Katharine Blake’s band of merry goth minstrels – who ultimately expanded into the more “palatable” Mediaeval Baebes, were always wilfully out of step with the prevailing trends of the time. Britain in 1993 was mired in all things Britpop,: seventies Adidas tracksuits, floppy curtains hairstyles and bucket hats. Lads and ladettes stalked the land. Miranda Sex Garden, who took their moniker from a William S Burroughs book, were classically trained, alternative, and wanted to shake up their classical roots. So initially, in 1990 and signed to Mute, they released ‘Gush Forth My Tears’, which fused beats with madrigal singing. Enigma’s sexed-up, inferior hit single ‘Sadeness’, was released at the same time, so ‘Gush’ inevitably tanked.
What to do? Regroup and start again. Bring in some industrial noise, a la Swans. Fuse guitars with sweet soprano harmonies, then deliberately fuck it all up by sounding like a child from a giallo film having a tantrum.
The title was, of course, a nod to the classic 1977 Argento giallo horror film, set in a ballet school. The title set out its stall brilliantly, as the whole felt like corrupted innocence. It garnered the band a whole new audience, but they still remained niche- not marketable enough, too wilfully esoteric. Shame.
It’s still a wonderful, rollicking goth record – part Angela Carter, part Einsturzende Neubauten. Then things got even darker with Fairytales Of Slavery… Read my post on that if you get a chance. This record was just a primer. David Lynch, Tinker Bell, Nick Cave, hauntology and Grimm tales were cultural touchstones referenced here. Sadly, the world looked the other way. But I loved them. And I still do.
Hit The North 