Split Enz — going far on a little madness

Press, Volume CXV, Issue 33885, 3 July 1975, Page 4

Split Enz — going far on a little madness

(By JOHN McNEILL) Only two shows I have seen would he fairly compared with the sensational concert Split Enz, an Auckland rock group, gave in Christchurch last Saturday. One was “Petrushka,” the other "Marat/Sade.” Both shows placed heavy emphasis, on visual effect. The Enz group appeared to draw from botli with the clown costumes, frizzy hair, white faces, and rouged cheeks of the dolls, an impression heightened when Tim Finn, the star of the show and lead vocalist, slumped like a lifeless doll at the end of each number. From the play of madness and murder Enz seem to take the bizarre antics of the asylum inmates as a ghastly, ghostly, ghoulish group. It would be forgiveable to mistake these characters on stage as refugees from a lunatic asylum. Their actions are demented as their costumes are colourful, but when the music starts, then this ceases to be just another pub band, more than a unit back from a successful tour of the Sydney League Clubs. Split Enz is better than that, much better. Comparisons are inevitable, the hooks on which writers try to describe sounds with words by drawing on the reader’s experience. To fill some space take Yes, King Crimson, the Beatles, Elton John, Alex Harvey, The Mothers, The Goons. There must be others. Tn the music I heard themes from the classics, the Labour Party’s winning title “It’s Time For a Change,” the blues, vaudeville, electricacoustic boogie, a snatch of jazz, and a little rock ’n roll. Publicity material tells me I missed lyrics “conjuring up nightmare visions, obsessions with madness and the macabre, woven out cliches, sinister phrases.” It is a pity the sound system did not win the battle with the < theatre’s acoustics. Choreography there was too, and Tim and Noel Crombie (percussion) would have been great pit-

ted against that master of movement to music — Gary Glitter. Split Enz was formed about three years ago in Auckland, but the present members have been working together for just under a year. Finn and Philip Judd (guitar and vocals) are responsible for most of the original material which the group then shapes up for performance. In New Zealand, Split Enz have performed mainly at concerts, carefully prepared and often incorporating some dozen or so willing friends and many stage props to add to the theatrics of the act. Doubts were expressed that the group would be able to perform in more mundane surroundings such as pubs and dances. But Split Enz’ first stay in Australia proved that this band is as versatile as it is inventive. Reactions to their performances, with or without costumes, makeup, sets and extras at concerts, pubs, dances or on television, have been overwhelmingly favourable. Split Enz have been the support band for Roxy Music, Leo Sayer and Skyhooks at major venues in Australia. Members of these disparate groups have praised Split Enz. In fact, Phil Manzanera of Roxy Music expressed interest in producing their next album. This proof of their ability to impress diverse audiences under diverse conditions leaves no doubt that their music is to be appreciated on record. For while the visual aspects of Split Enz enhance and complement their music, the essence of their talent, their ingenuity and their appeal lies within the music itself. Their first album, “Mental Notes,” was recorded at Festival Studios, Sydney, for the Mushroom label, during their first visit to Australia. It consists entirely of their original material with production by Dave Russell, the group’s touring manager, with the cover being designed by Philip Judd. #M»***********>*************