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STEVE KILBEY Eleven Woman
( Foghorn / Double D / MGM )
Australian dream-pop legends the Church were slated to spend 2020 celebrating their 40th anniversary with a globetrotting tour and new album , following 2017 ’ s evocative Man Woman Life Death Infinity . Those plans were dashed for the same reason everyone else ’ s aspirations for the year have been dashed . Frontman Steve Kilbey may be hunkered in his Coogee Beach flat avoiding coronavirus like the rest of the world , but he ’ s channeling isolation into a flood of productivity . Tune into his YouTube channel for regular installments of acoustic 12-string jangle , deadpan psychedelia , and up-to-theminute song debuts . You can also pick up Eleven Women , a snapshot of the restless songwriter ’ s finely-honed gift . The album was allegedly written in a three-day blur , after Kilbey allotted himself a week for the job but squandered the first four days . “ They ’ ve got a crazy little gadget ; you really oughtta have it ,” sings Kilbey midway through the album . “ You sing in a word and it spits out a song .” That welloiled machine is Kilbey himself , and any songwriter would envy the quality work that Kilbey produces with such disarming ease . The batch focuses Kilbey ’ s everflowing , Dylanesque stream of consciousness into eleven compact portraits of formidable females – although with diversions and anecdotes to add further spice . Kilbey and his musical cohort produced the album within an additional three days . The rapid genesis means that audible blemishes occasionally flash by , but dividends are paid in freshness , immediacy , and spirit . Eleven Women bristles with the joy and discovery of sharp players breathing life into new material . The album is also more accessible than many of the Church ’ s artful explorations , with self-contained songs written on Kilbey ’ s acoustic guitar rather than mining for improvisational serendipity through jamming with a band and the painstaking rearrangement that follows . The baroque and aloof “ Poppy Byron ” hobnobs with literary titans glimpsed in non-sequitur situations . Singing in his velvet baritone , Kilbey namechecks Percy and Mary Shelley . The latter 19th century novelist is found on the couch , watching Australian public television in Mandarin . “ Woman Number 9 ” is a sonic cross between Neil Young ’ s crashing “ Cinnamon Girl ” and
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the Monkees ’ “ I ’ m Not Your Stepping Stone ,” highlighted by Roger Mason ’ s chugging piano . The song ’ s protagonist “ wants to play the game , but she hasn ’ t got the pieces yet .” Nonetheless , she ’ ll not be stopped , denied or tamed . Meanwhile , Kilbey describes trading his DNA for otherworldly energy during an alien abduction . “ Josephine ” is a twinkling sea-shanty waltz , marked by clinking glasses and fluttering mandolins . The song references a distracted Napoleon ’ s alleged rejection of his empress ’ amorous advances . “ Not tonight , Josephine ,” sings Kilbey amid scenes of chaos and upended society . “ The tarot cards were right ,” he sings . “ The stocks have all gone down .”
The driving and buoyant pop of “ Sheba Cheba ” is a story told from the scorched earth of a bohemian femme fatale who “ swallows a comet and spits out a star .” “ Baby Poe ” is rendered as a pub-sing , as if the band appeared on stage at open mic night to try a new ditty blending the whimsy of Jonathan Richman with the Who ’ s jaunty “ Tommy Can You Hear Me ?” Gareth Koch ’ s lilting Spanish guitar adds warmth and flair . Drummer Barton Price drives the sound of Tusk-era Fleetwood Mac while the remaining band echoes the rough-hewn edges of Nick Cave & the Bad Seeds during “ Birdeen .” The song is at least partially inspired by a ravenous lorikeet frequenting Kilbey ’ s open window , demanding treats and offerings . The sinister-sounding “ Doris McAllister ” tells the tale of a black-hearted witch . It ’ s reminiscent of the Kinks ’ “ Wicked Anabella ,” if that song were crossed with the Church ’ s Priest = Aura track “ The Disillusionist ” and Camper Van Beethoven ’ s lurching “ I Was Born in a Laundromat .” The brief “ Lillian in Cerulean Blue ” is elegant , but disquieted and despondent . “ It ’ s not over ‘ til it ’ s over ,” sings Kilbey . “ When it ’ s over , then you ’ ll know .” The chiming guitars and stately cadence of songs like “ Queen of Spades ” recall the early fan-favorite Church arc between The Blurred Crusade and Heyday , with occasional glimpses of Kilbey ’ s affection for Marc Bolan and David Bowie . The wistful memories captured during the sparkling “ Think of You ( for Jessie Bellette )” paint the artist ’ s condition , while making a fond but melancholy dedication to one of Kilbey ’ s grandmothers . The song describes empty pockets but hours full of memories .
Kilbey has collaborated on several other projects during the Church ’ s downtime this year . All of that activity seems to have primed his creativity . Historically overlooked as a solo artist ( at least by comparison to his acclaim as the Church ’ s guiding force ) despite strong work like 2008 ’ s Painkiller and 2018 ’ s Sydney Rococo , Eleven Women has earned high marks on home turf with a four-star review in Australia ’ s Rolling Stone . The praise is merited . Lending an ear to these Eleven Women is worth any Church fan ’ s time . ( thegroovemerchants . com )
– Jeff Elbel
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MARTY WILLSON-PIPER Nightjar - Vinyl Reissue
( Schoolkids )
Church fans who missed Marty Willson- Piper ’ s 2008 album Nightjar upon its initial arrival shouldn ’ t make the same mistake twice . Thanks to Schoolkids Records , the album is finally seeing its first vinyl release . In a deep catalog of side projects and solo releases beginning with 1987 ’ s In Reflection ( from the fertile period between The Church ’ s Heyday and Starfish ), Nightjar stands as guitarist MWP ’ s finest solo work . Yes , this is the guy who wrote and sang “ Spark ,” “ Russian Autumn Heart ,” and excellent later cuts like “ Chromium .” Those passionate songwriting gifts are on full display during every song included here . Don ’ t expect to be pinned to the wall by a pyrotechnic flash of frenetic guitars ; this beautifully-crafted album has a different aim . Expect to be drawn in and thoroughly captivated . The jangle and echoing twang of “ No One There ” cradles a fragile and plaintive vocal . Written following his mother ’ s passing , MWP winds his way through sorrow and back toward the light . Deft 12- string acoustic guitar and baroque strings color “ More is Less ,” a warmhearted plea for mutual acceptance despite ideological differences . “ Lullaby for the Lonely ” offers tea and sympathy , elevated by Boyd Boys ’ piano and Tiare Helberg ’ s gentle harmony . During the sparkling folk of “ Feed Your Mind ,” the itinerant musician imagines an innkeeper ’ s life with the passing of colorful strangers , concluding that the richest life absorbs myriad experiences . With Graham Lee ’ s weeping pedal steel , “ The Love You Never Had ” veers toward country heartbreak . The mournful but proud “ Song for Victor Jara ” is sung from the point of view of the Chilean artist and activist who was tortured and killed in 1973 under Augusto Pinochet ’ s regime . The shimmering sonic bliss of “ High Down Below ” is actually a poison pen letter to a stubborn companion who sends the singer in search of escape from toxic influence . The ghost of Pink Floyd ’ s “ Wish You Were Here ” drifts through the amorous “ I Must Have Fallen .” “ A Game for Losers ” is a sad lover ’ s waltz and bleary-eyed sea shanty that wallows in loss , but somehow makes it feel good to feel so bad .
If you happen to be the rare listener who prefers MWP in his “ much better than just a side project ” Noctorum with partner Dare Mason , you definitely need this . Mason is present as producer , player and singer , guiding arrangements that are long on melody and intoxicating moods . ( schoolkidsrecords . com )
– Jeff Elbel
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TEARS FOR FEARS The Seeds of Love Super Deluxe Edition
( UMe )
Tears for Fears ruled the worlds of radio , MTV and concert stages following the 1985 release of ten-million-selling sophomore album Songs from the Big Chair . Principal members Roland Orzabal and Curt Smith knew that the stakes were high for a followup and threw themselves into a four-year odyssey to craft a mature and meticulous album maximizing the lessons of its predecessors . In the process , the sessions were led by two production teams before Orzabal and Smith decided to scrap efforts and take the reins themselves . Tensions that developed during The Seeds of Love ’ s genesis and
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ensuing tour fractured the partnership for many years , but the undeniable strength of the work is reflected in the pride described today by Orzabal and Smith in the 34-page book of new interviews accompanying this five-disc Super Deluxe Edition . The album begins with the powerful “ Woman in Chains ,” leaning heavily upon the presence of new partner Oleta Adams , a gifted R & B singer the TFF crew had encountered in a Kansas City hotel lounge while touring in 1985 . Orzabal and Adams create layers of harmony atop Neil Taylor ’ s crystalline guitar . The rhythm section features Curt Smith ’ s bass paired with the precise studio craftsmanship of drummers Phil Collins and Manu Katché . The song is a soulful examination and condemnation of toxic masculinity , sung from both the male and female perspectives . Orzabal and Adams trade lines again during “ Badman ’ s Song ,” cast against Gospel organ , bluesy slide guitar , Pino Palladino ’ s slinky fretless bass , and sophisticated R & B and jazz . The sprawling and expressive exploration is emblematic of the band ’ s fresh direction toward organic sound and the improvisational strengths of their assembled live players , as opposed to the programmed pop of singles like “ Change ” from The Hurting . Audible influences including Little Feat and Steely Dan would have been unimaginable based upon Tears for Fears ’ prior albums . The glorious psychedelic production of “ Sowing the Seeds of Love ” initially seemed like overreach to many when compared to the band ’ s earliest hits , but the pop symphony embodies the sound of pure , Magical Mystery Tour-styled ambition that actually attains its grasp . “ Seeds ” connected with a broad audience thanks to a top-dollar video clip ( in the wake of forerunners like Peter Gabriel ’ s “ Sledgehammer ”) and strong support from MTV . Despite the overarching flowerpower message of peace and love , Orzabal takes the band in a political direction with lyrics like “ Politician granny with your high ideals , have you no idea how the majority feels ?" in protest of UK Prime Minister Margaret Thatcher . The song was kept from the # 1 spot on the US pop charts only by Janet Jackson ’ s “ Miss You Much .” The album ’ s closest rocker to Songs from the Big Chair ’ s “ Broken ” is the hard-driving “ Year of the Knife ,” with slashing guitar lines traded between Taylor and Robbie McIntosh . “ Too late for the young gun ; this is the year of the knife ,” sings Orzabal . The singer ’ s supple baritone is undeniably the album ’ s feature , but Smith ’ s contributions ( including singing the beautifully simple and childlike chorus to “ Sowing the Seeds of Love ”) remain elemental to the Tear for Fears sound throughout the album . Smith ’ s lead vocal marked the album ’ s third single “ Advice for the Young at Heart .” The album concludes with the calming “ Famous Last Words ,” in which life , struggle and devotion are ultimately marked by nothing more
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