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OUTRE DISQUE

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".

    Gloria

    Sabbat Matters

      Gloria return with a slab of psychedelic pagan rock, their first release since the "Hey Gyp" and "Oidophon Echorama" EP's. Their much praised debut album "In Excelsis Stereo" won the heart's of many on both sides of the Channel, notably Shindig! Magazine, Les InRockuptibles and The Times (of London!) from the world of print and 6 Music's Lauren Laverne, Amy Lamé and Gideon Coe being more than generous in their praise and airtime for the Lyonnaise sextet. Béatrice left to focus on Grand Veymont and Epépé, with the operatically trained Swiss witch Marie Lou replacing her on choral duties. Soon after they decamped to the Valais mountains to record the new material which would make up this very album.

      The Sabbat theme had been growing in the mind of Kid Victrola for a number of years. Irremediably associated with witchcraft in France and Switzerland, describing 15-17th century nocturnal gatherings filled with unholy behaviours frowned upon by the more clerically minded. Sabbat Matters is an imaginary pagan festival for your ears, where debauchery, pop and primitive pleasures are celebrated as gods to fend off the evils of the plague and contemporary puritans. Motown, Phil Spector, John Fahey, MC5 and songs of worship and devotion lurk behind the psychedelic choral pop maelstrom which has captivated stages across Europe alongside Altin Gun, Juniore, Slift, The Soundcarriers, and M'dou Moktar in recent years. Nicole Claveloux, the acclaimed French painter, illustrator and comic book artist contributed previously unseen period artwork to this release.

      TRACK LISTING

      1.Sabbat Matters
      2.Holy Water
      3.Space Rocket
      4.Miss Tambourine
      5.Skeletons
      6.You Had It All
      7.Back In Town
      8.Dance With Death
      9.Night Biting
      10.Global Warning

      Yes Grasshopper

      N.O.W.H.E.R.E.

        Enter Yes Grasshopper, taking you on a trip into the unexplored depths of their collective mind, a place of daring rescue missions and uncanny swamp monsters, all imagined through the lens of a playful B-movie aesthetic.

        Emerging from England's unforgiving northern coast, this dynamic duo present a wholly unique take on noise rock, with crushing riffs, white water rhythmic twists and barking intertwined vocals making way for heinously catchy hooks you'll find yourself whistling at the most unexpected of times. And with the lyrics spinning esoteric tales over such a compelling foundation, Yes Grasshopper won't let your undivided attention slip for a single second.

        Their universe is one where both rage and joy jostle side-by-side, one moment buzzing with all the fury of a swarm of pissed-off hornets/mozzies, the next inviting the whole lot round for an unforgettable afterparty. Call it metal. Call it punk. Hell, call it hardcore-acid-math-crustcore if you want. What's so striking is that it doesn't deal in the usual palette of oppressive blacks and greys those genres invariably paint with, instead imagining a more kaleidoscopic and perhaps even welcoming landscape. And despite the heavy-as-heavy-can-be riffery and hammer-blow grooves, there is somehow an air of levity permeating the whole thing.

        Giving the likes of Hella, Lightning Bolt and John (times two) a run for their money in the 'how much noise can two people make?' stakes, the respective halves of this newly established duo have been nourished on a diet of music's more extreme offerings, with the mischievous demons within intent on shredding hard. Live shows consist of the slicing of mustard and people losing their socks.

        Bess Of Bedlam

        Folly Tales

          A resident of Lyon, Fanny L'Heritier is Bess of Bedlam. She is also the lead singer of the French experimental pop band Odessey & Oracle. Her arrangements employ a variety of instruments (classical and electromechanical pianos, 70's analogue synthesizers, acoustic & electric guitars, banjo & dobro) with charm, whimsy and humour.

          Bess Of Bedlam is Inspired by Purcell's vision and more recent English folk voices such as Shirley Collins, Linda Perhacs and Vashti Bunyan, with a 60's psychedelic pop sensibility from the likes of The Free Design, The United States of America and Sagittarius flavouring her sound. Bess's debut solo album was released last May. Shindig! magazine describing it as evoking both "Joanna Newsom or a pastoral Broadcast filtered through a fairy-tale lens".


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