For just over twenty years, Bianca and Sierra Casady have transmuted the love, hardship, and ecstasy of sisterhood into some of the most daring, dangerous, and wildly original music our increasingly sanitized culture has known. CocoRosie has been a project consistently at the musical vanguard, influencing countless musicians while inspiring and creating refuge for the “criminal queers” of the world. Above all, CocoRosie has been a conduit for irrepressible artistic self realization. Little Death Wishes is as open and tenderhearted as anything they’ve ever created. The songs tell a kaleidoscopic story of the generational hardship of women and the shattered realities of their lives, the precarious and precious nature of being human, of being done wrong by love, and a final wish to be unbroken. It boils everything CocoRosie down to its most brutal essence: turning pain into knowledge, sisterhood into polemic, trash into treasure, and recalcifying kitsch and cliché into fresh truths. The duo’s 8th long player exists in its own musical lexicon. It is both primordial and tawdry, a rich bricolage of dusted-over pop culture signifiers that the sisters contort into their own sense of temporality. Contributing to the avantgarde, yet unbeholden to contemporary trends, CocoRosie collects musical detritus from other times, which they fashion into their own baroque, theatricalized creations. With the sisters’ hands deep in every layer of their music, each song on Little Death Wishes feels transportative and transformative. “CocoRosie has been the center of our lives for such a long time now,” says Bianca. In those years, the sisters have been infantilized and revered, fetishized and mirrored, misogynized and adored; at times willfully misunderstood by the press—which has failed to reduce the group into mere perverse whimsy. Despite it all, CocoRosie has continuously pursued the bravest and boldest routes, uplifting the rawest, unveiled, and most tender strands of humanity and nudging us towards the light.