#ora cogan

[twinsfawn]

I’VE LAIN WITH THE DEVIL / CURSED GOD ABOVE

FORSAKEN HEAVEN / TO BRING YOU MY LOVE

[twoticky]

i love love lovvve this song btw

[lindsayarsula]

Nonstop needle drop: the balmy, mirage-hazed trek of Ora Cogan's "Cowgirl" from her 2023 record, Formless. Earthen and yet extraterrestrial. If Wednesday's Rat Saw God happens where backroads swallow headlights, Formless takes place in its daylit counterpart, in a sun-blinded field shimmering with a golden mystique, underpinned by a sense of foreboding you can't quite shake. A horror film that happens in broad day, a'la Midsommar. Outlaw guitar shimmers against the restless warble of Cogan's voice, a hallucinatory combo that feels like squinting into a late afternoon glare, beams unforgiving and shivering with gnats as Cogan sings, "I saw the wasteland moving towards me." For fans of Mitski's The Land Is Inhospitable and So Are We, Mazzy Star's Among My Swan, and Aldous Harding's Party.

[maquina-semiotica]

“ Vine Ribbons”, Ora Cogan

[wildflower-daughter]

dried blood on my knuckles, the stady rhythm of the horse hooves, tall, dry grass beneath me.

guilt and blood soaked in my bones, a hollowing ache in my chest.

[sonicziggy]

"Bury Me" by Ora Cogan https://ift.tt/WpL5RYm

[laxxvora]

Terre alternative in diversi generi, contaminazioni e sperimentazioni... sii curiosə! [al link 👇🏼] #laxxvora #releaseday #gennaio2025 #newmusic #newmusicfriday

[musicmovesmarceline]

ora cogan, “lucile”

[moochilatv]

Robert Ascroft presents: Dorian Gray

The track also featuring Ora Cogan

Freaky videoclip ! it's a cool song

Robert Ascroft's Echo Still Remains album (out this Friday February 14th) via Hand Drawn Dracula features an incredible cast of collaborators from the likes of Christopher Owens (Girls), Kid Congo Powers, Ora Cogan, Britta Phillips (Luna), Ruth Radelet (Chromatics), and more.

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With a background in Los Angeles as a Hollywood photographer and director, it makes sense that Ascroft taps into his musician side with such a collaborative approach involving some of his closest friends in the music world. He aims for the cinematic allure of Wim Wenders or David Lynch, and it wass engineered by Ted Young (Rolling Stones, Kurt Vile, Sonic Youth), mixed by Larry Crane (Elliott Smith, The Shins), and mastered by Josh Bonati (Mac DeMarco, Slowdive).

Following the Christopher Owens (Girls) collab “Should’ve Stayed In Bed, on Thursday Ascroft will be releasing “Dorian Gray,” the video and album track collaboration with Ora Cogan. 

Stream Dorian Gray:

Visionary director, photographer and producer, Robert Ascroft unveils a captivating musical odyssey akin to the cinematic allure of Wim Wenders' "Until The End Of The World" and the ethereal resonance found in 4AD's This Mortal Coil. Emerging as a prominent photographer in the 2000s, Ascroft forged his path through collaborations with luminaries of the Oscars, Grammys, Tonys, and Emmys. With an innate ability to capture the essence of his subjects through his camera lens, he redefines photography, infusing it with depth, emotion, and narrative. A classically trained guitarist turned music producer, Ascroft weaves intricate melodies and evocative songwriting with cinematic narratives.

Drawing from a diverse array of talented friends, Ascroft curates a mesmerizing ensemble of vocal performances featuring luminaries such as Zumi Rosow (Black Lips), Kid Congo Powers (The Cramps, Gun Club), Tess Parks, Ruth Radelet (Chromatics), Britta Phillips (Luna), and more. With Ascroft's multi instrumental performances on guitar, bass, and keys, complemented by the rhythmic contributions of friends Derek James and Roger Brogan, the album takes on a rich and dynamic sonic journey.

"Echo Still Remains'' transcends traditional musical boundaries, beckoning listeners into a world crafted from Ascroft's vivid imagination. Each track unfolds like a technicolor scene in a cinematic narrative, with each melody and lyric evoking a sense of profound introspection and wonder. Accompanied by stylized music videos in Ascroft's distinct visual world, "Echo Still Remains" emerges as a multifaceted work of art, inviting listeners to stir the soul and lose themselves in a world of sound and sensation.

[dustedmagazine]

Robert Ascroft — Echo Still Remains (Hand Drawn Dracula)

Robert Ascroft is best known as a Hollywood photographer, a capturer of celebrity essence who finds something new to look at in the most familiar faces of our age. It’s a bit of a stretch, but you could think of Echo Still Remains as a series of audible snapshots, that places much lauded singers against novel, faintly noirish backdrops. Here he works with eight distinctive artists —not so well known as the movie stars he photographs, but well-established in their niches—and surrounds them with swirling nocturnal sonics.

Ascroft has a definite affinity for chilly, frictionless soprano voices. Britta Phillips whispers and insinuates in “Where Did You Go,” her voice gliding effortlessly across a moody turbulence of drums, piano, guitar and bass. You’ll get a whiff, here and elsewhere, of Julee Cruise’s disembodied eeriness. If Echo were a movie, it might very well be a David Lynch film. Similarly, the Chromatics’ Ruth Radelet sings “Faded Photograph” with dream-state serenity as synths arpeggiate and tone-washes swell. The best of these wan, romantic crooners, however, is Ora Cogan, her tone pristine but clouded with indefinite haze. She takes the lead in “Dorian Gray,” the cut with the wildest, most shoegaze-y guitar, albeit tamped down to a distant roar.

These tracks are all good, but Ascroft is most interesting when he diverges from this cooing-amidst- turbulence aesthetic. When garage-punk icon Kid Congo Powers turns up, for “Devil at the Door,” the temperature rises significantly, as primal drum beats thump and Powers holds snarling, rock idol court. And then there’s the death-droning, goth-haunted bluesman Guy Blakeslee from the Entrance Band, plunging into the abyss in “Weightless.” Nothing airy or urbane or detached about that.

Ascroft likes a couple of his collaborators so well that he uses them twice. Christopher Owens, once of Girls, puts his emotion-roughened tenor to work on driving, haunted “On the Run,” and the more pensive “Shouldve Stayed in Bed,” imbuing these cuts with immediacy and fluid phrasing. Zumi Rosow from the Black Lips belts and growls and flutters in big dramatic torch song “No One Loves You” and swaggers against a “Walk on the Wild Side”-style bass slides in “Empty Pages.”

Not much information was provided about exactly how these collaborations worked, how much input the guest collaborators had and how much Ascroft himself directed them. The artists do manage to put their own stamp on their songs, varying the textures and tempos and moods, but remaining within Ascroft’s very cool, sophisticated, noir film-like framework.

Jennifer Kelly

[maquina-semiotica]

“ Cowgirl”, Ora Cogan

[thedecamerone]

Ora Cogan performing a cover of PJ Harvey’s “To Bring You My Love.”

[sonicziggy]

"High Noon - Audiotree Live Version" by Ora Cogan, Audiotree https://ift.tt/G197Eca