OWD011 Stolen Things (The Creeping Things Remix) [single] – Paul Rooney

OWD011 (October 2019).

Digipak CD/digital.

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A Victorian child shoplifter on trial sings her daydreams amidst a musical collision of shimmering pop synths and rowdy courtroom shouting. Her spirit is summoned out of stolen fragments (a court report, a Jean Genet novel, memories of childhood, a Victorian hymn), and she seems all too aware of her transformation from a voiceless youth into a new entity: a sparkling self-mythologizing bad-girl teen-pop diva construct, shaped out of these ‘lying words’. Lola de Witte-Still remixes what was originally a Paul Rooney sound installation (this is his first single since Lucy Over Lancashire) to create a shiny kick-driven experimental-pop single cum mini-opera, with nods to AG Cook, Men’s Choir Shouters of Finland and Oneohtrix Point Never.

“Stolen Things, Paul Rooney, just unbelievable stuff… it’s a genuine sense of excitement every time something comes through from him.” Mark Whitby (Dandelion Radio). Nov. 2019.

“That fantastic thing was Stolen Things (The Creeping Things Remix) by Paul Rooney.” Fenny, On the Wire (BBC Radio Lancashire). 20/10/2019.

“Excellent stuff. That’s just the kind of thing that Dandelion Radio exists for, to play you stuff like that…” Rocker (Dandelion Radio). Oct. 2019.

“… very highly crafted and beautifully done, and really challenging.” Roger Hill, The Popular Music Show (BBC Radio Merseyside). 23/09/2019.

“Marvellous, Paul Rooney’s Stolen Things, a remix by the mysterious Creeping Things…” Zaph Mann, In Memory of John Peel Show (KFFP Radio, Portland and podcast). 15/09/2019.

“It’s far too out there for any measurable commercial success, but, make no mistake, this is a fucking masterpiece.” Gavin Hellyer (Bandcamp website). Sept. 2019.

“…buzzes with exuberant crowd noise, while naive unaccompanied singing blends into robotic contemporary vocals… Propelled by a youthful joyfulness, it sounds as though there’s a joyous energy in resisting authority and oppressive power structures.” Tessa Norton (The Wire magazine), May 2019 review of the original museum installation work.