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.
Ten years after Host Bodies first released the album Daily Apparatus, “On A Roll” has found a completely new groove.
For the Daily Apparatus: 10 Year Remixes project, multi-instrumentalist and producer Nicholas Hasty, under his Soul Glitch moniker, takes the original electronic-rock track and pulls it into deeper, more psychedelic territory.
The remix keeps the energy of Host Bodies intact while opening up the track with new beats, electronic textures and expressive saxophone solos. Electric guitar, bass and layered production give it a rich, genre-blurring sound that sits somewhere between indie electronic, jazztronica, soultronica and alternative dance.
There’s something particularly satisfying about hearing a decade-old track treated not as a relic, but as raw material. Soul Glitch reshapes “On A Roll” , finding new spaces within the original and bringing his own musical language into the mix.
The result is energetic, sensual, psychedelic and unapologetically expansive.
Ten years on, “On A Roll” proves that sometimes the best way to celebrate where a song came from is to find somewhere completely new for it to go.
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