Cherry Sunkist

Cherry Sunkist

Three years after the publication of her debut album OK Universe Cherry Sunkist releases her second album PROJECTION SCREENS on the Viennese label comfortzone.

"I’m not here to entertain you" claims Cherry Sunkist aka Karin Fisslthaler in the song WEEPING OVER MY IDEALS and she proves this statement to be true throughout the brand new CD & album PROJECTION SCREENS.
Overstretched, twisted, warped, and stuttered noise/drone/feedback wah-wah-guitars pitched all the way up & down collide with electronic stumbling beats and harsh blubber grooves (BODY, DOG/DOLL), mutate to one unique and dangerous grumbling & droning (NORMALIZED) and so from time to time invariably generate discernibly dark soundscapes.

Hub less echo chambers rendered instable meet deeply eerie strings (WEEPING OVER MY IDEALS) enchanted body parts (OLD PARTS) and murder mysteries (as it is recalled in PROJECTION SCREENS once again reflecting the style of the artist and experimental film maker Dietmar Brehm based in Linz; he is yet anew responsible for the cover image)

“The idea was to work with huge numbers of distortions amongst other components including down sampling etc. and then to alternate all of those with supposedly sweet elements”, says the artist.

It’s all about music that doesn’t want to be suitable for pop (except for perhaps the electro-pop-ballade SHE with its synthetic strings); this however doesn’t reject pop music per se. Cherry Sunkist isn’t scared of grand gestures. GLASS (where the music seems to sing like a heart made of glass similar to “SMASHED TO PIECES”) is just one example of this willingness. For Cherry Sunkist pop above all isn’t an oasis of bliss with its own inherent guaranteed automatic self-empowerment factor (exemplary case in point the homage to Marilyn Monroe GOODBYE).

About the concept for PROJECTION SCREENS Cherry Sunkist tells us: “It’s all about how you can read people and how you can interpret their behaviour completely depending on how you construct and stage yourself. This can either be full of relish or pain. People can be projection screens in the metaphorical sense too; some that act in the public arena regard this as a space for selfstilization. However the many different social standards, along with their acceptable forms of love, lust, bodies and concepts of life are called into question too. What most interests me are the different levels of reality in-between, that can be realized as “true” or perceived as a constructed or a staged truth. The title also makes reference to my love of the cinema and my second identity as film- and video maker.”

PROJECTION SCREENS refers to something else too: Sounds, voices and instruments that all clash and duplicate as if in an acoustic mirror cabinet, yet split again, metamorphose and can’t definitively be declared to be either “real” or transformed. This processes result in music “in drags” of sorts, where synthesizers seem to be guitars and guitars dress up as dub-drones. Cherry Sunkist manages a special kind of “queer” producing between sonic deconstruction and destruction, which is inscribed even in the smallest sounds and vocal parts.