Review: The Church Creates Fluid Moods on Latest Album, ‘THE HYPNOGOGUE’

THE CHURCH
THE HYPNOGOGUE
(Communicating Vessels)
3 1/2 out of 5 stars

The 2020 departure of founding Church member Peter Koppes leaves bassist/singer/songwriter/frontman Steve Kilbey as the last original member still standing from this veteran Australian combo. Now in its 42nd year, the band’s 26th album reflects a remarkable, even legendary run. 

Since Kilbey has been the focal point for decades, it’s not surprising that even now, as a first-time five-piece with the addition of (third) guitarist Ashley Naylor, little has changed sonically or conceptually. The songs amble on a bed of lush, interlaced shimmering guitars, atmospheric keyboards, and restrained drums supporting Kilbey’s distinctive, hushed vocals. The most common adjective describing The Church is “dreamy.”

According to promotional notes, this is their first concept album. But since lyrics are unavailable, trying to untangle the complexities of the story—about a fading rock star looking for something called the Hypnogogue, which extracts music from dreams—is a task only the most diehard fans will have the time, inclination, or patience for.

But since Kilbey’s lyrics have characteristically landed on the inscrutable side, that’s nothing new. Adding to the overall enigmatic approach, tunes are credited both in composition and performance to all five members, who also switch instruments. Regardless, the 13 tracks running just over an hour are classic Church. They hover and float with few variations in tone or tempo. Melodies soar and hang, choruses may appear, but often don’t as selections unspool at their own deliberate pace. 

Anyone hoping for another “Reptile,” “Under the Milky Way,” or “The Unguarded Moment,” songs whose underlying pop and rock inclinations pushed them into The Church’s most memorable pieces, might be disappointed. But it has been decades since those catchier items have become alternative radio hits. 

Rather, on The Hypnogogue, the quintet creates fluid moods, moving in idiosyncratic directions while maintaining the shadowy gaze that has defined The Church’s style. Still, a few more songs like the relatively pop-oriented “C’est La Vie” would help elevate and energize the album by varying its consistency. 

Photo by Dave Simpson/WireImage