Actually, that's not entirely true. While the Pope and I do see eye-to-eye on many great albums, really what we see eye-to-eye on the most is that music is an entirely personal affair. What moves one doesn't necessarily move the other. And in the end, that's the greatest thing about what we're doing here at the Ripple. We respect everybody's individual taste. We're not here to tell you what's good or great, that's for you to decide. What the Pope and I are actually here to do is to spread the word on the music WE love, and tell you why. In the end, the best we could ever hope for is that our enthusiasm and wandering words (and video samples) will pique your interest enough for you to research out the disc and make a decision for yourself. In doing so, maybe, just maybe, we can help open your ears to a sound that you may have missed.
So while the Pope and I completely respect each other's innate right to like whatever piece of music we like, it still doesn't mean that we always agree. Case in point, The Church.
To be honest, upon listening to this disc, the Pope didn't get it. I, on the other hand, have listened to The Church since their "Unguarded Moment," debut, enjoying their haunting, meditative brand of neo-psychedelia. And while I'll be the first to agree that Gold Afternoon Fix isn't a perfect album, not necessarily even The Church's best, (that honor probably goes to Heyday, the Blurred Crusade, or Starfish) there's still a great deal here to enjoy.
Coming on the tail of their breakthrough America hit, Starfish, and the surprise hit “Under the Milky Way,” Gold Afternoon Fix should have been the album that broke the band wide open in America. Unfortunately, it wasn’t to be. Since their debut in 1981, The Church had been perfecting their blend of post-punk neo-psychedelia, ominous and ethereal, highlighted by the jangling Byrds-like guitar interplay of the excellent duo of Marty Wilson-Piper and Peter Koppes, the steady beat of Richard Ploog and the thick melancholy captured by the monotonous baritone of singer Steve Kilbey; all underneath the conscious radar of most American listeners. Already big in their native Australia, when “Under the Milky Way,” a shimmering slice of pop psychedelic heaven broke through the American top 40, all eyes looked towards the band to finally fulfill their potential and rise to the level of an Australian R.E.M. or even U2.
Buy here: Gold Afternoon Fix