margot died yesterday

i guess it had to happen

fucking alcohol claims another victim

destroyed her god given talent

fucked her liver up nice and good

fucked her voice and fucked her mind

yeah and me

always too busy to talk

she’d ring me up

not now margot im so fucking bizzy havin’ an argument

not now margot i’m so fucking preoccupied with my own bullshit

margot came down to our last rehearsal with the orch

a skinny figure down the back dancing n singing along

swaying in her blitzed out way

all pale n gaunt like a weird woman

like someone from the middle ages she looked that last n final day

yeah we’ll catch up soon i said as i rushed off to the next important thing….

we were organising a gig for her may 22

she was gonna have a superstar band n everything

but i was always too busy to talk tho i had pledged my time to the project

anyway life finished her off

they say she may have died relatively peacefully relatively quickly

watch that word “relatively” tho

when your liver is packing it in after years of alcohol abuse

relatively is a relative term

i hope she didnt feel no fucken pain

i hope she drifted out of this sad n rotten world on a soft breeze

this vale of tears

this veil of tears

she called herself my sister

i wasnt much of a brother tho

bizzy busy bizzy i was always so busy bizzy

yeah i’ll catch up with ya soon little sister i’d say

now shes gone

did she know how much i couldnt bear to see what she’d done to herself

with the fuckin’ booze with the fuckin’ cigs…?

mind you she was elegantly wasted

a real damsel in distress

she was gutsy she was feisty she was a real fighter

but the filthy rotten poisonous grog killed her slow

she went down in agony over  decades

as it stripped her first

everytime you say you want to die i cant remember what you said

of one thing n another

i hate alcohol

i hate what it does

this woman shoulda been singing for another 3 decades

sad day

sad song

sad man

sad tragic inevitable useless pointless waste of a rare and fabulous gift

margot i’m sorry i was so fucking hectically impossibly busy

too busy to chat to ya for ten minutes

i hope heaven treats ya better than earth

if you come back again bring that lovely voice to this earth

margot you were one hell of a singer n writer

why did it have to fucking well end like this?

rode rage

my mind is a seething lava lover

i’m on the boil

dreaming up fresh mischief

cruel coz i cant abide cruelty

everyone is in my sights bang bang bang

a world wore one ace

i strode this old stage before they assembled you from new atoms

i was here before you and without you

in this asphalt eden in this hour of scraper tower

these mean average streets

i was snorting hook and shooting up a river

while your universe still in its infancy

drifted around your mother stars inchoately free

(you had not yet met me )

and delighting comets shot thru your sky

and terrible devils delved in your earth

i heard you howl once from these one score years

i put it down to morpheus

my misguiding light the white lady

all those promises had me jagged

when all she really wanted was to get me by the balls

nevertheless i seem to digress

i cant do 18th century quite like byron shelley

remember him i think you had him once

i’m sure he writhed in loves embrace with some ridiculous face

ah men and the women who love ’em

if i was women i wouldnt love me

i’d love some rich apollo from galilee

i’d love some gorgeous fucking hunk oooh what a chunk…!

i wouldnt love me or most of them jerks that work the bars

hearing that same old slop

some beer swilling clown shouting at a screen

some ignorant oik some philistine prick

some tattooed musclebound macho dick

crinkly greasy little blond curls

his nostrils hideously spread from sniffin’ the air for gurls

his narrow parochial middling world

yeah chug it darlin’ chug your ale

you brain of  snail

you door nail

meanwhile somewhere else

(that counts)

life is haywire for your reception

everything is wrong

a bad forgery of reality you thought

stay untuned it can always get worse

i lash out against violence

i only want peace i moan as i trample on a treaty

yeah war will break out like some teenage kids forehead

love sister its just a shot away

my anchor is embedded in the sea

the wind like those vicious idiots that extrude into my life

like expecting sense from a poet

like a silverfish in a gold glut

i am the master of all these words i juggle

i am sent here on some unknown mission

i am obsessive furtive secretive almost obsolete

i am seldom sweet i am rarely discreet i have cold feet

i am easily beat

my events are influenced by the stupid stars

and some script that shoulda been ripped up n chucked on a tip

fuck that ship

the full moon has calmed my outrageous rage

and fuck this crush as i try to jimmy open this page

oh i wanna read what they all write to you

yes i do

i wanna hear their abysmal excuse for a bribe

their loveletters are wetter and no better than any other g’rillas

all foam and filler not like the killers

the killers loose in the ancient gallery again

walks on down the haul

until he comes to the room of his baby

baby?

yes killer?

i want to………

http://anotherlostshark.com/2011/04/15/still-psyched/

Still Psyched

http://www.voxmagazine.com.au/2011/04/the-church-opera-house-review/

The Church: A Psychedelic Symphony

The Church Sydney Opera House 10th April 2011 by Paul Kelly

First and foremost: they deserve this. After 30 years of developing such a rich, lush catalogue of music, from 1981’s Of Skins and Heart to 2010’s Deadmans Hand EP, the church deserve to be onstage at the magnificent Sydney Opera House Concert Hall. They also deserve the backing of the equally magnificent 67-piece George Ellis Orchestra, many of whom weren’t born until well into the band’s career. And they also deserve to have this concert filmed for an upcoming DVD and (we are promised) a TV special in the not too distant future. And maybe even a live album, if drummer Tim Powles has his way.

So, after settling into our seats shortly after 7.30pm, and perusing the glossy souvenir program given to each audience member, we see George Negus come onstage to reprise his 2010 ARIA role and introduce the church. A short orchestral version of Metropolis follows, then the band arrives to rapturous applause, Steve Kilbey bringing up the rear. The band launches into 2003’s Sealine, which quickly sets the pace and tone of the entire show: lush with strings and woodwind instruments swirling through each song, easily delivering the sonic enhancements that this show promised. The band is tight, yet spaced out across the stage. They have played these songs before. Supported by an extra double bass, keyboards and “The Churchettes”, two backup singers from the band’s entourage, the band are able to concentrate on their own roles and sound even better than they do on record. Lost follows, then Almost With you, Anchorage and Pangaea from their 2009 album Untitled #23 (which yields five songs tonight, dispelling any suggestions of pure nostalgia in the setlist). Marty Wilson-Piper and Tim then move to the timpanis at the rear of the stage for a totally revamped version of The Unguarded Moment, breathing some welcome freshness into this radio staple. Then comes the first of four tracks from 1985’s Heyday offered tonight: Myrrh, a sonic masterpiece and instant high point of this concert. Peter Koppes then delivers Never Before from 2005’s Uninvited, Like the Clouds, which builds into another orchestral/rockin’ wonder. Grind closes the first half of the show, further demonstrating the interplay between band and orchestra. They have been working on this project for four long years and it certainly showed.

After a 20 minute intermission – what else would you expect from a show at the Opera House – the bells were again rung and the audience quickly took their seats. The orchestra came back out, wearing brightly coloured clothes (they were in black for the first half), and gave us the instrumental Happy Hunting Ground in its entirety. This was very close to the original 1985 version, but somehow sounded special tonight. Must have been the surroundings, but it seemed just ‘right’. Then came a surprising cover of Mr Guy Fawkes, from 1969’s Dave Miller Set, a jingly-jangly piece of lost Aussie pop, perfectly chosen. Hopefully this song will find release soon. Then came Ripple, Reptile, Two Places at Once (a personal favourite and another high point) and The Disillusionist, a creepy number from 1992’s Priest = Aura that showcased Steve Kibey’s manic showmanship tonight. Marty took the controls for Spark, hugely supported by the audience, then came On Angel Street followed by Under the Milky Way – my spouse’s favourite Church song. Space Saviour closed the second set, but the audience were then treated to two encores: Already Yesterday, Invisible, Operetta and finally Tantalized, interspersed with the many thank-yous that such a production involved.

This was a very special show. The orchestral arrangements suited the songs wonderfully. The lighting was delightful for the Concert Hall, the audience were very appreciative, the band were totally with it. And over the past 30 years, I have seen moments when they haven’t been. They deserved this show and I’m glad to have witnessed it.

Paul Kelly.

http://www.facebook.com/note.php?note_id=10150153731136156

Traveling over to Sydney to see this once in a lifetime show was filled with many ‘first-of-moments’. It’s the first time I’ve been to Sydney as an adult, first time I’d ever been to the Sydney Opera House, first time I’ve been involved with the design of tour t-shirts for the *church*, first time I got to meet the ever-lovely Sue Campbell and a lot of other *church* fans from all over, first time I’ve ever seen the *church *play a gig outside of distant Perth, first time that the *church* have played with a full orchestra (not including the ARIA’s), first time I’ve been interviewed for a documentary and first time I’ve ever been to any concert that was filmed.

 

Leaving all the obvious puns aside, if I had to sum up the show in one word, it would be “overwhelming” BUT overwhelming in the best possible way imaginable. My senses are still reeling four days after the event. There was simply so much to take in all at once. I was sitting four rows back from the front in between Steve and Marty (yes, not a bad place to be sitting) so I could see almost everything but my ears were not capable of processing all that they heard at once. There was a lot to distinguish – a LOT happening on stage, my head turning from side-to-side to switch from Peter to Marty in order to catch as much guitar interplay as possible – would trade secrets be revealed on stage by these guitar-slingers? Yes, I spied a couple of techniques I’d previously missed. Having an e-bow roadie comes in handy (MWP) when switching from pick to e-bow as these devices are notoriously tricky to /instantly /get the string(s) vibrating (Myrrh).

 

I wished that the *church* could have played 2 nights so that I could have seen it a second time, perhaps from a different vantage point so as to take in more of what was happening on stage in a widescreen  perspective. At times, I thought the guitars were too low in the mix, and other times I could not hear the orchestra as clear as I wanted to over the band. The vocals to me were just right, though the back-up singers (the churchettes – Tiare & Shelley) could’ve been a little louder to my ear. I look forward to the DVD/CD as it’ll give me the opportunity to relive the experience again and again, being able to pick up on the nuances I missed on the night.

 

The whole time during the performance, I was sitting there with a permanent grin on my face, in deep awe or totally captivated by what was going on. Yeah, it was that good – other fans have mentioned tears welling up, a little lump in the back of the throat, goose bumps, shivers and so on – all these feelings at different times… After the show, Marty asked me what I thought and I replied “the awesome bits were awesome” MWP repeated those words back at me in his smooth accent “the awesome bits were awesome”, and then sniggered. Pretty lame response from me for such a huge undertaking and brilliant performance by the band and all involved, I know. I think I may have just been a little lost for words or tongue-tied, well what I meant to say is all of the above and below… Marty I hope you’re reading?

 

*Before the show.*

I arrived a little early to make sure I had time to meet some other fans at the Opera Bar before the show. I also had a look at what was on offer from the merch’ stand. It was the usual fare plus the addition of two new shirts made especially for this show. This is definitely the highest attended *church* concert I’ve ever been to and the smartest dressed audience ever to grace a *church* gig. There was close to about 1800 people hovering around the foyer/bar area. I was taken aback by the sheer number of people and realised trying to find friends inside the venue will be trickier than first anticipated. Meet ups would have to wait until intermission and after the show.

 

/Now – the show with commentary on each song in performance order./

 

*The set list:*

*Metropolis*

(orchestra only playing and the band walked on stage towards the end of the song just in time for Steve to grab the mic and croon “there’ll never be another quite like you” very sweet, it set the tone nicely).

*Sealine*

(this was a surprise full-band opener, I had hoped for Aura off P+A as the opener as I thought the orchestra playing the intro would be an other-worldly experience, alas Aura would not make the set-list).

*Lost*

(My first highlight. When I first bought Starfish upon release, Lost was one of my least favourite tracks from the album. When Starfish was remastered and re-released a few years back now, it became one of my favourite songs on the entire album – the accompaniment of orchestra on this track was lush, full and beautiful. The domp domp dooooom de domp domp dooooom double bass / bass part was melancholy to die for).

*Almost With You*

(Simply stunning).

*Anchorage*

(Highlight 2. An early all-hands-on-deck stellar song with Wes Gregorace on bass, back-up singers doing their thing on the chorus – we were treated to a show stopper early during proceedings).

*Pangaea*

(Never been a fan of this song, but it flowed along as deliciously).

*Unguarded Moment*

(Highlight 3. I really dig this slowed down soft version, loved it the first time I heard it on El Momento Descuidado too and tonight it worked like a charmer. Steve’s deep soft vocals accompanied by acoustic guitars and orchestra were a crowd pleaser).

*Myrrh*

(Highlight 4. To use an acronym here. OMG. This was pure church, guitar interplay, tight drums, clever orchestral arrangements adding to the wall of sound – bliss).

*Never Before*

(Highlight 5. This is my favourite PK *church *song so hearing it at this show with double bass et all was a treat – great stuff PK, great stuff indeed).

*Grind*

acoustic to electric with piano interlude, orchestra leave stage after piano part.

(Highlight 6. This song has always been a crowd pleaser so it’s inclusion at the end of the first set was a no-brainer. A clever closer, going from acoustic to electric, giving the orchestra their stage exit right. Wow – f*cking wow).

 

(intermission)

*Happy Hunting Ground*

(orchestra only).

(Highlight 7. I was thrilled when the orchestra started playing this song. I knew straight away by the percussion that it was HHG. This was beautiful, my humble words can’t describe how lovely this was to hear being played by a full orchestra).

*Mr Guy Fawkes*

(The Dave Millar Set – cover).

(I was told the *church* were playing a cover song at this show the night before. A cover they’d never played before so this came as a surprise and I’m sad to report that this was the first time I’d heard this gem – my music education continues through the *church* band).

*Ripple*

(Highlight 8. I was SO thrilled when Steve introduced this song. I absolutely love hearing this live and the orchestra on the chorus was stunning – this one will get many repeat plays once I receive the DVD).

*Reptile*

(this was blistering awesome – a live favourite and one of their most radio friendly songs. I remember first hearing this on 96fm in Perth before it’s single release many moons ago).

*Two Places at Once*

(Two Basses at Once)

(This for me was the standout song of the night. It was performed absolutely flawlessly. The vocal interplay and harmonies were spot on, shivers went down my spine. MWP’s voice commands attention, and when he sings, you’re drawn in, incapable of hearing anything else other than his voice. Steve introduced the song and then said it should perhaps be called Two Basses at Once, pointing to Johnny Zwartz on the double bass behind. I’ll mention at this point, that the double bass added a depth to the entire performance that was beyond deep and intense, hearing the next song’s bass line performed on double bass would introduce a new level of pitch and menace not before heard on The Disillusionist. I’ll also add here while on the subject of double bass, that I think Johnny spent a lot of time during the night’s performance worrying that SK may step back into his playing while SK’s theatrical performance was occurring).

*The Disillusionist*

(Highlight 9. I was surprised they put this one on the set list. It was a welcome surprise for me but I got the impression the casual fan was a bit put out by the brutality of the performance. As mentioned above, the double bass gave the song a grounded depth unheard of before. The change of key in the song was most intense – or as I put to MWP later, this awesome part was awesome to the ear of this intent listener. I look forward to hearing this on the DVD. It’ll certainly be interesting to see the reaction of the audience as captured on the crane camera).

*Spark*

(MWP stole the light and held it in check for the duration of this number. The tightness of the entire performance was gob-smackingly-tight. The song break that goes from full band/orchestra to MWP’s single guitar chugging through the rhythm chords impressed, once again, the hard core fans and new believers alike – reminding all of the super talent that is MWP, great stuff, great stuff indeed).

*On Angel Street*

(Highlight 10. What can be said of this slow gem that hasn’t already been said when performed live? I was pleased with this song’s inclusion. SK transported us all to another place with his crooning beckoning vocal delivery. For a moment we weren’t strangers at all – we all had front row seats to a break-up song to break all hearts).

*Under the Milky Way*

(The most popular Australian song of the last 3 million years according to SK. We all knew it was coming, it was only a matter of time. It’s been a live staple for decades sans a few years they dropped it from their set list in typical *church* fashion. A crowd pleaser as always *big smiles everywhere*).

*Space Saviour*

(Highlight 11. This song was written to be played live. It rocks, it rolls, it’s the *church* ADD psychedelic symphony and you have magic – standing ovation 1).

 

/Encore/

*Already Yesterday*

(acoustic)

(Highlight 12. this was so charming – loved it – orchestra compliments beautifully)

*Invisible*

(medley)

(Highlight 13. This was another standout song for me. I’ve always loved this song from the very first time I heard it on AENT. Flawless performance and a great insight into the lyrical mind of SK. I have to mention how impressed I was with TP’s drumming in particular towards the end on this song. TP was mixing it up with various percussive changes after the medley section, playing fast high-hat/cymbal variations that worked so amazing well with the rest of the rhythm section creating the sensation of being taken away by train as referenced in the first verse of the song – skillful sticks indeed. I’ll add here how solid a performer TP was throughout the night’s – he’s the backbone of the band, he can belt the skins and hold back-up vocals simultaneously without missing a beat. He seems to have 3 – 4 items in his hands at any one time. TP – the multi-tasking drummer AND has anyone else noticed that one of TP’s sons is a James Franco look-a-like? – standing ovation 2 for the performance of Invisible and not how good looking TP’s son is)

——-

*Operetta*

(Operetta was performed with gusto, lush soundscapes and all the ingredients that make it classic *church*– it’s just not one of my favourite *church* songs. I would have preferred to have heard Hotel

Womb here instead).

*Tantalized*

(I knew this song would close proceedings – its an obvious show stopper and what an awesome performance we all experienced on the night. The jam nature of this song was incorporated quite tightly with the orchestra, MWP giving Mr Ellis the nod when the timing was right for the change – if you’ve heard this live and which *church *fan hasn’t, you know exactly which part of the song I’m talking about – standing ovation 3. For a few minutes there, I thought the band would come back on the stage as the orchestra stayed in their seats, then slowly by the handful, the orchestra rose and left the stage – the Psychedelic Symphony had drawn to a close)

 

*Sidenotes:*

There’s many anecdotes I can add here but will refrain as I think a lot of you will enjoy the experience of the live DVD and sharing too much may spoil the viewing experience. After all, we like a surprise now and then, don’t we?

 

Steve was jovial and had some splendid jokes on hand.Peter was restrained and played like the seasoned pro he is.

Marty was Marty who never ceases to impress.

Tim was the backbone and main instigator of the concert so well done TP you managed to pull it off marvelously.

Tiare & Shelley were the churchettes bringing a feminine vocal touch that complimented the performance.

Craig Wilson is more than a utility player, he’s the 5th member of the band.

George Ellis, the Greek god of orchestra conductors (according to SK), the glue that held it all together.

The guest musicians/soloists – you were all simply amazing.

The orchestra – you were all amazing and played a big part in one of the most significant concerts of the *church’s* 30+ year career.

Thank you one and all!

 

*After word:*

For me there was a massive build-up heading towards this one-off show, my expectations were very high and at end of the of the night and after coming back to Perth from Sydney and letting the events of last weekend sink in, I now realise that the Psychedelic Symphony FAR exceeded my already very high expectations. I was glad to have made the trek over 🙂

 

Cheers,

 

Damian.

 

http://www.fasterlouder.com.au/reviews/events/28166/The-Church-and-the-George-Ellis-Orchestra-Sydney-Opera-House-1042011

“With recent tours featuring acoustic shows, retrospectives and entire sets spent performing three (yes, three) albums in full each night, it’s not so surprising to see the church celebrate their three-decade mark with a conceptual show. And while rock bands collaborating with orchestras are neither new nor always a success, it was a bold enough move for their anniversary show to cause plenty of anticipation and excitement.

After an unexpected and sorta intentionally, sorta unintentionally funny opening from anchorman/journalist George Negus, the band emerge in front of the 67-strong George Ellis Orchestra. Somewhat curiously for such a significant show, they kick off with a couple of lesser-known numbers ( Sealine and Lost ) before a swirling, orchestra-heavy rendition of early hit The Unguarded Moment – a song that the band almost always transform, tonight being no exception.

Curiously for an anniversary show, there was plenty of lesser-known material amongst the hits – recent songs Pangaea and Operetta were well-aided by their orchestral backing, while one of the evening’s highlights came from an unlikely cover of The Dave Miller Set’s early Australian psych classic Mr Guy Fawkes. That song in particular was an incredible moment, with a spirited performance from the band perfectly augmented by Ellis’ orchestra.

That was one of the moments where it fell into place perfectly, amongst a generally great performance. It didn’t always completely click, and the group were certainly playing it safe with over seventy musicians having to keep up with them (the group was also augmented by backing singers and additional musicians), something that took away from the visceral power of their usual live show. But what it lacked in raw power it made up for in beauty, and seeing songs like Under The Milky Way, Reptile and Tantalized with Ellis’ tasteful arrangements was a great experience. And in that sense it was certainly success, a bold move that paid off as another great, unique moment in a tremendous thirty-year career. ” – by esquared

the red room

april showers while i wait inside

the water is so warm

i see fish i see stars i see tiny glowing points

drowned and drunk

i search through stones and weeds and thorns

my memory is forever but my fuse is short

i am angry with everybody whoever lived my life

my anger lives in my head like an opportunistic virus

it comes out of my spine and travels up the past

my anger is red and hot and exhausting

my anger burns like icing in a dead rivers mouth

it accuses me of neglect and regret and petty cash

it demands more time and space so out goes mercy

it needs to feed so out goes my last shred of decency

my anger puts on a suit and goes to a bar

it picks up drunken bints and has its stupid way

it drinks the wine made from grapes of wrath

it lashes out at the rain and the pain and the mainline

it fixes itself deep with pins and needless

my anger drips vanity # 7

it silences lambs

out on the kings highway baby where you lied to me

i feel you going home with low-life

i feel you in broad daylight on your knees

i feel you descending down down down

anger and i come looking for you

we arrive too late but anger has an idea

it sets fire to my writhing ego that wears its freudian slip

an explosion of days

a plethora of ugly sins

sheer murder

deceitful theft

necessary torture

we are always at war

everything is permissable

i shoot into the darkness of the enemy

i hear a faint scream and i grin in your cockpit

my anger flies beside me

we bomb london we bomb berlin we bomb the open sea

only blood assuages my fuselage

i crash in a field hopelessly wrecked

i have nothing to eat so i swallow my pride

anger is rising up into nightsky on some thermal

everything is wrong in this century of moths

one day i will find out the truth

and anger will again fly to my side

and it will kill me

this time

for sure

subroutine

the four winds

the seven seas

the three norns who weave our one destiny

the two heads of dilemma

the 31 days of may

i follow my life down this one way dead end street

i see pretty sights

all those things that money can buy

but my pockets are emptier than my head

and my head is a head ahead of itself

my neck cant hold it up

i rolled it through the aching night

and the music was lovely

it was something i never wrote in this universe

something impure that had been drained of all sourness

something soft and warm and all encompassing

the evening itself surrounds me it holds me here

like gravity the darkness pinned to the floor

i am in free fall

at least its cheap

the motion of headlong tumble is mind nausea

i vomit up words on a forlorn shore

the orchestra all floating in the icy northern waters

fiddle splinters all bobbing on that silent sea

the first man to go down swallowed by a greenish night

the light slipped in the sky

my oh my

and then as the engine begins to die

we get a retry

http://www.tonedeaf.com.au/reviews/gigs/68695/the-church-7.htm

“As popular as they may be at the moment and so dear to the hearts of music fans in Australia, it was none the less an audacious move for The Church to celebrate their 30^th anniversary as a band with a one off performance with a symphony orchestra at the country’s best known music venue, entitled unsurprisingly, A Psychedelic Symphony. Taking the safe path has never been the band’s shtick, however, so it was little surprise that the 2,000+ capacity gig sold out quickly, with fans flying in from far flung parts of the world to make it. But could they pull it off? It’s one thing to go from subtle reworkings of your songs to the potential bombast of a 67 piece orchestra backing you up. However, despite the sense of risk inevitable with any ambitious and left of centre rock band performance, front man Steve Kilbey, guitarists Peter Koppes and Marty Willson-Piper and drummer Tim Powles – joined by a stellar cast of accompanists in addition to the orchestra – pulled it off with aplomb.

As the cameras begin rolling for the live DVD and TV special the evening’s performance will become; appropriately, the band are introduced by TV news identity George Negus, who fulfilled a similar role in inducting the church in to the ARIA Hall of Fame last year. The band takes the stage as the orchestra’s overture of ‘Metropolis’ reaches a crescendo. ‘Lost’ off Starfish is purely guitar driven and the orchestra seems like a third wheel, before a few tears are shed in the audience during ‘Almost With You’ and the orchestra suddenly fits cohesively in the mix, a subtle and uplifting embellishment but never overbearing. The performance treats fans to a number of lesser played numbers, with ‘Anchorage’ an early highlight. ‘The Unguarded Moment’ takes after the live version performed on recent tours and is given the adagio treatment, the delicacy of the orchestral backing taking it in to the realm of a film score.

Led by conductor and arranger George Ellis, the orchestra remains entwined with the band on ‘Myrrh’, giving the space rock guitars on the Heyday version a heightened sense of ethereality, while ‘Grind’ is elegiac, the orchestra making their way off stage during the song and as the orchestral backing dissolves, the band explode in to a full rock tilt for the remainder of it.

An interval proves that no matter the elegant and iconic surroundings, there’s always a scramble for the bar, but as the audience re-enters for the second act they are greeted by an orchestra devoid of the previous all black ensembles – rather they are resplendent in outfits ranging from gypsy to pirate to circus clown – a psychedelic symphony indeed. As the backing projections begin, the band can be seen watching them from the wings like inquisitive schoolboys as the overture of ‘Happy Hunting Ground’ reaches its apex. A cover of The Dave Miller Set’s 1960s psychedelic classic ‘Mr. Guy Fawkes’ is welcome, if not unexpected; Kilbey having name checked them at the ARIA Hall of Fame Ceremony. ‘Ripple’s continues the psychedelic swirl engulfing the auditorium and the brass section adds to a particularly effervescent crescendo.

‘Reptile’ is a given a killer rendition, the lick almost written in anticipation of melding it with an orchestra one day. A live revelation is Willson-Piper and Kilbey trading vocals on ‘Two Places At Once’, with Willson-Piper on 12 string and Koppes on keys, again the subtlety of the orchestral arrangements coming to the fore. ‘Spark’ with Willson-Piper on vocals trades reverb and delay for the 67 piece guitar pedal tonight known as the orchestra providing effects, while Kilbey hams it up for the cameras filming for a mournful ‘On Angel Street’. ‘Under The Milky Way; is introduced as ‘the most popular Australian song of the last three million years’, whileUntitled #23’s ‘Space Saviour’ brings the set to a close and The Church are effortlessly given the venue’s highest accolade whether it be for classical or rock music – a standing ovation.

An encore of ‘Already Yesterday’ is followed by ‘Invisible’, which briefly segues in to the Velvet Underground’s ‘Heroin’, while in the final encore promoter Joe Segretto is thanked by Powles, and Kilbey’s tongue is firmly planted in cheek when he thanks ‘God for giving us so much fucking talent’. It’d be ‘un-Australian’ to allow that comment to pass, but many in the audience would have a sneaking suspicion that they agree with the sentiments entirely.  If final proof of the band’s worth is necessary, an epic finale of ‘Tantalized’ has the crowd in awe, and as the band receive their third standing ovation of the evening, it’s clear that 30 years on they’re still at the peak of their abilities and with whispers of taking the show overseas to various major cities, the world stage still awaits them.”

Jim Murray
Photo by Sue Campbell

http://www.couriermail.com.au/entertainment/music/still-popular-after-30-years-the-distinctive-music-of-the-church-will-be-heard-at-the-sydney-opera-house-on-sunday/story-e6freqgx-1226035125571

STILL POPULAR AFTER 30 YEARS, THE DISTINCTIVE MUSIC OF THE CHURCH WILL BE HEARD AT THE SYDNEY OPERA HOUSE ON SUNDAY – by Noel Mengel April 07, 2011

“That’s the hardest thing to get,” says Steve Kilbey, the band’s singer and bass player.

“There are a zillion guys out there playing guitar, but only 100 might have that original take. And luckily we stumbled on it. I had been in bands before, writing the songs and singing, and that didn’t sound original at all.

“Suddenly, The Church came along and we sounded like The Church.”

Which is why, 30 years on, people are still listening . . . to their concert this Sunday at the Sydney Opera House, where they are playing with an orchestra for a DVD recording, or to their excellent 2009 album Untitled #23. Or to the reissues of the band’s ’80s albums. The latest of these is Starfish, the 1988 album that was biggest for them overseas and contained the classicUnder the Milky Way. It was only by a stroke of fate that the song even made the album.

“The producers didn’t even think the band should waste their time rehearsing it,” Kilbey says. Instead, he went to a studio up the hall and recorded it.

“There was a guy there with an instrument called the synclavier. We recorded the song there and it had artificial drums, recorded to a sequencer and a click track. Because no one wanted to spend the time recording it, it came out sounding the way it did and it was a big hit.”

Kilbey is a big believer in the random element and instinct.

“Yes, we worked with American producers on Starfish and it kind of worked. But we tried it again with (next album) Gold Afternoon Fix and it didn’t work. A lot of the best things I’ve ever done have been me trying to be like something else but not having the chops, to use a muso word, to pull that off and out of that failure to, say, write an Aerosmith song, I’ve written something else. There are a lot of failures that turn into successes.”

Church fans are lapping up the reissues, which feature detailed liner notes from guitarist Marty Willson-Piper.

One of the insightful comments from him: “A band has to be able to not listen to what people say.”

Kilbey concurs: “Critics lavish praise on stuff that’s rubbish or destroy something that’s valid; everyone’s in your ear telling you how great or woeful you are. That’s been one of The Church’s greatest virtues and one of our failings. We never listen to anybody and plough on regardless.”

HEAR Starfish (EMI) out now.

READ Find the full Steve Kilbey interview on The Courier-Mail iPad.