GAGGLE (n.): According to the Oxford Dictionary the collective noun for a flock of geese - or, less formally, a disorderly group of people - actually finds its root in the noise that a goose makes. It’s a fact that raises a smile as one attempts to create a back story for Deborah Coughlin’s 21-member all-female choir, as they stare out from the mysterious, brightly-coloured promotional shots with black eyes and tightly-set, blue-painted lips.
The bird references carry over to From the Mouth of the Cave; whether in the form of titles, sound effects or a perfectly-choreographed cacophony that makes for chaotic, yet rewarding, listening. It’s a debut that has been long-awaited by many; the group formed in 2008, but various projects - including their touring version of opera The Brilliant and the Dark - have kept them out of the studio. Those not yet in the know, particularly in the London area, may not be able to claim ignorance for much longer as the group celebrate the release with a series o gigs as guerrilla as you can get away with so many members to co-ordinate.
Some of opera’s more theatrical elements clearly influence the music, albeit mixed so deftly with tribal chants, horror movie themes and snatches of pop melodies as to be almost unrecognisable. Similarly the "choir" label doesn’t tell the whole story, as the tracks themselves - never mind the band members - rarely stick to an established song sheet.
“Army of Birds” is as good a place to start as any - the beats that underpin its crazed chanting keep it just on the right side of ‘single’ material, unlike the maelstrom of later tracks. That’s no criticism: like the best properly genre-defying works From the Mouth of the Cave has no desire to compromise. Those who are drawn into its web will likely discover one of the best albums they will hear all year.
Gaggle's "Army of Birds". Just listen to it.
