Spine-tingling LP

Press, 2 May 1985, Page 18

Spine-tingling LP

THE SPINES “The Moon” (Jayrein J 316). A KIND OF PUNISHMENT “A Beard Of Bees” (Flying Nun TKPOO2). To someone whose enjoyment of The Spines has been limited to their ace flip side of a few years ago, f ‘Your Body Stays,” the new album from the Wellington band, titled “The Moon,” is a revelation. Like the Chills, this band seems to have been around for a long time, with each of their four discs being recorded by a different band.

The common factor is Jon McLeary, the songwriter, vocalist, and guitarist, who has been the head Spine since their debut EP “Fishing,” on the now-defunct Ripper label, in 1981. McLeary has let musical theory and excessive vocal histrionics get the better of him in the past, but on this record he sticks to the standard drums, bass, and guitar line-up, augmented by the sax playing of Wendy Calder.

This is not yer standard boogie combo, however. McLeary makes big demands with his quirky, often complex songs, and the band responds well, especially the drummer, Ross Burge, who copes well with

some tricky time changes. The spines of 1985 are a similar unit to the recent Australian visitors, the GoBetween, in both sound and vision, but “The Moon” is positively punky compared to the fluid grace of the latter’s great “Spring Hill Fair” LP.

Great songs abound on both platters, with the highlights on “The Moon” including the moody “Shaky Hand,” the sax-stained “When She’s Alive,” a sweaty workout for the band on “Regret,” and . . . most of the others, actually. “The Moon” is a surprising and very confident LP, hopefully signalling a wider audience for this previously unheralded group, and, along with the fine Builders LP, “CoNCH3,” starting the 1985 N.Z. LP stakes in fine style.

“A Beard Of Bees,” the second LP from the Auckland collective, This Kind of Punishment, continues the introspective trail blazed a few months ago, on their debut.

Recorded surprisingly well on a Teac 4-track in various bedrooms, lounges, and halls, it once again revolves around Peter and Graeme Jefferies, and Chris Matthews, who contribute

the bulk of the vocals and music.

The lyrics are still very formal — only TKP could put “so far as continued attention to detail is a cause for concern” in a pop song — but the music is disciplined and occasional gripping, reminiscent of John Cale in places. The backing is unobtrusive, with a melancholy piano filling up most of the LP, but, occasionally, as on “The Horrible Tango,” a melodic guitar riff makes a welcome intrusion. Radio U fans will know "The Sleepwalker,” one ol only two songs to feature drums on the LP, which is a grim example of the band’s songwriting: “I wouldn’t give you the time of day/ but you’ve come to take it anyway.” Although TKP make demanding (some might say masochistic) listening, “A Beard Of Bees” is much more considerate to the listener than the first LP, in spite of its generally alienating noise. It will probably only appeal to a faithful few, but something is going on in its studied grooves — definitely an acquired taste. — TONY GREEN.