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).
RARE TRAX is a continued series of promotional samplers given away with the german edition of Rolling Stone magazine since the 1990's and has reached volume 80 already. Each version covers a special topic and presents lesser known songs and/or artists.
Camille and her enthusiastic supporters in the French musical press may be tired of the Björk comparison but, frankly, it is impossible to imagine a record such as Music Hole without the trailblazing work of the tiny Icelandic wonder. Time has abundantly proven than Björk's conception of pop music was a lot more than quirky novelty. Her boundless imagination, particularly in the mixing of organic and inorganic sounds and in the liberation of the human voice as a creative tool (rather than as a lyric broadcaster, or even as a singer), has provided the seeds for some of the most interesting – or at the very least idiosyncratic – acts to emerge in recent years. And this is a truly global influence, one that seems particularly attuned to independent spirits the world over, many of multi-ethnic origins: Bat for Lashes, Animal Collective, Panda Bear, Stina Nordenstam, Emiliana Torrini, Cocorosie, Juana Molina, and of course, Camille. Compared to Molina's much acclaimed Un Día, Camille's project of the same year Music Hole is less hypnotic, but certainly more fun.