siren circus

Siren Circus is the project of composer and vocalist twins Cathryn and Lucie Robson. Their release "Solid Poems on a Ghost of a Subject" has been chosen as one of the Top albums in contemporary music on the Green Dolphin Poll. Here Cathryn answers our questions:

How is it to compose, sing and have a musical project with a twin sister?

It feels like second nature as we have always done it, from as far back as we can remember. As well as creatively we both understand where the other is coming from politically and spiritually, which, though more abstract, also informs what we do. We don't always see eye to eye and sometimes we have really horrible, incestuous arguments, in the way only siblings can. Both of us are capable of being extremely stubborn if we feel territorial about our ideas. But we have always had a lot of respect for each other's creativity.

What do you think of "Solid Poems on a Ghost of a Subject"?

Overall, Solid Poems is quite an intense listening experience, 15 songs in total and all pretty 'full on'. At the time we were frustrated at having to record the album so quickly because we felt that some of the tracks, by their very nature, needed more production time. We could have spent several weeks alone working on songs like 'Liquid Moon' for example. Listening to Solid Poems now, we can hear that there are in fact several different albums on it, and that we could have run with any one of those several production and compositional directions rather than exploring them all at the same time. So it is quite an eclectic result but a solid introduction to 'Siren Circus'. An enduring favourite track for us both is 'Sad Passenger'.

How would you define Siren Circus music? I have read the term "eclectic" in some places.

'Sonic poetry' is often how we define what we do as we consider ourselves to be wordsmiths who work with music more so than actually being musicians. Certainly Solid Poems is quite eclectic in that it reveals where we had been in the few years before we released it- i.e. on the periphera of several musical worlds: classical, dance, pop, folk, 'experimental'. As we didn't grow up with any one particular musical discipline we never really appreciated that there was a difference between those worlds, and we won't ever be fully at home in any one of them. Truly belonging to one 'territory', musical or otherwise, has never been an option. It can feel schizophrenic. But our eclecticism also comes from listening to a lot of different music. And of course it is ongoing.

A lot of the songs we are writing at the moment are very simple musically and more lyric driven, very different from some of the material on Solid Poems. Also we are currently branching into 'dance' production of several songs- we really enjoy the 'theme and variation' idea behind different mixes of the same track. We have recently produced a new mix of 'Doorman', one of the songs from Solid Poems.

Regards older material; our pre- Solid Poems songs would probably fall into the 'contemporary music' category, and very early songs into 'experimental pop'. It boggles the mind. It is all the same thing to us. We are happy to just say we write songs.

Can you tell me a little bit about the history of Siren Circus?

The first studio recordings we made together were when we were 17. At that point we weren't concerned about releasing the songs, though one did find its way onto a Scottish compilation recording. After this we had several years of writing and performing separately, which was probably a good thing. We released song cycles on a small English label, sang with an acid house band, performed our compositions, collaborated with other artists. Then we got back together again. Siren Circus as it is today was formed in the mid- nineties. Since then we have composed for film, dance and theatre artists and released songs on various 'new music' compilations in addition to Solid Poems.

Why was the CD recorded in The Judge´s Urbanautical Studio?

This is the studio of our record label Sargasso Records.

Which are your main musical influences?

When we were kids we used to sing religious songs together for hours on end. We grew up listening to a lot of western pop and rock, and particularly appreciated the very organic music of Kate Bush who just did what she felt was right and it always worked. Later we started to listen to traditional classical music, British folk song and then to people like Meredith Monk, Laurie Anderson and Phillip Glass. And we also loved composers like Schubert, Kurt Weill and Eisler. In the early nineties we sang for an acid house band called Ege Bam Yasi- and we were both knocked out by the sophistication and originality of the dance music we were exposed to in the clubs. Varied influences.

Do you think that the type of music that you do is more popular in Europe than in the USA?

Most of the response to Soild Poems on a Ghost of a Subject has come from Europe but we have had airplay in and feedback from the Americas and Australia as well. Perhaps there is a more established tradition of non-mainstream music in Europe than in the USA and therefore more networks and interest to support it? Overall we feel Europe is much more receptive to our music than listeners in the UK.

How is the process of composition in Siren Circus?

Sometimes we have words that need sound and sometimes we have music that feels like it needs words. Once we have the basic elements the songs just start growing, sometimes the words leading the way and sometimes the music. So there is probably some process occurring but it is not a conscious process. Sometimes we have tunes or lyrics that have been around for years that turn into songs.

Have you learned musical theory or are all your songs composed spontaneously?

We made music before we knew that it had a theory so instinct has always had the stronger pull. We moved country several times as kids which was very disruptive so any formal musical education was erratic, to say the least. Music theory and compositional technique has always been on the periphera of what we do, or the lingua franca we use to communicate musical ideas to other artists. So right now the songs are more spontaneous and just evolve rather than being pushed and pulled technically. We are certainly not anti- technique though. Imposing discipline onto creative processes can be very exciting, and you certainly learn a lot.

Do you make tours or concerts to support your albums? Do you have plans for a tour in South America?

When we first released Solid Poems we performed the material throughout Europe. We don't have plans to perform in South America in the near future, but we would be interested in hearing about any appropriate festivals, venues, radio programmes etc.

Any final words that you want to say?

Our most recent project is a collaboration with a producer who has done a mix of 'Doorman', one of the songs on Solid Poems. Information is on our website.

Keep in touch.

Interview by Federico Marongiu 

Solid Poems on a Ghost of a Subject - CD

Doorman - remix of a "Solid poems..." track

La Chanson Bien Douce - CD - Cathryn and Lucie Robson solos and duets

Ich Bin Unter Blei Beerdigt - CD - The Blade Songs

A Vocal Monologue in Seven Parts - Cathryn V. Robson