For more than two decades, Bianca and Sierra Casady have transmuted the love, struggle, and ecstasy of sisterhood into some of the boldest, most dangerous, and untamed music produced within our increasingly sanitized culture.

CocoRosie has always stood at the forefront of musical experimentation, influencing countless artists while inspiring and creating refuge for the world’s “queer outlaws.” Above all, CocoRosie has been a channel for unrestrained artistic self-realization.

Little Death Wishes is as open and tender as any album they have created. Its songs weave a kaleidoscopic narrative of the generational struggles of women and the fragmented realities of their lives, exploring the precious and precarious nature of being human — the feeling of not being made for love, and the ultimate desire not to be broken. The album distills CocoRosie to its most visceral essence: transforming pain into knowledge, sisterhood into discourse, trash into treasure, and reclaiming kitsch and cliché as fresh truths.

The duo’s eighth record exists within its own musical lexicon — both primal and raw — a richly layered bricolage of dusted pop-culture signifiers reshaped through the sisters’ unique sense of temporality. Contributing to avant-garde traditions while remaining outside contemporary trends, CocoRosie gathers musical fragments from other eras and transforms them into baroque, theatrical creations of their own. With the sisters’ hands present in every layer of the music, each song on Little Death Wishes becomes both a vehicle and an act of transformation.

“CocoRosie has long been the center of our lives,” says Bianca. Over the years, the sisters have been infantilized, fetishized, mirrored, misogynized, and adored; at times intentionally misunderstood by the press, which struggled to reduce their work to any simple narrative. Despite this, the duo has continued to pursue the most courageous and daring paths, elevating the rawest, most vulnerable, and tender threads of humanity and guiding audiences toward the light.

Across their 20-year career, CocoRosie have released seven studio albums: Put The Shine On (2020), Heartache City (2015), Tales of a Grasswidow (2013), Grey Oceans (2010), The Adventures of Ghosthorse and Stillborn (2007), Noah’s Ark (2005), and their debut La maison de mon rêve (2004).

CocoRosie have composed original scores for four full theatrical works by renowned director Robert Wilson: Peter Pan, Pushkin’s Fairy Tales, Edda, and Jungle Book. They have also performed alongside the Kronos Quartet at the San Francisco Jazz Festival, a collaboration that has led to new works to be released in an upcoming album.

Beyond touring as CocoRosie, Bianca Casady has curated several international art exhibitions, including shows at Deitch Projects (2007) and Cheim & Read Gallery (2012). Working within experimental theatre, she has also directed productions such as NightShift (2012) at Kampnagel in Hamburg, Mother Hunting (2015) at the National Theatre in Oslo, and The Angel Show (2017) at the National Theater Academy in Norway.

Sierra Casady is a classically trained opera singer and stage actress, while Bianca Casady is a poet and visual artist. Their performances explore the human experience, merging theatrical practices, high fashion, and contemporary art. Through radically subversive conceptual art, CocoRosie use irreverence to address human rights issues and provoke reflection on social values.