So, is this The Church‘s latest and greatest? It’s certainly the former and as for being the greatest, no I don’t think so, though I do rate it. It’s grown on me, far more so than the more mystic, reflective Untitled #23. While there’s nothing on this record that approaches the spacey directness of Starfish, it’s a direct album in a glistening kind of way. Maybe that’s to do with new guitarist Ian Haug, who replaced Marty Willson-Piper. Haug’s background is alternative rock with Powderfinger, and his influence may have reined in some of Kilbey‘s experimental tendencies.
Make no mistake though, this is a Church record in every sense, although what that sense is varies usually from album to album. Like I said in another review, each Church record swims in its own logic and this one is no different. As with most of this band’s material, repeated listens are mandatory and if you don’t get their particular brand of psych rock, then you won’t get this album.
Further/Deeper continues a Church tradition begun with Heyday‘s Myrrh in having a trippy, driving opening track, most prominently highlighted by cuts such as Starfish‘s Destination or Gold Afternoon Fix‘s Pharaoh. This record’s Vanishing Man definitely rates among the best Church openers.
In fact, the record goes from strength to strength as you get further and deeper (!) into it – to a point. Album highlights include the surging, throbbing Globe Spinning, which is about as close as The Church gets to a new wave track, and then there’s the delightful Laurel Canyon, and the equally scintillating Love Philtre. The record runs out of steam a little toward the end, though it picks up in a slamming, bright fashion with Miami. Trimmed of a little fat, this record would rate in the top 5 for anything they’ve ever done, yet thirty four years after the release of Of Skins and Heart, it’s marvellous business as usual for The Church. Further and Deeper indeed.