Charly Bliss features World-Class Vocalist Eva Hendricks

 

 

Charly Bliss 

Brooklyn, New York 

“Guppy”

Release Date 

April 21st, 2017 

1oo out of 100 BLOOD DRIPPING SKULLS 

FUCKING ESSENTIAL !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 

PERFECT ALBUM FROM ONE OF THE WORLD’S GREATEST BANDS OF THIS DECADE, CENTURY AND OF ALL-TIME

TOP 100 Grunge Albums of all-time 

….awaiting genre classification from the band….editor 

TOP 100 ALBUMS OF 2017 ROCK 

TOP 100 ALBUMS OF 2017 ALL-GENRES

KICK*ASS*METAL HALL OF FAME ALBUM 

CHARLY BLISS KICK*ASS*METAL HALL OF FAME INDUCTION DATE

APRIL 21ST, 2017

 

Whoa f@cking killer debut from Charly Bliss…..Was not a 1st day buyer I worked 14 hours a day that day, but on International Record Store day. April 22nd, 2017…the clerks at the legendary Dearborn Music now at 22501 Michigan Avenue, Dearborn, Michigan… was playing this album, at the correct volume levels….136 decibels and all knobs to the right….loud und proud. Hear this album that way !!!!!!!!!!!!!!! the way albums were meant to be played @ maximum volumes !!!! 

Those who know this publication we cover all KICK ASS and BAD ASS artist no matter the genre were a heavier version of the webZine Sonic Cathedral and Metal Maidens. Also as a heavy metal publication were are a specialized press for Heavy Metal albums with Keyboards. This album does have some KICK ASS Keyboard playing, and the band has a World-Class Vocalist in Eva Hendricks!!!

How World-Class is this album….file between Heavy Rotation between

Otep “Smash the Control Machine”and Poison Garden “A Victorian Garden” 

 

 

ABOVE OTEP 

BELOW POISON GARDEN

As a 1990’s Death Metal age based publication. There is NOTHING RETRO about Charly Bliss, they push the sonic envelope in all the right places, in all the right ways !!!!!!!!!!!! 

KICK ASS happen a band equals or excells past there predecessors, this album is pure SONG WRITING GENIUS !!!!!!!!!!  

 

Below is from a webzine called the Ringer 

Lindasy Zoldaz 

“All right, this song’s about my therapist — it’s called ‘Ruby’!” Eva Grace Hendricks announced, exuberantly, from the stage of the Mercury Lounge a couple of weeks ago. And with a mighty kick of her Doc Marten, she and her band, Charly Bliss, launched into a gritty-sweet ode to falling apart and shelling out the copay to be glued back together — one of the best songs on the Brooklyn band’s uniformly excellent debut album, Guppy, out Friday. “Ditch me, gone to see Ruby, keep me afloat on call,” Hendricks sang in her grungy, helium-sucker voice, while out of the bridge sprang the kind of so-cheesy-it’s-actually-glorious guitar solo that reminds you it has been way too long since you listened to the Blue Album. While riffing, Hendricks and lead guitarist Spencer Fox leaned into each others’ backs and struck one of those exaggerated rock poses that a Van Halen cover band might do; bassist Dan Shure then joined the human pile-up and almost knocked them over. These guys were having fun, and the energy was contagious: The packed room pogoed ecstatically, including, I was pleased to note, two men who’d fatefully wandered in off the street, having never heard of Charly Bliss nor “seen live music in New York City.” “What does the band sound like?” one of them asked me right before they went on. By the end of “Ruby,” I had found the words to answer this question and had texted them to several friends in all caps, “CHARLY BLISS SOUND LIKE IF A COOL GRRRL HAVING A TEMPER TANTRUM FRONTED NIRVANA AND LET’S BE HONEST THAT’S WHAT KURT WOULD HAVE WANTED ANYWAY.”

So let it be known: Charly Bliss are a great live band. That’s not always enough, though, and not every band can capture the energy of its show on a record — the fact that they’ve done it the first time around on Guppy makes it extra special. There’s no filler here, just 10 ramshackle pop songs — rough around the edges but so well constructed that they stick in your brain like fresh bubblegum. Hendricks, 24, writes the lyrics, and she’s described her approach as trying to convey “this overgrown teenybopper feeling.” The effect is wonderfully unsettling. Her words create an atmosphere of macabre and unruly girliness — like a Lisa Frank tableau in which one of the unicorns is smoking a joint and does not realize he is bleeding. “I laughed when your dog died, it is cruel, but it’s true,” she sings with mock innocence on a track called “DQ.” “Does he love me the most now that his dog is toast? Ooo-oooh!” Hendricks has described her band’s vibe, correctly, as “generally positive people saying super dark, fucked-up things.”

The members of Charly Bliss have known each other for a long time, and it shows. Hendricks’s brother Sam is the drummer, and Shure is their childhood friend; Shure introduced the siblings to Spencer Fox when they all went to see the indie band Tokyo Police Club about a decade ago. You can tell from both their stage show and every one of their music videos that the people in this band are actually friends, with shared reference points and senses of humor. This is an undervalued quality in a band.

When they released their first EP, Soft Serve, back in 2014, Charly Bliss made a video for each of its three songs, and the clips are odes to doing more with less — they’re obviously super low-budget, but they capture the band’s personality so well that their homemade quality becomes part of their charm. My favorite is “Urge to Purge,” which finds the band performing in swimsuits and inflatable inner tubes, the house band at a fever-dreamed Under the Sea–themed prom:

 

Almost three years have passed since Soft Serve, which in young-upstart-punk-band time is enough for fans to have wondered if that debut full-length was ever coming at all. There was a reason for the delay: They’d recorded a whole first version of their album and then scrapped it because they weren’t completely satisfied. I’m glad they took the time. Guppy is a huge leap forward from Soft Serve, and a statement from a band that’s more confident and serious than they used to be, though they have retained their signature playfulness and sense of humor. (See: the “Ruby” video, which features the band playing on a fictitious Between Two Ferns–grade public-access TV show. Hendricks plays the host, “Tiff Pappleby.”)

 

Hendricks’s voice is a wild, one-of-a-kind instrument, and the great difference you can hear from Soft Serve to Guppy is the way she’s come to wield it with force and control. It’s a candy-coated falsetto with a sneering, sarcastic sheen. “You say that I make you feel like a man,” she sings at the end of opening track “Percolator,” with enough of an expressive sonic eye-roll to make the line absolutely withering. She’s got one of those voices that toys with how close sweet is to sour, and how femininity exaggerated and embodied to an extreme is its own kind of gruesomeness — which is to say, punk as fuck.

Something about the tone of Fox’s guitar combined with the grumbly low-end of the rhythm section recalls a very specific moment of mid-to-late-’90s alternative rock, and of a small collection of power-pop bands that should have been way more famous than they got to be: Superdrag, the Rentals and even, to some extent, Veruca Salt. (Fittingly, Charly Bliss got to open for them in 2015 on their reunion tour.) Everything collides in harmony and there is no dead weight in this band: Songs like “Gatorade” and the distortion-drenched slow-dance closer “Julia” swell with a cresting energy coming from all four corners of the stage.

 

But Charly Bliss are not all fun and games; you do not get to dedicate a song to your therapist without expressing some kind of vulnerability. One of my favorite moments on Guppy is the chorus of “Glitter,” a pretty but melancholy song on which Hendricks asks a boyfriend, “Am I the best, or just the first person to say yes?” It’s a simple but terrifying question that anyone in a relationship has probably wondered at one point or another; Hendricks’s bandmates draw out its pathos with some harmonized “oohs” and “ahhhs.” Just because it’s sweet doesn’t mean it can’t sting. Guppy is like this, at its best: a big block of sugar whittled down into an ice pick, aimed straight at the heart.” 

 

 This is a bio from the bands official website 

WHO IS CHARLY BLISS?

If it’s true that listening to just the right record at just the right moment can psychically transport you to some other time and place, then Charly Bliss—an NYC band responsible for having crafted some of the finest guitar-crunched power pop this side of an old Weezer record with a blue cover—can pretty much turn any space into an adult-friendly version of your old teenage bedroom, a candy-scented safe space for extreme fits of happiness and angsty teen-level explosions of romantic ennui. 

Though Charly Bliss has been a band for over half a decade, the path that led to their first full-length record, Guppy, has been anything but straightforward. As the story goes, the band officially started when frontwoman Eva Hendricks and guitarist Spencer Fox, both just 15, crossed paths at a Tokyo Police Club show in New York City, but the ties within the band go much deeper than that. “It’s kind of insane and hilarious,” says Eva, “Sam is my older brother, so obviously we’ve known each other our whole lives, but all of us have been connected to each other since we were little kids. Dan Shure and I dated when we were in our early teens and he and Spencer went to summer camp together. Dan and I broke up years ago, but eventually he’  d become our bass player. The reason we all get along so well has to do with the fact we share this ridiculous history. We are all deeply embedded in each other’s lives.”

After spending years playing shows in and around New York City, the band eventually released an EP (2014’s Soft Serve) and scored opening gigs for the likes of Glass Animals, Darwin Deez, Tokyo Police Club, Sleater-Kinney, as well as a touring spot for their own musical forebears, Veruca Salt. Even though the band had amassed a sizable fanbase and a reputation as a truly formidable live act, the goal of making a full-length record proved to be a fraught series of false-starts. Given their propensity for making hooky, ebullient pop songs, the band often felt out of step with what was happening around them in Brooklyn. (“We weren’t weird in the right ways,”  says Sam). They eventually set about recording an album on their own—and then recording it twice—before figuring out what had been staring them in the face the entire time. “We basically had to come to terms with the fact that we are, at heart, a pop band,” recalls Spencer. “Before, it was always trying to decide which of the songs would be more ‘rock’ and which would be more poppy, but we eventually realized we needed to meet in the middle, we had to create an ecosystem where our loud, messy rock sounds could co-exist with these super catchy melodies and pop hooks. It was really about realizing what we’re best at as a band.” 

The ten tracks that make up Guppy, Charly Bliss’ sparkling full-length debut, show the band embracing all of their strengths—a combination of ripping guitars and irrepressible pop hooks, all delivered with the hyper-enthusiasm of a middle school cafeteria food fight. That every track is loaded front-to-back with sing/shout-worthy lyrics and earworm melodies is a testament to the band’s commitment to the art form of pop songwriting. Opening track “Percolator” sets the tone—all power riffs and yo-yo-ing melodies playing against Hendricks’ acrobatic vocals, which veer from gentle coo to an emphatic squeal: 

I’m gonna die in the getaway car! I would try but it sounds too hard! It’s a vibe that carries throughout Guppy, a record that shares an undeniable kinship with 90’s alt-rockers like Letters to Cleo and That Dog—bands that balanced melodicism, sugary vocals, and overdriven guitar turned up to 11. It’s an aesthetic that Charly Bliss both embraces and improves upon in tracks like “Ruby”   (“We actually wrote the guitar solo by sitting in a circle and passing the guitar around, each of us adding our own notes,”   says Fox) and “Glitter”, the record’s first single. “I wanted to make a song about being romantically involved with someone who makes you kind of hate yourself because they are so much like you,” says Hendricks, “A fun song about complicated self-loathing that you could also dance around your bedroom to—that kind of sums us up as a band, actually.”

“Pop music can actually be very subversive,” she continues. “The lyrics that I’m most proud of on the record are me existing both in and out of this overgrown teenybopper feeling—feeling like everything I was going through was the most extreme thing that had ever happened to anyone ever. The songs are often about being totally in the throes of this stuff, but also being able to step out of it and make fun of myself. It’s possible to write songs that really get at all of these dark feelings while also just being really fun to sing and dance to. You can be serious and also sing about peeing while jumping on a trampoline.”

Guppy is a record that doesn’t so much seek to reinvent the pop wheel so much as gleefully refine it.  “People forget sometimes that expressing joy is just as important as examining despair,”   says Shure. “People need joy, especially right now. We’re all about writing tight pop songs, but also giving people this super enthusiastic release. These songs are kind of the sound of expressing something that you can’t really contain. These are songs you play really loudly when you need to freak out.”………Lindasy Zoldaz 

 

CHARLY BLISS IS

EVA HENDRICKS,

SAM HENDRICKS,

SPENCER FOX,

DAN SHURE

 

 

below is from rediscover music webzine !!!! I know bands hate when the press try to genre and sub-genre every bands on the planet, but I found this article to be well written!!!!! 

Charly Bliss – Bubblegum Grunge

From: New York, USA
Genre: Bubblegum Grunge

Charly Bliss photo by Joanne N. Bailey-Boorsma
The purveyors of “Bubblegrunge” photo by Joanne N. Bailey-Boorsma

Bubblegum grunge?! That’s Charly Bliss. A quartet from New York who, despite being relatively new kids on the block, are already stirring up a following in their home town and around, having recently nailed a support slot for Sleater-Kinney in Brooklyn and in July 2015 released their debut offering, a 3-track single entitled Urge To Purge. Their pop harmonies and grungy guitars are a clean and refreshing change from the electrobeat indie-pop synonymous with (especially female-fronted) Brooklyn bands of the past few years. Vocalist Eve Hendricks’ sweet and squeaky voice protrudes through the fuzzed out rock with seemless fluidity, a result which will have Billy Corgan fans popping at the seams and Britpop enthusiasts reminiscing of the days when Kenickie were flying the female flag of credible pop-rock.If the Pixies had overdosed on bubblegum then we may have had these sugar infested pop medodies a few decades earlier, however patience has paid off and Charly Bliss have stepped up as the embodiment of deliverence. As to how big they can blow their bubble, only time will tell as the band expect to have their debut LP finished in the near future.

Take a listen to the single over at the Charly Bliss bandcamp page.

They are also on Facebook and Twitter!

The band released a video for each of the three tracks, dubbed the Soft Serve Trilogy, one of which you can check out below… So grab that pack of bubblegum and chomp away to the best thing since… well, bubblegum.

 

Building a record collection is not the rock science everyone makes it out to be, buy this album, and add 99 other albums that resonate with you…..!!!!!!!!!! based on your personal aestehtics based on what you want out of music…..myself AUTHENTICITY IS THE KEY…something that can never be taught…. Charly Bliss is the real deal !!!!!!!! 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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