Category: Reviews

Posted on by Lauren Katulka

Eddie Vedder @ Civic Theatre, Newcastle – March 16, 2011

I’ve got a fairly crowded concert calendar, but the show I was most excited about was Eddie Vedder at Newcastle’s Civic Theatre. The chance to see one of my childhood heroes, the lead singer of Pearl Jam, at such a small, intimate venue was just too thrilling to pass up.

But before the man himself stepped onto the stage we got to see what expats Evil J & Saint Cecilia, otherwise known as Eliza Jane Barnes and Ceci Herbert had to offer. As my dinner ran overtime I missed about half of their set, but sadly I don’t think I missed too much. The songs seemed to run together into one dreary, dull tune. The talent was definitely there. Their voices were sweet and harmonized beautifully, and they could certainly play, but I think their songs let them down. I’m interested to see how they develop though; there’s definitely potential there.

I certainly lifted once Eddie took the stage though. He kept the house lights on as he treated us to an acoustic rendition of one of my favourite Pearl Jam tracks, “Elderly Woman Behind the Counter in a Small Town.” Those lines “I just want to scream hello, my god it’s been so long, never dreamed you’d return,” definitely had increased poignancy as I looked at this man who’d created so many songs that got me through those difficult teenage years.

He treated me to many of them last night, but this certainly wasn’t a Pearl Jam concert. Instead it was an opportunity for us to appreciate the full depth and breadth of Eddie Vedder’s career, including his notable contributions to film soundtracks and collaborations with other artists. You’d have to be a dedicated fan to know all the songs he played, but Eddie is the kind of performer whose tunes can really stand alone. You don’t need to sing along; you just need to experience them. And experience them we did up close and personal, stripped back and played with single instruments: acoustic and electric guitars, a mandolin, a ukulele. This music doesn’t need a lot of frills, and in this raw intimate mode we really got to the heart of it.

It wasn’t a perfect show by any means. Eddie forgot his lyrics several times, although his earnest apologies certainly made me forgive those mistakes. A few bad apples in the crowd also spoilt things in a few places. Honestly folks, you don’t need to yell out everything that pops into your head. When an artist has to chastise you because he’s trying to talk, it’s well past time to pipe down. Just because the man tells you he’s created the set list around requests doesn’t mean he wants to hear every one of yours. That goes double for the twit who wanted to hear Neil Young. I’m also all for people standing up and dancing around, so long as everyone else is. If you’re the only person grooving, and you ignore the pleas from people behind you, you’re also a jerk.

But those minor annoyances certainly faded as we all stood up to revel in the final song, “Hard Sun.” Eddie was joined by local legend and friend Mark Richards, and his support act Evil J & Saint Cecilia, for those final celebratory moments. That exultation and atmosphere is what live music is all about. It wasn’t perfect Eddie, but I hope we do it all again real soon.

Image source: Metal Chris @ Wikimedia Commons

Posted on by Lauren Katulka

“Into The Eyes of Those Who Sleep” – The Ovals

Over the last four years Melbourne band The Ovals has built a steady following for their brand of psychedelic rock. That attention is only bound to intensify with the release of the band’s new EP Into The Eyes of Those Who Sleep.

The band is clearly comfortable in this genre; they create the kind of kaleidoscopic atmosphere that takes us back to the mid-60s. They understand about light and shade, they know how to build and song and move us just where they want us.

But I can’t help feeling like I’ve heard it all before, like I’m listening to a band that spent too much time listening to early Pink Floyd records. Perhaps I’m a bit biased as I always found those early Syd Barrett recordings lacking, but I hear the same aimlessness in The Ovals music. It’s almost as if they’re also trying to figure out exactly who they want to be, just like Pink Floyd were all those years ago.

And similarly, I can hear great potential there. In places there’s the magic that comes from four musicians that really know how to play. I can imagine that’s only heightened when the Melbourne act takes to the stage. Into The Eyes of Those Who Sleep is a good stepping stone for a band that could be something special.

The Ovals will launch their new EP at The Cherry Bar before taking it to the other East Coast capitals. You can see them at the following venues.

25 March 2011 – Cherry Bar, Melbourne
1 April 2011 – X&Y Bar, Brisbane
8 April 2011 – Oxford Arts Gallery, Sydney

Image used with permission from Show Off Services

Posted on by Lauren Katulka

The Waifs @ Civic Theatre, Newcastle – 27 February 2011

Western Australian music royalty came together last night for one amazing show at Newcastle’s Civic Theatre. This grand old theatre was made for the intimate music of artists like The Waifs and Mama Kin, and the attentive crowd lapped it up.

I put Mama Kin together with The Waifs in my introduction because her set never felt like mere support. I’m used to crowds chattering away as support acts desperately try to capture the attention of someone in the audience, but not last night. All eyes were transfixed on this spirited performer, who so effortlessly fused blues, roots, folk, and soul. The crowd even complained when she announced her last song. She cheekily told the audience they needn’t pretend they were there to see her. A fair call perhaps, but that doesn’t mean they weren’t savouring her every moment on stage. I know I was; hanging onto every lyric, singing and clapping to the beat when she encouraged us to, laughing at the stories that punctuated the songs. Mama Kin definitely made a few new fans last night, and I’m amongst them.

As The Waifs began their set I was again struck by how attentive and receptive this Newcastle crowd was. Just as Mama Kin was supported, so were The Waifs’ new songs. Their set drew heavily from their soon-to-be-released new album Temptation, but the audience didn’t seem to mind one bit. Of course songs like “Lighthouse” and “London Still” received a rapturous reception, but the crowd patiently waited until they came, content to let the new material wash over them.

Of course, all credit can’t be given to the crowd. The Waifs’ new material also stacks up against their familiar hits nicely. The songs tell stories which suck you in, compelling you to listen even if you don’t know the words. Add in the vivacious personalities and exquisite harmonies of sisters Donna and Vikki, and the gorgeous meshing of the band’s instruments, and you’ve got an act that you’d happily hear perform anything they desired.

The Waifs are one of those bands I’d always meant to see but never quite gotten there. After enjoying a night in their company I can see why their fans are so passionate, and why they return for each and every tour. Next time I’m sure I’ll join them.

Image used with permission from Stephen Green Consulting

Posted on by Lauren Katulka

Drawn From Bees Take on North America

Like many Aussies I wasn’t familiar with the music of Drawn from Bees, but this Brisbane band is making some real waves in North America with dates approaching at Canadian Music Week and South by Southwest.

Their EP Cautionary Tales for the Lionhearted will get an American release on March 1, which is sure to elevate their profile here and abroad. I gave the recording a few spins this afternoon and found it to be really mature, sophisticated stuff. The band harmonizes beautifully, and creates an amazing atmosphere which reminds me of Radiohead without the slit-your-wrists factor. While there’s certainly some darkness here, it never feels as gloomy and labored as the music the British band typically produced. The jangly guitars and rich melodies give these songs a warmth that elevates them out of the doldrums. I particularly loved “Stand Against the Storm,” which has shades of Talking Heads to it, and “Picture Show,” which builds so beautifully to a stirring crescendo.

Tunes from the EP and a few extras are available through Drawn From Bees’ MySpace page. If you like what you hear, make sure you check out what the band can do in the flesh at the following shows here and abroad!

18 February 2011 – 34B (above Spectrum), Sydney
5 March 2011 – The Manhattan Room, Philadelphia
6 March 2011 – Howlers, Pittsburgh
7 March 2011 – Euclid Tavern, Cleveland
8 March 2011 – Pearl St Grill, Buffalo
10 March 2011 – Canadian Music Week @ Bread & Circus, Toronto
12 March 2011 – Canadian Music Week @ Horseshoe Tavern, Toronto
13 March 2011 – Aussie BBQ @ Bowery Ballroom, New York
15 March 2011 – Cactus Instore, Houston
16 March 2011 – SXSW Party @ International Psych-Out, Austin
16 March 2011 – SXSW Party @ Aussie’s Bar & Grill, Austin
17 March 2011 – SXSW Party @ Dart International Music House, Austin
20 March 2011 – Dan Electro’s Guitar Bar, Houston
21 March 2011 – Reggie’s Music Joint, Chicago
22 March 2011 – Elbo Room, Chicago
24 March 2011 – Hennessey’s Hooley House, Boston
25 March 2011 – Hank’s Saloon, Brooklyn

Posted on by Lauren Katulka

“Double Crosser” – The Level Spirits

The Level Spirits first came to my attention last month with their fantastic new single “Take It Out.” Now that I’ve given their debut album Double Crosser a few spins, I’m thrilled to discover that this killer cut is no fluke.

The Level Spirits deliver good old-fashioned rock and roll. There are elements of blues, country, and rockabilly in the mix, which only add to the fun. Rather than sounding like a musical throwback, The Level Spirits present themselves as retro cool.

Lead singer Molly Jean Morrison anchors The Level Spirits’ contemporary image. She cuts a striking image with her flame-red hair, ballsy vocals, and sassy delivery. It’s hard to believe that The Level Spirits is Molly Jean’s first band, as she sings with a natural ease that suggests years in the biz. Her time in the world of burlesque has clearly served her well; she brings a raw sexuality to the band that’s really exciting.

The raucous opener and title track “Double Crosser” grabs you by the throat, demanding you to listen to what’s coming up next. And what follows is the kind of music you might expect to hear in a smoky juke joint. It’s always upbeat, but some deliciously dark lyrics add an extra layer. “Psycho For Your Love” and “Not as Much” were real highlights for me, but I daresay I’ll find a few more favourites the more I listen to the record.

The only disappointment for me was the closer, “Taste of the Same.” While it’s a solid track, it feels so much more modern and, dare I say it, generic than what had come before. I’m of the school of thought where albums should be whole, cohesive units, and this song just didn’t gel with the rest of the tunes.

Still, there’s an awful lot to dig about Double Crosser. There’s so much life to it, I’d love to see what these guys can do on stage. Sadly they’re only playing in Melbourne at this point, including their album launch at The Tote this Friday. If you’re a local, I strongly suggest you check it out!

Posted on by Lauren Katulka

“Mighty Big Light” – Steve Parkin

I didn’t know a lot about Steve Parkin when he joined Josh Pyke, Kav Temperley, and Kevin Mitchell in Basement Birds. And so when his solo album Mighty Big Light passed my desk, I expected the sort of mellow and introspective acoustic tunes this super group delivered. What I got instead was an album much richer, and much more interesting.

I really liked Basement Birds, but their music was so low key that it almost faded into the background. I was thrilled to see Steve Parkin take things up several notches here. It opens with the pared back “Lost Highway,” but then takes us to much bigger places. The soaring string section makes “California” feel a bit more epic, and “I Won’t Be” has the kind of grandeur I’d expect from 1970s Pink Floyd.

The eclectic tunes can make the disc feel a bit uneven at times, more like a disparate collection of songs than a cohesive unit. But on the flip side, we never get bored! Steve Parkin’s no musical newcomer, and his experience informs what each song needs. Listening to Mighty Big Light feels like a journey; you can’t always predict what’s coming up ahead, but it’s still a great ride.

I instantly liked Mighty Big Light, but I have a feeling I’m going to grow to love this complex disc the more I listen to it. Look for it in stores this April.

Image used with permission from Riot House Publicity

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