CAROLINE ROSE - SOLD OUT
with Henry Jamison
Downstairs, All Ages
DOORS: 6:00 PM // SHOW: 7:00 PM
ON SALE NOW!
Saturday March 31, 2018
An obsession with money, an unfaithful lover, a friend’s accidental pregnancy, misogyny, loneliness, death… This is just some of the lighthearted subject matter that make up LONER––the darkly comedic second album from songwriter/producer Caroline Rose. Armed with an arsenal of new instruments and equipment, an ever-growing sense of “ahhh fuck it,” two years of exploration, and a wicked sense of humor, Rose delivers a set of serious songs wrapped in a sprightly, angsty pop burrito. Because, as Rose puts it, “Sometimes sad songs just need a cocktail.”
LONER captures the cheeky satire, comical musings, and often jarring mood swings––sometimes goofy, sometimes emotional––that make up much of Rose’s personality. “I call it Schizodrift,” she says sipping on a martini with her pinky out. “I want to make music that sounds as manic as I feel.” Filled with catchy synth hooks, Ray Manzarek-esque Farfisa, surf guitar, depth of thought and a punk attitude,LONERcaptures the energy of bands like Le Tigre and The Cramps, and nods to the styles of Blondie and DEVO, the pop hooks of icons like Justin Timberlake, all the while being inspired by the artistry of Kate Bush. “I’d say this album was as much inspired by Justin Timberlake and Britney Spears as it was late 70s punk.” How did she get here? According to Rose, the transition was natural.
LONER began about three years ago. “I was 24, lonely, and realizing life might actually be as hard as people said it was. Gandalf had yet to raise his staff and part the seas for me,” she says with a straight face. “I felt a bit disillusioned with my music; it didn’t sound like my personality. I hadn’t dated in years, I was going to lose health care. I felt detached from the modern world.” So what did she do about it? “I joined Tinder. I turned 25 and rented my first real apartment and painted it bright colors. I started socializing more and little by little, weeded out all my clothes that weren’t red. I embraced my queerdom. I had a girlfriend, we traveled the country, we broke up. I discussed politics, capitalism and Rihanna. For better or worse, I became a member of the modern world. Turns out the modern world is terrifying,” she says attempting to pluck an olive out of her glass.
When it came to writing about all of it, what followed marked the beginning of a fully formed Caroline Rose. “I needed to get more personal, more aggressive. more humorous and more sonically diverse than my older material,” referring to 2014's slinky indie-folk-rockabilly-tinged album I Will Not Be Afraid. The record was penned over four years ago while Rose was living in a van traveling the country, and received critical acclaim from national press outlets like NPR and Rolling Stone. LONER, however, marks a significant leap forward both sonically and emotionally, unleashing a burgeoning confidence teeming with character. Asked how she’d describe the transition, Rose responds, “It just felt like a bubble inside me that had been growing and was about to pop.” In a burst of creative energy, she penned and produced a slew of songs that began circulating among labels and press, resulting in a Tiny Desk Concert for NPR Music.
Over the next year and a half, Rose “got super into production and mixing––I was working 10-hour days creating new sounds, finessing EQ, blending tones, sampling basically everything. Having an apartment [rather than living in a van] gave me the space to have more instruments than just a guitar. I started collecting synths and recording equipment and tracking my material. I signed with a label that gave me a lot of creative control and resources.” After sessions and meetings with over a dozen producers, Rose chose to co-produce alongside Paul Butler (Devendra Banhart, Michael Kiwanuka, Hurray For The Riff Raff) at Panoramic Studio in Stinson Beach, California and the studios of Butler and Rose. A multi-instrumentalist and producer herself, Rose brought to the sessions pre-recorded work the two used as a foundation off which to build, having written and arranged strings, played and recorded keys, guitar and bass, sampled layers of found and recorded sounds, and programmed synths and drums. “The rest was a lot of experimentation in the studio, trying out different sounds and getting weird,” She adds. “Paul added a lot in that way. Neither of us are afraid to try things and throw a bunch of sounds at the wall.”