The Greek Theatre - Broken Circle

Reviewed by Kent Whirlow

The long-awaited second Greek Theatre LP has arrived! Lightning has indeed struck twice (thrice, if we're keeping count, as 2016's excellent The Sunniest Day EP, reviewed here, is surely not to be overlooked).

I am always hesitant to throw around terms like "instant classic", but this certainly fits the bill. The album kicks off with the wonderfully titled "Fat Apple (at About Noon)", which also happens to be the longest track on the LP, clocking in at over seven minutes and it really sets the stage for this beautiful record. For the initiated fan, within the first 30 seconds you will recognize that you are in familiar territory and in for a real treat (those unfamiliar with this brilliant Swedish outfit would do well to acquaint one's self with their first masterpiece here). Indeed, this is unmistakably The Greek Theatre that we know and love, a duo who have somehow managed to create a stunningly unique sound that I've not heard any contemporary band match. The guitar work is even better than ever, and that is saying something. As with all of their songs, there is a tremendous amount of depth and texture to the music. There is quite a bit going on, which is evident when you carefully listen to and study each track and start to understand how it somehow all blends together so seamlessly. This is psychedelic music at its very finest. There are some wonderful Folk, Country, and even Progressive Rock ingredients as well. However, dear listener, you may do yourself a favour and dispense with genres, labels, and any preconceived notions, as there is really no way to pigeon-hole the sound of this band. Just close your eyes and allow the music to take you to that special place that only music can do. The pacing of this opening track is brilliant; the introduction lures you in and it gradually starts to build, incorporating all sorts of instruments and arrangements and just takes off in a truly majestic flight. The trademark Greek Theatre vocals are firmly in place, buoyed by some outstanding interwoven guitar work.

"Paper Moon" will be instantly recognizable to those who have already had their ticket punched by way of their aforementioned "The Sunniest Day" EP, though a different version is present here with some new arrangements, resulting in a fuller sound this time around. Lovely swirling sounds in the background, beautiful harmony vocals which ring through clear as a bell, powerful drums, and some pretty mean bass playing are all components here. Again, some searing psychedelic guitar work takes center stage, along with some gentler acoustic guitar blended into the mix. "Still Lost Out At Sea" is the not-so-missing link to the classic first LP, both in terms of sound and, obviously, the title. A gentle, pastoral piece that is filled with reflection has a bit of a country feel to it, particularly in its slow shuffling, though subtle backbeat. It is uniquely punctuated by some sublime woodwinds. There is a terrific calming, contemplative mood woven into this track. The rhetorical question, "So, why am I lost out at sea?" cleverly recalls the lyric "Another year. lost out at sea" from the first album. However, make no mistake, this record is not merely "Lost Out at Sea, Part Two". The wonderful psychedelic journey continues, though what we have here is a brand new endeavor; this record clearly has its very own identity. The repeated lyric, "Love you even more..." somehow serves to reinforce the feeling of the record.

"Stray Dog Blues" marks the second appearance of a track first heard on "The Sunniest Day" EP, and as with "Paper Moon", it fits in perfectly with the album. A delicate masterpiece, we are treated to new mix of this track which differs from the EP version. Still present are the lovely female backing vocals in what appears to be a melancholic, though ultimately optimistic song offering up hope. In what I believe is the first instrumental piece from our beloved Greek Theatre, "1920" arguably serves as a short interlude that ties together the first and second parts of the record. Here we have some exquisite classical guitar work, with both a Spanish and Blues flavour sprinkled in. There is a careful dialog taking place between the various guitar parts here, a sort of unspoken story. It is, to me, unlike anything else in the Greek Theatre canon and one of the countless reasons to love this band so much - they are filled with so many surprises and cannot be nailed down in any singular way. The album's title track, "Broken Circle" fires up the aural cauldron for a delectable ambrosial psychedelic stew. There's a terrific driving organ that reminds this active listener just how important Rick Wright really was to Pink Floyd. I, for one, am waiting for the hour long out-take of this truly spellbinding jam, though I fear that particular dream may go unfulfilled. Things start to wind down into a calming, plaintive bridge with a lovely flute passage and the journey continues with a chorus of the song's title. A timeless, epic track, this is surely one of The Greek Theatre's finest moments. This piece is a testament to the power of music; there's an embarrassment of sonic riches somehow crammed into less than six minutes. The musicianship is truly stellar here, every little nuance is expertly crafted and fits together perfectly.

"Ruby-Khon" features some graceful layers of intertwined acoustic guitars and gentle, ethereal voices. Imagine yourself floating on a cloud and this is the perfect soundtrack to accompany you. And that may serve to exemplify what The Greek Theatre does so eloquently. They effortlessly take you to places where time and space cease to exist, they unlock that secret combination to one's imagination and allow you to be transported to a magical world. "Kings Of Old" begins with an almost unassuming introduction, but soon launches into a full-throttle psychedelic adventure, anchored by the record's most intense drumming. The album closes with "Now is the Time", which slowly winds things down and offers the lyric, "I saw you smile", which is outlined with cautious optimism and endless possibility. Soaring harmony vocals are joined by a splendid brass arrangement culminating in a grandiose farewell to a truly special record. If this is not the finest release from 2017, I'll gladly eat my hat.

Lastly, it must be noted that the production of this record is truly excellent, so if you're Bandcamping, don't short-change yourself with an mp3. Buy and download a lossless version and you'll be treated to a glorious 24-bit recording.

Vinyl available direct from the label here, digital through the Bandcamp link below:

The Greek Theatre - The Sunniest Day EP

Reviewed by Kent Whirlow

The Greek Theatre's debut LP "Lost Out at Sea" is absolutely brilliant and, for my money, they are the best outfit to be found on Bandcamp. So naturally, my expectations were extremely high when this lovely EP appeared. And it surely does not does not disappoint. The EP kicks off with the title track - instantly recognizable as The Greek Theatre, yet still sounding quite different from their wonderful debut. It starts with a lovely blast of trumpets, thundering drum rolls, warm soaring vocals and some nice, twangy country guitar, beautiful acoustic guitar, pedal steel - a stunningly complex track, so much going on here. Musically, I fail to see how this could not appeal to fans of Scott Walker's first four solo records.

Next up is "Stray Dog Blues", a gentle introspective song with some really sweet vocals, flute, and nice harmonizing female backing vocals. This song, too, is complex though in a rather unassuming way. With each listen, I am picking out something new from the many layers. The timing of the arrangements on this track is truly impeccable and the song has both a melancholic and pastoral feel to it.

Rounding out this gorgeous EP is the mysterious "Paper Moon", another track filled with an exquisite layering of sounds, all so cleverly constructed. They take you on a dreamlike journey from the outset with all sorts of sounds conjuring up so many intriguing thoughts and images. There's some terrific bass playing which anchors this track, not to mention some very fine guitar work. I'm truly astounded by how much they have compressed into just five and a half minutes in this last track - there is more to enjoy here than most bands can manage to deliver in an entire LP. It truly gets better with each listen, it all just resonates so beautifully.

This is easily my favourite release of 2016, and that's saying something, as it has been quite a stellar year for music thus far. Highest possible recommendation!

Editor's note - The Greek Theatre's second album isn't far away either. I've had a sneaky listen, and it won't disappoint. Stay tuned!

Stream or download the EP through the Bandcamp link below. Extremely limited vinyl available here.

The Amazing "Picture You"

Reviewed by Kent Whirlow

Well, finally - the wait is over, and it was worth it. "Picture You" is the much anticipated follow up to 2011's wonderful "Gentle Stream" from Sweden's The Amazing. The aforementioned release was a tough act to follow, but it did not take much listening to affirm that there would be no disappointment whatsoever with its successor.

The album begins with a lovely, swirling introduction titled "Broken" and it really sets the stage for what will be a very enjoyable listening experience for just over the next hour. I cannot always quite identify everything that Christoffer Gunrup (vocals/guitar) sings and that does not hinder things one bit; in fact, it is an essential part of the band's sound - it really provides a pleasantly mysterious element, so much so that I was relieved that there was no lyric sheet inside. I don't really want to know all of the words; it would sort of be like buying a jigsaw puzzle already assembled. Now, where's the fun in that? He has a fantastic voice and it is very unique, and I would venture to say that his vocal delivery is not too unlike the better moments of early Red House Painters records, merely as a point of reference. And, yes, that is meant as a compliment.

Though Christoffer is squarely at the forefront, it is clear that this band is very much a group effort. Gunrup is joined by the well-known (for good reason) guitarist Reine Fiske and a third guitarist, Fredrik Swahn, who also handles keyboard duties. The interplay of the guitar work is truly nothing short of beautiful. One thing that is immediately noticeable (and recognizable from the previous record) is the jazz-inspired drumming by Moussa Fadera. I'm not a musician and cannot really speak to the technical bits, but his playing just sounds so precise - never, ever too much, but always enough. As delightful as the three guitars and the vocals are, it would be a mistake to say that that alone defines the band's sound. The drums are surely an important component as well, and Fadera's contribution is spot-on. Alexis Benson rounds out the rhythm section on bass, tying it all together. If I'm not mistaken, I believe that Fiske, Swahn, and Benson all contribute backing vocals. The musicianship in this band is impressive, to be sure, but what is perhaps the best thing about them is how they all seem to connect with each other. Though all are accomplished players and certainly capable of "showing off", no member ever does this; you get the sense that each member is playing his part to support the other musicians in the band, not to stand out or draw attention to himself. And the whole band is elevated to new levels because of that.

I feel safe in saying that they have crafted a sound that is unique to them. One who is already familiar with the band could walk into a record store, hear this record and surely recognize the band. But make no mistake, this is entirely different from a band whose songs all sound the same. Consider the analogy of Monet: his paintings are quite recognizable, but you surely cannot argue that they all look alike; each one has its own unique beauty and identity, as do these songs.

The title track, "Picture You", delivers that intricate interplay from all members; there is so much going on in this song that it is hard to dissect it, not that you need to in order to enjoy it. They've perfected a subtle complexity; despite there being so much going on here, at no point do things sound cluttered or "busy". In fact, if for some reason I were tasked with describing this band in just two words -- albeit a somewhat ludicrous proposition -- I would choose "subtle complexity". Some of the little guitar bits are just infectious enough that they will surely be running through your mind long after the record is over. There's an intensity that builds in an almost imperceptible manner. The listener is like the fly that is so busy watching the spider that by the end of the song, he is unaware that a complex web has just been spun all around him.

"Circles" is a relaxed, dreamy track and one that really showcases the fine production of this album; everything is balanced just right; nothing is buried in the mix, nothing sounds lost. Great care was obviously taken during the recording process and it shows. And it matters. The band really does a fine job blending both electric and acoustic guitars.

Despite the fact that the album is over an hour in length, at no time do things drag or feel as though they've been drawn out unnecessarily. "Safe Island" is no exception, and if I did not see that the song is eight and a half minutes long, I would never even think about it. Length does not really matter with these songs; they just work simply as they are. This song has a real driving force and beautifully morphs into an incredibly intense wall of feedback.

For lack of a better description, I just feel like I'm very gently floating down to earth in "To Keep It Going", coming out of some sort of dream state. There's a mellotron here that is put to great effect. There are layers upon layers of sound here weaving together a really lovely piece, with some terrific hushed vocals towards the end.

My personal favorite track on this album is "Fryshusfunk". The song builds and builds and builds and then really cuts loose as a Floydian jam with some absolutely searing lead guitar and lovely swirling organ that would surely make Gilmour, Waters, Wright and Mason proud. I only wish it were longer. If there's an extended outtake of this, I'd sure love to hear it!

It should be noted that the tracks on this album demonstrate a thoughtful flow; they were not just thrown together in random order, and that helps to define the album as a whole.

"Tell Them You Can't Leave" employs more backing vocals than most of the other tracks and that great twin electric guitar sound is topped with just a little acoustic guitar. Nice.

On the first few listens to this record, you just don't know what is coming next. I'm still trying to take it all in. As with many great works, I most definitely hear something new with each listen, and what a joy that is. "The Headless Boy" is one of the gentler compositions and it certainly has its place here.

There is a terrific guitar tone on "Captured Light" with some very cleverly layered harmony vocals. It's got a thick, lush presentation and keeps you guessing as to where it will take you next, culminating in a delicate ending.

"Winter Dress" closes out the record with a swirling introduction and arguably the finest vocals on the album. Gunrup has a real gift for delivering emotion with his vocals and this song truly is the perfect ending to an outstanding journey, one that will undoubtedly reward the listener for many years to come.

I do realize that it is only February and I don't wish to place the cart before the horse, but I feel absolutely comfortable in stating that "Picture You" easily belongs on a future "Best of 2015" list. It's already on mine.

Available here on CD, and here on vinyl.
 

Album Review: Violet Woods "S/T"

Reviewed by Kent Whirlow

November saw the debut full-length release from Cambridge, UK's Violet Woods. And what a lovely release it is. "Electric Fascination" starts off with a rather ominous keyboard followed by a mysterious twelve-string guitar that slowly spins a musical web around the listener. The vocals are nice - just the right amount of reverb is present to create a beautiful sound without ever going overboard. The song begins to build with some fine guitar playing augmented by just the right tempo from the rhythm section. "Over the Ground" contains some really nice psychedelic flourishes - again, splendid guitar playing with that lovely keyboard bubbling under. By the time the track ends, we have been treated to a fairly intense workout.

Certain sixties influences are very prevalent here along with a little bit of Paisley Underground - but this record still manages to deliver a contemporary and fresh sound. "Here" has a pleasant West-coast feel to it. We are treated to some pretty intricate guitar playing and the backing vocals really are quite pleasant. There's a strange bit of a Deja Vu feeling that I get while listening to this album; I feel as though I already know it - however, that is not to suggest that it is too derivative of its influences - everything is sort of just in the right place; the arrangements work - and they work well.

"The Dancer" is the shortest track on the record and almost feels as though it is a lost classic plucked from the vaults of the sixties. It starts off with a very Byrdsy beginning (always a great thing) and progresses until, quite unexpectedly, the whole band really cuts loose and engages in a full-scale, surprisingly heavy psychedelic freak out.

"Take Your Time" is perhaps the most unassuming track, though no less enjoyable than the others. It really gives the band the opportunity to stretch out a bit. "What I Need" is fantastic; how can they possibly miss with this opening line: "Strolling through the streets of gentrification, wrapped up in a calico coat"? This really reminds me of some of the finest moments of the 80's - that great vibe as much as, if not more than, the music itself. The interplay between the guitar and the keyboards really works and things ultimately swirl into a very pleasant piece.

"Raw Love" was also a single from 2012 and a very nice pop-sike track that will transport you to a happier place. "Driftwood Royalty" probably sticks in my mind more than any other track; it really reminds me of Felt, which is surely a terrific thing.

"The River" is a fitting song to close out the album. The driving drumbeat, the haunting keyboard, subtle yet very effective backing vocals and furious guitar really seem to coalesce into a singular statement from a very promising band. This is an impressive debut, to be certain.

Vinyl, CD and digital all available here:

Album Review: Carsick Cars "3"

Reviewed by Kent Whirlow

There's been a vibrant indie-rock scene building in China for some years now, primarily in Beijing and Shanghai, but also with some talented bands from other areas. One of the most popular outfits, and for very good reason, is Carsick Cars from Beijing. Formed in 2005, they've become both very influential to, and well-respected by their peers.

They've released three records to date and this is their most recent, their third, the aptly-titled "3". It is the first record with the third line-up of the three-piece band, the only consistent member being bandleader, guitarist, and vocalist Zhang Shouwang (sometimes also translated as Shou Wang.) On this record, he is joined by He Fan on bass and Houzi on drums.

Released in February of 2014, this has resonated with me and grown to become one of my favorite records of this year. The Western influence is unmistakable; that the band has an affinity for Velvet Underground and Sonic Youth is quite obvious, but these guys are not simply churning out some second-rate copycat material. They have managed to create a very original sound. "3" was recorded in New York City, and interestingly, co-produced by Sonic Boom of Spacemen 3 and Hamish Kilgour of The Clean.

The vocals are a mix of English and Chinese. While this may not appeal to all listeners, I quite enjoy it. As I don't speak or understand Mandarin, it adds an element of mystery to the whole listening experience.

"Wild Grass" kicks off the album and wastes no time getting down to business. The bass lines are infectious, the drumming is intricate and the guitar work is excellent. These are three talented musicians, but what stands out is how well the musicians play off of one another. A very casual listen may mislead one to think this is just average indie rock, but that is certainly not the case.

"The Best VPN So Far", with its unusual title, starts to reveal a more experimental side of the band. Fortunately, these are not standard verse/chorus/verse songs; the band takes the listener on a rewarding adventure with many pleasant surprises along the way. One of the things that makes this record stand out is that it stands up to repeated listenings; I have not tired of it after several months of repeated play. The guitarist really has a knack for capturing feedback and channeling it into something beautiful and powerful. He's a fine player.

"15 Minutes Older", sung in English here, is one of the more accessible tracks. It brought a smile to my face when my four-year-old daughter starting singing along "No More!" to it in the car the other day. It's a catchy tune. Here's a great clip of it being played "live in the studio".

"Reaching The Light" starts off with a jagged beginning and launches into a melodic piece and you can really hear how tight the playing is between the members. There are some great effects pedals in use here. Each song is unique, yet the band clearly has a sound all of their own and the songs fit very well together.

"Wei Cheng" is a good example of how the drumming never gets boring. The drummer is doing a lot more than simply keeping time; he makes a significant contribution to the texture of the sound. Also evident are some nice harmony vocals. They really display a mastery of varying tempos throughout the songs, which keeps things interesting.

Also sung in English, "Midnight Driver" features some strong fuzz-guitar with a rich, thick sound. One thing that I really love about this record is how well it is mixed. Unlike so many records where the bass is simply lost, it really stands out in each song and the sound is all the better for that.

"Shelter Song" is more gentle track, sung in Mandarin, and while I admittedly have no idea what words are actually being sung, the delivery of emotions arrives intact. "Could You Be There" slowly builds momentum then breaks into an energetic song, with some inventive playing.

Also somewhat on the experimental side, "512" builds excitement with a galloping beat, and before long the listener is awash in a wild, though carefully calculated guitar freakout. Listening to this really makes me want to have the opportunity to see this band live someday.

Perhaps more than any other song on the record, "She Will Wait" proudly showcases the Velvet Underground influence. Clocking in at just under six minutes, the length of this song is just right; it really wouldn't have the same feeling had it been shortened.

The final track on the album, "White Song", begins with an interesting loop and I can't help but think of the opening to The Who's "Baba O'Riley" when I hear it. Of course, this is very different, but it recalls the way that Pete Townshend had cleverly programmed his famous synthesizer where it sounds repetitive on the surface, but gradually evolves and becomes increasingly complex as it progresses. Distorted vocals bleed in along with guitar, followed by thundering drums and things become increasingly intense. By the time the song ends, it is hard to believe that almost seven minutes have just passed.

The CD contains two bonus tracks, separated by three tracks of silence. First, there is another version of "15 Minutes Older", this time sung in Mandarin, and it is quite interesting to hear it in comparison to the earlier English version. The second bonus track is a longer version of "Wei Cheng".

It is a cracking good record and I'm happy to have it on my shortlist of 2014 favorites.

It was released in China on the independent Chinese label Maybe Mars, and Tenzenmen in Australia and is available via Bandcamp, Tenzenmen, and Far Out Distant Sounds.

Album Review: The Church "Further/Deeper"

Reviewed by Kent Whirlow

Back in 2009, Australia's The Church released "Untitled #23", a fantastic record which I loved then, and I still love now. I wondered how they were ever going to follow up such an outstanding album. Well, here we are in 2014, five years on, and here's the spoiler: They've delivered the finest record of their long and brilliant career.

I've listened to this around three dozen times now and, honestly, I am still hearing something new on each listen. This is a very complex record. It is clear that a lot of thought and practice went into making this masterpiece. These songs are expertly crafted. But, there's so much more going on here than technical prowess and fine musicianship. There's some real magic. There is no question that this will stand out for years to come.

"Vanishing Man" starts off with an eerie, mysterious beginning, and pretty soon it is unmistakably The Church. Steve Kilbey's voice (which has always been terrific) is in fine form, but what really shines is his delivery. As always, the guitars are superb - beautiful echoes weaving in and out, creating the perfect backdrop for Kilbey's wonderful vocals. Peter Koppes is surely one of Rock's most underrated guitarists. How he summons some of those sounds from a mere six (or twelve) strings, I'll never know. For the first time, Ian Haug joins the band, also on guitars, and he meshes perfectly with Koppes. It's hard to tell exactly who played which parts on some of the tracks, but one gets the sense that Haug's contributions are significant.

Guitars, guitars, guitars! They are everywhere on this record. But that is not all - as I said to a friend the other day, Tim Powles is the perfect drummer for this band. He really brings a lot to the table - hypnotic drumbeats, curious time signatures, just the right amount of drums, percussions, and keyboards in just the right places - all of those elements, always just enough and never too much. He's very involved in the production and engineering and it's quite clear he has a real gift for it.

"Delirious" is up next and a perfect example of the many joys that this record holds. It truly is the antithesis of a pedestrian effort; this is a very rich-woven aural tapestry full of twists and turns. Once you think you've got the song figured out, they peel off yet another layer and take the listener on yet another journey. Kilbey's lyrics will be running through your mind for days to come. The music is so intense at times, yet so fragile.

Next up we have "Pride Before a Fall", here's the official video. Honestly, it gets better with each and every listen. Kilbey's songs have a very "cinematic" feel to them, for lack of a better word, and I think this video strongly supports that claim.

The backing vocals are just beautiful on this record. There is so much going on in each song, that you really cannot process it all at once. I'll be listening to this for a long, long time.

The album is available in a double-vinyl release with 15 tracks, a CD with 12 tracks, and digital download, thus far only available from Australia here to my knowledge, with an international release due out soon. I purchased both the vinyl and CD, though the vinyl release has been delayed until likely December. I received an mp3 download (of the 15-song version) with my vinyl purchase and the CD arrived a couple of weeks later. Curiously, the track sequencing differs between the formats and I, for one, much prefer the mp3/vinyl lineup - it really has a nice flow to it. I presume this was done so that the songs fit when spread over four sides of vinyl.

So, with my preferred vinyl/mp3 sequencing, up next is "Laurel Canyon" and it is my favorite track on the album. What a gorgeous song; it starts off with a great warm, west-coast vibe and just goes off into a lovely, soaring amalgam of aural delights. It's all here - Kilbey's wonderful voice and mysterious lyrics, those hypnotic and impeccably timed drums, gorgeous background vocals, curious keyboard bits sprinkled in and, of course, acoustic and electric guitars everywhere!

The aforementioned track is flip-flopped with "Toy Head" on the CD version, a darker piece with some fantastic piano. Again, I have to stress just how much is going on in these songs - the listener really wants to concentrate on one thing because each element is done so well, but then you risk missing out on the rest, which is why repeated listens are so very rewarding.

Again, we have a variation in sequencing - the vinyl presents "Old Coast Road" (swapped with "Love "Philtre" on the CD, though both have "Globe Spinning" between the two.) "Old Coast Road" starts with an upbeat cautiously optimistic vocal delivery, but with that recurring mysterious undertow. This song, as are the others, are so unpredictable, which is much of the allure. Predictability in songs can be found on the radio for the less adventurous. There is so much variety here, but it is all neatly woven together in a manner that really works.

"Globe Spinning" is, simply put, psychedelic space rock at its finest. What an apt title - you can just feel yourself being hurled through space on a journey courtesy of an outfit that is truly worthy to carry the torch lit by the likes of Pink Floyd and Hawkwind so long ago. This is a band clearly firing on all cylinders with exquisite results.

"Love Philtre" has a delicate beginning and draws the listener in with all the nuances and poetic lines. It builds gradually and really has an epic feel to it. A majestic drum beat drenched in reverb launches "Lightning White" a few seconds into the song and heads into a tantalizing offering of splendid guitar work, delicate lines, backwards guitar (and not some boilerplate gimmicky effect, but done just right.) There is a great, pulsating bass line anchoring this big, big sound.

"Let Us Go" features some interesting keyboards and clever guitar lines and blended vocals. "Volkano" follows and is another excellent example in which there is much more to the song than appears on the surface, or at first listen. Each track on this album has its own identity, yet they all fit so well together.

The final tracklisting diversion: the vinyl/mp3 lineup inserts three bonus tracks here, the first being "Marine Drive" with some great pedal effects and layered vocals. "The Girl is Buoyant" starts of with determined acoustic guitar strumming and just when you think you have the song figured out, it shape-shifts into a very layered, swirling song.

"Xmas" is arguably the most stylistically diverse track on the album, with a prominent melancholic keyboard piece and some stellar lyrics that really get you thinking. It's a sad song, but also a beautiful one. My only quibble with Further/Deeper is that these three tracks were curiously omitted from the CD release, though I'm sure they had their reasons for this. I'm not one to be opposed to bonus tracks (especially on vinyl) but these do not feel superfluous to me in any way and they really fit well with the album, add to the splendor and just make it even better overall.

This leaves us to the absolutely outstanding "Miami" to close the album. It is graced with Kilbey's stream-of-consciousness lyrics (who else could possibly deliver a line like "I think Humphrey Bogart stayed there in 1943" so successfully?) This is a song that really seeps into your memory and you will find yourself thinking about long after listening to it. It is filled with beautiful acoustic guitar strums that are just impeccably timed. This is quintessential Church. The piece is simply exquisite, all the way down to the slow fade out.

Hats off to all for stellar performances, and of course, Kilbey is steering the ship as always - the man is unquestionably one of Rock's greatest geniuses. I had not expected 2014 to add to my 'Desert Island Discs', but it just has. This is perfection.

"Further / Deeper" is available here.