Se press Release hd steve Kilbey (The Church) New Zealand tour July 07
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In gigs this weekend, the Flat Foot Shakers and members of the Victorian Roller Derby League join forces for the Rockabilly BBQ at Brunswick's Edinburgh Castle tomorrow from 3pm; the Sebasrockets headline WrestleRock 7 "Grand Final Mania" at Richmond's Corner Hotel; Peter Finlay and Malcolm Hill perform Ned Kelly's Jerilderie Letter at Carlton's La Mama until Sunday; and the fifth series of RocKwiz begins tomorrow night. pdonovan@theage.com.au, amurfett@theage.com.au, and tvirgiotis@theage.com.au NS
gent : Arts/Entertainment | gmusic : Music | gcat : Political/General News RE austr : Australia | victor : Victoria | ausnz : Australia and New Zealand PUB Fairfax Digital Australia & New Zealand Limited AN Document AGEE000020070927e39s0006n SE Metro HD Power to the people BY Sacha Molitorisz WC 1218 words PD 15 June 2007 SN The Sydney Morning Herald SC SMHH ED First PG 4 LA English CY (c) 2007 Copyright John Fairfax Holdings Limited. www.smh.com.au LP
Cover The whole city can strum and sing in the streets during MusicFest. SACHA MOLITORISZ reports. TD
The French have given the world revolution, champagne and Juliette Binoche. Now there's one more Gallic innovation to toast: the Fete de la Musique, a musical celebration that takes place each June. "In France, the music is everywhere [during the fete]," says Valerie Nicolas, general manager of Sydney's Alliance Francaise. "It's on trains, at the airport, in churches ..." "My favourite was in 1986," says Jean-Jacques Garnier, the cultural attache to the French Consulate in Australia. "It was crazy." Partly organised, partly spontaneous, the Fete de la Musique is a worldwide event held on June 21 that aims to coax amateur and professional musicians into public spaces to strum, pluck and blow. There is no pay - just the joy of playing and, for audiences, listening. You sign up on the website ( www.musicfest.org.au ) and turn up with your instrument on time at the venue the organisers allocate you. Often the venues are unusual too, but that's the point. The idea is for people to have a go, no matter how good or bad they are. Since its first outing in Paris in 1982, the fete has spread like a Britney Spears single. (Except that the fete is less manufactured.) It's now held in 120 countries and 330 cities, including London, Berlin, Rome, Tokyo, Tel Aviv, Havana and Cairo. Last year, under the title MusicFest, it finally arrived in Sydney, where it had a low-key debut on a rainy Wednesday. Even so, it was a triumph. At Sydney's first MusicFest, more than 200 musicians played to 5000 spectators at 36 sites (pictured above and below), including the Museum of Contemporary Art, the Australian Museum, St Vincent's Hospital and the National Maritime Museum. Music was made at Hyde Park, Cronulla Beach and Parramatta Park. There was so much to cram in that organisers spread the performances over two days. Similarly, this year's event is scheduled for Thursday, June 21 and Saturday, June 23. "I think last year was not bad for a first time," Nicolas says. "And this time will be better." Indeed, the number of venues has expanded (see box page 5). The plans are ambitious: to hold concerts in parks, museums, galleries and restaurants, schools, hospitals and jails. There will be music playing everywhere from outdoor sites such as Centennial Parklands to regular music venues such as the Factory Theatre. They've even signed up a trio of classically trained musicians to play for several hours in a CBD lift, as well as booking musos to perform on Sydney's harbour ferries. But there's a catch. Unfortunately, Sydney doesn't lend itself to spontaneous public celebration as many European cities do. Indeed, Sydney's musos sometimes find themselves struggling for gigs and punters. One problem is the lack of venues with licences for live music, given the expense and difficulty of obtaining such licences. Then there's the fact that many publicans couldn't care less about live entertainment, given their revenue comes primarily from poker machines. For an event such as MusicFest, there's the matter of public liability insurance, making it prohibitively expensive to hold events in venues such as parks. "In Europe, it's easy to use a public space such as the streets for the fete," Nicolas says. "You just go and you play. But I discovered last year it's quite different here. You can't say to the City of Sydney, 'I'd like to have thousands of musicians in the streets for a couple of hours.' You just can't use the public space like you can in Europe. It's a bit sad." Nicolas mentions a CBD cafe managed by a Frenchman who wanted to become involved in this year's MusicFest. He convinced all the neighbouring shops to host bands and jams, but was dissuaded when the city told him he needed to pay $28,000 for insurance. "The idea is to run this event with no money," Nicolas says. "Last year we had Hyde Park as a venue and we [the organisers] paid that out of our own pocket, but this year there was no way." It's understandable that the festival encounters regional problems as it goes global. This year, for instance, will be the first time the event takes place in New York. Surely in the US there are similar insurance problems, given the litigious nature of the locals? "Actually, no," Nicolas says. "There are less [insurance hassles] there." For Nicolas and Garnier, part of the joy has been watching the fete reinvent itself throughout the world. Nicolas enjoyed co-organising the first fete in Cairo, where traditional music was played on the Nile. Garnier fondly remembers the fete in the Sudan. For Australia, the hope is that the event takes on a local flavour, too. "The idea is to convince the city to be involved," says Jean-Francois Ponthieux of Filter Music, who has brought acts including Nouvelle Vague to Australia. "The idea is not to say this is our event, and so have our event in your place. It's a French idea, but an Australian event." In Paris, the festival is entrenched and euphoric. In the afternoon and evening of the year's longest day, the streets fill with Parisians walking from one performance to the next. The city hums with crotchets and quavers, with 24 hours of singing on street corners, performances in parks and jam sessions in cafes. Best of all it's free, as if the buskers have stolen control of the footpaths and then decided they don't want any money. The result can be exultant. "In 1986, the Fete de la Musique was on the same day as the quarter final between France and Brazil in the World Cup," Garnier says. "France beat Brazil and 15 minutes after the game it started to rain, but to rain. It was amazing, a lot of people were out and nearly naked, because it was hot, but it was raining. It was crazy." The hope is the Australian event grows to have the energy of the Parisian original. Local musicians such as Endorphin, Marcia Hines and Steve Kilbey of the Church hope so, too. "I wish every day there were free concerts and you walked along and saw people playing," Kilbey says. The organisers can't encourage you to play in the streets, but we can. So, this Thursday and on June 23, grab an instrument and take to the streets. Take an amplifier and an attitude. Take an accordion, take a drum kit, take a triangle. Make music and make more music and let the bean counters and bureaucrats worry about insurance. It doesn't matter how talented you are, according to Nicolas, who has bravely signed up to be one of the performers at the Alliance Francaise. "I made a bet that I will sing here," she says. "And I will do it." MUSICFEST Thursday and June 23, various times at more than 30 locations city-wide. For locations or to book to play, go to www.musicfest.org.au NS
gent : Arts/Entertainment | gcat : Political/General News RE austr : Australia | ausnz : Australia and New Zealand PUB Fairfax Digital Australia & New Zealand Limited AN Document SMHH000020070614e36f00067 SE Metro - Music HD See the light BY BERNARD ZUEL WC 675 words PD 29 September 2006 SN The Sydney Morning Herald SC SMHH ED First PG 17 LA English CY (c) 2006 Copyright John Fairfax Holdings Limited. www.smh.com.au Not available for re-distribution. LP
The Church fear the daylight even though their new album doesn't suck. BERNARD ZUEL reports. When the Church played @Newtown in December they were dressed all in white, like a middle-aged version of some Jonestown cult. The audience response was suitably cultish, rapturous in parts, as the band trawled through 25 years of music. Retrovision was the order. TD
An acoustic retrospective tour can mark a career end. It's the precursor to entering the rock retirement home of Mel and Kochie programs. What happened next for the Church, though, was Uninvited, Like The Clouds, a vigorous new album that tapped into their past while feeling fresh and contemporary. It didn't suck at all. And that surprised some people. "Uninvited, Like The Clouds was an enigma in that it was surprising and not surprising," says bassist-singer Steve Kilbey. "It's like, 'I'm surprised by this but it sounds a bit like the old stuff, as well.' That's not a bad thing to pull off. "It's not as good as, 'Wow, I've never had anything like this before.' But that's pretty hard to do and still maintain some continuity." However, continuity doesn't mean forgetting a few lessons. For example, you're not likely to see the Church play an outdoor festival any time soon. "I think, for the Church, [festivals] have always been a mixed sort of thing," Kilbey says. "I don't think we have the ability to win over huge numbers of people who don't know anything about us and aren't willing to. We need some kind of understanding before you see us. "Some people get it immediately, but others, in those kind of [outdoor festival] conditions, we don't rivet. And daytime is always hard for us; I don't think our trip works in broad daylight." In the dark they're still attracting new and, heaven forbid, younger fans. On their recent Australian tours, they've played to paunchy fortysomethings along with plenty who weren't born when the Church started 27 years ago. Some of these "youngsters" have even been asking for songs from the vaults. "It's so hard when you've been around this long ... there are all those records, all those songs, and it's so hard to figure out what to play," Kilbey says. "In the old days this kind of thing would perturb me and I would sit around and analyse it. "But nowadays there are people there who, for some unknown reason, when they hear Unguarded Moment it makes them happy and I just feel churlish at this stage of the game denying them that." It's not surprising the Church has a direct influence on others. Does Kilbey hear that influence? "Only once. I was driving and a song came on Triple J and I thought this guy has just copied everything from me and my lyrics. Then they back-announced it and [he] was once a member of [my brother] Russell's band, the Crystal Set. That's the only time I've gone, 'Jesus!' I didn't mind ... "But apart from that, I never hear it, which is strange for someone who is renowned as such an egotist as me." The memory gives Kilbey an idea. "Every now and then somebody has a stab at Under The Milky Way. This is a terribly mercenary thing to say, but I wish one of these huge-selling, f---ing arena bands would chuck one of my songs on their next platinum album. We need John Butler does the Church. We need Missy Higgins does the Church. We need Rick Rubin discovers some old great rocker and fills this incredible new album up with Church songs. That's what we need." The Church Saturday, 8pm, Revesby Workers, 9772 2100, $25. Also, October 13, Enmore Theatre, 9550 3666, $33.90. smh.com.au/metro Hear the track Easy NS
gent : Arts/Entertainment | gmusic : Music | gcat : Political/General News RE austr : Australia | ausnz : Australia and New Zealand PUB F2 Australia & New Zealand Limited AN Document SMHH000020060928e29t0006k SE FRIDAY EXTRA HD Church Still Conjures A Psychedelic Spell BY CURTIS ROSS CR The Tampa Tribune WC 656 words PD 28 July 2006 SN Tampa Tribune SC TMPA
ED FINAL PG 16
LA English CY Copyright (c) 2006 Bell & Howell Information and Learning Company. All rights reserved. LP Friday July 28, 2006 Section FRIDAY EXTRA TD
Page 16 Church Still Conjures A Psychedelic Spell By CURTIS ROSS The Tampa Tribune The Church missed its shot at the golden ring of pop stardom. Instead, more than 25 years after forming, they're still going strong. "I guess it's a case of our being in a bit of a unique position," bassist-singer-lyricist Steve Kilbey says by telephone from Santa Barbara, Calif., the morning after opening night on the quartet's current tour. "We go on making records, and nobody puts any pressure on us to be anything in particular," Kilbey says. "We still love what we do. We don't sort of have anybody saying you should be this or that. We're under the radar." The band was far closer to the radar's center in 1988 when the shimmering "Under the Milky Way," from "Starfish," became its one and so far only U.S. Top 40 hit. The band wanted ex-Led Zeppelin bassist John Paul Jones to produce the follow-up. Its management wanted to play it safe by sticking with "Starfish" producers Greg Ladanyi and Waddy Wachtel. Management prevailed and the result was 1990's "Gold Afternoon Fix," an album rated as mediocre by critics, fans and band alike. The Church's commercial momentum was lost. "You don't get that many chances," Kilbey says with a sigh. "By the time we came with the next album [1992's "Priest = Aura"], the record we should have made after 'Starfish,' it was kind of too late. "Suddenly you had to be from Seattle and wearing a flannel shirt," Kilbey quips. The Church was as unlikely to follow grunge as any other trend. It's been going its own way since Kilbey, guitarists Marty Willson- Piper and Peter Koppes and original drummer Nick Ward (soon replaced by Richard Ploog) formed in 1980 in the aftermath of punk. The group was more influenced by psychedelia and the ringing guitars of '60s bands such as The Byrds than the rama-lama power chords of punk. Kilbey also cites "the glam thing of the '70s, bands like Bebop Deluxe that were just before punk," as well as punk-era explorers Patti Smith and Television, as touchstones for The Church's sound. Smith's drummer Jay Dee Daugherty, in fact, joined The Church for a while in the '90s, replacing Ploog. Tim Powles now handles the skins. "Punk was great. I liked it at the time but it's not the kind of music I wanted to play," Kilbey says. "But there wasn't much to do after 'Anarchy in the U.K.' You'd immediately painted yourself into an artistic corner." The Church avoided that fate as its most recent album, this year's "Uninvited, Like the Clouds," attests. The band still can conjure a gauzy psychedelic spell but it can also bristle with aggression, as on opening track "Block." Besides, punk-level amplification would relegate half The Church to the touring sidelines. "Tim and I both have tinnitus," a persistent ringing in the ear, Kilbey says. It's one reason The Church's current U.S. tour is acoustic. "I don't think we could handle five weeks of electric." (CHART) ON TOUR The Church WITH: Rob Dickinson WHEN: Thursday, 8 p.m. WHERE: State Theatre, 687 Central Ave., St. Petersburg TICKETS: $25 advance, $27 day of show; box office, (727) 895- 3045; Ticketmaster, (813) 287-8844 Reporter Curtis Ross can be reached at (813) 259-7568 or cross@tampatrib.com. Photo credit: No Clubs Presents Photo: The Church's current U.S. tour is acoustic because two of the band members suffer from tinnitus, a persistent ringing in the ear. Copyright (c) 2006, The Tampa Tribune and may not be republished without permission. E-mail library@tampatrib.com NS
gent : Arts/Entertainment | gmusic : Music | gcat : Political/General News RE usfl : United States - Florida | namz : North American Countries/Regions | usa : United States | uss : Southern U.S. IPD Kilbey, Steve PUB Tampa Tribune AN Document TMPA000020060729e27s0001y SE THEEYE HD Delta's on song again BY Mike Edmonds, Luke Dennehy and Chloe Adams WC 437 words PD 17 March 2006 SN Herald-Sun SC HERSUN ED 1 - FIRST PG 26 LA English CY Copyright 2006 News Ltd. All Rights Reserved LP
DELTA Goodrem feels she's finally back to her normal self after her opening ceremony performance. She also dismissed claims that she mimed, saying she performed to a recorded backing track. TD
With her hair back to the length it was before she was struck down with cancer 2 1/2 years ago, Goodrem said she had put all the dramas behind her. "I feel like I'm back to my old self again, and it's taken a long time," she said. "It sounds ridiculous, but now I've come back, I want to make it everything about the music like it was when I first started." On Wednesday night, Goodrem thought her stage was stuck and wouldn't rise. She was relieved when it did. Goodrem met the Queen and said she looked at her and shook her hand, but didn't say a word. Boyfriend Brian McFadden was in the audience, and Goodrem said that was a great thrill. He co-wrote the song she performed, Together We Are One. Goodrem appeared on both Sunrise on Channel 7 and the Today show on Nine yesterday. She turned up late for Today, leading some to claim dirty tricks by arch rivals Sunrise. Goodrem is in Melbourne to promote her fourth lingerie range, designed in collaboration with Bruno Schiavi. Eye readers can catch her at Big W in Southland at 4pm today. Out of place IS it just us or do some of the lyrics of the Church's hauntingly beautiful Under the Milky Way seem a little at odds with a family affair like the opening ceremony. Sung by a confessed hard drug taker (who spent a night in a US jail for a heroin bust in 1999), Steve Kilbey's words go . . . "And it's something quite peculiar, Something that's shimmering and white. Leads you here despite your destination, Under the milky way tonight." Kilbey has openly discussed his drug-addled past and once said: "A drug bust is something every ageing rock star should have under his belt." Either way, the song, complete with ballerinas and dirt bikes, was a highlight of the night for music lovers. The gig was also a nice promotional tool for the Church's album, Uninvited, Like the Clouds. Crowded finish SO now that the opening ceremony is over, what's happening with the closing? The Eye hears there will be some sort of melody involving Crowded House songs. Thousands of Dame Ednas and Kylie Minogues are also expected. RF
[DHS_T-20060317-1-026-285516 ] 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 HERSUN0020060316e23h0002v SE Features;Review HD Listen up: album of the week BY KATHY MCCABE, CYCLONE WEHNER, NEALA JOHNSON, STEPHEN DOWNIE CR MATP
WC 1314 words PD 27 April 2006 SN Daily Telegraph SC DAITEL ED 1 - State PG 44
LA English CY Copyright 2006 News Ltd. All Rights Reserved LP Uninvited, Like The Clouds The Church TD
**** Band loyalty requires courage. You have to defend against the detractors when your beloved musicians don't quite measure up to their past and potential. You have to scream louder to have new fans discover the repertoire of a band who have informed the soundtrack of your life when everyone seems to want to move on to the next big thing. And you have to forgive them when they let you down. The Church have never stopped making good music, even when it seemed nobody was listening. Some of it wasn't as good as their best moments, but it was never truly awful. This album, arriving in the 26th year of their career, is a triumph from the beginning - the atmospheric epic of Block - to the aptly titled closer, Song To Go. It distils every facet of their distinctive sound without necessarily borrowing from their classic songs, whether it is their dreamy, hypnotic art rock or psychedelic pop rock. Midway through the album, Easy is The Church doing pop their way - chiming guitars, swirling melodies, a touch of mandolin and frontman Steve Kilbey's voice front and centre. In fact, Kilbey's voice is an instrument itself throughout, the common thread through their most eclectic collection of songs, with Marty Willson-Piper offering a distinctive counter-point on harmonies and the lead vocal on She'll Come Back For You Tomorrow. This is an easy album to champion and with Under The Milky Way tweaking some attention during that recent big sporting event down south, maybe they will be the next big thing. Again. RF [DTM_T-20060427-1-044-284245 ] ART Photo
gent : Arts/Entertainment | gmusic : Music | gcat : Political/General News
Nationwide News Pty Ltd. AN SE Spectrum BY Bernard Zuel WC 481 words PD 8 October 2005 SN The Sydney Morning Herald SC SMHH
ED First PG 36
LA English CY (c) 2005 Copyright John Fairfax Holdings Limited. www.smh.com.au Not available for re-distribution. LP THE CULTURE CD Reviews A four-disc set captures the polished pop and atmospherics of a band of contenders. TD
THE CHURCH Starfish / Gold Afternoon Fix /Priest=Aura / Sometime Anywhere (EMI) As the late 1980s eased into the '90s, the Church, a band almost a decade into its career, stood on the precipice, looked into the valley of major success and took two steps back. At the beginning of the period covered in this four-album reissue, the Church were Australian stars, with strong guitar-driven, glam-meets-jangle songs that won them new pop fans while holding on to the old (paisley) underground support. By the end of it, they had settled into an atmosphere-driven style that had touches of prog rock and German-influenced electronic music. They would never darken the doorsteps of commercial radio again. To some it may have looked perplexing, if not downright insane. After all, surely everyone - not least the band's hugely ambitious principal songwriter and singer, Steve Kilbey - wants to sell as many records as possible? But the decision to withdraw from the fray might well have saved the band, which - with the exception of drummer Richard Ploog, who left after the first two of these four albums - is still recording, playing and writing together. As Starfish shows, there was no "coulda been" about it: in 1988-89, the Church were contenders. They had an American hit, which has since become an Australian staple (Under the Milky Way), backed up by an album that was the most highly polished collection of pop songs of their career. They took the idea further with the underrated Gold Afternoon Fix, which - with songs such as Metropolis and You're Still Beautiful - could and maybe should have built on what Starfish had wrought. The problem was that the gloss was starting to get in the way of the songs and the effort being made to be the commercial entity was more obvious and less satisfying for them as much as us. In the wide open spaces of Priest=Aura (with its appropriate cover of a desertscape and a lonely sentinel dog), Kilbey and guitarists Marty Willson-Piper and Peter Koppes began the shift away. This is a twilight album, of long shadows and a slight chill, and in many ways it is the most timeless of their career. Here the band expanded on ideas that had always been part of Church albums: gracefulness balanced by moodiness; drive channelled through ambience. By 1994, with Sometime Anywhere, the pattern was set for the next decade. This is no longer twilight but a night where life throbs behind shuttered windows and faces blur at the edges. For the Church, mood and tone became more important and they found a (smaller but loyal) audience. NS
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REVIEWS POP TD
The Church @Newtown, December 2 Reviewed by Bernard Zuel One of the '80s contemporaries of the Church, the Smiths, once sang that "I wear black on the outside because black is how I feel on the inside". What are we to make, then, of the Church performing in gleaming - as in guess whose mum's got a Whirlpool? gleaming - all-white? The answer became obvious, after watching the quartet crack jokes at each other's expense ("Play bass Tim; you play everything else anyway," joshed regular bass player and singer Steve Kilbey of drummer/producer/pianist/backing vocalist Tim Powles during one of many swaps of instruments on stage), smile frequently and generally take a whimsical eye at the world (their most successful songs were introduced with ever-inflated tales of the many "millions" of dollars made). Twenty-five years into a career that long ago gave up any pretensions to the Top 40 and boasting a line-up with three original members and one newbie, Powles, who has been there a decade, the Church are feeling damn fine. Perky. Persil fresh, you could say. That freshness infected every song in this quasi-retrospective concert series, which is deliberately taking a break from the expansive mood pieces of their regular show. You could see from the opening number, the venerable Unguarded Moment done almost as a stately march, through to the encore's exploration of Constant In Opal as a mix of the blues, Patti Smith and even Peter, Paul and Mary, that invention rather than convention was the rule. With Peter Koppes as often at the piano as at the acoustic guitar, Marty Willson-Piper - who can't completely tone down his flamboyance - nearly as often at the drums and bass as at his acoustic and Powles finding new ways to suggest rather than force rhythms, some of the roots of these songs (English folk, Leonard Cohen and Bob Dylan to name but three which don't fit the old stereotype of jingle jangle influences) were happily laid bare. With Kilbey in good sardonic form, the mood matched the performances. That is, they pleased without effort and suggested torpor won't be a factor in a present or future still looking bright. Napisan bright, even. The Church play @Newtown on Sunday. ROCK Motley Crue The SuperDome December 3 Reviewed by Kelsey Munro Motley Crue, a glam-metal band that had their heyday in the late '80s, have enjoyed a startlingly successful comeback tour this year. Relying on the strength of people's nostalgia for the unrepentantly sleazy decadence they were famous for - and detailed with sordid relish and unapologetic humour in their 2002 band autobiography, The Dirt - has paid massive dividends. Sure, the band members may have aged harder than most - beer-gutted singer Vince Neil seemed to rely on the audience to sing most of the choruses and sat down a lot - but who needs youthful beauty or even vocal endurance when you've got topless strippers, leather-clad midgets and fireworks in your stage show? Not the Crue. Stuffed with more filler than a Christmas stocking, the two-hour show threaded the band's '80s hits - Dr. Feelgood, Girls, Girls, Girls, Kickstart My Heart - between second-string stuff (Same Old Situation), woeful power ballads (Without You), indulgent soloing from guitarist Mick Mars, the dreaded new songs (which even the loyal crowd were unmoved by) and extended set-piece banter. It already felt forced, the seedy cavorting of the Crue's dancers such a clear replacement for musical substance, when drummer Tommy Lee brought a new low to proceedings in the final quarter. Lee, who has managed to stay more famous than his bandmates in the Crue's autumnal years courtesy of a leaked home porn tape made with his then wife Pamela Anderson, prowled the stage with a video camera hooked up to the big screens. He zoomed in on girls in the audience and prevailed on them to show their breasts. Some, with varying degrees of reluctance, complied, while the one or two who withstood the pressure of Lee's camera and a stadium full of idiots yelling "Bust them out!" were rewarded with Lee's "You suck!" A voice near me said, "What a bitch." It was genuinely ugly. It brought to mind Henry Louis Mencken's observation that "no one ever went broke underestimating the taste of the American public" - nor the Australian public, evidently - and made me fear for the safety of girls on the train ride home. NS
gent : Arts/Entertainment | gmusic : Music | gcat : Political/General News | nrvw : Review | 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 SMHH000020051206e1c70004x SE Local HD Take those old records off the shelf BY KATHY MCCABE CR MATP
WC 516 words PD 1 August 2005 SN Daily Telegraph SC DAITEL ED 1 - State PG 15
LA English CY Copyright 2005 News Ltd. All Rights Reserved LP RECORD companies are banking on nostalgia to boost stagnant CD sales with a raft of classic albums getting a digital update. As fans transfer most of their collection to MP3 players or computers, the major labels are reissuing dozens of musical masterpieces, from Marvin Gaye's What's Going On to the entire catalogue of Australian band The Church. TD
Many of the classics haven't been available on CD for more than a decade, except for poor quality budget copies which did not include original artwork or updated sound. Universal Music Australia managing director George Ash said it was culturally imperative the classic albums were restored to their original glory. "Record companies have completely bastardised their album catalogues over the past 10 years to the point you can buy Neil Young's Harvest for under $10," he said. "These are classic albums, really special albums, and what's happening now is we are reigniting a passion for them but treating them with respect." The deluxe "bionic man" versions of Frampton Comes Alive, Dire Straits' Brothers In Arms and early albums from The Cure, also feature bonus DVD discs and lavish artwork. The new CDs sell for between $15 and $30. The Church's frontman Steve Kilbey said the band were approached to remaster and release their classic albums, including Starfish, by EMI Music managing director John O'Donnell. "I have always made a point of not wallowing in nostalgia. But people haven't been able to buy these albums for years," Kilbey said. "I am really relieved they have kept the albums as they were and put the other material on a bonus record." Mr O'Donnell said the drive to restore these classic albums was a "combination of good business and giving the artist their due respect". "In The Church's case, we thought it was overdue that respect was shown for their amazing body of work," he said. Mr Ash said the explosion of DVDs and computer games had pushed classic albums off the record store floors and the reissue drive was also an attempt to reclaim that coveted retail space. Many of the reissued classics sell more than 5000 copies, enough to guarantee a spot on the mainstream pop charts. But most do not appear -- with the recent exception of the War of The Worlds soundtrack -- because they are no longer registered with ARIA. The record labels are not only counting on these artists' original fans rediscovering the albums but also believe a new generation of fans will embark on a musical history lesson by seeking out the early works of Bowie, Gaye, Bob Dylan, The Who, Bob Marley, The Cure, John Coltrane and even Sonic Youth. Remastered and reissued * What's Goin On, Marvin Gaye * Brothers In Arms, Dire Straits * 461 Ocean Boulevard, Eric Clapton * Exodus, Bob Marley and The Wailers * Bad Girls, Donna Summer * Kick, INXS * A Love Supreme, John Coltrane * Dirty, Sonic Youth * Starfish, The Church * Who's Next, The Who RF
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LA English CY Copyright 2004 News Ltd. All Rights Reserved LP THE CHURCH Governor Hindmarsh Hotel, Friday TD
BEST remembered for major hits Under The Milky Way and Unguarded Moment, art-rock band the Church is back in Adelaide to tour its latest release Beside Yourself. As the bands nears its 25th anniversary, the Church - recently returned from yet more international touring - is continuing with a national tour. The Church combines the jangling guitar-pop of '60s icons like the Byrds with the clever wordplay of frontman Steve Kilbey to create a different brand of melodic rock. The group was formed in Sydney in 1980 by vocalist/bassist Kilbey with guitarist Peter Koppes and drummer Nick Ward, and continue to be one of the hardest working Australian acts around. Beside Yourself is a collection of b-sides, rarities and three unreleased tracks recorded in and around the sessions for their last album, Forget Yourself. The Church is playing one show only in Adelaide, at the Governor Hindmarsh. RF
[ADV_T-20041111-1-061-871914 ] 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 ADVTSR0020041110e0bb0006c SE Forty Eight Hours HD All-star tribute to Cohen BY Dino Scatena WC 643 words PD 7 August 2004 SN The Sydney Morning Herald SC SMHH ED First PG 2 LA English CY (c) 2004 Copyright John Fairfax Holdings Limited. www.smh.com.au Not available for re-distribution. LP
Pop tart Singing the blues TD
If the concept of Nick Cave singing Leonard Cohen songs makes you think of heaven rather than suicide, then be sure to stay in town next January when American music producer Hal Willner presents Came So Far For Beauty: An Evening of Leonard Cohen Songs at the Sydney Opera House. Willner staged a Cohen tribute event in New York last year and, another this year in Brighton, England. Cave took part in both productions and told Pop Tart he'll be here for the Sydney shows. Cave shared the stage with Laurie Anderson, Jarvis Cocker, Rufus Wainwright, Beth Orton and a host of other Cohen-philes for the three-hour British show. Expect a similar all-star cast here, but we'll have to wait for the official announcement for details. In the meantime, Nick Cave & the Bad Seeds release their new two-disc, 17-track album, Abattoir Blues/The Lyre of Orpheus, on September 13. Leonard Cohen, who turns 70 next month, has an album of new songs, Dear Heather, due for release on October 18. Here's a proposition Staying with Nick Cave for a moment, the singer/author/actor/screenwriter/ festival curator/etc will fly home this month to check on pre-production for his latest movie project, The Proposition. Cave wrote the bushranger flick and will score it. Shooting will begin in the Victorian highlands later this month. The film stars Guy Pearce. Liam Neeson was signed to co-star but pulled out when production stalled for more than a year. "It's the most frustrating project I've been involved in," Cave told Pop Tart. "But it looks like it's going to get made." Major musical magic Best value show in Sydney this week is Monday night's Helpmann Awards at the Lyric Theatre, Star City. Tickets are still available ($85 through Ticketek, 9266 4800) for this smorgasbord of musical theatre. The admission price includes a stroll down the red carpet with Tom Burlinson, Reg Livermore and Lisa McCune. There'll be songs from The Producers, The Lion King, Saturday Night Fever and We Will Rock You, and performances by the Australian Dance Theatre and Katie and Maggie Noonan. The show will be broadcast live on Foxtel's Ovation channel. See what you'll be getting Regurgitator will play their final Sydney shows over the next couple of weeks. They play the Studio at the Sydney Opera House tomorrow (8pm, $25/$20, 9250 7777) and the Gaelic Club in Surry Hills on Friday, August 20 ($22, 9209 4614). Then it's off to their bubble-cum-studio in Melbourne's Federation Square where, taking inspiration from magician David Blaine, the band will spend 21 days in the contraption from August 31, in view of passers-by, as they record their fifth album. Olympics at Martin Place Pining for that old Olympic feeling, 2000-style? The City of Sydney announced this week it will revive the live site at Martin Place for the duration of the Athens 2004 Games. From next Saturday, a large screen on the corner of Pitt and Castlereagh streets will broadcast live events and highlights from 8am. The screen will stay on past its regular 8pm curfew for major sporting moments. Elliot Smith remembered Church leader Steve Kilbey is among the musicians gathering at the Basement on Monday evening to perform the songs of American composer Elliot Smith, who committed suicide last year. Other guests include Mick Hart, Shane Nicholson and Abi Tucker. ($15, phone 9251 2797.) Kilbey will return to the Basement on September 8 for his own acoustic show ($15). He's also performing at the Sando in Newtown next Friday night (phone 9557 1254 for details). NS
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LA English CY Copyright (c) 2004 Bell & Howell Information and Learning Company. All rights reserved. LP Live Shows A good week for live music TD
Live Performances The Church, Saturday, at Club Sound What's most impressive about The Church isn't that the Aussie band is nearing the quarter-century mark, or that the group produces new, engaging music with each album. No, what is most impressive is that The Church can get on stage and just stand there, playing and singing, with such intriguing results that you forget the players have barely moved or said a word all night. When singer Steve Kilbey did speak Saturday, it was usually with a deadpan joke, like the song he introduced by muttering "This song requires a stool," before one appeared for brilliant lead guitarist Marty Willson-Piper. The show highlighted the band's many ways to deliver fuzzed-out, guitar-heavy psychedelia, whether old (an expansive "Tantalized,") or new ("Sealine" was a highlight among several tracks off the new "Forget Yourself" album). The interplay of Kilbey, Willson-Piper and rhythm guitarist Peter Koppes has not lost its power yet. -- Dan Nailen NS gent : Arts/Entertainment | gmusic : Music | gcat : Political/General News RE usut : United States - Utah | namz : North American Countries | usa : United States | usw : Western U.S. IPD Tribune Graphic Music Films-Movies Concerts UT Bush, Sam Nailen, Dan Vicchrilli, Sam PUB Salt Lake Tribune AN Document SLTR000020040323e03n0003c SE Sunday Arts HD From the Church, an Ill-Advised Leap of Faith BY Shannon Zimmerman CR Special to The Washington Post WC 596 words PD 29 February 2004 SN The Washington Post SC WP
ED FINAL PG N02
LA English CY Copyright 2004, The Washington Post Co. All Rights Reserved LP Any band that's been making albums for more than two decades has to be at least somewhat inured to the charms of cranking out yet another one. So it's hard to blame the Church -- the Sydney group best known for its 1988 jangle-pop hit "Under the Milky Way" -- for wanting to mix things up a little on "Forget Yourself." For this, the group's 17th long-player, the Church entered the studio sans worked-out tunes and told producer Tim Powles (who doubles as the band's drummer) just to hit "record" and let the digital tape roll. Fourteen jams later, the Church had its disc. Give the band credit for daring ambition at this late stage in its career -- or at least for an admirable willingness to risk piles of record-label cash. On the other hand, the Church's gamble on spontaneous inspiration didn't quite pay off: "Forget Yourself" is mostly a dud. TD
Set opener "Sealine" could be a half-finished U2 number, a pulsating drone of a tune that Ireland's rock gods might have composed on the spot while producer Brian Eno stepped out for a bathroom break. Even the lyrics nod in U2's direction, albeit with a negative twist: "I will not follow you," intones bassist/vocalist Steve Kilbey in his best Bono impersonation as the band cranks out a lumbering psychedelic soundtrack behind him. "Lay Low" is similarly woozy, with Kilbey trotting out a silly spoken-word vocal at both the beginning and end of the tune. For their parts, guitarists Marty Willson-Piper and Peter Koppes just keep strumming their way toward a hook that never quite shows up. Elsewhere, the chiming "Appalatia" is a slight (but pretty) raga-rock diversion. And while the trippy, effects-laden "Song in Space" was no doubt a blast for the band to lay down in the studio, it suffers on playback. Clocking in at nearly 51/2 minutes, the tune comes off mainly as a self-indulgent snoozathon. These Church members are seasoned pros, of course, and so the album isn't without its charms. Powles adds a welcome jolt of syncopated rhythm to the otherwise free-form space-rock of "The Theatre and Its Double," helping the group overcome the ill-advised jam-band aesthetic it's apparently reaching for this time out. And "See Your Lights" is another keeper, with Kilbey going the understated route and presenting the tune's incisive melody in a hoarse whisper and threading it deftly through jangling guitars (still the band's can't-miss calling card) and his own bottom-feeding bass line. Best of all is "Maya." Though Kilbey should still see a therapist about that Bono fetish, the album's finest three minutes and change will likely sound familiar to early Churchgoers. The track comes complete with a vaguely cloying melody, low-budget orchestration and a chorus just made for repeated nighttime listening after the lights are out and the rest of the house has gone to sleep. Obviously, in other words, some joker sneaked in a finished ditty when the rest of the band wasn't looking. More of that, please. (The Church will perform Friday at 10 p.m. at the Birchmere and at 7 p.m. March 7 at the Rams Head Tavern. To hear a free Sound Bite from this album, call Post-Haste at 202-334-9000 and press 8151.) CT
http://www.washingtonpost.com NS gent : Arts/Entertainment | gmusic : Music | nrvw : Review | gcat : Political/General News | ncat : Content Types RE usa : United States | namz : North American Countries IPD RMUS
Washington Post
Document WP00000020040229e02t00012 SE Arts HD THE CHURCH FORGET YOURSELF SPINART BY JOHN REED WC 239 words PD 27 February 2004 SN The Boston Globe SC BSTNGB ED THIRD PG C.13 LA English CY (c) 2004 New York Times Company. Provided by ProQuest Information and Learning. All Rights Reserved. LP
When one remembers the Church, one would almost think they would have fit perfectly into VH1's fun-filled "Bands Reunited" format. However, while the group achieved only a single US hit (1988's "Under the Milky Way"), the band has never broken up and has hence saved themselves the pain of working 9-to-5 jobs and being ambushed at work by a VH1 camera crew. "Forget Yourself" is the quartet's 17th release and while the band sports three of the four original members (singer/bassist Steve Kilbey and guitarists Marty Willson- Piper and Peter Koppes), the sound has expanded since the days when they were considered little more than a lighter version of The Cure. Though Kilbey used to sound a bit too much like Joy Division's Ian Curtis, he now extracts more passion from his vocal cords and evaporates the memory of the soulless tone of some of his past output. TD
Willson-Piper's fuzzy-guitar leads add atmosphere to strong cuts "Sealine" and "The Theatre and Its Double," but his guitar stylings make you realize that he has spent more than a little time listening to his old U2 records. But as the band approaches its silver anniversary, it is good to see an '80s group that continues to peddle interesting material. The Church is at the Paradise Rock Club on March 9. RF
CD REPORT NS gent : Arts/Entertainment | gmusic : Music | gcat : Political/General News RE usma : United States - Massachusetts | namz : North American Countries | usa : United States | use : Northeast U.S. IPD ARTS/ENTERTAINMENT/THEATER Kilbey, Steve Koppes, Peter Curtis, Ian PUB Boston Globe Newspaper AN Document BSTNGB0020040227e02r000ef SE THE EDGE HD MUSIC REVIEW; Church a band that worships multiple styles and sounds BY LINDA LABAN WC 297 words PD 11 March 2004 SN Boston Herald SC BHLD
ED All Editions PG 048
LA English CY (c) 2004 Boston Herald Library. Provided by ProQuest Information and Learning. All rights reserved. LP The Church and Sea Ray, at the Paradise, Boston, Tuesday night. Due to its one and only hit, 1988's "Under the Milky Way," the Church can't quite shake the stench of being an '80s one-hit wonder. But the band's music, displayed slowly and carefully over two hours at the Paradise on Tuesday night, had as much in common with '60s psychedelia and '70s prog-rock. TD
When the Australian quartet hit the stage, though, they immediately referred to their latest work, "Forget Yourself," pulling out the cautious, atmospheric "Sealine" and then the rolling, wah-wah inflected "Telepath." That was followed with two 2002 songs, "Radiance" and "Chromium," before the band returned to new material. Obviously, the Church was not about to stand on past glories, even submerging the catchy, shimmery "Under the Milky Way" three- quarters of the way into the main set, not even saving it for the encore. What with singer and bassist Steve Kilbey's mortifyingly understated singing and opaque lyrics and the steady slow-to- midtempo pace, much of the evening was like witnessing a hazy chant by penitent yet vengeful monks. Marty Willson-Piper and Peter Koppes added Byrds-like harmonies to Kilbey's emotionally dry vocals, along with their wonderful guitar textures. Indeed, Willson-Piper's energetic chord slaying and peppier lead vocals on songs such as "Chromium" saved the Church from sounding like new-agers, all with self-indulgent stoner rumination. Brooklyn's shoegazerish Sea Ray lent its cello player to the Church for the velvety, morose "Maya," but that added nothing more than another texture to the pastel wash. Whichever way you peel it, an onion is still just an onion. NS
gent : Arts/Entertainment | gmusic : Music | nrvw : Review | gcat : Political/General News | ncat : Content Types RE usma : United States - Massachusetts | namz : North American Countries | usa : United States | use : Northeast U.S. IPD ARTS &LIFESTYLE PUB Boston Herald Library AN Document BHLD000020040312e03b0002h ______________________________________________________ SE S Insert HD Entertainments BY Christine Sams WC 2046 words PD 2 November 2003 SN Sun Herald SC SHD
PG 14 LA English CY (c) 2003 Copyright John Fairfax Holdings Limited. www.smh.com.au Not available for re-distribution. Heavenly combination STEVE Kilbey from the Church , a veteran of the Australian rock industry, will be one of the more interesting characters performing at Homebake in December . The Church are featured among a stellar festival line-up that includes the Vines, Something for Kate , Nick Cave and the Bad Seeds , the John Butler Trio and Amiel Daemion . "It's good for the younger performers to have some veteran types at these things," said Kilbey during a very entertaining chat last week. "Then they can say, `Hey, there's a load of old guys here, so we can be useful and exciting'. "We were like that on stage when we were younger, we'd be thinking, `It's over grandpa'." But Kilbey is hoping Homebake fans will warm to the band's new tracks from their album Forget Yourself , which was released last week. "Shock! Horror! Musician says his latest album is the best one yet," said Kilbey, with a laugh. "But this is the best. "When we were younger, I never really wanted to do festivals because I was never really satisfied we could do what we needed to do in that atmosphere, especially during the day. "But I feel confident about Homebake, that they whoever `they' are will dig it." All credit should be given to Homebake's organisers for keeping ticket prices down this year, despite the impressive range of bands. Tickets cost a very reasonable $70 about $40 less than those for Livid , which was staged last month. Homebake will take place in The Domain on December 6. IN
i98209 : Performing Arts/Sports Promotion | ibcs : Business/Consumer Services | ilea : Leisure/Arts NS gent : Arts/Entertainment | gmusic : Music | gcat : Political/General News RE austr : Australia | ausnz : Australia and New Zealand PUB F2 Australia & New Zealand Limited (Fairfax) AN Document SHD0000020031102dzb200050 SE GO HD Church reject idle worship BY LISA SIMMONS WC 685 words PD 27 November 2003 SN Gold Coast Bulletin SC GCBULL ED 1
PG G08 LA English CY (c) 2003 Nationwide News Pty Limited LP
MEMBERS of quintessential Australian '80s guitar band The Church may look a bit longer in the tooth, but they've lost none of their creative flair. All dads preparing for 50th birthdays in the not-too-distant future, frontman Steve Kilbey and guitarists Marty Willson Piper and Peter Koppes are still making beautiful music together, joined by drummer Tim Powell, who replaced Richard Ploogue a decade ago. TD
The Church have just released their 16th album, Forget Yourself, and garnered such great reviews members wonder whether this latest offering 'might just be its holy grail'. The band brings its national tour to The Troccadero, in Surfers Paradise, next Friday night to showcase songs from the new album. "We're probably performing better than we ever did," says Piper, who these days splits his time between Australia and New York. Piper moved to Australia from England just before his 22nd birthday, met musician buddies Kilbey and Koppes and joined their band. With drummer Ploogue, the group had a string of hits including Unguarded Moment and Under The Milky Way and albums including Blurred Crusade and Heyday. By the 1990s, the band was crumbling. Ploogue made the first exit, followed by Koppes, who left to pursue his own projects, leaving Kilbey and Piper to do the same. It was not long before Kilbey and Piper were out performing again as a duo. Koppes eventually rejoined. Band members, renowned in their heyday for on-stage spats and even the occasional walk-off, have never been tighter as a group, says Piper. "We've grown up and cleaned up our acts. There's no more drinking, no more smoking, no more drugs," he says. "We just haven't got the energy for it anymore. As a result, we're all pretty healthy these days. We don't get worn out by the act of playing the way we used to. "Creatively, there's a lot more focus. We're full of energy rather than tired and you can hear that in our music." Fans who attend Friday's show should not expect to hear old hits like Unguarded Moment. "A lot of groups get cosy, but not us," says Piper. "I don't know what it is, but there's a spark and creative charge between us that demands that we challenge ourselves. The Church will not be pidgeon-holed and we're no nostalgia act. "What keeps us alive is not the hits. The hits are what kill you - and that's where the real irony lies. "It's the music that keeps you alive. It's the music that keeps you interested and it's what keeps us interesting. We're a lot more than the sum of a few hits." Directory: files -> 2008 2008 -> Preparedness for the Health Consequences of Climate Change as a Potential Influence on Public Health Law and Policy 2008 -> Darryl Heller Dissertation Proposal Draft April 7, 2008 Law, Labor, and Politics: Street Railways in Brooklyn and New York, 1884-1904 2008 -> Anna Palladino Professor Calvert 2008 -> Jails replace schools in the mountain region of guerrero 2008 -> University of Arkansas at Little Rock Plan No 2008 -> This is a list of search engines we (Polson Enterprises) have found helpful from time to time 2008 -> Rnib centre for Accessible Information (cai) Literature review #2 2008 -> Anne louise cohen 2008 -> Time race# Download 1.73 Mb. Share with your friends:
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