The Chills Albums (4)
What The Critics Say
Going through yet another line-up revamp -- Phillipps is the only one remaining from the Submarine Bells performers -- the Chills approached what turned out to be the final album as simply the Chills (instead of "Martin Phillipps and...") in an unsettled state. Former bassist Terry Moore rejoined, dB's legend Peter Holsapple was drafted to provide additional guitars and keyboards, while Van Dyke Parks provided unnerving orchestration for one track, "Water Wolves," but Phillipps remained dead center as always. The result was okay, but not as distinctly Chills as before -- the near-perfect fusion and extension of earlier styles on Bells became more of a grab-bag, with a few awkward stabs at proto-adult album alternative airplay. Other tunes range from brawling (and overproduced?) rockers to the series of tracks called "Soft Bomb" scattered throughout the album like commercial breaks. More quirky numbers include the drunk music hall band arrangement on "There Is No Harm in Trying" and "Song for Randy Newman Etc.," an odd homage to the musician obliquely addressing artistic struggles over a nice piano melody. Opener "The Male Monster From the Id" shows Phillipps' smart way with words hasn't changed at all, but the music isn't the strongest he's done, signaling the album's sometimes-on sometimes-off nature. The chorus of "Background Affair," an airy, inspiring float with the music, or the clever opening of the first "Soft Bomb": "If you'd asked me at a concert standing by the Clean/ I'd have said I'm OK, and this is what I mean" are among the "on" highlights. Further high points include the lovely "Halo Fading," and the slightly bluesy, ominous late-night vibe of "Entertainer." ~ Ned Raggett, All Music Guide
What The Critics Say
The first proper album from the Chills, following a several-years'-long string of classic indie pop singles, is the culmination of the band's early promise. Produced by Texas art rock weirdo Mayo Thompson, the sound is thick and echoey, adding a layer of foreboding even to relatively bright tunes like the manic opener "Push" and turning songs like the brilliant "16 Heartthrobs" (a creepy, anguished memorial to Jayne Mansfield) into dark, throbbing epics. Andrew Todd's organ work is unusually prominent in the mix, overshadowing even Martin Phillipps' lead vocals on several tracks. The effect tends to treat Phillipps' voice as another instrument, which when combined with the tumbling logorrhea of his lyrics gives the sound an odd, unsettling urgency. Brave Words doesn't have the simplicity and directness of the Chills' early singles (collected on the Kaleidoscope World LP), which caused some longtime fans to dismiss the album upon its release; listened to at some remove, the merits of songs as graceful as "Night of Chill Blue" and the endearing "Look for the Good in Others and They'll See the Good in You" are obvious. Brave Words may well be the Chills' finest album. ~ Stewart Mason, All Music Guide
What The Critics Say
On a major label for the first time, Phillipps crafted a lovely record indeed, a mere thirty-six minutes and not a second wasted. Lead-off track and single "Heavenly Pop Hit" remains the most famous track and deservedly so -- over a rapturous keyboard/rhythm combination, Phillipps sings just that, an inspiring lyric with a soaring chorus, aided by additional backing vocals from guest Donna Savage. From there it's one high point after another, never losing the sense of elegance and drive that characterizes the band's work. Phillipps' at-once strong and amiably regular-guy vocals and astonishingly intelligent but never overly obtuse lyrics are both wonders, while Andrew Todd's excellent keyboard work provides both energy and lovely shading. Add to that a fine rhythm section in bassist Justin Harwood and drummer James Stephenson, and it's no wonder this version of the Chills succeeds as it does. One fantastic example of their work together is "Singing In My Sleep," with Phillipps giving heavy tremolo treatment to his guitar as everyone else creates something that's not too far from Neu!'s motorik throb, in a gentler pop vein. More such Krautrock-inspired chug has plenty of echoes on Bells, following in the same vein as "I Love My Leather Jacket" -- check out the brisk delivery on "The Oncoming Day" or the skipping intensity of "Dead Web." Otherwise, there're hints of the gentle folky/medieval touches they enjoy on "I SOAR" and "Don't Be--Memory" and more straightforward rocking out on the sharp "Familiarity Breeds Contempt," where Phillipps' New Zealand burr comes through with intensity. The title track, with serene orchestration filling out the grand arrangement, is a note-perfect way to conclude such a fantastic release. ~ Ned Raggett, All Music Guide
