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The Church - 2017 - Man Woman Life Death Infinity (FLAC)

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Music : Rock : Lossless
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Unorthodox Records UNO012.

1	Another Century	
2	Submarine	
3	For King Knife	
4	Undersea	
5	Before The Deluge	
6	I Don't Know How I Don't Know Why	
7	A Face In A Film	
8	In Your Fog	
9	Something Out There Is Wrong	
10	Dark Waltz	

Ian Haug, Peter
Koppes: guitars, keyboards
Steve Kilbey: bass, guitar, keyboards, lead vocals
timEbandit
Powles: drums, percussion, backing vocals
Amanda Kramer: additional keyboards, backing vocals

“Patience is a virtue,” said PopMatters’s own Jayson Harsin when reviewing the Church’s
Untitled 23. “[N]ewcomers might tire waiting for the group’s charms to percolate,” wrote a writer for
Mojo when reviewing the 2002 Church album After Everything, Now This. Fans of this long-standing Australian rock band
are already aware of how the Church’s best music rarely, if at all, jumps out at you on the first spin. Or the
second or third. Even within the converted, this barrier can still appear from time to time, through no fault of the
band’s.
But once a Church album cracks itself open to you, there’s nothing quite like it. There is
still potent chatter over the internet for albums like the post-punk masterpiece The Blurred Crusade, the critical
breakthrough Starfish and its spunky predecessor Heyday, and the dark, swirling psychedelia tucked deep within Priest =
Aura. For the Church, these transcendent moments with their audience are the norm, not the exception. And the fact that
an album as potent as Man Woman Life Death Infinity can pop up this late in a 36-year career in the music business is
just cake, with icing, and being able to eat it.
At a glance, Man Woman Life Death Infinity is a succinct release.
With ten tracks clocking in at 43 minutes, you would think they had trimmed away all that extra spaciness that puffed up
releases like Sometime Anywhere and the vinyl edition of Further/Deeper. But such moments are still there. The Church
have just become so skilled in incorporating them into their long-established sound that an album as concise as Man
Woman Life Death Infinity still soars, no matter what the runtime.
All the more impressive is just how well former
Powderfinger guitarist Ian Haug has settled into his new role. His arrival and subsequent work with the band
haven’t compromised a thing. There are many moments in Man Woman Life Death Infinity that can arguably have come
from multiple moments of the band’s history—“classic” Church moments if you will.
What
exactly do I mean by that? I’ll do my best. The keyboard that starts the opening single “Another
Century” should be enough to give you an “Aura” flashback. The miles-wide mid-tempo number “A
Face in the Film” would be an easy fit for any of those moody late ‘90s Church releases, while the nervous
energy that thrusts “In Your Fog” along reminds listeners of the band’s early ‘80s period when
they were young and hungry to prove themselves. And the e-bow guitar solo that wraps up the spritely “I
Don’t Know How I Don’t Know Why” surely has a cousin lurking somewhere in the band’s back
catalog.
If you have followed the Church this far into their career, you know that they don’t set out to
retread themselves. If any of it reminds you of Church past, that’s just a happy accident. They still reserve
space for a few new tricks, no matter how subtle they sound on the first five listens. The album’s second single
“Undersea” is one of those let’s-march-to-this-drummer-over-here moments where Tim Powles pulls out
one of his nicely non-standard beats. “Fly makes the honey, man,” sings Steve Kilbey, in a vocal melody
almost too simple to have eluded him for so many decades.
“Another Century” stitches together three
lovely little pieces of song to make a something simultaneously unique and insistent. Guitarist Peter Koppes knits it
altogether absurdly easily, despite the key changes. “Dark Waltz” doesn’t let us down gently at the
end. Haug and Koppes strike out deep, cavernous clangs from their strings in three-four time while Kilbey delivers a
spoken-word ramble that sounds like “Operetta’s” sinister twin: “And overhead the cameras idiot
gaze just blinks and leers / And you apprehend that the weekend that just ended / Has been gone for years.”
He’s borderline rambling while the backing vocals, possibly provided by Powles or Koppes, ominously repeat
something that sounds like “When I wasn’t there.”
Not a moment of Man Woman Life Death Infinity
is wasted. Sure, it takes a good two minutes for “Submarine” to get started, but no fan of psychedelia,
Krautrock, post-punk, Gothic rock, or ambient would consider those two minutes “wasted”. To these fans,
those two minutes of guitar noise as a key ingredient, just like the 12-string rolls of “Before the Deluge”
or the ghostly reverb of “For King Knife”. It’s not easy proclaiming the latest release by a veteran
band to be one of their best, especially when their long career is already speckled with many peaks. But damn it,
I’m staking my claim here and saying that Man Woman Life Death Infinity deserves to go down as a 21st-century
masterpiece, a bright beam of light amid a generic musical landscape, and truly one of the Church’s greatest
releases. - John Garratt, popmatters.com   Show Demonoid some love with  BitCoin: 1DNoid2VRyfYn9T38Z1SZ5XncG7WMgCeUL How to get BitCoin? 
 

        
  

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