Liela Moss Shares New Track “Watching The Wolf”
Having last monthannounced news of her new solo album, , that will be released on via , and sharing the video to first single “Atoms At Me”Liela MossWatching The WolfHERE.
“An imagined rebellion created by packs of wolves, who mete out justice when they lure a power-hungry narcissistic wannabe politician to his demise. A modern day folk tale whose villain is a fraud. Useless in the face of an emergency (“now comes the hour, when you’re not gonna know what to do”) and utterly inane, he has no idea he is despised by so many, including the animal kingdom.”
“If you’re going to deconstruct the modern psyche,”“you might as well dance to it.” Who the PowerMy Name Is Safe in Your Mouth“To make music for the sake can sometimes feel like a narcissistic thing to do, and very reflective of our times. So much of being a musician and live performer is about projecting energy outward, which can be a beautiful and powerful thing. I experienced a good round of that over previous years, and now wanted to explore my fears of tipping the scales the other way: why should I continue to re-enact the narcissistic habits of our generation, desperate for validation, desperate for space, for ‘a platform’?”
“Fucking about with some demos to justify my existence,”“was not an option.”
Duly, evidence of “fucking about” is notable only by its absence on album opener “Turn Your Back Around”, a yearning eco-lament set to banked synths over a propulsive beat. Or, as Moss puts it: “Watching the Wolf” is another forthright song for today, its brooding, near-gothic swagger framing a righteous modern-day folk tale about wolves converging to unseat a toxic political pundit. A controlled rage shows in Moss’s voice, which grows more liberated still amid the simmering darkwave throb of “Atoms at Me”, where Moss issues a call to free the senses from the call to consume.
That sense of freedom further shows in the album’s dynamic focus and passion. The near-ceremonial “Always Sliding” draws power from the idea of impermanence, from the call to “keep searching”. “The Individual” sets a -ish narrative to a sulphurous bass-line and lunging synths, while the graceful synths and infectious melody of “White Feather” frame lyrics with teeth. explains Moss.My Name Is Safe in Your Mouth“to create something more urgent”“Perhaps that oscillating energy is best expressed musically via machines. We spent much of our time playing with vintage synths and drum machines, building a more visceral palette. I wanted the album to convey a depth of field, to be multi-layered yet feel simple, and to groove.”
Widescreen ambitions fulfilled, the result is another bold leap forwards for one of alt-rock’s most magnetic, exploratory voices. Over 14 years, Moss’s work with the Duke Spirit (on pause) ranged from brawling riff-rock to more cinematic ventures. Other gigs have included synth-rock recordings with Butler under the name Roman Remains and various collaborative ventures � with UNKLE, Nick Cave, Giorgio Moroder and Lost Horizons, , among others.
If offered a haunting snapshot of Moss’ restlessly intuitive instincts, repurposes and refuels those instincts, standing as fertile testament to the potential in Moss’ self-possessed yet receptive way of working. As she puts it, “Now that’s a beautiful and powerful thing, indeed.
