Over the years, CocoRosie slowly drifted away from their lo-fi roots and toward sounds that emphasize the sophistication of their songs. On Tales of a GrassWidow, Sierra and Bianca Casady polish away some of the more grating edges of their previous album, Grey Oceans, but these songs aren't all sweetness and light: "After the Afterlife" begins the album with deceptive delicacy before synths take the track in a darker and more mysterious direction. Indeed, this is some of CocoRosie's most electronic-based music, in large part because the Casadys worked with producer Valgeir Sigurðsson, whose Scandinavian folktronic flair brings out the similarities in the sisters' music to Björk and Múm.
Grey Oceans is the fourth full-length studio album by CocoRosie and was released in May 2010. It is the band's Sub Pop Records debut since their departure from Touch & Go Records. The sound is more different in compare to former realeses. The production is clearer, the instrumention brighter and less electronic. It features a common use of string instruments (mandolin on Trinity's Crying, sitar on Smokey Taboo and harp on Gallows) and piano, also string and brass arrangments were composed for a few tracks (cellos on Undertaker and The Moon Asked the Crow and trumpets and trombones on Lemonade).
An underground icon throughout the Arab world, vocalist Yasmine Hamdan presents her mesmerizing debut solo album - an elegant mutant strain of electro folk, inspired by various Middle eastern traditions - written and produced in collaboration with Marc Collin of Nouvelle Vague. Yasmine first became known with Soapkills, the duo she founded in Beirut, which was probably the first indie/electronic band to appear in the Middle East. The music of Soapkills quickly became the soundtrack to the vibrant, young arts scene which developed in postwar Lebanon and elsewhere in the Arab world. On moving to Paris Yasmine worked with CocoRosie and French electronic music producer Mirwais.