biography

Pictured above, from left to right, Jonathan Ashley (he/him), Francesca Pastore (she/her), Pagona Kytzidis (she/her), Claire Lin Jenkins (she/her), and Andrew Jordan (he/him). Jenna Love (she/her), having joined in April 2024, is not pictured.

partygirl is a maximalist rock band based in Brooklyn. The band is formed by Pagona Kytzidis (vocals/keyboards/guitar), Francesca Pastore (guitar), Claire Lin Jenkins (violin), Jonathan Ashley (drums), Andrew Jordan (bass), and Jenna Love (saxophone).

Through creating unique and forward-looking music, partygirl centers intentional and creative storytelling through genre-bending song composition and imaginative lyrics that combine feminist praxis, emotional rawness, and dark comedy. Since early 2023, the band’s energetic and emotional shows have stormed the stages of venues across in New York City and the Northeast, including Baby’s All Right, Brooklyn Made, Mercury Lounge, MilkBoy and Wonderbar to name a few. They went on their first regional tour in summer 2024 and will release their highly anticipated debut full-length project, I’m So Charming, I Forgot Who I Was, in 2025.

music

I’M SO CHARMING, I FORGOT WHO I WAS

I’m So Charming, I Forgot Who I Was is partygirl’s first full-length project and the first to explore the bands ambitions to create music centering intentional and creative storytelling through progressive, genre-bending song composition and lyrics that combine feminist praxis, emotional rawness, and dark comedy in depth. Containing twelve songs and split into two acts, the project tells the story of being a 20-something in the early 2020s and coming of consciousness in an America marked by gender conflict, systemic violence, a global pandemic, and political instability.

Ambitious in its musical composition as it is with its lyrical center, partygirl frames this story through larger-than-life, unique, and independently crafted rock music, pulling from influences as diverse as 90s alternative, free jazz, classic rock, post-punk, impressionist classical, and progressive metal. The project remains a postmodern marvel while rejecting the nihilism that is the typical conclusion of arguments that prove “the center cannot hold.” Artistically and aesthetically, I’m So Charming, I Forgot Who I Was proves that the world - and the people that within it - are not as they seem or they claim, challenges to unequivocally unearth what has been hidden, and fearlessly describes the psychological, political, and personal effects of reckoning with these contradictions.

This project is unreleased.

I’m So Charming, I Forgot Who I Was (I)

1. Let’s go dancing

2. Madman

3. Goodbye. goodbye

4. Clean

5. Fine, fine, fine

I’m So Charming, I Forgot Who I Was (II)

1. Tony Soprano

2. Pink/green

3. Option

4. New years’ resolution

5. Birdspotting

From July 2023 - September 2023, partygirl crowdfunded over $14,000 to record, mix, master, and release this project. In October 2023, Kytzidis, Pastore, Lin Jenkins, Ashley, and Jordan recorded the work at Studio G in Brooklyn, where it was produced by Pastore and engineered by Jeffrey Berner. David Mirarchi (alto saxophone/flute/bass clarinet/keyboards), Lotus Rogers (backing vocals), Jaucqir Lafond (backing vocals), and Henry Tisch (trumpet/cornet) contributed their talents to this project. I’m So Charming, I Forgot Who I Was is currently being mixed by Pastore in her home studio.

The project is accompanied by a lyric book designed and directed by Natalie Tischler (director/designer/photographer/stylist), with help from Kytzidis, Lin Jenkins, Rose Moon (assistant director), Christina Morton (accessories/embroidery), and Joey Asaro (bts videography). All photos – press photos, EP/LP covers, and the lyric book scene shoots, are by Tischler.

partygirl (EP)

partygirl’s debut EP, partygirl, was recorded in February 2022 at Retro City Studios in Philadelphia. partygirl was released in October 2022, with singles good night, i have, and desirable preceding the EP release. The EP was hailed as “astounding,” “rhapsodic,” “groundbreaking,” and “cinematic” in reviews by Earmilk, Get Alternative, Big Takeover Magazine, and more. In 2022, Dead Good Music named partygirl its favorite EP of the year.

The EP is available to stream everywhere.

live shows

Northeast Tour

8.28 - BROOKLYN, NY - baby’s all right

8.29 - MANHATTAN, NY [acoustic] - the stoof

8.30 - PHILADELPHIA, PA - milkboy

8.31 - CHARLOTTESVILLE, VA - dürty nelly’s

9.1 - WASHINGTON, DC - the pocket

9.2 - RICHMOND, VA - the camel

9.4 - MONTCLAIR, NJ - the meatlocker

9.5 - ASBURY PARK, NJ - wonderbar

9.6 - NEW HAVEN, CT - tba

9.7 - BOSTON, MA - the 4th wall

recent press

Interview and Feature in Off the Record Press, September 2024

“I started off very strongly wanting to tell this story, this story in my brain that I was also just trying to sort out to say sane. And this had a very coherent narrative, this ended up being the first album. With my lovely partners in the bands, we could pick them out and sort them… Since we’ve developed that, and as we've been playing more, my life has changed a lot, obviously since I'm not 22 anymore. I can go deeper in those themes and critically analyze them in terms of creative storytelling. I think I meant that by “this is the story of the song,” but now it's so much more than that. It's like, these are how the parts interlink with the confusion that I was feeling, and here's how these time signatures can play off of each other. And it's actually far more detailed than I ever imagined it initially. I had an idea, but I didn't know how deep the ideas could go when I started. And lots of that is working with everybody else. You can't work by yourself on this stuff. You need partners to pull things with you and tease them and really make the music the best it can be.” - Pagona Kytzidis

Interview and Feature in Philthy Magazine, August 2024

“Our band has a lot of musical themes that are looped throughout songs or the record, and also that can kind of be confusing in a dreamlike way. I wanted the language to reflect that in a way that I feel like is reclaiming and I want it to be surrealistic, or focus on the beauty of the language itself, as opposed to just stating the reality that was going on. I wanted the music and the words to be more aesthetic than just talking about my experience. I want it to be a worldbuilding kind of phenomenon. And I think that, in a band where we have six members and so many different instruments and different backgrounds, it’s a real opportunity that I didn’t realize we were seizing until we were doing it. I think that’s probably the most rewarding part of the album.” - Pagona Kytzidis

Interview and Feature in Eel Pit, Issue 2, June 2024 (print only)

“A distinct and profound grief in Pagona's lyrics is equally balanced by a vivid and resilient joy. Even being a bit tongue-in-cheek, with witty cleverness that creates a dark comedy of sorts. The band amplifies this, breathing life into these raw, contradicting, yet coexisting emotions. They ask direct questions as Pagona jokes about her own role as an entertainer— bringing in these meta themes and narratives about performance, character, gender, and the self.”

Review with Rrrat City Records, May 2024

“partygirl brought the party, a party of sound and spirit. Imagine lead guitar, violin, and saxophone all playing lead lines at once while their frontwoman belted into the stratosphere. The crowd had house party energy. Their set was like a giant house party where each song was a different room in the house. One song was the living room, booming and bouncing. One song was the cramped kitchen, swaying and swooning, up close and personal with the crush you want to kiss. One song was the back deck, breezy and open. Every member of this eclectic six piece could stand on their own musically, each having a notable solo. Be on the lookout for a new album dropping soon and be ready to party, girl.”

Studio Session with WCPR Radio, March 2024

“Brooklyn maximalist rock 'n' roll band 'partygirl' lit up the studio with an arrangement of electrifying tracks off their upcoming album.”

Interview with Reckless Magazine, October 2023

“I am pushed by wave of deep and intense and sometimes frightening emotions to write music, to turn the feeling into something articulate and beautiful and real. All of partygirl’s songs, every word, every stanza, every note, is based on a true story from my life. Everything is intentional and is seeking “to speak everything.” I am as moved by horror as I am by beauty, by sharp heartbreak as I am by enduring and deep friendships, by feeling hellish and confused as I am by feeling clear, and full, and articulate.” - Pagona Kytzidis

Video Interview with The Alternative Magazine, July 2023

“Being afraid to sound bad keeps you from sounding your best. This is a band that’s not afraid to take risks.” - David Mirarchi

Feature in Fifty Grande Magazine, April 2023

“Delivering the most expressive sound and performances possible is what partygirl is committed to.”

Feature in Bands do BK’s The Setlist, January 2023

“The only person we have to credit for this ~official~ invitation to begin the weekend early is the star of this week’s SETLIST, Pagona Kytzidis of partygirl — the “imaginative, maximalist indie rock band based in Brooklyn” — who opted for extra credit while living up to the group’s name and delivering an itinerary packin’ approx 33.3333333333 percent more party and extra (+ excellent) weekend bang for your buck… Consider this your signed/sealed/delivered permission slip to party.”

partygirl (EP)

friday, october 21

spotify link

“Maximizing the limits of what it means to be an Indie Rock band, partygirl’s debut EP is a rollercoaster of a listen that takes trauma-touched experiences and converts them into songs that can fulfill any listener’s needs. It satisfies those who wish to connect to the lyrics and the heavy topics involved, but also those who simply wish to have their world filled by huge instrumentation. It is genuinely an astounding record and one that will be celebrated on the top of year end lists, and into the future. Coming from a little-known act from Brooklyn makes it that much sweeter. If you haven’t listened to it yet, then I absolutely implore you to do so, now.”

- Dead Good Music on partygirl

“On this self-titled EP, the band are able to tackle the themes of surviving and finding their independence.”

- Chorus.fm on partygirl

As seen on the playlists of Kid With A Vinyl, BerlinOnAir, IndieJamz, Carina’s Playlists, FusioNostalgia, Dusty Organ, and Music’s Metaphor.

good night

friday, june 24

spotify

“It’s heavy. It’s groundbreaking. And it’s like nothing we’ve heard before.”

- The Big Takeover on ‘good night’

“It’s one of those tracks you can easily dance to, maybe even while processing some of your own emotions and shedding a tear or two.”

- Out Front Magazine on ‘good night’

“good night" soars on it's original vocal melodies and how they make you feel.”

- American Pancake on ‘good night’

As seen on the Indie Brasiliero’s Indie Alternative playlist, Sinusoidal Music’s Rock playlist, American Pancake, and TECO APPLE’s blog.

i have

friday, august 5

spotify

“This song is speaking to my soul, and no matter how many times I listen to it I can’t seem to translate it for someone who doesn’t know the language.”

- CVLT Nation on ‘ i have’

“Deeply moving and full of contradictions and desperation, “I Have” sonically leans into its personal lyricism as it opens as a surrealistic rock song before sinking into something much heavier—a fearfully rhapsodic soundscape that highlights the emotion, psychological turmoil, and tension involved in these darker moments and reclaiming one’s body.”

- The Alternative on ‘i have’

As seen on the playlists of American Pancake, El Pony, and Team Hipster.

desirable

friday, september 9

pre-save

spotify link

“The latter isn’t love; it’s loss. And it’s exactly this defeat—a surrender to another and abandonment of self—that Brooklyn band partygirl explores in their new single.”

- Bands do BK on ‘desirable’

“NYC alt-rock act partygirl drops slow-build and cinematic track “Desirable,” carried by a layered soundscape of pianos, organ, guitars and a smooth saxophone solo, with lead singer Pagona Kytzidis’s soaring vocals sweeping over it, gentle at first before building to an intense crescendo.”

- Earmilk on ‘desirable’

As seen on the playlists of NOW WATCHING’s Ones to Watch and el pony.

a note

Kytzidis began partygirl in June 2021. That year had been one of crisis for Kytzidis and she created partygirl to process her relationship to Survivorship and contradictions within gender (see partygirl statement), and find the healing and liberatory possibilities within both. Inspired by the Greek practice of “parrhesia,” which means literally “to speak everything” or rather, “to speak freely” or “to speak boldly” for the common good, even at personal risk, Kytzidis writes songs from a place of vulnerability and authenticity, seeking to tell stories that both describe the reality of our world (to bear witness) and seek to change it (to take action). partygirl’s music is thus grounded in Kytzidis’s life, as she seeks to explain everything about her world, from its horror to its beauty, from sharp heartbreak and its enduring and deep friendships, from feeling hellish and confused, to feeling clear, and full, and articulate. She hopes that telling these stories and making incisive arguments about their meaning will help imagine a better world.

partygirl statement

pagona kytzidis, february 2022

During the winter of 2021, I found myself at a personal and political crossroads. At that time, I had recently survived what amounted to my fourth sexual assault and I was completely unraveling. I felt like a Russian doll – that the world generally and different assailants specifically kept stealing each complex layer of my Selfhood, leaving me to exist solely, as the vulnerable, hurt, and raw darkness buried inside. That terrified me: I know that I’m more than that smallest doll, more than my biggest traumas. But, each day passed and each day the pain and terror seemed to latch itself more and more onto my soul. And as I became increasingly inseparable from my trauma, I realized that any idea of total Autonomy was a myth; for me, a lack of Subjectivity was largely inevitable not in the determinist sense but in the structural sense. I am a Survivor and as a Survivor, I am not a whole person all the time. There is no silver lining. As a Survivor, you wake up and you keep living and a part of you is gone.

However difficult it was, I didn’t want to drown because of that hole inside me. I knew I had to find a way to not just stay afloat, but to swim. The only thing I could do about it was to write about Survivorship in an urgent and radical way. Because, this issue – sexual assault – is profoundly political. It is about power, a relation of power, or specifically an abuse of power wherein one individual’s Subjectivity is stolen for the augmentation of another’s. And this abuse of power is intrinsically tied to patriarchy - as a system - and misogyny - as a logic - both of which maintain, uphold, reflect, and enforce, violently, a subject - object dichotomy between who in reality are two Subjects, two independent Selves. This ideological system continues to transform me (and almost everyone I love) from a Self into an object for someone else’s consumption. And that’s what sexual assault does and it does so violently.

And therefore, in order to combat this, we must theorize Survivorship as a radical political identity and as a space for radical political action. Survivors have a lived experience; we have a language to speak to each other; we have a natural solidarity; we have a materialist consciousness. We do not have a real, radical movement.

Why? Heterosexist patriarchy that manifests in assault can maintain its own power through the very nature of that violence: talking about assault and Survivorship, organizing around it is (re-)traumatizing. It is not mobilizing. One shuts down. One can’t speak, can’t eat, can’t sleep, can’t articulate a full sentence without tears. This aspect is the dialectic of Survivorship.

This is what partygirl seeks to transform. Writing and performing songs about Survivorship: this is to fuck this dialectic, to blow it up because - as any good Marxist knows - contradictions lead to revolution.

partygirl is a band about specifically Survivorship, but more generally about world-building, about imagining a new and better future because what we have been handed - what we were told is ‘the end of history,’ is absolute horror. But one thing being a Survivor has taught me is the importance of refusing to accept what people have ascribed to and forced upon you. What this means politically is that this world that we have inherited is not inevitable. Just because we live in a postmodern hellscape-dystopia does not mean that I will resign myself to apolitical numbness, cynicism, and nihilism. If there is one thing I truly believe - contrary to what neoliberalism has sold us as a society and as a generation - we are not at the end of history. What type of world do we want? We’re here to help imagine something radically better together.

I perform and write this music with a desperation to be a Self, to be My Self, in the totality of my experience, all the darkness, the intensity, the extremes, to be my biggest Self for all the times I was my smallest Self, exercised as an avenue for the possible. In that, partygirl is a very serious, musical, theoretical, and interdisciplinary project. It aims to allow those of us who are Survivors, to exist as complex, full Selves. If there are abusers listening: This music will not absolve you of the harm you caused. To all the Survivors out there - we see you; we are with you; we love you. We keep each other safe; we keep each other sane. In this, as partygirl, we hope to find the liberatory potential within Survivorship and I hope we all get to do that together.