- 1. There Can Be Music (06:50)
- 2. Small Blue Box (04:53)
- 3. Syrinx/Rhizome (08:30)
- 4. Ignorance is Gliss (04:45)
- 5. Le Grand Plaisir (06:29)
- 6. Indbagte Isbjorn (05:26)
- 7. Kari's Prayer (05:43)
- 8. Never Signed a Contract (05:58)
Peter Tinning - guitar, effects
Birgitte Lyregaard - vocals, percussion, objects
Carolyn Goodwin - clarinet, bass clarinet, voice license
Cinemateria is a radical and profound musical response to the depravities and delights the members of Thou Sonic Friend see all around them, have encountered in art, or experienced through their imaginations, refracted through a kaleidosonic medium of their own creation.
Considering the backgrounds of the musicians involved and their wide musical & cultural interests, as well as the collective and improvisational nature of their music-making, this could – reductively – be described as an eclectic work of jazz-based contemporary music. However, it’s much more style-, genre-, and artform-defying than that.
The music is at times cartoonishly playful – incorporating all kinds of sounds, at others theatrically profound, and at still others movingly intimate, but it always disrupts one’s expectations and sense of music and of the world; making them new, as true art should.
The interaction and improvisation on Cinemateria is remarkably dialogic, including interruptions, digressions, agreement and dispute, consequently moulding the – quite different sounds and timbres of the three musicians – into one voice.
The music on Cinemateria does not fit in a formerly described box of any stylistic kind. As vocalist Birgitte Lyregaard puts it: "We worked with extended techniques to create soundscapes on the album, but we don't resist conventional harmony – whenever the moment demands it, we're happy to fold these sounds into a song, improvised on the spot. I think that even for the hardcore improvisation listeners, this album will surprise”.
Simply put: Cinemateria is cinematic. While Lyregaard’s vocal is often centre-frame, it is sometimes more voice as musical instrument in fact, scene-making with clarinet and guitar and percussion, than as carrier of words. Words are important in this album, though, featuring at different times spoken, poetically charged, and theatrically delivered, but they are never enough. Like the settings, angles, lighting and other characters in a film, Goodwin’s clarinets and Tinning’s guitar share in the story telling.
Appropriately, the first track on the album is set amidst the hustle and bustle, the to-ing and fro-ing, of Amsterdam’s Central Station, a departure point for the listener’s imagination to travel somewhere new.