Category: Reviews

Posted on by Lauren Katulka

“Our Horse is Dead” – Heartbreak Club

After watching hours of devastating news footage from Queensland floods, I wanted a pick-me-up. After looking at the cover of Heartbreak Club’s Our Horse is Dead, with its whipped My Little Pony-esque cartoon, I knew that album was just what I needed.

And so on an afternoon where so much is going wrong in the world outside, I lapped up Heartbreak Club’s feel-good blend of pop and punk. There’s a lot of artists blending those genres in the industry these days, but Heartbreak Club certainly creates tunes that are a cut above the rest. It’s really intelligent stuff, with a few literary references waiting for those willing to listen to a lyric, and an intriguing willingness to experiment with genre.

That eclecticism is hinted at in the opener “Are You Leaving Me?” Its boisterous brass called to mind old school ska bands like the Mighty Mighty Bosstones and They Might Be Giants. But Our Horse is Dead really hits its strides with “Viva La Mala Fortuna,” a rollicking, fist-pumping ball of sunshine and synthesisers.

From this point the album which was enjoyable, if a little run of the mill, really kicks in. Heartbreak Club begin to show us what they can do, displaying the originality and depth which separates them from their contemporaries. “Depths Unseen” is a real revelation, a quirky confession of love with stirring strings, brass, the works. If you’re going to profess such intense emotions, why not do it in grand style? The stripped back treatment and playful lyrics makes the endearing “Jeepers!” another highlight.

With Our Horse is Dead Heartbreak Club delivers an album which is always solid, and often great. Listening to it makes you feel good, but it’d be a mistake to dismiss these guys as just another formulaic pop-punk act.

Posted on by Lauren Katulka

“Hearts Still Beating” – Leone Western

Hold on to your ears and prepare to listen to the tunes from Melbourne two-piece, Leone Western. This is a band that breaks the mould, which makes their EP Hearts Still Beating a thrilling but challenging listen.

There’s a real lack of polish to these guys, which is both a blessing and a curse. There’s a certain appeal to that emotional rawness, but sometimes I wished the edges were a bit smoother. The guitars are fuzzy and dirty like some grungy garage band. Wailing chords are surprisingly paired with tinny 80s style synthesisers. The combination isn’t always a harmonious one, but I have to give the band credit for trying something new.

Clearly this is an outfit still trying to figure out their sound, but it seems like they’re enjoying doing it. “Les Vagrant” is a delightfully quirky piece of retro pop, and the darker “White Pony” features some amazing vocals. With such an eclectic collection of tunes I’m not sure anyone will like every number, but there’s bound to be something here you’ll latch on to.

That makes Hearts Still Beating a great introduction to Leone Western.  It might be a bit rough around the edges, but it shows a band with a unique sound and a lot of potential.

Image source: Leone Western MySpace

Posted on by Lauren Katulka

“Dr Dream and the Imaginary Pop-Cabaret” – Emma Dean

After hearing the New York Post rave about our own Emma Dean, I knew her sophomore album Dr Dream and the Imaginary Pop-Cabaret must be something special. But I wasn’t prepared for exactly what a magical album it is.

Emma Dean pushes the envelope to create a record that lies somewhere between old school Tori Amos and the Wicked soundtrack. That sounds like a bizarre combination, and I suppose it is, but on listening to the record it all makes perfect sense.

Just like those early Tori Amos recordings, Emma keeps proceedings moving along with her driving piano notes and an innate theatricality. On the surface there doesn’t seem to be the angst of a Little Earthquakes, but don’t dismiss it as frothy stuff. The lyrics plumb some really dark themes, but they’re presented with such color and flamboyance that the casual listener might miss them. Of course, that only makes this complex recording richer on each listen.

Tunes like “Stuck in the Mud” and the single “Sincerely Fearful” seem like they’re made for a modern Broadway musical. Again there’s that great sense of theatre that seems bigger than an album, but it’s not as affected as an old-fashioned show tune might be.

“Something They Can Hold” is another tune worthy of note, a track with such emotional intensity and visceral lyrics that it left me floored.

With Tori Amos mellowing in her middle age, I’m thrilled to see an artist of Emma Dean’s talent picking up the baton. We needed a strong, independent, and individual female voice on the musical landscape, and knowing she’s Australian makes it all the better. Dr Dream and the Imaginary Pop-Cabaret is a very special CD that won’t be leaving my stereo any time soon.

Image source: BigPond Music

Posted on by Lauren Katulka

“Hyperspace Clearance” – Dan Webb

Dan Webb takes his cues from the world of classic rock with his sophomore EP, Hyperspace Clearance.

It’s a suitably far out name for a disc which revels in the music of the 60s and 70s. It’s not a carbon copy of the acts that came before, but Dan certainly wears his influences on his sleeve. He allows the artists of the past to inform his music, adding a hint of psychedelia here and a whiff of progressive rock there.

Perhaps it’s my love of The Doors that makes “These Walls” the standout for me. I love its cool, rollicking bass line and lush Hammond organ. Vocally Dan Webb is a world away from Jim Morrison’s lush baritone, but if the band were to have gone in a different direction I imagine they’d have made a song like this.

Dan’s heavy handed piano style, quirky songwriting, and musical smarts make a big impression. He creates a really lush sound by layering up to six keyboards over one another; it’s reminiscent of Phil Spector’s Wall of Sound in the very best way. Clearly this is an artist who enjoys experimenting. On this disc we see him learning about his potential and sound. But rather than feeling simply like we’re listening to someone testing things out, we enjoy being taken on this musical journey.

In just four songs Dan Webb makes a big impression with Hyperspace Clearance, one which leaves me wondering where he’ll take us next.

Image source: JB HiFi website

Posted on by Lauren Katulka

The Eagles @ Sydney Entertainment Centre, 2 December 2010

When I arrived at the Sydney Entertainment Centre last night, I wasn’t in the best mood. Our hotel had lost the reservation for one of our rooms, resulting in a good hour of drama. I’d gone without dinner after sending back my overcooked steak, only to have the replacement never arrive. I needed something special to turn the night around, and I got it in The Eagles show.

NASHVILLE, TN - NOVEMBER 12: (L-R) Musician Timothy B. Schmit, Glenn Frey, Don Henley and Joe Walsh of The Eagles perform on stage during the 42nd Annual CMA Awards at the Sommet Center on November 12, 2008 in Nashville, Tennessee. (Photo by Scott Gries/Getty Images)


Few bands endure like The Eagles. Sure they’ve taken some time out, but over the decades together they’ve developed a chemistry like few others. They know their own instruments and each others, which results in flawless harmonies and one of the tightest sounds around.

And there are those hits. In the three hours they graced us with our presence, they delivered some of the greatest songs in musical history. When you can bring out a tune like “Hotel California” early in the first act, yet still have somewhere to go it’s impressive.

There were so many highlights for me. “I Can’t Tell You Why” has always been one of my favourite Eagles tunes, and to hear Timothy B. Schmidt sing it so beautifully was something really special. “Best Of My Love” was something I never expected to hear, but I’ve always held deep in my heart. “Heartache Tonight” was the first Eagles song I ever fell for as it was on one of my Dad’s favourite driving cassettes, and it absolutely rocked. My inner 80s fan girl went nuts for “Boys of Summer,” another song I didn’t expect being a solo hit for Don Henley. The Eagles back catalogue is so rich that those solo hits were rare, but I was thrilled to see Joe Walsh let loose on “Rocky Mountain Way” in the finale. And “Desperado” was of course, the perfect closer.

The Eagles really are in a class of their own, artists that write incredible songs and make incredible music. Those tunes hold up just as well today, just as their talents do. Age has not wearied them, thankfully for folks like me who weren’t around to see them when it all began. I know these guys are getting on, but they’re still in their prime. Hopefully they can squeeze out another tour, because one day on I’m ready to do it all again.

Posted on by Lauren Katulka

“New Techniques for Beginners and Champions” – A Family of Strangers

The world of side projects is a bit of a musical mixed bag; for every success there are many more dismal failures. Happily A Family of Strangers, the latest project for The Butterfly Effect front man Glenn Esmond, falls into the former category.

It’s too early to determine whether chart success will follow the band, but it should if their debut EP New Techniques for Beginners and Champions is any indication. This is a really strong collection of six tracks, songs that step away from The Butterfly Effect but not so far as to alienate the band’s strong fan base.

I find these tunes more accessible than those of the iconic Aussie hard rock outfit. There are some big gritty guitar chords and dark lyrics, but the focus on the melody helps the listener connect from the first spin.

Fans of The Butterfly Effect won’t be disappointed with rock anthems like “Don’t Forget (03.03.03)” and “Silly Love Songs,” but I find the tracks that are dramatically different from Glenn Esmond’s previous work a little more intriguing. “Here Without You” shows he is capable of producing a real radio-friendly ballad of love lost. A Family of Strangers exposes their soft underbelly again with “The Velvet Divorce (Follow).” But my favourite track is probably the closer “Farewell, Mr Hooper,” a wild rock sea shanty. It’s such a quirky tune, the kind of thing I imagine a crew of pillaging pirates might create if you handed them electric guitars.

It almost seems unfair to bands starting out to call New Techniques for Beginners and Champions a debut EP, because A Family of Strangers are so experienced and in control of their sound. They’re equally at home in the sunlight and the shadows, and they take us to both places in this recording. It’s a really accomplished first taste of a band I look forward to hearing a lot more from.

Posted on by Lauren Katulka

“Until Then” – Gossling

Like so many other Australians, I recently sat home applauding Angus and Julia Stone as they took home award after award at the recent ARIAS for their sophomore effort Down the Way. Listening to Gossling’s new EP Until Then I wondered whether she’ll need as many long players under her belt before the awards start to flow.

The comparisons to Julia Stone are unavoidable; the artists sound uncannily similar with their breathy, ethereal voices. But Gossling brings more dynamics to her intimate tunes. She isn’t afraid to let that voice of hers soar, matching the lush instrumentals she favors. Her sound is big and full, with strings and pianos joining her voice as the songs reach emotional and musical crescendos.

While her sound is bigger, Gossling is careful to never lose the organic nature of her music with overproduction. Listening to the songs you get the sense that they could have been recorded during a jam session in someone’s living room. There’s that sense of immediacy and truth, as if the tunes were captured in one take.

The EP has just five tracks, mostly tales of love convincingly painted by the lyrics that never stoop to cliches. The epic “Oh Darling” may be one of the most beautiful and stirring songs I’ve heard all year. But I was thrilled to see her experiment a little in “I Was Young,” a tune which steers dangerously close to bluegrass in the rollicking choruses. I hope to see her play a little more with genres and sounds when the inevitable long player is released.

And it is inevitable, because Gossling is that good. We have a glut of talented female singer-songwriters in this country, but I expect to see her standing out from the pack in the coming years.

Image used with permission from Repertoire Publicity

Posted on by Lauren Katulka

“Walk” – Israel Cannan

Israel CannanThat dreaded lurgy of mind is still hanging around, but I heard once that music is the best medicine. I’m not sure whether the gentle strains of Israel Cannan’s new album Walk are helping me get rid of the germs any quicker, but they’re certainly not hurting matters.

This album is my kind of music, with its lush, organic sounds, honest lyrics, and heartfelt delivery. As each track unfolded I found myself thinking just how good it was. I have some early favourites; I love the jangling rhythm and harmonica strains of “To The Left,” the driving beats of “Let It Rain,” and the slow build and emotional words of “Where the Story Unfolds.”

While these tunes are revving me right now, I have a feeling that my list of favourites is going to change after a few listens. While some of them speak to me more than others in this moment, they’re all brilliant. This is the kind of album packed with songs that work together as a unit, rather than seeming like a collection of singles. And again, that’s back to the honesty of this recording; it seems more like an attempt to document a period of time than an effort to make money.

Mellow and gentle, and above all real, Walk by Israel Cannan is the perfect thing for soothing my current malady.

Image used with permission from Stephen Green Consulting

Posted on by Lauren Katulka

Jazz in the Vines @ Tyrell’s Winery, Pokolbin – 30 October 2010

When I’m unwell, it takes a lot for me to leave the comfort of home and venture out. But I found myself doing just that on Saturday when I took in the annual Jazz in the Vines festival. This is always a highlight of my yearly concert calendar, and I wasn’t going to let any virus hold me back.

Being sick made this a different kind of Jazz in the Vines for me. I couldn’t indulge in the all that brilliant wine, or dance up the front near as the stage as I usually do. But I could enjoy the music, and enjoy it I did.

Sadly it took me a bit longer to get out than it might have if I were well, and I missed the Silver Bell Quartet. But I’m so glad I arrived for the Adrian Cunningham Quartet. Led by the incredibly sexy and talented Adrian Cunningham, the quartet treated us to instrumental jazz gems. The set only became stronger when Steve Clisby joined them for several numbers. Their version of “God Bless The Child” was exquisite, and I also loved their swinging version of “Moondance.”

Somewhere around the end of their set the unseasonably summery weather started to get to me. It’s terrible to be sick when you’re supposed to be out having fun, but the gentle acoustic guitar strains of Bruce Mathiske were probably the best medicine for it. I must admit, I was a bit dizzy and faint to remember much of his set, but his version of “Classical Gas” was outstanding.

After getting plenty of water and some yummy calamari in me I started to feel a little better, just in time for James Morrison to take the stage. He’s always a Jazz in the Vines highlight, and this year was no exception. His exceptional talent and charisma just makes for a wonderful show. It was also kind of thrilling to see my new crush Adrian Cunningham taking his place in James’ band. While I was lapping up the instrumental stuff, the energy levels went up a notch when Doug Parkinson joined James. I can’t believe it’s taken me this long to see this Australian legend doing his thing; he really is a truly magnificent artist. My parents have been seeing him since the ’70s and swear that his voice is only getting better. I really don’t doubt it. Those reality TV show contestants could learn a thing or two about performing a cover version from Doug; whether he was encouraging us to get up and dance with some Blood Sweat and Tears or Joe Cocker numbers, or wowing us with a show stopping version of “Somewhere,” he was incredible.
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Posted on by Lauren Katulka

“TheStoryOfMyLife” – Tenda McFly

Just as you can’t judge a book by its cover you can’t judge a rapper by his name. The moniker Tenda McFly is a bit naff, but the Brisbane based rapper behind it is one of the most accessible and inventive I’ve heard in some time.

The use of indie pop tunes in his latest release TheStoryOfMyLife makes the music particularly different, whether he’s taking a small sample or remixing an entire song as with Regina Spektor’s “Fidelity” or “Popular” from the musical Wicked. I’d never have imagined a rapper would turn to Broadway for inspiration, but I’m thrilled that he did. It’s very cool. But Tenda McFly doesn’t have to look to the work of others to impress. His tune “Welcome” is a real standout, summery and playful.

It’ll probably take a few listens before I catch all the rapid-fire lyrics, but I have a feeling it’ll be worth the effort. Some of the sexual references get a bit tiresome, sounding almost like the diary entries of a hormonal teenage boy, but there’s enough other, more interesting content to divert our attentions.

Tenda McFly calls TheStoryOfMyLife a mixtape, which is perhaps a more fitting title than an album. Just like any good mixtape it reveals much about the creator and his place in the world, whether he’s buying fake Raybans from eBay or scouting for girls. So often rap music spends so much time commentating about the world around that it forgets the person in the center of it. There’s an intimacy here that I really warm to, and which makes TheStoryOfMyLife worth a few listens. It’s available for free download through Tenda McFly’s Bandcamp page.