A possible Beyoncé fan from St. Louis, Anaïs Geneviève is the lead vocals, guitar and most noted omnichord for the genre-fluid Portland band known as Cry Babe.
As a forced "Quarantine Hiatus" has hit the music world, Anaïs has relayed it to the attention of her social followers at this time that her and their regular rounds players have had tours and show cancellations just before the Spring of 2020 hit.
All of this sandwiched in between a pink cassette release and a pink vinyl release with her band members Rose (drums) and Maddie (Bass/ vocals). With sprinkles of collaboration effects in the past 2 years Anaïs has allowed for a Lo-Fi surf to wave crash into her stance vocally so we can see if an arm can reach out from behind the waterfall that is NEW INJURIES.
On DON'T MESS WITH TEXTURES (DMT), NEW INJURIES attempts to showcase Anaïs's seemingly apprehendable layers within outsider postures. A concept 16 track trot with solo type feels from both sides (inside and out) that takes your true self through stages based on your inception.

This album started as a simple song that came up in an idea. Anaïs told Mario while having a mid-day chat in person about crows that she had some prior recorded songs that she wanted him to hear. After being a spectator at Anaïs's shows with her band, Cry Babe in Portland, Oregon, Mario said that he had hit a sort of wall of emergence to get something done. The first track on DON'T MESS WITH TEXTURES (DMT) is a re-edit from a song that Mario and Anaïs recorded in 2018 that was tentatively titled SUMMERTIME. The song was a recorded on the floor in Mario's place where he taught Anaïs how to use the sampler and she chose the beat loop then began to sing over it while playing the Omnichord. Only because of busy schedules did the song become the track known today as Phaedra. Phaedra caters to the style and mood of New Injuries evolution from the era of New Wave and loud break-dance music. The song itself speaks of a CBD chocolate that is personified as a partner in staying alone with just like an advertiser would place into the mind as the feeling and the one you would forever be reaching out to, which is seemingly how the craving for chocolate is perceived. Of course like most New Injuries concepts they get lost in the act of making it hurt so good.
Several other vocal studies and songs where sent to Mario (NEW INJURIES) by Anaïs which became the lacing for what is now DON'T MESS WITH TEXTURES (DMT).
The rest of DON'T MESS WITH TEXTURES (DMT) is the experience of vibes that come with imagining different versions of one theme, one saying, or one key point in a subject that causes you to create more than what is initially there. The songs are a series of test and elaborations on what New Injuries want to do with voice and singing ideas in general but they are sounds that are designed to carry you through those mood altering supplies and supplements.
The tracks often meld together like a rare DJ set from a living room in some place that you might only be visiting for a couple of days. The sound themes bounce back and forth from track to track just to remind you of what's good about doing this album.
By the time you get to an actual full song you'll have the feeling that you've been in some sort of waiting room for the track. By the time that it comes on like it's an occasion to be experienced on the regular that you need to make an appointment with. Perhaps maybe just a walk in.
There are bass warbles mumbled gems of chanting, calm, discomfort, and comfort carefully paced. Sometimes you might not want your hair to touch your face and sometimes you want to hear a certain mood lighting when the right textures is mapping.