Cindy Lee ist das Solo Projekt des ehemaligen Women Sängers Patrick Flegel, die in späten Nullerjahren mit ihren dängeligen Jangle Pop die Indie Subkultur stilistisch bis heute stark geprägt haben.
Initially released on the diva’s own CCQSK E N T E R P R I S E S, Act Of Tenderness is a mouth watering piece of art, an ephemera of beauty and ache that singer, guitarist, drag queen Patrick Flegel had been collecting and weaving into his own personal world up to 2015 when it was initially released.
If your heart was smashed on Malenkost, AoT is ready to put those pieces back together, rearrange them and depending on the mood of the moment, take the plunge into new uncharted territories.
As Cindy Lee’s first long-form statement, Act Of Tenderness makes use of antipodal themes to create a living sound: static with grace, distortion and sugar, all masterfully arranged with crooked nods toward pop classicism. The layered vocal on “Power And Possession” creates a palpable haunt, bringing historical girl-group lament to choir-esque heights. The feedback shriek and industrial grind of “Bonsai Garden” provides near-operatic damage, yet never stumbles into the irrevocably grave. These snowy pieces give the album a decidedly cinematic feel, albeit one bent more towards Eraserhead.
Joni Void *live:
Joni Void is the newly minted pseudonym of producer Jean Cousin – known until now in the Soundcloud, Bandcamp and other online communities as Johnny Ripper.
Cousin’s earliest records, made as a teenager, combine piano and field recordings, inspired by the film soundtracks of Jon Brion, Philip Glass and Yann Tiersen and the sample worlds as Boards Of Canada, The Books, Four Tet and Burial. His efforts situated him within a compelling network to bedroom artists and DIY producers with analogous lo-fi production and song-making intuition who espoused the ethos of self-release, sharing/interacting directly and personally through the internet. An increasing obsession with micro-sampling, aleatory composition, history of cinema and the techniques of foley and film sound editing – along with an expansively active practice of remixing and beat-making – has seen Cousin’s music flourish in fascinating ways. Perhaps most importantly, Cousin now constructs his tracks entirely from found sources and aims not to ‘play’ anything at all. His personal hero Delia Derbyshire (White Noise; the early years of the BBC Radiophonic Workshop) cemented his commitment to making musique concrète avant-pop inspired by these analog tape-based pioneers (albeit now utilising today’s more accessible digital tools).