Artist Spotlight: Meet The Manimals
Photo Credit: art by Haley Bowery
What was the initial spark or idea that led to the creation of "Gold?"
It was the end of the pandemic- truly, the last days, where everyone was getting vaccinated but the clubs weren’t open yet- and I had been feeling totally robbed of my identity for over a year. But this was the edge, and it was finally so, so close to coming back. I wondered if it could ever really be the same again, would people even want to go out? The energy for a “live music scene” had already been waning, a lot of our favorite venues had closed. I had also been in a pretty deep rabbithole of Ancient Greek mystery cults and Carl Jung, and had started writing an immersive rock opera. We all did some weird things in 2020-2021, right? A book called “The Immortality Key” was really the impetus for the whole thing… an idea about a secret truth of human evolution, and that maybe we still have further to go. Not with new tech and smarter AI, but a more primal and deep kind of inner growth that comes from our connection with art and other people and real experiences. We’ve detached so much from ritual and community, but for me, those things exist at the rock show. Transformations still happen there. “Gold” was a song I wanted to write for this theatre piece (which, over time, has essentially just become our live set) that would explain the process of spiritual alchemy in glam rock & roll terms. The alchemical Magnum Opus is to turn lead into gold— what will we have to do to transform our collective boredom and brainrot into what Bowie called the “Homo Superior?”
Were there any memorable or standout moments during the recording sessions for this song?
When we built out the background vocals for the chorus, I just wanted more voices with me shouting “gold”. But we ended up with this spooky monk-like chorus underneath all the funky disco stuff, and it doesn’t really get revealed until the end. We thought it would be fun to have a classic fade out, since it feels like a very 70s record. Those monks (several layers of Chris and Jayne) are left after we all drop out, walking the halls towards the temple, it’s very haunting. We recorded with our producer Ben Schrier at NES Sound in Peekskill, NY, and I got to do a weekend up there and just sing, which was a dream. “Gold” came out really naturally, it’s very lived-in because it was written with such an intention of being performed live. The most fun part was filling it in further with synth (played by Zoe Briskey), more guitars, and singing the bridge with Jayne, all of which came about in the recording sessions.
What impact do you hope "Gold" will have on your audience?
I want them to shake ass to it and also have a transcendental experience. I think those things can absolutely go hand in hand.
Can you tell us more about you as a band?
We’re not a cult! We’re just a regular New York City band into stuff like kneeling on the venue floor for ritual shots with initiates, drinking blood, communal screaming, and performing transformations. There are costumes and makeup and theatrics. It really dances the line between silly and esoteric, a party band with a god complex.
We also play rock music with some pop, punk, and glam, and have been friends a long, long time. I'm Haley Bowery and I sing, Michael Jayne plays lead guitar, Chris "The Bear" Sayre plays rhythm guitar, Jack "The Dad" Breslin plays bass, and Trevor "Goo" Walker plays drums.
What role do you feel emotions play in your music, and how do you channel them into your performances?
That’s the whole point. I let myself go feral onstage. It seems like in those moments, I also get to be the vessel for what the audience needs. If you’re all angry about the state of the world, I’ll drink that poison for you and we can have a big catharsis together instead of just feeling like shit. Most of the songs I write are my way of working it all the way out- there can be pain in verse one that becomes freedom by the final chorus, when we’re all singing along.
