Category: Reviews

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

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