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Regards to the End

by Emily Wells

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Lydia
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Lydia This album got straight under my skin and stayed there. Beautiful. Favorite track: Two Dogs Tethered Inside.
Cold Brew & Carbon Steel
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Cold Brew & Carbon Steel I have been waiting for YEARS for Emily Wells to bring what she brought to Pillowfight and the Stoker soundtrack to a solo album (not to denigrate all the work she's done, but it was just missing some intangible quality) and damned if she didn't just straight up find it and bring it on this album. Easily one of my favorites this year (and probably others)

Thank you!!!
Mike Antipathy
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Mike Antipathy Omg. I love all of her releases but this one is next level brilliance. It is dark and haunting and gorgeous. As a queer man who came of age during a time when our friends and lovers died en masse and we would spend weeks petrified of what our blood tests would show, she absolutely nailed the sad beauty of it all. So stunningly well done. 💜
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I'm Numbers 04:37
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Come On Kiki 04:09
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about

“I’m just a fire,” Emily Wells sings on her album Regards to the End, her ethereal warble floating over a backbeat of drums. “Burn everything in sight.” And so she does, in a new body of work that smolders and scorches, wounding and illuminating in equal turn. The polymathic composer, producer, and video artist explores the AIDS crisis, climate change, and her lived experience—as a queer musician from a long line of preachers, watching the world burn—in immaculately layered yet spare songs that impel the listener to be attuned, acting like a magnet on our attention.

Wells, a multi-instrumentalist who comes from a classical background in violin, often thinks in terms of an ensemble while composing. Along with a roster of contributors including her father, a French horn player and former music minister, she builds the songs on Regards to the End from deliberate strata of vocals, synths, drums, piano, string instruments (violin, cello, bass), and wind instruments (clarinet, flute, French horn). The music is numinous in part because the listening experience is a resoundingly bodied one. Life—unsanitary, beautiful, persistent, brief—swells inside of every note.

credits

released February 25, 2022

Produced, Written, Arranged, and Recorded by Emily Wells
On this album Emily performs: Vocals, Guitars, Synths, Programing, Drum Programming,
Violin, Viola, Cello, Piano, Bass
Mixed by Christopher Botta and Emily Wells at Fer Sound
Additional editing/mixing/production notes/consultation by Jacob Plasse
Mastered by Joe LaPorta at Sterling Sound
Project managed by Hannah Houser and Michael Kaufmann
Cover featuring The Piers (exterior with person sunbathing) © 2021 Estate of Alvin Baltrop / Artists Rights Society (ARS), New York
Album cover photo restoration by Shiori Kawasaki
Album Design by Julia Fletcher
Photos of Emily by Rachel Stern
With support from: The NYC Women’s Fund for Media, Music and Theatre by the City of New York Mayor’s Office of Media and Entertainment in association with The New York Foundation for the Arts

These artists live at the heart of these songs. Thank you for the work you’ve made, so that I could make mine:
David Wojnarowicz, Kiki Smith, Bill T. Jones, Arnie Zane, Alvin Baltrop, Jenny Holzer, Nayland Blake, Andreas Sterzing, Félix González-Torres, David Buckel, Sarah Schulman, Olivia Laing, Gregg Bordowitz

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Emily Wells New York, New York

“Quietly transfixing” composer / producer Emily Wells is known for her varied use of classical and modern instrumentation, “a master of blending the worlds of classical and electronics” (NPR) and “dramatic, meticulous and gothic songs” (New York Times). ... more

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