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|PHIL SHOENFELT & PAVEL CINGL
LIVE AT THE HOUSE OF SIN
|Phil Shoenfelt||lead vocal, electro-acoustic guitar|
|All songs written by Phil Shoenfelt,
except "Black Venus" (lyrics: Phil Shoenfelt / music: Traditional)
Recorded at Klub Galerie Nová sin, Prague, 5th and 6th of December 2007
Mixed and mastered at Free Style Studio, Radotin, December 2007 - January 2008
Engineered by Jan Volný, Mixed by Jan Volný and Pavel Cingl
Arranged by Phil Shoenfelt & Pavel Cingl
Produced by Pavel Cingl
Cover design: Pavel Krtous and Jolana Izbická
Photos: Zuzana Oplatková
All songs published by Hanseatic Musikverlag GmbH & Co. KG
|RadioIndy is pleased to
present Phil Shoenfelt & Pavel Cingl with a GrIndie Award for the CD 'Live At the
House of Sin'.
'Live At the House of Sin' is an incredible collaboration between English singer/songwriter Phil Shoenfelt and Czech violinist and guitarist Pavel Cingl. Recorded live at the Nova Sin club in Prague, this album features digs into the Shoenfelt songbook and features Shoenfelt on acoustic guitar and lead vocals, reminiscent of Iggy Pop and Nick Cave, and Cingl contributing incredible violin and electric guitar work to accompany the acoustic rhythms and give the tracks a full sound. The resulting songs have a great mix of gothic and folk, as Shoenfelt delivers intelligent and memorable lyrics of sorrow, love, life, and death. This is the type of performance best heard live, and 'Live At the House of Sin' is recorded cleanly and the product sounds great. 'Saviour's Day' begins with clean acoustic and violin work, then moves into a sorrowful violin progression that perfectly matches the sadness of Shoenfelt's lyrics of lost love. 'Shivers Inside' features electric and acoustic guitar work, and is an incredible, slow and lyrical love song from Shoenfelt. "Hospital" is another great violin and acoustic collaboration that creates a beautiful harmonic sound and features more great lyrics from Shoenfelt. 'Live At the House of Sin' is a great album, beautifully arranged, and thought-provoking from a couple of talented musicians with a lot of street cred. Fans of goth, folk, and the likes of Iggy Pop and Nick Cave should definitely pick this one up.
|New York Music Daily
rockers Phil Shoenfelt & Southern Cross have earned a cult following across
Europe for their brooding, artsy gothic rock. The core of the band,
frontman/guitarist Shoenfelt and multi-instrumentalist Pavel Cingl are coming
to New York for a tour of some of the dives here, They’ll be at Pete’s Candy
Store on May 24 at 9 – with their similarly dark tourmates Lorraine Leckie
& Her Demons opening at 8 – then at Zirzamin at 7 on May 26, plus an 11 PM
gig that same night at Otto’s. Fortuitously, Shoenfelt and Cingl also have an
unexpectedly lush duo album out, Live at the House of Sin, which has an
anthemic sound far more rich than you would expect from just two performers. It
may be a cliche to say that if a song sounds good stripped down in an acoustic
format, it’ll sound even better with a band, but it’s true. So if this album is
any indication, New York dark rock fans are in for a treat next weekend.
The opening track, Vivi the Flea unfolds in a down-and-out New York milieu evocative of Mark Steiner at his gloomiest, Cingl’s soaring violin contrasting with the lingering resonance of Shoenfelt’s guitar. The second track, Twisted, has Cingl playing through a wah effect to raise the psychedelic factor. The Irish-flavored Saviour’s Day reminds a lot of Nick Cave – the irony of the title is not lost in a doomed gothic context.
Cingl switches to eerily reverberating electric mandolin, Shoenfelt fingerpicking his twelve-string on Black Rain for a majestic, sweeping ambience. Shivers Inside brings to mind Mark Sinnis at his most darkly seductive, while The Gambler works a menacing two-chord vamp, Cingl’s violin taking the intensity to redline. Alchemy sounds like a Lee Hazelwood theme taken forty years forward in time to Transylvania; Martha’s Well mines a bitter, abandoned theme.
The aphoristic Darkest Hour brings Sinnis to mind again, but in full-blown angst mode. Angel Street has some neat guitar/violin tradeoffs; Shoenfelt’s sepulchral croon rises to a casual menace on Black Venus, a traditional tune with new lyrics and a deliciously ringing mandolin solo. With its echoey violin, Hospital has Cingl looking over his shoulder at the Smiths’ How Soon Is Now. The album winds up with Letter From Berlin, which manages to be both elegaic and sympathetic: at the end of the song, the narrator offers to walk the suicidal girl home. Fans of Shane MacGowan, Leonard Cohen and the other troubadours of doom will eat this up.