for chelsea rose
Under The Radar: 8.5 Review of Truth or Consequences:
“Occasionally, one is utterly mystified by an artist so able to merge the past and present into a sophisticated, yet entirely accessible sound—Chelsea Rose, formerly of indie duo Summer Twins, is one such artist. The beguiling Truth or Consequences, Rose’s solo debut, is bound to thrill any pop devotee, its meticulous composition and raw poetry providing a wholly satisfying aesthetic experience. Rose’s undeniable indie charm and her studious devotion to the swinging sounds of ’60s and ’70s California pop combine to ensure that she avoids the detrimental snares of kitschy irony and novelty cliché—unlike many retro-inspired music.
Truth or Consequences is a quintessential breakup album. It is also a stirring portrait of being 30 years old and lost in a strange city of dreams just out of reach. Chelsea Rose stands easily among her generation’s most remarkable artists, her plainspoken honesty and the complexity of her music pairing well in service of a richly visceral pop experience. Rose’s heartache slices deeply into one’s soul, her pining lyrics cutting to the listener’s very core, rendering Truth or Consequences the next great millennial pop release. This album is simply magnificent.”
Two Story Melody Interview: Chelsea Rose on “Let Go",” Guitar Influences, and Astrud Gilberto:
“Chelsea’s influences are so eclectic that we need another category like uber-eclectic to describe them. “Let Go” glides beautifully into Brazilian bossa nova territory, beckoning us to let the universe meet our every need. Yet her music has also been shaped by Fifties’ guitar legends like Chuck Berry and Buddy Holly. (Buddy probably shouldn’t have let the universe take care of him on that plane in 1959, but I digress.)
Rose’s guitar skills remind me of a quote from The Band’s Robbie Robertson: “Some guitarists are mathematical.” That means they let nuance and melody come to the fore instead of wearing out their picks emulating Eddie Van Halen. Even Jimi Hendrix did that on songs like “Driftin’” – and Chelsea brings that understated virtuosity to one section of “Let Go” and to her live performance of “Fallin’,” recorded pre-pandemic in Brazil.”
Intertwining elements of 1960s and ’70s pop with bossa nova influences and a dash of R&B flair, Rose pulls together a cohesive 10 tracks that demonstrate her prowess over her art. The sonic landscape of the record covers everything from a folky acoustic guitar sound to the occasional heavier rock vibe.
Each track serves as a close examination of Rose’s continuous journey of self-discovery, tackling learning how to let go, living with loss, and adjusting to life in a new city.
Rose’s musical callback to the past has created an innovative and bright record that will propel her career into the future, sealing her place in many peoples’ hearts and playlists.”
Buzzbands LA Video Premiere for “Down The Street”
Brooklyn Vegan: “Chelsea Rose (Summer Twins) preps solo debut”
for subversive to care
charity compilation
The Deli Magazine: “Subversive To Care" comp released to benefit AAPI communities”:
“In today’s fast-paced modern era of music streaming and profligate playlist making (not to mention Twitch DJing and all the other means of assembling original musical mixes) the notion of an old-school compilation album may seem hopelessly out of date. But comps can still be wonderful things, Subversive to Care, which has been released to coincide with the launch of Paul Is Dead Records, checks off many of the boxes that make them good things…..across musical history, comps have occasionally played a key role in defining the sound of a nascent genre or a new record label—like the Lenny Kaye-compiled Nuggets (1972) that set an early template for punk rock, or the 1988 Sub Pop 200 comp that was a who’s who of future grunge all-stars.”
“Subversive to Care is not only the first recording issued by newly minted Paul Is Dead Records, but it is a call to arms to artistic allies in the fight against injustice towards Asian American and Pacific Islander communities. The ethos, according to the LA based record label, is summed up thusly: “the title ‘subversive to care’ is based on a conversation…about the unfortunate lack of compassion and empathy which is so common these days; how the initial ethos of subculture was to rebel against the conservative and oppressive norms of society, whereas these days what is truly subversive is to care for your fellow human and be a genuinely compassionate and altruistic person…..with 60, mostly, LA based bands that have a personal stake in the collaboration, the Subversive to Care Comp is a shot across the bow to many people whose default to political conversations and the plight of others can at best be described as laissez faire and at worst, awful.”
Wooo Media: “Paul Is Dead Records Launches with Giant Comp. to Benefit AAPI Communities”:
“As racial tensions and hate crimes against AAPI communities have increased at an alarming rate, label founders Evan Mui, Reed Smidebush and Austen Bemis called upon friends and family in the music scene to raise awareness and funds. Simultaneously, the label is donating proceeds to aid the Covid-19 crisis tearing through Tibetan refugee communities in India and Nepal…..on the idea behind the title of the comp., the label notes that while "the initial ethos of subculture was to rebel against the conservative and oppressive norms of society" these days "what is truly subversive is to care for your fellow human and be a genuinely compassionate and altruistic person."
Petal Motel: “Subversive to Care – an AAPI Charity Benefit Compilation”