(blog commissioned by KN)
boy in 1982 i was somebody else
and i was making my third album
i was a confused little pouting ninny
our 2nd album had done pretty good
but an EP called sing-songs had kinda bombed
so here we are
late 1982 after a tour taking in sweden where i met karin jansson
in australia i was dating that glamorous newsreader
yeah you know who i mean
the heroin years still 8 years ahead of me
angular blah blah blah
living in terrace house with russell in rozelle
lots of people sitting around taking drugs
scruffy young art college types
bonging on and smoking cigs
white wine and negative photos and clothes patterns and demo tapes
open fire me and russell both slightly pyro playing around with it
the phone rings with girls asking for russell
our voices are similar
sometimes they think i am him and its embarrassing
when i say no actually thats my brother...
i got my studio in the front room
i gotta 4 track tape recorder
and im knocking out tunes by the dozen
i go in there and i fire up the equipment
i gotta tr808 drum machine
which is responsible for a lot of the drum patterns on seance
unfortunately
demo-itis had gripped the recording of seance by the balls
the demo versions were too closely adhered to and it was my fault
the songs never got to really blossom and flow like on blurred crusade
and again on heyday
they remain kinda rigid
lyrically i seem to be playing the part of some Byron-esque melancholia addict
reaching through a medium to find my dead fiancee or whatever the fuck its supposed to be
the agony of separation
the romance of death
the triumph of love
puh-lease! spare me…
anyway back in 1982/3 this is where my head was at
total demos
every song sounds just like a well recorded demo
i have 2 great guitarists and a great drummer
but they ended up mostly playing the stuff from the demos
i dunno if i intended it to be this way
but i can see now what a bad idea it actually was
the songs never breathe
locked into these formats i have devised
every instrument plays its counterpoint pattern
everything is made up of little patterns
the drums the bass the guitars the tinkly keyboard bells things
listen to one day made up of interlocking riffs
only at the end of the guitar solo does any freedom happen
the whole thing was totally compounded
when EMI in their wisdom insisted on hot shot wunderkind Nick Launay mixing it
Launay had done some great work with midnight oil and rejuvenated their sound
but his early eighties box of electronica tricks makes the church sound merely dated
i dont blame him
he had his one special sound at that stage and thats what you got him in for
anyway seance ended up sounding boxy and tinny and flat instead of big and soft
i couldnt do anything about it
it was beyond my power to stop it
the whole album is a weird proposition i think
its always the album those old style church fans like
we rarely play anything off it either
its got that great cover picture taken by russells girlfriend kim
its got that ridiculous track travel by thought
‘a stoned jam that never should have made it into the studio let alone out again’
(said someone in melody maker i think)
its got that great joy division influenced track it doesnt change
its got that great opener fly
(the girl dies in the first song so bloody miserable is seance)
theres a few flashes of sunlight but mostly its sad doomed love stuff
4th form poetry and slightly clunky songs
i dunno now its so long ago
i listened to it last night before i wrote this
its ok i guess but a feeling that the bands wings are clipped often pervades
this was the album where i was at the height of my control freak period
i had it all figured out exactly how it should be and i oversaw the whole thing
we were victims of the zeitgeist and there is definitely some dated ideas in there
some underdone songs
and a load of flat singing
flat as a freaking tack jack
one review said that my voice made the one note samba look tuneful
it was a hugely pretentious affair but so fucking what?
i wanted to make a sad but triumphant album
i wanted seance to be a gambit
i knew that somewhere some people in the future would totally dig it
i knew it would probably not do that well at the time of its release
for one glorious week it entered the charts at 13 in australia before falling like lead
in england it managed to go in for one week at 42
its incredible to think it was 35 years ago that we did this record and that people still like it
if you have listened to seance recently please give it a review in the comments
(if you’d care to)
yeah seance
as one nasty review said:
close but no sugar lamp