arrowHome arrow Written arrow Press Reviews arrow Boston Globe reviews Church 1990 concert Tuesday, 21 November 2017  
The Church
  All I ever wanted to see...was just invisible to me.
Lyrics (ext. site)
Discography (ext. site)
Image Gallery
Video and Audio
Guitar Tab (ext. site)
- - - - - - -
Buy Church Music
Contact Us
- - - - - - -
Old Shadow Cabinet
Top Sites

Official band site
Official Site


Discography and Lyrics
Discography, Lyrics, Tours


Hotel Womb - Bulletin Boards Dedicated to the Church Fan



Steve Kilbey's blog
Steve's blog

Immersion Music - Peter Koppes' label
Peter's Labels' Site


Spacejunk - Tim Powles 
Tim's Studio Site


Marty Willson-Piper's Official Homepage
Marty's Facebook


 Heliopolis - a Steve Kilbey site now hosted here

Steve Kilbey fan site, 

(archived here)

Boston Globe reviews Church 1990 concert Print E-mail
Friday, 15 June 1990

The Boston Globe

June 15, 1990

Concert Review


The Church: Metallic and moody

By Jim Sullivan

Globe Staff


At: The Orpheum Theater with The Blue Aeroplanes, last night

There?s the Church, a veteran new wave Australian band that has received much critical acclaim and, over the past few years, rather substantial album and concert ticket sales. There also exists a strong, semi-underground, LA heavy metal band called Metal Church. The only reason this Church is brought up in the context of the other - the Aussies - is that the two groups, which probably haven?t even heard of each other, have something in common. Something you wouldn?t know unless you were at the Orpheum last night.

Metal. About 2,000 folks heard the metal Church.

Not metal in terms of song structure or attitude. Metal, in other ways, which we?ll soon get to. But first some background: The Church, fronted by singer-bassist Steve Kilbey and flanked by the guitar tag-team of Peter Koppes and Marty Willson-Piper, are primarily masters of mood and atmosphere, mostly those which are pleasantly tangled and twisted. No hosannas sung in this Church. Even the Church?s melodically uplifting hit, ?Metropolis,? was played somewhat reluctantly. Their soundman said prior to the 110 minute set the band sometimes omits it, and last night Kilbey introduced it by mocking a somber radio intro he said he?d heard and said, ?In deference to that, let?s get it out of the way right now.? Gee, thanks, Steve. (This is a guy who, two years ago, greeted a packed Paradise with the words ?Where were you last time we played?? Probable answer: Home, ignoring mediocre Church records of the mid-?80s.)

The Church?s forte has always been a thoughtful, hook-driven pop sound, cut with psychedelic twists and infused with tales from the dark side. This it remains. The past two albums, ?Starfish? and the current ?Gold Afternoon Fix,? show a return to early ?80s form: introspective and hypnotic rock with strong hooks. Now, here?s where the metal kicks in. Last night, after a tepid beginning, the Church brought most everything up to the strata of moody metal. Nearly each and every selection - from ?Destination? to ?Russian Autumn Heart? to ?Reptile? - featured, in part, a guitar blitz from Koppes, Willson-Piper or both. By and large, they were worthy ones. By letting it scream and snarl all night long, the Church left you rather breathless. Koppes and Willson-Piper, both solo artists in their own right as is Kilbey, made their case as the best post-punk guitar duo since Television?s Tom Verlaine and Richard Lloyd. The Church harkened back to that era, too, via a cover of the Patti Smith Group?s ?Dancing Barefoot,? no doubt a not to ex-Smither and present Church drummer Jay Dee Daugherty. (Why is it everyone covers this song? So far the rankings are: Feelies, Church, U2.)

But as well as being left breathless, we were also left a bit bludgeoned - ears ringing, eyes squinting (they overdid mega-watt flashes from the stage) and throat dry (they may have broken Depeche Mode?s record for chemical smoke emissions). Often transcendent and overwhelming, the Church could have pulled back slightly. It seems they?ve forgotten how to let the moods linger and exert a gentler pull.

Every match for the Church in terms of songwriting, style and volume were the Blue Aeroplanes, a British septet that featured a non-musician, Wojtek Dmochowski, as a frantic dancer. Singer Gerard Langley held the center while up to three guitarists wove a hypnotic, frenzied tapestry around him. The Blue Aeroplanes, formed in 1984, pulled off that delicate balancing act of grace and danger with remarkable aplomb, ending it all with Langley?s bark, ?That?s enough.? If I were in the Church I?d be wary.

Transcribed by Mike Fulmer

Most Read

Mambo is Free Software released under the GNU/GPL License.
design by
Page was generated in 0.031177 seconds: Left = 0.010921, Top = 0.010845, Main=0.011294, Right = 0.019285 Bottom=0.011445

0 queries executed