Se press Release hd steve Kilbey (The Church) New Zealand tour July 07
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| Previously, on albums such as Good Humour, his excursions took him out of sight of what had made Lovetown and A New Kind of Blue important works in the mid '80s.
Here, the Cummings hallmarks are carefully integrated - thus, the sensual groove of As I Rise works effortlessly next to the more traditional piano base of Fell From a Great Height. Even September 13, a Kilbey composition which sounds remarkably like a Church track, give or take the Miles Davis soundalike muted trumpet, sits perfectly in place. Early copies offer a free seven-track live CD as well. ROBYNE DUNN Stowaway (MDS Dunn 1). Robyne Dunn has no excuses with this, her second album. She wrote it, she produced it and she sings and programs most of the music on it. It's a personal project, with little or no dilution of the original vision. In its obsession with atmosphere, with wordiness, with the craft of the song, it is also, she admits, an unfashionable album - almost always a good thing. The best news, however, is that it's a beautiful, confident, assured record. Stowaway opens brightly with No Way, as welcoming a piece of contemporary fempop as you'll hear this year and positively born for high rotation airplay, even in these tough and conservative radio days. There is real joy and exuberance to be found here, in other songs such as One Life Left and Be Yours as well. What is immediately impressive is the strength and clarity of her musical outlook. Her production talents (How many women producers are there in this country? Or producers sympathetic to women, for that matter?) veer away from the beat-heavy, bottom-end orientation of most pop producers, instead concentrating on texture and melody, lending a warm, organic feeling to proceedings. Three tracks here are recorded simply on solo piano in a loungeroom. Others are more considered, complex affairs, such as White Witch, an ambitious song which juxtaposes its curious elements, rubbing sounds together to see what happens, arriving at something which wouldn't have sounded out of place on Peter Gabriel's sublime Us. While we're namedropping, anyone who bought Tori Amos or, more to the point, Jane Siberry, will find much of value here. With Stowaway, Robyne Dunn stakes her claim as (at the least) the equal of the other, much more feted Australian women singers. Once again, an Australian talent nurtures itself in isolation. Where were the major record companies when these songs were being written? CHRIS WILSON Live at the Continental (Aurora D19852). The follow-up to Landlocked still some way away, Wilson offers us this live album, recorded in Melbourne in May for Triple J. The album is a mixture of his own material from the last decade (solo and with band Crown of Thorns), as well as covers of Bob Dylan's It Takes a Lot to Laugh It Takes a Train to Cry and the Elmore James classic, The Sky is Crying Recorded with the simplest of accompaniment - Jex Saarelaht on piano and organ, Shane O'Mara on guitars - Live at the Continental captures the dynamism of Wilson live, the energy rolling from the speakers in waves. It's for anyone who likes their blues acoustic, their country intense and their vocals broad and impassioned. For the uninitiated, Wilson, apart from being our premier harmonica exponent, possesses a set of vocal cords that would hold up the new Glebe Island Bridge. It's a prop forward of a voice: huge, intimidating, but also capable of sudden, graceful movement, of delicacy and nuance. Here, with elegantly simple recording, the music surfs on his glorious vocal tones, through the power of Wolves, the aggression of the two covers and the measured beauty of the final tracks, Landlocked and Hymn. Most live albums are strictly for fans only. This is a rare exception. AN
Document smhh000020011030dq9j00koa CLM DATEBOOK SE ENTERTAINMENT HD Mistakenly applied comparisons go to Church regularly BY JAMES HEBERT CR Staff Writer WC 1099 words PD 9 June 1994 SN The San Diego Union-Tribune SC SDU
ED 1,2,3,4,5,6,7,8,9,10 PG NIGHT & DAY-12 LA English CY (c) 1994 San Diego Union Tribune Publishing Company. Provided by ProQuest Information and Learning. All Rights Reserved. LP For a man who compares his band's beginnings to those of Aphrodite, the Greek love goddess who sprang fully formed from the sea, Steve Kilbey doesn't seem to appreciate a good myth. At least not one about his own love life. "WHAT? WHERE'S THIS? Where's . . . WHAT'S THIS?" the Church's lead singer and lyricist sputtered in a recent interview, upon hearing the contents of a press release about the band -- one he hadn't been privileged to see in advance. TD
The release had said that "Kilbey finds most waking hours an endurance test"; for him, it went on, love means "the jarring clang of a rusty mattress spring heading toward an empty climax." "I don't feel that way about love!" Kilbey objected, when he could speak again. "There aren't a lot of love songs on our albums anyway. I just don't know how someone extrapolated that out of it all . . . I'll tell you what, someone's going to get their butt kicked over that." Forgive Kilbey for feeling misunderstood. In some ways, that is the story of the Church -- a group that has been making records for 14 years and been affixed, pinned and wriggling, to at least that many positions in the grand taxonomy of rock. The Church is another Smiths, Kilbey has been told. Or R.E.M. Or maybe the Byrds. The truth is, "we're nothing like any of those guys," he insists. "I just don't know where they see it." With "Sometime Anywhere," the Australian band's ninth album, he may have his best chance yet to prove it. The record -- essentially a duo project of Kilbey and guitarist Marty Willson-Piper, the sole remaining members of the original Church -- is an engaging and label- defying collection that touches on Middle Eastern music, Beach Boyslike harmonies, dance pop, trance pop and the band's more familiar brand of elegant melancholy. The two will give a taste of the album's sound when they appear Saturday at the 91X-FM Sunfest at SDSU's Open Air Theater, along with a zillion other bands. The performance is part of the Church's acoustic minitour. "Unplugged," you might call it. Just don't call it that around Kilbey. "I'm really sick of that word, `unplugged,' " he says -- then for good measure intones, "The Church unplugged!" in his best impression of an unctuous American disc jockey. The OAT show will be about the biggest venue of this swing, and among the most conventional. "Last night we played in a tiny bar to about 60 people," says Kilbey, speaking from Memphis, Tenn. "Tomorrow night we're playing to about 1,000 people in a really big club. And then the day after that we're in a Laundromat in Seattle." To an expression of skepticism about the acoustics for such a gig, he acknowledged, "I hope no one's got the spin dryer on during the quiet parts." Kilbey's deadpan wit belies the often somber sound of the Church. "We're kind of serious guys," he allows, and it's evident in the searching strains of Willson-Piper's guitar and in the Hemingway pensiveness of Kilbey's story-lyrics, sung with a world-weary languor. Kilbey weaves tales of sad events on distant shores, of mythical characters trapped in mortal binds. We raked old Poseidon over the coals / Shook his shells, shaved his shoals, he sang on one track from 1992's "Priest=Aura." Mostly, the Church's music calls to mind those gray, unsettled moments between fair weather and storm; it's music to brood by. That tends to make Church records less than Top 40 radio-ready (though at its beginnings the band had a far more pop-driven, Beatlesque sound). But over time, the Church has built an audience. Its biggest commercial success in this country was 1988's "Starfish" album, which spawned the atmospheric hit "Under the Milky Way." The follow-up album, 1990's "Gold Afternoon Fix," scored a minor hit in the mandolin-accented "Metropolis," but Kilbey calls that album disappointing, a victim of overproduction: "It's perfect, and it's boring." The band's last album, "Priest=Aura," sold poorly; it was an artistic success, says Kilbey, but nevertheless "had failure stamped all over it." Kilbey has a much better feeling about "Sometime Anywhere." Part of the reason for its more open, adventurous sound, he says, is the departure of longtime guitarist Peter Koppes, a "very traditional sort of musician" who "wasn't into a lot of experimentation." His exit left Kilbey and Willson-Piper free to explore what Kilbey terms the strong creative tension between the pair, who from the start have been the core of the Church. Their co-producing of the album (with Dare Mason) also left the two freer to indulge a few whims. "Everything on the album is incredibly random," Kilbey says. When he felt like strumming a banjo, Kilbey didn't have to dicker with producers; he just picked one up and played it, conjuring the Turkish-textured instrumental "Eastern." "Sometime Anywhere" also contains the pair's first duet, "2 Places at Once," with its Beach Boys-derived harmonies. Elsewhere, the percussive "Lost My Touch" borrows from rap, while the gorgeous, flamenco-filigreed "Loveblind" is a classic Kilbey narrative, a surreal detective tale about a "man who has no face." Kilbey and Willson-Piper are now both fathers, now both in their 30s ("I'm so old I don't have to say how old I am anymore," Kilbey asserts). For the Church, these two are the last True Believers. But they won't give it up anytime soon -- not while Kilbey still has stories to tell, myths to mine; not while Willson-Piper still has a few soul-searing riffs to lay down. "I think we'll be doing this when we're old guys," Kilbey muses. "You know, you go and see some old jazz bands, those guys are all 60 and 70. I don't see any reason why we can't continue doing that. We won't be wobbling around in Spandex pants and beer guts, but we want to be musicians until the day we go." DATEBOOK Sunfest, featuring the Violent Femmes, the Church, the Rollins Band, Toad the Wet Sprocket, Frente! and Green Day. 4 p.m. Sunday. SDSU's Open Air Theatre. Sold out. RF
For information box see end of text. ART 1 PIC
gent : Arts/Entertainment | gmusic : Music | nitv : Interview | gcat : Political/General News | ncat : Content Types | nfact : Factiva Filters | nfcpex : FC&E Executive News Filter
usca : United States - California | namz : North American Countries/Regions | usa : United States | usw : Western U.S. IPD INTERVIEW ARTS/ENTERTAINMENT/THEATER Steve Kilbey Kilbey, Steve Willson-Piper, Marty PUB Union-Tribune Publishing Company AN Document SDU0000020070609dq6900879 SE News; Arts BY Greg Burchall WC 464 words PD 21 May 1993 SN The Age SC AGEE
PG 12 LA English CY Copyright of John Fairfax Group Pty Ltd LP
CASUALLY suggest to a folk, rock or rap songwriter that they may in fact be A Poet For Our Times and they may suddenly have trouble finding a concert stadium big enough to accommodate their newly- boosted ego. Downing the musical instruments and taking up the writing implements, out pours the prose and poetry. Some eventually reaches the public, to acclaim, such as Nick Cave's novel `And the Ass Saw the Angel' and the plays of Sam Sejavka. TD
Not everyone takes themselves this seriously, of course; it's more a case of trying a different creative voice for certain inspirations. Exploring the which-came-first question of words or music. Jim Morrison always maintained that his songs began as personal poems, with music added later. Lou Reed, on the other hand, said of his recently published collection of ``naked'' lyrics: ``I was continually struck by the different voices that emerged when the words were heard without music. The Church's Steve Kilbey thinks most lyrics would sound ``silly'' read as poetry, without music shaping and driving them forward. ``Lyrics are rarely intended to be heard without music. Songwriting is a very different discipline, with so many more restrictions,'' he said. Kilbey was about 17 when he started ``autowriting'' surreal poetry, about the same time as he started songwriting. ``The poetry's been a great outlet, even though I never thought anyone was ever going to read it. Kilbey published a book of poetry, `Earthed', six years ago but has only ever read one poem in public, one night in an inner-city bar. ``You have a little bit of an edge if a crowd knows you. People tend to give you more of a go. Next Tuesday, Kilbey will resume his poetry-reading career in a night of `Words without Music' at the Lounge, on Swanston Walk. He will be joined by David Bridie (Not Drowning Waving/My Friend the Chocolate Cake), Vince Giarrusso (The Underground Lovers), Sam Sejavka (Fact/ex-Beargarden) and Jen Anderson (Black Sorrows/`Pandora's Box'), in a collaboration with Janine Hall (The Lost Weekend/ex-Saints/WPA). Musicians aren't the only ones who fancy themselves as poets of the age, as Hollywood actor Charlie Sheen showed last week when he published a collection of poems, `A Piece of My Mind', mainly drawn on his hell-raising days of booze and drugs. ``I don't think you are a born poet,'' Sheen decided. ``You become one with experience. Laughs Kilbey: ``I think people have every right to be sceptical about anyone who calls themselves a poet - it's something someone else has to call you. ``Usually, you can't really be considered a poet until after you're dead. NS
GCAT : Political/General News | GENT : Arts/Entertainment AN Document agee000020011031dp5l00fat SE News; Albums HD Bob Dylan BY Terry Reilly, Lisa Kearns, Derek Leather, Chris Beck WC 893 words PD 3 December 1993 SN The Age SC AGEE
PG 4 LA English CY Copyright of John Fairfax Group Pty Ltd LP
BOB DYLAN WORLD GONE WRONG, (Sony Music) JUST Dylan the musicologist, his acoustic guitar, barking seal-timbred voice and his own vintage liner notes -equally oblique and pointblank, but heavily metaphorical. These richly interpretive notes are superior to the singer's performances of the traditional American music of Doc Watson, Frank Hutchison and the family string band of the 1920s, The Mississippi Skieks. Despite drawing from the rich wells of American music, Dylan's croaky renditions are never more than marginally interesting. TD
Except for the dramatic ballad `Delia'. It stands alone in its poignancy, well apart from `Stack A Lee' and `Blood In My Eyes'. By Dylan's own assessment, it has ``rectitude''. So what we have is the extension of his previous `Good As I Am To You', with a little more acoustic muscle and the virtual exclusion of the shrill harmonica. While Dylan has a natural facility to work alone these days and to draw on the musical past that gave rise to his incredible career, he risks gradual alienation and indifference. Terry Reilly MAE MOORE BOHEMIA, (Tristar) CANADIAN singer/guitarist Mae Moore's pop-inspired folk is sensual, worldly, uplifting stuff. But anyone who thinks The Church's music is a monotonous cacophony need read no further. Steve Kilbey's paws are all over this album as producer, musician, and co-writer of three songs. The rest were written by Moore, who apparently sees herself more as a poet than a singer. `Bohemia', her second album, was recorded last year at Kilbey's home studio in downtown Sydney. Her first, 1990's `Oceanview Motel', has not been released outside Canada. G.W.McLennan and The Church's Peter Koppes help out on guitar, and Gord Downie of The Tragically Hip contributes background vocals on `The Wish'. The title track - perhaps the best - is strongly reminiscent of Luka Bloom's version of `I Need Love'. A delicately insistent bassline permeates the evocative lyrics. Other standout songs include the dreamy, drifting `Fall With You', `Coat of Shame' and `Western Front'.Lisa Kearns AN
Document agee000020011031dpc300siv HD Magical and mystical : Moore shows vast improvement on 2nd album BY Robert Reid CR SONY WC 786 words PD 4 February 1993 SN Kitchener-Waterloo Record SC TKWR ED Final PG D6 LA English CY Copyright (c) 1993 Kitchener-Waterloo Record. LP
Bohemia Mae Moore -- ongwriter Mae Moore, is not so much a recording as a lush interior musical landscape rich in mood and atmosphere. Recorded in Australia and featuring a combination of Moore's band and Aussie musicians, the release is produced by Steve Kilbey of The Church, the Australian neo-psychedelic band known for its muted melodies and atmospheric instrumental arrangements. Kilbey's production (he also wrote the music for three of 11 tracks), combined with Moore's shimmering voice, distinctive acoustic guitar work and haunting lyrics, casts a seductive spell that is more a subtly orchestrated unity of parts than a collection of individual songs, despite the brilliance of such cuts as the title track (which has been receiving regular airplay in video form on MuchMusic) and Pieces of Clay. TD
In Bohemia, Moore inhabits a space somewhere between Suzanne Vega and Sarah McLachlan which, despite the comparisons, is all her own. Magical and mystical, the release's delicately aural atmosphere evokes sensations of haunting refrains recollected from dreams. This is a far superior outing to Moore's 1990 Oceanview Motel debut and, if she continues to grow artistically at a comparable rate, big things should not be far off. For despite the ethereal quality of Bohemia, Moore has her feet planted firmly on the ground in terms of sheer artistry. /- Soulstalking Daisy DeBolt (DeBolt Productions) /- Soulstalking defies labels. Nearly a year in the making, Daisy Debolt's aggressively eclectic roots album is unique - that is, unlike anything you've ever heard before. Commentators refer to the synthesis of folk, country, reggae, gospel, bluegrass, rhythm and blues, jazz, soul and worldbeat as ethno-fusion. But DeBolt, a veteran of the Canadian music scene since Toronto's Yorkville days in the distant '60s, fondly refers to it as "alpine-polka-reggae." It's difficult to describe the 10 cuts that make up Soulstalking. Any given song might begin with a whining country pedal-steel guitar, followed by a searing electric guitar riff or soaring tenor sax wail, followed again by a low, rumbling organ chord or feverish polka rhythm on accordian - all of which is embraced by a celestrial chorus. Despite the wild diversity of musical styles, DeBolt's magnificent voice - by turns rich and expansive, full and gutsy - holds it all together. DeBolt, who for many years performed with Allan Fraser and starred in the original Canadian musical Country Hearts, does not possess a voice so much as a powerful vocal personality which dominates Soulstalking. Produced by John Switzer, the recording assembles some of Canada's veteran folk musicians including bassist David Woodhead, guitarist Brian Hughes and vocalist Brent Titcomb. But the glory of Soulstalking is the result of the large cast of artists DeBolt has attracted. All the songs are DeBolt originals, most of which she co-wrote with wordsmiths of one description or another, including Governor-General Award//Booker Prize co-winner Michael Ondaatje. Whether the songs are serene ballads (Epic Aire and Sometimes) or roots music in overdrive (Monte Leuze Bleuze and Cage Monte) each contains melodic passages of unerring beauty. Soulstalking is for the adventurous, but its rewards are worth the risk. If you cannot find Soulstalking in music stores, you can order through Soundwright, P.O. Box 654, Smith Falls, Ont. K7A 4T4. /- Dead and Crazy People Two Penny Opera (Two Productions) /- Toronto-based singer/ ongerwriters Mary-Ellen Anderson and Sandy Stubbert used to make up the folk-duo Two. In early 1990 the duo formed Two-Penny Opera, best described as a contemporary acoustic rock band, with bassist Ken Purvis and drummer Frank Baraczka (guitarist Todd Warren joined later). Dead and Crazy People is the band's first release. Not suprisingly, the release's two most impressive qualities are the songwriting and the vocal abilities (both solo and duet) of Anderson and Stubbert. In fact, a listener would be forgiven for wondering whether the rest of the band is along more for the ride than as full creative partners. This isn't a serious criticism, however, since any future success the band enjoys will rest on its solid musical foundation. The 12 tracks deal with various topics, from the difficulty of finding love in the '90s, through mental illness, death and personal loss, to issues of abortion and environmental pollution. Despite the seriousness of the topics, the quality of songwriting coupled with strong delivery prevent any wiff of earnest sanctimoniousness from debasing the material. It will be interesting to watch the evolution of Two Penny Opera as its full complement of musicians coalesce artistically. Daisy Debolt plays "alpine-polka-reggae." Mae Moore casts seductive musical spell. NS
gent : Arts/Entertainment | gmusic : Music | gcat : Political/General News PUB Toronto Star Newspapers Ltd. AN Document TKWR000020060122dp2400zna SE ENTERTAINMENT HD Bohemian Mae Moore loves life on the edge BY By Jennie Punter Special to The Star WC 591 words PD 3 December 1992 SN The Toronto Star SC TOR
ED AM PG G6
LA English CY Copyright (c) 1992 The Toronto Star LP Mae Moore admits she's a bit of a late bloomer. But the singer-songwriter has certainly blossomed and flowered on her second solo album, Bohemia, a collection of introspective, atmospheric pop music that is - literally - worlds, or at least oceans, away from her 1990 debut, Oceanview Motel. TD
"There's nothing better than change to help you grow as a person, putting yourself on the edge, even a controlled edge," Moore says from the road, which brings her to X-Rays Ultrasound for shows tonight and tomorrow. From the edge of Canada (her home in Victoria, B.C.), she flew to the edge of Australia (Sydney) earlier this year, with a couple of songs in her acoustic guitar case and the prospect of co-writing with Steve Kilbey of The Church, who ended up producing Bohemia. The Kilbey connection happened through Moore's publishing company. "They had been suggesting really formula writers, and I was going, 'Puh-leez.' "I said no enough times that my publisher actually set this up for me, because it was part of their mandate to put writers together. "I thought it was so incredibly forward thinking." Moore and Kilbey hit it off, and three of their collaborations appear on Bohemia. "I had a respect for Kilbey," Moore says. "He's had so many records, with The Church, Jack Frost and his solo stuff. "He had all that experience for me to learn from." And Sydney itself proved a silent partner in the building of Bohemia. "I fell in love with it right from the start. It's a huge city, and very beautiful, very clean. "I think the thing that really struck me was the light." Her first encounter with the city inspired the title track, and first single, of Bohemia - a musically ethereal and lyrically empowering statement of creative intent from the artist: 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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