Se press Release hd steve Kilbey (The Church) New Zealand tour July 07
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PG 13 LA English CY Copyright 2007 News Ltd. All Rights Reserved LP
FOUR classic Australian albums are examined in the documentary Great Australian Albums, screening on SBS this Saturday at 8pm. The albums are: (I'm) Stranded by The Saints, Born Sandy Devotional by The Triffids, Woodface by Crowded House and Diorama by Silverchair. TD
The documentary dives headlong into the creative process, uncovers the creative goals the artists set for themselves, and reveals how they were achieved. None of the albums were easily made, and each artist was faced with their own hurdles. Starting in 1976 with The Saints through to 2005 with Silverchair, each of the featured albums comes from a different decade. Each artist comes from a different corner of Australia, and each has broken new ground for Australian music both domestically and internationally. The documentary looks at the incredible recording of The Saints seminal album in only one weekend, with the most primitive of technology, and how it created a bridgehead to international markets and a template for Australian artists to create a domestic independent music scene. It also looks at the life of songwriter David McComb and how his distinct musical vision, reflecting Australian life and landscape, resulted in unprecedented international success for The Triffids. Sibling rivals Neil and Tim Finn saved each other from creative blocks to write some of the most memorable songs of their careers. Viewers will see Daniel Johns emerge from a anorexia to take a gamble in his determination to create a rock album unlike anything Silverchair had recorded before. Other major industry figures in the documentary include Jimmy Barnes, Steve Kilbey, Paul Kelly, Rob Hirst, Brad Shepherd, Reg Mombassa, Pete O'Doherty, Robert Forster, Rob Younger, Damien Lovelock, Paul Mac, Michael Gudinski and Richard Kingsmill. RF
[CAV_T-20070724-1-013-125810 ] IN i6540027 : Video/Compact Disc/Record stores | i97106 : Music/Sound Recording | i64 : Retail | i654 : Specialty Stores | i971 : Motion Pictures/Sound Recording | imed : Media | isound : Sound/Music Recording/Publishing NS gent : Arts/Entertainment | gmusic : Music | gcat : Political/General News RE austr : Australia | ausnz : Australia and New Zealand PUB Nationwide News Pty Ltd. AN Document CADVOC0020070725e37o00011 SE Pulse HD Go to Church, do not pass, go WC 241 words PD 18 January 2007 SN Hobart Mercury SC MRCURY ED 1 -
PG 31 LA English CY Copyright 2007 News Ltd. All Rights Reserved LP
THE public has one last chance to join the congregation, pull up a pew and see The Church in action next week. Fewer than 100 tickets remain for the A Day on the Green event at Moorilla Estate on Australia Day featuring The Church and international rock legends The Pretenders -- and those tickets are expected to sell out in the next couple of days. TD
Best known for their hit Under the Milky Way, The Church is one of the world's leading melodic art-rock bands, winning legions of fans around the world by continually pushing the boundaries of rock over their 25-year career. The Church -- Steve Kilbey (bass), Marty Willson-Piper (guitar), Peter Koppes (guitar) and Tim Powles (drums) -- kicked off their prolific catalogue of releases with Of Skins and Hearts (featuring the hit Unguarded Moment) in 1981. Since then they have gone on to release more than 20 lush, elegant and intricate albums, including Starfish (1998), Priest=Aura (1992), Magician Among The Spirits (1996), After Everything Now This (2001) and last year's Uninvited Like the Clouds. The Church supports The Pretenders at A Day on the Green at Moorilla Estate on January 26. Standard general admission tickets are $89 plus booking fee. The few remaining tickets can be snapped up from Moorilla Estate (phone 6277 9900) or ticketmaster.com.au (phone 136 100). RF
[MER_T-20070118-1-031-104533 ] NS gent : Arts/Entertainment | gmusic : Music | gcat : Political/General News RE austr : Australia | ausnz : Australia and New Zealand PUB Nationwide News Pty Ltd. AN Document MRCURY0020070118e31i0001s SE Entertainment Guide HD Emptiness is Our Business BY CRAIG MATHIESON WC 225 words PD 25 August 2006 SN The Age SC AGEE
ED First PG 7
LA English CY (c) 2006 Copyright John Fairfax Holdings Limited. www.theage.com.au Not available for re-distribution. LP CD REVIEWS CD REVIEW: Emptiness is Our Business GB3 (Rubber) ***½ TD
The spotlight never interested Glenn Bennie. Circumspect on and off stage, as a member of seminal Melbourne combo Underground Lovers he was already updating the guitar legacy of the Gang of Four's Andy Gill when the current generation of Choose '82 post-punk revivalists were getting acquainted with grade 2 at primary school. Bennie was cutting up funk riffs, punk shrapnel and ambient airwaves in the early '90s and that ear for synthesis is apparent on his new solo album. He's replaced his longtime songwriting partner, Vince Giarrusso, with a posse of guest vocalists. The tunes are sympathetically matched to their protagonists, with Steve Kilbey sketching abstract imagery on the dreamscape of Famished and Sianna Lee of Love Outside Andromeda coolly measuring herself against the world on the caustic Tracing Circles in the Dark. Other excerpts are more unexpected, with Stephen Cummings sounding timeless on the shimmering rolling thunder of All For Love. There's also a benediction for the late Grant McLennan, who weaves sly pop memories through Actress on a Mattress, with Bennie supplying a worthy backdrop for one of his final recording sessions. The Go-Betweens vocalist is in good company. -- CRAIG MATHIESON NS
gent : Arts/Entertainment | gmusic : Music | nrvw : Review | gcat : Political/General News | ncat : Content Types | nfact : Factiva Filters | nfce : FC&E Exclusion Filter RE austr : Australia | ausnz : Australia and New Zealand PUB F2 Australia & New Zealand Limited AN Document AGEE000020060824e28p0006n HD Qld: Who's who of Aussie music farewell Grant McLennan WC 467 words PD 12 May 2006 SN Australian Associated Press General News SC AAP
LA English CY (c) 2006 Australian Associated Press Pty Ltd. All Rights Reserved LP MCLENNAN By Jade Bilowol BRISBANE, May 12 AAP - The morning after Go-Betweens frontman Grant McLennan tragically died in his sleep, his "shattered and broken" fellow band mate Robert Forster heard a voice. TD
"I sat in bed and I thought, 'What am I going to do for the rest of my life? How am I going to get through today?'" Forster told 1,000 mourners, including Paul Kelly, Powderfinger's Bernard Fanning and Dave McCormack of Custard at McLennan's funeral in Brisbane today. "Then a voice that I heard in the room, and I knew whose voice it was, said `go into town, find a room and think of me'." McLennan, the 48-year-old co-founder of the Brisbane band, died at his home at inner suburban Highgate Hill on Saturday following a heart attack. The next morning, after a musical partnership that lasted some three decades, Forester says McLennan bid him goodbye at St John's Anglican Cathedral, where the funeral was also held. "I watched a service ... he was here with me (and as the congregation left the church) that was Grant going. "At the back the lovely elderly Anglican ladies were serving tea and biscuits and I had a scone and a cup of tea and it took me back to 1978 when the band started with myself, Grant and Damian Nelson. "Damian used to make scones, jam and fresh whipped cream ... that would constitute a Go-Betweens meeting." McLennan's unexpected death came after a stellar career with The Go-Betweens, one of Australia's most influential indie bands with dedicated fans worldwide. During the 80s, The Go-Betweens produced classics including Bachelor Kisses and Through the Streets of Your Town. The band went into a hiatus for 10 years before reforming in 2000. In addition to being an unparalleled songsmith, Forster said McLennan also would be remembered for his Christian values and "warm hearted, open and generous" personality. His younger sister Sally McLennan, who gave a eulogy along with McLennan's girlfriend Emma Pursey, said "Grant loved to strike a match, he loved to see it burn". Fellow Aussie singer-songwriter Paul Kelly, who met McLennan at a Sydney gig in 1987, said he was a "good friend". "(He was) one of those people I would get postcards every now and then from, from strange corners of the earth ... he always kept in touch ... I'll always have his music with me," Kelly said after the funeral, also attended by former Go-Betweens drummer Lindy Morrison, Ed Kuepper from The Saints, Steve Kilbey from The Church and New Zealand pop icon Dave Dobbyn. "His songs influenced me a lot and I will always treasure that." AAP jvb/sc/jjs/bwl IN
i98202 : Funeral Services | ibcs : Business/Consumer Services NS gent : Arts/Entertainment | gcat : Political/General News RE austr : Australia | ausnz : Australia and New Zealand PUB Australian Associated Press Pty Ltd AN Document AAP0000020060512e25c000eh SE M+M
HD Cooked to perfection with The Church BY Noel Mengel WC 560 words PD 25 May 2006 SN The Courier-Mail SC COUMAI ED 1 - First with the news PG 56
LA English CY Copyright 2006 News Ltd. All Rights Reserved LP The Church Uninvited, Like The Clouds TD
Liberation **** MAYBE it's like George Costanza on Seinfeld: "It's not you, it's me." So I was thinking when I played the new Church album and, instead of putting it to one side for later, kept playing it and playing it. Maybe Uninvited isn't any better than any of half-a-dozen Church albums in the past 15 years, I reasoned. Perhaps this time I was just in the mood for it. Now I'm not so sure, because a month later the album's 12 songs are unleashing the same pleasure chemicals associated with their ace '80s albums such as Heyday and Seance. The Church have never stopped making albums -- perhaps they make too many -- but after mending the bridges with guitarist Peter Koppes, 2002's After Everything . . . Now This was proof of a resurgence of both spirit and song quality. Uninvited, Like The Clouds lifts the level again, and long-time fans will find tunes like Block and Overview will remind them why they loved the band in the first place while still managing to sound fresh. The trick this time is that there are plenty more where those two come from, each song completing the picture, rewarding repeated listening from start to finish. Of course, you know the ingredients by now: the Floyd-y bit here, the hint of Bowie there, the occasional Byrds-y jangle, the shimmering guitar conversations between Koppes and Marty Willson-Piper, the whispery vocals and Steve Kilbey's startling array of images (e.g., "Even Jesus Christ was betrayed by a kiss/But that was long before that he got in showbiz.") It's just you haven't tasted all the ingredients cooked to perfection like this for quite some time. Opening track Block sets the standard, spinning inexorably onward and upward around a repeated six-note guitar figure. There's that spacey thing happening on Pure Chance (references to "verdant meadows" alongside guitar vibrato effects is a healthy enough hint to a youthful interest in pre-Dark Side Floyd, I always think). And the towering beauty of Overview (with help from David Lane on piano) concludes with some stunning guitar from Koppes. While the songs are credited as co-writes to the four members, one of the strengths of The Church is the angles provided from different singers and writers, with Willson-Piper to the fore on She'll Come Back for You Tomorrow and Koppes on Never Before. But the heart of the matter is the delicate balance between the band's two base elements: the arty guitar-scapes they conjure up from scratch in their Spacejunk studios in Sydney, and their feel for a pop tune. See Unified Field, an effortless, summery treasure that sits somewhere between Almost With You and Too Fast For You, and the jangling-on-a-D-chord (plus mandolin) treat of Easy, surely some of their catchiest tunes since the '80s. Listeners are rightfully suspicious of best-album-since-way-back-when reviews. But I've been listening to The Church since 1981, and have no hesitation in saying to those who might have tuned out of The Church long ago: it's time to tune back in. RF
[CML_T-20060525-1-056-434914 ] NS gent : Arts/Entertainment | gmusic : Music | gcat : Political/General News RE austr : Australia | ausnz : Australia and New Zealand PUB Nationwide News Pty Ltd. AN Document COUMAI0020060524e25p0005c SE Sunday Magazine HD THIS WEEK MAKE SURE YOU ... BY Edited by Tony Magnusson, Music Review: Jolanda Waskito, Book & Movie Reviews: Joanne Hawkins, TV Review: Klaudyna Morawski WC 390 words PD 16 April 2006 SN Sunday Magazine (Perth) SC NLSUNM ED 1 PG 8
LA English CY Copyright 2006 News Ltd. All Rights Reserved LP HEAR THIS Uninvited, Like the Clouds The Church (Liberation Music) TD
Somehow, the venerable Aussie band The Church retain that ethereal, dreamy sound they're known for, yet keep the sound fresh on this, their 10th, album. As always, Steve Kilbey's poetic, existential lyrics and soothing voice are perfect for taking you to a calming, other-worldly realm. From the rocking build-up of the opener "Block" to the gothic "Space Needle" to moody "Pure Chance", this album is classic Church. RF
[HSM_T-20060416-1-008-574476 ] NS gent : Arts/Entertainment | gmusic : Music | gcat : Political/General News RE austr : Australia | ausnz : Australia and New Zealand PUB Nationwide News Pty Ltd. AN Document NLSUNM0020060415e24g00008 SE Local HD Old rockers they just compose never die, go off and themselves - 'I didn't want to end up driving cabs for a living. I was aware there's a limit how long you can be a success in the industry' BY PETER HOLMES CR MATP WC 527 words PD 26 September 2004 SN Sunday Telegraph SC SUNTEL ED 1 - State PG 34 LA English CY Copyright 2004 News Ltd. All Rights Reserved LP
A GENERATION of musicians spawned by Australia's sweaty, unforgiving pub-rock scene have turned to the comparatively genteel pursuit of composing soundtracks for movies and TV. Members of high-profile 1980s bands such as Split Enz, Icehouse, The Models, Dragon, Boom Crash Opera, Kids in the Kitchen and The Go-Betweens have traded a life of dingy bars and cheap motels for one involving sheet music and home recording studios. TD
It has given some the flexibility to raise families. Others, such as the reclusive Phil Judd (Split Enz, The Swingers), have been spared the horrors of the never-ending pub circuit. Artists such as Neil Finn, Paul Kelly, Mick Harvey (Nick Cave & The Bad Seeds), Steve Kilbey (The Church), Tim Rogers (You Am I), Dave McCormack (Custard), Decoder Ring, Machine Gun Fellatio and Grinspoon's Phil Jamieson combine soundtrack work with albums and touring. Sydney mother and former Go-Between Amanda Brown is midway through recording her first feature film score, for the Australian movie Look Both Ways. After the Go-Betweens split in 1989, Brown studied music at university and completed a composing course. "By necessity, Australian composers have to be a one-stop shop," says Brown, who works from her home in Sydney's east. "We have to be producers, engineers, accountants, composers and musicians. We contract the musicians and we write the musical charts. In Hollywood, you'd have one person doing each of those jobs." Todd Hunter spent many years alongside his late brother, Marc, in the pop/rock band Dragon. Many artists are ill-equipped to cope when the hits dry up. Hunter, however, began writing for television long before Dragon split, and has parlayed his years on the pop scene into a successful composing career. He scored the feature film Daydream Believer, wrote more than 7500 pieces of music for the TV series Heartbreak High, and recently completed the soundtrack for a BBC children's series. "With a band, you play for 90 minutes a night and the rest is waiting," Hunter says. "Long before Dragon ended, I wondered how I could keep playing music. Composing for TV is all about the music, rather than all the other issues of being in a touring band." After playing keyboards for The Models, Icehouse, Divinyls and Diesel, Roger Mason stopped touring in 1992. He has worked on several Hollywood scores and is composing the soundtrack to Jimoein's film The Extra. "I didn't want to end up a jaded old rock musician, or driving cabs for a living. I was well aware there's a limitation on how long you can be successful in this business," he says. Despite the benefits of working at home, Todd Hunter admits touring wasn't all bad. "I miss singing, and hearing that flood of sound when the crowd sings back at you." RF
[STE_T-20040926-1-034-707961 ] ART Photo
gent : Arts/Entertainment | gmusic : Music | gcat : Political/General News
austr : Australia | ausnz : Australia and New Zealand PUB Nationwide News Pty Ltd AN Document SUNTEL0020040925e09q0001g SE Hunter Live HD A celebration of synthesis BY writes Eddie O'Reilly WC 871 words PD 9 December 2004 SC NEHR
ED Late PG 35
LA English CY (c) 2004 Copyright John Fairfax Holdings Limited. www.f2.com.au. Not available for re-distribution. LP CROSS-cultural musical collaborations can be a mixed bag. When they succeed they can be inspired, bridging cultural boundaries, increasing our understanding of foreign lands and bringing new sounds to listeners. TD
But if they fail they can demean and trivialise the very music and culture they are trying to promote. When experimental Melbourne ambient/world music outfit Not Drowning Waving went to the New Guinean town of Rabaul to record with local musicians in 1988, no one knew how the project would turn out. It turned out a masterpiece. The resulting album Tabaran melded traditional Melanesian sounds and the local "string band" phenomenon with NDW's sense of epic soundscapes and samples to produce breathtaking music that bridged the cultural gap with our nearest South Pacific neighbour. The album and the accompanying tour, that saw the Rabaul musicians hit the road with NDW, brought critical acclaim around the world. Now, 13 years later, the two main creative spirits behind Tabaran, New Guinea's biggest musical star George Telek and Melbourne's David Bridie, are on the road together again and playing in Newcastle this Saturday night. George Telek is largely unknown to most Australians but is a major star in the world music sphere, touring the globe and sharing festival stages with the likes of Peter Gabriel and Youssou N'Dour. His music evokes the spirits of centuries of Melanesian traditions, but also has elements of the western influence on that culture in the form of gospel, rock and country. David Bridie may also be unfamiliar to most, though more would have heard his music than know his name. Aside from his work with Not Drowning Waving the multiple ARIA award winner is a founding member of My Friend The Chocolate Cake, a composer of film soundtracks (Proof, In a Savage Land and The Man Who Sued God among others) and producer for the likes of Christine Anu and Archie Roach. In 2000 he released his first solo album, Act of Free Choice, nominated for ARIA album of the year, and followed it in 2003 with Hotel Radio, nominated as best adult contemporary album. Over the years the pair have continued and developed their friendship forged through Tabaran. Bridie has appeared as a guest musician and producer for Telek, including his superb recent release Amette (on Shock). LIVE caught both at Bridie's home studio, where they were recording a new Telek album for the PNG market. The obvious question: how does this show compare to Tabaran. "It's a bit similar, but quite a bit different due to some of the new songs we have done," Telek said. "There will be more songs in the string band style this time around, it's more laid back." Bridie said the show would consist of separate sets by himself and Telek before they joined for a combined set revisiting some of the Tabaran tracks and showcasing their new material. As with Tabaran and Bridie's solo shows, there will be a visual element to the show with film being projected while the musicians play. "We've actually got some film that was shot in Rabaul while NDW were recording Tabaran that has never seen the light of day before," Bridie said. Most of Telek's material is sung in either pidgin English or his native Tolai language. Occasionally he records in English, such as the Amette track West Papua, dedicated to that nation's continued push for independence from Indonesia. "Every time we go up near the West Papua border we hear stories about our brothers across the border who have been struggling for so many years now, so I wrote a song dedicated to them," Telek said. Bridie has also been a long supporter of the West Papuan cause, recording the track Blackwater, about a border refugee camp, for Tabaran. The title of his first solo album Act of Free Choice was a reference to the 1969 event when the Indonesian military rounded up West Papuan leaders and detained them until they voted on behalf of their people to join the Indonesian Republic. Bridie has been performing a new stripped down arrangement of Blackwater in his solo shows, and said that version may also appear on a number of new Not Drowning Waving reissues and compilations planned for release next year. "The entire NDW catalogue is being reissued next year and there'll be a new compilation album, a double CD with one disc of songs and another of instrumental tracks," he said. "There's also going to be an album of remixes done by people like Steve Kilbey (The Church) Paul Mac (The Dissociatives) David Byrne (Talking Heads) and other lesser known but very creative people." And there's also good news for fans of Bridie's solo work, with the follow-up to Hotel Radio in the pipeline. "Mind you, it's still the very early stages of that pipe yet," Bridie said. Telek and David Bridie will be performing at The Salarium (Morrow Park Bowling Club) on Saturday night. Tickets available from Beaumont Street Beat, or phone 4961 5191. 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