New York–based avant-electro / art-pop project Energy Whores return with their new album Arsenal of Democracy, a tense and unflinching body of work that places political awareness front and centre. Led by Carrie Schoenfeld alongside guitarist Attilio Valenti, the project fuses electronic production, art rock textures, and protest-driven songwriting into something urgent and immersive. The title track anchors the record’s intent, framing democracy as fragile and participatory rather than abstract, and confronting themes of erosion, spectacle, and public disengagement in a time defined by instability.
Created in a DIY basement studio in New York City, the album moves between driving, rhythm-heavy tracks and more hypnotic, melodic moments. Songs like ‘Hey Hey Hate’, ‘Pretty Sparkly Things’, ‘Mach9ne’, and ‘Bunker Man’ tackle consumerism, technological dominance, and elite survivalism with sharp satire and restrained defiance, while closer ‘Two Minutes to Midnight’ lands as a sobering reflection on collective responsibility. With comparisons to Talking Heads, Radiohead, Massive Attack, St. Vincent, and Rage Against The Machine, Arsenal of Democracy blends synths, electric guitars, and programmed beats into a confrontational yet danceable soundscape.
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What inspired you to start making music, and when did it all begin for you?
Music started for me very young. I was classically trained in piano, so structure and discipline came first. Then I heard my first Jimi Hendrix guitar solo… and that changed everything.
What kept me going was the emotion of music. I’ve always felt it as something physical, almost architectural. It’s how I process the world. As I grew older and became more aware of politics, power, injustice, and how absurd and beautiful humanity is, music became not just expression but necessity. It’s how I stay sane, quite frankly.
How would you describe your sound to someone who’s never heard your music before?
Avant-electro with teeth. It’s art-rock, electronic, pop and delightfully twisted. Catchy but not comfortable. Danceable and melodic, but pointed. There are hooks, but there’s also tension underneath. I’m interested in making music that moves your body while your mind is quietly being provoked.
What’s your creative process like when writing or producing a track?
It usually starts with scribbling on graph paper. I follow the energy of the lyrics first. If something feels alive, I build around it. Lyrics come from instinct; I don’t over-intellectualize them at first. Once the emotional core is there, I refine.
And I know when something is finished. If you keep polishing beyond that moment, you ruin it. When it blooms, you leave it alone.
Who are your biggest musical influences, and how have they shaped your sound?
Talking Heads taught me that intelligence and groove can coexist. PJ Harvey showed me emotional fearlessness. Artists like Eminem and YG remind me that protest can be direct and unapologetic.
I’m also deeply shaped by classical training musical depth matters to me. I want songs to feel inevitable, not accidental.
What themes or messages do you find yourself coming back to in your music? Power. Corruption. Greed. Hypocrisy. But also dignity.
I’m drawn to the tension between individual humanity and large systems. I write about billionaires, authoritarianism, and algorithmic manipulation but at the center of all of it is a person trying to remain vulnerable and human.
Tell us about your latest release — what’s the story behind it?
Arsenal of Democracy isn’t just a collection of songs. It’s a pressure chamber. It reflects living in a world that feels constantly on edge politically, socially, digitally.
The album doesn’t preach. It observes. It’s about the exhaustion of constant manipulation and the quiet strength it takes to hold onto your own voice.
What’s been the most exciting or surprising moment of your music journey so far?
Seeing strangers respond to the work. When someone across the world understands exactly what I was trying to say, that’s extraordinary. It reminds me that connection still exists beyond the noise.
What challenges have you faced as a new artist, and how are you working through them?
Visibility. The industry rewards familiarity and algorithms. I’m building something original and politically direct, and that doesn’t always fit neatly into boxes.
So I focus on consistency, independence, and collaboration. I’d rather build something real than chase trends.
How are you using social media and online platforms to grow your audience?
I create and edit my own music videos including Pretty Sparkly Things, Electric Friends, and Arsenal of Democracy. These videos are extensions of the songs.
I also create lyric clips, short-form videos, and collaborate with others. I treat social platforms as extensions of the art, not just marketing tools. It’s about reaching people without diluting the message.
What’s your vision for the future? Any dream collabs, goals, or projects you’re working toward?
I want the music in film, documentaries, and spaces where political art belongs. I’m open to collaborating with artists who aren’t afraid to say something.
The goal isn’t fame, it’s impact. I want the work to matter.
I’m currently collaborating with Grant (NYC), a DJ and producer, to create live immersive shows with video.
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