A compilation in the truest sense, Kaleidoscope World covers everything recorded by icons of the
Dunedin Sound, The Chills, up until 1986. Yes, everything. In this 18-track
compilation, we have the three Chills tracks from the Dunedin Double EP, both sides of the Rolling Moon single, both sides of the Pink Frost single, The Lost
EP, both sides of the Doledrums
single, and both sides of the I Love My
Leather Jacket single. Bizarre to think that at this point in the band’s
career (six years in), they had yet to release a full-length LP – even with the
likes of the single “Pink Frost” behind them. It wouldn’t be until 1987 that
The Chills would actually put an album together, with the release of Brave Words.
So, we kick off with the earliest Chills recordings,
found in 1981’s Dunedin Double EP,
one of which is the title track of this compilation. “Kaleidoscope World” is a
breezy, light and innocent enough track, positioned somewhere between sunshine
pop and indie pop, featuring a modest amount of Martin Phillipps’ jangly guitar
work and a nice overlay of keyboards. The lyrics seem a world away from the likes
of “Pink Frost” – ‘I’d look at you, and perhaps you’ll smile at me / Loving my
kaleidoscope world’, and the song continues in this vein. It’s a pleasant
enough cut, but it’s plain that the band hasn’t quite found their sound yet.
However, Phillipps would return to this sort of style in 1990’s Submarine Bells, albeit with greater
proficiency and aided by much, much better production value. The next two tracks from this era, "Satin Doll" and "Frantic Drift" both seem to be variations on “Kaleidoscope World”
with keyboards again having a large presence, and guitar taking a back seat. The
tracks don’t really progress though, and just seem stuck in one gear.
Then 1982’s Rolling
Moon release, first the A-side. Now this
is the Dunedin Sound. Great track, the keyboards seem to have a real purpose
and energy here, along with the vocals. The guitar work has come to life as
well, (jangles, jangles everywhere) and by jove, the drums aren’t bad either. The
outro here is a highlight, typical showcase of the Dunedin Sound. Then the two
B-sides, first off is “Bite” – here’s The Chills’ dark, punk underbelly. “Bite
it through / Bite it through / Get inside you / Bite, bite, bite” is repeated
mercilessly, and the jangles have become absent, replaced by gnarly guitars and
thudding bass. Second is “Flamethrower” – this is a live track, and I really
dig the way it builds, starting with what would become the typical
Chills sound, then accelerates into a suggestion of punk rock, followed up by a
rollicking drum outro and messy, heavy guitar.
Then the Pink Frost
single from 1984. Oh man. What an absolute knockout 45” release, even the
relatively unknown (to me anyway) “Purple Girl” is a surprisingly excellent
addition to the A-side. “Pink Frost” is just a flawless, captivating track. The
phenomenal jangly guitar intro sets the track brilliantly, but it soon makes
way for the plodding bass line, coupled with the escalating smooth guitar riff that
builds into the meat of the song, meanwhile the drums are doing great, solid rhythmic
work too. Enter Phillipps’ haunting vocals that float over the rest of the
song, and manage to echo through your head even after the song’s conclusion. It does a masterful job at capturing the confusion and helplessness felt after the death of a loved one, through an overdose it seems - "Thought I was dreaming / So I didn't hear you screaming". Is
this the best 45” release put out by a New Zealand artist? I’m starting to
think so. “Purple Girl” is nearly an instrumental track that features a
repetitive, heavy guitar riff, followed by some familiar-sounding jangles and a…
saxophone? Handclaps? The track suddenly becomes a jam, and somehow it completely
works.
Next is The Lost EP,
1985 – these tracks show Phillipps’ attempts at trying to carve out a new sound for the
band, with tracks like “Bee Bah Bee Bah Bee Boe” featuring an acoustic guitar
and an accordion, and functioning almost like a pub singalong. “Dream by Dream”
is probably about as experimental as The Chills got, with a mess of distorted
guitars crashing in towards the end of the track, concluding with the band
members signing off with a “goodnight” to each other, and then a deep voice
bellows “GOODNIGHT, CHILLS”. It’s the sort of offbeat thing I’d expect from
Split Enz.
The two tracks in the Doledrums
release in 1984 are probably the most understated in this
compilation. “Doledrums” sort of harks back to “Kaleidoscope World” and is in a way a predecessor for “Heavenly Pop Hit”, featuring a return of
energetic keyboards and jangly guitar. “Hidden Bay” is far more upbeat, almost
with a punk rock undertone, but also includes keyboards that guide the track
along really smoothly and pleasantly.
The final two tracks, from 1986’s I Love My Leather Jacket single, aren’t too shabby either. “I Love
My Leather Jacket” has more of a pure-rock base, as the guitars steadily carry
the track with keyboards only making sustained appearances in the intro and
outro. “The Great Escape” is one of my personal favourites from the entire
compilation. It kicks off with a chilling, melodic guitar riff that slides in
and drifts through the track, followed shortly by Phillipps’ vocals that just
linger over the song, reminiscent of “Pink Frost”. (this track seems eerily
like a sequel to it)
Overall, this compilation contains some really solid
staples of the Dunedin Sound era, most of which were new to my ears. There are
a few tracks which aren’t so impressive, but you take that considering the
amount of time this compilation covers in the band’s life. Anyone curious as to
what the Dunedin Sound was, or what The Chills actually sounded like (outside “Pink Frost” and “Heavenly Pop Hit”) should definitely
start with this compilation, without a doubt.
-Karl
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