Elisa Flynn
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Some tracks from my self-released CD's are below. Any or all can be ordered directly from me by going to Paypal, clicking on Send Payment and filling out the form to send payment to info@elisaflynn.com (19th C. Songs is $7, Dimestore Mary is $5, Songs About Birds & Ghosts is $10.) You can purchase MP3's of 19th C. Songs on bandcamp, and Songs About Birds & Ghosts from CDBaby or Amazon

19th Century Songs is a 6 track CD, release in April 2011, recorded at Emandee Studio, featuring Anders Griffen on drums and Mark Ospovat on bass.

Close Your Eyes


Dimestore Mary is a 5 song EP, originally released in 2006, recorded at Wombat Studio in Brooklyn.

Soul's Minor Daughter

Turtle King


Songs About Birds & Ghosts is a 9 track CD, released in Nov. 2008, recorded at Emandee Studios, and produced by Mark Ospovat. This album features Anders Griffen and Jose Delhart.




Reviews - Live shows

The whole town seemed to be partied out from the long weekend, so this Small Beast was a particularly intimate one. Monday was comfort night, comfort in darkness, in raw intensity and intelligence with a diverse quartet of acts who share the ability to bring all that for hours on end. Playing solo on acoustic, Elisa Flynn opened the night and immediately delivered chills with her plaintive, austere, broodingly nuanced vocals coupled to imaginatively scruffy guitar playing. She loves 6/8 time, and she knows how to use it, whether on an insistent, hypnotic tune about earth artist Robert Smithson (possibly the only song anyone’s ever written about the guy, she mused), a pensive sleeping-under-the-stars scenario, or a dark wintertime shipwreck tableau. And the single best song of the night, Timber. Others less subtle might be tempted to turn the towering, haunting yet wry ballad into grand guignol, but Flynn didn’t, holding back just a little on the pauses between verse and chorus to drive them home for all they were worth, tossing off a dirty, distorted solo, then hitting her pedalboard to crank up a sweet swoopy slide on her low E string. She closed with a gorgeously intense cover of Silver Rider by Low, wailing on the downstrokes. - Lucidculture 1/19/10


"Closing out the night was Elisa Flynn, a talented singer-songwriter performing in the purist strummed-steel-string-and-voice tradition. Flynn’s songs are deep, emotional excursions, straying away from conventional formats. Her well-composed songs convey an underlying sense of subtle darkness, as well as the gratifying notion that Flynn has crafted them for no one other than herself." – Jezeblog 5/8/08


  "Outspokenly post-punkish songster parading her trade via solo acoustic means, Elisa craftily communicates love and anger with wit and off-kilter, hypnotic rhythms. A  comedic edginess pervaded Elisa's set in a most enjoyable way." Jezebel Songwriter Showcase review of 4/19/06 show

Reviews - CDs

19th Century Songs:

"Elisa Flynn’s 2009 album Songs About Birds and Ghosts was a stark, moody collection of literate rock songs. The production went for a scruffy, jangly acoustic-electric feel, but the tunes sometimes reached toward a towering majesty, particularly the opening cut, Timber, a genuine 21st century classic (watch the video, a wry Blair Witch parody, here). So the question that screamed out was what if Flynn decided to go all the way and give her songs an epic grandeur rather than simply hinting at it? That’s exactly what she’s done with her latest release, 19th Century Songs, and that’s why it might be the best rock album of the year.

Flynn is a one-woman orchestra, playing all the guitars and keys, backed by an alternately mighty and elegant rhythm section of Mark Ospovat (who also produced) on bass and Anders Griffen on drums. Sometimes she unleashes a swirling dreampop cyclotron, other times a savage roar, often both at once: some of this music is the bastard genius child of My Bloody Valentine and the Throwing Muses. Flynn’s vocals on Songs About Birds and Ghosts were gripping – here they are exquisite. She’s always been a good singer – she’s a student of Shara Worden, something that pretty much gives her instant cred – but at this point Flynn has reached the point where she may have surpassed her teacher. And that’s not to disrespect My Brightest Diamond’sfrontwoman, a powerful and dynamic presence, but simply to say that Flynn can pack more wallop into a single, wounded bent note than most people can with an entire album.

The lyrics explore historical themes, allusively: they’re sung from an eyewitness point of view, often without directly referencing a particular incident or time period, which makes them all the more interesting. The opening track, Close Your Eyes, once again is the real stunner here, pairing off the drama and intensity of the verse against a gentler, watery chorus straight out of the Lush playbook from around 1989. Is this song about the 1893 Chicago World’s Fair murders by serial killer H. H. Holmes?  Maybe. 19th Century Breakup Song follows a more predictable trajectory, building up to the chorus, like the Walkabouts if they’d been from Brooklyn instead of Seattle. Flynn’s wary, nuanced voice contrasts with the raw power of the guitars: on an all-too-brief solo, she fires off a series of biting octaves while Ospovat slinks behind her in the shadows.

The third track, Eliza Donner, evokes Siouxsie & the Banshees, ominous guitar rising and falling above Griffen’s menacing, funereal drums. “Does He watch us like we’re figures in a snow globe?” the doomed woman asks, hope slowly turning to dread. “I can’t hear you talking but I hear the wind laughing at me.” The next song, Fram, seems to be a seafaring epic, a surreal torrent of sinister imagery, its narrator “cutting into ice for weeks and months” over a backdrop of intricate fingerpicking. Flynn goes back to Siouxsie-esque with Poor Little Lamb, the most exhilarating song here, carnivalesque organ fluttering behind the wall of guitars for extra menace. Midway through, when a completely evil dreampop bridge leaps out from behind the central riff, the effect is literally breathtaking. The album closes with the pensive, gothic folk tune William Tecumseh Sherman, a soldiers-eye view of the Civil War where “the blackest days have shown themselves” and southerners (or is it all the soldiers?) “lay down their lives for twisted dreams of older men.” - New York Music Daily


"ELISA FLYNN- 19TH C. SONGS- SELF RELEASED- This is the 2nd cd I have received form BKNY (anti) folk songstress Flynn and it’s very good. The songs are haunting and very dark (at least one about a serial killer but all seem to have a dark, historical perspective) and the rhythm section is solid but it’s Flynn’s powerfulvocals that really stand out. 6 songs and some nice woodcuts as well." - Dagger Zine 

Songs About Birds & Ghosts: 

"Listening to this cd - Flynn’s second solo effort - the first thing that hits you is what a damn good singer she is. The phrase “indie rock song stylist” may sound like an oxymoron, but that’s what Elisa Flynn is. Confident and matter-of-fact on the big rockers, she brings it down to a wounded mezzo-soprano on the quieter songs, with a casual vibrato that trails off effortlessly. Flynn’s thoughtful, frequently dark songwriting gives that voice plenty of opportunity to soar and glimmer throughout a mix of scruffily clanging, upbeat guitar-driven fare and slower, more sparse material, often in 6/8 time and minor keys. Lyrically, she balances wry, smartly literate, frequently sardonic humor with an undercurrent of unease. This is the kind of album you want to put on the ipod and let it grow on you as its layers fold back and reveal themselves. There’s a lot to get to know here."  - Lucidculture

"Elisa Flynn is one of the up-and-coming talents in NYC’s burgeoning anti-folk scene, but what sets her apart from the rest of her peers is an infusion in her songwriting of some of the best inclinations of the 80’s indie jangle pop scene. It’s hard to pin down distinct influences (a touch of Barbara Manning here, a taste of the Neats there), but there’s a refreshing and original gaze back to a cruelly underappreciated touchpoint in modern music. Flynn’s debut self-released long-player Songs About Birds & Ghosts kicks off with the elegant, head-nodding dirge “Timber” and then veers between exquisitely crafted ballads about long-lost friends who are “made out of dust” to uplifting numbers that are carried way-up-high by her soaring ‘n’ joyous voice (good luck trying not to sing along with some of them).  And whenever you hear Elisa Flynn sing the banjo-tinged beauty “Big Sky,” an angel doesn’t get its wings, you do." - Rumproast.com 


     "Brooklyn singer/songwriter whose music is "kind of a New Zealand-ish folk/pop music with some complex, baroque elements and lots of wordplay." - Jay Hinman, Detailed Twang/Agony Shorthand 

Dimestore Mary:

   "Since we announced Elisa Flynn a Radio Star in March, we have become ever more endeared to her work. People pause to ask "Who is THIS?" when we play her songs. Her music lingers, like the soundtrack to now only vaguely familiar moments of the past."   Church of Girl Radio 


"This five  song set introduces Flynn as a talented guitarist and  songwriter with a distinct penchant for lo-fi deliveries and old-school punk stylings. The result is an addicting collection of music, both raw and rigid in its execution. And something tells me that's exactly how Flynn wants it."  Womenfolk.net 


                "High energy folksy pop abound! Elisa Flynn calls to us from the borough of Brooklyn. She  brings us that urbanized folk with authority carefully crafting each note with dramatic grrrl rock not far behind. An independent thinker who manages to really write some damn engaging tunes, Elisa Flynn is an artist who embraces alternative rock from the ‘80’s and ‘90’s putting her own unique spin on it. Fun!"  Smother.net


        "The world needs more songs like this." Americana-UK.com