Carly Cosgrove


Philadelphia trio Carly Cosgrove’s debut LP, See You In Chemistry, is about growth, but not the tidy, Instagram-ready kind. At its beginning, vocalist and guitarist Lucas Naylor is steady, stable, and happy: the work has been done, progress has been made, things are alright. Over the remaining 11 tracks, and across a complex, earworm patchwork of riotous emo punk, towering post-hardcore, mathy indie rock, and crystalline shoegaze, things fall apart: bands dissolve, friendships end, and self-doubt, depression and anxiety triple-team their way to victory over happiness. 

“Chronologically, this record comes after a point where I thought I got a lot of personal growth done,” says Naylor. “But at a certain point I just found myself hitting a wall, I felt like I was moving backwards. Whenever people talk about growth, it’s always in triumphs: ‘Look at this destination I’ve finally reached.’ With this, the whole record is kind of a step backwards.” 

Besides being a reference to Nickelodeon TV show Drake and Josh, See You In Chemistry doubles as a comment on the chemicals that govern our brains and bodies, and a semi-hopeful glance toward some future moment when things might be better again. “The idea behind the title is that I’m going to be someone else later when I figure things out,” says Naylor. “It’s not all linear,” adds bassist Helen Barsz. 

“It’s not the obvious, cliche growth album,” says drummer Tyler Kramer. “It’s more about how hard growth actually is.” 

Naylor, Barsz, and Kramer met while playing in different bands around Philadelphia and started jamming after Naylor booked Barsz and Kramer at a coffee shop in Westchester. The project started as jokey and “memey,” taking its name from a combo of the show iCarly and its lead actress, Miranda Cosgrove. (Note: all Carly Cosgrove song titles are references pulled from either iCarly or Drake and Josh. Impressive commitment to a bit while still producing incredible music. Naylor says the goal is to get a cease and desist.) 

The trio bring different backgrounds to the band: Naylor’s education in jazz piano and love of ‘fightpop’ bands like Letterbox and Bloc Party, Barsz’s experience in post-hardcore and emo outfits across Philly and New Jersey, and Kramer’s affinity for hometown DIY bands like Mumbler and Marietta. 

This debut record has been two years in the making. The band recorded with producer Joe Reinhart (Hop Along, Joyce Manor) at his Headroom Studios over a week at TK time of 2020, with the intention to create a record with three people that sounds like a five-piece band. Style and substance were of equal importance: the music had to be peppy and sincere, hyper and bombastic while maintaining a high degree of technical and structural complexity. Think Title Fight and Manchester Orchestra meet the rhythmic precision and tonal variety of jazz and hip hop. 

“Sit ‘n’ Bounce” lifts the curtain with a driving snare rim snap and Naylor’s vocals, gentle and quiet, over fingerpicked guitar before slamming the gas pedal to the floor with a bellowed

admission of frustration and futility: “I’m chasing my tail around!” shouts Naylor. Lead single “Munck” comes next, a pounding flurry of emo-pop-punk and post-hardcore fury that finds Naylor trying to find his place in a climate of anger and rage. “I can’t feel the way you want me to/But I’ll try to understand, I’ll be your biggest fan,” he sings on the chorus. 

“Anger and rage have their place, and they’re really powerful and valuable emotions,” says Naylor. “They’re just not a thing that comes easy to me because of how I was raised. ‘Munck’ is making the case for both of those things to coexist with other responses, without only one of them being the only way.” 

Next comes the midtempo emo churn of “Really Big Shrimp,” a plea for slamming the brakes on the merciless march of time: “I just wanna cut my teeth a few more times, keep away from tempting signs/Make no friends and take no risks so no one gets to fuck with this!” shouts Naylor before a breakdown that’s at once brutal and gentle. “The Cooliest? Don’t Ruin it” follows, waiting for the other shoe to drop over pop punk riffing: “I’ve got a good thing going, better than I’ve ever had/But there’s a shelf life on a good thing, how long ‘till the thing goes bad?” 

“The Great Doheny” (pronounced dough-hee-knee) is an indie rock romp through identity crisis, cycling through sounds and arrangements before settling into a halftime chorus while Naylor negotiates with a separate version of himself: “When I wanna go out he goes instead/He says he’s a people person, I nod my head.” “Gamesphere” narrates a mid-tour breakdown from another life, while “Rue The Day” rumbles in on Barsz’s bass and frenetic tapping from Naylor. “Cloudblock” ends on a manic stomp that bleeds into “Headaches,” a scabbed post-punk ripper that wrestles with insecurity: “I don’t wanna know my worth, I’d rather be worthless/Than worth less than I’d guess,” admits Naylor. 

Closer “See You In Chemistry” runs just shy of eight minutes, a monumental, multi-movement shoegaze retrospective epic with Naylor, bruised and wounded, taking stock and plotting his recovery: “I am gonna find my footing again!” he belts into the abyss. 

See You In Chemistry inverts the pop culture myth that our experiences lead us to one static way of being. It’s interesting to consider how much damage that myth has caused in the quiet moments of alone that every person experiences: if we haven’t reached equilibrium, have we 

really grown? The reality that Carly Cosgrove share on their debut is that no person is final, no thing is sure and certain. Coming to understand this truth is as important as the life-long processes that comprise it. See You In Chemistry is a hopeful invitation to a better place, a better way, a better life—somehow, somewhere down the line.

Related Shows