"That's the Kind of Woman" is a gritty, dynamic re-imagining of the closing song on Julia Michaels most recent album, Not in Chronological Order. Wolff and Holden explore the more sinister interpretations of Michaels's lyrics, the power and the pain inherent in yearning for more. A growling undercurrent of synthesizers and a battery of punishing drums support Holden's elegant, vulnerable vocal performance.

Thats The Kind Of Woman Master

Crayon Angels is about as direct as Judee Sill gets about her history of abuse. She questions the spiritual and metaphysical tools that she’s used to protect herself. In the original recording the song is presented as a lullaby. I was interested in hearing what it would sound like if Godflesh had been Judee’s backing band instead of Bob Harris. Using the harshest Linn Drum samples I could manipulate, and subtracting almost all the chord changes left the song feeling raw and scary

Crayon Angels feat. Grace McLean

Anyone who’s had someone in their life who’s fighting against addiction knows what “The Pearl” is about. It’s not introspection from the perspective of an addict, it’s the story that your friend tells you before she goes out to cop again…I had seen [Bartees Strange] in his hardcore band Stay Inside and expected a much more aggressive delivery. Instead we talked about his childhood playing in the country bands of Mustang, Oklahoma, and his love of roots music. After we finished the session he said, “No one ever asks me to sing country music.”

The Pearl feat. Bartees Strange

Judee Sill's palette is heavily influenced by the European tradition of religious music, but she also had big ears for African American religious songs … I wanted to take her electrification and push it even farther. If her arrangement is a country church on a cool morning, I wanted mine to be a crowded Bensonhurst church, on a noisy block with a big blinking neon crucifix outside … Mary Elaine Jenkins’s voice is rough in a way that doesn’t get in the way of its innocence.

Down Where The Valleys Are Low feat. Mary Elaine Jenkins

In “The Phoenix” each verse is a little shaggy dog story. It seems like she’s free associating in the beginnings of each stanza, describing scenes that could be painted on the sides of Astro vans and then telling us she was kidding at the end of each … Having [Bobby Hawk and Kate Ferber] sing at the same time made the song feel like two people telling you a joke at simultaneously which seemed appropriately opaque.

The Phoenix feat. Bobby Hawk

Recorded on site in Mr. Newman's home. Produced by Judith Kampfner

Randy Newman's America

Old Man

Lorenzo Wolff is a professional listener. After spending his formative years working as a touring musician he’s settled down to lend his ears to everyone from Randy Newman to Kanye West at Restoration Sound, his recording studio based in Brooklyn, NY. 

Clients include Taylor Swift, Kanye West, Ricky Martin, Teddy Thompson, Ana Egge, Leslie Mendleson, Nervous Dater, Good Looking Friends, soft talon, KAYE, Scott Metzger and many more.

lorenzowolff