Category: Reviews

Posted on by Lauren Katulka

“Sloppy Seconds” – Bootleg Rascal

If there was any doubt that summer is on its way, Bootleg Rascal have just dropped their ultra-cool new album, Sloppy Seconds. If you’ve followed this blog for any period of time, you’re already familiar with their good vibes. The many recent singles always left me wanting a bit more, so this album is a real treat.

I must admit, I was taken aback when I spied the tracklist and saw the opening track was called “Albo.” Was this an ode to the opposition leader in the vein of The Whitlams’ Gough? Not quite. Instead “Albo” is an opening message recorded by Anthony Albanese himself, reminding us to support Aussie music. Brilliant!

As the album’s title suggests, the tracks here aren’t exactly new. The tagline calls it a “reimagined album.” I think of it as more like a greatest hits on steroids. The best songs from Bootleg Rascal’s earlier releases Asleep in the Machine, Psychotica, and Collaborations of Very Isolated Delinquents “19 receive new makeovers. I’ve enjoyed listening to these new recordings, then going back to the original source material and marvelling at the way they’ve improved the songs. Spoiler alert, they have every single time. These old favourites join recent singles including “Therapy” and “All About You.”

Despite drawing tracks from so many different sources, Sloppy Seconds is a really cohesive album because Bootleg Rascal have such a clear and distinct sound. The preview stream I received labelled it as reggaeton, but I’m not sure you can sum these guys up so neatly with a genre label. It’s music that transports me to summer days, sitting around the pool with a drink in hand and my mates by my side. It’s super catchy, the kind of music that you just want to keep listening to. If you’re not already familiar with Bootleg Rascal, Sloppy Seconds is the perfect introduction. If you already know what’s up, you already know you’re in for a good time.

Sloppy Seconds drops today. To celebrate its release, Bootleg Rascal are hitting the road for a massive tour all around the mainland. Frankly, this is the most ambitious tour schedule I’ve seen in more than a year! If you want to be a part of it, get your tickets now because they probably won’t last long:

19 November 2021 – Woolly Mammoth, Brisbane
26 November 2021 – Indi Bar, Perth
27 November 2021 – Settlers Tavern, Margaret River
28 November 2021 – The Aardvark, Fremantle
4 December 2021 – Miami Marketta, Gold Coast
10 December 2021 – Jive Bar, Adelaide
11 & 12 December 2021 – Kill the Dinosaurs, Port Elliot
15 January 2022 – Beach Hotel, Byron Bay
22 January 2022 – Howler, Melbourne
23 January 2022 – Sooki Lounge, Belgrave
28 January 2022 – Old Bundy Tavern, Bundaberg
29 January 2022 – The Leichhardt Hotel, Rockhampton
5 February 2022 – Solbar, Maroochydore
17 February 2022 La La La’s, Wollongong
18 February 2022 – Oxford Art Factory, Sydney
19 February 2022 – UC Hub, Canberra

Images used with permission from Good Intent

Posted on by Lauren Katulka

“Judas Tree” – Gretta Ziller

“I don’t want to do the same thing twice,” Gretta Ziller says in the press release for her sophomore studio album Judas Tree. The album is more than just a departure from the gentle folky sound of her debut, Queen of Boomtown. It’s also an album that deftly explores genres. One thing’s for sure, you won’t get bored listening to this one.

Gretta embraces her country roots but you couldn’t really call Judas Tree a country album. You hear glimpses of it in the gentle slide guitar notes of the opening track “5, 4, 3, 2, 1” and the rebellious nature of “Cinder Ash & Ruin.” But Gretta prefers to pair her country influences with swampy blues and classic rock sounds. It gives her music a bit more edge than the tracks so many female country artists release today. Not that she can completely resist the pull of pop music. “Stockholm” is an energetic guitar-pop banger. Despite the crunchy guitar opening, “Damage Done” is also rooted firmly in the pop space. Many of the tracks show Gretta’s strength, but she’s not afraid of letting her vulnerability shine through on the gentle acoustic guitar ballad “Jericho” and the poignant closer “Dear Love Letter.” Just when you think you’ve got Gretta pegged, she changes direction, showing you yet another side of her talent.

One thing that struck me listening to Judas Tree was just how powerful Gretta’s voice is. Sonically it’s commanding, standing tall even among lushly layered instrumentation. But that strong voice also comes through in her songwriting. It’s some of the best I’ve heard, honest and so relatable. Her voice anchors these songs, ensuring that no matter what genre she’s playing with, it’s unmistakeably Gretta Ziller.

Judas Tree is out now. Catch Gretta live at one of her upcoming shows:

24 October 2021 – Commonfolk Coffee, Mornington (with Clint Wilson)
26 March 2022 – Country by the River, Murray Bridge

Images used with permission from Revolutions per Minute

Posted on by Lauren Katulka

“Spilt T” – Talitha Jae

Talitha Jae’s EP Spilt T is a collection of songs that has snuck up on me. I was immediately struck by the warm, welcoming tone of her voice. This Cairns-based artist is so easy to listen to. But the more I listened to this EP, the more I appreciated her music.

“Chasing My Tail” is a laidback tune with a jazzy brass section. I can imagine her playing it in the corner of a coffee house. It’s the kind of music that’s so soothing and chill, and it wouldn’t disrupt the punters who just want to enjoy a latte. I enjoyed it on that level the first few times, but then I really listened to the lyrics and found the heartache. That was the turning point for me. Every song sounds so inviting. Her voice sounds clear as a bell against the honky-tonk piano and fiddle of the country-tinged “Ambiguity.” It anchors the stripped-back ballad “Slow.” But the lyrics of these songs, and others on the EP tell deeper, more complex stories than the fairly straightforward music.

Talitha Jae has a lovely voice to listen to, but I think the voice that comes through in her songwriting is what elevates Spilt T above a nice collection of songs to something truly special. Whether she’s getting vulnerable in a vintage country ballad like “Butterflies & Anxiety” or sassy in the final track “I’m Done,” she puts herself in this music. It took me a little while to properly appreciate what Talitha Jae’s laid down here, but I’m so glad I spent the time getting to know her music.


Image used with permission from AAA Entertainment

Posted on by Lauren Katulka

“We Must Be Dreaming” – Outer South

Melbourne’s Outer South captured my heart last year with the singles “By the Morning” and “Home,” so I was thrilled to wrap my ears around their debut album, We Must Be Dreaming. It’s an apt title for this dreamy collection of indie-folk tracks. With the reality of the pandemic looming large for so many of us, drifting off with Outer South is a great option.

Opening with “By the Morning” reminded me of all the reasons why I love this band. It sounds like a modern lullaby, tender and calming. By the time the first new-to-me track “Half Way” began, I was already in such a blissful, receptive state. Outer South delivered more of what I love with the other tracks, warm acoustic tones overlayed with gentle electric guitars, sublime vocals, lyrics that run like short vignettes, giving us a glimpse at relationships we don’t know but feel a part of for a time. The lyrics of “Everything’s Alright,” which explore the idea of pretending life’s okay, really resonated right now. “Drag” starts off so subtle but builds to a gorgeous crescendo of longing. It’s so easy to get swept away by this music.

With just seven tracks and a runtime of a little more than half an hour, We Must Be Dreaming is the definition of short and sweet. By being selective about their material, Outer South ensures every song on this album is special. If you find yourself wanting more, just remember you can always hit play again.

Images used with permission from Outer South

Posted on by Lauren Katulka

“3” – Ngaiire

It’s been five years since Ngaiire delivered her outstanding sophomore album Blastoma, but she’s finally graced us with another LP, the aptly named 3. That’s a long time between releases in the music world, but perfection takes time. Her latest release is a thoughtful collection of music that’s impressed me every bit as much as the tunes that came before.

Ngaiire introduces us to her vocal chops with the lush title track. The album takes a left turn with “Shiver,” a cool soul-pop number with bounces along with an infectious rhythm. Beats give many of these tracks a fresh poppy feel. I found myself grooving along to tunes like “Takeover” and “Moonshine.” Just when you think you’ve figured the album out, she takes another left turn, stripping away the beats for the piano-driven, spoken word beauty of “Akura.” She follows it up with “Him,” a modern gospel anthem that shows another side of this talented performer.

Ngaiire is an artist who loves surprising us. I swear I heard the distinctive sound alert for train announcements layered under Ngaiire’s vocals in “Shoestring.” And why not? Her sound is complex but never confused. It can be out of the box, but delivered with such confidence that you happily go along for the ride. And it’s all anchored by that incredible voice, dripping with soul, an honest expression of her heart. So many singers these days push their vocals, as if they want to prove to us that they can sing all the notes and do all the runs. Ngaiire is a lot more understated, ensuring that it’s her message that takes centre stage rather than the notes she hits.

Ngaiire set such a high bar for herself with Blastoma, but 3 is every bit as good. If you loved the music that came before, you’re going to adore this. If you’re yet to discover how special Ngaiire is, there’s no time like the present. Unless this nasty virus gets in the way, Ngaiire will tour 3 around Australia and New Zealand later this year. Here are all the dates you need:

5 November 2021 – Altar Bar, Hobart
6 November 2021 – The Croxton, Melbourne
7 November 2021 – Theatre Royal, Castlemaine
12 November 2021 – City Recital Hall, Sydney
18 November 2021 – The Gov, Adelaide
19 November 2021 – The Rosemount Hotel, Perth
25 November 2021 – The Tuning Fork, Auckland
26 November 2021 – Meow, Wellington
4 December 2021 – UC Hub, Canberra
13 January 2022 – The Triffid, Brisbane

Images used with permission from Remote Control Records; main photo credit: Dan Segal

Posted on by Lauren Katulka

“Restless Dream” – Bob Weatherall, Halfway, and William Barton

As a white Australian, I freely admit that I don’t know enough about our Indigenous people, their stories, and the issues they face. Like so many of us, I said I needed to learn more when the Black Lives Matter movement hit the headlines last year, and then life got busy and the media died down and I didn’t do enough. Music can make these stories so accessible though. If, like me, you want to learn more about our Indigenous people, I encourage you to listen to Restless Dream, the new album from Kamileroi elder Bob Weatherall and Brisbane band Halfway, with William Barton.

Six years ago, Halfway and Bob began working together on these songs which tell the story of the Repatriation of Aboriginal Ancestral Remains. As Bob reminds us in the opening number, “Water Horse,” our white ancestors are buried in plots we’ve planned, farewelled in ceremonies of our choosing, and there’s comfort in that. We know where they are. It’s one of those white privileges most of us aren’t even aware of. The remains of our Indigenous people are scattered across the globe, in museums at home and overseas. That’s a confronting thought, but even more so when you understand that Aboriginal religious law dictates that there will be no spiritual peace until the dead are returned to their birthplace and received their traditional last rites.

The painful reality of this situation is realised so poignantly in “The Dawn.” Lines like “We take our ancestors out of the boxes and cradle them in our arms” are gut-wrenchingly poetic. But there’s peace here too, as the album takes us home. The closing number “Bloodlines No. 2” is an uplifting release, full of hope and beauty as the ancestors find peace.

Restless Dream is a concept album like I’ve never heard before. Bob Weatherall’s spoken word is so powerful and William Barton is one of the best didge players in the country. They represent the traditions, while Halfway’s vocals and electric guitars bring these stories into the 21st century. This story starts in the past, but it’s unfolding right now.

Restless Dream is out right now. Bob Weatherall, Halfway, and William Barton will perform the album in its entirety at The Tivoli on September 19 as part of the Brisbane Festival.

Image used with permission from Revolutions per Minute

Posted on by Lauren Katulka

“Do You Remember That?” – Mila Nile

Sweden is a fertile breeding ground for cool electro-pop acts. The Scandinavian nation gave us Robyn, The Knife, Lykke Li, and Mila Nile. Mila might not be a household name, yet, but this Swedish-born, now Sydney-based talent is one to watch. Her debut EP Do You Remember That? dropped today, and you’re going to want to take a listen.

The EP is a deeply personal collection of songs with introspective lyrics wrapped up in catchy melodies that are guaranteed to get stuck in your hand. You’ll be tapping your toes along from the first notes of the opening track “Break My Heart to the Beat.” There’s more sassiness in the nostalgic single “Old School Calling” and the defiant closer, “Don’t Need Your Love.” Mila’s not afraid to show her vulnerability though. The penultimate track “Daughter” is a powerful ballad about what it’s like to be separated from loved ones during this pandemic.

With Do You Remember? Mila Nile shows she’s a pop force to be reckoned with, and so much more. This EP has some sombre moments, but its bops and bangers are just what you need to get through this pandemic. It’s out now on all your favourite digital platforms. Mila hopes will launch her EP at the Oxford Art Factory Gallery in Sydney on October 1. Get your tickets here.

Images used with permission from Mila Nile

Posted on by Lauren Katulka

“people just do good things sometimes” – Pinkish Blu

In the darkest times, music can lift us up. Today was supposed to be the last day of the Greater Sydney lockdown, but as that date approached I think most of us knew we were headed for more of the same. For me, knowing that Adelaide band Pinkish Blu were dropping their sophomore EP people just do good things sometimes, was the silver lining. I’ve been listening to an advance copy for the last couple of weeks and I’m thrilled that now everyone gets the opportunity, perhaps when they need it most.

I raved about the singles “Backward” and “Start a Band” on their release, so I’m thrilled to wrap my ears around more of Pinkish Blu’s music. Opening track “Old Blue” starts like a modern lullaby, gently drawing us in until the beat drops. It’s such a clever song, with its contrasting movements taking us on enough twists and turns to remind us that Pinkish Blu are no ordinary indie-pop band. Their synth-heavy sound reminds me of international bands like LANY, The 1975, and The Band CAMINO, but there’s a special something that sets them apart.

The remaining songs go down easy. I was reminded just how much I love the singles, yet impressed that the unreleased tracks are every bit as strong. The twists and turns continue as we move from the upbeat banger, “Backward” to the more intimate ballad “Over Me.” Initially “Cop Cars” seemed like a strange choice a closing track, but the more I listened to this subtle ballad, the more it won my heart. And besides, more often than not I find myself hitting play and starting this EP all over again.

Pinkish Blu make the kind of happy-sad songs that I want to hear right now. Their lyrics explore some tough themes but they’re wrapped up in these perfect pop sounds that balance the darkness with light. people just do good things sometimes is out now. The band will play the following shows this October to support its release.

1 October 2021 – The Leadbeater, Melbourne
2 October 2021 – Oxford Art Factory, Sydney
9 October 2021 – The Lab, Adelaide

Image used with permission from Beehive PR: feature image credit Noah Sutherland

Posted on by Lauren Katulka

“Blessings” – Hollow Coves

It’s easy for the pace of modern life to get to us at times. I know I personally work too late, miss far too many weekends, and burn the candle at both ends trying to fit everything in. Sometimes you just need a moment to yourself to reset, recharge, and get moving again. Listening to Blessings, the new EP from Brisbane act Hollow Coves is the perfect soundtrack for those moments.

From the moment I hit play, the rest of the world seemed to melt away. All the right ingredients are here, beautiful harmonies, folky acoustic melodies, and chilled vibes. Listening to these songs transported me away from my desk and to an isolated beach, away from the crowds and the noise, the hustle and bustle for just a little while.

Ordinarily, when I listen to EPs or albums, I pick out favourite tracks. I can’t do that here. The songs support each other. I can appreciate them on their own merits, but it’s what they do together that’s really magical. So rather than giving any particular track a shoutout, I’m just going to encourage you to listen to them all.

In a world where so much music is overproduced, oversung, and overexposed, the beautiful simplicity of the songs on Blessings shines through. It’s out today. Take a listen and I’m sure you’ll fall in love with these songs just as I have. Hollow Coves are currently touring Australia and will visit Europe and the UK next year. Here are all the dates you need:

11 June 2021 – The Triffid Brisbane (Early show – SOLD OUT)
11 June 2021 – The Triffid Brisbane (Late show)
12 June 2021 – Miami Marketta Gold Coast (Early show)
12 June 2021 – Miami Marketta Gold Coast (Late show – SOLD OUT)
19 June 2021 – The Factory Theatre Sydney (Early show) SOLD OUT
19 June 2021 – The Factory Theatre Sydney (Late show)
26 June 2021 – Corner Hotel Melbourne (Early show – SOLD OUT)
26 June 2021 – Corner Hotel Melbourne (Late show)
12 May 2022 – Alte Feuerwache Manheim, Germany
15 May 2022 – Kulturfabrik Kofmehl Solothurn, Switzerland
16 May 2022 – Konzerthaus Schüür Luzern, Switzerland
20 May 2022 – Grelle Forelle Vienna, Austria
21 May 2022 – Kulturák Klub Bratislava, Slovakia
24 May 2022 – Alter Schlachthof Dresden, Germany
26 May 2022 – Hydrozagadka Warsaw, Poland
31 May 2022 – TivoliVredenburg Utrecht, Netherland
2 June 2022 – Skaters Palace Münster, Germany
6 June 2022 – Ancienne Belgique, AB Box Brussels, Belgium
7 June 2022 – La Maroquinerie Paris, France
9 June 2022 – Electric Brixton London, UK

Images used with permission from Beehive PR; feature image credit: Leniflashes

Posted on by Lauren Katulka

“Grace” – Grace Farriss

You might not know the music of Grace Farriss yet, but her musical pedigree is sure to raise expectations. The daughter of INXS legend Andrew Farriss has stepped into the spotlight with the release of her debut album, Grace.

The album opens with the lead single “All the People,” a poppy delight with a little vintage flair. As the next floor filler “Dancing How I Feel” started up, I started to feel like I had a handle on who Grace Farriss is. With her pleasant voice and pop leanings, I started to imagine she could be the next Kylie Minogue.

The retro vibes kept coming with “Studio 54” and “Star,” but these tracks were turning points for me. I started to realise Grace is much more than simply a pop princess who’s listened to a few old records. “Studio 54” adds a little funk and psychedelia to her sound. “Star” is an unashamed homage to David Bowie which showcases Grace’s rock edge. There’s so much more depth here than I’d anticipated.

“I Love You” shows Grace’s softer side. With simple strings and piano accompanying her, this stripped-back ballad really showcases Grace’s voice and vulnerability. “Opieland” and “Women of the World” are natural follow-ups, dreamy numbers with folky sensibilities that make Grace seem far less mainstream than I first thought.

“Water Under A Bridge” may be my favourite song on the album. After so many delicate numbers, this rocking track seems even ballsier. I’d love to hear Grace playing in this bold, bluesy space more.

By the trippy closer “Interstellar Love,” I knew there was much more than Grace Farriss than I first thought. She’s capable of producing some very catchy pop music, but her understanding and passion for all genres makes her music much more interesting than the tunes from most radio darlings. Grace sees her experimenting with so many different sounds and proving she can confidently play with them all. I’m not sure whether she’s still finding her niche or she refuses to be pigeonholed. Either way, the music she’s making shows she’s a real talent in her own right.

Grace is out now.

Images used with permission from Grace Farriss