In the media

"…there's reason to be excited about this comeback beyond one exquisite performance. Tonight is a reminiscence on an underrated and frankly brilliant body of WA work that deserves to be viewed alongside the best our state has produced in the past two decades. But it's also hard not to be excited by the prospect of a new album due soon, no doubt with a simple white cover." Seesaw, May 2023
"Moleta has quite a unique style of delivering his lyrics – the vocals so clear, honest and unpretentious, it can make for quite an uplifting experience." The Drum Media
"Next up was Benedict Moleta who came out and gave a beautiful acoustic set filled with amazing slice-of-life songs and an incredible voice that even makes the goose bumps have goose bumps!"
"As always, his words and delivery are precisely measured, the performance feeling as much like a reading from a seasoned poet or novelist as a band-fronting songwriter."
"I think of Moleta as a hero, the way he continuously works with different musicians . . . to craft albums that are warm and genuine, moments that merge with your own memories."
"Most of the time when I see Benedict Moleta it's only a brief glimpse of his impossibly skinny frame riding around Mt Lawley on top of a beat up, old mountain bike. That mountain bike is a pretty good metaphor for Benedict Moleta's music, it's not fancy but it's honest and it'll get you where you wanna go."
"...a hushed, white-wall atmosphere perfect for lovers of Death Cab For Cutie or Red House Painters. But the comparison is not exact, as Moleta's songwriting seems more mature and less prone to pop affectations..." Rave Magazine
"...Moleta paints scene after detailed scene, piling on heady descriptions in a voice that's hushed, airy and pristinely delivered. Leading a five-piece setup with cameos from additional guests, he erases the line between story and song, recalling most often the intricate narratives of the Mountain Goats' John Darnielle."
"Moleta's phenomenal voice has guided the way through a prolific catalogue filled with songs of satire, heartache and novelty, manifested in six critically acclaimed albums. The talented troubadour's latest offering Singleton comes less than a year after his 2011 volume White Marble Heyday . . . Over 12 songs, Moleta showcases his wild imagination, vast vocal range and incredible mastering of songwriting." X-Press magazine
" is inspired recruitment of Miranda Pollard as the perfect foil for the equally gifted vocalist Moleta that steals the show. ... she would be well advised to continue her time with Moleta as the pair are now responsible for each other's musical high points."X-Press magazine
"Moleta has been releasing records for the past eight years ... quietly building up one of the most impressive and unique discographies Perth has seen."The West Australian
"Listen to Benedict Moleta's fifth album [Timesheet] and it's like hearing your past played back at you in a sad and sentimental key. You, me, and Moleta: together we've shared this lived experience of love and loss in Western Australia, our hearts rusty with the bore water marks of Moleta's delicately spun narratives.

The relationship between location and emotional familiarity reign supreme in Moleta's delicate music making. Take 'Believer': after two minutes' worth of layered guitars and shimmering cymbals, the instrumental deadens and Moleta's voice pipes up, opulent in it's practiced, unflappable candour: 'If I turn right into this street tonight / I feel like I will be driving / To your girlfriends house in 2002 / When you still had your silver Celica / And I was still getting to know you'.

Timesheet features a collaborative ensemble of Perth musos whose influence is sometimes subtle (Rosemary Halsmith's whimsical glockenspiel in Crazy Itch) but else times transformative: the prominent drums and formal song structure of 'Minaret' take a decidedly pop folk turn (not dissimilar to 2008's 'Bicoastal').

However, it's tracks like 'Greyhound', where there is only the sparse backing of gently plucked guitar strings accompanying Moleta's meandering recollections ('we went by different streets the last time we walked / over the gradual hill from my house to yours') that remain Timesheet's highlights.

The sheer poetry in this album will floor you."X-Press magazine
"Moleta's new single is the jaunty (for him) 'Minaret'. The man has been working with an ever growing collection of collaborators and 'Minaret' seems the pop-ish result of this excursion.

But it's other album cut on this sampler that strikes best. 'Metal Towers' sits somewhere in the rack alongside Smog, Calexico and the Candle Records (R.I.P) roster. Tales of architecture intersect with ruminations on friendship amid a local landscape. 'Wet skin on the warm bricks at the poolside / the movie kind've showed you what an older brother would've been like'.

It's a lovely, affecting tale, one whose world encompasses 'Nadine Garner', 'BMX' and 'your down syndrome friend' in the space of a few lines.

With lyrical visions such as these - and the songcraft to match - Moleta remains a distinctly individual character in the overcrowded cupboard of singer/songwriters".

"But it's the songwriting near-genius of West Australian Benedict Moleta and his band that everyone has come to see. He opens his set with the long, rambling "Lowered Kingswood" off his extraordinary new album Timesheet.

Moleta tells us stories of objects and landscapes of his youth a continent away in a tentative voice that matches his wiry frame, and it is both their otherness and their familiarity that draws us in like children to a favourite bedtime book.

Then it's "Believer", my personal highlight, with its long guitar intro and the nakedness of its worth-the-wait lyrics: 'he air around / the two diagonal houses on this street / has not retained / the right kind of happy memories for me / but you do / you do / you can reproduce / the first outsanding cinema image from my youth'.
I mean, really.

Moleta's band - which features something this writer has never seen before, a six-string bass - have obviously thought long and hard about the music they use to accompany their frontman.

Essentially an iconoclastic solo artist, Moleta was always going to be in danger of having his unique vision overrun by a bunch of enthusiastic rock 'n' rollers, but the instrumentation and arrangement here is pitch-perfect, taking the experience as a whole of seeing this show to places music rarely has the courage or the vision to go.

Timesheet is probably the album of the year for me so far, and seeing it performed in this context, while a decidedly different experience, has done nothing but solidify that view. God, I hope this guy moves to Melbourne. Inpress Magazine