Miss Velvet wants you to strut your stuff — and the L.A. based chanteuse, songwriter and fashionista has provided the swagger-heavy soundtrack for you to do just that.
Movement is actually a key ingredient to the Miss Velvet experience so far. Last year, she hit out with her debut solo LP, Traveler, which reflected her experiences after relocating from New York City to L.A., as well as various life-evolving moments as “a rock star, an artistic explorer and a young mother.” The journey continues today (October 24th), through the release of Miss Velvet’s latest single, “STRUT.”
The song is a sinewy Southern-rock surge of wailing guitar bends, soul-smearing gospel organs and smoky, soaring vocals from Miss Velvet — ostensibly something you could slot on a playlist alongside modern throwbacks like Greta Van Fleet or a vintage, smoked-out James Gang groove.
“STRUT” is likewise a preview of Miss Velvet’s upcoming audio-visual EP, Triptych, which once again finds her working with producer Esjay Jones (who’s also known as the mastermind of the nu-metal project We are PIGS).
As she confidently strides into her next era, Miss Velvet fills Revolver in on her latest single, the challenge of shooting a music video in a windswept Mojave Desert, and more.
Chris Quinn
What was your inspiration when writing “STRUT”?
MISS VELVET “STRUT” is the second song in the larger piece Triptych, and follows a psychic duel. “STRUT” was born as a fantastical interpretation of finally feeling good in your own skin in the wake of betrayal by a beloved friend, the intense conflict which followed, and the victory of standing for oneself and protecting loved ones. “STRUT” is the elation of letting go and celebrating everyone’s dignity and diversity — never letting the ill will of others bring you down.
Did you face challenges while creating this single?
Funny enough, challenges didn’t arise in writing “STRUT” — the song came quickly and joyously for myself and co-writer/producer Esjay Jones. The intense challenges came in performing it — creating the video in wild conditions. Although the vibe is surreal, it was as real as it gets — no AI here. We were ready to shoot deep in the Mojave Desert, the temperature still in triple digits, stages and runway finally built, towering lighting cranes secured, when a massive dust storm hit out of nowhere — the real deal, high, stinging winds, threatening life and limb. Cast and crew ran for cover as director Gus Black shouted through his bullhorn to disassemble equipment at lightning speed and run. Sixty people crammed into cars and the few trailers to wait out the massive buffeting of wind and sand.
After almost two hours, there was a slight lessening. The crew had moved all the big trucks in a semi-circle around the bottom of the runway stage so it would block enough of the high-speed wind to operate cameras. Waiting in the car for the cue from Gus, we then jumped out and just launched into it. We knew we only had a window before the winds would pick up again. As it turned out, the air was so electric that we were all in the moment and actually euphoric. Mother Nature took her place in the cast, and we embraced her power. Those are no wind machines blowing our hair around, I assure you.
Chris Quinn
What kind of visual style or aesthetic did you aim for in the video? Are there specific influences or inspirations?
I always want to keep our authentic rock performance at the highest level — that’s the point — yet, at the same time, allow the surrealistic “world” of Miss Velvet’s imagination to come alive without restraints while weaving a storyline throughout. Each part in Triptych has a color code, as well!
In “Strut”, we focus on the golden hues, tans, browns and yellows — everything feeling in the warm earth-tone palette. The band, choir and dancers all lived in those colors, feeling the unity of a bigger collective with colors but also the diversity in what each person wore and how they moved and sang. I had envisioned this golden runway of ferocious self-love where, triumphantly, Miss Velvet could be surrounded by fellow humans in their highest form of true, self. So, the runway, as seen in fashion shows, became a jump-off point as a metaphorical life’s highway… and how I could face something in my own life with power and dignity while taking it in stride.
I continue my attachment to the majestic elements of earth and sky in California that I felt in my debut album, Traveler, which marked my own journey to California from NYC. The aesthetic into the extreme environment of the Mojave is simply another evolution of my current experiences. In this case, it’s a triptych where I have extrapolated my current life experiences into three parts and I decided to share this by beginning in the middle of the three parts with “STRUT.”
How does this project set the stage for your future work? Are there any new directions you’re excited to explore?
As we lead with “STRUT,” the first single off the 14-minute sonic and cinematic short, we have two more singles set to release off Triptych. Each single is then woven together by choral and orchestral interludes, making up seven pieces of music. I’m most intrigued by continuing to push the Miss Velvet sound even more vintage… my fascination with tape is growing deeper and deeper to the point where I would like to attempt weaving that element into the Velvet world.
I’m always putting the visual and sonic world of Miss Velvet’s character in some kind of juxtaposition… at times uncomfortably, but it pushes creativity and allows the Miss Velvet character and sonic landscape to be fearless.