CocoRosie - Grey Oceans reviews
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| Pitchfork |
 What would CocoRosie have to do at this point for you to change your mind about them? One of the world's biggest cult acts remains one of its most divisive. Whether it's their absurd cover art, affected vocals, one-time affiliations with too-ironic parties, or their many famous friends, something about CocoRosie causes grudges to be held. To be honest, I wish I could let that baggage get me worked up about Grey Oceans-- music is most fun when it inspires strong feelings. Instead, CocoRosie's least abrasive record to date merely disappoints softly.
From the moment you enter Grey Oceans, CocoRosie once again make clear that you're on their time and in their universe, a haven from the rigors of not only daily life, but most guitar-based indie rock too. Everything from the album's cover art to song titles like "R.I.P. Burn Face" and "Fairy Paradise" suggests they still have a sense of humor about what they're bringing to the party. But the Cassady sisters also seem more grounded here: This record sands off some of their pricklier affectations-- the half-raps and genre exercises are gone, as is most of their provocative lyricism....full text |
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| Sputnikmusic |
CocoRosie may be one of the more divisive acts in all of independent music. Tagged under the freak-folk umbrella early in their career, they have often joined in with (and/or been discussed alongside) the likes of Devender Banhart, Jana Hunter, and other members of Banhart's "Golden Apples of the Sun" project. Many of the artists included on that album have since shed themselves of the "freak folk" moniker, including Joanna Newsom, Iron and Wine, and Antony Hegarty. CocoRosie have not quite done so, but instead have moved into their own little nook, ever since 2005's "Noah's Ark" took them in that direction. What would their nook be called? Maybe "psych-pop" instead of folk, but it's really become quite an unclassifiable mix of hip hop beats, organic acoustics, and the pair's entirely different but equally unique, keening voices. That nook has been practically perfected, and taken a step further on their fourth full-length, 'Grey Oceans.'
You may have noticed the lack of information about the sisters' own odd background story. But I have excluded it on purpose because, you see, their history is less relevant now than ever. In the beginning, it may have been the key factor on if people tuned in to really check them out. It was very interesting, I'll admit that. But with 'Grey Oceans,' Sierra and Bianca Cassidy have truly released an album that seems to be entirely themselves, without being self-conscious or tired out in the trough of their much-repeated backstory (see: Bon Iver's cabin fever beauty 'For Emma, Forever Ago'.) And because of this new true, blossomed freedom, 'Grey Oceans' may be their best and most intricate album to date....full text |
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| Prefixmag |
| Grey Oceans, Cocorosie's fourth full-length and first for Sub Pop, was born from the Casady sisters' travels in 2008, when they recorded with musicians from Buenos Aires, Melbourne, Berlin, New York, and Paris. An important development leading up to the recording was their improvisations with jazz pianist Gael Rakotondrabe, with whom they fleshed out several of the songs. The aesthetic direction that the band has taken with this album can be gleaned from the single “God Has a Voice, She Speaks Through Me,” which was recorded during the same sessions. The aesthetic direction that led them to that album art can only be guessed at....full text |
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