Singer-songwriter Lissy Trullie envisions a punk planet
Downtown Records and Lissy Trullie are thrilled to announce the release of her self-titled album, out March 6th 2012. Produced by John Hill (Santigold, M.I.A., Shakira) and David Sitek (TV On the Radios, Yeah Yeah Yeahs, Liars), Lissy Trullie is the follow up to her critically acclaimed debut EP Self-Taught Learner. The first song off the new album, Madeleine, is a lush and arresting introduction.
Though she had been playing guitar and writing songs since age eleven, and in bands since she was fourteen, it was 2009’s appropriately titled Self-Taught Learner that served as the world’s introduction to Lissy Trullie. The debut EP was made hastily on a sparse budget, but it garnered encouraging reviews. Spin deemed her music “as effortlessly cool as her favorite black leather jacket,” while The Onion described her as “a brash, fetching artist with a solid hold on songwriting and game way of flirting with snarls and snaps.” A growing fan base and groundswell of interest in the young newcomer to the NYC scene attracted the attention of the highly regarded Wichita Records in the U.K. and Downtown Records in the U.S. Trullie also gained nods from fellow musicians, and was invited to tour with such acts as TV On The Radio, Blondie and the Cribs.
Over the past two years, Trullie honed her live skills and began to develop the material that would comprise her first album. The making of the long-awaited disc became a lengthy but illuminating learn-by-doing process, starting with tentative sessions in London and Stockholm. It wasn’t until Trullie began to collaborate with producers Hill and Sitek, though, that she knew she’d found the right combination of people, environment and attitude to realize her vision.
Lissy Trullie, made in the L.A. studios of both Hill and Sitek, is coolly confident in feel, its mostly brisk punk foundation yielding to memorable pop choruses along the way. On the album, dirty guitar sounds and driving, new wave-tempo-ed drums are countered by swirling synths, brass, and layers of heavenly vocals, a beguiling mix of the earthy and the ethereal. Trullie’s voice and presence is commanding throughout; with her elastic singing, she comes across at times like a modern-day Chrissie Hynde. But the artful precision of the arrangements belies the more spontaneous nature of the sessions, as Trullie reveals: “I think the benefit of working with John and Dave is that there was no mention of pressure, and they had zero rules. It was just free-form creativity, any wacky suggestion was taken, and that’s how the sound of the record happened. That style of working just suits me very well.”
“I write so I can find something new and hopefully keep growing,” says Trullie. “This was the first time I got into a real studio with real producers and by the end of the recording process I wound up with what I wanted from the very start – to make music that has evolved.”