Peter Jefferies' debut solo outing, 'The Last Great Challenge in a Dull World,' was originally a Xpressway cassette release in 1990; the album was reissued on CD by Ajax in 1991 and fortuitously featured the classic 7" single "The Fate of the Human Carbine." That song, telling the sparse, surreal, and strangely poignant tale of its titular figure, and its B-side, the propulsive, dynamic "Catapult," are among the best work of Jefferies' career. The album employs a characteristically primitive recording aesthetic, lending such tracks as the relentlessly bleak "On an Unknown Beach" an air of austere intimacy. This is an impeccably crafted wonder of restrained beauty that is laced with a distinct sense of tension; it is an album perpetually poised before an intangible abyss. If you love This Kind of Punishment as much as I do, this is essential listening. - Ariel
This final (cassette!) artifact from This Kind of Punishment comes courtesy of the Xpressway imprint; it was the legendary label's second release and showcases the sheer force of Graeme and Peter Jefferies' creation live. Some of my favorites are represented here, including "After the Fact," "The Sleepwalker," and "Two Minutes Drowning." I love this band, and you shouldtoo. Enjoy! - Ariel
As the abrasive, uncompromising chords of "Immigration Song" fade to reveal the subdued, meditative textures of "Overground in China," it becomes clear to the listener that the final release from This Kind of Punishment will be a jarring listening experience; it is an album not content to sit still. This particular release from 1993 combines 1987's 'In the Same Room' with 1985's '5 By Four' EP; the latter's rough-hewnexperimentalism compliments the more fully-developed sounds of the main album while recalling the quiet harshness of This Kind of Punishment's debut. Lyrically, the album is characteristically vague and composed of fragmentary, impressionistic narratives; despite the inherent disconnect of the album's stylistic meanderings, the album ultimately assumes closure with the decidedly Nocturnal Projections-esque "Words Fail Me." Along with the aforementioned tracks, "Don't Go," "The Men By the Pool," and the unusually anthemic "Holding," are among This Kind of Punishment's finest efforts; this is an excellent album from one of New Zealand's most rightfully exalted bands, and you would be truly remiss to pass up 'In the Same Room' or 'A Beard of Bees.' - Ariel
'A Beard of Bees,' an album recorded in various bedrooms, lounges, and halls, belies its four-track origins more fully than its predecessor, the Jefferies brothers' hauntingly stark self-titled debut. Self-released in 1984 on vinyl, reissued on cassette in 1990 by the Xpressway imprint, and finally re-released on CD by the Ajax label in 1993, 'A Beard of Bees' is, in this listener's highly subjective opinion, the finest encapsulation of the quietly transcendent, somber majesty of This Kind of Punishment. A feast of minimalist instrumentation punctuated by the piercing tones of Peter Jefferies' piano, it is an album that enlarges on the artistic scope of its predecessor whilst retaining that album's contained, claustrophobic paranoia; This Kind of Punishment is the sense of desolate beauty that accompanies the passing of a storm. "Trepidation," "Turning to Stone," Chris Matthews' "The Sleepwalker," and "An Open Denial" are all pieces of an exquisitely fractured puzzle; the Jefferies brothers' existential meditations, delivered in Peter Jefferies' subdued, austere vocals, never trade pathos in for sentimentality. It is a cathartic, powerful listening experience and truly a record ahead of its time; this is Graeme and Peter Jefferies' unquestioned masterpiece. - Ariel
This Kind of Punishment's first album opens with the spine-tingling minimalism of "After the Fact," one of my favorites from the Jefferies brothers; the instrumental build-up and cathartic release are nothing short of revelatory to these ears. That's one of the more accessible numbers from This Kind of Punishment, but the songs on their debut offer a wide range of stylistic arrays; from the desperately frantic piano on "Two Minutes Drowning" to the gentle folk harmonies of "An Axe is an Arm," every song was recorded on Chris Knox's four-track to brilliant effect. There's a sense of mystery to Graeme and Peter's work in This Kind of Punishment, and this album is no exception; a quiet unease is present throughout, unsettling and transfixing the listener in its hypnotic darkness. Look out for 'A Beard of Bees' and 'In the Same Room' soon. - Ariel
Capturing the nascent recordings of Graeme and Peter Jefferies, 'Nerve Ends in Power Lines' collects the best of the Nocturnal Projections' recorded output; the moody, post-punk outfit was formed in 1981 and disbanded in 1983 after releasing two albums--one a cassette release limited to 100 copies--two EPs, and one single. You may remember "Walk in a Straight Line" from the Xpressway Pile=Up compilation. From aggressive, jerky rhythms to plaintive folk-inflected ballads slightly reminiscent of the Axemen's quieter moments--now that was a fun band--the Nocturnal Projections' songs offer a taste of the hypnotic darkness later perfected by the legendary This Kind of Punishment, the brothers Jefferies' next and most widely-known musical venture.
NOTE: Following "Restoration," the final four unlisted tracks of the compilation--collected from self-released cassettes-are ordered as follows:
12.1 - The Down Song 12.2 - Alone in the Corner 12.3 - Obsessions 12.4 - Inmates in Images
If this is wrong, please let me know. Like most of the albums I feature, this is not a personal rip; I'm going by what information I can gather online, and I have made errors before. Thanks!
The Rip was Alastair Galbraith's first band; formed along with Robbie Muir--later of the excellent Plagal Grind--and Jeff Harford of Bored Games, the trio released two EPs on Flying Nun in the mid 80s. I've collected them here for your listening convenience (and I hope enjoyment as well!) 1984's 'A Timeless Peace' and 1987's 'Stormed Port' are similar musically, showcasing Galbraith's delicate compositional gifts and songwriting ability. The Rip's recordings could be described as folk-inflected, Barrett-esque jangle-pop, featuring lovely, ethereal melodies accented by Galbraith's distinctively haunting violin. At times they are very reminiscent of the classical minimalism of the Verlaines' early singles and EPs, and that's always a good thing. Expect a veritable deluge of Xpressway-related material soon, Mr. Galbraith's work included, in addition to a thorough overview of that other very talented set of brothers, Graeme and Peter Jefferies.
Here is a very good interview with Alastair Galbraith in which he discusses the Rip, Xpressway, Plagal Grind, and much more. Enjoy!
Now that I've posted David Kilgour's demos--a superior collection to this one, I must say--I thought it would be appropriate to share Mr. Phillipps' home recordings as well. It's interesting to compare the trajectories of their respective careers, isn't it? They're more interconnected from the start than one might think. Remember that classic organ line on the Clean's immortal "Tally Ho" single? That was supplied by none other than Martin Phillipps. Go forth and impress your friends with this very useful knowledge! Well, I would be impressed. The songs on 2000's 'Sketch Book' were committed to tape between 1988 and 1995, and they aren't bad by any means. It wouldn't be untruthful, however, to suggest that Phillipps' creative zenith was in the past at the time that much of this was recorded, and some pieces are clearly more unfinished and less successful than others. In the end, and as much as it pains me to say this, I feel that the bits n' pieces collected here would vastly benefit from the additional production they might eventually receive. A lot of production. I never thought I'd think that about any of Phillipps' work; after all, the four-track splendor of 'Kaleidoscope World' is the Chills I reach for most. A different scope seems to be envisioned here, less "Rolling Moon" than "Heavenly Pop Hit," maybe? These are virtually "sketches," however, so this is all really useless speculation.
Wondering what Mr. Phillipps has been up to lately? Listen to these radio interviews with Martin from September here and from May here. Thanks, Adam!
Surely a man that needs no introduction. The subtitle of 'False Steps & False Alarms' is "the best of the worst - home demos of demos," and I assure you, it fully delivers on that promise. There are many gloriously lo-fi, embryonic gems to be found amongst the twenty assembled, and the stripped-down style of these recordings really showcases David Kilgour's songwriting gifts. Not that they were ever in question, of course. Songs such as "This Chord," "Another Echo Downer," and a stunning rough version of "Here Come the Cars" are generously shrouded in a layer of echo, an effect that further highlights the sense of otherworldliness present throughout. All in all, this is a fine collection of beautifully drowsy, relaxed, and intimate fragments, not unlike Mr. Kilgour's work in the Great Unwashed. Perfect for a lazy sunny afternoon. My wonderful sometimes co-contributor Gozz--on an extended, indefinite hiatus at the moment and very much missed--posted two of David Kilgour's solo albums back in August. You can get 'Here Come the Cars' and 'Frozen Orange' at the Doledrums here. - Ariel
From the initial droning hum of Plagal Grind's "Midnight Blue Vision"--a perfect song to set the tone and one of my favorite openers of its kind ever--to Shayne Carter and Peter Jefferies' delicately abrasive "Hooked, Line, and Sunken," the Xpressway Pile=Up compilation assembles an impeccable roster of New Zealand talent. For those unaware, Xpressway was a record label founded in 1985 by the Dead C's Bruce Russell. Over the course of its twenty-three releases, Xpressway reveled in the more experimental side of New Zealand music; from the sheer sonic assault of Snapper to the subtle, quiet beauty of Wreck Small Speakers on Expensive Stereos, it's all represented here, and there's not a weak track to be found amongst the seventeen assembled. Just look at that list! This is also one of the most perfectly paced compilations I've ever heard, each song seeming to lull the listener deeper into its intoxicating spell. You may not want to leave after it's over. If for nothing else, you should download this for Shayne Carter and Peter Jefferies' beautifully poignant tribute to Wayne Elsey, "Randolph's Going Home." I mean, come on. A kiwi classic if there ever was one, right? What a behemoth of a song! Oh, and a lyrics sheet for the DoubleHappy's "I Don't Want to See You Again" would be appreciated.
Peter Jefferies' debut solo outing, 'The Last Great Challenge in a Dull World,' was originally a Xpressway cassette release in 1990; the album was reissued on CD by Ajax in 1991 and fortuitously featured the classic 7" single "The Fate of the Human Carbine." That song, telling the sparse, surreal, and strangely poignant tale of its titular figure, and its B-side, the propulsive, dynamic "Catapult," are among the best work of Jefferies' career. The album employs a characteristically primitive recording aesthetic, lending such tracks as the relentlessly bleak "On an Unknown Beach" an air of austere intimacy. This is an impeccably crafted wonder of restrained beauty that is laced with a distinct sense of tension; it is an album perpetually poised before an intangible abyss. If you love This Kind of Punishment as much as I do, this is essential listening. - Ariel
