Category: Reviews

Posted on by Lauren Katulka

"Gifts of Grace" – Grace Bawden

It’s rare that a classical crossover album hits my stereo, but with Gifts of Grace, Australian teen Grace Bawden may have converted me.

This is an uplifting disc, one that’s accessible to modern audiences despite its classical undercurrent. It achieves this thanks to its excellent choice of songs. The traditional songs are represented of course. Her version of “Flower Duet” is particularly lovely, and “Amazing Grace” is stunning too. But by keeping those tracks to a minimum, the album breaks through to an audience who may have rejected something with a classical tag.

The same could be said of “Dear God.” Religious tunes are sometimes a bit difficult for secular listeners, but by giving this an album dance-pop treatment it becomes contemporary and youthful.

Grace has an angelic voice, but it’s the maturity she brings that really excites me. I was a little nervous about her tackling a song as profound as “Streets of Philadelphia,” but her treatment is surprisingly effective. Her cover of The Beatles “Long and Winding Road” is also stunning. She may not have lived the struggles of the songs she sings, but she makes us believe she has. Another highlight is “Cold Outside,” an incredible collaboration with South Africa’s Soweto Gospel Choir. To hear their soulful voices combine with Grace’s pure one is amazing.

That’s not to say that every song works. Her version of “People” pales in comparison to Barbra Streisand’s. Few people can ever measure up to this legend, but Grace lacks the conviction and gumption to come close. I was also a little disappointed by the album’s first single, her take on Icehouse’s “Man of Colours.” Perhaps it’s the falsetto, which while amazing seems to undermine the emotional grit of the tune.

But you can’t win them all, and there’s enough here to really impress me. If this is what Grace can produce at 16, I can’t wait to see what she creates in the coming years.

Gifts of Grace is in stores on September 18.

Image used with permission from AAA Entertainment

Posted on by Lauren Katulka

Ben Folds @ Opera House, Sydney – 31 August 2009

Last night I caught Ben Folds at the first of his three shows at the Sydney Opera House. It’s a strange thing to see this indie rock god perform at this opulent venue, but those contradictions are what make it so appealing.

The night kicked off with Oh Mercy, which was what I pleading for before too long. It’s not that they were bad per se, but they did bore me. My husband described them as diet polystyrene, and he wasn’t far off. The girls sitting near us said they couldn’t disagree more, but for me there was no passion and no hook. I couldn’t find anything to latch onto; both performance and tunes were bland from where we sat.

Oh Mercy could learn a lot from Ben Folds. He’s one man who will never be described as boring. He might spend most of the night sitting behind a piano, but he’s more compelling doing that than so many other artists are dancing around.

It’s funny: I’ve seen Ben Folds twice now and still only own one CD. But he’s one of those artists that you don’t need to know the songs intimately to enjoy. He’s a storyteller, and so you get sucked into that. Judging by the folks singing along around me, he seemed to play plenty of the crowd pleasers, but he also treated us to the equally well-received new material.

For me, those new songs were a highlight. I’d heard of his collaboration with novelist Nick Hornby, and was thrilled to experience some of it before the release. “Levi Johnston Blues,” based on the tale of the unfortunate chap who knocked up Bristol Palin, is destined to become an audience favourite in years to come.

Ben seemed to have a lot of fun, encouraging the audience to sing along in songs like “Zak and Sara” and “Not the Same.” With the audience seated all around the stage, Ben clearly got a kick out of the stereo effect. There was a lot of love in the room, with both Ben and the fans seeming thrilled to share this space. That’s why, even though I keep forgetting to buy the CDs, I never hesitate to snap up concert tickets.

Image source: ZUMA Press

Posted on by Lauren Katulka

The Badloves @ Lizotte’s, Newcastle – 29 August 2009

Long-time readers of my blog will know there are few things I enjoy more than a night out at the Central Coast’s hallowed venue, Lizotte’s. On Saturday I made the pilgrimage to check out its sister venue in Newcastle.

What an impressive spot. Somehow they’ve managed to bring the intimacy of Kincumber’s “cubby house” to a slightly larger space. It gave us a little more room to spread out, making the experience just a little more decadent. The waitstaff still have some work to do to replicate the excellent service we receive on the Coast, but the food was top notch. And the concert, well that was another thrill.

After blasting Polarity for much of last week, I was excited to see The Bloodpoets in the live arena. However my enthusiasm was matched by equal parts trepidation. I wasn’t sure whether my parents and their friends would warm to the heavier elements of this exciting new Aussie act. But I needn’t have worried. The beauty of producing such an eclectic album is that you can tailor your set to your audience. They toned things down a notch from the recording, embracing the poppier numbers rather than the darker rock songs. It worked. Everyone on my table raved about them, which is no mean feat considering the generation gap.

Next it was a trip back to my childhood with The Badloves. Their album Get on Board was one of the first I bought. I was just 13, and I thought Michael Spiby was the sexiest man alive. I remember being devastated when they split, as I wasn’t old enough to see them play the pub circuit. It’s rare to wait more than a decade to see a band, and my expectations were sky high. But the band met them. They’re still so tight, oozing bluesy cool. And yes, Michael Spiby still makes my heart skip a beat.

The set was largely a trip down memory lane, with a peppering of new numbers easily blending with the old. I sang my heart out to those beloved hits, “I Remember,” “Lost,” “Green Limousine,” and a rollicking version of “The Weight.” “Caroline” was notably absent, but they played so much it was hard to fault them for that. It took me a ridiculous amount of time to catch my first Badloves show. I promise not to leave it so long next time!

Image source: own photo

Posted on by Lauren Katulka

"Polarity" – The Bloodpoets

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With their debut album Polarity, The Bloodpoets have created an album that grabs hold of you and doesn’t let go until the final strains.

The opening track “Just In Time” bursts from the speakers, and the follow-up and first single “Borderline” is just as hard-hitting. This is the kind of music that demands to be turned up loud. But it’s not just the energy that appeals. They might be a band that rocks hard, but The Bloodpoets also have a strong pop sensibility. Their tunes are infectiously addictive. They’ve got their quirks to be sure, but I can imagine these melodic songs becoming mainstays of Triple M.

But there’s a lot more going on here than straight down-the-line energetic rock numbers. The natural humour of “Give It a Shot” is so refreshing. The dark instrumentation of “Straight Ahead” is interesting too. And the closer, “My Paradise” is an epic more ambitious than most would attempt on their debut album. The track is a risk, yet amazingly it works.

After playing Polarity for a few days I realised I’m actually going to see The Bloodpoets supporting The Badloves this weekend. I can’t wait to discover whether they can capture the energy of this disc in the live arena.

Polarity is in stores from October 3.

Image source: own scan

Posted on by Lauren Katulka

"Melting Moments" – Karen Jacobsen

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You may not recognise the name Karen Jacobsen, but chances are you’ve already heard her. She’s the one telling you to turn left in 100 metres on your GPS. And now, she’s released an album.

It may seem a little unexpected for a GPS voice to launch a singing career, but Karen’s actually a seasoned professional. She’s shared a stage with the likes of Norah Jones and Cyndi Lauper, and sung anthems at major sporting events across the United States. Now Karen’s stepping into the spotlight with the release of her album Melting Moments.

Karen’s voice is pure and sweet. Listening to her, I was reminded of The Corrs; there’s that same joy and optimism to the songs. There are very few edges here, although the opening track “Kissing Someone Else” does hint at a darker side. To some the lack of grit may seem like a flaw, but I think there’s something lovely about an album which lifts you up rather than dragging you down. The playful “Merry Go Round” is particularly captivating, while “So Fast” is another folk-tinged pop standout.

This is a really polished album. I was impressed to see Karen didn’t just add her pretty voice, but her production skills and songwriting prowess as well. Both are excellent. With Melting Moments, Karen Jacobsen shows us that her talents go far beyond directing traffic. Look out for the album in ABC shops from August 28.

Image source: ABC

Posted on by Lauren Katulka

Eddie Kowalczyk @ The Enmore, 19 August 2009

I was just 14 years old when Live released Throwing Copper. I was just beginning to become an angsty and obnoxious teen, and the raw energy of songs like “I Alone,” ‘Selling the Drama,” and the monster hit “Lightening Crashes” struck a raw nerve. That sort of musical mark leaves an impression that never goes away. Last night I took a trip back to that period of my life, and saw Ed (or Eddie as he’s calling himself these days) Kowalczyk do his acoustic thing at the Enmore.

But before Ed there was Leena, an earnest and authentic Aussie singer-songwriter. There was nothing outstanding about her, no flash or frills. But her performance showed that you don’t need any of that when you’ve got good songs. She performed them in acoustic mode, in keeping with the evening’s theme. Stripped back to simply a guitar or keyboard, we could focus on her words and beautiful voice. While many chattered noisily at the bar, the seated audience were captivated. Oh how I appreciate a crowd content to listen.

Just like Leena, Ed reinforced that idea that you don’t need a big band, multimedia screens, or flying pigs if you’ve got the goods. In fact, his show may have been richer for the lack of bells and whistles. I’d seen Live play twice in my life, but never quite like this. Perhaps it was the intimate surrounds of the Enmore, a world away from the entertainment centres. Perhaps it was the stripped back acoustic style. Perhaps Ed’s just in a really good place these days. But it has never been quite this good.

Ed seemed at peace and genuinely happy to spend his evening with us. He seemed very open, spontaneous, laughing and joking with the audience members and encouraging us to sing, dance, become part of it all. There’s something special about rising to your feet, united with everyone else in the room “standing up for love.”

The set was a delight. After seven albums, I didn’t expect to hear all my favourites from Throwing Copper, or “Turn My Head” from Secret Samadhi, or both “The Beauty of Grey” and “Pain Lies on the Riverside” from Mental Jewelry. I was thrilled to hear anything from Mental Jewelry, that sleeper first album, at all. “Supernatural,” the Ed Chesnutt cover from the 1995 MTV Unplugged set, was another great surprise.

After three encores Ed closed the night with another cover, Bob Dylan’s “Blowin’ in the Wind.” It was a fitting end to an evening which really felt like a coming together. Live may be on hiatus, but Ed’s keeping these songs alive in the best possible way. He tells us he’ll be back. His return can’t come soon enough.

Image source: own photo

Posted on by Lauren Katulka

"Wonder" – Lisa Mitchell

Lisa Mitchell first came to my attention as a contestant on Australian Idol. She didn’t shine in the constructed reality TV environment of cover versions and live performances, but there was something so compelling about her.

Lisa could have easily been swept up in the Idol machine. But instead she escaped the glare of the spotlight and worked quietly on honing her craft. The result is Wonder, her first full length album and a work of exceptional beauty.

The album shows how Lisa has blossomed and matured into an artist more accomplished than her years would suggest. She’s an artist of contradictions. There’s a whimsical playfulness about tunes like “Coin Laundry” and the smash hit, “Neopolitan Dreams.” Her childlike innocence is so compelling. But that doesn’t tell the complete story of Wonder. There are darker overtones to the sassy “So Jealous” and the haunting “Pirouette.” “Stevie” is spontaneous and fun, like witnessing a jam session between friends. The piano driven “Love Letter” is romantic without being twee.

Wonder never stalls or falters like so many albums. There are no filler tracks. Lisa has a knack for crafting songs that are personal and a little quirky, yet completely accessible. Put simply, this is one of the strongest debuts I’ve heard. If this is what Lisa Mitchell can create at 19, I can’t wait to see what comes next.

Images used with permission from Warner Music Australia

Posted on by Lauren Katulka

"Differently" – Cassie Davis

A few weeks ago I was concerned Cassie Davis may be a bit of a one-trick pony. While her brand of girl-power pop-rock was lots of fun, it started to sound a little samey after three similar singles. Now having heard her album Differently, I’m not the only one that’s changed her tune.

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Of course, there are girl-power pop-rock tracks galore. Fans won’t be disappointed there. But the album allows this bright new talent to showcase many more facets. “Mess of Mine” is delightfully dark. “Amazing” is a tender love song. The big brass notes of “Necessarily” would seem at home on any ska recording. “Do What I Do” is a little retro with a contemporary twist.

Cassie shows real depth here. Her voice is ballsy and powerful. She crafts commercial gems with the skill of a seasoned veteran. Differently is incredibly listenable from start to finish. It’s the kind of disc I can imagine singing along to in the privacy of my bedroom, hairbrush in hand. She might be a commercial artist, but by doing things a little differently, Cassie has created an album which stands out from the pack.

Image used with permission from Sony Music Australia

Posted on by Lauren Katulka

"The Bottom of the Lake" – Tinpan Orange

bottomofthelakecover

One of the greatest perks of my job is getting a jump on amazing new music before the rest of the world. The latest disc to cross my desk and touch my heart is “The Bottom of the Lake” by Tinpan Orange.

I’d never heard of the band, but I was instantly drawn in by the whimsical cover art and the promise of mandolins and ukuleles. I’m always a sucker for instrumentation that’s a little left of centre.

This is one CD that didn’t just meet my expectations; it exceeded them. This is music that feels familiar, yet completely different from anything that inhabits radio. The sound is lush; not from studio wizardry but from the rich textured layering of instruments and vocals. For a three-piece, Tinpan Orange have one hell of a sound. Everything is perfectly measured: delicate, lilting, and warm.

Emily Lubitz is a real find, a siren with a voice so husky and inviting. Her brother Jesse’s songs didn’t gel with me as easily. I’m reminded of the way I felt when listening to george years ago, so enamoured with Katie Noonan that I struggled to appreciate Tyrone’s tracks. As with Tyrone Noonan, the songs with Jesse Lubitz up front aren’t bad. They just don’t thrill me in quite the same way.

That aside, it’s really hard to find fault with this album. It’s an exciting release, with elements of folk, jazz, and even a little flamenco. Like a patchwork quilt, no two pieces are quite the same, yet it all comes together as something magical and very special.

The Bottom of the Lake will hit record stores on August 17.

Image used with permission from Two Fish

Posted on by Lauren Katulka

"Red Leaf" by Shelley Harland

Shelley Harland’s debut album Red Leaf has found its home in my stereo for the past couple of weeks. I must admit that the first time I heard it the disc washed over me in a wave of pleasant. It was a lovely experience, but not one that compelled me to rush back.

Days passed before I gave it another spin, and then I had to give it another spin just to be sure, but I think I’ve got it. It’s not that this album isn’t accessible first time around, but it is one that gets a little richer with every listen. You need time to appreciate its understated charms.

There’s nothing flashy about Shelley’s music. In “Friday,” she’s singing about the way the drone of nine to five leaves us waiting for the weekend. In “Clouds Disappear” she recounts another ordinary day, with flat walkman batteries, trips to the laundromat, and TV dinners.

The music too is low-key. That organic sound is so appealing when everything on the radio seems to be produced and processed within an inch of its life. An acoustic guitar and a couple of strings leave plenty of room for the songs and Shelley’s ethereal voice to fill, and fill them they do.

On this album, Shelley Harland has proven herself to be a master craftsman of songs that are accessible, yet surprisingly complex. Red Leaf is a slow burner, but once it grabs you it doesn’t let go.

Image source: Shelley Harland MySpace