The Chills New Album Gets a Release Date & Single: America Says Hello (+ lyrics)

The date has been announced and Martin Phillipps and band’s new album Silver Bullets is to be released 30th October on Fire Records. You can pre-order here. It’s only been 19 years since the last The Chills album, Sunburnt, which in my humble opinion was a pretty great album and an overlooked one – a trend of much of The Chills career. But it seems they’re set for a revival of appreciation, with all the big indie trendsetters such as Pitchfork spreading the word of the cult Dunedin band’s brand new release. The Chills performed to sold-out audiences through-out the UK last year; here’s hoping they return soon with more international dates, as well as playing the home land. The Pitchfork article does indicate a tour for next year.

the chills silver bullets album

In tandem with this news being released is a brand new single, America Says Hello, which following on from the previously released Molten Gold is another slab of classic atmospheric pop. This one features a drum and bass rhythm guaranteed to bang heads, dark jangling melodies and politically charged lyrics. The choice of vocals in the mid-section – “a rocket attack, and a property boom” are pretty telling. The bass riff of the chorus is almost Joy Division-esque, dropping the guitars for Phillipps’ hook to cut through with immediacy – “America says hello, and the world says welcome home”. The production is both rough and polished, suiting the reverb drenched, swamp-pop Phillipp’s has long mastered, but with a modern touch. The melodies and structure are complex, this will most likely be one on high rotation for some time.

The lyrics are up for interpretation, and although political in theme partially, I would be missing the point I think if I took criticism of foreign policies to be the song’s only meaning. The opening lines are about the wonder and scope of the universe; the futility of human endeavor in light of this seems to be another theme through-out. The planets and the symbolism of Mars are effective metaphors for waring powers. The chorus perhaps then alludes to the habit of the world to forgive America for the violence of their empire, and all it takes is a greeting. Stockholm Syndrome maybe. I’ll stop here before I get too university-student with this analyses. As with anything, give it a spin and come up with your own interpretation. It shows Phillipps has still got it – he’s given us a lot to chew on with this one.

The song can be heard on Soundcloud now.

Give the song a share and go pre-order the album now.

I’ve attempted to write out the lyrics, and I’ve probably got some wrong, let me know if so (comment down below)

The Chills – America Says Hello (Lyrics):


“When you gaze at the stars on a cool, clear night
– novas, sapphires, giants and diamonds, and all beautiful

But you grapple with fear as you stare at the sight
For they’re cold uncaring, moving, scaring – inscrutable

For it’s a small world after all – a lonely little blue and white ball
And the universe yawns at our plans – as another empire expands
For on behalf of the war-god Mars – here are fifty white, fightin’-fit stars
That make people want to wail and pray – saying Rome wasn’t burnt in a day…
…but hey, we shall see!

But then America says hello – and the world says welcome home
America says hello – and the world says welcome home

Yes, it’s a god eat godless world – as the galaxies around us swirl
While the poor run riot in spite
– to see stars they set the night alight

For the everyday people aren’t free – and they know they’re never going to be
With the powerful keeping them hushed – as the tyrants get noisy ones crushed
So they turn a deaf ear to the prophets of gloom
For there’s funding galore from the profits of doom
First a rocket attack then a property boom
A rocket attack then a property boom
Just a rocket attack and a property boom
a rocket attack and a property…

Yes – on behalf of the war-god Mars – here are fifty white fightin’-fit stars
That make people want to wail and pray – saying Rome wasn’t burnt in a day…
…but hey, we shall see!
…cause this isn’t the way it was always portrayed it should be

Now the cash has crashed, the dream-ship sailed, the gravy-train has been derailed at its own terminal
Let the fairy tale be an epic fail for no one found the Holy Grail and time’s terminal

But then America says hello – and the world says welcome home
America says hello – and the world says welcome home

We were on the wrong track, will you welcome us back if we say hello? (America says hello…)
We were on the wrong track, will you welcome us back if we say hello? (America says hello…)
Now, we’re back on the track – will you welcome us back if we say hello? (America says hello…)
Yes, we’re back on the track – will you welcome us back if we say hello? (America says hello…)”

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Queen – “Let Me In Your Heart Again” (Song Discussion)

This month saw the release of a new Queen compilation; Queen Forever. In order to differentiate from the other worn out Greatest Hits collections previously released, this time both album tracks and singles are collected, under the theme of classic love songs. There’s some decent deep cuts, Nevermore off Queen II (which I wrote about here) is a beautiful and not too well known Freddie Mercury ballad. Jealousy is a favourite of mine from Jazz and one of Brian May’s best non-singles, Sail Away Sweet Sister is a great inclusion.

QueenForever

But the stand-out is by far the forgotten unfinished song from The Works’ sessions, Let Me In Your Heart Again. Written by May, it’s a touching and earnest heavy-ballad, comparable to earlier stadium hits like Somebody To Live or Save Me but with it’s own unique energy. Some of the melodies are recognizably similar to other May songs written around the same time, the bridge/solo being of similar melodic structure to Hammer To Fall. The lyrics seem slightly unfinished, with certain verses appearing rather aimless in sentiment;

When People Talk Of Love
I Have No Hesitation
( It’s Your Heart Again)
Tell Me What Your Dreaming Of
I’ll Hold That Conversation For You Best
( it’s Your Heart Again)

Not the most deep lyrics ever on the subject of love, but this is made up for by the narrative that runs through the rest of the lyrics; of a man putting on a brave face in response to the questioning of others, but who’s heartbreak is transparent. Much better lyrics are found in the first verse;

When People Talk Of Love
I’ll Lead The Conversation
I’ll Say I Feel Just Fine
Happy With My Situation

But When I Look Away ha
People Know My Mind Is Straying
To Where I Once Belonged
Dreaming About Your Heart Again

Brian May was near the end of his first marriage upon the time of writing this song, so I can only wonder if that was an influence on the lyrical content. But lyrics aside, the reason why this song is worth talking about is of course Mercury, and hearing such a strong vocal from him twenty four years after his death, when one assumed they had heard all they would ever hear of Fred, is pretty remarkable.

The vocal take sounds raw – it may have well been the demo vocal. There has probably been a lot of studio processing to brighten it up. A fantastic bass track from the now retired John Deacon is also heard on the track. I believe it’s Fred’s original piano take, though am unsure. Brian and Roger have added new backing vocals and guitars, and it really does sound fantastic. It’s a great piece of songwriting and I’ve not heard many posthumous releases this strong. If only there was more. It would have been great on their first posthumous albums Made In Heaven and perhaps would have been the single that album was missing – a bit of dramatic, heart-on-the-sleeve balladry to distract from the themes of death that permeate the rest of Heaven. Queen’s final album released during Fred’s life, Innuendo is also strikingly dark and worth a listen if you haven’t checked it out.

Producer William Orbit provides a second version of the song, remixing it into a synth heavy pop anthem, aligning the song with the poppier side of 80s Queen, i.e. Radio Gaga and A Kind Of Magic. I wasn’t sold on this version at first, although it was the first version of the new song I’d heard. The drums seemed slightly to quiet, the synth and bass too loud, and all kinds of studio effects were used and thrown around the place, bit-crushed drums, distorted vocals, a pitch shifted operatic section in the middle. It still seems a bit thrown together, but the new melodies he includes have grown on me, to the extent that I almost prefer this version. I think Freddie would have led the song towards this dramatic vibe had he still been around. This version ends with an emotionally charged outro which places the pre-chorus and chorus vocals over the bridge melody. An inspired improvisation that works. At six minutes long, it reaches towards Bohemian Rhapsody epic-ness, perhaps with mixed results. But I could have gone for another eight reworked demos such as this.

If this is the last original song we get from Queen so be it. It’s a pretty fantastic final note, even if it would have been that much better with a whole album to go with it, rather than another compilation. But to be hearing new material featuring Fred at this stage, and of this caliber – can’t complain really.

queen 1973 3Though it might be a bit of a corporate plug, Coke is donating a bunch of money to AIDS research for the sponsor rights to the new Queen remix. It’s a good cause no doubt, can’t help but be cynical towards the free advertising the company gets however.