Records

Rip It Up, Issue 119, 1 June 1987, Page 26

Records

The Triffids In the Pines White Hot The Triffids somewhat smugly call this a "holiday record,” its place in their oeuvre reduced to fill-in rather than follow-up to Bom Sandy Devotional. They’re in the studio at the moment recording that record — but what of this one, recorded in a woolshed 600 km from Perth in April last year? It is the album’s production, mixed “back in town" as it were, at the Triffids’ hands, that separates it from the mainstream of their work. The feel on most of these tracks is acoustic, slightly rustic compared to BSD’s sweeping vistas, and as such, In the Pines succeeds not on the basis of woolshed larks — inbetween song banter or the country singalong ‘Once a Day’ with the local yokels on backing vocals — but on the bare strength of tracks like ‘Kathy Knows’ and ‘Just Might Face Away,’ where David McComb is at his strident and dramatic best, counterpointed by the evocative title track and mellifluous ‘Only One Life.’ In the Pines therefore constitutes a deviation for the Triffids, lots of good arrangements, but not enough really strong songs to make it as good as either of the Triffids’ two full-length albums. Paul McKessar Madhouse 8 WEA The tracks listed are merely the digits ‘l’ to ‘B,’ which fits the enigmatic nature of this jazz-fusion workout. On the Paisley Park label and rumoured to be all done by the purple one hisself, but I doubt it.

Madhouse is more Eric Leeds, the saxophone player in the Family, and assorted Paisley Parkers. In parts a fairly traditional fusion album, with track ‘B’ reminding me of Return to Forever. Whereas tracks ‘2’ and ‘4’ have a more avant-funk feel like Lester Bowie or even Ornette Coleman’s latter albums. Some of this is self-

indulgent, like the heavy breathing bits and the ambient talking. But most is interesting, especially the drumming because it’s straight Paisley Park beats and seems to jar against the jazzy time signatures. Sure to sound good at your next dinner party, and what a stunning cover. Kerry Buchanan James Griffen and the Subterraneans . The Immigrant Tango Chase/Jayrem Australia is coming to light with some interesting sounds. James Griffen is a street-wise poet who takes us down through the back alleys of the Australian city — nightlife crawls out from between the vinyl grooves and bounces between speakers. Dark stuff from the land of Ock. Singing in gravel tape Griffen holds his own as he introduces ‘Sister Sabotage’ — “The Sisters of Mercy go down on their knees / for expense account bigshot disciples of sleaze” and picks with raunch as he spits his way through the urban angst of the immigrant tango — “Come on honey, dance on." The Subterraneans provide strong backup, especially the pianist Peter Crosbie, who keeps the loose feeling alive and flowing. Members from both the Church and Icehouse are present and seem to enjoy the freedom here. Overall they add to the texture of Griffin’s poetry, expressing its depths which allows Griffin to flex the colour of his words. Interesting tones ensue! It was a pity that these guys weren’t given better PR when they were here a short time ago; I hear the inimitable Lez White plays with them. The record’s production bears testimony to this good band and gives us the opportunity to hear from one of Australia’s better songsmiths — check out ‘Surf City’ and ‘Land of a 1000 Dances,’ songs which embrace the heart of the Australian dream and don’t haltingly give way to the themes of the Americas’.

It’s well worth the bucks to check this one out.

Tim Byrne