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THE CHURCH Man Woman Life Death Infinity
( Unorthodox )
The Church ’ s 26th album finds the Australian psych-pop legends fully engaged and pushing at the edges of an already expansive sound . Man Woman …" is the Australian psych-pop legends ’ second LP with former Powderfinger guitarist Ian Haug . Old fans are forgiven for missing departed guitarist Marty Willson- Piper ’ s frenetic fretwork , but the accomplished Haug joins founding member Peter Koppes to create an alternative yet still-familiar form of intertwining alchemy that ’ s perpetually gorgeous and enveloping . Singer and bassist Steve Kilbey ’ s impressionistic and cinematic lyrics are spiked with flashes of wit and cynicism . “ Nature loves a winner ,” he sings during the krautrock-influenced “ Submarine ,” concluding the rhyme with the warning punch line , “ We ’ re gonna end up some creature ’ s dinner .” Beside him , Koppes ’ guitar chimes , swoops and darts across the speakers like a silvery fish in sun-dappled shallows . Drummer Tim Powles ’ savvy , soulful , space-rock swing during “ Dark Waltz ” is spiked by fills that echo Ringo Starr on the Beatles ’ “ Come Together ” and Nick Mason ’ s perfectly laconic vibe for Pink Floyd . Other songs like the urgent “ Before the Deluge ” ( which could have suited the band circa 1986 ' s Heyday ) and the hypnotic , sitardroning “ Undersea ” include further water references , weaving an elemental thread throughout the album . Those who enjoy hearing measured and moody music in their headphones will delight in return visits to “ Another Century ,” peeling away the layers . “ A Face in a Film ” blends lush and languid Berlin-era Bowie with a deconstructed verse akin to the more spacious and mysterious excursions
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by The Police . Kilbey himself described the stately proclamations and childlike imagery of “ For King Knife ” as “ a fairy tale sung with wide-eyed wonder by a naughty boy .” As with Further / Deeper ’ s “ Miami ,” Koppes echoes 1988 ’ s Starfishon “ I Don ’ t Know How , I Don ’ t Know Why .” If this challenging , compelling and eminently listenable stuff is the work of a 37- year-old band , I hope they make it to 50 . ( thechurchband . net ) Appearing 10 / 6 at Park West , Chicago .
--Jeff Elbel
9
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KEVIN LEE & THE KINGS Sticks & Stones
( Self )
Kevin Lee is one of the originators and survivors from the era of massive major label signings that took place in Chicago in the early ' 90s when Smashing Pumpkins , Liz Phair , Veruca Salt , Fig Dish and Urge Overkill were scooped up and signed to big record deals . Even though the band had a cup of coffee with MCA records back in the age of Seinfield and Mad About You , he established himself as a songwriter who knew how to deliver big hooks with dueling guitars .
The title track meshes sweet ' 70s AM radio harmonies with a ripping Angus Young-ish riff from guitarist Michael Kurtz , while " Nothing To Lose " mines the best DNA from Off Broadway . Perhaps Lee ' s best moment on the record , the anthemic " On Top Of World Tonight " deftly blueprints some of the great power pop that ' s come from the midwest - Cheap Trick , The Insiders and Material Issue . Two decades later Lee and the band including Kurtz , bassist Patty Prendergast , and drummer Erik Strommer tackle what they do best on their newest record - power pop in it ' s purest form , with bit of edge . There ' s nothing groundbreaking for longtime fans , Lee and the Kings stick to what they know best . As an added bonus , live versions of Sticks and Stones are even edgier than on the record - making the band a great listen both on record and in a live setting .
Appearing 10 / 21 at MT Barrels , Schaumburg
- Mike McKewon
7
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BLACKFINGER When Colors Fade Away
( M-Theory )
Hardly anyone can argue that Chicago ’ s Trouble is one of the progenitors of doom metal . Charismatic vocalist Eric Wagner , with his legendary voice , has since left the band and has not only created The Skull with fellow ex-Trouble mates Ron Holzner and Jeff " Oly " Olson , but has just released his second album under the Blackfinger banner , When Colors Fade Away . The opener and title track is a slow-grinding affair decorated with powerful Sabbath-ian riffs . It ’ s not the most explosive of openers , but it sets the mood for the rest of the album . Sludgy riffs , jazzy rim shots and pulsating bass lines makes up the awesome “ Can I Get a Witness .” The band revisits this similar formula later on with the twangy “ Waiting for the Sun .” Although Wagner doesn ’ t hit those ultra high notes like back in the day , he utilizes more of his lower / mid-range croon to pleasing results on their nine melodiousyet-crushing tracks . There will always be comparisons to Trouble since Wagner was the voice of that band for many years , but When Colors Fade Away is a great addition to Wagner ’ s other endeavors .
– Kelley Simms
8
L . A . GUNS The Missing Peace
( Frontiers )
The Missing Peace is the reunited L . A . Guns ’ first studio album in 15 years to feature guitarist Tracii Guns and vocalist Phil Lewis . From the opening riff of “ It ' s All The Same To Me ,” it sounds like classic ’ 80sstyled L . A . Guns all over again . First single “ Speed ” has a familiar vibe while it pays homage to Deep Purple ’ s “ Highway Star ” on one of its verses . It may seem cheesy at first as it ’ s easily recognizable , but it works . “ A Drop Of Bleach ” and “ Sticky Fingers ” also possesses that classic L . A . Guns vibe while the ballad “ Christine ” is no “ The Ballad of Jayne ” from the band ’ s sophomore album Cocked & Loaded , but it ’ s just as catchy . “ Baby Gotta Fever ” is a little repetitive on the chorus , but it sticks in your head just the same . Unfortunately , the album ’ s intensity wears off a bit from the midway point with more ballads than needed . However , the raucous “ The Devil Made Me Do It ” is a fun tune , while Guns gets to show off his Flamenco-styled picking skills on " The Missing Peace " and album closer “ Gave It All Away .” The Missing Peace is L . A . Guns ’ welcomed comeback album , and for the most part hits its mark . Appearing 10 / 28 at Big Shots , Valparaiso
– Kelley Simms
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THE CARS Candy-O ( Expanded Edition )
( Rhino )
This re-issue of The Cars second album from 1979 magnifies the skillful manner this little rock band from Boston balanced the divide between late ' 70s rock band and burgeoning new wave band . Few bands of the era could dip into fan bases on both sides of the divide . While bands like The Knack ( popular in ' 79 with their breakout album Get The Knack ) seemed like a novelty at the time with their LA session background , Beatle nods , and frat boy lyrics – the Cars were a real rock band seasoned in the same clubs as Aerosmith with some serious musicians to back up their hits .
With a debut album that spawned multiple Top 40 hits , one could forgive The Cars for taking a step back with a sophomore slump . But in many ways Candy-O is the album that should define The Cars at their peak . Bonus tracks here – delivered in demo form , show the band was ready to make a rawk record . But after Greg Hawkes multi layered synths were a added , and Elliot Easton ' s jangly guitars were compressed , songs like " Let ' s Go " and " Dangerous Type " were transformed from punky anthems to new wave hits with a garage band sensibility . Considering the mood of the time , and the bands that were beginning to make their mark ( Talking Heads , The Clash , Elvis Costello and the Attractions ), these adjustments made by the band and producer Roy Thomas Baker , in hindsight seem like a good call . With the album charting at # 3 on the Billboard chart , it seems it was commercially wise as well . Speaking of Costello , " Lust For Kicks ," could have been culled from the Stiff Records catalog . The " monitor mix " version with Hawkes ' Farfisa organ riff is even more targeted for suburban new wave kids .
Blessed with two vocalists that sounded virtually identical with their dissonant croon ( guitarist Ric Ocasek and bassist Benjamin Orr ), Candy-O defined Ocasek ' s radio friendly tunes that were a clear opposite of music dominant on rock radio at that time ( Led Zeppelin , Styx , Foreigner ). Yet at heart , they were a rock band . Elliot Easton ' s guitars dictated it . And Candy-O was the perfect marriage of new wave anthems and rock sensibility .
- John Vernon
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