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Originally released in March 1990 Chills songwriter/singer Martin Phillips was overseeing the groups 15th incarnation or something( When they recorded their next album the patchily superb “Soft Bomb” there was only him left from the line up that recorded this album) despite the fact this was only their second album in 10 years. New Zealand where this band hails from must have provided plenty of distractions even in those pre “Lord of the Rings “days. Not to worry. This album was well worth the wait.
Opening track “Heavenly Pop Hit” is a wonderful statement of atavistic intent and by default the most apt description of its magnificent charms. It soars on wings of alabaster then swoops down on top of the colossal keyboard melody, Phillips elegant vocals straining at the epiphany of the sublime chorus. “Singing in My Sleep” has more of the bands churning keyboard and a refrain so hummable it will percolate round your head for weeks after. The glorious songs just keep on coming. “Oncoming Day” is a nerve frazzled rush of joy and wizard like charm. “Part past Part Friction” twists and leaps like a trout in a tumble dryer while “I Soar”….well, let’s just say it soars. “Familiarity Breeds Contempt” has a more acerbic edge but still revels in a pin sharp melody while the more delicate “Effloresce and Deliquesce” tune smithery dissolve s on wispy trails of guitar.
Even the thirty second “Sweet Times “is a monstrous swell of ethereal melody. Just to show that buffed up perfect pop isn’t their only forte there are two wonderful ballads. “Don’t Be Memory”, the sort of song with a tangible sense of frustration and longing that shows up most of today’s sensitive troubadours for the whiny fakes they are. The eponymous epic “Submarine Bells” is beautifully arranged with creaking strings embellishing the songs depiction of some aquatic Shangri La. It also highlights Phillips under rated lyrical talent to it’s fullest -” I slice the surface here beside you/ Lungs filled liquid yell I love you/Sound moves further underwater/ Deep and dark my submarine bells groan in greens and greys/ Mine would chime a thousand times to make you feel okay”-Poetry.
Also containing a subtext of environmental concern, exacerbated by the lengthy sleeve notes this is a pop masterpiece. The Chills one consistent definitive statement. Lovers of intelligent metaphysical pop music should gaze adoringly into it, s dappled depths …then just dive in.
There are some stunning moments - Heavenly Pop Hit & Oncoming Day - but more than a few others which don't seem vintage Chills. Unfortunate 'cause The Chills were a wonderful band - and its getting hard to hunt their stuff out.
Not as good an album as the brilliant (woefully produced) Brave Words - this is still a cd worth cherishing.
A majestive sweep of organ-like keyboard opens "Heavenly Pop Hit" and the harder, contemplative "Tied Up In Chain." Dali-esque love songs ("Oncoming Day") blossom into the strange and surreal ("I Soar") the slowly catchy ("Dead Web" and "Don't Be -- Memory") the searing whirlwind rock ("Familiarity Breeds Contempt") and ends by coming full circle to where it started -- catchy, chiming pop (the charming "Effloresce And Deliquesce" and delicate sea ode "Submarine Bells").
The Chills don't possess the musical brilliance of true geniuses, but their catchy, enticing alternative-pop songs are unforgettable. They swirl, they snap, they shimmer, they sparkle with irresistable melodies. The first two songs suck you in with their hooks and chiming keyboard pop, before shifting into the darker, stranger realms of songs like the eerie "I Soar" and the louder, rockier "Oncoming Day." By that time, you're already caught up in the music and won't want to turn it off.
Martin Phillips, without being whiny, uses these simple-seeming songs to bemoan death, love, and any combination of the above. (The love of death? The death of love? Both work...) Despite the cheery tone of the music, the songs themselves are hauntingly written: "I have to talk to someone/describe it all to someone/emotions are imploding/but there's nothing to say... they've all gone away..."
New Zealand has proved in the past few years that it can serve up top-notch stuff that the public devours with a passion. But the Chills' "Submarine Bells" shows that this is hardly a new development. Beautiful, haunting and quite enjoyable.
A majestive sweep of organ-like keyboard opens "Heavenly Pop Hit" and the harder, contemplative "Tied Up In Chain." Dali-esque love songs ("Oncoming Day") blossom into the strange and surreal ("I Soar") the slowly catchy ("Dead Web" and "Don't Be -- Memory") the searing whirlwind rock ("Familiarity Breeds Contempt") and ends by coming full circle to where it started -- catchy, chiming pop (the charming "Effloresce And Deliquesce" and delicate sea ode "Submarine Bells").
The Chills don't possess the musical brilliance of true geniuses, but their catchy, enticing alternative-pop songs are unforgettable. They swirl, they snap, they shimmer, they sparkle with irresistable melodies. The first two songs suck you in with their hooks and chiming keyboard pop, before shifting into the darker, stranger realms of songs like the eerie "I Soar" and the louder, rockier "Oncoming Day." By that time, you're already caught up in the music and won't want to turn it off.
Martin Phillips, without being whiny, uses these simple-seeming songs to bemoan death, love, and any combination of the above. (The love of death? The death of love? Both work...) Despite the cheery tone of the music, the songs themselves are hauntingly written: "I have to talk to someone/describe it all to someone/emotions are imploding/but there's nothing to say... they've all gone away..."
New Zealand has proved in the past few years that it can serve up top-notch stuff that the public devours with a passion. But the Chills' "Submarine Bells" shows that this is hardly a new development. Beautiful, haunting and quite enjoyable.
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