Although the name The church might have you humming, their only commercial success from the 80's Under the Milky Way, and remembering the size of your hair in those unique days of Three's company and Reebox pumps, some might be surprised to hear that Australia's adumbrated art-rock gem has gone on to produce a lengthy string of albums since their one claim to commercial fame. Their most recent work Forget Yourself, the band's 17th compilation, is rather ironically titled as this labyrinth of experimental sounds is a musical monument that vocalizes and reflects the bands unforgettable growth as artists throughout the years.
What is most striking about the record is the eclectic blend of influences that can be drawn from a careful listen to this haunting and exotic foray of richly melodic tunes. As bassist/vocalist Steve Kilbey comes across as a mix-breed of David Glimour and Bono in tracks like Appalatia, June and the CD's opening track Sealine, Guitarists Marty Wilson-Piper and Peter Knoppes resurrect Hendrix in Nothing Seeker with their fuzzy -bee hive sounding guitars and reverberate the dazzling rhythm guitar of edge in Telepath and See Your Lights. The light swing and harmonious pulse of drummer/producer Tim Powles plays an adequate complementary role to all of this magnificence and can be coined as a jazzy but still lyrical Ringo Star. (Oh shut up, he was and still is a good drummer.)
However, much like Montreal's own Sam Roberts, The Church doesn't simply imitate its roots and glorify retrospection, but provide us in Forget Yourself with a conflation of the old and the new and with a product that is aesthetically stimulating. They seem to be one of the few acts today that hasn't forgotten what they are above and beyond everything else: artists.