David M Rangel / September 3, 2025 / Reviews
As consumers of art and media, we are almost always searching for the newest thing. Our endorphins get amped when our brain registers new music, a new and interesting film, or the latest hip author or artist on the scene. Popular culture is constantly shifting towards fresh, unexplored ideas.
But there is also a high level of comfort in things very familiar. Despite our innovation-centric society, we can often find products of previous generations such as fashion, music and other components of the societal zeitgeist, coming back around. While these things and ideas may have evolved and changed to a certain extent, the spirit of the original concept is left often intact.
Tchotchke are a group of twenty-something women hailing from New York City. Their musical spirit and sonics can be compared to the most pop-laden of 60s girl groups such as The Shanghai-Las, The Chiffons, Martha and the Vandellas, et al. These young, old-souls are well-studied in mining the sounds and atmosphere of those and other retro ensembles. But they also incorporate a refined elegance in their economically-compact brand of pop bliss. The result is an interesting, aural combination of East Coast sophistication blended with their sunny Los Angeles roots.
On Playin’ Dumb, the band’s second full-length record, there are a number of tracks, including “The Game”, “Davide” and “Now I Love You”, that give off a definite jazz vibe. The stylish, tasteful mood set by this is complimented by immaculate three-part harmonies, lush musical arrangements and the seemingly innocent, yet worldly confident lead vocals of drummer, Anastasia Sanchez. Eva Chambers (bass/vocals) and Emily Tooraen (guitar/vocals) round out this trio who, together, sound like summa cum laude graduates of The Beatles Institute of Pristine Pop Music.
Tchotchke’s 60s-immersed sound is also achieved, in no small part to the production magic of (male counterparts, of sorts in music and personal styles) The Lemon Twigs – fellow New Yorkers and Beach Boy aficionados who also have their feet firmly planted in 1960s and 1970s “pop” circles. Their contributions brightly shine, particularly on the most jubilant , carefree tracks, such as “Skipping Around” and “Playin Dumb”, the short but infectious title track, which concludes the album on a melodically strong note, leaving the listener anticipating the next opportunity to lounge on a cloud that drifts beneath Tchotchke’s sonically-produced pop heaven.
It’s widely known in “punk rock” folklore that the late Joey Ramone, lead singer of the band bearing his surname, was over the moon about 60s girl-groups in the style of Tchotchke. His longing for a romantic, innocent teenage existence in which he takes his one true love on outings to malt shops and amusement park arcades, amid love lockets and magic marker-drawn hearts, were the stuff of legend. These sentiments, along with the layered, syrupy sounds of those musically-astute groups of women, frequently made their way into songs he penned. Ramone most likely would have been a fan of Tchotchke, as they take the basic elements of those pop bangers of yesteryear and modernize them with subject matter that reflects the complexities and complications of love and relationships beyond the age of consent. The carefree, fun teenage feel of the music remains. But Tchotchke’s lyrical content and clever wordplay exist more in the realm of adulthood than in the halls of high schools.
Be that as it may, Tchotchke’s music will likely have wide appeal that spans generations. People of a certain age who were around to experience 60s girl-groups firsthand, will likely be an easy sell, as well as Gen-Xers who may have found that music through their parents. But Gen-Z, a group who is always open to interesting things they may not have been old enough to experience, could be eager consumers as well, if their recent embrace of Connie Francis’ 1961 song, “Pretty Little Baby” is any indication.
Playin’ Dumb is a fun, elaborate-yet-simple trip through a record collection, likely owned by a member of an older generation. Tchotchke’s ability to meticulously, adapt all the detailed components of a sound created decades before they were born, reflect a group of women who clearly have a pure love of that sound. Additionally, their “indie” sensibilities and raw talent have resulted in a record that will likely remain as timeless as it is majestic.
The album is out everywhere tomorrow. Listen to the latest single here.
The Indy Review 