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GEMMA CULLINGFORD

Gemma Cullingford

Tongue Tied

    ‘Tongue Tied’ is the sophomore album from Gemma Cullingford (Sink Ya Teeth). Written and produced from Gemma's humble home studio in Norfolk, ‘Tongue Tied’ blends many styles of electronica from 70's experimental and new wave, early 80's electro, acid house and techno to noughties electro clash, topped with her own vocal style to produce a unique and fresh sound. It explores relationships and the different emotions they can bring, from paranoia, yearning and helplessness to lust, shyness and just downright wanting to dance.

    ‘Tongue Tied’ is a progressive follow up to her debut ‘Let Me Speak’ which garnered support from the likes of Steve Lamacq, Amy Lame, Nemone, Chris Hawkins, Jamz Supernova, John Kennedy and James Endeacott, plus glowing reviews in Mojo, Uncut and Electronic Sound.

    For the cover artwork on ‘Tongue Tied’, Gemma has collaborated with visual artist Kelda Storm who shares Gemma's love for bright, contrasting neon colours and minimal bold designs. She uses the iconography of feminine lips across her work as a symbol of speech and voice.

    RIYL: Sink Ya Teeth, Lonelady, A Certain Ratio.

    TRACK LISTING

    Side A
    1. Accessory
    2. Tongue Tied
    3. Bass Face
    4. Holding Dreams
    5. Mechanical
    Side B
    6. New Day
    7. No Fail
    8. Chronicle Of Sound
    9. Red Room
    10. Daisy

    All formats come with a free Piccadilly Records EOY Sampler CD whilst stocks last.

    As is my taste for the tardy, I was a couple of weeks late to this particular party, belatedly tipped to “that goth disco LP” through an overheard conversation between Mine and Matt. As a first class graduate of the “indie dance” era, I was naturally intrigued and promptly took the plunge into this monochrome masterpiece.

    While her Sink Ya Teeth project with Maria Uzor takes a bite out of the Big Apple’s no-wave and post-punk era, Cullingford’s solo-debut splits its time between the steely synth-pop of Sheffield, Chicago’s house heritage and the unapologetic electroclash of Millennial Berlin. This travelogue translates to a sleek set of taut techno pop, topped with zero-fucks speak singing and utterly arch asides. A lesser LP would sink under the stature of single “Wide Boys”, a fleet-footed and flute-led floor burner, but Let Me Speak is made from only the finest ingredients – pass the biscuits please.

    STAFF COMMENTS

    Barry says: While Sink Ya Teeth definitely took influence from the dancefloor, it's Cullingford's solo output that really pays homage to the sweaty peak of industrial and techno clubgoing with it's own particular brand of momentous rhythm and rich, chest shaking bass hits. Wildly immersive and wonderfully satisfying,

    TRACK LISTING

    Side A
    1 The Lizard
    2 Sight For Sore Eyes
    3 Wide Boys
    4 Racer
    5 Let Me Speak

    Side B
    6 Queen Bee
    7 Chase The Beat
    8 I Like You
    9 Ode To Billy Joe
    10 Fatal Embrace

    Gemma Cullingford (Sink Ya Teeth)

    Wide Boys

      Raised on a diet of Throbbing Gristle, Depeche Mode, New Order, Fad Gadget and A Certain Ratio, Gemma Cullingford's own trajectory has been equally impressive – from playing bass with Blast First/Mute signings Kaito, and more recently as one half of post-punk electronic dance duo Sink Ya Teeth. This solo offering further adds to her fine body of work.

      2020 saw Sink Ya Teeth having to abandon many live gigs and promotion for their second album, so during the band's downtime Gemma worked purposefully in her home studio on solo works of a more personal nature, the first fruits being this double A sided single. An album entitled "Let Me Speak" will follow in the summer of 2021.

      "Wide Boys" is a menacing disco call to action; "It's a message to the average man and woman on the street, many of whom seems to have been brainwashed by both those in power and by the far right. It's saying that every single one of us are being controlled as part of a big, sinister game. This is a response to my own awakening to that" she explains.

      "104" is an instrumental electronic jam for feet, limbs and loose minds. "The idea behind 104 came from wanting to start off with real sounding drums that subtly evolve into pure electro over 3 or 4 minutes".


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