Further/Deeper
by The Church
REVIEWS and COMMENTS
Intimate and expansive by turns, quietly reflective and yet cosmically grand, it easily ranks among the band's best, namely, Heyday (1985), Priest=Aura (1992), After Everything Now This (2002) and Forget Yourself (2003).
Full Review (in German)
The Church were in the '80s in Australia, as were R.E.M. in the USA and The Smiths in England, undisputed market leaders in upscale guitar pop. R.E.M. were Superstars, The Smiths Cult - and The Church were forgotten. But they are the only of the three bands still active. At the same time the Church sound has changed dramatically over the years.
Instead of compact pop songs, psychedelic gimmicks and sound experiments came to the fore. Now a new start, with a significant change: on guitar Ian Haug (former Powderfinger) has replaced the founding member Marty Willson-Piper, who had been responsible for riffs and melodies. How does the interaction with Peter Koppes, the man for the guitars, work? Well, great! The songs find exactly the relationship of great melodies and spun ideas.
The band never chooses the easy way, but creates complex soundscapes, which are refined by wonderful guitar picks and Steve Kilbey's sometimes muttering, sometimes clear vocals. The album shows how to fuse guitar pop with progressive ideas. A wonderful late work that will be one of the highlights of the year.
Framed by their latest line-up, Further/Deeper delivers, quite simply, unlimited magic.
AllMusic's Further/Deeper Page
★★★★☆ (4 stars out of 5)
The Church continue their never-ending exploration of inner space on 2014's Further/Deeper, the Australian group's first album in five years, and an impressive return to duty after the band's productive run in the 2000s. Taking a few years to rest and recharge seems to have worked out very well for the Church; this album doesn't find the band exploring much in the way of new and unchartered territory, but it finds them embracing their trademark version of psychedelia -- clean but misty, like the calm eye of the aural hurricane as the waves of guitar and keys swirl about -- with a welcome sense of vigor and focus. Ranging from the sunny and welcoming "Laurel Canyon" to the beautifully ominous "Globe Spinning" and a grand-scale drift down a river of jangle on "Miami," Further/Deeper sounds like the Church in prime form, all the more impressive given the absence of longtime guitarist Marty-Wilson Piper. Ian Haug (formerly of Powderfinger) takes Marty's place in the lineup here, and he has merged seamlessly with the ensemble, generating -- along with Peter Koppes -- layers of soaring, chiming guitar that have been organized to gorgeous effect in the studio by producer timEbandit Powles and a small army of mixers. Anyone hoping for a radio-ready pop tune in the manner of "Under the Milky Way" may be a bit disappointed, but otherwise Further/Deeper is a splendid example of what the Church have been doing so well since the mid-'80s, and the polished lysergic fireworks on this album connect as well as anything the band has released since the '90s.
10.0 (perfect rating)
The entire album is fantastic and stands amongst The Church's very best. The complex chord arrangements demand attention. Once you are pulled into the music the album really comes alive.
Further Deeper sounds like a new chapter for a band that remains just as vital as ever, 35 years into their career.
Full Review (in Dutch) [English Translation]
★★★★½ (4.5 out of 5 stars)
It's certainly not just the guitar torque of Koppes/Haug that excels in Further/Deeper. Precisely the rhythm tandem of Kilbey/Powles takes the space and throws a lot of songs under a great groove. And that great voice of Steve Kilbey sounds as passionate as in their early years. It's incredible that after 35 years The Church still sounds as relevant and driven. Further/Deeper is a great album which will only increase the legend of the Australian band.
Australian neo-psychedelics The Church return with brand new album FURTHER/DEEPER (8th June through Unorthodox Records) which delivers breathtaking new vistas and intense, emotive soundscapes...and a European Tour to boot!
The band are these days cherished as bona fide legends of new wave and neo-psychedelia while remaining a virtual enigma to the world that knows its name.
Brand new album FURTHER/DEEPER seems both unimaginable and the only option on their endless quest from chaos to resolution. It's an album of intense emotions, of sinister black caskets and gorgeous caverns of light, a work born of immense struggle and effortless expression.
Counting Church-Albums? Impossible. One thing is for sure: This one is one of the best.
The "plushwave" of "Under The Milky Way" made these Australians famous but the band of today does not have much in common with the shady guys back then. From the beginning of the '90s The Church have been passionately busy creating a symbiosis of Beatles and Pink Floyd Pop and Psychedelic, never too colorful, always dark and sparkling. The best albums of the band offer excellent musicianship and neverending inspiration. As this symbiosis works, even after 35 years in business The Church are still among the best bands of today. However a few months ago there seemed to be sinister signs: Bandleader Steve Kilbey found himself betrayed by his old label, original guitar player Marty Willson-Piper moved to Sweden without any further comment and has not got in touch with anyone since then. The Church were near a breakup but Kilbey decided to wait instead of making hasty decisions. Patience paid off: Fan-of-years Ian Haug joined the band as a guitar player after Powderfinger broke up - his debut being a brilliant performance. He developed divine guitar parts together with co-founder Peter Koppes, the picking meshes and everything is in a flow. Songwriter and bassist Kilbey with his silky voice sings stories between mystical and romantic about a vanishing man (Vanishing Man, best wishes to Wilson-Piper) or the "Laurel Canyon". The beauty of "Pride Before A Fall" and "Love Philtre" is almost supernatural, they sound as if Dave Gilmour and John Lennon had secretly met for a session.
★★★★★★★★★☆ (9 out of 10 stars)
★★★★☆ (4 out of 5 stars)
For those who think The Church ever went away, should refresh themselves on this band's captivating sound. Further/Deeper is more a well-crafted new venture for this musically imaginative band. Moody, dark at times, but most of all a lush soundscape of Rock, Further/Deeper is a fitting new studio record for these talented Aussies.
Who needs church when you can put on your old-school headphones, drop a needle on the record and have the actual CHURCH blissfully wash over you?
"Miami," which begins with a slithery guitar line reminiscent of "Reptile," is perhaps the album's most enigmatic moment, an eight-minute song that shifts between blurry quietude and thunderous refrains repeatedly. It's representative of Further/Deeper as a whole, which is an ambitious record made by a band not content to repeat itself ad infinitum.
Against all the odds, then, Further/Deeper is perhaps one of the band's finest albums; entirely thrilling and involving from beginning to end, even with a generous running time, it's a stunning piece of work. It seems entirely unfeasible that after over 34 years, and following the departure of one of its best-loved members, The Church has come back with such an astonishing record, but then men and the stars in the sky have long since given up trying to predict what will happen next when it comes to this band.
Full Review (scroll down about halfway)
If "Further/Deeper" proves anything, it is that 21 albums in, the music of the Church still sounds vital and challenging. They sound just as hungry and exciting as they did three decades ago.
The Church's 25th studio album pulses with a new energy and a renewed sense of optimism in a band that has endured so many ups and downs, while releasing consistently great work. It feels like a fresh start.
This is a very complex record. It is clear that a lot of thought and practice went into making this masterpiece. These songs are expertly crafted. But, there's so much more going on here than technical prowess and fine musicianship. There's some real magic. There is no question that this will stand out for years to come.
★★★★★★★★☆☆ (8 out of 10 stars)
Anniversary Made to Measure
For the last two weeks the whole rock world has been asking itself whether AC/DC can still ever be AC/DC without Malcolm Young. The number of people asking themselves whether The Church can still be The Church without Marty Willson-Piper is probably significantly smaller, but in their Australian homeland at least, this question is being discussed quite animatedly. There - and until further notice only there - their 25th album FURTHER/DEEPER has now been released.
Even if many regard the band as a one-hit-wonder ("Under the Milky Way"), they have nonetheless gathered around them a loyal flock of fans from all over the world. Without such a flock one cannot produce 25 albums... And some of them seem to be disgruntled that the aforementioned Mr. Willson-Piper is not on board for this work. It is no secret that the dynamic between him and Steve Kilbey was on the fragile side, and that Marty had already allowed himself timeouts from The Church. For this reason, Kilbey has not forbidden himself to describe this formation as his own band, which he can now steer jauntily into the future. Does one hear the departure of his sidekick of many years? In the first instance certainly not. Kilbey and his men (now strengthened by Powderfinger guitarist Ian Haug) call upon familiar tones, fill large spaces with echoes of early 80s wave, interlace these with well-dosed elements of prog, and shine with a fascinating tightrope walk between distant coolness and languorous intimacy.
The Church succeeds in the rare feat of sounding definitively recognizable without treading water. And in comparison with some of their more recent works, a certain force of vitality here cannot be denied. "Delirious," "Lightning White" "Volkano" or "Pride Before a Fall" show in an exemplary way that Kilbey is a master of unconventional dynamics, without over-taxing the listener. With that the doubts should definitely all be swept away: The Church remain The Church and as worth hearing as they ever were.
★★★★☆ (4 out of 5 stars)
For those of us who swore fealty to Marty Willson-Piper during many, many Church gigs, it is both comforting and disconcerting how smoothly the band has moved on without the long-time guitarist. Former Powderfinger tall chap Ian Haug is in there now with Peter Koppes, Steve Kilbey and Tim Powles, and the Church are as ever. That is, a kind of contained psychedelia and powered spiritualism, mixed with a never-shaken debt to pop, as adjusted through the original stoner rock. In that familiar way, guitars both chime and cut through, keyboards are beds more than prominent players, and drums roll - seemingly in background until you suddenly find yourself lifted and pushed. Kilbey's voice is both priestly and quizzical. You can dream along with the ocean-bearing Pride before a Fall and the more abstract Love Philtre, but you can also fall completely for the beautiful pop of Laurel Canyon and Old Coast Road, or trip out with the drive of Globe Spinning and the space of Lightning White. So, the Church: same, same but different. And still good.
★★★★☆ (4 out of 5 stars)
Many Church devotees were aghast: guitarist Marty Willson-Piper was out, replaced by Powderfinger's Ian Haug — and the band's 21st studio album opens with a track called Vanishing Man, But fear not, this is one Church that hasn't failed to its congregation. Haug's addition hasn't altered the trademark sound. Further/Deeper has the classic Church ingredients — drama and tension, part psychedelic, part spiritual, part dreamy. And it rocks. It's tempting to call it a return to form, but The Church never really lost it — it's just been up to the listeners if they're along for the ride. A beautiful contrarian, Steve Kilbey croons "I gotta go in the other direction," in the engrossing Lightning White. They reference Laurel Canyon and Miami, but no American band — or Australian band — sounds like The Church. Need proof of their genius? Hear the aptly titled Delirious. This is the album U2 should have made this year: experimental but accessible, unpredictable and meandering, but always compelling, and filled with majesty and love.
★★★★★★★★☆☆ (8 out of 10 stars)
The twin lead guitars of Peter Koppes and Haug (like Koppes and Willson-Piper before) complement and build on each other, interweaving to the point where it's often difficult to tell where one ends and the other begins. It's a testament to Haug's skills and the adaptability of the band that, despite the personnel shakeup, the musical interplay still sounds so natural. That grand, lush, refined yet spirited sound the Church is known for remains.
*spins* new Church album, omgomgomgomgomg. *splat*
Ok, now that I've got that out of my system...
Nearly 35 years into their career, The Church have become a beloved institution (hah!) in their native Australia, releasing their 25th studio album. Further/Deeper comes after a hiatus of 5 years during which the band celebrated their 30th anniversary, toured, and were feted by the ARIA (Australian Recording Industry Association) as one of the country's most influential bands.
More significantly, however, founding guitarist Marty Willson-Piper quit the band in 2013 for unknown reasons, meaning that Further/Deeper is The Church's first album without him.
The band had experienced ups and downs before, especially in the early-mid 90s, which were characterized by the turmoil of frequent lineup changes and bassist/singer/leader Steve Kilbey's substance abuse issues. However, the band had never faced the permanent loss of a founding member—co-founder/guitarist Peter Koppes left for a stint in the mid 90s, but his absence only encapsulated one album.
After Willson-Piper's exit, Kilbey quickly recruited Ian Haug, formerly guitarist of the massively successful (in Australia) Powderfinger. Haug almost immediately gelled with the rest of the band; his guitar textures merging seamlessly with Koppes'.
In short, despite the major personnel change, Further/Deeper is the most energetic and dynamic album that the band have put out in a long, long time.
The Church's sound is defined by two things: the interplay of the guitarists in their creation of a variety of modes and moods, from swooning sheets of sound, to gentle colors, to crunching dissonance; and the deep, resonant voice, and mind-bending lyrics of Steve Kilbey.
Each aspect of their sound, having been revitalized by the addition of Haug, is in full flower on Further/Deeper.
The album also boasts their best pop single in decades, "Pride Before A Fall," which was released prior to Further/Deeper's AUS/NZ October 17th debut (the album is set to be released in North America in Feb. 2015).
Kilbey, whose voice has hardly aged, demonstrates his tremendous chops on "Pride," at first singing sweetly at the top of his range in Beatle-esque fashion, "On tippytoe/quiet you go/So not to wake the sleeper." The song then progresses dreamily through major to minor progressions as Kilbey rehearses the Seven Deadly Sins in his deepest, most ominous tones. The beautiful, soaring chorus also features Kilbey's voice at its most powerful.
"Pride" showcases Koppes' musical versatility as he adds a subtle piano line to the song, while long time drummer Tim Powles keeps things grounded with his inventive, intuitive playing.
Powles, in fact, has functioned as The Church's secret weapon for two decades. He has the ability to move from the intense, almost primal drumming of the opening song "Vanishing Man," to the steady pulse of "Love Philtre."
The variety present in the songs is not limited to Powles' percussion as the tracks provide a dazzling array of different textures and styles.
The sunny psychedelic pop of "Laurel Canyon" makes you feel like you are in that beautiful place. Pillowy 12-string acoustic and cascading electric arpeggios match Kilbey's soft, insinuating voice.
On the other side of the spectrum is "Lightning White," which is a heavy trip full of swirling guitar freakouts, driven by Powles' raucous percussion.
In a demonstration of the band's mastery of atmosphere, "Love Philtre," a woozy, hazy excursion into the ether drifts into a blissful interlude where Haug and Koppes demonstrate their already amazing chemistry; their guitars weaving around each other.
Along the way, The Church pepper their new songs full of riffs and melodies and sensibilities from times past. The closer, "Miami," directly invokes 80s classics like "Destination" and the epic "Is This Where You Live?" Whereas "Vanishing Man," is reminiscent of "Day of the Dead" from 1994's Sometime Anywhere.
Though Further/Deeper brilliantly demonstrates the band's considerable strengths, the album does display some of their weaknesses. Many of the tracks on the album take their time getting to a firm melody, and Kilbey has always demonstrated a penchant for meandering songs that could use a bit of editing.
That minor quibble aside, Further/Deeper is a remarkable record from a band that after three decades has never stagnated or played it safe. In the face of the loss of a founding member, instead of retreating, the band used the opportunity to bring their sound into the new decade.
Indeed, this album is so good, that I would put it high on the list to give to folks new to the band to listen to alongside crucial records like Starfish, Heyday, and The Blurred Crusade.
This album belongs on the list of Church classics and is the band's best work since 2002, by far. It's a collection of pure, well-constructed and tuneful songs, not just jammy vibes. It is both a joy and a relief to be able to honestly and sincerely declare that.
Further/Deeper sounds good, there is a deeper edge, a dissonance, a questioning, something, not sure what - elusive, a depth like a long windy road reaching on into the highway of infinity, a fire in the belly of being.
Further/Deeper provides no surprises, just more of the quintessential Church psychedelic renditions stretching over twelve songs with almost biblical numerology. Often, the music contains a rococo flurry of notes which elicit a disengaged cool and bemusement. It is almost like immersing yourself into a sonic bath with the band.
Further/Deeper really is an aptly titled album. This band has been around probably since your mum was a teenager, but instead of growing stale, they continue to mature, like a fine wine, delving further and deeper into the soul of musical prowess.
Steve Kilbey, Bondi dweller and Pacific swimmer, hears a lot of the ocean in Further/Deeper. I hear that, too. It shimmers invitingly, glinting in the sun. Dangers lurk beneath. It can churn you up like you are caught in a heavy swell, or deliver an exhilarating rush once you are on for the ride.
In late 2013, the Australian Alternative Rock band's lead singer, bassist and lyricist, Steve Kilbey, made a public statement that, regrettably, guitarist/founding member Marty Willson-Piper was "unavailable" for the recording of the next Church album. That Kilbey intended to continue using the name The Church instigated some rather harsh outbursts from certain longtime fans, who insisted that without Marty Willson-Piper the band wasn't really The Church.
However, what these disappointed fans seemed to forget (or purposely disregard out of sheer frustration?) was the fact that, when guitarist Peter Koppes left the band in the early '90s, the remaining members Steve Kilbey and Marty Willson-Piper still chose to credit the album Sometime Anywhere (1994) to The Church. As Kilbey pointed out: "The name 'The Church' is mine. I called it that two years before I even met Marty...". Upon which he acknowledged the contributions of the other long-standing band members: "We have all built up a body of work under the name The Church. We will not cast that aside because one guy does not show up." Declaring Marty Willson-Piper "unavailable" (he didn't respond to anyone's emails or phone calls), Steve Kilbey also announced that ex-Powderfinger guitarist Ian Haug (himself a longtime Church fan) had joined the recording sessions for the next Church album, which was to be titled Further/Deeper. While it's always sad to see a founding band member leave, it also marked an interesting new chapter in the history of the band: What would Ian Haug contribute to the sound of The Church? Could he possibly live up to the contributions of Marty Willson-Piper?
At the time of the announcement The Church had already been in the studio, and Steve Kilbey's excitement about the new material was palpable. Kilbey: "I am sitting here right now with 16 new incredible songs that we just wrote. It's frustrating that it will be a while till you hear it. But The Church will ride on... The Church will prevail. And our new music is very, very fucking cool." And that's an understatement rather than an exaggeration. Imagining that any longtime, open-minded fan would not be completely enamored by Further/Deeper is unthinkable, that's how impressive this album sounds in every aspect, whether it be the songwriting, arrangements, musicianship, and creativity. What's more, Further/Deeper is drummer, percussionist, producer, engineer, and mixer Tim Powles' most accomplished work yet: the meticulous, exemplary production sounds bigger, fuller, and punchier than it has in ages (since 1998's Hologram Of Baal), adding a rougher edge and a raw power that brings out the best in each and every one of these exceptional songs.
At this point in The Church's career, they have nothing whatsoever left to prove, but that's not to say that they're not going to do their damnedest to prove the doubters wrong and put their detractors to shame. In an interview, Kilbey said that "Ian Haug brought in an extraordinarily naive enthusiasm, which re-energized the band", and this energy and electricity permeates Further/Deeper from start to finish. The ominous opening track, "Vanishing Man," is the sound of The Church soldiering on in the face of adversity, into the future, into uncharted territory, powered by an electric storm of abrasive, distorted, reverb-drenched electric guitars. Proud, defiant and triumphant, it blows all negative preconceptions to smithereens, leaving all competition in its wake, and sets the stage for what's to come. This state of euphoria continues with the downright ecstatic "Delirious," which is amplified by an insistent drumbeat and a chaotic, spiraling whirlwind of ringing electric guitars; stirring and exhilarating, it literally leaves you breathless.
"Pride Before A Fall" (the first single) is a characteristically atmospheric and intricate Psychedelic ballad that testifies to the band's admirable attention to detail: sonic textures, layers of sound, instrumental arrangements; it's all there in the dreamlike, hypnotic verses and the surging chorus that washes over you like a wave. The dramatic and macabre "Toy Head" instantly grabs your attention and triggers the imagination, as Kilbey sings: "When you take off your head / But the darkness prevails / And they loosen the screws / But that remedy fails". The nightmarish lyrics about "a monster being born", "shadows increasing" and "horrors returning" are further intensified by the haunting music, most notably Ian Haug's eerie, drone-like guitar passage.
"Laurel Canyon" has single written all over it; or rather, it's undoubtedly The Church's best shot at getting some radio airplay that might possibly attract new fans and boost the band's album sales. As befits its title, the song sounds warm and summery, with its chiming acoustic and electric guitars, catchy little hooks and charming sing-along chorus; at closer inspection, though, its sunny disposition is offset by its words of regret. A deeply gifted lyricist, Kilbey once again demonstrates that he has a way with wordplay and a penchant for contrasts and contradictions: "Less is more / Much more to confess". This little sparkling gem brings to mind the "Pop" sensibilities of the band's early/mid-'80s songs, only more subtle and sophisticated. Listening to the equally melodic and summery "Old Coast Road" is like looking at sunrays reflecting on the shimmering surface of water; it fills you with elusive feelings of warmth and tranquility.
"Love Philtre" is lovely, positively irresistible. Almost an anomaly in the band's catalogue, it's unusually pretty and pensive for a Church song (as was "Pangaea"), with its autumnal synth/piano motif and wistful atmosphere. Halfway through, the track unexpectedly morphs into a slow, languid passage of gently strummed acoustic guitar and an ethereal female harmony; upon which it suddenly resumes its main melody. Likewise, the forceful and foreboding "Globe Spinning" is also unlike any other song The Church have ever recorded, albeit at the other end of the musical spectrum. Driven by throbbing bass, dynamic drums and seething synth lines, it oozes eccentricity and intensity.
"Lightning White" kicks off with thundering drums, the heaviest-sounding percussion heard on a Church album since 1988's Starfish, but, fortunately, without the pitfalls of overblown '80s production values. They say lightening never strikes twice in the same place, but it does, repeatedly, throughout this song, that's how electrifying and powerful it sounds. The bombastic and über-cool "Let Us Go" sounds unstoppable; as if every naysayer, who stands in its way, is doomed to be trampled underfoot by its mercilessly pounding drumbeat, assertive electric guitars, and ice-cold, sustained synth.
The majority of all Church albums open with a particularly noteworthy track and Further/Deeper is no exception. Yet, this time around the band actually saved the biggest and best song for last: the cinematic "Miami." A nearly nine minutes long composition of epic proportions, it's the aural equivalent of a widescreen movie. After the "Hotel Womb"-esque guitar intro, it settles into a mid-tempo mode only sporadically interrupted by the heartfelt crescendos. Infused with vigorous jingle-jangle/drone-guitars, pulsating bass, and a soaring harmonica solo, this mesmerizing track is an instant Church classic.
Further/Deeper is The Church's 25th album, and it's simply awe-inspiring. Even though it defies all logic, the band sounds as vibrant, adventurous, courageous and vital as they ever have, regardless of line-up. Further/Deeper is so rich with sonic details that there's more here than meets the ear on first listen; even several spins will barely scratch the surface of these lush, multi-layered soundscapes. If you are among the fans who lost faith in The Church due to Marty Willson-Piper's absence, then listen. And then listen again. And then rejoice. Fall down on your knees at the altar of The Church to say a prayer of gratitude: they are still more than worthy of our worship. Over the years, The Church have attracted a cult-like following, and most of us will continue to follow the band on their musical journey - further, deeper.
★★★★☆ (4 out of 5 stars)
At a time when bands of a certain vintage are looking for their place in the sun, dream-weaving perennials the Church are busier than ever. There's been a recent keynote appearance at Brisbane's BigSound gabfest, a long-overdue memoir from main man Steve Kilbey (entitled, not surprisingly, Something Quite Peculiar) and now Further/Deeper, the band's 25th long-player.
The lead single, the haunting, slowburning "Pride Before a Fall", typifies the Church circa 2014 much the same way "Metropolis" did in 1990 or "Almost With You" several years before that. Much of Further/Deeper, in fact, resembles the soundtrack to a road movie screening inside Kilbey's mind — especially the spectral beauty of "Laurel Canyon", which plays like the best acid flashback you've ever had. There's more power here than recent Church efforts, thanks in part to the recruitment of Powderfinger shredder Ian Haug, in for Marty Willson-Piper. (More songs, too, but editing's never been Kilbey's strongest suit.) Perhaps Haug's hiring has inspired Kilbey to broaden his range, just a little — where else in the band's lengthy back pages would you hear a word like "snorkel", which Kilbey casually inserts during a song ("Marine Drive") that sounds as though it was recorded underwater.
Despite these changes, that distinctively Church-like aura, built around spiralling guitars, Kilbey's somnambulistic vocals and a sense of mystery and intrigue, will never grow old, even 25 albums in. Long may they strum.
This is a total triumph, a real treat for the faithful and possibly the ticket for a new generation of psych heads into one of the most inspired and under rated back catalogues in the history of pop.
★★★★☆ (4 out of 5 stars)
This is another album where the layers, puzzles and sidetracks will reveal more of themselves as you live with it.
Further/Deeper lives up to its title. It cuts to the core of what makes the band great, and why they still do what they do better than anyone. And that's a comforting and reassuring thing indeed.
'Further/Deeper' has a resiliency to it you wouldn't expect out of a band approaching 40 years old.... Say what you like about who they are now but The Church haven't sounded this unified in years.
Posted to The Church Facebook page - Sept. 22, 2014
[David is The Church's accountant, and also a very long time fan.]
Here is my attempt at writing a little preview of the new church album Further/Deeper. Like all real church fans usually I'm hanging for that first listen - unfortunately for me this won't happen with this album - I've gotten Lucky and got this one early. So let's get to it track by track.
1) Vanishing Man - Whilst Steve sings at a high pitch this is still a dark and 'sinister bastard' of a song somehow sounds to me like shoegaze with a splash of Bowie. Great opener and very catchy chorus.
2) Delirious - Rocking church number with a big guitar riff - my first listen was when I accidentally phoned Peter in the studio and this was playing in the background. I don't think 'anyone thinks this is easy' but to this band it seems this way - many will argue what their favourite track is on this album, there are so many pearlers but trust me this will be one of the favourites.
3) Pride Before A Fall - By now we have all heard this great track - I always thought this sounded a little smashing pumpkins-ish. Steve summoning his inner Corgan but overall a great choice for the first single and a classic church song.
4) Toy Head - Starts of with 'were gonna take off your head' and moves into an epic monster of a song - one of several on this album - you know the ones they could close a set with and wig out live and blow the crowd of their seats - this is one of those.
5) Laurel Canyon - Classic church ballad with an ear worm of a chorus that stays in your brain for hours after listening - lovely song and probably make a great radio song.
6) Love Philtre - This one is a journey in itself - it has a very catchy chorus which I heard Tim concocted from one word from each line in Steve's verse, I can't tell that from listening but this song is just magic - and it's got this acoustic interruption - again possibly Ian's brain melt gone terribly right which then takes it into this beautiful choir chorus. One of my favourites on the album.
7) Globe Spinning - This is another of those epic monster tracks that I described earlier - you know the ones they could wig out live and blow the crowd of their seats! Tantalisingly huge - just hope the live version drags out more than the measly six minute album version!!
8) Old Coast Road - There is apparently an 'old coast road' we have all travelled down and this is one of those beautiful classic church ballads that would make a great single - less ear worm than Laurel Canyon chorus-wise but what a fabulous riff - this is a favourite.
9) Lighting White - Has the money been sorted - well I reckon this songs putting it in the bag - I'm guessing this will be another monster live. Lyrically I guess this is Steve just as I feared at his best. Wondering if the audience has cheered or if the customers bought it - guess we will find out soon but at least he's got a god whose name is perfection.
10) Let Us Go - Well I ain't really heard the church sound like this before and for some reason I keep thinking this is a missing link from The Damned's Phantasmagoria - would follow nicely after the shadow of love but I'm probably way of the mark and it follows Perfectly here as well.
11) Volkano - This is one of those tracks that's not your favourite at first but it grows on you. Lyrically it's a standout and one of my favourites but took me a while to get there - it's complex and spacey thankfully they didn't say hello to the Volkano.
12) Miami - Another epic monster that will be a live favourite actually starts of a bit hotel womb-ish for a second but that's where the similarity ends - fantastic long church classic to close proceedings.
Overall this masterpiece that this incarnation of the church have created will leave you delirious with joy - it's fantastic and arguably one of the best collection of tracks I've ever had the pleasure of feasting my ears to - the guys have delivered in spades an amazing piece of work for us to treasure and enjoy for years to come!
D