The Audreys

The Audreys are as original in the flesh as they are on CD - from Taasha Coates's brooding, ethereal vocals to Lyndon Gray's five-stringed double bass, from the sparsely plucked banjo and mandolins to the soaring, classically inspired string arrangements. Opening with Chelsea Blues, the brooding vocals and banjo lead in until the bass and drums kick in like a punch to the kidneys. The effectiveness of this arrangement is to be a permanent theme throughout the whole album. This LP should be the standard that all 'roots' music adheres to; this is the real deal kids. It's folk, it's rock, it's grunge, it's classical and it's blues, but above all, it's indescribably beautiful and stunningly original.
To give a brief overview of the vibe of the entire album, let's look at the first single Paradise City, which saunters into the room in third place. A perfect single to encapsulate everything that makes When the Flood Comes such a fantastic release. The mournfully upbeat guitar leads in on top of some sludging drum work, paving the way for Coates to come along and, with complete disregard for the tone being set by her band-mates, jive a sorrowful tune of regret and disgust. The irony grabs at you and drags you into the sleaze - this is desolation city; this ain't no Paradise City.
Man, this is good stuff. But it just gets better! After the first major crescendo, we're pulled back to reality with just drums and hoarsely whispered vocals, then it builds up again and launches us, with a quick detour through classically inspired string arrangements, into track four. It gets no better than this. Go get it. Words are not the medium for describing aesthetics. The Audreys are where it's at.

Vincent Giles | May 2008 - City Search, Sydney, Australia

The Audreys are as original in the flesh as they are on CD - from Taasha Coates's brooding, ethereal vocals to Lyndon Gray's five-stringed double bass, from the sparsely plucked banjo and mandolins to the soaring, classically inspired string arrangements. Opening with Chelsea Blues, the brooding vocals and banjo lead in until the bass and drums kick in like a punch to the kidneys. The effectiveness of this arrangement is to be a permanent theme throughout the whole album. This LP should be the standard that all 'roots' music adheres to; this is the real deal kids. It's folk, it's rock, it's grunge, it's classical and it's blues, but above all, it's indescribably beautiful and stunningly original.
To give a brief overview of the vibe of the entire album, let's look at the first single Paradise City, which saunters into the room in third place. A perfect single to encapsulate everything that makes When the Flood Comes such a fantastic release. The mournfully upbeat guitar leads in on top of some sludging drum work, paving the way for Coates to come along and, with complete disregard for the tone being set by her band-mates, jive a sorrowful tune of regret and disgust. The irony grabs at you and drags you into the sleaze - this is desolation city; this ain't no Paradise City.
Man, this is good stuff. But it just gets better! After the first major crescendo, we're pulled back to reality with just drums and hoarsely whispered vocals, then it builds up again and launches us, with a quick detour through classically inspired string arrangements, into track four. It gets no better than this. Go get it. Words are not the medium for describing aesthetics. The Audreys are where it's at.

Vincent Giles | May 2008 - City Search, Sydney, Australia

From the opening strains of "Chelsea Blues" (presumably named after the Chelsea Hotel, where songwriters Taasha Coates and Tristan Goodall resided for a stretch while writing this album), it's clear that The Audreys' second is all about going deeper. There's humour in the emotion (such as the brokenhearted lyrical paradoy "Paradise City"), and a few unlikely hooks in the gorgeous, earthy arrangements ("Lay me Down") but When the Flood Comes defintely needs - and rewards - repeated listening. There's no "Steve McQueen" here, but there are richer pleasures, from the Welch-Rawlings harmony of "Here he Lies" to the bittersweet melody of "Small Things".
Dan Lander | June 2008
**** (Four Star Review)

#39 Rolling Stone Top 50 Albums 2008 - Local & International Releases

- Rolling Stone, Australia

Let’s cut right to the chase: this is as fine a debut album as I’ve ever heard. From Australia, The Audreys deliver a sublime collection of alt-countryish, bluegrassy, folky songs that are fresh and new, yet manage to sound timeless.
The sparse, melancholy arrangements of the Audreys feature a wonderful marriage of banjo, ukulele, guitar and violin, but it is all cemented wonderfully in place by the gorgeous, amazingly smoky and intense voice of Taasha Coates. It cuts straight to your heart. Banjo and Violin is a hauntingly performed standout, as is a beautiful cover of INXS’s Don’t Change.
The Audrey’s are reminiscent of Po Girl, Nathan, the Wailin’ Jennys yet sound unique and fresh. If their live show is anywhere near the performances on this record look out, they’ve got it all. A gorgeous CD, run out and buy it.
Les Siemieniuk | Autumn edition 2006 - Penguin Eggs Magazine, Canada

Were you expecting to hear Bruce Springsteen on the banjo when you signed up to The Audreys’ tour? Me neither. But, dear reader, what the people didn’t know they wanted is what the band delivered – and totally cool it was too. As part of an encore deal thing that saw them play a different Boss ditty every night of their 15-odd dates, tonight’s finale, Glory Days, was icing on an already very rich cake.

Taasha Coates and Tristan Goodall took the stage together early and as their own main act and support, rounding up a ‘best of’ and ‘what next’ tour with a sleepy Sunday night. Beginning with Paradise City (or “Paradise Shitty” as they apparently once called it after multi-play fatigue), the spark was back. Over the next couple of hours (including a cocktail break for Goodall and a couple of lucky punters and what was likely a check on new bub break for Coates), the pair collected the best of their three discs to date. You And Steve McQueen, still a gorgeous thing; Anchor still a melancholy sea shanty; Susanne still heartbreaking; Comfort Me still beautiful if not bittersweet; Oh Honey still sexy and Poorhouse still perhaps a state of play for artists everywhere, but a damn fine-sounding place to be.

While Goodall and Coates joked about the process of writing and promised versions that were once works in progress (including Train Wreck Blues, the single and album track that never was until now), tonight’s big hit was the guest spot by one-time Audreys collaborator Cameron Goodall (Tristan’s brother) on guitar and vocals. Lending both to the first-ever live performance of A Little More from debut, Between Last Night And Us, it soared with a growing melody and its freshness seemed to surprise all involved (including those on stage, who beamed throughout). After Cam left, the two continued with the promised “43 songs about loneliness” that would make up their set and, as the growing goodwill, but slightly sloshed downstairs audience kept count, it soon became apparent that sad songs still make great material for songwriting. While Coates joked that probably only Katy Perry was happy to write happy songs (and that the required performance in hotpants was not one she was up for), it’s important to make clear that songs about heartbreak make for a good night out when sung so sweetly. And when there’s a little Bruce Springsteen on banjo to round them out too.
Liz Giuffre | 1 July 2012 - The Music, Australia

Were you expecting to hear Bruce Springsteen on the banjo when you signed up to The Audreys’ tour? Me neither. But, dear reader, what the people didn’t know they wanted is what the band delivered – and totally cool it was too. As part of an encore deal thing that saw them play a different Boss ditty every night of their 15-odd dates, tonight’s finale, Glory Days, was icing on an already very rich cake.

Taasha Coates and Tristan Goodall took the stage together early and as their own main act and support, rounding up a ‘best of’ and ‘what next’ tour with a sleepy Sunday night. Beginning with Paradise City (or “Paradise Shitty” as they apparently once called it after multi-play fatigue), the spark was back. Over the next couple of hours (including a cocktail break for Goodall and a couple of lucky punters and what was likely a check on new bub break for Coates), the pair collected the best of their three discs to date. You And Steve McQueen, still a gorgeous thing; Anchor still a melancholy sea shanty; Susanne still heartbreaking; Comfort Me still beautiful if not bittersweet; Oh Honey still sexy and Poorhouse still perhaps a state of play for artists everywhere, but a damn fine-sounding place to be.

While Goodall and Coates joked about the process of writing and promised versions that were once works in progress (including Train Wreck Blues, the single and album track that never was until now), tonight’s big hit was the guest spot by one-time Audreys collaborator Cameron Goodall (Tristan’s brother) on guitar and vocals. Lending both to the first-ever live performance of A Little More from debut, Between Last Night And Us, it soared with a growing melody and its freshness seemed to surprise all involved (including those on stage, who beamed throughout). After Cam left, the two continued with the promised “43 songs about loneliness” that would make up their set and, as the growing goodwill, but slightly sloshed downstairs audience kept count, it soon became apparent that sad songs still make great material for songwriting. While Coates joked that probably only Katy Perry was happy to write happy songs (and that the required performance in hotpants was not one she was up for), it’s important to make clear that songs about heartbreak make for a good night out when sung so sweetly. And when there’s a little Bruce Springsteen on banjo to round them out too.
Liz Giuffre | 1 July 2012 - The Music, Australia

The Audreys are on one helluva hat trick. Over ten years they’ve released three albums, each one winning the Best Blues & Roots Award at that year’s ARIA Awards. Perhaps because of this or because getting a muso to pick their favourite song or album is a lot like asking a parent to pick their favourite child, they have come up with an easy solution. “Collected” draws together all three of their albums in one handy pack.
by Natalie Salvo | June 27, 2012

Faced with the task of reviewing such a comprehensive set is a tad daunting to say the least. Especially when you consider that there is bonus material (enough to fill at least one other disc) that is also available to be downloaded too. The latter offering boasts music
videos plus rare tracks and b-sides including live, alternate and demo versions of their much-loved songs.

Put simply, their debut, “Between Last Night & Us” boasts 12 smoky pop tunes. On their follow-up, “When The Flood Comes” the two principal songwriters and mainstays, Taasha Coates and Tristan Goodall battled “Difficult second album syndrome” and writers’ block. Eventually they would find the perfect inspiration at New York’s infamous Chelsea Hotel and would write that album’s opening song, “Chelsea Blues” about it. This one includes lyrics that ring true for this compilation: “There’s a big change coming down the highway” and “We’re all in this together,” while the remainder of the tracks are of the softer and slower, folk variety.

Their latest album, “Sometimes The Stars” is the “mature” record. It still boasts the organic, homespun charms of its predecessors plus some weightless floating chords, soaring harmonies and rumbling melodies. It also features one impressive guest cast including Tim
Rogers, Tripod and Michael Barker (John Butler Trio).

Tristan Goodall has described his group’s sound as “Goodtime heartbreak music with banjo”. This “ultimate collection” certainly has many moments like this because often the numbers deal with raw emotions in an honest yet refined way. Plus, you know you’re onto
something good when you’re an artist that produces a better cover of another band’s song than the original member’s most recent attempts (and by that I’m talking about their version of INXS’ “Don’t Change” which completely trumps the cut on “Original Sin”).

“Collected” sees plenty of piano ballads, light folk numbers, some old-fashioned rock ‘n’ roll plus more organic favourites. These also prove the perfect launch pad for Coates’ vocals. The latter are equally sweet and honeyed at some moments while at other times are
quite sultry and sexy.

The Audreys have been a blessed union of mostly two souls, a boy and a girl creating the right dichotomy between light and dark shades in their writings. Whether it is softer musical moments coupled with darker lyrics, vice-versa or any other combination of great things, it is often all about a cheeky juxtaposition. It’s a stellar formula that ultimately works and has provided a meaningful soundtrack not just for films and TV scenes but also to peoples’ lives in general. This collection coincides with their upcoming Bluesfest appearance and often plays out like a love letter to fans, thanking some for their support over the years while giving new ones the opportunity to acquire their entire discography in one fell swoop (and not have to pick favourites).

“Collected” ultimately offers a little something for everyone and every mood because these are great songs that encompass emotions that are good, bad and in-between. These tunes are like clever laments that are often familiar, very attractive and polished to perfection. In short, it’s a mesmerising signpost to celebrate the past, present and future of a passionate and powerful band. A beguiling bookend to one chapter with a swag bag of more goodness still to come.
- The Dwarf, Australia

The Audreys are on one helluva hat trick. Over ten years they’ve released three albums, each one winning the Best Blues & Roots Award at that year’s ARIA Awards. Perhaps because of this or because getting a muso to pick their favourite song or album is a lot like asking a parent to pick their favourite child, they have come up with an easy solution. “Collected” draws together all three of their albums in one handy pack.
by Natalie Salvo | June 27, 2012

Faced with the task of reviewing such a comprehensive set is a tad daunting to say the least. Especially when you consider that there is bonus material (enough to fill at least one other disc) that is also available to be downloaded too. The latter offering boasts music
videos plus rare tracks and b-sides including live, alternate and demo versions of their much-loved songs.

Put simply, their debut, “Between Last Night & Us” boasts 12 smoky pop tunes. On their follow-up, “When The Flood Comes” the two principal songwriters and mainstays, Taasha Coates and Tristan Goodall battled “Difficult second album syndrome” and writers’ block. Eventually they would find the perfect inspiration at New York’s infamous Chelsea Hotel and would write that album’s opening song, “Chelsea Blues” about it. This one includes lyrics that ring true for this compilation: “There’s a big change coming down the highway” and “We’re all in this together,” while the remainder of the tracks are of the softer and slower, folk variety.

Their latest album, “Sometimes The Stars” is the “mature” record. It still boasts the organic, homespun charms of its predecessors plus some weightless floating chords, soaring harmonies and rumbling melodies. It also features one impressive guest cast including Tim
Rogers, Tripod and Michael Barker (John Butler Trio).

Tristan Goodall has described his group’s sound as “Goodtime heartbreak music with banjo”. This “ultimate collection” certainly has many moments like this because often the numbers deal with raw emotions in an honest yet refined way. Plus, you know you’re onto
something good when you’re an artist that produces a better cover of another band’s song than the original member’s most recent attempts (and by that I’m talking about their version of INXS’ “Don’t Change” which completely trumps the cut on “Original Sin”).

“Collected” sees plenty of piano ballads, light folk numbers, some old-fashioned rock ‘n’ roll plus more organic favourites. These also prove the perfect launch pad for Coates’ vocals. The latter are equally sweet and honeyed at some moments while at other times are
quite sultry and sexy.

The Audreys have been a blessed union of mostly two souls, a boy and a girl creating the right dichotomy between light and dark shades in their writings. Whether it is softer musical moments coupled with darker lyrics, vice-versa or any other combination of great things, it is often all about a cheeky juxtaposition. It’s a stellar formula that ultimately works and has provided a meaningful soundtrack not just for films and TV scenes but also to peoples’ lives in general. This collection coincides with their upcoming Bluesfest appearance and often plays out like a love letter to fans, thanking some for their support over the years while giving new ones the opportunity to acquire their entire discography in one fell swoop (and not have to pick favourites).

“Collected” ultimately offers a little something for everyone and every mood because these are great songs that encompass emotions that are good, bad and in-between. These tunes are like clever laments that are often familiar, very attractive and polished to perfection. In short, it’s a mesmerising signpost to celebrate the past, present and future of a passionate and powerful band. A beguiling bookend to one chapter with a swag bag of more goodness still to come.
- The Dwarf, Australia