Wappinschaw
Cindytalk
Wappinschaw
Boomkat Product Review:
A lost standout of ‘90s industrial/experimental rock, Cindytalk’s 4th album takes a timely, newly expanded reissue bow with NYC’s Dais.
Conceived and framed as a “call to arms” for Scottish independence on release in 1994, ‘Wappinschaw’ is so named after the process of weapons inspection by Scottish chieftains when readying their clans for battle. From ancient times, to the ever present ‘90s, to current cries for Scottish independence, Cindytalk’s music continues to hold its ground as a vital part of the Scottish post-punk/industrial/experimental landscape, speaking to long held urges that feed into the tensions and expressions of a singular music scene. No doubt it’s a classic by one of its most fascinating artists, whose catalogue connects This Mortal Coil in the ‘80s to hardcore techno in the ‘90s, and a series of remarkable electronic albums for Editions Mego in the past decade.
It’s unmissable for its strikingly unadorned take on Ewan MacColl’s folk classic ‘The First Time Ever I Saw Your Face’ (as famously covered by Roberta Flack) as its opening shot, and goes on to take in Cindytalk classic ‘A Song of Changes,’ alongside inclusion of legendary Glaswegian writer Alasdair Gray on ‘Wheesht,’ and stirring atmospheric designs in the likes of ‘Träumlose Nachte,’ and 11’ bagpipe soundscape of ‘Hush,’ while a trio of additional works lurk at the back, bringing some anthemic gaelic rock on ‘The Moon Above Me,’ and snarling, serpentine styles on ‘In Sunshine,’ plus the kind of gothic industrial rock that begat current Regis styles in ‘Old Jack Must Die.’
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Boomkat Product Review:
A lost standout of ‘90s industrial/experimental rock, Cindytalk’s 4th album takes a timely, newly expanded reissue bow with NYC’s Dais.
Conceived and framed as a “call to arms” for Scottish independence on release in 1994, ‘Wappinschaw’ is so named after the process of weapons inspection by Scottish chieftains when readying their clans for battle. From ancient times, to the ever present ‘90s, to current cries for Scottish independence, Cindytalk’s music continues to hold its ground as a vital part of the Scottish post-punk/industrial/experimental landscape, speaking to long held urges that feed into the tensions and expressions of a singular music scene. No doubt it’s a classic by one of its most fascinating artists, whose catalogue connects This Mortal Coil in the ‘80s to hardcore techno in the ‘90s, and a series of remarkable electronic albums for Editions Mego in the past decade.
It’s unmissable for its strikingly unadorned take on Ewan MacColl’s folk classic ‘The First Time Ever I Saw Your Face’ (as famously covered by Roberta Flack) as its opening shot, and goes on to take in Cindytalk classic ‘A Song of Changes,’ alongside inclusion of legendary Glaswegian writer Alasdair Gray on ‘Wheesht,’ and stirring atmospheric designs in the likes of ‘Träumlose Nachte,’ and 11’ bagpipe soundscape of ‘Hush,’ while a trio of additional works lurk at the back, bringing some anthemic gaelic rock on ‘The Moon Above Me,’ and snarling, serpentine styles on ‘In Sunshine,’ plus the kind of gothic industrial rock that begat current Regis styles in ‘Old Jack Must Die.’
Boomkat Product Review:
A lost standout of ‘90s industrial/experimental rock, Cindytalk’s 4th album takes a timely, newly expanded reissue bow with NYC’s Dais.
Conceived and framed as a “call to arms” for Scottish independence on release in 1994, ‘Wappinschaw’ is so named after the process of weapons inspection by Scottish chieftains when readying their clans for battle. From ancient times, to the ever present ‘90s, to current cries for Scottish independence, Cindytalk’s music continues to hold its ground as a vital part of the Scottish post-punk/industrial/experimental landscape, speaking to long held urges that feed into the tensions and expressions of a singular music scene. No doubt it’s a classic by one of its most fascinating artists, whose catalogue connects This Mortal Coil in the ‘80s to hardcore techno in the ‘90s, and a series of remarkable electronic albums for Editions Mego in the past decade.
It’s unmissable for its strikingly unadorned take on Ewan MacColl’s folk classic ‘The First Time Ever I Saw Your Face’ (as famously covered by Roberta Flack) as its opening shot, and goes on to take in Cindytalk classic ‘A Song of Changes,’ alongside inclusion of legendary Glaswegian writer Alasdair Gray on ‘Wheesht,’ and stirring atmospheric designs in the likes of ‘Träumlose Nachte,’ and 11’ bagpipe soundscape of ‘Hush,’ while a trio of additional works lurk at the back, bringing some anthemic gaelic rock on ‘The Moon Above Me,’ and snarling, serpentine styles on ‘In Sunshine,’ plus the kind of gothic industrial rock that begat current Regis styles in ‘Old Jack Must Die.’
Boomkat Product Review:
A lost standout of ‘90s industrial/experimental rock, Cindytalk’s 4th album takes a timely, newly expanded reissue bow with NYC’s Dais.
Conceived and framed as a “call to arms” for Scottish independence on release in 1994, ‘Wappinschaw’ is so named after the process of weapons inspection by Scottish chieftains when readying their clans for battle. From ancient times, to the ever present ‘90s, to current cries for Scottish independence, Cindytalk’s music continues to hold its ground as a vital part of the Scottish post-punk/industrial/experimental landscape, speaking to long held urges that feed into the tensions and expressions of a singular music scene. No doubt it’s a classic by one of its most fascinating artists, whose catalogue connects This Mortal Coil in the ‘80s to hardcore techno in the ‘90s, and a series of remarkable electronic albums for Editions Mego in the past decade.
It’s unmissable for its strikingly unadorned take on Ewan MacColl’s folk classic ‘The First Time Ever I Saw Your Face’ (as famously covered by Roberta Flack) as its opening shot, and goes on to take in Cindytalk classic ‘A Song of Changes,’ alongside inclusion of legendary Glaswegian writer Alasdair Gray on ‘Wheesht,’ and stirring atmospheric designs in the likes of ‘Träumlose Nachte,’ and 11’ bagpipe soundscape of ‘Hush,’ while a trio of additional works lurk at the back, bringing some anthemic gaelic rock on ‘The Moon Above Me,’ and snarling, serpentine styles on ‘In Sunshine,’ plus the kind of gothic industrial rock that begat current Regis styles in ‘Old Jack Must Die.’
Available To Order (Estimated Shipping between 7-14 Working Days)
This item is to the best of our knowledge available to us from the supplier and should ship to you within the time-frame indicated. If there are any unforeseen issues with availability we will notify you immediately
Boomkat Product Review:
A lost standout of ‘90s industrial/experimental rock, Cindytalk’s 4th album takes a timely, newly expanded reissue bow with NYC’s Dais.
Conceived and framed as a “call to arms” for Scottish independence on release in 1994, ‘Wappinschaw’ is so named after the process of weapons inspection by Scottish chieftains when readying their clans for battle. From ancient times, to the ever present ‘90s, to current cries for Scottish independence, Cindytalk’s music continues to hold its ground as a vital part of the Scottish post-punk/industrial/experimental landscape, speaking to long held urges that feed into the tensions and expressions of a singular music scene. No doubt it’s a classic by one of its most fascinating artists, whose catalogue connects This Mortal Coil in the ‘80s to hardcore techno in the ‘90s, and a series of remarkable electronic albums for Editions Mego in the past decade.
It’s unmissable for its strikingly unadorned take on Ewan MacColl’s folk classic ‘The First Time Ever I Saw Your Face’ (as famously covered by Roberta Flack) as its opening shot, and goes on to take in Cindytalk classic ‘A Song of Changes,’ alongside inclusion of legendary Glaswegian writer Alasdair Gray on ‘Wheesht,’ and stirring atmospheric designs in the likes of ‘Träumlose Nachte,’ and 11’ bagpipe soundscape of ‘Hush,’ while a trio of additional works lurk at the back, bringing some anthemic gaelic rock on ‘The Moon Above Me,’ and snarling, serpentine styles on ‘In Sunshine,’ plus the kind of gothic industrial rock that begat current Regis styles in ‘Old Jack Must Die.’
Clear Red Vinyl LP.
Available To Order (Estimated Shipping between 7-14 Working Days)
This item is to the best of our knowledge available to us from the supplier and should ship to you within the time-frame indicated. If there are any unforeseen issues with availability we will notify you immediately
Boomkat Product Review:
A lost standout of ‘90s industrial/experimental rock, Cindytalk’s 4th album takes a timely, newly expanded reissue bow with NYC’s Dais.
Conceived and framed as a “call to arms” for Scottish independence on release in 1994, ‘Wappinschaw’ is so named after the process of weapons inspection by Scottish chieftains when readying their clans for battle. From ancient times, to the ever present ‘90s, to current cries for Scottish independence, Cindytalk’s music continues to hold its ground as a vital part of the Scottish post-punk/industrial/experimental landscape, speaking to long held urges that feed into the tensions and expressions of a singular music scene. No doubt it’s a classic by one of its most fascinating artists, whose catalogue connects This Mortal Coil in the ‘80s to hardcore techno in the ‘90s, and a series of remarkable electronic albums for Editions Mego in the past decade.
It’s unmissable for its strikingly unadorned take on Ewan MacColl’s folk classic ‘The First Time Ever I Saw Your Face’ (as famously covered by Roberta Flack) as its opening shot, and goes on to take in Cindytalk classic ‘A Song of Changes,’ alongside inclusion of legendary Glaswegian writer Alasdair Gray on ‘Wheesht,’ and stirring atmospheric designs in the likes of ‘Träumlose Nachte,’ and 11’ bagpipe soundscape of ‘Hush,’ while a trio of additional works lurk at the back, bringing some anthemic gaelic rock on ‘The Moon Above Me,’ and snarling, serpentine styles on ‘In Sunshine,’ plus the kind of gothic industrial rock that begat current Regis styles in ‘Old Jack Must Die.’
Available To Order (Estimated Shipping between 7-14 Working Days)
This item is to the best of our knowledge available to us from the supplier and should ship to you within the time-frame indicated. If there are any unforeseen issues with availability we will notify you immediately
Boomkat Product Review:
A lost standout of ‘90s industrial/experimental rock, Cindytalk’s 4th album takes a timely, newly expanded reissue bow with NYC’s Dais.
Conceived and framed as a “call to arms” for Scottish independence on release in 1994, ‘Wappinschaw’ is so named after the process of weapons inspection by Scottish chieftains when readying their clans for battle. From ancient times, to the ever present ‘90s, to current cries for Scottish independence, Cindytalk’s music continues to hold its ground as a vital part of the Scottish post-punk/industrial/experimental landscape, speaking to long held urges that feed into the tensions and expressions of a singular music scene. No doubt it’s a classic by one of its most fascinating artists, whose catalogue connects This Mortal Coil in the ‘80s to hardcore techno in the ‘90s, and a series of remarkable electronic albums for Editions Mego in the past decade.
It’s unmissable for its strikingly unadorned take on Ewan MacColl’s folk classic ‘The First Time Ever I Saw Your Face’ (as famously covered by Roberta Flack) as its opening shot, and goes on to take in Cindytalk classic ‘A Song of Changes,’ alongside inclusion of legendary Glaswegian writer Alasdair Gray on ‘Wheesht,’ and stirring atmospheric designs in the likes of ‘Träumlose Nachte,’ and 11’ bagpipe soundscape of ‘Hush,’ while a trio of additional works lurk at the back, bringing some anthemic gaelic rock on ‘The Moon Above Me,’ and snarling, serpentine styles on ‘In Sunshine,’ plus the kind of gothic industrial rock that begat current Regis styles in ‘Old Jack Must Die.’
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