Posted on by Lauren Katulka

Spookyland Wins Me Over with “Bulimic”

“Bulimic” by Sydney rock act Spookyland is a prime example of the reason I don’t make snap decisions about the music I listen to. When I first hit play, I was put off by the vocals. Honestly, Marcus Gordon has one of those voices grates on me.

But beyond that, there’s a lot to love about this song and as I sat with it for its epic six minutes that’s what came to the fore. It sounds incredible. And the lyrics are superb, meaty and poetic.

“Bulimic is mostly a song about social friction I think, when there’s chaos in your mind, there’s a certain impulse to hurl the whole thing into the toilet bowl to find some kind of self-esteem, but this kind of program is basically doomed. Bulimia of one’s humanity…” Marcus explained in the press release.

So take a listen. Even if you’re not sure at first, stick with it. I promise you this song will reward your patience.

Posted on by Lauren Katulka

Q & A with Alanna Eileen

Alanna Eileen has been one of my favourite musical finds of the year, so I was thrilled to catch up with her on the release of her new single “Love the Ghost,” our first taste of her forthcoming LP. Here’s what she had to say about the new song, the album to come, and her love of literature.

You’ve just released “Love the Ghost” as your new single. What was it about that song that made you want to release it?
“Love the Ghost” is like the centre from which, thematically, all the other songs on the album arise. It became the first single because I noticed it was reflective of the entire LP. It seemed an apposite introduction for that reason.

Mark Myers from The Middle East produced the single. What was he like to work with?
Mark Myers is great to work with. He also produced my first EP. We recorded it in Cairns, where his studio is based.

The song comes from your album, which is coming out early next year. What can music lovers expect from the LP?
The LP is a collection of ten songs performed on piano and guitar. Like my first EP, it’s lyric-driven and introspective. I wanted the instrumentation to be subtle and for the vocals to remain the primary focus.

How did the process of putting together an album, compared to an EP, treat you?
It was mainly a process of choosing the right songs and examining how they fit together. It’s almost like a concept album in the sense that it retraces and reiterates the same territory and themes over and over. Because it’s my first full-length work, I learned a lot that will hopefully benefit me on future releases.

I noticed you’re not playing any shows to launch the single. Will fans get to see you on stage to celebrate the album’s release?
I’m heading to London in February, where I’ll be playing some small venues in addition to a headline show at the historic St. Pancras Old Church. When I return, I plan to release my second single, “Motion,” with an accompanying video, before an Australian launch and tour.

What can music lovers expect when they come to see you play?
My live shows are very raw; it’s just my voice and, usually, an acoustic guitar. Piano will also feature. I do hope to introduce a band soon, too, which will be a new experience.

Your EP Absence was one of my favourite recordings of the year. What music have you enjoyed listening to this year?
Thank you so much. This year, I enjoyed hearing the new Sufjan Stevens album. I also just found out about Joanna Newsom’s most recent release after returning from recording, which was a lovely surprise. Otherwise, I have mainly been listening to older music – a lot of Nick Drake and minimalist composers like Henryk Gorecki and John Adams. Nico Muhly’s Drones has also been a favourite.

I was poking around your Facebook page and noticed you’re more likely to “like” literary figures than other musicians. What is it about good literature that gets you so excited?
I love language. I feel like I still have an endless amount to learn about everything and that books are great teachers. I find beauty in the stream-of-consciousness prose of Virginia Woolf, the idiosyncratic poetry of Dylan Thomas, David Foster Wallace’s breathless sentences and Hesse’s mystical parables. The way a writer like Camus describes things succinctly, yet with an almost tender attention to detail, taught me a lot about writing when I was a young teen. It promoted the kind of introspection that has largely fuelled my work.

Since Christmas is approaching all too quickly, what’s on your wish list this year?
All my wishes would be for immaterial things. Mostly, I’m just grateful that I can make music and I wish to continue. If I’m able to help others at all, that would also be a wish fulfilled.

Is there anything else in the pipeline you can tell me about?
I’m going to be working on my first music video in London, which will be released alongside my second single. Also, since finishing recording, I’ve started writing songs that feel structurally and lyrically different to my previous ones; I’m already looking forward to releasing them in future.

Alanna Eileen’s single “Love the Ghost” is out now. Her new album is slated for a February 2016 release.

Posted on by Lauren Katulka

The Vernons Touring Single and Snappy EP

I’ve always had a soft spot for bluesy Gold Coast act The Vernons. So even though I didn’t get to the press release spruiking their new single “Keep On Dreaming” and EP Snap until the launch tour was well and truly underway, I couldn’t resist posting it. Because whether you wanted to get to the shows or not, this song is one of those songs that you should hear. It’s a break-up song the way it should be done, so raw that it bleeds.

And if you’re living in Melbourne or Sydney, you’re in luck, because they haven’t visited your town yet. Tickets are still available for the shows at The Grace Darling on November 13 and Brighton Up Bar on November 14.

Posted on by Lauren Katulka

Ariela Jacobs Back with “Sandman”

I can scarcely believe that it’s been two years since I last wrote about Ariela Jacobs. I’m so glad to hear something new from her, which is every bit as beautiful as “The Sound.”

Just like “The Sound,” “Sandman” has won me over with its gorgeous folk-pop melody, heartfelt lyrics, and Ariela’s angelic voice. That’s not to say that she hasn’t grown over the last two years, but she’s also stayed true to everything I loved about her the first time.

“Sandman” is the first track lifted from Ariela’s EP Yesteryear, which will be released in early 2016.

Posted on by Lauren Katulka

Olympia Impresses with “Tourists”

Watching Rage of a Saturday morning has been one of my favourite rituals for almost as long as I can remember. I love the unique mix of brand new stuff and classics. One of the newer tracks that has caught my attention the last couple of weekends is “Tourists” from Melbourne singer-songwriter Olympia. Her voice is just sublime, and the song is ridiculously catchy.

Olympia will celebrate the release of “Tourists” with a show at Shebeen in Melbourne on November 24 and another a Darlinghurst’s Oxford Circus on December 3.

Posted on by Lauren Katulka

Screaming Jets @ The Entrance Leagues Club, Bateau Bay – 7 November 2015

As a girl growing up in Newcastle, the Screaming Jets are an integral part of my music DNA. An underage show at the Cambridge was one of my earliest concert experiences without my parents, and like so many Novacastrians, I’ll never forget the show after the ticker-tape parade celebrating the Knights’ first grand final victory. I must have seen more than 20 Screaming Jets shows at pubs and clubs in my late teens and early 20s, so I was pretty excited to break the drought with a show at The Entrance Leagues on Saturday night.

Despite living on the Coast for the last decade, I’d never actually been to The Entrance Leagues for a gig. The venue was one of those ones that took me back to the early 90s though. There were no frills about it, and the wind was blowing just the right way from the beer garden to add the smoky ambience ‘90s shows always had. We had to stand, something I haven’t done at a gig in years, but I couldn’t imagine watching a show like this sitting down.

Local band The Radics kicked off the night with a fun set that set the evening’s tone. I heard a lot of ‘90s influences in their music, a little Matchbox Twenty, a little Third Eye Blind, a little Goo Goo Dolls. Their brand of pleasing pop-rock with a little bit of edge went down a treat with me, largely due to the charisma of frontman Blake Wares. An energetic cover of INXS’ “New Sensation” and an epic take on “Another Brick in the Wall (Part 2)” won over the crowd.

After The Radics it was time for Massive to take the stage. These guys seemed like they’d stepped right out of the 80s, with big hair and big, ballsy rock music. It was turned up to 11 from start to finish, and the crowd responded enthusiastically. Personally I thought they were a little too much, but my husband rushed to merch stand to pick up their CD after the set. I will concede that they were the perfect warm-up for the Jets though.

With the audience feeling amped up, the Screaming Jets were always going to have an easy job. This crowd was ready to rock, and this classic Aussie act obliged. Before I get into the nitty gritty, I’d be remiss if I didn’t comment on the poor sound quality on the night. I’d been slightly put off during the support acts, but figured it might right itself when the main act rolled around. A band like the Screaming Jets really needs good sound. There’s a place for fuzz and distortion in the rock and roll world, but take it too far and it becomes painful to hear. It was a good thing I knew all the words to many of these songs, because otherwise I would have had no idea what Dave Gleeson was singing.

The Jets delivered though, despite bearing little resemblance to the band I saw decades ago. Dave Gleeson out front and bassist Paul Woseen were the only ones I remembered. However, the new guns have been schooled in these songs and, sound issues aside, the band rocked just as hard as they did all those years ago. Dave Gleeson is still one of the most exciting performers I’ve ever seen on a stage. While I enjoyed him fronting The Angels, hearing him sing these songs feels right. Age has not wearied any of these guys, and hearing them play songs like “Healing Hand,” “C’mon,” and the always explosive “Better” took me back to my youth.

Things weren’t quite the same as they were in the ‘90s though. Trying to look around people’s smartphones as they snapped photos of the show got old really fast. Back in the day we were far too caught up in the music to do that. Back in the day, I was also proud of typically being the only girl in the centre of a very raucous front row. The crowd were still enthusiastic, but they didn’t go nearly as hard as they did all those years ago. I’ve mellowed with them though. I never would have dreamed of being a few feet back from the stage in the 90s. And when my husband alerted me to the time, during the encore, I never would have agreed that it was getting late and left just before the end. Perhaps if the sound quality was better I would have put up more of a fight, but I was happy to hear some of “Rocking in the Free World” in the foyer while my husband collected his umbrella. I insisted I’d keep my husband company on the way home, but I think I was snoozing before we made it out of the car park.

I certainly don’t have the staying power that I once did, but thankfully the Screaming Jets do. I shouldn’t leave it so long before I catch them again, but I’ll be praying for a better sound tech next time we cross paths.

Image source: Stephen Katulka

Posted on by Lauren Katulka

“Brisneyland” – MofoIsDead

I’ve gotten into the habit of listening to a little music and blogging while I work on other projects. It’s usually a good way for me to figure out what floats my boat and what’s getting binned, so I can make sure this blog gets updated without my other deadlined work getting neglected. Usually the music works in the background. I might get drawn out for a moment or two, but rarely does it steal focus from the other things I’m doing.

And then there’s Brisneyland, the new EP from Brisbane’s alternative rock act MofoIsDead. This is the sort of recording that refuses to fade into the background or be ignored. It’s anthemic, epic, and loud. Or at least it should be. Listening to it at a decent volume while I attempted to focus on something else just didn’t feel right.

So I gave up trying to do anything else and just listened to the music. I love the way this band plays with light and shade. They can turn it up, and they invariably do. But before the chunky guitar riffs kick in on opening track “Plutocracy,” there’s a delicate violin. When we’re not treated to driving drums and blisteringly fast guitar licks there are moments of quiet reflection, space for the songs to breathe. “Mournography” is a beautiful instrumental number, a tribute to vocalist Paul Galagher’s best friend who passed away during the recording of “Brisneyland.” Paul’s vocals deserve a special mention. He’s got one of the strongest rock voices I’ve heard in some time, and it elevates these already strong songs into the stratosphere.

Brisneyland drops on November 20. Look out for it, because it’s an absolute cracker.

Image used with permission from Collision Course

Posted on by Lauren Katulka

Jazz in the Vines @ Tyrell’s Vineyard, Pokolbin – 31 October 2015

With a new concert looming tomorrow, I figured it was about time that I sat down to write about this year’s Jazz in the Vines. After missing last year’s event because my usual Jazz companions (the parents) were gallivanting around the world, I was determined to not miss this year’s. Not even the grey skies and threat of rain could dampen my enthusiasm.

With my parents doing more world travelling, I lost my regular ride. Thankfully Rover’s Coaches were there to oblige. I can’t recommend them enough. We travelled to the vineyards in such comfort that my husband slept the majority of the way.

The Wobbly Boot Jazz Band provided the perfect soundtrack for us to track down my high school friend and acquaint ourselves with the venue. These guys are Jazz stalwarts, always consistent in the old-school jazz they deliver. They’re a reminder of where the festival began, before it started genre hopping.

One thing I noticed as I browsed the stalls was the lack of wine options. I’m not sure if this was new this year or the last, but last time I attended Jazz in the Vines we had major winemakers like Peterson’s Champagne House and Tamburlaine Organic Wines represented. I can’t blame Tyrell’s for wanting the monopoly, given that Jazz is held on its land, but it was a little disappointing to have our options narrowed. I will concede though that the Tyrell’s wine was delicious. I don’t normally drink their stuff, but I sampled the semillon, the bubbles, and a white blend called Part & Parcel and they were all heavenly. The lines also didn’t seem to get as long as I thought they might, although if Jazz was held on a beautiful sunny say I can see that becoming an issue.

As we settled in for the day organisers informed us that sadly next year’s would be the last ever Jazz in the Vines. It promises to go out with a bang, but I really wish it didn’t have to go out at all. It’s the only festival I bother with these days. There’s always something wonderful on the bill, and the relaxed atmosphere just can’t be beat. I’m really going to miss it.

So there was a tinge of sadness as we settled in to watch the Royal Australian Navy Band. These guys are always so tight, performing a set mostly made up of standards with military precision. Unexpected covers of “Supercalifragilisticexpialidocious” and “I Want to Be Like You” from The Jungle Book added real colour to their performance.

Bruce Mathiske is such an accomplished guitarist that it’s impossible not to be impressed by what he does. When he brought George Golla on to the stage with him, we knew we were in the presence of greatness. However, three acts in I was kind of waiting for a break from the mellow. Or perhaps the rain that had started to come down was souring my mood. Either way, things were lovely but I was waiting for them to kick up a notch.

It seems I was waiting for Steve Clisby. Funnily enough, I was one of the only Aussies who wasn’t besotted with him on The Voice. I thought he played a little too safe, and I could see some limitations to his vocals. But when I saw him live, I wasn’t worried about any of that stuff. There’s this easy way about his performance style that wins a crowd over from the get go. Perhaps it also helped that here he was singing the songs he wanted to sing, rather than those given to him by the network. Although he did acknowledge his Voice past with his now famous cover of “Walking in Memphis.” I didn’t expect to enjoy Steve Clisby as much as I did, but after some fairly sleepy acts I was really impressed.

It wouldn’t feel like Jazz in the Vines without James Morrison, and once again he didn’t disappoint us. This time around he seemed to take a back seat though, giving his young singers an opportunity to shine. There weren’t the big trumpet solos I was used to. He even spent a little time on keys. Rather than attempting to be the star, he sang the praises of his vocalists. I was thrilled to see former Australian Idol contestant Roxane LeBrasse back with him, as she was a few years ago. The Voice alum Glenn Cunningham was there too, proving he’s well and truly moved on from being Delta Goodrem’s back-up singer. He was so much stronger than I remember him on the show, whether because he’s got more experience as a frontman under his belt or he’s now singing songs that he believes in a little more. I hadn’t heard of Evelyn Duprai but she was also phenomenal. I’ve seen James Morrison in the spotlight, so I really enjoyed watching him as part of one of the best soul ensembles I’ve seen.

Ross Wilson was the act I really wanted to see, and he put on the performance of the day. He drew from his entire back catalogue, helping the crowd forget about that relentless rain with classics like “Come Said the Boy,” “Come Back Again,” and my personal favourite “Cool World.” He has such charisma to match those amazing songs. By the time he brought out “Eagle Rock,” the whole crowd was singing along enthusiastically.

Honestly, it’s a shame that Ross Wilson didn’t end the show. We heard some time earlier that Angry Anderson, who was scheduled to front closing act John Morrison’s Heavy Metal Jazz Orchestra, had come off his bike and wouldn’t make it to the show. Sadly without Angry, this act seemed really just like your average jazz band. That’s fine at the start of the day, but a little lacklustre at the end when we’re all ready to party. I really hoped there’d be some edge, some jazzy covers of heavy metal hits perhaps, but I was bored. If I were the organisers, I would have rejigged the bill so this technically fantastic but ultimately uninspiring act wasn’t our final taste of Jazz in the Vines 2015.

As we packed up and headed for the gates I was stopped with my mostly full bottle of wine and told to surrender it. Given how frustrated I was, I figured I’d sound off about that here too. In hindsight I probably should have hidden it away in my bag and tried to sneak through, but I hadn’t really thought it would be an issue. I think this sort of policy simply encourages people to down the bottles of wine they have to ensure their money isn’t wasted. I was getting on a bus, but I could have just as easily been getting behind the wheel. Surely it’s more responsible to let people take their wine with them to consume it later, rather than guzzling it at the gate. I know rules are rules, but I’m not sure this policy is the best thought out.

This year’s Jazz in the Vines wasn’t perfect, but even a less than perfect day at Jazz is better than a day at most festivals. I’ll be back in 2016 with bells on, keen to help this beloved Hunter event go out with a bang.

Posted on by Lauren Katulka

Lily & The Bellows Release Retro Pop Gem

Sydney indie-pop bank Lily & The Bellows are taking us back to summer in the 60s with their far out new single “White Lies.”

This track reminds me of the sort of thing a retro girl group might have done, although the lyrics have a deliciously modern bite! It’s ridiculously catchy and just the thing to match your Saturday mood.

“’White Lies’ is the tale of a girl who’s willing to risk her family and friends just to live a day in fantasy land,” explained frontwoman Lily So. “Her friends are models and rich kids with old money. In the end she loses everything and becomes everything she fears; just a poor, ordinary girl.”

What do you think of this retro-inspired single?

Posted on by Lauren Katulka

“Home Movies” – Kevin Dolan

After hearing Kevin Dolan’s song “Modern Times” a week ago, I couldn’t wait to listen to EP it was lifted from, Home Movies. I’ve played it twice this morning, and it’s proven to be just the music I needed to hear to wind down on a Friday.

Actually, it’s just the sort of music I like to hear at any time. This six-track collection has everything I loved about the single but that bit more. You can enjoy a song on its own for what it is, but when you hear an EP like this you start feeling like you’re getting to know the artist.

As you might expect from an EP penned by an Irishman living in Australia, themes of displacement and longing run through Home Movies. Beautiful songs like “Gone” and the EP’s closer “The Station,” in which Kevin sings with only his acoustic guitar as support, really resonated with me. But there’s a much cheekier side to his music too which he showcases on the Gaelic blues track “Fairytale Blues #3.” I’m not quite sure how the musical influences of this song marry so well, but he manages to pull it off.

Home Movies is real, raw, and beautiful. Kevin Dolan’s husky voice isn’t perfect, but his flaws make this recording feel that much more honest and compelling. He’s a storyteller, the kind of artist we don’t hear enough of these days. Home Movies is a wonderful introduction to his music.

Home Movies is available on November 1. Kevin Dolan will support it with a show at Melbourne’s Bar Open on November 15.