Posted on by Lauren Katulka

“Chapter Seven” – Damien Leith

Generally there are two types of former Australian Idol contestants. There are the Guy Sebastians, the Matt Corbys, the Jess Mauboys. They’ve long since shaken off the reality show contestant tag and enjoyed continued success since their reality TV stint. And then there are the Kate DeAraugos, the Natalie Gaucis, the Luke Dickenses. They made it to the pointy end of the competition only to disappear from the musical landscape almost as quickly as they appeared. Somewhere in the middle is a performer like Damien Leith. He didn’t reach the dizzy heights of many of the show’s victors, but he’s refused to just fade away either. Instead he’s quietly devoted himself to his love of music. It might surprise you if you weren’t watching his career closely, but he’s just released his seventh album, aptly titled Chapter Seven.

I haven’t heard too much from Damien in the years since his win, but they’ve served him well. His distinctive soaring voice is in fine form, but he’s learned to reign in his falsetto and use it only for effect. I’m not sure whether that’s about Damien developing as an artist, or if he simply knows that he doesn’t need to deliver the big crowd-pleasing notes that inspire people to pick up the phone anymore. Either way, the vocal performances on Chapter Seven feel really natural and honest.

Damien has a real knack for writing solid songs that have something to say. None of them are catchy enough to really take off on the charts, but they reward the fan that takes the time to listen. “See You Again” captures the feelings of yearning that come from time on the road so eloquently. “I Can Stop You Crying” has such simple, gentle instrumentation which ensures the words aren’t overshadowed. “Faith in Me” is a beautiful song about personal strength.

It’s worth noting that the latter tracks I mentioned were written in collaboration with Joe Melson, the man behind many of Roy Orbison’s biggest hits. Damien’s long spoken of the way Roy influenced his career (and he recorded a tribute album to prove it), so it seems only fitting that these artists are now working together and creating stand-out material.

Damien Leith wears his heart on his sleeve, and that’s so compelling. It’s impossible not to like an artist that so freely shares himself with his audience. He may not be reaching the masses that he did during his time on Idol, but with Chapter Seven Damien rewards anyone that’s willing to listen.

Image used with permission from Jaden Social

Posted on by Lauren Katulka

Dami Im On Top of the Charts

Dami Im continues to ride the wave of post-X Factor success. Not content with a number one single a few weeks ago, Dami’s debuted at number one with her self-titled album. It features that number one hit “Alive” as well as tracks performed during her stint on the reality TV juggernaut. Her album’s the 12th by a local performer to hit number one on the ARIA charts this year. That beats the previous record of 11 Aussie number ones set in 2004. Does 2013 have another Aussie number one in it?

It seems plenty of us are already feeling festive, as Human Nature’s The Christmas Album has jumped into the top ten this week. It sits at number nine, three positions better than it was last week. Tina Arena’s also still hanging around the top ten. She rounds out the top ten with Reset this week.

Dami’s fellow X Factor finalist Taylor Henderson is also holding his own. His single “Borrow My Heart” is sitting at number five this week. Guy Sebastian’s “Like a Drum” is showing it’s got real staying power. A month after its release it sits at number seven. Justice Crew have dropped a couple of positions, but they’ve still claimed a top ten spot with “Everybody.”

Continue reading “Dami Im On Top of the Charts” →

Posted on by Lauren Katulka

Jimi Beavis Unleashes “Gentleman Giant”

Brisbane bluesman Jimi Beavis takes the road less travelled with the quirky new album Gentleman Giant.

The lead single “You’re Much too Young for Me” gives us a taste of what we can expect from this unusual artist. The track has a gorgeous old-timey blues feel, but it’s imbued with a thoroughly modern sense of humour. Jimi says the track came about when he returned to university as a mature age student and found himself surrounded by so many much younger, incredibly attractive women.

Jimi says Gentleman Giant has been in the makings since he was a teen listening to the music of Bob Dylan and his contemporaries, and later the music that inspired their sound. Through this period of keen musical discovery he amassed an insane knowledge of roots music as well as some serious harmonica skills. It comes on the back of Jimi’s two EPs, which gave him the studio experience he needed to tackle this ambitious long-player.

To celebrate Gentleman Giant’s release, Jimi will play a trio of launch shows in the East Coast capitals later this month.

Jimi Beavis will release Gentleman Giant independently on November 29. It’ll be available online from Jimi’s Bandcamp site, at selected Brisbane music stores, and at the following shows.

28 November 2013 – The Public Bar, Melbourne
1 December 2013 – Black Bear Lodge, Brisbane
8 December 2013 – Coogee Diggers, Sydney

Image used with permission from Pricewar Music

Posted on by Lauren Katulka

Homes Helps Us Usher in the Weekend

The weekend is nearly upon us. Woohoo! What better way to celebrate than with a sneaky peek at Homes’ charming new single “Best Disguise.” Homes is the brainchild of longterm musical collaborators Fin Bradley and Henry Badgery. Their latest project celebrates their mutual love of disco, soul, and good old fashioned rock and roll.

“Best Disguise” is their latest incarnation’s first release, and it’s so damned catchy. Its bold brassy horns and punchy riffs move it along nicely. The much maligned kazoo even makes an appearance. Just see if you’re not “woohooing” along with the twosome by the track’s end.

“Best Disguise” is officially released on November 25.

Posted on by Lauren Katulka

“Farewell Fitzroy” – Busby Marou

It might be only November, but I’ve already found my summer soundtrack thanks to Busby Marou. I slipped their latest album Farewell Fitzroy on recently to motivate me with my weekend housework and before I knew it I’d listened to it five times.

From the opening track “My Second Mistake,” this is album is a really easy listen. I don’t mean that in a negative sense at all. It’s far from lazy, but it is accessible. It especially feels familiar to a fan like me. They’re certainly not going to alienate their faithful followers with this collection of songs.

The music is so organic, and matched with really insightful, witty songwriting that brings back the art of telling a story through lyrics. Acoustic guitar and those natural harmonies anchor every song. I think I said something similar when I reviewed the Toowoomba duo’s debut, but they’re not resting on their laurels. Keys, mandolin, harmonica, strings, and electric guitars play more of a part than I remember them doing on the first album, which felt like much more of a two-hander. They’ve certainly built on their signature sound, but there’s still that essential Busby Marou core.

I’m still trying to settle on a favourite song because there really are no filler tracks. If you pressed me though I might name “Leave It Up to Me” because it’s just got such a powerful emotional centre and vulnerability about it. I also never imagined Busby Marou would create a song as epic as “Wage a War.” It builds to something truly special.

I certainly expect to be naming different tracks as I fully absorb this album over the coming months. But even a few days into listening to it I know Busby Marou haven’t suffered from any second-album syndrome here. The band raised the bar so high with their debut, but they certainly match that effort with Farewell Fitzroy.

Posted on by Lauren Katulka

Mitchell Anderson @ Lizotte’s, Kincumber – 8 November 2013

While the rest of the country was fawning all over Harrison Craig, I was falling for one of The Voice’s more seasoned contestants. I was captivated every week by Mitchell Anderson, and when he was given the boot I couldn’t wait to see what he’d do next. Thankfully those plans included a show at my favourite haunt, Lizotte’s Kincumber, last Friday night.

That voice that was so powerful on television gave me goosebumps in an intimate venue like Lizotte’s. The bio on the menu claimed that Mitchell is one of the best white soul singers, but I don’t think we need that qualifier. Few voices anywhere drip soul as much as his.

But there’s more to Mitchell than just a voice. He oozes positivity out of every pore. It’s just so much fun to see him perform. I couldn’t wipe the smile off my face as he treated us to a set that paid tribute to the world’s great soul and blues artists. He treated us to a few originals, but it was those covers that got the place on their feet. Many of them were featured on The Voice, but there were many more than didn’t make it on the show. I loved hearing him take on a few BB King and Joe Cocker numbers. That Voice cover of “Dear Prudence” though is still one of the best things I’ve ever heard.

One of the best things about a show like The Voice is that it gives a guy like Mitchell, and the talented musicians he’s played with for years, exposure. They certainly didn’t play second fiddle to their now famous frontman. Every one of them has the musical chops to play with the best in the Australian business. Together their sound was so tight. What a wonderful thing such experience is.

People like to find fault with shows like The Voice. However, after witnessing a concert like Mitchell’s, I’m really glad it exists to introduce me to artists of his calibre and help him attract the crowds he so richly deserves.

Image source: own photo

Posted on by Lauren Katulka

Tony Hadley @ State Theatre, Sydney – 1 November 2013

Tony Hadley seems to have developed a liking for Australia. He’s visited our shores four times in the last five years, which isn’t bad for someone who hasn’t had a hit for decades. The Spandau Ballet frontman peddles nostalgia, and he does it so well that I haven’t missed one of those recent tours.

I also continue to see Tony because he never rests on his laurels. Sure, he mostly sings the same songs, but it’s always packaged up just slightly differently. There was the tour with Paul Young, with his Spandau Ballet bandmates, with Go West, and now with a symphony. This was the most intriguing for me. I was curious to hear how Spandau’s legendary synth and guitar-driven sound would work with strings and wind instruments.

The result was honestly mixed. If it was simply Tony and the Sydney Symphonia musicians, I think the sound might have been more coherent. However, with those trademark electric guitars and keys still present, sometimes the sound got confused. Sometimes it seemed like the musicians were competing against one another, but in other places the marriage was perfect. It was certainly an interesting experiment, but not one that always worked.

The show was cleverly split up into two halves. The first saw Tony playing a few tracks from his soon to be released solo album as well as the songs that have influenced his career. This was really interesting for a music buff like me. I never imagined I’d get to hear him sing The Eagles’ “New York Minute,” “David Bowie’s “Life on Mars,” or “Jimmy Buffet’s “Time in a Bottle.” The latter was particularly touching, with stripped back instrumentation letting those beautiful lyrics come to the fore.

After intermission it was time for the Spandau Ballet hits that brought us there. These certainly took on a new dimension with the orchestral arrangements. I even found myself enjoying some songs, like “Muscle Bound,” which hadn’t struck a chord with me before. “Through the Barricades” was suitably epic, and the favourites “True” and “Gold” had everyone in the stalls dancing. What a shame the State Theatre’s “no dancing in the dress circle” policy prevented me from joining them!

No matter what he’s singing, Tony is the consummate professional. He’s trimmed down since his last visit to Oz, and I think it’s given him even more energy. His voice also only seems to get stronger as the years march on. He had the audience in the palm of his hand from the first song, and kept them there. He just doesn’t disappoint. That’s why I’m wondering when his next visit to our part of the world will be!

Image source: Stephen Katulka

Posted on by Lauren Katulka

Panama Does Things Differently

The summer festival season gets pretty crowded, but if you’re looking for something different next year you need to pencil March 8 and 9 into your calendar. That’s when Panama takes over the forests of north-eastern Tasmania.

Panama looks to provide a point of difference with Australian and international bands and sideshows of bebop, jazz, soulful dance music, and cabaret acts. The bill’s only just starting to take shape, but Tassie will welcome The Daptones’ Charles Bradley, local heroes Husky, and vintage rockers The Frowning Clouds. That eclectic early bill gives you a bit of an idea of the diversity this festival will celebrate.

It’s also not your usual overcrowded festival with people who want to be seen and warm beer. It’s an event which cares about music, so you’re going to have great sound and an intimate gathering rather than a massive throng of punters. Limited tickets for Panama will go on sale on December 1 from the festival’s website.

Image used with permission from Panama Festival

Posted on by Lauren Katulka

Is the Old Stuff Better Than the New Stuff?

Through my blog I listen to plenty of new music. I love to keep my finger on the pulse and I still get excited when I discover something new. But am I the only one who thinks that music just isn’t as good as it once was?

Even typing that sentence makes me cringe. I remember how my dad would say sentences to that effect when I was a kid and I’d think he was just too out of touch to get it. Now I think perhaps he was on to something. I watch The Loop, as I used to watch Video Hits years ago, but there are only a handful of songs that I enjoy. When I fork out money for concert tickets I’m more likely to see a nostalgia band than an up-and-comer. The albums I keep coming back to are the ones I’ve heard a million times before.

I can’t be the only one who feels that way. There are online retailers like iOldies Music cropping up to sell the music of classic artists to fans around the globe. International and local acts from the 80s and 90s are still so in demand that they can sell out shows so many years later. Billboard’s top three earners last year were Madonna, Bruce Springsteen, and Roger Waters of Pink Floyd. Clearly Aussie tours from the latter two helped them out, as more than 90 percent of their revenue came from live shows.

I don’t want to feel out of touch or dated. Yet whenever the words come out of my mouth, I can’t help but feel over the hill. Is old music really superior to the new crop, or am I just stuck in a time warp?

Image source: Harminder Desi @ Flickr

Posted on by Lauren Katulka

In Memory of the Record Stores

My husband likes to tease me because I just can’t let go of physical music. To me, buying an album shouldn’t be about hitting download and receiving a bunch of files. Instead it should be about spending time pouring over liner notes and reading the thank yous to see which artists made guest appearances and what your favourite musician says to his fans.

Does anyone else remember spending hours in record stores? My mum used to leave my in Brashs while she’d do the grocery shopping and I’d spend forever staring at the cassettes and CDs, planning my next purchase. Even better were the days when I’d catch the bus after school to Rices Bookshop and pour over their exhaustive range of vinyl. That’s where I picked up Bon Jovi’s Slippery When Wet, Wham’s Make It Big, and Poison’s Open Up and Say … Ahh! I was thrilled to search the internet to find Rices is still there on Newcastle’s Hunter Street, and it’s still selling records. There’s even the odd website, like iOldies Music, popping up to as an alternative to the digital download sites.

Because the sad reality is, so many record stores haven’t been so lucky. My beloved Brashs folded many years ago. Independent record stores have almost gone the way of the dinosaurs. Perhaps our kids don’t care whether they can spend hours thumbing through collections of vinyl as I did, but I like to think that’s not the case. After all, ARIA reported in September that vinyl sales increased by more than 70 percent last year. Surely it’s not just the old fogies buying it, right?

We all think about this sort of stuff around Record Store Day, but an annual buying frenzy can’t sustain these beautiful businesses. Next time you see a record store, I think you owe it to yourself to go in and buy something. Anything. If we all did that, maybe we can prevent so many of those hallowed stores that have brought so much joy to music lovers from closing their doors.

Image source: Spencer Hickman @ Flickr