“I have concluded that the reception of CocoRosie in the US reflects the denial of a greater feminist issue, an ecological issue, a racial issue, a spiritual issue. If we cannot face that our collective brokenness in these areas is the rockbed of our crisis as a virulent species, then we will continue in our blindness to dismiss our American art revolutionaries who are out in the field, working through exactly these issues. For me Cocorosie’s new album Grey Oceans is perhaps the most important new music coming out of the US this year. It is no surprise that as the sea turns black in the gulf with no end in sight in the midst of the biggest ecological disaster in US history, CocoRosie are the only ones to hit the zeitgeist with an album filled with psychic omniscience, entitled “Grey Oceans.” And yet it seems to be the album the indie US press doesn’t want to talk about. Bianca and Sierra Casady paints pictures of lost children across a broken land, feral, elemental spirits who roam the dreamscapes of our world, naming perpetrators, painting their memories, recovering and reclaiming power. They are unafraid to manifest their vision that the application of magical creativity could be a balm for aching souls in a struggling world. They take risks that no other artists in the scene dare to, and the (predominantly white hetero male) music press punishes them for it. In the artistic community, CocoRosie are treasured. Their costumes and visual aesthetics are a vital part of their expression, revealing further illustration of their ideas and their inspirations and creating a striking format for the shamanistic shapeshifting that occurs in their live performances (in some ways they are the feminist branch of a voyage that Animal Collective in their boyish and heralded way have undertaken in parallel) and yet as women Cocorosie are dismissed because their visual presentation frustrates many male writers’ abilities to sexualize them. Who are you assigning to think on your behalf? ”