Brooklyn N.Y.

Experimental folk­pop duo Christy & Emily is comprised of Christy Edwards, a self­ taught indie­rocker and Emily Manzo, a classically trained pianist. Formed in Brooklyn in the mid 2000's their first album, Gueen's Head was released on the The Social Registry in 2007, displaying all the core elements of the C&E sound; raw emotional songwriting coupled with sonic experimentation. A shared bill in NYC would introduce them to Robert Lloyd, lead singer of John Peel favorites, the Nightingales. A European tour followed, and a second full length release, Superstition, on Llyod's label, Big Print. Concerts in Germany brought C&E to the attention of Joachim Irmler, famed keyboardist for Kraut­rock legends, Faust. The invitation to record for his label, Klangbad, resulted in two more releases, the lush keyboard heavy, No Rest, and a rock album, Tic­Tac ­Toe, featuring drummer Kristin Mueller (of Lucinda Blackbear, Gloria Deluxe ) and bassist Peter Kerlin ( of the Chris Forsyth Solar Motel Band). Also with this lineup, they released a split 7 inch called Quick Words, paired with Ecstatic Peace artists, Talk Normal. Most recently, in a return to their duo sound, Christy&Emily released another split 7 inch entitled Two Rooms.

In New York C&E perform at established venues such as Le Poisson Rouge and Joe’s Pub, underground spots like Secret Project Robot and Silent Barn; as well as art institutions such as the Brooklyn Museum and John Zorn’s space, The Stone. They often collaborate with musicians from both the rock and avant­garde classical worlds including Kid Millions, Tom Brosseau, Jessica Pavone, Katherine Young, Mike Pride, and Aaron Siegel.

Emily is very active as a classical pianist in NYC and abroad, recording and performing with Jace Clayton (DJ Rupture) in the “Julius Eastman Memorial Dinner”, the Bill T. Jones Dance company, and choreographer Anna Sperber.

Christy&Emily have an ongoing collaboration with visual artist Brock Monroe of The Joshua Lightshow, creating synethetic experiences with projected light and sound.

In 2012, the film, “Nancy, Please”, directed by Andrew Seamans and winner of the World Narrative Competition at the Tribeca Film Festival featured the song “Beast” from C&E’s album No Rest in it’s soundtrack.

Christy & Emily have forged a songwriting style that melds haunting vocal harmonies with jagged guitar swells and vintage electric piano/organ dreaminess. A piece such as Erik Satie's First Gymnopédie does not feel out of place during a live rendition of their tune “Lover's Talk” (Superstition). Conversely, the crowd favorite, “Thunder & Lightning” (Gueen’s Head) evokes the reckless rock of the Velvet Underground. Unusual songs such as “Tidal Wave” (Superstition) while a nod to punk band, the Electric Eels, also displays their fearless approach to structure and humor. Country and folk stylings are at home as well, reflected in the John Fahey like fingerstyle of “Railroad” (Two Rooms) or the Crazy Horse looseness of “Something Easy” (Tic Tac Toe)


. “Like Arthur Russel jammiong with Galaxy 500”. ­Euan Andrews, Plan B Magazine


"Like the Wonder Twins or a Reeses peanut butter cup, theirs is an interesting partnership for the strikingly different abilities and musical flavors these two multi­instrumentalists bring to the studio and stage. Gueen's Head, the product of their work, isn't just "rock" versus "classical," but interpretive versus creative, mood versus hook, song versus sound.... The album [Gueen's Head] sounds like indie pared down to its DIY basics: eight patiently paced songs creating a rainy­day minimalism." ­Stephen M. Deusner, Pitchfork


“In Christy & Emily's music, we find unconventional rockers with Brazilian baiao rhythms seated in a psychedelic netherworld, suicide ballads invoking the sordid tales in the Harry Smith Anthology and chords borrowed from Schumann and Liszt with a chorus that nods to Brian Wilson." –Digital In Berlin


"They play music that switches between melodious reverberating wurlitzer and choppy, aggressive guitar with sweetly yearning vocals that bask in repetition and self­realisation." ­Everett True, Collapse Board


"[Their music] comes on as soft­edged pop with ghostly bits of melody held together by heavenly harmonies. But there's something unsettling beneath the Wurlitzer organ wub­ wub and Christy's reverb­drenched guitar. Doomy minor chords jut out and harmonies diverge as the two ladies sing of evil thoughts and bad dreams. Before long, their overt innocence feels like a crafty, almost creepy shadow play.” –Jessica Hopper, SPIN


“Time signatures appear and disappear, instruments and vocals fade in and out of consciousness, and loops form the bedrock of beautifully crafted themes.” ­Lee Briante, Impose

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