Abstract, Experimental, Emotional, Contrasts
Avant-folk duo CocoRosie, the sister duo of Bianca Casady and Sierra Casady, returns with Little Death Wishes, their first album in five years. The 12 tracks blend surreal storytelling and haunting melodies, featuring a guest appearance by Chance the Rapper, into a dreamlike journey through love, loss, and resilience.
Little Death Wishes is the eighth studio album by CocoRosie, released on March 28, 2025, on Joyful Noise Recordings. This album follows Put The Shine On from 2020. Since their 2004 debut, CocoRosie has carved a niche with their experimental, theatrical sound, often weaving surreal storytelling with genre-defying compositions. Their latest release continues this tradition while embracing a more introspective and emotionally raw approach, featuring a rich use of layered vocals, lo-fi textures, and unexpected sounds.
Little Death Wishes is a mesmerizing yet imperfect entry in CocoRosie’s discography, filled with abstract themes and raw emotion that rewards patient listeners with genre-blending techniques while frustrating those seeking something more mainstream. Purposeful imperfection is the most interesting aspect of this album; however, many listeners may be deterred from it due to the abstract decisions and production.
Layered vocals are prevalent throughout the entire album, providing their signature sound. The duo’s vastly different vocal styles create a vivid contrast.
In “Wait For Me,” Sierra’s soprano floats above Bianca’s raspy, almost ghostly murmurs, creating a sense of longing. In “Girl In Town,” featuring Chance the Rapper, Bianca and Sierra’s voices overlap in a call-and-response fashion, mirroring the song’s dialogue structure. “Nothing But Garbage” features Bianca’s voice, stretched and processed to sound almost cartoonish, creating a contrast with Sierra’s angelic harmonies.
While the album’s experimental nature is its strength, some tracks, like “Nothing But Garbage,” feel overly abstract, losing emotional impact in favor of the abstract intention, which again turns some listeners away from the album.
CocoRosie is known for incorporating everyday objects into their percussion, such as toy pianos, typewriters, and even the clatter of household items. This use of percussion gives the album a more handcrafted feel. Percussive elements throughout the album evolve as the songs progress, accompanied by everyday objects. The drumming often feels freeform and unpredictable, with tempo shifts throughout the album. The drums also feature sudden bursts of loud, distorted percussion, creating a feeling of unease or urgency that aligns with the album’s suggested themes of love, loss, and resilience.
“Nothing But Garbage” contrasts its eerie, music-box-like intro with bursts of distorted, industrial-style drumming, making the song feel chaotic and unpredictable. “Paper Boat” features what sounds like clinking glass and subtle tapping, reinforcing its delicate, floating quality.
Some tracks feature reverberant drums and distant drum hits, making the beats feel as though they’re echoing through a cavernous space. The percussion is often mixed deep in the background, creating a hazy, dreamlike quality; however, in this production, it can leave audiences feeling lost within the song.
There are moments of beauty here, such as the haunting harmonies of “Wait for Me” or the eerie nostalgia of “Paper Boat.” The collaboration with Chance the Rapper on “Girl In Town” adds an interesting contrast, bringing a more structured hip-hop feel to their otherwise freeform sound. However, the album still leans heavily into the whimsical and abstract, which can sometimes feel more disjointed than intentional.
CocoRosie has always been an abstract act, blending folk, hip-hop, and experimental sounds into something undeniably different but not always accessible. With Little Death Wishes, the sister duo continues their signature style.
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