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Monday, October 25, 2021

Remy Wolf turns bedroom pop into hypercolored blasts

LOS ANGELES — Remy Wolf rolled onto an indoor trampoline park in Van Nuys on an August afternoon feeling refreshed. She was busy all day, creating faux-scenes for her songs and preparing for the tour. Then the traffic coming from the Eastside of Los Angeles was bad. So, so bad.

She used to sit at the vending machine and be ready to talk in a minute, but had to jump up first.

Wolf took off her light-purple Crocs and pulled on regulation orange grip socks, which managed to complement her mishmash look: the recently revived Urban Outfitters top she got in high school and a promo for a record label. The cap she didn’t even sign on her stack of brown curls. At 25, Wolf was at least a decade older than almost everyone else in the trampoline’s field. Then he made two forward somersaults.

Wolf will release her debut album “Juno” on Friday. It is a collection of nerves, anxieties and self-blame set to upbeat melodies and unbound sonic collages. “Juno” was largely written and recorded during the pre-vaccine period of the pandemic. While many artists were immersed in an aesthetic of calm during this era of isolation, Wolf turned his inner turbulent feelings into hyper-colored bursts.

“It’s not sweet at all, but it’s very introspective,” she said. “I have a lot of energy. As a person, I can just go and go and go until I crash. And then I’m, like, depressed, or whatever.

As Bedroom Pop’s vaguely defined style breaks out of the constraints of the bedroom it was once created for, Wolf has emerged as one of its most striking talents, reinforced by an unconventional charisma and a powerful voice. . “Remy is always emphasizing what it means to be pop and what it means to be a pop star – not even portraying it, but just being able to laugh and think about pop music in a completely different way.” is,” said Lizzie Szabo, a senior editor at Spotify who oversees Lorem, the influential, Gen Z-targeted playlist that has become part of Wolf’s dominance.

Like many people his age, Wolf has a keen ability to pat the often doofy flotsam of recent times and seems far cooler than it was in the first place. This hot-pink novelty manifests in her love of trucker hats and candy-rave eye makeup, but it also applies to her taste in music. During a recent sold-out show at the Roxy in Los Angeles, Wolf covered a portion of MGMT’s “Electric Feel,” Gnarls Barkley’s “Crazy” and Shaggy’s “It Wasn’t Me” with a relatively straight face.

He found unexpected inspiration in Red Hot Chili Peppers singer Anthony Kiedis, one of the most infamous (if possibly misunderstood) songwriters ever to earn a place in the Rock and Roll Hall of Fame. She calls him “my king” (with more loud language) and even names one of the best songs on “Juno” after him. Like Kiedis, many of Wolf’s songs seem completely independent collaborators as she references an orgy in five men and a plane flight to Mars.

“I just follow these little wormholes in my head,” she said. “I like to just go down what I think is describing how I feel.”

Despite how absurd the songs may sound when taken apart, there’s an internal logic behind all of them for Wolf. Well, most of them. She knows what he means in her song “Grumpy Old Man” when she says that she has “feelings in my heart” and “Violet on my violence”, but admits that she is “booby on my booty”. came along the line about being. Simply because those words are fun to sing.

Earlier this year, Wolf released a compilation of remixes of his earlier songs “We Love Dogs!” be released. It includes interpretations of famous genre twisters such as Nile Rodgers and Panda Bear, but also a version of “Photo ID”, their most streamed song, featuring Ascendant star Dominic Fick, who has become a friend. . “A lot of people have figured out their own style or maybe have a general sound,” Fike said. “There is something special in how she puts her songs together. I think Remy is a real singer. They come occasionally, and he is one of them.”

Despite being raised in the largely flat and snow-free Bay Area city of Palo Alto, Wolf began training as a downhill ski racer at age 8. He spent the weekend at a cheap hotel in Truckee, a town near Lake Tahoe. She went to the Junior Olympics twice. “I was bouncing between different friends all the time, so nothing felt safe,” she said. “I became very independent and very insular in myself.”

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When she was 16, Wolf gave up competing and threw herself into music with the same determined mind that is required of athletes. “Once I stopped skiing, I was like, ‘Okay, I need something else to work as intensely and as hard,'” she said. She started a pairing with her friend Chloe Zilliack, naturally called Remy and Chloe. At the age of 17, Wolf tried out for “American Idol” and was invited to Hollywood, but her experience there did not last long.

While attending an after-school concert, a teacher hooked her up with another of her disciples, a young multi-instrumentalist named Jared Solomon. He played “Valerie” with Amy Winehouse on her vocals and guitar with him. “We were immediately like, ‘Wow, you’re really cool,'” Wolf said.

Solomon joined Remy and Chloe’s backup band, and they rehearsed twice a week in their garage before leaving to attend the Berklee College of Music in Boston. When Wolf graduated from the USC Thornton School of Music a few years later, Solomon reached out to see if he could crash into his friend’s place as his touring DJ while passing through Los Angeles. The two hadn’t actually spoken in five years; He was out for a week. They experimented together on a few songs in that period, including “Sauce,” a Slinky Jam. One of Joe Wolf’s most popular tracks.

At that time, she was trying to break into the music industry as a songwriter. “I was in the throes of Adderall and I was psychic at the time,” Wolf recalled. “Then he came, then we did our work, and then we became like holy [expletive]!”

Solomon became and remains Wolf’s closest musical collaborator. “We’re so close in each other’s energy, especially musically,” Wolf said. “It’s hard for people to penetrate it.” Wolf produced most of the songs on “Juno” with him (he uses the name solomonophonic), although more established figures including Kenny Beats and Ethan Gruska contributed some of the album’s songs as well. Solomon also plays in his live band, over Wolf in a Pantera T-shirt with cutoff sleeves.

The earliest works that Wolf did often lean towards jazzy soul—which he attributes to his love of major and minor seventh chords—but with “Juno” he expanded it. While Erica Badu remains a constant influence, during the production of the album she listened to artists such as Jack White, Beck, Sheryl Crow and Michelle Branch. “I’m like a rock singer,” said Wolf. “That’s what I started singing, and then I moved into more soulful stuff. But I’m a belter. I like to scream.”

A pivotal moment in Wolf’s personal life also had a major impact on “Juno”: She entered rehab during the summer of 2020, a change that was less than three years in the making. Before that, Wolf said, she often drank to the point of blacking out. While she said she was normally able to function in her daily life, she had begun to have huge fights with family, friends and colleagues.

“I obviously did it for myself, but I did it for my career,” she said of her sobriety. “There was just something in me being like, ‘Don’t destroy it. Don’t destroy your life.'”

The wolf who quit drinking is feeling terrible all the time. Her sobriety revived her energy and excitement, but it also forced her to face all kinds of emotional issues that didn’t make room for her goal-oriented approach. “So much came up that I didn’t even know existed,” she said. “I didn’t even know what it was like to grow as a human being. I knew apparently people were like, I’m growing up, blah blah blah. Now I’m like, life is about growth . Which never happened to me. It’s so crazy.”

When the interview was over, Wolf returned to the trampoline. He did some flying jumps on a giant inflatable pillow before deciding to take the final ride on the zip line. She climbed the stairs to the top of the stage, listened to security from the attendant, and then turned to give a thumbs up to the security camera on the wall. And then, she was off.

World Nation News Deskhttps://www.worldnationnews.com
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