Flying Nuns over Dunedin.

Dunedin is a smallish town of some 60 000 people on the bottom of New Zealand's South Island. As unlikely a location as it is, through the 1980s into the 1990s it was one of the most significant musical towns on the planet. A large majority of these bands were released on the Flying Nun label. Flying Nun was formed in 1981 by Roger Shepherd, like a lot of Indies it started in the back room of a small record store. It actually formed in Christchurch but quickly moved its focus to Dunedin. Though the idea of a Dunedin sound is often rejected by protagonist there is little doubt that there was common link joining them. Generally it was lofi pop with a heavy dash of Velvet Underground. Often the production quality of the recorded music was fairly poor also, there were exceptions to this, but it was a sticky point for a lot of theses acts getting any commercial success. The first single released by the label was by a band called, The Pin Group. The single was 'Ambivalence'. It was with the second release The Clean's 'Tally Ho' that helped the label really take off. 'Tally Ho' went top 10 in NZ, injecting an unexpected cash pool that allowed the label to expand earlier then anyone would of thought.


Some of the more significant acts on Flying Nun were : Tall Dwarfs (Chris Knox), The Clean (David Kilgour), The Chills, The Straightjacket Fits, Jean Paul Sartre Experience, Headless Chickens, The Gordons/Bailter Space, The Bats, Able Tasmans, Look Blue Go Purple and The Verlaines. For those not familiar with these acts a great place to start is a 2 cd compilation entitled 'In Love With These Times'. It gives a quick over view of the Flying Nun golden age.
Today I'm going to look at The Chills. In coming weeks I'll discuss more of the Flying Nun acts

The Chills formed in 1980 as a vehicle for Martin Phillips. Since forming they have had an unbelievable 20 lineup changes. Amongst the scene it was referred to as the curse of The Chills. Most weird about this is that Phillips was very much into the 'band concept' he certainly didn't wish for the revolving door. More then anything the lack of lineup stability was responsible for the stop/start nature of the Chills and the inexplicable lack of commercial success. My first exposure to the Chills was following the 1986 release 'Kaleidoscope World'. It was a collection of the early singles and other recorded material. Originally released as 10 track vinyl album it was reissued as an 18 track CD. It's a collection of some of the most significant Pop music ever written. Criminally unrecognised but to those 'in the know' one of the most important records in their collections. Wonderfully crafted pop with an often dark and sinister lyrical offering.

'Pink Frost' appears to tell the tale of a man murdering his partner and his inability to come to terms with what has transpired "I want to stop my crying, But she's lying there dying, How can I live when you see what I've done?" He explains how "I was dreaming - so I didn't heed her screaming" and that "Just the thought fills my heart with Pink Frost".
Doledrums succinctly describes the mundane and lonely existence of life on the dole. He explains his impression of the day to day impact, "Counting down lonely hours, Drinking lots and taking showers" and also explores some long term possibilities "I no longer dream about the rest of my years". Finally the cycle perpetuates "The benefits arrive and life goes on and on and on".
Perhaps the most poignant song on 'Kaleidoscope World' is 'I Love My Leather Jacket', its dedicated to former drummer Martyn Bull who succumbed to cancer a few years earlier. He left his leather jacket to Phillips. It represents "the only concrete link with an absent friend" and its "Both protector and reminder of mortality."

It was not till late in 1987 that Chills released their first real LP, 'Brave Words'. As with 'Kaleidoscope World' the production is rough but the songs are musically and lyrically sublime. The opening track is 'Push' a jangly but moody intro, stalking but not really threatening, an almost suggestive mood. Lyrically Phillips complains about being emotionally pushed around ""First you push me this way and then you push me that way." Interestingly there is an emphasis on 'S' creating a hissing sound. This is usually discouraged, record producers spend life times removing it from tracks. Phillips emphasises cleverly for effect.


'Look For The Good In Others and They'll See The Good In You' is perhaps my favourite song on the record, it raises the tempo a deal further then the Chills generally take us. Its the Chills punk rock homage and it works. 'Wet Blanket' has a real Sunday afternoon in the hammock feel, what that feel is hiding is an impassioned appeal to a would be love. "Well I'm not in love with anyone but I could fall in love with you" and "I have no patience for anyone but I have lots of time for you". Other highlights on the record are 'Dan Destiny And The Silver Dawn' and the title track 'Brave Words' ("I much rather go down fighting at least I could go with pride, I rather go trying to battle, battle the doubts inside")
'Brave Words' was greeted rapturously around the world. It was released by rough trade in the UK and Homestead in the US. It suffered at the hands of its production. Reviewers maybe able to see past poorly produced records, but radio programmers and mass audiences can't. Its a tragedy, I believe that of the 30+ songs spread over these two records there was a potential ten top 10 hits. Unfortunately they are hidden behind poor production.

'Submarine Bells' was released in 1990 it was the major label debut for The Chills, the previous year they signed a deal with slash/liberation for the world. It was a real turning point for the band and many felt betrayed by their leaving Flying Nun. It was recorded in London and in true Chills fashion the rhythm section had problems with their Visas and were denied entry. The bass player and drummer from XTC were drafted into help with the recording.The record finally showed The Chills for what they could be. The production was crisp and the songs strong. It was by far their most commercially successful outing. A case can be argued that the song writing wasn't as strong as either 'Brave Words' or the collection of songs on 'Kaleidoscope World'. It certainly isn't as consistent.

However the 5 or 6 songs on this album that are of Phillips' normal high benchmark shine with the aid of improved production. As is the case with Sonic Youth's early records there are times when poor production can work as a tool to enhance the product. I think this holds true for a number of the Chills early singles. However that it continued onto Brave Words was a mistake. The other way to look at 'Submarine Bells' is as a major label debut and as such Phillips had sales in mind, he can't be accused of hiding his intentions with the lead single being 'Heavenly Pop Hit' (if this was the case.) The world would be a lot better place if every charting pop song sounded like 'Heavenly Pop Hit'. Its a beautiful track, what's odd is its so obviously uplifting, not normal Chills fair. This isn't exactly true The Chills' catalogue is filled with uplifting, optimistic tracks. 'Kaleidoscope World' there first single is an example. This is different maybe the production makes it seem to much, I'm not criticising, as I said its a great track, there is just something about it that spells a huge change for the Chills. The album certainly isn't devoid of Phillips bleakness - 'Familiarity Breeds Contempt' and 'Tied Up In Chain' are a couple of examples that his dark cynicism is still alive and well. 'Submarine Bells' the title track concludes the album. Its a mournful organ driven ballad, its almost impossible to hear without a wash of melancholy enveloping every pore of your body. Its beautifully sad. "Deep and dark my Submarine bells, rolling greens and grey, my mood chimes a thousand times to make you feel ok, k, k, ok"...wonderful!

In 1992 The Chills released their final album 'Soft Bomb'. To be honest I haven't heard it for 15 years. I remember that on release I didn't get it, its the one album of the first Chills I don't own. Reviewing it here is therefore very difficult - I have trouble remembering 15 minutes ago, let alone an album I heard 15 years ago.
Martin Phillips disbanded the Chills on the US leg of the Soft Bomb tour in 1992. Last year he put a version of the Chills together and recorded a new album Sunburnt. (continuing the S.B. title that ran through the last 3 albums). Reviews have been mixed and its availability in Australia is sketchy so I'm still to hear it.

The 1990s and into this decade were not kind to Martin. He battled a serious drug and health (Hep C) problems and to many he seemed lost. A few years ago when stories of an arrest for shoplifting made their way to the media most felt it justified their theory. Phillips to his credit used it as motivation to sort himself out. After a decade (+) of dancing with his demons he must be commended for his resolve. I only wish that the success that so wrongfully alluded him the first time around is handed to him in spades this time.

The Chills are considered widely influential amongst indie pop bands of today. Peter, Bjorn and John on their album of last year 'Writer's Block' have a song entitled 'Chills" a homage to Phillips & co. Fellow Swedes I'm from Barcelona are also huge fans of the band, openly singing their praise in interviews and via messages on their website.

The first 3 records for download and videos stretching the first three records for your viewing pleasure.

Kaleidoscope World

Brave Words

Submarine Bells


Pink Frost from 'Kaleidoscope World'



Love my Leather Jacket from 'Kaleidoscope World'



Look For The Good In Others And They'll See The Good In You (Live 1988) from studio album 'Brave Words'



Heavenly Pop Hit from 'Submarine Bells'



Flying Nun
The Chills