“Cindytalk are pushing the boundaries of what music can be, reinventing and pursuing sonic possibilities, combining the actuality of the world with the imaginary and hallucinatory to create a magical, intriguing four-part work.” — International Times, review of Subterminal Cinder has been Cindytalk’s sole constant member since they started in the early 1980s. A series of band albums from Camouflage Heart (1984) to Wappinschaw (1995) saw the group develop an often uncompromisingly dark, intense and poetic body of work, with Cinder’s vocals complemented by music which moved between industrial, post-punk, ambient and fully improvised, while directly connecting across disciplines to performance, film and other media. DAIS Records (USA) are currently reissuing those albums in 2022-23. Since 1995, Cindytalk has continued in both group and solo form, across live performance and recordings. During this period, Cindytalk increasingly embraced improvisation in live settings and electronic work through recordings. A series of solo and predominantly electronic albums on the Editions Mego label, from The Crackle of My Soul (2009) to The Labyrinth of the Straight Line (2016), saw another formidable body of work developed. Most recently, Of Ghosts and Buildings was released on the Japanese label Remodel in 2021, continuing Cinder’s integration of electronics with field recordings. Cinder also recently recorded collaborative releases with Michael Wollenhaupt (Ancient Methods), In The Mouth Of The Wolf (Diagonal Records 2016), and with Massimo Pupillo (Zu), Becoming /// Animal – A Distant Hand Lifted, a live improvised work (Trost Records, 2017). A new Becoming /// Animal album with the addition of new member Abul Mogard is currently being recorded. Live work with both projects saw them perform at various festivals around Europe (Unsound in Krakow, Festival Alternativa Prague). After periods in the USA and Japan, Cinder recently returned to Scotland, from where Cindytalk’s new album Subterminal was developed across 2020-21. The initial ideas for Subterminal were excavated from recordings developed during the process of making Of Ghosts and Buildings (2021). The resulting album continues and extends Cinder’s interest in longer-form compositions, which have been telegraphed since The Labyrinth of the Straight Line (2016). Subterminal evokes an environmental, social and psychic breakdown, focusing on an approach to endings: the Subterminal position. The album is organised across four parts, charting a progression or suggesting a poetic narrative development across its 48 minutes — moving from hope to collective delusion, then to hallucination, and finally to escape.
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