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Various Forget Yourself reviews Print E-mail
Monday, 21 June 2004
Posted by "miloguidosmom" on HotelWomb.com - thanks for doing the legwork for me :)  I couldn't sleep one night, and did a little googling. So here's a few FY reviews I don't think are posted elsewhere...if they are, sorry!

From Logo Magazine.com:

(four stars)

This, apparently, is The Church?s 17th album, but we though that of their last release, and the one before that. Whatever, that?s a lot of albums, and with every new release they do something different, something new. This time around the usual Go-Betweens/Associates/Blue Nile comparisons go to the wall, thanks to an ethic that demands ?turn up, plug in and make it up as you go along?. ?Forget Yourself? was written and recorded on the fly in an area so spacious and sanctified that it sounds like a real church, but was in fact Sydney?s Spacejunk studios. The results? Imagine U2 turning to understated psych pop in the company of David Gilmour (?Appalatia?) and Lloyd Cole (?Sealine?). Predictably, the results are magical, but then we said that last time out as well.

Michael Ornadet
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From The Cleveland Free Times

(2 1/2 stars)

The Church's Steve Kilbey is the Viggo Mortensen of rock 'n' roll. He's a bearded stud of charismatic gravitas ever willing to lead his men back into the fray. Now nearly 20 albums deep into its mildly psychedelic journey, the Australian four-piece heeds Kilbey's newest rallying call: ?Each bead of sweat/a message that you send/ an army of hips and trenches to defend.? That track, ?See Your Lights,? is classic Church, full of breathy, minor-chord sensuality. But such familiarity is a double-edged sword, and at over an hour, the similar-sounding Forget Yourself is overlong, its accumulation of dusky atmospherics as laborious as a trudge through Mordor.

Kilbey is not unaware. On ?Nothing Seeker? he sings in a low, serious voice reminiscent of Leonard Cohen, ?I'm sorry if I come across as thoughtless/I'm happy if I come across at all.? This deadpan poke at his brooding persona is edifying. The same effect is achieved musically on ?Telepath,? with its odd combination of Beach Boys harmonies and Arabic-flavored arpeggiated guitar. As the album's tastiest track, ?Telepath? evokes the Church's definitive moment, its 1988 single ?Under the Milky Way.? Back then, the video for that nugget of jangling space rock spun in microwave rotation on MTV alongside clips from fellow Aussies Midnight Oil and INXS. That's both a measure of how long ago the Church's commercial heyday really was and a testament to the monolithic durability of it's sound.

- Peter Relic
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From Hour.ca

(3 1/2 stars)

A sneaky album. Grizzled veterans of the music biz from Down Under, these guitar scenesters have been peddling dreamy passion pop since you were in diapers. Jangly Australian psychedelic rock with suave crooning makes the ladies swoon, and tricky guitar plucking makes the gents uh, swoon. It's the reason The Church are still around. As Steve Kilbey (he of the swoony vocals) and Marty Wilson Piper (he of the swoony guitar playin') slither toward their silver anniversary, they deliver another shimmering disc proving there's still plenty left in the tank.

John Sekerka

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From Hear/Say

(3 stars)

Forget yourself? Some people have a hard enough time remembering that the Church , Australia 's reigning veterans of orchestral veneer, are still active and as prolific as ever. Not the quartet's fault, really; throughout a career now approaching its 24th year, it just hasn't been able to match the mid-?80s cult popularity that culminated in its best-known hit, 1988's "Under the Milky Way." But what the Church delivers -- enveloping, swirling, almost aquatic pop songs -- it delivers well. Guitarists Marty Willson-Piper and Peter Koppes have a singular chemistry and a gorgeous, artfully entwined sound. Steve Kilbey's wearied, near-whispered vocal is still immediately warm and familiar.

Drummer/producer Tim Powles admirably anchors the proceedings. The splendid, violin-inflected "Maya" and five-minute janglefest "Telepath" make up the CD's best moments, the latter opening with Beach Boys harmonies that give way to floating, echoing melodies and guitars, crescendo from gentle to fevered, then alight like leaves falling to the ground. Still, something about the Church doesn't seem to fit this new millennium. There are two ways to read this: Loyal fans will likely trumpet the band as timeless; detractors, however, might argue the Church is irrelevant. But with its dedicated songwriting ethic and comfortably lush sonics, the Church sounds like it?s exactly where it wants to be right now.

- Mark Woodlief
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