Album review: Cindy Wilson, “Change”

by Jon E. Lynch

Cindy Wilson, “Change”

Available: Friday, Dec. 1, via the once Olympia, Washington, now Portland, Oregon-based Kill Rock Stars record label. The album is available on various digital formats, compact disc, and on an initial pressing of pink vinyl.

You can also pre-order the record through Cindy’s Pledge Music page to receive some truly unique record (and recording)-related ephemera. There are, of course, autographed copies of the album, T-shirts, and normal run of the mill options. For the deeper-pocketed hyper fan, there are a slew of can’t-pass keepsakes: Test pressings, microphones and drum heads used in the actual recording of the record, autographed set lists and hand-written lyric sheets, or a Skype chat with Cindy and a personalized recorded voicemail greeting. Shell out a grand or more to have dinner with the band, perhaps a private concert, or even a guided tour of Athens, Georgia, hot spots. Crowd-funding an album has revolutionized the way we interact, not only with the music, but with the artist(s) themselves.

Cindy Wilson is perhaps best known as a vocalist for the B-52s, the new wave post-punk outfit that had a handful of hits in the late ’80s and early ’90s. On her debut solo record, the first in her 40-year career, the shine and glitter glean of the B-52s is supplanted with future pop, electronica, strings, and synthesizers. The music delves into experimentation that would’ve been out of place within the confines of the 52s, but here, the electro-pop and harmonies instead birthed a new genre the band themselves call “Turbo Chill.” What started as casual jamming amongst musician friends turned into a record of downtempo, electronic-steeped psychedelia.

Recommended for fans Broadcast, Stereolab, Air, Enon, Portishead, Gary Numan, and, of course the B-52s.

Jon E. Lynch[email protected]

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