Posted on by Lauren Katulka

Q & A with Dane Rumble

Dane Rumble’s latest single “Always Be Here” is one of the most addictive pop tracks I’ve heard in some time. So I was thrilled to catch up with the Kiwi singer ahead of his upcoming Aussie tour. Here’s what he had to say about the upcoming shows, his new album, and cracking the Australian market.

You’ve done really well in your native New Zealand. What’s inspired you to try and crack the Australian market?
As a Kiwi artist, it’s only a natural progression to release in Australia. We are very similar countries! Also I have spent a lot of time in Australia over the past seven years, and I absolutely love it. Any excuse to hang around really.

Your album The Experiment was a number one hit in New Zealand. Why are we going to love it?
I hope you guys will love it! I have had a lot of positive feedback on it and continuously hear how people can directly relate to the lyrics and topics of the songs. I guess it’s me laying it on the line, spiced with killer hooks!

When I first heard “Always Be Here” I was struck by its 80s retro vibe it had. Were you inspired by any of the artists of that period?
I grew up listening to a lot of 80s rock and pop, Midnight Oil, Talking Heads. I guess when I started writing this new style of music a lot of these influences naturally came out.

You’re just about to release your second single here, “Don’t Know What To Do.” What can you tell me about the song?
“Don’t Know What To Do” sounds like a love song, but it is really about my love/hate relationship with music. Being in the industry for the past 11 years, I have seen both the incredible highs, and the painfully real lows of the game. No matter what I do, I’m always drawn to it, so I guess I will never stop creating!
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Posted on by Lauren Katulka

The Jezabels New “Mace Spray” Video

The latest song to get my blood pumping is “Mace Spray,” the lead single from The Jezabels’ third EP Dark Storm.

The EP name is an appropriate one, not just for all the gloomy grey weather we’ve been experiencing but that delicious moodiness that hangs over this song. Hayley Mary’s vocals are gorgeous, and all the musicians play their part to create a lovely brooding atmosphere.

The Sydney band are currently strutting their stuff in Canada, but they’ll be back soon enough to play a string of shows around the country. It seems I’m not the only one who’s fallen for this indie four-piece as many of the capital city shows have already sold out. If that’s not an excuse for a road trip I don’t know what is!

See them with new Canadian pals Two Hours Traffic at the following shows.


Posted on by Lauren Katulka

Luke and Joel Booted from The X Factor

I said that after a fairly uneven night of X Factor, I wasn’t really sure where the axe was going to fall. But I didn’t expect to see Luke and Joel and Mahogany in the firing line.

It must have been a hard night for Guy Sebastian, who forced the judging to a public vote rather than eliminate one of his own. As it turns out it wouldn’t have mattered; Luke and Joel were gone whichever way we cut it.

I’m sorry to see these two go. I was incredibly skeptical when they made it to the finals, but they’ve won me over with their sunny personalities, exceptional ability to interpret a song, and real musical flair. I hope we see a lot more of these boys on the outside.

SYDNEY, AUSTRALIA - JULY 30: (L-R) The cast of 'The X Factor' Natalie Imbruglia, Ronan Keating, Kyle Sandilands and Guy Sebastian pose during a media call on July 30, 2010 in Sydney, Australia. (Photo by Mike Flokis/Getty Images)
Posted on by Lauren Katulka

Great ARIA Awards, Shame About the Ceremony

The ARIA Awards are intended to celebrate the year that was, and on paper they did just that. Angus and Julia Stone deservingly took home the lion’s share of the pointy statues. Their sophomore effort Down The Way was named album of the year, best adult alternative album, and best cover art, its second single “Big Jet Plane” single of the year, and the duo was named producers of the year.

I was also thrilled to see Washington bag a double for female artist of the year and breakthrough artist, and outgoing act Powderfinger recognized by the new popular awards for album and artist.

What a shame that the ceremony itself wasn’t fitting of the artists it recognised. I use the word ceremony loosely, because really there wasn’t anything ceremonial about it. I’m not suggesting the ARIAs need a great deal of pomp, but this thing was so relaxed that it got messy.

I cringed watching presenters wading through crowds to hand out the gongs, and seeing speeches given amongst the throng. The concept of making the awards accessible to the public looks good on paper; this music is for the people after all. But the execution was lacking last night. I’m not sure whether it made any more sense at the event, but at home watching on the TV it appeared shambolic.

The performances helped to save it, of course. We can always rely on our musicians to turn out quality acts, and they did. I loved Washington’s saucy delivery of “Sunday Best,” and Dan Sultan stepping in for INXS. If they’re looking for a replacement for JD Fortune any time soon, he’d do a great job.

While those musical numbers helped make the event watchable, they couldn’t save it completely. I only hope that next year our musicians get the ceremony they deserve.

Posted on by Lauren Katulka

The X Factor Celebrates Oz

With ARIAs fever in the air, our X Factor finalists took on Aussie hits.

Luke and Joel kicked things off with The Living End’s “White Noise.” It was a smart choice as The Living End have always been more about the energy than the technical skills. This is where these boys excel. They didn’t blow me away as they did last week, but that landed them in the bottom two; maybe it’s better to be solid at this point.

When I heard Sally Chatfield was taking on The Veronicas, I’d hoped she’d do “Everything I’m Not.” But I don’t know; there were some really nice moments but it just didn’t quite jump off the page for me. I loved the way she asserted herself, and that lovely spontaneous moment with the guitarist, but I’m just not sure she gave us all of herself. They seemed to lap it up in the studio, but I just wasn’t feeling it at home.

Andrew Lawson dished up a bit of Sam Sparro’s “Black and Gold.” This was so theatrical and over the top. The song choice was lovely and his vocals were brilliant, but for me it was just too glossy to take seriously. I think if it was stripped back this would have been much more convincing. I’ve often felt that The X Factor goes overboard on the production, and this is a prime example.

I never would have thought of picking a bit of Daryl Braithwaite for Mahogany, but I thought their version of “The Horses” was brilliant. Well done to Guy for remembering that Australian music didn’t start with the naughties. This was the most believable performance of the night. I can’t imagine Mahogany being in the bottom two after this.

Altiyan Childs closed the night with a really lovely version of “Never Tear Us Apart.” It was all those things I’ve been banging on about, being believable and authentic and stripping it all back to the root of the song. He’s definitely coming into his own, and it’s a beautiful thing to see.

After a fairly uneven night it’s hard to say who will go. I know who my favourites were, but we’ve all got to factor in that sympathy element. We’ll find out tomorrow night where the axe will fall.

Posted on by Lauren Katulka

Butterfingers’ Singer Evil Eddie’s Ode to Queensland

Former Butterfingers’ front man Evil Eddie is paying tribute to his home state with his new single “Queensland.” Butterfingers enthusiasts should love this solo effort, as has that same hip hop/punk core and “brilliantly uncouth” lyrics that made the iconic band so successful.

The “Queensland” single offers real value for music fans, with the inclusion of a radio edit and Bewilderbeats remix. It comes from the forthcoming debut album, tentatively titled Welcome to Flavour Country. We may not know exactly what it’ll be called yet, but we do know that Eddie plays almost all the instruments himself, bar drums, which is pretty impressive.

No doubt we’ll get to hear “Queensland” and some more new tracks when Evil Eddie takes to the stage at the upcoming Peats Ridge Festival on the Central Coast on December 29, and the Woodford Folk Festival on December 30 and 31. He’ll be backed by an all star band boasting members of Butterfingers, Laneous and the Family Yah, Bang Boss Kelly, The Disables, and Spitfireliar. I hear they might also pop up and play a few secret shows, so keep your eyes peeled and your ears to the ground music fans!


Image used with permission from Reckoning Entertainment

Posted on by Lauren Katulka

Addicted to Bliss N Eso’s Awesome New Music Video

Have you seen the film clip for Bliss N Eso’s new song “Addicted”? The amazing stop-motion video has set YouTube alight with nearly 50, 000 views since it was posted on Tuesday.

I’ll bet the lads are glad their hard work is being seen by so many. After working for three months on the clip, which was shot using more than 2200 photos and more than 300 cans of paint you’d want it to go viral!

If you haven’t seen it yet, what are you waiting for?

Posted on by Lauren Katulka

Profecy Shares New EP for Free

The Australian hip hop scene is growing quickly, and taking new talents like Brisbane MC Profecy along for the ride. On November 9 he’ll release his debut EP, a five-tracker called Let The Music Play.

The CD’s seen Profecy collaborate with Belgian producer Benno and American singer/producer DJ Corbett. The experience of these industry pros combines with Profecy’s vibrant delivery and poignant lyrics to create something special.

“My goal when creating this EP was to create something that differs from all other Australian hip hop, something exciting and musical, not just lackluster vocals over boom bap beats, which seems to be the trend,” Profecy explained in a statement.

If that interests you make sure you head to Profecy’s website on November 9 to download the album for free. And if you like what you hear, make sure you experience Profecy in the flesh when he plays his launch show at Fortitude Valley’s Step Inn on December 11. He’ll play all the EP tracks and then some with the help of Cheyenne, Cam Bluff of Vegas Aces, Jae Druitt, and Jealous Citty. It sounds like a fun night!

Image used with permission from AAA Entertainment

Posted on by Lauren Katulka

Have the ARIA Awards Sold Out? You Bet Barnesy

Jimmy Barnes made some telling comments in the media today, slamming the ARIAs and the way they’ve become more about television ratings than the music. I’ve got to admit, I tend to agree.

Years ago I remember attending several ARIA Awards. I cheered on the world music artists I’d chatted to earlier in the night as well as bands who were already my favourites, and celebrated the beautiful landscape of Australian music.

But that sense of community seems to have been taken away this year as awards were presented at ARIA Genre Awards concerts rather than the main event. These genre awards saw gongs go to some big names: jazz man James Morrison, children’s entertainers The Wiggles, country sister act The McClymonts, and the soulful Dan Sultan amongst them.

These artists might not be flogged to death on commercial radio as the acts that will take home Sunday night’s awards are, but isn’t that kind of the point? Why do international guests with no connection to music like Carmen Electra and Eric Stonestreet find a place at Sunday’s awards when the performers that make the Australian music landscape so rich don’t? I love Modern Family as much as the next person, but it makes no sense to me. I’d much rather celebrate the melting pot that is the Aussie music industry than only the performers that already bask in the limelight.

I was happy to see the ARIAs move back to Ten after the awkwardness of last year’s ceremony, but now I’m just not sure.

Image used with permission from Javelin Australia

Posted on by Lauren Katulka

Q & A with Owl Eyes

Australian audiences were first introduced to Brooke Addamo as a fresh-faced teen on Australian Idol. She’s done some growing up since then, and adopted the stage name Owl Eyes. With the release of her debut EP Faces, it’s time to reacquaint yourself with this talented young singer-songwriter. I caught up with her recently to chat about her stage persona, Faces, and her upcoming launch shows.

It’s not so common for a solo performer to take a stage name. What was behind that decision for you?
I decided to go with a stage name to separate myself from my normal self. Having a different name helps you create a stage persona and let’s you be more creative.

And why Owl Eyes?
I feel owls are such a good representation of my music; it’s that combination of light and darkness, pop music with some substance behind it. Among many other reasons I choose it after going through some of my favourite songs and came across Devendra Banhart’s “Owl Eyes,” and it just sounded right to me.

If local audiences think you look familiar it may be because they spotted you on Australian Idol. How was that experience for you?
Australian Idol was fine. I mean I was 17 at the time, so it was a good experience for me to go through. It really did make me realise what I didn’t want to be and made me a stronger person in the decisions I make. I feel it actually makes me work harder because people have these preconceived ideas of what I am so I have to constantly prove myself as a serious artist but when good things happen I’m more grateful because I know how hard I worked, so it all balances out in the end.

There can be a bit of a stigma around appearing on a talent show like that, particularly when you’re a songwriter with independent leanings. Did you feel that, and if so how did you overcome it?
I have felt that at times but I have been pretty fortunate that once people hear my music they kind of discard the stigma and judge me purely on what they hear. The fact that I didn’t go very far on the show has actually benefited me in the long run and similar artists have set good precedents and I think people are more forgiving towards artists like myself and see it more as an awkward teenage stage or a learning curve, rather then something that defines the artist.

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