where it all got started, and this compilation scoops up all the
hard-to-find early singles and EPs. Comprised of brothers Hamish and
David Kilgour and Bats co-founder Robert Scott, The Clean made quirky,
angular punk music that owed as much to the Velvet's buzzing drone as
it did to the bash-it-out approach of The Ramones. The music is noisy
and discordant, but David Kilgour's pop hooks peak through again and
again. Pavement, Yo La Tengo, and Camper Van Beethover all cite The
Clean as a primary influence, and, in fact, it's hard to image albums
such as Slanted and Enchanted and New Wave Hot Dogs without the beneficent precedent of this early indie Kiwi band.
Chills and principle songwriter Martin Phillipps achieved a modicum of
success in the U.S. in the early 1990s with the album Submarine Bells
and its signature song "Heavenly Pop Hit," which it almost was.
Phillipps was two for three, and that's not bad. But I prefer the
slightly early compilation shown here, Kaleidoscope World,
which again collects some transcendent singles and EPs. Here the music
is an effervescent mix of chiming guitars, sweet harmonies, and Syd
Barrett/early Pink Floyd psychedelia, and features the most infectious
whistling this side of an Andrew Bird album.
the album that prompted me to pull out all those old cassette tapes and
scratchy vinyl LPs. The Bats, headed by former Clean member Robert
Scott, have been around for 26 years. They take their sweet old time,
and their brand new release The Guilty Office,
shown here, is only their seventh album. The most jangly of the Flying
Nun bands, The Bats essentially make the same album over and over.
That's okay because it's great jangle pop, with an undeniable
propulsion that is lacking on The Byrds albums. Think early R.E.M. and
you're in the ballpark, or soccer arena, or whatever sports venue can
be found in Dunedin.
here's some seriously twisted stuff. Imagine two short guys, neither
one of whom is named Gimli. The dwarfs, Chris Knox and Alec Bathgate,
respectively, make distinctly experimental, lo-fi bedroom symphonies
characterized by buzzing guitars, Syd Barrett freakouts, and organ
drones. You also get clarinets, tape loops, and cut 'n paste editing.
If you're a fan of Robyn Hitchcock and his surrealistic nightmare
imagery, or, for that matter, the inspired psych folk of Neutral Milk
Hotel or Elf Power, you'll probably love Tall Dwarfs as well.
the most dissonant of the Flying Nun bands, as well as the band most
beholden to garage rock. There's a glorious din here, although the
jangle and pop choruses still manage to emerge from the murk from time
to time. This is their 1990 debut album Hail,
which features a killer song called "Life in One Chord," which is both
an accurate and impossibly incomplete summary of its contents. The rest
of the album features songs with up to three chords, and lead
singer/songwriter Shayne Carter's disturbing yelp. It's great, and not
for the faint of heart.
touted as Flying Nun's answer to The Pixies, Garageland have never
really achieved the acclaim that was their due. Certainly lead
singer/songwriter Jeremy Eades has mastered the whisper-to-a-shriek
dynamics of Black Francis (best heard here on lead single
"Fingerpops"), but Eades is also a better-than-average balladeer, and
his melodies never fail to impress. The album shown here, Last Exit to Garageland,
is again a collection of early singles and EPs, and is arguably the
band's best work. But the two followup albums are just as good, albeit
in a slightly more commercial vein.