Like many creative professionals, I have a variety of roles and specialisms:
- Composer, producer and performer
- Electronic Music- incorporating acoustic instruments & found sounds/non-musical objects
- Studio recording engineer/sound engineer
- Music technology teacher & course designer
- Music making and performance facilitator
I am currently based in the creative conurbation of Manchester, UK and have been enjoying making musical mischief for 10 years now. I feel very lucky that my progression has been accumulative and ever-expanding so I now enjoy an abundance of exciting and rewarding projects and opportunities.
“Talented, imaginative, able to fit a crazy amount of stuff into the time it takes me to shower, eat some toast and prepare to start the day… I’d be insanely jealous if there wasn’t something so damn alluring about Caro Snatch’s work.” the girls are.com
“Proper interesting gear with lots of fresh ideas and thought provoking lyrics” – Brian at Norman Records
“Even more than the most DIY of indie bands or abstract of glitchcore artists this is…an artist realising the sound of her own unconstrained imagination” – Cath Aubergine, The Up Down Escalator
“Super-charged with other-worldly atmospherics…she contemplates life’s rich tapestry in her own inimitable manner”. Crack Magazine, Newcastle
Well it all started back in 1998 with a damaged back, a double-decker bus as a home and a Korg Poly-800 synth. Bedridden after back surgery and forced to be still and horizontal, i got right stuck in with playing allouette albeit a bit largo and tinkering with a Tascam 4 track.
The canny toon of NEWCASTLE nurtured my musical rarities, then i shimmied over to the electronic hotspot that is BERLIN before landing in MANCHESTER where i am happily expanding as an artist, creative music facilitator and SOUND ENGINEER/MUSIC PRODUCER (studio sculpting specialisation).
Once described as a “one-woman electronic avalanche”, i feel rather at home ON STAGE with a few hardware devices, a laptop these days, maybe a piano if I’m lucky. A heartfelt electronic soundtrack that seems to defy category is embellished with multi-lingual poems and increasingly melodic expressions.
Most simply generalised, my output is intended as a journey through the crazy wonderful of human emotion with a hopeful conclusion. Basically, I trust my intuition as much as I can, perform to express not impress & cogitate a fair bit about the magical mystery as I learn to be human.
I have transmuted others’ feelings through voice and music with a feature film soundtrack, (eg.”The Other Possibility” by Pinball Films), music & sound design for theatre (A Wondrous Place & Architecture:Journey at Contact Theatre), poetry accompaniment (Lisa B) as well as a spectrum of collaborations, compilation contributions and remixes.
Up to 2012 I went by the name of caro snatch and released 2 albums – Es Muss Sein (2008) & Til You’re No Longer Blinkered (2010) and a few EPs. Then I needed to change my name to Caro C as I was no longer in loads of pain and think I had got my obvious punk energy out of my system – don’t worry, there will always be a bit of punk in me .
My third album “Everything Gives to Something Else” is currently in construction.
I also enjoy enabling others to express themselves through words and music and work as a CREATIVE FACILITATOR with community arts organisations here in the Manchester area.
:::THE OFFICAL STORY SO FAR:::
Caro has scaled a somewhat steep learning curve after only touching her first musical instrument in 1997 after back surgery. She started to play with machines, learn piano and music theory with a Korg Poly 800 whilst laid up in bed for a few years. She made her first solo appearance on stage in Oct 2002 and now has a handful of releases and her fair share of gigs Europe-wide.
Nurtured in Newcastle-upon-Tyne’s electronic scene and awarded a travel and training grant from Arts council of England, she went to Berlin in 2005 where she played live regularly and elsewhere in Germany, recorded her debut album, collaborated with musicians, visual artists, fashion designers and started organising “Rare as Green Dog” electronic arts events. She returned to the North of England in Feb 2007 to advance her music studies at the School of Sound Recording (Manchester) and then integrated into the Mancunian musical unterbelly with her solo stuff, collaborations and often funded Rare as a Green Dog events. She then officially launched her expansions as a freelance artist, creative studio engineer/producer and conscientious community music facilitator.
Caro has been considered “a breath of fresh air” with her unique, category-defying and expressive performance. Armed with analogue machines, a laptop, effects and a mic, she rocks her hardware & software in real-time, allowing for improvisation in performance. Her authentic and somewhat undefinable soundtrack is embellished with life-affirming vocals and multi-lingual poems. Caro’s repertoire is nurtured by a vast array of genres – anything from improvised loops to a waltz may occur. Described as a “one-woman electronic avalanche” and dubbed the “British Bjork”, Caro’s other references include M.I.A, Laurie Anderson, a cyber-punk Debbie Harry and a Boards of Canada fan’s wet dream.
The debut EP (Xstatic Records, 2004), a more refined treatment of her intense live delivery, received encouraging reviews worldwide. Then came compilation contributions (La Mue, France; Wired stuff, Berlin; Chicks on Speed, Munich, SSS netlabel, France). Her self-produced debut album then emerged (Phonector, 2006), titled “es muss sein” (= “it must be”,”it’s got to be done”) as a compulsory urge had been untapped for Caro to share her creativity through music despite its unexpected manifestation. This work was intended as a journey through the quagmire of human emotion as it explores aspects of the human and feminine condition in a profound way with a rather British dry sense of humour. The album follow up “Plan in it EP” (Anorakism, 2008) was produced while at engineering school SSR Manchester. It charters Caro’s engineering and musikal developments as a mostly moody and broody novelette with a bumpf in its tail and a few talented musicians also recorded therein.
Second album is also a personal take on the need for us to do some evolving on our emotional intelligence. Called “Til you’re no longer blinkered” and self-released via Bandcamp with a lovingly packaged home-made CD. This album features some 15 or so talented musicians from Manchester and beyond. Intuition rules as ever in the recording and compositions here, graced with lush string arrangements by Steve Boyce-Buckley and equally lush analogue treatment from Lisa Stansfield’s
Gracieland Studios in Rochdale. This new level of wonky song-writing, creative recording and production received pleasing reviews and airplay including an airing on the venerable Late Junction on BBC Radio 3.
“One-woman electronic avalanche” – bbc.co.uk
“A spoken word sonic enchantress” – Max Reinhardt, Late Junction, BBC Radio 3
“a pioneering independent electronic musician” – Metro, UK
“Never mind the techie stuff – great songs full of interesting ideas” – Chorlton Radiophonic Workshop
“Even more than the most DIY of indie bands or abstract of glitchcore artists this is an outer fringe of music, an artist realising the sound of her own unconstrained imagination without the slightest consideration of commerce or popularity” – Cath Aubergine, The Up Down Escalator
“slightly bonkers world of Caroline Churchill…she makes mood music with an improvisatory feel” Lucy O’Brien, Girl Monster Volume 1 sleeve notes
“Proper interesting gear with lots of fresh ideas and thought provoking lyrics” – Brian at Norman Records, UK
“Mixing spiky synth melodies and deeply emotive lyrics, there was no doubt that Ms Churchill is destined for great things” – Newcastle Evening Chronicle, UK
” She manages to create dizzying soundscapes that combine digital daring-do with the kind of soul and talent so often missing from lesser talents” – Crack magazine, UK
“A one-woman slap in the face for the chin-stroking laptop massive” – bbc.co.uk
“Laurie Anderson on acid” – Sparkle Street Management
“A boards of canada fan’s wet dream” – a suitably post-modern post gig comment
“The british Bjork…the ideal soundtrack for any…unconventional/ niche parties. It’s fantastic mood music, assuming the mood is smartly quirky” – Splendidezine, USA.
“In the unconventional world of caro snatch…multi-lingual poems, hard-hitting bpms and a stark electro soundtrack combine to produce a genre-defying performance” – Leeds Guide, UK.
“a project in which the sound and the voice assume almost experimental shades in the search of something creative and different” – popchild.com, Spain.
“sehr rythmisch, sehr strange, sehr fett und so neo wavig” – realmusic.de