Category: Reviews

Posted on by Lauren Katulka

“Where We Land” – Damien Leith

Damien Leith’s Australian Idol win ushered in a new era for the reality TV show. For the first time, the victor wasn’t shoved into a recording studio to record a prewritten album in a week. Instead, Damien was given the freedom to create a collection of songs that represented him. Some nine months after he took the Idol crown, Damien’s album Where We Land is in stores and sitting pretty at the top of the charts.

So in sales terms, Sony’s gamble has paid off. Australia hasn’t forgotten about Damien. Instead, they were eagerly awaiting this release. I’m happy to say, the wait was worthwhile.

I wasn’t Damien’s biggest fan during his Idol stint. I certainly didn’t dislike the guy, but I preferred eclectic Bobby Flynn and old-school rocker Chris Murphy. But I really like this record. It’s given Damien a chance to be himself, rather than a karaoke singer, and he’s a richer artist for it.

Time away from the Idol spotlight has given Damien a chance to grow, both professionally and personally. His trademark falsetto is as pure as ever, but he’s managed to reign it in somewhat. Perhaps on Idol Damien felt he needed to rely on those vocal tricks. Now he can focus on crafting tender lyrics and clever melodies.

His personal life has certainly given him fuel for that. After the birth of his second son Jagger, Damien penned the sweet tune “Not Just For the Weekend.” “Beautiful” is a tender ode to his wife. I loved the gentle sadness of “I Still Miss Us,” and “Cold Cold Heart” is rollicking good fun.

Damien made his name from cover versions, and fans will appreciate the ones he’s chosen here. The sparse rendering of Fleetwood Mac’s “Songbird” is breathtaking, and the album’s bonus track “Danny Boy” is a fitting nod to his Irish heritage.

Where We Land is a great indication of the potential of Australia’s revamped Idol franchise. If we can unearth this country’s hidden stars, and give them the time to develop albums of this calibre, the future of our local industry looks bright.

Images: Wikimedia and Wikimedia Commons credit: Spud Murphy

Posted on by Lauren Katulka

Thirsty Merc @ Wyong Leagues – 17 August 2007

To say Thirsty Merc’s current touring schedule is tough is an understatement. 22 shows in 24 days, they told the enthusiastic crowd at Wyong Leagues last night. It’s enough to make anyone tired.

If they were fatigued, the group’s support act, The Hampdens, didn’t show it. After scoring high-profile support slots with Rob Thomas, Ray LaMontagne, and John Mayer, it’s a wonder that this fantastic indie group hasn’t made a bigger splash. In some ways it’s also a blessing.

With their intimate, personal songs, The Hampdens seemed more at ease on this smaller stage. Susannah Legge is a captivating frontwoman with a stunning voice, somehow strong but ethereal. The lads in the band are quiet achievers, but no less important for their role in creating a uniquely lush soundscape. While the crowd may not have recognised The Hampdens just yet, they clearly appreciated their stellar set.

While The Hampdens were on top of their game, I wasn’t as convinced by Thirsty Merc. Technically, these guys are very good at what they do. Each and every note is where it should be, as clear as it appeared on the album. Sadly though, this just wasn’t enough. The band bounced around and gave energetic performances, but for the most part it felt like there was a distinct wall between the group and the crowd.

Towards the end of the night they began to talk to the punters and share personal anecdotes, and from this point the performance improved. Yet I couldn’t help but feel it was too little too late. When a band gives little of themselves on stage, I’m left feeling like I should have saved my money and listened to the CD at home.

It wasn’t all bad though. I was particularly impressed when lead singer Rai Thistlethwayte put down his guitar and stepped behind the keyboard. The songs became more pared back, less about a performance than a message. You could have heard a pin drop during “Homesick.” The penultimate track, “The Vision,” spliced with Stevie Wonder’s “Master Blaster,” was also loads of fun. “20 Good Reasons” was a perfect closer, giving the audience a chance to join in with a sing-a-long.

It’s sad that The Merc couldn’t give as much early on as they did towards the end of their set. Perhaps they were simply too tired from their gruelling schedule. The vocal Central Coast seemed satisfied, but it all could have been so much better.

Image source: own photo

Posted on by Lauren Katulka

“Skin” – Katie Noonan

Katie Noonan’s solo release, Skin, has taken up permanent residence in my stereo. The voice behind supergroup George has produced an album of infectious joy that gets richer with every listen.

It’s been five years since George released their landmark album, Polyserena. A lot has changed for Katie Noonan in that time. Many performers seem to lose their passion once spouses and children enter the picture, but the opposite seems true here. It’s allowed Katie to create songs that are intensely personal, but instantly accessible.

Love is the dominant theme underpinning all the album’s tracks. Not the clichéd love we’ve all heard about a thousand times before, but an emotion that’s deeply personal. Even when romantic love is explored, as in “Logic,” “Love’s My Song For You,” and “Home,” it’s approached with individuality and honesty.

But Katie knows there’s more than romantic love in this world, and Skin examines that too. “Little Boy Man” is a tender expression of love for her son, while the jazzy single “Time To Begin” celebrates love of self.

Continue reading ““Skin” – Katie Noonan” →

Posted on by Lauren Katulka

“Slideshows” – Thirsty Merc

Since I bought tickets to see Thirsty Merc in a couple of weeks, I figured it was about time I picked up a copy of Slideshows. As I listened to the opening track’s crunchy guitar chords and clever lyrics I wondered why it took me so long.

The opening ditty, “She’s All I Got” is a corker, with straight-up riffs and a sing-along chorus. It’s backed up by the anthemic radio hit “20 Good Reasons” and new single “The Hard Way.”

There’s a reason why radio loves these guys. They’re genuinely good fun, with cleverly crafted melodies and quirky lyrics. They’ve also become a very safe band, seemingly unwilling to take risks.

That’s not exactly a bad thing, but it does make some of the later album tracks, including “Hey Jacinta” and “She’s My Brother” feel a little tired.

While their self-titled debut showed plenty of cheek in “Emancipate Myself” and “I Wish Somebody Would Build a Bridge,” Slideshows presents none of this naughtiness. It’s a shame.

Slideshows feels like a natural progression for Thirsty Merc. It’s not likely to win them any new fans, but there’s certainly enough here to entertain the ones they have.

For me, it doesn’t have quite the same spark as their first disc, but it’s still a whole lot of fun.

Image source: BigPond Music

Posted on by Lauren Katulka

Kaya @ Lizotte’s, Kincumber – 26 July 2007

Not a lot of good came from Channel Ten’s failed reality talent quest, The X Factor. The series winner’s Random, had two forgettable singles and faded into oblivion. Mark Holden embarrassed himself further. But there was a shining light in the lacklustre affair. It introduced Australia to Kaya.

These unconventional stars, with bare feet, quirky songs, and unmistakable harmonies worked their way into the hearts of the voting public. Their music defied classification, blending jazz, soul, blues, pop, and folk. That was almost two years ago now, and Kaya have stepped away from the spotlight to further develop their craft.

Last night they took to the stage at Lizotte’s. It was my third time seeing Kaya at this wonderful venue, and once again they delivered the kind of show that keeps me coming back.

Kaya’s set showcased their original songs, many of them familiar now that I’ve seen the group so many times, others new to my ears. However, no matter how many times I’ve heard each song, it always feels like the first time. Their harmonies weave effortlessly, with playful improvisations adding to the fun. The quartet also breathed new life into cover versions of “Buffalo Soldier,” “Big Yellow Taxi,” and John Butler Trio’s “Zebra.”

Unlike many modern acts, Kaya are truly a vocal group. The mellow tones of an acoustic guitar, drum brushes, and a spot of beatboxing accompanied a handful of tracks, but their voices are always the center. Many songs are fearlessly performed a capella, with the girls gaining strength from one another.

Individually, the talents of Alexandra Kaye, Juleiaah Boehm, Sally Stevens, and Emma Deans are fantastic. Together, they are truly sensational.

Image source: own photo

Posted on by Lauren Katulka

"Nine Lime Avenue" – Kate Ceberano

I have a confession to make: I love the 1980s. It’s not the coolest thing for a music blogger to admit, but the frivolity and fun of the decade that fashion forgot always makes me smile. And so I had high expectations for Kate Ceberano‘s latest release, Nine Lime Avenue.

The album showcases Kate’s favourite tunes of the era, a time when she was growing up in Victoria’s Lime Avenue and dreaming of becoming a star.

She is one of Australia’s musical treasures, and her voice on this record is as strong and rich as ever. She brings the right amount of tenderness to “The First Time Ever I Saw Your Face.” Her take on The Pretenders’ “Brass In Pocket” is suitably sassy.

However, many tracks suffer from dramatic reworkings which seem to sap the fun from them. “Do You Really Want To Hurt Me” and “It Must Be Love” lose their bounce and playfulness, instead becoming laboured ballads. An easy listening take on Prince’s “Raspberry Beret” seems equally sacrilegious.

For a disc that stemmed from such fond memories of childhood, it’s disappointing that Nine Lime Avenue fails to inspire the same nostalgia in its listeners.

Image source: Kate Ceberano website

Posted on by Lauren Katulka

Ian Moss @ Lizotte’s, Kincumber – 12 July 2007

I admit it; I’ve still got a crush on Ian Moss. It’s been 18 years since he released Matchbook and first set my nine-year-old heart a flutter. He’s older now, with shorter hair and a few more wrinkles, but there’s still a spark about this rock stalwart. It was this spark, and the promise of great food, that drew me to Mossy’s show at Lizotte’s last night.

I was happily tucking into my delicious fillet steak when the support act, Mike McCarthy, graced the stage. I didn’t know him, but was instantly taken in by his beautiful melodies and guitar skills. It’s a tough job to support a music legend. It’s even tougher for an unknown artist to sing originals. Yet Mike took the experience in his stride, playing with a quiet confidence that won over many of us.

Then Mossy took the stage, with acoustic guitar in hand. What followed was magical, and the crowd lapped up. You could heard a pin drop during his understated performance of “Georgia On My Mind,” this hush contrasting with raucous sing-a-longs to Cold Chisel classics. We doo doo doo-ed along with “Saturday Night,” and belted out “Choir Girl.”

Just when we thought he wasn’t going to play them, Ian Moss launched into the anthemic 80s hits, “Tucker’s Daughter” and “Telephone Booth.” When we were sure our voices were too hoarse to continue, he closed with a rollicking version of “Bow River.”

Through decades in the business, Ian Moss has developed a calm confidence in his delivery. He’s a selfless entertainer, aware of what the audience wants to hear and keen to deliver it. He may have risen to prominence for his guitar-playing prowess, but last night’s stripped-back show confirmed Ian Moss is a truly well rounded performer.

If you want to experience Ian Moss’ acoustic skills, check out his latest album, Let’s All Get Together.

Image source: own photo

Posted on by Lauren Katulka

“Time On Earth” – Crowded House

The release of Crowded House’s latest album was always going to create a buzz. Time On Earth is their first since the band split in 1996, and their first without their late drummer Paul Hester. However, the album itself is a rather subdued affair, removed from the hype its release brings with it.

All the classic Crowded House elements are here. The melodies are flawless and the arrangements superb. The upbeat “She Called Up” and cruisy first single “Don’t Stop Now” are highlights.

Yet, as the album progresses it starts to fade further and further into the background. “People are Like Suns,” “Walked Her Way Down” and “English Trees” are pleasant and unobtrusive, but far from groundbreaking.

For that reason, Time on Earth isn’t an altogether triumphant return for one of Australia’s most loved bands. However, there’s certainly enough here for us to be glad that Crowded House is back.

Crowded House is NineMSN Music’s current featured artist, allowing fans to listen to Time On Earth for free. Click the link to hear Crowded House’s latest offering.

Image source: Wikimedia; feature image by Mick Muise – originally posted to Flickr as 100_6063, CC BY 2.0