Category: Reviews

Posted on by Lauren Katulka

"Laser Graffiti" – The Galvatrons

lasergraffiti

It’s a pretty gutsy move for a band to open an album with a full choir declaring “We’re here to save the world.” When these are the first lines of your debut album, it’s even riskier. Yet something about The Galvatrons makes you believe them.

Just like that dramatic opening, Laser Graffiti is an album impossible to ignore. Everything is big: the guitars, the synth chords, and ego. But that’s the point. This is a disc which takes its cues from Van Halen, Queen’s Flash Gordon soundtrack, and the pretentious hair bands of the 80s. Some might accuse it of being derivative, but it also sounds like nothing else on the modern music landscape.

The Galvatrons wear their influences and hearts on their sleeve. They may be flamboyant, but their unwavering belief in that vision encourages listeners to go along for the ride. The band captures our imagination with lyrics about driving the car too fast, staying out all night, and skipping school. Those familiar themes are so appealing to someone of my vintage who remembers hearing them first on Poison and Bon Jovi albums, and they might just inspire today’s rebellious teens.

The Galvatrons are either crazy or geniuses. No one makes a record like this today. Yet as the closing strains of the final track “Galaxy Destroyer” repeated the refrain, “We’re here to save the world,” I believed them. They won’t do it by reversing climate change or ending any wars. But The Galvatrons compel us to punch our fists in the air and remember how good music can feel, and that’s a start.

Image source: Cream; Newscom

Posted on by Lauren Katulka

"Inshalla" – Eskimo Joe

inshalla

Inshalla, the fourth album from Western Australian rockers Eskimo Joe, is sitting pretty at the top of the charts. Such a stunning debut is testimony to the band’s enduring popularity. The public’s faith hasn’t gone unrewarded, with the album delivering the goods from start to finish.

It kicks off with the current single, “Foreign Land,” a strong statement with its Eastern instrumentation and hook-laden chorus. The album doesn’t take its foot off the pedal, with the title track delivering another driving rock song. That’s what Eskimo does best, but this disc has its fair share of light and shade. “Don’t Let Me Down” is unexpectedly upbeat. “Please Elise” is another lighter slice, a love song with equal measures of desperation and cheek. “Childhood Behaviour” is earnest without being overblown, a completely convincing tale of a relationship moving from one phase to the next. Equally magnificent is the epic “Losing My Mind,” a breathtaking piece with pounding drums and relentless rhythms.

The world music influences are apparent throughout the album, adding texture without straying too far from Eskimo Joe’s reliable indie rock sensibility. The result is a disc that’s accessible on the first listen, yet a little richer with each subsequent spin.

A number one debut comes from hype and loyalty. But this is one album that deserves its dizzy ascent. Once word of mouth spreads, I’m sure it will maintain its place at the top of the charts for a few weeks yet.

Image source: Bauer-Griffin

Posted on by Lauren Katulka

"Sundancer" – The Fumes

sundancercover

The Fumes are back with their sophomore album Sundancer. I must admit, before Sundancer crossed my desk, I hadn’t heard of the incredible Aussie rock duo. But this might just be the album to open up the ears of the Australian public and get them the recognition they so richly deserve.

Tunes like “Who Do You Love” and “Python for a Pillow” are straight down-the-line Aussie rock, with thumping chords, growling vocals, and a much bigger sound than you’d expect from a two-piece. These songs have such great energy on the playback, I can only imagine how they’d go off live.

But it’s when The Fumes take a step away from the mainstream sounds that their music really takes off. That’s when they show they’re much more than another pub rock outfit, derivative of Rose Tattoo or AC/DC. They find their own voice in the bluesier, more soulful numbers. “Slay the Liar” and “Cuddle up the Devil” possess the kind of cock-sure defiance I haven’t heard since The Cruel Sea. Quieter songs like “High City Lights” and “Sundancer” are so striking in their sparseness, giving us time to take a breath and revel in their beauty. And “Psychedelic Warlord” is just as much fun as the name suggests.

Sundancer is the kind of disc that hooks you from the first spin and grows richer with every listen. What a rare find.

Image source: own scan

Posted on by Lauren Katulka

My Year Without Sex – Soundtrack

My Year Without Sex sounds like it could be the latest gross-out comedy geared at frustrated American college kids. Instead it’s a heartwarming Australian film starring acclaimed actors Sacha Horler and Matt Day.

The film tells the story of Natalie, a mother of two who unexpectedly suffers a brain embolism. Physical exertion is out, and that includes sex. It’s a depressing premise, but one that the film never dwells on. The outstanding soundtrack reflects that, with Banarama’s girl anthem “Venus” standing alongside jaunty indie ditties like Little Birdy’s “You’re Beautiful” and Bob Evans’ “Don’t Walk Alone.”

The soundtrack isn’t without its dark moments. Emily Hayes’ acapella take on the gospel classic “Soon I Will Be Done” is gutwrenching, and El Perro Del Mar’s “Glory To The World” isn’t much cheerier. But these sad moments are fleeting, reminding us that the clouds always part to show sunshine.

The soundtrack to My Year Without Sex is a texturally rich album, with equal measures of light and shade. It takes a gifted director like Sarah Watt to make a film with illness at its core easy to watch. And it takes a gifted person to create a soundtrack inspired by such a dramatic muse so listenable.

Posted on by Lauren Katulka

“Essential as Anything” – Mental as Anything

It seems like Mental as Anything has been around forever. They’re Australia’s ultimate party band, and they’ve made their mark on most of us, whether we want to admit it or not. For me their music reminds me of discos in the 1980s, where I’d dance along to the songs wearing too much fluro. Good times.

Lately I’ve been looking back on the band with the recent release of Essential as Anything, a bumper greatest hits CD. Everything is on here, from early tracks like “The Nips are Getting Bigger” to more recent hits like “Mr Natural.” In fact, there were a few songs I’d even forgotten about until I heard them again! Such is the quality and volume of the Mentals’ back catalogue.

If the 24 tracks aren’t enough for you, don’t despair. The CD also comes with a bonus DVD featuring 37 video clips, interviews, and plenty of documentary footage. Now that’s value.

Essential as Anything is the sort of album you’ll pull out time and time again at family barbeques and as a companion for those long car drives. It’s not likely to change the world, but just like the Mentals, it’s awfully good fun.

Image source: Bigpond Music; Wikimedia Commons

Posted on by Lauren Katulka

"All Woman" – Various Artists

Last month I told you about Warner Music Australia’s newest compilation album All Woman. I got my hands on an advance copy last week, and I’ve been blasting it ever since.

It’s two CDs chock-full of girl power anthems. All the usual suspects are there – Aretha, Whitney, k.d., and Marcia – alongside new kids Delta Goodrem, Gabriella Cilmi, Joss Stone, and Colbie Caillait. Forget those whiny love ballads bemoaning lost love: these women are confident and in control, and their energy is infectious. The diverse track selection of soul divas, rock goddesses, and pop princesses ensures the CD stacks up to repeated listens, and sing-alongs. As soon as I finish disc two, I’m ready to pop in disc one again.

This is the sort of soundtrack you need for road trips with the girls or a long day’s housework. Best of all, $1 from the sale of every CD will benefit the National Breast Cancer Foundation. You can get yours when All Woman hits stores on Friday, April 17.

Image source: Chaos website

Posted on by Lauren Katulka

The Way the World Looks – Wes Carr

Wes Carr was one of the most exciting contestants in the last season of Australian Idol. He performed each song with the easy charisma of a seasoned professional, but anyone who’s followed the Idol machine knows that’s no guarantee of success. After hearing his debut album The Way The World Looks, I’m convinced Wes will not be just another Idol to fall from view.

The husky vocals and warmth Wes brought to the Idol competition are still there, but what struck me most about this recording was songwriting talent. It’s one thing to sing, but another to craft songs this good. Far from a one-trick pony, Wes dabbles in genres to create an album that’s eclectic yet accessible.

It opens with the rollicking honky tonk tones of “Any Other Way,” before launching into the anthemic second single “Feels Like Woah.” He wears his heart on his sleeve with “Light Years,” a slow burner that builds to a soaring crescendo. But my personal favourite is the laidback reggae tinged “Hurricanes.”

There’s a lot to love here, but it’s not an album without flaws. The lyrics to “Love is an Animal” are a little immature, but I guess that’s what happens when you record a song written in your teens. “Stay Awake” would be a brilliant track if it didn’t feel like Gavin Degraw’s “I Don’t Want to Be” Part Two.

Yet even the missteps are enjoyable to listen to. It’s just that when Wes gets it right, he sets the bar so high. This is a really solid debut, the kind that takes up permanent residence in your stereo and leaves you anticipating what comes next.

Image source: Wes Carr website

Posted on by Lauren Katulka

Counting Crows and The Who @ Hope Estate, Hunter Valley – 28 March 2009

Another weekend, another winery show. This time I was off to a relatively new Hunter Valley venue, Hope Estate.

Aussie rockers Dallas Crane kicked off the afternoon with a set that offered energy, but little variety. I must admit, I’m just not a Dallas Crane fan. Dave Larkin’s gravelly voice began to grate on me after not too long, and the tunes started to sound all the same. I guess they do what they do well, but it just seems like they do the same thing.

I was a lot more enthusiastic about the Counting Crows, but anyone who knows me wouldn’t be surprised by that. I’ve been a massive fan since the start, and since they’ve only toured Australia once before I was more than ready for a return set. As a fan it didn’t disappoint me, but I can see how many wouldn’t share my view.

The choice of Counting Crows as support act for The Who was a curious one. They’re just so different, and I could tell as I looked around the venue that the difference wasn’t one the bulk of the audience appreciated. I think the Counting Crows could too. And so it seemed that they played to those of us who cared, and disregarded those who didn’t. So there was no “Big Yellow Taxi,” no “Mr Jones,” but such fantastic music for those of us who knew the back catalogue.

I lapped up “Mrs Potters Lullaby,” the sprawling epic so long I never imagined it would make the set list. I was so thrilled to hear “Goodnight Elisabeth” and “Round Here.” I cherished the rambling free form jams and Adam Duritz’s utter abandonment. There is a man that leaves his heart on the stage, performing with such passion and commitment. I can only hope the Counting Crows make a return visit soon, because they deserve to perform for a crowd who really wants to hear them.

As the Counting Crows left the stage I commented to my husband that I couldn’t imagine how I could muster the same enthusiasm for The Who. Sadly I was right. Don’t get me wrong: I love The Who. But last time I saw them live, I remember seeing a lot of flaws. In fact, if the Counting Crows weren’t on the bill, I probably wouldn’t have bothered with a second outing.

But they were, and there I was, seeing a band that was good but just not quite as good as they used to be. Roger Daltrey still swings his microphone cord around like a demon, but his voice shows the ravages of time. Pete Townshend still rocks hard and shows plenty of personality, but there’s something missing. The band doesn’t sound as tight as they should be: I guess that’s what happens when you lose your drummer and bassist. Zac Starkey and Pino Palladino are both fine musicians, but there’s something missing.

While the sound wasn’t quite up to par, the hits everyone came to hear were there. The newer songs they played didn’t quite measure up, but mercifully they were few and far between. For the most part the crowd had all the nostalgic tracks they could hope for. And in many of those songs I could forget about the flaws and just enjoy the show. “I Can’t Explain” and “Anyway, Anyhow, Anywhere” came early, starting us all off on the right note. “You Better You Bet” has always been one of my favourites, and it didn’t disappoint here. And I loved hearing “Pinball Wizard” and “See Me, Feel Me” from Tommy.

The Who are getting on a bit, but by delivering the hits that made them famous they’re still put an enjoyable show. But for me the real stars of the night were the younger guys, the Counting Crows.

Image source: own photo

Posted on by Lauren Katulka

A Day on The Green: The Vintage Years 2001-2008

It’s amazing to think that A Day on the Green has staged its acclaimed winery shows for more than seven years. I remember attending the very first one in the Hunter Valley, an all Australian line-up featuring Richard Clapton, Mark Seymour, Renee Geyer, and Paul Kelly.

Since then A Day on the Green has gone from strength to strength, attracting more international artists and more fans, yet staying true to its core desire to provide a laidback concert experience for the over 40s set. I’m not there yet, but I definitely appreciate shows that allow me to indulge in a good wine and a cheese platter while enjoying great music.

To celebrate its success, the mob from A Day on the Green has released a special three-disc set entitled The Vintage Years 2001-2008. Each disc takes us on a different journey: one “stripped back” and acoustic, the “new blend” showcasing the best young talent, while disc three is “vintage” all the way.

The vintage is perhaps the most eclectic, with the dance flavours of Lionel Richie and Leo Sayer sitting alongside Aussie rockers Jimmy Barnes and Richard Clapton and the soulful strains of George Benson and Simply Red. Thankfully my own music taste is pretty diverse, so I appreciate the variety. I’ve been alternating the discs in my car according to my mood.

International headliners Jackson Browne, Steely Dan, Chris Isaak, and John Fogerty are notable absences. But so many people have graced the Day on the Green stages, I suppose some harsh decisions had to be made. The abundance of Australian talent, from icons like James Reyne and Ian Moss to new kids Clare Bowditch and Lior, should please local audiences.

My only disappointment is that we’re left with studio versions rather than live ones. The songs are flawless, but they lack the energy I experienced at the shows. Perhaps some recordings from those concerts could make up the next three-disc set!

Image source: JB Hi-Fi website

Posted on by Lauren Katulka

Jackson Browne @ Tempus Two Winery, Hunter Valley – 28 February 2009

On Saturday I was back in the Hunter Valley. The vineyard was different – Tempus Two Winery this time – but I was still ready to enjoy an evening of fantastic music. With a line-up including Tim Freedman, Richard Clapton, Toni Childs, and Jackson Browne, the quality of the show was never in doubt.

I was disappointed that Whitlam’s frontman Tim Freedman only had a half-hour set, but managed to cram so much into 30 minutes. For fans like me numbers like “Kate Kelly” and “You Sound Like Louis Burdett” were welcome surprises, while my parents were content to sing along to “Blow Up The Pokies” and “No Aphrodisiac.” We were also thrilled to see Tim had his happy face on. We’ve been to shows where he seemed to be in a filthy mood, so to see him joking easily with the crowd put a smile on everyone’s face.

Next up was Richard Clapton. There’s a reason why Richard is one of my favourite Australian performers. He never does a bad show. Always the consummate professional, he performs his butt off, delivering classic hit after classic hit. It didn’t take my mother and I long before our itchy feet got the better of us and we had to leave our seats to dance. Predictably there was a crowd of like-minded folks to the side of our seats also revelling in Richard’s brilliance.

Armed with more wine we settled ourselves back in our seats for Toni Childs. Toni was the unknown quantity for me on the tour, the only artist I’d never seen before. While I may not have been so familiar with her music, I was enthralled. She has such a voice, so rich and effortless. While her tunes were largely unfamiliar to this audience, they were instantly accessible. Old favourites “Many Rivers to Cross” and “Stop Your Fussin’” brought the house down.

Jackson Browne’s set is an interesting one for me to comment on. He’s such an accomplished performer, in fine voice with an easy character that’s so endearing. But for me the first half of his show felt labored. The set was made up of new songs from Time The Conqueror and slightly obscure older material, and it made the audience restless. While he performed these songs flawlessly, it seemed like we were all waiting for something to latch onto. I have no problem with artists showcasing their new songs, but I think you need to throw the crowd a bone every now and then.

That bone came about halfway through his set with the familiar rollicking piano intro of “Doctor my Eyes.” We all sang loudly, enthusiastically, rising to our feet with joy, so grateful to hear something we knew. That was the turning point for me. Yes there were songs I didn’t know, and yes there were songs I wish had found their way into their set. But it was all so easily forgiven.

I don’t normally condone people yelling out for songs, but I couldn’t fault the persistent gent who wanted to hear “Rosie.” And when Jackson obliged not long after “Doctor my Eyes,” you could have heard a pin drop. I do love an artist who listens to their fans and changes up their set to accommodate a special request.

“The Pretender” was breathtakingly awesome. “Running on Empty” had us all on our feet, singing with joy again. “The Load-Out” and its seamless segue into “Stay” was the perfect encore, even if it did seem to signal an end that came too soon.

I may have felt disgruntled at first, but Jackson won me over so that by the end of the night, like so many others I was begging him to stay. It may not have been a flawless set, but I know I’ll queue up for tickets next time Jackson is in town.

Image source: own photo