| Artist |
The Church |
| Album Title: |
Remote Luxury |
| Album Cover: |
 |
| Primary Genre |
Alternative & Punk: Indie |
| Format |
CD |
| Released |
00/00/1984 |
| Label |
Arista Records, Inc. |
| Catalog No |
ARCD-8566 |
| Bar Code No |
0 7822-18566-2 |
| Packaging |
Jewelcase |
| Tracks |
| 1.
|
Constant In Opal (3:31)
|
| 2.
|
Violet Town (3:30)
|
| 3.
|
No Explanation (4:30)
|
| 4.
|
10 000 Miles (4:16)
|
| 5.
|
Maybe These Boys (5:52)
|
| 6.
|
Into My Hands (3:44)
|
| 7.
|
A Month of Sundays (4:25)
|
| 8.
|
Volumes (4:08)
|
| 9.
|
Shadow Cabinet (4:20)
|
| 10.
|
Remote Luxury (3:17)
|
|
| Date Acquired |
01/01/1986 |
| Personal Rating |
 |
| Acquired from |
Down In The Valley |
| Purchase Price |
14.00 |
Web Links |
Discogs Entry:
All Music Guide Entry |
Notes |
Cover, Artwork – Kim Sandeman
Drums, Percussion – Richard Ploog
Engineer, Mixed By – John Bee
Guitar – Peter Koppes
Guitar, Vocals – Marty Willson-Piper
Keyboards [Additional] – Craig Hooper, David Moore
Mixed By – The Church
Producer – The Church, John Bee
Remastered By [Digital] – Bill Inglot, Ken Perry
Vocals, Bass Guitar, Keyboards – Steve Kilbey
Written-By – Willson-Piper (tracks: 4, 8, 9), Koppes (tracks: 9), Ploog (tracks: 9), Kilbey (tracks: 1 to 7, 9, 10)
Recorded At – EMI Studios 301
Mastered At – K Disc Mastering
℗ & © 1984 Thorn EMI Pty. Ltd.
Marketed and distributed by Arista Records, Inc.
Printed in U.S.A.
Licensed from Thorn EMI Pty. Ltd.
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foobar2000 1.2.9 / Dynamic Range Meter 1.1.1
log date: 2014-01-31 11:58:41
--------------------------------------------------------------------------------
Analyzed: The Church / Remote Luxury
--------------------------------------------------------------------------------
DR Peak RMS Duration Track
--------------------------------------------------------------------------------
DR12 -0.68 dB -14.72 dB 3:31 01 - Constant In Opal
DR14 -0.00 dB -16.37 dB 3:30 02 - Violet Town
DR14 -0.40 dB -17.00 dB 4:30 03 - No Explanation
DR13 -1.00 dB -16.00 dB 4:17 04 - 10,000 Miles
DR12 -1.84 dB -16.81 dB 5:52 05 - Maybe These Boys
DR13 -0.56 dB -15.07 dB 3:44 06 - Into My Hands
DR13 -0.01 dB -16.04 dB 4:25 07 - A Month of Sundays
DR12 -0.95 dB -15.12 dB 4:08 08 - Volumes
DR14 -0.00 dB -15.01 dB 4:20 09 - Shadow Cabinet
DR14 -0.00 dB -16.30 dB 3:17 10 - Remote Luxury
--------------------------------------------------------------------------------
Number of tracks: 10
Official DR value: DR13
Samplerate: 44100 Hz
Channels: 2
Bits per sample: 16
Bitrate: 814 kbps
Codec: FLAC
--------------------------------------------------------------------------------
|
|
| Reviews |
All Music Guide Review:
Review by Ned Raggett
Collecting the contents of two separate EPs into a full-length album for American purposes, Remote Luxury actually makes for a reasonable release, avoiding the miserable drum sound that plagued Séance. The band are hardly so groansome, mixing the light synth touches evident on Séance with a tight, sharp postpunk groove. While the comparisons to bands like R.E.M. were sometimes stretched a bit, there's no denying the similar love of brisk, economic velocity which crops up on many of these songs, including the steady beat of "Violet Town" and the crisp flow on "Into My Hands." "No Explanation" perhaps fits the R.E.M. likeness best after a brief instrumental beginning, a shimmering, strummed gem with a great main melody. Kilbey again handles the vocals with his usual mix of low-key singing and sometimes clever, sometimes obscure lyrics, while the band as a whole keep things moving. Willson-Piper, who handles lead vocals for "10,000 Miles" and "Volumes," and Koppes by now show their excellent guitar abilities almost at every turn, their avoidance of pointless flash in favor of compelling hooks and a little extra shading when needed always coming through. "A Month of Sundays" and "Shadow Cabinet" are just two highlights of their abilities, beautiful and hummable all at once. An interesting if slightly atypical effort on the disc is "Maybe These Boys," with a relentless keyboard hook that almost sounds like a military fanfare leading into the full band performance, though with further keyboards still prominent. Kilbey's vocals are eventually contrasted with a Vocodered treatment of the same words, making for a strange, unsettling ending.
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| Cover 1 |
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| Cover 2 |
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| Cover 3 |
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| Cover 4 |
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| Cover 5 |
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| Cover 6 |
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