Category: Reviews

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

Posted on by Lauren Katulka

Simply Red @ Bimbadgen Estate, Hunter Valley – 21 February 2009

When I was a young teenager I saw Simply Red play at the Newcastle Entertainment Center. I admit that I wasn’t a big fan of the band, but I enjoyed “Fairground” which was all over radio at the time, and I didn’t want to be left at home while my parents saw the show. I may not have adored the band before the show, but when I left I was converted.

I admit it; as I looked back years later I wondered whether I was just excited by such a large-scale show. I had only seen one or two concerts before, so seeing any band was a big deal. Were they really as good as I remembered?

After catching Simply Red again at Bimbadgen Estate on Saturday, my answer is an unreserved yes. But of course any Day on the Green show is about more than the main act so allow me to backtrack a little.

It was a soggy day in the Hunter Valley on Saturday. We were all thankful when Dragon took to the stage, providing some respite from the relentless downpour. Mark Williams did his best to fill the very big shoes left by Marc Hunter, but he didn’t quite cut it. The vocals didn’t have quite enough punch, but the crowd helped to fill in the gaps. Hit after hit after hit came. “Rain” was a real highlight considering we were all soaked through to our underwear!

Kate Ceberano has always struck me with her warmth and sunny disposition, so it seemed fitting that the clouds parted for her performance. She treated us to a covers-heavy set, drawing from her recent albums Nine Lime Avenue and So Much Beauty. But fans of her original recordings weren’t disappointed either, with “Brave,” “Pash,” and a reggae-flavoured “Bedroom Eyes” finding their way into the set. I think we all had as much fun dancing along to those songs as the permanently smiley songstress did performing them.

Just when we thought we might have seen the last of the rain it began to bucket down again. I was beginning to really resent being cold and wet until Simply Red appeared. They are just that good.

Mick Hucknall is the quintessential frontman. He knows how to work a stage, and his voice isn’t showing any signs of old age. In this age of technical wizardry it’s so rare to see a band that can reproduce that studio quality in their live performance, but Simply Red can. His vocals are effortless, flawless.

His sexy dance moves and charisma may ensure all eyes are on Mick, but every member of the Simply Red band has a role to play. They are such superb musicians, bringing these iconic songs to life with guitars, saxophone, and keys.

This concert was a celebration of 25 years of fabulous music, and celebrate we did. I only wish I hadn’t found myself stuck amongst drunken yobbos. Have fun by all means, but no one needs to drink so much they’re falling over and becoming obnoxious. They may not remember this concert for years to come, but I certainly will.

Image source: own photo

Posted on by Lauren Katulka

"Autumn Never Fall" – Sunwrae Ensemble

One of the things I love most about my job is that I get to experience so much fantastic local music. I get to listen to sounds that wouldn’t ordinarily, and thus my tastes are ever changing. This week I came across one of those unique gems, and it’s made quite an impression.

Autumn Never Fall is the latest album from Melbourne-based “nu-chamber” group Sunwrae Ensemble. Like traditional chamber music, the songs are richly layered with a beautiful blend of sounds, each combining to create a sound more exquisite than any instrument could create alone. Piano, strings, wind, and percussion all work together to give each song a lush texture.

The classical influences are obvious, but the band’s jazz leanings give the songs a modern accessibility. At times it feels like the players are simply jamming, and that vibrant spontaneity is just so compelling.

I’m a girl who adores singing along to her favorite CDs, so listening to an instrumental recording such as this was a new experience for me. But in stepping out of my musical comfort zone, I’ve found an album that is truly special.

Image used with permission from Sunwrae Ensemble

Posted on by Lauren Katulka

Glen Hansard, Marketa Irglova, and The Frames @ Sydney Opera House, 28 January 2009

Once upon a time Glen Hansard was the lead singer of Irish group The Frames. They had some moderate success, but he dreamed of more. On a trip to Sydney with his bandmates he stood in the Botanic Gardens, looked across at the Opera House, and said to himself “I want to play there.”

A lot has happened since Glen decided he wanted to perform at our iconic venue. He made a little indie love story called Once. This tiny movie remarkably won best song at the Academy Awards in 2007. And last night, Glen Hansard played the Opera House.

The fairytale of Glen’s journey to Sydney’s hallowed halls is much like the fairytale I saw play out on stage last night. He performed his beautiful songs with The Frames and his movie love interest and now real life girlfriend, Marketa Irglova. Just like their cinematic characters, Glen was charming and funny if a little awkward. Marketa was sweet and quietly spoken, with a wicked sense of humour. Their affection for one another was obvious, and I was thrilled to bask in it.

There’s a reason why such a small film like Once caught the attention of the prestigious Academy. Its soundtrack is amazing. The songs come from a pure place, emotional without being flowery. Songs like the award winning “Falling Slowly” are delicate and romantic, longing, while others like “Leave” and “Say It to Me Now” are so raw they bleed. Some benefited from the lush treatment of the full band, while others were exquisite in their pared back arrangements.

Frames fans were not left disappointed, with the band treating us to many of their songs too. I admit I jumped onto the Glen Hansard bandwagon a little late so I wasn’t familiar with their earlier material, but it didn’t matter. Glen has a way about him that draws you in with poetic words and honesty.

Sitting in the audience, you can tell that we all knew we were witnessing something special. Whenever the band stood to leave the stage we’d all rise to our feet, letting them know how appreciative we were, secretly hoping they’d return once more. They did return, for a massive three encores. I think the band played until their hands were sore, and our clapping palms were too.

I walked out of the Opera House last night knowing I had experienced a truly great concert. To Glen, Marketa, and The Frames I say thank you.

Image source: own photo