Posts Tagged ‘Eva Hendricks’


To fully understand the energy of frontwoman Eva Hendricks and Charly Bliss, you gotta see them live. I learned that when the Brooklyn four-piece totally smashed the stage the first time I saw them. Not sure why I was surprised, but any doubts I might’ve had about Charly Bliss were effectively squashed. Hendricks is a dynamic instrumentalist and her distinctive high-pitched voice stands delightfully front and centre on a range of harmonies. This is a killer indie power-pop band.

Indie rock quartet Charly Bliss have an otherworldly knack at rendering certain playful images just as sinister: “cardboard cereal,” a bleeding snow cone, a mouth red with Gatorade. 2017’s Guppy established the band as masters of this subversion. Their crunching guitars and Eva Hendricks’ sweet, pointed vocals sliding through increasingly pop arrangements are the vehicle for a creeping dark that filters through each track’s observations of the mundane humour and horror of human affection. 2019’s stellar Young Enough polished its predecessor’s frayed, glittering edges for a slow burn of synthesizers and sharpened focal points; that cleaner sound also made room for a deeper emotional reservoir. Both are examples of kinetic and potential energy refined to an art.

“We’re young enough / To believe it should hurt this much.” They’re old enough to recognize it.

Listen / Buy Young Enough

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Charly Bliss Frontwoman Eva Hendricks’ voice glimmers and chimes like a power-pop cheerleader on  her sophomore record: it’s bubble-gummy, slightly nasal, all girlish spirit and vigor. The Brooklyn foursome’s “Young Enough” is a collection of dark lyrics, poppy melodies, and hooks so murderously catchy they could be used to fish for Moby Dick. Most songs tell of an abusive relationship Eva has since escaped from, and her three bandmates—drummer Sam Hendricks, guitarist Spencer Fox, and bassist Dan Shure harmonize around her pain like buzzing, sympathetic bees.

The record kicks off with synth-fizzled “Blown to Bits,” a track about our ever-present contemporary anxieties over nuclear war and the planet’s looming demise, whose chorus pounds, “It’s gonna break my heart to see it blown to bits.” Closer “The Truth” is no less of a dizzying earworm, though it has also collected an album’s worth of yearning: “Kissing babies / I’m alive, but I’m dead inside / burying my face against the wall,” Eva caterwauls on a song so hyper-specific, I’m not entirely sure what it’s about.

Elsewhere, you get the adolescent ache of teen love on title track “Young Enough,” a slow-burn centerpiece beginning with the thrum of a single guitar note and gathering into a full-blown anthem about what it’s like to have your identity tangled up in another person worse than earbuds in your pocket. On “Hard to Believe,” Hendricks reclaims her life for her own, bursting to leave a bad partner; “I’m wide awake, he’s asleep,” she crows of the mismatch. She grapples with a past sexual assault on “Chatroom” (“I am trusting, well-adjusted / Marked me dormant, I erupted”) and enters the recent emotional labor debate with the prescient “Capacity,” a lesson learner in which she announces, “I used to think I should do right by everyone / now I know I was wrong.”

Young Enough is poppier than Charly Bliss’ debut Guppy, and it’s not hard to understand why: keep those mellifluous riffs flowing, spark-fueled as electricity across power lines, and trauma will have a hard time keeping up with you. And if it does—bouncing as high as Eva Hendricks is clearly able—you’ll leapfrog straight over it.

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EPs that follow a larger album event—especially an album that’s already practically perfect on its own—can so often feel pointless, like excess Thanksgiving leftovers you freeze for later and ultimately decide to chuck. But Supermoon, the punchy five-song package Charly Bliss delivered in October, several months after their rock-solid sophomore effort Young Enough, feels vital and sequential, like the Brooklyn-based band were on a roll and they just couldn’t stop. These songs reasonably fit in Young Enough’s cracks. Eva Hendricks balances existentialism with nihilism on the power-pop ripper “Feed,” bemoans bygone celestial events on the title track and drops the vivid phrase “Blinding sun, demented shade / It’s easy to love you from far away” on the rocking “Slingshot.”

The EP also houses the band’s “first love song” “Heaven; a single released in 2018 between the band’s beloved 2017 debut Guppy and Young Enough, making for an apt bridge between the two. 5 Guppy-style rockers! Slingshot is gorgeous, sounds as good as the Breeders or Veruca Salt ever did!

Listen to the Supermoon EP released October 30th, 2019

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Charly Bliss released a new album this year, “Young Enough”, via Barsuk . Many of its standout tracks were already released as pre-release singles (and all had made our must listen Songs of the Week ), but there are also some worthy album tracks too. We considered the late album ballad “Hurt Me” (“You need me like a parachute” is a good line), but album opener “Blown to Bits” caught our ears the most. In the sequencing it provides a nice built up to album highlight (and first single) “Capacity.” “I don’t know what’s coming for me after 24,” frontwoman Eva Hendricks sings. If her band keeps putting out albums as good as Young Enough then lots more great things should be coming for her in the future. Touring their sophomore album, Young Enough, that has proven they’re a true force to be reckoned with

Previously Charly Bliss shared a video for Young Enough’s first single, “Capacity,” which was directed by Michelle Zauner aka Japanese Breakfast . The they shared another new song from the album, “Chatroom,” also via a video for it. Maegan Houang directed the twisted clip, which starred Hendricks as the member of a cult. “Chatroom”. Then they shared another new song from the album, “Hard to Believe,” via a video for it .

On Guppy, Eva poked fun at herself lyrically, but on Young Enough she resists the urge to swerve sincerity. “I was trying to be completely honest, and not always go with my first instinct, which is to be sarcastic or to deflect,” she admits. Eva’s still singing about cute things like bathing suits and kissing boys, but now there’s more sex and nakedness (“I’m fucking joy and I hemorrhage light,” she belts on “Bleach”), more confessions of fear and pain.

Inspired in turn by Lorde’s Melodrama, Superorganism, and recent tours with Bleachers, Wolf Parade, and Death Cab For Cutie, the foursome is especially pleased with the way Young Enough sounds dynamic, forthright, and full of feeling. “It’s still explosive,” still has that frenetic Guppy spirit, Spencer notes, “but it’s more emotional.” They strove for diversity of sound, allowing the songs to have “more space,” to not always be “in-your-face” and “at 110 percent,” an approach that led to roomier, more languid tracks like “Young Enough” and “Hurt Me.”.

Eva, is now twenty-five, is talking specifically about the title track of the forthcoming Young Enough. Lyrically, she says, the track reflects on the anger she expressed on Guppy. “We’re young enough / to believe it should hurt this much,” she sings, her tireless voice mellower than usual; “I had to outgrow it to know or destroy you.” She calls this potent slow-burn the album’s centerpiece, because it’s about “what it means to come out the other end of a really terrible situation” as a softer person, about looking back at yourself with kindness and acceptance, about recognizing you’ve evolved. “You gotta go through it,” she says, addressing her younger self, “but it’s not who you are forever.”

While Guppy took years to complete—they recorded it twice, and some of those songs were almost five years old by the time they came out—Young Enough is the product of complete concentration. After Guppy, each member of the band quit their steady barista and bartender jobs in order to become completely engrossed in the songwriting process. Not always trusting their initial impulses is something the band can all agree on, as evidenced by the re-recording of Guppy, and their penchant for what they call the “Frankensong.” Guppy’s standout, the firecracker breakup track “Glitter,” was one of those; it went through rounds of editing and rearranging until all that remained of the demo was the pre-chorus.

It’s hard to put into words how excited we are to share our second album Young Enough, released May 10th, with all of you. This album was a joy to make. We worked harder and were more focused than ever before, and our confidence and trust in one another and ourselves grew with every song we wrote. This album is a celebration of personal growth, meant to be danced and cried to in equal measure. We can’t wait to share more songs and more information with you in the comings months, but for now, we hope you enjoy our first single, “Capacity” and the beautiful video directed by Michelle Zauner and shot by Adam Kolodny. Also, Also, a huge thank you to Ebru Yildiz for our beautiful album cover and press photos.

After eight years as a band, Charly Bliss’ unfuckwithable chemistry has only gotten stronger. “It just gets better,” says Sam, who’s lanky, earnest, and excitable, and has recently been sporting a platinum coif,

After exploding out of the gates in 2017 with arguably the best rock record of the year in Guppy, Charly Bliss were always going to have to put in the hard yards to outrun the shadow cast by their debut.

Not only were they able to achieve that with Young Enough, they were able to do so entirely on their terms. Yes, this is an album that embraces the band’s love of pop music. It’s not a dirty word where these four come from — and nor should it be.

The VIP tracks this time are “Capacity” and “Chatroom,” also the Frankensongs. “Capacity”— is a sparkling, characteristically feisty, anthem-sized song whose tempo, Sam says, was designed specifically for strutting down the street—was tabled before the band “reopened the case” many months later, during pre-production with producer Joe Chiccarelli (The Shins, The White Stripes).

With that being said, you won’t find any other pop song on the radio right now that strikes upon the human condition the same way standout tracks like ‘Capacity’ and ‘Chatroom’ do. Emotively striking and visceral in its honesty, they’re delivered so subtly and in such glossy packaging that you might not even fully understand the weight of that verse you’ve been singing along to this whole time.

From the charging ‘I Fought the Law’ pastiche of ‘Blown to Bits’ through to the quietly-devastating title track, Young Enough is a stellar achievement for a band that doesn’t show any signs of slowing momentum. “I’m always nervous,” Eva concludes. “But it feels good to have songs that are still changing every time you play them, because you’re reviewing what’s working and what’s not working. And to be really nervous—it feels really good.”

The band:

Eva and Sam Hendricks, Dan Shure, and Spencer Fox

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Recording an excellent debut album is mostly a blessing, of course. But there’s some curse involved, too, in that you have to figure out how to follow it up. That’s not easy to do. Usually, it means refusing to stagnate, lest you be labeled a one-trick pony. So you must try to record a set of songs that showcase some artistic growth and aesthetic ambition, but at the same time, you don’t want to stray too far from what worked so well the first time out. On their second album Young Enough, Charly Bliss navigates these various pressures and pitfalls without overthinking them. The hotly tipped New York City combo broke through nationally in 2017 on the strength of its debut album Guppy, a perfect—yeah, I said it—10-track blast of sweetly serrated pop-rock supercharged with punky energy and plentiful hooks. Two years later, Young Enough introduces new moods and textures without tamping down the band’s irrepressible likeability. There is unquestionably a centerpiece song on Young Enough, and that’s the title track, which clocks in at 5 minutes and 20 seconds long—an epic by this band’s standards. It’s time well-spent: slow-burning, dynamic, emotionally resonant and representative of Charly Bliss in 2019. Here, you can hear how the synthetic sounds better contextualize Hendricks’ desperate words by drawing out their meaning and feeling rather than running roughshod over them like Guppy’s rollicking arrangements. In doing so, they also open up a promising path forward for the band. That sophomore album challenge? Charly Bliss have nailed it.

Charly Bliss release their sophomore album, Young Enough, on May 10th, and they’ve shared a second new single from it, “Hard to Believe.” It’s a little more guitar-oriented than synthy first single “Capacity,” and Eva Hendricks says, “Sam wrote the guitar riff very early on in the writing process of Young Enough and we’ve always been obsessed with playing it because it’s so insanely catchy.” She also says the song is “about being addicted to a bad relationship, and the endless cycle of trying and failing to end one.”

Eva is the only woman of Charly Bliss’ power pop Brooklyn-hailing foursome, and her three bandmates’ male voices swirl flatteringly around her own in earworm harmonies on their second full-length, Young Enough. The title track tells a story of failed teen romance, with the resounding chorus “We’re young enough / To believe it should hurt this much,” ten words managing to convey both the masochism of starry-eyed youthful interactions and the age-earned knowledge that love shouldn’t be so painful. This record is one about growing up, detailing how expectations change and evolve as we experience disappointment and betrayal and heartbreak.

Charly Bliss second album released 10th may 2019

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‘Hard to Believe’ is a song about being addicted to a bad relationship, and the endless cycle of trying and failing to end one,” explains Charly Bliss frontwoman Eva Hendricks. “[Drummer Sam Hendricks] wrote the guitar riff very early on in the writing process of Young Enough and we’ve always been obsessed with playing it because it’s so insanely catchy.” It certainly is. “Hard to Believe” is Charly Bliss power-pop in its purest form, an effervescent rocker that goes down like a shotgunned soda. As is customary for the band, the song’s bubbly instrumental blast belies harrowing emotional turbulence, a heavy weight masked by lightness: “I’m kissing everything that moves / I’m kissing anything that takes me far away from you,” sings Hendricks, unflinching in laying her conflicting feelings bare.

It’s hard to put into words how excited we are to share our second album “Young Enough”, out May 10th, with all of you. This album was a joy to make. We worked harder and were more focused than ever before, and our confidence and trust in one another and ourselves grew with every song we wrote.

This album is a celebration of personal growth, meant to be danced and cried to in equal measure. We can’t wait to share more songs and more information with you in the comings months, but for now, we hope you enjoy our first single, “Capacity” and the beautiful video directed by Michelle Zauner and shot by Adam Kolodny. Also, Also, a huge thank you to Ebru Yildiz for our beautiful album cover and press photos. In addition, we’ve added a handful of European tour dates in May.

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Charly Bliss are back with their sophomore album Young Enough. Produced by Joe Chiccarelli (U2, Beck, Alanis, The Strokes, The Killers, My Morning Jacket, Cage The Elephant), the album finds the band exploring both the darker and poppier side of their sound while expanding on what made their debut Guppy a critically acclaimed smash.


Releases May 10th, 2019

Charly Bliss is Eva Hendricks, Sam Hendricks, Spencer Fox and Dan Shure

Charly Bliss Announce New Album <i>Young Enough</i>, Share Video for New Single "Capacity"

Charly Bliss have announced the release of their second full-length album “Young Enough”, due out May 10th on Barsuk Records. They’ve also shared a video for the album’s lead single “Capacity,” directed by Michelle Zauner of Japanese Breakfast. Charly Bliss, a band who previously leaned punk-rock, made an invigorated return with a new song that sounds more like pop heaven than lo-fi garage purgatory.

“Capacity” has all of the band’s signature power-pop sound, but this time it appears to be pointed more towards major-key synths than the punk fervor of their debut record Guppy. The video for “Capacity” depicts the band members as robbers who have a falling out after completing a heist. Adam Kolodny served as director of photography for the video and Zauner edited it.

“Charly Bliss has always made great narrative music videos, so I wanted to stay in line with that tradition and take advantage of working with a band that are all such great, funny actors individually,” Zauner said of the video in a statement. “Eva had an amazing mood board she brought to the table with references to Paris, Texas, Five Easy Pieces and Badlands so it was important for us to showcase a warm, ‘70s color palette.”

“It was a dream come true to work with Adam and Michelle on this video,” said Charly Bliss vocalist Eva Hendricks. ”’Capacity’ is a song about wanting to kill your inner people-pleaser, and Michelle beautifully presented a parallel concept, which warns of the perils of getting swept up in other people’s bullshit.”

The announcement for Young Enough comes just two days after Charly Bliss replaced all their posts on Instagram with a video of a dramatically lit room with a drum loop playing overhead, prompting whispers of a forthcoming album. The post now appears to reference the “Capacity” video.

Young Enough will be the Brooklyn band’s first album since 2017’s critically acclaimed Guppy. They also released a new single in September 2018 titled “Heaven.” It appears that track won’t appear on the new album, though.

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As a record, Guppy is superlative. As a debut, the first full-length from New York pop-rockers Charly Bliss, it sounds positively transcendent, marrying those tried-and-true, yet still difficult-to-wrangle adolescent emotions to fuzzed-out guitar riffs and sing-along melodies in a way that feels immediate and vital. Starting with a cooing “Come on baby, get me high / There’s always something new to buy,” singer Eva Hendricks calls out the ready made, disposable nature of this kind of music, yet she and her band imbue it with enough passion and artful songcraft to make it exhilarating all over again. There were more artistically ambitious records released in 2017, but almost none that are this much fun.

Guppy is available now on Barsuk Records


Charly Bliss, a Brooklyn based four-piece, is far from the first band to revel in the glory of the 90s, but their debut, “Guppy” is infused with something more nuanced than just nostalgia. Guppy is ten songs of churning guitars, lead singer Eva Hendricks’s candy-sweet voice, and impossibly catchy melodies. There’s sheer joy here; if you’re not dancing around your room to these songs, you’re at least nodding your head along to the beat as the music blasts out of your headphones. There’s real poignancy as well; even on songs that seem silly, or downright ridiculous.

Take “DQ” for instance: the song starts out being about Hendricks’ jealousy of her boyfriend’s dog: “Does he love me most now that his dog is toast?” But somehow, in Charly Bliss’s hands, a song with the chorus, “I’m four years above sixteen/ I bounced so high, I peed the trampoline/I’m too sad to be mean/ I’m gonna end up working at Dairy Queen,” ends up capturing the self-doubt, the anxiety of growing up, and the reluctance to abandon childhood for the nebulous realm of adulthood better than anything in recent memory.

Guppy has an interesting origin story, in that it was recorded once years ago, thrown out, and then recorded again. The band, which consists of Hendricks, her brother Sam and longtime friends Spencer Fox and Dan Shure, has been touring for years (opening for acts such as Veruca Salt and Sleater Kinney) and wanted to bring the same kind of vivacity to their record as their live shows. “We felt our live show was really strong, and those recordings just weren’t doing them justice. We’re a pop band. We weren’t sounding as accessible as we thought our music could be,” guitarist Dan Shure said in an interview with Bandcamp Daily. As a result Guppy feels incredibly structured and fully-formed, without ever once sounding tired.

Charly Bliss is not a band that uses words simply as fillers in their sonic soundscapes, like some of their 90s loving contemporaries. Like all of the best albums, there’s a world inside Guppy, a frenzied, chaotic whirlwind where everything is happening at once. “Well, I think I’m still breathing/ While my parents are sleeping/ I am sick, but I’m speaking/ My boyfriend is freaking/ My conscious is fucked and my judgement is leaking,” Hendricks sings in album opener “Percolater.” It’s reminiscent of the kind of marathon days of youth, going from party to party, coming into work hungover, skidding from place to place on momentum alone –moments where you think your life is a mess but that in retrospect were the best times. There’s not much time set aside for reflection; instead it gets wrapped up in everything else.

Guppy contains odes to a cast of characters, ranging from Eva’s therapist (“Ruby”) to her ex-boyfriend’s girlfriend (“Julia”), to another ex who left her for his own cousin, (“Westermarck”). The songs don’t sound terribly different from one song to the next, but they definitely don’t blend into each other and fade away either; Guppy is consistently engaging, energetic and entertaining. This is not an album for passive listening; this is one to replay all night long.

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