CHERRY SUNKIST - PROJECTION SCREENS

CHERRY SUNKIST – PROJECTION SCREENS
LP/CD
Release May 2011

Tracks:
1. BODY
2. SHE
3. OLD PARTS
4. DOG/DOLL
5. WEEPING OVER MY IDEALS
6. NORMALIZED (CD Version / Vinyl version on EP cz004)
7. GLASS
8. PROJECTION SCREENS
9. GOODBYE

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.
www.cherry-sunkist.net


video: Cherry Sunkist GLASS (Martin Music)
http://www.youtube.com/watch?v=bonyk6zsPJk

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The Guerrilla Girls!

Check them out in their own words...(taken from www.GuerrillaGirls.com)

We’re feminist masked avengers in the tradition of anonymous do-gooders like Robin Hood, Wonder Woman and Batman. How do we expose sexism, racism and corruption in politics, art, film and pop culture? With facts, humor and outrageous visuals. We reveal the understory, the subtext, the overlooked, the and the downright unfair. Our work has been passed around the world by our tireless supporters. In the last few years, we’ve appeared at over 90 universities and museums, as well as in The New York Times, The Washington Post, The New Yorker, Bitch, and Artforum; on NPR, the BBC and CBC; and in many art and feminist texts. We are authors of stickers, billboards, many, many posters and other projects, and several books including The Guerrilla Girls' Bedside Companion to the History of Western Art and Bitches, Bimbos and Ballbreakers: The Guerrilla Girls' Guide to Female Stereotypes. We’re part of Amnesty International’s Stop Violence Against Women Campaign in the UK; we're brainstorming with Greenpeace. In the last few years, we've unveiled anti-film industry billboards in Hollywood just in time for the Oscars, and created large scale projects for the Venice Biennale, Istanbul and Mexico City. In 2007 we dissed the Museum of Modern Art at its own Feminist Futures Symposium, examined the museums of Washington DC in a full page in the Washington Post, and exhibited large-scale posters and banners in Athens, Bilbao, Rotterdam, Sarajevo And Shanghai. WHAT'S NEXT? More creative complaining! More facts, humor and fake fur! More appearances, actions and artworks. We could be anyone; we are everywhere.

You can follow the Guerrilla Girls on Facebook and Twitter and also at their website: www.guerrillagirls.com

Check 'em out!

GET IT IN WRITING!!!

I learned the hard way that if you provide some type of musical or artistic contribution to another artist's work, you must have a written agreement on the terms if it is to be marketed for release. I provided vocals a few years back on some songs for a friend, thinking he'd get back to me with the contract reiterating our verbal agreement. No such luck, and now I'm out of luck unless I want to hire an attorney and pay hundreds of dollars have him stop using my voice in his releases without written consent.
I'm still in the process of figuring this out, and what my rights are and what I can do about this situation. I just want to let whoever is reading this know, that business is business. Anyone you work with should have no problem signing an agreement with you if they have any respect for you. Correct me if I'm wrong, but money comes not so much with record sales these days but with the licensing of music, and this is where you have to have something in place so you can be counted for your contribution.
I'm learning that the music business is very competitive and can be bloodthirsty at times, and you can't be naive and think everyone is looking out for you. You have to protect yourself, with promoters, record labels, collaborators, etc. Don't feel like you can't stand up for yourself because no one else will. Times are changing now more than ever, the world needs to know that women are demanding the same treatment as men,
and respect for our roles and contribution in this business. No matter if we step on some toes or bruise some egos along the way.

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