Arizona-via-New York City artist-producer Emmy Wildwood released her latest single “Mosh The Pit,” produced alongside Nashville musician Chris Kuffner. Described as a “‘90s industrial dance party,” she says, and is “about breaking out of roles you can’t survive in and making your own destiny.” Wildwood co-wrote the song with her partner, musician Nic Pool, at their home studio in Tucson during quarantine.

“Mosh The Pit” follows her debut self-produced album Heavy Petals, released in March and recorded in quarantine. Wildwood's solo career began in earnest in 2013, following the release of her debut EP Mean Love. She has since earned support from Ryan Seacrest, Patricia Fields, BUST Magazine, Uproxx, The Line Of Best Fit, Popdust, Bitch Magazine, Logo.'s NewNowNext, Brooklyn Vegan, and more. That year she opened a boutique-record label hybrid, Tiger Blanket, on Graham Ave. in Brooklyn, which produced limited edition 7" vinyl for local bands including Mother Feather. The outfit also hosted pop-up events and concerts, which helped her be named one of TimeOutNY's "Most Fashionable New Yorkers," while the Village Voice hailed her as their "Best Indie Pop Star" in their annual Best Of issue. Her single “Scream" also earned a synch on FOX's “Scream Queens” soundtrack (Jamie Lee Curtis, Emma Roberts).

Chris Kuffner

Chris Kuffner

Wildwood says about the track, “‘Mosh The Pit’ is a song I wrote with my partner in quarantine when Meghan Markle stepped out of her role in the royal family. It’s a call to action to invoke the spirit and bravado of the late Princess Di. It’s about breaking out of roles you can’t survive in and making your own destiny. I called up Chris Kuffner (Regina Spektor, Ingrid Michaelson) for two reasons, he’s a nasty AF bass player and he’s and advocate. I’d been seeing his posts about his new line of basses and already knew his wife Bess Rogers who played in a band called VELTA with me and I had a feeling we’d make a good collaboration. These days I’m only working with fellow empaths and risk takers. The entire song is wrapped up in an industrial rave vibe and pulls pieces of all different era’s of music that influenced but touches on my scene kid days and the way we used to workout our teenage angst at all ages hardcore and punk shows. I loved NIN and Machines of Loving Grace too. It was a time of musical exaltation and together we recreated it with a very current but abstract sounds.”

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In 2018, Wildwood moved home to Tucson, after a decade spent living and playing in New York. She came back to center, thanks to the city's contagious lo fi spirit, which helped her embrace and reconnect with her own punk and DIY origins in the community, and "the girl who made all of her own flyers for her punk band and played at Skrappy’s the local all ages venue," she says. She learned ProTools and brought her creative process in-house after losing touch with her vision and artistry. “All I wanted was to use the voice of that girl who would do anything to have someone feel the emotional impact of her songs."

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