Interviews and Reviews

Century Collapsing - album

Peter Hardman - Vocals, Guitar, Harmonica
Cobina Crawford - Bass
Jason Stacy - Drums

Release Date - Friday 7th August 1998

Every now and then record company staff experience the sensation of a 'sure thing' falling on their desks. It's everything a true classic professes to be - it's got the hits, its got more depth than a medieval oubliette - its as if the phrase 'world class' was devised solely to describe a record like it. When well worn cliches like 'the best record I've heard in years' are frustratingly the only way to relate it to others, the only hurdle left to scale is how to do this dateless album the justice it so obviously deserves.

For it is albums like Effigy's 'Century Collapsing' that make music feel like an exciting discovery again - when its only the music and not the words to describe it, that can reflect its true reach.

"The first album was really sort of teenage angst and this one is...I don't know, early 20's angst" comments Effigy's enigmatic frontman - Peter Hardman - with a snigger, as he reflects on the differences between 'Century Collapsing' and their debut effort, 'Effigy'. "I guess it's different in that it reflects my growth not just as a person but as a songwriter...I tried much harder this time! I'm using less flippant high school poetry to fill in the gaps."

Leaving behind the cryptic, bittersweet opulence of tracks like "Lovers" and the Triple J Top 100 selected hit "I Give In", Effigy have closed their make-up bags and progressed into more musically investigating side of their personality, typified by their first single from 'Century Collapsing' - 'Suspicion Bells'.A folky, open ended pop tune laced with harmonica melodies, acoustic guitars and Hardman's charismatic vocals, 'Suspicion Bells' has an airy quality that is instantly absorbing - combining a sweeping pop/rock tempo with a progressive swirling depth.

"It's like a little bit of a story" Hardman explains of the single "That old saying of when people read between the lines. They can be trying to find all this information suspiciously when in fact what they're looking for is clearly in front of them. On the lines."

With it's thoughtful, intelligent lyrics and buoyant rock swing, 'Suspicion Bells' is the perfect introduction to Effigy's classy, inventive and fascinating approach to songwriting. However, 'Century Collapsing' is not just a collection of singles with a couple of off-cuts wedged in between but a full bodied album that reflects a moving scale of moods, each track possessing it's own level of integrity and imagination. Produced by Kal ***Can you please put his name in here!*** with co-production by Hardman himself, more dramatic tunes like 'Rose Thorns' and 'The Singer' are respectfully balanced by the energized rock of 'Caught' or the delicious 50's pop swing of 'Misfits'.

"There's an element of truth in there and that's what people can relate to" Hardman reflects thoughtfully of the tunes he has penned on 'Century Collapsing, "The mood is clearly defined, it's not half focussed. But I'm also excited about the development of the instrumentation we use. Particularly keyboard, Harmonica, slide guitar and strings"

With the recent edition of Cobina Crawford on bass, who's casual glamour Hardman remarks is reminiscent of Shirley Manson or a 40's film star, Effigy circa 1998 are a group whose music has come full circle, to step beyond the boundaries and out into the open field.

'Century Collapsing' a collection of timeless tunes to take pop music into the next millennium.

Suspicion Bells - single

If it's been a while since you heard a consumingly catchy song, then Effigy have a hunch that your ears will be ringing with delight at their brand new single 'Suspicion Bells'.

The first chime from Effigy's forthcoming album 'Century Collapsing', 'Suspicion Bells' is a folky, open ended pop tune laced with harmonica melodies, acoustic guitars and Hardman's charismatic vocals. Even for those unfamiliar with Effigy's unusual appeal, 'Suspicion Bells' has an airy quality that is instantly absorbing - combining a sweeping pop/rock tempo with a swirling depth that bands like The Church would have been proud to lay claim to at such an early stage of their career.

With its thoughtful, intelligent lyrics and buoyant rock swing, 'Suspicion Bells' is perfect example of Effigy's classy, inventive and fascinating approach to songwriting.

Leaving behind the cryptic, darkened pop of their self-titled debut, Effigy circa 1998 present a selection of bubbling yet obviously more musically mature tunes, spiked with distinct post-retro fragments. Following on from the indisputable radio success of "Lovers" and the Triple J Hot 100 select "I Give In", Suspicion Bells" takes Effigy, as well as their ever evolving and individual pop proficiency, to well beyond 'the next level'.

It won't be long before the unmistakable lure of 'Suspicion Bells' will be ringing in your head.

Effigy - album

Following the swooning success of "Lovers" and the energetic enthusiasm of "Small", comes Effigy's long awaited, self titled debut album. A colourful patchwork of up-lifting pop-infected melodies, laced with Hardman's wonderously androgynous vocal textures and smattered with lush, opulent visuals.

"I want a perfect blend of cynicism and sincerity" explains Effigy vocalist/guitarist Pete Hardman, pushing a lock of dark hair out of his face with elegant fingers. And it is exactly watching such concepts ebb and flow through Effigy's music, that has turned instant curiosity into an intoxicating, consuming fascination.

Effigy inaugurated their rather humble beginnings on the outskirts of Perth, when drummer Jason Stacy spotted his future band-conosorts, Hardman and Annie Beckerling (Bass) playing their very first gig with the aid of a drum machine. By the second show, Stacy was seated comfortably on the Effigy drum-stool and a chemistry was concocted which is a s much about style and ocular delights as revolutionary pop music. "Image is merely a facet of our personality" Hardman offers of Effigy's debonair post-gothic affluence, "You've only seen the tip of this outrageous iceberg!" he promises with a secretive grin.

A pop-dream dotted with darkened traces of cryptic influences, Effigy draw you in with velvet-tipped claws: a provocation of components that are not always as they appear to be. "I wanted a combination of seemingly disparate elements" Hardman alludes wistfully, "which sometimes explore emotions I don't really have. This helps me work through the vulnerability of my varied performance. This is just the beginning of the dream..."

Small - single

Floating on an ambiently sweet wave of sensuous pop layered with androgynous vocals, Perth natives Effigy made their persuasive niche on everything with a pair of ears.

With their brand new single "Small", Effigy leave behind the intoxicating rich delights of previous hit "Lovers" and present you with one of the catchiest melodic overlays of 1997.

The charming allure of "Small" became evident in Effigy's pre-Roadrunner days, when they were a struggling three-piece on the local West Australian circuit. The song proved to be a strong favourite among the growing number of enchanted punters, escalating "Small" to near cult-like status.

Featuring more of Hardman's bittersweet vocals interlaced by a pounding, indie bass and drum undercurrent, the professionally mixed and recorded version of the single will undoubtedly cause a feeding frenzy when finally unleashed onto the unprepared charts.

Combined with a nationwide tour in the early part of 1997, a mind teasing video and more TV and radio coverage than you could wave a peacock feather at, "Small" will undoubtedly prove to be the next victory for Effigy's Australian pop conquest. An all round delight, Effigy will again capture your senses and make you their own for ever more.

Lovers - single

Bands do many crazy things to land themselves deals with record companies. Be it the novelty packaging of a demo, a wine & dine showcase gig or sheer "crash-or-crash-through" persistence, we have seen the full gamut here at Roadrunner Records....

Effigy just played some of the best music we'd heard in years.

Having been spotted (by accident) on an A&R mission to Perth, the band's first rough tape had everyone swooning. Peter Harman (vocals and guitar), Annie Beckerling (bass) and Jason Stacy (drums), were making delicious pop tunes - haunting, yet as vibrant as a new wave synth trio might be.

It wasn't long before an album was recorded in Melbourne at the completely revamped Kiss Studios (formerly Platinum), with Paul Kosky behind the desk. The producer, accredited with such artists as Crowded House, The Clouds, and Rage Against the Machine, milked the band for all the juciest hooks and melodies they could churn out. Songsriter Hardman, who had spent some years crafting certain songs, put on a vocal tour-de-force, drawing on all the natural androgyny in his voice.

What we have now is an album in the can which might revolutionise Australian pop music. Effigy have tipped their hats to such bands as The Cure, Smashing Pumpkins, Garbage and The Stone Roses, refining a sound that cust through the rock/Brit-Pop/Beat cultural divide.

Combining style, musicality and fashion, Effigy have snubbed grunge, given the finger to punk, and moved far ahead of the "easily categorised" genre.

First single "Lovers" was released on October 14 1996.

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