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Gareth Koch New Reviews

GARETH KOCH

ELIZABETHAN JANGLE

A CHRISTMAS ALBUM

Foghorn Records

 The past couple of years has seen the recorded output of classically trained guitarist Gareth Koch rise exponentially to match (almost) that of his most recent musical collaborator, Steve Kilbey, releasing two solo albums, an EP, Code Blue, and now a second EP, Elizabethan Jangle – really a mini-album, its seven pieces succinctly and elegantly arranged and performed – all instrumental, as well as two albums with Kilbey within the past 20 months. This time around, Koch has returned to familiar territory, the music for lute composed by John Dowland (1563-1626), some of whose catalogue he’s recorded for ABC Classical. This time around he’s “reimagined” some Dowland, as well as Henry VIII’s ‘Greensleeves’, and rearranged some pieces from the Elizabethan era for a contemporary audience, the solo lute replaced by flamenco, classical and steel-string guitars, occasionally accompanied by Hofner and Rickenbacker basses as well as the odd bit of bodhran (I think), the additional instrumentation, all played by Koch, never overwhelming the central melodies, which drift between feisty and celebratory and liltingly romantic. ‘Tis pity ‘tis so short a time one gets to share with this remarkable minstrel in this context. Another dozen pieces please! Ensuring some sort of continuity with his even more prolific collaborator, the pastel portrait of Koch gracing the CD’s cover is by Steve Kilbey. Just for good measure, Koch released a third solo album just before Christmas 2021, his take on a variety of Christmas music from medieval through traditional to ‘Little Drummer Boy’, again all beautifully arranged and performed, nothing saccharine, so keen readers might want to grab a copy of A Christmas Album to put away for Christmas 2022.

MICHAEL SMITH

Stream Elizabethan Jangle here:

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CJ Shaw Releases Single ‘Ain’t Many Like Lennie’ with Animation Video

NEW REVIEW For CJ Shaw’s Album ‘ALL SORTS’

 Nominated for a 2020 Music Teacher of the Year ARIA, CJ Shaw is an unadulterated, unashamedly Australiana rather than Americana singer-songwriter, sort of Shane Howard meets Fred Smith if you will. Shaw keeps it all pretty simple too, two and three chords at most as he spins his stories, some aimed at younger listeners – as you’d expect from a teacher – rambling, cheeky ditties full of whimsy – others serving more mature musical tastes with tales that ponder life as it’s lived in this wide brown land. “We would all do a lot less harm,” he suggests in ‘Choose to Chew’, “If we ate our Coat of Arms” – which makes sense of the recipe card for CJ Shaw’s Fair Dinkum ‘Roo Bolognese included! Obviously one of his children’s songs, but hey, we all need a bit of fun once in a while. ‘Werewolves’ straddles the generations, delivered straight-faced yet obviously not to be imbibed in that spirit. The seraphic Hannah Czaben takes the vocal spotlight on ‘Full on Heart’, another gentle two-chord stroll, a rumination on separate lives that could have been more lived more happily together that, along with songs like ‘Lonely Road’, is proof that when he allows himself, Shaw is quite the poignant singer-songwriter.

MICHAEL SMITH

 Truth is often stranger than fiction and Lennie Gwyther’s story is no exception. A 9 year old boy who, along with his horse Ginger Mick, traversed 1000 kilometres of Australian wilderness to arrive in Sydney for the opening of the Harbour Bridge in 1932.

Along the way he became a celebrity, admired for his bravery and determination. He even met with the Prime Minister of the time on the ride north. This was during the depression years and heroes were in demand. This unassuming boy was an unlikely icon that united the country as a symbol of hope.

This song was written to teach Australian history to primary aged students (and curious adults alike). The storytelling lyrics allow students, the same age as Lennie, to imagine his courageous three month journey to witness a momentous moment in Australian history. One taken without parents, cars, electricity and, most unbelievably, mobile phones.

The stop-motion music video to accompany the song is made by award-winning animators ‘Eleanor & Giovanni’ and features 3D felted puppets who play out the historical story of Lennie Gwyther. These meticulously hand-made puppets and backdrops create a child-like physicality to captivate the audience – drawing them into this inspiring Australian story.

As the song says – “There ain’t many like Lennie”.

Checkout the Video on todays excellent Premiere courtesy of Scenestr Magazine

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Song Description
 Ain’t Many Like Lennie
Back to folk with this true to life story song. Mid-tempo, acoustics, banjo, mandolin, drums and bass.

Armed with a guitar and a swag full of harmonicas, singer-songwriter CJ Shaw’s intricate finger-picking, word play and storytelling never fails to captivate his audiences. CJ Shaw’s music is distinctly Australian in style, influenced by Paul Kelly and Slim Dusty. His lyrical storytelling and musicality lends itself to audiences of all ages.

In 2020, CJ Shaw was nominated for an ARIA Award for ‘Music Teacher of the Year’ with Jimmy Barnes as his official ambassador presenting him with the nomination. This prestigious music industry acknowledgement recognised his dynamic and poignant songwriting for primary-aged children. These celebrated songs are woven through his performances and albums, played alongside satirical and storytelling Australiana folk songs.

In 2021 CJ Shaw released his album ‘All Sorts’. Combining the best of his children’s songs with his unique brand of contemporary Australiana, Shaw has dubbed ‘All Sorts’ “the ultimate Family Album”. With over a decade experience touring and performing at music festivals in Australia and Timor-Leste, CJ Shaw is an exciting Canberra musician at the top of his game.

CJ Shaw – Ain’t Many Like Lennie is out NOW December 3rd through Foghorn/MGM
Download or stream: 

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Sydney Morning Herald review of IVONA ROSE – So Modern album

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IVONA ROSE
So Modern (Foghorn)

FOLK POP

Reviewed by John Shand

The Sydney Morning Herald Spectrum

Pick of the week 17-11-18

You hear the assortment of musical influences remotely, as if they are in the next room. In the foreground is a voice as both a singer and songwriter that sounds like no one else. Perhaps partly it is Ivona? Rose’s Polish background adding a layer of sepia-tinted Euro nostalgia to the folk and pop elements. But, more than that, it is a sense of clarity about how to burrow down to the authenticity of her own songs, so nothing sounds forced, even when they have been quite elaborately arranged and produced (the production being by Rose and Brian Campeau?, with the latter also playing guitar and synthisizers?). The songs are certainly not uniformly strong, but the title track, for instance, grabs you by the throat on the first listening, and sinks into your marrow the more you hear it, the music carrying faint echoes of Kate Bush while the lyrics lament the impact of modern gadgetry on our humanity. The textures are unique, too, with Rose’s piano, autoharp or melodica and Campeau’s? contributions coloured here and there by cello or trumpet, and underpinned by the authoritative and groovy rhythm section of Zoe Hauptmann? and Evan Mannell. JOHN SHAND