Category: Album Reviews

Posted on by Lauren Katulka

“Bilambiyal (the learning)” – Radical Son

Radical Son has one of those voices that stays with you. It stops you in your tracks, forcing you to listen in and pay attention. A proud Kamilaroi and Tongan man, he’s just released his sophomore album Bilambiyal (the learning). It’s a special collection of soulful songs that will resonate with you long after the last track fades.

Interestingly, this album opens with “Elder – Reprise.” We’re not starting at the beginning, but further down the journey, where Radical Son expresses his hope to become an Elder, to grow old with a partner. He has dreams, dreams that might have seemed impossible at the start of the story. That story is sadly an all too familiar one. Radical Son’s life hasn’t been easy. He’s spent time in jail. Songs like “How Long Must I Wait,” featuring the incomparable Emma Donovan, and “All My Life” don’t shy away from the hard times. You can hear the pain in his vocals, the yearning for a different path. They’re a heartbreaking part of the story but they’re also an essential part because working through them gave him the wisdom and perspective he has today.

After his incarceration, Radical Son sought healing and redemption through his culture. The album evolves as each song retells that journey, taking us from a place of sadness to one of healing and ultimately hope. “Until You Call My Name” touches on love, of taking steps forward. Its stirring string section feels almost cinematic. The contrast between this track and the next, the intimate spoken word interlude “Cultural Contract,” gives resonance to both. Radical Son expands on the ideas of the opening track with “Elder.” It’s an inspiring midway point. After coming through so much pain, gaining so much wisdom, we see Radical Son finding purpose, hoping to channel what he’s learned into teaching the next generation so they don’t have to walk the same path.

“Only One Life” is a joyous reggae number celebrating existence. It provides a brief moment’s respite before the somber title track. The introspective lyrics about loss, suffering, and rebirth are amongst the album’s best. The legacy of Yothu Yindi no doubt influenced “Yuluwirri Wandabaa (The Rainbow Dreaming).” Featuring Frank Yamma and the return of Emma Donovan, you feel this one deep in your bones. “Dhuwan Baraay Yuligi” is a much more intimate number, one where the vocals take centre stage. My intellectual side wished I understood the language, but the more primal part of me felt it. Something tells me, that’s the point. The layered vocal harmonies of “A Golden Age” have a gorgeous angelic quality that elevates, leading into the optimistic but vulnerable closer, “The Fall.” As Radical Son sings it’s going to be alright, you can’t help but believe him.

Bilambiyal (the learning) takes listeners on such an incredible journey, one that I’ve willingly taken countless times over the last few days. Radical Son is such a compelling artist, and in this album, he shares his wisdom and talent so freely. Wait until you’ve got a nice block of time to just listen to it, free from distractions, because this powerful album deserves your focus.

Bilambiyal (the learning) is out now. Radical Son will play an all-ages show at QPAC in Meeanjin/Brisbane tomorrow night, 31 July, to raise awareness of First Nations men’s mental health.

Main photo credit: Cameron Bloom

Posted on by Lauren Katulka

“In Between The Words” – Toby Mobbs

In 2022, Toby Mobbs captured my heart with his fantastic debut album Placid in the Rough. I marvelled at the eclectic songs that despite the genre shifts, all hit me in the heart. With the release of his follow-up In Between The Words, Toby still refuses to stay inside a musical box. But when you’re this creative, why would you?

His debut album pushed genre boundaries, but Toby’s taking even more risks this time around. The sound is louder, bolder, more self-assured. The gentle acoustic guitar strains of the album opener “Over & Out” ease us in, before big crashing chords signal that this is no sleepy background folk. Toby demands to be heard, and I found myself willingly strapping myself in for the ride. It’s a good thing I put on that metaphorical seatbelt, because this album delivers plenty of twists and turns. Electric guitars, synths, and simple singable lyrics combine in “Run Back to You” for a retro rock sound. The following track “Let Go” occupies a similar nostalgic space, although it’s a little more complex. It reminds me of Springsteen. It’s that good.

Just as you start thinking you’ve figured this album out, Toby takes another left turn. “Three Cities” is a big, ballsy hard rocker. I didn’t know Toby had it in him, but with Simon McKenna guesting on vocals, he finds another gear, another genre to play with. Perhaps it’s not so surprising that he nails it. “Same,” a duet with Naarm/Melbourne artist Iva Mahoni delivers the sweetest, softest moment of the album. After a couple of collaborative tunes, it’s only fitting that Toby brings us “Coming Back to Me.” It’s an introspective rock anthem that builds to a crescendo that should have you punching your fist in the air. It feels like the finale of a big show yet, but Toby’s not quite done. There’s still some more music to explore.

The big brassy notes of “Stagger” give it a ska feel that takes me right back to the early noughties. I’d barely stopped skanking when the simple piano melody of the final track, “Surrender” kicked in. I thought we were in for one of those gorgeous quiet piano ballads. I would have been happy with that. But of course, Toby kicks things up a notch for his grand finale, adding a stirring symphony and even a dash of opera. It’s dramatic, daring, and utterly spellbinding.

It’s very rare that I feel the need to touch on all the songs from an album, but each one is such an important part of this release. Like jigsaw puzzle pieces, they come together to create an exciting picture of where this talented young artist is right now. I often hear on reality shows that people need to find their sound, because the audience needs to understand who they are. As you listen to Toby’s music, you understand that sticking to one genre isn’t the only way to represent your artistry. In fact, when so many sounds all feel like a natural fit, surely releasing such a diverse collection is the only authentic option.

With In Between The Words, Toby Mobbs makes good on the promise I heard in Placid in the Rough. He’s still writing incredible, eclectic songs, but in between those lyrics his sound has evolved to become something bigger, bolder, and more confident this time around. In Between The Words is out now on all your favourite streaming platforms. If like me you prefer an old-school CD, you can order the album from JB Hi-Fi or find it in selected stores.

In Between The Words was:

Written by Toby Mobbs
Produced by Toby Mobbs and Matt Cross
Arrangement by Matt Cross
Engineered and Mixed by Simon McKenna
Mastered by Forrester Savell
Artwork by Kate Cossor

Images used with permission from Toby Mobbs

Posted on by Lauren Katulka

“Lustre” – The Buoys

For the last few days, I’ve been cranking Lustre, the debut album from Aussie rockers The Buoys. There’s not enough women making rock music in the world these days. There are even fewer examples of really good all-female rock acts. But these women are making some of the best I’ve ever heard.

I’ve been rocking out to The Buoys for some time, lapping up singles like “Check Mate”, “Guard My Heart”, and so many more. In fact, I’m not sure I’ve come across a track from The Buoys that hasn’t inspired me to put my fingers to the keyboard and share it with you all. After listening to Lustre, I’m convinced they just don’t have a bad song in them. Sustaining the quality over 14 tracks is no mean feat, but it proves just how good these women are.

I could call out individual tracks, but that would feel unfair to the rest. In actuality, this album grabbed me with the first honest, impactful lyrics of “Settle Petal” and didn’t let go. I was in raptures right until the final singalong notes of “Totally Completely Fine.” And then I hit play again. And again. And again. In fact, I’ve had to convince myself to stop procrastinating and write about this album so you could all get onto listening to it. So do it. Honestly. Don’t waste another moment before getting it on.

Lustre is out now. The Buoys will celebrate its release with shows in the major capitals in August and September. Tickets are on sale now for all of the following dates:

16 August 2024 – Republic Bar, Nipaluna/Hobart
17 August 2024 – Corner Hotel, Naarm/Melbourne
23 August 2024 – The Valley Loft, Meeanjin/Brisbane
30 August 2024 – The Factory Theatre, Eora/Sydney
6 September 2024 – Jive, Tarntanya/Adelaide
7 September 2024 – Jack Rabbit Slim’s, Boorloo/Perth
19 October 2024 – Stonefest @ University of Canberra, Ngambri/Canberra

Main photo credit: Dougla Gorman

Posted on by Lauren Katulka

“The Art of Getting Through” – Imogen Clark

After wowing me with singles like “All Hard Feelings” and “If I Want In,” Imogen Clark raised my expectations for her latest album The Art of Getting Through. Those singles were so well-written, with insightful lyrics and impeccable melodies. Happily, the release of the album shows they were no fluke.

This album sounds so polished, but we’d expect nothing else of a collection of songs recorded in the legendary Abbey Road studios in London, Peter Frampton’s Studio Phenix in Nashville, and EastWest Studios in Los Angeles, where the Beach Boys recorded Pet Sounds and Michael Jackson recorded Thriller. But it doesn’t matter how acclaimed the studios are if you don’t have the goods. Imogen does. Her songs unfold like diary entries, revealing her distrust of men in “Natural Predator,” her battles with an eating disorder in “Silhouette,” and her struggles and strength in “The Last of Me.” They’re big topics. Imogen is an artist with plenty to say, and listening to her catchy melodies and rich voice, you want to hear it.

“These songs are about the messiness of life, the layers of injury and hurt that build resilience and how you never really get a clean slate or a fresh start,” Imogen explained. “There is no starting over, there is only getting through.”

Most of the tracks on The Art of Getting Through sit in the pop-rock space. It’s a place where Imogen excels. These songs feel classic on the first listen. Not just the singles, but every track feels radio-ready. She could have sat in that space for the whole album and I don’t think anyone would complain, but she shows us we shouldn’t pigeonhole her music with the devastating closer, “If Your Heart Never Breaks.” It feels like a standard, beautiful, and cinematic, with hints of jazz. Can Imogen do it all? Quite possibly.

With the release of The Art of Getting Through, Imogen shows she’s blossoming into one of our best artists. Now she’s living in Nashville opportunities to see her live in our part of the world are becoming rarer, so make sure you don’t miss her when she visits in November after some UK shows.

10 July 2024 – The Green Note, London
12 July 2024 – Last Drop Inn, York (FREE)
14 July 2024 – Running Horse Live, Nottingham
14 November 2024 – Low 302, Eora/Sydney
16 November 2024 – Wesley Anne, Naarm/Melbourne

Images used with permission from Chinwag PR; main photo credit: Michelle Grace Hunder

Posted on by Lauren Katulka

“Old Growth” – Tom Harrison

Tom Harrison takes us on a road trip through North America with his gorgeous debut EP, Old Growth. Tom burst onto the scene in 2018 with his band Hugo Stranger and the Rattlers, but he’s showing us a quieter, more introverted side with this release.

Old Growth sees Tom trading in his usual gritty blues for a sweeter, folkier sound. He penned the songs in 2017, when he travelled across Canada and America’s West Coast with his wife in a Chevy van. Each song brings a moment of that epic journey to life for listeners.

“I got the title Old Growth from the forests we were visiting in Oregon and on Vancouver Island,” Tom explained. “It felt like a summary for where I mentally was at. I was accepting a new chapter of my lifeand learning so much about myself and growing as an adult.”

If you’re a long-term reader you’re already familiar with the singles, “Start Again” and “How Long.” The other tracks help us fill in the missing pieces of their adventures. The opening song “Miles Away” may be my favourite. Its jaunty little melody and cruisy vibe perfectly set the scene for a trip with endless possibilities. It’s not all about chilling out though. “Skraeling” sees Tom at his most political, firing up at the “little men” like Donald Trump and Scott Morrison he saw failing their people from their positions of power. “Buffalo” is a haunting song inspired by the old missing people posters he saw at a New York bus terminal. Closing song “Ontario” has a cool Western feel that I’m really digging. Its bluesy sound is closest to the Hugo Stranger material that put Tom on my radar. Tom said “I think it nicely closes this chapter and gives a wink towards the next direction of my music.”

I’m not sure where his next musical moves will take him, but I’m excited to keep listening. Old Growth is out now. You can catch Tom playing at one of the following shows:

5 July 2024 – Banshees Bar & Art Space, Meeanjin/Brisbane
16 August 2024 – It’s Still a Secret, Meeanjin/Brisbane

Images used with permission from Tom Harrison

Posted on by Lauren Katulka

“Naked & Famous” – Reckless Coast

If Reckless Coast felt any nerves recording their debut EP, they don’t show. Naked & Famous is a confident rock release that declares this band from Meeanjin/Brisbane have arrived.

Many acts ease listeners into their EPs by putting familiar songs up first, but not Reckless Coast. The opening track “Runnin’” is brand new, and utterly irresistible. From the vocal intro, I was in. Inspired by a Matthew McConaughey speech, it’s got a Foo Fighters energy that makes it feel accessible from the first listen.

The track provides a natural segue to “Bad Habits,” the first single I heard from this EP. It’s a natural fit for this release, bold and dripping in swagger. “Dying Town” shows Reckless Coast at their most angsty and most poetic. “Burn Street” is another familiar single that still sounds so fresh. I’d forgotten how much I loved this nostalgic tribute to sharehouse living. “Burn Street” is an affectionate number, but a rock act can’t stay in that space for too long. So it’s only fitting that they put the finger up with this EP’s final track, “People Piss Me Off.” As we all slog through the working week, I’ll bet I’m not the only one this track resonates with!

“Naked & Famous is the perfect representation of what we are as a band,” Reckless Coast said in a statement. “It’s an authentic and unapologetic take on rock that unites both retro and indie-rock lovers. Each track has a personality of its own to create a diverse, yet sonically cohesive work. For so long now the rock genre has been diluted with worn-out clichéd approaches both sonically and visually. Naked & Famous proves that it can be done differently.”

After recently wrapping up an East Coast tour, Reckless Coast will continue celebrating the release of Naked & Famous with a show at Hunting Ground Studios in Jagera Country/Moorooka, where they recorded this EP, this Friday, June 7. Pay what you can afford tickets are on sale now from Eventbrite.

Images used with permission from Reckless Coast

Posted on by Lauren Katulka

“Tour of Duty Live at National Stadium” – Various Artists

In 1999, a who’s who of the Australian entertainment industry descended on Dili to entertain our troops. Australian Road Crew Association has now released a recording of their star-studded concert. Tour of Duty Live at National Stadium’s release marks the first time that people could enjoy this concert since it originally aired on Channel Seven and Nine.

This album captures a moment in time. It feels like forever since Roy & HG hosted a gig, and gee it’s good to hear them taking the reins here. We get to hear Doc Neeson at the height of his powers delivering hits like “Shadow Boxer” and “No Secrets,” and John Farnham belting out so many of his classics like “Playing to Win” and “That’s Freedom.” He even “reluctantly” agrees to a rousing rendition of “Sadie (The Cleaning Lady)”! We’ve lost Doc, and likely we’ll never hear John Farnham sound like this again, so it’s a real thrill listening to them separately and duetting on timeless tracks like a medley of The Easybeats’ “She’s So Fine” and “Sorry.” Relative up-and-comers at the time like Gina Jeffreys and The Living End also make incredible appearances, along with our pop princess Kylie. You couldn’t wipe the smile from my face as I listened to big singalong numbers featuring the entire cast like “You’re The Voice” and the poignant closer, “I Still Call Australia Home.”

Admittedly some bits haven’t aged well, from the RMC Band’s cover of “Mambo No. 5” to John Farnham introducing Rachel Starkey of the RMC Band as a “pretty young lady.” But again, I remind you, this album captures a moment in time. And what a moment it was.

If there wasn’t enough incentive to get your ears around this release, all money raised with benefit Support Act’s Roadies Fund, which provides financial, health, counselling, and wellbeing services to local roadies and crews in crisis. Tour of Duty Live at National Stadium is out now and available on streaming services and as a digital download.

Images used with permission from On the Map PR

Posted on by Lauren Katulka

“Daylight” – In Good Hands

GuriNgai and Darug Country/North-West Sydney-based indie-rock outfit In Good Hands have just dropped their debut EP, Daylight. The title reflects the feel-good tunes the band showcases on this six-track release.

You might not expect a band like In Good Hands to release such upbeat music. They hit the scene in 2020, a less-than-ideal time for any musicians, especially those trying to establish their reputation. They felt the impact of the COVID lockdowns as their debut shows were cancelled and their creative process was pushed online. However, you know what they say about the things that don’t kill you making you stronger.

Rather than letting the setbacks defeat them, In Good Hands used the time to hone their craft. Their efforts developing their sound and songwriting skills haven’t gone unnoticed. Tracks like “Lately” and “How ‘Bout Time?” lyrically encapsulate the frustrations of feeling like you’re wasting your youth while the world presses pause. It’s heavy subject matter, but it’s lifted by the connection you hear between these musicians who clearly relish coming together. The optimism they feel as they forge forward is evident in “Fly Away.” As the opening track, it sends a strong message that no matter what the band or their listeners have been through, everything’s going to be okay.

With the release of Daylight, In Good Hands showcase their resilience, tenacity, and above all, talent. The future looks bright for this local band. They’ll officially launch the EP for hometown fans at Oxford Art Factory in Eora/Darlinghurst on May 31.

Images used with permission from In Good Hands

Posted on by Lauren Katulka

“Ramona” – Grace Cummings

Grace Cummings is an artist like no other. No one sounds like her, no one is making music like her; she’s simply in her own lane. Listening to her third album Ramona gives you a deep appreciation for that.

Grace’s voice is the first thing you notice. It’s richly textured, wise beyond her years, deep and full, passionate, uniquely beautiful. Her hushed tones remind me of Dusty Springfield, but then there’s the raw, earthy side that’s a little like Janis Joplin. Honestly, it’d be enough to keep me interested. But then there are the songs. Each one incredible, with a classic sound you can’t quite put your finger on. There are elements of soul, gospel, blues, but you can’t put them neatly into any box. They simmer with emotions that threaten to bubble over, casting a spell each and every time.

One of the things I love most about Ramona is its vintage sound. It’s pure, free from the interference of modern technology. I can imagine Grace and her bandmates playing these songs at producer Jonathan Wilson’s Topanga Canyon studio just as you hear them, in one take. The beautiful thing about music like this is that it’s likely to be just as good, if not better, when you witness it live. Thankfully for us, she’s got plenty of shows scheduled all around the world at beautiful intimate venues. Tickets are on sale now and aren’t likely to last long:

5 May 2024 – Cat’s Cradle, Carrboro
7 May 2024 – DC9, Washington City
8 May 2024 – Arden Gild Hall, Wilmington
9 May 2024 – Public Records, Brooklyn
12 May 2024 – The Blue Basement, London
15 May 2024 – Forest National, Bruxelles (with King Gizzard and the Lizard Wizzard)
16 May 2024 – Stadthalle, Offenbach (with King Gizzard and the Lizard Wizzard)
18 May 2024 – Forum Karlin, Karlin (with King Gizzard and the Lizard Wizzard)
19 May 2024 – Arena Wien, Vienna (with King Gizzard and the Lizard Wizzard)
21 May 2024 – Kantine am Berghain, Berlin
23 May 2024 – AFAS Live, Amsterdam (with King Gizzard and the Lizard Wizzard)
24 May 2024 – The Lexington, London
25 May 2024 – Wide Awake Festival, London
26 May 2024 – Liverpool Olympia, Liverpool (with King Gizzard and the Lizard Wizzard)
27 May 2024 – Usher Hall, Edinburgh (with King Gizzard and the Lizard Wizzard – SOLD OUT)
29 May 2024 – Civic Halls, Wolverhampton (with King Gizzard and the Lizard Wizzard)
30 May 2024 – Bristol Beacon, Bristol (with King Gizzard and the Lizard Wizzard)
31 May-2 June 2024 – Maifeld Derby, Manheim
3 June 2024 – Import Export, Munich
4 June 2024 – Unaltro Festival @ Circolo Magnolia, Milan (with King Gizzard and the Lizard Wizzard)
7 June 2024 – La Boule Noire, Paris
8 June 2024 – Best Kept Secret, Hilvarenbeek
12 June 2024 – Bergenfest, Bergen
12 July 2024 – The Espy, Euro Yuroke/St Kilda
13 July 2024 – Meeniyan Town Hall, Boonwurrung Country/Meeniyan
14 July 2024 – Brunswick Ballroom, Naarm/Melbourne
20 July 2024 – Altar, Nipaluna/Hobart
25 July 2024 – Crown and Anchor, Tarntanya/Adelaide
26 July 2024 – Mojos, Walyalup/Fremantle
27 July 2024 – Rosemount, Boorloo/Perth
2 August 2024 – The Zoo, Meeanjin/Brisbane
3 August 2024 – The Great Club, Eora/Sydney

Images used with permission from Riot House Publicity

Posted on by Lauren Katulka

“Caught in a Reverie” – The Dreggs

I’ve been championing The Dreggs since they released their debut EP, Seas Embrace, back in 2018. They’ve never put a foot wrong, but like a fine wine, they’ve gotten better over time. Now with the release of their long-awaited debut album Caught in a Reverie, I think this Kabi Kabi Country/Sunshine Coast duo is truly stepping into their powers.

The album opens with “Peeps With the Goods,” a recent single that wowed me so much that I wondered whether the band might have set the bar too high. It’s brilliant, but so is every song that follows it. Every single song. Paddy Mccrae and Zane Harris know how to craft a song. Their voices seem to complement one another effortlessly. They’ve got a strong instinct for indie folk. It runs through every track, through every note of the duo’s acoustic guitars. While this is clearly the place they feel most comfortable, the soulful notes of “Peeps With the Goods” and rock vibes of “She Picks Flowers” show they’ve got more to explore.

While I think The Dreggs have matured as a twosome, they haven’t ventured too far from what first captured my attention. When I wrote about Seas Embrace, I noted the way the music helped me through a loss, and how I was sure it would make others feel better. This album is a little darker, with songs exploring grief in a very real and unfiltered way, however ultimately the duo still arrives at a positive place. The Dreggs might be older, wiser, but they don’t sound jaded yet. Their music still feels hopeful, it still has the power to bring a smile to your face and nurse you through whatever you’re facing. It just has a little more substance behind it these days.

Caught in a Reverie is out now. The album launch parties are already sold out, but if you missed out, don’t worry. After playing shows in Europe, The Dreggs will do another lap of the country in June before heading to New Zealand. Just like those launch parties, tickets probably won’t last, so make sure you get them while you can.

26 April 2024 – Miami Marketta, Yugambeh Country/Gold Coast (SOLD OUT)
27 April 2024 – Kings Beach Tavern, Sunshine Coast (SOLD OUT)
28 April 2024 – The Triffid, Meeanjin/Brisbane (SOLD OUT)
1 May 2024 – Torquay Hotel, Wadawarrung Country/Torquay (SOLD OUT)
2 May 2024 – Northcote SC, Naarm/Melbourne (SOLD OUT)
10 May 2024 – Oran Mor, Glasgow
11 May 2024 – Eiger Music Studios, Leeds (SOLD OUT)
12 May 2024 – Whelan’s, Dublin
15 May 2024 – Hare & Hounds, Birmingham (SOLD OUT)
16 May 2024 – Lafayette London, London (SOLD OUT)
17 May 2024 – Tunes in the Dunes 2024 @ Perranporth Beach, Perranporth
21 May 2024 – Kavka, Antwerp
22 May 2024 – Melkweg, Amsterdam
24 May 2024 – Artheater, Cologne
25 May 2024 – Bahnhof Pauli, Hamburg
27 May 2024 – Privatclub, Berlin
29 May 2024 – Café V lese, Praha
30 May 2024 – Fluc und Fluc Wanne, Vienna
1 June 2024 – Strom, Munich
2 June 2024 – Papiersaal, Zurich
3 June 2024 – Muhle Hunziken, Rubigen
14 June 2024 – Hindley Street Music Hall, Tarntanya/Adelaide
15 June 2024 – Metro City, Boorloo/Perth
21 June 2024 – The Fortitude Music Hall, Meeanjin/Brisbane
28 June 2024 – Enmore Theatre, Eora/Sydney
29 June 2024 – Forum, Naarm/Melbourne
26 July 2024 – The Church Pub, Christchurch
27 July 2024 – U Bar, Dunedin
28 July 2024 – Yonder, Queenstown
1 August 2024 – San Fran, Wellington
2 August 2024 – The Tuning Fork, Auckland

Main photo credit: Jordy Wydra