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In our world increasingly rendered in high definition, \u003cspan\u003eCindy\u003c\/span\u003e \u003cspan\u003eLee\u003c\/span\u003e offers glimpses in the dark, half there, never fully knowable.\u003c\/p\u003e\n\u003cp\u003eOstensibly a feminine alter ego created by Flegel after the conclusion of their group Women, the blurring between the artist’s personas, biographies, genre and voice appears to partly be the point. Flegel presents \u003cspan\u003eCindy\u003c\/span\u003e \u003cspan\u003eLee\u003c\/span\u003e in controlled environments, releasing limited physical media runs and streaming with no PR campaigns, no social media roll out and until now on small independent record labels. That was until \u003cspan\u003eCindy\u003c\/span\u003e \u003cspan\u003eLee\u003c\/span\u003e‘s new album, Diamond Jubilee, which has in the space of a month now easily overtaken her previous highpoint What’s Tonight To Eternity? in terms of attention. Diamond Jubilee has revealed itself gradually into the public consciousness: a two hour album, it was initially released without fanfare on the Realistik Studios’ Geocities website and then uploaded in its entirety to Youtube. Other than an evocative album image featuring a illustrated \u003cspan\u003eLee\u003c\/span\u003e against quintessentially North American industrial architecture and short statement about its eventual release on physical media, that was all \u003cspan\u003eCindy\u003c\/span\u003e \u003cspan\u003eLee\u003c\/span\u003e was prepared to give.\u003c\/p\u003e\n\u003cp\u003eThat and the music. In the avalanche of posts, tweets, takes of both good and bad faith, underground gossip and hubub it’s started to feel that Diamond Jubilee’s Moment has taken flight based on the artists’ anti-PR “album roll out” rather than on what the two hours consists of. On record and on stage \u003cspan\u003eCindy\u003c\/span\u003e \u003cspan\u003eLee\u003c\/span\u003e is transcendent in alternating low and falsetto vocal crooning in shimmering ball gowns, a chimera of feminine power and vulnerability. Always experimenting with idioms and musical heritages, \u003cspan\u003eLee\u003c\/span\u003e often buries the music in tape hiss, analog compression and and a production style that often makes the music feels like it has been discovered underground covered in mould, hanging on for life. For its sprawling length, Diamond Jubilee feels like the most focused and precise \u003cspan\u003eCindy\u003c\/span\u003e \u003cspan\u003eLee\u003c\/span\u003e recording to date (which, if the statement accompanying the .WAV files is to be believed, will also be the last). Seemingly recorded over the course of four years, the \u003cspan\u003eCindy\u003c\/span\u003e \u003cspan\u003eLee\u003c\/span\u003e celebrating her Diamond Jubilee here transmogrifies 20th Century North American music into a holistic fantasy, bittersweet and transporting.\u003c\/p\u003e\n\u003cp\u003eI was lucky enough to catch \u003cspan\u003eCindy\u003c\/span\u003e \u003cspan\u003eLee\u003c\/span\u003e perform a set in London a few years ago at New River Studios. \u003cspan\u003eCindy\u003c\/span\u003e \u003cspan\u003eLee\u003c\/span\u003e‘s vocal is always slathered in FX and, stood in a shimmering dress, battling against waves of feedback, the effect was like something beautiful fighting through a storm, the songs – no matter how lo fi or mangled – maybe more affecting because of their struggle through technical difficulties. On Diamond Jubilee though, there’s barely any trace of sonic subfuterage. Instead, Flegel’s incredible talent for songwriting, empathetic but virtuoso guitar playing and melodies shine through the murk. Listening to Diamond Jubilee in one sitting, I’m reminded of obsessing over Dave Godin’s Deep Soul compilation CDs or, more recently, the hefty archive project conducted by the Cairo label of American soul music. In \u003cspan\u003eLee\u003c\/span\u003e‘s fantasyland, the song structures are classic, the guitar playing is classic, the melodies feel like classics but it all feels like they’re being played for the first time. There is Soul guitar riffing through out, for example Olive Drab ‘s dampened rhythm section-and-string work out feels like 6th generation tape copies of a Stax recording. 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