Nightjar
by Marty Willson-Piper
REVIEWS and COMMENTS
Church lets out with Marty Willson-Piper
What a treat! Singer/songwriter/founding member of Aussie atmosphere-masters The Church, Marty Willson-Piper, is doing a special solo-spotlight show—backed by the alluringly-named Mood Maidens—at the Great American Music Hall on Sunday, May 4th. As far as I remember, the last time he played here in the city was back in the summer of '06, with The Church, at the same venue. Ah, what a show that was—ever-genteel bandmate Steve Kilbey joked about spearheading an "Elizabethan Rock" movement, and Willson-Piper obliged by bringing delicate, graceful guitar-dexterity to Church slow-burners and ambience-anthems such as "Under The Milky Way", "Chromium", and "Metropolis". No word yet about whether Elizabethan Rock is still on the front burner for the band, but the charming, quick-quipping guitarist/big-hit-with-the-ladies does have a new album out—entitled Nightjar (Heyday Records). It's a gorgeous collection of warm-textured folk-rock pushed along by some of the most delicious six string jangles since, well, the last Church album, really.
Is an introduction to The Church necessary? Probably not, so how about a reminder then: ever since releasing their debut Of Skins and Heart (Arista/EMI) back in 1981, the band has released well over a dozen albums and EP's matching (frequently) melancholy neo-psychedelic atmospherics with mystical subject matter, and Willson-Piper has, along with lead singer Kilbey, been a constant in their two-decades-deep career. Much of their success should be attributed to his ability to float just the right color of aura to their formidable mood-making; it's tough to imagine the smoldering majesty of Church classics like 1985's "Myrrh", 1988's "Antenna", or 2003's "Sealine" without Marty's sublime textures. Then, of course, there's the perennial crowd-fave of "Spark"—the taut, sneering Mod stomper from 1988's Starfish (Arista) gave the band's usual backing-vocalist a truly inspired turn at the lead mic. Two particularly fascinating recent-additions to the band's catalogue—2004's El Momento Descuidado and 2007's El Momento Siguiente (both Liberation Music)—offer exquisite "unplugged" revisits to career-highlights, and here, free of feedback and pedal effects, one can gain a whole new appreciation for his intricate guitar-work. Perhaps they also had an effect on the recording of Nightjar, as this new solo jaunt seems to share a kinship with the lush folk ambience of both albums. Granted, the disc does indeed have its electric moments—it even occasionally rocks out in that slow purposeful grind associated with latter-day Church recordings—but it's easy to imagine Nightjar as a younger, rougher-around-the-edges sibling to the Momento twins.
Much praise must be given for Willson-Piper's vocals; his warm troubadour burr is perfectly suited for the rich canopy of violins, cellos, and woodwinds which frequently surround his engaging meditations and rousing folk-rock. It's also considerably different from that of his bandmate; whereas Kilbey's delivery tends to be well-versed in ethereal detachment, Willson-Piper feels distinctly more earthbound. Kilbey would hover mid-air while recalling his latest spiritual awakening, while Marty would pull up a chair and spin a yarn about his latest romp—therein lies the difference. This doesn't merely hold true in regards to vocal style; the same analogy could be said for lyrical content as well. Nightjar speaks in earnest tones and with emotional directness—take "I Must Have Fallen," for example. Amidst ringing acoustic guitars, fluid piano lines, and curling string-section tendrils, he returns to a simple but disarming admission, "I must have fallen in love with you." Accompanied by the sweet, pillow-soft harmonies of the Mood Maidens, these quiet moments of do-or-die are downright breathtaking. The similarly striking "Lullaby For The Lonely"—a gentle violin-filigreed lilt offering the wistful refrain "can't you feel yourself falling apart"—almost makes teary-eyed solitude sound like a lovely place to be, thanks to its ravishing orchestration.
Album opener "No One There" is the sort of slow-unfolding epic so closely identified with The Church, thanks to its rolling tom rhythm and intricate webs of electric guitars. Augmented by the occasional flare-up of horns—or are those synths imitating horns?—the song surges and swells with the same music-as-force-of-nature intensity often offered as opening statements on Church albums. "Feed Your Mind" and "High Down Below" are both strident folk-rock rambles which carefully balance bright-eyed optimism and been-around-the-block realism, and "A Game For Losers" is a flawless late-night drunken cobblestone-stumble set a-swaying by the romantic chug of Parisian-café accordion and a lone rooftop-serenading trumpet blowing away in the distance. "I'm a devil's apprentice/ doing a sentence/ with a pain that I can't even feel," he raves and slurs over the wobbled-gospel of a choir of boozy angels, and I'll be damned if I didn't catch a flash or two of early Leonard Cohen casting a leering eye through the haze of glorious inebriation.
[Originally Published 05/27/08 on InsideSTL.com]
Influential guitarist, singer, and songwriter Marty Willson-Piper has had a distinguished career, spanning over twenty years, as a member of the iconic Australian rock band The Church. In addition to his work with The Church, All About Eve, The Saints, and Noctorum, he has released several studio and live solo albums. His most recent album, Nightjar, has recently been released in the States through Heyday Records and on In Deep Recordings in Australia.
Recorded at the VIP Lounge in England, Nightjar was produced by longtime friend, collaborator and fellow Noctorum member Dare Mason. The album also features The Mood Maiden's Tiare Helberg on vocals. In the same vein as Broken Social Scener Feist's solo releases, Marty Willson-Piper has used his solo recordings to explore new musical territory outside his work with the Church. Through this process he has expanded his sound beyond the boundaries of any one musical genre. Nightjar is a continuation of this musical exploration. Like many of his previous solo albums, Nightjar weaves together Willson-Piper's melodic guitar rhythms, poetic lyrics, and harmonious vocals into a collection of aurally pleasing songs.
The album's opening track "No One there" opens with a building drum beat which leads to Willson-Piper's signature twelve string Takamine guitar and Rickenbacker six string sound. The song, like many of The Church's openers, builds to a peak with its swirling guitars, and is a perfect segway into the album. The opening track also sets the stage for the rest of Nightjar by displaying a fullness in sound as layered guitars provide a perfect backdrop to Willson-Piper's emotive vocals. Sonically, the opening track is just the beginning of the musical journey through the ten tracks on the album. Throughout the release, Willson-Piper's guitar work is interlaced with a myriad of other sounds including strings, piano and cleverly placed choruses. Tracks such as "More is Less" and "Lullaby for The Lonely" are rich songs in which the guitars are skillfully intertwined with strings, piano and brass. The track "A Game For Losers" has a folksy Parisian feel with accordion and trumpet added to the mix, while the studio version of the previously released live track "Song for Victor Jara" is comprised of a classic guitar riff that is layered with a bamboo whistle interlude mid song.
While known for his guitar work by many, on Nightjar, Marty Willson-Piper also displays his adept singing ability and songwriting skills. Throughout the album, Willson-Piper's words flow effortlessly to the music through his vocal inflections and wide vocal range. Whether it be with his early singles with the Church or his previous solo releases, Marty Willson-Piper's literary and poetic interests have always been transferred to his songwriting. On Nightjar, Marty Willson-Piper's writing style remains solidly intact while his singing is as strong as ever. In addition to this, Tiare Helberg's angelic vocals which are featured throughout Nightjar, mesh perfectly with Willson-Piper's. This is most noticeable on the standout tracks "Lullaby for The Lonely" and "I Must Have Fallen". "Lullaby for The Lonely", a fan favorite on the current tour and MySpace, is the perfect choice for a single in that it encapsulates many elements of the album into one song. On this track like many, Marty Willson-Piper hits the emotional chord in all of us as the song ends with Willson-Piper singing "Can't you feel yourself falling apart" over the closing chorus.
"Standing there unaware/Your neck bare yellow hair/I already adore you" sings Willson-Piper on the track "I Must Have Fallen", a touching ballad reminiscent of previous fan favorite "Forever" from Marty Willson-Piper's 1989 release Rhyme. With the song's meticulously arranged violins, Helberg's serene backing vocals, and Willson-Piper's charismatic singing, Willson-Piper and Helberg team up to sing one of the most beautiful songs released in recent memory.
Lyrically, Nightjar like his previous releases covers everything from love and loss to politics and self-realization. "I'd rather die then kneel in the sand" sings Willson-Piper on "Song for Victor Jara", his tribute to the Chilean folk singer and activist. The track "Feed Your Mind" is perhaps the one of the catchiest songs of the year and tells an amusing tale of a Parisian bar dweller who ends up in the hospital with the lights off as Willson-Piper sings "And nobody remembers who is missing from the corner/But if I were you I'd listen when the light comes on to warn you/You better have a life/You gotta feed your mind."
Musically, it is difficult and essentially inaccurate to pigeonhole the songs on Nightjar into one genre. Tracks such as the aforementioned "Feed Your Mind" and "Lullaby for The Lonely" are pure pop gems, while later tracks such as "The Love You Never Had", "Song for Victor Jara", and "More is Less", favor the folk side of Willson-Piper's repertoire. Indie rock fans will be attracted by the Church flavored tracks "No One There" and "High Down".
On Nightjar, Marty Willson-Piper, unlike many musicians today, does not concern himself with stereotypical musical genres or predetermined notions of the mainstream's wants. Instead, much like a painter starts with a blank canvas and adds textures and various media, Willson-Piper weaves together layers of sounds, thoughtful lyrics and harmonious vocals to put together a wonderful collection of songs and in the process creates one of the best releases so far this year. After over twenty years of making seminal music and creating a wide discography of hits, on Nightjar, Marty Willson-Piper still manages to put out a fresh new album that will satisfy longtime fans and hopefully gains some new converts as well.
Marty Willson-Piper and the Mood Maidens are currently touring the US in support of Nightjar. Nightjar is available through Heyday Records.
Over a long and storied career with Australia's legendary The Church, Willson-Piper has played the perfect foil to Steve Kilbey's understated persona: killer haircut, thrashing at Rickenbackers, throwing rock star shapes. Lesser known, though, are his excellent solo albums. Starting with a pair of highly regarded, late '80s home-recorded efforts and continuing through the present, he has featured his highly melodic songwriting (he was born in Liverpool, after all), trademark 12-string guitars, and austere production style. With reviews hailing Nightjar as his finest, we find our hero in his mid 50s, more hirsute but still bright-eyed and clear of voice and vision. There are simply lovely songs, mostly acoustic, and accompanied by sympathetic string arrangements and sweet vocal harmonies.
Though best known as one of the axe-slingers for the great Australian band The Church, tenures with The Saints and All About Eve and his ongoing side project Noctorum, Marty Willson-Piper has quietly but firmly established an enchanting solo career. Produced by his Noctorum bandmate Dare Mason, Nightjar is Willson-Piper's sixth album, and it's a low-key gem. Taking the role of romantic-but-philosophical troubadour, Willson-Piper carefully weaves acoustic and electric guitars into a gauzy web of acid-washed folk rock, singing in a woodgrain croon. "Songs For Victor Jara" and "I Must Have Fallen" quietly flow like water in a tranquil lake, while "Feed Your Mind" and "A Game For Losers" add some country pep without waking the neighbors. "High Down Below" and "The Sniper" build up heads of rock steam, but the auteur mostly keeps the tracks on the gentle side, with little of his primary band's penchant for vibrant drama. Aided by subtle rhythm, piano and, on the wistful ballad "The Love You Never Had," pedal steel, Willson-Piper casts a gently graceful spell on Nightjar that lingers like the smell of a scented candle.
Australia's The Church, with its 1988 cosmic masterpiece Starfish and Top 40 single "Under the Milky Way," stands among the best alt-rock bands. The rich interplay between guitarists Peter Koppes (the "technical" one) and Marty Willson-Piper (the band's emotional core) served The Church well over several unappreciated albums (Gold Afternoon Fix, Priest=Aura). But what of singer/bassist Steve Kilbey, whose existential, sci-fi-tinged lyrics offered so much pleasure? At 54, does he still wield magic?
Painkiller suggests he does. For those who love The Church's majestic pop, Kilbey's first solo effort in five years satisfies. "Wolfe," all symphonic edges, reminds us just how textured Kilbey's band could be. Whether you enjoy it with midnight headphones or during rush hour, Painkiller tastes sweeter than a strawberry-flavored codeine trip.
Willson-Piper, meanwhile, offers his own solo effort following a nine-year studio hiatus. Cracking the lid on Nightjar reveals timeless, guitar-centered popcraft, always evident on Church albums. Ballads like "No One There" shimmer in the brightness of 12-string guitars, even while Willson-Piper draws upon grittier folk and country influences on tracks like "A Game for Losers."
With a new Church CD due later this year, Kilbey and Willson-Piper offer excellent appetizers that shouldn't be passed over for the main course.