CHERRY
SUNKIST – ok universe
(CD/LP,
22. Jahrhundertfuchs)
There are more than a lot of obvious connections to the
so-called second wave of electronic riot girls (Chicks on Speed, Peaches,
Monika Enterprises, Cobra
Killer, etc. – I did not count them, but that is the way I hear
them being called) and even though I believe that Cherry Sunkist aka Karin
Fisslthaler, conceptual artist in video, installation and performances next
to writing music, would not complain about these artists’ company, I
nevertheless want to point out her originalities and uniquenesses instead.
In this musical genre, no matter what you do, the shadow of the Chicks on
Speed seems impossible to escape. Having appeared on the Chick’s “Girl
Monster” compilation, I don’t think she wants or rather does not see a
need to, but if it ever would be necessary then she could. Because what sets
Cherry Sunkist apart is a knack for setting great, driving and pounding pop
songs into an experimental electro setting and a great singing voice.
Actually, there are two kinds of songs on “ok
universe”: one is avantgardist experiments somewhere in the long run
rooted in the work of Laurie Anderson (just listen to the beginning of “to
please you”), the other kind are pop melodies based on a driving 4/4 beat,
which of course make good use of the mass of drum computers and synthies,
but these also don’t ever use the force of soul-punk that is inherent in
them. The Gossip come to mind or Tilt!, strong band with strong characters
in the front position.
Judging from her voice Fisslthaler would also be
content to count Patti Smith to her side. At times during the record I get
the feeling that she would like to hide her voice, to not get it too
outwards or too ostentive, and that she twists it a little or holds it back
some, so as to not make get in front too much. It is probably just a
question of production, and of keeping a balance between the pop-position
and the experimental position. Anyway, there is no reason to hide this
voice. My favorite songs on “ok universe” are definitely those that work
on the dancefloor. The purely experimental songs are not harsh or extreme or
pointed enough for my taste. Maybe a collaboration with Zavoloka
would be fine for her. Since I want to either have my mind or my body
challenged or both, I prefer those pop songs.
All of these songs carry a message, sometimes quite
straight forward, sometimes a little more hidden and crypted. There is no
fingerpointing, though, so don’t be afraid you real man to listen to this
record. On “Cake” the message is cleverly hidden. The song is about how
people, and in that mainly women, give up their lives and personalities for
a piece of cake that is a partnership. Partly insecurity and partly fear of
being lonely are the main drivers of this tactic but it finally leads to
self destruction. The first lines of the song “she wanna hold him, she
wanna kiss him” start off like your regular lovey-dovey kind of song, but
with the insistence and repeating of these changes – “she wanna feel him
/ she wanna smell him / she wanna eat him up” – the character of these
antics becomes more and more disturbing until the message hits home. In its
most extreme form, this is not love, it’s a form of psychosis.
Already the second song takes up consumerism as its
main issue and tackling advertisement in all its glorious forms. “I
don’t know who you are, but you seem to know my needs” and then
answering “what you are is what you have” (a sentimentechoed in other
songs as well in other forms) and finally drawing a comparison between
consuming and romantic love. Does not sound as if Fisslthaler is a big fan
of romantic settings, candle light dinners or moonlight cruises, right? Her
credo - and you should really read this carefully and slowly, because it
sums up more than just this review - is more like “noise is a language /
scream until it bleeds” (from “Nameless dog”).
