We could seriously dedicate a single writer full time to cover the creative output of Steve Kilbey over a year, and the release of ‘Eros Zeta and the Perfumed Guitars’ with The Church and the imminent release of his project with Martin Kennedy (‘Premonition K’) illustrates my point perfectly. Will no one think of the poor reviewers? All joking aside, the creativity of The Church and associated projects is a gift that keeps giving.
‘Eros’ is a companion piece to the magnificent ‘The Hypnogogue’ released last year (see my review here), and was only available at the rash of US gigs The Church did last year, much to the chagrin of many completists around the world. It is now available to the general public along with a companion book, ‘Eros Zeta and The Hypnogogue’, written by Kilbey in his lyrical and elegant prose serving to expand the universe that he created with these two albums, which is now available wherever eBooks are sold.
Over the course of fifteen tracks, the album serves as a continuation of the dystopian storyline, picking up the loose narrative thread of a failed rockstar (Eros Zeta) trying to reclaim his faded glory through the use of a dream extractor, ‘The Hypnogogue’.
It is remarkably the band’s 27th studio album and shows no dimming nor dilution of the creative light.
Opening with ‘Realm of Minor Angels’, the brilliance of the evocative lyrics, Kilbey’s endless treasure chest of imagery and melody and the powerful instrumentation from the revitalised members of the band serve to herald the shimmering beauty of the album. The delicate guitar riff hovers over the jangling guitars and Kilbey’s distant observant delivery combine to create something sparkling and iridescent.
‘Pleasure’ enters with the haunting vocals far in the distance before kicking up the pace and launching into another anthemic pure pop masterpiece with a psychedelic hue which continues into ‘Amanita’ which has a shoegazey fuzzy hue amongst the cascading guitars and thrumming bass. ‘2054’ floats in the ether above a hazy synth and dappling guitars with Kilbey’s wry lyrics about the financial vicissitudes faced by his protagonist (my guitar is in hock) which captures our own anxiety-ridden world. It is an ethereal track that has a hypnotic dream pop flow. It is a dramatic and stately track.
‘Manifesto’ jangles with the shine of a Johnny Marr guitar track infused with a folkish sparkle and Kilbey’s vocals far away in the distance, half spoken, whereas ‘The Immediate Future’ has a more esoteric psychedelic haze and ‘Sublimated in Sound’ has a dreamy edge with a warped synth frill hovering in the distance.
‘Song 18’ has a soul-infused delivery that is dramatic and bold, ‘The Weather’ a funky beat and surreal delivery carried on a percussive scratch, ‘Korea’ a sweeping balladry whereas ‘Song from the Machine Age’ a prog rock drive over a driving beat and liquid bass.
‘Sleeping For Miles’ sparkles and shines with the most delicate frills of guitars and a roaming bass while ‘Last Melody’ is delivered over a warped organ buzz.
‘A Strange Past’ picks up the pace with its arpeggiated guitars and wandering synth, accompanied by a psychedelic video:
The album ends with ‘Music from the Ghost Hotel’ – a fitting conclusion over an e-bowed guitar as the album reaches its inevitable conclusion with an ethereal instrumental.
‘Eros Zeta and the Perfumed Guitars’ is filled with dreamy sonic jewels that fit together like an opera: shimmering, sparkling vignettes carried in the arms of melody, the music dynamic, animated and layered, the lyrics mystical and immersive. The Church just continues to produce the most enthralling euphoric music of their storied career and the light shows no sign of dimming. Quite extraordinary.
You can buy, download and stream the album here through Easy Action Records.
The band is on tour again in the US (their second home) along with the Afghan Whigs – details and tickets here.
Feature Photograph: Hugh Stewart
