Forged in the glowing embers of Washington D.C. following the 2016 election and subsequent Women’s March, the members of FuzzQueen are entrenched in the thriving DIY community of the nation’s capital. While keenly aware of the inescapably political nature of their locale, they coalesce around issues of social injustice and feminine power while also reveling in a “seething tension” that serves to both mirror and confront the political climate through sonic exploration.
Following a stint in California, frontwoman Erin Frisby returned to D.C. with husband and bandmate Chris Stelloh. Reuniting with their longtime friend and drummer Ben Tufts, and adding the bass talent of Clinton Cole, the band shed their former Americana aspirations in favor of a more urgent, visceral project. Drawing from the energy of bands like Fugazi, Queens of the Stone Age, and PJ Harvey, FuzzQueen filters raw energy through compositional complexity and Frisby’s operatic training.
Although rooted in the current social climate, forthcoming single, Ribbons & Flowers exudes a more primeval energy. Deftly melding ideas of femaleness with environmental awareness, the song exists in the present but alludes to something more ancient. Combined with their affinity for community engagement, the band taps into a collective power that serves both to heal and embolden.
Fiona Silver’s songs unfold like grainy film noir vignettes strewn with anachronistic stylistic signifiers, captivating narratives, and raw emotionality. The New York City born-and-bred singer, songwriter, guitarist, and producer calls her debut album Little Thunder. Fiona’s album comes from a swirling storm within—it’s a masterstroke that is both vulnerable and badass.
“This music is a direct line to my heart; within these songs there is a longing to connect,” she reveals.
Fiona’s evocative artistry encompasses the doe-eyed playfulness of 1960s girl groups, and the haunting beauty of Lady Day-era jazz, along with strains of vintage soul, classic rock, and modern indie rock. It’s a romantic aesthetic of pour-your-heart-out proportions that also harnesses humor, irony, and an alluring naiveté.
Fiona has garnered acclaim from NPR’s All Things Considered, Rodney Bingenheimer (aka “The Mayor of Sunset Strip”) on both Sirius XM & KROQ FM Radio, Forbes, Bust Magazine, Paste Magazine, Galore Magazine, Ladygunn Magazine, Magnet Magazine, Inked Magazine, Glamour, Black Book, Beautiful Savage Magazine, Quiet Lunch, Spindle, Pure Volume, Culture Collide, Examiner, and Curve Magazine, among others. With her pinup girl panache and seductive charm, she’s mesmerized audiences nationally. A cross section of live highlights include performances at Music Hall of Williamsburg with The Lemon Twigs, Mohawk Austin directly supporting Andrew W.K., KCRW‘s ‘Desert Nights’ at The Standard Hotel Hollywood, the rooftop of the iconic Georgia Theatre, as well as residencies at Rose Bar and Ace Hotel in New York. Fiona also has the added distinction of being endorsed by Telefunken Microphones, Reverend Guitars & Luna Guitars.
Little Thunder is a poetic and poignant collection of cinematic soul-pop and shakin’-from-the-hips garage rock. The seven-song’s lead single, “Take Me Down,” boasts echo-drenched guitars, an infectious Motown-vibing bassline, and Fiona’s stunning vocal phrasing. Here, she traverses weary lover coolness, hope, and heartbreak. Fiona’s seductive lost puppy innocence imbues “I’ll Follow You.” This track comes off like a golden ballad beamed into a cherry red 57 Chevy from a lost radio transmission. On the simmering “Keep it Fresh,” she lays out a treatise on self-empowerment over an undeniably funky beat. The album concludes with the chilling David Lynchian “Smoking Gun,” a masterful done-wrong revenge narrative that evokes Ennio Morricone and swampy goth-poets The Gun Club.
Fiona, who is a gifted big picture conceptualist, co-produced the album with Erin Tonkon, an on-the-rise producer who has worked with such artists as David Bowie and Esperanza Spalding. Grammy-nominated mastering engineer Emily Lazar, of David Bowie, Foo Fighters, Lou Reed, and Morrissey fame, put the final sonic touches on the album.
Since the release of Little Thunder, Fiona Silver has been touring the U.S., and in November 2017 she released a new track “Here Comes The Fall” …a departure from her Rock ‘N Roll routes into a haunting dream-like croon, accompanied by a surrealist music video which premiered on Paste Magazine, who said, “Fiona Silver is a noir movie queen in the body of a modern rock vixen—part Ava Gardner, part Joan Jett. On her debut album Little Thunder, she put fuzzy guitars and electronic trimmings on a vintage soul foundation, with her powderkeg vocals tying it all together. Her first post-Little Thunder single, “Here Comes the Fall” rides a seductive riff, swelling with strings as Silver vows, ‘I love you when it gets cold.’ “
Fiona Silver is now back in the studio, this time with Grammy Award-winning producer Lawrence “Boo” Mitchell who has worked with Bruno Mars, Al Green and Buddy Guy (to name a few) at the legendary soul-factory Royal Studios in Memphis, TN.
Loi Loi started four years ago in China, where Kristie was living and working at the time. Since her time as a Peace Corps volunteer in China, Kristie had always dreamed about becoming a Mandarin pop singer; this turned out to be an easy goal to achieve while she was stationed in Guangzhou, China. She also successfully composed original lyrics in Mandarin, pairing pop compositions with occasional radical experimental sounds vis-à-vis vis her microkorg. Loi Loi continued to develop in Spain, where Kristie tried her hand mixing original Spanish lyrics with an eclectic background of rock and roll, R&B, electronic, and soul influences. The band went fully electronic when Kristie acquired a Korg Electribe drum synthesizer. Today, Loi Loi embraces a somewhat economical setup but maximizes on a suite of atmospheric effects, original samples, and a multi-tiered song structure.Loi Loi’s inaugural EP, Viva La Vulva, was recorded at BLIGHT.Records in March 2017, six months after Kristie’s return from Spain to Washington, DC. Each track represents a brick in the path of Kristie’s exciting cross-cultural escapades, simultaneously chronicling the hardship she encountered transitioning back to her home in the United States, which was vastly different than when she had left in 2011. In “1985”, Kristie clings to a year she barely remembers amidst the uncertainty of present times, creating a byte-by-byte whimsical reckoning. “Responsabilidades”, Loi Loi’s first video release, is an upbeat but ironic Spanish language song which playfully laments the state of play of being an outsider in the not-serious dating scene in Madrid. “Trying to Remember” premiered on All Things Go on November 22, shot and directed by Jen Meller and featuring a continuous reel of nightmare scenarios in unrecognizable terrain. New video “You May Be”, which premiered on Impose Magazine on January 20, 2018, chronicles the intense showdown between a perpetually eyerolling, devil-may-care character confronted by a scathing accuser, who is berating her for blindness to (what the listener can easily detect as) the rise of patriarchy and its norms and abuses towards women.
Loi Loi just came back from their first U.S. tour through the U.S. South.