Tag Archives: Cindytalk

April 2018 – upcoming London experimental gigs – Becoming///Animal, The Brain Center At Whipple’s and Mark Dicker (5th April), Stephan Mathieu and Howlround (14th April)

31 Mar

Quick news on a couple of experimental gigs – one featuring Cindytalk vocal/noise icon Gordon Sharp at the head of a surge of electrophonic noise, the other headed up by the computers-versus-early-music-instruments conflations of Stephan Mathieu…

* * * * * * * *

Becoming///Animal + The Brain Centre At Whipple's + Mark Dicker, 5th April 2018

Chaos Theory Music Promotions presents:
Becoming///Animal + The Brain Center At Whipple’s + Mark Dicker
Servant Jazz Quarters, 10a Bradbury Street, Dalston, London, N16 8JN, England
Thursday 5th April 2018, 7.30 pm
– information here, here and here

“We proudly present a special event at Servant Jazz Quarters in Dalston, with the latest project by bassist Massimo Pupillo of Zu and vocalist Gordon Sharp of This Mortal Coil and Cindytalk, Becoming///Animal. Their first album ‘A Distant Hand Lifted’, is an intense, filtered orchestra that roars and hisses, becoming one with magnificent haunting vocals. It’s out now on Trost Records.


 
The Brain Center At Whipple’s is an experimental semi-improvisational trio who use noise and electronics shamelessly. Last seen by us when they DJed at mouse on the keys, Mutiny on the Bounty and Strobes at Rich Mix London last year.


 
Mark Dicker of Bruxa Maria and Palehorse will be performing his solo project, rife with heavy electronic sounds and audio experimentation.”


 
* * * * * * * *

Stephan Mathieu + Howlaround, 14th April 2018

Stephan Mathieu + Howlround
IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England
Saturday 14th April 2018, 7.30 pm
– information here and here

Stephan Mathieu is a self taught composer and performer working in the field of electroacoustic music. His sound is largely based on early instruments and obsolete media, which are recorded and transformed by means of experimental microphony, re-editing techniques and dedicated software processes; it has been compared to the landscape paintings of Caspar David Friedrich, the work of Colorfield artists Mark Rothko, Barnett Newman and Ellsworth Kelly.

“Stephan operates Schwebung Mastering, a high end service specialized in preparing audio for analog and digital products and runs the Schwebung label from the Rhine valley near Cologne.



 
“First coming to prominence with hugely-acclaimed 2012 LP ‘The Ghosts Of Bush’, Howlround is a quintet (four slightly battered machines, one operator in the shape of sound artist Robin The Fog) that creates recordings and performances entirely from manipulating natural acoustic sounds on vintage reel-to-reel tape machines, with additional reverb or electronic effects strictly forbidden – a process that has seen their work compared to William Basinski, Philip Jeck, Morton Feldman and even the sculptures of Rachel Whiteread.

“In an age where one can create all manner of electronic music with a simple swipe of a mouse, Howlround prove not only how much fun is to be had in making things complicated again, but conversely just how little effort is sometimes needed to create a genuinely uncanny and beguiling sound-world: the rough underbelly of our pristine, Pro-Tools universe. Their latest release, a split LP with Marta De Pascalis, recorded right here at IKLECTIK will be released shortly, with a 6th official LP following later this year.”

 

LOOKBACKS – Album reviews – Cindytalk: ‘Wappinschaw’, 1994 (“one of 1994’s most intense, perverse and unusual lost albums”)

30 Aug

Cindytalk: 'Wappinschaw'

Cindytalk: ‘Wappinschaw’

For almost fourteen years now, Cindytalk have been forging a lonely path through the ever-changing styles of modern music. Despite the soft pink flush of their name, Cindytalk’s music has always been so out-there, so much a music of violent extremes, that they have (more or less by default – how much could you change when you touch both ends of the spectrum?) stayed the same – no bad thing – while refining their sound on each album.

Gordon Sharp, the mainstay of Cindytalk’s many line-ups, is perhaps best known as the voice of three haunting tracks on the first album by 4AD art-collective This Mortal Coil, which also spawned Elizabeth Fraser’s honey-drenched version of Tim Buckley’s Song To The Siren in 1983. Yet 4AD-ethereal was never really Sharp’s bag. Cindytalk operate in the same dark areas that Michael Gira and Swans did before they transformed into doom-laden acoustic hippies (no more titles like Raping A Slave, then, Michael? cheers, love!), or The Birthday Party before Nick Cave mellowed out into Satan’s crooner.

They’ve wilfully, awkwardly, pursued music of extremes. Their first album, ‘Camouflage Heart’, must rank somewhere alongside Lou Reed’s ‘Metal Machine Music’ for sheer unlistenable music for (dis)pleasure, that has to be owned simply to piss people off. And the mammoth ‘In This World’ was a double album of contradictions – one record of near-industrial rock with razor-sharp guitar sounds (varying between tooth- extraction by electric power drill or sheet-metal white noise), and one record of near-ambient instrumentals and songs, mostly played on very soft piano like Erik Satie on Mogadon.

But it’s been a long time since any new Cindytalk material; perhaps because of artistic reclusiveness, perhaps through being a true cult act. Having already had a protracted recording between 1990 and 1992, this album took a further two years to emerge on a record label in 1994. A lone concert aside, we’ve heard nothing from them since (that’s what y-o-u think.. – ED.). Hence this five-years-after-the-event review: cults can always do with getting bigger while they wait for the resurrection.

So, ‘Wappinschaw’; one of 1994’s most intense, perverse and unusual lost albums…


 
It opens deceptively simply, with an a-capella reworking of Ewan MacColl’s The First Time Ever I Saw Your Face, reflecting Gordon Sharp’s interest in folk idioms (especially his own native Scots). He’s singing solo, without echo or reverb, up close, right there in your darkened room. His voice – one of the most expressive at conveying rage, pain, fear – displays power here yet, somehow, also insecurity. A Song Of Changes is leaden-paced at first, but David Ros’ guitars are more blurry and hazed than previous industrial strength Cindytalk noise. Suddenly the guitars hit an almost bright riff around which Sharp fluctuates and soars. A song of changes, indeed – light is breaking into Cindytalk’s dark world: “Within the heart of everything, there is you…”


 
It doesn’t last, though. Return To Pain (hah!) lurches in on a mix of barely-scrubbed electric and slide guitars, creating an empty and menacing atmosphere as Sharp emotes through wordless high vocals. It’s nightmare swamp music, midnight in the Mississippi plains accompanied by the scariest of companions, before the tension explodes into a barrage of noise. Drums, shotgun guitars, and Sharp wailing that “everybody is Christ.” Y-e-e-es; whatever you say, Gordon.


 
Whichever expectations are set for them, Cindytalk trump them on this record. Wheesht is introduced by a tape of Alisdair Gray reading an extract from his mammoth Scottish psycho-epic ‘Lanark’: a story of a young boy dreaming about what lies beyond the clouds. Recorded over the sound of a ticking clock and a ghostly musical box, this exercise in unsettling atmospherics chills the spine and sets us up for Wheesht itself: a brutally short, non- musical violent collage of bass drones, sonic interferences, sampled voices, blood-curdling screams and other genuinely unnerving sounds.


 
To the looping, echoed scrapings of a low-tuned violin, Snowkiss restores some sense of calm with more of Cindytalk’s music for winter nights – Gordon’s vocals imploding out of their rage into delicate lines and wordless harmonies sung over the gentlest of chiming, raindrop pianos. The lyrics of Disappear evoke a painfully trapped life: “You’re in heaven now, / Inside your head. / No thoughts of flight, / Your wings are clipped…”, while a strongly martial beat provides the tracks only propulsion as guitars and sampled interference compete with each other in a swirling eddy of sound. The lively, echoing trumpet on Traumlose Nacht, mingled with delicate piano and evocative waves of rolling drums, provide some relief and a different sonic vocabulary – it sounds like incidental music for the dark magic and oppressive heat of ‘Angel Heart’.


 
The final track, Hush, starts as an guitar-and-solo-vocal acoustic lament (back to the folk singing of the opening track) but then gives way to influential voices from the heavens (including samples of Orson Welles and Joseph Beuys) before everything fades to leave a long passage of bagpipe music that is, after the tumult of Cindytalk in action, strangely beguiling and soothing… but wait. After a long pause, a final hidden track, Muster. An incendiary, veritably Napalm-Death’s- worth battery of hideous thrash-noise, over which Sharp’s passionate ragged voice issues forth evocations to notable spirits: “The Wappinschaw is an invocation of the spirits of Shiva: Rise, William Wallace, rise! Rise, Arthur Rimbaud, rise!” He goes on to summon the spirits of Pasolini, Sitting Bull, Che Guevara and Ho Chi Minh, amongst others. So unearthly does Sharp sound, so compelling, that I have no doubt that the spirits responded. Quite the most disturbing sound heard on CD for some time.


 
I wouldn’t like to hazard too close a guess at what kind of emotional traumas Gordon Sharp purges from himself to make this music; all razor blades, blizzards and crow feathers. It’s enough to say that, after fourteen years on the extremes, Cindytalk demand your rapt attention, your horrified fascination…

(review by Col Ainsley)

Cindytalk: ‘Wappinschaw’
Touched Recordings, TOUCH 1 (5 021958 432021)
CD-only album
Released: 1994

Get it from:
(2018 update) best obtained second-hand

Cindytalk online:
Homepage Homepage Facebook Twitter MySpace Soundcloud Bandcamp Last FM

Get In Her Ears

Promoting and Supporting Women in Music

The Music Aficionado

a song a post, for a song

ATTN:Magazine

Not from concentrate.

Xposed Club

improvised/experimental/music

I Quite Like Gigs

Music Reviews, music thoughts and musical wonderings

A jumped-up pantry boy

To say the least, oh truly disappointed

PROOF POSITIVE

A new semi-regular gig in London

We need no swords

Organized sounds. If you like.

:::::::::::: Ekho :::::::::::: Women in Sonic Art

Celebrating the Work of Women within Sonic Art: an expanding archive promoting equality in the sonic field

Ned Raggett Ponders It All

Just another WordPress.com weblog

Headphone Commute

honest words on honest music

Yeah I Know It Sucks

an absurdist review blog

Pop Lifer

Waiting for the gift of sound and vision

Archived Music Press

Scans from the Melody Maker and N.M.E. circa 1987-1996

The Weirdest Band in the World

A search for the world's weirdest music, in handy blog form

OLD SCHOOL RECORD REVIEW

Where You Are Always Wrong

Fragile or Possibly Extinct

Life Outside the Womb

a closer listen

a home for instrumental and experimental music

Bird is the Worm

New Jazz: We Search. We Recommend. You Listen.

Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

eyesplinters

Just another WordPress.com site

FormerConformer

Striving for Difference

musicmusingsandsuch

The title says it all, I guess!

%d bloggers like this: