Category: Reviews

Posted on by Lauren Katulka

“Talk The Night Away” – Daniel Lee Kendall

Daniel Lee Kendall impressed me with his debut EP Lost in the Moment, so I had high hopes for his follow-up, Talk The Night Away. Happily, the Central Coast singer-songwriter didn’t disappoint.

Again Daniel charms us with his folky organic music, but it’s better the second time around. He’s grown as an artist. Where some of the pleasantly soothing tunes got a little sleepy in his first EP, here we see more focus on hooks and melody.

I adore the acoustic rhythms of “My Love to Be.” The driving beat is perfect for road trips. It could be Mondayitis talking, but it makes jumping in my car, taking off down the freeway, and seeing where I end up sound pretty tempting. “Gone” is one of the most heartbreakingly honest songs about love gone wrong that I’ve heard. When a musician can create something so powerful with only his acoustic guitar and his words, it’s something special. “Never Changing” is a perfect closer, a playful, laidback musing on life that is reminiscent of Ben Harper or early Jack Johnson.

With Talk The Night Away, Daniel Lee Kendall has made good on the promise he showed with that first EP. Bring on the long-player; five tracks just isn’t enough to satisfy!

Posted on by Lauren Katulka

“Little Love” EP – Leone Western/Foragers

Leone Western and Foragers have come together for the split EP Little Love.

Each band was given just three tracks to showcase their talents and perhaps win over the fans of the other artist. Honestly, as the EP opened with “Golden Girl” I thought Leone Western may have wasted their opportunity. The song felt aimless, dragging along without any real purpose. Happily though the band was back with the promise I heard on their Hearts Still Beating EP with their following material. “Make Believe” is super catchy, and while the guitars overwhelm the vocals at times there’s a lot to like about it. Everything came together with “Make Believe” though. I couldn’t help thinking of one of my favourite singers, Howie Day, as I listened to this tune. The vocals had a similar raw, emotive quality, and the soundscape was every bit as epic. They may not have had the strongest start, but Leone Western certainly left an impression with this stand out tune.

With Foragers portion of the EP the recording takes a sharp left turn. While both acts happily use retro sounding synthesizers in their music, Foragers is more unashamedly 80s influenced. As a child of that decade, I didn’t mind that electro-pop influence one bit. This is music that sounds so sugary and sweet, with Simone Gustafsson’s reedy vocals and the melodic electro choruses. However there’s a darkness to the lyrics that makes this music more than just throwaway Take 40 fodder. “Can’t Stop Counting” made me want to get out of my chair and dance, and “Take a Chance” is as close to a retro pop gem as I’ve heard in recent years.

As the EP wound down I was left believing that Foragers are a band that knows themselves, with a clear creative vision, while Leone Western are still figuring it out. That’s not a bad thing though, as I’m enjoying their journey. Little Love showcases some great new music from some really promising new Aussie talent.

Image source: Foragers Bandcamp page

Posted on by Lauren Katulka

David Campbell @ West Leagues Club, Newcastle – 21 May 2011

Let me take you back to last Saturday night. It was a night where the end of the world was nigh, or at least we were told that it was. I was pretty sure there’d be no Rapture, but I figured if there was at least I’d go out seeing one of my favorite Australian performers, David Campbell.

Clearly the rest of Newcastle had the same idea, as the showroom at West Leagues Club was packed to capacity. Our enthusiasm was rewarded, as David played as if it may be the last time he’d grace the stage. He was incredibly animated, the result of several coffees we were told. Whatever the cause, I felt as if we were treated to a comedy act as well as a musical one. David’s always funny, but the Rapture and Arnold Schwarzenegger’s recent scandal gave him a bit more material to play with. And play he did, memorably telling us he would sing a song by his famous father before launching into Glen Campbell’s “Rhinestone Cowboy.” It’s not a tune I’d ever expected him to play, but even singing country he was bloody good.

But laughs are only half of the David Campbell story. He can turn the show on a dime, bringing the entire audience in to a tender moment on a whim. Those special moments came in the always breathtaking “Begin the Beguine,” the romantic “Smoke Gets in Your Eyes,” and my personal live favourite “Mr Bojangles.”

So there was no Rapture, but if there was that’s the show I’d want to go out on. Happily though we go on, and I know I can enjoy something just as good next time David hits town.

Image source: Stephen Katulka

Posted on by Lauren Katulka

“Go With the River” – Owls of the Swamp

Ordinarily when I set about reviewing an album I listen to it with a notepad beside me. I take copious notes about my thoughts as the music washes over me, and then I somehow piece them all together to create my review. But not this time. As I listened to Go With River, the brand new album from Owls of the Swamp, my notepad lay untouched.

Perhaps that’s going to make reviewing the album a bit harder, but I know why it happened. This is a CD that demands to be listened to. Its music was too beautiful for me to be distracted by analysis and dissection. I was just too busy enjoying it.

I shouldn’t be surprised. I was bowled over by the song “So Far Away” on its release, and I’m just as impressed by this recording. It’s more of that organic, honest music driven by gorgeous lyrics, acoustic guitars and a few well-placed strings. “Skywaters” is my current favorite tune; Aluka’s ethereal voice is the ideal foil for Owls sf the Swamp’s own, and the combination is bittersweet and incredibly moving. But this isn’t an album of obvious singles. Its tunes are much subtler, gently woven together to create an album of real beauty.

Sadly that means Go With River will be overlooked by many people. They won’t hear the songs on the radio or see Owls of the Swamp featured in their favorite magazines, and so they’ll never come across it. But I implore you to seek it out. I promise you won’t be disappointed.

Image source: Owls of the Swamp Bandcamp page

Posted on by Lauren Katulka

“Wings” – The Bloodpoets

The Bloodpoets WingsThe Bloodpoets impressed me with their album Polarity last year, so I was excited to see what they’d serve up with their latest effort, the EP Wings.

The Queensland outfit has always been eclectic, playing with light and shade, standing somewhere between indie rock and commercial pop. The gulf between these two extremes seems more pronounced on Wings, a disc that starts with sweetness and ends with real grit.

When I first slipped it in I mused that this didn’t sound like The Bloodpoets I’d first met. They weren’t rocking quite as hard, and instead were focusing on the melodies and pop hooks. That could easily sound like a criticism, but the band still wasn’t bowing to the demands of top 40 radio. They hadn’t lost any of their individuality; they were just taking a lighter touch. “Sunny Day” really excited me with its playful bass groove and irresistible brass strains. I also loved its follow up track “Next Year,” which I can imagine sounding right at home on radio. It feels familiar from the first listen, not predictable but warm. I adored the depth that the ringing bells gave this pop gem.

“She Feels It” marks a shift in the EP, a move away from the sunshine and into darker territory. It felt more like The Bloodpoets of old to me, although it has an epic quality that I haven’t heard from the band before. The remaining tracks also show the band’s grittier side, almost as if they want to remind us that they’re never going to completely lose their edge.

Wings feels like The Bloodpoets are checking in with us, showing the directions they’re taking and giving us a teaser before the next full length recording. It’s exciting to see them stretching out every which way and evolving as a band. I can’t wait to see what comes next.

Image source: The Bloodpoets Facebook page

Posted on by Lauren Katulka

“Until Morning Comes” – Cilla Jane

Suffering from a bad case of Mondayitis, I needed something to ease me back into my working week. I found it in Until Morning Comes, the delightful sophomore effort from Melbourne singer-songwriter Cilla Jane.

The follow-up to her acclaimed debut When the Night Falls is like a fine wine, the sort of music that will appeal to discerning ears and only gets better on each listen. Cilla gets to the heart of the song, refusing to muddy it with too many instruments or too much studio trickery. This is an organic recording, where Cilla Jane’s lyrics and sweet, ethereal vocals are allowed to speak for themselves.

I loved the honesty of her words, the pictures she paints and the universality of her lyrics. I was also impressed by her musicianship. Looking through the CD sleeve I realized she wasn’t just the words and voice behind this recording; she was there strumming away on acoustic and electric guitars, playing the piano and glockenspiel too. This album is clearly her baby, and that commitment to the songs and the recording that houses them shines through. This isn’t about fulfilling record company obligations or selling volumes; it’s about making music that touches the listener.

It’s hard to pick highlights on an album that fits together so cohesively, but a few tracks made my heart beat a little faster. I loved the playful keyboard backbeat and optimistic longing of “Back to Me” and the gentle bluegrass notes of “Pot of Gold.” “Made of Glass” is also just beautiful, with its stunning imagery and genuinely affecting vocals mixed so sweetly with brass tones.

Cilla Jane has created a stunning album in Until Morning Comes, one that goes against the grain with exquisite lyrics, breathtaking vocals, and real heart. She’s currently touring it around the country. You’re in for a special night if you attend the following shows.

21 May 2011 – The Northcote Social Club, Melbourne
4 June 2011 – The Venue @ Salamanca Arts Centre, Hobart
11 June 2011 – The Wheatsheaf Hotel, Adelaide
25 June – Bar 303 , Northcote
6 July 2011 – The Vanguard, Sydney
9 July 2011 – The Front, Canberra

Image source: The Dwarf

Posted on by Lauren Katulka

“Living Undesigned” – Trial Kennedy

You might remember me talking about Trial Kennedy’s new single “Best of Tomorrow,” and getting excited about the release of their latest album Living Undesigned. When I turned up in my mailbox I couldn’t get it into my stereo fast enough.

However as the new tracks washed over me I started to feel a bit let down. The energy I loved was there, thanks to the driving drum beats and squealing guitars. But the tunes felt a bit samey, almost like indie rock by the numbers. It seemed as if lead singer Tim Morrison felt it too, as his vocals didn’t quite seem to match the passion of the music.

Things took a turn for the better once “Best of Tomorrow” started. It reminded me of why I was so excited to hear this album. It had the hooks and melodic focus I was craving, and I was thrilled when the following track “My Own” also grabbed me. Finally there was some light and shade, with the band experimenting with strings and showing their softer side. More highlights came later, including the raw passionate vocals of “Arrest Room” and the upbeat closer “Two Dogs.”

Ultimately Living Undesigned wasn’t the stunner I hoped it would be. It’s uneven, with solid songs and some not so triumphant numbers. Those great songs make this album worth a listen, but you may want to wait until your mate buys it.

Living Undesigned hits record stores on May 13.

Posted on by Lauren Katulka

Indigo Girls @ State Theatre, Sydney – 28 April 2011

Ordinarily I go and see bands that I’m enthusiastic about, but on Thursday night I headed to the State Theatre to discover the Indigo Girls. I say discover because aside from a few tracks my husband had played me the weekend before, I really wasn’t familiar with their music. This was a band he adores, and I was happy to discover what inspired him so. It’s exciting to learn about a band in the flesh, and I had a blast.

But before Amy and Emily took the stage we were warmed up by Henry Wagons. And warm us he did with his quirky alt-country tunes. He was without his band, with only an acoustic guitar to accompany him, but his big personality filled the stage. My husband wasn’t too sure what to make of him at first, but by the time Henry got to his closing song “Willie Nelson” he was joining in the chorus.

There was less quirk to the Indigo Girls but a similar raw energy. This is music the way I like it best, without frills or fuss, back to basics. With only acoustic guitars, a mandolin and harmonica, and two sublime voices the American girls wowed me. I understood why they’re such legends in their home country, and wondered why they’ve never really caught on here. I felt privileged to be exposed to their exceptional songs and musical prowess, like someone had let me in on a secret. I have my husband to thank for that, and I do.

A poignant moment came near the end of the set, when Amy and Emily welcomed a guest speaker to talk to us about the fallout from uranium weapons. It might seem strange to incorporate this element into a concert, but the crowded tables surrounding the petitions at the end of the show spoke volumes. This was a night about being moved in so many ways.

I couldn’t sing along like the faithful fans, but I could clap and cheer and I did. What a wonderful introduction to an exceptional act. Amy and Emily say they hope to be back on our shores soon; I promise to get myself up to speed before then.

Image source: Stephen Katulka

Posted on by Lauren Katulka

“One Thousand Origami Birds” – Jack Carty

I’ve been a Jack Carty fan ever since his debut EP Wine & Consequence passed across my desk. So I’m thrilled to see the artist he’s grown in to, as showcased by his stunning first long player, One Thousand Origami Birds.

Opening up the cardboard sleeve, you know you’re in for something special. It’s beautifully illustrated with those titular origami birds swarming over landscapes. With the rise of digital media cover art has all but been forgotten, but my inner vinylphile laps up this sort of effort. It really sets the tone for an album that’s a cut above.

The laidback folky sound I fell in love with has been built upon here. It’s still driven by the gentle plucking of an acoustic guitar, but the clever use of strings and brass adds fullness and life. “Grey Sky” is the sort of soaring epic that I can imagine hearing on a Damien Rice disc. “Them There Hills” was another stand-out for me. It seems so simple with its acoustic guitar picking and foot stomping, but it stirred me like an old blues song. The soundscapes Jack paints are matched by earnest, poetic lyrics.

Anyone who’s been reading my blog for a while knows I have a soft spot for acoustic guitar loving songwriting folky musicians. But even I can admit there’s a glut of them. With One Thousand Origami Birds Jack Carty’s proven he has the stuff to stand out from the pack. This album is truly something special.

Posted on by Lauren Katulka

The Script @ Hordern Pavilion, Sydney – 8 April 2011

It’s been a year and a half since I first saw The Script live. After that show I was buoyed and excited, thrilled to see one of the greatest pop acts of our time doing their thing in the flesh. As they say in the classics, what a difference a year makes.

Let me make it clear: I still think that The Script are one of the greatest pop acts of our time. But walking out after their Sydney show on Friday night, I felt none of the same euphoria.
My mediocre night started with Tinie Tempah. I have no clue who thought it’d be a good idea to pair the inoffensive piano pop of The Script with the stylings of this brash Brit rapper, but it was a weird mix, to say the least. I hated his music, but was amused by his arrogant on stage persona. There’s something very contrived about a performer who demands crowd participation. People will wave their hands in the air and sing along if they feel like it; you really shouldn’t need to push it. I also feel a bit cheated when a performer merely raps over the work of other musicians, but that might just be me. The Video Hits loving crowd on the floor seemed to lap up his set, but I spent it giggling and cringing at his over-the-top antics. At least I was entertained.

Hearing the familiar piano driven music of The Script was a welcome respite from all that hip hop garbage. The Irishmen delivered a really solid set featuring tunes from their self titled debut and their sophomore effort Science and Faith in equal measures. They interacted with the crowd, and I couldn’t help melting every time they told us how much they appreciated our support and country. We sang along loudly to the big hits, no prompting needed. See Tinie? We’ll sing if we want to.

It’s hard for me to put my finger on exactly what was missing, but I certainly didn’t feel the adulation I did the first time around. The venue didn’t do them any favours. The Hordern is like a bit shed, with terrible acoustics and a lack of real intimacy. I certainly felt removed from the band, as often it seemed like they were just performing for the squealing girls in the first few rows. I don’t expect that I’ll get the same show sitting on the sides, but I expect a band used to stadiums to play the room a little more. Perhaps after such a brilliant Cyndi Lauper concert last week, most nights are going to pale in comparison. Either way, there was something missing. A night spent with The Script is always enjoyable, but this show wasn’t quite what it could have been.

Image source: Stephen Katulka