THE JOY OF SING-SING

Description

More than two decades after its original release, The Joy of Sing-Sing feels less like an overlooked curiosity and more like one of the great lost British albums of its era. When Lush came to an abrupt end in 1996 following the tragic death of drummer Chris Acland, guitarist and songwriter Emma Anderson wasn't looking to recreate the past but looking for a full-time collaborator which she found in singer-songwriter Lisa O'Neill. Remarkably, Sing-Sing never sounded like a post-Lush band. Rather than revisiting shoegaze, Anderson and O'Neill created something altogether more understated and cinematic: shimmering electronic textures, hypnotic melodies and exquisitely restrained vocals that felt equally indebted to classic pop and forward-thinking electronica. Early singles Feels Like Summer, I Can See You and I'll Be quickly attracted attention, earning releases through Bella Union, Fierce Panda and, ultimately, Alan McGee's Poptones label. Released in 2001, The Joy of Sing-Sing quietly occupied a world of its own. At a time when British indie was still dominated by post-Britpop guitar bands, Sing-Sing offered something softer, stranger and effortlessly elegant. The album blended luminous electronics, intricate arrangements and timeless songwriting into a record that refused to follow prevailing trends -and as a result, has barely dated. Critics recognised its quiet brilliance. Uncut hailed it as "a supernova in indie's imaginary universe of perfect pop," while NME praised its "electronic trip-hoppy vibe," describing Lisa O'Neill's crystalline voice as leading listeners "siren-like into the twilight netherworld where The Carpenters commune with Portishead." Q celebrated its "airy, breathy dreampop". Time has only strengthened the album's reputation. Long cherished by those who discovered it first time around, The Joy of Sing-Sing has steadily been recognised as one of the hidden gems of early-2000s British independent music. In today's landscape - where dream-pop, shoegaze and beautifully crafted alternative pop have found a new generation of listeners - it sounds remarkably contemporary. - Emma Anderson's post-LUSH project, produced by Mark Van Hoen (Locust). - First vinyl pressing since its original release in 2001, Translucent Yellow LP colour. - New artwork by Chris Bigg and newly remastered by Kevin Vanbergen (Lush, Pixies, Radiohead). - 2CD ed. comes with bonus CD featuring B-sides, demos, rare recordings and a previously unreleased Spanish acoustic radio session.