Sometimes It Seems, I've Been Robbed--The Chills' Soft Bomb

You Have To Give Them What They Want

There was a time when The Chills were critically on top of the music world. Music fans were delighted by the excellent singles anthology Kaleidoscope World and Brave Words, their first album. Then came the polished masterwork Submarine Bells, released to a worldwide audience on Slash Records, which catapulted Martin Phillips to the status of a potential next big thing. The New Zealand music scene appeared to be the next flavor of the month. So what happened?

Soft Bomb, the followup to Submarine Bells is a fine fine album. Its major problem is that it came after Submarine Bells. That album would be tough for anyone to top and it does fall a bit short. An A- to the prior A+. But critics voiced their disappointment. Nobody really said it was terrible--they said it was weaker, that the songs were not so good. I listen to the album and I get a different impression. The songs are mostly strong. In fact, some of his best songs are contained here. Soft Bomb appears to be loosely constructed as a concept album, with some short tracks attempting to create some continuity. Probably not successful on that front. I presume one of the main themes had to do with environmental destruction due to pollution, judging by the album title and cover art. The album is in turn joyous, bitter, cynical, and even whimsical.

Perhaps Martin Phillips did have some prescience as to the way things were going. On the piano pop anthem Song For Randy Newman etc., he gives a shout out to Wilson, Barrett, Walker, Drake. No, not the malevolent law firm from the TV series 24. That was McLennan-Forster. They were the misunderstood songwriters that preceded and were influential to Phillips musical growth. Maybe he had an inkling that history was about to repeat itself with his career and was reflected in this song. Throughout the album there are examples of bitterness, growing cynicism, frustration and the toll the music world can take on the creative psyche.

Certainly he had big ambitions on Soft Bomb. I think he tried to reach the heights of his idols and fell a little short on a whole. But he comes close. He has some magnificent moments here. But that is a huge accomplishment in itself, and certainly merited more major label releases. This album was not qualitatively a deal-breaker. Perhaps quantitatively it fell short. I don't find a duff track here at all.

Life Never Tires Of Great Surprises

Male Monster From The Id is a strong first track, with Phillips' typically eloquent delivery. Ditto for the evocative lyrics of Ocean Ocean, continuing the recurrent water imagery in his music. The first Soft Bomb is shuffling and melodic and upbeat yet bitter, a song more resembling an earlier phase of this band. I wonder whether critics were disappointed in the big budget production and use of mostly non-Kiwi personnel in Martin's last band incarnation. Peter Holsapple of the dB's was on this. People were entranced with the lo fi charm of the Kaleidoscope World singles, and the oddly muted pop gems of Brave Words.

This was a big budget album, and the Kiwi terroir was missing from this. The early albums have a sense of place--you knew this was Flying Nun New Zealand. Soft Bomb sounds like it could have come from anywhere, Hollywood, Perth, Liverpool. He was also no doubt under pressure to sell mass quantities. Despite all that, taking the album on face value, you have a terrific pop album by an inspired songwriter. Any other view is completely unmerited in my estimation.

My favorite song on this album is Halo Fading, and it is one of my favorite ballads of all time. Very well constructed, changing gears throughout... Pop brilliance.

Halo, fading in Silence
I know you hear me-- I know you're there being quiet
Someday a song I'll sing for you, that finally says goodbye,
Right now that the words won't come to me--
I'm torn apart trying...

Another great moment is the epic Water Wolves, where he recruited Brian Wilson collaborator Van Dyke Parks to write the string arrangements. Despite what some people think I really like how this one turned out.
I know he also did a version without the strings which is also good on a concurrent Cd single. The Entertainer is a cleverly written sarcastic lounge song, Phillips' own version of Piano Man. Equally affecting is the creepy spousal abuse tale of  Sanctuary. The mandolin driven pop of So Long is another highlight on Soft Bomb. "I've heard all the brilliance advice, I learned that everything comes at a price."

One of the singles off this album Double Summer is another pleasant with imagery somewhat of the Beach Boys Southern California, if not similar stylistically. Tremendously melodious, upbeat happy lyrics, expressions of wonder. Great keyboards here played, with verve by Lisa Mednick. Similar in tone is Sleeping Giants, a jaunty high speed pop number that name checks Gigantor the Robot.



Unfortunately Martin Phillips has suffered a number of misfortunes in subsequent years, including serious health issues. After Soft Bomb, The Chills released Sunburnt on Flying Nun, and Sketchbook Vol. 1 under his own name. There was also the 3 Cd limited edition Secret Box, full of unreleased songs, b-sides and rarities. The Chills in different forms have continued to exist, with an ep Stand By released a few years ago. I had the good fortune to see The Chills live twice, during the Submarine Bells tour, and again in support of Soft Bomb. I loved both shows, but preferred the original lineup. I definitely appreciated the stellar keyboard work of Lisa Mednick on the latter tour. Keyboards have always been a big component to The Chills' sound, as was the case with Andrew Todd.

In any event, if you are new to The Chills, I would start with Submarine Bells, but you can't go wrong with albums Soft Bomb, Kaleidoscope World, or Brave Words (long out of print). The Chills are one of the top New Zealand bands ever, so they are a group that you probably need in your life.