Category: Reviews

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.

Posted on by Lauren Katulka

“Roof Raisers” – Keith!Party

I mentioned when I reviewed Class A’s album Me, Me, Me & Him: The Secret Life of a Receptionist last month that I don’t listen to a lot of rap. Since then more music of this genre has been passing my desk and changing the way I think about rap. The latest is Roof Raisers, the sophomore album of Melbourne’s Keith!Party.

The name is pretty appropriate. This is the kind of album that you’d put on at your next bash to make sure everyone’s dancing and having a good time. It works as a cohesive unit rather than a collection of disparate songs, taking you from crazy floor fillers to songs that are a bit smoother and sexier.

Adding to the party atmosphere is a host of special guest artists. This is nothing new for a rap album, but here it seems less about proving who you know than creating that celebratory vibe.

I love the old school naughtiness of “Sexy is What People Call HD” and the chilled out ambience of “Miracle Flow.” At more than six minutes the closer “The K-Team” drags a bit, but considering the group claims to be the last ones to leave the party perhaps that’s appropriate!

Roof Raisers has a fun, positive vibe with clever lyrics that are definitely worth listening out for. It’s available now through the band’s MySpace page, but will officially launch in Melbourne, Sydney, and Brisbane soon, so keep reading Sounds of Oz for all those details.

Posted on by Lauren Katulka

David Campbell @ Mingara Recreation Club, Tumbi Umbi – 7 October 2010

Longtime readers of my blog will have heard me wax lyrical about David Campbell before. He’s one of those rare artists that encourages me to get out and see him each and every time he tours. Even rarer, he does so because he always delivers an amazing performance. And it was no different when last night I caught his On Broadway show at Mingara Recreation Club.

After several very successful albums, David has an extensive and eclectic back catalogue to play with. There’s the music from Shout, the swing songs, old 60s rock and roll, and now showtunes in his repertoire. It takes a skillful performer to deliver such variety without alienating his audience, but David had us there with him through it all.

The first portion of the show concentrated on those Broadway numbers, which really came to life on stage. David’s always been such a theatrical performer, who no doubt learned a thing or two during his time in New York, so tunes from Chicago and Boy from Oz were an easy fit. I enjoy the On Broadway album, but was surprised by some of the disc’s more obscure song selections. Given that, I was thrilled that in the live arena he focused on those tunes we all know, encouraging us to sing along and ensuring we all had a fabulous time. “Bring Him Home,” the showstopper from Les Miserables was incredible, and we all had fun when he played with those high-tech recording pedals in Guys and Dolls’ “Horse Right Here.”

He kicked things up a notch in the second half, and it didn’t take long before I joined the women enthusiastically dancing on the sides of the auditorium. Songs like “Yeah Yeah,” “She’s My Baby” and “Suspicious Minds” are just so much fun, and we lapped them up. Not that it was all light-hearted. David brought tears to a few eyes with his incredible renditions of “Mr. Bojangles” and “You’ll Never Walk Alone.”

It takes a truly special performer to breathe new life into songs we’ve all heard many times before. David Campbell is definitely that, a genuine showman who can move his audience to tears and have them in fits of laughter on a whim. Rest assured, I’ll front up for tickets when the next tour rolls around.

Image source: own photo

Posted on by Lauren Katulka

“Lost in the Moment” – Daniel Lee Kendall

It’s always a struggle to ease myself back into the working week, but it’s something made easier with the accompaniment of good music. This morning I found it in Daniel Lee Kendall’s debut EP Lost in the Moment.

This Central Coast based singer-songwriter creates the sort of gentle, easy music that’s so easy to listen to. It’s understated, but so musically rich and lyrically interesting that it’d be a mistake to dismiss it as mere background music. That being said, this is exactly the kind of disc I’d pop on while sharing a meal with friends, or a few glasses of wine at the end of a night. It’s not brash or bold, but it is beautiful.

If you want to hear what Daniel’s all about before Lost in the Moment is unleashed on October 1, head over to his MySpace page to listen to a couple of tracks!

Image used with permission from Crucial Music

Posted on by Lauren Katulka

“Me, Me, Me & Him: The Secret Life of a Receptionist” – Class A

The world of rap music seems to be a bit of a boys club, so it’s refreshing to see Class A breaking the mould. With her debut album Me, Me, Me & Him: The Secret Life of a Receptionist she looks to redefine what we think about rap music with an originality that goes beyond her gender.

I must admit, I don’t listen to a lot of rap music. I catch the occasional song on Video Hits or Rage, but it’s never really been my thing. In listening to this album, I’ve realised that perhaps my resistant has stemmed from my inability to relate. Rap has always been music that expressed the frustration and anger of the artist at the world around them, but I don’t know the first thing about life in the ghetto or the struggles faced by black men. I’m a white girl from suburban Newcastle after all.

This is what I love most about the songs of Class A. Her problems may not be as large as those faced by black rappers, but they come from a very real place. I’m sure most of us understand the frustrations of office life expressed in “Work” and the feelings of lust aroused by the delivery boy in “Milkman.” The songs aren’t life-changing epics, but they’re genuine and quirky, and that makes them incredibly appealing.

As a rap newcomer, I also appreciated the ease with which Class A blended genres. The soulful vocals of Rachael Berry brought another dimension to “Break It Down” and I loved the big band elements of “You Drive.”

Australian rap has had a hard time carving out its own identity, but with acts like Class A I think the scene is getting there. She just does what she does; it doesn’t feel affected and there’s not a hint of cultural cringe. The novelty factor of a female rapper may draw you in, but her songs are of such quality that I think you’ll be pleasantly surprised.