LITTLE DEATH WISHES: COCOROSIE ON SISTERHOOD, SURVIVAL, AND TURNING TRASH INTO TREASURE
For over two decades, the sister duo of Bianca and Sierra Casady—known to the world as CocoRosie—have occupied a singular space in music and art. Melding poetic lyricism with lo-fi experimentation, classical instrumentation, and genre-bending production, they’ve continuously defied convention, carving out an unapologetically original creative path. With the release of their highly anticipated eighth studio album Little Death Wishes via Joyful Noise Recordings, CocoRosie once again reasserts their position as vanguard artists in a cultural landscape that increasingly favors the sanitized over the subversive.
Little Death Wishes is a haunting, richly layered body of work that transforms personal trauma and generational hardship into sonic alchemy. From the existential ruminations of “Cut Stitch Scar” to the Chance the Rapper collaboration “Girl in Town” and the brutally raw track “Nothing But Garbage,” the album showcases the sisters’ gift for turning pain into poetic revelation. Themes of death, divorce, brokenness, motherhood, and rebirth ripple through the record, culminating in the cathartic final track, “Unbroken.”
To celebrate the release, CocoRosie hosted The Jubilation Ball: A Tits Out Ecstatic Rave Celebration earlier this year at roller-skating rink Xanadu in New York—an immersive experience that blurred the lines between party, performance, and visual art installation. Throughout this summer, they are on their most ambitious tour, with 42 live performances throughout Europe.
In our exclusive interview for The Untitled Magazine, Indira Cesarine caught up with Bianca and Sierra to discuss their creative process, the evolution of their sound, the poetry and politics of their personal style, and how sisterhood has served as the emotional and artistic bedrock of their work. We also dive into the visual and conceptual layers of Little Death Wishes, and their reflections on two decades of artistic risk-taking, and the hard-earned wisdom they carry forward.
Both Bianca and Sierra bring expansive interdisciplinary backgrounds to CocoRosie—Bianca as a poet, theater director, and visual artist, and Sierra as a classically trained opera singer and composer. Together, they continue to build a world that is not only musically and visually arresting, but also deeply rooted in resistance, transformation, and fearless feminine expression.
Read on for the full interview below, along with our exclusive photos and behind-the-scenes video shot on location with CocoRosie at Xanadu roller-skating rink in Brooklyn.
Bianca Casady: I feel like I’ve seen your name and the name of your magazine for a really long time!
Indira Cesarine: Yeah. We actually featured you guys in our GirlPower Issue, which was one of our early print issues. We also featured your artwork in our first exhibition at The Untitled Space gallery, titled “The F WORD: Feminism in Art.”
Bianca: Yes! I just caught some of your open calls in the last month, and I was looking into it. That’s so cool—it’s all coming back around.
Indira Cesarine: Thanks again for joining me today. It’s been super cool working with you guys, and I really enjoyed the performance you did in Brooklyn. That was so fun.
I wanted to start from the beginning of your journey as a musical duo, being sisters. I know that you have been performing for 20 years now, which is a massive achievement—two decades of music. I would love to circle back to how your early childhood influenced your work and continues to shape your sound today.
Can you share some insight for our audience who might not be as familiar with your background on the unique lifestyles that you lived and how they have influenced your music? What was life like for you both when you were kids?
Sierra Casady: I think everybody has incredible stories to tell about their childhood. Yes, we certainly, over the years, have found that we’ve been distracted by memories from the past. They were so rich. We spent a lot of time on the road traveling. Our parents were separated, and so when we were with our dad, we lived on the road, camping. There were seven of us—brothers and sisters—so it was really this kind of circus scene, almost.
And our mother, she taught us art and music and provided something very different. It set the tone for an exciting sisterhood, and we’re constantly drawn back to some of those—what felt at the time—kind of exotic moments.
Indira Cesarine: I read about your nomadic lifestyle—living on reservations, participating in peyote circles, and experiencing all kinds of really interesting things. You had a spiritual upbringing that wasn’t exactly traditional for most American children. Can you share a bit about those early experiences?
Bianca: A lot of people rebel against their upbringing and their family, and I think for us, that expressed itself in being turned off by magic, witchcraft, and certain kinds of spirituality—things that have actually become pretty popular, even in pop culture, over the last 15 to 20 years.
We’ve had these phases of recognizing our own witchiness and realizing that we had been avoiding it because of where we came from. We’ve been slowly stepping more into that. It’s not that we completely resisted it, but I’d say, until not that long ago, we weren’t really embracing it.
People have to come into their own things in their own time, even if it’s something they’ve already been exposed to. We think a lot about magic in relation to creativity. I think both of our parents operate on a level that engages with the magical realm, though in very different ways.
We grew up in an atmosphere that talked about magic—definitely animism, the divinity of nature. I was personally late in appreciating nature. That was part of my rebellion—I was more into the city and books. But with my sister, and with CocoRosie, we’ve almost had these second and third childhoods.
Around the time we did Grey Oceans, our fourth record, we were rediscovering fairies, getting really into the natural world. This theme of elementals in a kind of post-apocalyptic world, where nature was going to survive—we weren’t going to survive—but all the elemental beings were going to come back out and reign the earth. That sort of imagery and those themes have really shaped our creativity and found their way into our music over the last decade.
Indira Cesarine: That’s cool. I thought it was really interesting reading your bio—I understand you were raised between Iowa and Hawaii and traveled a lot. Then you reconnected in Sierra’s apartment in Paris after nearly a decade apart and started making music together in her bathroom.
Looking back two decades later, did you have any idea then that you’d become a musical duo that would continue performing for over 20 years? That must have been such a magical time. How do you look back on those early beginnings of when you started making music together?
Sierra: It might be a little different for Bianca, but I recently realized something about our coming together story—I don’t think I ever told her this—but I had never heard her sing, that I could remember. When she joined me in Paris, it was a very special moment. I was studying classical music at the time—opera—and I heard her voice. It was such a delight. It excited me and sparked the idea of doing an art project together.
Bianca: Yeah, I feel like we didn’t have much conversation about being a band or figuring out how to get the music out into the world. But we were possessed—we were clearly already on a trajectory, even if we weren’t fully conscious of it.
I feel like Sierra was taking really strategic steps to make it happen, even though I don’t remember us actually talking about it. We put our first record onto CD and went back to New York. Within weeks, we had a record label. Everything happened so fast—suddenly we were touring Europe. I don’t remember even having the chance to think about it—it was just this momentum, and it kept going.
So no, we couldn’t have imagined this would go on for 20 years or more. But it still has this kind of vital, mysterious momentum that keeps leading us in directions I don’t think anything else could have. It’s like its own force.
Indira Cesarine: It was clearly meant to be. You both obviously have an incredible synergy working together. How do you find the collaborative process? Do you each take on a particular set of responsibilities, or how do you divvy it up as a duo? That must be challenging, especially working together as sisters.
Bianca: It is, but it also kind of isn’t. There are a lot of advantages to the way we can shift. I think about when we were working in the theater under pressure to create music on the spot with a large ensemble, and a lot of tension of the production. The way we could just lean on each other—like, “Okay, I gotta get out of here, I’m losing my mind”—and the next person would step up and take charge. Sometimes we’re in each other’s way, for sure, because we’re both leaders—but really different kinds of leaders.
Sierra: Hardly in each other’s way, though.
Bianca: But often, we can just switch hats. The other person can breathe for a second—there’s this dance. And I think that’s really fun, when we feel that kind of equality. We’re so different, but it’s complementary. Sometimes it feels like, together, we’re a complete package.
Indira Cesarine: That’s cool. Do you ever fight or clash?
Bianca: I mean, creatively, we clash—but that’s something we’re so comfortable with. It’s the inner fabric of CocoRosie. For instance, when I create music—like melodies on my own, Sierra will say, “You know, that’s a single chord,” and I’m like, “What are you talking about?” I don’t hear it that way. I don’t think of it that way.
We hear and think about music really differently. She’s like, “Where’s the beginning? Where’s the end?” And I’m like, “I don’t care about that stuff.” We’re so intrinsically different, and I think we’ve accepted that the tension is the process itself. It’s what makes the music what it is.
Indira Cesarine: That’s cool. You obviously push each other creatively. And you do come off quite different. I noticed that in person, having worked with you, it’s a really interesting dynamic. I can see one person pushing forward while the other pulls back, and vice versa, as needed. It’s actually really nice to see that. You really look after each other when you’re together.
So let’s talk about Little Death Wishes, which is your eighth studio album. That’s very exciting—congratulations!
Bianca: Thank you!
Indira Cesarine: Tell me about how this release reflects where you’re at now in your evolution as CocoRosie.
Bianca: My first feeling is that we’re in this in-between moment. It’s been released, but we haven’t had a lot of engagement yet, aside from that celebration moment in New York. We haven’t gone out on the road yet. It’s almost like when the sea pulls back again. So I’m a little like—what’s happening? Is it falling into people’s ears and lives? I’m curious.
It’s that in-between moment, where I feel like we haven’t fully entered the world yet. But there are other ways to approach that question, in terms of the content of the record. I feel excited about the voice and perspective we represented. I think we’re talking about things that aren’t oversaturated out there—like divorce, death, some of the uglier sides of motherhood—things people don’t often put out there.
There’s a lot of shit-talking on the record. It’s cranky. But in the end, we’re taking a certain power by just putting it out there. It’s been very jam-packed. I think the older you get, the more dense life experience becomes, with different levels of hardship. It’s been a really dense decade, and this record gave us a place to put it all, you know?
Indira Cesarine: You mentioned experiences with motherhood. I don’t know much about your personal lives—do you both have children?
Sierra: Yeah, I’m a mother. And I’m so close to Bianca that I’ve been able to share that experience with her intimately. She’s been by my side, coaching me, supporting me, loving me through the process. And it’s been so hard.
Our own mother died right before I had kids, about six years ago. There’s just been so much around the subject of what it means, as a woman, to have that responsibility. It’s definitely been a through-line in a lot of our storytelling.
Indira Cesarine: That’s powerful. I imagine that having your music as a creative outlet must be an amazing platform to express those experiences. I find your work incredibly poetic. Little Death Wishes is such a poetic title. Can you tell me about that title—what inspired it, and what it represents?
Sierra: It’s interesting, because we’ve had that feedback—that there are a lot of messages in our work. For some people, they even see them as important guidelines or communications. But for us, the process is very intuitive. Even though our work might be layered with storytelling and controversial ideas, it comes from another realm. We allow it to be shaped by the cerebral space of poetry and musical technique. But the flow, especially when we’re together, is organic.
Bianca: Yeah, we allow things to come through that have a kind of density or resonance— that we don’t have to understand with words. If we both feel it, we don’t question it. We let it lead us. That happens a lot with titles.
Sierra did a lot of the writing on this record, which is kind of unique for our career. So much that I may have lost track, whereas in the past I’d be pretty clear about who wrote what. The song Nothing But Garbage is where the title comes from.
At first, Little Death Wishes felt like the name of a character, like Little Red Riding Hood or Little Death Wishes. But it holds a lot of possibilities, and we’re enjoying that. We don’t want to limit it.
A few months ago, I was feeling really apocalyptic—just overwhelmed by the political climate, so much tension politically, and feeling like we’re heading into a nuclear war. And instead of feeling doomed, I had this moment of: How can we really live this moment? I was listening to the record, trying to prepare for tour, and I thought—Little Death Wishes is all this shit we’re doing as humanity. Fast fashion, endless consumption, all these ways we push things to the edge. Just thinking of us collectively—these actions are like death wishes, basically. These larger actions we’ve been participating in for a while. So those are just two different interpretations of the title.
Indira Cesarine: What would you say is unique or different about this album compared to your past ones?
Bianca: Well, it feels quintessentially CocoRosie. We kind of got into funk, but that already happened on the previous record. These things start to emerge on many different layers. There’s a stylistic aspect that maybe I’m pushing through the drums and the bass, but then there are other themes that aren’t stylistic. Each record gets harder and grittier—more hip-hop. That’s the direction we’ve been going since the beginning. It might just be our experience, but I think we really embraced it. Like with the song Pushing Daisy, there’s this feeling of hardness and dirtiness that’s really coming through—and we’re excited about that. Because it’s very female in terms of the storytelling, but there’s a kind of toughness in the sound that we’re enjoying.
Indira Cesarine: I thought it was interesting that for your track Girl in Town, you collaborated with Chance the Rapper, which felt like such a unique and unexpected collaboration, given CocoRosie’s sound. What brought that about?
Bianca: He reached out to us and told us that we really influenced him as a teenager, back in high school. We just sort of took a chance on the connection. There wasn’t a particular expectation—it just felt good.
Sierra: A really easy, good feeling.
Bianca: He invited us to his studio, and we brought some music we were working on. He got right into his process. We got to watch how he crafts his raps in this meticulous and interesting way—very focused. He got lit up and created his part on the spot. We held onto it for a little while, not sure where it belonged, and eventually it found its way into this body of songs.
Indira Cesarine: I’ve read that you’ve said in the past that your music turns trash into treasure. What unique sounds or themes made it into this record?
Bianca: There are a lot of trash themes on this record—like Junkyard, Junkie—it’s the whole backdrop. I think it’s metaphorical, too, about mining diamonds out of hardship. That comes through a lot.
In the first song, Wait For Me, the story is almost pathetic—the main character is disempowered, abused. But in its vulnerability, it becomes something beautiful. And back to the universal, I think just the longing to be loved, taking the most depraved and then distilling it until it’s just a pure universal human condition.
Indira Cesarine: Was there a track on the album that felt healing to create?
Bianca: Unbroken comes to mind right away. I’m really looking forward to performing it live. There’s a focus on brokenness, and then the realization of not being broken, of being us, also unbreakable. That’s the last track on the record, and it’s about everything breaking down, but still realizing there’s a spiritual wholeness that survives any experience.
Indira Cesarine: Speaking of how you work together, is there a particular ritual you return to when creating? What’s your process like when working on a new album and putting together the tracks?
Bianca: It’s actually really casual at this point. The more impromptu, casual, simple—even rushed—the more profound the songs come out of the session. I mean like, almost no equipment. Not having focused creative time, not being able to separate from family duties. It was surprising. We realized, wow, we don’t need anything. A toy keyboard, my computer, a small space, knowing it might get interrupted at any minute. That’s where we’re at right now. Maybe because of the longevity of our creativity together, we don’t need much anymore .
That’s also part of the trash-into-treasure thing. We can use anything—just cut stuff up. All the beats are just samples, chopped up from whatever’s around.
Indira Cesarine: A lot of people struggle to describe your sound because your work is so experimental and you have so many wildly varied influences. How would you describe it in your own words?
Bianca: Experimental pop. I know it’s simple, but we are experimenting with pop—there’s a conversation with pop music. Not necessarily from this moment—it could be the ’50s, or any time, whatever’s inspiring us. There’s also this collage element—it’s upcycled. We even recycle ourselves. That’s one fun thing about doing this for so long—we can reuse the detritus of our own universe.
A lot of the songs come from that. At least for me, speaking from the beat production side, which is a big part of what I do. For Sierra, it’s more melodic. But we don’t shy away from repeating ourselves. We don’t have rules about that. It’s like—we just do what we do. Then, it’s like having another baby—it’s different, even if it comes from the same genetic set.
Indira Cesarine: Yeah, I get it. You’re constantly creating—each new song becomes a cathartic experience of its own.
Let’s talk about your event in New York City, The CocoRosie Jubilation Ball, which was an ecstatic rave at the Xanadu roller skating rink, which I thought was such a fun and unique concept. How did the idea for a roller disco rave come about as a way to launch the album?
Bianca: We really just wanted to celebrate. I think it’s something we’ve never really done publicly before. At one point, I thought maybe this was just a fantasy, that we wouldn’t really be in that “private party” mood—but we were. It was so fun. It felt like it was our bedroom. I’d go backstage and come back out with a different pair of high heels—it was so casual. And it’s really hard to create that kind of feeling at a public event.
We wanted it to be trashy—it could’ve been trashier, actually. It was trashier in our imaginations. We thought it was going to be totally chaotic.
We brought this friend from Berlin, a great actor. I wanted him to play this old, aggressive dominatrix. But as soon as he put on the wig, Sierra got him, I saw a completely different character. I did a 180—I was like, “You’re really nice. You’re actually this spaced-out, dreamy being.” I just started reading the character that was emerging, totally twisted it around, and loved the character that came out. Sometimes the vision and the reality are different, but I loved what emerged.
It was really fun, and that was the main goal. Sometimes it’s hard to have fun at your own event, but I rediscovered this passion I have. It’s something I’ve only really witnessed in the Vogue ball scene—it’s not rapping, but it’s this very rhythmic MC style, specific to that culture. It’s not about being a vocalist—it’s closer to rhythm and poetry.
I remembered I had this secret passion for that kind of MCing and just let myself go. It hasn’t had much of a place in our live shows before, so that was really fun.
Indira Cesarine: Did you get on roller skates at all?
Bianca: I wasn’t in a roller-skating mood. I was surprised—I don’t know what it was. But my sister definitely did—she’s a great roller skater.
Indira Cesarine: That’s fun. I actually got on roller skates when I was there. I had a blast. It was a really cool vibe and a fun, edgy space. I thought it was a really unique performance and concept for a musical kickoff for the album.
And speaking of that, you guys have a massive European tour coming up, right? Can you share any insight into what people can expect from the tour? Will you be performing more unique shows, or will they be more traditional and staged?
Bianca: We’re going all out—more than we ever have. We have new musicians we’re working with, and we’re going to have a string quartet. We just decided to treat it—I don’t want to say like the last tour, because it’s far from that—but with the energy of living this moment to its absolute fullest. That’s how we’re approaching the live show.
Sierra: We’re so excited. The show you saw in New York was more of a party, but this upcoming tour will probably be our biggest show, aside from special orchestral occasions. We’ll have seven people on stage, or actually eight. Four strings, a cristal baschet, a celesta—plenty of beautiful orchestral instruments—and live drums.
The stage will be full of the most enchanting sounds we’ve ever put together. We’re very excited to be traveling with all of these special musicians and instruments. We hope to create the most dynamic show we’ve ever done, with the smallest, quietest sounds and moments where it’s just bells accompanying a song, to full-on ensemble soaring together.
Indira Cesarine: That sounds really cool. And Sierra, I know you trained as an opera singer and have performed with orchestras around the world. How does that classical training inform the way you approach your live shows?
Sierra: You know, I didn’t have that much classical training. I was really a dropout. I studied as a soprano, but I didn’t go so far as to fully identify with roles in classical operas. I was very excited about my voice, but then I took such a big turn into pop music. I’d say what’s left in me from that training has been a platform for me to keep my voice alive. I know how to work with scales and exercises, and basic techniques. I’ve been able to share that with Bianca too, and it’s helped us keep our voices in shape so we can continue to enjoy them after so many years.
Indira Cesarine: That’s cool. I recall seeing you perform at the Watermill Center a year or two ago with Robert Wilson—what an incredible performance. Can you tell me about your artistic collaborations with spaces like that, where your work moves more into performance art than traditional music?
Bianca: That’s a world we’re really enchanted by, even though we haven’t done a lot of it. It feels so natural to us. I’m really passionate about creating theater, and for Sierra to have another space where her classical singing can be instrumental in bringing magic—it allows us to enter a more fairytale realm, which is definitely an aspect of CocoRosie.
We’re slowly edging our way into that world, and our hearts are very much lingering in that space. Robert Wilson has been a major marker in our creative life—he really stands out. We started working together in 2013, right when I was getting interested in theater, and I hadn’t had much exposure to it before. He’s been a mentor, I’d say.
We had an unexpected connection with him as an artist. He has this whole legacy that we weren’t even really privy to. We just heard about him. Our good friend Anohni had just done a piece with Marina Abramović—The Life and Death of Marina Abramović—right before us. We were just becoming aware of that world, and then suddenly we were interjected into it, and it asked us to really grow. It was another moment where we felt like our britches were a bit big. There have been a lot of those moments in our creative life, where we’re invited to do something we’ve never done, and it’s at a pretty high level. And then there’s this big blooming that happens in that chasm of doing something you don’t know how to do. We ended up doing four productions with him. They’re musicals with tons of songs—nonstop music. Turns out we’re musical theater writers! That was a real surprise.
We both had a pretty bad association with the term “musical theater.” Don’t get us wrong—we’re not into Broadway or anything like that. We’re pretty snobby when it comes to that stuff. But it’s funny to discover what you’re capable of. Sometimes it’s unexpected. There’s this whole other beautiful world we’re going to keep stepping into.
Indira Cesarine: That’s cool. And I know you’re also a visual artist. We featured one of your paintings in one of the first shows at The Untitled Space gallery—The F Word: Feminism in Art. I know you’ve also created a significant amount of visual artwork for your album covers and have exhibited with major galleries. Tell me about your visual art practice and how it connects to the CocoRosie universe?
Bianca: Yeah. Earlier, during the first decade, I was much more focused on visual art. That’s what I was bringing to CocoRosie. When we had a big show with an orchestra, my whole preparation would be the video. I was not thinking about the music at all. I was making the costumes and the videos, and Sierra was focused more on the music. Our roles were more separate at that time. I eventually grew more as a musician.
Recently, I’ve found myself doing a lot of collage again, and realized that our music process is very similar. It’s almost like switching mediums. Even video editing and electronic music making, it’s not that different to me. You have layers, you have slow, you have fast, you have reverse. You place things in juxtaposition. The editing involves mathematical timelines. For me, these practices are deeply related.
When people ask me, “What kind of art do you do?” it’s a hard question. I sound evasive, but the truth is—I do every medium. And it’s all on the same level. They’re all integrated. There aren’t a lot of artists who work that way, but it’s a specific kind of artist.
Even Robert Wilson approaches theater as a visual artist. We relate to that. He doesn’t work well with verbal communication—if you try to propose an idea with words, he kind of shuts down. But if I show him a drawing, he gets it. That’s how we communicate with his creative brain. Even though we’re mostly doing music, presenting him with visuals is how the collaboration really works.
Indira Cesarine: That’s cool.
Bianca: Sierra has really encouraged me as a visual artist—even specifically with drawing, which isn’t necessarily my main thing. But she seems to relate to it. Even if it’s not something she does herself, it’s a language she can understand. She’s always been encouraging. Our first record was inspired by a series of photographs I took in the neighborhood, buildings being demolished. You could see the wallpaper rings and the life inside, like the face of the building was torn off, and all these different rooms were exposed. La Maison de Mon Rêve, “the house of my dreams,” emerged from those photos. We just had contact sheet prints made and put them on the wall. Visual art is part of the inner workings of our music; it’s always inside the work.
Indira Cesarine: I think that really comes through in how you present yourselves. You both have such a unique approach to your hair, makeup, and style—your wigs, and your fashion choices, it’s like a visual art performance. Tell me about those influences? What informs your personal aesthetic?
Bianca: That’s a good question. I think getting a little taste of the theater world—and working with Robert Wilson—definitely took hold of me. I started doing this kind of kabuki-style makeup that really takes the light. And I think we’re often nostalgically playing with our adolescence—like the dress styles from when we were in junior high in Southern California, with a lot of Mexican influence. We keep coming back to that. It’s kind of a baseline we build on top of.
There’s also a lot of gender play, but it becomes multidimensional. In the end, we often express a very over-the-top, high femme energy. Recently, I started thinking of it as drag more than anything. I didn’t name it that way until recently, and I’ll probably discard that term at some point too. We go in cycles with these isms and labels, depending on what’s happening in society.
We’re often on a different part of the rotation from what’s being accepted, and what you can say and what you can’t. I even put “transvestite” on my Instagram recently—kind of peeved by the pronoun options. People were like, “You can’t call yourself that!” But in French, travesti just means cross-dresser, like we’re kind of cross-dressers. This is something that excites us. And sometimes, you know, even the feminine expression feels like a kind of crossdressing. There’s a lot of play. We have a lot of fun in that particular department.
Indira Cesarine: Yeah, I can definitely see that. You guys are clearly having fun with it, and I think it’s important not to take it too seriously. You can be experimental and exploratory—just go with what you feel. Wear a wig, wear a mustache—why not? People often read too much into it.
Speaking of your childhood and now reflecting on 20 years of performing, if you could give advice to your childhood selves, what would it be?
Bianca: That’s a cool question. I’ve been asking myself that question lately, and I don’t have it on the tip of my tongue.
Sierra: I’d love to have learned a million instruments growing up. But we were always on the go, so we kind of missed that opportunity.
Bianca: What I heard in the question was, what would you tell your childhood self—knowing now everything that would unfold? I’ve been thinking about that, and… I still don’t know.
Indira Cesarine: That’s okay. You don’t have to have an answer to every question. It’s one of those things—you might wake up tomorrow and know exactly what you’d say. But maybe not right now.
On that note, are there any words of wisdom or meditations that keep you grounded, something you return to for staying focused and positive? I feel like having worked with you both, you live on a different wavelength than most people. Could you share a little insight into your philosophy—some final thoughts to conclude with?
Bianca: One thing I’ve been telling some of my friends lately is: self-love is the big secret. If you can get there sooner rather than later, it’s the secret ingredient to everything. It took me a long time. I didn’t fully arrive there until recently. But when it hits, it feels like this dissolving agent—it changes everything.
It’s the real marriage. That moment when you commit to unconditional self-love. We have all these other kinds of marriages—they come and go—but this one, it’s the foundation. That’s what I’d say: get to that point where there’s no turning back. You have to have your own back.
Sierra: That was beautifully put. I agree. Self-forgiveness is something I would’ve liked to learn earlier on.
Indira Cesarine: Amazing, thank you for sharing that. I’m really excited for your tour and for the new album to unfold—poetically putting itself out there in the universe, and for more people to fall in love with your music. Thank you so much for taking the time to chat with me today. I really appreciate it.
Bianca: Thank you! We really enjoyed the photo shoot, and everyone making it work under the circumstances. We were able to creatively find ourselves inside the world you put together. Thank you for that—it was really fun!
Indira Cesarine: I was happy to see you wore the makeup and some of the clothes for the performance too—it felt like there was a great synergy with the team.
Sierra: Thank you!
Interview by Indira Cesarine for The Untitled Magazine
Featuring CocoRosie: Bianca Casady & Sierra Casady
Photography and video by Indira Cesarine
Styling by Kristopher Fraser
Make-up by Roberto Morelli
Hair by Luis Guillermo
Photo/Video Assistants: Chloe Amyx, Felicia Di Salvo, Alexia Pereyra
Photographed on location at Xanadu, Brooklyn
