new single included on US musician Emily Wolfe is a dynamic vocalist, accomplished guitarist and sharp songwriter, delivering a brand of rock ‘n’ roll that is raw and relevant, anchored by emotionally charged lyrics and a powerhouse stage presence. The young and impassioned artist has amassed millions of streams and earned widespread acclaim from publications in her home territory that include The Wall Street Journal, Guitar Player, PASTE and American Songwriter, as well as UK magazines such as Classic Rock, Blues Matters and Total Guitar. Indeed, she has long been recognised as a force on that instrument and has collaborated with Epiphone/Gibson Guitars for two signature Sheraton models, a rarity for an artist that isn’t yet selling out stadiums. Wolfe has released a brand new single entitled ‘Dead End Luck’ today. Taken from her forthcoming self-produced third album, ‘The Blowback’, a palm-muted riff brushes up against casually candid storytelling as she relates an occasion when she “Drove past the bar and saw my ex, she looks so happy with a man instead, I wrecked my car got stuck behind a train, why can’t I handle anything?” as wailing lead guitar accents her emotionally charged refrain. Adding a further dimension, Wolfe taped a microphone to a remote control car, catching feedback from different angles of the room and infusing the song with fuzz in surround sound. Singing with almost resigned humour, she recalls that “the song was born from this really bad day I had when everything felt hopeless. I tried to give myself a little hope in the bridge, where it switches from dark sounding minor chord changes to major.” Physical copies of ‘The Blowback’ will be available to pre-order via Bandcamp from 1st September. “The album title is because a lot of the songs are about not taking bullshit anymore,” she explains. “I guess I could say it more elegantly, but it’s how I felt. From global issues, national problems and interpersonal relationships, it’s a big middle finger to everything. This album is something I needed to do for myself. I’m really proud of it and it is the most connected I’ve ever felt to a body of work.”
Wolfe has been developing her hard-hitting yet hypnotic style steeped in rock grit and uplifted by alternative spirit for almost a decade. An introductory EP, ‘Roulette’ (2014), was followed by the single ‘Atta Blues’ (2016) and a self-titled 2019 debut album that included early fan favourites such as ‘Holy Roller’. Maintaining this momentum, she lived up to the title of 2021’s ‘Outlier’. Produced by Michael Shuman of Queens of the Stone Age and Mini Mansions, it attracted unanimous critical praise and copious amounts of airplay for songs such as ‘No Man’ and ‘Something Better’. Inspired by the likes of Hole, Veruca Salt, Nirvana and Alanis Morissette, Wolfe envisaged a specific sound for what would become ‘The Blowback’, opting to self-produce the new album in order to fully realise it. “Producing this record myself is one of the most thrilling experiences I’ve ever had,” she states. “I have learned so much from past producers like Michael Shuman and I was ready. For me, this whole chapter is about owning your spirit.”
THE BLOWBACK Wolfe’s spirit shines on the stomping ‘Walk In My Shoes’. Soft released as an initial album teaser, it stomps out of the gate, her high register swooning over a head-nodding groove punctuated by string bends as she beckons “Walk in my shoes…I don’t want to play anymore” in a disco-style strut. “It was born out of protests my wife and I went to against all of these anti-trans and anti-LGBTQIA+ laws being passed in Texas,” she sighs. “I wanted to make a piece of art that combatted all of these ideas about women not having control over their own bodies. The only way I could fight those beliefs was through music. It’s groovy, upbeat and aggressive, since I wanted the fight against oppression to stick in your head.” ‘Second Of Relief’ has lilting verses building towards a soaring chorus as Wolfe ponders “Would it really matter if I wasn’t here, just for a second of relief?” She reveals that “it was the first song I wrote for the album and came out of the pandemic. Touring had stopped, the entertainment industry halted, there was no end in sight. Finally, I went on the road and a few things changed my life in a negative way. Relationships deteriorated, following which I wrote the rest of the record.” Elsewhere, ‘Silencer’ and ‘Predator’ send a message to all survivors, with Wolfe hopeful of her goal “to potentially make any victims of sexual assault or harassment feel less alone and like they’re not at fault,” before the record concludes with ‘Can I Read Your Mind, Lover’, with her leaning into a glassy synth-spiked beat with a wish. “It came out of a place of wanting to be able to read my partner’s mind and wanting to know what they want out of a relationship and life without them telling me, but it’s not possible,” she observes. “It’s a bittersweet, special little song.” Ultimately, ‘The Blowback’ might just give listeners the strength they need to express themselves as well, as Wolfe concludes: “When you listen to this album, I want you to feel empowered. If something harms or oppresses you, stand up against it. I’ve overcome a lot. I’m not afraid to display my feminine rage anymore – especially on stage. I’ve grown up spiritually, emotionally and mentally. I believe I have a lot to offer, and I’m ready for whatever is next.”
|
