AMY RAASCH SET TO RELEASE GIRLS GET COLD FEBRUARY 23, 2018.
For musician and media installation artist Amy Raasch, thoughts and feelings always grow tendrils, spiraling outward from core concepts into wildly eclectic albums, plays, films, apps, and theatrical monologues. Amy’s latest project, Girls Get Cold, explores disconnectedness in the era of connection.
The album’s ambitious and intrepid production aesthetic belies its charmingly ramshackle tracking methodology. Amy and producer David Poe (Regina Specktor, Kraig Jarret Johnson, Grace Kelly) recorded the album in her Venice Beach apartment, building evocative soundscapes from a messed up piano, an old flute, a dirty electric guitar, and by hitting her radiator with a belt of nails. “That was cathartic,” she says, laughing good-naturedly. “I had to repaint.”
When friends were in town, they lent their many talents on the album. Non-apartment contributions came via Jebin Bruni (Aimee Mann, Me’Shell Ndegeocello) on keyboards, John “Scrapper” Sneider (Curtis Stigers, Angela McCluskey) on trumpet, Louis Schwadron (Sky White Tiger, Polyphonic Spree) on french horn, Victor Indrizzo (Rufus Wainwright, Avril Lavigne) on drums and Doug Yowell (Joe Jackson, Duncan Sheik) on percussion.
She recently released an episodic collection of live video performances of songs-in-progress called “52 Songs in 52 Weeks.”
Amy premiered her wildly entertaining new solo multimedia show, “The Animal Monologues” in Los Angeles at the Son of Semele Solo Creation Festival last summer.
The stately title track of “Girls Get Cold” opens the album and its arrangement unfolds delicately with sublime ambience. Here, Amy introduces one of the album’s central themes - boundaries in relationships: “It’s about releasing the power and control dynamic in a relationship, and being able to say ‘you can take me apart, let me go, but you can’t destroy me.’” The elegance of “Weight Of A Man” makes its dichotomous messaging that much more impactful. With bare piano and vocals, Amy contrasts the warmth and sensuality of having your lover’s body on top of yours with the often-shackling demands of relationships.
Tracks like “Straight Boys” and “Kitty Decides” lighten the mood with jaunty musicality and hilariously sinister theatricality. “Straight Boys” is infectiously catchy with springy piano and a playful quandary. Penned pre-#MeToo, the tune examines toxic masculinity and unconsciously habituated sexual politics with cheeky humor. “We’re in an unprecedented moment” says the artist, “Where men and women alike have a unique opportunity to re-examine their entrenched assumptions about relationships and ask: how do I fit into all of this? And how will I relate from now on? I’m excited to be part of the cultural reset.” “Kitty Decides” is a revelation in absurdist humor and puckishly inventive, retro-futuristic electro-pop.
Amy will be performing in select cities this spring.
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