We Speak Music
Inside the Fury of Energy Whores’ New Anthem ‘Hey Hey Hate’
Energy Whores return with a punch in the teeth and a bassline you can’t ignore. ‘Hey Hey Hate’ is no polite plea for unity—it’s a snarling, synth-lashed callout to the festering rot of division. Carrie Schoenfeld leads the charge like a general with glitter in her eyes and venom in her pen, refusing to let complacency drown in the noise of our timeline addictions. This is political pop with teeth, ready to rip through the smoke and mirrors of our so-called discourse.
The production slams—industrial clatter, distorted synths, and a relentless four-to-the-floor pulse that feels halfway between protest march and warehouse rave. It’s the sort of beat that leaves you breathless, demanding movement while Schoenfeld’s vocals carve through with sharp, sardonic clarity. She isn’t here to soothe; she’s here to expose.
What’s striking is how fun it all is. You’re chanting along to a critique of propaganda and hate, and only halfway through do you realise you’ve been tricked into singing your own rebellion. The hooks are big, brash, and sticky as hell—proof that resistance doesn’t need to sound dour. If the world’s on fire, Energy Whores will at least make you dance in the flames.
There’s lineage here too: echoes of Dylan’s barbed folk, the urgency of punk, disco’s hedonism, and the cold steel of electronica. But rather than collage, Energy Whores weld it all together into something distinctly now. It’s agit-pop for an age of doomscrolling, with the volume cranked past maximum.
With ‘Hey Hey Hate’, Energy Whores confirm their place as one of the few acts refusing to dilute their fury for the algorithm. This isn’t just music—it’s a statement, a pulse, a dare. Ignore it at your peril; surrender to it and you might just find yourself shouting louder than before.
Michele Ducci has unveiled the second single, ‘Woman Like You’, from his forthcoming album and animated film ‘Snail in the Clouds’.
‘Woman Like You’ pairs bright distorted electric guitar with an electronic drumbeat, adding in Ducci’s soulful vocals and a catchy uplifting chorus with Letizia Mandoleisi’s sweet vocal harmonies. A vintage organ pedalboard operated by Ducci simultaneously generates chords, bass and rhythm, like a one-man band. Shane Kennedy (Girl in the Year Above) joins in on guitar. Simon Milner (Is Tropical, Ysing) recorded and produced the track at his 4am Studios in London.
The album and film tell the story of a planet called ‘Snail’, inhabited by hybrids – primarily a mixture between scorpions, snails and humans – who lead a life according to the style of Pythagoras, devoted to music. There is also a cloud man named Agostos, a writer of musical operettas, who together with a talking smoke machine called Doctor Subtilis, begins to kill all hybrids, targeting in particular the hybrid musician Diodoros and his band, in an effort to steal the ark of melodies, an ancient ship that allows the whole planet to survive with music and joy.
The video for the single, created and animated by Ducci and Mandoleisi, delves further into the realm of planet ‘Snail’:
Says Ducci, “The ark of melodies, after various attempts, finally starts to work and fly in the planet Snail, while the shady Doc. Sub. and Agostos, with their platoon of soldiers made of foggy smoke, spy the miracle, planning to steal the ark for their evil and tyrannical purposes.”
About the track, Michele says, “I wrote this song for my love Letizia. Love seen from the mind is the sound we make. Sound is the love of matter.
We used a Technics synthesizer organ from a flea market. I tried to find a mood that was right for the song and I started using the bass of the pedal board together with the synth and the drums, and it was magical to hear the song reveal itself all coming from a single instrument. Leti was singing with me and we recorded everything live in one shot. Then we made Shane do the guitar flight, as if he came out of the window. The idea was to maintain disproportions, guitar thrust and synth drum thinness a la Haroumi Hosono, so as to create an estrangement, but naturally: it’s about how I listen, with close up something that captures me in its nuance as element of a larger orchestra somewhere. I’m glad we decided in the studio with Simon to use the layers of arrangement as the close-ups in the cinema; they look like strange enlargements that perch on parts of a mutated orchestra. I’m happy to come back with this love song at a time when everything seems to opt, even my labor in managing the flows of selfishness that have poured out on me while doing this album, for the sound of war. I’m here happy to be able to say that the sound of love always wins as did for me. Snail in the clouds is one of the most important works in my life and I am glad to start from pure love for this album that is my son.”
The album and full-length film will be released on the 5th of June on Monotreme Records.
Michele and Letizia’s previous musical short film, ‘The Great Book of Nature’, is an official selection for the 2026 Venice Shorts Film Festival.
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