Category: Album Reviews

Posted on by Lauren Katulka

“Inside Voices” – Tig

Tig captured my heart back in October when she released her single “Too Late Heartbreak.” The EP it came from has been a long time coming, but finally she’s released her debut EP Inside Voices. If you’re wondering whether it’s been worth the wait, you only need to press play. I know that it won’t take too long before like me, you’re answering a resounding yes.

Tig is one of those special artists who can capture her innermost thoughts, then turn them into songs we can all relate to. Her voice is rich and warm, with the kind of tone that draws you in and makes you feel at peace. That voice coupled with her love of the piano had me thinking of some of my favourite artists of the past; women like Tori Amos, Sarah McLachlan, and Fiona Apple who made such strong impressions with their musicality and messages.

This four-track EP left me wanting more, but also being thrilled by everything it is. Four total standouts. Four songs that matter, each one so exquisite that it seems unfair to single any out. I just want you to listen to them. Remember too, this is Tig’s debut EP. She also recorded it at home rather than heading to a big fancy studio. Let all that sink in. What you are hearing is raw, organic talent. And it’s fabulous.

Tig will officially launch Inside Voices at the Evelyn Hotel in Ngár-go/Fitzroy on February 23.

Main photo credit: Britt Murphy

Posted on by Lauren Katulka

“Roller Coaster” – Checkerboard Lounge

The year might be winding down, but I’m sneaking in one last album review. I couldn’t let 2023 close without encouraging you to listen to Roller Coaster, the fabulous new album from Naarm/Melbourne blues icons Checkerboard Lounge.

The moment I heard the opening notes of the title track, I was hooked. It’s such a rollicking good time, and it made me hungry for more. My appetite was well and truly satisfied as Checkerboard Lounge delivered all the twists and turns you might expect from an album named after an amusement park staple. The band refuses to stay in the same place too long, treating listeners to soulful ballads, psychedelic rock, instrumentals, and a splash of jazz. Their originals already sound like classics. When you make such fantastic new music, a cover has to be pretty outstanding to make an album. But their take on Nina Simone’s “I Wish I Knew How It Would Feel to Be Free” is inspired. Dedicated to the plight of Australia’s First Nations people, it’s a poignant reminder of how far we still have to come as a nation.

Roller Coaster is the first Checkerboard Lounge featuring the band’s latest addition, bassist Zoe Frater. She’s used to great effect. I’m not sure when I last heard a bass solo: this album has four. All the musicians are stellar; the more I listened to this album the more I appreciated their contributions. On the first listen it’s easy to get sucked in by Carl Pannuzzo’s outstanding vocals, because they’re just so good, but everyone plays their part here.

As with so many acts that make music outside the mainstream genres, Checkerboard Lounge are revered in the blues scene but largely unknown outside of it. That’s a great shame, because they’re brilliant. With the release of Roller Coaster, it’s the perfect time to get on board.

Roller Coaster is out now. Checkered Lounge are already starting to full up their concert calendar for next year. See them anywhere you can.

20 January 2024 – Blues Rendezvous @ George Lane, Euroe Yroke/St Kilda
3 February 2024 – Brunswick Ballroom, Bulleke-bek/Brunswick (album launch)
24 February 2024 – Archie’s Creek Hotel, Gunai Country/Archie’s Creek
13 April 2024 – Cullulleraine Music Festival @ Johansen Memorial Reserve, Lajti Lajti Country/Mildura
16-19 May 2024 – Blues on Broadbeach, Yugambeh Country/Gold Coast
7 June 2024 – The Jazzlab, Bulleke-bek/Brunswick
14 June 2024 – The Jazzlab, Bulleke-bek/Brunswick
21 June 2024 – The Jazzlab, Bulleke-bek/Brunswick
25-28 July 2024 – Echuca-Moama Winter Blues Festival , Yorta Yorta Country/Echuca
1st and 2nd week November 2024 – Blues at Bridgewater, WA

Image used with permission from Dave Laing Publicity

Posted on by Lauren Katulka

“The World Has Gone Mad” – SonOfHarry

If you think you know the extent of Harry Cleverdon’s talents, think again. He’s best known for releasing sweet, chilled out numbers that dance around the folk, pop, and country genres. They win me over time and time again, but if I could make any criticism, they’re pretty safe. So I was excited to discover a new side of Harry’s talent through his new project SonOfHarry. He’s just released his debut album The World Has Gone Mad under the moniker, and it’s the furthest thing from safe that you can imagine.

At a time when so many artists seem to be focused on creating singles, it’s refreshing to see Harry bring us a concept album here. It’s clear he’s spent some time listening to Pink Floyd in his youth. Their influence comes through in the sonic soundscapes he creates, the brief musical interludes and snippets of audio recordings that support the longer works like “Alien” and “Can Not Be This Way.” These tracks could stand alone, but they’re so much richer for their place here. Then there are the tracks like “Paradise Pt 1” and “Paradise Pt 2,” and the title track broken into three parts and woven through the EP, longer works that explore themes and musical motifs in more depth.

The World Has Gone Mad really shows a different side of Harry’s talent. It’s edgier, more experimental, and bolder. He plays with genres we haven’t seen before like blues, rock, and jazz. The lyrics are edgier than we’ve heard from Harry too. I’m not just talking about the occasional explicit lyric, although I can’t imagine those making the cuts Harry’s released before. But these songs also contain some really thought-provoking and potentially polarising social commentary.

If you’ve only heard and loved the music Harry’s released as Harry Cleverdon, it might take you a little while to embrace SonOfHarry. But give it that time. The World Has Gone Mad is very different from Harry Cleverdon’s usual material, but it’s also very good.

Images used with permission from Kick Push PR

Posted on by Lauren Katulka

“AND ALL I LOVED, I LOVED ALONE” – Clinton Kane

Clinton Kane shows he’s one of the brightest stars on the scene with his powerful new EP, AND ALL I LOVED, I LOVED ALONE. Clinton wowed me with his track “PANIC ATTACK”, but I’ve fallen even more in love with his music after hearing this EP.

These five songs show Clinton’s talents as a songwriter, multi-instrumentalist, arranger, and co-producer, but most importantly they show his heart. From the gentle pop opener “DANCING ALL ALONE” to the pop-punk-influenced “MERRY GO ROUND” that closes this EP out, Clinton’s emotions sit close to the surface. His vocals are powerfully raw, his lyrics confrontingly honest, and it makes it such a special listen. And then there’s the sound, so sonically interesting and fresh. The press release says it features “glitchy beat-craft, electronic alchemy, alternative experimentation and unassuming pop ecstasy”; I’m not sure I could say it better. It’s creative and exciting and so incredibly addictive.

AND ALL I LOVED, I LOVED ALONE is out now. Trust me, you’ll want to listen to this one.

Image used with permission from Sony Music Australia

Posted on by Lauren Katulka

“23” – Archer

After wowing me with her single “Bittersweet” a few months ago, Archer has dropped her fabulous debut EP, 23. The five tracks encapsulate Archer’s experiences as a young woman navigating relationships and her journey to adulthood.

“The whole EP explores themes of nostalgia and reflection. I guess it was just a period of my life where I was feeling really reflective and it kind of came out in my music. It’s kind of like standing still and looking at the past and the future and recognising where you’ve come from and where you see yourself going,” Archer explained. “I’ve discussed 23 being a significant number. The name of the EP came from the fact that I was 18 when I first started releasing music and now I’m 23. Again it’s just me being nostalgic and thinking about all the time that has passed since dropping Malibu and all the things that have changed since being 18.”

This EP reminds us of the importance of quality over quantity. The five tracks clock in at just over 15 minutes. It’s short and, it’s got to be said, bittersweet. The first three songs are absolute bops, anchored by electronic beats and Archer’s confessional lyrics. I’m a long way from 23, but I really connected to her words. Just when you think you’ve got her pegged as an artist, she takes a left-turn with “Slowly,” a beautiful piano-based ballad that shows a much softer side. While the other tracks got me moving in my seat, this is the one that made me really sit up and take notice. The closing track “Overgrown” makes such a strong final statement. A genre-bending number with some of the EP’s most powerful lyrics (and that’s saying something), it leaves no doubt that Archer is a force to be reckoned with.

23 is out now.

Images used with permission from beehive

Posted on by Lauren Katulka

“Here They Come” – Eliza Hull

When you put your heart into music, when you lay your soul bare and let your listeners see all parts of yourself, I don’t think you can ever go wrong. That’s exactly what Eliza Hull has done with her new EP, Here They Come. You might remember me raving about the single “Running Underwater.” It set my expectations high, but the songs that support it on this five-track EP are every bit as strong.

It’s no coincidence that Eliza released Here They Come a few weeks ago on December 1, to coincide with International Day of People With Disability.

“I wanted to release the EP during the week of International Day of People With Disability because this record is about celebrating my disabled identity; it’s about all the parts of myself I hid away for so long because of stigma,” Eliza explained. “I also want to be the representation I was seeking as a disabled emerging musical artist.”

While these songs are bound to connect with listeners with disabilities who may have felt underrepresented or marginalised, I connected with this music on a purely human level. These are songs of struggle and strength, of acceptance and liberation. Eliza is a superb songwriter with an incredible voice, and that combination is showcased so powerfully here. She keeps the instrumentation simple, ensuring we can catch every important word she sings. Every song is a triumph, from the gentle piano ballad “Stay” to the epic slow burner, “Lilac Dreams.”

I’ve sat with this EP for a few days and I am falling more in love with every listen. It really is such a special release. I’ve been a fan of Eliza’s work for many years. It feels like everything she’s done before has been building towards this. Here They Come is out now. She’ll play the following shows next year to support its release.

20 January 2024 – Sydney Festival @ ACO Pier 2/3, Eora/Sydney
17 February 2024 – Town Folk Festival @ The Bridge Hotel, Dja Dja Wurrung Country/Castlemaine
23 February 2024 – Malthouse Theatre Outdoor Stage, Naarm/Melbourne
24 February 2024 – Cube Theatre, Wiradjuri Country/Wodonga
3 March 2024 – Mordi Festival @ Peter Scullin Reserve, Boonwurrung Country/Mordialloc

Main photo credit: Simon Browne

Posted on by Lauren Katulka

“Yasmin” – Malaika Mfalme

It’s been a long time since an album moved me like Yasmin. The debut from London-born, Tanzanian/Australian artist Malaika Mfalme, it’s a powerful collection of songs exploring love, loss, and healing.

Malaika said “I wrote Yasmin during a time of immense pain. While the world shut its doors and experienced the 2020 lockdowns, I was grieving my late partner. When I began writing it, I didn’t know it would turn into an album. It was my means of coping through writing about grief, loss, and then joy, healing and finally self-acceptance. Now I feel this album can help others move through that kind of pain, removing the taboo and shame Western society places on grief.”

I knew Yasmin was a special album from the moment I pressed play. Acknowledgements of country have become so commonplace that they can lose their meaning, so I was excited to hear Malaika’s take. Creating a beautiful soundscape for her heartfelt “Acknowledgement” helped it resonate and bridge the gap between the story of this land and Malaika’s own story. They explore their own connection to the land in “Mother,” a song which references the ultimate maternal figure, Mother Nature herself. In “Dream,” Malaika reflects on their first dream featuring their late partner. “Spirit” is quiet and beautifully vulnerable, a poignant moment birthed from the depths of sorrow.

“‘Spirit’ came from a deep time of grief, so I wanted to use repetition to create new meaning,” Malaika explained. “This repetition and call and response is significant in my African culture and in history, often using techniques like this to survive horror like slavery.”

“Imagine” and “Relief” are like companion pieces that lift the soul after the darkness. The first elevates the memories that bring comfort, the second is a powerful reminder of the importance of being loved and known, if only for a little while. “Good Man” sees Malaika, a trans/non-binary artist, reflecting on gender identity and the importance of manifesting it in the right way. ”Younger” completes another piece of the puzzle, like a musical letter to Malaika’s past self and the soul icons who helped them become the person they are today. It’s only fitting that the album’s final track is a tribute to Yasmin herself, the person who inspired this collection of music.

“Yasmin was an opera singer, and I was able to incorporate all of her friends in the song. All of us singing together was such an important healing process for all of us,” Malaika recalled. “The first verse is about the pain of her passing, the second is about letting her go, and the last is about remembering her.”

The first few times I listened to Yasmin I went in blind, with my ears and heart open. Without reading the press release, I could make my own meaning from these songs. I was instantly struck by their warmth and beauty. This album was inspired by darkness, but there’s light in even the most painful moments. Reading over Malaika’s notes has made me appreciate and love these songs even more than I thought was possible.

Yasmin is out now. Malaika will launch this exceptional album tomorrow night, December 14, at the Red Rattler Theatre in Eora/Marrickville. Tickets are available now from Humanitix.

Images used with permission from Good Intent

Posted on by Lauren Katulka

“Revision for Regrowth” – JK-47

Bundjalung artist JK-47’s long-awaited sophomore album Revision for Regrowth is one of the most ambitious albums I’ve heard in some time. It’s a concept album, one that plays with genre and while celebrating the power of hip hop as a storytelling medium. Its lyrics are some of the most powerful I’ve heard in a while. It’s a lot to take in, but it’s so good that it encourages repeat listens.

From the opening of “Introspect” you know this is no ordinary hip-hop album. Are they panflutes? And an angelic choir? They’re not a conventional backing for a rapper’s rhymes, but they elevate JK-47’s words in an unexpected way. JK-47 continues pushing the envelope, adding string sections, harps, and other instruments rarely associated with urban music into the mix. Then we hear the sounds of the bush and an Indigenous elder speaking in native language as “ReGrowth” opens, anchoring this music to country. The bold instrumentation of “Avalanche” wouldn’t sound out of place in a modern Broadway musical. The beautiful closer “Zuriel,” an ode to JK-47’s own family, features a gorgeous piano accompaniment that wouldn’t be out of place in a jazz composition.

The songs are introspective, personal and thoughtful ruminations about acknowledging the mistakes of the past, learning from them and moving forward as a better person. They speak of JK-47’s own experiences, but also universal human experiences that resonate so deeply.

“You realise you can’t do things the way you’ve been doing them because it’s not healthy but if you hadn’t lived the experience you wouldn’t have that perspective,” he explained. “When you cut something off you gotta learn how to regrow,”

The making of Revision for Regrowth was a truly collaborative process. JK-47 worked with his long-time creative partner and ARIA-Award winning hip-hop producer Jay Orient on every track. Their ties run deep, with the pair growing up as neighbours on the New South Wales coast. Education took them in different direction, but their love of music has brought them back together. This album also features special appearances from Tasman Keith, Adrian Eagle, Emily Wurrumara, Sachem, ECB Crew, and so many more. Their voices add energy and elevate the songs they’re involved in.

Revision for Regrowth is a triumph. It’s out now. Listen up.

Images used with permission from GYRO PR

Posted on by Lauren Katulka

“Never Thought of Growing Up” – Loretta

Loretta have put a big smile on my face today with the release of their long-awaited debut EP, Never Thought of Growing Up. Featuring the brilliant singles “All My Friends (Are Your Friends)” and “Wish I Could Show You,” it’s some of the best and most uplifting indie-pop you’ll hear.

When you introduce an EP with such good songs, sometimes the rest of the recording can fall flat. But Loretta have a real knack for creating anthemic, optimistic music that gets stuck in your head and under your skin. The Eora/Sydney-based band could easily have released “Hope You’re Happy” and “How to Swim” as singles, because they’re every bit as good. Clocking in at around a minute and a half each, Loretta also show versatility with the introductory track “What Do We Become” and the beautiful instrumental interlude, “Halfway Home”. Everything works so beautifully together here, like the pieces of a technicolour jigsaw.

I have been a Loretta fan for a while, and I love to see the way they’re evolving. Notice that I very carefully avoided the word maturing there, because this is a band that retains its youthful energy. This EP is called Never Thought of Growing Up for a reason! They may have a few years on the clock these days, but they still make music that feels so fresh and fun. Right now they’re just doing it better than ever.

After waiting so long for an EP, I just wish there was a little more here. At around 15 minutes, it’s definitely one of the shorter EPs I’ve listened to. However, as more artists start extending the format into mini-albums, it’s probably not a bad thing that Loretta leaves us wanting more. Never Thought of Growing Up certainly delivers quality over quantity. I just hope a full-length album isn’t too far away.

Never Thought of Growing Up is out today. Loretta are wasting no time and kicking off a national tour to celebrate its release tomorrow. There are still some tickets available, so what are you waiting for?

4 November 2023 – Yah Yah’s, Naarm/Melbourne
9 November 2023 – Stranded Bar, Meeanjin/Brisbane
17 November 2023 – Towradgi Beach Hotel, Woolyungah/Wollongong
23 November 2023 – Oxford Art Factory, Eora/Sydney
25 November 2023 – King Street, Mulubinba/Newcastle

Images used with permission from Good Intent

Posted on by Lauren Katulka

“Public Fun – Part 2” – Raging Hormones

On the release of Raging Hormones’ Public Fun – Part 1 EP earlier this year, I found myself hoping a sequel may be on the way. My dreams have been answered with the release of Public Fun – Part 2. And yes, it’s every bit as much fun as its predecessor.

Keen fans may have noticed Raging Hormones dropping singles from their latest EP every Friday for the last few weeks. However, now that they’re all out in the world it feels like the right time to celebrate them. While every song stands alone, listening to them together is such a treat. Just like the first Public Fun EP, this one goes hard. From the moment the drums and guitars come together to introduce “River of Ants,” the band has the power turned up to 11. It’s fast and frenetic and, there really is no better word for it, an awful lot of fun. I love the punky edge of “Milk Moustache” and couldn’t resist singing along to the big anthemic chorus of “Burning at Both Ends” before long. “Winnebago” is pure nostalgic joy and the closer “Guided by Vices” has such a cool attitude and snaky bassline.

With just five tracks, it’s all killer and no filler. However, with just five tracks it’s all over too quickly. There’s only one solution; to press play again. At least until the release of Part 3. Yes, I’m daring to dream again.

Public Fun – Part 2 was released today. Raging Hormones will celebrate its release in front of hometown fans at the Evelyn Hotel in Naarm/Fitzroy on November 10.

Main photo credit: Nick Manuell