Bailter Space - Solar.3 (1998)

If the Noise Research wing of rock 'n' roll can boast an actual pop group, this long-lived New Zealand trio may be it. One of the first bands to sculpt eerie, hallucinogenic soundscapes using de-tuned guitars, Bailter Space now typically veers between punky blasts of smeared sound and dreamy, overtone-washed pop. "Solar.3" is the band's seventh LP, and it largely revisits the approach of the last two Bailter records. "Strand" is a breathy reverie wafted over a hypnotic chord progression and striking, flute-like ax fills, while "Trekka" slowly builds a wistful ballad into a burst of otherworldly distortion. On the other hand, "Live for You" is an unassumingly simple, mid-tempo pop tune. "Solar.3" breaks no new ground, but it does reaffirm Bailter Space's unique avant-pop mastery.

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Bailter Space - The Aim EP (1992)

Bailter Space's first American release is also one of its strongest, a near-perfect four-song slice of original material that shows why the band's hype was so well deserved. Concentrating the strengths of Thermos and adding a few new touches, like the hushed whispers on the title track, the trio show their ability to rock both tenderly and loudly, but in ways that never sound like the typical connotations of either description. The title track is actually the least memorable of the four, with Parker sounding a bit lazy on the vocals. "We Know" is something else again, with its heavily processed vocals and crunching melody. "Shine" is simply gorgeous, featuring a beautiful background melody, another fantastic Parker love lyric, and understated vocal passion. The kicking thrash of "Unseen" wraps it up, with all three musicians going off, while sticking to that steady beat that's served them so well over the years.

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Bailter Space - Strobosphere (2012)

9th album (and 1st since 1999) from this unique New Zealand band--Bailterspace crawl through music with the tenacity of a phoenix rising from the depths of a murky, dark fog. There's a buried beauty in the throbbing drone melodies steered by bass guitar leads, the explosive atonal riffs and slurred vocals. Songs chug along on a dreamy, distorted backbone rumble that somehow captures a near-pop passion with an appealing, dirty eloquence. Sounds that should annoy are buoyant and engulfing. It's a miscreant treat of off-rock strangeness with an uncommon allure. Includes former members of the Gordons. Reminiscent of bands like Sonic Youth, the Verlaines, Psychic Ills, Fire Engines, Jean-Paul Sartre Experience, Josef K., Straightjacket Fits, the Fall.

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Bailter Space - Trinine (2013)

Trinine is a fantastically noisy "sophomore" return LP that I was really surprised to see. I'm not quite certain what the title refers to - possibly a play on "Tri Nine" similar to "Bailter Space." The murkiness of the vocals on the similarly titled Tri5 offer no suggestions, but it could also mean "near best ever." The Ajax and Matador catalogs circa '91-92 introduced me to the Gordons and eventually their reincarnation as Bailterspace. "Shoegaze" was the reference that hooked me, but the heavier sound was different than the UK shoegaze of the time. Droning yet much more melodic and interesting than Spacemen 3 (at least to me), the atmospherics of this band continue to draw me in. While the songs end in a seemingly edited or abbreviated manner, this LP seems a much more finished or layered outing than their last. Vocals toggle from distorted to near sung with all 3 members acting as one tight rhythm section. The machine gun reverberation of something like "Today" is the modern day "pop" song we won't expect soon from the Dead C, though McLachlan's drumming could easily be mistaken for Yeats at his most athletic. "Silver" and "Films of You" strip things down a bit while expanding their repertoire even further. The latter nodding to Barbed Wire Kisses and Beggars period Fall. So brief, yet so, so good. Any album leaving you wanting more is something I want to listen to again and again.

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Bailter Space - Capsul (1997)

Very heavy guitar based album , with some absolute killer songs. It's almost hypnotic in a way and I would like to hear more of these New Zealanders.

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Bailter Space - Wammo (1995)

Often criticized for its lack of raw edginess given the band's origins, Wammo has Bailter Space opening up their sound and emphasizing melody more than ever. I think I'm in the minority that thinks that by this stage, they might as well have written 10 pop songs instead of every now and then trying to remind us of their roots such as in We Drive At Five. When they're not wanting to split the listener's head open, they're writing songs like Splat which are incredible. The angularity of the guitars recall Shellac, again reminding of Gordons' immense influence, while the little moments where a sweet melody is cut short and the distortion is left to ring out recall Justin Broadrick's work in Godflesh's underrated Hymns. Mostly though, Wammo is spacier, leading to Failure comparisons. The scope of Failure by way of Shellac and Godflesh? Yeah, in places it's that good! Again, I feel let down whenever the band return to their Sonic Youth, or worse, post-punk/industrial influences, like why'd you do that to Zapped?!, but those moments are fewer than I'm making out. Check D Thing for a Neu!-ish driving rhythm with noise pop over the top, and Splat 'cause that song is SO GOOD.

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Bailter Space - Vortura (1994)

Bailter Space open up Vortura with something far fiercer than their usual combination of fire and ice. Defying expectations sometimes backfires, but "Projects" is a massive, brawling monster of a track, on which Parker rages about people stuck living in ghettos while others "in high places" live comfortably. Overall, it's one of Bailter Space's best efforts ever -- a call to arms that works on all fronts. "Process Paid," featuring a ranted verse and softly sung chorus over a propulsive trance-rock track, recalls the general sound of Robot World. From there on, it's business as usual for the trio, who do what they do best over the course of these 11 songs. The first single, "X," is another definite high point for the band -- a confidently anthemic charge that brings to mind Echo & the Bunnymen and various shoegaze bands, but without sounding like either. Some songs are slightly tweaked from the basic Bailter Space sound, such as "I.C.Y.," which is much more stripped down than many of the band's songs, and "Reactor," which consists mainly of Halvorsen's bass, McLachlan's generally buried percussion and pulses, and Parker's guitar filling in shades and sounds instead of crunching through a lead riff. Generally, though, it's pretty much typical Bailter Space, and while it may lack the sense of freshness and achievement of Robot World, Vortura still serves up the goods. Halvorsen and McLachlan make for a great rhythm section, as always, while Parker's guitar playing and evocative, if often cryptic, lyrics and singing remain sure and true.

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Bailter Space - Robot World (1993)

I remember the first time I dropped the needle on the wax on this record, this eerie sense of some thing awe inspiring overcame me with the guitars that sounded like a million distorting at once but melodic at the same time, with angelic voices, that were foretelling of a cold robot world where all the love's been taken away, OK Computer a good 7 years ahead of that album's time. I can't say what a highlight is on this album, just when I thought the track I heard was the most mindblowing experience I had the next one clobbered my skull. If you want a sound imagine what My bloody Valentine's Loveless should have sounded like with the right production amplified 10 times and mixed with something otherworldy. It's a definite concept album like OK Computer, sometimes I wonder if the guys in Radiohead were influenced by this album at all lyrically. This record is only rivaled by the album Tanker, but even that album is a distant second to this one. The Bailter Space hasn't ever been able to match this one, and I haven't seen a band yet pass it although the Beatles, Swervedriver, and Sugar come close. Pick this album up, whenever you're down listen to this album and realize what amazing things humans can create when they hit on all cylinders. Whoever from Option wrote "defiantly murky" should be hung from their toenails.

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Bailter Space - Thermos (1989)

Not everyone will like this, so I would recommend listening to some other New Zealand type music (i.e. Tall Dwarfs) along with some Sonic Youth before this. The music is the kind of music that builds up in your mind after a few listens. Definitely, a pattern in the noise that releases all your senses. You will find yourself humming almost for certain after a few listens and soon you will want their whole catalog.

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Bailter Space - Tanker-Nelsh (1988)

Stripping the lineup down to just Kilgour on drums and old Gordons mate Halvorsen on bass, Parker and a revamped Bailter Space cooked up a full-length debut much closer in spirit to what '90s audiences were familiar with, while simultaneously distancing themselves from the ghost of the Gordons. The nervy, aggressive edge of the Gordons is still there, but now it's tempered by a slightly less aggressive approach. The downbeat guitar chiming and squalling feedback of "Glass" and "The 'W' Song" give a good sense of this, as do Parker's vocals, which are buried deep in the mix on these tracks. "Your Invisible Life" has a great push to it and features a particularly inspired performance from Parker. "The Today Song" achieves almost inspirational heights in its own way, while "Grader Spader" fuses the spirit of old and new quite effectively, and was understandably chosen as a single. Parker continues to sing in his new, tenderer way, while the band kicks up a catchy storm. The trio work well together, and a few songs sound like they grew out of particularly productive jam sessions. The punchy instrumental "Titan" -- which features Parker and Halvorsen exchanging moody, ringing chords and notes before building into a false climax and an astonishing return -- and the equally fine title track are probably the best songs on the album for that reason alone.

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