Posts Tagged ‘Colleen Green’

Fans of Colleen Green probably know that blink-182 has always been an influence on her lo-fi indie punk — she released a cover of “M+Ms” off their 1995 debut album Cheshire Cat back in 2010 — and now she is releasing a full covers album of their 1997 sophomore album “Dude Ranch”. She says that she actually first recorded the album in 2011 but lost it when her computer crashed, but now the idea is finally fully coming to fruition. Colleen drastically slowed down and recorded with just her voice and a distorted bass. It’s blink-182 like you’ve never heard them before, but the melodies remain untouched and these stripped-back renditions remind you how good blink were at writing pop songs even before the TRL days.


I don’t remember where or when I got the idea to cover my favorite album of all time. , I don’t remember much of 2011. All I know is that sometime about 7/8 years ago, I decided that I was going to cover Blink 182’s “Dude Ranch” in its entirety…on bass. I borrowed a short scale from my friend Sandy Vu and gave myself 2 weeks to complete the project. 13 days later as I was applying the finishing touches, my computer started acting funny. I thought to myself, “Gee, I sure hope my computer doesn’t crash.” 14 days later, my computer crashed. I had no back ups because I always fly by the seat of my pants! I tried to recover my work to no avail. I was heartbroken, so much so that I was unable to revisit the project in earnest until October 2018. Today I can say with much pride, happiness, and relief that “Blink 182’s Dude Ranch as played by Colleen Green” is finally real and ready to be enjoyed by fans of Colleen Green and/or Blink 182. This was truly a labor of love and I hope that those fans can recognize and appreciate that. And to the band who has influenced me and my life in so many ways: Thank you.

 “Dude Ranch” by Blink 182 as Played By Colleen Green available on Burger Records (2019) Released August 6th, 2019.

Daily Dose: Colleen Green, "I Wanna Be Ignored"

Here it comes – AGAIN! Many moons ago, Infinity Cat released an EP from LA’s own Colleen Green. Referred to by Green as “Ramones-Core”, this concise collection evoked the spirit of old-fashioned rock ‘n’ roll, applying a heavy layer of classic punk influence to the songwriter’s well-known pop confections. The limited edition tape sold out immediately, and after years of emails, tweets, and letters, Infinity Cat is proud to present the EP on vinyl for the first time! Featuring newly re-recorded versions of the OG cassette on side A and 4 never-before-released tracks on side B – like this one, “Let Go”! Allow yourself to be taken back to a simpler time when the Brill Building bustled and teen punks hustled; when pop music was more about craft than commercialism. Green’s penchant for parlaying inspiration into her own distinctive sound is well documented across her discography, but perhaps never as well as on this offering from Infinity Cat Records. If the Ramones are the teacher, then Colleen Green is the student and you are the classroom.

Coleen Green’s new single, “‘I Wanna Be Ignored’ is a song about disillusionment that was written as background music for the Starburns Audio podcast Harmontown.” The song comes to us ahead of Green’s first full-length release since her 2015 album I Want to Grow Up: nine-track LP Casey’s Tape / Harmontown Loops, a reimagining of her 2016 cassette EP that also features four never-before-released tracks, pressed on vinyl and set for a September. 7th release via Infinity Cat Recordings.

“I Wanna Be Ignored” is lean, mean and unmistakably Green’s  The song eschews her usual power-chord crunch, opting instead for glossy keys and a bass line that simply won’t quit. Green’s sparing vocals are near-ghostly,

Often referred to as Sub Pop’s “sister label,” Hardly Art is an offshoot of Sub Pop designed to spotlight emerging talent. While the label’s initial focus was local when it started up in 2007, it has since expanded its roster to welcome artists from all over the United States and abroad.

With the goal of cultivating a stable of vital, young, and relatively undiscovered bands, Hardly Art journeyed underground while a booming Sub Pop stayed above the surface (though both operate out of a shared office space in downtown Seattle). Since its inception and immediate worldwide reception as a paradigm-shifting, taste-making powerhouse (wink), Hardly Art has expanded to three full-time employees, broadening its purview along the way to include reissues, EPs, one-off seven inches, and other dubiously profitable ventures. Currently, the label prides itself on having one of the most diverse catalogs of any label its size.

From its inaugural release (Arthur & Yu’s In Camera) to its most recent, Hardly Art has sought to support new bands in need of a wider audience, with a particular emphasis on the rising stars of the garage, punk, and bedroom pop genres. Here below are our top recommendations from this wonderful label.

Happy release day to The Julie Ruin! Hit Reset, their highly-anticipated new record is finally out today on CD, LP, cassette, and digital formats. Next Tuesday, July 12th, The Julie Ruin will perform live on NBC’s Late Night with Seth Meyers and the band hits the road in support of Hit Reset starting next Thursday

In late 2014 The Julie Ruin began work on their second album, Hit Reset. Mixed by Eli Crews, Hit Reset expands on the band’s established sound: dancier in spots and moodier in others, with girl group backing vocals and even a touching ballad closer.Hit Reset is the sound of a band who have found their sweet spot. Kathleen Hanna’s vocals are empowered and her lyrics are as pointed and poignant as ever. From the chilling first lines of “Hit Reset” (“Deer hooves hanging on the wall, shell casings in the closet hall”) to the touching lines of “Calverton” (“Without you I might be numb, hiding in my apartment from everyone / Without you I’d take the fifth, or be on my death bed still full of wishes”), Hanna takes a leap into the personal not seen completely on the first album or possibly even in the rest of her work.

Seattle band Tacocat will be capping off their already-incredible 2016 with another nationwide tour this September/October–including a headlining show at Brooklyn’s Music Hall of Williamsburg–with even more dates TBA. Head here for a full list of upcoming shows, including next month’s West Coast run with The Regrettes.

The band’s also heralding the arrival of summer weather with a cover version of The Sunray’s 1965 gem “I Live For The Sun,”

The new record from Seattle band Tacocat has your first look at “Dana Katherine Scully,” the group’s new self-made music video for Lost Time’s opening track. The Powerpuff Girls, for which Tacocat performed the theme song Who’s Got the Power?, premieres on Cartoon Network this Monday.

On the tour front, the band recently opened for Senator Bernie Sanders Seattle Campaign rally, to a crowd of thousands. They tour the U.S. and Europe starting in June, and just announced a slew of West Coast and Southwest U.S. dates for this July. See the tour page for a full list of upcoming Tacocat performances, and find copies of Lost Time on all formats (LPs on colored vinyl!)


As La Sera, Katy Goodman turned an aching heart into two marvelous, alluring yet bittersweet break-up albums (2011’s self-titled debut and 2012’s Sees the Light). On her latest, though, the former Vivian Girl is through crying. Hour of the Dawn sees Goodman waking up, throwing open the bedroom windows and welcoming the day.

“I wanted the new La Sera record to sound like Lesley Gore fronting Black Flag,” Goodman says. “I didn’t want it to be another record of me sad, alone in my room. I wanted to have fun playing music and writing songs with a band.” To back her nimble bass lines and enchanting vocals, Goodman assembled a new band helmed by guitarist Todd Wisenbaker.

“We started playing faster, louder and more aggressively,” Goodman says. “I wanted to get that energy onto the album.” The forceful new La Sera line-up set about fleshing out Goodman’s melodies and lyrics into strapping rock anthems, debuting them to enthusiastic crowds on tour, and refining them with a newfound obsession to detail.

After a year of perfecting their new material, La Sera was ready to commit it to tape. In the summer of 2013, the group decamped to a sweltering studio in East Los Angeles with engineer Joel Jerome and banged out the ten songs that would become Hour of the Dawn—an album that never walks, but runs, a collision of unleashed punk and ‘80s power-pop.

“We wanted to make a classic American record,” Wisenbaker says. “The album was inspired by a lot of bands: The Pretenders, Minor Threat, X, The Smiths, The Cars and more.”

The sound that emerged from these disparate influences combined hardcore energy with tuneful harmony, as exemplified by opening track “Losing to the Dark.” Title track “Hour of the Dawn,” meanwhile, rides a steady groove towards a long horizon of sunrise. It’s the record’s thematic center: a final wave goodbye to a messy past and the beginning of a new day. In a burst of bright, immediate and jangly Smiths-inspired pop, “Fall in Place” captures La Sera at an emotional and musical crossroads.

Hour of the Dawn, as its title suggests, heralds the beginning of a radiant and energetic new chapter in La Sera’s evolution—the summit of Goodman’s steady ascent to rock and roll queen dom.

As a prospect it can be terrifying, sad, and worst of all, inevitable. But on I Want to Grow Up, her second album for Hardly Art, Colleen Green lets us know that we don’t have to go it alone.

This latest collection of songs follows a newly 30-year-old Green as she carefully navigates a minefield of emotion. Her firm belief in true love is challenged by the inner turmoil caused by entering modern adulthood, but that doesn’t mean that her faith is defeated. With a nod to her heroes, sentimental SoCal punks The Descendents, Green too wonders what it will be like when she gets old. Throughout songs such as “Some People,” “Deeper Than Love,” and the illustrative title track, the listener has no choice but to feel the sympathetic growing pains of revelatory maturation and the anxieties that come along with it.

Sonically the album is a major change for the LA-based songwriter, who has come to be known for her homemade recordings and merchandise. Her past offerings have been purely Green; testaments to her self-sufficiency and, perhaps, trepidation. This time, she’s got a little help from her friends: the full band heard here includes JEFF the Brotherhood’s Jake Orrall and Diarrhea Planet’s Casey Weissbuch, who collaborated with Green over ten days at Sputnik Sound in Nashville, TN.

I Want to Grow Up is an experience, not unlike life: questioning, learning, taking risks. And in true CG fashion, a quote from a beloved 90s film seems the perfect summation: ”Understanding is reached only after confrontation.”

Chastity Belt is a rock band consisting of four friends – guitarists Julia Shapiro and Lydia Lund, bassist Annie Truscott, and drummer Gretchen Grimm. They met in a tiny college town in Eastern Washington, but their story begins for real in Seattle, that celebrated home of Macklemore and the Twelfth Man. Following a post-grad summer apart, a handful of shows and enthusiastic responses from the city’s DIY community led them, as it has countless others, into a cramped practice space. They emerged with a debut album, No Regerts, sold it out faster than anyone involved thought possible, and toured America, a country that embraced them with open-ish arms. Now they’re back and the tab is settled, the lights are out, the birds are making noise even though the sun isn’t really up yet: it’s Time to Go Home, their second long-player and first for Hardly Art.

In the outside world, they realized something crucial: they didn’t have to play party songs now that their audience didn’t consist exclusively of inebriated 18-22 year olds, as it did in that college town. Though still built on a foundation of post-post-punk energy, jagged rhythms, and instrumental moves that couldn’t be anyone else’s, the songs they grew into in the months that followed are equal parts street-level takedown and gray-skied melancholy. They embody the sensation of being caught in the center of a moment while floating directly above it; Shapiro’s world spins around her on “On The Floor,” grounded by Grimm and Truscott’s most commanding playing committed to tape. They pay tribute to writer Sheila Heti on “Drone” and John Carpenter with “The Thing,” and deliver a parallel-universe stoner anthem influenced by Electrelane with “Joke.”

Recorded by José Díaz Rohena at the Unknown, a deconsecrated church and former sail factory in Anacortes, and mixed with a cathedral’s worth of reverb by Matthew Simms (guitarist for legendary British post-punks and one-time tour mates Wire), Time to Go Home sees Chastity Belt take the nights out and bad parties of their past to their stretching points, watch the world around them break apart in anticipatory haze, and rebuild it in their own image with stunning clarity before anyone gets hung over.

“They’re funny, and slightly goofy, and gently vulgar, and they play with an appealingly loose, relaxed confidence.” –

“In between pelvic-thrusting sexual innuendo and self-mockery, Chastity Belt filter feminist theory, cultural commentary and general intellectual bad-assery…Chastity Belt isn’t the band 2013 wants—it’s the band 2013 needs.”“The guitars on this record…have a nice ring to them, like Liz Phair’s recordings.”



It can never be said that La Luz are disinclined to hard work. The tour-happy four-piece returns to the road today with a show in Claremont, California that kicks off a three-month North American tour which includes appearances at the Levitation, Sasquatch!, and Pickathon music festivals. Additionally, Hardly Art is pleased to announce that La Luz’s breakthrough debut EP Damp Face is now available on vinyl for the first time ever. This 10” release an be purchased exclusively through the Hardly Art Webstore, in record shops, or at the band’s merch table on any given stop of their ambitious Spring/Summer tour.

For most, a brush with death would be cause for retreat, reflection, and reluctance, but Seattle band La Luz found something different in it: resilience. Having survived a high-speed highway collision shortly after releasing their 2013 debut LP It’s Alive, La Luz, despite lasting trauma, returned to touring with a frequency and tirelessness that put their peers to shame. Over the past year-and-a-half of performing, the band arrived at a greater awareness of their music’s ability to whip eager crowds into a frenzy. In response, frontwoman Shana Cleveland’s guitar solos took on a more unhinged quality. The bass lines (from newly-installed member Lena Simon) became more lithe and elastic. Stage-dives and crowd-surfing grew to be as indelible a part of the La Luz live experience as their onstage doo-wop-indebted dance moves.

When it came time to record Weirdo Shrine, their second album—released August 7th—the goal was to capture the band’s restless  live energy and commit it to tape. In early 2015, Cleveland and Co. adjourned to a surf shop in San Dimas, California where, with the help of producer/engineer Ty Segall, they realized this vision. Tracking most of the album live in shared quarters, La Luz chose to leave in any happy accidents and spur-of-the-moment flourishes that occurred while recording. Cleveland’s newly fuzzed-up guitar solos—which now incorporated the influence of Japanese Eleki players in addition to the twang of American surf and country—were juxtaposed against the group’s most angelic four-part harmonies to date. The organs of Alice Sandahl and the drumming of Marian Li Pino were granted extra heft and dimension. Thematically, Cleveland channeled Washingtonian poet Richard Brautigan on “You Disappear” and “Oranges,” and sought inspiration from Charles Burns’ Seattle-set graphic novel Black Hole.

The resulting album is a natural evolution of the band’s self-styled “surf noir” sound—a rawer, turbo-charged sequel that charts themes of loneliness, infatuation, obsession and death across eleven tracks, from the opening credits siren song of “Sleep Till They Die” to the widescreen, receding-skyline send-off of “Oranges” and its bittersweet epilogue, “True Love Knows.”

In describing Weirdo Shrine, Segall remarked that it gave him a vision of a “world…burning with colors [he’d] never seen, like mauve that is living.” In “Oranges,” the Brautigan poem which inspired the aforementioned track of the same name, the poet writes of a surreal “orange wind / that glows from your footsteps.” These hue-based allusions are apt: the sound of La Luz is (appropriately) vibrant, and alive with a kaleidoscopic passion. Weirdo Shrine finds them at their most saturated and cinematic.

“La Luz is ready to take on the world.” – MTV Hive

“…a uniquely haunting – albeit occasionally unintentional – spin on the innocent guitar-driven pop of the late ’50s and early ’60s, nudging the sock hop vibes of Dick Dale and the Shirelles into a darker parallel dimension.” – Paper Magazine

“Imagine all of the Shangri-La’s trying, precariously, to balance on top of Link Wray’s surfboard.” – Pitchfork

“One of those bands that hit the ground not running, but sprinting.”

Joe Casey was once why he chose to start his first band with a group of guys roughly ten years his junior. His answer was simple: He needed them, needed this, needed Protomartyr. He didn’t want to end up singing classic rock covers in a carport or dive bar one night a week. At 35, with no musical background and crippling stage fright, he needed friends who were young and hearty enough to want to write and record and practice and tour and be heard as badly as he did then. He’d just lost his father to an unexpected heart attack, and his heartbroken mother to the beginnings of Alzheimer’s shortly thereafter. He’d come to understand, all too intimately, how brutal and finite a life can be. Consider then the urgency with which he joined his bandmates—guitarist Greg Ahee, drummer Alex Leonard, and bassist Scott Davidson, fellow alums of the University of Detroit Jesuit High School and Academy—for the first time, in a basement full of unsuspecting onlookers. Consider the urgency with which they’ve approached everything since—three albums in three years, each more extraordinary and rewarding than the last. This music is inherently, unassumingly high stakes. I can think of no other band that moves me like they do.

October marks the release of The Agent Intellect, their third and finest work to date.  Named after an ancient philosophical questioning of how the mind operates in relation to the self, it’s an elegant and often devastating display of all that makes Protomartyr so vital and singularly visceral an outfit. Over the course of several months, Ahee waded through more than a hundred song fragments until he reached the bottomless melodies of “I Forgive You” and “Clandestine Time”, the inky depths of “Pontiac ’87” and titanic churn of “Why Does It Shake?” Lyrically, Casey is at his most confident and haunting. He humanizes evil on “The Devil in His Youth,” and, amid the charred pop of “Dope Cloud,” he reassures us that nothing—not God, not money—can or will prevent our minds from unraveling until we finally fade away. We are no one and nothing, he claims, without our thoughts. It’s a theme that echoes through the entirety of the record, but never as beautifully as it does on “Ellen.” Named after his mother and written from the perspective of his late father, it’s as romantic a song as you’re likely to hear this or any year, Casey promising to wait for her on the other side, with the memories she’s lost safely in hand.

I remember a story he told me in Detroit. A few months earlier, he’d been driving with his mother as a Protomartyr recording played on the stereo.

“Joe,” she asked him. “Who is this?” “This is us, Mom,” he told her. “That’s me.” “Oh!” she said, “This is very good.”

Protomartyr share a video for their song “Dope Cloud” (from their critically acclaimed album The Agent Intellect, which was directed by self-proclaimed Protomartyr fan Lance Bangs. Bangs, known for directing music videos for the likes of R.E.M., Pavement, Sonic Youth, Nirvana, and Arcade Fire, was simply drawn to the song and made the video on his own time and submitted it to the band. The video shows the demise of one of the last phone booths in the country.

Meanwhile, Protomartyr continues their huge tour of everywhere, which has them basically playing everywhere humanly possible. New Canadian, east coast, and European dates have been added.

The LAMC series is back in action this summer and No. 15 Jeff The Brotherhood / Colleen Green is up for pre-order RIGHT NOW! This record is a real dream come true: the bogus bros on the A-side with a gold star garage shredder “A Dog” and on the B-side Colleen Green brings a fuzz-pop slammer “Hellraiser” recorded during her full-band “I Want To Grow Up” sessions. For those of you who act fast, we’ve got Gold & Milky Clear A/B vinyl with Black Splatter (LTD to 250) & Gold vinyl (LTD to 500). For you audiophiles we’ve got the virgin black vinyl available as well. Our LTD color-ways tend to go quick and this is going to be no exception – don’t wait! Like always both tracks will be available on the July 7th release date at our bandcamp page for “pay what you like.” 100% of the proceeds from the digital sales on our bandcamp go to the Save The Music foundation – who provide funding for music education in public elementary and middle schools that do not currently have an instrumental music program in place.

The opening line of Colleen Green’s latest album goes, “I want, I want to grow up, oh yeah” is certainly not the most original line ever committed to tape, but it’s does go against one of rock’n’roll’s oldest adages, “I hope I die before I get old.” Growing up and growing old are often seen as the scourge of creativity and spirit, but in reality an awful lot of people go through the whole growing up thing and find they actually prefer life at the end of it, not that growing up ever ends of course!

As John Lennon put, in the now rather tragically ironic, Grow Old With Me, “grow old with me, the best is yet to be” and many artists have echoed his sentiments; life changes and evolves, but if the best isn’t still to come, then what use is a future anyway. Jarvis Cocker has always been a man who looks forward, on the omnipresent Disco 2000 he envisaged a future when, “we’re all fully grown” while on Help The Aged, he was even imploring the youth of today to, “help the aged, don’t just put them in a home, can’t have much in their all on their own.”

It’s not just men of course who think about ageing and dream of a different future; on Garbage’s excellent When I Grow Up, Shirley Manson sang of how, “when I grow up I’ll turn the tables” whilst on Better Version Of Me, Fiona Apple sang, “oh mister wait until you see, what I’m gonna be.”

Our favourite song about growing up though, well it has to be Mr Tom Waits, nobody has quite mastered refusing to get old quite like Tom, he was 43 when he sang:

“I don’t wanna have to shout it out
I don’t want my hair to fall out
I don’t wanna be filled with doubt
I don’t wanna be a good boy scout
I don’t wanna have to learn to count
I don’t wanna have the biggest amount
I don’t wanna grow up”

We guess not everyone is quite so sure that growing old is all it’s cracked up to be!


Thirty year old Colleen Green is, as you could probably guess a solo artist, she recorded her latest album alongside Jake Orrall of JEFF the Brotherhood and Casey Weissbuch of Diarrhea Planet – the latter taking his place behind the drums in her current live set-up as well.

The Line Of Best Fit rather brilliantly described Colleen as, “a one-woman Bikini Kill/Garbage cross-breed”. That said there’s probably more variety than that would suggest from the Weezer recalling pop-punk of Things That Are Bad For Me (Part 1), to the California Sunshine-Pop of Wild One; with shades of Best Coast, the Breeders inspired grunge of I Want To Grow Up and even dance floor electronics, via the excellent Deeper Than Love, which has shades of a sadder Le Tigre or Fischerspooner.

Colleen is from Los Angeles. The second biggest city in the United States, cleverly located on a massive and very active tectonic fault line. LA is home to people from more than 140 countries speaking 224 different identified languages, which might explain just how varied and wonderful their musical history is. The jazz of Charles Mingus and Buddy Collette, rock bands from Buffalo Springfield to Guns’n’Roses, metal from Slayer and Tool, rap from Dr Dre and 2Pac, and then there’s Beck who is pretty much a genre in his own right.

Colleen started recording music back in 2010, following a few singles on a variety of small labels she signed to Hardly Art Records. She released the “Green One” EP back in 2011, before putting out her debut album for the label Sock It To Me at the start of 2013. Her second album, I Want To Grow Up, came out again via Hardly Art in February this year.

There’s something delightfully retro to Colleen’s sound, all dirgy gritty guitars, simplistic metronomic drums and lyrics about growing up and discovering what life has to offer. That said there’s enough variety and nuance to lift this way beyond a grunge meets punk-pop parody.

TV may lyrically bring to mind Jimmy Eat World, being an ode to the company of the idiot box, but it’s delivered with a thrash of drums and walls of scuzzy guitars The Pixies would be proud off, whilst the jump up to the high note in the chorus does bring to mind emo-heroes Saves The Day.

Grind My Teeth is the more serious side of ska-punk, Pay Attention has shades of Nine Black Alps or Weezer whilst Some People is a gorgeous, nostalgic slab of indie-Pop, like Camera Obscura’s Californian cousin, it’s littered with heartbreaking lyrics such as, “could there really be someone out there who’s perfect for me? Oh some days it’s hard to believe.” Perhaps the best is saved to last, the laid-back, lightly electronic Whatever I Want, is the joyous conclusion to an album of angst, a moment as she joyously revels in her new found freedom noting, “the world I live in is a design of my own.”

Whilst unquestionably the bright poppy moments are beautifully delivered, it’s when the album steps into the shadows that it becomes even more thrilling. The dirgy, Things That Are Bad For Me (Part 2) is a tense and claustrophobic number, Colleen singing, “I wanna do drugs right now, I wanna get fucked up, I don’t care how” a moody brooding track, it even has hints of Nine Inch Nails in the heavy scuzz of guitars. Probably the albums stand out track, Deeper Than Love, is unquestionably its biggest departure, low buzzing electronics, synthetic drums and vocals processed to a robotic, emotionless delivery that recalls the cold-electronica of Liverpool’s Ladytron, lyrically it’s equally dark, from the opening line, “someday I hope for a lover to kill me, it’s the closest I can hope to get to anybody, it’s the closest I can come to being really free” we’re in maudlin territory already, but as it unravels it becomes clear it’s more a track about fear of commitment and intimacy, “is there anything stronger than biology? Is love being ruined by technology? Nowadays commitment seems like a burden to carry” and latterly, “the closest to true love I ever came, was with someone I kept many miles away, cos I’m wary of eliminating distance, this could surely be the death of any romance.” The whole track is as beautifully delivered as it is miserable, the gently meandering guitar solo towards the end, the perfectly judged processed beats and in particular the beautifully treated vocals, occasionally they seem to crackle with a touch of feedback that renders them almost entirely inhuman, it’s rather brilliant!

Why Not?
“I’m shitty and I’m lame and I’m dumb and I’m a bore and once you get to know me you won’t love anymore” her words not ours and suffice to say we don’t agree at all!

As a prospect it can be terrifying, sad, and worst of all, inevitable. But on I Want to Grow Up, her second album for Hardly Art Records, Colleen Green lets us know that we don’t have to go it alone.

This latest collection of songs follows a newly 30-year-old  Colleen Green as she carefully navigates a minefield of her emotions. Her firm belief in true love is challenged by the inner turmoil caused by entering modern adulthood, but that doesn’t mean that her faith is defeated. With a nod to her heroes, sentimental SoCal punks The Descendents, Colleen Green too wonders what it will be like when she gets old. Throughout songs such as “Some People,” “Deeper Than Love,” and the illustrative title track, the listener has no choice but to feel the sympathetic growing pains of revelatory maturation and the anxieties that come along with it.


Sonically the album is a major change for the LA-based songwriter, who has come to be known for her homemade recordings and merchandise. Her past offerings have been purely Green; testaments to her self-sufficiency and, perhaps, trepidation. This time, she’s got a little help from her friends: the full band heard here includes JEFF the Brotherhood’s Jake Orrall and Diarrhea Planet’s Casey Weissbuch, who collaborated with Green over ten days at Sputnik Sound in Nashville, TN.

I Want to Grow Up is an experience, not unlike life: questioning, learning, taking risks. And in true CG fashion, a quote from a beloved 90s film seems the perfect summation: “Understanding is reached only after confrontation.”


While Colleen Green’s first LP for was a slice of breezy, self-aware stoner bubblegum that insisted on a shallow read—perhaps to force us to turn away from deeper truths—its follow-up, I Want to Grow Up,is paralysis and paranoia in a sugary glaze. On this record, Colleen Green has managed to capture in very real and human terms the existential terror that everything is futile and that our lives will never amount to much She is keenly aware of her own limitations and has turned her reflection on those limitations into strengths Green’s got a knack for songwriting. While taught us all that we only need a few chords to make an endless number of perfect pop songs, most bands that have followed that model to the letter don’t have the ear for hooks, structure, or wordplay that their heroes did. Colleen Green does. She is also extremely effective at manipulating the studio to get the hidden depths of her seemingly simple songs Driven by heavily processed bass, a metronomic drum machine, and a twinkling, haunting guitar melody, and Green’s soft voice,


Second mp3 single from Colleen Green’s 2015 album “I Want to Grow Up” out 2/24/15 on Hardly Art records. imagine someone Like Belinda Carlisle fronting The Ramones.” .A Massachusetts native turned Los Angeleno, Colleen Green worships the Descendents , worries about maturity and matters of the heart, and, up to now, has dealt in solo DIY recordings. The forthcoming “I Want to Grow Up” (the 30-year-old’s newest album and second for Hardly Art) marks a shift in technique, having come together with help from a full band, including JEFF the Brotherhood’s Jake Orrall and Diarrhea Planet‘s Casey Weissbuch. Due out February 24th, the ten-track set is replete with the sorts of sticky, lovesick melodies.


Los Angeles based Colleen Green, debuted a new song called “Pay Attention” as part of the Sub Pop and Hardly Art’s weeklong takeover of Last Call With Carson Daly. It’s the lead single from I Want To Grow Up, Green’s first studio album after a fruitful home-recorded discography, coming this February on Hardly Art. She created the album at Sputnik Sound in Nashville with JEFF The Brotherhood’s Jake Orrall and Diarrhea Planet’s Casey Weissbuch as her backing band. Below, stream or download the studio version of “Pay Attention,” a punchy uptempo fuzz-pop number that matches sugary vocals with bombastic drums and guitar.


Photo: Don't bother me, I'm thinking.