Tag: Frankie Rose Dyson Sphere

This past weekend has been a very busy one for me, as I’ve taken part in a Baby Robot Media hosted Mondo.NYC panel titled “Your First PR Campaign” and I’ve managed to cover some of the festival — while squeezing in my beloved New York Yankees, who have managed to get into the American League Division Series against the Cleveland Indians. There will be more on Mondo.NYC in the future; but in the meantime, let’s get to some music, eh?

For the better part of a decade, Frankie Rose played a significant role in Brooklyn’s indie rock scene, as an original member of several critically applauded and commercially successful acts including Crystal Stilts, Dum Dum Girls, Vivian Girls and Beverly, as well as a solo artist. And interestingly enough, Rose has been considered a controversial and restlessly creative presence, frequently leaving projects, just as they were beginning to attain some measure of success. Now, if you’ve been frequenting this site over the course of the summer, you may recall that Rose relocated back to her birthplace of Los Angeles with the intention of establishing a new, creative and professional moment in her career; however, the experience of being down and out, and not quite knowing what to do next wound up inspiring her fourth full-length album Cage Tropical, which was co-written with Jorge Elbrecht, known for his work with Tamaryn, Gang Gang Dance, No Joy and my own personal favorite Violens. Album single “Dyson Sphere” managed to sound as though it owed a debt to 80s New Wave — in particular A Flock of Seagulls I Ran (So Far Away),” Siouxsie and The Banshees’Israel” and “Happy House,” immediately came to my mind.

Adding to a run of New Wave-inspired material, Rose is set to release a full-length cover of The Cure‘s critically applauded sophomore effort Seventeen Seconds as part of Turntable Kitchen’s Sounds Delicious vinyl covers series. The first single off Rose’s Seventeen Seconds cover album is a fairly straightforward and moody rendition of one of my favorite Cure songs “A Forest.” And if there’s one thing the Frankie Rose cover should do two things: remind contemporary listeners that a great song can truly be timeless and that The Cure should be considered one of the more important bands of the 1980s.

 

 

 

 

 

New Video: The 80s New Wave-Inspired Sounds and Visuals of Frankie Rose’s Latest Single “Dyson Sphere”

For the better part of a decade, Frankie Rose played a significant role in Brooklyn’s  indie rock scene, both as a solo artist and as an original member of critically applauded and commercially successful acts like Crystal Stilts, Dum Dum Girls, Vivian Girls and Beverly; in fact, if you’ve been covering music in this town as long as I have, you may recall that Rose was a largely considered a controversial, restlessly creative presence, frequently leaving projects, just as they were about to attain some measure of success. As the story goes, Rose relocated back to her birthplace of Los Angeles with the intention of establishing a new, creative and professional moment in her career; however, she gradually found herself running short on sleep, money and optimism.  “I moved to LA, drama ensued and I ended up on a catering truck. I was like, how can this be my life after being a touring musician and living off of music. I had really lost my way and I thought I was totally done,” the indie rock artist recalls in press notes.

During those restless nights, Rose spent her time listening to Art Bell’s paranormal-themed archives and her thoughts turned fatalistic — in the sense that she started to feel as though she wasn’t cut out for the music business, and wondering what she was going to do next. “But out of it all, I just decided to keep making music, because it is what I love and what I do — regardless of the outcome,” the indie rock artist says.

Towards the end of her 18 month stint back in Los Angeles, Rose reached out to Jorge Elbrecht, known for his work with Tamaryn, Gang Gang Dance, No Joy and my own personal favorite Violens and began sketching what eventually became the basic outline of what felt like a new album. When Rose returned back to Brooklyn, she had the realization that she had to do it on her own, and naturally it meant working with basically no budget and finding ways to record in-between days; however, Rose credits it as being incredibly useful as it allowed her to experiment with a variety of people, who helped change her creative process and songwriting as a whole. “I got a lot of people from people like Dave Harrington (Darkside), who was helpful in reconstructing the songs, adding dynamics and changing up the rhythms.”

The end result is Rose’s soon-to-be released fourth full-length album Cage Tropical, and as you’ll hear on the album’s latest single “Dyson Sphere,” the material takes on a decidedly spectral yet New Wave-inspired sound, complete with analog synths, an angular and propulsive bass line, angular guitar chords fed through delay and reverb pedals, dramatic percussion and a soaring hook paired with Rose’s ethereally crooned vocals floating over the mix. And although the song is reminiscent of A Flock of Seagulls “I Ran (So Far Away),” Siouxsie and The Banshees’ “Israel” and “Happy House,” it may be the one of the more personal and albums of Rose’s career — and while seemingly dark, there’s an underlying and subtle sense of hope; that the darkest days of one’s creative or personal life certainly aren’t forever.  “It’s all essentially based on what happened to me in Los Angeles and then a return to Brooklyn. Misery turned into something good,” Rose says of the album in press notes. “The whole record to me is a redemption record and it is the most positive one I’ve made.

“I feel like I am finally free from worrying about an outcome. I don’t care. I already lost everything. I already had the worst-case scenario. When that happens, you do become free. In the end, it’s about me rescuing myself via having this record.”

Directed by Daniel Carbone, the recently released video for “Dyson Sphere” is an incredibly 80s New Wave-inspired performance video that features the Brooklyn-based indie artist and her backing band shot in a hazy and moody shadows, complete with trippy fade outs and bursts of color, that should remind anyone who grew up in the 80s of watching warped and over-recorded VHS tape.