We’re at the end of 2019, folks. Twenty years ago we were all getting ready for the end of the world with Y2K. I was nervously watching my Compaq Presario and the power grid waiting for the robots and appliances to take over. Fortunately(or maybe unfortunately?) the year 2000 only saw another Bush and a Cheney take over. Then ten years ago it was sort of a holding pattern of partisan politicking that lasted for 8 solid years. Now? Well I don’t even need to bring up what’s going on now.
But besides empty resolutions and looking back on what we did wrong throughout the year, the end of a year is when you take stock of all the amazing music that’s hit your frontal lobe the previous eleven months. It’s rare that something exciting, fresh, and forward-thinking pops up close to the end of the year, but it does happen. It’s happened this week, as a matter-of-fact.
New York band CITYGIRL have just dropped from the overcast November skies their debut song “Hollow Future”. CITYGIRL, which consists of singer/guitarist/songwriter Marisa Ferdenzi and keyboardist Allison Jones, have sculpted a piece of shoegaze-y electro darkness. Hazy sonics, lush guitars, and densely-layered keys accentuate Ferdenzi’s smokey vocals that paint a sort of Gothic backdrop to the driving rhythm and slinky bassline. I hear bits of Lush, Garbage, the Cure, Deftones, and even a little Filter in the drum and bass foundation. It’s a striking and visceral track that while toying in the darkness that we’re told to fear, has an ever present catchy pop hook that never lets go until the end.
I love it when something pops out from nowhere and grabs my brain and drops it in some brooding, technicolor brine. Just when I think I’ve heard all the musical goodness for the year, a band like CITYGIRL decides to punch me in the figurative gut and say “Hey, where you going? Check this out.” I have checked it out. And I dig.
Give “Hollow Future” a listen below and find CITYGIRL wherever you can. Like right here.
2 thoughts on “CITYGIRL Drop Debut Track “Hollow Future””
I can hear what you’re saying about the Deftones, Lush, and The Cure for sure… and I love when the synth gets some space to roam towards the end. A perfect climax, eh? It’ll be interesting to hear how a full length will sound.
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There’s some real potential if they go forward with this vibe, for sure.
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