The Church (band)

From Wikipedia, the free encyclopedia
Jump to: navigation, search
The Church
The Church (Band).jpg
Left to right: Peter Koppes, Marty Willson-Piper, Steve Kilbey, Richard Ploog (1985)
Background information
Origin Sydney, Australia
Genres Alternative rock, neo-psychedelia,[1] psychedelic rock, art rock,[1] dream pop
Years active 1980–present
Labels EMI, Capitol, Carrere, Warner Bros., Mushroom, Arista, Cooking Vinyl, Thirsty Ear, Festival, Liberation, Unorthodox
Associated acts Baby Grande, Tactics, Limazine, The Reels, Patti Smith Group, The Venetians, Hex, Jack Frost, The Well, All About Eve, Powderfinger
Website www.thechurchband.com
Members Steve Kilbey
Peter Koppes
Tim Powles
Ian Haug
Past members Nick Ward
Richard Ploog
Jay Dee Daugherty
Marty Willson-Piper

The Church is an Australian psychedelic rock band formed in Sydney in 1980. Initially, they were associated with new wave and the neo-psychedelic movement of the early 1980s. Later, the band's music came to incorporate elements of progressive rock, such as group improvisation and complex guitar interplay. Glenn A. Baker has written that "From the release of the 'She Never Said' single in November 1980, this unique Sydney-originated entity has purveyed a distinctive, ethereal, psychedelic-tinged sound which has alternatively found favour and disfavor in Australia".[2] The Los Angeles Times has described the band's music as "dense, shimmering, exquisite guitar pop".[3]

The founding members were Steve Kilbey on lead vocals and bass guitar, Peter Koppes and Marty Willson-Piper on guitars and Nick Ward on drums. Ward only played on their debut album, however, and the band's drummer for the rest of the 1980s was Richard Ploog. Jay Dee Daugherty (ex-Patti Smith Group) played drums from 1990 to 1993 and was replaced by Tim Powles, who has remained with the band ever since. Koppes briefly left the band in 1982 and again from 1992 to 1997,[4] but returned to the fold each time. Willson-Piper left in 2013 and was replaced by Ian Haug, formerly of Powderfinger. Kilbey, Koppes and Powles also recorded together as "The Refo:mation" in 1997.

The Church's debut album, Of Skins and Heart (1981), delivered their first radio hit "The Unguarded Moment" and they were signed to major labels in Australia, Europe and the United States. However, the US label was dissatisfied with their second album and dropped the band without releasing it. This put a dent in their international success, but they returned to the charts in 1988, with the album Starfish and the US Top 40 hit "Under the Milky Way". Subsequent commercial success has proved elusive, but the band retains a large international cult following and were inducted into the ARIA Hall of Fame in Sydney in 2011. The Church continue to tour and record, releasing their 20th studio album, Further/Deeper, in October 2014.

History[edit]

1980–1981: Early days, Of Skins and Heart[edit]

Singer, songwriter and bass guitarist Steve Kilbey first played with guitarist Peter Koppes in a glam rock band called Baby Grande in Canberra, Australia in the mid-1970s.[5][6] After each had left to travel and play in other bands including Tactics (Kilbey) and Limazine (Koppes), they met again in Sydney in March 1980 and formed the initial three-piece version of The Church, with Limazine drummer Nick Ward.[7][8] The name was a shortened version of the original name proposed by Kilbey, "The Church of Man".[8][9] A month later, Marty Willson-Piper, originally from Liverpool, United Kingdom, witnessed one of their gigs and met Kilbey afterwards. That same night he was invited to join the band on guitar, establishing the classic two guitar formation.

A four-song demo was recorded in Kilbey's bedroom studio[10] and sent, through contacts from his and Koppes's old band "Baby Grande", to the Australian branch of The Beatles' publishing company, ATV Northern Songs.[8] The song "Chrome Injury" attracted the attention of managing director Chris Gilbey, who signed the band to his recently formed record production company, in association with EMI and their recently resurrected Parlophone label.[11] Gilbey went to band rehearsals and helped shape their sound – he bought Willson-Piper a 12 string Rickenbacker guitar and equipped Koppes with an Echolette tape delay. Of that first batch of demos, only "Chrome Injury" would go on to be recorded for release.

The band's debut album, Of Skins and Heart, was recorded late in 1980, produced by Gilbey and mixed by Bob Clearmountain.[9] Seven of the nine tracks were written solely by Kilbey and two co-written with others. The first single, "She Never Said", was released in November, but did not chart.[12] At the start of 1981, Ward was replaced on drums by Richard Ploog.[8] He was recruited by their manager, Michael Chugg, after hearing of his reputation in Adelaide. Ploog's arrival established The Church's first stable line-up.[11] The second single "The Unguarded Moment", co-written by Kilbey and Michelle Parker,[13][14] was issued alongside the album in March 1981, but only in Australia initially. "The Unguarded Moment" became an Australian top ten hit, reaching No. 22 on the Australian Kent Music Report Singles Chart, while Of Skins and Heart went gold, achieving the same position on the related Albums Chart.[12] To promote their releases, the band undertook their first national tour.[11]

The first recordings with Ploog were released as a five-track double single / EP, Too Fast for You in July.[8] It included the first collectively written track, "Sisters". Another track, "Tear It All Away", later released as a separate single, showed a development towards the more elaborate guitar structures which would become part of their signature sound. Their image and sound now evoked comparisons with 1960s psychedelic groups, with tight jeans, paisley shirts and Byrds-style jangly guitars.[11]

Of Skins and Heart‍ '​s commercial success enabled Gilbey to present the release to Freddie Cannon of French label Carrere and Rupert Perry of U.S. label Capitol. Both labels released the album in 1982, renamed as simply The Church, with slightly altered track listings including songs from Too Fast for You and using that EP's artwork for the cover.[9] The Church peaked at No. 7 in the New Zealand Albums Chart and No. 13 in Sweden.[15][16] Ploog was incorrectly credited as the sole drummer on the release, despite only playing on one or three tracks, depending on the version. Capitol also released an edited single version of "The Unguarded Moment" which was a minute shorter than the original – a decision which displeased the band.[11]

1982–1985: The Blurred Crusade, Séance, Remote Luxury, Persia[edit]

The second album, The Blurred Crusade, was issued in March 1982 and was both produced and mixed by Bob Clearmountain.[8][9] Sonically and stylistically more complex than the debut, it is "a smoother, fuller release",[8] which showed the clear influence of 1960s psychedelia. "With its mystical lyrics the second album ... brought the group's own style more into focus".[10] The album peaked at No. 10 and its first single, "Almost With You" resulted in a second Top 30 hit, peaking at No. 21.[12]

The Church undertook a second Australian tour, while Carrere released the album in Europe, bringing enough sales to tour there in October.[8] Capitol declined to release The Blurred Crusade in North America and demanded they write more radio-friendly material – as exemplified by stable mates Little River Band – which horrified the band members.[11] After another recording session, five demos were offered but the U.S. label was unimpressed and dropped the group. Their manager, Michael Chugg, arranged a U.K. tour supporting pop band Duran Duran, but after five gigs The Church pulled out. He later recalled, "They were hard work. All four of them were strong-willed and had their own ideas of how things should be".[11] The band also toured Scandinavia and Europe in 1982, and both their albums were released there to critical acclaim.

After their return to Australia that year, rather than see the five demos disappear, Kilbey pushed to have them released in December 1982 as an EP, Sing-Songs, which charted in the Top 100 of the Album Chart.[12] The Church produced the four original tracks themselves and also included their cover version of Simon & Garfunkel's hit "I Am a Rock", which was co-produced with Clearmountain.[8] Compared with The Blurred Crusade, the EP was recorded and mixed quickly and roughly. Public reception was cool and it was soon deleted from their catalogue to become a collector's item, until re-released on a CD compilation in 2001.

In May 1983, the band released their third album, Seance, co-produced by The Church and engineer John Bee (Hoodoo Gurus, Icehouse, The Divinyls), which peaked at No. 18.[8][9][12] It used more keyboards and synthesisers and was typically described thus: "That stark release explored the band's darker side, and tracks ... were awash with strings and other effects".[8] The accompanying live shows included a guest keyboardist, Melbourne-based session player Dean Walliss.

For Seance the band employed mixing engineer Nick Launay, who had worked with Midnight Oil. He favoured a gated reverb drum sound, popular in the 1980s, which produced a staccato-like snare sound. Unsatisfied with the sound, the band asked Launay to redo the mix, but the effect was only lightened. The first single, "Electric Lash" featured this effect especially prominently and it was likened to a "machine gun". Despite dissatisfaction over the mix, Seance featured a lusher, more atmospheric Church with highlights including "Now I Wonder Why" and "Fly". Internationally, the album sold poorly, being considered dark and cryptic, and the general public seemed to lose interest. Some critics in Europe and the U.S. did like the album however, with Creem hailing the band as "one of the best in the world".

Seance was again dominated by Kilbey's song writing. Some 20 songs were put together on his home 4-track. Only one band composition made the album: the experimental "Travel by Thought". Kilbey and Willson-Piper had co-written another track, "10,000 Miles", but the label rejected it. Kilbey was upset by the label's interference, finding the track essential to their live set (it would be included on their next EP). Despite the difficulties, the album yielded two minor hits - "It's No Reason" and "Electric Lash" - and stayed in the British independent charts for several months.

The band had built a devoted fan base with their paisley shirts, catchy melodies and solid live performances. Following the release of Seance, they toured Australia and New Zealand for the rest of the year to pay off debts incurred on the European tour. Meanwhile, Capitol Records released their first album in Canada, where it reached the Top 20. The Sing-Songs EP also became one of the bestselling Canadian imports of 1983.

Foregoing a full album, the band released two EPs in 1984, Remote Luxury in March and Persia in August, but only in Australia and New Zealand. Both EPs reached the Top 50 on the Australian Albums Chart.[12] Again, almost all tracks were written by Kilbey, but compared to Seance, the atmosphere was lighter and less gloomy. The band's trademark guitar sound was complemented by the keyboards of guest musicians Davey Ray Moor (from The Crystal Set, which included Kilbey's brother Russell) and Craig Hooper (from The Reels), who joined as an auxiliary member.[8] Hooper soon left to form The Mullanes.

The band then signed to Warner Bros. Records in the United States. Internationally the two EPs were repackaged as a single album titled Remote Luxury. Its U.S. release was their first record there since the debut album – although The Blurred Crusade and Seance had sold well on import. Due to the interest raised in the U.S., they left Michael Chugg Management in Sydney and signed with Malibu Management's owner John Lee. They toured the USA in October and November and while venues in New York and Los Angeles saw audiences of about 1000 people, other gigs had as few as 50. In financial terms the tour went poorly and the band lost thousands of dollars a week.

The Church seemed to reach a nadir in 1984. Unable to repeat the commercial success of the first two albums, there was a perception that their creativity was declining. Kilbey later said: "I think we released a few dud records that weren't as good as they should have been, after The Blurred Crusade ... The band was just drifting along in a sea of apathy, I was writing not-so-good songs and the band wasn't playing them very well, so everyone's enthusiasm just waned".

The start of 1985 was quiet for the band as members spent time apart in Stockholm, Sydney and Jamaica. Kilbey's debut solo single, "This Asphalt Eden", was released by EMI Parlophone and he was also the producer on a single, "Benefit of the Doubt", for The Crystal Set.[5] The band reconvened in mid-1985 to prepare for and record Heyday, their first full album for two years.

1985–1988: Heyday, Starfish[edit]

Steve Kilbey is sitting on a low rock wall beside a garden bed and a rock pillar. He is wearing dark glasses, a white tee-shirt with The Church and four faces (partly obscured), and jeans.
Steve Kilbey, California, 1986

After a short hiatus, The Church reconvened at Studios 301 in mid 1985 to work on their next album, with British producer/engineer Peter Walsh (Simple Minds, Scott Walker, Peter Gabriel).[9] Their first single in almost two years, "Already Yesterday", appeared in October and just made the Top 100.[8][12] Unlike previously, the resulting recordings were more of a group affair. Released in November 1985, Heyday brought in new stylistic elements with the addition of strings and horns, creating a warm, organic sound. The songs "were among the richest moments in The Church canon".[8] While Kilbey wrote all the lyrics, the whole band wrote the music together, except for Koppes' "As You Will", Kilbey's "Disenchanted" and "Youth Worshipper" (the latter co-written with Karin Jansson) and Willson-Piper's "The View".

Released in Australia, New Zealand, Europe and the US, the album was warmly received. In Australia it peaked at No. 19,[12] and appeared on the U.S. Billboard 200.[17] A promotional tour started in April 1986, with concerts both at home and abroad. Unexpectedly, Willson-Piper suddenly quit mid-tour after rising in-band tensions and on July 10, The Church performed as a three-piece in Hamburg, Germany. Willson-Piper returned within a week after Kilbey agreed that future releases would contain more group efforts.[8]

Despite the charged atmosphere and warm press, low sales for the album's singles in Australia prompted EMI to drop them. Plans for a double live album, Bootleg, were also scrapped. Since the band had greater sales overseas than in Australia, they decided to record in a studio abroad and opted for a four album deal with U.S. label Arista Records in 1987. For Australian releases they signed with Mushroom Records.[8]

Recording sessions in Los Angeles, with producers Waddy Wachtel (Bob Dylan, Rolling Stones, Robbie Williams) and Greg Ladanyi (Warren Zevon, Jackson Browne, Fleetwood Mac),[8][9] were a new challenge according to Kilbey, "It was Australian hippies versus West Coast guys who know the way they like to do things. We were a bit more undisciplined than they would have liked". Personality clashes occurred as the two sides bickered over guitar sounds, song structures and work ethic. Under pressure from the producers, Kilbey took vocal lessons, an experience he later regarded as valuable.

The stress of living in the US influenced their recording, and left Kilbey feeling out of place:

"The Church came to L.A. and really reacted against the place because none of us liked it. I hated where I was living. I hated driving this horrible little red car around on the wrong side of the road. I hate that there's no one walking on the streets and I missed my home. All the billboards, conversations I'd overhear, TV shows, everything that was happening to us was going into the music".

Album tracks such as "North, South, East and West," "Lost," "Reptile" and "Destination" bore the imprint of the faces, scenery and daily life of the group's new, temporary home.

Four weeks of gruelling rehearsal resulted in Starfish, which focused on capturing the band's core sound. Bright, spacious and uncluttered, the recording was a departure from the layered orchestrations of Heyday. The group wanted as live and dynamic an album as possible, Willson-Piper said that trying to record a live atmosphere lacked a real gig's sense of "being there". They found the results bare and simplistic; however, the public reception was unexpected.

Released in February 1988, Starfish found its way into the mainstream, marking a new worldwide commercial peak for the band. It reached No. 11 in Australia and Top 50 in the US.[12][17] The album was awarded a gold record in December 1992 by the Recording Industry Association of America.[18] Also released in February, the single "Under the Milky Way" reached #24 on the US Hot 100, #22 in Australia and entered the Canadian Top 100. It peaked at No. 2 on the Billboard Mainstream Rock Tracks.[12][19][20] The track was written by Kilbey and then-girlfriend Karin Jansson (ex-Pink Champagne).[21] A near-five minute video received airtime on music television programs. "Under the Milky Way" won an ARIA Award in 1989 for 'Single of the Year'.[22] In 2008, readers of The Australian voted it the best Australian song of the last 20 years. In response Kilbey said, "it's not really about anything at all. I just wanted to create an atmosphere and I didn't even put a lot of thought into that. History has given it something that it never really had".[21]

A second single from Starfish, "Reptile", charted on the Australian Top 100 in August and Billboard Mainstream charts.[12][20]

EMI responded with a double compilation album, Hindsight 1980-1987, which contained selections from the band's previous albums, together with hitherto-uncollected singles and B-sides. It peaked in the ARIA Top 40 Albums Chart in July.[9][23]

1989–1992: Gold Afternoon Fix, Priest=Aura[edit]

The Church promoted Starfish with a nine-month tour before they returned to the studio for a follow-up. With a US Top 50 album under their belt, there was pressure from Arista to create another. The band started negotiations with former Led Zeppelin bass guitarist and keyboardist John Paul Jones, who had a reputation as a sophisticated producer, but the record company and management vetoed their suggestion. In an attempt to duplicate the success of Starfish, The Church returned to Los Angeles with Waddy Wachtel producing.

While the previous sessions were tense, these were volatile. Already unenthusiastic about the forced pairing, there was the stress of having to create another hit album, and this took its toll. All members were outspoken about the role that drugs played in The Church’s creative process,[24] but drummer Richard Ploog began to retreat further into his own habit, as pressure increased.[25] The number of attempted studio takes spiralled and Ploog's relationship with Kilbey deteriorated, accentuated by Wachtel's demands for a consistently reliable tempo. Eventually Ploog's isolation led to exclusion and his drum tracks were replaced by rigid, but meter-perfect, programmed drums on all but three tracks. He left the band after the sessions.

The resulting album, Gold Afternoon Fix, while different from its predecessor, reached No.12 on the Australian Recording Industry Association (ARIA) Albums Chart.[23] While Starfish focused on a raw, live sound, Gold Afternoon Fix employed more ambient aspects, including piano, acoustic guitars and keyboards. On some tracks, the music was punctuated by clanging metal, rustling wind or sharp, industrial sounds.

Gold Afternoon Fix was heavily backed by a promotional campaign from Arista and the band went on tour, hiring Patti Smith's drummer, Jay Dee Daugherty. The album spawned a hit single, "Metropolis" (No. 19 in Australia, No. 11 on U.S. Mainstream Rock), but the follow-up, "You're Still Beautiful", did not chart. Ultimately, the album's sales were lower than Starfish's and press was mixed. The band, particularly Kilbey, would later dismiss the album as "lousy", "hashed together" and "hideous", although many of the songs have since become fixtures in the band's setlists.

After the dust had settled on Gold Afternoon Fix, The Church returned to their old haunt at Sydney's Studios 301 to commence work on their next album. With lowered commercial expectations and less pressure from Arista, the atmosphere was more relaxed. Bringing in British producer Gavin MacKillop (Barenaked Ladies, Toad the Wet Sprocket, Straitjacket Fits) to supervise the sessions,[9] the band began to improvise the framework for the next set of songs. The use of opium and, for Kilbey, heroin, saw the material take on a more expansive and surreal quality [26] while Daugherty's jazz-like approach on drums was a fresh change.

Priest=Aura, titled from Kilbey's misreading of a Spanish fan's English vocabulary notes ('priest' = 'cura'), contains fourteen songs, many over six minutes long, and was their longest album yet at 65 minutes. With song concepts derived from cryptic, one-word working titles (an idea originally proposed by Willson-Piper), the lyrics leaned towards the abstract and esoteric. Emphasising free association and undirected coincidence between music and motif, Kilbey declined to define their meanings. Sonically, the music had numerous layers, courtesy of numerous guitar overdubs and MacKillop's rich production. The interplay between Koppes and Willson-Piper dominated throughout, especially on tracks such as "Ripple," "Kings," and the epic, aptly titled "Chaos", whose lyrics were a reflection of Steve Kilbey's unsettled lifestyle at the time.

Upon its release on 10 March 1992, Priest=Aura was given a mixed reception. It peaked in the ARIA Top 30,[23] but reviews were varied, with some critical and others uncertain how to react. The band only went on a limited tour, confined to Australia, as Kilbey prepared for the birth of his twin daughters with Karin Jansson.

Adding to the decline in The Church's outlook was the announcement of Koppes' departure. His decision reflected two main factors: that the band had earned nothing for the two-week tour of Australia, and that he felt shut out of the creative process - a long-standing complaint that stretched back at least as far as Seance, if not further.[27] Despite a completely sold-out tour, increasing personality conflicts within the band, especially with Willson-Piper, and frustration over their lack of success had made the situation intolerable. Despite its muted reception at the time of release, Priest=Aura is considered by both the band and fan base to be an artistic high point. In his 2014 autobiography, Something Quite Peculiar, Kilbey calls it their "undisputed masterpiece".

1993–1996: Sometime Anywhere, Magician Among the Spirits[edit]

Despite the loss of Koppes, Arista decided to stand by their contract and back another Church album and so Kilbey and Willson-Piper began to write new material. When it became clear that Daugherty would not be returning to the fold either, the remaining two took the opportunity to approach their music from new perspectives, abandoning their long-established roles and stylistic elements in favour of experimentation, spontaneity and even electronica.

Early in 1994, the two hired additional musicians and brought in Willson-Piper's childhood friend Andy 'Dare' Mason to produce, record and mix. The album was mostly recorded at Sydney's Karmic Hit Studios and mixed at Karmic Hit and Studios 301. New Zealand drummer Tim Powles was hired for the sessions, having already played with Kilbey on the Jack Frost project. Considered temporary at the time, Powles would soon become a permanent member of the band and is still with them over 20 years later.[6]

The resulting album, Sometime Anywhere, released in May 1994, was generally well received and peaked in the Top 30.[23] It is described as a "rich, dark, epic release [which] picked up where Priest left off with lush, lengthy tracks".[8] Sales, however, were paltry and the first single, "Two Places at Once", did not chart. Promotion was minimal as Arista saw insufficient commercial promise in the release. With another commercially unsuccessful album on their hands, Arista did not renew The Church's contract and pulled financial support for a tour. Ambitious plans to stage full electric shows were scaled back, leaving Kilbey and Willson-Piper with only a short run of acoustic gigs as a duo.

Without a recording deal, the band's future looked bleak as Kilbey and Willson-Piper began work on new recordings in 1995. Although initially a two-man project, the new material saw input from drummer Powles and hired violinist Linda Neil. Renewed contact between Kilbey and Koppes led to the latter agreeing to guest on several songs - a welcome surprise for fans. Simon Polinski (Yothu Yindi) was drafted in to co-produce, engineer and mix the sessions. The music saw a return to guitar-based material, infused with krautrock and art rock influences. A 15-minute atmospheric piece called "Magician Among the Spirits" dominated the sessions, named after a book by Harry Houdini. Additional contributions by Utungun Percussion added a new, primal aspect to several songs.

The album, also called Magician Among the Spirits, was released on the band's own Deep Karma label, but due to financial constraints, the band had to arrange for outside distribution for the North American and European markets. This almost doomed the album from the beginning, but worse events were to come. Within a short time, the U.S. distributor went bankrupt, leaving the band stripped of its earnings from North American sales. Although exact figures remain unknown due to disputes, up to A$250,000 worth of merchandise (some 25,000 discs) was lost. For a band already on shaky ground, this was nearly the death knell. Comments by Kilbey in May of that year summed up the situation: "There's no immediate future for The Church.....Our management, the whole thing is broken down.....We don't really have a label. We're owed lots and lots of money and we're broke. We're trying to pursue lawyers to get our money back. Marty and I aren't having any communication. There's no one really managing us so.....that could have been the last record."

The album received mixed reviews, despite the guitar rock hook of its single, "Comedown", but showed a re-emerging band, with Powles now adopted as a full-time member and Koppes dabbling with them again. Nevertheless, the circumstances around its release led to the lowest point in the band's career.

1997–1999: Hologram of Baal, Pharmakoi/Distance-Crunching Honchos with Echo Units, A Box of Birds[edit]

Following the commercial failure of Magician Among the Spirits, the members of The Church turned their attention to other projects and Willson-Piper left Australia again in order to collaborate with other artists and write new solo material. In his absence, Kilbey, Powles and Koppes spent some studio time together and quickly wrote and recorded an album. Loose in feel, but rich in atmosphere, the eccentrically-titled Pharmakoi/Distance-Crunching Honchos With Echo Units saw a greater focus on concise, guitar-dominated songs, in contrast to the experimentation of Magician Among the Spirits.

In the absence of any new work as 'The Church', Kilbey, Powles and Koppes spent some studio time together as well. The resulting material - released under the guise of The Refo:mation (initially The Reformation, but altered upon Powles' request as a courtesy to Willson-Piper) was largely put together in a few quick recording sessions. Loose in feel, but richly atmospheric, the eccentrically titled Pharmakoi/Distance-Crunching Honchos With Echo Units saw a greater focus on concise, guitar-dominated songs, rather than the uncontrolled experimentation of Magician Among the Spirits.

Group tensions for The Church proper were still simmering, however. More than anyone else, it was new drummer Tim Powles who tried to alleviate the outstanding disagreements. While Koppes and Willson-Piper had already had differences for some time, Kilbey and Willson-Piper's relationship was also strained by recent problems. Kilbey began to declare a formal, impending end to the band: after a final, worthy swan song, with the working title Au Revoir Por Favor, the Church would be put to rest. Despite this, the four agreed to play a string of concerts around Australia, which were extremely successful. The roaring success of the intended "final concert" in Sydney put a quick end to talk of the band's demise.

The results of the new recording sessions saw a return to the band's roots: the material was thoroughly based once again around Koppes and Willson-Piper's guitar interplay. Also, for the first time, the band completely produced itself (under Powles' aegis). Originally given the name Bastard Universe, the forthcoming album was re-titled Hologram of Allah after Willson-Piper found the original too negative. Concerns about fundamentalist Muslim reaction to the potentially blasphemous title made the band finally opt for the more neutral Hologram of Baal (from the Canaanite god). Released under a new contract with UK independent label Cooking Vinyl, the album was distributed in the U.S. via Thirsty Ear. A limited edition featured a bonus disc with a nearly 80-minute, continuous improvised jam session, which received the original title of the album, Bastard Universe.

The reformed and rejuvenated band went on their first fully electric tour of the U.S., Australia and Europe in many years. A plan to release a live album called Bag of Bones was put into motion, but then cancelled.

Instead, a collection of cover songs was recorded, shedding light on the band's influences. Arriving in August 1999 - less than a year after Hologram of Baal - A Box of Birds contained an unusual selection of songs from Ultravox and Iggy Pop to The Monkees and Neil Young. The insert for the CD was designed as interchangeable, with 10 separate sleeve designs created by fans. As with Hologram of Baal, a tour followed the album's release, but a new drama hit the band mid-tour in New York City when Kilbey was arrested for trying to purchase heroin. The band was forced to improvise a set after he failed to show, with Willson-Piper covering vocals. A night in jail and a day's community service on the Manhattan subway were Kilbey's only punishment. "A drug bust is something every aging rock star should have under his belt", he was later quoted as saying.

2000–2008: After Everything Now This, Forget Yourself, Jammed, El Momento Descuidado[edit]

In 2001, "Under the Milky Way" was featured in the cult classic film Donnie Darko, helping to raise the band's profile once again. However, recording for their next album turned out to be painstakingly slow, due to numerous side projects and simple geography. With Kilbey now living in Sweden, Willson-Piper in England and the others in Australia, the bandmates met across several separate sessions. Partially recorded in both Sweden and Australia, the resulting After Everything Now This, released in January 2002, saw a focus on the softer elements of the band. With only three obvious "rock" tracks out of ten, gentler moods dominated. The album achieved the biggest international success for The Church in almost ten years. The successive world tour featured the band in a more subtle setting as well, with most tracks performed primarily acoustically alongside guest David Lane on piano.

Fans would not have to wait long for another group release. The double-disc remix/outtakes set Parallel Universe hit stores in late 2002. Unique among the band's catalogue, the first disc, subtitled 'Mixture', featured a reshuffled, remixed version of the After Everything Now This album, the result of Tim Powles' collaboration with Sydney musicians. The second disc was an added bonus, compiled from the remaining songs of the After Everything Now This recording sessions.

Around the time that Parallel Universe was released, the Church had returned to the studio to record yet another album, eventually entitled Forget Yourself. Rather than fleshing the songs out over a long, gradual process, the band decided to keep the music as close to the original jam-based material as possible. Stylistically, this made for a much rawer sound, primarily recorded live and with minimal overdubs. As had become routine since Sometime Anywhere, songs saw numerous instrument changes between members, with Powles playing guitar on "Sealine" and Willson-Piper switching to drums on "Maya". Forget Yourself was released in Australia in October 2003, and in the U.S. in February 2004.

The band's prolific output continued through 2004. Under the guidance of manager Kevin Lane Keller - an American fan and marketing professor who had been working with them since 2001 - the Church began capitalizing on the advantages offered by the internet and the independent music industry.

Following up on the idea of Hologram of Baal's bonus Bastard Universe disc (their first entirely improvised album), the band released the first of a planned series of jam session releases, Jammed, through its website in September.

A compilation album followed soon after, with the tongue-in-cheek title Beside Yourself. As well as outtakes from the Forget Yourself sessions, the album combines the iTunes Exclusive Tracks EP, the Forget Yourself U.S. bonus disc, and tracks from the Australian "Song In Space" single,

Four members of The Church are performing on-stage. Koppes is facing forward and strums his guitar. Kilbey is playing a bass guitar and singing into a microphone. Powles is set back, obscured by his drum kit. Willson-Piper is partly turned to his left and is strumming a guitar.
Koppes, Kilbey, Powles, Willson-Piper on-stage.
Park West, Chicago. 18 August 2006.

Only about a month later, another new album was released, on which the band decided to revisit past material in an all-acoustic setting, plus five new songs.[28] This included a modified version of "The Unguarded Moment", an early Church song that had not been performed in many years. In a tongue-in-cheek reference to the song's reappearance, the band named the album El Momento Descuidado, a rough Spanish translation of its name. A short all-acoustic tour followed the release in late 2004 which initiated a new practice amongst the band of swapping instruments on stage. The album was eventually nominated in 2005 for "Best Adult Contemporary Album" at the Australian ARIA Music Awards, although it did not win.[29]

In 2005 the band returned to electric mode with Back With Two Beasts. This was initially only available as a download, but was eventually released on CD in 2009. Back With Two Beasts was part of the series of jam session recordings, although it featured mainly shorter, seemingly more structured pieces with vocals.

The band's 17th studio album, Uninvited, Like the Clouds, was released to rapturous reviews on 17 April 2006.[30][31] In March 2006, they performed "Under the Milky Way" with the Melbourne Symphony Orchestra as part of the 2006 Commonwealth Games opening ceremony.[32][33] Also in 2006, the Church released a compilation called Tin Mine which was limited to 1000 copies and housed in a tin case with a clear plastic window.[34] Of the 13 tracks, two were unique to this album: "All I Know" (recorded live in Newtown, Sydney, Australia on 11 December 2005) and "Leverage".

El Momento Siguiente, a second album of acoustic re-interpretations of earlier songs and several new compositions, was released on 13 February 2007. The album also featured a cover version of The Triffids song "Wide Open Road".[35]

Also in 2007, the band toured Australia with The Pretenders and EMI released the double CD 'best of' collection Deep in the Shallows - The Classic Singles Collection.

2009–2011: Shriek: Excerpts from the Soundtrack, Untitled #23, ARIA Hall Of Fame Induction, 30th anniversary[edit]

In 2007, new music had been recorded to soundtrack a short film based on renowned American science fiction writer Jeff Vandermeer's novel Shriek: An Afterword[36] and the band released it as Shriek: Excerpts From The Soundtrack in January 2009, the first release on their new Unorthodox Records label.

In February 2009 they released the EP Coffee Hounds, essentially a double A-side single featuring the original composition "The Coffee Song" and a cover of Kate Bush's classic "Hounds Of Love". The following month, the band released the Pangaea EP, the title track serving as a teaser for their upcoming album. The remaining three tracks - "LLC", "Insanity" and "So Love May Find Us" - are unique to this release.[37] Another major international tour followed. The So Love May Find Us tour, named after the EP track, kicked off in Australia and continued into North America.

Unorthodox Records, via MGM Distribution, released the album Untitled No. 23 in March, to coincide with the Australian tour dates. U.S. label Second Motion Records released it to the rest of the world shortly thereafter. A double vinyl version of the album quickly sold out. Technically the album was the 23rd Australian Church release of all-original studio material, counting the four early EPs; Kilbey also alluded to the mystical significance of the number 23 in an interview with music publication Music Feeds.[38]

Coinciding with the "Untitled No. 23" US tour, a book entitled "No Certainty Attached: Steve Kilbey and The Church" by Robert Dean Lurie was published in Australia, the US, and the UK by Verse Chorus Press. While primarily a biography of Kilbey, the book also traced the evolution of the band from his perspective. This was not an official band project but Kilbey, Koppes, and various friends and family members participated.

On 27 November 2009, the Church released another EP, Operetta. The title track was taken from Untitled #23 but the remaining tracks - "Silhouette in Meltdown", "Moon Hangs in Black", and "Particles Matter" - were unique to this release and were jams and outtakes from the Untitled #23 sessions.

In February 2010, the band announced a string of U.S. tour dates, calling it "An Intimate Space: 30th Anniversary North American Tour 2010".[39] In a unique execution, the band chose one song from each of their many albums and performed them in reverse chronological order. The shows included a 28-page program and an EP of unreleased material. The tour began in the USA and finished in Australia. In April 2010, the band performed "Under the Milky Way" on KUSI News in San Diego, CA.

The group was inducted into the Australian Recording Industry Association (ARIA) Hall of Fame, on 27 October 2010 by media commentator George Negus, while young pop singer Washington, performed "The Unguarded Moment".[40][41] After their acceptance speech, the band performed "Under the Milky Way" and "Tantalized".[41]

In October 2010, Second Motion re-released much of the early catalogue of The Church (up to Priest=Aura), with bonus tracks and extensive liner notes by Willson-Piper, plus the Deep In The Shallows singles collection.

Also in 2010 the band released the "Deadman's Hand" EP in North America, again on Second Motion. The title track was from Untitled #23, plus four tracks unique to this release — "Stardust", "The Kicker", "Dakota" and "The Gardener". These tracks were also from the recording sessions for Untitled #23.[42] While the EP could be purchased from the band's website,[43] the recording was also distributed free-of-charge to attendees of their 30th Anniversary North American Tour.[44] The Australian release, on Unorthodox Records, was released in March 2011 and coincided with the band's "A Psychedelic Symphony" concert at Sydney Opera House on April 10.[45]

The band traveled to the U.S. again in February 2011 for the "Future Past Perfect" tour, playing select cities and performing three albums in their entirety: Untitled#23, Priest=Aura & Starfish.[46] Sold-out dates were played in Los Angeles, San Francisco, Seattle, Chicago, Alexandria, Philadelphia, New York, Foxborough and Atlanta. The band played the same set in a series of dates in Australia as well, including at Waves in Wollongong. Their 17 December 2011 "Future Past Perfect" show at the Enmore Theatre, Sydney, was recorded and is available to stream here.

On 10 April 2011 The Church further celebrated their 30th Anniversary with a special show entitled "A Psychedelic Symphony", at Sydney Opera House, a show they had worked for around a year to prepare. They were accompanied by conductor George Ellis and the Sydney University Symphony Orchestra. The concert was performed to a sold-out 2000+ capacity crowd and was filmed. The DVD and double CD were both released by Unorthodox in June 2014, the band's first live album. The show was also televised on MAX TV during October 2011.

2012 Onward: Royalty dispute, Willson-Piper's departure, Further/Deeper[edit]

In late January 2012, the band performed a selection of songs including past hits like "The Unguarded Moment" for an appreciative crowd at Sydney's Taronga Zoo as one of the "Twilight Series" shows.

In November and December 2012, The Church played a major series of concerts across Australia, together with Simple Minds, Devo and Models. As part of the tour, they also played several 'A Day on the Green' events with Models, as well as gigs in Sydney and Melbourne and a series of indoor theatre shows, finishing up on December 15 in Auckland, NZ. During this tour they played two "Art Rock 'n' Roll" side shows - one at the Corner Hotel in Melbourne and another at the Factory theatre in Sydney, choosing four songs each interspersed with a collection of back catalogue numbers.

In March 2013, Kilbey issued a series of statements which indicated that he was considering leaving The Church, due to disputes over royalty payments.[47]

In late 2013, with the royalty issues apparently resolved to his satisfaction, Kilbey announced on the band's Facebook page that former Powderfinger guitarist Ian Haug would replace Marty Willson-Piper in The Church. Kilbey explained that Willson-Piper was "not available" for the recording of a new album and subsequent touring, and praised Haug as "a brilliant guitarist". Kilbey also provided a pre-emptive response to disgruntled fans: "... if you can't dig it I'm sorry. this is my fucking band after all and it has existed at times without Peter and in the beginning without Marty. and for times in between while he went AWOL." He also promoted sixteen "very very fucking cool" new songs that are ready to be recorded for the next Church album.[48]

In early October 2014, Kilbey explained that Willson-Piper was not asked to leave the band, but that he had simply not replied to the various attempts made to contact him (Willson-Piper had relocated to Sweden). Realizing that Willson-Piper would not respond, Kilbey said to Powles at the time, "We have to find someone with stature. He has to have his own trip, he can’t be some weedy little guy coming in to play guitar. It has to be somebody with experience and gravitas." As part of the same interview, Haug explained that he had received a phone call from Kilbey while he was returning home from a funeral. Without first greeting Haug, Kilbey simply asked, "If I asked you to join The Church, what would you say?" and ended the call after Haug's affirmative, but bewildered, response. Haug said that joining the Church was the "last thing" that would have entered his mind, but that "it just really seemed to work".[49]

Entitled Further/Deeper, the Church's 20th album was released on 17 October 2014. Recorded over a period of eight days in late 2013, Further/Deeper was produced and engineered by Powles.[50] Writing for the Courier-Mail, Noel Mengel rated the album with 4.5 stars, while Jeff Apter assigned the album 4 stars in Rolling Stone Australia.[51][52] The band explained on its website that Kilbey's paintings, specifically created for the album, will be available for sale, while the band will perform the album in its entirety during the subsequent "Further/Deeper" tours.[53]

Lyrics[edit]

Most of The Church's lyrics are written by Steve Kilbey, who is also a published poet. His lyrics and poems are often described as surreal and Kilbey himself rejects any fixed meanings in his work.

Several recurring themes dominate his oeuvre: myths, legends, dreams and nightmares, visions, drug fantasies, orientalism and biblical (but not exclusively Christian) motifs. Kilbey has stated (about his collection "Eden") that his work questions "the fabric of love and fear, temptation and creation and our eternal quest for meaning."

The Church have not provided lyrics with their albums since 1985's Heyday, claiming that song lyrics should be listened to, not read. Kilbey promotes the idea of a lyric spawning new and unforeseen meanings for the listener.

Members[edit]

Current members:[9]

  • Steve Kilbey – lead vocals, bass guitar, keyboards, guitar (1980–present)
  • Peter Koppes – guitars, keyboards, vocals (1980–1992, 1997–present)
  • Tim Powles – drums, percussion, vocals, guitar (1994–present)
  • Ian Haug – guitars, vocals (2013–present)

Previous members:[9]

Discography[edit]

Studio albums[edit]

EPs[edit]

Live albums[edit]

  • A Psychedelic Symphony: Live at Sydney Opera House (2014) DVD or double CD, with The George Ellis Orchestra, April 2011.

Compilations[edit]

  • Temperature Drop In Downtown Winterland (1982 ) Limited edition 10" vinyl compilation of 4 early single A & B sides.
  • Remote Luxury (1984) The Remote Luxury and Persia EPs re-sequenced as an album.
  • Hindsight 1980-1987 (1988)
  • Conception (1988)
  • A Quick Smoke at Spot's: Archives 1986-1990 (1991)
  • Almost Yesterday 1981-1990 (1994)
  • Under The Milky Way: The Best of The Church (1999)
  • Sing-Songs//Remote Luxury//Persia (2001) Compilation of the three EPs.
  • Parallel Universe (2002) Remixes (Disc 1 Remixture) and outtakes (Disc 2 Mixture) from the After Everything Now This sessions.
  • Beside Yourself (2004) Outtakes from the Forget Yourself sessions.
  • Deep In The Shallows: The Classic Singles Collection (2007)
  • The Best of the Radio Songs (2010)

Other releases[edit]

A number of other Church releases contain otherwise unreleased original compositions and/or remixes and variant edits. These include:

  • 1990 "Metropolis"/"Megalopolis" maxi-singles - "Metropolis"/"Monday Morning (edit)"/"Much Too Much"/"Ride Into The Sunset"/"Metropolis (acoustic)"/"Grind (acoustic)".
  • 1994 "Two Places at Once" maxi-single - video edit (4:49) / album version (7:53) / radio edit (4:24).
  • 1996 "Comedown" maxi-single - "Comedown"/"Man"/"Won't Let You Sleep"/"SADS"/"Why Don't You Love Me".
  • 1997 "White Star Line"/"Gypsy Stomp" single - limited to 1000 copies, to subscribers of the NSEW fanzine. It can be heard here.
  • 1997 Pharmakoi/Distance-Crunching Honchos with Echo Units - album as "The Refo:mation".
  • 1998 "Louisiana" maxi-single - "Louisiana"/"Anyway"/"Lizard".
  • 2001 "Numbers" maxi-single - "Numbers"/"Numbers (Soft Mix)"/"Undo"/"Oxydental".
  • 2003 "Song in Space" maxi-single - "Song in Space (Short Trip)"/"Hitspacebar"/"Song in Space (Serpent Easy Mix)"/"Song in Space (Album Version)".
  • 2006 "Block" maxi-single - "Block"/"Locust"/"Avenue"/"Block (Splice)".
  • 2006 "Easy" maxi-single - "Easy (Spliced Mix)"/"It's No Reason" (live and acoustic @ Newtown 2005)/"Day 5" (live and acoustic @ Newtown 2005)/"Constant In Opal" (live and acoustic @ The Fiction Club 2006).
  • 2008 Shriek: Excerpts from the Soundtrack - limited release soundtrack to the 2007 indie short film Shriek: An Afterword.
  • 2009 Coffee Hounds maxi-single - "The Coffee Song"/"Hounds of Love"/"The Coffee Song Instrumental".
  • 2009 "Pangaea" maxi-single - "Pangaea"/"LLC"/"Insanity"/"So Love May Find Us".
  • 2009 "Operetta" maxi-single - "Operetta"/"Silhouette In Meltdown"/"Moon Hangs In Black"/"Particles Matter".
  • 2010 "Deadman's Hand" maxi-single - "Deadman's Hand"/"Stardust"/"The Kicker"/"Dakota"/"The Gardener".

References[edit]

General
Specific
  1. ^ a b Mark Deming. "The Church". AllMusic. 
  2. ^ Glenn A. Baker, sleeve note to Of Skins and Heart EMI CD 8297652
  3. ^ Quoted on back of sleeve, Of Skins and Heart EMI Cd 829652
  4. ^ http://thequietus.com/articles/05653-the-church-interview
  5. ^ a b Holmgren, Magnus. "Steve Kilbey". Australian Rock Database. Passagen.se (Magnus Holmgren). Archived from the original on 29 September 2012. Retrieved 13 February 2014. 
  6. ^ a b Dwyer, Michael (3 May 2002). "Born again". The Age (Fairfax Media). Retrieved 24 October 2010. 
  7. ^ Holmgren, Magnus. "Peter Koppes". Australian Rock Database. Passagen.se (Magnus Holmgren). Archived from the original on 7 October 2012. Retrieved 13 February 2014. 
  8. ^ a b c d e f g h i j k l m n o p q r McFarlane 'The Church' entry. Retrieved 17 October 2010.
  9. ^ a b c d e f g h i j k Holmgren, Magnus. "The Church". Australian Rock Database. Passagen.se (Magnus Holmgren). Archived from the original on 6 October 2012. Retrieved 13 February 2014. 
  10. ^ a b Nimmervoll, Ed. "The Church". Howlspace – The Living History of Our Music. White Room Electronic Publishing Pty Ltd (Ed Nimmervoll). Archived from the original on 29 April 2004. Retrieved 22 January 2014. 
  11. ^ a b c d e f g Chugg, Michael; Shedden, Iain (2010). Hey, You in the Black T-Shirt: The Real Story of Touring the World's Biggest Acts. Sydney, NSW: Pan Macmillan. pp. 111–116, 126. ISBN 978-1-4050-4022-8. Retrieved 22 October 2010.  Note: [On-line] version has limited preview.
  12. ^ a b c d e f g h i j k Kent, David (1993). Australian Chart Book 1970–1992. St Ives, NSW: Australian Chart Book Ltd. ISBN 0-646-11917-6.  Note: Used for Australian Singles and Albums charting from 1974 until Australian Recording Industry Association (ARIA) created their own charts in mid-1988. In 1992, Kent back calculated chart positions for 1970–1974.
  13. ^ "Michelle Parker". Discogs. Discogs. 2013. Retrieved 28 June 2013. 
  14. ^ "Steve Kilbey". Discogs. Discogs. 2013. Retrieved 28 June 2013. 
  15. ^ "Discography The Church". New Zealand charts portal. Hung Medien. Retrieved 18 October 2010. 
  16. ^ "Discography The Church". Swedish charts portal. Hung Medien. Retrieved 29 October 2010. 
  17. ^ a b "The Church > Charts & Awards > Billboard Albums". Allmusic. Rovi Corporation. Retrieved 20 October 2010. 
  18. ^ "RIAA Gold & Platinum". Recording Industry Association of America. Retrieved 22 October 2010. 
  19. ^ "RPM100 Singles". RPM. Library and Archives of Canada. Retrieved 18 October 2010. 
  20. ^ a b "The Church > Charts & Awards > Billboard Singles". Allmusic. Rovi Corporation. Retrieved 18 October 2010. 
  21. ^ a b Shedden, Iain (20 September 2008). "Milky Way judged the best song from down under". The Australian (News Limited (News Corporation)). Retrieved 24 October 2010. 
  22. ^ "ARIA Awards – History: Winners by Year: 3rd Annual ARIA Awards". Australian Recording Industry Association (ARIA). Retrieved 24 October 2010. 
  23. ^ a b c d "Discography The Church". Australian charts portal. Hung Medien. Retrieved 17 October 2010. 
  24. ^ Lurie, Robert (10 April 1998). "Interview With th’ tyg". The Kettle Black (J Mundok). Retrieved 24 October 2010. 
  25. ^ Feerick, Jack (8 February 2010). "Flashback 1990: The Aeroplanes, Swagger and The Church, Gold Afternoon Fix". Popdose. Retrieved 24 October 2010. 
  26. ^ Nazz. "A man, a part – with an opiate for the masses – The Church – Peter Koppes". Rip It Up!. Retrieved 24 October 2010. 
  27. ^ Robert Dean Lurie. No Certainty Attached: Steve Kilbey and The Church. Portland OR: Verse Chorus press, 2009, p. 219
  28. ^ "Church, The – El Momento Descuidado". Discogs. Discogs. 2013. Retrieved 20 October 2013. 
  29. ^ "WINNERS BY AWARD". ARIA Awards - United By Music. AUSTRALIAN RECORDING INDUSTRY ASSOCIATION. 21 October 2013. Retrieved 20 October 2013. 
  30. ^ "The Church releasing new ‘Operetta’ EP, reissuing ‘Back With Two Beasts,’ ‘Shriek’". Slicing Up Eyeballs: the legacy of '80s college rock. WordPress. 27 December 2009. Retrieved 7 July 2013. 
  31. ^ "Church, The – Back With Two Beasts". The Church on Discogs. Discogs. 2013. Retrieved 7 July 2013. 
  32. ^ ed bundy (18 June 2008). "The Church Under The Milky Way on Commonwealth Games" (Video upload). YouTube. Google, Inc. Retrieved 7 July 2013. 
  33. ^ "The Church". IMC International Music Concepts. International Music Concepts. 2013. Retrieved 7 July 2013. 
  34. ^ "Church, The – Tin Mine". The Church on Discogs. Discogs. 2013. Retrieved 7 July 2013. 
  35. ^ John Bergstrom (30 May 2007). "The Church: El Momento Siguiente". PopMatters. PopMatters Media, Inc. Retrieved 7 July 2013. 
  36. ^ "Ecstatic Days » Blog Archive » Shriek: The Movie Released on Internet". Jeffvandermeer.com. 14 August 2007. Retrieved 2011-07-15. 
  37. ^ "the church". Thechurchband.com. Retrieved 2011-07-15. 
  38. ^ "Steve Kilbey of The Church chats with Music Feeds". Musicfeeds.com.au. 2 May 2009. Retrieved 2011-07-15. 
  39. ^ "the church". Thechurchband.com. Retrieved 2011-07-15. 
  40. ^ Purdie, Ross (27 October 2010). "Johnny Young among new ARIA Hall Of Famers". News.com (News Limited). Retrieved 28 October 2010. 
  41. ^ a b Treuen, Jason (28 October 2010). "ARIA Hall of Fame celebrates music's loved ones". The Music Network (Peer Group Media). Retrieved 29 October 2010. 
  42. ^ Michael Toland (31 July 2010). "The Church – Deadman’s Hand EP (Unorthodox/Second Motion)". The Big Takeover. The Big Takeover. Retrieved 5 July 2013. 
  43. ^ "Deadman's Hand EP". the church. the church. July 2013. Retrieved 5 July 2013. 
  44. ^ "Church, The – Deadman's Hand". The Church at Discogs. Discogs. 2013. Retrieved 5 July 2013. 
  45. ^ "THE CHURCH DEADMAN'S HAND EP". Waterfront. Waterfront Records. 4 March 2013. Retrieved 5 July 2013. 
  46. ^ Woolsey, Julian. "The Church Announce "Future Past Perfect" Tour". Rock Edition. Retrieved 16 February 2011. 
  47. ^ Al Newstead (4 October 2012). "Steve Kilbey Quits The Church In Outrage Over Label Abuse". Tone Deaf. Tone Deaf. Retrieved 22 March 2013. 
  48. ^ Lauren Ziegler (26 November 2013). "The Church's Steve Kilbey replaces Marty Willson-Piper with Powderfinger's Ian Haug". The Sydney Morning Herald. Retrieved 7 December 2013. 
  49. ^ Noel Mengen (8 October 2014). "A broader Church". Courier-Mail. Retrieved 19 October 2014. 
  50. ^ Jonny Nail (14 October 2014). "Exclusive Stream: The Church 'Further/Deeper'". Rolling Stone Australia. Rolling Stone. Retrieved 19 October 2014. 
  51. ^ Jeff Apter (16 October 2014). "The Church Further/Deeper Unorthodox". Rolling Stone Australia. Rolling Stone. Retrieved 19 October 2014. 
  52. ^ Noel Mengel (18 October 2014). "Album reviews: The Church, Solicitors, Steve Smyth, Elina Garanca, Slash, Screamfeeder, Peep Tempel". news.com.au. News Limited. Retrieved 19 October 2014. 
  53. ^ "Further/Deeper". The Church. The Church. 15 September 2014. Retrieved 19 October 2014. 
  54. ^ "Who's who of Australian rock / compiled by Chris Spencer, Zbig Nowara & Paul McHenry". catalogue. National Library of Australia. Retrieved 17 October 2010.  Note: [on-line] version established at White Room Electronic Publishing Pty Ltd in 2007 and was expanded from the 2002 edition. As from September 2010, the on-line version appears to have an 'Internal Service Error'.

External links[edit]