"The Church presents a challenge to us all. They do not flounder like so many
others trying to keep up with new trends; they do not have to because their
music is eternal. If that means from time to time they're not considered
'hip', that doesn't seem to worry them and neither should it worry you. As
long as groups like The Church stick around, guitar based pop will continue to
breathe life."
-John Harrison, review of the album "Heyday".
Review of the album "A Box Of Birds" by Michael Lipton
"At some point in the career of nearly every band, the opportunity presents itself to pay homage to a batch of songs that were particularly influential--or just downright fun. And a band with a sound as distinctive as the Church makes for the ideal group to record such a collection.
Scanning the song list should be enough to pique your interest. The tunes range from Hawkwind's "Silver Machine" and Ultravox's "Hiroshima Mon Amour," to Neil Young's "Cortez The Killer" and Television's "Friction." If some of the selections raise an eyebrow--Carole King and Gerry Goffin's "The Porpoise Song," for instance--trust the band's instincts. Beginning with Alex Harvey's "The Faith Healer," it's obvious the object was to use the original version as inspiration rather than a blueprint. In fact, it may take a chorus or two to recognize George Harrison's "It's All Too Much" or Kevin Ayers's "Decadence." "Friction" and David Bowie's "All The Young Dudes" end up being the closest to the originals, while "Cortez The Killer" and Iggy Pop's "The Endless Sea" give the band the most room to experiment with atmospherics.
Like the covers on Bowie's Pin Ups LP, the Church puts such a unique stamp on the tunes, many end up sounding like they could have been written by Steve Kilbey and Marty Willson-Piper."
This review was taken from LAUNCH which is Copyright 1997-1999 LAUNCH Media, Inc. All rights reserved.
An exclusive review of the album "Hologram of Baal" by Cory McCarthy
Hologram of Baal is a definite winner, and it still shows, after all of these years, The Church can still play music that tugs at our emotions and draws us in endlessly. Most other groups of the 80s, though all incomparable to The Church, are either dead or playing crap music for the most part. From the first, soothing song “Anaesthesia” to the sorrow-filled “The Great Machine” and the final song “Glow Worm”, Hologram of Baal keeps you listening, it plays on your emotions and gives off dreamy, surreal images that keep you coming back for more. Like always, this album has a single within, “Louisiana”. This is personally my favorite song in the album next to “Anaesthesia”. If one listens closely to “Louisiana” the guitar sound is reminiscent of their “Under The Milky Way” (from their 1988 album “Starfish”) only not as pronounced and a bit slower. Hologram of Baal insures endless play-throughs.
Review of the album "Sometime Anywhere" by CMJ New Music Monthly Review
"The best way in describe Sometime Anywhere is to say that it's a good
Church record. That's a cop-out, to be sure, but in some ways a necessary
one. The departure of guitarist Peter Koppes left the future of the band's
signature style - a deft mix of Beatles-esque pop, `80s psychedelia and
lyrical melancholy-in doubt. Paring down the group to a duo of Steve Kilbey
and Marty Willson-Piper, however, seems to be what give's this record its
creative luster. The Church has pushed itself in new, welcome directions to
fill the sonic vacancies left by the absence of Koppes' guitar, opening up its
grandiose melodies to a wide array of structures and sounds. The result is
a record as interesting and intricately crafted as Gold Afternoon Fix and as
immediately captivating as Starfish. Some of the experiments work better
than others, but when Kilbey and Willson-Piper hit their stride, as with their
first-ever duet on "2 Places At Once," it's magic. And even when Kilbeys
lyrics wander into obscurity or the songs become mired in strange internal
dialogues ("Lost My Touch"), you know that there's a lush chorus right
around the corner. From the album-opener "Day Of The Dead" to the Magi
saga of "Lullaby" and the aptly titled "Eastern," Sometime Anywhere is both
an exploration of new directions and a return to the form that made The
Church an alternahousehold name."
This review is copyright 1978-1999 College Media, Inc. All rights reserved.
An exclusive review of the album "Priest = Aura" by Cory McCarthy
Priest = Aura is in my opinion one of the better albums by The Church. The songs within contain numerous hooks, even the non-lyrical song “Film” which has a certain emotional tug to it which proves that even without words, The Church can produce excellent material (it also allows the album to slowly fade away to completion, being the last track). The album also contains two hit songs “Ripple” and “Feel” which can be found on singles overseas or through import. The opening song “Aura” (which contains the album’s name Priest = Aura in the lyrics) tells a story in a way and has a huge hook! There is also a very odd and psychedelic track called “Chaos” which is rather long, but very fun to listen to. All in all, Priest = Aura is indeed a wonderful album under The Church’s belt.
Review of the album "Gold Afternoon Fix" by CMJ New Music Report Review
"For a decade, Australia's The Church have been providing the world with
their compelling hybrid pop sounds. On this, their seventh album (with nine
solo albums between the three principal members Steve Kilbey, Marty
Willson-Piper and Peter Koppes), they expand on the dreamy surrealism
that they built a reputation around, adding a bit more snap to the airy
nature of 1988's Starfish. Gold Afternoon Fix, a stock market term for
setting gold prices, shows the band at its most cohesive; their side projects
have not had any negative effect on the band's unity. Kilbey, the bassist
and main vocalist, offers his imaginative vision as the chief lyricist, emitting
his words with a soft-spoken easiness that flawlessly combines with the
collective musical contributions to create an unequaled aura and foresight.
Their uncanny ability to create a subtle hook (especially on the lead single
"Metropolis") gives The Church all the more power. Other Fix-ations: "Terra
Nova Cain," "Pharoah," "Grind" and "Essence.""
This review is copyright 1978-1999 College Media, Inc. All rights reserved.
Review of the album "Starfish" by CMJ New Music Report Review
"The Church has been a household name in their native Australia for years
now, but things haven't been as easy for them in the States. With this third
coming (on yet another label-both Capitol and Warner Bros. have had a
shot), their first domestic release in two years and best work yet, The
Church should make the big splash that so many knew was coming.
Starfish is a highly lyrical and textured work, with acoustic and electric
guitars ringing, chiming and swirling to stunning effect-the band's
trademark-now more refined and vibrant than before. It's not just that the
songs are full of meaty hooks, but it's the way the subtler elements in their
sound come together that puts it over the top. Listen to how Steve Kilbey's
distant, breathy vocals and harmonies mesh with the mellifluous guitars
and sparse keyboard sprinklings, and to how the rhythm section sets the
tone for each song, gracefully building and subsiding, framing Kilbey's oft
dark words and feelings. "Under The Milky Way" is already faring well with
programmers, but this record runs deep. The ethereal sounds of early Pink
Floyd ("Destination"), the boldness of Echo ("North, South, East And
West"), and the pop savvy of Lloyd Cole ("Reptile") together make Starfish
a cohesive and compelling work. If you're looking for pop salvation, look
no further than The Church. "A New Season" and "Antenna" could even
make The Pope start toting a walkman."
This review is copyright 1978-1999 College Media, Inc. All rights reserved.
Review of the album "Heyday" by Jason Ankeny, All-Music Guide
"Less overtly psychedelic than previous
Church releases, the Peter Walsh-produced
Heyday is a shimmering leap into more
straightforward territory; Steve Kilbey's
melodies are catchy and concise --
"Tristesse" recalls fellow Aussies the
Go-Betweens, "Columbus" is majestic
jangle-pop, and "Tantalized" is more
propulsive than anything the group's done
since The Blurred Crusade's stellar "When
You Were Mine.""
This review is from AMG which is Copyright 1999 SonicNet, Inc. All rights reserved.
Review of the album "Remote Luxury" by Chris Woodstra, All-Music Guide
"Remote Luxuries isn't a proper album, but
rather a combination of two EPs -- Remote
Luxuries and Persia -- recorded around the
same time. And though it wasn't conceived
as an album per se, the two EPs work well
together, forming a coherent album of
more meditative pieces that dabble in
psychedelia and folk-rock while still
retaining some great hooks and melodies.
There is a certain sameness to the sound,
but there are some clear highlights, like "A
Month of Sundays" and "Shadow Cabinet.""
This review is from AMG which is Copyright 1999 SonicNet, Inc. All rights reserved.
Review of the album "Seance" by Chris Woodstra, All-Music Guide
"Seance can be viewed either as their most
excessive work or the culmination of the
band's neo-psychedelic and (Kilbey's
especially) mystical obsessions. A very
textural album with full arrangements that
incorporate lush strings alongside the
jangling guitars of Blurred Crusade, there
are some better-than-average atmospheric
pop songs (such as "Fly" and "Electric
Lash," one of their finest songs).
Ultimately, though, the album is bogged
down by an attitude emphasizing concept
and sound over songs."
This review is from AMG which is Copyright 1999 SonicNet, Inc. All rights reserved.
Review of the album "The Blurred Crusade" by Chris Woodstra, All-Music Guide
"Of Skin and Heart was clearly a new wave
album, but Blurred Crusade was very much
akin to the emerging jangle-pop
movement in the U.S., the band taking a
cue from the Byrds. With shimmering
12-string work from Marty Willson-Piper
combined with Kilbey's obscure lyrics and
otherworldly delivery, the band creates a
dreamy soundscape that is quite evocative.
While it seems that the lush sound and
decidedly melancholy mood are the most
important aspects of the album, they still
manage some outstanding, catchy songs,
like "When You Were Mine.""
This review is from AMG which is Copyright 1999 SonicNet, Inc. All rights reserved.
Review of the album "Of Skin and Heart" by Chris Woodstra, All-Music Guide
"On their debut, Of Skin and Heart, the
Church play a straightforward pop/rock
firmly rooted in new wave, though owing no
small debt to '60s pop. Edgier and more
direct than their later work, it also ranks
among their finest for that very reason.
None of the excesses and ambitions that
would sometimes get out of hand on later
releases are present, though much of the
band's basic formula was laid down --
Steve Kilbey's cool, detached vocals and
slightly surrealistic lyrics combined with
some outstanding pop hooks, nice
harmonies, and layers of ringing guitar.
The classic "Unguarded Moment" (arguably
one of the greatest singles of the '80s)
overshadows much of the material on the
album, but there is really no shortage of
great songs here. [The album was
originally released in the U.S. as The Church
with some tracks dropped in favor of three
tracks from singles released around the
same time. In 1988, Arista released Of
Skin and Heart on CD in its original form
with the added tracks from The Church
tacked on to the end.]"
This review is from AMG which is Copyright 1999 SonicNet, Inc. All rights reserved.
