Category: Reviews

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

Posted on by Lauren Katulka

“Declaration of Independence” – The Earth Republic

This morning I’ve been listening to Declaration of Independence, the solid debut EP from Sydney rockers The Earth Republic.

It’s a fitting name for the EP, which the band wrote and co-produced. This real independence allows the band to play around with their sound to deliver something that is eclectic, yet instantly accessible.

The opening track “Breaking It Again” is emotive and deeply powerful, if a little mournful after a couple of spins. I enjoyed it, but was thrilled to see the band switch gears for “Stop.” This song has one of the best bass lines I’ve ever heard, and that infectious groove makes this track one of the EP’s stand-outs for me. I also love “Vain,” a delightfully schitzophrenic song that swings wildly between rip-snorting riffs and more relaxed, jaunty rhythms. The closing track “Ready to Go,” really kicks along; I instantly thought it might be what Golden Earring would do if they were to write a sequel to “Radar Love.” Even if it is a bit derivative, it’s bags of fun.

The Earth Republic have generously posted all of the EP’s tracks online so you can hear them for yourself. Personally I’m impressed. The band hints at something really special here, and I have a feeling it’d be fully realised in the live arena. When a record makes you want to get out there and see the band on the stage, I think it’s done its job.

Image source: The Earth Republic website

Posted on by Lauren Katulka

“Mushu” – Mushu

The self-titled EP from Sydney band Mushu crossed my desk earlier this week, and it’s taken up permanent residence in my stereo. In just six tracks this exciting act has made a big impression on me.

It all starts with the attention grabbing “Neap Tide,” a powerful track which juxtaposes gorgeous sweet harmonies with wailing guitars. It’s an interesting juxtaposition, but one that manages to work.

Mushu are no strangers to this kind of unlikely pairing. Lead singer Simone’s vocals are warm and lush, with a gentle emotional rasp. Her voice struck a real personal chord with me; it’s got a quiet feminine strength about it. It gets even stronger when paired with Mushu’s big sounds, those insistent guitars on “Neap Tide,” the pounding piano and driving strings of “Don’t Forget Me.”

The first half of the EP shocks your senses, while the second settles into a gentler groove. The music is more subtle here, although you’d never accuse it of fading into the background. “Paper Aeroplane” was a standout for me, with its gorgeous lyrics and compelling raw emotion. I was also shocked by the stunning crescendo the band builds in “Carousel Heart.”

In this EP Mushu have proven to be a band that’s impossible to ignore. In a sea of beige musical acts, that is a very good thing.

Mushu’s self-titled EP is available through iTunes.

Posted on by Lauren Katulka

“Take From the Rich” – Haba Dudes

When Take From the Rich, the fourth studio album from Haba Dudes, landed on my desk I knew it’d be my type of album. The back of the sleeve shows the band proudly holding their interesting array of instruments: the cello, violin, and a mountain of different drums amongst them. That sleeve is also made of 100% eco-friendly recyclable materials. A green band that embraces instruments beyond your standard guitars and keys? I was in.

Take From the Rich thankfully lived up to my already lofty expectations. It’s one of those discs that slips around you easily, drawing you in with its relaxed, natural notes. Nothing here feels forced. With three albums already under their belt, the players know their instruments and what they’ve got to do. Together they create a lush, organic sound that is impossible to resist.

The songs are an eclectic mix. When I saw Haba Dudes standing on the back of the cover, surrounded by their instruments and suitcases I felt like they might be a band of gypsies. Tunes like the title track “Take From the Rich” and “Understand You” have that quirky, playful travelling band feel. But that’s just part of the Haba Dudes story. Other songs like “Paint That Hole in Your Heart” and “Early Morning” wouldn’t feel out of place on a Josh Pyke album; there’s a similar easy, acoustic folk feel about them. “Story of Cake” is another standout which is every bit as comforting and delicious as its name suggests. The album’s made all the more impressive when you realise that the disc was recorded, mixed, and produced independently in lead singer Mark Boulle’s home.

One of the album’s later tracks “The Nice Lament” seems to sum up the Haba Dudes. The song reminds us that they play for love, not for commercial airplay, fame, or fortune. They’re not a band who will be delivered to you via the ARIA Charts or Video Hits. You’ll need to seek them out. But you’ll be very glad you did.

Take From the Rich will be officially launched at The Loft at Chevron Island, Queensland on July 31. It’s available now from CD Baby.

Posted on by Lauren Katulka

Rick Price @ Lizotte’s, Newcastle – 10 July 2010

As winter weather sets in, it gets to be a bit quiet on the gig front. What better way to ease myself back into the live music scene than a night out at Lizotte’s. I’ve made no secret of my love of this live music experience. Whether at the Central Coast or Newcastle venues, you can always count on delicious food, warm, friendly service, and of course, excellent music.

My Saturday kicked off with Matt Zarb, a singer-songwriter with magical guitar fingers. I had mixed feelings about his set though. While he was a wiz on the acoustic guitar and mandolin, his songwriting felt a little basic and his vocals couldn’t match his musical prowess. His music too was very derivative, with songs virtually imitating “Amazing Grace” and Mark Knopfler’s “Going Home.” There’s nothing wrong with being a cover artist, but if you are you should probably be honest about it rather than pretending to be delivering original material. He had such an infectious personality though; I sat captivated as he recounted stories of the romance between his grandparents and his time abroad. It’s also impossible not to be impressed by a man with a harmonica slung around his neck and a tambourine strapped to his foot.

But the main attraction was Rick Price, making his return to Lizotte’s after time spent in the US of A. It’s always a shame to lose local talent to the bright lights of the States, but it seems the time away has done Rick some good. He always sounds amazing, but there was a little something extra in his performance this time. He shared more of himself that he typically does; the stories I’ve heard accompanying particular tracks were expanded upon. He seemed genuinely thankful to be home, and to be in front of such an appreciative audience.

Rick was spruiking his new acoustic greatest hits album Revisited, but he still found time to treat us to a handful of new songs. These were well received, especially the sexy “It Started With a Kiss.” He might be a grandfather now, but that man still has the power to make the girls in the audience swoon!

Revisited is an album that’s been too long in the making. In the past few years I can’t recall ever seeing Rick without his acoustic guitar in hand. That gentle treatment breathes new energy into the songs that are more than a decade old, and makes us appreciate the raw emotion behind them.

When I fell for Rick as a 13-year-old I was wowed by his long flowing hair and sweet love songs. Years later he’s proved himself to be much more than a pretty boy; he’s grown into one of the greatest singer-songwriters in this country. If you’ve never seen him live, or you’re keen for another fix, you can catch him at the following shows.


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Image source: Stephen Katulka

Posted on by Lauren Katulka

“Songs from the 86 Tram” – The Bedroom Philosopher

The concept album appears to be a dying art these days, but no one told The Bedroom Philosopher. With his third studio album Songs from the 86 Tram, the man otherwise known as Justin Heazelwood has created a vivid cast of commuters.

Each song is told from the point of view of a particular character, and The Bedroom Philosopher creates these personalities beautifully. Each is incredibly realised, with a unique voice and outlook. I was particularly fond of the nan of “In My Day,” and the self-important suit of “New Media.” “Sudanese” is another stand-out, a clever satire of multicultural Australia.

While these characters are Songs from the 86 Tram greatest strength, they’re also its biggest weakness. I found it quite difficult to understand the voices of many of the figures; they speak too softly, or too quickly, or with accents that I can’t quite grab onto. The music too tends to overwhelm the lyrics at times, making it difficult to pick up each and every word. There were other instances where I felt I was simply out of the loop. Perhaps it comes from living my life in suburban New South Wales, as a friend from Melbourne insists this album is one of the greatest he’s encountered. However I found that Victorian-centric approach difficult to embrace. Comedy is all about the message, and when you can’t communicate it – whether the message isn’t heard or simply not understood – that humour is lost.

Having said that, there’s a lot to like about The Bedroom Philosopher and his Songs from the 86 Tram. Musically it’s incredibly strong, and there are some genuinely funny moments. This is a very clever disc, but it might not be as clever as it thinks it is.

Posted on by Lauren Katulka

“Mousetrap Heart” – Thirsty Merc

When Thirsty Merc burst onto the scene in 2003, I thought they were one of the most original local acts I’d heard in some time. But when they followed up their debut EP and self titled LP with a lackluster sophomore effort, Slideshows, I began to wonder whether we’d already seen their best.

It’s been three years since the release of Slideshows, and as I listened to their newie Mousetrap Heart today it seems the time away from the spotlight was a smart decision.

From the opening title track, this disc feels like the fresh Thirsty Merc of old. It’s got deep grooves and the quirky lyrics that endeared them to me all those years ago. This first single is a standout, but thankfully it’s not the only one. “Tommy and Krista” is a classic story song, with beautifully painted characters and a smile-inducing melody. “Bettie Page,” a nod to the vintage pinup model sees the boys rock out. It’s a welcome change of pace in this album of radio-friendly pop rock.

As any Thirsty Merc fan knows, the accessible nature of their music isn’t a criticism. Here Thirsty Merc have built on the promise they showed all those years ago; that originality is still there but it’s been given a bit of spit and polish by Los Angeles-based producer Matt Wallace. It’s not surprising to know he worked on Maroon 5’s Songs About Jane, as many of these songs would have sat nicely on that recording. There are a few missteps; “All My Life” is musically brilliant but contains lyrics so generic it’s hard to believe Thirsty Merc penned them, and the final two tracks seem sleepy and aimless. But no album is perfect. Thankfully though, with Mousetrap Heart, Thirsty Merc has come awfully close.

Mousetrap Heart hits all Aussie music stores today.

Image source: Thirsty Merc website