Tag: The Church The Hypnogogue

Single Review by William Ruben Helms

New Audio: The Church Share Shimmering and Slow-Burning “Realm of Minor Angels”

Founded back in 1980, the Sydney-based ARIA Hall of Fame inductees The Church — currently founding member Steve Kilbey (vocals, bass, guitar); longtime collaborator and producer Tim Powles (drums), who joined the band in 1994 and has contributed to 17 albums; Ian Haug (guitar), a former member of Aussie rock outfit Powderfinger, who joined the band in 2013; multi-instrumentalist Jeffery Cain, a former member of Remy Zero and touring member of the band, who joined the band full-time after Peter Koppes left the band in early 2020; and their newest member, Ashley Naylor (guitar), a long-time member of Paul Kelly’s touring band and one of Australia’s most respected guitarists — was initially associated with their hometown’s New Wave, neo-psychedelic and indie rock scenes.

Over the course of the next couple of decades, they became increasingly associated with dream pop and post-rock: Featuring shimmering soundscapes, their material took on slower tempos while built around their now, long-held reputation for an uncompromising approach to both their songwriting and sound.

Their 25th album, 2017’s Man Woman Life Death Infinity was released to critical praise from the likes of PopMatters, who called the album “a 21st-century masterpiece, a bright beam of light amid a generic musical landscape, and truly one of the Church’s greatest releases.” 

The highly-anticipated follow-up to 2017’s Man Woman Life Death Infinity — and their 26th album! —  The Hypnogogue was released earlier this year release through Communicating Vessels/Unorthodox.

The Hypnogogue is the band’s first full-length concept album: Set in 2054, the album follows its protagonist Eros Zeta, the biggest rock star of his era, who travels from his home in Antarctica to use the titular Hypnogogue to help him revive his flagging and moribund fortunes. “The Hypnogogue is set in 2054… a dystopian and broken down future,” The Church’s Steve Kilbey explains. “Invented by Sun Kim Jong, a North Korean scientist and occult dabbler, it is a machine and a process that pulls music straight of dreams.”

“The Hypnogogue is the most prog rock thing we have ever done,” Kilbey says. “We’ve also never had a concept album before. It is the most ‘teamwork record’ we have ever had. Everyone in the band is so justifiably proud of this record and everyone helped to make sure it was as good as it could be. Personally, I think it’s in our top three records.”

In the lead to the album’s release, I wrote about three of its singles:

  • The album’s expansive and brooding title track and first single, “The Hypnogogue.” Featuring the band’s swirling and textured guitar-driven sound paired with Kilbey’s imitable delivery, the song introduces listeners to the album’s characters — Eros Zeta and Sum Kim. The song follows Zeta, as they’re traveling to meet Kim, to go through the titular hypnogogue. But during the toxic and weird process, Zeta winds up falling in love with Kim. As Kilbey says, “. . . it all ends tragically (of course . .. as these things often do). 

  • The jangling and deceptively upbeat “C’est La Vie,” which continues the album’s narrative. Zeta’s agent warms him not to mess with the hypnogogue. “His manager has heard some bad rumors about it, and he doesn’t want his boy all strung out on this unknown thing,” The Church’s Steve Kilbey explains. The song ends with a gorgeous, shimmering fade out. “Musically, the song is a fast-paced rocker very much initiated by our guitarist Ian Haug. But it has plenty of twists and turns and ends up fading away in a delicate and winsome way.” 

  • “No Other You,” a glittering glam rock-like ballad with some Ziggy Stardust-era Bowie guitar work and a cinematic quality paired with Kilbey expressing an aching, almost desperate longing. “No Other You” may arguably be the most straightforward and earnest song of the band’s extensive catalog. The song continues the album’s narrative — but on a more personal level: The Church’s Steve Kilbey explains that the song is an “ultra-romantic song that Zeta writes for Sun Kim Jong, who is the inventor of The Hypnogogue. It’s a heartfelt song about an irreplaceable woman. And the Church gets to explore a slightly glam rock feel to boot.”

The band will be embarking on a second leg of their North American tour to support their 26th album during the fall. The tour will see them playing dates across the West Coast, Southwest, Southeast and Illinois. The band will be offering a limited number of VIP packs on the tour’s second leg, which will include the show ticket, early venue access, an invitation to the band’s soundcheck, a special meet and greet with the band, exclusive merch and the ability to watch a portion of the show from the side of the stage, where available. Tour dates are below.

Coinciding with the fall tour, the acclaimed Aussie outfit will be releasing a digital deluxe edition of The Hypnogogue that will include material originally cut from the 13-song album.

The deluxe edition will include “Realm of Minor Angels,” a slow-burning and gorgeous, torch song-inspired ballad featuring shimmering mandolin from Ian Haug and slide guitar from Ashley Naylor paired with Kilbey’s crooned delivery. Sonically, “Realm of Minor Angels” wouldn’t sound out of place on Starfish or Gold Afternoon Fix.

“‘Realm of Minor Angels’ is without doubt one of my favorite singles The Church has ever released,” The Church’s Steve Bilberry says. “From the moment [guitarist] Jeffrey Cain started playing the opening riff, I was hooked. The singing and lyrics are my own subtle homage to the torch songs of the ‘60s and check out Ian Haug’s mandolin lines and Ashley Naylor’s slide work!”

Single Review by William Ruben Helms

New Audio: The Church Shares Cinematic and Glam Rock-like “No Other You”

Founded back in 1980, the Sydney-based ARIA Hall of Fame inductees The Church — currently founding member Steve Kilbey (vocals, bass, guitar); longtime collaborator and producer Tim Powles (drums), who joined the band in 1994 and has contributed to 17 albums; Ian Haug (guitar), a former member of Aussie rock outfit Powderfinger, who joined the band in 2013; multi-instrumentalist Jeffery Cain, a former member of Remy Zero and touring member of the band, who joined the band full-time after Peter Koppes left the band in early 2020; and their newest member, Ashley Naylor (guitar), a long-time member of Paul Kelly’s touring band and one of Australia’s most respected guitarists — was initially associated with their hometown’s New Wave, neo-psychedelic and indie rock scenes. But they became increasingly associated with dream pop and post-rock as their material took on slower tempos and surreal, shimmering soundscapes paired with their now, long-held reputation for an uncompromising approach to both their songwriting and sound. 

1981’s full-length debut Of Skins and Hearts, was a commercial and critical success thanks in part to the success of their first radio hit, “The Unguarded Moment.” And as a result, the legendary Aussie outfit was signed to major labels in Australia, Europe and The States. However, their American label was dissatisfied with their sophomore album and dropped the band without releasing it in the States. 

Although being dropped from their American label managed to slow down some of the international momentum surrounding the band a bit, 1988’s Starfish managed to be a smash hit, thanks to their only US Top 40 hit, “Under the Milky Way.” “Under the Milky Way,” received attention once again with its appearance in 2001’s cult-favorited film Donnie Darko.

Further mainstream success has been a bit elusive, but since the release of Starfish, the acclaimed Aussie outfit have developed a devoted, international cult following while also being incredibly prolific. The bands 25th album, 2017’s Man Woman Life Death Infinity was released to critical praise from the likes of PopMatters, who called the album “a 21st-century masterpiece, a bright beam of light amid a generic musical landscape, and truly one of the Church’s greatest releases.” 

The highly-anticipated follow-up to 2017’s Man Woman Life Death Infinity — and their 26th album —  The Hypnogogue is slated for a February 24, 2023 release through Communicating Vessels/Unorthodox. The album is the band’s first full-length concept album: Set in 2054, the album follows its protagonist Eros Zeta, the biggest rock star of his era, who travels from his home in Antarctica to use the titular Hypnogogue to help him revive his flagging and moribund fortunes. “The Hypnogogue is set in 2054… a dystopian and broken down future,” The Church’s Steve Kilbey explains. “Invented by Sun Kim Jong, a North Korean scientist and occult dabbler, it is a machine and a process that pulls music straight of dreams.”

“The Hypnogogue is the most prog rock thing we have ever done,” Kilbey says. “We’ve also never had a concept album before,” he says. “It is the most ‘teamwork record’ we have ever had. Everyone in the band is so justifiably proud of this record and everyone helped to make sure it was as good as it could be. Personally, I think it’s in our top three records.”

So far, I’ve written bout two of the album’s released singles:

  • The album’s expansive and brooding title track and first single, “The Hypnogogue.” Featuring the band’s swirling and textured guitar-driven sound paired with Kilbey’s imitable delivery, the song introduces listeners to the album’s characters — Eros Zeta and Sum Kim. The song follows Zeta, as they’re traveling to meet Kim, to go through the titular hypnogogue. But during the toxic and weird process, Zeta winds up falling in love with Kim. As Kilbey says, “. . . it all ends tragically (of course . .. as these things often do). 

  • The jangling and deceptively upbeat “C’est La Vie,” which continues the album’s narrative. Zeta’s agent warms him not to mess with the hypnogogue. “His manager has heard some bad rumors about it, and he doesn’t want his boy all strung out on this unknown thing,” The Church’s Steve Kilbey explains. The song ends with a gorgeous, shimmering fade out. “Musically, the song is a fast-paced rocker very much initiated by our guitarist Ian Haug. But it has plenty of twists and turns and ends up fading away in a delicate and winsome way.” 

The Hypnogogue‘s third and latest single “No Other You” is a glittering glam rock-like ballad with some Ziggy Stardust-era Bowie guitar work and a cinematic quality paired with Kilbey expressing an aching, almost desperate longing. “No Other You” may arguably be the most straightforward and earnest song of the band’s extensive catalog. The song continues the album’s narrative — but on a more personal level. The Church’s Steve Kilbey explains that the song is an “ultra-romantic song that Zeta writes for Sun Kim Jong, who is the inventor of The Hypnogogue. It’s a heartfelt song about an irreplaceable woman. And the Church gets to explore a slightly glam rock feel to boot.”

Single Review by William Ruben Helms

Founded back in 1980, the Sydney-based ARIA Hall of Fame inductees The Church — currently founder member Steve Kilbey (vocals, bass, guitar); longtime collaborator and producer Tim Powles (drums), who joined the band in 1994 and has contributed to 17 albums; Ian Haug (guitar), a former member of Aussie rock outfit Powderfinger, who joined the band in 2013; multi-instrumentalist Jeffery Cain, a former member of Remy Zero and touring member of the band, who joined the band full-time after Peter Koppes left the band in early 2020; and their newest member, Ashley Naylor (guitar), a long-time member of Paul Kelly’s touring band and one of Australia’s most respected guitarists — was initially associated with their hometown’s New Wave, neo-psychedelic and indie rock scenes. But they became increasingly associated with dream pop and post-rock as their material took on slower tempos and surreal, shimmering soundscapes paired with their now, long-held reputation for an uncompromising approach to both their songwriting and sound. 

1981’s full-length debut Of Skins and Hearts, was a commercial and critical success thanks in part to the success of their first radio hit, “The Unguarded Moment.” And as a result, the legendary Aussie outfit was signed to major labels in Australia, Europe and The States. However, their American label was dissatisfied with their sophomore album and dropped the band without releasing it in the States. 

Although being dropped from their American label managed to slow down some of the international momentum surrounding the band a bit, 1988’s Starfish managed to be a smash hit, thanks to their only US Top 40 hit, “Under the Milky Way.” “Under the Milky Way,” received attention once again with its appearance in 2001’s cult-favorited film Donnie Darko.

While mainstream success has been a bit elusive, since the release of Starfish, the acclaimed Aussie outfit have developed a devoted, international cult following while being incredibly prolific. The bands 25th album, 2017’s Man Woman Life Death Infinity was released to critical praise from the likes of PopMatters, who called the album “a 21st-century masterpiece, a bright beam of light amid a generic musical landscape, and truly one of the Church’s greatest releases.” 

The highly-anticipated follow-up to 2017’s Man Woman Life Death Infinity — and their 26th album — The Hypnogogue is slated for a February 24, 2023 release through Communicating Vessels/Unorthodox. The album is the band’s first full-length concept album: Set in 2054, the album follows its protagonist Eros Zeta, the biggest rock star of his era, who travels from his home in Antarctica to use the titular Hypnogogue to help him revive his flagging and moribund fortunes. “The Hypnogogue is set in 2054… a dystopian and broken down future,” The Church’s Steve Kilbey explains. “Invented by Sun Kim Jong, a North Korean scientist and occult dabbler, it is a machine and a process that pulls music straight of dreams.”

Centered around the band’s unique swirling and textured guitar-driven sound paired with Kilbey’s imitable delivery, the album’s expansive and brooding title track and first single, “The Hypnogogue,” introduces listeners to the album’s characters — Eros Zeta and Sun Kim — while following Zeta, travel to meet Kim, and during the toxic and weird process, wind up falling in love with Kim, As Kilbey says, “. . . it all ends tragically (of course . .. as these things often do).

The Hypnogogue‘s second and latest single, the jangling and deceptively upbeat “C’est La Vie” continues the album’s narrative: Zeta’s agent warns him not to mess with that Hypnogogue. “His manager has heard some bad rumors about it, and he doesn’t want his boy all strung out on this unknown thing,” The Church’s Steve Kilbey explains. The song ends with a gorgeous, shimmering fade out. “Musically, the song is a fast-paced rocker very much initiated by our guitarist Ian Haug. But it has plenty of twists and turns and ends up fading away in a delicate and winsome way.”


“The Hypnogogue is the most prog rock thing we have ever done,” Kilbey says. “We’ve also never had a concept album before,” he says. “It is the most ‘teamwork record’ we have ever had. Everyone in the band is so justifiably proud of this record and everyone helped to make sure it was as good as it could be. Personally, I think it’s in our top three records.”

Video by William Ruben Helms

New Video: The Post-Apocalyptic World of The Church’s “The Hypnogogue”

Founded back in 1980, the Sydney-based ARIA Hall of Fame inductees The Church — currently founder member Steve Kilbey (vocals, bass, guitar); longtime collaborator and producer Tim Powles (drums), who joined the band in 1994 and has contributed to 17 albums; Ian Haug (guitar), a former member of Aussie rock outfit Powderfinger, who joined the band in 2013; multi-instrumentalist Jeffery Cain, a former member of Remy Zero and touring member of the band, who joined the band full-time after Peter Koppes left the band in early 2020; and their newest member, Ashley Naylor (guitar), a long-time member of Paul Kelly’s touring band and one of Australia’s most respected guitarists — was initially associated with their hometown’s New Wave, neo-psychedelic and indie rock scenes. But they became increasingly associated with dream pop and post-rock as their material took on slower tempos and surreal, shimmering soundscapes paired with their now, long-held reputation for an uncompromising approach to both their songwriting and sound.

1981’s full-length debut Of Skins and Hearts, was a commercial and critical success thanks in part to the success of their first radio hit, “The Unguarded Moment.” And as a result, the legendary Aussie outfit was signed to major labels in Australia, Europe and The States. However, their American label was dissatisfied with their sophomore album and dropped the band without releasing it in the States.

Although being dropped from their American label managed to slow down some of the international momentum surrounding the band a bit, 1988’s Starfish managed to be a smash hit, thanks to their only US Top 40 hit, “Under the Milky Way.” “Under the Milky Way,” received attention once again with its appearance in 2001’s cult-favorited film Donnie Darko.

Despite the fact that since the release of Starfish, mainstream success has been elusive, The Church have developed a devoted, international cult following while managing to be incredibly prolific. In fact, the band’s 25th album, 2017’s Man Woman Life Death Infinity was released to critical praise from the likes of PopMatters, who called the album “a 21st-century masterpiece, a bright beam of light amid a generic musical landscape, and truly one of the Church’s greatest releases.”

The highly-anticipated follow-up to 2017’s Man Woman Life Death Infinity — and their 26th album — is planned for an early 2023 release through Communicating Vessels/Unorthodox. The forthcoming album’s first single “The Hypnogogue” is an expansive and brooding track centered around the band’s unique swirling and textured guitar-driven sound paired with Kilbey’s imitable delivery and a contemporary sensibility heightened by a mix from Darrell Thorpe.

“‘The Hypnogogue’ is set in 2054… a dystopian and broken down future,” The Church’s Steve Kilbey explains. “Invented by Sun Kim Jong, a North Korean scientist and occult dabbler, it is a machine and a process that pulls music straight of dreams.”

“The song is about Eros Zeta the biggest rock star of 2054 who has traveled from his home in Antarctica (against his manager’s advice) to use the Hypnogogue to help him revive his flagging fortunes,” Kilbey continues, fleshing out the song’s sci-fi storyline. “In the midst of the toxic process, he also falls in love with Sun Kim and it all ends tragically (of course…as these thing often do).”

Directed by Aussie filmmaker Clint Lewis and starring Michael Coward and Emilia Eau, the accompanying, cinematic video for “The Hypnogogue” is set a rainy, neon-drenched retro-futuristic world that feels inspired by 80s dystopian sci-fi — in particular Ridley Scott’s Blade Runner and Terry Gilliam’s 12 Monkeys. But the video also manages to faithfully capture the essence of the song’s storyline. “I gave the director a lot of input into this video but he took my ideas and ran with them and came up with a fair bit of stuff I never envisaged,” Kilbey says. “The Church appear on screens in the Hypnogogue as workers in the system, translating the dreams of users into real time music.  I’m very happy with the way it all turned out. It’d be hard to get a better result!”