Tales from the other end of the planet: Steve Kilbey's Eleven Women

Music will do strange things to a fellow. In normal times, it’s what turfed me out of bed at Rude O'Clock to queue for a must-have “exclusive” on Record Store Day that would, quite probably, be freely available later in the year. And at a more sensible price, too. It’s the same mild insanity that once sent me on a 12-hour road trip just to buy a Red Hot Chilli Peppers album (for context, I was on holiday in Mammoth Lakes, California, and the nearest Tower Records was in Fresno. To me, a 750-mile round trip seemed a logical use of free time). 

By similar token, I once went to Montreux for the day just to see Prince. The lengthy return train journey, plus two days off work, was totally worth being crammed into the Jazz Festival's Stravinsky Auditorium, wedged against the stage edge with a heaving crowd of 4,000 behind me, just to see Prince deliver three sweaty, cramp-inducing hours of funk, with hardly any hits. It will always be one of the greatest musical experiences of my life.

My last marathon music trip was again in California: in May 2019 I found myself in Los Angeles for work and discovered that legendary Aussie wooze merchants The Church were playing up the road. The fact that "up the road” was Santa Cruz, a six-hour, 380-mile yomp up Interstate 5, was somewhat immaterial. What was important was that The Church were playing, in its entirety, Starfish, the record that introduced me to them. With the luscious Under The Milky Way and Reptile, it was an album of the moment, produced as so many were in that period with an emphasis on mood and jangly guitars. It was the band's deserved breakthrough, placing them in the pantheon of global Antipodean rock exports in the 1980s, like INXS, Crowded House and Midnight Oil. Until 2015 I’d somewhat lost touch with The Church, until I was alerted to them playing the poky New Morning club in Paris, where I was living at the time, and in promotion of a new album, Further Deeper. It was, however, something of a disappointment, largely down to frontman Steve Kilbey appearing somewhat worse for wear. Thankfully, the Santa Cruz experience four years later was a wholesale improvement, making the drive up from LA, the overnight stay and the glorious trip back down California's more scenic Highway 101 all worth it. You can read my recollections of that gig here.

Kilbey has, however, been a fascinating character to follow, from afar. An enigmatic frontman, his dabblings in music, poetry, painting and even acting, are not the symptoms of a dilettante character but, simply, manifestations of one of those people who just have an abundance of creativity about them. Thus, his latest solo album, Eleven Women, is the product of a prolific output over the last 30-odd years, being his 12th solo release (in 2014 it was reported that British-born Kilbey had 750 original songs registered with Australia’s copyright agency, the APRA). In fact, Eleven Woman was the fourth new record Kilbey had been involved in last year, like so many others in his profession, applying himself creatively during the lockdown at home in Sydney. Kilbey, however, hadn’t even planned to make a solo album, having expected to spend 2020 touring and recording with The Church.

Picture © Naomi Dryden-Smith

The result is an album that is at turns heartwarming and enjoyably baffling. Loosely, it’s a series of 11 sketches about women, similar in premise, I suppose, to Eleanor Rigby, but with a lens distinctly similar to that which Kilbey applies in his painting. You could - at risk of a convoluted metaphor - look at Eleven Women as pencil sketches with dabs of paint on some, full colour washes on others, and more intricate brushwork elsewhere. There is psychedelia, such as opener Poppy Byron, with its mesh of guitars - some jangly, some Balearic - and 60s-vibe congas. Or Where Gloria Meets Rachel, which purrs along with a beautiful 12-string and mandolin shimmer. Kilbey’s post-punk sensibilities show through on Woman Number 9, which has echoes of Bowie’s Berlin period, although the vocal owes more to Syd Barrett’s whimsy as much as anything else. 

Over the 11 tracks there is a driving curiosity to Eleven Women, as it takes subtle left and right turns, the music and Kilbey’s at-times obscure lyrics combining to maintain constant interest from start to finish.  Some, like Shiba Chiba and Queen Of Spades veer into pure pop, while the moody Lillian In Cerulean Blue takes Kilbey’s bassy vocal into Ian McCulloch territory, a clear contemporary of The Church's breakthrough early alt-rock era. Kilbey’s vocals are, it has to be said, never the surest, but then there are plenty out there (or were out there) who were never exactly pure, either, from Dylan and Leonard Cohen to Mark E. Smith and even Morrissey. It depends on what you’re looking for, I suppose. On a track like Josephine (no, not a cover of Chris Rea’s AOR staple), a rustic, folky ballad, Kilbey’s singing weaknesses are highlighted, but on the quirky Birdeen, it reaches a similar tone to Midnight Oil’s Peter Garrett (yeah, yeah - lazy Australian trope, I know), which fits the song with perfection.

It was only after listening to Eleven Women that I discovered it was a classic lockdown production, recorded in just three days. That might suggest an artist in a hurry, but my reading was that Kilbey wanted to create immediacy. Albums can, if the people behind them are so inclined, take an inordinate amount of time to produce: just look at the decades between Peter Gabriel’s output, or the 18 months Bruce Springsteen laboured for to create Born To Run. Eleven Women doesn’t suffer from rapidity at all, even if Kilbey only recorded a couple of takes for each song. Rather than produce something slapdash, he’s created something warm, quirky, at times humorous, always genuine and quite unique.

Just because you can, doesn't mean you should

"When Qantas created the 'Kangaroo Route' [from Australia] to London in 1947, it took four days and nine stops. Now it will take just 17 hours from Perth non-stop." So declared, yesterday, the chief executive of Australian airline Qantas while announcing plans to launch the first regular passenger flight directly between Australia and Europe.

Just think about it: 17 hours, probably sat in economy class. Not even in my most slovenly moments of box-set binge-watching could I imagine being able to remain mostly inert, squeezed into an airline seat for the equivalent of how much I'm normally awake during an average day. With four toilets between 232 passangers. Even an upgrade to business class wouldn't make much difference.

Despite my phobia that Australia contains most things that can kill you, it remains a country I would love to visit. But with my occasional flights out to the US West Coast at the very edge of long-haul tolerance (my longest-ever journey - San Francisco to Taipei - was partially aided by an accidental over-prescription of sleeping pills), the only way I could ever manage going Down Under would be by stopping halfway in Dubai or Los Angeles. I know a direct flight would keep the overall trip relatively brief, but I just don't think the risk of DVT, air rage (mine or others') or being sat next to someone with personal hygeine issues for 17 hours is worth shaving half a day off the flying time.

Even the prospect of flying on a Boeing Dreamliner - a plane that actually lives up to its manufacturer's hype and is both more comfortable for the passenger and more economic for the airline - doesn't make the ordeal any easier to contemplate. You'd still feel housebound at 38,000ft, and there are still only so many episodes of Curb Your Enthusiasm and Friends you can take.

Stretching legs - why long-haul could be getting longer

As this blog commented on last month, air travel leaves much to be desired. For the most part, getting crammed into a toothpaste tube with wings is simply a necessary evil for those of us who have to travel for business or personal reasons.

Living and working in Paris and, increasingly, London, flying just about edges out taking the Eurostar between these two cities, a journey which, since last summer especially, has carried the considerable risk of the train getting stuck in or just outside the Channel Tunnel thanks to miscreants disrupting services in Calais (yeah, I know, desperate refugees escaping unspeakable horrors in their homeland getting in the way of my highfalutin' business meeting...). Call me precious but I really don't fancy the idea of being locked in a carriage without air conditioning or electricity for the nine or ten hours that some Eurostar passengers have been forced to endure while the authorities try and sort out track intrusions.

This does, however, bring me to a travel horror of a different sort: long-haul flying. Though my musings on aviation might suggest otherwise, I'm really not that well travelled. I've been to Asia just the once (via a fifteen-hour flight from San Francisco to Taiwan, on which, for the only time in my life, I managed to get some proper sleep courtesy of misreading the dosage instructions of sleeping pills I was offered). After that, the longest I've spent in the air has been between Europe and the US West Coast.

When I first flew from London to Los Angeles in 1992, I had barely been anywhere, let alone the other side of the continent on the other side of the Atlantic. I had no idea what 12 and a half hours sat in the smoking section of a Virgin 747 would be like, especially with a chain-smoking bit-part actor next to me, knocking back V&Ts like they were going out of fashion while boring me rigid about episodes of Murder She Wrote that he'd appeared in (since IMDB-verified, I have to admit). Until he passed out.

Nothing could prepare me for the world of disorientation that jet lag would induce for the first time. The next morning I drove out of my airport hotel and, instead of heading towards the 405 freeway and north to Hollywood, I drove east into South Central, barely months after the summer riots of 1992. A young English tourist conspiculously driving a shiny new Dodge Dynasty through Hawthorne was not the wisest decision jet lag could have mis-made for me. So, by the time I realised I was on Rosencrans Avenue, near its junction with Normandie Avenue and therefore epicentre of the trouble, I decided that a U-turn might be wise.

In the years since, including a spell living in California itself, I've grown used to the endlessness of flying out West from Europe, though these flights are becoming somewhat more tolerable as the aircraft servicing the routes have become newer and more efficient. However, I realise that these flights pale into insignificance when compared to other routes.

Last week an Airbus A380 of the Emirates airline made what is believed to be the longest non-stop scheduled commercial flight by distance (the record for duration is still held by a Quantas flight from Dallas to Sydney which took 16 hours and 55 minutes). However, this could be eclipsed by Emirates commencing a route from Dubai to Panama City (due to launch this month but postponed - again - until next year) that will clock in at 17 hours and 35 minutes, though this is still shorter by distance than the Auckland trip.

New planes with better engine technology are enabling these marathon flights, which no doubt benefit the bottom lines of the big carriers, such as the rapidly expanding Emirates and Qatar Airways, as well as Australia's Quantas which, through geographic necessity, has always had to be at the end of the longest routes on Earth.

But what do they do for the passengers? Given how the business of air travel is all about balancing profits with the passenger experience, the thought of spending three-quarters of a whole day crammed into an economy class seat fills me with mortal dread. Cabin innovations on the Boeing 787 Dreamliner and the Airbus A380 and A350 are supposed to improve cabin pressure, air circulation and even ambient light, but from my own experience, nothing can relieve the strain of being squashed into economy class rows, where the legroom has grown ever-tighter, and even the number of seats per row has increased.

Unless you have a generous employer or are one of those air miles nerds who apparently can fly anwhere in a premium cabin by some form of black art, long-haul really is not fun. And as economy class sections become more cramped, the armrest duels, the seat-recline mind games and the awkward social etiquette of getting past (or clambering over) two or even four other sleeping passengers to get to the toilet during a very long-haul flight is the stuff of nightmares.

Twitter/Christopher Adams

The New Zealand Herald's Christopher Adams live blogged from the Emirates Dubai-Auckland flight to see how his fellow passengers were holding up, though he admits that he had booked into business class, making any immediate drawbacks around him of the sixteen-and-a-half-hour flight a clear case of 'First World problems'.

Exploring the economy cabin, Adams didn't see any greater suffering than any other long-haul flight. The 500-seat A380 wasn't completely full, either, possibly the result of fuel economy weight restrictions (Emirates will fly the smaller Boeing 777 on this route on a regular basis).

This begs the question of whether such a non-stop journey of endurance would be popular to begin with. Super-long distance flights, such as those from European cities to Australia or New Zealand, get broken up by layovers in Dubai or Doha. Some choose to stop off for a day in Los Angeles or San Francisco. Personally, I'd say that was sensible, even if it did cut down on time at the eventual destination. All I know is that if I ever brave the journey Down Under - a trip fraught with claustrophobia on the way and the world's deadliest things that could kill you when you get there - I could never do the journey in one go, even if the technology existed for an airliner to fly non-stop.

As it is, there is no shortage of routes, notably starting out in the Middle East, which clock in at over 8,000 miles, and which require supreme stamina to endure in all but the most luxurious of flying classes. Perhaps its no surprise, then, how airlines like Emirates and Qatar, with their reputation for opulance in the premium seats, can sustain flying the current crop of jumbo jets from Dubai to Auckland, Los Angeles or Houston. These airlines advertise themselves as being luxury experiences - one has a TV commercial suggesting that your travel itinerary could take you to New York before whisking yourself off to a tropical island in the South Pacific, before you then travel to Dubai. Clearly, this particular airline's advertising agency had no demographic in mind that would fly anything less than first class, because putting in the miles like that in the cattle section would surely not be any fun at all.