Sing to God

## Singles from *Sing to God*

1. Bellyeye
 Released: April 17, 1995

2. A Horse's Tail
 Released: April 17, 1995

3. No Gold
 Released: April 17, 1995

4. Odd Even
 Released: 1995

5. Manhoo
 Released: 1995

***Sing to God*** is the fourth studio album by Cardiacs. It was recorded throughout 1995, breaking a hiatus by the band that had lasted since the band's previous album *Heaven Born and Ever Bright*, and was released by the Alphabet Business Concern on June 11, 1996. It was their first album with drummer Bob Leith and their second as a four-piece.

## Background and production

Cardiacs released their third studio album, *Heaven Born and Ever Bright*, on May 15, 1992. The album was generally not as well-received as the previous three by critics and fans alike and marked a drastic change in the band's lineup. Tim Quy, William D. Drake, Sarah Smith and Bic Hayes had all left the band since the release of *On Land and in the Sea*. During the production of *Heaven Born and Ever Bright*, the band was a four-piece, with Jon Poole taking the place of previous guitarist Bic Hayes. The aforementioned album was initially released by Rough Trade Records, though they would soon go bankrupt, putting the band "in a bit of a financial trap". Frontman Tim Smith would later say that "it was kind of a blessing in disguise" as it meant they could continue to release their old discography independently once they had made enough money from other jobs.

Following the release, drummer Dominic Luckman left the band and Bob Leith (a.k.a. Babba) took his place. This resulted in the band's lineup becoming what is sometimes referred to as "Cardiacs Mark II".

The album was recorded between Spring and Winter 1995 at Apollo 8 Studios, though many tracks were written some years before, 'Billion' in particular being written in 1974 by a thirteen-year-old Tim Smith.

> *A few songs have popped up on the later albums that I wrote when I was about thirteen. The one on the latest one called 'Billion', I did it when I was thirteen. Sometimes I put an old one on that I made when I was little, just for luck. 'Interlude' on* A Little Man and a House and the Whole World Window *is another one. I just found it laying around on a bit of paper and thought ah, let's stick that one on it! It's all for superstitious reasons, really.*
>
>

In order to encompass all the material written during the four-year hiatus, it was decided that *Sing to God* would be a double album containing two volumes. The album's runtime amounts to almost an hour and a half, making it the longest album Cardiacs have released. During the production of the album, Jon Poole had a greater role than before, writing his own songs and contributing to those written by Tim. The rest of the band was very pleased with what he added to the album.

## Concept and music

*Sing to God* continues the band's exploration of the surreal, insane and indescribable, along with constant references to animals such as dogs, horses and birds. The album was formed around the world of the Bible, represented though the album's name and song lyrics.

Much of the album uses religious terms, figures and characters from the Bible, the Christian scriptures consisting of the Old and New Testaments. Tim Smith explained in an interview that "if the word 'Jesus' appears, it's just because it mentions Jesus in the same way that anyone's name would appear" and that 'Sing to God' was the name of a hymn book owned by William D. Drake that the band thought would make a good title.

The album, like Cardics' previous records, can be described as multiple genres of music, including progressive punk (pronk), psychedelic, pop and rock. It opens with a wind chime being stuck on 'Eden on the Air', followed by some seconds silence. The song, as a reviewer from *The Quietus* puts it, "swells, imperceptibly at first, to coalesce like early morning mist – beautiful but only briefly there." Therefore, 'Eat It Up Worms Hero' shocks the listener, being the most chaotic track of the album. It demonstrates the sounds possible when using the studio as an instument and no track like it would have existed on the previous albums. Some reckon Tim intentionally did this to scare off the faint of heart and further show that the album is only meant for a particular audience. 'Dog-Like Sparky' is an overwelmingly happy song with a quickly changing tempo. The lyrics are blasphemous, however, with one line saying "Put your hands on the Holy Bible and scream wank." 'Fiery Gun Hand' is a piece of avant-pop orchestration. Several guitar solos by Jon Poole were spliced together by Smith, making an unpredictable jumble of different tempos and ostinati. In the song 'Insect Hoofs on Lassie', Tim Smith expresses the huge admiration he had for the heroic dog from the novel *Lassie Come Home*. The vocals get highly distorted in parts, correlating with the declining sanity of the lyrics. 'Fairy Mary Mag', on the surface, is more organised than many of the songs that come before it. Many layers of harmonisation are used and, at the end, there is a wacky outro that seems out of place at first until hearing the same outro on the third track of the second volume, 'Odd Even', albeit with more instruments adding to the sound. 'Bellyeye' is a euphoric pop song demonstrating why they were such an influence on bands like Blur. 'A Horse's Tail' is the first Cardiacs song to have not had any involvement of Tim during the writing process. The lyrics, as is normal for Cardiacs, make little sense. In the middle of the song, Tim screams "FUCK OFF!" for no apparent reason. 'Manhoo' makes use of many unnatural high notes and is one of the most predictable songs on the album. 'Wireless' is Tim's reimagining of Faust's 'Psalter' preformed alongside a scissor-wielding percussive ensemble, ending with Smith reading *Peril on the Sea*, a bizarre aquatic-themed children's story written by Dawn Staple.

Many consider 'Dirty Boy' to be the album's crowning achievement. It begins with a guitar riff reminiscent of Alice Cooper's 'I'm Eighteen' and transmutes the base material throughout its almost nine minutes duration. The lyrics have a religious undertone and the last word of the song, "out", is held for over two minutes. 'Billion' was written by Tim when he was thirteen. He included it on the album for luck and it seamlessly transitions to the next song, 'Odd Even', "another classic English pop song whose inner eccentricity is suddenly sprung upon the unsuspecting listener during a wonderfully crazy arpeggiated keyboard solo that poor Jon Poole was left to learn after Smith had written it." As previously stated, following a pop, it repeats the outro used in 'Fairy Mary Mag' and continues onward as though nothing had happened. 'Bell Stinks' and 'Bell Clinks' were both written by Jon Poole with both being praised along with 'A Horse's Tail' and 'Angleworm Angel' for fitting seamlessly into the band's aesthetic despite having no involvement with Tim during the writing process. 'Flap off You Beak' is a song that "fuses a relatively straightforward twanging guitar line with a sublimely soaring choral vocal part that shimmers mirage-like, sending up vapour trails in its wake." 'Quiet as a Mouse' is often considered the strangest track on the album and for good reason. There have been some false claims that the unnamed woman speaking is Tim and Jim's mother, some even spread by Tim himself, but he later clarified that it was said as a joke and that she was actually just a strange woman who was helping the band out with a few things. In the same interview, Tim said that the track was a recording of when somebody had left the tape running whilst working on orchestral parts. There have been several interpretations of the track over the years, most of them containing someone getting stabbed. 'Red Fire Coming Out From His Gills' is named after a line from the aforementioned story *Peril on the Sea*. It is a classically infused anthem with aquatic-themed lyrics. 'No Gold' is a gentler track comparable to those by the Sea Nymphs. 'Nurses Whispering Verses' previously appeared on *Toy World* and *The Seaside*, but gets a facelift by the new band members and the technology now available to them. Many consider the *Sing to God* version the definitive. 'Foundling', like 'No Gold', is a gentle track that ends the album. The song's lyrics are particularly artsy and mysterious.

## Release and promotion

The album cover, featuring the band's disembodied heads floating against a dark night sky dotted with stars, was inspired by *Night of the Hunter*. Sean Kitching of *The Quietus* said that "the creepy fairytale atmosphere" of the film "makes it an entirely appropriate image that resonates perfectly with the album's overall vibe. The fact that the band members' eyes are all rendered artificially larger, suggesting wide-eyed children, or perhaps adults returned to that beatific state by the administration of some pharmaceutical philtre, also attests to the truly psychedelic nature of the sounds contained within."

Album coverVinyl back coverThe Consultant's Memorabilia Collection promotionCD back coverThe album was released in the UK on June 11, 1996 by the band's long-running own label, the Alphabet Business Concern, alongside re-releases of all their previous albums. Originally a limited edition 2CD double album set, limited to 3,000 copies, *Sing to God* was subsequently re-released as two separate albums, *Sing to God – Part One* and *Sing to God – Part Two*. The band's website explained this, saying the album "was later split into two separate albums due to a mistake". 'Bellyeye' was released as the album's first single several months ahead of the album on ORG Records, the record-releasing wing of long-term Cardiacs' supporters *Organ Magazine*. It was one of the band's few releases on a label other than the Alphabet Business Concern. Tim Smith said the single was "only a small release made by some friends who run a fanzine over here. Since we hadn't released anything for a couple of years they offered to put that out for us. That was a part of the new album that we were recording at the time anyway." A comment about not disturbing commercial sensibilities was slightly edited in the 'Manhoo' single because "it was too long and when it's too long it won't be played on the radio." The part in question was "that middle bit where it goes off the wall a little bit, it comes off the rail and then lands back where it was in the first place. [The band] thought [they'd] just keep it on the rail. [Tim Smith] likes both versions.

The album was put on the band's Bandcamp page on March 6, 2018 and would later also appear on other streaming services.

## Singles

In 1995, 'Bellyeye' was released as a single by ORG Records, with its CD containing two other tracks: 'A Horse's Tail' and 'No Gold'. All tracks on the CD also appeared on the full release of *Sing to God*, which is most likely the reason it was never officially released online.

On January 1, 1995, 'Odd Even' and 'Manhoo' were released as singles, both CDs containing two tracks each that cannot be found anywhere else: 'Spinney' and 'What Paradise Is Like' for *Manhoo*; 'Hurricane' and 'Devils' for *Odd Even*. They, unlike *Bellyeye*, were put on Bandcamp on March 6, 2018. Additional singles for 'Bell Clinks' and 'Dirty Boy' were planned but never released, and their covers would most likely show the remaining two band members from Cardiacs Mark II if they were following the pattern of the two aforementioned singles. None of them charted.

## Reception

 Source
 Drowned in Sound
 MusicOMH
 Pennyblackmusic
 Progsphere
 *The Quietus* | (very favourable)

*Sing to God* was an instant hit with fans but, due to the ongoing neglect and disdain of the band by the British music press, one of the only original reviews was an infamous review in *Vox*, who rated the album a score of 0/10. When asked by upon release by *PIE Mag* how the album had been received by fans and the media, Tim Smith replied "oh, the media? No, we don't get received at all in the media over here. We did a couple of live radio sessions on Radio 1 over here. Luckily, we've got this DJ, Mark Radcliffe, who's on our side, which is nice. I reckon he must be the only person in the media that sticks his neck out for us. I think we've seen *one* review of it so far and it got nought out of ten." When asked about the media's treatment of the band, Smith said "you can't rock the boat in this country! It's really not allowed to play anything that might go against the grain of the current fashion. I think it's because we've been around for a long time and we refuse to go away. We really, genuinely do love what we do and there's a bunch of people over here who like it enough to make us carry on. But you know, British media … I mean, every other country in the world knows about the British media and how thick they are. We're just a prime target for their dartboard. The fact that we're not good looking, the fact that we're probably getting on a bit now, that kind of thing." One British journalist in a later review of *Sing to God* said that "such negative feelings [about the band] must be discouraged, given the joys contained within their kaleidoscopic world."

Over time, music critics have re-evaluated Cardiacs and their albums and, today, *Sing to God* is considered a masterpiece and is often regarded as the band's magnum opus. Original copies for the album command high prices in second hand retail. A reviewer for *PIEmag* said the album was considered by "many (myself included)" to be "one of the finest moments in Cardiac history. Benjamin Bland of Drowned in Sound said that "to say it's highly regarded amongst Cardiacs fans everywhere would be the understatement of the century."

Sam Shepherd of MusicOMH was very favourable; called the album "the band's crowning glory" and "quite possibly one of the greatest albums ever made." He said "it would be possible to write about *Sing to God* and the sheer brilliance of Cardiacs forever, but the truth is words will never be able to describe just how incredible the band and this album is. The only way to find out is to hear it and, once you do, things will never be quite the same again. This really is an album worthy of laudation." He also noted that "It is an incorrect received wisdom that double-albums are fundamentally flawed. Prior to *Sing to God*, it's an argument that may have held some water, but over the course of two discs (or four sides of vinyl) there is not an ounce of fat or mindless folly. This is an album of unmitigated genius from start to finish."

Sean Kitching of *The Quietus* said "this is a wonderful album for those whose hearts lack the cynicism to ridicule its often delirious flights of fancy, a cornucopia of synaesthetically rendered technicolour delights for those who have not yet lost the innocence required to be receptive its psychedelic splendour." Michael Rodham-Heaps of *Freq* called it "an absolute joy from start to finish". Alex Wisgard of *The Line of Best Fit* gave the album a score of 8.5/10, saying "no one was writing music like this in the Nineties – okay, Mansun came close with *Six*, but they never made a career out of songs like that, did they? And you can't imagine Cardiacs ever having an 'I Can Only Disappoint U' moment - and I doubt anyone has really ever tried since. With Tim Smith still recovering from a life-threatening heart-attack-and-stroke combination which befell him in 2008, sadly the man himself is in no position either. But with their work slowly coming back into circulation, now is as good a time as any to try and unravel their mystery before anyone else catches up."

Andrew "Tiny" Wood, singer of the band Ultrasound, reviewed the album as an "Underrated Album" for *Crackle Feedback* as part of an article about his record collection. Wood said that *Sing To God* was released "right in the middle of the so called Britpop thing, and if anyone can lay claim to the Britpop crown it is the Cardiacs, largely ignored in a period which was desperately in need of a nostalgia for something that never really happened in the first place, instead of a celebration of what we Brits can achieve when we really put our minds and imaginations to it. The Cardiacs were probably the greatest band ever to come out of Britain, and one day they will be recognised." He commented that "It sprawls over two discs like a many-tendrilled beast, taking in influences from Krautrock to the Kinks in a lysergic soup like a scorpion sting to the head, sharp yet soporific, making me dizzy with intense spins and swirls of sound and colour."

When asked in a 2001 interview with *Margen Magazine*, whether he thinks *Sing to God* is the band's best album due to it being their "more known album", Tim Smith replied "no … I sort of like them all in one way or another." The band followed *Sing to God* with *Guns* (1999), their final album, which shocked fans due to its less restless sound. In an interview with *Prog*, Devin Townsend said *Sing to God* is the prog album he plays to "get [him] in a good mood": "It's uplifting and intense. Some of the chord changes are so unconventional and hilarious." In a 2014 list entitled "The Arresting Sound of Cardiacs", written by Ben Saunders for *The Hooded Utilitarian*, 'Fiery Gun Hand' and 'Dirty Boy' from *Sing to God* featured as the seventh and eighth tracks. In a 2015 list for *Team Rock*, musician Mike Vennart included 'Eat It Up Worms Hero', 'Dog-Like Sparky' and 'Dirty Boy' in his list of "The 10 Best Cardiacs Songs".

## Credits

Credits adapted from multiple internet sources.

### **Tim**

> *Hello, Kidz! (You will notice that I spelt the word kidz with a 'z'.) I have been bowled over and knocked back by the outpourings of love posted on here. Every one of them. You have no idea what this means. Really, though. While I would love to respond to each message, you are doubtlessly aware, my body is my enemy and my hands are cunts. Nonetheless, it means the world to me. Thank you all so much. I am truly blessed.*
>
>

### **Jim**

> *Tim sadly passed away on 21st July, 2020, aged 59 years; will be terribly missed by myself and all who knew him. I won't go on about Tim's musical genius, as we all know that to be a given, and many other more eloquent people have done a better job of that than I ever could. But I will say a few words about his character. He could be a stubborn, self centred tyrant of a man who bulldozed through his life with no thought of the consequences, but at the same time, he was the gentlest, loving, funny and amazing brother anyone could wish for and I will miss him terribly.*
>
>

### **Our Continued Thanks**

> *How are you bearing up? Here, amongst close friends and family, the reality of our loss is beginning to descend and it hurts to the core. We know that you are grieving too. You have sent us some beautiful messages and these will be shared with all of Tim's loved ones. Thank you. Thank you for appreciating that we did our very best to make his life good. Thank you for knowing we did everything we could to keep him safe. Thank you for never doubting us, for trusting us and for always supporting us when we asked for your help.* You *helped make his last days happy, almost contented ones. This must not be underestimated. You are instructed to internalise this* fact *and allow it to assist you in the grieving process which, as any shithead on the street can tell you, correlates precisely to the love that you feel. … This was no ordinary life. This was no ordinary rock star. This was someone whose peg was made bespoke and fitted no convenient hole. In short, we know how you feel and we know you need to show it. We will help you with that as best we can when the times allow us.*
>
>

> With very much love to you all,
>
>

> **Mary x**
>
>

## References

### Citations

1. ↑ Kirkpatrick, Russel (July 7, 2008). "Cardiacs Heaven Born and Ever Bright Review" *Prog Archives.* Retrieved January 13, 2021.
2. ↑ Smith, Tim (April 2001). "Margen Magazine (Spain) April 2001" *Cardiacs.* Retrieved January 13, 2021.
3. ↑ Smith, Tim (January 2005). "Popular 1 Magazine Spain Jan 2005". *Cardiacs.* Retrieved January 13, 2021.
4. ↑ 4.0 4.1 4.2 4.3 4.4 4.5 Smith, Tim. "Dancing About Architecture: the PIEmag Cardiacs Interview". *The Corroseum.* Retrieved July 13, 2016.
5. ↑ Shepherd, Sam (July 11, 2014). "Spotlight: Cardiacs – Sing To God" *musicOMH*. Retrieved July 13, 2016.
6. ↑ 6.0 6.1 6.2 6.3 6.4 6.5 Kitching, Sean (July 4, 2014). "Cardiacs Sing to God Review". *The Quietus.* Retrieved January 13, 2021.
7. ↑ "Cardiacs - Sing To God - Part One (CD Album), 1996". *Discogs*. Retrieved July 13, 2016.
8. ↑ "Cardiacs - Sing To God - Part Two (CD Album), 1996". *Discogs*. Retrieved July 13, 2016.
9. ↑ "Cardiacs' Community | Cardiacs". *Bandcamp*. Retrieved February 14, 2021.
10. ↑ Cardiacs (March 6, 2018). "Cardiacs Bandcamp Community Page". *Bandcamp.* Retrieved January 14, 2021.
11. ↑ 11.0 11.1 Bland, Benjamin (July 10, 2014). "Album Review: Cardiacs - Sing to God (reissue)". *Drowned in Sound*. Retrieved July 13, 2016.
12. ↑ Rodham-Heaps, Michael (July 27, 2014). "Cardiacs - Sing To God". *Freq*. Retrieved July 13, 2016.
13. ↑ Wisgard, Alex (July 7, 2014). "Cardiacs - Sing to God". *The Line of Best Fit*. Retrieved July 13, 2016.
14. ↑ Smith, Tim (April 29, 2013). "Hello Kidz! (You will notice that I spelled the word kidz with a 'z')." *Facebook*. Retrieved October 31, 2019.
15. ↑ Smith, Jim. "Funeral Notice for Tim". *Dignity Funerals*. Retrieved February 22, 2021.
16. ↑ Wren, Mary (July 30, 2020). "News - Cardiacs". *Cardiacs*. Retrieved February 22, 2021.

### External links

* Official Cardiacs website

*Some of this article uses text originally authored on Wikipedia.*