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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). 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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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