#Chris Cohen

[batatinhaturbo]

EQUIPE E! 📸

(it took 2 months to do this one not because it was hard or smth but bc i m lazy☝️ BUT ITS FINALLY HERE

[bandcampsnoop]

5/3/24.

Chris Cohen (Richmond, California) has returned to the Bay Area and settled into a life of producing, playing and making music. There's probably more time spent producing and playing. He's been a part of recent releases from Weyes Blood and Kurt Vile.

Now comes his third full length LP - this one for Sub Pop offshoot Hardly Art. "Damage" is the only song currently available and it definitely sounds like Cohen - his voice is unmistakable as is the clear and upfront bass. This song has a jazzy feel that recalls the sounds of Murray Lightburn. And while he doesn't appear to be making any new music, J Fernandez still serves as a touchstone.

I knew this release was coming up, so not only have I been listening to Cohen's previous solo work, but I've been listening to The Curtains and his work with Deerhoof.

[polaroidblog]

“Memoria polaroid” – un blog alla radio S23E31

“We’re all doing the best that we can” dicono i Little Arcs nella canzone che apre la scaletta di questa sera. Se anche tu, ogni tanto, non ti senti troppo convinto di avere dato proprio il tuo “best”, ecco qui per consolarsi un’oretta di novità indiepop e indie rock, senza trascurare gli indispensabili brindisi, nella nuova puntata del podcast di “Memoria polaroid – un blog alla radio”, la…

[razorsadness]

Chris Cohen - “Sunever”

[dustedmagazine]

Chris Cohen — Paint a Room (Hardly Art)

Photo by Kate Garner

At this stage in their respective careers, it’s hard to imagine Chris Cohen once played in Deerhoof. His last album with the band, 2005’s The Runners Four, still stands among their best, perhaps because Cohen’s gentle, whimsical aesthetic counterbalanced his bandmates’ tendency towards intense, scattershot garage-rock. Cohen’s fourth album, Paint a Room, contrasts markedly with Deerhoof’s recent prolific output. Rather than labor solely over his vision, as he’s done with the preceding records, Cohen enlisted his live band — bassist Davin Givhan, drummer Josh da Costa, and keyboardist Jay Israelson — to execute these subtle, finely grained songs. The result is perhaps Cohen’s best album since his solo debut, 2012’s Overgrown Path.

Cohen’s musical evolution is immediately evident in the brooding, noir-inspired jazz of opener “Damage,” which features rich horn arrangements by Jeff Parker. As a scene-setter it’s introspective but sophisticated, inviting the listener to kick off their shoes and settle in. While the primary lyrical thread in Cohen’s 2019 eponymous album was his relationship with his father, here he pans out to address societal inequity: “At the hospital and the middle school / Anywhere you look / Someone’s power over someone else / Protecting property / But only life is precious.” This melding of jazz and guitar-pop is beautifully rendered on the title track, with its snaking flute lines, swirling phaser effects, and wistful yet hopeful chorus. Flutes and saxophone also reappear on “Physical Address,” an earlier version of which was released by Looking Glass back in 2020.

“Sunever” is almost a country tune with its singalong vocal melody, bouncing gait, and jaunty fiddle solo, the lyrics offering a message of hope to young people navigating the tricky transition of adolescence: “Now, as childhood ends / Take a message to my friend / You’re gonna find a way.” “Cobb Estate” musters a shimmering, anti-gravity vibe by aping Andy Summers’ echoing guitar tone from “Walking on the Moon,” and “Wishing Well” shifts gears by opening side B with some breakneck jangle-pop. It’s a welcome change of pace, and it’s these unexpected change-ups that prevent the album from drifting into mid-tempo malaise. For a musician so fastidious about production, it’s fascinating to witness Cohen’s continued employment of such a brittle electric guitar tone, which contrasts with the warm timbre of all the other instruments. The comically off-key slide guitar line that bursts forth from the loping swing of “Dog’s Face” is a surprise delight, sounding almost like a trumpet.

Though there are no weak links in the 10-song, 30-minute track list, Cohen tucks the album’s finest moment midway into the second half. “Night or Day” is such a catchy, perfectly executed song that it deftly snaps everything into focus, prompting the realization of just how odd and sneakily exploratory Paint a Room can be.

Tim Clarke

[cbcruk]

Chris Cohen - Night or Day

[cintade90]

Chris Cohen - Damage

[grandmayardsale]

The four of us if we were members of Deerhoof

[kumtana]

happy 15 years of glee!

↳ new directions

[bandcampsnoop]

6/25/23.

Spencer Cullum is a British musician transplant from Nashville, Tennessee. He's made two Spencer Cullum's Coin Collection LPs - both released via Full Time Hobby (UK).

This has a California psych pop 1970s sound reminiscent of Hollow Hand, Chris Cohen, J. Fernandez and Jacco Gardner. As you might guess from those bands, this is meticulously made, beautiful and lush.

His backing band - Coin Collection -is made up of many musicians, most notably Caitlin Rose.

[taylorswiftt1]

[deeptwilight]

does anyone know good fluff writers bc I can never find any! I do love me a good smut fic though but if you have any recs pls send them my way!!