The Church - Of Skins and Heart (1981)

«Best known for the shimmering "Under the Milky Way," their lone Top 40 hit, the Australian band the Church combined the jangling guitar pop of '60s icons like the Byrds with the opaque wordplay of frontman Steve Kilbey to create a lush, melancholy brand of neo-psychedelia rich in texture and melody. Formed in Sydney in 1980 by vocalist/bassist Kilbey with guitarist Peter Koppes and drummer Nick Ward, the Church recruited second guitarist Marty Willson-Piper before debuting the following year with Of Skins and Heart, an evocative collection highlighted by the ringing "The Unguarded Moment," a major success down under.

On their debut, Of Skins and Heart, the Church play straightforward pop/rock firmly rooted in new wave, though owing no small debt to '60s pop. Edgier and more direct than their later work, it also ranks among their finest for that very reason. None of the excesses and ambitions that would sometimes get out of hand on later releases are present, though much of the band's basic formula was laid down — Steve Kilbey's cool, detached vocals and slightly surrealistic lyrics combined with some outstanding pop hooks, nice harmonies, and layers of ringing guitar. The classic "Unguarded Moment" (arguably one of the greatest singles of the '80s) overshadows much of the material on the album, but there is really no shortage of great songs here.

2002 Aussie remastered reissue of 1981 album [the one ripped here] includes a nine track bonus disc featuring B-sides & videos [the latter not included here]. Includes original artwork from the vinyl release & revamped booklet with never before seen archive material.» (AMG & Amazon)

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The Rough Guide: Australian Aboriginal Music (1999)

«This collection of tribal, ambient, and folk music by Australia's aboriginal artists and tribes is an interesting snapshot of the various indigenous faces of Australia. Listeners will find much of the famed didgeridoo, sometimes as the cornerstone for tribal dreamtime rituals, sometimes leading the melodies in modern electronic pop music, sometimes setting the dark, ominous tone for ambient music. Highlights include Archie Roach's melodic folk tune "Native Born", a sweet lament about the loss of aboriginal land and culture; Gapu's "Celebration" with Rachel Nehanda Woods's lovely chant; and Ruby Hunter's "Kurongk Boy, Kurongk Girl". But make no mistake, the Rough Guide folks include enough traditional tribal chant to please those looking for authentic Australian aboriginal music. An excellent, comprehensive introduction». (Karen Karleski, Amazon)

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Zulya - Aloukie (1999)

«Multi award-winning Zulya Kamalova is the leading proponent of Tatar and Russian music in Australia as well as one of the most versatile and accomplished vocalists on the world music scene today. Since her move to Australia in 1991 Zulya has developed a totally original approach as an affirmation of her unique identity – an affirmation that takes her Tatar and Russian background to totally new places and in completely new ways. […]
A native of Tatarstan-Udmurtia region of Central Russia, Zulya began performing Russian and Tatar songs at the age of 9. Later she studied music and languages at university level. She made a dramatic decision to settle in Australia in 1991and inspired by the diversity of cultures began to share her music with Australians. Zulya’s first release in Australia, Journey of Voice (1997), a unique collection of vocal styles and traditions received accolades for its versatility, passion and the “achingly beautiful” tone of her voice. In the following years, Australian audiences have been able to witness the continuing rise of this unique musical treasure. Zulya’s later albums, Aloukie (1999) and Elusive (2002) have also been released in Europe and have been awarded and nominated for various awards […].These albums feature traditional and original songs in her distinctive Tatar style but with unusual instrumentation, presenting the traditional music from a new perspective.» (More at http://www.zulya.com/bio.htm)

«In Aloukie Zulya centers vocally on the hauntingly beautiful Tatar singing style, she grew up around in the heart of Russia. It is a sound originating somewhere in between Eastern Europe and Far East, that musicologists call "a bridge between Mongolian and Hungarian music." Zulya presents the traditional songs and the original compositions in a unique cross-cultural interpretation, celebrating the musical diversity she has experienced in the years of living in Australia. She says "Having settled here I realised the importance of not only sharing one's culture but also creating a unique Australian culture." Featuring a host of talented musicians she has arranged the songs using instruments as varied as didgeridoo, tabla, kora, double bass, bassoon, talking drum, thumb piano, flugel horn and piano accordion among others. Aloukie means a soulful song, that invokes memories of home. Zulya's crystalline voice shares the richness and strength of her culture whilst making a distinct new Australian sound.» (cdroots)

«Zulya Kamalova ist eine der wichtigsten Interpretinnen tatarischer Musik. Ein Grund für die ungemeine Faszination, die Zulya auf ihr Publikum ausübt, ist die offensichtlich Freude, die ihr das Singen bereitet. Selbst wenn Lieder von einer tiefgründigen Melancholie bestimmt werden, erscheint die Darstellung dieses emotionalen Reichtums dennoch als etwas grundsätzlich Erhebendes. Ihr Musikstil widerspiegelt das Aufeinandertreffen von Ost und West. Dazu kommt ihre Vorliebe, sich je nach Bedarf der musikalischen Elemente anderer Kulturen zu bedienen und auch solch ungleiche Klangfarben wie diejenigen des Didgeridoos, des Flügelhorns, des Akkordeons oder der indischen Tabla in ihren Stil zu integrieren.
Zulyas zweites Album Aloukie webt einen sehr markanten Teppich aus traditionellen und orginellen Songs mit Zulyas unverwechselbarem tarischen Stil. Aloukie wurde im Jahr 2000 zum “World Music Album des Jahres” bei den Australien World Music Awards gewählt. Bisheriger Höhepunkt von Zulya war die Auszeichnung “Artist Of The Year” bei den World Music Awards 2001. (indigo.de)

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The Chills - Kaleidoscope World (1986)

«The Chills were one of New Zealand’s best and most popular bands of the 80s, making a small but consistent series of chiming, hook-laden guitar pop. Both the songs and the arrangements were constructed with interweaving guitar hooks and vocal harmonies, creating a pretty, almost lush, sound that never fell into cloying sentimentality. Throughout their existence, the band’s personnel changed frequently – there were more than ten different lineups – with the only constant member being guitarist Martin Phillipps, the band’s founder. […]

Kaleidoscope World is the Chills’ essential document, although it’s not an album but a collection of tracks from early- and mid-80s EPs, singles, and compilation cuts. Perhaps that’s not surprising: the Chills are more skilled at crafting interesting odds and sods than sustaining interest over the course of an album, where their somewhat monochromatic approach tends to drag things down. The influence of Syd Barrett/early Pink Floyd is stronger on these early tracks than it would be on subsequent releases, both on the easygoing singalong numbers and the more experimental outings. The highlight (of both the album and the Chills’ career) is their New Zealand hit single, the haunting "Pink Frost."» (AMG)

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Pure Groove: Pacific Origin

Today

«Electronica, ragga, house, rhythm and blues, dance, all contemporary musical movements influence the musicians of the Pacific Islands…» This groovy European compilation assembles twelve tracks by bands and djs from Oceania merging modern Western and Caribbean influences with the traditional music of their homelands, mostly with good results. Featuring artists from Hawaii (Tony C, O-Shen), Fiji Islands (Black Rose), French Polynesia (Fenua, Electro Mana, Enzo), Australia (D.I.G.), New Caledonia (Poin Mou Dja, Edou, Tim, Triban Klan) and Solomon Islands (Toxie).

«Il existe de très nombreuses analogies entre les peuples des Caraïbes et des Iles Pacifiques. Si le reggae a suscité de nombreuses vocations dans le monde, c'est peut-être ici que cette musique a été la plus proche de l'esprit jamaïcain, qu'elle a atteint le plus d'authenticité en véhiculant autant de détresses et d'espoirs. Les groupes sélectionnés pour cet album donnent à penser que le reggae aurait pu naître dans les nombreux archipels de la zone pacifique dont sont originaires tous les groupes.» (LeLoupDuFaubourg)

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South Pacific: Island Music (Nonesuch Explorer Series, 1981)

Yesterday

Another fine release in the never too celebrated Nonesuch catalogue (see also the Faramarz Payvar post), reprinted in 2003.

«If you're looking for sweet singing, steel guitars, and the tourist trappings of the South Pacific, you'll need to look elsewhere. These 28 tracks are off the beaten track, but anyone keeping to the straight and narrow might find the results far more satisfying. Of particular interest are the songs and chants, like "Imenetuki," with some eerie, shifting harmonies from the Cook Islands, and the easy beauty of the Tongan "Faikava Love Song." The pan pipes of the Solomon Islands sound like no other, and "Pan Pipe Ensemble" has an almost modern European flavor to it, while the slightly dissonant harmonies of the female singers recall Bulgarian choirs. Over in the Gilbert Islands, the song "Te Kawawa" has an elastic quality, the single male voice sliding in microtones around the notes. A drum accompanies Samoan women as they sing a lullaby on "Tagi," the slow rhythm like a pulse beat. In other words, there's plenty going on here; it's an indigenous travelogue through the Pacific Islands. Beautifully recorded with stunning clarity, the reissue of this 1981 album is a delight.» (AMG)

Tracks:

1-4: Cook Islands
5-9: Tonga
10-13: Fiji
14-19: Solomon Islands
20-22: Gilbert Islands (Kiribati)
23-26: Western Samoa)
27: Tahiti (French Polynesia)

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Sodastream - A Minor Revival (2004)

«Sodastream's Minor Revival certainly references the downcast qualities of past work like Hill for Company. "Horses," for example, uses viola, urgent piano, and Pete Cohen's double bass to add real weight to Karl Smith's cracking vocal. However, a song later, the same instruments are joining with tinny keyboards and jangling guitar for something decidedly more upbeat. Nice filter on the vocal, too. "Blinky"'s pocket trumpet is just perfect, rising to meet Smith's chorus vocal. "Why hold steady when tomorrow's always turning bad?" he sings, but you begin to detect a little of the Australians' dryly sardonic humor here, because it's just too pretty a little pop song to be depressing. Though Sodastream continues to fall comfortably in line with the indie twee establishment, it's also delivered another strong set of songs, this time around informed with plenty of hope. Go ahead, check out "Chorus Line" and try not to sigh. "I want to meet in America," Smith says elsewhere, and proceeds through a pleasant litany of all the fun things to do there. In this way, Minor Revival is a simple yet totally effective representation of Smith and Cohen's straightforwardly gentle style. Its homey, organic production is also a huge plus. Other album highlights include the piano and double bass' playfully interlocking rhythms on "Nervous," and the lush sway of "Constant Ships," which sounds like a band of rustic intellectuals covering the Dirty Three.» (AMG)

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Note: Since Sharebee is upgrading its site and upload is currently unavailable (but download links are all working), today I opted for Megaupload. I’ll come back to Sharebee as soon as possible.

The Moffs - The Moffs (1985)

A great Sydney rock band from the 80s influenced by artists like Pink Floyd, King Crimson, early Yardbirds, the Byrds, the Beatles and various blues & psychedelic acts from the 60s, the Moffs were active from 1983 to 1989 and they released some vinyls on the Citadel label. They had an atmospheric and groovy sound (jangling guitars, bass guitar octave runs, Farfisa organs and, here and there, bells and chimes), and they also wrote a bunch of beautiful songs (Look to Find, I Once Knew) but probably they didn’t get all the attention they deserved. Here’s a chance to (re)discover them.

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