Category: Reviews

Posted on by Lauren Katulka

“Product of a Dreamer (Remixes)” – Jannah Beth

Jannah Beth’s Product of a Dreamer was one of the most exciting debut EPs I heard last year, a dynamic collection of songs that blurred the boundaries of hip-hop, soul, R&B, and funk. I can’t wait to hear what the next phase of their musical journey has in store, but before I do I’m thrilled we can revisit those songs with the recent release of the remixed EP.

All too often a remixed EP can feel a little superfluous, but that’s certainly not the case here. I think of this EP as more of a companion piece that puts the spotlight back on the songs and helps you appreciate them in new ways. I found myself jumping back and forth between the remixes and the original takes, marvelling at the differences between them. I commonly complain about remixes focusing on danceability but stripping the heart out of songs, so I’m thrilled to see Jannah Beth and their team of talented producers have found a balance here. The songs sound fresh, but the beats never overshadow the thought-provoking lyrics.

“It all seems so fast; music is almost disposable and as soon as you’ve finished listening to one song you have an infinity more there, ready to capture your heart and attention. I wanted to savour my moment and show off the songs in endless form & possibility as well as appease my own (very diverse) musical appetite,” Jannah Beth said about this release. “I’m a huge believer in collaboration and I’m constantly inspired by my peers – releasing and creating a project within lockdowns and pandemics took away the ease of collaborating but these remixes paved a way for the project to break those boundaries to really sit in a collaborative space and feel ‘real’ to me and my community. Each artist who remixed a track has their own amazing project … they are all to be celebrated …don’t sleep”.

If like me you were ready to dive back into Product of a Dreamer or you’re yet to discover what it’s all about, check the remixes and the original EP out. It’s available as a limited-edition neon green vinyl via Jannah Beth’s Bandcamp page and digitally through your favourite streaming services.

Image used with permission from Good Intent; credit: She Is Aphrodite

Posted on by Lauren Katulka

“Ancient History Shares a Knowing Smile” – Fletcher Gull

After struggling with extreme anxiety, Fletcher Gull accidentally overdosed on acid. The experience shattered his world, but as he tried to pick up the pieces he created his stunning new EP, Ancient History Shares a Knowing Smile.

This is such an exciting EP. The opening track “Transgressive Soliloquy” is a beautiful technicolour explosion. It won me over instantly with its bold cacophony of instruments and poetic lyrics. Firmly on board with Fletcher’s vibe, I let the rest of the music carry me away. I could write about each song that follows, but I don’t think this is the kind of music that should be pulled apart. It’s made for listening, loving, and feeling. That means this EP review will be shorter than most I’ve written, but I think that’s OK.

Ancient History Shares a Knowing Smile is like nothing I’ve heard in some time. I’ve never gone tripping, but psychedelic movies have convinced me Fletcher has created the sonic equivalent with this EP. There are moments of pure joy, darker twists and turns, but one hell of a ride. I won’t say it was all to my taste, but I was happy to experience it. It’s bold, brave, and above all unique. Leave your preconceptions and inhibitions behind and give this EP a listen.

Images used with permission from GYROstream

Posted on by Lauren Katulka

“Comfort is King” – MARVELL

After heaping effusive praise on their singles “19 Homes” and “Selfish You,” I wasn’t sure what I had left to say about MARVELL. However, the more I listened to their EP Comfort is King, the more I knew I had to find the words. Because this is one of those EPs that deserves to be celebrated.

The EP serves up those two singles first, reminding us just what we loved about them before launching into new material. I’ve listened to both tracks so many times but they’re still sounding fresh. Those songs have a blues-rock energy that just won’t quit, ensuring we’re having fun before MARVELL hits us with the heavy stuff. The next track “Needle” introduces a very different side of Marvell, the band who’s unafraid to expose their vulnerabilities. Its lyrics recount the drummer’s journey with testicular cancer, and it hits every bit as hard as you might expect. “Honey” and closing number “All Of It” are unexpectedly sweet. You won’t find love songs more authentic or romantic.

No matter what MARVELL turns their hands to, it sounds so good. They are in their element with a big horns section, delivering an energetic mix of blues, rock, and soul. But they’re also not afraid to show their softer side. It all sounds so easy, dare I say it, comfortable. If this is the magic these guys can create in their comfort zone, I’m not sure I ever want to hear them out of it.

Comfort is King is out now. MARVELL will play the following shows in February and March to celebrate its release.

10 February 2022 – Sol Bar, Sunshine Coast
11 February 2022 – Greaser Bar, Brisbane
25 February 2022 – The Vanguard, Sydney
6 March 2022 – North Gong Hotel, Wollongong
26 March 2022 – Narrabeen RSL, Narrabeen

Images used with permission from On the Map PR

Posted on by Lauren Katulka

“Eyes Forward” – Tracey Barnett

You feel like you’re in good hands when you listen to Tracey Barnett’s latest album Eyes Forward. It’s the sophomore album from this Western Australian singer-songwriter, a collection of songs that hums with the confidence of someone who has lived a life.

Tracey is fierce. The opening lap steel guitar notes of the first track “Worth It” tell you that. They create the sort of tension you get when a cowboy steps into frame for the big Western movie gunfight. By the moment her bluesy voice joins in, you know she’s the hero of the story here, the one bound to come out on top. This song is so full of grit and guts. Tracey is in her element here. We see that uncompromising brashness again with other tracks like “Gotta Get Out” and “Phoenix.”

But there’s a much softer side to Tracey’s music too. When she’s not kicking arse, she’s sharing the wisdom that comes from being around the block a few times. The title track is a rousing call to arms that reminds listeners to keep their eyes forward and trust their feet. Keep on going, rather than looking back at what has been. “Five Year Plan” is a tender ballad that paints the portrait of a couple just trying to survive the best way they can so vividly. I’ve never been to Western Australia, but I feel I can imagine its serenity so much more clearly after hearing the stunning companion closing numbers, “Calling Me Outside” and “A Taste of Morning.”

Tracey fuses traditional blues and country elements with modern rock sounds. It’s such an intriguing and compelling mix. At times Eyes Forward feels like a real throwback, in the best possible way. Classic sounds are classics for a reason. But there’s a fresh fire about her sound that kept me captivated. Whether she’s delivering a song full throttle or giving her audience the chance to catch their breath, it’s always special. Eyes Forward is only Tracey’s second album, but it shows such maturity. She sounds like she’s at the height of her powers, an amazing thought when you consider that her career likely has a long way to go.

Eyes Forward is out now. Tracey will play the following Western Australian shows in the coming weeks:

22 January 2022 – Denmark Arts Market, Denmark
27 January 2022 – Prince of Wales Hotel, Bunbury
28 January 2022 – Rocky Ridge Brewing Co (cellar door), Busselton
18 February 2022 – The Parade Hotel Bunbury, East Bunbury
19 February 2022 – Boyup Brook Country Music Festival, Boyup Brook

Image used with permission from Firestarter Music

Posted on by Lauren Katulka

“…34 Minutes on the Northside” – Sonz of Serpent

I planned to use the last couple of weeks before many people returned to work catching up on all the music I hadn’t gotten to last year. Instead I found myself stuck on Sonz of Serpent’s brilliant debut album …34 Minutes on the Northside. It might have derailed my plans, but I couldn’t be happier about it.

My husband, who grew up on America’s East Coast, paused to stop at my office door and listen to the music blasting from my speakers. After nodding his head in agreement, he asked me who the band was. I told him they were a new trio from Adelaide and he was shocked, commenting that they sounded like one of the classic hip hop acts he grew up listening to. There’s certainly a throwback to the acts of the ’80s and ’90s. The sound of brass instruments and piano tones adds a hint of soul to these tunes which feels so familiar. However, these guys have a uniquely Australian voice that separates them from the US pioneers that brought hip hop to the masses decades ago. Beyond that, they’re Indigenous voices, strong voices that don’t get enough opportunities at the mic.

The name Sonz of Serpent refers to the Rainbow Serpent, the water spirit who brings rain, healing, fertility, and new life. Think of these guys as a glass of water for minds thirsting for guidance and knowledge.

“We wish to speak to those absent from leadership and purpose,” Sonz of Serpent explains. “Acting as a current, moving some in the right direction through well thought out rhymes, witty metaphors, cool flows, range of content and energy.”

There are some powerful songs here. “CHECKING IN” and “TRUTH” really pack a lyrical punch. However, this album is far from preachy. I love the swag of “NOT MANY.” “LIFE” and “ALRIGHT” find silver linings among the struggle. This album is all about light and shade, sharing knowledge without lecturing so we keep our ears open, right to the end.

…34 Minutes on the Northside is out now.

Images used with permission from Habit Music Co.

Posted on by Lauren Katulka

A Flower in the Weeds – Joe Mungovan

Joe Mungovan has been one of my favourite musical finds for the year. I raved about his sexy, summery singles “Give Me Your Love” and “Lemon + Lime,” so was delighted to wrap my ears around his debut album, A Flower in the Weeds. My expectations were high, but this collection of cool, romantic ditties is just what the doctor ordered.

Like so many great albums, A Flower in the Weeds was inspired by a great love. It was the kind of connection that bridges distance, that takes hold and refuses to let go even when logic tells you that you should.

“I met a girl while on tour in Europe back in 2019. She cut my hair at 4 am after my show in Berlin, and ended up traveling around Europe with me for the remaining shows. I flew back to Australia after the tour ended a few months later and moved into a house in Kangaroo Valley to start writing an album. I didn’t know if I would ever see her again,” he explained, setting the scene.

But of course, he did. She came to Australia for a carefree summer. They were inseparable, road-tripped along the East Coast, soaking up the sun and sipping wine by campfires. It was all going swimmingly, until the pandemic hit, she returned home and Joe resumed writing this album.

A Flower in the Weeds is a beautiful snapshot of a relationship unfolding. Most tracks focus on the time he spent with “the one that got away,” recreating intimate moments in Germany and Australia. Others are full of longing. He pleads for her to come back and be next to him in “Stella.” He waits for fleeting phone contact and remarks on the gulf between time zones in “Autumn Sun.” The closing track “What Should I Do With All This Love?” brought a tear to my eye.

As someone who’s lived through one, I know how bittersweet long-distance relationships can be. The highs are glorious, but that separation can be torture. I can’t even imagine the extra level of pressure the pandemic has put on couples who live on opposite sides of the world. Joe captures all of those emotions so beautifully. If, like me, you’ve ever loved someone who lives far away you’ll find this collection of songs so relatable. If you’ve never been there, I guarantee you’ll still get swept up in the romance.

A Flower in the Weeds is out now. Joe plans to tour the album around the country next year. Until then, Kiama locals can catch him at Little Betty’s tonight and New Year’s Eve.

Images used with permission from Beehive PR

Posted on by Lauren Katulka

“ASTON” – ASTON

If there was ever a song that suits a Monday that’s come around far too quickly, it’s “Middle Fingers,” the opening track from ASTON’s recently released self-titled EP. So full of sass and catchy AF, it’s a fantastic track about unapologetically showing your truth.

“Middle Fingers” is fantastic, but I’ll be surprised if you want to stop listening when it’s done. Every song on this release is a catchy pop banger. But we shouldn’t be surprised, as ASTON has an impressive resume writing songs for Evie Irie, Cosmos Midnight, and K-pop act AESPA. It’s no coincidence that this five-track EP has spawned three singles. “Middle Fingers” leads into this trio: “Firebomb,” “Girl is A Gun,” and “Killer Queen.” They’re all addictive, with great energy and personal lyrics. After three singles, you might expect this EP to go out with a whimper, but the final track “Heartbreak Club” is perhaps ASTON’s most relatable. It’s an interesting bookend. “Middle Fingers” was all bravado, but with this song we see glimpses of vulnerability. At least when she’s not talking about fucking some things up!

“The EP is all about growth. Find yourself to lose yourself to find yourself all over again,” ASTON explained. “This is the unofficial official guide to discovering and reminding yourself who the fuck you really are!”

For superb pop music without the saccharine, take a listen to ASTON’s self-titled debut EP.

Images used with permission from Revolutions per Minute

Posted on by Lauren Katulka

“Armageddon” – Between You & Me

I’ve been sitting on Between You & Me’s new album Armageddon since September, just waiting for the moment when I could encourage all of you to take a listen. I’ve had it on regular rotation since it landed in my inbox, turning to it whenever I needed to energise my day or exorcise my demons. The high-energy pop-punk tracks make me nostalgic for that time in the late ‘90s and early ‘00s when bands like Blink-182, Green Day, and Good Charlotte ruled the airwaves. The bands that make that kind of music seem few and far between these days, but I’m glad Australia has Between You & Me flying the flag.

Like a movie that grips you in front of the screen, Armageddon moves along at an exciting pace. With just 10 tracks and all but one clocking in under four minutes, you never get the chance to get bored here. There’s no filler here either. The tracks are ridiculously catchy. The powerful vocals from frontman Jake Wilton are so compelling. The band is right there supporting him with big punky guitar chords, driving drums, and cool bass simmering under the surface. These guys are so tight. Some might argue that punk should be a little messier than this, but it’s a joy to listen to.

Opening track “Pleased to Meet You” is a great introduction for the uninitiated, bold and ballsy with a chorus that encourages you to yell along. The single “Deadbeat” first turned me onto this band, and it’s lost none of its self-deprecating charm since the first time I heard it. These plenty of angsty material here to satisfy your inner emo kid, including “Goldfish” and “Supervillain.” Those darker moments are balanced with more optimistic numbers like “Change” and “Better Days.” “Go To Hell,” a collaboration with female-fronted contemporaries Yours Truly is a real treat for fans of the local scene. The album closes with the title track, the only song on the album stretching past the 4-minute mark. It’s the album’s most ambitious track, an epic rock number that gives a hint that this band can do even more than we’re hearing.

What Between You & Me have laid down on Armageddon is so much fun, but they’ve also left me excited about what their next step might be. With a three-year gap between this album and their debut effort, hopefully they won’t leave us waiting too long for the follow-up.


Images used with permission from Hopeless Records and Habit Music Co.

Posted on by Lauren Katulka

“Holding On For My Life” – Harry J Hart

Sounding like the musical lovechild of Lenny Kravitz and Third Eye Blind frontman Stephan Jenkins, Harry J Hart has won me over with his debut EP Holding On For My Life. The title gives an indication of the emotion behind this release.

This EP grips you from the first track “Who We Are.” The atmospheric opening chords draw listeners in, ensuring we’re invested once those dark and relatable lyrics start. The chorus with its crunchy guitar chords and Harry’s stellar falsetto is brilliant. The track sets the bar high, but Harry continues delivering with five more songs. Six tracks is ambitious for a debut EP, but I can’t imagine leaving one behind. The current single “No Goodbye” lifts the energy and encourages you to hang on for the ride. The heaviest track on the album, the way the drums and electric guitars combine with Harry’s fervent vocals is really something special. Harry doesn’t take his foot off the pedal for “Come Back Down.” There’s even a guitar solo. I could wax lyrical about every number on this EP, but I’d much rather you discover them for yourself.

The songs on Holding On For My Life sound raw, but in the best possible way. The imperfections add authenticity to these tracks that clearly come from a very honest place. I hope Harry never gets those edges smoothed out, because what’s here really connects. Holding On For My Life is a really solid EP that hints at great things to come. Harry will celebrate its release with a show tomorrow, November 12, at O’Skulligans in Brisbane.

Images used with permission from Footstomp Music

Posted on by Lauren Katulka

“The Hour Between Us” – Anna Smyrk

A quick scan of my blog revealed I’ve followed Anna Smyrk’s career since 2013. She’s achieved so much in that time, moving from her home in regional Victoria to far-flung places including Cambodia, the Philippines, and the Solomon Islands, and recently serving as a consultant for the World Health Organization. Despite all the changes in her life, music has been a constant. After being based in Papua New Guinea assisting with the COVID-19 vaccine rollout, she’s back on home soil for the release of her third EP, The Hour Between Us, which I honestly believe is her best yet.

It’s a timely release which Anna describes as “a record about all the things that keep us apart and all the things that bring us together.” That content is so poignant right now as we all come back together and adjust to a new kind of normal. Anna’s always had a knack for songwriting and it’s beautifully realised here. Her sound has evolved though into one more confident and edgy. “Song from the 36th Floor” shows us the gentle folk balladeer is still in there, but new elements of rock and indie pop give most of the tracks a bolder sound.

I was on board from the release of the opening track “Human Condition” a few months ago, and I’m thrilled to hear this EP features more songs in that vein. There’s a poppier vibe to the next track “You Break It, You Bought It” one of three songs about long-distance love on this EP. With “Song from the 36th Floor” and the current single “Daylight Saving,” they beautifully capture the longing, pain, and uncertainty that often accompanies loving someone who you’re frequently separated from. As someone who married a guy on the other side of the world, they really resonate with me. Many of the songs plumb painful content, as you might expect for an EP featuring songs developed during the pandemic, but Anna leaves us with hope. The final track “Wallace Street” is a heart-warming ballad about finding love within the crumbling walls of a Melbourne share house.

The Hour Between Us really reflects the world right now, but I think it’ll be one of those recordings I return to long after the pandemic feels fresh. I’ve always loved Anna’s music, but she’s taken her sound to another level with this release. The Hour Between Us is out now.

Image used with permission from This Much Talent; credit: Giulia McGauran