Emily Frembgen

“Instead of shrinking, the songs soar, with occasional flashes of lightning and midnight made bold by a purity of voice, a clarity of composition and a confidence that knows just how loud quiet can truly be.” – Jason Heller, Westword

After a successful tour and two albums with Denver indie-rock band Language of Termites (“In a Different Time and Place”, 2009 and “Preterito Perfeito,” 2012) and a string of DIY solo albums and EP’s (“Emily Frembgen and the Spiky Little Pinecone,” 2009, “Always With You,” 2010, “Fremb Fatale,” 2015 and “My Cat From Hell,” 2016), Emily enlisted world-renowned Blues musician Hugh Pool, along with musicians Keith Robinson and Charles Dechants and Xenos, to produce the first single of her new album, “Silver Lining” with friend and collaborator Keith Xenos at Excello Studio in Greenpoint. With its infectious melody and romantic optimism, “Silver Lining” is a fan favorite, envisioning a “perfect world” where “we’d both have everything/The cake and the icing.”

Her next single, “Flower/Weed,” a harsh awakening to “Silver Lining’s” cautious optimism, was produced at Figure8 Recordngs in Prospect Heights by Xenos and Charles Burst. The disillusionment can be felt through a beautifully odd chord arrangement with sparing keys sprinkled throughout. “My Hearts a Flower, your heart’s a weed/ growing like a disease,” she softly and painfully sings.

Emily then enlisted comedians she met in the overlapping NYC comedy/music scene like Clare O’Kane, Nick Thune, and Joe Pera to help her crowdfund her album. She returned to work with Hugh Pool at Excello where he has worked with Taj Mahal, Debbie Harry and Michael Pitt and a host of others. Once again, drummer Keith Robinson and bassist Charles Dechants joined. Here they recorded “Changes,” “Turn Around,” “New Feelin,” “Butterfly,” “Hometown,” as well as “He Held onto Me” and “Sad Affair” on which Brian Mitchell, a musician who has worked with countless heavyweights such as Bob Dylan himself, played keys. Irreverently titled “It’s Me or the Dog,” this album is Emily’s most personal and fully realized offering to date. It’s indicative of everywhere she’s been and everywhere she still wants to go. As fellow musician Sam Barron says, “Frembgen has an angelic voice, ethereal songs, and a poetic sensibility that recalls the minimalism and genius of Emily Dickinson”