I picked up copies of Bucketfull of Brains issues 15 and 25 on Sunday. Kilbey gives opinions in issue 15 about the Church's recordings to date at that point (up to Heyday);

BOB:
Can you go through each of your records and tell me which
tracks you particularly like or find successful?

SK:
I wasn't real happy with the first album at all but probably
"Bel Air" was successful- I like the lyric and I think what was
to become our trademark with the guitar started happening on
that track in particular. "Is This Where You Live" was an OK
track, perhaps a little bit pompous and Gothic or grandiose-
but I still think it had good lyrics and conjured up Sydney-ish
images. "Tear It All Away", which was intended to be on the
album but came out as part of a double single here, was
representative of what we would start doing later on. I think
most of the tracks on the next album, "The Blurred Crusade",
were successful in the way we envisaged them, "Almost With You"
was a bit of a hit in Australia, and it was a nice taster for
the rest of the album- I think everything that happened on the
rest of the album was included on that track. "When You Were
Mine" was a very popular track live and we never get away
without playing it. "An Interlude" has always been a favorite
of mine, I wrote the lyrics in 1978 while I was staying in
London. Next was "Sing Songs" which was actually a demo album.
We had been in danger of losing our deal with Capitol Records
and they wanted to hear 4 new songs which they, in their
wisdom, thought would be some hit singles. We knocked out these
four, learnt them, recorded them and mixed them in one or two
nights. They didn't want to put them out, or the "Blurred
Crusade" album so I thought why not put them out called "Sing
Songs" which was quite an honest title. People were expecting
the perfect production of "The Blurred Crusade" and fairly
disappointed with this EP, It was taken in the wrong spirit I
suppose. "The Night Is Very Soft" and "In This Room" were quite
successful tracks, we never again followed the direction of
those- It was a little avenue or dead-end that we left
unexplored. "The Night Is Very Soft" appealed to me, it was the
first time the Church did anything with a vaguely sexual feel
to it. Then there's (the LP) "Seance", I liked "Fly" and
"Travel By Thought" which was the first time we really cut
loose just for the sheer hell of making lots of noises. On the
other side I think "Now I Wonder Why" was the quintessential
track by the Church; it's a very dreamy, melancholy thing that
worked well, I don't think it was a great mix- I would have
liked the drums to sound a little different on that, I like the
part at the end where all the voices start whispering the
lyrics at once. Then came "Remote Luxury" (which was actually a
combination of two EPs, "Remote Luxury" and "Persia"). The best
tracks were "Constant In Opal", which had a good mechanical
feel about it, and "Shadow Cabinet" where the lyrics were
interpretable on a number of levels. Then there's the new album
("Heyday") and my favorite track is "Myrrh" which defines 1986
Church, it's all the best things about us.

BOB:
Who is Michele Parker, who sings on "It's No Reason" and
co-wrote "The Unguarded Moment"?

SK:
She was a friend and sometime collaborator of mine who I don't
have much to do with anymore. She now runs a clothing shop in
Sydney.

BOB:
Which do you consider your most artistically successful album?

SK:
If we're not going to talk about "Heyday" I think I'd have to
say "The Blurred Crusade". I think it was the definitive
Church album, it had a dreaminess, a luxury, a polish or
luster. Some of the lyrics are a little fourth-form poetry-ish,
but it didn't seem like that at the time. We recorded that mid
1981 so it's almost 5 years old. I think on that album we
formulated the whole groundwork for the Church, the guitarists
got it down how they were going to inter-react. Bob
Clearmountain did a superb job on the mix, and it had a nice
cover. I remember that LP with very fond memories.

BOB:
And the least successful?

SK:
That would have to be "Remote Luxury", there's a couple of
tracks that I really hate, like "Maybe These Boys" which was
done as a kind of satire/send-up of that type of music; it was
just a mistake. Compared to "Heyday" ,where we've come back and
are really working as a group, it really pales into
insignificance. I think "Remote Luxury" is a pretty throw-away
album and hopefully that'll be the last time something like
that will happen.

I never considered "Remote Luxury" throwaway!

Brian