Category: Reviews

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.

Posted on by Lauren Katulka

Congratulations “Levolution” CD Winners

Congratulations to Renee Hermansen and Stephen Fairbank. They’re the lucky winners of a copy of Juke Kartel’s new album Levolution. Keep an eye on your mail box guys, because the CDs will be heading your way really soon.

I’ve been listening to my copy this morning, and it’s really good stuff which takes me back to the golden age of rock. You know what I mean; the kind of music that makes you want to put your lighters in the air and pound your fists in time with the beat.

I was initially concerned that the disc may sound a bit pieced together, with tracks from previous album Nowhere Left to Hide sitting alongside newer material. Instead it just allows Juke Kartel to showcase their very best material, making it a great introduction for anyone that wasn’t familiar with their music.

I must admit, I only knew bits and pieces myself. When “Save Me” started though I cranked it up, remembering how much it revved me a few years ago. How wonderful to hear it still sounding fresh after all this time.

A lot of Levolution kicks along at a rocking pace. Juke Kartel are very good at these kinds of songs; they give them just enough attitude and aggression without every sacrificing the melodies. But for me the standouts were the quieter moments, “If Only” and “Soul Shaper.” They remind us of a different side of the band, and give the disc the right amount of light and shade. We all know this band can rock, but these tracks prove that there’s so much more to them.

Supernova definitely missed out when they passed on Toby Rand, but something tells me he’s having the last laugh. At the helm of his own original rock act, he’s proving himself to be a real star.

Posted on by Lauren Katulka

“The Murders” – Davey Spicer and the Creatures of Habit

Brisbane band Davey Spicer and the Creatures of Habit deliver groovy organic music with edge with their debut album The Murders.

It’s an ominous sounding title, and one which is perhaps eerier than the album warrants. However, these tunes are a lot darker than your average roots music from Byron Bay. These musicians are no hippies.

The album starts with “Waste of Beautiful,” a groovy tune with biting lyrics. It’s followed up with “Sinner/Saint,” with is so hooky and summery that you almost forget about the sharp words behind it.

Things take a turn for the eerie with “Bad Dream.” It opens to the sound of a sharpening knife, an effective tool for creating that sense of foreboding. Again, the instrumentation is so jaunty that unless you’re listening to the lyrics you might miss the darkness. But it’s there, deliberately underpinning that lightness.

From here the album gets a bit darker and more rock focused until “Love is Insane” brings it back to a less brooding place. The song is playful, despite its harsh truth.

I listened to The Murders a few times on a few different days before it really stuck with me, but when I got it I really got it. This album is full of melodic hooks yet deliciously dark, a wonderful anecdote to so much of the sleepy music around.

Posted on by Lauren Katulka

Funk N Grooves @ Pokolbin, 11 September 2010

On Saturday I made a pilgrimage to the Hunter Valley to attend my third Funk N Grooves Festival. It’s a festival that’s been in a state of flux since I first attended, an event which seems like it’s ever changing in attempts to find its feet. And at its new home next to Tyrell’s Winery, I think it’s getting there.

The new venue gave us all plenty of space to spread out with our picnic lunches and fold-up chairs. It also made it much easier to get a drink. You might remember my complaints last year about the incredible queues, but this time around the organisers got it right. With separate lines for wine and beer/spirits, no one was really left waiting too long. The drink was flowing, but the limits on what we could buy and the ever watchful security staff ensured no one got too obnoxious.

The food too was a marked improvement on last year. I devoured my cumin dusted calamari and the gorgeous chunky chips with rosemary salt. If only all festival food could be this good!

But these kinds of shows are all about the music, and this year the event delivered more than ever before. Bands played on two stages for a good nine hours, several hours longer than in previous years. The kind of music the event hosts is also evolving, perhaps with the involvement of new sponsor Triple J. While earlier festivals focused on blues and roots, now we see more rock and hip hop. I suppose this is what the kids want; there were definitely plenty of enthusiastic fans down by the stage, but I preferred the artists we were served in years gone by.

That’s not to say there wasn’t some brilliant music. I couldn’t wait to see Washington, and she didn’t disappoint. The crowd was attentive when she sang her most poignant of ballads, and rapturous when she treated us with a playful cover of The Divinyls “I Touch Myself.” The singles “Rich Kids” and “Sunday Best” also went down a treat.

Continue reading “Funk N Grooves @ Pokolbin, 11 September 2010” →

Posted on by Lauren Katulka

John Butler Trio @ Newcastle Entertainment Centre – 7 September 2010

Yesterday was a day for real thought as Julia Gillard was officially announced as the prime minister of our first minority government in 70 years. I’m still not entirely sure of the ramifications of that, but I’m interested to see how it pans out. It seemed fitting that such a pivotal day should coincide with me making a trek to the Newcastle Entertainment Centre to catch two of the country’s most political acts, Blue King Brown and John Butler Trio.

All too often it seems that the support act is an afterthought, a new band that needs exposure or musos that are mates with the main act. Rarely do the artists fit together to create an evening that sends such a strong message. Both Blue King Brown and John Butler Trio create music with meaning. And the Newcastle crowd lapped it up.

Blue King Brown were first, led by the mesmerizing Natalie Pa’apa’a. I caught the band a few years ago when they supported Santana, and they’ve come a long way since that time. Long time fans may have been thrilled to hear old favourites, but the new material from their latest album Worldwize: North & South got me going. There seemed to be more emphasis on melody, more focus in the message and the crafting of the songs. Thankfully the set was made up of songs both old and new, which gave us all something to enjoy. While support acts too often suffer from chattering crowds keen for the main act to start, Blue King Brown seemed to captivate the audience. They listened intently to these songs and gave the band the respect they really do deserve.

While Blue King Brown impressed me, I was wowed by the John Butler Trio. I’d never seen the band before, so I was struck by John Butler’s incredible musical skills. The live arena is where they really come alive, and the key to that is the main man himself. It’s where John can play an epic, intricate instrumental guitar piece to a transfixed audience, and switch easily between electric and acoustic guitar, lap steel guitar, banjo, and even drums. His technical talent is incredible, and his energy on stage electric.

That energy is what makes these powerful songs work. Rather than appearing preachy, the potent messages contained in the tunes take us back to the musical revolution of the late 1960s. Hearing John Butler speak about the proposed development of the Kimberley region gave “Revolution” extra power. The band’s gentle acoustic cover of Kev Carmody’s “Thou Shalt Not Steal” was one of the show’s most poignant moments.

But this isn’t the late 1960s, and bands that really have something to say are becoming rarer and rarer. Music has always been a great catalyst for change. As I watched the crowds clap their hands in unison in response to this band that has so much to say, I began to feel hope that real change is possible. And what a powerful thing that is.

Image source: Stephen Katulka

Posted on by Lauren Katulka

“Behind Closed Doors” – Walking with Mirrors

It’s impossible to dislike Sydney outfit Walking with Mirrors. With their debut EP Behind Closed Doors they deliver five tracks that easily find their way under your skin. They’re not so revolutionary on the surface, but there’s just something about them.

We’ve all heard this kind of melodic rock before, with its big chords and sing-along choruses. But the conviction behind these songs elevates them above the pack. Lead singer Ryan Burke is a big part of the key to this band’s success. He gives the songs their heart, the gut-wrenching emotion that makes you believe the lyrics, no matter how clichéd some of them might be. I also give props to lead guitarist Jackson Holt, whose blistering hand speed kick so many of the tunes up a notch.

Not that everything hits the mark. While the title track “Behind Closed Doors” is undeniably catchy, when Ryan sings about the pressures of cameras in your face it doesn’t ring true. Perhaps the band simply ascribes to the “fake it until you make it” theory, but it sounds a bit insincere on a debut EP.

But Walking with Mirrors have a great energy, and a natural music sensibility. They rock hard, but they never forget about taking the audience along for the ride. The five tracks are a little samey, but they also appear to have come from a place of real heartache. There’s a lot to like here, and that helps Behind Closed Doors overcome any shortcomings.

Image source: Walking with Mirrors MySpace page

Posted on by Lauren Katulka

“Anicca” – Greenthief

With a healthy dose of angst and experimentation comes Anicca, the new six-track EP from Greenthief.

Six tracks is ambitious for an EP, but Greenthief are a pretty ambitious band. They love to pair driving guitars and pounding drums with delicate piano and ethereal vocals. They’ve stuck a tune called “Prelude” in the middle of the disc. And you just never know where any song is going to end up.

That was perhaps the most confusing part of this CD for me. I felt I was being taken in one direction, and enjoying it, before the band sent the song to another place. At its worst this kind of treatment lacks focus, and at its best it’s groundbreaking. I admit that I’m still trying to decide.

There’s a lot to like here, especially the opening track “Plea for Sanctuary” with its crunchy guitar chords and hooky chorus, and the epic closer “Grain of Sand.” These tunes hint at the potential of this band. If this is what Greenthief are capable of, I want to hear more of it. They seem to be still experimenting with their sound now and finding their own identity away from their many influences, but this EP hints at real greatness.

Image source: iTunes