Category: Reviews

Posted on by Lauren Katulka

“Beard of Bees” – Jez Mead

Nursing a post-Eurovision hangover, I needed just the right music to survive my Monday morning. I found it in Beard of Bees, the fantastic fourth album from Jez Mead.

It’s amazing that this guy has been releasing albums for so many years, yet he hasn’t crossed my radar until now. It’s a case of better late than never though. This record is accessible yet rich, just like Jez’s voice. His bluesy rasp brings a depth to the stripped back songs. The raw delivery is perfect for creating an air of honesty and spontaneity; I imagine these songs wouldn’t sound very different if you saw them performed in your local pub. There’s that same electricity that you feel while listening to a live set, that impalpable feeling that anything could happen.

The tunes are an eclectic mix, yet the pieces fit together beautifully. The title track is a rollicking acoustic alt-country number. “Town’s Too Small” feels as if it could have been plucked straight from the Deep South, with its hand-clapping rhythm and swampy feel. As with anything that Julia Stone touches, the duet “Devil” is delicate and gorgeous. The tender closer “Crooked” is blessedly understated and lovely.

Beard of Bees is a lush, complex album that has quite simply cast a spell over me. If like me you’d never heard of Jez Mead, this should be the record to change all that. Beard of Bees will be released on June 25.

Posted on by Lauren Katulka

“Simple Shades of Grey” – Skarlet Blue

The release of Skarlet Blue’s Simple Shades of Grey sees the band’s transformation from Aussie pub act to sophisticated pop rockers complete. After years spent refining their sound, in just five tracks this Melbourne four-piece tells us what they’re all about.

This is a diverse collection of tracks; the first half is light, made up of tunes I can imagine sitting neatly on any Top 40 radio station in the country. The final songs are darker, the songs that give Skarlet Blue the chance to really rock out.

The opening track, “What Went Wrong” is a real stand-out. I love the way it builds from a mellow affair to a heartfelt song of love lost with soaring vocals. “Finally Found You” and “Hiding Pictures” follow, two good fun melodic rock songs with wonderful sing-along choruses. While I enjoyed these tunes, they also made me wonder whether Skarlet Blue where just another middle-of-the-road pop-rock act.

It was a fleeting thought though, one that was banished when the final tunes kicked in. “Standing Alone” and the title track see the band treading much moodier territory. While these songs see the band moving in a less commercial direction, they never forget melody as so many hard rock acts do. That grounding makes these songs instantly accessible, even if they do veer left of centre.

In Simple Shades of Grey, Skarlet Blue have proved that all those years developing their sound have been well spent. They show great promise here, and while the five tracks make a real impact I have a feeling they only start telling this band’s story. I’m looking forward to seeing what Skarlet Blue can do in a long-play format.

Image source: Skarlet Blue MySpace page

Posted on by Lauren Katulka

John Mayer @ Sydney Entertainment Centre, 8 May 2010

These days John Mayer is more famous for making headlines than playing guitar. It’s a sad state of affairs, but one he seems to be taking on the chin these days. On Saturday night he reminded us of the skills that made him famous when he played the Sydney Entertainment Centre.

I considered writing that Orianthi warmed up the stage, but then I realised that didn’t really tell the story of her opening set. There’s no denying this young Aussie’s talent. She’s impressing all the right people with her incredible skills with an axe. But as a front woman, I’m just not sure she cuts it. There was something very rehearsed and polished about her set, almost like rock and roll by numbers. Even her seemingly off the cuff remarks to the audience between songs sounded as if they were read from a script. Walking off stage at the end of her final number, without even giving the crowd a backwards glance, was the straw the broke the camel’s back for me. It might have been a rock and roll move, but she’s just not big enough to pull such a stunt.

In contrast, John Mayer was warm and gracious as he took to the stage. He gave us a set with equal measures of hits and new material from his Battle Studies album. Both modes of songs seemed to go down a treat; this was an audience of fans who own everything that man does and lap it up accordingly. This showed when John pulled out “In Your Atmosphere” a live favourite that has never made an appearance on a studio album. You wouldn’t have known it though as the crowd sang along enthusiastically to every word.

After seeing Spandau Ballet play the same venue weeks ago, it struck me that this was a very low-key performance. There were no big screens, no costume changes save him taking off his shirt, and no light-show trickery. But that’s exactly what I loved; without all the distractions we focused on the heart of the music. Just as he was at last year’s showcase, John seemed so appreciative of this, thanking us repeatedly for making him feel so at home.

I’m thrilled John Mayer feels so comfortable playing for us in Sydney, as it means we can look forward to many nights of live music just like this. And as anyone who was there can attest, this is a very good thing.

Image source: Lauren Katulka

Posted on by Lauren Katulka

“Everywhere is Home” – Paul Greene

Making my way to Mother’s Day lunch yesterday was the ideal occasion to discover Paul Greene’s new album, Everywhere is Home. The album title hints at it, but this really is the perfect travel CD with its gentle grooves and mellow acoustic melodies.

The opener, “Ease Up,” tells us what we’re in for, reminding us that the journey is often just as important as the destination so we should all ease up and enjoy the ride. That gentle touch is prevalent throughout Paul’s music; he’s not the kind of artist that grabs you and shakes you. He sneaks up on you, charming you slowly. I enjoyed this album on its first spin, but now on my fourth or fifth time around I’m in love.

“Everybody Got a Little Love” is a standout, with its classic blues groove. I could imagine “You Should Know” appearing on a Donovan album; there’s something deliciously retro about its slightly psychedelic folk feel. The closer, “Stay On,” sees Paul completely stripped back and stunning.

Everywhere is Home sits nicely between my Josh Pyke and Ray Lamontagne albums. If you’re a fan of these artists, you’re going to eat Paul Greene’s latest disc it up. This is an album that gets to the heart of music, without bells and whistles and pretension.

Image source: Paul Greene website

Posted on by Lauren Katulka

“We’re Not Alone” – Chemical Transport

Chemical Transport have burst onto the music scene with their debut EP We’re Not Alone. This is the kind of recording that grabs you instantly with its big hooks and energy. It’s not too different from the kind of pop-punk we’ve seen from so many American acts in recent years, but that’s not a bad thing.

While the first few songs didn’t strike me as incredibly innovative, they were very slick and immensely likable. It’s not the kind of music I usually warm to, yet I found myself tapping my feet to those infectious beats.

Perhaps I’m being a little too harsh on the lads, but their anti-scenesters tag made me expect something which turned music on its head. This EP isn’t it, but it does hint that the band has the potential to create something which does push the envelope. After the upbeat sounds of opening tracks “Alluropoda” and “We’re Not Alone,” the earnest love song “The Hardest Goodbye” took me by surprise. It was exciting to see another side of the band revealed, and it’s one I hope they explore more in future releases. The atmospheric instrumental closer “Melanoleuca” was another bolt from the blue. It’s not the kind of thing I expected to hear on this EP, and that’s exactly why I like it.

On We’re Not Alone, Chemical Transport hint at the exciting sounds they’re capable of. They’re not wowing me yet, but this disc suggests that given time they could.

Image source: Chemical Transport MySpace

Posted on by Lauren Katulka

Tears for Fears and Spandau Ballet @ Sydney Entertainment Centre, 23 April 2010

On Friday night I stepped back to the 80s for the Tears for Fears/Spandau Ballet show at Sydney’s Entertainment Centre. Thankfully despite the years that had passed since these monster acts last graced our shores, nothing much has changed. From the enthusiastic crowd reactions to the high quality of the bands, it was as if we’d all never left the decade that fashion forgot.

Jack Jones opened the show with a low-key, yet utterly compelling set. It’s no secret that I love acoustic music, and hearing the songs he made famous with Southern Sons in this raw way was just beautiful. With his long scraggy mo and similarly unkempt hair Jack is a far cry from the man I swooned over all those years ago, but his voice has lost nothing over the years. It’s still as pure and strong as it ever was, and hits like “Hold Me In Your Arms” and “You Were There” really showed off his pipes. It’s a shame there were so many empty seats. 7 pm is an early start time for a weekday show, but I have a feeling the people who missed him might kick themselves.

Tears for Fears followed Jack with an energetic, hit-packed set. Within the first four songs we’d already heard “Mad World,” “Everybody Wants to Rule the World,” and “Sowing The Seeds of Love,” so I was beginning to wonder what else was left! But they played much longer, and while I wasn’t as familiar with most of the latter half of the set it was all brilliant stuff. Their modern take on “Woman in Chains,” complete with a freakishly feminine sounding male back-up singer in Oleta Adams’ place, was particularly incredible, as was the big closer, “Shout.” I wasn’t a massive Tears for Fears fan in the 80s, but these guys have converted me. The voices of Roland Orzabel and Curt Smith have lost nothing over the years, and they’re performing with as much energy and musical prowess as I’d expect from performers many years their junior.

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Posted on by Lauren Katulka

“Calling All Magicians” – Danielle Spencer

When Danielle Spencer’s latest album Calling All Magicians arrived in my letterbox I could scarcely wait to put it in my stereo. Her 2001 debut White Monkey wasn’t just one of my favourite albums of that year; it remains one of my favourite albums of all time. But, I also felt a little trepidation. That album was conceived a long time ago, a time before her marriage to actor Russell Crowe and the birth of their two children. Could she create an album that moved me in the same way now that her life has entered a much calmer phase?

Happily, and perhaps surprisingly, I found that the answer was yes. While other strong female artists like Tori Amos, Melissa Etheridge, and Alanis Morisette have mellowed since their awe-inspiring debuts, Danielle is still an artist who enjoys the darkness.

While mentioning Tori Amos it’s impossible not to draw comparisons between the two musicians. Just like Tori, Danielle’s music is characterised by her ethereal voice and pounding piano. Yet Danielle is no imitator. Her lyrics tell her own stories, and their allusions to magic and fairytales are compellingly whimsical. Those allusions give Calling All Magicians a wonderfully familiar feel to anyone who enjoyed her first release. The track “Back at the Red Door” even acts as a sequel of sorts to the White Monkey song “Cartoon.”

Danielle doesn’t dwell in the shadows altogether though. “On Your Side” has a playful jaunt to it, and there’s a calm beauty about the closer “End of Story.” We get the impression that for all the darkness, Danielle is in a pretty good place.

Calling All Magicians is a lush and evocative collection of songs, an album that’s one of the best I’ve heard this year. It won’t be everyone’s cup of tea, but if you loved Danielle’s debut I can guarantee you’re going to adore it. And if you’ve never experienced her music, I encourage you give it a spin.

Image source: Chaos

Posted on by Lauren Katulka

“Thirteen O’Clock” – The Lucky Wonders

A couple of weeks ago I was wowed by “So You’ve Never” by The Little Wonders. Now that I’ve got the band’s debut album Thirteen O’Clock in my hand I’m thrilled to hear the song was no flash in the pan.

This is a stunning album which takes music back to its roots. In a world of over-processed synthesised sounds the simplicity of The Lucky Wonders music really stands out. It’s simple, but effective, rooted in beautiful harmonies and acoustic orchestration.

I love that this disc feels uniquely Australian. We can hear the accents of vocalists Emma Royle and Jessie Vintila coming through, and even if you’ve never seen the Nullabor you’re taken there in the track of the same name.

The delicate opener “Home” is another standout, while “Emotional” provides one of the most poignant moments on the disc. The stripped back closer “Rather Be Lovin You” is rollicking good fun.

I can imagine much of Thirteen O’Clock being played around a campfire. It’s just so intimate and organic, with songs you know would sound just as perfect in the live arena as they do on the disc. It’s amazing to think this album is only the start of The Lucky Wonders’ story. With such maturity in their first release, this Byron Bay band definitely has a big future ahead.

Thirteen O’Clock is available in good music stores now. You can catch the band on their album launch tour at the following shows.

14 April 2010 – The Oxford Tavern, Wollongong
16 April 2010 – Club Sapphire, Merimbula
17 April 2010 – Milton Theatre, Milton
18 April 2010 – Front Bar, Canberra
19 April 2010 – The Phoenix, Canberra
23 April 2010 – The Wesley Anne, Melbourne
25 April 2010 – Bendigo Hotel, Melbourne
29 April 2010 – The Republic Bar, Hobart
30 April 2010 – The Royal Oak, Launceston
1 May 2010 – Stage Door, Bernie
8 May 2010 – The Gov Front Bar, Adelaide
14 May 2010 – UWA, Perth
16 May 2010 – Mojos, Fremantle
20 May 2010 – Quindanning Inn, Quindanning
21 May 2010 – Dunsborough Tavern, Dunsborough
22 May 2010 – Settlers Tavern, Margaret River
23 May 2010 – Denmark Tavern, Denmark
28 May 2010 – Camel Bar, Geraldton
29 May 2010 – Clancy’s, Fremantle
30 May 2010 – The Paddo, Perth
4 June 2010 – Gascoyne Hotel, Carnarvon
5 June 2010 – Monkey Bar, Monkey Mia
10 June 2010 – Coral Bay Hotel, Coral Bay
11 June 2010 – Whalers Bar, Exmouth
16, 18 & 19 June 2010 – Divers Tavern, Broome
20 June 2010 – Matsos Brewery, Broome
23 June 2010 – Station Township, Kununurra
25 June 2010 – Ski Club, Darwin
26 June 2010 – The Happy Yess, Darwin
27 June 2010 – Mindil Markets, Darwin
2 July 2010 – Firkin and Hound, Alice Springs
3 July 2010 – Outback Pioneer, Ayers Rock Resort
4 July 2010 – Residents Club, Ayers Rock Resort

Image used with permission from Heapsaflash

Posted on by Lauren Katulka

The Swell Season @ Opera House, Sydney – 5 April 2010

After catching The Swell Season’s incredible set at the Opera House last year, I was keen for a second helping. They’ve added a few songs to the set since then, but really nothing much has changed.

Byron Bay Bluesfest 2010 - Day 2

We were warmed up by Leroy Lee, a promising singer-songwriter who seemed very much in awe of his surroundings. He told us he’d played to larger crowds in the last three shows than he had in three years, and those nerves showed a little. But the songs ranged from quietly pleasant to amazing. There are so many singer-songwriters delivering folk music on an acoustic guitar, but his plucky female double bassist brought something new. I’m not sure I’d catch Leroy’s set again, particularly as it put my husband to sleep, but I really liked what I heard.

While the crowd listened attentively to Leroy Lee, it erupted for The Swell Season. Glen Hansard, Marketa Irglova, and The Frames are a very special act indeed. While they won the Academy Award for best song from a movie a few years back, they’re not the darlings of commercial radio or the indie press. To love them is to be in on a little secret, to be part of a club brought together for listening to music as it should be played.

The set drew heavily from the soundtrack of that movie, Once, and their latest album Strict Joy. As a collective the music swelled, as it were, a rich tapestry of acoustic guitar, piano, electric mandolin, fiddle, and more. While the sound wasn’t as lush when the band members took to the stage individually it was often more compelling. Glen Hansard attacked the guitar, his voice ravaged with emotion as he sang two of my personal favorites, “Say It To Me Now” and “Leave.” Marketa Irglova’s introspective version of “I Don’t Know How to Love Him” almost brought me undone. This was music that really meant something.

Not that the band doesn’t know how to have fun. Even Czech Marketa seems to have inherited the Irish cheek of her bandmates. She shared the way the boys in her home country hit girls with sticks around the leg as a strange Easter custom, while Glen told us of the time he bought a funeral plot as a grand gesture for a teenage love interest. The quirky tales and wide smiles helped to balance the music that oft times is so raw it’s unbearable.

Another special moment came when the band brought part Aboriginal, part Cherokee singer LJ Hill to the stage. They’d stumbled across his set during Bluesfest and awestruck by his soulful music, urged him to join them for a song. Hearing his very distinctly Australian lyrics juxtaposed with The Swell Season’s lush instrumentation was something I won’t forget.

This was a concert experience as it should be, a coming together of audience and band to create something organic and beautiful. In true Irish tradition, the band left us with the time honoured folk tune “Parting Glass,” encouraging us to sing the refrain “Good night and joy be with you all.” To The Swell Season we raised our proverbial glass, bidding them farewell until they make their return.

Posted on by Lauren Katulka

James Taylor & Carole King @ Hope Estate, Hunter Valley – 3 April 2010

There are certain concerts you know will be great before you even take your seats. The pairing of Carole King and James Taylor, two of the greatest singer-songwriters in musical history, could never deliver anything but sublime entertainment. My expectations were high, but these two very special musicians didn’t disappoint.

Lior warmed up the crowd with his mellow acoustic folk-pop. He was a great match for the largely middle-aged crowd. I educated the older folks in my party about this “young whippersnapper” as we sipped verdehlo and enjoyed his cruisy tunes. I was already a fan, and I have a feeling he may have found some new ones after his subdued set.

But Carole and James were the main attraction. We clapped rapturously as the pair walked out on stage, arm in arm. The chemistry between these two performers is obvious. Their shared history meant they could easily play on one another’s songs for the shows entirety. We were treated to alternate songs from their back catalogue, hit after hit after hit. After so many decades in the business it’s clear that some songs couldn’t make the set list, but I wasn’t left wanting for anything after almost three hours of music.
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