Triffids impressive

Press, 19 June 1986, Page 18

Triffids impressive

THE TRIFFIDS “Born Sandy Devotional” (White/Hot L 38521). THE PLAYTHINGS “Live - ’81” (Flying Nun PLAY 234). SNEAKY FEELINGS “Taking Sides” (Flying Nun cassette). "Born Sandy Devotional” continues the polished progress of the Australian band, The Triffids, in the currently favourable climate of the English music industry. The critical acclaim given to their countrymen, The Birthday Party and The Go-Betweens, has made it a little easier for them, but there is no doubting the talent of David McComb and his five accomplices. This album continues in the lush tradition of its predecessor, the mini-LP “Treeless Plain,” but the difference is the much improved songwriting of McComb, who seems to be steering The Triffids away from their occasionally overblown epics into more concise territory. Comparisons with The Doors and Echo and the Bunnymen can still be made (especially with use of the Bunnymen producer, Gil Norton), but the only song that reflects the excesses of those two

bands is “Stolen Property,” a seemingly endless dirge. Elsewhere, it’s more songs about geography and love, starting with “The Seabirds,” a clipped example of The Triffids at their most accessible. Norton has worked really well on “Born Dandy Devotional,” giving each song a definite sound and identity. “Chicken Killer” flirts with country music, while “Lonely Stretch” and "Wide Open Road” are both sparsed-out McComb dramas — there is little to laugh with on this LP. Jill Birt, the keyboardist, whose fragile vocals made the song “Raining Pleasure” so memorable, gets only one opportunity to sing solo here, on the rather pessimistic “Tarrilup Bridge.” Her backing vocals remain a feature of The Triffids music, however, as do her keyboards. On the surface then, “Bom Sandy Devotional” is an impressive record. In parts, however, McComb’s comes across as cold and clinical — a little less of the tortured poet, and a little more heart, and The Triffids could have had a masterpiece.

Around 1980/81, The Playthings were one of the few decent bands in a generally arid Christchurch music scene. They played some excellent gigs (one support slot for Toy Love at the Hillsborough Tavern sticks in my mind), but, in spite of releasing two fine singles, they eventually faded out around 1982. One of those gigs (at The Gladstone on May 6, 1981 — were you there?) was recorded, however, and the highlights have just been released “in pulse-pounding mono” by the noted pop historians, Flying Nun records. A Playthings song was typified by a strong guitar/bass/drums rhythm axis, allied to the fine vocals and harmonies of the principal songwriters, Janine Saundercock and Jay Clarkson (now of the Expendables). They were at their best on straightforward rock/ pop songs such as “Feeling 0.K./Waiting” and “Love Of Crime,” in addition to two songs already out on singles, “Coloured” and “Sit Down/Stand Up.” But some of their best tunes were marred by the complex structures and time changes they insisted on using (a fault that

often resurfaces in Expendables songs). “Amnesia” and “Personality Squares” are good examples, although the slow intro to the former is pure magic. Having said that, my personal favourite of 12 tracks is the closing “Justified,” which has more twists and turns than a Ces Blazey interview. Love the sleazy Nicky Carter sax on this one, not to mention the neat “fadeout” ending. “Live — 81” is a good document of The Playthings on stage, capturing as it does both strengths and weaknesses. Hopefully, a few more bands from the pre-Flying Nun era will also make it onto disc — watch out for the double-LP of unreleased Enemy and Toy Love material, due for release soon. Also out on Nun is the perfect gift for all the yuppies out there without turntables — a compilation cassette from the band, Sneaky Feelings. Titled “Taking Sides,” it features most of their superb “Send You” LP, all three songs from the “Husband House” EP and “Wouldn’t Cry” from their current EP — essential. — Tony Green.