Coco release debut album

COCO

RELEASE DEBUT ALBUM

TODAYSTREAM COCO

“Beautifully enigmatic pop…with spotless, Julia Holter meets Patsy Cline diction” – MOJO (4/5 stars)

U.S. trio COCO release their stunning self-titled debut album today (29th October 2021) via First City Artists.

The band launched a string of singles in 2020, keeping their names and associations secret. This experiment with releasing music utterly contextless amassed organic attention and generated an exciting mystique. Earlier this year, the band revealed themselves as Maia Friedman (of Dirty Projectors, Uni Ika Ai), Dan Molad (of Lucius, Chimney), and Oliver Hill (of Pavo Pavo, Dustrider), a musical collective wholly democratic in its writing, recording, and production work.

Gorgeously hazy & harmonic, Coco’s music has called comparisons to Fleetwood Mac and Patsy Cline, their brazen dream pop often arriving with beautiful visuals. “Just as releasing music anonymously felt natural in 2020, it now feels natural to share ourselves and delight in the connection we make with our listeners,”  say Coco.

Early supporters of Coco include Bob Boilen of NPR’s All Songs Considered, KCRW’s Morning Becomes Eclectic and Raul Campos, BBC 6 Music’s Lauren Laverne and Marc Riley, and Mark Foster on SiriusXM’s Alt Nation (among many others).

WATCH THE OFFICIAL VIDEOS FOR:

Knots + Come Along + Anybody’s Guess

Empty Beach + One Time Villain + Last of the Loving

In 2019, Maia Friedman, Dan Molad, and Oliver Hill came together on an afternoon in Los Angeles. Old friends with rich history — Maia and Oliver had toured together more than once; Dan had produced music for their respective projects — the trio convened with ambiguous artistic intention, easy chemistry, and open expectations. Before the sun had set, Coco had a name and two fully formed songs.

This egalitarian approach proved a wise one. The band’s sonic sensibilities meld and complement like watercolors, an artful amalgamation of eclectic influences and musical specialties. Each voice a piercing force of its own, Maia, Dan, and Oliver seem to fall into their harmonies rather than find them, vocals softly swaying into place with aimless grace. The sound floats and wilts with an elegant effortlessness, a happening more apt to haunt than soothe.

The band credit Bob Moses — artist manager, radiant champion of emerging music, and dear friend — as the impetus for formalising their project. Cognizant of the trio’s uncertainty about where, when, and how the collective would share their impromptu project, he suggested they release anonymously, an experiment in sharing music utterly contextless.

Coco lovingly launched first three singles into the world with little more than personal notes of appreciation to listeners. The Line of Best Fit proclaimed “Awash with heartening and affectionately intimate harmonies over ecclesiastical Hammond organ, Coco’s introductory track is shaped around an earthy and cosy core…,” Gorilla Vs. Bear who described the music as “gorgeous, warmly wistful … breezy, almost ephemeral … a balmy, liberating groove” and CLASH who noted, “Bold, striking, but emphatically subdued, the dreamy pop aspect seem to be filtered in from another dimension on their new release…,” the trio independently amassed well over a million streams.

Coco recorded their self-titled debut album in three studios across the USA: The Paella Pit in LA, Three Sirens in Nashville, and the Lake House in Spicewood, Texas. Over ten tracks, the band outrightly defy decade, their sound sitting as comfortably with the intimate pop of Stereolab or Arthur Russell as the iconic sweeping productions of The Carpenters or Astrud Gilberto. Full of human energy, the music feels at once tightly constructed and expansive, inviting the listener to wander and explore its hallways. Its sense of momentum casts a gentle, funky, melodic spell.

Bob Moses passed away due to cancer in December 2020. The band share an excerpt from one of his final emails, the response to a rough draft of the record: I’m over the moon. I can’t think of a work I’ve heard in forever that has such a complete sense of its own voice, the integrity of its own musical language, and doesn’t sound like anything else I’m hearing. I thought of the colour and unresolved melodic ascension of Debussy or Ravel.

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