Q&A: Tchotchke Invites You Into Their Slumber Party Universe With ‘Playin’ Dumb’
INTERVIEW
INTERVIEW
☆ BY SHEVON GREENE ☆
Photo by Stephanie Pia
IN A SONIC WORLD WHERE RETRO NODS — often risk feeling recycled, Tchotchke pulls off something rare: a fully-realized, tongue-in-cheek girl group aesthetic that feels timeless and fresh at once. Their upcoming album Playin’ Dumb, out September 5, blends theatricality, wit, and femininity with a ‘60s girl group twist.
The New York-based trio—Anastasia Sanchez (drums, vocals), Eva Chambers (bass, vocals), and Emily Tooraen (guitar, vocals)—truly lean into their own hyperfeminine caricatures. With slumber party gossip, character-driven storytelling, and sharp self-awareness, the album guides you through an exaggerated, unapologetic girl group universe.
With their own interactive board game vinyl spearheaded by Eva, collage-style visuals in their music videos, and influences ranging from The Chiffons to the Shangri-Las to Brian Wilson, they emphasize their commitment to crafting a full-on universe—not just an album.
We chatted with the trio about embracing their girl group identity, leaning into camp, and how recording in a so-called “vegetable attic” shaped the album’s energy. Read below to learn more about Playin’ Dumb, the board game behind it, and the sisterhood that ties it all together.
Photo by Stephanie Pia
LUNA: I really love that Playin’ Dumb has this theatrical, witty, feminine vibe. What was the starting point for the album, and how did the concept evolve while recording?
SANCHEZ: The concept was always lighthearted. We wanted a kind of hysteric theme. Once we leaned into feminine energy and that feeling of desperation and perception, it clicked. We wanted to play into stereotypes and exaggerated characters. The last album didn’t feel as feminine, so we leaned into that this time.
TOORAEN: We really wanted to explore the gossip element of being a girl, embracing those stereotypes instead of shying away from them.
CHAMBERS: Our friend Adam Green said it feels like a sleepover when he listens to it, and that’s exactly what we were going for. This is Tchotchke world, and you’re invited.
TOORAEN: The concept of the board game we made came later, once we saw how the songs fit together.
LUNA: It really shines through—like Adam said, it feels like you’re gossiping at a sleepover. And I don’t see a lot of artists exaggerating those stereotypes in music, so it’s refreshing. How did it feel to lean into those hyperfeminine caricatures of yourselves?
CHAMBERS: Writing the album felt like an awakening. There’s Eva, and then there’s Tchotchke Eva—this exaggerated, girly version of me.
SANCHEZ: It’s like drag. We all get to play these heightened versions of ourselves and have fun with it. We’re from California, but we moved to the East Coast during the pandemic. Now, we’re infusing both energies—there’s a bi-coastal sound to it.
LUNA: Were there any specific ‘60s girl group inspirations that influenced the vocals or production?
TOORAEN: Yeah! I was listening to a lot of girl groups. I got into The Chiffons and wanted to learn more. We really embraced that style.
SANCHEZ: It’s a huge inspiration, even though we’re total tomboys underneath it all.
CHAMBERS: I think we realized a bit late, oh yeah—we’re a girl group. Not many bands can have full conversations in vocals. That’s what we tried to do on “Did You Hear?” to make it feel like a slumber party.
TOORAEN: Last Halloween, we played a show as The Shangri-Las. That helped us tap into the storytelling aspect and learn how to step into those characters.
CHAMBERS: Learning their songs was a huge breakthrough during recording. It made us realize we could pull this off and make it fun.
TOORAEN: It was a big area of growth. We didn’t explore that side of our musicianship before.
SANCHEZ: For so long, we focused on being serious musicians with an aesthetic. But we weren’t really accepting what we are—a girl group.
CHAMBERS: Exactly. We used to fight that, and now we’re leaning into it. There have been times where people had low expectations or said, “Oh, you’re actually good … for girls.” So now it’s like, yeah, we’re playing dumb—here’s this album we worked so hard on.
LUNA: That really resonates. You’re owning the girl group identity while doing something fresh with it. It’s unlike anything I’ve seen.
CHAMBERS: Yes! Writing these ‘60s-style songs from a truly female perspective is so important to us. There were incredible writers like Ellie Greenwich and Carole King, but not a lot of girl groups writing from a woman’s perspective. We get to do that now.
Photo by Stephanie Pia
LUNA: Was “Playin’ Dumb” always meant to close out the record?
CHAMBERS: Not at first. Anastasia had brought up covering “Dumb Head,” which is more about actually being stupid. That sparked the idea—what if we wrote our own version with a more empowering feel?
SANCHEZ: Don’t get us wrong, we love being stupid [laughs].
CHAMBERS: Our track, “The Game,” was already written, but naming the album that felt too obvious. “Playin’ Dumb” worked as a title and a closer. It was the last song we wrote, and honestly, it came together in a day. We kept it simple—three chords—and it ended up being one of our favorites.
SANCHEZ: It was really fun to record, too.
CHAMBERS: We were originally going to end with “Goodbye,” but “Playin’ Dumb” tied it all together.
LUNA: That’s so cool. It really does feel like a perfect closer. I also love how your sound blends vintage pop with modern wit. How do you balance homage with originality?
SANCHEZ: I think it’s easier for us because we’re girls—we can get away with more [winks]. A lot of it is parody. We’re trying to bring levity to dark times.
CHAMBERS: I’m always cautious of becoming a zombie artist—just replicating what’s already been done.
SANCHEZ: “Poor Girl” is such an homage to Brian Wilson, but it’s our version. It’s California sunshine pop with a twist—girls doing it our way.
CHAMBERS: When we were younger, we compared ourselves to every other band. But with this album, we only cared about what we wanted to make. No outside noise. We’re blending eras because we’re making music for modern people—it still has to feel relevant.
TOORAEN: It feels original. Even though we have influences, we really stepped into our own world on this record.
CHAMBERS: We weren’t aiming for retro—we wanted it to feel classic, timeless. It’s catchy, fun, and still resonates.
Photo by Stephanie Pia
LUNA: That definitely comes across. And it makes your music accessible to different generations—people who love ‘60s music and people looking for something new. Were there any non-musical influences on the album?
CHAMBERS: Totally. Personal stories, fights, situations—we poured a lot of that in.
SANCHEZ: Visually, Eva took on the design. The physical vinyl is a record-sized board game with instructions and cutouts. It was inspired by Candy Land.
LUNA: Can you tell me more about how the board game ties into the album?
CHAMBERS: I’d been thinking about a board game concept for a while, but didn’t fully pursue it until we had a song called “The Game.” While we were recording, I kept adding elements to the design—drawing characters, referencing videos. It all came together gradually.
TOORAEN: We decided each song would have a card with a dumb challenge. Stuff like prank calling someone or doing something silly. The goal of the game is to make it to the end, where “Goodbye” plays—like you die from playing dumb forever.
LUNA: This was your second time working with The Lemon Twigs. How did the dynamic shift, especially with more structured demos this time?
CHAMBERS: It was a more mature process. Last time was during COVID—very casual. This time, they were on a tight touring schedule, so we recorded whenever they were back. We came in way more prepared, which really helped.
TOORAEN: We recorded across all four seasons. I remember sweating in summer, freezing in winter—it spanned a full year and became a defining memory of that time.
CHAMBERS: Having that tight schedule helped us stay focused. It’s a process we want to continue next time.
LUNA: And that was all recorded in the “vegetable attic,” right?
SANCHEZ: Oh yeah. It smells like vegetables outside, and the bathroom’s awful. Definitely gave us motivation to finish.
TOORAEN: The stairwell smelled like livestock [laughs]. But it got done. It’s still a creative space.
CHAMBERS: My rib even popped out during recording. I had to get surgery afterward, but it gave us a deadline. We got the album done before I flew to California.
LUNA: Were there any songs that changed significantly from demo to final version?
SANCHEZ: “Did You Hear?” had been around a while. Most tracks stayed close to the demos. The only one without a real demo was “Playin’ Dumb”—that came together fast in the studio.
TOORAEN: Some songs went through a few versions, but for the most part, the demos stayed true.
LUNA: What was the concept behind the “Poor Girl” video?
CHAMBERS: We wanted to avoid being too literal, but that one felt like it needed to be. Originally, we thought we’d film it live action, but ended up doing a collage video instead.
SANCHEZ: Eva’s sister Kaila and our friend Hilla Eden helped. It was more work, but cheaper than renting sets.
TOORAEN: It was fun building full characters for each girl—even if their storylines were short. We each got to play different roles. I was the mom, Eva was a cop.
CHAMBERS: I was recovering from surgery and stuck at home after filming, so cutting paper was my therapy.
LUNA: If Playin’ Dumb were a movie, what would the trailer sound like, and who would star?
SANCHEZ: It would be a horror movie.
CHAMBERS: Like Final Destination meets Jumanji [laughs].
SANCHEZ: And we’d cast big-name pop stars—Sabrina Carpenter, maybe Olivia Rodrigo, just to get people in theaters.
Photo by Stephanie Pia
