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Album Reviews |
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Reviews |
| Review - Oz Music Project - Sept 2003 Published on www.ozmusicproject.net This is a very good record. Made by musicians for musicians, this record takes the spirit of the Australian outback, and a talented songwriter and twists it into just over 40 minutes of laidback, epic music. The first track, “City of Sorrow” is a belter of a tune, with a crazy lead break by Mr. Botica, which melts into the sublime sounding “Albatross”. What makes this album even more impressive, is the fact that Botica not only wrote every song on the album, (apart from the aforementioned, Albatross) but also played electric and acoustic guitars, bass, keyboards and did the programming. Little big man is an adult contemporary radio hit waiting to happen, as is ‘Walk upon the sky’. For those of you that need comparisons, I would put this album alongside Things of Stone and Wood, Tommy Emmanuel, Midnight Oil and maybe even Led Zeppelin, the Zeppelin-ness shining fiercely in “So Hard.” This is the perfect record for
those of you that like the ideals behind John Butler’s music, but cannot
tolerate his drawn out guitar noodling. Likewise if you want to like Michael Franti,
but can’t stand his lack of subtlety, this is the ideal album for you to
sink your teeth into. ......................................................................................................................................... Review by hEARd.com.au Ezine - DEC 2004 Published on http://heard.com.au Seemingly the spirit & sound of Johnny Cash lives on & though I’ve never listened to a great deal of Johnny Cash’s sound, I’m well enough aware when I hear something which has such a style to bring a great name like that to mind. There are quite a few tracks here which will spark the interest of anyone who is into country music but not the particularly cheesy style personified by people like Billy Ray Cyrus. One of my favourite tracks here, ironically enough, is actually a track from back in 1969, called “Albatross”. The band pull this one off with a world class instrumental that’s outstanding. However, there are numerous other highlights, such as opener “City Of Sorrow” & the epic closing number “Rubber House”, while “Walk Upon The Sky” has a slightly different mood than much of the rest of the album for whatever reason. Certainly someone doing something very different to other Australian bands at the moment. Between The Shadows is out now through
Laughing Outlaw. hEARd rating 6.5/10 ......................................................................................................................................... Review by Geoff Parkes - Logged Off - June 2003 Published on www.loggedoff.net Well
here's something you don't hear every day - a guitar-based album that doesn't
sound like Satriani or Santana. John Botica's first solo release (apart from a
punk/rock history, the man's played on three Tiny Tim records), Between the Shadows
features seven tracks with vocals, and two instrumentals, all co/written by Botica
apart from a bizarre rending of the Fleetwood Mac tune "Albatross" where
the siren-like vocals of Johnette Roland drift languidly over Botica's plucked
melodies. If you like guitar-focussed music, then Between the Shadows will prove
rewarding. Botica's style is expansive and eclectic enough to take in numerous
styles, from pseudo-flamenco to semi-thrash. For those of us not easily impressed
by a quick set of fingers, Botica's voice and lyrics will take the forefront -
at times his deep throaty croon echoes Johnny Cash, at other's, especially "So
Hard" he sounds almost like the master Lou Reed. Botica addresses social
issues throughout, which can grate, and it's when he's at his most lyrically vulnerable
in "Lovers Roadside" that something more touching becomes apparent.
As to whether this will summon any fans outside the genres Botica works in is
debatable, but I don't imagine he's particularly concerned. For guitar fans there's
enough here to keep you rocking well into the night but again if you don't like
layers of riffery and fretwork, stay way clear. ......................................................................................................................................... Review by Luke Balzan - Rip It Up Magazine - May 2003 It's always good to hear someone doing things a little different to
the norm. Luke Balzan ........................................................................................................................................ Review by Mark Dalton - New Music e-zine - May 2002 This is John’s first self produced solo release and has been in the making since 1999. Personally, I found this to be an extremely impressive first release from this relatively unknown Australian artist. The album features nine tracks in total, seven of which are John’s original works, one re-work of a tune originally written back in 1980 with fellow song writer and band mate Brendon Venner, and a rather interesting version of Fleetwood Mac’s Albatross. This album is a strange mix of Light and Shade, Angst and Humor, Fire and Brimstone. Like a drunk in your favorite bar, it laughs, cries, tells you stories and then suddenly, as if totally enraged begins to shout at you! Just when you think you may have a handle on Botica’s style he goes and messes it all up on you by pulling out something completely left of field. By John’s own admission, the album is somewhat schizophrenic in it’s nature. But be that as it may, the diverse songs on this album seem to fit uncomfortably well together, almost as if to deliver some kind of grand unified message, but what exactly that message is? Don't ask me, for it lies between the shadows. Mark Dalton. ....................................................................................................................................... Review by Bones - Delivery Man e-zine - April 25th 2003 Published on www.musicworkz.co.uk The 9 tracks on this album feature 7 Botica originals, a track co-written with Brendon Venner, and a rather unusual take on Peter Greens ‘Albatross’. John’s career might be largely unfamiliar to visitors from the UK, although his 80’s stints with Ironheart & Labrats will certainly ring a few bells with those who were fortunate enough to catch up with them on their rare London forays - well, certainly with those old enough to remember the Sydney Oi boys chundering out angst ridden sonic assaults on the unsuspecting. Where Botica’s previous musical adventures tended to draw on influences such as Zappa, Blackflag, and indeed their fellow-countrymen, Radio Birdman, time has mellowed the general feel of his music, and this album is pretty tame compared to some of the tunes he and his various cohorts have brought us over the past two and half decades. Then again, this almost certainly has more to do with the fact that the music on this solo release, and indeed the production, was un-influenced by decision-making from other band members, and is a reflection of something John has long wanted to get out of the closet. Although the album features a predominant slant towards an acoustic edge, often with an almost mesmerising narrative vocal style, the songs are laced with brass (instrumental ‘Paricutin’) and a vaguely Celtic sound (City Of Sorrow), by way of some absolutely stunning violin work by Marvin Druid, there are still wild untamed moments, sometimes even breaking through in the more laid-back tunes, certainly enough to appease fans from days of yore. Having said that, ‘Rubberhouse’ & ‘So Hard’
will no doubt have a few of people dusting off their air guitars and making a
tit of themselves in front of cringing family members. Bones
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