Last month I headed to Germany to write with a bunch of talented writers and producers. Here’s a snap from my session in Hannover with Peter Jordan & Shane Gunn – we had a blast and working in natural daylight is always welcomed!
I’m incredibly thrilled “Give You Up” was released and is the leading single on Dido’s comeback album. I co-wrote this tune in London with long-time collaborator Denny Thakrar and UK songwriters Si Hulbert and Dee Adam after a difficult break-up of my own which no doubt, found its way into this song. No one could have sung the story better than Dido, her voice is sounding better than ever. The offical video clip is below!
Recorded in late 2018, Catherine’s live Jazz EP “Off The Charts” is due for release early in the new year. Here’s a live video recorded live at Soundbaker Studios for the song “Close Your Eyes”. Check out the video here!
Tickets are now available here for Catherine’s latest album launch on 24 January 2018 with her full band at The Ellington Jazz Club. Get your table/bar tickets now!
Congratulations to Ben for all his hard work, creative insight and vision into this fine release. Very happy to have been part of this and hope to hear more soon.
***Sydney Morning Herald Review ***
COUNTY & DESERT My Name Is Nobody
MY NAME IS NOBODY (mynameisnobody.com.au)
There’s a sense of space here: vast vistas that can replenish the soul with their sprawling beauty, or unsettle it because of that very same expansiveness. Most of us, after all, cling with our fingernails to this continent’s seaboard, our backs to a desert emptiness that can excite a little psychic angst. My Name Is Nobody consists of three Western Australians: drummer Ban Vanderwal (who writes most of the material), Tom O’Halloran (piano, keyboards) and Lucky Oceans (pedal steel and national guitars). Although assorted guests join them here and there the trio is remarkably self-contained as it lets beguiling melodies unfold over slow, understated grooves. They have a keen ear for layering sounds, so that the barely heard, carillon-like piano arpeggios on Rambling Waltz, for instance, are precisely what lends the piece its disquieting depth. Perhaps no instrument so instantly conjures a particular sound-world as the pedal-steel, but those country leanings (supported by the presence of two Willie Nelson tunes) are somehow made more primal: the soundtrack to our pioneers, perhaps, rather than to sharp contemporary dudes in cowboy hats. JOHN SHAND