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THE CHURCH Man Woman Life Death Infinity
( Unorthodox)
The Church’ s 26th album finds the Australian psych-pop legends fully engaged and pushing at the edges of an already expansive sound. Man Woman …" is the Australian psych-pop legends’ second LP with former Powderfinger guitarist Ian Haug. Old fans are forgiven for missing departed guitarist Marty Willson- Piper’ s frenetic fretwork, but the accomplished Haug joins founding member Peter Koppes to create an alternative yet still-familiar form of intertwining alchemy that’ s perpetually gorgeous and enveloping. Singer and bassist Steve Kilbey’ s impressionistic and cinematic lyrics are spiked with flashes of wit and cynicism.“ Nature loves a winner,” he sings during the krautrock-influenced“ Submarine,” concluding the rhyme with the warning punch line,“ We’ re gonna end up some creature’ s dinner.” Beside him, Koppes’ guitar chimes, swoops and darts across the speakers like a silvery fish in sun-dappled shallows. Drummer Tim Powles’ savvy, soulful, space-rock swing during“ Dark Waltz” is spiked by fills that echo Ringo Starr on the Beatles’“ Come Together” and Nick Mason’ s perfectly laconic vibe for Pink Floyd. Other songs like the urgent“ Before the Deluge”( which could have suited the band circa 1986 ' s Heyday) and the hypnotic, sitardroning“ Undersea” include further water references, weaving an elemental thread throughout the album. Those who enjoy hearing measured and moody music in their headphones will delight in return visits to“ Another Century,” peeling away the layers.“ A Face in a Film” blends lush and languid Berlin-era Bowie with a deconstructed verse akin to the more spacious and mysterious excursions
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by The Police. Kilbey himself described the stately proclamations and childlike imagery of“ For King Knife” as“ a fairy tale sung with wide-eyed wonder by a naughty boy.” As with Further / Deeper’ s“ Miami,” Koppes echoes 1988’ s Starfishon“ I Don’ t Know How, I Don’ t Know Why.” If this challenging, compelling and eminently listenable stuff is the work of a 37- year-old band, I hope they make it to 50.( thechurchband. net) Appearing 10 / 6 at Park West, Chicago.
--Jeff Elbel
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KEVIN LEE & THE KINGS Sticks & Stones
( Self)
Kevin Lee is one of the originators and survivors from the era of massive major label signings that took place in Chicago in the early ' 90s when Smashing Pumpkins, Liz Phair, Veruca Salt, Fig Dish and Urge Overkill were scooped up and signed to big record deals. Even though the band had a cup of coffee with MCA records back in the age of Seinfield and Mad About You, he established himself as a songwriter who knew how to deliver big hooks with dueling guitars.
The title track meshes sweet ' 70s AM radio harmonies with a ripping Angus Young-ish riff from guitarist Michael Kurtz, while " Nothing To Lose " mines the best DNA from Off Broadway. Perhaps Lee ' s best moment on the record, the anthemic " On Top Of World Tonight " deftly blueprints some of the great power pop that ' s come from the midwest- Cheap Trick, The Insiders and Material Issue. Two decades later Lee and the band including Kurtz, bassist Patty Prendergast, and drummer Erik Strommer tackle what they do best on their newest record- power pop in it ' s purest form, with bit of edge. There ' s nothing groundbreaking for longtime fans, Lee and the Kings stick to what they know best. As an added bonus, live versions of Sticks and Stones are even edgier than on the record- making the band a great listen both on record and in a live setting.
Appearing 10 / 21 at MT Barrels, Schaumburg
- Mike McKewon
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BLACKFINGER When Colors Fade Away
( M-Theory)
Hardly anyone can argue that Chicago’ s Trouble is one of the progenitors of doom metal. Charismatic vocalist Eric Wagner, with his legendary voice, has since left the band and has not only created The Skull with fellow ex-Trouble mates Ron Holzner and Jeff " Oly " Olson, but has just released his second album under the Blackfinger banner, When Colors Fade Away. The opener and title track is a slow-grinding affair decorated with powerful Sabbath-ian riffs. It’ s not the most explosive of openers, but it sets the mood for the rest of the album. Sludgy riffs, jazzy rim shots and pulsating bass lines makes up the awesome“ Can I Get a Witness.” The band revisits this similar formula later on with the twangy“ Waiting for the Sun.” Although Wagner doesn’ t hit those ultra high notes like back in the day, he utilizes more of his lower / mid-range croon to pleasing results on their nine melodiousyet-crushing tracks. There will always be comparisons to Trouble since Wagner was the voice of that band for many years, but When Colors Fade Away is a great addition to Wagner’ s other endeavors.
– Kelley Simms
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L. A. GUNS The Missing Peace
( Frontiers)
The Missing Peace is the reunited L. A. Guns’ first studio album in 15 years to feature guitarist Tracii Guns and vocalist Phil Lewis. From the opening riff of“ It ' s All The Same To Me,” it sounds like classic’ 80sstyled L. A. Guns all over again. First single“ Speed” has a familiar vibe while it pays homage to Deep Purple’ s“ Highway Star” on one of its verses. It may seem cheesy at first as it’ s easily recognizable, but it works.“ A Drop Of Bleach” and“ Sticky Fingers” also possesses that classic L. A. Guns vibe while the ballad“ Christine” is no“ The Ballad of Jayne” from the band’ s sophomore album Cocked & Loaded, but it’ s just as catchy.“ Baby Gotta Fever” is a little repetitive on the chorus, but it sticks in your head just the same. Unfortunately, the album’ s intensity wears off a bit from the midway point with more ballads than needed. However, the raucous“ The Devil Made Me Do It” is a fun tune, while Guns gets to show off his Flamenco-styled picking skills on " The Missing Peace " and album closer“ Gave It All Away.” The Missing Peace is L. A. Guns’ welcomed comeback album, and for the most part hits its mark. Appearing 10 / 28 at Big Shots, Valparaiso
– Kelley Simms
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THE CARS Candy-O( Expanded Edition)
( Rhino)
This re-issue of The Cars second album from 1979 magnifies the skillful manner this little rock band from Boston balanced the divide between late ' 70s rock band and burgeoning new wave band. Few bands of the era could dip into fan bases on both sides of the divide. While bands like The Knack( popular in ' 79 with their breakout album Get The Knack) seemed like a novelty at the time with their LA session background, Beatle nods, and frat boy lyrics – the Cars were a real rock band seasoned in the same clubs as Aerosmith with some serious musicians to back up their hits.
With a debut album that spawned multiple Top 40 hits, one could forgive The Cars for taking a step back with a sophomore slump. But in many ways Candy-O is the album that should define The Cars at their peak. Bonus tracks here – delivered in demo form, show the band was ready to make a rawk record. But after Greg Hawkes multi layered synths were a added, and Elliot Easton ' s jangly guitars were compressed, songs like " Let ' s Go " and " Dangerous Type " were transformed from punky anthems to new wave hits with a garage band sensibility. Considering the mood of the time, and the bands that were beginning to make their mark( Talking Heads, The Clash, Elvis Costello and the Attractions), these adjustments made by the band and producer Roy Thomas Baker, in hindsight seem like a good call. With the album charting at # 3 on the Billboard chart, it seems it was commercially wise as well. Speaking of Costello, " Lust For Kicks," could have been culled from the Stiff Records catalog. The " monitor mix " version with Hawkes ' Farfisa organ riff is even more targeted for suburban new wave kids.
Blessed with two vocalists that sounded virtually identical with their dissonant croon( guitarist Ric Ocasek and bassist Benjamin Orr), Candy-O defined Ocasek ' s radio friendly tunes that were a clear opposite of music dominant on rock radio at that time( Led Zeppelin, Styx, Foreigner). Yet at heart, they were a rock band. Elliot Easton ' s guitars dictated it. And Candy-O was the perfect marriage of new wave anthems and rock sensibility.
- John Vernon
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