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Musician magazine reviews Sometime Anywhere Print E-mail
Monday, 01 August 1994
  Source: Musician Magazine (New York, NY, USA)
   Issue: No. 190
    Date: Aug, 1994
 Subject: Review - Sometime Anywhere

      By Tom Lanham

If Roger Waters had never left Pink Floyd, what would the band sound
like today?  Chances are, a lot less like the tranquilized Division
Bell and more like the tranquil Aussie outfit the Church, on its
dreamy, dreary new Arista disc Sometime, Anywhere.  Pared down to a
core duo of cynical singer/ lyricist Steve Kilbey (the Waters figure)
and fluid, filigreed guitarist Marty Willson-Piper (who approximates
the Floyd's David Gilmour in tone and texture), the once- jangling
group has summoned up a surreal, bewitching mood piece somewhere
between Wish You Were Here and The Wall, and album that would play well
by candlelight in a hilltop haunted mansion.

A couple of segments clog Kilbey's slow- pulsing artery - the clumsy,
veiled vitriol of "The Maven" and the disjointed Willson-Piper vocal
exercise "Fly Home", for instance.  But he wheezes so suggestively from
delicate six- string- and- synthesizer platforms like "Day of the
Dead", "Lost My Touch" and "My little Problem", you're immediately
drawn in.  As far back as 1981's definitive, "The Ungaurded Moment",
Kilbey was sneering on most of humanity, and now it's become his stock
in trade:  Stepping over the dainty guitar notes of "Lullaby," he
hisses, "A doom is on this child, that I can see / He don't belong in
this time with you and me / His life will not be very long / Before you
know it, he will be gone." Not your standard children's bedtime fare.
In the flamenco- tempered "Loveblind," he's a hardboiled detective
piecing "together clue by clue / just what a faceless man would do."
And- surprise!- the singer himself is the faceless man at the song's
film- noirish finale.

Throughout the set, ethereal female backing vocals waft in, a la Dark
Side of the Moon, and underscore Sometime Anywhere's somber Floydian
themes.  And it's obvious - even on a mostly forgettable seven-track
bonus disk - that Kilbey and Willson-Piper need each other for yin-yang
balance, a lesson Waters and Gilmour seem to have long ago forgotten.

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