​Every opening on all the tracks is straight into the song-there’s no procrastinating here and what’s more, no fill ins.
To be able to write tracks like these, shows how some musos have well and truly followed life’s path and taken everything thrown at them until that certain stage when it is time to shout ‘enough’!
Misha’s electronic style owes some of her style to the 80s, but this is very much 2020 and if only the 80s had been like this, I would have been one very happy person.
Take ‘Toy Boy’ for example, there’s even a partial waltz in there that is not out of keeping with the rest of the track.
To totally review this album, I would need Freud and Jung sat next to me and that is no bad thing, as it shows how mature an album this really is. Within HEART GALLERY are many stories of a life well, and at times, harshly led; not many writers would be that willing to put so much coded truth into their work, but Misha goes straight for it.
Her voice soars and swoops eagle like and can take you by surprise. She has no equal (perhaps I should say currently) and I doubt she will. Lyrics and music such as this need to be out there hitting you in the face, or more preferably ears.
How many modern artists would start off an album and a song with the words ‘pretty in pink’? Not exactly 2020 is it, but it works and that is where Misha differs from other artists, she is not afraid to take that leap and give us the music we need. There’s no moon/June on this album (thankfully) but there are plenty of tales of caution, woe, betrayal and love found.
You will have noticed that there is no breakdown of the individual tracks, although mention is made of some and the reason behind that is to let you the reader and prospective purchaser try and get into the ‘Misha Mood’ for only then will you have understood and be able to truly follow this outstanding artist.
I will forego a bit of what I have said above and that is I am hooked on SUGAR COATED and feel it should be a single-radio land would love it.
Misha has given of her best in this album, with exemplary production, a different type of vocal and lyric and, yes, you’ll love it.
 
Tony Bates
Uncut and Unsigned

I have listened to Scotty’s work over the years and have watched his musical maturity bloom in front of my eyes/ears.
Scotty writes simple, but not simplistic, pop of the type one would have heard during the Merseybeat time but a very much up to date version.
He originally submitted a song that I could not put to air because of its production, content and construction; now I am asking for songs from him as he has taken the appropriate advice/lessons and learnt how to supply radio friendly tracks and I admire him for this.
He has within him, a lot of songs that I await with due anticipation.
He does not write ‘fillers’ for his songs are of a far higher standard now and he deserves to have his work heard everywhere.
FIERCE has just that write musical approach that many others might well wish they had written.
Tony Bates
3MDR 97.1FM

“Peace raise us up”
Seraya’s single gives us something that is currently lacking in our time of real danger and despair – PEACE.
She has a way of gently introducing us to her songs and then drawing us in fully until subconsciously that tune is part of the self. How Seraya does it I do not know.
The single is hard to define genre wise, but I’d like to call it electro new folk; It has a message to send (as per folk songs) and yet is right up to date with the use of electronic music neatly arranged almost symphonically.
I cannot and will not compare Seraya to any other singer/songwriter (dead or alive) as it would do her a disservice. Instead let us just follow Seraya on her musical journey as she progresses through each new song and accompany her too.
Seraya has this uncanny way of writing lyrics that can be interpreted personally and universally and at times she lets the two run side by side
The song emanates positivity from a topic of possible despair; where is peace as we need it now worldwide and personally too. “PEACE LIFT US OUT OF THE DARK”.
 
Tony Bates
Uncut and Unsigned

The latest EP by Glenn and other assisting musos has some great backing, almost as though the band has been together for many years. Artists such as these should be world touring showing what Australian musos have to offer.
The genre is hard to define as it has Alt Country and what I call Australiana (the equivalent to Americana) and the song topics are typical of this genre. There are some great lyrics interspersed with just the right amount of beautifully played musical breaks.
Where do these guys get their inspiration from to form such good songs?
Horoscope Girl is the typical search for answers and understanding which is really already a repeat of what is known by the singer; this makes it harder in life to find these things. The lead guitar interludes are very neatly played and placed-not often found these days.
Be Mine is a male’s promise to his partner about ongoing fidelity, love and nurturing one another; although this is a ‘love’ song with Glenn well and truly wearing his heart on his sleeve with one tattooed on his forehead as well (!). the song is not the usual soporific sounds that emanate from certain artists.
The musical backing on the next track, Something You Are Not, is raw rock at its very best and gives an insight into how, if one is twice bitten, then one is definitely not going to be three times bitten or taken in again; a sad song, but not sombre just purely open and honest. If this does not make you move, then you must be wearing clogs that are solidly welded to the floor.
The final track has just that right amount of balance so that the EP does not finish on a ‘slushy’ number but one that is very adult and insightful and ties the EP down.
 
Tony Bates
Uncut and Unsigned
www.3MDR.com

Have no worries, this has nothing to do with the LNP/Politics, just pure Folk music.
Ruby opens with some great banjo playing and vocal harmonies and some clever guitar playing as well. This is FOLK as it used to be played in the clubs in the early sixties and it is good to see it thriving at Selby Folk Club, where It was recorded live. I’m sure Gillian Welch will feel that this duo has done her composition proud. (And what a great way to open a gig)
Lena Blanche is a true folk song in all aspects; a story told with character and insight. Folk music can often be related to a diary of life, and this story would take up many a page in a diary that we, in this century, would find almost unbelievable as it is so far out of the norm compared to these days. Be warned-sadness abounds in this track, but the music carries the story so well.
Whiskey Hole must be one of the few tales of a prospector leaving his claim because of what he feels he has seen. That is the great thing about Folk music, in so much as it tells tales, just as the troubadours of yesteryear carried news, both good and bad, our current folk musicians continue to value their work and hence preserve it whilst sharing it with one and all.
Moonshine Coalition have managed to put out an album that is contemporary yet reminiscent of years gone by; their harmonies are superb and the interplay twixt guitar and banjo is outstanding.
If you are a true folkie, you can do no better than purchase this album, no matter what your age is. This is semi vintage folk of a very high standard and carries the genre ever upwards and onwards.
 
Tony Bates
3MDR.Com

http://www.moonshinecoalition.com/

Opening his album, Clint goes for a song about doubt and self-recrimination -quite a way to draw a listening audience in! Not quite the normal way to start an album but he pulls it off as only he could. All I can say is ‘daring’.
Socks Off is a memory of a childhood past and has some clever phrases such as soft and cold, like the other side of the pillow, don’t turn it over yet and all backed with a different guitar style that stays melded in one’s mind only to crop up later in the day.
The next track is very ‘Australiana’ with a link to Neo - Country Music, but do not mistake this for Country Music. Clint’s playing (and those who assisted him compile this album) is, without doubt, faultless. The tales told are real and are easily related to. The whole composition is waiting there for you to reach out to and listen to the interaction that is so finely balanced between each and every instrument.
Clint has obviously striven hard to produce this album and it works; he has this voice that is so adaptable that it becomes like one of the instruments being played and the outcome is intended to be listened to; not loudly, not gently but with thought. What Clint sings about is happening somewhere, here and now and that is the beauty of the album as it is almost tangible.
I Saw The Lightening with the organ, guitars, percussion, harmonies and insightful lyrics deserves full airplay; it is full of beauty, sadness, pathos and a degree of mental confusion and that lead guitar-what can one say?
One can best describe this album of Australiana meets neo Country and they exchange talk and borrow musical licks from one another. Even the songs of sorrow do not make one upset as they are true (or could be) incidents and do not depend upon the old clichés of Bluey the Dog running for miles only to be killed by an oncoming truck.
That is the thing with Clint, one never knows what’s coming next and he needs greater exposure to share these treasures with others.
To publish an album, like this, with no fillers, no bubble gum but pure country observations and tales is a masterpiece. But wherein lies the REAL Clint? His previous EP, Red Headed Thief, differs from this album, thus showing musical growth, but one day Clint will let that mask drop and we will have one helluva album to listen to. I feel he is still finding his feet and comfort zone, even though he is light years ahead of many of his contemporaries.
As they say, Dark Waters run deep and perhaps therefore Clint named this album so. Who knows as he has this aura of mystery about him and his work.
You could not go wrong by purchasing this album, which is due out in October, as you’ll be able to relate to it so well; if you cannot relate to it, I’m afraid you have not lived life!
 
Tony Bates
Uncut and Unsigned
www.3MDR.com

Sometimes I look at so called Folk music CDs with utter despair-purely because they do not fall within that genre at all, but with Benoit’s latest EP it is all positive feelings.
The track ‘Now That It’s Spring’ has opening chords typical of one Donovan Leitch and the words flow from there with descriptive, in fact artistic, outlook. This is one track that, musically and lyrically, Donovan would have loved to have written and recorded.
The chord sequences take one back to those great singers of the 60s and this CD should be filed alongside them: Donovan, Phil Ochs, Tom Paxton, Arlo Guthrie and to an extent Pete Seeger. Folk music is ever evolving but needs to remain within its given genre and Benoit manages this very adeptly.
The tracks consist of travels undertaken (physically, mentally and emotionally) and can be related to by one and all.
Benoit has managed to compose some gems, but I will not name them as your gem is different to mine.
To hear folk music that is very much of the 60s era but is well and truly sitting in the 2000s needs talent to undertake and that is no easy task.
Fifty Miles is a must buy for those who not only yearn for days gone by but who want well written, composed, produced and played folk music, that despite its 60s roots, is very much of this era too.
 
Tony Bates
Uncut and Unsigned
3MDR.com

Once Were Wild are one of our top indie bands, who take time in preparing and recording their material.

Pre produced in Melbourne and tightened up in Sydney. There is no other band or sound like this.

Many might aspire to become like OWW, but thankfully they don’t. Their music is totally unique and Alanna’s vocals come from another parallel universe. The band has this knack of starting off gently, then drawing one in with some excellent indie rock, before dropping back gently and slowly to a different tempo.

Their strength lies not just in their music but in their very own compositions that depend upon, and are influenced by, none other than the band itself. Tracks such as Lumiere, Howler and Paradise are not influenced by anybody else and that is what makes this band.

John and Renee are in sync all the time, Georgia adds that mysterious guitar playing (which is almost ethereal when one would least expect it to be so), Andrew on keys and synth brings that dreamlike background all round sound and with Alanna the band is a whole. This is not a joining of individuals but is like a single organism sending musical messages to the universe.

OWW’s sound is so well crafted, without being formulated, that one would think they’d been playing and recording for years; well, they haven’t in that sense, but as individuals they have the music in them and that gives them that sound of experience and longevity.

Slightly, spacey, slightly shoegaze, definitely indie this is a band not to be overlooked.

Buy the EP ‘Moments’ and you’ll never be the same again.
 
Tony Bates
3MDR.com

Is this a folk record? Or perhaps another CD by a Singer Songwriter with a bit of Americana cleverly interspersed throughout? Does the genre matter? In this case, an emphatic no.
Folk is ever evolving and in the hands of a singer songwriter, such as Shane Papatolicas, it is taken to new heights and what a musical journey it is.
Shane has released previous CDs both here and back in his homeland of the USA; this time not only is there a biting reality to his lyrics, but a musical collage we can all be carried away by and the opening track, Inside Out, has a sense of urgency about it with its rock intro gently moulding into a folk based number which would sit very comfortably in Cat Stevens’ repertoire. Despite there being various nods to other artists, Shane is his own person and any semblance to other artists is solely the same as any other performer and he is fully in charge of his own lyrics and melodies.
Protest songs work best when they are subtle and interwoven with other distractions, as the listener then catches the gist of such lyrics in his/her own time. Something That Might Have Happened is the musical epitome of this and is not a gloomy in your face song by any means, but it does hold the thoughts of many of us to which we can easily relate: Half the world is dying, half the world is dead. Does it need to get any clearer than this? There is no proselytising or preaching here, just factual lyrics mixed in with everyday thoughts. Clever. All of this with an appealingly simple musical backing gives this track its inner strength.
The title track, Broken Lines, carries its own wisdom within it and Shane’s outlook on life shows a journey well-trod: I let you go and you let me down, I make an excuse and you beg me to stay. With lyrics such as these, the album flows through from track to track, almost like a seasonal trek through a musical wonderworld.
Is this a concept album? Well, yes and no; there are links between all the tracks, as Shane cleverly carries the subject matter over from track to track without saturating one. This gives the album, BROKEN LINES, a fresh definition and by listening to it an insight to a mature and personal outlook on life and all its complexities. This is an album to listen to, to chill to, to learn from and to purchase.
Tony Bates
Uncut and Unsigned
www.3MDR.com    

Seraya never ceases to amaze and with the release of ANYTIME, one is immediately drawn into new musical perspectives as so cleverly conceived by her.
Any similarity to previous works finishes with the opening chord (and what a statement that is) of Destiny and Seraya is all set to take us on yet another musical journey to a destiny of our choosing; I say yet another, as each and every album from Seraya has different counterpoints and musical differences that draw one on board, as an aural passenger, to one’s ultimate destination.
With that slightly sensual sultriness, Seraya takes us on an organic musical ride through the second track on the album and who better could sing those words ‘Gonna rise above your hotel love’, in fact, who else could have written such lyrics? Seraya has always used her literary skills to make her writing that bit more personal, insightful and exciting and when that is coupled with a great musical manuscript, we are all winners. The mix of organ, percussion and guitar with Seraya’s vocals on this track carry it to another dimension and show that she is a voice for all ages, all seasons and all people.
Peace, Love and Understanding is far from an understatement and is a (dance) track for our times, which shows Seraya's versatility at work as only she can do; who would (and could) take a serious topic and turn it into a dance track without losing the message? Few others, I can assure you. This is an important track and yet also the wild card on the album, but it sits comfortably and intelligently here  amongst the other tracks.
With some clever keyboard playing accompanied, not only by Seraya’s vocals, but by some tight string and vocal harmonies, Beautiful Mess is almost anthemic but just holds back from being so, thus making it far more personal and almost visual for all of us, no matter our age or gender.
ANYTIME portrays Seraya at her glorious best and shows that she is not held hostage to the past; this is all part of a musical sojourn that we are pleasantly drawn into and onto by Seraya. May the journey continue………….
 
Tony Bates
Uncut and Unsigned
www.3MDR.com