Was Waiting For” floored me with its passionate delivery and lyrics. It seemed all too soon when the opening strains of “At The End of the Night” began to close this release. This tune starts sweetly, showing a softer side of Bec, but it builds beautifully to become something much bigger.

Nightfall sees Bec Plath delivering more lush and powerful music. It’s another stellar EP from this Queenslander. It only poses the question, when will this incredible talent treat us to a full length album?

Image source: Bec Plath Facebook page

Posted on by Lauren Katulka

“These Pictures Won’t Tell You” – Nik Lone

I’ve had one of those weeks. My internet went down on Tuesday, and has only just returned. Other people might take this as an opportunity to have a holiday, but with deadlines looming I found myself dealing instead with a pocket wi-fi that dropped out frequently in my suburban home, and was crawling when I was online. My parents jetted off to Italy, leaving me feeling very jealous, and my husband started to pack for his two-week business trip to the States. To say I’ve been a bit emotional may be an understatement.

And so predictably I’ve looked to music to soothe the savage beast. And I found it in Nik Lone’s debut solo effort These Pictures Won’t Tell You. As I slipped it in my stereo and the first track “Raining” washed over me I knew I’d made the right choice. The track is a slow burner, beautifully built. I thought what an amazing soundscape Nik had created, with his unique voice another instrument in the mix.

More lush, lovely tunes were to come, particularly the string-laden “Time” and the old-world influenced ballad “Little White.” I found myself enjoying all the tracks, but I had a few niggly issues.

There’s a fine line between creating tracks that burn slowly and ones that are merely sleepy, and I think Nik crosses that sometimes. Some parts frankly bored me. Every song had its moments, but many tunes didn’t sustain themselves for the length of the song. I’d nod in understanding when they reached their pay-off point, but that often came about three-quarters of the way through the track. The radio lover in me noted that many people would have changed the channel by then, missing those really crucial moments.

But These Pictures Won’t Tell You really isn’t a disc for the radio-loving set. It’s challenging and complex. While I appreciate the way it soothed me this week, something tells me I’ll really get it a few weeks from now, or perhaps even longer. For now though I know this is a subtle, gentle album that’s a thing of real beauty. I know it won’t rev everyone, but for the patient listener it’s a find.

Image source: Nik Lone website

Posted on by Lauren Katulka

“So She Says” – Mark Boulle

I first fell for the tunes of Mark Boulle through his work with the Haba Dudes, so I approached his solo effort So She Says with great interest. Happily this solo endeavor doesn’t disappoint.

With this album Mark’s been able to flex his creative muscles in a new way. You can’t completely take the gypsy out of his sound. “Gold Coast” in particularly feels like it could have been lifted from a Haba Dudes record. But in general the sound is a bit more mainstream with its blend of pop, rock, and blues.

At his heart Mark is a songwriter. His vocals aren’t the prettiest, but the truth in the words he writes give the songs a real beauty. I loved the relatable story of “On the Brink,” which tells the tale of a girl feeling like her life just isn’t what she wants. I felt the heart in “Sweeter Deeper,” and found the jaunty melody of the title track irresistible. The Tender “Hold Your Head Up” is a beautiful closer with a great take home message of keeping courage when you’re feeling up against it all.

These heartfelt tunes are matched with a bare bones treatment. It was cut at Mark’s Gold Coast home, and that lack of studio frills really serves the songs well. That rawness allows the lyrics to come to the fore, and that’s where he really excels. I think a studio might swallow these songs up. So She Says is an album with some rough edges, but that’s one of its real strengths.

Image source: CD Baby

Posted on by Lauren Katulka

“Ghosts of the Past” – Eskimo Joe

I came to Eskimo Joe a bit later in the game. I was always aware of their music through the radio, but it wasn’t until the release of Inshalla that I really connected with the band. So I was pretty excited to see what they served up with their newie, Ghosts of the Past. The single “Love is a Drug” set the bar high, but sadly I’ve got mixed feelings about the disc.

It’s really hard to put my finger on exactly why I haven’t connected with this recording. It sounds gorgeous. Eskimo Joe are a talented trio, and they’re probably incapable of making bad, or even mediocre, music. This disc is really piano rich, and that gives the album an epic feel. It helps the music soar and elevates it beyond the guitar-rock the band used to deliver.

And there are some really great songs here. “Gave it All Away” is such a strong opener, with its big rock sounds and crashing drums. I loved the quirkyness of “Echo,” which has one of the most unusual and compelling melodies I’ve heard in some time. The title track seems destined to become a single. It’s got just the right combination of rocking riffs and melodic hooks to appeal to the MMM set.

A lot of the disc is quite big, but I prefer it when it’s less grandiose. The alt-country feel of “Just Don’t Feel,” with its acoustic guitars and rich strings, was like a breath of fresh air. And I was initially struck by the simplicity of the closer “Sky’s on Fire.” The initial portion feels like it was recorded on an eight-track in a bedroom. That lack of polish gave it a real truth, so I was disappointed when this track too became big.

Frankly I could listen to an album of the small stuff, and that might be where my problem with Ghosts of the Past lies. This album sounds incredible, but such refinement comes at the expense of some soul. The lyrics are really strong, but it’s difficult to focus on them with so much else going on. It’s interesting that Eskimo Joe gave fans a preview of this album with an acoustic tour. Personally I think that stripped back delivery would have made these songs much more compelling than the wall of sound the band’s offered here. Ghosts of the Past is far from a bad album, but it’s not quite the record it could have been.

Image source: Eskimo Joe website

Posted on by Lauren Katulka

“Yearlings” – Dead Letter Chorus

I’ve been having a love affair with Dead Letter Chorus all year, happily devouring each single released as I awaited the release of their sophomore album Yearlings. With the big day still a week away, I was thrilled to sample it before it hit stores.

My expectations were very high, but Yearlings met them. It had me from midway through the first track “Covered in Snow.” The sound was just so lush and rich, with stunning harmonies and epic notes behind it. This track really set the standard, but there was more goodness to come.

I loved the quietness of tunes like “Underdog” and “Gently Weeping,” songs that were so intimate and beautifully crafted. “The Changing Tides” moved me with its heartfelt lyrics, and it was good to hear the playful single “Run Wild” without that annoying Toyota ad behind it!

The only disappointment for me came with the closer, “Edge of Town.” It’s not that this soothing alt-country lullaby was a bad track, but it made the album sort of peter out. I hoped to be stirred by the disc one more time, but instead I was left wondering “Is that it?”

The good thing about an album though is that you can always replay it if the ending doesn’t quite hit the spot. And I’ve played it many times, savouring the ethereal sweetness of Gabrielle Huber’s voice, the quiet strength of her band mate Cameron Potts’ vocals, and the gorgeous music they make with the rest of the Dead Letter Chorus. Yearlings isn’t the perfect album, but it comes awfully close to it.

Yearlings hits stores on August 26.