The Church Announce 30th Anniversay North American Tour

Last year I had the chance to see the Church on their supporting tour of Untitled #23. Now comes word that the band will embark on their 30th Anniversary tour here in North America.

From the Second Motion Records press release:

After three decades together, the church return to North America for a special 30th anniversary acoustic tour throughout April and May 2010. “An Intimate Space” will include songs that span the length of the church’s epic creative trip from their debut in 1980 to their latest critically acclaimed 2009 album Untitled # 23.

In a unique and unusual execution, the band will choose one song from each of their considerable album releases and perform them in reverse chronological order. This original show will have the audience gliding softly down through the years, opening with a track from Untitled #23 before embarking on a fantastic voyage through time ultimately arriving at their first Australian album, Of Skins And Heart where it all began.

This engaging and rare performance is not to be missed.

To make these shows even more special, every ticket holder will receive a free copy of Deadman’s Hand, the third EP from the Untitled #23 album. This EP will include the title track and unreleased tracks from the band’s secret vault. A must have.

Dates confirmed as follows with more to be added in the coming weeks..

The Church
An Intimate Space 30th Anniversary
North American Tour 2010


APRIL
2 – San Juan Capistrano, CA – Coach House
4 – San Diego, CA – Anthology
5 – Los Angeles, CA – The Roxy
6 – San Francisco, CA – Great American Music Hall
8 – Portland, OR – Mississippi Studios
9 – Seattle, WA – The Showbox
13 – Minneapolis, MN – Fine Line Music Café
14 – Madison, WI – Majestic Theatre
15 – Chicago, IL – Park West
17 – Cleveland, OH – The Winchester Tavern and Music Hall
18 – Ferndale, MI – The Magic Bag Theatre
19 – Pittsburgh, PA – Club Café
21 – Boston, MA - TBC
22 – NYC – City Winery
23 – Bay Shore, NY (Long Island) - Boulton Center for the Performing Arts
24 – Sellersville, PA (Philadelphia) - Sellersville Theatre
25 – Falls Church, VA (DC) - State Theatre
27 – Annapolis, MD – Rams Head On Stage

MAY
1 – Atlanta, GA – Center Stage

The Church - Untitled #23

Admit it. You’ve totally neglected The Church’s post-Arista records output and the fact that they’re closing in on nearly two dozen records surprises you. I’m not sure what prompts a band to stay together as long as the Church, but I do know their chemistry is as such that they probably haven’t released a bad record in all that time and with their most recent-Untitled #23-they sound even better than just being consistent. Indeed, it’s an album that finds them curiously inspired, exploring the nether regions of seductive guitar textures and layers of high-altitude chill.
Above everything is Steve Kilbey’s unmistakable voice-slight, comforting, and eerily ageless. What’s curious is how his understated delivery belies a pretty capable lyricist. As a matter of fact, nearly everything about Untitled #23 is pretty understated, and it’s easy to let its greatness get overlooked.
Yes, it’s a grower. And yes, with each spin you move a little more towards the heaven that these purveyors of psychedelia keep reaching for.
On “Space Savior,” Kilbey actually allows his voice to break a bit. The thing only utilizes two chords for over six minutes, yet the band’s repetitiveness is almost trance-like, with Steve spewing out stream-of-consciousness, only giving us the line “And I gotta get up! And I gotta get off!” to serve as a makeshift chorus.
The lead-off single “Pangaea” is as least as dreamy and infectious as the band’s most famous song “Under The Milky Way,” but it’s also clear that The Church hasn’t been spending the time since then wallowing in nostalgia, trying to recreate the same song. While the voice may not be demonstrating the ravishes of time, his words are now born from life experiences. Gone are those dreamy layers of love’s optimism. They now have hints of regret and mistrust while still remaining as aurally infectious as ever.
The album’s defining moment may be “Anchorage” which may explain why the band continues to dish out record after record, more recently in near anonymity. Through years of failed relationships, declining record sales, and a fickle public, The Church has found common ground and reliable kinship with each other. “Darkness/Returning/My torch keeps on burning” as it’s written in the track’s chorus, yet the band uses the spark of one another to light a path ahead.
It took twenty-two steps before Untitled #23 to get to this point, and the road to it was obviously filled with its share of up and downs, twists and turns. In the end though, it sounds like the band has come to turns with it and will continue to forge ahead with rewarding material regardless of how many of us check out where they’re at on the map.

This review originally appeared in Glorious Noise.

The Church Gear

One of the things that amazed me about the Church show I saw last month was the amount of aural textures the band created with what seemed to be very small pieces of equipment. True, the guitarists were utilizing more than a few pedals, but the suprising thing what how everything was powered by combo amps about the same size as the one sitting in your basement, attic, or garage right now.
I get that amplification often is an extention of a dude's penis and that when you see a wall of Marshall stacks, only one or two may really contain working parts. But I think it's pretty badass that a band as established as The Church is utilizing the utmost amount of efficiency in their live shows and not sacrificing a thing in sound quality.

WW: The Church has had a distinctive and influential guitar sound that has perhaps not received the recognition it deserves. If I may ask, what kinds of rigs and guitars have you used to create your unique sound?
Marty Wilson-Piper: I'll answer that question in three parts.
First of all, recognition is in the eye of the beholder. My top ten guitarists aren't in the Rock and Roll Hall of Fame. What does that tell you? Success is what it's all about? You know what, I know it isn't all about that. I know Rory Gallagher, Paul Kossoff, Bill Nelson, Richard Thompson, Tom Verlaine, Robert Fripp and whoever else I could think of in a row that aren't in the Rock and Roll Hall of Fame are amazing. I don't care what anybody thinks. I don't care if people agree with me, I accept it if they disagree with me, but those seven guys I just named off the top of my head, oh yeah and Harvey Mandel and Terje Rypdal, nine, I know those nine guys are not getting in the Rock and Roll Hall of Fame. So how can I care about getting recognition, if nine people I love, and who have been around and what geniuses they are since day one, aren't getting in there. If it isn't going to come around for them, it isn't going to come around for me. And the people who like what I do, that's enough. That's great. People come up to me and say, "Hey, Marty, I love the way you play guitar." Wow. Imagine being a guitarist in the world and having people say that to you. That's amazing.
I'm completely content with that, I don't need some kind of institution to recognize me. And if they do, great. If they do, I'll be grateful and then say, "Now let me tell you about Paul Kossoff, Tom Verlaine, Richard Thompson, Bill Nelson, Robert Fripp..." and that will be my speech.It's an emotional thing for me. I guess I've learned some kind of adept skills on the guitar but it was never about that.
If I do something that looks tricky, it comes from an emotional place. I'm interested in the tone, I'm very interested in doing something very different.
Having said that, I've listened to Derek Trucks, and he's amazing, and he's sort of a very traditional slide guitar player in a blues band, and he's completely the opposite of what I do, but I think he's brilliant. Or Jeff Beck, there's a real recognized amazing guitar player.
As for my and Peter's (Koppes) rig, we both usually use a Vox AC 30. He has a 50-watt Marshall and I have a 15-watt Orange. In the studio I've got a 100-watt Orange. I've got 3 '60s AC 30s and with a blend of those I come up with some sort of great tone. Peter has got an AC 30 and his Marshall 50 and he uses a kind of Danelectro amp, it's an effects amp. Sometimes he uses it for his tone as well.
For this tour Matchless have leant me an amp. So I've got a very colorful rig at the moment. My guitar tech Davida, who plays with me when I'm doing solo shows, she's leant me her 15-watt Orange and Matchless leant me their 30-watt amp. So I've got a green amp and an orange amp so I'm looking very autumnal one side and sort of springy on the other. So it might change my mood by just looking around. I might look around and go, "Ooh...the autumn sound." Anyway...Loads of pedals...I use a big, long Boss volume pedal, which is one of the most pieces of effects that I use in my rig. It has nothing in it but it sort of gives you expression with your foot in your fingers. Expressing notes with a volume pedal is an amazing thing. Of course I've got one of those OC-1, stereo chorus vibratos. The one I'm actually using on the road is Peter's, but I've got one in the studio in England. I've got one of those old Boss yellow pedals, the C-1s, I think they're called. I've got one of those funny green Line-6 pedals for reverse delay. I try to use the authentic stuff. I've also got a UE-405 Ibanez effects unit with a compressor, analog delay, stereo chorus and a parametic, which I never use.
I've also got an Electro Harmonix Big Muff but it sounds kind of muddy because it was fixed and has never sounded the same. When you're a guitarist you can tell the difference between muddy in a good way and muddy in a bad way. Mine is muddy in a bad way.
I've usually got a wah pedal but I may buy one on tour to use in places in songs where it makes sense. Usually I like to use [an Ernie Ball Crybaby.]
I've also got a '59 Jazzmaster; it's my main guitar. I also play a Roger McGuinn Limited Edition Rickenbacker 12-string, strung the other way around; it's got compressors in it. Rickenbacker, I must say, have been very kind to me. That guitar I just took in to get fixed up because it was in such a disgraceful state. It had so many things wrong with it it was unbelievable, and they fixed the whole thing up for me brilliantly. I'm getting a Rickenbacker bass for this guitar and I'll be playing it if I can get it to work. I saw the bass player from Dead Meadow play and he had a really warm sound, so I hope it can work out. I also use a Takamine acoustic 12-string, which I've had for 25 years and it's a really nice guitar. It doesn't look like it will be but it sounds great.
Peter's playing a new-ish strat and he has '59 Telecaster but I don't think he's bringing it on this tour. He's also got a Taylor 12-string. He's probably going to bring the AC 30 on this tour so he can get a dirty sound as opposed to my clean sound. He's probably bringing a Fender Deluxe and an effects amp. He's got a huge number of pedals I couldn't even begin to tell you what they are--20 pedals or something. He uses a [Sony] GP-5 to get those symphonic sounds.
And I think that's about it for me and Pete.

Thanks to my fact-checkin' cuz for hitting me up with the interview above which was originally published in Denver Westword.
The photo of The Church's gear was lifted from Steve Kilby's blog, which is quite good.
My review of The Church's Chicago show can be found here over at Glorious Noise.