This is most evident on songs such as 'Maybe These Boys,' with its insistently trashy synth-line and the title track, which introduces some of the proggy guitar-work that would come to define the band's sound fifteen years later. It's time for The Church to stop messing about and hit home.'Īlthough nearly thirty years after its release Steve Kilbey is prone to dismissing the Remote Luxury EP as a 'lost opportunity,' its five songs clearly constituted an attempt to diversify their sonic approach by integrating more keyboard-driven melodies and proggy flourishes into the mix with the Byrds-influenced Jangle-Pop they had, up to this point, been identified with. I want to make short, powerful statements rather than long, meandering, dreamy ones. As a result, the band decided to take a step away from major-label interference and a step toward creative autonomy by recording and self-producing two EPs in 1984, Remote Luxury & Persia, both of which recall the poppier moments found on The Church's debut while suggesting a more tightly focused approach to songwriting, as Steven Kilbey stated at the time, 'Those earlier songs were great for people who had the time to sit down and listen, but this is such an immediate world we're living in. The Church experienced more record label-related difficulties while recording their next album Seance, as one of the favorite songs from their live set, '10,000 Miles' was rejected by their handlers at EMI. Despite this, the songs were given a European release by EMI in early 1982 as the Sing-Songs EP, and while, ironically, the songs themselves are less immediately accessible than those found on The Blurred Crusade, there are, nevertheless, a few standouts, including 'A Different Man,' one of the better examples of the band's early Jangle-Pop sound. distributor, The Church quickly returned to the studio to hastily record a number of additional songs, including a cover of Simon & Garfunkel's 'I Am a Rock,' all of which were quickly rejected by Capitol, who then decided to drop the band, leaving them without a distributor in the U.S.

Something outside you is always to blame.'Īs a follow up to their promising 1981 debut, Of Skins and Heart, The Church released The Blurred Crusade in early 1982, and while it was a clear step forward sonically as well as conceptually, Capitol Records refused to release the album in the U.S., claiming it was not commercial enough. In 2001, EMI Australia released the compilation album Sing-Songs//Remote Luxury//Persia, which contained remastered versions of all the tracks from the EP in their original running order.'You stop to wonder as she passes by. The material was collected for international release on the Remote Luxury compilation album later in 1984, along with the follow-up EP Persia. Without any standout singles, it made little commercial impact, but showcased guitarist Marty Willson-Piper's lead vocals for the first time since 1982's The Blurred Crusade. With the exception of the untypical, synth-heavy 'Maybe These Boys', this is one of the more subdued works in the band's catalogue, carrying on the mix of dreamy guitar and keyboards from the previous year's Seance album, but this time in a lighter, more acoustic setting. Remote Luxury is the third EP by the Australian psychedelic rock band The Church, the first of two released in 1984. Alternative rock, neo-psychedelia, psychedelic rock, new wave, dream pop

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