It all started with a few mixtapes.
My first exposure to New Zealand music was a high school girlfriend, who put Crowded House’s Temple Of Low Men on a tape and hit me right in the feels. My second a few years later was another mix tape, by a Kiwi I’d been pen pals with in the pre-internet days, of “Noisyland Music” that included bands with weird names like The Chills, The Clean, JPSE and The Verlaines. (Dear reader, I married said Kiwi and we’re coming up on our 20th anniversary this year, good god.)
The Chills were the ones that hooked me. They didn’t sound quite like anything else this Mississippi college student was listening to, spooky and atmospheric and achingly pretty. “Pink Frost” bubbled through the cassette player in my battered VW Rabbit and it sounded like transmissions from another world.
Songs like “I Love My Leather Jacket,” “Kaleidoscope World” and “Heavenly Pop Hit” were clever and catchy, soaked in that peculiar sense of isolation and grey-skies mysticism that music coming from an island on the bottom of the world has. Pre-internet, NZ could be a lonely, alternately stifling and cozy place, and The Chills more than anything caught that zeitgeist in their music. And that voice – lead singer/songwriter Martin Phillipps really was The Chills, and the gorgeous ache of his voice the heart of their songs.
Since I heard those crackly mix tapes decades ago, I’ve moved to New Zealand, become a citizen, listened to a couple hundred NZ bands, great to awful, watched our Lorde and saviour take over the music world for a little while, and through it all I’ve always had a soft spot for The Chills.
Last night we watched a wonderful new documentary, The Chills: The Triumph And Tragedy Of Martin Phillipps, which told of the ups and downs of this seminal NZ band, and featured both a Q&A and acoustic set by Phillipps afterwards. It was a great night, a full house of people who grew up with the Chills since their Dunedin days and those like me who stumbled across them on the other side of the world.
The Chills story is that of a million other bands – scrappy beginning, a few minor hits, hard yards of global touring, and then swept up by a record label that doesn’t quite know what to do with them. Cue drugs, drink, label stoushes and a revolving door of more than 30 (!) band members in Phillipps’ orbit over the years. Yet the low-key charm and honesty of Phillipps and the band members keeps the film’s sadly common tale fresh.
A diagnosis of Hepatitis C might have spelled the end of Phillipps’ story, but the marvellously intimate documentary has some surprises in store. It breezily moves back and forth between the Chills’ rise and fall and Martin Phillipps today, in his cluttered Dunedin home, navigating dreadful hospital visits and still trying to give the band another go.
Best of all, it was great to see Phillipps after the show chatting with the crowd, happy and healthy after the wilderness years, well into his third act and keeping the Chills as mind-bogglingly cool as ever. He played “Pink Frost,” of course, in a haunting acoustic version, and as the chords warbled throughout the theatre I could close my eyes and almost imagine them playing again on that mix tape, a million years ago and 6,000 miles away.