von Oliver
am 22. April 2024
in Album, Heavy Rotation
With a double album that is not available on any streaming portal, but is now free via the in-house Geocitieswebsite, which is offered for download as a wav package, has Patrick Flegel alias Cindy Lee with Diamond Jubilee unleashed an unexpected hype of the year.
And, when it comes to the overall balance of 2024, one of the song collections of the year will probably be presented, the praise for which can be expected now and in the future, definitely deserves every enthusiasm.
But at the moment it’s important not to rush into anything – just to avoid getting lost in the sheer mass of this unconventional publication (but that’s precisely why it can’t escape the radar of the hip features section), one after the other: four years after the double whammy What’s Tonight To Eternity? and Cat O’ Nine Tails the former has Women-Board member Flegel as Cindy Lee the announced triple album Darling of the Diskoteque summarized in a veritable 32 songs and 2 hours of playing time, his indie pop, shaped by ghostly, otherworldly girl group hallucinations, is largely beyond the noise-exciting feedback excesses (only If You Hear Me Crying still sways along the gallop, allowing such forebodings for once) is steered into more accessible paths, the homogeneous structure is loosened up with economical stylistic experiments (in the knobbly Gayblevision connect Sound & Fury and Hotline Miami for example the 80s Club; Dracula switches as a herbaceous seance to the loading screen of a 70s investigation complete with a sinister astral shimmer, runs along for what feels like forever and could go on forever; the interlude Olive Drab is the exploratory, string-affinous soundtrack to a defective thriller – to name a few of the most striking shades in the palette).
Cindy Lee sounds, the tempo is sometimes decelerated from the slow-motion ether of a distant parallel world, sometimes emphasizing Lou Reed rock in the lo-fi spectrum a little more succinctly (Glitz For example, it jumbles more relaxed with cautiously noisy guitars than sedative Allman Brothers delirium or Dreams of You offers blurry impressions from otherworldly rock’n’roll spheres) a bit as if they had Chromatics her penchant for the 50s and 60s beyond synthpop Dirty Beaches for seductively unreal drag radio stations in Twin Peaks can be captured: dreamily bittersweet, familiarly homely and otherworldly, otherworldly, letting a calm melancholy fall into the vintage grittiness in lethargic nostalgia, moving along relaxed but focused, always transcending a vague psychedelia.
Fairytale trances glide over distinctive bass lines (Always Dreaming) past the perception, relaxed escapism happens, which abstractly conveys the magic of the Beach Boys reflected (Wild One or the one that moves forward smoothly with a physical post-punk drive and disappears into the fog Flesh and Blood and the Roy Orbison prism I Have My Doubts). After the carefully walking creepy grace The ghost stagehand phased Kingdom Come like a spooky musical strolling out, or has one Crime of Passion internalizes the somnambulistic romance of past Hollywood eras Darling of the Diskoteque as Moonlight Serenade ripples.
All of these scenes (which will probably only be consumed selectively to a limited extent in the foreseeable future, despite their massive location) dream in symbiotic unity of other lives and worlds, and create a lasting appeal through their constant level, instead of overwhelming like an attack. An omnipresent, fascinating atmosphere envelops the record and captivates in a muted, trippy, peaceful fever dream, shaking in elegiac restraint, creating its own, deeply associative world that lies behind the horizon of the Women–Rarities plays.
On the surface like Diamond Jubilee Although it can have the aura of an unspectacularly engaging, fragmentary collection of sketches, the material is actually formulated to a concrete pop sensibility and wins as an addictive grower, where so many songs seem like never-quite-tangible memories of hits from the past that never happened (just the outstanding one All I Want Is You or dallas cultivate the aesthetics of decelerated duets in a demo flair, function as catchy tunes dissolved in longing reverb like forgotten classics!). It is precisely in one piece that this pull unfolds ideally (despite a few – never boring or really weak, but somewhat uniform – lengths that dissolve in passive consumption as a worldbuilding soundtrack) because the art is so harmoniously self-contained without any pretentious weight the sum of its parts becomes. Something ultimate, at least within its scope. A definitive statement, the magnum opus from Cindy Lee – whose method of publication as well as the volume of the material contributes to the magic, because the entire work, beyond the captured music, captivates and captivates the cosmos in an intoxicating way on a meta level: albums like the seventh Cindy Lee-Long players actually don’t appear at all these days, because Diamond Jubilee allows hip hype to fade into the background and subjectively seems more like a jewel recovered from a time capsule in the 90s (with a very ugly one power-Artwork), about which so far only myths have been told behind closed doors.
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