Category: Reviews

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.

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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

Posted on by Lauren Katulka

“Into the Gallery” – Amanda Merdzan

There’s nothing like that feeling you get when you fall in love with a new musician. You want to shout it from the rooftops and share with the world the way this performer makes you feel. I’m lucky; I have a blog for that. So here it is folks: I am utterly enamoured with the music of Amanda Merdzan.

Now before you ask me who let me fill you in. Amanda is a singer-songwriter living just outside Perth, and she’s just released Into the Gallery, an album which is blowing my mind. On it Amanda sings, plays guitar, keyboards, percussion, and even glockenspiel. And oh yes, she touches your heart.

Her acoustic, organic folk songs are some of the best I’ve heard all year. She paints pictures so vivid that you feel you know the characters inside the songs: the lost love, the potential mother-in-law hoping you’ll stay with her son, Esther and her loving husband. She sings with such conviction and truth that you feel the songs in your gut. I shed a tear on listening to the closing track “The Last Song,” a tale of moving on after a breakup, and thought how rare and beautiful it was to be so stirred by music.

I feel so privileged and thrilled to know about Amanda Merdzan and her music, and I hope it’s only a matter of time before the rest of Australia catches up. She deserves every success, because she’s honestly incredible. Here is the video for one of the album tracks “Undress This State,” so you can see for yourself!

Posted on by Lauren Katulka

“Skin” – Useless Children

I pride myself on listening to music of all genres, but I must admit I felt a little out of my depth when I put Useless Children’s new EP Skin into my stereo. It exploded out of my speakers with what initially seemed like a whole lot of noise. I wondered what I’d say about this music that was so heavy, and honestly unfamiliar to me. But as I sat and listened, it all became clearer.

Useless Children were born to the Melbourne punk scene in early 2008. We’re talking about the real punk scene here, not the one commercialised by Top 40 radio. That rebellious energy of their early days is still apparent today, but it’s apparently become darker. Having listened to the EP, I don’t doubt that one bit. It’s aggressive, and a bit confronting, but also invigorating in its frenetic pace.

As I listened I began to appreciate these elements, and the incredible vocals of lead singer and drummer Cinta. How inspiring to see a woman kicking some major arse in such a male dominated genre. I began to hear the melodies that I’d missed at first. I also began to appreciate those moments when such an EP might seem like just the right kind of music, the times when the middle of the road, mellow tunes I typically listen to just wouldn’t do.

Skin is an EP which grabs you by the throat and doesn’t let go until it’s done. In just three tracks, it makes its mark and leaves you a bit breathless. If Useless Children can do all that on a recording, I can only imagine how impressive their live show is. If you love your music turned up to 11, make sure you check the band out at the following shows.

4 September 2010 – Blackwire Records, Sydney (All Ages)
10 September 2010 – Burst City, Brisbane (All Ages)
17 September 2010 – Bar Open, Melbourne (18+)
19 September 2010 – The Nash, Geelong (18+)
24 September 2010 – The Metro, Adelaide (18+)

Posted on by Lauren Katulka

The Verses “Seasons” Album Launch @ The Vanguard, Newtown – 12 August, 2010

Last night I found myself rubbing shoulders with other media folks and record industry types at the launch for Seasons, the new album from The Verses. The throng at The Vanguard was buzzing before the band took the stage, and I don’t think it was all about those themed cocktails.

Never one for crowds, my husband and I retreated to a quieter spot in the upper level to settle in for the show. It turned out to be a smart move. As the folks downstairs struggled to look over heads, we could sit in relative comfort and enjoy the fantastic entertainment. Ella and Jess Hooper and their very capable band performed just six songs, but those numbers left a big impression.

The Verses is a joint venture for the Hooper siblings, but when they take the stage it’s easy to see who the star is. Jesse is content to fade into the background, quietly strumming his guitar and allowing Ella to shine in the spotlight. And shine she does, with the kind of charisma found in the very best performers. There was a stage full of musicians, but I couldn’t take my eyes off her.

I’d heard a handful of The Verses songs before, but watching them live brought a brand new dimension to these alt country tracks. I also found new songs to love, particularly Ella’s own favourite “Settle Down.” As this stunning ballad concluded my husband lent over to me and whispered that the band could have a number one on the American country charts with that song. Funnily enough, I’d only just been thinking that it could very well be a hit here.

Whether it is, or the album is, we’ll just have to wait and see. This kind of classic meeting of country, folk, and pop influences is a world away from the music of Katy Perry or Lady Gaga. It hearkens back to the days of Fleetwood Mac and The Eagles, a time when the song mattered more than the celebrity. I’m not sure whether Australians will embrace Seasons, but I really hope they will.

Seasons hits music stores around the country today.

Image source: Stephen Katulka

Posted on by Lauren Katulka

Mumford & Sons @ The Enmore, Sydney – 3 August 2010

I’m dragging my feet a bit today. That’s the problem with a midweek gig when you don’t live in the big smoke. Last night I was lured to the city by Mumford & Sons; I’m paying for my lack of sleep today, but goodness it was worth it.

Before I get on to the good bits, I just want to say a few words about the flaws of this mid-week concert experience. Two support acts playing relatively lengthy sets at a mid week gig really seems a bit excessive. While the ticket told us that the show started at 7:30 pm, the main act didn’t grace the stage until 9:45 pm. Sure we were entertained in the meantime, but the crowd was clearly restless before Mumford and Sons arrived. Perhaps they were thinking about being up early for work the next morning. Promoters need to realise that when a band is playing just two headline shows in the country, punters will travel. My sister and a friend came from Newcastle to attend, my husband and I from the Central Coast. I’m sure there were also fans from Wollongong, Canberra, and other far flung corners of the state. Like us, I’ll bet they sympathise with our arrival home at 2 am, my sister’s at 3. I’ll bet we’re all a bit weary today for the experience.

If I were planning the night, I’d have cut Matt Corby. I was really looking forward to his set, having been impressed by his originality on Australian Idol, but I struggled with his performance last night. He showed himself to be an excellent guitar player, with a beautiful voice. But his music also seemed quite aimless at times; filled with wailing and devoid of melodic hooks. His use of looping technology also left me a bit cold; I’ve seen artists like Howie Day use this equipment to dazzling effect and compared to that he was a rank amateur. He might be a good songwriter, but the amount of reverb in the mics left every word unintelligible. To top it all off, he gave the crowd nothing. A few mumbled words at the end of the penultimate song just don’t cut it.

I was more enthusiastic about London based indie posters Fanfarlo. I’d never heard of the band before, but I’ll definitely be exploring more of their stuff after this gig. They reenergized my spirit with their stirring, Celtic influenced modern folk songs and eclectic instruments. Any band featuring a mandolin, glockenspiel, trumpet, and clarinet already has me on side. They didn’t let the hard task of being the second support faze them. They performed with such gusto, and I applaud them for it.

I must admit, my enthusiasm waned a bit as the minutes looking at a bare stage ticked by. But I became revved up again as Mumford & Sons greeted us with the pitch perfect harmonies of “Sigh No More.” The sublime performance brought tears to my sister’s eyes, a sign of the emotion they’d stir in the next hour or so.

I might have been ready for bed once they arrived, but Mumford & Sons were definitely worth that wait. There’s was a rare show; with perfect sound, superb harmonies, spot-on instrumentation, good humor, and one of the most passionate audiences I’ve had the pleasure of being a part of. All of the right elements were there. The album tracks went down a treat, but the new material was received just as enthusiastically. That might be a sign of how good these unknown songs were, but it’s also a credit to the receptive crowd. “Roll Away Your Stone” was rollicking good fun, with a melee of musical friends joining the band on stage for a dance. “Little Lion Man,” which appeared much earlier than I expected, saw the crowd erupt. “The Cave” was bittersweet for me; I knew this was the final song, and while I was having such a good time I wasn’t quite ready for it to be all over.

I left The Enmore in a rush of adrenalin that helped make that long train ride back to the Central Coast a little more bearable. What a wonderful show Mumford & Sons treated us with, but boy am I paying for it now.

Image source: Stephen Katulka