The name Coco might be foreign to you, as it is definitely foreign to search engines in the alternative rock context, but the name Maia Friedman shouldn’t be. The versatile and talented multi-instrumentalist from Southern California is known for her work as part of the band Dirty Projectors and her numerous songwriting credits across the alternative scene. On the heels of her first solo project however, she has collaborated with guitarist Oliver Hill of Povo Povo fame and drummer Dan Molad of the band Lucious for this carefully crafted, somber and ballad heavy LP. The versatility of this project’s lineup has not gone unnoticed either, as the sounds across the album echo quirky musicality and accoutrements carried by Friedman’s sad but sweet vocal quality and laidback but enticing guitar sounds by Hill. Even the boy’s get their chance to sing front and center on the tracks “Eleanor” and “Anybody’s Guess”. Friedman’s apparent knack for finding and putting together talent has made a track listing that makes you wonder just how necessary a name is, when the product speaks for itself.
The first song off of this 10 track LP is “Empty Beaches”, a slow and almost muted ballad that relies much on Friedman’s soft spoken and touching vocals and a serene harmony by the entire band. The next song “Knot”, explores an organ like sound and bolder chord progressions, making an encompassing sound that feels like it should be experienced in the halls of a grand church. This special combination makes this track my favorite of the entire project. Simplicity is the name of the game with “Last of the Loving”, a straight to the point, no nonsense pop-alt ballad that is sure to be this album’s ambassador for the mainstream world. Next comes along “Come Along”, a bass heavy ballad whose earnest lyricism and enchanting use of the violin reminds me of the older alternative-soft rock ballads of the late 70’s. Then we have “Hard to Say Hello”, another song that felt like another showcase for Friedman’s vocals until the end, when an unexpected visit by the sound of a violin and piano manifests to close out the track. “One Time Villain” keeps it low to the ground at first, with vocals in the lower register and a concurrent baseline that accentuates the odd but charming high synth sounds that dot the track. The next track “Over the Houses” is a quick but poignant two-minute ballad here to remind us of the beautiful talent that the 3 members share on the acoustic side of musicality. “Sage” distinguishes itself from the other ballads on the project with a southern twang created by Hill’s ear for the guitar and limited use of the steel guitar. This homage to southern influence is no doubt due to the production of this album taking place mostly in Nashville. Whomever “Eleanor” is, she is a lucky lady, because the lyrics on this track make me wish I was her. Dan Moland’s resolute and longing vocals are beautifully combined with a grand piano sound that would make anyone with the name blush. To round out our tactful ten tracks is “Anybody’s Guess”, a song that almost feels like a summation of the entire album, with lead vocals rotating between the entire band, a strong bassline, the quiet wail of a violin in the background, sweet guitar fills, and enough longing for love to fill a lifetime.
Overall, if you don’t like ballads, this album might not be for you. However, if you’re in the mood to remember the one who got away, spend time with the memory of the one you have now, or dream about the one you want, Maia Friedman’s Coco has got you covered.
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